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Thread: The Serpent, the Black Sun, HPB & St. Germain

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Vajrayogini and Vajradakini 2 of 2



    Jnana Dakini's heart mantra is Om Hrih Svaha, and her All Activity mantra is Om Vetali Hum Svaha. Her seeds are mantricly identical to Samputa Tantra (NSP 3), or, Samputa tradition uses Jnanadakini forms and syllables. This is what Alex Wayman says, although the Samputa mandala lacks tramen names. In the mandala, all I can tell is Samputa has done something very clever: his ring of Vajraraudris up to Vajradakini looks like six Gauris followed by Sabda Vajra and Prithvi Vajra--Sound and Earth. In his offering ring, the middle one, Gandha--Incense "doubles" as Gandha Vajra--Scent Object, until the series ends on Dharmadhatu Vajra. Akshobya has Sabda, Sparsha, and Dharmadhatu all in his family; Vairocana has the usual Locana and Prithvi, and Vajraraudri; Ratna has Vajradakini; Lotus has Gandha; Amoghasiddhi has Rasa. Adarsi--Sight Object has not been given a sire (normally Vairocana who has not been given a sense).

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

    Jnana Dakini places Vetali in the same role as she has in Dakini Jala Heruka's core list of Gauri, Cauri, Pramoha, Vetali, as Taste and Nectar. Neither Wayman nor NSP 4 give that Vetali's color or form. If we are mainly trying to draw from Dakini Jala and study how it may change later, then we are left with a white vampire who is jazzy and sparkles and distributes nectar like Aquarius. That she also has a dark side is Dhvajagrakeyura--Banner. But this one is, according to the only information, in Lotus Family and capable of gaining Garuda. At first, due to position, she may not be in Lotus. Dakini Jala is not reversed, so she is in standard order in the north, suggestibly Amoghasiddhi. Jnana Dakini, who is Ishvari in Dakini Jala, moves to her personal completion by reversing the retinue and moving it around. She is Chatur Pitha or takes the Four Sacred Sites we are trying to develop for granted.

    The same deity, Ishvari Jnana Dakini, takes Vetali from the "completion" area of Dakini Jala and uses her for further purposes in Chaturpitha. That is why we understudy her as Guhyajnana Dakini, the same deity at an approachable preliminary stage, which could be said to start by emphasizing heat, and grow to this Rasa, if we look at it as an attempt to impress Ziro Bhusana, then our success is an extremely close correspondence to seeking Nectar Vetali of the North. Dakini Jala covers all prior sub-systems and remains valid until one achieves the main active ingredient of all tantra, which "is" Varuni, who in this case is being "handled" by Vetali, who seems to have a mantra for the purpose.

    Wayman believes Jnana Dakini follows astrology, with Aries--Ram--Fire at the beginning, since the attributes are Fire--Vajradakini Crown, Earth Ghoradakini Eyes, Air Candali Nose and Ears, Water Vetali Tongue, same order as astrological signs, but unusual or shuffled for Buddhism, which is why the elements are in an "extraordinary" form such as Ambrosial Water. His order does not match the mandala, which is reversed, but his is not a retinue, it is a body mandala, so they are in eyes instead of east and so forth. I suppose it matches the union style. The casting order there would make it Fire Crown Tathagata Elephant Vajradakini East, Earth Eyes Jewel Peacock Ghoradakini North, Water Lotus Tongue Garuda Vetali West, Air Amoghasiddhi Nose Ears Servant Candali South. I am not sure, but Air Candali also sounds like Dakini Jala Candali on Whirlwind. This Air Candali has intercepted two sense organs which is odd. Her servant is probably whatever used to be the Skandhas we are in the process of demolishing. Vetali and Candali have, apparently, the same function in Dakini Jala and Jnana Dakini, but in a different order.

    A newer Japanese version of Yogambara says all four are Dakinis, as Vetalidakini and so forth, and changes the syllables; Ghori is in the second ring. It mixes Bhairava and Ganesvara. Ghoradakini periodically appears as:

    antriksh-chara ghora dakinyashch mahabalaa

    In a way in which they are all destroyed as Armor. This says Ghoradakini is Mahabala in the Sky or Antariksa, the middle plane of Bhu, Bhuvar, Svar, abode of Yaksas and Gandharvas. Antara is "intermediate", iksha, seeing or knowing or atma vidya, synonymous to Chidakash, elimination of duality in mental space. It is the domain of Vayu, understood as Prana. Agni enters the earth or Bhu; Bhuvar is interaction of life winds; Surya is above in Svar. Ghoradakini appears to concern Marut Gana or the Maruts or Storm Lords internal to the body; difficult air elementals; subtle mystery.

    Buddhism states we are in a karmic penance for abuse of the inner kingdoms. HPB says:

    When the Bhur, Bhuvar and Swarga (States) are once passed, and the consciousness of the Yogi is in Maharloka, it is the last plane and state between entire identification of the Personal and the Higher Manas.

    Mahar is the Kama Loka, or, roughly, the whole Hevajra cycle; Svar is Manipura, the main chakra of concern in Sri Vidya and Sri Yantra. Ghoradakini is talking about the Nidhis or secret treasures underneath the abused bodily kingdoms.

    Jnana Dakini furthers herself into Buddhaḍākinī (alt. Ākāśadhātvīśvarī; Sparśavajrā) in union with Mahamaya. From what I can gather, this requires the "interception" of Vairocaniye as produced by Varuni. This means Nectar so powerful it unleashes a never-before-seen entity. Vairocaniye's companion Varnani, or Sarva Buddha Dakini, is similar, except affected more by the singular Kama Dhatu Ishvari. These are the two main branch nerves which generally have to be opened and worked before the central Avadhut will do much.

    In the Vajravali sketch version of Jnanadakini, they all appear to have Lion Mounts, and then there are Four Tramen and Four Gatekeepers, very close to NSP 4:








    A modern series of Marpa Kagyu starts with Namasangiti and Jnana Dakini, has a Samputa Vajrasattva and most of the Completion Stage deities, and would probably make more sense if the first Chakrasamvara was called Seven Syllable and the second on page two was called Sahaja Heruka. It has surprisingly poor resolution for modern work, but, this would be Jnana Dakini with Four Gauris and Four Tramen:








    The Samputa image has four Four Arm goddesses and four Eight Arm ones; otherwise unidentified and blurry.

    There is perhaps a little confusion whether the Gauris are Dakinis, and there, they do look like seated Dakinis, except I am not sure it is possible to make a Dakini sit. Dakini has multiple levels and can manifest in the outer world; Gauris are only internal. Even if they have names like Vajradakini, this definitely does not mean a dakini in Vajra Family, it is more like a strength level, the strongest, Upeksa. Here, she is not protecting the crown like Armor, she is using it for the required purpose, transit of consciousness. It only comes from heat, bliss, etc., of Pranayama, and must gain the ability to shut the other eight doors and use this one exclusively. As Upeksa, she is a Jewel of Enlightenment, which is not Armor, because it is the Path. I do not believe she is called for, prior to arising here, Jewel Family Fire Crown is her way, Ratna Sikhi or Ratnaketu being original names of the Dhyani, meaning a flame at the crown. Namasangiti Paramitas are in Jewel Family; the final one has for her main item, Vajra, and her other item is Amitabha, almost as if we had spliced Vajra Tara with Usnisa. In this case, Amitabha in the hand is Buddhahood.
    From an old journal, Buddhist Forum vol. VI,

    The inner homa, which has no recourse to any external articles as the source (rgyu) of the highest
    happiness and excellence, has been explained by me (= Abhayākaragupta) in my
    commentary on the Saṃputa-tantra. It is from that text that one should learn it. Just as
    the threefold world is committed into the wisdom-fire shaped like a circle of non-dual
    emptiness and compassion, the destruction by fire of the firewood of the skandhas and
    the rest represents the highest homa.

    It is followed by the large second chapter of Samputa, which is Wrathful Vajrasattva in union with Vajravarahi. However it then goes to Tara, and from her, to Kurukulla. This series is the "main device" in potential with "one's own deity" which results in experiencing Agni as All Families. Vajravali is therefor Abhayakaragupta's work-along manual for Homas, and one would have to say Agni forces his appearance regardless of anyone else used. The Samputa is not "original", it is eclectic, a more thorough explanation than the sadhanas may have at face value. To me, it appears that things like Chakrasamvara as only a list of names is a mnemonic, which was just a reference for spoken instruction, until further along when more explanations were published. Samputa is not a deduction from clues, it is a gathering basket. Knowledge of mandalas slowly arrives and expands in a world. The Tara that is used here is a pretty basic one, according to the reviewer, about averting and controlling adverse forces, and of gaining control over the world through the practice of meditation and recitations; so, if we follow Samputa's inner meaning, and work around not using Varahi and Kurukulla, particularly by using more Taras, this is a substitute for not having an Agni temple down the street. Or it is a personal Vajradakini if one follows the teachings.

    She is the governor about prana and the pinpoint aperture.

    Samputa specifically refers to Sarvabuddha Samayoga Dakini Jala Samvara. And so it should be helpful with some aspect, perhaps Vajrasattva in terms of Ratna Family, which in the relevant mandala is the single fiery family.

    Samputa says:

    The bodhicitta is brightly shining like pure crystal. That entity of five knowledges is as small as a mus­tard seed.

    The deity located in the middle of that has a form both manifest and unmanifest.
    Half the size (of a letter), very subtle, it has the form of a drop and is made of mind.

    Possessing light rays of great splendor, it always dwells in the middle of the heart.
    It is at the limit of the twelve (sense bases) and

    at the limit of the nine (orifices), leaving out the soles of the feet and the head.

    The single thread having issued, (that issue) is placed in the middle of the nave.
    Amounting to only five parts, it expands into the shape of a Serpent Chief.
    A small portion of that having been emitted, it is

    drawn out of the middle of the vajra.

    The seed is put into the middle of the yoni. When the dharmadhatu melts,
    it transits sequentially in all nine orifices.

    Accordingly, (the seed syllable of) fire (is applied to) the (orifice of) Brahma.
    As for the twofold seed of earth, precisely that is applied to the eyes.
    As for the seed of the voids of wind, (it is applied)
    mentally to the nostrils and ears.
    As for the good seed of ambrosial water, the lord (applies it to) the mighty tongue organ.

    The seed of delusion (is applied to) the neck while that of (another) defilement is likewise (applied to) the two arms.
    (The seed syllable of) vibration (is put into) places
    in the heart while that of animals (is placed) in two roots of the navel.
    One should hold on to the eight members of seeds with the rite of eight members.



    In other words, Jnana Dakini syllables are actually timed to the melting. This proper descent would cool the orange liquid; from there, consciousness could transit the Mahasukha.


    Samputa Chapter Two is similar to Dakini Jala Rahasya. The consecrations, Four Joys, and Four Initiations are clearly outlined, but their actual performance is not explained in any detail. The focus is on the essential stages of the consecrations, on their doctrinal and spiritual significance, and so forth. Its first section (Bodhicitta Abhiseka) pertains to the consecration of the thought of enlightenment; second (Prajnopaya Artha Bhavana) is a description of subtle non-dual Prajna--Upaya; third (which is a Rahasya) is Samputa generation, and last is Tara.

    Section Three moves to Vajragarbha Uvaca, a rare bodhisattva, or a Nepalese Lokeshvara. It refers to utpattivarnarupam and then mantrajapa (Muttering). The next line after Muttering begins another segment with the phrase Bhagavan Aha. This is a large segment generating all the Gauris. The fourth and final Tara section mentions:

    santipaUstikavasyadiraksa-abhicarakam

    karmavarnadicakrasya

    It calls her Tarini before moving to Six Limb Yoga which emits Kurukulla. So the fourth section is a tiny drop compared to the Tara system which we already know is the parent of Kurukulla. So it is primarily Section Three which deals with Muttering and Samputa Vajrasattva.

    This is a later writing (ca. 900-1,000) that does not use Dakini Jala's names for Gauris. Samputa is arguably a Yogacara text since it begins with "source", Buddha Nature or Refuge of One, whereas other methods such as Panjara may shuffle it into the middle. Samputa is intended to explain the group of directly-related tantras such as Jnanadakini, Mahamaya, etc., and is tangential to Panjara--Hevajra or Dzogchen or Kalachakra.

    In Section Three, Vajrasattva loads Four Brahmavihara into the void and seed syllable. The next line says:


    trtlye bimba--nispattis caturthe nyasam aksaram

    Nyasa (derived from Ni, "under") is what is commonly spelled Nayasa, which really starts in Rig Veda; so, this refers to bodily placement syllables. The first phrase means something like "complete reflection".

    before going to Hum arising as Crossed Vajra and starting a mandala, or Fence and Canopy; instead of fire and so forth, there is:

    mrtakam dharmadhatvatmakam

    The blue Maha Ghora resident of the mandala may be called Vajrasambhava (or Chakrasamvara); "Herukatvam" is also used. The Vajra gives Janma or birth to Maha Virya and Maha Kripa (probably a collection of all the Brahmavihara). He is Vyomini Bhattaraka who then does puja for eight Devis who have all Lamkara, which has many meanings in other systems, but in Buddhism is mainly Six Ornaments. They simply appear:


    gauri mrgalamchanam dhatte cauri martandabhajanam//
    vetali vari-hasta ca bhaisajyam dhatte ghasmari
    pukkasi vajra-(or gandha)-hasta ca savari rasadhari tatha
    Candali damarum vaded domby alingitabandhaka

    who are something like branches (Vistara) which honor (Sampujyate) Prabhuh.

    Then comes Candra Ali Kali, and Tam (or Sa) eva sattvam ity ahuh paramanandasvabhavakam.

    This swells into Gagana mandala; into the heart of which is Dvesatmako. Then from Nabho, presumably:

    Nābha (नाभ) refers to the “navel” of the Buddha, to which his rays (raśmi) might return after emission, according to Mahāprajñāpāramitāśāstra (chapter XIV). According to the Avadānaśataka and Divyāvadāna, it is a custom that, at the moment when the Buddha Bhagavats show their smile, blue, yellow, red and white rays flash out of the Bhagavat’s mouth, some of which go up and some of which go down. Those that go down penetrate into the hells (naraka); those that go up penetrate to the gods from the Cāturmahārājikas up to the Akaniṣṭas. Having travelled through the trisāhasramahāsāhasralokadhātu, the rays return to the Bhagavat from behind. According as to whether the Buddha wishes to show such-and-such a thing, the rays return to him by a different part of the body.

    in Nabho-Kha-dhatumadhyagatam cintayet suryamandalam

    where Hum becomes a blue three-eyed Krodha, who is a Cemetery Natha of eight Devis, sarvayogamrtasamvaram, Vajrasattva, caturanandasvabhavas, caturmaravisuddhitai. There is then a long, detailed description of union with Vajravarahi.

    They place items in the corners making a Guhyamandala, and cast Gatekeepers; they seem to have a special way of muttering Hum, Om, Ah, Hrih, which may be for the gates as it then mentions "dvarapalisu". Then comes puja of Gandha and Puspa. After this:

    vajraraudri tatha caika vajrabimba tathaiva ca
    vajraragl trtlya tu vajrasaumya caturthika
    pancaml vajrayaksi ca sasthi vajradakinl
    saptaml sabdavajra tu prthivlvajra tv astaml
    dvitlyasya trtlyaprakaranam

    So it has mostly just provided a basic outline without saying anything about the goddesses, aside from Vajraragi being the same as Raga Vajra. But it has Gauris, which are not in the mandala, and so it possibly intends Vajraraudris as Purified Gauris, replacing them. It is possible Samputa explains them with the small Hevajras; these chapters remain unavailable. It is, however, tri-lingual, and in the Tibetan, Drag mo is Raudri:

    rdo rje drag mo de bzhin gcig I de bzhin rdo rje gzugs bmyan gnyis II
    gsum pa rdo rje 'dod chags rna I bzhi pa rdo rje zhi ba rna II
    lnga pa rdo rje gnod spyin rna I drug pa rdo rje mkha' 'gro rna II
    bdun pa sgra yi rdo rje rna I de bzhin brgyad pa rdo rje rna II



    As Hevajra states the Gauris are in Samapatti, Padmavajra explains:


    The Sambhogakaya is those (yogins) with samapatti in the initial
    samadhi (prathamasamadhi)...Whatever the gods
    dwelling in the wind and vijnana (i.e. vijnana riding on the winds),
    their non-apperception is the Dharmakaya. Moreover, those with
    samapatti (meditational equiposie) in the three samadhis are
    the Sambhogakaya. Those who mutually gaze by reason of
    habit-energy of adhering to the idea of “mine”, are the
    Nirmanakaya.

    Likewise, it is explained by knowledge: The non-oozing ecstasy
    of dwelling in the Akanistha (heaven), is the Dharmakaya. Those
    with the ecstasy of frequently tasting the Dharma in introspection,
    are the Sambhogakaya. Those who are self-originated by rea¬
    son of a former vow, but do not know it, are the Nirmanakaya.

    So for us, attempting a Tri-samadhi or to perceive Akanistha, at best, "oozes" because it is unstable and leaks. Whereas the lowest existence of a Dharmakaya being is an appearance in Akanistha, without those defects. By translating into a western philosophical term, "apperception", it says these beings have no mental process by which a person makes sense of an idea by assimilating it to the body of ideas he or she already possesses, or no introspective or reflective apprehension by the mind of its own inner states; there is not an object which is apprehended as "not-self" and yet in relation to the self. It abrogates all normal psychological processes described as Apperception.

    Vajradakini is in a position where heat has reached the crown; as bodhicitta descends, it may get lost, go wild, or dissipate, and so her other forms or Eight Syllables prevent this, so we can complete the Four Joys and synthesize the mercury and enter the state called Sahaja. From here, one could discover Sahaja Heruka, or continue with transit solely by Vajradakini.



    In the area concerning transit and the crown, Wayman interestingly suggests we compare to the C. A. Muses text, which we found accidentally and was a very Rime' tradition shared by Tson Khapa, all the way in Sichuan at the rock of death. Quoting Tson Khapa to move to the stage beyond Yoga:

    ...he mentions that a person who is sick, suffering, or old, should not engage in this practice:

    There are two basic counsels about transit. Of these two, [first] the
    purification {sbyan ba) is as follows: The Vajradaka (i.e. the
    Srivajradaka-nama-mahatantra) states: “The alternations
    of the place are to be purified. After their purification one should
    perform transit of the state of being. Otherwise it would be purpose-
    less.” That refers to the alternations, pleasure and pain, of the place,
    i.e. the body. That is, Bhavabhadra explains that if one transits
    without having first purified by cultivation of the heat — the ml ba
    (yogin’s rest) is purposeless. Thus, the prior cultivation of the heat
    is a distinguished basis for accomplishing the transit.

    Furthermore, the Vajradaka states : “Upon binding the orifices by means of the
    ‘pot’ (kumbhaka) the orifice holes become pure.” Both the
    Catuspitha and the Samputa are consistent with that, because they
    express the necessity to cultivate the kumbhaka of wind with a
    capacity to compress within the wind that enters the sense organs
    and other orifices.

    Now, kumbhaka was previously explained to
    have the three degrees of highest, middling, and lowest; and those
    many persons who assert that it suffices to have the lowest degree,
    speak as though they do not understand the meaning of the Tantra.
    Hence, when one stops the transit of vijnana through the eight
    orifices, not including the golden gate at the crown of the head, it
    transits through the golden gate at the crown of the head. And that
    transit of attainment is the chief basis for the vidyadhara (wisdom
    holder) who practices mantras. Such statements of the Tantras are
    essential; and even though there are (various) visualizations of
    vijnana (the perceptual stream) departing from the body, it is
    necessary to complete the characteristic of visualizing it as explained
    according to those Tantras.

    The gurus maintain that one should contemplate whatever is one’s own
    tutelary deity. Since the Samputa and the Catuspltha have stated a
    method of contemplating the deity especially in this case, that is a
    reason~if one would succeed — to do it accordingly. As it would
    take too much space, I shall not go into that matter here.

    [Second:] The '"brightness'*' of oneself as deity and uniting of the
    winds. Starting with the realm of contemplating the secret place, or
    the navel, one imagines a red A at the navel, a black HUM at the
    heart, a white KSA at the brahmarandhra (the golden gate). Then
    one vehemently draws up the lower wind, and imagines it pushed to
    the A-syllable of the navel; and having arrived, pushed to the HUM;
    and having arrived at the pushed to the KSA-syllable. And

    he imagines it re-descending to the place of the HUM in the heart
    and to the place of the A in the navel. Now some persons claim
    that one should contemplate it dissolving in the A and HUM, but
    doing it the former way (i.e. simply arriving, not dissolving) is
    better. One should work at it that way as long as the prognostics
    {rtags) have not arisen. The prognostics are an itching sensation,
    throbbing, etc. at the crown of the head. Then the application to
    the rite is as follows. One should put the main part of the body in
    sitting up position, and clasp his two knees with his two hands. One
    should start with taking refuge and generating the mind of en-
    lightenment. Then from the realm of the “bright” where oneself is
    the tutelary deity, one visualizes in the space straight up in front
    of one’s head, at a distance from 1-1/2 to six feet at a comfortable
    level, the guru and tutelary deity in inseparable manner. Deeply
    moved with devotion and faith, one fervently beseeches him. Then,
    having brightly posited the A of the navel, the HUM of the heart,
    and the KSA of the crown of the head; vehemently drawing the
    lower wind one contemplates that the A itself is within the central
    vein and while (moving) upward pronounces a group deer-like
    sound {khyu ru ru byun nas) and dissolves in the HUM of the heart;
    and one recites A-HIK for as many times as necessary. Further-
    more, the HUM itself pronounces (while moving) upward, and one
    recites A-HIK up to twenty times and contemplates that it (the
    HUM) is pronouncing in the throat. Then one should contemplate
    the bright KSA-syllable at the brahmarandhra and that it is pure
    white, as though the brahmarandhra constituted the starry realm;
    and reciting A-HIK vehemently five times one sees that HUM
    proceed hastily through the brahmarandhra and dissolve in the
    heart of the inseparable guru and tutelary deity. Controlling
    consciousness that way, he settles it in the realm without dis-
    cursive thought. That shows in abbreviated form the transit
    according to the sayings of the gurus and the Catuspitha.

    Tson-kha-pa’s passage establishes rather clearly that some of the varying
    descriptions — for example, some of those already brought forward in this
    essay — have to do with two separate phases of the praxis. That is to say,
    the description may concern the phase of purifying the orifices, and this is
    associated with containing the winds in kumbhaka which is referred to as
    the “heat”, or the description may concern the phase of transit of the
    perceptual principle {vijnana) through the gate at the crown of the head.

    Tson-kha-pa referred to three degrees of kumbhaka which he treated
    earlier in the same work. He may well intend the three mentioned in the
    Samvarodaya-tantra (PTT, Vol. 2, p. 205-2-7,8): “The lowest amounts to
    thirty-six; the doubling of that is the medium; the tripling is the great.”
    The text seems to mean the number of times one performs the kumbhaka,
    thereby lengthening it. The “great” kind thus amounts to 108 times.


    So by "transit", this is beyond what we are doing here: he has taken Pranayama for granted, and said the Hum of the Heart moves through the Brahmarandra into the deity, which rests in Nirvikalpa, beyond the Savikalpa being dealt with by Charchika and Gauris at first. Sukhasiddhi works similarly with Ah. Some other systems may only do Samapatti, Savikalpa or Sadguna Brahman; others that teach Nirvikalpa will blow you out of manifestation; we merge them both.



    The Seven Syllable Vajradaka is intimately close to our study; to expand his notes a little bit, it should say he is the lord born from Ali Kali. It does Inverted Stupa without explaining it, and then he and Varahi are in the middle of a six-spoked wheel, which is the Wheel of Six Chakravartins, except the males are replaced by dakinis. The dakinis are empowered with five elements, and then oneself purifies six skandhas and six senses. He then appears to use his own "door sealing" syllables, and then the familiar Armor Syllables. One consecrates the goddesses' five ambrosias, tastes the nectar, and then does Seven Syllable mantra, Mutters it and contemplates the Seven Jewels. The mantra is also in Abhidanottara, and the sadhana is also with Nairatma, although Heruki mistakenly becomes the consort, and Nairatma takes her place.

    He is recorded in Sadhanamala and by Taranatha; in Rinjung Gyatsa, the Armor sadhana is bracketed by Blue and White Heruka that use the mantra, followed by Seven Syllable deity with retinue; tantric Vajradaka is a more elaborate form with more explanation. Armor is used with most major deities, but physically, in the book, it is balled up with Seven Syllable mantra all around it, and the Armor goes onto the Seven Syllable deity.

    Himalayan Passages scrubs the Tibetan "back translations" of Seven Syllable goddesses and says Bhima is Vajrabhairavi, Rudrani is Ghoracandi, Vasavartini is Vajrabhaskari, and Vyavalokita is Vajraraudri; in other words, the Sanskrit names applied to it in Tibetan Deities 70 are guesses. These are the corrections, the names from Seven Syllable Vajradaka. This is a good guide since one would tend to think Rudrani is Vajraraudri. Jigs ma was called Bhima, fearful or terrifying. Rolang ma (Vetali) is not used, so, Vajrabhairavi is not Vetali, she is Bhima (not Bimba). There is no "dorje" anywhere, which is why Vajra is parenthesized in the corrections. Drag mo usually means Rudrani or Vajraraudri, which would imply that the Tibetan list is an error, and that the color scheme is correct and means the goddesses as recorded in Sanskrit. The supposedly erroneous list is here. Raudri is commonly explained as a guna, along with forms of Agni. Mahanirvana uses this and explains seed syllables. With septenary Shiva, Ghora specifies fiery nature, and that source includes the large Ten Face Guhyakali asking questions to Mahakala.

    It is possible to find Ghora distinguished from Rudrani in anUgra Tara retinue, and several types of Candi under Mahamaya.

    Seven Syllable deity is 51 in Mitra's mandalas, the author having no idea what it is, other than very little else in Buddhist iconography resembles it. It is a Mitra tradition of a Maitri tradition. with another variation on the Tibetan names: Khrag 'thun ma (blood drinker or a mistake for Heruka), 'Jigs byed ma. Drag gtum ma (Tumdrak or Most Fierce cemetery), sNan byed ma, rDo rJe drag mo, and rDo rje mk.ha gro. Snang is Appearance or Manifestation, used this way in relation to the http://rywiki.tsadra.org/index.php/nyi_ma, by Vimalamitra and Anandagarbha for illumination.

    The color scheme simplifies the naming dispute; we are left with the third goddess as Red Candi, whereas the sixth has commonly been known as Smoky Candi without much question. This is similar to Yamari tantra making Charchika and Chamunda distinct.

    With Heruki and Vajradakini, the equivalent names remain in the Tibetan, but otherwise four of the retinue appear to have changed into something particularly in Tibet, with a divergent or ad hoc Sanskrit name appended. So here are the four guesses and Durjayachandra's originals as in the complete Sanskrit Vajradaka:


    Bhima or Jigs ma is the first one that did not really register; her correction to Vajrabhairavi is probably superior, but, despite it sounding like it should mean "consort of Vajrabhairava", she is not, because that is Vetali.

    The female Bhima dakini appears in a comparative list of Dakarnava Sacred Sites. In Kalachakra, Bhima comes right after Charchika.

    In Kalachakra, Jigs ma is Ghora, but Bhima is Jigs byed ma--whereas Dragmo is both Ugra and Raudri. Tibetan Dragmo will be found having multiple forms; "jigs" is an abundant Tibetan term, and is in the common name Jigme or "fearless". Bhima may be Cinnamasta, and even Kamala, where it becomes evident there is little distinction between the terms ghora and bhima. Both of those have a pretty yellow form as well as ferocious. Bhairavi and Ugra are little different in meaning. It is like saying horrifying, terrifying, scary, frightening, hideous, you would have to be really meticulous to keep them separate. Color helps in that case, and so as far as we can tell, Yellow Bhima means Yellow Bhairavi, as personal names. It means she is also "doubled" as Bhima in a minor sacred site, and Bhairavi in Armor and Seven Syllable at a higher level. If Bhairavi has a pleasant form, it is not in this ring.

    Indra related to Ghora, Bhairavi, and Speech, is very close to Bagalamukhi. This shakti is called Indrani--Kamala--Ushas (Marici). Tongue is the main "enemy" here, one's own. Harmful speech is an opposite of Tongue united to Rasa in the tantric sense.

    Vyavalokita is "steady gaze, looking around", in fact it is in Prajnaparamita as how Avalokiteshvara "saw" the five skandhas; nevertheless, she is smoky. A male one is Atisha's first Historical Buddha: Vyavalokita, Ushnisha, Vishvabhu, Krakucchanda, Kankamuni, Kashyapa, Shakyamuni Gautama. It is not any kind of known dakini. But the Tibetan name Ltas means omens and signs generally, and has the Yoga definition of Nimitta. Rnam is a type of respectful title that veers towards the esoteric. Rnam Ltas comes together as Chod. This is a specific ritual, but, nimitta is samadhi, with an improving image, as well as the six sense objects. That is actually a decent match to what Amoghasiddhi Vajraraudri or Candika should be.


    Vasavartini is "power to subjugate others" like vasyadikhara, and implies poetry. In 1000 Names of Sita, we find in verse forty, Agneyindranika Raudri Varuni Vasavartini; this line is Sita's only reference to Varuni. The correction, Bhaskari, is an odd mix of the Solar Virgin and a piece of bread. The Tibetan dbang byed ma can be analyzed as Wang Je Ma (that is actually how the older publication spells it). Dbang byed ma is definitely a repetitive subject after a male equivalent. In another text, she comes up shortly after Jigs byed ma; she even has around five pages of her own manuscript. I cannot read any of that, but Wang is empowerment and initiation, which gets back to Vase, and Varuni.


    Tibetan would seem to make Drag mo a female Bhairava. But Drag mo is particularly worshipped in Jokhang temple. The name Drag mo has main variants of Mari Rabjam and Lion Face. The Lion Face is prefaced by Dud dul. There is a sakti called IHa mo drag mo; her body is smoke-coloured and her attributes are a chopper and a skull-cup. But it is Mari Rabjam who takes the title Dorje Dragmo and has a green form, and a white form on a stag almost exactly like Sri, and so this is all about a Palden Lhamo hypostasis that protects the area around Ganden and Sera and Mari Rabjam hill. However the Lion Face Dragmo is at the head of a major liturgy from a 1600s terma in Kham, and in this version, at the very beginning. Another Lion Face terma was revealed by Tare Lhamo in very recent times.

    Mari Rabjam is in the same class as Yudronma, sujugated by Padmasambhava. These are under the Four Seasons.

    This Drag mo is "supposed" to be the Red Goddess, but, she has no prefix, cannot determine which one, and is a Palden Lhamo hypostasis particular to Tibet.

    The Sanskrit version, Ghoracandi, has only a couple of existences, one in Bengal. It pertains to a legend about Indra leaving his abode and touring heaven and earth:

    With the company of Vyasamuni, Indra after leaving his
    kingdom travelled extensively in heaven and earth but when
    he returned to heaven he found it desolate. Indra asked
    Vyasamuni of the cause of its desolation. Vyasamuni replied
    that it was due to the wrath of Ghora-Candi who was displeased
    with a Gandharva king— the king of heaven during the absence
    of Indra, who obtained the blessings of Ghora-Candi from
    Mahadeva by practising austerities.

    At this Indra felt inclined to worship Ghora Candi, and
    by her blessings, he once more recovered his own kingdom.

    Vidyadhara, an honest man, heard about the omnipotence
    of Ghora Candi and worshipped the goddess. Through her
    grace, Vidyadhara became the king of Campakanagara.

    An old man prayed to the goddess, and he was rejuvenated.

    But owing to the discourtesy shown by Pihgala, one of
    the wives of Vidyadhara, Ghora-Candi disappeared from his
    home and Vidyadhara became an ordinary man.

    Campakanagara is an almost mythical land related to Manasa. There is some altercation with the physician Dhanvantara. It is the name of a sadhana carried by the Chakma people to this day. The Chakma legend says they are a part of Buddha's Sakya clan who migrated east. There is a historical King Vidyadhara of the early 1000s who built a massive Mahadeva temple, but it is in Middle Country. The older story is Mahabarata era.

    If it was Ugra Candi, this would be a common name for Bhairava's companion all over Nepal. Her eighteen arm form is this close to Varuni: "The dhyana sloka preceding the Middle episode of Devi Mahatmya the iconographic details are given. The Goddess is described as having vermilion complexion, eighteen armed bearing string of beads, battle axe, mace, arrow, thunderbolt, lotus, bow, water-pot, cudgel, lance, sword, shield, conch, bell, wine-cup, trident, noose and the discus (sudarsana). She has a complexion of coral..." and whether or not Varuni is completely identical, she is one of the very few Buddhist deities equipped with a shield which is commonly Hindu like this one. However, Ugra Candi's song is to the smoky-colored one.

    So I am not sure "which" Drag mo is intended by the Tibetans, but the Sanskrit original is Ghoracandi, who got involved while Indra was busy, and affected one earthly kingdom related to Janguli. As much as the name Charchika mostly means a specific Red Candi of Orissa, the name Ghoracandi appears to mean the same of Bengal. Of "emaciated Chamunda", Harvard says she is worshipped throughout India, and particularly in the eastern state of Bengal. In the broadest Kali terms, it is behind the Sumbha Nisumbha mantra.

    If Charchika is a preliminary mantra teacher, Sumbha Nisumbha is one of the important four Chakrasamvara mantras, along with Seven Syllable. She can then pass the baton and forfeit her name and another Red Chamunda seems to be in Lotus Family now, i. e., competent in mantra. In the retinue she is assigned to Joy. That seems consistent with blissful speech made from pain, which is part of Chamunda's repertoire.

    Sri Pitha Stava [Celebrating as a hero or hymning as a deity] which is about Kathmandu Asta Matrika has as the first line:

    brahmani tattvarupa vividha ghanarava ghoracandi ca raudri

    followed by references to Kaumari who drinks intoxicating honey, Vaisnavi, Varahi, Indri, and Chamunda as aspects of Lakshmi, followed by five couplets describing Ganesh. Ca could come at the end of three things meaning "and"; written this way, Ghoracandi and Raudri appear to be the objects of "many thundering forms of Brahmani". The likely reason for stating both is that Candi is Puranic Durga, but Raudri would be associated with Shiva; so they are trying to talk about reality (tattva) behind both sets of literature, particularly the fierce and frightening kind.

    Then it gets back to Brahmani with several yellow attributes; she is Brahma Sakti of Purva Pitha, Prayaga.

    Next is Golden

    māheśvarī mahādevī mohamāyāniraṃja

    of Uttare Pitha, Varanasi. Next is Four Arm Red Maharaudri Kaumari of Agni Pitha, Kolapura (Kaumari is also regarded as Guru-Guha the intimate guide who resides in the cave of one’s heart). Next is Dark Green Vaisnavi of Nrttya Pitha, Attahasa. Then Red Varahi of Yama Pitha, Jayanti. Then Sakresvari who is Mahavajradhara Devi of Naga Pitha, Cirana. Then Chamunda of Marut Pitha, Ekamaksa. Then Sword Mahalakshmi on Lion has the powers of Gandharvas and Vidyadharas, and is at Isana Pitha of Devikota. Finally appears a compound of eight forms, for Catus Pitha Nitya Eight Yoginis, which is the Good Pitha of Bhadra Kali. The article finishes with ten or so couplets about the male. It makes a jumble of things like ghora, bhima, and bhairavi as adjectives; raudri is used with Kaumari and Candi.

    It appears Hindu but is filed in Chakrasamvara literature. Four pithas--chakras always make Eight Kshetra Vasinis using a bindu of a thousand suns seems to be the only specifically Buddhist statement. That would not make sense if it just told me there are eight pithas. It does if I understand why there are four major pithas, and that the group of eight is probably useful to keep my life from flowing out the exits or cemeteries.

    bhadrapīṭhe sthitā nityaṃ bhadrakālī samāvṛtā (veil)

    At the end, all diseases are pacified, Dirgha Mayura Vapyate (is sown). Dirgha means long, or extended in time or space, most commonly as in Dirgha Pranayama or the most basic at the level of Fourfold Om. Mayura has almost no other meaning than peafowl, although according to the Guptas, it is a contraction of Mayapura, which is the Vajradaka sacred site where Bhima is, or, a name for the body, city of illusion. In Pitha Stava, it is Kaumari's mount, and then in Nepal, one of the most important Buddha stories is Golden Peacock.

    Pitha is Fire blended with all elements.



    The Seven Syllable retinue are born from six syllables: Phat Blue Heruki, Hum Yellow Vajrabhairavi, Ha Red Ghoracandi, Ha Green Vajrabhaskari, Hrih Smoky Vajraraudri, Om White Vajradakini; the principals bear the Armor syllables. All are crowned with Vajrasattva. The whole mantra is given backwards to match the reversed retinue. I am not sure there are any other examples of this. It is long after they have been cast that the whole mantra is used normally with the addition of male Smrti as a second Hum.

    They are progressions of Armor Deities, called Six Yoginis which is the same, and are female replacements of the Chakravartins, so they are wrathful Prajnas. They have drum, bell, and human skin. We could almost say everything we have is a study of this sadhana; it lacks some of what we have not emphasized; for instance, it does not use Ten Wrathful Ones, and has nothing compared to the mudras of Vajradhatu. It is the point in goddess study that if we have not used union or Varahi, it becomes unavoidable, moreover the male seed is Smrti which begets Samadhi, and the female in this case may also be appropriately named as Lasya, which is nature's vibrational response to Shiva or to a mind entering a samadhi of the potency indicated here.


    The order in Seven Syllables is counterclockwise, but in a different sequence from Armor: Heruki is first, Vajrabhairavi is second, but Armor starts with Varahi then Yamini (Heruki). Armor ends on Amoghasiddhi Candika (Vajraraudri), but Seven Syllables ends on White Vajradakini (Mohani). It really is a different spell; in Seven Syllables, you have already cast Armor in the normal way which is really just a syllable; the visible retinue is part of the mandala, and now they have a different function as Seven Jewels. Both sets are fairly passive; Armor just emits rays, and the Jewels just are the Wisdoms of the Path, or, at least, their Purification of the Elements is. Nothing really says Armor Deities are more than Semi-wrathful; nothing strong like ghora or raudri, but Seven Syllable goddesses are Maha Raudras. This is Extremely Wrathful like Vajrakila.

    The Seven Syllable sadhana is supposed to be done often, especially on the Full Moon of Vaishak.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Vairocani 1 of 2


    This deity is important as to why one would not simply pick up and do a Cinnamasta practice and get it to work. There, she just shows up as "a companion", but, she is really a metaphysical key, an internal change, which is portrayed in Samvarodaya Tantra. Because of her, it works differently than the widely-known Varahi rites or Chakrasamvara as a whole.

    Firstly, it establishes a pattern of Vajrasattva at the beginning, going to Amoghasiddhi at the end, like Namasangiti and Dakini Jala do. When we match the goddesses to them, it does make a stamp, or shape, to the abundance of Indian lore, like a set of parentheses.

    In terms of Vairocani's color, there are only a few yellow samaya deities, such as Cintamani, Ila, Vasudhara, or Bhrkuti, and then there is some quiet Yellow Vajrayogini who is also Kurmapadi or Tortoise Pose, and this is known as Vairocani in the texts, but not explained. Following this, we see that the upper end of several tantric spectrums is dominated by yellow, or perhaps more properly gold, and especially in a way that is luminous or fiery. Buddha became yellow or gold, Kamala or tantric Lakshmi is the same, and it could perhaps be described as "secret treasures of the unknown", hidden by Yakshas within one's body, usually called Nidhi. Its outer association with increasing wealth esoterically means enrichment by removing veils of subtle ignorance. And so Vairocani appears in the form of Yellow Vajrayogini meaning a certain amount of inner heat and light has been produced by the disciple. Compared to our practice sadhana, she is along the lines of an "approved" offering, or a meditative construction of nectar that would appeal to Ziro Bhusana. Not the ability to think about it or imagine it, but to actually cause Tapas or this reservoir of occult energy.

    Correctly-working yellow energy would be the top of our Inverted Stupa, intended to merge with the base of that of the deity.

    Samvarodaya uses her in Armor Deities, similar to, but and adjustment of, Varahi's common pattern. And if we ask why they might do this, and if it is a type of Vairocana tantra, no; her origin is quite obscure, but will actually show why she comes along with Varuni. It is not explained by Buddhism, and, must therefor be a Buddhist appropriation of existing material. It is, because it launches the strictly Buddhist Vajrasattva at her. He is being hurled into the core of the mysteries. Perhaps we should say it is very Puranic; standardized publication of all Puranas was begun by a Maharajah of Benares; the original Theosophical Society being related to a Maharajah of Benares. The Samvarodaya is fairly straightforward, and then when we look at where Vairocani comes from, it is very dense. In doing this, HPB's Puranic clue or guidance actually does intersect "the next level", or, dovetails into the practical path. The only way to improve on what she said is this subject.



    The Armor Deities are wrathful Prajnas in Protector mode, whereas Seven Syllable deity has them in Path mode. They use different names, and, since Seven Syllable incorporates Vajraraudri, then the use of Vajraraudri's ring in Samputa Tantra is involved. Because they are prajna, they cannot be restricted by external means such as a temple gate, but are more or less concealed by Yakshas or internal factors.


    Although Armor deities' personal forms actually enter one's body in Tibetan Deities 228, the text says at first they are cast normally as Varahi at the center of a five-petaled lotus, and Mohani is the only one on a moon disk. However, Varuni specifically shows all six of these around herself. That is how Varuni is like a prelude and placeholder for Seven Syllable deity; they each are distinct from the group of six, the center of it. And here, there is no alternative but to consider Varuni as being whatever Vajradhara's Family is. Because Vajradhara's Family cannot be described as much other than "remains to be seen", and whatever is to be seen must be produced by Varuni, this is sound.


    The Varuni thangka and Circle of Bliss are correct for the usual Akshobya-based Varahi Armor Deities, but in Samvarodaya, the central couple is Six Arm Heruka and Two Arm Three Eyed Bandhuka Orange Vairocani. Heruka melts in her body. And in this case it is Vajrasattva based and works a bit differently. It first has Dakini Jala's names for the Dhyanis such as Paramasva.


    Samvarodaya that has Eighteen Arm Varuni does not mention color and assigns the Armor as:


    prathamam vajrasattvena dvitiyam vairocanasthitah |

    trtiyam padmanartesvarena caturthe sriheruka ucyate 11 36 11

    pancame vajrasuryeti sasthe paramasvas ca |

    sadbhih kavacais tu raksitam | ] 37 11

    om vam vajravairocani | ham yom yamini | hrim mom mohani |

    hrem hrim samcalim | hum hum samtrasini | phat phat

    candikayam

    nabhau hrdi tatha vaktre sirasi sikhayam sarvangesv astram eva ca

    om yogasuddhah sarvadharma yogasuddho ’ham i|39||


    His Armor format is:

    Vajrasattva--Vairocani--Navel, Vairocana--Yamini--Heart, Lotus--Mohani--Face, Vajra--Sanchalani--Head, Jewel--Samtrasani--Crown, Amoghasiddhi--Chandika--Limbs.

    It would not seem appropriate to substitute Charchika, since she is Vam and Vajra Family like the regular way. Vajrasattvatmika and Vajragharvi would fit. This does repeat the odd maneuver where the principal goddess is her own navel deity.

    This is a little different since it is not Varahi and its title is Source Chakrasamvara, something like "Functioning Dharmodaya".

    In this Samvarodaya format, Vajrasattva is at the Navel, where he has no option to do anything besides become half of E Vam and Dharmodaya, which defines the root of any union tantra. Vairocani is Kanya or a daughter from within the body of Varuni, much as if offering an orange liquid to Ziro Bhusana and she approves. Both the heat of the liquid and Vairocani are attributed with melting the male principle. It is at that moment when, according to Jnana Dakini, Vajradakini crown syllable and so forth apply; and next, when tasting good nectar, then Seven Syllable deity is able to re-emanate Wrathful Prajnas on their own plane so to speak. He casts their form first, then does armor and nectar, and then Mutters them while enjoying the effects of nectar. This is only a slight adjustment to how Ziro Bhusana is set up. Vajradaka presumes adeptship of the raw occult energy she is handling.

    If we are doing a preliminary stage assisted by Dakini Jala and Varuni, then comparatively, Samvarodaya says of her:

    ‘ she
    flows in the middle of all which have become rivers ’.
    clarified butter and honey, she runs into what is called the ocean
    of milk.

    somapanan tu sa kanya dehe vajravairocani sthita 11 9 11

    vairocanidehamadhye tu herukan ca drutam bhavet |


    Varuni is Soma drinking, in her body Kanya Vairocani resides, in the middle of whom, you, Heruka, melt.


    sarvavirasamayogadakinijalasatsukham || 10 ||

    ekibhutani sarvani amrtam raudrarupini |

    harta karta ca bhokta ca tasya garbhamrtam tatha 11 11 [ |

    kundarh dharmodayakhyatam golako ’mrta giyate |

    yah sura vajrayoginyo yo madah sa ca herukah 11 12 [ |


    This is the supreme pleasure (satsukha) of a multitude
    of dakinis through the union with all the heroes (10). (Here,)
    everything has become one; (it is) the amrta and is the goddess of
    dreadful appearance; it is the destroyer, the maker and the enjoyer;
    and so is the amrta of her womb (11).

    Kunda (the hearth-pit or a bowl to brew sura with) is said to
    be “the origin of dharma” {dharmodaya) ; the globular water-jar
    (golaka) is asserted to be the amrta. Suras (spirituous liquors) are
    vajrayoginis ; and intoxication is Heruka (12). The colour (of suras)
    is Padmesvara himself; the scent is Ratnasambhava. The taste is
    indeed Amoghasiddhi ; and the vehemence is the wind itself (13).
    How can there be sacred knowledge ( jnana) for a man who is
    without intoxication; or how can there be worldly knowledge
    (■vijnana ) (for him) ? (The amrta which is) fully equipped with
    sacred and worldly knowledge makes the world confused through
    intoxication.

    Om Ah Hum is called consecration, and then:

    He should cause (him) to make (the spirituous liquor) purified and known with the mantra Ha ho
    hrlh. The syllable Ha removes the colour ; the syllable Ho
    destroys the scent; and the syllable Hrlh kills the energy; (the
    practiser) should take (the spirituous liquor) in the guise of the
    amrta.

    If you do not do this, it is toxic. I believe the second part is for the cooled mercury. If this stage is reached, there is not any kind of question about its power; the "personal fingerprint" is neutralized; its lowest level of performance is Sahaja, or it may do the rest of the signs.

    The section has explained itself as the Sukha of Dakini Jala in line ten.



    Indian Mother Goddesses refers to Ambika, sister or spouse of Rudra, invoked as Vairocani, Durga, Katyayani, and Kanyakumari. The name is also used for the wife of Tvastr, in which case she is Daughter-of-Brightness, mother of Viswakarman.

    That is her innocuous-seeming source; after a bit more general information, it will come back with a vengeance. In digging for Vairocani's roots, it starts talking about the moon in ways that are not Chandra--Soma.

    There are a few different ways of using a lunar calendar, but, if we look at the basis of it, then it is the same as showing the full moon as the Absolute Object or Prabhasvara in the middle of a candelabra, the same as the three voids, dissolving and emerging before and after:

    [IMG]https://miro.medium.com/max/1400/1*DbFlXZBwFiLZ3-dYdJh1Fg.jpeg[/IMG]





    Vaishakh Amavasya refers to the New Moon day in the Hindu month of Vaishakh. Amavasya is the day on which the lunar calendar begins. It is also called a New Moon day as the moon becomes invisible to the naked eye.

    Buddhism appears to use the South Indian method (Amasanta), which is this northern one, upside down:






    Some southern systems may use no moon as the first day, but, day one of Amasanta is "first crescent" and the literal new or dark moon is the last day of the month, usually 29th. Because the lunar year does not match the solar year, they simply add an extra lunation or complete lunar cycle about every two and a half years, the correct ratio being around 30:31 solar to lunar months. Regardless of system, light or waxing is called Sukla and waning is Krsna.

    If we have one Tara specifically named Sukla, who works for Amoghasiddhi, or in other words she is Not Ignorant about Occult Power of Moon Waxing Full, we may also note the first half of the month is mainly for peaceful sadhanas and the dark half more for wrathful and protector practice.

    Vaishak full moon is May 7 this year. The full moon of Jyestha on June 5 is used by married women to honor Savitri.

    When the whole hexagram is the union of male and female triangles, or Purusha and Prakriti, Koothoomi says:

    The white represents in its straight lines: Gnanam -- (Knowledge); Gnata -- (the Knower); and Gnayam -- (that which is known). The black-form, colour, and substance, also the creative, preservative, and destructive forces and are mutually correlating, etc., etc. [three gunas].

    In metaphysical terms the upwards triangle is white bodhicitta and the lower is the fire triangle; Vajrasattva + Vajrasttvatmika.




    Ramayana contains the stories of Sita and Urmila. And Sita turns out not to be white, but molten gold; she is an occult product like Vairocani or Kamala Lakshmi. Our samaya beings have a limited number of yellow forms, such as Cintamani, Ila, Vasudhara, or Bhrkuti, and then we find yellow to be a highly occult color assuming the form of deities which are more like physiological states of being. Urmila however is Sleep, or Tamas Guna, darkness, like the Black Void. This is Nidra Yoga which doesn't change the nature of the void, so much as it enhances one's ability to pass it lucidly. From a heart-related death experience, Mantas says there is nothing other than it sounds like he is talking about black void. And so in the medical circles they know of this but cannot really add anything to it. That is what the Yoga is for, to "pass through" so there is an experience of the Absolute Object, before emerging through the black and others. Without this yogic attenuation, one is generally not able to experience anything other than black void--no absolute consciousness--black void and back out to the world. The tip of the iceberg is missing.

    Note it is not an astral experience like a projection. He is talking about being dead in the body. The difference with Pranayama is there is no damage but there is bliss and the experience of dissolving the black.



    The kidnapping of Sita or the possibility of it having been Maya Sita is a close earthly parallel of the Sun and Chhaya--Shadow. Koothoomi says the name Avalokiteshvara is proper for all possible consciousness arising in our solar system or Sakwala. The Sun is also a very high mystery, since perhaps the most important symbol is the "shearing" of sunrays, which we find fashioned by Viswakarman into various weapons of the gods, culminating in the Trident which may generally be accepted as the white seed in the head. So in terms of the male force, it appears sunlight is bound up in an atom, whereas the female aspect has much more to do with Mayavic doubling by Samjna. HPB was aware of the importance of both of these two related things--but they turn out to be a basic, outer, statement, whereas the relevant lore has much more to say.

    The introduction to Samjna, also called (Suresvari or Saranyu):

    15. SEVEN TIMES SEVEN SHADOWS (chhayas) OF FUTURE MEN (or Amanasas) (a) WERE (thus) BORN, EACH OF HIS OWN COLOUR (complexion) AND KIND (b). EACH (also) INFERIOR TO HIS FATHER (creator). THE FATHERS, THE BONELESS, COULD GIVE NO LIFE TO BEINGS WITH BONES. THEIR PROGENY WERE BHUTA (phantoms) WITH NEITHER FORM NOR MIND, THEREFORE THEY WERE CALLED THE CHHAYA (image or shadow) RACE (c).

    (c) Chhaya, as already explained, is the astral image. It bears this meaning in Sanskrit works. Thus Sanjna (Spiritual Consciousness), the wife of Surya, the Sun, is shown retiring into the jungle to lead an ascetic life, and leaving behind to her husband her Chhaya, shadow or image (SD II p. 101).

    According to the Purānas, [Samjna is] the daughter of Viśvakarman and wife of Sūrya (the sun). In the Vishnu-Purāna (3:2) Sañjñā, “ ‘unable to endure the fervours of her lord,’ gave him her chhāya (shadow, image, or astral body), while she herself repaired to the jungle to perform religious devotions, or Tapas. The Sun, supposing the ‘chhāya’ to be his wife begat by her children, like Adam with Lilith — an ethereal shadow also, as in the legend, though an actual living female monster millions of years ago” (SD 2:174). This refers to the creation of the first root-race, the “chhāya-birth, or that primeval mode of sexless procreation, the first-race having eased out, so to say, from the body of the Pitṛs . . .”

    Twashtri (Viswakarman) is the "divine artist and carpenter" and is also the Father of the gods and of creative fire in the Vedas.

    HPB is faithful to Puranic Samjna. And yes the Puranas are muddled, as one would have to "pick a version" to decide if the father is Tvastr or Viswakarman, or the husband may be Surya or Vivasvan, but in either case, it is symbolic of a non-physical parental origin, descending to that part of the astral plane which is a blueprint of the physical and then manifestation.

    In Vishnu Purana, Samjna complained to her father Viśvakarman, that life with Sūrya was impossible on account of his excessive heat, and so Viśvakarman ground Sūrya on his drilling machine and reduced his heat. But, only (1/8) of the heat (effulgence) could be so reduced, and it was with that fraction of effulgence that Viṣṇu’s disc (cakra), Śiva’s triśūla (trident), Kubera’s puṣpakavimāna and Subrahmaṇya’s weapon called Śakti were made.

    Surya finds out her trick due to the curse on Yama; he pursues her in horse form into Uttarakuru, and from this, the Aswins, or immortality, are born. This is the most famous mare in Hinduism, having to do with horses becoming vehicles of further deities.

    So Vairocani is the mother aspect which would say Tvastr + Vairocani = Viswakarman (Brahmanda and Vayu Puranas), and possibly in the sense that Viswakarman is Tvastr on a more terrestrial plane; Myths and Gods of India says they are identified, or, the Shaper, Tvastr, primarily identifies with Viswakarman, and to a lesser extent, with his other progeny.

    Tvastr is Samjna's father in Matsya and Brahmanda Puranas and in Mahabharata. It is Vishwakarman in Vishnu and most other Puranas. Samjna is always the consort of Surya, unless it is Vivasvata (Bhagavata Purana), which is about the same meaning; and she standardly throws in her substitute who manages to have her own children with Surya, such as Shani--Saturn and the future manu. The next Manu is in a cycle where Amitabhas are a principal deity class of the universe. This is emanated from the current Buddha cycle where Amitabha is the overall main guru or teaching Buddha of the time; and so once he is mastered or absorbed, he is then a basic building block in the future.


    Chhaya is also simply called Prithvi Samjna, i. e., earthly or mundane perception. Her sister, as Saranyu or Swift Cloud Samjna is shown as Vairocani's daughter. From there, we see that Vairoicani's father is Prahrada, Sound of Happiness, an Asura chief also called Kayadhava in Taittirīya-brāhmaṇa, which is like a common key for Hindu tantra, a commentary on Krsna Yajurveda. Vairocani in Brahmanda Purana is the sister of male Vairocana (brother of Sumbha and Nisumbha, father of Bali), and mother of a male Viraja (possibly the father of female Viraja and also of the Vairājas—pitṛs living by yoga), or, Viraja is son of Pūrṇamāsa and Sarasvatī; his wife was Gaurī; son Sudhāmā, Lokapala of the East. Bhagavata Purana intends to use Viraja twice, as a son of Tvastr whose wife is Visuci, and as a son of Purnamasa (which is actually first). There is also Parvasa — a son of Purnamasa and Sarasvati; the lord of all ganas.

    Purnamasa is son of male Marīci and Sambhṛtī (or Sambhūtī in Vāyu-purāṇa, or Kala); whose wife is Sarasvatī. As a standard word in male form, Purnamasa means full moon sacrifice, and in feminine means day or night time of the full moon. SAMBHUTI—(i) Daughter of Daksha; wife of Marichi and mother of Purnamasa, Prishthi and Trisa. SAMJNA—Daughter of Kalindi. This definition is backwards; Kalindi is Yami, daughter of Samjna.

    This Krishna Yajur Veda commentary is three massive Devanagari books, the only existing one of its kind, and untranslated.

    The Ditis

    Diti with Kasyapa had Hiranyakasipu and others; Hiranyakapisu, the first Daitya, had four "Sound" children, of whom Prahrada is considered important. The incarnations of Visnu are in part about defeating the generations of Hiranyakapisu; Visnu is his half-brother born from Aditi. They have the same father, Kasyapa, who had children with Diti and Aditi, Daksa's daughters and others and also sired the Danavas. General information on Diti does not carry the explanation about bounded space and conditioned matter, but, she is this change to her sister Aditi, the boundless. One of Diti's few daughters, Simhika, is the mother of Rahu--Ketu.

    In Theosophy, Daitya means descendants of Diti. The glossary for Daitya is the basic argument that orthodox devils, Pisaca and all the rest, are not so in yoga. Strangely, this courtesy is not forwarded to Dakini, even though its basic folk meaning was a nasty witch, it is just like any similar term. In other words there is not really a class of beings which "is" evil permanently and intentionally; all are able to turn to Dharma. And the word dakini does not really appear in the Puranas along with the others; it may be strictly tantric, along with Candali and so forth, and so it did not require the same defense or explanation as Daitya, etc. The Puranic equivalent is describing devas, humans, rakshasha and all others as knowing about and performing tapas.

    Daityas are Asuras in the sense of "no Sura" (Brandy--Varuni), whereas the older Vedic Sura (Deva) is "breath", the Puranic name does not mean breathless, but refers to Churning of the Ocean.

    Daitya Guru (Sk.) The instructor of the giants, called Daityas (q.v.) Allegorically, it is the title given to the planet Venus-Lucifer, or rather to its indwelling Ruler, Sukra, a male deity.

    The first chief Diti or Daitya, Hiranya Kasipu, is Gold Cushion, Clothing, or Food. He is reborn as Ravana in Ramayana.


    Hiranyakasipu and one of his brothers are Jaya and Vijaya due to the Kumaras' curse. Hiranyakasipu tried to kill his own son with Kayadhu, Prahrada or Kayadhava, who was defended by Visnu in Narasimha form. Prahrada inherits the Daitya--Asura kingdom; but one should note that due to the nature of the curse, Jaya and Vijaya are wanting to be killed many times as quickly as possible. Prahlada has a very intricate story never mentioning a wife.

    Adityas are equal to Tusitas of the prior cosmos. So in Kama Loka, Indra's Heaven is the last having to do with the terrestrial plane; Tusita is as low as a formless being can descend.

    Prahrada is generally an enemy of the devas and attacked by Indra, Mars, etc, but is a Visnu devotee.

    The alternate spelling Prahlada calls him a Mahatma, a disciple of Dattatreya and of the line of Sukra--Venus. There is no note of his wife except possibly Drarbi, or else Dhriti. Hindus have almost no trace of this tv trivia question. A standard cycle of incarnations says Kunti and Madri: The two goddesses Siddhi and Dhriti became Kunti and Madri. Gandhari: Mati became Gandhari. More frequently, Dhriti is the wife of Dharma, and mother of Niyama. A dictionary definition about the marriage is unsourced. Dharti Mai means Bhu Devi. Dhrti is possibly sourced here.

    Usually Dharma, son of Brahma, marries thirteen daughters of Daksha, including Dhrti. But she is also called a wife of Rudra. Her son is commonly called Dhairya. Dhriti is restraint of the organs of taste and reproduction.

    Prahlad is actually reverenced by Sikhs, and heavily admired by Vaisnavas--understood as a demon who turned to honoring Visnu--but Hindus are having an extremely hard time figuring out his wife, the mother of Vairocani, since Dhriti appears to be misplaced from a previous generation. It is very suggestive since the wives of the less-famous brothers are all named. Bhagavata Purana is instructive about the avatars of Visnu, but is not that useful for goddesses.

    In Buddhist terms, noumenally, Vairocani emerges from Varuni. Vairocani is then the mother of Viraja and of Samjna, whose sister is Chhaya. Vairocani's mate is obscure, but possibly Purniman (Bhagavata Purana), since both are considered parents of Viraja. The only way that would really work is if Vairocani is permitted two husbands. Both males are reluctant to speak of it; and Viraja is used repeatedly.


    Prabhasu or Dyaus was the chief Vasu in stealing the Wealth Cow; but, it is reproduced and milked in all these world systems; and so the Vasus were cursed to incarnate, him the longest. He marries Jupiter's sister, Yogasiddha or Varastri, which normally means "woman of the many". In metaphysical terms, there is a type of "handoff", since Jupiter is really the Deva Guru and man is not a Deva; it does mean something like blind, vain rites being rotely performed are not that useful to spiritual growth; at the same time, Jupiter is associated with yellow and is "almost solar". In technical terms, Jupiter simply has to do with Rtu, which is the natural and cosmic order; whereas social and personal mental order is Dharma.

    Primordial Light plus the sister of Jupiter arrive at a pinnacle with respect to our plane:

    Dharma + Prabhata (Dawn, or to make or become light) = Vasu Prabhasa

    Prabhasa + Yogasiddha Varastri = Vishwakarman

    Prahlada + (Drarbi, Dhriti, or Varuni) = Vairocani

    Vishwakarman + Vairocani = Samjna (Brahmanda Purana, III.59)

    In Brahmanda Purana, Viswakarman and Tvastr are the same.

    It mentions one Varuna wife as Stuta (elsewhere, Sura or Carsani), mother of Surasundari.



    The idea is that all of these creation tales are speaking to different planes as they spin out from rest. This is fairly visible in the sequential sections or Cantos of Bhagavata as well.

    Purniman is in Bhagavata Purana 4.1 as the father of Devakulya and Viraja.


    The related group are the Tusitas (Adityas or formless) in the time of Root Manu or Swayambhu Manu--where Soma is born separately from Purniman--and so this is a primitive stage of the cosmos, still something like a germ; the son's name is repeated, there is another Viraja further down the page, until in 5.15 story of Gaya:

    "From his [Bhauvana's] wife Dûshanâ a son was born named Tvashthâ and from Tvashthâ's wife Virocanâ there was a son named Viraja. From Viraja's wife Vishûcî a hundred sons [and grandsons] and one daughter were born with S'atajit as the first one."

    Visuci is an end-product of the story and a synonym of manas. Even though the text says it is about material creation, it seems to end at the point of creating mental forms. So this likely would be the cosmic third point or third logos, as the "two" must produce the three or cosmic manas or Mahat to manifest, or they disappear.

    Gaya is on the road between the Bodhi tree and Benares, and was three gavutas from the Bodhi tree and fifteen yojanas from Benares, sanctified by Visnu based on 5.15, having a general meaning like a home. The Gaya character is a descendant of Priyavarta, who is responsible for making seven oceans and continents, and of these it is said happiness is spontaneous and there is no death, so this Swayambhu epoch is not quite physical. Priyavrata had three priest sons and seven rulers of the countries. The mother is called Barhismati, daughter of Viswakarman.


    In 6.6 with the Aditis, it goes on to:

    "The most fortunate Samjñâ gave as the wife of Vivasvân birth to the Manu called S'râddhadeva as also to the twin, the demigod Yamarâja and his sister Yamî [the river Yamunâ]. She appeared on earth in the form of a mare and gave birth to the As'vinî-kumâras... From the marriage between Tvashthâ and the girl called Racanâ, who was a Daitya daughter, the two sons Sannives'a and the very powerful Vis'varûpa were born."

    This is the layer with Vasus and Krittika and the former or Caksusa Manu, followed by the Aditis and Vamana, until Visvarupa replaces Brihaspati as a priest for humans. So in the esoteric terminology, it is descent at least as far as the second or Indra Heaven. Vamana steps in three worlds, so form has been cast, which would go under Chhaya.

    Bhagavata Purana does not mention the origin of Samjna. Solar Dynasty shows that puranic accounts do not match, but, as mother of Manu, Death, and the Aswins, Samjna wife of the Visible Sun is fundamental. Figuring her our completely makes one a Samjna Samjnin which is in Satya Loka or the highest plane.

    Somehow, Bhagavata has pinned the description of Vairocani onto Racana, which is virtually the same meaning as Raca in Four Dakinis' Mantra. It is a common word, but, this is the only place in the world where it becomes a deity, when it is stepping into Vairocani's position. It could be a scribal error or if you knock off the first syllable "vai" then it becomes apparent. Visvarupa is the Mega form of Visnu such as Krishna displayed.

    Vivasvan is alternately the Sun or Manu's father, so this is still like marriage to Surya.

    Sannivesa has rather limited use; in a general example, it is the same as Racana: order and arrangement (sanniveśa-viśiṣṭatā) of the universe.

    In Buddhism, Sthana Vijnapti is synonymous to Bhajana Loka Sannivesa Vijnapti from a Nirvikalpa document.

    Vijnapti is used amongst synonyms of Yogacara, in the difficulty of showing it is not idealism but non-apperception, again the source of ancient divisions in schools.

    Sthāna (स्थान) refers to “sacred seats”.—The Vajraḍākatantra deals with three types of sacred districts (deśa or kṣetra) or seats (sthāna) of deities:—Type (1): Internal twenty-four seats divided into pīṭhādi and tricakra; Type (2): Twenty-four districts divided into twelve groups or six families; Type (3): Another group of twenty-four districts. Sannivesa is something on Mt. Meru that burns at the end of time; Sam, "all", ni, "lead", vis "enter", usually means some type of union like an encampment or an asterism. Therefor, it could be interpreted as the main "categories" of Sthana, Body--Speech--Mind and the Pithas, or, Six Families in Peaceful and Wrathful forms.

    So the sons of Vairocani appear to be the ordered components of the subtle body as in Vajradaka, and Visvarupa or the cosmic forms of Krishna or Sadashiva, Avalokiteshvara, Sitatapatra, etc.

    Here in a strand of related words to Purniman, it brings in Krodhas and so forth. It generally relates to the moon, but is not Soma or Chandra but mainly means Full Moon. Male Sage Marici has two sons, Kasyapa and Purniman; Purniman's daughter Devakulya becomes Celestial Ganges. This Marici is pre-dawn or breath of the sun prior to manifestation. Surya or the actual Sun is a son of Kasyapa, "bed", something like bed of all life forms. Purniman, Vairocani, and Ganges are therefor something of a sidestream or entity apart from the jivas or kingdoms of incarnations within the Tortoise or Kasyapa.

    Vayu Purana states Devakulya has four sisters: Tushti, Pushti, Twisha, and Apachiti.

    Purniman is usually male but even called female in the same Marici lineage. Esoteric Hinduism was published at Benares, and it is someone trying to teach Bhagavat Purana to Annie Besant; saying Purnima is female, but, to use Theosophical terms, calls Kasyapa the source of bodies, and Purnima is the monad. Something like this was apparent at first glance, but this would appear to be the correct and useful template. This of course would "stick to the original", instead of pasting Solar Logos and hierarchy of masters over it, I think we can see the glaring error and how this more or less does bridge Theosophy, Hinduism, and Buddhism, if I am finding it when trying to explain a specific Buddhist tantra.

    Subba Row on lower manas holding four-fold form and upper manas seeking its union to the higher two. Within the black void, he says that only Purusha is real, although the masters and most of the teachings would say Mulaprakriti. Damodar reprises him near the end of the page. Damodar had been protected by Koothoomi as HPB had by Morya, and trained in Brahmanism and English. In 1879, Isis Unveiled was his catharsis, he joined Theosophy and he went in 1880 to Sri Lanka to renounce his caste and enter Buddhism with the Founders. This caused him to become Disinherited. Damodar earned the privilege of meeting his Master in Lahore in November 1883. Shortly thereafter, Damodar and H.S.Olcott spent a few days at Jammu in Kashmir as guests of the Maharaja. Damodar disappeared without warning, only to return in three days transformed. In 1885, HPB left for Europe, Damodar visited Majji, and entered Tibet with "the Tibetan", which Olcott had learned to call an Avatari Lama, which is a still-current term around Nepal that has been known since at least the 1850s.

    Damodar typifies and was said by HPB to be the fruit of the whole theosophical program. As far as we know, he wound up somewhere around Shigatse and never wrote books about the masters or anything else.

    The main "entrance" to Tibet that one would use from Sikkhim or Bhutan is a place Koothoomi visited, and soon became famous as a staging ground for the "British Invasion"--nevertheless, it is hard to tell much about the particular gompa, which he says was the residence of a friend, Lama Ton-dhub Gyatcho.

    Phari Dzong is in the southern promontory of Tibet, at the west end of Bhutan. It can be discerned on a 1904 map; slightly north is Tang La and Mount Chomolhari. This mountain is a home of a Tseringma sister Jomo or Tseringma herself; an annual pilgrimage goes up from Phari. Tang La is a high pass marked by cairns and prayer flags. Koothoomi refers to "the greatest of our living adepts — the Shaberon of Than-La" (presumably Mahachohan). There are a few other "Tang Las" at China or Ladakh, but this one is on the road to Shigatse. "La" is simply "pass". Younghusband has a picture crossing it. When he says "our" and "adepts", he means those who serve the Bodhisattvas. So if Than-La is this particular Tang La, then, the adept would be the chief of Phari Dzong, since nothing else is there. He does not mean any head of Tibetan Buddhism, or the One Initiator, or anything other than the senior of "ours", which means Tibetan, trans-Himalayan, Sikh, Druze, and Coptic adepts, according to what he said of those who act in concert. Subba Row said the South Indian branch was its own thing.

    Jomo is locally called Aum Jomo or Ama Jomo.
    Her festival is Jomo Kora. But this is at Jomo Kukhar in East Bhutan of the Brokpas. Jomo River is the Brahmaputra. According to their oral history, the Brokpa originate from Tibet and came to Bhutan after they beheaded a tyrannical king Dreba-Yabu in their ancestral village in 1347. Led through the mountains by the deity Aum Jomo and the guru Lam Jarepa, they brought with them scores of religious texts, their form of Mahayana Buddhism, and their distinct culture.

    Tibetan messengers are supposed to cross eight hundred miles day and night on horseback in twenty-two days.

    Phari Dzong predates the Bhutanese, having been on a caravan route, which also has been used to haul a lot of iron from Bhutan by the founder of Iron Chain Shangpa.

    The life and work of Thangtong Gyalpo are available in several biographies of which two were written in Tibet. The first one was written by his nephew Konchog Dewä Jungnä (dkon mchog bde ba i Byung gnas) who took care of a temple in the Phari (Phag ri) Dzong in Tibet near the Bhutanese border. Thang Tong Gyalpo is one of the most prominent figures in Tibetan history, who recognized the first Samding Dorje Phamo.

    Ama Jomo traditional lyrics.

    Tibetan nuns are usually called Ani or Jomo ("head of household"). Ama Jomo's vague memory in Bhutan. Ama Jomo is used in Nepal at Mt. Gaurishankar and for Yolmo, and around Everest. For some reason, information runs out when it comes to Jomo's mountain and lake that watch the entrance to Tibet.

    HPB was, more or less, the only foreign woman much welcomed in Tibet, but the opportunity for them to have formed mainly non-English brotherhoods is inexhaustible, even based from food:

    "The Russian explorer Nikolay Przhevalsky in 1878 described Lhasa as the “Rome of Asia”. We know that since time immemorial, an unending stream of pilgrims, mendicant and merchants flocked to that city particularly during the period of the New Year and the Monlam festival. Early accounts even refer to Armenians, Pebouns (Newari), Casimiris (Muslims), Mongols, Chinese and “Muscovites” among these visitors... [the] great scholar (and spy) Sarat Chandra Das, who in 1879 writes of this establishment in Shigatse: “On one side of the market-place is a large zakhang, or restaurant, where Phurchung and Ugyen (Das’s companions) went to appease their hunger. While they were busy … the proprietor came in. He was a nobleman of Tashilhunpo, head of the Tondub Khangsar family, and held the office of Chyangjob of the Tashi Lama … The lady under whose immediate supervision this establishment is no less a personage than the wife of this dignitary."

    In his own report, Sarat Chandra Das easily went through official channels to get a passport and invitation from the Panchen Lama, and so was immersed in the same milieu around the same time as HPB. Das's teacher Ugyen Gyatso was an assistant teacher in the school. He was a lama from the Rinchenpong monastery in Sikkim, which was affiliated to Tashilhunpo lamasery in Shigatse, eastern Tibet. Das was among a large number of "Pundits" the British used as spies, which accomplished some map-making and basic information, but never gave anything important that the British were after; they just paved the way for Younghusband. Das pretty much just devoted himself to Tibetanism, although everyone who assisted him was punished or killed. This Pundit scheme is more or less the inverse of the theosophical one, although it bears superficial resemblance and may have intermingled to some extent.


    So if there was an attempt by a native to render Bhagavata Purana in theosophical terms--and it appears to be correct--then we should give the Bhagavata some credence, and perhaps say that Bhagavata and Mahabharata are primarily Vaisnava, which is not really wrong, but, incomplete in the light of Devi puranas; or perhaps they complete each other. Buddhist tantra appears to be a streamlined fusion, in the way that Puranic background is important, but not quite in the academic sense of having to learn all eighteen Maha Puranas and as many minor ones.

    Although he goes on to be the majority of the Seventh Canto of the Bhagavata Purana, Prahlada's wife isn't there, neither does one seem to be apparent to Purniman who is sometimes called female. Mahabharata does not really say Prahlada's wife is Dhriti or his daughter is Vairocani since they are omitted altogether. Lakshmi's 1,000 names line seventy-five does however begin with Vairocani Narasimhi.

    The theosophical Bhagavata made a few interpretations concerning what is commonly referred to as the Marici Creation, or, the lifewave of this particular planet under this particular sun. As soon as we saw Purniman was a parallel to Kasyapa, one would have to say this must mean something significant, and it does.

    Her or his son, of Purniman, Visvaga means "goes all over the universe", very similar to Vamana. Viraja is the father of the Vairajas; together with his brother Visvaga, they are the "Universal Aspects of Jivic Intelligence" in the theosophical study. Jivas are monads or individualized lives, so, Purniman must be the monads, and his children some kind of differentiation. Viraja is a likely smaller assembly of already-perfected monads, Vairajas. Visvaga contains humanity or the human monads for the most part.

    Male Marici is called Atmic Ray or Atma-Buddhi, which matches calling him pre-dawn, unmanifest. The book confesses itself to be "work of a student". It teaches forty-nine fires without naming them, and recognizes the difference between solar and lunar Pitris. And it is not cosmic, utterly, since this part is really still about our particular planet. The deity still has the name Marici which is still a mirage since the individual sun is only a reflection of that original Ray of the Central Sun. Spiritual practice is under or within Marici, since a direct hit from the Central Sun is the wind and fire at the end of time. If we manage to touch just a mere thread of the reflection, it will give us a strong impression of that.

    Purniman's daughter Devakulya is the presiding deity of the River Ganges, which comes down from the heavenly planets to this planet and is accepted to be sanctified because it touched the lotus feet of [the Supreme Personality of Godhead,] Hari. The original text only says Hari, and Devakulya became sarit or river of Diva which is Svar Loka or Heaven of Surya, day as opposite of night, and synonym for Lamp--Dipa. Her name, "kulya", has the meaning of a "factitional river", such as a canal or irrigation; but the centrality of her role cannot be missed as the divine source of Ganges, which in its turn is the mother of the earthly incarnations of the Vasus.

    It looks circumstantially like Full Moon Vajrasattva or Purniman is the or a consort of Vairocani. Their offspring include Viraja, Samjna, and Devakulya--Ganges. Full Moon in Buddhism is Relative Bodhicitta, Ah or Ali of Great Bliss followed by Khandarohi mantra, and White Appearance Void. Water Moon is Sambhogakaya or mastery of illusory body.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Vairocani 2 of 2

    To all appearances, Samvarodaya Tantra uses Vairocani in a specific way that can be shown as one of the rare gaps where most Hindus are hard pressed to explain the family relationships. Something is missing, like the rays sheared off Surya. She is "above" the Ganges Mirror. Her slightly nebulous "identity" is nevertheless mostly surrounded by circumstances and definitions that make something like a frame, she is a nexus on it, something like three levels of three channels. She is latched onto by Vajrasattva in the navel as great bliss and as protection from fire in yellow earth nirmana chakra or the starting zone, so to speak; it mentally uses cool white moon for protection. The phenomenon or feminine experience is fierce heat or candali, to which the male knower is applied as white moon.

    In Sri Vidya:

    Chinnamasta is called vajra Vairocani, the sakti of Vajra-weilding lord of devatas - Indra. Indra is the supreme lord of deities according to Veda, and Chinnamasta is thus seen evidently as developed from Vedic vidyas.

    Kavyakantha Vasistha Ganapati Muni traces Chinnamasta back to the Puranic story of Renuka. Chinnamasta is said to be Renuka, the mother of Parasurama and wife of Jamadagni.

    Chinnamasta is a teevra devata and its initiation is not to be given easily. One would get great siddhis through the upasana, however the consequence of mistake too would be serious. Teevra or tivra is an equivalent of "Extremely Wrathful", the degrees being Ugra, Prachanda, Ghora, Tivra. It has a connotation of hot and sharp. In terms of goddesses, we have something like Ugra Sarasvati, Ugra Tara, Mahacina Tara as something like the "start" of wrathful practice; Prachanda Candi is perhaps an outer or exoteric approach to Cinnamasta; Ghora is only found at the level of the Gauris and Raudris; and Tivra is perhaps a full or true Cinnamasta becoming possible if one generates Vairocani.

    From p. 69 of an Orissan governmental document:

    In this context the story of Renuka, the
    wife of sage Jamadagni can be cited. She is
    worshipped as goddess Matangi, Yellama and
    Prthvi etc. for procuring offspring by barren
    women even today...Although we do not find mention of
    goddess Durga in the Rg Veda, Her name
    occurred for the first time as Ambika in
    the Taittiriya Aranyaka as the consort of
    Rudra. She has been mentioned as
    Durga Vairocani, Katyayani, and
    Kanyakumari in the same work also.


    They have let slip that the first known use of Durga's name is something like Durga Vairocani.


    Sage Sukra's daughter Varuni is Varuna's wife in Mahabharata. Savitr, the seventh Aditya, is the Inscribed Word amidst six sovereign principles, Rg Veda 9.114.3; it is the sound from which the sun was created; it first took control of mind, seized the light of Agni, and extracted it from earth (Svetasvatara Upanishad).


    Buddhists and Hindus alike both honor Guru Purnima (usually in June), which is also Viraja Homa.


    Tvastr is used in a Vaisnava Armor formula with Padmanabha. To Vaisnavas, the spiritual world is a manifestation of spiritual energy and is known as Vaikuṇṭhaloka, “the place where there is no anxiety”. The material world, known as Brahmāṇḍa is the creation of the external energy. Between the two creations-the material creation and the spiritual creation-is a river known as Virajā as well as a place known as Brahmaloka. Virajā-nadī and Brahmaloka are shelters for living entities disgusted with material life and inclined to impersonal existence by way of denying material variegatedness.

    Dialogue of Samjna and Chhaya

    In Buddhism, Samjna is Perception Skandha, sixfold, with respect to perception of the objects of the five senses plus the ideas perceived by the mind. Samjna for instance perceives the difference between blue and orange, but reactive feelings or mental thoughts about them come from other skandhas. Samjna simply takes sensory inputs or objects (Sparsha Vajra, etc.), and is Amitabha or Lotus Family. So this perhaps is the reason for Lotus Khandaroha Varuni being so influential, if this is a type of "daughter Varuni", she would circle back to meaning samjna or Lotus skandha. Vairocani is the consort of Vajrasattva, and mother of Viraja and Samjna.

    Amitabha's Discriminating Wisdom is tricky, since it would see the differences and details of blue and orange without ever "splitting" or going into any digressions that would emulate an independent existence of either. They are just known masks on one element. No mental process should occur. Asking about them would be like using a vending machine whereby all possible knowledge is instantly dispensed, without thinking about it. It is just there. That is how we would emulate Dharma or Lotus Speech; pure truth comes out without the mind having colored or stained it.

    Samjna was overwhelmed by light, heat, and sexual desire; Pandara becomes "red by proximity" to Amitabha. The females are almost the same, but, Amitabha is not the sun. On a noumenal basis, the same importance is switched to karuna or refuge of one or Buddha Nature--"as if" it were the sun that visibly gives life and energy. It is not to say the visible one is not happening, but, in Buddhism, it is in the hands of something else; Amitayus or One Life as inseparable from Bodhicitta.

    The close parallel for Agni is goddess Ganga and her six mayavic seeds.

    Lakshmi tantra makes it clear the trinity is "twisted" before it is even reflected; that Gunas in the theosophical sense are conditioned, pertain to form, and their source is a Divine Guna on a higher plane where the goddesses function differently. Tripura Sundari or Manipura concerns a triangle within the body, to which there is found a subtle higher yoni triangle above the head; the subtle higher triangle consisting of what we call three voids or three subtle minds.



    Varuni is far from a mere shakti of Varuna, much as Buddhist Marici has little to do with male or Sage Marici; she is a noumenal dawn, not the physical; and is something like a solar daughter that comes to us, and she, so to speak, is like the sheared out sun rays, like we find the personal saga of Vairocani conspicuously absent except for a few hints. Therefor Cinnamasta would not seem to work, unless this blank is filled with tapas and following the teaching as closely as possible.

    Vairocani is mainly mentioned in Vayu and Brahmanda Puranas.


    There is a hypostasis of Bhadrakali in Vayu Purana part one.

    Vayu Purana 2.22 and Brahmanda Purana state Vairocani is daughter of Prahlada, wife of Tvastr; and confusion lingers about "other generations". The statement is from p. 651 in Vayu Purana part 2.

    P. 478 of the Vayu mentions birth by thought, sight, touch, and sex, and so it is something like 200 pages of all kinds of beings from all manvantaras. Chapter Twenty-two is The Race of Varuna : Birth of the Aswins. Varuna's wife was the daughter of the ocean (Samudra), called Sunodevi, Nevijyeshta (Sukra's daughter in Mahabharata and Bhagavata Purana; Jyestha should be "elder" to Lakshmi), Charsani, Parnasa, Rddhi, Gauri -- in other words, Varuni or Varunani because she is Varuna's wife, but hardly, if ever, called that. Sunadevi has been used as a title for Durga, Lakshmi, and Parvati. Sunavama has been translated as "may we offer", or, "press out [soma]"; suna has many meanings, although sunau, water, is related to sunoti, to press out or extract or distill.

    The Vayu also says Sura and (male) Kali had the son, Mada (intoxication). In Brahmanda, Stuta--Sura is Kali's mother, his wife is not named. In Devi Bhagavata, Varuna is simply Devi's sweat and Varuni is his left side. It is hard to tell which of Varuni's wives are distinct individuals; Varuni and Rddhi sometimes being called the two. Tehchnically, all waters, rivers, etc., are his. Varunani in Rg Vdea, twice with Rodasi; Varunani as Nrrti in Atharva Veda.

    Later, Balarama gets another Varuni:

    Lord Balarama however, who is considered the avatari (source of all avatars) (in the Gaudiya view of course) has two consorts. According to us [?], when He appears as Lord Nityananda, then Revati and Varuni become Jahnava and Vasudha respectively. According to Gaudiyas its the other way around (which makes sense because they consider that Ananta Sesha is form of Balarama). Varuni devi is considered an expansion of Revati devi. Sometimes in avatars, personalities may merge into one, (which is what happened with the consort of Lakshmana, Urmila devi, who is combined avatar of Revati and Varuni).

    Vāruṇī is the mūlarūpa patnī of śeṣa, revatī is an avatāra of vāruṇī with āveśa of śrī since balarāma had an amśa of nārāyaṇa.

    Urmila, Dhumorna, or Syamala are Yama's wife.

    cf. Brahmanda Purana -Part 3 - Chapter 59 - Birth Of Vaivasvata - 2.3.59:

    . Chapter 56 - The descent of Gaṅgā
    . Chapter 57 - Varuṇa visits Bhārgava (Sukra, Parasurama, or Jamadagni)
    . Chapter 58 - Rāma reclaims land from the sea
    . Chapter 59 - The Birth of Vaivasvata

    The reason for the congruity of these two Puranas is that the Brahmanda is a recension of the Vayu.

    So Samvarodaya Armor Deities has pretty selectively bracketed itself with the two main Devi Puranas by having Vairocani first from:

    Brahmanda Purana (12,000 verses; includes Lalita Sahasranamam, a text some Hindus recite as prayer)

    And last is Candi of:

    Markandeya Purana (9,000 verses; includes Devi Mahatmyam, an important text for Shaktas)



    Vayu as Prana; Five Purusya fire gods and Varuna and Carsini's unusual modes of reproduction in Bhagavata.

    Vayu Purana Synopsis with Maruts

    Larger Synopsis


    But Vairocani pre-dates this in a way that is still subject to philosophical wrangling, from Taittirīya Āraṇyaka 10 verse (ascribed with a terminus ad quem of 3rd century BCE), which hails Durgā as follows:

    “tām agnivarṇām tapasā jvalantīm vairocinīm karmaphaleṣu
    juṣṭām, durgāṃ devīṃ śaraṇam ahaṃ prapadye sutarasi tarase namaḥ,”

    which Coburn translates:

    “In her who has the color of Agni, flaming with ascetic power (tapas), the offspring of
    Virocana (vairocani) who delights in the fruits of one’s actions. In the goddess Durgā do I take
    refuge; O one of great speed, (well) do you navigate. Hail (to you)!”

    This verse is duplicated verbatim in Ṛg Vedic Khila, Rātrī Sūkta (4.2.13). (From Mother of Power, Mother of Kings)

    Not "offspring of Vairocana": Vairocani means the daughter of sun or fire. Version two:

    Wife of Rudra, Ambika--Durga is of the colour of fire, luminous owing to austerities; Vairocani who is worshipped for reaping the fruits of human deeds.

    Justam (worship, delight) has related meanings as above and is also Ucchista.

    So the Aranyaka or forest hermit doctrine was recorded ca. 300 B. C., and the older Puranas such as Vayu after the year 300.
    Tattiriya Aranyaka chapter ten is actually Mahanarayana Upanisad:

    Sanskrit version

    Translation with commentary.



    This is Durga Suktam.

    In other words, this oldest known use of Durga Vairocani is abundantly common. It is the same as the first recorded mention of Katyayani. Buddhism uses Narayana one time with Mahamaya Vijayavahini. The corresponding Upanishad makes the goddess weave with Agni and, she becomes a specific power of fire with its own set of rays she is the sum total of.

    The line in question is refuge in Durga and also a form of "tara" or that Durga has tara--cross over as an ability or action.

    tāmagnivarṇāṁ tapasā jvalantīṁ vairocanīṁ karmaphaleṣu juṣṭām .
    durgāṁ devīɱ śaraṇamahaṁ prapadye sutarasi tarase namaḥ

    The translator seems to give vairocani as shakti or power; The main comment at least says Durgā Devī is the saviour of man in his troubles of mundane life and bestower of the highest bliss. Well, Buddhism mainly takes this and makes it internal and gnostic.

    Another attempt translates her as self-effulgent:

    She is shining like fire, burns up Her enemies by Her radiance, is self-effulgent, is worshipped by those who seek fulfillment of the rites performed by them.


    Sometimes she is even called consort of Vairocana the Supreme Being, which is to call god an incestuous demon; "energy belonging to the Absolute in its various manifestations" actually all comes out of her name according to some.

    Yet another version says "you are born of the fire of tapas (vairocani), the fruits of all actions belong to you".

    That independent opinion is pretty much the same meaning we want her to have in the sadhana, even though I am not sure it literally says "born of". With Bali, this name would sensibly mean "son of Vairocana", but here it is not saying child of anything; is almost more like "spectrum". Roshana is the commonly-given name equivalent, bright, shining. Rocana may mean bright sky or solar, with "vai" or vi- in a regular meaning of division, distribution; with Vishnu or Vibuddha, it means expands into all of these differences.

    So the Buddhist tantras have nothing to say on her origin, she suddenly is just there if you were to follow Cinnamasta, or else she is found in an extremely limited number of other things, such as Samvarodaya. And so after hammering out her inner meaning--that she must not be any kind of outer deity, but, is an expansion of inner heat and light--traced back to her origin, that is a legitimate explanation, where she is not called all forms of fire, but it is quite close to all forms of light produced by tapas; or, a particularly strong one, blazing.

    Rocana Phala is citron.

    Basically she is Agni colored with or by Jvala--Blaze of Tapas, vairocani, karma-fruit (pleases). Vairocani, even if taken as a proper name here, would still be non-different from Durga. Kanyakumari is a living nirmanakaya of her who is both Hindu and Buddhist, but, it is a temporary manifestation, compared to Varahi tulku. So to call Vairocani an "acolyte of Varahi" is accurate.

    Varuni is the one taste of all tantras since Vairocani resides in her. Varuni is consistent with the practice of tapas, japa, etc., in the body of which is its illumination, Vairocani. If we follow the Armor Deities, it goes from tapas illumination Vairocani to Smoky samadhi Candika; Brahmanda to Markandeya Puranas, Lalita to Candi.

    If it then makes sense that as a sort of tutorial sadhana, Vam Vajracharchika, being japa, is first, it would be consistent to switch to Vam Vairocani when the degree of progress and familiarity is obvious; manifest.

    In the second line with Sutarasi, Sūta is one of the names, or synonyms, for Rasa (mercury), although sutara does ordinarily mean "make easier to cross over". Sutara is also a Gandharva, friends with Pramohini, in a quick story where after Durga worship, a Brahmin takes all as five wives who were unable to bear the tapas-brilliance of Sage Lomasa.



    5/7 of Durga Sukta mantras are to Agni, the exception being this one with Vairocani, and her gayatri:

    Om KatyAnaya Vidmahe kanyAkumari dhimahi tannoh Durgi prachodayath.

    I do not see a lyric version; Uma Mohan with Durga Gayatri at the beginning and end of the same song as the next one:








    This one is more flowing and Upanishadic:









    Specifically she is singing the seven verses from dvitIyo.anuvAkaH "chapter two" of Mahanarayana Upanisad, or, the first part of the commented version. Or, here is a commented version which also expresses Vairocani as the Fire of Tapas. The Jatavedase at the beginning is like yajna or that Agni which carries oblations to the deities, as opposed to Kravyad, the funeral or cremation of bodies; and so has the connotation of "pleasing". Here, it starts by offering Soma. Jataveda is equal to Vaisvanara and/or tantric male Savitr.

    The way she echoes the final H on a lot of the lines is quite plain.

    The piece certainly is not about her attacking or destroying things. The end of it blends bliss and intoxication, similar to Varuni.


    Kumari is a child and this power is also equal to the mature Katyayani.

    umā kātyāyanī gaurī kālī haimavatīśvarī


    Katyayani's seed syllable is Kam. So she does have the aspect of Kamakhya or Kamakshi, Kalika Purana which interlaces the Mahavidyas, as well as of Vimala--Viraj and Bhairavi.

    In her mantra, Chandrahassoja means she has the or a Chandrahasa sword, "moon's smile", i. e. curved. Manjushri also used the or a Chandrahasa to smash out the lake in Nepal.

    Compared to Brahmanda Purana, Buddhist Chakrasamvara uses a goddess very much like the following Lalita name, and, two names down, she has no quarrel with this:

    O Cakrasvāminī (O mistress of the Cakra i.e. mystic circle),
    O Prakaṭayoginī (one who has manifested Yogic power),
    O Bauddha-Darśanāṅgi (one having the Buddhist philosophy as one as of the limbs)

    The group of names is from ch. 43 where it is evident this is about Kamakshi.

    Chariots or ch. 19 of Lalita Mahatmya is the end of Brahmanda Purana, is one way they make the scale of Sri Chakra.

    It is more quickly evident, in most of the enclosures, there is some kind of Chakraswamini and Yogini. The higher yoginis are speech-oriented Rahasya Yoginis, Vimala is a Rahasya Yogini, and the final ones are:

    Sri Sri Bhattarika, Sarvanandamaya Chakraswamini and Parapara Rahasya Yogini in Devi Bhagavata.

    So we are almost reciprocally saying, Vajrayogini gives the Rahasya of Dakini Jala as well as of Sri Cakra; Cinnamasta--Renuka is Tri-kaya Vajrayogini, and Vairocani is the power of crossing. Dakini Jala is not an attempt to re-write or codify the Puranas and say "creation happened thus", but, it relies on the basis of them, it does not dispute it but emphasizes Buddha Families, which in most senses are about a different source-and-return, Buddha Nature.

    Lalita is a different format than Devi, and for example includes Nepal in the first four pithas; they use 51 vs. 108.

    Brahmanda Purana also contains Adhyatma Ramayana, or, an Adwaita abridged Ramayana, which was added around the tenth century. In the Shakta view, this Purana is supreme:

    The reading of the 18 Puranas is to be concluded with this Purana which contains a description of the coronation of Rajarajesvari.

    It is spoken by Hayagriva; Ganesh is born from a gaze. Yajnawalkya has a chapter.

    The Lalita is also considered a separate work, but its actual origin or when it was added, are not said.

    Nisprapancha and Nidra



    From a kind of scattered commentary on her thousand names:

    'The city is surrounded by nectar.' Another one is in the place of bindu in the centre of the moon in the pericarp of the thousand-petalled lotus. The third one is, 'In the city called Aparajita (unconquerable) to be attained with devotion on the Saguna-brahman; there are two ocean-like lakes of nectar named respectively Ara and Nya'

    68. Chakra raja ratha rooda sarvayudha parishkridha - She who is fully armed and rides in the Srichakra chariot with nine stories.

    69. Geya chakra ratha rooda manthrini pari sevitha - She who rides in the chariot with seven stories and is served by manthrini who is the goddess of music.

    70. Giri chakra ratharooda dhanda natha puraskrutha - She who rides in the chariot with five stories and is served by goddess Varahi otherwise called Dhanda natha.

    71. Jwalimalika ksiptha vanhi prakara madhyaka - She who is in the middle of the fort of fire built by the Goddess Jwalamalini.

    Prachanda Candi 226-227 associates Indra shakti, Cinnamasta, and Prachanda Candi Vajratman to Vairocani; 241-242 associates Kundalini shakti to Vairocani Durga Jvalanti Tapasa. Cinnamasta Heart Eulogy associates Vairocani to Indra's wife and ten million suns. She is control of sex impulse as Vairocani is the power of Lightning. Prachanda is a fairly ordinary name for Cinnamasta also described in her thangka as using a scimitar.

    It also appears that Chandrahasa or "scimitar" is "abbreviated" to kartri or chopper, which is shown with a curved blade.

    Katyayani is devi's name, temporarily, while taking birth as the combined effulgence of deities, until slaying Mahishasura. She is the "most violent", like Prachanda, not the "most frightening".

    If HPB described Yogacara as coming from Yajnawalkya and the Aranyaka Upanishad literature, and that its apex is Cinnamasta tantra, it makes perfect sense, seen as a selective "stripe" of Durga. One would not generally get this sense if thinking in general terms about someone defeating evil enemies, but it works, understood as Tapas.

    After Manu and the mind-born generations, the Puranas continue through into human history.

    The "source" of Cinnamasta is really Renuka, which is like an earthly Tilottama: fine grain of sand vs. fine sesame seed. Renuka (Kamali in Vayu Purana) is mother of Parasurama. Matangi is Renuka, or Renuka's daughter, or someone with whom she has switched heads, or a woman possessed by her, or a type of prostitution. Renuka is in Bhagavata and Brahmanda Puranas; roughly, Parasurama cuts off her head and brings her back to life, before Arjuna Haihaiya kills her husband Jamdagni, which results in Parasurama killing almost the entire warrior caste. In multiple Puranas which do not always agree, he means produced by eating (jama) the Vaiṣṇavāgni (Vaisvanara). In the Buddhist Vinaya Pitaka section of the Mahavagga (I.245) the Buddha pays respect to Jamadagni by declaring that the Vedas in their true form were revealed to the original Vedic rishis, including Jamadagni.

    Renuka wanted to accompany Sage Jamadagni on the funeral pyre. Sage Bhrigu (grandfather of Jamadagni) stopped her and brought her back to life along with the Sage Jamadagni.

    Jamadagni's mother, Satyavati, is Kaushiki, because her father is:

    Gadhi (गाधि).—(Kauśika) a royal sage who knew the yoga powers of Hari; the son of Kuśāmbu(a) (Kuśanābha, Vāyu-purāṇa.) Indra incarnate. His daughter was Satyavatī whom the Brāhmaṇa Ṛcīka wanted to marry. Gādhi thought him unsuitable and asked for a bride-fee of a thousand horses white like the moon and with one ear black. This condition was satisfied with the help of Varuṇa, and Ṛcīka got her married. Gādhi's wife took the consecrated caru intended for her daughter and became the mother of a Brahmavit, by name Viśvāmītra.

    Satyavati was given away at Kanya Kubja, modern Kinnauj. Varuṇa presented a thousand horses on the bank of the river Gaṅgā. The place in Gaṅgā where the horses rose up, came to be called "Aśvatīrtha". Gādhi gave Satyavatī to Ṛcīka at the place called 'Kanyākubja', in Mahabharata. This has the same meaning as Kubjika, round-shouldered or hunchbacked.

    Satyavati or Kaushiki re-emerges as the lighter form splitting off Matangi in Kalika Purana.

    Rcika has to do with the divine Bows. This era is Bhagavata Purana Canto 9.15.

    Brahmarshi Vishvamitra is one of the most venerated rishis or sages of ancient times in India. He is also credited as the author of most of Mandala 3 of the Rigveda, including the Gayatri Mantra. The Puranas mention that only 24 rishis since antiquity have understood the whole meaning of—and thus wielded the whole power of—the Gayatri Mantra. Vishvamitra is supposed to be the first, and Yajnavalkya the last. Vishvamitra was a king in ancient India, also called Kaushika ("descendant of Kusha").

    David Frawley is a follower of Ganapati Muni--the one mentioned above--who was a follower of Ramana Maharishi, although Frawley considers him something of a prophet of Cinnamasta and holds to her Indra Shakti or lightnng description as Vairocani, particularly the lightning of a flash of illumination.

    In Buddhism we do not do Yoga the same way, but, we know they usually count from the root chakra upwards and train accordingly. Strangely, from a Nepalese Hindu archive where we find Vairocani used at the root, they skip the head and replace it with a Cinnamasta scripture:

    (1) adhAmnAya gaNeCa vairocanI svatantra bhairava AdhAra cakra vidhi (2) svAdhiSThAna brahmA pUrNeCvarI svachanda bhairava pUrvAmnAya svAdhiSThAna cakra vidhi , (3) nArAyaNa CrIdakSiNakAlI aghora mahAkAla bhairava dakSiNAmnAya maNipUra cakra vidhi , (4) CrI mahArudra CrIkubjikA mahAkAla bhairava paCcimAmnAya anAhata cakra vidhi , (5) CrIuttarAmnAya jIvAtmane CrI guhyeCvarI CrIcaNDakApAli bhairava viCuddha cakra vidhi , (6) CrI chinnamastA paTala

    At each chakra there is a god and goddess pair, and a type of Bhairava:

    1. Original family Ganesha Vairocani, Svatantra Bhairava, root chakra
    2. East family Brahma Purnesvari, Svachanda Bhairava, sacral chakra
    3. Southern family Narayana Daksinakali, Aghora Mahakala Bhairava, solar plexus
    4. Western family Rudra Kubjika, Mahakala Bhairava, heart
    5. Northern family Jivatman Guhyeshvari, Canda Kapali Bhairava, throat
    6. Cinnamasta

    The bundle goes on to other songs and writings without mentioning any more chakras.

    It is similar to Buddhism, i. e. placing Vairocani in the first chakra; but the vast majority of Buddhism uses the sacral or svadhisthana at the beginning, with maybe a ten per cent minority allowing it to be Manipura. Svadhisthana is definitely a major stage in Yoga; and no matter how you look at it, in the Four Chakra system, there are not separate stages for lower chakras, it starts with whatever one uses and then goes to heart. Varahi in one sense is the fusion of all three lower centers; and the Inverted Crescent is showing the legs, and whatever else, vacuuming energy towards the Triangle. So if we look at this as Ganesha and Vairocani in Svatantra Bhairava forms in the first practical chakra, it is pretty close to Samvarodaya using Vajrasattva and Vairocani in the navel.

    Purnesvari is the shakti at Purnagiri Pitha. It is also Punyagiri; one temple is on the Indian Annapurna; also site of Kalika, in Orissa, pitha of breasts, Tara and Tarini; what the meaning "full" has to do with this, we can only guess.

    In the Nath lineages, Purnagiri Pitha is above the head, the cusp of the voids, so to speak, and so in practice, it is like Sambhogakaya or Akanistha. Nepal, perhaps, has a sly hint of it by apparently fusing two well-known lineages.

    Buddhist Candika Dandaka Stotram is a song to Siddhi Candi. This appears to have blended two amnayas: Purnachandi is Siddhi Lakshmi, or, to Nepalese Buddhists, Yogambara Dakini, which means Jnana Dakini. Along with Vedic Bhadrakali, these are names of Pratyangira. If there is a practical trinity of Prajnas in Nepal, it is Vasudhara, Pratyangira, Guhyeshvari. Tara is elevated to the position of the highest deity in the Mahapratyangiradharani, a fragment of which is found in Central Asia, in which she is described as a goddess of white colour wearing a garland of vajras and having the figure of Vairocana on her crown. According to Narendra Bhattacharya, there is an alternate set of Mahavidyas from Malimvijaya referring to Kali, Tara, Mahadurga, Tvarita, Chinnamasta, Vagvadini, Annapurna, Pratyangira, Kamakhyavasini, Bala, Matangl, and SailavasinI. He says Uma is the alternate pronunciation of Amma. At any rate, Pratyangira is a concatenation of Tivras and Parasol. Or specifically in Nepal, she is meaningful across multiple sects, Vedic, Puranic, or Tantric, and none of those Prajnas are Buddhist in origin. Buddhism applies a certain interpretation and practice, such as Vasudhara related to Varahi, Pratyangira related to Parasol, and Guhyeshvari to Mamaki, without rejecting their original characters. However as Prajnas they are Wisdom and we have already identified all the Skandhas, there is nothing left for them to be Prajnas of, unless, it means three subtle minds or Three Voids.

    Pratyangira is the form of Mother found in Atharva Veda. It is said that Pratyangira of Atharva Veda corresponds to Vana Durga and Bhadra Kali. And so also Parasol, Yogambara Dakini, Jnana Dakini, Siddhi Lakshmi, Purna Chandi, Tara Pratyangira, are considered equivalents in scattered lineages. Atharva Pratyangira is dark in hue and having many hands and faces, She has a terrible form. Besides the mantra Vidya, there are prayogas in Pratyangira. Application of Pratyangira is called Kritya.

    Katyayani was simply formed in a similar manner, but, by a sage in the line of Viswamitra. And so this is why she would be like a daughter fire or Vairocani which brings the illumination revealing the subtle worlds.

    In the chakra list, Daksina is Kali's smiling form with her right foot on Shiva; Vama Kali with her left foot on him is ferocious; the idea being that Shiva got trampled to calm her. Daksinakali is the fourth major pitha in Kolkata, West Bengal. In Kalika Purana, the pithas are for Vimala, Tara Tarini, Kamakhya, Dakshinakalika.

    The first two Bhairavas given are relevant to the emergence of Parvati as Kurukulla. If Prajna could be loosely described as the most refined wisdom and intelligence, it is not too far off from Bhairava as the Knower of it.

    Vijnanabhairava or philosophy of Abhinavagupta says that worship is not the offering of gross items, flowers, incense, etc., but that it is Nirvikalpa Mahavyomni, interpreted as:

    setting one's heart on Vijnana, the highest ether of consciousness above thought constructs; dissolution of self into the supreme consciousness known as Bhairava.

    Mahakala is called, by the Hindus, Mahakala Bhairava, and rules the Eight Bhairavas of the directions. Usually they skip "Mahakala" and just call him Bhairava.

    Even page one of an Indian study describes how most of Chakrasamvara is just a slight adjustment of Hindu tantra; but even so, Cinnamasta is still seen as having emerged in reverse or the Hindus got it from the Buddhists. I do not know, but, Cinnamasta as derived from tantric Vairocani is a very specific practice and path, whereas if Vairocani were only presented as "a name of Durga", it would not stand out and there would be no reason to frame it as tapas and a subsequent change to the subtle body. This way, she is abstract or does not exist to the ordinary person; can be "learned about", but, only known by experience.

    The way to resolve HPB's interesting hint about Samjna is the next higher degree, which is philosophical but also practical; Samjna's mother, or the Dharmodaya itself being the next higher. In order for Vairocani to make sense in Samvarodaya or the source of Dharmodaya, it is only evident through a guided Puranic view. And for example if her close equivalent Katyayani is mainly remembered as a helper towards marriage, esoterically this remains the marriage of Manas to Atma-Buddhi. Samjna is a veil or covering to this.

    According to Abhinavagupta, the real Homa is pouring thoughts, sense perceptions, elements, everything up to the Highest Void, Mahasunya, into the fire of supreme reality, Bhairava, by using the ladle, Cetana.

    In Buddhism, Cetana is the skandha after Samjna.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    I have not updated this lately because it is like a reference section that has grown so much that even I can only try to find things by the contents in this post.

    However in continuing to research the same subjects, I have become aware my work has been entirely copied by someone called Sam On Rye and distributed to many clickbait sites in Italy and elsewhere.

    The posts are actually the property of Project Avalon, whom, to my knowledge, has not given any permission for wholesale plagiarism. This is not even a book. It is just net surfing. Copying it is ridiculous.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by shaberon (here)
    The Black Sun, Night Sun, or Central Spiritual Sun has been known and revered for ages. Only in the past few years has science discovered: super-massive black holes in the core of this, and other, galaxies. In occultism, that would be described as merely its physical form, but finally we are looking with our most modern instruments at some ridiculed old myth.

    The black Sun in Astrology is part of the family of black stars, such as the black Moon, black Mercury, black Venus, black Mars ect It's a study that doesn't attract many astrology enthusiasts. Dom Néroman, an engineer by training and astrologer, speaks about it in his book Astrologie Rationnel published in 1943. The Black Sun moves I believe 1 degree every 50 years or so, currently in conjunction with Sirius and the US Independence Sun ...

    https://translate.googleusercontent....JTi7BbaLzVcjPw

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    This thread has, so to speak, been updated elsewhere for a while.

    In a general sense of the word, my intent to install Lakshmi was replaced by Ucchista Ganapati.


    The transfer took place here. Some of it is the same as is posted here, and there is more.

    This post will be used to index it similar to the one above.

    I am trying to figure out a way to organize it since you cannot really search per post here.


    The linked thread was really a question of experience, so, I looked into it to try to compare. The story in question involved a visualization of Chakrasamvara and Vajravarahi, coupled with multiple kinds of breathing exercises and shaking. Slightly different than Yoga as discussed here. The result was a very vivid revelation of dakinis, however, they seemed largely "on their own" rather than vessels of mantra, or very responsive to the practitioner's questions--also a little different from Suksma Yoga. The discussion soun through almost every type of deity discussed in this thread and then some, and may be improved in some cases. So I am going to refer to these as the subjects in the links.

    On the first page linked above, post #8 more or less started it by showing all the ancilliary mandalas of Sarvadurgati Parishodhana with the basic description, which is probably the main or most important stamp used in the overall tantra system.


    Page:

    2:

    21 White Vajrayogini, Seven Syllable

    23 Sadhanamala Ekajati

    37 Guhyajnana, Siddharajni

    40 Amoghapasha, Ishvari



    3:

    43 Vajradhara with Jinasagara and Guhyajnana; Amoghapasha shifting principals to Ekajati and Bhrkuti; Five Dissolutions, White Sri, Noose and Yakshas

    44 "Green Samaya Tara with Halberd"

    47 Day/Night Tara

    48 Tinuma, Bharati, and Kurukulla

    49 Bhrim, Bhrikuti, Brihaspati, Cintamani

    53 Lion Face Zhiro Bhusana, White Vajra Tara

    55 White Kurukulla and Nagas, Sukla Tara, Nagas, Vasus

    59 Purity and Emptiness mantras, Humkara and Amaravajra, male Humkara near Varahi, Rechungpa's White Amitayus along with Amaravajra as Pratyangira and Seven Syllable deity, failure of two Noble Truths as two Skandhas


    4:

    63 Lamp synonyms

    65 Chandra Bindu and Hum syllable, Two Fires, Vasudhara, Lakshmi, Lilac Chaser, Parasol, Guhyeshvari, Varuni, Mamaki

    66 Mrtyuvacana and Mahattari, Mrtyuvacana with Kurukulla and Niladanta

    70 Hodgson's World Yoni and Dharmodaya Kamarupini, Abhisambodhis, Laukika Siddhis, Sword, Mandarava, three Muttering exercises of Prajnaparamita, Pratisara, and Carcika

    71 Mayuri and Jewel Family

    74 Seven Jewels, Cunda, Roll of Thunder from Void (Kila) Cunda with Mahabala, Dakarnava on the Three Voids, Paramadya, Abhisambodhis

    77 Ngor Kurukulla with "double" Aparajita--Noose, with Gandhari, Cunda, etc., "converted" retinue, Dhanada and Mahacina in a thangka, Sanskrit Prajnaparamita video


    5:

    85 Cunda at Ratnagiri and Durgottarini reciving a land grant, Cunda and Fruit

    92 Cunda mantra video

    95 "Samantabhadri White Tara", Speech of Purnavajra, Namasangiti Dharanis, Mahasri's names, Bhutadamara, Buddhist Aditi

    96 Sanskrit Twenty-one Taras and Namasangiti videos

    97 Sanskrit Twenty-one Taras lyrics, Vajra Tara and Vajra Surya, Vasistha and Mahacina


    6:

    102 Mahakarunika correction, Sukhasiddhi, Agni, Two Triangles

    104 Tantric Varuni replaces Orthodox Varuna, Dharmadhatu Vajra, Dharmadhatu Ishvari, water and fire and Dakini Jala Gauris, Three Channels and Four Chakras diagram

    106 Pitha Ishvari, Cunda, Naga Ishvara Raja, links to Rinjung Gyatsa and Icons Worthwhile to See, NSP, Sadhanamala, Indian Buddhist Iconography

    107 Locana and the rotation of yoginis, Vajravilasini, Dakini Jala

    109 Dharmadhatu, link to Queen Srimala Devi Sutra, Varuni as Kha Garbha

    110 Mahakarunika video and lyrics

    111 Vast Glacial Ocean, Sragdhara and Bhattarika, Mahamaya Vijayavahini and link to her Sutra/partially copied, Sukla Tara, Grahamatrika, Parasol video and image without a parasol, with Parnasabari and worldly deities, recovery of parasol

    113 refutation of the meaning of "avalokiteshvara"

    120 "Kaya" synonyms, Ham, Ekarasa, Meat, Nirvikalpa, Konchog Bang and White Guhyajnana Dakini (Siddharajni) and Vimala Pandita Vajradhara


    7:

    124 thangka detail of Transference, Vairocani and Jnanagni, Nine Candis

    127 Namasangiti dharani devi forms, Cundavajri and Samadhi, Guhyasamaja Manjuvajra, Four Joys, Lungta video

    129 Earth glyph, Mahakarunika, Pandara, Dharani Samgraha, Bhattarika Kapalika

    133 Eight or Nine Dhyanas, Cum syllable, Janma Graha and Camel Rider, Sudhana Kumara, Swayambhu Purana, Mahacina/Gudrun Buhnemann paper

    137 Vasudhara hypostasis, general mandala scheme, Katyayani and Durga Suktam videos

    139 Indrabhuti's hyper-mandala and Newari Cinnamasta


    8:

    141 Kurukulla Homa

    147 Shearing of Surya, Nepalese muttering video

    148 Durgottarini sculpture, Abhisambodhi, Khasama Tantra link

    151 Ocean Fire and Muttering

    152 Extraction of Dhanada's sadhana, IWS images

    154 Weapon Hevajra and Samputa, Vajraraudris, Vajradakini

    156 Lakshmi videos, Seven Syllable deity

    157 Nag Kanya


    9:

    161 Mahalakshmi and Remati--Rabtenma

    162 Pancha Raksa as Rudra Krama

    165 single example of "correct" Mantranusarini, rare catalog with her

    168 Two Tibetan Gandhari sadhanas, error in "our" Sadhanamala and in Bhattacharya's "Volume Two" when listing our missing parts

    173 Kurukulla and Sri Yantra, repeat of her "captured" retinue, Four Kings, Gandhari, Sita Tara, Utpala Mudra, Vairocana Abhisambodhi, link to translation of Vistara Tara 98, Janguli and White Hrih, Mahacina, Blue Hum, and Chopper, Sita and White Hum, Ekajati, Nairatma

    174 Mantranusarini song

    178 Pancha Raksa changes, Kalaratri

    179 Mahamaya thangka and Vajradakini, Four Samadhis


    10:

    181 Vajravarahi with Vairocani and Varnani mantras, Guhyavajrini, Kamini, Six Face Marici 140 Vajrasattvesvari with Vetali, Hariti and Sita videos

    185 Gauris in Sampatti, Vajradakini and Fiery Jewel Family in mandala, Samayoga with Ishvari, Six Family mandala, Blue and White Heruka, Guhyajnana, Samvarodaya Varuni

    187 Sadaksari, Hodgson's Triad, manuscript with Sadhanamala predecessors to Pancha Raksa

    189 Usnisa Vijaya and Parasol videos, Carcika, Padmajala and Jnanadakini thangkas

    190 Svabhavikakaya, Savbhaprajna, Svabhadhatvishvari

    193 Utpatti and Gauris, Dakini Jala links, Lotus Family as Padmanarttesvara, Eight Drops, Vajra Rosary, Samputa, Fifteen Vowels

    196 Ngor Mahesvari mandala, C. A. Muses text link, Samvari, Vimala Dharani, Fifteen Vowels, Mitra's 108 Mandalas link, Jalandhara's Eight Awakenings

    197 Eight Cemeteries or Smasana, Sukla sadhana, detailed list of cemeteries

    198 Paramadya multi-colored deities, Circle of Bliss Vajraraudris, seventeen "composite of composite" mandalas, Samputa and Eight Arm Locana


    11:

    202 Fifteen lunations and syllables

    203 Hevajra and Pukkasi

    204 Composite Hevajra, Gauris, and Vajraraudris mandala, Samputa

    205 Sarvadurgati, Jagganatha, Vajramrita, Families according to Hodgson

    210 Vajramrita retinues, Buddhakapala, Herukotpatti

    214 Mohini, Rahu and Ketu, Vajra Humkara, Vajramrita, STTS, Gambhiravajra

    215 Seven dharanis, Janguli rite, Janguli Vajrakaya sadhana, other Jangulis, rare Marici explanation from Receptacle of the Sacred

    219 Alternate Marici Vajradhatvishvari, Virodhini, Mahakala with Ekajati and others from Vajra Panjara


    12:

    220 Marici with Adi Buddha mantra, Agni, Brahma Jyotir Vasu of Udumbara Forest

    223 Svaha, Atharvan, descent of fires, wars in heaven, Aswins, Horse Head, Homa, Agniyogini Kakini

    224 Masis, Marisa, Marici dharani links, Purnamasa, Sarasvati, Agniratha Ekajati, Paramitas and Families, Maya Jala, Asoka Grove, Aparajita, Golden Deer, Densatil Janguli

    229 Janguli, wall of pigs, Odiyana Pitha, Yogi Chen link for Yoga, Vajra Rosary link

    230 Dharanis and expanded Namasangiti Twelve Paramita system

    232 Pithesvari, Vajravati, Vimala, Dhumavati, Kamakhya and Mahacina, Picuvaktra, Picuva Marici, Mayuri, two versions of Sri videos

    235 Correction to Seven Paramitas, Marici

    239 Pranidhana, Indranila


    13:

    241 Dharani Samgraha contents, Mahattari Saptavidhanuttara link and copy

    242 Kubjika, Mahattari, Mahasri, Mahasri and Utpala Mudra, Mahalakshmi

    245 Bodhisattva Ten Balas, A Vira Hum Kham, Three Minds, RGV, Nirakara, Three Natures, Nine Moods, Sanala Indivara, Samaya Mudra, Mahattari figurine

    247 Eight Dissolutions and Citta Mani link, Mahattari relics, Vistara, Fa Shang, Southern Ti-lun and Seven Consciousnesses, Seven Cetasikas, Seven Vijnanas, RGV and Bhagavad Gita

    250 Alaya, Vijnanavada, Samarasa Ekajati

    251 Ladakhi Twenty-one Taras, Dissolutions, Kramas in Sadhanamala

    254 Vairocani dharani

    255 Lakshmi Tantra and Dnyaneshwari links, background of Mahalakshmi to the tantras

    258 Copy of Lakshmi's Divine Gunas

    260 Nava Amnaya link, Vira Vajradharma, STTS link


    14:

    262 Mahacina image and two large Ekajatis, copy of large Ekajati sadhana, Nairatma and Vajra Tara relationship mandalas

    263 Vidyut Shakti, Tvastr and Vairocani

    266 Vidyut, Aerial Water, Agni Pavaka, Svaha, Vadava, Samaya, Lajja

    267 Tattiriya Aranyaka first mention of Durga, Vairocani with Heruka link, Maruts in The Secret Doctrine

    270 Seven Tongues in Mundaka Upanishad, Purna Ahuti and Inner Homa, link to Bhrkuti and other preaching, Mitra and Ekajati

    271 Trim syllable, lightning

    274 Static electricity and the leafless creeper, Uma, Samjna, Purnamasa, Prahlada, Carsani, Samjna Samjnin

    277 Kasyapa, Purnimasa and "the monad", Tvastr, Samjna

    279 Mahacina Krama and Guhyesvari


    15:

    281 Mahacina, Ocean Fire, HPB's Blue Lotus link, Antimony, partial Abhidanottara link, Gudrun Buhnemann Varuni link, partial Samvarodaya link

    283 Smoke appearance gif, Ananda and the digits of the moon, Varuni and Armor Deities thangka and with knees cloth

    288 Vairocani from IWS

    289 Vitana, Door and Light goddesses, Pancha Daka retinue, NSP Six Monarchs, Usnisas

    292 IWS pattern, Vidyutparna, Bharati

    294 Prajnaloka

    296 Varnani and Vairocani and other plates

    298 Vairocani mixing into Varahi


    16:

    302 Guhyesvari image, Varuni hypostasis image, Khaganana and Khandaroha

    306 Difference in Tibetan and Sadhanamala Varahis

    308 Samaya Samvara, Dakarnava heart channels, Kurma Nadi

    313 Sanmukhi Marici, Jvalamukhi

    314 Artha Siddhi, large Varahi mandala

    317 Vilasini Vajrayogini and Kurmapadi

    319 Jvalamukhi dharani

    320 GSS Varahis


    17:

    324 Vajrayogini "order" and Jewel Family

    326 Dakini Jala and Varahi

    328 Varahi

    332 Sabara links, Ziro Bhusana, Mountains of Vajrayogini

    333 Hrdaya and Upahrdaya, Usnisa Nyasa

    336 Some mechanics of Inverted Stupa

    338 Hodgson's Families, Vajra Rosary with some details

    339 Vajra Rosary on Death and Bliss


    18:

    342 Mahapratyangira images

    346 Transcendental gurus

    347 Hum and Aum, Bindu Nada, Tara syllables for Dissolution, Bagalamukhi

    350 Manidhari, Pratisara, Trinity (Kayas and Vajras)

    354 Four Seals or Mudras, Ziro Bhusana mantra question, similar forms of Mrtyuvacana and White Vajra Tara

    355 Mahamudra Family

    359 Tilo's Mahamudra catechism

    360 Abhisambodhi and Five Stages, Vajra Rosary and "The Vessel"


    19:

    363 Bharati, Nyan's Golden Drop Kurukulla, retinue in Flask

    365 Hum and Hoh

    367 Hum, Hoh, and Vajra Rosary quotes

    369 Difficulty of 108 Winds, Vajra Rosary quotes

    373 Swing Recitation, Abhisambodhi, Dharana, Night and Day

    374 Vajra Rosary quotes and goddesses, Grasper and Grasped

    376 Upaya Paramita, Vajra Rosary quotes

    378 Vajra Rosary quotes, Moods, Inner Offering

    379 Remati's Net, Nirvikalpa


    20:

    382 Three Natures, Nirvikalpa, Paramartha, Vajra Tara

    384 Nirvikalpa, Mahatma Ramalinga

    388 Nirvikalpa and Absolute

    389 Prabhavapyaya

    393 Vajra Tara and Citta Sarira, Nisprapanca

    400 Vasubandhu and Abhidharmakosa


    21:

    403 Samvrtti and Paramartha, Prajnaparamita

    408 Brihadaranyaka and Buddhist "self", last chapter of Avatamsaka Sutra

    420 Mandukya Upanishad, "Fourth State", possible full name of Picuva Marici


    22:

    423 Kama Loka

    424 Mipham on "Seven Lines", RGV correspondences, Queen Srimaladevi Sutra link

    426 Upaya, Seva, and the Six Yogas, Upaya and Sadhana

    428 Upaya and Karuna, lower centers

    430 Seven Paramitas and Upaya, Paramadya

    436 Jnanagni

    438 Sabara, Manovibhaga and Cittavisrama mountains, Achi image

    440 Achi, Kurukulla 181--Ksah


    23:

    442 Pala Cunda, Garuda Kurukulla, list of Sadhanamala Kurukullas, Humkara compared to Bhutadamaru mudras

    444 Ushas in the Aranyakas, Sita as Mahalakshmi, Lankavatara Sutra link, Savitri as Bindu Link

    445 Cittamatra in Sadhanamala

    450 Buddha on the Fierce Rites, Konchog Bang, Tiphupa

    451 Rechung, Bodyless dakini, Vajradhara Guru Yoga link, Dissolutions

    454 Siddharajni, Niguma, Achi thangkas

    456 Green Janguli images and some information

    458 Dark Agni, Naga Kanyas

    459 HPB on the sounds of the centers, DDV thangka


    24:

    462 Cosmology, Bharati, Revati, Balarama, Anantamukhi with Jnanagarbha link, Nagas

    464 Kurukulla and Vayumukhi, Mahattari and Kadambari, Varuni, Mahabala Krama

    465 Mahattari Puja notes as Crown Seal

    467 Janguli and Blue Lotus, Kamadhatvishvari and Makara Devi

    469 Ganapati and Jivanmukta, Riddle Hymn of Rg Veda

    470 Indivara in Sadhanamala, Manasa video, Parnasabari

    472 Gauri in general, Mahendra, Annapurna, Food. Gauri Ganapati or Mahalakshmi Puja links, Matangi video, Kaya Cakra

    473 Janguli and Matangi

    476 Janguli and Satya, Ganapati

    479 Ganapati, Matangi mantras

    480 Ganapati, Matangi, Mangala Rupini video


    25:

    482 Ucchista Ganapati

    485 Lama and Khandaroha, Golden Rosary link, Matangi and Kadamba

    487 Pukkasi, "Gauris" mantras, Amritakundalin in Vajramrita, Vinayaki image

    489 Ganapati, Ganapati Hrdaya, Sumukhi, "Gauris" mantra in Skanda Purana

    491 Kalighat collection link, Marut Gana

    492 Vinayaki in Matrikas, Advaya Paramartha Namasangiti link

    495 Thah syllable, Sumukhi image

    497 Pukkasi, Vajrasaumya

    499 Mamaki in Vajramrita, Sarvadurgati notes, Camut link

    500 Pranashakti


    26:

    503 Vajramrita text twist

    505 Naumi

    506 Manjushri praise of Adi Buddha

    511 Amritakundalin in IWS

    512 Wind Horse mantra, Go Lotsawa's Ganapati

    515 Kundali, Sarvadurgati terms

    517 Seven Families, Ganapati mantras

    518 Expansion of Ganapati Hrdaya


    27:

    521 Likhe, Hasti, Vasudhara as white hole

    523 Solar Plexus Gatekeepers/Four Activities, Sumbha, dual gunas, Green Mahalakshmi

    527 Swift Steed of Garuda and Pratyangira links

    528 Bhyoh, Bhyah

    532 Sword and Candi

    533 Dhanada Krama, Dhvajagrakeyura, Vajraraudris with various links and Samputa quote

    536 Siddha Kunjika Stotram video, Dhyana Paramita

    538 Vajraraudris in Samputa


    28:

    542 Ghasmari and Tri-shakti, Dakini Jala Gauris and Families, Samputa Vajraraudris--Vajradakinis

    543 Svasamvedana and Upeksa, Anuraga

    546 Vajradakini and Nairatma, "colors" sequence

    547 Ananga and Bodyless

    549 Vasudhara

    550 Vasudhara

    552 Vasudhara holding Akshobya?, Vasumati and Buddhahood

    554 Vasus

    555 Gopali

    558 Vasudhara Dharani link and information, Bharati as Aditi in Tattiriya Aranyaka

    560 Vasudhara singing gesture and mandalas


    29:

    562 Vasudhara mandalas, Nagarjuna Tara sadhanas

    563 Pranidhana, Vasudhara and Hevajra mandalas

    567 Srnkhala description and image, Standing Vasudhara image

    568 Vajrayogini town, Manohara and Bharati images, "missing Dhanada Flower goddess, Blue Lotus in her retinue, Ati Suksma, Utpala Mudra

    571 Vasudhara, Pranidhana Mastery

    572 note on "missing" Flower Goddess

    575 note on why Pranidhana confused the Paramitas, HPB on the Three Fires, Svaha

    576 White Lotus concept, Wrong Way

    579: Bhikshu


    30:

    583 Svaraj and the seven rays

    585 Gha syllable

    586 Examples of Prajapatis retinues

    589 Kasyapa, Pranashakti and Bhudevi, Vinayakas at Kashi

    591 Four Dakinis as Tramen image, Paramadya images, Paramasva, Ganapati, Seven Syllable deity, Vajradaka/Father Tantra/Mahayoga Tantras or i. e. that Dakini Jala is linked to Dakarnava by its own internal system, -daya, Samvarodaya link, explanation of Father or Method and the Three Voids

    592 Samvarodaya link

    595 Khasama link, Krsnayamari explanation of Yoga with Carcika and others, Six Gods of Kriya-Cara along with Muttering and other instructions

    596 Samvarodaya notes

    597 Laya Yoga, Kriya Shakti

    600 Nine Spaces of Khasama


    31:

    602 Nine Spaces Marici at Dhanakosa in Khasama and Khasama quotes

    604 Khasama in Parasol mantras, unidentifiable Namasangiti Dharani, Parasol videos

    605 Lotsawa Vairocana, lack of praxis in Khasama, Namasamjna, Navachandra and the pre-eminence of Bodhisattvas, Luminous Heart link and quotes

    608 Khasama uses Samvarodaya introduction, Kha, Lotus Family Cittamani Tara image

    610 Marici, Rigpa, Ziro Bhusana

    611 Khasama and Luminosity, Amala Vijnana, Sattvavajra, Vajragarbha

    614 Sarvavid Vairocana and Navosnisa Body Mandalas, Navosnisa image at Tabo, Gaganaganja

    616 Luminosity and Shentong, Seven Jewels deities, Bhaskari, Prabhasvara, male Navosnisas quotes

    619 Parasol, Sarvadurgati Families and retinue, Kausika



    32:

    621 Jnanaketu, Amrtaprabha, Vajrosnisa and Four Mudras, Parasol, Patra

    622 Vajramrita, Parasol forms, images, mandalas

    625 Prajnaparamita in the letter A, Tathagata Family in Kriya, arising of Lasya

    627 Usnisa and Parasol mantras, Pandara and Srnkhala, Sages of Seven Elements

    629 Vajraraudris as Saumyas in Samputa, Samdhinirmocana and English Sarvadurgati links, Eighth Consciousness, Seven Elements, Cetasikas, Manasikara, Mahamudra, Parasunya, Parasol and Sarvadurgati and her retinue

    631 Paramartha Parasol link, Shurangama Families, quotes, lights, etc.

    633 Vajratundi, Visala, Vaideha, Shurangama quotes, Ka, Karomis, Guhyasamaja deities in Shurangama, alternate Shurangama links, Vimalosnisa

    635 Vimalosnisa, Vajrosnisa and Divinity and the Six Gods, Humkara changes the Ten Wrathful Ones

    638 Paramartha Parasol links, Vyavalokits, Krsna Yamari Tantra link, Paramartha Parasol quotes, Indranila Yamantaka, Strim syllable, Kinnari sadhana

    639 Uttamaseva and Six Limb Yoga, Sampatti and Gauris, Smrti vs. Tarka, Day--Night Yoga

    640 Kinnari sadhana, Gandhari dharani link, Gudrun Buhnemann figuring out the same thing as me, Puspa Kinnari, Parasol as Sutra-to-Tantra


    33:

    642 Prapanca, Yonisomanasikara, Paramartha Parasol, Bhutadamara link

    643 Vajrakumara, Vajrakila link, Vajramrita and/or Amritakundalin, Manojna, female Vajramrita, Parasol and Kila

    646 Karma Family, Parasol, Vajrosnisa sadhana

    647 Diptacakra

    649 Dipankara, Dipankara thangkas, Ngondro

    652 Pink Vajradhatvishvari, Jvalosnisa video, Tusita, Prajnaparamita Muttering sadhana, Nirajan

    653 "Samadhi" semantics, Sanskrit RGV link, Cunda and Manjuvajra, Mahamaya Vijayavahini, Pandara, Kila in MMK, Cunda link

    656 Light goddesses

    657 Beijing catalogue, Diptachakra and Dharmacakra mudra, colored deities turn blue, cosmology in Dakarnava Body Mandala

    658 Cakravega, Abhidhanottara Tantra link, Dakarnava cosmology


    34:

    662 Cakravega and Axis Mundi, Paramasva, Amoghasiddhi, lower centers, Gaganaganja, Kinnaris

    663 Drikung Achi and Parnasabari, Achi images and links, Humkara and the Wrathful Ones, Khaganana and Guhyesvari, Vajrasurya

    665 Root and cervix, Vajrayogini, Four Activities, Four Formless Absorptions, Achi topics such as Red and White Hrih, Inverted Stupa, Turquoise, Dharma Tara and Sarvabuddha Dakini, Jnana Dakini, Vajrosnisa Sitatapatra

    668 Achi, Yeshe tsogyal, Tidro, Vajradhara with Three Flasks image, Chandaroshana images, Locana and Mamaki

    669 Achi

    672 Achi

    673 Transference, Samputa and Jnana Dakini, Ratna and Humkara, Paramasva, Ratna Pancha Jina, Vajrasurya and Gambhiravajra with Dakini Jala in Sitabani, Pithesvari syllables, Pradyumna

    676 Achi and Rainbow Body, Aro and Hri, Hrih, Ha Ri Ni Sa, Guhyajnana link and Dhuma Gaye, Sukhasiddhi and Guhyajnana, Dhumatala

    677 Akshobhya and Abhirati

    680 Bhrkuti, Prajnas, Advayavajra Samgraha link and quotes, Vajradhatvishvari, Suryagupta, Guhyasamaja, Gomadevi


    35:

    681 Sattvavajri, STTS link, Sarva Rahasya Tantra link and Vajris, Seventeen Deity Vajrasattva mandala, female Vajradhatu, Bhrkuti

    684 Sattvavajri Sarvadurgati quotes, Karma Mudra and Vajra Hetu, Vajra Musti--Fist, Name Initiation, Wrathful Bhrkuti, Agni Homa--Avesa, Vajrasattva images

    685 Rainbow Body and Mayavi Rupa, Rainbow Guru image

    686 G. Buhnemann on Buddhist Padmavati, Matangi, Sumukhi, etc., Vajrini, weird Pratisara, PR 206, Vajri Bhava

    689 Parasol and Cunda, Prajnaparamita and Vajrasekhara mandalas, Illustrated Histpry of the Mandala topics, Paramadya deities, Alex Wayman quotes

    691 Vajracakra, Vajrini and Pancha Raksa, Sattvavajri

    696 Tusita and Aditis, 150 verse Prajnaparamita, Niguma, Khaganana, Tenth Stage

    698 Vajraguhya or Dharani Mandala at Alchi image, Amoghavajra on the fence between Vajrasekhara and Dakini Jala, STTS Karma Mudra Seventeen goddesses, Vajrin and Vajrini, forms of the Vajris

    699 Alex Wayman GST link and information, continuity of Vajradakini and Vajradhatvishvari from STTS to Guhyasamaja


    36:

    702 Lotus and Vajra Families, Cundavajri, Bhrkuti, Kamandalu, Fiery Water

    705 Mandarava, Cunda, Cunti, Manjuvajra, Ratnolka Sutra, Dhvajagrakeyura link, Urna, Ulkha, Dhvajagrakeyura--Vetali, Bhrkuti and Tara Fourteen, Usnisas link, Vajradhara images, Dandaron, Maitri Charya Gita and Prajnas links

    711 Mula Mudra, Mahasri figurine in Vyakhyana mudra, Cunda's large form, Cunda images, Cum syllable, Cunda 130 and Saptavidhanuttara, rare rotations in the West other than PR 206

    713 Illusory Body and mirror and difference between mandala and sadhana, Dhvajagrakeyura image, Annapurna and Parasunya

    720 Khadga Siddhi, Pratisara images and practice notes, Four Arm Sita image


    37:

    724 "White Tara" forms, Maya Svapna, Eyes, DDV hypostasis, Harinisa and Hrim, Nagarjuna's Tara with retinue images, Flask Initiation

    725 NSB to NSV, Name Initiation, Dharmadhatu emanation in VAT, Trisamaya Raja, Vartta Avartta

    728 Prajnaparamita 157 and Dhih, Upa Vidya, Vinayaki, and Sumukhi

    729 Vajra Musti, Manjuvajra vs. Manjuvajra 20 and a flow of mandalas

    732 Multiple Marici images, Underwear, and other personal details

    734 Vayu Purana Sun Chariot quote and a likely misprint

    737 Hum and Ham, Mongolian Parasol figurine and related images, several Marici notes

    739 Six Gods of Kriya, Pranayama, Thirty-seven Points of Yoga, Cinnamasta image

    740 Marici with Rahu and Makara, Ghr syllable


    38:

    742 Mahavairocana, Garbhadhatu mandala, MKG mandala with the Triangle and Locana, Usnisas, and Aparajita, Locana's Secret Mandala

    744 Eight Mudras of VAT, Gagana Locana and Kha, Locana image

    745 Nirakara in VAT, Letter Wheel, syllables and retinue, Sword Mudra and others

    747 Kanakamuni, VAT and Agni and more retinue notes, Vajrasuci and Immediate Path of Mamaki

    749 VAT and Mahendra, Parasol and Srnkhala, Nirakara, Vajrasuci

    750 Basic Meru mandala and rotation images with brief description

    752 Ganapati Hrdaya, Lalata and Rasana, Four Mudras, Four Women, Samvarodaya, Luminous Gold, female Suci

    753 Four Dakinis, Prajnas, Vajra Pitha

    756 Cinnamasta and Three Channels, Grahya Grahaka, Alex Wayman on Four Chakras, Pranayama, Nirajan

    758 Red Cinnamasta, Dharana and Five Dissolutions, Samvarodaya Heruka with Vajravairocani form, Cittamani Tara link, Dakini's Warm Breath link and three tiers of women with Samvarodaya's four kinds, Lamas with twenty-four names, Lama image, Dakarnava image

    759 Lack of "Dakas", notes on the Dakarnava fragments, Pavana Bija Yam


    39:

    762 Dissolutions and Nirajan, Prana and Rahu

    763 Arnava--Ocean, Dak--?

    766 Manomaya vs. Mental Plane, Yogini Mudra Svarupam, Dakarnava notes

    767 Khandaroha

    772 Varuni and Dharmodaya, Armor Deities, Skullcups

    773 E, Maitri, Sitabani

    776 Guhyesvari image, Yamini and Varuni hypostasis, Avalokiteshvaras with consort, Padmanarttesvara, Bhurini, Padmajala images, Dakinis image

    778 Image of Purnagiri Pitha (Maha Sunya, Sarva Sunya, or Para Sunya) with Higher Yoni Triangle, Vajra Danda, and Talu Cakra, Mahalakshmi, Vajrayogini

    779 Image of Inverted Stupa, image of Two Triangles, Sancalani, Khasarpana with Vajradhatvishvari and Locana, Cunda, Svabha Prajna, Yoni and Kurukulla, Four Mudras and DDV, Nirajan, Manomaya, Turquoise Lamp, Drum and Mirror


    40:

    782 Mahacina culture, Suci Mudra, Pandara, Kila--Gha, Varahi copying Marici

    784 Brahmanda Purana Agni links, Agni notes

    786 Mare's Mouth, Saumya and Pitris, Brahmanda Purana link, Hiranyagarbha

    787 Horse Head Rite,Brihadaranyaka Upanishad link, two Samjnas

    790 Madhu Vidya, Aswins, Tvastr, Vairocani, Purniman, Prahlada

    793 Dakarnava, Vairocani, Balarama, Varuni, Monk, Householder, Tantric Priest link


    41:

    801 Pranashakti, Matangi--Parrot

    806 Matangi yantra, Shyama explanation and sadhana, Matangi images

    808 Matangi, Parasu Rama, Jana, Tapas, and Satya Lokas

    810 Harita, Matangi, Bhuvaneshvari and Matangi images

    812 Dakini Jala courts, Akasha Mandala, Music and Dance, STTS Karma Rahasya Mudra Jnana, comparison of retinues, Mahayoga, Sadhanamala 241 transcript, Arali

    813 Prakriti, Vetali

    816 Music and Kokila, Sounds, Madhu Svara, Harini, Citrini, Medha, Mrtyuvacana, Annapurna video

    817 Samaya--Time, Sarasvati

    820 Jnanagni, Annapurna, Ghasmari, Parasunya--Mrtyuvacana


    42:

    821 Ramate, Maya Jala, Kurukulla, Sarasvati

    824 Jnanadakini, Parasunya, Annapurna, Cinnamasta image, Samayagni and Eight main stages of Homa

    825 Dhi, Svapna, Upacara

    828 Graha, Rahu, Tara, Buddhi, Vina Sikha Tantra link, Tumburu and Bhairava information

    829 Picu Picu, Bhuvaneshvari and Mahavidyas information

    832 Vacana in Sadhanamala, Prajnaparamita images, Bengali Vajra Feet Taras and Marici with Elephant Face images

    833 Sarvabuddhadakini

    836 Prajnaparamita 151 transcript


    43:

    842 Vinasikha, Samayoga, Manasa video

    847 Vinasikha and Quintessence

    851 Vinasikha and Dakini Jala, Sirascheda

    853 Manasa

    856 Jyestha, Avartta`, Amitabha Garbha Tara 108--Manitare

    858 Mrtyvacana 112, Mrd, basis of musical notes, notes in Sadhanamala

    859 Vasyadikhara Tara 92, Vistara Tara and Blue Lotus, Bhajan and Jnana Sattva


    44:

    862 Standard Twenty-one Taras links, Twenty-one Qualities of Dharmakaya

    865 Suryagupta Taras link and assignments of her roles

    867 84000 Twenty-one Taras link with Puranic reference, Rinpoche on lack of Completion Stage during learning Mahayoga and tantric commentary, Wrathful Bhrkuti and other images from Guge

    868 Squatting Hariti images, Mamaki image, Sangiti, Bhuta

    871 Vajra Tara, initiation, music, and Vajrasurya, Virupa Ten Vilasinis link, Vilasini, possession, and shaking, Jnana Mudra

    872 Zhitro link, Annapurna image

    878 Annapurna, Skullcup Lakshmi, Viswamata, Pithesvari, Vasudhara, Annapurna image


    45:

    882 Vasudhara, Nyan, Pithesvari, Vajravati

    885 Annapurna, Khaye, Crow, Smoke, Vasudhara Dharani transcript, Pratisara Dharani link

    887 Eighteen Arm deities, Vasudhara, Vasus, Ganga, Vajravati, Siddharajni, Ganapati and Tara images

    889 Sabara's Padmanarttesvara and Vilasini, other Vilasinis and Vajravarahi, Laksminkara

    893 Cunda Mudra synonyms, Locana, Vasudhara

    894 Rasa Theory and the Four Joys, Tattiriya Upanishad, Vilasini, Rasas or Moods in Dakini Jala, Four Mudras, Varahi Vilasini sadhana with Five Dissolutions, Torma Offerings

    897 Vajravilasini Tummo

    899 Jnana Mudra, Lotus Sutra link, Mahamudra and Four Mudras information


    46:

    906 Nine Moods, Vajrarudra, Guhyesvari, Arali in Samputa quote, Genesis and Development of Tantra link, Seventeen Deity Vajrasattva mandala, Vasudhara image

    908 Sadhanamala, Trisamaya Raja, Trisamaya Vyuha, Mahavairocana Tantra link, Bhattacharya vol. II link

    909 Vajragarbha and Arali in Samputa, He Dances She Shakes link, Nagarjuna's Ekajati, 84000 Samputa link, Paramesvara, Adbhuta, Four Chakras

    912 Vibhutichandra link with Vajravilasini, Vajravarahi, Vajrayogini, Marici, Sabara Vilasini link and information, Karmamudra in Samputa, Gauris and Vajraraudris in Samputa information, Jnanadakini, Nairatma, Prasanna, Tarodbhava Kurukulla, Vajramrita, Dakini Jala Samvara with Seven Syllable mantra, Vairocani, Marici, Parnasabari, Amoghasiddhi, Vajradakini, Kamboji, Locana, Vairocani, Tilottama, Agni Homa, Dakini Jala Gauris mantra, Bhrkuti, Cunda

    915 Mahavairocana, Tara, Samputa Tara and resemblance to Prasanna's form but named Heruki, Chariot Marici and Nectar Rain Parnasabari, Kurukulla

    916 Five Dakinis Vajra, Vajra Scepter and Eight Prajnas, Bell and Prajnaparamita, Rosary, Transference, Jnana Dakini, Yoga Tantra, summary of retinues for Vajramrita Vajrasattva, Bola Kakkola, Vasanta Tilaka, Yoga Puja, Nairatma, Samvari, Vajrasattva and Nairatma

    917 Vajradakinis, Kolagiri and Mummuni--Arunchala Isvar Agni, Seven types of dakinis, Families, Khandaroha Mahayogisvari, Gandhari, Bhima and Vira


    47:

    921 Mantras and subtle body quotes from Samputa

    923 Samvarodaya Disi Puja, Swayambhu Jyotir Rupa and Jagganath, Swayambhu Purana notes, Khaganana, Vasudhara, Dharmadhatu Swayambhu Utpatti, Khaganana Dharmodaya, Prasanna

    924 Santika Acharya, Samputa summary quote

    927 Evam images, E and Brahmi Script links

    928 Vasudhara Sampatti and Kambhoja, Pratisara, Ganapati, Aim, Cusini, Lion's Sport, Sadhanamala Kurukulla, Vyuha or the Six Gunas

    929 Rahasya Parama Ramya, Vajradaka Eleven and Fifteen link, Link and copy of a few lines of original Dakini Jala, Dakini Jala Rahasya link

    933 PR 206 notes

    935 Additional Vajradaka link, Mahamaya and Mrtyuvacana in the tantra, Nagarjuna Vajradevi Stotram link and information, Vajrasuci link and information, Mahamaya in Sadhanamala

    939 Pratisara notes, Sitabani transcript, Pancha Raksa notes

    940 Mahamaya paradox


    48:

    941 Elemental syllables, Stri

    944 Sitabani transcript from PR 206

    945 Srnkhala

    948 Indriya Bala, Seven Jewels

    952 Indriya Bala, Seven Jewels

    956 Purnagiri Pitha--Pulliramalaya, Hayakarna, Khecara Paradise link, Umapati Varahi link, Seven Jewels, corrections or reasons for Vajradaka retinue, Vajrabhairavi, Ghoracandi link

    958 Locana, Hook, and Lion's Sport, Francesca Fremantle link with Eye and Locana information, Drikung Phowa link with Akasha Dhatvishvari, Amnaya in Sadhanamala

    959 Vajrabhairavi, Gha, Kukkuripa and Mahamaya, Dunhuang mural images


    49:

    963 Vajrayogini Pitha table link, Dakarnava Four Dakinis and Tri-kaya, Vajra Deha

    964 Vajradaka and Patani, Vajrayogini book link, similarity to Vilasini, Patani, Vajradaka chapter links, Kankala--Skeleton

    964 Varahi--Vajrayogini, Gahvara Cemetery, Gunacakra, Varahi sadhana

    970 Prabhavati, Syama

    977 Syama, Indriya Bala, some Pitha information


    50:

    981 Cinnamasta, Vajrapani link, Purnagiri and Vistara, Vasus, Dhruvam

    982 Soma--Varuni, Dharmadhatu Jnana

    986 Varuni and Soma, Vajrapani Six Yogas notes

    987 Vajrapani Six Yogas, Four Face Heruka

    990 Pracanda, Cinnamasta image

    991 Vajrapani Six Yogas

    995 Eight Mothers, Ghoracandi, Durjayachandra Vajradaka link and information, Mouth of Agni

    996 Vairocani Thirteen Syllable link


    51:

    1001 Ksah and Vaushat, Phat and Astra, Svaha and Vahni

    1002 Nadi, Lalata Rasana

    1003 Tara and Jupiter

    1007 Lankesvari, Devikota, Wolf

    1013 Lankesvari

    1014 Dharma Samgraha on one page link

    1015 Vajradaka Mahamaya

    1019 Vajrapani's Sadanga Yoga


    52:

    1021 Mam and Mahamaya, Guhyesvari, other Mahamayas

    1023 Tantric Verse 90

    1026 Vajrapani's Samadhi and Yogacara, Ekayana and Ratnakarasanti links, RGV and related information

    1027 Mahamaya Tantra, Vajradaka 1 and 42 links, other Mahamayas

    1028 Ratnakarasanti and Heruka--Hevajra, Mahakala, Vajrapani's Six Yogas, Vajradaka, Nectar

    1030 Vajradaka Three Natures, Nairatma and Vajra Tara

    1035 Grahya Grahaka and Parikalpita in Sadhanamala

    1037 Graha, Nairatma and Virupa

    1039 NSP contents, Amritakundalin, Viswamata, Saraha, Buddhakapala shifting mandalas and links, quotes, images


    53:

    1041 Buddhakapala and Citrasena

    1042 Buddhakapala and Citrasena, Shocking Blue videos

    1045 Buddhakapala, Nagarjuna Panchakrama and Pindikrama links, Parameswara, Vilasini, Pitambara

    1046 Buddhakapala

    1047 Citrasena

    1048 Buddhakapala, Pitambara, Nojin, Subhasita Samgraha link, Sekkodesa link

    1049 Citrasena, Mahamaya Tantra and Sadhana links, Gunavati

    1053 Gunavati and Vajradakini, Sitaharana

    1055 Citrasena Attahasa, Citta Vishuddhi

    1059 Sita and Hanuman, Nirvikalpa, Mahamaya and Vajradakini


    54:

    1063 Gunavati, Buddhist reversal of Vijnana, Three Naures, Prabhasvara, Nirakara Vijnana Vadins

    1064 Tara, Dissolutions, Samjna

    1067 Tagore and Skanda Purana Agni links, Mahamaya, Gunavati, and Ratnakarasanti, Saratma, Laya

    1071 Ratnakarasanti's Nirakara

    1072 Akasha and Prakriti

    1075 Srimala Devi Sutra link, RGV link, Four Qualities of Buddha Nature, Vistara Tara, Vajra Tara

    1076 Adi Buddhua Pravrtti and Nirvrtti link, Pancha Krama on Yughananda

    1080 Ratnakarasanti's Nirakara, Taranatha and Luminous Heart links


    55:

    1081 Synonyms of matter, Ratnakarasanti, Vijnapti Matra

    1082 Koothoomi on Avalokitesvara

    1085 Pravrtti and Nirvrtti, Lokottara, Ratnakarasanti

    1086 Nirakara, Yoga Nidra link, Father, Upaya, and Dakarnava, partial Dakarnava copy and information

    1090 Citra and Varnani

    1091 Lokottara Vada, Ratnakarasanti's Nirakara

    1092 Thirty-six dakinis

    1096 Smrti Upaya, Parasol, Lion's Play in Nine Spaces, Vyava

    1097 Nirakara and Parasunya

    1099 Chakrasamvara Pithas


    56:

    1101 Udaya and Adayah, Six Yoginis, Chakrasamvara link and information

    1103 Partial Dakarnava link and information, Bhrkuti and Manjushri Mulakalpa

    1104 Matrikas and Consonants, Seven Jewels and Vayu Purana

    1105 Sadvarna

    1109 Kukkuripa and 84000 Mahamaya Tantra links

    1110 Wrathful Prajnas, Vajradaka 12 and 13 and Durjayachandra sadhana links, Seven Jewels deities, Herukabhidhana

    1111 Amrita, Four Face Vajradaka, Yoga Tantra, Inverted Stupa, and other information in Chakrasamvara

    1115 Gold and Colors

    1116 Mahamaya and Mahakala, Khodiyaar and Makara

    1117 Varahi or not in Armor Deities, colors and jewels


    57:

    1122 Herukabhidhana, Colors and Families

    1123 Panchamrita, Armor Deities, Seven Jewels

    1127 Chakrasamvara, Mahasiddhas, lineages, bhava and udaya

    1129 Herukabhidhana, Matrikas

    1133 Varuni, Soma, and Death

    1134 Chakrasamvara devis, Seven Syllable Deity Mandala

    1135 Hevajra as Completion Stage, Indian Esoteric Buddhism link, Rasayana, Buddhakapala translation

    1139 Samadhi Pithas, Ganapati, Dhumavati images

    1140 Tibetan conflation in Armor Deities, Vajradaka, Gauris


    58:

    1141 Padma Purana link, Mahalakshmi images

    1143 Shakti and Time Cycles notes, Pratyangira, Parameswari, forms, Inner Offerings and Meats

    1144 Shentong on the Three Natures

    1145 Manjushri Mulakalpa link, quotes and information

    1149 Kirats, Manasa, Mahalakshmi

    1150 Advaya, Final Samadhi, Nirakara

    1151 Bhrkuti, Lotus Sutra

    1155 Gauris in different Lotus Sutras, Ajimas, Pukkasi, Hariti, Asta Vijnana

    1157 Smasana, Asta Vijnana, Matangi

    1159 Gauris, Pukkasi, Heruka


    59:

    1163 Kumarajiva Lotus Sutra link, Kunti, Buddha

    1166 Heruka, Cemeteries in Bihar

    1171 Ancient Buddhist Sanskrit, Panini, Ujjain

    1173 Three Natures in Luminous Heart

    1177 Upa Yoga, Sitabani and Dhanakosa


    60:

    1181 Coral, Janguli, Mahamayuri Vidyarajni link and information, Vajrajvalodaya link, Sitabani

    1182 Kapala, Gilgit link

    1186 Gauri and Marajit images, Sitabani

    1187 Janguli Flag image, relationship information

    1189 Degrees of light

    1191 Sitabani, Gauris and Vowels, Jalandhara, Peaceful Vajrapani mandalas

    1194 Nath, Sabar Tantra, Mayuri

    1195 Renuka and other ancient names, Dattatreya, Pancha Raksa link and information, Four Arm Sita image, Pancha Raksa relationship mandala

    1197 Pratisara Sutra, Sitabani

    1199 Ruci, Dharma, Aditi, Bhima Devi and Devi Bhagavata Purana links and information

    1200 Sanjiva, Pramardini Sutra links and information, Mantranusarini link and information


    61:

    1203 Sitabani Sutra link and information, Mantranusarini

    1205 Pramardini, Pancha Raksa version, Sri Mahadevi link, Vipula and Pancha Raksa, Cintamani, Bharati, Horas list

    1206 Pratisara Sutra link, Lankesvari in Lotus Sutra, Shaktis of Orissa, Vindhya, Parameswari

    1210 Parnasabari, Bhima Devi

    1211 Vadava, Tapa, Mahanarayana Upanishad link and information, Durga Suktam video and lyrics

    1212 Katyayani, Ramayana, Aranyakas, Honey, Ukta, Prana and Prakriti, Golden Light Sutra link, Sarasvati

    1214 Dissolution, Horse Head, Earth, and Honey, similarities to Ekayana, Viraj, Dharani

    1216 Mahalakshmi, Cintamani Tara image

    1217 Blue Lotus, Marici Parnu

    1218 Kurukulla link and Wish-fulfilling Tree, Vrim and Brim, Cintamani, Nine Jewels, Tree and Dhanada images




    Blue Lotus moves through some Sadhanamala Taras, in a few cases as an obvious Utpala Mudra, and also one I had guessed was a form of Vikata, "blossoming", which appears to be the same way it is used in Narada Pancaratra:

    Text 17

    grasa-mudram vama-dosna
    vikacotpala-sannibham
    pradarsayan daksinena
    pranadinam ca darsayet

    One should then display with his left hand the grasa-mudra,
    which is like a fully blossomed lotus flower. With his right
    hand, he should display the prana-mudra while chanting j branaya [?]
    svaha.


    A Buddhist revision says in a
    currently unreachable newsletter:

    The dharmacakra mudrā, the vyākhyāna mudrā, and the vikacotpala mudrā are one and the same, but each one emphasizes a particular facet of the hand pose.
    Last edited by shaberon; 29th June 2021 at 04:14.

  10. Link to Post #487
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Arya Tara Bhattarika Stotram



    Well, where we left off in the other thread is owing to the fact that Old Student is more familiar with northwestern or Gandharan Buddhism, an early influence to China since ca. year 400, making it older than most tantric Buddhism.

    But, I think, that may be only in terms of "tantric texts". Most of the rudiments are in the Gandharan Sutras, and, they also have for instance the Pratisara Sutra, which might look like a luck charm or something, but, this too has tantric instructions in Sadhanamala.

    Furthermore, it can be shown that Pratisara's retinue member Sitabani actually is "the" cemetery from which more famous adventurers such as Padmasambhava were trained. If Sitabani is the core of the "old" Nyingma tradition, but, she can be found distributed to and from Gandahar prior to that, then this may be even more primal. Going further, Pratisara is recorded as the devi of Vipula Mountain, where Buddhas of the Past lived. And so two of the Pancha Raksha are directly related to geography right around Rajagriha, the area of Buddha's Enlightenment.

    While becoming a Buddha, he had however traveled to Gandahar, subduing Yakshas as he went.

    That really has to do with the main theme of tantra.

    But then this is more than abundantly clear in Golden Light Sutra, where it is a really simple matter that the Yakshas say, uphold the Sutra and we will help and protect you, if not, we won't, and you will just get misery, warfare, and death.

    The age of it cannot be determined, although it goes back at the very least to the early days of Gandharan literature.

    The Sutra is of course thought of on the objective plane as if advice to a king, so, it sounds socio-political, but if you just take it in terms of inner meaning, then it adds four Dhyani Buddhas of the Families as we know them, refers to six elements, and really it is still Vedic because it is using a disguised Apri Hymn format by relying on the goddesses:

    Sarasvati, Sri, and Drdha

    compared to

    Sarasvati, Ila, and Bhu

    of the standard Apri format.



    The main interlocutor in Golden Light is a goddess with no other known source:

    Bodhisattvasamuccayā (बोधिसत्त्वसमुच्चया).—name of a goddess: Suvarṇabhāsottamasūtra 1.7; 45.2; 167.8; 172.10; 199.5; 247.1; regularly called kulade- vatā [Kula Devata]; according to Chin. the deity of the bodhi-tree (Nobel, 247, note 2)

    Even the Q & A can do little but break her name down into basic terms.

    The Sutra itself in the very last paragraph says:

    Bodhisattvas led by the noble goddess Bodhisattvasamuccaya

    daughters of gods such as Sarasvati

    goddesses such as Sri


    She is the only one who uses the phrase "led by", and, she is leading the Buddhist Sangha particularly.


    Sarasvati of Chapter Eight bestows Eloquence which is not unusual, and then grants dharani which is very specific. She gives it so you will increase wisdom through the Sutra. In her dharani, she is Marici, Marici Prana, and Keyura. Both here and in her own Prophecy, Sri attained realization in a prior cosmos with what will eventually and now be called Jewel or Ratna Family, and so she functions mainly as an amplifier of this now.

    In here is also another rare example of Kunti as a yakshi.


    Tantra is more or less just a loosened up, expanded, symbolic version of this Sutra; the "king" perhaps being anyone who accomplishes Trailokya Vijaya, and so forth. "Yakshas" are then arrayed more specifically and in different layers and organizations, and dharani is not just for "this" Sutra, but, is like a sidebar or parallel path to monastic discipline and Kriya practice.

    In other words, the study or subject of dharani is the main vehicle of conveying Buddhist Yoga into the hands of lay people. Formal Vajrayana goes as far as to make a non-monk, householder guru/priest system. But historically, the ability to have a home version or personal version of "high priestcraft" is what prompted Buddhist practices to flourish in medieval India.


    This is all in the Gilgit manuscripts, i. e., some of the oldest manuscripts in existence. This includes Pratisara, which, notwithstanding a few damaged elisions, has a different beginning than other versions, which might not be that important, except we will find Lankesvari in a primordial spot, where she may be "giving" what is to come:



    [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 |

    sarvasiddhe sada tasya putragar(bho) su {...} [dha]tte sukha suyati gurvin.ısarvavyadhisu(a) {...} h.pun.yavan balavan nityam. dhanadhanyapravardhanam. {...} deyavacanata nityam. pujanıyam. bhavis.yati |


    {...} [pu]rus.o 'pi vasa nityam. sarvasatvanam. moks.an.artha {...} tya sarva[vya]dhivivarji(ta)rajano va´saga tasya sa {...}
    [ks.mya] pun.yara´se vivardhate |


    siddhyantu sarvakalpani pravi {...} mayajña´s ca bhavis.yati jinoktam. vacanam. yathaduh. {...} papaharam. param.kil(bi)s.a caiva na´syanti pratyami {...} ´sartham. bhas.ita jñanamahe´svaraih. sarvakama {...} (sya) nitya´sah.tad idanı sam. pravaks.yami bhutasam. gha ´sr.n.otha {...}



    If this is on a manuscript from ca. year 400, then, Lankesvari must have already been meaningful in Buddhism, and, moreover, to the extent that she would head a major dharani as recorded hundreds or thousands of miles away in what is really a foreign country, Gandahar.

    She came to our attention previously as part of the subtle body:

    Laṅkeśvarī has for her husband the hero (vīra) named Vajraprabha. She is the presiding deity of Devīkoṭa and the associated internal location are the ‘eyes’ and the bodily ingredients (dhātu) is the ‘liver’.


    According to commentary, the meaning of a nadi from eyes to liver mainly means it goes through the heart.

    Lankesvari can be found in a fairly easy to see table of this, or, she is in Two Headed Deer, Illustrations of the Ramayana in Orissa.

    Some say that Devikota is in Varendra (Bengal), but, as one can see, the Indic legend of Coromandel Lankesvari is both very old and current to this day. Royally-supported works from Pala era are not particularly ancient compared to south India, which has signs of human habitation for a million years.

    In Devikota's own place in Orissa, King Indrabhuti can be shown to be a devotee of Jagganath, and Laksminkara spent years meditating in Lankesvari's area.

    So this name, devi, or meaning has continuous employment from the time of however she became famous in the Sutra Buddhism of what is now Pakistan, through the Highest Tantra as recorded in Tibetan Sarma.

    She is also accepted as Vindhya Vasini or Forest Durga, to which, comparatively, Forest Maidens or Sabaris such as Matangi, Parnasabari, Mayuri, and Pratisara are both the primordial tantrikas, as well as the most-enduring through at least the 13th century post-Mughul invasion.

    Seemingly bizarrely, in Buddhist tantra these are classed as pisacis or she-devils, but this is the most acute point of "binding and subduing yakshas", because it means something is going on in one's mind and subtle body, so, i. e. it is a yoga practice, not just a recital or something.

    Lankesvari is a type of sabari found on very early material with another, Pratisara, who is strongly associated with Mayuri; while Matangi is called Janguli by Buddhists and strongly associated with Parnasabari.

    From Dharani Samgraha as another resource, we are able to see "forest maiden" reflected in the appropriate gooddesses--however there turns out to be something even more "collective", Savari Yogini Siddha, which occurs in the rather large Arya Tara Bhattarika dharani prior to Sri Tara.


    Is this conversant with Sadhanamala terminology, yes, is about the same as Sragdhara Tara. The dharani is hard to read in its source and it is over fifty lines, so, we can copy out a more readable version. This speaks to a Lotus Family Green Tara, and, if we look at Siddha Sabara, the basics of him are gaining inspiration from Avalokitesvara--Karuna before accomplishing sabari yogini tantra. So this is a Yogacara or Nirakara practice based in Ekayana.

    The beginning is an invocation which could, perhaps, be "thunder", but, has an even more likely connotation of breasts:




    oṁ namaḥ stānāyau||

    || tārāmāra bhayaṁkarī suravarī saṁpūjitā sarvadā lokānāṁhhitakāriṇā jayatisākṣatevajā rakṣati||
    kāruṇyana samāyutānavadbhavidhānusaṁsārabhī runujanānutāṁtrīn bhakti yutānuvibhāti jagatāṁnityaṁ bhayadhvaṁśinī||1||

    || śrīmatpotalake samya nānā dhātutirājite nānādramuka tārkīrme nānā pakṣinikūjite|| 1||

    nānā niḍara ḍhaṁkāre nānā mṛgasa mākule|| nānā kusuma jātībhiḥ samaṁtā dadhivāsite|| 2||

    nānā hṛdaya phalopeta ṣaṭupadoṅītani svanaiḥ|| kiṁ nai madhuroṅītaḥ mattravāraṇa saṁkule||3||

    siddha vidyādhara gaṇe gaṁdharveschaninādite|| munibhirvāta rāgaiśca satataṁsanniṣavite|| bodhisatva gaṇaiścānyairdaśa bhumīścarairapi|| āryyabhārāditirdavaivarviyā rājasa hamrakaiḥ|| 5||

    krodha rājagaṇauścānyairhaya grīvādibhirdvataṣṭha|| sarvasatvahitoyukto bhagavānavalokitaḥ|| 6||

    vijahāratataḥ śrīmānpadmagarbhāsane sthiḥ|| mahātāta pasāyukto maitryā ca kṛpayānvitaḥ|| 7||

    dharmmaṁdi deśatasyā samahatyāndevaṣarṣadi|| tatro paviṣṭha māgampavajapāṇi rmahāvalaṁḥ ||8||

    parama kṛtapayāyukto papṛchaty valokitaṁ|| taskaroraga siṁhāgni gajaṇyādhrāṁ vusaṁkaṭe|| 9||

    sīdaṁtybhī munesatvā magnāḥ saṁsāra sāgare| vivdāḥ saṁsāraikaḥ pāśoragadveṣata momaleḥ|| 10||

    mucyaṁte yena satvā statanmebruhi mahāmate|| evamuktertha bhagavān prahasanna valokitaḥ|| 11||

    vyayalokta diṇaḥ sarvāmaitryā sparaṇayā daśāḥ|| dakṣiṇaṁkaramuvdatyapuṇya lakṣaṇa maṁḍitaṁ|| 12||

    tamuvāca mahāprajñaḥ sādhu sādhu mahātapaḥ nāman śṛṇu mahābhāgaḥ sarvasatvaika vatsalaḥ|| 13||

    yānisaṁkīrty manujāḥ samyakkasydhane svarāḥ|| ākālamṛtyu nirnaṣṭhāḥ sukhādyāṁtiṁ sukhāvitaṁ|| 14||

    evamukatvā jagannāthaḥ saśrī mānavalokitaḥ|| uvācamadhurāṁvāṇīṁ vajapāṇiṁ prabodhinaṁ||15||

    śṛṇagutyaka rājendra amitābhasya tāyinaḥ|| praṇidhāna vaśotpannā mamājñā lokamātareḥ|| 16||

    mahākaruṇayo petā jaṭā mukuṭa saṁyutāḥ|| uditāditya saṁkāśāḥ pūrṇondu vadana prabhāḥ|| 17||

    bhāyasaṁti imāstārāḥ sadevā sura mānaṣāna|| kaṁpayanti trayālokānamtā sayana yakṣa rākṣasāna||18||

    nilotpala karādaivī rmābhai rmābhai riti kravan|| jagat saṁrakṣaṇārthāya hamutpāditā jinaiḥ|| 19||

    kāntāreśamtrasaṁpātaiḥ nānā bhayasamākule|| smaraṇādeva nāmāni satvārakṣāmpahaṁsadā||20||

    tārayiṣyā mahaṁsatvānnānābhaya mahārṇuvān|| tenatāre timāṁloke gāyaṁti munipūṁgacāḥ|| 21||

    kṛtāṁjali puhābhūtvāta tasmāda rasādhvasāḥ|| || jvalaṁtokyaṁtarikṣa sthāhdaṁvacana makravan|| nāmāṣṭhaśatakaṁkṛ hitatpurā kīrtitājinaiḥ|| 22||

    daśabhūmī kharainathi bodhisatvairmahardvikeḥ|| sarvapāpaharaṁ puṇya māṁgalya kīrtivarvdanaṁ||23||

    dhanadhākaraṁceva ārogya pūṣṭhivarddhanaṁ|| āyurārogya jananaṁ sarva satva sukhāvahaṁ|| 24||

    lakrīśrīsthāpaṁ caiva sarvasatva vivarvdanaṁ|| maitrī mālamvya satvānāṁtakī rttayamahāmune|| 25||

    eva mukrārtha bhagavāna prahasannavalokitaḥ vyavalokyaṁ diśassarvā maintryāsparaṇayāddaśā|| 26||

    dakṣiṇaṁ karamudṛtya puṇyalakṣaṇamaṇḍitaṁ|| tamuvāca mahāprājña sādhu sādhu mahātapaḥ|| 27||

    namānaśṛṇu mahābhāga sarvasatva kavatsala|| thānisaṁkirtya manujāḥ samyakkesya rdhaneśvarāḥ|| 28||

    sarvavyādhi vinirmuktāḥ sarvaiśvaryaguṇā nvitāḥ|| akālamṛtyuni naṣṭhā sukhādyāṁti sukhāvitaṁ|| 29||

    tānyahaṁsaṁpravakṣāmideva saṁghāśṛṇordhame|| anumodatathācaḥ rme bhaviṣya dhvaṁ surnirvṛtāḥ|| 30||

    oṁ locane sulocana tāre tārodrabhave sarvasatvānukaṁpini sarvasatvottriṇi sahasra tu (tra) je sahasranetre| oṁ namo bhagavate avalokaya avalokayamāṁ sarvasartvāśca hūm hūm phaṭ phaṭ svāhā||

    || oṁ śuddha viśuddha śodhane viśodhane sugatātmaje maitrīhṛdaye nirmale oṁ śyāme śyāmarupi mahāprājña savare
    pravara bhūṣita aparājite ma hāraudri viśvarupimahābale kalyāgni mahātejoloka dhātrī mahāyaśāḥ|| sarasvati
    viśālākṣi prajñāśrī buddhi (buddhiḥ varddhāni ghṛti de puṣṭide svāhā||

    || oṁ kārā kāmarūpiṇi sarvasatvahitodyutāḥ|| sarvasatvaśubhodyuktā| śaraṇyābhakti vatsalā||31||

    vāgīśvarīśivā suptā saṁgrāmetāriṇī jayā|| prajñā pāramitā devī āryyatārā manoramā||32||

    duṁdubhiḥ śaṁkhinī puṇṇāvi dayārājñī priyavaṁdā|| candrānanāma (nāma) hāgaurī ajitā pītavāsasī|| 33||

    mahāmāyāmahāśveta mahābala parākramā|| mahārau prī mahācaḍīduṣṭa satvanisūkṣnī|| 34||

    praśāṁtāśāṁta rupāca vijayājvalanaprabhā|| vidyunmālī dhvajīṅgīcakrī cāpi cāpi yudhā yudhā||34||

    || oṁ bhanīstaṁ bhanīkālo kālarātrī niśācarī|| rakṣaṇī mohinīśāṁtā kāṁtārī prāviṇīśubhā|| 36||

    rvraṣṭatāṇī vedanotā| ca guhyādagusyanipāsinī|| māṁgalyā śāṁkrarī saumyā (myā) jāta vedā manojavā||37||

    kāpā (yā) linī mahāvegā saṁdhyāsatyā parājitā|| śārtha vāha kṛpā dṛṣṭina ṣṭamārgapradarśanī|| 39||

    varadāśrī saśāmtrī mtrīrupāmita vikramā|| śavarī yoginī siddhā caṁḍāsi vyamṛtādhrā vā|| 39||

    dhanyā puṇyā mahābhāgāśubhamā priyadarśanā|| kṛtāṁtatrā sinībhīmārugrā ugra mahātapāḥ|| 40||

    survārtha sādhanībha dānityā sarvatra sānugā|| abhayāgautamī puṇyāśrīmatlokeśvarātmajeti|| 41||

    tārā nāmaguṇānaṁtāḥ sarvāsā paripuriṇī|| nā bhoṣṭotta (bhta) ra śatakaṁ kīrtti taṁ hye ladutta (bhta) maṁ|| 42||

    rahasyamadrabhutaṁ guhyaṁ devanāmavidurlabhaṁ|| saubhāgya bhāgya karaṇaṁ sarvakilviṣānāgataṁ||43||

    sarvvavyādhipraśamanaṁ sarvasatva sukhāvahaṁ|| triṣkālaṁyaḥ paṭheddhī mānaśuvi (vi)snāna samāhitaḥ ||44||

    adhano pihikā lena rājaśriyabhavā yāt|| duḥkhitasya mukhaṁnityaṁdaridrodhana vā na bhavate|| 45||

    jayo bhave nmahāprājñaḥ medhāvīcana na saṁśayaḥ|| bandhanānmucyate buddhaḥ vyavahāre ja (kṣa) yo bhaveta|| 46||

    śatravo mitratāṁyāṁtiśṛṁgiṇaścā thadaṁtinaḥ|| saṁgrāmesaṁkaṭe durmenā nā bhaya samākule ||47||

    smaraśā devanāmāni sarvabhayānya pohati|| nā kāla mṛtyū bhavati pronyoti vipulaṁ yaśaḥ||48||

    mānu ṣya saphalaṁ janma tasyai kasya mahātmanaḥ|| yastvi daṁprātarutyāya mānavaḥ kīrtta yiṣyati||49||

    sadīrgha kāla māyuṣmāna śriyaṁca labhate nayaḥ|| vallabhaḥ sarvasatvānāṁsarvasatva hitaṁ karaḥ|| 50||

    devā nāgāstathā yakṣā gaṁdharva kaṭaputanāḥ|| piśācārākṣasābhūtā mā taśe rodrate jasaḥ|| 51||

    ḍākinyāstārakāḥ pretāḥ skaṁdonmādā mahāgrahāḥ|| chāyā pasmā rasāścaivayeckākhordakādyaḥ|| 52||

    vetālāścivvakāḥ preṣyāyecānye duṣṭa cetasaḥ|| chāyāmapi nalaṁ dhāṁtikaṁ punasta sthavigrahaṁ|| 53||

    duṣṭasatvānavādhaṁte vyādhayonā kramaṁtita|| sarveśvarya gurṇeryuktā putrapautraśca baddhate|| 54||

    jātismarobhaveddhimāna kulīnmaḥ priyadarśanaḥ|| prītimātrcamahāvāgmī sarvvaśāmtra viśāradaḥ|| kalyāṇa mitrasaṁtyevibodhicittā vibhuṣitaḥ|| sadāvirahito buddhairythatraya traupapadyate-iti||

    āryyatārā bhaṭṭārikā yāḥ nāmāṣṭottaraśataṁ buddhabhāṣitaṁparisamāptaḥ||





    Here, one can find Jagganath identified with Karuna, and Tara using an archaic term for it, Anu Kampa. Mantricly, savari is a dark goddess, Aparajita and Raudri in nature, and then there is Namaha Gauri [Apara]jita with yellow clothes (vasasi). This is a Mahabala Parakrama attached to Mahamaya, and is a Secret Doctrine (rahasya). Aparajita is also a mahavega kapalini.

    So yes, this is Lotus Family or Potalaka Tara, but, not in isoloation, having the assistance of Vajrapani and Ten Wrathful Ones, Prajnaparamita also being part of Vajra Family. Sarasvati in her corresponding Picu Picu or Prajnavardhani role also appears.

    Because Locana is one of the first epithets, and she likely has to do with yellow clothes and eventually golden light, we see something like that taking place here. It is a type of fusion which is based in Lotus Family, i. e., I believe, demonstrating Tathagata Garbha or Buddha Nature as the One Vehicle, in which there is a wrathful interface, Vajra Family, and the issuance of Tathagata Family in wrathful aspect (Aparajita).


    Sarasvati has another title unusual for her, which may have further implications:

    Viśālākṣī (विशालाक्षी) refers to “one having big eyes” and is used to describe Bhadrakālī, according to the second recension of the Yogakhaṇḍa of the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, as Bhadrakālī said to Śrīkaṇṭha: “I am Dakṣa’s daughter, born as Bhadrakālikā. O Vyāsa, Śrīkaṇṭha! Śaṃkara! (I am) beautiful and have big eyes [i.e., Viśālākṣī]. A great, divine and supreme Command was born on Himavat’s mountain. Dakṣa's daughter, who desired you, in (her) eighth birth, abandoning Māyā, (her) true nature was revealed”.

    Varāha-purāṇa

    Viśālākṣī (विशालाक्षी) is the name of a beautiful damsel (kanyā), with black curly hair and red lips, according to the Varāhapurāṇa chapter 92. Viśālākṣī (and other innumerable ladies) arose out of the agitation of Vaiṣṇavī while she was doing penance at Viśālā. For these young women, Vaiṣṇavī created the city Devīpura, containing numerous mansions with golden balconies, crystal stairs and water fountains, with jewelled windows and gardens.


    The more the familiarity, the more a dharani works without recourse to outside assistance.
    Last edited by shaberon; 9th June 2021 at 22:32.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Sabaris; or, Parnasabari from MMK and Heruka of Dakini Jala as Pisacas


    Part of what happens is even in the process of compiling related information for a few years now, more becomes published and accessible, whether in stand-alone articles, or ongoing projects such as 84000 and DSBC. So we have "just gotten" major works such as Samputa Tantra and MMK, giving us greater ability to process what we already had. We can further isolate and identify the handful of things to which we have only fragments, and see for example the placeholder for Dakarnava Tantra is "in progress" of translation and publication.

    Parnasabari mantra has recently been publicized and promoted in reponse to global disease, and, while that is her exoteric role, I do not think it is a substitute for bleach, but would be more effective when we press her to find what she actually said, particularly in Samputa, one of the most useful advanced explanatory tantras.



    Having re-worked and reflected a lot of this thread into another, also being spurred by relevant questions to it, we had been going over Forest Maidens and worldly beings, which, in places such as Lotus Sutra, are spoken of as Buddha subduing Yakshis while he crossed the Bodhisattva Bhumis; which is exactly the same theme as the Asta Vijnana of Yogacara and the presence of Cemeteries, each being like a Bhumi wherein the Yaksha is really the judge or gate as to whether one's prana is dispersed/unrestrained, or, if it is time to enter the Tree, Avadhut, or Central Channel. The vital performance of this is quite explicit in Golden Light Sutra, in fact it is more like do or die.

    This spiritual practice, almost by definition, "absorbs autochthonous elements", it converts the Yakshas and honors the Pithas wherever they are found. And so when examining the Pithas as used in the Chakrasamvara internal system, so they become less arbitrary names on paper, and more of a living presence, Lankesvari is certainly an example of something like that. She is like a Sabari class, along with Janguli, Mayuri, and Pratisara, and eventually Parnasabari is their queen.



    So this is a broad net about several of them from outside sources into Buddhist sadhanas. They are the major basis of the Gauri or Kyerim league of tantric goddesses, which can be thought of in two ways, as Sampattis or uninterruptable samadhis, and, as the forms of which one's own mind and senses are comprised since beginningless time; tantric Generation Stage. In Dakini Jala, they apparently also involve the teaching of Moods, or, i. e. those of classical theater, which ironically did not contain the teaching of Peace or Shanti until about the time of Abhinavagupta ca. 10th century.

    The inclusion of Moods has been scarcely followed in Tibet, but, it is prominent with Picuva Marici and in Vajra Rosary Tantra. This band of Gauris is found in all the tantras, with certain variations in different transmissions which are almost all grotesque and violent, whereas Dakini Jala is their main original congregation blended with Heruka or Cemetery Yoga, and only a few of them are horrid. Others are more like actresses including humour, which, further along in practice, is found as Attahasa or a jarring horse-like laugh. And so as lay followers, we are mainly gathering information *into* Dakini Jala, whereas all the major Chakrasamvara Completion Stage practices take Dakinijalasamvara for granted, out of it. Going along with this logic, it is also like understudying some of Chakrasamvara's major mantras, which are multiple systems; the Gauris are one thing, and then Twenty-four Pithas or sites in the subtle body are another, the Four Dakinis, Armor, All Purpose, and Seven Syllable being some of the other main examples.

    So this is Upacara or a subjective preparation for Sadhana or full practice; a lot in here, to be ruminated over and slowly absorbed.


    On the subject of Eyes we are told they have a nadi to the liver, which the commentary says means that it passes through the heart. One of the first uses or indications of heart as part of the subtle body. The related Pitha is Devikota on the Coromandel Coast, and the inhabitant is Lankesvari, who is far from Buddhist at all.

    It is among the first instances of heart, since, if we follow Inverted Stupa, it is more like a timeline or diagram. It has the deceptive appearance that the heart center is simply above the navel, suggesting it is "the next step up" like in most physical yoga practices. But in the other thread, one is able to see more of the correct "sequential expansion". The first half of Inverted Stupa is about reversing pranic winds and generating inner heat, which then is really aimed at the throat center, the process of mantra, and Bliss generated thereby. And here you get the Khecari center, or Maya Jala or Indra Jala, as the actual bundle of total sensory input called Rupa Skandha. From here, it "washes" the brain and goes up and begins melting Nectar, which has to drip back down through it, in order to begin unlacing and softening the subtle heart. And, despite many other details, that practitioner had energy move in basically this same circuit, until towards the end of the postings, he felt that he had begun to dissolve Time.

    Similarly, the list of Pithas begins in the front of the head, rolls up and back, then descends through the facial features.

    At the very least, it should be obvious that by "heart" is meant a somewhat advanced yogic stage, using Lotus Family and Sambhogakaya driven by the throat to open and access it; consequently, this "special throat energy" is the realm of Buddhist Sages or Vidyadharas, is not a default part of the aura of a normal human being, is the state indicated by most of the following material.



    Following Indian folklore, we found a triangular identity of Lankesvari, Bhadrakali, and Vindhyavasini, which is almost as Sabari as can be.

    Bhadrakali in this sense is Durga, which is a synthetic form composed of the power of multiple deities. Her different appearances come in different epochs dealing with pre-cosmic planetary evolution, up to episodes taking place on earth. And so Durga is like saying Adi Shakti "at such and such a time", bearing names that indicate similar but different events. Bhadrakali is an aspect of Mahakali or Mahamaya, having up to eighteen arms. At The Met, her attendants are three Kalis, with Bhima and Vahni Priya. She is fierce and violent while good and beneficial. Lankesvari is from Lanka, received in Orissa or "West Lanka". Odisha government reflects this in its own magazine articles; Lankesvari is worshipped with Vana Durga Bija. Those articles reflect most of the ancient sakti names also retained in Buddhism, Vairaja, Vimala, and so on.

    Durga and Annapurna both are generally considered aspects of Uma--Parvati, but, according to a certain understanding, it is Uma but as commanded and issued forth by Mahalakshmi.

    Durga is Mahalakshmi when combined to destroy Mahishasura.

    The dharani song Mahalakshmi Namostute is said to come from Padma Purana which...accumulated...from 4th to 10th centuries.

    Practitioners say thousands of years and she is Mahamaya or Nirguna Mahalakshmi Devi Mahamaya:







    Kolhapur Mahalakshmi or Amba Bai temple is from the 7th century:






    Those Mahalakshmis...look like the fierce and peaceful aspects of Durga (Candi), and, the source for saying "these Candis or Durgas are impelled by Mahalakshmi" is their self-identity in the Candi Path of regular Durga worship:

    The Prādhānika Rahasya (प्राधानिक रहस्य, “The Secret Relating to Primary Matter,” or “The Preeminent Secret”) takes as its point of departure the Brahmāstuti’s phrase “differentiating into the threefold qualities of everything”. In considering how the singular ultimate reality assumes the multiple forms of the phenomenal universe, the Prādhānika Rahasya first describes the differentiation of the guṇas as taking place within the Devī herself and remaining at the unmanifest (avyākṛta) stage.

    You have told me about the different incarnations of Chandika,
    Oh great among Brahmins , it is only proper that you tell me,
    About the basic nature of the Goddess who is behind these.

    At that point it is revealed that Mahalakshmi is "behind" the manifestations and activities of Adi Sakti, the Candis or Camundas or Durgas, Mothers' Circles, etc. She has done some dark, formless evolution of a trinity, and remains in situ as the source of emanated powers or saktis.

    Candi Path or Devi Mahatmya says Mahalakshmi is Parameswari, and has both Mahamaya and Mahavidya as companions.

    It is about prime material, or primal matter, Prakrti or Akash.

    "Caṇḍikā is "the Goddess of Truth and Justice who came to Earth for the establishment of Dharma ," from the adjective caṇḍa, "fierce, violent, cruel for evil forces not for good forces ." The epithet has no precedent in Vedic literature and is first found in a late insertion to the Mahabharata, where Chaṇḍa and Chaṇḍī appear as epithets.

    Candi Path is estimated ca. year 400-600 as part of Markendya Purana.

    The same intent takes us to Durga Suktam which has devi-centric Upanishadic influence, written around 300 B. C. E., from where we get Puranic Vairocani as the crucial Tapas devi in Samvarodaya Tantra.

    The Buddhist central male deity such as Heruka or Vajradaka is Paramesvara according to the Siddhas themselves.

    And so that is why we have Mahalakshmi both as the first dharani goddess of Namasangiti, and also as a stand-alone deity crowned by Yamantaka or, i. e., her real presence is not known without accomplishing the Bhairava or Yamari or Trailokyavijaya training. Commensurately, Annapurna is also practiced as a Lakshmi rather than an Uma, even though that is how she is more commonly and easily identified in scriptures.

    Mahalakshmi is reality as emergent through various sabaris. In her Sutra, she is attributed with conveying Jewel Family from another realm, which is more or less the beginning of her practice, Jewel Family Samaya.

    The Saora tribe specifically lacks a central earth goddess such as Bhu; most others have one.


    Vindhya Pitha is different from others because elsewhere, Pithas are sacred places where the body parts of Sati fell, but, here, that never happened, it is the birth and actual presence of Devi.

    The only slight identification about the "unknown" Bodhisattva goddess of Golden Light Sutra, is that in the story of Ten Thousand Fish, "you were that forest goddess", i. e. one who, dryad-like, appeared as half of her body emerging from a tree. Bodhisattvas are not usually thought of as having "leaders", let alone a "goddess" of any other class besides another Bodhisattva. But, if we took this at face value, it would suggest a sabari, one powerful enough to collect followers limitlessly.


    According to the Manthanabhairavatantram:

    Vindhyavāsinī (विन्ध्यवासिनी) is another name for Bhadrakālī according to the Jayadrathayāmala 1.9.359cd-361.—Umā received the name Bhadrakālī and has two bodies in this the fourth age (yuga). (In one body) she is accompanied by Kṛṣṇa and (in the other) she is black and brown and is the (veritable embodiment of the) destruction of (the demon) Mahiṣa and so is Durgā, Vindhyavāsinī (‘she who lives in the Vindhyas’). She with a beautiful waist came down to grace (her) devotees.


    Vindhya Range reaches from Bihar to Gujarat:

    Vindhya (विन्ध्य) is the name of one of the seven kulaparvata (clan mountain) of Bhāratavarṣa, associated with a distinct country or tribe.—As ascertained by Professor Hemachandra Raychaudhuri, Vindhya is the mountain par excellence of the Āṭavtyas and other forest folk of Central India.


    It is in multiple Puranas:

    1a) Vindhya (विन्ध्य).—A mountain (Kulaparvata, Vāyu-purāṇa) in Bhārata varṣa. Here Dakṣa performed tapas; a Kulaparvata sacred for Śrāddha offerings. Here Haihaya came for hunting: Kṛṣṇa went there in search of Prasena; sacred to Vindyādhivāsinī and the Pitṛs; caused by Agastya to bow down and not to rise in height; joining with the Ganges is more sacred than Kurukṣetra; rivers originating from; obstructed by it the Gaṅgā enters the sea; Goddess of night was asked to seek shelter in the Vindhyas after she left Umā's body.


    So she is involved with Pitris.

    According to Bhattacharya on Vajra Tara:

    The following are some of the instances in which the mantra of Vajratārā might be applied with success. Let a knot be tied at the end of a cloth over which the mantra has been recited seven times, and its wearer can go even to the most inaccessible regions of the Vindhya mountains without being molested.

    There you have it in the most occult sense, Vajra Tara sadhana is the power of increase from various consorts to sabaris and then ever-intensifying degrees of these at all levels of the Vindhyas, or, in mandala terms, safe passage across the slopes of Meru.




    If we could perhaps admit that, at least, several of the Puranas have their own emphasis or bag of tricks not found in the others, I had no idea about the following, which makes a type of Savitri Durga, or, similar to part of what Buddhism does with Marici while avoiding the name Durga. From a sampling of 108 Names of Savitri from Padma Purana, spoken by Vishnu, there is an appearance of Vindhya Vasini:


    1. Viśālākṣī at Vārāṇasī;
    18. Bhadrakālikā at Gokarṇa;
    27. Kāli at Kālañjara (mountain);
    37. Vimalā at Puruṣottama;
    42. Vipulā at Vipula;
    53. Parameśvarī at Pātāla;
    54. Sīta at Citrakūṭa;
    55. Vindhyavāsinī on the Vindhya (mountain);
    59. Mṛgāvatī in (the vicinity of the Yamunā river);
    60. Mahālakṣmī at Karavīra;
    63. Amṛtā in the Vindhya-cave;
    66. and Pracaṇḍā at Vegala;
    80. Tārā on the Kiṣkindha mountain;
    82. Medhā in the Kāśmīra region;
    83. Goddess Bhīmā on the Himālaya mountain;
    88. Dhṛti at Piṇḍāraka;
    93. Auṣadhī in the Uttarakuru (region)
    98. Nidhi at the abode of Kubera;
    99. Gāyatrī at the (time of the) recitation of the Vedas;
    100. Pārvatī near Śiva;
    101. Indrāṇī in the heaven;
    102. Sarasvatī in the mouth of a brāhmaṇa;
    103. Prabhā in the sun’s orb;
    104. Vaiṣṇavī among the divine mothers;
    105. Arundhatī among the chaste ladies;
    106. Tilottamā among beautiful ladies;
    107. Brahmakalā in picture;
    108. Śakti (strength) in all the embodied ones.


    It attempts to define "mothers", mildly, having Carcika in a "potential" spot--occupied by Mahalakshmi in the Nepalese verion--where here, she is perhaps something like Red Camunda:

    These are divine mothers said to attend upon Śiva, but usually on Skanda. According to some they are eight: Brāhmī, Māheśvarī, Caṇḍī, Vārāhī, Vaiṣṇavī, Kaumarī, Cāmuṇḍā and Carcikā. Some say they are seven: Brāhmī, Māheśvarī, Kaumarī, Vaiṣṇavī, Māhendrī, Vārāhī and Cāmuṇḍā.

    But in the previous snippet are several blinds, such as Pracanda = Cinnamasta, Vipula = Pratisara, Medha = Sarasvati retinue member, Arundhati = Tara = non-mayavic star, Tilottama = Buddha's Jnana Mudra, Bhima has been presented as perhaps the oldest practice name of Sakti.



    Going from the context that just from learning something about Adi Shakti, is not the same as experiencing her in full awareness, the first dharani goddess is Vasumati Mahalakshmi, which is her Ila Devi form, emanated in Karma Family. In other words, a relatively basic samaya being, in more or less the same principle that...Kriya deities actually do have Completion Stage and the like, which is simply not explained at that level. The more the practice, the more the deity forms grow.

    In Golden Light Sutra, Sarasvati is or gives the power of dharani, which is like calling her Fire by Friction in the Agni Homa, and is the same principle as Nirmanakaya, a mantricly-generated harmonious field. So a human being has to gain a Samaya under Ila or Vasudhara, while using this practice driven by Sarasvati, in order to, so to speak, conjure up Lakshmi in more potent aspects.

    In metaphysics, so far, "heruka" is first found as a class of entities similar to yakshas and dakinis. However, it has an echo to Mahalakshmi and the Tusitas:

    According to some, the etymology of heruka is from Ruci:

    Ruci (रुचि).—A son of Brahmā and a Prajāpati. This prajāpati married Ākūti the daughter of Manu Svāyambhuva. A son and a daughter were born to Ruci of Ākūti. The son was the incarnation of Viṣṇu. He was named Yajña. The daughter who was incarnation of Mahālakṣmī was named Dakṣiṇā. Yajña was brought up in the hermitage of Svāyambhuva and Dakṣiṇā grew up in the hermitage of Ruci. When they grew up Yajña married Dakṣiṇā. Twelve sons, named Toṣa, Santoṣa, Pratoṣa, Bhadra, Śānti, Iḍaspati, Idhma, Kavi, Vibhu, Vahni, Sudeva and Rocana, were born to the couple. In the time of Manu Svāyambhuva these twelve were called the Tuṣitas, a group of devas (gods).

    one of the five created to make one's taste intensified; through Ākūtī twins born, yajña and dakṣiṇā; they married and became parents of 12 sons called Yāmas

    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

    also lustre, ray of light, beauty.



    So, Sri Lakshmi is Jewel Family from another planet, and, Daksina is then a name of Mahalakshmi who with Vishnu produces the Tusitas during the mental, pre-cosmic formation of this one.

    Tusita is held to be the most beautiful heaven of Kama Loka. It is here that a Bodhisattva such as Maitreya sits and watches until the time for his age, which is the cycle of Amoghasiddhi, when his Guru will be Parasu Rama whose sakti is Dharani.

    As we are currently in the age of Amitabha--Amitayus--Avalokiteshvara, this again parallels the essential need of Karuna before the forest maidens begin to expose themselves in a future or more forested age.

    What happens to the Green Tara Bhattarika in Lotus Family who introduces Sragdhara and Mahakarunika dharanis is that she sprouts Kurukulla syllables all over her body, and, in conjunction with Golden Drop Lakshmi, emanates Kurukulla, which is a tantric condition of Amrita. Then you have mostly red deities continuing in Lotus Family, whereas there are more explanatory Green Taras that do not lead to Potalaka--i. e. the shared residence with Avalokiteshvara that leads to Sukhavati--but to Khadira Grove or Forest of Turquoise Leaves, which is the only Pure Land in the Akanistha of this nature.

    In Dharani Samgraha, there is something like this very thing.

    In the tantras, Parnasabari is mostly an executive of Vajra Family, something like a mother of Janguli, who solely manifests as Vajra.

    It can however be found that as stand-alone sadhanas, Parnasabari is in all families, and, further, her extensive practice which is similar to Medicine Buddha consist of healing a patient's major cakras by each corresponding Parnasabari.

    But, in this Nepali dharani ocean, which gives Potalaka Tara as the revealer of sabari yoginis, the ensuing Parnasabari also emphasizes Lotus Family, which is a bit unusual.

    She is correspondingly in Janguli's retinue as a green form in the west, presumably also in Lotus Family. This perhaps related dharani is relatively brief, and says:

    om namo bhagavatyai āryyapūrṣṇa suvatī tārārai || om namo amitābhāya tathāgatāyārhatesamyakkaṁ būddhāya || namo dharmmāyā namomahāsyāthamaprāpataya || vāmanetyīnemesthāmitvāṁnasasyāmivā mane || bhagavatipiśācipūrṇṇa savaripāśa paraśudhāriyā niphakānidabhayānpūtyakṣyante || yānimāni cinmahāmāyāryakecidūpadravāḥ sabūddhā vā tyadyante || sarvāṇitāni vālatai nravātyadayante || tena pāṇtitastadane nastyanasatye vacanenaṁ || jajajaja || etiḥ yantritādhiṣṭhitairmantra padairmasarvvasatvāścarakṣāṁkuru | parimrarhakurūśāntiṁsvastyayarnayaṇu parihārraśamtra parihāraṁviṣadū ṣaṇaṁkuru | agniparihāraṁkuru | udakaparihāraṁ || kāravārddacchedanaṁkurūśīmāvandhakuru || tadayathā || om amṛte amṛtādrave | amṛtasaṁbhave avīṁste aśvaste gemāgara 2 māsara 2 śama praśame sarvvā kāla mṛtyanupaśama sarvvanakṣatra grehadoṣānupaśama sarvva drīṣṭraṇaśvo paśama bhagavati śiciparṇṇasavari || tunna 2 vitunna 2 tuna 2 bhūmule svāhā || om piśāci parṇṇaśavari hrīṁ hūm phaṭa piśāci svāhā || āryyaparṇṇaśavarī mahāmārī praśamanīnāmadhāraṇī samāpta || 87 ||


    One can tell this kind of writing is so precise, it does not manage to spell her name right. She is consecrating Yantrita, restraint or governance, which from its stems yantri or yantr gives the sense of to engineer a river, to guide such as a charioteer or elephant driver. There is also Bhu Mula (root of the earth?).

    Her character is unmistakably pisaci, which resonates with possibly one of the oldest sabari names in practice, Matangi, because in her Ucchista form related to Ganapati, she is one as well:

    Om Ucchista Candalini Sumukhi Devi Maha Pisacini Hrim Thah Thah Thah

    and then she, perhaps, becomes the mysterious Vinayaki.

    Shramana--Dream Tara is also a pisaci.

    The point is that the Pisaci are the most powerful evil being, worse than a Vetala, Raksasa, Preta, or Bhut, because it can function while incarnate, and then even moreso from a ghost condition. It is a devil which in essence means an evil mind able to drain the life forces of others. So, it is exactly that, dark force deep within the Yaksha kingdom, we are seeking to harness and convert.

    It says so pretty plainly in Golden Light Sutra. The options are basically the teaching, or, the miserable deadly conditions without it.

    Fortunately this is accessible to any lay person on a dharani basis.

    Matangi is a very primordial sabari called Janguli by the Buddhists, to whom Parnasabari is like a mother, she is like a queen of all sabaris, and in the dharani above, we can see the instance of Amitabha, but then Parnasabari's function involves Amrta, much like Pratisara.

    Janguli is more equivalent to Sarasvati, so from that perspective, Parnasabari would probably be more Lakshmi or Mahalakshmi.


    In trying to understand "stanaya", I found it in an Agni Homa, which, has a decent, short article after it about Nagarjuna and alchemy, referring to Rasa and Mercury and Gold, which is part of the basis or method to the golden light which Lakshmi is intended to render to the body and mind and environment.

    Lama Yeshe has been heavily promoting the Golden Light Sutra, and he supplied the 1982 Rinjung Gyatsa where we first got many of the Tara explanations. There, Lotus Family Parnasabari would appear "correct" because she is red; her items are vajra and tarjani; this is the different set more common in Tibet.

    Sadhanamala's Dharani Parnasabari is green with peacock feathers and crossed vajra. If using weekly dharanis, she and/or Prajnaparamita are alternates for the fifth. Also called Parnasaurika in Dakarnava Tantra.

    She is compared to Sitala and again in Bengal and Bihar. In stonework, she is a unique image from east Bengal, one being from Vajrayogini. But we do not think she is identical to Sitala, who possibly is Samalei--Lankesvari.

    Red Parnasabari:







    That says something about Lotus Family getting ahold of a wrathful vajra rite; vajra is really her main item on most of her forms.


    Jewel Family Green Parnasabari:








    Her vase would be a standard Jewel Family attribute, but, green and plume look exactly like an import and fusion from Mayuri in Karma Family. This one is similar to, but not identical to, her Karma Family appearance in other sources. TBRC entry on this Jewel Family form.

    According to Wiki, some say that the term Parnasabari is an attempt to connect the deity with Vindya region, as Sabaras held a stronghold over the region. Parnasabari is also depicted in some images of the Pala period found in Dacca, as a main goddess and escorted by Hindu deities Jvarasura and Sitala.

    Dacca is the general region of Vajrayogini town, where Parnasabari and Jambhala and many other tantric deities are found proliferously.

    The 84000 Parnasabari Dharani claims to be the oldest recording of her, and gives the background of the transmissions; it is incredibly brief, not much different from the above.

    "Old" in this sense does not seem to pre-date the Pala era, and is certainly non-Buddhist in origin.

    Britannica suggests that sarva sabaranam means goddess of all Sabara tribe or tribes.

    In sakti terms, her main new symbol or personal attribute is Axe, similar to Parasu Rama.

    Sabar is still recognized as a reclusive tribe. It may also be spelled Saora or Sauri, hence the alternate name, Parnasaurika.

    They were also the Ujia of Mayurbhanj, who long adapted Oriya as their mother tongue.

    In the spelling Sora, it is a female-centric polygamous tribe also using female oracles. They seem to follow Narasimha and Jaganatha.


    According to an Archaeological Survey:

    The Sabaras, the aborigines of the vast jungle tracts to the west and south-west of Bengal (now fast losing
    their pristine character, but still to be met with in their most primitive form
    in far-off localities, as e.g., the Juangs of Keonjhar State in Orissa) with their
    quaint apparel mostly restricted to leaf aprons, and their picturesque hunting
    suit consisting of quivers and bows are represented by over a dozen plaques found
    this year. It can be easily understood how the type of Sabara female wearing
    a leaf (Parna) such as is depicted at Paharpur, gave rise to the conception of
    the goddess Parnasabari in the Vajrayana form of Mahayanism.


    Interestingly, there is nothing to say that she was harnessed or converted prior to the Pala era.

    A 1922 article identifies her as Orion--the three stars of the belt, or, the three stars of the antelope's head are the three heads of Parnasabari. Vaisnavites molded this into Dattatreya and his dog (i. e., similar to Bhairava), and the Buddhists made it into Parnasabari.

    Well, she does have Body, Speech, and Mind, or Three Vajras view. But Orion is a bit new to this.


    From other archaeological research, after the Sena collapsed, and the grand social structure of Hinduism began to erode:

    The so far neglected pagan deities like Manasa , Sitala and Dharma who also shared some affinities with the Tantric Buddhist and Jaina icons like Vajrasrinkhala , Parnasabari and so on , gradually made their ascent along the so far sacrosanct , impermeable hierarchy of Hindu divinity and were in course of time subsumed as regular members of the Hindu pantheon .


    Plate XXX, page 310 is Vajrayogini Parnasabari as shown ca. 1922, which is very famous and will be discussed again later.

    Parnasabari does not appear in the Gauris--Pisacis mantras of Lotus Sutra and Gandahar. But she is not necessarily a late arrival, since the caves at Ellora in Maharastra plainly show the Twelve Dharani goddesses from Namasangiti. Author suggests that Saraha was behind an expansion from east/Orissa to west/Maharastra.

    If these caves were constructed with heavy institutional support from ca. 550-750, Parnasabari must have already been meaningful enough to deserve that. According to Wiki:

    Caves 11 and 12 are three-storied Mahayana monastery caves with idols, mandalas carved into the walls, and numerous goddesses, and Bodhisattva-related iconography, belonging to Vajrayana Buddhism. These are compelling evidence to suggest that Vajrayana and Tantra ideas of Buddhism were well established in South Asia by the 8th-century CE.

    Or, if the finishing touches were put on these massive monuments in the early 700s, she pre-dates this, well before the ca. 1100s stonework of Bengal. Pala patronage under Cunda as a tutelary deity was significant from 750 onwards, and they were patrons to existing institutions which were already familiar with Parnasabari, Heruka, etc.

    The Namasangiti Dharanis can be shown to have this degree of antiquity, housed at Ellora and the Forbidden City of Peiping, nothing else can claim this kind of legacy. These are equivalent to using "Parnasabari Vidyarajni", and Janguli, etc., from MMK, which the Palas must have simply admired and continued into the larger form as in Sadhanamala.


    She can also be found on pdf p. 36 in Nepal representing Karma Family with Khadira, Dhanada, Mayuri, Srnkhala, and the Dharanis. It is followed by what is thought to be the first Nepali stone icon, a yaksha from the first century.

    Monk, Householder, and Tantric Priest shows instead the Nepalese assortment of dharanis:

    The seven days of the week, beginning with Sunday, are Vasudhara (Vasund-
    hara), Vajravidarani, Ganapatihrdaya, Usnisavijaya, Parnasabari (and/or
    Prajnaparamita), Marici, and Grahamatrka (van Kooij 1977: 60ff.; A.V.
    Vajracharya 1976b). The Five Protective Goddesses are Pratisara, Sahasrapra-
    mardini, Mantranusarani, Mahamayuri, and Sltavati. Few Newars today
    would be able to list all these.

    Namasangiti is thought to have originated in the 6th century. The Nepalese weekly system shares major goddesses with it, however, Vajravidarani is a Red Vasudhara peculiar to there, Ganapati Hrdaya is also reclusive, Grahamatrika is maybe a bit more well-known and seems to be a lovely alteration of Parasol in a stage relevant to having assembled the Planets, etc., which is close to what the weekly list is about, starting from Vasudhara = Earth = Sun.



    The Pisaci class is important in tantra because it includes the Gauri goddesses (Generation Stage sense bases or Grounds of the Cemeteries) and Tramen.

    In Lord of the Dance, pisacis equate to Tramen.

    Tramen are the animal-headed or most uncontrollable group; they are pacified by Offerings, or, they rip you to pieces (Mamos in Tibetan).


    The Gauris are Wrathful; in Dakini Jala, they are called a class of vajradakinis and are the inmost retinue ring of Vajra Family Heruka, a Bhairava with a Trident and separate bowls for flesh and blood. In Anandagarbha's Vajrajvalodaya, the whole retinue is called Srigauryadivajradakini gana. This Heruka has simply added a typically Lotus Family seed syllable to the mantra of Heruka in STTS. So while Dakini Jala may not repeat the legend told there--it certainly appears incorporated. None of these Gauris have a Kartri or Chopper. None of them have sabari names, but, they do include the Buddhist Tri-shakti as explained in STTS:

    Pramoha, who, as we have seen, has the boar face of Visnu's Adivaraha incarna-
    tion, is invoked as Vajranarayani, Cauri as Vajracandesvari, and Ghasmari as
    Vajramahesvari.

    Ghasmari is the subjugator of the most powerful Ishana Mahesvara, making her particularly important. This list does not include Smasani (in Nyingma transmissions) or Sabari and Dombi (in Hevajra transmissions). These are more funereal and here it is really the mandala of Vajra Family; since we cannot extract all the mandalas, we cannot show how sabaris may be involved. What is more important in this mandala is Music and Dance, this Heruka himself being a dancer. The final Gauri here is perhaps not shown elsewhere, Herukasamnivesa or "fully alike Heruka", possibly called Heruki in other places. This one is similar to Naro Dakini, but with a Vajra instead of Kartri. But you get a sense here she is going to vibrate or respond...according to the quality and strength of one's Heruka.

    This Heruka also has a personal ring of "item" goddesses, an Archer, Khatvanga, Chakra, and:

    coloured banners (vicitra-patāka)

    Her item is really Citrapataka, probably "variegated color banner", a rare term found for instance at line 41, "pictures in variegated colors" in an argument about the act of perception.

    Correspondingly, in the retinue, Pukkasi is also multi-colored and dances in smoky cemeteries with a wind-whipped branch of a wish-granting tree. In Hevajra, this appears to be replaced by multi-colored Dombi (minstrel). Even though this retinue is a "vajradakini class", there is no Vajradakini by name.

    Here, roughly, one develops a gauri--vajradakini "just like" Heruka, and obtains a multi-colored aspect.



    Sabari, as a personal name, enters the Gauri group in Hevajra Tantra. But this, most likely, is post-Ellora, and not included in Dakini Jala.

    Sabari in peacock feathers and gunja berries by Sabara in poem or Charyapada twenty-eight.

    Sabari is also of course from Ramayana, near where Sita entered the earth, attaining liberation in the Blue Hills. She is the Ideal Devotee, maintaining her practice after the departure of Guru Matanga.






    Tara and many others appear in Manjushri Mulakalpa, but I am not sure Parnasabari does. It is difficult to read, Himalayan Art has a partial list of its colophons. MMK is on 84000 broken up into almost fifty chapters (some appear to be missing). If you take the corresponding pdf, it is 1753 pages.

    However, using it, we can more quickly resolve any doubts as to whether she appears early and powerfully:

    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.


    Later, she arises in what is no less than Manjushri's retinue of entering the first Bhumi:

    “One should commission a painter to paint, while observing the ritual fast,
    on an undamaged, shorn cloth and using uncontaminated paints, Noble
    Mañjuśrī sitting on a lotus seat and teaching the Dharma. On his right is
    Noble Mahāmekhalā, and on his left, Noble Prajñāpāramitā. The latter is
    reciting mantras, is adorned in all types of adornments, and is dressed in
    white clothes. Below Noble Mañjuśrī, there is a lotus lake dotted with many
    different species of lotus, where two nāga kings, their bodies submerged,
    hold lotus stalks in their hands. {28.36}

    “Noble Aparājitā, to one side, is destroying vināyakas and obstructers. Her
    mouth is blazing with fire and her brow is knitted. On the other side there
    is Noble Parṇaśavarī. She is dark, with red eyes, and she holds a noose and
    an axe in her hands. Mounted upon a peacock, she is the practitioner’s
    protectress. The practitioner, for his part, should be painted holding a
    garland of lotuses in his hands and looking at the face of Noble Mañjuśrī.
    Above Noble Mañjuśrī two gods should be painted, holding in their hands
    yak-tail whisks, flower garlands, and drums. {28.37}

    “One should install this painting facing west in a caitya containing relics
    and recite the mantra ten million times. At the end of the recitation, one
    should offer a large pūjā, have the Prajñāpāramitā read aloud, and recite
    the mantra ten thousand times while looking at Mañjuśrī’s face. The painting
    will subsequently shake. One will obtain a kingdom and the divine eye.
    One will become a vidyādhara and will laugh, will become a wheel
    turner, and will teach. One will attain [F.227.b] [F.244.b] the first bodhisattva
    level and will listen to Mañjuśrī’s Dharma teachings. {28.38}.


    In both cases it is clearly her in the Sanskrit originals.

    Aparajita is an Agnijvalamukhi. This appearance of Parnasabari says:

    ārya parṇaśavarī pāśaparaśuvyagrahastā kṛṣṇaraktanetrā mayūrapṛṣṭhabhirūḍhā sādhakaṃ parirakṣantī /

    Pariraksa has the meaning of custody, shielding, guarding, saving, etc.

    Her first mention is actually near the end of the retinue of Sakyamuni; a previous wave came out of Dharma Megha, and then this final group is said to come from the form-samadhi of the lord of the world, viz.:

    anekaśata sahasra koṭī niyutavidyāparivāritair anekaiś ca vidyārājñībhir lokeśvaramūrtisamādhivisṛtaiḥ /


    Buddha abides in the Saha Loka Dhatu of the Pure Abode (Suddha Vasa Bhavana Astham) for the purpose of teaching many samadhis generated by mantras, causing beings to enter the Families.

    Some Bodhisattvas take female forms to:

    strīrūpa dhāribhir anantacaryārtha lokanirhārasakalasattvāśaya


    It sounds fairly close to the Nepalese Red Avalokitesvara--i. e., emanates all the deities, etc., out to the Vidyarajnis of the Form World, which is why Parnasabari's class is like a first handshake ascending Mt. Meru. The original description of Vidyarajnis headed by Parnasabari and Janguli says:

    ananta nirhāra dharma dhātu gagana svabhāvaiḥ

    Nirhara has various meanings, but, from Buddhist scripture such as this:

    production, accomplishment, bringing to pass


    It seems to imply Dharmadhatu Suvishuddha and Gagana Ganja Samadhi, which we are already familiar with.

    Their mental states originate by:

    sattvacaryāvikurvitādhiṣṭhānasañjanitamānasaiḥ

    vows of Lotus Family taken by pisacis, et. al.:

    abjakulasamayānupraveśamantravicāribhiḥ


    Abja may mean lotus, specifically the kind that Agni carries, which in this case is Ab Ja, Born in Water.

    These were like a secondary ring after one containing Sri, Laksmi, Vasudhara, Mayuri, Tara, Bhrkuti, Pandaravasini, etc.


    So, in reverse, they are much like the first mantras and samadhis before the ones of increasing power of the higher retinues become available. The intent of the whole yoga process is to reverse creation, meditate in voidness, and then re-create. There is a lot of creation to dissolve, so, this is the major basis of the training.

    Towards the end in Chapter 53, Tara is sort of an over-arching Vidyarajni Maharddhika:

    A lord who has attained the tenth level, / The bodhisattva who / Tames all beings / Known
    as Candra // Is also called Tārā, / The very powerful vidyārājñī. / Bearing
    the form of a woman, the goddess / Wanders all the realms of rebirth. // His
    mind flowing with compassion, / He remains in the Saha world / And exists
    nominally as a woman / In order to benefit beings. // He has attained
    mastery over on tenth level / And is a great powerful bodhisattva.


    That is a bit like calling Tara "the Bodhisattva goddess".

    MMK defines Locana as an usnisa deity in Tathagata Family; portrays Six Paramitas with Mamaki.

    Mantras accomplished in the place where the Blessed One attained peace that is free from rebirth are those of Tara and Bhrkuti.



    A current Tibetan Parnashavari calls her a miraculously manifested glorious appearance, pacification, and requests, "may I attain the state of Parnashavari". According to MMK, Parnasabari has or is a state which is desirable to be obtained, that of the Bodhisattva. Concurrently, dangerously evil beings such as pisacas have taken Samaya in Lotus Family and recite mantras.

    MMK uses some similar, but not the same, practice elements as Guhyasamaja, neither does it use the term Vajrayana, which is found there. So it is most likely earlier. Guhyasamaja is, rather, what appears to be the first explanation of the Lokottara Siddhis, Generation Stage and Completion Stage. In MMK, Lokottara is present as a condition above or empowering Laukika, but does not have the details developed through Guhyasamaja.



    Mañjuśrīmūlakalpa (मञ्जुश्रीमूलकल्प) forms a part of the ancient Vaipulyasūtras of Mahāyāna and is decidedly the earliest work of Mantrayana at present available. It is written in the Saṅgīti style in prose and in verse, and in an archaic style closely resembling the Gāthā style, and is written throughout in what is called the Mixed Sanskrit.

    The Mañjuśrīmūlakalpa deals with the formulae and practices which lead both to material prosperity and spiritual regeneration, and belongs to the early centuries A. D. but decidedly after the time of the composition of the Amitāyus-sūtra or the Sukhāvatī-vyūha which ushered in the conception of Amitābha and Avalokiteśvara for the first time in Mahāyāna.


    MMK is, likely, an "accretion", or a core text with additions, probably similar to Padma Purana, ca. 400-600. Either one sounds a bit like wicked beings taking vows in Lotus Family.

    At any rate, Parnasabari is already a leading Vidyarajni in the main original Mantra-based Kriya tantra, most likely blue, related to the power of Noose which seems to be spoken to by Janguli through Krsna Yamari Tantra, and then she has Peacock as attested by Mayuri in the Pancha Raksa. In MMK relative to Manjushri, she seems to be almost exactly the same thing she is in the retinue of Janguli, more explicitly as your protectoress, with an Axe.









    Arya Parnasabari Tara Dharani Samapta 150 is the Sadhanamala equivalent of the apparently Lotus Family version which identifies her aspects clearly:

    piśāci parṇaśavari pāśaparaśudhāriṇi //

    Here, she is also the Maha Savara of all Savaras.

    It may be a little different than the other versions becaus it also includes other sabaris, pisacis, or gauris from Lotus Sutra:

    oṃ gauri gāndhāri caṇḍāli mātāṅgi pūkvasi svāhā /

    Those are from the Lotus Sutra or Gandharan books, where Parnasabari does not seem to be among them, but, she ostensibly is with Janguli in MMK. Sadhanamala is likely on the receiving end as a fusion of both styles.

    Bhattacharya equates this dharani to the one intended for her in Namasangiti, and/or connected to her previous form, which is a Three Face Six Arm Harita Green Karma Family version, the yellow Vajra Family form being the one before this.

    Axe is found with the more grotesque forms of Ekajati and Marici, but it seems fairly primal or original to Parnasabari, in a dharani sense that was current by the 600s, and, possibly developing or similar to that, for a timespan impossible to say.

    Unlike most other Sadhanamala goddesses, Parnasabari does not occur in retinues of Tara or Avalokiteshvara or anything else. So far, she appears with Janguli in Krsna Yamari Tantra, and with Manjushri in MMK.

    Obviously the use of Axe or Parasu in close proximity of Dharani is something like 2/3 of the entity, Parasu Rama and Dharani, which are intended to function in Karma Family in the future.


    Unfortunately, although there should be Green or Blue Axe Parnasabaris, this simple form does not reveal itself in any current artwork. Nothing quite seems to match MMK or a two arm dharani version with an axe and noose on a peacock, or the Namasangiti variant with plume and crossed vajra.



    She does have a practice found in China which shows Janguli as the White Snake that is her hair fillet.

    On this version, there is Nagaraja Bodhisattva and Heruka--Vajrayogini as well, possibly the most direct symbols of Completion Stage.

    At the lower left is red Speech-Parnashavari with a black and white face to each side. On the lower right is black Mind-Parnashavari with a red and white face to each side. In the same appearance as the central figure, Body-Parnashavari, they both hold the same objects in the hands. (Source - Drup Thab Kun Tus, vol. pa, fol.35).







    Himalayan Art has updated her beneficially, giving her scant scriptural sources, to include that in Kriya Tantra, she is a Messenger or Duti in Tathagata Family. It mentions her in Siddha Ekavira Tantra, and in Hevajra Tantra, to which there is a supplement in Samputa Tantra 7.4, which ends:

    “Ablaze with anger, she is unshakable,
    With Akṣobhya mounted on her head.
    She is nevertheless white when raining down
    The five-colored nectar of the five buddhas. {7.4.73}

    “Her right and left faces are as previously described. So should the
    practitioner meditate for the sake of pacifying all illusion that stems from
    misapprehension. Parṇaśāvarī truly is the remover of all illnesses.”
    So spoke the blessed tathāgata Great Vajra.


    That makes it pretty clear that she is interested in the generation of Panchamrta or colored nectar, equal to Five Families. Illnesses are less contagious germs, and more like mental failures, suggestive of the state of pisaci or yakshis to be submitted. If we follow this inner, esoteric meaning of Parnasabari, she will work, and otherwise I am not convinced the human voice is actually antiseptic just by learning the words.


    She is also in the Hrdaya Cakra of Dakarnava Tantra, although they didn't mention that. That is like saying she never goes away, remains through the most expanded, detailed, cosmic aspect of practice. Hrdaya cakra is the reddish yellow Laghu Heruka, which, itself, appears to be a Dharani version of the majority version of most tantric devis, who, in this format are listed first, with a "male copy consort" beside them, such as Bhrkuti and Bhrkuta.


    They also happen to have updated a page according to what I sent in, that here it is Parnasabari over Janguli:








    Parnashavari belongs to the Kriya class of tantra and is employed in the eradication of contagious disease. Various lineages of practice are found in both the Nyingma and Sarma schools of Tantric Buddhism.

    Associated with the mysterious Shavari tribe of ancient India, the Forest Goddess with three faces and six hands wears a skirt and garland of thatched green leaves. She has always been associated with jungle tribes and the practice of healing. Her specialty is contagious disease. In the Himalayas and Tibet it is common place when a large group of people congregate to receive extended religious teachings to first give the initiation and blessing for the Forest Goddess in order to stave off sickness.

    The Forest Goddess is an example of an Indian folk deity absorbed into Tantric Buddhism. She is a popular practice and has numerous forms with varying emphasis. From the point of view of Buddhist Esoteric meditation, the Forest Goddess is an emanation of the Buddha, and her special characteristic or metaphor is that of sickness and healing.


    Mythology of All Races realizes Tara is similar to Sri, and seems to split into many devis, many of whom are found as dharanis spread as far as Japan by the year 609. In this regard, Parnasabari is "much more savage", and is called Pukkasi, Pisaci, and Gandhari, and is the lady of aboriginal tribes.

    It goes on to an accurate view of dakinis and Vajravarahi, but, is rather authoritative, not saying where or in what way she is given those names. As we can see in a typical mantra, Gandhari and Pukkasi are listed separately.


    Modern thangka:










    Although it may be hard to find an appropriate color picture of her, we can find it otherwise. Bhattacharya identifies her by saying:

    As the two specimens of Parṇaśabarī discovered in East Bengal both bearing the image of Amoghasiddhi on the crown...

    These two images follow the Sādhana most accurately in all details ; the angry laugh has been correctly depicted in the three faces, and the belly slightly protrudes. To the right and left are two divinities, Hayagrīva, the Hindu god of Fever, and Sītalā, the Hindu goddess of small-pox, and they are represented in the images as flying in opposite directions to escape the wrath of Parṇaśabarī. The prostrate figures under the feet are the Diseases and Pestilences, in human shape. The figure under the right leg, apparently, is a man attacked with small-pox, as we can judge from the circular marks all over his body; the other figure under the left foot, is probably attacked with some fatal disease. Both the images of Parṇaśabarī are decidedly very fine specimens of the Bengal school of art.


    This time, we are not going to argue with him about something being green, we are going to argue with the website who says it is yellow, because, it is easy to see that it is not really her personal "crown", but, the upper-most Dhyani Buddha is Amoghasiddhi doing Abhaya Mudra:






    It is not the oldest Parnasabari, it is the one with royal support. It has exactly one sadhana which is in Sadhanamala. It would be like a hyper version coming from dharani practice. It is pretty plain that this stone figure matches her Amoghasiddhi sadhana, not the yellow one.

    For this Karma Family emanation, all her faces should show irritated smile or angry laugh. She uses trickier vocabulary, karmuka "bow", patra for "leaf, flower" chata "assemblage, multitude", so has similar items to the yellow one, but different expression, and not crowned by Akshobhya.

    So, another feature is she should be slightly corpulent, as per the Bengali stoneworks:







    The Sanskrit original says "isallambodari", which is unusual; by comparision to "Isallabha", "what one gets for a little", the prefix is a combined form of:

    Īṣat (ईषत्).—ind. [īṣ-ati]

    1) Slightly, to some extent, a little

    This Nyingma version comes somewhat close, she is supposed to have tiger skin as well as leaves:







    The yellow one is kharvalambodari, a Fat Dwarf or typical yaksa form similar to Ganapati, which is easy to find somewhat fatter pictures of. It is, of course, a common state shared by Ekajati and others.

    Tibetan Tholing temple in Guge mural of Yellow Parnasabari:










    Mayuri


    Mahamayuri is a good bit like a condensed MMK, especially with the casting of retinue circles, also bearing similarity to Golden Light Sutra. From an Indic dissection of Mahamayuri Sutra, the critic is exploring the same subject of sabaris inculcated into yoginis:

    After more of such mantra-s, the tathagata is said to expound the famous vidyA of mAta~NgI. This goddess emerges early in a mantra in the kAshyapa saMhitA of the medical tradition. Subsequently, she has a long history in the Astika world as uchChiShTha chaNDAlini, a deity in the dasha mahAvidyA system and also as the saMgIta-yoginI of the shrIkula system:

    bale balkale mAta~Ngi chaNDali puruSha nichi nichi nigauri gandhAri chaNDAli mAtaNgi mAlini hili hili Agati gati gauri gandhAri kauShThikA vachari vihAri hili hili ku~Nje svAhA ||

    The phrase “gauri gandhAri” also emerges in an early mantra of the pA~ncharAtrika-s, the viShNumAyA.


    On yakshas in given locations and subduing them:

    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.


    The critic believes that mantra stems mostly from Atharva and Yajur Vedas, whereas sabaris are an archetype they were grafted on to:

    It should be noted that the deity atharva-shabarI is specifically derived from the archetype of the tribal girl (a kairAtikA kumAri) from a mountainous region, who is described as discovering medicinal substances in the atharvaveda:

    kairAtikA kumArikA sakA khanati bheShajam |
    hiraNyayIbhir abhribhir girInAm upa sAnuShu ||

    Very analytical in the appearance of Mayuri in Rg Veda up to a 300s "Mayuri system" which was supplanted by a "Kumari system", noting various changes in Matrikas and so forth and even that Mayuri was originally shipped into Manicheanism.



    From Indian Esoteric Buddhism, a Charyagita song apparently from one of the Siddha Sabaras:

    The Vision of Emptiness

    The reality of mind’s highest realization is declared as a seed in the realm of space. I embrace the nubile nonself by the throat and remain in the state of awakening. “Reject!” “Take!” — these delude the self. Hey! Savari plays with all the fetters within great bliss. I embrace the Empty Lady. Hey! Body, speech and mind are matured. By inspection throughout all times, Savari will become drunk. In every form of joy, Savari falls asleep, Passes out in the realm of space. Hey! My reality is declared a seed in the realm of space. The fruit shines like the Morning Star. “Reject!” “Take!”—these delude the self. I kill the elephant of mundane fetters and make an offering cake of the five senses. I reject all of my suffering. “Reject!” “Take!”—these delude the self. Not sleeping day or night, I act as the watchman of my own mind. The woman born from it, stays alone, having gone to a secluded spot. The chieftain is said to be Lokanatha. “Reject!” “Take!”—these delude the self. So I embrace the Empty Lady—Savari plays in great bliss.

    It refers to the earliest Buddhist mantra, which I believe is carried forward in Shurungama Sutra:

    Scrip­tures like the Matangi-sutra— more recently relegated to the position of an in­troductory story in the Sardulakarnavadana— articulated the authenticity of the disempowered, in this case an outcaste woman who becomes an arhat.

    For example, in the Sardulakamavadana, a text composed in the early centuries of the common era, an outcaste or tribal woman (matangi) is described as a great sorceress (mahavidyadhari) when she casts a love spell to cause the Buddha’s cousin, Ananda, to fall hopelessly in love with her daughter.

    As already seen, the earliest sur­viving text assigning the use of mantras to the historical Buddha, the Matangi-sutra section of the Sardulakarnavadana, depicts the Buddha’s ritual combat with a woman who is of the Matanga group.

    To Vilasavajra, at Gunodaya, the Odiyana of the North:

    Buddhajnanapada went to his place and propitiated him. He learned many anuttara yoga tantras, and learned the teacher’s exposition of the sacraments and the consecra­tions, and immediately set to meditation. In a dream, a deity explained to Buddhajnanapada, “In the northern door of Odiyana is a sixteen year old young outcaste girl [matangi or candali] named Jathig Jvala. She is actually the same as Mahalaksmi born into a high caste. If you go there, your wish will be accomplished!” According­ly, he left Guneru’s entourage and went to make friends with her, and pro­pitiated her for eight months. He realized then that he had obtained real­ization in the Great Seal. Since he had been granted some subtle instruction, he attained the siddhi of the god Jambhala.


    Buddhaguhya is described as the most apt at "insitutionalizing" tantric scriptures, and particularly by refusing an invitation to emigrate to Tibet. Compared to the ways usually trained by monks:

    the sex­ual sacrament, by that time called the “consort vow” (vidyavrata), continued to be practiced separately. The ninth-century author Padmavajra dedicates two chapters of his classic, the Guhyasiddhi (Secret Accomplishment), to the de­scription of this activity.

    Heruka became the characteristic rite of Ratnagiri Vihara:

    While Heruka is formed in imitation of Mahesvara in the myth contained in the Sarvatathagata-tattvasamgraha, the 726 c . e . translation of the Subahupariprccha contains an apparently earlier reference to Heruka [which should be lower-case, generic class like dakini or yakshi], there de­picted as a local demon like a ghost (pisaca). This is in close consonance with the Kalika-purana, which identifies Heruka as the divinity of a cremation ground (smasana). And there is a cemetery called Heruka, ferocious and red in color. He car­ ries a sword and human skin, angry, devouring human flesh. Festooned with three garlands of heads, all oozing blood from their severed necks, he stands on a ghostlike corpse, its teeth falling out from the cremation fire. Ornamented with weapons and his vehicle, let him be worshiped only with your mind.

    In the Kalika-purana description, Heruka is clearly divine, yet is to be wor­ shiped only mentally, rather than with great physical offerings. Moreover, the Heruka origin myth, as recounted in the longer Sarvabuddhasamayoga [Dakini Jala], de­scribes Heruka in the manner of a cemetery divinity, rather than specifically either as the tamer of Mahesvara or as his imitation. In this mythic beginning, Mara and other criminal elements are more clearly specified as his opponents. Thus the Buddhists apparently appropriated a local term for a spe­cific Assamese ghost or cemetery divinity and reconfigured it into the mythic enemy of evil beings in general. Because Siva and Mara were at the head of the very long list of criminal gods, they were included and subordinated to Heruka’s establishment of his mandala. His local and possibly tribal background suggests that there may have been a tribal affiliation as well.

    This Kalika Purana ends with Mahamaya entering a chaotic Sabara festival.

    Evidently, Heruka should be construed as a male pisaca complimentary to the tantric Gauri class.



    It says that a Nilagiri Hill was the original site of Kamakhya temple when perhaps this "heruka" term was in vogue.

    Author believes that Vidyottama is the earliest text cleanly showing something like Vajrapani with a ring of Seven Matrikas.

    Does not know of a female-centric mandala ringed by males.


    Part of the obscurity of Dakini Jala is that academics usually abbreviate it by the first half of its name, which somewhat sanitizes it. I use the second half for a variety of reasons; i. e. it is tantra on the caliber of Maya Jala which is well-known, this part of the name is a major mantra in Chakrasamvara practice, and one of the few technical names for the glyph described as Inverted Stupa is Nadi Dakini Jala. So the glyph has the total underlying meaning of the inner aspect, the subtle body. Heruka Yoga is something like an advanced inner translation for which we may extract an explanatory Dakini Jala "fragment" interfaced with the outer or Nirmana world:


    Among the most detailed of the earlier de­scriptions is a work dedicated to the ganacakra rite associated with the Sarvabuddhasamayoga [Dakini Jala] -tantra. Attributed to an Indrabhuti, the text is a relatively early description, in which are provided very specific instructions. One who has completed the collections of both merit and wisdom will achieve success in a place appropriate for the specific arrangement of the family [kula] for the complete ganacakra. The place should be one that is perfect as explained in the scripture, or at least a pleasant place like a gar­ den, etc. 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. First arrange seats there that are soft and delightful to the touch. They should be covered with cotton cloth on which are printed all kinds of lotuses. These are the completely pure seats. These are the glori­ous sacraments [srisamaya] of all the Buddhas. They become the joyful ap­ pearance of Vajrasattva. They are the excellent citadels of the Tathagata. Ornament them with jewels and other ornaments. If you cover the site over with a good canopy, then miraculously there will occur songs and music of the excellent vajra-words, and so forth. Set out fragrant flowers and oil lamps with scented oil. Then you will accomplish the highest bliss that is the dakinis’ assembly, the sexual union of all the Buddhas [sarvabuddhasamayoga-dakinijala-samvara].

    Having first correctly asked the Lordly Teacher [Acaryanatha], then re­quest the followers. With the secret signs of the Buddha, take flowers and admonish these beings. “All you Yogins and Yoginis! With an intention that is both happy and pure, I pray that you come to my place tonight to perform the ganacakra!” “Hey, son, compassionate one!” [they will reply]. Now if they show you the rosary in their hands, then it is to say that “we will come.” Since he has moved them to present their rosaries, he becomes sacramental, one with a good vow, a hero, acting for the welfare of others. Then, there is the evening gathering. Externally they are cleansed: washing with powdered soap and fragrant water, bedecked with flowers, their yoga is purified with the Dharma mantras.

    Internally, they bathe as well. They are protected and blessed with mantras. The avowed congrega­tion [samayagana] is fully renewed in their esoteric promises. They then may gradually enter the ritual enclosure. In order to test for the secret signs of those having taken the vows, there are the two Agents [*karmin] dressed in the blue wrathful ornaments. These two ascertain who knows the signs as they recite spells [to which oth­ers are to respond correctly]. They [stand at] the frames of the two doors for the sake of protection, saying: Hey, you here, beautified with the blue ornaments of the Wrathful Kings [krodharaja]! You Sacramental agents [*samayavicaraka], holders of the Jeweled Club of Accomplishment [siddhiratnadanda]! Heroes and heroines, assemble! I now permit the holy name holders [having received a name with the consecration] in the circle of yoginis who have beautiful vaginas! om mahAsa[ma]ya hOm | surata stAm

    At this time, one of the Sarvabuddhasamayoga mandalas is constructed, and offerings of various varieties are made, including those of fish, meat, and liquor. Everyone meditates, visualizing the gnostic mandala that is propitiat­ed. The offerings are then consumed, for, “There are no false conceptions to­ ward these foods. The Brahman, the dog, and the outcaste all eat together, for they are each of the same nature.” Likewise, the yogins and yoginis engage in ritual intercourse. The yogin is instructed to consider that, without affec­tion toward any of the deities of the mandala, “I am the Mahaheruka!” Having relinquished his own nature, he is to indulge in whatever he likes, without being afflicted by the restraint of his discipline. He is the “Latter-day Buddha,” to enjoy himself without fear. After having washed again, the assem­bly concludes with more meditation and a calling of the divinities for assis­tance. The divinities are ritually returned to their homes, and the congregation does likewise.

    ...In distinction, Indrabhuti’s text seems to be addressed to the person in the position of patron, but does not describe him as such, and we have little sense of the rite serving an ulterior motive beyond the sacra­mental. One of the most interesting sections of the text describes the Agents, called karmavajrin in the Samvarodaya Tantra. They, like all the assembly, are dressed in blue and bedecked with ornaments of the Wrathful Kings. They guard the doorways and allow in only those who know the secret signs, mak­ing sure that the participants are cleansed and generally ensuring the mainte­nance of order.

    Wiki does not say much about Indrabhuti because it is entangled with the location of Odiyana, to which they refer to Sadhanamala as an "informative" source. He is not thought to be the author of the tantra itself, but, a commentary or sadhana on it:

    Except for the root tantra, one sadhana by Anandagarbha, the Vajrajvalodaya-sadhanopayika (Skt. Vajrajvālodayā-sādhanopayikā) and two sadhanas found in the Sadhanamala (Skt. Sādhanamālā), none of the Sarvabuddhasamayoga literature still exists in Sanskrit. The Sarvabuddhasamayoga was not translated into Chinese.

    According to the index, it is Ganavidhi, or i. e. the subject just reviewed.

    One account of Indrabhuti as King Dza of Zahor says that Dakini Jala, Maya Jala, and Guhya Garbha (Vajrasattva Maya Jala) tantras were precipitated to him. Because he interacted with Kukkuraja or Kukkuripa, this is thought to be the second Indrabhuti, cf. p. 233. The most famous one is later or third.

    Same summary page locates Garab Dorje to Sitabani charnel ground.


    According to Disgusting Bodies:

    However, there are four valuable textual sources which illuminate the
    experience of rasa becoming avesa in Buddhist ritual. The
    Sarvabuddhasamayogadakinijalasamvara is a very earlier Cakrasamvara tantra, which uniquely
    discusses rasa leading to avesa states that correspond to different buddhas.


    Although there is a significant dearth of direct references in Buddhist tantras connecting
    avesa states to rasas, there is one eighth century early yoginl tantra which does just this. This
    Buddhist text, extant now only in Tibetan, may be the earliest yoginl tantra, according to Gray
    (Smith 305). The Samabuddhasamayoga dakinijalasamvara describes how in ritual the nine
    rasas states can lead beyond the creation of sentiments to avesa. In this tantra male buddhas
    manifest as the nine rasas and lead to different states of avesa. Smith has discovered no other
    Hindu or Buddhist tantric text which links rasas with meditations on specific deities, in order to
    induce avesa. The text claims that through endowment with srngara rasa and so forth, “dancing
    with the various gestures ( mudras ), and uniting oneself with all, one will achieve all avesa states”
    (Smith 333). This tantra links rasa and avesa states in Buddhist tantric practice and implies that
    just as there is a diversity of rasas, so too is there a diversity of ways in which avesa can be
    expressed, which are all valid means of conveying the bodily presence of different buddhas
    during ritual.

    Avesa in this connotation has more to do with Bhava or an intense form of cultivating divine presence, moreso than the avesa of an oracle relasing the body for speech from the Four Kings or other worldly being.



    Jamgon Kongtrul attributes Indranala with an Exposition of Dakini Jala. Also, 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.

    Also on p. 280 it is recognized as relating to "all of these buddhas" which are usually split into individual tantras in Treasury of Knowledge.

    So it has more to do with Six Families, and the individuality within each. Gauris as known in all tantras stem from the Vajra Family retinue in this, where they are a bit different, definitely related to the Tri-Shakti and therefor Mahalakshmi--pretty much the same principles, in a converted form and practice.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Adbhuta


    Often, I am less aware of some rather general things, but latch on to obscure remarks such as Mahattari Tara being labeled "varendra vana iccha", which is like saying Bengal Vana Durga, combined with a term for will or desire, or cetana or samsara, or Iccha Shakti.

    Despite my ignorant babe in the wilderness to this, in this case, Vana Durga is something still current, which, if examined in the same respect as Buddhist sadhanas, I would look for her bija in her Mula Mantra, where there is Hrim Dhum, followed by Jvala Dhumra. Well, this is strikingly suggestive of two Odiyanas, solar and smoky, or golden and violent Durgas, and the like.


    In her Dhyana, she inhabits the Vindhya Mountain Range, although the original verse for this seems missing. This link has Viniyoga, Nyasa, other mantras, etc. One informed response asked about the risks of doing a "svaha" mantra without Havan--i. e., a fire oblation burning some object--and the answer is that Ganapati takes care of it, makes the offering in a mental way, which is like he always acts as the Yajna or sacrificer, which is basically the way and reason Buddhist mantras ending in svaha should work.

    Vindhya Durga is probably a Puranic expansion over autochthonous elements, rather than obtained from them.

    In terms of archaic writing, one of the oldest links from sabaris to Buddhism is given in Orissa Review:

    Besides, one of the earliest references appears in the line six of
    Rock Edict XIII of Asok which alludes to the
    mother-worship by the Atavikas who lived in the
    forest regions of Kalinga.

    As to what that was in the mostly pre-written era:


    Every day, as pointed out by B.C Pradhan, the Divine Mother,
    usually in the form of a post or a pillar, is
    worshipped in virtually every forest (atavi) region
    in Odisha while the concept of Vana Durga
    became especially popular in the medieval
    period. Non-Aryan tribes like Savaras and the
    Pulindas who were the inhabitants of the forest
    area of Mahendragiri Mountain, as indicated in
    the early Odishan inscriptions as well as in the
    Sanskrit works such as Kathasaritsagara, were
    great devotees of the Divine Mother. Like the
    phallus-worship resembling Lord Siva, the
    worship of Sakti in the form of a log of wood, a
    post, or a stone pillar (stambha) most likely
    evolved from primitive tree worship. In Odisha
    this form of the Divine Mother is often designated
    as Stambhesvari (Khambhesvari), or as
    Kandhunidevi i.e. the deity of the aboriginal
    Khonds.

    The earliest epigraphic reference to the
    tribal goddess in Odisha appears in the Bhadrak
    inscription of Maharaja Surasarma, dated on
    Palaeological ground to the 3rd century A.D.,
    where the goddess Parnnadevati (goddess of
    leaves or forest) received donations of garments,
    gold and a pedestal from a lady named Ranghali.
    The tradition of worshipping the goddess of leave
    under the name Patarasuni is still prevalent in the
    rural areas of Odisha. By the 4th century A.D.
    due to the influence of south Indian campaign of
    Samudragupta, Brahmanical form of Hinduism
    percolated into the tribal hinter lands of ancient
    Kosala and Kalinga leading to the transformation
    of the tribal Stambha/Khamba or the pillar to
    Stambhesvari or Khambhesvari.


    The two armed deity Viraja represents
    the earliest form of Sakti in Odisha.

    It also refers to Vaital as having an ancient temple.



    I would say, at the 3rd century, "Parna" is like a kula or family, "devati" meaning a luminous form, and "sabari" an incarnate yogini, and if that is just due to a king's recording of offerings, it could hardly be the first time anyone had heard of it.

    Its earliest form was a post, Stambha, and its earliest named metaphor is leaves, Parna.

    So there must have been a Parnasabari as input to MMK, Namasangiti, and Ellora, in fact it would be hard to say there was ever a lack of one in Orissa's known history.

    Kalinga is the Pitha of Syama Devi; in theater, to represent a Kalinga person, you color the arms syama.

    Interestingly, in the Buddhist Kalinga Bodhi Jataka, the minister is Bharadvaja, which will make sense momentarily.


    Vanadurga mantra binds Sri Sarada in an interesting view about Adi Sankara unifying Sakta and Saivite practices. When her bells quit tinkling is the drastic accident leading to a new/northwestern temple.



    In one extraction from Devi Mahatmya, Vana Durga and Vindhya Vasini are slightly distinguished. Vana is taken more along the lines of "bountiful nature". That is a very good article showing Mahalakshmi "behind" the trinity and others; roughly, there is Sri and Candi practice similar to Buddhist Peaceful and Wrathful Encounters.

    In this view, the expanded powers or Candi:

    She also shares some appellations with the creator goddess such as Sri, Prakrti and Mahamaya.

    Yes, I think, same thing as primordial Mahalakshmi, different condition.

    It allows for different Mahavidya traditions, and holds that Tara is the form that destroyed Ravana.

    However, Ravana is the brother of Vaisravana, kidnapped Sita, and is generally said to have been slain by Rama. Although there is a Ramayana Tara, it is hard to see her as killing him...at one point she let him go, and is generally known for independent views, reliability, and thinking on your feet, quite similarly to Puranic Tara who abandoned Jupiter. I am not sure why they would say she killed Ravana. In some accounts, Rama used a mantra and attacked the nectar in his navel first, and although there are ongoing decapitations like in legends where Durga manifests, in this case it was a heart shot with Brahma's arrow having the power of wind, fire/sun, Meru/Mandarava, and ether--akasa.

    They repeat on their Tara page:

    In the Vaishnava lore Tara was one of the goddess who fought along with Durga to defeat the thousand-headed Ravana.

    By others, this Tara is said to be Wrathful Sati during the ordeal with Daksa before getting blown up. Ravana was not said to have had a thousand heads.


    What they do say here of Kali is:

    Though Kali makes her specific appearance in the Devi-Mahatmya as an emanation of Durga, she combines in herself the virtues and powers of many Vedic deities. She inherits the all – pervasive sovereign power and splendour of Devi (RV.10.125); the mystery and darkness of Rathri (RV.10.127.1-8), dark as the bright starlit night who is Mayobhu (delighting), Kanya (virgin), Yosha yuvathi (youthful) , Revathi (opulent), Bhadra Shiva (auspicious) and pashahasta (holding a noose); the mercy of Durga who transports her devotee over all the difficulties ( no adya paarayati durgani visvaha – Nirukta :9.29); the occult power and delusion of Viraj the Maha-Maya , the goddess of heaven (divi maayeva devata) and the Dhirgajihvi (long tongued) ; the death, destruction and dissolution of Nirrti; and the timelessness of Kala. Kali is also one of the seven tongues of Agni (Kali, Karali, Manojava, Sulohita, Sudhumravarna, Suphulingini and Visvaruchi: Manduka Upanishad). Kali is thus associated with darkness, night, time, mystery, fire, and immense power of attraction. She is also the source and the residue of all energies.


    The strange Tara does in fact have an answer, which is actually where Kali does the killing, and Tara is the calming appeasement form:

    Holding Her sword with the right hand, Devi accepted the clothing of tiger skin from Brahma, removed her golden crown, piled Her hair into Jatamukuta and bound it with the serpent Akshobhya. Rudra laid on the ground and requested the boon of Brahmavidya from Her, to which Devi placed Her left foot on his chest and enlightened him. Hence, Rudra offered Her a blue lotus and a skull cup.

    It is not Vaisnavite, it is Kirat Sitayana attributed also to Valmiki, in a different, more esoteric version. Here, he has a thousand heads, and Sahasra Ravana simply breaks the Brahma arrow, and strikes Rama:


    Sarga 23: Seeing Rama unconscious and helpless on the field, Sita laughed, and giving up her human appearance she took on the exceedingly horrific form of Mahakali. In less than a second, she severed Sahastra Ravana's 1000 heads and began destroying rakshasas everywhere. Innumerable mothers of every type came to the battlefield to sport with Mahakali, playing games with the heads of rakshasas. The earth shook and almost sank into the netherworlds, but was rescued by Shiva disguised as a corpse.

    Sarga 24: Realizing that the earth might be destroyed if Sita as Mahakali did not calm down, the Devatas came to appease her. They exclaimed that only through shakti does the supreme lord become accessible. She pointed to the unconscious Rama, making clear that because he was unconscious she could not consider the world's welfare. Brahma restored Rama's consciousness, but as he regained awareness he was frightened of Sita's horrific form. Brahma explained to Rama that she had taken this form to highlight the fact that everything he does—the creation and destruction of the universe, and all other activities can only be accomplished in association with her, with shakti. Rama was satisfied, and his fears allayed.

    Sarga 25: Brahma assured Rama that the horrific form before him was indeed Sita, and so he asked her who she really was. She explained that she was the entity within everyone, known as Shiva (with a long a, the shakti of Lord Shiva), who can take one across the ocean of samsara. She then gave Rama “celestial sight” so that he could perceive her divine state. Seeing her true nature, he was thrilled, and praised her by reciting her 1008 names.

    Sarga 26: Rama continued to praise her, and at his request she reverted to her form as Sita. They then prepared to return to Ayodhya.

    No Durga is mentioned.

    The book is briefly discussed, and can still be kept in mind Rama was awake for this fourteen-year campaign because Sita's sister Urmila was put to sleep in exchange.

    Adbhuta Ramayana is named for the Mood, Wonder. It becomes its own field of study with red areas on a map showing where this legend of actually two Ravanas--normal and one in a mystical land, Pushkara--is accepted.

    No one seems to say where or what this "island" of the second Ravana may have been.

    Pushkara has many meanings; Pokhara in Nepal, or, the only Brahma temple in the world:

    Padma Purāṇa gives a story about the origin of this tīrtha:—

    Once Brahmā came to a place holding a lotus. Then Brahmā saw Vajranābha who was engaged in penance for the destruction of the devas. Suddenly the lotus in the hands of Brahmā fell down making a thundering noise. The sound was so loud that its vibrations killed Vajranābha. From that day onwards the place was known as Puṣkara.


    I believe it is wrapped in the legend of Blue Lotus.

    Sitayana mainly just has Odiya origins, and even a later twist including Kamadeva's arrow.

    Since this version of Ramayana does not jump out in Roman script, I am not sure where they may equate Sita to Tara. In Buddhism, Sita is Vasudhara, who is a Tara.

    She said she is "a female Shiva", while she actually is the wife of Rama--Vishnu, this is still much like Mahalakshmi revealing she is behind/responsible for Kali, et. al., because she personally incorporates any "consort of Shiva" and so forth.

    Here, she even makes a Jatamuka and takes the Akshobhya fillet, similar to Ugra Tara or Parnasabari. with a vyaghra or tiger-skin skirt. Rudra submits to her like in the other tantras, offering her Blue Lotus and Skullcup; yet she was foremostly a Sword or Khadga Yogini. It does not say Sita was blue, horrifying, or had four hands. Either way, it still takes "celestial sight" to see her "true form", which is not necessarily Sita, who was human.

    Here is another Mahavidya post quoting the same thing that Tara was the pacified Kali.



    Going further, we find there is a published complete version which does not include the above, in which Prabhavati is the first being to come up and play "football" with four-arm Mahakali in an English pdf Adbhuta Ramayana, prior to Bhadrakali and many others, much like the Yakshis in Buddhism.

    Vasudhara is the earth which begins to slip into the underworld due to Sita's violence, stopped by Shiva letting himself get trampled corpse-like.

    Mahakali does some dancing to calm down, and, it is explained that despite her ferocious appearance, she is Saumya or herself is not deranged with fury, is calm and serene. Same point we found for Ghora or Raudra Moods...as expressed by a deity, it is an appearance, because they do not experience disturbing emotions. A rakshasha may have reason to fear them, a person does not. Those types of beings that the deities take the form of, are themselves in the position of obey or die, or possibly be imprisoned in the case of if by Kila; correspondingly, if you become afraid of the rakshasha, you break its fetters. Then you could easily get damaged.


    Victory in verse forty-six is celebrated by kettledrums (puskara). This word legitimately has those two meanings, drums or lotus, which are evidently combined here "in the land of".

    Her ferocious form is stored in Manas Uttara, possibly equivalent to Manasarovar Lake.

    Their interpretation of Rama as the core of Pushkar:

    The word ‘Madhya’ means center,
    middle. So, the combined word refers to— (a) the core or the
    thalamus of the lotus flower were the nectar is stored; (b) the
    core of the splendorous sun where, according to the various
    Upanishads, the supreme Purush is said to be established; (c)
    Vishnu, because he is the ‘middle of the 3 Trinity Gods’
    consisting of Brahma, Vishnu and Shiva; (d) ‘Buddha’, because
    he is enlightened and consciousness personified.


    It then gives the "combined view" or that Vishnu *is* Shiva. And so it spends the first half of the book, not really re-hashing the Ramayana story, but, giving Upanishadic views on the male deity.

    "Bhima" means consort of Shiva and Vishnu simultaneously in this description, means she is Parvati and Lakshmi. This also happens to be one of the oldest practice names for Shakti.

    The Tara and/or Akshobhya fillet does not appear here, and is either a Mahavidya quote that someone has added, or is in another version of the text. If someone was trying to identify it by the devi form, what happened to her Chain?


    This is quite like Krishna revealing a 1,000-arm form on the battlefield of Kurukshetra, except it is Sita doing it on the battlefield of Pushkara, and she engulfs and brushes away male-centric teachings, dominating them in the way of Lakshmi Tantra. She takes over Agni Vaisvanara and all the rest of Rama's qualities and keeps going. Her Maha form does not have 1,000 arms, rather, it is large, colossus, which has smaller reflected images wherever you look.

    It also features a singer, Tumburu, i. e. the Shiva of Vinasikha Tantra important to Cambodia.


    Although there turn out to be quite many "alternate Ramayanas", generally those are all identified as a twist or romance by a given author. This one says it has the same author as the original, Valmiki. Since the Kirats are Nagas, this is similar to Prajnaparamita retrieved from the Nagas by Nagarjuna, and same difficulty in accepting whether some adept achieved an outrageously long lifespan, or, if it has more to do with their Gotras or apostles or lines of transmission.












    From a Telugu Sri Vidya article:

    Mother goddess is worshipped as usha and aranyani in Rg-veda;
    as gayatri in Yajur-veda,
    as durga in other vedas; and
    as uma, hymavathi, narasimhi, tripura in upanisads.
    The twenty four lettered gayatri mantra is embedded in the epic Ramayana of valmiki consisting of
    twenty-four thousand verses




    Another fundamental sign of how Buddhist Yoga is a little different is that it almost entirely discards blatantly obvious things like Kali, and Krishna and his Klim syllable, and the Aim syllable of Sarasvati or Shakti. This would alienate the majority of Hindu followers, their systems would be broken from the beginning.

    There technically is some Buddhist existence of Kali, usually subordinate as to Ekajati or Mayuri, not as a principal in her own right. One way that her name seems to be intentionally de-loused is that in Vajradaka Tantra, there are the hourly Time or Hora devis, which begin with female Krsna, and include Mahakali and Bhadrakali as well as the elusive Vinayaki and several of the Durgas and/or Yakshis.

    There is a Karali, but no plain, basic Kali.

    With Mahamayuri, Kali Karali is literally the first invocation, and further in, there is Kali Mahakali. Kali and Karali like Hariti are called pisacis who often guard a bodhisattva in the womb. Mahakali comes up as a twelfth matrika. Then Kali is reiterated as a raksasi with Matangi, Gauri, and Gandhari. That is an Amoghavajra translation, ca. 750. However it was also translated by Kumarajiva in the early 400s. A treasure version was discovered in China in 2010. Unless the Kumarajiva version could be shown to specifically exclude Kali, then we would suggest here is a Buddhist "entity" of her, considerably prior to the Hindu version.

    Janguli is mentioned by name both in MMK and Mahamayuri; while Parnasabari is blatantly in the former, with regards to the latter, in its third and final fasicle is the only instance of "leaf" in the book, in fact it is Mahamayuri Vidyarajni as used by Historical Buddhas, and, the very first one, Vispasin, includes:

    parna savare

    Previously, it just had Savari and Adharsavari. Adhar is hardly ever a prefix, but, likely has the sense as in the chakra, Muladhara -- which breaks down into two Sanskrit words: Mula meaning "​root" and Adhara, which means "support" or "base".

    It is not a common motif, although it first comes up in an "almost" sentence:

    kevattake vataka mule iti savare

    and so if we note how little it is used and what weird bits that are stuck to it, you get:

    mule [iti] savari

    adhar savari

    parna savari


    Which sounds like it has to do with her common pose resting on her heel, i. e. reversing winds from the lower extremities.

    That is like a cryptic anagram or something, but there it is.

    In any case, it is one rather old mention of Parnasabari attributed to the first of the Seven Buddhas.






    Buddhist tantras are mostly concordant with Mahamaya rendered as Mahalakshmi as per prior information. The further rationale for Lakshmi Tantra is that Lakshmi--Venus is the Human Guru, derived from such things as Growth of Wisdom by Sarasvati. "Maya for Devas" is a different subject, Yogamaya, which is not the operative path for human beings.

    Off the cuff explanation by Gaudiyas:

    What is maya? Lord Krsna's transcendental creative power is called Yogamaya. She is real, and she has two aspects: Yogamaya and Mahamaya. Mahamaya, or maya, is the shadow of Yogamaya who manifests and manages this world. Regarding Yogamaya, she personally manages Lord Krsna's eternal abodes...


    Yogamaya is what we can only limitedly challenge or affect, natural law, but here we have truncated it through Jupiter which is really the Deva Guru (natural forces) operating through Rta (natural order), contrasted to Dharma (mental and social order). It has to do with Ganapati's necessary but ultimately limited role, which seems to dissipate him into solar prana rather than exalt him as a Yidam.

    Mahamaya does the entire awakening of Visnu from Pralaya and runs the cosmos, which is why it is mainly this that we are accessing and operating with the tantras.

    The marginal line between the material manifestation and the spiritual manifestation is the Viraja River, and beyond the Viraja, which is a transcendental current flowing from the perspiration of the body of the Lord, there is the three-fourths manifestation of God's creation (Srimad-Bhagavatam 2.9.10).

    "Real Yogamaya" is fairly close to the purified Buddhist "Real Paratantra". Either one is like a slight degree of objectivity, which is a slight error compared to transcendent consciousness on its own plane, and in the Buddhist view this has a purpose, i. e. in order to communicate with beings in a realm, it is necessary to perceive the same forms in that realm.

    Evanescent, shadowy Mahamaya is like the artificial parts of the Buddhist Parikalpita, i. e. an addiction to creating false things, which can be cured by yoga.








    Prabhavati is the Odiyana Pitha goddess who does have an origin with another one near her, Viramati--or, rather, Odiyana is the right ear, and Viramati is opposite, and the names also arise near each other.

    What happens in MMK is that vast retinues are summoned by Sakyamuni and Vajrapani and they all gathered to hear the Buddha's teaching which turns out to be--ok, Manjushri--you do it.

    What he does is Yamantaka Mantra, Great Lord of Wrath, which in its turn then summons a comprehensive list of beings, followed by some personal names into the segue':

    ...these and other great yaksha generals...

    then there are Raksasas headed by Ravana, and Pisacas, Nagas, Great Sages, Mahoragas, Garudas, and Kinnaras.

    Then it shifts to Sahampati Brahmas, who come from places such as Abhasvara and Prabhasvara, Akanistha, the Formless Dhyanas, and Kama Loka, on out to Lokapala roles.

    Then there are Danavas, Asuras, Planets, Lunar Mansions, Rasmi or Star Signs, and then it converts to a female format.

    Yakshis including Vasumati, Revatika, Hariti, Viramati, Prabhavati, Saumya, and Lokottara.

    Pisacis including Raudra, Ulka, Jvala, Dhuma.

    Finally are Matrs and Mahamatrs adding to twenty-one.



    Sahampati is just "a Buddhist Brahma" which is just Saha combined with Pati, a lord, particularly a married one.

    Brahma is the substratum of reality transformed by Buddha, Buddha transforms the Saha world, this is equivalent to Vairocana and Indra and the transmutation of Rupa Skandha in the Khecari point.

    Sahalokadhātu (सहलोकधातु):—[=saha-loka-dhātu] [from saha] m. the world inhabited by men, the earth, [Buddhist literature]


    I did not expect MMK to interfere with Prabhasvara, which it did, mostly by placing purified lights of the form world in front of it, Abhasvara:

    one (usually the 3d) of the classes of rūpāvacara gods in the 2d dhyāna-bhūmi

    ābhāsvare devanikāye Divyāvadāna 327.21—22, as a place of happy rebirth, in this class of gods (or in their dwelling-place); several times in Mahāvastu this place or state of existence is mentioned as the abode of creatures in general, or of a Buddha and his disciples, in interim periods between world aeons, after destruction and before re-creation of the world, so Mahāvastu i.52.4 ābhāsvare devanikāye upapadyanti, and 6—7 °rād devanikāyato cyavitvā; similarly 63.7; 338.15 ff.; pl. of the class as a whole, Mahāvyutpatti 3092; Dharmasaṃgraha 128; Saddharmapuṇḍarīka 359.1; 365.3; Lalitavistara 150.7; 315.5; 359.3; 396.15; Mahāvastu ii.314.7; 319.4; 348.19; Divyāvadāna 68.15; 367.12; Avadāna-śataka i.5.2, etc.; in Mahāvyutpatti 2291 named as an example of creatures in the third sattvāvāsa (q.v.), characterized as ekatvakāyā nānātvasaṃjñinas.

    Abhasvara is one of the Eighteen Rupavacaradevas whose highest form is Akanistha.

    Prabhasvara is not.

    Prabhasvara is in the Lokottara Siddhis, and here in MMK we are able to find a male Usnisa Lokottara, and a female yakshi one.

    Right there you almost have the definition of the White and Red Drops.



    There are some grounds to say this Yakshi--Prabhavati is the first "ogress" (probably pisaci) emanated by Mahakali in Adbhuta Ramayana. That book re-iterates many of the Puranic features, or, Canto Fourteen is Rama basically doing so from Mahat and Hiranyagarbha on out, and says:

    Ashwini Kumars are the two sons of the Sun-God; their
    mother was Prabha who is the daughter of Twasta.


    Prabha is a difficult name, since the Aswins are usually considered the sons of disguised Samjna:

    Best Mare or Asvini, 2) A nymph considered in later times as the mother of the Aśvins, the wife of the Sun, who concealed herself in the from of a mare.


    whereas it or they are related to yakshis since:

    Prabhā (प्रभा) is another name for Alakā, the “capital of Kubera”, as mentioned in the Śivapurāṇa 2.1.18.—“[...] Alakā is the capital of Kubera, the chief of the Yakṣas and Guhyakas. It is also called Prabhāvati, Mahodaya, Vasudharā and Vasusthalī and is fabled to be situated on a peak of the Himālayas, inhabited also by Śiva.

    Prabhā (प्रभा).—A celestial maiden of Alakāpurī. Once when the sage Aṣṭāvakra went to Alakāpurī this maiden gave a dance performance in his honour.


    So the name has one direction as yakshis or apsaras, and a different vein which is solar.

    Prabha is usually held as distinct from Samjna:

    The Sun-god had four wives—Saṃjñā, Rājñī, Prabhā and Chāyā. Saṃjñā gave birth to Manu from the Sun-god in whose race were born the kings. Prabhā gave birth to Prabhāta of the Sun-god.

    but her name may also be extended, as in Mahabharata:

    Prabhāvatī (प्रभावती).—The wife of Sūryadeva. (Śloka 8, Chapter 117, Udyoga Parva).


    That is to overlook the many uses of it in human form. The Prabha = Aswins' mother is a note, not the original text, so could be an error. It may be in one of the Puranas that way, but, they do not say which.



    Aswins are generally:

    sons of Badavā (saṃjñā) and Vivasvat born through the nose and hence Nāsatyas

    Were taught the aśvasiras mantra by the sage Dadhyaṅga

    inhabit the bhuvarloka

    tvāṣṭrī tu saviturbhāryā vaḍavārūpadhāriṇī | asūyata mahābhāgā sāntarīkṣe'śvinābubhau


    Daughter of Tvastr, you are Savitur's wife, having the form of Vadava.

    Why...she is the "Best Mare"...would this go back to Vadava?


    Samjna or Saranyu is the daughter of Tvastr. She has children in disguise, who are later able to obtain his highest grade of nectar more or less by magic. Vairocani is the wife of Tvastr. Roughly, Samjna was replaced by Chhaya (Shadow or Terrestrial perception), while she, Divine Perception, gives birth to Immortality in a mystical maze. This Immortality relies on its parents, Tvastr, the Divine Architect, and Vairocani, the heat of Tapas, which is why we have Vairocani as the thread through the maze.

    Samjna is the Buddhist Perception Skandha, or, rather, Apperception, the way past experiences agglomerate to current sensory perceptions.

    The skandha, heap, or accumulation, is Chhaya Samjna, and what you do with it is stop it. The same thing becomes reborn in a new condition, i. e. Divine Perception capable of wielding what the Aswins are doing.


    Srimad Bhagavatam asserts there is a third solar wife named Vadava who is the Aswins' mother. Wendy Doniger says this came up in the tenth century and deals with some of the variations in the story. Samjna does an angry dragon. The mother is unavoidably "Mare" and so it is Vadava, which is just a form of a horse, which is what it is calling her, not Vadavagni. More Samjna from the same author.

    When the Sun Finds Samjna as a mare:

    Metamorphosing himself into a horse, he rejoined his wife, and begot three other children, the two Aswins, and Revanta,and then brought Sanjana back to his own dwelling. To diminish his intensity, Vishwakaraman placed the luminary on his lathe to grind off some of his effulgence; and in this manner reduced it an eighth: for more than that was inseparable. The parts of the divine Vaishnava splendour, residing in the sun, that were filed off by Viswakaraman fell blazing down upon the earth, and the artist constructed of them the discuss of Vishnu, the trident of Shiva, the weapon of the god of wealth, the lance of Kartikeya, and the weapons of the other gods: all these Viswakarman fabricated from the superflous rays of the sun.


    Such a trident of Shiva is what we think of as the white bindu or bodhicitta to be melted by Tapas.





    This is not the same Ramayana variation as told in The Dream of Ravan, which, perhaps, culminates in Astras (Siddhis).


    It is Sita--Mahalakshmi emanating Mahakali, similar to Devi Mahatmya/Candi Path which says:

    Mahakali is assigned to the first episode. She is described as an abstract energy, the yoganidra of Vishnu. Brahma invokes her and she emerges from Vishnu and he awakenes. She is the Goddess of time.

    In that article, Mahakali has a common four arm form like in Adbhuta Ramayana.

    Wiki does not think she is exceptionally old as a devi:

    Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali appears in the Mundaka Upanishad (section 1, chapter 2, verse 4) not explicitly as a goddess, but as the dark blue tongue of the seven flickering tongues of Agni, the Hindu god of fire.

    According to David Kinsley, Kāli is first mentioned in Hindu tradition as a distinct goddess around 600 AD, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas.

    Her most well-known appearance is on the battlefield in the sixth century Devi Mahatmyam. The deity of the first chapter of Devi Mahatmyam is Mahakali, who appears from the body of sleeping Vishnu as goddess Yoga Nidra to wake him up in order to protect Brahma and the World from two demons, Madhu and Kaitabha. When Vishnu woke up he started a war against the two demons. After a long battle with Lord Vishnu when the two demons were undefeated Mahakali took the form of Mahamaya to enchant the two asuras. When Madhu and Kaitabha were enchanted by Mahakali, Vishnu killed them.

    There is a claim Adbhuta Ramayana was written in the twelfth century. The original Ramayana is usually estimated ca. 300-600 B. C. E., undergoing additions and variations ever since. Wiki suggests the Adbhuta is "intended as a supplement" to the original.

    From a novice review, Sage Narada prayed to Mahalakshmi to be born as Ravana and Mandodari's daughter, and then a complex sequence with mantra, milk, and blood, leading to an attempted abortion, which is when Sita gets ploughed up as usual. It overlooks Rama significantly, starting when he meets Parasu Rama, and not dealing with coronation when he goes home.

    Rama is reduced, Sita is increased, sounds like a supplement to me.

    No one ever questioned whether Lakshmi is involved in Ramayana, and what is actually more specific is that it is saying Mahalakshmi is behind Mahakali, as in Devi Mahatmya, which is likely older.

    The Preface is similar to tantra, referring to a pristine hundred-thousand verses of Rama, an earthly version of twenty-five thousand verses (standard Ramayana), and then specifically asks for the most special and secret parts, to which the reply is:

    ...the stupendously glorious and fascinating deeds done by Sita, who
    was a gross manifestation of the subtle primary, eclectic,
    ethereal energy and sublime force of creation, which are robust,
    vigorous and effective and called Mother Nature or ‘Prakriti’,
    assumes a preeminent role’ (canto 1, verse no. 11)


    Canto Seventeen is the "real" beginning wherein Sita knows since childhood that the "exoteric" Ravana killed by Rama was just the little brother of a big one in Pushkar. She has heard this from a Brahmin pilgrim. He has already just "returned and been coronated" as in traditional Ramayana, and she springs this.

    The Sages already call him Jagganath at this point. Sita, at first, is sarcastic and sneers, but then becomes aware that will be seen as out of character, and narrates.

    When she gets to the origin legend:

    Beyond the ocean of curd, whey or buttermilk, scum or spume
    and water, there is an ocean of sweet water which surrounds the
    island known as ‘Pushkardwip’ like a ring or moat girdling it from
    all the sides (36).

    In that island (or a small continent) called Pushkar, there is a divine
    glorious lotus having 10,000 petals, which is radiant and glowing like
    a flame or filament of a great fire burning splendourously. Upon this
    great lotus, there is the exalted seat of Brahma, the creator (37).

    At the center of that island, there is a great mountain called
    ‘Maryada’. It is regarded to be as of the same stature as the
    mountain on the northern banks of the lake called Mansarovar.

    This mountain has abodes for Indra and other gods made by Viswakarman. As to who is there:

    Sumali, who was the best and the most superior amidst the demon
    race, had a daughter named Kaikasi. She became the wife of sage
    Vishrawa and produced two sons, each one called Ravana (40). One
    had a thousand faces (heads) and the other one had ten faces (heads).
    At the time of their birth, the Gods had declared from the heavens that
    there would be two Ravanas.

    The bigger one "takes residence" in Pushkara by unspecified means, and eventually:

    All the divine mountainous abodes of Gods lying to the north of the
    Mansarovar Lake (see also verse no. 38) have been breached and
    conquered by him, and all their great Lords, the various Digpals,
    have been collectively subjugated by him (46).

    He lives and enjoys life there (at Pushkar) along with the members
    of his race (demons) belonging to his mother’s side. This is a
    charming and magnificent city belonging to Indra, the king of Gods.
    He (the 1000-headed Ravana) lives there (47).


    [Note :- His mother Kaikasi was the daughter of the demon
    race while his father was a sage named Vishrawa. See verse
    no. 40. The episode of Ravana’s birth and how this sage
    came to become the husband of Kaikasi has been described
    in detail in ‘Adhyatma Ramayan’ by Veda Vyas in its Uttar
    Kand, canto 1...]

    So, it invokes a sidebar from what was also suggested as a twelfth-century alternate Sanskrit Ramayana.

    It goes on to describe a city of demons barring others, and its glories and splendors and items and so on, saying that in Lanka, the demons were atheistical, but here, they do Tapas and Devotion, mainly for the means of a magic shield against any Devas, Sages, etc. that try to get in.

    Sita proceeds to explain that during four months, the Brahmin told her "many such" awe-inspiring and mysterious things; but this one was perhaps more terrible, "lived in her heart" until this day.

    They get on an airplane and fly to the north side of Manas Lake.

    In Canto Twenty-one, Ravana uses a wind weapon to blow Rama's army back all over India.

    Rama kills many demons anyway, but then is himself defeated.

    Sita repeats her sarcastic sneer.

    When she sees Ravana:

    the daughter of Janak (Sita) laughed derisively with a shrill, bone chilling tone

    and what she does is "metamorphose". Her first item is a Chained Whip, followed by Sword and Skullcup. She lunges and decapitates Ravana's 1,000 heads in less than a fraction of a second with her Sword. She proceeds to also attack demons with her nails, feet, her gaze, her blast of wind, and:

    Letting out a bone chilling and hair raising shrill cry of
    war, she broke the backbone of some of them (18).

    Some are dragged into the ocean, she strangles them, vice-grip crushes their heads, then starts decorating herself with heads, playing ball, and begins emanating mothers or female spirits of war, as if she didn't really need them.

    Its self-description says it was narrated by Brahma, to Narada, to Valmiki, who first told it to Indra, secondly, to the current querent, Bharadwaj, precisely because he asked about something that no one had before. Recapitulating its contents, one wonders if Pushkar is an island:

    Sri Ram came to know about the place where
    this Ravana lived —it was on a mountain range to the north of
    Manas, in the city of Pushkar (27-28).

    It is a bit odd, Prayag is the normal departure point where they met Bharadwaj, who some say had invented three kinds of airplanes. He met Yajnawalkya. In legend, he was the son of Atri who lived thousands of years with Valmiki. Slightly different than the root Vedic sage of the same name, son of Angiras or Bhrihaspati. In either case, it is a guy who should have known the normal contents of Ramayana.


    Canto Fourteen or part of the time it spends on Rama, mainly reviews Upanishadic terminology and such as the stages of creation involving non-duality up to primordial males throught the Hiranyagarbha. Historical Sita followed Agni Vaisvanara Fire Philosophy, which has something to do with him being split or broken and barricaded by his son Samsya "Problem", with vehicles or vessels, Vahni and/or Dhisnis, as a collective system of re-assembly. Rama briefly refers to it:

    Whatever food that is eaten is digested in the body by the eternal
    fire present in it. This fire is called ‘Lord Vaishwanar’ who
    performs this task on my instructions and authority. That is, I give
    that ‘fire’ its strength, ability, potential and energy to enable it to
    digest all that is eaten by a creature. The fire acts upon my specific
    direction and command. I have appointed this Vaishwanar Fire
    (Agni) to perform this task on my behalf (15-15½).

    [Note :- (i) The word ‘Vaishwanar Agni’ refers to
    the eternal fire which burns in the cosmos in a subtle and
    imperceptible form to keep the flame of life inherently and
    constantly burning. It represents the ‘consciousness’ factor
    of the creation; the ‘warmth’ of fire is a sign of life whereas
    ‘cold’ is a harbinger of and synonym with death. Amongst
    the five elements created at the time of creation (earth, water,
    fire, air, space), it is the fire which is the only element which
    has energy, heat, light, splendour, dazzle and radiance. The
    water will be nothing else but ice and of no use to the creature
    without fire as far as its ability to harbour and sustain life is
    concerned. Similarly, the earth would freeze cold and covered
    with a thick sheet of ice were it not for the eternal fire burning
    inside it, even under the ocean bed covered to the brim with
    water which acts as an antidote to fire. This very fact shows
    that the Supreme Lord is active in the fire and prevents it
    from being doused by water because the Lord needs it to
    sustain life as much as he needs the water. Further, without
    heat there will be no seasons, no currents, no movements in
    the air. There will be no formation of clouds and there will
    be no rainfall in the absence of heat. In brief, the vital spark
    of life in this world is represented by the ‘fire element’, hence,
    it is called the ‘Lord of the Vishwa’, or Lord Vaishwanar.
    Sri Ram means that this fire element derives its vitality,
    stamina, energy and potentials from Brahm whose
    manifestation Sri Ram is.]

    Then mentioning Varuna--Nirajan and Amrita--Soma.

    Nirajan is a "lamp rite" for Agni, but, in the inner sense, means a river of warm energetic flow in the nadis, i. e. driven by Amrita.

    After Sesha, who keeps earth from drowning in the ocean, it gets to Vadva or Mare's Mouth Fire in verse 34. Both of these are involved with the fire at the end of the world that heralds Pralaya.


    It is a commentary on The Laws of Manu which states that fire is born of water, as in the case of lightning, and of the Mare's Mouth. The Ocean Mare is also said to be the balance point of Water and Fire or female and male. This is why it is less accurate to call the "electrical" Agni...electric...because it is a comprehensive or multi-fire born from water. Well, yes, it is still true in the case of conventional lightning, but, the family could perhaps be called Ocean Fire, to include Vadavagni.

    Sage Aurva or Urva is the source of this destructive fire.

    He intended to destroy the world, but, the Pitris dissuaded him.

    In Mahabharata:


    "Vasishtha continued, 'Then, O child, Aurva cast the fire of his wrath into the abode of Varuna. And that fire which consumeth the waters of the great ocean, became like unto a large horse's head which persons conversant with the Vedas call by the name of Vadavamukha. And emitting itself from that mouth it consumeth the waters of the mighty ocean. Blest be thou! It behoveth not thee, therefore, to destroy the worlds. O thou Parasara, who art acquainted with the higher regions, thou foremost of wise men!'"


    Sarasvati personally carries it to the ocean, after being requested by her father, Brahma. She has a difficult relationship to herself, like Varuni:

    The Śakti of Brahma, represented as both his daughter and his consort, is the goddess of speech, Sarasvati. She represents the union of power and intelligence from which organized creation arises. Speech is the power through which knowledge expresses itself in action. Sarasvatī is the source of “Sonic-creation”. Creation or rather “Projection” of the universe occurs in two parallel processes — creation through sound (nāma) and the projection of forms (rūpa).

    Brihadaranyaka Upanishad calls it "the universal fire", and, elsewhere it is determined that the Mare was already in the ocean and simply received the fire, which was the Tapas heat or Tejas of Aurva. Various mare stories are given including Rati. Mahabharata speaks of the mare already being there to catch the Tejas.

    This fire is unceasing, in some ways considered the axis of Kama and Tapas, and devours or drinks water generally.

    Ultimately it devours the offerings of Horse Sacrifice.

    Because that is symbolic, as per Brihadaranyaka Upanisad, then we would think in terms of what it symbolicly means to the human body or aura. It is similar to the heat of the earth's core. Adbhuta Ramayana locates it under the "entire" ocean.

    It is generally said to enter her mouth, Vadavamukha having this meaning--which is also a Chakrasamvara Dakini. In Mahamayuri Sutra, right before Kali Mahakali, is an Asvamukhi; this name may tend to mean a Kinnara, and -mukhi is usually Buddhist for "having the head of", but "Mare's Mouth" might fit the context better there.

    In a survey deciding there is no single goddess of this mare, she is not sub- or pan-oceanic, but in Shiva Purana, the mouth of a river:

    The mare-fire is also associated with Death; in one myth it is said
    that the mare (vadava) was a river named the Vadava and that the river
    was given to Death as a wife; in gratitude to Siva for this gift, Death
    established a great linga known as Mahanala (the Great Fire) at the mouth
    of the Vadava River (BP 116. 22-25).

    She is called the mother of horses of a chariot in a Mahabharata section of a Gandharva explaining the science of illusion or Caksusi. It describes Samjna rather fleetingly:

    And Tvashtri, of the form of Vadava (a mare), became the wife of Savitri. And she gave birth, in the skies, to two greatly fortunate twins, the Aswins.

    Vadava is called the mother of chariot horses in a section about a Gandharva explaining the science of illusion or Caksusi, spiritual sight, and the shattered vajra.



    From Dharmawiki:

    According to Agni Purana, Shuchi born of Svahadevi is the Badavagni, Badabagni or Vadavagni (बडवाग्निः), the Agni that resides in the underground parts of the earth (Agni. Pura. 20.16)


    Suci is a son, Needle, with whom we are familiar; but this would be the fire, not the mare. I have yet to come across a separate creature waiting to hold this fire, versus it simply being cast in mare form. But there may be something.


    Suci Mudra is used by Bhairavi in the context:

    Fig. 148 to Fig. 161 are the depictions of Bhairavi Cakra/Cakra Puja practice of the Tantric cult. Usually in sculptures, the practice of Bhairavi Cakra is always depicted with a group of male tantric practitioners who are lesser in height than the woman and standing in a nude pose with or holding their erect virile membrane (penis) in their hand. And they are in anjali mudra, in front of or at the legs of the gigantic nude women, (hereafter called as Bhairavi), who is showing her secret parts in a standing pose.


    She may do other mudras; the shorter males being a yaksha symbol in Buddhism, and so this Tamil sculpture is similar to Jambhala:









    Mahabharata continues with a section using a male as the fire, not necessarily the vadava form, evidently with many of the solar powers re-distributed through Jupiter::

    SECTION CCXVIII

    “Markandeya continued, ‘Vrishaspati had a wife (called Tara) belonging to the lunar world. By her, he had six sons partaking of the energy of fire, and one daughter. The fire in whose honour oblations of clarified butter are offered at the Paurnamasya and other sacrifices, was a son of Vrishaspati called Sanju; he was of great ascetic merit. At the Chaturmasya (four-monthly) and Aswamedha (horse) sacrifices, animals are offered first in his honour, and this powerful fire is indicated by numerous flames. Sanju’s wife was called Satya, she was of matchless beauty and she sprang from Dharma (righteousness) for the sake of truth. The blazing fire was his son, and he had three daughters of great religious merit. The fire which is honoured with the first oblations at sacrifices is his first son called Bharadwaja. The second son of Sanju is called Bharata in whose honour oblations of clarified butter are offered with the sacrificial ladle (called Sruk) at all the full moon (Paurnamasaya) sacrifices. Beside these, three sons of whom Bharata is the senior, he had a son named Bharata and a daughter called Bharati. The Bharata fire is the son of Prajapati Bharata Agni (fire). And, O ornament of Bharata’s race, because he is greatly honoured, he is also called the great.

    Vira is Bharadwaja’s wife; she gave birth to Vira. It is said by the Brahmanas that he is worshipped like Soma (with the same hymns) with offerings of clarified butter. He is joined with Soma in the secondary oblation of clarified butter and is also called Rathaprabhu, Rathadhwana and Kumbhareta. He begot a son named Siddhi by his wife Sarayu, and enveloped the sun with his splendour and from being the presiding genius of the fire sacrifice he is ever mentioned in the hymns in praise of fire. And the fire Nischyavana praises the earth only; he never suffers in reputation, splendour and prosperity. The sinless fire Satya blazing with pure flame is his son. He is free from all taint and is not defiled by sin, and is the regulator of time. That fire has another name Nishkriti, because he accomplished the Nishkriti (relief) of all blatant creatures here. When properly worshipped he vouchsafes good fortune. His son is called Swana, who is the generator of all diseases; he inflicts severe sufferings on people for which they cry aloud, and moves in the intelligence of the whole universe.

    And the other fire (Vrihaspati’s third son) is called Viswajit by men of spiritual wisdom. The fire, which is known as the internal heat by which the food of all creatures is digested, is the fourth son of Vrihaspati known through all the worlds, O Bharata, by the name of Viswabhuk. He is self-restrained, of great religious merit, and is a Brahmacharin and he is worshipped by Brahmanas at the Paka-sacrifices. The sacred river Gomati was his wife and by her all religious-minded men perform their rites.

    And that terrible water-drinking sea fire called Vadava is the fifth son of Vrihaspati. This Brahmic fire has a tendency to move upwards and hence it is called Urdhvabhag, and is seated in the vital air called Prana. The sixth son is called the great Swishtakrit; for by him oblations became swishta (su, excellently, and ishta, offered) and the udagdhara oblation is always made in his honour. And when all creatures are claimed, the fire called Manyauti becomes filled with fury. This inexorably terrible and highly irascible fire is the daughter of Vrihaspati, and is known as Swaha and is present in all matter. (By the respective influence of the three qualities of sattwa, rajas and tamas, Swaha had three sons). By reason of the first she had a son who was equalled by none in heaven in personal beauty, and from this fact he was surnamed by the gods as the Kama-fire. (By reason of the second) she had a son called the Amogha or invincible fire, the destroyer of his enemies in battle. Assured of success he curbs his anger and is armed with a bow and seated on a chariot and adorned with wreaths of flowers. (From the action of the third quality) she had a son, the great Uktha (the means of salvation) praised by (akin to) three Ukthas. He is the originator of the great word and is therefore known as the Samaswasa or the means of rest (salvation).’”

    [ The body, the exciting Cause of our actions is an uktha, the soul of the vivifier of the body is the second uktha, and the Supreme Spirit, the inciter of the soul is the third.]

    The prequel is with Agni submitting himself to Angiras and entering water. It is Yudhisthira enquiring about how one fire becomes many, which results in the birth of Jupiter. With his first wife Subha he has seven daughters including Arcismati. Afterwards, Uktha produces a five-colored flame being which proceeds with creation using "that terrible fire appertaining to the Pitris" in order to begin.

    Samāśvāsa (समाश्वास).—m.

    (-saḥ) 1. Trust, belief, confidence. 2. Relief, encouragement. 3. Recovering breath. E. sam and āṅ before śvas to breathe, ghañ aff.

    These chapters collectively are Markandeya Samasya, a riddle or puzzle completing something incomplete, but also the "shattered Agni" of Vayu Purana. The rationale or summary for this is that Markandeya remained aware during Pralaya.




    Mahakali:


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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Going from the previous, then looking at the Jewel Family as it seems to stand on a dharani basis, is probably simplest and most direct with Cintamani Tara, who is mostly just a Yellow Tara offering fruit from a wish-granting tree.

    Secondly there are Ila and Gopali Vasudharas, and Pratisara.

    Pratisara in Pancha Raksa 206 appears to be a caitya-crowned devi who has two retinue members in Jewel Family. The first is Mayuri which seems strange because it is a change for her because she is usually in Karma Family, but, if we turn to Sutras with Dharanis, then Mayuri rapidly becomes something golden and similar to Golden Light Sutra.

    In Mahamayuri Vidyarajni, after the seventy-three raksasis is a dharani to insure longevity of a hundred years and provide extensive boundaries. It includes the Gauris, such as Janguli, Candali, etc., and towards the end has Pratisara and Sitabani. It does not have the full Pancha Raksa, but, those two are considered to be related to places, and Mayuri is perhaps the wilderness overall, or at least is an ancient sabari.

    As far as I can tell, in the Pancha Raksa, the other members Mantranusarini and Pramardini are not local deities or any type of shakti practice from the forest or otherwise. And so Pancha Raksha appears to be mixing Durga types with others who only arise in Buddhism, which happen to have simple names indicating Mantra practice and Samadhi.

    In PR 206, it seems that Pratisara has a Caitya, which usually means the emanation is by Vairocana. In order to do this, she switched Mayuri to Jewel Family in a straightforward manner using a "protect you in the womb" mantra, and then the White or Sukla Mantranusarini who is in the West or Lotus Family area is also still in Jewel Family. In her Twelve Arm form she is doing Dharmachakra Mudra, meaning her teaching moment, and again this is very selective because the regular teaching gesture is called Vyakharana Mudra, and so the name that "copies" the way Buddha did it, is an indicator of potency. Her second hand does Samadhi Mudra. She has a radiant jewel and a Kalasa or Vase marked with a Lotus. Suddenly it starts to sound like "the Vow of Lotus Family" that the creatures and Gauris, etc., are under.

    That is why Buddhism is safe, because the malevolent entities it handles are all oath-bound, i. e. by Padmasambhava or someone like that, mostly Buddha or Vajrapani or Ghasmari if we go to the Indian sources, whereas other shamanism is considered like necromancy as they are not. According to oracles, this is the only difference.

    By the end of the retinue, the Pancha Raksa conjure a standard Jewel Family syllable, Tram, except it is on Sitavani who is in the North in Tathagata Family, none of which exactly fits together in any of the patterns. This Tram is the protection syllable, generally speaking. And so for the most part, it is going to overwrite Cintamani Tara's Brim or Vrim syllable, which is fairly specific to her.

    Dharmachakra Mudra over a Vase is the same as a Peacock Feather inside one, or, the mudra is really an imitation of a peacock's head. If you kind of liven up...most of the Buddha statues where he is kind of hiding it, and, instead, it comes out "to make a point" in conversation, like might be done by Mantranusarini who unlike Buddha is only doing it with one hand anyway, then, this symbol, in the area of Lotus Family which is generally Peacock Rider, sounds like it is talking about Lotus and pointing it out.

    What does, "the Vow of Lotus Family", as held by somewhat subterranean creatures mostly associated with Vajra and Jewel Families, accomplish?

    Sounds like it is probably this which she is talking about, and, Lotus Family is supposed to govern Pranayama, which this practice clearly is, Mahabala and Raudra Krama. Pramardani is the Raudra Krama subject as first stamped out in wrathful guise, and Mantranusarini is some kind of unfoldment of this, probably a dharani, which it is, and she perhaps shares in the highest ranking epithets:


    vimale vipule jayavare amṛte viraje


    Vimala is a somewhat rare but traceable name, meaning "Stainless", applied to Katyayani, Kurukulla, Parasol, and Dhvajagrakeyura. What is interesting here is that it appears to be applied against its opposite, stained or Samala Vidya Dhara, the Four Kings:


    nānākusumābhikīrṇā sāṣṭaloka-
    palādidevaiḥ saṃpūjanīyā sacaturmahārājikadevasaṅghaiḥ
    saṃstutā samalāvidyādharair arccitā /



    closest thing to information or practice notes she has.



    As to her second name, in one of the Sutras we found that Pratisara is Vipula, and that Vipula Devi means one resident at the mountain near Rajgrha where Buddha and most of the Historical Buddhas hung out. So, we think she is a Durga-like autochthonic entity which has been converted to Buddhism, and later associated with amulets. Such a mountain was famous in Pali and Chinese:

    2) Vaipulya (वैपुल्य) is the name of a mountain, as mentioned in the Tiṃsamattā-sutta (or Lohita-sūtra), according to chapter XLIII.—Accordingly, “the bones (asthi) that a single man leaves during a single kalpa surpasses in height the great mountain Pi-feou-lo (Vaipulya).—[A note in the K’i-tan says: This is an Indian mountain and as the natives see it constantly, it is easy to believe it]. Thus, the man undergoes the sufferings of saṃsāra during innumerable kalpas”.


    It has an ordinary meaning of "vast"; according to Wiki, Sutras first appear in the Brahmana and Aranyaka layer of Vedic literature...Vaipulya is a synonym for "Mahayana Sutras".

    If the meaning of "mountain" was more related to another deity in a Sutra found elsewhere, could this one tell us something else, such as, perhaps, about mantras found here in Sadhanamala?

    Vipula already "is" Pratisara, who, so to speak, is being redirected and enfolded under and into Mantranusarini, along with vimala, a quality probably more already associated with Lotus Family. If vipula has both the mountain and the Pratisara meaning, and is well-known, is there anything else to it?


    In one of the first exercises in Sadhanamala, Trisamaya Raja:

    aśeṣāḥ siddhayo ramyā vipulā arthasampadaḥ /

    There is a Vipula Siddhi mentioned previously, and then it is something like the actual manifestation of a Pancha Jina or Five Buddhas before saying the line "explanation of Vipula Ramya Siddhi", in a series of articles that seem like the basis of the wide variety of deities used throughout the book.


    The colophon of Vistara Tara:

    puṇyaṃ mayā bhagavataḥ khalu sādhane yat
    ptāptaṃ prakṛṣṭam amalaṃ vipulaṃ ca tena /
    tāre trilokavidite varasādhanaṃ te
    kṛtvā jano jinapuraṃ tvatitaṃ prayātu //
    tārāyāḥ sādhanaṃ kiñcid vistaraṃ viracayya yat /
    labdhaṃ tena śubhaṃ lokaḥ prayātu śmapattanam //


    Amala Vipula possibly refers to Lakshmi or else it is pretty much the same as Vimala. Similarly, Vipula is also a synonym to Vistara, expand, expansive.


    The end of Kurukulla 179:

    tāṃ prāpya sveṣṭayogena pūjayed buddhamaṇḍalam //
    vipulā siddhir na kenāpi vihanyate /

    // iti uḍḍiyānavinirgatakurukullāsādhanam //

    So there is such a thing as Vipula Siddhi that goes on in here.




    Mantranusarini's name Jayavara sounds like it would be fairly common, but, this is not quite the case.

    If it was split, you could find it in the Eight Lakshmis song, followed by what we can find to be difficulties in spelling and translating:

    Jaya vara varnini

    Jaya vara varsini

    Jaya vara varnani



    If we bypass all those versions, we can find an accuracy using a translation of the version in the first spelling:

    Your form is that of sacred chants, you are pervaded by sacred chants.

    I don't know what that means when as a non-native, I can instantly spot the deficiencies from the majority of the versions, which seems screamingly obvious because the line says:

    Jaya vara varnini vaishnavi bhargavi mantra svarupini mantra maye |sura gana pujita shighra phala prada jnana vikasini shastra nute |

    I am looking for it to tell me something about mantra svarupini, and almost none of the other versions do.

    It sounds to me like she is headed to a Sura--Varuni Gana Puja where we are going to celebrate Jnana which is Transcendental Knowledge, but they are trained not to think like this.

    Further, they have underwhelmed her by not indicating that Bhargavi is perhaps the most cherished epithet given in any of the books.


    If it was spaced differently, you would get:


    Varavarṇinī (वरवर्णिनी).—f. (-nī) 1. An excellent woman. 2. A virtuous woman. 3. A woman in general. 4. Turmeric. 5. Lac. 6. A brownish yellow pigment; also rocanā and gorocanā. 7. A plant, commonly Priyangu. 8. A name of Gauri. 9. Saraswati. 10. Lakshmi. E. vara best, varṇa class or colour, aff. ini and ṅīṣ .


    But if I split off Jaya Vara, then it is:

    Varṇinī (वर्णिनी).—

    1) A woman (in general).

    2) A woman belonging to any one of the four principal castes.

    Female of a Varna, caste, color, family, etc.


    Madhu sudana is accepted or interpreted as one name in the song, Madhusudana. So, the natives are already tinkering with the spacing of it.


    Quixotically, Jayavare is actually a mudra in Karandamudra Dharani, which is from a Sarvatathagata Adhistitha Sutra.

    Perhaps more readable here. It is possibly this Jayavara which causes the Dharmachakra to turn.

    The Sutra is interesting because its subject is really a stupa and the spell is called:

    the dharani of the seal of the reliquaries of all three times




    As to why that is or what it means in terms of Agni Hotras or priests in Mithila and Bihar:

    Proclaiming the last to arrive as the best Brahmins, the king divided the Brahmins of his kingdom into
    three groups: a Brahmin who arrived first was a common Brahmin, a jayavara, one who
    arrived second was ‘deserving of respect’, a yogya; and one who had completed all of his
    required duties before arriving was a śrotriya.

    So, if, roughly, the second stage is yogya:

    3) Useful, serviceable.

    4) Fit for Yoga or abstract meditation.

    then, likely, Jayavara is like Sutra-to-Tantra, or beginning to blend mantra and prana, which is what this Raudra Krama is about, like in PR 206. The deity concerned is doing a Dharmachakra as is being discussed in Karandamudra Dharani Sutra, which seems to have a specifically Buddhist jaya vara.


    In Nepal, Mantranusarini's form is distorted, but they translate her Sutra in which Ananda winds up using her to cure the plague of Vaisali.


    In older Sutras, Buddha's presence was said to do that. Vaisali was a well-known major city in Ramayana and Buddhism:

    It was the capital city of the Vajjian Confederacy of (Vrijji mahajanapada), considered one of the first examples of a republic around the 6th century BCE. At the time of the Buddha, Vaiśālī, which he visited on many occasions, was a very large city, rich and prosperous, crowded with people and with abundant food. There were 7,707 pleasure grounds and an equal number of lotus ponds. Its courtesan, Amrapali, was famous for her beauty, and helped in large measure in making the city prosperous.

    The region in general was important for allowing and supporting Sramana or non-Brahmanical practices, such as begging for food, and had Viharas and many other facilities also used by Jains and "heretical" Hindus, and so Buddhism may have been "equal" to that but tended to fare better in debates. Sitavana and Sapta Parna Guha or Cave of Seven Leaves are well-known, and near Vaisali is the Monkey's Pool, thought to have been the scene of Madhuvasistha, who was a monkey that offered honey to Buddha. The monkey becomes so happy that he dances into a precipice and dies and:

    He was incarnated in the womb of Vasiṣṭha’s wife and, as a reward for his merit, great wonders were realized: during the months of his gestation, a rain of madhu i.e., honey, fell from the sky (source C); on the day of his birth, all the utensils in the house were spontaneously filled with honey (source E). As honey seemed to follow him everywhere and his father was called Vasiṣṭha, he was given the name Madhu-Vāsiṣṭha (sources C, E).

    Amrapali is in Mahavastu when Buddha visits Vaisali, she gives her Mango Grove, amra being the mango.
    Amrapali is also in Prajnaparamita Sutra.

    "Demon" as given in those translations is "Amanusya" or non-human creatures, a standard set that begins with Devas. Usually, people like to translate deva as "god", but it is a Luminous Being, that is all. Therefor it is non-humans such as devas and others that are subjugated around Vaisali.


    Amrita and Viraj probably need no more explanation as to why they might be used here in Mantranusarini's names. Although it can be found with Parasol in other places, this is the only Viraj in Sadhanamala. Inversely, although Viraj may have been widely discussed in the Aranyakas, now it is like a precise, tiny little pin. PR206 is no doubt simpler than Parasol as Viraj because her practice is at the level of Paramartha, which, itself, has only about two other practices with Manjushri and something from Maitri.

    Sadhanamala is almost a non-book of Parasol and Vasudhara who are expanded elsewhere in Nepalese Dharanis. Instead, it probably has more Kurukulla, Marici, and Vajra Tara than is found elsewhere.




    In Mahapratisara Vidya Vidhi, the corresponding Pancha Raksha mantras are just used by Pratisara alone. Each also has an individual follower practice, so you can build up to 206. Here they were in simple form in a Tibetan transmission in France.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    The Timeless Mystery of the Count de Saint-Germain
    By W.A. Harbinson
    From New Dawn Special Issue Vol 11 No 3 (June 2017)

    While historical records prove that the man known as the Count de Saint-Germain actually existed, his life seems to defy common sense and appears almost magical. Was he a genius or charlatan?

    While the exact date of Saint-Germain’s birth remains unknown, he himself stated (and the known facts support his contention) that he was the son of Franz-Leopold, Prince Ragoczy of Transylvania, and Princess Charlotte Amalia of Hesse-Wahnfried, who were married in 1694. After his brothers had been taken prisoner by the Austrians and his parents had died, he was brought up by the executors of his father’s will – the Duc de Bourbon, the Duc de Maine, and the Count of Charlerie and Toulouse – and through them was introduced to the courts of Europe as someone of princely blood and almost royal descent.

    According to the historical work Illustri Italiani by Caesare Cantu, librarian of the great library in Milan, when this particular embodiment of Saint-Germain came of age, he was educated at the university of Sienna, travelled a lot in Italy and Spain, was greatly protected by the last Grand Duke of Tuscany, and eventually inherited his father’s considerable legacy, which may be why he never seemed to need money.

    Little else was known about him until 1740, when he began turning up in various historical records as a man who appeared to be in his early thirties, moved in fashionable Viennese circles, and was renowned for his unusually sombre clothing, paradoxical fondness for spectacular diamonds, and penchant for telling extraordinary tales about his past life, including his claim that he had known the Holy Family (Jesus, Mary & Joseph) intimately; been present at the marriage feast at Cana; been a good friend of Anne, mother of the Virgin Mary; personally proposed her canonization at the Council of Nicaea in CE 325; and prophesied that Christ would come to a bad end.

    The Saint-Germain of those days was widely spoken of as an enigmatic and remarkable figure who practised alchemy, was an expert jeweller, had travelled widely in Europe, Africa, India, China and Persia, was known to speak many languages fluently, including Chinese, Hindu and Persian, composed music and played the violin. (Pieces of music, dated 1745 and 1760, supposedly composed by, and certainly signed by, Saint-Germain, are to be found in the British Museum in London.) He also had a reputation as a ‘magical’ healer, was reported to be deeply involved in numerous esoteric orders, including the Rosicrucians and Templars, and was rumoured to be able to turn base metal into gold. He frequently described machines that bore remarkable similarities to locomotives and steamships (which had not been invented at the time) and there were suggestions he possessed the Alchemist’s Stone, had drunk from the Fountain of Eternal Youth, and was approximately 4,000 years old.

    With regard to Saint-Germain’s frequent talk of futuristic machines, the library in Troyes, France, is in possession of a document signed by him, in which he describes an experience that seems remarkably similar to modern space travel: We moved through space at a speed that can be compared with nothing but itself… Within a fraction of a second the plains below us were out of sight, and the earth had become a faint nebula. I was carried up, and I traveled through the empyrean for an incalculable time at an immeasurable height. Heavenly bodies revolved, and worlds vanished beneath me… (La Très Sainte Trinosophie)

    There were many who believed Saint-Germain was a confidence trickster, but just as many who took him seriously – not least the governments of the major European countries, since the Count, apart from being talked about as a remarkable man, also had the reputation as someone involved, rather shadily, in politics. On the one hand accused by the French police of being a Prussian spy, he was, on the other, suspected by the Prussians of being a Russian agent. To complicate matters further, in November 1745, in a London obsessed with Jacobite plotters and their French sympathizers, he was arrested by the English authorities, accused of having pro-Stuart letters in his possession. He claimed indignantly that the letters had been planted on him, and was eventually released.

    Commenting on the case in a letter to Sir Horace Mann, dated 9 December 1745, Horace Walpole, the famous British art historian and esteemed man of letters, wrote the following odd description: “He [Saint-Germain] has been here these two years, and will not tell who he is or whence, but professes that he does not go by his right name.” He also wrote that Saint-Germain “sings and plays the violin wonderfully” but added that he was “mad and not very sensible.”

    A Surprisingly Youthful Saint-Germain
    The even more bewildering and legendary aspects of the original Saint-Germain began shortly after the Count had, according to the French Marshal de Belle Isle, cured him of a serious illness and was rewarded by being taken to Paris, where the grateful Marshal set him up with apartments and a laboratory for his alchemical experiments. According to Touchard la Fosse, in his Chroniques de l’Oeil de Bœuf, shortly after Saint-Germain’s arrival in Paris he attended a soirée given by the aged Countess von Georgy, wife of the deceased ambassador to Venice, who remembered meeting someone with the same name as, and similar appearance to, Saint-Germain in Venice in the 1670s. When the surprisingly youthful Saint-Germain confirmed to the ageing Countess that the man she had met all those years ago had been himself, she could scarcely believe it, since this would have made him nearly a hundred years old. However, Saint-Germain insisted he was that same man and that he was in fact very old. But then, when the stunned Countess said he must be “a devil,” Saint-Germain “trembled violently,” told her not to use such terms, and fled from the room.

    A possible substantiation for Saint-Germain’s claim that he was the man known to the much younger Countess von Georgy in the 1670s was recorded by Baron Charles Henry de Gleichen, a Danish diplomat. In his published memoirs, Baron Gleichen stated that the composer Philippe Rameau and a relative of the French ambassador to Venice had both assured him they had known Monsieur de Saint-Germain in the early 1700s when, according to them, he appeared to be a man of about fifty. The Baron also confirmed that Saint-Germain had a fondness for unusual diamonds when, in the same memoirs, he wrote: “He showed me some remarkable things – a great number of coloured brilliants and other stones of unusual size and perfection. I thought I was seeing the treasures of the fabled Cave of Jewels…”

    Could these unusual diamonds have been the products of alchemical experiments? Certainly it was believed at the time Saint-Germain was an alchemist who could turn base metal into gold, or glass into diamonds, and whose obsession with alchemy might also have led to his discovery of the elixir of life. This was thought to explain why many people remembered him from years previously and why he seemed relatively ageless. This latter aspect of his personality was heightened by his oft repeated claims that he never ate – and certainly he was never seen eating or drinking in public.

    In 1758, while still in Paris, Saint-Germain was presented to Louis XV by Marshal de Belle Isle in the saloon of Louis’ mistress, Madame de Pompadour. He seems to have charmed both of them, since two years later, in 1760, he was sent by Louis XV to the Hague as his personal representative, to help settle the peace treaty between Prussia and Austria. While in Holland, he fell out with his former friend, the notorious philanderer Casanova, who then tried to discredit him. This may have encouraged the enmity of Louis’ Foreign Minister, the Duc de Choiseul, who convinced Louis that Saint-Germain had betrayed him and should be thrown into the Bastille. To save his neck, Saint-Germain fled to England.

    Subsequently, a London Chronicle article of 3 January 1760, which was mainly concerned with Saint-Germain’s then widely reported ‘eternal youth’, stated: “No one now doubts it, although at first it was thought to be pure fantasy. In fact, everyone believes that, among other things, he knows of a panacea for all diseases and is able to overcome old age.”

    What this proves so far is that Saint-Germain definitely existed, that he was very odd indeed – a musician and composer, an astonishing linguist, an authority on world history, a magician and alchemist rumoured to be 4,000 years old – and who, at least according to historical records, did live a remarkably long time.

    However, from this point on, the recorded facts make his life much more concrete.

    Saint-Germain: A Legend Built from a Real Life
    In 1762 he took part in the deposition of Peter III of Russia and in bringing Catherine the Great to the throne. A year later, he was known to be carrying out further alchemical experiments in his laboratory in the Renaissance château at Chambord, south-west of Orléans, which Louis XV had put at his disposal in 1758. (Other guests in the château at the time included the Princess of Anhalt-Zerbst, mother of Catherine II of Russia; the Marquise d’Urfe; Baron de Gleichen, and Madame de Genlis, all of whom mentioned Saint-Germain’s experiments in their letters and memoirs.) The following year he was living in Holland under the name of Count Surmount, where he established another laboratory in which he made paint and dyes, as well as continuing his alchemical experiments. After disappearing from Holland with about 100,000 guilders, he materialised in Belgium, this time calling himself the Marquis de Monferret – and there, in Tournai, he set up another alchemical laboratory.

    In 1768 he turned up in Russia in the court of Catherine the Great, whom he had previously helped bring to the throne. According to Count Alexei Orlov, then head of the Russian Imperial Forces, he was an invaluable diplomat and palace advisor during the Russian-Turkish war of 1768-70. As a reward, he was made a high-ranking officer in the Russian Army – a position he took under the ironic English alias of General Welldone – but instead of reaping the benefits of his prestigious position at the end of the war, he chose instead to leave Russia and go to Germany where, with his friend and pupil, Prince Charles of Hesse-Cassel, he carried out more alchemical experiments, as well as studying Freemasonry and Rosicrucianism.

    A decade before this, on 15 April 1758, Voltaire, the famous French historian and philosopher, in one of his many letters to Frederick the Great, had described Saint-Germain as “a man who knows everything and never dies.” He then added: “I think it quite probable that this man will visit you within the next fifty years.” While this visit never came to pass, in 1779, Princess Amalie of Prussia, the sister of Frederick the Great, met Saint-Germain and became interested in him. However, when a letter from Saint-Germain to Frederick the Great, begging for patronage, was ignored (possibly because of Frederick’s embarrassment over widely circulated reports that Saint-Germain had worked for him as a double-agent during his period in the French court) Saint-Germain returned that same year to Eckernforde, in Schleswig, Germany, where he lived, and reportedly died, in the castle of his old friend, Prince Charles of Hesse-Cassel.

    The parish records in the Catholic church of Eckernforde say that Saint-Germain died on 27 February 1784, and was buried locally. If this was true – and assuming that Saint-Germain was about fifty years old in 1701 – it makes him (at a time when thirty-five was old age) over 130 years old when he died.

    Assuming that he did die in Eckernforde.

    Post-‘Death’ Appearances of Saint-Germain
    Although Saint-Germain’s burial is recorded in the records of the parish church in Eckernforde, a great deal of mystery surrounds his death. For a start, he was reported to have died when his good friend and disciple, Prince Charles, the Landgrave of Hesse-Cassel, was absent from home, and with only two nameless women in attendance. To deepen the mystery, Prince Charles then burned all of Saint-Germain’s supposedly invaluable papers – in his own words, “Lest they be misinterpreted.” Almost immediately, rumours that Saint-Germain was still alive spread like wildfire.

    In 1785, an important congress of Freemasons was held in Paris and attended by Rosicrucians, Kabbalists, Illuminati and members of other secret societies. According to the Masonic archives, the guests included the famous magician, mystic and alchemist, Count Cagliostro, the philosopher Louis Claude de St. Martin, the renowned physician and hypnotist, Franz Mesmer, and… the Count de Saint-Germain, who is also recorded as having addressed the meeting.

    This was not his only post-death appearance. It was recorded by the diarist Mademoiselle d’Adhemar that he visited her five times over a period of many years, beginning in 1789, when he also visited Sweden’s King Gustavus III to warn him of danger, and ending in 1820, the night before the infamous murder of the Duc de Berri. Even stranger is that in her own diaries, Marie Antoinette expressed regret that she didn’t take note of Saint-Germain’s earlier warning about the forthcoming outbreak of the French Revolution. Reportedly, Saint-Germain also appeared to Marie Antoinette in prison, to warn her of the date and time of her execution.

    Nor does it end there… Twenty-eight years later, in 1821, the noted educationalist, Madame de Genlis, mentioned in her memoirs a conversation she had with Saint-Germain during the Vienna peace talks; and in the same year the French ambassador, the Count de Chalon, claimed to have spoken to him in St. Mark’s Square in Venice. By 1842, Saint-Germain’s name was being mentioned in connection with Lord Lytton, whom he was said to have helped develop supernatural powers. In 1867 a meeting of the Grand Lodge of Freemasons in Milan, Italy, was reportedly attended by Saint-Germain; and in 1896, when, according to the evidence, he would have been approximately 245 years old, the famed Theosophist Annie Besant wrote that she had recently met him.

    Sceptics argue the known history and longevity of Saint-Germain is some kind of elaborate hoax, but it would be impossible for any individual, or organisation for that matter, to extend such a hoax over such a long period of time, as well as keeping it alive in so many different countries and cultures. Sceptics also ask why, given that Saint-Germain was supposed to have led such an extraordinary and active life, the historical records on him are so thin – but this may have been deliberate on Saint-Germain’s part. For instance, Napoleon III was so intrigued by the stories about Saint-Germain that he set up a special council to investigate him. However, the commission’s findings were destroyed in a fire that consumed the Hotel de Ville in Paris in 1871 – and few were willing to ascribe that disaster to coincidence. Similar obstructions to the sources of information, and the mysterious destruction of discovered rare material evidence, have occurred throughout the years since Saint-Germain’s final recorded materialisation in 1896, when Annie Besant noted her meeting with him.

    Did HE Discover the Elixir of Life?
    Saint-Germain was obsessed with alchemy and the possibilities of alchemical transformation. One of the purposes of alchemy is to find a means of purifying humanity as well as Nature and applying that purification to material objects, the cosmos, or man. The changing of metal into gold is only a small part of alchemy – the unimportant part. Its major purpose is to find the ultimate purification – the panacea, the cure for all ailments, the elixir of life, the Hermetic secret that gives one immortality. Because of this, many believe Saint-Germain did not die in Eckernforde in 1784, but that he simply moved on – either in the flesh or in the spirit – and possibly commanded Prince Charles, his faithful friend and disciple, to fake his death… as it had been faked many times before.

    In the register of the Nicolai church in Eckernforde, Germany, the following words are inscribed:
    Deceased on February 27th, buried on March 2nd, 1784.
    The so-called Comte de St Germain and Weldon.
    Further information not known.


    That use of the phrase ‘so-called’ only deepens the mystery.

    SOURCE: https://www.newdawnmagazine.com/arti...-saint-germain
    Last edited by Richter; 23rd June 2021 at 00:40.
    You Can't Talk and Listen at the Same Time

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Vipula Siddhi


    Proceeding in the same vein, we see that Vajravairocani means a palpable form of tantric energy which is used to open the mantras and practices of Highest Yoga Completion Stage deities.

    The ordinary human lacks this energy. With training, it may arise "in six months", but it may not for years. And so we have a very basic Cintamani Tara and a Sutra and Dharani-based system of a few other deities who Increase Jewel Family. We have found this relates to Lakshmi, or especially Sri from a prior cosmos. From the transition, her new manifestation is mainly as a Jewel from the Ocean of Milk (Ksira Samudra or Ksira Sagara).

    Churning of the Ocean is said to have taken place during Kurma Avatar, the Tortoise, similar to Kasyapa and to the odd stance of Kurmapadi Vajravairocani.


    Kṣīra-sāgara—Ocean of Milk: This symbolizes the state of undifferentiated unity of prakriti (primordial matter) prior tocreation of the universe. From liquid milk solid butter is churned—from the undifferentiated Prakriti differentiated solid matter arises. The kṣīra-sāgara stands for the pure unadulterated state when the three gunas [the three cosmic forces; (rajas) centrifugal force—expansion, (tamas) centripetal force—contraction and (sattva) centralizing or harmonizing force] exist in perfect harmony and balance. When this balance is disturbed then the competing forces give rise to the creation of matter in it’s five states–solid (earth), liquid (water), gaseous (air), heat (fire) and expansion (space).

    It also represents the consciousness, in the myth dealing with the churning of the ocean of milk we have the symbol of churning the mind through devotion in order to produce the essence (butter) in the form of God Consciousness. During this process the 14 jewels are extracted. The ocean is also symbolic of the space or ether or infinity, and Vishnu is identified with the sun whose function of creation, preservation and destruction in our solar system is identical to that of the Supreme Lord in the entire universe.


    Mahalakshmi has a primary emanation from Ksirasagara, and it is her main home. Varuni is similar; so is Vasudhara, and so Kshirasagara is the main motif for these, compared to the Cemeteries of Heruka, which could perhaps be called "incidental".

    When this opens up, we would probably have to say Pratisara and Pancha Raksa is evidently an intermediate step towards how it goes in the main explanatory tantras of Vajradaka, Samputa, and Dakarnava.

    There are other aspects of Mahalakshmi, and, I think, agreeably enough to us:

    She is seen in two forms, Bhudevi and Sridevi, both either side of Sri Venkateshwara or Vishnu. Bhudevi is the representation and totality of the material world or energy, called the aparam Prakriti, in which She is called Mother Earth. Sridevi is the spiritual world or energy, called the Param Prakriti.


    Goddess Mahalakshmi has ever been in existence. Her appearance from samudra manthan is one of her main manifestation only. Goddess Mahalakshmi was also born to the great Sage Bhrigu and she is therefore also called as Bhargavi. Goddess Mahalakshmi is also the sister of the great Guru Sukracharya as well as the great planet Chandra. Each time Vishnu descends on earth as an avatar, He is accompanied by an avatar of Lakshmi...The moon (chandra) also appeared from the ocean during the churning, making it her brother. Alakshmi, the goddess of misfortune, is Lakshmi's elder sister. According to the Vishnu Purana, Lakshmi is the daughter of Bhrigu and Khyaati and resided in Swarga, but, due to the curse of Durvasa, she left Swarga and made Ksheersagara her home.

    So, she is, similar to a female counterpart of Venus. Alakshmi here is like Dhumavati, sister or slight alter-ego of this manifesting Lakshmi. Varuni also is among these "items".

    It happens to be the case that as well as a basic form, Mahalakshmi also has something that strongly resembles Eighteen Arm Varuni:



    The Shilpa text Rupa-mandana suggests Mahalakshmi with four arms (chatur-bhuja) should be depicted in the colour of molten-gold and decorated with golden ornaments (kancana-bhushana). She is also described as having complexion of coral; and seated on a lotus. Her four hands carry matulunga fruit, mace, shield and bowl of liquor. Her head must be adorned with snake-hood and a linga.

    Mahālakṣmī (महालक्ष्मी) refers to the last of the eight Aṣṭamātṛkā (mother Goddesses) of Kathmandu city, locally known as Candralakhu Ajimā. Her location is Nārāyaṇahiṭī.

    Mahalakshmi is counted as the eighth Matrika in the Asta-matrika tradition followed in the Nepal region.—Mahalakshmi described as having been created by the effulgence of all the gods is depicted as Ashtadasha Bhuja Mahalakshmi, with eighteen arms.

    Skanda Purana (Sahyadri khanda) describes Mahalakshmi as: “She who springs from the body of all gods has a thousand or indeed countless arms, although her image is shown with eighteen hands. Her face is white made from the light streaming from the face of Shiva. Her arms are made of substance of Vishnu are deep blue; her round breasts made of Soma are white. Her waist is Indra and is red. Her feet sprung from Brahma are also red; while her calves’ and thigh sprung from Varuna are blue. She wears a gaily coloured lower garment, brilliant garlands and a veil. In her eighteen arms, starting from the lower left, she holds in her hands: a rosary, a lotus, an arrow, a sword, a hatchet, a club, a discus, an ax, a trident, a conch, a bell, , a noose, a sphere, a stick, a hide, a bow, a chalice and a water pot.”

    The Candi-kalpa adds that Mahalakshmi should be seated upon a lotus (saroja-sthitha) and her complexion must be that of coral (pravala-prabha).

    Ok. She performs in the same capacity of others said to have Eighteen Arm forms that are the "worshippable" forms of Universal or 1,000 Arm forms. She is also considered a Smasana Vasini.

    Manthanabhairavatantram

    Mahālakṣmī (महालक्ष्मी) is an epithet for the Goddess according to the Bhairavīstotra in the Śrīmatottara-tantra, an expansion of the Kubjikāmatatantra: the earliest popular and most authoritative Tantra of the Kubjikā cult.—Accordingly, “Victory! Victory (to you) O goddess (bhagavatī)! [...] Dweller in cremation grounds! You who delight in the play of dance! Experienced in wonderfully diverse behaviour! Mahālakṣmī! Subtle one! Śivā! Victory to you who have merged the entire universe into a single vibrant state of oneness filling (thereby every) discontinuity! [...]”.

    Note: Mahālakṣmī is a form of Kālasaṃkarṣiṇī.



    Where do they locate her?

    The Khecarīcakra is the fifth cakra (‘internal mystic center’) of the five (pañcacakra) and is located on or above the head. She presides over the pītha (‘sacred site’) called Kolāgiri.

    Kolāgiri: one of the twenty-four sacred districts mentioned in the Kubjikāmatatantra (chapter 22). Her weapon is the daṇḍa. Furthermore, Mahālakṣmī is accompanied by the Kṣetrapāla (field-protector) named Agnika and their abode is an naga-tree.

    In Satsahasra Samhita or Kubjika commentary, it seemed that Mahattari was also located there, or in the place of Kulakula:

    Kulākula (कुलाकुल) refers to “Śakti and Śiva”, according to Tantric texts such as the Kubjikāmata-tantra, the earliest popular and most authoritative Tantra of the Kubjikā cult.—Accordingly, as the Goddess (i.e., Kubjikā) said to Kāmeśvarī: “There will be a wheel of energies (kalācakra) that comes forth from my body and it will know the supreme (transcendent) and lower (immanent) division. [...] Located in Mātaṅginī’s Kula, it is both the first (i.e. the most excellent) and the fifth (of the sacred seats). The entire universe has come into being due to that and that has come into being as Kulākula (Śakti and Śiva) and is born from the limbs of my body. They will (all) be in your sacrificial rite. [...]”.




    Curiously, a similar system to these Kubjika Pithas appears in Buddhism, although it is rare.

    Source: academia.edu: A Critical Study of the Vajraḍākamahātantrarāja (II)

    Mahālakṣmī (महालक्ष्मी) or Jvālāmukhī is the name of a Goddess (Devī) presiding over Kollagiri: one of the twenty-four sacred districts mentioned in the 9th century Vajraḍākatantra (chapter 18). Her weapon is the khaḍga. Furthermore, Mahālakṣmī is accompanied by the Kṣetrapāla (field-protector) named Agnimukha [or Mahāvrata] and their abode is the top of the mountain [or the nimba-tree].




    Is it where we think it is, Kolhapur, yes according to the Kubjika explanatory Manthanabhairavatantram:

    Kolāgiri (कोलागिरि) (cf. Kollāpura) is the name of a sacred site, and one of the places visited by the Goddess on her pilgrimage, according to Tantric texts such as the Kubjikāmata-tantra, the earliest popular and most authoritative Tantra of the Kubjikā cult.—Accordingly, “[The Goddess] went to Devīkoṭa, (arriving there) in a moment, and with a powerful look (āloka) (it became a sacred site. Then she went to) Aṭṭahāsa, (so called) because she laughed (there) loudly. (Then she went to) Kolāgiri, Ujjenī, Prayāga, Varṇā (i.e. Vārāṇasī), Viraja, Ekāmra and other (places) and (then on to) another universe”.

    That seems to iterate those places as external sites.

    In Buddhism, she, herself, also becomes internal.

    Source: academia.edu: The Structure and Meanings of the Heruka Maṇḍala

    Mahālakṣmī (महालक्ष्मी) refers to the Ḍākinī of the north-eastern corner in the Medinīcakra, according to the 10th century Ḍākārṇava chapter 15. Accordingly, the medinīcakra refers to one of the three divisions of the dharma-puṭa (‘dharma layer’), situated in the Herukamaṇḍala. Two colors are evenly assigned to the four corner Ḍākinīs [viz., Mahālakṣmī] in order in accordance with the direction which they face.

    Source: academia.edu: Holy Sites in Buddhist Saṃvara Cycle

    Mahālakṣmī (महालक्ष्मी) refers to one of the eight inner channels running through the dharmacakra, according to the 10th century Ḍākārṇava. Dharmacakra is an inner circle of the shape of a lotus with eight petals. This inner circle is visualized at one’s heart region. The inner channels [viz., Mahālakṣmī] run through the petals of these inner circles.

    Ultimately she is important to the heart in that very developed system, which is not a diagram of the default human being.


    Dakarnava is really big, whereas Vajradaka has twenty-four external and internal Pithas. We had perhaps missed a pretty big slice of it where on p. 65 of Vajradaka Chapters 7, 8, 14, 18, 22, 36, 38 that Kolagiri is in "system three" of Pithas, followed by the corresponding table from Kubjika Tantra. In Kubjika, there is the distinct sequence of devis, Mahalakshmi, Jvalamukhi, Mahamaya...in the Vajradaka it appears that Jvalamukhi the khadga devi is jammed in the same pitha or is a form of Mahalakshmi. There is no Mahamaya in its set.

    This third version of Pithas is for Meeting or Mela native women. So it does mean external sites. It says the yogin must do natya or dance at least once a year or his samaya will fade. Doing it accomplishes mudra. Touching yoginis brings the effect of mantra and tantra. You can do it more often, in accordance with the time when “empowerment” arises in one’s body.

    The text mainly uses Duti "Messenger" as a synonym of yogini--dakini--mudra. The Dutis also become perfect this way. Their organs have "A" and the males have "Va".


    Because it includes the original chapters, we can see more of what is in it.

    It is a type of Vistara or Expansive Yoga from Vajri Vajrasattva to Sarva Dakini Samayoga Vajradaka Parama Sukha. It is a very difficult Rahasya related to Mahamaya. If this is supposed to be more descriptive than Kubjika Tantra, how does it describe Mahalakshmi?

    Karala Yoni Sambhava

    Karala generally means "terrible" similar to raudra or bhima.

    Because this is also related to Kubjika, there is this:


    Karāla (कराल) refers to one of the places where Devī becomes incarnate, according to the Kubjikāmata-tantra.—After her stay on the Kaumāraparvata, Devī visits several localities e.g., Mount Trikūṭa, Mount Kiṣkindha etc., until she reaches the Western Himagahvara. This locality and the three following—Karāla, Sahya Mahāvana, Ucchuṣmā Nadī—are identified with the four Mahāpīṭhas: Oḍḍiyāna, Jālandhara, Pūrṇagiri and Kāmarūpa. In these four places, Devī becomes incarnate as a protective goddess and future mother of many sons and daughters; a number of servants also appears at each of the four localities. During her stay in the fourth Mahāpīṭha Devī explains the fifth which is called Mātaṅga. In contradistinction to the other Pīṭhas it has no fixed location on earth, but seems to be located above Kāmarūpa. As such it is the place of origin of the entire world. [...] After her visit to the fourth Mahāpīṭha, the goddess proceeds to various other places; [...]


    Then she is also Vikrta, change for the worse, Vati Bhisana, which is like a garden of horrible.

    Most of these devis are various types of ghora and other wrathful manifestations, but, Mahalakshmi is the only one called a yoni, and, when it comes up again as this same phrase, it is Musalayudha Dhara...holding Bala Rama?

    Probably not, since "ayudha" seems to be a standard term for "weapon or attribute" here, so hers is Musala, a Mace or Club.

    The more "likely" noun, not necessarily her personal organ, would be yonisambhava, which would most simply mean womb birth. Karala or terrible womb birth.



    These external sites seem to begin at Attahasa which the editor believes should be emended to have Devi Viraja as the source or samudbhava of other devis or devya. She is named Saumyamukha and is with Vajraghanta. The third "place" is Dharani. If I am not walking that far across India, I am "going" first to Loud Horselike Laughter, then Kolhapur Mahalakshmi which is a well-known song, to Dharani or the art of incantation.

    Dharani is not a place in the Kubjika Tantra, this system is not a carbon copy but partly so. Something has been changed to make that particular sequence.

    The end of the section says it is a Vipula Siddhi of Khecaris which is quite difficult to attain. Sounds like a step beyond the similar Vipula Siddhi we just discovered. If Pratisara has the outer or Raudra Krama version of it, and you fuse that with Dakini Jala Samvaram (internal Pithas) by Chapter Fourteen, then I suppose you have a Khecari version of Vipula Siddhi in Chapter Eighteen.

    The end of this chapter from Verse Sixty-one is the Five Dakinis and Twenty-four Time--Hora Devis.

    It uses Five Nectars and Krodhas in an environment of Ekavrksa Smasana. It uses Gate or Gate, gone to, Jala Gate, perhaps crossed over water like Janguli, or over the Jala or Net of Nadis and Dakinis, then Sthala Gate Bhuman Matrgrhe, which sounds more installed, a place or body on earth.


    It just says the five dakinis are Maha Tattva, nothing very personal about them.


    What appears to be the main result of Melapaka or bringing together is:

    Yoga Mandala Maha Rajni Vajresvari Prabhu

    Tathagata Maha Kaya Viraja Yoga Sunyata

    It uses a few mantras on the Assembly, refers to Eight Knowledges which are variants on "H" syllables, and then says something like place the yogini in the middle where melting, druta, is considered to be done with effort, yatnata, then atman cintayet, own-mental cintamani, the yogi is yonimadhye, in the middle of a yoni, which is a Yatha Krama, In order, orderly, successively, methodically. E. yathā agreeably to, krama order.


    Vajradaka Chapter Eighteen is about Places and Times and certainly looks like it ends on sex.

    It seems to be about Karmamudra, which itself is about something more subtle.

    The same expression is used for example in a Russian Shaktisangama Tantra:

    sA pR^ithvI shakti-yoniH
    syAt trailokyaM yoni-madhya-gam //

    (iyaM bhUmir hI bhUtAnAM shAshvatI yonir uchyate)



    But more closely connected to how yonimadhya is in Vajradaka would be its use in Samputa which in this case is very close to the beginning of it in the first chapter; first, Buddha encourages one to pursue gnosis by using the subtle body, and then explains the seed of Bodhicitta following Viraja and Prabhasvara in 1.25:

    1.­26

    “Emerging from the sublime crown of the subtle energy channels,
    It is said to be completely pure.
    It is the luminous bodhicitta,
    Which resembles a translucent crystal. {1.1.25}

    1.­27

    “It is an entity comprising the five wisdoms,
    The size of a mustard seed.
    Inside it there is the deity
    In both its manifest and unmanifest forms. {1.1.26}

    1.­28

    “Half of it is the mother. It is extremely subtle;
    It has the form of a drop and consists of mind.
    It always resides in the heart,
    Has the luster of a star, and has a great brilliance. {1.1.27}

    1.­29

    “It abides in the center of the navel,
    And, if stretched out as a single thread,
    It would reach, at the end of twelve units,
    The soles of the feet, and, at the end of nine units, the head. {1.1.28}

    1.­30

    “Its fifth 12 part alone, in its full form,
    Is like the king of nāgas.
    When this part expands,
    It emerges into the center of the vajra. {1.1.29}


    n.­12
    Comm1 (37) explains that the “fifth” refers to the avadhūtī at the center of the four channels that make up the crown cakra.


    That seed is "always" in the heart, but, we also see navel, avadhut, crown, and vajra (perhaps Vajradanda). The "drop" of 1.28 is Bindu Rupa and Manomaya. The following "seed in the womb" is the first Bija, which corresponds to "plant the seed of the empty body in the physical body", the subject from 1.24:

    śūnyakṣetrādidehasya bījāropaṃ tu buddhimān

    Following further, it would not correspondingly make sense if the next kind of seed were to be present in the body of presumably mostly male followers of this tantra:


    ap1.­30
    yonimadhye {C3r} sthitaṃ bījaṃ dharmadhātudravīkṛtam |
    kramasaṃcaraṇaṃ tasya navadvāreṣu sarvathā ||
    agnibrahmam idaṃ tathā || 1.1.30 ||



    1.­31

    “The seed that is inside the womb
    Is the liquefied sphere of phenomena.
    Its gradual movement
    Is always toward the nine doors.

    1.­32

    “The same goes for fire, which consists of Brahmā. 13 {1.1.30}

    n.13 This highly ambiguous sentence is outside the regular verse structure and is omitted in some sources. In defiance of the Tib., one could perhaps link it to the following verse and interpret it as, “The seed syllable of fire should be applied to the opening of Brahmā.”


    After this, it continues talking about seeds, as Nyasa or placement syllables. If one had followed note 13, it is replicated in the Nyasa anyway.

    So the yoni in verse 1.30 is probably not really a physical one of a body you don't have, but, perhaps more like a condition such as in Vajradaka, something like:

    "Inside the yoni is where the syllable of Dharmadhatu melts."

    Melting is expressed in the term "dravi-" as if the dharmadhatu were itself melting, and the bija does so to it; the resulting lava has the nature of Agni, and may fall out into some undesirable realm. The Nyasa is then a series of seals against that. The seed or bija in 1.30 is a narrow thing like a pivot between the Bindu of Bodhicitta and the syllables of the body. Seed in the Lotus which is like Smrti--Sadhana or the Fifth Yoga after Dharana. Something like gestation of the ability to perceive Luminous Mind fluently and emanate or summon deities accordingly.

    Correspondingly, Nirajan is a liquid flow in the Nadis according to Agni Homa, much as if the Samputa were saying a slightly different way of experiencing the same thing noted by the half-line.


    In Samputa, the next example of yonimadhya encapsulates the literal or birth, as well as tantric or Generation Stage meanings, that seem to be "hinted or suggested" by Pratisara, Mayuri, and Golden Light, are very intentional, and related to Vajribhava Vajrasattva and Pratisara Vajrini Manidhari, especially if it is no longer talking about a physical organ, but a tantric or yogic condition of the Nadis:



    ap6.­16
    tantre nigaditaṃ śṛṇu |
    dvau nāḍyau yonimadhye tu vāmadakṣiṇayos tathā || 6.1.16 ||


    6.­16

    “Listen to what has been taught in the tantras.
    There are two subtle channels inside the womb,
    The left and the right. {6.1.16}

    6.­17

    “In the left one, the white sexual fluid is known to be present;
    In the right one, the blood.
    Where they come into contact is
    The complete sphere of phenomena. 307 {6.1.17}

    6.­18

    “The sattvam principle is the body, rajas is speech,
    And, according to its nature, tamas is mind.
    Sattvam is semen, rajas is blood,
    And tamas, foetal development (utpatti). {6.1.18}

    6.­19

    “Through the meeting of the vajra and the lotus,
    Existence and nonexistence become a single taste.
    The experience becomes of a single taste.
    Feces, urine, phlegm, blood, and semen as the fifth ‍— {6.1.19}

    6.­20

    “The embryo consists of these five ambrosias,
    Therefore it is here called vajrin. 312


    n.­307
    Comm2 (918) says that this is the “location of the central channel, whose nature, being the wind of space, is the dharmadhātu.”

    n.­312
    Comm2 (919) explains that “Since the body is composed of the five ambrosias, which are the appearance of nonconceptual cognition, it can also be called vajrin.”


    "Meeting" in 6.19 is Vajra Padma Samayoga, which could also be the Natya of Vajradaka Tantra.

    Vajrin may be a foetus, or a grown body using its Panchamrita, and Utpatti is the term for Generation Stage; the original line says:

    sattvaṃ śukraṃ rajo raktaṃ tama utpattim eva ca || 6.1.18 ||

    Utpatti comes in as early as line eight at the very beginning, udbhava utpatti:

    Udbhava (उद्भव) refers to the “upsurge” (i.e., of the vital fire and wind), according to the Manthānabhairavatantra; which makes sense compared to Udgita.

    Chapter Six here is the last appearance of Utpatti.

    In it, "Womb" could be literal or subtle. The "vajrin" continues to have an even more subtle tantric sense:


    6.­23

    “In what is described solely in terms of the movement
    Through the subtle channels, those channels have two openings. 313
    At the time of their convergence,
    One can perceive the deity there. {6.1.23}

    6.­24

    “There is the upper opening and the lower one.
    Through the lower one courses consciousness,
    And through the upper, the elements. {6.1.24}

    6.­25

    “The practitioner, having brought together all the channels,
    Should visualize it 314 entering.
    The vajrin is continuously present
    At the upper opening of one’s body. {6.1.25} [F.111.a]

    6.­26

    “In the upper opening there is a triple mechanism
    Surrounded by nine openings.” {6.1.26}


    n.­313
    Comm2 (919–20) explains that “in the center of the cakras of the body’s channels are two openings. These are the crown opening, through which the heat of Caṇḍālī (gtum mo) travels up; and the avadhūtī (central channel) opening, through which bodhicitta flows down. At the center of their convergence is where the body of the deity is perceived.”


    n.­314
    The commentaries differ on what the “it” is referring to. Comm2 (920) has “winds” entering the channels. Comm1 (449) has “consciousness and the elements ‘entering’ the navel.”


    So the Samputa is expecting you to learn the downflow of nectar--bodhicitta as it is supposed to reach The Vessel or Bharati and re-arise in a new Mercury condition.

    As to how Samputa is like an intensification of Madhu or Honey from Brihadaranyaka, near the beginning of Chapter Seven it has Mrta Sanjivika, a special mantra obtained by Venus or Sukra which raises the dead, the occasion of which also leads to Vishnu being cursed to incarnate.

    Vishnu has to incarnate.

    Compared to the Germ in the Lotus, normal birth, "protection in the womb", and Generation Stage.

    That curse had to happen, or we could not employ these benefits, such as immortality practice.





    The Stanzas of Dzyan in The Secret Doctrine are, arguably, a Yogacara redaction over the Puranic Milk Ocean. The First Stanza shows the term Parinispanna and that the Alaya was in Paramartha. There are a handful of specific Yogacara terms in the very first part of the Secret Doctrine, whereas "Purana" references are over a hundred and sixty in just a quarter of it.


    So right there it already clamps something specific from the Buddhist Sutras where something like Parabrahm would ordinarily be, before proceeding into something like a Puranic melange, creation myth.

    Stanza Two says the Germ was not ready, the Padma had not swollen.

    When the Germ starts, it condenses into the World Egg or Luminous Egg, similar to Hiranyagarbha. This spreads milk and/or curds which becomes the Ocean of Immortality, radiating light from fire, heat, and motion.

    "The Germ is That, and That is Light, the white brilliant son of the dark hidden father".

    Stanza Five is immediately cognizant to Brihadaranyaka with "Fohat" as the steed and mind as the rider.

    In Stanza Seven, a human is called Sapta Parna.

    "Germ" was used in the translation of Rg Veda which has a verse almost the same as the Pralaya of Stanza I.

    Compared to the Puranic manner in which she means it:

    Shesha or Ananta, the “Couch of Vishnu,” is an allegorical abstraction, symbolizing infinite Time in Space, which contains the Germ and throws off periodically the efflorescence of this Germ, the Manifested Universe; whereas, the Gnostic Ophis contains the same triple symbolism in its seven vowels as the one, three and seven-syllabled Oeaohoo of the archaic doctrine; i.e., the First Unmanifested Logos, the Second Manifested, the Triangle concreting into the Quaternary or Tetragrammaton, and the Rays of the latter on the material plane.

    She just more or less decribed Varuni as Ananta Shakti, and because the one we mean in Yoga practice is a "daughter" Varuni, i. e. is largely akin to the Akash of manifestation, then yes it is all still close to the same.


    Concerning the "That" which the Germ "is":

    In the Sanskrit Commentary on this Stanza, the terms used for the concealed and the unrevealed Principle are many. In the earliest MSS. of Indian literature this Unrevealed Abstract Deity has no name. It is generally called “That” (Tad, in Sanskrit), and means all that is, was, and will be, or that can be so received by the human mind.

    Among such appellations given—of course, only in Esoteric Philosophy—as the “Unfathomable Darkness,” the “Whirlwind,” etc., it is also called the “It of the Kâlahansa,” the “Kâla-ham-sa,” and even the “Kâli Hamsa” (Black Swan). Here the m and the n are convertible, and both sound like the nasal French an or am. As in the Hebrew so also in the Sanskrit many a mysterious sacred name conveys to the profane ear no more than some ordinary, and often vulgar word, because it is concealed anagrammatically or otherwise. This word Hansa, or Hamsa, is just such a case. Hamsa is equal to “A-ham-sa”—three words meaning “I am He”; while divided in still another way it will read “So-ham,” “He [is] I.” In this single word is contained, for him who understands the language of wisdom, the universal mystery, the doctrine of the identity of man's essence with god-essence.


    Yes, actually Soham Hamsa is pretty clear to us by now and it is not bad.

    Concerning some of the inspirational material:

    10. Father-Mother spin a Web, whose upper end is fastened to Spirit, the Light of the One Darkness, and the lower one to its shadowy end, Matter; and this Web is the Universe spun out of the Two Substances made in One, which is Svabhâvat.

    In the Mândukya Upanishad it is written, “As a spider throws out and retracts its web, as herbs spring up in the ground ... so is the Universe derived from the undecaying one,” Brahmâ, for the “Germ of unknown Darkness,” is the material from which all evolves and develops, “as the web from the spider, as foam from the water,” etc. This is only graphic and true, if the term Brahmâ, the “Creator,” is derived from the root brih, to increase or expand. Brahmâ “expands,” and becomes the Universe woven out of his own substance.

    Mandukya Upanishad is in Atharva Veda, it is the shortest one, and an area of dispute as to why it has several terms that otherwise are unique in Prajnaparamita literature. Some say they cannot be related because Buddhism denies atma or "Self" as this text draws from the Brihadaranyaka but...it may be a bit more intricate than that. This off-the-cuff response is not quite satisfactory. The Mandukya is little other than Udgita or aspects of chanting Om.

    Secret Doctrine:

    Three distinct representations of the Universe, in its three distinct aspects, are impressed upon our thoughts by the Esoteric Philosophy: the Pre-existing, evolved from the Ever-existing, and the Phenomenal—the world of illusion, the reflection, and shadow thereof. During the great mystery and drama of life, known as the Manvantara, real Kosmos is like the objects placed behind the white screen upon which shadows are thrown. The actual figures and things remain invisible, while the wires of evolution are pulled by unseen hands. Men and things are thus but the reflections, on the white field, of the realities behind the snares of Mahâmâyâ, or the Great Illusion. This was taught in every philosophy, in every religion, ante- as well as post-diluvian, in India and Chaldea, by the Chinese as by the Grecian Sages. In the former countries these three Universes were allegorized, in exoteric teachings, by the three Trinities, emanating from the central eternal Germ, and forming with it a Supreme Unity: the initial, the manifested, and the creative Triad, or the Three in One. The last is but the symbol, in its concrete expression, of the first ideal two. Hence Esoteric Philosophy passes over the necessarianism of this purely metaphysical conception, and calls the first one, only, the Ever-Existing. This is the view of every one of the six great schools of Indian philosophy—the six principles of that unit body of Wisdom of which the Gnôsis, the hidden Knowledge, is the seventh.


    This is still reflected in the Samputa Tantra language which defines the practice of the manifest and unmanifest deity right at the start, Avyakta and Vyaktarupina.

    It has a Vaisnava meaning:

    Vyakta (व्यक्त).—Material creation when it is manifested from the total energy of mahat-tattva.


    or Puranic:

    1a) Vyakta (व्यक्त).—The second form of Parabrahmam.

    1b) The absolute, developed out of avyakta; swallowed by avyakta in the stage of Pratyāhara; of five characteristics; seen by tarka and yoga as also by pratyāhara, dhyāna and tapas.


    The opposite, unmanifest, avyakta, or prakriti, is also expressed as:

    5) (In Sāṅ. Phil.) The primary germ of nature (sarvakāraṇa), the primordial element or productive principle from which all the phenomena of the material world are developed; बुद्धेरिवाव्यक्तमुदाहरन्ति (buddherivāvyaktamudāharanti) R.13.6; महतः परमव्यक्तमव्यक्तात्पुरुषः परः (mahataḥ paramavyaktamavyaktātpuruṣaḥ paraḥ) Kaṭh., Sāṅ. K.2.1,14.16.58.


    Samputa is talking about a deity in phrases that do not seem to have a Buddhist origin or twist; this seems to be as common as the ones that do.

    In Chapter Six, Hum syllable in the head is a reversed Vyaktya Avyaktarupa; when it drips ambrosia, the sound is unleashed, and the flame satisfied.

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


    Samputa intercepts the external girls of Vajradaka Chapter Eighteen much earlier in Chapter Two, where the first instance of "Vipula" is translated into:

    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.

    One delineates a space to summon a mandala inhabited by four consorts--Vidya of the Five Families, and, one is attempting initiations along the lines of:

    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
    And is anxious not to violate his samaya.

    this goddess lacks a personal name:

    anantalokadhātvīśā {C12r} grāhyā tathāpi dhīmatā |


    One offers one's vidya or mudra to the guru and receives a speech-based bodhicitta initiation which confers Sambhogakaya and the state of Vajradhara and the second instance of Vipula:

    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.

    The next section explains Vajrasattva as Svasamvedana, the union of Prajna and Upaya. The third instance of Vipula is in its summary:

    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.

    You are then to meditate Svasamvedana exclusively, all the time, while heavily engaged with a mudra or prajna.

    Ignorance is the samayamudrā (seal of commitment). Hatred is always said to be the mahāmudrā (great seal), and envy the karmamudrā (seal of action). Desire is, by its nature, the dharmamudrā (seal of phenomena). The practitioner should manifest these different seals and sexually enjoy and serve his consort (prajñā), regarding them both (the seal and the consort) to be deity by nature.


    It says to go at it much more than "once a year", rather, daily, with the possible outcome it is a mental consort, and/or the inner consort Candali, so it kind of has a triple meaning, physical, mental, and symbolic/energetic.

    For if the practitioner does not physically touch the best of lotuses [Padmavara] every day, every month of the year, his samaya becomes damaged.

    Having attained awakening in this way, having inevitably reached the inconceivable state by means of the correct practice of union, he should meditate one-pointedly on the threefold universe as the inconceivable domain.


    Svasamvedana is pretty closely described as self-reflexive awareness that arises during union, stainless and blissful. So this is pretty critical in Samputa.


    It also appears along with the Yogacara context for example in a recently-released Gutenberg Secret Doctrine:

    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, 84 and continuing in full possession of Paramârtha.

    84.

    Hence Non-Being is “Absolute Being,” in Esoteric Philosophy. In the tenets of the latter even Âdi-Buddha (the First or Primeval Wisdom) is, while manifested, in one sense an Illusion, Mâyâ, since all the gods, including Brahmâ, have to die at the end of the Age of Brahmâ; the abstraction called Parabrahman—whether we call it Ain Suph, or with Herbert Spencer the Unknowable—alone being the One Absolute Reality. The One Secondless Existence is Advaita, “Without a Second,” and all the rest is Mâyâ, so teaches the Advaita Philosophy.



    We can find a basic attempt at heading towards the "neither and both" centrism of Ratnakarasanti and the Nirakara system.

    Some of the notes for Stanza I are:

    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.



    Similar to her Yogacara interpretation, Paramartha including Paratantra which is itself a "slight error" even for Buddha is the doctrine of Nirakara. The latter school, closer to Candrakirti and Prasangika, do "teach" Paramartha, but, in a different way which Ratnakarasanti is saying is provisionally, but not completely and ultimately, true. Both have to do with lineages of Nagarjuna, to which the Profound View is more amenable to yoga practice by inner meaning and to Nirakara.



    According to what she calls "Aphorisms of the Bodhisattvas":

    Parikalpita and Paratantra are his two great enemies. Parikalpita (in Tibetan Kun-tag) is error, made by those unable to realize the emptiness and illusionary nature of all; who believe something to exist which does not—e.g., the Non-Ego. And Paratantra is that, whatever it is, which exists only through a dependent or causal connection, and which has to disappear as soon as the cause from which it proceeds is removed—e.g., the flame of a wick. Destroy or extinguish it, and light disappears.


    Close enough, it is that Paratantra which operates as the consequence of Parikalpita which Nirakara says can be/is stopped.


    Svasaṃvedya (स्वसंवेद्य) refers to:—The word saṃvedya means ‘capable of being known or realised’; the word sva means ‘oneself’; so the term svasaṃvedya literally means ‘that which has the power to be fully tasted or experienced by itself’. When anurāga reaches the state where it becomes the object of its own experience it is known as sva-saṃvedya.



    Borrowing from Samdhong Rinpoche before he goes on with the Vispassana system of meditation:

    Whatever method is adopted, the goal of meditation should be to achieve a state of mind which is a totality of perception.

    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...


    Svasamvedya is at least heavily entwined with Anuraga, which, with the Vaisnavas, it is similar to Phoenix or Resurrection and the STTS Vajrasattva whereby the Vajri devis please his mind and make him proceed towards Jnana or Gnosis:

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


    This comes full circle in Samputa Chapter Two with Svasamvedya, Vipula, and the integrated Vajrasattva.

    Entry in Jewel Family leads towards Vasudhara as an Adi Prajna along with Parasol and Guhyesvari.

    "Devamatri" is the term for the female half of the deity in Stanza Two, by which she means:

    If Aditi is the Mother of the Gods, Deva-Mâtri, Eve is the Mother of All Living; both are the Shakti, or Generative Power, in their female aspect, of the Heavenly Man, and they are both compound Creators. Says a Guptâ Vidyâ Sûtra:

    In the beginning, a Ray, issuing from Paramârthika [the one and only True Existence], became manifested in Vyâvahârika [Conventional Existence], which was used as a Vâhana to descend with into the Universal Mother, and to cause her to expand [swell, brih].


    Using this, she almost explains Marici and Marici Prana:

    Let us remember that this Ether—whether Âkâsha, or its lower principle, Ether, is meant by the term—is septenary. Âkâsha is Aditi in the allegory, and the mother of Mârttânda, the Sun, the Devamâtri, Mother of the Gods. In the Solar System, the Sun is her Buddhi and Vâhana, the Vehicle, hence the sixth principle; in Kosmos all the Suns are the Kâma Rûpa of Âkâsha and so is ours.

    So if we flip it around by her own synonym and plug "Aditi" into it and look at the numbered capsules that mostly have no names in Stanza Two and so forth as similar to the Aditis, and then Maruts, etc., that seems pretty similar, resembles "a" Purana without any particulars.

    A few key concepts along with the Buddhist terms found right at the beginning of The Secret Doctrine do seem to frame and navigate the layers of Sutra and Tantra rather appropriately.

    Samjna is not mentioned until the explanation of Chhaya in Stanza IV of Volume Two.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by Richter (here)
    In 1762 he took part in the deposition of Peter III of Russia and in bringing Catherine the Great to the throne.
    True as far as we know, by providing a getaway for the actual assassins.

    This was part of a much deeper embroilment about the dangers of Schleswig-Holstein and the Danish border, to which St. Germain would be concerned due to his friendship with Charles or Karl of Hesse-Kassel.

    Catherine as well as Marie Antoinette and Maria Theresa of Austria all seem to have been monarchs concerned about the rise of "money power", i. e. the same threat as seen by the American Revolutionaries, which is why there was a type of Russian--American understanding of the time. It was definitely a concern of St. Germain who knew about governments being squashed by the relatively new banks.



    Quote In 1785, an important congress of Freemasons was held in Paris and attended by Rosicrucians, Kabbalists, Illuminati and members of other secret societies. According to the Masonic archives, the guests included the famous magician, mystic and alchemist, Count Cagliostro, the philosopher Louis Claude de St. Martin, the renowned physician and hypnotist, Franz Mesmer, and… the Count de Saint-Germain, who is also recorded as having addressed the meeting.
    This was a series of about three such meetings, a major topic of which was a "Grand Unified Theory" of Masonry. They were unable to come up with one, and, in fact, rejected the "Templar heritage" as urban myth. This led to the sidelining or marginalization of the Strict Observance Rite.



    Quote This was not his only post-death appearance. It was recorded by the diarist Mademoiselle d’Adhemar that he visited her five times over a period of many years, beginning in 1789, when he also visited Sweden’s King Gustavus III to warn him of danger, and ending in 1820, the night before the infamous murder of the Duc de Berri.

    That was a forgery written in the Countess's name. Isabelle Cooper-Oakley believed it at least temporarily, which added it in to the Theosophical ethos.

    "St. Germain" was a title that he had bought, whereas most everything else was probably an alias.

    With some review, Mesmer, St. Germain, and Cagliostro are slightly different figures not involved with various calumnies or allegations that have stuck to them. If the Templar origin does not bear out towards Masonry as a whole, a Hospitaller origin may, at least up until around the end of the 18th century, it had probably been significant since at least the Medici Renaissance and the alchemists of Prague. Not towards the whole Masonry necessarily, but to select candidates of any field. That is to suggest the Hospitallers may have also obtained "the Johannite heresy" and perhaps concealed it more successfully.

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    Arrow Re: The Serpent, the Black Sun, HPB & St. Germain



    Quote Posted by shaberon (here)
    The Black Sun, the Night Sun or the Central Spiritual Sun has been known and revered for ages. It is only in the last few years that science has discovered: super-massive black holes at the heart of this galaxy and others. In occultism this would be described as just his physical form, but ultimately we are looking at a ridiculous old myth with our most modern instruments.

    Many time cycles begin in the dark: New days begin at midnight, New years begin at winter solstice. Basically, the manifestation begins in darkness and ends there. Therefore, the eternal spirit is pure darkness; the manifested spirit is light.

    You can do the math, but we're in a black hole right now; it just hasn't collapsed yet, from our perspective. Once it does, on the event horizon, all of the time is compressed into an instant. From his point of view, he doesn't draw energy from moment to moment, everything comes in at the same time. Once again: it doesn't exist yet, but from its point of view it has already devoured a good part of the cosmos.

    Oh I see the Black Sun is playing pranks and grabs on this forum?
    You do not know the black stars ?, the black Sun is in conjunction Sirius in the sign of Cancer and after its conjunction with Mars, then Venus, the black Sun will soon be in conjunction its double, the Sun itself. It is an opportunity to see what is hidden behind the veil, especially as Mercury is in conjunction with its black double Mercury in Gemini and Mars arrives in conjunction with black Venus in Leo ...

    THE BLACK STARS

    The Dark Stars


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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by Lunesoleil (here)
    It is an opportunity to see what is hidden behind the veil,


    Are you able to see this, at will, unassisted?





    That is part of what I got from it, in a physical sense.

    Astronomically, the entity in mind came closer to Lambda Herculis.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Utpala Mudra, Blue and White Hum, Vistara, Sitabani


    With some bigger and accelerated indexing, it is a bit easier to unite Blue Lotus material to its Sadhanamala deities, concerning both the Utpala Mudra, and Blue and White Hum symbols. It makes a type of "blossoming", if for instance starting with a visualization on Mahattari, who should have a Fiery Lotus, working its way up to White Lotus or Vajra Tara who is herself Fiery.


    Especially with Taras, Utpala is a common enough item as to not be very noteworthy, however, the Utpala Mudra shows up in only a few places:

    Vajrayogini Vadiraj 48, Vagisvara 69, Mahattari Tara 90, Vistara Tara 98, Eight Fears Tara 99, Sita Tara 104, Dhanada Tara 107, Mahasri Tara 116, Ekajati 123, Tarodbhava Kurukulla 172

    Does this have a most basic origin, yes, Mahattari Tara, along with her Flaming Lotus. Do those others ramp up in difficulty fast, yes. There is a progression related to ability and to energetic or pranic states, except it is backwards or out of order in the text usually.




    And if Utpala may also have to do with White and Blue Hum syllables, these are also quite specific.


    Sita Hum: Sukla Tara 105, Hevajratantrakrama Svadisthana Kurukulla 183, Varahi 218

    Sukla Hum: Sita Tara 104, Vajra Tara 110, Sukla Ekajati 128


    Considering where that goes, Sita Tara is the most basic/least tantric of any of them. Sita is the one doing it who also has Utpala Mudra. Sitara is also a name of Mrtyuvacana 102-103, 112 carries a similar description; Sita is also a name of Sukla Tara 105. Somewhat correspondingly, Nagarjuna's White Vajra Tara 96 has to do with White Lotus and Maha Tejah which implies a much greater energy, like a self-arisen Heruka similar to a Vajra Feet White Tara.


    As for the blue syllable, its most basic goddess is either Prajnaparamita or Mahacina Krama Tara.


    Krsna Hum: Khasarpana 14, Candamaharoshana 86-88, Vajra Tara 95, Dhanada Tara 107, Ekajati 123, Gold Prajnaparamita 152, Kurukulla 179

    Nila Hum: Dharmadhatu Vagisvara 61, Mahacinakrama 100



    We can find a similar framework for White and Red Hrih among Janguli and others, and that is the way to gain them, slow easy progression. The syllables, colors, symbols, etc., are again a bit Tree-like. And so for example, we find that Sita and Dhanada share mudras and seed syllables, except the seeds are different colors. Similar origin and then working slightly differently. Dhanada has a corresponding role as something of intermediate difficulty in Karma Family...which then reaches around sideways and emanates Sukla Tara from the white seed...





    To put together a very basic syllables not exactly "of the Families" but of the most basic Taras in a Family array, it looks like there is Sita or White Tara who is "not" the standard modern White Tara who is part of Lotus Family. Actually, if we stick to the very basic name Sita, then we will get one who does not quite seem to have any Family, and then one who has Five.




    White Tam, Mrtyuvacana, Matara Kamarupa, Havya or Ghee Offering, aspect of Khadga Siddhi, binds no less than Dikkala or Space and Time, referring to itself as:

    mṛtyuvañcanasitatārāsādhanam

    112 is her Upadesa which explains her experience as Parasunya. After this succinct introduction, she runs in the background until coming around in Vajradaka Tantra with Nectar of Immortality. 103 does say something about Prakriti becoming Bodhicitta Aksara. Her main feature is Tara Mantra and getting it on a Heart Wheel, and then fusing it with Voidness Mantra in 112. She also has a rare Abaddha or Knees Cloth Vajra Feet like Varuni. The Citta which is successful with her is Akhinna which is unwearied like horses of the sun. She emits some Kavita or poetic power bearing Medha and Prajna. This is notable since Kavya is an Offering to Pitris whereas Havya is to Devas. Since she is Havya Anjana it would most likely be an Offering of Collyrium or Antimony, which could make a lot of sense considering the alchemical understanding of it. The Ajana is in the middle of eight dwellings of Dhyana and Madya Nabhika, i. e. Navel. This is a plain Varada and Utpala Tara. Havya Kavya are parallel services, as found there in Ganapati Thousand Names, curiously, right after Hasti Pisaci.

    As far as I can tell, that is the most original and basic White or Sita Tara, extremely simple in her form, quite profound if you try to assemble what she says and does.



    As a devi directly coming from her syllable, Sita Tara, who has a Five Buddha Crown, White Hum


    Gold Prajnaparamita or Mahacinakrama Tara, Blue Hum (Vajra Family)

    Cintamani Tara, Yellow Brim (Ratna Family)

    Vajra Feet Picula Cunda, Red Tam

    Mahattari and most Karma Taras such as Nyan's Sadanga Tara IWS 9, Green Tam


    In other words, those are among the least complex, least tantric ones, that as someone who cannot instinctively visualize living presences, one may attempt to work with in a Yoga view in a praise-like manner, "Visualization with effort". They are something to cultivate Bhava and Samaya into Five Families until something a bit more difficult starts making sense.

    Sadhanamala Cunda is in Vajrasattva Family and probably the only one. Its most basic Lotus Family goddesses are Bhrkuti and Sitabani. Another one is Manohara, who is really a Vasudhara. Nothing specifically says Red Arya Cunda Tara and her Khadira Tree are in Lotus Family. Nyan's White Cintamani Cakra Tara IWS 6 is in Lotus Family but seems to intend a much more extensive visualization starting from Hum, likely white. Bhrkuti is a Bhrim-arisen Four Arm Yellow goddess, and, she carries a Kamandalu or Initiation Pitcher, whereas Cunda has a Bowl. There are others, such as Sragdhara Tara 109, Day-Night Tara, and so on into Mahakarunika, where it starts getting complex pretty quick. It is a bit weird that a simple one here is not more obvious, but there is a lot to say that Bhrkuti should become prominent, is used with Avalokiteshvara and other retinues; although Cunda returns with Kurukulla. Because Lotus is usually red, it perhaps is better to start with a red one. Timing-wise, when one progresses from Cintamani, her Yellow Brim syllable can be passed to Bhrkuti, who uses that as opposed to anything normally associated with Lotus, making her also an upgrade from the original. Sitabani possibly has her merits, using Jim which is an Amitabha syllable, and she is red and her main item is Aksa Sutra or a type of Rosary.

    Sitabani has the origin in that place given by Buddha to his own son to alleviate adult mental and emotional turmoil.

    Sitabani and Pancha Raksa may be a bit more difficult than initial samaya beings, but, they become important, such as according to a Pratisara article, in Nepal:

    The five Protective deities are of prime importance. It is a matter of greater significance that these goddesses are also depicted in the Grahamandala.

    They remain vital in the Grahamandala that is to be worshipped during Bhimratharohana ritual.

    The most important aspect of Mahapratisara cult in Vajrayana ritual pattern is her assigned place in the Gurumandala. In most of the Vajrayana ritual worships, Gurumandala puja is essentially performed. Mahapratisara is also allotted a place in the Gurumandala.

    She is worshipped according to the prescribed rules and processes of rituals. The mantra of Mahapratisara is compulsorily recited during the Gurumandala puja.



    Therefor, Pancha Raksa are consistent with Mahattari and the following.




    Bhattacharya has a quote which is worthwhile because he mis- or under-represented it. This is of value since it can be checked for completeness versus the original, and, can show how to translate a lot of the narrative or non-mantric parts that I for one do not know well.

    He does not mention that this is about Vistara Tara, who appears to be an energetic parallel of Khasarpana Avalokitesvara. He, so to speak, is above Amoghapasha, which is the "public face" of tantra, an available empowerment to sense who has aptitude for its topics. That is, so to speak, Noose level, and so Vistara must at the very least be shifting a little beyond novice material.

    As to the principle of the name, it can for instance be found at the beginning of Sadhanamala near Vipula Siddhi:

    adbhutaguṇavistaram

    It is in Khasarpana sadhanas attached to Mrdu or "soft", there is Iccha Vistara in Vajra Tara 97, the moon expands or vistara with Mrtyuvacana 112, and Iccha Vistara is in Ekajati 123.


    Because "Vistara" is not a name of Tara that is particularly bandied about, it never came to our attention until it forced its way in by carrying Yogacara and Nirakara terminology. It however is mediumishly-long and left a lot of marshy puzzle land due to the linguistic obscurity. And because we know something, or, rather, a whole lot more about the background, knowing this English is supposed to match, may help. He says something that sounds compatible with Mahattari's Saptavidhanuttara Puja and Golden Deer:



    The Buddhists had a special
    literature called the Sadhanas and they were always written in Sanskrit
    by many of the well known Tantric authors and the Mahasiddhas.
    This literature is now almost lost in original Sanskrit, but fortunately
    for us some collections of Sadhanas are still extant. These collections
    were given the names of Sadhanamala and Sadhanasamuccaya, and a
    critical edition of all available Sadhanas in these two collections is
    already published in two volumes in the Gaekwad's Oriental Series as
    Nos. 26 and 41. The publication of these Sadhanas has revealed a
    number of hitherto unknown and important facts. The Sadhanas
    revealed that the Buddhists were not lagging behind any other religion
    in India in the matter of psychic culture as advocated in the Tantras.
    Secondly, as these Sadhanas contain the description of a large number
    of Buddhist deities it becomes possible to differentiate them from the
    deities of the Hindu and Jain faiths, and to determine the purpose for
    which they were made and what they stood for.

    The Sadhanas being most important for the study of Buddhist
    iconography it is necessary to give a general idea of the contents of
    the Sadhana or the detailed process through which spiritual eminence
    or Siddhi is obtained. For this purpose a summarised translation of
    an elaborate Sadhana in the Sadhanamala is given here. But before
    proceeding to translate the Sadhana it may be emphasized that it is
    a purely psychic process for the realisation and visualisation of the
    deity with whom the worshipper is asked to identify himself. The
    Sadhana in all cases is prescribed for the realisation of some god or
    goddess according to a fixed procedure laid therein.

    For describing the contents of the Sadhanas a specimen is here
    selected which is published as Sadhana No. 98 in the Sadhanamala of
    the printed edition, for the realisation of the goddess Tara, composed
    by Sthavira Anupama Raksita, who was a well-known Tantric author
    and who flourished before 1165 and whose works, five in number, are
    preserved in translation in the Tibetan Tangyur. The contents of
    this Sadhana is given below.


    "The worshipper after leaving the bed in the morning should wash
    his feet and face and after purifying himself should go to a place which
    is lonely, agreeable, besmeared with scents, strewn with fragrant flowers,
    and then sit there in an easy pose. Then he should meditate on his
    heart the orb of the moon which originates from the first syllable -A-
    and on it think on the form of a beautiful blue lotus. On the filament
    of the lotus he should meditate on another moon the yellow germ
    syllable Tam as destroying the darkness of ignorance, illuminating
    innumerable worlds of the ten quarters, and bringing from the
    firmament innumerable Buddhas and Bodhisattvas.

    'Then after an elaborate worship of these great compassionate
    Buddhas and Bodhisattvas with celestial flowers, incense, scents
    garlands, unguents, powders, mendicant dress, umbrellas, flags, bells,
    banners and the like, the worshipper should confess his sins with the
    following words ; 'Whatever sinful deeds I have done, caused to be
    done, or consented to be done, in this endless cycle of creation,
    everything I confess'.

    "Thereafter, meditating on the restraint of wrong deeds he should
    give his assent to the meritorious deeds of others with the following
    Mantra ; 'I assent to the virtuous deeds of the Sugatas, Pratyekas,
    Sravakas, the Jinas and their sons the Bodhisattvas, and of the world
    with all the gods beginning with Brahman'.

    'Then he should take refuge in the Three Jewels with the Mantra ;
    'I take refuge in the Buddha so long as the Bodhi essence subsists ; I
    take refuge in the Dharma so long as the Bodhi essence subsists ; and
    I take refuge in the Sangha so long as. the Bodhi essence subsists'.

    'Thereafter the adherence to the path of the Tathagatas should be
    made with the Mantra : 'By me shall be followed the path indicated
    by the Tathagatas and naught else',

    'Then a prayer should be uttered with the Mantra : The gods
    and the Tathagatas instruct me with such incontrovertible advices on
    law by which all beings may be freed from the bonds of the world
    quickly.

    'Then he should meditate on the results of his meritorious deeds
    with the words ; 'Whatever merit I have acquired by the seven kinds
    of extraordinary worship like the confession of sins, etc. all that I
    devote to gain at the end the final Sambodhi'.

    " After having finished the seven kinds of extraordinary worship
    the deities should be dismissed with the formula : -Om Ah Muh- or
    with the following words : Thou movest now according to Thy will,
    being besmeared with the sandal paste of Sila (conduct), wearing the
    garments of the Dhyana (meditation) and strewn with the flowers of
    the Bodhi (Enlightenment)'.

    'Then the worshipper should meditate on the Four Brahmas, of
    Friendship, Joyousness, Compassion and Indifference. Friendship is
    the love that exists in all beings like the love towards the only son, or
    like its fruition in their welfare and happiness.

    "Compassion again is of what kind ? It is the desire to save all
    beings from misery and from causes that lead to misery. The desire
    that I shall even save the beings who are burnt in the great fire of
    suffering from the three evils and have entered the prison of Samsara
    is what is called Compassion. Or it is the desire to save all beings
    suffering from the three evils from the sea of Samsara.

    "Mudita or Joyousness is of the following nature. It is the desire
    in all beings of the world for the attainment of Buddhahood which is
    unlikely to materialize. Or it is the attraction in all beings towards the
    virtues that exist in the world and to the enjoyment of spiritual powers
    arising out of them.

    "What is Indifference or Upeksa ? It is the doing of great welfare
    to all beings, good or bad, by overcoming adverse requests and obstacles.
    Or it is the desire that comes of its own accord to do good to all beings
    without the least craving for any return, love or hatred. Or it is the
    indifference towards the eight human institutions of gain or loss, fame
    or notoriety, praise or blame, pleasure or pain, and similar things.

    'Thus meditating on the Four Brahmas the inherent purity of the
    phenomenal world should be meditated upon. All phenomena are
    indeed inherently pure, and therefore, the worshipper should think
    himself to be pure by nature. This natural purity of all phenomena
    should be established by the formula : Om svabhavasuddhah
    sarvadharmah svabhavasuddho'ham . If all phenomena are inherently
    pure, where then is the possibility of the cycle of existence ? Because
    of its being covered up with such thought categories as the subject and
    the object. The way of purging of this impurity is the meditation on
    the good path By this it is made to disappear. Thus is established
    the inherent purity of all phenomena.

    " After meditating on the purity of the phenomenal existence the
    Sunyata of all phenomena should be meditated upon. Here ounya
    means this. He should conceive the entire universe with its mobile
    and immobile creations as the clear manifestation of non-duality when
    the mind is devoid of all the extensions of such thought categories as
    the subject and the object. The Sunyata should be established by the
    formula Om Sunyatajnanavajrasvabhavatmako'ham .

    "Then as previously stated, the worshipper should meditate on his
    heart the goddess Aryatara who originates from the yellow germ-syllable
    Tam placed on the orb of the moon with the deer on its lap.

    "The worshipper should meditate on goddess Aryatara as one-faced
    and two-armed of deep green complexion, fully decked in all ornaments,
    of youthful appearance, clad in celestial garments, holding on her
    crown the miniature figure of the parental Dhyani Buddha Amogha
    siddhi. The deity should further be meditated upon as sitting in the
    ardhaparyanka attitude and showing the gift-bestowing signal in the
    right hand and carrying a full-blown lotus in the left hand.

    "The goddess of this description should be meditated upon as long
    as desired. Then the eternally accomplished Bhagavati should be drawn
    out from within by the spreading rays that illumine the three worlds,
    the rays that issue forth from the yellow germ syllable Tam placed
    on the orb of the spotted moon which is enclosed within the filament
    of a beautiful blue lotus. After thus discovering her, she should be
    placed on the firmament and should be worshipped with the offerings of
    scented water and fragrant flowers contained in the vessel inlaid with
    gems at the feet of the goddess. She should also be worshipped with
    various rites, external and internal, by means of flowers, incense, light
    stick, food offerings, scents, garlands, unguents, powders, mendicant
    dress, umbrella, flags, bell, banner and the like. Thus after repeatedly
    worshipping her and offering her panegyrics, the Mudra or the mystic
    signal should be exhibited. The palms of the hands, should be joined
    together with the two middle fingers stretched in the form of a needle.
    The two first fingers should be slightly bent their tips touching the
    third phalanges of the first fingers. The two third fingers should be
    concealed within the palm, and the two little fingers should be stret-
    ched. This is called the Utpala Mudra or the signal of the night
    lotus.


    "With this Mudra the goddess of the essence of Knowledge in the
    front should be propitiated, and then she should be commingled with
    the goddess of the essence of Time within, and by so doing the non-
    duality of the two should be meditated upon. Then the rays issuing
    forth from the yellow germ syllable Tam placed on the spotless
    moon will appear to him as illumining the ten quarters, as causing the
    removal of the poverty and misery of all beings by showers of various
    gems and as satisfying them by the nectar of advice on the nature of
    Sunya.

    "Engaging himself in doing good to the world, the worshipper
    should meditate on the form of goddess Tara which is identified with
    the universe. Further, he should meditate repeatedly until tired on the
    yellow germ syllable and the Bhagavati contained therein, He who
    is unable to meditate thus should mutter the Mantra which in this case
    is Om Tare Tuttare Ture Svaha . This is the lord of all Mantras,
    is endowed with great powers, and is saluted, worshipped and revered
    by all Tathagatas.

    "After having finished his meditation on the form of Tara he should
    think the world as identical with the goddess and should move about
    thinking his own form as that of the goddess. Generally speaking,
    those who meditate on the Bhagavati in this manner, all the eight
    supernormal powers fall at their feet, and other small powers come to
    him as a matter of course. Whoever meditates on the Bhagavati in
    the lonely caves of mountains espies her with his own eyes. The
    Bhagavati herself gives him his breath, nay more, even the Buddhahood
    which is most difficult to attain comes to him like a plum on the palm
    of his hand."

    The above is a summary of the contents of a Sadhana devoted to
    a single goddess, Tara, and there are hundreds of such Sadhanas for
    other gods and goddesses. But the important point to be noted
    in this connection is that the gods have no independent and real
    existence apart from the mind of the worshipper and the manner of
    worship. The deities possess no external form, but represent purely
    mental conceptions of the Sadhaka who by means of the Sadhana
    undergoes a detailed mental exercise for the development of his
    spiritual or psychic powers.



    Being more familiar with mantric and practice jargon, I can say in the early part, she has Kusuma Flowers of "bodhyanga", not "bodhi", suggesting the Seven Jewels of Enlightenment, somewhat as vistara implies growth and spreading, like branches. Where he has "Knowledge goddess in front", this is Jnana Sattva, and "Time goddess" is Samaya Sattva, and so this is an exercise in the critical "joining". He says nothing to the odd use of Yellow, which would ruin his assumption of everything defined by color, it is Karma Family finding some use for Golden Light. A bit of an inverse to Vasudhara with things about Yakshas that lead to Kubera and Karma Family. The main emissary between these two Families so far appears to be Mayuri.

    This Vistara sounds a lot like the basic technique to realize Mahasri Tara, who is in Quintessence, Sambhogakaya, and Akanistha. Mahattari is meant to be the original basic driver of such a practice, having a name in one sense meaning matron as of a harem, like a regulator of the population. Mahasri is a bit like a successful Vistara with a retinue. In other words, the published Saptavidhanuttara article from Nepal which just has the second Tara as "Varada Tara" which as a sadhana is little more than description of a form, Vistara "is" a Varada Tara having this additional commentary, which is part of Vipula, as is Pratisara.



    Mahasri is part of the same Utpala Mudra group, and so is Tarodbhava Kurukulla, another hypostasis involving Golden Drop Lakshmi and a Flask of Yakshis or Vajradakinis. By further extension, White Kurukulla becomes Sweat, and Laughing Ekajati who is also in this group is Sweat-born from Buddha.

    Whereas Lakshmi, Kurukulla, and Ekajati may all have their discoveries from outside of Buddhism, this all appears like a somewhat regulated manner of harnessing them.


    Since most things about Sitabani are using her increased and permuted forms, what would be her basic view in a Dharani--Sutra basis?


    In Sadhanamala, Sitabani is a Four Arm Red goddess but not resemblant of Kurukulla:

    200.

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

    // ity āryyamahāsitavtīsādhanam //



    According to Himalayan Art, this is the same as for example in Bari Gyatsa, which says the Pancha Raksa arise in Vairocana Mayajala Tantra:

    [65] Maha Sitavati [Pancha Raksha].

    Maha Sitavati, [with] a body red in colour, one face and four hands. [The two] right hold a garland and [gesture of] supreme generosity. The left, a hook and a book held to the heart.

    They are also relevant to Hevajra and Panjara along with Prajnaparamita and Bhutadamara Vajrapani:

    Pratisara Lineage: Vajadhara, Nairatmya, Yogeshvara Virupa, Dombipa [Heruka], Ngotsar Dorje, Nagpotropa, Garbharipa, Jayashri, Durjayachandra, Viravajra, Lachen Drogmi...


    Sitabani has mantras and so forth in PR 206, but, here, it is just a Murti. Well, if it is a power spoken by Buddha to Rahula, something is missing. But, this is something that would have been publicly available and therefor not suited for inclusion.


    Her original Sitavati Vidyarajni is a very mini-Sutra which is mostly a Dharani inclusive of Gauris and other epithets such as Kalinga, Vira Tara, Paramartha Sadhani, Nadi Vagbandha, Karala, and Hiranyagarbha--which is the only one in the book.


    That one is average which turns out to be a bit shorter compared to her version in Dharani Samgraha:


    || 3 || ḍeṁnamo bhagavatyai āryya mahāśītavatyai || tadyathā || ajgāvajgāka sijgā bhargāvarajgā saṁsāraṁtajgā bhageṣusurā ekataraṁgā asura | virāta ravīrā- tara 2 vīrākara vīrākara 2 vīrāindrā indra kisarā haṁsā haṁsakisarāpicimālā | mahākivvā | viheṭhikā | kālucchikā | agodarājayā likā | velā elācintāli | cili 2 hili 2 | sumuti va sumati | ralunadre | culū 2 nate 2 nadre | culunadi | kināḍi | hārīṭavirka 2 kāriṭarki

    kirīṭarkvita 2 gorīgandhāri | caṇḍālivetā limāta varccāsi | dharaṇidhāraṇi | taraṇi tāraṇi | draṣdramālike | kacakācike | cala nātike | kākalike | lalamati | lakṣamati | varāhaphule | matpale | kabīre | kara 2 vīre | taravāre | tara 2 vīre | kuruvīre | kurū 2 vīre | curūrva | re | cara 2 vīre | mahāvīre | iremati | valamati | rakṣamati | sarvvārthasādhani | paramārthasādhani | apratihate | indrorājā yamorājā | varuṇorājā | kuberorājā | manasvīrājā | vā śukīrājā | daṇurka | rājā | daṇḍāgnirājā | dhṛtarāṣṭro rājā | viruṭako rājā | viropokṣorājā | vramṣtāsaha strādhipatirājā | buddho bhagavāna dharmmasvāmi rājā | anuttaralo kānukampamama sarvva satvā nātrdharakṣaṁ | karotuguptiṁ paritrāṇa parigrahaṁ paripālanaṁ śānti svastya yanaṁdaṇu paliṁdāraṁviṣadūṣaṇaṁviṣanā śanaṁśīmāvandhandharaṇībandhañcakurvvantu jīvatuvarṣaśataṁ paśyatu saradāśataṁ || nadyathā || īlāmilā utpalā | īramati viramati | haramati | kṣanamati | rakṣamati | kurumati | hurumati | huru phūrū 2 cara 2 khara 2 mati || bhūmicaṇḍe | kākalike | abhisaṁlābhite | sāmalate | hūle sthule | sthūlaśidhare | jayasthule | jayavate | calanadre | calanāḍikunāḍi | cūrūnāḍi | vāgabandhani | virohani | sārāhite | aṇḍaretra paṇḍale | karāḍe | kinnare | keyūre | ketumati | bhūtaṅme | bhūtayati | dhanyemaṁgalye | hiraṇyagarbbhe | mahābale | abalokitamūle | acalacaṇḍa | dhurandhare | jayālike | jayāgore | hini | curū 2 phurū 2 rundha 2 phara 2 kharu 2 mati | bandhumati | dhurandhare 2 dhare 2 vidhare | vimati viṣkambhati | nāśati vināśati | bandhani | mokṣani vimokṣani | mocani vimocani | mohani vimohani | bhāvani vibhāvani | sādhani | vidhani viśodhani | saṁśodhani | saṁkhiraṇi | saṁkiraṇi | saṁcchidani | sādhūtaramāne | taramāne | hanū 2 bandhūmati | hiri 2 khiri 2 khanali | hurū 2 khurū 2 namostu buddhānāṁ bhagavatāṁ svahā || asyā khalu punarāhūlamahāśītavatī vidyāyāṁ | daśottara yadaśatāyām sutregranchiṁ baddhāhastena dhāryya māryā mānāyāṁ kaṇḍena dhāryyamānāyāṁ samantādyo | janaśatasya rakṣākṛto bhavati || īyaṁ khalu yunaḥ mahāśītayatī vidyāyāṁ eka navatyā śaṅ | nadī bālikā samairbbuddhai bhagavat bhirbhāṣitābhāṣiṣyante || āryya mahāśītavatīnāma mahāvidyārājñī parisamāptā


    The Sutra on GRETIL is a Samapta, this is a Parisamapta.

    It is nearly impossible to get her basic image. From Narthang Gyatsa, she has a Sword and some items changed:






    Mavissen's paper says in India, all fifve have been found in yellow or golden, and he has a match to the Sadhanamala version where she is a blotch in the upper right:






    Here is another detail where the "missing" Sadhanamala goddesses between the formats of Pancha Raksa have been worked in mandala or candelabra-style between them:





    Possibly the only images of some of those.



    Arolik is the syllable of Lotus Family in Guhyasamaja; as used here, "Jim" is rare, but is internally consistent for example to Vajra Tara 110 for the Five Buddhas and Five Nectars:

    vuṃ-āṃ-jīṃ-khaṃ-huṃ-bījapariṇataṃ


    And then one can read Durgottarini 111 the same way and it must mean Amoghasiddhi is with Tara in the Center:

    saṃmadhye khaṃ tāṃ vāmāvartena vuṃ āṃ jīṃ huṃ /
    vāmāvartena loṃ māṃ pāṃ tāṃ /

    which might make two Taras there.

    The closest outside source like this is Guhyasamaja Sadhanamala, which attaches Kha to Ratna Family. In further tantras, they are usually Tram. This linked section describes "cooking with bodhicitta" vis a vis Seven Syllable Deity and other examples. The table has three sadhanas, 11, 5, and 16, which permute the syllables, and also add a letter to make "Jrim", which is more recognizable with Vajrabhairava and others. Those schemes are for Vajravarahi. First we would want to see what is going on with Sitabani and Durgottarini.

    Hevajra Tantra uses these but wants to give Am to Ratnasambhava in the Navel. Jrim continues in its Amitabha Consecration. or alternate Hevajra. Jrim in Vajrabhairava is perhaps a little different, or Vajrabhairava Yamantaka. Jrim in Guhyasamaja Inner Offering. Guhyasamaja continued in Vajra Rosary. With Mahakarunika Samaya being.

    Most of those deal with Inverted Stupa and performances of Pranayama.

    Jim is simply "to eat". Jri has multiple meanings, mostly like a participle, digested, although Jrimbhadevi says "see Kottuva, which is yawning, regarding instructions from Jupiter for Indra to be yawned out of Vrttra in Devi Bhagavata. Vrtra is an Ahi, the Enveloper, a minor mistake of Tvastr's.

    Jrim is inside an Arjuna sleep weapon, but, generally, it is not found even in a large bija table of the Hindus.

    Jim and Jrim are potentially both "initials" of Jitana or Jaya, to conquer.
    Last edited by shaberon; 30th June 2021 at 02:18.

  22. Link to Post #497
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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Cittavisrama, Vajrayogini, basic syllables and lotuses


    I could not remember the "mountains", which are not the same as Tara's Khadira Grove, where Vajrayogini dwells, which have much more red and are more like Marici's Asoka Grove. Then I noticed a form called Cittavisrama Lokeshvara, which comes through Mitra Yogin:

    Sanskrit: Avalokita. Tibetan: spyan ras gzigs sems nyid ngal gso. The posture of Chittavishramana (Semnyi Ngalso, Resting in the Nature of Mind) is similar to both the Simhanada form and the Lokeshvara in a 'Relaxed Posture' with the right knee raised.

    [Chittavishramana Lokeshvara] "White Khasarpani with one face and two hands, the right in supreme generosity, the left pressing on the seat [while] holding the stem of an eight petalled white lotus. An antelope skin hangs over the left shoulder, adorned with heavenly garments and jewellery, seated with the right foot extended in a playful half posture." (Based on Tropu Lotsawa and the Mitra Gyatsa).

    They say it is related to Amoghapasha and Khasarpana, which makes sense, as those are stages of increase; a specialized Khasarpana evidently. Vistara Tara is a close parallel of Khasarpana, and we will kind of see that, too, since overall it is a "system of Tara and Vajrayogini" in the progression. Here we can use Vajrayogini pdf or Vajrayogini text from Elizabeth English, which is mostly a study in Guhyasamajasadhanamala, GSS, which is forty-six sadhanas exclusive to Varahi or her close synonyms.

    It is partly the same and/or related to Varahi in Sadhanamala, but it also has Vajravilasini, a rite perhaps significant in two ways.

    On the one hand, the male half of Vajrasattva is supposed to increase from Upaya to Karuna, which this does. Also, Vilasini turns out to be an extremely potent alchemy in Jewel Family. Pivotal. Probably the main thing that could be called Vajravarahi in Jewel Family. If we go back to the relationship mandala, Chakrasamvara is calling for three Varahis, in Tathagata, Vajra, and Jewel Families, whereas Hevajra is calling for three distinct deities. Otherwise one would hardly ever notice Jewel Family Varahi in the tantras, where she is the other two. Pithesvari Tara is a similar Red Buddhadakini as is Red Varahi; there is a White Sherab Varahi, which is probably just a single follower practice. Five Deity Tara manages to stuff Varahi into the West.

    "Jewel Family Tantra" or Vajramrita, is only partially available, and nevertheless uses many emanations of Vajra Family; Vilasini has Padmanarttesvara, who in turn seems to have disguises of Pratisara in his retinue. There is not much which is plainly/only Jewel, but there is a trail, so to speak, from basic Cintamani Tara, to Yellow Vajrayogini, to here.


    Vilasini, particularly, is at "the mountains of Vajrayogini", which is subtle, or i. e. it is going to penetrate and quell the seventh consciousness, calms the subtle mind by washing it with bliss. This is apparent in that the mountains' names can be simple noun--objects, adjectives, or even verbs. So as much as Khasama and many similar texts deal with the sixth or mental-only mind, Vajrayogini is above/beyond this, quieter, more subtle, far less apparent, having more to do with the Winds than psychology.

    And so this minor Khasarpana has borrowed the name of one such place; although for example, Cittavisrama is among keywords for Tilo. Or something published in Mahamudra and Madhyamika:

    Ratnakarasanti after receiving mahamudra instructions from the legendary figure Savaripa at the twin mountains Manobhanga and Cittavisrama...


    The collection of twenty-six texts on non-conceptual realization is the result of blending the essence and tantric mahamudra teachings of Saraha, Nagarjuna and Savaripa with a particular form of Madhyamaka philosophy, called 'non-abiding' (apratisthana), which aims at radically transcending any conceptual assessment of true reality. This goal is achieved by "withdrawing one's attention" (amanasikara) from anything that involves the duality of a perceived and perceiver. The result is a "luminous self-empowerment," Maitripa's (986-1063) final tantric analysis of amanasikara.


    So it is Manobhanga and Cittavisrama, and we see where it is headed.

    The Tibetan Lokeshvara deity name appears commented by Bu-ston under sems nyid which is described as:

    an illustration of the fundamental phrases concerning cittavisrama as a kind of upadesa of utpannkrama. these phrases are quoted from several tantras; is there a relationship to the sems nyid ngal gso form of avalokitesvara?


    Well, it may not be too far from Citta Vishuddhi of the Five Stages of Pancakrama, or from the Citta Cakra of Inverted Stupa, in Utpatti or Generation Stage. Cittavishuddhi is in the opening of Sadhanamala, and with Khasarpana.


    Maitri went to Khasarpana (probably Pundravardhana in Varendra) and then to Sabara at the two mountains. That one is a very detailed study on him.


    Manobhanga is often called Depression and means frustration, disappointment, etc.


    Maitri is known for Urdhvapadi or Akashadhatvishvari or "flying dakini" form(s), but he is also part of Vilasini's lineage.

    The two Maitri Dakinis are both called Vidyadhari Vajrayogini. With one raised foot, she is GSS 21 and 22--which is a Mad Vow or Unmatta Charya. Such a vow is also explained in Abhisamaya Manjari which is GSS 5 and Sadhanamala 235. It is a six month puja praying for the goddess to grant the fruits of mahamudra. One makes a vermillion tikka and wanders Bhairava-like looking for a partner, which says it has a scriptural source in Samvarodaya Tantra where it is called Vatula Charya. Vilasini is the one who is supposed to deliver the fruits of mahamudra, of course it only says that in its own sadhana.

    GSS 23 has both feet in the air and is also related to Sabara. Both these Vidyadharis, as well as Guhyavajravilasini GSS 10, inhabit beautiful mountains, most described in Arddhanavidhi GSS23. Here is where the spelling error comes in, and it should be about "Sabara", the Mahasiddha, not "Sahara", the desert, as it is printed almost every single time in there. He failed to gain a vision for twelve years when attempting the six-month program.

    And so on p. 83 it defines Manobhanga as Destruction of Klista Manas and Cittavisrama as Heart's Repose Resting Place of the Mind, which each have five colored peaks. Or, by Klista Manas or Afflicted or Addicted Mind, is the meaning of Manobhanga, itself, whereas the additional text may have a "contra" or "destroyer" or "tamer" of the thing, just as Citta does not really mean heart unless you give it the specifically Buddhist meaning. Given the context of the journey, Manobhanga was not a big pile of refuse that stood in anyone's way, it was something that had been beautified. Elizabeth says:

    It is not clear from this portion of text whether the yogin is to visualize a
    pair of mountains named Manobhanga and Cittavis'rama, or whether the
    description is to be understood adjectivally as the mountain(s) "where the
    mind comes to rest (cittavis'rama) because of the destruction of the
    [defiled] mind (manobhanga)."


    Vajradakini Vajravarahi GSS 16 gives the sense the "mountains" may be nested dolls in one place:

    On Mount Manobhanga, which is the most essential [place] on earth, on
    this peak [or: within this dwelling] (tasmin kicte), in a pavilion (-mandape)
    that is the sole resting place of the mind (cittavis'rama-) for the greatminded, [is] the terrible...leader Vajravarahi."
    " Although the verse does
    not mention the second mountain, Cittavisrama, it suggests that on the
    mountain peak (kutam) there is also a pavilion (mandapah/m) that is the
    "resting place of the mind" (cittavisrama-).


    The Manobhanga, Klista Manas or Subtle Mind is mainly destroyed or tamed by Citta Vishuddhi, Amanasikara, and Sahaja, pranic means, rather than a philosophy or attitude; then one is at a restful pavillion, canopy, or perhaps parasol or naga hood.


    GSS 16 is Maitri's thirteenfold goddess with cemeteries and palace, similar to what we know as Varnani; the sadhana was supposedly taught by the Buddha in the location of Mount Manobhanga and the pavilion, Cittavis'rama, a place associated with erotic manifestations of Vajrayogini.

    The mountains may have been historical, and, themselves the foothills of Glory or Sri Parvata:


    Indeed the mountain(s) and the delightful dwelling become Sabara's abode, the
    place where he teaches the practice and the place in which a yogin may
    realize Vajrayogini through sexual yoga practice with his consort.




    Vilasini is in Vibhuticandra's GSS 43, in GSS 10, and as a class of ten in GSS 5.

    In GSS 10, Sabara is taught by his teacher Karuna to visualize himself as Padmanartes'vara. The Karmamudra consort may be seen as red or yellow, she has a Kartri and Noose. The Guhyavajravilasinisadhana is unusual in the Guhyasamayasadhanamala collection in that the sadhaka visualizes himself as the male deity. But Vajravilasini is evidently the central deity. She is the first to be described as a result of the generation from the consort's sex/dharmodaya, and the mantra concealed within the xtraction of the mantra (mantroddharah) belongs to her and not to the god.

    Keeping in mind Golden Deer or Antelope, Mango Yogini of Vaisali and Kokila:

    Both Vilasini practices are also located in the mountainous setting of Manovibhanga
    and Cittavisrama, here named as the place where Sabara first learned the
    sadhana of GuhyavajravilasinI from his teacher.
    (v. 4) Having set foot on Manobhanga [and] on the delightful
    mountain [called] Cittavis'rama, abundant with all sorts of jewels, fragrant with the odor of musk deer,
    (v. 5) in that very lovely place where highly fragrant flowers grow
    (-ds'raye), where the beautiful (sundara-?) mango trees glisten
    [and] the cuckoos coo low,
    (v. 6) in a glade massed full of red [-flowering] as'oka trees, on the
    lunar day of the "Asoka-eighth,"
    this [goddess] Vilasini was
    taught me by the teacher named Karuna.


    Maitri was part of the university system but:

    Maitri is prompted by a voice in a dream to leave his
    monastery and to set out, first for Khasarpana, and then for Manobhanga
    and Cittavis'rama in Daksinapatha—the place where he will find the adept
    who will be his preceptor, Sabares'vara. The monk has some trouble locating the mountains, and it is only after a period of Tara worship and the
    intervention of Tara herself that he leaves Udra (Oddiyana) and travels for
    fifteen days to the northwest, reaching the (two) mountains the following
    day.

    But only Sabara appears to re-baptize him as Advayavajra. The story goes on from there. Daksinapatha means south of the Vindhyas generally, and includes Sabara or region of such a tribe. Here we get the impression that Oddiyana is the source of something with a more difficult achievement at Cittavisrama.

    Sabara's iconography also echoes that of the bodhisattva Avalokitesvara. He wears a deerskin, carries a bow and arrow, and resides on a mountain.


    Within Vilasini's procedure:

    ...in the visualization of the couple's
    consecration, which is granted at the hands of celestial beings including the
    two famous apsarases, Rambha and Tilottama. These nymphs often appear
    in Puranic myths in order to distract advanced sages from their development
    of tapas when it is set to become a threat to the power of the gods. Their
    involvement in the consecration of a Buddhist yogin is a telling inversion of
    the Indian classical tradition. Its object is to prove that the sadhaka is able to
    manipulate the nymphs for his own ends rather than the other way around,
    and thus to demonstrate that his sexual love is under his command.'
    The yogin's control over his mundane sexuality is achieved by one pointed concentration upon the goal of his practice, sahaja bliss: "The mind
    is fickle because of excessive movement; because it is motionless (nis'calanat)
    [it becomes] the means (mukham) of enlightenment. His mind set on [the
    bliss of] sahaja (sahajasaktacetasah), he should make the goddess tremble in
    sexual play."

    The sex is supposed to stop if the mind is "fickle" or prone to motion or activity, sahaja being the opposite direction.


    In the Hevajra system followed by our author, sahaja bliss
    is understood to be the final stage in a series of four "blisses" or "joys"
    (anandas). Each bliss arises at a particular "moment" (ksanah), the final,
    highest bliss occurring at the moment said to be free of both passion and
    nonpassion (HT2.3.8: vilaksanam).in The ultimate, sahaja bliss is described
    here as that final moment of intensity when he "excites the goddess," but
    retains his own semen:

    v. 90) The god and goddess should perform [the sexual movements of] churning and swinging (manthanandolanam)"
    according to their own mudra (svamudra). But one should realize that
    sahaja bliss has arisen in the moment of vilaksana. (v. 91) With
    his penis he should excite the goddess, and he should not emit
    his semen. If he emits his semen, how can there be great bliss?
    (v. 92) He should churn the ocean of the vagina through his
    desire for the ambrosia of sahaja, but in such a way that the poison (kalakutam) of passionlessness does not arise.


    Here again, Churning of the Ocean is still what it always is.

    Vilaksanam, free of passion, a grasping or restless mind, and free of nonpassion, therefor actually still has Anuraga. As well as this kind of "signlessness", it also has a meaning of "uncaused", same way Sahaja is described. Until you do it, you may believe it must be a result of yogic practices, but then, from its own standpoint, it resembles a Swayambhu or self-existent quality which is simply increasing, and got ahold of what was "you".



    The sadhana does a pendulum recitation that melts the three worlds into liquid gold, which dissolves into space, which dissolves into sahaja, which fuses the participants' identities, atmamelakah.

    As a more basic version, Aparajita also does something similar, and she should have been near Pratyangira in the frame recently posted. Aparajita is highly akin to Noose--Amoghapasha as one might say Vistara is akin to Khasarpana.


    Manobhanga and Cittavisrama are emblematic of Yogini Tantra categorically, in the way that Father Tantra is categorically a Method based mainly from points or an axis. They are like a better portion of the "slopes of Meru" considering that Sabaris entice one over the fringes. More of a pranic result, experience, initiatory process, power, state, than a method, which is why goddesses and their Dharanis are incredibly effective.



    According to Cult of Tara on Sita:

    Similarly, the anthologies give several evocations of
    a four-armed White Tara, a revelation granted to the master Cintamaniraja,
    which simply did not catch on to form a school, and
    which was completely overshadowed in Tibet by the two-armed
    form revealed to Vagisvarakirti and transmitted by Atisa.

    In Sadhanamala, Sita does have a Cintamani Ratna; the "explanation", or Cintamani Kalpa, is found with Sadaksari Mahavidya, and Mantra Rajas Cintamani Kalpa is with Sukla Ekajati 128 by Lalita Gupta.

    Atisa and Vagisvarakirti made the new, Tibetan, Cheating Death or Mrtyuvacana cycle, not based in the tantric Green Tara held by Naro. Much the same as Tibet did not get all of Vajrayogini from Nepal. That drift is indicative of the Chandrakirti and Prasangika and Extreme Deeds branches, which is what we are describing as relatively exoteric and unnecessary with regard to the Sanskrit system, at least more in terms of Profound View, Yoga, Manjuvajra, Atma Vidya, and Nirakara. This is a split in schools of Nagarjuna, sort of a minor philosophical split reflected by different sadhanas. From the view that, physically, there is a type of Nepalese and Sarma nucleus, I think we could say things like Gandhara, Nyingma, and Prasangika are all attached, but actually it almost all comes down to Sitabani. That is because Sitabani was relevant to the historical Buddha, as well as to Gambhiravajra and the panoply of Dakini Jala, Vajra Surya, and Vajramrita Tantra.





    Bhrkuti, I suppose, pours a great deal of Jupiter and Jewel Family into Lotus Family, which echoes Jewel--Vilasini with Lotus--Narttesvara, who in turn has Jewel presences in his personal retinue. Sitabani perhaps gathers a great deal of Lotus energy, which is going to move around in PR 206. Comparatively, Manohara is Hook, the First Activity. All of these get technical fast. Maybe the most basic Lotus devi is Sadaksari Mahavidya; Sadhanamala seems to prompt this. She is based in White Lotus and White Hrih and absorbs Mahasukha Vajrasattva into the Manipadme Six Syllable mantra, i.e. corresponds to Paramadya at the very least. She "is" a Four Arm White Tara who has Purity but not Emptiness mantra. Her Six Syllables are intended to convey everything about Six Family Wheel. That is slightly less "technical" because more universal.

    Sitabani and Sadaksari are both Rosary goddesses, similar to Dhanada, whereas Bhrkuti is Flask. Another Vira Tara like Sitabani is Durgottarini, but, it is possible Sitabani inspired "Tara One" sometimes called Vira Tara in several systems.

    Cunda is perhaps best thought of as Vajrasattva Family, especially if this is the Sixth and in her Sutra we at least get the potential concept of Seven, and these two families perhaps appropriately named Kumara and Naga. In Manjuvajra lineage, she appears to be the hypostasis of Sattva Vajri from STTS.

    Prajnaparamita 152 does not really spawn from Blue Hum, it is in her Nyasa.

    Vajra Tara is "involved" with Blue Hum, however, it appears most strongly associated with becoming a Kartri which then becomes Tara, although this is after Red and White Lotuses:

    100.

    pūrvoktavidhānena śūnyatābhāvanānantaraṃ raktaāḥkārajaraktapadmopari
    sitaṭāṃkārajapadmabhājane sūryasthanīlahuṃkāraja-
    sabījakartripariṇāmena kṛṣṇām āryatārābhaṭṭārikāṃ
    caturbhujaikamukhīṃ trinetrāṃ kharvalambodarāṃ daṃīṭrākarālavadanāṃ
    pratyālīḍhapadena śavārūḍhāṃ nāgāṣṭakabhūṣaṇāṃ vyāghracarmavasanāṃ
    avalambamānamuṇḍamālāṃ pañcamudrāvibhūṣitāṃ khaḍga-
    kartridhāridakṣiṇakarām utpalakapāladhārivāmakarāṃsākṣobhyanāthapiṅgalajaṭājūṭāṃ
    atighorāṭṭahāsabhīmarūpāṃ niṣpādya
    oṃ hrīṃ huṃ phaṭ iti mantraṃ viṣayaprjñādhikāreṇa japet /
    niraṃśumālikāṃ dhyātvā khaḍgasthāne vicakṣaṇaḥ /
    sphuratsaṃhārayogena saṃjapet mantram uttamam //

    // iti mahācīnakramāryatārāsādhanam //



    Bhattacharya says her form is the same in the next, longer sadhana by Sasvatavajra:

    The worshipper should conceive himself as (Mahacina-Tara) who stands in the Pratyalidha attitude, and is awe-inspiring with a garland of heads hanging from the neck. She is short and has a protruding belly, and her looks are terrible.

    Her complexion is like that of the blue lotus, and she is three-eyed, one-faced, celestial and laughs horribly. She is in an intensely pleasant mood, stands on a corpse, is decked in ornaments of snakes, has red and round eyes, wears the

    garments of tiger-skin round her loins, is in youthful bloom, is endowed with the five suspicious symbols, and has a protrudiug tongue. She is most terrible, appears fierce, with bare canine fangs, carries the sword and the Kartri in the

    two right hands and the Uptala and the Kapala in the two left. Her Jatamukuta of one coil is brown and fiery and bears the image of Aksobhya within it.

    He says this was largely copied into the later Hindu Tara Rahasya. The sadhana contains "Hantyugratara" which appears to be the only reference to Ugra Tara in the book. She is an Attahasa like Ekajati and Citrasena and Svadisthana Krama Marici. Looks like she deals with Three Vajras, Three Syllable Maha Mantra, Five Rays, and Yogacara. She also has the two modifications for the Three Kinds of Dakinis depending whether we want a Patala Vasini or Underworld:

    Trijagat (त्रिजगत्).—[neuter] sgl. & [plural], tī [feminine] the triple world (heaven, earth, & the lower [with]).

    Tribhava (त्रिभव).— the triple states of existence (kāma, rūpa, and arūpa)


    In the second case, you can argue that Kama Rupa is Underworld, but, it is not "Lower" or "Subterranean" as the first part, internal to the body. It may be related to that, but, it is not the body. From this phrase, Rupa and Arupa both turn into three, to make a total of seven.


    Her very strange relationship to Ugra Tara, "Hanta", is generally an "exclamation", could be pleasure or grief, as in the following example:


    Cintamani:

    1) a fabulous gem supposed to yield to its possessor all desires, the philosopher's stone; काच- मूल्येन विक्रीतो हन्त चिन्तामणिर्मया (kāca- mūlyena vikrīto hanta cintāmaṇirmayā) Śānti 1.12


    Cintamani is a relatively modern Five Dakini preparation for Chod; it is in Amitayus Dharani Sutra about the King and Queen of Rajgrha and a recurrent seven-jewelled tree on a ladder of meditations (on Kasinas) leading to Sukhavati; as well as there being a Cintamani Cakravartin Mantra Raja Sutra. But so far, nothing reflects a Master by this name.

    Lineage: Chintamani Raja, Pandita Amoghavajra, the Translator from Kham Bhikshu Bari.


    "Hanta" exclamation is rare, in Ekajati 124, 125. There is a Svahanta, but this is most likely Svaha plus Anta, mantras ending with svaha. A Mahavidya post copies this Hantyugra Tara as evidently expressing her form, or, rather, you chant this phrase to her picture. It might seem weird to us to tell the picture "you are generated from Hum syllable", but, for this verse, it says:

    for this a special verse is first chanted which energises the body and also supplicates to the divine goddess to present herself in subtle or physical form to bless the sadhak.

    His "special verse" is probably our "narrative", but, as far as the chanting goes, same idea.


    In Rg Veda, "Hanty" without joining the following "u" still has the meaning of strike, smash, the preceding object, trees. It is also unattached in a Hari manuscript.

    If we would not think that common meanings of beating or destroying are what we are going to do to Tara, the root seems to only go a couple of directions--the exclamation or exhortation, or in math, to multiply, or in astronomy, to come into contact. Likely closer to the root Ham, in that Hamta is an alternate of Hanta.

    Ekajati 124 has Hanta Hutasana (Fire Eater of Oblations). 125 uses it with an Agni Chariot and then:

    hāntam eva tṛtīyaṃ ca ṣaṣṭhasvarasamanvitam /

    In other words it looks to be the third, Ga or Gandhara Svara, musical note, perhaps of Svara Yoga which exalts Citri--or possibly it could be the third vowel, but, this is in regard to Saman or singing. 124 seems to let Hanta involve Six Sounds or Notes of Nadi Bindu Samanvita. Because Naradiya Siksha is an Upadesa to employ Sama Veda, Tritya is the Rsabha or Ri note of the flute; but Narada flipped singing to an ascending scale with Ga third, whose corresponding natural sound is Ajavika, goat or sheep, except these Laukika sounds are back to Third= Rsabha = Bull...

    Trtiya Svara is synonymous to dhrta and pracaya, as scales expanded from three, to four, to seven notes:

    Thus we see at one time in the history of Vedic music,
    the fourth note, the came to be distinguished from
    the other three svaras, udatta, anudaita and svarita and as the
    concept of keynote gradually grew, it was significantly
    christened as by the author of the Taittirlya Prati-
    sakhya.

    [That the word dhrta is a significant technical term for
    keynote is amply borne out by the fact that the Trtiyasvara of
    the Saman music (i.e. our Rsabha) which was identical
    with pracaya was also called dhrta in later times,]


    Dhrita is an obscure term for Earth devi in MMK, and this same thing also applies to pronunciation:

    Dhṛta (धृत).—(or धृतप्रचय (dhṛtapracaya)) a kind of original grave vowel turned into a circumflex one which is called प्रचय (pracaya) unless followed by another acute or circumflex vowel. The Taittiriya Pratisakhya has mentioned seven varieties of this 'pracaya' out of which धृतप्रचय (dhṛtapracaya) or धृत (dhṛta) is one.


    I am not sure if this is from the Narada, but Trtiya is perhaps also Samjna according to something Ganapati did in Russia a few years ago:

    (jagad-vazebhavet tasya caturthaH kasya vahninA / SaSTha-svareNa saMyuktaH kalA-bindu-samanvitaH // athopAntas thakArAntaH sa-paropi tathA punaH / dvir-mohIti ha-kArAsya turyo dvi-svara-saMyutaH // tRtIya-varga-prAntena tRtIya-svara-saMjJinA / pUritAnto dvidhA varNas tarhA vAdi-caturthakaH // svarodvitIyaz ca tathA kSobha-zabdaH puraH-saraH / pureti sahitaH sopi mitraMzatruz ca rAkSasaH //dakSa-prajA tathA rAjA sarva-zAstra iti zrutaH)


    Something is certainly going on there with the expanding musical scale also having progression from three to seven, music in this case resonating to fire philosophy it seems, i. e. especially Three Worlds to Seven.

    I am not entirely sure what, but, it seems evident that Mahacina Krama intends to cross Ugra Tara with the third sound or note, which may be synonymous with keynote when music becomes developed enough to have such a thing. We have encountered all this before especially with respect to Kokila, and found groups of notes scattered across Sadhanamala goddesses, much like the vowels, Sarasvati (five), Kurukulla (Eight), Nairatma (Sixteen). So I guess we have found that "Hanta", wherever it may have come from, is "therefor" the third note or sound according to Ekajati 125. 124 uses Hanta perhaps differently as fourth note; she is the first Kinkini goddess, i. e. having anklet or girdle bells, among other Ekajatis, the only other one being Marici, and Jvalamukhi only saying it in a dharani. 124 also uses Vahni.



    Lotuses, Vajras


    Sadaksari comes from Lotus Family, but she has White Lotus. The most basic devi using a Red Lotus pedestal more or less on its own is Prajnaparamita 153 and 156. Prajnaparamita 156 also uses Red Ah, as does Vajra Tara 110 to support the Hevajra-esque seed syllables recently mentioned. This Vajra Tara also has the only other White Tam, or else Mrtyuvacana uses it.

    So, to reverse it to find the flow, Vajra Tara, you have got a lot of stuff, where did some of it come from? Mahacinakrama. Where does she get hers?

    Red Ah and Lotus: Prajnaparamita 156

    White Tam and Lotus: Mrtyuvacana 102 and Sadaksari


    There is a very simple Padma Tara holding a Red Lotus who is only a retinue member for Dhanada. Dhanada is a Mahamaya-style devi since for her, Vajra Tara means Vajra Family. One to one, formulaicly very routine except for being Karma Family-centered. Her Ratna Tara holds a Jewel, almost just like Cintamani Tara; her Buddha Tara, whose color is not given, has Puspadama, which is a garland. Mahamaya Mandala is much like a plain Five Wrathful Dakinis where they all have Four Faces, being centered on Red Buddhadakini. Its Padma Dakini is "reddish white".


    Sadhanamala carries the internal confession that it is not the repository of everything, such as Visvamata and Parasol are practically negligible here. And so in this instance lacking a simple Red Lotus Padma Tara, it may be telling us to delve more into Mahakarunika. It is not the "Book of Avalokiteshvara", but it is more like the Book of Sadaksari Mahavidya converting the exoteric Kriya Vajradhatu into a Dharani system.

    Dhanada and Durgottarini are like an understudy of Suryagupta, which superficially appears to be an assembly of Tara forms, but turns into her Reversing Amoghasiddhi.

    Marici who accompanies Sita has on Rakta Kancuka, which she has many times on her own forms; Kurukulla has it, but also has the only Sukla Kancuka in Krsnacharya's Mayajala Mahayoga sadhana.

    And so Dhanada cues us that Vajratara is *not* the Jewel Family Vajra Tara that this book is mostly about. Dhanada's is Tara with a vajra in Vajra Family, and then Ratna Tara holds a Jewel, and so on.

    In this case, Vajra is East or first, and Tathagata Family is north or last, much like the weird Sitabani in PR 206.


    Sumbha is an Aksobhya goddess according to Vajra Tara 97, but, she has no Vajra and is not really needed at first. She fuses Noose and Serpent, and is mainly used with Vajra Tara. It is noticeable that in Vajra Tara 94, the regular Noose or Vajrapasi becomes the only Ratipriya in the book; she is also Blue, the colors are a bit unusual.


    One of the most basic Vajra devis is from Pancha Raksa:

    'Mahamantranusarini is four-armed and one- faced, is blue in complexion, shows in her two right hands, the Vajra and the Varada mudra and in her two left the Parasu and the noose. She originates from the syllable Hum, bears the image of Aksobhya on the crown, sits on and glows like the sun.

    And in the Vajra Family without the emblem, also Prajnaparamita, such as her White form on a White Lotus, holding a Red Lotus, then into a similar form holding Red and White Lotuses; Bhattacharya suggests there is only one, but, this one seems to be the introductory alchemy of Muttering Om Ah Hum, therefor important as she has a few stages.


    Pratisara 195 appears to fuse Jewel, Vajra, and Vajrasattva Families. None of the other Pancha Raksa are very basic; the simplest Pramardini is similar to Sukla Tara with a Sword. Mayuri has basic forms outside of it.

    Because Sadaksari has Manipadme, which derives into Mani Tara and Padma Tara, this is also hypostatical.


    But, if we found Sitabani, if not the simplest, at least a fairly accessible representative of Lotus Family, then, whereas Vajrayogini also does not necessarily mean yogini in Vajra Family, sometimes it does. Here is some additional focus. We found in a Nepalese archive that out of the Pancha Raksa, Mantranusarini is most like Vajrayogini:

    parabrahmasvarUpiNI vajrayoginI

    vajrayoginI mantrAnusArinI

    ugratArA vajrayogiNI

    vajrayoginIguhyeCvarI nairAtmAghyeCvarI

    vajrayoginyA CrImatmantrANusAraNI

    "Vajrayogini and Buddha" on the cover of Aparamita Ayur with Bhattarika Sragdhara and Bhattarika Ekajati

    Right after "Chum Dharani" (i. e. Cunda) is vajrayoginI parameCvara dhAraNI


    Most of those are not surprising, however, two inclusions of Mantranusarini, is. She is practically in line with Ugra Tara, Nairatma, Guhyesvari, and Ekajati. She may have something to do prior to assuming her large white form, which has been recorded as observed, but I am not sure if anyone has pictures of the two or three specimens.

    In Rinjung Gyatsa, Mamaki 160 is a basic Vajra and Lotus Noose goddess, followed by Pandara like a simple Padma Tara, shortly followed by the Hum and Om Aparajitas, and Dhvajagrakeyura--Vetali. This Mamaki is using Gha syllable, similar to Ghri that gets involved in Vajramrita Tantra. Her Root Mantra is just saying Kula Bandha or bond to the Family. In IWS 260, this sadhana is one of the exceptions which comes from Deva Sambhava of Dramila, South India, the other being the preceding Vajrapani with Mamaki--a rare use of Peaceful White Vajrapani with Vidyadhari or Rigzenma; she is called Maha Vajra and Kiri (probably similar to shouting or singing praise in Rg Veda). Her place of origin is more commonly spelled Dravida, generally meaning Tamil country. Dakṣiṇātyā in Brahmanda Purana. drāviḍa (द्राविड).—m (S) The coast of Coromandel from Madras to Cape Comorin.


    Daksinatya is scarcely discernable from Daksinapatha given for Maitri; but, if you left the eastern coastal area of Uddiyana which is specifically closer to "Dramila" and went northwest for fifteen days like he did, you probably could be in "Sabara country" that is not yet in the Vindhyas.

    Mamaki remains in Vajra Family in Advayavajra Samgraha, and the large Varahi mandala. However, her southern version immediately gets weird by consorting with Vajrapani, which seems out of balance because he is not a Dhyani Buddha. But by herself she is Sankari and Shantikari.

    Bhattacarya says the description of Ratnasambhava in Advayavajra Samgraha is probably the best. It also has one of the few original descriptions of Prajnas, which appears to center them on Jewel Family Vajradhatvishvari:







    whom, we see, has a two flower Prajnaparamita-alike appearance, similar to the corresponding Vajra Family Mamaki (or Marani):







    So, it is the same Maitri as presented the tantric Vilasini who does things to Jewel Family and Space Element, much as basic Locana is White and Tathagata Family, although as Patani she takes over Yellow and Space:









    Pandara--Akarsani:







    Basic Tara--Nartesvari:







    Locana and Mamaki are largely prepared to move around, and Karma Family Tara Nartesvari is the "female name" of Padmanarttesvara, who consorts out-of-family with the weird Jewel Vilasini just mentioned. This is weirder than Touch being removed from Karma Family--Surface and going to Space--Mind, as in Guhyasamaja. Jewel Family "taking over" Space, whatever that may mean, appears to beget Vajradhatvishvari, and then there is a lot of alchemy until she fuses with Marici.

    It seems to change spirals in retinues, i. e. at first cast from center round the circle, and then round the circle ending in center, a slight difference from nine to ten by addition of a vertical axis.

    Abhisamaya Manjari uses their "active" names such as Patani that continue in Vajradaka Tantra. Although Vajradaka shares the "Patani" ring of names, its Center is different:

    Mahāmāyā (महामाया)or Padmaraśmī is the name of a deity associated with the Bhūta (element) named Ākāśa, according to the 9th century Vajraḍākatantra chapter 1.16-22.

    So, ironically, it appears that in Mahamaya Tantra commentaries, it *does* say that "this" Heruka is a sex-changed female Mahamaya, i. e. in beginning of Vajradaka and other places.


    In IWS, Vajrapani starts white, but turns blue to join Mamaki:







    Mamaki with Vajra and Lotus Noose:

    Last edited by shaberon; 1st July 2021 at 18:56.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    This is a little strange.


    After not using this thread for a while, and getting back with the unusual subject about Ratna Family taking over Space Element, I see some of the notes I filed as Dharmadhatu and Deities has been published. Same subject involved.

    Complete copy, minus the pictures.

    I was already using them as a resource and they might even be copying their own stuff back into their own stuff. But this is putting me in a league with legends like Elizabeth English and Dandaron. That article of notes is not really a publication. This is like a Mahatma Letters scenario. Fortunately I quoted that near the beginning and now a Buddhism site is going to live with HPB and Koothoomi on it.

    I did try to contact Himalayan Art once but never heard back.

    That site has a very good start and I was just able to notice a few things. The screaming monkey is IWS because Rinjung Lhantab illustrates practically the entire thing. And we just noticed something and it is easy to fill in their Sakya Sri Raksita page. Such as that it says that Vajrapani with Vidyadhari, and Mamaki, did not originate there, but from Devasambhava somewhere at the Coromandel Coast.

    The 1982 Rinjung Gyatsa is basically the same as the majority of IWS, but it does not say anything about Mamaki; however, it says Pandaravasini is from Vajra Guru Devasambhava of Droding. And when we get to this, we are going to criticize the Mongolians too. But first we will say it is extremely rare to address the Prajnas in their own names, and there are two in a row, Mamaki and Pandara.

    "Droding" shows up as a Padmasambhava venue...in one such post, it is called "south India", and then "north of the Ganges". Or, in a more substantial biography:

    In the middle of the ocean there is a small island, named Damidodvipa that one can reach from southern India by sailing straight towards the west. It was once called Damido, in Tibetan Droding, because it was inhabited by Rakshasas and Dakinis, beings who fly in the sky.


    In 1893, they knew the natives called it Samlornaso. I am not sure if perhaps that should be Samlomasa.

    Dami is a place of Brahma, and Damita is tamed, subjugated, and subdued, which is likely what got recorded as "Damido". If we follow Padmasambhava's island quest, it winds up at Singala...Ceylon. He went past "Conch shell island", Sankha Dwipa is in The Secret Doctrine quoting Vayu Purana. In 1834, it was accepted as "direction of Africa". I am not sure if Zang--Zanzibar is equivalent to Sankh, but someone thinks so. Sankhadvipa does not seem to be a specific place. Since his departure point was Konkana--Bombay--it sounds like he went towards Africa, then down around the tip of the Indian subcontinent and over to Lanka and onwards to Potala.

    Droding perhaps is very south, west India, oceanic, and would not be the same as Dravida as recorded in IWS, either one called the south Indian source of Mamaki. Purnavajra, most likely, went to Orissa rather than the Maldives or Madagascar.


    It is accurate for the linked page to break Sakya Raksita out as a "set", as the sadhana books are like sets of sets that are not in order. He was, more or less, one of the last conservators of Indian Buddhism and founder of the Sakya school during the Yuan Dynasty of the 1200s, although the Khon lineage began with Vajrakilaya transmitted by Padmasambhava, apparently the same thing that was going on at the "Damido" island. Sakya Sri also composed Abhisamaya Manjari.

    The original teacher of these Prajna sadhanas, Devasambhava, does not show up as a person, but, in Brahma Purana, there are Twelve Deva Sambhava Nadis, half of which are in the corresponding area:

    six more from Vindhyaparvata to Dakshina Samudra viz. Godavari, Bhimarathi, Tungabhadra, Krishnaveni, Tapi and Payoshni.

    The Godavari is weird and goes from Bombay to Orissa. The first two plus Krishna have their source around the Sahya hill. Tapi is the only one which appears to flow westward into the Arabian Sea; Payoshni or Purna is a tributary of it. Sahya is the northern extremity of the Ghats, south of Godvari, north of Kaveri; for Kubjika, it is Purnagiri.

    The twelve Devasambhavas are or are quite close to the Twelve Pushkaras based on Jupiter.

    In Karnataka, you can see that almost all of the major rivers of south India flow eastward almost completely across it:







    Devasambhava of Daksinapatha or Dravida or south India sounds a lot more like a category and an area than it does a specific person or place. Purnavajra was an Indian who went to Tibet and met Taranatha in the 1600s. There was no longer such a thing as North Indian Buddhism, except for trans-Himalaya and Bengal, and it had mostly been flushed out of the south by Hinduism, and only continued higher up some of those rivers or in the Sabara hills. Caitanya Mahaprabhu debated Buddhists in Tamil Nadu; Taranatha is still used on Wiki to describe the "pockets". Besides these places, it was among the weavers of the villages of Maniabandha and Nuapatna in the Cuttack District of Odisha, a region that had been isolated for long. These are the only surviving indigenous Buddhists in mainland India outside of the hills. Pilgrimage centers such as Bodh Gaya were usually not destroyed or shut down, since they were not seen by Mughals as potential power bases. And so for example Bodh Gaya has an inscription recording a visit from:

    2nd half of the 15th century, monk Budhagupta from South India

    and, as if the very background of Theosophy:

    1773 Trung Rampa, a representative of the Panchen Lama from Tibet, welcomed by Maharaja of Varanasi

    but in places like Kashmir there were virtually no Buddhists. Considering that both Panchen and Maharajah are lines, well, within a few years, there are the 1810 block prints which made the IWS we are looking at right now made by Panchen, and then ca. 1920, Panchen is going to reprint Voice of the Silence together with Alice Cleaver and tells her his predecessor knew HPB well. The T. S. motto we found to be a plain copy of that of the Maharajah. Furthermore, we examined the history of Dayanand Saraswati, through the point where "he was a high Chela at Bhadrinath", and then since we were able to identify the Guru who initiated him, we were able to find he also initiated another Saraswati who became Kasi Naresh, an ancient office like an advisor to the Maharajah. This Kasi Naresh was photographed and met celebrities such as Mark Twain and Mme. O'neel.

    Shortly afterwards, according to the 1901 census of British India, which included modern Bangladesh, India, Burma, and Pakistan, the total population was 294.4 million, of which total Buddhists were 9.5 million. Excluding Burma's nearly 9.2 million Buddhists in 1901, this colonial-era census reported 0.3 million Buddhists in Bangladesh, India, and Pakistan in the provinces, states and agencies of British India or about 0.1% of the total reported population.

    Ratnagiri in Jaipur District, 70 km from Kuttack and probably connected to Kalinga, is thought to have ceased functioning shortly after Taranatha refers to it. Its ruins were never "forgotten". So it is still realistic that Taranatha imported something from south India; Ratnagiri for instance had been in continuous operation 1100+ years at the time. Comparatively, Alchi is just reaching that antiquity now.





    The first misleading thing about the art page is the whole beginning of it. It should be Buddha in the center of the Historical Buddhas, and then Blue Mahakrodha and Green Vajrapani, having the Four Kings as Gatekeepers, as an Assembly. But the Kings are omitted from the images, which are not assembled. The implication of the additional Blue and Green figures is that really they should be the vertical axis.

    The bottom row of the page is correct; after this mandala, there is an individual Amitabha, and then the Bodhisattvas on an individual basis, and then multiple forms of Avalokiteshvara. Then you get the two Prajnas from southern India, and then it culminates in some extremely strange things.

    If it was drawn better, you would have a gathering of Tathagata Family, during which, Lotus Family makes a display more like beads on a rosary, one by one. Amitabha who does not "do much" emanates Bodhisattvas which are more accessible.

    The first Avalokiteshvara is a dancer, however, it is supposed to have Yellow Tara offering him a Gem; she uses the mantra Om Mani Tare Hum. What? Yes, pin that at the beginning of these.

    The second one is Eleven Face Amoghapasha Universal Ruler (Vishveshwara). His principal face is his own; the stacks are those of eight Hindu gods; and the top is Amitabha, Vayu, and Agni. Furthermore, only the right half of his body is him, the left is Pandaravasini. The published one oddly has Amoghasiddhi at the top.

    The third one deals with Prakriti and is supposed to be embraced by Tara who has a hint of red. This one is Om Padma Tare Hum.

    The fourth one is Sukhavati Lokeshvara who is also able to appear in a Red form, either suggestibly having the consort Tara who is Om Padma Tare Hum. The previous two images seem not to have any sign of consort; the one that should be called Sukhavati does:







    When Red, she is in his heart, similar to Guhyajnana Dakini, except she is opening a flower. In that case it does sound a bit continuous to the external Pandara form we will see. According to Taranatha, either the white or the red is Padma Tara. Both arise from Hrih.

    Fifth is Amoghankusha which is Hook and very brief.

    Sixth is Amoghapujamani with Nagas (which look human in the image).

    Those perhaps are in a descending order.


    After Avalokiteshvara is something that is not explicitly named, but understood as, Vajrapani:

    Sahaja Guhyaka Adhipati

    Guhyaka, literally “hidden beings”, are Demi-Gods who, like the Yakṣas, are the attendants of Kubera and guardians of his hidden treasure. The full title either means Kubera or it means Vajrapani in the way related to Utpatti.

    The next image is called Avalokiteshvara, and may resemble a bunch of the other white ones in the distance, but it is really this White Vajrapani and Mamaki, which should be obvious from the Skullcup:







    Mamaki starts as white with a bluish tint; union in this color produces a mass of bodhicitta, the Tathagatas urge it, and it causes the couple to re-arise darker and wrathful; or, he is, she is slightly peaceful and amorous. Then they reach the top of Mt. Meru. That is where we are supposed to transit to Completion Stage.

    Mamaki as a single practice has a subtle body populated by Buddhas and Prajnas (simpler in RG).

    Padaravasini is red, she has a red lotus that she is getting a gem from. She has Vajra Feet, a closed red lotus in her heart, and white scarves as upper garments.

    The website did not name Mamaki or Pandara, and the artist did not impress me with much of a white robe:







    Pandara is mantricly similar to Simhanada 131, a Mahakarunika who has Simhanada Nama Dharani, which is in Dharani Samgraha as:

    oṁ nama, śrī siṁha nādāya| namoratna namāya| namo āryāvalo kiṁteśvarāya bodhisatvāya mahāsatvāya,
    mahākāruṇikāya| taghayā| oṁ akaṭe, vikaṭe, nikaṭe, ikaṭe| kaṭaṁkaṭa kaloka karāṭavīryva| svāhā| āryā
    siṁhanādalokeśvara nāma dhāranī samāpta|

    She only uses about one line.

    The book has Two Arm Usnisa Vijaya, who emanates from the Usnisa of Buddha, followed by Twenty-six arm Cunda from Manjuvajra, and then what they should perhaps call Aparajita and Aparajita who are Vairocana deities:








    That shakti is the power of the Buddha and a Witness to Final Enlightenment.

    Next is supposed to be White Hayagriva with Blue Ekajati, both emitting deities from the tips of their jewels, Green Hayagriva and pale blue pig-faced Vajra Nakhi. Her mantric name is Vajra Mukhi, i. e. the conversion name of Vajravarahi in STTS. Then Red Acala is with Canda Rati; the Tibetan looks like it says gTum-mo, or Tummo gajema, so perhaps it should be Candali; but the mantra says Vajra-Candi. Then the Kriya deity Marici with Bay Green Horses would not appear to blend in, she is followed by Dhvajagrakeyura and Vetali, whom the site does not name:







    IWS implies Dhvajagrakeyura is a specialized form of Vetali. The Vetali should be in the middle of charnel grounds. They also did not name Hariti; she is orange, has a mongoose, or a hook and noose, and her five hundred children, and you project Yamantaka from your heart to her crown:






    Taranatha however says that Hariti emanates Yamantaka with a Club and Noose. The artist seems to have turned it into Jambhala and made him look like the principal.
    Last edited by shaberon; 3rd July 2021 at 03:49.

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by shaberon (here)
    Quote Posted by Lunesoleil (here)
    It is an opportunity to see what is hidden behind the veil,
    Are you able to see this, at will, unassisted?
    The Sun arrives in conjunction with the Black Sun, you will be able to experience for yourself
    🌑🌒🌗🌖🌕🌔🌓🌘

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    Default Re: The Serpent, the Black Sun, HPB & St. Germain

    Quote Posted by Lunesoleil (here)
    The Sun arrives in conjunction with the Black Sun, you will be able to experience for yourself
    Yes. In philosophy it is called Rahu. But that is not the central star, which is described as the source of the conscious energy of which the visible sun is a reflection, or like an electrical transformer. And so the hymns deal with the True Face of the sun, which is ordinarily invisible, I personally cannot see it. The central is too powerful, it is described as the tasks of Hercules being done, he moves to reveal it, vaporizing the solar system as we know it and being effectively the End of Time, which is also part of philosophy.

    That is the subject I mean; there are of course other things with similar names.

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