Re: Pawlsy the Cat is Her Name
This is our Dharma talk from encountering Mahamaya and the presence of Five Families.
It's almost simple, but, we also keep seeing numerous publications that keep saying something is something. It's not. There are times and reasons for it to be one way or another. Mahamaya is not a beginner text, but it is quite compact and a very useful example. We'll go over it and some of the others, and say, sometimes they are valid, and give you the lead to figure out what those times are.
It's not quite a sex-changing entity like Bhurkumkuta may be. There are masculine and feminine versions of it, just like nearly everything else in Sanskrit. The sadhanas are based on Heruka Mahamaya.
Ariana said, "There are archives on it.
What is immediately obvious is juxtaposition in the union of Heruka and Buddhadakini. It's not 'Akshobhya and Consort' as if a normal Vajra Family couple, because they are in two different Families.
It is a Buddha Family-centered mandala, because Vajra Dakini is in the East.
Buddha Dakini is Red, while Lotus or Padma Dakini is White.
The tantra is more about Vajra Dakini or that is who he is meditating to/on."
Fleep said, "It has a final or additional subject that refers to Subtle Yoga."
tāramuktāphalanibhaṃ jñānāmṛtabinduṃ dhyāyāt|
I said, "That is like a large Sadhanamala exercise with songs.
There is also a Mahamaya with Ratnakarasanti's Gunavati Tika Samhita.
You find a certain designation for dakinis."
"There is also a section where he deals with the fact the Five Skandhas are supposed to transmute into Five Wisdoms."
"That's what I mean.
If you melt the skin of the Bodhicitta, the illusion of Form arises as the Adarsa or Mirror Wisdom. If you are not good at this, it will get ripples and you will go away, or, if you hold it, you will melt the layer of Greed and experience Equality Wisdom. If you make it all the way around, you will go into the Dharmadhatu itself."
Fleep said, "It's hard like a pearl, and then you melt it into basically semen."
"Yes.
It might be warm but it's not literally like a grease fire or anything drastic. I think there might be fiery feelings and headaches associated with failure to concentrate Fire on the Bodhicitta. Something that would be self-correcting, for me, at least."
"I like that. If this hurts, you're doing it wrong."
"I think so.
That's why I want to keep doing it, and I'm not that good at the sadhanas that are supposed to cause it. You all will be more of Buddhists with it than me.
It's a somewhat rare aptitude seen once in a while, for example, in Dolpopa, who mastered Dharana on retreat in about six months, but, I think he was overzealous and bent the Yogacara terminology in a way that did not need to be done."
Genta said, "So you've gone from a profuse saturation in the head, which you say is the First Joy, to a thing more like the Bodhicitta is the metal head of a trident and when it melts it just drops. When it hits the lower center, it stops and its nature changes and it climbs back up in a very passive way. But the lower center is not actually the root, it's The Vessel, Bharati.
Other than that, you haven't really performed the divine or Dharma portions of the teachings, except you can tell about the Skandhas and Prajnas, which just happens to be the main point of it all."
"Yes. I'm trying to listen to what Buddhism says, rather than just doing the physiological process, which I could do at will with nothing at all. It would just be time spent."
Fergus said, "In actuality, it must be the Prajnas, the Wisdoms, that are to be Known."
"Seeing Marici, then, it seems to make sense as fire hitting the bindu, and then she is Vajradhatvishvari without any Vajradhatu.
That is what the mandala systems are for, and why she is packaged with it. It's indirect, but it's parallel."
Relative to Maitreya or Jampa, Vajradhatu:
"Quite visibly this is the main thing being done here."
The majority of mandalas subsidiary to the principal Vajradhatumandala represent Vairocana in his krodha forms, or in his aspect as peaceful Vajrapani (Phyag rdor), in the centre of various emanatory retinues.
The verses beneath it identify it as the Guru Mandala, "the root mandala of the mahayogatantra", and "the basic instructor and trainer in the root tantra". Ngor chen Kun dga' bzang po is identified here as the Lama of this tantric lineage.
"You have to import that idea to the visible list in Appendix A and discover the next neighbor is Dharmadhatu Vagisvara Manjughosha.
This collection is mostly Sarvadurgati Parishodana mixed with Namasangiti. Those aspects of it are recognizable and why they can be said to be progressive, related practices.
The upper sanctum is a mostly un-reported collection of tantras such as multiple Chakrasamvaras and so forth."
Dinky said, "The example photos aren't clear enough to make out any details. But you can get the general impression of the Vajradhatu."
I said, "What we have done is describe a dharani-based goddess equivalent of this.
Considering this to be an Ngor monument, you may have noticed it is the actual Ngor Monastery where we first found details of Sadhanamala deities like Mahacinakrama and Four Arm Sita Tara."
Fergus said, "Is it subsumed in the band's use of Heruka-centered Six Families?"
"Maybe started by.
Vajradhatu is a Vairocana-centered tantric progression.
Dakini Jala isn't really a progression, it's more like a template, more like the beginning of a conceptual Vajrasattva. It's perhaps more like the attributes of the Families individually.
Manjushri is generally held to be an agent of Vairocana, so, the slightly later tantras like STTS, SDPT, and Namasangiti, are based in what look like layers of Wrathful Deities, Mt. Meru, and an Omniscient Vairocana.
So we take our conceptual Cemetery Heruka as above and look at Mahamaya Tantra what happens. Buddha Dakini is on him. He is in Vairocana's spot. Vajra Family has its spot in the ring. And it becomes mostly about Vajra Dakini.
What Muses has on Naro even goes on to Utkranti or Transference."
"When the time (of death) comes,
This teaching is applied.
If the time (of death) is not near when anyone applies the teaching,
He is committing the crime of slaughtering Buddha;
He will certainly fall into hell and be scourged.
Therefore, one should carefully and diligently study the signs of death."
"Most of our Yoga is training for this."
"By means of the Vase Breathing the door is bound (opened).
Thus, the hole of the door is purified."
The Tantra of Gdan-bzhi as well as the Tantra of Sambhuda says the same thing. They stress the necessity of having a (tamed) prana for practicing the (Transformation Yoga), only because through practicing the Vase Breathing can the pranas, which run wild toward all organs and gates in the body, be fairly gathered (or tamed). Some people say that, if one reaches the lowest stage of Vase-Breathing practice, one is qualified to perform the Transformation Yoga. This shows their ignorance of the teaching of Tantra.
In performing the Transformation Yoga, all the nine gates of the body except the Golden Gate on [top of the] the head should first be closed to prevent the escape of the consciousness through these gates. The consciousness should be allowed to exit only from the Golden Gate. According to Tantras, these conditions are required to meet the qualifications of a perfect ground upon which the qualified Tantric yogis may perform the Yoga of Transformation.
Furthermore, a perfect visualization on the exit of consciousness described by the Tantras is required.
"That is compatible with this note on the Vow."
"Okay. So you have a sort of maximal use of Vajradakini, which is at the Crown Center and at Death, but you, or I, or we, don't have a Vajradakini.
She is directly addressed as the very beginning of Ratnakarasanti's Mahamaya commentary, as a guide to Five Knowledges and the Tri-kaya."
namaḥ śrīvajraḍākinyai ḍākinīcakravatirne|
pañcajñānatrikāyāya jagattrāṇavidhāyine || 1 ||
this chick is going to eat the Imaginary Nature of Yogacara and try to deliver you some Void Essence:
"We find one topic of vast secrets, parama guhya, governed by Mahesvari."
mahāmāyā mahārau drā bhutasaṃhārakāriṇī||5||
"In turn, this has to do with Five Families."
iyaṃ tu pañcakulasādhāraṇī dharmatā pañcānāmapi tāsāṃ samatā, tatastāsāmapiyaṃ guhyāmiti paramaguhyāmeṣā|
"Heruka, on acquiring the nature of Vajradakini, is going to make a jnana dakini murti, something like a Jnana Sattva of the Dakini class."
Another area also concentrates around Vajradakini."
iti mahāvajraḍākinīnāṃ mataṃ mahāguhyaṃ samāptaṃ sopacāram|
Part of its Hetu or Cause or Grounds are the higher luminaries of Yogacara:
Then you go through Vajradhara and Akasadhatu to get to Suksma Yoga. This makes Ramyam Rahasya Jnana. Ramye Rahasya is still the beginning of Dakini Jala and main festivity of most Chakrasamvara. With Dakini Jala it is being taught and trained. Now it is being applied in the Utpatti or Generation Phase.
It is then called Sri Vajramrta Suksma Yoga.
Followed by Kha-arisen Vajrasattva in the Navel.
ākāśadhātumadhyasathaṃ bhāvayeccandramaṇḍalam |
buddhabimbaṃ bibhāvitvā sukṣmayogaṃ samārabhet ||
nāsāgre sarṣapaṃ cintet sarṣape sacarācaram |
bhāvayejjñānapadaṃ ramyaṃ rahasya jñānakalpitam || iti ||
śrivajāmṛte 'pyayamasya sūksmayogaḥ sādhāraḥ sakarmaka ukata
tiṣṭhate niścalaṃ vidyā amṛtaṃ dhyānamārabhet |
dhyāyate paramaṃ tatvamamṛtaṃ bindurupiṇam ||
khamadhye śaśisaṃkāśaṃ śunyatattvamudāhyatam |
akṣayamavyayaṃ sukṣmaṃ vajrasattvamanāhatam ||
nābhimadhye sthito devaḥ karṇikāgudagocare |
sravate śukrarupeṇa bhagaliṅgāntare sthitaḥ || iti |
These lines show some of the core ingredients.
pañcajñānāmṛtaṃ tathā |
Transmundane Awareness is Unelaborated, non-phenomenal:
and then there is:
Vajrayogini
The rest of the tantra is Completion Stage:
Nispatti Mahamudra Siddhi
with:
Akanistha which emanates Seven Worlds. Curiously, this is the only section that uses Simha -- Lion.
prāṇāyāmaṃ suyantritvā dhyātvā jvalati tatkṣaṇāt ||16 ||
akaniṣṭhabhuvanaparyante saptaloke carācare |
sarve tato bhāvayanti na ca taṃ buddhayanti hi ||17 ||
yogāntaramāha--siṃhetyādi | siṃho vīraḥ , tasya vikrīḍitaṃ yasyāṃ sā tathoktā | mudrāmiti ravisomasampuṭām , bandhayantīti baddhāṃ cintayanti , tisubhirakṣarapaṅkti bhiḥ purvavat (1|26) | yogina iti caturdevīparivṛtaśriherukayoge sthitāḥ | prāṇāyāmamiti ucchvāsa niśvāsau | suyantritveti suṣṭhu yantritvā , krameṇa sukṣmīkṛtyetyarthaḥ |
Genta said, "It carries the sense that Vajrayogini is a result of the cumulative knowledge of Five Dakinis."
"Maha Vajradakini seems to be the "who" that has been explained by Mahamaya which is the Tantra.
Buddhadakini has to do with Awakening, with Kunkuma, and with the origin of Five Families. Vajradakini is in the East. The other dakinis are formulaic and only mentioned a few times. So this is still within the pattern that Buddha Family or Vairocana is fivefold form, to which, the sixth principle of Buddhism is hypostatically split, so to speak, out of Vajra Family. Much like Sattvavajri through STTS.
The tantric commentary is followed by a Mahamaya sadhana, and the one by Kukkuripa.
The first makes it fairly clear that the Bindu splits into Four Bindus, from which the retinue ring comes. They do a Vajra Giti or song. This is what produces Mahamaya and Buddhadakini.
Kukkuripa adds this line."
"He uses this description which elsewhere has been taken as a personal name."
"Here, it seems to mean Heruka creates Buddhadakini, rather than any other way of her getting there.
What is most fascinating are the Dakinis simply are the Purified Elements and Wisdoms."
pṛthivīdhātvādarśajñānasvabhāvā
abdhātusamatājñānasvabhāvā
tejodhātupratyavekṣaṇājñānasvabhāvā
vāyudhātukṛtyānuṣṭhānasvabhāvā
Dinky said, "The only way they are distinguishable from the Prajnas is they are Wrathful. Otherwise, you are trying to tell me Earth transforms into the Mirror Wisdom, and so on."
"That seems to be the case."
Fergus said, "Transformation to Wisdoms is perhaps first described by Candragomin.
We have found a few standard ways, and a few different ones.
Surely, Kukkuripa Mahamaya, as the major basis of all Mahayoga, ought to be an identifiable starting point."
Ariana said, "It is like the gathering of forces that would be used in a more technical Flask Ritual."
I said, "Yes, and that's why I've got to give you a corollary.
Notice this format starts in the center, and makes a face-to-face with the Eastern quadrant, and goes around the ring to make a complete lesson.
But as I said, from throwing a major tantric switch, my impression was going around and then Tara does this Krtyusthana Jnana, which does something else, it throws you back to the center, to the Void in an out-of-the-ordinary kind.
And that's exactly what we find in the format explained solely as Wrathful Prajnas."
Genta said, "But you also have semi-wrathful, a type of bridge or elaboration."
I said, "Well, there is a type of mobility, which gets confusing.
In the familiar Zhitro or Kagye' of 100 Peaceful and Wrathful Deities, the Dharmadhatu Wisdom is held by Vairocana in the Peaceful format. But then Akshobhya has it in the Wrathful format.
Such a thing is non-existent, until we identify the Element, itself, and then Purify it. And there at first you are looking at it basically the same as Akash Dhatu, rather than a sixth, Mano Dhatu. It's not semantics. It's the requirement of Void Gnosis as the substrate of the sixth factor.
To go to the Dharmadhatu Wisdom, you would start with a Dharmadhatu Vajra (Mind Object) and Dharmadhatu Ishvari (deity thereof). And as we keep saying, if this really arises, you should use Guhyajnana Dakini.
Guhyajnana can arise from Om or Hrih, and characteristically handles her retinue with Ha Ri Ni Sa. Her guru, Ziro Bhusana, then functions almost as Cinnamasta, and she also Mutters the Dakinis, causing them to move. We are getting a demonstration of Three Channels operating in four chakras, elements, kayas, joys, activities, in fact each way it can be classified is supposed to be used. Ziro Bhusana is literally doing exactly this.
This is unusual. Those are quite unique seed syllables, and Guhyajnana casts the Four Dakinis in reverse. Let's call this a very different subject than Mahamaya stamping them out in their expected pattern. The common ground is both start with Dakini who is in Vajra Family.
The other example of Ha Ri Ni Sa is termed an oral lineage from Siddharajni, whom we believe to be the re-incarnations of Mandarava, who increases it a level to Vam Ha Ri Ni Sa [Varahi] for Five Elements and is a Samaya with Jnana Dakini (Sambhogakaya), Mandarava being her Nirmanakaya. The closer you look at these terma and personal lineages, it is profuse in there.
The mantric syllables of the Four Dakinis are used by another Sarma principal.
Siddharajni's sadhana is Vilasini, who, at Virupa's Yoga level, introduces Padmajvalini in her retinue of nine: these being "the vilasinis".
Padmajvalini is Dharmadhatu Vajra. Or, she is Space Element in Abhidanottara Tantra. Padmajvalini continues to be used by Varahi from Abhisamaya-manjari. We're going to look at some of the few ways the Prajnas as Wisdoms are found.
Siddharajni has a sadhana of Jinasagara and Vilasini. Guhyajnana and Dakinis eventually promote Jinasagara to Padmajala. When Padmajala appears in Vajra Rosary, it is during the explanation of the Rosary, which says the winds move through the six wheels in a nine-fold way, which is fifty-four, and doubling this is 108 or the beads on Rosary.
Varahi's Vilasini has:
eṃ Amitābha--Perceptions--Fire--Discriminating Wisdom--Human Flesh
āṃ Vairocana--Form--Earth--Dharmadhātu Wisdom--Feces
rīṃ Akṣobhya--Consciousness--Water--Mirror-Like Wisdom--Urine
raṃ Amoghasiddhi--Intentions--Wind--All-Accomplishing Wisdom--Blood
brīṃ Ratnasambhava--Sensations--Space--Equality Wisdom--Semen
It becomes apparent that despite being at the end, Ratna or Jewel Family is centered. It has imported Equality Wisdom, typically found in the South. Consequently, some more of the regular format is distorted. Or, this does not match Mahamaya.
It's not the same Manjari as Abhayakara's. The Abhisamayamañjarī by Śākyarakṣita is a Buddhist tantric text closely related to the Herukābhisamaya by Lūyīpāda, which in turn is probably based upon the Yoginīsaṃcāratantra.
Here's an arrangement where they match the customary pattern.
water, Marani, Mamaki, black, vajra, chopper, skull bowl, skull staff
fire, Akarsani, Pandara, red, lotus, chopper, skull bowl, skull staff
wind, Nartes'vari, Tara, green, sword, chopper, skull bowl, skull staff
space, Padmajvalini, Dharmadhatuvajra, grey, 3 faces: grey, red, & white, goad, Brahma's severed head, chopper, skull bowl, staff, noose
Ariana said, "The written Vilasini sadhanas are attributed to Virupa and Sabara. Virupa's Vilasini is the chief of the following retinue, so, by correspondence, Vilasini equates to the invisible Prajna (10) over Padmajvalini."
jala bIja: 3)mAraNI- kulisha and kapAla; 4)mAmakI – kartari and khaTvA~Nga; both are black in color
agni bIja: 5) AkarshaNI – lotus and kapAla; 6)pANDAravAsinI – kartari and khaTvA~Nga; both are red in color, but the later wears white clothing.
vAyu bIja: 7) narteshvarI – khaDga and kapAla; 8) tArA – kartari and khaTvA~Nga; both are green in color.
AkAsha bIja: 9) padmajvAlinI – 4 hands, a~Nkusha, brahmA’s head, kapAla and daNdAyudha, grey in color; trimukhI- 3 heads, kartari and pAsha, grey, red and white color.
This is a Yoga version; it is Guhya Vilasini who hops on Padmanartesvara. This Red Three-eyed one is holding a kulisha and a lotus, or a kapAla and a vajra. Her mantra incorporates the vagbhava, mAyA and manmatha bIja-s.
An additional sentence is added here in GSS5, cited in the Textual Note: "Next, he should be convinced that the elements earth, water, fire, wind, and space, having the nature of [the goddesses] Patani, MaranI, Akarsani, Nartesvari, [and] Padmajvalini, are on his hand."
Fergus said to me, "The way I am going to defend your fledgling honor is to cite this idea through the layers of the real Chakrasamvara corpus.
Vajradaka Chapter One shows Patani and the others as the Elements, culminating in Mahamaya as Akasha, giving her the alternate names Padmarasmi, Padmajvalini, or Padmajalini. It corresponds to Vijnana Skandha -- Vajrasattva, to Sparsha, and Matsarya. So in that case, these latter two attributes of Karma Family have been moved to the Center Space."
"Padmajalini is Space element in Abhidhanottara, which uses the full name Padmanarteshvari for 7. Abhihanottara iterates Vilasini's equivalent retinue with Varuni's Armor Deities. It defines Varahi's mantra as the Necklace, Seven Syllable mantra as Ear-rings, Armor mantra as girdle, Vairocani mantra is skull diadem. The mantra drinking vessel comes from yoginis of all circles, or from all thirty-seven heroines, or it endows hand emblems plus skulls in four intermediate directions (multiple Varunis). One should 'radiate and gather' the emblems and then do recitation.
All thirty-seven elements are muttered by Dakini Jala Samvara, who then uses
Om [Name] Hum Hum Phat Svaha
with Vajravairocani, Sarvabuddha Dakini Vajravarnani, then Dakini--Rupini--Khandaroha--Lama, and ends with something to Khandakapalina. The Four Dakinis continue to the core mandala of Varahi in Union and the Four Joys. The text also uses the Six Chakravartin mandalas in conjunction with Sacred Places.
In Chakrasamvara Abhisamaya Vyakhya by Sasvata Vajra, Patani is yellow."
locanāmāmakī pānḍarātārā [ākāśadhātu]svabhāvāḥ cakrakartivajrakartikamalakartikhaḍgakartidhāridakṣiṇabhujadvayāḥ|
kapālakhaṭvāṅgadhārivāmabhujadvayāḥ| padhmajvālinī dhūmraśuklaraktatrimukhī ṣaḍbhujādharmadhātuvajrasvabhāvā
dhūmravarṇā kapālakhaṭvāṅgapāśadhārivāma [bhujatra]yā aṅkuśabrahmāmuṇḍakartiśobhitadakṣiṇabhujatrayā|
ādarśajñānasvabhāvo vairocanaḥ| samatājñānasvabhāvo vajrasūryaḥ| pratyavekṣaṇājñānasvabhāvaḥ
padhmanarteśvaraḥ| kṛtyānuṣṭhānajñānasvabhāvo vajrarājaḥ| atra sādhanaṃ
suviśuddhadharmadhātujñānasvabhāvo vajrasattvaḥ|
"There, we see Grey = Dhumra = Smoke. Akasha Dhatu is one thing into which is 'mixed' Dharmadhatu Vajra. At that point, you are affixing five-fold form to the sixth or mental principle, which is Vajrasattva generally, and at the end we find him the male impulse towards the technically-correctly-named process of Locana, Suvisuddha Dharmadhatu Jnana. This version gives Mirror Wisdom to Vairocana and we notice it must be Akshobhya-centered; so there is some twist which causes it to become Ratna-centered in the similar Vilasini practice.
And in what you seem to call the culmination, Dakarnava Chapter Fifteen with Open Access., Vijnana Skandha is Vajrasattva and the Sixth is Heruka Akshobhya."
perception aggregate is Padmanarte´svara. The formation aggregate is Vajrar¯aja.
The discerning aggregate is Vajrasattva. The nature of all tath¯agatas is glorious
Herukavajra.
Both eyes are Mohavajra. Both ears are Dves.avajra. Both nostrils are ¯Irs.y¯avajra.
The mouth is R¯agavajra. The tactile organ is M¯atsaryavajra. All sense bases are
Ai´svaryavajra.
The earth element is P¯atan¯ı. The water element is M¯aran.¯ı. The fire element is
A¯ kars.an. ¯ı. The wind element is Nartes´var¯ı. The space element is Padmajva¯lin¯ı.
"So, I may or may not use the specific Twelve-Arm Varahi that we mentioned as a standout, because that is a particular transmission. But here we have followed the main core for a couple hundred years, and it dives into the depths of this staggeringly colossal system and comes out as Padmajvalini is Space Element when being cast last.
In this system, Vajrasattva occupies Vijnana Skandha which more typically belongs to Vajra Family, who has shifted into a mysterious and possibly forbidden sixth Skandha (which sounds like Samayoga). Samantabhadra is the sixth Ayatana, the mental equivalent to all of the individual inputs.
It does Four Hums and Kila for Obstacle Clearing.
You go to Emptiness, and it has all three, Purity, Emptiness, and Yoga mantras.
It does Inverted Stupa, Sumeru, and Grounds and then has four increasing Dharmodayas, from a Triangle up to a Hexagon, which cast the different "layers" or groups of mandala rings later on. That part is very different or what makes this so big.
Four Gnoses or Wisdoms are cast and then:
of the [gnosis of] the perfectly pure dharma realm (*suvi´suddhadharmadh¯atu). This is
[expounded as follows]...
You transform the Luminous Wisdoms, which makes Causal Heruka, which is Vajrasattva. At the moment, it then becomes like the Dharmadhatu Wisdom usually granted to Locana and Vairocana.
Then there is Four Face Twelve Arm White Vajrasattva in the Bindu, which is the central sheath having the Four Dakinis and what appear to be Twenty-four Lamas or perhaps Horis. If we see the mantric identities, it actually runs from Vajradakini to Vajraraudri; although that is because all receive an honorary "vajra" prefix. Vajrasattva makes love to his consort and they melt into a drop, and then the retinue Urges him with Songs in the usual way, by breaking into four choirs."
ldan//
Wisdom (his female consort) resembles him in appearance, but [she] has feminine
features.
I said, "That's actually pretty good.
The Dharmadhatu is whatever it is, but you see the way it is being handled has completely shifted.
The Vajradhatu-class mandalas have Vairocana in the center, which is Space, and Dharmadhatu Wisdom, and is cast first. It starts here. But you have a strange conversation with Vajradakini, which is in fact the whole Vairocana of Form is obliterated, vaporized, by tantric Melting. The basis for teaching is the initial opening of Five Wisdoms.
Then, what you see in Dakarnava and Vilasini, is, rather, the Maha Bhuts, the transition of Four Form Elements into their Purity, Four Wisdoms, becomes a basis of making a new Space as it were, which, inversely, becomes the new Dharmadhatu, and, moreover, by power, Bala.
There is one more way of taking up the Five Prajnas, in Maitri's Panchakara.
Panchakara is the knowledge or vidhi of a Hetu (Cause) Sattva. From the beginning, it is about Nisprapanca (unelaborated) Vajrasattva via a five Buddhas and five Yoginis Puja. As soon as you know this, there is:
which is a Pam syllable of Five Colored Light, which emits an Eight Petaled White Lotus. Then there is a sundisk, on which Blue Hum arises and becomes Blue Bhumi Sparsha deity with Vajra Family Symbol, who is of the nature:
Vijnana Skandha--'consciousness' from the prior tabulation of only five skandhas--now has the nature of Purifying the Dharmadhatu.
It uses the Three Syllables and Four Kayas, adding Svabhavikakaya.
After this introduction, the retinue appears to begin in the auspices of:
tadeva nirmmitaṃ citraṃ bījaḥ sarvvasvabhāvataḥ |
Asamskrta (Unconditioned) Mental Dharma:
ākāśa (space),
pratisaṃkhyā-nirodha (observed cessation),
apratisaṃkhyā-nirodha (unobserved cessation).
It lacks Samskara or Samsara, the conditioned, changing dharmas.
It entices the marks of Sambhogakaya.
It then generates Akshobhya of the nature:
which is all that is said about Akash. The basic change from Vairocana tantras is that he represented Sight, and since this consumes some 90% of ordinary waking consciousness, that is why he is first; but then Akshobhya takes over as Sound, Primordial and mantric.
Then there comes White Vajrasattva without a location who is:
dharmmadhātuparanāmā |
Paranama:
1. Change of form or state. 2. Maturity, fulness, ripeness. 3. End, last stage or state.
and so i. e. inserting the name of the sixth element. Mind-born, changing and ripening of it.
Akshobhya has no seed syllable and may only be in one's Sruti or Hearing, while Vajrasattva emrges from Hum and has an appearance.
It may also be that the first passage simply refers to Akshobhya who is going to emanate Vajrasattva, and then this happens. He may just shift forms. At any rate, the Primordial Buddha, who is Sound and Space, provides a hyopstatic offshoot intended as Mind Element.
This is followed by a ring of four Buddhas with the usual Skandhas, a ring of four Prajnas with the normal Elements, only at the end of which does the composite Vajradhatvishvari Nayika arise, more fully described as:
She has no syllable or mantra of her own. She is Alisvabhava Vajrasattvasvarupini, made by Vajrasattva arising from the vowels (Ali) or at least from Ah. Vajrasattva has a Body more or less made by himself, as are his sisters and consorts.
It is from the Four Kayas and Five Families that this way of casting Vajradhatvishvari last works."
Fleep said, "It conveniently has Red Pandaravasini, while Vajra Family Mamaki has been left in the South. Implicitly, Vajradhatvishvari would belong to Ratna Family, by way of omission."
"Yes. There are two things weird about it.
First of all it is nine-tenths the most simple thing you could come up with, but, this is its practically only known recording, and that seems strange just not to have anything on the Buddhas and Prajnas.
This does, and, it is a Vajrasattva hypostasis exercise, and, it exactly follows the Vilasini casting pattern going to a Vajrasattva-created Vajradhatvishvari, which appears to be the underlying principle of Marici."
Dinky said, "I like this, because it satisfies my question about Vajra Feet meditation.
That's how this is done.
Okay, the beginning is centered on both Akshobhya and Vajrasattva, who are dealing with the Vijnana Skandha and Dharmadhatu Wisdom. The Dhyani Buddhas plainly match the Skandhas and Wisdoms their Families are supposed to handle."
vedanāsvabhāvapiśunaśarīraḥ raktātmako ratnakulī samatājñānavān
saṃjñāskandhasvabhāvo rāgaśarīraḥ śukrātmakaḥ padmakulī pratyavekṣaṇājñāna
saṃskāraskandhasvabhāvo varṣāṛturūpaḥ]piśitāpaḥ tiktarasātmakaḥ pavargaviśuddhaḥ arddharātrasvabhāvaḥ |
"Then, you see the Vijnana Skandha is the target of Yogacara meditation, Vijnana Matrata."
"So you are already doing a Six Buddhas meditation and it goes to a blend of Sunya and Karuna.
Then there's a transition to Prakrti."
"The Prakrti are the very simple Taras of the Families you can Mutter."
nairṛtyāṃ candramaṇḍalopari kṛṣṇamāmkārabījasambhūtā māmakī kṛṣṇavarṇā kṛṣṇavajracihnā abdhātusvabhāvā vajrakulā dveṣaraktā | asyā bījaṃ om āḥ mām hūm svāhā iti |
vāyavyāṃ candramaṇḍalopari pāmkārabījasaṃbhūtā pāṇḍaravāsinaī raktā raktavarṇā padmacihnatejodhātusvarūpā padmakulā rāgaraktā | asyā bījaṃ om āḥ pām hūm svāheti |
aiśānyāṃ candramaṇḍalopari kanakaśyāmatāmkārapariṇatā tāriṇī śyāmavarṇā śyāmanīlotpalacihnā vāyudhātusvarūpā karmmakulā īrṣāraktā | asyā bījaṃ om āḥ tām hūm svāhā |
"And the point seems to be the collective energy of the Prajnas sends in Vajradhatvishvari last, as the result of Vajrasattva's work.
It would leave you with the question of how Mamaki could serve as Equality Wisdom, since nothing ever overhauls her into a Jewel Family mode. At least I haven't seen it. It gets me that Mamaki appears out of place, over and over again, unquestioningly, but if something in Lotus Family is supposed to be white, they won't do it. Even though a lot of individual Lotus Family deities are white. In terms of the color schemes of mandalas, it seems unacceptable to artists, even though the text is clear about it.
Here, it has emanated the Prajnas on their own plane, which is part of what we are learning as Prakrtiprabhasvara, or, the Light of the Absolute Object, which does not really have the expression 'Clear' that Tibetans add; it has a quality connotation, like pure, royal, but nothing about color or opacity."
Ariana said, "So you think if you did the Void meditation adequately, you would begin to perceive it."
"That's what it sounds like. I mean, I'm trying to get into it where something happens or I feel a change or something. And I think the Vase Breathing and Yoga Mantra might do it. I'm able to have connections of faith into the teaching. It seems a little odd that the simplest forms are those of the highest aspect. At least in its meditative pose.
And, no, you can't find this Pancha Kara type of exercise anywhere, except maybe with H. H. IX Karmapa, late 1500s."
I said, "Very true. Usually you would have to milk it through Guyhyasamaja Tantra, or something extensive. But what you totally want from this is the mnemonic for Skandhas, Elements, and Families and particularly Wisdoms; it is the same as Mahamaya.
The Skandha re-arises as a Buddha who has a Wisdom, i. e., he has a Prajna. In this sense, the Knower of Locana is Vairocana. Therefor, instead of focusing on how one is becoming Vairocana, you should ask what it is to know Locana."
Fergus said, "Purification of the Dharmadhatu, which leads to abhijna, or super-knowledges, such as the Divine Eye."
"That's true on a Sutra basis, and, in Vairocana Abhisambodhi mandala, Locana is very significant; she's doubled, and one of them uses a gold-colored Dharmodaya. This is, of course, not as part of Five Families, but is more like Paramadya by the addition of a Fourth."
"Yes, it is Prajnaparamita Sutra, like the entrance to the Pithas you described."
Dinky said, "However, according to the chart, the baton has been passed. Locana has been re-assigned to go with the Mirror Wisdom. I take this to be something inside the Dharmadhatu, rather than approaching it."
"Yes. Keep those quotes in mind.
If you want to step out to the normal stonework in Nepal about Five Families, it is different, and perhaps most accurate to say that it is centered on what perhaps is a name for Maitri Dakini, Akasha Dhatvishvari:
Dinky said, "That goes on to tell me Locana is Blue in Vajra Family, and Mamaki is Yellow."
"Right. Sometimes the change is further, like making the center Blue, and then it can change the occupant of the East, Locana or Mamaki, Earth or Water. Or Locana is Blue in Vajra Family which combines Water, Form Skandha, Mirror Wisdom.
Maitri's Pancha Kara is centered on Vajra Family in the exceptional way it emanates Vajrasattva. I like that. And then you have something consistent with, let's say, a majority of mandalas and tantras."
"It moved Buddha Family to the East, and, this Locana has a stand-alone practice in a certain area of a massive compilation by Jamyang Loter Wangpo."
"She comes up in IWS in the Vajrasana section in the simple form holding the Family Symbol, the Wheel, doing an unusual sadhana which is not against disease but pain."
Fergus said, "Would pain be the priority issue for the Form Skandha?"
Dinky said, "Yes, I think someone is going to try to stop serious pain before they eat or bathe or whatever other needs are."
"So if you don't actually need that, you might be purging traumatic memories associated with the Earth plane."
"I could probably meditate better with a sore thumb than random memories of it coming out of nowhere. That sort of thing happens to me. Some disturbing event, followed by a movie clip until I can get out of it. Like dreams. Partial control."
"So how would you annihilate that Skandha out of your mind?"
"That does it.
I'm going to, you just wait.
Buddha himself has manifested Parasol, which matches the Sutra. She's over the normal White and Green Taras. She is a White Tara, except she has a third eye, which is semi-wrathful, and of course she has an item which is at the same time a bit regal and a form of protection."
"This may be with Tson kha pa, and it has, of all things, Standing Nectar Ekajati."
"There and further along, she is doing, I think, the Mudra of Granting Refuge."
"And, you know, if I was to turn to something for its own artistic merits, if I didn't know what a Parasol was, I would still probably be captured by this."
I said, "Me too.
Can you take it that Locana is effectively transcendental, any form is simple and relatively passive, whereas Parasol is a Yidam you could have a personal conversation with?"
"I think I can work with that. Locana is really in the back of my mind, she's part of nature, a constituent of anyone's aura. She doesn't do much besides be the Wisdom that realizes the Emptiness of Form and Earth.
Parasol is more like a mental tour guide of Mount Meru up to a cosmic form."
"You should work on the Muttering for a while and then Mutter Parasol.
You might have noticed her using Ni."
"Yes, if that had meaning on its own, it could be to lead, to govern."
"And that might happen to you for the rest of your life, because there are many forms and practices that will take ages for you to delve through."
"Well, it's easy for me to relate to white coloration and Vajra Feet. That's always been what I'd put with purity, holiness, sanctity, and stuff like that. And I would probably just try it with Vajrasattva, if that was all I knew, I would probably do it the same way.
I think there is something, I guess you could say, subtle, about colors, but I'd be off to a better start with plain light or a white aura."
"There is such a thing my friend.
It is what you think it is. Not necessarily Buddhist, like all natural phenomena, but we'd be glad to use it."
Ariana said, "We'd like to follow up with a superb corollary to Tapa Shotor.
There, you can't give any detail, and someone could accuse us of simply copying Herakles into Vajrapani. We don't even claim the related Sutras are much older than the statue, while Herakles has crossed centuries and thousands of miles to become the Syncretic Deity in Afghanistan.
But we can pinpoint such details.
In Orissa, we found most of the Sadhanamala deities, like Durgottarini, possibly from the 700s. And you find continuous development, although in the sense it moved northward into Tibet.
Most of those studies argued about whether something was Tara by using the same mantra.
We think it may be a bit late, because we can represent an entire and prior dharani system.
It's something that was crafted and delivered much later as a statuette set in Forbidden City near Beijing. But now they have to have help identifying the stuff in the first place.
We recognize it, because it is the inhabitants of the Dharmadhatu Vagisvara Manjughosha mandala.
And this is where we take a major rewind.
That's because it would appear to be the height of development at the Ellora Caves.
Not the mandala. Just this part of the retinue."
Fergus said, "The mandala uses expected Prajnaparamita philosophy, by summarizing the Paramitas, their Bodhisattva Grounds, and the related practice or mastery.
What is unusual is that it adds a correspondence to Dharani goddesses, which is not a supposition, that's their name, they are called Dharanis just as plainly as Prajnaparamita is called a Paramita."
Genta said, "Yes. Ellora may not be a 100% match to DDV, but, it is close. The difficulty is due to age, many of the statues are missing their hands and symbols, and so complete identification is not really possible. But some of it is."
Ariana said, "The Ellora construction is believed to be pre-Pala, taking place in the range of about 600 - 730, which is of course a relatively dark period, only after which, do we find extremely detailed deities and practices.
The thing you can be positive about is that Mayuri is highly prominent, from the early Cave Six, again in Cave Ten, and again in one of the largest, latest, most detailed parts of the complex in Cave Twelve."
"You can see about Cave Six, p. 28, one of the earliest known Bhrkutis here, characterized by top knotted hair and an animal skin shawl, believed to represent asceticism. As a counterpart to Mayuri, this is "unusual" elsewhere, but appears to be the theme of the internal mandala here. This earlier Ellora project is approximately contemporaneous with the living Princess Bhrkuti."
Cave Six Mayuri:
"In Cave Ten, Mayuri leads a disciple in reading and writing. This perhaps is copied in Cave Eight.
Cave Twelve, p. 87, appears as a Vajrayana Pantheon with Historical Buddhas and Dhyani Buddhas.
The seven Dhyani Buddhas are also represented here – Vairochana, Akshobhya, Ratnasambhava. Amitabh, Amoghasiddhi, Vajrasattva and Vajraraj.
The presence of Janguli implies they must mean the presence of Dharani goddesses from the Dharmadhatu Vagisvara and Mahavairocana mandalas, according to the review.
"Considering they are broken, here's an attempted description."
These are the representations of Tārā. On the right side of the back wall is an interesting female figure. Both her waist band and her headdress are made of cobras. She is Janguli. Next is Mahamayuri, if the peacock feather in her left hand
is any indication. The third one is holding a water vessel…and she may be Uṣṇīṣavijayā. On the right wall of the vestibule, the first is Bhrikuti, the second is Pandara, and the third is Tārā’.
I said, "That makes no sense for Vajradhatvishvari, since it would more likely be Cintamani Tara. Here's another brief rundown of Caves Six and Twelve."
Avalokitesvara to the left of the shrine door; Maitreya and Mahamayuri to
the right. The bodhisattva dvarapalas follow convention in iconography,
style and location. But, these female figures are the earliest to display the
precise iconographic elements that clearly identify them. They are found in
several other of the seventh-century caves, and would be part of a much
more complex group of female figures in Cave 12 (to which I will return),
an indication that they were important, and original, members of Ellora's
earliest mandala.
In Cave Twelve:
The shrine antechamber is framed by female figures, as it was in Cave 6.
But here, in the densest expression of the mandala, there are twelve,
unprecedented in the western caves (or elsewhere for the early eighth century).
Distinctive iconographic details include a four-armed Cunda (third
on the left); the three-pronged vajra of Sarvakarmavaranavisodhani (seated
immediately to the left of the shrine door); the snake belt worn by Jangull
(immediately to the right of the shrine door); the peacock of Mahamayuri,
second on the right; and the four arms and twisted danda of Bhrkuti, fourth
on the right. Such specific attributes help in identifying the group as the
Dharanis who appear (in varying configurations, as described in later
iconographic compendia) in mandalas of Tara, Dharmadhatu Vagisvara,
and Mahavairocana.
From Sahapedia:
Their Fig. 22 is the three to the right of the door, Janguli, Mayuri, and a Pitcher goddess.
Avalokiteshvara with Tara and Bhrkuti:
The central Mayuri with Peacock probably means it is under her lotus throne.
Ariana said, "There is a thorough tour of the entire Ellora Caves."
"You can select Cave Twelve, Floor Three, and find the side groups are again a cluster of three, with maybe a fourth nearby. There are four niches with three figures apiece."
I said, "It started to bother me. Now first of all, we are talking about two select companions of Tara, Mayuri and Janguli. This is standard in the main practice that is still current and I am going to do.
The problem is, in Tibet, Janguli practically vanishes.
Among the older artifacts, one finds a ca. tenth-century Kashmiri Janguli."
"A similar Kashmiri one has been kept in the Potala Collection."
"Let's look at her name. In Tibetan, Dudselma, remover of poison. That's not a translation."
Fleep said, "No. We recently saw a mantra where something like pravisa would have that meaning in Sanskrit.
This is so dense, it is English, Janguli = jungle, she is a wild sabari."
"Yes, except in this case there is no equivalent male Jangala.
Let's see what is observed about Tibetan Iconography Text Collections."
Fergus said, "All of them are re-writes of the Abhayakara compilations.
If you thought Jampa Gompa was extensive, try the catalog of Ngor Mandalas that also has Vajradhatu as a pinnacle with 1,037 deities."
Ariana said, "The ultimate Tibetan development is definitely Rinjung Lhantab, IWS or Icons Worthwhile to See. It contains three of the splittings of Sadhanamala, but also adds material, like it is probably the Most Mahakala of anything you can find."
I said, "Yes. Comparatively, this is what we are calling Bhutanese Sadhanamala."
This text was known in India in the 11th century and later translated into Tibetan in the 13th century. The list below follows the edited version of the Sakya teacher Thartse Panchen Namka Chime. It contains 142 descriptions of deities. A popular Bhutanese, Drugpa Kagyu, version is said to have been edited by the 9th Je Kenpo of Bhutan, Shakya Rinchen, 1710-1759. The Bhutanese version has more deities, approximately 154.
The complete list of deities from the Ocean of Methods of Accomplishment is depicted twice in Mitra Gyatsa Mandala Set 3. The list of deities is slightly different from Thartse Panchen Namkha Chime and the Bhutanese list.
"So, you know, a lot of this is comprehensive. It's someone's job to replicate a text, or, more than half of it in this case.
In other areas, you can find something that represents a personal practice, which makes Twenty-two Drukpa Sadhanas a little unusual."
"She's not in Tibet. She has Densatil figurines, in the sense that was supposed to be comprehensive, like IWS and the Bhutanese Sadhanamala contain her for simply being part of the book.
We don't know whose it is; it can't be older than the 1300s; and it is probably from the 1800s, either of which are massively disconnected from her antiquity in Siksasamuccaya or the Ellora Cave.
So far, I am going to fault all the reviewers.
People, don't do a mantra if a cobra bites you.
Just read it. The purpose of Janguli is she is a Yogesvari and a Mahavidya."
Fergus said, "That's a Yidam like any of the others. She protects nothing; why this is reported is baffling."
"Exactly. Her motif is that she uses poison that is poisonous to poison. Any honest reflection on one's own mental poison will make this self-explanatory."
"She's from an imaginary place. Mount Gandhamadana is not part of earth; it's part of Meru Cosmology with a different identification in every Purana and even Pali Buddhism. That's like Mayuri is an old Buddhist story that doesn't seem to be taking place on earth."
"They don't usually have conventional origin myths. Like if I look up Hindu Pratyangira, it's very interesting, but then it is like Buddha re-emanates it himself as Parasol. Janguli is in Tara's assembly, she has her own mandala in Krishna Yamari Tantra, and she is a Dharani Goddess that Manjushri seems to have gotten in Ellora. That seems likely to be a unit. I haven't noticed such a specific grouping of twelve in Orissa."
"No. But you found Janguli and more specifically Green Janguli appreciated in Bhutan for no apparent reason, other than, perhaps, her inherent value.
It seems to contradict any idea the sadhana had actually been transmitted through Tibet to their sadhana book and Ekajati thangka."
"Had Cunda?"
"Master, that's very hard to say.
We think the point is that the Samadhi is real outside of time and space as we know them.
No one initiated Buddha, or the people that discovered these Yidams. If Vajra Tara spontaneously appeared to Nagarjuna and was real then, you and Dinky may just as well be able to find her now.
We're just putting more trust into, say, a huge community of Ellora, than some of the things that have come up later, or, even popular aspects of Buddhism."
That's why I immediately turned around and looked at Janguli as her own small system, and what it would be to have the Twelve Dharanis arranged with the Bodhisattva Path. I wasn't going to let him trick me with empty milk cartons and carpet samples. We know these deities don't manifest physically, and that the closest thing that can happen is a human becomes the Nirmanakaya of that deity. That's because this is entirely Noumenal.
"Let's add she imparts the ability to walk on water and the dharani from Lotus Sutra."
agane gane ghori gandhari chandali matangi janguli
vrunasi agasti
I realized he was coming at me like a runaway freight train.
"Master," said Fergus, "aside from being partly inscrutable, Agasti has no meaning other than Rishi Agastya Maitravaruna or some female descendant of his. Let me move you to the relevant area at the end of Rg Veda Book One where we won't argue with Sayana."
Madhuta = madhu vidyā was originally taught by Indra to Dadhyañc, who communicated it to the Aśvins, and thereby lost his head
"I'm sure you won't argue with the hymn saying the very thing you just said."
“That little insignifcant bird has swallowed your venom; she does not die; nor shall we die; for, although afar off, yet drawn by his coursers, (the Sun) will overtake (the poison); the science of antidotes has converted you, (Poison), to ambrosia.”
“May the thrice-seven sparks (of Agni) consume the influence of the venom; they verily do not perish; nor shall we die; for, although afar off, the Sun, drawn by his coursers, will overtake the poison; the science of antidotes has converted you, (Poison), to ambrosia.”
Commentary by Sāyaṇa: Ṛgveda-bhāṣya
The thrice seven sparks: the seven tongues, or flames of fire, may be multiplied as red, white and black
“I recite the names of ninety and nine (rivers), the destroyers of poison; although afar off, (the Sun), drawn by his coursers, will overtake the poison; the science of antidotes has converted you, (Poison), to ambrosia.”
“May the thrice-seven peahens, the seven-sister rivers, carry off, (O Body), your poison, as maidens, with pitchers, carry away water.”
"There. You can even use Mayuri with it."
I had a nosebleed out my eyes.
"Thank you Mister Fergus," I said, unable to separate wilderness yoginis from Agastya's domain, "Yes, it is the same as Dadhyan and Horse Head Rite."
Drukpa Jangulis:
"What else, Pawls? That took us a hundred years to get about a third of the world to agree with our basic view for social order."
"It's more than I ever dreamed of, actually. Back then we weren't expecting the use of airplanes. I wasn't planning on devoting most of my time to traditions from Asia. I was willing to fight until there was no more need."
There it is. Lotus Sutra, one of the most mainstream pieces in Mahayana Buddhism, gives the first observable list of Gauris. Later, Janguli is Matangi, who of course is a Mahavidya in Assam. And this is the entire principle of Pisacis or axis reversal. Janguli instantly blocks any poison with its opposite. Crossing over Water is to traverse whatever is in the South quadrant, which is the Sentience Skandha into the Equality Wisdom.
We can talk about that, a lot. There's not much to say about things you just do, like music or martial arts, but this kind of yoga is so deep I plan on spending the recommended fourteen lifetimes to get it.
It's also not ours or part of our original mission. By some fifteen years after World War Two, and, Tito being mostly responsible for the establishment of the Non-Bloc, we had, to say the least, relieved Kosovo of centuries of ongoing calamities, with no need of supremacism.
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