Long Cakrasamvara Sadhana Footnotes_2010

༄༅། །བཅོམ་ལྡན་འདས་དཔལ་འཁོར་ལོ་སོམ་པ་ལྷན་སྐྱེས་ལྷ་ལྔའི་སྒྲུབ་འཁོར་བཞུགས་སོ།CHOM DEN DE PEL KHOR LO DOM PA HLEN KYE HLA NGE DRUB KHOR ZHUG SO Sadhana of the Five Coemergent Deities of the Glorious Bhagavān Chakrasamvara Footnotes and Mandala Drawing Instructions This Guru Yoga is not part of the Tibetan Sadhana but practiced before, as done in Pyang monastery during the Chakrasamvara conference in May 2009 with HH Chetsang Rinpoche. It was translated by Rachel Dodds. 1 Yab is the father or masculine principle; yum is the mother or feminine principle; yab/yum are the masculine and feminine principles in (sexual) union. 2 གཅིག With the vase empowerment one gets permission to meditate as yidams and on their mandalas (appearance and emptiness are inseparable). That is, we get permission to meditate on the generation stage. LC 3 1 The second empowerment purifies our speech, which becomes the same as the speech of all buddhas. We get permission to recite mantras (sound inseparable from emptiness). That is, we get permission to meditate on the recitation stage. LC 4 ‚From the throat of the guru and Chakrasamvara yab/yum red light rays and the stream of the mingled white and red bodhicitta of meditative absorption descend from their place of union and dissolve into the disciples’ throats .‛ Ganges Mahamudra Practice Instruction CD #2, track 12, translation by Ari Kiev of live commentary on the mahamudra upadesha given by Garchen Rinpoche in Tucson, Arizona, June 2005 5 With the fourth empowerment the mind-instruction empowerment is given, which is similar to the vajra master empowerment. LC Vajratopa in this case (or in other texts it is Vajra Surya or Dorje Nyima) is the consort of Vajrasattva (in other occasions she is the consort of Ratnasambhava). LC 6 བདྐྱེ་མཆོག 2 This symbol is added into the text to indicate ringing of the bell according to practice at Phyang monastery. DK According to Lati Rinpoche, ‚*this part of the mantra+ has eight sections. While reciting this, ring the bell in the eight d irections. This symbolizes the churning movement within the eight channels of the secret places of Heruka and Vajravarahi, which induces the experience of the serial and reversed joys‛ LR, p.95 7 In the Vajrayogini sadhana there appears an alternative prayer for the blessing of vajra and bell, which is much shorter, probably suitable for times when one cannot do the full puja. This short prayer is: ‚Om Mahavajra Hung‛ (blessing of vajra); ‚Om Vajr a Ghanda Ah‛ (blessing of bell). 8 Footnotes with additional instructions from Drupon Lama Champa (LC) as taught during the 3 year retreat in Almora 2004-2007; HH Drikung Kyabgon Chetsang Rinpoche (DK) as taught during the Chakrasamvara conference at Phyang monastery in Ladakh in May 2009—most of his teachings come from the Tibetan commentary —most his teachings come from the commentary ‘bde mchog lhan skyes lha dril bu’i zhal lung’ (Instructions of Drilbupa) written by the previous Trichen Rinpoche; Drupon Thinley (DT); Gabe Lama (GL); Traga Rinpoche (TR); notes which derive from translations of the Chakrasamvara long sadhana text commentaries (LTCT = Long Text Commentary Translation); notes which derive from the mostly written Drikung Kagyu Oral Tradition (DKOT); Mantra translations from Elizabeth English’s Vajrayogini (EE); commentary by Lati Rinpoche (LR) in his Commentary and Sadhana of the Generation Stage Practice of Mahasiddha Ghantapa’s “Heruka Body Mandala”; visualizations on the Heruka Body Mandala by Lozang (LZ); comment from Robert Thurman’s (RT) Circling the sacred mountain. Footnotes are by Rachel Dodds and Manu Fernandez, participants in the 2004-2007 Drikung Kagyu Almora retreat, and Mark Riege. Introduction Some kalpas ago, human beings first appeared on Earth. They came from the god realms. At that time, there was no Dharma —only god-being ways. Gradually, the concept of ‚I‛ and ‚mine‛ emerged and thus afflictive emotions arose. Life span became much shorter. Human beings needed a king [to rule them], so kingdoms arose. Then gradually the symbol of the male and the female arose. Then desire [and reproductive sex] began, and children were born. 9 After some kalpas, the first buddhas appeared. Buddha Shakyamuni was the fourth buddha of this kalpa, so this kalpa is relatively new. In the human realm, in the region of the Indian subcontinent, two gods became prominent: Shiva and his consort, Uma. Shiva and Uma had a strong [sexual] desire toward each other. They made love four to five times a day. They always wanted to be together. Branching out from Shiva and Uma, there were other powerful beings who dwelt at certain places, like Mt. Kailash, Godavari, Kulu, Bangladesh, and so forth. People thought that the best, most powerful beings on Earth were Shiva and Uma. They prayed to them in all these different [power] places. But Shiva and Uma were too busy making love. A strong desire to have intercourse was in their nature. They did not have any time to go to other places, so they sent statues, lingams (phalluses), and yonis (symbols of vaginas) in lieu of themselves. Their followers were very impressed by this and thought these were very powerful symbols, so they put the lingams and yonis in several places of worship. Until today Hindus pray to them. Gradually, because of their strong desire and གཉིས་ གསུམ་ 3 Shiva, Uma, [and their followers] were always drinking blood, eating flesh, and so forth. It looks as if Chakrasamvara is also eating these [impure] substances, but what he is actually doing is transforming them into nectar (Skt. amrita, Tib. dutsi), by blessing them. That is why these substances are still used [symbolically] in the [tantric] Buddhist sadhana. LC (oral translations and explanations by Lama Chamspa during his English lectures of Chakrasamvara in December 2001) Preparation You should have a picture or thangka of Chakrasamvara in front of you. You should also have a bell (ghanda), thunderbolt scepter (vajra), hand-drum (damaru), and skullcup (kapala). The best place for the practice is in an isolated area. This sadhana was practiced by mahasiddhas such as, Luipa, Nagpo Chopa, and Drilbupa, who achieved realization through it. Chakrasamvara has many different forms, but this present Chakrasamvara sadhana is called The Five-Deity Chakrasamvara. It was Drilbupa’s main practice, also known as ‚Drilbupa’s Five-Deity Chakrasamvara.‛ 10 5 This practice was introduced from India into Tibet and translated to Tibetan by mahasiddha Ga lotsawa. He gave its transmission to Phagmo Drupa, and Phagmo Drupa gave it to Jigten Sumgön. We have the unbroken mahasiddha realization lineage until today. Chakrasamvara remains the main practice of our lineage. (2) Three steps is like taking birth by humidity. The condition of the five elements gives way to their form. Rain and the conditions of the five elements and the power of the sun (heat). and so forth. too. For Hindus it is more significant.. and womb). (Numbers 3 and 4 (the four-step and five-step births) form the main part of our sadhana’s developing stage. subdued the (beings in the 24) different places. Immediately after that. (3) Four steps (resembling the egg birth). But Buddhists also go there because Chakrasamvara is there. egg. Beings’ consciousness gets caught in this humidity. the former couple took the outfits of the latter. (2)Three steps (resembling the humidity birth). the developing stage is also divided into four parts as a way to [purify these births and] exercise the nirmanakaya: (1) Instantaneous developing stage (resembling the miracle birth). To show the power that Chakrasamvara [and Vajravarahi] had over Shiva and Uma. At that time also all five dhyani buddhas manifested as different deities. Instantly we can see some form arising. That is why now some holy places are visited both by Hindus and Buddhists. Thus all the important places where lingams and yonis were worshipped have now the presence of the five-dhyani buddhas. makes life grow in humidity. tiger skin.) (1) Instantaneous developing stage is like wind agitating water. Out of his great compassion toward all the beings that were being killed in sacrifices. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 6 emotions. That is why we have an instantly developing stage. humidity. Likewise. Then buddha Vairochana (or according to other sources it was Vajradhara) manifested as Chakrasamvara in the sambhogakaya form. They do not propitiate blood sacrifices anymore. the deities. 4 . e. Kulu. such as ripples on the surface of water. consisting of bone ornaments. and so on. which were emanations of the five dhyani buddhas.The practice is divided into different parts: Developing stage: Because sentient beings have four ways to take birth (miracle. always helping beings. some beings take up a form instantly (like a miracle). Chakrasamvara subdued Shiva and Uma by crushing them under his feet (when crushed under Chakrasamvara’s feet they are called Jigched or black Bhairava and Dutsen or Uma or Kalaratri). because their symbols (lingam and yoni) are still there. They do not have father or mother. (4) Five steps (resembling the birth through womb). They did blood offerings. Shiva and Uma became enlightened. Rameshwaram.g. Human beings also were sacrificed sometimes. Many beings were killed [in the sacrifices]. people started making offerings to the lingams and yonis. They were not worldly beings any longer thanks to the compassion of Chakrasamvara. At the same time. (2 ) seed syllable. and mind). but by visualizing a seed syllable as Hung or Hri. This corresponds to beings taking form either through egg or through womb. So there is a connection with the parents in the case of an egg as well. called the bija. ‚On Padmasambhava’s Rainbow Body‛ in http://www.org/chenian/bk93. Miracle birth is purified by the ‚one call‛ or instantaneous developing stage. (<) the five actual enlightening factors. one must have a seed of consciousness which enters first. r espectively.yogichen. (2) seed syllable. (3) instrument. a stone.M. Chen. by melting and molding it. a being develops (is molded) inside it . we visualize ourselves standing on the moon. takes some form. and the three rituals. (4) activity. (2) seed syllable (mind). the way in which the rituals purify is as follows: Meditation on the absorption of suchness purifies the previous death experience. For to be born in any way. p. DKOT 9 . and (3) complete body. womb birth. this can be prevented and so birth in an egg can be prevented. and this light becomes the yidam. like a cup. (<) Briefly. and moisture-warmth birth. which i s: the complete body. we repeat an incantation which spreads outward and returns to shine light. which are: (1) place. Copper in earth. so once you have visualized the padma. To prevent the transformation birth. (3) Om Ah Hung (seed syllables of body. the so-called mind-made birth. one can reach the realm of non-form. Birth by humidity is purified by the ‚three sadhanas‛ or three steps of the developing stage.html.3. which are: (1) emptiness. Miraculous birth is purified by the instantaneously complete creation. by Yogi C. in any form. According to Jamgön Kongtrul. egg birth. (<) purify. LC Note on Purification by womb Birth by womb is purified by the ‚five preliminary practices‛ or five steps of the developing stage. The moon is round and bright and gives off a white light and if you visualize this moon there will be no more birth for you by being transformed (<). for example. you must visualize a moon upon the lotus and confirm it. the womb birth may be prevented and you need not come into a mother’s womb again. and (4) complete body. which are: (1) sun and m oon. speech. and (5) complete body. By meditation alone. in the sense that because of the mother’s heat. the four vajras. To prevent being born of a vapor. the eighth consciousness is this very seed. All- བཞི་ ལྔ་ 7 In the heart chakra you must visualize a padma (lotus) and when you really succeed and visualize this padma. In karmic birth. Egg is like copper. Creation and completion by Jamgön Kongtrul with commentary by Khenchen Thrangu Rinpoche. (<) The padma symbolizes the womb of the mother. the padma itself can prevent you from rebirth in any kind of womb.(3) (four steps) and (4) (five steps) [They constitute] the main part [of] the five-step developing stage. or a mineral. Birth by egg is purified by the ‚four vajras‛ or four steps o f the developing stage. egg birth is what is called the four vajras. We need the best kind of mind.107. and in one piece only. like that of Vajrasattva. practicing any one of these *four types of visualization] purifies all four [types of birth]. like the top of a mountain. These pills are mixed with (and dissolved into) the nectar inside the skullcup. 11 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 10 arising absorption purifies the mental body of the intermediate experience. This instantaneous birth is purified by what is called instantaneous generation. you can put a drawing of it in the altar. We do not need to have the offerings. and the other substances are in the form of nectar pills (which contain extracts of sandal wood.Practicing in Retreat For this practice we need the following qualities of mind and place. speech. (pp. etc. whose vajra mind is the symbol of inseparability (representing the unification of the clear light and illusory body. Absorption of the cause. The fourth type of birth is the way that beings in certain realms who have particularly subtle bodies appear. chanteu (long hand-drum). and mind. near a big river. Yogi Chen describes a visualization in which all four types of birth are purified: 8 . Womb birth is purified by the style of generation called five enlightening factors. According to Lati Rinpoche (Gelugpa). damaru. as prescribed in the tantras. Meditation on the seed syllable purifies the entering consciousness. and damaru. in their raw form or natural state. skullcup. The best skullcup is perfectly oval.‛ (<) However. bliss and emptiness. According to the commentary by Khenchen Thrangu Rinpoche on Jamgön Kongtrul’s work on creation and completion. and so on. sun and moon seat. we need a location which is ideally solitary. see end of this note). and so on). In the place we need all tantric substances (implements and offerings). vajra. The fully complete form purifies the birth of the developed body. meditation on the lotus. and torma. if it is not possible to have all these implements. Regarding place. The water of the vase symbolizes urine. the order is skullcup. (p. damaru. vase. like the shape of an egg.43 and 45. beside the ocean. according to tantric wisdom. or even heat and moisture. The transformation into implements and again the meditation on the seed syllables purifies the fetal stages of round. and so forth. kakola. bell. vase. such as bodily fluids and wastes. It is an instantaneous birth occurring in the absence of womb. forbidden flesh. and birth from heat and moisture by what is called the three procedures or three rituals. egg. and torma. see full citation at the end of this note). bell. or in the jungle. at least place in front of you (from left to right): a vajra. Having as complete a tantric set of implements as possible with you during the sadhana would automatically attract dakas and dakinis like meat attracting flies. purifies the physical base. or ‚generation that is complete in an instant of recollection. bell. Or. The complete set of tantric implements or substances (ordered from your left to your right if they are placed in front of you) is: vajra. Instead it is possible to have these in symbolic form. skullcup. oval. oblong.). white and red. We do not want for this practice a middling type of mind which is lost in wordly concerns or a low type of mind which is lazy. If you do not have a khatvanga staff. the parents’ sperm and ovum. khatvanga staff. the latter also surrounded by four khor. The first two look the same and are like the regular daily outer tormas as done in amitayus or peaceful practices. the Chakrasamvara torma. These tormas should not be moved or touched throughout the entire time the yidam is being practiced.On the outer part of the altar (outside the glass) place. just as Argham and Padyam. with no commitment to become a spirit who protects the Dharma. ten outer offerings (instead of the usual eight). also with four khor. in the gompa there also are twenty one tormas placed in a row on a piece of wood. the guru or lama torma (it is identical to the Vajrayogini torma. but it does not have the four skulls on the four corners). according to Lama Chamspa. The second of these tormas is done for the same purpose. It looks like a sphere placed on a kind of pedestal. the Chakrasamvara torma. the entire time of practice would go from the start of the yidam practice and until the end of the fivefold path of mahamudra. They are (from your left to right): the Mahakala torma with four khor. The two new ones to be added. In the Almora temple there are five big tormas instead of four. The twenty tormas for the dharmapalas have the shape and size of a regular outer torma. is wrapped in four petals. The first of these two tormas is for the few peaceful (or higher order) spirits that may be floating around our retreat area with no commitment (Tib. Skt. for most spirits) that lurk around us. samaya) to become a dharmapala. but in different colors and some have certain minor variations in shape and ornamentation. They are (if you are looking to the altar. In addition to these five big tormas. one for yidam Yamantaka and the other twenty for the dharmapalas. these spirits are bound by oath to protect the retreatant for the duration of the retreat session. It is much smaller or shorter than the previous two and has a different shape. this is. Thus the twenty one དྲུག་ བདུན་ 11 of influence (powerful or magnetizing)? The red tormas represent wrathful deities. They are Añchamanam (water for washing the face) and Prokshanam (water for sprinkling) and are represented with water bowls. and the Achi Chökyi Drolma torma. from left to right. damtsig. The first day of the retreat you need to offer three special tormas. and the white represent peaceful deities. but directed to the semi-peaceful. The 13 . Inside the altar (behind the glass) ideally four big tormas should be placed in addition to the Amitayus tormas. By doing a special prayer and offering this torma to them. are placed together in between Argham and Padyam. Then there is a third torma. from your left toward the right): the Mahakala torma surrounded by four little tormas (the khor or retinue). semi-wrathful spirits (this is. which looks completely different from the previous two. that is their base. instead of having four ‚pillars‛as in Chakrasamvara. For example. the khandro (dakini) or yum torma (which is triangular in shape). and the Achi Chökyi Drolma torma. which are only used for the Chakrasamvara sadhana. the Vajrayogini torma. and for Vajravarahi it would be from the time of the yidam practice of Varahi until the end of the practices of the Six Yogas of Naropa. for Chakrasamvara. 53-54. there is a big torma. If one forgets to think of someone who should be allowed to enter the retreat. Terdrommen. They cannot become lokapalas or worldly protectors. However. the lama. nevedyam) and does not represent any deity or dharmapala. a fingerprint torma. by offering the torma to them one keeps them away so they do not come into the retreat premises and disturb the retreatant. damaru. There is also an elongated piece of tsampa dough with a few little balls attached to its front. and four white tormas (Chuphenklu. According to Tenzin Wangyal Rinpoche. and Khyabjug {Skt. one white torma (Gyalpo). four red tormas (Namse. and incense. one white torma (Tseringma). The white tormas are for peaceful purposes and the red tormas are related more to the activity 12 . which is just food (Skt. The three tormas are placed in the same plate. side by side. and Barhla). see Tenzin Wangyal Rinpoche’s Healing with Form. As the ritual continues. two red tormas (Chökyong and Damchen {Sumchu Tsasum}). pp. Zhingkyong Yab. such as the cook. Za. The third torma is thrown out as far as possible from the retreat boundaries and one visualizes an ocean of protection appearing between the place where the torma falls and the retreat boundaries. then that person may not enter the retreat for the duration of the session. 14 Oneself (or the lama) then does a short ritual usually outside near the boundary of the retreat using vajra. three white tormas (Thanghla. Tsogna Namgyal Karpo. བདྐྱེ་མཆོག བདྐྱེ་མཆོག tormas (from your left to your right if you are looking to the altar) are: Yamantaka (Tib. According to tradition. the two tormas that look the same are placed outside of the retreat premises. The little or third torma is directed to very wrathful and harmful spirits. Its shape is the result of squeezing a tsampa lump once in one’s fist. one red torma (Sogra). Shinje) torma. If possible the first one can be placed in a higher place and the second in a lower place. To the left of the twenty one tormas (before the Yamantaka torma) and outside the piece of wood where the twenty one tormas are standing. who are very negative and cannot be bound by oath to protect the Dharma. four red tormas (Mamo. One thinks of the people who will be allowed to enter the retreat premises during the session. Damchen. this offering is called chang bu. the manager.sphere has a pointed end on its superior part (the ornament mentioned above). bell. and Hara). and so on. Energy and Light. Zhingkyong Yum. Tsangpa. Rahula}). For more details on how it is made and used. and Nepo {Yulhla}). this squeeze done to the dough represents the binding (or crushing?) of five hundred pretas. Do the same when you wake up. Before saying any mantra or prayer. Vajrasattva. remember to visualize yourself as Chakrasamvara. To wake up as Chakrasamvara means to wake up quickly. The first evening you do not need to do the third part of the sadhana (tsog. pp. The beings in the retinue of the deity are like demons. five limbs. On the level of common attainments. these demons arise from the deity. which is part of a volume called Drubdre Gyun Khyer Kuntu Ratne Zhallung Zhe Jawa Zhugso in short. you should 15 Do the first session to begin the retreat after 4:00 pm but before sunset and do only a 100 counts of the mantra. On the other hand. In this context. Since inside the channels are dakas and dakinis. to deities and demons. When one offers tormas.). etc.‛ The five elements. the deities are realized as the nature of emptiness. they are offered to the four types of guests. though it is mostly thought that the four-energy deities (the four heart dakinis—Dakini. Ali-kali. Ratne Zhallung. Before eating or drinking think. see the special text devoted to it called Ngöndro Torma Zhugso. or in brief. myself. if you start before sunset. should all be done 21 times each on the first and last day of retreat. and equanimity toward all sentient beings. Whether or not one can practice in this way will depend on the strength of one’s view. If you start after sunset it is considered a sign that you may be mentally too busy during the retreat. bless the food or drink by 17 . so they do not forget their commitment and continue protecting the Dharma and the retreatants for the duration of the retreat session. Always. as if urged by [a feeling of] love. one is free of fixation. When going to sleep. བརྒྱད་ དགུ་ According to Garchen Rinpoche.335-348. recite ali-kali. along with Chakrasamvara. Do only the first two parts. joy. compassion. one can throw mustard seeds to the four directions while saying the Om Sumbha Nisumbha ma ntra and doing a hand mudra at the end of the ritual. demons are recognized as deities. Just as one can apply wisdom as an antidote to every conceptual thought. But this is only in accord with ordinary thinking.If one does a ritual in one’s room. before eating offer the food to them. Khandarohe. Thus. the interdependence mantra. before eating or drinking. Torma is the nature of wisdom nectar. demons and obstructing spirits are rendered harmless. one can make a food offering to each demon and obstructing spirit. In the moment of abiding in the nature of mind. ‚I offer this to Chakrasamvara. On the level of the supreme attainment.) The rest of the days of the retreat only regular lokapala or outer tormas as in the yidam sadhanas are offered to the spirits that were bound by oath. and the channels all are blessed by dakas and dakinis. An Indian mahasiddha said that Chakrasamvara wakes you up. Lama. and Rupini) wake you up. the opening prayers and the preparation and generation stage of the sadhana up to and including the mantra recitation. (For more details on this ritual. In order to engage in activities. five senses. and the increasing mantras. it might mean that you will feel too relaxed and lazy during the retreat. find a comfortable place where you will sit in your room to do your practice. and so forth. Think. radish. On a sheet of paper draw a white double vajra or a white svastika and place the drawing under the mattress. that one had abandoned all hesitation. Visualize the fence of the retreat as the dharmapalas. People outside the retreat area are outside the mandala. are the worst because they hinder the correct pronunciation of the mantra as they affect negatively the ability of the tongue to move quickly and skillfully. eggs. death. Eggs and fish. discount one mala count. there is no difference between the arising of deities and the arising of demons. Even better was if you could do the sadhana in a cemetery late at night. ‚may this re sult in the vajra body. before putting on the clothes. today this is considered a misunderstanding. big cushion. as sitting on such a skin could make the mind of the meditator more aggressive (like a tiger’s mind). Sitting in this way it would also be easier to visualize the standing deities. If one looks at someone outside the retreat. Otherwise. Also. The mantra you recite also is secret. and then do the sadhana while sitting there. bless them with OM AH HUNG. The purpose of drawing this symbol under the meditation seat is to have a stable practice. This will make your body a little bit higher and it would be easier to sit with a straight spine. and if they see or hear anything they may generate wrong view or misconceptions.saying OM AH HUNG. If words come out of your mouth. a piece of cloth with the drawing of a human corpse on it will do. that you are offering to the deity (yourself) precious clothes of the best quality. meat. Since it is not easy to obtain a human skin these days. and samsaric suffering. If someone outside the retreat sees you. Put a small cushion or a rolled cloth below your buttocks. If one remains undistracted from mindful awareness.‛ In the retreat area we are inside the mandala. Then. onion. bell. the purpose of the corpse seat was to remember impermanence. as you are saying this. such as the skin of a tiger. This was done to prove that one did not have any doubt left in one’s mind. Do not eat garlic. especially. like a mattress. damaru. You are only allowed to talk to the lama and in special situations. It is believed that traditionally mahasiddhas sat on an animal skin. discount the mantra count you accrued in one full session (of the four daily sessions). which will be an obstacle for them to turn to the dharma. even to the lama. Then put on your clothes while thinking. and fish. Thus today it is not recommended that the yogi sit on a tiger skin. vajra. do it by writing only. Originally the idea was to sit on a real human corpse. (27 November-4 December 2005) Before starting the retreat. Fu rthermore. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 18 understand demons to be thoughts. not just a mere skin. However. This includes talking to the cook or the manager. traditionally a human skin is placed (which you would sit directly on). 16 . discount one mala count. The reason for keeping them secret is that other people cannot understand them. if you need to communicate. and so forth) secret. above the mattress. Keep your practice and implements (mala. such as if you are sick and so forth. too. The middling one is when as you are taking the bath you think that by this you are purifying all obscurations of body. Birds. as these belong to the lower order of animals. There are three ways to do the ritual bath. until the end of the yidam retreat. bless it visualizing it as nectar. Whatever you drink or eat. Just say the lineage prayer and visualize the protection mandala. It is believed that they do not have the capacity to eat them. so to cut one’s hair one needs this special ceremony. Do not change the direction of the bed during the yidam retreat. even if they are strange or bad. lama Chamspa says that it is thought to be an inauspicious sign if a dog eats a torma or the remainder of the tsog or even if a dog comes close to the retreat hut. like Chakrasamvara. the same with the dust you collect after sweeping the floor. such as doing special pujas and dharmapala pujas. walki ng. pour water on your body with the left hand only and visualize water as nectar. You can only wash your mouth and face. The lower one is when you visualize the five dhyani buddhas giving you a bath by pouring nectar on you. because it is thought that the mantra energy is lost in that way. And particularly. it is okay to cut the nails after the yidam retreat is over and no ceremony is needed for that. on the other hand. However. Be careful that no dog or monkey (or any other hairshedding animal for that matter. if you have to take a bath. thigle). the performance of other special pujas is also sometimes necessary. Do not pay attention to dreams. to the family of the flying beings. according to the texts) eat the tormas offered to the dharmapalas. We do all this because the left symbolizes wisdom. and they may lose their fur. Do not clean the room or wash your clothes. Best is to eat inside your room during the yidam retreat. and so on. If you clean your room. visualize your tongue as a HUNG and think everything we eat has the same taste of emptiness). do not take trash out of the room but collect it inside the room.‛ e.. eating (after saying prayer or mantra for eating. If you break any of the rules above. Do not lose the drop (i. If you change the direction of the bed you may have to prolong the duration of the retreat. you need to apply an antidote. Especially.e. are thought to be acceptable recipients because they belong to the family of the dakas and dakinis. How ever. Do not touch any being. like when blowing a balloon or blowing out a candle. speech. including animals. Also if some incident occurs (an obstacle). and arrange your altar’s offering from left to right (opposite of usual direction). Especially do not blow forcefully from deep inside your lungs.Men are not allowed in women’s rooms and women are not allowed in men’s rooms. During yidam retreat you are not allowed to blow. do not blow against 21 . Do not wash your body. Do not sleep during the daytime as this harms the drop (Tib.. During yidam retreat use your left foot and left hand first for doing everything: ‚do all actions with the left. and བཅུ་ བཅིུག་ 19 Indian mahasiddha said that in each hair resides a daka or dakini. sexual fluids).g. Use only your left hand for counting with the mala. the characteristic of all mother tantras. one hundred tsa-tsas. you will continue placing the outer offerings in the altar from left to right for the rest of the three-year retreat. The bodhi tree seed mala is the best. Do not spit outside your room either. After the yidam retreat is over. According to Lati Rinpoche. The skull mala is only used for the Chakrasamvara sadhana. This will help you in accumulating more relative merit. Internal washing is imagining that your obscurations and negativities are purified by the nectars. The highest one is when you think that this is not ordinary water but the great bliss (bodhichitta. and suchness. ¾ 20 You cannot cut your hair. see full reference at the end of this endnote). it is said. do not give them to other people. After completing the yidam retreat we have to do one hundred tsogs. you are not supposed to cut your hair anymore for the rest of the three-year retreat.an animal or insect. Instead. that is. consume them yourself. to wash your cooking and eating utensils (pots. If you are not using all the tsog provisions for the retreat. This visualization is the same as in the empowerment section of the sadhana. You are allowed. and one hundred butter lamp offerings. We should keep the same mala for the rest of our lives. semen) from Chakrasamvara and the lamas (when they enter in union with their consorts). Do not mix Chakrasamvara mantras with other sadhanas’ mantras during the recitation stage of your sessions. You can only cut your hair after a special ceremony is performed. After finishing the recitation stage say ali-kali.86 in Lati Rinpoche’s comentary. OM AH HUNG. see last endnote to the sadhana). We do not spit nor throw trash outside the room so as not to attract obstacles (spirits). offer to Chakrasamvara and all the sentient beings the merit of the recitation you have done (for the tongul text. External washing refers to visualizing Vajravarahi and the four heart dakins shower nectars down upon your body while Heruka consents. internal. After taking the bath. Suchness washing is meditating on the emptiness of the circle 2 of three: the washer. ‚There are many different aspects to the yoga of washing: external. of course. always with us as protection. Now the Chakrasamvara practice and our mala are our best protections. and so forth are now visualized as the yidam deities and thus to cut any of them off the body would be to harm the deity. An . because all our aggregates. because they would not have enough capacity to handle the power of the mantra accumulated in your breath.‛ (p. we have to do a fire puja. though. Spend in oil for butter lamps. The best kind of mala is made out of bodhi tree seeds or skull bone. plates. and so forth). And. They melt into bodhichitta which flows into and throughout your body. elements. This is called ‚the secret mala‛—do not show it to other people. senses. You experience great bliss. From now on we do not need to wear amulets or protections or perform special protection pujas. Do the same with the water you have used to wash your clothes. secret. nails or beard. the washed. and for the rest of your life if you བདྐྱེ་མཆོག བདྐྱེ་མཆོག 22 mind. collect the water you have used in a bucket and throw the water on the grass inside the retreat premises. and the washing. Secret washing is done by meditating on your root guru in the aspect of the deity on your crown entering into union with his consort. Even after the yidam retreat is over. and then do tongul. 2. The rice used for the hand mandala offering can be thrown on the roof after the yidam retreat is over.wish. one has to think of the visualization before it actually arises. Instant developing stage visualization: because it is ‚instant‛ developing. The skullcup can be refilled on a regular basis as the nectar naturally tends to evaporate and also is consumed during pujas and so forth. LC If it is difficult to visualize the instant transformation. Or one can st art by 14 25 . The skullcup is not to be emptied after the yidam retreat is over. every time one receives formal teachings from the lama on any of the five parts of the fivefold path. especially the samayasattva and jñanasattva sections). they should be done after the dedication section of the fivefold path or check with the lama. The inner torma or big Chakrasamvara torma remains in the altar along with the other big tormas for the duration of the three-year retreat. and so forth. Starting with yidam retreat and for the rest of the fivefold path teachings. This helps in the attunement of envy (especially the developing stage {samayasattva and jñanasattva sections}). Development of pure appearance (seeing the world as the mandala and its inhabitants as the mandala deities). If repairs are needed. Do not stop doing the trulkhor exercise and purification of breathing—they are meant to be done for the rest of the three-year retreat. Purification and blessing of one’s speech by transforming the experience of the bardo of death (and the dream state) into the experience of the sambhogakaya (samayasattva section and blessing of the mala). བཅིུས་ བཅུ་གསུམ་ 23 the experience of birth (and the waking state) into the experience of the nirmanakaya (samayasattva section). these pills can be placed in a container for future use as medicine. Purification of channels and chakras of the vajra body and preparation for tummo practice (dzogrim tummo and samadhisattva sections). If you need to change a great part of the old nectar. do not throw away what you take out of the skullcup. This is why every time Lama Chamspa gives formal teachings in the afternoon. 3. 4. Continue doing outer torma and tsog offerings everyday. The saffron water in the vase also ideally should not be changed until the end of the yidam retreat. blessings. after they dry out. first one has to do the Chakrasamvara sadhana. 6. earlier that morning the group of retreatants would do the Chakrasamvara puja in the temple. This helps in the attunement of arrogance (all throughout the sadhana. Development of divine tantric pride (seeing oneself as the yidam deity). 5. These should not be touched or moved until the entire three-year retreat is over. The little tsampa buttons placed on the side of the inner torma can be thrown on the roof after the yidam retreat is over. one can also visualize first that out of emptiness a vertical ray of blue light the length of a forearm begins growing until it reaches an adult human’s size. The important thing is that always a little bit of the old nectar should remain in the skullcup. Purification and blessing of one’s mind by transforming the experience of death (and deep sleep) into the experience of th e dharmakaya (samayasattva and dissolution stage section). and then it becomes Heruka yab/yum. but mix it with barley tsampa until it becomes a thick mass of dough and then make some nectar pills out of it. bell. (See endnotes to Dharmakirti’s Chakrasamvara ‚long version‛ commentary for additional retreat rules. skullcup. vajra. transforming 13 Outer Torma . six senses. bell. vase. yellow TRAM in the South into red menstrual blood. then with both hands in tarjani mudra (threatening mudra) as if holding vajra and bell cross the arms in an embrace with the right arm on the outside. damaru. 12 24 This is the beginning of the actual Sadhana. Or. if it is not possible to have all these implements. vase. DKOT Turn the hands in the lotus mudra as in the eight offerings. khatvanga staff. like the position of the Chakrasamavara arms (vajrahunkara or embracing mudra). white OM in the East transforms into yellow feces. red AM in the West into white bodhicitta.‛ DKOT. we will achieve everything we attempt.visualizing that out of emptiness a blue. p. Having as complete a set of tantric implements as possible with you during the sadhana would automatically attract dakas and dakinis like meat attracting flies. bell. like the shape of an egg. white MAM in the South East into black beef. at least place in front of you (from left to right): a vajra.) The complete set of tantric implements or substances (ordered from your left to your right if they are placed in front of you) is: vajra. you can put a drawing of it in the altar. DK Dark blue HUNG in the center transforms into blue urine. and five elements are those of Chakrasamvara. according to tantric wisdom.) DK 15 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 26 16 In some monasteries the following is recited after the Svabhava mantra: སོང་པ་ཉིད་དུ་རྒྱུར། TONG PA NYI DU GYUR ‚All becomes emptiness. Red BAM in the center transforms into human meat.83. green KHAM in the North transforms into white brains. In the Tibetan rendering of the Sanskrit mantra the 2 circles indicate a lengthening (hold the AH for one finger-snap) and the ྅ character (paluta) indicates a further lengthening (3 snaps of a finger. If you do not have a khatvanga staff. Some of the most important aspects of this Chakrasamvara sadhana are: 1. damaru. and torma. blue LAM in the South West into red dog 17 ‚If we keep the samayas well. the order is skullcup. vertical ray of light already the size of an adult human becomes Heruka yab/yum. According to Lati Rinpoche (Gelugpa). chanteu (long hand-drum). and in one piece only.‛ However HH Drikung Chetsang Rinpoche explained that this was already included in the SVABHAVA mantra so it does not need to be recited. The best skullcup is perfectly oval. Purification and blessing of one’s body by the recognition that the five aggregates. and damaru. skullcup. and torma. LR. and by purifying the state of birth (womb birth). LTCT. red PAM in the North West into white elephant and green TAM in the North East into green horse meat. one angle pointing toward us. It is melted by the steam into bodhicitta which then drops into the scull cup and mixes with the nectar. DT Another version has yellow urine and white LAM in the South East. OM is on the corner to our left. In the middle of the triangle there is a red RAM. (This mantra cleanses the impurities of the offering. apana. DK 18 བཅུ་བཞི་ བཅོ་ལྔ་ Light radiating from OM AH HUNG draws blessings from all the Buddhas which melts back into the OM AH HUNG. and HUNG is on the corner closest to us. The red light coming from the HUNG at my heart chakra becomes the dakini Khandarohe (Tib. AH is on the corner to our right. a blue syllable YAM appears. They turn all beings into the deities of the three chakras who all dissolve back into the OM AH HUNG. which has the shape of a half-moon or bow (this mandala represents the downward-voiding wind {Skt. It is the seed syllable of Chakrasamvara’s consciousness. a red RAM appears. DK 19 27 The full visualization with commentary is: In the middle of my heart chakra there is a letter HUNG blue in color. and yellow or blue MAM in the South West according to Lama Champa’s tradition corresponding to the crown of Akshobya. The flat part of the half moon is toward us. RAM is on fire.meat. At the three corners of the triangle there are syllables OM (white). Again light radiates from the syllables and becomes the deities of the three chakras. and HUNG transform into three fresh human heads. Above the heads. so that it becomes the nature of bodhicitta—an ocean of nectar. thursel} located at the secret place). DK The steam forms a HUNG which becomes an upside-down khatvanga. and HUNG (blue). a white syllable A appears. In the middle of the wind mandala stands a blue YAM. *Meditate in emptiness. Above this. by saying OM SVABHAVA (‚nature‛) SHUDDHA (‚pure‛) SARVA DHARMA (‚all phenomena‛) SVABHAVA SHUDDHO HANG (‚all phenomena become emptiness. Meditate on the inseparability of bliss and emptiness.+ (This mantra purifies the mundane dualistic fixation of the offering. On each corner there is a banner (two in total).) As I say it. which transforms into a perfect human 29 . which has the shape of a triangle.) Out of emptiness. AH. LC Also some monasteries recite LAM before MAM. Tib. It transforms into a fire mandala. It transforms into a wind mandala. I sprinkle saffron water from the vase onto the object to be purified. OM. AH (red). which is pure by nature‛). She is the activity dakini of 20 of Khandarohe’s mind and my mind become inseparable. Red light arises from the HUNG as I repeat the mantra OM KHANDAROHE HUNG HUNG PHET. Dumkyema). a yellow TRAM. this urine symbolizes the wisdom of Dharmadhatu and buddha Akshobhya). grinding teeth. red in color (wisdom of equanimity.) Then Khandarohe dissolves back into red light and into the HUNG at my heart chakra. in the eastern direction (toward us). yellow in color (mirror like wisdom. (It corresponds to the skullcup I am using for the sadhana. In the south. white in color (all-accomplishing wisdom.skullcup. She stands in front of me holding a hooked knife with her right hand and skullcup of blood and a khatvanga with her left. loose hair. two hands. Tib. The natures 28 . Tib. In the SE. (Torma and tsog offerings also are considered and visualized as the nectar in the skullcup. a white LAM represents cow meat. In the NE a green TAM represents horse meat. The flesh are visualized second and they symbolize skillful means and the illusory body (which is stressed more in father tantras). All nectars and flesh syllables are standing. buddha Amitabha). བདྐྱེ་མཆོག བདྐྱེ་མཆོག 30 Chakrasamvara. Also in the middle of the skullcup there is a red syllable BAM. naked. amrita. Zesma). The liquid we sprinkle from the vase is also dakini Khandarohe and the vase itself is the palace of the deities. a red AM represents semen or white drop (Skt. yellow in color (in its purified form. dutsi). buddha Ratnasambhava). there is a white OM. a yellow MAM represents dog meat. one face. The substances are visualized before the flesh because Chakrasamvara is a mother tantra and in mother tantras the substances (nectars) are visualized first because they symbolize wisdom and the clear light. Another name for her is ‚beauty‛ (Tib. white in color (wisdom of discrimination. green in color (symbolizing ‚equanimity‛). laughing. representing the brain. In the middle of the skullcup there is a blue HUNG. bindu. These are the five ‚nectars‛ (Skt. representing urine. representing excrement. The material of the nectar is the inseparability of great bliss and wisdom. white in color (symbolizing ‚joy‛). buddha Amoghasiddhi). She purifies and removes impurities and obstructing forces from the nectar in our skullcup. thigle).) The inside of it is red and the outside white. The cause of the nectar is our nature of mind and great bliss. The basis of the nectar is the emptiness of the offering. It is in one piece (symbolizing the union of bliss and emptiness—the clear light). red in color (symbolizing ‚compassion‛). She is red in color. These are the five meats or flesh. represents blood (Skt. In the NW a red PAM represents elephant meat. To its front. The skullcup’s ‚face‛ (where the forehead was) is toward us. In the SW. buddha Vairochana). rakta) (red drop? menstrual blood? vaginal fluids?). In the west. red in color (which in its purified form represents the wisdom of clear light). three eyes. representing human flesh. In the north there is a green KHAM. she chases away evil spirits (geg). vast as the universe. so they are not able to come to the place where we meditate. black in color (symbolizing ‚love‛). ‚eat it!‛. As the cooking continues more heat rises up. etc. Above this ocean of nectar I recite the ali-kali mantra. As the substances get cooked. and delicious. like an ocean. whose multicolored (or white) syllables are arranged above the nectar. The ali-kali then dissolve into the syllables OM AH HUNG arranged vertically with the OM on top. they face toward us. It becomes the nectar of the bodhichitta. quick silver or white in color.e. white in color and more radiant than before. Impure things become pure. When offering to enlightened beings one snaps the fingers with the palms facing upwards. getting cooked. it represents a verb in imperative tense: ‚do it!‛. very smooth. eat. take. mixing inseparably with the commitment nectar. the downwardvoiding wind goes to the YAM. The snapping finger mudra is an order. it is believed that all the many minor spirits that lurk around our retreat place will become friendly to us). increases in quantity and becomes very vast. The above guests are some of the fifteen king spirits. the mixture of the two.. looking to us and looking after us. We offer and request also. བཅུ་དྲུག་ 22 31 OM KHA KHA KHAHI KHAHI (eat. eat it) PIVATHA (drink it) JIGRATHA (taste it) MATIKRAMATHA (do everything as I order) MAMA SARVA KARTAYA (accomplish all activities for me or make me successful in accomplishing all my activities) SADSUKHAM (great bliss or promise of it) VISHUDDHAYE (fully pure) SAHAYAKA BHAVANTU (give your support). One has to offer to them with a loving and compassionate attitude and not think that they are evil spirits but that their essence is inseparable from Chakrasamvara. which strengthens. From YAM a strong wind goes to the syllable RAM and feeds the fire of RAM. DKOT བཅུ་བདུན་ 33 . cool. This fire (which symbolizes the fire of tummo) heats up the skullcup and the substances inside melt like butter. The nectar drips through the khatvanga and falls into the skullcup. The new nectar. These spirits—now worldly protectors (lokapalas)—should be visualized as being inside the wall of the mandala. then one snaps the fingers with palms facing down. steam rises up and becomes an upside down white HUNG. This becomes an upside down khatvanga staff. take) SARVA (all {the guests}) YAKSHA (obstacle-making spirit) RAKSHASA (human-flesheating spirits) BHUTA (spirits of dead people) PRETA (hungry ghosts) PISHACHA (flesh-eating spirit) UNMADA (spirits who make beings crazy) APASMARA (spirits who make beings forgetful). mercury. DAKA (hero) DAKI (heroine) ÑADAYA (and so on) IMAM (this) BALING (torma) GRIHANTU (take) SAMAYA (vow) RAKSHANTU (keep or protect) SARVA (all) SIDDHIM (siddhis) ME (to me) PRAYACHCHHANTU (grant completely = grant me all the siddhis completely) YATHEBAM / YATHESTAM (according to my wishes) BHUÑJATHA (take it.Now comes the purification and expansion/increasing of the nectar: As I breathe out. moving the two banners. which coincides with the limits of the retreat. The cooked substances become radiant orange nectar (the samaya nectar). with an inverted HUNG inscribed on its center. and bodhichitta nectar (which is Heruka’s ‚essence‛ = semen) starts oozing out from the HUNG in the khatvanga. When one is offering to worldly deities. They are invited to partake of the torma because if the kings are on our side then all their followers will also be (i. Whenever we feel we are getting sick we can take from this nectar. When making the nectar. take from it. which transforms into the respective offering as you say the blessing mantra OM VAJRA . The drawing to the right shows an example of this visualization but for eight outer offerings only. also known as mamoi or naljorma = yogini). In that case continue with the blessing the Outer Offering on p41. DKOT 23 All the spirits invoked above are bound by oath to protect the Dharma and the Dharma practitioners. who purify sentient beings. It is very vast and has a delicious taste. GL 21 32 .. The commitment nectar becomes wisdom nectar which is white with a tinge of red. speech. step by step. DKOT (for more details on this visualization see LR. purifying the offerings and then dissolving back into the Hung as before. one should transform it into nectar. female spirit who flies in the sky. whatever one eats or drinks. positive spirits—lokapalas (worldly protectors) who confer siddhis to us. It is inexhaustible. mainly the buddha lands. Light arises again from the syllables. goes to the ocean of nectar. this time transforming into the deities of the three chakras. dissolve into each other: OM dissolves into AH. In this sadhana one should visualize ten offerings.KHANDRO (daka. using juice or milk has the disadvantage of the nectar spoiling quickly. AH dissolves into HUNG. collecting the essence of the body. one will not get sick. collects its essence and returns to the syllables. In addition. Light radiates from the three syllables filling all space. AH HUNG. It is said that if one takes of this nectar. Light returns and dissolves into the three syllables. transforming them into the mandala deities of Chakrasamvara.. DKOT 25 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 34 26 From an AH (other traditions say from a Kam) appear ten skullcups lined in front of you. 24 Sprinkle one time from the vase onto the altar’s tenfold offering and visualize Khandarohe. Its essence is all the deities. but not by using the vajra) and feel uncontaminated bliss and wisdom in my body. In every skullcup appears a syllable HUNG. However. where the altar is (one skullcup for each outer offering). male spirit who flies in the sky. They become dharmapalas (Dharma protectors) of a lower order. if you do not want to use alcohol it is acceptable to use fruit juice or milk. Now the three syllables. Again light arises from the syllables. Each skullcup and its offering can be visualized as being of vast dimensions. 98-100) When practicing multiple times offering the torma once a day is sufficient. especially for those who have vows that forbid them from drinking alcohol. they are (now) good. and mind of all the tathagatas. pp. and HUNG dissolves into the nectar. red coming from a HUNG in my heart chakra. Also if you are feeling tired after recitation. also known as pawo or vira = hero) KHANDROMA (dakini. It is uncontaminated bliss. Then all the beings/mandala deities unite sexually with their consorts. and by the bliss they feel they melt into light and dissolve into the three syllables. also known as pamo or virini heroine. Saying OM AH HUNG I taste the nectar with my left ring finger (or with the benkyog spoon. Pema Garwang (Padma Narteshvara {Amitabha}). vijñana). 27 The complete visualization is: Around my navel chakra. bell at his heart level. are the ali and kali mantra syllables ending in HUNG HUNG PHET. Another version is that the three circles are about the same size but one above the other. and a bell at his waist level. who holds a vajra at his heart level with his right hand. at the external extremities of the subtle channels originating at the three chakras just mentioned. samjña). sit in the half-lotus position. green. and blue from the mind chakra) 28 བཅུ་བརྒྱད་ བཅུ་དགུ་ 35 3. impulses. His consort is Pandara (also known as Benzarahi). tendencies. one below the other. Say the mantra three times. and with the left hand holding a bell at the waist/hip. purifying/removing the respective 37 . As Akshobhya. Male deities (which correspond to a bodhisattva each) all have three eyes. his consort is Vajravarahi (at the navel) (who perhaps is called Pema Drawachenma when she descends from the navel to the secret place?) 6. volition. and yellow or orange) radiates from the mantra in a counterclockwise motion. Each syllable/deity transforms into a vajra of the same color of the respective syllable/deity and in the same location. recognition) (Skt. 4. represents OM and the nirmanakaya. ayatana) (Syllable/deity removes conflictive emotion by using antidote. Six Senses (Skt. Shri Heruka (Vajradhara). throat. When reciting the mantra. His consort is Tara (forehead). Dorje Sempa (Vajrasattva {Akshobhya}). represents HUNG and the dharmakaya. topknot. sambhogakaya/Chakrasamvara dress. All aggregates. (also forehead). at the center of the mandala. crown of the head. five colored light (blue. so the first circle is on the top. The second circle is red. Perception (or discrimination. who are in sexual interlock.In the Chakrasamvara mandala. on the bottom. The circles are big enough to penetrate both the bodies of yab and yum. Consciousness (Skt. mental formations) (Skt. red HRI. white HUNG. ankles (seat of the twenty great negativities or poison-miseries {nyenyon nyishu}). white. repeated three times. The navel would be somewhere in between these three circles. the deities of the three chakras are located in three concentric circles (or chakras) inside the divine palace. and the third below the other two. red from the speech chakra. throat chakra (seat of the namshe consciousness). represents AH and the sambhogakaya. red. counterclockwise movement. arranged in three concentric circles from the outside to the inside. who holds a double vajra with his raised right hand. the deities of the three chakras are not located inside the three chakras of the head. dark blue HI (or HE). This is clearly represented in the 62-deity mandala of Chakrasamvara. and heart. and a bell at his heart level. heart chakra (seat of the life-supporting wind). and hold bell with the left hand. The third circle is blue. Dorje Gyalpo (Raja Vajra {Amoghasiddhi}). but at the skin level. Light transforms into the deities of the three chakras. In the body of Heruka. completing the three circles. counterclockwise. but in the five-deity one it is not so evident. 5. who sits in the vajra posture but with the right hand holding a vajra in the earth touching mudra. Rainbow light of five colors radiates as each circle is being completed. His consort is Vajradhatu Ishvara. green HO. who holds a lotus with his raised right hand. Activity (or compositional factors. the second in the middle. The flow of light/mantra ali-kali is rather in a spiral and in a downward. These deities (white from the body chakra. samskara). The first circle is white. 2. 2. and five elements are the different aspects of the yidam. lust. 3. matsarya). ananda}). sambhogakaya/Chakrasamvara dress. Similarly. green KHAM. DKOT 29 The following visualization is to recognize the purity of one’s aggregates. Irshyavajra) (bodhisattva = Akashagarbha). First visualize the syllable. yellow ANG. and hold bell with the left hand. Anger (or wrath) (Skt. who holds a vajra with his right hand at his heart level and a bell at his waist level (antidote = compassion {Skt. red ANG. Stupidity (or delusion. ignorance) (Skt. and a bell at his heart level. Dveshavajra) (bodhisattva = Vajrapani). as light. forehead (representing all the body). black HUNG. and assimilation). 6. have a topknot. sit in the half lotus position. Ragavajra) (bodhisattva = Avalokiteshvara or Lokeshvara). Dochag Dorje (Skt. white BUM. nostrils. Timug Dorje (Skt. Desire (or covetousness. Envy and jealousy (Skt.. rupa). the five aggregates. senses. yellow TRAM. speech. mind (heart chakra). back into the mantra around my navel: OM AA II . attachment. Form (or body) (Skt. who holds a jewel with his raised right hand. immediately after that visualize how it transforms into the corresponding deity. Serna Dorje (Skt. The complete visualization is: In their primordial. the body. HUNG HUNG PHET (three times). ears. Pride and selfishness (or stinginess) (Skt. who holds a red lotus flower with his raised right hand and a bell at his heart level (antidote = joy. Feeling (Skt. navel chakra (seat of warmth. 36 . Zhedang Dorje (Skt. 5. Skt. karuna}) བདྐྱེ་མཆོག བདྐྱེ་མཆོག 38 come out of my body throught my right nostril and purify all sentient beings. All tathagatas are the same color of their syllable. who holds a dharmachakra with his raised right hand. wangchug. dvesha).) 1. raga). 30 Five Aggregates (Skt. Wangchug Dorje (Skt. head chakra (seat of white bodhichitta). grasping. Matsaryavajra) (bodhisattva = Sarvanivaranavishkambhin). the first five have three eyes. Dorje Nyima (Vajra Surya {Ratnasambhava}). who holds a chakra with his raised right hand and a bell at his heart level (antidote = bodhichitta enlightenment). six senses. bliss {Skt. heat. who holds a vajra with his right hand at his heart level and a bell at his waist level (antidote = love {Skt. pishuna. Aishvaryavajra) (bodhisattva = Samantabhadra). who holds a double vajra with his raised right hand and bell at his heart level (antidote = equanimity {Skt.) 1. greed) (Skt. vedana). the mouth of the bell faces his body at the heart level. white HANG.. white OM. aishvarya). Power (Tib. Mohavajra) (bodhisattva=Kshitigarbha). who holds a precious stone (Tib. rinpoche) with his raised right hand and a bell at his heart level (antidote = ?). and mind of oneself are perfectly pure. His consort is Lochana (at the navel). then proceed with the next syllable. 4. nutrition. upeksha}). maitri}). LTCT. absolute state. The deities return and enter my body through the left nostril and dissolve. His consort is Mamaki (at the heart).defect by the use of the corresponding antidote. passion. skandha) (Male tathagatas. moha). eyes. root of the tongue. and elements. Nampar Nangdse (Vairochana). Thragdog Dorje (Skt. irshya). as her consort is Amoghasiddhi. She stands on a yellow square mandala. as her consort is Vairochana.) 39 ཉི་ཤུ་ ཉྐྱེར་གཅིག་ tips of the prongs of these vajras are not meeting with the central pong. First four are facing a male tathagata. She stands on a red triangular mandala. but not touching him. (She is in front of Nampar Nangdse. Earth element (Skt. her first right holds a vajra. green TAM. Five-element syllables/female tathagatas are standing on respective elemen t’s mandala (earth. at the head. three eyes. (She is in front of Dorje Nyima but not touching him.or Benzarahi}). naked. Söjema (‚she who kills‛) (Skt. Mamaki). agni). and a khatvanga with their second left hands. since he is not their consort. at the navel. All of them hold a hooked knife with their second right hands. ARKA = very strong.) 3. Outside this is a mass of flames turning counterclockwise. her consort. like the sun light). Gugjema (‚she who summons‛) (Skt. She stands on a green half moon mandala. fire. ANALA = fire. The first four have one face and four arms.) 4. Wind (or air) element (Skt. a skullcup with their first left hands. standing with right leg outstretched. red PAM. her first right holds a sword. at the ankles {or at the forehead}. Pandara . hair down. They all are inside one’s body. apas). prithivi). She stands on a white circular mandala. Fire element (Skt. and space). Tib. forehead. heart chakra. DKOT 33 41 A more detailed description of the mandala protection visualizations and mantras: Light arises from the HUNG at my heart and transforms into the four-direction mantras. (She is in front of Pema Garwang. black MAM. Tara). so that there is an opening. her first right holds a lotus. but are bent slightly outward at the tip. dsola). who is the emanation of Amitabha.Five elements (or inner senses or inner feelings or characteristics of the senses. five mudras or bone ornaments. sambhogakaya. (I am at the center of the future mandala. Pema Gargyi Wangchugma (‚the lady of dances‛) (Skt. 1. (She is in front of Dorje Sempa. Tungjema (‚she who causes *one to+ fall‛) (Skt. 34 .) 2. Water element (Skt. throat. as her consort is Ratnasambhava. but not touching him. The swirling net of vajras becomes denser and denser and the vajras interlock to form a dome above and then even denser to form a canopy of vajras leaving no gap. wind. With these openings the vajras lock together. very close to him. navel. kams) Female tathagatas. yellow LAM. English Sanskrit Tibetan Vajra ground VAJRA MEDINA dorje sashi Vajra fence VAJRA PRAKARA dorje rawa Vajra roof (or tent) VAJRA PAÑJARA dorje gur or dorje teng Vajra canopy (or ceiling) VAJRA VITANA dorje ladre Shield of vajra arrows VAJRA SHARAJALA dorje de dawa Fire fence VAJRA JVALANALARKA* dorje me (JVALANALARKA= ‚very strong fire‛: JVALA = flame (Tib. but not touching him. Lochana). vayu). her first right holds a dharmachakra. water. looking to the east). The first mantra is in the east (in front of me) and is blue. The second one, going counterclockwise, is in the north (to my left) and is green. The third one is in the west (behind me) and is red. The fourth one is in the south (to my right) and is yellow. Visualize these four mantras big in space. They reach all the way from Brahma’s heavens to the golden ground. The syllables of the mantras are surrounded by a halo of flames. Snapping the thumb and index finger of both hands once towards each direction starting in front (east) as described above, say, OM SUMBHA NISUMBHA HUNG HUNG PHET (east, blue) / OM GRIHANA GRIHANA HUNG HUNG PHET (north, green) / OM GRIHANA PAYA GRIHANA PAYA HUNG HUNG PHET (west, red) / OM AH NAYA HO BHAGAVAN VAJRA HUNG HUNG PHET (south, yellow). The mantras become solid walls made of four huge vajras, one in each of the four directions and each the color of that direction. From these vajras, rays of light radiate to the center of the mandala, forming a syllable HUNG. The HUNG becomes a huge crossedvajra, with a HUNG inscribed in its center. From the HUNG light descends and transforms all the ground down to the golden base into the nature of variegated vajras. This is the vajra ground. Then rays of light emanate from the HUNG and transform into five-pronged vajra arrows which circle everywhere, in all directions, up and down in space. Below these the light makes an impenetrable vajra fence outside the four huge vajras. Then the light forms a vajra tent. Below the vajra tent and on top of the vajra fence the light creates a vajra canopy. This is a ceiling that fills every single space below the vajra tent. Finally, the light from the HUNG makes a divine-fire fence, adamantine in nature, strong and compact, which is located outside and around the vajra fence. The arrows in the ring of the vajra arrow protection are like ‚bullets flying around in the circle of fire. The purpose of setting this protection circle of moving arrows བདྐྱེ་མཆོག བདྐྱེ་མཆོག 42 5. Space (or ether) element (Skt. akasha), secret place, smoky (grey) KHAM, Pema Drawachenma (‚she who has the net of lotuses‛) (Skt. Dharmadhatuvajra or Padmajvalini), she has three faces and six arms. Her main (central) face is smoky color, her right face is white and her left face is red. Her first right hand holds a hook or goad, her third right hand holds Brahma’s head with fou r faces, and her third left holds a rope or noose. She stands on a smoke colored dharmadhayu mandala (six pointed star formed by 2 triangles). DKOT, LTCT, Vajrayogini by Elizabeth English, p. 118 Snap with the index fingers of both hands: for SUMBANI in front with the left hand more outward and the right hand closer to the body; then GRIHNA: left hand is turned to the left; GRIHANAPAYA: left hand is pointing over left shoulder; ANAYAHO: right hand is pointing to the right and left hand is closer to the body. Then when we repeat the mantra later, snapping twice for the intercardinal directions: for SUMBANI the right hand points to the right front; GRIHNA: right hand to the right back; GRIHANAPAYA: left hand points to the left back; ANAYAHO: left hand points to the left front. DK 31 40 Light radiates from the letters of the mantras and eliminates obstructers. It returns and turns the mantras into a vajra fence: a giant vajra in each direction and all the spaces in between filled with smaller vajras. From a HUNG below arises a giant crossed multicolored vajra having a square center and a different color in each direction (front blue, left green, back red and right yellow). From the radiating light the spaces in between are filled with smaller vajras and above a swirling net of vajras is turning counterclockwise. The 32 is to impede certain types of spirits which are able to transverse fire unharmed‛ from entering the core of the mandala. How ever, ‚when the Dharma protectors see the protection circle *from the outside, it does not look threatening or impenetrable to them but] they see a multicolored rainbow enveloping the protection circle *and thus they are able to come inside+.‛ ‚The tent is on top of the fence and below the fire circle with the arrows < Inside and below the tent, and at the level of the top of the vajra fence is a va jra canopy, which is like a ceiling.‛ LR Now, visualizing the protection of the mandala say mantras (according to Kazi Dawa-Samdup’s translation, the Shrichakrasambhara Tantra, (Tantrik Texts vol. VII, Arthur Avalon. ed.), here one uses threatening (Skt. Tarjani) mudra with the left hand and snaps the thumb against the middle finger, as this would make the protection of the mandala very strong; but in the tradition of Lama Chamspa no mudra is done here): OM MEDINI-VAJRA BHAVA VAJRA-BANDHANA HUNG HUNG PHET (vajra ground) / OM VAJRA-PRAKARA HUNG PAM HUNG (vajra fence) / OM VAJRA-PAÑJARA HUNG BAM HUNG (vajra ceiling) / OM VAJRA-VITANA HUNG KHAM HUNG (vajra canopy) / OM VAJRA-SHARAJALA TRAM SHAM TRAM (vajra net) / OM VAJRA-JVALA ANALA ARKA HUNG RAM HUNG (fire fence). (Also in the Shrichakrasambhara Tantra it says {in another part of the sadhana} to visualize the vajra ground as the heels of Heruka; the vajra fence as his ribs; the vajra ceiling as his skin; the vajra net as his body hair; and the fire fence as the nails and hair of Heruka.) Then say the four-direction mantras again with the same mudra and motion of hands and arms and visualize that the four huge vajras ཉྐྱེར་གཉིས་ ཉྐྱེར་གསུམ་ 43 now two times each and going clockwise. Thus for the SE it would be the mantra of the east twice: OM SUMBHA NISUMBHA HUNG HUNG PHET, OM SUMBHA NISUMBHA HUNG HUNG PHET, for the SW it would be the mantra of the north twice< and so on, the mudra of the hands and arms also done twice for each interdirection. Visualize first the SE’s Krodhini, Shinjetenma (Skt. Ya madridha), her right half blue as the east, her left half yellow as the south; then do the same with the SW and visualize Shinjephonyamo (Skt. Yamaduti), yellow/red; and NW, Sinjechewama (Skt. Yamadamshtri), red/green; and NE, Shinjejomma (Skt. Yamamathani), green/blue. The four krodhini in the interdirections are looking toward you. Many emanations arise from all eight krodhini, filling the space in the eight directions. In addition, from the krodhini in the east emanations go up (zenith) and from the krodhini in the west emanations go down (nadir), so the ten directions are covered. All obstructing evil spirits (geg) from the ten directions are drawn together and away. Every time the krodhini wrathfully cry HUNG! a well is formed outside the vajra fence. Eight wells are formed in total. Obstructors are put in the wells. We, as Heruka, command the eight krodhini and their emanations in the four counterclockwise main directions and in the four clockwise interdirections to wrathfully pound the geg in the wells into dust by the strokes of their vajra hammers against their vajra daggers, the latter which are placed on the crown of the geg (the daggers pierce the geg’s bodies as the latter are being hammered): (*1) OM GHA GHA GHATAYA GHATAYA / SARVA-DUKHAM VIJÑANA HUNG PHET / (*2) KILAYA KILAYA SARVA PAPAM HUNG PHET / (*3) 45 HUNG HUNG HUNG VAJRA-KILAYA VAJRADHARA ADYA JÑAPAYATI / SARVA-DUKHAM VIJÑANA KAYA VAKA CHITTA VAJRA-KILAYA HUNG PHET. With the left hand in tarjani mudra (representing the vajra dagger) and the right hand in hammer mudra (representing the vajra hammer), motion with the right hand toward the left hand three times (at *1, *2, and *3 above), holding the mudra throughout the entire recitation of the mantra. Then the right hand with the hammer mudra stays up. According to Arthur Avalon, the literal meaning of the mantra is: ‚Kill them, kill them; crush them, crush them! All evil from geg is cleansed. Stick your vajra daggers in their heads and immobilize them! Clean the evil of all the sin-minded with your vajra daggers! Listen to the command of myself as Vajradhara! By the action of your vajra daggers all evil from geg’s body, speech, and min d is cleansed.‛ And the symbolical meaning is: ‚OM: may the dispersal of the dense mass of darkness of delusion of avidya be brought about. May all misery be destroyed. Bind, bind: may all sin be destroyed. Bind firmly; hold firmly. Bind all consciouness, body, speech, and mind: may all (enemies) be dispersed.‛ With their vajra daggers, the krodhini transfix the gegs’ bodies from crown to foot. The geg who turn into great bliss (maha sukha) may stay, the rest are pulled away, far from the mandala. According to the Shrichakrasambhara Tantra, the geg who turn into mahasukha do so because they have died and their consciousness transformed into the essence of Chakrasamvara. According to Lama Chamspa, བདྐྱེ་མཆོག བདྐྱེ་མཆོག 46 transform into the four main direction gatekeepers (Skt. krodhini) —Khvadongma (Skt. Kakasya = the crow-faced one), blue, crow head, in the east; Ugdongma (Skt. Ulukaysa = the owl-faced one), green, owl head, in the north; Khyidongma (Skt. Shvanasya = the dog-faced one), red, bitch head, in the west; and Phagdongma (Skt. Sukarasya = the pig-faced one), yellow, sow head, in the south. They are naked, have female bodies, three eyes, one face, two arms, the lower part of their body is the blade of a dagger, and they hold a vajra hammer (Skt. vajradanda) with their right hand and a vajra dagger (Skt. kilaka or vajra kilaya; Tib. Dorje phurbu) with their left hand. According to Lama Chamspa, the vajra dagger actually is an emanation of the corresponding krodhini and therefore has the same animal face as its holder. Kakasya,the crow-faced krodhini or gatekeeper of the eastern direction Then say the four mantras again, but this time pointing to the four interdirections and going clockwise, starting from the SE and visualizing the krodhini of the four interdirections. They also are naked, have female bodies, three eyes, one face, two arms, hold a vajra hammer with the right hand and a vajra dagger with the left, and the lower part of their body is the blade of a dagger. They, however, do not have animal but human faces, and the right half of their body is the color of one of the main directions and the left half the color of the next main direction going clockwise. According to Lama Chamspa, you simply repeat the mantras in the same order as you said them when you did the main directions but 44 ཉྐྱེར་བཞི་ ཉྐྱེར་ལྔ་ 47 Sixteen offering consort-goddesses: Visualize that light having the nature of ali-kali emanates from the HUNG at your heart and transforms into an offering goddess. Then with the appropriate mudra and mantra visualize the sixteen consort-goddesses (Tib.however. bell or skullcup with their second left hands: (5) VAJRA HASYA (Tib. Jhenpanma) = pink. (*5) OM VAJRA PRAKARA HUNG / OM PADMA PRAKARA HUNG / OM CHAKRA PRAKARA HUNG. and body (Skt. Phyiwongma) = blue color. kaya) (inside the palace or around the center of the mandala. Hand mudra (H. Linguma) = yellow.: playing a vertical flute.m. Nachenma) = red. Four goddesses of dance. Say. vak). In *4 above left hand in tarjani mudra goes up so now both hands stay up.m. mideyebrow.. translated by Kazi Dawa-Samdup. speech (Skt. geg are not killed. padma.: playing a double-headed horizontal drum. The krodhini melt in light which dissolve into the vajra fence.): playing a string instrument.) These mantras represent the fences of the three chakras: mind (Skt. she dissolves back into the HUNG before the next one emerges. hold (under you) firmly.: playing a single-headed vertical drum. Tantrik Texts vol. holds a muraja (vertical drum). tip of sexual organ. DKOT. LR pp.‛ like 49 . After each goddess has offered.m. H. above the crossed vajra). In the body mandala tradition of Chakrasamvara the eight gatekeepers or krodhini are to be visualized at the eight gates of the body: mouth. and nostrils. (*5: Hands in previous mudras go down to resting position. (3) VAJRA MRIDANGA (Tib.15. VII.m. vijñana) have been transferred to the realm of buddha Akshobhya. eyes. H. (2) VAJRA VANGSHA (Tib. holding a vajra or chanteu (skull hand drum with an elongated shape) with their second right hands and a khatvanga. H. Skt. citta). H. making the three walls of vajra. vidya) offering their respective offering. ears. They all have one face and four hands and are standing. Dsarnama) = green. navel. holds a vina (lute). anus.m. Shrichakrasambhara Tantra. ed. creating one solid barrier or protection wall around the mandala. a vajra with their second right hand and a bell with their second left hand: (1) VAJRA VINA (Tib. (*4) OM VAJRA-MUDGARA VAJRA-KILAYA AKOTAYA HUNG PHET (‚Hit with your vajra hammers and daggers‛ or ‚Om vajra clubs. 1st right and left hands do hasya (smiling gesture). Say. lhamo. 24. 143. 39 Four goddesses holding a musical instrument with their first right and left hand. break in pieces Hung Phet‛). holds a vangsha (flute). and chakra tightly fixed together.: Hold both hands in mudra like gandha but not touching from sides of mouth and down in outward circles indicating with the hands a curve in the shape of a ‚U. light ‚splashes‛ from the vajra fence. and just as when something is thrown into water and it splashes. Concentrate the mind on the absolution of the sins of mischievous spirits and imagine that their consciousness principles (Skt. Arthur Avalon. (4) VAJRA MURAJA (Tib. holds a mridanga (horizontal drum). being transfixed by daggers would rather be a symbolic way to represent that an emanation of a krodhini is entering the geg through his crown’s aperture and enlightening him by putting his mind into the clear light of bliss. H. holds a vase of pushpa (flowers).: pushpa mudra. the letter of the glorious primordial being. H. H. 1st right and left hand hold cymbals for gita (singing). It radiates five-colored light that fills me from the crown of my head to the soles of my feet and cleanses the non-virtues of body. My body becomes as clear as crystal. p. both 1st right and left hand do lasya (posing with a boasting attitude). Then she is reabsorbed back into the HUNG. who completely pervade the space before me. which is in nature the five wisdoms.: dhupa mudra. a damaru or chanteu drum with the 2nd right hand. and Vajra Heruka (Vajrasattva in the form of Chakrasamvara yab/yum) are to be visualized as crystal-clear and blue in color. (10) VAJRA DHUPA (Tib. 1st right hand holds a vajra and 1st left holds a bell at the hip. DKOT 35 36 In mother tantras like Chakrasamvara ANU RAKTO MEBHAVA goes before SUPOSHYO MEBHAVA.: Hands are at the respective hip and from the waist one leans to the right but with head and shoulders upright (like Vajrasattva’s posture). From every pore light radiates. but here the fingers are retracted as if holding two small cymbals). Metogma or Drolkar Dorje) = white. 2nd left hand holds a changteu drum.: aloka mudra. Bluma or Hui Dorje) = yellow. (11) VAJRA DIPA (Tib. The others holding an offering with the 1st right hand. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 50 ‚White‛ here means ‚crystal-clear. Drijangma or Drogjan Dorje) = green (or red). speech and mind accumulated since beginningless time. H. upon which stands a blue syllable HUNG.m. as well as buddhas.: Like the issuing light mudra. Garma or Gargyi) = green.m. (8) VAJRA NIRTYA (Tib. and offers to him the respective offering. a skullcup with the 1st left hand. H.m. H.m. (12) VAJRA GANDHA (Tib. 1st right and left hand are simulating nirtya (dancing). the groups of deities of the actual Chakrasamvara mandala. (6) VAJRA LASYA (Tib.‛ In fact.: gandha mudra. 2nd right hand holds a skullcup.m.a smile. bodhisattvas. and a khatvanga with the 2nd left hand – four goddesses with traditional offerings: (9) VAJRA PUSHPA (Tib. The light from the syllable HUNG invites my spiritual master in the aspect of Vajradhara. H. LC Another version of this visualization: At the heart of myself as Heruka a yellow PAM transforms into a variegated lotus. holds a vase of gandha (perfume).11 37 48 For each of the outer offerings visualize that light emerges from the HUNG at your heart chakra and transforms into an offering goddess or dakini with one face and four arms. holds dhupa (incense). Dhupogma or Drolkyin Dorje) = pearly-blue.m.: playing the cymbals in a vertical manner (it looks similar to the mudra for playing the vertical drum. vajra. with fingers moving in waves. gods. LR. who goes in front of Chakrasamvara (in the sky in front of yourself). Marmema or Drogmar Dorje) = orange. holds an aloka (lamp). From AH arises a moon mandala. the syllable HUNG. DKOT 38 . Gyegpama) = blue. goddesses and wrathful deities. (7) VAJRA GITA (Tib. The light then dissolves back into the HUNG at my heart. and also smile with the lips.m. cleansing the bodies of all beings and purifying their three doors. H. DKOT. or nectar-like foods. H. and bodhisattvas dissolve into light and this light dissolves into the HUNG at our heart chakra (snap middle finger and thumb of left hand once. buddhas. holds rasa (juices. LR p. and so forth) (sense of taste). three-sided pyramid). ed. like a tray with food or a vase of honey. surrounded by the deities of the mandala. The whole universe becomes the nature of blissful enlightened wisdom. (15) SPARSHA VAJRI (Tib. holds a dharmadhatu (phenomena source. (16) DHARMADHATU VAJRI (Tib. then circle the hands clockwise. 43 53 . H. This light slowly disappears into emptiness. (14) RASA VAJRI (Tib.And four goddesses with sense offerings: (13) RUPA VAJRI (Tib. 40 ཉྐྱེར་དྲུག་ ཉྐྱེར་བདུན་ 51 are situated below the four continents {the earth realms}. Then the light touches all sentient beings (light from HUNG at the mind mandala radiates and touches the beings from the “above-realms‛ or heavens. like in the padyam mudra. LC. making a triangle with little fingers of each hand touching each other and index fingers touching each other. H.: Chojun (dharmadhatu) mudra. Shrichakrasambhara Tantra translated by Kazi Dawa-Samdup. The nada becomes like a ray of light as thin and particle-like as a hundredth of a hair. Meru) and that is why OM is placed at the bottom of the three syllables.181 Detailed dissolution visualization from a practice session led by Lozang based on translation by Lama Zopa Rinpoche of The Supreme Bliss‛ sadhana (LZ) and LR: ‚Light beams go forth from the syllables. Refuge tree and Chakrasamvara yab/yum.: mirror mudra. From these three syllables light radiates forth and transforms into the assembly of deities of the three chakras [of the Chakrasamvara mandala]. VII. middle and ring fingers are folded over thumb of respective hand. Zug Dorjema or Zugyi Dorje) = white. holds a rupa (mirror). Arthur Avalon. honey. In other commentaries the OM is on top and HUNG on the bottom. with a shape like an inverted. who transform into and become the same as the assembly of the deities of the three chakras.m. just side by side with little fingers touching on the sides.m. and the HUNG dissolves itself from the bottom part up to the nada. Ro Dorjema or Rojyi Dorje) = red. which dissolve one into the other: OM dissolves into the AH. making a sound). light from the AH at the speech mandala radiates and touches the beings from the ‚in-between realms‛ or surface of the earth. Reg Dorjema or Regyi Dorje) = green. and as the light touches sentient beings they are completely purified and liberated . The only difference with the padyam mudra is that the straightened fingers are not overlapped but like in nevedya mudra.: like the nevedya mudra but with tips of thumbs and index fingers of each hand joined. holds sparsha (garments) (sense of touch). All deities-beings return and absorb into the three syllables. Tantrik Texts vol. so do our thoughts. Chojin Dorjema or Chojin Dorje) = white. LTCT. which themselves are on the sides of Mt. AH into the HUNG.m. touching every sentient being and their environment and transforming them all into Heruka.m. With compassion my mind stretches out to the limits of space. and light from the OM at the body mandala radiates and touches the beings from the ‚below-realms‛ or water and the underground).: Like the gandha mudra but hands separate as if holding up a piece of cloth. making circles. the smoke-like vision fades and is replaced by a spark-like vision – like the sparks above a bonfire at night. AH (red. OM (body) is related to the beings from the ‚below-realms‛. the head dissolves up into the crescent moon and the བདྐྱེ་མཆོག བདྐྱེ་མཆོག 54 Because beings do not understand the real meaning of HE-RU-KA they become attached to phenomena and need our help. my mind. soon I am going to wake up and when the clear light comes I’ll recognize it. crescent moon. the mind). including the hand offering and ganachakra. this is my mind. Ali-kali and OM YEDHARMA… mantras and a mala of OM AH HUNGs. and that is why is placed on the top of the three syllables. and the sparks-vision fades away and is replaced by a vision of a faint glow lamp that is about to go out. In these sessions you can accumulate the mantras. The senses one by one stop functioning.I remember this all like a dream experience having no truth .Gradually the universe and sentient beings dissolve back into the syllables and when they dissolve the mind becomes more subtle. I imagine the fire element has dissolved into the wind element . following the Chakrasamvara system of accumulating merit in the absolute way. the HUNG is at the top. such as the nagas (the oceans 42 52 . We cannot see any form. DKOT. 3rd and 4th session you can start practicing the sadhana from here. dissolves into the HA. Meditate on this and accumulate wisdom. According to Lama Chamspa. it dissolves from the bottom and top into the HUNG at the heart. Out of emptiness. AH below the HUNG. Remembering this. beings living in the ocean and under the earth. by the power of one’ s aspirations from past lives our nature of mind appears as an OM (white. I imagine the earth element is dissolving into the water element and when the power of the earth element ceases there is a relative manifestation of the water element. Remembering my body in the form of light. Thus HUNG (mind) is related to the beings from the ‚above-realms. the U. am in the form of the head. below the AH. and HUNG (blue. The wind element has dissolved into consciousness . as Heruka. this is. a blue mirage in the sky. When this happens the mind grows more subtle and the mirage vision fades away and is replaced by the smoke-like vision – like billowing clouds of smoke. the speech). AH (speech) is related to the beings from between ‚above‛ and ‚below‛.I recognize these appearances as not truly existent. drop (tigle) and nada. and OM at the bottom.‛ such as the gods. My mind as the HA dissolves up into the head of the HA. assuming the clear light is near. my mind grows more subtle. Then in the 4th session you continue and finish the whole sadhana.the clear light will soon be here and I’ll recognize it. after having done your regular opening prayers. like a dream experience. I. this time. LC First there is emptiness. I remember that this whole experience is like a dream experience and none of it truly exists. practicing the text up to the dissolution. etc. I imagine the water element has dissolved into the fire element . the bottom of the HUNG. the beings that dwell on the surface of the earth (such as animals and humans) and that is why is placed in between the HUNG and the OM. Finally. with the mind growing even more subtle. When this happens I have the internal vision of a mirage shimmering. LTCT 41 When practicing this text in retreat for 4 sessions daily in the 2nd . This order has to do with the type of beings that these syllables are related to in the Chakrasamvara tantric cosmology. this is. the body).All this is an illusory experience. incredibly subtle and made of light. standing in space. When they meet at the heart there is a flash of clear light. which is all that is left of my mind. Consciousness dissolves into appearance. When the nada appears. this is the Samboghakaya.mind grows incredibly more subtle. its nature is emptiness. the emptiness of Dharmakaya. sunlight and darkness. Therefore I must arise into a form body. but shining with white and red colors. thoughts arise in our mind. My mind is getting more subtle and blissful clear light is coming soon. All the winds dissolve completely into the indestructible drop. because of my previous intention of wishing to liberate all beings. Then the crescent moon dissolves up into the drop and the nada. Our nature of mind is like a nada— very thin. Good practitioners can feel when the essences of the father and mother come closer and closer. I AM voidness experiencing bliss. But when the light disappears. The faint light dissolves away and the whole sky becomes filled with whiteness – a vacuity filled with whiteness. think: if I remain in this blissful state of dharmakaya. and the black vision also completely disappears into the vacuity of clear light. the sambhogakaya. blissful light. just the experience of incredible innate bliss ecstasy which is realizing emptiness of all (true) existence including the I. This is the clear light of dharmakaya. I imagine experiencing the dissolution of appearance into increase and attaining the vajra speech. very thin and white with a red tint. I have the conviction. There is the experience of the clear light. and with that it completely fades – disappears to the complete vacuity. like a black-out after a very bright light and the clear light is near. This illusory appearance came from emptiness. am the dharmakaya! This mind of clear light has no center. LC (free translation with commentary) 45 57 When dying the essence of the father comes down from the head. radiant and glittering – this is me. no true existence. Again. I visualize experiencing the dissolution of increase into the black near-attainment.‛ ཉྐྱེར་བརྒྱད་ ཉྐྱེར་དགུ་ 55 Then I. like a clear autumn sky illuminated by the reddish glow of sunlight. If we recognize this. my mind. This is all completely ephemeral like a dream. This is the time to practice Phowa. the mind (still) remains clear and without any thoughts (we are collecting absolute merit). Then the drop as well dissolves up to the nada. is teaming with incredible bliss. This is the meditation taking the impure death as the path of dharmakaya. like a bright autumn morning. The white vision dissolves and is replaced by the red increase. our mind is clear. and the father. The red appearance fades and the whole sky becomes dark thick blackness as if swooning unconscious. I will not be able to benefit many sentient beings. This nada. very clear and pure and free from moonlight.I. the meeting of the mother. like the sky at dawn. because of the power of past habits. DK 46 .‛ LR Light means clarity of mind. and the essence of the mother comes up from the bottom. no circumference. the dharmakaya. We are exercising the sambhogakaya. like a very clear sky at night lit up by moonlight. which is all that is left of ‘me’. The mind of clear light is really near here. This is shunyata. this is ME . bringing the bardo onto the path. From emptiness in which all appearances have ceased: My mind takes the form of a nada. the resultant enjoyment body. the dharmakaya. realizing all this is illusion. the whole sky being filled with copper-like light. their parts and differences. All phenomena – illustrated by the subtle base of designation of I. the resultant dharmakaya. aggregates and constituents are naturally divine.‛ A 6448 ‚Mediate on the 4 attributes of emptiness: 1. Although they lack inherent existence from their own side. of my mind. the cognizing consciousness — exist only as mental constructs by merely being labeled by conceptual thought. 4. they are empty. then wind. Meru is marked in the four cardinal and four intermediate directions with pinnacles or pillars which are shaped like small pointed hills. I develop the divine pride of having attained the omniscient mind of Heruka. they do exist conventionally. The body is pure. lotus. my subtle body and subtle mind – lack inherent nature. then fire. on the earth the beings. empty of subject and object. on the water the earth. This negation of inherent existence. Since all phenomena exist in dependence upon other factors — their causes and conditions. I develop divine pride. the blissful wisdom fused with the object. 3.The order of appearance of the elements refers to the order in which the elements manifest when the minds of beings are reborn after death (it follows the reverse order of the elemental dissolution at death) and it also refers to the formation of the cosmos: first there was only space (ether element). is the ultimate nature of myself. This is me. on them there appeared the water. They cannot exist independently. and double vajra. designated upon their basis of designation by conventional thought. When I focus upon this great bliss integrated with the object. which are the seats on which stands the divine palace “The top of the square Mt. This leaves nothing but the non-dual flow of consciousness. 2. DKOT 47 བདྐྱེ་མཆོག 44 58 The sequential emergence of the elements and their mandalas. བདྐྱེ་མཆོག 56 . Mt. I generate that ascertainment and apprehension of emptiness into a state of great bliss. and their being labeled by term and concept — their mode of existence is relative and dependent. All phenomena do not exist by way of their own nature. emptiness. Meru. I develop the divine identity. and so forth. but like illusions. I reflect upon emptiness of inherent existence: All phenomena — both the object being cognized and the subject. I imagine having the appearance of nothingness and remain in that state for a while. emptiness. With one corner of my mind. they are merely imputed by preconceptions. this purity of phenomena. for the crown of Verochana the eastern direction should be dark blue. They are red in color and represent the wisdom of equanimity.. Above the moon are the vowels of the Sanskrit alphabet. but you are feeling everything in the form of the deity. DKOT 50 གསུམ་བཅུ་ སོ་གཅིག་ 59 Above the moon disc there is a sun disc.145. toward the moon. representing the essence of the 32 major marks of a buddha.petalled variegated lotus is on top of Mt. 51 The OM SARVA VIRA YOGINI. which is the red drop that comes from our mother.. 49 In the center of the lotus appears a moon disc. DK 54 The actual developing stage starts here. mantra. Chakrasamvara (oneself) gradually dissolves into the HUNG at his heart chakra. 55 61 The essence of BHRUM is the five (six) dhyani buddhas. so both the vowels standing on the moon below and the consonants hanging from the inverted sun above are facing each other. DKOT The sun disc is inverted.. [Lama Chamspa. The BHRUM transforms into the [divine] palace [at the center of the mandala]. They are white in color and represent the mirror-like wisdom. 56 BHRUM and the six buddhas Mandala’s palace . This is necessary to break ordinary perception. They are thus doubled into 32. which is the white drop that comes from our father.. Thus. The 40 consonants are arranged above the sun disc twice (first in a clockwise circle and then outside this circle in a bigger counterclockwise circle). The 16 vowels are arranged above the moon disc twice (first in a clockwise circle and then outside this circle in a bigger counterclockwise circle). and for the crown of Akshobhya the eastern direction should be white. Meru and can be visualized either on top (covering) the eight hills or within them. so its upper side is facing down.] The differences in colors can also be due to different crowns. LR p. Above the sun are the consonants of the Sanskrit alphabet. They are thus doubled into 80. However to avoid the vajra pride turning into ego pride we are reminded of emptiness with the following OM VAJRA SHUDDHAH. Initially the pride of the deity and attachment to it is needed. and the consonants are as if hanging from the sun. The HUNG dissolves from the bottom up to the nada and the nada stays in space. mantra establishes the pride of the deity. The eastern direction is white when relating to the four activities and blue for the Chakrasamvara practice. So there is still some ego. representing the essence of the 80 minor marks of a buddha. and with limbs) which represent the 5 Buddhas in the Nirmanakaya. shabju) corresponds to the development of the fetus in 5 stages (curd. They enter into union and melt into light. blue in color. It can be wrist-to-elbow length or human size.Mandala’s basic structure (detail from sand mandala. The order in which the eight cemeteries are visualized is (you are in the center of the mandala looking to the east. (the HUNG is built from top to bottom. Almora. the west behind you. 57 བདྐྱེ་མཆོག 52 62 Our consciousness in the form of a nada goes in between vowels and consonants (between moon and sun). depending on their experiences. LC The formation of the HUNG (drop. May 2005). as the nada is always first to appear and last to disappear. (2) tsang-tsing-thrigpa (north) (3) Dorje-barwa (west) (4) kengruchan (south) (5) misadshadpa (southeast) (6) tashi. so that the whole universe becomes the nature of blissful omniscience. the south to your right and so forth for the intercardinal directions): (1) tumdrag (east). headline.‛ LZ 53 བདྐྱེ་མཆོག 60 .tsal (southwest) (7) munpa-dragpo (northwest) (8) kili-kila-drogpa (northeast). body. round. the north to your left. Different lamas say different things about the HUNG’s size. who abide in the worlds throughout all directions. The size of the Hung does not matter so much. moon. fleshy. starting to form at the top of the HUNG—at the nada—down to the U at the bottom. jelly. This is the meditation of taking the impure rebirth as the path of Nirmanakaya. This whole universe of Herukas. DK ‛The light rays completely liberate all sentient beings and make offerings to the Buddhas and Bodhisattvas.) The nada should be very small. and slowly becomes a HUNG. The syllable HUNG becomes endowed with simultaneous great bliss and transforms into the mandala of dependence and dependent beings which I all actualize simultaneously. this pure environment from the vast reaches of space dissolves back into the nada of the HUNG which becomes incredibly powerful blissful ecstasy! All is completely dissolved in me as if about to explode with bliss. are invited. all the beings become Herukas. until it becomes a complete HUNG. so the east will be in front of you. Simultaneously the accomplished heroes and heroines from beginningless time. Chakrasamvara empowerments. and then the rest of the mandala. Holding vajra and bell with hands crossed at his chest. Also exercise doing the visualization looser and tighter. like the dakinis’ face. like a lotus bud. DKOT In solitary practice: in front of the forehead (OM). His tied up hair means that he liberates all worldly activities. LC To strengthen the visualization: exercise seeing dakinis both clockwise and counterclockwise. dharma (Khandarohe). In front of the throat (AH). The five-skull diadem symbolizes the five wisdoms. Holding a vajra means that he cuts all thoughts. tip of fingers 62 . the secret place chakra is said to be located at the cervix and known as the conferrer of the nectar of great bliss. perhaps the throat or the secret place chakra. In the yum. The four vases with nectar symbolize the giving of supreme bliss. Passionate Enlightenment by Miranda Shaw. 60 The four dakinis are Heruka himself—his emanations. 59 The four dakinis represent the characteristics of the four elements. right hand in front of the left. which may symbolize one of the five chakras. palms are together. After the visualizat ion of the dakinis has become stable. his attendants. etc. That they are inside the palace represents the appearance of the five wisdoms. The precious and bone ornaments of the diadem tied together with a vajra thread means that Chakrasamvara understands the nature of dharmadhatu. feeling (Lama). After the visualization is mastered. which is precisely what the skullcup contains. LCTC 61 65 Hands in padma mudra (while holding bell and vajra) are placed in front of OM AH HUNG locations. and mind (Rupini). The four directions symbolize the accomplishment of the four activities. means that appearance and emptiness are 58 སོ་གཉིས་ སོ་གསུམ་ 63 The skullcup has a red lotus flower inside. holding a bell means that he abandons preconceptions. The four close mindfulnesses are: body (Dakini). look for detail.Chakrasamvara’s blue color represents the immutable dharmakaya. visualize the yum. like a blossoming lotus. who is the wrathful manifestation of buddha Vairochana). forehead. heart. and head. Standing on a sun disc symbolizes the ripening of the sprouts of bodhichitta. The six bone ornaments signify the completion of the six perfections. and the three lefts hold bell. Having a lotus seat means that samsara’s defilements don’t stick to him. DKOT Heruka’s body is slightly bent to the right in order to subdue the channels through which the winds of delusions flow. and black) and six hands. Being surrounded by the fire of wisdom means that the two kinds of obscurations (emotions and habitual tendencies) are burned up. hero Nampar Nangdse (hero Vairochana. damaru. which are slightly bent and touching each other at their tips). His slight smile shows kindness. hero Dorje Sempa (hero Vajrasattva. He has one face and four hands. Wearing a tiger skin shows his power to subdue. He has three faces (white. who is the wrathful manifestation of buddha Akshobhya). hands assume the mudra representing a vajra (fingers interlocked with the exception of middle fingers. Wearing a mala of human heads shows his ability to abandon that which needs to be abandoned. LR p. His consort heroine Vajravarahi is at the navel. A half moon on the left side of his topknot means that he clears away the suffering of conflictive emotions. 63 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 66 inseparable. Exposing his fangs symbolizes the removal of the four maras. NA MA HI (yellow). 94 64 . skullcup. Standing on Shiva and Uma represents the subduing of all harmful beings. A double vajra on the head means he continuously helps all sentient beings so they can accomplish their activities. and khatvanga. The two rights hold a dharmachakra and a dhamaru and the two lefts hold a bell. The three rights hold vajra. Wearing a wishfulfilling gem on top of his hair knot means that he gives satisfaction to beings like a wishfulfilling gem. His consort heroine Yamini is at the heart. and khatvanga.(pointing up) separated. For the Yab: OM HA (white). skullcup. red. In front of the chest (HUNG). navel. Yamini’s consort is hero Vairochana at the forehead. khatvanga. and khatvanga. They have three eyes and stand with their right legs extended. skullcup. His consort heroine Trasini is at the crown of the head. the two lefts hold a bell.e. Kshobini’s consort is hero Shri Heruka at the shoulders. The two rights hold a vajra and damaru. and noose. heroine Gyunjema (heroine Kshobini or Kshobani {or Sachalani}. The three rights hold hooked knife. The two rights hold a sword and damaru. སོ་བཞི་ སོ་ལྔ་ 67 For the Yum: OM BAM (red). The two rights hold a jewel and damaru. Brahma head. Vajravarahi has three faces (red. who is the wrathful aspect of Vajravarahi herself). i. who is the wrathful manifestation of buddha Amoghasiddhi). who is the wrathful aspect of Lochana). a head ornament of five human skulls. who is the wrathful aspect of Vajradhatu Ishvara). PHET PHET HANG (green). skullcup. eyes. HRING MONG (white). His consort heroine Kshobini is at the forehead. mouth (or root of tongue. heart. and khatvanga.SVA HA HU (red). He has one face and four hands. All six heroes are adorned with the six ornaments. skullcup. The two right hands hold a lotus and damaru. hero Pema Garwang (hero Padma Narteshvara. HRING HRING (yellow). shoulders. throat). who is the wrathful manifestation of buddha Amitabha). His consort heroine Chandika is at the limbs (or the forehead). who is the wrathful aspect of Pandara or Benzarahi). 64 HANG YONG (blue). crown of head. four limbs. Her consort is hero Vajrasattva at the heart. the two lefts hold a bell. The other five stand on sun discs in auras of sunlight. heroine Monjema (heroine Mohini or Mohani. He has one face and four hands. hero Shri Heruka (the wrathful manifestation of buddha Vajradhara). heroine Shinjema (heroine Yamini or Yamani. VAU SHAT HE (dark blue). Vajrasattva stands on a moon disc in an aura of moonlight. hero Tachog (hero Parameshva or Paramashava. and khatvanga. skullcup. heroine Dorje Phagmo (heroine Vajravarahi. forehead. The three lefts hold skullcup. hero Dorje Nyima (hero Vajra Surya. and iron hook. His consort heroine Mohini is at the mouth. the two lefts hold a bell. 69 . Mohini’s consort is hero Padma Narteshvara at the crown of head. He has one face and four hands. and khatvanga. HUNG HUNG HO (orange). He has one face and four hands. blue. a necklace of 50 moist human heads and a tigerskin loincloth. the two lefts hold a bell. who is the wrathful manifestation of buddha Ratnasambhava). and green) and six hands. khatvanga and bell. Harikela = ?. the right two holding damaru and *hooked+ knife. Hazara District. Nagara = ?. the left two holding *skul lcup]. Kamarupa = Assam. Maru = ? (Also regions of Zanskar. Kanchika (Kanchi) = Kanchipuram. 65 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 70 The “twenty four” vajrayana places with their current names Jalandhara = Jalandhar (Punjab). four limbs. Oddiyana (Ottiyana) = Swat Valley (Pakistan). palms facing to the front. Sirohi district. Karunyapataka = ?. heroine Tungmo (heroine Chandika. HE. Uttar Pradesh. LR pp. Devikota = ?. Arbuda = Mount Abu.‛ DKOT. and M). Lampaka = ?. a head ornament of five human skulls. Chandika’ s consort is hero Parameshva at the limbs (or the forehead). PHE. Suvarnadvipa = ?. slightly above our head level. and a necklace of fifty human skulls. Grihadevata = ?. They have three eyes. Godavari = origin of the Godavari river at Devagiri (modern Daultabad). We use this four-fold mudra to invite the wisdom beings. Kulata (Kuluta) = Kullu. Karmarapataka = ?. Sindhu (Sindhura) = Sindh in Pakistan or Kashmir?. Himachal Pradesh. Kulu. translated by lama Kazi Dawa-Samdup. Paurnagiri (Pullira Malaya) = ?. Orissa?. Tishakune = ?. then rotate the hands clockwise. Trasini’s consort is hero Vajra Surya at the eyes. Ote[visa] (Odivisha) = Orissa. Tamil Nadu. Rameshvara = Rameshvaram. naked bodies. Orissa. PHET PHET (smoky). and (4) sound mudra: the sound PHEM actually consists of three sounds. Caritra = ?. Kashmir. Malava (Malavar) = West coast of India. Kokana = ?. (3) eye mudra: eyes look through the hole formed by the hands. and M (or of four sounds: PHA. Isle of Gold = ?. Each of the dakinis has ‚one face and four hands. Aurangabad district. 27-28 PHEM consists of four mudras: (1) leg mudra: right knee raised in front of the body (or left big toe stepping on right big toe). heroine Tragjema (heroine Trasini or Samtrasani. Tamil Nadu. this creates a hole in between the two hands. Maharashtra. touching each other at the tips of the thumbs and index fingers with the remaining fingers outstretched like flames. Vindhya Kaumara Paurika = ?. Koshala = Shravasti (Sahet-Mahet). (2) hand mudra: the hands are raised in front of us. They stand with their right legs extended. Himalaya = Himalayan region. Mohini stands on a moon disc in an aura of moonlight and the other five stand on sun discs in auras of sunlight. Pretapuri = Puri.) Shrichakrasambhara Tantra. A.HUNG HUNG (green). A. who is the wrathful aspect of Mamaki). Himadri = ?. Kalinga = Bhubaneshwar. Saurashtra = ?. and Swat. They are adorned by the five ornaments. Rajasthan. The Hevajra Tantra by David Snellgrove 68 . and their hair hangs loose. who is the wrathful aspect of Tara). crown of the head. She invites the wisdom beings to come above my head and they sit on my crown. who is སོ་དྲུག་ སོ་བདུན་ 71 Skt. who is carrying in her hand a flower rope.‛ The syllable becomes the joy-dakini Gawama. Light then becomes the syllable HUNG. damtsig sempa or damtsigpa) becoming inseparable: 66 From my heart chakra light arises and becomes the syllable JA. and middle and ring fingers folded on thumb of respective hand. Visualize that from the Hung at your heart light arises and invites the five tathagatas. With my hands in the threatening mudra (this is. who is carrying in her hand a flower hook. To determine the different crowns. Vairochana for Vajrayogini. those in the crown of Vairochana dissolve into Vajravarahi. Light then becomes the syllable BAM. this is. Akshobhya.: OM SARVA TATHAGATA ABHISHIÑCHA TUMAM. Tib. Thus. and Ratnasambhava. now in the crowns.Visualization of wisdom being (Skt. meaning ‚compassion. white in color. who come in the form of Vajravarahi and the four dakinis. dissolve into the respective bearer of the crown. and those in the crown of Ratnasambhava dissolve into the four dakinis. yellow in color. on the top of the crown (center). DKOT 67 The 5 Buddhas are arranged like a crown above one’s head with Akshobia in the center for Heruka. I do exactly the same mudra and motion as above but with opposite hands. at the front of the crown (east). DKOT 69 . red. meaning ‚love. or crown of Vairochana. She puts the wisdom being Chakrasamvara inside the commitment being Chakrasamvara (the wisdom being enters and dissolves into the commitment being). jñanasattva. with thumbs folded against the palm of respective hand. simply switch the places of Vairochana (originally in the center) with Akshobhya (originally at the front or east). The standard crown. Amitabha. take the crown of Vairochana as the standard crown. Amoghasiddhi. so only the index and little fingers are straightened) the fleshy part of my right index finger near its tip touches the same part of the left little finger as I say JA (Dza) (‚come‛). and then exchange Vairochana’s positio n for the main tathagata of the crown. samayasattva. Thus the tathagatas in the crown of Akshobhya dissolve into Chakrasamvara. LC 68 73 The initiation tathagatas. blue. yeshe sempa or yeshepa) and commitment being (Skt. red in color.‛ The syllable becomes the compassion-dakini Nyingjema. white in color. Tib. now my left index finger touches my right little finger as I say HUNG (‚be present‛) (or ‚enter‛) (or ‚dissolve‛). at the left of the crown (north). to position themselves above the crown of your head. white in color. green. to determine the crown of Akshobhya. red in color. has Vairochana. meaning ‚joy. yellow in color. with their vases full of nectar ready to be poured onto your head as an ablution and consecration. The rest of the tathagatas remain in their same positions and with the same colors. at the right of the crown (south). etc.‛ The syllable becomes the love -dakini Jampama. tip of the thumb pressing the root of the ring finger of respective hand. at the back of the crown (west). yellow. DHUPA = blue. 72 There is another Drikung Kagyu version that in JA the wisdom beings are invited. This beam has the shape of a tube (like a long drinking straw). green in color. The wisdom being becomes one (inseparable) with the commitment being. but since wisdom being Chakrasamvara is inside you and you have become the wisdom being. so my little fingers and index fingers make a square shape. by using the ring finger (or the last two fingers) of the left hand. just above or at level of your left shoulder. GANDHA = green. my right hand is placed on my left hand. the light becomes the syllable HO. and in HO the experience of inseparability becomes stabilized and oneself (the wisdom being now) feels happy and pleased because of that. His Holiness the Drikung Kyabgön Chetsang Rinpoche teaches to sprinkle to your front for all the lineage lamas.‛ The syllable becomes the equanimity-dakini Dangnyomma. a white. SHAPTA = light blue. LC According to Gyatrul Rinpoche. Visualize this while reciting the inner offering. PROKSHANAM = red. below the skullcup. after offering they dissolve back into the HUNG at your heart. She stabilizes the experience of inseparability and I (as the wisdom being) feel pleased. as I say HO (‚ho!‛) (or ‚be pleased‛) (‚stabilize and remain with delight‛). DKOT 71 བདྐྱེ་མཆོག བདྐྱེ་མཆོག Deities receiving inner offering have a HUNG in their tongues.The offering goddesses emerge from light arising from the HUNG at your heart chakra. the wisdom being’s sambhogakaya remains (for the rest of the sadhana and possibly longer) [in a reduced size (guru yoga texts say the size of a thumb)] at the center of the heart [chakra] of the practitioner (who is visualizing him or herself as the commitment being). still holding the bell. green in color. three-spoked vajra emerges. ALOKA = orange. as I say BAM (‚stay‛) (or ‚bind in nonduality‛) (or ‚become inseparable‛). and middle fingers while holding the vajra with the last two fingers on the palm of the hand. left down). palms facing upward. DKOT 70 Visualize the goddess with the offering she is carrying in the following colors: ARGHAM = white. Also visualize that the deities are offering you with the sixteen offering consort goddesses. From the ‚mudra of vajra-drinking‛ (this is. From the HUNG. in HUNG the wisdom beings come closer to us and position themselves above the crowns of our heads. NEVEDYA = yellow. meaning ‚equanimity. who is carrying in her hand a flower bell. DKOT 72 74 For the inner offering hold the skullcup with the right hand making a kind of tripod with the thumb. With my hands still in threatening mudra. index. As usual. Generating the Deity by Gyatrul Rinpoche . AÑCHAMANAM = white. Sprinkle nectar from the skullcup to the front. in BAM the beings enter and dissolve in us through our crowns and become inseparable. after the wisdom being has entered the commitment being. Finally. With hands still in threatening mudra. through which the deities suck the essence of the nectar. as usual. to yourself for the yab 73 carrying in her hand a flower chain. this time the goddesses are facing you and do the offerings to you. PADYAM = red. through a hole produced by vajra and tongue) a beam of light projects onto the nectar in the skullcup. PUSHPA = white. my left little finger clasps the right little finger and my left index finger clasps the right one (right palm up. one by one. DK In the Nyingma system in women the right channel is considered red and the left white. by making them senseless. VAJRASANA = The one with the vajra seat. In men the right channel is white and the left is red. right in front. The central channel is blue on the outside and red on the inside. APARAJITE. standing solidly like a fixed pillar on the ground. VASHYANG KARI NITRA BHRAHMANI = The one who rules over the others with twisted eyes. TRILOKYA MATE = The mother of the three worlds. conquering over others. because it may be lost. People who lose their drop sixteen or seventeen times in a row while having sex die immediately. MAHAYOGINI = The great yogini. SHOSHANI = The one who causes the poison to dry out. LC From the head chakra of great bliss emerge 32 spokes. It is important to preserve the drop. to your back (above your shoulder) for Dumkyema (OM KHANDAROHE <). channels and drops men 79 .. The essence drop protects the branch drop [from being lost]. but the absolute experience of clear light inseparable from emptiness. LR p. to your right for Zugjenma (OM RUPINIYE <) and in front of you motioning from your right to your left for all the dharmapalas. and left channel. from the throat chakra of the 5 senses 16 spokes. separating evil from good. AJITE = The one who cannot be defeated by others. beyond the yum. SARVA BHUTA BHAYA = The one who threatens all spirits and demons. right in front of you and a bit down (because she is shorter) for the yum ( OM VAJRA VAIROCHANIYE <).‛ and so forth. DKOT 78 77 The three channels are: central channel. VAHE MAHA VAJRE = The great vajra bringing all under her control.(OM SHRI VAJRA HE HE <). DKOT Think of your thumb and ringfinger as the two secret organs of Heruka and Vajravarahi. to the left for Lama (OM LAME <). ROSHANI KRODHE KARALINI = The fearful. etc. because it is the body’s seed that holds our energy and consci ousness or different states of mind (that is why it is sometimes called ‚bodhichitta‛). STRASANI MARANI PRABHEDANI = The one who threatens and kills the mara. The left channel or moon channel is white and female (as the moon) and as such it represents wisdom. KAMESHVARI KAGE = The dakini-consort who fulfills all desires. LC 74 75 Praise of Vajrayogini: APARAJAYE. One has to be careful not to let the drop go beyond the tip of the jewel. and the bodhichitta (sexual fluids) from their union is what is sprinkled. If we control the m ovement of the drop. There is only a limited number of times we can lose the drop in a row. MAHAVIDYA SHVARI = The great lady of mantra. When the drop goes down to the tip of the jewel during the secret offering (or when we imagine it does) one does not offer the relative feeling of ‚it feels good. The central channel is blue in both men and women. right channel. for Khandroma (OM DAKINIYE <). JAMBANI STAMBHANI MOHANI = The one who stupefies the maras. producing a feeling of bliss. 102 སོ་བརྒྱད་ སོ་དགུ་ The drop is what descends. However in the Drikung Kagyu practice of winds. When we lose the drop it is like losing a branc h of the essence drop. wrathful one showing her teeth in angry expression. VIJAY = The victorious one. interesting. it turns into wisdom. from the heart chakra of dharma 8 spokes and from the navel chakra of manifestation 64 spokes. The right channel or sun channel is red and male (as the sun) and as such it represents method. 171 75 At this point. it is important to try to generate some experience of bliss by imagining the arts of love and by having some sexual feelings. Wielding an axe. and khatvānga staff. Who is like the world-ending conflagration. the head facing inward. the heat melts the white drop. the Lord of Heroes. as explained in the sadhana text. 41-42 Actually. and by holding the breath at the lower abdomen one will produce an effect like bellows blowing from the right and left channels into the central channel at the tri-junction and onto the short A. Try to generate a blissful mind. pp. Splendid with a thousand arms. Then the fire keeps rising through the central channel and ‚burning‛ the other syllables. Endowed with a crest of dreadlocks. the fire blazes not from the AH but from the A-stroke or short A. LR p. which is located four fingerwidths below the level of the physical navel and inside the body (nearer to the spine than to the skin of the abdomen). these syllables (yellow PHAT and red HRI) are lying down. Wearing a tiger hide And who has a great smoky-dark form. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 78 According to Lati Rinpoche. which drips from the HANG down the central channel ‚like melted butter‛ and repairs the three burned syllables below. LR p. at the trijunction of the central. upraised spear. A tongue of fire arises from the short A and goes up through the central channel. The Cakrasamvara Tantra by David Gray 77 76 . right. lasso. Healing with Form. Energy and Light by Tenzin Wangyal Rinpoche. a full cycle of the visualization has been completed.and women’s channels are considered the same. see The Bliss of Inner Fire by Lama Thubten Yeshe). 80 By breathing in through the two side channels these will get inflated. and left channels (for a more detailed description of how the short A looks and its location. the syllables and their light rays block the holes of the secret places very tightly. and then reflect upon the experience of the four joys. with awful projecting fangs. After the AH is repaired and the fire returns to the short A. which ignites at the moment it is touched by the air. reaching and ‚burning‛ (meaning making red-hot) the red syllable AH in the middle of the navel chakra. which is located two fingerwidths below the physical navel. 184 76 Praise of Chakrasamvara: Homage to the Blessed Lord. When the fire reaches the HANG at the head chakra. Whose mouth is terrible. Being the nature of diamond. It should be done gently.Do the entire visualization while holding ‚one breath. He wears a lowered tiger skin and stands on a sun disc.e. On that a red syllable HRI appears. a diadem of five dry human skulls. 81 . However. Say the eight-fold offering to Padma Narteshvara: OM VAJRA ARGHAM/PADYAM…P RATISHTHA SVAHA. Furthermore. and the first trulkhor (Tibetan yoga) exercise were taught. The first part of the trulkhor exercise has two versions—a soft version without touching the body. you can do the first trulkhor exercise (but not the nine བཞི་བཅུ་ ཞྐྱེ་གཅིག་ 79 and reabsorbs back into the Hung. Say JA HUNG BAM HO and the wisdom being dissolves into the commitment being of Padma Narteshvara. He is adorned with the six mudras or six bone o rnaments. visualize that Padma Narteshvara’s power of speech becomes stronger and stronge r. Now we can touch the mala. doing them at any other time during the first session is also acceptable. otherwise you risk developing some kind of wind disorder (lung disease). Padma Narteshvara has three eyes and four arms.‛ If you can hold the breat h for longer. Then say mantras for blessing of the mala: OM SVAHA HU HUNG HUNG PHET (7 or 21 times) or (108 times). hold the breath only once) per session. and a long garland-necklace of fifty freshly cut human heads dripping blood. and a wrathful one in which one actually slaps and rubs the limbs and its channels energetically. Padma Narteshvara disappears and instead of him we find the mala on our knee. On the lotus there is a sun disc. OM PADMA NARTESHVARA HUNG HUNG PHET (108 times) or (7 or 21 times). at his throat chakra a red AH. Pema Garwang). As we finish reciting these mantras. His hair is tied up in three knots like Chakrasamvara’s. The trulkhor exercise was taught broken down into two parts —the first part consisting of rubbing the limbs and the second part consisting of hopping and whirling while seated cross-legged. Along with the tummo exercise. You can inhale in little bits while holding the breath but exhale only at the end. then you can do the visualization of the fire going up and down the central channel several times. It becomes Padma Narteshvara (Tib. Thus it looks as if the trulkhor exercise was several exercises when actually it is only one (or two if we consider the nine exhalations of the breath as a trulkhor exercise). Exhale softly.) During mantra 1+2 recitation. and at his heart chakra a blue HUNG. once you have reached the limit of your capacity for holding the breath you should exhale gently. The first left holds a bell and the second left a skullcup in front of the chest. This is considered ‚one breath. with folded arm. up to seven times. red in color. inviting the wisdom beings. From the HUNG light shoots forth. Do only one exercise (i. an exercise to purify the breath that consists of nine exhalations and so forth. The wisdom being and commitment being become one. The second right hand holds a damaru. Out of emptiness a red lotus appears (where my mala was on my right knee). The first right hand holds a red lotus flower. in little bits. (We have to count with another mala.‛ Hold the breath for as long as possible but without straining. as we still should not touch the mala on knee. In the crook of the second left arm Padma Narteshvara holds a khatvanga staff. Now say OM SVABHAVA SHUDDHAH SARVA DHARMA SVABHAVA SUDDHO HANG and visualize the mala dissolving into emptiness. At his forehead chakra there is a white OM. Khyung Ka Rinpoche’s lineage recommends that at this stage of the retreat you do the nine exhalations of the breath and the f irst trulkhor exercise (with its two parts and the two versions of the first part) in the morning as soon as one wakes up. Do not strain or push yourself beyond your capacity. with his right leg outstretched and left leg slightly bent. However. 129-130): Dor-Je ChangWang Til-Li Na-Ro Dang / Mar-Mi Dag-Po Phag-Dru Jig-Ten Gon / Ka-Drin Sum-Den Tsa-We La-Ma Zhab / Tsa-Gyu La-Ma Yi-Dam Chö-Kyong La / Sol-Wa Deb-So Dag-Gyu Jyin-Gyi Lob / (‚I supplicate to the great Vajradhara. Traditionally it is thought that the string that holds the beads together ideally should be strung together with a thread of raw cotton spun by a sixteen year-old maiden. places herself on top of the mala. Marpa. old age . On the sun disc there is a dark blue syllable HUNG. and goes up and out of my body through my left nostril. 37 བདྐྱེ་མཆོག བདྐྱེ་མཆོག The recitation that stabilizes the wind of thought: I am Heruka Chakrasamvara embracing the yum. like a needle stuck on a mattress. like a mandala plate upside down. Jigten Sumgön. very firmly and straightly fixed on the disc.e. and so on. From now until one finishes the blessing do not touch the mala.. Before doing the nine exhalations of the breath and/or the first trulkhor exercise. Light touches all sentient beings. first dissolve the refuge tree and meditate in emptiness. Then do the dedication prayer: Söd Nam Di Yi Tam Ched Zig Pa Nyid / Thob Ne Nye Pe Dra Nam Pham Je Te / Khye Ga Na Chi Ba Long Dhrug Pa Yi / Sid Pe Tso Le Dro Wa Drol Bar Shog / (‚May we harvest the fruit of the seed we have sown. use the thumb against the index finger. goes down to their HUNG at their heart chakras and dissolves into it. the mantras also arranged counterclockwise around their HUNG. Say OM KHANDAROHE HUNG HUNG PHET and visualize how Khandarohe emerges from the Hung at your heart chakra. As I say the mantra (the one I am repeating at this moment. removes obstacles. for powerful results use the thumb against the ring finger. Then by 82 82 exhalations of the breath) other times during the day. 81 80 . hopping. Gampopa. who possesses the three kindnesses. In my heart chakra there is a sun disc. and for wrathful results use the thumb against the little finger pushing the beads in the reverse motion (away from us). sickness. a mala of light (and wind and sound) emanates from the mantras in a counterclockwise direction around the syllable HUNG. All the mantras together (the two Heruka mantras plus the two Vajravarahi mantras plus the four dakinis mantras) are arranged counterclockwise around the HUNG. LR p. especially the second part of it (i. yidam deities and Dharma protectors. and death and achieve perfect enlightenment. who transform into Heruka. to the feet of the root lama. Milarepa. LTCT.The mala beads have to be made of human skull. visualize the refuge tree above and in front of you and do the abbreviated Rig Kun ma prayer (in the Long Form of the Recitations for the Fivefold Path of Mahamudra. To end the session. uncomfortable sweating. Naropa. if you feel your body is overheated or you are experiencing bad heat.‛). when we count mantras we pull the beads toward us and imagine we are inviting Padma Narteshvara and other deities to come out of the beads and dissolve in us (in each bead a deity is supposed to reside). In general. whirling and so forth). loss of drop. pp. and to all the root and lineage lamas. for increasing results use the thumb against the middle finger.‛) Put the mala on the right knee. DKOT. only). with a HUNG and sun disc in their heart chakras. During the main recitation of the mantra for pacifying results. May I and all sentient beings be freed from the cycle of birth. Tilopa. Phagmo Drupa. Light with wind (sound) enters the sentient beings’ bodies through their right nostrils. 5.. the very essence of the 85 . Traditionally.000 or 40. But before leaving the body of the yum the mantra-light dissolves into the seed syllable at her heart chakra. seated thereon. the samayasattva. Although you are the meditational being. For example. Then before starting the next mala. In that radiant space. visualize the hand emblem for your particular main deity. Light again goes out of my body and into the sentient beings. the meditator will visualize a solar or lunar disc seat. light goes up their bodies. 95 83 ཞྐྱེ་གཉིས་ ཞྐྱེ་གསུམ་ 83 Repeat the mantras for Heruka 500. say the Ali Kali and go. (<) Within the heart space of the wisdom being.000 or 40. finish the current mala round. at this point in the sadhana you have invoked the pure wisdom energy and possess the ability to radiate innumerable manifestations of yourself. and attaining siddhis of speech.000 times. and out through their left nostrils. and obtaining worldly siddhis and the supreme siddhi.e.000 times. the pure wisdom being. material vajra. reciting Heruka’s essence mantra has been considered helpful for accomplishing everything one does successfull y. back and forth during the recitation stage. similar to a rainbow. a meditator who is generating a deity of the vajra family (like Chakrasamvara) might visualize a (<) vajra in th e wisdom being’s heart. clear and free of obscuration. finding terma treasures. there is another circular tent-like area. drink a little from the vase water to purify and say the Ali Kali again. and then down dissolving into my HUNG. Heruka’s near essence mantra has been considered helpful for getting rain. LC 84 visualize the jñanasattva. Atop the solar or lunar seat visualize the samadhisattva. LTCT If you need to drink or go to the bathroom during the mantra accumulation.000).rotation of light and sound around their HUNG. In the hollow center of the hand emblem. (<) The hand emblem in the pure wisdom being’s heart is visualized in a vertical position.000 or 4. The jñanasattva is a tiny replica of yourself as the deity seated in your heart. Repeat Vajrayogini’s mantra 50. For the fire pujas do a 10%of the total recited (i. 50. It would be an error to conceive it as a solid. and the wisdom being inside the commitment being’s heart.000). For the fire pujas do a 10% of the total recited (i. to be the nirmanakaya aspect. reaching back to me. A vajra is the weapon of primordial w isdom and should be visualized by the meditator as translucent and devoid of tangible substance. Generating the Deity by Gyatrul Rinpoche..000 or 400. the single-pointed concentration being. p. as the major deity. DKOT If one is visualizing the HUNG inside the wisdom being’s heart. then the mantra-light first has to exit the sambhogakaya of the wisdom being through his mouth and rise through the commitment being’s bo dy before leaving through the commitment being’s mouth. The samadhisattva is the seed syllable of life. and entering my body through my right nostril. Consider the tiny wisdom being in your heart to be the sambhogakaya aspect and consider yourself.e. Within the deity’s heart. Some sadhanas.e.. and ignorance of wrong knowledge. It possesses the same brilliant color as the deity and shines radiantly. བདྐྱེ་མཆོག 85 This is the sequence for visualizing the three sattvas. LTCT Reciting all these mantras properly is like water that cleanses all bad karma of body. This syllable could be a HUNG (<) Visualize it very clearly. which should be visualized as a hollow. If the deity faces east. respectively. second. usually circle counterclockwise. The mantras of female deities (or of mother tantras. translucent space devoid of any obscurations. without gaps.000 times. l ike the empty space inside a tent. is to be visualized in the center of the commitment being’s heart). LTCT According to Gyatrul Rinpoche for a detailed visualization. which itself is in the center of the heart of the wisdom being (who.000 or 4. The seed syllable. by Gyatrul Rinpoche. For the fire pujas do 10% of this (i. Generating the Deity. Each syllable is surrounded counterclockwise by the respective mantra. upon which the rest of the recitations’ visualizations depend. Khandarohe’s. however. It stands vertically. facing in the same direction as the deity in whose heart it appears. 91-93 86 Visualization for dakinis’ recitation: syllables MAM. like Chakrasamvara). the samadhisattva or single-pointed concentration being—another name for the recitation stage—is the seed syllable (in this case HUNG) which is surrounded by the mantra. [The first and last syllables of the mantras are located in front of the seed syllable. according to your particular sadhana. then the syllable faces east.deity. and Rupini’s heart chakras. the meditator visualizes himself or herself as the meditational being. represen ting skillful means. clearly visualize a tiny seat formed of a solar and lunar disc. In Rinpoche’s own words: (<) meditate on the deity’s (the commitment being’s) precious heart. To summarize: first. do not incorporate visualization of all three beings.. pp. Recite each of the four dakini mantras 10. in the heart of the wisdom being he or she visualizes the single-pointed concentration being (the HUNG). and mind accumulated through thousands of kalpas because of the two ignorances—ignorance of desire. circular area. 1. and LAM stand on sun discs at Dakini’s. etc. as explained in a previous endnote. according to Rinpoche. the mantras of male deities (or of father tantras). This space has neither outer nor inner existence. Then. representing wisdom. yet it appears as a clear.+ (<) Generally speaking. like a candle flame. བདྐྱེ་མཆོག 84 . he or she visualizes the pure wisdom being in his or her heart. hatred. More common and extensive practices include all three sattvas (<) [The mantra around the seed syllable] is visualized as a closed loop. PAM. and third.000 or 400 for each dakini). circle clockwise. speech. TAM. is to be visualized at the hub of the deity’s hand emblem ( in this case a vajra). Lama’s. one should meditate on a subtle mandala at the center of the heart of the mandala deity. kali consonants become a sun disc. It is not considered nice or 90 . Then at the center of the wisdom being one should meditate on a five-spoke vajra.Among the Drikung Kagyu. supreme and with an immutable nature. (Dalai Lama’s lecture on Tsongkhapa’s commentary Lamp Thoroughly Illuminating the Five Stages. and the recitation stage is called the samadhisattva. it is possible that in the main sadhana of Chakrasamvara or Vajrayogini the same could be done. The dissolution can be repeated several times in a row. Without going further. it is subtle. Next.) 88 89 On the left hand. Consecration of offerings. According to the Tsongkhapa’s commentary on the five stages to produce the illusory body as understood from commentarial literature on the Guhyasamaja Tantra. This is supported by the fact that in the Chakrasamvara sadhana the generation stage section before calling the wisdom beings with the PHEM is called the samayasattva. if desired. the section between the PHEM and the recitation stage is called the jñanasattva. In the Drikung Kagyu Vajrayogini fire pujas the wisdom being is to be visualized in the heart of the commitment being. but only at the end of the session. and it is said to be the wisdom being. Why do we do this? To offer something fresh to the deities every day. p. feast gatherings. and so on are additional ways through which you can effortlessly complete the two accumulations. Dharamsala. ali vowels become a moon disc. From day 2 until the end of the retreat we make fresh tsampa buttons. (You can do this before starting the session. The initia l going for refuge and generation of the intention of enlightenment. It has the form of a drop on a moon disc. near the Chakrasamvara torma. black near 86 ཞྐྱེ་བཞི་ ཞྐྱེ་ལྔ་ 87 reappearance in the deity’s form purifies the intermediate existence. Then these become vajra hands (no visualization. On the right hand. and the concluding dedication and aspiration are indispensable in the Great Vehicle approach. its nature is wisdom. 89 Regarding the Chakrasamvara torma in the altar. the dissolution from the bottom of the HUNG to the nada corresponds to the “four empties” (white appearance. a similar system of visualization is also used. 45 The ‚inner‛ torma is the big Chakrasamvara torma that is kept always inside the altar (as opposed to the ‚outer‛ tormas that are taken out of the room twice a day). The dissolution of the five elements (the first signs of death) occurs while the palace and all sentient beings dissolve into you and you into the HUNG. At the hub of the vajra one should visualize the syllable HUNG. only perform the nevedyam mudra). On both moon and sun discs a HUNG appears in the middle (so now there is one HUNG on each palm above a moon in the left hand or a sun disc in the right hand). red increase. one of which is offered every day as a substitute representation of the Chakrasamvara inner torma. This syllable arises from the indestructible drop at the heart and it is the samadhisattva. Before starting with the purification of the inner torma put a small tsampa button inside the altar. this summarizes it. it is actually only offered to the deities the first day of the retreat. Creation and Completion by Jamgön Kongtrul. 28 May 2007). new tormas every day. and the vital drops purify the white and red appearances. when it was fresh and new it was fine. and so on —there is much more. and clear light). and purifies the physical basis of existence. LC Here the second part of the sadhana ends. which means ‚renewal of the torma. so it is better just to stop. Emerge from your meditation as soon as the first thought arises (even if your meditation has lasted only for a couple of seconds. After that. and the 88 . instead of the tsampa button torsö. If you have time. the ‚result vajra holder‛ to achieving the intermediate existence. and attainment. one rests in emptiness/clear light for as long as possible. at this stage of your training it is better to interrupt your meditation when the first thought arises than to continue trying to meditate with a mind full of thoughts. The dissolution phase purifies the death experience of that life. Then we can offer the inner torma to the deity. this part of the generation stage of the sadhana mainly accomplishes purification purposes: the ‚cause vajra holder‛ corresponds to the clear light of the death experience. and the emanation from the organs in union corresponds to the habitual pattern of sperm. but after that we must offer fresh. In fact. བདྐྱེ་མཆོག བདྐྱེ་མཆོག We do the purification ritual to transform the Chakrasamvara torma into nectar. The latter would only create a bad habit of meditation. we make instead the tsampa button and we imagine it actually is the Chakrasamvara big torma at the altar. you can make.respectful to the deities that we offer the same old Chakrasamvara torma from the altar every day. and sprinkle toward the altar (where we already have placed the torsö near the Chakrasamvara torma). becoming fresh again. However. confession. as we do with the outer torma. Sealing with the empowerments purifies the inheritance of one’s birth right. increase. and vital wind combining. In the last session you continue through to the end. the torma itself renews. When doing 4 sessions during retreat you finish here in the 1st through 3rd session. LC 87 According to Jamgön Kongtrul. after the inner torma has been purified and transformed into nectar. Recitation of the mantra purifies irrelevant speech. when we say JA HUNG BAM HO we visualize that the mandala deities and many dakas and dakinis of the ten directions enter the torma. The entrance of the wisdom beings purifies skilled activities and trainings. making the tsampa button torsö would be enough. Homage. Then. The sequential absorption of the three purifies the three stages of experience: appearance. and praise purify the enjoyment o f sense objects. The torma is not just a representation of Chakrasamvara but of the entire mandala and its deities: the multicolored lotus at the base corresponds to the 90 attainment. this small tsampa button in Tibetan is called torsö. ovum. By practicing this we exercise the experience of the dharmakaya/clear light. Since it would be so time-consuming to make a Chakrasamvara big torma every day for the deities. offerings. a more elaborate torsö by placing five little discs one above the other from the biggest at the bottom to the smallest at the top.‛ Therefore it is as if by putting this torsö near the Chakrasamvara inner torma in the altar. but just knowing this much illuminates the rest. The first day. arranged clockwise. YATHA = like that. The joy of the union allows the deities to absorb the essence of the torma and the torma receives siddhis (Tib. there are: 92 The yum’s syllables are on a five-petalled lotus in the center of the palm. and so on. when we say OM VAJRA MU the deities vacate the torma. SADHA KASYA = toward the practitioner. SARVA DEVATA = all deities. PHET PHET HANG is on sun disc cushions on all fingernails. SAPARIVARA = with attendants. like water mixing with water (becoming inseparable and undistinguishable from each other). 91 ཞྐྱེ་དྲུག་ ཞྐྱེ་བདུན་ 91 Visualization of the hand mandala offering: first put six piles of rice on the left hand. Here first visualize the male deity and then his female consort. which is on a moon disc cushion. Then say OM SVABHAVA SHUDDHA SARVA DHARMA SVABHAVA SUDDHO HANG and meditate on emptiness. As one visualizes the yab and yum deities in one’s hand. in the palm of one’s left hand. Out of emptiness. SIDDHIRBHAVATU = bestow the siddhis. SHANTINGKURU = do the activity of pacifying. Thus the deities enter the torma and mix with it. First visualize the female deity and then her consort. holding hooked knives and skullcups. These pellets should be red in color if possible. The female deities are standing. the fire fence can also be seen at the base of the torma as a rainbow spiral ring. JA HUNG BAM HO = binding them. SAMTRAPAT = be well satisfied. SARVA KARAYANTU = do all the activities. ngödrub) granted by the deities. one pile in the middle surrounded by five piles representing the 6 female armor deities. me. Later in the sadhana. and the color stripes on the sides of the torma are the surrounding dakinis. visualize them with consorts. arranged counterclockwise. All of the yab’s syllables are on sun disc cushions with the exception of OM HA.multicolored lotus ring around the vajra ground outside the palace and gardens. 93 . say OM KHANDAROHE HUNG HUNG PHET and sprinkle one time from the vase on both the hand mandala and the six-pellet offering on the plate (to cleanse the impurities of the offering). The yab’s syllables are on the fingers. If you can. representing meat as the food offering. AKARSHAYA JA = come quickly. PUSHTINGKURU = do the activity of increasing. Then visualize the syllables as the deities. one also visualizes th ese deities in one’s body. When you visualize the male deities on the fingers also visualize them with their consorts. Then prepare a plate with 6 tsampa buttons in the same manner. Visualizing dakini Khandarohe. SUKHAM SUKHE = give the joy of bliss. NAMA HI (index finger). the water element which is the blood in the veins of the hand. and a khatvanga with their second left hand. Yamini). blue. HUNG HUNG HO (little finger). HANG YONG. PAM. HRING MONG. LAM. green. Tachog (Amoghasiddhi). dark blue. white. PHET PHET. her third right hand holds Brahma’s head with four faces . They all hold a hooked knife with their second right hand. she holds a dharmachakra with the first right hand. yellow. she holds a lotus with the first right hand. Nampar Nangdse (Vairochana). Kshobini). DKOT. TAM. which is flesh and bone of the hand. Chandika) Male deities on the fingers: OM HA (thumb). red. Gyunjema (Skt. PHET PHET HANG (nails). Then visualize the five elements as the five dakinis (visualize them in one’s body as well). i n sambhogakaya form. They all are standing. her third left hand holds a rope. A Chat about Heruka by Lama Zopa Rinpoche. Dorje Nyima (Ratnasambhava). Pema Garwang (Amitabha). with four arms and one face. black. red. she holds a sword with the first right hand. She represents the space element. Her first right hand holds a hook. Vajravarahi) or Nampar Nangdsema (Skt. the wind element which is the wind running inside the subtle channels of the hand. Monjema (Skt. BOSHAT HE (ring finger). the ground of the mandala corresponds to the back of one’s hand. KHAM. with the exception of Pema Drawajenma.Then visualize the five-deity mandala of Chakrasamvara in the hand like a reflection in a mirror. Dorje Phagmo (Skt. 92 . green. and her left face is red. LTCT. which is everywhere inside the hand. Dungjema. Mohini). Sodjema. Dorje Sempa (Vajrasattva). smoky. red. the earth element. she has three faces and six arms. smoky. HUNG HUNG. the fire element which is the heat of the hand. green. white. Pema Drawajenma. yellow. a skullcup with their first left hand. Vairochani). Her main face at the center is smoky color. she holds a vajra with the first right hand. SVAHA HU (middle finger). naked. orange. Tungmo (Skt. Tragjema (Skt. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 94 Female deities on the petals of a lotus in the middle of the palm going counterclockwise: OM BAM (center). Gugjema. Shinjema (Skt. Heruka (Akshobhya). her right face is white. Pema Gargyi Wangchugma. yellow. Trasini). MAM. HRING HRING. Finally you can eat one grain of rice and return the remaining rice to the bowl of rice on your table.. During the Mahakala puja one visualizes oneself as Chakrasamvara. mandala of Amoghasiddhi in all the body limbs or in the mid-eyebrow chakra (or even in the secret place chakra). The first time you do a tsog offering to the hand mandala with the plate of six small tsampa pellets.. There are other protectors propitiated by the Drikung Kagyu. Then drop the pellets on the main tsog offering plate (which you have prepared for the main tsog that follows). the glorious Heruka. The mandala of Amoghasiddhi sometimes appears in the limbs or joints or the whole body. HUNG AH OM put the hands to the crown. meaning that even though some of them might have had worldly origins like Achi. for the crown of Aksho bhya: mandala of Vairochana in the head chakra. but first you have to transform the food and drink into nectar by doing the appropriate visualization. DKOT 98 This refers to the five dhyani buddhas’ mandalas (in the five chakras). DKOT If you wish at this point you can also recite the 8 lines of praise starting on p184 with: ‚ I bow to the great hero.‛ and continue with ‚The goddess is valid. and mandala of Akshobhya (or Vajrasattva) in the heart chakra. LC The distribution of the five dhyani buddhas’ mandalas in the five chakras of the vajra body should be. If you do not transform them into nectar you cannot offer them as tsog. a gathering to feast together. LC 95 of Vajrayogini. such as sickness or spirits that might disturb the retreatant during his or her practice.‛ through to the end of this prayer on p186. The dharmapala practice is done mostly to dispel outer obstacles. because the head chakra is representing the body in tantric subtle physiology.. this is.Here you do two offerings to the deities of the hand mandala. mandala of Ratnasambhava in the navel chakra. After playing the bell and damaru you can proceed to throw the tsog-lag on the roof or you can just leave it aside in your room and take it out of your room along with the outer torma later. throat and heart and then in reverse order to the heart. and as such he is also represented in the head. throat and crown. 93 When repeating the mantras the second time. mandala of Amitabha in the throat chakra. All protectors possess the third eye of wisdom. Then sprinkle the remaining nectar in the spoon on the main tsog offering plate. Then while saying OM AH HUNG. too. Anything you eat or drink can be offered as tsog. At the end of the two offerings put both palms together cupping the rice. 99 97 . The five dhyani buddhas have a correspondence to the five root winds and five branch winds (and also probably to the five drops) and the winds’ distribution or predominance in the five chakras. Holding the plate in the right hand. the commitments are valid. offer nectar to the hand mandala with the benkyog spoon to each deity as their mantra is recited. Tsog is visualized like other offerings—in a skullcup. offer it to the deities on the left hand one by one. as their mantra is recited. at present they all are enlightened beings. 94 ཞྐྱེ་བརྒྱད་ ཞྐྱེ་དགུ་ 95 Tsog means ‚assembly‛. especially meat (and wine).. 96 After the tsog song and before before blessing the remainder by saying OM AKARO< you can do the dharmapala puja (or it can also be done after ending the Chakrasamvara sadhana). The seven limbs of supreme qualities of buddha Vajradhara are: (1) sambhogakaya. Four-armed Mahakala is propitiated because he is the activity emanation of Chakrasamvara. Achi is considered to be an eman ation . The tsog-lag is an offering to the lower spirits. They hold the tsog plate. increase quantity. (2) union of method and wisdom (yab/yum together). 101 བདྐྱེ་མཆོག བདྐྱེ་མཆོག 98 The dakini and daka songs are chanted while offering the tsog to the lama. and also the basis for all the love and affection we feel emotionally. taste. (3) great bliss. I offer the merit I have accu mulated to yidam (Chakrasamvara). The lokapala or worldly protectress Achi (also known as Palden Lhamo) is propitiated because she was Jigten Sumgön’s main protectress and as such she became the main protectress of the Drikung Kagyu. may this aspiration be fulfilled!‛ The Vajrayana Retreat Manual by the 1st Jamgön Kongtrul Lodrö Thaye. Dharma. (6) unborn. They hold the offerings and this mudra throughout the dakini song and the daka song sung by the men. (OM AKARO = multiply number. (4) nature of emptiness. If women are present they first drink a little water from the vase to purify their mouths and then prostrate to the lama. a participant from Singapore at the 2004-2007 Almora retreat.According to Garchen Rinpoche. nectar. (2) May I thus instantly obtain the supreme state of Vajradhara.‛ Ganges Mahamudra Practice Instruction given by Garchen Rinpoche in Tucson. Then they present the offerings to the lama and prostrate three times again before returning to their seats. beauty. and they are the basis of giving rise to psychological blis s. and Sangha. (3) Through the immense power and blessed word of the Buddha.) 97 96 Regarding the dharmapala puja. May this offering benefit all sentient beings and purify the two obscurations and habitual tendencies since beginningless time. LC 100 Tongul dedication: ‚(1) In this session I have recited a total of (____) mantras of the yidam. They hold their left hand in the 3banners mudra with the three middle fingers erect and the thumb resting on the bent pinky. Meeting the Buddhas by Vessantara. UCCHISHTRA = left overs. incense. (5) compassion. The tsog remainder (Tib. 2005. and so forth. the five drops ‚abide in the body. Translated from the Tibetan into Chinese by the 37 th Drikung Chetsang Rinpoche and from the Chinese into English by Linda Liew. tsog-lag) also does not go out of the mandala—it can be thrown outside or on the roof. AZ. on June 25-26. (7) unceasing. in the Drikung Kagyu tradition of Chakrasamvara mostly two dharmapalas are propitiated: fourarmed Mahakala and Achi Chökyi Drolma. The Hevajra Tantra by David Snellgrove. and various other offerings depending on the number of women (traditionally there is one for each of the five buddha families). including the four kinds of accomplishments. Draw the remaining lines parallel to four main direction axes. and mark a point on the axes of the ལྔ་བཅུ་ ང་གཅིག་ 99 18. dividing the center of the square. 3. 11. Now you have lines in all cardinal and inter-cardinal directions. 6. You now have 5 equidistant lines on the edge of the big square. 20. so (16) is between (and parallel to) (19) and (18). With compass’ needle on central point (2) and compass opened 3 centimeters. 21. 7. not all vertical lines are visible. 22. Draw lines parallel to (16) cutting through middle points of four small corner squares. To find the lines in the inter-cardinal direction. all of the same size. each column becoming four little columns). like (16) but on the other side. at each side of the middle point. Image 2 101 . forming a grid as in image 1. Draw lines parallel to (14). To find the horizontal line. Each of the eight squares is divided with three vertical lines into quarters (lines go across through the whole biggest square to the opposite side. make new points on horizontal axis. if we think of eight columns rather than eight squares now. mark the horizontal center on both sides. Draw a vertical line with ruler and pencil. Draw diagonals with ruler and pencil. So going from center to periphery counting from left to right: square (or column) 1 has the first subdividing line (the one farthest to the left) invisible. However. With compass opened about 3 centimeters make two points (points (3) and (3) ) on the line. Open compass double the length as before (6 centimeters) by placing it on (7) and (7). put needle on (7) and then (3) and mark the center of all 4 inter-cardinal directions. 19. 8. so on each side of axis there are eight small squares. Draw lines parallel to (16) but on the other side. open compass as big as you want one half of the palace to be. 9. Mark the middle point. Draw a horizontal line through the (5)s by using ruler and pencil. Open compass double the length as before (6 centimeters) by placing its needle on one of the points (3) and the pencil of the compass on the other point (3). Making the mandala’s proportion grid design in 22 steps (refer to images 1 and 2 below) 1. 5. each of the eight columns is divided with three vertical lines inside. so. 2. in other words. To make corner points of palace.Appendix 1: Chakrasamvara Step-by-Step Mandala Drawing A. putting needle of compass on both points (3). Square/column 2 has all three subdividing lines visible. 10. 4. These are the four doors of the palace. Draw lines parallel to (14) cutting through middle of four small corner squares. leaving two squares of margin on the outside (i. with a two square margin to the outer square (1). 13. Make another square inside (1). This is the outer boundary of the palace. No. 2. Then erase all compass’ marks. then outwards again ½ square (3. of one square length outward. 14. Now the same has to be applied to the left side of the big square. These are the corner points of the palace. 15.e. Draw lines parallel to the four-direction axes that cut through the middle points of the four sub-squares. From each opening of the inner square draw two lines. B. the center to the periphery is now from right to left. The lines then branch sideways ½ square (3. 5 has only the middle line invisible. Image 1 100 . 17.1) length on each side. You now have 4 sub-squares with lines in each of their inter-cardinal directions. བདྐྱེ་མཆོག བདྐྱེ་མཆོག 102 12. 3. one on each side. this is. 16.Square/column 3 and 4 do not have any visible subdividing line. by putting the needle of compass in the center point (2). leaving an opening of one square in the middle of each line. Draw diagonals in four smallest new corner squares. Draw a big square inside. Draw diagonals on each of the four sub-squares by connecting the big square sides’ middle points. as a mirror. The visible lines are displayed in image 2.3). Draw lines parallel to (13) as diagonals in the four small corner squares.7 and No. the square is comprised of columns 1-6). Making the mandala palace’s line design in 54 steps (refer to images 3 and 4 below) (wall) 1. four main directions (11A). 8 have no subdividing lines visible. These are the inner walls of the palace and the opening are the doors. Then put needle of compass on these new points (11A) and mark a point on the inter-cardinal direction axes (11B). No. making a big square. No.2) and then connect them with a line (3. Draw lines connecting corner points. Do this in each of the four openings. as well as to the top and bottom. 6 has the first line invisible. 9. Then make a border of ¼ square thick around square (2) and door lines. Moving to the next square to the right. Connect (22) and (24) by drawing a perpendicular line of one little square length. starting on the most outward line of (6).2) 1 ¼ length. add three draft points on the outside of square (10) each 1 square further outside. 25. by drawing 3 more draft lines each above the gates. These are the edges of the bottom portico above the door (see drawing below). 28. (27. Those are the pillars with designs (see drawing above) 7. one on each side of the gate. 13. To draw the outside edges of the porticos: draw lines of one little square length at 8 little squares distance and parallel to horizontal axis in first and 6th subdivision draft column counting from outside border of palace (1). This is the veranda for the 16 goddesses. 27.1) draw lines parallel to square (2) to complete another square (5). 26. Connect (24)s above and below axis by drawing perpendicular line of four little squares (or one square) length. From inner edge of the door border (3. Lengthen subdivision lines (in pencil) around the doors until they reach the new outer square (10). Draw another square between (8) and (1). Draw another square outside and ¼ apart from veranda (5).2). Draw three lines parallel to doors (3. This is the 5-layered wall of the palace. which cuts across horizontal axis.3). 24. 5. Divide the first and third draft squares outside into quarter columns. 20. Draw another square. 105 . Connect (20) and (22) by drawing a perpendicular line of ½ little square length.4. 12. Connect (16) and (18) by drawing perpendicular line two little squares length. You now extended your draft grid by 2 square size for the porticos. 103 (outside of palace) 10. 6. ང་གཉིས་ ང་གསུམ 19. These (15-26) are the outside borders of the raised ceilings above each door (see drawing above right). 23. With pencil. These will be for the circular fences: (27. With pencil draw two more larger draft squares outside the big square (1). Moving to the right. Connect (18) and (20) by drawing perpendicular line of ½ little square length. draw lines of 1 ½ little square length at 3 ½ little squares distance and parallel to horizontal axis (both above and below axis for each door). draw lines of 1 ½ little square length at two little squares distance and parallel to horizontal axis (both above and below the axis). draw lines of one little square length at three little squares distance and parallel to horizontal axis (both above and below axis).1). 21. Moving to the right. ½ square outside of (7) and ½ square inside of (1) ) starting on the most outward line of (6). lengthening the central axes. Draw two more subdivision draft lines parallel and ¼ square distance from the other subdivision lines. and (27. connecting veranda (5) with outer wall (1). 22. each 1 square distance. 11. 8. These will mark the edges of the porticos. Draw lines of three little squares length at 7 little squares distance and parallel to horizontal axis in columns 8. Draw lines of 1 ½ little squares length at 7 little squares distance and parallel to horizontal axis in column 5. Draw lines of 1 ½ little squares length at 6 little squares distance and parallel to horizontal line in column 7. counting the little ¼ size squares of subdivision draft lines. 34. counting from external border of palace (1).29. draw another little line two little square lengths also parallel to mid-horizontal axis. the space between both lines ¼ of a square and to the outsides 1 ½ that. 31. On on same side of 14. but six little squares apart from horizontal axis. Repeat for each door for the outside border of the raised ceiling. Moving to the next square to the right. These (13 and 14) are for the levels of porticos above the doors (see drawing right). Draw lines of three little squares length at 9 little squares distance and parallel to horizontal axis in columns 2. You have now completed the various layers of the portico roof. 16. i. 104 . To start drawing the raised ceiling above each door: next to the outside wall (1) starting from the horizontal center axis. connect all end points of previous lines (28-33) but do not go into the center door opening beyond the ceiling frame. Draw a triangle on top of door portico roof. 17. Repeat above and below horizontal axis for each door. 35. With perpendicular lines across. once 5 ½ above and once 5 ½ below horizontal axis. Draw a double border of ½ little square on the inside of the door ceiling frame: བདྐྱེ་མཆོག བདྐྱེ་མཆོག 106 36. count 5 ½ squares up and draw a small horizontal line of one little square length. Do this twice. and 4. Connect lines (15) and (16) by drawing a perpendicular line of ½ little square length between their ends. 3. Draw lines of one little square length at 5 little squares distance and parallel to horizontal axis in column 11. 18. and 10. 32. 15. 30. Moving one little square to the right.e. The base and height are both one square width: 37. Divide the second draft square outside into three parts by drawing 2 lines. For the curved heads of the crossed vajra under the palace: draw pencil draft lines with compass by placing needle of compass first on junction of first parallel line from horizontal axis (or 2 little squares) and fifth parallel line from palace wall. draw a line of one little square length at 4 little squares distance and parallel to horizontal axis (both above and below axis for each door). 9. only ½ little square beyond (15). 33. You have now completed the lotus and border of drigug curved knives. Draw 2 draft lines with pencil (parallel to the palace wall) to divide the draft square with triangle inside. at ¼ square and 3/4 square. keeping same aperture in compass put its needle on each of these four points and mark diagonals.1). but put pencil on a point (27. 43. 53. Draw circle around palace. The vajra fence is between circle (42) and (44) which makes it 1/3 square width. Repeat steps in (44). (outside) 54. Keeping this aperture in compass. place needle of compass 4 ½ little squares distance from horizontal axis on the sixth line from palace wall. On horizontal axis put pencil on point (27. Draw the 8 sides of lotus pedals by making a line from the outside intersecting point between each of two lotus petals and center of mandala (see figure below). These four points mark the border of a big square that encloses the whole mandala. put pencil on tip of triangle and draw a concentric circle around palace. which is one square distance from tip of triangle and draw another circle. 44. The lines end on second inner circle (48). Where lines intersect. beyond circle of cemetries. Without changing aperture of compass. Keeping needle in center of mandala. 42. 40. To find the corners of this square.2) two squares distance from tip of triangle. Draw semicircle between palace wall and side of little triangle. that’s a corner.1) beyond tip of triangle into three thirds. ང་བཞི་ ང་ལྔ་ 107 axes (diagonals and perpendiculars) and pencil on point of intersection of same axis and circle (49). The fire fence is between circle (44) and (45) which makes it 1 square width. The portico sides appear inside the curved lines. The lotus fence is between circle (42) and (43) which makes it 2/3 square width. 109 . Do same on other side of horizontal axis and for all 4 vajra heads. 45. Then draw eight semicircles outside squares (51). 41. axis. On the horizontal axis. mark another point on horizontal axis one square beyond outermost point (27. Put needle of compass on center of mandala and pencil of compass on this point.38. Put needle of compass at center of mandala and pencil on the second third. put pencil of compass on junction of seventh parallel line from axis (or 8 little squares) and line of palace wall and establish aperture of compass. Draw a semicircle from this point until reaching side of little triangle above the door. mark a point on horizontal axis at other side of mandala as well as on perpendicular axes both above and below horizontal axis.3). divide next square (27. 39. Put needle of compass on central point of this square and pencil of compass on the intersecting point of divisory line and axis and draw circle of ½ square diameter within the triangle. Repeat for each corner and draw the big square that is the outer rim of the area which is filled with the c olored sand. To find the outer rim of the mandala. do not draw them all the way to the center. Draw two draft squares with pencil inside third concentric circle (49) so the corners of first square intersect with junction point of this circle and diagonal axis of mandala. but put pencil on a point (27. Place needle of compass on point where outer circle’s edge (48 ) and horizontal axis intersect. Place needle on point (49) and mark new point (50) two little squares distance on horizontal axis with pencil of compass. This marks the size of the lotus petals. Repeat steps in (45). concentric circle. Keeping needle of compass in center. This should be almost but not quite touching the door openings. (inside of palace) 47.Image 3 (full view) བདྐྱེ་མཆོག Image 4 (detail) 46. 52. and mark a point outside on horizontal axis (49). place pencil of compass 1 ½ little squares beyond circle (47) and draw another circle. Place needle of compass in center of mandala and pencil of compass on point (49) and draw larger. concentric circle. The cemeteries are between circle (45) and (46) which makes it 1 square width. and the corners of second square intersect with junction point of this circle and perpendicular axes of mandala. 51. To draw the center of the lotus inside the palace. Draw the round tips of the eight lotus petals by putting needle of compass in the intersection of (51) squares’ sides and fou r main 110 བདྐྱེ་མཆོག 108 . put needle of compass on central point of mandala and pencil of compass three lines (4 little squares) away from center and draw circle. Set the compass aperture to the diameter of the inner circle. 50. Place needle in center and pencil of compass on point (50) and draw a larger. 48.3) three squares distance from tip of triangle. Set the compass aperture to two little squares width (other sources say 1 ½ width). 49. A cloud inside each cemetery. vamsha. 18. mridanga. alternating with jewels. 16 small curved knives on ring outside petals. underneath vajra spoke. 16 offering goddesses: vina. also facing towards center. Dharmachakra wheel in circle inside triangle above door. 15. thin outer ring. Draw vases with skullcups on top in inter-cardinal petals.C. muraja. A tree inside each cemetery. two ང་དྲུག་ ང་བདུན་ 111 14. a stupa in cardinal and intercardinal directions in center of each cemetery. 7. 17. Deer on each side of triangle. Parasol in tip of triangle above circle. but according to HH Drikung Kyabgon fire should be inside cemetery ring). Vajras in second. 16. etc. 6. with bases of the vase sitting on outer rim of inner circle. facing towards the center. Choose which side is east and draw a vertical vajra in center circle (slightly smaller so the tips are not touching the circle) 2. 23. 22. Portico ornaments: each level has different pattern. 20. Cemetaries in fourth ring. Inside center circle draw skullcup on left side of vajra. 3. standing on the terrace outside the inner wall of the palace. 5. 19. Leafy ornaments around borders of petals. Filling the illustrations in the mandala in 27 steps 1. in 4 cardinal and inter-cardinal and points in between. A fire inside each cemetery. Draw curved knives on each of 4-direction petals. 4. Fire in third outer ring (some texts switch fire and cemetery rings. 21. 8. hooks left. 113 . Draw curved knife standing on right side of vajra. hook on the left. 11. 112 . if you do it another way. 12. or a circle of respective color of offering goddess can be drawn. Leafy ornamentation of heads of crossed vajra underneath palace. 25. alternating a petal red inside and blue outside.) inside each cemetary 26. These are the traditional steps to draw the mandala. and a petal yellow inside and green outside. a human-like figure with an animal face (elephant. A yogi inside each cemetery. Center: blue vajra. 10. Mountain inside each cemetery. yellow ring around center. D. According to Garchen Rinpoche. green བདྐྱེ་མཆོག བདྐྱེ་མཆོག 114 9. yellow in south-east and north-west. 2. for example with a computer. and a sea monster face at the base of each spoke of the vajra head with the spoke of the vajra coming out of its mouth. white scullcup red or yellow inside. 13. like the one that hangs from damaru. Filling in the colors 1. Multicolored lotus petals in first outer ring: 64 in total. blue in north-east. Parasols in each corner on the ground outside the palace. They can be ornamented with 7 royal emblems. 27. Vases with wish-fulfilling trees on side of sea monster heads. Water below mountain with female naga inside cemetary. Lotus: red petals in cardinal directions. In tree. green background. Between vase and parasol a banner. you might not get all the blessings. or a small yellow circle. yellow vajra knife handle and silver blade. etc.24. on each side of each door. Either a goddess. horse. inside first outer circle which forms the lotus fence. etc. 5th and 7th thick bars black with cross pattern. the Pure Land of Vajrayogini. 1990. (Edited by Thubten Chodron. blue. transcribed and edited by Thubten Chodron. 10.3. although not exhaustive. Lati Rinpoche. 8. 7. with the meditations on bodhichitta. Lama. vajra heads according to directions with 2 shades of the color (i. 128 pp. Palace inside: blue in the east. thin roof eve with multicolored lotus leaves. yellow south. All outlines around lotus petals. orange petal borders. white. Tsog and Oral Commentary of the Generation Stage Practice of Heruka Body Mandala According to the System of Mahasiddha Ghantapa. Fire ring with alternating flame colors going counter-clockwise: red. 4th bar green with garlands. dark-blue ring with curved knives around lotus. 11. Portico: according to direction inside. There is also a detailed commentary on the eight-line praises of Chakrasamvara and Vajrayogini. Based on the commentary that Lati Rinpoche gave after the Chakrasamvara body mandala empowerment at the second 117 . 2nd bar blue and white or yellow triangles (same as roof eves). Vajrasattva purification. and some teachings on the ‚left-side conduct‛ (vamachara). including also the preparatory practices of ngöndro: refuge. The complete Drikung Kagyu fivefold path of mahamudra. 10th like 4th with garlands and 11th with lotus petals. green north. yellow. and guru yoga. Outside palace from inside to outside: red terrace. and dedication of merit. with meditations to practice it. or nga den. 13. Outside ground in 4 colors according to direction or all one color. 5. for east: blue and light blue). 6. thin blue roof eve with triangular wood blocks. 4. outside pillars with multicolored banners. ང་བརྒྱད་ ང་དགུ་ 115 ISBN: 0-937938-35-1. small orange petals in between 8 big petals. four-session guru yoga. green. 9th like 3rd red with jewels.e. white (sometimes white is omitted). (Translated by Geshe Thupten Jinpa. 8th bar like 2nd with triangles. Chakrasamvara yidam deity yoga. A Chat About Heruka: The Skillful Means of Taking an Everlasting Holiday in Tagpa Kachö. Vajra ring: black with 16 vajras in directions and jewels in between. Door frame: thick black frame. Zopa Rinpoche. red. thin orange roof eve with yellow jewels. 6th bar with red/yellow meanders. This book provides a very clear explanation of the concept of emptiness. 5-layered palace wall from inside to outside: black. steps. inside pillars in color according to direction. 1st bar with yellow/red meander. respectively). ISBN: 1-891868-05-5. 12. green.. are presented and explained here in a reasonably clear. yellow. Vajra ground: green. walls. in white. mandala offering. Sadhana. 3rd bar red with yellow jewels. 9. red west. 208 pp. wide blue roof eve with yellow garlands.). It also provides very detailed commentaries on the hand mandala and on the three purifications of the Chakrasamvara sadhana (third and first sections. Lotus ring: alternating lotus petals blue outside and red inside and green outside and yellow inside.) Boston: Lama Yeshe Wisdom Archive. fashion. in south-west. 2000. mahamudra meditation. this book is an extremely interesting and useful reading. #02-17. It is a must-read book. Khenpo Könchog Gyaltsen. Blk 3. WA 98103. Even today it remains a valid work of good scholarship and does not have too many errors in content like other pioneering books. and because of its antiquity it provides details of great value and has supposedly fewer added transcription errors than more recent copies of the sadhana.com. email: YeshiUK@ aol. 139 pp. and Katherine Rogers. Summerlaw. New York: Snow Lion Publications. Shrichakrasambhara Tantra: A Buddhist Tantra (Tantrik Texts vol. SINGAPORE 545119. appendix with life story of Kunga Rinchen.H. 116 . the Drikung Kyabgön Chetsang Rinpoche. and gives precious commentary from the secret oral tradition that you will not find anywhere else explained so clearly. editor and translator. To get a copy of it you have to contact one of the addresses below and say that you have been initiated into the Ghantapa’s Chakrasamvara tradition.K. VII. foreword by Arthur Avalon (Sir John Woodroffe). in the same Gelug-Sakya tradition of Tsongkhapa and Phabongkhapa. as it explains visualization details wonderfully.sg. other Chakrasamvara texts in English are listed as well. The text comes from the Sakya-Kagyu tradition. Lati Rinpoche’s commentary only focuses on generation stage and does not say much on completion stage Chakrasamvara. preface by Lokesh Chandra. The new edition has an excellent scholarly preface by Lokesh Chandra. translators and eds. hlang@ singnet. which is an edited transcript of oral instructions by Thrangu Rinpoche. Kelso TD5 8AF. 1986. 1987 [1919]. USA. general public. and meticulous researcher. In the Shambhala website. The translation is based on a text from 1253-1258 AD. endnotes. in April 1986. This is a jewel of a book. Also there are several Chakrasamvara-related publications in English done by the Karma/Shangpa Kagyu/Shambhala/Rime groups. Scotland. For example. especially for those earnesly engaged in the practice of the Chakrasamvara sadhana. foreword. Linton Bankhead. Tel/Fax 01573-440558. Best known and certainly the first translation into English done of a full Chakrasamvara sadhana. or: Dharma Friendship Foundation. 155 pp. preface by H. This was a groundbreaking work when it was first published in 1919.com has published a Chakrasamvara Sadhana. Ang Hwee Lay. This book has not been published for the outer.. The Garland of Mahamudra Practices: A Translation of Kunga Rinchen’s Clarifying the Jewel Rosary of the Profound Fivefold Path. New Delhi: Aditya Prakashan. It has very good commentaries by both lama Kazi Dawa-Samdup and Arthur Avalon. Arthur Avalon was certainly a great sanskritist and indiologist and an intelligent. introduction. Box 30011. under the general editorship of Arthur Avalon). this must be the most complete book on the how’s of the Chakrasamvara body mandala practice and on the Chakrasamvara sadhana in general ever published. earnest. Kazi. བདྐྱེ་མཆོག་ བདྐྱེ་མཆོག 118 Appendix 2: Chakrasamvara Annotated Bibliography Dawa-Samdup. introductions.. restricted vajrayana texts section. 1999. Ithaca. but these are only available to initiates in these traditions or to people who have some special karmic connection to them. U. India.. Seattle. index. Rivervale Link.Enlightenment Experience Celebration (EEC2) held in Dharamsala. Heritage Buddhist Charitable Trust. 119 བདྐྱེ་མཆོག་ བདྐྱེ་མཆོག 121 . 122 བདྐྱེ་མཆོག་ བདྐྱེ་མཆོག 120 .