Nirakara and Shentong Buddhism, Tara, Sadhanas, Sanskrit culture

[Mike]

Dude are you actually writing all this stuff or is it copied n pasted from somewhere??

If you're writing it all then..wow. Holy crap that's one hell of an effort! Respect

[shaberon]

Tattvas; Bhrgu and Angiras, Pitris or Pitrs


Lakshmi did something unusual again with the Tattvas or "elements of reality".

In some senses, it is a loose word bandied about wherever needed, such as:

The tattva course contains the Vyuhas, "Vishnu Tattva".


But, it mostly pertains to the "bundle" of Samkhya (enumeration). This is perhaps the oldest yoga doctrine, which may not even be spiritual, but observational and disciplined. It makes the "standard" array of reality.


In the Samkhya doctrine there are 25 Tattvas:

1. Purusha (Transcendental Self)
2. The uncreated (unmanifest) Prakriti (primordial nature)
3. Mahat/Buddhi (intellect)
4. Ahamkara (ego, consciousness of self)
5. Manas (mind)
6-10. The five sense-organs
11-15. The five motor-organs
16-20. The five subtle elements
21-25. The five gross elements




As a close synonym using the Fires of Agni, HPB says:

Maya includes them all as the 49th fire. Once that you have reached the cognition of Mâyâ, you are an Adept.



In the Shiva Agamas, the Samkhya package recieves subtle, yogic, and philosophical upgrades, pertaining to transcendentalism, which matches the Pure and Pure--Impure creations of Lakshmi Tantra.

In the following Shiva Tantra diagram, it has 36 tattvas. All of the Samkhya system is the lower third part (Odic), the Impure sheaths. The top third has five tattvas, for the divine plane, or Trascendental or Pure, Vasudeva and Samkarsana, Sakti and Maya sheaths, only. The middle section, Pure--Impure, has seven (Actinodic). How? Notice the (circled) Purusha is part of man, as well as part of Pure--Impure.







This is also similar to Buddhist Thirty-seven point Enlightenment, since, according to some:

Beyond Siva tattva is the atattva, which is not counted among the 36. ParaSiva or formless absolute Brahman who is beyond all the tattvas, symbolized by sivalinga, experienced in the state of samadhi.

Lakshmi's practice also leads to a seventh or thirty-seventh condition:

finally atyantiki, the emancipation of the yogin who merges in Sakti.

Her first sheath or Sakti Kosa does not seem to be mentioned much in practice, being, implicitly, I suppose, above the Vyuhas.


It appears possible to group Purusha in the Samkhya Tattvas, and, simultaneously, in the Seven Pure--Impure Tattvas:

1. Purusha Tattva
2. Kāla Tattva- time
3. Vidya Tattva- causes misperception, limited knowledge
4. Rāga Tattva - responsible for desire
5. Niyati Tattva - limitations of causality
6. Kalā or 'Akāla Tattva - limited power
7. Maya Tattva




Subba Row said that as Virgo was the sixth sign, there are six shaktis, spawned from a seventh: Parashakti, light and heat; jnanashakti; icchshakti; kriyashakti; kundalinishakti (magnetism); mantra shakti (whose crown is the ineffable word); daiviprakriti (astral or logoic light, the root; Fohat). Vidya makes parashakti turn towards the Self, which is life and the jivas; avidya turns it towards the unreal and it becomes aparashakti, moving outwards and producing excess phenomena or samsara. Daivi prakriti is those two together which is maha vidya which isn't really knowledge so much as energy which uses knowledge for its processes.

The maya of daiviprakriti comes from Bhagavad Gita 7.14 and then its real nature at 9.13, which explains this condition as that of a mahatma.



Shiva has a fairly standard arrangement of the Pure Tattvas:

1) Śiva tattva: Parāśakti-Nāda (Satchidānanda, pure consciousness) 2) Śakti tattva: Parameśvara-Bindu (Naṭarāja, Personal God), energy, light and love 3) Sadāśiva tattva: the power of revealment (Sadāśiva) 4) Īśvāra tattva: the power of concealment (Maheśvara) 5) Śuddhavidyā tattva: dharma, pure knowing, the powers of dissolution (Rudra), preservation (Vishṇu) and creation (Brahmā)

Shaktis of these Tattvas:

Cit--Parashakti, Ananda--Adishakti, and the Transcendental aspects of the Three Shaktis.

This is the superconscious realm, also known as shuddha (pure) maya or mahamaya. Bindu, transcendent light, is the "material" cause of this pure sphere.

The first phase of the manifestation of the universe is called "Śuddha-sṛṣṭi" or "pure creation". The transition from absolute transcendence of the Godhead to physical manifestation begins with the Highest Brahman—Vāsudeva, whose nature consists of Existence (sat), Consciousness (cit) Bliss (ānanda), Eternality (ananta) and Impeccability (amalam). It is during this phase that the six attributes of the Supreme Being make their appearance (ṣaḍguṇa, or 'Six Incommunicable Attributes').


However, Lakshmi Tantra has a different set of Tattvas.

Brahman transcends thirty-five Sattvata [Samhita] realities: Bhagavan, Paramam Dhamam or absolute void, Purusa, sakti (Mahalakshmi), niyati (Mahavidya, wisdom and dharma), kala (Mahakali, material), sattva, rajas, tamas, maya, prasuti, prakriti, followed by the lower elements and senses.

Bhagavan includes divine emanations, i. e. the Vyuha.


The translator says:

The subtle distinctions from kala to prakriti enable it to incorporate Puranic creation.

More specifically, Maya is the Pure sheath, Prasuti is the Pure-Impure sheath of Swayambhu Manvantara, and Prakriti is the Impure sheath of Vaivasvata Manvantara. The Gunas belong to Prakriti. The Impure Creation is the Samkhya categories (Brahmanda Kosa); Time releases Hiranyagarbha and Trayi as Mahat, which produces Ahamkara and all the rest. Lakshmi Tantra adds the notion that an element evolves the next tanmatra--this evolves and blends into that.


When we account for that, what is left is two sheaths, Maya and Prasuti, with Bhagavan, Void, and three divine Mahasaktis.



Mahasri, Mahakali and Mahavidya and respectively represent the rajas, tamas and sattva gunas. These three deities are the components of the third sheath called prasuti, or the mother. Each of these three mothers gave birth, as it were, to twins.
Thus whereas in the saktikosa, the three Vyuhas Samkarsana, Pradyumna and Aniruddha have Sri, Sarasvati and Rati as their respective saktis, in the prasutikosa the same male become deities are consorted with three other female divinities...


Pradyumna, the supreme Purusa ( Purusottama ) exists as the intelligence (buddhi) of divine Samkarsana.

Although the Impure Creation also takes place via him, evidently, Aniruddha with Rati--Mahalakshmi is the Maya Kosa (Nirgunanta).


So she is speaking of Tattvas as determined by Sattvata Samhita, which is probably the oldest Pancaratra scripture of its kind. Not much of it is available in English, but there is a page which extracted its Twelve Shaktis:

Lakshmih pushtir daya nidra kshama kanti – saraswati Dhritir maitri, rati – tushtir matir dwadasami smrita.


That poster seems to think they are more or less for fortune. They are not the same, but there are Twelve Shaktis in Lakshmi Tantra Chapter Thirty-five which is Bhutasuddhi, body purification, which teaches you to go opposite the process of creation. You revert the five elements; then the Mind Manas and the function Ego Abhimani are dissolved in Ahamkara; the Prana and the function Determination Adhyavasaya are dissolved into Buddhi; and the Three Gunas are dissolved into Prakriti. That which contains the gunas and the unmanifest--avyakta source--karana of Mahat and the rest is Prakriti, Prasuti, and Maya.


So when you understand the Tattvas, you understand their ten sources, being the Five Elements, along with Ahamkara, Mahat (Buddhi), Prakriti, Prasuti, and Maya.

these are really twenty owing to Gross and Subtle aspects.

From the way it is written we can see it is going backwards because the first sheath is last.

There are nine forms of the main Shakti that correspond to the mantras of the ten subtle instances.

These Shaktis and their mantric tutelary or guardian deities are:

Nivrtti--Gandhasri, Patishta--Rasasri, Vidya--Rupasri, Santi--Sparsasri, Santyatita--Sabdasri, Abhimana--Abhimanasri, Prana--Pranasri, Gunavati--Gunasri, Gunasuksma--Gunasuksmasri, and Nirguna--Mayasri.

You do these elemental and mental dissolutions until you reach maya.

The supreme shakti, meditated on as nirgunanta, is the basis of maya, the tenth shakti, Nirguna.

Mayakosa is the lowest Vyuha, Aniruddha, which seems to make sense:


Thus the supreme Sakti associated with this nine sakti I, who am meditated upon as the end of the attributeless (nirgunanta) and who constitute the basis of maya, the tenth (group), (state, Nirguna), should be taken to the next sakti existing in (sakti), called the eleventh (principle) 3 great activities state (lit. where she which is) (who is) LaksmI (Herself), filled with vibration and is endowed with the form (of the manifested) as Vyuhas.

3 See IV, 4-32. This is. the Vyuha-Sakti or Suddha-Sakti. The word nirgunanta means mayakoSa.


(Then) dissolving this eleventh sakti into the twelfth is identical with the great self, (sakti), undefinable and peerless, one should merge this twelfth sakti into me. Thus, after having raised the position (called) supreme twelfth sakti (the sakti of the individual) to it 5 dvadasanta one should meditate on this which consists of all, as merged in me, who consist of the sounds.


5 A place above the top of the head, i.e. the seat of maya.

The "sounds" are Aksarasri or Sabdasakti. From prakriti above the head, to avyakta, to maya, to her, proceeding upwards, is a relatively long way. Maybe two feet or so.


This eleventh Shakti is the Vyuha state, and the twelfth is like a sole or Para Vasudeva state. At the end of the twelve is a great, brilliant lotus. The adept's body is thoroughly burnt by the fire of consciousness that comes from Lakshmi's mouth. Then you are revived by her orally sprinkling Soma--nectar. Then you re-emerge and/or re-create slowly. You are now pure like burned gold. You acquire Bala by doing so.

So when you go through the Vyuhas, she kills and resurrects you. It means you are in a condition of Maya, and experience primordial light.


The Vyuhas were perhaps once thought of as different gods rather than different aspects of the same thing. Mahanarayana Upanishad summarizes this insight in its famous verse, "Om nArAyaNAya vidmahE, vAsudevAya dhImahi, tanno viShNu prachodayAt".


This is a slightly different system, but, it does say such personal cessation is the basic tantric technique. So this remains fairly similar to Buddhism. Lakshmi also uses this name for her Laya abode:

advaya-tattva


The translator finds it "unusual" to call the fourth state "sunya".

Those are from the Buddhist repertoire.



She does have a basic Six Qualities Nyasa in her Tarika Vidya:


Om hram jnanaya hrdayaya namah

Om hrim aisvaryaya sirase svaha

Om hrum saktaye sikhayai vausat

Om hraim balayai kavacaya hum

Om hraum tejase netrabhyam vausat

Om hrah viryaya astraya ca phat


Understood properly, that is the next thing to state of a Bhagavan right there. Because this term is liberally strewn throughout most Buddhist Yidams, it probably carries the similar meaning of holder of Six Transcendental Gunas. Here, as a Lakshmi sadhana, if her bija is Hrim, then we see Hrim Aisvarya. So this is a particular teaching of hers. She uses a similar type of Mirror to Sarasvati, but she is increasing it to something more.



In Astrology, Lakshmi is usually associated with Venus (who also uses an Ankh--Mirror). And what we have come to find is there is an intense competition between Venus and Jupiter. In one resolution, they become two of the three main fires of Agni. In the mental creations of the Puranas, they are respectively the domains of the Sages Bhrgu and Angiras.





Bhṛgu (भृगु) married Khyāti: one of the daughters of Dakṣa and Prasūti.

From Bhṛgu through Khyāti, Lakṣmī (the beloved of Nārāyaṇa), Dhātā and Vidhātā were born.

Śukra (the preceptor of the Daityas) was born from Bhṛgu. Śukra achieved the knowledge of Saṃjīvanī by worshipping Mahādeva and by the grace of the Lord he was famous as Yogācārya.

Bhṛgu (भृगु).—Born from fire; one of the ten mind-born sons of Brahmā; born of his skin; married Kardama's daughter Khyātī and had two sons and a daughter.

Bhṛgu is one of the Prajāpatis and great sages and is regarded as the founder of the race of the Bhṛgus or Bhārgavas, in which Jamadagni and Paraśurāma were born.

Bhṛgu who was born from Brahmā’s skin must be considered as having died at Dakṣayāga. Bhṛgu was born again in Vaivasvata Manvantara. This second birth was at the famous Brahmayajña of Varuṇa. He was reborn from fire, as Brahmā’s son. This child who was born from Brahmā’s semen which fell in the sacrificial fire, was brought up by Varuṇa and his wife Carṣaṇī. Consequently Bhṛgu is referred to as "Varuṇaputra" and "Carṣaṇīputra" in some Purāṇas. Since he was born at Varuṇa’s yāga he is sometimes called "Vāruṇī Bhṛgu".

The father of Atharvaṇa Agni.*

* Brahmāṇḍa-purāṇa II. 12. 10.

The teacher of Vyāsa.*

* Vāyu-purāṇa 1. 42; 3. 2; 10. 29.


Father of Atharvan returns us to:


9-10. Formerly the fire Edhiti was gathered by Atharvan in the ocean Puṣkara. Hence that secular fire is Ātharvaṇa. Darpahā is remembered as the son of Atharvan. Bhṛgu was born as Atharvan and Fire is remembered as Ātharvaṇa (son of Atharvan). Hence the secular fire is considered Dadhyaṅ, the son of Atharvaṇa.

11. Pavamāna, the son of Atharvan, is remembered by the wise as one that should be generated by churning. It should be known as Gārhapatya fire. His two sons are remembered as follows:

12. (They are Śaṃsya and Śuka (śukra in Vā.P. 9-11) Śaṃsya is Āhavanīya fire who is remembered as Havyavāhana. The second son is Śuka (śukra in Vā.P.) and he is said to be the fire that is gathered and carried.

In Vayu Purana, the second son is "consecrated by reciting sacred mantras".

Pavamana's (Garhapati's) "son" is Kavya Vahana, the Fire for Pitris. This seems to be intended as Samsya, who, by loving the sixteen rivers, produced six fixed and eight mobile fires. The other son has no descendants and does not seem to be referred to by any other source in either spelling. But here we find Bhrgu is Atharvan and Fire by Friction.



Gārhapatya (गार्हपत्य).—The sacrificial fire; Dharmavrata performed austerities standing in this fire;1 the face of the Veda.2 Nirmathya agni; father of two sons, Śamsya and Śukra.3

1) Vāyu-purāṇa 97. 25, 111.
2) Ib. 104. 85; 106. 41.
3) Brahmāṇḍa-purāṇa I. 12. 11; Vāyu-purāṇa 29. 11.



The same line in Kamakoti's Brahmanda Essence:

Brahma’s elder son was Brahmadattaagni who bestowed Loukikaagni to the world and Brahamadattaagni’s son was Vaishwaanara; he carried Havya to Devas for long and merged it in Pushkara Samudra; that Loukikaagni was secured by one Adhravana and subsequently came to be known as Adharvanaagni.

From the lineage of Adharvana came Samsya and Shuka.


So there we get the sense of what has three translations, "secular", "mundane", and "worldly"--Laukika. It was Vaisvanara, but now is Atharvan. Because this Sanskrit term is quite technical, it suggests to us that the first Agni, emanated by Brahma, is Lokottara or Transcendental,

In VAT, the approximately similar beginning goes:

Pavaka-->Brahmodana-->Bharata-->Vaisvanara, Havya, and Havya-vahana

Atharvan's son is Parsvasambhida, who lives in Puskara.

Maruta is for conception.



Bhrgu for example is described as being in the Prasuti and Prakriti sheaths.

First birth: Bhṛgu and his wife Khyāti had a daughter Lakṣmī and three sons, Dhātā, Vidhātā and Kavi.

The second Bhṛgu Vaṃśa is the family which took its origin from the second birth of Bhṛgu as the son of Varuṇa. Varuṇa’s son, Bhṛgu married the woman, Pulomā. They had six children who were, Bhūta, Cyavana, Vajraśīrṣa, Śuci, Śukra, and Savana.


Ganesha Speaks:

Shukracharya is the son of Sage Bhrigu. He is the preceptor of the demons. Shukra was the only one considered worthy of being granted the knowledge of MritaSanjivani vidya by Lord Shiva. This knowledge is supposed to bring back even dead to life.

Venus is considered as Goddess of love, marriage, beauty and comforts. It is a form of Maha Lakshmi, the wife of lord Vishnu. Venus rules over the Yajurveda and the Vasant Ritu (April and May). According to western astrology Venus is known as Lucifer and Hebrews named it as Astoreth.



In some ideas about Dhana Bhava or the Second House:


The Second House also includes the learning we receive in the form of verbal instructions from any source in life. All forms of orally-transmitted knowledge fall under the domain of the 2nd House — hence it is defined as one of the houses of Vidya.

Lakshmi is also described as the daughter of Sage Bhrigu and Khyati. So her other name is Bhargavi.

In Jyotish, Shukra (Venus) is represented by the Goddess Lakshmi. The concept of Ashta-Lakshmi represents the eight manifestations of the Goddess in which she presides over eight different forms of wealth: ranging from knowledge to grains. In the context of Jyotish, each of her forms can be tied to the different Graha conjunctions (yuti) that are possible in relation to Shukra.

In some forms of Ashtalakshmi, Vidhya Lakshmi is replaced by Aishwarya Lakshmi and Aishwarya is the only form of Lakshmi portrayed as being mounted on a horse.

Shukra Yuti Shani (Venus in conjunction with Saturn) and its connection to Adya Lakshmi:

Aadi Lakshmi represents the Eldest and most primeval form of the Goddess, also known as Maha Lakshmi. She is described as the daughter of Sage Bhrigu and the consort of Lord Narayana. She is often depicted as living with Narayana at his home in Vaikunta and is sometimes depicted as sitting in his lap. This image of her serving Narayana is symbolic of the Goddess serving the entire universe.


On a mantric basis:

Shukra (Sanskrit: शुक्र, śukra) is the Guru of the Asuras, also known as the forces of duality.


Close enough. They pertain to Form, and the Body, and so forth. It is due to Ignorance that mankind generally experiences this as mental and physical illnesses, whi is the major point of Parnasabari. Sukra really has direct bearing to the Asura Fire or Pavaka, yet is still influential or related to the Lunar Fire or Pavamana.



There is a mantra that explains the balance that Shukra teaches: “the Pure and the Impure reside within all objects. Who remembers the Lotus-Eyed Consciousness is conveyed to radiant beauty.”







Lakshmi does not visit or grant wealth to Brahmanas unless they honor Vishnu due to a slightly disrespectful kick on Vishnu by Bhrgu.


Moreover, this leads to the semi-imprisoned Vishnu known as Venkateswara:


Goddess Lakshmi, also referred as Sri, had a fight with Lord Vishnu as she felt that Bhrigu insulted her indirectly by hitting Vishnu on his chest where Sri lived and thus left Vaikunta. She came and settled on earth in disguise in the ancient city of Karvir (Kolhapur) and meditated on Vishnu where today the Mahalaxmi temple is found. Lord Vishnu soon arrived on earth searching for Goddess Lakshmi. But He failed to find her and instead settled on Seshachalam hills inside an anthill. The whole earth became gloomy. On the request of Parvati and Saraswati, Lord Shiva and Lord Brahma incarnated as a cow and a calf respectively in the Chola kingdom. This cow and calf were being grazed daily by a shepherd of Chola kingdom in the Seshachalam hills. The cow and calf, everyday used to deposit their milk in the anthill to lessen the thirst of Vishnu. Due to daily program, the cow and calf became pale and unhealthy. The Chola king and shepherd noticed this and felt something suspicious. The next day the shepherd took the animals for grazing and like everyday, the cow and calf deposited their milk in the anthill. The Chola king saw this act and launched his arrow towards the cow and calf. But in order to protect them, Vishnu arose from the anthill and the arrow hit Vishnu's leg. The Chola king was sorry for his mistake and surrendered at Lord's feet. Lord presented him a boon that he would marry his daughter in his next birth. In his next birth, Vishnu incarnated as Srinivasa to a woman named Vakula Devi. It is said that in Dwapara Yuga, Krishna presented Yashoda a boon that Krishna will be again born to Yashoda in Kali Yuga. Vakula Devi was reincarnation of Yashoda. Meanwhile,Goddess Lakshmi of Karvir took birth at the palace of Aakasha Raja, the next birth of The previous Chola king. Srinivasa was a forest dweller. During the search, Lord Srinivasa met the beautiful girl named Padmavati. They both fell in love and decided to get married as per the boon of Vishnu to Chola king in previous birth.

The father of Padmavati asked for a huge bridal price and to pay the money Lord Vishnu took a large loan from Kubera, the Hindu god who is the treasurer of wealth. Kubera gave the loan on the condition that Vishnu cannot return to Vaikunta (heavenly abode) without paying off the debt.

Lord Vishnu resides at Tirumala, that is the Seshachalam hills as Tirupati Venkateswara without returning to Vaikunta until the payment is made. To help him repay his debt, devotees offer him everything, including hair and wealth and in return Lord Vishnu fulfills their prayers.


As if never-ending debt to Kubera were not enough:

Bhrgu incarnates as Jara and kills Krishna.




Shukra, also know as Shukra, is the son of the great sage Bhrigu and Ushana, daughter of Hirana-Kashipu. He went to the hermitage of Angirasa to learn the scriptures. Angirasa's son Brihaspati was a fellow student of his. Appalled by the favoritism shown by Angirasa towards his son, Shukra left his guru and became the disciple of the sage Gautama instead.


That is a big part of the ethos. Sukra joined Gautama and is generally understood as having more knowledge and skill, such as resurrection, than Brihaspati.


In a preview or perhaps better text of Part Two, Vayu Purana restates the previous: that the Sages were born in Swayambhu Manvantara, expired and were cursed by Shiva, forcing them to be re-born at Varuna's sacrifice.


It is due to the curse of
Mahesvara that the noble souls, Daksa and the very powerful
sages Bhrgu and others manifested themselves (in this Manvan¬
tara).


At Varuna's ritual which is in the previous, Caksusa Mavantara:


27. The (Atharva Veda) was (present there)
accompanied by terrible rites. (But) due to (the presence of the)
Pratyangirasas, it appeared to have a single head with two
bodies. 1

1 AV. consists of two sets of Mantras : the auspicious ones
(Atharvans) and the terrible ones meant for the destruction of the enemies
(Angiras ). Hence AV is said to have two bodies.


29-30. The brilliantly shining goddess Earth, the quarters,
the intermediate quarters, the Lords of quarters, the celestial
virgins, the wives of Devas, the mothers and Ayu—all these were
present there in embodied form in front of the Lord (Brahma)
who was performing the Yajna assuming the form of Varuna.

31. On seeing the ladies, the semen virile of Svayambhu
fell on the ground.


32. Pitamaha (god Brahma) then took it up by means of
Sruks and Sruva (sacrificial spoons and ladles) and performed
the Homa as if it were ghee, reciting the mantras duly.

33. Thereafter, the Prajapati began the creation of living
beings (or aggregate of elements). Due to the splendour that
was beside, the fiery things were born; the Gunas Sattva and
Rajas were not pervaded by the Guna Tamas.


37. When .the Semen Virile was once poured into the fire,
Kavi (i.e. Venus) came out of the flame. On seeing him
coming out splitting up the flame, Hiranyagarbha (Brahma)
said: “You are Bhrgu”. Thereafter he is called Bhrgu.

38. Mahadeva saw him coming out like that and said to
Brahma: “I am desirous of a son and I am initiated. He is
born to me, O lord. Hence may lord Bhrgu be my son.”

39. Mahadeva was permitted by god Brahma who said:
“So be it”. Mahadeva adopted Bhrgu as his son. All the descen¬
dants of Bhrgu are called Varunas. He became a holy lord
(sage).

40. A second (ladleful of) Semen Virile fell on the burning
coals. Angiras was born of it with his limbs firmly united on
fire (burning coals). Hence he is known as Angiras.

41. On seeing his birth, the Fire-god spoke to Brahma: “It
was I who held your Semen Virile. Hence may this second son
be mine.”

42. The Fire-god was addressed by Brahma: “Let it be
so”. Hence, we have heard that all the descendants of Angiras
are known as Agneyas.


49-50. Others called Pitrs were created by these great
sages alone. The seven groups of sages are well known in the
world, viz. Maricas, Bhargavas, Angirasas, Paulastyas, Paulahas,
Vasisthas and Atreyas; these groups of Pitrs are well-known in
the world.


61. The flames are Rudras and Adityas. Divine human
beings were born of the burning coal and the flame.

63. “Brahma, the eldest among Suras...


So these planetary regents appear exalted before the others. As to their progeny:


72. Among them I shall recount in detail and in proper
sequence the race of Bhrgu, the ancient noble soul and the first
Prajapati.

73. Bhrgu had two unequalled, excellent and auspicious
wives of noble families. One was the daughter of Hiranyakasipu,
famous by the name ‘Divya’ and the other was the fair-com-
plexioned daughter of Puloman, named Paulomi.

74-75. Divya bore to Bhrgu the planet Sukra (Venus) who
was the preceptor of Devas and Asuras, who was the son of Kavi,
and was known as Kavya, Sukra and Usanas. He was the most
excellent among the knowers of Vedas. Sukra’s wife named Angi
was the mental daughter of the Soma-drinking Pitrs and very
famous. She gave birth to four sons.

76-77. He was endowed with Brahman’s splendour and the
most excellent among the knowers of Brahman. Sukra begot
four sons of her, viz. Tvastr, Varutrin, Sanda and Amaika.
They resembled the sun and in their prowess they were equal to
Brahma.

78. Ranjana, Prthurasmi and the scholarly Brhadgiras
were the sons of Varutrin. They were devoted to Brahman and
became the priests of Suras.

79. They approached Manu with the motive of spoiling
sacrificial rites. On seeing Dharma being violated, Indra spoke
to Manu:

80. “I would rather have the sacrifice performed through
you than through these”. On hearing these words of Indra, they
fled from that place.

81. When they absconded, Indra released (their) wife
Cetana. Then he followed her.

82-83. On seeing them come there again with the evil in¬
tention of killing Indra, he struck at them (while) they slept
in the altar of the lord of Devas on the southern side. While they
were being devoured by (dogs, jackals and wolves) their heads
fell down simultaneously and became dates.

84. Thus, the sons of Varutrin were killed by Indra former¬
ly. Sukra begot (of his wife) Yajani the daughter Devayani.

85. The three-headed Visvarupa was the great son of
Tvastr. Visvakarman is remembered as the younger twin-
brother of Visvarupa.


That is also from Brahmanda Purana III.1, although Gau is Sukra's wife, mother of Tvastr.


Tvastr is the deity's original name; viswakarman is a title that came to mean him. It is very unusual to find him here because:

He is often stated to be the son of Brahma, but it differs in many other texts. In the Nirukta and Brahmanas he is stated to be the son of Bhuvana. In the Mahabharata and Harivansha, he is the son of Vasu Prabhāsa and Yoga-siddhā. In the Puranas, he is the son of Vāstu.

However this is the Caksusa Manvantara, which lasts until the end of the chapter, and then is called "annihilated". This is a particular move by the Sages, so to speak, to be conjured by Varuna. Brahma then mentally creates them again but in the descent, Tvastr arrives differently III.3:

28. The sister of Bṛhaspati was Bhuvanā, the expounder of Brahman, She had achieved yogic power. She was never attached to the world, but she traversed the entire universe.

29. She who was the wife of Prabhāsa the eighth one of the Vasus and Viśvakarman, the lord and master of all Prajāpatis, as her son.

This is repeated in III.59.


Back to Caksusa in the Vayu Purana:


86. Twelve sons were born to Bhrgu (and were known as)
Bhrgu (Gana) Devas. Lord Kavya begot of Devi those sons.

87. They were—Bhuvana, Bhavana, Anya, Anyayata,
Kratu, Sravas, Murdhan, Vyajaya, Vyasrusa, Prasava, Aja and
the twelfth one Adhipati.

88. These twelve sons of Bhrgu are remembered as twelve
sacrificial Devas. PaulomI bore a lordly son having full self-
control and engrossed in Brahman.

89. Since he was sickly in the eighth month of conception,
he was forcibly taken out of the womb by dire means and so
his name became Cyavana. He became conscious due to
Pracetas. Through the anger of Cyavana (revived by) Pracetas,
Cyavana alias Pracetasa burned the man-eaters through anger.

90. The son of Bhrgu (i.e. Cyavana) begot of Sukanya two
sons honoured by saints, viz. Atmavana and Dadhica.

91. The son Sarasvata was born to Sarasvati and Dadhica.
The blessed lady Ruci, daughter of Nahusa, was the wife of
Atmavana.

92. The sage Orva (Aurva in Bd. P. and Mbh.) of great
renown was born of him after breaking through the thighs (of
his mother)- Rcika was the son of Aurva. He was brilliant (in
complexion) like a blazing fire.

93-94. When the caru (sacrificial offerings) pertaining to
Rudra and Visnu (charged with specific mantras ) by Bhrgu
were interchanged, Jamadagni was born, as the Cara pertaining
to Vaispava fire was (mistakenly) eaten (by his mother).

Renuka bore to Jamadagni the son Rama of unmeasured splen¬
dour. He was equal to Sakra (Indra) in valour and had the
traits both of a Brahmana and a Ksatriya.

95 Aurva had a hundred sons of whom Jamadagni was
the eldest. Those descendants of Bhrgu had thousands of sons
due to mutual alliance.


97. Listen to the narration of the family of Angiras, the
intelligent son of Agni. It was in the family of Angiras, the
intelligent son of Agni, that Bharadvajas along with Gautamas
were born. The most important Devas belonging to the family
of Angiras are Tvisimants (?) of great prowess.

98. Atharvan, Angiras had three wives, viz. Surupa the
daughter of Marica, Svarat the daughter of Kardama and
Pathya the daughter of Manu. I shall mention their progeny.

99. The heirs of Atharvan born of those wives were the
uplifters of the family. They were born as a result of the great
penance of that purified soul.

100-101. Brhaspati was born of Surupa and Svarat gave
birth to Gautama. Pathya gave birth of Avandhya, Vamadeva,
Utathya and Usija. Dhisnu was the son of Pathya. Samvarta
was the mental son (of Atharvan). Vicitta, Ayasya and Sara-
dvan were the sons of Utathya.


Now, Angiras is Atharvan, son of Agni.

The early part of Vaivasvata Manvantara is not elaborated (neither is it in the Brahmanda); Brahma mentally produces everyone he can, but then desires to create subjects who reproduce by intercourse, which the Sages are already aware of:


Creating them into
rivers and mountains, the powerful Daksa pursued them. On
seeing him the sages said, “He will establish the first and the
second sets of creation of subjects of Daksa the Prajapati.”
Thus after creating a million wells Daksa the Pracetasa
married Asikni, the daughter of Virana.

It is unsuccessful until producing daughters who will marry the Sages:


When those noble-souled (sons)
were lost, Daksa begot of Virini sixty daughters. Those daugh¬
ters were accepted as wives by Lord Kasyapa, Dharma, Lord
Soma (the Moon god) and other great sages.


Sukra says to the Asuras:

51. For full ten Yugas you have reigned over Devas.
Brahma has ordained your rulership only for that length of
period.

52. In the Savarnika Manvantara you will again have
suzerainty. Your grandson Bali will become the lord of all the
worlds.

55. The lord has told me, ‘The kingdom of Devas
will come to Bali’. Hence he bides his time remaining invisible
to all living beings.

59. When the Daityas, the chief of whom was Prahlada,
were given this advice by Kavya of indefatigable energy and
activity, they went away along with those two (disciples i.e.
Sanda and Amarka).

Thereafter, whenever the cult of Yajnas and other holy
rites was slack, Lord Visnu incarnated again and again as a
result of Bhrgu’s curse*, in order to stabilise Dharma and
destroy Adharma.

70. Lord Brahma pronounced that all those Asuras who
did not follow the directions of Prahlada would be killed by
human beings.


71. Hence Narayana was born of Dharma in the Caksusa
Manvantara. In the Vaivasvata Manvantara, he popularised
Yajna in Caitya.


Bhrgvangiras is a unique compound in Atharva Veda. This study finds Bhrgu, Angiras, and Atharvan almost synonymous. They are this way in RV X.14:


6 Our Fathers are Aṅgirases, Navagvas, Atharvans, Bhṛgus who deserve the Soma.


But they cannot find a reason why Bhrgu frequently seems to be elevated at the expense of the others.

In Vayu Purana 29, Atharvan is Bhrgu; Angiras is his son; Dadhyan is the son. Satpatha Brahmana 7.5 says that dadhi is earth or matter.

This is the Race of Agni, which the text portrays in Swayambhu Manvantara, but suggests it is continuous. It does not shift like Tusitas that become Adityas, or change names, or its method of descent. Agni's offspring perish and are re-created essentially the same way each time. The Brahmanda says:

51. These are to be known (as present) in all the seven Manvaṇtaras beginning with Svārociṣa and ending with the Sāvarṇya Manvantara in regard to their names, forms and purposes.

The following kingdom of Pitris is similar, self-replicating; moreover, it adds:

79-80. Just as the noble lady Aditi follows for ever Kaśyapa, the son of Marīci; just as goddess Śrī follows Nārāyaṇa, just as Śacī follows Maghavan (i.e. Indra), (so also Satī follows Bhava.)

These following noble ladies never leave off their husbands, viz.: Lakṣmī does not leave off Viṣṇu, Uṣā does not leave off Sūrya (the Sun) nor does Arundhatī leave of Vasiṣṭha.


The most complete accounts about the Pitṛs are found in the Vayu Purana and Brahmanda Purana and both are practically identical.


Two daughters well known in the worlds were born of Svadhā and the Pitṛs. They were Menā and Dhāraṇī by whom the entire universe is sustained. These two were expounders of Brahman. These two were Yoginīs also.

31-34. Menā was the mental daughter of those Pitṛs who are mentioned as Agniṣvāttas. They are remembered as Upahūtas too.

Dhāraṇī is remembered as the mental daughter of Barhiṣads. These Pitṛs, the Barhiṣads are remembered as Somapāyins too.


The Agniṣvāttas gave Menā as the wife unto the Himavān, The Barhiṣads gave the splendid daughter Dhāraṇī as wife unto Meru.



The Pitris are really about Time and the Year and the chapter really emphasizes:

Kāla (Rudra), the sun, the Moon and the wind god



The dominion of the Pitris was apparently not quite understood by the translator:


28-30. They are endowed with causes and effects; they have pervaded everything through their supremacy and indeed these identify themselves with the abodes and they stand here in consequence of that special contact (?).


Same thing happens to me in most of these cases. But you get a lot just by going backwards. And although we just spent the previous chapter with the family of Agni, here, again, he is referred to as the son of Brahma--Prajapati:


It is Saṃvatsara (the year) that is considered and remembered as Prajāpati.

23. Agni, the son of Saṃvatsara, is called ṛta by scholars. Since they are born of Ṛta, they are called Ṛtus.


The perhaps confusing "special contact" was just before that:


19-20. The five types of subjects (i.e. human beings, quadrupeds, birds, reptiles and trees) are remembered as the sons of Ṛtu. They are characterised by their seasonal change. Since the mobile and the immobile beings are born through the Ārtavas (seasonal changes, menstruation etc.) the Ārtavas are fathers and the Ṛtus are grandfathers. When they come together, the subjects of the Prajāpati are born.


The Artavas have these two meanings, which certainly indicate a push towards subjects who reproduce by copulating:

1a) Ārtava (आर्तव).—Five sons of Brahmā: represented by agniṣvāttas.*

* Brahmāṇḍa-purāṇa II. 21. 152; 23. 75-77; 28. 16 ff.

5) the ten days after the menstrual discharge fit for generation, [Manu-smṛti; Suśruta]



The Ṛtus are the sons of Brahmā. They should be known as those identifying themselves with both sentient and non-sentient (objects).


Rtus in turn are two kinds:


The vedic text says,—“The seasons are the Pitṛs and Devas.”


This chapter being about Time, Meru and Dharani have a daughter who, in the second sentence, marks a sudden switch to Caksusa Manvantara:

38. The progeny of these two, formerly in the Svāyambhuva Manvantara have already been recounted. Velā (seashore) gave birth to a praiseworthy (lit. uncensured) daughter of Sāgara (the ocean).


Vela, the shoreline, an evident keeper of time in several ways, marks an abrupt change from a chapter and a half of Agni and Pitris described as largely the same in all Manvantaras, into the episode between Daksa and Sati.

After announcing this to all of them, he cursed Dakṣa once again, “In the Cākṣuṣa Manvantara when Sukra’s Homa is performed by Brahmā (?), you will become a human king in the family of Cākṣuṣa.

[Brahma assumed the body of Varuna]

Dakṣa cursed Rudra once again:—“Since, on account of me you rendered evil to the sages, the Brāhmaṇas will not worship you along with the Devas in the course of a Yajña.


Vela's descendants become Daksa's next set of fathers.

In Vela's definition is some sense of the occult reality of Rtus:

These all bear astrological significance, and are seasons, charged respectively with certain astral influences, and appropriate to certain human performances. Besides the above there are numerous other vēḷa or periods of prevalence, suitableness, convenience &c.


If original Ekajati "lived at the shoreline", perhaps she is not that different from Vela.


The two kinds of Rtus relate to the planetary tilt:

Two months make what is called Ṛtu. Three Ṛtus make one Ayana and the two Ayanas, (viz.: the southern and the northern) together constitute a year. These are the abodes for the Sthānins. The Ṛtus are the sons of Nimi [twinkling of an eye]. Similarly, they should be known as six in number.



15. The Sthānins (those who identify themselves with the abodes) who are established in these, are the states of time. They are having those as their own selves, since they are of the same essence as they.

26. Thus the Ṛtus and the Ārtavas should be known as Pitṛs because all the living beings are born of them through the Ṛtukāla(the time of Ṛtu—period favourable for conception).[2]

[2]:

This explains why Ṛtus (Seasons) are regarded as Pitṛs (manes).

The year, said to be of five souls (vide V.113), is again divided into six divisions according to season (Ṛtus).

These five souls:

(1) Saṃvatsara, (2) Parivatsara, (3) Iḍvatsara, (4) Anuvatsara and (5) Vatsara. The following verses describe the “principle” as to how and why (1) Kratu-Agni, (2) The Sun-god, (3) Soma or the Moon-god with Pitṛs, (4) The Wind-god and (5) Rudra should be associated with these five years.



This year is the "great grandfather" or i. e. Brahma, of both Agni, and the Pitris. Pitris are associated with the Moon, yet are honored with Kavya, which is Venus.


Pavamana Agni has two sons, one of which is spelled "suka or sukra", whom by implication is Kavyavahan. The first spelling almost always means a son of Vyasa, with a minor exception:


7) Śuka (शुक).—A Maharṣi who was the contemporary of Aṇuha of Dakṣiṇa Pāñcāla and of king Brahmadatta. This sage lived before the time of the other Śuka who was the son of Vyāsa.

This sage Śuka had six sons, named Bhūriśravas, Śambhu, Prabhu, Kṛṣṇa, Saura (Sauraprabha) and Devaśruta by his two wives Pīvarī and Ekaśṛṅgā. (Brahmāṇḍa Purāṇa, 3-8-93: Vāyu Purāṇa, 70-84; Devī Bhāgavata, 1-14; Nārada. 1-58).


That is not quite correct as Devi Bhagavata has Vyasa. Where we find him in the progeny of Agni, nothing is really said about "him", unless by circular reasoning he must be Kavyavahana. If so, this tends to favor the second spelling, Sukra--Venus. However there is no other indication that Sukra was ever the son of Agni. Sukra is of course linked to the Pitrs, and, Sukra's wife

1a) Gau (गौ).—The mind-born daughter of Pitṛs and wife of Śukra.*

* Brahmāṇḍa-purāṇa III. 1. 77; Matsya-purāṇa 15. 15; Vāyu-purāṇa 73. 36.


Kavyas are also:

2e) A group of Pitṛs who drink Soma's svadhā. Their mind-born daughter is Yogotpatti; other names are saṃvatsaras, pañcābdas, ājyapas, being presiding deities of aṣtakas and others. They drink ghee.*

* Brahmāṇḍa-purāṇa II. 23. 39 and 73-5; 28. 4, 23 and 70; III. 10. 85; Matsya-purāṇa 141. 4-16; Vāyu-purāṇa 56. 13, 16.



With respect to Kavyavahana's brother, The "son" of Grhapati (Pavamana) means this fire is usually used to light the Eastern Ahavaniya Fire:

Śaṃsya is Āhavanīya fire who is remembered as Havyavāhana.


However there is another similar:

Havyavāha was the son of Śuci.

Havyavāha is the fire of the Devas


The Pitrs offering is made in the Grhapati fire, as are others. And so it makes sense that when it is specifically for them, he or it has a son for that purpose, Kavyavahan.


For the Deva fire, it perhaps is unusual that the name lacks a final "n", distinguishing it from Havyavahana, which is Samsya. With this spelling, it is in Mahabharata:

Then the Brahmarshis, the Siddhas and the Devarshis, with Havyavaha as their spokesman, sought the protection of Brahma.


It is eulogized in Ramayana interspersed with Sukra.


It appears on behalf of Venkateswara:

Thuraga savana
vEdhyAm ShyAmaLO HavyavAha

He appeared in His shyAmala
roopam and directly received the havis instead of
through Agni.

in the context of Anugraha:

ApAram is Maa Nidhi or
immeasurable/limitless nidhi. For those , who approach
Lord VararAjan ( arTinAm ) , He is "apAra Nidhi".

4. arTitha arTa paridhAna DhIk****ham : For those who
seek His anugraham , He grants all that they seek of
Him ...Janaka MahArAjan gained Moksha Siddhi.


There seems to be not much attention given to it being Solar Fire. The fire that was lit in the eastern pit is one thing, whereas it is evidently something from the sun which is sent back to Devas. There is no attention to Samsya, either, who most closely resembles divisions of fire in the subtle body.



Kavyavahana is for Pitrs, and Pitrs' Sraddha is for Yoga and Soma.

That is why Yajna "presses out the Soma". Pitrs are supposed to be involved, first.

Pitrs' mantras end on:

Svadha

1c) Married Kavi Agni: her sons were Kāvyas: her daughter the source of Pitṛs with forms.*

* ^1 Brahmāṇḍa-purāṇa I. 1. 62; III. 10. 85; Vāyu-purāṇa 73. 35; 74. 3; 75. 56, 77.


The Sraddha is a funerary rite, and the widespread belief is a daily prayer to deceased ancestors, which may improve their status. This is a bit odd, in face of the belief in reincarnation, as well as completely ineffective, from the way we understand it to work. This seems to come from Matsya Purana. It sounds a bit folklorish, or material, you get this Garhapatya Fire from your parents, and so it really physically is supposed to go back through generations. But we are doing the whole thing symbolicly. It is Fire by Friction, which is mantra, and so the name Suka or "parrot" would be appropriate in this sense--mantras passed along and repeated "like" a permanent household fire.

In Buddhist terms, with Kavyavahana, we would be trying to get a "face to face" encounter, with Father(s), i.e. mostly the male deities, with similarity to Siva ganas and so forth. It primarily has the nature of an axle or axis, along or within the Susumna, around which the wheel revolves, like a toroidal magnetic field.


A similar mantra is also used in a cow sacrifice, who is "the consort of the Year":

Om Agni Kavyavahana svishtakrit svadha



Svishtakrit oblation is also in Griha Sutras along with a similar:

Agnim kavyavahanam svishtakridartha yagati

Satpatha Brahmana says kavyavahana is "carrying what is meet for the wise" and couples him with:

Yama angirasvat pitrimat



They do have a sloka for river Arghyam or water offering which is more blatantly for Pitrs and has nothing to do with ancestors:

Agnishwatwa barhishadah kavyavahana charyama
Ajyapah pitharaswata arghyam twapicha somapah
Agnishwattadhi pitrubhyoh namah [idam arghyam samarpayami]


In other words, the class is "ranked" as if it were on par with Indra, Vishnu, etc., as used in Puskar or river ceremonies.


It is like they are Time Elementals.

Mostly in the influence of the Moon and Venus.

Devas are more influenced by the Sun.


The six seasons are:

Vasanta, ‘spring’; Grīṣma, ‘the hot season’; Varṣās , ‘the rainy season’ Śarad, ‘autumn’; Hemanta, ‘winter’; and Śiśira, ‘the cool season’; the seasons are not unfrequently personified, addressed in Mantras, and worshipped by libations)


Bhattacharya takes these, I believe, from Maitri's Samgraha:

Amitabha...summer

Akshobhya...winter

Vairocana...Hemanta

Amoghasiddhi...rainy

Ratnasambhava...spring

Vajrasattva...Autmn


So we have Buddhist Rtus. Therefor they must have Pitrs.


Names of the lord of Time:

Saṃkhyācakṣus (Having the number for his eyes)

Kalātmaka (one whose soul is the digit)



He is Agni, Yama, Kāla, Sambhūti and Prajāpati. He is source of origin of the sun. He is mentioned as Saṃvatsara by learned men.

The sun should be known as Parivatsara. He is the source of origin of the divisions of Kāla (Time)...

This sun, the son of Aditi, and the fire of time is Parivatsara.


Solar Fire is the Fire of Time.

Vayu--Wind is the Five Pranas and:

He exists through his seven times seven bodies (known as Maruts) that render help to others.

Sambhuti is Shiva--Rudra:


136-137. Bhava came out crying, through the mouth of Brahmā who was meditating. The great lord is mentioned (in the Vedas) of Ṛṣi (sage), Vipra (Brāhmaṇa), the soul of the living beings, the great grandfather, the lord of all living beings and the Praṇava (Om). It is through the penetration of the Ātman (soul) that the limbs and minor limbs of the living beings take shape.

138-139. Rudra who causes Unmāda (Madness) and (at the same time) blesses, is called Vatsara. Thus the sun, the moon, the fire, the wind and Rudra are all identifiers with Yuga (?). Lord Rudra who is the soul of Kāla is always the cause of annihilation. Lord Rudra entered this universe by means of his own brilliance.

14-0-141. Due to the contact with the soul that is the support, by means of the bodies and the appellations (he enters the universe). Therefore, through his own vitality he has the status of Deva, Pitṛ and Kāla and this status blesses the worlds. It is the greatest. So Rudra is always worshipped by those who are the knowers of that.


III,10 The Birth of Skandha should perhaps instead be called "The Pitrs". Here, the names are shifted into a sevenfold pattern matching the Sages. It describes what it is going to do backwards:

Four of them have forms and three of them are Amūrtis ( formless ones).


It goes into the formless ones first:


3. In those worlds named Santānakas the formless yet brilliant groups of Pitṛs abide. They are the sons of Prajāpati.

4. They are the sons of Viraja the Prajāpati. Hence they are well known as Vairājas. They are excellent Brāhmaṇas. These are the Pitṛs, O dear one, who increase the yogic power of the yogins.

5-6a. They perpetually develop the Yogic powers (of others) by means of their own Yogic power. Strengthened and developed by means of Śrāddhas, they develop the Soma (the moon god). Soma who is thus strengthened and developed strengthens and develops the worlds.

6b-8. The mental daughter of these is Menā by name.


She has progeny leading to:

17-19. Umā was the greatest (eldest) and the most excellent among them. She had an excellent complexion and was endowed with great yogic power- She approached (and dedicated herself) to Mahādeva. Uśanas the son of Bhṛgu became her adopted son.


It mentions the Vairajas and then has the whole "birth of Skanda" story, before going back to the other kinds of Pitrs. Although previously, Barhisad may have been "the four with form", now it appears individually, formless:



The worlds where Marīci’s sons live are called Somapadas. Skanda and others stay there and the Devas worship them.

53b-54. It is heard that the Pitṛs named Barhiṣads are Somapās (imbibers of the Soma juice).


Agnishvattas are still formless:

75. The worlds named “Virajas” are in the firmament The groups of Pitṛs remembered by the name ‘Agniṣvāttas’ live there. They have the lustre of the sun.

These sons of Pulaha, the Prajāpati, have been recounted.


Now we will get the Bhrgus and Angirases:


84. These three sets (of Pitṛs) have been recounted. Understand the remaining four. I shall describe the sets (of Pitṛs) having Prabhā (lustre) as their forms, O excellent Brāhmaṇa (?)

85. Those Kāvyas, the sons of Agni Kavi (?), are the Pitṛs born of Svadhā. They are the Pitṛs in the celestial worlds shining with the luminary bodies. They have great brilliance.

86. In holy rites causing the development and flourishing progress and fulfilment of all desires the Brāhmaṇas worship them. Their mental daughter is well known as Yogotpatti.

87. She was given in marriage to Śukra by Sanatkumāra. She became well renowned as Ekaśṛṅgā. She caused the increase in the fame and renown of the Bhṛgus.

88-89. Those worlds which have rays within are stationed in the heaven enveloping everything.

These are the sons of Aṅgiras formerly nurtured and developed by the Sādhyas. Those Pitṛs are declared as Upahūtas. They shine in the heaven; seven groups of Kṣatriyas who seek benefit, worship them.

90. Their mental daughter is well known by the name Yaśodā.

93-94. (?) The Pitṛs named Ājyapās are the sons born of Pulaha who was born of Kardama, the Prajāpati. They reside in those worlds which can go wherever one desires. They move about in the sky in various forms and shapes. The groups of Vaiśyas who seek benefit worship these Pitṛs in Śrāddha.

95. Their mental daughter is well known by the name Virajā.

96. The Pitṛs named Sukālas are the sons of the noble-souled Vasiṣṭha, son of Hiraṇyagarbha (Brahmā). The Śūdras worship them.

97. Those worlds where they stay in the heaven are Mānasa by name. Their mental daughter is Narmadā, the most excellent river.


Their importance is such that:


99. It is after accepting these that Manu the lord of the Manvantara initiates the Śrāddha rites everywhere.

100. He sponsors the rites of Śrāddha in the case of everyone in the order of the Pitṛs, O excellent Brāhmaṇas. Hence Śrāddha must be offered with faith in accordance with one’s own Dharma (religious duty).

101. In all cases (i.e. all castes and creeds) the Śrāddha (ablation) offered to the Manes in silver vessels or those set with silver propitiates the Pitṛs.

102-104. (?) In the Saumyāyana or Agrāyaṇa rites, (he who performs Śrāddha) shall obtain the fruit of Aśvamedha sacrifice.

If the scion of family propitiates the Pitṛs after the Āpyyāyana (pleasing or propitiating) rites of Soma (the moon), Agni and Vaivasvata (Yama), the Pitṛs (also in turn) delight him. There is no doubt that the Pitṛs bestow nourishment on him who desires nourishment and bestow progeny and heavenly pleasure on him who desires progeny.

The holy rite of the Pitṛs is more important than the rites pertaining to the gods.

105-107. (Partially defective text). It is laid down (in Sṃṛtis) that the propitiation of the Pitṛs should be carried out before that of the Devatàs (gods). The subtle procedure of the Yogas and the abode of the Pitṛs cannot be seen with the physical eye. It can be seen only by means of the power of penance (achieved by the Brāhmaṇas). Thus the following have been recounted here viz—the Pitṛs, their worlds, their daughters, their grandsons, the sponsors of the sacrifice and those who worship as well as those who are worshipped. Among them, four have forms and three are formless.

108. The Devas honour them and offer them Śrāddhas scrupulously and devoutly. All of them join tḥeir palms in reverence. All of them along with Indra worship them with their minds concentrated on them.


Uma--Raudri is a close scion of the Pitrs, so, Saumya seems appropriate for "the Vajraraudris" as Saumya Yana is synonymous for Pitrs' rites. Their culmination is the same as what Lakshmi Tantra says:



115-116a. Aiśvarya (prosperity and Mastery of everything) is laid down as Yoga. Aiśvarya is called Yoga. Without the asset of Yogic power, emancipation (from Saṃsāra) is impossible to be achieved.



A few ideas that Sraddha could go a little differently are within its definitions:


5) Śrāddha (श्राद्ध).—The offering given to Pitṛs. According to the Purāṇas Śrāddha is a very important ceremony. Here, "Pitṛs" does not mean "the souls of the dead". Pitṛs belong to a special class of gods.

once there was a thick haze of darkness in all worlds when Brahmā engaged himself in yoga and created the worlds, Santānaka and the first gods Vairājās; the formless groups of Gods attained absolution through yoga which is the strength of the Pitṛs; and through this yoga Soma increases in power

superior to deva worship; even gods propitiate the Pitṛs as also sages and other semi-divine beings; for yogaiśvarya or mokṣadharma;

Pitṛs eat in the guise of Vāyu



Sraddha is an important human quality, important enough to be layered twice in Thirty-seven Point Enlightenment, as if transformed by a fierce goddess:


Śraddhā also refers to one of the “five faculties” (pañcendriya) as well as one of the “five strengths” (pañcabala) as defined in the Dharma-saṃgraha (section 47-48), both forming part of the “thirty-seven things on the side of awakening” (bodhipākṣika-dharma).


The fierceness of her is somewhat akin to:


In Buddhism, however, faith in the sense of “pure faith” of Christianity is out of place. Shraddhā consists rather in the conviction that grows in students through their own direct experience with the teaching; blind faith in the words of the Buddha and the master goes against the spirit of Buddhism, and the Buddha himself warned his followers against it.

[shaberon]

Posted by Mike (here)
Dude are you actually writing all this stuff or is it copied n pasted from somewhere??

Well, a mix, but part of the intent is to combat copying.

What I mean by that is I can find a lot of this information that is "strictly" copying, however, I am finding it by asking questions. And so, for example, I have found quite a few things I am prepared to argue are incorrect, incomplete, or just misled.

The last post being an example--what is taken as a daily practice of funerary ancestor worship, most likely ought to be something else, just by a quick examination of the original text.

As to what that may be, one could freely examine the 400+ page Lakshmi Tantra; but if you see how such a scan just refuses to link or be searchable in normal terms, that is why I "copy" a lot of its main points in the posts before that.


The Purana is intended to give an explanation of what is found in the Vedas, and then the tantra is a Yoga practice. All I am really doing is showing where they hitch up like train cars.

And so part of the reason I do this is because I am completely positive that it does exactly what it says it does. There is so to speak a yogic transformation that will take anyone as-they-are into something else that is overwhelmingly powerful. Ultimately this becomes a "technique" that is discussed for example in Dakarnava Tantra, but, is considered extremely difficult for most people. Because I am familiar with how it works, I would say it is a horrible idea to just "copy" some of the materials that can be found online, but, there are ways to work into it.

From what I have learned, it mostly converges in a certain system historically characterized by Abhayakaragupta and Ratnakarasanti, ca. 11th century, which in turn is mostly preserved in the Sanskrit archives of Nepal. And this is an easy and fun language to pick up on.

Well, part of the system of Abhayakaragupta is the importance of Agni...and so if we go to the Purana known as having the most profound description of Agni followed by the Pitrs--Fathers, then we see Lakshmi Tantra is literally about this same thing. I am not sure what could be simpler. That actually is a type of yoga which I am sure is beneficial, but, if you go through modern Indian culture, it is almost completely absent, and instead they are doing something that I have no idea about.

[shaberon]

Pitris and Agni



It seems to me there can be great turmoil in subjects like the Vyuhas and the Pitrs. There is a tendency towards grandstanding such as whether Shiva or Vishnu is the most important deity and even which form of them. The Pitrs are also called important and venerated, although a large part of their mystical meaning has become very obscure in India. And in English, we probably have had a limited if not skewed rendition of them.

An early Theosophical description maybe gets close to expressing their nature as "Time":

The pitris “are called ‘Fathers’ because they are more particularly the actual progenitors of our lower principles; whereas the Dhyani-Chohans are actually, in one most important sense, our own selves. We were born from them; we were the monads, we were the atoms, the souls, projected, sent forth, emanated, by the Dhyanis.


In the view of Buddhism, Dhyani Buddhas are universally-apparent principles of the human being; there is not a person who does not consist of Vairocana and the rest; but because they are unlikely to be aware of this, he only has the nature of Ignorance and Form, which might be understood as Brahma or Indra, or an element, or a concept, or nothing at all. Although Theosophy is somewhat accurate in saying the Dhyanis "are like" the Hindu Trimurti, the Elohim, and other similar panels of deities from the religions, in Buddhism they are more a matter of experience and practice.

We could say that a conflux of Dhyanis, Pitrs, Maruts, etc., compose the human aura, and so these are inner kingdoms to which we are hugely in a karmic debt.


The difficulty with the presentation of Pitrs in Theosophy is probably the terms Solar and Lunar:


Kavyas (Sanskrit) Kavya-s, Kāvya-s [from kavi intelligent, wise] A class of pitris, the descendants of Kavi, closely connected with Sukra, regent of the planet Venus. Connected intimately with the manasaputras or solar pitris, monads of intrinsically spiritual-intellectual type or descent, as opposed to the barhishads or lunar pitris, the lower human ancestors. As the various descents of mind governed by cyclic law are connected with the manasaputras, we see the reason the kavyas are often represented as intimately connected with the whirling cycles of evolutionary time, and as presiding over these cycles.

Kavyavahana (Sanskrit) Kavyavāhana [from kavya a class of pitris + vāhana vehicle, carrier] The vehicle or carrier of the kavyas, the transmitter of kavya influence or power. It often stands for the intellectual fire or vitality of the solar pitris. In Hinduism this conception becomes the sacrificial fire which receives and translates offerings to the pitris. In the Puranas, pavaka (electric fire) is made parent to kavyavahana, but it is not the coarse electric substance of prithivi (the physical world), but the electric vivifying vitality of mind or intelligence.


I think she mostly used Vishnu Purana. So far in the Brahmanda, it is Pavamana, Fire by Friction, that is the parent of Kavyavahana. Vishnu Purana indeed only has the most basic division, and relies extensively on the Vayu and other Puranas if you are seeking more detail.


This is of course a legitimate name for a class of Pitrs:

1) Barhiṣad (बर्हिषद्):—[=barhi-ṣad] [from barhi > barha] mfn. seated or placed on the sacrificial grass, [Ṛg-veda; Taittirīya-saṃhitā]


And there is such a basic twofold division of Pitrs in The Real Nature of Time, Chapter II.13


6-7a. They are remembered by the name Agniṣvāttas and Barhiṣads.

The Pitṛs are of various kinds viz.: Agniṣvāttas and Barhiṣads.

Those of theṃ who were householders, who did not perform Yajñas are remembered as the Pitṛs of the group Agniṣvāttas. They were not Āhitāgnis (those who regularly maintained sacrificial fires).

7b-9. Those of them who performed Yajñas are the Pitṛs (known as) Somapīṭhins. Those who performed Agnihotras are remembered as the Pitṛs called Barhiṣads. In this sacred lore, it has been decisively mentioned that the Ṛtus (seasons) are the Pitṛs and the Devas.


Broadly speaking, they had two kinds of karma or roles, throughout all the Manvantaras. Section II is mostly about the first or Swayambhu Manvantara, and the general shape of progression into the current Manvantara; whereas Section III compresses this, and then goes into more detail about the current, Vaivasvata Manvantara. Again, these are close correspondences to the Prasuti and Prakriti sheaths of Lakshmi Tantra. The Purana is describing it, the tantra is trying to make you experience it all at once.

Shortly after Section Three begins, we find III,9 Propitiation of Pitrs, closely tied to someone who would seem to make this a very eminent subject:



1. Bhavānī had been Satī in the previous birth as the daughter of Dakṣa. How was she born for the second time as Umā?

2. The king of the mountains begot her of Menā, the daughter of the Pitṛs. Who are these Pitṛs of whom Menā became the mental daughter?

3-4. Who are those beings called Pitṛs whose grandson was Maināka and whose granddaughters were Umā, Ekaparṇā, Ekapāṭalā and Gaṅgā the most excellent one among the rivers? Who was the eldest of all the daughters of Himālaya? All this has been desired to be pointed out by you. Narrate it to us.

5-7. Good fortune to you. I wish to hear the excellent injunction regarding Śrāddha. Who are laid down in Smṛtis as their sons and how are they Pitṛs (manes). How were they born? What were their names? Of what nature are they? Are these Pitṛs who are deities unto the Devas, in heaven? Thus I wish to understand the excellent creation of the Pitṛs and how the Śrāddha performed by us propitiates the Pitṛs.

The Pitṛs, the sons of the Devas are born in (all) the Manvantaras.


The middle of the chapter is saying that, as mental sons of Brahma, the Devas may have been more like "fathers", or, "first", but, overall, they worshipped their own intrinsic powers, rather than contemplating Transcendance. The Pitrs, however, became masters of Yoga. And so in due course, the Devas bowed down to the Pitrs, and then the sons become Fathers, in the yogic or spiritual sense.


The chapter concludes by focusing the Three Formless Pitrs in such a way that almost says--these are a bit more Lunar than perhaps the old translation told us:



55. Among them, it is mentioned that there are seven groups honoured and respected by the three worlds. Three of them are formless (Amūrtis) and four of them are (Samūrtis) embodied ones.

56. The three sets (Bhāvamūrtis) who have conceptual forms (i.e. formless ones) are above. Beneath them are the four sets of subtle forms (Sūkṣmamūrtis).

62-64. The Amūrtis (formless ones) attain liberation after regaining their Yogic power. After discarding Vyaktāvyakta (the manifest and the unmanifest), due to their great Yogic power, they disappear like the meteor in the sky (or) like the flash of lightning in a trice. After casting off the multitudes of the bodies through their Yogic power, they attain the state of being worthy of being worshipped and that of namelessness just as the rivers that get submerged in the ocean. By means of holy rites and worship of the preceptors, they strenuously perform Yogic exercises.

65. Propitiated in the Śrāddha, the Pitṛs adopt their yogic power and through that yogic power develop and strengthen the Soma whereby the three worlds sustain their lives.

66. Hence Śrāddhas should be offered with great effort (for the acquisition) of the yogic power. Indeed Yoga is the source of the strength of the Pitṛs. Soma (the moon) functions through the Yogic power.

75-76. Thus this first set of Pitṛs of unmeasured vigour has been recounted. This set remains forever, sanctifying all the worlds.


The next chapter is given as a fuller explanation of Pitrs. It is titled for Mars--Skanda, who, occultly, is the Son of Earth; and his issuance is wrapped in the three classes of Formless Pitrs, which are the Vairajas, Barhisads, and Agniswattas.


So in terms of Brahmanda Purana at least, it does not seem accurate to use the customary English translations that "Barhisad = Moon = Form". Although they do appear as a basic two-fold division, II.13 does not really say these are the three and four groups of form and formless, it only says there are two kinds who have different karma. The main subject here is really the Year, like a full circle and its divisions and transitions. It seems that it is the chapter with Mars that is meant as the current condition of Pitrs; and this says that the four kinds who have Prabha as their form, which is a subtle or Suksma form, are:

Kavyas, Angirases or Sadhyas, Ajyapas or Khecaras, Sukalas or Manasas.





In a symbolic sense, it is integral to Horse Head rite:


In the Saumyāyana or Agrāyaṇa rites, (he who performs Śrāddha) shall obtain the fruit of Aśvamedha sacrifice.


In III.65, Saumya is Mercury--Budha, Son of the Moon--Soma. So this chapter is a simple combination of the genesis Soma and Saumya.

Compare the origin of Sita in the lineage of Nimi:

The site of the sacrificial fire in the horse-sacrifice of the noble-souled king was being ploughed energetically in accordance with the injunction. She rose up from it.



A large part of the purpose of Pitrs is similar to what Buddhism calls Vasita and makes part of the Bodhisattva Path along with the Paramitas:


115-116a. Aiśvarya (prosperity and Mastery of everything) is laid down as Yoga. Aiśvarya is called Yoga. Without the asset of Yogic power, emancipation (from Saṃsāra) is impossible to be achieved.







One of Mena's sons, Uma's brother, is an interesting character:

There is a story in Brahmāṇḍa Purāṇa that the sāgara (ocean) was constructed by the sixty thousand sons of the King Sagara of Ikṣvāku family. This sāgara once gave refuge to Maināka and brought it up. There is a reason for that:—In the early yugas mountains had wings and they used to fly and drop to the ground as they liked. People used to live in fright always and at the request of the people Indra made the mountains stand in a row and cut off their wings. At that time the god Vāyu (wind) took away his friend Maināka and put him in the ocean. From that day onwards Maināka and the ocean developed an intimacy which even death could not wipe off. Hanūmān was the son of Vāyu, the friend and saviour of Maināka. It was because of that that Maināka gave refuge for Hanūmān on his way to Laṅkā. Because the ocean gave refuge to Maināka after its escape from the sword of Indra and because the ocean (Sāgara) was the creation of the sons of Sagara, a King of the Ikṣvāku race, Maināka felt indebted to Sagara and the entire race to which he belonged. Maināka thus had great respect for Śrī Rāma who belonged to the Ikṣvāku race. This was also responsible for Maināka giving relief to Hanūmān on his way to Laṅkā.



The unclear point about Agni in Vayu and Brahmanda Puranas is the son of Pavamana who is Kavyavahan, i. e. participates in offerings to Pitrs, whose personal name was spelled Suka or Sukra.

1) Śuka (शुक) (lit. “the bright one”) refers to the Parrot

1b) A son of Gārhapatya agni.*

* Brahmāṇḍa-purāṇa II. 12. 12.


Garhapatya is Pavamana or Fire by Friction, placed as the permanent central household fire.



Suka is not Kavya in III.10, but, he is the son of Fire by Friction:



75. The worlds named “Virajas” are in the firmament The groups of Pitṛs remembered by the name ‘Agniṣvāttas’ live there. They have the lustre of the sun.

76. Groups of Dānayas, Yakṣas, Rākṣasas, Gandharvas, Kinnaras, Bhūtas, serpents and Piśācas who seek benefit worship them.

77. These sons of Pulaha, the Prajāpati, have been recounted. Their mental daughter is well known by the name Pīvarī.

78-82. She was a Yoginī (lady of Yogic power). She was the wife of a Yogin and the mother of a Yogin.

In the twenty-eighth Dvāpara Yuga, the glorious great Yogin, Vyāsa will be born. O excellent Brāhmaṇa the yogic cult (power) (will flourish) in him. A sage of great power of penance named Śuka will be born of Vyāsa in the Araṇī, (the wood used for the production of fire by means of attrition), like the smokeless fire. He will be born in the family of Parāśara. That holy lord will beget five sons of Pīvarī, the daughter of the Pitṛs. The sons will be renowned and fully equipped with the Yogic practice. The five sons are Kṛṣṇa, Gaura, Prabhu, Śambhu and Bhūriśruta. He will beget a daughter too (named) Kīrtimatī. She will be a yoginī and the mother of Brahmadatta.

83. He will become a great sage who can go everywhere. He will be a liberated one adopting the Apunarmārga (the pathway from which no one returns i.e. mokṣa) endowed with the rays of the sun.


he is not Kavya in III.8:

92. The holy lord Kṛṣṇadvaipāyana was born of Kālī, by (her union) with Parāśara. From Dvaipāyana, Śuka, equipped with all good qualities was born of the Araṇī (the holy wooden stick used to produce fire by attrition).

93-96. The following six were born of Pīvarī as the children of Śuka viz.—Bhūriśravas, Prabhu, Śambhu, Kṛṣṇa and Gaura the fifth (i.e. all the five were sons. The sixth was a daughter). A daughter was also born viz.—Kīrtimatī. She was the mother of yogic power. She maintained all the holy rites. She was the wife of Anuha and mother of Brahmadatta.



In III. 10, Kavya is a separate line from Suka:


85. Those Kāvyas, the sons of Agni Kavi (?), are the Pitṛs born of Svadhā. They are the Pitṛs in the celestial worlds shining with the luminary bodies. They have great brilliance.

86. In holy rites causing the development and flourishing progress and fulfilment of all desires the Brāhmaṇas worship them. Their mental daughter is well known as Yogotpatti.

87. She was given in marriage to Śukra by Sanatkumāra. She became well renowned as Ekaśṛṅgā. She caused the increase in the fame and renown of the Bhṛgus.


2) Ekaśṛṅgā (एकशृङ्गा).—The queen of Śukra, formerly yogotpatti, the pitṛ kanyā.*

* Brahmāṇḍa-purāṇa III. 10. 86-87.

Ekaśṛṅga (एकशृङ्ग).—a. having only one horn. (-ṅgaḥ) 1 a unicorn; rhinoceros.



In III.1, Sukra has a different wife, in the scene related to Varuna:

77. The mental daughter of the Manes named Somapās (imbibers of the Soma juice) was well-known by the name of Gau. She became the wife of Śukra and gave birth to his four sons.

78. They were Tvaṣṭṛ...


There we can be pretty sure it is Tvastr of Caksusa Manvantara.

Currently, the term Kavya is part of Sukra, lineage of Bhrgu, whereas Fire by Friction, or Pavamana, is clearly the father of Suka, lineage of Vyasa. Vyasa in turn is the lineage of Vasistha, and:

When Vyāsa began penance, the celestial maids also commenced their work of hindering the penance. It was Ghṛtācī who confronted Vyāsa. She took the form of a parrot of five colours and flew in front of Vyāsa. The hermit was excited at the beauty of Ghṛtācī and sat forgetting himself. As he sat there thinking of the infatuating beauty of the parrot, seminal discharge occurred to him. He became a slave to this infatuation, when he was engaged in making fire by attrition. In this amorous state of mind he was quite unaware of the seminal discharge or its falling on the pieces of wood used for attrition. He continued attrition. Then a very bright, divine person appeared from the pieces of wood. At the birth of a person, without attachment to a womb, all the worlds were delighted. The hide of black antelope, water pot, hermit’s rod etc. fell from the sky. Birth rituals and ceremonies, according to the custom, were conducted by Vyāsa. As he was born from the semen discharged at the sight of the Śuka (parrot) the infant was named Śuka. As soon as he was born Śuka began to grow by divine power and shortly became a boy of shining radiance. After investiture with the Brahma-string, the boy was sent for education to the hermitage of Bṛhaspati, the teacher of the devas. Śuka completed his education with Bṛhaspati and having performed Samāvarta and offering of gift to the teacher, he returned home to his father.


Suka eventually meditates on Shiva and becomes a second Sun:

The devas who saw Śuka rising up by breaking the peak of Kailāsa and staying up in the sky, praised him.


Suka merits at least four chapters in Devi Bhagavata:

At that time Vyāsa Deva began to look with one steady gaze the blissful form of his son as a second Gārhapatya Fire...


He provokes a serious argument:

When I studied first, the Veda in detail, it struck me that the Vedas dealt with the Śāstra of Karma mārga (the way of action); and it is all full of Himsā (injury to others). Then I took Brihaspati as my Guru to shew me the way to true wisdom; but soon I found that he, too, was attacked with the dreadful disease Avidyā (ignorance) and plunged in the terrible ocean of world, full of Māyā. So it became quite clear to my mind, how could he save me?


which gets a twist towards resolution:

Then Śūka Deva bowed down mentally to the Devī, Mahā Māyā, who is the Creatrix of Brahmā and the other Devas and who is the Controller of them all...

Vyasa says:

If you do not get peace by my words then go, at my word to Mithilā, the city of the King Janaka.


Suka says:

Is the liberation of Janaka according to Buddhistic doctrines or like the opinions of the materialistic Cārvākas! O highly intelligent one! How can the royal sage Janaka, in spite of his being a householder, quit the usages of his senses?


He is against being Grihapati or Householder, and it takes all this to convince him. Suka eventually merges in Paramatman, and becomes the meditative object of Vyasa.


That would seem to make it impossible for him to continue to function as Kavyavahana. He became Jivanmukta or attained ultimate liberation in terms of the Aryan doctrine of Moksa. He can no longer possibly incarnate as any kind of offspring fire that carries offerings. He has repeated "the son becomes the Father".

Similar story in Yoga Vasistha.

For practical purposes, the way to noumenally insure use of Kavyavahana is by mantras ending in Svadha.

Devi Bhagavatam IX.54 has mantras directly to/of Svadha Devi.



There are examples of multiple groups of Pitrs being invoked together:


Baudhāyana (2.8.7).—‘To these he shall offer water mixed with sesamum, adorn them with sandal-paint and garlands; and having obtained their permission to ‘offer in the fire,’ he shall kindle the fire and spreading kuśa-grass, pour into it three oblations of butter to Soma-Pitṛpīta, Yama-Aṅgirasvan and Agni-Kavyavāhana.’




Satpatha Brahmana:


7. Now those (fathers) who have sacrificed with Soma are the Pitaraḥ Somavantaḥ; and those who gain the world (of the gods) by means of cooked (sacrificial food) offered by them are the Pitaro Barhiṣadaḥ; and they who (have offered) neither the one nor the other, and whom Agni consumes by burning, they are the Pitaro ’gnishvāttāḥ. These, then, are the fathers.

Pitri Puja shows a few variational mantras as well, similar to the previous.




Soma in relation to other deities:

The Gods were originally mortal. For immortality was bestowed on them by Savita or by Agni. They are also said to have obtained it by drinking Soma, which is called the principle of immortality.

Tvashtri is closely associated with Soma. Tvashtri is especially a guardian of Soma, which is called ‘the mead of Tvashtri’.

Terrestrial Soma is compared to the milk of Aditi and milk only can be meant by the daughter of Aditi who yields to Soma as he flows to the vat.

Soma is occasionally called a treasure or the wealth of the Gods.




Vedas and Upanishads has a fair amount about traditional Pitris' offerings and also says:


The giving to a cow is of interest as it is also provided
as a substitute for the offering of a cow at the appropriate Astaka that a cow
should be given food to eat. It is difficult not to feel that this is a case of a
very simple desire to save the life of the cow, and of the parallel desire to
secure the favour of the cow.



By way of a reverse riddle, it is possible that Pavamana's other son, Samsya, could be Kavyavahana. Although he is actually named Havyavahana, this actual role is performed in a Deva Fire that is part of Solar Fire (Time).

In largely the same vein as that Chandogya Upanishad is arguably a technical ritual sacrifice manual, wherein everything is really symbolic for some kind of inner yoga, it most strongly appears that Samsya is a type of prodigal Agni produced in the body and aura by re-alignment. The Purana states that Samsya divides himself and has sixteen "Nadi wives", i. e. "Rivers" in the text, but, somewhat transparently, a yogic symbol for subtle nerves.

The translator does not get why some of the divisions of Samsya are affected by the Pleiades. That is answerable in the other stories where they were disguises/mayas to take Agni's seed. Here it says:


The Dhiṣṇīs (abodes i.e. fire-places) were caused to move by vehicles (Kṛttikas) (?) and the sons were born in those Dhiṣṇīs. Hence those sons are called “Dhiṣṇis”. Thus these sons of the rivers were born in the Dhiṣṇis and they are glorified as Dhiṣṇis.


Dhiṣṇya (धिष्ण्य) refers to a “realm” or “kingdom” (viz., of King Indra)

A name of Agni, the deity of fire. 2. A name of Sukra, regent of Venus.


These are still used as components or locations of the ritual. Symbolicly, they are important for Soma:

Dhiṣṇis (already deposited fires) are serially laid down in their proper places in a Savana (Soma sacrifice) on the day when the Soma-juice is extracted.


The Soma Mandala of the Rigveda (IX with 114 hymns) is completely dedicated to Soma Pavamana, and is focused on a moment in the ritual when the soma is pressed, strained, mixed with water and milk, and poured into containers.

Abhisavana or Soma-pressing.



From the Buddhist view, part of our intent is in explaining Samvarodaya Tantra. Varuni is Soma-drinking and in her, resides Vairocani--and to explain her mostly required Brahmanda Purana. She is the Shakti of Tvastr. And so you have a sort of minor goddess who emerged from the Ocean of Milk and is the drinking of any Soma, and then one who is more or less the Lady of the House where the supreme Divine Soma is stored, like a Nidhi. These--Like Agni and Lakshmi--are sort of like Kriya deities, more accessible than Vajravarahi and others of her kind.

If being a Soma goddess, Varuni does not work without the "pressing" or "extraction" alluded to by the Dhisnis and so forth.



Kavyavāhana is said to be the son of Pavamāna.

11. Pavamāna, the son of Atharvan, is remembered by the wise as one that should be generated by churning. It should be known as Gārhapatya fire. His two sons are remembered as follows:

12. They are Śaṃsya and Śuka. Śaṃsya is Āhavanīya fire who is remembered as Havyavāhana. The second son is Śuka
and he is said to be the fire that is gathered and carried.

Śaṃsya, the Havyavāhana, loved sixteen rivers.

14-18. The fire Śaṃsya who is remembered as Āhavanīya fire as well as one who is identified with fire (Abhimānin, one who takes pride) by the Brāhmaṇas loved these sixteen rivers.


Samsya does not exist in the form of the Ahavaniya fire; he deposits himself as portions into the Dhisnis, which do exist/are represented as minor mounds situated near various priests.


In the splitting of Samsya, the fixed positions or Upastheya includes Ahavaniya and Grihapati fires.

From the first definition:


Samrādasi Kṛuśānū, positioned at the secondary altar in the north. This is the Āhavanīyā Agni.


This is a combination, where the Purana says:

Brāhmaṇas worship the eight fires beginning with Samrāḍagni. They are Samrāḍagni etc. The second one is Kṛśānu and it is inside the Altar.

The second definition is a form of Pavamana, Pariṣadyosi Pavamāna, but in the Purana:

The third one is Pariṣatpavamāna (Assembly Pavamana).

The seventh and eighth definitions are:

Ajosyekapāt, positioned at the sukhaśāla. This is the Gārhapatya.
Ahirasi budhniya, positioned with the Yajamāni.

The seventh and eighth in the Purana are:

Ajaikapāt that is an Upastheya is also Śālāsukhīyaka. Ahirbudhnya is an Anuddeśya fire. That fire is remembered as Gṛhapati.


And those are shared or cycled names:


Ahirbudhnya (अहिर्बुध्न्य).—One of the sons of Viśvakarmā. Five sons and one daughter were born to Viśvakarmā of his wife Surabhī. They were Ajaikapāt, Ahirbudhnya, Tvaṣṭā, Rudra, Barhiṣmatī and Saṃjñā.


1) ‘Ahirbudhnya’ is one who, in the form of an ‘ahi’ or serpent, is the ‘budhna’ or foundation of the world. So, literally it refers to Śeśa or Ananta, the thousand-hooded Serpent, on whose head the whole world is said to be supported, according to some of the purāṇas.

2) Ahirbudhnya is also mentioned as one of the names of Śiva who, according to the Vaiṣṇava scriptures, is a great devotee of Viṣṇu. In the Ahirbudhnya Saṃhitā work he is identified with Śiva. ‘Saṃhitā’ is a general name given to any systematically arranged text.


2) Ajaikapāt (अजैकपात्).—Among the sons of Viśvakarmā, we find one Ajaikapāt. Brahmā created Viśvakarmā. Viśvakarmā had four sons—Ajaikapāt, Ahirbudhnya, Tvaṣṭā and Rudra. (Viṣṇu Purāṇa, Part I, Chapter 15).



We skipped them, but, the middle group of Samsya's fixed fires is perhaps three degrees of Agni in the same place, Nabhas being the Navel.

Talka (तल्क).—A forest.

23. Another fire is Pratalka, (otherwise) named Nabhas.

24. (Thereafter is the fire) Ṛtudhāman that is glorified as Sujyoti and Audumbarya Viśvavyacas is the ocean fire[13]? and is glorified in the abode of Brahmā. [Vayu Purana says it is in the Udumbara Wood]

25-26. (The fire) Vasurdhāman that is Brahmajyoti is mentioned in the abode of Brahmā.

[13]:

In Vā.P.29.22 viśvasyāyasamudra seems to be the name of the fire.

brahmasthāna (ब्रह्मस्थान).—n S (Place of the production of brahma- dēva) A term for the navel.

He divided himself into sixteen Dhāmans (abodes)--so, there is the Navel, the Abode of Rtus (Devas and Pitrs), and, the Abode of Vasus.




The second set of Samsya's divisions, Viharaniya, is mobile.

At first, it includes Havyavahana, fire used by the Hotr priest.

Then Pracetas, which could mean Daksa or Varuna.

E. pra best, first, cetas the heart.

Vayu Purana adds the names Santi and Satya, and son of Pautra.


Next, also called Chamsi or Samsi:

Vaiśvadeva.—(EI 10, 14, 23; CII 3, 4), offerings to gods; one of the five mahāyajñas; sometimes called vaiśvānara

Vā.P.28a—brahma-sthāne sa ucyate.

“is spoken of as being in the abode of Brahmā”.




and then one perhaps in the line of Kavya:

The fire Uśik that is Kavi is conceived as Pota fire. It is also conceived as Āvāri fire, Vābhāri and Vaiṣṭhīya. [Ushira or Usira in Vayu Purana, son of Nesthiya]

one that is solar:

31. The fire Avasphūrja is also called Vivasvān and Āsthān.

Vayu Purana has Avaksa, son of Acchavaka, at the position of Bhu--Earth.


The final one recapitulates the intent:

The eighth one which is fire Sudhyu is also called Mārjālīya.

32. Those Dhiṣṇyas, the Viharaṇīyas, are being worshipped on the Sautya day (that is the day on which Soma juice is extracted) by the Brāhmaṇas. It (i.e. Sudhyu) is remembered as the source of origin of the waters. Indeed it is conceived in waters.

Vayu Purana has Vyaratti, son of Marjali.

This term is more modernly spelled Sutya and the type of fire is:

Mārjāli (ಮಾರ್ಜಾಲಿ):—[noun] a female cat

3) One who cleanses his body (kāyaśodhana).

Mārjālīya (मार्जालीय).—[adjective] fond of washing ([Epithet] of Śiva); [masculine] (scil. dhiṣṇya) a heap of earth to the right of the Vedi ([ritual or religion])

2) [v.s. ...] m. ([scilicet] dhiṣṇya) a heap of earth to the right of the Vedi 09 which the sacrificial vessels are cleansed,


You can only find six mobile Dhisnis where it says eight. Vayu Purana has six, Matsya Purana has four.



On the one hand, Dhisnis have everything to do with Soma.

The next implication that Pitrs Fire--Kavyavahana is "within" Samsya is that the following Asura Fire--Pavaka and Solar Fire--Suci are brief and straightforward.


Sudhyu or Sutya is the origin of waters.

In the beginning of the genealogy, Vaisvanara carried Havya for a hundred years, and then there is a transition to Atharvan and Puskara. And this Puskara is also a hiding-place of Indra. And it is in this condition that "electric" fire--lightning is Watery Fire or born of water. Vaisvanara--Havyavahan perhaps becomes a "future, reconstructed" Samsya, since he has these synonyms and parts.

The beginning clearly distinguished the actual Fire of the Asuras, Saharaksa, which is here more or less within the fact that the electric impulse of the heart somehow also produces a sub-oceanic digestive fire:


33. The fire by name Pāvaka that is born of waters and that is called Abgarbha (Having the waters as the womb) should be known as the fire at the Avabhṛtha (the holy ablution at the end of a sacrifice). It is worshipped along with Varuṇa.

34. Hṛcchaya (Abiding within the heart) is the fire that is his (Pāvaka’s) son. It is the fire that digests (food-stuffs) in the stomach of men. Mṛtyumān is remembered as the scholarly son of the Jaṭhara-fire (Gastric fire).

35-36. That fire born mutually may burn all the living beings here. The terrible Saṃvartaka fire is remembered as the son of the fire Manyumān (? Mṛtyumān). It drinks water and lives in the ocean and has the face of a mare (Vaḍavānala). Saharakṣa is conceived as the son of Samudravāsin (residing within the ocean).

37. Kṣāma, the son of Saharakṣa, burns the houses of men. His son is the fire Kravyād and it consumes dead persons.



2) [=saha-rakṣa] [from saha] b ([Viṣṇu-purāṇa]) (saha- Ts) m. one of the three kinds of sacrificial fire (that which receives the offering to the Rākṣasas; the latter also, ‘a forest fire’,

Vayu Purana says that Dhisnis are portable by Saumya "and another", and "out of them, that which is called Pavaka is the foetus of waters".

It is the third, Daksinagni, right hand, or southern fire.

However, it mostly sounds like the embodiment of primordial Agni mind-spawned by Brahma. Pavaka's first son:


Hṛcchaya (हृच्छय).—m.

(-yaḥ) Kamadeva. E. hṛt the heart, and śaya who sleeps.

2) love;

3) soul, conscience


Samvartaka is well-known:

1b) Also Aurva and Vaḍavāmukha;1 the fire that consumes waters; the pralaya fire;2

1) Brahmāṇḍa-purāṇa II. 7. 9; 12. 35-6; 22. 43; 25. 45, 55.
2) Ib. IV. 1. 152; 2. 50. Vāyu-purāṇa 6. 29; 54. 57

3) Sub-marine fire.

4) Name of Balarāma.

-kam The plough of Balarāma.


and he in turn is the major basis for the tantric practice that ends ones' mental time:

Saṃvartāmaṇḍala (संवर्तामण्डल) refers to the “Circle of the Fire of the Aeons” identified with Candradvīpa (the island of the moon), according to the Tantric texts such as the Kubjikāmata-tantra, the earliest popular and most authoritative Tantra of the Kubjikā cult.—Saṃvarta (more commonly in these sources the feminine—saṃvartā) is the fire that burns within the Cosmic Ocean in which the universe floats and imparts to it the energy that sustains it. [...] Thus, the energy in the centre of the Circle of the Fire of the Aeons (saṃvartāmaṇḍala), the main maṇḍala of the Kubjikā Tantras, is said to consume the Ocean of Kula.




The beginning tells us:

Havyavāha was the son of Śuci.

Havyavāha is the fire of the Devas


According to Vayu Purana, Suci, "son of the Sun", was kindled by Gandharvas and Asuras by churning Arani wood. His son is Ayus, "in the animal".


Then Mahiman or Mahisa (Buffalo, vehicle of Yama).

Then Sahasa, or, Savana in the Vayu, which could have other meanings, but, as we saw:

Savana (सवन) refers to the “oblation of Soma”, which is to be recited with a soft (mandra) voice

Savana (सवन).—[su-sū vā-lyuṭ]

1) Extracting the Soma juice or drinking it.


In both texts he takes the sacrifice from Paka or "cooking":

Pāka (पाक, “ripening”).—Annaṃbhaṭṭa says that pāka means conjunction with fire or heat. By this conjunction, colour etc. are changed and new colour etc. are produced.

Pāka (पाक) refers to “digestion”, according to Śitikaṇṭha’s Mahānayaprakāśa.—If (consciousness) abides in the Point (bindu) one can drink the nectar of the Moon located above. It is the light of the Abode of the Moon. Achieve repose by the unfolding of the microcosm (aṇḍa-vikāsa). This is the unique and special (quality) of the light of the Abode of the Sun. The digestion (of multiplicity) is the power of the gastric fire of the navel because, even though (this) Fire pervades the entire body, the Violent digestion (haṭha-pāka) of diversity takes place in the belly.

Pāka (पाक) refers to “combustion”.—In contrasting tranquility (śānti) with haṭhapāka, the commentator, Jayaratha, describes tranquility as a “process of pleasant combustion” (madhura-pāka-krama). When the Guru has been propitiated, the “tranquil” methods of initiation (dīkṣāsādhana) and devotion to a religious practice (anuṣṭhāniṣṭhatā) will bring about transcendence (atyaya) at the time of death. However, haṭhapāka is a sudden and violent process that burns up all things (bhāva) in the fire of intelligence. It destroys duality and is likened by Abhinavagupta to the enjoyment (rasa) of devouring enough (alaṅgrāsa).

Pakayajna is generally a food sacrifice such as a Bali Offering.


sāvana (सावन).—a S Solar;--used of time; or natural; as sāvana dina A natural day.

1d) Is Sūrya.*

* Brahmāṇḍa-purāṇa II. 24. 76.

II.24 has another descent of Agni and says:

The root ^Su ^Savana is considered in this connection in the sense of Syandana (flowing).The sun is considered Savitṛ because it causes the exudation of waters and sparkling splendours.


His son was Adbhuta; his son was Vividhi "manifold" or Vivici, the deity of expiation or:


Prāyaścitta (प्रायश्चित्त) refers to “expiation” (viz., of sins or pātaka).—Most digest and commentaries derive the word prāyaścitta relying on a verse attributed to Aṅgiras , from prāya meaning “tapas” and citta meaning “resolve” or “firm belief”. The idea being that prāyaścittas are so called because of their association with or emergence from a resolve to undergo tapas or because of the firm belief that it will be a means of the removal of sin.


His son was Arkka or Arka (sun or rays), who has nine sons in Brahmanda Purana; six in Vayu. According to the Vayu, the last one, Rukavan, abibdes in gold, jewels, and other shiny materials. Arka may be the sun:

Brahmā, the creative agent with the sun and moon [i.e., arka-śaśin] for his eyes

also distillation, essence, or life-force.

But it is closely related to the same root as "worship or worshippable":


Arka (अर्क).—a. [arc-ghañ-kutvam Uṇ.3.4.]. Fit to be worshipped (arcanīya).

Arcā (अर्चा) refers to the fifth of the five-fold manifestation of the Supreme Consciousness the Pāñcarātrins believe in.—Arcā means a worshippable image (also, the worship). For the followers of the Pāñcarātra, arcā is not an inanimate piece of stone. They treat it as a living and sentient being, since life energy (prāṇa) has been infused into it through the ceremony of Prāṇapratiṣṭhā.

Arcana (अर्चन).—The procedures followed for worshiping the arcā-vigraha, the Deity in the temple; engaging all the senses in the service of the Lord.



After this, there is a sense that Havyavahan as perhaps loosely attached to Samsya is more of a generic term:

Formerly in the world, these Havyavāhanas (fires) were those that identified themselves with the abodes called Viharaṇīyas, both sentient and insentient.

The characteristics of Jātavedas (fires) in the Manvantaras of the past and future are enumerated through them.


Solar fire is also a kind of watery fire in that Suci is:

1j) The fire with the sun; has 1000 nāḍis taking water from rivers, mountains and pools; of these 400 pour out rain, 300 dew, 300 heat—all for the benefit of man and gods.*

* Brahmāṇḍa-purāṇa II. 24. 11, 24, 33; Vāyu-purāṇa 53, 7, 17, 20-21; 62. 188.


Suci is identical to:

It is called Āyus by the Gandharvas.

39. This fire generates other fires on being churned in the Araṇi; this fire is taken from one place to another; this lord is known by the name Āyus.


Vayu Purana does not specifically say whether Ayus is identical to, or is the son of, Suci.

Ayus generates other fires, is taken from place to place, and is consecrated in the animal. Part of its definition is quite similar to Jiva:


4) [v.s. ...] the totality of living beings [food, [Sāyaṇa]] [Ṛg-veda ii, 38, 5 and vii, 90, 6]


Here, the Brahmanda genealogy is:

Śuci or Āyus

and there is a possible Mahisa--fire in:

1c) A mountain of Kuśadvīpa (Śālmalidvīpam br., vā., and Viṣṇu-purāṇa); here lives a fire called Mahiṣa, and born of waters.*

* Brahmāṇḍa-purāṇa II. 19. 40-41. Matsya-purāṇa 122. 59-60; Vāyu-purāṇa 49. 37. Viṣṇu-purāṇa II. 4. 27.
1d) The name of a water-born fire in the Mahiṣa hill of the Śālmalidvīpa.*

* Brahmāṇḍa-purāṇa II. 19. 41; Vāyu-purāṇa 49. 37.


Śālmalīdvīpa (शाल्मलीद्वीप).—One of the seven continents (dvīpa) of Bhūrloka (earth).—In the Śālmalīdvīpa, there is a big Śālmalī tree, worshipped by the people. The Śālmalidvīpa is encircled by an ocean (samudra) of wine.

It is said to be surrounded by the ocean of Surā.




II.24 is mainly about the Sun as the source of the cosmos, along with branchings of Agni. His primeval-ness is summarized by the translator:

Agni (the fire god) was regarded as a very great deity by the Vedic Aryans and different names according to its functions were given to it in the ṚV. The Purāṇas amplified the tradition. The fire is given the credit of movements of the Sun which is regarded as the source of all the planets—nay even of the three worlds. It is the fire who through the different Nāḍis or rays of the sun evaporates water and causes seasons—the summer, the rainy season and the winter.


So it goes into the basis of Astrology. And here we find that the Abodes (Dhamans or Sthanins), for deities such as Indra, the Moon, etc., can be inhabited by different deities, which in turn may be called "planets". They have unusual modes of birth, and we will see two which are still spawned by Sages, Venus and Jupiter, of which, Venus is considered the first and most important planet after the Sun. Figuring out the planets has to do with weathering whatever karmic storm you may be in:


These stars and planets beginning with Bhārgava (the Venus) should be comprehended because they become devoid of goodness at the time when the constellation of nativity is being harassed. They are affected by that defect (and are redeemed), due to the devotion to the planets.


As a synonym for Laukika Agni:


The fire that is sanctifying in this world is called the Pārthiva (Terrestrial fire).


The three main fires sound slightly changed:

11. That which blazes in the sun is remembered as Śuci (pure). Abja (born of water) should be known as Vaidyut (Lightning etc.) I shall recount their characteristics.

12. The fires born of water are three, viz.: Vaidyut (Lightening) Jāṭhara (gastric) and Saura (Solar).


Allright. "Gastric" fire is somehow in the Family of Fire by Friction, but, obviously not literally by taking a physical Garhapatya Fire and doing anything with it. Instead, it gives a metaphor:

The Pavamāna fire (sanctifying fire) has sparks and flames and the gastric fire is remembered as devoid of lustre.

16. (The same is the case with) the fire without heat that is in the zone (of the sun). It is white and it illuminates.


So there was an awareness that heat does not reach us from the sun, but, happens when resistance meets its radiation:


17-18. The heat of the fire, of the terrestrial fire, enters the sun as it rises with its rays. Hence the fire blazes. The power of illumination and heat are (respectively) the solar and fiery splendour. [Tejas]

19-20. By permeating each other, they make each other nourish and develop.


23. The sun that blazes imbibing water by means of his rays, is remembered as the divine Śuci (pure) fire that is combined with the terrestrial fire.

The sun brings about the satisfaction of human beings, Pitṛs (Manes) and Devas after distributing them impartially among them.

He gratifies human beings by means of medicinal herbs, the manes by means of Svadhā-offerings and all the Devas by means of nectar.

43. The sun infuses strength in the medicinal herbs; he makes the Pitṛs (stronger) by means of Svadhā; he infuses nectar in the Devas. Thus he gives three things to the three.

In the Sun's emanation of other entities:

49-51. Scholars conversant with the Vedic knowledge call Nārāyaṇa by the name Budha (the Mercury).


Of the Sun:

He alone is the ‘Time’. He is the ‘Fire’. He is the lord of the subjects. He has twelve souls (in the form of twelve Ādityas (the sun god).


This chapter introduces what is called the Seven Rays:


65. The most excellent among the thousand rays of the sun cited by me before, are the seven rays that are the sources of origin of the planets.

66-68. They are declared as follows:—Suṣumna, Harikeśa as well as Viśvakarman; Viśvaśravas (and again another ray) Sampadvasu, Arvāvasu and Svarāṭ.

It is the solar ray Suṣumna that causes the nourishment of the Moon that wanes. This Suṣumna is glorified as one that spreads sideways and upwards.

Harikeśa, that is in front, is glorified as the source of origin of the stars.

69-72a. Viśvakarman, the ray to the south, right, nurtures Budha (Mercury). Viśvaśravas the ray to the west, behind, is remembered by learned men as the source of origin of Śukra (the Venus).

The ray Sampadvasu is the source of origin of Lohita (the Mars.)

The sixth ray Arvāvasu is the source of origin of Bṛhaspati (the Jupiter).

The ray Svarāṭ causes the development of Śanaiścara (the Saturn).



Occultism is maybe a little backwards to inter-galactic Astrology that makes you feel small. Rather than pursuing how galaxies had to do with the sun's formation, distant stars are simply Abodes, which become relevant due to the Sun's use of them:


72b-73. The stars are termed Nakṣatras because they do not become reduced (Na-not Kṣīyante become reduced).

These Kṣetras (abodes) happen before on account of the rays (?) The sun, the creator of the star, takes up their abodes.

74-76. The stars are so called because they redeem (tāraṇāt) those persons who have crossed the planets by means of merit and who have resorted to them (once again) at the end of the merit (i.e. when merits had been enjoyed fully.)



Pradhana refers to the Prakriti--Water sheath of creation:


He is the miraculous transformation of Pradhāna of the Cosmic form.

150. It is impossible for all human beings to comprehend factually the movements both inward and outward, of the luminary bodies, by means of their physical eye.



The idea is that what we see as stars or planets are the abodes, the occupants of which change per Manvantara. In this Manvantara, the occupants have got their position due to performance of sacrifices and hence they are called Vaitānikas.



Name of the Planet: The star of birth:

(i) The Sun god, the son of Aditi...... Viśākhā
(ii) The moon god, Tviṣiman, the son of Dharma.... Kṛttikā
(iii) Śukra (the Venus) the son of Bhṛgu.... Tiṣya (Puṣya)
(iv) Bṛhaspati (Jupiter) the son of Aṅgiras.... Pūrvā-Phālgunī
(v) Mars, son of Prajāpati...... Purvāṣāḍhā
(vi) Śanaiścara, son of the Sun god.... Revatī
(vii) Budha (Mercury) son of the moon god.... Dhaniṣṭhā
(viii) Ketu, son of Mṛtyu...... Āśleṣā
(ix) Rāhu...... Bharaṇī


I was mistaken about the five year Samvatsara cycle:

The second point of importance is the emphasis of the Yuga being a period of five years beginning with Dhaniṣṭhā and ending with Śravaṇa Nakṣatra.


Harikesa:

1b) One of the seven important rays of the sun, said to be the root of planets, and the first originator of stars.*

* Brahmāṇḍa-purāṇa II. 24. 66; Vāyu-purāṇa 53. 47.

Keśa (केश) refers to the “hair”, according to the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, “The plane of the One-footed (ekapāda i.e. the letter E) is where the Skyfarer is in the Skyfarer within the Cavity of the Hair [i.e., keśa-randhra-khaga]. Śrīdeva is above Meru (the triangle above the head) (merupaścima) in the essential nature of the Void (kha), which is the threefold measure (of energy) (mātra). (This is) where everything consists of Space (ākāśa) and is the Cavity (vivara), which is the nectar of Fire (vāḍava). There, above, in the Void is the supreme god. (He is) the moonbeam (candrāṃśu) that, well-fixed, oozes (nectar). The (energy of the) Full Moon (pūrṇamāsā) resides as the teacher's being (gurutva) on the plane of the Skyfarer”.


HPB says:

"Science only errs in believing that, because it has detected in vibratory waves the proximate cause of these phenomena, it has, therefore, revealed ALL that lies beyond the threshold of Sense. It merely traces the sequence of phenomena on a plane of effects, illusory projections from the region that Occultism has long since penetrated. And the latter maintains that those etheric tremors, are not, as asserted by Science, set up by the vibrations of the molecules of known bodies -- the matter of our terrestrial objective consciousness, -- but that we must seek for the ultimate causes of light, heat, etc., etc., in MATTER existing in super-sensuous states -- states, however, as fully objective to the spiritual eye of man, as a horse or a tree is to the ordinary mortal. Light and heat are the ghost or shadow of matter in motion. Such states can be perceived by the SEER or the Adept during the hours of trance, under the Sushumna ray -- the first of the Seven Mystic rays of the Sun.

The names of the Seven Rays -- which are, Sushumna, Harikesa, Viswakarman, Viswatryarchas, Sannaddha, Sarvavasu and Swaraj -- are all mystical, and each has its distinct application in a distinct state of consciousness, for occult purposes. The Sushumna, which, as said in the Nirukta, is only to light up the moon, is the ray nevertheless cherished by the initiated Yogis. The totality of the Seven Rays spread through the Solar system constitute, so to say, the physical Upadhi (basis) of the Ether of Science; in which Upadhi, light, heat, electricity, etc., etc., -- the forces of orthodox science -- correlate to produce their terrestrial effects. As psychic and spiritual effects, they emanate from, and have their origin in, the supra-solar Upadhi, in the ether of the Occultist -- or Akasa."


Koothoomi says:


"The Seven Beings in the Sun are the Seven Holy Ones, Self-born from the inherent power in the matrix of Mother substance. It is they who send the Seven Principal Forces, called rays, which at the beginning of Pralaya will centre into seven new Suns for the next Manvantara. The energy from which they spring into conscious existence in every Sun, is what some people call Vishnu, which is the Breath of the ABSOLUTENESS. We call it the One manifested life -- itself a reflection of the Absolute......... "


The Gayatri is the daiviprakriti of the two halves of the first ray united. Daivi Prakriti is the direct reflection of the formless triple fire.

In Brahmanda Purana, rays, or kirana: "Sushumna resuscitates the waning Moon and spreads up and sideways; Hariksha which is in the front of Surya is the originator of Nakshatras; to the South of Surya is Vishwakarma which sustains Budha or Jupiter; Vishwashrama from the western side of Sun is the originator of Shukra or Venus and promotes the cause of Panditas or or the Learned Human beings; Sampadsawa Rashmi of Surya is the originator of Kuja; the sixth Rashmi Arvavasu is the birth place of Brihaspati and the seventh Rashmi Swaraat is the originator of Saturn. All the Planets and Stars exist due to the magnificence of Surya Deva. Nakshatra literally means that it has no decadence and it is called Taraka as it redeems the Punya of those persons who performed extraordinary deeds."

The sun is called "Saptasva" (one with seven horses--the sun god's chariot is drawn by seven horses). It is also said that there is only one horse drawing the chariot but it has seven different names. "Asva" also means "kirana" or ray. So "Saptasva" could mean that the sun emits seven types of rays or colours. It is of course the same light that is split into seven colours. In the Taittiriya Aranyaka it is clearly stated that the same "asva" or ray has seven names: "Eko asvo vahati saptanama. "



Allright. The solar rays have to do with the birth of a planetary intelligence, which takes place in a star. The challenges of these planetaries are the main "crossing over", to which the stars are "crossed over".

So, that is an important subject, but, I once attached something to it that may not really fit.


There was another assessment in original Theosophy, related to changes in Purushic consciousness which produces the tanmatras and/or tattvas. However, it seems to be a reprise of an early part of Vishnu Purana (Wilson, 1840):

^2:2 In this stanza occurs a series of the appellations of Vishnu: 1. Pundarikaksha, having eyes like a lotus, or heart-pervading; or Pundarika is explained supreme glory, and Aksha imperishable: the first is the most usual etymon. 2. Viswabhavana, the creator of the universe, or the cause of the existence of all things. 3. Hrishikes'a, lord of the senses. 4. Maha purusha, great or supreme spirit; purusha meaning that which abides or is quiescent in body (puri sete), 5. Purvaja, produced or appearing before creation; the Orphic prutogonos. In the fifth book, c. 18, Vishnu is described by five appellations, which are considered analogous to these; or, 1. Bhutatma, one with created things, or Pundarikaksha; 2. Pradhanatma, one with crude nature, or Vis'wabhavana; 3. Indriyatma, one with the senses, or Hrishikes'a; 4. Paramatma, supreme spirit, or Mahapurusha; and Atma, soul; living soul, animating nature and existing before it, or Purvaja.

HPB keeps Indriyatma-or-Hrisikesa, separating Bhutatma, to make a six-fold scale in Anthropogenesis of The Secret Doctrine. Viswabhavana is not named there; instead, Bhrantidarsanata.


I may have confused "Hrsikesa" with "Harikesa", which makes it sound like a Ray.

From the view of Lakshmi Tantra, such a relatively obscure Vishnu will immediately be serried and ranked, subordinate to her personal teaching which is hardly to be found in any of these books:


Hṛṣīkeśa (विष्णु, “He Whose Hair Stands on End [with Joy]”):—Another name for Viṣṇu, as in, one of the male offspring from Mahāsarasvatī (sattva-form of Mahādevī).


In the Vaisnavite view:

Hṛṣīkeśa (हृषीकेश, “Master of the senses”):—One of the twenty-four forms of Viṣṇu through which Nārāyaṇa manifests himself. He is accompanied by a counterpart emanation of Lakṣmī (an aspect of Devī) who goes by the name Harṣā .


They are using a different etymology, which is Isa--lord of:

Hṛṣīka (हृषीक).—n.

(-kaṃ) Any organ of sense. E. hṛṣ to affirm falsely, īkak Unadi aff, and the radical vowel unchanged.


However, the stem attached to Kesa--Hair is:

Hṛṣi (हृषि).—m., f.

1) Joy, satisfaction.

2) Splendour.


To which is coupled the Lakshmi:

Harṣā (हर्षा, “joy”)

2) Thrilling, bristling, erection (of the hair of the body); as in रोमहर्ष (romaharṣa) q. v.; [narrator of Brahmanda Purana]

4) The erection of the sexual organ; lustfulness.

5) Ardent desire.

E. hṛṣ to be pleased

Even at the most basic level, Hrs does have a minor meaning of to lie or affirm falsely. But a simple name such as Harsa does not convey this.

Harikesa also has earlier and later meanings based on different derivations:

3) [v.s. ...] of Savitṛ, [Ṛg-veda]

4) [v.s. ...] of Śiva, [Mahābhārata]


I have not personally examined the Vishnu Purana that much. Yes, it was among the first substantial Sanskrit-to-English translations, and so it was probably necessary for Theosophy to reckon with it somehow. It does seem to stumble into its own lacunae in its own footnotes:


The Vāyu, Liṅga, and Matsya P. specify several of the rays of the sun...

An account of these Lokas is met with only in a few of the Purāṇas, and is not much more detailed in them than in our text. The Vāyu is most circumstantial. According to that authority, Mahar, which is so called from a mystical term Maha, is the abode of the Gaṇadevas, the Yāmas and others, who are the regents or rulers of the Kalpa, the Kalpādhikāris they are so designated also in the Kūrma.

Vishnu Purana I.2 does have an invocation including Bhrantidarsanata and so forth; but is also a teaching of the Vyuhas, like a male-centric Lakshmi Tantra.

The text as a whole is Vaisnava, including:

Chapter XVIII - Buddha goes to the earth, and teaches the Daityas to contemn the Vedas


Whereas Lakshmi Tantra accepts "Buddha as Vishnu's avatar", it does not forward it to this meaning, which I believe is also found in Bhagavata and Agni Puranas. It does follow suit of Devi Bhagavata which has Buddha as another branch of her overall yoga family. So far, he is either uninvolved in the earlier Puranas, or certainly does not have a chapter like a big caution sign.

So when we break this out, it does not appear that especially in English, we have gotten the most meaningful explanation of, for example, Lunar Pitris. But if we keep hammering, we consistently find things like Venus first/foremost among the planets, Lakshmi being related to Venus.

[shaberon]

The Seven Rays



This follow suit from the Pitrs, whom we are trying to approach with a degree of caution. Too many things have been said, or, perhaps triumphantly declared, about them. Most of the mainstream material would have an audience who physically keeps a Garhapatya Fire at all times, and on certain occasions may make any number of additional fires. But on this we have to be ultra symbolic. If we go back through it, Garhapatya has been doubly-defined as Jathara or digestive fire; which itself was just defined as the son of the fire in the heart, between there and the Samvarta of the End of Time.


II.24 The arrangement of the heavenly luminaries:


I shall recount the origin of the three types of Agni (Fire) viz. the divine one, the terrestrial one and the one born of water (i.e. lightning).

The fires born of water are three, viz.: Vaidyut (Lightening) Jāṭhara (gastric) and Saura (Solar).


Jathara fits according to Ayurveda:


Spiritual fire is called bhuta agni and when we use it in very difficult times as a means of self transformation, it is called tapas.
Bhuta agnis are the 5 agnis that act after Jatharagni and before Dhatvagni to transform ingested food, which is complex, into simpler forms so that they can be easily absorbed by the body.


It drives Tapas:


Tapas is not to be confused with pitta-driven self-restraint and severe discipline. Tapas is the continual progression of movement towards awareness. It is the ability to remain consistent in development, despite discomforts or “growing pains” that may arise.

Tapas is vital because it acts as the continuous driving force that allows for the bearing of fruits. It pushes you through discomfort, lethargy, apathy, and doubt, allowing you to reduce the vrittis (mind fluctuations) and develop refined Soma – the internal nectar and vitality (similar to Ojas) that brings pleasure and good feelings to your body and consciousness.


It is still similar to Fire by Friction:


The principle of transformation that occurs due to the “friction” created from the persistence of tapas is called agni. Because transformation is a necessary component in existence, agni is one of the most important devatas, or laws of nature.


Or in the words of Vasistha:

As the attrition of the wood and saw, causes a split in the midst; and as the friction of two things (as of a flint and stone) produces a fire between them, in the same manner doth the confrication of the inhaling and exhaling breath, divide the two prana and apana gases, and produce the jatharagni in the abdomen. (The prana air is explained elsewhere as passing from the heart through the mouth and nostrils, and the apana as that which passes from the region of the navel to the great toe. The jatharagni is rendered some where as gastric fire).

The internal airs clash against one another the produce of the gastric fire, as the bamboos in the wood produce the living fire by their friction.

on kundalini:

It continues curved and curbed in the form of a folded snake in winter, until it unfolds its twisted form under the summer heat (or the intestinal heat of its hunger Jatharagni), and lifts its hood likening the disk of the moon. (The moon in the yoga sastra, means the loti-form gland under the upper most crown of the head).


Jatharagni is in 108 Names of Savitr ending on Maitreya Karuṇānvita (son of Mitra endowed with mercy). Similar to Refuge in Lalita Mahatmya:


76-77. Śaraṇāgati consists of six aspects thinking about favourable things, avoiding unfavourable things; faith that (the deity) will protect, soliciting the deity for protection, surrendering his own self and Kāruṇya (Piteousness or seeking compassion).




It is not explained why Jathara was pulled from the ranks and uplifted. He was in the descent of Pavaka. Jathara's son in Vayu Purana is:

"Scholarly" Manyuman--Mutually kindled, that fire is the lord of living beings. Father of Samvartaka. Samvartaka is Aurva, who was persuaded by the Pitrs, instead of destroying the world, to enter the Mare's Mouth. In that case, his father is Cyavana. But Cyavana's father is Bhrgu; here, we have the enigmatic Hrcchaya-same-as-Jathara.





When we look at Agni in Brahmanda Purana, it has the sense of very original, very declaratory, like a pristine revelation. When it gets to the actual rites, it sounds like it is talking to people who are already very busy with the performances. And so it sounds like a whole heap of what we would call Kriya or automated ritualistic behaviors, which, I suppose, are a high standard for some people. But, even in the view of the Water Offering to Pitrs, it is possible to squeak out a few hints about the inner meaning, such as from some comments on Tarpana:

Why Rituals


External rituals are meant to create the internal visualization needed to affect desirable internal changes in the long run. For example, one offers a full coconut into fire as poornaahuti (complete offering) at the end of a homa (fire ritual). That is symbolic of surrendering one’s head or ego (sense of I-ness) to god and burning it in the fire of wisdom and becoming free from ego. As one keeps engaging in this act again and again, the visualization becomes stronger and stronger and ego is slowly reduced.

What is Tarpana

One important ritual of Hinduism is tarpana. Tarpana means “satisfying” or “satiating”. One acknowledges the debt one has to devas (gods), rishis (sages) and pitris (ancestral manes) and tries to satisfy them using this ritual. Just as gods are invoked in fire in a homa, pitris are invoked in water in this ritual, then held in the palm and released in a specific way conducive to freeing them of some conditioning.


One of 2 Vital Sadhanas

Two external spiritual sadhanas are particularly powerful, useful and recommended for every person desirous of spiritual progress:

Homa (fire ritual): Gods are invoked in fire and satisfied with offerings with mantras. In the long run, a regular practice of this ritual increases the subtle fire burning inside one’s subtle body, burns various impediments to spiritual progress and gives clarity, focus and stability to the mind.

Tarpana (water ritual): Gods, sages and manes are invoked in water and their desires are satisfied, making their emancipation (and emancipation of one's own debts to them) easier. In the long run, a regular practice of this ritual increases the release of various kaarmik predispositions and weaknesses that are blocking one’s spiritual and material progress.



That is not to say there is not a Homa Offering for Pitrs, but, this use of Water is also standard. Both are "symbolic", or, i. e. they actually do something in an esoteric way, close to what is being said. You can try to actually burn a coconut to make it work, but, that would be indirect, and not necessary. As it says, the "visualization" becomes stronger, which is the way we would do almost all of this.


After creating the Pitrs, Brahma attempted to feed them. In Devi Bhagavata:


He made arrangements for their food in the form of Śrāddhas and

Tarpaṇas, etc. (funeral ceremony and peace-offerings), etc.


It did not work. But then it tells us that most followers would indeed stay pretty busy with this same routine:


Taking bath, performing Śrādh ceremony up to Tarpaṇam (peace-offerings), worshipping the Devas and doing Sandhyā thrice a day; these are the daily duties of the Brāhmaṇas. If any Brāhmaṇa does not perform daily the Trisandhyās, Śrāddha, Tarpaṇam, worship and the reciting of the Vedas, he becomes devoid of fire like a snake without any poison. He who does not perform the devotional service of the Devī, who eats food not offered to Śrī Hari, who remains impure till death, is not entitled to do any karma whatsoever.


Because it did not work, Brahma created Svadha so that it would--Pitruunaam Pranatulyaa in Brahma Vaivarta Purana. This means she effectively works like Prana for the Pitrs. Moreover, we were told that we ought to venerate her before her ability kicks in. This is basically what we have said for the whole system of Tara. You have to start with a basic Samaya being and cultivate a lot of Bhava for it. One could perhaps say that the Pitrs' Offering is as effective as one's current Devi Svadha. She has the radiance of a hundred moons, and resembles Lakshmi, having the traits:


white Champaka flower

part of Prakriti

She was the wife of the Pitris.

She was born of the lotus born Brahmā.

The Grand-father Brahmā made over that daughter of the nature of Tuṣṭi (Contentment) to the hands of the Pitris and they were satisfied. Brahmā advised the Brāhmaṇas privately that whenever they would offer anything to the Pitris, they should offer duly with the mantra Svadhā pronounced at the end. Since then the Brāhmaṇas are offering everything to the Pitris, with the Mantra Svadhā uttered in the end.




Tarpaṇa (तर्पण).—a. [tṛp-ṇic vā lyuṭ] Satisfying, pleasing, refreshing.

-ṇam 1 Pleasing, satisfying.

2) Satisfaction, pleasure.

3) Satiety, fulness.

4) One of the five daily Yajñas (performed by men), presenting libations of water to the manes of the deceased ancestors (pitṛyajña).




She even has a particular starting point:


On the thirteenth day of the Dark Fortnight in autumn when the Maghā asterism is with the Moon and on the Śrāddha day. One should worship with care Svadhā Devī; then one should perform Śrāddha. If, out of vanity, a Brāhmin performs Śrādh without first worshipping Svadhā Devī then he will never get the fruits of Tarpaṇam or Śrādh. “O Devī Svadhe! Thou art the mind-born daughter of Brahmā, always young and worshipped by the Pitris. Thou bestowest the fruits of Śrāddh. So I meditate on Thee.” Thus meditating, the Brāhmin is to pronounce the motto (mūla mantra) and offer the Pādyam, etc., on the Śālagrāma stone or on the auspicious earthen jar. This is the ruling of the Vedas. The motto is “Om Hrīm, Śrīm, Klīm, Svadhā Devyai Svāhā.” She should be worshipped with this Mantra. After reciting hymns to the Devī, one is to bow down to the Svadhā Devī.


“Svadhā,” “Svadhā,” “Svadhā,” thrice this word if one calls to mind, one gets the fruits of Śrādh, Tarpaṇam, and Bali (offering sacrifices).


Another mantra for her according to the Durgāpūjātattva:

ह्रीं ओं स्वधायै नमः
hrīṃ oṃ svadhāyai namaḥ




Magha Naksatra has in turn:

Gayatri Mantra:-

Om Pitribhah Swadhayibhyah Swadha Namah
Mitamahebhyah Swadha Namah |
Prapitamahebhyah Swadhayibhyah swadha Namah Akshannopitaromimadananta
Pitaroatitripantapitarah Pitarah Sundadhwam ||
​
Beej Mantra:-

Om Pitribhyo Namah ||



I do not know why they call that a Gayatri. It does not fit the form. There is such a thing as Pitr Gayatri:

Om pitru ganaye vidmahe
jagad dhaarineye dhimahi
Tanno pitru prachodayaat ||



Of the similar goddess Svaha:


The great aspirants [Vahni] and others took the hands of these famous daughters (e.g., Svāhā married the fire-god/Vahni). Thereupon the entire universe consisting of three worlds, mobile and immobile was filled (with progeny).

Svaha was given to Agni in the beginning to produce (mental) progeny. In Devi Bhagavata, she is a Shyama Devi, similarly produced because Devas were not getting their offerings; her intent is really to marry Krsna. He says it will be so in Varaha Kalpa; for the time being, she joins Agni and has the three original Agni sons. When he meets her:


Fire came in there by the command of Brahmā, with a doubtful mind and began to meditate on Her, the World Mother as per Sāma Veda and worshipped Her.


Her incarnation with Krishna is

1a) Nagnajit (नग्नजित्).—A King of Kosala, had a daughter Satyā; established a convention that he who would curb the ferocity of seven bulls in his possession would be the proper husband for his daughter; all tried in vain; Kṛṣṇa went to Ayodhyā and offered to pass the test; seeing his feat Nagnajit gave him his daughter with a large dowry;1 went to Syamantapañcaka for the solar eclipse.2

1) Bhāgavata-purāṇa X. 58. 32-52; III. 3. 4; Brahmāṇḍa-purāṇa III. 71. 242.
2) Bhāgavata-purāṇa X. 82. 25.


Brahmanda Purana itself does not seem to say that Svaha "is" Satya--Nagnajita. It perhaps barely begins to make sense if the following synonym is observed:

2d) The mother of Hari by name Satya (yajña) in the Uttama epoch.*

* Brahmāṇḍa-purāṇa III. 3. 115: Viṣṇu-purāṇa III. 1. 38.


When Satya implies Yajna, that would seem to have the nature of Svaha. Otherwise, Satya is simply too abundant of a name, such as referred to in III.3.115:

In the Auttama Manvantara, lord Ajita was born of Satyā as Satya, along with the excellent Devas named Satyas.

115b-117. In the course of the Tāmasa Manvantara that lord became Hari born of Hariṇī along with (the other Devas) Haris.


They suggest it means Yajna--sacrifice in that line. That is far from obvious. The Vishnu cycles are saying he is predominantly Sattva and that he is reliable because he arises in all the Manvantaras. After he has occupied the worlds, he:

handed them over to Indra accompanied by all the Devas.



The practice of Svaha given in Devi Bhagavata is:


45-49. Nārāyaṇa said :-- O Best of Brāhmaṇas! I now tell you the meditation (Dhyānam) as per Sāma Veda, the method of worship and stotra. Listen attentively. At the commencement of any sacrificial ceremony, one should first of all worship whether on the Śālagrāma stone or in an earthen jar (ghaṭa), the Devī Svāhā and then commence the ceremony with the expectation of getting the desired fruit.

The following is the Dhyānam (meditation) of Svāhā Devī :-- O Devī Svāhā! Thou art embodied of the Mantras; Thou art the success of the Mantras; Thou art Thyself a Siddhā; Thou givest success and the the fruits of actions to men; Thou dost good to all. Thus meditating, one should offer Pādya (water for washing the feet), etc., uttering the basic Mantra; success then comes to him. Now hear about the Radical Seed Mantra.

The said mantra (Mūla mantra) is this :-- “Om Hrīm Śrīm Vahnijāyāyai Devyai Svāhā.” If the Devī be worshipped with this Mantra, all the desires come to a successful issue.

50-54. Fire recited the following stotra :-- “Thou art Svāhā, Thou art the Beloved of Fire, Thou art the wife of Fire; Thou pleasest all; Thou art the Śakti, Thou art the action, Thou art the bestower of Kāla (time); Thou dost digest the food; Thou art the Dhruvā; Thou art the resort of men; Thou art the burning power; Thou canst burn everything, Thou art the essence of this world; Thou art the deliverer from the terrible world; Thou art the life of the gods and Thou nourishest the Gods.” O Nārada! He who reads with devotion these sixteen names, gets success both in this world as well as in the next.





So, there are Water and Food Offerings to the Pitrs, and, in the case of food, it still carries a "Havya"-type term, in the Brahmanda Purana's chapter where the Visvadevas attain the state of the Pitris:

Hence, one should offer the Piṇḍas to the Yogic souls retaining personal purity and concentrated devotion to them.

28-29a. This shall be a direct Havis offering to the Pitṛs.

So it appears possible to make a Havya offering in or through Kavyavahan or Pitris' Fire.



There are some more mantras which have been translated, which most likely can be supplanted by their originals, eventually, from III.11:

Offering Rice-Cake (piṇḍa) to The Manes (Pitāmahas).

Note: This chapter is textually similar to Vāyu-purāṇa 72.


17-18. I shall therefore mention the Mantra which is immortal (or nectarine) and which is composed by Brahmā. One shall always repeat three times both at the beginning and at the close of a Śrāddha. the Mantra:—“Obeisance to the deities, the Pitṛs and to the Great Yogins. Bow to Svadhā (food offering to the Manes). Obeisance forever to Svāhā (the wife of fire-god).”[3]

19. One should repeat this Mantra with great concentration at the time of offering the rice balls (to Pitṛs). The pitṛs arrive instantly and the demons flee.

3. This mantra is found in Vā.P. 74.15-18, Skanda P. VII. 1.206.


It then cranks up a notch, giving something we might mistake for Sages or Rsis, Saptarci, according to Sri Aurobindo:

saptarci (saptarchi) — the seven rays or flames (of agni)

saptarci-the seven rays or flames (of agni,
the principle of visible formation); a term
used for the seven types of "crude material" from which rupa and lipi are formed.



1) Saptārcis (सप्तार्चिस्):—[from sapta > saptan] mfn. 7-rayed, 7-flamed


The mantra mainly has this particular source:

Saptārciṣa (सप्तार्चिष).—Mantra to be recited at the śrāddha; leads to overlordship;1 to be recited daily in honour of Pitṛs and their seven gaṇas; in nine verses.2

1) Brahmāṇḍa-purāṇa III. 11. 22-33.
2) Vāyu-purāṇa 74. 20-29.


On a page giving synonyms such as Saptarcis for Vaisvanara, here is another observation telling us we do not get the same story in all sources:

We come across several contradictory statements in the Purāṇas regarding the birth of Agni. There is some real difficulty, therefore, in tracing correctly the true genealogy of Agni. The one given above is based on statements in Bhāgavata and Mahābhārata.

Agni was descended from Viṣṇu in this order: Viṣṇu-Brahmā-Aṅgiras-Bṛhaspati-Agni.


Well, in that area, the Brahmanda has a loop that is like a three body orbital equation, there is no solution, but it works anyway. Now by arguing that Vishnu must have experienced the Vyuha in order for Brahma to pop out and do any creating, that might be one thing. But then when you make this primal stamp that says Angiras is the ancestor of Agni, it is some kind of doctrinal difference.


This is what it says about the Seven Rays:


22. I shall now impart the Saptarcis Mantra which is splendid, which yields all desires and by chanting which regularly one can propitiate the Pitṛs.

23. The Saptarcis Mantra:—I shall always bow down to the Pitṛs both Amūrtis (formless) and Samurtis (endowed with forms) who are full of brilliant splendour, who habitually meditate and have the Yogic vision.

24. They are the leaders of (gods like) Indra and others of (Prajāpatis like) Dakṣa and Mārīca (i.e. Kaśyapa), of the seven sages and of the (other) Pitṛs. I shall bow down to them who bestow all desires.

25-26. They are the leaders of Manu and others of the Sun and the Moon. In all holy rites concerning the Pitṛs, I shall bow down to all of them.

With palms joined in reverence, I shall bow down always to the Pitṛs of all stars and planets, of the wind and fire and of the heaven and earth.

27. I shall pay obeisance to the grandfathers. They are the leaders of celestial sages. They are bowed down to by all worlds. They are the saviours of all living beings.

28. With the palms folded in reverence I shall always bow down to the Yogeśvaras (lords of the Yoga), to Soma (the moon-god), to Yama, to Prajāpatí, to the cows and to the fire-god.

29. Obeisance to the seven groups of Pitṛs in the seven worlds. Salutation to Brahmā, the self-born lord with the Yogic vision.”



As noted above, seven verses from 23 to 29 constitute the Saptarci Mantra and Vā.P. 74.21-27 agrees in toto with our text. This is rather a eulogy of the Pitṛs in details.

This is fairly closely copied in Skanda Purana I.206.



30. This is called as the Saptarcis Mantra adopted by the groups of Brāhmaṇa sages. It is extremely sacred, and glorious. It destroys ailments.

31. A man who adopts this in accordance with the injunction obtains three excellent blessings (viz. food-grains, longevity and sons). The Pitṛs bestow (on men) on the earth (in this very life) plenty of food, long life and good sons.

32-33a. If a person chants the Saptarcis Mantra everyday with great faith, full devotion, perfect conquest of the sense-organs and with great concentration of the mind, he shall become the sole ruler over the earth consisting of seven continents and oceans.


Some of the benefits include:


47-48. He rejoices (i.e. shall rejoice) on the top of the Vimāna (aerial chariot) surrounded by Apsaras.

49. Invariably during the occasions of the Śrāddha ceremony, the Pitāmahas (grandfathers i.e. the manes) assume gaseous forms and penetrate the excellent Brāhmaṇas.



Pitrs were just called "grandfather", and Brahma is great-grandfather, but if you quit reading symbolicly, you would probably lose the context from a passage like this:


By means of the Caila mantra, the Piṇḍas (rice-balls) shall be sprinkled once for each of the Pitṛs after showing the mirror over the skin of the black antelope(?).

58. The performer of Śrāddha earnestly devoted to the Pitṛs should always offer on the ground three Piṇḍas (balls of rice) mixed with gingelly seeds and ghee. He should place the the knee on the ground and wear the sacred thread in the normal manner.

59-60a. He should invoke the father, the grandfather and the great grandfather as well as the other Pitṛs of yore.

He should properly sprinkle the Piṇḍas by means of the Pitṛtīrtha carefully. He should pour the water in anticlock wise manner.

63. He should discharge the first Piṇḍa towards the south with both hands repeating alertly ṭhe Mantra beginning with Namo vaḥ pitaraḥ śoṣāya etc.

64. (Defective text). Repeating the Mantra beginning with “Namo vaḥ pitaraḥ saumyāḥ” (Obeisance to ye all, O gentle Pitṛs) alertly, (the other Piṇḍas) shall be offered with both the hands.




You can usually just use Grhapatya Fire; it is Homa that calls for more:


91. For the fulfilment of the holy rite one should perform Homa. For Homa the sacred fire Dakṣiṇāgni should be used scrupulously. For other purposes the ordinary fire can be used.

92-94. The Samits (sacrificial twigs) should be placed within. Then the fire should be placed all round. Then the fire is brightened up with concentrated mind. The following are the Mantras for Homas in the three fires in the proper order:

(1) Agnaye kavyavāhāya Aṅgirase namaḥ (Obeisance to Agni the conveyor of Kavya (food-offering). Obeisance to Aṅgiras.

(2) Somāya vai...punaḥ (Obeisance to Soma possessed of the Pitṛs. Svadhā once again to Aṅgiras).

(3) Tamāya Vaivasvate svadhā dhruvam. (Obeisance to Yama son of Vivasvān (sun), Svadhā is thus, surely offered).

95. The offering should always be made to Agni in the south, to Soma in the north and to Vaivasvata (Yama) in between the two.



So the teaching on the Rays is actually quite meager. It has no seed syllables, in fact it does not even name them. If the "arcis" title was not stuck in there, you would probably call it Seven Pitrs Mantra. That is what is being addressed. Not Agni or Surya.

The fact of it referring to seven worlds or Vyahritis was apparently a type of theological problem since most scriptures always talk about the Three Worlds.


HPB says:

These seven rays are the entire gamut of the seven occult forces (or gods) of nature, as their respective names well prove.


The first name is of course very recognizable:

In occultism the spinal column plays many physiological roles, but is especially threefold in its functions. The central channel or nadi, the sushumna-nadi, is the especial carrier of the “solar ray,” which comprises not merely physiological forces and attributes, but the spiritual and intellectual qualities and powers.

Ksurika Upanishad says:

Between them is the Supreme Abode, and he that knows It knows the Veda.

[from su > su-ṣaṃsad] mf(ā)n. very gracious or kind


If the Rays have a lot to do with Pitrs, that means it has a lot to do with Soma, which is answerable to this day by one of those grandest of all solutions: nothing.


HPB was fair in her assessment that sometimes it was a drug or plant, that it is symbolized by the wine or mead of most religions, and so forth. But she may have a better explanation as:

Somapas (Sanskrit) Somapās Those who drink or have drunk the soma juice. Soma itself was the mystical initiatory drink or potation of the ancient Hindus, which modern Orientalists suppose to have been the plant Asclepias acida. Originally soma had somewhat the same meaning that the mystics of other nations indicated by wine or mead. Hence the somapas are those people who, having become more or less infilled with the essence of their inner spirit, were mystically spoken of as having drunk of the soma juice, otherwise those in or under the ecstasy of intellectual illumination. In India the somapas are more or less restrictedly stated to be the especial spiritual progenitors of the Brahmins, but this idea is sectarian, for any human being, Brahmin or not, who had drunk of the inner wine of the spirit, or of the mystical soma of inner illumination, was a somapa.


for Soma:

He who drinks it easily reaches Brahma, or the place of splendor (Heaven). The soma-drink known to Europeans is not the genuine beverage, but its substitute; for the initiated priests alone can taste of the real soma; and even kings and rajas, when sacrificing, receive the substitute. . . . We were positively informed that the majority of the sacrificial priests of the Dekkan have lost the secret of the true soma. It can be found neither in the ritual books nor through oral information. The true followers of the primitive Vedic religion are very few; these are the alleged descendants from the Rishis, the real Agnihotris, the initiates of the great Mysteries.

The soma makes a new man of the initiate; he is reborn and transformed, and his spiritual nature overcomes the physical; it gives the divine power of inspiration, and develops the clairvoyant faculty to the utmost. According to the exoteric explanation the soma is a plant, but, at the same time it is an angel. It forcibly connects the inner, highest ‘spirit’ of man, which spirit is an angel like the mystical soma, with his ‘irrational soul,’ or astral body, and thus united by the power of the magic drink, they soar together above physical nature and participate during life in the beatitude and ineffable glories of Heaven.


At this point in time, we have "captured" it as Varuni, who is the one ingredient of all the tantras.

Svadha and an awareness of the Pitrs can only count towards this.

Varuni is considered extremely difficult for people to get, but, once you do, she is second nature.

Even so, if not guided properly, she may not do the best things for you.


That, then, is the difference; anthropology will tell us that Soma was x or y substance, or cannot be proven what it is or was. Varuni is an inner condition or inner agent. Buddhism does not dwell much on what must have been considered "common basics" of its time. Pitr Tarpana is in Dharani Samgraha in the middle of its Swayambhu Purana section. It is similarly once near the beginning of Sadhanamala; in Vajrasana 4, the treatment of a Samaya Sattva involves Arghya and Tarpana:

arghyapādyādinānāvidhapūjāsantarpaṇastutipraṇāmapūrvakaṃ


And so Varuni becomes Flask Worship, which can stand alone, and/or as part of a Homa. Svadha is almost like a sub- or Samaya Varuni. You are really trying to get a taste of Akash and find the way to make it reliably present. When you can, so to speak, "reach" it, then you can have an operative Varuni.

She inhabits the Triangle of Inverted Stupa, along with a certain framework of deities who also have to do with elements and inner experiences. We cannot transmit Chakrasamvara or provide "Your Deity" as in the Yidam or Ista Devata who is the ultimate lord of the rite. However you do not have to have it. What we are dealing with is more like a way to vacuum your brain and nerves so that you could successfully experience the Yidam. The initial frame is fairly long-lasting, because it defines Kurukulla and Bharati. There are ways to handle the full Subtle or Suksma Yoga cycle, while gaining the components that are used in mandala symbolism.



A perhaps cleaner Vayu Purana is hosted by Vyasa Online.

Or Part I alone.

[shaberon]

Amaravati and Vajrasattva, Balarama and Varuni, Dakarnava and Vajradaka fragments




With spending a lot of time referring to the Puranas and Homa and so forth, it gets easy to lose sight of the fact we are really just enfolding them into a Buddhist practice. Because we can show in Lakshmi Tantra alone, something like an eighty percent synonymous identity with many of the most important Buddhist ideas, it is important to keep in mind that Buddhist Yoga has further amendments to what is discussed there. The most immediately recognizable is that the service begins with Vajrasattva. One is only told a limited amount about who he is. Since he is so widespread, you would think we might go into something showing him to be in the line of Manu or something, but instead I think he may only be in Buddhist tantra.



There is an interesting tantric origin from Alexander Berzhin which has been copied to a blog about Shambhala. It comes from:


Ancient Dhanyakataka Stupa at Amaravati, Guntur district, India.

On the full moon of March/April, the twelfth month counted from the time he [Shakyamuni] obtained buddhahood, the Buddha was teaching the Paramitayana at Mount Vulture Heap. At the same time he manifested another form inside the great stupa of Shri Dhanyakataka, which is near Shri Parvata in south India where he taught the Mantrayana.



Allright. So the first vehicle or Yana is similar to Prajnaparamita Heart Sutra--he was at Vulture Peak Mountain, and this is what was said. Being Buddha, he could with no effort simultaneously emanate a Manomaya Kosha or illusory or mental body and explain all the classes of tantras while projecting mandalas so that others could see them. He showed the Kalachakra Mandala and the Dharmadhatu Vagisvara mandala as a unit. Kalachakra is more like the Meru and Celestial Palace, and DDV is more like the sky/stars/asterisms/Dharmakaya. Buddha showed it on the floor and inside the dome of a stupa that was six kilometers high; we would guess he also mentally created this. The physical one dates from around 300 B. C. E.:


The location where Buddha Shakyamuni taught the Kalachakra tantra lies near the ancient town of Amaravati, situated few kilometers away from Guntur on the south of the river Krishna. From the 3rd BCE to the 12th CE, the city was a flourishing Buddhist center.


But from studying the births of Devi as Durga, etc., we find this "Buddhist zone" is thoroughly intermixed with her. It also has a fivefold Shivaling:


Original Shivalingam is said to have been held in worship by the seven rishis - Kasyapa, Atri, Gowtama, Kousika, Bharadwaja, Vasishta and Jamadagni. These rishis are believed to be present in the seven tributaries of Godavari.


AMARAVATI is the site of a Buddhist settlement formerly known as Chintapalli, where a stupa larger than those at Sanchi was erected over relics of the Buddha in the third century BC, during the reign of Ashoka.



The Shambhala site has a few good pictures and map.

From general information, the revelation of Vajrasattva is due to the same location. It is to Nagarjuna and this time the tower is "iron", which must also be symbolic. In one version of the appearance of Vajrasattva:

According to Kukai's writings in Record of the Dharma Transmission he relates a story based on Amoghavajra's account that Nagarjuna met Vajrasattva in an iron tower in southern India (actually Vajrasattva had been there for centuries). Vajrasattva initiated Nagarjuna into the abhiseka ritual and entrusted him with the esoteric he had learned from Vairocana Buddha, as depicted in the Mahavairocana Sutra. Kukai does not elaborate further on Vajrasattva or his origins.

Elsewhere, Vajrasattva is an important figure in two esoteric Buddhist sutras, the Mahavairocana Sutra and the Vajrasekhara Sutra. In the first chapter of the Mahavairocana Sutra, Vajrasattva leads a host of beings who visit Vairocana Buddha to learn the Dharma. Vajrasattva inquires about the cause, goal and foundation of all-embracing wisdom, which leads to a philosophical discourse by the Buddha. The audience cannot comprehend the teaching, so the Buddha demonstrates through the use mandala. Vajrasattva then questions why rituals and objects are needed if the truth is beyond form. Vairocana Buddha replies to Vajrasattva that these are expedient means to bring practitioners to experience awakening more readily, and so on.



That is not quite as technical as many other examples where we can see something like Cunda is first mentioned in Karandhavyuha Sutra, which really is a sutra, in the exoteric sense, something to be copied and given to anyone. As to the "sutras" just stated, Vajrasekhara is eighteen mandalas based from Prajnaparamita Sutra, and the other is a tantra in its own right, Vairocana Abhisambodhi Tantra or VAT. However, if, as one of the first of its kind, it can be dated to ca. 650, then we also have to conclude that Dakini Jala Tantra is of this same age. And Vajrasattva is highly important in this.


Early in VAT, Entering the Mandala, Vajrasattva is:

Vajrapāṇi, Lord of Mysteries

who is "a vajradhara".

But in the Hodge translation, instead of being a name addressed to Vajrapani, the same sentence reads that whoever has accomplished Mahayana mantra practice is a Vajrasattva (cf II.13).

Vajrasattva is not mentioned but is mostly defined by the first chapter. The querent is usually addressed as Lord of Secrets, Vajrapani. So the general information implies Vajrasattva's name is being used where it is not, although everything, circumstantially, betokens him.

Vajrapani wants to insure that one can establish the first Bodhisattva Stage, referring to it as The Gate of Pure Bodhicitta. And the first stage itself is Vajrasattva, although it does not say that here. Part of the explanation is in dismissing all types of "self" and the known deities. Most of the first chapter is a steady application of Catuskoti. There is, however, a reprisal, because there is a distinction made between deities bound in karma, and deities such as Brahma who teach ordinary Nirvana--and this is accepted like a handshake to Buddha Dharma and they are called Jnana Sattvas of Vairocana. So then they can help you into the Bodhicitta, from which the entire rest of the Bodhisattva Path is an emergence.


It begins with Permission from Prithvi.

It accepts as a major operating principle the same from Pali Sutras:

Manas (Sakara Citta) which lives in the heart

According to Hodge, similar to Agni of RV I.67.2.

This verse is similarly mentioned in New Light on Ancient India. It is also used in an argument that mantras exist and are simply being seen by Rishis.


When you read the Pali you get some assurance that this is something which is preceived by clairvoyance. Hrdaya Vastu or Heart Seed enters the physical plane with, so they say, seven permanent universal cetasikas or "minds", to which the many others are superfluous and delusional. It outlasts the body, and goes to its karma in the afterlife.


It is a little more clear with a few neighboring lines from I.67:


Like secure foundation  leading straight to a goal, like auspicious will , the perfect in thought {he} has became the Hotar , the carrier of offerings {to the gods}.

Holding in hand all the divine powers , seating by secret cave , may {he} uphold the gods in strength.

Then men , holding the thought, know, when {they} declared mantras formed by heart.

Do protect beloved regions  of the herd, O everywhere living , O Agni , {for thou always} goest by the secret place  to the secret place .

{That man} who has awared {Agni} dwelling in the secret place , {is} he, who has sat to the stream of the Truth ,



In VAT, Supra-mundane Mind is commented as having Akara and Nirakara states in I.23.

The condition it is trying to reach is Prakriti Parishuddha, natural citta without the modifications of manas, amanasika.

And so there is an almost exact parallel. Both supra-mundane minds lack impurities, therefor they are Pure, which is a lot like Lakshmi's Pure Creation, because Nirakara is much like Vasudeva, and Sakara is much like Samkarsana. Ratnakarasanti perhaps single-handedly instrumented something similar to Lakshmi's Pure--Impure Creation. Roughly put, he says that to enter the objective world and communicate with Listeners such as on Vulture Peak Mountain, even Buddha at that point experiences a slight error based on the simple perception of the same forms as do the beings around him, in order to communicate with them. So there is some impurity. That is a bit more like the Pradyumna and Aniruddha Vyuhas. The Three Natures of Yogacara are quite a bit like the Vyuhas, except they are being expressed as the always-on personal use of them, instead of as how they existed prior to one's birth.

Another of Ratnakarasanti's devices is to say that when you "have" this first Bodhisattva stage, that "is" Prajnaparamita, *and* she grows and develops the disciple. The main sense of her from most commentaries was that she was the "other side" in a sublime but distant manner, severed from the practitioner's mindstream until some incalculable aeon.


Eventually in VAT, Vajrasattva mantricly becomes Canda Maharoshana. This name however is shared with Vajradhara--Vajrapani as well as Acala. And so we are hard pressed to view Vajrasattva as much other than Peaceful Vajrapani, who only has this aspect in a couple of Sarvadurgati Parishodhana mandalas, and strongly resembles Vajrasattva. The only difference that comes to mind is that Vajrasattva is supposed to be hypostasized from Vajra Family into his own, at which point he can also be seen as a Dhyani Buddha having his unique Bodhisattva, Ghantapani. Varuni is effectively a Bodhisattva for Mamaki for that matter.




The commentary says you can understand the whole tantra from the title:

Vairocana Abhisambodhi Vikurvita Adhisthana

and that it is a system that works on "any deity". Because I understand how Abhisambodhi works, and this is saying you make a consecratory bond to different kinds of them, it is not that hard. One of the more basic Parasol dharanis conveys Sarva Buddha Adhisthana; and so it is not that hard to invoke the possibilities. If you see how that works, she has just flashed Minerva-like through all these Vairocana-class tantras.

The beginning line of VAT probably should not have anything attached to it such as "thus have I heard", because the audience is Vajradharas and Bodhisattvas, not Listeners and various other disciples. These Bodhisattvas "have the nature of realization", i. e. this is ocurring at the Bodhimanda or seat of enlightenment spontaneously; it is an event, not the tale of one. It is a verb. The querent is Vajrapani, who, if understood as Vajrasattva, means that it is the practitioner themself asking questions and receiving instruction. The Chinese version lacks awareness that it is just supposed to "start" without being "introduced".


The extensive commentary is from Buddhaguhya, who uses a lot of Yogacara terms, and thereby is thought to perhaps be an early exponent of a then-nameless synthesis of Madhyamika and Yogacara, later to be called Nirakara by Ratnakarasanti. According to the Introduction, Buddhaguhya was the teacher of the following influential lineages:


Jnanagarbha-->Santaraksita

Vimalamitra

Lotsawa Vairocana who received Mahayoga Maya Jala-->Haribhadra (?)



Here, Vajrasattva seems to already be well understood as being like a Vidyadhara, a Mantra Being. Comparatively, we can only suggest one, to us, unpublished, likely-older source, one that is still notably abundant in the ca. 11th century practices of Bodong Panchen:

46. Mandalas of the Paramadya Tantra.
47. Paramadya Tantra.
48. " "
51. Paramadya Tantra.
52. Paramadyaguhyavajrasattvamandala.
53. Paramadya Tantra.


Also, Tucci studied Gyantse Kumbum near Sikkhim featuring a very interesting Vyuha of Vairocana along with identification of his forms or mandalas from various tantras; includes the realization that STTS Chapter Two can be overtaken by "Vajrini or Vajradhatvishvari", and Paramadya is mixed in with the Vairocana Yoga mandalas.

Ratnakarasanti quotes Paramadya in Khasama Tika to state that Khasama is the root or Uttara Tantra of them all. It is said to be in Apabrahmsa of the Siddha Tradition.


Vast Space of Vajrasattva (i. e. Khasama) is listed in Vairocana's original basket of transmissions.


Since most of the Sarma Tantras define Vajrasattva as the union of Heros and Yoginis, then it turns out that Sachen identifies dakinijalasamvara with Sri Khasama Adi Tantra, "the legendary root text of this tradition".


So the chronicle of Vajrasattva, at least in terms of the sequence of which the known manuscripts quote from or rely on each other, you would have:

Khasama-->Paramadya-->Dakini Jala


It seems to me, however, this might be the written form of a "simultaneous milieu". If we look at the Khasama which has come to us, it is not a 100,000 verse root tantra, in fact, you could almost call it Vajrasattva's doctrine that lacks sadhanas or mantras that would deserve the title "tantra". Paramadya is definitive towards Vajrasattva as Prajna--Upaya and emanates deities which are said to be used in several other tantras; this seems to be along the lines of Offering Goddesses, particularly music and dance. For example, if Paramadya is 300-ish in the canon, it is still represented in a much later work:

dpal mchog lha mo bcu gnyis dang rtse mo'i gsang ba yum bzhi'i mchod gar

Content synopsis: directions for the sacred dance performances (nrtyapuja) performed by the 12 devis of the paramadya tantra and the four guhyamatr of the vajrasekhara tantra
toh: 5128


Nothing about Vajrasattva appears in the early (ca. 300-600) dharanis taken to China. There are Matangi and Mayuri, who have their own Sutras, and even VAT calls itself a Sutra, not a tantra. Around 600 you see Mahabala. That is the first, closest thing that resembles a "system of Vajrasattva" since he is a major part of the Wrathful Ones. In turn, Mahabala is said to cite mantras from Vidyottama Mahatantra (362 manuscript pages). We have been through this; Davidson shows it is original for gathering the Seven Mothers to Vajrapani. And then it becomes the backbone of Vajrakilaya. In the words of the critic who finds them similar to the yoginis of Heruka:

Here the tathAgata, calls the Astika goddesses rAkShasI-s and asks them to be a part of his maNDala, surrounding the bodhisattva vajrapANi. They are to be worshipped on the day before a full-moon with mada, mAMsa and rakta by a bauddha mantra-vAdin in order to attain extraordinary siddhi-s.

That suggests a pre-600 tantric Vajrapani related to Kila as the basis for Vajrasattva and related tantras.

The terton Kila lineage describes itself as:

primordial Buddha Samantabhadra to Vajrasattva, Vajrapani, Karmendrani, Padmasambhava...

Dakini Karmendrani (Skt. Ḍākinī Karmendrāṇī; Tib. མཁའ་འགྲོ་མ་ལས་ཀྱི་དབང་མོ་, Khandroma Lékyi Wangmo, Wyl. mkha' 'gro ma las kyi dbang mo) — the dakini to whom Vajradharma entrusted the teachings of Kagyé which had been sealed in caskets and placed within the stupa of Shankarakuta (Tib. Deché Tsekpa) in the Cool Grove charnel ground in India. In turn she entrusted these teachings to the eight vidyadharas.

Leykyi Wangmo, Skt. Karma Indranila, Karmeshvari.

She is also known as Kungamo (kun dga' mo)

Kungamo (Skt. Anandā; Wyl. kun dga' mo) - the chief of wisdom dakinis also known as Lekyi Wangmo, Nyida Ngödrub or Sangwa Yeshé.

Guhyajñana (Skt. Guhyajñāna; Tib. གསང་བ་ཡེ་ཤེས་, Sangwa Yeshé, Wyl. gsang ba ye shes) is also known as the Secret Wisdom Dakini, or Vajrayogini.

Sukhasiddhi of Chod, and Sun and Moon Accomplishment, Suryachandrasiddhi.

According to Himalayan Art:

Teachings related to the Secret Wisdom Dakini or ‘Sangwa Yeshe Khandro’ in Tibetan, are believed to have been hidden shortly after Padmasambhava transmitted them to King Trisong Detsen, Princess Yeshe Tsogyal and the great translator Vairotsana.


There is a Dakini Jala commentary attributed to Indrabhuti, which tells us:


The time for the ganacakra is at one of the two twilight periods on the eighth or fourteenth of the waning moon or the eighth or tenth of the waxing moon.


Jamgon Kongtrul says "Indranala" has an Exposition of Dakini Jala. It is said to have four creation stage yogas on p. 79, which are identical to those in the Yamari Tantras:

The manifestation of Vajrasattva
Should be declared to be the yoga.

The particular deity of a concordant cause
Is referred to as the subsequent yoga.

The manifestation of the entire retinue
Is the meditation of the superior yoga.

The consecration of the deity’s eyes, and so forth,
And that of the awakened bodies, voices, and minds,
Drawing in the pristine-awareness mandala,
Tasting the nectar, and worship by means
Of vast offerings and words of praise:
These are considered to be the great yoga.

In that way, these four yogas are expounded in the Yamari cycle of tantras.
The Buddhasamayoga sets forth [four yogas whose] names and meanings
for the most part correspond to these.


Vajrasattva Yoga is the basis of Mahayoga or Heruka Yoga.



Dakini Jala speaks to the subtle body, whereas Vajrasattva as involved with Kila has more to do with Simha--Boundary. This has much to do with the fifth or Karma Family.

At that time, Padmasambhava of
Oddiyana said to Ye-shes mtsho-rgyal:

"Varakila is the manifestation of heroic power. The son of the non-dual
union of the mother Samantabhadri with the most mighty all-pervading
excellent heruka whose form encompasses all the Buddhas. During times of
peace he manifests as Vajrasattva and his mind abides in tranquility. As for
his family lineage: his is the Activity Family of Karmaheruka. During times
of activity he manifests as * Ativinasanavajra (Vajra of Total Destruction)
and when manifesting as a bodhisattva, he is Vajrapani. Thus he takes on
whatever form is appropriate for the conversion of living beings. His
manifestations are inconceivable and all Buddhas are embodiments of
Vajrakumara. Within the dharmakaya which is the essential nature of all
the Buddhas are all the infinite possibilities that could be wished for. One
should meditate unwaveringly upon that dharmakaya, viewing it as the
assembly of Buddhas. All deities are complete within the form of
Vajrakumara and the purpose or meaning of Vajrakumara is complete.


And so without trying to deny that is part of his hypostasis, the main point of Vajrasattva in his own name is that he represents a sixth Family, his own.


From Gods of Northern Buddhism:


The position of Vajrasattva in the Mahayana pantheon is difficult to determine. He is looked upon as the spiritual son of Akshobhya, and is at the same time Tsovo or chief of the five Dhyani-Buddhas. M. de la Vallee Poussin identifies him with Vajradhara. Eitel calls him the sixth Dhyani-Buddha of the Yogacharya school.

As sixth Dhyani-Buddha, Vajrasattva presides over the Yidam, and has the same relation to the Adi-Buddha that the Manushi (human) Buddha has to his ethereal counterpart or Dhyani-Buddha. The sixth sense is believed to have emanated from him, as well as the last of the six elements of which man is composed — the manas, or mind (v. The Dhyani-Buddhas).


The Svabhavika sect in Nepal identified Svabhava (Adi-Buddha) with Vajrasattva, who, according to the Nepalese Buddhist writings, manifested himself on Mount Sumeru in the following manner. A lotus-flower of precious jewels appeared on the summit of the mountain which is the centre of the universe, and above it arose a moon-crescent upon which, 'supremely exalted', was seated Vajrasattva.

It is not probable that the image of the AdiBuddha Vajrasattva is here meant, but rather the symbol which designates the Adi-Buddha, a linga-shaped flame. If the moon-crescent, which arose above the lotus-flower, is represented with the flame symbol in the centre, instead of the 'image of Vajrasattva', it forms a trident. The special emblem of the Svabhavika sect was a trident rising from a lotus-flower, which, if we accept the above hypothesis, symbolized the manifestation of Vajrasattva as Adi-Buddha on Mount Sumeru.



She has identified him with Sumeru or Mt. Meru, as if his origin is in meditation. Further examination extends this to the Swayambhu Lotus, which means that Manjushri visited it with Vajrasattva in a vision, which led to him breaking open Chobar Gorge; and this is accepted objectively as a geological fact of ca. 30,000 years ago. Over time, he inspired the emigration of Kiratic peoples, who are generally synonymous to Nagas.

To translate him as "diamond being" or the like uses a lesser etymology of "sattva" derived from:

Śad (शद्).—I. 1 P. (but Ā. in conjugational tenses) (śīyate, śanna)

1) To fall, perish, decay, wither.


Sad + tva = "you perish", which can mean an animal, or almost any kind of being.

The main derivation is Sat + tva, "you are the rarefied Guna of harmony".


Prajnaparamita Sutra sort of allows both ways to explain "bodhisattva":

Sattva is either a being or a great mind.


From the definitions of his antecedent, Vajrapani, there is one which is an interesting form of Avalokiteshvara:

Vajrapāṇi again is identical with [Piṇḍapātra Lokeśvara], in all respects except that here the god holds the Vajra on his head with his right hand, while the empty left is held near the navel. The attitude in which he stands is also different. He shows the dancing attitude in Ardhaparyaṅka.



In general they have no clue about what we have the entire map of information for:

The iconographic group of Vajrapāṇi and the eight Nāga Kings is so far scarcely studied.

The joint use of their images in one maṇḍala can be connected with a legend on the taming of a gigantic serpent by the Buddha in Uddayana when he appointed Vajrapāṇi the protector of the nāgas against their enemies Garuḍas. At the same time, Vajrapāṇi is a commander of the Nāgas and can be depicted in the wrathful form.

in Sanskrit epithet of Indra; in Pali Vajirapāṇi is name of a yakkha, also of Indra, the two being identified, at least sometimes



We have not yet posted the Cemeteries and how Janguli is just about an effective parallel to this Naga circle elusive to non-initiates. It will be.



Vajrasattva is not a captured or converted Hindu entity.

His nature is described a little more closely in an article on Padmasambhava about Buddha Nature:


Therefore, there is potentiality within everyone to become a Buddha. Its nature is of name and form which are the vital breath and mind. This is called Vajrasattva (Vajra-being) in Vajrayana. We have to understand this very well, otherwise our prayers to the desired gods/deities will not be successful. The nature of the name and the form of an individual is the vajrasattva from the time immemorial. It has neither beginning nor end. If there is beginning, its cause must be given, for which there will be the fallacy of its beginning and the fallacy of its eternality. It is natural that there is an end to which there is a beginning. Thus, it will be the fallacy of nihilism and there will be the fallacy that achieving Buddhahood is like extinguishing of a lamp. Achieving Buddhahood will be in vain in that condition. Therefore, it is said thus in Namasamgiti;

anādinidhanobuddhaādibuddhoniranvaya/
jňānaikacakṣuramalojňānamūrtistathāgataḥ//

If we are a part of a god, we too must have inherited godly knowledge or there must be a portion of the paramatman in this atman, because the qualities which is in the entirety, the same qualities must be there in its portion. Thus, the fact that everyone has the potentiality to become is substantiated. Therefore, the Buddhists accept that just as there is oil in a mustard seed, butter in milk, similarly, Buddha-nature exists in every sentient being. You can meditate upon your desired deity. You can invoke your desired deity and worship, and you can accomplish the welfare of both the self and other. Even today, the Thus-gone (tathaga) Buddha is with us in the form of dharma body.



Vajrasattva is the practitioner themselves with respect to Buddha Nature practice.


And so in yoga practice, most deities should be front-generated. Vajrasattva is the major exception, who is suggested to go on top of your head. He has a lotus throne support which sits on your head. If you put your hand on top of your head for at least thirty seconds or so, when you move it away, you can still feel a cap of warmth. Vajrasattva is similar to this. A very good description of how he works was given by H. H. Gyalwang Karmapa:


Many people, when they hear of the highest stages of Dharma study and practice, such as “emptiness” or “mahamudra” want to study and practice them immediately. However, without a stable foundation, which is the essential prerequisite to such advanced practices, even if they were to study or practice them, they would not be able to experience their profundity.




There are two main traditions of Vajrasattva in terms of preliminary practices. For mahamudra in the yoga tradition, Vajrasattva is usually a single deity. For the Six Yogas of Naropa in the unexcelled yoga tantra, the coemergent Vajrasattva has a consort.


Those are equal. We are simply learning Six Yogas. We are probably only doing two of them. It is ok for us to know that there *is* such a thing as the co-emergent which means, so to speak, it has taken on a life of its own. Then we could do the fifth and sixth yogas. It may be reasonable to say we can practice Dhyana, which is still similar to most yogas, until we can understand and perform the subtle distinction he has made. Basic Vajrasattva is compatible with yoga or Yoga Tantra, which is the preliminary of Mahamudra. His whole article is likely worth reading, but, he does have a bit more about the Dhyana of Vajrasattva.


The Karmapa announces he will be discussing the visualisation for Vajrasattva and reads from the new text renamed The Torch of True Meaning. (p. 47 last paragraph). The text describes the usual Vajrasattva visualization: a white PAM above the crown of one’s head, transforming into a white lotus and the AH into a moon seat; on top is a HUM which transforms into a white five- pronged vajra with a HUM at the centre. Light rays radiate from the HUM making offerings to the noble ones and benefitting beings and are then re-absorbed to transform into Vajrasattva, inseparable from the root guru. And then the text describes the appearance of Vajrasattva, with vajra and bell, right leg forward, left leg bent, Akshobhya Buddha above his head, and mantra garland circling clockwise around a white HUM in his heart. Light radiates, inviting the buddhas and bodhisattvas who dissolve into the HUM and mantra.

But as the Karmapa comments on the visualisation, it becomes clear that he is expanding it infinitely to purify broken samaya for all beings. First he explains the tradition of visualising the white lotus with eight petals, just as it is: a pinkish stem, bluish green at its centre and orange stamens. In the centre of the lotus is AH, the first of the Sanskrit vowels, which looks like a bubble in water. That letter AH transforms into a full moon, the size of the centre of the lotus. The reason to meditate on the white lotus is that it rises unstained by the mud it grows in, representing renunciation from samsara. The full moon represents relative bodhicitta: the motivation to achieve buddhahood in order to bring all beings to enlightenment.

The Karmpa comments: ”If we look within, we see our own attitude is more like a crescent moon than a full moon. We only think about the needs of a few people and we do not have compassion for all beings. When our compassion is complete and full it is like the orb of the moon”.

When we visualize the moon we should visualise it as we see it, flat, and like looking into a mirror. not like scientists show it, like a piece of bread filled with holes and pock marks. The HUM on top should be a Tibetan or Sanskrit letter or even the letter of an old Chinese script. He emphasizes that it is not just the sound that is important but also the shape. The English letters, he says, don’t carry the meaning of the shape of the Tibetan or Sanskrit .

The white HUM, representing the non-dual wisdom of all the buddhas, transforms into a five-pointed white vajra standing on its end. This five-pointed vajra is like a clear white crystal, unblemished on the inside and outside. At the hub of the vajra is a small white HUM and this letter is also vertical, like a lamp in a clear vase. Light from the HUM radiates to all pure and impure world realms. We make offerings up to the buddhas and down to all beings. The light performs both functions.

At this point the Karmapa adds a vast and profound dimension to the visualisation.

On the tip of the light that radiates out there is a Vajrasattva that goes to each sentient being and comes to rest on the crown of their head. So we visualise that the light brings a Vajrasattva to each sentient being and the nectar flows into the crown chakra filling them and purifying their bodies. Then Vajrasattva dissolves into them so their three gates become inseparable from the body, speech and mind of Vajrasattva. The entire environment becomes the pure land and all sentient beings become Vajrasattva.

He points out that there is also another visualisation in kriya tantra in which light rays radiate and a Vajrasattva is on the tip. Clouds shower nectar on all beings, freeing them from the hell of heat and cold, freeing hungry ghosts from hunger and thirst, animals from the suffering of being dumb and mute, in effect, purifying all six realms of samsara and transforming all beings into Vajrasattva. The light also makes offerings to the noble ones: on the tip of the light rays are the offering goddesses which causes extraordinary bliss to arise in all the buddhas. The light then returns with the blessings of all buddhas and dissolves into the HUM. Alternately, we can visualise that the light invites all buddhas to return, and they dissolve into the HUM in the form of Vajrasattva.

This is extremely important.


From a few more remarks:


His right leg is extended so that the big toe of his right foot touches the fontanelle at the crown of your head, and nectar flows into your body.

As Vajrasattva is usually visualised with consort, what is the origin in tantra for this single male form? His Holiness cited three sources from Indian texts. This form of Vajrasattva is taught in a yoga tantra, theCompilation of Thusness. It is taught in the Sambhota tantra, which is an explanatory tantra about Chakrasamvara and Hevajra. Finally, it is found in the Secret Ornament of the Essence by the Indian mahasiddha, Jamphel Drakpa. In addition, in the Tengyur there is a sadhana for this form of Vajrasattva, also from an Indian source.



Vajrasattva has this unique role, which, in turn, is the qualification or basis for a Deity. When all the resources and so on are available, they run into this situation:


In the past few days we’ve had many empowerments. What should we do to practise? I’m not going to say practise this or that one. Instead if you have a special feeling of devotion then you should practise that one. It is not necessary to practise all the deities. Realise that you are not meditating on one individual deity, that each deity is a combination of all the qualities of the buddhas. We have to realise that all the deities have all the blessings of all the buddhas. They are not separate, solid, discreet entities.


Fair enough.

However, I would speak more strongly to the fact that Tara is extremely immanent and very useful. From experiencing what can be done with materials available in the west for quite some time, if one attempts something, does it work right?

Normal Tara: yes

Self-generation of Vajrayogini with all mandala components: not really.

Tara as usually shown is an aspect of Eight Fears Tara, and, this is the one that will restore mental and emotional disturbances. Most people actually resort to Buddhism due to Suffering, and, in that form of special human suffering, she is a panacea. But if you satisfactorily resolve most of those issues, are you finished? Of course not. It is not the same meditation, but, the same appearance of Tara will be glad to turn around and teach the Six Yogas, while, at the same time, function as a type of repair facility to your subtle body. It is mostly self-explanatory once you look a little bit at the different kinds of Taras. The complex Vajrayogini will not work right because, for example, we do not have the Dhanada Krama of Tara, which makes the majority of a mandala. And then this experience will always be kind of flat and pale as long as we lack Mahacina Krama, having to do with energy or Virya. This energy in turn may become agitating and uncontrollable, without Raudra Krama. These "terms" are more in multiple feedback loops than they are in linear order.



Vajrasattva is usually associated with the color of moon and being on a moon disk. He is not, as far as I am aware, said to be the subjugation of the moon god Soma. He does, however, seem to bear the essence of Full Moon.

Reginald Ray explains Vajrasattva Ngondro as Soma. Although he carries it forward so that Soma means the entire practice.

Garchen comments part of Vajrasattva Hundred Syllable mantra:

sutosyo or sutokhyo gladden me

khyo => to make known, announce
sut => extracting juice, making libations
sute => preparation of soma


Well, if they suggest it has to do with Suta, we just familiarized ourselves with the fact that it refers to Soma extraction and full moon sacrifice:

The Soma sacrifice; दर्शश्च पूर्णमासश्च चातुर्मास्यं पशुः सुतः (darśaśca pūrṇamāsaśca cāturmāsyaṃ paśuḥ sutaḥ)


One could argue against this if "make me joyful" was a preponderant everyday blessing, but, a related form is very rare:

Sutoṣa (सुतोष):—[=su-toṣa] [from su > su-tanaya] ([Rāmāyaṇa]) mfn. easy to be satisfied.


and as used in the dharani, "sutosyo" is barely a word at all. However the similar "suposyo" has several extant examples. They may have just slipped it in there somewhat inadvertantly as Soma. But if we go with the other derivation, although broadly meaning Joy, it will also run into "propitiation" in the form Sam Tosya:

After propitiating [i.e., saṃtoṣya] lord Śiva, the lord of all, by the power of her penance, your daughter will take away half the body of Śiva. By propitating [i.e., tosya] Śiva with her penance she will acquire the lustre of gold and will be known as Svarṇagaurī. Your daughter will be as fair-complexioned as lightning.




Soma in the earliest context of Ganacakra (Paramadya Tantra) in Ratnakarasanti's Ganacakravidhi looks like the transformation of impure substances.


Vajrasattvamaṇḍala (वज्रसत्त्वमण्डल) is defined in the ‘vajrahūṃkāra-sādhana’ chapter of the 9th-century Vajrāmṛtatantra or Vajrāmṛtamahātantra: one of the main and earliest Buddhist Yoginītantras. The maṇḍala of Vajrasattva, which is connected with (the teachings of) the Vajrāmṛta(-tantra), is endowed with the five ambrosias (pañcāmṛta), and implies the destruction of all the bad destinies.



Amrita, a wine extracted from the soma plant



To some, it is a sacrilege to suggest that it is really alcohol:

Brahma-saṁhitā 5.29

cintāmaṇi-prakara-sadmasu KALPA-VṚKṢA-
lakṣāvṛteṣu surabhīr abhipālayantam
lakṣmī-sahasra-śata-sambhrama-sevyamānaṁ
govindam ādi-puruṣaṁ tam ahaṁ bhajāmi

I worship Govinda, the primeval Lord, the first progenitor who is tending the cows, yielding all desire, in abodes built with spiritual gems, SURROUNDED BY MILLIONS OF PURPOSE TREES, always served with great reverence and affection by hundreds of thousands of lakṣmīs or gopīs.

Guys, if u want to taste this Vārunī, u should visit Jagannāth puri. They make this special drink. Yes, Balaram ji used to drink it (?) everyday. But what did he drink? No one knows.


According to Brinda:


It is said that Varuni, Sura, the goddess of alcohol took the intoxicating form of liquid honey which oozed from the hollows of trees in Vrindavan. So the entire forest was filled with the heady aroma of this honey. One day Balarama and the gopis drink this honey to their hearts’ content. Balarama gets intoxicated by the honey.


Varuni is highly similar to Lakshmi by having a perpetual love affair with Vishnu's brother.

When Vishnu is Krishna, the brother is Bala Rama or Hercules. Continuing with his description:


Balarama marries Revati, the daughter of king Kakudmi. But some texts refer to Varuni, the goddess of wine as Balarama’s wife.

holds a danda or a mace in one of his hands and wields a plough called Balachita in his other hand.

He increases the transcendental bliss of others and has extraordinary strength. So he is also known as Baladeva. When Devaki conceives Vasudeva’s seventh child, Yogamaya transplants the embryo from Devaki’s womb to Rohini’s (Vasudeva’s first wife) womb. So Balarama is known as Sankarshana or the ‘one who was dragged away.’


He also dragged the Yamuna River when it was unhelpful about cooling and refreshing him. After using the plough:


Yamunaji feels terrified and apologizes to him immediately when she realizes that Balarama is an avatar of Adi Ananta Sesha, the cosmic serpent of Time.






Ananta Sesha Nag is the thousand-headed serpent on which Lord Vishnu reclines. The Puranas say that Sesha holds all the planets of the universe on his many hoods and constantly sings the glories of Vishnu from his mouths. When he uncoils he creates the universe and when he coils back, the universe ceases to exist. We believe that Sesha symbolises Time.

When he saw his siblings, the nagas inflicting their atrocities on other creatures like Garuda, Sesha performs austere penances in various holy places. When Brahma appears before him, Sesha asks him for only one blessing – that he focuses on Narayana always. Brahma fulfils his wish and requests him to go to Patala and maintain the stability of the earth. Sesha agrees to do so.


Balarama's incarnation ended voluntarily by meditative trance and:


The people of Veraval, Somnath, believe that a great white snake emerged from Balarama’s mouth while he was meditating, went into a cave near the temple and disappeared into Patal Loka after that.







From a few other Balarama remarks:

Lord Krishna stated that due to being forcibly attracted to the womb of Rohini, He would be known as Sankarshana. He would be the source of all spiritual strength, bala that enables one to attain the highest bliss called ramana. Therefore the plenary portion Ananta (or Shesha) would be known as Sankarshana or Balarama.

Lord Balarama is the giver of spiritual strength. He is the gravitational force that sustains the planets in their universal positions. The one who bestows spiritual power He is the original spiritual master (Guru).


And so from the study of Lakshmi Tantra, we can recognize this as synonymous to the first part of the Vyuha. It is not identical to Shiva because the latter is an emanation by this Vyuha in Swayambhu Manvantara. The first Vyuha is in the Pure Creation. So it mainly pertains to the Formless Dhyanas. And so by implication, if you are succesful with Varuni--Mamaki, this Sesa--Samkarsana would not be an obstacle or barrier. Again, it is a matter of degree, since Varuni is a very special tantric deity, who is a descent from her own transcendental aspect.

The Lakshmi Tantra was rolling around in the back cabinets of the Theosophical Society in 1888, and, a little further along, a close correspondence was put in along the more traditional or i. e. Vaisnavite lines. It it something like an intra-Indian reply to English language Theosophy, that is, how he saw their terminology as corresponding to his Puranic system. It seems mainly have been intended "to" Annie Besant, and, with good reason, which she did not seem to comply with. In Esoteric Bhagavata Purana:


The following correspondences were given by Kapila to his mother
Devahuti. (III. 26 ).


------------------------------------------------------------------
_Upasya_ _Adhibhuta_ _Adhyatma_ _Adhideva_
------------------------------------------------------------------
Vasudeva Mahat Chitta Kshetrajna
------------------------------------------------------------------
Sankarsana Ahankara Ahankara Rudra
------------------------------------------------------------------
Aniruddha Manas Manas The Moon god
------------------------------------------------------------------
Pradyumna Buddhi Buddhi Brahma
------------------------------------------------------------------


_Chitta_ is transparent, without transformation, and calm, even as the
first state of water. III. 26. XXI.

"Transparent" -- capable of of receiving the image Bhagavat.

"Without transformation" -- without indolence and distraction.
_Sridhara_

Chitta is the abode of Bhagavat, _i.e._ Bhagavat is perceived by Chitta.
III. 26. XX.


Bhagavat, when reflected on Chitta, is VASUDEVA. He is the Purusha
seated on Ananta.

SANKARSANA is Bhagavat as reflected on Ahankara. He is called Ananta or
endless, as there is no end of individuals. He is Bhagavat as manifested
in every individual and may be called, in one sense, the Purusha of
Individual souls. Balarama is said to be an incarnation of Sankarshana.
As individuals proceed in their course of life journeys, they become
crystallised into separate entities, with a strong sense of personality.
The inner self, the real self, runs the risk of becoming swallowed up by
the outer self, the Upadhi of individuality. The point is reached, when
individuals are to be drawn back to their homes, their real selves.
Therefore Balarama used the plough to draw in others. This is a process
of destruction. The material nature is gradually destroyed in us.
Therefore Balarama is also called an incarnation of Rudra or Siva
according to Vaishnava texts. He is Rudra Himself. The fire from the
mouth of Sankarshana burns the Triloki at Pralaya. Sankarshana literally
means "he who draws in completely." The process of Pralaya has already
set in. The whole process of spiritual ascent is a process of material
Pralaya. According to some therefore, Vishnu and Siva united to form
Harihara, at the time of the Great Churning, when this process first set
in. When individuals throw off their material garb, or when, by Pralayic
force, their material cover is forcibly removed, they become fit to be
gathered together and to become merged at Pralaya in the One.


And so he largely deals with "monad" at least twenty times. Part of what is given is:

Marichi and
Kala have a special significance in reference to Jivic evolution. Does
the pair symbolise the sun's ray reflected on the Moon or the Atmic ray
reflected on Buddhi? Any how Marichi and Kala imply the divine ray in
the Jivas or Atma-Buddhi.

The monads of individuals are limited by the shells or bodies of
Kasyapa's line. (The word Kasyapa means primarily bed, seat). They come
through Purnima, daughter of Marichi. The sons of Purnima are Viraja and
Visvaga.

Devakulya is the daughter of
Purnima. She flowed from the washings of the feet of Vishnu and became
the divine river Ganga.


Kasyapa has to do with Tortoise or Bed of Life, whereas Purnima is generally Purniman or Purnamasa who is a male, and meaning Full Moon. So that part seems slightly erroneous. I am not sure there are any readings that support "daughter" here. If we look at a related daughter here, yes, the one that descends from Vaikuntha and becomes Ganges. When you look at a shakti circle that symbolizes the lunar digits, then, of course, one is the full moon, but, in terms of Puranic ancestry, it is male.


The basic view of the moon is in Brahmanda Purana II.28, Pururavas and Pitrs. In a reflexive manner, Pururavas is in the descent of Candra--Moon:



Tārā was pregnant then and Tārā confessed that the child in her womb was that of Candra. So when that child was born Candra took it away and named it Budha. Brahmā and other ṛṣis gave Budha a seat among the planets.

Budha married Ilā and they got a son named Purūravas.


Pururavas is involved with:

I shall narrate the acquisition of nectar from the moon as well as the propitiation of the Pitṛs; I shall mention the sight of the Pitṛs viz. the Kāvyas, the Agniṣvāttas and the Saumyas.


When the sun and the moon come into contact with the star, they stay in Amāvāsyā (New Moon) for a night in the same zone.

7. Then during every new moon day, he (Purūravas) goes to see the sun-god and the moon-god, his natural and paternal grandfathers.

8. After paying respects to them, he waits there biding his time. He waits for the exudations of nectar from the following moon, for the sake of the Pitṛs.

9. With a desire to perform the monthly Śrāddha, Purūravas, the learned son of Ilā, worships Soma (the Moon) Pitṛmān (one with the Pitṛs), after resorting to the heaven.

He imbibes the nectar oozing out from the moon for the sake of satisfaction for the whole month, by means of fifteen exudations of the nectar. During the dark fortnight when his arms get burned by (the Sun’s) rays (he pacifies them) by means of honey exuding from the moon immediately.

The "dark fortnight" is the sun's rays drinking the nectar or:

“Then, in the dark half of the month, having drunk (nectar) as it was being milked by the rays in that manner”.

He bodily re-emits it to the Cchedana or "cutters away" or devas who drink during that phase.



He seems to have a leaning towards the Deva Pitrs:

He propitiates the Pitṛs viz. Saumyas, Barhiṣads, Kāvyas and Agniṣvāttas.

The Saumyas should be known as born, of the moon (Somaja). The Kāvyas should be known as the sons of Kavi (Śukra). Upahūtas are remembered as Devas. Somajas are remembered as Somapās (Imbibers of Soma).

19. Ājyapās (Imbibers of oblated ghee) are remembered as Kāvyas. The classes of Pitṛs are three. They are of three classes namely Kāvyas, Barhiṣads and Agniṣvāttas.

20-22. Those who are householders as well as Yajvās (performers of sacrifices) are certainly Ṛtus and Barhiṣads. Those who are householders but are not Yajvās (performers of sacrifices) are the Ārtavas and Agniṣvāttas. The Kāvyas are Aṣṭakāpatis (lords of Aṣṭakas or the eighth day of the lunar fortnights for three months in which Pitṛs are to be propitiated). Now understand the five Abdas thereof.

Their Saṃvatsara is indeed Agni and Sūrya (the Sun) is Parivatsara. Soma (the Moon) is mentioned Idvatsara and Vāyu is Anuvatsara. Rudra is Vatsara unto them. Those five Abdas constitute a Yuga.

So, the Five Years are five classes of Pitrs who are really only "three kinds", since Rtus and Barhisads both perform Yajna, Artavas and Agnisvattas do not, and Kavyas are their own "moment" or like a quarterly divisin on the eighth day.

A note tells us:

In Śatapatha Br. II 6. 1.7, those who performed a Soma sacrifice are Somavantaḥ Pitaraḥ (probably Saumyas here-of); those wto offered cooked oblations like Caru were Barhiṣadaḥ Pitaraḥ; those who offered no sacrifice but were consumed by fire in cremation after death were Agniṣvāttāh Pitaraḥ. Cf. Vā. P. 30. 6-7.

Later, during the Smṛti period, the classes of Pitṛs increased and had different connotations. Thus here in VV. 18-23 Saumyas are sons of Soma and imbibers of Soma. Householders performing sacrifices are Ṛtus and Barhiṣads.The non-performers of sacrifices are Ārtavas and Agniṣvāttas. It adds one more division viz. Kāvyas, the sons of Kavi (Śukra?) who imbibe ghee vide VV. 72-73 below.




23. Those (Pitṛs) who imbibe the nectar in the heaven every month on the new moon day, are remembered as Kāvyas Ūṣmapās and Divākīrtyas.

24-25. As long as Purūravas was alive, he propitiated them with the nectar, since it exudes from the moon every month and it delights them it is nectar unto the Somapāyin Pitṛs, (those who imbibe Soma—the moon). Thus it is called Saumya Amṛta (nectar pertaining to the moon), Sudhā and Madhu (honey).





On being drunk thus by all the Devas, the moon reaches a point on the New Moon day when it remains with only a fifteenth part. On the New Moon day, it is developed by Suṣumnā duly. Then, for a period of two Lavas, the Pitṛs drink the nectar. With a single ray (i.e, the Suṣumnā) the sun develops the moon when, it becomes reduced on being drunk. Again the Somapāyins drink it. When all the digits are exhausted (the sun) develops the moon once again.

31. Day by day, in due order, a part (a digit) of the moon is developed by the Suṣumnā. The black digits become reduced and the white ones develop it.

It is in this manner that the Moon is Pitṛmān (one with the Manes).



Then there is a sharp distinction to "other Pitrs" of a monthly Sraddha:


It is, not possible to understand the movement, to and fro, of the dead persons even by means of well-known austerities. How then can it be understood by means of the physical eye?

These Laukika (worldly) Pitṛs are remembered after the Devapitṛs (divine Manes).

The Devas are Saumyas, Kāvyas, Ayajvans and Ayonijas. All those Pitṛs are Devas. The real Devas make them speak.

71. The human Pitṛs are those other than they and they are remembered as Laukikas namely father, grandfather and the great-grandfather.

If water libation is offered by the members of their families and their kinsmen, (the Pitṛs known as) Somalaukikas partake of monthly Śrāddhas and become contented. These (Pitṛs) who partake of monthly Śrāddhas are Manuṣyapitṛs (Human Manes).

There are some Pitṛs other than these.

If three Piṇḍas (Balls of rice) are given to them on Darbha grasses not by the left (i.e. by the right) by their kinsmen on the ground by reciting their names and Gotras (lineage) they delight those Pitṛs who are stationed in the places of ghosts.


Pitru Paksha starts one or two days after Ganesh Visarjan. Pitru Paksha is also known as Mahalaya Paksha. The last day of Pitru Paksha is known as Sarvapitri Amavasya or Mahalaya Amavasya. This is the most significant day of Pitru Paksha.

That is the moonless or "new moon" day in western terms. This and the eighth of the dark fortnight are the general Pitris Sraddha days. In India, "new moon" usually means "first crescent", and so there are tehcnical terms to distinguish whether
it means "no moon" or "new light".

Amāvāsyā is the dwelling together, i.e. the conjunction, of sun and moon, an astronomical expression which was adopted in the common language of the people at a very early time. It does not occur, however, in the Ṛgveda.

That which falls on the fourteenth day is called Pūrvā-amāvāsyā, or Sinīvālī, that which falls on the pratipad, the first day of the new phase, is called Kuhū, Uttarā-amāvāsyā.

Only when two of its kalas remain, the moon enters the orbit of the sun and stays in the ray called amā and hence the period is amāvāsyā, fit for śrāddha.

Unknown as a deity in the Ṛgveda, an entire hymn is dedicated to the goddess Amāvāsyā, the New Moon, in the Atharvaveda. There she declares that the people of good deeds like Indra dwell in her. Amongst them are mentioned, perhaps for the first time, the Siddhas, the mythical precursors of Tantric adepts. She has generated the universe and gives men nourishing food (puṣṭa) and wealth (vasu).





In VAT, Buddha says we should do the Fierce Rites on the 8th or 14th day of the New Moon with Saturn or Mars in the Lunar Mansions Hasta, Citra, Asvini, Uttara-phalguni, Punar-vasu, Svati. Cf. preview of Hodge translation, whose contents are on Worldcat. This is different from the Chinese version which is in full pdf, so one can see everything about Agni.

Actually the whole Hodge pdf has been posted. And so this Fierce Rite comes from Section III Uttara Tantra, which is not included in the Chinese version. The Chinese one stems from a 1991 start on what is now the Kumarajiva Project.

To summarize the Fierce Rite:


One becomes Vajrasattva, takes possession of the rite with Acala, and becomes Vairocana. Then crafts the mandala, placing Ha, which becomes Trilokyavijaya.

Yama becomes his spear, replacing Akasha-garbha. Aparajita becomes an Axe, replacing Urna; Amogha-pasha, Ekajata, Hayagriva become Noose, Axe replacing Bhrkuti, and Mace replacing Arya Tara, Candra-tilaka is the Vajra, Yama + Kalaratri replace the Pure Abode, Nirtti is the Sword. So this has turned the Peacefuls into Wrathful entities of death and night.

One then becomes Vajrapani, makes offerings, and then becomes Maha Vairocana. A Wind mandala with Hum is placed at the hearth. Hum becomes Agni whose body image is Acala. Offer to Agni and invoke: Om Agnaye Jati Trat Hum Phat. After ritual procedures establishing Agni, one brings back the tutelary deity and purifies with bodhichitta. Wrathful fires of Agni are thus available to one's ordinary Yi-dam Lha on an everyday basis instead of just the special occasions.



In a synonym for Crescent:

the Nath tradition of abadhut (Siddha Sidhanta or Vijnana Bhrairavi) teaches that the full head center can only work in a certain way, secret of the throat. Here is what they say.

Ajna is the seat of Triple A-U-M. This center can prevent sliding lower, but cannot get one higher. That is the privelege of the Throat. Nirodhini is the barrier, Ardhachandra is the unified consciousness that lets us proceed. The bindu proceeds to Talu and Visuddha.



In Buddhist tantra, he presides the highest Pithas of the Four Dakinis:


Vajrasattva (वज्रसत्त्व) is the name of a deity presiding a group of four sacred districts, according to the Abhidhānottarottaratantra and the 9th-centruy Vajraḍākatantra.—Accordingly, Vajrasattva presides over the districts Pullīramalaya (Pūrṇagiri), Oḍyāna (Oḍyāyana), Jālandhara and Arbuda.

Mahāvīryā has for her husband the hero (vīra) named Vajrasattva. She is the presiding deity of Kulatā and the associated internal location are the ‘knees’ and the bodily ingredient (dhātu) is the ‘snivel’.



He looks "doubled" in Dakarnava Tantra's Vajracakra, which is the Pithas plus eight armor-esque yoginis:

Mahāvīryā & Vajrasattva,

Kāminī & Jñānaḍāka,


since Jnana Daka is his synonym as "sixth daka".


I had not noticed this, but, Genesis and Development has a Dakarnava Tantra fragment which pretty clearly uses Varuni. Actually she is right in the wake of Kolhagiri Mahalakshmi in the way it describes Pithas.





First, the Dakarnavatantra explains the site Attahasa as follows: atha kankalayogena
dese dese svayonija[...]

attahase raja devi nayaki sarvayogini / tasmin sthane sthita devi mahaghanta kadambadrume //

tasya devi sada virah ksetrapalo mahabalah / kankalasukhamaya sa sambhavanti mahatmanam //

mudranam tesu kankalam odyanarandhrato gatam / svadhatusthitavijnanam sarvadesagatam kramat //

[in the sadhanas, we have found Harsa or Humor or Laughter as a Mood and attribute of Mahacinakrama deities, who then elevate it to Attahasa which is obnoxiously loud laughter. This characterizes Buddhakapala. In most of the basic Pitha systems, what I had noticed is on one hand, Cinnamasta is kind of stashed away in there, and, the male aspect seems to have an unmentioned hypostasis based on Kankala or Skeleton, which is also a form of Shiva. Here, we are starting with Attahasa which is related to Kankala Yoga. There is also such a thing as a Siva Attahasa.]

[the Vajradaka version is approximately similar, but has "devi raja = devi viraja". Furthermore, where Dakarnava has one verse referring to Kankala, Vajradaka instead calls it the dakinis of Vajramandala, and runs through a brief mnemonic similar to the prior Pitha system.]



After the above, names of other twenty-three sites are enumerated as follows:

kollagiri-varunyam ca devikota-virajakam...

It may be that the
last sentence "pulliradye tu caturvimsatipithake" intends that the twenty-four sites begin-
ning with Attahasa in question are another forms of the twenty-four sites beginning with
Pulliramalaya (= the first typological tradition).


[that is what we would expect after reverse-engineering terms such as "locanadidasavilasinis", the "locanadi" means "Locana and others in this retinue; and it is re-used, such as Lasyadi, Puspadi, and so forth, which are like abbreviations for groups you are familiar with. Because the Dakarnava is an increase and expansion to the standards of Vajradaka, Vajravarahi, etc., we would expect it to express a comparison like this.]



Subsequently, abodes of goddesses residing in the above twenty-three

sites are explained as follows:

[including trees, such as asvattha, udumbura, etc.]


Following the above, information on the lineages or the origins of goddesses

is given as follows.:

rajoyoni-ucchusmangam mahabala-yogalayam / kapalam rajah-
pracanda yoni-vlra-ucchusmangam // mahabale rakta tatha yoni-vira-saktibhava /
yoni-somasambhava tu mahabalakulodbhava // bhimavaktrodbhava caiva meda-
mahaksatajaka / kusumayonibhyam tatha punar eva padasmrtam // esa kulodbhava
devi sahajarupi [= -pa] kanyaka //


[firstly that reprises the substitution of the first Pitha as in Vajradaka:

Pracaṇḍā has for her husband the hero (vīra) named Khaṇḍakapālin. She is the presiding deity of Pullīramalaya (Purnagiri).

and it seems to be explained by equating it to Ucchusma Mahabala Yoga. Red Mahabala is related to Vira and Sakti, but then we see Soma for the generation of his Family. Finally it appears to be the Kusuma or Blossoming of Yoni, probably the kinds just mentioned, that gives the family of Sahaja Kanya--which would be the Bharati of our outer progression. So this "origin information" is really a practice and not a legend. So far, Mahabala started like any ordinary directional guardian, morphed into a superior form, and has an escapade resulting in the actual Underworld, a mandala full of Fire, as well as, apparently, the ability to propel the Dakarnava Pitha system into the state of Sahaja.]


When we see in the other Pitha systems that Pracanda is distinguished from Candi, then it most likely means this specific one:

Chhinnamasta (Sanskrit: छिन्नमस्ता, Chinnamastā, "She whose head is severed"), often spelled Chinnamasta and also called Chhinnamastika and Prachanda Chandika.

Chinnamastā (छिन्नमस्ता, “the beheaded”): She represents the Power (śakti) of the Sacrifice. She rules over the Pañchamahāyajña (“five Great-Sacrifices”) that every human is indebted to enforce at every occasion. Those five sacrifices represent the continual expressing of gratitude to all those who facilitate our existence.

Pitṛiyajña (sacrifice for the ancestors),
Devayajña (sacrifice for the gods),
Brahmayajña (sacrifice for the Supreme),
Manuṣyayajña (sacrifice for fellow human beings),
Bhūtayajña (sacrifice for the elements and animals).

Because Cinnamasta is really a verb, an action, the head is cut by the rite, she does not walk around like that, then she may as well use a synonym like Pracanda for her intact form. I think that is what is going on here. This Pracanda is Vira or energy, and, while you are building that, you are learning her other synonym, Trikaya Vajrayogini. When that is built up enough, you can do the actual Cinnamasta. Instead, we are trying to directly spawn Vairocani, her progenitor.

It is only at this point that the Dakarnava gets back to what would have otherwise been "next in list" in Vajradaka.



Then, details of goddesses and land-protectors residing in the above twenty-three

sites are given as follows:

(Information on Kollagiri) mahalaksmy agnimukhi ca ksetrapalo varananah /
agnimukha-m iti khyatah kankalasukhavedakah // tasya cyavanagrahano [ -na]
yogini dvayakam sphuret /


[here we find a Puranic character, Cyavana, a Bhargava, and so by "graha", it might mean his planet, Venus. But it has another meaning with him in a fairly famous way. Cyavana had gotten really old and decrepit, and his youth was restored by the Aswins. So, in his next rite, he decided to offer them a portion of Soma. Indra really does not like the Aswins, shows up and tries to stop it, attacks Cyavana with his Vajra, and falls out numb and paralyzed.]


A Harvard article shows this tale can be traced to multiple sources in Rg Veda and other works. Starting from Skanda Purana I.282:


8. Cyavana took up the Soma juice for the sake of the Aśvins. Indra restrained him saying, “Do not take up (offer) the Graha (share in the Yajña) for them.”


So, Cyavana's Graha would rather more specifically be an Aswins Offering. After Indra is overpowered, Cyavana returns to the Homa a little bit differently and:


19. It resulted in the creation of a Kṛtyā from the Yajña, thanks to the power of the penance of the sage. It was a huge Asura with very big physical form named Mada.


1) Kṛtyā (कृत्या).—(KṚTYAKĀ) I. A Rākṣasī who is born when the black arts as enunciated in the Atharvaveda are practised to annihilate enemies. Kṛtyā may appear in male form too.




1-2. On seeing the demon Mada of a hideous face rushing towards him with a wide open mouth like the god of Death, as though he would swallow him and licking the mouth (with the tongue) frequently, Lord Śatakratu became paralysed physically out of fear, O great goddess. He was extremely frightened and bowed to Cyavana and said:

3-6. “From now onwards, these Aśvins are entitled to Soma juice, O Bhārgava. What I am telling you is entirely true. O ascetic, let not your undertaking be futile. I fully know, O Brāhmaṇa-sage, that you will not do anything that is unfruitful. These Aśvins will become entitled to Soma juice again in the manner they have been made today by you. I did all these things so that, O Bhārgava, your power shall be revealed once again. I wanted the fame of the father of Sukanyā to spread in the world. So I revealed your power. Hence be pleased with me. Let everything be as you wish.”

7. On being told thus by Śakra, the anger of Cyavana subsided. The prestige of the Lord of Suras was kept up.

8-10. Indra (or Cyavana) divided Mada among spirituous liquors, women, dice and hunting. The powerful Bhārgava deposited Mada created earlier into all these. He propitiated Śakra with Indu (i.e. Soma juice). He performed the Yajña on behalf of the king unto all the Devas including Aśvins. O lady of excellent complexion, he thus proclaimed his power all over the worlds.

Then he sported with Sukanyā in the great forest. O goddess, this Liṅga is associated with him bearing the name Cyavaneśvara.

11. The Liṅga installed by Cyavana is destructive of all sins. He who adores it in accordance with the injunctions shall attain the benefit of a horse-sacrifice.

12. Hence the sages frequent the Tīrtha of Candramas (Moon-god). Those sages are called Vaikhānasas and Vālakhilyas.

13-14. A man should perform Śraddha [Śrāddha?] duly here in the month of Āśvina, especially on the Full-Moon day. He should feed Brāhmaṇas separately. He will get the merit of visiting a crore of Tīrthas. There is no doubt about it.

A man who listens to this sin-destroying story shall become free of the sins of the entire life.


Satapatha Brahmana uses a similar story without any fight; it describes the mixtures of Soma, which is Vrtra, and cups, for each pouring such as for Mitra--Varuna, and then here:


The Āśvina graha, forsooth, is his organ of hearing; hence in drinking it he turns (the cup) all round, since with that ear of his he hears all round.

The Aswins cup has three mouths so you rotate it between drinks.



Back to the Dakarnava, most of its other Pithas are given in sets, the next being:


(Information on Varuni and Devikota) lankesvari cordhvakesi ksetrapalo mahotkata/
urdhvakesa iti khyata kankalasukhahetukah / sesam purvokta vijneyam
visesam varayogini [= nyah] // karnamoti ca raudra tu kestrapalo mahadeha /
hetukah paramesvara maharaudra athapi va / kankalasukhasunyesu vineya
paramam

[Here it has just told us that Varuni has Lankesvari. She is responsible for Upswept Hair. This feeling is the cause of bliss for Kankala. Sesa is her first meditation, for what is probably equivalent to Variyogini or Water Yogini in other texts. Varuni is the name of the Pitha itself. Then Karnamoti is effectively the cause of Paramesvara, which leads to bliss and voidness for Kankala.]


In almost all prior tantra, Lankesvari was in Devikota. There was no Varuni Pitha. The next set is Viraja and Airuni. Those were not either. In fact it only contains maybe about five that were used before. In Nagara, there is Vetali, and, at Pundravardhana, Camunda, who causes Nrtya or Dance. All of these sites have some aspect of Kankala Yoga in them. There is a Shaivite Kankala Malini tantra mainly based in Mahakali. The Kankala-Malini-Tantra describes the deities like Kamini, Dakini, Rakini, Lakini, Kakini, Hakini, etc at different padmas.

In Dakarnava and in other sources, we find Paramesvara as a major goal, such as here. This is not a Buddhist deity or name of one at all.

The Pithas are actually pretty similar to those of Vajradaka Chapter Eighteen, about which is said in relation to Saiva tantras:

it preserves the classification of the goddesses of these sites as belonging to one
or other of the families of Rakta, Karali, Candaksi, Mahocchusma, Karala,
Dantura, Bhimavakta, and Mahabala, information that is revelant only in the
Saiva context, since these are the four Guhyakas and their attendants that form
the inner retinue of Kapalisabhairava and Canda Kapalini in the Picumata of
the Vidyapitha and are not encountered to my knowledge in any Buddhist
context outside this text-passage and its derivatives.

'Next I shall explain the [retinue] that begins with the
Guhyakas, giving their names and colours. In [this scripture,] the Ucchusmatantra,
the names of the Guhyakas are, without doubt, Rakta, Karali, Candakhya
(/Candaksi), and Mahocchusma. Karala, Dantura, Bhimavaktra, and Mahabala:
these are respectively their attendant servants'. The Ucchusmatantra is the
Picumata itself (f. 185r4: ity ucchusmatantre picumate nadisamcarapatalah sat-
trimsatimah). The four secondary goddesses that attend the Guhyakas are also
called their Dutis.



That explains phrases like "karalayoni", i. e., family of Karala, and "bhimavaktrodbhava".


The aberrance of this Pitha system was found by Sugiki in his second study, Vajradaka 7, 8, 14, 18, 22, 36, 38. It is intended to be external, it means the actual sites or places which are for Melapaka or meeting yogins and yoginis. It is followed by a Five Nectar Offering, and then Twenty-four Hora deities. This is the only place I am aware of where they are displayed.

The "odd Pithas" are summarized as Vipula Siddhi. This is also something that is within dharanis such as Pratisara.


The related sadhana is a Puspadi and Bali Offering with twenty-four what I would call Mahakalis, then the Five Dakinis as Mahatattva, followed by:

Yogamandala Maharajni Vajresvari Prabhus

Tathagata Mahakaya Viraja Yogasunyata


there are a few mantras and instructions, and if we compare the basic tantric intent to the state induced here, it looks like:

Sarva Buddha Samayoga Dakini Jala Samvaram

Sarva Dakini Samayoga Vajradaka Param Sukham


and so I would really hesitate to say the translator's view that this "is" an external system. They already have those, it is called a Mahatmya. Although dedicated pilgrims might be able to get around to a few of these places, for most people most of the time, they would be useless.

Vajradaka and Dakarnava both take approximately the same Kubjika "Pitha list", inflate it with different information in different places, and practice something different. The beginning of Chapter Eighteen would assume you can already do the Pithas of Chapter Fourteen, and so you perhaps mantrify these quickly and then you have this new set. It intends to conjure Guhyajnana and the Four Dakinis as the actual Mahatattva. That is not some kind of stray remark, it is basically the same thing as in Lakshmi tantra, being treated somewhat differently here.

It is correct the text lacks any direct explanation here about Nadis and things like that.


So you are going somewhere in India that women speak a foreign (mleccha) language. Dakini language? They move around at night and confer siddhis. In this chapter, you are, most likely, taking Pithas you learned without a consort, and re-doing it with one. That is all. It is "external" in that sense, not necessarily in roaming the subcontinent and being able to communicate with anyone by code words and gestures. I am not sure there is anything resembling that, for instance, in the stories of the Mahasiddhas. Verse eight appears to be Vajrasattva supplicating Mahadevi for a Rahasya (secret doctrine) that is very difficult to obtain (atidurlabham). It has an exalted Mahalakshmi, eventually followed by a somewhat secretive Mahakali found in Time, which is the same juxtaposition in Adbhuta Ramayana.


Since this same Kubjika--Vajradaka Pitha system moves forward into Dakarnava, which does have more to say about it in yogic terms, chances are it might not be purely external like a Mahatmya. As this was the fourth system identified in Genesis and Development:


The difference between the system of the fourth typological tradition in ques-
tion and that found in these Kalacakra texts can be explained as follows. First, in the
Kalacakra system, the inner channels running through the nirmanacakra and the dhar-
macakra are not identified with magical females assigned to external holy sites.


Instead, it:

equates twelve joints of one's body
through which the inner channels run with twelve site-categories and with twelve spiri-
tual stages.

The Kalacakratantra per se does not have this second
instruction [SKT ed: 1.7.20].) These twelve site-categories are (1) pitha, (2) upapitha, (3)
ksetra, (4) upaksetra, (5) chandoha, (6) upacchandoha, (7) melapaka, (8) upamelapaka,
(9) vesman, (10) upavesman, (11) smasana, and (12) upasmasana. These are the different
points between the Dakarnava system in question and the Kalacakra one.




The Dakarnavatantra states that the inner circles (cakra) have the form
of lotus flowers and the inner channels run through the petals of these inner
circles, which agrees with the general doctrine on inner circle found in many Bud-
dhist tantric scriptures. The inner circles fitted with the inner channels serve
as a framework for the system of the fourth typological tradition. Based on this
framework, this system is constituted of seventy-two magical female beings that
are assumed to be connected to seventy-two external holy sites. Holy sites per se
do not appear in this system. This is the system of holy sites in which holy sites
are present only latently. The seventy-two names listed in TABLE 14 are those
of the inner channels identified with the seventy -two magical female beings that
are in turn connected to the seventy-two external holy sites. Male divinities do
not appear in this system. The names of these female beings are derived from
the external holy sites with which they are thought to be connected. The terms
pilava, upapilava, smasana, and upasmasana, which are used in the other ty-
pological traditions as site-categories, are regarded as vast sanctuaries which do
not differ from individual sites in quality in the system in question.


This system is also characterized by the theory of the circulation (literally, pas-
sage, samkranti) of the vital wind in one's body. The circulation of the vital wind
in the body is one of the physiological activities that maintain one's life operated
through one's breathing. The Dakarnavatantra explains the function of sixty of
the sixty-four inner channels running from the inner circle named nirmanacakra
(i.e. the inner circle situated in one's abdomen) in the following way:

One day consists of sixty ghati (=ghatika), which equals twelve samkranti.
Hence, one samkranti equals five ghati.

The Dakarnavatantra does not explain how the following inner channels
function in this circulation of the vital wind: the other four inner channels, which
are described as running from the nirmanacakra to the opening of the navel, the
sex organ, and both ribs and the eight inner channels running through the
inner circle named dharmacakra (i.e. the inner circle situated in one's heart re-
gion). This is all this text says about this system. However, as these seventy-two
inner channels are identical with magical female beings connected with external
holy sites and since sixty of these inner channels are also regarded as passage-
ways for the vital wind which circulates in one's body in line with the passage
of time, it may be inferred that the system of the fourth typological tradition
implies the idea that the rhythmical circulation of the vital wind in one's body
is identical to the performance of external pilgrimages in order to perform yogic
intercourse with magical female beings.



Well, that does have something to do with Time, as it did in Vajradaka. I am not sure if "identical" is as good as "mirrored by" or "proportional to", but, yes, those inner conditions are directly affected by the outer. Twin clocks.

It may not be necessary to do a whole Ganacakra, or, walk to the nearest Shaktipith only a hundred and twenty miles away, but, something similar, in a simple personal way. The tantra pretty much insists that you do this at least sometimes.


Later work from the same translator includes English and builds exactly what we suspected.


The title of the 50th chapter is the “complete secret” （sarvarahasyam).


The 50th chapter of the Ḍākārṇava consists of 25 sections, which are connected with the 24 heroes and Vajrasattva in order.

So the somewhat obscure male hero deities of the Chakrasamvara Pithas each become fairly massive practices here.

50.3 is Kankala and yes this is its system of subtle yoga and then it iterates its special Pithas as Kankala Yoga. The meeting with girls instruction of Vajradaka is absent, instead it is Kankala.

50.8 is Vajradeha. Vajradaka Chapter Nineteen is Bhutamandala, which Vajradeha casts here.


Vajradeha's name is not quite the specifically-Buddhist Vajrakaya, but would be more generally understood as subtle body:


The goddess (Kubjikā, as the Vidyā) of thirty-two (syllables) who is Supreme Śiva’s energy, is Kaulinī (who possesses an) adamantine body (vajradehā).


Kankala's Pithas are found in Vajradaka Tantra, in Dakarnava Tantra, and in Abhayakaragupta's Amnayamanjari commentary; his is practically identical to Vajradaka. There is a large comparative table for them, so you can easily spot the Varuni Pitha with Lankesvari, and so forth.


What the Dakarnava is doing is detectable from its conspicuous absence in the prior tantras. If you just started concentrating on the Pithas "in order", you would have the deities as the Pithas are still in their customary form in his Vajracakra:


Pracaṇḍā & Khaṇḍakapālin,
Caṇḍākṣī & Mahākaṅkāla,
Prabhāvatī & Kaṅkāla,


And then if you recognize a synonym of Cinnamasta paired with some form of Skull, followed by two kinds of Skeleton, it is very suggestive to say the least. Even without the beginning of Dakarnava 50, one can see that by the third exercise, it has seized Kankala as definitive towards subtle yoga, who then emanates a reflex of sub-Pithas. Kankala's Pithas were previously in Vajradaka blended with sex, Mahatattva, and Time. That is a little stronger than Pithas presented as "learn these". Dakarnava is probably the most explanatory version of Pithas by the whole Chapter Fifty, while it also twists and increases the Vajradaka or Kankala version.

Chances are, this understanding of Kankala and so forth was the oral tradition, which slowly seeped into the written commentarial tradition, and is most fully explained in Dakarnava. But even that still requires commentarial patching. It is like a system of Pracanda and/or Kankala which is only "indicated" in the Chakrasamvara texts.


Dakarnava is an expansion to Vajradaka in a quite similar way to how Vajramrita Tantra is an expansion of wrathful deities such as Vajrahumkara. In the case of Dakarnava, everything that has been said about Mahabala becomes relevant.

That is a tremendous pile of energy and practice. No-one could walk in cold and just "do" Dakarnava in some way. It is an advanced integration of all of the elements of practice.


Having now this excellent resource, which, is hazy due to its title and no-one knowing what the chapter is supposed to be, the translator's overall reaction is:

The Ḍākārṇava (50.3.60-65b) internalizes the external practice of holy sites taught in the Vajraḍāka without teaching its details enough.


[Again, probably true. The written form is probably only a guide to learning the complete oral tradition. This book is a Sangiti, i. e. many of its verses are intended to be publicly sung, or at least in group fashion.]


By this early introduction, there is the sense of why we lean towards Taras and female deities:

Now, one should discern in every site yoginīs, [who were] born in their birthplaces,
[who are] joined with gnosis, and [who are] female guides of heroes (vīra),
in terms of the practice of Kaṅkāla (“skeleton”).


In the sense that they are "guides", it is mostly because they are some particular aspect of shakti, so they can be sensed. If you pursue/meet/know a particular shakti, you must have/be the corresponding male aspect. Shaktis are very sensitive to mantras.


According to the Vohitā (D, 275r1-r2), female guides of heroes, who are yoginīs, are externally self-empowered with the physical forms showing the gestures in every site, and “internally channel and bodily constituent are present as tree and local protector [respectively]”. It is not clear what “tree” here means. Trees, which are internally channels, may signify the abodes of the yoginīs in the sites. However, not all abodes of the yoginīs are trees, and generally channels are equivalent to yoginīs, not trees.



[Trees in Cemetery Yoga are inhabited by Yakshas who serve like judges as to whether vital wind can reverse out of that branch and into the Susumna. Following something similar to the Puranic discussion of Rain, then there is the Activity of the Nagas related to Clouds and so on.]



Here are translations for the first few of these Pithas:


In Aṭṭahāsa, [there is] a female deity [born of] the menstrual blood.
[She is] a female guide, a yoginī of all.
The female deity residing in that place is Mahāghaṇṭā (“great bell”),[dwelling] in a kadamba tree. [She is] always the goddess of that [place]. The hero is the local protector [deity] Mahānana (“big face”). The illusion of the pleasure of Kaṅkāla — it occurs [in meditation] in [the physical bodies of] ones who are greatly wise.
Sealing of Kaṅkāla is in them. [It] goes from the opening of Oḍyāna.
Consciousness, [which] has arisen in [the form of] one's bodily fluid, travels to all places in order.


[in Vajradaka Tantra, this goddess is Saumyamukha, which Abhayakaragupta records as Sumukha. Here, Mahaganta has a saumyamukha appearance.]


In the most popular system of the twenty-four sites (such as Pullīramalaya), the site Oḍyāna is internally the right ear. However, the Vohitā (D, 275r6) appears to interpret that it is forehead: “[It] comes to the forehead through the left side (viz., the left channel) from the navel and leans on the [forehead].


Verse 4cd explains the bodily fluids' rotation in one's body: The bodily fluid represents the consciousness, and the bodily regions are equivalent to the external twenty-four sites. The bodily fluids flow to the twenty-four bodily regions in order like a practitioner pilgrimages from one site to another in order. Neither the Ḍākārṇava or the Vohitā clarifies where the twenty-four bodily regions are. According to the Vohitā (D, 275r7), a practitioner visualizes both the twenty-four bodily regions in this system and the twenty-four bodily regions in the other system of the twenty-four sites (such as Pullīramalaya).


It disregard or fixes whatever may have looked weird about "agnimukha" in Vajradaka with:


[In Kollagiri, the female deity is] Mahālakṣmī (“very good fortune”) [by name], [whose] face is like fire. The local protector has a nice face, is called Agnimukha (“fire face”), and instructs the pleasure of Kaṅkāla. Gaining his movement, the yoginī can shine in two ways. Through union with him, [she] stays in the state of unity with the hero. Desiring to be the cause for benefitting sentient beings, [he] resides on the adamantine maṇḍala. He appears as [the one moving to] all the places in the form of a wanderer.

[In Varuṇī, the female deity is] Laṅkeśvarī (“lordess in Laṅkā), [whose] hair stands erect. The local protector is very haughty, named Ūrdhvakeśa (“hair standing erect”), and is effectedby the pleasure of Kaṅkāla. Other [peculiarities] are to be known as [identical with those]explained earlier. [There are] the surpassing [bodily fluid] and the excellent yoginī.


[In Devīkoṭa, the female deity is] Karṇamoṭī, [who is] violent. The local protector has a big body, is Hetuka, is an excellent lord, and, moreover, is very violent. The highest state is to be understood through the pleasure of Kaṅkāla [that is] empty.

[In Virajā, the female deity is] Analā (“fire”), [who] looks friendly. The local protector laughs loud and should even be known as [one with] loud voice. [He is] Anala (“fire”) and has great supernatural power. However, [internally they are] Kaṅkāla and Caṇḍālī (viz., a bodily fluid and an inner fire). The great pleasure is in the middle of the fire.



Of course, it was not his curiosity why Kolhapur Mahalakshmi might be something more than you can just translate as a nice title. Here, she has an eerie resonance to her sadhana in Lakshmi Tantra, and we are in a position that she and the following Lankesvari are massively behind the dharani system as a whole. Then they tell us that the Viraja or Jaipur devi is Candali. The sudden interruption of using Varuni as a Pitha is intriguing. There is a Varuni Kunda. There is little Buddhist inspiration for doing this except Samvarodaya Tantra. But it is not quite the same; here, it is "residence of Lankesvari". Hindu Iconography mentions a strange Varuni Camunda:

This is a twin goddess of whom Varuni has
pendulous breasts and a flabby
belly and is clad in red garments
and carries in her hands the sula and bana. Otherwise she must be sculptured as a handsome woman. Chamunda has large and
long nails and several hands. This Chamunda is said to be capable of attracting all to herself by
means of her power.


Lankesvari has abandoned Devikota which was the "Eyes", and, by simple identity, Varuni as meant here must mean the location of Lankesvari--that is simple.

Sonepur lies on the southern bank of the Mahanadi near a small island where the local goddess Lankesvari is worshipped.

More specifically, one would have to equate "Varuni" location with Shambhala, according to research on Lankesvari:


It is a popular belief that goddess Samlei is none else than goddess Lankesvari, the titulary deity
of Ravana,the demon king of Lanka, who was
killed in the battle field by Purusottama Rama in
the Tretaya Yug. As the demon
king Ravana was deeply
engrossed in evil deeds, being
disgusted the titulary goddess of
Suvarna Puri Lanka left the fort
of Lanka and vanished. As
about Samlei it is said that then
Lankesvari reappeared in the
kingdom of Sambala and was
worshipped as Samlei by the
local populace in her place of
open-air worship on a rock bed
inside the river Mahanadi in a
place called Gumodarha
(Gumo Gorge).



Partly due to identity with Bhuvanesvari mantra:

Lankesvari alias Samlei alias
Subhadra is the same deity in the uniconic form,
who was worshipped by Indrabhuti, the king of
Sambala in the 8th century along with Lord
Jagannath in the Kot Samlei Cave of Trikuta
Parvat.


Among her attributes:

Lankeswari is worshipped in
the form of a flat rocky islet in
the bed of Mahanadi and a
whirlpool of Mahanadi is
known as Lankeswari Darha.

Considering the iconographic style
scholars assigned the date of the deity in 12th
Century A.D. Deity Lankeswari is four armed.
She sits in Bajraparyanka posture on a lotus
throne. She holds Sankha and Chakra in her
upper left and right hands respectively and her
lower right hand having Varada Mudra and left
hand inAbhaya Mudra with spread out tongue.

Such iconic feature
synchronizing Kali with Vishnu is unique and only
of its kind in the State of Orissa. The deity is
worshipped with Vanadurga Vija Mantra. In
front of the deity there is a four handed Kali...


Apart from
a war goddess she is very much lively as well as
furious. Local people claim that very often deity
use to come out from the temple in the form of
a young beautiful girl and participate in Boria
dance along with young girls of the locality. Boria
is a traditional dance form where girls sing self
composed songs and dance without musical
instrument





In speaking of Kankala:


I have interpreted the “skull” (karaṅka) as the great pleasure chakra (mahāsukhacakra) in the head,from which pleasure is produced. The Vohitā's interpretation (D, 276r1) is different: The “skull” (karaṅka) means a male (vajra) and a female (lotus) and suggests their copulation, through which pleasure is produced — “As for ‘Pleasure perceived in the skull (karaṅka, Tib.
keng rus, which literally means the skeleton),’ [it is] the “skull” because [it is] ornamented with the letter AṂ (*aṅkāra); and the karma sealing (*karmamudrā, viz., a female) is taught by means of the sound kar [of karaṅka ]; [thus they mean] a vajra and a lotus”.


I have interpreted kabandhodbhūtavācā as “a speech born of the belly,” that is, the letter AṂ presenton the manifestation chakra (nirmāṇacakra) in the navel region, from which the inner fire flames up and into which the bodily fluid (or the gnosis semen) flows down from the head (bhakṣaṇā saiva dhātukam).


The accomplishment would be thus in the sites through the practice [depending] on Kaṅkāla.[The meaning of the letter Kaṅ —] Pleasure (viz., gnosis semen) perceived in the skull (karaṅka) (viz., in the chakra in the head)
[flows down in the body and] is grown to [the shape of] the roots of a bulb. He sees the gnosis semen spread to all of the junctures [of channels in the body].

[The meaning of the letter Ka —] A speech is present in the belly (kabandha) (viz., the letter AṂ on the chakra in the navel region). It consumes [gnosis in the form] of the bodily fluid (viz., gnosis semen).
By means of that, he can perceive all pleasure[s] of the sensory faculties from the abode of the sky.

[The meaing of the letter Ā —][That is so] if [he] does not discern any [figures] of heroes and yoginīs in them (āsu) at all. The illusion of the world is of the nature of that [pleasure]. He should see [the pleasure do] creation and destruction [of the illusionary world].

[The meaning of the letter La —] Immortal nec-tars go and come in all of [those] hanging (lambikānāṃ, viz., channels). When [the immortal nectars] are flowing, the yoginīs (viz., channels) born in their sites glitter.

Offering to those[sites] is great. One should carry out external, internal, and secret [offerings].316

All practices are accomplished. [One] breaks down a mountain of ignorance.



316 According to the Vohitā (D, 276v3-v5), the external offering is to visualize yoginīs and heroes born of the bodily constituents in the forms of Buddhas and so on; the internal offering comprises the self-awareness of the three realms; and the secret offering is characterized by the non-self with the awareness that everything is empty.


Kankala as Prajnopaya makes a mandala; then it goes on to repeat the Hora goddesses and Five Dakinis like in Vajradaka.



Similar to Tarpana:


By the rite of oblation [fit] for yogins, one can accomplish all rituals. By means of the hook (or flesh) of gnosis, one should please one's chosen deity.

According to the Vohitā (D, 277r5-r6), both external and internal practices are taught in verse 81cd. Internally, it means that one should satisfy all channels in one's body by the hook of the awakening mind.


When vital airs meet together (mīlana) by moving through all channels, she [who is the Lordess in the form of a fire] meets (militā) the site of one's knot [svagranthisthane] and is acknowledged to [move from] one's navel region to the heart. A practitioner attains the unsurpassed through faithful devotion and bowing to yoginīs. Always staying in [the sites such as the] pīṭha and upapīṭha (“semi-seat”), the deity fulfills wishes. Staying there, if one accomplishes the devotion in various ways according to the ritual rule, [there will be] avoiding aging, loss of vigor, blisters, leprosy and other [physical disorders].



It is involved with a Ganacakra and Homas, and appears to specifically suggest a Pitrs' day for the practice involving the Time or Hora devis:


On the day of the ancestral spirits, having gained thus, he should execute [this ritual] with his mind concentrated well. He should wash with divine water and [use] especially the fivefold ambrosia. Having smeared with the great oil (viz., human fat), he should give incense to that same. He should eagerly make a square and, at the center [of it], a triangle. He should make all Buddhas flow correctly in order. Having performed the eight ways of laughing, “hā, hā, hī, hī,hū, hū, he, he,” having made the seed mounted on the fire, distinguished by the wind, and attached to the topknot [chakra] (or attached [with a candrabindu
] above it), and having offered [it] on the ground, a practitioner should place the flowed [seed or bodily fluid representing all Buddhas] into the middle of the vulva. Having observed [it] diligently, the yogin should meditate in due order [that he is] himself in the middle of the vulva. He should see an ocean of wreaths of fire, [which is] abundant with the rays of a female messenger (dūtī). When being meditated in this way, the yoga is the storehouse of all pleasures.


Thus said the Lord, Master, Vajraḍāka Tathāgata.

[shaberon]

Dakarnava Pithas and Lakshmi Tantra



That is interesting. The translator Sugiki has just published these Dakarnava articles in 2018. It took me that long to vaguely sense it drifting around out there as part of the vocabulary, until starting to understand it. This is something only around three hundred people have read, and it is less noticeable to a practitioner because most of the papers have titles that are more fitting for academic symposiums.

Kankala 50.3 was an excellent choice and not by accident.

What he has done is shown something unique in Buddhism, which is basically only in Vajradaka Tantra (ca. ninth century) and in Dakarnava Tantra (tenth or later). It however is such a close copy of what is in Kubjika Tantra (or vice versa) that it is easy to spot a few tweaks that altered it.

The important thing is that the Pitha system is internal, and this is part of a spell.

If you are looking at it from a point of view other than within the practice itself, that is not what it is about.


Just from reading about it, I felt some of the inner fire recently, some of it managed to mount and ascend slightly. Not quite the bundling and weapon-like force demanded by the tantra. Same operative principle though.

From the limited portions that have become available, the Dakarnava is perhaps more intended to discuss the technique of Three Lights. Kankala's Pitha system is really something I have been looking for, since, the more general Chakrasamvara Pithas appear to really be a system of Kankala. It is.

The Dakarnava Pitha description is written in a difficult way, and so by arranging that, the paper's compiled tables of the Pithas all have seven types of things associated with them. What he did not include--and this perhaps is because it would not be table-format-friendly since some of them are long sentences--is the fact that each of these Yoginis also have Moods. This is much like Dakini Jala, where the Gauris have Moods which therefor undermines their presentation in most tantras where they are all gruesome.


So here is the extraction where the appearances of the deities are described.

I have broken it up to fill in some Sanskrit practice terms, where again we see Aisvarya, the paramount thing for Lakshmi, tucked inside Buddhism in rare places, such as here it was called "mastery".


(1) [The female deity in Aṭṭahāsa] should be understood to look friendly. (2) [The female deity in Kollagiri] opens her mouth wide and is greatly terrifying. (3) [The female deity in Varuṇī] brings the mastery of dharmas. (4) [The female deity in Devīkoṭa] is a lordess of all yogas and is excellent. (5) [The female deity in Virajā] brings the mastery of desires.

dharmaiśvaryapradātrī
kāmaiśvaryapradātrī





(6) [The female deity in Eruṇī] presents a land of stupefaction. (7) [The female deity in Pura] opens her mouth wide. (8) [The female deity in Elāpura] is [a provider of] a land of stupefaction, is greatly terrifying, and is also excellent. (9) [The female deity in Kaśmīra] looks violent and destroys enemies. (10) [The female deity in Maru] is terrifying in the land of stupefaction. (11) [The female deity in Nagara] fulfills the wishes of all heroes. (12) [The female deity in Puṇḍravardhana brings] enjoyment [in transmigration] and liberation [from transmigration] and removes sins. (13) [The female deity in Jayantī] fulfills all wishes for happiness. (14) [The female deity in Pṛṣṭhāpura] fulfills all hopes. [She] opens her mouth wide and is violent and terrifying. (15) [The female deity in Sopāra] stands on the flesh [of the dead], is excellent, and fulfills the wish for mastery of pleasure. [She has] excellence in all aims.

sukhaiśvaryavaradā


(16) The female deity [in Caritra] brings mundane accomplishments (siddhi), opens her mouth wide, and is terrifying.(17) [The female deity in Oḍyāyana] is greatly terrifying, but appears to be divine. (18) [The female deity in Jālandhara] brings the mastery of all (or all masteries).

sarvaiśvaryapradāyikā



(19) [The female deity in Kṣīrika] brings all accomplishments. (20) [The female deity in Māyāpura] is fierce, is efficient, fulfills wishes, is black in appearance, and is greatly terrifying. (21) [The female deity in Ambuka] terrifies all enemies, subjugates all, and frightens all sentient beings.

sarvaṃ vaśaṃ karoti ca sarvasattvabhayaṃkarī [a somewhat stock phrase]



(22) [The female deity in Rājagṛha] conquers all armies, is frightening, and is also excellent.

sarvacakrajayā [often means yantras, magic circles, etc., of black magic, cf. Narasimhi]


(23) [The female deity in Bhoṭa] looks friendly and appears to be divine. (24) [The female deity in Mālava] loves practitioners, is beautiful, and is praised. All are thus in order.

yaśasvinī

Yaśasvinī (यशस्विनी).—A Durgā and Viśvarūpinī who got śūla from Śiva, cakra from Viṣṇu, śankha from Varuṇa, śakti from Agni, bow and arrow from Marut, Vajra from Indra, caṣaka from Kubera, daṇḍa and pāśa from Yama, kuṇṭika from Brahmā, khaḍga and keṭa from Mṛtyu, jewels from Viśvakarman.*

* Brahmāṇḍa-purāṇa IV. 29. 80-8; 44. 90.

Yaśasvinī; यशस्विनी (nr. 474):—The most renowned. She is famous because of Her multitude of capabilities. Śiva, after creating Her, does not get involved with any of the activities of the universe. She administers the entire universe independently. Mahānārāyaṇa Upaniṣad (I.10) beautifully explains this situation. It says “No person ever grasped by his understanding the upward limit of this Paramātma, nor his limit across, nor his middle portion. His name is ‘great glory’.” Such is the type of Her greatness.



It sounds a bit like a list of Taras. The next important thing is that when we consider their sources, some derive from Mahabala, which we have seen is a complete practice which involves both something like transforming the Wrathful Ones, and emanating a Great Blaze as part of one's ability to cast a mandala. Mahabala is even part of the Sadhanamala explanatory thangka in the first post, and perhaps would have been more obvious if we had the whole text. We have, I believe, most of what is unique to it. It goes in a format something like standard Mahayoga-->familiar Bodhisattvas with tantric capabilities-->a vast amount of tantric Taras not found anywhere else-->deities such as Mahabala and Vajradaka and standard Completion Stage practices, this last part being missing, or, incomplete.


While the first Pitha in Chakrasamvara us like a prod that there might be something about Kankala, in Dakarnava, it starts almost oppositely, unexplained or unexplainable. Here is a try.



There is a quote of Varuni in something called Harivamsa, which is similar to a Purana, but not considered one by the other Puranas. It purports to be more details and extensions from Mahabharata. What is notable here is its relative comfort in almost preferring to call Balarama by his "actual" names such as Sesa and Samkarsana. Also it shows the "meetable" Varuni is the daughter, not wife, of Varuna. Their "meeting", in form, at least, is thanks to the Kadamba tree:


Thereupon once on a time while separated from Krishna the powerful and beautiful Sangkarshana, ranging on the summit of the mountain, sat under a charming shade of a blossoming Kadamva tree, sweet-scented wind began to fan him (5–6).


The goddess Vāruni, who was the churning rod of ambrosia unto the gods, was born in that Kadamva cave in the shape of wine. And so she passed by the name of Kādamvari (13).


This scene is fairly standard in the Puranas, but, it may be only here that Varuni is entitled to a little speech:


First of all coming before the inebriete son of Rohini the goddess Vāruni, with folded hands, addressed to him words conducive to her own well-being (16):

—“O Baladeva, O foremost of gods, do thou consume the host of Daityas. I am here thy beloved lady Vāruni (17).

O thou having a pure countenance, thou used always to reside by the forest fire, but now thou hast disappeared. Hearing this, I am ranging on the face of the earth like one whose religious merit has been dissipated (18).

For a long time I lived in the filaments of flowers and spring flowers whose bunches were never touched. But I am fond of pleasures, therefore at the advent of the rains, hiding my own true form I was lying in the Kadamva cave in expectation of thy arrival stricken with thirst (19–20).

O sinless one, as I was despatched with consummate beauty reigning over all my limbs, by my father Varuna at the time of the churning for ambrosia, so I have been sent by him now (21).

O lord, thou art my beloved preceptor, so I wish to live by thee as I was residing by the forest fire in the ocean (22).

O god, O sinless Ananta, save thee I shall not be able to serve any other people. And so I shall not leave thee even if thou dost remonstrate with me (23).”


How did they get a forest fire "in" the ocean? It sounds like she might be close to the Jathara or digestive fire. She "lives" there, but, would rather hide in the Kadamba cave, to be found by someone consuming Daityas.

He is also entreated by Kanti and Kamala Lakshmi, who says:


"O Rāma, O beautiful Rāma, united with Vāruni, Kānti and myself thou dost, O king of gods, appear beautiful like the moon (30).

This is thy crown, I have brought from the abode of Varuna, which used to shine over thy thousand heads like the sun (31).


Lakshmi is moving Sesa's crown from the Underworld into ordinary waking consciousness.

So, in Dakarnava, it does not quite give Buddha Families for the Pitha inhabitants. Some of the devis have Pracanda or Mahabala as their origin.


The Attahasa devi--whether called Saumyamukha, Mahaghanta, or Sumukha, abides in a Kadamba tree--standing on a wheel.

Called Saumyasya in the Kubjika tantra, it is generic and not a very distinguishing name. Sumukhi is an epithet of Uccista Candalini, or, there is Vajrasaumya of the Samputa and other tantras.

There is such a thing as a Mahaghanta, which is a set of five bells built together, commonplace in the Chola era. Otherwise, it is not a recognizable name.


So this is different. The first deity is nebulous. The basic Pitha system started with Pracanda. That was a strong suggestion that it probably is a practice rather than a list. In turn, she does not appear, but is partly responsible for manifesting, this set. The most telling feature of this first goddess is the tree.


Mahalakshmi is one of the few who is not in a tree because she is parvatagra (mountaintop). She holds a head and is on a corpse. Her source (in Vajradaka), Karala, is a name of both a Bhairava and a tongue of Agni. Here, she is in a very Rajasic mode, much like her main depiction in Lakshmi Tantra and Adbhuta Ramayana.



Dakarnava over-writes the very well-known devis Sankari and Ambika that were in Vajradaka's Pithas.

The ex-Sankari, Lankesvari, is made of a piece of Ucchusma. While in a Tala tree, she is on a:

Śimbala (शिम्बल):—[from śimba] m. a small pod or kind of flower ([according to] to [Sāyaṇa] ‘the flower of the Śālmalī tree’) (silk cotton)



Karnamoti's origin is from Mahabala, and she is with:

1a) Hetuka (हेतुक).—A Bhairava in the Kiricakra.*

* Brahmāṇḍa-purāṇa IV. 20. 81; 34. 62.

She is mounted on a Preta or Ghost.



Viraja's Anala devi, once Ambika, has her origin from the hall of yoga. She has the feminized name of her mate:

Anala --(agni)—one became threefold at the instance of Purūravas

Her weapon is unusual:

Paṭṭiśa (पट्टिश) refers to a “spear with a sharp edge”


It is a rare term; but the devi at Viraj is noted for only having two arms and using a spear. Her neighbor's weapons are at Devikota, Sula, and at Erudi, Vajrashakti. Those are all types of spear. Karnamoti is effectively Sulini here. Her location at Devi Kota is probably Sri Pitha. Because Camunda is iterated separately, Karnamoti is possibly synonymous to Carcika. Karnamoti's male deity Hetuka heads the Bhairavas of the Kiri chariot in Lalita Mahatmya. Before they are at the chariot:

It is remembered that beneath the same step in all the eight quarters and above as well as below, ten (male deities) beginning with Hetuka had fixed their residences.

and mantricly in a Varahi practice:

aiM glauM kShauM hetuka-bhairava kshetrapAlAya namaH | hetuka-bhairava shrI pa. pu. ta. Na ||


Comparatively in the Hindu tantras, it is the same couple:

In the Niśisamcāra, on the other hand, a pair of Hetuka and Karnamotī...


Part of what happened is that Devikota can mean Sonepur, Orissa, location of Lankesvari, but there is another in Bengal at Banghar, Dinjapur district, near Pundravardhana (which houses Camunda).

Lakshmi Tara has a son named Vanamala who repaired the palace of Hetuka Sulin ("Shiva of destruction") at Kalantara (Assam).


Since Hetuka and Devikota are explainable as other areas, that may be how Lankesvari wound up in a non-area called "Varuni", without actually moving, while the name of her place, Devikota, was probably switched to Bengal.


That one is identical to the Hindu tantra, and so in the few cases where some of the Pithas are changed, did they install Buddhist deities? Not at all. There are not any in this whole thing. They added Jalandhara and filled it with Candalini, who has no other meaning than in Ucchista Candalini, and we are back at Matangi. Here, her source is Soma. They added Oddiyana and inhabited it with Guhya:

2) Guhyā (गुह्या) refers to the “hidden one”, according to the Kālī teachings of Abhinava’s Jayadrathayāmala.—Accordingly, “That energy (called) Kuṇḍalinī resides in the Secret Wheel [i.e., guhya-cakra] (in the genitals). O fair lady, that place which fulfils all desires should always be kept secret. Then (it is called) Guhyā (the Hidden One) and is always more secret than the secret. The nectar that comes out of this is hard to acquire by gods or demons. A thousand rebirths are destroyed in the Ocean of Kula of one who possesses it. [...] Amā, the energy of the (New) Moon is located in the Door of Brahmā. Pure water falls (from) there and, having fallen into the heart of Kuṇḍalī, the nectar which is the juice of Kuṇḍalī comes out of his body. By just eating this, (Yogis) become immortal and free of old age, wrinkles, white hair and all diseases.”.


Bhota houses Sahaja, and Malava has Seka. Neither one is a deity per se. Only in the case of Sahaja could we possibly argue that Buddhism had discussed this as a spiritual state before it was known in Hinduism, and it certainly is the main footing of our practice.


When casting Kankala's mandala, the twenty-four Pitha deities starting with Pracanda are cast prior to the twenty-four Hora devis. So perhaps the first, basic Pitha set is intended to be external, as you visualize the blood or pus or eyeballs or ganglions or whatever, directly emanating these deities in a retinue.


The Pitha devis come from the body, and the Hora goddesses are "abiding in villages":

grāmāvasthitayoginī


They are probably the plainest display of such Horas at all.


It looks like you have set up Kankala with these two big rings and you are doing offerings, to include Tarpana, Homa, and most importantly, pañcopacārādipūjanam or Five Nectars.


So the Dakarnava is taking for granted what we would have to teach ourselves in Varuni Puja and by Rasa theory. The next part of this spell is not a visualization-with-effort, it is realization:


pañcaḍākinī mahātattve sarvakāmaprasādhakā /

yogamaṇḍalarājñī ca vajreśvarī prabhus tathā //76//

tathāgatamahākāyaṃ virajaṃ yogaśūnyatā /


The five ḍākinīs, in the great truth (or in the great ritual practice), make all wishes come true. 348

The adamantine lordess is the queen on the wheel of yoga. 349

[Her] lord is likewise. 350

[One should consider] the great body of the Tathāgata, [which is] pure. [It is] emptiness in yoga.


348 According to the Vohitā (D, 277r1-r2), “the five ḍākinīs” are (1) Ye shes mkha' 'gro ma (*Jñānaḍākinī),(2) Rdo rje mkha' 'gro ma (*Vajraḍākinī, or Vajrī), (3) Drag mo mkha' 'gro ma (*Ghoraḍākinī, or Ghorī),(4) Ro langs mkha' 'gro ma (*Vetālaḍākinī, or Vetālī), and (5) Gdol pa mkha' 'gro ma (*Caṇḍālaḍākinī, or Caṇḍālī), and their “great truth” is to make an offering by letting [them] go out with one's exhalation(rang gi dbugs kyis phyung nas mchod par bya'o). These five ḍākinīs appear in various scriptures such as the Catuṣpīṭhatantra and Vajraḍāka, and are the chief five ḍākinīs of the Jñānaḍākinī maṇḍala (The
Niṣpannayogāvalī, Skt ed., Section 4).

349 According to the Vohitā (D, 277r2-r3), “yoga” means the sky or space (nam mkha'), and the adamantine lordess is the queen on the wheel in the sky (nam mkha'i dkyil 'khor du rgyal mo, not the space wheel). There are many adamantine lordesses, such as the Ye shes mkha' 'gro ma (*Jñānaḍākinī), who are called and invited to the ritual place in verse 77cd.


350 According to the Vohitā (D, 277r3), this lord is the chief deity of the wheel of the adamantine lordess. Hence, there are multiple lords.



So this Vajresvari or Vajra Ishvari is much like the Ishvari of Dakini Jala, meaning able to use a few different deities in this role, which are probably the same ones such as Jnanadakini.

You can exhale the dakinis and they work like Ganesh, Svaha, or Svadha, carrying one's offering.

But they are in Mahatattva:

Mahātattva (महातत्त्व) refers to the aggregate of five gross and three subtle material energies


So, in Varuni Puja, the Three Skullcups of the three energies of the second part, contain subjective and objective mixtures of the first part, Pancamrita. Then to boil down, destroy, and remove the impurities and obscurations, is mainly what you are doing until it is good enough to trigger "this" Mahatattva.

Mahat (महत्) or Mahattattva refers to a primordial principle of the nature of both pradhāna and puruṣa

or Brahma.



The Five Nectar Offering is therefore the practical application of this description of Mahatattva and Samadhi about the Third State:

We are actually conscious in deep dreamless sleep. Although our consciousness appears different in the waking (and dreaming) states, it is not really different from the Consciousness that is present in dreamless sleep (sushupti). In fact, Consciousness does not undergo any modification whatsoever; all modifications are of the mind only.

The deep, dreamless sleep (sushupti) is a natural state of superconsiousness common to everyone. On the other hand, the super-natural (supremely natural, or mystical) state of superconsiousness known as Samadhi [Fourth State] is achieved only in the waking state when the mind is deliberately purified of its samskaras and ego.

The practice of Samadhi purifies the mind to such an extent that it seems to completely fade away. In fact, the individualized mind (the mind characterized by personal samskaras and ego) is dissolved, and only the Cosmic Mind (Universal Mind) [Mahatattva] remains in the highest state of Samadhi.


That is why the Five Dakinis are spontaneous realization, they are this Mahatattva, which even according to Hindu yogis is only perceptible in a sublime state. Just as this is neither the final samadhi, nor, indicative of the subtle mental elements, these dakinis are mainly the motor of higher deities and Completion Stage. Since this is so universal that I am not sure it can be distinguished from Brahma, these dakinis and/or Guhyajnana Dakini are only bound by realization, not transmission. If driven to the point, they will do the initiating themselves.

There is no sign that Guhyajnana acts like this towards a Hindu yogi who is not training her related practices.

One such practice is the Dakarnava, although it does not say this. Maybe it talks about them in section thirty or something, but, with Kankala, you are given three lines which represent everything about how to reverse the Mahatattva.

Now if you could already do that from the Hindu perspective, it would not be too difficult to round out the Buddhist finesse of it.

Generally speaking, it is a condition where samskaras and ego are dissolved. And, fairly, there could be various ways to arrive at it:

breath, alone

mantra

tantra (visualizations)

tantra (offerings and other processes)


But it seems to me if one starts with one of those, it might be better to move towards the next one.



We have also found Khandaroha as a major practice in Dakarnava, although it caught someone's eye because it seems to be the first written use of "Mumbai". And I noticed her again in rummaging for some basic things about Vajrasattva. And this seems to give you Khandaroha mantra almost at the start without telling you anything about it, and then an extremely abbreviated thing about Five Nectars. That is why I am not sure that a lot of this material which seems to descend from Pabonkha is the greatest way to train. But it does have a good comment about why visualized offering is better than suicide.


I also noticed one of the Guhyajnana lineages went to dakini Lapkyi Dronma "to the east of the Great Holy Mountains of China" and from her, unknown.

That is just a recorded example. Because she was there at least a couple generations before Padmasambhava, and, this site was active at least until the twelfth, and maybe the sixteenth, century, that makes an untold amount of Guhyajnana initiations.

Dakarnava is really using its own special Five Dakinis which are all Yidams developed in many tantras and sadhanas. Guhyajnana is inherent or self-arisen or the definition of converting the elements. As Mahabhuts, this group is really the core of the whole Dakarnava. Both ways are present in the tantra. With the Yidams, we recall that Ghora Dakini is a somewhat arbitrary translation of Dragmo, which is probably better off as Raudri or Candi. This has been specified as a five-fold group based in Akash--Sky rather than Space--Mind, i. e. the sixth sphere. But then if this member was Candi, we would go, wait--she is also the Sixth Yogini, and the two groups of Five and Six would appear Chained. That is sort of what we are looking for.

A few of Kankala's Pitha devis hold a vajrasrnkhala or Chain; and Vajrasrnkhala is a special consort of Hevajra in this same way, having a quite charming bust kept at Northwestern.


The source and character of the devis tells us something, but, so does their personal item. The Hora devis actually have Uma (in Mahakali form) as the Mother of them (who include Mahakali). These are all the same. And so if we say, here, Vajrasrknhala is not a name, but, an attribute, who has it?


Guhya of Oddiyana has one. So does Prasanna of Jayanti. Also Gokarna of Kasmir. Prasanna is in a multi-story building mounted on a Skeleton. In her case, we could say, yes, this sounds like something profound from Samputa Tantra which makes of her one of the most advanced possible deities.


Allright. Well, this view of Items is part of the inner secret of Four Activities. And so we could look around to see how these may be fashioned. Bell is not an item anywhere to be found. It is only the name of the first goddess, whose item is its male counterpart, the Vajra. So here, you have a kind of viewable, teachable Vajra, surrounded by a vaguely mysterious, unspecified, experiential Bell. That is what the Bell is supposed to be. A concluding resonant seal when you actually have got whatever is being trained in this rite. Maybe you could say "explanation which cannot be put in words" here.

It turns out that the standard accoutrement in these Pithas is some form of spear, for example, with Bhima, also called Kamini, of Mayapura. Bhima is her source and spouse. None of these are big multi-armed forms. They are biased towards Bhima and Sulini in form.


So if we allow for a kind of "imbalanced" Four Activities, because it is trying to force the condition of the Fourth, we see that Bell is a silent, single entity, there are three Chains, and then there is just:

Hook, Vipannasa of Rajagrha

Noose, Gajakarna, Mahabhima, or Kharastha of Elapura; her source is Pracanda.

Hook and Noose, Kramani of Maru


To me, that almost says "Raudrakrama" right there. It is similar to Ganapati, Lust and Aversion being the basic forces balanced on the fingertips, represented by the two items at once. By showing, but not elaborating, this, Dakarnava appears to be taking it for granted.

If I wanted to think what might be among the most accessible of a retinue, Hook would be a strong candidate, and, it is in the region of Buddha's Enlightenment. The deity however has the meaning of "Ruined", or, in the form shown, would be "Ruined Seat", which would be a horrible pun on the Vajrasana of Rajagrha. It may be describing yours in its current condition.

There are a couple of Knives and Ploughs that are in use, and, a few other things which can fairly standardly be ranked.



There is an item which has generally been telling when found as a distinct personal emblem:


Sword, Lokamatr of Ksirika

Her husband is Mahameru or Urdhvakesa, her origin is from Mahabala, and her mount is no less than Agni.

Symbolicly, we would expect the Hook to summon a handful of entities, to which the Sword summarizes the bundle and points towards the center of everything. The Four Activities sever external forces, and the Sword points to the center. Karma Family uses Bell, the Fourth Activity; the Sword is a Crossed Vajra, symbol of Karma as the Fifth Family; and the subsequent member Vajrasrnkhala is like a Chain to the Sixth Yoga.

This is the identical Pitha setup as in Kubjika Tantra, so:


Lokamātṛ (लोकमातृ) refers to the “mothers of the worlds” and is used to describe the three daughters of Svadhā (i.e., Menā, Dhanyā, Kalāvatī), according to the Śivapurāṇa 2.3.2.

Lokamātṛ (लोकमातृ).—f. an epithet of Lakṣmī. [Bhāgavata-purāṇa]

in her Pitha:

[who] has [her] hair stand erect.

as to the male:


Mahāmeru (महामेरु) refers to the “Path of Meru”, according to the Kularatnoddyota, one of the earliest Kubjikā Tantras.—Accordingly, “[...] I am that Path of Meru [i.e., mahāmeru] and the omnipresent supreme space. O great goddess, that beginningless Transmission (krama) originated from its presence. That is called the Primordial Seat, the beginningless Kramamaṇḍala. These two are Kailāśa and Malaya. There, they are said to be sacred seats. My merger takes place there (and so) is called ‘Malaya’. Again, O goddess, (the meaning of) Kailāśa is explained as (it should be) understood. O goddess, dear one, it is (so called as it relates) to the blood that I have placed in that (sacrificial) vessel. Kailāśa originates where that has been offered as a libation”.


I am not sure if they also say she rides Agni and brandishes a Sword. I am pretty sure we have a large amount about what "origin through Mahabala" is. The Agni phrase is not all that graphic and just says:

kṣīrike agnisthitā


Why I might not think it was the deity, Agni, in a chapter that tells me to do a Homa several ways, would be oblivious.




When that kind of power is amassed, then:

Pestle--Musala of Pingala at Pura or Hammer-Mudgara of Seka at Malava I think can both drive a Kila.



The Staff or Danda is likely the Susumna:

Danda and Sakti: Vidyunmukha of Prsthapura. Her vira is Ghantarava, bell sound. She is considered to have a bell voice, and he is Owl Face.




The equation of the skull staff with means (upāyasvabhāva) is a common one and identifies the staff with the male consort.

Khatvanga: Camunda of Pundravardhana


The meaning is not so much that she "has" a consort, but, that she remains in mental union with him no matter where she goes.


And, finally, we can compare this to some of the better Buddhist images of Lakshmi, there is:

Sahaja or Bhoga of Bhota, Makara Banner


This is how it was originally in Vajradaka Tantra, so, they had already included Tibet as a substitute for some Indian site. The rare Makara Devi has always been the major part of our total explanation. It is like the vehicle of return to Varuna, which is Mystery, concerned with the Formless. This goddess is also on a Ghost. Because Sahaja is more or less the sought-for condition of the whole Generation Stage, I suppose you can see this here. This asserts a Mystery whose answer is Sahaja, which should then complete the circle as ordained by the starting goddess.

Her counterpart is not a Bhairava, in fact is not a Bodhisattva or any kind of character I am aware of:


Sudurjayā (सुदुर्जया) or Sudurjayābhūmi refers to the “very difficult of success” and represents the fifth of the “ten stages of the Bodhisattva” (bhūmi) as defined in the Dharma-saṃgraha (section 64).


It is a mantra in Skanda Purana:


Śani (i.e. the planet Saturn) worships the Liṅga at the Saṅgamāvarta (i.e. an eddy at the place where the river meets the ocean) and the name is Jagannātha (‘Lord of the world’).

In the region of Śani at Mahī-sāgara-saṅgama, Rāvaṇa (used to) worship a Liṅga made of jasmine-plant at midnight repeating the name Sudurjaya (‘Unvanquishable’).


So, there is a kind of progression amongst the yoginis of these Pithas, which, however, is not in any apparent kind of order. The sequence, instead, appears to be determined by the linear development of Kankala. In form or behavior, etc., one step to the next of the devis can be a wild variation, but, the males portray aspects of Kankala in very fine nuances such as:

kaṅkālasukhasyandanam the flowing of the pleasure of Kaṅkāla

kaṅkālasukhagāhakaḥ gets deeply in the pleasure of Kaṅkāla.



Perhaps even more bizarre is a mini-loop of the whole thing in one place:


[In Caritra, the female deity is] Karañjavāsinī (“living in a karañja tree”), also taught to be Mahāghaṇṭā (“great bell”), the excellent one. The local protector is Mahābala (“greatly powerful”), [who is] brilliant with the pleasure of Kaṅkāla.


The strange thing about Bhima is that he is followed by Mahavrata, which, we might think is Bhima, because it is, but here it might have a different meaning, such as an end-of-year special Soma. This gets back to the relatively rare Gharma in a few pages about this ritual, referring to some of the Vedic hymns. Here is an equally technical solstice page. Satapatha Brahmana Part Four covers it heavily.

Agni is the Year, and that is a once a year event, Mahavrata in those terms.

Dakarnava's Mahavrata says:


kaṅkālasukhasāmarthyaḥ sarvendriyasukhas tataḥ /

[He has] the power of the pleasure of Kaṅkāla. Therefore [he has] the pleasure of all sensory faculties.


That is, of course, a fairly literal reading, but moreover we have found that Indriya are really the Grounds of various Indriya to Bala conversions, which gives it a different sense. That is to say, he has all the Indriyas, he is not lacking anything, if he has a course of development, it must be the Balas.

Faculties; mental factors. In the suttas the term can refer either to the six sense media (ayatana) or to the five mental factors of saddha (conviction), viriya (persistence), sati (mindfulness), samadhi (concentration), and panna (discernment); see bodhi pakkhiya dhamma.
indriya means "controlling faculty".

The term literally means "belonging to Indra," chief deity in the Rig Veda and lord of Tavatimsa heaven, hence connoting supremacy, dominance and control. In Buddhism, depending on the context, indriya traditionally refers to one of the following groups of faculties:

the "Five Spiritual Faculties".
five or six sensory faculties.
22 phenomenological faculties.


Here, if we focus on the smaller group, it is like a funnel into tantra:


Accordingly, “when a mind of dull knowledge (mṛdujñāna-citta) is acquired, there is “faculties” (indriya)”. Note: Śraddhā, vīrya, smṛti and prajñā are called faculties (indriya) when they are weak, called powers or strengths (bala) when they are strong.

Also, “his mind being tamed (dānta), the Yogin produces the ‘five faculties’ (pañcendriya)”.


The higher parts of Thirty-seven Point Enlightenment:

the five faculties (indriya),
the five strengths (bala),
the seven members of enlightenment (saṃbodhyaṅga),
the eight members of the Path (mārgaṅga).


Well, the Eightfold Noble Path is not a mystery of any kind. What the tantra is saying is that the Seven Jewels of Enlightenment produce it. These are very energetic dakinis in Vajradaka's stand-alone practice. Correspondingly, the Vajradaka Tantra starts with a major ideal of placing a person on the First Bhumi, saying that all the further Bhumis are made of it.

And so in this specifically-Buddhist philosophy, there is a very specific meaning of Indriya. Unlike the senses, one does not necessarily even have it without at least some degree of aptitude. If it is calling for a "strong" Smrti, this is the Fifth Yoga, which also is not really a training session, but, the skilled use of Luminous Mind. Such a Smrti would be necessary to generate the Seven Jewels. In a state of Bala, then, you are not quite looking at how Smrti = Sati = mindfulness any more, you are trying to get the male seed and ability of the Fifth Yoga. When you can do this, you can conjure the Bodhyanga, and, interaction with them "is" or "makes" the Path, the Bodhisattva attributes such as Eightfold Nobility and Bhumis and so forth.


Concerning the various origins of the Pitha devis:


Born of lineages regarding these, the female deities are girls having the nature of the innate (sahaja).


It starts moving from the moment of melting the White Bodhicitta, or Ham, Trident, Moon, etc.:

oḍyānarandhrato gatam /

svadhātūtthitavijñānaṃ sarvadeśagataṃ kramāt //4//

Odyana Randhra in place of the more common "Brahmarandhra", it is a motion of Dhatu affixed to Vijnana.

That is a bit like saying "one's deity", there are a few different routes of what "one's dhatu" is.

But just at first glance, to keep a simplistic view in Prajnaparamita philosophy, it would most likely be Dharmadhatu.

It is the "source of phenomena", so, if you go here, and you are unable to verify sensory information, then you must be in the Dharmadhatu.

The first devi's title is

Nāyaki (ನಾಯಕಿ):—

1) [noun] a woman who leads, directs, commands or guides a group of people; a female leader.

2) [noun] a woman with reference to a man to whom she is married; a wife.

3) [noun] the queen either as a ruler of a state or as a wife of a king.

4) [noun] a female dancer.

5) [noun] a prostitute; a whore.

6) [noun] the central female character in a novel, play, etc., usu. portrayed as noble, virtuous, etc., with whom the reader or audience is supposed to sympathise; a heroine.


As this first goddess is Nayaki Sarvayogini, all yoginis in turn are similar guides to the Viras:

vīranāyakīḥ


She not surprisingly is "always" the devi of this place, but, is:

Sthita.—(CII 1), same as upasthita, present. (BEFEO, Vol. XLIII, p. 6, text lien 15), same as pratiṣṭhita, installed.

It talks about Installation, which is of course a specific rite about bringing a deity into a temple, idol, etc., and then there are several batches of "installation information" about Pithas *before* it gets to what would have just been the next Pitha in the Vajradaka Tantra.




From her position, one goes to Kolhapur, which is the Mumbai or Bombay area, which oddly has its first written evidence in this mystical manual in Nepal. Is there any particular significance to her inhabiting "a mountain top", yes, quite a bit like the Four Yoginis of Nepal with regards to the local geography.

Three and a half Shakti Peethas (prominent seats of the Hindu Goddess) are reported in Maharashtra. These four Goddess temples are Mahalakshmi Temple at Kolhapur, Tulja Bhavani Temple at Tuljapur, Renuka Temple at Mahur (Matripur) and the Saptashrungi Temple of Vani. These four temples are also interpreted to represent the four parts of holy AUM, A kara, U kara, Ma kara and Mmm kara (Ardha matra).

The three presiding deities of the Goddess-oriented scripture Devi Mahatmya in the Saptashrungi are considered a combined manifestation of the three goddesses which are equated with Mahalakshmi of Kolhapur, Mahasaraswati of Tuljapur and Mahakali of Mahur.

The iconography of the Saptashrungi goddess is that of the Mahalakshmi of the Devi Mahatmya. The goddess is eighteen-armed (ashta-dasha bhuja)...

It is believed that the Devi Mahatmya, a sacred book which extols the greatness of Devi and her exploits, was composed at this place by the sage Markandeya.

During the descent from the temple complex there is a cave on the Mahonidri Mountain, which according to the local myth is from where the goddess Saptashhringi, after defeating the demons, disappeared.


A rare form, of course quite suggestive of the special Varuni of Nepal.

Mountain Mahalakshmi temple:








The more famous Kolhapur Mahalakshmi is riverine, around Pancha Ganga, where Dattatreya propitiated Mahalakshmi, considered the temple of Amba Bai.

In another description:

The statue of the Goddess Mahalakshmi is made of gemstone and is considered to be at least 5000 to 6000 years old. The image of the Goddess has an extremely pleasant appearance. It is carved in blackstone, is about three feet in height and has four arms and crowned Goddess made of gemstone and weighs about 40 kilograms. It contains mater mixed with Hirak bits.. The typical ayudhas of the devi are as follows. In the lower right hand is the matulinga, a fruit not unlike the ordinary lemon, but much larger in size. In the upper right hand is a large mace, kaumodaks, and its head touching the ground. The upper left hand holds the shield or khetaka, the lower one holding a bowl i.e. panpatra.Almost all the idols of the God face the north or the east directions, whereas here the Idol faces the west. The temple belongs architecturally to the Kannada Chalukya empire and may have been first built in circa 700 AD. The Shri Yantra is carved on one of the walls in the temple. A stone lion, the vahana of the goddess, stands behind the statue. The crown contains an image of the Sheshnag — the serpent of Vishnu.


Amba Bai:







So technically you could say there are two Kolhapur Mahalakshmis, representing different aspects of her.


Might the first "Bell" goddess say something through her geography?


Attahasa (Eastern Labhpur, Birbhum Dist., Sati's lips fell here and the goddess is called Phullara)

Attahasa pitha as Phullara Devi

Phullara, in Attahasa, West Bengal

There are two Attahasa (meaning: loud laughter) temples in Burdwan and Birbhum.


We can guess a similarity to "Pulliri" in other systems.

phullāra (फुल्लार).—a (Poetry. phulaṇēṃ) Blown, opened, expanded.

phulāra (फुलार).—a (phulaṇēṃ) Light, loose, not closely compacted or pressed. 2 Light or plump--bread &c. 3 Light of substance or composition--cotton &c. 4 Light, airy, delicate.



There is no image or idol in the Garbha griha in the temple, rather, a large stone (the symbol of Devi Sati) is worshiped there.

Maa Fullara:







Attahas Shakthi Peet is one of the important Shakthi peetas where Sati’s lower lip fell. Here Devi is worshipped as Phullara or Fullara meaning Flowering or Blooming and Lord Shiva is worshipped as Vishwesh.


That's it. Very simple. Not much story to her other than a piece of Sati.

Viśveśvara (विश्वेश्वर) refers to one of the eight Bhairavas (bhairava-aṣṭaka) associated with Tisrapīṭha (located in the ‘end of sound’—nādānta)


1a) Viśveśvara (विश्वेश्वर).—Sacred to Goddess Viśvā.*

* Matsya-purāṇa 13. 29.

These are the Shiva and consort of Kashi--Benares, where she is also understood as Vishalakshi and Annapurna.

Visvanatha is perhaps the more accurate and distinguishing name for the one at Attahasa. Except the two names are not very distinguishable.


From the list in Devi Bhagavata Purana:


As ‘Bharat Varsha’ abounds Temples and Holy Rivers all across its length and breadth, Maha Devi mentioned a few illustrative names, but when one’s heart is clean, each and every place of the ‘Karma Bhumi’ is a holy place of worship. Kolhapura on the banks of River ‘Panchaganga’ (in Maharashtra) is Maha Lashmi’s famous Temple situated. The Deity is also known as ‘Karaveera Nivasini Ambabai’ and the City is known as Dakshina Kasi and a Shakti Peetha too. Matripura in Sahyadri mountains or Western Ghats ( Mahur or Mahugadh in Maharashtra) is a Shakti Peetha, the seat of Renuka Devi and also the birth place of Dattatreya. Tuljapura is the abode of Tulja Bhavani (again in Maharashtra and a Shakti Peetha) and next to it Saptashringa with the Temples of Hingula and Jwalamukhi.

Bhima Devi (Vaishno Devi)

Mahananda at Attahasa


Obviously, most are famous and detailed...except Attahasa remains obscure, having Mahananda.

According to Kamakoti:


Attahas village of Dakshindihi, Bardhaman near Katwa in West Bengal- [your] Left Arm- [her] Lips-Phullara Devi-Vishwesha


Same couple, but, I do not think we are starting Pithas in the arm. That one is actually second. That is a list of all fifty-one shakti Pithas, including several in Bengal. I suppose this "main set" is due to the pieces of Sati, whereas "pitha" in the sense of somewhere Lakshmi lived or visited might match it coincidentally.

The Buddhist Cemeteries are made of parts of Mahesvara--who is another source for the Dakarnava Pitha deities. Again, the actual "external" place is less meaningful, for instance Tibet has its own Devikota if not two or three alternates. This, at least, stems from something, such as where Padmasambhava subjugated hostiles. To us, the sites are mostly useful if they are explanatory--which Mahalakshmi is, and Phullara is not. The basic Pitha system was indicative because it started with Pracanda; the only clues in this are the Kadamba tree and the source.

rajā devī


In Vajradaka, it was written twice and suggested as "Viraja Devi". In the Vohita:

rajojā devī


As Mahalakshmi is said to come from "rajoyoni", this would be recognizable in Pancaratra as Rajas Guna.

These Dakarnava versions are updates. From Vajradaka, the origins were changed from karala yoni to rajoyoni (Mahalakshmi), yoni to rajas (Pingala, rajaḥ in text), and rakta kusuma to rakta (Prasanna, raktā in text).

Rajaḥ (रजः):—[from raj] in [compound] for rajas.

Rajas (रजस्) refers to the “female seed”, according to the Kularatnoddyota, one of the earliest Kubjikā Tantras.—The god explains in the Kularatnoddyota that when the male and female seed (rajas) are generated by the union of Śiva and Śakti: “There, O beloved, the (male) seed and the female (rajas) are mixed. The great and immortal Point originated there, O fair-faced one, energized and shining, its light was like that of tens of millions of suns. O mistress of the gods, endowed with four energies, (its) form is round. (Everything) was engulfed (kadambīkṛta) in every way within the mass of (its) rays and flames. O goddess, one should know that to be the Kadamba tree (taught) in the Kula teaching. ”.


Concerning the "red flower" of Prasanna:

2) Raktā (रक्ता) is another name (synonym) for Kusumbha, which is the Sanskrit word for Carthamus tinctorius (safflower).


If she was originally Rakta Kusuma, abbreviated to Rakta in the Dakarnava, one can see that it might be questionable whether it really is Blood.


Those are four distinct sources, Raja Devi, Rajoyoni, Rajas, and Rakta. If I thought the first was "a menstruating goddess", they already have one, Kamakhya. Seems like it would be easy to say so, and maybe the tree is more significant.


Raja Rajeswari is also a Kadamba vana vasini.

Varuni in the Kadamba is as old as Vishnu Purana. That is to say, this legend is very old (ca. fourth century), prior to Kadamba in Sri Cakra (ca. seventh century), considerably prior to its use in Gopi legends (ca. fifteenth century). As an attribute of Lalita:

The form of the goddess emerges from the fire pit — the inner fire pit. The Sahasranama now sings the beauty of her face, describing each of her divine organs. She is the resplendent one with capitate globose heads of kadamba flowers placed over her earlobes. The flowers the goddess wears over her earlobes are the kadamba, the inflorescence of which was used to establish the shape of the planet.

In tantric rituals and in showing devotion to the goddess, the kadamba tree occupies a very important place.


Not sure about this. The default, Phullara devi, is almost impossible to attach anything to, and as soon as you mention the tree, you get everybody. Her origin is equally difficult. Chances are, it leans towards the Kubjika explanation that the tree is the tantricly-unified Point of male and female bindus. Mahalakshmi is Kubjika's first Sri Pitha. Rather than tracing sectarian splits, as the literature seems to do, the article says:

The Tantric Jagannatha is not so distant from the Vaishnava Jagannatha as we may think.

and goes on to explain the majority of Buddhist tantras arising in the same area. In this view:

Jagannatha is the main Deity (Vajresvara) of the Vajrayana tradition, while Balabhadra [Bala Rama] is considered as Vajrodaka (the manifestation of Maha Vajresvara), Subhadra is Vajresvari and Sudarshana is Vajra.

Understandable in Buddhism:

Balabhadra is described in the Niṣpannayogāvalī (dharmadhātuvāgīśvara-maṇḍala) as follows:—

“Balabhadra rides an elephant and is white in colour. He holds the sword and the plough”.


In an article also describing Mahamegha Sutra, a Hindu recognizes this in DDV instantly:

Here are also placed the pA~ncharAtra vyUha-s of vAsudeva headed by balabhadra.


except Subhadra is Krishna's sister, not Lakshmi [Goddess Samlei of Sambalpur and goddess Subhadra of Sri Jagannath temple at Puri are worshipped in the same Bhuvanesvari mantra by the priests--i. e., Lankesvari]. Vimala is the Mahadevi of Jagganath. This has just told us that Vajradaka is the first Vyuha (although this is not exactly correct). Interesting, but unsourced, it does not says "in Indrabhuti's commentary", or where these assignments have been made by Buddhists. If we had to guess, Narada Purana Part Three only uses nine pithas, and has:

Thereafter, he shall perform anganyasa. This is
called Pithanyasa.

The sixfold nyasa of Tara has thus been mentioned. It is

the bestower of the desired fruit.

63b-65. He shall fix Ekajata in the heart (namah) , fix
Tarini in the head, (svaha), vajrodaka in the tuft of hair (vasat),
ugratara in the Kavaca (hum), Mahapratisara in the eye
(vausat), Pingograikajata in the palm (phat).

For taking up the water the seven-sylla¬
bled mantra runs thus: Dhruva (om) vajrodaka hum phat.

So with this spelling, it is almost certainly Vajra Udaka (water), not Buddhist Vajradaka.

1a) Udaka (उदक).—The son of Araṇya and brother of Vāruṇī; attained Varuṇahood.*

* Brahmāṇḍa-purāṇa II. 36. 104.

This is a Vaisnavite Purana which extols Buddhism and promotes Radha as supreme goddess, i. e. the Lakshmi of Krishna.



The whole thing is a puzzle, since it is the place where Vishnu and Shiva are, not, I suppose, identical, but at least co-eval and part of the same package:


Goddess Vimala is regarded as tantric consort of Lord Jagannath and is therefore believed to be another form of Goddess Laxmi.

The panchbhrama [Jagannatha], is worshipped as the Pitha's Bhairava. This is a departure from the usual tradition of Bhairava as a form of Shiva. So, in this temple complex, Vishnu–one of the Hindu trinity–is equated with Shiva, another of the trinity...In this regard, Vimala - generally associated with Shiva's consort - is also considered as Lakshmi, the consort of Vishnu. In Jagannath-centric traditions, while Lakshmi is the orthodox consort of Jagannath in the temple complex, Vimala is the Tantric (heterodox) consort and guardian goddess of the temple complex. Vimala is identified with the goddesses Katyayini, Durga, Bhairavi, Bhuvaneshvari and Ekanamsha in various texts and rituals. She is considered the shakti of Vishnu as well as Shiva in the climactic Durga Puja festivities in the temple.

The deity is installed on a lion throne simhasana adorned with the figures of Vimala’s female attendants Chhaya and Maya on the sides.

Devotees visit the temple religiously every day and recite hymns from the Devi Mahatmya, attributed to the sage Markandeya.

The Hevajra Tantra, which has a similar list, also mentions Katyayini as the Bhairavi and Jagannath as the Bhairava in the Pitha of Udra (Odra, identified with Odisha). The Pithanirnaya or Mahapithanirupana section from the Tantrachudamani mentions Viraja-kshetra in Utkala (present-day Odisha) [Mahanadi river and northwards] as a Shakti Pitha, with Vimala as the presiding goddess (Devi), Jagannath as Bhairava and her navel as the body part that fell here. But the popular notion is that the navel fell in Puri in Orissa. Legend has it that Goddess Vimala as Bhairavi was the original occupier of the premises when Jagannath wanted residence.


The cleanest way I can even begin to deal with it is the one sentence in Durga Saptashati which says that Mahalakshmi is primordial, is behind any of the Three Gunas or Sati, Durga, etc. Secondly from Lakshmi Tantra, the "apparent" Gunas are moves or trades compared to their existence in the Vyuha realm. But, when you cram everything someone might possibly believe, sometimes quite vehemently, into one spot, Jagganath, it is bound to get messy.



In sources related to Durga Saptashati--Candi Path and a sort of androgyny related to Mahavidyas:


The bija mantras used in the daily puja are Srim for Balabhadra (Ugratara), Hrim for Subhadra (Bhubanesvari), and Klim for Jagannatha (Dakshina Kali). It is also very important to know that all the bija mantras used in all ritualistic ceremonies (including those of the Vaishnava tradition) are taken from the Sarada tilaka Tantra.

The Mahanirvana Tantra states: ugratara sulapani subhadra bhuvanesvari niladrau tu sakshat jagannatha dakshina kalika “In Niladri Balabhadra is Ugratara, Subhadra is Bhuvaneswari, and Jagannatha is Dakshina Kalika.”. These three Devis are the most important Goddesses in the Tantric rituals; so Balabhadra is connected with Maha Sarasvati, Subhadra with Maha Lakshmi and Jagannatha with Maha Kali.


Bhuvaneshvari is mantricly shared or identical to Subhadra, Vimala, Samalei, and Lankesvari, and/or Bhairavi. Comparatively, she is only a Mahavidya from at most the sixth century and probably not from here:

The oldest temple of Maa Bhuvaneshwari devi is located at Gunja, ta: visnagar, dist: mehsana, north Gujarat.


Lankesvari emigrated away from Ravana in Lanka, because she did not like him, to Orissa with Rama and Hanuman, because she liked them. Samalei is located on the land above Lankesvari, in northwest Orissa Kosala and/or Shambhala); Puri and Bhuvanesvari are near the coast. In the conclusions of the researcher:

Therefore Lankesvari alias Samlei alias
Subhadra is the same deity in the uniconic form,
who was worshipped by Indrabhuti, the king of
Sambala in the 8th century along with Lord
Jagannath in the Kot Samlei Cave of Trikuta
Parvat. Most probably the same goddess was
called Panchambari Bhadrambika by the
Somavamsi king Mahasivagupta Yajati II ( circa
1025-1040 A.D.), who installed her as his titulary
deity at Pattana Suvarnapura,the capital city of
the Somavamsi empire. As she was in the uniconic
form, she was having the Panchamahabhuta or
nature as her dress. (Panchambari). It connotes
a sort of open-air worship.

The uniconic form
of goddess Samlei at Sambalpur, Barpali and
Patnagarh denote her tribal origin, but the icon of
Samlei at Sonepur relates her to the Supreme
Goddess Durga, and that of Bolangir also to the
great goddess ( Mahadevi ).


Although I am not sure about "Dharani Pitha", Lankesvari in Dakarnava must be some kind of move because she replaces:


As per Sankara Samhita of Sri Skanda Purana, Sri Sankari Peetham (at Lanka)

On the Wiki page, this is easy to see on the page with a Pitha Map which is some kind of layered image that will not post properly.

Sankari is actually given first and is the heart.

Her role was:


The protagonist, Lord Rama and antagonist, Ravana of the Sanskrit epic Ramayana have offered obeisances to the Goddess. Nāga and Garuda. Indrakshi (Nagapooshani / Bhuvaneswari)

we also notice on the standard Pitha list:


Goddess Shrinkhala in Pradyumna

On the Kopai River in Birbhum district, Devi locally known as Kankaleshwari, who is the Pelvis.

The fact that Guhyesvari is allowed to participate as "both knees" is good enough.

These fifty-one all mean Sati's body parts, and, it is only kind of a footnote where they are able to mention Vindhya Vasini which is a Pitha because it is where Devi lives. From there, we can perhaps see the option that some Pithas or sacred sites could mean a divine presence rather than the Sati pieces. In fact from looking at these, they are almost incomprehensible, only a few of them show up as Pithas in practice.



In one icon from the study:

Jagannatha is sitting with Lakshmi (who sits on His left thigh) on a red lotus flower. Both have reddish intoxicated eyes, and Lakshmi wears two yellow pieces of cloth (as upper and lower garment).




From a table of Jagannath's correspondences, the Gunas idea is Vajrodaka--Mahasarasvati--Tama, Vajreswari--Mahalakshmi--Raja, and Param Vajri--Mahakali--Sattva. With these names and designations, it must be talking about the Vyuha realm. Normal Kali is Tamas. But this format does not exactly match what is in Lakshmi Tantra:


Sri who is Rajas disturbs the equilibrium of root matter and fills it with her own golden brilliance. She then emanates a dark Tamasi, Mahakali, who is Mahamaya--Nidra--Kalaratri etc., and then a Sattvic lunar Mahavidya--Vak--Sarasvati. These are the ones who form the cosmic Egg of our world. They are the Third or Prasuti Kosa.

In other words, the Maha Devis "are" the Gunas, but, that is still an immaterial or disincarnate state, subject to mental productions. This production is what is odd, or, at this point, it is the males who are anchored to the Gunas:


Mahalakshmi (Rajas) mentally produces a pair of deities pregnant with the golden egg or Hiranyagarbha; these are Lakshmi and Pradyumna as Brahma.

Mahamaya (Mahakali or Tamas) mentally produces Rudra with Sarasvati.

Mahavidya (Mahasarasvati or Sattva) mentally produces Vishnu with Gauri.

That is when she orders them to swap, and Gauri goes to Rudra (Tamas), Sarasvati to Brahma (Rajas), Lakshmi to Vishnu (Sattva). After that, the Egg is broken.


When forming the impure creation:

Vijnana (first Vyuha, Samkarsana) becomes Sattva, Aisvarya (second Vyuha, Pradyumna) becomes Rajas, and Sakti (third Vyuha, Aniruddha) becomes Tamas.

That sounds very weird, but, for instance, Sattvic Mahasarasvati produces Vishnu, who becomes the ordinary Sattva as we know it--this also is the first Vyuha. Tamasic Mahakali produces Rudra, ordinary Tamas, which the third Vyuha has become. Rajasic Mahalakshmi produces Brahma, the normal Rajas, which the second Vyuha has entered.

That is more or less to say that the first Vyuha, which sounds like Rudra on its own plane, neither produces the Rudra within creation, nor acts like it, since this Vyuha becomes the property of Vishnu--Sattva. Pretty much all of the yoga schools at least agree that within the aura or manifestation, we are trying to make Sattva predominate. But this is really the "activity" of the subtlest or first Vyuha, which is actually Bala Rama.

The Three Maha Shaktis might be related to Gunas in that way, but, the Vyuha's Gunas are very different according to Darshan:


The Pancaratra teaches a chain, as it were, of emanations; each emanation, except the first, originating from an anterior emanation; and thus the favourite image of the process has, with the Pancaratrins, become that of one flame proceeding from another flame. Any production, up to the formation of the Egg, is imagined as taking place in this way. The first three (or, including Vasudeva, four) beings thus coming into existence are called Vyuhas.

Samkarsana (or Balarama, Baladeva), Pradyumna, and Aniruddha and the pairs of Gunas connected with these are respectively: jnaana and bala; aisvarya and veerya; s'akti and tejas.

Lakshmi Tantra explains that Samkarsana, etc. Vyuha are, as it were, the soul (jeeva), the mind (buddhi, manas), and the organ of self-assertion of the 'playing' (that is, creating). Vishvaksena Samhita declares Samkarsana 'is acting as the superintendent of all the aatman'; Pradyumna 'is the superintendent of the mind (manas); he is declared to be of the nature of the mind (manomaya); and Aniruddha is declared as the creator of the mis'ra-varga [mixed creation], that is, of the aatman dominated by Rajas and Tamas, thus seen as the adhishthaatr of the Ahamkaara.


Atma--Jiva on "our side" is strongest and most contactable by Sattva--Vishnu, but, on "that side", it is bereft of everything except Jnana (Gnosis) and Bala (doesn't get tired, certainly doesn't get bored). Bala is also 'sustaining power' (dhaarana-saamarthya), similar to Vishnu's role in creation, but, this Vyuha is Formless. Jnana is the root of all six divine gunas.
And so in Buddhism it is both the first practical element, and the height of the Bodhisattva Path, which is quite a bit like a reverse view of Lakshmi's creationism. A "taste" of it is the first real moment when you have gotten the hang of Bodhicitta and must be doing something right, whereas the Path is pretty much the same thing carried to infinity.

The important power of Yoga, Aisvarya, dominates Manas and Buddhi.

It means they are unimpeded and independent. That is not an ordinary human condition of mind. It would make sense, then, applying this yogic power, one becomes able to witness Jnana of the higher Vyuha. Aisvarya has more or less entered Sarasvati, the Vak Devi and Mahavidya.

If Aniruddha entered "Play", this is of course similar to Karma Family and Ramya of the Buddhist tantra. In creation, this is like "ability to use matter", whereas on the Path it is more like "the way to use the body".


In the Jagannath terminology, if male-based and it was saying the first Vyuha "enters" Sattva of our world, it would be the same. The third, material Vyuha "enters" Tamas, the second "enters" Rajas. We might almost say it is a little "wrong" to start with, since, by definition, Vyuhas transcend ordinary Gunas as we know them, and we are trying to distinguish that they are more like mental impulses which have a different nature completely.

The earliest known written testimony of Jagannath:

In this
connection it can be mentioned that for the first
time Jagannath has been mentioned in a religious
text titled Gyanasiddhi, authored by king
Indrabhuti of Sambala.







When something specifically deals with the Lakshmi system, Mahavidya is Mahasarasvati. Otherwise, it is, relatively, a "universal occult knowledge", which becomes a proper name in a system of The Mahavidyas, where again it is not "a" system, but a style with variations. From our references to the early mantric school:


Mahabala is later to be found among the ten wrathful divinities in the primary entourage of Vajrakila. His epithet used here, mahavidyaraja, became in later texts freely interchangeable with the term krodharaja.


Such as in GST:

Surrounding him in their proper places are the ten krodharajas whose bodies have the nature of the triple vajra and
who are described as exhibiting the form of Sumbha.


So if Mahabala begins with these synonyms and meanings--from pre-600 through the Dakarnava Tantra--the thing he is holding or is Raja or King of is even older. It is in this valuable nugget gleaned from the Gilgit manuscripts. This was copied out as evidence of the Pratisara Dharani; in other words, it can easily claim the age of Mayuri. But this causes one to overlook what else it is evidence of. We will re-copy it and then clean it up with guesswork:


[13] man.icud.a ca svarn.ake´sı pingala cama {...} nı ekajat.a ca maharaks.ası |

tatha buddha {...} vara |

tatha lanke´svarı dhanyaanye 'pi bahu {...} raks.anti yasyeyam. mahavidya hastagata {...} [ka]´s caiva ´sa˙nkhinı kut.adantı (ca)´srıya devı ca sa {...} baddha raks.arthepratisaradharan.asya nityam. ya dharaya {...} bala |


manicuda ca suvarnakesi pingala camaradharini ekajata ca maharaksasi

tatha buddha...

tatha lankesvari dhanyanyapi bahumamsa raksanti yasyeyam mahavidya hastagataka 's caiva sankhini kutadanti sri devi ca sa ... baddha raksarthapratisaradharanasya nityam ya dharaya ... bala


Female manicuda is a kinnari in Karandavyuha Sutra.

On the third line, it looks like two well-known shaktis are holders of Mahavidya in or via Sankhini--Sri Devi, and this is bound in the Pratisara dharani, which promotes Bala. I filled in a blank with Bahumamsa, an aspect of Camunda at Kotivarsa. In her references and additional comparison with Karnamoti, we are additionally informed that the site "Ekamra" means Bhuvaneswar in Orissa. In Dakarnava, the Pitha of Putana and Mahavrata is Āmraka, Ambuka, or Ekāmraka (in Amnayamanjari). In this case, neither of the first two are intelligible, whereas the third could also be in Ujjain, or, generically:

Ekāmraka—the bank of a river

In other tantras, it is the site of Camunda; the inhabitant Putana is "putrefaction", probably closer to Camunda than to Bhuvaneswari.



At the very least, the Gilgit fragment shows Lankesvari in a "religion" or at least school that is not originally hers, hundreds of miles from her personal location, in a way that implies there must already be a known or knowable Mahavidya associated with her, and then she continues a powerful role all the way through the Dakarnava Tantra.

Although Ekajati is not seen in the Pithas, she shares "bristling hair" with Lankesvari. She has been called Sulini, and spears are the most prominent article in Dakarnava's Pithas, one of the devis being born from a spear.

Would it be much surprise that PR206 is Mahabala Krama, not at this point.


Dakarnava has a Rajgrha deity, with the odd name of Ruin, whose husband Mahakarna is also called Sound of Crickets. This one could fairly be said to be a neighbor of Pratisara, who is either the resident devi of a neighboring mountain, or the Buddhist conversion of her. There does not appear to be any trace of the Pancha Raksha in these Pithas.


So although they are both in Orissa, Viraja is a somewhat separate deity and/or location of Lankesvari. It was not too surprising that the original Pitha inhabitant was Ambika who:


Represents Soma while Śiva is Agni.7

7) Brahmāṇḍa-purāṇa II. 27. 112; IV. 14. 6; 15. 52; 44. 86.

1) Ambikā (अम्बिका) is another name for Śakti (prime cause, created from the body of Īśvara), according to Śivapurāṇa 2.1.6, while explaining the time of great dissolution (mahāpralaya):—“[...] this Śakti is called by various names. Pradhāna, Prakṛti, Māyā, Guṇavatī, Parā. The mother of Buddhi Tattva (The cosmic Intelligence), Vikṛtivarjitā (without modification). That Śakti is Ambikā, Prakṛti and the goddess of all. She is the prime cause and the mother of the three deities. [...]”.

Ambika and Unmatta are also at Jwalamukhi.

jvālāyām vaiṣṇavīdevī

Gouri at Bhubaneswar is worshipped as Vaishnavi.

Ambika can be traced to Yajur Veda, wherein the author believes Shaktism derives from Aditi of Devi Sukta of Rg Veda. Ambika is called consort of Rudra in Tattiriya Aranyaka.




From an article giving us the simple explanation that Vedic removal of sins is primarily by fire offering, whereas the Puranic method is to worship at the tirtha or any river or pilgrimage site, Brahma Purama

mentions that Brahma has established the goddess by whose
sight a person purifies the ancestors extending upto seven steps. A person
having only one sight of her and worshipping her, liberates his ancestors and
reaches the Brahmaloka :

viraje virajamata brahmana sampratisthita viraje virajamata brahmana sampratisthita viraje virajamata brahmana sampratisthita |

yasyah samdarsanan yasyah samdarsanan yasyah samdarsananmartyah punatyasaptam kulam martyah punatyasaptam kulam martyah punatyasaptam kulam ||

sakrddrstva tu tam devim bhaktya pujya pranamya ca sakrddrstva tu tam devim bhaktya pujya pranamya ca |
narah svavamsa narah svavamsa narah svavamsamudhrtya mudhrtya mudhrtya mama lokam sa gacchati mama lokam sa gacchati mama lokam sa gacchati ||


It explains Viraja mantra:

The Baudhyanadharmasutra (3.8.12) prescribes here the first seven mantras for
offering additional oblation of clarified butter in a candrayanavrata (lunar
penance) and at 4.3.8, it declares all these seven mantras as the Viraja mantra
which are capable of destroying grave sins :

aghamarsanam devakrtam suddhavatyastaratsamah aghamarsanam devakrtam suddhavatyastaratsamah aghamarsanam devakrtam suddhavatyastaratsamah|

kusmandyah pavamanyasca viraja mrtyulangalam kusmandyah pavamanyasca viraja mrtyulangalam kusmandyah pavamanyasca viraja mrtyulangalam
durga vyahrtayo rudra mahadosavinasanah rga vyahrtayo rudra mahadosavinasanah rga vyahrtayo rudra mahadosavinasanah||


and recognizes her Puranic origin:

Ajyapas are born from Pulaha. They move around the worlds at their free will. Viraja is their daughter born from their minds.




In a quite recent write-up of the Ratha or Chariot of Viraja, it has about as many details as Devi Bhagavata has for those chariots. It does use this name to refer to the area where Jagannath travels:

In the Ekamraksetra,


There is a quite large retinue, but, as inspiration towards why we might think "camara dharini" might fit the Pratisara fragment:


Chauri bearers are Bhubaneswari, Matangi, Ambika, Bagalamukhi...Camunda, Candi...Pratyangira...


and:


Devi of this ratha is Bhudevi, Sridevi

Name of the Pitha where ratha stands : Aparajita pitha

Colour of the clothes use in Ratha yatra: 1- krushna (mahakali), 2-red (mahalaxmi), 3-white (Saraswati).

Brahmacharini is the power of this ratha

It has given by goddess Saraswati


Concerning the quantity of chariot traditions in India:

There is a greater similarity found between Jagannatha mandala and Viraja mandala.

Rathayatra in a tantric Virajakshetra is an unique tradition and devotees come in a large number to witness and get auspicious blessings from the goddess Viraja.


So in the corresponding Hindu tantras and in Vajradaka, Viraja is inhabited by Ambika...for some reason, the edit in the Dakarnava would then resemble the way Ambika has been placed in this chariot's retinue. This has been strongly influenced by Mahavidya tradition, because:

Mahatripura sundari lives on the flag.

But, basically, it is gifted from Sarasvati, to Lakshmi, which seems to me to be the basis of goddess operation no matter how you look at it.

Compared to the witnesses of Enlightenment as shown at Ratnagiri, Bhu and Aparajita, those are semi-reflected here. The devi could be Bhu or Sri. At that point, we kind of go aha, well, we actually have an extensive pantheon based on this. The Mahavidya system applied here, to the exclusion of any Jagannath terminology, is, so to speak, its own school of the same devi. In this case, it is attached to Viraja of Jaipur, who is perhaps the most ancient identifiable goddess in any of this. If we glance back into the Pithas, it appears to have synonymized Lankesvari with Dharmadhatu Ishvari, and Viraja devi with Kamadhatvishvari, whom we understand as Lakshmi, whose two main aspects Bhu and Sri are considered Viraja.

Viraja's attendants are already aspects of Prakriti, so, over them, she is probably the Prasuti sheath.

Her Bhairava is Varaha.

Her only temple associate is Bagalamukhi.

Her Durga aspect is Mahishasuramardini. Although most depictions of this goddess give her multiple arms and think of her as Camunda, Viraja is very simple and attractive, almost as if saying "family of spear shaktis". This Durga is an Attahasa made by all the male deities. Part of her work is this:

She advised Asiloma and Vidalaksa to retreat to ‘Patala’ but both of the Demons decided to die while fighting rather than betraying their Master. Knowing fully well that Maha Bhagavati would kill them any way, they wished rather to get killed valiantly on the battle field than show their backs. Maha Bhagavati had fully acknowledged the maturity of their thinking and felled both of them after their waging a brilliant battle.

and:

The Danava tied up his tail to mountains and whirled them against Maha Devi, who was enjoying cups of Grape juice meanwhile.


afterwards:

Maha Devi replied that both Danavas and Devas were of the same creation of Hers and that there was nothing like a distinct categorisation of Danavas and Devas, except that the proportion of the Three Gunas-Satvik, Rajas and Tamasic-varied from person to person and even different situations facing each person. The Eight Vices-Kama, Krodha, Lobha, Moha, Mada and Matsarya- existed in the same person as the mind and heart at variance with each other; it would thus be a common enemy to both divinity and humanity in varying degrees; interaction of these common enemies needed to be minimised and that was the Tatva Gyan all about.

Later, Ambika kills Sumbha and Nisumbha.


Viraja lacks "aliases" or "movements", and can largely be distinguished from Vimala and her "cluster". Her main mantra comes from Tattiriya Aranyaka, along with the Durga Suktam that mentions Vairocani.

In Vaishnavism, Durga whose mount is Lion, is considered one of the three aspects or forms of Goddess Lakshmi, the other two being Sri and Bhu. According to professor Tracy Pintchman, "When the Lord Vishnu created the gunas of prakriti, there arose Lakshmi in her three forms, Sri, Bhu and Durga. Sri consisted of sattva, Bhu as rajas and Durga as tamas".


That seems pretty close to the intended fusion. It is the Prakriti sheath.

Lakshmi Tantra is quite ingenious about that. I would think that any Puranic student could pretty easily put together Prasuti sheath--Swayambhu Manvantara and Prakriti sheath--Vaivasvata Manvantara. They might comprehend that in a few different ways, but, it would be pretty close to the same for everybody.

Lakshmi is not a Purana, she is a Tantra, and so you would need to shift the Swayambhu from merely "a past creation" and see it as currently-active "mental creation" or even the mental world itself and the cessation of phenomena. Prakriti sheath already summarizes almost all of what anyone knows, and it contains the Cosmic Egg and the Jivas, her outer sheaths. Whatever was "above" or "before" that has neither changed nor gone anywhere. So if we are even able to begin to think of a Prasuti without Gunas as we know them, that seems to be where her handshake is coming from.

Prasuti is:

1c) A daughter of Vairāja; was given in marriage to Dakṣa; Dakṣa to be conceived as prāṇa and Maru as saṅkalpa; to them were born 24 daughters, all viśvamātaras.*

* Vāyu-purāṇa 10. 17, 22-3; 67. 27-8.


where Viraja is:

Svāyambhuvamanu and Śatarūpā

Prasuti's sons were, shall we say, easily misled, and it required a breed of daughters for even the mental creation to proceed.


As fate would have it, there is no commentary in this regard and almost no awareness. There is the following from Pancharatra Philosophy:


From Aniruddha - Sakti, From Sakti Niyati, From Niyati Kala, From Kala Sattvaguna , From Sattva Rajoguna, From Rajas Tamoguna.


Thus Mayasakti, Niyati and Kala, these three are called the
three mothers and creators of the world in Lakshmi Tantra.

They are said to represent the Rajasic, Sattvic and Tamasic
aspects of the Goddess. Lakshmi Tantra says they are
Aniruddha’s wife Rati in the form of the sheath of Maya,
'Mayakosa'.

Niyati is called Mahavidyamayi Saktih.

Niyati actually determines the form and contour which is a
being may assume, its work, its nature, etc.

Strictly speaking three kinds of Time are detailed:

(i) Effected or gross time which plays no part until after
the creation of the Tattvas.

(ii) Casual or subtle time which though relatively eternal
is also created by Aniruddha (Pradyumna)

(iii) "Higher time existing in pure creation".

The aforesaid kala tattva emanating from Niyati is said to
conform to the second type of kala as enumerated above namely-
the subtle kind of time.

It is the category of time, the transforming activity of the
world (Jagatah samprakalanam) that first associates and then
dissociates the purusha and prakriti for the production of the
effects.

In other words, the three gunas come under the protection of
Aniruddha in the form of Trimurtis:

Aniruddha as Vishnu becomes the Superintendent of Sattva

Aniruddha as Brahma becomes the Superintendent of Rajas

Aniruddha as Rudra becomes the Superintendent of Tamas.

These three Gods together with their Saktis (namely
Lakshmi, Sarasvati and Gauri) are regarded as the forces
underlying the formation Of Avyakta. They are called in
Lakshmi Tantra (VI. 20-21) the sheath of generation-Prasuti
kosa.

When Manus are formed, they "descend" through these stages as a fetus.

The Manus descending into that category by gradual stages
are known by the names:

Samashti - (conglomeration)

Purusha Yoni - (cause)

Kutastha - (unchangeable)


That did not tell me much about how Prasuti might be psychplogically or existentially different. It kind of tells me there is one in the flowchart.

Considering the Prakriti sheath, this is described as having the "outflow" of personal ahamkara or egoity, buddhi, manas, and the tattvas related to elements and senses, i.e. Mahatattva. In Buddhism, this is basically Cemetery Yoga. Since there are eight cemeteries, even if you were Hindu, you could quickly conceive of the transfer. No, the sadhanas do not quite put it in the same terms, because it is Buddhist Yogacara, but as a rough estimate, they are the same.

The Cemeteries are outside the Tri-kaya, the three eightfold circles of Body, Speech, and Mind. They are largely about reversal and the shutting of the door. So again the Tri-kaya or Three Vajras, etc., begins sounding more like the Vyuha, above or beyond the Prakriti. "Body" is a mantrified, gnostic body, Sarvavid Vairocana, consisting of the first two Yogas, Pratyahara and Dhyana.

Cemeteries are related to the discovery of dakinis, but, more specifically, the realization of Gauris. Gauris are, so to speak, the intensification of "dhyana" beyond what it may apparently seem. The Buddhist Speech Mandala is a fairly thorough occult metamorphosis of the human being. A person who actually has Dharani as the Fourth Yoga would probably seem like an adept to us.

A mantrin, or vidyadhara, sage, etc., is recognizable as one who has harnessed the Krodharajas, and the Cemeteries. If you are able to train and stabilize even a small portion of Speech Mandala, you enter or attain the "secret" Gata or Realm which is not the Pure Lands, Akanistha, or Liberation, but a sort of specially-protected afterlife that is not available to a non-mantrin.

The only assurance of Samkranti or Transfer to Akanistha is the ability to move the Heart Bindu out the Brahmarandra, which is given by Jnanadakini. That is a considerably farther stage than just described. But I would say most of the difficulty lies in getting to the Sahaja in the first place. If we overlook the fact that yes, Buddhism in some cases involves additional chakras, in the view of Subtle Yoga this is not necessary. The chief aim only needs the Nirmana Cakra into which you have to collect the melted bodhicitta like dew and cool off the boiled nectar, thereby making the new condition called Mercury. And this is almost exactly the same as a thermometer. It is not that hard to get the Mercury to rise properly. It is mainly a matter of enough energy to make it rise through the Brahmarandra into Vajra Danda. This is the susumna, but at this pont it is also phallic. It is trying to get enough energy and balance to connect to Higher Yoni Triangle, which is something like a mirror image from the one in the navel. This is why the male deity is more like an "axis" of the aura, and symbolized by a staff, whereas the female is more like the revolving wheel.

I think of it like a "wind in sails" principle. The body has physical and mental winds. And so the physical you can of course feel, but the mental you can only know. The teaching says to blend these with mantra in the central channel. If the mantra is weak, then, you do not get much wind force from it, and it is supposed to be able to make pennants flutter. If you do not have enough organized mental power, then the parts of Subtle Yoga that pertain to central channel activity are going to be bland and it is going to be ineffective and stall out.

The mantra craves Sati, mindfulness, or Ekagatta, one-pointedness, which I would guess has a lot to do with the recurring spear of the Shaktis.

[shaberon]

Pitha changes from Kubjika to Vajradaka & Dakarnava; Mahalakshmi, Dhyana, and Nirakara; Vipula Siddhi; alternate list of Amnayamanjari Pithas




In Sanskrit, what I have found is that in many cases, Buddhism is in agreement with the general uses of the vocabulary. But then there are certain exceptions where it attempts to sculpt the definitions and arrange them into a new or unique system.

For example, the basic meanings of Dhyana do not seem to be really changed. Instead, Buddha's Enlightenment was inspired by "the Dhyanas" as generally known. This holds its place at the Second Yoga.

Then there is a sort of sensitive area where terms such as Smrti and Samadhi are corralled and refined into a particular practice and called the Fifth and Sixth Yogas. At the very least, they are something that has taken "mindfulness" and "Dhyana" into greater intricacy.


On the subject of Pithas, like the Dhyanas, Buddha or Buddhism does not claim to invent them. It seems more to be like gathering general knowledge, and then changing a few things, and can probably be described better as "doing this in a Buddhist way" rather than "Buddhism", as if India itself had rolled out of Gautama's discourses.


So we would be curious where the common ground between the two different Pitha systems lies, and where Buddhism distinguishes something. The impression from Genesis and Development was that Vajradaka's modifications to the Pithas were debonair, ad hoc, if not outright meaningless. I am not convinced that is how it works.

The Vedic system was largely about doing fire offerings, and then the Puranic system was more about going to the Pithas; and then we see the development of Inner Homa, i. e. so that such a pilgrim can still do fire offering and so forth, mentally. The eventual tantric system then interiorizes the "pilgrimage". Anyone can still do the things on the objective plane as much as they want, but, it is now talking about something subjective that works mainly by mantra.


In Dakarnava, the first Pitha goddess is a Sarva Nayika, like a trainer or guide to the other yoginis, who on their part become a Nayika for their Viras or Bhairavas or male partners. This again appears to be an outer-to-inner transition. Companion to Tantra says:

Nayika, in the Vaisnava Sahajiya cult, denotes a woman highly suitable for ritual purpose



There are two specific layers of Hindu text which have been absorbed into the Pithas of Vajradaka Tantra. The broadest base is given in Genesis and Development:


Ucchusma Tantra is the Picumata (Kubjika Tantra). The Nyasa for Picumata Pithas is given in Jayadrathayamala IV. It has a standard retinue:

Guhyakas: Rakta, Karali, Candakhya, Mahocchusma

Attendants: Karala, Dantura, Bhimavaktra, Mahabala


This tantra does not provide information on which devis are born in which family. The Nisisamcara, a single Nepalese manuscript, does. It is this which Vajradaka has copied, except for four changes. Vajradaka and Dakarnava seem intensely close to Nepal, although Vajradaka was composed at Ratnagiri.

The Nepalese manuscript contains Attahasa and Caritra; Abhinavagupta's Tantraloka 15.88-97 deviates slightly when paraphrasing Nisisamcara. Tantraloka is almost Four Thousand pages, and is important in Kashmiri Trika Shaivism.

That is all in Hindi. Fortunately we have it Romanized, and, his Pitha sequence actually starts in v. 85:

nādapīṭhaṃ pūrṇagirirdakṣiṇe


and he has something in mind for three Upapithas:

śāktaṃ kuṇḍalinī vedakalaṃ ca tryupapīṭhakam || 86 ||


the next two of which seem to be:


devīkoṭṭojjayinyau...lālanaṃ

puṇḍravardhanavārendre...idaṃ

So to me at least, sounds like he starts with the Three Channels including Lalana and Ida.


Then comes more of just a list, Attahasa, Jayanti, Varanasi, Kalinga, etc.; they do not seem to be more specifically placed than "heart lotus". It says nothing about nose and arm and so forth, and there is not really much information.



Sugiki translates a Nyasa from Tantraloka:

The twenty-four sites are internalized in the Tantrāloka (that is, they are visualized in the body): They are Aṭṭahāsa (tuft of the head), Caritra (cranial fontanelle), Kaulagiri (ears), Jayantī (nostrils), Ujjayinī (eye-brows), Prayāga (mouth), Vārāṇasī (heart), Śrīpīṭha (shoulders), Viraja (throat), Eḍābhī (belly), Hālā also called Alipura (navel), Gośruti also called Gokarṇa (testicles), Marukośa (sexual organ), Nagara (right buttock), Pauṇḍravardhana (left buttock), Elāpura (right thigh), Purastīra (left thigh), Kuḍyākeśī (right knee), Sopāna (left knee), Māyāpū also named Māyāpurī (right shank), Kṣīraka (left shank), Āmrāta also called Āmratakeśvara (right ankle), Nṛpasadmanī also named Rājagṛha (left ankle), and Vairiñcī also called Śrīśaila (soles of the feet).


That probably was in:

pīṭhavidhi (‘ritual of sacred sites’), Tantrāloka chapter 29. This chapter of the Tantrāloka by Abhinavagupta expounds details regarding the Kula initiation ritual.

Allright. Abhinavagupta changed Nisisamcara slightly, adding a practice; which is basically what Vajradaka is doing. That is where the two systems draw wider apart.


Possibly as an alternative to the Nisisamcara:

the Kubjikāmatatantra lays out only the external aspect of the twenty-four sites, but they are internalized in the Devyāyāmala.



It is found notable not so much that Vajradaka used an existent Pitha list, but, that it kept the information about devis being generated by the Guhyakas retinue. When the four Pithas were changed, these failed to incorporate generation from the Picumata retinue. Instead, their deities' sources are:

Uddiyana Mahadevi, from Guhya, or, Guhyakhya; Jalandhara Candalini, from Soma; Bhota Sahaja is Swayambhu; Malava Seka, not given, or, simply from Yoni in Dakarnava.

Nothing like Oddiyana or Puri or southern Orissa near Jagannath appears to be represented in Kubjika. The easy table of Kubjika is in Vajradaka study II.

Bhota or Tibet had never been associated with Pithas, but, by the ninth century, it appears to have been considered significant to Indian Buddhism, enough to add it. And so if there was a standard which was changed to include Tibet:



The twenty-four sites in the Kubjikāmatatantra are Aṭṭahāsa, Caritrā, Kolāgiri, Jayantī, Ujjayinī, Prayāga, Vārāṇasī, Śrīkoṭa, Virajā, Airuḍī, Hastināpura, Elāpura, Kāśmarī, Maru, Nagara, Puṇḍravardhana, Parastīra, Pṛṣṭāpura, Kuhudī, Sopāra, Kṣīrika, Māyāpurī, Āmrātikeśvara, and Rājagṛha.


What did Buddhism change from Kubjika?

Vajradaka eliminated Ujjain, Prayaga, Varanasi, Parastira, and Kuhudi, if Amrati is close enough to Amraka (yes according to translators). Site three, "Dharani or Varuni", location of Sankari or Lankesvari, is not listed in Kubjika. Chances are, one of those goddesses is, so it may not be considered a total change.


In Kubjika:

Parastīra-pītha is connected with the goddess Prasannāsyā.

Kuhudī-pītha is connected with the goddess Mahābalā accompanied by the Field-protector (Kṣetrapāla) named Ulkāmukha.


These deities at least were kept. Ulkamukha or Owl Face was moved up to the previous Pitha (Prsthapura), and he is called synonymous to Ghantarava, who is Ghanarava in Kubjika. Kubjika had a female Mahabala in Kuhudi who is not reflected in our roster, except as an alias of Bhima in Mayapura.


Varanasi must have been changed to "Dharani or Varuni":

Vārāṇasī-pītha is connected with the goddess Ūrdhvakeśī. or:
Vārāṇasī is presided over by the Goddess (Devī) named Śāṅkarī accompanied by the Field-protector (Kṣetrapāla) named Śāṅkara.


As we have seen, the Sankari Pitha is in Sri Lanka. It is the heart, as Varanasi is said here to be the heart. There may be numerous liturgical reasons to associate Sankari with Varanasi, but, this change in the Buddhist tantras is very specific. Sankari was hidden in "Dharani". That's not even a place, neither is "Varuni" when inhabited by Lankesvari in Dakarnava. As to their correspondence:

The Kosalananda Kavya of Kavi Gangadhara Mishra, written in 1664 A.D., describes the temple city of Sonepur as the second Varanasi of India.

Older name Suvarnapura (Sonpur).

Lankesvari was also called Nikumbhila, as the forest or cave outside of Lankapuri, associated with Bhadrakali, before moving to Sonepur.

Varanasi may be called Varuna, at the conflux of the rivers Varuna and Asi. Whether this justifies "Varuni", I am not sure. That article shows the many spelling variations and synonyms given for "places"; it is known to be bulky and unwieldy.

In some cases, "parts" of the heart are said to have fallen different places; but if we say it went to Lanka, then, the Varanasi Pitha is said to go to your heart in the Nyasa, not necessarily having Sati's. In fact, in the first list on Wiki which is intended to be firm and indisputable, from Ashta Dasa Shakti Peetha Stotram, Varanasi has her nose. But in the longer list from Tantrachūḍamanī, it is omitted altogether. It says Lanka has the ankles; others say hand or groin.





These are completely gone:

Prayāga is presided over by the Goddess (Devī) named Vāyuvegā accompanied by the Field-protector (Kṣetrapāla) named Pavana.

Ujjayinī is presided over by the Goddess (Devī) named Mahāmāyā accompanied by the Field-protector (Kṣetrapāla) named Mahākāla.


In Kubjika:

Jayanti has Jvalamukhi and Mahapreta, which probably became the odd half line stuck to the prior Pitha (Kolhagiri) in Vajradaka. His Jayanti has taken Prasanna, which would de-activate Parastira. The Jayanti name was moved out of order and placed in Prasanna's position (Thirteen).


There are some parallel edits without moving anything:

Putana's consort Mahavrata "was" Mahakrodha.

In Kubjika, Caritra has Krsna (female) and Mahabala. The Buddhist Caritra devi is just named for her tree, so, this could still be the same. Krsna is in the same tree. Buddhist Krsna is the first Hora devi, who would be used in conjunction with this set of Pithas.

In Kubjika, Mayapura's Kampini is similar to Kamini in Amnayamanjari, where Vajradaka has Bhima. Kamini is in MMK and also the large retinue of Buddhakapala:

Kāminī stands in the north-east of the middle circle. She has a blue colour two arms, one face, ornaments of bones, brown hair rising upwards but no garlands of heads. She carries the kapāla in the left and the kartri in the right, and dances in the ardhaparyaṅka attitude.


For the location of Bhima or Kamini:

Māyāpura (मायापुर) is a place name ending in pura mentioned in the Gupta inscriptions. Māyāpura is also known as Mayura in the way that pura is changed to ur.

māyāpūra (मायापूर).—n (City of illusion.) A term for the body.

In Skanda Purana, it is a synonym for an actual place:


113. Then he reached Māyāpurī which is inaccessible to sinners and where the Māyā pertaining to Viṣṇu does not fetter the living beings with the nooses of Māyā (those of ‘I’ and ‘mine’).

114. Some call this holy spot Haridvāra; others call it Mokṣadvāra. Some call it Gaṅgādvāra and some call it Māyāpura.

115. It is from here that Gaṅgā originated and became well-known all over the world as Bhāgīrathī. By the utterance of its name, the sin of men gets shattered into thousand pieces.


Haridwar is where the Ganges headwaters enter the Deccan plain. Obviously that has connotations from the descent of goddess Ganga, which makes it yogic. This place probably is kind of important, so, I am glad to find it represented.




Buddhism put Vetali in Nagara which actually had nobody, or no goddess with Romajangha.



In Kubjika, the Rajagrha goddess is called Bhagnanāsā. Her name is suggestive of "Nose", but:

Nāśa (नाश) refers to “ruination”, according to the Bṛhatsaṃhitā (chapter 2), an encyclopedic Sanskrit work written by Varāhamihira mainly focusing on the science of ancient Indian astronomy astronomy (Jyotiṣa).

Then it matches the Buddhist occupants Ruin and Sound of Crickets.




So the major changes to Kubjika's Pithas in order to compose the Vajradaka set appear to be:


Ujjain and Prayaga are completely removed. Parastira and Kuhudi were removed, while keeping some of the deities. Varanasi is removed, by name, but the contents are more or less intact. Jayanti was kept, by name, while changing its contents.


I could guess they might have erased the first two places since all those deities have names that are wanting to be used elsewhere in the tantras. They might not have wanted to call Mahakala a minor local protector. So those parts could have been objectionable. I can understand why they might have wanted to "fix" the Sankari Pitha. That would include taking Ambika out of Viraja, because, she might be "popularly associated", but is more like an aspect of Lankesvari than of Viraja.

In the process of disposing of major deity names, to introduce Pithas with inhabitants that are scarcely recognizable as deities, is what happened here.

Usually, any tantra uses Four Major Pithas, of which Jalandhara is usually a part, but, these are just four changes, not designated a major or most sacred group, nor placed in a significant order.


Of these four, one has Candalini whose source is Soma, and one has Sahaja. Just from those, we would think we have the alpha and omega of Generation Stage.

Soma is probably the most universal or available "source" of these devis, along with Viraja who arises from a hall of yoga or yogalaya. You could perhaps roughly say Soma is found in nature, upgraded and used by yoga. They are kind of a pair.

This Candalini is said to be outfitted with a "knife", although it is written "kattarika", which with Nila Sarasvati or Cinnamasta is really Scissors.

We do think that "kartri" is the term for knife; sometimes these -na/-ni or -ka/-ki suffixes are substantial, but, as a practitioner, I would tend to understand Candalini as "Candali", unless you were specifically talking about Matangi. Which we don't, because she is enfolded into Janguli. Or same spelling in Sādhanamālā 446.20. In Kubjika Tantra, we can find that she and similar "Candi-" devis are actually transforms of the ones born from Bhairava's retinue:

...along with the four, the goddess Raktā and the rest. They are present here with a different name, that is, as Caṇḍeśī, Mahācaṇḍā, Caṇḍālī, and Caṇḍikā. These are the goddesses. Four directions pertain to these goddesses, namely, the east, south, west, and north. The reference to the directions (implies) a reference to the four sacred seats”.

So for example, Kubjika simply appears to feminize the first male deities:

The four secondary goddesses that attend the Guhyakas are also
called their Dutis. I have not emended candakhyam, because although Candaksi is
the standard form of the name there are several other places in this text in which
the goddess is called Candakhya.

making a female Candakhya, which, in some further retinue, is renamed Candali.

In Buddhist tantra, she is the Dharmodaya of the Hevajra system:

“Caṇḍālī is blue in colour, and holds a fire-pot in her right hand”.

being a Gauri.

Stopping short of Hevajra is why in her standard place, we are looking at substitution by Ghasmari, who carries the Dharmodaya in Dakini Jala. Ghasmari has further connections. So again although there are synonyms and alternatives, candali in Buddhism is rather specifically inner heat and the yoga of it, or, I would say, hot enough to cause the perception of Gauris. Vairocani is also a close synonym. In Durga Suktam, it is not quite a name, but, an attribute of Katyayani. Puranic Vairocani is a Daitya, shakti of Tvastr, mother of Samjna. And so Vairocani is a bit more "open" than Candali. Katyayani being like Vimala and so forth. And firstly one uses Puranic Varuni to obtain her. In other words, the Puranic ancestry, which may seem effuse, manifests and defines itself that way. However excited the readership may be that Buddhism looks a whole lot like tantric Shaivism, that may miss the accessibility of these. This is a Noumenal Varuni that does not even require the cheap substitute as a cup of tea.


Candalini's tree, Kanaka, without clarification, could refer to a few different species, but:

Añjanādevī gave birth to Hanūmān in this forest.



Viraja devi is simply Anala, whose mate is Anala. The yoga she is associated with, sounds like a fairly full fire drawn from Candali. As a female title, it is a bit vague. The first Anala we can reasonably say is not the wife of Kasyapa or Dharma, because she must be with Anala--Agni in some way, which limits the possibilities except for maybe:


Ānala (आनल):—n. ([from] anala), ‘belonging to Agni’, Name of the constellation Kṛttikā


Female Anala should be similar to:

Svaha has a crush for Agni. She seduces him by successively impersonating six of seven women at a gurukul (school) that Agni desired for, and thus with him has a baby who grows to become god Skanda – the god of war.


Likewise, "anala" could be generic for "three" or "fire", and is more specific to the deity Agni in certain ways:


(agni)—one became threefold at the instance of Purūravas;1

1) Viṣṇu-purāṇa IV. 6. 94.

1a) Anala (अनल).—A Vasava, (tejas) has a son Kumāra through Svāhā. Śākha, Viśākha, and Naigameya were other sons (see agni). Married Śivā, daughter of Hari and had two sons born with qualities of fire. Father of Skanda and Sanatkumāra.*

* Brahmāṇḍa-purāṇa III. 3. 21; Matsya-purāṇa 5. 21-5; 203. 3; Viṣṇu-purāṇa I. 15. 110, 115; Vāyu-purāṇa 66. 20, 24.

1) Anala (अनल) (God of fire—lit. “sharp, bright life fire”) is a synonym (another name) for Garuḍa


So far, it is hard to distinguish female Anala from Svaha.

I am not sure what "a Vasava is". The progenitor could be Vasava:

Name of Indra (as chief of the Vasus)

Although in Shiva Purana, Anala is separate:

Accordingly, as Brahmā narrated to Nārada:—“Indra mocked at Viṣṇu who was engrossed in his own arguments. He, the bearer of the thunderbolt, was desirous of fighting Vīrabhadra along with the other Devas. Then Indra rode on his elephant, the fire-god [i.e., Anala] rode on a goat (basta), Yama rode on his buffalo and Nirṛti rode on a ghost”.


Or, in the Prasuti sheath, Vasava is a Muhurta. A daughter of Daksha, Muhurta marries Dharma and produces the Muhurtagana including Vasava. These Muhūrtas are the different periods of time. They are remembered as Devatās.

The Muhūrtas are:—Raudra, Sārpa, Maitra, Pitrya, Vāsava, Āpya, Vaiśvadeva and Brāhma. These Muhūrtas cover the period till, midday. The Muhūrtas—Prājāpatya, Aindra, Indrāgnī, Nirṛti, Varuṇa, Āryamṇa, and Bhaga cover the period during the day (afternoon). These muhūrtas called Dinamuhūrtas are caused by the Sun. They should be known in accordance with their magnitudes by means of the particular shadow of gnomons.

The fifteen Muhūrtas of the night are—Ajaikapāt, Ahirbudhnya, then the muhūrtas having the following presiding deities viz.—Pūṣan, Aśvin, Yama, Agni, Prajāpati, Soma, Āditya, Gṛhapati, Viṣṇu, Tvaṣṭṛ, and Vāyu. These shall be the Muhūrtas of the night. They are fifteen in number.

In an unexplained remark:

Agni is identified to be the same as twelve gods and five goddesses.

[such as Twelve Adityas and Five Mahabuts; if Agni has seven tongues, this comes to twenty-four]



Male Anala is also:

A variety of Pitṛdeva or manes (kavyavāho'nalaḥ somaḥ)

As a Pitri in Devi Bhagavata.


Anala is associated with gold--suvarna and perhaps consortable to Vasudhara.

In Lakshmi Tantra, Anala is the fire syllable Ra.


Hanuman says:


Om namo bhagawathe vichithra veera Hanumathe pralaya kala anala prappojwalanaya, Anjani Garbha samboothataya

The one who puts away the fire [anala] at time of deluge

and:

Lankaa prasada bhanjana, Amookam may vasamanaya

He who put an end to happiness of Lanka , please come under my control



Anala seems to be most suggestive of Agni as the father of Mars, and the female to the Pleiades, his mother/s.

Anala is used in Buddhist mantras at least as far back as Shurangama Sutra, and is in the tantras.


If this yoga is a fairly fully-generated fire, it can probably still get stronger. The main blaze of a mandala is made from Mahabala and combines "jvala" with "anala" (jvalanalankara, actually three words). That would make sense with having a bunch of Mahabala deities around the Soma and Yoga goddesses of the Pithas. Those are singular, but there are multiple types of fire in most of this.

The Hook item was taken away from Kubjika's Maru devi and moved to Rajagrha, or, actually, in Maru, there is now Hook and Noose. If I tried to reflect Buddhist symbology into the Kubjika Pithas, it will not work. They do not have a Hook and Noose devi, and there are two with Swords. What is more noticeable is they have a Vajra item several times. They only have one kattarika and one chain. The change to the items is perhaps greater than changes to the Pithas themselves. It is more meaningful than physical location. It could be that Vajradaka relied on a text not quite identical to the surviving Nisisamcara, but, it seems more likely that most of the changes are by design.


Rajagrha devi's origin is called

"great wound"

mahākṣata

which would makes sense if Maha Ksata, but, this has an elongated a as the connection, which could be Maha and a feminized form of Aksata. There is such a thing:


akṣata (अक्षत).—a Uninjured. f Consecrated rice

Whole grain. f.

Akṣatā (अक्षता):—[=a-kṣatā] [from a-kṣata] f. a virgin


In keeping with geography, it may even be the name of an administrative division:

It's unlikely that the Kushanas had complete administrative control over their entire empire. At the provincial level, it appears that the kshatrapas ruled beneath the king. The number of satrapies has been estimated to be between five and seven. The kshatrapas themselves, as well as administrative units like them, are poorly documented in current sources. Two kshatrapas, descendants of a mahakshata, were reinstated in the Sarnath Buddhist image inscription of the time of Kanishka.

I am not sure if that should be a bloody wound or what. It could be a rice or pinda offering, or a girl, or a large area.

Dakarnava is the only one who gives her an abode:

Dillakī tree

There is no such thing.

Dillagī (दिल्लगी):—(nf) jest, joke, fun; humour

Almost anything else from the same root is Kannada language. If we could arbitrarily remove an "l" for Dila, it could theoretically turn into something. But, if you were altering Kubjika, you have just gone through fifteen "tree not given" Pithas and populated them with something; Rajagrha is last in their sequence. The Kubjika was using an unknown devi; Vajradaka uses another unknown.

Male Mahakarna is a minor epithet for Shiva, or, is a Naga, the race of which could perhaps be called Kadru Gana. as found in
Brahmanda Purana III.7:

Kadru gave birth to thousand serpents who support the earth. They have many hoods. They are noble-souled and they are able to traverse through the sky.

Nagas are followed by the origin of Yakshas and Rakshasas. Putana is in it; and there is some interesting information:

Yakṣas and Rākṣasas, even when they are in disguise, resume their original form while asleep, when they are angry, frightened or extremely delighted.

The holy fig tree well known by the name Rohiṇa is the place where Guhyakas lie down.

The king of Alakā became the overlord of Yakṣas, Rākṣasas, all the Nairṛtas and those who were called Paulastyas and Agastis.

The Yakṣas drink and devour the blood, suet and flesh of human beings by means of their eyes.

164-166. The Rākṣasas (drink blood etc.) by entering (the bodies of victims). The Piśācas (drink blood etc) by means of squeezing and harassing (victims).




The last Dakarnava Pitha is also in some other Shakti tantras, not obscure:

Mālavā (मालवा) is the name a locality mentioned in Rājaśekhara’s 10th-century Kāvyamīmāṃsā.—Mālwā or Avantī, which capital was Ujjayini.

now the western part of the state of Madhya Pradesh

Rather than being new, that one would probably be accepted as synonymous to Ujjain. If so, Mahamaya and Mahakala resurface as Seka and Pumsesvara. We would tend to guess she is half of Abhiseka:

Seka (सेक) refers to “sprinkling (the earth)” which is prescribed as one of the operations/ preliminary ceremonies related to the kuṇḍa (“fire-pit”)


and the male who joins this is:

Puṃs (पुंस्) refers to an “ordinary man”

counterpart of Stri.

Neither one of those being any recognizable deity. It is as if Ujjain has been seized and its normal deities ejected into other tantras, substituted by what looks like a fairly low-level entry. In most senses, this is lower than Yoga, i. e. you would be given some kind of consecration prior to practice. It is, of course, cyclicly repetitive.


Seka is placed in a Madhu Tree.

The Śatapatha-brāhmaṇa mentions honey as the life-sap of the sky. It even calls it a form of Soma, and shows its use in the ritual.

Her abode on a small scale could be liquorice or Madhu Kamini (satinwood). But, most likely, if tree size, it is a particular tree:


Liquors were also prepared with madhūka flowers and honey.

Madhuka (मधुक) is the name of a tree (Mahuā) that is associated with the Nakṣatra (celestial star) named Revatī.

In English, this plant is known as the “butter tree”...The distilled spirit of the flowers are known among adivasis (Santals in particular).







"Nagara" just means "city", having several disputed locations, although in this case is specified by Kubjika as Caitrakaccha:

It is also known as Bhṛgunagara in the Ṣaṭsāhasraṭippanī.

Amnayamanjari however calls it Pataliputra. There is no devi name given in Kubjika, but, in her parallel tantras, it is:

Bimbakacchapā, also known as Cetrakasthā.

Kaccha (कच्छ) refers to a name-ending for place-names according to Pāṇini VI.2.126. Pāṇini also cautions his readers that the etymological meaning of place-names should not be held authoritative since the name should vanish when the people leave the place who gave their name to it.

Bhṛgukaccha (भृगुकच्छ).—A place on the northern bank of the Narmadā. Here Bali performed his aśvamedha.

Geography of Early Buddhism

Bhrigukaccha (भ्रिगुकच्छ) is the Sanskrit rendering [of Bhirukaccha?] which means ’high coast land’ and the city is exactly situated on a high coast land. According to Brahmanical tradition, the city was so called because it was founded by the sage Bhrigu. Bhrigukaccha is mentioned in the Kūrmavibhāga and Bhuvanakoṣa; and it is identical with Barygaza of Ptolemy and the Periplus of the Erythrean Sea. It is modern Broach in Kathiawar.


Amnayamanjari refers to an entirely different location:

The Vāyu-purāṇa 99.319 attributes the real foundation of Pāṭaliputra to Rājā Ajātaśatru’s grandson, Udaya or Udayāśva. It was he who first removed the capital from Rājagṛha to Pāṭaliputra (during the last part of the 6th century B.C.).

With regard to the origin of Pāṭaliputra, scholarship usually relies on the traditions of Buddhists and Jains, which date the city’s foundation during the lifetime of their founders.

Pāṭaliputra (पाटलिपुत्र) is the name of city built by king Ajātaśatru, according to the 2nd century Mahāprajñāpāramitāśāstra chapter V. Accordingly, “after the Buddha’s nirvāṇa, king A chö che (Ajātaśatru), whose lineage had weakened, abandoned the great city of Rājagṛha and built a small city one yojana in size nearby called Po lo li fou to lo (Pāṭaliputra)”.

Pāṭaliputra (पाटलिपुत्र), modern-day Patna, was a city in ancient India, originally built by Ajatashatru in 490 BCE as a small fort (Pāṭaligrama) near the River Ganges, and later the capital of the ancient Mahājanapadas kingdom of Magadha.

As it was known as Pāṭali-grama originally, some scholars believe that Pāṭaliputra is a transformation of Pāṭalipura, "Pāṭali town".

Most likely related to Mahasahasrapramardini Sutra:

The Buddha on his way from Rājagṛha to Vaiśālī, passed through this village on his last journey and is said to have predicted that the village was destined to become a great city.

The plot of the Mudrārākṣasa revolves around the city of Pāṭaliputra, the seat of the Nandas’ and Candragupta’s government. Several scholars beginning with Telang have observed that while the Chinese pilgrim Faxian visited a flourishing Pāṭaliputra at the very beginning of the 5th century CE, the other renowned Chinese traveller—Xuanzang, visiting the area shortly before the middle of the 6th century—reported Pāṭaliputra in ruins and all but deserted.

In that sense, it could have been inhabited by "nobody or un-nameable". Considering the place name, I more or less hear the "meld", patali, badali, vadali, to Vetali. Marici's retinue is suggestive of this.

"Vadali", Marici's attendant, is not exactly a word.

badalī (बदली).—f Transfer. Relief. m A person or a body relieving. A substitute.


Patali is perhaps feminized patala, a veil, cover, membrane,etc.

1a) Pāṭalā (पाटला).—The goddess enshrined at Puṇḍravardhana.*

* Matsya-purāṇa 13. 35.
1b) A tīrtha sacred to Pitṛs.*

* Matsya-purāṇa 22. 33.

and/or "the submarine fire".

This Patala is the same as in Vyasa's 108 Pithas in Devi Bhagavata 54, while Patala is separately the name of the Pitha housing Paramesvari.

"go there":

Veda Vyasa told King Janamejaya that even if one recited the names of the hundred and eight Devis, the person concerned would secure immense peace of mind and of course if one visited and worshipped the Deities-at least as many as possible- he or she would attain bliss.

Rather than being comprehensive, this long list only resembles the short one as if by accident. Similar places and devis include:

Kumari in Mayapuri
Vimala at Puroshottama
Maha Lakshmi at Karavira
Visvamukhi in Jalandhara
Medha in Kashmira Mandala
Bhima in Himadri
Svaha in Mahesvari pura


the one we take as Pratisara:

Vipula Devi in Vipula

and ends on "not exactly places":

Prabha in Solar disc; as Vaishnavi in Matrikas; Arundhati among Satis or the chaste women; Tilottama among Ramas; Maha Devi in the form of Great Intelligence or ‘Samvid’; Bhramakala in the hearts of the embodied beings.


From that chapter of Devi Bhagavata,

Next: Devas and Trinity pray to Maha Bhagavati of �Nirguna� and �Nirakara�

Those questioned terms are bolded on the next page as Devi's self-description of her permanent, transcendental existence.

Next she reveals her Viraja Rupa. In this, she bodily contains the other deities. Then it goes into Eight Limb Yoga, so our similarity ends. Her Viraj contains the Seven Worlds but also shows Moods:

Bhagavati’s magnified appearanace was at once awesome and frightening, pleasing and alluring, cruel and kind, smiling but haughty.

She is not made of that many deities, but, shows the Aswins the way they were born, and, her face as it works in Lakshmi Tantra:

Aswini Twins Her nostrils, fire is within Her face...



Mahalakshmi makes two statements on this page asserting that Sati is an aspect of herself:

She blessed him too with the boon of Girija becoming his daughter soon and the latter would be an Extension of Bhagavati.

Takasura could be overcome only by Lord Kumara, the son of Maha Deva and Devi Parvati, who from Her own Shakti, would soon be born to King Himavanta.

She instructs to use Caitanya as the Three Shaktis to achieve Brahma Jnana, which enables the capacity to sift Reality from Illusion.

1) Caitanya (चैतन्य) refers to “consciousness”, according to the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, “Consciousness (caitanya) is said to be (of three kinds) gross, very subtle and Unstruck Sound. The Body made of these principles is the differentiated (aspect) whose form is the ghost (which is the goddess’s vehicle). Complete and made of the six parts (noted below), it is sustained by Pure Knowledge. Above it is the measure (called) Sound, which is just a straight (line). [...]”.

Note: The threefold consciousness (caitanya) is also mentioned as that of the Self (ātman), Power (śakti) and Śiva. The threefold consciousness abides in a state of invariable union.—(Cf. Haṃsa—‘seed-syllable’)

2) Caitanya (चैतन्य) refers to the Vidyā associated with Nāda, one of the eight Sacred Seats (pīṭha), according to the Yogakhaṇḍa (chapter 14) of the Manthānabhairavatantra.


In the system of sound and seven shaktis of Prakriti:

It was he said, on the differentiation of the Parāvindu that there existed the completed causal Śabda which is the Hidden Word. The causal body or Parā Śabda and Artha being complete, there then appeared the displayed word or Śabdārtha.

The Śabda Brahmān or Brahmān as cause of Śabda is the Caitanya in all beings. The Śabdārtha in the Vedantin Nāmarūpa or world of name and form of this Śabdārtha the subtle and gross bodies are constituted, the Śaktis of which are the Hiraṇyagarbha sound, called Madhyamā and the Virāṭ sound Vaikhārī.

Reiterated in Skanda Purana.


Nirakara as a generic word is at least as old as Ramayana. But as a spiritual belief or practice, we do not really find it in anything older than the Puranas, and there it is mostly just an "is" and less "how to".

From a very modern book based in Patanjali:

Here when irrelevant object enters, dhāraṇā is broken. Thus, the main work of dhāraṇā is keeping mind continuously engrossed with object and bring it back immediately as soon as the connection is broken.

We can have dhāraṇā on the God say, Ganeśa which we pray everyday. Now here all gross level thoughts about his nāmarupa come under vitarka. This is first step of dhāraṇā. Then slowly when sādhaka gets engrossed into these thoughts, his thinking shifts from gross to subtle level of vicāra. Here form of Ganeśa vanishes to nirguṇa, nirākāra and subtle level. Now the citta will be fully occupied with only Ganeśa consciousness and dhāraṇā will be converted to dhyāna.


Again we see this is inverse. That has nothing to do with Buddhist Dharana. It does have to do with the first Dhyana. Vicara is:

Evaluation; sustained thought. In meditation, vicara is the mental factor that allows ones attention to shift and move about in relation to the chosen meditation object. Vicara and its companion factor vitakka reach full maturity upon the development of the first level of jhana.

“are vitarka and vicāra one and the same thing or are they two different things? Answer.—They are two different things. 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.

Dhyāna (ध्यान, “meditation”) refers to one of six limbs of Yoga to be employed in Uttamasevā (excellent worship), according to the Guhyasamāja chapter 18.—[...] Dhyāna (meditation) is explained as the conception of the five desired objects through the five Dhyāni Buddhas, namely, Vairocana, Ratnasambhava, Amitābha, Amoghasiddhi and Akṣobhya.

This Dhyāna is again subdivided into five kinds:

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


Yes, that is a "refinement of vocabulary"...you can learn the words and it does not matter much...you have to start quelling Vitarka in order to achieve the one-pointedness or Ekagrata required for Buddhist Dhyana. I could be "mindful" of the vitarka itself, like a helpless victim, so, there is a change caused by practice here.



In Jainism:

This consciousness of the self is manifested in two ways darśana or vision and jñāna or knowledge, which is jointly called upayoga...upayoga is the function of the self through which it manifests its nature. The self is of the nature of consciousness and it is revealed through jñāna and darśana. Darśana or vision means the knowledge of things without their details, while jñāna means the knowledge of details. In Jainism, jñāna-upayoga is known as sākāra -upayoga, while darśana-upayoga is known as nirākāra-upayoga.

Darśanopayoga (दर्शनोपयोग, “intuition-cognition”) refers one of the two types of sentience (upayoga) according to the 2nd-century Tattvārthasūtra 2.9. The disposition due to which the soul sees and knows is called upayoga.

How many types of intuition manifestations of consciousness (darśana-upayoga) are there? They are four namely cakṣu (with eyes), acakṣu (without eyes), avadhi (clairvoyant) and kevala (omniscient).


In Buddhism:

There are two possible theories which have been advocated by different schools of thought. One theory maintains that our consciousness is clear like a clean slate and does not depart an inch from its intrinsic purity even when it apprehends the external reality. Consciousness is an amorphous substance and remains so in all its activities. It is like light and reveals the object with its form and qualities without undergoing any morphological articulation in its constitution. This is called the theory of formless perception (nirākāra-jñāna).

“ākāravān bāhyo ’rtho nirākārā-buddhiḥ.”

There is another theory, which may be called the theory of representative perception (sākāra vijñānavāda). The latter theory holds that knowledge of external reality is made possible by virtue of the objective reality leaving an impress of its likeness on the mirror of consciousness. The Sāṅkhya, Vedānta and the Sautrāntika Buddhists are advocates of the latter theory.

Against the "impresses":

Kumārila and the Nyāya-Vaiśeṣika school...held perception to be direct awareness of the reality and to be without any content on the subjective side. The contention of the idealist, that awareness and its content arc one inseparable whole and so are intuited together, was thus made out to be a groundless assumption. All external perception is thus awareness of something, distinct from and external to the subjective awareness, which was held to be amorphous (nirākāra) in nature. The form and configuration perceived belong to external reality and these have no representative or counterpart in the psychosis, which is formless and amorphous.

Śāntarakṣita and Kamalaśīla are Buddhists who style themselves nirākāra-vijñāna-vādin.

based around:

...ideas may be considered to have forms akin to the objects, or to be formless, but revealing the objects. In either case the ideas are produced by their causes, and the momentariness or permanence of objects has nothing to do with their determination. There are in reality no agent and no enjoyer, but only the series of passing mental phenomena. Causality consists in the determination of the succeeding states by the previous ones.

The objection of Uddyotakara, that, if the mind is momentary, it cannot be modified (vāsanā) by deeds (karma), is invalid; for, in the Buddhist view, this modification (vāsanā) means nothing more than the production of a new mental state of a modified nature. There is again no permanent perceiver who remembers and recognizes; it is only when in a particular series of conscious states, on account of the strength of a particular perception, such particularly modified mental states are generated as may be said to contain seeds of memory, that memory is possible. The Buddhists also do not consider that there is one person who suffers bondage and is liberated; they think that bondage means nothing more than the production of painful states due to ignorance (avidyā) and other mental causes, and that liberation also means nothing more than purity of the mental states due to cessation of ignorance through right knowledge.


There are arguments to ignore Sakara Brahman in commentary applied to:

The Brahma Sūtras (Sanskrit: ब्रह्म सूत्र) is a Sanskrit text, attributed to the sage Badarayana or sage Vyasa, estimated to have been completed in its surviving form in approx. 400–450 CE, while the original version might be ancient and composed between 500 BCE and 200 BCE.


That, perhaps, is the oldest wrangling over the term, but we do not really accept it. The forms that are in the Sakara are not real, nor is the "impress on consciousness" the real consciousness, but, Sakara is the capability to extend benefits to beings. So I think Buddhist Nirakara is only refuting a few beliefs, while having the motivation to keep Sakara for these purposes.


Ratnakarasanti does, probably, the best eventual recapitulation of "Nirakara system" in practice, while the slightly older Lakshmi Tantra is bringing it very close to this. With her, when the three shaktis work right, ‘Sat Chit Ananda’ or the Reality Prompted Awakening of Bliss is the final state.

In Devi Bhagavata, the devas were doing multi-disciplinary practices such as:

some performed ‘Antar Yagna’s ( Inner Sacrifices) or ‘Prana Agnihotra Yagna’ or transforming external fire sacrifice into Interior Prana or Life Energy...

She has to teach Nirakara to, apparently, the highest deities, but to facilitate the understanding of a Reality Being of Super Force, She assumed the Attributes and Shape of a Physical body so that Her Presence is anchored in the imagination of one’s mind.

She transcends the three Sattva, Rajo and Tamo Guṇas and is Nirākāra (without any particular form).

I do not think she quite explains "Nirakara system", but, comes close, by designating form as still useful due to benefit.


Nirakara appears to have a minor ascent within Kubjika:


Nirākārā (निराकारा) refers to one of the six Goddesses (parā-ṣaṭka) associated with Avyaktapīṭha (i.e., ‘the unmanifest seat’ representing the act of churning—manthāna), according to the Manthānabhairavatantra.—[...] The six Goddesses (parāṣaṭka): Sākārā, Nirākārā, Ekamātrā, Dvimātrā, Trimātrā, Ardhamātrā

Accordingly, “[...] The groups of six [i.e., ṣaṭka/ṣaṭprakārā], deployed and worshipped in the six corners of the hexagon in the core of the maṇḍala, are primary emanations of the goddess who ‘spreads herself out’ (vikāsikā, vikāsinī) from the centre of the Triangle. There, in the dimensionless point (bindu) in the centre, she abides formless (nirākārā) and undifferentiated (niṣkalā) as the genderless absolute (napuṃsakā) both as and within the transcendent which, as the very absence of phenomenal existence (abhāva), is void (śūnya) like space (ākāśa) or the sky (kha).

At first, she is not separate from mothers and form, and then, as a seventh arch element, that is more like her state after doing a practice that eliminates form.






That Dakarnava may be a different practice than that of Abhinavagupta:


The yoga of chakra and channel is often called “haṭhayoga” in Śaiva and Buddhist traditions. But the word “haṭhayoga” is not used in the teaching in the Ḍākārṇava that we are examining,



Dakarnava is doing something which eventually takes Pracanda from the basic Pithas, and also Ucchusma and Mahabala. It is a high stage, whereas Mahabala Krama or the "how to" is in the Pancha Raksha.

Vipula Siddhi is not really "a" siddhi. It may just mean "full set of Laukika Siddhis". That is how I look at them. None of them are the goal or the real spirituality. But, they are like "auric changes" that happen accordingly. And that makes a yogic attitude that any and all of them will eventually happpen on their own. That is sort of the sense I get from it. Again, it is something that is framed a certain way in the literature, starting from a very well-known place:


In Mahamayuri, Garuda resides on Vipula Mountain.

But this belief probably far pre-dates the Sutra. Correspondingly, when we find a few instances of Garuda Yoga, that also is quite similar to having accomplished preliminaries and now using some of the forces "at the top" of the outer practices.

When changed from a place to a verb, or an adverb about achieving siddhi, it appears in:


Vipula is in Dharani Samgraha with Pratisara (Vipula Garbha in the same line as Vajra Jvala Garbha) and Sitabani, and in Sadhanamala with Mantranusarini (to whom it is invocative, i. e. vipule). So, in the outer sense, it is Pancha Raksa vernacular.

Vajradaka Chapter Eighteen

Samputa Tantra (beginning)



"Vipula" is closely synonymous to "Vistara" as used by Khasarpana and Tara.

The only other references of Vipula connected with Siddhi outside of Buddhism are Svacchanda Tantra 2.281 and Skanda Purana 3.1.30.97.

The beginning of Vajradaka Chapter Eighteen describes itself as Gopyah (secret) or Samgopya Tantra. To this, Yoginisamcara gives the comment "vistara tantra samgopya".

These dakinis are Vajra Mandala Nayika, the basic Pitha system guides.

It does not name most of them, but, tells what or how the Pithas generate, starting with Maru as matarah, then Sindhu and Nagara as Kula Nayika, and so on. This perhaps is unique. In total, the dakinis are Kama Rupinis of Manovega Nirvrtti, powerfully reversing the mind. Then, there is a section break to:

Devi Puja

which has a small interface of Vajrasattva and Mahadevi, who is teaching:

Rahasya Atidurlabha

a very difficult secret doctrine, which appears to be composed of her:

bhutva mahamaya svagamini

Glancing through it, one observes:

Attahasa devi is samudbhava (ocean born).

In place of Ambika, Mancika in some manuscripts.

Lokamata with Canda Nila Mahabala.


The new Pithas' summary calls them:


dadati vipulam siddhim khecaresu sudurlabham /

sidhyante sarvakarmani sadhakasa na samsaya //60


This Vipula Siddhi is only minorly referred to. Comparatively, the first sentence in Dakini Jala and in most Chakrasamvara works is usually about Ramya or Ramya Siddhi. Here, it is related to khecara or sky-going. It may not be "a siddhi", but, they did not choose "sarva laukika" or "vistara" or anything else that might have more closely matched siddhi lists.


In one of the first exercises in Sadhanamala, Trisamaya Raja 2:

dadanti vipulāṃ siddhiṃ kalpasthāṃ kalpacoditām //

Then it is something like the actual manifestation of a Pancha Jina or Five Buddhas before saying the line "explanation of Vipula Ramya Siddhi":

aśeṣāḥ siddhayo ramyā vipulā arthasampadaḥ /


Since it is a "kalpa" and "artha", this is explaining how to start something, which is then carried forward in other practices.


The end of Kurukulla 179:

tāṃ prāpya sveṣṭayogena pūjayed buddhamaṇḍalam //
vipulā siddhir na kenāpi vihanyate /

// iti uḍḍiyānavinirgatakurukullāsādhanam //


Kurukulla already has her own Kurukulla mountain, so there would be no apparent reason for her to need another. This is probably more of a gate, taking and using vipula siddhi according to her terms.

Vajradaka Tantra also does something similar, by placing it with the Pitha devis and linking them to Mahatattva and Time.


Samputa Tantra begins by saluting Vajradaka.


The first section of Samputa Chapter Two is svadisthana or bodhicitta initiation into Sambhogakaya. Concerning svadisthana:

“He should be able, in addition,
To behold the goddess of infinite world spheres
If this wise disciple has reached the state of self-consecration [svadisthana]
And is anxious not to violate his samaya. {2.1.7}

This goddess has no personal name, is the Dhatu of infinite world spheres:

anantalokadhātvīśā


Part of it is the Four Joys:

The first joy is the hero, the male partner.
The supreme joy is the yoginī, the female partner.

The third is called the joy of cessation,
And the fourth is known as the innate joy [sahaja].


The general meaning of vipula can be found with Venkateswara's two consorts Sri and Bhu, and some of the aspects of Bhu are:

Her vastness (VipulA) and possessing inestimable wealth (VasundharA)

Our AchAryan says that the Lord adorns SrI Devi on His chest and honors Her. He goes one step further in recognizing the greatness of BhUmi Devi by carrying Her on His thousand heads by taking AadhisEsha Roopam.



This Samputa chapter goes right into sex and all four mudras; from a Vajradaka note:

When performing it, a character `A' is settled on her bhaga and a character `VA' on his linga. [38.1]


The tantra does not say "vipula siddhi", but, uses what might otherwise be a common word only a few times.

Vipula does have a few shades of meaning including:

The sabhā of Kubera; description of; here is Puṣpaka, the Vimāna; around are the ten cities of the Gandharvas in the east, thirty cities of the Yakṣas in the west, and a hundred cities of the Kinnaras in the south.*

* Vāyu-purāṇa 41. 5-11, 20, 24, 27-8.

4) With the hair standing on end, thrilling

appears to be used (at least once) in the meaning re- joiced, very happy: prītī (? so both edd.; v.l. °tyā, °tya; perhaps read prītyā, instr.?) udagrā vipulā sma jātāḥ Saddharmapuṇḍarīka 214.4 [Lotus Sutra]


It appears with Siddhi Lakshmi:


Ya saa Padmasanastha vipula kati thatee Padma pathrayathakshi,
Gambheera avartha nabhee , sthana baara namitha, shudha vastrothareeyaa,

That divine Lakshmi sitting on a lotus pose with broad thigh and hips,
With eyes similar to the lotus leaf , who is serious, whose navel is deep,
Who is bent due to the size of her breasts, who wears clean cloths and upper cloths,



The first mention of vipula in the Samputa is "wide hips":

dvijadārām athavā, rajakīm athavā, caṇḍālikāṃ ḍombinīṃ kulajām athavā, rājñīnaṭadārāśilpikām athavā, mṛganayanāṃ tanumadhyāṃ vipulanitambāṃ stanonnatāṃ subhagāṃ samayācāraṃ sunipuṇāṃ tattvasthāṃ mantratantrajñām | etāḥ kanyāḥ kathitās tribhuvanānarghāḥ sādhakendrāṇām | ābhiḥ sarvasiddhir bhavatīti kulakrameṇaiva || 2.1.12 ||

“A brahmin’s daughter, a washerwoman, an outcast, a musician, a high caste woman, a princess, a daughter of an artiste, or a craftswoman. She should have the eyes of a doe, a slender waist, wide hips, and taut breasts. She should have a fine bhaga, and be strict in her observance of samaya, clever, honest, and conversant with mantra and tantra. [F.83.b] These girls are said to be, in the whole triple universe, invaluable to superior practitioners. With them, every accomplishment will be attained, precisely according to the sequence of the families. {2.1.12}


"Vast":

labdhānujñas trilokaduritaripujayārambhasaṃnaddhabuddhiḥ |
bodhāv āropya cittaṃ vipulam iha caren nirmalas tattvayogī <P 3.39d←> || 2.1.63 ||


“Having obtained the master’s order, with an intellect that dons armor
For embarking upon conquest over the wicked foes throughout the three worlds,
The practitioner of truth should apply himself stainlessly
In this vast attitude set on awakening.” {2.1.63}



"Expansion":

tāvat saukhyam udāram apratisamaṃ tātparyam āryair ataḥ | {C16r}
kāryaṃ tatkṣataye svayaṃ suvipulāṃ drakṣyanti tatsaṅgatim <P 4.26d←> || 2.2.32 ||

“Their happiness will be immense and unequaled.
The noble ones should therefore exert themselves
For the sake of removing this veil‍—
They will then witness the great expansion of their happiness. {2.2.32}



This section explains Vajrasattva as Svasamvedana, the union of Prajna and Upaya.

Consequently, the skilled practitioner, having renounced everything, applies himself to the practice of meditation in the state he has attained, cultivating day and night self-reflexive awareness (saṃvedana) exclusively. {2.2.33}


“When one has placed the liṅga inside the bhaga,
This is the meditation of recollecting the buddhas‍—
A certain amount of wisdom will arise,
Stainless in the beginning, middle, and end. {2.2.18}
2.­83
“This wisdom is self-reflexive awareness (svasaṃvedya);
It is impossible to describe this otherwise.


We will get back to that in a moment. It, perhaps, is what you "find" by "following" vipula.

Samputa Chapter Two has the Vajraraudris, although it is Chapter Three which assigns their colors. And if we look at this, it will narrow down and pinpoint the commentarial system exactly. Hevajra is a major system that for instance was given to the Mongol Khans, but, it comes from a single spontaneous revelation by Nairatma. The widespread system is recognizable because Sisteen Arm Hevajra carries Bowls in all of his hands. There is a different, Weapon Hevajra as practiced by Marpa, and:

The Shastradhara form was available through other sources of lineage transmission in Tibet and the Himalayas prior to the introduction of the Vajravali text in the 13th century.

And it is only in Vajravali and NSP that Abhayakaragupta has placed the Vajraraudris retinue of Samputa Chapter Three. There for, most Hevajra retinues are only a ring of eight, but the Vajraraudris make a second ring. Also:

... the retinue goddesses in the Hevajra Tantra each have two arms. In the Samputa Tantra the goddesses have four arms each.

From there, we can instantly detect any Hevajra that shows these properly--the first four Vajraraudris have standard colors, and then the corner goddesses should be dual, such as red and yellow in the southeast, and green and white in the northeast. Therefor, Weapon Hevajra mandala featuring Sumbha, or even Five Families Hevajra mandala do not show this. As with the original Tara system, other things took over Tibet for a long time, until the original would have just paled into the background. Part of the significance of this retinue is that these Vajraraudris are Saumya or Pleasant rather than Wrathful. As the wrathful aspect, it
would be accurate to say that Buddhist Samadhi is the Sixth Yogini, Smoky Candi, which, when intensifed to a Jewel of Enlightenment, is Smoky Vajraraudri with Seven Syllable deity.


According to the Blue Annals:


Because he had recited the mantra of Vajrayogini in his former life, in this life Vajrayogini in the form of an ordinary woman appeared before the acarya Abhaya.

Because of his steadfast attitude of a strict monk, he did not admit this woman. (His) great teachers, such at Kasoripa and others, told him that he had acted wrongly by not availing himself of the method through which one could realize the sahaja jnana.

On many occasions he prayed to Vajrayogini. The goddess appeared to him in a dream, and said: Now, in this life you will not be united with me. But, if you were to compose many commentaries on profound Tantras and many rites of Mandalas, you would soon become {(18b)} a fortunate one. Following her instructions, he composed the srisamputatantra-rajaikamnaya-manjarinama, the Sri Buddha-kapalamahatantra-rajaika abhayapa?hati nama, and the Vajravali nama mandalasadhana (dkyil 'khor gyi cho ga rdo rje phren ba).


It says while many transmissions of Vajravali were taking place, suspicious Tibetans required tantras to be divided into classes and given more types of rites than Abhaya's method. They partly resisted his presentation of Completion Stage:

Now, the acarya Abhaya composed a mandala rite belonging to the Sampannakrama yoga, basing himself on the Tantric text which said: One should know the three classes of Yoga, that of blessing, that of imagination (yons brtags) and that of the complete manifestation of form.

"Blessing" is Svadisthana, so, we can see where this lies in the tantric progression. Completion Stage in his terms uses the Vajravali mandalas such as Buddhakapala. However, Vajrayogini told him to write on Samputa, which is a compound explanation from Generation to Completion. Everything in NSP is Yidam-specific, like he shows both Akshobhavajra and Manjuvajra for the Guhyasamaja Tantra. So the translated Samputa which includes Sanskrit is extremely significant. And of course, Abhayakara intends for it to be welded into Agni Homa, or, ultimately, an Inner Homa.

The Weapon Hevajra himself is famous enough to be in IWS:





But our available text has reduced itself to only seven hundred million pages by basically ignoring the retinues. It is valuable because it has something to say connecting various forms of Hevajra. However, the Samputa Tantra also does this. But it is more clearly an adventure of Vajrasattva, as if the missing Khasama Root Tantra had come back to take over.


Samputa Tantra Chapter Five characterizes the twelve kinds of Pitha meeting places, and, assigning ten to the Bhumis, disregarding Pilava and Upapilava, says:

The ‘barbarous’ language of the yoginī
Thus depicts the bhūmis of the ten perfections.

So if a tantra like Vajradaka does not have this classification in a written way, it is in the "foreign language" of the inhabitants.

This divides the normal Chakrasamvara Pithas into the twelve kinds of places, then, mysteriously uses eight Attahasa-style pithas as "the manner in which such places are inhabited" by referring to the trees. This matches only eight trees being given in Kubjika. However, Samputa shifts some of them out to Oddiyana and Jalandhara. In this explanation, the First Bhumi consists of "pithas", which in this case are the main Four:

Jālandhara is said to be a pīṭha,
And so, too, is Oḍḍiyāna.
Pūrṇagiri is a pīṭha,
And so is Arbuda.

There are also four Upapithas, and then two of each of the remaining kinds.

Samputa is what Amnayamanjari is actually commenting, so, I suppose it had to iterate the Attahasa Pithas from Vajradaka to explain the weird set of eight. In doing so, it edited some things. According to Alex Wayman:

It should be explained that the Samputatantra, on which
Abhayakaragupta comments, presents only the first six sacred places, and
the commentator mentions that he has utilized other tantras, in fact, to
expand the list to twenty-four.


Abhayakaragupta's life mission was to comment Samputa; Vajravali is secondary to this. And, that makes sense, you cannot comment it without referring to other tantras--for example we can use Dakini Jala with it, the only place I know that has the same Gauris.

Wayman's work on Amnayamanjari is in Dhih Journal 19. Some of it raises the same questions, such as whether a Kadamba tree may refer to Varuni, or, if the inhabitant Sumukhi is Matangi. By now we have found that some of his Sanskrit-from-Tibetan is not right (such as tummo--candi), he may have misidentified a few places, and so forth, things we are patching with newer resources. The Amnayamanjari has been made into a photofacsimile of Sanskrit and Tibetan, but, is neither translated nor published online yet.

He does not know what "other tantras" supplied the information; we see it was probably Vajradaka, although it looks to be in different order. With the trees, he thought the yakshi motif might be appropriate, but, might not work for goddesses on mountaintops, etc. The yoginis' category is "Kshetras"--below the Sky (Khecaris), above the Underworld (Patalavasinis). To grab most of his findings, Amnayamanjari gives twenty-four Pithas as:


1 . at Konkana, where is the Cuta, i.e. a Mango tree, and under it the goddess Ambika

2. at Candradvipa, at a Karanja tree, the goddess called Karanja; This is in the area of the Vangas, where the Ganges has divided into a number of mouths. As to why the goddess has the same name
(in the feminine) as the tree, this may be answered by Mehendale’s data
from the Mahabharata (3.219.34): the “tree, where the mother of trees lives;
people desirous of having progeny worship her on this tree”.

3. at Attahasa, the tree called Kadamba (Nauclea Cadamba), also called Nipa
which has orange-coloured, fragrant blossoms, there the goddess Bzhin
bzangs ma, *Sumukhi —suggesting attractiveness. The Mahabharata,
Vanaparva, has a question directed to her, asking who she is, clasping the
branch of the Kadamba tree, while shining all alone (eka ) in the hermitage.
Randhawa, Fig. 34, “Woman under a Kadamba tree, Kushan Mathura”,
depicts a salabhaffjika form attired only with ornaments of waist, ankles,
neck, and arms...The guardian is Rgyu can, *Atika (able to wander). And since
the goddess is all alone, the Ksetrapala is not in sight, possibly checking on
the door guards to keep out unwanted persons.

4. at Devikotta, at the fig tree Bata or Vata, also called Nyagrodha and
Banyan, the goddess Rna ba chen mo, *Mahakarna; guardian Rgyu’i dbang
phyug, the lord who strolls about, *Atakesa.

5. at Hari’s place, i.e. Haridvara (Hardwar), by an Asoka tree, the goddess
Gsang ba ma (*Guhyaka); the guardian Stobs po che, *Mahabala.

6. at Jalandhara, on a golden tree, the Sephali (Nyctanthes Arbor-Tristes),
the Coral Jasmine or Night Jasmine. There the goddess Gtum mo (*Candi);
guardian Tib. Skye ba ‘dren yod, *Bhavanetr (the conductor to rebirth).
In the present situation she symbolizes the passionate
woman, the vixen, who is the object of craving by the Ksetrapala, whose
name comes from a brief Buddhist scripture, the Bhavanetti Sutta, in the Pali
canon Samyuttanikaya. Herein the ‘conductor to rebirth’ ( bhavanetti =
Skt. bha vanetr) is explained as when the four ‘name-aggregates’ (nama-
skandha ) of Buddhism, namely, feelings ( vedana ), notions (of) (sanna =
Skt. samjna), motivations ( sankhara ), and perceptions {vinnana = Skt.
vijnana ), have in them passion ( chanda = Skt. canda), lust ( raga ), in this
case the form of Candi.

7. on the summit of the Puma Mtn. where (spirits) gather, the goddess Phun
tshogs chen mo, *Mahapuma (she who is complete); the guardian me’i
gdong can *Agnimukha. The name ‘Puma Mtn.’ is not attested as a
geographical term...Bijapur
includes the Tulja Bhavani...a local goddess PurneSvari...

8. at Dhara-nagara the tree Tala, there the goddess Bde byed ma,

*Ksemankari...Dhar in Eastern Malwa...The goddess is of one of the nine forms of Durga,
namely, the one that gives health...

9. at Erura the tree Kancana, which would be the Campaka (with fragrant
yellow flowers), a goddess Me lce’i gdong pa can, equals Jvala-mukhi...

Coomaraswamy 1971 : 5, n. 1, referring the reader to three plates on which he has
illustrations of Yaksas with bells, and he mentions there that in Pali literature the voice
of Devas and Yaksas is described as the sound of a golden bell.

10. at Gaura, the ‘Ghost Town’ (Tib. dmar ser pre-ta’i grong) at the tree
Jati, i.e. the Plaksa or Ficus infectoria (with wavy leaves and also called
Gardabhanda), the goddess Gauri (Tib. dmar ser), the guardian Byin pa
chen po can— *Pradayaka, Great Patron.

11. at Elapura, i.e. Ellora, the tree temple, or temple amidst trees
(* vrksayatana), there the goddess who stays on an ass, *Kharasana...
evidently the well-known Sitala, who is
mentioned among those at Maru (Osian); D. Handa describes her as seated
nude on an ass, holding a winnowing basket in her rear hands at the back of
her head.

12. at Kashmir on a mtn. summit, the goddess Ba lang sna ma = *Go-nasa
(who is therefore a sort of Kinnari_woman with cow snout)

13. at Maru, in Rajputana desert, a plain or steppe (Tib. thang chen po),
which is Maiwar and was an oasis in the desert; there the goddess Rim pa
mo, *Saccika, which means ‘she who works in sequence, methodically’.
The guardian is Gtsigs pa can, i.e. Jambhaka (showing the teeth by
yawning, etc.)...the goddess
Saccika, also called Saciya, is a name of Mahisasuramardini.

15. at Pundravardhana, in a temple ( ayatana-bheda ), there the goddess Rgan
byad ma (*Sanad-dakini), the guardian Bum pa can (*Kumbhaka). As to
sanat in the goddess’s name, Dakini is said to be the supreme and most
ancient Yogini, and to be the presiding deity of the visuddha-cakra, there
prone to shouting so that she is called Ghosini or Ghosa...Since the Buddhist deity Jambhala has a kalasa seat, he seems to be the guardian here.

16. at Bijayapura (Tib. rgyal ba can), namely, Vijayapuri, capital city of the
Iksvakus in the ‘Nagarjunikonda’ hills of Andhra Pradesh, its storied
edifice ( kutagara , Tib. khang ba brtsegs), there the goddess Bzhin ras dang
ba, *Svacchavadana or *Vadanasvacchata (a clear countenance)..There is no further information about
the goddess except that the name implies that she has a pure, moon-like face.

17. at Pistapura = Pithapura, at a temple there ( ayatanabheda ), the goddess
Glog gi zhal can, *Tadidvaktra (whose face flashes like lightning), the
guardian “who rings the bell” (dril bu’i sgra can, Skt. *Ghanta-rav in) .
According to the Mayamata, this guardian has the rajasa kind of virtuality,
with six arms— the trident, sword, and bell in his right hands, plus the
shield, skull, and serpent noose in his left ones. This site is in the East
Godavari district of Orissa

18. at Supara or Sopara, the silk-cotton tree Salmali, there the goddess
Vahnimukha (me’i kha); the guardian Mahadeva (lha chen po). Sopara is
37 miles north of Bombay. This is northern Konkan, where a merchant
Puma once built a sandalwood monastery, which was miraculously visited
by the Buddha.

19. at Ksirika (Tib. ‘O-ma-can), the tree Sala, there the goddess ‘Jig rten gyi
ma (*Lokamatr); the guardian *Mahameru (Tib. ri rab chen po). Ksirika is
modem Khirgram near Katwa in the Burdwan District, south-west Bengal.
Since Maya, the mother of the Buddha delivered while standing beneath a
Sala tree and grasping one of its branches, the yaksi here might be
representing her.

20. Mayapuri (text damaged)

21. at Ekamra-(kanana), which is Bhuvanesvara. Beneath an Amra (Mango
tree), the goddess Lus srul ma (Putana); the guardian Mahavrata (Brtul
zhugs chen po)

22. at Rajagrha, a temple (ayatanabheda) there, the goddess Rgud pa ‘jigs
ma, *Pattibhaya, “who is the danger of disaster”

23. at Vidisa - Bidisa, Tib. Bong, the Brag brtsigs pa, a pile-up of stones_
a tope, there the goddess Lhan cig skyes ma, *Sajata; the guardian Longs
spyod can, Vasava...the most important and relevant goddess remains are of Marici, who personifies the morning dawn.
Sajata goddess “bom together or at the same time” is a nickname or
Marici is a conclusion...

24 at Malava, the tree Madhu (the Jonesia ASoka), the goddess Dbang
bskur ma, *Seka; guardian Skyes bu'i dbang phyug (Skt. -ruruseSvara)




The Samputa did not itself say much about Pithas, but, it moreso bundles many teachings, such as Svasamvedana.


HPB used Svasamvedana to deal with the Three Natures:

The condition of Paranishpanna, without Paramârtha, the Self-analysing Consciousness (Svasamvedâna), is no bliss, but simply extinction for Seven Eternities. Thus, an iron ball placed under the scorching rays of the sun will get heated through, but will not feel or appreciate the warmth, while a man will. It is only “with a mind clear and undarkened by Personality, and an assimilation of the merit of manifold Existences devoted to Being in its collectivity [the whole living and sentient Universe],” that one gets rid of personal existence, merging into, becoming one with, the Absolute, and continuing in full possession of Paramârtha.

In clearer words: One has to acquire true Self-Consciousness in order to understand Samvriti, or the “origin of delusion.” Paramârtha is the synonym of the term Svasamvedanâ, or the “reflection which analyses itself.” There is a difference in the interpretation of the meaning of Paramârtha between the Yogâchâryas and the Madhyamikas, neither of whom, however, explain the real and true esoteric sense of the expression.

“Paramârthasatya” is self-consciousness; Svasamvedanâ, or self-analyzing reflection—from parama, above everything, and artha, comprehension; satya meaning absolute true being, or esse. In Tibetan Paramârthasatya is Dondampaidenpa. The opposite of this absolute reality, or actuality, is Samvritisatya—the relative truth only—Samvriti meaning “false conception” and being the origin of Illusion, Mâyâ; in Tibetan Kundzabchidenpa, “illusion-creating appearance.”

The same for Paramârtha. The Yogâchâryas interpret the term as that which is also dependent upon other things (paratantra); and the Madhyamikas say that Paramârtha is limited to Paranishpanna or Absolute Perfection; i.e., in the exposition of these “Two Truths” of the Four, the former believe and maintain that, on this plane, at any rate, there exists only Samvritisatya or relative truth; and the latter teach the existence of Paramârthasatya, Absolute Truth.


She has perhaps accidentally revealed the Samputa. As we can see in the last sentence, one of the schools of transcendence believes it is only "gone", Prajnaparamita is only on "the other side", which, in Nirakara, is accepted as a provisional or temporary doctrine. Those schools believe that the Paratantra is disintegrated. But it is really universal law. You can quit "violating it" when Parikalpita relinquishes Ignorance, you can remove the "other" for anything to depend on, you can burn out the seeds that bind you in Dependent Origination, and this will utterly change the way you experience it; but there are still laws and limitations when you interact with form. Even Mahalakshmi says so--"I voluntarily accept limitations in order to do what I do".




According to the definition:

When anurāga reaches the state where it becomes the object of its own experience it is known as sva-saṃvedya.


According to Samdhong Rinpoche, this idea is quite close to Chhaya Samjna and Saranyu Samjna:

Buddhists recognize four different types of perception :-

First, there is ordinary perception by the sensory mind (indriya-jnana) which comes to us through our eyes, ears, and so on.

Secondly, there is mano-vijnana or inner perception which remains only for a short period of time with an ordinary person, for it is almost immediately disturbed and destroyed by relative or associated thoughts.

The third is svasamvedana which means the perception of the mind or consciousness itself. This is also perceived in the ordinary state.

The fourth is yoga perception which can only be achieved when one has developed one-pointedness of mind through the practice of meditation. After we have achieved the yoga perception, we shall be able to meditate on many phenomena. At present there is no way by which we can perceive shunyata or anityata (the changeableness of compounded things). We know about these things only by inference. In other words, our mind only learns through logic and reason about some facts which we are not able to perceive in any other way. But when a meditator develops one-pointedness of mind and achieves shamatha, he will be able to proceed further. Thus after shamatha he will achieve prajna, or the wisdom which knows the Truth...


Allright. "Ordinary state" means Samvrtti, or return to the body and ordinary waking consciousness--which is still capable of Svasamvedana. If you fold it in to shamata and prajna and so forth, mental reflexive awareness has not dissipated, it is only turning off the outer, ordinary brain aspect.


It is not that hard to get an idea of Raja Yoga based on the Four States. In Buddhist meditation, however, we contend that there are others: the state of the Moment of Death, the state of Transmigration, and the state of Seeking a Womb for Rebirth. In approximately the same way that ordinary consciousness can either be flooded with Svasamvedana, or not, that same principle applies here. What are these? They must be somewhat similar to the Second, or Dream state, as they are neither part of mundane consciousness, nor are they the weird, black Third state. A dream could be almost anything, and so if we compare the others to "certain states of dreaming" which happen to be heavily affected by Karmic Winds, this would be adequate. Related to this, we do have a Durga Tantra...it is called Sarvadurgati Parishodhana, buffered by explanations that turn her into a noun meaning protection against "bad rebirths" or "evil destinies". Nevertheless, the tantra concludes with six goddesses such as Sarasvati and Lakshmi who are considered vidyas or wisdoms or aspects of enlightenment attained by the practice, and, the final one of these is Durga.


When we kind of pantheistically unite diverse elements, this, evidently, is contra most orthodox practice. Equivalency or hypostasis, etc., is called Smarta.

The non-sectarian mode of Adi Skankara allows its followers to worship more than one god, unlike in sects like Shaivism and Vaishnavism, in which only Shiva and Vishnu are worshipped, respectively.

Smarta (स्‍मर्त): A Hindu denomination, which follows Advaita philosophy and considers that all gods are manifestations of Ishvar.

Smarta (स्मर्त) is a loose term used for a brahmin who adheres to the non-sectarian orthodoxy, one who considers himself to be neither exclusively Shiv-oriented (Shaiva) nor exclusively Vishnu-oriented (Vaishnava). Rather than worshipping one deity exclusively, the Smarta tradition frequently combines the worship of five major deities. The five deities are now commonly held to be Vishu, Shiva, Devi (Durga), Ganesha/Ganapati, and the Sun God Surya.


They did not mention Mars or Skanda, a sixth one that they try to cover up most of the time. But you only have to look around a little bit until you find him placed in temples along with Ganesa.




Since there is a text which is explanatory towards Kubjika and to Vajradaka, and, it has only one extant manuscript which is unpublished, we will take the available fragments of the:


Nisisamcara. NAK MS 1-1606, NGMPP B 26/25: palm-leaf; Nepalese Kutila

script; probably before 1100.



If you read through the first note, Catur Pitha is Jnana Dakini tantra. Bali offering is a sort of dual process with one aspect towards the Wrathful Ones, and, the inner version which operates Inverted Stupa. So this is a common ground, going into "a tree in the cemetery":

See Catuspithatantra ff. 30r2-32r3.
The Mantra for the Bali there (f. 31v2-) is derived from a Saiva prototype seen
in the Vidyapitha's Nisisamcara (14.56—63; ff. 47v5— 48v2: ekavrkse smasane va
. . .).


They say the list of Pithas is in:

Nisisamcara, ff. 16v-19v (4.6b-5.11)


Verse quotes:


Nisisamcara, f. 10v2-3:
evam eva prakarena ghorasadhanatatparam | ksetra paryatamdnasya sadhakasya
mahadhiye | sabdam dadati yah kascit tasya prasnam vadamy aham 'O you of great
understanding, I shall teach [you] the requests [that should be addressed] to any [di-
vine being] who speaks to the Sadhaka as he wanders in this manner visiting the
Ksetras, intent on the Ghorasadhana'



Nisisamcara (4.10-13), covering Kolagiri (Kolhapur) and Jayanti, reads:

10 kolagirya<m> mahalaksml karalayonisambhava \
kalarupa sthita devi dandahasta subhisana ||

11 tasmin ksetre sthita devi parvatagrasamasrita |
agniketi ca vikhyatah ksetrapalo mahatape ||

12 jayantya<m> danturayoni<r> jvalamukheti visruta \
khadgahasta sthita devi sarvasattvabhayamkari ||

13 tasmin ksetre sthita devi nimbavrksasamasrita |
mahapreteti vikhyatas tasmin ksetre mahabalah \\


Nisisamcara f. 17v (4.20—21):

kotivarse karnamoti mahabalakulodbhava | sulahasta sthita devi sarvayogesvaresvarl ||
tasmin ksetre sthita devi vatavrksasamasrita \ ksetrapalo mahakafyo] hetuko nama namatah.
The origin myth of the cult of Hetukesvara, Bahumamsa (=Karnamoti/Camu-
nda/Carcika), and the other Mothers (Matrs) at Kotivarsa is narrated in chapter
171 of the early Skandapurdna-Ambikdkhanda. Siva promises the Mothers there
that he will compose Tantras of the Mothers (matrtantrani) to guide their worship.
The names of these reveal them to be the Yamalatantras.



Vettada/Vetala of Nagara (Pataliputra/Kusumapura)--Vettavasini in the Nisisamcara (f. 17v
[4.43]

Nisisamcara f. 18v2-3 (4.35-36): camundeti ca *vikhyata (em. : vikhya Cod.) devya
va *pundravardhane (corr. : punda Cod.) | mahabalakulotpanna khatvanga-
karasobhita || 36 bhuktimuktikara devya samdohaksetrasamsthita | kumbhakhyo
ksetrapalas ca tasmin ksetre vyavasthitah; Kalikulakramarcana f. 21vl: HRIM
srIm sri*pundravardhanamahopaksetre camunda-ambapada {pundra corr.
: punda Cod.).

Nisisamcara f. 31rl-2: *ekamre (em. : ekatye Cod.) *samsthito (corr. : samsthita
Cod.) devi kirti*vaseti (corr. : taseti Cod.) *kirtitah (corr. : kirtita Cod.) | ca-
mundaya (corr. : camundaya Cod.) samayu*ktah (corr. : ktam Cod.) sthana-
balisamanvi*tam (corr. : tah Cod.)



in the tradition of the Picumata and
the Nisisamcara each of the major Sakta sites is a cremation ground with its
own distinctive sacred tree

Meaning eight of them:

In the Saiva tradition, the list of holy sites similar
to that of the Kubjikamatatantra (or to the first eight sites, the eight cremation
grounds, of this list) appears in the Jayadrathayamala, the Brahmayamala, the
Nisisamcaratantra, and the 29th chapter of the Tantraloka dealing with Kaula
doctrine





Dakarnava only has one commentary, the Vohita (Boat). It is quoted and partially commented in just a few other places. One of these is very late, ca. fourteenth century:


The Pithadinirnaya gives clear instruc-
tions that advanced practitioners of lower rank should seek to internally visu-
alize the holy sites of the Vajradakatantra in the same manner as in the first
typological tradition (e.g. Attahasa corresponds to the head, and the goddess
and the god assigned to this site are identical with the inner channel running
through the head and the set of fingernails and teeth, respectively) The bodily
parts and the inner channels are related to the ten spiritual stages and the ten
perfections respectively in the system of the first typological tradition. Therefore,
it may be stated that Sakyaraksita attempted to integrate the Mahayanic mean-
ing as well as the internal aspect...


As far as how many "styles" of Pithas there are, I missed this. Dakarnava does something even more which is to internalize it completely. And this way, it becomes literally the Anahata or subtle heart center, like a physiological Citta Cakra.

Eight inner channels running through dharmacakra:


(1) Prayagi (2) Devikoti (3) Ujjayini (4) Mahalaksmi (5) Jvalamu-
khi (6) Siddhasimbhali (7) Mahili (8) Kaumaripauriki


Based on this
framework, this system is constituted of seventy-two magical female beings...
Holy sites per se
do not appear in this system.
Male divinities do
not appear in this system. The names of these female beings are derived from
the external holy sites with which they are thought to be connected.

The Nirmanacakra is also given--which has sixty-four channels, such as:

(21) Nepali

(38) Varuni


which suggests "feminized Varuna".

Here you have very little information, as in general there is no individual devi name, there is not an environment, a male, and so forth, it starts sounding like a confrontation with very fine energy. I think it is only talking about these two chakras, but, that is quite a few nadis in the navel center. The main detail it goes into is how the winds move according to waves of time and breath.


The "site categories" are important because:

in the system of Heruka
mandala, the Dakarnavatantra also connects the twelve site-categories, which are as-
signed to twelve of the thirteen circles constituting the Heruka mandala, with twelve of
the thirteen spiritual stages.

The thirteenth stage is represented by the four gates and four cor-
ners of each fold of this mandala.

Individual sites as listed in TABLE 9 do not appear
in this sytem.

A "category" is a Heruka layer; which is an entire subject, such as his Vajracakra is the Chakrasamvara Pitha system plus twelve who appear as an increase of Armor Deities, such as:


Mahābalā & Padmanarteśvara
Yāminī & Mahābala,
Kāminī & Jñānaḍāka,

collectively called Leader Heruka (Nāyakaheruka).

a regular Pitha example in this ring is:

Mahākaṅkāla (महाकङ्काल) is the husband of Caṇḍākṣī: the name of a Ḍākinī (‘sacred girl’) presiding over Jālandhara

We see that female Candaksi/Candakhya is re-named as Candali in the Hindu texts; and then Candali enters Jalandhara in the Vajradaka Pithas, which is Kankala Yoga. He has the same "wanderer" expression as just seen in Nisisamcara. He is wandering around looking for girls who party every night, and, they are the grades of the Sister class, which produce mainly Bliss and Sambhogakaya. This one is simple. Kshetra are Buddha Fields if we want to press the point. Because Buddha Fields are in the Akanistha, we do not exactly have full access right now, especially because these minor deities are cumulatively the "ticket".

Vajracakra is closest to the core; the outer edge, his Body or Kayacakra, consists of Kama Loka, Akanistha, and the Formless Dhyanas. That alone suggests to me that the actual Dakarnava experience doesn't begin until one has the Svadhisthana or Sambhogakaya which allows one to perform meditations in Akanistha. Since Kayacakra corresponds to a "site category", that implies that two or four pithas of that category would be particularly useful in doing it. That is entirely "Dakarnava arranged" and will not work elsewhere. They may correspond to something similar, but none of that is like these mandala rings. That also makes the Kama Loka or Akanistha proficiency equivalent to the First Bhumi, Joy. Any system of more than Ten Bhumis is purely tantric, has no known Sutra basis.


In the Mahdmudratilakatantra,
Odyana has an alias name: Vajrapitha.

The Amnayamanjari comments that Pollagiri, Kollagiri, Pulliramalaya, and
Vajrapitha (rdo rjehi gnas) are synonymous terms.

The Amnayamanjarl comments that Caritra and the periphery
area of a village or town are also regarded as belonging to the site-category pilava.


So the details are different in different tantras. The trend is the same; it starts low with Pitha, and ends high with the Cemeteries. Correspondingly, in Indrabhuti's Samputa commentary:

The external sites from pilava to the second upasmasana correspond
to eight petals of a lotus of one's heart where eight inner channels reside.


This is the Dakarnava variety of site categories, but, it is with the Chakrasamvara Pithas, and, even so, seems a bit strange:

(1) Pitha

Purnagiri. Jalandhara. Odyayana. Arbuda.


(2) Upapitha

Godavari. Ramesvara. Devikota. Malava.


(3) Ksetra

Kamarupa. Odra. Trisakuni. Kosala.


(4) Upaksetra

Kalinga. Lampaka. Kanci. Himalaya.


(5) Chandoha

Pretapuri. Grhadevi. Saurastra. Suvarnadvipa.


(6) Upacchandoha

Nagara. Sindhu. Maru. Kuluta.


(7) Melapaka

The bank of a river. A garden. The ocean. A place
where four roads meet.


(8) Upamelapaka

The top of a mountain. The center of a village. A
mountain where a mass of maidens inhabit. The
land of one's own lineage.


(9) Smasana

Munmuni. Caritra. Harikela. Mayapuri.


(10) Upasmasana

The base of a mountain. A dead village. The
house of divinities. Karnatapataka.


(11) Pilava

The periphery area of a village. Kuhkara. Ka-
rmarapataka. A place where magical females as-
semble.


(12) Upapilava


The ancestor forest. The side of a house. A lake.
A pond of blue lotuses.


That appears to have thity-one pithas, but not in all categories. Firstly, we would guess it is not assigning the first eight as the full set of cemeteries. And, it threw a curve ball, which has not been given yet as a pitha, but we know all about Mummuni. And whatever this is, ledas to the Pitrs' Forest and Pushkara at the end.

No such correspondences are given for the system starting with Attahasa; in the Kubjika tantra it resembles, the first eight sites are all Cemeteries. Going the other way, since we see the Attahasa Pithas are said to work like other systems,


The Vajradakatantra proclaims that the magical females residing in these holy
sites, who perform ritual assemblage every night, bring the practitioners many
kinds of accomplishments.


In the Subjugation of Mahesvara, there is tantric Ekajati as old as this legend:

Mahadeva inhabits Mt. Meru with his four secondary mother goddesses (ne bahi yum) i.e. Gauri (gau
ri) in the east, Ekajati (e ka dsa ti) in the south, Kalaratri (ka la ra tri) in the
west, and Umadevi (u ma de bi) in the north and his four secret mother god-
desses (sbas pahi yum) i.e. Kesini (skra can ma), Upakesini (ne bahi skra can
ma), Mun pa ma, and Ne bahi mun pa ma, became the lord of these Bhairavas.

Mahadeva performs (sexual yoga) with Gauri in the east at the
first junction of time (thun), with Ekajati in the south at the second junction of time, with
Kalaratri in the west at the third junction of time, and with Umadevi in the north at the
last junction of time.

Buddhist divinities subjugated Saiva divinities and took over the twenty-four sites on Jambu. Heruka
futher created four female divinities, who were gate-keepers, and four other fe-
male divinities (i.e. the eight dakinis of the samayacakra). These eight female
divinities attacked and subjugated Kinnaras of both sex found in the eight direc-
tions of the above Saiva divinities.


Once they have been dominated, the viras and yoginis are explained in the following manner:

Although the twenty-four pairs of Buddhist divinities established
themselves at the twenty-four sites, they had not yet attained enlightenment.
Hence, they went to the top of Mt. Meru where (the Samyaksambuddha
resided). Asked by them to give instructions on the truth and received
various offerings and hymns from them, (the Samyaksambuddha) produced
the scriptures of the Samvara cycle as follows in order: a tantra of a hundred
thousand chapters, the Khasamatantra of a hundred thousand sloka, the
Dakinijalasamvararnavatantra (mkhah hgro ma dra ba sdom pa rgya mtshohi
rgyud) of a hundred thousand pada, a tantra of a hundred thousand letters
consisting of fifty-one chapters, and scriptures called Abhidhanatantra.


This does not concern itself with how STTS may have been involved. Since Dakini Jala is older, and, is still not quite original, it continues to seem to me that it may be more of an adaption of these sources, truncated into a practice that is more academic and ritualistically repetitive, "tuned down" to a way that likely works better in a school, versus Dakarnava being "tuned up" to the school of life, more or less taking Tapas and Samadhi for granted, and...well, we could at least say the subject of Pithas goes through layers of the intricately profound. Ultimately the "category" of them is perhaps more instructive than the specific place itself.


If we look at the porridge of ideas about Ekajati from Tibet, it is difficult; usually she is called Queen of Mamos, but, on this Mamos page, the actual theme is Smoky Goddess. For example it says Mahakali (who is also White Conch Nagini and Parnasabari) is the daughter of Mahadeva and Uma, she is called Dudsolma in Tibetan, and became Kama Dhatvishvari. This happened because she practiced Ekajati in the Asura Cave and came face-to-face with her. Mahakali was born in the kalpa with a war over a Wish-fulfilling Tree.

In another area, Dudsolma---Mahakali is called Vetali. Nagini and Remati are said to have prostrated to Kasyapa Buddha.

Although Ekajati is usually Queen of Mamos and is often associated with Smoky Candi, on that whole page, she is just a Yidam in two sentences.

In Sanskrit-based scriptures, Ekajati is Ugra Tara, and Candi is in Karma Family or is equivalently Wathful Green Tara. In the oldest or Mahamayuri that we know of, Ekajati lives alone at the coast; somewhere in the origin of Chakrasamvara, she is a consort of Mahadeva. The difference is that the coastal one is already mantra pratibaddha or oath bound. This means that the events of Chakrasmvara had to happen first.

Parnasabari, Vetali, and Magzor Gyalmo are aspects of Sarasvati.

Mahadeva and Uma that produce Mahakali pertain to the Prakriti condition of this Manvantara.

Mahalakshmi mentally produces Mahakali in the Equilibrium condition, and Mahakali in turn mentally produces Rudra which will become Shiva, Mahadeva, etc., in the Manvantaras. We would have to consider it next to impossible for anyone in Tibet to know about this slightly more Vaisnavite doctrine. But it underlies a lot of the exoteric classifications in Nepal, and is able to be understood by a few there.

And so when we turn to the Tibetan spellings, we find more reason to associate Dudsolma with Lakshmi; same for Kama Dhatvishvari. As for Ekajati, she does not have any similar Puranic origin to discuss, but we see it would be vastly incorrect to think of her as Tibetan, by several centuries.

"At the coast" seemed to be a strong association of her with Lankesvari, but perhaps also Hingala Mata. Ugra Tara is definitely not her original name, but, more of a way of conjoining her to Mahacina Krama, which in the medieval era was "revolutionary" for attempting to convert Shakta blood sacrifices into a symbolic form. If we follow this, Ekajati is really paramount in the Sanskrit system of Tara. Ugra has more to do with Virya or Vira or energy and heroism than in being ugly.

Mamos are Matrikas of the Cemeteries, i. e. are Gauris, the Buddhist takeovers of Mahadeva's or Bhairava's ladies. These are considered Wisdom Mamos. If they are unable to quell and control the Worldly Mamos, then you have instant problems. This is an axis or mirror in much the same way as outer yoginis and inner heat were just described.

[shaberon]

Alexandra David-Neel and Candali; White Tara and Gold Prajnaparamita; Rudra



Here is a very famous lady who joined Theosophy as a teenager in 1886, and was inspired by something at the Guimet and a translation of Lalitavistara to become a Buddhist. She was able to directly interface "Tibetan Buddhism" starting in Sikkhim and wound up also becoming friendly to the Panchen Lama. She is quite similar to HPB, without the psychic guidance, or being in Puranic India most of the time. So she definitely accomplished an exoteric or outer to inner progression in an unmodified "Tibetan Buddhism" and she does write about it. I do not think she has much comprehensive scriptural analysis. She does have a great deal of experience with Tibet. She found that telepathy is real, but, the idea of a "precipitated letter" was not taken seriously. Koothoomi said it could begin to be explained when science knows more of the "bibliothon", which is the slowly-transferred image of a leaf onto a rock. It certainly is not a common siddhi. However, it was explained there were reasons for doing so, because, while using the same designation of telepathy, the "favorable conditions" as described by the book in Tibet, were not present elsewhere.


When people think Tibetan Buddhism is a "thing", they are likely to accumulate ideas that did not come from the Indian system, and, this is probably the most important subject. In Tibet, inner heat would obviously be a desirable mundane siddhi. There are no shortages of people living in their underwear, or those who sit outdoors wrapped in wet blankets and dry them off competitively. She said that is a thing--they do this socially--and reported a winner who dried something like forty blankets in one night.

Well, if you live in south India, you would think this is insane, and would want to get rid of it at all possible costs.

The snow melting thing is obviously not Candali Yoga. While I personally have done the yoga, I have not experienced much of anything that would be good outdoors in the winter. And so we could make a few remarks; Fire or Agni is supposed to be tempered by the cooling Soma--Moon, and, also, the symbol of the Crescent shows that the heat is actually supposed to be rapidly crammed into the core. If we translate the Indian texts, they all say it is in the belly or navel, not all surfaces. The way it was explained to her:


Tibetan adepts of the secret lore distinguish various
kinds of tumo : exoteric tumo, which arises spontaneously
in the course of peculiar raptures and, gradually,
folds the mystic in the “ soft, warm mantle of the gods ” ;
esoteric tumo, that keeps the hermits comfortable on
the snowy hills ; mystic tumo, which can only claim
a distant and quite figurative connection with the term
“ warmth,” for it is the experience of “ paradisiac bliss ”
in this world.

In the secret teaching, tumo is also the subtle fire
which warms the generative fluid and drives the energy
in it, till it runs all over the body along the tiny channels
of the tsas.


compared to Garab Dorje's terms:

Meditation on the channels and chakras is the inner one, while meditation on the wisdom of blazing and dripping is the secret Candali...When you want a slight extension, there is the visualization of the Ashay and blazing and dripping, burning together.


That article is reasonable but it is unaware of Mercury. We may draw some from it, but, the poster of it admits they do not understand it, as continuing with Magic and Mysticism in Tibet:


However, only a few, even in mystic circles, are
thoroughly acquainted with these several kinds of
tumo, while the wonderful effects of the tumo that warms
and keeps alive the hermits in the snowy wilds are
known to every Tibetan. It does not follow that the
process by which that mysterious heat is produced
is equally familiar to all of them. On the contrary.
It is kept secret by the lamas who teach it, and they do
not fail to declare that information gathered by hear-
say or by reading is without any practical result if one has
not been personally taught and trained by a master
who is himself an adept.


Well, that is not completely true. In fact, it is almost dangerously wrong. Tibet must lack an overpowering array of easy yoga books that can set it off. Plus they are biased to think of it as something else. As to having or doing it:


Among other objects, I think probation aims at
testing the robustness of the candidates. As great as
may be my confidence in the tumo method, I still
doubt whether it could be safely practised by people
of weak constitution.


According to tumo teachers and adepts, one must never
practise the training exercises inside a house, or near
inhabited places. They believe that foul air produced
by smoke and smells, together with various occult
causes, impede the success of the student and may even
harm him.

Not without risk. It is capable of failing to start, and, starting it is no assurance that a person is actually doing well. If you do it just by the energy of the centers, this is not considered to be spiritual, the same thing can be done by an evil person. That is why it might be more accurate to say that Buddhism may be candidate-selective about whom to share the teaching which is Noumenal in origin. If it is like a Vajrasattva Yoga, then you have to have the Samaya, which is really so sensitive that I am pretty sure that a good guru could see a violation on his candidate, and could probably sense it from miles away.

What she is suggesting is really a relaxed Humkara Mudra:


Two postures are allowed. Either the usual medita-
tion posture cross-legged or seated in Western fashion,
each hand placed on the corresponding knee, the thumb,
the forefinger and the little finger being extended, and
the middle and fourth fingers bent under the palm.

Various breathing drills are first performed which
aim at clearing the passage of the air in the nostrils.

Then pride, anger, hatred, covetousness, sloth,
stupidity are mentally rejected with the rhythmic
breathing out. All blessings from saintly beings, the
Buddha’s spirit, the five wisdoms, all that is good and
lofty in the world are attracted and assimilated while
drawing in the breath.

Now, composing oneself for a while one dismisses
all cares and cogitations. Having become perfectly
calm, one imagines that a golden lotus exists, in one’s
body on a level with the navel. In this lotus, shining
like the sun, stands the syllable ram. Above ram is the
syllable ma. From ma, Dorjee Naljorma (a feminine
deity) issues.


That is Nairatma, who is an aspect of Mamaki, as seen by the syllable. Well, if we run with this, presuming Alexandra really was Nairatma-empowered, then we can still say--Varuni, you are a Mam-arisen aspect of Mamaki and--you just about belong here:

As soon as one has imagined Dorjee Naljorma
springing from the syllable ma, one must identify one-
self with her.

When one has “ become ” the deity, one imagines
the letter A placed in the navel and the letter Ham at
the top of one’s head.

Slow, deep inspirations act as bellows and wake up
a smouldering fire, the size and shape of a minute ball.
This fire exists in A. Each inspiration produces the
sensation of a breath of wind penetrating the abdomen
at the height of the navel and increasing the force of
the flames.

Then, each deep inspiration is followed by a reten-
tion of the breath. Gradually the time spent holding
in the breath is increased more and more.

One’s thoughts continue to follow the waking up of fire
which ascends along the uma vein arising in the middle
of the body.

Tibetans have borrowed from India the three mystic
nadi (arteries, veins) which play an important part in
the various yoga psychic trainings. In Tibetan, nadis
are called tsas and respectively named roma kyangma
and uma.

The different subjective visions, as well as the
sensations which accompany them, succeed each other
in a series of gradual modifications. Inhalations,
retentions of the breath and expirations continue
rhythmically, and a mystic formula is continually
repeated. The mind must remain perfectly concen-
trated and “ one pointed ” on the vision of the fire
and the sensation of warmth which ensues.

The ten stages may be briefly described as follows :

1. The central artery uma is imagined — and sub-
jectively seen — as thin as the thinnest thread or as a
hair, yet filled with the ascending flame and crossed
by the current of air produced by the breath.

2. The artery has increased in size and become as
large as the little finger.

3. It continues to increase and appears to be the size
of an arm.

4. The artery fills the whole body, or rather the body
has become the tsa itself, a kind of tube filled with
blazing fire and air.

5. The bodily form ceases to be perceived. Enlarged
beyond all measure, the artery engulfs the whole world
and the naljorpa feels himself to be a storm-beaten flame
among the glowing waves of an ocean of fire.

Beginners whose mind has not yet acquired the habit
of very protracted meditation go more quickly through
these five stages than more advanced disciples, who
progress slowly from one to another, sink in deep
contemplation. Yet, even the quickest ones take about
an hour to reach the fifth stage.

Now the subjective visions repeat themselves in
reverse order...

...It entirely disappears : the fire ceases utterly to
be perceived, as well as all forms, all representations
whatsoever. All ideas of any kind of objects vanish
likewise. The mind sinks into the great “ Emptiness
where the duality of the knower and the object perceived
does not exist any longer.

It is a trance which, according to the spiritual and
psychic development of the naljorpa is more or less deep
and more or less prolonged.

The exercise, either with or without the five last
stages, may be repeated during the day or whenever
one is suffering from cold. But the training, properly
speaking, is done during the early practice before
dawn.




Speaking of an exercise from Naro, it is:

...borrowed from Indian hatha yoga practices,
but in hatha yoga treatises it is not connected with the
kind of tumo known to Tibetans.


No, because it is the Candali which *could* be known to the Tibetans if they think of its application as a Lokottara Siddhi. In fact it is the only Lokottara Siddhi. The second or Completion Stage is not a parallel, it is not like Eight Laukika Siddhis which could even happen all at once, it is just this without failing. This is where Buddhist Yoga is certainly not Indian Hatha Yoga either. It may provisionally include some. And, compared to other ways of doing the first exercise she mentioned:


Though there are certain resemblances in the images
visualized in these two methods, the difference between
them is nevertheless considerable, for while the second
includes leaps and gesticulations, the former requires
complete immobility.


Without elaboration:

In conclusion I may say that I have myself obtained
remarkable results from my small experience of tumo.


Ok. The visualization for the first method she gave is done just totally still. Everything that we call Subtle Yoga works like this. I say this due to remarkable results from what I am unable to call small. And if we want to talk about "resemblances of images", here are two similar fiery annihilations of the individual:

Lakshmi Tantra

Agni Homa in the most esoteric stage beyond "coconut head"


In the spinal or "Uma" version just given, this includes exhaling five sins and inhaling the Dhyani Buddhas.

Vajradaka Tantra where you exhale Five Dakinis as Mahatattva is therefor easy to see as a continuation of this. If I purify enough, at some point I stop exhaling vomit. If I am clean, I can no longer wash my skin away like tar. If I gain some realization from the yoga, dakinis manifest.

Generally speaking, you are still, and one hour is like being in a hurry, to do only the first half, merging into the fire.

Without using the term, she said it relied on Muttering or Japa.

So I think she has given a very succinct account of the Third Yoga or Pranayama.

HPB did not convey any Buddhist practices of actually doing this. She considered that the mandala components were secrets of the fourth initiation. You do not quite have to have them to do what Alexandra is talking about. But then we would say, if you get it to actually start working, then you ought to start adding these things.

If you understand what she is saying, with very little else, you could actually get that spinal thing to function powerfully, but if that is as far as you get, it could be described as a refined hatha yoga with a few Buddhist names. Because she was focused on activities and people, she has not attached the important scriptural understanding that whatever we do must take place in the context of Vajrasattva and Guru Yoga.

One can start with Guru Yoga, do something akin to the visualization she describes, and then operate with Puranic Varuni rather than Nairatma, and, instead of "identifying" with her, you just melt her into your body. That is the essence or pith of Generation Stage. We simply have the capacity to add other deities for various reasons. One of those reasons is Dissolution. Here you have become Fire and it just goes out and you are Formless, or, in Buddhism, Sunyata.

Presumably, this is a minor training exercise. The question then becomes what about when you get to the Sunyata itself.

Again, if it was training, you visualize and concentrate and then you are Amanasikara or thought-free.

If it was actualized, this means the inner fire will blast through the Uma and burn the Dhyani Buddhas. She footnoted the possibility of oil oozing from the letter Ham. This is on the right track, but, this syllable is short for Aham or "I", being the target of an actual weapon, not a visualization.

Bodhicitta is in it and you have to kill its rigid form.

Perhaps it is like a balloon, it can expand significantly and withstand a certain level of heat, but the moment of it letting go and its new condition can hardly be missed once you have effectively weaponized this heat or Candali. Maybe that is the reason for the Spear item being repetitive around the Pithas.

Despite years of on-the-ground Buddhist training, here, at least, her evaluations do not go on.

A somewhat more formal Tibetan record of physical exercises mixed with Pranayama is called Trulkhor, dating back to at least Virupa.

In the English language, I am not sure we even had anything that would have provided this Varuni association prior to Circle of Bliss. I had memorized a close semblance of this from some prior source, but, it lacked the clarity to say this is Mamaki. Because Varuni is the source or Dharmodaya of all the tantras, as her continuity in one system, she continues a higher aspect of herself as Nairatma in Hevajra.

If left more or less on her own, it will be more like Trikaya Vajrayogini as Cinnamasta.

If mixed with Bhu Devi, it is Vajravarahi.

If the ultimate Varuni is in the core of the earth, and Bhu is the earth, then it is kind of hard to miss.

Varuni is ultimately the consort of, not Shiva, not Rudra, but, his prototype in the Vyuha, Samkarsana--and this is still the daughter Varuni. Her husband is a Naga, Nagas really live in Water, so this is like a mirror of the plane of Varuna.

In other Sarma Tantras, it could be said that Candali is the inner fire that is "also known as" Nairatma, Vajravarahi, Mahamaya, because it is really the fire that is simply continued in various ways in those practices. But then it could be said that the actual Candali might be coming out of Hatha Yoga. Because we are using a Noumenal method which is closer to Raja Yoga, then you would essentially have Varuni practice as a replacement for those techniques.



Alexandra did say that she saw people walking around who were failures at the Chod rite and things were obviously really wrong with them.

It is a considerably more gruesome way of doing something similar to the self-fire offering that we can find in various Kriya or outer practices. But, it is a form of Cemetery Yoga.


The cemeteries are channels through the heart to the body, one of them as an example why the Eyes Pitha is related to the liver, is due to one of these. They are the Asta Vijnana of Yogacara; the Cemetery dakinis are the Gauris, formerly Bhairava or Mahadeva's retinue; the Gauris are Sampattis or undisturbable samadhis, unless they slip out of control, then they become violence and insanity. These would be the high end of practice if you wrote the Pithas in such a way that cemeteries are last. If the Pitha that is first is physically in the head, that is fine, it is like the Ham syllable, the First Joy, and the First Bhumi. If that one is inhabited by Pracanda, alias Cinnamasta, that sounds like a cue for her routine.


Like the other Pithas, in Buddhism, there are probably at least five systems of Cemeteries. Sitabani is a Peaceful Charnel Ground. That is the main one we would want to be aware of objectively. It has a meaning in Buddhism unrelated to a piece of Sati or incarnation of Lakshmi. The system of meditation of course takes place in Wrathful Cemeteries. On high quality mandalas and thangkas, these are added around the perimeter. There is one I guess from a folio version which has this as individual scenes. So we can make a post that combines these with their supporting material.

The Dakini Jala Gauris are the retinue of Heruka. And Heruka is the original Cemetery god. So we will replace these into the Cemeteries by correspondence. Again for example, if you were really doing Hevajra, then you would have need of using the format that includes Dombini. If you were doing Guhyagarbha, it would give you the format with Smasani. Still, those are both like individual variations which came from the overall Sitabani ethos. And they have disconnected themselves from the subject of Moods. The only ways I know that continue the moods further are Picuva Marici and Vajra Rosary Tantra. Or, other deities actually bear various moods in some way or another, but, those two are explicitly the cumulative total.


There is also an older form of central deity here. In Sadhanamala, Sukla Tara resides in the middle of the Cemeteries. She is a state of Acala but is actually peaceful. She is known in Tibet in the Bari lineage, but not in the way just described.


If we ask what "White Tara" is in the Indian system, there is Sita Tara 104 who arises from a Sukla-colored Hum, and then Sukla Tara 105 who arises from a Sita Hum.

The first has a Five Buddha Crown, the second is crowned by Amoghasiddhi and is adorned with ornaments of Five Heads.

Heads are "freshly slain", and the intent of a Cemetery is to wither it to a Skull, which is Emptiness. The enemy head was one of the gross poisons, such as laziness, called Poisons, which disrupt basic concentration. After that, it remains to deplete the Skandhas, and/or the delusions of duality of the Asta Vijnana as represented by Cemeteries. Technically, there are Wet and Dry Heads as well as Skulls. And so if you look at a deity such as Zhiro Bhusana, Lady of Bone Ornaments, it is not really her fashion choice, it is a stage called "with the Cemetery requisite complete".




Sita Tara, who is a state of Manohara, has two Camara or Cauri (Fly Wisk) bearers, Asokakanta Marici in a Red Kancuka, and Green Plume Mayuri.

Sukla Tara uses a "mandala component", Fence, or Vajra Prakaradi. Therefor, she is a Sima or Boundary, all one needs in terms of meditating on a flat plane without the whole mandala. It says "-di", meaning "and others", and we see that she skipped the Ground that would normally be cast first. By implication, it would be there. Are there more "others"? One could perhaps start adding things.

It is more accurate to say that Sukla Hum directly transforms into Sita Tara, who does Utpala Mudra, but, for Sukla Tara:

sitahuṃkārajaṃ sabījotpalaṃ

In other words, the syllable transforms into an Utpala of the following character:

Sabīja (सबीज):—[=sa-bīja] [from sa > sa-bandha] mf(ā)n. with seed or germ

Sabīja (सबीज) refers to a type of Kriyāvatī-dīkṣā, which in turn represents a type of of Hautrī-dīkṣā where dīkṣā refers to “initiation” performed by a healthy Ādiśaiva as part of his essential priestly duties in the Śiva temple.—Dīkṣā is popularly understood as “dīyate kṣīyate iti dīkṣā”—“that which grants mokṣa, while destroying the karma of the initiate”.

which vibrates before releasing Sukla Tara. If she was not in Karma Family in the cemeteries burning out karma, the second definition might not have any bearing, but is similar and is the only particular use of this word. The Sanskrit sentence probably means that the Hum Bija syllable is in the Lotus. Where it says "karaja", that means "made by the hand of", i. e., "produced", which sounds like the Hum makes the Lotus separately. When something directly transforms, that is called "parinata", and so for her to say Crossed Vajra--Parinata--Fence and others is a little strange, as it usually goes Crossed Vajra--Parinata--Ground.


Those are beguiling. They are not very accessible. The easiest one is Mrtyuvacana (mṛtyuvañcanasitatārā).

namaḥ sitarārāyai

and normal Tara mantra is her humble start. Sitara = Sita Tara, plus Arayai = Arya, i.e. Arya Sita Tara.

It is a Two Arm Tara who has a mantra wheel in her heart.

From her modestly more informative Upadesa 112:

tārām ākṛṣya vyomani /
dvibhujāṃ sitadehāṃ tu varadotpaladhāriṇīm //
pañcopacārapūjābhiḥ pūjayitvā tu bhaktitaḥ /
pāpānāṃ deśanāṃ paścāt tataḥ puṇyānumodanām /
tatpariṇāmanāṃ caiva triśaraṇagamanaṃ tathā //
oṃ śūnyatājñānavajrasvabhāvātmako 'ham iti paṭhet /
iti svaparaśūnyaṃ vai dhyātvā yogī vidhānavit /



She has Pancopacara, Five Offerings ending on Food. Then she is the only one to unite Emptiness Mantra with Parasunya. This is a synonym of the Fourth Void in the Nirakara system, which in the Nath system is located beyond the head, above Higher Yoni Triangle, this is the highest void, formless dhyanas, etc. So it may also be a "synonym" for Maha Sunya or Sarva Sunya or something like that according to other teachings, but, as a "doctrine", is pretty specific to Nirakara and Nath. Here, it is "sva", your "own-nature" of Parasunya, which is "empty of everything other than its own nature", which is Shentong. It becomes "sva" because you are applying Emptiness Mantra with the right attitude and practice towards it. Linguistically, Parasunya and Shentong are both simplified as "other empty", this is using para- like in Paratantra, "other dependent".

"Para" is explained like links on a chain. Guru Parampara, or disciplic succession, means one link to the other. And so in terms of quantity, Para comes to mean "all other links" or infinity. But in non-duality, "other" is an empty set; the "self" there could be an "other" to, is an empty set, has no definition since there is no such thing to define. This not self which has no other has no other natures than its own. Rangtong says it is empty of or does not have its own nature. Shentong says it does not have any other natures.

Parasunya is not a synonym or metaphor, it is a rather delicate argument that is difficult to understand is even a question. It is possible that until you understand the question, provisional Rantong may be quite useful.

Just look at the mantra. There is no surprise that Ham is short for Aham, that is how it ends. It says Svabhava Atmako Aham. Part of this language goes forwards, like adjectives, names, and nouns, i. e. Sita Tara, but the sentence structure of subject and object is fairly backwards compared to western language. And so the subjective end of the sentence is something like Own Nature Am/Have I. The object is the beginning, Sunyata Jnana Vajra, Non-dual Gnosis Vajra, which, I am still not sure how to translate that last one. To trivialize it slightly, it is like saying Wise am I, rather than I am Wise. This "I", however, carries the connotation of not being any "I", while removing its egoic and defiled components from conscious experience, forming a vacuum, and replacing it with what you get in the mantra, which is an aspect of Vajrasattva.

The Ham syllable in the head might be able to withstand a rather serious beating before it gives. This philosophy is about quelling mental discursion, it says nothing to the fact of Karmic Winds or using heat to intensify the process. The practice of Pranayama is, so to speak, grabbing the reins of those. Then this philosophical Dhyana practice crosses the fiery practice.


Mrtyuvacana is the only one to have this pose:

ābaddhavajraparyaṅkāṃ

That means she is wearing a knees cloth like Varuni sometimes does.


and this expression:


oṃhāvyañjanamadhyasthasādhyanāmādyanābhikam /

Om Havya Anjana Madhya Astha Sadhya Namadya Nabhikam

Sadhya could be a Gana with twelve members, but, other instances of "sadhyanama" suggest it is lower-case and generic, meaning the object or goal of a practice.

It almost sounds like it has to do with "navel", but, in this spelling:

1) Nābhika (नाभिक):—[from nābh] mfn. ifc. = nābhi, navel, [Hemādri’s Caturvarga-cintāmaṇi]

2) [v.s. ...] nave of a wheel, [Mahābhārata]


No other sadhanas give it the "-ka", so, when they want to say navel, it is just nabhi, and so this line is almost certainly talking about her Wheel. Simple enough, the eight spokes are named for/named as eight objects or goals of practice. However, in the middle of them is:

Om Havya Anjana

in the Nīlamatapurāṇa.—Reference is made in the Nīlamata to various sorts of scents, perfumes, unguents, flowers and garlands. For example, Añjana is recommended as an offering for the goddesses (verses 334, 494, 761). Some processes of decoration like rubbing the body with emollient unguents (udvartana), anointing it with unguents (utsādana) and applying sandle-paste etc. after bath (anulepana) are referred to.

Añjana (अञ्जन) refers to “collyria”, mentioned in verse 4.10-11 of the Aṣṭāṅgahṛdayasaṃhitā (Sūtrasthāna) by Vāgbhaṭa.—Accordingly, “[...] Headache, weakness of the senses, stiffness of the neck, and hemiplegia of the face (result from the suppression) of sneezing. By pungent inhalants, collyria [viz., añjana], perfumes, and sternutatories and by looking at the sun one shall stimulate impeded sneezing...

Añjana (अञ्जन) refers to “collyrium”, and is used in the treatment of poison (viṣa)

Galena (or sulphide of lead) is called Añjana

It is not a mantra, so, "omhavya" sounds like a figurative way of saying "offering", which makes sense with collyrium, except how this may work with a visualized wheel is challenging.


There is a similar combination found slightly further:

khaṭvāñjanapāda


The mark over the "n" matches collyrium--anjana, not:

1) Khaṭvāṅga (खट्वाङ्ग):—[from khaṭvā > khaṭvakā] mn. (vāṅ) ‘a club shaped like the foot of a bedstead’ id est. a club or staff with a skull at the top


And this word does not have much flexibility; if you go forward, most variants have to do with the staff and/or Sihva. If dropped to the root and taken as a prefix Khatv-, then it is just going to be a bed or cot or something along those lines.

Khatva is even a site category of Kubjika Pithas; but in this case they are parts of a house and household items.

The...bed of collyrium...is the "feet" of this and other siddhis:

Bhadrakumbha (भद्रकुम्भ).—a golden jar filled with water from a holy place, particularly from the Ganges (esp. used at the consecration of a king).


Tara's mantra often associates to something with eight parts, and is argued that the mantra contains in total ten syllables. Mrtyuvacana explains this:

svāhāntaḥ sārvakarmikaḥ

Svaha acts as Sarvikarmika, All Purpose mantra, not as one of the particular applications.


In the Mrtyuvacana practice:


Dikkāla (दिक्काल):—(nm) space and time

Dik, i. e. "direction" and Kala.

This "word" is dropped in a ring of deities:

brahmendraviṣṇucandrārkarudradikkālamanmadhyaiḥ /


Brahma Indra Vishnu Candra Arka Rudra Dikkala Manmatha

Arka is not the most common name for the Sun, but, it is easily understood. Usually in deity terms, Kala would stick to Rudra/Shiva.

Manmatha "is" Kamadeva, but it is probably more accurate to say Kama is the one reborn in all the Manvantaras, and Manmatha refers to a particular form and incident:

The sages said:—“Since at your nativity itself you have begun to torment and bedevil our minds and that of Brahmā too, you will be famous in the world as Manmatha”.

1a) Kāma (काम).—God of Love (s.v.); born of Brahmā's heart. Burnt by Śiva, was reborn as Pradyumna, son of Kṛṣṇa, an aṃśa of Vāsudeva.

In Lalita Mahatmya of Brahmanda Purana:

recreated by Lalitā, who said he was her son; went to Śiva's abode accompanied by his friend Vasanta.


Manmatha is Body-less, he was incinerated by Shiva's Third Eye. According to the Vaisnavas, he is an aspect of Pradyumna, the Vyuha.

So there are eight male gods being rolled out here that do not quite match Vasus or Direction Protectors or any normal thing. Especially because the "word" Dikkala has been divinized and is acting like a proud member of Trayastrimsa Heaven or something, not an unknown retinue member buried in other unknowns. Thinking in synonyms, we might say, well what did it over-write? Agni, or Ganesh, or something? But any suggestion about this is unclear, since it is a strange group.

In looking around, you can, rarely, find the word or its roots usually somewhat contrasted to Vishnu or Shiva to say they are not limited in space or time. That is not the same as putting them together, and saying, this is a deity at par with Brahma and Indra, Spacetime.

The "emphatic" uses of the word are very few. Dikkala is the first word in a Yoga Vasistha text. It is also used in the context of Ahnika or pre-dawn practice, apparently in the order of concentrating on Bhuta Visesa, then Dikkala, then Atma Antahkarana, according to Vachaspati.

Viśeṣa (विशेष).—Mahat and others; from them came the aṇḍa or universe; all water; from this came the fish (Puruṣa) with body. Hiraṇyagarbha with four faces.*

* Vāyu-purāṇa 4. 75-8.


Dikkala is almost name-ish in an untranslated part of what appears to be a Lalita commentary:

Bhartrihari, in the invocatory verse to his Satakatrayam...

Adishabdasa.ngR^ihItAni vastUni tathA cha dikkAlA Adayo yeShA.n tAni dikkAlAni.


The word is barely used, it is hard to say it is a name found anywhere; but, according to Bhattacharya, if we look at where the copying of Mahacina Krama lies:

Tārārahasya of Brahmānanda, who flourished in the middle of the 16th century and in the Tantrasāra of Kṛṣṇānanda Āgamavāgīśa an almost identical Dhyāna is stated describing a goddess of the name of Tārā.


And then almost the closest thing to a name is:

Dikkālanirūpaṇa (दिक्कालनिरूपण) is the name of a work ascribed to Gokunātha Upādhyāya (C. 1650-1740 C.E.), son of Pītāmbara Upādhyāya, who was exponent on Navya Nyāya system on Indian Philosophy and well-versed in Tantrasāra.

Which sounds like it would amount to copying it back from Mrtyuvacana due to the time frame. We have to kind of go at this from the point of view that new or different information in tenth-century texts did not affect the early ones. And then here comes something called Explanation of Spacetime, whereas the scant evidence of this name or subject is divinized on the level of Brahma and Indra in the approximately tenth-century Mrtyuvacana sadhana.

Navya Nyaya had a lifespan from thirteenth to eighteenth centuries. One of its influences was Vacaspati, which I am not sure if matches the article linked above.

Probably so, because it was influential to Gokulanatha Upadhyaya. In 1700, he became the Pandit of Mithila. He was an inernational polymath, one of the few of his time credited with fluency in Persian. He wrote exact sciences; Dikkala may even be part of that. However, in Mithila:

Though the family of Gokulanatha is well-known in Mithila as devoted to the Tantrika cult...

Around the same time, Taranatha and Situ Rinpoche were in the business of importing a Sarasvati grammar to Tibet; the translation was done at Jonang monastery. It is possible Gokula was involved with this.


If this group of Dikkala's companion deities appeared elsewhere, that might narrow it down. It looks like four are there and the rest implied by Adi Shankara's
Raja Rajeshwari:


Who sits in the eight part stage held by, Brahma, Vishnu, Indra, Chandra and other gods.


but this is inaccurate since the original only refers to Chandra:

Laksmisaana vidhineedra Chandra makudathyashtanga peedasrithaam...

and so unless there is something more definitive, we cannot really say that is it. But she is close to, and we find a better match with Five, in Skanda Purana's Kashi Kanda 52 about Dasasvamedha Ghata, the most popular Ghata in Varanasi, once called Rudrasarovar, with the Linga actually being in a Sitala temple near the conflux of the Godvari River.

That matches five names up to the relatively unusual Arka. So that is very telling.


Skanda Purana II.52 is after the chapter about multiple Adityas--Sun gods, sent to Kashi who disappeared like the yoginis, Shiva has burned Manmatha and gets anxious about the lack of interaction with Kashi. The first five deities are called playthings of Dhurjati (Rudra--Shiva), so this accounts for six of the list, or even seven, since the chapter at least refers to Manmatha.


Here, it has everything except Dikkala, which might be left over as:

Kāśī, the excellent Tanu (physical form) of Viśvabhartṛ (Lord Śiva)


Other explanations of dik kala were mostly about "unlimited", but, Shiva is sending missions to Kashi that never return. Brahma:

Even till today he has not left Kāśī.

Thus till the arrival of Viśveśvara, the highly intelligent Druhiṇa stayed in Vārāṇasī in the guise of a Brāhmaṇa.

He keeps sending Devas, Ganesh, and so forth. It is a quite long story. One cannot conclusively say that the deified use of the name Dikkala has to do with this. We can say that Mrtyuvacana is a deified subject closely associated with Shiva in terms of Mrita Sanjivani or Resurrection mantra. In colloquial terms, this kind of practice is considered "cheating" the diseases and accidents that otherwise might end one's life shortly. But Vacana is more of a scaling term from words, speech, to advice, explanation, and is attached to topics similarly to how Krama is. The explanation of Death is more like revealing the states of consciousness and cleaning and strengthening them.


That is basic Sita Tara. At first it may appear there is another two-armed version such as this. Although her form is very simple, Nagarjuna's White Vajra Tara is the only one with the following quality:

(ārya)vajratārā mahātejāḥ


So she is like a fiery White Tara. Like Wrathful White Night Tara in peaceful mode. So we would tend to think she is seeking that energy level from you in order to manifest. That is a lot of Pranayama, it is about like Vairocani. She has a different name and is located elsewhere. Sita Tara is in sequence.

What is it, well, she really shows two, four, and six arm versions, as if it were similar to the way Heruka works. I believe it does. When it decides to use a Four Arm deity, these are common in Hinduism. Likewise, we could say there are a lot of exoteric four armed divinites in Buddhism. But from what I understand, a six arm form is generally suppressed in Hinduism, I cannot recall if it is too presumptuous to represent the Sadguna, or exactly why. But then in Buddhism we can for instance have the symbols of the Six Families in the six hands of Carcika. And looking around, most of the six arm forms are very distinct like that, they are generally considered avanced, most likely part of the Sambhogakaya and so forth. Then we have to say that "basic" Six Arm White Tara in this sequence has to be distinguished from the form of Parasol that has no Parasol, and from Grahamatrika. Following the scheme, then we find that Parasol is doing the same arms-adding thing as White Tara, except she has more forms that keep going, and to summarize how this works, the tantric Adi Prajnas are Vasudhara Vajravarahi, Mamaki Guhyeshvari, and Pandara Parasol.




Mrtyuvacana is more of a simple start, but then Four Arm Sita Tara has a Five Buddha Crown. And so there is something fairly exoteric that also shows this. Is there a way to cultivate it, besides it, so to speak, being an art object?


The Five Buddha Crown is also worn by Asanga's Prajnaparamita 159. This is based around a retinue which is centered on Akshobhya, ringed by the other four families in the format:

ratnasambhavāmitābhayor madhye oṃ namaḥ māmakyai māṃ

i. e. Mamaki is in Jewel Family. It appears that Prajnaparamita is being conjured to go to the place of Akshobhya. This resembles the way Vajradhatvishvari gets in as the originally-absent fifth Prajna in Maitri's Advaya Samgraha. This Prajnaparamita uses totally standard, formulaic Offerings, but she has a Nyasa that is definitely her own. She has Four Places, the lowest of which is Blue Hum in the Navel.

She, in turn, is based on the syllable Dhih, which however is not her property, but is the hypostasis of Sarasvati and Manjushri.


She says Akshobhya--Hum becomes the Bija for the mantras in the Pancopacara or Five Offerings, such as Om Vajrapuspe Hum and so on. And you do this Pancopacara for Akshobhya, and then a Flower Offering to each Dhyani and Prajna. So it suggests this first Flower mantra multiple times:

oṃ namo 'kṣobhyāya huṃ oṃ vajrapuṣpe huṃ svāhā


followed by the Five Offerings:

oṃ vajrapuṣpe huṃ svāhā, oṃ vajradhūpe huṃ svāhā, oṃ vajragandhe huṃ svāhā,
oṃ vajradīpe huṃ svāhā, oṃ vajranaivedye huṃ svāhā


The next section is written awkwardly since it describes each Prajna as being between two Dhyanis, but, the geometry is not that hard. The corresponding Flower per deity with their individual Bijas goes:

oṃ nāmo vairocanāya oṃ, oṃ vajrapuṣpe huṃ svāheti

oṃ namo ratnasambhavāya trāṃ oṃ vajrapuṣpe huṃ svāhā

oṃ namo 'mitābhāya hrīḥ oṃ vajrapuṣpe huṃ svāhā

oṃ namo 'moghasiddhaye oṃ khaṃ oṃ vajrapuṣpe huṃ svāhā

oṃ namo locanāyai loṃ oṃ vajrapuṣpe huṃ svāhā

oṃ namaḥ māmakyai māṃ oṃ vajrapuṣpe huṃ svāhā

oṃ namaḥ pāṇḍarāyai pāṃ vajprapuṣpe huṃ svāhā

oṃ namas tārāyai tāṃ oṃ vajprapuṣpe huṃ svāhā

oṃ namaḥ rajñāpāramitāyai dhīḥ oṃ vajprapuṣpe huṃ svāheti

oṃ sarvatathāgatapūjāvajrasvabhāvātmako 'ham


That has something represented by the Crown: Five Buddhas.

From what I can tell, you make her offering towards the place of Akshobhya, but she is not there. You do Purity and Emptiness mantras and there is some explanation I cannot really read. Then:

A transforms into a moon disc, on which is a Dhih that makes a double lotus base, upon which:

haḥkāro draṣṭavyaḥ, [Hah makes substances]

akārādiṣoḍaśasvaraveṣṭhitaḥ [A makes sixteen notes or sounds, suggestive of vowels]

tathā kakārādidvātriṃśadvarnaiḥ / [Ka makes thirty-two colors, perhaps colored consonants]


haḥkārādayaḥ sarvaśuklāḥ [Hah makes a Source of "All Sukla", which, tantricly, is Venus, Semen, and Gnosis]


and then there is:

lāsyā-mālā-gītā-nṛtyā-puṣpā-dhūpā-dīpā-gandhādy-aṣṭayoginībhir

Eight Offering Goddesses including Dancers. Tantricly, these are Bodhisattvas who are effectively Peaceful Gauris.

Only then does it seem to specify the arising of Prajnaparamita devi in her strange Nyasa, which is the end of it.


And so if one is accustomed to Three Places as a meditative format, and, this may be a first encounter with a Fourth, and it is Blue Hum in the Navel, then we refer back to appearances of Blue Hum syllables usually with Blue Taras, and the Blue Lotus as just expressed by White Tara. Again this is a compound accumulation, making one's personal Pushkara.

All that one needs to do Suksma Yoga are Four Places. Therefor this deity is actually sufficient. In other words, if one's physiological aspect of Pranayama started coursing ahead of the way you were learning or training it, she is a "container". It looks like it would be possible to creep into this incrementally; most of the Gold Prajnaparamitas give her these same Four Places. But they are shuffled with White Prajnaparamita who has Three.


It is difficult to discern whether there is another minor goddess who may have Four Places. This is not quite made like a database or table giving instant answers; but from general familiarity, the fact that this is associated with the exoteric, at least the one shown in Refuge Trees, form of Prajnaparamita, sounds like a good beginning. Our Yoga is esoteric because we have already taken her lesser-known form who may have standard Places and combied that with the fact of how it works and Om Ah Hum as like the spine of all Muttering. If put together with everything that has been said about Navel and Blue Lotus, then, the perhaps plain Gold Prajnaparamita has a lot more momentum than she otherwise may.


Janguli, whom I would not call basic, has Four Places when you understand what she calls her Heart:

Stanāntara (स्तनान्तर):—[from stana > stan] n. the space between the breasts


The sequence is actually Two--Four--Six Arm White Tara, White Janguli, Dhanada. I would call that a "section" followed by an obvious change to Lotus Family. Janguli has been lifted from where the rest of her forms are given. She is not unfriendly, she is just very weird and arcane. This form is already a blend of tantric Sarasvati, Matangi, and Manasa. She is not strongly affected by normal Tara mantra. This form uses the seed syllable Hrih, which of course is more strongly associated with Lotus Family which comes next. But her other forms are very different and she is never exactly called Tara or given the mantra, she is treated more like a yogini, or, rather. Mahayoga Ishvari. She has Tri-kaya and Vajra Kaya. In fact, if I thought Trikaya was any kind of fundamental Buddhist teaching, this is the only deity where I would find it. And in her case, she is personally identified as it. But what she is responding to is Dharani. And what she eventually does is fuse it with Mudra:

sthāne mṛttikayā saptajaptayā dhāraṇībandhaṃ sarpākāravalayayogena


In the place of death, seven times bind a dharani to a serpent.

And so Janguli is a scion of what we call "dharani basis". In order to explain her relatively small exercises, she more or less is going to comment the entire Sarvadurgati Parishodhana, into Krishna Yamari Tantra. It may be about shoulder-to-shoulder with Vajrapani and the Eight Nagas, which no one seems to get. Parnasabari is slightly above her, and then, Parasol ingathers this and is quite similar to a Completion Stage of it.

That, so to speak, is a "progressive genre" of dharani, about like how we can follow Vipula Siddhi through the Pancha Raksa into Vajradaka and Samputa Tantras. Both being comparable to the "secret version of Vajradhatu mandala".




Well, does the Crown of Prajnaparamita have any kind of source? Yes, we just gave flowers to each Dhyani Buddha, before she could be said to be present wearing it. Will that make it very powerful, no, not exactly.

As far as I can tell, this sadhana does not do Crown Initiation or anything like that. It is "representational". If you can take a moment to contemplate Ratnasambhava and offer a Flower and come around again and do the same thing with Mamaki with any kind of proper awareness about them, then that is "something" which would be understood as "cause for the appearance of" the tenth member of the retinue under this crown.

In yoga, with certain restrictions, you can greet and praise most deities. I wouldn't just do this with Adhipati or Legpa or Cinnamasta. You go with what is available and accessible to you, personally, in terms of being able to cultivate Bhava or a feeling and idea about it. That is why we fish around for basic and instructive forms per Family. Prajnaparamita is among the first that comes to mind in Vajra Family. Given the total population of India, it is of course possible that a Buddhist convert might already have a bond to Ugra Tara. Or it might be to Sarasvati and they might know a Dhih mantra. So we see that Prajnaparamita either intercepts multiple streams, or, she refers us to them if we are unfamiliar. The major English language academic Buddhism magazine was not called Dhih Journal for no reason.

At some point going forward, she will bring something not available outside of Buddhism, such as this sadhana.

Dhyani Buddhas are parts of one's being. This is just an attempt to represent and learn them. You can do that. It is a question of "what" you do with them which really determines if the practice is realistically beyond your limit. And so it may sound peculiar to an introductee of this sadhana to say, what that means, is, we are going to identify them as precisely as possible, in order to assassinate them, in some other sadhana.

Prajnaparamita appears to follow the same mode as Vajradhatvisjvari in Maitri's Prajna practice, and as Dharmadhatvishvari in Vajravilasini's rite, cast last in order to move to or inhabit the center.

She shows the normal casting for Prajnas or other corner deities, which starts in the southeast and goes clockwise, ending in the northeast. We can see that Mamaki must be doing something weird. If Vajrasattva is a hypostasis of Akshobhya, then, Mamaki is acting hypostatically here by being the consort of Ratnasambhava. However in other practices, she becomes the consort of Vajrapani. Vajrapani is in the hypostasis of Vajrasattva. The major explanatory experience of Mamaki is as Varuni.

The major role of Mamaki is Vast Explanation and as the Three Skullcups, and Vajrasattva is the individual finding out about it.

Khandaroha is also an extension of Varuni who is two things:

Sarvakarmika Mantra

Generation Stage

and is more or less Buddhist Vinayaki; male Sarvakarmika Mantra is that of Amritakundalin, who is a Ganesh hypostasis.


If Four Arm Sita Tara, so to speak, "borrows" this crown from Prajnaparamita, then the Six Arm Tara has Amoghasiddhi. This reflects to Dhanada Krama 107. This is a little different than what Prajnaparamita just portrayed, because it is Five Families Tara. On the one hand, it is "very difficult" because she is going to cast the majority of a mandala a bit more avidly than Prajnaparamita did. But it is mainly made of Taras, which means they are easily communicable Bodhisattvas. And so if one has done the Prajnaparamita sadhana, we made for example a representational Pandara, but her real meaning is Emptiness of Purity of Fire, which is really an advanced state of Tummo. And Prajna means she is met in some un-ordinary state of awareness. So as a devotee we are kind of bookmarking our representation. Pandara does not personally enact it, but emanates Bodhisattvas who do, at Sambhogakaya and Nirmanakaya levels, such as Padma Tara and Bhrkuti.

The corresponding Bodhisattva, Padma Tara, in the retinue of Dhanada, is Pandara's "daughter" who is apparent and interactive to consciousness. These are stimulated by Offerings, of which there are four involved, Puspa, Dhupa, Dipa, and Gandha. The next significance is the presence of Gatekeepers, and so this has the Four Activities and Catuskoti. Overall, Dhanada is called a Wealth Granting goddess, but, what she is giving, is the ability to do this. She is pleasant:

saumyāṃ sattvaparyaṅkasthāṃ



Although she does have a particular Dhanada mantra, the last line of the exercise appears to venerate the assembly with normal Tara mantra and then take the Flower and others offering sequence as shown by Prajnaparamita for granted:

puṣpādinā jñānamaṇḍalaṃ sampūjya oṃ tāre tuttāre ture mur ity anena visarjayed iti /






Around the 1600s, things seem to have been copied from Buddhism in terms of Ugra Tara and also Sahaja which became widespread as Radha Krishna. However in Tibet, there is something which on the surface mostly looks like Takkiraja and Manohara from the Sakya and Indian sources, but, instead, is a Terma of Lha Chenpo:

The practice of Mahadeva [with Uma] as an independent meditational practice in Tibetan Buddhism is a Revealed Treasure teaching (Tib.: Terma) unique to the Nyingma Tradition of Tibetan Buddhism. It was especially popularized through the Mindrolling Tradition of the Nyingma. Sometimes Lha Chenpo can be found as a minor figure in Mindrolling paintings of Jinasagara Lokeshvara.

Conversely, Lotus Family Vajradhara does not have an identifiable lineage.

Lha Chenpo became the national protector of Meu in Amdo in the 1700s, where, in the early twentieth century:

Unlike his father, Rabten resolved to maintain a policy of peaceful coexistence with neighboring polities. His popularity and patronage for religious activities earned him the epithet "religious king" (chos rgyal), and he strengthened the ecumenical environment of Meu—there were at least eighteen different monasteries under the Meu kingdom, which belonged to Geluk, Sakya, Nyingma, and Jonang traditions, and as well as Bon.

This Lha Chenpo of Lotus Family is said to stem from a debate between Padmasambhava and 500 Indian pandits, who used mantras to generate a gigantic energy ball, which, he took ahold of, and commanded it to identify itself, which was Mahadeva, which pledged itself to him.




In the story of the Tiger from another Kalpa:

The one called Lha Chenpo was the
manifestation of Gyalwa Jampa ‘Buddha Maitreya, the Victorious Loving One.’ The
middle one called Da Chenpo was the manifestation of Jamphelyang ‘Manjushri.’
Nyingtop Chenpo was the Buddha.


But that does not have anything to do with the earthly topic. Around the 1600s, it is less conspicuous that there was a Mahadeva and Padmasambhava incident revealed, but, that the resulting Shiva is considered the Worldly Protector aspect of Avalokiteshvara. During all those centuries, Indian Buddhism was based on manuscripts which revere Paramesvara. Red Avalokiteshvara is more similar to Brahma (who is Lotus Born). We did find that Amitabha is considered Shiva when Sun and Moon are counted as deities in one formula. Vilasavajra's NMAA actually says that Ratnasambhava is Sarva and Amitabha is Tattva in order to assign the Tri-murti as Brahma--Vairocana Vishnu--Akshobhya and Amoghasiddhi--Shiva. In that sense Amitabha is "reality" similar to saying Dharma Family for Lotus Family. The Lotus Wisdom, Pratyavekshana, is almost similar to the name Avalokiteshvara, composed of Praty Ava Iksa--this last having the general meaning "to see", observe, reflect upon, consider, or:

Īkṣā (ईक्षा):—(kṣā) 1. f. Divine knowledge.

Knowledge of soul (ātmavidyā); Bhāg.7.6.26.

Dharma Family having meant reality in Speech and mantra, or vidya as discovered in mantra. However by the advent of Vajrasattva, you now have the possibility of simply an entire mantric being, which is his identity in NMAA and he alters the base nature of Amoghasiddhi, merging him into Mahamudra as a sixth wisdom. Dhyani Buddhas come from other Kalpas, and they do not incarnate like Vishnu born as Krishna. I do not think we are saying Krishna is Akshobhya. It is more like that aspect of enlightenment which dawns through Vishnu dovetails into that of Akshobhya.

Buddhist Tulkus are "partial". Otherwise, we might say H. H. D. L. "is" Avalokiteshvara and go ahead and promote him to supreme dictator. But the Avalokiteshwar is on its own plane. The lama is an evolving human Bodhisattva with a karmic connection. As to how clear it is in this or any other lifetime is subject to conditions.


In Hinduism, there are various arguments to say that Brahma is really Agni, or that Rudra is really Agni, because of how close Agni appears to the primordial level. Unlike Agni:


Shiva, in Rig Veda, is not the name of any god. It is a quality found in many gods.

9.02. It is said, that Rudra’s identification with Shiva came much later; and for the first time in Svetasvatara Upanishad and later in Yajur Veda


Rudra is the Vedic name, and a "synonym" such as Mahadeva is easily recognized much later in MMK:

1) Mahādeva (महादेव) is the name of a Tathāgata (Buddha)

2) Mahādeva (महादेव) also refers to a group of deities summoned by the Yamāntaka-mantra


Yamantaka summons Hindu deities who may have been reluctant to come on their own. Shiva is not a Vedic name, and Mahadeva is by some reckoning synonymous to Shiva. And this seems to be a consensus in the older Puranas:


1) Mahādeva (महादेव).—An attribute of Śiva;1

1) Brahmāṇḍa-purāṇa II. 26. 1; Matsya-purāṇa 47. 75; Viṣṇu-purāṇa I. 8. 6.

drinks soma;5

5) Brahmāṇḍa-purāṇa IV. 28. 89

Section IV is Lalita Mahatmya, which is probably not quite as old as the rest of the Purana.

It turns out that Mahadeva is pretty heavily weighted towards being described in the rest of Brahmanda Purana:

worshipped by Lavaṇa Asura;6 worshipped by the followers of Bhaṇḍa;7 claimed Bhṛgu as his son;8 made the mind-born creatures of Dakṣa not to grow; blessed Surabhī with eleven sons, Rudras;9

6) Ib. III. 3. 70; 7. 91-2.
7) Ib. III. 10. 17; 21. 76; 25. 14; 60. 28; 72. 3, 108, 116. IV. 10. 29; 11. 32; 12. 16.
8) Ib. III. 1. 38.
9) Ib. III. 2. 4.



avatārs of, were in Kali and not in the previous yugas;13 his mānasītanu, Candra;14 wife Rohiṇī and son Budha.15

13) Vāyu-purāṇa 26. 2.
14) Ib. 27. 16.
15) Ib. 27. 47, 56.

if the last phrase is unclear, it refers to:

presiding deity of the moon;2

2) Matsya-purāṇa 246. 61; 265. 42.

Mahadeva:

One of the eight names of Rudra, given to him by Brahmā, according to the Pādma-purāṇa. This aspect became the presiding deity over the moon. The corresponding name of the consort is Rohiṇī. His son is called Budha.


That sounds a little strange because Budha--Mercury ought to be the son of Candra and Tara. And we get the sense that Candra I was maybe someone else and Rudra--Mahadeva "became" Candra II as it were. And they are split like this in ths same source according to information on Candra:


Devī Bhāgavata, Prathama Skandha [with Tara]

Devī Bhāgavata, Saptama Skandha [with Rohini]

So the Moon gets both these lovers, with Candra originally said to have been:

The child born to Atri by Anasuyā. (See Purūravas). In Skandha 4 of the Devībhāgavata it is stated that it was Brahman who was born as Candra. (See Atri).


Candra was asked three times to pay attention to the other twenty-six girls, and, when this failed to happen:

Hence, the moon was cursed by Dakṣa, the redemption being, when he sees the Ether he would find her there”.

or:

Dakṣa got angry at this and cursed that Candra should suffer from tuberculosis...Candra remaining a tubercular patient, the growth of medicinal plants stopped with the result that all living things contracted consumption...Dakṣa, who gave Candra redemption from the curse by ordaining that if he dived in the Sarasvatī tīrtha in the western sea he would be free from consumption for half of every month.


and what he may have gotten taken over by is not exactly Shiva, in some of the Saivite doctrines:

Mahādeva obtained the Makuṭāgama from Śiva who in turn obtained it from Sadāśiva through parasambandha. Mahādeva in turn, transmitted it to through divya-sambandha to the Devas who, through divyādivya-sambandha, transmitted it to the Ṛṣis who finally, through adivya-sambandha, revealed the Makuṭāgama to human beings (Manuṣya).


Mahadeva is close but functions as a Shiva-to-Deva relay. I would guess this may be their description of the Vyuha, with Sadasiva = Sadguna Vasudeva. He may be a "synonym" but this is like saying the Moon aspect asked the main Shiva, who got it from Sadguna Brahman.


Likewise, Candra's partner, Rohini, is a multiple identity. There is a definite match:


1c) A wife of Mahādeva-Candramatanu of Śiva; mother of Budha.*

* Brahmāṇḍa-purāṇa I. 2. 9; II. 10. 84; Matsya-purāṇa 55. 12; 139. 25; Vāyu-purāṇa 27. 56; 66. 22. Viṣṇu-purāṇa I. 8. 8.

1e) A constellation important for śrāddha performance;1

1) Brahmāṇḍa-purāṇa III. 18. 3; Matsya-purāṇa 17. 3; 54. 9; Vāyu-purāṇa 82. 3.

1f) Had Saumya as her son.*

* Vāyu-purāṇa 2. 9.


Above, it said his manasitanu is Candra, which appears to be Manasi--Mental

Tanū (तनू).—f.

1) The body, person, self.

Matanu as above is not exactly a word, maybe a corruption of this.



In another sense, Rohini is the name given to the mother of Balarama, however as names go on cycling, you could call this one Surasa Rohini:

Vasudeva was the rebirth of Prajāpati Kaśyapa. When Kaśyapa took birth as Vasudeva, his two wives Aditi and Surasā took birth as Devakī and Rohiṇī respectively. The seventh child of Devakī was placed in the womb of Rohiṇī and Balabhadrarāma was born. As soon as a messenger named Dāruka brought the news that the entire race of the Yādavas had perished in Dvārakā, “because of grief, Vasudeva, Devakī and Rohiṇī forsook their bodies”.

1a) Rohiṇī (रोहिणी).—A daughter of Vālmīki; one of Vasudeva's wives, and mother of Gada, Balarāma and five other sons besides a daughter, Citrā.


Obscurely:

Rohiṇī (रोहिणी).—Niśā the third wife of the Agni (fire) called Manu or Bhānu gave birth to a daughter named Rohiṇī. Because she had done some misdeeds, she became the wife of Hiraṇyakaśipu.


But in the meaning "with" Mahadeva:

Prajāpati Kaśyapa married Surabhi the seventh daughter of Dakṣa. Two daughters Rohiṇī and Gandharvī, were born to Surabhi. In later years cows and oxen were born in the world from Rohiṇī and horses from Gandharvī. two daughters Vimalā and Analā were born to Rohiṇī and that from these two, in later years cattle were born.

Rohini:

1d) A daughter of Surabhī and Kaśyapa; a sister of the Rudras; mother of four daughters—Surūpā, Haṃsakālī (kīlā), Bhadrā and Kāmadu(a)ghā.*

* Brahmāṇḍa-purāṇa III. 3. 73-5; Vāyu-purāṇa 66. 71-72.


Strangely, that one is the most literal meaning of her name:


4) Rohiṇī (रोहिणी):—[from rohi] c f. (f. of rohita, ‘red’, below; also f. of rohin above) a red cow or [later] any cow (represented as a daughter of Surabhi and mother of cattle, [especially] of Kāma-dhenu, ‘cow of plenty

Name of the fourth lunar mansion (containing five stars) figured by a cart

In DDV Naksatras:

“the deities [viz., Rohiṇī] are decked in bejewelled jackets and they all show the añjali-mudrā”.—In colour, however, they differ. [viz., Rohiṇī is given the colour reddish-white].

and so the color has to do with:

Aldebaran or principal star in the constellation which contains 5 stars, [probably] α, β, γ, δ, ε, Tauri

Eye of the Bull, Aldebaran



The Rudras have one mother but, two fathers in III.3:

69b. Eleven Rudras were born of Surabhi as sons of Kaśyapa.

70-72. They were born due to the grace of Mahādeva.

and probably also Nandi:

78-79. A glorious bullock, Candraprabha (having the lustre of the Moon) was also born of Surabhi, with garland, hump and brilliant lustre. He was born of the abode of nectar (?). With the consent of Surabhi, he was giyen as the emblem of Maheśvara.


The chapter obviously uses synonyms fluently, and also is instructive about Gunas. In its terms of the male Trinity:

Kaśyapa, the son of Marīci, was born on account of the Rājasī part of Brahmā.

Kāla Rudra is said to have been born on account of the Tāmasī part of Brahmā.

Yajña Viṣṇu (i.e. Viṣṇu identified with the holy sacrifice) was born on account of the Sāttvīkī part.


There are perhaps two sorts of Rudra Ganas:

In Trayastrimsa or Svarga Loka, Indra Heaven, a couple of deities may change between traditions, but, the majority always consists of

eight Vasus, eleven Rudras, twelve Adityas


Usually, however, this is never interpreted as the actual Rudra Gana of Surabhi. It is really the Marut Gana:

“The ten vital energies in the body (Dasame puruse prana) ;and the Atman make eleven (atma-ekadashah). These are the Rudras.”

or that is how these heavenly devas are usually explained, but it should probably be Surabhi's devas.


As the next example of mixup:

Rudra also means ‘Father of the Maruts’ (ā te pitar marutāṃ – RV 2.33.1); and collectively “the Rudras” is used to mean ‘the sons of Rudra’ or the Maruts.

The collective form , the Rudra-s , had two aspects; the fierce , terrible aspects(ugra) ; and the gentle , benevolent aspects (sowmya)

That is what we mean by Rudra Krama. It is a "synonym", but, if pressed, we can define Marut Gana, and explain that "storms" are not at sea, but, disordered pranic states. The two goups should be split, as apparently in Saura Purana:

The gods are the Ādityas, the Rudras, the Vasus and the Maruts.

Rudra or Mahadeva did not directly beget the Rudras with Surabhi...he had done some progeny-creation early in Swayambhu Manvantara or the Prasuti kosha and just made Rudra-devoted Rudra clones and was told to stop, and so he does not regularly issue children like most everyone else. And so this Surabhi thing is a minor reprieve. He was able to bless and inspire the situation to the extent he becomes considered the father. This is a legitimate relationship, biological relation is unnecessary, if you act the role, you become the or a parent.

Due to severe austerity and penance, Surabhi gave birth to these eleven Devas, Rudras who are the lords of the three worlds.


Ok. For some reason, in Buddhism we find texts that are supportive of Paramesvara, in a genre that begins with the overthrow of Mahadeva or Mahesvara who is commonly called a "criminal". And so if we look comparatively at "Shiva synonyms" that took place around the same time period, I think that may be the crime. Just quoting from someone raised in the culture:


However, each tradition, each text has its own set of eleven Rudras, according to its priorities. Their names and attributes differ from one text to another. There is thus, virtually, a plethora of Rudras.

Vishnudharmottara, a text dated around 5-6th century, too states that the images of the Rudras should be made as in the form of Mahesvara (Part Three; Ch 72; verses 1-8).It gives elaborate description of how Mahadeva or Mahesvara should be depicted.

It appears, you too may have to select your team of the Rudras Eleven from across the spectrum of Rudras in each category, according to your preferences. Or you may select a particular text and follow its tradition of depiction.


That is the conclusion of a thorough analysis--not a single suggestion.

As the instance in Bhrihadaranyaka Upanishad:

The ten senses and the mind make eleven. These are the Rudras.

While living also, if we don’t abide by their laws, these 11 entities make us cry for violating their laws. Hence these are called as Rudra.


If we try what Wiki has for the Rudras in the Heaven of Thirty-three:

Eleven Rudras, consisting of:

Five abstractions – Ānanda "bliss", Vijñāna "knowledge", Manas "thought", Prāṇa "breath" or "life", Vāc "speech",

Five names of Śiva – Īśāna "revealing grace", Tatpuruṣa "concealing grace", Aghora "dissolution/rejuvenation/Bhairava", Vāmadeva "preserving aspect", Sadyojāta "born at once"

Ātmā "self"

In this Heaven, Amaravati was built by Visvakarma for Indra as an audience chamber for the residents of Svarga; hence the significance of Amaravati Stupa for Buddha teaching tantra. But they may have picked a very particular version of the wrong set.


If it is the Surabhi Rudras who belong in Indra Heaven, this is how they are on Vedicfeed:

These 11 Rudras, meant for the protection of gods, were skilled in combat and warfare. They decimated the rakshasa and re-enthroned Indra as the rightful King of the Gods and the city of Amrawati Puri ever since they were permanently positioned in the city to protect it from such rakshasas and aid the gods in their fight against the evil and darkness.


Kapali
Pingal
Bheem
Virupaksha
Vilohit
Shastra
Ajapaad
Ahirbudhnya
Shambhu
Chand
Bhav


In Matsya Puran, the Rudras were the children of Kashyap and Surabhi, like Shiva Puran. However, different names for the Rudras have been used. The 11 Rudras as per this text are Nirriti, Shambhu, Aparajita, Mrigavyadha, Kapardi, Dahana, Khara, Ahirabradhya, Kapali, Pingala, and Senani.


To show a handful of examples:


The Matsya Purana notes that Surabhi – the mother of all cows and the "cow of plenty" – was the consort of Brahma and their union produced the eleven Rudras. Here they are named Nirriti, Shambhu, Aparajita Mrigavyadha, Kapardi, Dahana, Khara, Ahirabradhya, Kapali, Pingala and Senani – the foremost.

The Matsya Purana mentions the ferocious eleven Rudras – named Kapali, Pingala, Bhima, Virupaksa, Vilohita, Ajesha, Shasana, Shasta, Shambhu, Chanda and Dhruva – aiding God Vishnu in his fight against the demons.

In one instance in the epic Mahabharata, the Rudras are eleven in number and are named Mrgavadha, Sarpa, Nirriti, Ajaikapad, Ahi Budhnya, Pinakin, Dahana, Ishvara, Kapalin, Sthanu and Bhaga.

The eleven groups of hundred are named: Ajaikapad, Ahi Budhnya, Pinakin, Rta, Pitrrupa, Tryamabaka, Maheshvara, Vrsakapi, Sambhu, Havana and Ishvara.


One can also identify Surabhi Rudras in Brahma Purana.



Here is one response that becomes aware of this:

In outer world the Eleven Rudras are the Eleven sons of Goddess Surabhi who were all the manifestation of Shiva. In our inner world, the Eleven Rudras are the - Ten Pranas and one mind.

in Mahabharata:


They were Mrigavayadha, Sarpa, Niriti of great fame: Ajaikapat, Ahivradhna, and Pinaki, the oppressor of foes; Dahana and Iswara, and Kapali of great splendour; and Sthanu, and the illustrious Bharga. These are called the eleven Rudras”.

These Rudras are the children of Surabhi cow (called as prishni in Vedas) begotten by the boons of Bhagavan Rudra (Shiva).


We can sort out that there are Eleven Rudras of an inner kind--Eleven Surabhi Rudras who are outer protectors--Eight Rudras related to Bhairava who are neither of these--and a Marut Gana which is often called Rudras. It would not really be that hard for these to have distinguishing names.


So Buddhist Heruka or Vajrapani confronted what I would think was a group of Eight, not the Marut Gana or "other" Rudras or necessarily all "synonyms" of Shiva or Parameswara.

Not Bhairavas, but Eight Crying Rudras are in Nilalohita II.10 about Mahadeva at the beginning of the Kalpa:


The body Mahat of the eighth name is remembered as Candramas (Moon). Its wife is Rohiṇī. Her son is remembered as Budha.

“Your eighth name that had been mentioned by me is Mahādeva. Let the moon be the physical body of that eighth name of yours”. On this being mentioned, the mind of the lord that had been conceiving and contemplating entered the Candramasa (Moon). Therefore, the moon, is Mahādeva. Hence, this great lord is considered to be the Moon.

62. On the new moon day a Brāhmaṇa should not cut trees, bushes or medicinal herbs. Soma (Moon) is remembered as Mahādeva and his Ātman (soul) is the group of medicinal herbs.

63-65. Mahādeva does not slay him who always remains thus on the Parvan days (new moon, full moon etc.) and who understands that lord thus.

The part of the body that conceives and contemplates and which is stationed in the subjects is the mental body, the moon—it is stationed in the living beings. Being born again and again he becomes fresh and fresh. It is being drunk at the proper time by the Devas along with the Pitṛs. The moon of aquatic nature with nectar within him is remembered as Mahādeva.



These Eight Rudras are almost but not exactly the Vasus. Out of order:

“O lord, at the outset, your name has been mentioned by me as Rudra. The sun shall be the first body unto thy first name”.


And they are called Abodes of the Names of Nilohita, one of them being Initiated Brahman (Ugra).


They symbolize the five Mahā-bhūtas (gross elements), the two principle vital airs Prāṇa (Sun) and Apāna (Moon) and the principle of the Mind.

They emit a few planets as sons. As examples, Sarva--Earth and Vikesi have Angaraka--Mars. However then Pasupati--Agni and Svaha have Skanda. But those are supposed to be synonyms of the same thing. Except they are Son of Earth and Peacock Rider from the Pleiades. The first is the male representation of inner heat, the peacock is the vehicle of Amitabha, and Skanda is Manjushri. So this is describing something inherently separated, noumenally joinable.

Some of the Abodes are not exactly planets, and this gives us the sense of perhaps being in the Prasuti sheath several planes above us:

The Ether (Ākāśa) is called the body Bhīma, his sixth name. The quarters are remembered as its wives and Svarga (heaven) is remembered as its son.


Svarga is the third plane, and originally the location of Indra Heaven. I cannot recall if it is only in Buddhist Prajnaparamita philosophy where we have move him up a plane. Here, it is not talking about physical ether, but the Akashic or Mental plane, which has a son that once corresponded to the highest world.

As for the Mind:

56. On this being uttered, the Caitanya (consciousness, alertness) that was in his body entered the initiated Brāhmaṇa who performs the Soma sacrifice.

57. For that duration, the initiated Brāhmaṇa becomes lord Ugra.



Although the moon was also called mind, mental, Mahat. This says the performer of Soma temporarily becomes Ugra, which is really the Caitanya of Nilohita. I am not sure the Puranas have a lot of places that announce one to have actually become the divinity. In this case I believe the unity is named Samadhi. This, at least, is what I personally have always meant by "Shiva" is this "unity with Ugra", only. It also sounds quite similar to why Samadhi is in Karma Family. This "Priest" is here as if it were a Vasu such as Dhruva or Star.


The Sun is Prana--heat and the Moon is cooling, and:

The gaseous body of Īśāna is the vital breath of all living beings.


Solar Prana is Heat, Wind is Vital Prana, and:

The body of Paśupati cooks and digests the food consumed and the beverages drunk, in the bellies of the living beings. That which cooks is called Agni (fire i.e. Gastric fire).



As found in other sources:


The conception of Śiva’s aṣṭamūrti seems to be based on an interesting passage in the Kauṣitakī-brāhmaṇa (6.1ff).

Śatapatha-brāhmaṇa (6.1.3.1-18) gives the following version of the eight forms of Śiva (aṣṭamūrti): “when the life-principle became manifest it had no name, so it cried. It is from this concept in ŚB that Bd.P. (and other Purāṇas such as Vā.P., LP) developed the Aṣṭa-mūrti conception of Rudra.

Śivapurāṇa 1.19.

A separate hymn is addressed to these eight forms of Śiva in the Saurapurāṇa (2.43-50).

Note: A precise account with necessary details of these eight forms [viz., aṣṭamūrti] of Śiva is found in the Viṣṇupurāṇa 1.8 and the Mārkaṇḍeyapurāṇa (P 52).




If we look at the Brahmanda carefully, it says it is about Nilalohita and Eight Rudras. This is not exactly a name of Shiva, since it is far older according to the definition:


...the divinity was known to the early Aryans as Nīla-lohita "the Red One with blue (throat)" (referring to the legend found in the Purāṇas of later times and unquestionably mentioned in Rgveda, (X. 130, vii), of Śiva having drunk up the world poison and preserved it in his throat which became marked with blue for this).


It probably isn't "throat" like in Nilakantha. The footnote in the Purana suggests:

This name signifies identification of Rudra and Fire.

To which the definition says:

Nīlalohita (नीललोहित) refers to the colour “blue and red” and is used to describe Rudra.—In the Vedas, Rudra is said to be “blue and red” (nīlalohita). His throat is blue. His belly is black and his back red —colours that probably relate to those of the sky at sunset.

The sources where this identity is preserved:

1a) Nīlalohita (नीललोहित).—(Śiva, Mahādeva);1

1) Brahmāṇḍa-purāṇa III. 72. 109; 73. 1; Vāyu-purāṇa 21. 4; 31. 32 and 59.

Nīlalohita (नीललोहित) is another name for Īśāna: protector deity of the north-eastern cremation ground.—The northeast (aiśānī) is associated with Śiva, hence Īśāna also appears as Nīlalohita (Guhyasamayasādhanamālā 34)

and in 108 Names of Shiva:

Nilalohita: One whose half body is male and half female –Ardhanareeshwara

Another close look compared to Brahmanas and Vedas shows the Asta Murti arising in a few formats.


Shiva as an adjective was originally about auspiciousness and beneficience, whereas Rudra is fiery or violent. This peaceful and lunar Shiva is what is blended to Amoghasiddhi, why perhaps he is called the Moon in one instance and Shiva the next. Rudra is Wrathful Amoghasiddhi (Paramasva). The related Candi and Raudri, i. e. Samadhi, therefor relate to a similar meaning of siva as quiescence. But then Peaceful Karma Family does match the more standard original sense of Shiva, because their Wisdom which is called Krtyanusthana could be doing or performing "something", but, without further clarification:

Kṛtya (कृत्य).—lit. that which should be done

Anuṣṭhāna (अनुष्ठान) refers to “(the practice of) spiritual discipline”


That is very common in compounds and so forth, but since we already know there is "a" Ktrya which is terribly destructive:

Kṛtyā (कृत्या) refers to “(the treatment of) supernatural power produced from mantras”

The couple recite the following verse while looking at the red and blue evening sky in order to propitiate the goddess Kṛtyā:—“Her hue is blue and red: the fiend (kṛtyā) who clingeth close is driven off.

Note: The Vedic goddess Kṛtyā, the embodiment of sorcery, is said to be this colour [i.e., dark (red and blue) like ‘blue collyrium’]


As a subject, Krtya might enchant healing herbs, but as an entity, is generally malevolent:

a kind of evil spirit (named either with or without the addition of yakṣa, mānuṣa, asura, etc.), [Buddhist literature]

And there is some "soiled bridal clothing" that gets covered with fluids, i. e. red and blue spots, that is supposed to be disposed from the household, or it will conjure a malevolent Krtya.

The nilalohita garment was also used during the marriage in vedic period to ward off the _ krtya (RV X.85.28). Agni is said to be nilalohita garments (RV X.895.28 or III.7.3). This refers to the Vratyas, who did sacrifices led by Budha--Saumya without permission from Varuna. Mahadeva is the Mahavratya, and they wear red and black, like nila lohita. They are not known in Rg Veda, but show up in Atharva Veda. They do not seem to be a Rudra Gana, they are humans, but not considered real Aryan Brahmans since they lack the sacred thread, and are therefor considered pagans.


Rudra is said to have made a Krtya who stuffed Bhargava in her vagina and vanished in the sky. That is from the story of Asura Jalandhara:


Jalandhara was the grandson of the sea of Milk.

Jālandhara, the son of the Ocean and the Ganges

The local tradition of the Kangra Valley, which is a part of this area, identifies Jālandhara’s mouth with the goddess Jvālāmukhī

Shiva defeated him (Padma Purāṇa, Chapters 3 to 5). For further details see under Māyāśiva. [Sumbha became Maya Jalandhara when Jalandhara became Mayashiva to tempt Sati]

in the thirty seventh chapter of the Saurapurāṇa.—

“Jalandhara was fierce-looking demon-like Yama (kṛtānta-saṃkāśa)...


One thing that is clear in Brahmanda Purana is that it is Nilalohita plus eight other Names, not included in them.

Nīlalohita requested Brahmā—“Indicate the abodes of these names”.

Most likely, "Abode" is Sthana, synonymous to Desa and Ksetra. The designated abodes sun, water, etc., are then called "bodies".

He was given a name or Nama, a mental creation, which lacked any connection to a Rupa. These abodes are lying around available and uninhabited, and the aspects of Nilalohita are cast into them, such as:

When this was uttered his splendour became an eye, which illuminates, then it entered the sun.

Considering all that came out from that, we may notice the same tale in Vishnu Purana has removed Nilalohita and says Rudra. It has as a footnote:

In the Vaiṣṇava Purāṇas, however, we have only one original form, to which the name of Nīlalohita, the blue and red or purple complexioned is assigned.

The pattern of creation was set previously in Chapter Eight:


There cropped up Kṣetrajñas (Individual souls) of the Kṣetra (Cosmic body) of this intelligent person i.e. Brahmā).

While meditating thus, an effort arising out of his Tamas constituent was involved. So, at the outset the Asuras were born as his sons from Prajāpati’s loins.

5. Asu is considered by scholars as the vital breath. Therefore, those who were born of it were Asuras. He discarded that physical body whereby the Asuras had been created.

6-7a. That physical body discarded by him immediately became Night.



After creating the Asuras, he adopted another body that was unmanifest, with the Sattva element predominant within it. Then he engaged himself with it. As the lord joined himself to it, he felt very happy. Thereafter from his shining face the Devatās (gods and goddesses) were born...Devas were created by means of the shining divine body with pleasure and sportiveness through the face (mouth).

He adopted another body that was solely constituted. by the Sattva element and engaged himself therein. The lord meditated upon those sons considering them like father (of fatherly nature). The Pitṛs were born of that body in the juncture of night and day; therefore those Pitṛs are Devas.

That body which the lord created mentally was solely constituted by the Rajas element...Since, he meditated (before creation) (Mananāt), they are called Manuṣyas (Men)...That body discarded by him became the moonlight immediately. Hence, the subjects become delighted when the moonlight comes out.

Since these four spread and shine there, the water is called Ambhas. The root √bhā is used in the sense of spreading and shining.

28b-29a. After creating the waters, the lord created the Devas, the Dānavas, the human beings, the Pitṛs and various kinds of other subjects.


Using a mix of Rajas and Tamas...The root √rakṣ is considered to have the meaning “to protect.” The root √“kṣi” has the meaning “to destroy”. Since they protected (Rakṣaṇāt) they were called Rākṣasas. Since they destroyed (Kṣapaṇāt), they are called Yakṣas. Those hairs that dropped off from the head moved and crawled up. They are considered Vyāla, because they were (originally) Bālas or Vālas (hairs). Since they dropped off (Hīmtvāt) they are remembered Ahis (serpents)...The state of being Sarpas is due to the fact that they crawled. Their abode of repose is in the earth under the sun, the moon and the clouds.

The terrible fiery foetus born of his (Brahmā’s) anger entered in the form of poison in those serpents who were born along with them.

39. After creating the serpents out of his anger a set of terrible beings whose diet was flesh and who were furious by nature were created. They had the tawny colour.

Those were Bhutas and Pisacas, and then Gandharvas from singing.

It is well-known that after creating the great cloud well-known as Parjanya, the holy lord created lightning, thunderclouds and the red-coloured rainbows.

Even when created again and again, these beings adopted only the Karmans that had been committed before.

The end of a Kalpa does not destroy the Karma of an individual.




In the Chapter Nine:

By means of his mind, the lord then created five Kartṛs (doers or agents of creation). viz.: Rudra. Dharma, Manas (mind), Ruci and Ākṛti.

Thus these protectors of the subjects are the causes of the sustenance of the subjects.

From a half of the body of the lord who was delighted within himself thus, a woman conducive to great welfare, and charming and fascinating to all living beings, came out.

15. That beautiful looking lady was indeed created from Prakṛti by him (as he was) desirous (of progeny) and was called Śatarūpā.


He re-creates Dharma, Ruci, Rudra, and Nine Sages:

Sage Bhṛgu was born of the heart of the lord whose source of origin was water. Brahmā created Dakṣa from his vital breath and Marīci from his eyes. He created Rudra (also known as) Nīlalohita in the form of Abhimāna (prestige, honour).

Abhiman might mean that, or, "arrogance", but it tends to mean "mentally identified with/having the ego of". Such as a "mind-born son of Brahma" is Agni Abhimanin; which again is suggestive that the gross form or elemental fire was not "created", there was a mental impulse that entered it.

It goes on through animals, etc., and hits the point where mental subjects do not really multiply. Then it comes to those who do:

They were the divine lady named Ākūti and auspicious lady Prasūti.


And after these generations, Rudra contemplates Sati and does Raudri Srsti or creation of Blue and Red Rudras and is ordered to stop. In this chapter, he already has the aliases, Mahadeva, etc., but because he has to stop multiplying:

He is remembered by learned man as Sthāṇu because it was said by him thus—“I am standing by”...

So the next chapter Ten, which deals with the infant Nilohita, would appear to belong chronologically at the top of Chapter Nine, before creative activity is continued through Tamas. When this happens, it is suggestive of Tamasa Manvantara, since Rudra looks "created again". I am not sure that is correct, but, the titles make it look like this is obviously backwards:

Chapter 9 - The progeny of Rudra: birth of Bhṛgu and others
Chapter 10 - Magnificence of God Śiva: birth of Nīlalohita

Sometimes weird things happen, but, this is realistic enough that he is born before having his own children. Shiva birth would be before progeny of Rudra, because they use all these synonyms. But the actual subject text says Nilalohita has offspring such as Mahadeva.

Here it would be more explanatory if titled something like:

II.9 Prasuti and the Kartrs, Creation of Blue and Red Rudras

When feminized, Kartr is Kartri--Knife, and some say etymologically, Heruka is Ruci. The Five Kartrs are:

Rudra. Dharma, Manas (mind), Ruci and Ākṛti

Ruci--one of the five created to make one's taste intensified. His son was the incarnation of Viṣṇu. He was named Yajña. The daughter who was incarnation of Mahālakṣmī was named Dakṣiṇā.

Heruka is a form of Akshobhya, and if he is Buddhist Vishnu, maybe he is like Ruci.

Ruci (रुचि) refers to:—Taste; ruci develops after one has acquired steadiness in bhajana. At this stage, with the awakening of actual taste, one’s attraction to spiritual matters, such as hearing and chanting, exceeds one’s attraction to any type of material activity; this is the fifth stage in the development of the creeper of devotion.

Ruci is remembered as one who inculcates Śraddhā

In II.9, Kartrs do not multiply; due to confusion, Brahma becomes Tamas, he becomes aware of it, "pushes it out", and it becomes Violence and Grief, and he is delighted apparently because something happened. This inspires him to become half Satarupa, and this time creation starts with Nine Sages, Dharma, Ruci, and Rudra--Nilohita. They do not multiply, there is another flash of Tamas, and he re-starts again as Viraja having union with Satarupa. This makes Prasuti and other progeny, and multiplication begins, such as Yajna and Daksina. Sati is given to Rudra, who then makes a lot of copies and is commanded to cease. The Sages and related others are still produced the same way as before. And so Chapter Ten links back to this point, with Nilohita born in the following manner:

In the beginning of the Kalpa, the lord contemplated on a son on a par with himself.

He immediately manifests and calls Brahma by his actual name:

Grandfather

Chapter Eleven, Creation "of" Sages should be Creation *by* Sages. Chapter Twelve is Agni, which is happening at approximately the same time as Nilohita: a mind-born son of Brahma is the deity "identifying itself with fire" (Agni Abhimanin). In context, there would possibly reason to name this Pasupati. And then the next chapter is Time, which is somewhat of a compound of the previous deities. Agni is the Year:


He exists through his seven times seven bodies (known as Maruts) that render help to others.


but the Year is really a five year cycle of:

(1) Kratu-Agni, (2) The Sun-god, (3) Soma or the Moon-god with Pitṛs, (4) The Wind-god and (5) Rudra

Nīlalohita is the soul of all


Time seems to complete the esoterism in this part of the Purana, as then there are many chapters of descendants, mountains, and so on.


Prior to the chapters on Prasuti, Nilohita, Sages, Agni, and Time, things are quite tenuous. From Void, so to speak, in Chapter Seven, starts as:


At that time, in that vast expanse of water, Brahmā became wind and moved about (in that ocean) enveloped in darkness when the mobile and the immobile beings had (already) perished (and became non-existent).

3-4a. He flooded the surface of the earth all round with water. When the elements had been stationed in Satya (truth) along with their divisions, he moved about like the glowworm during the nights in the rainy season.


Elements seem to be spontaneously present, yet they seem to be re-created because they are not yet "abodes":


He created the abodes and (the dwellers therein) who take pride in the abodes separately by laying claims to them.

After creating the souls for the abodes, he created the period of Yugas...

Souls and abodes must be above/beyond time.

"Laying claims to abodes" is about the same meaning as Abhiman.




Before this, the very beginning, Section I is creation, but, more from the overall vocabulary and blueprint angle, instead of personal names and anecdotes. For instance:


the excellent creation of living beings, that begins with Mahat (the great First Principle) and ends with Viśeṣa

The Mahat wherein there is a predominance of Sattva Guṇa displays Sattva guṇa alone.

Virtue etc. and the elements are the causes of the principles of the worlds...He considers all living beings through Saṅkhyāyatanaraśmis (?) (the rays that are the abode of the number?)

Know that the Prākṛta (the creation of Prakṛti) is the Vivarta (transformation) (of Brahman).The Kṣetrajña is on a par with Brahman. Indeed it is called the first embodied being and Purāpuruṣa (the ancient person).


After enumerating a few elements:


...Vāyu is externally surrounded by the Nabhas (Ether) ten times as big as itself. In the same manner the entire ether is externally surrounded by Bhūtādi (the Ahaṃkāra or ego).

34. The Bhūtādi is enveloped by Mahat and the Mahat is enveloped by Pradhāna. The cosmic egg is thus enveloped by the seven Āvaraṇas (coverings) pertaining to the Prakṛti...They stand ready at the time of creation...The Avyakta (the unmaṃfest one) is called Kṣetra and Brahman is called Kṣetrajñia...This is the first creation and it is unpremeditated. It appeared just like the lightning.


When awakening, Brahma is Brahma, Vishnu, and Shiva, but otherwise:

Brahmā named Nārāyaṇa lay asleep in the waters.

Nārāyaṇa is greater than and beyond the Avyakta (the unmanifest one)


Comparatively, in Lakshmi tantra, Lakshmi Narayana refers to the same state. The somewhat ambiguous area of these first few chapters is like her two finest sheaths, and then Prasuti--Chapter Nine is third. The Puranic writing is rather difficult, since it is not in linear order, has subjects that do not match the chapter titles, and perpetually shuffles four or five common synonyms for Shiva, occassionally swtiching to another. The tantra is more clearly written, but, is only partially about the same thing, because for example it adds the topic of Vyuha, which is not so much "an additional thing to worship", but is more like a short path to transcendentalism, what consciousness is liberated into, more than what it is liberated from.

In the vernacular, Lakshmi Narayan can probably be interpreted as "consort of Vishnu", but is really just a modification of Chapter One, saying there is still divine existence even without worlds and without mental processes. The Purana then spends over thirty chapters about creation that does not even involve the world, but is mental. The creation of our world only takes about ten.

In Buddhism, we have The Inquiry of Narayan Sutra, which results in a War Chariot goddess reminiscent of the battle in Lalita Mahatmya, which is packaged with Brahmanda Purana. It has a total of two or three manuscripts, and placement in Dharani Samgraha. So of course there are no songs or artwork for it. The principal devi is Mahamaya.

Mahāmāyā (महामाया):—[=mahā-māyā] [from mahā-māya > mahā > mah] f. gr° deceit or illusion, the divine power of ill° (which makes the universe appear as if really existing and renders it cognizable by the senses), the illusory nature of worldly objects personified and identified with Durgā, [Purāṇa]


Then there actually is a female Mahamaya tantra, but it is called Vajradaka.


Vajradaka Chapter One begins about the same as Dakini Jala, but Chapter Forty-two is a self-commentary that Dakini Jala lacks.

Chapter One describes Four Face Vajrasattva. but not the dakinicakra or mandala. It does give the correspondences; elements are the Stithas of Nayikas. The Abodes of Nayikas. Roughly the same as what Nilalohita just did.

Mahamaya is Akasa, and equivalent to Sparsha Vajra and Matsarya.


virajam rajam ity uktam mahamayasvabhavata

akashadhatur tu uktas mahamaya svagamini


Without further instruction, I would take the mandala just to be the deities as given here. They are just different states of the ones used with Prajnaparamita! Also, if they have Four Faces, I would think resembles Mahamaya Tantra, which, other than this feature, is not complex (also Vajra Tara and Tara Tantra). Because Mahamaya's name did not really seem to fit the customary central goddess of tantra or was unusual, the translator references

SrIcakrasamvarodaya of Dhimat

to say that Mahamaya's position is more commonly held by

PadmaraSmi. (generally, Padmajalini or -jvalini)


I was not aware that was common; "Padma" here is not Lotus Family, it is the form of the rays, net, or blaze, depending on which end of the name is taken. This one is used in Vajravilasini and is Dharmadhatu Vajra. As for now it is plain we are dealing with Akasha Dhatu. So I would strongly suggest that Vajradaka intends you to be tantricly-educated enough to have some experience of Voidness symbolized by Sunya or Akash and then it is going to train the Nadis to invest you with Sukha or Bliss. As if it were trying to give you the Fruit of Dakini Jala, which is gnosticly awakened, a Buddhist Sixth Principle which then operates Dharmadhatu Vajra in other more advanced areas of tantra.

Vajravilasini uses the same geometry as Prajnaparamita, this central goddess appears to be summoned last. Because Vajradaka did not specifically say how/which retinue Vajrasattva had, Sugiki attached what he thought was comparable.


The appendix is Bhavavajra's Vajrasattva mandala. He has eight Buddhas and Prajnas, a second ring of eight beginning with Drag mo = Raudri ending with Khandro ma = Vajradakini and then Dorje Sa, a third circle of eight starting with Geg mo =Lasya, and a fourth ring of gatekeepers and corner goddesses. The central female or Mahamaya was not mentioned.


If there is an issue why the name Mahamaya did not seem to fit when the entire subject is the addition of feminine deities, I am not sure this one is a complete correspondence. Obviously it does sound similar to why there is a weird ring of Vajraraudris. It is possible that after this layout, the original text described a sadhana that invoked the missing one.

Vajradaka is instructive because on the one hand, it works with Dakini Jala names, such as Padmanarttesvara = Amitabha. It is a Wrathful format but centered on Vajrasattva in Akshobhya's area (at the start, there are others). You are dealing mainly with five principles and very similar to Mahatattva philosophy. So this sounds very similar to setting up a yoga practice that manifests a sixth principle, instead of merely a statement of definition or existence of it. The principle is the dakinijalasamvara of further tantras. Vajradaka is almost just a continuation of Dakini Jala, with just a bit of the known Chakrasamvara.

It fits the pattern--I am not sure what to call it--which is basically Five Senses or Pancha Ayatana--with a central female cast last. Prajnaparamita, Maitri's Panchakara, and Vajravilasini are the same. As far as I know, this is also due to incorporating the Ten Winds of Ayurveda.

Samputa Tantra is later than Vajradaka yet continues the Gauris from Dakini Jala.

Gauris are these senses screaming wide open, heightened intensity, mentally riveted. They live in the Cemeteries.

Parnasabari is a leader of them. It is not apparent how so by origin, but, her teaching position is that most diseases are mental in origin. And this is the principle that underlies good or bad experiences with Gauris. This is virulently immanent. Parnasabari is famous; and she is above or behind Janguli.

Janguli--Matangi is a Gauri in the original mantras, but, drops out in practice. Buddha already knew Matangi from Surangama Sutra; he finds Janguli in the Himalayas, which is totally out of place as far as I am aware, which sounds new, like a Buddhist Janguli or a converted Matangi. She is a Tapasi who has nothing to do with union. She is an Akshobhya goddess who more or less enfolds the Vairocana tantra system, which is generally a precursor for Akshobhya tantras such as Vajradaka. Vairocana grants the Fivefold Form which is then immediately applied in Vajradaka Chapter One. It says the everyday senses are divine because they are not different from the Buddhas. So Janguli would seem to serve as a reasonable dharani-based prequel.


Like most other Vidyas, what Janguli is doing it really just by way of explaining her fully. It is parallel to Sarvadurgati Parishodhana, which has the unusual characteristic of conveying Seven Paramitas. And it has a Naga sadhana. Janguli on her part takes command of Nagas and weaponizes them as attackers of Hindrances. Simultaneously, Nagas are the "pivot" in the Cemeteries, since they bring beneficial Rain. Janguli is about "Crossing Water", which is i. e. Water Poison, naga disease, delusion of water, and so on. Water is just slightly past Earth or Body. Transitional between external and the Pure Fire of Tapas.

Janguli shares a Serpent Hood with Amoghasiddhi, Nagarjuna, and Nagaraja. So she personally is wearing several of the Nagas who are in Cemeteries, who are interested in processing Bodhicitta into Paramitas, which are related in Sarvadurgati Praishodhana. In fact, if it has a suggestion for a seventh Buddha Family, it may be Naga Kula. It is easy to find many systems of Six Paramitas. However just by these occult associations, Janguli is not just rousing the Cemeteries at the same time, but is reactive to them. I am not sure she is "in" them visually. She and Parnasabari perhaps have Gauri forms but they are really Yidams.

[shaberon]

Asta Smasana or Eight Cemeteries


Asta Vijnana of Yogacara

Cemetery Yoga



The tenth century is not quite "late" in terms of commentaries and some individual sadhanas, but it is The End of tantric systems. Heruka Yoga as expressed in by-now familiar terms concatenates in Dakarnava Tantra. The same inner teaching, with an entirely different system of practice, was Kalachakra. As a means of showing how it is attached to the same inner teaching, there is a text which was composed prior to Vimalaprabha, the main Kalachakra commentary. It is written by Vajrapani, and, one of the teachings he carries over is Six Limb Yoga. By this point it has been in the systems of Tara and Heruka for centuries, which are based in Vajrapani. The material that I post that could potentially be yoga practice material for others is intended to manifest the Six Limbs with the caveat that, without supreme and intimate familiarity, a normal person is capable of maybe two limbs. Sort of like without training, you can only hold your breath for two minutes.


Vajrapani appears to be commenting Paramadya Tantra into Samvarodaya and Six Limb Yoga as the basis for Kalachakra.


In Laghutantratilaka, Vajrapani says:


The external circle of the Eight great cremation grounds, has its inner equivalent in the nadis that are positioned in eight of the nine traditional doors of the human body.

The sadhaka has to suppress the vital breath (prananirodha) in these channels.

The suppression (kumbhaka [Vase breathing]) of the vital breath is designed to direct all the pràna, which flows in bodily channels, into the avadhuti. Furthermore, this prànanirodha is mirrored outwardly in a halting of the vehicles (adhara) of the yoginis (represented by human corpses) in their former pithas.

This text has been relatively unused in Tibet. Like Dakini Jala or Tara Tantra. It is more a matter of supply than of blame. But Sanskrit has ten times the vocabulary of Tibetan. This puts us in the position of knowing the linguistics a little differently.

"Vehicles" is not an adequate translation for Adhara, which is mostly similar to adhisthana (platform, suppoert), and has esoterically more of a meaning of Nadis such as Kurma Nadi between the heart and throat. So it is another way of describing Sacred Sites, although a smaller number, sixteen. More like "Abodes" than "Vehicles" (Vahni).

According to Kṛṣṇavallabhācārya’s Kiraṇa on Patañjali’s Yogasūtras 3.7-8, “The tortoise-nerve (kūrmanāḍī) is said to be the same as the Nāḍīcakra in the heart.” Kūrmanāḍī (कूर्मनाडी).—When saṃyama (the simultaneous workings of dhāraṇa, dhyāna and samādhi) is directed on the Kūrmanāḍī (canal of the tortoise), it ensures the immobilisation (sthairya) of thought. Kurma Nadi is located in the upper chest below the throat. “By Samyama on the Kurma Nadi comes the steadiness of the body”. By Samyama on it you achieve Asana-Jaya (victory over Asana).

Since Adhara is also "foundation or support", and the Buddhist deity Kurma Padi is "tortoise feet" Vajravairocani, whereby "feet" are also normally a "basis or support" in esoterism; then what all this means is that cessation has become effortless. With the Crescent and Triangle, we are trying to bind, reverse, balance, and dissipate the winds and carry the heat through this nerve. When that really happens, then, for one, the distractions and kleshas will become rather self-exterminating; it will carry its own force to render the mind and body still. That is how we can tell a Yellow or Orange Vajrayogini is not a samaya being, but is a product of Khandaroha--Varuni's work, emerges from her, is a part of this physiological change. The Cemeteries slow down or halt pranic outflows, which starts building the heated mass. The actual Door Sealing is a different rite, such as that of Jnana Dakini.


So if I have a bond to Tara and I ask her about the subject of Smasana or Cemeteries, we can find a fairly basic one as mentioned in the previous post.

Sukla Tara

105.

tathaiva śūnyatābhāvanānantaraṃ rephapariṇatasūryasthahuṃbhava-
viśvavajrapariṇatavajraprākārādi vicintya tanmadhye paṃkārajapadmopari
akārajacandre sitahuṃkārajaṃ sabījotpalaṃ paśyet /
tatsphuraṇādipūrvakaṃ tatpariṇatāṃ bhagavatīṃ sitatārāṃ
trimukhāṃ ṣaḍbhujāṃ pītanīladakṣiṇetarmukhīṃ pratimukhaṃ
trinetrāṃ varadākṣasūtraśaradharadakṣiṇatrikarāṃ utpalapadmacāpadharavāmapāṇitrayāṃ
ardhaparyaṅkaniṣaṇṇāṃ candrāsanacandraprabhāṃ
jaṭāmukuṭasthitāmoghasiddhiṃ pañcamuṇḍavibhūṣitamastakāṃ ardhacandrakṛtaśekharāṃ
nānālaṅkāradharāṃ dviraṣṭavarīākṛtim aṣṭaśmaśānam
adhiyasthitāṃ hṛccandrasthitanijabījam ātmānaṃ vicintya
mantraṃ japet oṃ acale animittavare huṃ huṃ phaṭ phaṭ
svāhā / poṣadhena pūjāpuraḥsaraṃ catuḥsadhyāyāṃ māsaikaṃ
japataḥ śāntikādi bhavatīti /

// ṣaḍbhujaśuklatārāsādhanam //




In voidness, Red Ra becomes a sun disk marked by Hum, which becomes a Crossed Vajra which becomes the vast Vajra Fence. In the middle, Pam becomes a Lotus marked by Ah which emanates a Moon Disk bearing a Blue Lotus with White Hum inside. From this, Bhagavati Sita Tara arises.

Sitatara is three-faced, and six-armed. Her right face is yellow and the left blue in colour, and the faces are endowed with three eyes each. Her three right hands show the Varada mudra, the rosary and the arrow, and the three left carry the Utpala, the lotus [padma] and the bow. She sits in the Ardhaparyanka attitude, sits on and shines like the moon, and bears the effigy of Amoghasiddhi on her crown of matted hair. Her head is embellished by five severed heads and the crescent moon. She is decked in many ornaments, is twice eight years old, and resides in the midst of the eight cremation grounds.

At her heart is a moon disk with seed syllable [Hum]; mutter her mantra.

oṃ acale animittavare huṃ huṃ phaṭ phaṭ svāhā


Image








We have Cemeteries as described by Samvarodaya Tantra with Vajrapani's Sarvadurgati Parishodhana Nagas and Dakini Jala Gauris. There is extensive commentary for all the details and there are a couple of comparative versions of those. I have not included the environmental symbols here.

Mainly we want to learn the Regional Guardian, the Naga, and the Gauri. It is a charnel ground environment, meaning nothing is buried. There are bodies in various states of decay, animals, fires, and of course it may be haunted. The idea is to be brutally honest and let it be as horrid as possible until someday it becomes Empty. Physiologically, the Yaksha in the Tree then allows that stream of wind into the central channel. So this first one is like killing the Demon of Form. Indra is there and so is Ananta, whose syllable is Phuh. If you look at the Nagas, their mantras are all varieties of Phat, the weapon syllable. So you could spawn him from the seed. Then:



A samadhi is taken to spawn each gauri from her syllable which is in her place (gate or corner).



So for example, you raise Gauri near the eastern gate, and then she has a mantra you can Mutter. Her subject is Vision so you contemplate that, knowing that if she really worked, you would have the Divine Eye. Without that being the case, this is a method of purification. It is not "a" sadhana or tantra, it is educational towards the sources from which it is drawn. It can, however, be practiced; the object of practice is one's current consciousness, the Grounds which are the transformational basis of the Path. Because this is not "a" single practice, some of the positions of water and fire and so forth look off. But the elements are more significant to the Prajnas. We do not perceive those on their plane; Gauris are Bhautika or Visaya, compounded elements, or Objects. We are trying to slow down the sensory apparatus to scratch the surface. From an unpublished paper:


The main object of the theory of asta-Vijnana in Yogacara is to discover the different layers of consciousness, whereas the intention of the theory of Sva-samvedana is to illuminate the source constitution of consciousness.

Or from Luminous Mind:

In Tibetan Buddhism, the luminous mind Tibetan: gsal ba is often equated with the Yogacara concept of svasamvedana reflexive awareness.

And so rather than directly addressing Elements, this has more to do with the sixth principle, the highest in Mahayana. In Yogacara, it has been subtly sliced into the seventh and eighth. This does lead to various schools, some of whom postulate a ninth. What we have said is that the eighth, Alaya, is not really part of the human being, so that you are or contain only seven of these. The Alaya is a matter of relationship and function; and in Shentong, when this is adjusted properly, it is said that the Alaya is effectively removed. You actually transform the Bases or Grounds that you are made of.

So if the sixth principle is rather exoteric, and then a tantra like Vajradaka enhances the awareness of it on its own plane, so to speak, then the Cemeteries are somewhat exoterically teaching the seventh principle, and, by their own admission, attempting to access it. In our commentaries, it is not "additional or different" to the sixth in the way you would say the ear is different from the eye, but it is more subtle and found through prana. The sixth principle is like relieving the fifth from form and turning it to mentation and awareness of mind; and then the seventh is more a question of what sort of mentation.


A description of the Cemeteries and their inhabitants:





Caṇḍogra (east), Gruesome






Yellow Shakra--Indra with vajra and skullcup on a white elephant

Phuh: White Ananta [blue lotus stalk]


From the samadhi where one finds happiness in enjoyment:

Gam

Visual Form Object

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.


Om Ah Gam Vajra Gauri Hum Phat Svaha

In the eastern charnel ground are found a shirisha tree; an elephant-faced yaksha;
Indra as the guardian of the direction; a multicolored
cloud formation called Roaring; a square four-colored Mount Meru made of precious
substances; and a white stupa called Vajra.

In the eastern charnel ground is a nagkesar tree called Naga Tree. At its foot is the guardian of the east called Indra. He is yellow, holds a vajra and skull-cup, and rides a white elephant. At the top of the tree there is a white regional guardian called Elephant Face. Below there is a lake called Water of Compassion in which there is a white naga...In the sky above, there is a cloud called Making Sounds. The precious mountain called Mount Meru has a fire called Wisdom Fire blazing at its base, and a white stupa called Stupa of Enlightenment at its peak.

The Ground is Eye Consciousness.

Purified, it resembles an image in a mirror.






Subhīṣaṇa (south), Terrifying






Blue Yama with staff and skullcup on a buffalo

Phah: Red Takshaka [blue lotus and tortoise]


From the samadhi associated with manthana:

Cam

Sound Object

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 discus with the middle finger of her right, pressing down on the three worlds with her left foot.


Om Ah Cam Vajra Cauri Hum Svaha

In the southern charnel ground are found a mango tree; a buffalo-faced yaksha;
Yama as the guardian of the direction; a multicolored
cloud formation called Whirling; the white Malaya Mountain; and a black stupa
called Vajra.

In the southern charnel ground Endowed with Skeletons is a mango tree called Tsuta. At its foot is the guardian of the south called Yama. He is blue, holds a staff and skull-cup, and rides on a buffalo. At the top of the tree there is a black regional guardian called Buffalo Face. In the lake below there is a...naga...and in the sky above there is a cloud called Moving. The yellow mountain called Malaya has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Ear Consciousness.

Purified, it resembles a dream.




Karaṅkala or Jvālākula (west), Blazing with [the Sound] Ur Ur






White Varuna with serpent noose and skullcup on a makara

Phum: Blue Karakota [white lotus stalk]


In the samadhi associated with vajra and lotus:

Pram

Smell Object

Pramoha (W) is black and four-armed, with the face of Visnu's boar-incarnation. 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.

Om Ah Pram Vajra Pramoha Hum Phat


In the western charnel ground are found an ashoka tree; a crocodile-faced yaksha;
Varuna as the guardian of the direction; a multicolored cloud
formation called Terrifying; the white Kailasha Mountain; and a white stupa called
Vajra of Passion.

In the western charnel ground is a banana tree called Kangkela. At its foot is the guardian of the west called Water Deity, or Varuna in Sanskrit. He is white with a hood of seven snakes. He holds a snake-rope and skull-cup and rides on a crocodile. At the top of the tree there is a red regional guardian called Crocodile Face. In the lake below there is a blue naga called Karakota, and in the sky above there is a cloud called Wrathful. The white mountain called Kailash has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Nose Consciousness.

Purified, it resembles a magical creation.




Gahvara (north), Dense Wild Thicket






Yaksha on a horse, or Yellow Vaisravana with mongoose and skullcup

Phah: White Kulika [banner]


In the samadhi which destroys the great affliction, ignorance:

Vam

Taste Object

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.

Om Ah Vam Vajra Vetali Hum Phat


In the northern charnel ground are found an ashvatta tree; a human-faced yaksha;
Kubera as a guardian of the direction; a multicolored cloud
formation called Sounding Hur Hur; the green Mandarava Mountain; and a white
stupa called Vajra Formation.

In the northern charnel ground is a bodhi tree called Ashuta. At its foot is the guardian of the north called Vaishravana. He is yellow, holds a mongoose and skull-cup, and rides on the back of a man. At the top of the tree there is a yellow regional guardian called Human Face. In the lake below there is a naga...and in the sky above there is a cloud called Making Loud Sounds. The green mountain called Mandara has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Tongue Consciousness.

Purified, it resembles an optical illusion.




Aṭṭaṭṭahāsa (north-east), Wildly Laughing






White Ishana (Ishvara) with trident and skullcup on a bull

Phih: Red Vasuki [snake]


In perhaps the same samadhi:

Pam

Earth Element (solidity)

Pukkasi 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).


Om Ah Pam Vajra Pukkasi Hum

In the northeastern charnel ground are found a nyagrodha tree; an ox-headed yaksha;
the white Ishana as the guardian of the direction;
a multicolored cloud formation called Fierce; the black Powerful Mountain; and a
white stupa called Vajra Mind.

In the north-eastern charnel ground is a walnut tree called Nadota. At its foot is the guardian of the north-east called Ishvara. He is white, holds a trident and skull-cup, and rides a bull. At the top of the tree there is a white regional guardian called Bull Face. In the lake below there is a...naga...and in the sky above there is a cloud called Unmoving. The black mountain called Great Power has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Touch Consciousness.

Purified, it resembles a city of gandharvas.





Lakṣmīvana (south-east), Marvelous Forest





Red Agni with rosary, long-necked vase, and skullcup on a goat

Pheh: Yellow "Carrying a Conch Shell" (Sankhapala)



In the samadhi associated with manthana:

Lam

Water Element (cohesion)

Candali 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.


Om Ah Lam Vajra Candali Hum



In the southeastern charnel ground are found a karanjaka tree; a goat-headed yaksha;
the red Agnideva as the guardian of the direction; a multicolored
cloud formation called Thick; the yellow Gandamadana Mountain; and a
red stupa called Vajra Body.

In the south-eastern charnel ground is a karaya tree called Karanza. At its foot is the guardian of the south-east called Fire Deity, or Agni in Sanskrit. He is red, holds a mala, a long-necked vase, and a skull-cup, and rides on a goat. At the top of the tree there is a red regional guardian called Goat Face. In the lake below there is a yellow naga called Carrying a Conch-shell, and in the sky above there is a cloud called Completely Full. The yellow mountain called Fragrant Incense has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Mano Vijnana or awareness of mental environment.

Purified, it resembles an echo.





Ghorāndhakāra (south-west), Interminably Gloomy






Blue Kardava or Rakshasa with sword and skullcup on a zombie

Phaih: Yellow Padma


Apparently continuing the samadhi associated with manthana:

Gham

Fire Element (heat)


Ghasmari is black and in her left hand she holds a blazing sacrificial fire-vessel (agnikunda-) and with her right grasps a sword.



She is krsna (blue).


Om Ah Gham Vajra Ghasmari Hum Phat

In the southwestern charnel ground are found a lataparkati tree; a bear-headed
yaksha; the black Nairiti as the guardian of the direction;
a multicolored cloud formation called Filling; the mountain called Gold; and the
white stupa called Precious Vajra.

In the south-western charnel ground is a bataki tree called Padre-yaga. At its foot is the guardian of the south-west called Possessing a Rosary of Human Heads, or Kardava in Sanskrit. He is naked, blue in colour, holds a sword and skull-cup, and rides on a zombie. At the top of the tree there is a black regional guardian called Zombie Face. In the lake below there is a white naga called Possessing Lineage, and in the sky above there is a cloud called Descending. The white mountain called Possessing Snow has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Klista Manas or self awareness.

Purified, it resembles a reflection on water.




Kilakilārava (north-west), Resounding with the Sound Kili Kili






Smoky Vayu with banner and skullcup on a deer

Phauh: Blue Varuna [white lotus stalk]


Apparently continuing the samadhi associated with manthana:

Ham

Air Element (motion)

Herukasamnibha, 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. Again, black is usually just krsna or blue.


Om Ah Ham Vajra Herukasamnibha Hum

In the northwestern charnel ground are found an arjuna tree; a deer-headed yaksha;
the azure Vayudeva as the guardian of the direction; a
multicolored cloud formation called Raining; the blue Shri Parvata Mountain; and
the green stupa called Vajra of the Doctrine.

In the north-western charnel ground is an arjuna tree called Parthipa. At its foot is the guardian of the north-west called Wind Deity, or Vayuni in Sanskrit. He is smoke-coloured, holds a yellow banner and skull-cup, and rides on a deer. At the top of the tree is a green regional guardian called Deer Face. In the lake below there is a...naga...and in the sky above there is a cloud called Wrathful. The blue mountain called Mountain of Glory has a fire of wisdom blazing at its base, and a white stupa on its peak.

The Ground is Alaya Vijnana.

Purified, it resembles space.




Then thank Sukla Tara and return her into void or a similar manner of conclusion.

[shaberon]

Mantranusarini and Janguli, Mahattari and Vipula




System of Time


I saw something when trying to sort out the Sanskrit lunar terms and month. This is what we mean by a "Candelabra style" view of something. When there are seven, this is the symbol of Dissolving the Three Voids into the Parasunya and Emerging in Reverse Order:








The Parasunya is Empty of Other; as to its own nature, must be Purna or Full.

Purnimasa is the Full Moon.

Amavasya is no or New Moon, is for Sraddha for Pitrs.

Those are the names for "moment of", or the day of the observance.

Neither of those mean "day one" of the month, in fact the opposite:

Two systems of month-reckoning were prevalent in different parts of India at different times: the purnimanta system - in which the month ends with a full moon; and the amasanta system - in which the month ends on the darkest night of the month, a 'no moon' night.


Having added "-anta" or "end", the name of the "system" Amasanta is saying New Moon End, not beginning. Day one of the month begins with the first sliver of crescent.


The would-be eighth lunar image is Ama "with", the Sun, while it is "invisible".


Correspondingly, there is a different Candelabra based on the Sun, which is already the system of Time around most of the world. What we measure as "time" is out of the astrology drawn from this yoga system. The "angelology" systems of the mid-east are a translation of it. They work the exact same way. As "Number", this is everywhere.



When Hora Devis meet Planets, there is a Week.

It is a "solar system model". The Sun is in the center. On one arm of the candelabra are the long-period planets in increasing order. On the other side are the short-period planets in increasing order. The week then begins with the Sun, and you lay the arms in line like this:

Sun [Mars Jupiter Saturn] [Moon Mercury Venus]


Starting with the Sun, you then assign planetary rulers to the Hora devis. Mars rules the second hour, and as you go round and keep repeating, the seven planets are not divisible into twenty-four hours of the day. So the equivalent to twenty-fifth hour or next day is as if this short list was shifted four places. So if you just repeat the phrase as needed, it essentially goes Sun...1, 2, 3, Moon...1, 2, 3, Mars...1, 2, 3, Mercury...1, 2, 3, Jupiter...1, 2, 3, Venus...1, 2, 3, Saturn. Those are the days of the week in Latin, Germanic, and Oriental cultures.

If you ever wondered why the days of the week are in some weird order, that is why. If not, that is still why. If you write out the whole weekly cycle of 184 hours, that is still how it works. If you do the real Chakrasamvara, you will emanate something similar but much more intricate with keen attention continuously for sixty-two days. Like a living astrolabe. That is why the "genre" is not the same as "the tantra".

As to why the "arms" have been arranged like that, I do not remember or I do not know.





Under the difficulty that the names Vajradakini and Vajrayogini may not identify their family, in trying to form a view of Vajra Family in practice, I had found an extracted text which listed a group of dharanis such as:


parabrahmasvarUpiNI vajrayoginI

vajrayoginI mantrAnusArinI

ugratArA vajrayogiNI

vajrayoginIguhyeCvarI nairAtmAghyeCvarI

vajrayoginyA CrImatmantrANusAraNI


The link no longer works. To update, Nepal has two major sources of scripture catalogs. They include all the Hindu texts. I believe it may have come from Asa Saphu 1,000 page xls spreadsheet, not much more searchable than a copied typewriter of a hundred years ago, where one can find:

vajrayoginI parameCvara dhAraNI 2499

vajrayoginI mantrAnusArinI nama dharani 2501


As a greatly-improved method, Nepal National Archives of over 100,000 articles is sensitive to diacriticals, so searching just for "vajrayogin" grabs the related titles.

8 Vajrayoginῑmantrānusāriṇῑnāmadhāraṇῑ

50 Vajrayoginῑparamārthamantrānusāriṇῑstotra


There is the Rahasya which is our main commentary. It has no Vajrayogini personal names that are not in Vajra Family. It has many un-named ones, she even has a Thousand Names, and a few other interesting titles:



68 Aṣṭamātṛkābhairavacaṇḍikāvajrayoginῑvidhāna

70 Gaganakṣepavajrayoginῑ(nāma)dhāraṇῑ


Elsewhere, this even suggests that Varnani is a dharani goddess:

Sarvabuddhaḍākinῑhṛdayamantranāmadhāraṇῑ


The collection is microfilms of manuscripts, you could access it, and then what. So although we are limited to what has been made available, one can see that Mantranusarani of the Pancha Raksha is prepared to act as Vajrayogini in Vajra Family, which itself must be close to Parameswara and Parabrahm. It includes the tantric strand of Nairatma and Guhyeshvari. So there is a dharani system oriented towards the Vajra Family view of the original Twenty-one Taras, which twists itself into these powers which we have more elaborately shown are within tantric Varuni. So the national list of over 100,000 things is unable to introduce us to anything that we do not already have a lead on. It probably does have more mantras. But for example I could already say with respect to 68, they have applied the name Ugra Candi to Eighteen Arm Mahalakshmi of Devi Bhagavata, and her ring of Matrikas ends on Lion-mounted Mahalakshmi.

One has to be careful as uses of "Candi" also lapse over into "synonyms"; as soon as we look at the Pithas, there must be at least three ways. The set in 68 is the local Nepalese Cemetery goddesses. This has its significance, but, is not the blueprint Indian tantras were based from.



Ugra Tara is identical to Ekajati, who is the salutory goddess in Twenty-one Taras in Nepal. "Ugra" looks less and less as "ugly", more as "fierce, energetic", but moreover, it is the gnostic experience of Nilalohita. If we said of Shiva or Rudra, it would only obfuscate things. Exactly why this name and perhaps knowledge were blocked out of society, I am not sure.

Likewise, although Mahadeva is "generally accepted as" Shiva, it means that aspect of Nilalohita that entered the Moon.

Chances are that Buddha would have been more parlescent in the pre-Shiva version.


Buddhist Mahacinakrama Tara was copied back out into the Saivite system of Abhinavagupta. It would be more apropos if they had copied something new and unknown to them, like Usnisavijaya. This is like using it as an authority to explain their own material on Ugra Tara. That suggests belief that the Buddhists had validly accessed a Hindu original. Except in our sadhanas, Ugra Tara is not Mahacina Krama. Related or associated, of course, but not the same.


All yoga systems find something important from "arising from the sound of Hum". It happens with Lalita Mahatmya's shaktis, it is in Tara's Song, and you will never be able to mantrify anything very much until you invest this syllable with some power. That is what a deity such as Mahacinakrama Tara is for. If someone tried to say, this practice, on its own, represents the highest form of Buddhist sadhana, they would be short by the majority of everything. If you said, this is similar to a minor invocative form that cultivates Bhava towards something that transfers to the real Buddhist Ugra Tara, Ekajati, who then makes up for the deficit, then that would be accurate and you would copy the whole Ekajati script. Ekajati is really an Amnaya, a lineage of Tara, having Mahacina Krama as its outer edge or cusp.


In Sadhanamala, there are Hum-arising basic Taras in the forms

White Hum: Sita and Sukla

Blue Hum: Mahacinakrama Tara



and to this day there is a Karma Tara sadhana done in conjunction with Flask Worship and/or Homa. It begins with Mahattari Tara as a Samaya being who holds a Fiery Blue Lotus. The symbol is also a rare mudra done by Sita Tara, and, within this practice. Mahattari can be thought of as the Matron of a harem, in the business of deciding who joins, and also as Mahatattva. And so you are talking to her one-one-one, and then she is like allright, I will be back with company.


Tara is summoned a second time, which, in the manual, uses Varada Tara. Comparatively, Vistara "is" a Varada Tara having additional commentary, which is part of Vipula. Mahasri Tara has the same retinue as Varada Tara: Asoka Marici, Mayuri, Ekajati, Janguli. Mayuri and Janguli are again Cauri bearers. But Mahasri is mantricly enhanced by Dhanada. So there is a slight reason perhaps she is the "on her plane" aspect. Karma Tara is malleable; with the understanding of minor mantra and appearance changing, she is basically the same in all of these. If you ask her nicely to appear as Dhanada because visualization, mandalas, and their associated meanings are difficult, she will help. If you do this at the level of faith and understanding that what we are describing as Mahasri is pretty much the first thing you will find if you are able to peer through the fog of death consciousness, you have grasped what Six Yogas is doing.

The commentary says you self-generate as all of them; i. e. you cast the retinue, and the different members each take the center. So not only is Janguli "visible" somewhere in the dharanis, she is intended as a practice in league with the others. This part is not exactly a "mandala", since the members are in a row as IWS shows. So you have Dark Green Janguli beside Ekajati. If it *was* a mandala, if like most others it was a variant on an Akshobhya mandala, that means it is "actually" centered on Vajra Family Janguli, and Tara swapped spots with her. Therefor Ekajati would be constrained to appear in Lotus Family. She does this in retinues. There are no changes to Janguli. This perhaps explains Janguli in the big Ekajati thangka from the first post. She is in this Varada Tara retinue, which is like "Tara and Vajrayogini", whereas Ekajati, herself, is closer to saying this *is* Vajrayogini, at least to an extent, since what she does is emanate the Red one. Although we can show a very old existence of Ekajati, and a kind of special awareness of her in Nepal, she is not considered "a dharani goddess" in the sense like Mayuri or Vasudhara or others that one is encouraged to pick up and try. In Vajra Family, there is Mantranusarini and Janguli.


There is a Nyasa, and then Tara is summoned the third, final time. You Hook her with Heart Rays and Mutter her Rosary.


Her main personal address is:

om aryatarayai vajradhatumandale svaha. om dharmadhatave namah svaha


which is like saying Chapter Two of STTS, or a dharani version of Vajradhatu Mandala, since normally Arya Tara is not the keeper of this. Then there is an aspect of Dharmadhatu Vajra, or, perhaps, Dharmadhatvishvari, as the sixth principle.

It is called Tara with Five Buddhas and Forty Taras; Tara from Akanistha. The first line therefor means Tara is populating a Vajradhatu mandala with forty-five members of her own, and that Dharma Dhatu is not recognized as among these. In Mahayana they frequently speak of "the Dharmadhatu" and of course "it" is a major subject of its own in Nepal. So I think it is exempt from the named divinities, unless it reflects to Arya Tara.

In her retinue, there is an unusual break between the Buddhas and Prajnas:

prasannatarayai svaha. suklatarayai svaha. dhanadatarayai svaha.




We would call those last two "difficult" goddesses, representing the Cemeteries and the Mandala, along with a "nearly impossible" goddess, Prasanna, who could either be said to be stacked on top of a vast symbolism and dharani practice, or, is virtually equivalent to the Samputa Tantra. The rest of the retinue is either formulaic, or inscrutable. That makes the attention fall on the ones from the same area of Sadhanamala as the others that are featured here. It encourages use of Varada or Mahasri's four, who are more like dharanis, and then two who could be called difficult techniques. Because one of the dharanis is Mayuri, with her ancient appearance of Ekajati, it all seems strongly related from considerably prior to whenever it may have been taken to Nepal. The youngest one of them is Marici. And so we could probably say that an organized, coherent "system of Tara" is about the same age as Marici, ca. year 5-600 and the situation of Ellora. The parts of the system's configuration, such as the Yogacara principles, individual dharanis, and potential idea of how to make mandala rings definitely existed prior to this. In Hinduism, we can see the mandalic operation of fivefold form in Vinasikha Tantra which was still a coveted secret after 700. The doctrine itself cannot be too shocking. So it is probably in consideration of the mantras that the practice is restricted.

I can kind of see it. At one point when I was quite young and mainly familiar with western magic, upon encountering the system with elemental mudras and eastern philosophy, I remember a mental barrier. Space isn't an element, obviously not. I thought it was frivolous that anyone would even say something like that. If you doubt or deny the center of the mandala, then of course nothing works. So I was unimpressed at first. I cannot really recall how this was "softened" so that I opened up. So I suppose if Vinasikha is pretty clear about this, it would have been considered quite valuable.

Marici Dharani is at least as old as Amoghavajra (700s):

The sun cannot see her, but she can see the sun.


That sounds a bit like "before dawn", such as:


Naga or Ahi Budhnya is considered the invisible or dark Agni, i. e. similar to the darkness before dawn or male version of it.


The Sanskrit version of Marici's dharani has more mantras than the Tibetan including:

oṃ caṇḍa paramacaṇḍa svāhā

As to why that is not feminized with a long a or an -i, I have no idea. It may again be synonymous to Shiva, since there is no such thing as Paramacanda. At the same time canda is synonymous to moon. Otherwise it is wrath. It could be all three.

Here is a dated Beijing with Marici dharani in (502-557) LIANG DYNASTY making it among the first. Here, she is named outside a batch of over eight thousand dharanis. When compared to the mammoth institutions of Ellora and Taxila of this time, I would tend to guess that awareness of Marici still pre-dates her oldest surviving manuscript. If a significant point of these goddesses is that they are a dharani, that means they are a spoken spell--not even a statue or wooden post. Anything physical of them is only a derivative. The only thing that is different is the Usnisa class or that of Buddhakapala, which were not even spoken, but are telepathic.

It is a bit like saying Usnisavijaya permanently dwells in her mandala, to which, her mantras are the tip of the iceberg. Tara is always in her special Forest, but, the conjuring of her through Mahattari is significantly more powerful than only using her mantra.



The ending of Akanistha Tara appears to then fuse the first and likely highest Taras:


aryataramahadevimahattaritarayai namo namah/
prasannataradevim Sri to to tare namastu to//


It ends with Makuta or Crown worship.



This is really an exercise about Jnana Sattva, the Wisdom Being from Akanistha. White Janguli takes this for granted. For dharani purposes, mainly Janguli's green form is concerned. The Tara Vajradhatu mandala is to pull Tara into ordinary consciousness or the waking brain. If you eventually get through the Dissolutions, then you go to her Forest of Turquoise Leaves that is in the Akanistha. Same goddess and principle, but is in the Fourth State of Raja Yoga. If instead of stopping, one proceeds to Flask Worship, that is how we would try to do it. Because this is how it is done, that is why it is actually a "system of Tara and Vajrayogini".

Sukla and Dhanada are moderately difficult, like Janguli. As a dharani, Janguli is also in Namasangiti. Associating her with Paramitas is nothing new. She is not in the Cemeteries, but, she has Nagas. She is a close match to the Naga method of Sarvadurgati Parishodhana. She uses the Serpent Hood Mudra which is the same as Sarvadurgati Parishodana in its Naga rite based on Vajradhara.

Sadhanamala has three members who have gotten the title Yogesvari: Durgottarini, Janguli, and Jvalamukhi. In the whole book, two goddesses have a plume, Janguli and Jvalamukhi, implying this power is a close tangent of theirs. It would be expected as a token of Mayuri, about the same as how Janguli might become a serpent in someone's hand or hair.

Durgottarini is a Vira Tara; Green Janguli is a weapon, a Phat mantra. Similar to the Nagas. Green Janguli is her Heart or Hrdaya Kalpa and she is mantrified as Vajrakaya. In her Sutra, she is Parvati and Kumari. In the dharani itself she is Kashmir. However her Six Arm Yellow form is a Sabara Kumari and Matangi. This amounts to differentiating them as northern and southern forms.


Yogesvari has a Pitha in Skanda Purana I.83 past Cakratirtha:

the shrine of the great goddess Yogeśvarī stationed to the east thereof (Daityasūdana).

The deity bestows the fruit in the form of Yogic powers.

Thy constellation is Kṛttikā; the preceptor is Lord Maheśvara.


There is a Sword which is carried around the area and then:


...it should be taken to Yogeśvarī. The Mantra is uttered and the Khaḍga is dedicated to the deity.

47. It should be splashed with collyrium (application) and smeared with sandal-paste. A garland made of Bilva leaves is offered to the goddess.

It is mentioned in Devi Bhagavata VII.38 in what I suppose we could call a long Pitha list of places where Lakshmi lives or visited, ending with Sthula (Body) and then Parameśvarī Hrillekhā dwells in the heart lotuses of the Jñanins. Interestingly she is right before Nila Sarasvati of China. The site is a Crater Lake in Maharastha where Devi is called Kamalaja.


This Yogesvari is the slayer of Mahish Asura. In Skanda Purana, the story is virtually ignored because this part is a travel guide. Viraja Devi is the very simplest form of this. It seems as Viraja has more the aspect of Mahalakshmi to whom her neighbor Vimala has the ambiguity of:

Ambika, sister of Rudra or as Rudra’s spouse: invoked as Vairocani, Durgi, Katyayani and Kanyakumari


similar to:

Subhadra, sister of Jagganath or spouse



So far, probably the most elegant way to organize it is to let all the "synonyms" fall into place on Mahalakshmi's explanation of the Vyuha, and when one of these is "Rudra", it is probably Nilalohita who "inhabits abodes" such as Ugra--Initiate and Mahadeva--Moon and so on. Rudra is not even in the Vyuha.



Because Janguli carries a Trident, she may be the most basic one to represent this item as well.

In 1432, Ganapati and Matangi spontaneously took over Jagannath and Subhadra. That is a shift because it is usually Bhuvaneshvari in that role, with Ugra Tara = Balabhadra and Kali = Jagganath. That appears to be due to an instance of copying out the Mahacina Krama to the point where they say of Ugra Tara:

She is called Eka Jata because She provides kaivalya or unity with the Absolute.

The Jagannath cult did not copy the "Mahavidya system", as with Ugra Tara in Assam; they barely recognize Matangi and the other Mahavidyas.



Janguli is in MMK:

These and other vidyārājñīs, headed by Parṇaśavarī, Jāṅgulī, and Mānasī,
whose accomplishment is limitless, who have the nature of the space of the
sphere of phenomena, and whose mental states arise due to the presence of
the bodhisattva conduct and marvels —the dūtas and dūtīs, ceṭas and ceṭīs,
kiṃkaras and kiṃkarīs, yakṣas and yakṣiṇīs, rākṣasas and rākṣasīs, and
piśācas and piśācīs who have taken the samaya vows of the Lotus family
and perform the mantra practice —also dwelt in the gods’ realm of the Pure
Abode inhabited by pure beings. Staying there, they remained wholly
preoccupied with acts of worship of Lord Śākyamuni.

Limitless Accomplishment and nature of the sky of Dharmadhatu (the Source of Phenomena):

ananta nirhāra dharma dhātu gagana svabhāvaiḥ



The whole MMK basically ends as an Androgyne:

The bodhisattva who / Tames all beings / Known
as Candra // Is also called Tārā, / The very powerful vidyārājñī.

Tara is Jnana Candra from a prior cosmos; this would tend to sound like the correspondence Amoghasiddhi--Moon (Candra).


Green Janguli ends with a remark about the unlikely syllable Huh.

"Huh" would seem to have no particular use, however, the Aryan Kriyakalagunottara uses it in Nilakantha's Meghamala Vidya or Garland of Clouds, whose purpose is to free one from all poisons. If bitten, it then invokes "Lady whose form is nectar" to determine which caste of serpent caused the wound, and responds with various seed-syllables. This is from a study of Garuda Tantras. Huh in a Sabari mantra, Meghamala Vidya.

It is a linguistic seed, in that huh plus ah, becoming ha, makes the sound of laughter (Tathagata Family). Same root as Hah or Hoh. If it appears anywhere other than Garland of Clouds, I am not sure.

Part of White Janguli's explanation is almost exactly this. It is multiple Kramas or methods involving Garuda:

anena krameṇa garuḍeśvaratvaṃ
kavitvaṃ sarvaśāstraviśāradatvaṃ


It sounds related to Vajra Family, since, in Buddhism, Vajrapani is the main custodian of Garuda.


Mahamayuri says in a list of Yakshas:

The great sage Vajrapani though lives in Rajagrha
Often dwells in Mount Grdhrakuta.
The deity Garuda resides in the Vipula mountain.

Vaisravana who resides in the city Alakavati,
Located along the jewelled stairway of the Buddha’s descent,


That was said centuries before we can show a written testimony of Vajrapani Abhiseka or Garuda Tantra.

The same mountain is also an abode of Devi in the context that Vipula and Vindhyavasini are some of the few who are only named for their places. The rare use of the name Vipula is with Bhu Devi as Vipula and Vasudhara, a consort to Venkateswara, who is in debt to Kubera--Vaisravana.


In the sadhanas, we find a type of Vipula practice starting with the Pancha Raksa, who are a basic Quintessence. The following definition may make Vipula look small, but, as one can see, it is the nucleus of unfolding the Four Directions of the Quintessence into two greater levels:


Vipula (विपुल) refers to the “that which is vast”, according to Mahāprajñāpāramitāśāstra (chapter XXXII-XXXIV).—Accordingly, “This mind is single, but as its magnitude differs, there are three attributive adjectives used. This mind is vast (vipula) when it includes one single region, extended when it goes far and high, immense when it includes the nadir and the other nine regions. Furthermore, if it is low, maitrī is called vast (vipula); middling, it is called extended; higher, it is called immense. Furthermore, if it bears upon the beings of the four main directions (diś), maitrī is called vast (vipula); if it bears upon the beings of the four intermediate directions, it is said to be extended; if it bears upon the beings of the zenith and the nadir, It is said to be immense. Furthermore, if it destroys the minds of enmity (vairacitta), maitrī is called vast (vipula); if it destroys the minds of rivalry, it is called extended; if it destroys the minds of malice it is called immense. [...]”.


The Sutra is not using a graphic deity such as Vajrakila or Mahabala to chase us away from the Nadir. Instead, it is describing the vertical axis as something that is completely out of reach of the ordinary person. So the Pancha Raksa is a household book. The implication is that Bodhicitta has not gotten behind our eyes yet, let alone manifest as Vipula i. e. having a stable Ground and radiating or becoming vast in a basic manner. "Bearing upon the beings of the intermediate directions" means that although they might appear to be physically included in an arc that sweeps out four directions, we may not be aware they are involved, the beings might be more subtle, and so there is a second circle made, which brings this to our attention.


Vipula physically is one of Five Peaks in Bihar. This section of the Sutra is about Maitri Mudita Karuna Upeksa. Its technical terms for the degrees "expanded" and "immense" are:

mahadgata

apramāṇa



Vipula is fixed on Evil Durgati. Expanded is fixed on the noble abodes (āvāsa) of gods and men, and Immense is fixed on those who have found the Path.


With the first, roughly, if we say Janguli is like a spontaneous fusion of the whole Sarvadurgati Parishodhana, the second is a tantric practice related to the subtle body, and the third is manifested for example by Vajradaka holding the Seven Jewels of Enlightenment--yes, that sounds like how everything is structured.


"Vipula siddhi" is a combination of Lakshmi Vasudhara having an intricate relationship to the Yaksha Kingdom, and of Pratisara and the Pancha Raksa, who produce a Buddhist variety of the power described in Vinasikha Tantra.

Garuda must be involved, and it is famous enough as the enemy of Nagas. And Janguli primarily manifests this as a Weapon against Poison, but, moreover, those creatures are the twin aspects of Time. The serpents are ultimately Ananta, who is Infinite Time, whereas the Garuda is Finite Time, a time cycle or manifestation. Therefor the Garuda can infinitely kill nagas, who are always able to replenish themself. The finite time cycle is a waste if it is not fulfilling a mission; and in one sense, this appears to be Garuda lifting Varahi out of the netherworld and flying into the sunlight. The equivalent to Garuda Yoga in Buddhism is mostly in the hands of Vajrapani. Janguli is acting as an assistant in some regard.

Attacking "Hindrances" or Nivarana:


Sensory desire (kāmacchanda)

Ill-will (vyāpāda; also spelled byāpāda)

Sloth-and-torpor (thīna-middha)

Restlessness-and-worry (uddhacca-kukkucca)

Doubt (vicikiccha)

Defilements or Klesha refers to these five, plus the sins of the Skandhas such as Lust and Anger. They sound similar, but, the Hindrances distract and prevent an ordinary mind from entering Dhyana. For example you start falling asleep. These are obvious and with some adjustment, you can eventually shake it off. This is not to say that at a deeper level, there is not a similar Skandha which in the esoteric sense is defective. One could perhaps enter the stage of Dhyana for quite some time without even knowing much about this.







Janguli is also involved with the explanatory hypostasis from the rare manuscript. It is a relic in Boston where the researchers actually started asking the right questions about what does this mean as a flow of symbolism. Can a hypostasis be shown by two pictures facing each other in the middle of a book, and so forth. Their independent opinion is that deities are supposed to be fused and/or transformed:


MSD4 has Prajnaparamita's retinue at first as Green Janguli with snake, Green Mayuri with plume, then adds Durgottarini, Khadira, and Vajra Tara. Then, it is a higher-ranking scheme with Krsna Yamari, etc., that has Eight Arm Vajra Tara, and puts Eight Arm Marici and Two Arm Sita in place of Janguli and Mayuri. This shows Sita as a potential consort to Vajrasattva, and already showed Durgottarini and Khadira with Krsna Yamari and Vighnantaka. The un-coupled Hevajra and Samvara would be suggested with Eight Arm Marici and Vajra Tara. Prajnaparamita would mate with Enlightenment. This male Enlightenment deity is "ambiguous", "possibly Manjuvajra", but is given the name Maravijaya. This is a Yellow Six Arm form in a "shrine", with a sword, bow and arrow, flower, with the principal arms crossed in front of the chest. So Six Arm Vajrasattva-Manjuvajra is thought to be the one under this one, who would merge with Two Arm Sita. This is about all that can be said for a damaged manuscript that uses Ratnagiri Taras.

Receptacle of the Sacred also explained MSD3 as Prajnaparamita becoming Vajradhatvishvari by appropriating Six Arm Arch Marici and radiating light. This Arch form is rare and not among most known sadhanas. The authors believe this to be the Esoteric form of Prajnaparamita, i. e. generated by Prabhasvara. Quoting Sarvarahasyatantra, they say the goddess residing in the heart, causing the yoga of the yogin, the Mother of All Buddhas, is called Vajradhatvishvari (Queen of the Diamond Realm).



The Nagas of Sarvadurgati Parishodhana would be very similar to using Peaceful Bodhisattva Offering Goddesses in Guru Yoga. You use them to present offerings to naga mandala. It starts centered on Mahoraga sheltering Vajrapani, but the intense application of the nagas is to Vajradhara. The All Nagas' syllable is the same as that of Karkota. In some tantras, it appears that Varuna is called Maha Padma; keeping in mind that the following are the same Nagas as in the Cemetery article recently posted:




Then you summon the Hooded Ones by means of a hood and by reciting JAH HüM VAM HOH together with the syllable PHUM. Leading them all into (the mandala), whether they are kings or warriors, he should consecrate them by reciting the syllable PHUM, thus removing the impurity and the pain of the venom. All the Nagas are coerced by mere mentioning
of their names.

At that point they rejoice, do Anjali and say boons. The Naga Kings say:

Hum

Om Phuh, Om Phah, Om Phum, Om Phah, Om Phih, Om Pheh, Om Phaih, Om Phauh

He should recite the syllable PHUM one hundred thousand times meditating on the Lord Vajradhara with his head surrounded with snake hoods and garlanded with beautiful white rays. Having regard to the venom he meditates on the sacred mandala of the syllable PHUM surrounded by a garland of rays. He should envisage in it the syllable PHUM. Breathing out the syllable PHUM and summoning with his hand formed like a snake-noose, he should draw out all the venom located in the body, bones and flesh. Then he should perform all the rites: burning of the venom, antidote and the rest. He should remove it all just with his fist; how much more easily with the hood-gesture.

The text does not presume to be fully explanatory, it expects you to find out what "antidote and the rest" is, and it does not exactly say when you would coerce a naga by its name.

The accumulative total of Naga boons is described as bringing you beneficial rains and flooding an enemy. As we see with clouds at the cemetery, that pertains to the goal of this stage, or is the motion of the white drop from being heated. Nagas are described as "related to the clouds".


In the Cemeteries, they are in Lakes of Bodhicitta.


So there is quite a bit of background suggestion that Janguli has or is having Seven Paramitas as taught in Sarvadurgati Parishodhana, and is a type of mental or energetic barrier against having the full retinue with a vertical axis. "Expanded" in Prajnaparamita is quite a bit like "Vistara", which, on the male side, is handled by Khasarpana, who also seems to have something to do with Janguli.

In Dharani Samgraha, she is listed in a fairly corresponding way in the contents:

āryyatārānāmadhāraṇī ? yogāṁbara nāmadhāraṇī ? ugratārānāmadhāraṇī ? jāṅgulīhṛdayanāmadhāraṇī ? daśakroṭanāmadhāraṇī ? uṣṇīṣavakravarttīnāmadhāraṇī ? lokāgītastavaiḥ ? vajayogiṇī nāmadhāraṇī ? trailokyavījayonāmadhāraṇī ? vajapāṇimahārakṣā


She is after a short Ugra Tara, right before a standard Ten Wrathful Ones, corresponding to Hrdaya or evidently her green form. So Janguli is like a "last stop" before actualization of the Nadir point. It is a bit more difficult than a basic Quintessence, such as either Dhanada installing more components, or, the weird PR 206 doing something drastic to the set of five. It is a level of "Expansion", having parallel meaning to Abodes or Pithas of the tantras. Her dharani as given is a bit unusual in that it does not begin with Om, and she sounds a bit like a Vandhya Vasini using weapons in a Janguli fashion. Taken at the most basic level, this would be understandable; it refers to a barren or sterile woman. That would be a tantric anomaly such that, why am I unable to connect/impregnate the universal shakti with what is supposed to be my mind/male seed.


oṁ namo ratna trayāya| namaḥ samanta buddhānāṁmahā jārgulī hṛdaya nāma
tathāgatāyorhate samyūkkaṁ buddhāya|| tadyathā||

sarvva paramantra vandhaya surendra juvaṇavandhaya juvaṇavandhaya mahācṭakṣi vandhaya vandhaya iha vāsināṁdhāraya vāsināṁdhāraya yenake nacit bhayādikaṁ chedya chedya bhedya bhedya śiri śiri piri piri hūm hūm hūm phūṭ phūṭ phūṭ namastu te svāhā||

iti āryya jārgulī hṛdaya nāmadhāraṇī samāptaṁ||



One might say it is a Trident because it has Three Hums. The Trident implies that she knows she has a consort. Compared to most dharanis, vandhaya has taken the place of "bandhaya", i. e. bind or lock to such-and-such. But if the etymology of female sterility is accurate, in the face of wanting to create a "divine embryo", it appears she is facing off with the challenge of separation or failure at this.

This would appear symbolicly correct. We could say that the Vidya or realization of Janguli is her Yellow form--who attracts Vajrasrnkhala, that is, the Activity of Samadhi or the Sixth Yoga. When this happens, she does an unusual thing with Bhrkuti: places her in the south with a Gourd. Such a thing is perhaps referenced when Vandhya is combined with the name of a serpent--probably because it is a creeper--it becomes the Spiny Gourd which:

Vandhyākarkoṭakī is mentioned as having nineteen synonyms: Vandhyā, Devī, Vandhyākarkoṭakā, Nāgarāti, Nāgahantrī, Manojñā, Pathyā, Divyā, Putradātrī, Sukandā, Śrīkandā, Kandavallī, Īśvarī, Sugandhā, Sarpadamanī, Viṣakaṇṭakinī, Varā, Kumārī and Bhūtahantrī.


Juvana is perhaps not Sanskrit. Jivana is a Sanskrit word meaning “the rejuvenating effect of water”.

Her other title is something like Vasini Dhara, as if she is holding residents of the Abodes.

The only other places in the whole book where it looks like "vandhaya" is probably "bandhaya" is once apiece by Canda Maharoshana and Arya Tara. Janguli is a multiple.

Dharanis can only partially be tied to any definite meaning. This does not end in Phat but reveres her as having/being it. It is found in a place which is strongly suggestive of "predecessor of Sumbha".




Sarvadurgati Parishodhana shows the Nagas as appearing with Vajradhara. Of course, he "does not do very much". So he may set something up at the bare edge of perception; and the essence of a meditational deity is to say, Guru, please send Janguli to reveal this in all its details. In that instant, she gains the ability to replicate what he is doing, combined with the power of actually cultivating the Paramitas by acting as a weapon. She only has seven nagas attached to her; we said the eighth mind or Alaya is not really a part of us.


Noose is a basic item in the hands of any Gatekeeper, but, in terms of the sakti of it, it seems that what happens is that Janguli--Serpent + Aparajita--Noose = Sumbha--Serpent Noose. That so to speak is how you manifest the Nadir or Underworld on a dharani basis, compared to Vajrakilaya which does it, shall we say, on a highly committed basis (in terms of time).



Teahouse tells us something unusual:

There are also images of the goddess with two hands holding lotuses. Such images can be seen on Tibetan flags (lungta) surrounded of Sanskrit dharani of Ushnisha Sitatapatra written in Tibetan script. There Janguli rides a peacock whose feathers surrounded her aura.








The role of Mars as Subramanya, at his main Temple, is that he is merged with Vasuki [Naga King]... poojas offered to Vasuki or Nagaraja are nothing but the poojas to Lord Subrahmanya. According to Wiki, Subramanya is the refuge for Nagas when attacked by Garudas.


Mars, also a Peacock Rider, uses it as a Refuge for Nagas, even though it is traditionally their enemy.


Following is Bhutadamara Vajrapani's mandala. In the art site's assessment, upper register figures include 1. Janguli or Yellow Tara, 2. Arya Janguli, 3. Vishvamatra, 4. Janguli, 5. Chunda, 6. Vajradhara, then Ekajata.

I am not sure about the yellow ones, but Green Janguli is unmistakable, and more specifically as a close companion of Twenty-four Arm Ekajati. In the lower corners and along the bottom are many Maricis, so this resembles the large Ekajati thangka:








On the far left side of the register are five figures belonging to the Kalpoktam Marichi Mandala. In the south is yellow Vadali with four hands, the right hold a branch of the ashoka [tree] and a needle, the left a vajra and lasso. In the west is white Varali with four hands, the right [hold] a vajra and needle, the left a lasso and branch of ashoka [tree]. In the north is red Varahamukhi with three eyes [and] four hands. The right hold a vajra and arrow, the left a lasso and branch of the ashoka [tree].


Miranda Shaw's entire Janguliarticle has been copied. She suggests the "poison glance" is like that of Manasa who keeps her third eye closed until she wants to release venom. She follows the principle that the nectar and poison are each other inversely. She even has a Seven Face form in China where her practice is more like nectar than curing snakebite. She has not found more Janguli sadhanas or mandalas than we know of, besides the Chinese, and a figurine from Kashmir which has her on a Garuda throne, which is similar to Peacock, in that both are traditionally enemies of snakes. A partial Sadhanamala translation says she has Seven Yellow Snakes and uses a Moon Pitcher, even though it is not included in her held items, she must change something. Occult World says she may be, or her presence is indicated by, a white snake; so perhaps she just slithers into Parnasabari's hair; but they do not explain where this comes from.

A very detailed view of a tashi gomang (Many Doors of Auspiciousness) stupa at Densatil on pp. 12-13 does show us how this works under Akshobya at the top and the Four Kings at the bottom. Above the Kings are Dharma Protectors such as Dhumavati with two swords, Rahu, Ananta, and Prithvi. And above these is the tier of all Sixteen Offering Goddesses--but in the very middle of these is the trio Parnasabari, Marici, Janguli.

We have been able to trace the identity Sarasvati-->Parnasabari-->Marici as well as Sarasvati-->Matangi-->Janguli. This assembly with the unusual trio is really the face of a stupa; and seeing Marici surrounded by Vajra Family sounds strange. But if it is akin to a "process" such as "Prajnaparamita appropriates Marici", it works.


Janguli really has nothing in terms of recorded music, but, Manasa does. This one is long and repetitive, it is a fair bit like a sadhana. It makes her root mantra sound a little weird to me, but, the pace is pretty good for the verses, which are her Maha Mantra:

Source: https://youtube.com/watch?v=Q9hFXzT1wwA

Namah Siddhi-swarupayai Varadayai Namo Namah
Namah Kasyapa-kanyayai Sankararyai Namo Namah

Balanam Rakshankartyai Naga Devyai Namo Nama
Namah Astrika-matre Te Jaratkarvyai Namo Namah

Tapas-vinyai Cha Yoginyai Naga-svasre Namo Namah
Sadhvyai Tapasya-rupayai Shambu-shishye Cha Te Namah

Om Hrim Shrim Klim Aim Manasa Devyai Svaha


Manasa is actually worshipped as a Cactus in many places, but is with the Snake in Bengal. Bhattacharya contends that Manasa and Visahari are given the epithet Janguli in Hindu tantric texts.


It has been said that if Matangi seems to call to you, she is ready to come to you. Janguli is really called Matta Matangi, the first of 108 Names of Matangi. If Janguli purifies Water, which Varuni is invoked into, and Matta Matangi is totally under the influence of, then it makes sense that Janguli's Yellow form is like Generation Stage in Krsna Yamari Tantra.





Devi Bhagavata's Book V starts "On the superiority of Rudra over Vishnu". It is based in the fact Vishnu incarnates in human bodies. And then it tells the truth about the events of Mahabharata such as:

The extinction of the Yādava race by the curse of Gāndhārī...

these all correspond verily to exertions and failings appropriate to human bodies.


Well then, birth of Krishna must correspond to something about the human. If it is all states of consciousness, then yes, it has to act out and suffer whatever it does, in order to achieve moments of Samadhi or "worship of Rudra". That is what is meant by "superiority". The title is a bit controversial, but, it is fairly simple that Vishnu incarnates, and observance of Rudra is part of that. The chapter's title would be self-sanitizing if the chain is followed to:


Māheśvarī (Turīya State) again superior to Rudra.


She is superior to Rudra who is called Susupti or the Third State.



Of approximately the same era as this Purana, they are not dated, but, there is an even larger trove of Chinese Dharanis where out of all that many, there is just a bit of Marici, shortly followed by Janguli, who seems to have an additional text attributing it to Bodhisattva who Contemplates at Ease, which is highly suggestive of Mind at Rest Khasarpana. Shortly after her are Mahesvara, King of Heaven of Great Ease, who also has a Quickly Proven Avesa Dharma, and also Narayana Devas.

It is over six hundred articles which at a quick glance professes itself to be a dharani system. There are a whole lot of Sutras as well. So it shows almost exactly what is not really in Tibet, such as Shurungama Sutra and Parasol, Karandavyuha and Cunda (Junti), 108 Names of Bhrkuti, Prajnaparamita meditation, Ucchusma, Matangi, Homa of Seven Stars...there are a minority of tantras referred to. It ends on Nagarjuna's Pindikrama. My guess is that it mostly corresponds to Manjushri Namasangiti, since a statuette set of Dharmadhatu Vagisvara mandala was crafted in Forbidden City, because of its dharani system attached to the Paramitas, which matches most of these. Because the lineage was broken, they no longer know what it is. The real weakness of the Chinese catalog is probably gender. There are issues about Guanyin. It says Peacock King where we would put Mayuri, and so on. Sadhanamala is more like a compression of this monster and giving it the connection to tantra. Janguli is not a stray entry in there, but, has a presence in Ellora and China centuries before it was compiled.


Practitioners of this system find it bizarre that Tibetans are concerned with mantric transmission. But these are not the mantras that the concern is over. They are still the same, you can use them, you can add visualizations and meanings.


To western orientalists, for a long time, the flagship standard for Sanskrit was a translation of the Bhagavad Gita. In the nineteenth century, Vedas and a few major Puranas started to be done. The earliest Buddhist literature was perhaps Lalita Vistara and Lotus Sutra. However, Sanskrit Nepalese Buddhism had been fairly well portrayed by Brian Hodgson around 1840. And this had simply sat in the recesses. Nepal is not really a Buddhist country. That is until according to History of Buddhism in Nepal:


For a long time the scholars kept on saying that the Buddhist
faith in Nepal was already corrupt. It had been imported to Nepal as
a result of the Muslim invasions of India. But no attempt was made
to bring out an authentic text which might substantiate these
generalisations. In the year 1925 B. Bhattacharyya helped the
students of tantric Buddhism by publishing The Sadhanamala which
contained one hundred and forty-two Sadhanas.


except it is in Hindi, having nothing to do with the west. It turned out not to be true about the Muslims. It is again like the material being auto-suppressed by the environment.



This is an example why Tibetan is rather more difficult than Sanskrit. It is in very good condition because it is not that old:

1700s Kagyu from Palpung or Khams, eastern Tibet


As a "genre", Chakrasamvara became, roughly:


There are at least two dozen different forms of the deity and at least fifty lineages of practice which still exist today within Tibetan Buddhism.

Each of the different forms described in the literature are meant to emphasize different types of meditation practice that are suited to specific emotional and psychological characteristics of the tantric practitioners who take on these complicated meditation practices.


Maybe. There is a kind of standard progression, with an untold amount of branchings. This thangka is designed to clearly show it:

Each of the five deities have an inscription located below the lotus seat of the figure, written in Tibetan script, either identifying the form of each by name or by associated Tantra text or tradition.

Under the lotus seat is an inscription written in Tibetan language reading 'Chakrasamvara of the Tong Drel Tradition' (bde mchog stong 'drel lugs).


Except that is meaningless to me, and you cannot look it up. They did not translate it or offer a suggestion. No hints, compared to probably sixteen pages of Chakrasamvaras they have on file. The things around it however are quite easy. In the upper left is:

Abhidhana Tantra. The most noticeable characteristic is the dancing posture


Ok. If you say "Chakrasamvara", without further qualification, that would be it. The corresponding tantra is massive and deals with sixty-two deities, stemming from Guhyasamaja Tantra. This is exactly what I would not recommend copying to try it, I would not even suggest trying to get the transmission. This one is if you can be completely immersed in it. If we are just trying to do a personal kind of Yoga which has meanings that are used in the tantra, then we are better off to look at the other three. Firstly is something that is not believed to have been transmitted outside of Nepal very much:


At the upper right side is Chakrasamvara of the Samvarodaya Tantra. This form of the deity has three face and six arms. He stands on both legs and the consort wraps her legs around his torso. Both figures stand in a posture leaning to their proper left. (sdom 'byung bde mchog).


To the lower right is something they tend to use as a synonym for Samputa:

Vajrasattva Chakrasamvara (khro wo rdo rje sems dpa')


and in the lower left is one that, shall we say, takes in Dakinijala Samvara, and gives off Dakarnava Tantra:


Vajradaka Chakrasamvara with four faces and six arms (be mchog rdo rje mkha 'gro)












Similarly, they were able to figure out two kinds or different sadhanas of Mahamaya and Buddha Dakini:











We can say about 70-80% of what Samvarodaya, Vajradaka, and Mahamaya are doing, but nothing about the name or lineage in the middle of the relatively recent Tibetan group.

The Nagas however are worn as jewelry by Kurukulla; the Hood itself is that of Bodhisattva Nagaraja. He could perhaps be described as waiting for us to attain the entire Generation Stage. He executes the change. Correspondingly, if Janguli is able to show who the Nagas individually are, while using them as weapons to open the Path of Paramitas, she can be highly valuable to work into and through the first few of the Six Yogas, and, conceivably, as her Yellow form, all of them.


Janguli is at least a bit related to Asoka Marici. In the Cemeteries, Regional Guardians such as Indra are the lower or downward-voiding winds, and the Yaksha of the tree is or are the upper winds. Marici holds the branch of a tree, whose name generally means without sorrow (Soka).


Emperor Ashoka was concerned with building stupas across India. Comparatively, the tree and its flower according to Wiki:



The ashoka tree is closely associated with yakshinis. The young girl at the foot of the tree is an ancient motif indicating fertility on the Indian subcontinent. One of the recurring elements in Indian art, often found as gatekeepers in ancient Buddhist and Hindu temples, is a yakshini with her foot on the trunk and her hands holding the branch of a stylized flowering ashoka or, less frequently, other tree with flowers or fruits.


or Ayurveda:

When Maa Sita was in Lanka, she took shelter under the Ashoka tree. The tree is hallowed for Buddhism as it is said that Shakyamuni/Gautam Buddha was born under the Ashoka tree in Lumbini Garden.

Lord Hanuman initially met Sita Mata in Ashoka Vatika, the garden of Ashoka trees.

The Ashoka tree is associated with Lord Kama, the God of adoration, and it is considered as perhaps the most spiritual trees in Hindu culture. God Kama has incorporated the flowers of the Ashoka tree among the flowers in his garden, which address great spellbinding among the flowers. This tree is consolidated with Yakshi legendary as the occupant of Yaksha. It is found close to the entryways of the Hindu sanctuary.


Hanuman is a symbol of life winds; so are the Yakshas. And so if Marici cast Asoka Grove, you would get something about Sita, Buddha, Yakshas, and Stupas. Then it would sound like Vajra Family and the Cemeteries have something, but not everything, to do with this. Marici has little obvious to do with Vajra Family, aside from the view of fusion with Prajnaparamita, or the escorts of Parnasabari and Janguli.

[shaberon]

Seven Paramitas, Janguli, Serpent Noose, and Sarvadurgati Parishodhana; surprise from Parasol




In Voice of the Silence, HPB presented a system of Seven Paramitas. The difficulty is, her addition was "Vairagya", which is not among them; it may have been a Pali synonym or definition of one of the original six. If this seemed puzzling since it would be easy to fix, if we looked for the Seventh Paramita in most Mahayana texts, it is Upaya, which means the new "crest" of the set of seven would be tantric Vajrasattva, non-dual Prajna--Upaya:

6. prajñā-pāramitā (the perfection of wisdom),
7. upāya-pāramitā (the perfection of skilful means)


I find myself in the position that when a scripture omits something implied, or, better yet, says something that doesn't fit, that is a subject of attention. So, we are not dealing so much with the conceptual list of Ten Paramitas in Mahayana, but, forcing an experience of how there are more than the basic list of Six. Why? Because it is Yogacara, we can say that Upaya is Sadhana or Smrti, the Fifth Yoga, which at the very least involves stability in Luminous Mind. Since, to most practitioners, this is a conceptual teaching rather than an actual experience, it can be eliminated as unrealistic for what we are doing. Because I have experienced states of clairvoyance as discussed here, I would have to agree the tantra intends a very distinct meaning that is not the astral body and similar visionary trances. It is as if this too has been melted away because the visions are also in a very different state of consciousness.

The approach is changed because the scripture says so.

The Sarvadurgati tantra text uses the Tibetan term Monlam which is commonly understood and translated as the Eighth, Pranidhana Paramita. So this is what they mean is conveyed as a seventh Paramita after Consecration of the Chakravartin with Seven Precious Items. These items are part of the ordinary mandala population which we are tending to re-iterate as Seven Jewels of Enlightenment Dakinis with tantric Vajradaka. The standard symbols of these are the Precious General and so on around the slopes of Meru:





In this same meaning, commenting Stanza IV, HPB uses Pranidhana principally with respect to Pitrs; however she has taken the definition that Agnishvattas = Solar = Formless, which we found does not bear out because there are also Formless Lunar Pitrs. Her statement is actually self-correcting if that reference is removed:


The esoteric name of these...is, literally, the "Lords" (Nath) of "persevering ceaseless devotion" (pranidhana)...[of] the system of the Yogis who make of pranidhana their fifth observance (see Yoga Shastra, II., 32.) It has already been explained why the trans-Himalayan Occultists regard them as evidently identical with those who in India are termed Kumaras, Agnishwattas, and the Barhishads.


So if more directly from the trans-Himalayan brotherhood, Pranidhana Nathas would be Pitrs with a fuller understanding to include Barhishads. It is not too hard to imagine that some of them knew the more intricate Puranas from memory, and she was mostly in the English Vishnu Purana.

And so rather than demolishing the Bodhisattva Path, this weird adjustment amounts to saying that the actual Upaya--Luminous Mind is something that we mostly have to be faithfully devoted to--Pranidhana. That is realistic for body and mind as they are. There is a somewhat artificial seventh or eighth Paramita at a conceptual level about something else we cannot do because it is more like the Timeless behavior of the Pitrs. At this point, we should have found how Prajnaparamita is a synthesized accumulation of the previous Paramitas, translated through experience, and here we are just kind of taking a hint that this basic knowledge is far from the total of Buddha Dharma. The tantra is asking us to take what we experience as the sphere of Six Paramitas and attach them to Devotion, which is technically leaving out the Generation Stage yoga that is not in this text.

Here is what happens when we factor this adjustment into the Namasangiti system. First of all it becomes apparent that Prajna Paramita is represented by an entirely different dharani than her own. And now, the crest of this system is actually going to be Picu Picu mantra which we have already given as the exercise with White Prajnaparamita:



Discipline.......Ground....................Paramit a...........Dharani

Citta.............Pramudita (Vajrasattva)...Dana........Ratnolka
Pariskara........Vimala (Vairocana)......Sila...........Usnisavijaya
Karma...........Prabhakari (Ratna)..........Ksanti.........Marici
Upapatthi.......Arcismati (Amitabha).......Virya.........Parnasabari
Rddhi............Sudurjaya (Akshobya).....Dhyana........Janguli
Adimukti..........Abhi-mukhi (Amoghasiddhi)..Prajna...Ananta-mukhi

Jnana...........Acala..........................Pranidhana.......Prajnavardhani



Suddenly the weird trinity at Densatil is a bit more obvious. The additional Paramita is the practice of Jnana or Gnosis. The actual Perfection of it is the Eighth Bhumi or Acala. The awareness of it and how we may be able to train this way are assisted by the Picu Picu mantra (Prajnavardhani). So, a Prajnaparamita dharani has shown up where otherwise none would be.

If one were to visualize just this eighth layer of goddesses, the corresponding Namasangiti forms have a lunar and Blue Lotus aspect:

Pranidhanaparamita is of the colour of the blue lotus, and she holds in her left hand the sword on a blue lotus.

Jnanavasita is whitish blue in colour and holds in her left hand the sword on a blue lotus.

Acala is of the colour of the moon in autumn, and holds with pride in her left hand the stalk of a lotus over which is placed the five- thonged Vajra on the disc of the moon.

Prajnavardhani is white in colour and holds in her left hand the sword on a blue lotus.

They have the same uniform except for Acala Bhumi. They are white or blue and have a blue lotus which supports a Sword, symbol of Karma Family.

In the collection Nightmare Tales, HPB shows Varuni inhabiting a lake where a very powerful incident involving the sound of Vina (Om) and the Voice in a relatively short story called Blue Lotus.


In Sarvadurgati Parishodhana:


The Chakravartin holds the Six Family Wheel, i. e. the first Six Paramitas, and is consecrated into the Seven Jewels of Enlightenment. Then a seventh Paramita is added. It literally refers us to a practice we already have. When combined with Namasangiti, if we ask it what is yoga or meditation, it will say Dhyana is Janguli. If one takes Dhyana of Janguli as used with her dharani, then her Hood takes on the above table at once. Rather than saying we have manifested it as the Path, there is instead a per-level Naga who is a Weapon for purposes of transformation out of the respective poison and into the qualities that are to be developed. That is because the Nagas of the Hood are unidentified, and Janguli shows the only use of them, which is striking with counter-poison. In all other instances I have seen, the deity is simply "wearing" it. The Nagas of their mandala have human torsos and consorts; a hood is just made of serpents. They must be "stacking" or multi-planar, since Ananta has a Thousand Heads and lives in Patala, but then appears as a normal Naga in retinues. And so a "plain serpent" is not exactly him on his own plane, but more like "a manifestation in his Family". The sadhana is about the Kings, and we are so to speak just taking their powers to exemplify Janguli.


The All Nagas' syllable is Phum, also that of Karkotaka.

To correspondingly adjust the Nagas of Vajrapani to seven, it will remove the seventh Naga named Padma and use Varuna (Maha Padma) in the station of Pranidhana:


Phuh: White Ananta [blue lotus stalk]

Phah: Red Takshaka [blue lotus and tortoise]

Phum: Blue Karkota [white lotus stalk]

Phah: White Kulika [banner]

Phih: Red Vasuki [snake]

Pheh: Yellow "Carrying a Conch Shell" (Sankhapala)

Phauh: Blue Varuna [white lotus stalk]



The seven paramitas are part of the rite of Initiation and pupil instruction (Mandala of Cakravartin).

The rite of Paramitas is not the Naga mandala; the reason to connect them is because the beneficial work of Nagas is cultivation of Paramitas. Roughly, the seed syllable of Varuna will attack what may be hindering the seventh principle, and then he would rejoice at the Prajnaparamita mantra and intensify our Devotion.


When the Paramita rite is done using the standard symbols:

9) Consecration with the seven iewels: a) wheel(hkhor lo) - destroying all obstructions;
b)horse rta) - visiting all Buddha-fields; c) gem (nor bu) - granting Buddha
qualities; d) wife (bud med) - granting knowledge free from false notions
(kalpanäpoda); e) elephant (glan po) , killing the hosts of Mara; f) soldier
(dmag mi) - undistressed by the attacks of the klesas; g) man (skyes pa) -
accomplishing all good qualities. Placing the jewels one by one on the pupil's
head, the master pronounces the mantras: om vajracakra abhisinca hum etc.
The pupil is consecrated here in the manner of a Universal king.

10) Consecration of the Lord Cakravartin. Here seven paramitäs are conveyed -
the first six plus aspiration (smon lam). Next putting the vajra on the pupil's head,
the teacher should say: 'For the ripening of living beings accomplish the proclamation of the Holy Dharma, making of the mandalas and the rest in accordance
with the dictates of this Tantra. ' Then he continues saying: om sarvatathagata
ajnam te dasyami grhna vajrasusiddhaye tishta hum. This last one is called
the Light-giving Word-Consecration (snan ba sbyin pa bkah dban). This consecra-
tion is enabling in its nature.

In order to purify himself and gain control over the Dharmadhatu, one should pursue the Stages of the Bodhisattva Path.


Without the footnote, no one would notice the Seven Jewels as given:

having made a vow with such a fervent faith, one is duly consecrated
by the Omniscient One with the complete set of vases and the rest, and becomes
as desired an initiate of the ten consecrations.

72a He commits to them the vajra and the bell. Then taking the seven Jewels,
the wheel and the rest, he should consecrate them so that they may gain the
essence of a Cakravartin, universal sovereignty etc., and so that sins may be destroyed.


in the original:


kumbhādibhiḥ samagrair daśānāṃ daśābhiṣeko yatheccham||

tato vajraghaṇṭāś ca haste dātavyāḥ||

tataś cakrādisaptaratnāni gṛhītvā||

rājyaiśvaryādicakravartitvaprāptaye||



The essence of a Cakravartin is that of Mahalakshmi: Aisvarya.



In this area, we also become aware that East is not a fixed right angle to true north:


He marks the eastern direction by means of the rising sun.



and along with Seven Paramitas:

Buddha Vajra-dhara should protect the pledge of the seven Families.


and they are only described in the footnotes:

Thus Tib B. but see S and Tib A where totally different readings are given.
Tib A has: Vajradhara the Victorious One becoming wrathful brings the destruction of the Seven Tantra Families and S: Buddhadhara brings together the Seven Families of Kings.

in the original:

buddhadharo rājānāṃ samayet saptakulāni tu||




The online version is a copy of a single Nepalese manuscript; the translation is based from this, other Sanskrit and Tibetan versions, and commentaries from multiple authors including Anandagarbha and Tsonkhapa. And so it is from this extra legwork that we find something more than a recital or praise of Six Paramitas, which is abundant in most other areas. Here, rather than the written teaching of it, something is "conveyed" by the symbols and initiatic process which was not present previously. Then, fortunately, we are told "Vajradhara" in other manuscripts is the otherwise-meaningless Buddhadhara here, with a unique instance of Seven Families.

This tantra lacks Generation Stage. Like many, its main mandala starts a spawn sequence from the syllable A, and then it goes to a Hum-arisen wind mandala, and then it goes to water. What it has added compared to most Mahayana and Kriya tantra is death consciousness, and it is really the Book of the Dead, as it has a rite intended simply to break and banish the deceased's attention to the world. It says that the Sarvavid mandala and practice is Lokottara siddhi. However it must only be a primer, since the actual Lokottara siddhi is Generation Stage. It has avoided anything resembling Varuni or the Triangle. Just by reading the symbols and this is missing, we can compare Sadhanamala who spawns deities just from syllables and flowers like this, but, also has more advanced practices which add the Trianlge and so on.

Sarvadurgati is like higher tantra minus the palpable Fire and the Gauris. To the extent it uses Bhairava, with cups of blood and intoxicating liquor and even taking his shakti, the discussion of this mandala is abruptly brief. It could have said something about STTS, or "see Heruka mandala", or the many Indian ganas, there was no lack of content for this; it looks like an abbreviation.

Nagas are also found in regular eightfold mandalas. This format is already declared by scholars to be of unknown meaning. And in a special modification, they are a sevenfold Hood, whether for Varuna, Vajradhara, Janguli, etc., there is a stripe of certain persons who use it. The practice of Dharani is like Mahavidya, in that most of the "explanation" arises within the experience; which is the same idea as Yogacara and Profound View. Janguli's behavior is extraordinarily similar to the SDPT Nagas, but, it is not a retinue; they are directly attached; like the "conveyance" of Seven Paramitas using Pranidhana as shown here. Also, they are weaponized. So she is a bit more like "how to put all this together at once". Assuming we lack anyone to give us the formal Consecration, then we are looking at ways to make an approach by laterally transferring all the appropriate meanings to Janguli.


Allright. If we take it to task that you are not explicitly showing me Candali Yoga, but, inevitably it must congrue with whatever is happening here, the Seven Paramitas are "conveyed" in a much more recognizable initiation of pupils, which grants access to the many sub-mandalas such as the Nagas. And so if we are kind of a novice to Sarvadurgati, this is what it would try to put on our plate to start with.

The Eleven Consecrations of the Master Consecration which involves the Seven Jewels or Paramitas:


1. Five Buddhas' Nyasa
2. Five Vases (Prajnas) Nyasa
3. Garland and/or other item
4. Mudras of Five Families
5. Vajra and Bell
6 and 7. Cakravartin and Seven Jewels
8. Names of the Families
9. The ninth consecration refers to the dharanis. The teacher explains to the pupil the different stages of concentration and the rites for all the mandalas.
10. Mudra of the secret meaning
11. Prajna--Upaya and the nature of Mahasukha


The translator states that the tenth step has become Anuttara Yoga, perhaps meaning a sexual component. The last step is, if not in extended practice, at least by way of acquaintance. It is at least admitting or stating there must be such a thing as Generation Stage. However this final state is just mentioned twice in the whole book, such as:

vajrasattvaṃ tu samantabhadraṃ mahāsukham||

The whole tantra begins by saluting Vajrasattva and ends on Durga. Here, male Samantabhadra is attached to the sixth principle, as well as to Great Bliss which is the extensive teaching for example of Vajradaka Tantra. Correspondingly, we have a way to start with preliminary, conceptual Seven Jewels here, turn them into a yoga practice which should remain in effect during ordinary life, and then we will have exactly the Grounds that dawn later as Vajraraudri and other dakinis.


The Tibetan text did not have the large list of additional deities, which were taken from NSP and finished in Note 34; they are in the Sanskrit edition as well. These are very explanatory since they have odd conversions of the planets and so forth. The last two Servants, Nagavajra and Vajramakara, have the form:


vajradharo vāmena nāgapāśadharaḥ|

ceṭī makarārūḍhā sitavarṇā| aṣṭaphaṇā|


White Makara riders with Serpent Noose and hoods of Eight Serpents.

Finally it culminates in these Vidya goddesses:


Bhima, Sri, Sarasvati, Durga

These deities use the Vajra of three spokes.


Roughly put, the Nine Usnisas or Navosnisas are male deities who are intended as a type of "fast track" or ability to rapidly achieve the Body Mandala, as opposed to a bulkier method of Five Buddhas and Four Prajnas. However, there is nothing that says any of these Usnisa deities are female. There are males of the same names, Vijayosnisa or Usnisa Vijaya and Sitatapatra. So then the female dharani system of those is quite like saying a system for Janguli with these Nagas. It is not in the tantra.


One Tibetan manuscript mentions female Sitatapatra gDugs dkar mo, prior to the Sixteen Vajrasattvas, in place of the expected male in this phrase:

He should sway the anjali round his head--the gesture of Sitätapatra.

Unless it is a mistake, there is no apparent reason why it might be feminized in one place whereas the context of the retinue is male in all cases.


Concerning Bhairava, the Tibetan uses the equivalent Mahadeva, lha chen, but mostly Bhairava is synonymous with Jigs byed, such as 3--Jigs byed gtum mo, otherwise, south, position of Vishnu, or Lion mounted couple. Rudra is Drag po. Kamadenhu comments Sanskrit names for the Bhairavas, which are called "doubtful"; they seem elusive to me. He just says 3--Bhairava. The tantra says nothing other than they are seed syllables. That implies that at least three commentarial traditions attempted to make these syllables fit some kind of more specific mandala. Asking what Eight Bhairavas are is like counting the sides of a circle. Comparatively, attributing Janguli with fairly straightforward definitions locked by a single source is just reading the symbolism. Same type of parallel, except asking what the Nagas' syllables do has just been told to us. The main issue with the Bhairavas is it says people are afraid of us, and it attempts to resolve that. They are all consorted with Bhairavis. And so this may be well worth further investigation, but, it is a different practice that has no bearing on Janguli.


If her special propensity is extracting poison, this also has basic as well as esoteric meanings. Or, they are on the level of basic distractions, then they are on the level of emotional defilements, and then these are learned as Buddhas and Skandhas. Since the outer version is the same as in the Pali sources, throughout history, Klesas or Visas come in variously-sized groups; which work about the same, the transformation of Unwholesome Roots, Akusala Mula, anywhere you look. Originally there were three; then five; eventually adding

In the context of the Yogācāra school of Buddhism, Muller (2004: p. 207) states that the Six Klesha arise due to the "...reification of an 'imagined self' (Sanskrit: satkāya-dṛṣṭi)".


You can't reify it unless the tendencies were there to begin with. One can put, in words, something about release or erase the tendencies--Vasana, but, it is tantra that accomplishes this swiftly. The sixth Klesha is the difference between Buddhism and Hinduism. Ganapati with Hook and Noose already stands for sublimating Desire and Aversion. General emotional enemies are basically the same as five Buddhist Kleshas in Hindu philosophy. There is nothing unique in the doctrine of emotional poison.

There is in the Skandhas. Here, there is more, since now when one speaks of the Affliction of Ignorance, it has a source in Delusions of Form. Lust is in Perception, which is the assembling of current feelings into the "categories of the known", i. e., the mental capacity to translate the Shape or Form of a chair into the "thing or entity" that is a chair, combined with memories and reactions and so on, which can distinguish "my chair" from an uncomfortable one. This Skandha is Desire or Passion, but so is its Purity. It is a bit like sex without any Attachment. It makes Bliss which is sort of metasexual, which sometimes is called "the highest state" in yoga, although here, it is really just the state in which you can directly listen to the Buddha's teachings. This is mainly our relation with the element Fire. Janguli is not quite to the point of Bliss like Vajradaka Tantra. She could perhaps become a quick guide to it.

If need be, Janguli will downscale so that she fights the ordinary distractions such as falling asleep or being unable to concentrate. If we are in this state, we are not even doing the First Yoga. So when we are talking about the Second Yoga, Dhyana, those issues drop out of the picture. So the target of Janguli is now only the Skandhas. However, her weapon is unwilling to cooperate unless it is for the sake of Paramitas. So just by trying to explain her, she becomes rather like the waist of an hourglass, with identification of everything to be eliminated on one side, and, in a recycling fashion, filling the other side with benefits to be obtained. Or, even better, qualities to manifest.



Here is the point which so far everyone missed. The summoning and command of Nagas is done by a mudra formed like a Phana or Hood:

phaṇamudrayeti||


however it clearly says there is such a thing as a Serpent Noose, which is used to suck out poison:


Breathing out the syllable PHUM and summoning
with his hand formed like a snake-noose, he should draw out all the venom
located in the body, bones and flesh.


So those are two different mudras.

It is travelling incognito because in iconography, the standard phrase is Naga Pasa. Here, it has been changed by naming the snake for his Hood, and Naga becomes Phani:


hṛtakṛtiphaṇipāśākṛtikāreṇa||


and so in this one instance, Serpent Noose is called Phani Pasa. But we see it has one use, sucking poison, which nothing else specifically does this. Therefor the Nagas and/or their rite could be said to be oriented to this purpose. The item itself is something I am not sure even Varuna has. It has a purpose identical to that of Janguli. It is not just that we have untold millions of countless subconscious impulses to violate the sins of the skandhas, but that when we act it out, it fills the aura with glue called Water Poison. The human is generally self-poisoning, in addition to what may appear as threats from nagas.


The recorders of iconographical items do not recognize the expression, which is not quite an object, but more like a verb, when both the man and woman twist their bodies together, like two snakes in coition. Phanipasa is described as holding each other's feet, or, in Rati Rahasya:

When the woman passes her two arms under both her thighs and
then encircles her lover’s neck and when, in this position, the husband responds
by suddenly grasping her sides with his elbows, it is called Phanipasha.


It sucks poison, or...I am not exactly sure how many twists it just went through, but it does not sound like an ordinary piece of rope. A Naga mandala with consorts perhaps resembles this.


Janguli could be the most effective Dhyana about Serpent Noose, but who is she? Some Hindu tantras say:


5) Manasā (मनसा):—[from man] 1. manasā f. Name of a [particular] goddess (described as consisting of a particle of Prakṛti and as daughter of Kaśyapa. sister of the serpent-king Ananta, wife of the Muni Jarat-kāru, mother of the Muni Āstīka and protectress of men from the venom of serpents; cf. viṣa-harī), [Pañcarātra]


Or, built around the 1400s in Mayurbhanj:


An image of Kota Vasini, presiding fort goddess was found standing next to Devi Gadachandi which is older than the latter. The image is disfigured but bears a striking resemblance to Goddess Janguli Tara.


and again this relationship is probably backwards, according to Manasa's Origin:


A theory suggests that Jaguli may have influenced by the
Kirata girl (‘the conqueror of all poisons’) of the Atharvaveda. ‘Sadhanamala’, the Buddhist Tantric text describes Goddess Jaguli as fair skinned, having
four hands and one face with white snake and Veena. The goddess has altar on an animal. This
description resembles with the present form of Manasa Devi as worshipped in Assam and West
Bengal. So, it is believed that Goddess Manasa derived from Goddess Jaguli of Buddhism.


Not knowing this, I have found in Atharva Veda Kirat as an enemy naga, Three Sarasvatis who are the daughter of Asuras do it, and Amrita does it by boiling. Kirata girl is in X.4 in original translation, or X.4 in a new hyperlinked version. She has one line:

The young maid of Kirāta race, a little damsel, digs the drug,
Digs it with shovels wrought of gold on the high ridges of the
hills.

The maiden of the Kirâta-tribe, the little one digs up the remedy, with golden spades, on the mountain's back.


The point seems to be that a physician (or: leech) arrives where she is, and:

Thou art, (O plant), a maiden, Taudî by name.; Ghritâkî, forsooth, is thy name. Underfoot is thy place: I take in hand what destroys the poison.

I take the poison-killing remedy.


Most of the power to do the neutralizing is initially attributed to the Horse of Pedu, which, as a name:


Pedu (पेदु).—A Rājarṣi otherwise named Aṅkāśva. (Maṇḍala 1, Ṛgveda).

Pedu (पेदु) is the name in the Ṛgveda of a protégé of the Aśvins, who gave him, in order, as it seems, to replace a bad steed, a mythical horse, hence called Paidva, which probably represents the horse of the sun.

Pedu (पेदु):—m. (√pad?) Name of a man (under the especial protection of the Aśvins, by whom he was presented with a white horse that killed serpents), [Ṛg-veda]


as a feminized word:

Peḍū (पेडू):—(nm) the part of the body lying between the navel and the pubic region.

Paidva is the Sun, or a dragon slayer.

Other deities are involved, which is not surprising. This erstwhile Janguli is digging in the Assamese mountains for unidentifiable plants, one named for:

Ghritaki seduced Viswamitra; she is in the dictionary as Ghritaci.

E. ghṛta ghee, añca to worship

She is also the erotic parrot, mother of Suka, and the mere sight of her caused Baradhvaja to ejaculate on two separate occasions.


Well, if we go back to the Nectar boiling, it does not mention snakes; it is "poison that comes from a horizontal direction". You are actually boiling some kind of plant to remove:


madivati

while telling it, twice:

do not, thou that hast been dug with the spade, cause injury!


what that means, may also explain "taudi":

māḍī (माडी).—f (māḍa) The exudation obtained from the Cocoanut-tree; as tāḍī is that from the tāḍa (Fanleaved Palm)

Māḍi (ಮಾಡಿ):—[noun] the sap of cocoanut palm that is used in preparing alcoholic liquor.


IV.7 says it is specifically for plants in the Griffith text. Both translations say bewildering or intoxicating, for which we would expect "matti". This sounds a lot more like digging for root medicine, more like Sarasvati and Parnasabari.

One of the serpents being defeated has a quite circular name:

Aghāśva (अघाश्व).—A King hermit (Rājarṣi) named Pedu. (Ṛgveda, Maṇḍala 1, Anuvāka 17, Sūkta 116).

1) Aghāśva (अघाश्व):—[from agha > agh] mfn. having a bad or vicious horse, [Ṛg-veda i, 116, 6]


In the hymn, initially Indra and the Sun Horse are credited mainly with clearing serpents from the road; they are called "the remedy". Presumably one travels this road to arrive at a mountain where Kirati is digging for "the remedy". Indra, Mitra--Sun, Vata, and Parjanya are then lauded for defeating serpents. Despite this, the plant, Apsaras, or Ghee Offering is then taken to remove poison from the body, which is attributed to Agni and Soma:

Agni hath found the venom of the serpent, Soma drawn it out.


Whether this means there is a Soma plant in Assam which is a poisonous root, that can be purified possibly with tallow, I am not sure. This is the only instance of a girl like this in the Atharva Veda. She might not seem too inspirational towards Janguli, except the end of the hymn goes back to drawing poison out of the body, which sounded unnecessary according to the first part. Why would you defeat all those other serpents and still need this treatment?


As the result of a much larger Thesis:

Chapter VII examines the icons said to be of Manasa and considers the views that Manasa originated out of Sarasvati, Janguli, Padmavati, Kali and other deities.

In Devi Bhagavata, there is a sequence of the stories of Mahalakshmi, Svaha, Svadha, Sasthi, Manasa, and Manasa with Surabhi.


Manasa cannot really be traced prior to around the ninth century. Obviously some kind of snake goddess was in Indian culture well before this:

According to some scholars, the serpent worship prevailed among the Garos and Khasias.


Khasis may be the "Mon tribespeople" mentioned in IWS. Their language is a form of Mon--Khmer. Even so, we find:

Lion- 'sing' in Khasi, sing too in Thai


Khasis are one of the smaller tribes from the overall population of Assam. The wider groups of Assamese are called Kirats and Nagas. For most of Indian history, this would be considered foreign if not hostile.

Traditionally, Assamese was the language of the common folk in the ancient Kamarupa kingdom and in the medieval kingdoms of Dimasa Kachari, Chutiya Kachari, Borahi Kachari, Ahom and Kamata kingdoms. Traces of the language are found in many poems by Luipa, Sarahapa, and others, in Charyapada (c. 7th–8th century CE).


At this time, there was a Khodiyar Mata in Gujarat and Rajasthan, who is a bit more like a Naga boon, and also became a remover of poison/converter to nectar. Manasa however is either a mental daughter of Kasyapa, or, the product of Shiva's semen because he was looking at some fruits that reminded him of Uma's breasts. She is in later Puranas, and cannot really be said to be older than or in any way related to Khodiyar, who is named for her Crocodile vehicle (half of a Makara).

Janguli is already a Buddhist Vidyarajni in MMK without any of these influences.


Her name is just a personalization, but not of "jungle", it is already well-known by the time of Santikara's major work ca. 700s:


the science and art of curing snake-bites: Śikṣāsamuccaya 142.1 °lyāṃ vidyāyāṃ udāhṛtāyāṃ, a snake-charm having been recited; but Transl., p. 139, note 3, reads jāṅgulyā, allegedly ‘with Tibetan’ (which is not cited), and renders when the snake charmer recites this spell against poison; there is a stem jāṅguli, m., snake-charmer, Sanskrit Lex., but this form being fem. would have to be taken as meaning by a female snake-charmer


The online definition is again misleading by giving Janguli one particular attribution. It is true that Mahamayuri must be somewhat Puranicly-influenced; between the lists of Planets and Poisons, it invokes Vedic Rishis or Sages, continuing through the distinction of Sukra and Suka; so it follows generations. Along the way, it may be adding in some of its "own Purana":

Maharishi Janguli / Maharishi Gandhara / Maharishi Ekasrnga [Unicorn]

as distinguished from:


Maharishi Matanga


and that would be it. You would expect that goddess Janguli would be there and it is not. The definition has mixed her with a male Sage.

The computer, however, does not speak Dharani-ese. She is personalized as a dharani in the binding of the Rakshasis:


gauriye svaha / gandhariye svaha / jamguliye svaha / amrtaye svaha /


Here, she is distinguished from Matangi, Manasi, and Mahamanasi. What does that mean? Well, most of the available resources tell us that Janguli combines the Hindu deities Manasa and Matangi. But I am not so sure those are Hindu deities. They may have something to do with why Janguli is the only Trikaya in Sadhanamala. These appear to be separate-but-related Buddhist deities who are hypostatical in a manner like Vajrapani being Canda Maharoshana and Acala. If we go through the dharani in terms of how mandala rings might work, it refers to the Planets and Sages right before Siddhis:

grahanam svaha / jyotisanam svaha / rsinam svaha / siddhavratanam svaha / siddhyavidyanam svaha /


and then Eleven Gauris because it starts with Gauri where Janguli is nestled. This is after Sages, who generally represent Mantra, and the Gauris are soon to become Heruka's retinue in the Cemeteries and Generation Stage in the tantras. Because this language is not yet available, the "output" of the Gauris here is not Hevajra or Completion Stage, but what looks like additional layers, groups, or rings:


naga-hrdayaya svaha / garuda-hrdayaya svaha /

manasiye svaha / maha-manasiye svaha /

sadaksariye svaha /

mani-bhadraya svaha / samanta-bhadraya svaha / maha-samantabhadraya svaha / maha-samayaya svaha /

maha-pratisaraya svaha / sitavanaya svaha / maha-sitavanaya svaha / maha-dandadharaya svaha /


Having perhaps a short conclusion after Muculinda, the Naga who sheltered Buddha during Enlightenment. This section is followed by the Naga section. Manasa, Six Syllable goddess, and Samantabhadra all appear to be hypostatical aspects of the sixth principle. Then there are two of the Pancha Raksa who are tied to physical sacred places or devi sites, Garuda Mountain and the Great Cemetery. Danda Dhara or staff carrier is somewhat indefinite. In the Vedic terms, a Club smashes scorpions, and a staff defeats snakes.

Daṇḍadhara (दण्डधर).—Manu, the wielder of daṇḍa; also kings.*

* Vāyu-purāṇa 57. 58; 85. 8.

epithet of Yama

Daṇḍadharā (दण्डधरा) refers to “she who holds a staff” and is used to describe Caṇḍā—one of the nine attendants of Goddess Tvaritā, according to the Agnipurāṇa, the Tantrarāja verse 14.15-16 and the Kulakaulinīmata verse 3.82-88.


It is not possible to tell whether it is male or female or intended to represent another Pancha Raksa. More importantly, because there is a group which is defined as the sixth principle almost any way you look at it, and, their grand total is Maha Samaya, which is also the grand total of Vajrasattva in his dharani...it sounds to me like a detailed feminized version of him is here, considerably before we can show there was a "him". This is the only Samaya in this Sutra.

At the worst, we might fault Vajrasattva for taking it in and re-emitting it in Sitavana as the tantras. But unless I am mistaken, we can see that whole mythos...already present in this material. What is Samaya in one of the oldest divinized Buddhist meanings, well, it would be this. Mantra, Heruka retinue, Naga and Garuda Yoga, and something that appears to be very subtle about the sixth principle or Manas. The first benefit of the dharani is the same as Vajrakilaya:

Great vidya dharanis such as these provide extensive boundaries...


and it continues into Ayurveda:

tridosha of vata, pitta, kapha


It says nothing about how to know whether you may have an imbalance of Kapha in about the same way it does not quite show how Sadaksari is a mantra for the whole Six Family Wheel. If this is based in a mantra of Compassion, nothing could be much more compassionate than to reveal mentally the nature of the Families, let alone how their Maha forms are the Sambhogakaya.

When parsed, this section speaks to a flow from Sages/Mantra --> Gauris or Vidyarajnis --> a type of Naga Garuda yoga --> raised awareness of the hypostatic sixth principle. In part, these Manasis and Samantabhadras probably equate to Dharmadhatu Vajra and Dharmadhatu Ishvari, the Ishvari of Dakini Jala, the Vajrasattvatmika, Vajragarvi, or perhaps whole hypostasis of Sattvavajri and Mamaki. Manasi is in MMK, right after Janguli. If I had no idea what that was, and, someone just showed me, look, this means Samaya to six names of the mental or sixth principle goddess, it would be easily bookmarked.



With a closer examination of Sanskrit documents in China, there is nothing that quite suggests a "dharani system" in the early stages. We see something starting with Marici in the 500s, and, then with Amoghavajra, you do see the wholesale import of a system, including:

mahasri sutra

srimahadevi vyakarana


Although Mayuri was never "assigned" a mandala in a tantra, and it could be called pure conjecture that her associates were anything but a list, it actually was done because he has:

mahamayuri vidyarajni mandala citrana vidhi


Somewhat to my surprise, there is also:

ekajati dharani

and so it is not that different from the system of Nepal. They even received one copy of Dharani Samgraha.

Considering the very beginning of the dated manuscripts, I and other researchers have perhaps made a mistake. There is nothing that says "these are all dharanis", they are just documents. And so the first ones may not be all that much about mantras. In fact, they are probably not. In an article questioning what I recently posted about the clock and the week, there is a reminder about the correct western word for it here:


division of the day into the nychthemeron or of twenty-four hours


and then describing one of these first texts says:


The Sardula Karnavadana, which was translated into Chinese in the third century A.D. and' the framework of (which) avadana itself must be of great antiquity' according to its learned editors Cowell and Neil, not merely contains reference to the planets including Rahu and Ketu, but even a division headed Dvadasa-ras'ika, the twelve signs of the zodiac. This avadana contains a volume of astrological information which would warrant great astrological knowledge among the Hindus.


What? It's not a mantra. It is like a sneak preview of Horas in Vajradaka Tantra. And its travel companion, the Matangi Sutra, is likewise said to be on the subject of Astronomy.

Subsequently there is in Chinese astronomy:

Map of Heaven and Earth in the Matangi Sutra


So actually there was a main subject for a few centuries other than mantra. Math and science! I am not sure if they are aware that in India, it was guarded in pits of death. But we see what is important here, five or six centuries prior to the Mahavidya system associated with Indian astrology.

We don't know and cannot find or show what may be in this Matangi Sutra. It does sound like an inappropriate title for the subject, but, that is what it is. If it cannot be proven as either the start of a mantra or the story of a yogini or goddess, then we might turn around and conclude there was no such thing until the Mahavidyas. But the Beijing list is not exhaustive. It does not give details about the early translator Kumarajiva and that part of what he brought is:

Śūraṅgama Samādhi Sūtra


Matangi Sutra of the 200s may or may not be related at all. In the 400s, there is Mayuri with an assembly that is "mandala-esque" which appears to have been developed that way, and, there is Surangama, which definitely has Matangi and emphasizes mantra and makes a major display of assemblies and Buddha Families, even though it, too, is "not quite" a mandala.

Surangama Sutra means that Parasol is considerably older than Usnisa Vijaya, who springs up in Amoghavajra's system like this:

canda maha roshana acala vidhi (from vajrapany abhisheka uttara tantra)
ushnishavijaya mudropadesha (from vajrapany abhisheka uttara tantra)


But this turns out not to be the right conclusion either.

Lamotte's Kumarajiva Surangama Samadhi Sutra finds the first Chinese translation in the year 186. His criticism of the Mahayana Sutras is that they spew out too many doctrines without a coherent picture. The solution (according to us) is in the tantras, which dictate which "categories of doctrine" are used in the long run. Again for example, if falling asleep in meditation is an obvious outer defect, once I can get it to quit bothering me, I probably am not going to reflect on it as one of the most sublime truths in all the realms. If agitation is similar, once I calm down, I may not meditate on Forty Unwholesome Mental Factors.


Surungama is supposed to be definitive along the lines of the first beginning of real Buddhist Samadhi. There are hundreds of thousands of samadhis of Avalokiteshvara. When Cunda mantra is given, Uma and Mahesvara are prophecied to become Buddhas. The end of that whole Sutra says:

Dhāraṇivyūha Maheśvara is concluded of this Kāraṇḍyavyūha Mahāyāna Sūtrarāja.


Lamotte's Introduction is fairly certain the main subject of the Surangama Samadhi Sutra is Samadhi. This coincides with trying to unhook it from general synonyms and re-shape it in a Buddhist meaning:

Concentration, samadhi, is understood
to denote the altered mental states
attainable through Buddhist meditation
techniques, in particular that in which
discursive thought is allayed, the mind is
calm and is capable of sustained awareness
of a single object.


The Samadhi in mind is a merge of Prajna and Sampatti:

Without this Prajna, it is impossible for the
ascetic to sever the passions connected with the fourth and last
samapatti.
However, this Prajna, although it may dispel delusion, does not
eliminate the desires related to the various realms of existence; the latter
have to be eliminated through meditation (bhavanaheya), through the
four dhyanas and the four samapattis described above. This is why the
path of Nirvana links Prajna indissolubly with Samadhi.


Prajna is highly effective at overcoming Form, and apparently quite slow in further progress unassisted. Until one is an Anangamin, the Kama Loka is still present rather than the ninth sampatti:

passions which attach
him to the nine realms of existence: the Kamadhatu, the four Dhyanas
of the Rupadhatu and the four Samapattis of the Arupyadhatu


At the point of having vaporized Kama Loka:


Having previously gone up to the fourth formless attainment, he enters the last
of the nine successive abodes (anupurvavihara), namely the attainment
consisting of the cessation of perception and feeling (samjnavedayitanirodhasamapatti). This is the only attainment that does not have an existence as its fruit. The holy one reaches Nirvana there, but in
the absence of thought and feeling he reaches it only with his body
(kayasaksin). On leaving this attainment, he thinks: 'Oh, this attainment
of nirodha is as calm as Nirvana!' We know that the Buddha practised
this and that it is reserved for the great holy ones (the Anagamins) but
that it in no way contributes to holiness".


Exactly. It produces no Merit. It is important, or, rather the deepest kind of meditation, but not, itself, the production of Full Buddha.

Having gone this far with it, one can see that this is not the same thing as Shurangama Sutra, which, in its full Chinese title is:

The Sūtra on the Śūraṅgama Mantra that is spoken from above the Crown of the Great Buddha's Head and on the Hidden Basis of the Tathagata's Myriad Bodhisattva Practices that lead to their Verifications of Ultimate Truth


The idea is that Surangama Samadhi Sutra is given as if speaking to the highest aspect of the definitions, and that Surangama Sutra is the how-to get into it. Although it probably was originally Indian, there is no record, to the point it is not quoted in external commentaries. Not that I am aware of. It sounds defective in the sense that if it was unsupported, there should be no reason to transmit it. In another sense, it doesn't matter what anyone says or how or why something may have gotten suppressed, because we mainly care what it says about deities and mantras.

In the working version of Sanskrit Shurangama Dharani, it honors Brahma, Indra, Rudra (also called Pasupati), Narayana and Lakshmi with Five Maha Mudras, and Maha Kali Smasana Vasini with a Matrgana or Mothers' Circle. They are followed by Five Buddha Families, who use a semi-appropriate "Mani" for "Jewel Family", and then they seem to fall off the edge of the earth with "Gaja". This is not used in Sarma, we have found older personal names for Amoghasiddhi, but Karma Family would not even be what comes to mind when saying "elephant". And so it appears a gross error has been commited here. I am perhaps prepared to say that this Sutra has no bearing on the ancient names Surangama and Matangi from the Sutras ca. 200. And so you might think such an obvious mistake would nullify this thing. But as we can show now, the dharani format as used in Surangama Sutra which does not appear much older than ca. 700 clearly reflects an older origin: MMK.



cakravartī tathā cakram uṣṇīṣe sita-m-udbhave // 38.17 //
ap38.­18
sitātapatraṃ mukhyena maṇḍale tu samālikhet /
buddhānāṃ dharmacakraṃ vai padmaṃ padmakule tathā // 38.18 //
ap38.­19
vajraṃ vajrakule proktaṃ gajaṃ gajakulodbhave /
tathā maṇikule kumbhaṃ niyujyāt sarvamaṇḍale // 38.19 //


The order is flipped, but, there is Mani and Gaja Kula. This has only just been published, so there would have been no way for us to determine this, and even worse it is in a bubble, so you cannot actually search for it. Have to know it is there. It is there. And so it is probably fair to take the stance: Surungama Sutra related to similarly-named titles from ca. 200 is at best a mistaken notion, perhaps even an intentionally fraudulent claim. Conversely, calling it outright apocryphal is incorrect because the main basis of it comes from MMK--which mysteriously has no known commentaries at all. This colossus is something like "the first Skanda Purana" and we have been oblivious to it until this translation of a ca. 1926 printing in Hindi.


They were mantrified in the previous chapter between Mamaki and Samantabhadra:

oṁ gajāhvaye hūṁ khacare svāhā /


Chapter Thirty-seven is in the paradoxical position of apparently being read to Manjushri in order to write it:

There is, Mañjuśrī, in your root manual, another most secret mudrā. Its ritual procedure [represents] the entire mudrā system.


Following intuition, the arch mudra is--Usnisa Mudra. It goes through various permutations, including ones that match Navosnisa of Sarvadurgati Parishodhana.

Many more are given, along with mantras such as Pandara and Mamaki. As to "Elephant":


Similarly, in the Royal2362 family, [one will accomplish all activities by combining] the one-syllable heart mantra of the bodhisattva Gajagandha2363 with his mudrā.

In place of “Royal family,” the Tibetan translates as, “Elephant family.”

The Tibetan reflects the Sanskrit *Gajagandha instead of the extant Skt. Rājagandha.

Similarly, in the Elephant2424 family, there is, the mantra of the bodhisattva Gajagandha:

“Oṁ, you with an elephant’s name, hūṁ! You who walk in the sky, svāhā!

Here rājakule (“in the Royal family”) is read as gajakule (“in the Elephant family”) based on the Tibetan, as the mantra that follows is clearly associated with the Elephant family.


Chapter Thirty-eight adds mandalas and such language as:

the secret maṇḍala of all the mantra [deities] in all the tantras.

mantras employed in tantric methods.


It is talking about drawing mandalas, sometimes using symbols such as:


The elephant, the Elephant family;
And the jar, the Jewel family.
These allocations apply to every maṇḍala.


Here, there was no indication it might be the Raja or Royal Family. "Family" in this usage is not quite as distinct as "Buddha Family"; some of them are, and it keeps going:

To represent the distinguished yakṣa family,
One should draw a fruit that is a source of phalaja. [Fruit Born, not understood by translator]


[Whether it is] ordinary speech,
Lamentation, weeping, laughter, wailing,
Or any [other kind of] speaking or talking,
All of them have their place in the mantras.


I am not sure why, in this chapter, the ideas of mandalas and tantrism are put together as if this was a Purana that had been soaking up entire tantric villages. It is really telling you to do all kinds of mandalas. They are generally based on Chakravartin or Sitatapatra and Four Families. So it does have this Quintessence. It may not be too obvious, but, it does say allocated to every mandala. If one of those Families was "Royal", it might be redundant because of the next two:

The two eminent families, the Celestial and the Noble,2464
Should be drawn as the endless knot and swastika respectively.

The Tibetan translates as, “the other Celestial family,” possibly reflecting the Sanskrit *divyānyau instead of the extant Skt. divyāryau.

Divya Arya, Divine and Noble. Celestial and Divyarya sound like two more Buddha Families in this context. It did use the expression Eight Families. Actually it looks like Celestial refers to Akanistha; and the Yaksha is the Noble Family.

But then there is pretty clearly a Pancha Jina Quintessence that seems to have a choice of being centered on a Wheel or Parasol. That is quite similar to the Navosnisa, but, the Sarvadurgati Parishodhana is not supposed to be composed for another two centuries.


The significance is that the Shurangama Sutra which has little to no substantial evidence of being much older than ca. 700 turns out to be one of the few if only places that has kept the Quintessence of a mandala as found in MMK.

Manjushri has a connection to China that goes back before writing. In this case, it is in a writing that is called pre-tantric meaning it does not, or perhaps cannot, give the rest of the teaching. How it could say tantras have mantras or deities in all of them related to a mandala would supposedly be meaningless in this regard. This is telling you to go ahead and try the stuff in a basic way.


In other mudras:

As with the vajra, so with the trident—there is no difference between them—if it is raised, the [mudrā] is associated with Vajradhara; if lowered, with Maheśvara. If it is formed in the center, it is associated with the venerable masters and teachers as well as all humankind.


If one is firmly set with the left foot outstretched, the right knee touching the ground, the left [hand] extended backward, and the right poised to deliver a blow, this is the mudrā of Aparājitā. The corresponding mantra is:

oṁ hulu hulu caṇḍāli mātaṅgi svāhā


In this case, the Mulakalpa would be about two hundred years too late to tell us about those girls being extended into the Gauris. But it did introduce Parnasabari and Janguli as the leading Vidyarajnis. And here they, meaning the class, are attached to Aparajita.



Avalokiteshvara in Lotus Family:

oṁ jiḥ jiḥ jināṅga­bhṛdbhaya­bhedine svāhā


Pandara:

Oṁ kaṭe vikaṭe nikaṭe kaṭaṅkaṭe kaṭavikaṭa­kaṭaṅkaṭe svāhā

In this mantra, Pāṇḍaravāsinī is addressed by a series of epithets difficult to translate‍—these are kaṭā and its derivations. Kaṭā possibly suggests a woman with broad hips. The mantra also affords protection to those visiting any of the charnel grounds. But it is saying this supposedly before there is such a thing as Cemetery Yoga.

That is another we have found an extremely rare practice in the Simhanada line which seems like it should be incorporated to the more widely-known Mahakarunika and Sragdhara systems. Strangely there has never been much about a plain Red Tara in Lotus Family. Pandara from MMK is one of few.

Mamaki:

oṁ kulandhari bandha bandha huṁ phaṭ


Mamaki is very familiar, in the sense we are very familiar with how mysterious she is. Friendly but weird. Something like that. In this root mantra she is executing something like the Vajra Bond made by Vajrasattva. Hers is less individual and more accessive of the Family.


The chapter concludes with another mantra based on this concern:

One should recite this mantra while displaying the mudrā of Māmakī and then tie the thread around one’s hips. If one wraps it around three times, the semen will be arrested.


In Shurungama Sutra, Matangi instantly became an Anangamin, or she traversed the whole Kama Loka. To the extent it is related to MMK, Matangi has this one appearance, in a mantra of Aparajita. "Gaja Family" is either normal, or veers towards the Tibetan version. MMK emphasizes Families in the style of Shurungama Sutra, and Usnisa deities as seen in Sarvadurgati Parishodhana. It states that mantras taught in the Shaiva, Garuda and Vaishnava tantras will be effective if applied by Buddhists since they were all taught originally by Manjushri. As far as its actual age, we should be careful. For example Rigpa Wiki says:

The earliest textual reference of Tara is the Manjushri mula kalpa, which arose between the 5th and 8th century, where Tara is mentioned in some of the mandalas.

The oldest manuscript known to the translators is perhaps eleventh century. As to why it should be the "first tantra" (its internal subject is mantratantra), or if the beginnings of VAT and Dakini Jala are more accurately placed ca. 650 would do it, is hard to say. I do not know how it could talk about "all the tantras" if it was first. It is generally suggested an older core may not have contained all parts. It does also have one gender slip with Parasol:



rājñaḥ6273 sitātapatras tu siddhas tu sagarasya vai /
dilīpasya tathā mantraṃ siddham ekam akṣaram // 53.360

rājñaḥ] Y; rājā S


In that situation, the translators prefer the feminized Tibetan script, even though that does not seem to mesh with the pattern.



Versus the fact that it is impossible to determine what may have been written or said first, there is, however, a fairly concise way to find "the tantric system"'s ability to unroll "explanatory power" in a small but visible timeline. The only thing you could additionally "teach" someone in a more coherent picture is Generation Stage. This is not in the earliest tantras. VAT has a remarkable portrayal of Enlightenment involving Abhisambodhis, but it does not really have Generation Stage. Sarvadurgati Parishodhana has Bardo Consciousness, but Tummo is at most hidden in a Tibetan Bhairava retinue. Generation Stage and the system of Six Yogas is found in the development of Guhyasamaja. As most of us used to believe:


Bhattacharyya’s view that Asanga, the Mahayana philosopher of the 4th century, was the author of the Guhyasamaja-tantra has been denied by many scholars.


As the way it is saying that it is Generation Stage or the first Father Tantra:

Guhyasamaja-tantra is known as the most basic Upaya-tantra text.

The Guhyasamaja-tantra has been transmitted in India as an Uttaratantra of the Tattvasamgraha-sutra [STTS]. On the other hand, the Mahavairocana-sutra [VAT] which is highly revered in Shingon Mikkyo (Esoteric Buddhism of Japan) had little relationship with the later development of Buddhist tantrism in India and Tibet.

That means a continuation, that is, you would be trained in the STTS rituals, in order to perhaps be given Guhyasamaja at some point. The counter-point is that we might say this is an institutionalized system which is sort of "working out on paper" something that is actually taking place with Guhyajnana Dakini in the Sitabani charnel ground.

Its feminine mystical background is:

The Mayajala-tantra was the first text from which the Guhyasamaja-tantra drew such accounts, the goddesses appearing thereafter as consorts of the Tathagatas.

The ideas of all these Tathagatas except Vairocana were based on the Mayajala-tantra while Vairocana’s views were incorporated from the Mahavairocana. The forty-one deities explained in the second chapter of the Mayajala-tantra form the structure of its mandala. These are five Tathagatas with Vairocana as the central deity, four Saktis, four Paramita-bodhisattvas, four Bodhisattvas, sixteen Mahabodhisattvas and eight Krodharajas.



Unlike some things, there are a lot of Guhyasamaja Tantras. Even so, we can see that in its turn, it is only part of something:


These Sanskrit manuscripts are divided into Purvardha or the first half and the Parardha or second half. Generally speaking, the title Guhyasamaja-tantra indicates only the Purvardha which consists of 18 chapters.

The Parardha has kalpas and sadhanas of the Heruka or Samputa system, and its material is clearly different from the Purvardha.


Incomplete Guhyasamajas--tracts which will become identical to some of its chapters-- are found in China starting in the 700s. The tantra in its final form is thought to have developed at the end of the century contemporaneously with Jnanapada:


Jnanapada's period of activity is placed around the latter half of the 8th century. We may also note that Vairocana who was a contemporary of King Khri-srondde-brtsan (ca. 800) had introduced the Sampannakrama of the Jnanapada school from India to Tibet.


Jnanapada and Lotsawa Vairocana were clearly handling Generation Stage at a time where nothing else in writing did this. Not that we know of. The Arya school is thought to have come in the 800s and only worked the full tantra and developed more precise commentaries:


The thirty-two deity mandala of the Saint school is not described in the Guhyasamaja-tantra and its authority appears to be based only on the Vajramala- tantra.

a couple of the explanatory tantras are:

Vajramala-tantra, the Caturdevipariprccha tantra


When we compare the Chinese translations of the Guhyasamaja-tantra and Hevajra-tantra to their respective Sanskrit texts and Tibetan translations, we notice an abundance of mistranslations in the Chinese. [We have also found what appear to be intentional tricks in Indian manuscripts. Written format appears to be more of a mnemonic assistant than a complete authority.]


There are analogies with the Lankavatara-sutra and Vaisnavism in the Vajramala-tantra, which is one of the Akhyanatantras of the Guhyasamaja.


So that is why Vajramala or Vajra Rosary is really *the* most explanatory Father Tantra. Also the Arya school's commentaries by Nagarjuna and Candrakirti *are* much more systemically written and therefor very elegant and poignant in dealing with the subject. Vairocana Mayajala is also the source of Namasangiti. Vilasavajra (or Lilavajra) composed its commentary, and also the earliest known commentary on Guhyagarbha Tantra (Vajrasattva Mayajala).

Under scrutiny, it appears that Nagarjuna's Five Stages are not in GST or Vajra Rosary in its first sixty-seven chapters; the way it quotes this tantra is in a final chapter which was added later.


Because the Five Stages are the Abhisambodhis of VAT, we actually do not want this to go missing. In fact we are looking more at the mating of this fivefold Vairocana system to the sixfold system of Akshobhya tantras. This largely works according to GST's internal structure of what "sadhana" is and so forth. The major basis of how Vajra Rosary works is by blending Death Consciousness with Bliss, and it is more tantricly subtle than most other texts because it includes the doctrine of Moods. Because the Moods are mainly based from Dakini Jala is another reason we might seek to associate these two texts.

Although textual scrutiny is of course important, we want to see how this compiles or assembles itself. The plain Guhyasamaja information is easy to find. What I think we may be trying to do is de-centralize "this particular tantra" into the overall subject, Generation Stage. As we have seen, the back half of it is usually Heruka and Samputa, which is the same aim as the system of Tara.


ITJ 454 is an untitled Dunhuang manuscript of around ten pages explaining Vajrasattva by quoting Dakini Jala and Guhyasamaja, as mentioned in the early days of Dzogchen. It may be their oldest external mention.

The Dzogchen always seemed to me like too much the opposite of restraining Prajnaparamita to the Tenth Bhumi--almost as if it were already accomplished. Because it is so "immediate", it had to turn around and justify the use of deities. Tantras such as Dakini Jala refer to the subtle body, but, without the full text, we cannot say that it gives an adequate method of Utpatti or Generation Stage.

Mayajala is said to set the standard Om Ah Hum Svaha.

GST, Mayajala, and Vajrabhairava are counted as Mahayoga or slightly above the Yoga Tantra classification. Mahayoga is the Father Tantra section of the Tibetan Kanjur in thirty-seven texts. These collectively could perhaps be described as trying to get you in to Vajra Rosary.



Despite a lot of research, there is still the problem:

“But what,” he asked, “is Mahāyoga anyway?”


The eventual reply started with Five Families as One or as Vajrasattva.


And that becomes very textual and elaborate; but the more direct answer according to Rigpa:

Mahayoga focuses mainly on the development stage (Tib. kyérim), and emphasizes the clarity and precision of visualization as skilful means [Upaya]. The vehicle of mahayoga, or ‘great yoga,’ is so-called because it is superior to ordinary yoga tantra since all phenomena are realized to be a magical display in which appearance and emptiness are indivisible.


Technically, it has more to do with Nyingma and Dunhuang than it does with Sarma. Nevertheless, we still use the textual grouping such as Body or Kaya = Dakini Jala, Qualities or Guna or Jewel Family = Paramadya, and so on. Vidyottama or i. e. the root of Vajrakilaya is shown as Karma or Activity.

Four Mayajalas (Vajrasattva, Vairocana, Devi, Manjushri)

Vajrasattva is in turn Eight Mayajalas.

According to Wiki, some of those Eight translate to:


lha mo sgyu 'phrul dra ba chen mo'i rgyud (Skt: devī jālī mahā māyā tantra)

'jam dpal mtshan brjod (Skt: ārya mañjuśrī nāma saṃgīti)


This is a way of arranging the library for those who do not yet have the Upaya to effortlessly meditate in Luminous Mind on a divine Quintessence. That requires Generation Stage and the use of mantra to affect winds and heat. Even here it is basically running from Dakini Jala to Guhyasamaja. At the point where it starts dealing with Eight Winged Herukas is where we would say that is its own thing which is not in our Sarma practices. Instead, while relying on something close to the basic structure of Mahayoga, we are going through a panoply of Sadhanamala Taras.

In that book, we find several Prayogas, there is Anu Yoga, Suksma Yoga, and other expressions, so is there a closer parallel? Yes, because it is given as the practice of Trisamaya Raja in the very beginning right after Vipula Siddhi:

etad eva stotraṃ vajramaṇḍalālālaṅkāramahāyogatantre


and if we were wondering if something similar was in the Sarma system which may have taken a different progression than those winged Herukas, we get:


māyājālamahāyogatantrāt ṣoḍaśasāhasrikādākṛṣṭakurukullāsādhanaṃ

by:

ācāryyaśrīkṛṣṇapādānām


which exceeds anything I have personally experienced. Taking basic Kurukulla as not exactly a love goddess, but, the ability to drip nectar from the throat into the body, yes, I know that this is an actual thing. But that sense is just physiological. I have never conjoined it with the abilities or wisdom of Kurukulla as established here. That is why the Mahayoga that gets to this point is very obvious to me, or, I would say the whole Suksma Yoga without much of the Noumenal system mixed with it.

Again it is also accurate to say that Abhayakaragupta compiled Sadhanamala mainly for this reason or Generation Stage, whereas NSP--Vajravali is mostly for Completion Stage; i. e. it begins with Guhyasamaja. In that sense, he would still be suggesting that some Yoga deities are adequate for Completion Stage, such as Namasangiti, Vajra Tara, and Sarvadurgati Parishodhana.




As of 2020, as well as MMK, there is a new study about the stupas of Densatil. This was extensively studied by Tucci in the days of black-and-white photography, then, mostly trashed from the military intervention. By now, many of its parts or figurines have been re-discovered everywhere from Hong Kong to Germany, and the study is pretty much able to re-construct what was being portrayed here. The Stupas are based on the lineage of Pamo Dru and the early connection of the Kadam pas to Kagyu. This work is perhaps more fascinating to archaeoloigists since a stupa would hold around 2800 figurines. But the majority of these are just followers or attendants. The set, itself, basically only references a few tantras, to the point where it doesn't really show anything that might tell us anything, except that it probably does show the Namasangiti Dharani system or else something very close.

The proper stupa is a relic house, which sits on top of a tiered pedestal. The tantras or deities currently thought to have been displayed on the tiers at Densatil, starting from the top, are:


Vajradhara to the east and south, Chakrasamavara to the west and Hevajra to the north...Three aspects of Vajrayogini/Vajravarahi are indicated to be placed in front of each of these four main deities.

Guhyasamaja in the east, the assembly of Vajrakila in the south, that of Hevajra in the west, and the 62 deities mandala of Chakrasamvara in the north. An aspect of Avalokiteshvara is arranged at each of the four corners.

on the east face the Vajradhatumandala in 47 deities, on the south, the assembly of Buddhakapala, on the west, the assembly of Prajnaparamita and on the north, the mandala in 14 deities of Chakrasamvara. An aspect of Acala is arranged at each of the four corners.

a Buddha surrounded by two of the eight Bodhisattvas of the bhadrakalpa and two wrathful deities on each side.

On each side are three central goddesses flanked by the group of the sixteen goddesses of sensual enjoyment bearing offerings. The four main goddesses occupying the center of each side are Parnashavari in the east, Eight armed Tara in the south, Dhvajagrakeyura in the west and Vasudhara in the north.

On each face, on either side of a central lotus stem, we find an aspect of Mahakala and one of the goddess Lhamo, themselves flanked by two deities of wealth and two nagarajas closing the section.



The base is appropriate because these Rinpoches really were doing the Hevajra system, which Palden Lhamo is a protector of. We can say offhand that Chakrasamvara has Vajravarahi in Three Families, whereas Hevajra has something more like three different kinds of Vajrayogini. The top tier would make twelve of these varieties. The first research called the males all Vajradhara, so the recent article has put some effort into review.

Then with the Musicians and Dancers appear to be twelve dharani goddesses; we already saw that Parnasabari is with Janguli, and, "probably" Marici. Chances are very good that "Eight Arm Tara" is Vajra Tara, who is both a Yoga link into the Hevajra system, as well as appropriate for the South, in Jewel Family. However she is not included in the Dharanis. But then we would need to admit that there are a couple of the dharanis that cannot be identified. Among the figurines, Janguli lacks her Hood, as the Yellow form seems to lack it in some paintings (although the sadhana includes it). She has been identified due to her implied presence and because the items match hers.


The brassworks are believed to have come from a handful of nearby workshops; tracked down from wherever they wound up, here are two panels of Offering Goddesses:












The Stupa didn't say anything about the seven or eight outer offerings such as water, nor does it have five offerings ending on Food, at least not in any prominent position. It does seem to say that dharanis are a bit like music and dance. That is part of the point. A dharani is available in any way appropriate to use it. It can be spoken in mundane activity, it can be a spoken mantra, and either it or its deity can be Muttered. The easiest example is Usnisa Vijaya. The outer activity of feeding animals can be accompanied by Om Bhrum Svaha. This is also her Root Mantra. So it directly proceeds to any outer or inner yoga involving her. And then she may or may not be the first deity that someone understands, but she is necessary to complete a mandala or a tantric Nyasa.



In Sarvadurgati Parishodhana, there is not much substantial leading to Hevajra Tantra, but, it does have a Noose based on the meaning of the name:


he vajra paśya



followed by a Water initiation which relates to the term "vajrodaka":

udakābhiṣekaṃ vajramuṣṭyā


When this happens, Sattvavajri, who appeared to be an important hypostatic Vajra Family goddess in STTS, or what we might think of as Vajradhatu secret or dharani system, here, seems to be the basis of the initiation. It calls forward a group wherein Vajradhatvishvari comes first, not with Prajnas, but with Vajravajrini and other Vajrinis of the families.

In groups of ten where Vajradhatvishvari is summoned last, they seem to show that Mamaki remains in Vajra Family when becoming the consort of Ratnasambhava, which is why Vajradhatvishvari is thought of as being in Jewel Family.

The outcome of this Vajrini rite is:

vajra tuṣya


As a name, Tusya is Shiva. It is a conjugation of Tosana or Contentment. This is the primary meaning of the Peaceful aspect of the Bell or Fourth Activity. Beginning from a Summoning or Hook, the final state is that where you see your guest is happy to stay of their own accord. That is also a fundamental meaning of Joy, in that seeing Joy in others is as important as your own, in fact it is like a superior form or it is what you are looking for.


This mantra is also used in STTS in the process of "discharging mudras", which identifies one with Vajrasattva and the Vajras of Body, Speech, and Mind. As for this area of the tantra:

Before proceeding to the next chapter, it is important to note that this chapter
contains not only a unique rite, namely, the five abhisambodhis, but also the
various basic and essential methods of tantra, which are closely related to the rituals
described in the other chapters. This is one of the reasons that Amoghavajra gives
priority to only this part of the STTS and translates it from the Sanskrit' into
Chinese.


From the point of view of religious practices, this rite introduces a more developed form of yoga involving
visualisations and recitations than the traditional yoga consisting of controlled
breathing and simple concentration. The method of visualising the object, either the
vajra or the moon, is the preliminary and essential practice for deity -yoga.


It is the same in Vajrasehkara Sutra translated from Chinese in 2017 along with Susiddhikara Sutra. You put on the Armor, clap, and:


Vajra tusya hoh. (0 vajra, rejoice! hoh!) Releasing the bound [seals] with this heart-mantra, one obtains joy. One [also] attains an adamantine state just like Vajrasattva,


It is the only real use of this word. Essentially the same in the handful of tantras that are supposed to be closely related as the feet of yoga in lieu of merely Puja or outer rites. I am not sure that this can quite be considered an invocation of Shiva, because it more strongly resembles the Bell Activity that has the corresponding seed syllable Hoh. On the other hand, it does speak to what or who Sattvavajri is, and that she gets apparently replaced by Vajravajri, in a system corresponding to Vajradhatvishvari also being pulled in, in a preliminary way, by Vajrini goddesses. Tantras that are partially Assamese that do indicate the presence of Shiva use Vajradhatvishvari after a "doubling" of this pattern, most likely as Upper and Lower.

The unusual motion of those ten deities is a concordant pattern with Vajra Rosary.

As close parallels with dharanis, if it can be said Green Janguli is like Sarvadurgati Parishodhana, Yellow Janguli is like the Generation Stage of Krsna Yamari Tantra, then Parasol is like Vajra Rosary. Or, Parasol is highly hypostatic, and can be concatenated into Paramartha Parasol who resembles Vajra Rosary. They can do this. The difference is that if a male is not present, a female can enact the male's role. That is how the pair Tara and Bhrkuti are Upaya and Prajna. Others can be the Upaya. This is like saying Janguli is about as powerful as Vajrabhairava with Vetali. Or that Parasol is about like Vajradhara with Vajrayogini.

Snapshot of Contents of Vajramala.

It is the basis of Lama Chopa Guru Yoga. So it is a bit more accessible than it may seem.

Not part of our focus, but there is a thesis on Medicine or Bhaisajya Guru at Gilgit.

[shaberon]

Combining Six Yogas, Five Stages, and Abhisambodhi; more masquerades from Parasol, enhanced "Shurungama Mantra"




General information says that dharanis are the oldest printed texts in the world; and so by it inspiring the art of printing, then there becomes a deluge of such printings across Asia in the 700s.


And there is sometimes cynical peer review, which we still take into consideration:


According to Richard McBride, as well as Richard Payne, the "proto-tantra" proposal too is problematic because it is a meaningless anachronistic teleological category that "misleads" and implies that the dharanis somehow anticipated and nurtured Buddhist tantra tradition. There is no evidence for such a sequential development. Instead, the evidence points to an overlap but that the significance of the dharanis in mainstream Buddhist traditions and the esoteric Buddhist tantra tradition co-existed independent of each other.

And yet from the study of Buddhism to learn how it challenges Hinduism and thereby dispel it as Nastika, in reference to Dakini Jala:

This text had the central deities of the maNDala as emanations of the buddha-s engaged in actual maithuna with their praj~nA-s and surrounded by a kula of DAkinI-s. This tantra was to be the precursor of the final group of tantra-s the yoginI tantra-s. I am of the opinion that a version of this text and examples of the yogottara tantra-s (see below) were in place by 650 CE.


Allright. The first assertion of two Richards is correct because all we can show is a flow of similarities. There has never not been a "secret tradition" of apostolic succession from Buddha. Testimony is a valid means of knowledge, but, it doesn't work against the view that Buddhist tantra was cut from new cloth unless you can objectively prove otherwise. The first things we can probably say are a full set of "tantric instructions" are Dakini Jala and Vairocana Abhisambodhi, which are from this same era before the advent of printing. What do we learn in Vairocana. It says that who Buddha is, came from something that was extraordinarily similar to, but slightly different from, Liberation as taught and achieved by all the Sages and Upanishads of Hinduism. Buddha was in Akanistha, in Union with a Jnanasattva who was the Apsaras named Tilottama, Dissolved the Voids, and experienced Abhisambodhis. Unless someone understands this from having experienced a mild version of it, then, they are not really talking about the same subject we are. It is a Yoga technique. Buddha did not get it from a scripture and guru. It has been sent out that way searching for anyone to understand it. Only a few of them have asked the right kinds of questions; it is difficult to know that the technique exists. Understanding it conceptually is helpful towards doing it, but, the point we are running on is that a person could be given a complete Chakrasamvara initiation or something like that, and be going through the motions, but not really doing it. Conversely, the dharanis come mainly from Sutras which is encouraging towards anyone to pick it up. If you can get the hang of Buddhist Yoga, then, dharanis can be incredibly quick and effective. So the only question is whether you can do this Yoga that leads to Buddhist Samadhi.

Maybe that is what they mean by "esoteric tradition co-existed". Because dharanis are available for public use, we would have to say that how anyone and everyone may have used them has nothing to do with the subject either. Did the dharanis come from the public, or were they put there by the esoteric community?


Tantra is not any different than general Mahayana Buddhism, and if we examine this carefully, tantra or yoga has a way of poking its nose into the Sutra. I am not sure why one would assume there was no spoken knowledge or esoteric transmission that could have been passed along at any point in time along with writings that do not say much about it. Dharani was called a "memory assistant", and yes that principle holds true in all of this; there is constant compression of knowledge and experiences into something as small as a syllable. Conversely, if you unzip the 160 verses of Namasangiti Dharani, it contains all of the Buddha Dharma; which even includes the Vyuha of Lakshmi Tantra.

What sort of evidence would more convincingly "imply nurturing" of dharani to tantra? I thought the pre-printing distribution of Ucchusma and Mahabala was pretty close. Isn't this fairly tightly wired into several tantric scriptures?



Going back to the basics:


Prajnaparamita is a genre rather than "a" Sutra, much like Chakrasamvara is not "a" tantra. Sort of by default, these names are used for the largest predominant examples of their class. Since there is an easy online example of the first, we use it for reference regularly. And so from posting on Janguli, one of the synonyms of "poison" is Akusala Mula, or Unwholesome Roots. And at first, these are not yet really the Skandhas, but common distractions which prevent the most basic forms of meditation. When minor ones are attacked, then you get a transition into Auxiliaries of Penetration or Insight, which, from the Pali, are:


the four roots of good (kuśalamūla) practiced in the path of preparation (prayogamārga) immediately preceding the path of seeing (darśanamārga)


This is prior to the First Bhumi or before the actually-manifested Vajrasattva. So the term "Prayoga" should be pretty obvious. This planting of Wholesome Roots has its epoch. In Mahayana, they are to be practiced during:

the level of activity in faith (adhimukticaryabhūmi), the stage preparatory (prayogamārga) to entry into the bhūmis



and this corresponds exactly to Namasangiti, which has a non- or introductory Paramita using the same name as the Bhumi or Ground:

Ayur............................Adimukticarya........Ratna .............Vasumati Mahalakshmi


It just referred me to an entire non-Buddhist Lakshmi dharani pantheon from the Bombay region. Oh, this is still public, it might not be surprising if a billion people use it every day.

You would be confused if you thought it was the first Paramita; the Path would collapse. The tantra has kept the very straightforward meaning of the Sutra. There is not another Tantric Paramita system that includes this. They all start with the First Bhumi. This is not really among them, it is Prayoga. Its practices, the four auxiliaries of penetration or insight (nirvedhabhāgiya) are:

heat (uṣmagata),
summit (mūrdhānaḥ),
patience (kṣānti),
supreme dharma (laukikāgradharma).

the four nirvedhabhāgiyas correspond to four concentrations (samādhi): the acquisition of light (ālokabhāghiya), the increase of light (ālokavṛddhi), penetration of one part of the truth (tattvaikadeśanupraveśa), the concentration immediately preceding the path of seeing (āntaryasamādhi).


In Vijnanavada, these four concentrations result in lesser and greater states of:

Paryāsana (पर्यासन).—i. e. pari- 2. as, [Causal.], + ana, n. Revolution

1) Casting, throwing about.

2) Sending forth, throwing.

3) Sending away.

4) Putting off or away.

Destruction


and:

yathābhūta : (adj.) conformity with the truth
yathābhūta-ñāṇa absolute knowledge


Usmāgata refers to: heated, belonging to heat Dhs. 964; as tt. one who mortifies or chastises himself, an ascetic

Murdhana is the head, etc., closely related to the way Green Janguli expresses her Hood:


saptaphaṭvirājitamūrdhajaṃ


Seven Phat syllables are doing a verb form of Viraja:

Virājita (विराजित).—mfn.

(-taḥ-tā-taṃ) 1. Illuminated, irradiated, splendid. 2. Manifested, made visible. E. vi before rāj to shine


which are:

Mūrdhaja (मूर्धज).—[masculine] [plural] hair or mane (l. head-born)


which as a name reflects the quandry of "only" having a teaching about Seven Jewels:

Māndhātar, surnamed Mūrdhaja because he was born from a bump on his father’s head, reigned over the four continents (cāturdvīpaka); the heavens rained down [on him] the seven jewels (saptaratna) and the things he needed; Śakra devānām indra shared his seat with him and made him sit beside him; nevertheless, despite all his wealth, he was unable to obtain the Path.

Reflexively by the tantric terms, he lacked the ability to manifest Vajraraudris. That is sort of the time period of Janguli. She has all the underpinnings of what they are. That does not mean we will actually obtain the Path, it just means she can help us find it quickly.



In the related Prajnaparamita chapter on Utmost Patience (Ksanti):

the bodhisattva contemplates the Buddhas of the ten directions (daśadigbuddha) and their emanations (nirmāṇa): he is seated in space opposite them. This is what is called ‘endowed with utmost patience’. It is like in the śrāvaka system where the increase (vṛddhi) of heat (uṣmagata) is called summit (mūrdhan) and the increase of summit is called patience (kśānti): they are not distinct dharmas but merely [three] different degrees [of one and the same thing].


Now it is already telling us to blend Ten Directions with an increase of heat. So that is very close to describing without teaching Generation Stage. When one is situated here, Rddhi is much like Increase or Prajnavardhani. And, by a principle of exclusion, prior synonyms of samadhi are being disregarded:


...when the yogin has obtained the true wisdoms that are the four foundations of mindfulness (smṛtyupasthāna) and these right exertions (samyagvīrya) that are the four right efforts (samyakpradhāna), his wisdom (prajñā) is increased (vardhate) by means of these exertions; however, the strength of his concentration (samādhibala) remains weak.

These practices do indeed contain [a certain measure] of concentration, but although wisdom (prajñā) and exertion (vīrya) are strong in them, concentration is weak. That is why the yogin did not realize his wishes (praṇidhāna) as he desired.

When Prajna, Virya, and Pranidhana are Bala or strong, you enter the Rddhi or bases of magical power:

Together with the five good elements (kuśalaskandhasaṃsargāt) these practices are called [bases of] magical power by connection (the four bases are Zeal or Chanda, Virya, Citta, and Mimamsa).


so...you have all that before the Bala or sought-for breed of Samadhi. If this is the Sixth Yoga, then, it must come after Dhyana. It is, so to speak, a combination of the Nine Spaces with Undisturbability. Prajnaparamita does not directly deal with Bliss like in the tantras, although Dhyana and Sampatti rely on something similar:


Moreover, these concentrations increase all the delight (āsvādana) of their own level: immediately after the delight of the first dhyāna, there follows the delight of the second, and so on up to the naivasaṃjñānāsaṃñāyatana.

3) [In regard to the object condition, we may note that] the śuddhaka and anāsrava dhyānas always have as object (ālambana) the dhyāna of delight; they are concerned with the enjoyment of their own level; they are also concerned with pure desire (viśuddhatṛṣṇā). As they do not have a stainless object, they are not concerned with the anāsrava.


As nominal cause (nāmahetu) and governing cause (adhipatipratyaya), the dhyānas enter into:

the four boundless ones (apramāṇacitta),
the [first] three liberations (vimokṣa), (only the first three belong to the dhyānas, the other five fall within the samāpattis)
the eight spheres of domination (abhibhvāyatana),
the [first] eight spheres of totality (kṛtsnāyatana), those that are concerned with kāmadhātu, (elements and colors)
the [first] five superknowledges (abhijñā) are concerned with kāma- and rūpadhātu.

The other concentrations are each adapted to its own object; the saṃjñāvedayitanirodhasamapatti has no object.


Delight as above is a form of Svad, which has connotations of tasting and eating, related to goddess Svadha.

This has put together inner heat, a retinue in ten directions, and enjoyment. That is about as close to tantra as you can come without the final instructions.



According to Wiki:

Tāntric versions of the Prajñāpāramitā literature were produced from the year 500 CE on and include sutras such as the Adhyardhaśatikā Prajñāpāramitā (150 lines).


We don't know what someone may mean by that, since these are all Sutras. We can try to find out, given the time frame and where to look.

Being found all the way to Mongolia:

The Khotanese version was one of the earliest Khotanese texts to be studied (1912).


It is currently just a part of Mahayana Sutra Samgraha. I have looked for this before, and never found it, because it is a small slip in a big sheaf. I remember the frustration of it because according to the source, it was pivotal. Now, at a glance, one can see it is interested in Enlightenment:


vajrasamatābhisaṃbodhi


It also has the, to me, surprising feature of:


mahāsukhottamasiddhyai saṃvartate|


i. e., Maha Sukha or Great Bliss of the tantras.

And, it is a consecration for non-dual gnosis:


prajñāpāramitopāyajñānādhiṣṭhānasādhitā|


In the linguistic workshop, Abhisambodhi, which is a later or "tantric" member of the Bodh- or Budh- terminology, was mostly unstudied and left out of the dictionary. It derives from a verb meaning "to attain Anuttara Samyak Sambodhi". So it is a specifically-Buddhist word, unlike Buddhi. And so it is nothing except what is found in those doctrines on it.


Conze respected it enough to leave it untranslated over sixty times in a book of Prajnaparamita chapters. Here, it has little explanation other than being used synonymously to Final Enlightenment:

Thus, for twelve years after he had attained abhisambodhi, the Buddha Jan-teng (Dipamkara) only
emitted light rays (rasmi) and, as there was no one to understand him, did not preach the Dharma.


It is consistently synonymous with "highest state", without explanation or practice. While it does have the novel expression Abhisambodhi, in this batch of chapters, sukha also appears, but is just a synonym for happiness. Nothing really new until we look in Prajnaparamita history:

The controversy between the Sunyavadins and the Vijnanavadins raged for several centuries. Vijnanavada was also found unsatisfactory and in the 8th century another element was added on to it which was called Mahasukhavada, so that "after ordinary nirvana there were three elements, Sunya, Vijnana, and Mahasukha."

So, no, it is not supposed to be an "item" until a few centuries after this Sutra, meaning after the ca. 500 Prajnaparamita in 150 Lines.

Vijnana or Yogacara was the proponent of Bliss according to Hevajra:

In Vajrayana, the conception of the Absolute is a great Bliss or Mahasukha. In Yogacara, a brief reference to the nature of the Absolute as perfect bliss (sukha). It is the perfect quintessence of consciousness devoid of subject-object duality.



The 150 Lines is tantric enough so that it shows, and perhaps is the first arrangement of:

Vairocana on the subject of Abhisambodhis, as in VAT, which is kept "within" Guhyagarbha Tantra as the sole Dhyani Buddha relying on that explanation.

Unsurpassable Mahasukha Siddhi.


At that point, we can argue that this is incomplete, or, that it only takes the entire tantric system to explain it. The tantra does not have any other goal than Anuttara Samyak Sambodhi, same as this Sutra. If you actually did the Yoga, you would not need anyone to teach you it is Blissful. But if you know what it is, and try to figure out what to say to someone else, it would probably take generations of attempts, just like this. I would probably say, look, this is Ekajati, and when she does Yoga, she gets so turned on that all her hair stands up. And if there is something like this traceable in the older dharanis, and you just knew it worked with heat, head, and Ten Directions, you would get much closer to the intended experience of a full tantra, than someone who has learned more details without being able to do it.


There is another work which has extracted the deity used here in 150 Lines:

maha-sukha-vajra-amogha-samaya-sutra



There are two ways to filter this name, Vajramogha. For one, it appears to be a sub-epithet of Vajrakarma in a Vajradhatvishvari-led Vajradhatu mandala from Kriya Samgraha, which happens to also rank Pranidhana as the seventh Paramita.

Also, it is feminized and used as a Gatekeeper in Guhyagarbha.

The context as found in 150 lines is preserved in Japan, where they don't really care when he is a she, after Jundei or Cunda:

He is known as mother of the seven kotis...

there is:

Fugen Emmei

Vajramogha-Samaya-Sattva, Samanta-bhadrayu


And, from further inquiry into Rishukyo:

In his research into the various components which
go to make up the extended versions of the Rishukyo, Fukuda
Ryusei discovered three distinct ritual cycles.

mahasukha-vajramogha-samaya

mahasukhavajraguhya

sri paramadya

The opening section of the third contains the basic pattern for the so called Five Mysteries strand of the tradition, explaining
as it does the mandala and mantra of Vajrasattva and his
four consorts, along with the eight Worshipping and four
Gathering Bodhisattvas who surround them. After this it
contains a good deal of material which simply deals with
rituals for mundane ends, such as inducing and stopping rain
and the avoidance of disasters.70

70. An exception is part XXI (T.244: 811b26-814a19), which also deals
with the Five Mysteries. Tellingly, the Consorts as enumerated there (in
a section consisting of transcriptions from the Sanskrit: 812a3-10) all
have the epithet Maharata-sri-vajramogha-rati-samaya common to their
appellations. I am preparing an annotated translation of this section of
T.244.

Whilst it is as yet difficult to unravel precisely the
various strands of tradition which the Rishukyo literature
touches upon, this much would appear to be certain: at some
time in the course of the seventh and eighth centuries C.E.
there developed what is now known as the Five Mysteries, as
a clearly definable -but not wholly independent- strand of
the esoteric tradition.


Allright. Those three texts are supposed to be in order in the Tibetan canon. So it means Paramadya and the two things previous. The second is the name of the "secret" or Vajradhatu dharani mandala. The first, Vajramogha, appears to be Vajrasattva before he has that name from Khasama or VAT.


This view is supported in a Vietnamese hybrid offshoot of Vajrasattva Hundred Syllable mantra starting:

HE MAHĀ-SUKHA VAJRA-SATVA AYĀHI ŚĪGHRAṂ MAHĀ-SUKHA VAJRAMOGHA


And so they have the scripture but maybe not the inner meaning. There is some benefit in just reading it, but, their dictionary has:

Ñaïi An Laïc Baát Khoâng Boà Taùt: Vajramogha-Samya-Sattva (skt)—Great Peace Amoghavajra
Bodhisattva

Well, that is a bit confusing towards Amoghavajra, the translator. There is no reason to reverse this name. If we wanted to say "Peace" it would be Santi. It is Samaya Sattva or the whole point of Vajrasattva. Furthermore, when feminized, it means the four goddesses in Paramadya. Or, it is not really feminine, it is saying they love him.

Here is a cleaner version of the mantra where we can see it is part of a Samayodaka Siddhi Abhisinca. This begins with Garuda and the Jvalosnisa dharani that Imee Ooi sings, gets to Gagana, and pulls Mahasukha Vajrasattva from there and blends him with Vajramogha. In English, we get translated mantras and can barely tell who the deities are. In tri-lingual Buddhism, the only thing a westerner can read are Sanskrit names and mantras. I can't even tell what the title of the thing might be. But we can get a good idea of what is going on.


Maharata is a non-dual couple in Heruka's Jnanacakra of Apsarases. Whereas "Bhoga" is Enjoyment with a sexual connotation or feeling, Rata or Rati is the enjoyment of intercourse, linguistically related to Ramya and Ramate, playing and sporting. Similar non-sexual feelings towards other people or deities is Bhava. Rati is almost exclusively Lust or the act of it. So in Paramadya, Vajrasattva becomes Amogha or Not Ignorant about four kinds of Rati. It has combined the Quintessence with Anuraga. This "is" tantric, although it is still not quite teaching Generation Stage, if everything else in the book is kriya and homa rites.

The seventeen deities were Vajrasattva and the four goddesses, eight Offering Goddesses, and four Bodhisattvas. That is not terribly tantricly severe. But once you can comprehend these offerings in the inner sense, towards the Sister Class, Bhucaris, Sambhogakaya, etc., it would have an effect.

I have no idea why there are some gigantic mandalas drawn from Paramadya. This review has said the brief beginning, which was explained to us by Alex Wayman as the best idea why tantras have a sexual motif, is recapitulated and enhanced at the end. Only a few pages. As with most such texts, it carries miscellaneous rites, which in some cases seem to have an esoteric meaning, and others are blinds. This is binding Four Elements to a Quintessence, and the second text of Vajrasattva is Dakini Jala, which binds the previous to Six Families, which is equivalent to Body Mandala, which corresponds to the first two Yogas, Pratyahara and Dhyana.

The theme of Maha Sukha Vajrasattva is there from the start. His regular mantra as we have in Ngondro says nothing about this (it is about Vajra Bandha). If you thought Vajramogha was about Karma Family and did not register Vajraguhya as Vajradhatu, the three related texts might seem pretty unrelated. Vajramogha is apparently more like Samantabhadra or a sixth family. The three texts are almost the same as what we found in Mayuri, having Manibhadra, Samantabhadri, Mahasamantabhadri, and Samaya.



According to Jamgon Kongtrul Book Six Part Four, Paramadya and the "tantric Sutra" are this close:


The Glorious Supreme Original Being Tantra (Toh. 487) and the Mode of Transcendent Wisdom in One Hundred and Fifty Stanzas (Toh. 489) are mother, or wisdom, tantras.

The Sutra is classed as a Mother Tantra in nineteenth-century Rime'? Kongtrul is not mistaken in at least ninety per cent or more of everything he says. I am not sure he is mistaken. Usually Paramadya is called a Yoga Tantra. He sees some kind of upgrade. The classification does not matter, that much, aside from the point that the Sutra is equal in rank to it, which is at least Yoga Tantra if not Highest Yoga.




Butön states that each section of the Summation of Essential Principles [in Paramadya] includes the heart, seal, secret mantra, and awareness mantra. Heart consists in the mandala of the body (kaya-mandala) in which the great seal is emphasized. Seal consists in the retention mantra mandala (dharani-mandala) in which the pledge seal is emphasized. Secret mantra consists in the doctrine mandala (dharmamandala) in which the seal of the doctrine is emphasized. Awareness mantra consists in the action mandala (karma-mandala) in which the action seal is emphasized. In the dharani mandala, the dharani deities are arranged as insignias (vajra, etc.), and in the action mandala, all deities, with the exception of the five transcendent ones, are transformed into female deities; thus, these two are wisdom mandalas. The other two are method mandalas.




But, as we were told in Genesis and Development, Paramadya also has:


Vajranarayana, [Vajra]candisvara,
and Vajrapadmodbhava, that is to say, Vajrayanist transformations of Visnu, Rudra,
and Brahma, together with their consorts Vajrasri, Vajragauri, and Vajratara, join
Akasagarbha and Khavajrini to form the retinue of Vajrasattva in the central sec-
tion of the abridged Mandala (bsdus pa'i dkyil 'khor) of the Yogatantra Paramadya.


That sounds like using the Hindu Trinity to generate Akash. You can also see Lotus Family Tara related to Brahma, the Lotus-born, which is quite similar to Avalokiteshvara. When this was written, there may have only been a Sri Devi Sutra and numerous other kinds of Lakshmi dharanis that might suggest she was coming from somewhere into this tantra.


Defending the onrush of Eros, Anandagarbha says of Vaisnava, that in its own teachings it says:

Visnu is Bhagavan ['the possessor of bhaga-'] in that
he resides in the genitals (bhaga-) of women. He is called Narayana [for the same
reason,] because [by residing there] he gives pleasure to men.

Elsewhere there is another quote.

In the same way the Sriparamadya also teaches as follows:

It is [a practitioner] himself who is all Buddhas and a son of Buddha.
He should therefore accomplish himself by the yoga of his chosen deity.
By practising asceticism and keeping endurable observance, his body is
pained and [therefore] weakened. If [the body] is pained, the mind be-
comes distracted. If the mind is distracted, the accomplishment is not
realised. Because of stability of the mind and the body, comfort of him-
self becomes stable. [On the other hand,] it becomes unstable and also
destructed by the pain.

attributed to:

paramadyamahayogatantre


Mahayoga flowed out of Sitabani charnel ground where they were not writing texts. Paramadya must have come out somewhat prior to Dakini Jala. It probably is the oldest written example of Vajrasattva.


Here is one more paraphrase of it from Alex Wayman:

Buddhist Tantra speaks of success in the incantation as the state when the mantra seems to pronounce itself, thus assuming the role of a deity's body (mantramurti). An interesting example of this is in the last chapter of the Sri Paramadya tantra (PTT, Vol. 5, p '. understood with the help of Anandagarbha's commentary (PTT, Vol. 73, p ). The Tantra states: "How is the Bhagavat the master of the deeds of "diamond pride'? Because the best mudra belongs to the great lord (mahesvara) who has the best of great siddhis and she greatly praises the diamond lord, the one who says 'I am the master of diamond pride' is the Bhagavat. the supreme primordial person.'"

The idea here, as gleaned from Anandagarbha's comments, is that 'diamond pride' is the name of a goddess and she is the best mudra. Since she praises the Bhagavat, he is her master (pati). This alludes to the state when the mudra coalesces with the mantra to reveal i - sense as the [Amnayamanjari?] would say : and since its sense is 'diamond pride' (vajragarva) the mind united with that mudra can be proud. She praises without any prompting; the incantation sounds by itself. She has her own deeds or functions.


If we switch gears from Paramadya, which is fairly straightforward, to the main later system of Vajrasattva which is the inspiration for Guru Yoga, we run into something a person cannot do. You might be able to start taking it in conceptually, but you can't do it. However, if you try a dharani system along with appropriate parts of the teachings, you can get into it a lot more easily than a scholar or translator. Vajra Mala (Rosary) was translated as part of a project which wound up with as much introduction as there is tantra. Something like sixty pages was spent on trying to explain the Algorithm method of study. This is essentially correct. Kalachakra is full of them.


Vajra Rosary's introduction argues against the Japanese view of editorial machinations done to bias the audience. Inter-textual accretion as appears to have happened, is, of course, not unusual. Moreover, the point that a concise snapshot only occurs in Chapter Sixty-eight, misses the point. The tantra itself does have large write-ups of the stages. It just uses various vocabulary, and is not orderly in one place. The framework is simple:


The answers to Vajrapani’s questions are given in sixty-eight
chapters, which include detailed discussion of yogic meditation and practice
involving principally the first stage within the perfection stage, that of vajra repetition or
“speech isolation,”


But, it starts a convention whereby a topic is introduced, then has more explanation later on:


For example, the first
question, “What of the name Vajra Rosary?” is answered in the third chapter, but that
chapter also contains a listing of the names of all of the one-hundred eight energy-winds
and all one-hundred eight conceptualities related to them.


Well, that is just a synonym. Generally, the topic of Chapter Six may come up again in Thirty-two and Three, and so on. So it is not linear.

The Rosary is 108 conceptual winds, meaning these winds are not different than the concept-making habits of the mind. The goal of the tantra, the sole non-conceptual wind, is not among these.

It combines doctrines from disparate sources of conflicting philosophies:


chapter thirty-two of the Vajra Rosary uses the
Yogacara terms alayavijñana, “fundamental consciousness,” and klistamanas, “addicted
mind,” terms rejected by the Madhyamakas, yet chapter forty-nine sets forth the
sixteen emptinesses in virtually the same form as great Madhyamaka Candrak'rti.


It maintains Svasamvedana:


On the other
hand, great bliss, which the Tantra equates with emptiness, “is explained as
introspectively known (rang rig pa).” The self-awareness of consciousness, a prime
feature of rdzogs chen and Yogacara-Svatantrika thought, is rejected by the
Madhyamakas.


That is quite close to calling it "the Nirakara system". It is doing Yogacara and Sunyata at the same time.


Ok. Getting back to Parasol and dharanis, let us see if they inform the tantra.

There may also be some astrology, but, apparently, Matangi Sutra does have the story of Matangi; and an early version of Mayuri includes an appendix not found in the Sutra. Ananta Mukhi Dharani gives the doctrine of Sunyata, and that of Sanmukhi, Vijnapti Matra. Sanmukhi or Six Faces is saying a variety of Vijnanavada or Yogacara. If you pare it down, are their names that different from Nirguna and Sadguna?


Indian Buddhist Dharani, it is a system largely related to Klesa Varana as discussed previously. They make an example with Cunda as a visualization and also as Manasa Japa. "Mukhi" has more of the meaning of "mouth", so, iconographically it usually means "Face"; but linguistically it can also be "Gate", or, here, "Door". And so in its own words, Prajnaparamita Sutra is a Mahavidya. It is a Dharani system; Dharani is a quality of Bodhisattvas. In fact the Tenth Stage is mastery of Dharani-Mukha and Samadhi-Mukha.

By ca. 300, there are orders to keep the Arapacana syllabary.

The use of dharanis, however, begins in the way Janguli was described:


To klesavarana, rooted in the belief in a self that clings to ‘I' and ‘mine', the Yogacara added jneyavarana, that ‘covers over the indefectible [i.e. unfailing] nature of knowables and causes them not to appear in the mind', because the belief in a self that clings to all imagined things, mental states of ignorance, the love to things, and affection for malicious thoughts.


They are aimed at Klesas, mostly the Hindrances and then the "Three Poisons" Moha, Dvesa, Raga, which will become the Three Families. Compared to the first brief statement on the two "Mukhi" dharanis, here is the study of them:


Owing to the dharanis condensing large teachings within their syllables, reciting/contemplating these entailed a drastic reduction of the time required to master them, hence, dharanis became a ‘short-cut to enlightenment and the lucky sea to release . A bodhisattva, having epitomized all the meditations in one string [i.e. dharani], would suddenly be elevated in rank and approach supreme enlightenment’ (Chou, 1945: 258). Given that each Dharani-sutra describes its own approach to attain enlightenment, it will described below just two examples from the most representative ones. Perhaps the simplest approach is shown by the Sanmukhi-dharani (‘Six Doors dharani'), where six experiences/knowledges are described by the Buddha: (1) making known the suffering experienced by the Buddha, (2) sharing with all beings the Buddha's spiritual bliss, (3) acknowledging one's own harmful actions, (4) knowing that Mara acts against the Buddha, (5) identifying the supreme knowledge concerning all beings with the Buddha's wholesome roots, and (6) knowing that Buddha's liberation is useful to beings if oneself does not remain either in samsara or in nirvana (Sanm: 10-11).

According to Vasubandhu's commentary, those ‘Six Doors' are related to six goals (artha) valid for all dharanis in general, that can also be applied to the Sanmukhi-dharani thus: (1) the completion of insight, (2) the power of compassion's purity, (3) the purification of one's stream of being, (4) comprehension of impediments caused by others, (5) summation of the factors of awakening, and (6) the reality and correct knowledge which are these factors' fruit (Davidson, 2009: 139). The Sanmukhi-dharani's formula, uttered by the Buddha from his residence in the Suddhavasa heavens, refers to the complete purification of the body, speech, and mind from all defilements, and the accomplishment of the ultimate reality (Skt. paramartha). The formula have to be recited six times a day, and if one remains detached from all kinds of acts, one will attain quickly the supreme enlightenment (Sanm: 11).

The Anantamukha-nirhara-dharani-sutra received a versified commentary by Jnanagarbha (700-760 CE) to be memorized and used as a manual, and given that just a few Mahayana Scriptures hold this kind of commentary, this implies that the Anantamukha-nirhara-dharani-sutra was considered a Scripture deserving a particular attention (Schoening, 1991: 34-35). The main purpose of this Scripture is ‘[to] become unretrogressive and quickly attain the highest, perfect Bodhi' (Anir: 87). To accomplish it, the Sutra describes three methods: (1) the recitation-meditation into a ‘formulaic' dharani or dharani-mantra-pada, (2) the recitation-meditation into a ‘syllabic' dharani, and (3) the visualization of a mandala composed by the ‘syllabic' dharani and the images of the Bodhisattvas and yaksas refered to in the Sutra.

The Anantamukha-nirhara's formula has received the adhisthana from innumerable Buddhas (Anir: 103) and includes three practices: (1) the ‘syllable-dharani', consisting of the dharani-mantra-pada's recitation accompanied by a meditation (dhyana-yoga) on their syllables, without getting attached to their characteristics of existence or non-existence (Anir: 66-68). (2) The ‘meaning-dharani', also called ‘the practice of non-cognition of object', that is equal to ‘attain the dharani' manifested by the dharani-mantra-pada. It consists of realizing the emptiness of all dharmas ‘by being supported by the letters which contain all the supreme teachings and meanings', i.e., the dharani-mantra-pada's recitation-meditation is intended to realize the four pratisamvids (Anir: 100-101).154 And (3) the ‘syllable-meaning-dharani', also called ‘wisdom-dharani', consisting into the alternated practice of (1) and (2), i.e., first the dharani-mantra-pada is recited, and then it is followed by meditating on its ‘inconceivable' nature (Anir: 107-108).

The Anantamukha-nirhara-dharani-sutra describes another method to ‘attain the dharani' based on a ‘syllabic' dharani composed by eight syllables, where each syllable is conceived as a ‘door' to attain a key teaching's insight: (1) ‘pa' (paramartha) the nonsubstantiality of all dharmas; (2) ‘la’ (laksana) the marks and no-marks of the Tathagata's dharma-kaya; (3) ‘ba’ (bala) the non-duality between ignorant persons and wise ones; (4) ‘ja’ (jati) the non-arising and non-perishing of beings subject to birth, old age, death, and absence of birth, old age, and death; (5) ‘ka' (karma) realization of karmas and rewards, and their absence; (6) ‘dha' (dharmadhatu) it is equal to the voidness, formlessness, and desiressness; (7) ‘sa’ (samatha) tranquilization and its absence, entry into the suchness (tathata) of all dharmas; (8) ‘ksa' (ksana) all dharmas are momentary and originally tranquil, inexhaustible, imperishable, causeless, and in a state of extinction. The eight syllables' insight is realized through a cognitive process where simultaneously their meanings are discerned and intuitively perceived (Anir: 113-114, 131-138).

Lastly, Jñanagarbha briefly describes a visualization ritual of a mandala composed by the ‘syllabic' dharani’s eight syllables related to the images of eight Bodhisattvas and eight yaksas, described as the protectors of the Anantamukha-nirhara-dharam-sutra’s teachings and their practitioners. It is significant that it was Jñanagarbha himself who elaborated the mandala method after it was revealed to him through a dream (Anir: 129-130), which denotes a relevant example of a progressive Dharani-sutras's esoterization that would culminate with their identificaton as Kriya Tantras.156 The combined practice of those three methods is conducive to attain the ‘Tranquil State', i.e., the ‘nirvana of no abiding' (apratisthita-nirvana), understood here as the klesavarana and jñeyavarana's removal, the raga-dvesa-moha's extinction, and accomplishing the ‘supreme enlightenment' (sambodhi), conceived as a threefold realization that, according to different cases, can liberate beings from unfortunate destinies, or can locate them on heavenly planes, or even can liberate them definitely from samsara.


One of the names of the Dharani Scripture Arya Mahabala-Nama-Mahayanasütra is that of being the ‘magical transformation (vikurvama) of the Tathagata', in the sense that such Scripture ‘will accomplish the Tathagata's acts' after his parinirvana.

Some Dharani-sutras make such hierarchical principle explicit: the Sitatapatra-vidyarajni’s power is higher than all non-Buddhist mantras and other Buddhist mantras considered inferior.


So there is a blend of Dharani and Samadhi; some dharanis support Lokottara Siddhi. Perfection of this is Abhisambodhi. So far these expressions and meanings are fairly well-known. But it is only partially clear how or what might make this anything other than Hindu dhyanas. As a massive circus of visualizations and meanings, "Prajnaparamita mandalas" became the Vajresekhara [STTS] system. This technically attaches to Guhyasamaja Tantra, which itself is next to impossible without a large commentarial system. It means "The Community" and it has many traditions. But the pith of it is the explanation of Lokottara Siddhi. And so we are more interested in the inner meaning of the commentarial system. According to "Mandalas on the Move" not finding them in China prior to the ninth century:


Some treatments of Esoteric Buddhism tend
to over-intellectualize the tradition by focusing on the mental component.
Esoteric ritual involves all three components, mental, sonic, and somatic.
When siddhi is considered from the perspective of ultimate enlightenment,
anuttarasamyaksambodhi, then one refers to it simply as siddhi or more
specifically as lokottara siddhi.



One thing that is not found in the orient is Vajra Rosary.

It is a Vyakhyana Tantra, that is, "explanatory to", Guhyasamaja. This deals almost exclusively with Generation and Completion Stages, and only enough of the former to let you know it is there. They could be called "Two Lokottara Siddhis", although it is just a matter of degree. The verb or practice that the discourses are skirting is Abhisambodhi.

As a comparison basis, the Pinnacle of Vajrasekhara system has to do with the male deity Vajrosnisa and a fiery condition, or, roughly, Fiery Crown is the Pinnacle. Correspondingly, in her dharani, Parasol functions as Vajrosnisa. Therefor it implies that the "inferior" mantras are those of the various Assemblies supporting the Pinnacle. Moreover, Parasol does not stop at that point, nor does Dharani cease to be a poart of the Path. Parasol's main first meaning is Samadhi. She just covered both aspects of the state of Vajradhara in Prajnaparamita Sutra.


Vajra Rosary is fairly compatible with Dakarnava's channel names. They also share what I thought was an odd design, the two chakras, navel and heart. However this is for the very important stage of loosening the Heart Knot. According to Tson khapa, this is the most important part of the tantra.

Both texts are quite ardent about the experience of the Three Lights. Vajra Rosary seems to have a preliminary visualization of Dissolutions, similar to what we call Five Dissolutions, followed by the actualized ones or Eight.



The weakness of Vajra Rosary's murky origin was used in the Japanese research to imply that one trend was for Indian pandits to take money and compose a tantra on the way to Tibet. This text has only one late Indian commentary, by Alamka, twelfth century. It is not Tibetan, but nothing more of its background seems to be known.

Kittay says:

Interestingly, the colophon to the sriparamadyatantra- mantrakalpakhanda, Toh. 488,
translated by Zhi ba ‘od and Mantrakalasa, states that Rin chen bzang po couldn’t find the
text and so didn’t translate it, but Zhi ba ‘od did, so the instance of the Vajra Rosary is
not the only one where the efforts of Zhi ba ‘od and Mantrakalasa to find a lost text were
successful.


Zhi ba'od had a reputation for eliminating superfluous texts, Tibetan or Indian, that he considered unreliable. Yet he was the one who brought Paramadya and Vajramala, virtually the alpha and omega of the whole system.

The Nyingma Catalogue translates the colophon to the sriparamadiya, Toh. 488, also translated at Tho ling by Zhi ba ‘od and Mantrakalasa, presumably identical to that of the Vajra Rosary, as “Tr. at the vihara of dpal dpe-med lhun-gyis grub-pa at Tho-ling in the province of Gu-ge.




Others have found a similarity, but not the difference, in Buddhist and Hindu yoga. It turns out the quantity "six" was used to describe yoga in Maitri Upanishad:


Along with Katha Upanishad and Shvetashvatara Upanishad, the Maitri Upanishad offers one of the oldest known descriptions of Yoga theory.


Maitri Upanishad, 2-300 B. C. E., prior to Patanjali, 1-200 C. E., shows in 6.18:

This six-fold yoga (raja yoga) path includes controlling the breath (pranayama), withdrawing the senses (pratyahara), meditation (dhyana), concentration (dharana), contemplation (tarka), and absorption (samadhi).


Patanjali added Preliminaries, and shifted the position of Dharana. Buddhism on the other hand, shifts the position of Pranayama, and re-names Tarka as Smrti. And so the Upanishad is still much more in the camp of Patanjali due to the order. Adding preliminaries is not unusual. However, once Pranayama is moved to the middle, the topic of Vajra Rosary is that everything prior to Pranayama is a preliminary, from the view of Completion Stage, which does not exist in Hindu tantra.


Vajra Rosary is not really about Generation Stage, but describes it as "the Forty-nine Yogas and the Six Yogas". These are not Sadanga Yoga; rather, it is the categories corresponding to Mahayoga, such as Anu and Ati yoga and so forth, and then there are consecrations and empowerments. When split into all the sub-stages of "Six Yogas", it becomes forty-nine. But elsewhere it says "you don't need all this". You probably need six months of mantra.


Well, our entire subject here that we call Yoga is essentially putting Pranayama as its goal. I am not sure what could be simpler and more definitive. The Forty-nine yogas trail off shortly after what we have Janguli doing, viz., serving within the consecrations, which are followed by just a few bits of mandala entry. The major point is that you can't do Buddhist Pranayama. It has all of those underlying constituents. You don't have to do them for years in gory detail and so forth, if you have the aptitude to sum it up quickly and to "get" Pranayama. This has certain preliminaries as expressed in Guru Yoga, but, in terms of Deity Yoga, the preliminaries are the Kriya--Chara instructions. Then we may say we are doing Six Yogas, but, we probably are only doing two, Pratyahara and Dhyana, which are summarized as Body Mandala. This is equivalent to the whole Dakini Jala tantra; it also corresponds to Navosnisa of Sarvadurgati Parishodhana, and similarly-titled phases of other deities.




Alamka's synoptic chapter points take almost two hundred pages. He commented about forty-five chapters, possibly having died before finishing. This is eight hundred pages. If it was all worked out, there would be a four hundred page tantra with about sixteen hundred pages of commentary.


The telescopic principle of Russian dolls still applies. In terms of Completion Stage, what we call Pranayama is the first of Nagarjuna's Pancha Krama--Five Stages, and, as these progress, its fourth stage is Abhisambodhi, which corresponds to Smrti, the Fifth Yoga. The Five Abhisambodhis lead to the Fifth stage, Yughanada, Pair United, which corresponds to the Sixth Yoga, Samadhi. So Nagarjuna's system is taking Pranayama for granted, and going into things which only partially make sense intellectually, because they are states of Prana.

"these stages and yogas encompass the entire perfection stage"

Tsong kha pa has an extensive discussion of the various Indian and Tibetan commentators who sought
to reconcile the five stages with the six yogas.


The Six Yogas are Guhyasamaja Chapter Eighteen.


Guhyasamaja Chapter Six is "Six Stages" including the parts of Mahayoga after Consecration:

In the Supreme Mandala Triumph, the mandala absorbs the ordinary world; in the Supreme
Evolutionary Triumph, the mandala’s activity triumphs over normal worldly evolutionary actions; and in
the hundred clans practice there is a deity in every part of the body, not just the body mandala.


Seeing as how that is Body Mandala, Nagarjuna roped it off and only used Five Stages for his title.

Tsong kha pa explains that there is no contradiction here, since everyone is talking about the
same process, differing only on whether to include some stages within others.


The first stage, or intro to stages, or Two Yogas, is like Vajra Garvi:


Body isolation is related closely to the perfection of divine pride, and Alamka
notes here that “’The reality of the self’ [means] the actuality of the lords, Vairocana and
so forth, who abide precisely as the reality of the completely imaginary five
aggregates….”


Arguably, Body is separated because it is part of Generation Stage, as the greater parts of Mahayoga, Supreme Mandala:

meditation on the body mandala of the creation stage, the envisioning of the body parts as
composed of (1) Buddhas, (2) consorts, (3) bodhisattvas and (4) Terrifics, followed by (5) meditation on
the supreme king of the mandala.

and Evolutionary Triumph:

(1) subtle yoga, (2) and (3) two types of repetition, (3) having performed the activities, melting, (4)
summoning by the four goddesses, (5) arising, (6) having emerged, praising the five lords, (7) gathering the
wheel of the mandala, (8) generating Vajrasattva by the stage of egg-born, (9) the ritual of nourishing the
body, (10) tasting the nectar, (11) the ritual of outer eating, and, (12) having requested [them] to go,
sleeping


Only at that point do they take the Buddhist definition of Pranayama and call it the First Stage. From here, Abhisambodhi is not part of Generation Stage, but comes from the Yogini tantras:


the fourth stage, where one knows the division of the
luminances, “manifest enlightenment”


So it is possible the technique of the Three Lights may have been tasted. You can learn a visualization and meaning of Dissolution, and you can try Pranayama and it may happen that you get cast into this. You could dissolve one, or "The" Void and kind of flash through it and you will know something weird happened. To be useful as a "Stage", you ought to "know the divisions". In other words, slow it down and control it enough to the point where it is lucid and supple.

That makes the Fifth Yoga, Smrti.

This recent text is still using Alex Wayman's work...aside from a few times he goes floundering, he asked a lot of the very relevant questions and pulled good resources. He used the famous Forty Syllables which begin Guhyasamaja as a mneminic re-iteration of this principle. It defines how Puja or Sadhana is done and what it means. And so the first few words amount to saying that Mahayoga is the top of Generation Stage, and, while you are in this, it is your highest type of sadhana.

But then it re-builds the same cycle plus more to explain Completion Stage. The Vajra Rosary states that knowing the three Vajras, Kaya Vak Citta, means a knower of the Three Lights. In this phrase, the three would lead to that Knower:


Kayavakcitta...

Pratyahara and Dhyana (= kayaviveka)
Pranayama (= Vajrajapa)
Dharani (= Cittavisuddhi and Svadhisthana – Seva)

Hrdaya-vajrayoshid...

Anusmrti (= Abhisambodhi) – Upasadhana

Bhagesu vijahara...

Samadhi (= Yuganaddha) – Sadhana and Mahasadhana


That is fairly accurate; Vak or Speech Mandala begins with Pranayama. Citta Cakra goes into the Heart. Finally the vaginas are the Pair United or non-dual Union.

Here, with Abhisambodhi as the Fourth Stage, is the indication that the Fourth State of Raja Yoga, which is revealed in Dissolution, really has more states related to Death, especially from having really known/mastered the Three Lights:



1. Inhalation and Exhalation...Diamond Muttering [Vajra Repetition]
2. Dissolution of the elements...Purification of the Mind [Mind Isolation]
3. Clear Light of Death...Personal Blessing [Illusory Body]
4. Intermediate State body...Revelation-Enlightenment [Manifest Enlightenment]
5. Birth...Pair-united [Integration]


It is still somewhat comparable to annihilation by Lakshmi or Agni. The actual Abhisambodhis use this pattern; something dies and is reborn. However, those Kriya practices, when successful, may amount to little more than a momentary suspension of thought. They are like the "legs" of a samadhi that can become "This" Samadhi. One could perhaps say that Citta or Mind Isolation or Dharani is to make this the total energetic transformation, compared to the Dhyana of imagined body-removal. The long-term major goal of the Dharani system is to enter and stabilize the Three Lights. This is preliminary to anything that has the name Sadhana in Completion Stage.


If I could, I would do away with over-used translations like "Stage" because these are all Krama from Nagarjuna's Pancha Krama. I don't think you can translate "Abhisambodhi", at all, not into a language that does not even register its preliminaries. Same for the others, Utpatti Krama and Nispanna Krama, Generation and Complete. It is a Krama or instructive method in something, same as Dhanada Krama or Mahacina Krama. There would even be six of these Krama matching the Six Yogas completely, except one of them is not counted as a new part of Nispanna or Completion.


In Vajra Rosary, Pranayama speaks of proceeding from what we have called the state of Bharati in the navel:

To do this,
you look up from the navel chakra, called here the “secret lotus,” to the opening in the
center of the heart chakra above. This opens the knots there and, reversing the upwards
and downwards Life-energy and Evacuative conceptual energy-winds moving in the side
channels, you enter the central channel. The “great non-conceptual energy-wind”
arising in the central channel cuts off the instinctual conceptions of body and speech
originating in the heart and emanation chakras, and opens the energy-wind at the top of
the central channel in the wind chakra between the eyebrows. This is the culmination
of vajra repetition, and it produces intense and constant ecstasy in the yogi, who appears
to all as energetic, joyful and ecstatic, with a “pleasant, copper-colored face.”

also in the original:

Rajas and body hair Standing on end


Non-conceptual wind is:


“the cause of perceiving directly the reality of a form of supremely natural clear light,


And the closest it seems to have as an identity:


Akshobhya, who abides there, “the actuality of the energy-wind of clear light...


It arises from consumption or eating of the 108, and the non-dual uniting of the two main branch nerves. You do that and you made the handshaking hook of Vase Breathing happen in the heart. Then the Maha wind will arise, proceeding upwards towards the Ajna or Pracanda region.



The Fourth Yoga, Dharani, enters the second stage of Citta Vishuddhi or Mind Isolation:


He then “perfectly unites with the three [types of]
consorts,” which Alamka explains refers to both the three kinds of consorts and the
three luminances, leading to the yogi eating “in the vessel explained as the Great
Seal,” which Alamka explains refers to clear light and mind isolation, reversing the
one-hundred six instinctual natures [Aryadeva: one hundred sixty. Cf. "types of mind", beginning of VAT]


It sounds almost the same because Dharani is not really any other action than Pranayama; is like a matured and ripened Pranayama. If the advanced Pranayama that is being taught in this book can be said to mesh with Bharati, so far it matches Suksma Yoga; Bharati is prepared to look upwards and try to get you in the heart and the non-conceptual wind, which will drive you all the way to the Absolute Object or Prabhasvara, if you handle it appropriately.


As to the Three Luminences plus Clear Light:

These four empties are so called
because of their being empty or devoid of the subtle energy that serves as the
basis of the coarser levels of consciousness.

[they have the energy of subtle mind or Klista Manas]


Tsong kha pa notes that “you will achieve the clear light of
retention [Dharani]…with the yoga of the subtle vowels and consonants abiding in the navel
channel….”


In other words, you probably have to train to balance and clear the branch nerves, as entering only the central is a pinpoint maneuver.

This leads to the Third Stage or Krama, Svadisthana:


Non-conceptuality is the one characteristic of self-consecration or illusory body, the third of the five stages.


You have the one characteristic, which means you must be able to transit easily onto the sole non-conceptual wind, and you have experienced the Three Lights or Four Voids, because the Knower of these proceeds to the fourth stage, Abhisambodhi. At that point you do the Fifth and Sixth Yogas, which are the real spiritual sadhana.


Here's the thing. In terms of energy, Death consciousness is not a joke. Because this yoga focuses a natural process, if you do something similar by other means such as mainly energy, then it will, so to speak, drop you off in the Bardo without any Armor. That is why the mantras and teachings are very important. You will develop Wisdom inside and demonstrate Qualities externally. If not you might go all the way to the foot of the Path without ever really joining it. What they are saying about Svadisthana is an objective fact; I have experienced this along with the associated states and clairvoyance. But I have not actually done a Sadhana properly in the way it was supposed to be set up to work. That is why this focus on Pranayama is outstanding. Vajra Rosary actually tells you not to read any of the lower tantras, and just do Mahayoga. When you "get" Mahayoga, then you are ready for the advanced Pranayama as known here.

Tson khapa relied upon it. Dolpopa also commented Vajra Rosary, which means it is the same basis of Shentong, would have been familiar to Taranatha.




As an example of the sixth principle in Vajra Rosary:

Chapter Fifty-six is Inner Offering using Dharmadhatu Vajra with Manjuvajra.


It sounds conciliatory to the Jnanapada lineage because of Manjuvajra. In that case, it may be in the position of supporting all Guhyasamaja teachings, or both of the major schools. It in fact uses Manjuvajra mandala for Generation Stage and Inner Offering. After referring to the tantra's full title:


This is followed by homage to Mañjusri, Vairocana, Vajradakini, and the Three Jewels.


Aside from that one name, dakinis are only treated as a class.

Chapter Seventeen is entitled something similar to Dakini Jala, which the prior chapter suggests you should know. The actual term used is as here:


Chapter thirty-four explains another aspect of the practice of vajra repetition, the
yoga of the “gathering of the dakinis” in the stage of Tantra. This, says the Vajra Rosary,
is supreme wisdom “because it serves as the cause of not perceiving the form of the
absence of attachment.” The key aspect here is the overcoming of conceptuality, and
particularly that of the aggregates, accomplished by the blazing of the dakinis in the navel
chakra. Then the conceptions of object and subject are gathered in the heart, “like a
butterfly [drawn to the flame],” and are “incinerated.” This is done by using the
techniques of vajra repetition described in chapter twelve of the Tantra. Alamka says:
“’Gathering the dakinis’ is causing the gathering of the seeds of the five Buddhas in the
place of the heart, which are made to be invisible, [and] therefore are expressed as
dakinis who gather, expressed in order to know that.

“in the vast wisdom of the dakinis,
you will know the yoga of service.” [Seva, the Four Members of Muttering according to Mkhas grub je]



The translator got blurry with Tummo:

Alamka explains: “Because it is realized from the Wisdom Dakini Tantra” (ye shes kyi mkha’ ‘gro
ma’i rgyud las rtogs par bya ba nyid kyi phyir). Alamka 208B. I have not been able to locate a Tantra by
that name, Jñanadakinitantra, which may mean that it is lost or that Alamka was referring generally to the
Yogini Tantras, which would be consistent with Alamka’s version of the Tantra, rnal ‘byor ma yi zhal las
rtogs, “realized from the mouth of the yogini,”...


Here, Jnanadakini would be the direct culmination of outer yoga. She has a crucial Nyasa in terms of sealing the Nine Doors. She is at a stage of Fiery Crown. Tummo or Candali and Nectar are the main drivers of Generation Stage and Pranayama. Jnanadakini is a transmitted lineage of what we might call "universal" Guhyajnana Dakini. And then the "mouth" may be Ucchista, but more likely Mystic Kiss. This gives us our bearings. If he commented Jnanadakini this way, this sounds consistent with Sarma tantras. This is much more important than carrying the Mahayoga sub-divisions.


Reverse engineering her, Vajradakini is her Fiery Crown; and on a dharani basis, Parasol functions as Vajradakini. She has many operations that are not usually given in one place. For example if we take the full title for what has been posted as Sitatapatra Dharani:



āryasarvatathāgatoṣṇīṣasitātapatrānāmaparājitā pratyaṅgirā mahāvidyārājñī samāptā||


It has added Aparajita and Pratyangira. And that she comes through the Usnisa of All Buddhas. With a name like that, this dharani applies to her Thousand Head form.

Does this repeat Shurangama or the mantras found there? No.

It appears related in such a way that, I am going to suggest it is trying to steer the "singular" Quintessence or Five Families from MMK and Shurungama, and blend them into family names as known in most of the rest of the scriptures.



Like everything else, it will mostly fall into place when seeing what is old and familiar, and what is new or unusual. It perhaps should be called a Sutra because it starts that way and the setting is Trayastrimsa or Indra Heaven of the Thirty-three, which, according to the Purana, are supposed to include Surabhi Rudras. Buddhism--and this is something I do not know a transition about--as far back as Prajnaparamita has for some reason already "promoted" Indra, he no longer lives in Svar Loka, he is in the second plane of Kama Loka. At any rate, it should be immediately reminiscent of Bhutadamara and Sarvadurgati Parishodhana, and quite possibly her large mandala supposed to house the Thirty-three. Without quite trying to determine exactly who these may be, the way some of those present are addressed is:

namo bhagavate rudrāya umāpatisahitāya|

namo bhagavate nārāyaṇāya| mahāpañcamudrā namaḥ namaskṛtāya|


As the greetings keep going around, eventually she gets to the Buddha Families. Her first Quintessence starts with the easily-recognizable Three Families. After these, the group would apparently be finished with Mani and Gaja Families like in MMK. But as she keeps going, it is like she is giving another Pancha Jina, starting backwards with these two in their newer names, Karma and Ratna:


namo bhagavate maṇikulasya| namo bhagavate gajakulasya| namo bhagavate karmakulasya| namo bhagavate ratnakulasya| namo bhagavate kumārakulasya| namo bhagavate nāgakulasya| namo bhagavate rāgakulasya|


It then goes on to add the name Amoghasiddhi into what is otherwise a well-known list such as Bhaisajyaguru and the Seven Buddhas, and Samantabhadra and so forth.


And then we find a bizarre litany on Parasol:

aparājitāṃ mahāghorāṃ mahābalāṃ mahātejāṃ mahācaṇḍāṃ mahāśvetāṃ mahadīptāṃ mahāmālāṃ mahājvālāṃ mahāpāṇḍaravāsinīm|

She makes Kumari sound a bit like Mamaki:

vajrakaumārī kulaṃdarī

and then two possible synonyms of Karma and Jewel Families followed by the Light of Vairocana Family:

kusuṃbharatnā(radanā) caiva vairocanakulaprabhā|


several lines are then devoted to Kanaka or Golden Light and goddesses such as Locana and Vajramala Mahamaya. Scanning around for spelling variations in Dharani Samgraha, there is only one more such Mala, in the hands of Manjushri. Parasol is the only one who does anything additional with it, via Bhrkuti:



āryatārā bhṛkuṭī caiva jayā ca vijayā tathā|

sarvamāravihantrī ca vajramāleti viśrutā||


She is the only one who"does" domething with it; all Maras are destroyed by Vajramala flowing forth or becoming known. Then it becomes more of a name with Mahamaya. Manjushri is just holding it. So I mean that is not foolproof, but, at a glance, Parasol is the sole employer of Vajramala. Otherwise there is only a misprint with it, repetition of two lines starting with "revasini".

This was not intended to be any old Mothers' Circle, but, has the intent of Mahamudra:


mahāmudrāgaṇāḥ sarvamātṛgaṇāśca


Mahamudra is also with Mahamaya Vijayavahini, Ekajati (also with Nagaphani), Usnisavijaya, and Pratisara, in Dharani Samgraha. So that is not terribly uncommon; but there appears to be only one active use of Vajramala here.


Further along in the Dharani is a slightly out-of-place:

vajrakaumārīye vidyārājñīye phaṭ|


and a bit further along in what probably are sub-deities come a few that we would recognize as Gauris:

pukkasīye phaṭ| artharvaṇīye phaṭ| śabarīye phaṭ| kṛṣṇaśabarīye phaṭ| yamadūtīye phaṭ|


and that Janguli may be the only Kasmira in Sadhanamala, but not in the dharani system:

adhimuktikakāśmīramahāśmaśānavāsinīye phaṭ|


At one point, Sitabani was the Maha Smasana. According to Parasol, Kasmir is also a Maha Smasana.


There are also a hundred-ish formulaic repetitions of a "Kila" type phrase, and, after some general accomplishments of the dharani are given, there are more, starting with the purpose of Kila, which is Sima or Boundary:

sīmābandhanaṃ karomi dharaṇībandhanaṃ karomi daśadigbandhanaṃ karomi parasainyastambhanaṃ karomi|


After the Boundary is Dharani itself, Ten Directions, and the Prasainya is recognizable as the class of Final Samadhi. Parasol is supposed to be the first "real" one, Shurungama Samadhi.

One of her other attributes is Vajrasrnkhala, the Activity aspect of Samadhi.

There are still Vajrapani mantras here like in Shurungama. I think it means she adopts his behavior, or, will either perform his roles in Sarvadurgati, or refer us to someone who does. Here she has only revealed the majority of her aliases; Vajradakini is not mentioned. Not until the very end does she repeat a few Shurangama mantras including her title:

khasame

Which is either reflective of "the missing root tantra", or, she is similar to Khasama Vajrasattva as he has become known.


This most likely is the properly-written version of the same in Dharani Samgraha. She is between Mantranusarini and Mahamaya Vijayavahini, from p. 434:

om namobhagavatyai āryya mahāpratyaṁṅirāyai

to 461:

āryā sarvatathāgatoṣṇīṣa śitātapatrenāmāparājitā mahāpratyaṁgirā mahāvipyā rājñī parisamāptaḥ ||


It does not have the mirror-like flow of Families as in the neater version. But this is not a system of organized points like in Prajnaparamita. It does not specifically mention Trayastrimsa.


Actually I am going to have to revise my stance. This dharani is almost identical to:

Shurungama Mantra

Shurugama Mantra

or in Wisdom of the Sages.


I did not see that due to lack of familiarity. The "clean" Nepalese version is the only one with the Families as mentioned. The others just show the five like in MMK. They also do not speak to Golden Light the same way and do not have Vajramala Mahamaya devi. It is tough to compare these line-by-line. But if you find a notable subject like "Vajramala", then it is easy to see differences that are probably more significant than a spelling or minor word change. Mahamaya is in the "sloppy" version. This amounts to an extension of Part I of common Shurungama Mantra. We cannot say for sure whether Nepal added something, or China did not get the additional part.

If we do start to compare, the Chinese is:

padmakah vajra-jihvah ca mala

Something like a Lotus makes a Vajra Tongue of the Mala. The clean version says:

padmā bhāvajacinhā ca mālā

Lotus gives birth or origin to the Symbol/Family sign of Rosary.


The following deity is Vajradanda in some texts, Vajratundi here. Some of the texts mention a puja to put her in a Saumya or pleasant form, but, the better version says it is Body-less puja:

śāntā vaidehapūjitā||


Vajratundi is not particularly familiar from Sarma.

Her only definition is:

Vajratuṇḍī (वज्रतुण्डी).—epithet of Tārā: Hoernle [Manuscript Remains of Buddhist literature found in Eastern Turkestan] 54.2; said (see n. 14) to mean vajra-navel; compare Vajranābhi.


Due to the umbilical region sometimes resembling a beak. Tunda also sometimes means a tusk of Ganesh.

The same Dr. Hoernle also deals with:


Garuda Vajratunda Dharani


According to Waddell, from the Indian Antiquary, 1914:

In No. 2 the appearance and functions of the bird are described. By No. 6 important light is thrown upon the genesis and evolution of the Buddhist goddess Tara, the so-called 'Queen of Heaven' and 'Mother of the (celestial) Buddhas.' The identity of Ta ra with the goddess Uznisa-Vijaya was pointed out by me long ago. Now, in this Dharani Tari is identified with Durga (who also bears the title of Vijaya) and Kali and most of those other Mother'she-devils of pre-Vedic times, who have in later days been imported into and incorporated with Brahmanism. She is moreover especially identified with the Garuda under the title of the " Female Thunderbolt-Beak," Vajratundi.

A fragment of this Dharani from the Sanskrit has been published with translation by Dr Hoernle...


Aside from a few catalogs, the knowledge base at that time amounted to:

Of Dharani a few have been translated or summarised from the Sanskrit by R. L. Mitra ("Nepalese Buddhist Literature" 1882), by Max Muller (Unisa-vijaya D); by R. Hoernle (Maha-mayuri in Bower MS."). From the Chinese, a few by S. Beal (Catena); by H. Kern (Sacred Books of the East. XXI)

She was actually mentioned in Indian Buddhist Dharani as the second half of the sentence about Parasol's superiority, quoting Waddell:

or the Vajratunda-dharani is superior against Vedic mantras to stop raining.

She has one more Buddhist location, in Durjayachandra's Mitapadapanjika, Vajratunda has a mandala. Elsewhere, in Agni Purana, she has a Nyasa based on the syllables Kha and Hum, and is a Duti of Indra, is or is with Khecari, Sabari, and others. This type of name is in other Puranas and Garuda Upanishad. It practically always refers to a beak.


With Parasol, it appears to be that Golden Light of Vairocana Family flows from the Usnisa of the Tathagata and it involves:

vajrā kanakaprabhā locanā vajratuṇḍikā|

followed by other permutations of Locana, and then:

vajramālā mahāmāyā devī

Is the only devi mentioned in a Heaven filles with classes of Devas.

As to whether it is actually suggestive of the next dharani, Mahamaya Vijayavahini, considering that it the only time she is ever named/practiced this way, I am not sure.

After the golden light and eyes epithets:


vinītā śāntacittā ca ātmaguṇajñā śaśiprabhā||

Peaceful mind arises; and you know/admire the qualities/merits of Moonlight.


It is supposed to be a Mother's Circle from Pandara--Fire, through golden Light, Mahamaya, and others, into Moonlight.

I can't quite say how it works or how many of those are individual goddesses.


After the Mothers' Circle is a new section sonsisting of:

mahavajrodāre tribhuvanamaṇḍale|


It is possible Parasol is called Vajradhara and Vajrpani and/or Vajrasattva. The folowing "Bondary" exclusions and so forth take up most of the rest of the article.


The finish is very similar to "a Shurungama mantra":



om anale anale acare acare khasame khasame vīre vīre saumye saumye sarvabuddhādhiṣṭhānādhiṣṭhite sarvatathāgatoṣṇīṣasitātapatre sarvaduṣṭacittān hūm phaṭ svāhā




She is hardly--if ever--just called Parasol. Usually combined with Usnisa, etc.; there is once in the middle she is called:

Vikasita (विकसित) refers to “blooming” (viz., of a flower)

which is an original sense of Karma Family, along with Kusuma and similar titles, when it was attempted at being distunguished individually, which Parasol appears to do. Blooming or blossoming seems to be the "Activity" called to mind here. Shurungama presentations have "The Assembly of Karma Family". However, Vikasita in in Buddha Family. In one translation, it is Hell Light:

ASITA NARAKAH PRABHA SPHUTA VI-KAS SITATAPATREH

or:

asita na-la-rka prabha sphuza vi-kas sitata-patre

which is closer to the Nepalese:

asitānalārkaprabhāsphuṭa-vikasitasitātapatre


Probably should be Analarka, fiery or blaze, which is a Wrathful One.


The standard write-up says the dharani is "in" the Shurungama Sutra. What they consider it to be is similar to a mandala, it is like a Quintessence, except instead of a single deity, the directions are inhabited by an Assembly. It is divided in such a way that does not match any way of casting such retinues. These ar the line breaks or changes:

Vajra Family in the East, starting with Namo Sarva Tathagata.

Jewel Family in the South, starting with Om Rsiganaprasaste.

Lotus Family in the West starting with Raja Bhaya.

Buddha Family in the Center, starting with Bhagavan Sitatapatra.

Karma Family in the North, starting with Dusta Citta, ending shortly after the Om Anale mantra. What we can see here is that they call this the Heart Mantra but have used the similar-sounding one that has Vajrapani. However this well-known mantra is not present in the Nepalese text at all; there is one similar in another area, but not the same. One of the differences is that it has Maunya (Silence).

The Chinese text took the statements about Karomi followed by the Vajrapani mantra and shifted them to the end.

The ways these breaks have been made puts the Tribhuvana Mandala in Jewel Family along with what would look like normal male Vajradhara. The Chinese version has totally different mantras, and then starts a sentence with "Bhagavan Tathagatosnisa", except it is a strand of her names, followed by the name of a mandala and a mantra. Now in most cases it is impossible to tell if a name like Vajrapani has been feminized. If he is supposed to be the Heart, then this would make an equivalent doctrine that in Parasol's Heart resides Vajrapani, like Lakshmi lives in Vishnu's chest and was a bit irritated by the footprint, and many others that are similar. It is an easy statement to make. But it might just be herself that is like a female Vajrapani. And here on this line, they just called her a man. Instead, the Nepalese version breaks after the mantras and starts what would apparently be a different part with:

namo bhagavati

and continuing the same sentence would make it seem like she is female Vajradhara and has, is in, or is casting, a Three Worlds mandala.

Then it would seem to me at least that the expression "mandala" was relevant to the things in forward order, such as Kings, Thieves, Fire, Water, Poison, etc., and then the next large section with Kila would sound like it was simply making boundaries for this. There is not much from within the text that would suggest Five Families, in a country where this is pretty much a standard landmark and national symbol. Pasupati is the national deity and he is a Quintessence. And so it would be accurate to say that Nepal does not have any non-tantric belief systems; if anything, they are different traditions of Quintessence.

The entities being sanitized include Deer Marked Moon, which we found in Tara's Verse Nineteen with Mayuri:

caṇḍamṛgabhayāt

It would look like after all the Kilas, then the attention returns to Parasol, until you have Eight Karomis similar to accomplishments like siddhi; it would look like the first four are Vidya plus Fire makes two kinds of superior Vidya. And then it would re-iterate that I have accomplished Kila and the Ten Directions. That summarizes the majority of Mahayoga, or STTS or Vajrasekhara. It has nothing that says Vajrasrnkhala in the North or anything like that. After the Karomis when it gives Vajrapani mantra and he was just called Guhyakadhipati, here, he is Master of Secrets, and so if he is mentioned after a bunch of accomplishments that sound like his subject, then I would take "Mandala" to "Vajrapani" as something like a complete topic. Although most of what is being discussed is common and formulaic, I would notice he has singled out Revati and Sakuni for some reason.

After Kila or Boundary, there is a vast arsenal of Weapons or mantras ending on Phat. It sounds like an unreasonable amount of power-ups that are applied to the following hypostatic individual:

vajraśṛṅkhalebhya phaṭ| mahāpratyaṅgirārājāya phaṭ| kālāya phaṭ| mahākālāya phaṭ|


who casts what is probably a normal ring of Eight Mothers and something far worse:

mātṛgaṇebhyaḥ phaṭ| mahāmātṛgaṇanamaskṛtāya phaṭ|



I would get frustrated because there are too many and they are disruptive towards even trying to do that. My guess is that some of the names are the directions:

vaiṣṇavīye phaṭ|
māheśvarīye phaṭ|
brahmāyaṇīye phaṭ|

agnīye phaṭ| mahākālīye phaṭ| kāladaṇḍīye phaṭ| aindrīye phaṭ| raudrīye phaṭ| cāmuṇḍīye phaṭ| vārāhīye phat| mahāvārāhīye phaṭ| kālarātrīye phaṭ| rātrīye phaṭ| yamadāḍhīye phaṭ| kāpālīye phaṭ| mahākāpālīye phaṭ| kaumārīye phaṭ| yāmīye phaṭ|

vāyave phaṭ|
nairṛtīye phaṭ|

vāruṇīye phaṭ| mārūtīye phaṭ| mahāmārutīye phaṭ| saumyāye phaṭ|

aiśānīye phaṭ| pukkasīye phaṭ| artharvaṇīye phaṭ| śabarīye phaṭ| kṛṣṇaśabarīye phaṭ| yamadūtīye phaṭ| niśīdivācarebhyaḥ phaṭ| trisandhyācarebhyaḥ phaṭ| dharaṇīye phaṭ| adhimuktikakāśmīramahāśmaśānavāsinīye phaṭ|


But that is not very satisfying. It just says Mothers' Circle and names them. It does not resemble any normal way of doing things.

The Chinese version wrote the first four as males; it is a different order, but similar. Even the way they say it, this is Buddha Family in the center and it is a Mahakali Mother's Circle ending on Smasana Vasini. Slightly less detailed, but, still pretty obvious who is prominent here. It lacks the corresponding mantra which is based on:

om ṣṭrau bandha

The strau is the women, i. e., these mothers. It is really hard to tell how they might be geometrically arranged. That is the main thing in the whole text you are bandha or "tied" to, this, and the Karomi or accomplishments. This is everything up to Vajrapani, and, after him, one might suspect the next section is led by Pasi or Noose. That seems to mainly involve Nagas and is smaller. Might be a finishing touch to what has already been done.


Parasol is at least partially Vajrasrknhala (Samadhi) and yet heavily enmeshed with a Smoky goddess of Kashmir, Smoke being the Samadhi color in symbolism. She must be relevant to the Hevajra system. Here, you are actually making a bond to Saivite goddesses like Kapali. It seems to be among the most specific points to the exercise.


This has an eerie similarity to the Gauris' mantra in Lotus Sutra. The mantra and associated block of text are switched between the Kumarajiva and Amoghavajra translations. In one they are with Dhrtarastra, and in the other I think they were with Virudhaka. Something like that. That is one of the first major institutionalized scriptures isn't it? Not some marginalized dharani?

So I mean, without any clamoring about whether the Nepalese is more authentic or original, or sat in India getting contaminated by Brahmanism, the fact remains that in the Chinese version, they are still mantrifying a Mothers' Circle led by Mahakali ending on Smasanavasini. So the potentially-controversial topic is still right there. Here we can blame Mahakali not just for being an epithet of Parasol, but then doubled into the ring, or rings, or cloud, or whatever this is. It may be thirty-three deities around the Kasmir goddess. It is not clear that the ones ending on "-bhyah" are individuals. It would be likely that Atharvani means Atharvana Bhardakali.

Parasol appears to be commenting MMK into Hevajra. That happens to mean about the same thing as Mahayoga.

She perhaps is acting like Bhutadamara Vajrapani and converting these other goddesses to Dharma, without, necessarily, changing their names. Yamaduti is especially meaningful in Buddhist tantra, but not otherwise. Yamadadhi is the same way.

As to why they have been stuffed in different places in what otherwise is a fairly recognizable strand of Hindu devis, I am not sure. I don't think I have ever noticed them there before. Might have missed something. I have looked over them a lot and had a general problem that on the one hand "she just has a different name in every village" versus the fact that many of these have more particular meanings than just being an honorific title. Especially with Maha in Buddhism. These names are not present in the Chinese text; instead, Indra leads the Mothers' Circle, which is not even an alternative spelling because Indrani is still in it.

There is not a lot of debating room why Parasol might have them. Or, I can only come up with a single explanation for them.



This is a bizarre standout from a Mongolian series similar to Rinjung Lhantab which tries to portray all the deities in their standard forms. It is just called Vajrayogini, but, this has mainly one meaning when holding a sword. Also, since we found Vajrakilaya bundled with Mahakarunika, it is even weirder that she also has a Kila; there are almost no deities that carry this. Further, when one carries a staff like an extra item, it is simply held by the crook of her arm. But this one also holds a hammer and trident in her hands at the same time:






She has a Mundamala or skull garland that almost reaches the floor. So this single weird Vajrayogini appears to be an adaptation of Guhyajnana Dakini due to the Sword.


Vajravarahi's outer retinue, Kakasya, Ulukasya, Svanasya, and Sukarasya, Yamadadhi, Yamaduti, Yamadamstrini, and Yamamathani, below the navel, they assume the shape of a ritual stake or dagger (kilah), while in their two arms they hold a vajra hammer and a stake bearing their own form (atmarupakila). So she uses a whole set of Kilas while amidst cemeteries including one Roaring with Sound of kila kila. It is a standard kind of Attahasa.

Those eight goddesses are also for example in Samvarodaya Tantra.


Starting in the era of Dakini Jala:


NSP describes Six Chakravartins starting with Vajrasattva on a white lion. Around the central couple are the Four Dakinis and Khandakapala, Mahakankala, Vikata, and Damstrin as gatekeepers. Akshobya has Ratnavajra and Khandaroha, so these are the minor branchings of the nadis as used in Chakrasamvara Sacred Sites, where some names are repeated on their minor emanations. Amoghasiddhi has been described as able to operate four sub-mandalas in peaceful form; which is perhaps necessary because he contains Heruka, Padmanartesvara, Vairocana, and Vajrasattva. That rapidly sounds like Vajrasattva is standing in for Jewel Family. It also sounds like Kankala Yoga of Dakarnava Tantra.

The whole Six Family complex's gatekeepers are Kakasya, Ulukasya, Svanasya, Sukarasya, and the corners have the messengers Yamadadhi, Yamaduti, Yamadamstri, Yamamathani. In Varahi Completion rites, this would be Amoghasiddhi's Samaya Chakra.

For the Six principal Chakravartins, NSP has them on mounts, whereas the IWS sadhana is mount-supported thrones.



They remain constantly powerful through Dakarnava Tantra:

The core then appears to have its own Gatekeepers: The four gate Ḍākinīs [viz.,Sukarasya, Kakasya, Shvanasya, Ulukasya] each has the same physical feature as the four Ḍākinīs starting with Lāmā. The messengers or samadhi deities Yamaduti, etc., are in the corners.

As the retinue of eight, I believe they have to do with Asta Vijnana and the Cemeteries. But reduced to six, they correspond in the scriptures in terms of Completion Stage as Six Yogas. From the Hevajra system:


Vairocana is Brahma; in Tibetan, Shanpa or Entrance to Nirvana (apratisthitanirvana).

Vishnu is Akshobya; he establishes Dharmadhatu Knowledge and enters the reality of intrinsic nature (svabhava) which pervades all things.

Amoghasiddhi is Shiva, whose krytyanusthaya-jnana continually provides all beings with goods and supra-mundane goods.

Ratnasambhava is Sarva because through samata-jnana he establishes the full comprehension of the nature of all things.

Amitabha is Tattva because he establishes pratyaveksana-jnana which comprehends reality (tattva) and with sublime joy is like the sky.

Vajrasattva is Vibuddha (expanded) because he has expanded to states of the great "co-natal joy" (sahajananda) while fully comprehending them.



Their corresponding Goddesses, Dakinis, are the same way in Kalachakra:

Crow-Faced, pratyahara (withdrawal);

Owl-Faced, dhyana (meditation on the nature of Tathagathas);

Dog-Faced, pranayama (control of the winds in five colors with diamond-muttering, vajrajapa);

Boar-Faced, dharana, retention with purification of mind (cittta-visuddhi) and personal blessing (svadisthana); Dharana, the positive Concentration of that which results from Pratyahara.

Yama's Messenger, anusmrti or recollection, so as to proceed in reverse order with revelation-enlightenment (abhisambodhi);

Yama's Cremation Ground, samadhi "consummation", with yuganaddha, the pair united.


So for whatever reason, by selecting those two names weirdly, Parasol appears to be evoking the Dakinis of Smrti and Samadhi. It is a good bit like she is arising from Fire or Pandara, operating as Vajrasrnkhala, to cohere these two over a frightening array of more familiar devis, if you are disturbed by cemeteries, at all. Mahakali is either important in the Hevajra Tantra, or, there is an understanding of her from Devi Mahatmya and Adbhuta Ramayana that she is really the destructive manifestation of Mahalakshmi. In Nepalese Hinduism, Kali has more to do with Guhya or Secret like Vajrapani and Guhyesvari, whereas Lakshmi has more to do with Siddhi. And so here, rather than getting under the hood of the Kali cult, it is more like Parasol takes command. Obviously this is not her only role and it by no means is her appearance or what she personally does. To be fair, it is more like she has Peaceful and Wrathful goddesses.

As to why those might be the Dakinis of the Six Yogas, meaning they are a heightened awareness of intensity, having to do with feeling, power, experience, environment, etc., which means that Smrti is called Death's Messenger...that is very accurate. The first Four Yogas are higher correspondences of the Four Activities. Then you reach a stage that is like death or dissolution, which is what Abhisambodhi operates through.


Parasol is like an Adamantine Mirror that will show us our face of why we can't really do Smrti and what it is like to move that way. She doesn't "directly teach" it, but, we can go to Prajnaparamita Sutra and/or, perhaps we could say, Mahayoga, for any missing details. It seems to me she perhaps is a bit more of opening portals in the subconscious or pre-verbal levels, and probably a lot of them and very fast.

sarvatathāgatoṣṇīṣasitātapatrānāmāparājitāṃ pratyaṅgirāṃ mahavidyārājñīṃ




Vajra Ushnisha Sitatapatra (Tibetan: dor je tsug tor dug kar mo. English: The White Parasol One of the Vajra Crown Protuberance [of the Buddha])

Buddha Tathagata, Ushnisha Sitatapatra, Vajrapani, Dasa Samadhi, Chandragomin, Giravati, Vajra Tikshna, Padma Angkusha, Brahmin Ratna Vajra, Jetari, Vajrasana the Senior and Younger, Bari Lotsawa, Denma Kyura Akyab, Sachen Kunga Nyingpo (1092-1158)


Of unknown origin, inscribed for Muttering Om Ah Hum:







Mongolian:







Sakya under Bhutadamara Vajrapani and Secret Accomplishment Hayagriva:









Because she also has a tiered self-hypostasis, it is apparent in this 1600s Sakya mandala of her Eight Arm form, her minor form is to the lower right, with Mahakala. Opposite her is Ekajati:







She is not quite as intricate as Marici by having multiple eight armed forms or anything like that. Almost everything that is known about her is "sub" or "under" this Shurungama-type dharani. But she still has other aspects tucked away in other places, as well as a titanic sadhana of about a hundred forty-five manuscript pages. She is not like Vasudhara and Guhyesvari and does not directly, personally, continue in the tantras or participate in Union mandalas. Her waves of emanations and effects do, such as Vajradakini. At that point, it is no longer Parasol because it is not a spell projected by Buddha, it is a change or new perception in oneself. Parasol can continue as a Yidam, it is certainly not like she ceases to exist because she is not in the major ritual of Chakrasamvara. The main thing here is that she is all dharani. These Sutras say that even small pieces are beneficial. So if I take out her short mantra and mainly use that, it is ok. If you want to spend thirty minutes reciting the whole Sutra, it is fine; if you want to spend longer working on how its visualization might go, you can do that. You can take her Samaya being and try to run her sadhanas, which they are, in the outer sense, and it is in terms of tantra where we would have to say, well, it is a training session that is probably in the state of Dhyana. Fair enough. As long as you do your best with any portion, and build following the teachings as closely as you can, she will come. You might not see her Visva Rupa just because she has one, but she is extremely volatile and will begin working very easily. That is what I would say, not so much that the Sutra better not disappear from the world, but it is highly reactive, about like tossing a pack of matches into the fire.

[shaberon]

Vajrasattva and Janguli's Ephemeral Backstories; refurbishing the Buddhist trail from Bodhgaya





There are records of travels and adventures of the Mahasiddhas in the Blue Annals and also according to Taranatha. After a considerable amount of analysis, it seemed to me that one should take their "geography" as perhaps intentionally misleading in many cases. For instance, "West" is related to events that for the most part went what we would call "South". In medieval terms, getting from Bihar and Bodhgaya and so forth into the highlands of the interior part of Orissa is a minor hassle. A few days maybe. Inconvenient for a homeowner or peasant, but probably not a big deal to an experienced hiker, or someone with a horse. These stories usually include a Poison Lake, which, physically, would be a gas marsh or salt lake or something like that, which is described as taking two or three days to cross. I have never been able to find any such thing in the region, in fact mostly the opposite, to this day some of the world's most spectacular natural reserves and biodiversity habitats. So I figured that must be symbolic. Which Janguli helps you cross.

The...vague directions...in later Tibetan works, are, however, related to more accurate directions as held by the Nyingma. In large part, this is because Sitabani charnel ground is both a major origin of tantric initiations, as well as of Mahayoga. The second has a meaning for the most part, of, a preparatory system based on Vairocana and Vajrapani Abhisekha, which became most widespread as STTS, Vajrasekhara, the Shingon of Japan, and so forth. Despite the upsurge of printing, the Oriental copies have no evidence of pictorial mandalas prior to the tenth century. It appears that the Chinese and Japanese governments were mostly interested in employing monks to cast rain spells and other sorts of worldly magic for the benefit of the state, and they were more or less allowed to practice their esoteric system for some portion of their time. Retrospectively, because Sitabani is the source of whatever may have entered Tibet or the Orient in those manners, we can immediately turn around and say, well, there is actually a deity based on this very spot, and yes what is written of her does seem to constitute the majority of Mahayoga.

She comes from a Sutra, which means that any kind of Buddhist is invited to use her.

It took an inordinately large amount of raking to re-connect Sitabani goddess to her proper place; and I also spent some time trying to figure out medieval lakes in the wrong places, and the directions that Guru Rinpoche took, and of course tried to compare things by reading the symbolism. I had arrived at the guess that Sitabani was probably within about fifteen or twenty miles southeast of Bodhgaya. However it turns out that there are exact pilgrimage directions kept by a Nyingma site called Nekhor:

...you can walk approximately 10 km northeast from the Bodh Gaya’s main temple to reach Cool Grove by foot. Keep in mind that there are only small dirt paths leading to the Dungeshwari caves, and it is easy to get lost.


Ok. Not a bad guess from legends and symbols. They didn't say anything about a major river possibly being in the way. Sitabani is still not on the map, but it is close to the place that is, Dungeshwari on Google Maps. Because, maybe, the poor choice of taking dirt paths in a jungle while maybe having to negotiate a river is a bit much for tourists, they recommend taking a taxi:


...which will take about 15 minutes. The only road to the Dungeshwari Caves ends in a dirt parking lot. From there, Cool Grove charnel ground lies in a small forested area directly south.


As we can see, it has come back as a Trump Hotel since being overwhelmed in the twelfth century:


At Cool Grove there is a small chai stall located in the parking lot for the Dungeshwari Caves that serves snacks and tea.

Sitavana, the Cool Grove Charnel Ground, is centered around the remains of an ancient stupa, mentioned in the Pema Kathang and other biographies as Shankarakuta, Bestower of Bliss.



It turns out that the river is actually bone dry except for five months a year.

The caves are also called Mahakala (from being tamed there) and it is where Gautama practiced asceticism for years until deciding it would not give what he was looking for. That moment is practically the same as the name "Uma", "Do Not", which is what her mother said when she was on the verge of meditating for a thousand years without eating a single thing. Currently, the site functions as a (recently re-opened) Buddhist shrine. Considering for it to be named for some kind of Ishvari:

ḍuṅgā (डुंगा).—m A mount or an eminence; a sharp and peaked rising


"Sharpness" is probably the main characteristic, as the word can be combined for example into the phrase for a Prickly Pear.

The Dungeshwari Cave Temples are a long, relatively steep walk up from the road...

As well as a nearby Vishnupad and temples for Mangala Gauri, Sita Kund, and Hanuman, the site is this degree of inter-faith:


There are two more deities inside this cave – Goddess Durga (locally referred to as Dungeshwari Devi) and Tara. These sculptures date back to the early medieval period.


It is called Mora Hill, has the remains of seven stupas, and is reported as an active site by early Chinese pilgrims.


In Mahatmya terms:

The cave is quite pleasing and mesmerizes the tourists with its silence and divine energy.


One of the main things to emerge from here was Vajrapani Abhisekha. It therefor sounds like it should be common, but I cannot find a published source text. It accompanies Vairocana, which, as a stand-alone practice, has been in decline since the fifteenth century. But the meaning of it is preserved in the sense that VAT remains as the explanation of Vairocana, as he proceeds through Guhyagarbha and other advanced tantras. In the same way, Vajrapani appears to be a nucleus that is similar to any of the Consecration rites which are then stitched into various practices; moreover, they are "tantric initiation of disciples". So this is like an empowerment and permission. It speaks little to the self-initiation of are you actually able to do it.

Those are two different things, sort of like education and ability.

According to Davidson, Vajrapani Abhisekha also includes a version of Mahesvara Subjugation. It actually begins with the conversion or consecration of Vajrapani himself. He says that Vairocana emanated from his heart the Heart Mantra of All Buddhas: Vajrasattva. It makes a new form which identifies itself as Samantabhadra, who is really bodiless, but has now attained a body. His nature is of many Gift Waves. He is given something like the Crown Initiation and state of a Chakravartin, and when the Vajra is placed in his hands, the Tathagatas give him the name Vajrapani. It is this Vajrapani who becomes of enough power to challenge Mahesvara, who calls him a pathetic tree spirit. In exchange, Vajrapani disintegrates him into an interesting death called Buddha of Soundless Ash, takes over his retinue, and arranges them in a mandala, which grants Vajrapani the title Trailokyavijaya. The text is extensive and was referred to by Haribhardra and Buddhaguhya, and probably Manjushrimitra (or he dealt with its details).

He then makes the point that this kind of violent overthrow is already a stock occurrence in the Puranas. That is not only true, but the Puranas are pretty clear about the theme of demons becoming devotees if not masters of liberation. Bali, who was trampled into the Underworld essentially for the duration of our human race, will be released and at par with the Devas in the next Manvantara. This is why I think the whole defeat and trampling motif is not quite as superficial as good versus evil, or our cult neutralized your cult, etc., because none of these things are literal or objective.

Then he says that the "canon in use" at the time of the esoteric tantric texts that the Mahesvara myth went into, was not really a set standard, but probably consisted of Paramadya, STTS, and other tantras in some number or amount. He goes on to notice that for example, Amoghavajra by even referring to Dakini Jala and so forth, introduced a "new" (to China) erotic element. This involved the higher three initiations, Guhya Abhisekha, Prajnajnana, and the Fourth. Risque' behavior appears to begin in Subahupariprccha Tantra with the attraction of a Yakshini. However he does not find much about the second and third initiations, except in Ratnakarasanti's Abhisekhanirukti. The First is subsumed with the Crown, or Vase, of Vajrapani Consecration.

It takes all of the outer yoga system to describe the first, and all we will say about the fourth is that it is like a continuous increase of the third, like how Dharani is the non-interruption of Pranayama. So most of the intriguing, difficult information about how higher tantras work, is mainly explained by Ratnakarasanti. From what I have found so far, his explanations are superb. I have no idea who he is. He just keeps coming up as the almost exclusive source of what I am trying to say, that I am trying to show I am not making up. Otherwise I would not have moved from Caryamelakapradipa, which is much more well-known. Ratnakarasanti's work could not really have been done earlier; it seems to take the evolution of all the counter-points in order for him to have something to say about them. I believe you can practice what he is talking about, without being able to explain why, or what it is, on an extensive verbal basis. He is highly intuitive if you understand the topics from experiencing them, and, otherwise, is considered to take years of groundwork.


Davidson says a fifth-century Chinese text called Maharsi Dharma was a Consecration Scripture which involved self-visualization as Buddha. But then all it does is use this as leverage to gain Protectors; there is nothing about mental and spiritual evolution into the state of Buddhahood. To him, a more advanced use of visualization seems to have arisen from the general social concept which identifies a King with the parts of the country. One becomes a king with these parts by process of coronation; and so the yogic rite of coronation makes one the king of three worlds, the parts of the subtle body, stages of the Path, etc.

Neither one represents the success of your career, only the launch.

Similarly, in for example Nagarjuna's initiation by Vajrasattva at Amaravati, the Iron Stupa is the Body. The King and/or the Stupa were among the first ways that "interiorization" could be described, in order to find "anyone to understand it".


The major difference between VAT and STTS is that Vairocana is, so to speak, one pyramid or hierarchy, whereas STTS opens this into the sub-members each developing their own hierarchies, so it becomes Five Families and a Quintessence of Quintessences. Allright. Tantras keep the VAT explanation of Vairocana, with other families explained in Mayajala and other places. Vairocana is mainly considered the chief of Charya Tantra, and the consecration with Vajrapani is Mahayoga.

We have determined Charya and Mahayoga to have not much purpose other than establishing the candidate for Pranayama.

The inner meaning of them is that Kriya--Charya is a set of instructions for establishing a Deity; Mahayoga is Mandala. This whole ball of wax was sent out from Sitabani, which was itself inhabited by Guhyajnana Dakini. She initiated Guru Rinpoche, neither her first nor last. Here, Gambhiravajra used the method of Dakini Jala and Vajrasurya Abhisekha to obtain the Varamrita Tantra. At this point we are staggeringly blown away. That is not just a change of words or vocabulary, has nothing to do with the institutional development of STTS, is universal and internal, very subtle and advanced. So that goes considerably beyond Pranayama. The textual classifications are difficult and are less useful than the order of instructions, which is just a yoga sequence going from Kriya--Charya to the Six Yogas. Realistically, Pranayama is the point where it is difficult to perform, and deals with not just mental but also physiological changes, which are simple to identify when it happens to you.

The instructions overlap, I am not sure that they are A and B. The Kriya--Charya more or less goes to Pranayama, it is almost like the first Two Yogas, which are the realm of Dakini Jala.

Also, because there are now more people who can understand it, but many of us are not in a position for initiation and participation in major tantric commitments like Hevajra, that is why dharanis and especially Taras are accessible and work the same way. The trouble with "classifications" is that for example it says Marici "is" a Kriya deity, as if she were under limitations or unable to do much besides Remove Obstacles. This is insane. The real Marici is the moment of achieving Full Buddhahood. She is just reaching out a hand so a non-Bodhisattva can begin approaching her. Some deities are limited to worldly functions or something like that; Tara is not. Ekajati is the state of Vajradhara, or preparation and ability and final birth for becoming a Buddha from the Tenth Ground, and Marici shines on this when it happens. Not in their introductory forms, and not just by doing some of their basic exercises is it going to work; but without this basic view, the Path may be incomprehensible. Once you see this, then, if I were to doubt it for a second, I would be cast into hell for aeons.


The objective academic people are almost solely focused on the evolution of STTS and its related materials as passed through institutions. But from the practice of Yoga, this is pretty much just a way of getting someone to Generation Stage. Vajramala tells us to ignore these tantras completely, whereas a cadre of eminences such as Buton and Anandagarbha stress them heavily, for the exact reason to move through their meaning so you could do what Vajramala wants. So we are looking for a reasonable idea about what Pranayama is, and then how to train for it. And then the fact remains that there was a Generation Stage tradition before the other textual developments, and this was done at Sitabani. It is not a Vairocana tantra, it is Akshobhya and/or Vajrasattva. That is how we already have the full vehicle, so to speak, that moves into Pranayama. Dakini Jala Tantra and Guhyajnana Dakini were established and running before all of the explanatory arms and before all of the advanced tantras.

I passed a remark somewhere suggesting the "intent" of Guhyasamaja or i. e. Generation Stage, could not be traced prior to Dharmakirti. Then from Nepal, Keith Dowman says:

The cave of Nagarjuna, close to Bajra Jogini, contains an image of the Master. Sankaracarya, the arch rival of Dharmakirti, lived in a cave here, and CN claims to have heard many stories about his stay from Indians; the Nepalis also have many legends of his association with Nepal, and particularly Sankhu.

So, there is a tendency to place Dharmakirti in the 500s, but, this rivalry would support 600s. He was part of Nalanda. In his time, we would consider him a precursor of Nirakara. He is close. Without going into all the details, but, just to see a few of his perhaps "proto-tantric" points, Dharmakirti was a Yogacara Sautrantika, who was an early proponent of atomism:

Dharmakīrti states that the real is only the momentarily existing particulars (svalakṣaṇa)

Dharmakīrti also defended the Buddhist theory of momentariness (kṣaṇikatva), which held that dharmas spontaneously perish the moment they arise.


I cannot even understand the English philosophy on that page. But he does a fair job at describing the arising of Skandhas, leading to:

Ignorance (avidyā) for Dharmakīrti is conceptuality, pseudo-perception and superimposition overlaid on the naturally radiant (prabhāsvara) nature of pure perception.

Wisdom Library says:

He was one of the primary theorists of Buddhist atomism, according to which the only items considered to exist are momentary states of consciousness.


That is held to be the case in Samvrtti or Relative Truth, but, I do not see anything jumping out that says the pure perception of Prabhasvara is part of Tathagata Garbha which is unchanging or Absolute.



David Reigle refers to him while tracing Prabhasvara from RGV through Yogacara:


Dharmakīrti, one of the most famous Indian writers on reasoning, in his Pramāṇa-vārttika has the following verse line of sixteen syllables:

prabhāsvaram idaṃ cittaṃ prakṛtyāgantavo malāḥ

“This mind is luminous by nature; the impurities are adventitious.”

This same line is the first line of a verse quoted as summarizing the Buddhist Vijñāna-vāda view, the view that everything is consciousness only. The second line of this verse is not found in Dharmakīrti’s treatise:

Upon their disappearance, everything is that imperishable light.


Of the teacher in Nepal, Zhi-ba'i dpal, Shankaracharya, Santipa, or Santikar, I am not sure what he may have said about Dharmakirti, but, he was practicing the Six Yogas and achieved Deathlessness rather than Rainbow Body (which is composed at Svadisthana Stage). He is thought of as an emanation of Vajrasattva. There was once a king of Gauda (in Bihar), an emanation of Vajrasattva called King Pracanda Deva, who decided to make pilgrimage, and leaving his kingdom in the hand of his son, Sakti Deva...

Santipa was before Guhyasamaja was created. Another comment--and this was all local folklore--says:

The Acarya of Santipur is the lineage holder of the Sadangayoga (sbyor drug) of the Guhyasamaja, the six rDzogs-rim practices which lead, not to the Rainbow Body of the rNying-ma-pas, but immortality in a state of suspended animation, all outflows extinct. His predecessor in the lineage was Sakyadhvaja, and his successor was Ratnakirti, also of the 11th century.

Is it possible that Santikar Acarya was a title of the principal vajracarya of the oldest guthi (circle of initiates) in the valley?


Probably, because according to Alex Wayman, they just described Vagisvarakirti of the Arya Guhyasamaja lineage:


This portion of Candrakirti's commentary is devoted to defining the four steps of [svadisthana?] constituting the 'Stage of Generation' and then to explaining in detail the six members of yoga (sadanga-yoga) constituting the 'Stage' of Completion'. The part of the commentary on the six members of yoga is almost the same as is found in a work attributed to Nagarjuna, the sadangayoga-nama (PTT, Vol. 85). Therefore, this comment by Candrakirti may well have been a traditional commentary on the six members. At the end of the work ascribed to Nagarjuna (meaning of course the tantric author), there is presented the lineage of the sadangayoga of the Guhyasamaja-. "Buddha Vajradhara; Arya-Nagarjuna; Nagabodhi; Candrakirti; Arya-deva; Sakyaraksita; Ratnamitra; Dharmabhadra; Gunamati; Manjusrijnana; Amoghasri; Vlramati: Vijayakirti; Varaprajna-dharmabhadra; Sribhadra; Dharmapala; Sakyadhvaja; Vagis-varakirti; Ratnakirti; Mahasthavara ; Srivanaratna; those are the chief ones.


Usually, only the eldest Buddhacharya priest can go in there; but when there is drought, the King must supplicate Santipa, as did Pratap Malla in somewhat of a horror story in 1658:

Herein is the mandala drawn in the heartblood of the Eight Great Nagas.



Overlooking him being sent by Kanaka Muni in Treta Yuga, on his way to Nepal, being initiated by Manjushri Manjughosha, according to a published Vajracharya, the formerly Gaudiya king was inducted not into Guhyasamaja, but into Ten Rites:

By thus performing the dasakarma vidhi he became the first Vajracarya, who was later known as Santikaracarya, the father of all Vajracaryas in the past and the present.

Those are a blend of social rites and tantric initiations. I am not sure how you would get an adult to re-enact "baby's first rice feeding". The subsequent personages are not those above:


It was Santikaracarya who founded an unbreakable line of Vajracarya living in samgha (Buddhist community), the leading ones being Gunakaracarya, Bandhudattacarya and Kuladattacarya.


with the rites mainly described in:

Kriya Samgraha, Kriya Samuccaya

as well as:

The whole Tantra, that is, all of the Tantric stanzas together, are known as Subahu pariprccha Tantra, which are the instructive guidelines of the Kriya Samgraha of Dasakarma Vidhi.


Allright. Notice that it actually is a Sutra:

Subahupariprccha-sutra; Toh. 70

And everyone is going to cloak that. I would call it a primitive expression of a Jnanamudra:


Both the seventh-century Subahupariprccha Tantra and the eighth-century Manjusrimulakalpa contain descriptions of a yaksini-sadhana, a ritual for summoning a female spirit using a mantra. This was a ritual conducted for the sake of sexual gratification; the texts claim that the yaksini could assume the form desired by the adept, and serve his lust throughout the night.


Neither text "is" a tantra, and, in the mis-understanding of the purposes of the rite, one will not see that Ratnakarasanti's explanation of the Third Initiation would be one of the most elegant solutions to the puzzle.

Davidson's Subahupariprccha quote has a different tone than in Paramadya:

Smiling, they walk along in conversation, glancing aside with their eyes. Every limb of their forms steals one’s mind. The body of a woman is just like a beautiful sword— It attacks a man’s mind.

Inquiry of Subahu updates sex from Dakini Jala:

Although not always separately titled, the name of this rite, when identified, is variously given—sometimes “seal rite” (mudravidhi), sometimes mandalacakra-rite. However, the descriptions are sacramental, without the yogic associations of later mandalacakra instructions that specify internal psychophysical centers, letters, and the manipulation of winds. The earliest notice appears in the Subahupariprccha Tantra, which specifies that the monk or yogin will attract a “nonhuman” (generally a yaksi) in the forest or other secluded spot, and their copulation yields worldly benefits, especially magical flight.


Then from Buddhaguhya's commentary:

The net result meant that, in association with other sacraments (samaya) and in a secluded site, the purpose of the ritual was for the adept to experience sexuality while in relationship to a divinity, often visualizing himself and his partner as the divinity and its consort.


Davidson says it was probably the first to use three ranks of siddhis, topped by:

Superior Siddhis

Mantra siddhi means delighting both the super mundane and mundane divinities through one’s practice of mantras. Asuraguha, Demigod’s Cave siddhi is of two kinds: one is able to achieve the treasures of the gods or one meets a daughter of the demigods, and goes to their palace to live for an aeon. Rasayana Elixir siddhi means ingesting medicines that arise from the elements, from the veins, from beings’ bodies, or from viscous liquids. One lives a long time without disease, remains young and with sharp faculties.

and a few of his other references to it:


... several siddha or Kapalika rituals are found in this text. Sections of the scripture— especially chapter 7—invoke the cemetery-based ghoul (vetala) practices, the employment of corpses in the center of the mandala, the selling of human flesh, and its use in ferocious homa rituals.

With the Yakshini:

Since the well-dressed mantrin wears blue to the ritual, we may suppose that this is the earliest datable attestation of the notorious “blue-clad” (nilambara) mob, whose sartorial preferences became the insignia of their infamous behavior. They are possibly connected to the extremely popular cult of Nilambara-Vajrapani (bluerobed Vajrapani), a system enjoying a plethora of Buddhist texts and ritual manuals.


This may have been a notorious mob because Brahmins were forbidden from wearing blue.

Sarma is not even aware of the early Nyingma Dakini Jala:

...the two surviving commentaries address the longer recension and neither of them know of the received shorter Sarvabuddhasamayoga in eleven chapters.

...the 726 c.e. translation of the Subahupariprccha contains an apparently earlier reference to Heruka, there depicted as a local demon like a ghost (pisaca).

...the conduct of subduing females for sexual favors, controlling demons and ghosts, and the performance of cemetery rituals are noted from the mid-eighth century on, and allusions to these behaviors appear in such diverse texts as the Vajrapanyabhiseka-tantra and the Subahupariprccha.

... the doctrinal statements of many of these early tantras emphasizes the issue of the nature of the mind, such as the Subahupariprccha...



Accretion can perhaps be shown by Buddhaguhya's references. To comment Subahupariprccha, he uses:

Laukika and Lokottara tantras, Vidyadharapitaka


Then, as companions to VAT, he includes:

Trisamayaraja, Vajrapany-abhiseka-mahatantra, Paramadya, Samayoga, Subahupariprccha


and rolls that all in a bundle for:

Dhyanottara-patala-tika


Tson kha pa followed that sequence:

The Tantra Requested by Subahu
(Subahupariprccha), and Later Concentration
(Dhyanottara)

Dhyanottara is basically what I have been calling Kriya--Charya Instructions, which already has Six Families according to Buddhaguhya's commentary:

Subahu Tantra states: The wealthy family is contained within the lotus family. The prosperity family is contained within the vajra family. One should know that the family of worldlings is generally included under these two.

Same in Kongtrul's Book Six, Part IV.

Buddhaguhya has given something like "the complete guide to Pranayama" or "crash course in Mahayoga". Those are probably about the ideal scriptures for it, for which, dharanis and various Taras are also effective, without, themselves, necessarily having the formal instruction of a 322-page tantra.


Shantideva even refers to Subahupariprccha in terms of generating Bodhicitta, his main subject.

Because it says "delight the super-mundane deities with mantras", which is commented with Lokottara, it must know Completion Stage in some way. Exactly how Santipa may have gotten Six Yogas, I am not sure. No quote has landed on that; but, he must have got it along with Manjushri's personal instructions. He is not associated with Sitabani or Dakini Jala, just Manjughosha, who is remembered as being of the Mahacina variety. He is at the same time as Bhrkuti. So there is "that much" tantric knowledge in Nepal already by 650. It may be called Kriya--Charya, and may contain those instructions, only, but this can be said to "contain" all the tantras, in the sense they would be needed to fully explain Lokottara Mantras. There is already a Sutra-based discussion of Prabhasvara, which is what *all* of this is a closer look at. Subahu managed to force a conversation which has combined mental and physiological changes. It has the first Heruka, of which, Dakini Jala is the further explanation. Although Davidson picked up on the fact of a non-human sexual partner granting siddhis in the Sutra, Dakini Jala appears to have gone the route of a human sexual partner and Moods. Because most other tantras decline to pursue the subject of Moods, but, they are in Vajra Rosary as the way of experiencing life winds, then we might start to think this "major explanatory tantra of Guhyasamaja" also works with, if not came from, Dakini Jala. As soon as we see that Six Families and Nine Moods is the pith of two tantras, and admittedly outpaced the great explanatory power of Tson kha pa, there must be a unit from Sitabani to Vajra Rosary.


With Dakini Jala at 366, Paramadya at 488 (487 has the much larger mandalas), the closeness of the Mahayoga framework is seen in the canon of Charya Tantra from 84000:


Toh 494. vairocanābhisambodhi. (218 pages).

Toh 495. acalamahākrodharājasya sarvatathāgatasya balāparimita­vīravinayasvākhyāto nāma kalpaḥ (122 pages).

Toh 496. vajrapāṇyabhiṣekamahātantra (311 pages).

Toh 497/999. lha mo brgyad kyi gzungs/aṣṭadevīdhāraṇī (3 pages).

Followed by several brief Vajrapanis such as Nilambara.



The slightly broader view of Himalayan Art includes MMK and also shows Mitra's classification, which includes:

Amritakundali (?) 5 Deity

Vajra Garuda 9 Deity

Akshobhya 13 Deity [perhaps meaning Guhyasamaja]

Here they link the Bhutadamara and Vairocana Abhisambodhi mandalas, saying that Bhutadamara is a principal deity in this stage, and mostly a supporting deity in Hevajra and other advanced systems.

According to Rigpa Wiki, for Dakini Jala, although it was an early transmission:

The supplementary scripture, the Sarvakalpasamuccaya (D 367) was only translated later during the second dissemination.

Ratna Vajra was a contemporary of Ratnakarasanti at Vikramasila. He composed many works, including a Mahamaya sadhana and:

Sri-sarva-Buddha-Samayoga-dakini-jala-
sambara-maha-tantra-raja-nama-mandalopa-
yika Sarva-sattva-sukhodaya-nama

which would be from the tenth century, and, Sukhodaya or "Source of Bliss" is very nearly the same name as Samvarodaya, which was composed fairly closely in time and space. Ratnavajra's work means that Dakini Jala was still sitting there as a source of inspiration and development when the most advanced tantras were produced. At least in Bihar. It had little effect in other countries, and so far, unlike dharanis and Kriya texts, it has not been evident from Kashmir, Maharastra, etc., also unlike the later STTS and its ilk, which seem to have been designed for this reason.


According to New History, almost no textual development was linear. Kukure or Kukupa was the transmitter of Dakini Jala to Indrabhuti's son Sakrabhuti; and that his daughter Govadevi received and transmitted Nayasatapanchasatika (Toh 489) and Sri Paramadi, of which Sri Paramadya is probably an extraction. Prajnaparamita in 150 Lines is again a "tantric Sutra" related to this.

They find Chinese translations of tantric elements in this time frame:

Abhisekha, ca. 320; four Buddhas, fourth century; mandala, ca. 600; Tara sadhana with Trum syllable and visualization, 650.


They think that STTS and Guhyasamaja probably existed as half of their final states for fifty years or so. Vajramala and Panchakrama probably criss-crossed each other:

Panchakrama I. 16-24 quotes Vajramala. The Panchakrama commentary, Caryamelapakapradipa, only explains Panchakrama I. 19-23, which is also in Samvarodaya Tantra.


We can half-verify this, because, by familiarity, you understand Panchakrama I as Vajrajapa, which means Nagarjuna is talking about Pranayama. Fortunately, this makes it very easy to turn to the exact page, where there is a break before verse sixteen which says it is going to explain Vajramala and the subject of Pranayama. And then the verses from Chandrakirti's commentary and in Samvarodaya match the Five Buddhas. Chances are that Vajramala is the original source, since Samvarodaya is a later, synthetic work, thereby appearing to blend Vajramala with Puranic Varuni. Samvarodaya, Pancha Krama, and Vajramala, fit together.


This Varuni is probably the best refuge for Pranayama should we succeed.



One of the themes of Paramadya is producing the Vajra item, and then Mahayoga is a major use of Vajrapani and Vajra Family. Subsequently, New History says that in Guhyasamaja, Vajracatuska or four-fold vajra ritual is the basis of Utpatti, prior to the Six Yogas of Completion Stage.


In Buddha's Doctrine, Mahasadhana is the Vajra ritual, is Utpatti or Generation Stage, to begin the Six Yogas of Completion Stage. [we found the definitions are re-cast, and the new iteration of Mahasadhana becomes Samadhi, the Sixth Yoga.]


It gives the esoteric, Noumenal, or legendary view of the dissemination of Dharma. This means that Sakyamuni taught tantra in the highest Akanistha of the Tenth Ground; then he taught it in the Akanistha of Kama Loka. Then for the Abode of Men, he taught Manjushri Mayajala (Upayoga) on Mount Kukkutapada, and extensively taught Kriya Tantra in such places as Sitabani. Then he went to King Indrabhuti and "again" taught Dakini Jala (as mentioned in Vajrapanjara), which he had already done in Akanistha.

In the realm of Bhutas, he transmitted Vajrapani and Vajrakilaya; in Yama Heaven, Krsna Yamari and Yamantaka; in Mukunda of the Daityas, Paramadya and Udbhava; and with the Nagas, King of Realizations.


In the Yogi's view, it happened outside of time, or is always happening whenever someone looks. If a Sutra that was written ca. 500 says that Janguli lived in Buddha's time, then, that is a natural fact, that psychic awareness could ascertain on its own if you could see like that. When Indrabhuti expanded his awareness, Vajradhara only repeated something which was already timelessly available somewhere in the Pure Lands, and known to others centuries prior.


Paraphrasing Taranatha's Golden Rosary, Martin Wilson says:

He sat on the Bodhimanda (the 'seat of Enlightenment' beneath the bodhi tree at Bodhgaya) and with a ray of light from the point between His eyebrows He filled all the abodes of the Maras. When, thereupon, the armies of the Maras assembled, Tara laughed eight times, so that they all fell on the ground in a faint. Then the Teacher transformed Himself into the Fierce, Immovable One (Krodhacala), and subdued the Maras with the samadhi that crushes all Maras. Afterwards, when He had become fully Enlightened on the seat of Enlightenment, He became nondual with the Tathagata Akshobhya, and when the Goddess Tara worshipped Him, taught Her Tantra at length. He similarly taught at length the mandala of the Conquerors (Jinas) of the Six Families. Then, so that the Tantras He had thus explained would not disappear, He wished to show them to sentient beings of the six types of destiny. Going to Potala Mountain with a host of Buddhas and Bodhisattvas, He gave empowerment to countless, innumerable sentient beings, including devas, nagas, yaksas and gandharvas. When He had explained to them the Mantra Vehicle, He established them in siddhi. Finally, He entrusted the Tantras to Vajrapani. They were practised in Alakavati and the other abodes of the vidyadharas. So that not all the Tantras would disappear from the world of human beings, Vajrapani became King Indrabhuiti, wrote all the Tantras in books, and concealed them as a so-called Dharma Treasury. After that, it is said they were practised by Heroes (vira) and yoginis.

He makes the point that Mahayana, as concealed in other realms, began to be released 300 years after Buddha's Parinirvana, shortly after the Third Council. Tara began making many appearances, especially in Bihar. At one point, someone tries to cross the newly-flooded Nirajan or Phalgu River, gets swept away, and Tara comes to the rescue.


Still in Bihar:

Kukkutapada is where Guru Rinpoche met Prabhahasti, a lay practitioner, who could transmit tantras, but not ordain him as a monk. This site is about twenty-five miles southeast of Bodhgaya at Gurpa Mountain. Guru Rinpoche was ordained by Ananda, who is also there. Ananda and Kasyapa are waiting for Maitreya. As per Prajnaparamita Sutra. It is the same place where Asanga had his vision of Maitreya.

Prabhahasti had advised the Mahaguru to seek out Ananda, the Buddha’s closest disciple, and request ordination. Following his guru’s advice, Guru Rinpoché then set out to find Ananda, making his way to the Asura Cave.



Janguli Dharani was transmitted to Ananda. That article is alert enough to see her represented in Jainism as Padmavati; and to the irony of Amoghasiddhi, who is commonly granted a Garuda as his vehicle, but in rare circumstances is found with Janguli's Seven Snake Hood. In a moment we will wonder whether it was actually "transmitted".


Bhattacharya may have overstated it if he said Janguli is "in" the Pancha Raksha, although she definitely is like a parallel sister due to her association with Mayuri, whose origin is in the Jataka tradition and:

Later it was included in medical treatises and this is
clear from the inclusion of the Mahamayuri mantra or chant in the medical treatise
of Navanitaka, the 4th century CE manuscript of which was discovered from a
monastic ruins in Kashgar, Central Asia, the 19th century.


(Kashgar is in the Tarim Basin of southern Xinjiang, and has been a major international crossroads for over 2,000 years.)

More accurately, Navanitaka and Mayuri are separate parts of the Bower Manuscript, the article examined by Dr. Hoernle and discussed around 1912.

Part VI of the Bower manuscript contains charms against cobra bite...Part VI is complete, written on better quality birch and is the most well preserved treatise in the Bower manuscript.

Part VI and its translation can be easily seen. He might not have known this, but Part VI begins with the narrative frame of Mayuri Sutra: Svasti has been bitten and Ananda goes to Buddha for a Dharani. It includes a strand of Durga rain goddesses starting with Dundubhi on the obverse of page three. Then you offer friendship to Nagas. Interestingly, Sima Bandha and Dharani Bandha here mean to cast the spell at the time of applying the ligature to the wound and to the vein.

He thinks the Dharani operates through Hari Vegudi, Pamsu Pisacini, Katti (=Karttikeyani), and Mahakali. There is also an Asva Mukhi and Vimala.

He equates Karttikeyani with Mahakali; although Katti is actually Kartri or Knife. The original text has "Katti Mahakadi", which he says the second is Mahakali, although the dictionary says Kadi is:

Kaṭi (कटि) or Kaṭī (कटी).—f. [kaṭ-in]

1) The hip.

2) The buttocks

Then he says Prakirnakesi is "you of dishevelled hair", although it is a name for Durga, and:

Prakīrṇa (प्रकीर्ण) (lit. “one who is scattered”) is a synonym (another name) for the Horse (Aśva)


This same article is Part I of Mayuri Mandala Vidhi. This version has "Kali Mahakali" instead of "Katti Mahakadi". Or it is just Part I of Mayuri Sutra. So before I keep getting this mixed up with Janguli, the Bower Manuscript simply contains a portion of a Sutra which elsewhere is developed into a mandala.

Janguli commentary mentions mantrifying water before drinking, and then mentally mantrifying it seven times while in your mouth.

Her earliest personal reference may be in Shantideva's Siksasamuccaya. In her Sutra, Ananda simply recalled and told the story which took place when Buddha was a Bodhisattva. Unlike in Mayuri, there was no bite; she was eating poisonous flowers, and Mahuta, a creeper that chokes its host. She calls him a child and tells him to listen, because she destroys all poisons.

She is found at Ellora with a set of twelve two-armed dharani goddesses, which at the very least, is the Namasangiti pattern, if not completely identical. Her Kashmir figurine is supported by Garudas. In her dharani, she is Kasmira.

10th-12th century Kasmiri Jangulis:

















Miranda Shaw translates Yellow Janguli's form, as well as what is effectively Janguli Sutra, which is nearly identical to Sadhanamala 120. The Sadhanamala has more mantras. It is equally unclear: both seem to start with Buddha speaking, and end with "thus spoke Ananda". Sadhanamala expresses it:

idam avocat bhagavānānandaste


which would force you to ask if the "bhagavan" who went to Jetvana Grove and addressed the Bhikshus was really Ananda, rather than "Lord Buddha" as the translation says. In that case, it was Ananda, who while a Bodhisattva, went to Gandhamadana, north of the Himalayas, where he found this girl wearing Deerskin, who has a Poison Kiss and a Poison Glance. Finally, Poison meets its end by a Pacification rite.

The English version has "Lord Buddha" and "Venerable Ananda", but the original is "Bhagavan" and "Bhagavan Ananda". And I am not sure about handing over that title lightly to anyone who is not a transcendent Dhyani Buddha or something like that. This really has the sneaky undertone that the foremost disciple, Ananda, may have been able to remain in that area, as they say he is connected to Gurpa Mountain near Sitabani, and increase his state into pure Vajradhara or something like that, been recognized under an exalted title, and allowed to transmit this Sutra.

That is a conundrum, that is why I wish they would never do any deviations on proper names. We can figure from dharani-ese that Katti Mahakadi probably is Kali Mahakali from other originals. But when stuck with a too-straightforward translation off of one text, we might come away with Peacock Rider and Big Butt. Although that has its proclivities, it was probably not the intention; someone thought it might be for Pandara's Kata mantra. "Hari Vegudi" is probably better as two names, Harini and Vagudi. Most of the time, Bhagavan would be presumed to refer to Buddha unless indicated otherwise, which it is here. In review, the "very good" Mayuri found by Bower may not quite be "as old as it could be", and it is slightly inconsistent to the likely-older Kumarajiva Mayuri, of which it is only one part. Given the fact that it is nearly impossible to find any correctly-spelled names in Dharani Samgraha--but we can usually find that it has intentionally messed with a "proper" version--then we still like to see those historical examples to show things like "she is spelled Mahakadi, here". If it can show the source, i. e. such as the Bower Manuscript, and a reason for the comment, that is good. He didn't give any reason.


Miranda's article may be cleaner and faster-loading in the excerpted highlight. She believes the Sutra is spoken by Buddha. Comparatively, in Mayuri's mandala, Ananda has the rank of Sravaka; her inner ring is the Seven Buddhas plus Maitreya. He is of course involved in Mayuri's Sutra, and is at least once called Venerable Ananda. When Buddha passed away, Aniruddha understood all the Stages, but Ananda did not. He managed to attain enlightenment, which they called Arhatship, by the First Council, where he was criticized for ordaining women. Same Ananada who was tempted by Prakrti, Matangi's daughter, as per Shurungama Sutra. If we do not know the original terms for "venerable", it was perhaps "Thera" or i. e. "Elder". It is possibly bhagavat, along with other synonyms such as arhat. It seems very unusual to me that either Ananda is given the title, or he spoke a Sutra, which possibly was about himself. Because they spoke Pali, it was more likely "Thera" than anything, and so if a Sarma Sutra says "Bhagavan", that may reflect the fact that he is considered to have died twenty years after the Council, yet apparently ordained Padmasambhava while camping for Maitreya.

According to Venerable Hsuan Hua:

There are five kinds of beings who can speak Sutras:

1. The Buddha,

2. The Buddha’s disciples,

3. Gods,

4. Immortals, and

5. Transformation people.1

1 A deva (heavenly being) or Buddha transformed into human shape.



This area of Bihar must not be confused for Asura Cave in Nepal where Guru Rinpoche did Heruka and Vajrakilaya and Mahamudra.

Recognition and restoration of this Asura Cave is owing to the fact that New Nalanda University is behind efforts to re-vitalize the whole Jethian Valley and Bihar trail area. They have a few better maps which attach the Vindhya Mountains, which lead to the Orissan highlands.

Along with several pictures and the support of locals who are aware of their heritage:

Xuanzang's Description- and 4 Li further north of rishi Vyasa place was a large Asura Cave on the hill where the Buddha had discourse with Asura. Xuanzang also mentions about a causeway reaching the cave made by raja Bimbisāra to reach the Buddha.



Esoterically, our acceptance of "timelessness" is on this level:

Ananda is part of the emanation-basis of Taklung pa, which started in 1688.

The possible significance of Padmasambhava's ordination is not particularly prominent:

Some accounts tell how in Vajrasana, he was ordained by the Buddha’s closest disciple, Ananda.

In places where it is even mentioned, Ananda, understood in that manner, is just there. Nothing has been said about the missing millennium between when he died and this happening. There are, however, other legends about twenty-five close disciples who reincarnate and re-build their group, and so it is possible that Prabhahasti sending Padmasambhava to Ananda is part of exactly this.

Among his other proficiencies, it would be hard to remove the fact that Ananda must be particularly familiar with Janguli (Matangi).



Janguli's Abode is so famous that you have to figure, which Mountain of Intoxicating Fragrance? One is on an island near Sri Lanka, and yet another is also an alternate Abode of Hanuman:

It was here Bhima met Hanuman. Bhima who was proud about his strength was humbled by Hanuman, when Bhima was unable to lift the tail of Hanuman.

Gandhamadana Mountain, which is believed to be north of Kailash, is the abode of Kinnaras, Gandharvas, Apsaras and Siddh Rishis. It is impossible to locate the mountain and to reach it.

Kubera, the treasurer of Gods, is the ruler of the region.

There is also a belief that the mountain is surrounded by magical creatures. They confuse people who attempt to the reach the area.

Nobody knows exactly where the Gandhamadan Mountain is. The belief is that it is located north of Kailash. This is today part of Tibet.

The reason you cannot find it is because Hanuman is Vayu Putra hidden in the Heart.


Gandhamadana is held in extreme reverence by all sources which locate it as some part of Jambudvipa or slope of Mt. Meru.

The purānic importance of the mountain may be summarised as follows:—

Kaśyapaprajāpati did tapas at this mountain. (Ādi Parva, Chapter 30, Verse 10).

Ananta (Ādiśeṣa) had once done tapas here. (Ādi Parva, Chapter 36, Verse 3).

Once Pāṇḍu went to the Śataśṛṅga mountain along with his wives Kuntī and Mādrī for doing tapas, and on that occasion they visited Gandhamādana also. (Ādi Parva, Chapter 118, Verse 48).

This mountain assumes the form of a divine person. attends Kubera’s assembly and worships him. (Sabhā Parva, Chapter 10, Verse 32).

Śrī Kṛṣṇa in the company of Nārāyaṇarṣi spent 10,000 years on this mountain as an anchorite. (Vana Parva, Chapter 12, Verse 11).

Arjuna on his way to Mount Kailāsa to do tapas crossed the Gandhamādana mountain. (Vana Parva, Chapter 37, Verse 41).

Only those who possess power got by tapas will be able to climb this mountain. (Vana Parva, Chapter 140, Verse 22).

According to the Parākhyatantra, “to the west of Ilāvṛta is the mountain-range Gandhamādana. It seems there was long ago seen there an intoxicated Vidyādharī called Mālyā; steeped in fragrance she was smelt there by the sage Nārada. He was addressed thus by her: ‘O brahmin, my scent is intoxicating (gandho me mādanaḥ)’ . Therefore it iscalled Gandhamādana”.


It is held in similar esteem since the time of Pali Buddhism, as the place where Pratyeka Buddhas reach enlightenment, or, rather, their first destination when they do, and:

The Pacceka Buddhas who live on Gandhamadana will often enter into samadhi for seven days, and at the end of that period seek alms from someone on whom they wish to bestow a special favour, that he may thereby obtain merit...These Buddhas will sometimes leave the mountain, and, having admonished those whom they wish to help, return again.

Ananda or Buddha were doing something relatively impossible to begin with, in order to speak to Janguli there. It sounds like she is probably adjunct to Alakavati (domain of Kubera).

Once, we found that the western forests of Sri Lanka became Lankesvari who transferred to the Indian mainland, and then made a surprising leap at least in the Buddhist dharani system to be known in the Gilgit Manuscripts. Now, there is a whole mountain, which moved from Sri Lanka to north of the Himavat or north of Kailasa, under the aegis of Hanuman. This turns into an automatic destination of Pratyeka Buddhas--meaning those who reached enlightenment prior to the teaching of the Bodhisattva Path--and later is the home of Janguli, who, symbolicly, is practically the entire entrance to the Path.


He did not pay much attention to Dungeshwari, but, describes it as on the heavily-used Bodhgaya to Nalanda route by a trekker who did this during the Covid shutdown. Buddha restored eyesight to a blind cobra on the island now called Sarasvati. And so the Sitabani area must be near Pragbodhi, and from there you get an idea what it is to cross Rajagriha and reach Nalanda:







To clarify:

After his five companions left him, Buddha stayed for some time meditating in a cave called Dungeshwari in Pragbodhi hill (now called Dhongra hill).

From the blog:

Prāgbodhi does not find mention in any other Buddhist literature except the firsthand accounts of Faxian and Xuanzang...


Strange. It was an ancient common route that continued to be used for five or six centuries after they were there. The name might not have been needed to be used, if, for the area, the mountain itself was less important than Sitabani, which we have found in Nyingma and Sarma.



Buddha told Ananda that the last meal had nothing to do with his death. These guys are having different experiences with death than usual. Buddha said it would mainly be transformation into purified Skandhas. Ananda is perhaps so coherent that he just gets the same name in rebirths. Nagarjuna seems to be the same. With the Asura Cave, Ananda is in the position that shows that the Bliss of tantra expressed through Sitabani is really, itself, just the state in which one can go to hear/receive the Buddha's teachings. Shankarakuta, the Stupa which bestows Bliss.

It is the place of revelation of the Kagye'.


In the difficulty of locating these events in Swat Valley, they cannot find all the correspondences, but say:

...the famous Shankarakuta Stupa cited by early Buddhist historians in the Dzogchen tradition, the dazzling monument mentioned by Huen Tsiang and which was said to have graced the shore of sacred Dhanakosha lake.

According to tradition, the great white Shankarakuta Stupa and Temple was surrounded by 1,608 small chapels. Prince Uparaja and Princess Alokabhasvati, rulers of the princedom of Dhanakosha, lived in a splendid palace near there. The era in which they are said to have reigned, according to the legends, was some 360 years after the passing away of Buddha Sakyamuni (568-488 B.C.). But we know, historically, that they must have lived in the latter part of the seventh century.


There is a missing millennium that we are going to overlook, while finding multiple aliases of a person (Garab Dorje) behind this/hypostasis of Vajrasattva, and multiple aliases of someone within it/Guhyajnana Dakini.

From a general account of Kagye':


Vajradharma, the 'keeper of secrets', compiled the Kagyé teachings and wrote them down. He then took them to the Shankarakuta, Deché Tsekpa where they were buried in the presence of the great dakini Lekyi Wangmo.

According to yet another account, the Vajrakilaya teachings were brought out and passed by the dakinis into the hands of the vajra master Prabhahasti, who then later transmitted them to Guru Padmasambhava.


According to Mipham:

verse 12:
This verse details in rather condensed and code-like manner how the eight vidyadharas each received one of the sadhana cycles of the eight logos of the mahayoga tantra from Dakini Mahakarmendrani at the Shankarakuta Stupa in the Sitavana charnel ground in India. And then how Padmasambhava received their combined transmission from this dakini, and soon after also received the individual sadhana cycles of the eight logos from the respective eight vidyadharas.


According to Jagannatha research:

There he became a disciple of Bhikshu Prabhahasti, a Kashmiri Buddhist monk ordained by Santiprabha of Citavara and student of the Vinaya Discipline from Punyakirti of Maru.

Later, Padmasambhava went to the Nalanda University, then studied Mahayoga tantra from Vidyadhara Humkara.

Finally he obtained the Vajrakilaya doctrines from the Shankarakuta Stupa located in the Sitavana cremation ground.
With the Kashmiri pandit Ananda acting as the acharya and Prabhahasti acting as the upadhaya, Padmasambhava received the full ordination of a Buddhist monk with the name of Bhikshu Sakyasimha, the Lion of the Sakyas. Living in Bodh Gaya, he practiced the sadhana of virtue and contemplation, while receiving instruction in the Vinaya Discipline from Ananda and instruction in philosophy, logic and metaphysics from Prabhahasti.

In the Sitavana cremation ground near Bodh Gaya he received empowerment and instruction from Vajra Humkara in the practice of Vajrasattva. Finally, he received instructions from eight great Vidyadharas, each of whom taught him a unique sadhana, or spiritual practice, based on their own realizations, known as the Mahayoga tantra.

Of these eight Vidyadharas, initially the chief guru was Vajra Humkara, the guru of his teacher Prabhahasti. Humkara had met with Sri Simha in a forest and received the fundamental instructions for the Sadhana of Vajrasattva. It was after practicing for six months with his yogini wife in the cave of Lang-le-sho in Nepal that Humkara gained the final Great Seal of Buddhahood and beheld the Divine Being (Vajrasattva) face to face.


In Wellsprings of the Great Perfection:

Manjushri told Manjushrimitra to go there and meet Prahevajra. Prahevajra had previously had a face-to-face encounter with Vajrasattva who addressed him as "child". He was born 360 years after Buddha's passing, at thirty-one went to Mount Malaya with the Vajra Space dakinis, Blissful Loka Taste and Yellow Bliss-Giver of Boundless Qualities, who kept the tantras in Freedom Cave of Dakinis. "Now" he went to Sitabani by the remarkable mode of flying astride one of the daughters of Vishnu, who was naked, with her hair hanging loose. There he taught the Dharma in a gathering of countless dakinis.


This episode is a bit more detailed in The Golden Letters. On Malaya, the dakinis:


Lokasukharasavati had three faces and was attired in the skins of a tiger. Her four hands held parasols of peacock feathers, and she was actively mounted upon a tiger and a lion.

Pitashankara was mounted on a dragon and wore a bandolier of lightning bolts. She was exceedingly wrathful in appearance, but blissful in her mind.

They are interesting, and next:


...in the direction northeast from Vajrasana, when one passes beyond some five yojanas, there existed the great cremation ground of Sitavana (bSil-ba'i tshal), the cool forest, which is some two and a half yojanas in circumference. In the middle of the hilly country there, on an even surface like the palm of the hand, without any boundary or center, or any high or low, directly in front, there was a stupa which had descended from the glorious Deva realm above. It was made of copper and had such decorations as wheels anointed with gold, together with parasols, and there came forth the various sounds of little tinkling bells. In each of the four directions of the stupa there were images displayed, made from various kinds of precious jewels. In the northeast direction of that cremation ground there was the image of a worldly deity called the wish-granting tree Bhisala. Hosts of scavenger birds descended onto it and dwelt there. Here also there was a worldly god called Anandakareshvara (dGa'-byed dbangphyug), who was mounted on a black lion. In his hand he held a spearlike trident, and he was attired in flowing robes of red silk. He was uninhibited in taking the lives of living beings, and he resided there together with his multitudinous retinue.

Here also resided countless Dakinis. Some had the rays of the sun issuing from their eyes. Some roared with the sounds of thunder coming from their mouths and rode mounted on buffalos. Some held knives in their hands and had eyes shaped like grains. Some held piles of human skulls in their hands and rode mounted on tigers. Some held human corpses in their hands and rode mounted on lions. Some ate human entrails and rode mounted on Garuda birds. Some held human corpses impaled on the tips of their spears and rode mounted on jackals. Some swam in oceans of blood and had five or ten heads. Some held many different forms of sentient beings in their innumerable hands. Accordingly, some of them, having cut off their own heads, held them in their hands. Some others, having tom out their own hearts, grasped them in their hands. Yet some
others, having disemboweled themselves, grasped their own intestines and ate them. Among them, some rode mounted on horses or on elephants or on bulls.

And in the midst of this place where there dwelt these countless Dakinis, there was a lake which caused delight to them. Moreover, there were countless living creatures who resided in that cremation ground. There were beings who could not move immediately, and there were also others living there who would actually try to take their lives and eat them. Having the intention of taming by his wisdom those beings who were engaged in these perversions, the Acharya Prahevajra decided to go there. Mounted upon a daughter of Vishnu, who was naked except for her loose flowing hair, he departed (from the mountains in the north and flew southeastward) until he arrived there.

...he proceeded to teach the Dharma to countless Dakinis, such as Suryaprabha (Nyi-ma'i 'od-zer) and others.

Then when heading west to Sosaling:


At its sides there were self-originated images of the eight Matrika goddesses, such as Gauri and the rest

Garab Dorje's chief disciple was Manjushrimitra. Garab Dorje's fate after meeting Vajrasattva:

And so, with the help of dakinis, he spent three years transcribing the teachings he had received. He spent the rest of his life in Sitavana, a famous charnel ground northeast of Bodhgaya, where he meditated and taught the Dharma to dakinis, many hundreds of thousands of whom attained the rainbow body.

Also known as:

Joyful Zombie (ro langs bde ba)
Ash-colored Zombie (ro langs thal mdog)


This man of many hats also taught Padmasambhava. So one would not think he antecedes him greatly, unless we must resort to saying he lived hundreds of years. Either way, the difficulty is in saying that he was the first/only to have Vajrasattva's initiation, which was only forwarded to the Kagye' masters. Other tantras would not seem to permit this singularity.


Although again from information attempting to trace Uddiyana = Swat, we get the impression that VAT was solidly espoused at Nalanda well prior to Padmasambhava:

Subhakarasimha descended from the Sakya prince Amritodana, an uncle of Sakyamuni Buddha. Due to unrest in Magadha (Central India), his ancestors, centuries earlier, had moved eastwards, eventually becoming the rulers of Kalinga (Odra), modern Orissa in the east. Subhakarasimha’s father was King Buddhakara of Kalinga. When the elder son of the family inherited the throne in circa 680 A.D., Prince Subhakarasimha entered a monastery in Caritra on the seacoast of Kalinga. Eventually he graduated to the great University of Nalanda in Central India and, as a disciple of the Master Dharmagupta, became a learned expert in the Mahavairocana-tantra.

Pei, in the Wen-yuan ying-huo reports that he [Subhakarasimha] was commissioned to teach the profound Mahavairocana-tantra to the son of the khatun of Uddiyana...This boy must have been the young Indrabhuti, the king of Udiyana who figures so prominently in the biography of Lord Padmasambhava.


I am not sure he "must", but, we still have to allow the likelihood of two or more Indrabhutis. Dharmagupta is reported as dying in 619. He is called Nagabodhi, or a mystery, or is himself just the name of a much older school. Chen Yen is a Chinese Vajrayana that considers Subhakarasimha, 637-735, its Patriarch, mainly for having translated Mahavairocana, being the precursor for Amoghavajra. From the Chinese records:

The first five Hīnayāna sects— Dharmagupta, Sarvāstivāda, Mahīśāsaka, Kāśyapīya, and Vātsīputrīya

Undoubtedly it was a school prophesied by Buddha; yet probably even later, they have:

Sk. Hevajra-tantra; translated into Chinese by Dharmagupta

more likely:

dharmaraksa (1004-1058)
hevajra tantra


Buddhist Sects and Sectarianism mainly traces the school, but, according to Subhakarasimha's biography:

In 725, he made his most important contribution to the spread of Tantric Buddhism, completing the
translation of the mahavairocana Sutra. The Sanskrit text had been sent from
India thirty years earlier by the Chinese monk Wu-hsing, who had died on the way home.


So there was a complete, exported version by 695 gathering dust. Here again one would guess this was probably not the sole original text, which could have been in place ca. 650.


There is another Dharmagupta much later in the Blue Annals:

Next year he (Vanaratna) bestowed on the Dharmarāja grags pa 'byung gnas the

complete initiation of the Vajramāla according to the system of the ācārya Abhaya,

having divided it into forty-five maṇḍalas. Its Spiritual

Lineage: Vajradhara, Vajra-yoginī (Vajravārahī), Abhayākara Nāyakapāda ('dren

pa'i zhabs), stobs bcu dpal, Vikhyātadeva, Śrībhadra, Lalitavajra, Dharmagupta,

Ratnakara, Padmavajra, Ratnākirti, Buddhaghoṣa, the Dharmasvāmin the Precious

Mahā-paṇḍita.


But if we accept a Dharmagupta at Nalanda, he evidently died twenty years before his student was born. Despite the discontinuity, this does not obviate the fact that Subhakarasimha studied Mahavairocana there, from someone who almost certainly hadn't composed it.

Dakini Jala was practiced by Gambhiravajra, who was a contemporary of Anandagarbha, in Sitabani; but these must be post-Padmasambhava, probably in the 800s. Where was it for the previous two hundred years? During that time there was also:


Dharani-samgraha-sutra was compiled and translated into Chinese by 654.

In a more detailed listing from Indian Teachers in China:

In 652, (Ati Gupta) ?...Dharani-Sangraha-sutra (No. 363 of B.N.)

Prabhakaramitra...came to China in a.d. 627...Ratna-tara-dharani-sutra.


Hrm. Dharani Samgraha has everything in it. Until they publish their version, we cannot say for sure this 650 version matches what we have. I would guess it probably is not as big, but, it does show a reason to "gather" dharanis. Dharani Samgraha and IWS/Rinjung Gyatsa share a pattern for something like a Vairocana-emanated Vajrasattva becoming a wrathful warden of ten directions, going through many deities, ending on Mahakala and Twenty-one Taras.


Here is an improved Kanjur with English and Sanskrit titles. I do not think it follows the Toh numbering; and Paramadya does not seem to appear. But it may be good for the titles. Dakini Jala is actually number Two in a Mongolian Kanjur.


Another close contemporary disciple of Garab Dorje was Nagarjuna, who received Padma Isvara. But one does not have to go far back to see that Nagarjuna is also "the initiate of Vajrasattva". The Chinese view of the VAT lineage is:

Nagarjuna received the text of the Mahāvairocana Tantra directly from Vajrasattva inside an iron stupa in South India; Nagabodhi, Nagarjuna's disciple; Vajrabodhi, an Indian monk famous for translating esoteric rituals into Chinese language; Amoghavajra, Vajrabodhi's famous disciple, and expert in esoteric practices.

Vajrabodhi lived ca. 671-741. So this would closely correspond to ca. 650 for Nagarjuna to have obtained it. This Nagarjuna perhaps passed away in Nepal. They don't remember exactly when. What they do remember is:


Vasubandhu, the younger brother of Asanga, came to Nepal with a thousand disciples after he had finished his work in India (towards the end of the 5th century). Once when he saw a householder ploughing the fields clothes in religious robes, feeling most disconsolate he recited the dharani of Usnisavijaya backwards three times and passed out of his body.


The lineage is more or less Amoghavajra's word, although since he is claiming not to be far from the beginning, there is not much room for error. From the beginning, Buddha's prophecies refer to "someone named Naga", who comes in eight hundred years, or, in MMK:

Four hundred years after the Buddha's Nirvana, there would live a monk named Naga (nagahvaya) who would obtain the muditabhumi and would live six hundred years; he would acquire the Mahamayurividya and know the truth of non-substantiality (nihsvabhavarthatattva).

And so there definitely was an early one who wrote Mahayana Karikas (commentaries), to whom there is now doubt that he also retrieved the Prajnaparamita. From an article focused on Nagarjuna I:

Kumarajiva: "Since Nagarjuna left the world up to the present, more than a hundred years have passed."

Perhaps the earliest solid piece of biographical information of value comes in the sixth century from the translator Paramartha, who attests the connection between Nagarjuna and a Satavahana ruler that in later writings was to be repeated over and over again.

Satavahanas at Dhanyakataka

It is generally accepted that the site of Dhanyakataka was adjacent to the ancient stupa at Amaravati (where according to the much later Tibetan tradition Nagarjuna made benefactions).

And from an article scrutinizing his authorship of Ratnavali:


The oldest extant sources testifying to Nagarjuna's connection with the
Satavahana dynasty surround two works — the Suhrllekha and the
Ratnavali. According to tradition, Nagarjuna wrote these as letters to his
patron king. The translations into Chinese and Tibetan are fairly consistent in naming this king.

Some are transliteral, some translate Sat "good, righteous" Vahan "vehicle", and the consensus is the patron was:

Yajna Shri Satakarni (152–181 CE)

which is reflected in an entire book on a Letter to Gautamiputra. One or two generations back was a Brahmanical reformer king, and then by going back to Buddhism, I suppose you get a nickname like Son of Gautama.


Well, a Prajnaparamita fragment has been analyzed as older than this, ca. 75, thought to be a piece of Eight Thousand Verses, which was first translated by:

Lokakṣema (ca. 179 CE)


Although it is almost unilaterally held he did something like this:

Nagarjuna opened this stupa and saw inside it another one, which was just identical to the first one. So, he decided to find the very first, original stupa. He opened the second stupa and saw inside it the third one, and inside the third one – he saw a fourth one…When he opened the fifth stupa, he found the first stupa once again.

And, from the symbolism of his entry in tossing seven seeds:

If you are able to observe the basic ignorance in the clear mind of open awareness using the pure thought of the Seven Branches of Enlightenment, then ignorance will suddenly break apart and inherent nature will appear.


So, "he" retrieved Prajnaparamita ca. 150 or even prior, and then Mahavairocana ca. 650. Padmasambhava is called by many "the second Buddha" due to his influence, but, others call Nagarjuna "the second Buddha" for the same reasons. The difference is, there are more Nagarjunas, having influence from the start of Mahayana, passing through Khadiravani Tara, all the way through Guhyasamaja explanation.


MMK can certainly be accused of an ex post facto prophecy, but, it is interesting they would associate "Naga" with a certain prominent dharani.

Mayuri is part of, and in Nepal is considered the chief of, the Pancha Raksa. She is the only one by name who does not originate from Bihar. Pratisara corresponds to Vipula Devi; and Sitabani is either her own Forest, or, we would have to ask if Dungeshwari is allowed to consider her lower slopes as part of her Abode. Can you walk from Meditation Cave to Ganacakra when you possess unlimited force? Would that make her Guhyajnana Dakini, to whom Sitabani is an outer form? Nothing says this, but, they are all comfortably close.

Mayuri has been around since the Rg Veda, and is also a retinue member for Tara in a way that is close to Janguli. Pancha Raksa appears to be a way of popularizing spells that are really a course of Mahayoga, including a malleable Quintessence. Mayuri's personal practice is quite close to the evolution of a mandala.

[shaberon]

Mayuri Mandala



This is not from the Pancha Raksa.

It is from Beijing; Amoghavajra worked for twenty-five years, starting with twenty-ish texts from the Vajrasekhara system, followed by Mahavairocana and Tara.


It is a staggering collection of Sanskrit Buddhist texts, mostly dharanis. Kumarajiva's work is not there. That makes it look like Amoghavajra did as much as everyone else did in five hundred years. The overall collection has these which cannot be dated:

mahamayuri vidyarajni
mayuri rajni suvarna varna vidya mantra sutra?


Otherwise, Amoghavajra has the first Mayuri article, this mandala. Moreover, although there are instances of goddesses before him, he has this many in common with Sadhanamala:


mahasri sutra
srimahadevi vyakarana
janguli vidya
vasudhara dharani
marici devi sutra
ekajati dharani
parnasabari dharani
mahapratisara dharani
usnisavijaya dharany adhyaya kalpa
jvalamukhi preta bali vidhi


this for Namasangiti, is actually what Prajnaparamita uses, rather than her own:

ananta mukha dharani


and he has a couple from MMK:


garuda patala parivarta (from manjusri mula tantra)
tara kalpa (from manjusri kalpa)


and this curveball:

mahasukha vajrasattva carya siddhi kalpa


It is not until Fa T'ien (973-981) when it starts looking like "something from Nepal":

mahamantranusarini
usnisa vijaya dharani
graha matrka dharani
tara devi namasta sataka
bhrkuti namasta sataka
subahu pariprccha


along with:

aparajita mahavidya hrdaya dharani
ratnolka dharani


The total Chinese collection is much larger than what is listed there; that is just a selection of Sanskrit titles.

The available Mayuri is from Amoghavajra.


The Kumarajiva version says Bhima or Bhishana has the consort Shivabhadra. This is with respect to a Bhimakali temple in the Sutlej valley of Kinnaur, Himachal Pradesh. The first evidence of Buddhism in Kinnaur is a ca. year 100 penalty for bikkhus having sex with Kinnari women. Chinese pilgrims attest the cult of Bhima in Gandahar, and also at the Brahmagiri mountain in Kosala where Nagarjuna stayed. Further detail says he stayed in Kosala, and then went to Brahmagiri near Amaravati. The article is really about Bhima, claiming she is in Mayuri dharani, which was actually translated as early as ca. 320 by Sri Mitra. Temple Architecture has another notice of Mayuri telling us about "Buddhist tantric goddess Bhima", but the next page does not come up.

Mahamayuri's dharani, translated into Chinese by Kumārajīva, is considered to predate Mahayana Buddhism. It contains the only mention of the Rig Veda in the entire Chinese Buddhist canon.


In our Amoghavajra translation, it says the yaksha Shivabhadra resides in Bhisana, a location, which is used as a Cemetery in Dakarnava Tantra. Nothing about consorts.

According to the Kumarajiva translation of the Lotus Sutra, it is Dhritarashtra who offers dharanis in chapter twenty-six for the benefit of the teachers of the Lotus Sutra. Gandhari was his wife, so this makes sense. In that version, Janguli over-wrote Pukkasi, who is used in the common translation by Kern from a year 1039 original. According to Nichiren, Kumarajiva is the most popular Lotus Sutra across Asia, without textual variations, and:

...though we do not know what language the Lotus Sutra was first composed in, it was clearly not Sanskrit, and therefore the Sanskrit versions of the text are already several steps removed from its first written form. Second, none of the extant Sanskrit versions are as early in date as Kumarajiva’s Chinese translation, done in 406, and all but the earliest differ in some respects from his version. Thus his almost certainly represents an earlier version of the text, one nearer to the first written form.

I was told:

"Kumarajiva's translation into Chinese relied on Dharmarakṣa's which was done a little over a hundred years prior. This pair is well-known, the text by Dharmaraksa was apparently convoluted and not easy to understand, Kumarajiva relied on it and on other sources and created a version that flowed well and was easy to understand."

Which is not that much different from Wiki:

Kumarajiva is known for two things, causing Buddhism to gain traction in China by making profound teachings comprehensible, and by working from older Indian sources than other Chinese translators.

The Beijing list has his antecedent:

Dharmaraksa (265-313) at ch'an an

but not a big pile of scriptures from him. It does not mention Sri Mitra at all. Dharmaraksa actually has ninety existing works.




I do not think we can take Mayuri to task against a complete Kumarajiva recension.Indian Antiquary believes the primitive Sutras only have the story of the bite and the peacock incarnation, but that does not match information obtained about the Yakshas. More accurately, "Mayuri in two parts" has been traced in the Vinaya Vastu:

It is interesting to note that 'Mahamayuri-mantra' had been prescribed by Sakyaputra Gautama, the Buddha, himself when a monk was not cured in spite of the treat¬ment of a Vaidya from his snake-bite. The account is mentioned in the Bhaisajya-vastu (T. Sman gyi gzhi) of the Mulasarvastivada-Vinaya-vastu... Mora paritta vide the Mora Jataka in the Pali Jataka-atthakatha (PTS edn No. 159) narrates the story of a peacock who had also golden colour. Some variations are observed in the contents of the Mora Jataka in Pali which may be studied separately. But the paritta contains the spell chanted by that peacock who used to reside on the mountain called 'Dandaka Hiranna' in order to save his life from fowlers.

Vinaya is a set of rules for monasticism, in this case, Mulasarvastivada, which can only be said to be approximately contemporaneous to Mahayana. Vinayavastu are miscellaneous chapters, such as Bhaisajya or medical supplies. Mora Jataka is from Pali, has a version where the final king is Ananda, and a longer version. Mora Paritta is actually a Solar prayer. This is highly similar to, but not literally the same as, Mayuri. Most suggestions are that she comes from non-deified snake spells. There is an Ahi Metta on that page. All along it are the Jewels of Enlightenment and similar things in narrative form, which are grouped and represented by deities in Sarma. You can almost look at it and see Thirty-two deities of Guhyasamaja, Four Brahmavihara, and so on. The name of the monk to be healed in Mauri's Sutra perhaps comes from the name of the place where these things happen, such as Ahi Metta:

at Savatthi a certain monk had died bitten by a snake.

Mora Paritta in Pali.


Currently, what we can get from Amoghavajra is that his Mayuri Mandala is a brief section, probably originally a separate text, which has been placed at the beginning of Mayuri Sutra. Taken literally, it is a big physical thing with a patron, a priest, up to seven participants, lasting for up to seven days of multiple Pujas per day. If we cannot really do that, but, are curious why it is an early type of inductory mandala, we can find that it mainly emphasizes two things: Offerings and Boundary. In fact the mantras are useless otherwise:


Ananda, if you were to recite this dharani to revive monk Svati, and set boundary upon the ground as well as in the four directions to offer him peace and comfort, all his suffering and afflictions shall be removed.

The two things, Boundary and Dharani, are more or less combined. For example, at the edge of the third mandala ring, you arrange lotus leaves and:


on top of the leaves you should place food for offering, such as milk gruel, cheese, rice, fruits and so forth, should be blessed by sprinkling upon them fragrant water empowered with the Aparajita Vidyaraja Mantra [om huru huru candali matangi svaha]


You should remove and replace all the offering before noon everyday, and you need to form the Aparajita Vidyarajni Mudra [as described earlier] and recite the respective mantra, and raise the mudra above the crown and circulate it in a counterclockwise fashion to release the boundary for the replacement of offerings. When this is done, you should follow the steps as described previously to invoke the presence of the deities and set the boundary.



Allright. We just blessed our Offerings with an extremely violent Pisaci mantra. As happens, "he is a she" if you compare the two notes. If we are unsure whether this has to to with Boundary, the Puja says:


Next form the Aparajita Vidyaraja mudra:

This mudra, used for setting earth boundary and directional boundary, is formed with two hands held inwardly, extending the two middle fingers with their tips in contact, and raise the mudra above your crown and circulate it clockwise three times. By doing this, a boundary of any distance, far and near, can be configured. Recite this mantra seven times:

om huru huru candali matangi svaha



It has not told us why there might be a similar mantra in Lotus Sutra with five or six Pisacis, but we understand this one that has two. Moreover, by interaction through the Yakshas, they will pick up a third, Gandhari:

The eldest son of Kuvera,
Whose name is Samjaya,
Who often rides a man as his vehicle
Resides in Mithila.
His sincerity and majestic presence
Draws a mass following who beg for fulfillment of their wishes.

tadyatha / vale valkale / matamgi candali / purusi vicilini gori / matamgi candali malini / hili hili / agati gati / gandhari kosthi kavari vihani hili kamme svaha


And this has a slightly different intent:

Imbued with great dignity and virtues, radiating light, whose form and countenance are flawless, these yakshas, who form the spiritual brotherhood of Vaisravana, are well known everywhere. Vaisravana often decrees this brotherhood of yakshas to protect the practitioner, shielding him from disturbance and harm caused by all spirits, so that he will not suffer any emotional affliction, thus allowing him to receive peace and joy.

Vaisravana who resides in the city Alakavati,
Located along the jeweled stairway of the Buddha’s descent,
Is surrounded by billions of gods and goddesses.






By placing the Mandala Vidhi before the Sutra, it begins by illustrating the two-way Pisaci nature:

The Buddha said to Ananda, “The reason that all the calamities and oppressive afflictions, wars, hunger, droughts, epidemics, diseases, sorrows, conflicts, disturbances caused by the eighty four thousand demonic ghosts, and hindrances faced by those who wish for worldly and transcendental fulfillment exist is that such adversities are attracted by lust and ignorance, mistaken discrimination, afflictions stemmed from the three poisons, a lack of understanding of true reality, and accumulation of malevolent acts since beginningless times."


That is pretty much the principle of Pisacis or Gauris. Not yet by their full explanation, but, as a basic.

In the Sutra itself, you would get a hypnotic pattern of a formulaic protection phrase after each group of beings--but if you are sharp, this is occasionally broken by an exception which illustrates the same principle, such as among the Pisacis:

These female ghosts often feast on flesh and blood, and cause afflictions to people. However they have great spiritual power, and radiate great radiance, whose forms and countenance are flawless, and are well known everywhere.


The same thing will gladly destroy you, unless you start using your mind to harness it. After Kesini and Kamboji Raksasi:

They often feast on the flesh and blood of children, slip into the homes of newborns, and enter empty houses, traveling via light. They call upon the names of the individual, and drain the vitality off of humans. These horrendous beings, absent of compassion, are feared among men.


and before Ekajati (who smells blood):


Ananda, there are twelve goddesses who often create afflictive emotion among sentient beings, instilling fear, bullying and deceiving them. These beings often guard and protect a bodhisattva throughout the period of him being in the womb, during birth, and upon birth. Their names are as follows:

Brahmi / Raudri / Kaumari / Vaisnavi / Aindri / Varahi / Kauveri / Varuni / Yamya / Vayuvya / Agneyi / Mahakali.

“These goddesses have great spiritual power, and radiate great radiance, whose forms and countenance are flawless, and are well known everywhere."



Concerning the astronomical deities:


All events on earth are first revealed through the stars.



So, if we are trying to dig up the inner meaning for a practice suitable for brief personal sessions, when it is not possible to make the major mandala, do a small one:

construct a round mandala with powdered sandalwood incense accordingly. Place Buddha statues on the respective nine positions, and place three to five stems of peacock feathers on the mandala. You can burn incense and scatter flowers, and offer milk-rice and cheese as offerings to the holy sages.


The mandala itself sounds a little weird, considering your position. There are two Mayuris. You would apparently be facing the back of the central one:


The practitioner should be seated at the west side of the mandala [facing east], either sitting on a straw mat, or a stool, and place a well decorated sutra table before the mandala, and give flowers as offering to the sutra.


Above the lotus womb you should draw the image of Bodhisattva Mahamayuri Vidyarajni, whose head in white faces east, and is clothed in white garment. She is adorned with various adornments such as a crown, a necklace made of jade and pearls, ear pendants and bracelets, and sits in the full lotus position on a white or blue lotus throne which rests on a golden peacock. Her countenance displays a compassionate disposition, and she has four arms. Her first right hand holds a fully opened lotus flower, in the second, a fingered citron [matulunga]. Her left hand, raised to the level of her breast, holds a pomegranate, and in the other hand are three to five stems of peacock’s feather.

At the east of the mandala you should place an image of Mahamayuri Vidyarajni, whose form is drawn exactly as in the mandala illustration, except that the image is free from any framing grid.


We are unfamiliar of a Dhyana using Four Arm White Mayuri who has two fruits. That would be easy to find, if there happen to be any images of her. Just because this is the first widely-distributed piece of literature for several centuries does not mean we will find it.

In China, she is known as Kǒngquè Míngwáng (孔雀明王) and her image is enshrined in many Chinese Buddhist temples.

In Japan she was known as the name Kujaku Myōō (孔雀明王).


But no matter what was written, the matching deity is male:






Aside from the moustache, males usually have a squared hairline. That of females is rounded, possibly with a widow's peak, such as in this obviously modern template:






Dharani Samgraha uses a...hyper ballistic form of the Mayuri Sutra, including her white form:

śitavikakāntamurti


The Mandala Vidhi does not explain or have any praxis as to why there are two identical Mayuris. From tantra, we would expect to use the first, to evoke the second. That is not something you would try to explain to novices who barely know how to read. It is not something we can even show to have been practiced in this time period. Here, we have something like all of the Offerings of a Mayuri mandala being absorbed by the Mayuri who would be facing us like a single Yoga deity.


What is unusual is that for training purposes, one might expect a retinue of five, or, to be difficult like Dhanda, thirteen. Mayuri however goes way beyond that. Of course, it has not told you to visualize anything, but to draw and physically make it. As its design, surrounding the central figure on the lotus petals are the Seven Buddhas plus Maitreya:

with their heads facing outward

and off the petals are four Pratyeka Buddhas and Four Sravakas.


That is a very unusual thing to face outwards. It does not say this for the other groups:

The second ring is Eight Dikpalas from Indra to Isana with retinues.

The third ring is Twenty-eight Yaksa Generals, Nine Planets, and Twelve Zodiacal Signs [probably Adityas].


The implied presence of Prithvi or Bhu Devi is the only thing in the way of Mayuri being surrounded by all males.




The anticipated group participation is such that you do not understand much, and are mostly going to follow along:


However, it is important to remain silent and peaceful within, while only one person, the mantra master, who thoroughly understands the instructions, conducts the ritual by forming the respective mudras to invoke the holy sages, while the rest of the practitioners recite the sutra with the utmost sincerity, reciting as many times as possible, and:


vow to repent in accordance to the Thirty-seven Deities [of the Vajradhatu Mandala] Repentance Ritual


You did not know the Ground Purifying ritual to start with, and you are going to have to find out how to repent. Reciting the Sutra would be quite time-consuming. So we are looking at perhaps how to truncate it for purposes of Yoga. To follow the main format, it does Samaya Mudra with Four Places, then Hook Mudra, Aparajita Boundary Mudra, Sages' Offering Mudra, and Mayuri Mudra with Four Places. I would not take these mantras out of context. The ones in the Sutra, for example the Heart Dharani can be used while walking on a road or in places absent of roads, etc.



The vast majority of Mayuri mantras are those used by particular individuals. There is not much that demonstrates its actual connection to her. There is one, which has a Jataka or prior lifetime origin:

on the southern slopes of the Himalaya Mountains lived a peacock king whose name was Suvarnaprabhasa


This story is a bit different from the other situations, because it extols how peaceful the peafowl were, until one day he forgot to use his personal mantra. He wound up having to use it to escape from a trap. Only after he is able to make it back home does Buddha say:


Namo Buddhaya. Namo Dharmaya. Namo Sanghaya. Namo Suvarna Vabhasasya Mayura Rajnah. Namo Maha Mayurye Vidya Rajni.

tadyatha / siddhe susiddhe / mocani moksani / mukte vimukte / amale vimale nirmale / mangale mangalye / hiranya garbhe / ratne garbhe / bhadre subhadre samanta bhadre / sarvartha sadhani paramartha sadhani / sarvartha pravardhani / sarva mangala sadhani / manasi manasi mahamanasi / adbhute atyadbhute / acyute / ajare vijare / vimale / amrte amare amarani brahme brahma svare / purne purna manorathe / mrtasamjivani / sri bhadre / candre candra prabhe / surye suryakante / vitabhaye / suvarni brahma ghose brahma justhe sarvatra pratihate / svaha.

namah sarva buddhanam / svasti mama nasasya saparivarasya / raksam kurvantu jivantu varsa satam pasyatu saradam satam / huci guci ghuci muci svaha


There we see Hiranyagarbha and Paramartha, in their only instances. Manasi, Manasi, Mahamanasi, sounding like a hypostasis we have seen before. Male Mayura is Buddha himself in Peacock form, which, given the age, perhaps Golden Light Sutra is named after this.

It is followed by Mayuri Heart Dharani, which includes the following epithet:

narayani


The purpose of which is:

All worries and afflictions simply disappear.


Narayani is found again in a mantra of the Seven Buddhas, and at the end of Sakyamuni's version:

kulataya narayani pasyani sparsani / siddhyantu dramida mantrapada svaha


The second part uses Mayuri's repetitive mantric endings; Mantra Pada Siddhi makes sense, however Dramida has little other meaning than Dravidian or native of Tamil Nadu.

The only lead is that there is such a goddess who appears in the long dharani after Aparajita--Capeti:

capetiye svaha / dramidiye svaha / savariye svaha


We saw that Aparajita relates to Gauris, which seems to be continued here.

Drāmiḍi (ದ್ರಾಮಿಡಿ):—[noun] a woman belonging to or originated from Tamil Nadu; a Tamil woman.

Drāmiḍī (द्रामिडी):—f. small cardamoms



In Language of the Snakes, there are:

seven “sublanguages” ( vibhasa: Sakari, Abhiri, Candali, Sabari, Dramidi, Andhri, and Vanaukasi)


In Narada Pancaratra:

so-called Tamil Veda [dramidi Sruti]


The critic from Manasataramgini has no further light on this; we know that in one place, Vajrapani honors mantras of Tamil or Dravidian origin. "Dramida Mantrapada" may mean exactly this.

He does tell us something that de-couples the Accomplishment mantras from the medical sense of "ligature":


the daNDa parihAra mentioned in the MVR is specifically related to the mantra-s to ward off the effects of various divine daNDa-s seen in the vanadurgA tradition and its precursors. Further the same set of mantra-s also talk about the performance of “sImAbandhaM” and “dharaNIbandhaM” which are also paralleled in the mantra-s of the vanadurgA tradition in the form of elaborate dig-bandha-s.


He finds that Mayuri is from the Rig Veda, and that the Twelve Mothers here are in a format prior to the systems of "Seven or Eight" Mothers in the Puranas.

Above, Mayuri is like Narayani, emanating a family--Kula by a form of pasya, which is to look or see, or, multiple Nooses like Net or Jala, followed by Sparsha, Touch or Contact. This is the only Sparsha in the book. Furthermore, it comes after the only Nabhi--Navel:

nata vajre / udaya-nabhipriye alatale /

Nata could be a form of "Nath", or other meanings, but more commonly in this sense:

The word Nataraja is a Sanskrit term, from नट Nata meaning "act, drama, dance" and राज Raja meaning "king, lord"; it can be roughly translated as Lord of dance or King of dance.

Narteśvara stems from Nṛtta same as Nata

Nṛityeśvara


and the navel phrase most likely becomes:

Alāta (अलात):—n. a fire-brand, coal


Buddha probably just said something a little more tantric than is supposed to happen here. Something like a dancing vajra, whose source is the beloved of the navel, fieriness. Towards the beginning is the only Prakrti in the book, and, ending:

nata vajre / udaya-nabhipriye alatale / kulataya narayani pasyani sparsani / siddhyantu dramida mantrapada svaha


means that, despite the ongoing cute non-words that nobody can figure out, he gets Prakriti and finishes with something in regular language, which has little choice but to mean approximately what we have covered.

After his mantra is another cue: this is the middle. Svati was attacked in the beginning, healed in the end, and this is his only "in between":

Ananda, I have taught you to receive and uphold the Mahamayuri Vidyarajni Practice to free monk Svati from the danger of the snake poison, and cause the monk to feel at peace, as well as causing all sentient beings to recite and preserve this sutra, through which they shall receive great peace and comfort, longevity, and fulfillment of their wishes as previously explained.


After the healing:

At that time, the World-Honored One said to Ananda, “Due to this affinity, you should let monks, nuns, laymen, laywomen, kings, ministers, and ordinary people know that if they were to accept and uphold this teaching with a single mind, and spread the teaching to others, establish the mandala with strict adornments, make offerings of incense, flowers, water and food to the respective deities, and cause all sentient beings to be free from all worries and afflictions, then they will receive immeasurable blessings, continuingly receive solace and happiness, and enjoy longevity.”

although he already said its power is such that:

...should a person recite the name of Mahamayuri Vidyarajni, he shall receive protection for himself as well as for others.

Ananda, those who think of Mahamayuri Vidyarajni even for a moment shall be removed from fears and adversaries, and be freed from all dangers.


All you have to do is think of it briefly or say the name of it, and it starts working!

After numerous other conditions, the time to recite the Heart Dharani is:

when faced with afflictions.


Because it has let us know that a certain class of Afflictions comes from inner poison, he is talking about Kleshas, which happen constantly. This is formulaic--over twenty times you ask for freedom from sorrows or worries and afflictions. Only once does it define Pisacis as causing them, and only once does it command those Paramita-cultivating Nagas to:

Constantly protect me from all afflictions.


When Afflictions are not present, a verse says:

Anoint the body with the fragrance of precepts,
And nurture it with the strength of samadhi;
Adorn the world with flowers of bodhi wisdom,
Dwell in peace and joy wherever you are.


If you follow the last command, you are on the First Bhumi. When Mayuri was written, there was already Prajnaparamita to tell us what Bala Samadhi is. After this, for example when she joins the Pancha Raksa, and this does Mahabala Krama, then we see that Twenty-one Taras, etc., are hugely about Vira, Ugra, Bala, and other expressions of power. We cannot do any Bala Samadhi under the influence of Kleshas--Afflictions. Wiped away, then we find it must be getting at what we now call the Sixth Yoga. If we take the Sutra literally, we are in the position of an inexperienced student who is going to do multiple, lengthy recitals with subjects such as people from the north and south are all welcome and able to train. But according to Mantra school, everything compresses into the Heart Dharani. You can take that and aim it, at, for example, why Buddha Vispasi invokes Parnasabari. Or at any of the points we have focused. When you remove the repetition, there are only a few certain points in the Sutra, which seem to constitute Kriya Tantra.

To my eye, most of the poignant ones are in Mayuri's Name dharani:

Hiranyagarbha, Paramartha Sadhani, Amrita and Gold related to Brahma, mrtasamjivani--Resurrection.


The Heart Dharani is considerably less "sensible", aside from identifying her as Narayani, most likely Dravidian.

If these, shall we say, Peacock mantras, are the unique identifying feature here, and, there is a kind of separate Mayuri who is a Samaya being, I would tend to ignore the mandala and just take the Peacock mantras to her. Over time, you might work in other parts interchangeably. Perhaps Ekajati. She vows to protect you if you use her mantra. And so forth. If you do the one with Janguli, it also binds planets, Ishana, Garudas, and most examples of "classes". The whole thing is adjustable if you just want to read the Sutra as it is, that is valid, albeit time consuming. If I do something quickly, it is Vajrasattva + Dharani, and, to do a longer one, it will be more like Guru Yoga plus Yidam Deity. Because these are Sutras, we cannot say you *have* to do Guru Yoga, but, the idea is, you want to learn Guru Yoga anyway.

This Sutra is good with Seven Buddhas; it is also good with Nagas. It invokes Janguli, who perhaps is a bit less approachable, and very intensely specialized about Nagas. She is old enough to be in a non-Sanskrit, perhaps Kotanese, Lotus Sutra, which nevertheless must be influenced by Indian culture such as the Mahabharata, by having Gandhari.

Both of them were inputs to one of the world's most significant archaeological sites.


As a testament to her antiquity, Mayuri is at Ellora, identified by the peacock:
















In Cave Eight:








An unidentified figure from Cave Six is thought to possibly be her:










Later Mahamayuri in Kathmandu:







Ellora is almost certainly older than the Peacock Face attendant deity we found in some small village. She has never been called part Peacock that I know of. Janguli is not part Naga, either. She may have a Hood, but not at all times, in which case she usually holds a Snake. If we take this strand of dharani:

matangiye svaha / naga-hrdayaya svaha / garuda-hrdayaya svaha / manasiye svaha /

then we get two names of Janguli, plus the Kingdom she is related to, blended with Garuda, who was mentioned as living near Vajrapani in Bihar--why those two are in the Yakshas is rather odd. In the whole Sutra, the normal word for Peacock is not even used, except as a Yaksha:

The yaksha Karttikeya resides in Rohitaka.
This yaksha Kumara is renowned in the great city.


It seems to me that Mayuri is disinclined towards the usual Mars--Peacock association. I would think this has a lot to do with the nature "Golden" and "Narayani". In Buddhism, Amitabha also has Peacock as vehicle, and because that is Fire and the Mars we are interested in refers to inner heat, one could probably say that is a slightly different symbolism from the same thing. That is a bit like a serpent's body means you are a Naga, but, a Serpent Hood can be Nagarjuna, Bodhisattva Nagaraja, Janguli, Amoghasiddhi, who are not.

[shaberon]

Mahamayuri and Janguli into Paramartha Parasol and her sub-tantras





From the page showing us the original Peacock prayer, Mora Paritta, it is not that hard to see that tantric Vajrayana Buddhism is a re-working of parts of the Pali Sutras. In the Pali, there was no recognition of what we call Mahamayuri. But, she is most likely a closer introspection of the inner meaning, and then she is found as probably the most complete pre-tantric tantra, or perhaps mandala practice. Moreover, even from her most antiquated discovery, we find the accompaniment of goddess Janguli. We have found pretty strong evidence of the use of Marici and Tara dharanis from ca. year 500, but Mayuri and Janguli pre-date even this, and, most likely, with Ekajati. These assemble themselves into Tara retinues in Sadhanamala, which, cannot be provided any specific dates for most of its sadhanas, but, the oldest are not going to scratch the surface of a pre-500 dharani system.

Do they carry forward dharanis into Mahayoga practice, yes.

Was this type of retinue well-known and continuous through the Indian system, yes. A very careful look will show that recently, fifty-one contributors submitted articles related to Bhattacharya, including:

Mahamayuri and Janguli as Attendants of Prajnaparamita. Investigation of an unusual iconographic feature based on Bihari Astasahasrika Prajnaparamita manuscripts from the 11th century/ Eva Allinger



Going from the understanding that they would have been unable to continue this kind of work since, after that time, they were all dead, or driven away, I could accept togetherness from a pre-400 Mahamayuri and Lotus Sutra, up to the end of the Indic Sarma phase in an illumined Eight Thousand Verse Prajnaparamita, as a baseline stability, that anything else could only be attached to. Try that again. Mayuri and Janguli are together in some of the earliest known, and probably prior to, writing, through the peak of Indian Buddhism in the place where Buddha achieved Enlightenment.


More specifically, this retinue works its way into the Mahattari system of Tara, which can either be its own stand-alone Tara sadhana, or, incorporated into a Homa, as is still currently done in Nepal.



One of the most influential spreaders of Tara practice was Nagarjuna, particularly for that of Khadiravani Tara. Although similar, she lends herself more towards the Song of Twenty-one Taras, for which we can also give a sort of alpha and omega set of bracketing facts. The original Sanskrit song has practically nothing to do with what today are called systems of Taras, which are only certain lineage practices of it. And, it is mostly done in Tibetan. However, drawing from the experience of the twentieth-century Delok Dawa Drolma, the song itself really has the timelessness that in the Akanistha, in the Abode of Khadira Tara, it is still being sung in Sanskrit by many Taras.


It rapidly becomes apparent that there is something which has never really even been discussed, viz.:


Nagarjuna's system of Taras.


You can find out more about what he had to do historically with alchemy and trades of mercury around Yunnan and the eastern Silk Road. Evidences can be given for it. Remarkable. However, India had the simple Tara Tantra and her Song, which is intended as an accessory to the Six Yogas, for which we have the commentarial system of Nagarjuna in a fully-intact manner.


Twenty-one Taras is a dharani system which invokes the deities such as Marici, Parasol, and so on, which at their base are Twenty-one teachings of Maitreya, and, as dharanis, transform this into repairs and healing of the subtle body, so that the corresponding tantric aspects of Bodhisattva can manifest. And so she is acting in unison with Vajrasattva, who can be expressed as Maha Sukha or Great Bliss, from an early point in his teaching in Sri Paramadya.


In rough, simplistic terms, let us say that there is such a thing as a System of Seven, inspired by Maitreya, which is not the same as any kind of mainstream Buddhism remaining in China.


In 513, Ratnamati held a doctrine which led to a split called the Southern Ti Lun school. It says that the Alaya is Suchness or Tathata. This is concerned with Buddha Nature or Tathagata Garbha, which doctrinally entered China by Gunabhadra's translation of Srimala Devi Sutra, and by Ratnamati translating Ratna Gotra Vibhaga. The subject of RGV is Seven Vajra Mysteries.


This split happened from two determinations about Vasubandhu's commentary on the Ten Stages of a Bodhisattva in Avatamsaka Sutra:

buddha - nature is first acquired upon attaining buddhahood; thus it is not inborn.

The southern and more important branch of the school under Hui-kuang, a student of Ratnamati, saw the storehouse consciousness as real and identical with suchness, and buddha-nature as inborn.

After Hui Kuang and Fa shian, Hui Yuan who passed away around 592 may have been the last in the direct doctrinal lineage as the school dissipated.

This may seem minor, as if the dispute was all about some synonyms, but, it is largely a similar characterizing of Suchness or Tathata which will be upheld again in the tenth century by Ratnakarasanti as the crux of the Nirakara system. He makes a similar shift of Prajnaparamita goddess, who was thought of as "realized at full Buddhahood", instead, she is immanent, and incremental by degrees.

It is almost the same thing, in another way, that characterizes Tibet. The majority or Prasangika school or philosophy is recalcitrant about some of the things that Srimala Devi says. I am not sure how they would react to the fact that we can show that Maitreya's doctrine in RGV actually is identical to the doctrine of Atma in Bhagavad Gita. It is so identical that we can even show that Manjushri brings in the Vyuha to show us what reality is.

"Atma" from BG is called "Dhatu" in RGV.


The Chinese translator, though having the same name, is not Ratnamati who came slightly later:

At Nalanda, Nagarjuna studied sutra and tantra with Ratnamati – an emanation of Manjushri – and, with Saraha, especially The Guhyasamaja Tantra

Or, Ratnamati is Vajradhara, who along with Vajrapani, began the Mahamudra lineage. Sometimes they are called Manjughosha and Avalokiteshvara; only Saraha really knows.


The Maitreya doctrine as I hold it is that this RGV teaches Sevenfold Manifestation of the Absolute. So do the Seven Jewels of Enlightenment in the tantric sense. It also symbolizes Seven Consciousnesses or Seven Minds of Yogacara, in saying the Alaya is not really part of Man, and when purified by Suchness it is effectively removed. Also, it very nearly directly names Seven Buddha Families. It starts with the Three Jewels (the Three Families of Kriya), having the Fourth and Fifth Families at the end:

Buddha, Dharma, Sangha, Dhatu, Bodhi, Guna, Karma

In Buddhist terms, Dhatu being suggestive of Dharmadhatu brings to mind Vajrasattva, and then Bodhi as Anuttara Samyak Sambodhi is the state of Vajradhara. In Nirakara, we are putting together "this" RGV with "that" Lion's Roar of Queen Srimala Devi. Prior to Ratnakarasanti, we cannot quite give any continuous system; if there was a Southern Tilun of Seven Consciousnesses, it went away; in India, there were so many competing schools, that we are best off just calling it "a certain interpretation of Nagarjuna". It was a "center between extremes" that can be examined in a few philosophies, which winds up as a fusion of Yogacara and Sunyatavada, while dropping certain tenets of both. To be accurate, it would have to be called "a kind of Yogacara" due to being a system of Yoga practice, something like how Form and Formlessness work together for the purposes of Buddha Nature, which is natural, universal, and available to everyone.


I did not know until recently there was a prophecy about "Naga" likely Nagarjuna who practiced Mahamayuri.



Although Padmasambhava has a considerable mystique enshrouding him, at least we can pretty closely say, he was born around such-and-such a time, had approximately such a career in these places, and that was him. Nagarjuna does not lend himself to such conveniences. "He" is found in all of the significant historical eras, at the "beginning" of Mahayana--Prajnaparamita Sutra, of Nalanda University, of tantra in Nepal at the time of Bhrkuti, of tantra in the Kagye' from Sitabani, of tantra in India related to Saraha, Indrabhuti, and Guhyasamaja Tantra, and about the only way we can ever cut him off is to say Kalachakra Tantra was composed by Vitoba.


There are a few of his practice notes in an article that is otherwise unclear about the dates of Nagarjuna:


So, he gradually went and went and finally came to the gates of Nalanda. There he began to
recite the hymns of the Samaveda.

He came to Nalanda where he became a good scholar and met the goodess Tara. At Rajagrha he learnt
mantras about the twelve female yoginis (‘byun-mo) for twelve years. When he wanted to transform the hill (Gha-dha-si), into
gold the god Manjusri blessed him. Then he went towards Sriparvata.

Nagarjuna learnt the tantras of the goddess Tara from Hayaghosa, a
disciple of Hayapala, who was a scholar of the tripitakas. Hayapala was Guhyasris disciple. At Rajagrha he learnt mantras about
twelve saktis (Yogini) for twelve years.

At Dhanyakataka, he obtained the Mahakala – tantra and Kurukulla tantra from the goddess Tara.



When a famine broke out in Nalanda, he, as an attendant of the monastery, saved the people by the alchemy of changing
the metals into gold by the propitiation of candika and maintained the people for twelve years.



Being obliged to get Nagas as workmen, he thought it was necessary to put confidence into the nagas. So, he called by the mantra of the Ku-ru-kulla with her maiden. When two women with their large maiden appeared to listen to the sermon of the law (Dharma) at the sangha, the place became filled by a scent of sandal wood, and when they left again that scent also vanished. Nagarjuna knew the cause, then he wanted to make a statue of the Tara from such sandal wood. He also required this wood for making the building of his vihara and Caitya.

Thereafter, he propagated the knowledge of alchemy in ancient Pun dra - vardhana (li-Kh_ra-‘sin-‘phel). He knew that the
daughters of the Naga Taksaka ( Klu-jag -po ) were covered by dust of the best sandal wood in order to protect themselves from
pollution by men.


Nirajan is another name of the Phalgu River in Bihar:

He also placed seven big stones and excavated a drain on the east of the river Neranjana to save one hundred and sight
caityas from the flood of the river.


And near Amaravati:

In the south at Dhanyakataka monastery he erected walls around one hundred caityas.



It mentioned Twelve Yoginis twice, which we found having a background in Mahamayuri Sutra. The tantras of Tara preceded "this" Nagarjuna by at least three generations. He is just known for this vivid approach to her. Therefor he is considered highly reliable, such as for the mantras and sadhanas related to her. The remark would be that although she is Forest Tara, this is not necessarily strictly Potalaka Tara. This is because she has more to do with Karma Family, and, therefor, the Sixth Yoga, or Candi, the alchemist.


There is, perhaps, a lineage for the commentarial system of Six Yogas:

Buddha Nageshvara Raja, Arya Nagarjuna, Chandrakirti, Dipamkara Atisha (982-1054), Rinchen Zangpo, etc.


The first, often called Nagaraja:


He is also commonly described as having four accompanying bodhisattva figures: Nivarana-vishkambhin white in colour (front), Maitreya red (right), Manjushri yellow (behind) and Avalokiteshvara white (left).






Neither Buddha's Words or the Vedas are a written system, they are bardic. Writings were added considerably after the events. What I have gathered from Buddhism is that the effort is not to subordinate you to the writings, but, rather, to place you into the state of their issuance, which is possession by Agni. Because this was originally directly demonstrated, not written, the Vedas:

...are sometimes referred to as shruti, meaning “that which is heard.”

It is believed that having been orally transmitted for so many years, the Samhitas were brought to India by the Aryans and took their present form sometime between 1200 to 200 B.C.E.


A Samhita is similar to a Yana or Pitaka or "basket" of teachings, usually an explanation in verse form, lending itself towards mantra, hymn, and song, rather than mundane speech. Written Vedas are accretions, which, in addition to the Sruti or Samhita, has added three layers of texts:


The Brahmanas - guides to rituals and prayers for priests
The Aranyakas - principles of worship and meditation
The Upanishads - teachings of the mystical and philosophical elements of Hinduism


Some scholars categorize the Samhitas and the Brahmanas together as the Karma-Kanda part of the Vedas because they contain information relevant to rituals and ceremonies.


Buddhism is "anti-Vedic" in the sense it has told us to ignore the Karma Kanda, probably mostly in the sense of the Brahmanas. Nevertheless, we do find examples of vocabulary or symbol which seem to originate there. What I understand by "ignore" is the aspect of daily compulsory ritual behavior. This is actually similar to the Aranyakas, or "wilderness literature", which teach the Inner Homa as a way of converting...all of the household or temple Karma Kanda...into a portable, symbolic Inner Homa. This is tied in to our teaching of Vairocana Abhisambodhi. All of our other tantras are aids and expansions to this. The biggest practice we have, if someone were to commit several hours to yoga once a month, or even once a year, is Homa for the purposes of Abhisambodhi. All of the smaller practices we have, are simply included in that.



Another thing that Manjushri does is to push us to Mahalakshmi as the first Dharani goddess. We are able to get Lakshmi Tantra as well as a fleeting glimpse at for example a particular sentence in Devi Mahatmya about how Mahalakshmi is behind other shaktis such as those of Uma and Kali and so on, which is carried forward in the very interesting Adbhuta Ramayana. Some awareness about this is reflected in the Indian discussion site Quora:


Compositions of early Vaishnavism (here, Bhagavatism to be more precise) such as Ahirbudhnya Samhita (AB) do no such thing. On the contrary, they incorporate Buddhists. In fact the actual biological descendants of Aniruddha are explicitly mentioned to be Buddhists.

There was absolutely no dharmashastra (varna system) used for governance in southern India until the advent of Vijayanagara Empire.


[no system of enforcement of religion, having widespread Buddhism and Jainism]

Pancharatra is the tantricism side of Vaishnavism. It is made up of several samhitas. There is a distinct link between the tantricism (ritualism or methodology including procedures and processes) of some samhitas with Buddhism.



"Personally believe Buddhism to be the rightful inheritor of the historical vedic religion, beginning with the rejection of ritual sacrifices in brahmanas by Shramanas in the pre-buddhist period culminating with the Buddha’s ‘total rejection of the vedas’ (read: rejection of people claiming to be brahmans and the compositions of brahmanas). Do note the historical vedic religion is divided into phases, one is the period where the samhitas were written. Next is the phase where the brahmanas were composed. Buddhism is the rightful inheritor of the religion of the samhitas. In fact, the historical vedic religion including the worship of Indra and Brahma survives well within streams of Buddhism. If one were to compare compositions of the canon with some certain suktas there is an unmistakable continuity. The Brahmanic religion is certainly not the successor of Vedic religion."



Most of that seems to flow right along, but then it is astounding to see it denied that Brahmanism is Vedism. Except it is linked to more about the caste system, and, I suppose, it is difficult for outsiders to understand how this is part of the definition of "religion". I would not really know what it is, since I would call yoga something more like "a practice of divinity", having almost nothing in common with anything I have ever seen in any public arena.


What I have noticed recently is that the Chinese are particularly avid about exhuming and transcribing the vaults of Sanskrit texts. According to Indian Times, there has been little response from the Indian side. One would think they might be interested in how their own classical language was powerfully influential in shaping culture and trade through history. But surprisingly little according to the article. Nobody admitted this, but, it is not too hard to imagine that the likely obstacle is that the Chinese and other external Sanskrit texts:


are all Buddhist.


One of them is Kumarajiva's Mayuri; despite the fact that we do not have access to it, from mainly the architectural research into the bizarre Bhimakali temple, we found that this version apparently included consorts, primarily Bhima. So i. e. this written evidence from probably prior to year 400 is older than the temple or any of the local records.


There probably are not many Buddhist tantrikas who could directly answer about Bhima, and probably would be forced to synonymize her to Raudri or Candi or something along those lines. That is because Nepal, Tibet, and Mongolia fastened on to advanced tantras and they mainly do Vajrabhairava, Chakrasamvara, Kalachakra, major systems like that. The Orient mostly exclusively does Vajrasekhara, which is mainly Mahavairocana and Vajradhatu mandalas.


Mahavairocana in VAT does two things; describes ritual behavior such as Homa, i. e. Kriya or training processes you can do while trying to ground yourself for Yoga, and then it has Abhisambodhi, which is Spontaneous Revelation, which is not something you can just do, because it does not emerge until the Fifth Yoga. Correspondingly, the Vajrasekhara system carries the Guhyasamaja Tantra as the explanatory text, should one get to that level of achievement.


These Six Yogas do represent physiological changes, but, they are not Hatha Yoga, they are Noumenally inspired, much more like Raja Yoga. Buddhism does not seem to disagree with the Four States of Raja Yoga, it enhances them. Specifically, in Vairocana Yoga, we can say it is also important to become aware of additional states of consciousness, in terms of Death, Intermediate, and Rebirth. Here we turn to Sarvadurgati Parishodhana Tantra. As well as providing a frame of Tri-kaya, Body Speech and Mind, and Buddha Families and aspects of Kama Loka, it extends to an unusual absorption of the Hindu cosmos. Here, it is not so much that they have been forcefully converted to Buddhism, but, that then they gain a new esoteric reality. Whatever happened to the Sun requires the rest of the tantric system to deal with, and so on. And then we see that the whole SDPT mandala, after some very mysterious Serpent Hooded Makara riders, ends with some very important Vidya goddesses starting with Bhima:


bhīmā
śyāmavarṇā dakṣiṇena vajradhāriṇī vāmena khaḍgapheṭakadhāriṇi|

śrī
gauravarṇā dakṣiṇena vajradharā vāmena padmadharā|

sarasvatī
vīṇāhastā vāmena dakṣiṇena vajradharā|

durgā
śyāmavarṇā siṃhārūḍhā dakṣiṇabhujābhyāṃ vajracakradharā vāmābhyāṃ paṭṭiśāśaṃkhadharā|

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



Similarly to Parasol in her sources, these are all called feminine Vajradharas, in this case having a Trisuci or Thrre-spoked Vajra, which can be found for example as a:

Three-spoked Vajra in the Earth Square of Inverted Stupa.



From a chronological view on the development of "Buddhist Vajra", they give the name Vajrasattva Yoga as that which views the Three-spoked Vajra as "original", which develops in to Five and Nine Spoked varieties. Vajra's earliest notice was probably:


Vajrapani as King of the Yaksas in Ambattha Sutta and the Mulasarvastivada Vinaya.


As part of Mahayana, the significant explanation of Vajra becomes:


Uttaratantra or Sublime Continuum, the Ratna Gotra Vibhaga or RGV attributed to Maitreya, commented by Asanga.


Then involving Emptiness Mantra, Om Sunyata Jnana Vajra Svabhavatmako Ham, the:


Transformation of Sunyata into Vajra

Vajrasattva is Vijnapti Matrata (true mind, etc.) , which is Sunyata in the absence of subject and object.


Importantly here it should be added that Vajra is the Hand Symbol of Vajrasattva in Paramadya Tantra. In turn, a Hand Symbol is essential for Abhisambodhi. If Paramadya is original, influential to, and quoted in, Dakini Jala, it must have existed around the same time, ca. 600, that there was widespread distribution of RGV.


The next important Void philosophy related to Vajra is:


In Nagarjuna's Pancha Krama, the Four Voids, Sunya (Prajna and Aloka), Atisunya (Upaya, including Aloksbhasa, Surya, and Vajra), Mahasunya (Union of Prajna and Upaya), Sarva Sunya (Prabhasvara).


So whereas the study is approximately true, it has found Completion Stage, without, so to speak, the important practices between the mantra and the final resultant practice. These Four voids are, of course, the major core of Completion Stage Yoga, although to the fourth, we also give the name Parasunya; or, this term seems to be in common between Nath, Sadhanamala, and Nirakara.



A fairly recent book has recorded Sanskrit names for 760 images found at Forbidden City in China; not only did it represent Namasangiti in great detail, it actually has the vast majority of Nispannayogavali--NSP mandalas. That brings us to the following:





Krishna Yamari and Parasol




Yamantaka was the original wrathful Manjushri who summoned all the beings in MMK. He has his own rites, and there are others called Yamari and named after their color. Nepal has all five of these; in Tibet, only the Red and the Blue. I am still not sure about the rationale for several Death Conqueror Manjushris; from looking into Namasangiti, it seemed to suggest using Vajrabhairava, although the net result appeared to be the state of Trailokyavijaya, which was more clearly demonstrated by Vajrapani. To proceed in Yoga, you have to cross this gulf one way or another. I know that we could just copy a Tibetan Vajrabhairava sadhana, but, again, without the lineage, this is usually a horrible idea. There are two reasons to lean towards Krishna Yamari. First of all, it has the only use of Janguli in tantra that I know of. She most likely has come from its "miscellaneous rites" because she is not one of the main actresses. But she is the principal deity of a retinue. Secondly, Krishna Yamari is introduced elsewhere with a Sutra deity.

If we had the full Sadhanamala, it would give his forms up to his major Six Face form. The back half of the book contains mainly well-known male principals of tantras. So that is not surprising. What is unusual about Krishna Yamari is that he is treated at great length in an acquisition of the British Museum described as a Pracalit Newari manuscript by:


Ratna jyoti in the eleventh century of the Nepāl samvat

[NS 1026], British Library, EAP676/16/2

This in turn says it is from a 1906 Dipak Vajracharya collection.

And so that is nicely set up so you can view the pages, of which there are over a hundred and forty.

Six lines in 142 folios would be 852 lines total.

There once was a "Vikram Samvat" which would mean a much different year; judging by the header and the person's collection, or, by judging the folio images, we would have to say that NS 1026 is actually what it means by the date of Nepal Samvat 1026, so, we will conclude this was physically written in 1906. As to its ultimate origin, lineage, etc., there is no hint, but, if we are daring enough to say it comes from "knowledge", then, this document is extraordinary. It lacks any issues such as whether a Chinese tweaked the Shurungama Sutra, or a Tibetan excised Vajra Rosary, etc., to suppress or promote this or that lineage. Instead it will bring us closer to how they are related and work together. The Yamaris mainly influence Generation Stage, which of course exists between Sutra-level meditation and the ability to make use of Vajra Rosary at all.


One could perhaps say that a Nepali affected the Shurungama Sutra in order to compose this. The situation is a little different because Nepal does not make or promote major institutions, so, the dominance of a Gelug or Shingon or any other sect is not particularly involved. And, in this case, the deity, Parasol, is not all that strictly attached to a Sutra. She is a telepathic emanation from Buddha. The written words are a bit like a few steps to help you soak your head in Buddha Mind. Accordingly, the extended title of this practice is called:


Paramārthanāma Vinirgata


in which case, Vinirgata is a type of "Emergence", similar to Emergence of Samputa Tantra. Paramartha, on the other hand, is not a title that is handed out lightly. On the whole DSBC site of over four hundred articles, there is a Paramartha Namasangiti, and a Paramartha Sekkodesa, or commentary on the Six Yogas. Paramartha is especially meaningful to Yogacara: it has to do with accomplishing the Third Nature, Parinispanna, in being able to overcome the Third Void, and thereby gain the technique of Three Lights which is Gnosticism or is the basis of Completion Stage Yoga.

Nepal National Archives show a hundred or two Paramartha Namasangitis. There are more than seven hundred Pratyangiras, although most of these are also a title for Siddhi Lakshmi. As to Parasol, it does have Dharmmopadesa, so, parts of Paramartha Parasol are lying around in there, but not this composition. A couple of her other esoteric tracts are:


(Caṇḍograśūlapāṇivinirgata)Pratyaṅgirāsiddhimantroddhāra

Mahāvajroṣṇῑṣamahāpratyaṅgirāmahāvidyāhomalakṣaṇavidhi


Unless something else ever shows up, we are using a single Paramartha Parasol Transcription by Rawlins.


As part of the document's basis, it gives the same long Sitatapatra Dharani as we already have. But, it appears to be this, expanded to a 1008 Names format--not literally, but something like that. Very similar, but extended. The difficulty is that it does not really explain how or why any extensions have been made. The best guess is that it owes to a commentarial system and/or personal practice. The rest of the collection looks like what we would probably expect. For instance, the Pancha Raksa, a bundle of Five Sutras, comes in a bit longer at 183 pages; most everything else is smaller. This may be the longest single item.


cf. Shanker Thapa listing this and:

Paramārtha Nāmasamgīti, 23 fols

It shows Dipak Vajracharya's and other collections; Ganapati Hrdaya, which I found long enough to occupy a chunk of practice time, consists of three whole pages. Using the whole Parasol will not fit in most day-to-day applications.


The transcript shows us a few things. I am not sure why it gives a manuscript, and then also a list of "Primary Sources", including 150 Line Prajnaparamita, Pratisara, Megha Sutra, Bhutadamara, and Krishna Yamari Tantra--of which it is claiming to use some twelve chapters. It is not at all like a commentary saying, verse x is explained by this quote in Prajnaparamita. It looks more like Parasol simply takes Prajnaparamita ideas or verses and uses them on her own.


I cannot tell how the transcriber became aware that certain "original sources" have been added to Parasol. I cannot read the script. Links are given to show how, why, or that, these things were obtained. There is a Krishna Yamari Tantra with a commentary called Ratnavali Panjika by Kumarachandra published in Tibetan and Hindi, 1992, to the tune of 550 copies, also tells us a Saiva tantra, Isana Shiva Guru, borrows from this.

Among its subjects is Generation Stage of the "four yogas" up to Mahayoga.

Actually he has transcribed Krishna Yamari as well. Unfortunately it is far worse quality. It is unusually simple. It has short chapters which are mostly just simple mandala descriptions. Provided the first twelve chapters are moved into Paramartha Parasol, the remainder are:

Vajradakini as the center of Five Dakinis

Manjuvajra with marici parnasabari vasudhara ca cundrikam

Janguli followed by Kurukulla is a Vajrananga, i. e. Body-less sadhana

Heruka

Bodhicitta or Vajrasattva

Then just a few concluding remarks, such as Odiyana Vinirgata, in the regular sense of "a monk from the country of China (chinadesi-vinirgata-bhikshu)", implying this is in common with the many Oddiyana sadhanas in Sadhanamala. Is this a tantra?? I guess so, it combines mantras and visualizations. But it contains little to no doctrine about how to employ the Five Stages or Six Yogas. It is not an advanced Completion Stage or Heruka Yoga, no exposition of mandala components, no Seven Syllable, so it is more like a variation on Dhanada Krama. It does have Janguli, who is not a stand-alone miscellaneous rite (which it does not have any), instead she is a predecessor of Kurukulla.

Its almost illegible text actually works right in Notepad only, making a huge run-on, but visible. The problem with text formats is that the diacritics break searches. I will probably wind up posting a few things in their entirety, because html page search just uses the letters.

What Janguli does to Jala or Jalam is at first Kramya, "crosses over", and then:

Ākramati (आक्रमति).—(in Sanskrit treads on, tramples, and so Pali akkamati; see ākrāmayati)

It probably is Water, although it potentially is Net, or:

Jāla (जाल) (or, Jālandhara, Jālaka) is another name for Kārala, which refers to a Mahāpīṭha

Jālā (जाला) (or Cāmuṇḍā, Siddhayoginī) is the Goddess associated with Jālandhara

And then one is more or less passing snakes to Kurukulla, who is with Rati, Madana Sundari, Kama Devi, and Madanotsuka. The Kurukulla has Four Faces and Eight Arms. She is in the business of Hooking:

nāgayoṣitam

A or the Nagas in turn:

nāgākarṣaṇakāriṇīm

Kariṇī (करिणी):—(ṇī) 3. f. A female elephant.

There is an Eight Serpent Hood of Ananta and other Kulas. After Kurukulla mantra and Cemeteries, the retinue are Apsarases, although Vajrananga is mentioned first, as if he is a new principal. In the corner is:

aniruddhamuṣāpatim |

Aniruddha, Lord of Crucibles, Rats--Mice, or Mongeese.

possibly with:

vasantaṃ makaraketuṃ ca dvāri(ra)bhāge prakathyate ||

1a) Vasanta (वसन्त).—(personified) a friend of Manmatha.*

* Brahmāṇḍa-purāṇa IV. 30. 68; 32. 21-58.

similar to:

1) Balabhadra (बलभद्र) set of four Hindu deities described fully in the dharmadhātuvāgīśvara-maṇḍala of the Niṣpannayogāvalī.—They include Balabhadra, Jayakara, Madhukara, and Vasanta, and in Hinduism, all these are the companions of the god Kāmadeva, the deity of Desire.

Makaraketu (मकरकेतु):—[=makara-ketu] [from makara] m. ‘having the M° for an emblem’ or ‘having a fish on his banner’, Name of Kāma-deva, [Mahābhārata; Kāvya literature etc.]

They make the doors of pleasure manifest. I would almost guess that Aniruddha is not Lord of Mice, but, perhaps adjoined to a corrupted name of:

Musalapāṇi (मुसलपाणि):—[=musala-pāṇi] [from musala > mus] m. ‘club-handed’, Name of Bala-deva

which would result in four corner deities.

All the devatas then get Murdhni, on their heads:

Yamaghna (यमघ्न):—[=yama-ghna] [from yama > yam] mfn. destroying Yama or death (Name of Viṣṇu)

Yamaghna is a Sanskrit compound consisting of the terms yama and ghna (घ्न). See also (synonyms): yamāri, yamaripu.

Yamāri (यमारि):—[from yama > yam] m. ‘Y°’s enemy’, Name of Viṣṇu, [Pañcarātra]


Suddenly there is an encounter:



strīṇāṃ khagamukhāntasthaṃ vajrānaṅgaṃ vibhāvayet |


"Bird Face" or Khaga Mukha means, in Hevajra, Entrance to Space. Kha or Sky is the root of Khaga, sky goer, or Khacara or Khecari. So rather than the vein of Khagamukhi or Bird Face--which we have another word for--this expression is in a commentary, which is then used in another commentary, telling us how it is used here. It does not sound like a face, because it is a Sthana or Abode of something.


The Vajrakilaya commentary Bolt of Lightning draws from the Krishna Yamari Tantra Tika. First, from Amrita Tika, it says:

"Sky" is the space in the center of the union of vajra and lotus.


and then it goes further to add the Krishna Yamari expression:


"Khagamukha" is "Bhagamarga" or vagina. The words "abiding in the center of the mouth of the bird" means placing himself in the center of the consort's vagina:

khagamukhāntastham iti sādhyastrīyonimadhyastham “placed inside the khagamukha means inserted in the middle of the vagina of the desired woman.”

is how it explains p. 117, i. e. Kurukulla's Vajrananga sadhana.


When that happens, mantras are then based from the pleasurable version of:

sītkāra (सीत्कार).—m (S) Making of an inarticulate sound by drawing in air between the closed teeth



Vajrananga is a name of Manjushri in the role of Vasikaran, Kamadeva, similar to Kurukulla.

In the Chapter Fifteen sadhana, after Kurukulla is given snakes, one goes to the cemetery and summons a Two Arm Yellow Vajrananga surrounded by four Kama Devis. It sounds like Vajrananga is placed with "women", but, Strinam can be singular as in SB IX.14.21. And so while the line looks at first like, plural women all have bird faces, it seems the retinue was already described, and this could be a different, individual woman, that, if the practitioner was identified as Vajrananga, he would enter her vagina.

The whole chapter appears to be an explanation of Krishna:

kṛṣṇasya vacanaṃ

That makes two unnecessary passes at the Vaisnava deity, which could have easily been avoided by saying Yamari is on their heads, and Krsna Yamari Vacana. Furthermore, he is obvious in the retinue:

Aniruddha (अनिरुद्ध, “The irresistible”):—One of the twenty-four forms of Viṣṇu through which Nārāyaṇa manifests himself. He is accompanied by a counterpart emanation of Lakṣmī (an aspect of Devī) who goes by the name Rati.

Madana Sundari is in Padma Purana 70 and 77 as an aspect of Prakrti or Radha. Kama Devi may be a name of Surabhi, or of Kamadeva's consort.

Madanasukha (ಮದನಸುಖ):—[noun] satisfaction derived from sexual intercourse.

Although only one couple, Aniruddha and Rati, clearly represents the Vyuha, the males at least have a hint of the "Balabhadra group" as associates of Kamadev, in the DDV mandala that also has the Vyuha. The next member of the Vyuha, Pradyumna, is himself the rebirth of Kamadev. The next one, Samkarsana, is Balabhadra. Then Vasudeva is Narayan or Krishna.


Kurukulla is highly significant for Hevajra Tantra, but, it turns out, her very esoteric form is related to Vajramrita Tantra:


Of special importance must have been the fourth chapter, entitled Homavidhinirdeśa, considering that Bhūvācārya, the author of the still-unpublished Saṃvarodayā nāma Maṇḍalopāyikā (early 11th cent.?), refers to this work as one of the authoritative sources for the practice of the homa ritual, and that several verses from its fourth nirdeśa are quoted in the Śuklakurukullāsādhana (= Sādhanamālā No. 180).

Stanza 7.15 is cited...by Ratnākaraśānti (11th cent.) in his Guṇavatī (ed. p. 18), together with stanzas 13 to 14 of the same chapter.

Here, she was not "regular" Kurukulla; her mistresses are Two Armed Archers using a Karmuka, archaic name for Bow, made from wood of Krmuka, an unspecified tree. Indrabhuti's Kurukulla 174 does not mention fourfaces, although it does not say she has a single face either. The deity said to be related to Krsna Yamari Tantra is Vajrasarasvati 161 and 167. The first is "Nihiha", possibly synonymous to "Nidhi"; the second is Uddhrta, an extraction. The retinue ladies all have "Vajra" prefixes at the beginning. Sarasvati is:

om ragarati

She is red with six arms holding a lotus, uses Prajna Vardhani mantra, but is a Saumya, not wrathful. Her mantra is in the context of:


atha khalu bhagavān mahāsamayayamaghnavajraḥ prajñāpāramitāvajraṃ nāma samādhiṃ


and she is Mudita of the Four Immeasurables. But she is done by Chapter Twelve. Nothing makes her stand out as a would-be representative. Six Arm Vajravarahi with a Ghona may also be known from external sadhanas. Six Arm Vajracarchika is known in one sadhana, which does not reference this tantra. Vajragauri, by name, comes from Paramadya. If anything, the personal sadhana does appear to retrofit Yamari onto Krishna, and then Vajrasarasvati is Sama or "same as" Radha:

śrīkṛṣṇarājena yā śrīmadvajrasarasvatī bhagavatī tasyāḥ samārādhanam /


Radha has always been known of, but, there was hardly any practice about her at this time. Skanda Purana IX.28 teaches Radha--Krishna as Pranayama.


Krishna Yamari is called the chief of the Yamari system due to this group participating in the Yantra that is the basis of it.



Rati doing Suci Mudra from Kumbakonam, Tamil Nadu:







There was a Kama Devi film, featuring a Malaylam (Kerala or southern Tamil) woman, Minu Kurian. She has an outstanding feature, although she is playing a trick:





Maybe you can tell:






She is soaked in armpit sweat:









Lakes. She does it all the time:





In the west, it would be sealed with aluminum and pretended of nothing happening. In India, you just lower your arm and make more:





Tantras are a bit focused on menstrual blood, which is rather temporary. Over there at a hundred and fifty degrees in the refrigerator, perspiration must be almost non-stop, until you run out, which is probably fatal in a matter of seconds. Just saying...pits are not filthy and disgusting. Could be the next mode of Gandha Offering. Yes, I have been called a freak by...everyone. This chick is heavily coated. Other actresses probably have contracts forbidding it. But that truly is a powerful stimulant.

To say Bird Face, more commonly it is Khaganana around Nepal:


There is an explanation for why this goddess of the dharmodaya/dharmdhatu is known as Khaganana, "Bird Faced." The Candamaharosana Tantra and its commentary by Kumaracandra inform us that in esoteric Buddhist literature the word khagamukha “the face or the bill of a bird” means female genitalia. Since the term khagamukha is synonymous with khaganana in Sanskrit, it become abundantly clear that the mother goddess was known as “Bird faced” because of her association with yoni.

A nineteenth century colophon of a Newari manuscript in the collection of Babukaji Vajracharya at Ombahal Kathmandu identifies this hole with the Buddhist goddess Khaganana “Bird Faced,” who is also known as Guhyesvari. The Newar Buddhist scholars are of the opinion that the minor deity with the same name, Khaganana, mentioned in the Sadhanamala no. 218, and Samvarodayatantra 7. 19 are identical with this Buddhist goddess.


[more accurately, the Bird's Beak is the clitoris or end of the penis, "Tip of the Jewel"]


Being that modern Ganacakras are cosmopilitan and urbane, looking back at the older initiations in Nepal:

According to the Kriya Samuccaya, <that sacramental circle (ganacakra) which is without [sex with] a female partner (prajna) is a [mere] meeting of rice scum>.


It is said there could still be primal Ganacakras being done, which are not discussed. It is a strange subject. Some will say that practically all 8th-12th century Kashmiri literature reflects, if not supports, a widespread known event. Others will say that is all anecdotal. I personally have seen more reports of monks acting weird in a semi-sexually assaultive manner. That is too bad. The other extreme would be if Karma Mudra was a coffee table subject, everyone would line up for it and fail to realize the transmission of Dharma.




Khagamukha is used as a channel name in Naro's Sekkodesa, as found in Kalachakra:


The textual passages available to us all presume that the masculine-feminine drops can already be found in the energy system of the adept before the initiation. He is thus regarded from the outset as a bisexual being. But why does he then need an external or even an imagined woman with whom to perform the tantric ritual? Would it in this case not be possible to activate the androgyny (and the corresponding drops) apparently already present in his own body without any female presence? Probably not! A passage in the Sekkodesha, which speaks of the man (khagamukha) possessing a channel filled with semen virile and the woman (sankhini) a channel filled with semen feminile, leads us to suspect that the yogi first draws the red bodhicitta or the red drop off from the karma mudra (the real woman), and that his androgyny is therefore the result of this praxis and not a naturally occurring starting point.

The upper and lower channels also have different names and are filled with different substances in men and women, hence the lower right-hand channel is said to contain menstrual blood rather than semen in the female body (Naropa, 1994, pp. 274, 275). In the women the lower right channel bears the name sankhini and is filled with female seed; the lower right channel of the man is known as khagamukha and contains the semen virile (Naropa, 1994, p. 72).


khagamukha; (according to Bhavabhatta) "The channel called "bird’s face" (khagamukha) {actually, ‘flying deities’ mouth’}, which is like a bandhuka flower, should be ... simulated, by the concave space ... as if around a seed, inserted within the flower."


Jamgon Kongtrul Book Eight, Part Four related to Karma Mudra:

and the yoga of wisdom based on another’s body, joining with khagamukha. Refining and controlling the bodhicitta, it will travel from the tip of the “jewel” to the crown of the head by means of the four dissipating ascending joys and the four nondissipating descending joys. When the body is completely filled it becomes the rainbow body or vajrakaya. The speech becomes the harmonious song of the invincible nada, and the mind without concept is the dharmakaya. Since this is actual, complete enlightenment, it was given the designation “highest faculties enlightened in the fully ripening body.”


Krishna Yamari appears more tantric rather quickly with a mere glance at Kurukulla. He may not have many details written out, but, we see what is behind a single word he used.




And so Krishna Yamari is a huge "source" in Paramartha Parasol, but, so is Mahamayuri. The Mayuri used here was not our same Singaporean translation, but, was a GRETIL Sanskrit Mahamayuri from Japan, 1972.

It is nearly identical, give or take a few minor details, such as it clarifies the type of mantra:


draviḍā mantrapadāḥ


And the Yaksha lines do not quite seem to be as formulaic as "so-and-so" lives here; the line having Bhima or her location says:


ajitaṃjaye kūṭadaṃṣṭro vasubhadro vasātiṣu,
śivaḥ śivapurādhāne śivabhadraś ca bhīṣaṇe.


The Nepalese Archives show a single Mahamayuri of two pages. She is either expanded in the Pancha Raksa Sutras, or, the Vajracharyas have more material that is not archived. Not likely they spent a lot of time in Japan in the early 1900s.

As is usual, the chapter titles of Parasol are summaries that come at the end of the part. So when you look at the contents, the titles deal with the stuff above them, not after. The sources, however, are directly attributed to the lines where they appear. As a rough estimate, if we described this as Shurungama Sutra followed by Mahamayuri Sutra and Krishna Yamari Tantra, that is quite close to what we get.

If we try to compare some of Parasol's "sources" to the "contents", we will get:


<p35.1 - p36.1 * mahāmāyūrīmahāvidyārājñī>

<p54.2 - p60.1 * mahāmāyūrīmahāvidyārājñī>


The first chapter of Krishna Yamari:

<p69.1 - p70.1 * kṛṣṇayamāritantra - prathamaḥ paṭalaḥ>


flows into the mandala intended here:

mahāpratyaṃgirāyāṃ maṃḍalādhikāra || p71.1

which is yamāri ghāramaṃḍalaṃ, Garha, house, or possibly sprinkling/consecration. It is not a Parasol mandala, it is Yamari.


I believe they missed a topic note:

ityāha bhagavānsarvatathāgatoṣṇīṣabhāvanā || p. 73.2


That is important, if I do not get her Bhavana, I might as well lie down in front of a train.


The Yamari tantra finds it necessary to pass through:

<p78.1 - p79.2 * mahāmāyūrīmahāvidyārājñī>


until its last chapter used, the twelfth:

<p86.1 - p87.1 * kṛṣṇayamāritantra - dvādaśaḥ paṭalaḥ>


followed by:

<p113.1 - p116.1 * mahāmāyūrīmahāvidyārājñī (nāgarājānāṃ)>


and:

<p132.1 - p135.2 * bhūtaḍāmaratantra>


which gives perhaps the most surprising feature here:

ṣaṭkiṃnarīsādhanavidhivistaronāmajñānasaṃbhāraḥ || p135.1-2

[Six Kinnaris sadhana]

and finally towards the end:

<p143.2 - p144.2 * prajñāpāramitāhṛdayasūtra>




The first Forty-eight pages are Dharmmopadesa, like her Shurungama dharani as a list of subjects, which are then repeated with some more commentaries and/or practices as the rest of the book. This soon becomes the enfranchisement of Mahamayuri for many pages, with Janguli mentioned on p. 58.2, and then a list of mnemonics with disciple Subhuti. Around p. 67 is a rejoinder with Pratisara as her Raksa Vidhi, there is not an obvious change on p. 69.1 except perhaps:

candravajrayogeṇa bhāvayedyamaghāṭakaṃ ||


which would tell us there is a wrathful yoga involving Yama. This is where the notes say it is including or at least drawing from twelve chapters of Krishna Yamari Tantra.


The Yamari mandala at first is Nine Symbols, which function as Buddhas of:

paṃcakāmaguṇa


(Five Kama Gunas)--Kāmaguṇa (कामगुण) refers to the “objects of enjoyment”, according to Mahāprajñāpāramitāśāstra (chapter XXXII-XXXIV).—Accordingly, “There are those who practice a loving-kindness that has things as object; these are the Arhats who have destroyed the impurities, the Pratyekabuddhas and the Buddhas. Having destroyed the concept of self and eliminated notions of identity and difference, these holy individuals consider only the objects of enjoyment [i.e., kāmaguṇa] continually coming from causes and conditions. When they think about beings with loving-kindness, they think only of the emptiness coming continually from causes and conditions together. [...]”.



which seems to be followed by Muttering for Tosana--Contentment of the vajra holders:


oṃ ā hūṃḥ || jihvāvajraprogena toṣaṇaṃ sarvavajriṇaṃ ||


The next section adds Cemeteries and Panchamrita, and quite possibly this type of "sprinkling":


kuṃkumaṃ gṛhe

which is her Karma Yoga. This attracts Vajradhara, who becomes related to women:

strīṇāṃ vaśyāya karttavyaṃ rakṣārthāya tathaiva ca ||


Kunkuma appears to be Paustika or Pacifying, which unites the Wrathful deity to the Moon and Five Nectars on p. 72.2:

yamāntakaṃ candrakāṃtābhaṃ dhyātvātmānaṃ pūraṃ nyaset || candraṃḍalamārūḍhaṃ sādhyā dṛṣṭā viciṃtayet || śītakiraṇaistu candrābhaiḥ paṃcāmṛtābhipūritaiḥ ||



Bonding with the Vajra Ladies:

yoṣitāṃ padmabhāṃḍe vā saṃpuṭe sthāpya pūjayet ||

Which comprises her Bhavana section.

Then it sounds like a Krishna Yamari form arises on p. 74.1.



Shortly after him is an enlarged batch of Karomi--Accomplishments:

vidyābandhanaṃ karomiḥ tejobandhanaṃ karomi || sarvavidyābaṃdhanaṃ karomi paravidyābaṃdhanaṃ karomi sīmabaṃdhanaṃ karomi || dharaṇībaṃdhanaṃ karomi || daśadigbaṃdhanaṃ karomi || ākāśabaṃdhanaṃ karomi || parasainyastaṃbhanaṃ karomi ||


followed by mantras that have Vajradhara Bandha.


On p. 79, Manjughosha and the Yamari goddesses such as Carcika appear. Then there is a mantra wherein Vajraghosha attracts Vajramamaki. Then we see Prajnavardhani mantra, and the section is called Samadhi of Yama Mathana Vajra with Vajragauri and others on p. 80.2 before a similar mantra. On this, "mathan" can be any churning motion, not necessarily sexual, it could be violent and destructive as perhaps at the end of her Samadhi Rosary:

kāyakaliṃgasaṃpramathanonāma samādhiḥ || 108 ||




Briefly there is Prajnopaya and Vajraghanta.

Vajradhara comes back, and then Parasol eats Emptiness Mantra:

śūnyatājñānavajrasvabhāvātmako hūṃ || oṃ sarvatathāgatoṣṇīṣasvabhāvātmako haṃ ||


It is clear she is not just telepathy from Buddha, personally, but from All Tathagatas. Then she gives the significant tantric placement of Hum syllable in the Heart:


|| hūṃkāraṃ hṛdayaṃ nyasya hrīṃḥ ṣṛyādimaṃtramājapet ||


which looks like her Bhima section, followed by that of Nagas on p. 83.2.

The four goddesses come back; on. p. 86, we find something about Carcika followed by Vajrajapa:

mahāpūrasamaya mahācarcikā samādhisamāpadya


There is an abrupt change on p. 88 where begins a Rosary of 108 long Parasol mantras, starting with her commandeering the Skandhas, and so on through Senses, Elements, and many other things. After these on p. 100, she goes to Shurungama Samadhi. This becomes 108 Samadhis. It is followed by over a hundred and forty Nagarajas, and scores of Clouds or Meghas. That all is like a large, expanded re-iteration of Shurungama mantra.


P. 132 begins some strange permutations of Naga syllables and consorts. On 134 it is called Nagini Samaya mudra. Finally there are the Six Kinnaris:


oṃ manohāriṇīye svāhā || oṃ subhāge svāhā || oṃ viśālanetrāye svāhā || oṃ sucetapriye svāhā || oṃ sumukhe svāhā || oṃ divākaramukhīye svāhā ||



These seem to be being taught to Subhuti as the normal Six Planes of Kamaloka, and, because it is him, this is able to segue' to Prajnaparamita Heart Sutra. At that point, Parasol replaces the customary Avalokiteshvara:

bodhisatvānāṃ mahāsatvānāṃ mahāpratyaṃgirāyā

So for example, Prajnaparamita Heart Sutra appears to be in that area, but, the Om Gate Gate mantra is gone, and instead it goes into Parasol mantras. Then before the final credits, it slips in:

śrīvajrasatvabhāṣitamabhyanandanniti


Vajrasattva "said this", or, it is still Vajrasattva Yoga.


Part of the ending is taken from or resembles Bhutadamara Tantra, which came from a source that is nearly invisible.

Bhutadamara Tantra appears in a recent dissertation that is really on sorcery. Although very in-depth, this does not come from the view of asking the same kinds of questions we do. As the reason for its inclusion:

Bhūtaḍāmaratantra, whose main ritual concern is conjuring, the third constituent in my
definition of magic. The tantra opens by describing Buddhist Vajradhara/Vajrapāṇi
dominating Maheśvara, forcing the Śaiva god to convert to Buddhism and to support
Buddhism, to support Buddhists, and to protect all those who practice the rituals in this
text. After the conversion narrative, the text describes numerous sequences of goddess
spirits who are dominated via spells, hand gestures, and ritual exertions.


It is mostly Kriya, or actions and symbols, appearing to have concrete purposes, which is why it was selected. It deals very little with Buddhist doctrine.

A Sanskrit version is in the last appendix, p.745 or pdf page 766.


In some cases, the translator does not blindly follow Bhattacharya:


I find the assertion that Sarasvatī was originally Buddhist to be patently false.


And then what we see is that Buddhist Bhutadamara is miniscule, whereas it seems to have been broadly copied by the Hindus:

...the Śaiva text became quite popular throughout South Asia. Śaiva
attestations range from the Himalayas to Tamil Nadu; the Buddhist version, however, is
only preserved in the Kathmandu Valley and only in Newari script.


In other words, this class of magic is found from shamanic Siberia to equatorial Indonesia. Bhutadamara is among the oldest encyclopedias of it, but, like many Buddhist texts, is considered messy and a bit incoherent--so it was taken and "redone, neatly" by many others who often kept "damara" as part of the title.


The Hindu versions are such copies that they just employ Vajradhara or Vajrapani with no attempt to subjugate or convert him.


Tilottama:


The goddess is found in human form, standing upon a moon, red in
hue, dancing and swinging a censer. Tillotamā is not found in the four sādhanas to the
god Bhūtaḍāmara in the Sādhanamala. In the Bhūtaḍāmaratantra, Tillotamā is located in
a circle of eight water nymphs (apsaras).


Overt Buddhist ideology in the Buddhist tantra is found only in the
opening conversion tale and in the closing description of multiple emptinesses (śunya)--
there is no doctrinal explanation or speculation on these emptinesses.


It does not need to have that, because multiple emptinesses come from Prajnaparamita in terms of definition/description, and it is only certain advanced tantras that really access them. Instead, although this tantra has very many summonings:

...the rituals are small, solitary actions that grant a desire or dominate a deity who grants some
desire.



Other Buddhist subjugation narratives appropriate explicitly Śaiva deities, such as the Mañjuśrīmūlakalpa that incorporates
Tumburu and his four sisters. [cf. Vinasikha Tantra or first Quintessence in Hinduism]


As examples of rites in the Bhutadamara Tantra:


The sādhana to dominate the Eight Demon Princesses (aṣṭamahābhūtarajñā)
immediately follows the introductory narrative; this is the first complete sādhana in the
text.

The Eight Princesses are:

Balaśundarī-Mahābhutakulasundarī, Vijayasundarī, Vimalasundarī, Vagīsundarā,
Manoharasundarī, Bhūṣaṇasundarī, Dhavalasundarī, Cakṣumadhumasundarī. Eight
rituals correspond to these eight Princesses. Uttering Vajradhara's name while
manipulating the Demon Princesses enslaves them (kiṃkarī); should a demon princess
fail to serve the practitioner, then she is slain by Vajradhara.


Examples in this rite:


Now Śrī Vajradhara, Mahākrodhā Overlord said this:
To overcome, gaining allegiance over Bhūtinīs, they are pulled forth (ākṛṣya) using mantra
repetition accompanied by wrathful exertions (krodhasahita). [The mantra is] 'oṃ kaṭṭa kaṭṭa kruṃ
hrīḥ amuka bhūtinī hūṃ phaṭ.' [The name of the specific bhūtinī is inserted in the so-and-so
(amuka) position].


1. Having gone to the convergence of a river, [the practitioner] creates a ritual circle
(maṇḍala) using sandal powder...Having arrived, she copulates [with the practitioner] (kāmapradā)
and becomes his wife (bhāryā). She leaves a gold coin under his bed when she leaves at
dawn. Done every day, at the end of a month there is perfection.

2. Having gone to the slope of a river...[she will become his mother.] She says, "My child, what
shall I do?" The practitioner should say, "Grant me sovereignty (rājyam)!" She shall
protect [his] sovereignty. She gives him clothing, jewelry, and celestial food.

3. Having gone to a temple of Śrī Vajradhara...he gives her a bed of kuśa grass and should say, "You are welcome here! Become
my wife!" She will give him perfected divine alchemical substances (divyarasarasāyāni
siddhadravyāni). She will strike down all his enemies. Having mounted her back, she
carries him up even to heaven. He will live for 100,000 years.

4. Having gone to the banks of a river..., "Be my sister (bhagnī)!" She will give him perfected alchemical
substances (rasarasāyāni siddhadravyāni). She will attract a woman (strīyam ānayitvā)
to him from [even] 1000 yojanas away.

5. Having gone to a deserted temple...she should make love to him
(kāmayitavyā) and become his wife. Every day she gives him 1,000 dināra coins.
Having mounted her back, she will even take him up even to mount Meru. Furthermore,
she grants him sovereignty. She gives him a royal maiden (rājakanyā). He will live for
500,000 years. Upon death, he is reborn in the family of a king (rājakula).

6. Having gone to the confluence of a river...m the greatest of worship [i.e. human sacrifice] (udārāpūjā)...
She arrives with the loud sound of ankle
bells accompanied by a retinue of 500. Once arrived, they silently (tūṣṇībhāvena) make
love and she becomes his consort (bhojyā). If he leaves, she will destroy him. Every day
he mounts her back and she carries him up even to heaven.

7. Having gone to the slope of a river, [the practitioner] creates a ritual space using
vermillion..."Be my mother!" She will protect him like a
mother. Every day she will gives food, jewelery, and wealth to his 500-fold retinue. He
will live for 10,0000 years and when he dies he will be born into a Brahmin family.

8. Having gone to the confluence of a river..."Grant me sovereignty!" Every day
she gives him 100,000 dīnara coins. He will live for 100,000 years, and when he dies he
will be reborn an emperor (bhūrāja).

Thus is the practice of the royal Bhūtinī Princesses.


The Bhūtaḍāmaratantra's conjuring parade rolls on, presenting eight charnel
ground dwelling demons (śmaśānavaśinī bhūtinī).

The practitioner installs the mantra “Oṃ
hrīḥ hūṃ aḥ” upon his own heart, which is the supreme heart (paramahṛdaya). The
demon spirits are brought forth, headed by Mighty Howling Charnel Ground Dweller
(mahāraudriśmaśānavāśinī)...

(daṃṣṭrākarālī)
(ghoramukhī)
(jarjarīmukhī)
(kamalalocanī)
(vikaṭamukhī)
(dhudhārī) (karṇapiśācinī)
(vidyutkarālā)
(somamukhī)

The general rite is called the ultimate
concubine practice (ceṭīsādhanam uttamam); it is followed by a specific rite dedicated to
the famous Ear-Ghoul (karṇapiśācinī).

I have not encountered this name in
other yakṣinī or yoginī lists, nor have I found evidence of her in the iconographic record. Neither have I
encountered art historical discourse on any iconography.


Interestingly or uncharacteristically, next appears the participation of a goddess we are very familiar with:


Fiery Kātyāyanī (caṇḍakātyāyanī) rises up and enters the frame narrative's maṇḍala (parṣanmaṇḍale)...


For some reason, she is now a class instead of an individual:

(mulakātyāyanī)
(mahākātyāyanī)
(raudrakātyāyanī)
(caṇḍakātyāyanī mahābhūteśvarī)
(bhadrakātyāyani)
(kuṇḍalakātyāyanī)...She Whose Tongue is the Golden Coiled Serpent (hemakuṇḍalinibhāṣakā)...(jayamukhīkātyāyanī)
(śubhakātyāyanī)...She Who Delights in Amorous Sport


When Katyayani slew Mahish Asura, he of course wanted her for a wife, and she told him that she could not be won without a fight. So he got rather killed. Look at the end of these manuscripts and they usually say "Subham" rather than "Sarva Mangalam". Therefor I am not sure that Subha is amorous, but it is like a final "amen" standard in half of all Buddhist practices. You say one or the other, or maybe Tashi Delek if Sanskrit is too difficult. So we better take over-Anglicized goddess names and mantras lightly. If I wanted to say "fiery", there would probably be "Jvala" instead of "Canda".

O Devourer (rāhu), Devourer, the great concubine practice (mahācetikān) [is performed] to
remove deficiencies!



The subjugated Hindu deity becomes known as:

Be graceful unto the Lord of Ghosts
(mahābhūteśvara), the Great Mahādeva




Mañjusrī is identified with Karttikeya in the Mañjuśrīmūlakalpa; he is even given the name Karttikeyamañjuśrī!

[true. That is why if Krishna Yamari has Six Faces, he is Mars.]


In a further mandala:


Mahākrodha's four consorts are oft-encountered goddesses in magic tantras.
Directly before the Lord is Śrī Devī, presumably his main consort, to his left is Umā, to
his right is Tillotama, and above or behind him is Śaśidevī. All four goddesses have
golden complexions, are extravagantly bejeweled, and are clothed in red and white finery.
They should be drawn beautifully, singing and dancing around the Lord. Surrounding
the Lord and his consorts is yet another set of goddesses. To the Northwest is a jewel-garlanded female dryad named Surasundarī, known to be the mistress of all dryads. To the Northeast is a demoness (bhūti) by
name of Mā Bhūtī; she dominates the Demon Princesses.

Only the Northeast and Northwest are described in the earliest manuscripts
attestations. Later attestations describe other goddesses in remaining directions, but the
list is not clear nor consistent.


That possibly is because the extra two represent Zenith and Nadir. This section did have a Yoga purpose:

entering the
maṇḍala, i.e. initiation.

Having invoked Vajradhara Mahākrodha properly, the initiator conjures nine deities using
short mantras: Mahādeva, Viṣṇu, Prajāpati, Kumāra, Gaṇapati, Āditya, Rāhu, Nadeśvara,
Candra. Eight goddesses are established in the initiate’s heart: Umā, Śrī, Tilottamā, Śaśi,
Rambhā, Sarasvatī, Surasundarī, and Abhūtī.


We were in the Buddhist version, right? I think so. He has gone with Sura Sundari as a generic synonym of "pretty yakshini", but, from the view of Yoga, we understand it as a name of Varuni, who is a sister to Sri. She is also a Vajradakini.



...in contrast to systematic or philosophical tantras, the Bhūtaḍāmaratantra emphasizes
harnessing the power of a deity, as opposed to gnostic attainment that perfects a sādhaka.


...becoming Vajradhara is not described as a transcendent
experience but as an experience of immanent power


Time-wise, it probably still means Vajrapani, not Adi Buddha.

He is not familiar with what we get from Nagaraja Bodhisattva:


Mantra repetitions accompanied by reverent offerings (pūjā) and wrathful
gestures (mudrā), all of which are performed throughout a full-moon night and culminate
by enacting the Blazing Gesture (jvalitamudrā) at daybreak causes Vajradhara to appear
in person. The so-called 'Blazing Gesture' is not described. Upon appearing, Vajradhara
confers an undying, immortal, celestial form/body (rūpa) upon the practitioner.




Next, four goddesses are conjured: Umā, Śrī, Bhairavī, and Camuṇḍī. The mantra
for all four conjurations is the wrath-mantra (krodhamantra).

Umā appears and becomes his wife, and she confers perfect alchemical substances.

Sri...earthly sovereignty (rājyaṃ)

Bhairavi...a ruler (patikarmāṇi karoti)

Camundi...possesses him (avaiśya vidheyā)...he attains the results of perfecting all the practices dedicated to Mother goddesses.


Should a practitioner learn Vajradhara Mahākrodhādhipati's secret of secrets as declared in this Bhūtaḍāmaratantram, then
merely reading the text perfects the practitioner and dominates deities (sarvaceṭaceṭīkiṃkarī).


If you learn what/how, you can do it. This tantra is not all that difficult either. It is too old to have a classification, and it potentially is as old as Dakini Jala. A couple of years ago, that would be all we would know about it, but as of now (2020), there is a Twenty-eight Chapter Bhutadamara Tantra on 84000.


compiled anonymously around the seventh or eighth century

There are no titles of earlier works or names of historical figures to help us assess its date of composition.

The older stratum primarily contains non-Buddhist, pre-Vajrayāna magical lore not yet fully assimilated in formal Buddhist structures. This content likely belongs to the fourth or fifth century, its age being demonstrated by the recurrent use of the word dīnāra, a coin named after the Roman denarius. This type of coin was popular in India in the fourth and fifth centuries and is well attested in the literature of that period.

The mention of the Bhūta­ḍāmara Tantra in the Nāma­mantrārthāva­lokinī‍—Vilāsa­vajra’s commentary to the Mañjuśrī­nāma­saṃgīti‍—which is probably the earliest reference to the text, sets the terminus ad quem to the late eighth century.

Features of Yoga Tantra can be found chiefly in chapter eight, where the visualization procedure, described as part of the main sādhana of Bhūtaḍāmara, includes most of the elements of deity yoga practice, including a sophisticated development stage (utpattikrama) practice.

Vajradhara has not yet become a deity iconographically distinct from Vajrapāṇi, and so “Vajradhara” is used merely as an epithet for Vajrapāṇi.

Acharya Tathagata Raksita made famous the teachings of the short Charya Tantra of Bhutadamara. In the Vajravali of Acharya Abhayakaragupta there are three mandalas of Bhutadamara.

...[in] Vajrapanjara, it is said; Trailokyavajra's greater and lesser Bhutadamara meditations are based on this - which is found in the Sadhanasamgraha [Sadhanamala]. For the lineage of Atisha the text is found in the Narthang Gyatsa, a very famous collection of teachings [in IWS].



That made a very legitimate point. In this literature, we have reason to associate Sura Sundari with Varuni, but, Vajradhara--having almost the same literal meaning as Vajrapani--is not Guru or Adi Buddha, he is just Vajrapani. If we want to even think about where Guru comes from, then we go back to Maha Vairocana uses Vajrasattva to manifest Samantabhadra, who is given a Vajra as part of his coronation, then is called Vajrapani. In Yoga, we say the Vajrasattva/Samantabhadra Family does not inherently manifest into the human being, or worldling, because they can totally ignore the fact of their sixth principle, and then, unlike the senses, it does not really exist. Vajrapani, however, can be emanated by Akshobhya, which means that he exists as Anger in the worldling. That is why aspects of Vajrapani readily lend themselves to Obstacle Clearing, whereas we are usually told to do a 100,000 Vajrasattva Ngondros just in order to clean ourselves enough to get into the conversation.



From the view of Paramartha Parasol, Bhutadamara was invited due to the Six Kinnaris sadhana. It is Chapter Twenty-one in the 84000 version, and, underwhelming. They just give their names such as Manohara, and, in some texts, Sumukhi, as above, seems to be:

Aśvamukhī

And the result of reciting the six mantras is that "a" kinnari will appear. She can take you to Devaloka, and perhaps is a devi in one line, and in another place, she is described as:

A kinnarī will soon appear in front of him in the form of an apsaras...




Chapter Nineteen is blatantly an Eight Nagini retinue mainly using water as the environment. The Kinnaris are distinguishable by Parvata or mountain. And so Parasol on p. 132.2 is adjunct to all of that section of Bhutadamara, with Nagarajas, Naginis, and Kinnaris.

Parasol's contents suggest that this is all part of one topic starting from p. 99.2:

jñānasaṃbhāraḥ


meaning "knowledge requisite". It was at first around thirty pages of expansions of Shurungama dharani. Most of that is the 108 Samadhis, Nagarajas, and Clouds related to Mahamegha Sutra, which has to do with:

nāgahṛdayadhūmākula


although towards the end of the mass, considering Parasol is discussing Karma Yoga, this easily appears to proceed to Karma Mudra:

sarvayakṣiṇīnāmābhimukhīkarmamudrā || oṃ mahāyakṣiṇīnāṃ maithunapriyāya hūṃ phaṭ svāhā ||


Mathan which could be any kind of churning has become Maithuna which is definitely sexual. It perhaps is possible that an older Krishna Yamari only had Twelve Chapters, lacking Vajrananga, and then the end of Bhutadamara was seen as making up for the vacancy. Or, it was seen as more relevant because Vajrapani remains the principal, or more important because it has Kinnaris.

Well, Bhutadamara Chapter Fifteen arguably has a section break because Vajradhara destroys the universe, every deity and every being in it, and then, in a similarly ironic manner similar to how his Root Manual was read to him before it was written, Manjushri says:

“Well done! Well done, O glorious Vajradhara, supreme master Great Wrath! These wicked spirits and worldly deities will be overthrown in the future, in times to come.”

Then, Apsarases get up and he tells you how to make them comply; in Chapter Seventeen, Yakshinis do it; in Nineteen, the Naginis; and in Twenty-one, the Kinnaris.

The last few chapters act similarly towards Bhutas, Bhutinis, and ends with Bali Offering. However, Parasol does not seem to keep importing it after the Kinnaris. She may have taken a little more than the original note detected.


Now I am going to guess here that Parasol is talking about something that Vajrapani in Bhutadamara is not. Want to see something? In his Sanskrit, we find:

karmapiśācini

which in Tibetan has become Karna, or "Ear Ghoul"--but actually it is the major subject of his first three chapters:

aṣṭau mahā­śmaśānapraveśinīkarmapiśācīmudrā bhavati |


Karma Pisaci is not something that I personally am familiar with, but, to him, it means Smasana or Cemeteries.


After that, although we are told to follow, or are shown, Bhutadamara Tantra as a source for Paramartha Parasol, he has a non, negative, no presence of Karma Yoga or Karma Mudra. He mentions Prayoga a couple of times. Parasol appears to be taking Krishna Yamari as the basis of her Karma Yoga, to which, the league of Yakshis has just been announced as Karma Mudra. If one actually did this, it would be a non-physical Jnana Mudra. This is, perhaps, "additional knowledge", since Bhutadamara doesn't make any secrets about sex. But when we add this bit of spice, it pre-supposes knowledge of the first two initiations. Then the Naginis are Samaya Mudra, possibly the Third Initiation.

The Yakshini brazenly swiped the name of the Ground corresponding to Prajna Paramita:


Abhimukhī (अभिमुखी, “manifest”) or Abhimukhībhūmi refers to the sixth of the “ten stages of the Bodhisattva” (bhūmi)


Here again to be clear, there are two iterations of Mudras. At first, Karma Mudra is fourth or last, in the sense that you are building up to it.

Esoterically, Karma Mudra is first, in the series that goes up to tantric Mahamudra. We see that the second, called "Dharma" there, occurs in a state of Luminosity. That is why the consort for this initiation is non-human; she is not a worldly experience, which is why she is called a Jnana Mudra. That is why we do not just "do" the Second Initiation, as we do not even hold the condition of Luminosity which is used for the Fifth Yoga. We are either in the first Mudra cycle, or, nowhere near beyond the First Initiation here. If you are a Tson khapa, you can bypass the human physical partner of Karma Mudra because you actually are able to do the Jnana Mudra without any difficulty. He set this example as a teacher, saying that as most disciples would be completely incapable of it, that you should follow the Karma Mudra cycle as in the tantras.


If Paramartha Parasol might be criticized for only being a "slight re-arrangement" of copying other scriptures, then we are interested in what she says about Yoga. Karma could simply be the Paramitas; but if we go to Namasangiti, there is a very interesting idea about Karma Family. When Vajrasattva makes this introduction, he, so to speak, takes over their role, "Karma and Mantra". He becomes a mantric being, a Body made of Mantra and Gnosis. In turn, Amoghasiddhi becomes the deity of Mahamudra. Parasol is employing Krishna Yamari for something strongly suggestive of this, moreover, she then grants a Yakshini and mentions Karma Mudra. Then we see the advanced initiations which suggestibly show the Kinnari as the Fourth Initiation, Mahamudra.

Yamari and Namasangiti are both aspects of Manjushri. Because there is a Paramartha Namasangiti and a Paramartha Parasol, we find that both contain in essence all of the Dharma. These practices stand on the shoulders of only a few other texts, such as Subahu Pariprccha.


Kinnari Manohara is much more famous than the tantric one. She comes from the Jataka tales, part of it being that Sudhana has to win her twice. He subsequently enters the retinue of Amoghapasha Avalokiteshvara.

Yakshis and Apsarases as explained through these Pujas are familiar to almost all Hindus, who are repeatedly warned off of them.

Of course, you cannot succeed without Bhuta Damara, which is a gesture like an outwards Humkara, which does "Demon Subduing" and conquers all the disturbances from the aspects of Kama Loka. They did get stuck with the name Ear or Karna Pisaci which is indeed famous.

Allright. We cannot get too excited about them, and we cannot be averse about them. It coldly sits there as the same aspect of reality no matter what. This is in the Mayuri and the Lotus Sutra of many centuries prior to, what we could call, a Bhutadamara genre. Pisacis and Gauris are all immediately "evil" when viewed through Ignorance, or, they are Generation Stage, when seen through the lens of reality. Pacification is little other than the reverse of violence and duality.

In the earthly career of Buddha, he went to Gandhar and back, subjugating Yakshas while crossing the Bodhisattva Bhumis. Then in Bihar he had Abhisambodhis.

I am not sure it was said this is not dangerous, or, that it is easy, in any way, but these practices aim to emulate its inner meaning.

Paramartha Parasol has Abhisambodhi twice, first around the beginning as in Shurungama Dharani, then towards the end as in Prajnaparamita Heart Sutra. Within the many mnemonic chants, one finds strands of mandala or Thirty-seven Point Enlightenment. Here are Rddhi or Four Bases of Power, Indriya to Bala conversion, Seven Jewels of Enlightenment, and the Eightfold Noble Path:


ṛddhipādānabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||

indriyāṇyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||

balānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||

bodhyaṃgānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||

āryyāṣṭāṃgamārgānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||



shortly followed by Formless Sampattis:

ārūpyasamāpatti anabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||


Although this comes from a modern printing, there is not much newer than the eighth century in it, judging by the presence of "Bhairavi" in Krishna Yamari. If we momentarily surmise, maybe this was the shrine library of just one lineage at Hiranya Vahal, it would not have been particularly challenging for them to say, oh, use this part of Shurungama Sutra and reinforce it with Mayuri, and here, go with the main Krishna Yamari. One of the main things that comes through, which says this is not just Prajnaparamita Sutra, is heavy use of Kila and Boundary. That grants a huge protocol for Mayuri. Bhutadamara is not an individual deity, it is an aspect of Vajrapani, and so while not literally in Sarvadurgati Parishodhana, he deals with some of the same realms.

This all matches very well the Bhrkuti-era tantra that entered Nepal, based mostly in what is called Kriya and Subahu Pariprccha.


That is how Vajrosnisa Parasol is like the whole Vajrasekhara system.

Janguli has a certain edge, in terms of using Seven Nagas to cultivate Seven Paramitas, she is like an extreme expert at that. Parasol is much larger, and going beyond Mahayoga; as the one could be said to be an acolyte of the other.


Bhutadamara Vajrapani is widely represented as an individual, but not as a system. One example was his 1300s Sakya mandala under Janguli, Cunda, and Ekajati, some of the main explanatory goddesses of the Sadhanamala thangka in the first post.


Bhutadamara is in NSP, so, must be at least slightly relevant to Completion Stage. He is found in the Vajravali relationship set of:

Vajradhatu, Shakya Simha Navosnisa [Sarvadurgati Parishodhana--Body Mandala], Bhutadamara, and Marici








This was filed under Vairocana/Vajradhatu/STTS, but, is probably the same as the one above:







In the sense that most mandalas and tantric liturfies appear to ignor the Eightfold Noble Path, this is sort of why. It is made by/manifested from the Seven Jewels of Enlightenment, which we do not have, which are an aspect of Completion Stage. Fron Handbook of Tibetan Buddhist Symbols, the corresponding Eight Auspicious Symbols are Attainment:


In the Buddhist tradition these eight symbols of good fortune represent the offerings
presented by the great Vedic gods to Shakyamuni Buddha upon his attainment of enlightenment. Brahma was the first of these
gods to appear before the Buddha, and he
presented a thousand-spoked golden wheel
as a symbolic request for the Buddha to
teach through ‘turning the wheel of the
dharma’. The great sky god Indra appeared
next, and he presented his mighty white
conch-shell horn as a symbolic request for
the Buddha to ‘proclaim the truth of the
dharma’. In Tibetan paintings of the Buddha’s enlightenment the supplicating forms
of four-faced yellow Brahma and white
Indra are traditionally shown kneeling before the Buddha’s throne, where they offer
their respective symbols of a golden wheel
and a white conch. The earth goddess
Sthavara (Tib. Sa’i Lha-mo), who had borne
witness to the Buddha’s enlightenment, presented Shakyamuni with a golden vase full
of the nectar of immortality.

In early Vajrayana Buddhism the eight auspicious symbols were deified into eight goddesses, known as the Astamangala Devi,
each of whom carry one of the auspicious
symbols as an attribute.


So, of course, you can find the symbols easily enough, but these have little to no direct application in sadhanas. The deities do; but it is a bit more like the actually-manifested Path is veiled behind "all of the tantras", because if you follow for instance Bhu Devi, we find an incredible deluge of experiences that would take a lot of work before she would Knock on Earth for us. Bhu, Aparajita, Marici, and Ekajati are all encountered at the time of Enlightenment, along with a Jnana Mudra Apsaras such as Tilottama.

[shaberon]

Krishna Yamari Tantra





This, along with perhaps a few other things, I am going to post in its entirety.


That is because it is not very accessible. The transcript was posted with the title broken like S_ri_Krish_na, so you can't search for it. The copy is so faint, it makes you go blind. It can be saved as text, which gives you a solid run-on block, which still cannot be searched due to diacriticals. That should not be an obstacle on an html page.

I can translate a prose sentence, sometimes, slowly. Not very good at it. What I can do however is scan and search something and find things like "Bird Face" that don't seem to fit...and so in the previous post, we figured that out, along with a few other things. We would like to be able to confirm or deny things said by others, such as this from Himalayan Art:


The Six-faced Yamari represents one of the seven principal mandalas of the Namasangiti.


It does? I first looked at this in order to see how there could be seven practices in Namasangiti, because they are not all currently done. It is now accepted. From Vilasavajra's commentary, the fourth mandala seemed to be that of Trailokyavijaya, which *could* be paralleled by Vajrabhairava, Vajrapani, Yamari, or Yamantaka. I don't recall the Six Face Yamari as anything especially relevant there. Maybe it was. Namasangiti doesn't tell you. It is all in the commentarial tradition. I see no reason why Six Face would have to be excluded, but they didn't give any reason or source why he might be such a representative.


Bhattacharya gave us this from Sadhanamala:

In one of the Sadhanas, it is said that the colour of the deity varies in accordance with the different functions he has to discharge. For instance, in the Santikavidhi (rite of pacification) the deity is white and faces the east; in Paustika rite he is yellow and faces the north; in Vasyavidhi (rite of subduing) he is red and faces the west, and in Akarsana (attraction) he is blue and faces the south, and so on.


Red Yamari does not have any increasing forms. Blue has a variety of representations:


He may have one face and two arms, or three faces and four arms, or three or six faces and six arms. One six-armed variety is described also in the Nispannayogavali. Krsnayamari is represented singly as well as in yab^yum.


His items when he has Two Arms:

vajrankitodyata-niladandam vamakare tarjanipasam

He carries a Staff or Niladanda topped by a Vajra. That is fairly distinctive.


When he has Four Arms, he is:

Kathoravarhikanthabhah...deep (blue) colour like that of the throat of a peacock


and uses:

Mudgara


When he has Six Arms, he also has:

Ghanta-Bell

and is with someone who was once thought to be a name, but, is probably only a phrase meaning "of his own nature":

svabhaprajna


Outside of Nepal, there are many lineages and forms of Yamari, with lots of revealed treasures. However the Sarma lineages are all from the old tantra, an example being:

The Three Yamari Lineages, the Three Mahamandalas, Abhisheka, Sadhana, together with the Branches: Vajradhara, Jnana Dakini, Acharya Lalitavajra, Amoghavajra, Yeshe Jungne Bepa, Padmavajra, Dipamkara Raksita, Lama Rwa Dorje Drag, Rwa Lotsawa Chorab, Rwa Yeshe Sengge, Rwa Bum Seng, Lama Lokkyapa Wangchug Dragpa, Lama Ngong, Lama Chokyi Gyalpo (Chogyal Pagpa 1235-1280).


His main forms are shown together with:

Swayambhu Jyotir Rupa Adi Buddha Dharmadhatu Vagisvara Manjughosha


which usually is DDV in shorthand. This makes sense, Yamari is another aspect of Manjushri. Here, Manjughosha is the principal deity. Namasangiti is at the top center; Vajrananga is the Yellow figure to the immediate left. The three Krishna Yamaris are in the upper right:








That image is so large, you can see the insciptions plainly.

Namasangiti is not a "tantra", it is 160 verses from Mayajala Tantra which are taught to schoolchildren. Most Nepalese memorize it by the time they are ten.




Krsna Yamari begins with the line from Guhyasamaja Tantra. The beginning of it is strongly intertwined with Yantra. It is the chief of the Yamari system because everything else is derived from this. In MMK, Manjushri dealt with Mantratantra. Here, we find the subject Yantramantratantra.

What we do not find is a consort named Vetali. I also have not seen a mother-ish Parnasabari over Janguli. In fact, Janguli is doing something utterly different for Kurukulla. So once this is up in an easier-to-read format, we will be able to tell what is or isn't in it, see how closely Parasol has copied it, and more about how it works.



śrī kṛṣṇayamāri tantra

[Kṛṣṇayamāritantra Based on the edition by S. Rinpoche and V. Dwivedi, Rare Buddhist Text Series 9, Central Institute of Higher Tibetan Studies, Sarnath, Varanasi, 1992.]







kṛṣṇayamāritantre

prathamaḥ paṭalaḥ <<pp1-11>>

oṃ namo ratnatrayāya | namaḥ śrīkṛṣṇayamāraye |

namaḥ śrīvajrasattvāya |

evaṃ mayā śrutam | ekasmin samaye bhagavān sarvatathāgatakāyavākcittasarvavajrayoṣidbhageṣu vijahāra,
mohavajrayamāriṇā ca piśunavajrayamāriṇā ca rāgavajrayamāriṇā ca īrṣyāvajrayamāriṇā ca dveṣavajrayāmariṇā; ca mudgarayamāriṇā ca daṇḍayamāriṇā ca padmayamāriṇā ca khaḍgayamāriṇā ca; vajracarcikayā ca vajravārahyā ca vajrasarasvatyā ca vajragauryā ca koṇe | evaṃpramukhairmahāyamārisaṃghaiḥ || 1 ||



atha khalu bhagavān vajrapāṇirvajrasattvaṃ sarvatathāgatādhipatimāmantrayāmāsa | atha khalu bhagavān sarvatathāgatādhipatiḥ khavajrebhyaḥ sarvamāranikṛntanavajraṃ nāma samādhiṃ svakāyavākcittavajrebhyo niścārayāmāsa || 2 ||

candravajraprayogena(ṇa) bhāvayed yamaghātakam |
mārāṇāṃ śamanārthāya dviṣopanude sarvataḥ || 3 ||

rakṣārthaṃ bhāvayed vajraṃ pañcaraśmisamākulam |
vajreṇa bhūmiṃ vāṭaṃ ca prākāraṃ pañjaraṃ tathā || 4 ||



atha khalu bhagavān sarvatathāgatajanakaḥ sarvamāravidhvaṃsanavajraṃ nāma samādhiṃ samāpadyedaṃ sarvamohavajrayamāryādibījaṃ svakāyavākcittavajrebhyo niścārayāmāsa || 5 ||

yamadhye kṣe sa maṃ da ya cani rājā sa do ruṇa yo ni raḥ |
rephasyādiryamaghnaḥ syāt kṣekāre moha ucyate || 6 ||

sakāre piśunamevoktaṃ maṃkāre rāgameva ca |
dakāre'pi ca īrṣyā syād yamaghnāḥ pañca kīrtitāḥ || 7 ||

yakāre mudgaraḥ khyātaścakāre daṇḍanāyakaḥ |
nikāre padmapāṇiśca rākāre khaḍgavānapi || 8 ||

jākāre carcikā proktā vārāhī ca sakārake |
sarasvatī ca dokāre rū(ru)kāre gaurikā smṛtā || 9 ||

ṇayonira catuṣkoṇe catvāraḥ kārakā matāḥ |
khavajramadhyagataṃ cinted viśvavajraṃ bhayānakam || 10 ||

yamāntakasya madhyasthaṃ bhāvayet kāladāruṇam |
pūrvadvāre mohavajraṃ dakṣiṇe piśunameva ca || 11 ||

paścime rāgavajraṃ tu īrṣyākhyamuttare tathā |
koṇe vajracatuḥśūle carcikādyā vibhāvayet || 12 ||

dvāravajracatuḥśūle mudgarādyā vibhāvayet |
viśvavajracatuṣkoṇe catvāro nṛkamastakāḥ || 13 ||



atha khalu bhagavān sarvatathāgatādhipatiryamārivajraṃ nāma samādhiṃ samāpadyedaṃ mahādveṣakulamantramudājahāra - oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā || 14 ||

atha khalu bhagavān sarvatathāgatādhipatirmohavajramantramudājahāra - oṃ jinajik || 15 ||

atha khalu bhagavān sarvatathāgatādhipatiḥ piśunavajramantramudājahāra - oṃ ratnadhṛk || 16 ||

atha khalu bhagavān sarvatathāgatādhipatī rāgavajramantramudājahāra - oṃ ārolik || 17 ||

atha khalu bhagavān sarvatathāgatādhipatirīrṣyāvajramantramudājahāra - oṃ prajñādhṛk || 18 ||

atha khalu bhagavān sarvatathāgatādhipatirmudgaravajramantramudājahāra - oṃ mudgaradhṛk || 19 ||

atha khalu bhagavān sarvatathāgatādhipatirdaṇḍavajramantramudājahāra - oṃ daṇḍadhṛk || 20 ||

atha khalu bhagavān sarvatahāgatādhipatiḥ padmavajramantramudājahāra - oṃ padmadhṛk || 21 ||

atha khalu bhagavān sarvatathāgatādhipatiḥ khaḍgavajramantramudājahāra - oṃ khaḍgadhṛk || 22 ||

atha khalu bhagavān sarvatathāgatādhipatirvajracarcikāmantramudājahāra - oṃ moharati || 23 ||

atha khalu bhagavān sarvatathāgatādhipatirvajravārāhīmantramudājahāra - oṃ dveṣarati || 24 ||

atha khalu bhagavān sarvatathāgatādhipatirvajrasarasvatīmantramudājahāra - oṃ rāgarati || 25 ||

atha khalu bhagavān sarvatathāgatādhipatirvajragaurīmantramudājahāra - oṃ vajrarati || 26 ||



atha khalu bhagavān sarvatathāgatādhipatiḥ kāyavākcittādhiṣṭhānamantramudājahāra -

oṃ sarvatāthāgatakāyavajrasvabhāvātmako'ham |
oṃ sarvatathāgatavāgvajrasvabhāvātmako'ham |
oṃ sarvatathāgatacittavajrasvabhāvātmako'ham || 27 ||



atha khalu bhagavān sarvatathāgatādhipatirmahādveṣatanumudyotayāmāsa || 28 ||

trimukhaṃ ṣaḍbhujaṃ kruddhamindranīlasamaprabham |
pāṇau vajraṃ prabhāvitvā yamāriṃ bhāvayed budhaḥ || 29 ||

trimukhaṃ ṣaḍbhujaṃ śāntaṃ svacchabimbasamaprabham |
pāṇau cakraṃ vibhāvitvā mohavajraṃ vibhāvayet || 30 ||

trimukhaṃ ṣaḍbhujaṃ puṣṭaṃ taptacāmīkaraprabham |
pāṇau ratnaṃ vibhāvitvā piśunavajraṃ vibhāvayet || 31 ||

trimukhaṃ ṣaḍbhujaṃ vaśyaṃ padmarāgasamaprabham |
pāṇau padmaṃ vibhāvitvā rāgavajraṃ vibhāvayet || 32 ||

trimukhaṃ ṣaḍbhujaṃ sarvaṃ marakatopalasannibham |
pāṇau koṣaṃ vibhāvitvā īrṣyāvajraṃ vibhāvayet || 33 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre'bhisamayapaṭalaḥ prathamaḥ ||







dvitīyaḥ paṭalaḥ <<pp12-17>>

atha khalu bhagavantaḥ sarvatathāgatā bhagavantaṃ mahāvajrasattvaṃ stuvanti sma || 1 ||

mohavajrasvabhāvastvaṃ yamāriratibhīṣaṇaḥ |
sarvabuddhamayaḥ śāntaḥ kāyavajra namo'stu te || 2 ||

piśunavajrasvabhāvastvaṃ yamāriratibhīṣaṇaḥ |
cittavajrapratīkāśaḥ ratnavajra namo'stu te || 3 ||

rāgavajrasvabhāvastvaṃ yamāriratibhīṣaṇaḥ |
sarvaghoṣavarāgrāgrya vāgvajra namo'stu te || 4 ||

īrṣyāvajrasvabhāvastvaṃ yamāriḥ sārvakarmikaḥ |
kāyavajrapratīkāśa khaḍgapāṇi namo'stu te || 5 ||

sarvabuddhasvabhāvastvaṃ sarvabuddhaikasaṃgrahaḥ |
sarvabuddhavarāgrāgrya maṇḍaleśa namo'stu te || 6 ||

vajracakṣuḥ, vajraśrotraḥ, vajraghrāṇaḥ, vajrajihvā, vajrakāyaḥ, vajravāk, vajracitta ityāha bhagavān cakṣurādyadhiṣṭhānasamayaḥ || 7 ||



athātaḥ sampravakṣyāmi yamārerghoramaṇḍalam |
yamamāripratīkāśaṃ sarvakāmārthasādhakam || 8 ||

navena suniyuktena sumānena ca cāruṇā |
sūtreṇa sūtrayet prājño yamaghnasya hi maṇḍalam || 9 ||

sarvalakṣaṇasaṃpūrṇaṃ sarvavighnavināśanam |
śāntikādipramāṇena maṇḍalaṃ maṇḍalākṛti || 10 ||

karmavajraṃ likhet tatra pañcaśūlaṃ samantataḥ |
tasya madhye likhed vajraṃ vajrajvālāsamākulam || 11 ||

pūrvaśūle likheccakraṃ cakraraśmisamākulam |
dakṣiṇenālikhed ratnaṃ raśmimālāsamākulam || 12 ||

paścimenālikhet padmaṃ padmarāgasamaprabham |
uttareṇālikhet khaḍgaṃ viśvajvālāsamākulam || 13 ||

pūrvakoṇe likheccakraṃ dakṣiṇe kuliśaṃ likhet |
paścime padmapuṣpaṃ tu sakandaṃ vikacānanam ||
uttareṇotpalaṃ pītaṃ pañcaraśmisamaprabham || 14 ||

mudgaraṃ pūrvato dvāre daṇḍaṃ dakṣiṇatastathā |
paṅkajaṃ paścime dvāre uttare khadgavajriṇam || 15 ||

niṣpannaṃ maṇḍalaṃ jñātvā pūjāṃ kuryād viśeṣataḥ |
pañcakāmaguṇairbuddhān pūjayedabhi(vi)śaṅkitaḥ || 16 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre mahāmaṇḍalapaṭalo dvitīyaḥ ||







tṛtīyaḥ paṭalaḥ <<pp18-21>>

atha bhagavantaḥ sarvatahāgatā anena stotrarājenādhyeṣayāmāsuḥ || 1 ||

maṇḍalaṃ likhyatāṃ nātha sarvapāpavināśanam |
yamaghnamaṇḍalaṃ ghoraṃ sarvamaṇḍalanāyakam || 2 ||



atha khalu bhagavān mahāvajradharo'mṛtāsvādanasamayaṃ svakāyavākcittavajrebhyo niścārayāmāsa - oṃ āḥ hūṃ || 3 ||

jihvāvajraprayogena(ṇa) toṣaṇaṃ sarvavajriṇām |
praveśya sarvasaṃbuddhān jñānākārān svarūpataḥ || 4 ||

karṣaṇaṃ veśanaṃ caiva bandhanaṃ ca vaśaṃ tathā |
mudgarādicaturmantraiḥ samādhisthaṃ vibhāvayet || 5 ||

mahiṣavajraṃ vibhāvitvā maṇḍaleśaṃ vibhāvayet |
svacchamaṇḍalamadhyasthaṃ mohavajraṃ vibhāvayet || 6 ||

saptasaptikamadhyasthaṃ piśunākhyaṃ vicintayet |
raktamaṇḍalamadhyasthaṃ bhāvayed rāgavajriṇam |
karmamaṇḍalamadhyasthaṃ bhāvayet karmavajriṇam || 7 ||

śāntike mohavajraṃ tu pauṣṭike piśunaṃ tathā |
vaśye vai rāgavajreṇa karmavajreṇa sarvataḥ || 8 ||

nṛtailaṃ nṛkapālasthaṃ nṛkeśairvartikā tathā |
śmaśāne kajjalaṃ pātya(tyaṃ) karmavajraprayogataḥ || 9 ||

añjane bhāvayet karma añjanāyāṃ tathaiva ca |
anenāñjanasiddhiḥ syāt karmajāpaprayogaḥ || 10 ||

kuṅkumaṃ gṛhya raktena pādalepaṃ tu sādhayet |
karmavajraprayogena(ṇa) pādalepena siddhyati || 11 ||

pañcāmṛtaṃ samādāya pañcamāṃsasamanvitam |
trilohaveṣṭitaṃ kṛtvā karmayogena siddhyati || 12 ||

kāntalohamayaṃ khadgaṃ karmayogena sādhayet |
karmavajraprayogena(ṇa) karmakhaḍgaṃ(ḍgaḥ) prasiddhyati || 13 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre karmayogapaṭalastṛtīyaḥ







caturthaḥ paṭalaḥ <<pp22-36>>

atha bhagavantaḥ sarvatathāgatā bhagavantaṃ mahāvajradharamanena stotrarājenādhyeṣitavantaḥ || 1 ||

kathaṃ sattvāḥ pravartante karmabhedaprabhedataḥ |
kathayasva mahāvajra śṛṇvantu jñānasāgarāḥ || 2 ||

atha vajradharo rājā sarvakarmaprasādhakaḥ |
sarvadoṣacikitsātmā idaṃ vacanamabravīt || 3 ||



atha khalu bhagavantaḥ sarvatathāgatāścittavajraprabhāvitāṃ pūjāṃ kṛtvā praṇipatya bhagavantaṃ tri[ḥ]pradakṣiṇīkṛtya bhūyo bhūyaḥ praṇamya bhagavato vacanaṃ śṛṇuyāmāsuḥ || 4 ||

atha vajradharo rājā vaśyayantraṃ prabhāṣata |
yamāryantāni yantrāṇi na bhūto na bhaviṣyati || 5 ||

strīṇāṃ vaśyāya kartavyaṃ rakṣārthāya tathaiva ca |
śāntike rocanāṃ gṛhya bhūrje vaṃśatvace tathā || 6 ||

cakradvayamabhilikhya namo nāma vidarbhayet |
kālamūlādirahite śarāvadvayasaṃpuṭe || 7 ||

ghṛtamadhumadhye prakṣipya śuklasūtreṇa veṣṭayet |
trisandhyaṃ śuklapuṣpaistu arcayet pūrvatomukhaḥ || 8 ||

yamāntakaṃ candrakāntābhaṃ dhyātvātmānaṃ puro nyaset |
candramaṇḍalamārūḍhaṃ sādhyaṃ dṛṣṭvā'bhiṣiñcayet || 9 ||

sitakalaśaistu candrābhaiḥ pañcāmṛtābhipūritaiḥ |
sicyate'nekasambuddhaistad(staṃ) dṛṣṭvā japamārabhet || 10 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā | oṃ namo devadattāya śāntiṃ kuru namaḥ svāhā [iti] śāntika[sya] samayamudānayāmāsa || 11 ||



puṃsāṃ tu śāntike lekhyaṃ kuṅkumaiḥ pauṣṭike tathā |
cakradvayaṃ tu kāśmīraiḥ svāhānāmavidarbhana(ṇa)m || 12 ||

sādhyasya nāma cādāya ājyakṣaudreṣu niḥkṣipet |
śarāvasampuṭe sthāpya pītasūtreṇa veṣṭayet || 13 ||

trisandhyaṃ pītapuṣpaistu arcayeduttarāmukhaḥ |
pītavarṇaṃ yamaghnaṃ vai ātmānamavalambayet || 14 ||

sādhyaṃ supītacandrasthaṃ pītakumbhaistu siñcayet |
abhiṣekaṃ bhāvayitvā puṣṭiṃ kartuṃ (puṣṭikaṃ tu) sphuran japet || 15 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā oṃ laṃ devadattasya puṣṭiṃ kuru kuru svāhā, vauṣaṭ vā | oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā vauṣaṭ [vā] devadattasya puṣṭiṃ kuru vauṣaṭ huṃ phaṭ svāhā, ityāha bhagavān pauṣṭikasamayaḥ || 16 ||



bhūrje vā karpaṭe vāpi alaktakarasena vā |
raktacandanakenāpi anāmikārudhireṇa tu || 17 ||

cakradvayaṃ samālikhya hokāreṇa vidarbhayet |
kālādirahite yantre śarāvadvayasampuṭe || 18 ||

ājyamākṣikasampūrṇaṃ(rṇe) raktasūtreṇa veṣṭayet |
arcayed raktapuṣpeṇa paścimābhimukhaḥ sthitaḥ || 19 ||

raktavarṇaṃ mahājvālā(la)mātmānaṃ yamaghāṭa(ta)kam |
raktacandrasamārūḍhaṃ sādhyaṃ caiva vicintayet || 20 ||

svakāyanirgatairbhābhī raktai raktasamākṛtaiḥ |
sādhyamākarṣayan dṛṣṭvā ayutamātraphalaṃ japet || 21 ||

taṃ sādhyaṃ vihvalā(laṃ) nūnaṃ paṅguṃ [ca] patitaṃ tathā |
vivastraṃ muktakeśaṃ ca cintayan japamācaret || 22 ||

vaśyā(śyaṃ) yadi nāgacchati taṃ yantraṃ tāpayed vratī |
ghṛtādirahitaṃ kṛtvā nirdhūmakhadirānale || 23 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana huṃ huṃ phaṭ phaṭ hoḥ devadattasya yajñadattaṃ vaśīkuru hoḥ | oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā vauṣaṭ devadattasya yajñadattaṃ vaśamānaya vauṣaṭ | ityāha bhagavān mahāvaśyasamayaḥ || 24 ||




śmaśānacelake vāpi svayambhūliptakarpaṭe |
cakradvayaṃ samālikhya lākṣayā raktamiśrayā || 25 ||

jaḥkāre[ṇa] hrīṃḥkāreṇa nāma caiva vidarbhayet |
yoṣita[ḥ] padmabhāṇḍe vā sampuṭe sthāpya pūjayet || 26 ||

raktasūtreṇa cāvṛtya raktapuṣpena(ṇa) pūjayet |
sāndhyārkasannibhaṃ raktamātmānaṃ yamaghātakam || 27 ||

raktavarṇāṅkuśākṛṣṭaṃ sādhyaṃ caiva vibhāvayet |
hṛdaye aṅkuśairviddhaṃ gale pāśena bandhitam || 28 ||

raktasiṃhasamārūḍhaṃ vātamaṇḍaliyogataḥ |
siñcitaṃ pañcadravyeṇa āgacchantaṃ vicintayet || 29 ||

yadā nāgacchati sādhyastadyantraṃ tāpayed vratī |
khadirakāṣṭhānale dīpte jāpaṃ tatra samārabhet || 30 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ svāhā oṃ hrīḥ amukīmākarṣaya hrīṃ hrīṃ phaṭ phaṭ svāhā hrīḥ, ityāha bhagavānākarṣaṇasamayaḥ || 31 ||



śmaśānacelake dhīmān haridrārasakena tu |
cakradvayaṃ samālikhya laṃkāreṇa vidarbhayet || 32 ||

sādhyasya nāma cādāya śarāvasampuṭāntare |
pītasa(śa)rāvopari sthāpya rekhāṃ tatra likhed budhaḥ || 33 ||

sapta catvāri rekhā vā samālikhya samāhitaḥ |
aṣṭaśṛṅgasumeruṃ vā tasyopari samālikhet || 34 ||

hūṃkāraṃ ca vaṃkāraṃ ca tena meruṃ vidarbhayet |
tasyopari laṃkāreṇa māhendramaṇḍalaṃ likhet || 35 ||

viśvavajreṇa cākrāntaṃ pītasūtreṇa veṣṭayet |
pītavarṇāṃ yamaghnaṃ tu ātmānaṃ ca vicintayet || 36 ||

dakṣiṇābhimukho yogī māhendramaṇḍalāśritaḥ |
pītaṃ sādhyaṃ vicintyāśu ākrāntaṃ parvate(taiḥ) nyaset || 37 ||

viśvavajrasamākrāntaṃ māhendramaṇḍalādadhaḥ |
mandarādinagairghoraiḥ prāleyācalasannibhaiḥ |
ākrāntaṃ bhāvayet sādhyaṃ japaṃ tatraiva kārayet || 38 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ laṃ devadattasya sthānaṃ stambhaya laṃ, ityāha bhagavān mahāstambhanasamayaḥ || 39 ||



vākstambhanakāmena cakraṃ likhya dvayaṃ tathā |
vidarbhyaṃ sādhyanāmāni tato mantraṃ sphulaṃ(ṭaṃ) japet || 40 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ laṃ devadattasya yathāprārabdhakāryakṛte tannivārayato virūpakaṃ vadato yajñadattasya vākstambhanaṃ kuru laṃ huṃ phaṭ, ityāha bhagavān mahāvākstambhanasamayaḥ || 41 ||



atyantaṃ tat suguptena idaṃ kāryaṃ yathoditam |
dinamekena siddhiḥ syāt kṛṣṇayamāriyogataḥ || 42 ||

śmaśānakarpaṭe cakradvayaṃ caiva likhed vratī |
rājikālavaṇenāpi viṣeṇa nimbakena ca || 43 ||

trikaṭukaṃ kaṭutailaṃ ca śmaśānāṅgārameva ca |
dhuttūrapatraniryāsaiścaṇḍabījaistathaiva ca || 44 ||

tarjanīraktamādāya citrakasya rasena vā |
ūṣaramṛttikāṃ gṛhya caṇḍālahaṇḍikāñjanam || 45 ||

bubhukṣitapakṣalekhinyā caturdaśyāṃ likhed vratī |
madhyāhne krūracittena duṣṭānāṃ baddhahetunā || 46 ||

nāma sattvavighātasya huṃkāreṇa vidarbhayet |
dakṣiṇābhimukho yogī ātmānaṃ yamaghātakam || 47 ||

krodharūpaṃ mahācaṇḍaṃ khaṇḍamuṇḍavibhūṣitam |
mahiṣasthaṃ lalajjihvaṃ bṛhadudaraṃ bhayānakam || 48 ||

kaḍārordhvajvalatkeśaṃ babhruśmaśrubhruvaṃ tathā |
dakṣiṇena mahāvajraṃ khaḍgaṃ caiva dvitīyake || 49 ||

tṛtīye kartikāhastaṃ idānīṃ vāmato likhet |
cakraṃ caiva mahāpadmaṃ kapālaṃ caiva vāmataḥ || 50 ||

mūlamukhaṃ mahābhṛṅgaṃ dakṣiṇaṃ candrasuprabham |
vāmaṃ raktanibhaṃ proktaṃ vajrābharaṇabhūṣitam || 51 ||

romakūpamahāvivarāt sphārayet svakulādhipam |
pratyālīḍhapade saṃsthaṃ sūryamaṇḍala ūrdhvataḥ || 52 ||

vikṛtadaṃṣṭrākarālāsyaṃ kalpajvālāgnisannibham |
evamātmānaṃ sannahya sādhyaṃ vai purato nyaset || 53 ||

malinaṃ jarjaraṃ rogairduṣṭagātraiśca pātitam |
vivastraṃ vepamānaṃ tu khinnaṃ kāyavraṇānvitam || 54 ||

gaṇḍamālāvṛtāsañca(ṅgaṃ ca) śastreṇa jarjarīkṛtam |
upadrutaṃ śītavātena vahnimadhyasamāśritam || 55 ||

mahiṣeṇa ca vyāghreṇa kukkurairdīrghatuṇḍakaiḥ |
khādyamānaṃ mahāduṣṭaṃ buddhasainyena trāsitam || 56 ||

antakodaramadhyasthaṃ kaṇṭakairgātrapūritam |
haḍinigaḍapadākrāntaṃ khaṇḍakhaṇḍakṛtaṃ tathā || 57 ||

nirāśramī(yī)kṛtaṃ dhyāyād rājikālavaṇalepitam |
śītkāramuccaran dhyāyāt tasya dehasya rakṣaṇe || 58 ||

kavacaṃ sphoṭayettasya bhāvayet śūnyadehavat |
ātmadehodbhavaiḥ krodhairyamamāryātmamūrtibhiḥ || 59 ||

ghātyantaṃ bhāvayet tatra pibantaṃ medamajjakam |
tasyāgre tu yamaṃ dhyāyād daṇḍahastaṃ mahābalam || 60 ||

ghātitaṃ tena duṣṭena duṣṭaṃ tatra vicintayet |
tasyāntranālamādāya gṛdhrā gacchanti khetalam || 61 ||

pātāle kṛṣyate nāgairaśmaryādinipīḍitam |
evaṃ vicintya sādhyaṃ vā karuṇāviṣṭacetasā || 62 ||

vyaparopayati saṃsārād buddhakṣetreṣu jāyate |



atha khalu bhagavantaḥ sarvatathāgatāḥ prahṛṣṭamanasa idaṃ vākyamudāharantaḥ || 63 ||

aho hi māraṇaṃ nāma māraṇaṃ na ca māraṇam |
pāpebhyo mucyate yasmād mārito naiva māritaḥ || 64 ||

kṛtvā pāpasahasrāṇi avīcyādiṣu saṃvaset |
aho buddhasya māhātmyaṃ mārito bodhimāpnuyāt || 65 ||

bhūyasī(sīṃ) karuṇā(ṇāṃ) kṛtvā sattvaghātiṃ tu ghātayet |
aho kṛpābalam divyaṃ kṛpāhīno na siddhyati || 66 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ devadattaṃ māraya māraya huṃ huṃ phaṭ phaṭ | ityāha bhagavān mahāvikalpo [ghāta]vajrayantramantratantramāraṇādisamayaḥ || 67 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāriyantramantratantramāraṇādisamayaścaturthaḥ paṭalaḥ ||







pañcamaḥ paṭalaḥ <<pp37-42>>

tathā cakradvyaṃ likhya phaṭkāreṇa vidarbhayet |
sādhyasya nāmamādāya kapālaṃ(la)sampuṭe nyaset || 1 ||

nīlasūtreṇa veṣṭayitvā madhyāhnavelāyāṃ śmaśāneṣu nikhānayet || 2 ||

śrīyamāriṃ samālambya sādhyaṃ vai purato nyaset |
aśvamahiṣamārūḍho(ḍhau) dvau sādhyau śastrapāṇinau || 3 ||

nimittaiḥ krodhasaṃghātairdvayapakṣaṃ vicintayet |
ubhau tu yudhyamānau tu krodhāviṣṭena cetasā ||
bhāvitavyau balau kruddhau bhāvayan japamārabhet || 4 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ devadattaṃ yajñadattena saha vidveṣaya huṃ phaṭ svāhā | ityāha bhagavān mahāvidveṣasamayaḥ || 5 ||



ālikhya dvayacakrākhyaṃ vidhinā tenaiva pūrvavat |
huṃphaṭkāravidarbhena(ṇa) kapālasampuṭe nyaset || 6 ||

kṛṣṇasūtreṇa saṃveṣṭya pitṛvane nikhānayet |
yamāriyogamādāya purataḥ sādhyaṃ vibhāvayet || 7 ||

yaṃbhave dhanurākāre kṛṣṇamārutamaṇḍale |
nīlavarṇa(rṇaṃ) mahaduṣṭraṃ tasyopari vibhāvayet || 8 ||

tamārūḍhaṃ mahāduṣṭaṃ nīyantaṃ dakṣiṇāṃ diśam |
tāḍyantaṃ krodhasaṃghātairbuddhasyāpi na siddhyati || 9 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ devadattamuccaṭaya hūṃ phaṭ | ityāha bhagavān mahoccāṭanasamayaḥ || 10 ||



kruddho yāmyānano yogī svaraktacitibhasmanā |
viṣalavaṇarājikātailena unmattakadalavāriṇā || 11 ||

śmaśānacelake cakradvayametalikhet kramāt |
māraṇe yamadehasthaṃ vidveṣe mahiṣāśvayoḥ || 12 ||

preraṇe coṣṭradehasthaṃ śāntike candrasaṃsthitam |
pauṣṭike pītacandrasthaṃ yoṣitāṃ hṛdi vaśyake || 13 ||

chāgalasthaṃ praśastaṃ vai stambhanaṃ merumadhyataḥ |
kṛṣṭaṃ śarabhasiṃhasthamevamanyeṣu lakṣayet || 14 ||

rocanālaktakaṃ caiva kāśmīraṃ ca viśeṣataḥ |
bhūrjapatre likhed vaśyaṃ siddhyate nātra saṃśayaḥ || 15 ||

śarāvasampuṭe sthāpya saṃgrāhya śubhacetasā |
dhvāṅkṣapakṣasya lekhanyā madhyāhne avaropayet || 16 ||

citau sampuṭapadmeṣu yamāryātmaprayogataḥ |
oṃ hrīḥ ṣṭrīḥ ityādimāvartya nigrāhyo dakṣiṇe sthitaḥ || 17 ||

śāntavāntyayakārasya lopo nirdayasya ca |
paścānmadhye yakārasya śeṣā varṇā yathāsukham || 18 ||

pūrvasevāyutaṃ japtvā idaṃ karmaprasādhanam |
kartavyaṃ jñānavajreṇa yamamāriprayogataḥ || 19 ||

idaṃ cakraṃ mahāraudraṃ likhitaṃ yatra tiṣṭhati |
gṛhe'pi kalaho nityaṃ bhavedakṣaralekhanāt || 20 ||

[bhūrje vā karpaṭe vāpi alaktakarasena vā |
raktacandanakenāpi anāmārudhireṇa tu ||

cakradvayaṃ samālikhya hoḥkāreṇa vidarbhayet |
kālādirahite yantre śarāvadvayasampuṭe ||

ājyamākṣikasampūrṇe raktasūtreṇa veṣṭayet |
arcayed raktapuṣpeṇa paścmābhimukhaḥ sthitaḥ ||

raktavarṇamahojvālamātmānaṃ yamaghātakam |
raktacandrasamārūḍhaṃ sādhyaṃ caiva vicintayet ||

svakāyanirgate rakte mayūkhairaṅkuśākṛtaiḥ |
sādhyamākarṣayan dṛṣṭvā'yutamātraṃ sphutaṃ japet ||

pūrvasevāyutaṃ japtvā idaṃ karmaprasādhakam |
taṃ sādhyaṃ vihvalībhūtaṃ pādayoḥ patitaṃ tathā ||

vivastraṃ muktakeśaṃ ca cintayan japamārabhet |
vaśyaṃ yadi nāgacchati tanmantraṃ tāpayed vratī ||
ghṛtādirahitaṃ kṛtvā nirdhūmakhadirānale ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ hoḥ devadattasya yajñadattaṃ vaśīkuru hoḥ | oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ vauṣaṭ devadattasya yajñadattaṃ vaśamānaya vauṣaṭ | ityāha bhagavān mahāvaśyasamayaḥ ||]

iti sarvatathāgatakāyavākcittarahasyakṛṣṇayamāritantre cakrānupūrvalikhanaṃ nāma pañcamaḥ paṭalaḥ ||







ṣaṣṭhaḥ paṭalaḥ <<pp43-49>>

atha khalu bhagavantaḥ sarvatathāgatā bhagavantaṃ sarvatathāgatādhipatiṃ mahāvajradharamanena stotrarājenādhyeṣayāmāsuḥ || 1 ||

deśa mudrāprayogaṃ tu yena tuṣyanti vajriṇaḥ |
mudritā vajramudreṇa siddhiṃ kurvanti bhūyasīm || 2 ||

atha vajradharo rājā idaṃ vacanamabravīt |
sarveṣāṃ māṇḍaleyānāṃ yamaghnaṃ śirasi bhāvayet || 3 ||

maṇḍalaṃ vartayennityaṃ nityaṃ homena pūja(ra)yet |
samayān sādhayennityaṃ saṃvaraṃ saṃpragṛhyatām || 4 ||

prathamaṃ maulisekena dvitīyaṃ khaḍgamodanāt |
tṛtīyaṃ vajraghaṇṭāṃ ca caturthaṃ candrabhakṣaṇam || 5 ||

catvāryete mahāsekāḥ kṛṣṇasya mukhanirgatāḥ |
etatsekaprabhāvena(ṇa) bodhisattvā jinorasāḥ || 6 ||



atha mantraṃ pravakṣyāmi sarvabhūtabalikriyām |
uccārite mahāmantre sarvabhūtaprakampanam || 7 ||

oṃ indrāya hrīḥ, yamāya ṣṭrīḥ, varuṇāya viḥ, kuberāya kṛḥ, īśānāya taḥ, agnaye ā, nairṛtaye na, vāyave na, candrāya hūṃ, arkāya hūṃ, brahmaṇe phaṭ, vasudhārāyai phaṭ, vemacitriṇe svā, sarvabhūtebhyo hā | hā hā hī hī hūṃ hūṃ pheṃ pheṃ svāhā || 8 ||

kṛtvā maṇḍalikāṃ tryasrāṃ viṇmūtratoyamiśritaiḥ |
devatā[ḥ] prīṇayed yogī hāhākāraṃ punaḥ smaret || 9 ||



atha bhagavān sarvatathāgatādhipatiḥ karmaprasaracakramudājahāra || 10 ||

kṛtvā maṇḍalikāstisro aṣṭau dvādaśa ṣoḍaśān |
saṃlikhya vidhinā prājño nyasenmantrāṇi sarvataḥ || 11 ||

nyasenmantrāṇi siddhāni koṣṭhake dvādaśe vratī |
siddhyatyaśeṣaniḥśeṣai trailokyaṃ sacarācaram || 12 ||

ya ma rā jā sa do me ya ya me do ru ṇa yo da ya |
ya da yo ni ra ya kṣe ya ya kṣa ya cca ni rā ma ya || 13 ||

yamadhyakṣa(dhye kṣe) nyaset pūrvaṃ dakṣiṇe mañjuvajrakam |
mekāraṃ paścime lekhya[m] uttare dantadhāvanam || 14 ||

sādhyasya nāma cādāya śūnye vidiśi dhārayet |
hūṃbhyāṃ vidarbhitaṃ kṛtvā sarvakāryāṇi sādhayet || 15 ||

yaccanirājā sadoruṇa yonira ityādi bāhyataḥ |
vāmamārabhya saṃlikhya sarvārthāya prasādhane || 16 ||

tṛtīyakoṣṭhake purata ekāntaritakoṣṭhake |
likhet pūrvavadā(ta ā)rabhya oṃ hrīḥ ṣṭrīḥ ityādimantrakaiḥ ||
tadantarāntariteṣvapi aṣṭakoṣṭhakeṣu saṃlikhet || 17 ||

mūkaṃ kuru, māraya, uccāṭaya, vaśīkuru, vidveṣaya, śāntiṃ kuru, puṣṭiṃ kuru, ityevamādi karmānurūpataḥ || 18 ||

praṇavādi[ḥ] namontā(nte) ca ante vaṣaṭ vauṣaṭ |
hūṃphaṭkārayutā bījā[ḥ] śāntipuṣṭivaśādikṛt || 19 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre cakrāvalokano nāma ṣaṣṭha paṭalaḥ ||







saptamaḥ paṭalaḥ <<pp50-55>>

trimukhāṃ ṣaḍbhujāṃ śuklāṃ cakrahastāṃ śaśiprabhām |
carcikāṃ bhāvayet prājño raktākṛṣṭiprayogataḥ || 1 ||

trimukhāṃ ṣaḍbhujāṃ ghoṇāṃ vajrahastāṃ sunīlikām |
vārāhīṃ bhāvayet prājño madyākṛṣṭiprayogataḥ || 2 ||

trimukhāṃ ṣaḍbhujāṃ raktāṃ sarasvatīṃ bhāvayed vratī |
padmahastadharāṃ saumyāṃ prajñāvardhanahetave || 3 ||

trimukhāṃ ṣaḍbhujāṃ kharvāṃ marakatotpalasannibhām |
gaurīṃ vibhāvayet prājño śukrākṛṣṭiprayogataḥ || 4 ||



atha khalu bhagavān mahāyamamathanavajrā(jro) raktākarṣaṇavajraṃ nāma samādhiṃ samāpadyemaṃ vajracarcikāmantramudājahāra || 5 ||

oṃ vajracarcike siddhendranīlahāriṇi ratnatrayāpakāriṇo rudhiramākarṣaya ākarṣaya jaḥ || 6 ||

vaktraṃ prasāritaṃ kṛtvā imaṃ mantramanusmaret |
traidhātukamahāratnaṃ(ktaṃ) kṛṣyate nātra saṃśayaḥ || 7 ||



atha khalu bhagavān mahāyamārivajro madyākarṣaṇavajraṃ nāma samādhiṃ samāpadyemaṃ vajravārāhīmantramudājahāra || 8 ||

oṃ vajraghoṇe sughoṇe vajramāmaki bhara 2 sambhara 2 traidhātukamahāmadyamākarṣaya jaḥ || 9 ||

hastamānāṃ (mṛdā) kulālasya ghaṭikāṃ kṛtvā tu saṃvṛtām |
ādhāre caurakeśākhye sthāpya mantraṃ mudā smaret || 10 ||

asya mantrasya māhātmyaṃ darśitaṃ caityapattane |
dhairyamālambya yatnena madirākṛṣṭiḥ prasiddhyati || 11 ||



atha khalu bhagavān mahāsamayayamaghnavajraḥ prajñāpāramitāvajraṃ nāma samādhiṃ samāpadyemaṃ vajrasarasavatīmantramudājahāra || 12 ||

oṃ picu 2 prajñāvardhani jvala 2 medhāvardhani ghiri 2 buddhivardhani svāhā || 13 ||

gṛhītvā pratipadaṃ yāvat pūrṇamāsī samantataḥ |
saṃskṛtaṃ vaktumārambhet yāvaccandrānusārataḥ || 14 ||

bhaved yogīśvarīsiddhiḥ śataślokaṃ karotyasau |
siddhyatyaśeṣaniḥśeṣaṃ traidhātukamaśeṣataḥ || 15 ||



atha khalu bhagavān mahāyamamathanavajraḥ śukrākarṣaṇavajraṃ nāma samādhiṃ samāpadyemaṃ śukrākarṣaṇaṃ vajragauryā mantramudājahāra || 16 ||

oṃ kaṭṭani karṣaṇi gauri jaḥ jaḥ jaḥ hrīḥ duṣṭaduṣṭayoḥ śukramākarṣaya jaḥ jaḥ jaḥ hūṃ svāhā || 17 ||

khagamukhād vajramārgācca vātaghaṇṭāṅkuśayogataḥ |
karṣayecchukrasaṃghātaṃ japabhāvapra(nā)yogataḥ || 18 ||

vijaneṣu vane vāpi idaṃ karmapracodanam |
saptarātraprayogeṇa siddhyate nātra saṃśayaḥ || 19 ||



atha khalu bhagavān mahāyamārivajraḥ kālanikṛntanavajraṃ nāma samādhiṃ samāpadyemaṃ paramābhiṣekasamayaṃ svakāyavākcittavajrebhyo niścārayāmāsa || 20 ||

audumbaraṃ māndārakaṃ pārijātaṃ tamālakam |
karṇikārasya mālāṃ ca vatsa gṛhṇa pratiṣṭhitaḥ || 21 ||

traidhātukamahākhaḍga sarvabuddhanamaskṛta |
mārāṇāṃ jayato gṛhya(hṇa) karmakhaḍgamivāparam || 22 ||

prajñopāyasvabhāvaṃ tu vajraghaṇṭāṃ ca siddhaye |
gṛhāṇa vatsa vajrastvaṃ kuru śiṣyasya saṃgraham || 23 ||

idaṃ te pānaratnaṃ vai dehavajraprasādhakam |
pīyatāṃ mānasaṃ vāri jñātastvaṃ vatsa sarvadā || 24 ||

mu(su)khena pibate śiṣyo yamamāriprasiddhaye |
sauṣṭhavaṃ kurute cittaṃ vajraśiṣyo mahātmanaḥ || 25 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre ākarṣaṇādiprayogapaṭalaḥ saptamaḥ ||







aṣṭamaḥ paṭalaḥ <<pp56-62>>

atha vajradharo rājā rakṣācakraprayogataḥ |
vighnān vināyakān duṣṭān nikṛntanāya cābravīt || 1 ||

ahaṃ khaḍgadharo rājā rakṣācakraprayogataḥ |
khaḍgenādīptavapuṣā sphālayāmi trikāyajān || 2 ||

tvaṃ devi sākṣibhūtāsi sarvabuddhānutāyinām |
yamaghno maṇḍalācāryo maṇḍalaṃ lekhayāmyaham || 3 ||

kauśikena mukhaṃ baddhvā maṇḍalāgāradvārataḥ |
kastvaṃ bho bho iti brūyāt subhago'hamiti cābravīt || 4 ||

yamanikāsvantaraṃ dattvā prārthayed gurave sudhīḥ |
abhiṣekārthaṃ mahābhaktyā triruccāryānunāthayet || 5 ||

yathā buddhairmahādharmairvajrasattvābhiṣekataḥ |
mamāpi trāṇanārthāya varaṃ vā me prayacchatu || 6 ||

gītaṃ vādyaṃ tathā pūjāmarghaṃ pādyaṃ tathaiva ca |
ḍhaukayed gauravād śiṣyaḥ stutiṃ vā tatra kārayet || 7 ||



atha vajradharo rājā śūnyamantramudāharet -

oṃ śūnyatājñānavajrasvabhāvātmako'ham |
oṃ sarvatathāgatapūjāvajrasvabhāvātmako'ham |
oṃ dharmadhātuvajrasvabhāvātmako'ham || 8 ||



atha homaṃ pravakṣyāmi śāntikādiprabhedataḥ |
yena homena siddhiḥ syāt sarvakarmaprasādhikā || 9 ||

śāntike śāntacittena pauṣṭike puṣṭacetasā |
vaśye cotkaṇṭhacittena udvignena tu māraṇe || 10 ||

śāntike maṇḍalākāraṃ vāpyākāraṃ tu pauṣṭike |
vaśyake cārdhacandrākhyaṃ khadhāturiva māraṇe || 11 ||

hastāyāmaṃ bhavecchāntau dvihastaṃ pauṣṭike tathā |
yathā puṣṭau tathā vaśye māraṇe viṃśadaṅgulam || 12 ||

hastārdhaṃ vedhayet śāntau hastamātraṃ tu pauṣṭike |
dvipañca māraṇe'ṅguṣṭhaṃ yathā puṣṭau tathā vaśe || 13 ||

pratipatsu śāntikaṃ homaṃ paurṇamāsyāṃ tu pauṣṭikam |
abhicāraṃ caturdaśyām aṣṭamyāṃ vaśyakarmaṇi || 14 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre homavidhipaṭalo'ṣṭamaḥ ||







navamaḥ paṭalaḥ <<pp63-67>>

samudramṛttikāṃ gṛhya nāgamekaṃ tu kārayet |
oṃphūḥkāraṃ hṛdi nyasya hrīḥṣṭṛyādimantramājapet || 1 ||

athā'nāvṛṣṭisamaye ayutajāpena pātayet |
kṛṣṇasarpasya māṃsāni nimbapatreṇa miśriyet || 2 ||

tenaiva vaṭikāṃ kṛtvā samudre prakṣiped vratī |
ayutamātrajaptena ūrmistambhanamuttamam || 3 ||

caṇḍabījaśataṃ gṛhya māṣataṇḍulamiśritam |
aṣṭalakṣaprajaptena homād deva tu dṛśyatām || 4 ||

gañjanena śmaśānasya puttaliṃ kārayed vratī |
unmattarasalepena ayutamātreṇa kuṣṭhate || 5 ||

catvāri lakṣajāpena siddhārthabījasaṃcayaiḥ |
suptakotthāpanaṃ kāryaṃ jīvite ca na saṃśayaḥ || 6 ||

kandarasya mṛdaṃ gṛhya lakṣamantreṇa jāpayet |
śiraḥpramārjanenaiva śiraḥśūlaṃ vinaśyati || 7 ||

saptābhimantritaṃ kṛtvā hastena mardayet śiraḥ |
śiraḥśūlaṃ na bhavati naśyate nātra saṃśayaḥ || 8 ||

brāhmaṇasya tu māṃsena citibhasmena tanmṛdā |
yamāripratimāṃ kuryād dvibhujamekavaktriṇam || 9 ||

dakṣiṇena mahāvajramapasavye nṛśirastathā |
śuklavarṇaṃ mahābhīmaṃ tena duṣṭān nikṛntayet || 10 ||

pratidinaṃ baliṃ dadyāt pañcamāṃsāmṛtena tu |
nityaṃ ca prārthayed yogī mama śatrūn nikṛntaya || 11 ||

ityuktvā saptarātreṇa pratyūṣe mriyate ripuḥ |
athavā rogiṇo bhonti aśmaryādisamākulāḥ || 12 ||

śatrorvairocanāṃ gṛhya mānuṣāsthi prapūrayet |
prapūrya lakṣajāpena vṛkṣāgre bhramati pretavat || 13 ||

athānyat saṃpravakṣyāmi mahāvetālasādhanam |
sarvasiddhikaraṃ divyaṃ nānākāryaprasādhakam || 14 ||

iti sarvatathāgatakāyavākcittakṛṣnayamāritantre yamāribhīmo nāma navamaḥ paṭalaḥ ||







daśamaḥ paṭalaḥ <<pp68-71>>

[ataḥ samyak pravakṣyāmi divyasādhakasādhanam |
vetālasādhanopāyamabhilāṣāṇyabhīkṣṇaśaḥ || ]

vṛkṣāvalambitaṃ gṛhya akṣataṃ nirvraṇaṃ śubham |
avatārya snāpayet taṃ (tu?) mantraṃ tatra japed vratī || 1 ||

aho mantrasya sāmarthyaṃ nādaṃ muñcati suptakaḥ |
yamāriyogayuktena na bhetavyaṃ manāgapi || 2 ||

yadyanmārgayate yogī tattat sarvaṃ prayāchati |
mahiṣasya kumbhīrasya vyāghrasyāpi tathā param || 3 ||

ṛkṣasya markaṭasyāpi śvānasyāpi viśeṣataḥ |
viṣarājikālavaṇaṃ trikaṭu śobhāñjanaṃ tathā || 4 ||

etena saṃskaret pratimāṃ yamārerghorarūpiṇaḥ |
taṃ ca saṃprārthayed yogī japed hrīḥṣṭryādimantrakam || 5 ||

amukīṃ me prayaccheti pitā tasyāḥ prayacchati |
yamāriṇā ghātitaṃ svapne nīyantaṃ dakṣiṇāṃ diśam || 6 ||

paśyate vai pitā tasyā yadi yogī pratārayet |
trimukhaṃ ṣaḍbhujaṃ bhīmaṃ mudgaraṃ bhāvayed vratī || 7 ||

indranīlapratīkāśaṃ hastato mudgaraṃ nyaset |
trimukhaṃ ṣaḍbhujaṃ kruddhaṃ daṇḍahastaṃ bhayāvaham || 8 ||

daṇḍaṃ pāṇau nyaset prāṇī bhayasyāpi bhayaṅkaram |
trimukhaṃ ṣaḍbhujaṃ raktaṃ mahābhīmaṃ bhayānakam || 9 ||

padmākhyaṃ bhāvayet prājño haste raktasaroruham |
trimukhaṃ ṣaḍbhujaṃ śyāmaṃ khaḍgākhyaṃ tu prabhāvayet || 10 ||

haste khaḍgaṃ prabhāvitvā sarvakarmakaro bhavet |
bhage liṅgaṃ prabhāvitvā maṇḍaleśaṃ vibhāvayet || 11 ||

dveṣānusmṛtimān yogī mohānusmṛtibhāvanā |
mohānusmṛtimālambya piśunānusmṛtibhāvanā || 12 ||

piśunānusmṛtisaṃyogād rāgānusmṛtibhāvanā |
rāgānusmṛtiyogena īrṣyākhyaṃ saṃsmared vratī || 13 ||

saṃsphārayed romakūpāgre kulameghān prati prati |
sūryamaṇḍalamadhyasthaṃ catuḥkrodhaṃ vibhāvayet |
svacchamaṇḍalamadhyasthaṃ(sthāṃ) caturdevī(vīṃ) vibhāvayet || 14 ||

iti sarvatathāgatakāyavākcittakrṣṇayamāritantre vetālasādhanānusmṛtibhāvanāpaṭalo daśamaḥ ||







ekādaśaḥ paṭalaḥ <<pp72-77>>

dveṣākrāntaṃ jagad dṛṣṭvā sarvadveṣakṣayaṅkaram |
dveṣayamārisadrūpaṃ bhagavatā kṛpayā kṛtam || 1 ||

mohākrāntaṃ jagad dṛṣṭvā sarvamohakṣayaṅkaram |
mohayamārisadrūpaṃ bhagavatā kṛpayā kṛtam || 2 ||

piśunākrāntaṃ jagad dṛṣṭvā sarvapiśunakṣayaṅkaram |
piśunayamārisadrūpaṃ bhagavatā kṛpayā kṛtam || 3 ||

rāgākrāntaṃ jagad dṛṣṭvā sarvarāgakṣayaṅkaram |
rāgayamārisadrūpaṃ bhagavatā kṛpayā kṛtam || 4 ||

īrṣyākrāntaṃ jagad dṛṣṭvā sarverṣyāprakṣayāya tu |
īrṣyāyamārisadrūpaṃ bhagavatā kṛpayā kṛtam || 5 ||

maitrī tu carcikā proktā vārāhī karuṇā tathā |
muditā sarasvatī caiva upekṣā gaurirūpiṇī || 6 ||

ātmanā sarvabhāvena niṣpattībhūya maṇḍale |
hṛdbījāt sphārayed yogī siddhyate nātra saṃśayaḥ || 7 ||



athātaḥ saṃpravakṣyāmi caryālakṣaṇamuttamam |
yamārerbhīmarūpasya kāyavākcittasiddhaye || 8 ||

mahāṭavīpradeśeṣu āruhya mahiṣottamam |
sarpairābharaṇaṃ kṛtvā ayovajraṃ tu dhārayet || 9 ||

keśaṃ tu piṅgalaṃ kāryamūrdhvarūpaṃ viśeṣataḥ |
śiraḥ kapālaiḥ saṃveṣṭya śmaśrau piṅgalamācaret || 10 ||

hrīḥ ṣṭryādi mantramuccārya ayovajraṃ samudvahet |
siṃhanādaṃ tataḥ kāryaṃ yamārivajraprayogataḥ || 11 ||

kiñcitsāmarthyamābhujya krīḍayā nagaraṃ viśet |
nṛtyaṃ ca subhagaṃ kāryaṃ ṣāḍavādipraśā(gā)yanam || 12 ||

dhvajavīthīṃ tato dṛṣṭvā kṣīraṃ tatra prasādhayet |
kṣīrābhyāsaikacittena mahāmudrāṃ prasādhayet || 13 ||

vārāhīrūpamādhāya kāmyante sarvayoṣitaḥ |
siṃhavad vicared vīraḥ sarvakāmārthasādhakaḥ || 14 ||



athātaḥ saṃpravakṣyāmi śatabāhoḥ prasādhanam |
ekākṣaramahāmantrajāpaṃ tasya vinirdiśet || 15 ||

hrīḥkārabījasaṃbhūtaṃ mahiṣāsyaṃ vibhāvayet |
vajramaṇḍalamārūḍhaṃ mahiṣasyopari bhāvayet || 16 ||

ye kecid bhuvi vidyante śastrāstrā'nekarūpiṇaḥ |
bhujānāṃ bhāvayed dhīmān māhiṣā(ṣe) mantrasādhane || 17 ||



athātaḥ sampravakṣyāmi daṇḍayamārisādhanam |
hrīḥkāraṃ mahāmantraṃ mahāmahiṣavāhanam || 18 ||

bhujadvilakṣasampūrṇaṃ bhasmoddhūlitavigraham |
sumeruparvatottuṅgaṃ samākrāntarasātalam || 19 ||



athātaḥ sampravakṣyāmi koṭibāhoḥ prasādhanam |
vikṛtānanamahāmantraṃ hūṃkārasaṃbhavaṃ vibhum || 20 ||

oṃ hrīḥ ṣṭrīḥ vikṛtānana hūṃ hūṃ phaṭ phaṭ haḥ hāḥ hiḥ hīḥ huḥ hūḥ heḥ haiḥ hoḥ hauḥ haṃḥ haḥ phaṭ svāhā || 21 ||

samayasādhanamato vakṣye sarvakāryaprasiddhaye |
mantrakhinnasyāhāraṃ niravadyamadurlabham || 22 ||

mahāmāṃsaṃ hayaṃ caiva gajaṃ cāpi viśeṣataḥ |
gorūpaṃ kukkuraṃ caiva kharoṣṭraṃ kroṣṭrameva ca || 23 ||

mahātailena cābhyajya nīlīmiśreṇa pākayet |
vaśamānayet jagat sarvamasyābhyaṅgamātrataḥ || 24 ||

rocanā sinduvāraṃ ca bilvapatraṃ tathaiva ca |
iṣṭacūrṇasamārdhena kanakapatrarasena tu || 25 ||

anenodvartitaṃ gātraṃ traidhātuvaśamānayet |
viṣaṃ lūtaṃ tathā kuṣṭhaṃ naśyatyudvartanena tu || 26 ||

mahāmūtraṃ tu pātavyaṃ mahāvajrāmṛtaṃ tathā |
eṣa yogavaraḥ śṛeṣṭhaḥ svayambhukusumapānavat || 27 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre caryāsamayasādhanapaṭala ekādaśaḥ ||







dvādaśaḥ paṭalaḥ <<pp78-82>>

atha bhagavān mahāpuruṣasamaya[ḥ] carcikākārāṃ samādhiṃ samāpadya, vajravārāhyākārāṃ samādhiṃ samāpadya, sarasvatyākārāṃ samādhiṃ samāpadya, gauryākārāṃ samādhiṃ samāpadyedaṃ pūjāgītamudānayāmāsa || 1 ||

aḍeḍe kiṭṭayamāri guru raktalūva sahāva |
haḍe tua pekkhia bhīmi guruchaḍḍahi koha sahāva || 2 ||

païṇaccaṃte kaṃvi aï saggamaccapāālu |
kiṭṭa bhiṇṇāñjaṇa kohamaṇu ṇaccahi tuhu ve ālu || 3 ||

kālākhavva pamāṇahā bahuviha ṇimmasi rūa |
vajjasarāsaï viṇṇamami ṇaccahi tuha mahāsuharūa || 4 ||

hrīḥ ṣṭrīḥ manteṇa pheḍahi kehu tihuaṇa bhānti |
karuṇākoha bharāḍaü taha kuru jagu pekkhanti || 5 ||



athātaḥ sampravakṣyāmi jāpalakṣaṇamuttamam |
yena jāpaprayogena(ṇa) bhūyasīṃ siddhimāpnuyāt || 6 ||

na drutaṃ na vilambitaṃ na ca hrasvaṃ na dīrghakam |
na kiñcicchrūyate mantraṃ japamāno narottamaḥ || 7 ||

mahiṣaṃ mānuṣaṃ dviradaṃ gorūpaṃ vājimeva ca |
kharoṣṭraṃ dhātuṃ saṃgṛhya jāpamālāṃ prasādhayet || 8 ||

māsi māsi caturdaśyāṃ pañcamāṃsena lepayet |
pañcāmṛtasamāyuktaṃ jāpa(pyaṃ) siddhikaraṃ param || 9 ||

prati pratigulikāṃ yogī yamāriṃ bhāvayed budhaḥ |
athavā mānuṣaṃ muṇḍamasṛgārdraṃ vibhāvayet || 10 ||

ayutamātreṇa bhūtānāṃ ḍākinīnāṃ sahasrake |
mārayet pretasaṃghātaṃ yamamāriprayogataḥ || 11 ||

lakṣajāpena yogātmā sarvakarma karotyasau |
koṭijāpena siddhiḥ syāt kā kathā koṭipañcake || 12 ||

pratidinaṃ pratimāsaṃ vā pratisaṃvatsaraṃ tathā |
catuḥṣaṣṭibaliṃ dadyād daṇḍe catuḥṣaṣṭike budhaḥ || 13 ||

yatkiñcit khādyate nityaṃ yatkiñcit pīyate tathā |
anyadvā bhakṣaṇe sarvamagraṃ dadyād yamāriṇaṃ(ṇe) || 14 ||



athātaḥ sampravakṣyāmi gurave dātuṃ pradakṣiṇām |
ātmanaḥ śāntaye caiva siddhaye sarvakarmaṇaḥ || 15 ||

niryātayedā(ta ā)tmānaṃ hayagorūpakuñjaram |
dhānyaṃ cāmīkaraṃ vātha putraṃ vā svastriyaṃ tathā || 16 ||

jananīṃ bhaginīṃ vāpi bhāgineyīṃ tathaiva ca |
vastraṃ nānāvidhaṃ caiva chatraṃ vā cārucāmaram || 17 ||

gṛhaṃ pīṭhaṃ sugandhaṃ ca geyaṃ vāhyaṃ tathaiva ca |
khaḍgaṃ cābharaṇaṃ caiva pradadyād gurave vratī || 18 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre sarvopāyikaviśeṣako nāma dvādaśaḥ paṭalaḥ ||







trayodaśaḥ paṭalaḥ <<pp83-88>>

athātaḥ sarvasattvasya yāvantaḥ pāpakarmakāḥ |
tān vai kartayituṃ kartrī koṣaḥ kleśādicchedanāt || 1 ||

athātaḥ sampravakṣyāmi vajraḍākinisādhanam |
khadhātumadhyagataṃ cintet sūryamaṇḍalamuttamam || 2 ||

pañcaśūlaṃ vibhāvitvā padaṃ tasyopari nyaset |
kṛṣṇavarṇāṃ mahābhīmāṃ ṣaḍbhujāṃ cārurūpiṇīm || 3 ||

haste vajraṃ vibhāvitvā śeṣānanyakare nyaset |
pūrveṇa buddhaḍākiṃ tu ṣaḍbhujāṃ mohasannibhām || 4 ||

cakrahastāṃ mahābhīmāṃ bhāvayed yogamaṇḍale |
dakṣiṇe ratnaḍākiṃ tu ṣaḍbhujāṃ piśunasannibhām || 5 ||

ratnahastāṃ mahādīptāṃ bhāvayet sūryamaṇḍale |
paścime padmaḍākiṃ tu ṣaḍbhujāṃ padmadhāriṇīm || 6 ||

uttare karmaḍākiṃ tu khaḍginīṃ bhagamaṇḍale |
āgneyādicatuṣkoṇe devīnāṃ bhāvayed vratī || 7 ||

lāsyā mālā(lyā) tathā nṛtyā geyāṃ(yā) caiva viśeṣataḥ |
dvārapālān tato dhyāyād vidhidṛṣṭena karmaṇā |
mudgaraṃ daṇḍapadmaṃ ca kośaṃ cāpi tathāpare || 8 ||

oṃ vajraḍākini | oṃ buddhaḍākini |
oṃ ratnaḍākini | oṃ padmaḍākini |
oṃ karmaḍākini | oṃ lāṃ māṃ nāṃ gāṃ koṇe |
oṃ mudgara jaḥ | oṃ daṇḍa hūṃ |
oṃ padma vaṃ | oṃ khaḍga ho || 9 ||

ityāha bhagavān vajrī vajraḍākinisādhanam |
dūrā(ra)śrama(va)ṇasiddhyarthaṃ bhāvayed vajraḍākinīm || 10 ||

tatremāṇi(ni) mantrapadāni bhavanti -

oṃ ākāśacara ḍākinīye hūṃ hūṃ phaṭ phaṭ svāhā || 11 ||



athānyat sampravakṣyāmi vajrapātālasādhanam |
pātālabilasiddhyarthaṃ bhāvayet śumbhavajrakam || 12 ||

ṣaḍbhujaṃ nīlavarṇābhaṃ pāṇau tu musalaṃ nyaset |
garbhamaṇḍalamadhye tu idaṃ nyāsaṃ pracārayet || 13 ||

pūrveṇa locanāṃ sthāpya dakṣiṇe māmakīṃ tathā |
paścime pāṇḍarāṃ devīṃ tāriṇīmuttare nyaset || 14 ||

puṣpāṃ dhūpāṃ tathā dīpāṃ gandhāmāgneyādiṣu nyaset |
dvāreṣu mudgarādīni sarpamaṇḍitamekhalā || 15 ||

evaṃ tad bhāvayeccakraṃ vidhidṛṣṭena karmaṇā |
svapne tu paśyate mārgaṃ vajrapātālayogavān || 16 ||



athātaḥ sampravakṣyāmi saptirājasya maṇḍalam |
khecaratvaprasiddhyarthaṃ paramāśvaṃ prasādhayet || 17 ||

dvibhujamekavaktraṃ tu śyāmavarṇaṃ bhayānakam |
sūryopari samārūḍhamaśvamukhaṃ subhīkaram || 18 ||

dakṣiṇe māṣamuṣṭiṃ tu vāme pāṇau kapālakam |
oṃ phu phu phu hī hī hī japetprājñaḥ paramāśvaprasiddhaye || 19 ||

pūrveṇa vaḍavā(vāṃ) dhyāyed dakṣiṇe ca turaṅgamām |
paścime saptirājñīṃ tu paramāśvāmuttare nyaset || 20 ||

adhipatervaktrabāhubhyāṃ sarvāsāmeva bhāvayet |
etanmantreṇa sarvāsāmutsargaṃ tu prakīrtitam || 21 ||

vāṃsaṃ(śaṃ) bāṇaṃ(dyaṃ) mukunda ca murajaṃ cāpi ca koṇataḥ |
sapatrādi harinmāṣaṃ chāgamāṃsaṃ tu sarvataḥ || 22 ||

gokarṇaṃ hastikarṇaṃ ca sumukhaṃ durmukhaṃ tathā |
muśalaṃ paraśuṃ caiva aṅkuśaṃ pāśameva ca || 23 ||

caturdvāri sadā dhyeyā nṛtyābhinayayogata |
yavasaṃ vāmato dhyāyāt svacihnaṃ dakṣiṇe tathā || 24 ||

tathā paramāśvamantraṃ tu vajrapātālakasya tu |
paramāśvabhāvanāyogāt khadhātukaṃ paribhramet || 25 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre siddhinirṇayapaṭalastrayodaśaḥ ||







caturdaśaḥ paṭalaḥ <<pp89-113>>

tatredaṃ sūtrapāte paramasamayam -

oṃ akāro mukhaṃ sarvadharmāṇāmādyanutpannatvāt oṃ āḥ hūṃ phaṭ svāhā || 1 ||

śiṣyaṃ vairocanaṃ dhyātvā śrīyamāntakarūpavān |
jñānasūtravarāgrāgryaṃ pātayet susamāhitaḥ || 2 ||

tatredaṃ mahāmaṇḍalapraveśanasamayaḥ(yam) - oṃ āḥ hūṃ || 2 ||

maṇḍaladviguṇato dīrghaṃ dvāraviṃśatibhāgikam |
pañcagavyasamāliptaṃ sūtraṃ buddhaiḥ prakalpitam || 4 ||

tatredaṃ mahāvajraprārthanāsamayam -

aho buddha mahācārya aho dharmagaṇaḥ prabhuḥ |
dehi me samayaṃ tattvaṃ bodhicittaṃ ca dehi me || 5 ||

tatredaṃ mahābhūparigrahasamayaṃ vajrabhūmidevīmākṛṣya -

tvaṃ devi sākṣibhūtāsi sarvabuddhān(nu)tāyinām |
caryānayaviśeṣeṣu bhūmipāramitāsu ca || 6 ||

maṇḍalasyāṣṭamaṃ bhāgaṃ dvāraṃ jñeyaṃ mahātmabhiḥ |
varja(rta)yitvā mahāvedīṃ manopetāṃ suśobhanām || 7 ||

niryu(ryū)hā dvāravajjñeyā tadvad daivatapaṭṭikā |
vajrāpsaraḥsamāyuktā gītavādyādināṭakaiḥ || 8 ||

devī dvārasyārdhena kapolapakṣa ityapi |
hārārdhahāramārtaṇḍasomasragdāmapaṭṭikam |
tadardhena rajobhūmi[ḥ] mūlasūtraṃ bhuvo bahiḥ || 9 ||

tatredaṃ mahāhṛdayam -

khe nyasedātmanaścakraṃ svamudrāṃ sevayet tataḥ |
samayākṣareṇaiva maṇḍalasya prasādhanam || 10 ||

pūrveṇa tu mahāśvetaṃ dakṣiṇe pītasaṃyutam |
lohitaṃ paścimaṃ bhāgaṃ marakatottarasannibham || 11 ||

indranīlaprabhākāraṃ madhyabhūmiṃ samālikhet |
mudrānyāsaṃ tathā kuryād vidhidṛṣṭena karmaṇā || 12 ||

madhyataḥ saṃlikhyedvajraṃ cakraṃ pūrvaṃ samālikhet |
draṣṭavyā evamādyāstu mukhatulyāmudrikān(kāḥ) sadā || 13 ||

tatredaṃ pātrīśruvātmā(mā)nam -

daṇḍaṃ kuryāt pramāṇena hastamātraṃ samantataḥ |
tadūrdhvaṃ muṇḍavat kāryaṃ caturaṅgulamānakam || 14 ||

khanīyādya(d dvya)ṅgulaṃ tatra aṅgulārdhaṃ sanālikā |
aṅguṣṭhaparvato nimnamadho dvyaṅgulamānakam || 15 ||

śruvā padmadalākārā asmin tantre praśasyate |
amaṇḍalapratiṣṭho'pi pañcānantaryakānya(rya)pi || 16 ||

prāṇātipātino ye ca matsyamāṃsādibhakṣakāḥ |
madirākāminīsaktā nāstikavratadhāriṇaḥ || 17 ||

anabhiṣiktā narā ye ca tadvadvyasanakāriṇaḥ |
grāmajālaratā ye ca yamāritantraparāyaṇāḥ ||
siddhyante nāsti sandehaḥ kṛṣṇasya vacanaṃ yathā || 18 ||

atha te maitreyapramukhāḥ sarvabuddhabodhisattvā vajraniruktipadaṃ śrutvā tūṣṇīṃbhāve sthitā abhūvan | tatredaṃ vajrāveśasamayam || 19 ||

caturbhūtamahābīje catuścakraṃ prasādhayet |
catu[ḥ]sthānaprayogena(ṇa) ākāśamapi cālayet || 20 ||

pādānte yaṃ | nābhau raṃ | hṛdi laṃ | śirasi vaṃ || 21 ||

dhanvākāraṃ mahākṛṣṇaṃ caṇḍamārutabhīḥkaram |
tryasro dāvāgnivad vahni(hnī) raktasūryasamaprabhaḥ || 22 ||

caturasrāṃ mahāpītāṃ vajradhātrīdharakṣamām |
sumeruparvatākrāntāṃ bhāvayecca vasundharām || 23 ||

vṛttaṃ śuklaṃ mahāśītaṃ ghanānāmiva varṣaṇam |
dhārāsahasrasaṃpūrṇaṃ prāleyācalaśītalam || 24 ||

catuḥsthānaprayogena(ṇa) bhāvayecchiṣyavajriṇam |
āveśaṃ kurute kṣipraṃ vajrāmitābhayogataḥ || 25 ||

tatredaṃ praśnasamayam -

vajradharma mahānātha amitābha mahāsukha |
brūhi dharmamahārāgaṃ pṛccheyaṃ yat śubhāśubham || 26 ||

ekahastaṃ samārabhya yāvad hastasahasrakam |
uttiṣṭhanti mahāśiṣyā idamāveśavidhānataḥ || 27 ||



athātaḥ sampravakṣyāmi lepacitrasya lakṣaṇam |
mṛttikāṃ snigdhāṃ saṃgṛhya jāpanaṃ kurute vratī || 28 ||

māṣaṃ dugdhaṃ tathā māṃsaṃ guḍaṃ tintiḍikādibhiḥ |
tailena nimbapatreṇa nāḍīkabījakaistathā || 29 ||

prathamaṃ citrayecchuklairanyavarṇaṃ ca lāñchayet |
khaṭikāgairikābhyāṃ vai payo'laktakasannibham || 30 ||

haritālanīlikābhyāṃ tu śyāmavarṇaṃ bhavettadā |
nīlaṃ nīlikayā caiva kṛṣṇa(ṣṇaṃ) kajjalakaistathā || 31 ||

kapilaṃ tālakenaiva rakta(ktaṃ) hiṅgulakaistathā |
bilvalālāṃ tato dadyānnyūnaṃ nābhyadhikaṃ tathā || 32 ||

abhyadhike kṛṣṇatāṃ yāti hīnaṃ dhūsaratāṃ vrajet |
krodhasaumyadvidhābhāve lakṣaṇaṃ caiva kathyate || 33 ||

saumyaṃ tu lalitaṃ proktaṃ krodha[ḥ] kharva iti smṛtaḥ |
caturaṅgulanālena lalāṭacibukena vā || 34 ||

grīvā gale tathā meḍhre caturaṅgulamānakaiḥ |
caturviṃśatihastaṃ ca viṃśadaṅgula ūrdhvataḥ || 35 ||

pāṇipādaṃ tathāsyaṃ tu aṅguṣṭhaṃ netramānakam |
karṇaṃ tu dvyaṅgulaṃ proktamaṇḍakāyaṃ catustathā || 36 ||

oṣṭhābhyāṃ dvyaṅgulaṃ proktaṃ nābhiraṅgulakhātakam |
mukhaṃ tribhāgaṃ kāyaṃ tu grīvikārahitaṃ matam || 37 ||

jaṭācāsyapramāṇā syād ratnamukuṭā(ṭaṃ) ṣaḍaṅgulam |



athātaḥ sampravakṣyāmi ekajaṭāyāḥ prasādhanam || 38 ||

yakṣiṇīsiddhikāle tu ekajaṭāṃ vibhāvayet |
dvibhujāmekavaktrāṃ tu kartikapāladhāriṇīm || 39 ||

nīlavarṇāṃ mahābhīmāṃ bhāvayed garbhamaṇḍale |
jambhalāṃ pūrvato dhyāyed vasudhārāṃ tu dakṣiṇe || 40 ||

jalendrān paścime nyasya uttare cibikuṇḍalīm |
āgneyādicatuṣkoṇe caturyakṣīṃ vibhāvayet || 41 ||

kuntalāṃ dehinīṃ gehāṃ sundarīṃ vidhivannyaset |
dvārapālāṃstato dhyāyānmudgarādīn samantataḥ || 42 ||

pūrvacakraṃ yathā dṛṣṭaṃ tathā varṇaṃ prayojayet |
adhipaticihnadharāḥ paścānmantraṃ japed budhaḥ || 43 ||

oṃ ekajaṭe vasusādhani svāhā || 44 ||



athātaḥ sampravakṣyāmi pukkasyāścaiva sādhanam |
yena bhāvitamātreṇa trailokyaṃ pukkaset kṣaṇāt || 45 ||

piṅgavarṇāṃ caturvaktrāṃ caturbhujāṃ gardabhārūḍhāṃ bhāvayet | pukkasakarmaṇi pāśaṃ mudgaraṃ bāṇaṃ dhanuṣaṃ bhāvayed vratī | oṃ pukkasī 2 yuṃ oṃ phaṭ || 46 ||



athātaḥ sampravakṣyāmi mañjuvajrasya maṇḍalam |
mañjuvajre prasiddhe tu adṛśyo bhavati kṣaṇāt || 47 ||

trimukhaṃ ṣaḍbhujaṃ pītaṃ taptacāmīkaraprabham |
bālarūpadharaṃ nāthamadṛśyārthaṃ vibhāvayet || 48 ||

pūrveṇa sundarīṃ nyasya dakṣiṇe keśinīṃ tathā |
paścime vihvalāṃ dhyātvā uttare copakeśinīm || 49 ||

sarveṣāṃ ca kare khaḍgaṃ cakrādīnapare nyaset |
trimukhāḥ ṣaḍbhujāḥ sarvā nānābharaṇabhūṣitāḥ || 50 ||

maṃkārabījasambhūtā garbhamaṇḍalasaṃsthitā[ḥ] |
pratyālīḍhapadāḥ sarvāḥ śaśimaṇḍalasaṃsthitāḥ || 51 ||

mārīcīṃ parṇaśabarīṃ vasudhārāṃ ca cundrikām |
āgneyādicatuṣkoṇe nyased ratnasamuccayāḥ(yān) || 52 ||

aśokapatraṃ śākhāṃ ca dhānyamañjari daṇḍakam |
pītaṃ śyāmaṃ punaḥ pītaṃ śuklaṃ dehān tu bhāvayet || 53 ||

trimukhāḥ ṣaḍbhujāḥ sarvā maṇḍaleyāśca kīrtitāḥ |
mudgarādicaturdvāre bhāvayenna ca dṛśyate || 54 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre mañjuvajrasādhanaṃ nāma caturdaśaḥ paṭalaḥ ||







pañcadaśaḥ paṭalaḥ <<pp114-117>>

athātaḥ sampravakṣyāmi āryajāṅgulisādhanam |
yena bhāvitamātreṇa jalasyopari caṅkramet || 1 ||

trimukhāṃ ṣaḍbhujāṃ pītāṃ phūḥkārabījasaṃbhavām |
sarpahastāṃ mahārūpāṃ māyuravāhanapriyām || 2 ||

pūrvato māyūrīṃ likhed dakṣiṇe bhṛkuṭīṃ tathā |
paścime parṇaśabarīmuttare vajraśṛṅkhalām || 3 ||

pakṣaṃ kamaṇḍaluṃ śākhāṃ sphoṭāṃ cāpi vibhāvayet |
pītaṃ raktaṃ tathā śyāmaṃ nīlaṃ varṇaprabhedataḥ || 4 ||

etā vibhāvayet prājño mantraṃ caiva japettataḥ |

oṃ phūḥ jaḥ || 5 ||

mudgarādīn nyased dvāre puṣpādīn koṇake nyaset |
āryajāṅguliyogena jalamākramyate sadā || 6 ||



athātaḥ sampravakṣyāmi kurukullāprasādhanam |
yena bhāvitamātreṇākarṣayennāgayoṣitam || 7 ||

raktavarṇāṃ caturvaktrāmaṣṭabāhusamanvitām |
hrīḥkārabījasambhūtāṃ nāgākarṣaṇakāriṇīm || 8 ||

aṣṭapāṇau nyasennāgānanantādyān kulāṣṭakān |
sarvābharaṇabhūṣitāṅgān surūpān bhāvayed vratī || 9 ||

mantraḥ - oṃ kurukulle hrīḥ phuḥ svāhā |



athāto rahasyaṃ vakṣye samāsānna tu visatarāt |
yena vijñātamātreṇa apsarākarṣaṇaṃ bhavet || 10 ||

dvibhujamekavaktraṃ tu śarakārmukapāṇinam |
pītadehaṃ mahārūpaṃ vajrānaṅgaṃ vibhāvayet || 11 ||

pūrveṇa ratiṃ dhyāyād dakṣiṇe madanasundarīm |
paścime kāmadevīṃ tu uttare madanotsukām || 12 ||

sarvāsāṃ kāmadevīnāṃ kārmukaṃ bhāvayeccharam |
pītāṃ raktāṃ tathā śyāmāṃ śuklavarṇāṃ ca bhāvayet || 13 ||

koṇe caiva nyasennityamaniruddhamuṣāpatim |
vasantaṃ makaraketuṃ ca dvāri(ra)bhāge prakathyate || 14 ||

kandarpadarpakaṃ coktaṃ smaraṃ bāṇāyudhaṃ tathā |
sarveṣāṃ devatānāṃ tu yamaghnaṃ mūrdhni bhāvayet || 15 ||

strīṇāṃ khagamukhāntasthaṃ vajrānaṅgaṃ vibhāvayet |
śītkāramantrasambhūtaṃ visphurantaṃ samantataḥ || 16 ||

vāñchitāṃ vihvalāṃ dhyātvā vepamānāṃ madotsukām |
pādayoḥ patitāṃ caiva raktavastraparīvṛtām || 17 ||

mantraṃ caiva japet tatra oṃkārasvarabheditam |
svāhākāraṃ tato dattvā śītkāramantramuccaret || 18 ||

amukī me vaśībhavatu bhāvayet saptavāsaram |
vāñchitāṃ labhate yogī kṛṣṇasya vacanaṃ yathā || 19 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre vajrānaṅgasādhanaḥ pañcadaśaḥ paṭalaḥ ||







ṣoḍaśaḥ paṭalaḥ <<pp118-120>>

athātaḥ sampravakṣyāmi mahāherukasādhanam |
yajjñātvā mucyate kṣipraṃ yogī saṃsārabandhanāt || 1 ||

dvibhujamekavaktraṃ tu nīlavarṇaṃ satāṇḍavam |
pāṇau vibhāvayedvajraṃ karoṭaṃ cāpare nyaset || 2 ||

trinetramūrdhvakeśaṃ ca pañcamudrāvibhūṣitam |
khaṭvāṅgaṃ vāmabhāgeṣu hāranūpurabhūṣitam || 3 ||

hūṃkārabījasambhūtaṃ pretasthaṃ sasmitaṃ sadā |
mūrdhni pañcakapālāni pañcabuddhaprayogataḥ || 4 ||

akṣobhyaṃ mukuṭe dhyātvā herukākhyaṃ vibhāvayet |
dharmacakraṃ likhet pūrve buddhabodhiṃ tu dakṣiṇe || 5 ||

sarvakāmalatāṃ paścaduttare herukasannibhām |
nānārūpavilāsinyaḥ sarvābharaṇabhūṣitāḥ || 6 ||

pretasthāścārurūpāśca sarvamohādyahārikāḥ |
dharmacakraṃ tathā'śvatthaṃ cintāmaṇikalpapādapam || 7 ||

vajraṃ ca bhāvayed devyāḥ pāṇau dakṣiṇabhāgataḥ |
nṛkaraṅkaṃ cāpasavye vai bhāvayeccakramaṇḍale || 8 ||

locanāṃ māmakīṃ tārāṃ pāṇḍarāṃ ca manoharām |
āgneyādicatuṣkoṇe bāhyacakre yamāntakam || 9 ||

prajñāntakaṃ hayagrīvaṃ sarvakuṇḍali bhāvayet |
dvārapālāśca sarve vai vidhidṛṣṭena karmaṇā || 10 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre herukasādhanapaṭalaḥ ṣoḍaśaḥ ||







saptadaśaḥ paṭalaḥ <<pp121-136>>

pañcākāraṃ vibhāvitvā buddhabimbaṃ vibhāvayet |
buddhabimbaṃ vibhāvitvā cakriṇaṃ bhāvayed budhaḥ || 1 ||

caturgītiprayogena(ṇa) cakriṇotpāda vidyate |
carcikādyādigītena gāyante ṣoḍu(ṣāḍa)vādibhiḥ || 2 ||

uṭṭha bharāḍaü karuṇākoha | tihuaṇa saalaha pheḍahi moha || 3 ||

e ca umāra parājia rāula | uṭṭha bharāḍo citte āula || 4 ||

loaṇimaṃti acchasi suṇṇe | uṭṭha bharāḍo loahapūrṇe(puṇṇe) || 5 ||

kāi tu acchasi suna ho viṃtti | bodhisahāva lo aṇimaṃti || 6 ||

yathā tārakasaṃkrānti[r] bodhicittaṃ tathā viśet |
karuṇārāgacittena vilīno vajradhṛk svayam || 7 ||

prathamaṃ bhāvayed yogamanuyogaṃ dvitīyakam |
atiyogaṃ tṛtīyaṃ tu mahāyogaṃ caturthakam || 8 ||

vajrasattvasya niṣpattiryoga ityabhidhīyate |
tanniṣyandodayo deva anuyogaḥ pragīyate || 9 ||

niṣpattiṃ(ttiḥ) sarvacakrasya atiyogo vibhāvitaḥ |
divyacakṣvādyadhiṣṭhānaṃ kāyavākcittameva ca || 10 ||

jñānacakrapraveśaśca amṛta[a]svādameva ca |
mahāpūjā stutiścāpi mahāyoga iti smṛtaḥ || 11 ||

ācāryā nāvamantavyāḥ sugatājñā(jñāṃ) na laṅghayet |
bhrātṝṇāṃ ca tathā kopānna doṣaṃ saṃprakāśayet || 12 ||

maitrīcittaṃ tu sarveṣu na vai tyājyaṃ kadācana |
bodhicittaṃ na varjye(rje) ta svaparadharma na dūṣayet || 13 ||

aparipācitasattveṣu guhyaṃ naiva prakāśayet |
ātmaskandhaṃ na vai ninded grāmyān dharmānna dūṣayet || 14 ||

duṣṭamaitrī sadā tyājyā'dharmaṃ naiva pramāṇayet |
śrādhasattvaṃ na vai vañcet samayān sevayet sadā || 15 ||

strīṇāṃ prajñāsvabhāvānāṃ dūṣaṇād doṣa eva ca |
bhikṣāṃ naiva bhramed yogī yogaṃ naiva vivarjayet || 16 ||

japenmantraṃ sadā nityaṃ samayādīn sevayet sadā |
gurudrohaṃ ta(hasta)thā samaye prasādād yadi saṃbhavet ||
tadā maṇḍalalekhena sugatebhyo doṣadeśanā || 17 ||

śrāddhaṃ guruṃ samayapālakamapratarkyaṃ
kṛpānvitaṃ sakaladoṣavihīnacittam |
dhyānānvitaṃ sa gurujāpaparāyaṇaṃ ca
kuryāt sadā taṃ guruvad gurutvam || 18 ||

dhīraṃ vinītaṃ karuṇaikacittaṃ
śraddhāśrayaṃ kṣāntidharaṃ praśasyam |
yamāribhaktaṃ gurubhaktibhaktaṃ
śiṣyaṃ pratītaṃ paripācanīyam || 19 ||



atha bhagavantaḥ sarvatathāgatā mahāparamānandarūpiṇo vajrasattvasya vacanamupaśrutya tūṣṇīṃbhāvaṃ gatā idamudānamudānayāmāsuḥ || 20 ||

yamāryantāni yantrāṇi kapālāntaṃ vrataṃ mahat |
samājāntāni tantrāṇi na bhūto na bhaviṣyati || 21 ||

aho dharmaṃ mahāśāntaṃ mahākrūraṃ bhayānakam |
aho paramanirvāṇam aho saṃsārasaṃtatiḥ || 22 ||

aho suvismayamidaṃ yaddoṣaṃ tadguṇaṃ bhavet |
na bodhirnābhisamayo na bhāvo na ca bhāvanā || 23 ||

na dhāturna ca vijñānamākāśasamatālayam |
ākāśamiva nairātmyameṣa dharmamahāsukham || 24 ||

na pṛthivī nāptejo na vāyurna hutāśanam |
vajrasattvaprayogena(ṇa) utpādo'yaṃ pratiṣṭhitaḥ || 25 ||

sarvabhāvā na bhāvākhyā abhāvaste na kīrtitāḥ |
yogayogitvasaṃbandhānnocchedo nāpi śāśvataḥ || 26 ||

na bāhurna mukhaṃ varṇaṃ paramānandalakṣaṇam |
sarvabhāvā na vai sattvamādimadhyāntavarjitāḥ || 27 ||



atha bhagavatyo mahācarcikādyā idamudānamudānayāmāsu || 28 ||

ṇimmala śuddhadeho paramānaṃda | puṇṇassā vego sambandha || 29 ||

karuṇācittaṃ acchaï savva | eku mahādhani tathatā davva || 30 ||

paramānanda saï asahāva | mahāsuha bhāveṃ dhamma sahāva || 31 ||

ṇaitahi bhaaṇa du pūrṇa yāu | palaaü attīṇaiva sabhāu || 32 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre bodhicittanigadanapaṭalaḥ saptadaśaḥ ||







aṣṭādaśaḥ paṭalaḥ <<pp137-138>>

atha kathāṃ pravakṣyāmi - bhagavatyabhisambuddhyamāne mahānti bhayānyanekāni mārabalasahitānyuddhūlitāni bhagavato mahāmunerbodhiṃ ghātayitum | tasmin samaye māraparājayaṃ nāma samādhiṃ samāpadya bhagavān mahāyamārikrodhaṃ svakāyavākcittavajrebhyo niścāritavān || 1 ||

niścāryaṃ vajrapāṇiṃ bhagavān mahāmunirājñāpayāti sma - tvaṃ vajrapāṇe ! imaṃ yamārikrodharūpaṃ mahāvajrabhairavakāyaṃ samādhāya mārān nāgān asurān devān yakṣān rākṣasān trāsaya bhīṣaya mārayetyuktam (yeti) | tasyāṃ velāyāṃ yathā mayā bhagavataḥ sakāśācchrutam ekakṣaṇena gṛhītamavadhāritaṃ saṃgītitaṃ suṣṭhu ca sādhu ca cittamutpāditam || 2 ||

idamavocanmahāguhyakādhipatirvajrakulapraṇetā nalakūbarasya [pitā] saṃpannatā[yai] | mahātantrarāja oḍiyānavinirgataḥ sapādalakṣāduddhṛtaḥ samāptaḥ || 3 ||

iti sarvatathāgatakāyavākcittakṛṣṇayamāritantre kāyavākcittakathāpaṭalo'ṣṭādaśamaḥ ||

śrīkṛṣṇayamāritantrarājaḥ samāptaḥ ||

śubham ||

[shaberon]

Paramartha Sitatapatra Parasol




Here is what happened. I found this a few years ago, because it seemed to me unlikely that there should be any sadhana described as Paramartha, since that is such a reserved esoteric affiliation. There is a Paramartha Namasangiti. There are hundreds of copies of it. We have the information about how it works as a system of seven in another thread. Now, it seems to be generally accepted as seven practices; but, going back to Bu ston, the compiler of the Tibetan canon, it also allows the theology of Seven Buddha Families. From the view that Namasangiti is a dharani, which contains within itself, as kernels, nuclei, and so forth, all of the Dharma, which is, so to speak, "revealed" within the commentarial system and within the practice itself, then Parasol is probably acting similarly.


Sarma Parasol is a little different than the well-known version. Well, she is just Sarma-era, because she has not moved from Sanskrit.

First of all, if you try to look into "Parasol mantras", there are a few short ones which are taken from her small descriptions in Bari's lineage. In Tibet, Bari has something like a seventy per cent copy of Sadhanamala. So, he has also the three short things about Krsna Yamari, who has a significant further explanatory tantra, which is why it is posted above. Then you may find a "long mantra" and/or the Shurungama Sutra, which has come from China.

There have been disputes about whether the Sutra was a Chinese forgery and so forth, but, we would probably say it originates in India like the others. It did not get transmitted to Tibet. It turns out that in Nepal, it is mostly just sort of re-named, and filed under the rather innocuous-sounding:


Sitatapatra Dharani


and so we have posted about this above, and found variations from the Chinese, in about the same way that material from Kumarajiva is not usually carbon-copied by Amoghavajra. One of those points is such that in Kumarajiva's Mahamayuri Sutra, there are the presence of female Yakshinis such as Bhima. We may not yet have a version of his original. This Parasol transcript used a:


GRETIL Sanskrit Mahamayuri, from Japan, 1972


while we have also been referring to an independent Chinese Mahamayuri.



And so what Paramartha Parasol appears to do, is to comment the long dharani/majority of Shurungama, into the Nepalese Kriya system based in Subahu Pariprccha. She does this through a number of source texts, starting in Mayuri. Then she adds all of the Yamari chapters from Krsna Yamari Tantra. And then she adds a decent slice of Bhutadamara Tantra. When this work was published, we had to rely on the third appendix of a dissertation. I may have been only about the fifth person to have found the Krsna Yamari, but, as of last year, there is from the major scriptural project 84000:

Bhutadamara Tantra




The translators made a point that Bhutadamara is based in something very old, because the way it refers to coins is a version of the Roman Denarius. Historically, this has a common universal appearance in all kinds of Sanskrit literature of the fourth and fifth centuries, and then it abruptly fades away. The tantra does not refer to any known persons or texts to establish a precedent. Instead, most of the folk magic in Asia has copied it.

Parasol takes the twelve Yamari chapters from Krsna Yamari and then finishes with a few retinues from the end of Bhutadamara.


What happens that is in the Parasol, but not in the Bhutadamara, is the appearance of tantric Seals or Initiations of Mahamudra.

As form, sex takes place in Bhutadamara, which is why one would expect Parasol has taken only this particular area. But, like her first system, these cues simply refer us to other parallel expressions or teachings and practices, eminently by Ratnakarasanti on the case of these Initiations. Her first system is fairly obvious if we keep in mind one of her rare epithets that is not usually in sadhana titles:


Vajrosnisa

because in male terms it would refer to the whole Vajra Sekhara or Pinnacle system.

Onto the Fiery Crown of that, she has added tantric Mahamudra.

The first, if something like "a condition of Trailokyavijaya", employs a mudra with that as its name, or also, Humkara. If one was to use any actual items, the most recommended would be Vajra and Bell. The Humkara is the mudra whether with these items, or empty handed. The Bhutadamara mudra is similar, except projected outwardly.

In older tantras such as Dakini Jala and Bhutadamara is that the inclusion of sex is categorized as "sacramental". This means the literature does not explicitly contain pathways of Nadis and corresponding exercises of the subtle body such as in Chakrasamvara.

This does not quite mean that something very similar does not happen without those details. Krsna Yamari is supposed to be equivalent to most of Generation Stage. If Parasol takes this at will, and, Nagarjuna is a guide to what the Stages of Completion Stage are, in the first few lines about Pranayama, he says:


vajrapadasya nirdeśamāha caturdevīvyākhyātantre


Vajra Feet or Mysteries are the Four Devis who "explain", "vyakhya", tantra. We see this being done sometimes but it is called Dharma Chakra Mudra, which technically only refers to the Three Turnings of the Wheel of the Law by Buddha. Usually when Prajnaparamita, Mahasri, and other deities do it, it is one of these Vyakhyas that is a similar-looking Mudra. Then we find the...Magic Play?...Ramya Rahasya to be known for one's self is five-colored light in the form of a jewel:

bhāvayejjñānapadaṃ ramyaṃ rahasyaṃ jñānakalpitam||10||

pañcavarṇaṃ mahāratnaṃ sarṣapasthūlamātrakam|



The Five Buddhas and Five Prajnas become a bead of five-colored light related to Heart Mantra and Citta:

pañcajñānamayaṃ śvāsaṃ pañcabhūtasvabhāvakam|
niścārya padmanāsāgre piṇḍarūpeṇa kalpayet||14||

pañcavarṇaṃ mahāratnaṃ prāṇāyāmamiti smṛtam|
svamantraṃ hṛdaye dhyātvā cittaṃ bindugataṃ nyaset||15|


This is what you have to practice in order to explain Vajra Rosary Tantra:


ityasyāpi pratinirdeśamāha vajramālānāmni vyākhyātantreḥ



Then you find a hypostasis of Vajrapani and Vajrasattva who employs the Five Buddhas.


Parasol is also bringing us that, because of the Mahamudra Initiations.


Further, if it may only speak of "sacramental" sex in relation to this, she does so in the subject of Ananga, which is the very beginning of the secret doctrine or Rahasya of Dakini Jala:

Ḍākinījālasaṃvararahasyam
anaṅgayogipraṇītam

om namaḥ śrīvajrayoginyai

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



We could perhaps say, Parasol has put this Ananga Yoga between us in our current state, and, the practitioner of Pranayama that is sought for the higher tantras. Dakini Jala as explained here is the first Two Yogas before Pranayama.

We found that in the early dharani system, that Amoghavajra was a name used to try to develop the idea of Vajrasattva. If Vajramrita is one of the most important higher tantras, Nagarjuna still has this kind of Vajrasattva in the Pindi Krama where Nirvikalpa meditation is like holding a Vajra made of Kha--Sky:

vajrāmitamahārāja nirvikalpa khavajriṇa|
rājapāramitāprāpta bhāṣa vajra namo'stu te||210||

amoghavajra saṃbuddha sarvāśāparipūraka|
śuddhasvabhāvasambhūta vajrasattva namo'stu te||211||



Also, in terms of a "class", Parasol is a dharani-based Vajradakini. Varuni is a Vajradakini. Some of the subsequently intense tantric retinues are Vajradakinis, such as Vajraraudris and Musicians.




The manuscript as studied in England is considered a copy of something kept in one place. Unlike everything else, which can be said to be something like a matter of time before it shows up in one of the archive projects, it may not.








Paramārthanāma Vinirgata Mahāpratyaṅgīrā Mahāvidyārājñī [NS 1026]



identifier
EAP676/16/2
Title
Paramārthanāma Vinirgata Mahāpratyaṅgīrā Mahāvidyārājñī [NS 1026]
Link to catalogue record
https://eap.bl.uk/archive-file/EAP676-16-2
Citation
Paramārthanāma Vinirgata Mahāpratyaṅgīrā Mahāvidyārājñī [NS 1026], British Library, EAP676/16/2, https://eap.bl.uk/archive-file/EAP676-16-2
Digitised by
Tribhuvan University
Digitisation funded by
Endangered Archives Programme supported by Arcadia
Language
Sanskrit
Scripts
Prachalit Nepal
Description
this is a Dhāraṇī Sūtra of Mahāpratyaṅgīrā. It is popularly called the Pratyaṅgīrā Mahāvidyārajñī or Mahāvidyārajñī Dhāraṇī. This Sanskrit manuscript is nicely composed and written. It was copied in Kwā Bahāl (Hiraṇya Varṇa Mahāvihāra) by somebody Ratna jyoti in the eleventh century of the Nepāl samvat. It is written in Pracalit Newārī script. Its size if 32X10.
Usage Terms
Except as otherwise permitted under your national copyright law this material may not be copied or distributed further.





amendments:



[] = addition
{} = subtraction

_ = uncertain reading

-cch- => -ch-
-laṃv- => -laṃb-

-urd- => -ūrd-
curṇ- => cūrṇ-
ttur- => ttūr-
dut- => dūt-
duṣa- => dūṣa-
dhut- => dhūt-
dhup- => dhūp-
dhum- => dhūm-
dhul- => dhūl-
puj- => pūj-
puṭ- => pūṭ-
put- => pūt-
pur- => pūr-
-bhut- => -bhūt-
bhum- => bhūm-
bhuy- => bhūy-
bhurj- => bhūrj-
bhuṣ- => bhūṣ-
mul- => mūl-
mutr- => mūtr
murt- => mūrt-
yur- => yūr-
vyuh- => vyūh-
ruḍh- => rūḍh-
rup- => rūp-
ruy- => rūy-
lut- => lūt-
śuny- => śūny-
śur- => śūr-
śul- => śūl-
sutr- => sūtr-
sury- => sūry-
huṃ => hūṃ





contents:



|| || iti mahāpratyaṃgirāyāṃ samudayeprajñāpārakṣāṃtiḥ || p6.2 ||

|| || iti mahāpratyaṃgirāyāṃ samudayānvayajñānaṃ || p7.2 ||

|| || iti mahāpratyaṃgirāyāṃ nirodhadharmājñānaṃkṣāṃti || p11.2

|| || iti mahāpratyaṃgirāyāṃ nirodhadharmajñānaṃ || p13.1 ||

|| || iti mahāpratyaṃgirāyāṃ nirodhānvayajñānakṣāṃti || 15.2 ||

|| || iti mahāpratyaṃgirāyāṃ nirodhānvayajñānaṃ || 16.2 ||

|| || iti mahāpratyaṃgirāyāṃ nirodhajñānabhāvanā || 18.1 ||

|| || iti mahāpratyaṃgirāyā sādhānvayajñānaṃ || p36.1 ||

|| || iti mahāpratyaṃgirāyāṃ pūrvābhisamayādhikāraḥ || p45.1 ||

|| || iti mahāpratyaṃgirāyāṃ dharmmopadeśādhikāraḥ || p48.2

|| || iti mahāpratyaṃgirāyāṃ rakṣānvayajñānaṃ || p54.2

|| || iti mahāpratyaṃgirāyāṃ maṃtrānvayajñānaṃ || p60.1 ||

|| || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāḥ rūpādiḥsamayādhikāraḥ || p66.2 ||

|| || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ abhisamayādhikāraḥ || p70.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakṣurādyadhiṣṭhānasamayādhikāraḥ || p70.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ maṃḍalādhikāra || p71.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ karmayogādhikāra || p72.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ kāyavākcittastaṃbhanādhikāraḥ || p75.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ sarvamārasainyatāḍanabaṃdhanādisādhanādhikāraḥ || p76.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakrānupūrvādhikāraḥ || p77.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakrāvalokanonāmādhikāraḥ || p78.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyā mārakarṣaṇādhikāraḥ || p81.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ homādhikāraḥ || p82.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ bhīmonāmādhikāraḥ || p83.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ pretasādhanādhikāraḥ || p84.2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ caryāsamayāsādhanonāmādhikāraḥ || p86.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyā sarvāpayikaviśeṣādhikāraḥ || p87.1

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyā dharmādhikāraḥ || p99.1-2

|| || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ ṣaṭkiṃnarīsādhanavidhivistaronāmajñānasaṃbhāraḥ || p135.1-2

|| || iti mahāpratyaṃgirāyāṃ mārganiryāṇapratipattinityuktyaḥsarvākārajñatāṣikāraḥ || p135.2

|| || iti mahāpratyaṃgirāyāṃ dhyāmīkaraṇabhādevānāṃ || p136.2

|| || iti mahāpratyaṃgirāyāṃ kāritramṛtyuktāniyama || p137.2

|| || ityāryaḥ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitāyāṃ lokānalokāyāṃ mahāpratyaṃgirāyāṃ dharmopadeśaśāstra supariśuddhadharmakāyajñānamūrttimanuttarāyā dharmadeśanādhiṣṭhitaḥ śrī śākyamuninā bhāṣita paramārthānāma vinirgata mahāpratyaṃgirāyā mahāvidyārajñī sapādalakṣā buddhabhāṣita parisamāptaḥ || p145.1





primary sources:



<Sarvatathāgatoṣṇīṣasitātapatrānāmāparājitāmahāpratyaṅgirāvidyārājñī, or: Sitātapatra Based on the edition by Ngawang Samten & Janardan Pandey, in: Dhih Journal, vol. 33. Sarnath : Central Institute of Higher Tibetan Studies 2002, pp. 145-154. http://dsbcproject.org/canon-text/content/20/222 , http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/bsu004_u.htm>

<Pañcaviṃśatisāhasrikā Prajñāpāramitā I Based on the edition by Takayasu Kimura: - Pañcaviṃśatisāhasrikā Prajñāpāramitā I-1, Tokyo: Sankibo Busshorin 2007. = PvsP1-1 - Pañcaviṃśatisāhasrikā Prajñāpāramitā I-2, Tokyo: Sankibo Busshorin 2009. = PvsP1-2. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/psp_1u.htm>

<Pañcaviṃśatisāhasrikā Prajñāpāramitā, II-III = PSP_2-3 Based on the edition by Takayasu Kimura: Pañcaviṃśatisāhasrikā Prajñāpāramitā II-III. Tokyo : Sankibo Busshorin 1986. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/psp_2-3u.htm>

<Pañcaviṃśatisāhasrikā Prajñāpāramitā, IV = PSP_4 Based on the edition by Takayasu Kimura: Pañcaviṃśatisāhasrikā Prajñāpāramitā IV. Tokyo : Sankibo Busshorin 1990. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/psp_4u.htm>

<Pañcaviṃśatisāhasrikā Prajñāpāramitā, V = PSP5 Based on the edition by Takayasu Kimura: Pañcaviṃśatisāhasrikā Prajñāpāramitā V. Tokyo : Sankibo Busshorin 1992. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/psp_5u.htm>

<Pañcaviṃśatisāhasrikā Prajñāpāramitā, VI-VIII = PSP_6-8 Based on the edition by Takayasu Kimura: Pañcaviṃśatisāhasrikā Prajñāpāramitā VI-VIII. Tokyo : Sankibo Busshorin 2006. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/psp_6-8u.htm>

<Mahāmeghasūtram Based on the edition by Moriguchi Mitsutoshi, Annual of the Institute for Comprehensive Studies of Buddhism, Taisho University Japan, 1980. http://dsbcproject.org/canon-text/content/47/443>

<Meghasūtram Based on the edition by Bendall, Cecil Journal of the Royal Asiatic Society Trübner and Company London, 1880. http://dsbcproject.org/canon-text/content/50/446>

<Mahāmāyūrīvidyārājñī Based on the edition by Shūyo Takubo: Ārya-Mahā-Māyūrī Vidyā-Rājñī. Tokyo 1972. http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/mmayuvru.htm>

<Mahāpratisarāmahāvidyārājñī Based on the edition by Gergely Hidas: Mahāpratisarā-Mahāvidyārājñī, The Great Amulet, Great Queen of Spells. Introduction, Critical Editions and Annotated Translation, New Delhi : International Academy of Indian Culture and Aditya Prakashan 2012 (Śata-Piṭaka Series : Indo-Asian Literatures, 636).>

<Mahāpratisarāmahāvidyārājñī Based on the ed. by Gergely Hidas: Mahāpratisarā-Mahāvidyārājñī, The Great Amulet, Great Queen of Spells. Introduction, Critical Editions and Annotated Translation, New Delhi : International Academy of Indian Culture and Aditya Prakashan 2012 (Śata-Piṭaka Series : Indo-Asian Literatures, 636). http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/mahpratu.htm>

<Pratisarākalpadhāraṇī Based on the edition "Pratisarākalpadhāraṇī". Dhīḥ Journal 28 (1999), eds. S. Rinpoche and Janardan Pandey, pp. 140-142. http://gretil.sub.uni-goettingen.de/...h/psarkdhu.htm, http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/mprsvdhu.htm>

<Mahāpratisarā vidyārājñī (= Mp) Based on the edition by Yutaka Iwamoto. Mahāpratisarā Pañcarakṣā II, Kyoto 1937 (Beiträge zur Indologie, 3). http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/mpratpru.htm>

<Kṛṣṇayamāritantra Based on the edition by S. Rinpoche and V. Dwivedi Rare Buddhist Text Series 9 Central Institute of Higher Tibetan Studies Sarnath, Varanasi, 1992. https://archive.org/details/KrishnayamariTantramWithRatnavaliPanjikaOfKumarChandraEditedBySambhongRinpocheAndVrajvallabhaDwivedi >

<Bhūtaḍāmaratantra Based on the edition by A. Ullrey Grim Grimoires: Pragmatic Ritual in the Magic Tantras: Appendix Three - Partial Critical Edition of Buddhist Bhūtaḍāmaratantra University of California Santa Barbara, 2016. https://alexandria.ucsb.edu/lib/ark:/48907/f3t72hmp>

<Prajñāpāramitāhṛdayasūtra [vistaramātṛkā] Based on the edition by P.L. Vaidya in: Mahayana-sūtra-samgrahah, Part 1. Darbhanga: The Mithila Institute 1961 (Buddhist Sanskrit Texts, 17). http://dsbcproject.org/canon-text/content/71/591 , http://gretil.sub.uni-goettingen.de/gretil/1_sanskr/4_rellit/buddh/bsu053_u.htm>





<p5.1 - p5.2 * mahāpratyaṅgīrāmahāvidyārājñī>

<p5.2 - p6.2 * prajñāpāramitā - samudaye 'nvayajñānakṣāntiḥ>

<p6.2 - p7.2 * prajñāpāramitā - samudaye 'nvayasjñānam>

<p7.2 - p11.2 * prajñāpāramitā - nirodhe dharmajñānakṣāntiḥ>

<p11.2 - p12.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p12.1 - p13.1 * prajñāpāramitā - nirodhe dharmajñānam>

<p13.1 - p15.2 * prajñāpāramitā - nirodhe 'nvayajñānakṣāntiḥ>

<p15.2 - p16.2 * prajñāpāramitā - nirodhe 'nvayajñānam>

<p16.2 - p18.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p18.1 - p20.1 * prajñāpāramitā - mṛdvagradharmasyālambanākāraviśeṣah>

<p20.1 - p21.2 * mahāpratyaṅgīrāmahāvidyārājñī>

<p21.2 - p24.2 * meghasūtram (tathāgatānāṃ nāmagheyāni)>

<p24.2 - p29.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p29.1 - p33.1 * prajñāpāramitā - sarvadharmānabhisaṃskāraḥ>

<p33.1 - p35.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p35.1 - p36.1 * mahāmāyūrīmahāvidyārājñī>

<p36.1 - p38.2 * mahāpratyaṅgīrāmahāvidyārājñī>

<p38.2 - p45.1 * prajñāpāramitā - pratipattyavavādaḥ>

<p45.1 - p48.2 * prajñāpāramitā - anupalambhapariṇāmaḥ>

<p48.2 - p51.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p51.1 - p54.2 * mahāpratisarāmahāvidyārājñī - rakṣāvidhānakalpa>

<p54.2 - p60.1 * mahāmāyūrīmahāvidyārājñī>

<p60.1 - p66.2 * prajñāpāramitā / mahāpratyaṅgīrāmahāvidyārājñī>

<p66.2 - p69.1 * mahāpratisarāmahāvidyārājñī - rakṣāvidhānakalpa>

<p69.1 - p70.1 * kṛṣṇayamāritantra - prathamaḥ paṭalaḥ>

<p70.1 - p71.1 * kṛṣṇayamāritantra - dvitīyaḥ paṭalaḥ>

<p71.1 - p72.1 * kṛṣṇayamāritantra - tṛtīyaḥ paṭalaḥ>

<p72.1 - p75.1 * kṛṣṇayamāritantra - caturthaḥ paṭalaḥ>

<p75.1 - p75.2 * kṛṣṇayamāritantra - pañcamaḥ paṭalaḥ>

<p75.2 - p76.2 * mahāpratyaṅgīrāmahāvidyārājñī>

<p76.2 - p77.1 * kṛṣṇayamāritantra - pañcamaḥ paṭalaḥ>

<p77.1 - p78.1 * kṛṣṇayamāritantra - ṣaṣṭha paṭalaḥ>

<p78.1 - p79.2 * mahāmāyūrīmahāvidyārājñī>

<p79.2 - p81.2 * kṛṣṇayamāritantra - saptamaḥ paṭalaḥ>

<p81.2 - p82.2 * kṛṣṇayamāritantra - aṣṭamaḥ paṭalaḥ>

<p82.2 - p83.2 * kṛṣṇayamāritantra - navamaḥ paṭalaḥ>

<p83.2 - p84.2 * kṛṣṇayamāritantra - daśamaḥ paṭalaḥ>

<p84.2 - p86.1 * kṛṣṇayamāritantra - ekādaśaḥ paṭalaḥ>

<p86.1 - p87.1 * kṛṣṇayamāritantra - dvādaśaḥ paṭalaḥ>

<p87.1 - p88.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p88.1 - p99.1 * prajñāpāramitā / mahāpratyaṅgīrāmahāvidyārājñī>

<p99.1 - p100.1 * mahāpratyaṅgīrāmahāvidyārājñī>

<p100.1 - p113.1 * prajñāpāramitā - mṛdvagradharmasyālambanākāraviśeṣah>

<p113.1 - p116.1 * mahāmāyūrīmahāvidyārājñī (nāgarājānāṃ)>

<p116.1 - p125.1 * meghasūtram>

<p125.1 - p132.1 * meghasūtram (sarvasukhaṃdadā nāma dhāraṇī, mahākaruṇodbhavamahāmeghaninādaviṣkaṃbhiḥsuraketu nāma dhāraṇī)>

<p132.1 - p135.2 * bhūtaḍāmaratantra>

<p135.2 - p135.2 * prajñāpāramitā - mārganiryāṇam>

<p135.2 - p136.2 * prajñāpāramitā - dhyāmīkaraṇabhā deyānām>

<p136.2 - p137.2 * prajñāpāramitā - viṣayapratiniyamaḥ>

<p137.2 - p137.2 * prajñāpāramitā - kāritram ity uktāni dhyāmīkaraṇādīni>

<p137.2 - p141.1 * prajñāpāramitā - śrāvakamārgasya catuḥsatyālambanaṣoḍaśākāravyavasthānam>

<p141.1 - p143.2 * prajñāpāramitā - uṣmagatam>

<p143.2 - p144.2 * prajñāpāramitāhṛdayasūtra>

<p144.2 - p145.2 * mahāpratyaṅgīrāmahāvidyārājñī>





Paramārthanāma Vinirgata Mahāpratyaṅgīrā Mahāvidyārājñī [NS 1026]



<NS 1026 - p5.1>
oṃ namo ratnayāya || || oṃ namo bhagavatyai āryamahāpratyaṃgirāyai || śrīsāhasrapratyaṃgirāṃ bhagavatīṃ paṃcādibuddhātmikāḥ sāhasrādhikamārabhaṃga caturāṃ sāhasrakoṭīgaṇāṃ sāhasrāyutakoṭīlokanicayā buddhālayatikṣaṇe sāhasrādhipatiścarīṃ praṇamatāṃ tāṃ viśvarūpāṃ sadā || 1 || evaṃ mayā śrutamekasmin samaya bhagavāndeveṣu trāyatriṃśeṣu viharati sma || sudharmmāyāṃ devasabhāyāṃ mahatā bhikṣusaṃghena sārddhaṃ mahatā

<NS 1026 - p5.2>
ca bodhisatvasaṃghena ca śakradevānāmiṃdreṇa sārddhaṃ tatra khalu bhagavān prajñapta evāsane niṣadya uṣṇīṣavyavalokitaṃ nāma samādhi ssamāpadyate sma || samanaṃtarasamāpannasya bhagavato uṣṇīṣamadhyādimāni maṃtrapadāniḥ niścaraṃti sma || namo bhagavate uṣṇīṣāya śuddhe viraje vimale svāhā || namo bhagavate apatihatoṣṇīṣāya || || namo buddhāya || namo dharmāya || namaḥ saṃghāya || || atha khalu bhagavān catasraparṣadā bhikṣubhikṣuṇyupāsakopāsikā bodhisatvāmahāsatvāścāturomahārājānaścāturmahārājakāyikāśca devaputrān yāvadakaniṣṭhāśca devaputrāṃn-sannipatitā sanniṣaṃṇaśca sarvāsākṣiṇaḥ sthāpayitvā śakre devānāmindrametadavocat yaḥ kaścin mahābodhisatvā mahāsatvā bhikṣubhikṣuṇyupāsakopāsikā kulaputro vā kuladuhitaro vāḥ devaputro

<NS 1026 - p6.1>
vā devakanyā vāḥ yaḥ imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitāṃ mahāpratyaṃgirāmudgrahiṣyaṃti dhārayiṣyaṃti vācayiṣyaṃtiḥ paryyavāpsyaṃti parebhyaśca vistareṇa saṃprakāśayiṣyaṃtiḥ yonisomanasikariṣyaṃti mahāpratyaṃgirā cittenāvirahitā bhaviṣyaṃti || teṣāṃ mārā vāḥ mārakāyikā vā avatāraṃ na lapsyaṃti || tatkasya hetostathāhitaiḥ kulaputraikuladuhitṛbhiśca rūpaśūnyataiḥ svadhiṣṭhitā bhaviṣyaṃtiḥ vedanā saṃjñā saṃskārā vijñānaśūnyataiva svadhiṣṭhitā bhaviṣyaṃtiḥ tatkasya hetoḥ || nahi śūnyatāyāmavatāraṃ labhate mānimitta avatāra labhate nāpraṇihita avatāraṃ labhate || evaṃ vyastasamasta skaṃdhadhātvāyatana pratītyasamutpāda śūnyataiva svadhiṣṭhitā bhaviṣyaṃti || evaṃ pāramitā satyābhijñāpramāṇadhyānārūpyasamāpatti śūnyataiva svadhiṣṭhitā bhavi

<NS 1026 - p6.2>
ṣyaṃti || evaṃ sarvaśūnyatā sarvasamādhiḥ sarvadhāraṇīmukha smṛtyupasthānasaṃmyakprahāṇaṛddhipādendriyabalabodhyaṃgamārga śūnyataiva svadhiṣṭhitā bhaviṣyaṃti || evaṃ daśabalavaiśāradyā pratisaṃvidāveṇikaḥ buddhadharma śūnyataiva svadhiṣṭhitā bhaviṣyaṃti || yavat sarvākārajñatā śūnyataiva kulaputraikuladuhitṛbhi svadhiṣṭhitā bhaviṣyaṃti || tatkasya hetoḥ stathāhi śūnyatāyāmavatāraṃ labhate nānimitta avatāraṃ labhate || nāpraṇihitamapraṇihita avatāraṃ labhate || tatakasya hetoḥ stathāhi teṣāṃ svabhāvo na saṃvidyate || yenāvatāraṃ labhate yatra vāvatāraṃ labhet || yasyadāvatāraṃ labhet || iti mahāpratyaṃgirāyāṃ samudayeprajñāpārakṣāṃtiḥ || 1 || na khalu punaḥ mahābodhisatvā teṣāṃ kulaputrāṇāṃ kuladuhitṛṇāṃ vā manuṣyā vā'manuṣyā vāvatāraṃ lapsyaṃte || tathātaiḥ kulaputraiḥ ku

<NS 1026 - p7.1>
laduhitṛbhiśca sarvasatvānāmaṃtike maitrīkaruṇāmuditopekṣā bhāvitā satānupalaṃbhayogena na ca te kauśika kulaputro vā kuladuhitaro vā viṣamāparihāneṇa kālaṃ kariṣyaṃti || tatkasya hetoḥ || tathāhitai kulaputraiḥ kuladuhitṛbhiśca mahāpratyaṃgirāyāṃ caradbhiḥ sarvasatvāḥ saṃmyakparicaryyāyā upatiṣṭhitāḥ yaivā kau[śi]ka cāturmahārājakāyikairdevaputrairiha trisāhasra mahāsāhasralokadhātau trāyatriṃśe vā yāmairvā tuṣitairvā niryāṇaratirvā paranirmitavasavarttirvā brahmakāyikairvā brahmapūrohitairvā brahmapārṣadyai vāḥ yāvadakaniṣṭhairvā devaputre nanuttarāyāṃ saṃmyaksaṃbodhau cittamutpāditaṃ naveyaṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā dhāraṇī śrutvā nodgrahitā na dhāritā na vācitā na paryyavāptā devaputrainiyaṃ mahāpratyaṃgirā śrotavyā udgrahitavyā

<NS 1026 - p7.2>
dhārayitavyā vācayitavyā paryyavāptavyā yoniśaśca manasikartavyā sarvajñatācittenāvirahitaiḥ || iti mahāpratyaṃgirāyāṃ samudayānvayajñānaṃ || 2 || atha paraṃ bodhisatvā kulaputro vā kuladuhitaro vā imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāmudgrahiṣyaṃti dhārayiṣyaṃti vācayiṣyaṃti paryyavāpsyaṃti || yoniśaśca manasikariṣyaṃti avirahitāḥ sarvākārajñatācittena mahāpratyaṃgirā bhāvayiṣyaṃti || na khalu punaḥ mahābodhisatvā teṣāṃ kulaputrāṇāṃ kuladuhitṛṇāṃ vā śūnyāgāragatānāṃ vā abhyavakāśagatānāṃ vā utpathagatānāṃ vā bhāyaṃ vāḥ staṃbhatatvaṃ vā bhāviṣyaṃti || tatkasya heto || stathāhitai kulaputrai kuladuhitṛbhiśca adhyātmaśūnyatā subhāṣitā anupalaṃbhayogena bahirdhāśūnyatāḥ subhāvitā anupalaṃbhayogena adhyātmabahirdhāśūnyatā subhāvitā anupalaṃbhayogena yāvadabhāvasvabhāvasūnyatā subhā

<NS 1026 - p8.1>
vitā anupalaṃbhayogena || atha khalu tāvadeva trisāhasra mahāsāhasralokadhātau ye caturmahārājakāyikādevaputrāste bhagavaṃtametadavocat || vayaṃ bhagavaṃsteṣāṃ kulaputrāṇāṃ kuladuhitṛṇāṃ ca śatata samitaṃ rakṣāvaraṇaguptiṃ saṃvidhāsyāmaḥ || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāmudgrahiṣyaṃti dhārayiṣyaṃti vācayiṣyaṃti paryyavāpsyaṃti yoniśaśca manasikariṣyaṃti avirahitāśca bhaviṣyaṃti sarvajñatācittena || takasya heto tathāhi bhagavan bodhisatvā mahāsatvamāgamya nirayā uchidyaṃte tiryagyoni yamalokā asurakāyā manuṣyadāridra samu[pa]dravā upasargā sarveyyuchidyaṃte || bodhisatvā mahāsatva

<NS 1026 - p8.2>
māgamya daśānāṃ kuśalānāṃ karmapathānāṃ loke prādurbhāvo bhavati || caturṇāṃmapramāṇānāṃ loke prādurbhāvo bhavati || catasṛṇāmārūpyasamāpattināṃ loke prādurbhāvo bhavati || dānapāramitāyāṃ loke prādurbhāvo bhavati || śīlapāramitāyāṃ loke prādurbhāvo bhavati || kṣāṃtipāramitāyāṃ loke prādurbhāvo bhavati || vīryyapāramitāyāṃ loke prādurbhāvo bhavati || dhyānapāramitāyāṃ loke prādurbhāvo bhavati || prajñāpāramitāyāṃ loke prādurbhāvo bhavati || adhyātmaśūnyatāyāṃ loke prādurbhāvo bhavati || bahirddhāśūnyatāyāṃ loke prādurbhāvo bhavati || adhyātmabahirddhāśūnyatāyāṃ loke prādurbhāvo bhavati || yāvadabhāvasvabhāvaśūnyatāyāṃ loke prādurbhāvo bhavati || caturnāṃ smṛtyupasthānānāṃ loke prādurbhāvo bhavati || caturnāṃ ṛddhipādānāṃ loke prādurbhāvo

<NS 1026 - p9.1>
bhavati || paṃceṃdriyāṇāṃ loke prādurbhāvo bhavati || paṃcānāṃ balānāṃ loke prādurbhāvo bhavati || saptānāṃ bodhyaṃgānāṃ loke prādurbhāvo bhavati || āryyāṣṭāṃgamārgānāṃ loke prādurbhāvo bhavati || caturṇṇāmāryyasatyānāṃ loke prādurbhāvo bhavati || caturṇṇāmapramāṇānāṃ ṣaṇṇāmabhijñā loke prādurbhāvo bhavati || daśānāṃ tathāgatabalānāṃ loke prādurbhāvo bhavati || caturṇṇāṃ vaiśāradyānāṃ loke prādurbhāvo bhavati || catusṛṇāṃ pratisaṃvidānāṃ loke prādurbhāvo bhavati || aveṇikabuddhadharmāṇāṃ loke prādurbhāvo bhavati || anekeṣāṃ samādhīnāṃ loke prādurbhāvo bhavati || manekeṣāṃ dhāraṇīmukhānāṃ loke prādurbhāvo bhavati || sarvajñatāyāṃ bodhisatvamārgasya loke prādurbhāvo bhavati || || ataḥ paraṃ bodhisatvo mahāsatvamāgamya kṣatriyamahāśākulāni prajñāyaṃte || brāhmaṇamahāśākulāni

<NS 1026 - p9.2>
prajñāyaṃte || brāhmaṇamahāśākulāni prajñāyaṃte || gṛhapatimahaśākulāni prajñāyaṃte || cakravarttimahaśākulāni prajñāyaṃte || caturmahārājakāyikā devaputrā prajñāyaṃte || evaṃ trāyatriṃśā yāmāstuṣitā nirmāṇarataya paranirmitavasavarttino brahmakāyikā brahmapūrohitāḥ brahmapārṣadyā mahābrāhmaṇo yāvadakaniṣṭhāśca devaputrā loke prajñāyaṃte || || punaraparaṃ bodhisatva mahāsatvamāgamya śrotāpattiphalaṃ prajñāyaṃte || śrota āpanna prajñāyaṃte || evaṃ sakṛdāgāmiphalaṃ anāgāmiphalamarhamarha loke prajñāyaṃte || pratyekabodhi prajñāyaṃte || punaraparaṃ bodhisatva mahāsatva{ḥ}māgamya satva[pari]pākāḥ prajñāyaṃte || buddhakṣatrapariśuddhiḥ prajñāyaṃte || tathāgatorhan saṃmyaksaṃbuddho loke prajñāyaṃte || dharmacakrapravarttana prajñāyaṃte || buddharatnaṃ prajñāyaṃte || dharmaratnaṃ prajñāyaṃte ||

<NS 1026 - p10.1>
saṃgharatnaṃ prajñāyaṃte || anena mahāpratyaṃgirā paryyāyena bodhisatvasya mahāsatvasya mānuṣāsuragaṃdharvayakṣarākṣasagaruḍakinnaramahoragamanuṣyāmanuṣyana lokena rakṣāvaraṇaguptiṃ saṃvidhyatavyā || evamukte bhagavān śakra devānāmindrametadavocat || evametanmahābodhisatvamāgamya nirayatiryyagyoniyamalokagataya uchidyaṃte devadāridra manuṣyadāridraṃ upadravā upasargāḥ sarveyyuchidyaṃte bodhisatva mahāsatvamāgamya daśānāṃ kuśalānāṃ karmapathānāṃ loke prajñāyaṃte || daśānāṃ pāramitānāṃ bodhisatvabhūmīnāmapramāṇādhyā[nā]rūpyasamāpattīnāṃ saptatriṃśat bodhipakṣāṇāṃ dharmāṇāṃ satyānāṃ abhijñānāṃ sarvaśūnyatānāṃ sarvadhāraṇīmukhānāṃ prajñāyaṃte || daśabalavaiśāradyapratisaṃvidāveṇikānāṃ buddhadharmāṇāṃ sarvākārajñatāyāṃ bodhisatva mahāsatvamāgamya

<NS 1026 - p10.2>
prajñāyaṃte || kṣatriyamahāśālakulāni brāhmaṇamahāśālakulāni gṛhapatimahāśālakulāni bodhisatva mahāsatvamāgamya loke prajñāyaṃte || cakravarttirājakulāni loke prajñāyaṃte || caturmahārājakāyikā devaputrā yāvadakaniṣṭhā devaputrāḥ prajñāyaṃte || śrotāpattiphalaṃ śrotāpannaḥ || evaṃ sakṛdāgāmiphalaṃ anāgāmiphalamanāgāmi
arhatvamarhaśca loke prajñāyaṃte || pratyekabodhi pratyekabuddhā loke prajñāyaṃte || bodhisatva mahāsatvamāgamya satvapariprāptaḥ prajñāyaṃte || buddhakṣatrapariśuddhiḥ prajñāyaṃte || tathāgatorhan saṃmyaksaṃbuddho loke prajñāyaṃte || dharmacakrapravarttanaṃ loke prajñāyaṃte || buddharatnadharmaratnasaṃgharatnaḥ bodhisatva mahāsatvamāgamya loke prajñāyaṃte || tasmāttarhi mahābodhisatvo mahāsatvo sadevamānuṣāsureṇa lokena [sat]karttavyā gurukarttavyāḥ

<NS 1026 - p11.1>
mānayitavyā pūjayitavyā satataśamitarātrī rakṣāvaraṇaguptīḥ saṃvidhyatavyā || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyā dhārayet sa kauśika mahābodhisatvo satkarttavyā gurukarttavyā mānayitavyā manyateyā bodhisatva mahāsatvaḥ satkarttavyaṃ gurukarttavyaṃ mānayitavyaṃ pūjayitavyaṃḥ manyatetasyā bodhisatva mahāsatvaḥ ssadevakena lokena satkarttavyaṃ satataśamita yātra rakṣāvaraṇaguptīṃ saṃvidhyatavyāḥ yaśca mahābodhisatva imaṃ trisāhasra mahāsāhasralokadhātu śrāvaka pratyekabuddhā paripūrṇā || tadyathāpi nāma mahābodhisatva ikṣuvanamvā naṃḍavanaṃ vā veṇuvanaṃ vā śaravanaṃ vā tilavanaṃ vā || kaścideva kulaputro vā kuladuhitā vā satkuryyātmānayet pūjayedyaśca prathamacittotpādikaṃ bodhisatva mahāsatvamavirahitaṃ ṣaḍbhipāramitābhiḥ satkuryyā

<NS 1026 - p11.2>
t gurukuryyāt mānayet pūjayedayameva tato bahutarapuṇyaṃ prasavati || tatkasya hetoḥ bahutarapuṇyaṃ prasavati tathāhi sa mahābodhisatvaḥ śrāvaka pratyekabuddhamāgamya bodhisatvastathāgatāścārhaṃtaḥ saṃmyaksaṃbuddhā loke prajñāyaṃte || tasmāttarhi mahābodhisatva sa devamānuṣāsureṇa lokena bodhisatva mahāsatvaḥ satkarttavyāḥ gurukarttavyā mānayitavyāḥ satatasamita yātra rakṣāvaraṇaguptīṃ saṃvidhyatavyā || || iti mahāpratyaṃgirāyāṃ nirodhadharmājñānaṃkṣāṃti || || oṃ namo mahāpratyaṃgirāya || namaḥ saptānāṃ saṃmyaksaṃbuddhakoṭīnāṃ || namo maitreyapramukhānāṃ bodhisatvānāṃ mahāsatvānāṃ || namaḥ sarvabuddhabodhisatvānāṃ mahāsatvānāṃ || namaḥ saśrāvakasaṃghānāṃ || namaḥ loke arhatānāṃ || namotītānāgatapratyutpannānāṃ || namaḥ śrotāpannānāṃ || namaḥ

<NS 1026 - p12.1>
sakṛdāgāmīnāṃ || namo'nāgāmināṃ || namo loke samyagatānāṃ || namaḥ saṃmyakpratipannānāṃ || namo devarṣīṇāṃ || namaḥ siddhavidyādharāṇāṃ || namaḥ ṛṣīṇāṃ || namaḥ śāpānugrahasamarthānāṃ || namaḥ sarvavidyādharāṇāṃ || namo devabrahmaṇe || namo indrāya || namo bhagavate rudrāya umāpatisahitāya || namo varuṇāya || namo nāgādhipataye || namaḥ sarvanāgādhipataye || namo bhagavate nārāyaṇāya || paṃcamahāmudrā namaskṛtāya || namo bhagavate naṃdikeśvaramahākālāya || tripūranagaravidrāpaṇakarāya || adhimuktikakāśmīramahāśmaśānanivāsitāya || namo mātṛgaṇasahitāya || namaḥ sarvadevavaṃditāya || || atha khalu śakro devānāmindro bhagavatametadavocat || āścaryya bhagavan yāvadami bodhisatvo mahāsatvo mahāpratyaṃgirāmudgṛhnantaḥ paryyavāpu[r]vaṃto dhāra

<NS 1026 - p12.2>
yāṃto vācayaṃtaḥ yoniśaśca manasikurvaṃtaḥ imāṃ dṛṣṭadhārmikā guṇāparigṛhnaṃti satvaścaparipācayaṃti buddhakṣatraṃ ca pariśodhayaṃti buddhakṣatrā buddhakṣatraṃ saṃkrāmaṃti buddhā bhagavantaḥ paryupāsanāya yaiścakuśalamūlān pāpakāṃ kṣeyuste buddhā bhagavaṃtaḥ pūjayituṃ taiḥ pūjayeyuste caiṣāṃ tathaiva ṛddhyaṃte ye ca teṣāṃ buddhā bhagavatāmaṃtike sthitvā dharmā śṛṇvaṃti sa ceṣāṃ dharmāstāvadeva pramukhāt yāvadanuttarāṃ saṃmyaksaṃbodhimabhisaṃbodhiḥ || iti mahāpratyaṃgirā kulasaṃpadaṃ ca parigṛhnāti || jananisaṃpadaṃ ca parivārasaṃpadaṃ ca lakṣaṇasaṃpadaṃ ca prabhāsaṃpadaṃ caḥ cakṣusaṃpadaṃ ca svarasaṃpadaṃ ca samādhisaṃpadaṃ ca dhāraṇīsaṃpadaṃ ca parigṛhnaṃti upāyakauśalena ātmānaṃ buddhavigrahaṃ nirmāyalokadhātau saṃkrāmaṃti || yatra buddhānāṃ bhagavatāmu[t]pādā nāsti te tatra gatvā dānapāramitā varṇaṃ bhāṣaṃte || evaṃ śīlapāramitāyāḥ kṣāṃtipārami

<NS 1026 - p13.1>
[tā]yāḥ vīryyapāramitāyāḥ dhyānapāramitāyāḥ prajñāpāramitāyāḥ adhyātmaśūnyatāyāḥ bahirdhāśūnyatāyāḥ adhyātmabahirdhāśūnyatāyāḥ [yā]vadabhāvasvabhāvaśūnyatāyā varṇṇa bhāṣaṃte || dhyānānāṃ varṇṇa bhāṣaṃte || ap[r]amāṇāmārūpyasamāpattīnāṃ varṇṇa bhāṣaṃte || smṛtyupasthānānāṃ varṇṇa bhāṣaṃte || evaṃ saṃmyakprahāṇānāṃ ṛddhipādānāmindriyāṇāṃ balānāṃ bodhyaṃgānā āryyāṣṭāṃgikasya mārgasya varṇṇa bhāṣaṃte || caturṇāmāryasatyānāṃ abhijñānāṃ daśānāṃ tathāgatabalānāṃ vaiśāradyānāṃ pratisaṃvidānāṃ aṣṭā[daśā]nāveṇikānāṃ buddha bhāṣaṃte upāyakuśalena ca dharmadeśayaṃti || yānatrayana ca mahābodhisatvā vinayaṃti śrāvakayānena pratyekabodhiyānena buddhayānena || iti mahāpratyaṃgirāyāṃ nirodhadharmajñānaṃ || || atha khalu śakra devānāmmindra bhagavaṃtametadavocat || āścaryyaṃ bhagavan yāvadayā gaṃbhīra

<NS 1026 - p13.2>
yā mahāpratyaṃgirāyā parigṛhītā bhavaṃti || yaduta dānapāramitāḥ śīlapāramitāḥ kṣāntipāramitāḥ vīryyapāramitāḥ dhyānapāramitāḥ prajñāpāramitāḥ sarvabodhipakṣādharmāḥ sarvasamādhayaḥ sarvadhāraṇīmukhāni sarvaśūnyatomapramāṇadhyānārūpyasamāpattayaḥ satyābhijñādaśabalāni vaiśāradyāni pratisaṃvidāṣṭādaśāveṇikābuddhadharmāḥ || yāvadadvistara samastā skaṃdha dhātavaḥ āyatanāni pratītyasamutpādāṃgāni ca parigṛhītāni bhavaṃti || śrotāpattiphala parigṛhītaṃ bhavaṃti || evaṃ sakṛdāgāmiphalaṃ anāgāmiphalamarhatvaṃ pratyekabodhiḥ sarvākārajñatā parigṛhīta bhavaṃti || evamukte bhagavān śakraṃ devānāmindrametadavocat || evametatkauśika mahābodhisatvametat || mahāpratyaṃgirā parigṛhītayā sarvapāramitāḥ parigṛhītā bhavaṃti || || evaṃ sarvabodhipa

<NS 1026 - p14.1>
kṣādharmāḥ sarvasamādhayaḥ sarvadhāraṇīmukhāni sarvaśūnyatāmapramāṇadhyānārūpyasamāpattayaḥ satyābhijñāḥ sarvakuśalākarmmapathā daśabalāni catvārivaiśāradyāni catasraḥ pratisaṃvidāṣṭādaśāveṇikābuddhadharmā yāvadvyasta samastā skaṃdhadhātvāyatanāni pratityasamutpādāṃgāni yāvatsarvākārajñatāyā parigṛhīta bhavaṃti || punaraparaṃ kauśika mahābodhisatvo pratyaṃgirāyā udgrahītā dhāritā vācitā paryyavāptā likhitā yoniśomanasikṛtayāḥ sa kulaputro vā kuladuhitā vā pratilabhate || dṛṣṭadhārmikameva śṛṇu sādhu ca suṣṭhu ca manasikuru bhāṣiṣyaṃte || evaṃ bhagavanniti śakro devānāmindro bhagavataḥ pratyaśoṣīt || bhagavanetadavocat || yaḥ kaścitkauśika mahābodhisatvo anyatīrthakaḥ kulaputro vā kuladuhitā vā mārā vā mārakāyikā vāḥ devatāmabhimānako vā bodhisatva mahāsa

<NS 1026 - p14.2>
tvamiti || mahāpratyaṃgirāyāṃ vivecayitukāmo bhaviṣyaṃti || vivaditukāmo bhaviṣyaṃti || vigṛhītukāmo bhaviṣyaṃti || virodhayitukāmo bhaviṣyaṃti || teṣāṃ vivecayitukāmānāṃ vigṛhītukāmānāṃ {a}virodhayitukāmānāṃ utpanno vigraho vivādo virodho kṣipra punarevāntarddhāsya || teṣāṃ vivecayitukāmānāṃ vigṛhītukāmānāṃ viveditukāmānāṃ virodhayitukāmānāṃ satatamabhiprāyāḥ paripūriṃ gamiṣyaṃti || tatkasya hetoḥ || tathāhi kauśika mahābodhisatvā dīrgharātra || dānapāramitāyāṃ caratā śīlapāramitāyāṃ kṣāṃtipāramitāyāṃ vīryyapāramitāyāṃ dhyānapāramitāyāṃ prajñāpāramitāyāṃ caratā || yeṣāṃ kṛtasaḥ satvā dīrgharātraṃ vigrahā vivādā virodhā nopapadyata || adhyātmikā bāhyā dharmāparityajyatā satvā śilpe pratisthāpayati || yeṣāṃ kṛtasaḥ satvā dīrgharātraṃ krodhavyāpāda

<NS 1026 - p15.1>
vihiṃsāmāpadyante || tā bodhisatvo mahāsatvaḥ || adhyātmikā bāhyā dharmā parityajyatā satvā kṛtau pratiṣṭhāpayati || yeṣāṃ kṛtaśaḥ satvā dīrgharātraṃ saṃsāraṃ saṃsaraṃti || yaduta aruṇayapratiparyyavasthāne te bodhisatvā mahāsatva upāyakauśalyena teṣāṃ satvānāṃ viniyatāṃ satvāṃścaturṣu dhyāneṣu pratisthāpayati caturṣvapramāṇeṣu catasraṣvārūpyasamāpattiṣu pratiṣṭhāpayati || caturṣu smṛtyupasthāneṣu pratisthāpayati || evaṃ saṃyakprahāṇeṣu ṛddhipādeṣu indriyaṣu baleṣu vaiśāradyeṣu āryyāṣṭāṃgamārgeṣu śūnyatāyāṃ vānimitte apanihita samādhidhāraṇīmukheṣu pratiṣṭhāpayati || caturṣvāryyasatyaṣu abhijñāsu daśabala vaiśāradyeṣu pratisaṃvitsu aṣṭādaśāsvāveṇikeṣu buddhadharmeṣu pratiṣṭhāpayati || śrotāpattiphala sakṛdāgāmiphala anāgāmipha

<NS 1026 - p15.2>
la arhatva pratiṣṭhāpayati || pratyekabodhi pratiṣṭhāpayati || anuttarāyā saṃmyaksaṃbodhau pratiṣṭhāpayati || ime te kauśika mahābodhisatvasya mahāsatvasya bodhisatvacārikānācarato dṛṣṭadhārmika guṇānusaṃsā bhaviṣyati || saṃpadāya ca anuttarāyā saṃmyaksaṃbodhimabhisaṃbudhyate || dharmacakrapravarttaye satvānyathā praṇidhāna pratiṣṭhāpya nirūpaviśeṣanirvāṇadhātau parinirvāpayiṣyaṃti || ime kauśika mahābodhisatvasya parāyitukāmaṃ guṇānuśaṃsā bhaviṣyati || iti mahāpratyaṃgirāyāṃ nirodhānvayajñānakṣāṃti || || punaraparaṃ
kauśika mahābodhisatvo yasmin pṛthivīpradeśe kulaputro vā kuladuhitā vā || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyā dhāraṇīmudgrahīṣyaṃti dhārayiṣyaṃti vācayiṣyaṃ

<NS 1026 - p16.1>
ti paryyavāpsyaṃti yoniśaśca manasikariṣyaṃti || na tatra pṛthivīpradeśe mārā vā mārakāyikā vā devatā vā anyatīrthikā vā parivrājakā vā abhimānikā vā puṃgalā śakyaṃ te cittavikṣepaṃ kartuṃ || asyā mahāpratyaṃgirāyā vigrahāya vivādāya virodhāya uttara ca teṣāṃ guṇānuśaṃsā bhaviṣyaṃti || yadutāsyāḥ mahāpratyaṃgirāyāḥ śravaṇenānupūrveṇa tribhiryyānairppāpaduḥkhasyāṃtaṃ kariṣyaṃti || tadyathāpi nāma kauśika mahābodhisatvaḥ maghī nāmauṣadhi tatrāśīviṣaṇa jaṃtunā bubhrukṣitenāhārthinā'hāragaveṣiṇā kaścideva prāṇakajāto duṣṭā bhavet || śataprāṇajātaṃ punarkhāditukāmaḥ prāṇakajātamanudhātavet || || atha khalu sa prāṇakajāta yena sāmagrī nāmauṣadhi te nopasaṃkrāṃtame tatha sa āśīviṣa tasyāḍauṣadhyāgaṃdhena pratyudāvarttate || tatka

<NS 1026 - p16.2>
sya heto tathāhi tasyāḍauṣadhyābhaiṣajyaguṇaḥ yattasyāśīviṣasya tadviṣamabhibhavati || evaṃ balapatīhi sa kauśika mahābodhisatvaḍauṣadhī evameva kauśika yaḥ kaścitkulaputro vā kuladuhitā vā yaḥ imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitāṃ mahāpratyaṃgirā mahāvidyāmudgrahiṣyaṃti dhārayiṣyaṃti vācayiṣyaṃti paryyavāpsyaṃti yoniśaśca manasikariṣyaṃti || tatraivāṃtarddhāsyati navivarddhayiṣyaṃti || iti mahāpratyaṃgirāyāṃ nirodhānvayajñānaṃ || atha khalvāyuṣmān mahāmaitreyapramukhānāṃ mahābodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ sarvabuddhabodhisatvalokānāṃ rūpaṃ samanupaśyati || namaḥ saśrāvakasaṃghānāṃ bodhisatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namo loke arhatānāṃ bodhisatvānāṃ lokānāṃ rū

<NS 1026 - p17.1>
paṃ samanupaśyati || namotītānāgatapratyutpannānāṃ tathāgata lokānāṃ rūpaṃ samanupaśyati || namaḥ śrotāpannānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ saṛdāgāmināṃ lokānāṃ rūpaṃ samanupaśyati || namo'nāgāmināṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namo loke samyagātānāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namo samyakpratipannānāṃ bodhisatvānāṃ mahāsatvānāṃ [lokānāṃ] rūpaṃ samanupaśyati || namo devarṣīṇāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ ṛṣīṇāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ śāpāyudhānāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ śāpānugrahasamarthānāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupa

<NS 1026 - p17.2>
śyati || namaḥ sarvavidyādharāṇāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namaḥ śāṣāvukyahasamarthānāṃ bodhisatvānāṃ mahāsatvānāṃ lokānāṃ rūpaṃ samanupaśyati || namo indrāya lokānāṃ rūpaṃ samanupaśyati || namo bhagavate rudrāya lokānāṃ rūpaṃ samanupaśyati || namaḥ umāpatisahitāya lokānāṃ samanupaśyati || namo varuṇāya lokānāṃ samanupaśyati || namaḥ sarvanāgādhipataye lokānāṃ samanupaśyati || namo bhagavate nārāyaṇāya lokānāṃ samanupaśyati || namo paṃcamahāmudrānamaskṛtāya lokānāṃ samanupaśyati || namo naṃdikeśvaramahākālāya lokānāṃ samanupaśyati || tripūranagaravidrāpanakarāya lokānāṃ samanupaśyati || adhimuktikakaśmīramahāśmaśānavāsinīya lokānāṃ samanupaśyati || na

<NS 1026 - p18.1>
mo mātṛkāgaṇasahitāya lokānāṃ samanupaśyati || iti mahāpratyaṃgirāyāṃ nirodhajñānabhāvanā || || atha khalu bhagavān prajñapta evāsane niṣadya uṣṇīṣavyavalokitaṃ nāma samādhiḥ || ratnamudro nāma samādhiḥ || sucaṃdro nāma samādhiḥ || candradhvaja nāma samādhiḥ || dhvajaketurnāma samādhiḥ || sarvadharmasamudro nāma samādhiḥ || avalokitamūrddhnā nāma samādhiḥ || dharmadhātreniyato nāma samādhiḥ || niyamadhvajaketu nāma samādhiḥ || vajropamo nāma samādhiḥ || sarvadharmapraveśano nāma samādhiḥ [||] samāhitavasthāpratiṣṭhā nāma samādhiḥ || rājamudrā nāma samādhiḥ || balavīryyā nāma samādhiḥ || sarvadharmasamudgato nāma samādhiḥ || niruktiniyatapraveśano nāma samādhiḥ || asecanapraveśano nāma samādhiḥ || digavalokano nāma samādhiḥ || dhāra

<NS 1026 - p18.2>
ṇīmudrā nāma samādhiḥ || asaṃpramukhitā nāma samādhiḥ || samavaruṇo nāma samādhiḥ || ākāśasthāraṇo nāma samādhiḥ || vajramaṃḍalo nāma samādhiḥ || dhvajāgraketurnāma samādhiḥ || indraketurājo nāma samādhiḥ || śrotānugato nāma samādhiḥ || siṃhavijṛṃbhito nāma samādhiḥ || vibhyastasamāpatti nāma samādhiḥ || raṇaṃjaho nāma samādhiḥ || vairocano nāma samādhiḥ || animiṣo nāma samādhiḥ || niketasthito nāma samādhiḥ || nicito nāma samādhiḥ || vipulapratipanno nāma samādhiḥ || anaṃtaprabho nāma samādhiḥ || prabhākaro nāma samādhiḥ || varadharmamudro nāma samādhiḥ || samaṃtāvabhāso nāma samādhiḥ || śuddhāvāso nāma samādhiḥ || vimalaprabho nāma samādhiḥ || ratikaro nāma samādhiḥ || ajayyo nāma samādhiḥ || tejovati nāma samādhiḥ || kṣayapagato nāma samādhiḥ || anirjito

<NS 1026 - p19.1>
nāma samādhiḥ || vivṛto nāma samādhiḥ || sūryyaprabho nāma samādhiḥ || caṃdravimalo nāma samādhiḥ || śuddhapratibhāso nāma samādhiḥ || alokaro nāma samādhiḥ || ārākāro nāma samādhiḥ || jñānaketurnāma samādhiḥ || cittasthiti nāma samādhiḥ || samaṃtāvaloko nāma samādhiḥ || supratiṣṭhito nāma samādhiḥ || ratnakoṭi nāma samādhiḥ || varadharmamudrā nāma samādhiḥ || sarvadharmasamaṃtā nāma samādhiḥ || ratijaho nāma samādhiḥ || dharmagato nāma samādhiḥ || vikiraṇo nāma samādhiḥ || sarvadharmapadaprabhedo nāma samādhiḥ || samākṣaravatāro nāma samādhiḥ || akṣarāvatāro nāma samādhiḥ || āvarṇṇachedo nāma samādhiḥ || aniroga nāma samādhiḥ || prabhākaro nāma samādhiḥ || nāmaniyatapraveśo nāma samādhiḥ || niketacārī nāma samādhiḥ || vitimirāpagato nāma samādhiḥ || cāritravatī nāma samādhiḥ || a

<NS 1026 - p19.2>
varo nāma samādhiḥ || viṣamaśāṃti nāma samādhiḥ || sarvaguṇasaṃcayo nāma samādhiḥ || niścito nāma samādhiḥ || śubhapuṣpitaśuddho nāma samādhiḥ || bodhyaṃgavati nāma samādhiḥ || anaṃtaprabho nāma samādhiḥ || āgamasamo nāma samādhiḥ || sarvavikramo nāma samādhiḥ || pratichedakaro nāma samādhiḥ || vimatikiraṇo nāma samādhiḥ || niradhiṣṭhāno nāma samādhiḥ || ekavyūho nāma samādhiḥ || ākārābhiniveśo nāma samādhiḥ || kārānavakāro nāma samādhiḥ || nīratiśaya nāma samādhiḥ || saṃketarutapravāso nāma samādhiḥ || niravimukto nāma samādhiḥ || tejovatī nāma samādhiḥ || jālanāko nāma samādhiḥ || rakṣānupariśoṣaṇo nāma samādhiḥ || anāvirakṣāṃti nāma samādhiḥ || sarvākārāvatāro nāma samādhiḥ || sarvasukhaduḥkhanirabhinandito nāma samādhiḥ || akṣayakaro nāma samādhiḥ || dhāraṇī

<NS 1026 - p20.1>
yati nāma samādhiḥ || saṃmyakmīthyātvasaṃgraha nāma samādhiḥ || stiroṣaviroṣa nāma samādhiḥ || pratiroṣo nāma samādhiḥ || sāravatī nāma samādhiḥ || vāripūrṇṇa nāma samādhiḥ || vimalacandraprabho nāma samādhiḥ || vidyuprabho nāma samādhiḥ || mahāvyūho nāma samādhiḥ || sarvalokaprabho nāma samādhiḥ || samatā nāma samādhiḥ || anayavinaya nāma samādhiḥ || avimukto nāma samādhiḥ || anusaraṇasarvano nāma samādhiḥ || samavasaraṇo nāma samādhiḥ || aniyaniyato nāma samādhiḥ || tathāsthitiniścito nāma samādhiḥ || kāyakarisaṃpramathano nāma samādhiḥ || vākalividhvaṃsano nāma samādhiḥ || gaganakalpo nāma samādhiḥ || ākāśasaṃgamavimukto nāma samādhiḥ || vimuktinirūpo nāma samādhiḥ || samāpadyate sma || iti mahāpratyaṃgirāyā samādhisaṃgrahamūrddhnādharmāsyālaṃbanākāraviśeṣa || || atha khalu ā

<NS 1026 - p20.2>
yuṣmān mahābodhisatvametadavocat || namo bhagavate tathāgatakulasya || namo bhagavate padmakulasya || namo bhagavate vajrakulasya || namo bhagavate maṇikulasya || namo bhagavate rāgakulasya || namo bhagavate karmakulasya || namo bhagavate ratnakulasya || namo bhagavate kumārakulasya || namo bhagavate nāgakulasya || namo bhagavate mārakulasya || namo bhagavate mohakulasya || namo bhagavate rāgakulasya || || namo bhagavate dṛḍhasūraṇasenapraharaṇarājāya tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate amitābhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate akṣobhyāyā tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vajradharasāgarapramardanāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate bhaiṣajyaguruvaidūryyaprabhaketurājāya tathāgatāyārhate saṃmyak

<NS 1026 - p21.1>
saṃbuddhāya || namo bhagavate supuṣpitaśailendrarājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate amoghasiddhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate padmottararājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vipaśyine tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate śikhine tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate viśvabhūve tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate krakuchaṃdāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate kanakamunaye tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate kāśyapāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate śākyamunaye tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate ratnacaṃdrāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bha

<NS 1026 - p21.2>
gavate apratiṣṭhitasurendrarājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate ratnaketurājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate samaṃtabhadrāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate dharmaketuprabharājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vairocanāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vikasitakamalotpalagaṃdhaketurājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vairocanagarbhamahāmeghāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate nāgakulodbhavamahāmeghāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate meghāṃbujanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate śrīmahāmatejarājasya tathāgatāyārhate saṃmyak

<NS 1026 - p22.1>
saṃbuddhāya || namo bhagavate mahāmeghasaṃbhavanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate sarvapātamaṃḍalavidhvaṃsanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavidyutjvālānāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vikramaśūronāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāsumeghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate dhanameghanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate meghamaṃḍalanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate ratnameghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasiṃhāsaronāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghachatronāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhaga

<NS 1026 - p22.2>
vate sudarśanameghanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasachannanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate meghasaṃbhavāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate daśadigguṇamatāchādanasaṃpragarjananonāma tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate duṃdubhiḥsvaranirghoṣanāma tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate meghaśīlasaṃbhavanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasaṃbhavaharṣaṇaprasphoṭanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghanirnādagarjanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghagaṃbhīragarjananāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate megha

<NS 1026 - p23.1>
svīnāma tathāgatāyārhate saṃmyak{a}saṃbuddhāya || namo bhagavate gagaṇāmbujamahāmeghanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāvikramameghanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghanikurjitanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasaṃdarśanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghalālayanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavisphoṭanonāma tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate mahāmeghā[ṃ]ganonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghaśasyābhirojñakāyanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavāsābhirohakāyanāma tathā

<NS 1026 - p23.2>
tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavarāhakonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavikiraṇonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghoparāyanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghāndhakāranāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghodbhavanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasvaranāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmegharājāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghaprabhanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghadantonāma tathāgatāyārhate

<NS 1026 - p24.1>
saṃmyaksaṃbuddhāya || namo bhagavate mahāmegharatnanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavimarddanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmegharājonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavirjikāyanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāakālavidhvaṃsanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate ṣoḍaśāṃbumeghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavanāditāṃbulonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghaśabdonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghavarṣāṃburājonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate unmakatejopasaṃharaṇonāma tathāgatā

<NS 1026 - p24.2>
yārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāsamudrameghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate jvālāṃbuśekamahāmegharājonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate mahāmeghasamudrapūraṇonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate anāvṛṣṭimahāmeghasaṃchādanonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate anaṃtarūpamahāmeghonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate sarvameghavibhāvanādijāṃbuvarohakaśrītejosnākaramahāmegharaśmināma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate sūryyapradīponāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate sūryyaprabhonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate candrapradīponāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate candraprabha{pradīpo}nāma tathāgatāyārha

<NS 1026 - p25.1>
te saṃmyaksaṃbuddhāya || namo bhagavate ratnapradīponāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate khagarbhāya tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate kṣitigarbhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate ratnagarbhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate padmagarbhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate viśvagarbhāya tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vimalaprabhonāma tathāgatāyārhate samyaksa[ṃ]buddhāya || namo bhagavate sahasrakiraṇodbhavanāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate sahasrāvatāronāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate varaprabhonāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate candrasūryyapradīponāma tathāgatāyārhate saṃmyaksaṃbuddhāya ||

<NS 1026 - p25.2>
namo bhagavate vajradharasāgaranāma tathāgatāyārhate saṃmyaksaṃbuddhāya || namo bhagavate vajraghoṣāyanāma tathāgatāyārhate samyaksaṃbuddhāya || namo bhagavate sarvabuddhabodhisatvānāṃ daśadikpratipannānāṃ samyaksaṃbuddhāya || || ebhyo namaskṛtvā imāṃ bhagavatī sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāṃ pravakṣyāmi || sarvakalikalahavigrahavivādapraśamanī || sarvaduṣṭagrahamocanī || sarvabhūtagrahanivāraṇī || sarvaparavidyāchedanī || sarvākālamṛtyuparitrāraṇī || sarvasatvābamdhanamokṣaṇī || sarvaduḥsvapnanāśanī || sarvanigaṃdhabhaṃjanī || sarvayakṣarākṣasagrahāṇāṃ vidhvaṃsanakarīṃ || caturāśītināṃ grahasahasrāṇāṃ vidhvaṃsanakarī || aṣṭāviṃśatināṃ nakṣatrāṇāṃ prasādanakarīṃ || sarvaśatrunivāraṇī || aṣṭānāṃ mahāgrahāṇāṃ vidhvaṃsanakarī || ghoraduṣṭaduḥsvapna

<NS 1026 - p26.1>
nāśanī || sarvaviṣaśastrāgnyudakotsāraṇī || sarvadurgatibhayottāraṇī yāvadaṣṭāvakālamaraṇaparitrāyaṇī || || aparājitā mahāghorā mahābalā tathāpi ca || mahātejā mahācaṃḍā jayā ca vijayā tathā || sarvamāravihaṃtrī ca vajramāleti viśrutā || padmābhā vajracihnā ca mālāṃ caivāparājitā || vajratuṃḍī viśālā ca śāṃtā vaidehapūjitā || saumyarūpī mahāśvetā jvālā pāṃḍaravāsinī || āryyatārā mahābalā aparājitā vajraśṛṃkhalā || vajrakaumārikā caiva tathaivāmṛtakuṃḍalī || vajrahastā mahāvidyā tathā kāṃcanamālikā || kusuṃbharatnakā caiva vairocanakulaprabhā || tathāgatakuloṣṇīṣaviśṛtā vijṛṃbhamālikā || vajrakanakaprabhā ca locanā vajratuṃḍī ca [||] svetā ca kamalākṣī ca tathā śrībuddhalocanā || yathā vajradharā caṃḍā tathā vajradharāpi ca || vajramālā mahāmu

<NS 1026 - p26.2>
drā devī ca kanakaprabhā || sulocanā ca śvetā ca tathaiva kamalākṣiṇī || vinītā śāṃtacittā ca ātmaguṇajñāna śaśiprabhā || ityetā mahāpratyaṃgirā mahāmudrā sa gaṇā || sarvamātṛgaṇāścaiva rakṣāṃ kurvaṃtu hūṃ phaṭ svāhā || || oṃ pratyaṃgire svāhā || oṃ pratyaṃgirāyai svāhā || oṃ aparājitāyai svāhā || oṃ mahāghorāyai svāhā || oṃ mahābalāyai svāhā || mahātejāya svāhā || mahācaṃḍāyai svāhā || mahāśvetāyai svāhā || mahādīptāyai svāhā || mahājvālāyai svāhā || mahāmālāyai svāhā || mahāpāṃḍaravāsinyai svāhā || āryyatārāyai svāhā || bhṛkuṭītārāyai svāhā || jayatārāyai svāhā || vijayatārāyai svāhā || sarvamāriyai svāhā || padmābhāyai svāhā || vajracihnāyai svāhā || mālācaipāyai svāhā || vajratuṃḍikāyai svāhā || viśālākṣiyai svāhā || śāṃtāyai svāhā || [vai]dehapūjitāyai svāhā || saumyarūpyai

<NS 1026 - p27.1>
svāhā || mahāśvetāyai svāhā || jvālāyai svāhā || pāṃḍaravāsinyai svāhā || aparājitāyai svāhā || vajraśṛṃkhalāyai svāhā || vajrakaumāryyai svāhā || vajrakulaṃdharyai svāhā || vajrahastāya svāhā || kāṃcanamālikāyai svāhā || kusuṃbharatnocikāyai svāhā || tathāgatakuloṣṇīṣāya svāhā || vijṛṃbhamālikāyai svāhā || kanakaprabhāyai svāhā || locanāyai svāhā || vajratuṃḍikāyai svāhā || kamalākṣiṇyai svāhā || buddhalocanāyai svāhā || vajracaṃḍīyai svāhā || vajradharāyai svāhā || vajramālāyai svāhā || devīkanakaprabhāyai svāhā || kamalākṣiṇyai svāhā || śāṃtacittāya svāhā || jñānaprabhāyai svāhā || śaśiprabhāya svāhā || locane svāhā || sulocane svāhā || tāre svāhā || tārodbhave svāhā || sarvasatvānukaṃpinīye svāhā || sarvasatvottāraṇīye svāhā || sahasrabhuje svāhā || sahasranetre svāhā || avalokaya svāhā || tā

<NS 1026 - p27.2>
re svāhā || tutāre svāhā || siddhe svāhā || susiddhe svāhā || śuddhe svāhā || viśuddhe svāhā || sugatātmaje svāhā || maitrīhṛdaye svāhā || śyāme svāhā || śyāmarūpe svāhā || pravare pravarabhūṣite svāhā || aparājitāyai svāhā || mahāraudrīye svāhā || viśvarūpīye svāhā || mahābalāya svāhā || kalyāṇī svāhā || mahātejāya svāhā || lokadhātrīye svāhā || sarasvatīye svāhā || viśālākṣīye svāhā || śrīprajñāyai svāhā || buddhivarddhanīye svāhā || dhṛtidāyai svāhā || puṣṭidāyai svāhā || kālāyai svāhā || kāmarūpiṇīye svāhā || satvahitāyai svāhā || saṃgrāmottāraṇīye svāhā || prajñāpāramitāyai svāhā || āryyātārāyai svāhā || duṃdubhiye svāhā || śaṃkhinīye svāhā || vidyārājñai svāhā || priyaṃvadāyai svāhā || candrānanāya svāhā || mahāgaurīye svāhā || ajitāyai svāhā || pitavāsasāya svāhā || mahāmāyai svāhā || mahā

<NS 1026 - p28.1>
śvetāyai svāhā || mahābalāyai svāhā || mahāparākramāyai svāhā || mahāraudrāyai svāhā || mahācaṇḍiyai svāhā || mahāmāyūryyāyai svāhā || dṛṣṭasatvāya svāhā || sunaṃdinīye svāhā || nisunandanīye svāhā || praśāṃtāya svāhā || śāṃtarūpāya svāhā || vijayā svāhā || jvalanaprabhāya svāhā || vidyunmāraṇīye svāhā || dhvajīkhaḍgīye svāhā || cakrīcāpīye svāhā || jatāyudhāya svāhā || jaṃbhanīye svāhā || staṃbhanīye svāhā || kālarātrīye svāhā || niśācarīye svāhā || rakṣaṇīye svāhā || mohanīye svāhā || śāṃtāyai svāhā || kāṃtāyai svāhā || raudrīye svāhā || viniśrabhāye svāhā || brāhmaṇīye svāhā || devamātāyai svāhā || guhyavāsinīye svāhā || māṃgalyāya svāhā || śāṃkarīye svāhā || saumyāyai svāhā || jātavedāyai svāhā || manojavāya svāhā || kāpālinīye svāhā || mahāvegāya svāhā || saṃdhyāparājitāyai svāhā || satyā

<NS 1026 - p28.2>
parājitāya svāhā || sārthavāhāya svāhā || kṛpāviṣṭaye svāhā || naṣṭamārgapradarśanīye svāhā || varadāyai svāhā || sāsanīye svāhā || śāṃtiye svāhā || trirūpāya svāhā || mṛtavikramāya svāhā || śavarīye svāhā || yoginīye svāhā || caṃḍālīye svāhā || mṛtabāṃdhanāya svāhā || dhanyāya svāhā || puṇyāya svāhā || mahābhāgāya svāhā || śubhagāye svāhā || piyadarśanāya svāhā || kṛtāṃtatāya svāhā || śanibhīmāya svāhā || ugrāya svāhā || ugramahātapāya svāhā || jagadekāya svāhā || ekajaṭāya svāhā || śaraṇyāya svāhā || bhaktivatsalāya svāhā || vāgīśvarīye svāhā || śivāśukṣmāya svāhā || sarvatramānuṣāyai svāhā || sarvārthasādhanīye svāhā || goptrīye svāhā || dhātrīye svāhā || dhanaṃdadāya svāhā || gautamīye svāhā || śrīlokeśvarātmajāya svāhā || guṇānaṃtāya svāhā || sarvāśāparipūraṇīye svāhā || tārekṛpālaṃbanī

<NS 1026 - p29.1>
ye svāhā || maityātmakaśravaṇāya svāhā || oṃ ṛṣigaṇaprasaste sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñī tadyathā || kathaṃ bhagavan rūpasyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || vedanānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || saṃjñānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || saṃskārā[na]bhinirhārāya mahāpratyaṃgirābhinirhartavyā || vijñānamabhinirhārāya mahāpratyaṃgirābhinirhartavyā || cakṣuṣanabhinirhārāya mahāpratyaṃgirābhinirhartavyā || śrotasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || ghrāṇasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || jihvāyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || kāyasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || manasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || rūpasyānabhinirhārāya mahā

<NS 1026 - p29.2>
pratyaṃgirābhinirhartavyā || śabdasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || gaṃdhasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || rasasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || sparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || dharmānānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || cakṣurvijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || śrotavijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || ghrāṇavijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || jihvāvijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || kāyavijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || manovijñānasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || cakṣuḥsaṃsparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || śrotasaṃsparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || ghrāṇasaṃsparśasyāna

<NS 1026 - P30.1>
bhinirhārāya mahāpratyaṃgirābhinirhartavyā || jihvāsaṃsparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || kāyasaṃsparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || manosaṃsparśasyānabhinirhārāya mahāpratyaṃgirābhinirhartavyā || cakṣuḥsaṃsparśayāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || śrotasaṃsparśajāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || ghrāṇasaṃsparśajāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || jihvāsaṃsparśajāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || kāyasaṃsparśajāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || manaḥsaṃsparśajāvedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || pṛthivīdhāturanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || apdhātumaranabhinirhārāya mahāpratyaṃgirābhinirharttavyā || tejodhātoranabhi

<NS 1026 - p30.2>
nirhārāya mahāpratyaṃgirābhinirharttavyā || vāyudhāturanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || ākāśadhāturanabhinirhārāyaḥ mahāpratyaṃgirābhinirharttavyā || vijñānadhāturanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || avidyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || saṃskārānāmanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || vijñānasyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || nāmarūpasyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || ṣaḍāyatanasyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || sparśasyānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || vedanānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || tṛṣṇānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || upādānānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || bhavānabhinirhārāya ma

<NS 1026 - p31.1>
hāpratyaṃgirābhinirharttavyā || jātyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || jarāmaraṇā[na]bhinirhārāya mahāpratyaṃgirābhinirharttavyā || dānapāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || śīlapāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || kṣāṃtipāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || vīryyapāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || dhyānapāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || prajñāpāramitānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || adhyātmaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || bahirddhāśūnyathānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || adhyātmabahirddhāśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || śūnyatāśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || mahāśūnya

<NS 1026 - p31.2>
tānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || paramārthaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || saṃskṛtaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || asaṃskṛtaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || atyaṃtaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || anavarā[gra]śūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||[ anavakāraśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā ||] prakṛtiśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || sarvadharmaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || svalakṣaṇaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || anupalaṃbhaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || abhāvaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || svabhāvaśūnyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || abhāvasvabhāvaśū

<NS 1026 - p32.1>
nyatānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || smṛtyupasthānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || saṃmyakprahāṇānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || ṛddhipādānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || indriyāṇyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || balānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || bodhyaṃgānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || āryyāṣṭāṃgamārgānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || āryyasatyānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || dhyānānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || apramāṇānyabhinirhārāya mahāpratyaṃgirābhinirharttavyā || ārūpyasamāpatti anabhinirhārāya mahāpratyaṃgirābhinirharttavyā || vimokṣānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || anupūrvavihārasamāpa

<NS 1026 - p32.2>
tyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || śūnyatānimittāpraṇihitavimokṣamukhāni anabhinirhārāya mahāpratyaṃgirābhinirharttavyā || abhijñānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || samādhyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || dhāraṇīmukhānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || daśatathāgatabalānyanabhinirhārāya mahāpratyaṃgirābhinirharttavyā || catvāri vaiśāradyāni anabhinirhārāya mahāpratyaṃgirābhinirharttavyā || catasraḥ pratisaṃvidānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || mahākaruṇānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || aṣṭādaśāveṇikābuddhadharmānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || śrotāpattiphalānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || sakṛdāgāmiphalānabhinirhā

<NS 1026 - p33.1>
rāya mahāpratyaṃgirābhinirharttavyā || anāgāmiphalānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || pratyakabodhiranabhinirhārāya mahāpratyaṃgirābhinirharttavyā || mārgākārajñātānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || sarvākārajñātānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || evaṃsarvadharmāṇānabhinirhārāya mahāpratyaṃgirābhinirharttavyā || || atha bhagavatyāha || kathaṃ bhagavansarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñā mantrapadāni niścaraṃti sma namo bhagavate uṣṇīṣāya śuddhe viraje vimale svāhā || namo bhagavate uṣṇīṣāya || namo buddhāya || namo dharmāya || namaḥ saṃghāya || namo mahāpratyaṃgirāyai || tadyathā || atramantrapadā siddhā sarvakarmmakarā śubhā || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ jaṃbhanakari || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ staṃbhanaka

<NS 1026 - p33.2>
rī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ mohanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ paravidyā staṃbhanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ sarvavidyā chedanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ sarvaduṣṭānāṃ staṃbhanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ sarvayakṣarākṣasagrahāṇāṃ vidhvaṃsanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ caturāśītīnāṃ grahasahasrāṇāṃ vidhvaṃsanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ aṣṭāviṃśatinakṣatrāṇāṃ prasādanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ aṣṭānāṃ mahāgrahāṇāṃ vidhvaṃsanakarī || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ sarvasatvānāṃ ca rakṣāṃ kuru svāhā || oṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāsahasrabhuje mahāsahasraśīrṣe koṭīsahasranetre abhedyajvalitatākāre mahāvajrodale tribhuvanamaṃḍale svastirbhavaṃtu mama sarvasatvānāṃ ca hūṃ hūṃ phaṭ phaṭ svāhā || || rājabhayāt || caurabhayāt || agnibhayāt || udakabhayāt || viṣaśastrabhayāt || śatrubhayā

<NS 1026 - p34.1>
t || śastrabhayāt || paracakrabhayāt || durbhikṣabhayāt || aribhayāt || aśanibhayāt || akālamṛtyubhayāt || dharaṇīkaṃpabhayāt || ulkāpātabhayāt || rājadaṃḍabhayāt || caṃḍamṛgabhayāt || caṃḍalabhayāt || nāgabhayāt || yakṣabhayāt || vidyutbhayāt || rākṣasabhayāt || taptavālukābhayāt || suparṇibhayāt || sarvetyupadravopasargopāyāsabhayāt || grahabhayāt || devabhayāt || nāgabhayāt || yakṣabhayāt || rākṣasabhayāt || gaṃdharvabhayāt || asurabhayāt || garuḍabhayāt || marutabhayāt || kinnarabhayāt || mahoragagrahāt || manuṣyagrahāt || amanuṣyagrahāt || bhūtagrahāt || pretagrahāt || piśācagrahāt || kuṃbhāṃḍagrahāt || pūtanagrahāt || kaṭapūtanagrahāt || skaṃdagrahāt || unmādagrahāt || chāyāgrahāt || apasmāragrahāt || ostārakagrahāt || jāmikāgrahāt || śakuni

<NS 1026 - p34.2>
kāgrahāt || mātṛnaṃdikāgrahāt || laṃbikāgrahāt || samikāgrahāt || ālaṃbanagrahāt || ḍākinīgrahāt || kaṭaḍākinīgrahāt || kaṭaṃkaṭaḍākinīgrahāt || sarvagrahāt || || ojohāriṇyā || garbhāhāriṇyā || rudhihāriṇyā || vasāhāriṇyā || māṃsāhāriṇyā || medāhāriṇyā || majjāhāriṇyā || jātāhāriṇyā || jīvitāhāriṇyā || valyāhāriṇyā || mālyāhāriṇyā || gaṃdhāhāriṇyā || dhūpāhāriṇyā || puṣpāhāriṇyā || phalāhāriṇyā || śasyāhāriṇyā || āhutyāhāriṇyā || pūjāhāriṇyā || diṣṭāhāriṇyā || mūtrāhāriṇyā || kheṭāhāriṇyā || śleṣmāhāriṇyā || siṃhānakāhāriṇyā || vāṃtāhāriṇyā || viriktāhāriṇyā || asucyāhāriṇyā || uchiṣṭāhāriṇyā || spaṃdanikāhāriṇyā || citrāhāriṇyā || oṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyā dhārayet || mama sarvasatvānāṃ ca

<NS 1026 - p35.1>
rakṣāṃ karoti guptiṃ paritrāṇaṃ parigrahaṃ paripāranaṃ śāṃti svastyayanaṃ daṃḍaparihāraṃ śastraparihāraṃ viṣadūṣaṇaṃ viṣanāśanaṃ sīmābaṃdhaṃ dharaṇībaṃdhaṃ kurvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ ||

[shaberon]

Paramartha Sitatapatra Parasol--2 of 4

approximately beginning of Mahamayuri:



tadyathā || namo sarvabuddhānāṃ || namo pratyekabuddhānāṃ || namo maitreyapramukhānāṃ || namo samaṃtabuddhānāṃ || namonāgāmināṃ || namaḥ sakṛdāgāmināṃ || namaḥ śrotāpannānāṃ || namaḥ samyaggātānāṃ || namaḥ saṃmyakpratipannānāṃ || namo deva brahmaṇe || namo indriyāya || namo bhagavate rudrāya || umāpatisahitāya || namo varuṇāya || namo sarvanāgādhipataye || namo kuverāya || namo īśānāya || namo dhṛtarāṣṭrāya || namo virūḍhakāya || namo virūpākṣāya || namo vaiśravaṇāya || namo devānāṃ || namo nāgānaṃ || namo asurānāṃ || namo marutānāṃ || namo garuḍānāṃ || namo gaṃdharvāṇāṃ || namo kinnarāṇāṃ || namo mahoragānāṃ || na

<NS 1026 - p35.2>
mo yakṣāṇāṃ || namo rākṣasānāṃ || namo bhūtānāṃ || namo pretānāṃ || namo piśācānāṃ || namo kuṃbhāṃḍānāṃ || namo pūtanānāṃ || namo kaṭapūtanānāṃ || namo skaṃdānāṃ || namo unmādānāṃ || namo chāyānāṃ || namo apasmārāṇāṃ || namo ostārakānāṃ || namo rudrāṇāṃ || namo caṃdrāryānāṃ || namo sūryāryānāṃ || namo nakṣatrāṇāṃ || namojyotiṣīṇāṃ || namo grahāṇāṃ || namo ṛṣīṇāṃ || namo siddhavratānāṃ || namo siddhavidyādharāṇāṃ || namo gaurīye || namo gaṃdhārīye || namo jaṃgulīye || namo amitābhāya || namo jaṃbhanīye || namo staṃbhanīye || namo mānasīye || namo cāpeṭīye || namo drāviḍīye || namaḥ śarvarīye || namo athaśavarīye || namo caṃḍālīye || namo mātaṃgīye || namo nāgahṛdayāya || namo garuḍahṛdayāya || namo ṣaḍakṣarīye || namo māṇibhadrāya || namo pūrṇabhadrāya || namo samaṃ

<NS 1026 - p36.1>
tabhadrāya || namo mahāsamaṃtabhadrāya || namaḥ sarvagrahāṇāṃ || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñī dhārayet || mama sarvasatvānāṃ ca rakṣāṃ karoti guptiṃ paritrāṇaṃ parigrahaṃ paripālanaṃ śā[ṃ]tiṃ svastyayanaṃ daṃḍaparihāraṃ śastraparihāraṃ viṣadūṣaṇaṃ viṣanāśanaṃ sīmābaṃdhaṃ dharaṇībaṃdhaṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ || || iti mahāpratyaṃgirāyā sādhānvayajñānaṃ || || eteṣāṃ sarveṣāṃ sarvagrahāṇāṃ sarvavidyā chiṃdayāmyasinā kīlayāmi vajreṇa || śakrakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || ḍākaḍākinīkṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || parivrājakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || nārāyaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || mahāpaśupati

<NS 1026 - p36.2>
kṛtā[ṃ] vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || mahākālakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || mātṛgaṇakṛtāṃ vidyāṃ chi[ṃ]dayāmyasinā kīlayāmi vajreṇa || kāpālikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || śavarakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || puṣkaśakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || atharvaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || vajrakaumārikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || yamārikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || yamadūtakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || krūranāgakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || agnikarmakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || vināyekakṛtāṃ vidyāṃ chiṃ

<NS 1026 - p37.1>
dayāmyasinā kīlayāmi vajreṇa || kumārakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || caturmahārājakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || caturbhaginīkṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || garuḍakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || jayakaramadhukarasiddhikarakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || bhṛṃgirīṭikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || naṃdikeśvarakārttikeyakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || candrasūryakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || gaṇapatisahāyakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || nagnaśramaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || arhatkṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || avalokiteśvarakṛtāṃ vidyāṃ chiṃda

<NS 1026 - p37.2>
yāmyasinā kīlayāmi vajreṇa || vītarāgakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || vajrapāṇiguhyādhipatikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || yatra yatrakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || yenakārikṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || muṇḍaśravaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || dūtadūtīkṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || ceṭaceṭīkṛtāṃ vidyā[ṃ] chiṃdayāmyasinā kīlayāmi vajreṇa || sarvaṛṣigaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvadevagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvanāgagaṇakṛtāṃ vidyāṃ chiṃ

<NS 1026 - p38.1>
dayāmyasinā kīlayāmi vajreṇa || sarvayakṣagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvagaṃdharvagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvagaruḍagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvakinnaragaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvamahoragagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvabhūtagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvapretagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvapiśācagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarva unmādagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīla

<NS 1026 - p38.2>
yāmi vajreṇa || sarvachāyagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvāpasmāragaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarva ostārakagaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || sarvāhitaiṣigaṇakṛtāṃ vidyāṃ chiṃdayāmyasinā kīlayāmi vajreṇa || || oṃ bhagavati rakṣa 2 mama sarvasatvānāṃ ca sarvabhayopadravebhyaḥ svāhā || sarvaduṣṭapraduṣṭānsarvapratyarthikapratyamitrāhitaiṣiṇopāsarvabhayopadravebhyaḥ || oṃ sarvatathāgatoṣṇīṣasitātapatre namostute || sarvabuddhabodhisatva namostute || asitānalārkasiktaprasphoṭasitātapatre || āha || kathaṃ bhagavan sarvatathāgatoṣṇīṣasitāṃtapatrā nā

<NS 1026 - p39.1>
māparājitā mahāpratyaṃgirā mahāvidyārājñā || bhagavānāha || kṣatriyamahāśālakulāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || brāhmaṇamahāśālakulāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || gṛhapatimahāśālakulāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || caturmahārājaśālakulāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || trāyatriṃśānāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nā

<NS 1026 - p39.2>
madhyeyaṃ loke prādurbhāvo bhavati || yāmānāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || tuṣitā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || nirmāṇaratīnāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīr{atay}ā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || paranirmitavasavarttināṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || brahmakāyikānāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || brahmapūrohitānāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃ

<NS 1026 - p40.1>
girā nāmadhyeyaṃ loke prādurbhāvo bhavati || brahmapārṣadyā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || mahābrahmaṇā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || ābhā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || parimitābhā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || apramāṇābhā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || ābhāsvarāṇāṃ devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahā

<NS 1026 - p40.2>
pratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || śubhakṛtsnā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || bṛhatphalā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || atapā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || sudarśanā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || akaniṣṭhā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || ākāśāmaṃtyāyatanonāma devānāṃ gaṃbhīratayā subhūte mahābodhi

<NS 1026 - p41.1>
satvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || vijñānānaṃtyāyatano devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || ākiṃcanyāyatano devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || nāmasaṃjñā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || naivasaṃjñā devānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || dānapāramitāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || śīrapāramitāyāṃ gaṃbhīratayā subhūte mahābodhisa

<NS 1026 - p41.2>
tvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || kṣāntipāramitāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || vīryyapāramitāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || dhyānapāramitāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || prajñāpāramitāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || adhyātmaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || bahirdhāśūnyatāyāṃ gaṃbhīratayā subhūte mahābo

<NS 1026 - p42.1>
dhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || adhyātmabahirdhāśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || śūnyatāśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || mahāśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || paramārthaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || saṃkṛtaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati ||

<NS 1026 - p42.2>
anavarāgraśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || anavakāraśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || prakṛtiśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || sarvadharmaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || svalakṣaṇaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || anupalaṃbhaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā

<NS 1026 - p43.1>
gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || abhāvaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || svabhāvaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || abhāvasvabhāvaśūnyatāyāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || smṛtyupasthānānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || saṃmyakprahāṇānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bha

<NS 1026 - p43.2>
vati || ṛddhipādānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || indriyāṇāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || balānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || bodhyaṃgānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || āryāṣṭāṃgamārgānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || dhyānānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati ||

<NS 1026 - p44.1>
apramāṇānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || aṣṭānāṃ vimokṣāṇāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || navānupūrvavihārasamāpattināṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || śūnyatānimittāprahiṇitavimokṣmukhāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || aṣṭānāṃ vimuktimārgānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || samādhīnāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhī

<NS 1026 - p44.2>
rā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || dhāraṇīmukhānānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || daśatathāgatabalānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || caturvaiśāradyāni gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || caturṇāṃ pravisaṃvidānāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || aṣṭādaśānāṃ āveṇikabuddhadharmāṇāṃ gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || śrāvakayānasya gaṃbhīratayā subhūte ma

<NS 1026 - p45.1>
hābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || pratyekayānasya gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || mahāyānasya gaṃbhīratayā subhūte mahābodhisatvā gaṃbhīrā mahāpratyaṃgirā nāmadhyeyaṃ loke prādurbhāvo bhavati || imā[ṃ] sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāvidyārajñī dhārayenmama sarvasatvānāṃ ca rakṣāṃ karoti guptiṃ paritrāṇaṃ parigrahaṃ paripālanaṃ śāṃtiṃ svastyayanaṃ daṃḍaparihāraṃ śastraparihāraṃ viṣadūṣaṇaṃ viṣanāśanaṃ sīmābaṃdhaṃ dharaṇībaṃdhaṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ || iti mahāpratyaṃgirāyāṃ pūrvābhisamayādhikāraḥ || || bhagavānāha || na khalu punariyaṃ bhadaṃta mahā

<NS 1026 - p45.2>
bodhisatva dānapāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyā[ḥ] || śīlapāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyā[ḥ] || kṣāṃtipāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || vīryyapāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || dhyānapāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || prajñāpāramitaivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || adhyātmaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣi

<NS 1026 - p46.1>
tavyopadeṣṭavyāḥ || bahirddhāśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || adhyātmabahirddhāśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || śūnyatāśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || mahāśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || paramārthaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ * || asaṃskṛtaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || atyaṃtaśūnyataivamupadiṣṭānavayāna saṃp[r]aṣṭh

<NS 1026 - p46.2>
itasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || anavarāgraśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || anavakāraśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || prakṛtiśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || sarvadharmaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || svalakṣaṇaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || anupalaṃbhaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || abhāvaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭa

<NS 1026 - p47.1>
vyāḥ || svabhāvaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || abhāvasvabhāvaśūnyataivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || smṛtyupasthānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || saṃmyakprahāṇāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || ṛddhipādānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || indriyāṇāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || bodhyaṃgānāṃ naivamupadiṣṭāna

<NS 1026 - p47.2>
vayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || dhyānānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || apramāṇānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || ārūpyasamāpattīnāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || aṣṭ{adaś}ānāṃ vimokṣāṇāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || navānupūrvavihārasamāpattīnāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || śūnyatānimittāpraṇihitavimokṣamukhānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato

<NS 1026 - p48.1>
bhāṣitavyopadeṣṭavyāḥ || aṣṭānāṃ vimuktimārgānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || abhijñānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || samādhināṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || dhāraṇīmukhānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || daśatathāgatabalānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || caturvaiśāradyānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || caturṇāṃ pratisaṃvidā nai

<NS 1026 - p48.2>
vamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || aṣṭadaśāveṇikabuddhadharmāṇāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || śrāvakayānānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || pratyekabuddhayānānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || mahāyānānāṃ naivamupadiṣṭānavayāna saṃpraṣṭhitasya bodhisatvasyāgrato bhāṣitavyopadeṣṭavyāḥ || || iti mahāpratyaṃgirāyāṃ dharmmopadeśādhikāraḥ || || bhagavānāha || yaḥ imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmā mahā

<NS 1026 - p49.1>
pratyaṃgirā mahāvidyārājñī mama sarvasatvānāṃ ca rakṣāṃ karoti guptiṃ paritrāṇaṃ parigrahaṃ paripālanaṃ śāṃtiṃ svastyayanaṃ daṃḍaparihāraṃ śastraparihāraṃ viṣadūṣaṇaṃ viṣanāśanaṃ sīmābaṃdhaṃ dharaṇībaṃdhaṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ || atha bhagavānāha || atra maṃtrapadā siddhāḥ saṃmyaksaṃbuddhabhāṣitā || oṃ sarvatathāgatoṣṇīṣasitātapatre hūṃ phaṭ svāhā || oṃ jvala 2 prajvala 2 dhaka 2 dara 2 vidara 2 khāda 2 chiṃda 2 bhiṃda 2 hana 2 daha 2 paca 2 hūṃ hūṃ phaṭ 2 svāhā || oṃ sarvaduṣṭān hūṃ phaṭ svāhā || sarvadurlaṃghitebhyaḥ phaṭ || sarvadurllikhitebhyaḥ phaṭ || sarvadurbhikṣebhyaḥ phaṭ || sarvaduḥchāyebhyaḥ phaṭ || sarvadigbhyaḥ phaṭ || sarvaduṣkarebhyaḥ phaṭ ||

<NS 1026 - p49.2>
sarvāvadhūtebhyaḥ phaṭ || sarvaduṣkṛtebhyaḥ phaṭ || sarvaduḥprekṣitebhyaḥ phaṭ || sarvajvarebhyaḥ phaṭ || sarvāpasmārebhyaḥ phaṭ || sarvostārakebhyaḥ phaṭ || sarvaḍākinībhyaḥ phaṭ || sarvarevatībhyaḥ phaṭ || sarvakaṭavāsinībhyaḥ phaṭ || sarvajāmakebhyaḥ phaṭ || sarvaśakunibhyaḥ phaṭ || sarvamātṛnaṃdikebhyaḥ phaṭ || sarvanagarebhyaḥ phaṭ || sarvaviṣebhya[ḥ] phaṭ || sarvayogebhyaḥ phaṭ || sarvālaṃbakebhyaḥ phaṭ || sarvabhayabhyaḥ phaṭ || sarvopasargebhyaḥ phaṭ || sarvāpāyāsebhyaḥ phaṭ || sarvopadravebhyaḥ phaṭ || sarvatrāsebhyaḥ phaṭ || sarvavyādhibhyaḥ phaṭ || sarvaśravaṇebhyaḥ phaṭ || sarvagrahebhyaḥ phaṭ || sarvatīrthikebhyaḥ phaṭ || sarvapratyarthikebhyaḥ phaṭ || sarvapātakebhyaḥ phaṭ || sarvonmādebhyaḥ phaṭ ||

<NS 1026 - p50.1>
sarvachāyebhyaḥ phaṭ | sarvavidyādharebhyaḥ phaṭ | jayakaramadhukarasiddhikarasarvārthasādhakebhyaḥ phaṭ | savravidyācāryyabhyaḥ phaṭ | agnayebhyaḥ phaṭ | vajrakaumārīvidyārājñai phaṭ | sarvavighnavināyakebhyaḥ phaṭ | sarvavidrāvanakarāya phaṭ | sarvāsurebhyaḥ phaṭ | sarvagaruḍebhyaḥ phaṭ | sarvamahoragebhyaḥ phaṭ | sarvamanuṣyabhyaḥ phaṭ | sarvaamanuṣyebhyaḥ phaṭ | sarvamārutebhyaḥ phaṭ | sarvapiśācebhyaḥ phaṭ | sarvakuṃbhāṃḍebhyaḥ phaṭ | sarvapūtanebhyaḥ phaṭ | sarvakaṭapūtanebhyaḥ phaṭ | oṃ vajraśṛṃkhalāya mahāpratyaṃgirāya phaṭ | chiṃda 2 phaṭ | bhiṃda 2 phaṭ | hūṃ 2 phaṭ | he 2 phaṭ | amoghāya phaṭ | apratihatāya phaṭ | vajradharāya phaṭ | varadāya phaṭ | asuravidāvanakarāya phaṭ | sarvadevebhyaḥ phaṭ | sarvanāgebhyaḥ phaṭ | sarvayakṣebhyaḥ phaṭ | sarvarākṣasebhyaḥ phaṭ | sarvagaṃdharvagaṇebhyaḥ phaṭ | sarvakinnaragaṇebhyaḥ phaṭ | sarvamahoragagaṇebhyaḥ phaṭ | sarvabhūtebhyaḥ phaṭ | sarvapiśācebhyaḥ phaṭ | sarvapūtanebhyaḥ phaṭ | sarvaskaṃdhebhyaḥ phaṭ | sarvāpasmārebhyaḥ phaṭ | oṃ vajraśṛṃkhalāya mahāpratyaṃgirebhyaḥ phaṭ | oṃ kālāya phaṭ | oṃ mahākālāya phaṭ | oṃ mātṛgaṇāya phaṭ | oṃ vaiṣṇavīye phaṭ | māheśvarīye phaṭ | brahmāṇīye phaṭ | agniye phaṭ | oṃ kālīye phaṭ | oṃ mahākālīye

<NS 1026 - p50.2>
phaṭ || oṃ kāladaṃḍīye phaṭ || aindrīye phaṭ || raudrīye phaṭ || cāmuṃḍīye phaṭ || vārāhīye phaṭ || mahāvārāhīye phaṭ || kālarātrīye phaṭ || rātrīye phaṭ || yamadaṃḍīye phaṭ || mahāyamadaṃḍīye phaṭ || kāpālīye phaṭ || mahākāpālīye phaṭ || kaumārīye phaṭ || mahākaumārīye phaṭ || yāmīye phaṭ || vāyavyāye phaṭ || naiṛtyāye phaṭ || vāruṇīye phaṭ || mārutāya phaṭ || mahāmārutāya phaṭ || saumīye phaṭ || aiśānīye phaṭ || puṣkasīye phaṭ || atharvaṇīye phaṭ || śavarīye phaṭ || kṛṣṇaśavarīye phaṭ || yamadūtīye phaṭ || niśidivācarebhyaḥ phaṭ || trisaṃdhyācarebhyaḥ phaṭ || dharaṇīye phaṭ || dhāraṇīye phaṭ || adhimuktikakāśmīramahāśmaśānanivāsinīye phaṭ || ebhyo sarvabhayebhyaḥ phaṭ || sarvadoṣebhyaḥ phaṭ || oṃ hūṃ hrūṃ hrīṃ ṣṭroṃ

<NS 1026 - p51.1>
baṃdha 2 sarvaduṣṭān rakṣa 2 mama sarvasatvānāṃ ca hūṃ hūṃ phaṭ phaṭ 2 svāhā || ye kecinmama sarvasatvānāṃ ca duṣṭā duṣṭacittāḥ raudrā raudracittā pāpāḥ pāpacittāḥ kupitā kupitacittāḥ amitrā amitracittā || ete mama sarvasatvānāṃ ca rakṣaṃ karoti guptiṃ paritrāṇaṃ parigrahaṃ paripālanaṃ śāṃtiṃ svastyayanaṃ daṃḍaparihāraṃ śastraparihāraṃ viṣadūṣaṇaṃ viṣanāśanaṃ sīmābaṃdhaṃ dharaṇībaṃdhaṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ || || tadyathā || atra maṃtrapadā siddhāḥ sarvadharmakarā śubhā || namo buddhāya || namo dharmāya || namaḥ saṃghāya || || namo bhagavate āryyamahāpratyaṃgirāyai || tadyathā || mahāpratyaṃgirā giri 2 giriṇi 2 girivati ākāśavati || ākāśaviśuddhe sarvapāpa sarvaduṣṭamārān

<NS 1026 - p51.2>
baṃdha 2 mārtaṃḍe || mahāmṛtyudaṃḍanivāriṇī mānaṃḍa mārtaṃḍe mahāmārtaṃḍe || māriṇi mahāmāriṇī || care vicare vimale ciṭi 2 viṭi 2 ghoriṇī ghariṇī nimitta viriṇī mahāpratyaṃgire pravare pravarasame || caṃḍāli mātaṃgi rūndhasi karasi sarasi || varcasi || sumati puṣkasi śavari śāvari śaṃkari śā[ṃ]kari sumati sāmati damidi dāmidi pacani pācani ḍamini ḍāmini || sarale sare || śaralaṃbhe hīnamadhyotkṛṣṭavidāriṇī || vidhāriṇīṃ mahividhāriṇī mahile || mahāmahile nigaḍe nigaḍabhe || matte mattini cakre cakravākini || jvala 2 jvālinī śavari śāvari sarvavyādhiharaṇī || muni 2 vimuni || culi 2 cuṃḍinī || mahācuṃḍinī || nimi 2

<NS 1026 - p52.1>
nimindhari varddhani trilokeśvari || trilokajanani || trilokālokakari traidhātukavyavalokini vajrapāśaparaśumuḍgarakhaḍgaśaṃkhacakratriśūlaciṃtāmaṇimakuṭa mahāvidyādhāraṇī sarvasatvānāṃ ca sarvatathāgatasthānagataṃ sarvaduṣṭabhayebhyaḥ || sarvamanuṣyāmanuṣyebhyaḥ sarvavyādhibhyaḥ || vajre vajravati || vajradhare || vajrapāṇi dhara 2 hini 2 mini 2 ciri 2 siri 2 vara 2 varade varadāṃkuśe sarvatrajayalabdhe svāhā || sarvapāpavidāriṇī svāhā || sarvavyādhiharaṇī svāhā || garbhasaṃdhāraṇī svāhā || sarvabhayaharaṇī svāhā || sarvaśatrubhayaharaṇī svāhā || svasti svāhā || bhuve svāhā || śāṃtīye svāhā || puṣṭīye svāhā || balavarddhanīye svāhā || jaye svāhā || vi

<NS 1026 - p52.2>
jaye svāhā || jayavijaye svāhā || jayavati svāhā || jayakamale svāhā || vipule svāhā || sarvatathāgatoṣṇīṣamūrtte svāhā || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñā maṃtrapadārakṣā tiryagyonigatānāṃmapimṛgapakṣiṇā yeṣāṃ karṇapuṭe nipatiṣyaṃti || paṭiṣyaṃti || pāṭhayiṣyaṃti te sarvevaivarttikābhaviṣyaṃti || anuttarāyā saṃmyaksaṃbodhau kaḥ punarvādo ya imāṃ mahāpratyaṃgirā nāma dhāraṇī sārddhaṃ kulaputro vā kuladuhitā vā bhikṣurvā bhikṣuṇī vā upāsako vā upāsiko vā rājo vā rājamātro vā brāhmaṇo vā kṣatriyo vā tadanyo vā yaḥ kaścinmahāgauraveṇādhyāśayena likhiṣyaṃ

<NS 1026 - p53.1>
ti likhāpayiṣyaṃti || dhārayiṣyaṃti vācayiṣyaṃti paryyavāpsyaṃti trivena manasā bhaviṣyaṃti parebhyaśca vistareṇa saṃprakāśayiṣyaṃti || tasya mahābodhisatvasyāṣṭāvakālamaraṇāni sarvathāna pratikākṣitavyāni na cāsya kāye mahāvyādhayo bhaviṣyaṃti || na cāsya kāyena mahāvyādhayo bhaviṣyaṃti || na cāsya kāyena mahāvyādhayo bhaviṣyaṃti || na cāsya śarīrāgni na viṣāṃ na śastraṃ na kakhorda kiraṇamaṃtrakarma cūrṇṇayogomayātumūlanna jvara na śirovarttikā || ekāhikā dvāhikā tryāhikā cāturthakā saptāhikā arddhamāsikā yo na kramiṣyaṃti || satkṛtya cādhigachaṃti || yatra yatropapadyateḥ tatra 2 jātau jātau jātismaro bhaviṣyaṃti ||

<NS 1026 - p53.2>
sarvasatvānāṃ ca priyo bhaviṣyaṃti vaṃdanīyaśca pūjanīyaśca puṃgalo bhaviṣyaṃti || sarvanarakatiryakyonigatigaganapretopapattiśca parimuktirbhaviṣyaṃti || yathā cārkamaṃḍala raśmibhi pratapati || sarvasatvānāṃ ca tathā jñānasyāvabhāsakaro bhaviṣyati || tathā caṃdramaṃḍala mamṛtenaprabhavatā sarvasatvānāṃ ca prahlādayati || tathāyaṃ dharmāmṛta sarvasatvacittasaṃtānāni prahlādayaṃti || sarvaduṣṭayakṣarākṣasabhūtapretapiśāca araḍākaḍākinīgrahavighnavināyakādayo sarvesyā mahāpratyaṃgirā mahāvidyārājñā prabhāvena saktaviheṭhanākartuṃ || upasaṃkrametā ca teṣāmiyaṃ mahāvidyārājñī smarttavyāḥ || tataste sarvaduṣṭacittā vidyādharasya ājñāgravanavidheyā bhaviṣyaṃti || asyā evānubhāvena ya

<NS 1026 - p54.1>
duta mahāpratyaṃgirā mahāvidyārājñī na cāsya śatrubhayaṃ bhaviṣyaṃti || anatikramanīyāśca bhaviṣyaṃti || sarvaśatrugaṇai rājamātyaibrāhmaṇagṛhapatiśca aṃtaso mahābrāhmaṇa vadhya{ḥ}rho vadhaka mahābodhisatvoruchitānyapi śastrāṇi khaṃḍa 2 gachati || yathā paṃśumayāni sarvavighnaviśīryaṃte || tasmiṃśca samaye dharmā 2 syāmukhī bhaviṣyaṃti || mahācāsya smṛtibalaṃ bhaviṣyaṃti || iyaṃ mahāpratyaṃgirā mahāvidyārājñai dhārayet || tasmāttarhi mahābodhisatvā sarvākālaṃ ca likhitvā kāya kaṃṭhagatāṃ kṛtvā dhārayitavyā evaṃ hyasau nara manuyakṣarākṣasai saṃpūjitaste tatra sarvā bhaviṣyaṃti || vajrapāṇiśca yakṣendro iścaiva sacīpati || hārīti paṃcikaścaiva loka

<NS 1026 - p54.2>
pālā maharddhikā candra sūryya grahāparamadāruṇāṃ || te ca sarve mahānāgādevatā ṛṣayastathā || asurā garuḍā gaṃdharvā kiṃnarāśca mahoragā || yakṣāśca rākṣasā bhūtā pretā piśācā apsamārā ostārakā || || iti mahāpratyaṃgirāyāṃ rakṣānvayajñānaṃ || || ataḥ paraṃ bodhisatva iyaṃmeva mahāpratyaṃgirā mahāvidyā śrṇotume || ojohārā || garbhāhārā || rudhihārā || vasāhārā || māṃsāhārā || medāhārā || jātāhārā || majjāhārā || jīvitāhārā || valyāhārā || mālyāhārā || gaṃdhāhārā || dhūpāhārā || dīpāhārā || puṣpāhārā || phalāhārā || śasyāhārā || āhutyāhārā || pūjāhārā || viṣṭāhārā || mūtrāhārā || kheṭāhārā || śleṣmāhārā ||

<NS 1026 - p55.1>
siṃhānakāhārā || uchriṣṭāhārā || vāṃtāhārā || viriktāhārā || aśucyāhārā || spandanikāhārā || pāpacittā || duṣṭacittā || paraprāṇaharā || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñī pravakṣāmi || puṣpadhūpadīpagandhanaivedyādibaliṃ ca dāsyāmi || apakrāmantume || pāpacittā duṣṭacittā || raudracittā || paraprāṇaharā || sarvagrahāt || ojohārā śṛṇvantume || saumyacittā maitracittā || kalyāṇahārā śṛṇvantume || buddhadharmasaṃghābhiprasannā || tadyathā || kālīye phaṭ || karālīye phaṭ || kuṃbhāṃḍīye phaṭ || śaṃkhinīye phaṭ || kamalākṣiṇīye phaṭ || hārītīye phaṭ || harikeśīye phaṭ ||

<NS 1026 - p55.2>
śrīmatīye phaṭ || haripiṃgale phaṭ || laṃbe phaṭ || pralaṃbe phaṭ || laṃbodarīye phaṭ || kālapāśe phaṭ || kapāladhāraṇīye phaṭ || kalaśodarīye phaṭ || yamadūtīye phaṭ || yamarājasīye phaṭ || bhūtagrasanīye phaṭ || pratikṣamabalīye phaṭ || gaṃdhapuṣpadhūpadīpadīpaṃ ca dāsyāmi || rakṣa 2 māṃ sarvasatvānāṃ ca sarvabhayopadravebhyaḥ svāhā || tadyathā || iḍi viḍi svāhā || miḍi piḍi svāhā || niḍi svāhā || meḍe svāhā || āḍe svāhā || nāḍe svāhā || ghāḍe svāhā || durghāḍe svāhā || hariṇi svāhā || hāriṇi svāhā || caturi svāhā || cāturi svāhā || vegāri svāhā || vaguḍi svāhā || pāṃśupiśāciye svāhā || varṣaṇīye svāhā || ārohiṇīye svāhā || virohiṇīye svāhā || ele svāhā || mele

<NS 1026 - p56.1>
svāhā || māle svāhā || tiri 2 svāhā || turu 2 svāhā || mara 2 svāhā || miri 2 svāhā || muru 2 svāhā || sara 2 svāhā || siri 2 svāhā || suru 2 svāhā || dama 2 svāhā || dimi 2 svāhā || dumu 2 svāhā || dume 2 svāhā || dudume 2 svāhā || didime 2 svāhā || capale svāhā || vimale svāhā || aśvamukhi svāhā || kālīye svāhā || karālīye svāhā || kuṃbhāṃḍīye svāhā || prakīrṇakeśīye svāhā || kara 2 svāhā || kiri 2 svāhā || kuru 2 svāhā || hara 2 svāhā || hiri 2 svāhā || huru 2 svāhā || dama 2 svāhā || dimi 2 svāhā || dumu 2 svāhā || gorāye svāhā || velāye svāhā || parivelāye svāhā || śiri 2 svāhā || hiri 2 svāhā || miri 2 svāhā || tili 2 svāhā || bhili 2 svāhā || culu 2 svāhā || muhu 2 svāhā || huru 2 svāhā || muru 2 svāhā || hu 2

<NS 1026 - p56.2>
svāhā || ru 2 svāhā || mu 2 svāhā || vā 2 svāhā || pā 2 svāhā || jāla 2 svāhā || dama 2 svāhā || damanī svāhā || tapa 2 svāhā || paca 2 svāhā || pacanī svāhā || jvara 2 svāhā || jvalanī svāhā || duṃdubhiḥ svāhā || garjanī svāhā || varṣaṇī svāhā || sphoṭanīye svāhā || tapanī svāhā || tāpanī svāhā || pacanī svāhā || pācanī svāhā || haraṇī svāhā || hāraṇī svāhā || karaṇī svāhā || kāraṇī svāhā || kaṃpanī svāhā || kāpanī svāhā || mardanī svāhā || mahāmardanī svāhā || maṃḍitike svāhā || kṣemaṃkari svāhā || saṃkari svāhā || sāṃkari svāhā || śavarī svāhā || śāvarī svāhā || jvala 2 svāhā || duma 2 svāhā || duṃbha 2 svāhā || suku 2 svāhā || sume 2 svāhā || gorāya svāhā || velāya svāhā || pa

<NS 1026 - p57.1>
rivelāya svāhā || ili svāhā || mili svāhā || kili svāhā || kili mili svāhā || || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñau || tadyathā || siddhe svāhā || susiddhe svāhā || mocanī svāhā || mokṣaṇī svāhā || vimokṣaṇī svāhā || mukte svāhā || vimukte svāhā || amale svāhā || vimale svāhā || nirmale svāhā || aṃḍale svāhā || maṃgale svāhā || māṃgale svāhā || hiraṇyagarbhe svāhā || ratne svāhā || ratnagarbhe svāhā || bhadre svāhā || subhadre svāhā || samaṃtabhadre svāhā || śrībhadre svāhā || sarvārthasādhanī svāhā || paramārthasādhanī svāhā || sarvamaṃgalavādhanī svāhā || yaśovati svāhā || manasiye svāhā || mahāmanasīye svāhā || mānasīye

<NS 1026 - p57.2>
svāhā || mahāmānasīye svāhā || mukte svāhā || vimukte svāhā || mohanī svāhā || vimohanī svāhā || araje svāhā || viraje svāhā || amale svāhā || vimale svāhā || amṛtavarṣaṇīye svāhā || brahme brahmasvare svāhā || brahmaghoṣe svāhā || pūrṇṇe pūrṇṇarathe svāhā || oṃ amṛtajīvanīye
svāhā || caṃdre candraprabhe svāhā || sūryye sūryyakāṃte svāhā || brahme brahmaghoṣe svāhā || sarvatrāparājitā rakṣa 2 māṃ sarvasatvānāṃ ca svāhā || mili 2 svāhā || huru 2 svāhā || phuru 2 svāhā || viṭi 2 svāhā || ciṭi 2 svāhā || hikke 2 svāhā || jvale 2 svāhā || dhara 2 svāhā || cara 2 svāhā || curu 2 svāhā || namaḥ sarvabuddhānāṃ svāhā || namaḥ pratyekabuddhānāṃ svāhā || namo arhatānāṃ svāhā || namo maitreyapramukhānāṃ svāhā || namaḥ sarvabuddhabodhisatvā

<NS 1026 - p58.1>
nāṃ svāhā || namo anāgāmināṃ svāhā || namo sakṛdāgāmināṃ svāhā || namaḥ śrotāpannānāṃ svāhā || namo samyaggatānāṃ svāhā || namaḥ samyakpratiprannānāṃ svāhā || namo brahmaṇe svāhā || namo indrāya svāhā || namo īśānāya svāhā || namo agnaye svāha || namo varuṇāya svāhā || namo kuverāya svāhā || namo yamāya svāhā || namo vaiśravaṇāya svāhā || namo nāgādhipataye svāhā || dhṛtarāṣṭrāya svāhā || virūḍhakāya svāhā || virūpākṣāya svāhā || devānāṃ svāhā || nāgānāṃ svāhā || asurāṇāṃ svāhā || marutānāṃ svāhā || garuḍānāṃ svāhā || gaṃdharvāṇāṃ svāhā || kinnarāṇāṃ svāhā || mahoragānāṃ svāhā || yakṣāṇāṃ svāhā || rākṣasānāṃ svāhā || bhūtānāṃ svāhā || pretānāṃ svāhā || piśācānāṃ svāhā || kuṃbhāṃḍānāṃ svāhā || pūtanānāṃ

<NS 1026 - p58.2>
svāhā || kaṭapūtanānāṃ svāhā || skaṃdānāṃ svāhā || unmādānāṃ svāhā || chāyānāṃ svāhā || apasmārānāṃ svāhā || ostārakānāṃ svāhā || rudrāṇāṃ svāhā || nakṣatrānāṃ svāhā || candrasūryānāṃ svāhā || jyotiṣīṇāṃ svāhā || grahāṇāṃ svāhā || ṛṣīṇāṃ svāhā || siddhavratānāṃ svāhā || siddhividyānāṃ svāhā || gaurīye svāhā || gāṃdhārīye svāhā || jāṃgulīye svāhā || amitābhāya svāhā || jaṃbhanīye svāhā || staṃbhanīye svāhā || cāpeṭīye svāhā || drāmiḍīye svāhā || śavarīye svāhā || kṛṣṇaśavarīye svāhā || caṃḍālīye svāhā || mātaṃgīye svāhā || nāgahṛdayāya svāhā || garuḍahṛdayāya svāhā || mānasīye svāhā || mahāmānasīye svāhā || ṣaḍakṣarīye svāhā || māṇibhadrāya svāhā ||

<NS 1026 - p59.1>
pūrṇṇabhadrāya svāhā || samaṃtabhadrāya svāhā || mahāsamaṃtabhadrāya svāhā || samayāya svāhā || mahāsamayāya svāhā || pratyaṃgirāyai svāhā || mahāpratyaṃgirāyai svāhā || dharaṇīye svāhā || dhāraṇīye svāhā || daṇudharāya svāhā || mahādaṇudharāya svāhā || muciliṃdāya svāhā || mahāmuciliṃdāya svāhā || jayaṃtīye svāhā || śāntīye svāhā || aśvakrīḍāya svāhā || mahādhāraṇīye svāhā || maṃtrapadānāṃ svāhā || mahāmaṃtrapadānāṃ svāhā || aparājitāyai svāhā || suvarṇāvabhāsāya svāhā || mayūrarājāya svāhā || || imāni mahāpratyaṃgirā mahāvidyārājñai svāhā || mahāpratyaṃgirā mahāvidyāmaṃtrapadā mama sarvasatvānāṃ ca pāpahatā || kṛtyā

<NS 1026 - p59.2>
karmanakāṣorda kṛtavetāḍaciccakāḥ preṣakā hatā || unmāda || chāyā || apasmārā || ostārakā || preṣyā utrāsā garā viṣā hatā || durbhuktāḥ chāyāḥ duḥpreṣitāḥ durlaṃdhitāḥ durlikhitā avadhūtāḥ hatā sarvajvarāḥ || ekāhikā || dvāhikā || tryāhikā || cāturthakā || saptāhikā || arddhamāsikāḥ māsikāḥ daivasikāḥ muhurttikāḥ nityajvarā viṣamajvarā bhūtajvarā pretajvarā piśācajvarā manuṣyajvarā amānuṣyajvarā vāttikāḥ paittikāḥ śleṣmikāḥ saṃnipātikāḥ sarvajvarā śirovarttikāmapanayaṃtu arddhāvabhedakaṃ || arocakaṃ-akṣirogaṃ-nāsarogaṃ-mukharogaṃ-kaṃṭharogaṃ-hṛdrogaṃ || galagrahaṃ || karṇṇaśūlaṃ-dantaśūlaṃ-uraśūlaṃ-hṛdiśūlaṃ || marmaśū

<NS 1026 - p60.1>
laṃ-pārśvaśūlaṃ-pṛṣṭhaśūlaṃ-udaraśūlaṃ-kaṭiśūlaṃ-vastiśūlaṃ-guḍaśūlaṃ-yoniśūlaṃ-prajanaśūlaṃ-ūrūśūlaṃ-jaṃghāśūlaṃ-hastaśūlaṃ-pādaśūlaṃ || aṃgapratyaṃgaśūlaṃ hatāḥ sarvapāpā sarvavyādhayaḥ || svastirbhavatuḥ mama sarvasatvānāṃ ca rakṣāṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradāṃ śataṃ || || iti mahāpratyaṃgirāyāṃ maṃtrānvayajñānaṃ || || atha bhagavānāha || rūpasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || vedanāsya subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || saṃjñā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || saṃskārā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || vijñāna subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanu

<NS 1026 - p60.2>
paśyati || cakṣuṣo subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || śrotasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || ghrāṇasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || jihvāyāṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || kāyasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || manasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || rūpasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || śabdasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || gaṃdhasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || rasasyā subhū

<NS 1026 - p61.1>
te bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || sparśasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || dharmānāṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ rūpaṃ samanupaśyati || cakṣurvijñānasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ cakṣurvijñānaṃ samanupaśyati || śrotavijñānasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ śrotavijñānaṃ samanupaśyati || ghrāṇavijñānasyā subhūte bodhisatvā mahāpratyaṃgirā ghrāṇavijñānaṃ samanupaśyati || jihvāvijñānasyā subhūte bodhisatvā mahāpratyaṃgirā jihvāvijñānaṃ samanupaśyati || kāyavijñānasyā subhūte bodhisatvā mahāpratyaṃgirā kāyavijñānaṃ samanupaśyati || manovijñānasyā subhūte bodhi

<NS 1026 - p61.2>
satvā mahāpratyaṃgirā manovijñānaṃ samanupaśyati || cakṣusaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirā cakṣusaṃsparśa samanupaśyati || śrotrasaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirā śrotrasaṃsparśa samanupaśyati || ghrāṇasaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirā ghrāṇasaṃsparśa samanupaśyati || jihvāsaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirā jihvāsaṃsparśa samanupaśyati || kāyasaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirā kāyasaṃsparśa samanupaśyati || manasaṃsparśasyā subhūte bodhisatvā mahāpratyaṃgirāḥ manasaṃsparśa samanupaśyati || cakṣusaṃsparśapatyayaṃ vedanā subhūte bodhisatvā mahāpratyaṃgirāḥ
cakṣusaṃsparśapatyayaṃ vedanā samanupaśyati || śrotrasaṃsparśapatyayaṃ vedanā subhūte bodhisatvā mahāpratyaṃgirā śrotrasaṃsparśapratyayaṃ vedanā samanupaśyati || ghrāṇasaṃsparśapatyayaṃ vedanā subhūte bodhisatvā mahāpratyaṃgirā ghrāṇasaṃsparśapratyayaṃ vedanā samanupaśyati || jihvāsaṃsparśapatyaya vedanā subhūte bodhisatvā mahāpratyaṃgirā jihvāsaṃsparśapatyaya vedanā samanupaśyati || kāyasaṃsparśapatyayaṃ vedanā subhūte bodhisatvā mahāpratyaṃgirā kāyasaṃsparśapratyayavedanā samanupaśyati || manasaṃsparśapratyayavedanāḥ subhūte bodhisatvā || ||

<NS 1026 - p62.1>
mahāpratyaṃgirāyāṃ manaḥsaṃsparśapratyayavedanā samanupaśyati || pṛthivīdhātu subhūte bodhisatvā mahāpratyaṃgirāyāṃ pṛthivīdhātuna samanupaśyati || apdhāto subhūte bodhisatvā mahāpratyaṃgirāyāṃ apdhāto samanupaśyati || tejodhāto subhūte bodhisatvā mahāpratyaṃgirāyāṃ tejodhāto samanupaśyati || vāyudhāto subhūte bodhisatvā mahāpratyaṃgirāyāṃ vāyudhāto samanupaśyati || ākāśadhāto subhūte bodhisatvā mahāpratyaṃgirāyāṃ ākāśadhāto samanupaśyati || vijñānadhātau subhūte bodhisatvā mahāpratyaṃgirāyāṃ vijñānadhātau samanupaśyati || avidyāyāṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ avidyāyāṃ sama

<NS 1026 - p62.2>
nupaśyati || saṃskārāṇāṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ saṃskārāṇāṃ samanupaśyati || vijñānasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ vijñānaṃ samanupaśyati || nāmarūpasyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ nāmarūpaṃ samanupaśyati || ṣaḍāyatana subhūte bodhisatvā mahāpratyaṃgirāyāṃ ṣaḍāyatanaṃ samanupaśyati || sparśā subhūte bodhisatvā mahāpratyaṃgirāyāṃ sparśā samanupaśyati || vedanā subhūte bodhisatvā mahāpratyaṃgirāyāṃ vedanā samanupaśyati || tṛṣṇā subhūte bodhisatvā mahāpratyaṃgirāyāṃ tṛṣṇā samanupaśyati || upādāna subhūte bodhisatvā mahāpratyaṃgirāyāṃ upādāna samanupaśyati || bhava subhūte bodhisatvā mahāpratyaṃ

<NS 1026 - p63.1>
girāyāṃ bhava samanupaśyati || jāte subhūte bodhisatvā mahāpratyaṃgirāyāṃ jāte samanupaśyati || jarāmaraṇa subhūte bodhisatvā mahāpratyaṃgirāyāṃ jarāmaraṇa samanupaśyati || dānapāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ dānapāramitā samanupaśyati || śīlapāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ śīlapāramitā samanupaśyati || kṣāṃtipāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ kṣāṃtipāramitā samanupaśyati || vīryyapāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ vīryyapāramitā samanupaśyati || dhyānapāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ dhyānapāramitā samanupaśyati || prajñāpāramitā subhūte bodhisatvā mahāpratyaṃgirāyāṃ pra

<NS 1026 - p63.2>
jñāpāramitā samanupaśyati || adhyātmaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ adhyātmaśūnyatā samanupaśyati || bahirddhāśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ bahirddhāśūnyatā samanupaśyati || adhyātmabahirddhāśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ adhyātmabahirddhāśūnyatā samanupaśyati || śūnyatāśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ śūnyatāśūnyatā samanupaśyati || mahāśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ mahāśūnyatā samanupaśyati || paramārthaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ paramārthaśūnyatā samanupaśyati || saṃskṛtaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ saṃskṛtaśūnyatā samanupaśyati ||

<NS 1026 - p64.1>
asaṃskṛtaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ asaṃskṛtaśūnyatā samanupaśyati || atyaṃtaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ atyaṃtaśūnyatā samanupaśyati || anavarāgraśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ anavarāgraśūnyatā samanupaśyati || anavakāraśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ anavakāraśūnyatā samanupaśyati || prakṛtiśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ prakṛtiśūnyatā samanupaśyati || sarvadharmaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ sarvadharmaśūnyatā samanupaśyati ||[ svalakṣaṇaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ svalakṣaṇaśūnyatā samanupaśyati ||] anupalaṃbhaśūnya

<NS 1026 - p64.2>
tā subhūte bodhisatvā mahāpratyaṃgirāyāṃ anupalaṃbhaśūnyatā samanupaśyati || abhāvaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ abhāvaśūnyatā samanupaśyati || svabhāvaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ svabhāvaśūnyatā samanupaśyati || abhāvasvabhāvaśūnyatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ abhāvasvabhāvaśūnyatā samanupaśyati || smṛtyupasthānāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ smṛtyupasthānāni samanupaśyati || saṃmyakprahāṇāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ saṃmyakprahāṇāni samanupaśyati || ṛddhipādāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ ṛddhipādāni samanupaśyati || indriyāṇi subhūte bodhi

<NS 1026 - p65.1>
satvā mahāpratyaṃgirāyāṃ indriyāṇi samanupaśyati || balāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ balāni samanupaśyati || bodhyaṃgāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ bodhyaṃgāni samanupaśyati || āryyāṣṭāṃgamārgāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ āryyāṣṭāṃgamārgāni samanupaśyati || āryyasatyāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ āryyasatyāni samanupaśyati || dhyānāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ dhyānāni samanupaśyati || apramāṇāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ apramāṇāni samanupaśyati || ārūpyasamāpattaya subhūte bodhisatvā mahāpratyaṃgirāyāṃ ārūpyasamāpattaya samanupaśyati || vimokṣā subhūte bodhisatvā mahāpra

<NS 1026 - p65.2>
tyaṃgirāyāṃ vimokṣā samanupaśyati || bodhyaṃgāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ bodhyaṃgāni samanupaśyati || anupūrvavihārasamāpattiḥ subhūte bodhisatvā mahāpratyaṃgirāyāṃ anupūrvavihārasamāpattiḥ samanupaśyati || śūnyatānimittāpraṇihitavimokṣamukhāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ śūnyatānimittāpraṇihitavimokṣamukhāni samanupaśyati || abhijñā subhūte bodhisatvā mahāpratyaṃgirāyāṃ abhijñā samanupaśyati || samādhyā subhūte bodhisatvā mahāpratyaṃgirāyāṃ samādhyā samanupaśyati || dhāraṇimukhānī subhūte bodhisatvā mahāpratyaṃgirāyāṃ dhāraṇimukhānī samanupaśyati || daśatathāgatabalāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ daśatathā

<NS 1026 - p66.1>
gatabalāni samanupaśyati || catvāri vaiśāradyāni subhūte bodhisatvā mahāpratyaṃgirāyāṃ catvāri vaiśāradyāni samanupaśyati || catasra pratisaṃvida subhūte bodhisatvā mahāpratyaṃgirāyāṃ catasra pratisaṃvida samanupaśyati || mahākaruṇā subhūte bodhisatvā mahāpratyaṃgirāyāṃ mahākaruṇā samanupaśyati || aṣṭādaśāveṇikā subhūte bodhisatvā mahāpratyaṃgirāyāṃ aṣṭādaśāveṇikā samanupaśyati || śrotrāpattiphalaṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ śrotrāpattiphalaṃ samanupaśyati || sakṛdāgāmiphalaṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ sakṛdāgāmiphalaṃ samanupaśyati || anāgāmiphalaṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ anāgāmipha

<NS 1026 - p66.2>
laṃ samanupaśyati || pratyekabodhi subhūte bodhisatvā mahāpratyaṃgirāyāṃ pratyekabodhi samanupaśyati || mārgākārajñatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ mārgākārajñatā samanupaśyati || sarvākārajñatā subhūte bodhisatvā mahāpratyaṃgirāyāṃ sarvākārajñatā samanupaśyati || evaṃ sarvadharmāṇāṃ subhūte bodhisatvā mahāpratyaṃgirāyāṃ evaṃ sarvadharmāṇāṃ samanupaśyati || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāḥ rūpādiḥ samayādhikāraḥ || || atha bhagavātyāha || rakṣāṃ vidhānakalpaṃtu vyākhyānasyā namo namaḥ || yena rakṣā vidhānena sarvasiddhirbhaviṣyati || yatra taṃtra kṛtā rakṣāṃ bhoṃti buddhā na saṃśayaḥ ||

<NS 1026 - p67.1>
nirbhayaṃ nirjvaraṃ caiva sarvagrahanivāraṇaṃ || sa nakṣatrānukurvaṃtukarame ca ka chedanaṃ || durbhuktaṃ-durllaṃghitaṃ caivaḥ sarva śatrugaṇaiḥ kṛtaṃ || duprekṣitaṃ durlikhitaṃ caiva kākhordāye ca dāruṇā || cūrṇṇaṃ maṃtra kṛtaṃ caiva viṣabhuktastathāparaṃ || sarvaṃ tasya praśāmyaṃti rakṣāṃ kārayate || pratyaṃgirā viparyaṃti yo vidyā samatikramāt || paracakrā dāruṇā yepi pratyamitrā mahābhayāt || sarva te pralayaṃ yāṃti pratyaṃgirāparajitāḥ || buddhā rakṣaṃti sarvajñā bodhisatvāśca śūratāḥ || rakṣaṃti pratyakabuddhāśca śrāvakāśca mahātapā || anyāśca bahuvidhā bhūtā devā nāgā maharddhikāḥ || rakṣāṃ kurvaṃtu tasyeme asminnyasta nityaśaḥ || asyā śravaṇamātreṇa vidyārājñā narottamaḥ || nirbhayo bhoṃti

<NS 1026 - p67.2>
ti sarvatra ityevaṃ muniravravīt || duḥsvapnā duṣkṛtā ye ca upasargā sudāruṇā || vyādhisṛṣṭā mahārogā ye grastā rājayakṣmaṇā || anyāśca bahuvidhā rogaṇulūtā vicarcikā || itayo dāruṇā ye ca grasaṃte mānuṣī prajā || manuṣyāṇāṃ vināśārthaṃ hiṃsrakāśca sudāruṇā || sarve te vipraṇasyaṃti rakṣā yatra mahābalāḥ || anayā kṛta rakṣaṃtu buddhā prāptā vimucyate || grasthaścetkālapāśena nītaścāpi yamālayaṃ || āyustasya vivarddhaṃte pratyaṃgirā likharādapi || parikṣīṇāyuṣonāyāṃtu saptāhamṛta eva ca || yāvallikhitamātreṇa sa jīvati na saṃśayaḥ || atha śravaṇamātreṇa kṛtā rakṣā vidhānataḥ || svastiprāpnoti sarvatrasukhaṃ jī

<NS 1026 - p68.1>
vaṃti cepsayā || aṣṭaṣaṣṭisahasrāṇi koṭiniyutaśatāni ca || trāyastriṃśāśca devānāṃ sarva śakrapūrogamāḥ || rakṣarthaṃ tasya satvasya pṛṣhataḥ samupasthitāḥ || catvāro lokapālāśca vajrapāṇirmahābala || vidyākulaśataḥ sārddhaṃ rakṣāṃ kurvaṃti nityaśaḥ || somaśca sumanā sūryabrahmā viṣṇurmaheśvaraḥ || paścime māṇibhadraśca baladevo mahābala || pūrṇabhadro mahāvīro hārītī ca saputrikā || pāṃcāla pāṃcikaścaiva kārttikeyo gaṇeśvaraḥ || śrīrapica mahādevī vaiśravaṇasya sarasvatī || saṃkhinī puṣpadantī ca tathaivaikajaṭāpi ca || dhanyā etā mahābhāgā rakṣāṃ kurvaṃti nityaśaḥ || ṣaṇṇānāṃ putrajananī garbhasthānavivarddhanī || rakṣeyaṃ mahatī tasya yāvajjīvaṃ bhaviṣyati || narāṇāṃ

<NS 1026 - p68.2>
jayadā nityaṃ || anayā varadā bhoṃti devatā dharmaniścitā || atha pāpavināśaṃtu likhanā devamucyate || tathāgatavilokaṃtu bodhisatvā mahārddhikā || yaśaśca varddhate tasya puṇyamāyuśca varddhate || dhanadhānyasamṛddhiśca || bhaviṣyaṃti na saṃśayaḥ || sukhaṃ svapiti medhāvi sukhaṃ ca pratibudhyate || adhṛṣyaḥ sarvaśatruṇāṃ sarvabhūtagaṇairapi || saṃgrāmevarttamānusya jayo bhavati nityaśaḥ || vidyāyā sadhyamānāyāmiyaṃ rakṣā anuttarā || sukhaṃ sādhayate cidyā vighnasya na bhaviṣyati || siddhyaṃte sarvakalpāśca pratiṣṭha sarvajaṃgamaḥ || kṣīpraṃ ca samayajño saubhavet sarvatrajātiṣu || vaiśvāsikāśca sarvati jinānāṃ guṇadhāraṇe sarvamaṃgala saṃpū

<NS 1026 - p69.1>
rṇaṃ sarvasiddhimanorathaḥ || asyāṃ likhitamātrāṃ sarvasaukhyaṃ samṛddhyati || sukhaṃ kālaṃkriyāṃ kṛtvā bhavet sargaparāyaṇaḥ || vivādokalahaṃ caiva vigrahaparamadāruṇa || sarvabhayavinirmuktaṃ jinoktaṃ vacanaṃ yathā || nityaṃ jātismaro bhonti jātau jātau na saṃśaya || rājāno vaśagāstasya śāṃtapūrajanaiḥ saha || sāmātyaśca bhavennityaṃ sādhūtairlokasammataiḥ sarveṣāṃ ca priyā bhoṃti devā ye ca suramānuṣāṃ || rakṣāṃ tasya kariṣyaṃti divā rātrau na saṃśayaḥ || candravajrayogeṇa bhāvayedyamaghāṭakaṃ || mārāṇāṃ samarthāya viṣopanuva sarvataḥ || rakṣārthaṃ bhāvayedvajrapaṃcaraśmisamākula vajreṇa bhūmi vāṭaṃ ca prākāraṃ paṃjaraṃ tathā ||

[shaberon]

Paramartha Sitatapatra Parasol--3 of 4


approximately beginning of Krsna Yamari:



yamadhyā kṣa sa me da yā ca ni rā jā su dā ru ṇā || rephasyādiyamaghna svāta kṣa

<NS 1026 - p69.2>
kāre moha ucyate || makāra piśunaṃ mevākṣa mekāre rāgameva ca || nikāre padmapāṇiśca rākāre khaḍgavānapi || jāṃkāre carcikā proktā vārāhi ca sakārake || sarasvatī ca dokāre rukāre gaurikā smṛtā || nayoniracaturkoṇe catvāraḥ kanakāmatā || madhyavajragataṃ cinte viśvavajra bhayānakaṃ || yamāṃtakasya madhyasthaṃ bhāvayet kāradāruṇāṃ || pūrvāre mohavajraṃ tu dakṣiṇe piśunamevaca || padmamaṃḍalavajraṃ tu īrṣyāsyamuttare tathā || koṇe vajra caturśūle carcikādvibhāvayet || dvāravajracaturśūle mudgarādyā vibhāvayet || viśvavajraṃ tu koṇeṣu catvāro nṛkamastathā || trimukhaṃ ṣaḍbhujaṃ krodha indranīlasamaprabhā || pāṇau vajra vibhāvitvā yamāriṃ bhāvayedbudha || trimukhaṃ ṣaḍbhujaṃ jñānaṃ svachavivaṃ vi

<NS 1026 - p70.1>
bhāvayet || trimukhaṃ ṣaḍbhujaṃ viśvaṃ padmarāgasamaprabhaṃ || pāṇau padmaṃ vibhāvitvā rāgavajraṃ vibhāvayet || trimukhaṃ ṣaḍbhujaṃ kharvaṃ makuṭopadmasaṃnibhaṃ || pāṇau koṣa vibhāvitvā īrṣyāvajraṃ vibhāvayet || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ abhisamayādhikāraḥ || atha mohasya bhāvatvaṃ yamāriratibhīṣaṇā || sarvabuddhamayaṃ śāṃtakāyavajraṃ namostute || piśunavajrasvabhāvastvaṃ yamāriratibhīṣaṇā || vākvajranapratīkāśaṃ ratnavajra namostute || rāgavajrasvabhāvastvaṃ rāgadharmakaraprabhuḥ || sarvaghoṣavarāgrāgra citravajra namostute || īrṣyāvajrasvabhāvastvaṃ yamāri sarvakarmaka || kāyavajrapratīkāśaṃ khaḍgavajra namostute || sarvabuddhasvabhāvastvaṃ sarvabuddhaka saṃ

<NS 1026 - p70.2>
grahaṃ || sarvabuddhavarāgrāgra maṃḍaleśa namostute || vajracakṣu || vajraṣrotaḥ vajraghrāṇaḥ || vajrajihvāḥ || vajrakāyaḥ || vajravākaḥ || vajracitta || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakṣurādyadhiṣṭhāna samayādhikāraḥ || athātaḥ saṃpravakṣyāmi yamāri ghāramaṃḍalaṃ śrīyamāri pratīkāśaṃ sarvakāmārthasādhakaṃ || navena sunidyuktena sumānena dāruṇā || sūtreṇa sūtrayet prājño yamaghnasya hi ta maṃḍalaṃ || sarvalakṣaṇasaṃpūrṇṇaṃ sarvavighnavināśanaṃ || śāṃtikādipramāṇena maṃḍalaṃ maṃḍalākṛti || karmavajraṃ likhettatra paṃcasuraṃ samaṃtata || tasya madhye likhedvajraṃ vajrajvālāsamākulaṃ || pūrvadvāre likheccakraṃ dakṣiṇe kuliśaṃ

<NS 1026 - p71.1>
likhet || paścime padmapuṣpaṃ tu sakadaṃ vikacānanam || uttarenyotpalaṃ pītaṃ paṃcaraśmisamaprabhaṃ || mudgaraṃ pūrvato dvāre daṇḍa dakṣiṇayostathā || paṃkajaṃ paścimadvāre uttare khaḍgavajriṇam || niṣpanna maṃḍala jñātvā pūjāṃ kuryā viśeṣataḥ || paṃcakāmaguṇaibuddhāpūjayadabhiśaṃkara || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ maṃḍalādhikāra || atha bhagavaṃtaḥ sarvatathāgatoṣṇīṣamahāpratyaṃgirā nāmadhyeyaṃmāsa || maṃḍalaṃ likhito nāma sarvapāpavināśakaṃ || yamaghnamaṃḍalaṃ ghoraṃ sarvamaṃḍalanaiyakaṃ || oṃ ā hūṃḥ || jihvāvajraprogena toṣaṇaṃ sarvavajriṇaṃ || praveśya sarvasaṃbuddhā jñānākārāsvabhāvakaṃḥ karṣaṇā vaiśanai caiva bandhanaṃ ca vaśaṃ tathā || maṃḍalādicatuṣko

<NS 1026 - p71.2>
ṇe samāṣṇaṃ vibhāvayet || mahiṣavajra vibhāvitvā maṃḍaleśaṃ vibhāvayet || sveṣṭamaṃḍalamadhyasthaṃ bhāvayat mohavajriṇaṃ || saptasaptikamadhyasthaṃ piśunākhyaṃ viciṃtayet || laktamaṃḍalamadhyasthaṃ bhāvayedrāgavajriṇaṃ || karmamaṃḍalamadhyasthaṃ bhāvayat karmamaṃḍalaṃ || śāṃtike mohavajraṃtu pauṣṭike piśunaṃ tathā || vaśyā vai rāgavajreṇa karmavajreṇa sarvataḥ || nṛtailaṃ nṛkapālaṃ ṣṭhanikleśaivarttikā stathā || śmaśānaikajalaṃ prokṣakarmavajraprayogataḥ ajane bhāvayetpadma ajanāyāṃ tathaiva ca || anenāṃjanasiddhaḥ syātkarmajātaprayogata || kuṃkumaṃ gṛhe raktenapādalepastu sādhakaḥ || karmavajraprayogena pādalepana siddhyati || paṃcāmṛtasamādāya paṃcamāsasamanvitaḥ || tilodbhava

<NS 1026 - p72.1>
sthitaṃ padmaṃ karmayogena siddhyati || kāṃtālohamayaṃ khaḍgaṃ karmayogena sādhayet || karmavajrayogena karmakhaḍgaprasidhyati || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ karmayogādhikāra || atha bhagavānsarvatathāgataḥ bhagavaṃtaṃ mahāvajradhara nāmādhyeti tavantaḥ kathaṃ satvā pravarttaṃte karmabhedaprabhedataḥ || kathayasva mahāvajraśūnyaṃtu jñānasāgaraḥ || atha vajradharo rājā sarvakarmaprasādhakaḥ || sarvadoṣacikitsāmā idaṃ vacanamabavīt || yamā yaṃtrāni maṃtrāṇi na bhūto na bhaviṣyati || strīṇāṃ vaśyāya karttavyaṃ rakṣārthāya tathaiva ca || śāṃtike locanā gṛhyaturya vaśatvace tathā cakradvayamabhilikhya namo namo vidarbhitaṃ || kālasūtrādibhītena sarāvadvayasaṃpuṭe || ghṛtamadhumadhye prakṣipya

<NS 1026 - p72.2>
śuklasūtreṇa veṣṭayet || trisaṃdhya śuklapuṣpaṃ tu arcayetpūrvato mukhaṃ || yamāntakaṃ candrakāṃtābhaṃ dhyātvātmānaṃ pūraṃ nyaset || candraṃḍalamārūḍhaṃ sādhyā dṛṣṭā viciṃtayet || śītakiraṇaistu candrābhaiḥ paṃcāmṛtābhipūritaiḥ || siṃcyatenekasaṃbuddhaiḥ taddṛṣṭā japamorabhet || oṃ hrīṃ ṣṭṛīṃḥ vikṛtānana hūṃ phaṭ || namo devadattāya śāṃtiṃ kuru svāhā || puruṣāṇāṃ śāṃtike lekhyaṃ kuṃkumai pauṣṭikaṃ tathā || cakradvayaṃ tu kāśmīraiḥ svāhānāmavidarbhitaṃ || sādhyasya nāma mādāya āryyakṣudreṣu nikṣipet || sarāva saṃpuṭe sthāpya pītasūtreṇa veṣṭayet || trisaṃdhyaṃ pītapuṣpaṃ tu arcayeduttarāmukhaṃ || pītavarṇa yamagnaṃ caivaḥ ātmānaṃ balaṃ caret || sādhyaṃ pītasucandrasthaṃ pītakuṃbhaistu siṃcayet || abhiṣeka bhāvayitvā ca puṣṭiṃ kartu spha

<NS 1026 - p73.1>
raṃ japet || || oṃ hrīṃ ṣṭrīṃ vikṛtānana hūṃ phaṭ || oṃ laṃ devadattasya puṣṭiṃ kuru svāhā || oṃ vauṣaṭ devadattasya puṣṭiṃ kuru svāhā || śmaśāne cailake vāpi svayaṃ bhūliptakarppaṭe || cakradvayaṃ samālikhya lakṣayā raktamiśrayā || jaṃkāre hrīḥkāreṇa nāmaṃ caiva vidarbhitaṃ || yoṣitāṃ padmabhāṃḍe vā saṃpuṭe sthāpya pūjayet || raktasūtreṇa cāvṛtya raktapuṣpeṇa pūjayet || saṃdhyārkasannibhaṃ raktam ātmānaṃ bhu ciṃtayet || dakṣiṇābhimukhā yogī mohena maṇḍalā śriyāḥ || pītaṃ sādhya viciṃtyāsu ākrāṃtaṃ parvatenyaset || viśvavajrasamākrāṃta moheṃdramaṇḍalā dhataḥ || maṃḍalādinagairghoraiḥ praleyānalasannibhaiḥ || ākrāṃtaṃ bhāvayetsādhya yatra tatraiva kārayet || || oṃ hrīṃ ṣṭrīṃ vikṛtānana hūṃ pha

<NS 1026 - p73.2>
ṭ || laṃ devadattasya sthānaṃ staṃbhaya hūṃ phaṭ svāhā || || ityāha bhagavānsarvatathāgatoṣṇīṣabhāvanā || vidarbha sādhānā mānitateo maṃtra sphuraṃ jayet || laṃ devadattasya yathā prācakaryyatannivānayato rūpakaṃ vadato yajñadattasya vākstaṃbhana kuru hūṃ phaṭ svāhā || atyantaṃ tatsuguptena idaṃ kāryyā yathoditaṃ || dinamekena siddhiḥ syāt mahāyamāriyogataḥ || śmaśānakarppaṭe cakradvaye caiva likhedvratī || rājikā lavaṇevāpi viśeṣa niṃbavakena ca || trikaṭukaṃ kaṭutailaṃ śmaśānāṃ gārameva ca || dhattūrapatraniryāsaiścaṃḍabījaistathaiva ca || tarjani raktamādāya citrakasya rasena vā || uparamṛttikāṃ gṛhya caṃḍārahaṃḍikāṃjanaṃ || bubhukṣipatri lekhinyā catūrddaśyāṃ likhedvratī ||

<NS 1026 - p74.1>
madhyāhne krodhacittena daṃṣṭrāṇāṃ varddha hetuṃtunāṃ || nāmasatvavighātasya hūṃkāreṇa vidarbhayet || dakṣaṇābhimukhā yogī ātmānaṃ yamaghātakaṃ || krodharūpaṃ mahācaṃḍaṃ khaṃḍamaṃḍalavibhūṣitaṃ || mahiṣasthaṃ lalakṣitvā viṣadudarabhayānakā [||] ḍadārorddhayutaṃ keśaṃ babhruśmasarvatastathā || dakṣiṇena mahāvajraṃ khaḍgenaiva dvitīyakaṃ || tṛtīyakarttikā hastaṃ idānīṃ vāmato likhet || cakraṃ naiva mahāpadmaṃ kapālaṃ vāmakaṃ mataṃ || mūlamukhaṃ mahāśṛṃgaṃ dakṣiṇe candrasuprabhaṃ || vāmaṃ rakta mahāproktaṃ vajrābharaṇabhūṣitaṃ || romakūpamahāvivarā sphorayetsvakulādhipaṃ || pratyālīḍhapadaṃ saṃsthaṃ sūryyamaṃḍalad_ūrddhataḥ || vikṛddraṣṭrā karālāsyaṃ kalpajvālāgnisannibhaṃ || evaṃ ātmānasaṃmyatyahya sādhyaṃ vaiṣurato nmaset || ma

<NS 1026 - p74.2>
linaṃ jarjararogaiḥ duṣṭamātraiśca pāṇinaḥ || viṃvastraṃ vayamānaṃtu khinnakāyapraṇānvitaṃ || gaṇḍamālāvṛtosaṃcaḥ śastreṇa jarjarī kṛtaṃ || upadrutaṃ śītavātena vadumadhyasamāśritaṃ || mahiṣeṇa ca vyāghreṇa kukkurai dīrghatuṇḍakaiḥ || khādyamāna mahāduṣṭairbuddhasainyavināśanaṃ || antakodalamadhyasthaṃ kaṃḍukairgrātra pūrita || haṃḍinīgaḍaparākrāṃta khaṃḍa khaṃḍaṃ kṛtaṃ tathā || niśramī sukṛtaṃ dhyāyādrājikā varaṇepitaṃ || śrīkāramuccaraṃ dhyāyātasyadehasya lakṣaṇe || kavacaṃ sphoṭayet sya bhāvayet śūnyadeha va || ātmādeho bhave krodhaiḥ yamamāyātmamūrttibhiḥ || ghātyaṃ taṃ bhāvayettatra pivaṃtī mekamarjakaṃ || tasyāgre tu yamadhyāyāddaṃḍahastaṃ mahābalaṃ || ghāṭitaṃ tena draṣṭena uṣṇaṃ tatra viciṃtayet || na

<NS 1026 - p75.1>
syātranālamāgṛhyaguḍhā gachati khecaraṃ || yātāle kṛṣyate nāgairaśmaryādinipīḍitaṃ || evaṃ viciṃtya sādhyaṃ vā karuṇā ghṛṣṭa cetasā || vyaropayati saṃsārādbuddhakṣeṭreṣu jāyate || aho hi māraṇaṃ nāma māraṇaṃ na ca māraṇaṃ || pāpebhya mucyate yasmāt mārito na ca māritaḥ || kṛtvā paṃcasahasrāṇi avīcyādiṣu saṃcaret || aho buddhasya mahātmya mārito bodhimāpnuyāt || bhūyasī karuṇā kṛtvā sadya ghātiṃ tu ciṃtayet || aho kṛpābalaṃ divyaṃ kṛpāhīno na sidhyatiḥ || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ kāyavākcittastaṃbhanādhikāraḥ || || atha cakradvayaṃ likhya phaṭkāreṇa vidarbhitaṃ || sādhya nāma mādyaṃ ya kapāla saṃkuṭa nyaset || nīlasūtreṇa veṣṭatvā śmaśā

<NS 1026 - p75.2>
neṣu likhyā nayet || yamāṃtaka samālaṃ vya sādhyaṃ vai pūrato nyaset || aśvamahiṣamārūḍha dvau sādhya śastrapāṇinau || nimitta krodhasaṃghātairdvayorpakṣaṃ viciṃtayet || || oṃ hrīṃḥ ṣṭrīṃḥ vikṛtānana hūṃ phaṭ devadatta yajñadattakena sahavidveṣaya hūṃ phaṭ svāhā || ālekhyadvayacakrākhya vidhināte naiva pūrvavat || hūṃphaṭkāra vidarbhena kapālasaṃpuṭaṃ nyaset || kṛṣṇasūtrena viṣṭitvā bhavane nikhyānayan || yamāṃtaka yogamādāya etaiḥ sādhya vibhāvayet || mama sarvasatvānāṃ ca rakṣāṃ kurvaṃtu jīvaṃtu varṣaśataṃ paśyaṃtu śaradā śataṃ || mama cāpanayaṃtu bhūtapretavetāḍaḍākinījvarodaṃḍakācakuṃḍakiṭimakuṣṭakapittakaplīhalūtāpāmāvaisarpyalohaliṃgaśoṣaṃvās avāmuchāgalaviṣayoga agnyuda

<NS 1026 - p76.1>
dakamārakalahavairakāṃtāra akālamṛtytryaṃbakatailāṭukavicikitsakasarpanakulasiṃhavyāghraṛkṣatarakṣutramaramarkaṭavitarkaskaṃdha mārakādīnāmapanayaṃtu anyeṣāṃ sarveṣāṃ sitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyānubhavena dvādaśayojanābhyaṃtareṇa vā || paṃcāśatayojanābhyaṃtareṇa vā || vidyābandhanaṃ karomiḥ tejobandhanaṃ karomi || sarvavidyābaṃdhanaṃ karomi paravidyābaṃdhanaṃ karomi sīmabaṃdhanaṃ karomi || dharaṇībaṃdhanaṃ karomi || daśadigbaṃdhanaṃ karomi || ākāśabaṃdhanaṃ karomi || parasainyastaṃbhanaṃ karomi || tadyathā || anale anale acale acale khakhame khakhame viṣade viṣade viṣame vi

<NS 1026 - p76.2>
ṣame bale bale vaire vaire saumye saumye śāṃte śāṃte dāṃte dāṃte vajradhara baṃdha vajrapāṇi hūṃ phaṭ || oṃ vajrapāṇi baṃdha baṃdha vajrapāśena sarvaduṣṭavighnavināyakān hūṃ hūṃ hūṃ phaṭ phaṭ svāhā || hūṃ baṃdha baṃdha hūṃ phaṭ svāhā || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ sarvamārasainyatāḍanabaṃdhanādisādhanādhikāraḥ || || athāto locanā caiva kāśmīraṃ ca viśeṣataḥ || bhūrje vā karyyaṭe vāpi arakukarasena vā || raktacaṃdanakenāpi anāmārudhirenatu || cakradvayaṃ samālikhya hākāreṇa vidarbhitaṃ || kārādinahite yatra sarovadvayasaṃpuṭe || āryyamākṣikasaṃpūrṇaṃ raktasūtreṇa veṣṭayet || caryyadrakta

<NS 1026 - p77.1>
puṣpeṇa paścimābhimukhasaṃsthitā || raktavarṇamahojvālā ātmānaṃ yamaghātakaṃ || raktasūryyyasamārūḍhaṃ sādhyaṃ caiva vicittayet || svakāyanigato raktamayūkhairaṃkuśākṛti || sādhyamākarṣayaṃ dṛṣṭvāyutamātra sphuraṃ japet || pūrvasevāyutaṃ japtvā idaṃ karma prasādhakaṃ || taṃ sādhya vihvalī bhūtaṃ pādayopatitaṃ tathāvivastaṃ ūrddhakeśaṃ ca ciṃtayejjapamārabhet || sādhyapatranagachaṃti tatmaṃtraṃ tāpayettataḥ || ghṛtādirahitaṃ kṛtvā nirddhaśaṃkhādinā na ca || oṃ hrīṃḥ ṣṭrīṃḥ vikṛtānana hūṃ phaṭ svāhā || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakrānupūrvādhikāraḥ || || atha maṃtraṃ pravakṣyāmi sarvabhūtabalikriyā || uccārite mahāmaṃtre sarvabhūtaprakaṃpana || indrāya hrīṃ

<NS 1026 - p77.2>
yamāya hrīṃḥ || varuṇāya viṃḥ kuberāya krīṃḥ agnaya taḥ naiṛtya naḥ vāyave naḥ īśānāya hūṃ candrāya hūṃ arkāya phaṭ brahmaṇe phaṭ || vemacitriṇe svāhā || sarvabhūtebhyaḥ hā hā hūṃ hūṃ phaṭ phaṭ svāhā || devatā prīṇaye yogī hāhākāraṃ pūrasmaret || kṛtvā malikāstisto aṣṭau dvādaśe ṣoḍaśāt || salikhya vidhinā prājñonyase maṃtrāṇi sarvataḥ || nyasenmaṃtrāṇi siddhyaṃti koṣṭake dvādaśedvratī || siddhyate śeṣaniśeṣatrailokya sacarācaraṃ || ya ma rā jā sa dā mu ya me do va ru ṇa yo da yaḥ || ya da yo ni rkṣa yo ya kṣa ya kṣa ya cca ni rā ma yaḥ [||] yamadhyekṣa nyasetpūrvadakṣiṇe maṃjughoṣakaṃ || mekāre paścime lekhya uttare daṃtadhāvanaṃ || sādhyasya nāmamādāya śūnyaṃ vidiśi dhārayet || hūṃbhyāṃ vinirgataṃ kṛtvā sa

<NS 1026 - p78.1>
rvakāryyāṇi sādhayet || yacca samādāruṇa yonira ityādi bāhyate || vāma māribhya saṃlikhya sarvathāya prasādhanaṃ || tṛtīya kāṣṭhake pūrataḥ ekānte kaṣṭhake likhet || oṃ hrīṃḥ ṣṭrīṃḥ vikṛtānana hūṃ phaṭ svāhā || sukuṃkuru || mārayaḥ uccāṭayaḥ vaśīkuruḥ vidveṣayaḥ rśātiṃ kuru ityevamādikarmmānurūpataḥ || pramānavādimotā ca aṃte vauṣaṭ hūṃ phaṭ || kārāṃtayutabījāni śāṃtipuṣṭiṃ vaśākṛti || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ cakrāvalokano nāmādhikāraḥ || || bhagavānāha || sarvatathāgatoṣṇīṣa mahāvidyā śṛṇvaṃtumāhitagaṇāḥ || ye kecitpṛthivīcarāḥ || khacarāḥ || devānāgāsurāḥ || marutāḥ || garuḍāḥ || gaṃdharvāḥ || kinnarāḥ || ma

<NS 1026 - p78.2>
horagāḥ yakṣāḥ rākṣasāḥ pretāḥ piśācāḥ kuṃbhāṃḍāḥ pūtanāḥ kaṭapūtanāḥ skaṃdā || unmādā || chāyāḥ apasmārāḥ ostārakāḥ siddhavidyādhararājānaśca naivāsikā prativasaṃti || || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā pravakṣāmi || sarvakalikalahavigrahavivādamupasaṃkrāmet || devo vā devī vā devalokena vāḥ devagraheṇa vā || nāgo vāḥ nāgī vāḥ nāgalokena vāḥ nāgagrahena vāḥ || yakṣo vāḥ yakṣiṇī vāḥ yakṣalokena vāḥ yakṣagraheṇa vā || gaṃdharvo vāḥ gaṃdharvī vāḥ gaṃdharvalokena vāḥ gaṃdharvagraheṇa vā || asuro vāḥ asurī vāḥ asuralokena vāḥ asuragraheṇa vāḥ maruto vāḥ marutī vāḥ

<NS 1026 - p79.1>
marutalokena vāḥ marutagraheṇa vā || garuḍo vāḥ garuḍī vāḥ garuḍalokena vāḥ garuḍagraheṇa vā || kinnaro vāḥ kinnarī vāḥ kinnaralokena vāḥ kinnaragraheṇa vā || mahorago vāḥ mahoragī vāḥ mahoragalokena vāḥ mahoragagraheṇa vā || rākṣaso vāḥ rākṣasī vāḥ rākṣasalokena vāḥ rākṣasagraheṇa vā || bhūto vāḥ bhūtī vāḥ bhūtalokena vāḥ bhūtagraheṇa vā || preto vāḥ pretī vāḥ pretalokena vāḥ pretagraheṇa vā || piśāco vāḥ piśācī vāḥ piśācalokena vāḥ piśācagraheṇa vā || kuṃbhāṃḍo vāḥ kuṃbhāṃḍī vāḥ kuṃbhāṃḍalokena vāḥ kuṃbhāṃḍagraheṇa vā || pūtano vāḥ pūtanī vāḥ pūtanalokena vāḥ pūtanagraheṇa vā || kaṭapūtano vāḥ kaṭapūtanī vāḥ kaṭapūtanalokena vāḥ

<NS 1026 - p79.2>
kaṭapūtanagraheṇa vā || skaṃdo vāḥ skaṃdī vāḥ skaṃdalokena vāḥ skaṃdagraheṇa vā || unmādo vāḥ unmādī vāḥ unmādalokena vāḥ unmādagraheṇa vā || chāyo vāḥ chāyī vāḥ chāyalokena vāḥ chāyagrahena vā || apasmāro vāḥ apasmārī vāḥ apasmāralokena vāḥ apasmāragrahena vā || ostārako vāḥ ostārakī vāḥ ostārakalokena vāḥ ostārakagrahena vā || imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñī mama sarvasarvānāṃ ca rakṣāṃ kurvaṃtu varṣaśataṃ paśyaṃtu śaradā śataṃ || tadyathā || trimukhā ṣaḍbhujāṃ śukāṃ cakrahastāṃ śaśiprabhāṃ || carcikāṃ bhāvāyetprājño raktākṛṣṭiṃ prayogataḥ || trimukhā ṣaḍbhujā ghorā vajrahastāṃ murikāṃ

<NS 1026 - p80.1>
vārāhī bhāvāyetprājño madyākṛṣṭiṃ prayogataḥ || trimukhā ṣaḍbhujā lokaṃ sarasvatī bhāvayedvatī || padmahastadharaṃ saumyaprajñāvarddhanahetava || trimukhā ṣaḍbhujā kharvāmarkaṭotpalasanniprabhāṃ || gaurī prabhāvayetprajño śukrākṛṣṭiṃ prayogataḥ || vaktraṃ prasāditaṃ kṛtvā idaṃ maṃtramanusmaret || traidhātukamahārakta kṛṣyate nātra saṃśayaḥ || || oṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mārakarṣaṇavajra nāma samādhiḥ samāpadyemaṃ vārāhī maṃtramudājahāra || oṃ vajraghoṣe sughoṣe vajramāmakī bhara 2 saṃbhara 2 traidhātukamahoghamāḥ ākarṣaya jaḥ || hastamālālasyaghaṭikā kṛtvānusaṃkṛtā || ādhāra vairikāśākhya sthāpya maṃtramudāsmaret ||

<NS 1026 - p80.2>
asya maṃtrasya mahātmyaṃ darśitaṃ caityapaddanaṃ || dhauryamārabhya yatnenamadīrākṛṣṭi prayogatiṃ || || atha khalu bhagavān sarvatathāgatoṣṇīṣamahāpratyaṃgirāyā nāma samādhi samāpadyate vajrasarasvatī mantramudājahāra || oṃ picu 2 prajñāvarddhani jvala 2 medhāvarddhaniḥ dhiri 2 medhavarddhani svāhā || gṛhītvā pratipadyatedaṃ yāvat pūrṇamāsitaḥ || asaṃkṛtaṃ kartumārecayāvaccaṃdrānusārataḥ || bhavedyogī siddhiḥ śataḥ śokaṃ karatyasau || sidhyate śeṣaniśeṣaḥ traidhātukamaśeṣataḥ || || atha khalu bhagavān sarvatathāgatoṣṇīṣamahāpratyaṃgirā mahāpratyaṃgirā mahāvidyā yamamathanavajraṃ nāmaṃ samādhi samāpadyemaṃ vajragauryādi maṃtramudājahāra || oṃ kaṭani karṣaṇi

<NS 1026 - p81.1>
gaurī jaḥ jaḥ jaḥ hrīṃḥ duṣṭaduṣṭayoḥ śuklamākarṣaya jaḥ jaḥ jaḥ hūṃ phaṭ svāhā || khaḍgamukhavajramārgā ca vajraghaṃṭhāṃkuśayogataḥ || karṣamaśuklasaṃghāta jāpabhāvaprayogatā || vijaneṣu vaneṣāpi idaṃ karmapracodanaṃ || saptarātra prayogana sidhyate nātra saṃśayaḥ || || atha sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā nāma samādhi samāpadyedaṃ paramābhiṣeka samayaṃ svakāyavākcittavajrebhyo niścārayāmāsa || audumbara māndārakaṃ pārijātakaṃ || karṇikārasya mālā ca vatsaṃ gṛhṇa pratiṣṭhite || traidhātukamahākhaḍgaḥ sarvabuddhanamaskṛtaḥ || mārāṇāṃ japagṛhya karmakhaḍganirāparaṃ || prajñopāya svabhāvaṃ tu vajraghaṃṭhā ca siddhayet || gṛhāṇa vatsa saṃbhaktyā guruśiṣyasya saṃgrahaṃ || idaṃ te pāpara

<NS 1026 - p81.2>
tnaṃ tu dehavajraprasādhakaṃ || pīnatāṃ mānatāṃ bālijñānatvaṃ vatsa sarvadā satsukhenaiva bho śiṣya śrīyamāri prasiddhayet [||] sauṣṭhavaṃ kurute cittaṃ vajraśiṣyā mahātmana || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyā mārakarṣaṇādhikāraḥ || || bhagavānāha || atha vajradharo rāja rakṣācakraṃ prayogataḥ || vighnāvināyakā duṣṭā nikṛtāmāya cābravīt || ahaṃ khaḍgadharo rājā rakṣācakraprayogataḥ || khaḍgenādīptavapuyā sphārayāmi trikāyajāṃ || tvāṃ devī sākṣibhūtāni sarvabuddhānutāpināṃ || yamaghnā maṃḍalācāryyā maṃḍalakhedayāmyahaṃ || kāsikenamukhaṃ baddhā maṃḍalāgāradvārataḥ || kastvaṃ bho iti ca brūyātsubhagohaṃ mahāsukhaṃḥ || jamtrikā tvaṃ tarradatvā prārthayet gu

<NS 1026 - p82.1>
rave sudhi || abhiṣekārthamābhaktyā triccāryyanuprārthayet || yathā buddhairmahādharmmavajrasatvābhiṣekaḥ || mayāpi trāṇanārthāya balaṃ vāme prayechatu || gītavādyaṃ tathā pūjāmarghapātraṃ tathaiva ca || chokaya gauravā chiṣyastutiṃ vā tatra kārayet || athavajradharo rājāśūnyamaṃtramudāharet || śūnyatājñānavajrasvabhāvātmako hūṃ || oṃ sarvatathāgatoṣṇīṣasvabhāvātmako haṃ || śāṃtike śāṃtacittena pauṣṭike puṣṭacetasā || vaśyā cotkaṃṭhacittena udvignena tu māraṇe || śāṃtike maṃḍalākāraṃ bāhyākāraṃ tu pauṣṭike || vaśyake cārddhacāndrākhyaṃ khadhātumiva māraṇe || hastāyāmaṃ bhavechāṃtā dvihastaṃ pauṣṭike tathā || yathā pauṣṭau tathā vaśya viraṇe viṃśadaṃgurum || hastārddhavedhaye chāṃtau hastamā

<NS 1026 - p82.2>
traṃ tu pauṣṭike || dvipaṃca māraṇaṃguṣṭhaṃ yathā puṣṭau tathā vaśe || pratipatsuśāṃtikaṃ homaṃ pauṣṭikai pūrvamāsike || abhicāracaturdaśyām aṣṭamyāṃ vaśyakarmaṇā || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ homādhikāraḥ || atha samudramṛttikāṃ gṛhya nāgamekantu kārayet || hūṃkāraṃ hṛdayaṃ nyasya hrīṃḥ ṣṛyādimaṃtramājapet || athānavṛṣṭisamaye yutajāpena pāṭayet || kṛṣṇa sarvasya māṃsāni nimbapatreṇa miśrayet || tenaiva vārttakāṃ kṛtvā samudre prakṣipedvratī || adyamātra prajaprena unmistaṃbhanamuttamaṃ || caṃḍabījaśataṃ gṛhya māṣataṃḍulamiśritaṃ || aṣṭalakṣaprajaptena homadevaṃ tu dṛśyate || ajane śmaśānasya putrikāṃ kārayedvratī || unmattarasalepena

<NS 1026 - p83.1>
yutamātreṇa kuṣyate || catvāralakṣajāpena siddhyarthaṃ bījasaṃcaryaiḥ || saptakoṣṭhāpanaṃ kāryyajīvameva na saṃśayaḥ [||] kandarasya mṛdaṃ gṛhya la[kṣa]maṃtrasya jāpayet || śiraprasāryayenenaiva śiraśūlaṃ vinaśyati || yathā pauṣṭau tathā vaśya māraṇe viṃśadaṃgulaṃ || hastārddhavedhaya chāṃtau hastamātraṃ tu pauṣṭike || saptābhimaṃtritaṃ kṛtvā hastena mardaya chitaṃ || śiraśūlaṃ na bhavaṃti naśyate nātra saṃśayaḥ || brāhmaṇasya tu mānena citibhasmana tatsadā || yamamāri pratikuryyādvibhujekemeghavaktritaṃ || dakṣiṇena mahāvajraṃ apasavyaṃ tṛtīyakaṃ || tathā śuklavarṇa mahābhīmaṃ tena duṣṭā nikṛṃtanaṃ || pratidinabaliṃ dadyātyaṃ ca māsyā mṛtena ca || nityaṃ yatprārthayetdyogī mama śa

<NS 1026 - p83.2>
tru nikṛtaṃtayet || ityukta samānātreṇa pratyukhe śriyataṃ ripu || atha vā rogino bhoṃti asyaryādi samākulā || sato vairocanaṃ gṛhya mānuṣāṣṭhi prapūrayet || prapūryya lakṣajāpena vikṣo bhavati pretavat || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ bhīmonāmādhikāraḥ || athātaḥ saṃpravakṣyāmi mahānāgādhisādhanaṃ || sarvanāgākaraṃ divyaṃ nānākarmaprasādhakaṃ || vṛkṣāvalaṃbitaṃ gṛhya akṣanirmavratrana śubhaṃ || avatārya snāpayattu maṃtra taṃtra japavrati || aho maṃtrasya sāmarthyanādamuvati suptakaḥ || nāgādiyogayuktena na bhetavyaṃ prayatnataḥ yadyamā tanadyogī etatsarvaviśeṣataḥ || viṣarājikā lavaṇaṃ trikaṭu bhāṃjanaṃ tatha ||

<NS 1026 - p84.1>
ete saskarapratimāṃ yamāre ghorarūpiṇī || taṃ ca saṃprārthayedyogī japa hrīṃ ṣṭryādimaṃtrakaṃ || amukī me prayachaṃti nāgādi vātitaṃ svapnaṃ nīyaṃte dakṣiṇāṃ diśaṃ || sādhakasya ta va pītā yadi yogī prabhārayan || trimukhaṃ ṣaḍbhujaṃ bhīmaṃ mudgaraṃ bhāvayedvratī || indranīlapratikāśaṃ hastato mudgaraṃ nyaset || trimukhaṃ ṣaḍbhujaṃ kulaṃ mahāraktaṃ bhayānakaṃ || padmākhyaṃ bhāvayetprājño hastaraktasaroruhaṃ || trimukhaṃ ṣaḍbhujaṃ śyāmaṃ khaḍgāṣyaṃtu prabhāvayet || hastakhaḍgaṃprabhāvitvā sarvakarmakaro bhavet || bhage liṃgaprabhāvitvāṃ māṃḍaleśaṃ prabhāvayet || karmmānusmṛti saṃyogā mahānusmṛti

<NS 1026 - p84.2>
bhāvanā || mahānusmṛtimālaṃbya piśunānusmṛti bhāvanā || piśunānusmṛti saṃyogādrāgānusmṛti bhāvanā || rāgānusmṛti yogena irṣyāsya saṃsmaredvratī || saṃsphāryādromaktapāgraṃ kulameghā prati prati || sūryyamaṃḍalamadhyasthaṃ catukrodhaṃ vibhāvayet || svachamaṃḍalamadhyasthaṃ caturdevī vibhāvayet || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ pretasādhanādhikāraḥ || || bhagavānāha || sarvatathāgatoṣṇīṣacaryālakṣaṇamuttaṃ || pratyaṃgirādirūpasya kāyavākcittasiddhayaḥ || mahātavipradeśeṣu āruhyasatvamuttaṃ || sarpainā haraṇaṃ kṛtvā ayovajraṃtu dhārayet || keśaṃ tu piṃgalaṃ kāryasiddharūpaṃ viśeṣata || śīla

<NS 1026 - p85.1>
kapāla saṃveṣṭya śmaśrau piṃgalamācaret || hrīṃ ṣṭrādimaṃtramuccārya ayovajraṃ tu mudvahaṃ || siṃhanādaṃ tata kāryā yamārivajrayogataḥ || kiṃcitsāmarthyamābhūya krīḍayā nagara videt || nādaṃ ca śubhagaṃ kārya sādhanāriprasādhanaṃ || dhvajavīthiṃ tato dṛṣṭā kṣaraṃ tatra prasādhakaṃ || kṣīrābhyāsyekacittena mahāmaṃtra prasādhakaḥ || mahāpratyaṃgirārūpakāmyaṃte sarvayoṣitāḥ || siṃhavadvicaredvīra || sarvakāryārthasādhakaḥ || yatra maṃtra pravakṣyāmi śatabāho prasādhakaḥ || ekākṣaramahāmaṃtraṃ jāpaṃ tasya vinirdiśet || hrīṃkārabijasaṃjāta mahiṣāsyaṃ vibhāvayet || vajramaṃḍalamārūḍhaṃ mahiṣāsanabhāvanā || ye kecittavicidyaṃte śastravonekarūpinaḥ || bhujānāṃ bhāvayeddhīmān ma

<NS 1026 - p85.2>
hiṣamaṃtrasādhane || atha maṃtra pravakṣyāmi daṃḍayāmāri sādhanaṃ || oṃ hrīṃkāraṃ mahāmaṃtraṃ mahāmahiṣavāhanaṃ || bhujadvilakṣasaṃpūrṇaṃ bhasmadhūlitavigrahaṃ || sumeruparvatotuṃgasamākrāṃtarasātalaṃ || || athāsya sādhanaṃ vakṣye koṭibāhā prasādhakaṃ || vikṛtānanamahāmaṃtraṃ hūṃkārasaṃbhavaṃ vibhuḥ || oṃ vikṛtānanā ha hā hī hī hūṃ hūṃ he hai ho hau haṃ haḥ svāhā || samayasādhanaṃ vakṣye sarvakārya prasiddhayet || mahākhinna mahākāra niravadyamadurtvabhaṃ mahāmāṃsahayaṃ caiva gaja cāpi viśeṣataḥ || gorūpakukkuṭaṃ caiva kharoṣṭraṃ koṣṭumeva ca || mahātaina vābhyaṃgā nirimiśeṇa pāṭayat || vasamāne jagat sarvaṃ asyābhyaṃjana mātrataḥ || lāvanāsiṃdhuvāraṃ ca bilva patraṃ tathaiva ca || iha cūrṇṇasamādhena kanakapatrarasena tu || ane

<NS 1026 - p86.1>
nārddhatitaṃ gātaṃ traidhātukasamānayet || viṣalūtaṃ tathā kuṣṭaṃ na śatru_ varttatena tu || mahāsūtraṃ tu pātavyaṃ mahāvajrāmṛtaṃ tathā || ekayogacaraṃ śreṣṭhaṃ svayaṃbhu kusumapātavat || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ caryāsamayāsādhano nāmādhikāraḥ || tatha bhagavānsarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpūrasamaya mahācarcikā samādhisamāpadya mahāpratyaṃgirā samādhiṃ samāpadyedaṃ pūjāgītāmudānayāmāsa || oṃ sarvatathāgatoṣṇīṣajāpalakṣaṇamuttamaṃ || yenajāpaprayogenabhūyasī siddhimāpnuyāt || na drutaṃ na vilaṃbītaṃ na ca dīrgha na hrasvakaṃ || na kiṃcichrūyate maṃtrajapamāṇāraṇottamaṃ || mahiṣaṃ mānuṣaṃ dviradaṃ gorūpaṃ vādi

<NS 1026 - p86.2>
meva ca || kharoṣṭradhātṛ saṃgṛhyajāpamālāṃ prasādhane || māsi māsi caturdaśyāṃ paṃcamāsenalepayet || paṃcāmṛtasamāyuktaṃ jāpasiddhikaraṃ paraṃ || pratipratiguliyogī yamāri bhāvayedbudhaḥ || athavāmānuṣaṃ maṇuṃ śṛṃgāraṃ ca vibhāvayet || ayutamātreṇa bhūtānāṃ ḍākinīnāṃ sahasrakaṃ || mārayetpatasaṃghātaṃ yamāriṣu prayogataḥ || lakṣajāpeḥna yogātmā sarvakarmakarotyasau || koṭijāpena siddhisyātkā kathā koṭipaṃcake || pratidina pratimāsaṃ ca pratisaṃvatsaraṃ tathā || catuḥṣaṣṭibaliṃ dadyādaṃ catuṣaṣṭike punaḥ || yatkiṃcitpādyate nityaṃ yatkiṃcinprīṇayaṃ tathā || anya vā bhakṣaṇaṃ sarvaṃ agradadyādyamāraṇaṃ || athātaḥ saṃpravkṣyāmi guravedāntu dakṣiṇāṃ || ātmā

<NS 1026 - p87.1>
naḥ śāṃtayaṃ caiva siddhayetsarvakarmaṇa || niryātayettadātmānāṃ hahagorūpakaṃ jaraṃ || dhānya cāmīkaraṃ caiva putra vā svatriyaṃ tathā || jananī bhaginī cāpi bhāgineyai tathaiva ca || vastraṃ nānāvidhiṃ caiva chatraṃ vā cānucāmuraṃ || gṛhaṃ pīṭha sugaṃdhaṃ ca geyaṃ vādya tathaiva ca || khaḍga vābharaṇai caiva pradadyāṃ guravege vrati || || iti sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyā sarvāpayikaviśeṣādhikāraḥ || || tadyathā || oṃ anale 2 acale 2 khakhame 2 viṣade 2 vīre 2 vaire 2 saumye 2 śānte 2 dānte 2 vajradhareḥ bandha 2 vajrapāṇi hūṃ phaṭ svāhā || oṃ hūṃ hrīṃ ṣṭrīṃ hūṃ phaṭ || oṃ vajrapāṇi bandha 2 vajrapāśena sarvaduṣṭavighnavināyakānāṃ hūṃḥ

<NS 1026 - p87.2>
phaṭ 2 svāhā || oṃ hūṃ baṃdha 2 vajrapāṇi hūṃ phaṭ svāhā || || yaḥ imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirā mahāvidyārājñīḥ likhitvā || bhūrjapatre vāḥ vastre vā valkale vā kāyagatā vā kaṃṭhagatāṃ vā kṛtvā dhārayiṣyaṃti vācayiṣyaṃti || teṣāṃ yāvajīvaṃ viṣa nva kramiṣyaṃti || śastraṃ na kramiṣyaṃti || jvaraṃ na kramiṣyaṃti || śūlaṃ na kramiṣyaṃti || atisāraṃ na kramiṣyaṃti || agnyudakanna kramiṣyaṃti sarvakṛtvā karmanna kramiṣyaṃti || na garaṃ kramiṣyaṃti || nākālamṛtyunākālaṃ kramiṣyaṃti || sarvagrahāṇāṃ sarvavighnavināyakānāṃ ca priyo bhaviṣyaṃti || mana āpaśca caturaśītikalpakoṭisahasrāṇi jātau 2 jātismaro bhavi

<NS 1026 - p88.1>
ṣyaṃti || caturaśītivajrakulo koṭiniyutaśatasahasrāṇi || vidyā devatā nityaṃ satatasamitaṃ rakṣāvaraṇaguptiṃ kariṣyaṃti || caturaśītivajrakulakoṭivajradūti kiṃkarā nityaṃ paripācayiṣyaṃti || teṣāṃmapi priyo bhaviṣyaṃti || mama āpaścanakadācidyakṣatvaṃ na rākṣasatvaṃ na pretatvaṃ na piśācatvaṃ na pūṭanatvaṃ na kaṭapūtanatvaṃ na manuṣyadāridra pratyanubhaviṣyati || gaṃganādivālukāpramāṇasaṃkhyayāpremayanāṃ buddhā bhagavatā puṇyaskaṃdhena samanvāgato bhaviṣyati || || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāṃ paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ rūpaṃ paripūrayati || 1 ||

<NS 1026 - p88.2>
sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vedanā paripūrayati || 2 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃjñā paripūrayati || 3 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃskārā paripūrayati || 4 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vijñānaṃ paripūrayati || 5 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ cakṣuyāṃ paripūrayati || 6 || sarvatathā

<NS 1026 - p89.1>
gatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śrotasyāṃ paripūrayati || 7 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ghrāṇasyā paripūrayati || 8 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jihvāyā paripūrayati || 9 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ kāyasyā paripūrayati || 10 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ manaḥ paripūrayati || 11 || sarvatathāgatoṣṇīṣa paryāyana mahā

<NS 1026 - p89.2>
pāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ rūpasyā paripūrayati || 12 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śabdasyā paripūrayati || 13 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ gaṃdhasyā paripūrayati || 14 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ rasasyā paripūrayati || 15 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ sparśasyā paripūrayati || 16 || sarvatathāgatoṣṇīṣa paryāyana mahāpārami

<NS 1026 - p90.1>
teyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ dharmāṇāṃ paripūrayati || 17 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ cakṣurvijñānaṃ paripūrayati || 18 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śrotravijñānaṃ paripūrayati || 19 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ghrāṇavijñānaṃ paripūrayati || 20 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jihvāvijñānasyā pari

<NS 1026 - p90.2>
pūrayati || 21 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ kāyavijñānasyā paripūrayati || 22 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ manovijñānasyā paripūrayati || 23 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ cakṣuḥsaṃsparśasyā paripūrayati || 24 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śrotrasaṃsparśasyā paripūrayati || 25 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ghrānasaṃsparśasyā pa

<NS 1026 - p91.1>
ripūrayati || 26 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jihvāsaṃsparśasyā paripūrayati || 27 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ kāyasaṃsparśasyā paripūrayati || 28 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ manaḥsaṃsparśasyā paripūrayati || 29 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ cakṣuḥsaṃsparśapratyayavedanā paripūrayati || 30 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śrotra

<NS 1026 - p91.2>
saṃsparśapratyayavedanā paripūrayati || 31 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ghrāṇasaṃsparśapratyayavedanā paripūrayati || 32 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jihvāsaṃsparśapratyayavedanā paripūrayati || 33 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ kāyasaṃsparśapratyayavedanā paripūrayati || 34 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ manaḥsaṃsparśapratyayavedanā paripūrayati || 35 || sarvatathāgatoṣṇīṣa paryāyana

<NS 1026 - p92.1>
mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ pṛthivīdhātu paripūrayati || 36 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ apdhātu paripūrayati || 37 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ tejodhātu paripūrayati || 38 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vāyudhātu paripūrayati || 39 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ākāśadhātu paripūrayati || 40 || sarvatathā

<NS 1026 - p92.2>
gatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vijñānadhātu paripūrayati || 41 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ avidyāyāṃ paripūrayati || 42 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃskārāṇāṃ paripūrayati || 43 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vijñānasyā paripūrayati || 44 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ nāmarūpasyā paripūrayati || 45 ||

<NS 1026 - p93.1>
sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ṣaḍāyatanasyā paripūrayati || 46 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃsparśasyā paripūrayati || 47 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vedanā paripūrayati || 48 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ tṛṣṇa paripūrayati || 49 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ upādāna paripūraya

<NS 1026 - p93.2>
ti || 50 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ bhavā paripūrayati || 51 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jāti paripūrayati || 52 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ jarāmaraṇa paripūrayati || 53 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ dānapāramitā paripūrayati || 54 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ

<NS 1026 - p94.1>
śīlapāramitā paripūrayati || 55 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ kṣāṃtipāramitā paripūrayati || 56 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vīryyapāramitā paripūrayati || 57 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ dhyānapāramitā paripūrayati || 58 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ prajñāpāramitā paripūrayati || 59 || sarvatathāgatoṣṇīṣa paryāyana

<NS 1026 - p94.2>
mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ adhyātmaśūnyatā paripūrayati || 60 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ bahirddhāśūnyatā paripūrayati || 61 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ adhyātmabahirddhāśūnyatā paripūrayati || 62 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śūnyatāśūnyatā paripūrayati || 63 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ mahāśūnyatā paripūrayati || 64 ||

<NS 1026 - p95.1>
sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ paramārthaśūnyatā paripūrayati || 65 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃskṛtaśūnyatā paripūrayati || 66 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ asaṃskṛtaśūnyatā paripūrayati || 67 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ atyaṃtaśūnyatā paripūrayati || 68 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ anavarāgraśūnya

<NS 1026 - p95.2>
tā paripūrayati || 69 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ anavakāraśūnyatā paripūrayati || 70 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ prakṛtiśūnyatā paripūrayati || 71 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ sarvadharmaśūnyatā paripūrayati || 72 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ svalakṣaṇaśūnyatā paripūrayati || 73 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpra

<NS 1026 - p96.1>
tyaṃgirāyāṃ anupalaṃbhaśūnyatā paripūrayati || 74 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ abhāvaśūnyatā paripūrayati || 75 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ svabhāvaśūnyatā paripūrayati || 76 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ abhāvasvabhāvaśūnyatā paripūrayati || 77 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ smṛtyupasthānāni paripūrayati || 78 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahā

<NS 1026 - p96.2>
satvānāṃ yaduta mahāpratyaṃgirāyāṃ saṃmyakprahāṇāni paripūrayati || 79 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ṛddhipādā paripūrayati || 80 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ indriyāṇi paripūrayati || 81 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ balāni paripūrayati || 82 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ bodhyāṃgāni paripūrayati || 83 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgi

<NS 1026 - p97.1>
rāyāṃ āryyāṣṭāṃgāni paripūrayati || 84 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ āryyasatyāni paripūrayati || 85 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ dhyānāni paripūrayati || 86 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ apramāṇāni paripūrayati || 87 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ ārūpya paripūrayati || 88 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vimokṣāni paripūrayati || 89 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahā

<NS 1026 - p97.2>
satvānāṃ yaduta mahāpratyaṃgirāyāṃ samāpatti paripūrayati || 90 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ vimokṣamukhāni paripūrayati || 91 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ abhijñā paripūrayati || 92 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ samādhya paripūrayati || 93 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ dhāraṇīmukhāni paripūrayati || 94 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bo

<NS 1026 - p98.1>
dhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ daśa[ta]thāgatabalāni paripūrayati || 95 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ catvāri vaiśāradyāni paripūrayati || 96 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ catasraḥ pratisaṃvida paripūrayati || 97 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ mahākaruṇā paripūrayati || 98 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ aṣṭādaśāveṇikabuddhadharmāṇāṃ paripūrayati || 99 ||

<NS 1026 - p98.2>
sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ śrotāpattiphalaṃ paripūrayati || 100 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ sakṛdāgāmiphalaṃ paripūrayati || 101 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ anāgāmiphalaṃ paripūrayati || 102 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ pratyekabodhi paripūrayati || 103 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ mārgākāra

<NS 1026 - p99.1>
jñatā paripūrayati || 104 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ sarvākārajñatā paripūrayati || 105 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ sarvadharmāṇāṃ paripūrayati || 106 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ evaṃsarvadharmāṇāṃ paripūrayati || 107 || sarvatathāgatoṣṇīṣa paryāyana mahāpāramiteyaṃ bodhisatvānāṃ mahāsatvānāṃ yaduta mahāpratyaṃgirāyāṃ paripūrayati || 108 || iti sarvatathāgatoṣṇīṣasi

<NS 1026 - p99.2>
tātapatrā nāmāparājitā mahāpratyaṃgirāyā dharmādhikāraḥ || || ya imāṃ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ mahāvidyārājñī dhārayamāṇa || abrahmacārī brahmacārī bhaviṣyati || amaunī maunī bhaviṣyati || aśucirśuci bhaviṣyati || anupavāsī upavāsī bhaviṣyati || yo pi paṃcānaṃtaryakārī syātso pi niruddhasyapāpo bhaviṣyati || pūrvakarmāvaraṇāni nirviśeṣaṃ parikṣayaṃ gachati || yaḥ kaścinmātṛgrāmaḥ sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ mahāvidyārājñī dhārayamāṇa putrārthī putraṃ labhate || āyupuṃṇyabalaṃ pratilabhate || itaścyutvā sukhāvatyāṃ lokadhātu upapadyate || sarvarāgadveṣamohamānavigata darpyavigato

<NS 1026 - p100.1>
bhaviṣyati || || yaḥ kaścinmanuṣyamāre paśumāre sarvetyupadravopasargopāyāsaparacakrāgamaneṣu tasya bhagavatorhansaṃmyaksaṃbuddhasya sarvatathāgatoṣṇīṣasitātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ mahāvidyārājñī dhvajāgrāvaropitāṃ kṛtvā mahatā satkāreṇa mahātī ca pūjāṃ kṛtvā mahatā satkāreṇa sarvanagaradvāreṣu praveśayet || || grāme vā nagare vā nigame vā janapade vā śmaśāne vā parvate vā gṛhe vā vihāre araṇya vā || imāmaparājitā mahāpratyaṃgirā mahāvidyārājñī mahatā satkāre praveśayet || praveśitamātreṇa daśaśāṃtiṃ kṛtvā bhaviṣyati || sarvatyupadravopasargopāyāsaparacakrāṇi praśāmyaṃti || || tatra katamaḥ śūraṃgamo nāma samādhiḥ || yena

<NS 1026 - p100.2>
samādhīnāṃ sarvasamādhayo gocaramanubhavati ayamucyate śūraṃgamo nāma samādhiḥ || 1 || tatra katamaḥ ratnasamudro nāma samādhiḥ yena samādhīnāṃ sarvasamādhayo muditā ayamucyate ratnasamudro nāma samādhiḥ || 2 || tatra katamaḥ siṃhavikrīḍito nāma samādhiḥ yatra samādhau sthitvā sarvasamādhibhiḥ krīḍita ayamucyate siṃhavikrīḍito nāma samādhiḥ || 3 || tatra katama sucaṃdro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāmavabhāsayati ayamucyate sucaṃdro nāma samādhiḥ || 4 ||tatra katamaccaṃdradhvajaketurnāma samādhiḥ || yatra samādhau sthitvā sarva[sa]mādhīnāmūrddhānavalokayati ayamucyate || avalokitamūrddhā nāma samādhiḥ || 5 || tatra katamo valokamūrddhā nāma samādhiḥ || yatra

<NS 1026 - p101.1>
samādhau sthitvā sarvasamādhināṃ mūrddhānavalokayati ayamucyate || avalokitamūrddhā nāma samādhiḥ || 6 || tatra katamo dharmadhātuniyato nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhayo dharmadhātuniścayaṃ gachati ayamucyate || dharmadhātuniyato nāma samādhiḥ || 7 || tatra katamo niyatadhvajaketunāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ niyatadhvajadhārayati ayamucyate || niyatadhvajaketurnāma samādhiḥ || 8 || tatra katamo vajropammo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhināṃ bhidite ayamucyate || vajropammo nāma samādhiḥ || 9 || tatra katamo dharmapraveśamudro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ dharmapraveśamudro praveśayati || ayamucyate dharmapraveśamudro nāma samādhiḥ || 10 ||

<NS 1026 - p101.2>
tatra katamo samādhirājasupratiṣṭhito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ rājasupratiṣṭhānenapratiṣṭhita ayamucyate || samādhirājasupratiṣṭhito nāma samādhiḥ || 11 || tatra katamaḥ raśmipramukto nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ raśmivanasayanāti ayamucyate || raśmipramukto nāma samādhiḥ || 12 || tatra katamo balavyūho nāma samādhiḥ yatra samādhau sthitvā sarvasamādhīnāṃ balavyūho dhārayati ayamucyate || balavyūho nāma samādhiḥ || 13 || tatra katamo samudgato nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhayo samudāgachati ayamucyate || samudgato nāma samādhiḥ || 14 || tatra katamaḥ niruktinidarśanaprave

<NS 1026 - p102.1>
śo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ niruktinidarśanapraviśati ayamucyate || niruktinidarśapraveśo nāma samādhiḥ || 15 || tatra katamodhivacanapraveśo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ adhivacananāmadheyaṃnipraviśati ayamucyate || adhivacanasaṃpraveśo nāma samādhiḥ || 16 || tatra katamaḥ digvilokito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ digvilokitoyamucyate || digvilokito nāma samādhiḥ || 17 || tatra katamaḥ ādhāraṇamudro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ mudrā ādhārayati ayamucyate || adhāraṇamudro nāma samādhiḥ || 18 || tatra katamo asaṃpramukhito nāma samādhiḥ ||

<NS 1026 - p102.2>
yatra samādhau sthitvā sarvasamādhīnāṃ saṃpramukhita ayamucyate || asaṃpramukhito nāma samādhiḥ || 19 || tatra katamaḥ sarvadharmasamavaśaraṇasāgaramudro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhayaḥ || saṃgrahasamavasaraṇatā gachati ayamucyate sarvadharmasamavasaraṇasāgaramudro nāma samādhiḥ || 20 || tatra katamaḥ ākāśasphāraṇo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ ākāśasphāraṇatayā sphārati ayamucyate || ākāśasphāraṇo nāma samādhiḥ || 21 || tatra katamaḥ tejovatī nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ tejosa ca dhiyā ca jvalati tenosyate tejovatī nāma samādhiḥ || 22 || tatra katamaḥ apramāṇāvabhāso nāma samādhiḥ || yatra samādhau

<NS 1026 - p103.1>
sthitvā sarvasamādhīnāṃ apramāṇam avabhāso tenocyate || apramāṇāvabhāso nāma samādhiḥ || 23 || tatra katamo saṃgānāmavarṇṇā nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ saṃgarahitatāmupādāyani nāvarṇṇāvabhāsate tenocyate || asaṃgāvarṇṇā nāma samādhiḥ || 24 || tatra katamaḥ sarvadharmapravṛttisamucedo nāma samādhiḥ || ya tatra samādhau sthitvā sarvasamādhīnāṃ sarvadharma ucyate pravṛttisamucyedo nāma samādhiḥ || 25 || tatra katamaḥ raṇaṃjaho nāma samādhiḥ yatra samādhau sthitvā sarvasamādhīnāṃ nimittānyapi jahāti prāgevānyānimittāni kleśāmaṃtenocyate || raṇaṃjaho nāma samādhiḥ || 26 || tatra katamo vairocano nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhī

<NS 1026 - p103.2>
nāṃmavabhāsayati tapati virocati tenocyate || vairocano nāma samādhiḥ || 27 || tatra katamonimiṣo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ na kaściddharmameṣati tenocyate || animiṣo nāma samādhiḥ || 28 || tatra katamo aniketasthito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ na kaściddharmasamanupaśyati tenocyate || aniketasthito nāma samādhiḥ || 29 || tatra katamo niścito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ cittacetasikā dharmānnapravarttayati tenocyate || cittacetā nāma samādhiḥ || 30 || tatra katamaḥ vimalapradīpo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ pradīpaṃ dhārayati tenocyate || vimalapradīpo nāma samā

<NS 1026 - p104.1>
dhiḥ || 31 || tatra katamonantaprabho nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ anaṃtaprabhokaroti tenocyate || anantaprabho nāma samādhiḥ || 32 || tatra katamaḥ prabhākāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ prabhākāroti tenocyate || prabhākāro nāma samādhiḥ || 33 || tatra katamaḥ samaṃtāvabhāso nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sahapratilaṃbhana sarvasamādhimukhānyavabhāsaṃte tenocyate || samaṃtāvabhāso nāma samādhiḥ || 34 || tatra katamaḥ śuddhasāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ śuddhasāro nāma samatāmanuprāpnoti tenocyate || śuddhasāro nāma samādhiḥ || 35 || tatra katamo vimalaprabho nāma samādhiḥ || {yatra samādhī}

<NS 1026 - p104.2>
yatra samādhau sthitvā sarvasamādhīnāṃ varamākarṣayati tenocyate vimalaprabho nāma samādhiḥ || 36 || tatra katamo ratikaro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ ratimanubhavatinocyateḥ ratikaro nāma samādhiḥ || 37 || tatra katamo vidupradīpo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ pradīpo karoti tenocyate vidyutpradīpo nāma samādhiḥ || 38 || tatra katamo akṣayo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ naivākṣayasamanupaśyati tenocyate || akṣayo nāma samādhiḥ || 39 || tatra katamaḥ vajramaṃḍalo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ maṃḍalonidhyārayati ayamucyate vajramaṃḍalo nāma samādhiḥ || 40 || tatra katamaḥ akṣayopagato nā

<NS 1026 - p105.1>
ma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ kṣayasamanupaśyati tenocyate akṣayapagato nāma samādhiḥ || 41 || tatra katamaḥ vivṛto nāma samādhiḥ yatra samādhau sthitvā sarvasamādhīnāṃ jayati na manyate na spaṃdati na prapacayati tenocyate vivṛto nāma samādhiḥ || 42 || tatra katamaḥ nihyotamo yatra samādhau sthitvā sarvasamādhīnāṃ jayati na manyate na spaṃdati na prapacayati tenocyate nihyotamo nāma samādhiḥ || 43 || tatra katama sūryapradīpo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ raśmimukhamavabhāsayati tenocyate || sūryapradīpo nāma samādhiḥ || 44 || tatra katama candravimalo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ mukhānāmālokaṃkaroti tenocyate

<NS 1026 - p105.2>
ākārakaro namocyate candravimalo nāma samādhiḥ || 45 || tatra katamaḥ śuddhaprabhāso nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ aṃdhakāravidhamayati tenocyate śuddhaprabhāso nāma samādhiḥ || 46 || tatra katamaḥ ālokakaro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ mukhānāmālokaṃkaroti tenocyate lokakaro nāma samādhiḥ || 47 || tatra katamaḥ ākārākāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ jñānaketusamanupaśyati tenocyate kāragatāṃ kriyāṃ karoti tenocyate ākārākāro nāma samādhiḥ || 48 || tatra katamaḥ jñānaketurnāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ jñānaketusamanupaśyati tenocyate jñānaketurnāma samādhiḥ || 49 || tatra katamo vajropa

<NS 1026 - 106.1>
mo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ dharmānnividhyate samādhimapi samanupaśyate tenocyateḥ vajropamo nāma samādhiḥ || 50 || tatra katamaḥ cittasthitirnāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ cittaṃ varṇayati na vivarttate na prabhavatibhāsati na cidyātamāpatsyaṃte na cāsyaivaṃ bhavati cittamiti tenocyate || cittasthiti nāma samādhiḥ || 51 || tatra katamaḥ samaṃtāloko nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ samaṃtālokaṃ samanupaśyati tenocyate || samaṃtāloko nāma samādhiḥ || 52 || tatra katamaḥ supratiṣṭhito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ pratiṣṭhito bhavati tenocyate || supratiṣṭhito nāma samādhiḥ || 53 || tatra katamaḥ ratnakoṭi nāma samādhiḥ ||

<NS 1026 - p106.2>
yatra samādhau sthitvā sarvasamādhīnāṃ samaṃtādratnakoṭi nicasadṛśyaṃte tenocyate ratnakoṭi nāma samādhiḥ || 54 || tatra katamaḥ varadharmamudrā nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ muditāmupādāya tenocyate varadharmamudrā nāma samādhiḥ || 55 || tatra katamaḥ sarvadharmasamaṃtā nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ yonikaściddharmasamatāniruktisamanupaśyati tenocyate || sarvadharmasamaṃtā nāma samādhiḥ || 56 || tatra katamaḥ sarvadharmodgatapūrṇo nāma samādhiḥ || yatra samādhau sthitvā sarvadharmaścā gachati sarvadharmaścā pūryate tenocyate || sarvadharmodgatapūrṇo nāma samādhiḥ || 57 || tatra katamaḥ ratiṃjaho nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhayo ratiṃ jahāti tenocyate ||

<NS 1026 - p107.1>
ratiṃjaho nāma samādhiḥ || 58 || tatra katamaḥ vikiraṇo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ vikiraṇoti vidhamayati tenocyate || vikiraṇo nāma samādhiḥ || 59 || tatra katamaḥ sarvadharmapadaprabhedo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvadharmapadāni prativarttate tenocyate || sarvadharmapradaprabhedo nāma samādhiḥ || 60 || tatra katamaḥ samākṣaro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ samākṣaranāma samādhi pratilabhyate tenocyateḥ samākṣaro nāma samādhiḥ || 61 || tatra katamaḥ akṣarāpagato nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ akālakṣaramapi nopalabhyate-tenocyate || akṣarāpagato nāma samādhiḥ || 62 || tatra katamaḥ āraṃbaṇachedo nāma samādhiḥ || yatra samādhau

<NS 1026 - p107.2>
sthitvā sarvasamādhīnāṃ vikāro nopalabhyate tenocyate || avikāro nāma samādhiḥ || 63 || tatra katamaḥ aprakāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ prakāramapi vopalabhyate tenocyate || aprakāro nāma samādhiḥ || 64 || tatra katamo nāmanimittānipraveśo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ nimittāniropalabhyateḥ tenocyate nāmanimittānipraveśo nāma samādhiḥ || 65 || tatra katamaḥ aniketacārī nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ niketano nāma samādhi tenocyate aniketacārī nāma samādhiḥ || 66 || tatra katamaḥ timirāpagato nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ timiraṃ viśodha

<NS 1026 - p108.1>
yati tenocyate timirāpagato nāma samādhiḥ || 67 || tatra katamaḥ ścāritravatī nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ cāritravatī samanupaśyati tenocyate || cāritravatī nāma samādhiḥ || 68 || tatra katamaḥ acalo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ caritannasamanupaśyati tenocyate acalo nāma samādhiḥ || 69 || tatra katamaḥ viṣayatīrṇo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ viṣayamati tenocyate viṣayatīrṇo nāma samādhiḥ || 70 || tatra katamaḥ sarvaguṇasaṃcayo nāma samādhiḥ || yatra samādhau sthitvā sarvaguṇānāṃ sarvasamādhīnāṃ saṃcayatāmanuprāpnoti tenocyate sarvaguṇasaṃcayo

<NS 1026 - 108.2>
nāma samādhiḥ || 71 || tatra katamaḥ cittasthitiniścito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ cittannapravarttate-tenocyate || cittasthitiniścito nāma samādhiḥ || 72 || tatra katamaḥ śubhapuṣpitaśuddhirnāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ śubhapuṣpitaśuddhi pratilabhate-tenocyate || śubhapuṣpitaśuddhirnāma samādhiḥ || 73 || tatra katamaḥ bodhyaṃgavā nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ saptabodhyaṃgāni pratilabhate-tenocyate || bodhyaṃgavā nāma samādhiḥ || 74 || tatra katamaḥ anantapratibhāso nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ anaṃtadvayonopalabhyate tenocyate || anaṃ

<NS 1026 - p109.1>
tapratibhāso nāma samādhiḥ || 75 || tatra katamaḥ asamasamo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ asamasamonāmatāṃ pratilabhate-tenocyate || asamasamo nāma samādhiḥ || 76 || tatra katamaḥ sarvadharmātikramaṇo nāma samādhiḥ || yatra samādhau sthitvā sarvatraidhātukasaṃmatite tenocyate || sarvadharmmātikramano nāma samādhiḥ || 77 || tatra katamaḥ parikṣadakaro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvadharmāṇāṃ parichedakariṣyati tenocyate || parichedakaro nāma samādhiḥ || 78 || tatra katamaḥ vimativikiraṇo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ vikiraṇamanuprāpnoti tenocyate || vimativikiraṇo nāma samādhiḥ || 79 || tatra katamo

<NS 1026 - p109.2>
niradhiṣṭhāno nāma samādhiḥ || yatra samādhau sthitvā sarvadharmāṇāṃ sthānaṃ na samanupaśyati tenocyate || niradhiṣṭhāno nāma samādhiḥ || 80 || tatra katamaḥ ekavyūho nāma samādhiḥ || yatra samādhau sthitvā na kasyaciddharmasyadveṣatā samanupaśyati tenocyate || ekavyūho nāma samādhiḥ || 81 || tatra katamaḥ ākārobhinirhāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvadharmāṇāṃ ākārābhinirhāra samanupaśyaṃti tenocyate || ākārobhinirhāro nāma samādhiḥ || 82 || tatra katamaḥ ekākāravyūho nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ ākākāratāṃ samanupaśyaṃti tenocyate || ekākāravyūho nāma samādhiḥ || 83 || tatra katamaḥ ākārānavakārā nāma samādhiḥ || yatra samādhau

<NS 1026 - p110.1>
sthitvā sarvadharmāṇāṃmadvayatāṃ samanupaśyaṃti tenocyate || ākārānavakārā nāma samādhiḥ || 84 || tatra katamaḥ nivedhikasarvabhāvatarodhikāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ nivedhikajñāna samanuprāpnoti yasyānuprāptito na kaścinnapratividhāte tenocyate || nirvedhikasarvabhāvatanādhikāro nāma samādhiḥ || 85 || tatra katamaḥ saṃketarutapraveśo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ saṃketarutapraveśo nāma samādhiḥ || 86 || tatra katamaḥ gīrghoṣākṣaravimuktirnāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ nakṣaravimuktonāma samanupaśyati tenocyate gīrghoṣākṣaravimuktirnāma samādhiḥ || 87 || tatra katamaḥ jvalanolko nāma sa

<NS 1026 - p110.2>
mādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ tejosāvabhāsayati tapati virocate tenocyate jvalanolko nāma samādhiḥ || 88 || tatra katamaḥ lakṣaṇapariśodhano nāma samādhiḥ || yatra samādhau sthitvā sarvalakṣaṇāni pariśodhayati tenocyate lakṣaṇapariśodhano nāma samādhiḥ || 89 || tatra katamaḥ anabhlakṣito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃmabhilakṣayati tenocyate || anabhlakṣito nāma samādhiḥ || 90 || tatra katamaḥ sarvākāravalopeto nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvākāravaropeto bhavati tenocyate sarvākāravalopeto nāma samādhiḥ || 91 || tatra katamaḥ sarvasukhaduḥkhanirabhina

<NS 1026 - p111.1>
ndita nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvadukhaduḥkhāni samanupaśyati tenocyate sarvasukhaduḥkhānirabhinandita nāma samādhiḥ || 92 || tatra katamaḥ akṣayākāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ kṣayaṃ nnasamanupaśyati tenocyate akṣayākāro nāma samādhiḥ || 93 || tatra katamaḥ dhāraṇīpratipattīrnāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ dhārayati tenocyate dhāraṇīpratipattīrnāma samādhiḥ || 94 || tatra katamaḥ sarvasaṃmyaksaṃmithyātvasaṃgraho nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ saṃmyaksaṃmithyātvāni samanupaśyati tenocyate || saṃmyaksaṃmithyātvasaṃgrahā nāma sa

<NS 1026 - p111.2>
mādhiḥ || 95 || tatra katamaḥ sarvarodhanirodhaprasamano nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ rodhanirodhaṃ na samanupaśyati tenocyate tenocyate || sarvarodhanirodhapraveśo nāma samādhiḥ || 96 || tatra katamaḥ anusārapratisāro nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ anusaṃsārānu samanupaśyati tenocyate || anusārapratisāro nāma samādhiḥ || 97 || tatra katamaḥ vimalaprabho nāma samādhiḥ yatra samādhau sthitvā sarvasamādhīnāṃ prabhākaro nāma maṃḍalonopalabhyate tenocyate vimalaprabho nāma samādhiḥ || 98 || tatra katamaḥ sāravatī nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ mamāratānopalabhyate-tenocyate || sāravatī nāma samādhiḥ || 99 ||

<NS 1026 - p112.1>
tatra katamaḥ paripūrṇacandravimalo nāma samādhiḥ || yatra samādhau sthitvā tasya samādhayoḥ paripūrṇaṃ bhavati paripūrṇacandravimalonāma tenocyate || paripūrṇacandravimalo nāma samādhiḥ || 100 || tatra katamaḥ mahāvyūho nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ mahāvyūhonāma samanvāgato bhavati tenocyate mahāvyūho nāma samādhiḥ || 101 || tatra katamaḥ sarvākāraprabhākararo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ sarvadharmāṇāṃ ca prabhākaroti tenocyate || sarvākāraprabhākaro nāma samādhiḥ || 102 || tatra katamaḥ samādhisamatā nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ vikṣepamnaikāgratāṃ samanupaśyati tenocyate || samā

<NS 1026 - p112.2>
dhisamatā nāma samādhiḥ || 103 || tatra katamo raṇasamaraṇa nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhayo naravaṃtī tenocyate araṇasarvasaraṇo nāma samādhiḥ || 104 || tatra katamo araṇasamavasaraṇo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ aruṇaśaraṇasarvasamavasaraṇatāmanuprāpnoti tenocyate || araṇasarvasamavasaraṇo nāma samādhiḥ || 105 || tatra katamaḥ anilāniketo nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃmālayannasamanupaśyati tenocyate || anilāniketo nāma samādhiḥ || 106 || tatra katamaḥ tathatāsthitiniścito nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ tathatāṃ navyativarttate-tenocyate tathatāsthi

<NS 1026 - p113.1>
tiniścito nāma samādhiḥ || 107 || tatra katamaḥ kāyakaliṃgasaṃpramathano nāma samādhiḥ || yatra samādhau sthitvā sarvasamādhīnāṃ kāyanopalabhyate-tenocyate || kāyakaliṃgasaṃpramathanonāma samādhiḥ || 108 || imaṃ subhūte mahābodhisatvasya pratyaṃgirāyāṃ carato mahāyānaṃ || iti mahā pratyaṃgirāyāṃ puṇyasaṃbhāra || || tadyathā || buddhobhagavān nāgarājā || 1 || brahmā nāgarājā || 2 || indro nāgarājā || 3 || mahendro nāgarājā || 4 || samudro nāgarājā || 5 || sāgaro nāgarājā || 6 || makaro nāgarājā || 7 || maro nāgarājā || 8 || sudarśano nāgarājā || 9 || aruṇo nāgarājā || 10 || varuṇo nāgarājā || 11 || ṣaḍaṃgo nāgarājā || 12 || paṃḍuko nāgarājā || 13 || sāraṃgo

<NS 1026 - p113.2>
nāgarājā || 14 || śrīmānnāgarājā || 15 || śrīkaṃṭhe nāgarājā || 16 || śrīvarddhano nāgarājā || 17 || śrībhadro nāgarājā || 18 || acalo nāgarājā || 19 || atibalo nāgarājā || 20 || śavaro nāgarājā || 21 || marabho nāgarājā || 22 || subāhu nāgarājā || 23 || śatabāhu nāgarājā || 24 || sumeru nāgarājā || 25 || sūryaprabho nāgarājā || 26 || candraprabho nāgarājā || 27 || bhadrakāṃto nāgarājā || 28 || mardanā nāgarājā || 29 || garjano nāgarājā || 30 || ādarśano nāgarājā || 31 || vidyota nāgarājā || 32 || sphoṭano nāgarājā || 33 || varṣaṇo nāgarājā || 34 || vimalo nāgarājā || 35 || aliko nāgarājā || 36 || baliko nāgarājā || 37 || aśvaśīrṣo nāgarājā || 38 || gavayaśīrṣo nāgarājā || 39 || mṛgaśīrṣo nāgarājā || 40 || hastiśīrṣo nāgarājā || 41 || narasiṃho nāgarājā || 42 || ārdavaliko nāgarājā || 43 || darśano nāgarājā || 44 || garjano nāgarājā || 45 || citrākṣo nāgarājā || 46 ||

<NS 1026 - p114.1>
citraseno nāgarājā || 47 || muci nāgarājā || 48 || muciliṃdo nāgarājā || 49 || mahāmuciliṃdo nāgarājā || 50 || rāvaṇonāgarājā || 51 || rāghavo nāgarājā || 52 || harirnāgarājā || 53 || girirnāgarājā || 54 || miri nāgarājā || 55 || giriko nāgarājā || 56 || laṃbuko nāgarājā || 57 || kṛmiko nāgarājā || 58 || ananto nāgarājā || 59 || karako nāgarājā || 60 || śaṃkho nāgarājā || 61 || śaṃkhapālo nāgarājā || 62 || mahākṛṣṇo nāgarājā || 63 || nando nāgarājā || 64 || upanando nāgarājā || 65 | vāsuki nāgarājā || 66 || takṣako nāgarājā || 67 || karkoṭako nāgarājā || 68 || padmo nāgarājā || 69 || mahāpadmo nāgarājā || 70 || kuliko nāgarājā || 71 || hastikacho nāgarājā || 72 || piṃgalo nāgarājā || 73 || elapatro nāgarājā || 74 || apalālo nāgarājā || 75 || kālo nāgarājā || 76 || upakālo nāgarājā || 77 || bala

<NS 1026 - p114.2>
devo nāgarājā || 78 || nārāyaṇo nāgarājā || 79 | kambalāsvatarau nāgarājā || 80 || kamalo nāgarājā || 81 || bhīmo nāgarājā || 82 || vibhīmo nāgarājā || 83 || rākṣaso nāgarājā || 84 || gailabāhu nāgarājā || 85 || gaṃgā nāgarājā || 86 || siṃdhurnāgarājā || 87 || cakṣu nāgarājā || 88 || śītā nāgarājā || 89 || maṃgalyā nāgarājā || 90 || anavatapto nāgarājā || 91 || supratiṣṭhito nāgarājā || 92 || airāvaṇo nāgarājā || 93 || dharaṇīdharo nāgarājā || 94 || dyutiṃdharo nāgarājā || 95 || nimiṃdharo nāgarājā || 96 || bhadro nāgarājā || 97 || subhadro nāgarājā || 98 || vasubhadro nāgarājā || || balabhadro nāgarājā || 99 || maṇirnāgarājā || 100 || maṇikaṃṭhe nāgarājā || 101 || mālirnāgarājā || 102 || raktamālinā

<NS 1026 - p115.1>
rnāgarājā || 103 || vatso nāgarājā || 104 || bhadro nāgarājā || 105 || subhadro nāgarājā || 106 || duṃdubhirnāgarājā || 107 || upaduṃdubhi nāgarājā || 108 || āmṛtīrtho nāgarājā || 109 || maṇisuto nāgarājā || 110 || dhṛtarāṣṭro nāgarājā || 111 || virūḍhako nāgarājā || 112 || virūpākṣo nāgarājā || 113 || vaiśravaṇo nāgarājā || 114 || sakaṭamukho nāgarājā || 115 || cāṃpeyako nāgarājā || 116 || gautamo nāgarājā || 117 || pāṃcālo nāgarājā || 118 || paṃcacuḍo nāgarājā || 119 || pradyumn_o nāgarājā || 120 || vidyutsaṃbhavo nāgarājā || 121 || avabhāsaśīrṣo nāgarājā || 122 || meghavikurvito nāgarājā || 123 || mahāmeghavikurvito nāgarājā || 124 || mahāmeghasphoṭano nāgarājā ||

<NS 1026 - p115.2>
125 || meghagarjito nāgarājā || 126 || varṣasaṃbhavo nāgarājā || 127 || ulkāpāto nāgarājā || 128 || avakāragarjito nāgarājā || 129 || garjasvaro nāgarājā || 130 || mahāphulu 2 prabho nāgarājā || 131 || śrītejo nāgarājā || 132 || śrīdharo nāgarājā || 133 || mahāguru 2 śabdo nāgarājā || 134 || kili 2 śabdo nāgarājā || 135 || mahāvāravikurvito nāgarājā || 136 || vātapramocano nāgarājā || 137 || meghasphoṭano nāgarājā || 138 || meghanandito nāgarājā || 139 || meghasaṃjñā nāgarājā || 140 || meghamaṃḍasaṃchādano nāgarājā || 141 || aparājita nāgarājā || 142 || meghāṃvaro nāgarājā || 143 || vātasaṃbhavo nāgarājā || 144 ||

<NS 1026 - p116.1>
vātakṣobhyo nāgarājā || 145 || maṇicuḍo nāgarājā || 146 || suśīrṣo nāgarājā || 147 || anye ca sarvato nāgarājāḥ kālena kālaṃ varṣayati || kālena kālena garjayaṃti kālena kālamautsukyamāpatsyaṃti || sarvarogopadravāśca praśamayiṣyaṃti mama sarvasatvānāṃ ca śāṃtiṃ kṛtvā bhavṣyati || ete sarva nāgarājā pūrvaṃgame caturaśīti nāgagaṇakoṭiniyutaśatasahasraiḥ sannipatitaiḥ sanniṣaṇṇaḥ || || tena khalu punaḥ samayena sarvanāgarājasaparivāranutthāyāsanebhyaḥ || ekāsamuttarāsaṃgaṃ kṛtvā dakṣiṇaṃ jānumaṃḍalāni pṛthivyāṃ pratiṣṭhāyya yena bhagavān tenāṃjaliṃ praṇamyāprameyāsaṃkhyeyaiḥ paramavividhanuciraiḥ puṣpadhūpadīpa

<NS 1026 - p116.2>
gaṃdhamālyavilepanacūrṇṇacīvarachatradhvajaghaṃṭhāpatākāpaṭṭadāmavādyatūryatāḍāvacanasaṃgītiratnakus umaratnapadmamukuṭāhāranāgapuṣpamuktājālai jagato guḍaguḍāyamāṇo mahāvātapravāyyaṃte || mahānādavaṃto ramaṇīyāśca dharmanādanadaṃto mahatā gurugauravavicitrākāreṇa bhagavaṃtamabhichādayataḥ pradakṣiṇīkurvaṃti sma || pradakṣiṇīkṛtyaikāṃte tasthuḥ || ekāṃte sthitāḥ praṇidhānāni kurvaṃti sma || sarvalokadhātusamudreṣupṛthivyāptejovāyuparamāṇurajaḥ sarvvarūpāvabhāsasamaparamāṇurajasaḥ || ekaikasmin paramāṇurajasi || sarvvagaṇasamudrasamatikrāṃtai asaṃkheyāprameyācintyānapyānabhilāpyasamatikrāṃtaikāyesaṃ

<NS 1026 - p117.1>
ghasamudraiḥ || etasmiṃkāle aprameyāsaṃkhyeyāphaṇi samudrameghānadhiṣṭhāya samaṃtadichetābhimukhādekaikasmātparamāṇurajobhāgā samaṃtadikūlapharaṇairasaṃbhinnaiḥ sarvapūjāmeghasamudraiḥ sarvabuddhaboghisatvasamudrātsatkuryāmo gurukuryāmo mānayemaḥ pūjayemaḥ || || yadutāprameyāsaṃkhyeyāciṃtyātulyāmāryāparimānānabhilāpyairasaṃbhinnaiḥ || || samaṃtacaryyāprabhāvasamudrameghaiḥ || saṃchaṃna gaganaṃtalamadhiṣṭhāya yathā bodhisatvātmabhāvasamudrameghaiḥ || evaṃ sarvasarvaratnavarṇaraśmighanasarvasūryyacandrātmabhāvamaṃḍalasamudrameghaiḥ || sarvaratnahārakusumasamudrameghaiḥ || sarvaratnāvabhāsakūṭāgārasamudrameghaiḥ || sarvacūrṇṇavṛkṣākāśasamudrameghaiḥ || sa

<NS 1026 - p117.2>
rvagaṃdhadhūpasarvarūpasandarśanasamudrameghaiḥ || sarvaratnāhārakusumasamudrameghaiḥ || sarvaratnāvabhāsakūṭāgārasamudrameghaiḥ || sarvacūrṇavṛkṣākāśasamudrameghaiḥ || sarvagaṃdhadhūpasarvarūpadarśanasamudrameghaiḥ || sarvarutanigarjitavādyasamudrameghaiḥ || sarvagaṃdhavṛkṣasamudrameghaiḥ || saṃchannagaganaṃtaramadhiṣṭhāyasamudrameghaiḥ || || evaṃ pramukhairaprameyāsaṃkhyeyātulyāparimāṇāniyānabhilāpyairasaṃbhinnaiḥ sarvapūjāmeghaiḥ samudrameghaiḥ || sarvabuddhabodhisatvasamudrātsatkuryyāmo gurukuryyāmo mānayemaḥ pūjayāmaḥ sarvavyūhaviṣayavidyotitagarbhamaṇirājasamudrameghaiḥ || sachannagaganaṃtaramadhiṣṭhāya sarvabuddhabodhisatvasamudrātsatkuryāmo gurukuryyāmo mānayemaḥ pūjayāmaḥ sarvavyūhaviṣayavi

<NS 1026 - p118.1>
dyotitagarbhamaṇirājasamudrameghaiḥ || saṃchannagaganaṃtaramadhiṣṭhāya sarvabuddhabodhisatvasamudrātsatkuryyāmoḥ gurukuryyāmoḥ mānayāmaḥ pūjayāmaḥ || sarvasamaṃtāvabhāsaratnavarṣavyūhamaṇirājasamudrameghaiḥ || sarvaratnānijvalenaniryyāmaṇighoṣamaṇirājasamudrameghaiḥ || samaṃtāsphāraṇasarvabuddhadharmanirghoṣamaṇirājasamudrameghaiḥ || samaṃtamukharatnaraśmibuddhanirmāṇavabhāsasamudrameghaiḥ || sarvavyūhasabhinnaparṣanmaḍaṃlapratibhāsasaṃdarśanamaṇirājasamudrameghaiḥ || arcipradīpaḥsarvabuddhaviṣayānuśaraṇamaṇirājasamudrameghaiḥ || aciṃtyabuddhakṣetratathāgatavimānapratibhāsasaṃdarśanamaṇirājasamudrameghaiḥ || ratnavicitraratnareṇubhyadhvabuddhakāyapratibhāsarvairocanamaṇiḥ

<NS 1026 - p118.2>
rājasamudrameghaiḥ || saṃchannagaganaṃtaramadhiṣṭhāyasarvabuddhabodhisatvasamudrātsatkuryāmo-gurukuryāmo-mānayāmaḥ pūjayāmaḥ || || asaṃbhinnaiḥ sarvaratnagaṃdhavicitrapuṣpakuṭāgārasamudrameghaiḥ || sarvasuktāhāravicitrakuṭāgārasamudrameghaiḥ || sarvapuṣpakeśarasamudrameghaiḥ || anaratnahārasamalaṃkṛtakuṭagārāsamudrameghaiḥ || sachannagaganaṃtaramadhiṣṭhāyasamudrameghaiḥ || daśadigspharaṇameghaiḥ || samanaṃtaraśmijyotigarbhavyūhasamasatvaratnakuṭagārāsamudrameghaiḥ || sarvaratnareṇupratimaṇivitānakavyūhaśabdāsanakuṭagārāsamudrameghaiḥ || sarvavyūhapratimaṃḍitasamaṃtaraśmispharaṇakuṭagārāsamudrameghaiḥ || samaṃtamukhapuṣpatoraṇaghaṃṭhājālāvalaṃbitasamudrameghaiḥ ||

<NS 1026 - p119.1>
saṃchannagaganaṃtaramadhiṣṭhāyasarvabuddhabodhisatvasamudrātsatkuryāmo-gurukuryāmo-mānayāmaḥ pūjayāmaḥ || || kāṃcanaratnavicitrasūtrahāraratnavarṣagarbhasiṃhāsanasamudrameghaiḥ || kusumavabhāsavicitragarbhasiṃhāsanasamudrameghaiḥ [||] indranīlajāṃbunadapadmavicitragarbhasiṃhāsanasamudrameghaiḥ || pradīpamaṇigarbhasiṃhāsanasamudrameghaiḥ || jyotidhvajamaṇiratnapadmavicitragarbhasiṃhāsanasamudrameghaiḥ || ratnapratimaṃḍitapadmavicitragarbhasiṃhāsanasamudrameghaiḥ || indranīlarucirajvālaraśmipadmagarbhasiṃhāsanasamudrameghaiḥ || akṣayaraśmijvalatejopadmagarbhasiṃhāsanasamudrameghaiḥ || sarvaratnajvālānisṛtapadmagarbhasiṃhāsanasamudrameghaiḥ || buddharutanirghoṣaraśmipadmagarbhasiṃ

<NS 1026 - p119.2>
hāsanasamudrameghaiḥ || || asaṃbhinnasaṃchannagaganaṃtaramadhiṣṭhāya sarvabuddhabodhisatvasamudrātsatkuryāmo gurukuryāmo-mānayāmaḥ pūjayāmaḥ || sarvagaṃdhamaṇivicitravṛkṣasamudrameghaiḥ || samantamukhapatrāṃjalimeghaniḥśaraṇagaṃdhavṛkṣaḥsamudrameghaiḥ || sarvavyūhaniḥsṛtānaṃtakāśavṛkṣasamudrameghaiḥ || sarvavikṣarūpānaikavyūhasaṃdarśanavṛkṣasamudrameghaiḥ || sarvakusumameghapratilabdhavṛkṣasamudrameghaiḥ || sarvaratnārcimaṃḍalavighāṭitavṛkṣasamudrameghaiḥ || sarvanandanacūrṇṇabodhisatvārddhakāyasaṃdarśanavṛkṣasamudrameghaiḥ || sarvarutanirghoṣanigarjitamanojñanirghoṣasamantapramuṃcanavṛkṣasamudrameghaiḥ || sarvabodhisatvāmaṃḍalavicitravyūhaprabhāvṛkṣadevatānaṃtaḥsarva

<NS 1026 - p120.1>
ratnavastrakośasūryavighāṭivṛkṣasamudrameghaiḥ || anaṃtavarṇaratnapadmagarbhasiṃhāsanasamudrameghaiḥ || samantānimukhamaṇirājavidyotigarbhasiṃhāsanasamudrameghaiḥ || sarvālaṃkāravyūhapratimaṃḍitagarbhasiṃhāsanasamudrameghaiḥ || sarvavicitraratnārciḥpradīpamālāgarbhasiṃhāsanasamudrameghaiḥ || samaṃtanirghoṣaratnānisaraṇagarbhasiṃhāsanasamudrameghaiḥ || sarvagaṃdhakusumapadmahāraratnagarbhasiṃhāsanasamudrameghaiḥ || sarvabuddhāsanavyūhasaṃdarśanamaṇirājagarbhasiṃhāsanasamudrameghaiḥ || ratnavyūhahārapralaṃbitoraṇacaṇḍikāpratimaṃḍitaratnagarbhamehasiṃhāsanasamudrameghaiḥ || sarvadruma-maṇiratnaśākhāvarṇakāśasiṃhāsanasamudrameghaiḥ || vicitragaṃdhakiṃkiṇījālasamaṃtālaṃkārasūryāvidyotitagarbhasiṃhāsa

<NS 1026 - p120.2>
nasamudrameghaiḥ || || sachanagaganaṃtaramadhiṣṭhāya sarvabuddhabodhisatvasamudrātsatkuryāmoḥ gurukuryāmo-mānayāmaḥ pūjayāmaḥ sarvaciṃtāmaṇirājavitānasamudrameghaiḥ || indranīlamaṇiratnakeśarasarvapuṣpavyūhaciṃtāmaṇisamudrameghaiḥ || sarvagaṃdhamaṇivitānasamudrameghaiḥ || ratnārcipradīpavigrahavitānasamu[dra]meghaiḥ || sarvabuddhavinidarśanaprabhāmaṃḍalanirghoṣamaṇirājasamudrameghaiḥ || vicitramaṇivastrasarvavyūhaprabhāsasaṃdarśanavitānasamudrameghaiḥ || sarvapuṣpāghajvālāvabhāsaratnavitānasamudrameghaiḥ || vicitraghaṃṭhāsamaṃtanirghoṣaspharaṇajvālāvitānasamudrameghaiḥ [||] anaṃtavarṇapadmajvālavicitramaṇikaṭikāyapadmajvālavitānasamudrameghaiḥ || suvarṇakeśaraśmidyotidhvajavi

<NS 1026 - p121.1>
tānasamudrameghaiḥ || aciṃtyavyūhapratibhāsasarvavyūhasiṃhāsanasamudrameghaiḥ || || saṃchannagaganaṃtaramadhiṣṭhāyasarvabuddhabodhisatvasamarameghasamudrātsatkuryāmo gurukuryāmaḥ mānayāmaḥ pūjayāmaḥ vicitrasarvamaṇiratnachatrasamudrameghaiḥ || sarvabuddhabodhisatvkaruṇāmukhānirghoṣamaṇirājachatrasamudrameghaiḥ || vicitraratnārcimālāchatrasamudrameghaiḥ || samaṃtaratnareṇuprabhāsamaṃḍitaghaṃṭhājālavalaṃbitavicitraghaṃṭhameghaiḥ || sarvamaṇidr_uśākhālaṃkārachatrasamudrameghaiḥ || sūryavirocanārcimaṇirājasarvagaṃdhapuṣpadhūpachatrasamudrameghaiḥ || candanacūrṇṇakośasamantaspharaṇachatrasamudrameghaiḥ || vicitravipulabuddhaviṣayavidyotisamaṃtavyū

<NS 1026 - p121.2>
haspharaṇachatrasamudrameghaiḥ || || abhisaṃ[bhi]nnaiḥ sarvabuddhabodhisatvasamudrātsatkuryāmo-gurukuryāmo-mānayāmaḥ pūjayāmaḥ sarvaratnāvabhāsamaṃḍalasamudrameghaiḥ || asaṃbhinnaiḥsarvaratnārcigrahaprabhāmaṃḍalasamudrameghaiḥ || sarvakusumameghavidyotitaprabhāmaṃḍalasamudrameghaiḥ || sarvaratnaraśmibuddhanirmāṇaprabhāmaṃḍalasamudrameghaiḥ || sarvabuddhakṣatraprabhāsāṃtargataprabhāmaṃḍalasamudrameghaiḥ || samaṃtamukhabuddhaviṣayaniyagarjanaratnaśākhāprabhāmaṃḍalasamudrameghaiḥ || sarvatturyaratnagotramaṇirājaraśmiprabhāmaṃḍalasamudrameghaiḥ || anaṃttasatvarūpacitralakṣaṇasaṃdarśanaprabhāmaṃḍalasamudrameghaiḥ || sarvabuddhapraṇidhānasaṃbhavamanojñaninādapramaṃcanaprabhāmaṃḍa

<NS 1026 - p122.1>
lasamudrameghaiḥ || sarvaparṣaṇaṃḍalasamudrameghaiḥ || sarvaparṣaṇmaṃḍalasarvavinayanirghoṣamaṇirājaprabhāmaṃḍalasamudrameghaiḥ || sarvabuddhabodhisatvasamudrātsatkuryāmo gurukuryāmo mānayāmaḥ pūjayāmaḥ || || asaṃbhinnaiḥ sarvamaṇikośaraśmisamudrameghaiḥ || sarvarūpaśabdagaṃdharasapraṣṭhavyaḥraśmisamudrameghaiḥ || sarvaratnārcisamudrameghaiḥ || sarvabuddhamaṇigarjaspharaṇaraśmisamudrameghaiḥ || sarvabuddhakṣatravyūhavidyotitaraśmisamudrameghaiḥ || sarvapuṣpakuṭāgararaśmisamudrameghaiḥ || sarvaratnareṇuraśmisamudrameghaiḥ || sarvakalpaparaṃparāvusaṃbhavasatvaparipākananigarjanaraśmisamudrameghaiḥ || akṣayasatvaratnānidarśanasarvapuṣpakeśaraśmisamudrameghaiḥ || sarvāsanavyūhasaṃdarśa

<NS 1026 - p122.2>
naraśmisamudrameghaiḥ || asaṃbhinnakanakavarṇārciratnānisamudrameghaiḥ || samaṃtaprabhāmaṇirājārcisamudrameghaiḥ || vipulasarvabuddhakṣatravyūhavidyotinārcisamudrameghaiḥ || sarvagaṃdhārcisamudrameghaiḥ || sarvavyūhārcisamudrameghaiḥ || sarvabuddhanirmāṇārcisamudrameghaiḥ || vicitraratnadrumakeśanārcināmasamudrameghaiḥ || sarvavastrārcisamudrameghaiḥ || anaṃtabodhisatvacaryānirghoṣamaṇirājārcisamudrameghaiḥ || sarvamaṇimuktāpradīpārcisamudrameghaiḥ || || asaṃbhinnaiḥ sarvabuddhabodhisatvasyaparameghasamudrameghaiḥ || samudrātsatkuryāmo gurukuryāmo mānayāmaḥ pūjayāmaḥ || aciṃtyai sarvagaṃdhapuṣpavicitrasamudrameghaiḥ || sarvaratnārcipadmajālasamudrameghaiḥ || anaṃtavarṇamaṇiratnaprabhāmaṃḍalasamudrameghaiḥ ||

<NS 1026 - p123.1>
sarvaratnavarṇamuktākośasamudrameghaiḥ || sarvaratnagaṃdhacaṃdanacurṇasamudrameghaiḥ || sarvaratnachatrasamudrameghaiḥ || manojñaśubharūpasvarṇakeśaraśmidyotidhvajavitānasamudrameghaiḥ || aciṃtyavyūhapratibhāsavyūhālaṃkārasamudrameghaiḥ || manojñaśubharucitanirghoṣamaṇirājasamudrameghaiḥ || sūryyadyotimaṇicakrahārasamudrameghaiḥ || anaṃtaratnakośasamudrameghaiḥ || sarvasamaṃtaprabhadrātmabhāvasamudrameghaiḥ || sarvabuddhabodhisatvsāgaramedyasamudrātsatkuryāmoḥ gurukuryāmo mānayāmaḥ pūjayāmaḥ || evaṃ rūpapraṇidhānaṃ kṛtvā te nāgarājānaḥ punarbhagavaṃtaṃ tripradakṣiṇī kṛtya pādāvabhivaṃdhanaṃ kṛtvā bhagavatān jñātāḥ sveṣu sveṣvāsaneṣu nyaṣīdan || || tena khalu punaḥ samayena sānantaparikarasāgarameghavyūhatejomaṃḍalachatrā

<NS 1026 - p123.2>
kārarājastrisāhasramahāsrikā nāgādhipatirutthāyāsanādekāsamuttarāsaṃgaṃ kṛtvā dakṣiṇaṃ jānumaṃḍalaṃ pṛthivyāṃ pratiṣṭhāpya yena bhagavāṃstenāṃjaliṃ praṇamya bhagavantametadavocat || pṛcheyaṃ bhagavaṃtaṃ tathāgatamarhaṃtaṃ saṃmyaksaṃbuddhaṃ kiṃcideva pradeśaṃ sacenme bhagavānākāśakuryyā pṛṣṭaḥ praśnavyākaraṇāya || evamukte bhagavānāha || anaṃtaparikarasāgarameghavyūhatejomaṃḍalachatrākārarāja nāgādhipatimetadavocat || pṛcha tvaṃ bhujaṃgādhipati yadyadevākāṃkṣasya tasyaiva praśnavyākaraṇena cittamārādhayiṣye || evamukte anaṃtaparikarasāgarameghavyūhatejomaṃḍala{ḥ}rājastrisāhasramahāsāhasrikā mahānāgādhipatirbhagavaṃtametadavocat || kathaṃ bhagavansarvanāgānāṃ sarvanāgaduḥkhā

<NS 1026 - p124.1>
ni pratipatyeyuḥ praharṣitāḥ sukhasamanvitāśceha jaṃbudvīpe kālena kālaṃ varṣadhārā utsṛjeyuḥ || sarvatṛṇagulmauṣadhivanaspativirohayeyuḥ || sarvaśasyānyutpādayeyuḥ || sarvarasātsaṃjanayeyuḥ || yena jaṃbudvīpakā manuṣyā sukhasamarpitā bhaveyuḥ || evamukte bhagavān || anaṃtaparikarasāgarameghavyūhatejomaṃḍalachatrākārarājastrisāhasramahāsāhasrikaṃ mahānāgādhipatimetadavocat || sādhu sādhu bhujaṃgādhipate yastvaṃ sarvasatvānāṃ hitasukhāya pratipanna tathāgatametamarthaṃ paripraṣṭavyaṃ manyate || tena hi mahābhujaṃgādhipati śṛṇu sādhu ca suṣṭhu ca manasikuru bhāṣyante || ekaṃ dharmaṇa bhujaṃgā{ḥ}dhipate śṛṇu sādhu ca suṣṭhu ca manasikuru bhāṣiṣyati || ekadharmeṇa samanvāgatānāṃ sarvanāgānāṃ sarvaduḥkhāni praṇaveyuḥ

<NS 1026 - p124.2>
sarvasukhasamarpitāśca bhaveyuḥ || katamenaikadharmeṇa yaduta maitrā tatra bhujaṃgādhipate maitrīvihāriṇo devamanuṣyāgninā na dahyaṃte śastreṇa na jjataṃta udakena nohyaṃte viṣeṇa na hanyate || paracakreṇa nābhitruryante sukhaṃ svapantī sukhaṃ ca pratibudhyante || svapuṇyaparirakṣitāśca bhavaṃti || mahāpuṇyatejājitāḥ anavamardanīyāśca bhavaṃti || sadevakena lānaḥ prāsādikāśca bhavantī || priyadarśanāśca sarvatrāpratihatayaśca bhavaṃti || sarvaduḥkhapratiprasrancā saṃharṣitāśca bhavaṃti || sarvasukhasamarpitā uttare ca manuṣyadharmapratividhyakāyasya bhedā brahmaloka upapadyaṃte || ete bhujaṃgādhipate saṃsārā maitrīvihāriṇo devamanuṣyānāṃ || tasmāttarhi bhujaṃgādhipati maitrīkāyakarmaṇā maitrīṣya vākka

<NS 1026 - p125.1>
rmaṇā maitreṇa manaskarmaṇā viharttavyaṃ || punaraparaṃ bhujaṃgādhipatiḥ sarvasukhaṃdadā nāma dhāraṇī pravarttayitavyā || sā sarvanāgānāṃ sarvanāgaduḥkhāni pratiprasraṃbhavati || sarvasukhāni ca dadāti || yaneha jaṃbudvīpakāyena kālaṃ varṣadhāra utsṛjaṃti || sarvatṛṇagulmauṣadhivanaspatiśasyāni ca virohayaṃti || tatra bhujaṃgādhipati katamāḥ sā sarvasukhaṃdadā nāma dhāraṇī || tadyathā || dharaṇī dhāraṇī uttāraṇī saṃpratiṣṭhitā vijayavarṇa satyapratijñaḥ sāsahānavati utpādani vināśani abhiṣiṃcani abhivyāhapaśubhāvati ajimatāmahi kavāraṇi vāha harakleśāna dhunapāya śodhaya mārgā nirīhaka dharmatāmupādānamiti || || punaraparaṃ bhujaṃgādhipate meghakulasaṃbhavādhiṣṭhānavyu

<NS 1026 - p125.2>
hatejāgarbhānirmāṇāvabhāsajñānadk_atvabuddharātrāmaṃḍalagrī karata kāṃḍavairocanakabālāgrakoṭigirijātavaṃ gotrāṇāṃ tathāgatānāṃ madhyayāni dhārayitavyāni manasikarttavyāni tāni sarvanāgānāṃ sarvanāgakulānāṃ sarvanāgagotrāṇāṃ sarvanāgasaṃbhavānāṃ sarvanāgānāgīnīnāṃ sarvanāgarājānāṃ sarvanāgakaṃnyānāṃ sarvanāgaparivārāṇāṃ sarvanāgaduḥkhāni prabhavaṃti sarvasukhapadhānānyupasaṃharati || tatra bhujaṃgādhipati katamāni sarvanāgānāṃ sarvanāginīnāṃ sarvanāgaduḥkhāni pratipratsrabdhāni sarvasukhasamarpitāśca kālenaḥ kālaṃ iha jaṃbudvīpe varṣadhārā utsṛjaṃti || sarvatṛṇagulmauṣadhivanaspatisasyāni ca virohayaṃti || [||]

<NS 1026 - p126.1>
atha khalvānantapāramiteyaṃ parikaraḥ sāgarameghavyūhatejomaṃḍalachatrākārarāja trisāhasramahāsrikā nāgādhipati bhagavaṃtamadhyābhāṣaṃte sma || bhāṣaṃtu bhagavāṃstādṛśāni nāma dhāraṇīmantrapadāni iha jaṃbudvīpe paścimakāle paścimasamaye anāvṛṣṭau udīritai mahāvarṣadhārā pravarṣayeyuḥ || dāruṇakārasamayakāṃtārasamaye dhārmika janapada kalikalahasamaye ityupadravakālasamaye rogamaraṇaḥkālasamaye viṣamanakṣatrasaṃsthānakālasamaye sarvetyupadravopīḍā praśamanaṃkuryādbuddhādhiṣṭhānādhiṣṭhaṃtu bhagavān paramakāruṇikaḥ sarvasatvānukaṃpaka tathā rūpāṇi dhāraṇīmantrapadāni bhāṣitāni

<NS 1026 - p126.2>
sarvanāgānsaṃcodayeyuḥ || śāṃtiṃ svastyayanaṃ kuryuḥ || viṣamanakṣatrakṛtaṃ prasamayeyuḥ || sarvadevānpraharṣayeyuḥ || sarvamārānvidhvaṃsayeyuḥ || sarvasatvānāṃ ca rakṣeyuḥ || sarvabhayopadravopāyāśca nivārayeyuḥ || paṃcavarṣāṃtaryāṇāni bhagavatoktāni sarvāṇi viṣkaṃ bhaveyuḥ || samyag varṣadhārā iha jaṃbudvīpe utsṛjeyuriti || ahaṃ bhagavaṃ sarvatathāgatatoṣṇīṣamadhyeṣayāmi || evamukte bhagavānānantaparikarasāgarameghavyūhatejomaṃḍalachatrākārarāja nāgādhipatmetadavocat || sādhu sādhu mahābhujaṃgādhipati yastvaṃ sarvatathāgatamadhyeṣayāmi sarvasatvānāmarthāya hitāya sukhāya tenahi mahābhujaṃgādhipate śṛṇu sādhu ca suṣṭhu ca manasikuru bhāṣi

<NS 1026 - p127.1>
ṣyati || mahākaruṇodbhavamahāmeghaninādaviṣkaṃbhiḥ || suraketu nāma dhāraṇī sarvabuddhabhāṣitādhiṣṭhitānumoditā sarvasatvānāmarthāya hitāya sukhāya anāvṛṣṭivarṣayati || ativṛṣṭirnivārayati || maraṇakālaṃpraśamayati sarvanāgāsaṃcodayati || sarvadevāprahlādayati || sarvamārānvidhvaṃsayati || sarvasatvānāṃ ca sarvasukhasamarpitā karoti || tadyathā || mahājñānāvabhāsaḥśrītejolakṣmīdṛḍhavikramavajrasaṃhatano paramavirajonirmalaguṇaketusūryyaprabhovimalāṃgayaṣṭi bhara 2 saṃbhara 2 duṃduve hanaḥ || mahāprabhevidhūta mahāṃmohāṃkāraprajñāmāyudhe paripūrṇamaitrīviramana skaṃdhamaitrā buddha ce ṭara 2 jalāmbudhakāre bodhyaṃgakusume

<NS 1026 - p127.2>
daśabalavaiśāradyāṣṭādaśāveṇikabuddhadharmā śubhametipuṇyamasiśukladharmasamanvitagaṃbhīravirajaskavipulaviśeṣaprāptānīlā sarvalokajyeṣṭaśreṣṭabalapravare anuttare asaṃge dhara 2 dhiri 2 dhuru 2 śāṃtamate cara 2 ciri 2 curu 2 para 2 piri 2 puru 2 parabuddhānumatena mahāpratyaṃgire svāhā || || syādyathedaṃ || oṃ sara 2 siri 2 suru 2 nāgānāṃ java 2 jivi 2 juvu 2 mahānāgā āgachata buddhasatyeneha jaṃbudvīpe pravarṣadhvaṃ cala 2 cili 2 culu 2 mahānāgādhipatīnāṃ āgachata bho mahānāgā buddhasatyene[ha] jaṃbudvīpe pravarṣadhvaṃ vara 2 viri 2 vuru 2 dharmasatyeneha sarvanāgānāṃ vā hanayiṣyāmi maitrīcittena karuṇācittena sarvabuddhabodhisatvādhiṣṭhānasatyena mahāyānā

<NS 1026 - p128.1>
greyanāgachetamahānāgādhipatiyaḥ samarthabuddhānāṃ sarvadharmāṇāṃ mahābodhisatvāguṇānāṃ bhara 2 bhiri 2 bhuru 2 mahājalaṃbumeghavāhinī mahābhujaṃgādhipa[ti] parikaro maitrīcittenāgachata smaratavarṇāsanaśāstra ghaṭa 2 ghiṭi 2 ghuṭu 2 ugrakrodhamahāvegalalajjihvā mahāviṣā āgachata maitracittā pravarṣadhvaṃ iha jaṃbudvīpe sarvatathāgatasatyena svāhā || taṭa 2 ṭiṭi 2 ṭuṭa 2 mahāmaṇimakuṭamaulidharā āśiviṣarūpiṇi smaratatiratnādhiṣṭhāna vajradharasatyeneha jaṃbudvīpe svāhā || kara 2 kiri 2 kuru 2 mahodakavāsinaḥ mahābhṛkuṭiyānābhiyāyinaḥ || rala 2 rili 2 rulu 2 vikaṭasiddhā bhavaṃtu sarvabhujaṃgāḥ sarvatathāgatasatyena ghama 2 ghimi 2 ghumu 2 svāhā || āvāhayāmi sarvanāgāmaitrīci

<NS 1026 - p128.2>
ttena bodhicittapūrvaṃgamena || oṃ nara 2 niri 2 nuru 2 svāhā || vigamanāgā nikṛtasarpā raktākṣamahābalānāmanāvāhayāmi || bho bho mahābhujaṃgā smarata paramahākāruṇikānāṃ sarvapuṃṇyastejitānāṃ vigatakleśānāṃ sarvatathāgatānāgādhiṣṭhānāṃ || oṃ gada 2 gidi 2 gudu 2 svāhā || mahānāgā apratihatabalaparākramatejodharā varṣadhāraḥ pravarṣateha jaṃbudvīpe svāhā || oṃ sara 2 siri 2 suru 2 svāhā || bho bho mahānāgāḥ svakulagotrasamanusmarate varṣadhārā utsṛjate iha jaṃbudvīpe sarvadevasatyādhiṣṭhānena pravarṣateha jaṃbudvīpe svāhā || śakrasatyena pravarṣata mahānāgā iha jaṃbudvīpe svāhā || caturmahārājasatyena pravarṣateneha jaṃbudvīpe svāhā || aṣṭamakasatyena pravarṣata mahānāgā iha jaṃbudvīpe svāhā || varṣa

<NS 1026 - p129.1>
ta mahānāgā śotāpannasatyeneha jaṃbudvīpe svāhā || varṣata mahānāgāḥ sakṛdāgāmisatyeneha jaṃbudvīpe svāhā || varṣata mahānāgā anāgāmisatyeneha jaṃbudvīpe svāhā || varṣata mahānāgāḥ nahaṃsatyeneha jaṃbudvīpe svāhā || varṣata mahānāgā pratyekabuddhasatyeneha jaṃbudvīpe svāhā || varṣata mahānāgā sarvabuddhabodhisatvasatyeneha jaṃbudvīpe svāhā || varṣata mahānāgā sarvatathāgatānāṃ satyādhiṣṭhāneha jaṃbudvīpe svāhā || sarvadevānāṃ satyena samayena sarvopadravāneha jaṃbudvīpe svāhā || sarvanāgānāṃ satyena pravarṣiteha jaṃbudvīpe mahāpṛthivyāṃ svāhā || sarvayakṣāṇāṃ satyenaṃ rakṣaṃtu sarvasatvān svāhā || sarvanāgānāṃ satyena pravarṣiteha dharmasatyena svāhā || sarvagaṃdharvāṇāṃ satyenāpaharata sarvopadravāni manuṣyānāṃ svāhā || sarvāsu

<NS 1026 - p129.2>
rāṇāṃ satyena vivarttayataḥ sarvaviṣamanakṣatrāṇi svāhā || sarvagaruḍānāṃ satyena maitrīkurutaḥ sarvanāgānyaṃ yadīha jaṃbudvīpe mahāvarṣadhārā utsṛjeyuḥ svāhā || sarvakinnarāṇāṃ satyana samayatu pāpaṃ prahlādayataḥ sarvasatvānāṃ ca svāhā || sarvamahoragasatyena viravistīrṇavarṣadhāra utsṛjata saṃvārayata paṃcavarṣāvaraṇāni svāhā || sarvamanuṣyānāṃ satyena paripālayataḥ sarvamanuṣyānāṃ svāhā || oṃ kara 2 kiri 2 kuru 2 svāhā || dara 2 diri 2 duru 2 svāhā || nata 2 niti 2 nutu 2 svāhā || oṃ suśīpravāhinīmeghāṃbujaladhare megha 2 mahāmegheśvare svāhā || mahāmeghoghātite meghasaṃbhakāre meghemeghā kālamegha garjanameghoṣite mahāmeghamauline meghamālādhare meghavibhu

<NS 1026 - p130.1>
ṣite meghayāne meghanivāsinī meghagarbha meghajaṭe || meghaparivāre vipulameghādhyuṣite meghayajñopavīta sasyāya saṃhare giriṃdaranisinināgamā ho bhagavati mahāmegha || śrījyotirase śītasaṃsparśa mahāvātamaṃḍaligocare mahānāgavikṛīḍite mahādevī bhagavatī yauḍaṣaḍasādhayana dhāraṇī pravarṣata buddhasatyeneha jaṃbudvīpe svāhā || ghara 2 ghiri 2 ghuru 2 ghiriṇi 2 ghuma 2 ghumana varṣa mahāmeghamāriṇi vidyutkalāyamāriṇī sarvabhujaṃgā dhāriṇī mahāme

<NS 1026 - p130.2>
gha ṣaṭṭavastradhāraṇī sarvaviṣāgragocare mahāmeghavyūhavāhinī rājani nādani nādanīte bhagavatīnāṃ gaganasaṃcodaya devi mahāmeghamāriṇi vidyutkālāmāriṇī sarvatathāgatasatyena sarvanāgāvarṣatamālaṃbateha jaṃbudvīpe svāhā || oṃ yara 2 yiri 2 yuru 2 svāhā || jala 2 jili 2 julu 2 svāhā || gara 2 giri 2 guru 2 svāhā || oṃ gaḍa 2 giḍi 2 guḍu svāhā || oṃ mada 2 midi 2 mudu 2 svāhā || hara 2 hiri 2 huru 2 svāhā || mara 2 miri 2 muru 2 svāhā || oṃ tara 2 tiri 2 turu 2 svāhā || oṃ hana 2 daha 2 paca 2 matha 2 gṛhla 2 marda 2 pramardda 2 sa varṣata vighna maitreyājñāpayati svāhā || buddhe 2 hana 2 pāpaṃ sarvasatvānāṃ ca nāmādhiṣṭhāya puṇyaṃ saṃbuddhānāmadhāraṇīḥ dha

<NS 1026 - p131.1>
ra 2 śubhamate guṇāgrapāpaṇe mahānolke śukladharmasatye pratijñā mahāmāṇādhyuṣita lokajyeṣṭhe bhagavatī sarvabuddhametreyā pūraya sarvabuddhakṣatrāṇī śuklaśvetāṃ varapāṃḍaravāsinī || oṃ dhudhure 2 dhura 2 samagraṃthānapāye śāntamānase sarvavarṣaṇivighnā viṣkaṃbhiye svāhā || sarvatrādhvagasatyena maitracitrasamyagvratataponiyamacittatayā mahānāgarājāsaṃcodayāmi pravarṣata parikarasāgara mahāmeghavyūhatejomaṃḍalachatrākārarāja mahānāgādhipati saṃcodayāmi pravarṣata jaṃbudvīpe svāhā || || evaṃ pramukhaiḥ sarvanāgarājā saṃcodayami pravarṣamahānāge ghoramanasa nāgahṛdayadhūmākula ugraroṣaṇepracaṃḍatejaviṣāgre āśīviṣe ahighorakṛṣṇapiṃgalecaṃcale lalajjihve ma

<NS 1026 - p131.2>
hāphaṇikare kālapāśeraudravāsinī duduṃbe mahāghoṇeghoṇesiṣiṇī svāhā || oṃ kana 2 gaṇa 2 mahāgagane para 2 piri 2 puru 2 visphurjjane bhuru 2 mahābhoge maṇidhare phili 2 phulu 2 phala 2 varṣajalāṃbudhare saṃvara 2 varāhakoneḥ ṭaṭa 2 tutu 2 tatame 2 tutume 2 dhadhame 2 dhudhume 2 thathame 2 thuthume 2 dadame 2 dudume 2 meghaprabhe mahāmeghavāhinī kata 2 dudume 2 ghana 2 sikhi 2 kana 2 gaṇa 2 mahāgaṇeni trānyapajalkinī mahānāgahṛdaya ghuna 2 ghunāpaya 2 stokari bhujaṃgamevikaṭaghorarūpi visphunavijṛaṃbhane āvāhayāmi sarvanāgagaṇāḥ || sarvabuddhādhiṣṭhānaḥ sarvatrādhvagatathāgatasatyena mahāmaitramitemapravarṣateha jaṃbudvīpe svāhā || sarvabuddhabodhisatvebhya sidhyaṃtu maṃtrapadāni svāhā || || a

<NS 1026 - p132.1>
tha khalu vajrapāṇi mahāguhyakādhipatiridamuvāca || yadi samaya na tiṣṭhati anena krodhasahitena japet || oṃ dhukaṭa 2 amuka yakṣaṇī hrīṃḥ jaṃḥ hūṃ phaṭ phaṭ || anena krodhasahitena sahasraṃ japet || śrīghramāgachati yati nāgachati achimūrdhnisphuṭati tatkṣaṇā mriyate || aṣṭamahānarake pataṃti || atha krodharājamudralakṣaṇaṃ bhavati || anyonya muṣṭiṃ kṛtvā kariṣṭadvayaveṣṭayet || tarjanīdvayaprasārya kuṃcayatteṣāmaṇihitakrodhāṃkuśamudrā || anena mudrārājena trailokyamākarṣayet || atha yākṣaṇīmudrālakṣaṇaṃ bhavati || sakalatarayānikṛtvāmadhyamāṃ gulyā punarapi ye lalitaṃ anāmikātarjanīvyāptyabhyavasthāvyate || tarjani asanivekṣakaniṣṭhagarbhasaṃsthitāḥ || sarvayakṣaṇīnāṃ paramudrā || anena yā

<NS 1026 - p132.2>
vadarddhamātrayā sarvayakṣiṇī māgachati || asya eva mudrāya dakṣiṇāṃguṣṭhenāvāhanāṃ || oṃ hrīṃ āgacha 2 yakṣiṇī śīghraṃ punarāgamanāya svāhā || sarvayakṣiṇīnāmābhimukhīkarmamudrā || oṃ mahāyakṣiṇīnāṃ maithunapriyāya hūṃ phaṭ svāhā || sarvayakṣiṇī sāṃnidhyāṃkaraṇīya svāhā || oṃ kāmabhogeśvarīya svāhā || sarvayakṣiṇīnāṃ hṛdayamudrā || oṃ sarvamanohāriṇīye svāhā || || atha nāgarājā utthāya tasminparṣanmaṃḍalaḥ śrīvajradharasya pādau śirasābhivaṃditvā svahṛdayamudrā japet || oṃ phaḥ anaṃtamukhī || oṃ pha graḥ karkkoṭakamukhī || oṃ phuḥ gaṃ phuḥ padmamukhī || oṃ phuḥ ā phuḥ mahāpadmamukhī || oṃ phuḥ dhīḥ phu {||} vāsukimukhī || oṃ phuḥ mlaḥ phuḥ jvālāmukhī || oṃ phuḥ

<NS 1026 - p133.1>
kaṃ phuḥ dhūpamukhī || oṃ phuḥ sāṃ phuḥ {||} śaṃkhapāramukhī || athāṣṭau mahānāginīsādhanavidhivistaro bhavati || nāgabhuvanaṃ gatvā lakṣaṃ japet || pūrvasevā kṛtā bhavati || sarvanāginya tuṣṭo bhavati || sarvanāganāginyaḥ harṣayaṃti || śuklapaṃcampāṃnāmabhuvavanejalagataṃ vācatīryagaṃdhapuṣpadhūpakṣīra yathoktaṃ pūjayet || tatrāṣṭaunāginī pratyekaṃ sahasraṃ japet || śīghraṃ nāgakanyāyā śarīredakṣamānaṃ gachati || āgatāyāḥ kṣīracandananārghodayaḥ svāgata iti vaktavyamasmākaṃ bharyā bhavasveti || aṣṭaudināyāṃ prayachati amukaṃ mocayati || amukaṃ jīvayati || nadīsaṃgamaṃ gatvā kṣīrāhāreṇāṣṭasahasraṃ japet || divyanāginyāgachati āgatāyā kusumāsanaṃ dāyet || divyakarmikabhojanasamayane prayachati || paṃcadinānaṃ pratidinaṃ dadāti || nāgasthā

<NS 1026 - p133.2>
na rātrau gatvā aṣṭasahasraṃ japet || japāṃte mahatā śīlarogena gṛhītā nāgachati || vatsamayā kiṃ karttavyaṃ || sādhakenavaktavyaṃ || mātā bhavasveti || acamanācamasya vastrālaṃkārabhojanādīni dine 2 dadāti || paṃcadināyā prayachati || sarvaniravaśeṣaṃ ve ya karttavyaṃ || yadi kiṃ cāpi sthāpayaṃti na bhūyo bhavati rātrau gatvā aṣṭasahasraṃ japet || śrīghraṃ nāginyā gachati || āgatya kāmapitavyā bhāryā bhavasveti || aṣṭaudinānāṃ prayachati || sarvaniravaśeṣaṃvyayī karttavyaṃ yadi kiṃ citsthāpayaṃti || na bhūyo bhavati rātrau gatvā aṣṭasahasraṃ japet || śrīghraṃ nāginyā gachati || āgatya kāmapitavyā bhāryā bhavasveti || aṣṭaudinānāṃ prayachati || sarvaniravaśeṣaṃvyayi karttavyaṃ || yadi kiṃ citsthāpayaṃti || bhūyo na bhavati || rātrau nadī saṃgamaṃ gatvā aṣṭasaha

<NS 1026 - p134.1>
sraṃ japet || tato japāṃte nāgakanyāyā gachati || āgatāyāḥ suvarṇamayapuṣpaṃ śirosthānaṃ dāpayet || asmākaṃ bhāryā bhavasveti divyavastrālaṃkārabhojanāni dadāti || || atha nāginīsamayamaṃtrāni bhavati || oṃ āḥ phuḥ āgacha nāginī phuḥ || āvāhanāmaṃtraḥ || oṃ i phuḥ gaṃdhapuṣpamaṃtra || oṃ phuḥ āḥ dhūpāyāmaṃtraḥ || oṃ phuḥ i phuḥ vā phuḥ sarvanāginīsamayamaṃtraḥ || oṃ phuḥ gacha 2 śīghraṃ punarāgamanāya svāhā || visarjanamaṃtraṃḥ || atha mudrālakṣaṇaṃ bhavati || uttānamaṃjaliṃ kṛtvā utthāyāṃgulyaḥ śiṣalayākāreṇa yojayatā tarjjanīnakhasaṃgatā vāmāṃguṣṭhā sṛtauḥ nāginīsamayamudrā sarvakrt sarvakarmikamāvākṣasamaya visarjanamudrā || vāmadakṣiṇamuṣṭiṃ kṛtvā pṛthak pṛthak kaniṣṭhānakhajyeṣṭhanākramyaśeṣāṃguli prasārayo nāginīsamayamudrāḥ

<NS 1026 - 134.2>
sarvannāgasakṣarimaṃtra || || atha vajrapāṇi mahāguhyakādhipati krodhavajramūllalyadaṃ maṃtramuccārayet || oṃ nīlavarṇavajra hūṃ aḥ oṃ hūṃ amuka nāginīmākarṣaya hūṃ phaṭ svāhā || athāsmin bhāṣiṃtemātreṇa sarvanāginīmuchitā patitā śiraroge mriyate || magnayādikrameṇamātreṇa śīghramāribhūtāṣṭamahānarakapataṃti || athāha bhagavān vajradharaḥ parṣanmaṃḍale ṣaṭkinnarīrājñādhipatirutthāya bhagavaṃtaḥ śrīvajradharasya pādauśirasā vaṃditvā svahṛdayamudrāharet || oṃ manohāriṇīye svāhā || oṃ subhāge svāhā || oṃ viśālanetrāye svāhā || oṃ sucetapriye svāhā || oṃ sumukhe svāhā || oṃ divākaramukhīye svāhā || || atha kinnarīrājñā sādhanavidhivistaro bhavati || pūrvatamūrddhni gatvāḥ

<NS 1026 - p135.1>
aṣṭasahasraṃ japet || ṣaṭkiṃnarī japeṭ || sa rātrau mahatī pūjā kṛtvā gomāṃsena gugulusamanvitenu dhūpayehā vaṃjayet yyāvarddharātraṃ tatorddharātreṇa niyatamāgachati || tasyā na bhaktavyaṃ bho bho sādhakamājñāpayasi || sādhakenavaktavyaṃ || bhadra asmākaṃ bhāryā bhavasveti || pṛthak māyyadevalokamapinayati || divyakarmikabhojanaṃ dadāti || athottarasādhanaṃ bhavati || pūrvatalavihāre vā gatvā ayutaṃ japejjapāṃte svayaṃ devīkomalastanasā devapravacategatiśīghra kāmayitavyāṃ bhāryā bhavati || aṣṭaudināyā bhāryā bhavati || nadikulaṃ gatvā ayutaṃ japet || punasakalārātrī japet prabhā te niyatamāgachati || āgatāyā bhāryā bhavasveti || dine dine paṃcadināṃ taṃ dadāti || || iti sarvatathāgatoṣṇīṣasi

<NS 1026 - p135.2>
tātapatrā nāmāparājitā mahāpratyaṃgirāyāṃ ṣaṭkiṃnarīsādhanavidhivistaro nāma jñānasaṃbhāraḥ || || atha bhagavān vajradharamāha || asmin khalu punaḥ subhūtirnāma bodhisatvānāṃ mahāpratyaṃgirā nirdeśe nirdeśyamāne dvādaśānenāmayutānāṃ devamānuṣīkāyāḥ prajāyā anuparttikadharmakṣāṃti pratilaṃbho bhūt || teṣāmapi buddhānābhagavatāṃ samaṃtādṛśa dikṣu lokadhātuṣu imāṃ mahāpratyaṃgirā bodhisatvānāṃ mahāsatvānāṃ bhāṣamāṇāsaṃkhyeyānāmaparimānāṇāṃ satvānāṃmanāmanuttarāyāṃ saṃmyaksaṃbodhau cittānyutpannāni [||] iti mahāpratyaṃgirāyāṃ mārganiryāṇapratipattinityuktyaḥ sarvākārajñatāṣikāraḥ ||