Vajrayogini Her Visualzation, Rituals and Forms

Studies In Indian And Tibetan Buddhism



Vajrayoginl



Her Visualizations, Rituals, & Forms



A Study of the Cult of Vajrayogini in India



Elizabeth English



Wisdom Publications • Boston



Wisdom Publications

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Somerville, Massachusetts 02144 USA

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© 2002 Elizabeth English

All rights reserved.

No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopy- ing, recording, or by any information storage and retrieval system or technologies now known or later developed, with- out permission in writing from the publisher.

Library of Congress Cataloging-in-Publication Data English, Elizabeth

Vajrayogini : Her visualizations, rituals, & forms : a study of the cult of Vajrayogini in India / Elizabeth English

p. cm. — (Studies in Indian and Tibetan Buddhism) Includes bibliographical references and index. ISBN 0-86171-329-X (alk. paper)

1. Vajrayogini (Buddhist deity) 2. Tantric Buddhism — Rituals. I. Title. II. Title: Vajrayogini. III. Series. BQ4890.V344E65 2002
294.3'42ii4 — dc2i 2002011148



ISBN 0-86171-329-X

First Wisdom Edition
06 05 04 03 02
5 4 3 2 1

Designed by Gopa and Ted2 Cover photo: See List of Illustrations

Wisdom Publications' books are printed on acid-free paper and meet the guidelines for permanence and durability set by the Committee on Production Guidelines for Book Longevity of the Council on Library Resources.

Printed in the USA.



To my teachers



Publisher's Acknowledgment



The Publisher gratefully acknowledges the generous help of the Hershey Family Foundation in sponsoring the printing of this book.



Contents



List of Illustrations

Color Plates xl

Line Drawings xv

Abbreviations xvu

Preface xlx



Chapter i: Vajrayogini and the Buddhist Tantras i

The Buddhist Tantric Systems i

The Guhyasamayasddhanamdld and Its Authors 9

Sadhana Collections l8

Tantric Sadhana 2 4

Chapter 2: The Cult of Vajrayogini in India 35

The Influence of Nondual Saivism 37

Transgressive Discipline (vdmdcdrah) 4 1

The Emergence of Vajrayogini 43

The Emergence of Vajravarahi 47

Dancing-Pose (ardhaparyanka) Vajravarahi 5°

Twelve-Armed Vajravarahi in Dancing Pose 54

Six- Armed Vajravarahi with Consort 60

Six-Armed Vajradakini Vajravarahi in Warrior Stance 62

Red Vajraghona Vajravarahi 66

White Vajraghona Vajravarahi 68

White Vajravarahi 69

Two-Armed Vajrayogini in Warrior Stance 7 1

Four- Armed Vajrayogini in Warrior Stance 73

Red Vajravarahi with Foot Raised 74 White Vajrayogini with Foot Raised 75

Vajrayogini in the Falling-Turtle Pose 77

Vidyadhari Vajrayogini 79 Flying Vidyadhari Vajrayogini 82

Vajravilasini Vajravarahi 84



vi 1



Vlll VAJRAYOGINI

Guhyavajravilasini 86

TrikayavajrayoginI (Chinnamasta) 94

Conclusions 102

Chapter 3: Study of the Vajravarahl Sadhana 109

Outline of the Sadhana 109

Meditation Stage i 113

Benediction 113

Preliminaries 114

Bodhisattva Preparations 119

Worship 120

Brahmavihara Meditations 123

Development of Wisdom 125

Creating the Circle of Protection 131

The Cremation Grounds 136

The Cosmos and Temple Palace 144

Self-Generation through the Awakenings 149

Self- Visualization As Vajravarahl 154

Armoring 163

Pledge and Knowledge Beings 166

Consecration 169

Inner Yogic Practices 171

The Mantra 178

Dwelling As Vajravarahl 181

Meditation Stage 2 182

Fivefold Mandala 182

Meditation Stage 3 186

Thirteenfold Mandala 186

Terms for Aspects of the Mandala 187

Meditation Stage 4 188

Thirty-seven-fold Mandala 188

Circles of Mind, Speech, and Body 188

The Mandala As Wisdom 190

The Mandala As Doctrine 192

The Mandala As Cosmos 194

The Sacred Sites {pithas) 195

The Ten Places (des'as) 196



CONTENTS ix

Body Mandala 197

Mantras for the Complete Deity Mandala 203

Ritual Practices 2 °5

Tantric Ritual 2 °5

The Bali Ritual 2o6

Tasting Nectar (amrtdsvddanam) 2 °8

Bali Offering with Mantras 2I1

Rite of Completion 2I 5

External Worship 2I ^

Worship on the Hand (hastapuja) 218

Alternative External Worship 22 °

Internal Oblation 221

Concluding Verses 22 3

Vajravdrdhi Sddhana by Umapatideva 22 5

Meditation Stage 1 22 7

Meditation Stage 2 2 49

Meditation Stage 3 2 55

Meditation Stage 4 2 57

Ritual Practices 2 °7

Cremation Grounds 3 11

Conventions, Abbreviations, and Symbols 3 : 5

Conventions in the Translation 3*5

Abbreviations and Symbols in the Sanskrit Text 3 l6

Abbreviations and Symbols in the Apparatus 3U

Other Editors 3*9

Silent Editorial Standardizations 3 X 9

Manuscript Sources 3 21

The Manuscripts of the Guhyasamayasadhanamald (GSS) 321

Textual Transmission 3 2 ^

Editorial Policy 3 2 °

Textual Notes 3 2 9

Insignificant Variants 349 Appendix: Summary of Sadhanas in the Guhyasamayasadhanamald 355

Notes 383



X VAJRAYOGINI

Bibliography ^

Index 54I

About the Author ^ 4



List of Illustrations



Color Plates

Front cover: Vajravarahi tangka (detail). Centtal Tibet, c izoo-1250. Private Collection. Photograph by John Bigelow Taylor. Photograph © 1998 The Metropolitan Museum of Art. The central Vajravarahi is in ardhaparyanka pose standing upon a sun disk on a corpse The tangka depicts her against a backdrop of the eight cremation grounds (reproduced here on the back cover). She is flanked by the three armonng goddesses to the left, Samtrasini (green), Candika? (grey?), Vajravarahi (red); and three to the right, Samcalini? (yellow?), Mohini: (white!), and Yamini (blue-black). Armor Vajravarahi has three heads and six arms, and the rest hold skull bowl and staff (left) and damaru and chopper (right). Upper and lower registers of the full tangka hold figures datable to the twelfth century from a Bka brgyud lineage. Published: Kossak and Casey Singer 1999, plate 21.

Plate 1: Vajravarahi tangka. Central Tibet, twelfth-thirteenth century. Courtesy of Anna Maria Rossi and Fabio Rossi. The central Vajravarahi ts in ardhaparyanka pose against a backdrop of the eight cremation grounds. She is flanked by eight goddesses (holdingskull bowl ana 'damaru in their two arms); four have animal heads, possibly black crow and black dog (left), and red owl and white hog (right). (These goddesses are simikr to the god- desses of the outer mandala in GSS11; but the latter have four arms, holding staff and skull bowl, damaru and chopper; the animal heads on the gate goddesses are. black crow (east), green owl (north), red dog (west) and yellow hog (south); and the intermediate goddesses are bitonal.) The central frames of the vertical registers depict four dakmis to left and right, in warrior stance with various attributes in their four arm's Below them are Sakyamuni and four-armed Avalokiteivara (left), and Manjughosa and Vajrapani (right). The upper register contains siddhas and monks. The bottom register has six dancing deities (possibly offering goddesses), with a monk (far left) and bodhisattva (far right). Published: Christian Deydier Oriental Bronzes Ltd. 1997, item 14: 44-4S; Rossi and Rossi 2002, plate 4-



XI



X " VAJRAYOGINI

Plate v. Red Dakini. Khara Khoto, twelfth-thirteenth century. The State Hermitage Museum, St. Petersburg.

Lnherfour arms, the dakini holds skull bowl and single-pointed staff '(left), chopper anddamaru (right), and she dances in ardhaparyahka/,^ upon a bull. Published: Piotrovsky ipp^, no. 33.

Plate 3: Blue Dakini (Nairatmya?). Khara Khoto, twelfth-thirteenth century. The State Hermitage Museum, St. Petersburg.

The blue dakini holds a skull bowl (left) and a vajra (right), with a trident-staff. She dances tn ardhaparyahka pose upon a male crowned figure, and her blazing hair flies upward. The earth-touching Aksobhya on Nairatmya s headdress would normally be blue. Published: Piotrovsky i 99i , no. 33-.

Plate 4: Vajravarahi (Tib.: rDo rje phag mo). Tibet, fifteenth century. Gilt copper, ht. 41.5 cm. Photo by Ulrich von Schroeder.

Po ta la collection: Li ma lha khang; inventory no. 1680. Located on the third floor ofthePho -brangdmarpo, the "Red Palace." Lhasa, Central Tibet (dBus). Pub- lished: von Schroeder 2001, vol. 2, plate 266D (photo: ipp 7 ).

Plate 5: Marici (Tib.: 'Od zer can ma). Tibet, c. 1700. Gilt copper, ht. 13.8 cm. Photo by Ulrich von Schroeder.

This form is identical to the "Vajraghond" form of Vajravarahi. Here, the hog- headed Marici holds a noose and skull bowl (left), with staff tucked into the crook of her left arm, and a goad and vajra (right). Jo khang I gTsug lag khang collec- tion; inventory no. 99 [A]. Lhasa, Central Tibet (dBus). Published: von Schroeder 2001, vol. 2, plate 267A (photo: ip 9 2).

Plate 6: Animal-headed Vajrayogini. Tibet, nineteenth century. Painted clay. Courtesy of the British Museum (OA1948.7-16.24).

Plate 7: Vajrayogini, Naro-khechari. Eastern Tibet, eighteenth century From the collection of the Shelley and Donald Rubin Foundation.

This Karma bKa' brgyud tangka depicts a warrior-stance form of Vajrayogini



LIST OF ILLUSTRATIONS xiii

holding skull bowl and chopper and carrying a khatvanga staff. She stands atop the bodies of pink Kdlardtri and black Bhairava. At the top center is the buddha Vajradhara, at the left is the Indian mahasiddha Tilopa holding a fish in his upraised left hand, and at the right is a seated Tibetan yogi wearing a white cot- ton upper robe and a yellow meditation belt. At the bottom left is the wrathful deity Humkara, and on the right is g. Yu sgron ma, a female deity of Tibetan origin hold- ing what appears to be a large drum in her right hand and a stick in her left. 33 x 23 cm. Ground mineral pigment on cotton. Himalayan Art no. 61.

Plate 8: Vajravarahi tangka (with details of Severed-head Vajrayoginl). Nepal, fourteenth century. John and Berthe Ford Collection.

Detail (left) shows Severed-head Vajrayoginl, Trikayavajrayogini (Chinnamastdl Chinnamundd), with Vajravairocani (right, yellow) and Vajravarnani (left, red). Detail (right) shows a red Trikayavajrayogini with Vajravanani (right, "dark ") and Vajravairocani (left, yellow). Published: Pal 1975, plate 45, and 2001, catalog entry 126, p. 216 (full tangka); Benard 1994, plate 3 (detail); andBiihnemann 2000, plate 24c (detail).

Plate 9: Severed-head Vajrayoginl (Chinnamasta/Chinnamunda) tangka. Tibet/Nepal, c. 1900. Linden Museums, Stuttgart.

The self decapitated form ofVajrayogini appears without attendant yoginis Vajra- vairocani and Vajravarnani to right and left. Above her to the left is a dancing, a.rdhapa.rya.hka.-pose form ofVajrayogini; above center is a flying form (see p. 82); and above right is the "raised-foot' form (seep. 74). Published: Herrmann- Pfandt 1992, plate 6.

Plate 10: Painted Mongolian woodblocks. Tibet, c. 1850. Ethnographic Museum of the University of Zurich.

Reproduced in Willson and Brauen 2000.

a. Armor Vajravarahi (IWS 62)

b. Maims Dakini (IWS 78)

c. Accomplishing (Arthasiddhi) Varahi (IWS 80)

d. Varahi with Raised Leg (IWS 84)

e. Tortoise-legged (Kurmapadi Varahi) (IWS 85)

f. Nam's Dakini (IWS 87)



XIV VAJRAYOGINI

Plate n: Tangka of Cakrasamvara in union with Vajravarahi. Khara Khoto, twelfth-thirteenth century. The State Hermitage Museum, St. Petersburg.

Cakrasamvara appears against a backdrop of the cremation grounds within a sixty- two deity mandala. Two of the outer goddesses of the gates are recognizable here: Kakasya (crow-faced, black, to the east) in the center of the bottom register, and Ulukasyd (owl-faced, green, to the north) in the center of the vertical frame to the right. Of the bitonal intermediate outer goddesses, we can recognize: Yamadddhi (southeast/bottom left corner), Yamamathani (northeast/ bottom right corner) and Yamadamstrini (northwest/ top -right corner). The remaining visible figures are the gods and goddesses (in union) of the twenty four sites. Two additional deities are also depicted: two-armed Heruka, blue (center of second row from top), and four- armed Ac ala (center of second row from bottom). See Piotrovsky ipp$: i$6—$8 for attributions for this mandala, "Paramasukha Cakrasamvara, Yab-Yum, Luipa Mandala." Published: Rhie and Thurman ippi, no. p2; Piotrovsky ipp$, no. 26.

Plate 12: Tangka of Cakrasamvara Mandala. Central Tibet,

c. 1100. Private Collection. Photograph by John Bigelow Taylor.

Photograph © 1998 The Metropolitan Museum of Art.

This sixty-two-deity mandala is set against a backdrop of the cremation grounds. Figure 32 provides a key to the mandala as it is adapted for Vajravardhi and her retine. Table 25 includes the names of the male deities. Published: Kossak and Singer ippp, plate 2.

Plate 13: Tangka of Varahyabhyudaya Mandala. Courtesy of Anna Maria Rossi and Fabio Rossi.

See figure $ for key. Published: Rossi and Rossi ippj as "Vajravardhi Abhibhdva Mandala " (sic); and reproduced in the Rossi Collection online (Asian Art).

Plate 14: Tangka of "Vajrayogini in Kechara Paradise." Tibet, eighteenth century. Collection of Tibet House, New York.

A Sa sky a tangka in the lineage ofNaropa. Vajrayogini stands inside a dharmodayd within a three-dimensional temple-palace. The animal-headed goddesses (Kakasya, etc.) are visible at the gates. The upper tiers of the palace hold Sa sky a masters.



LIST OF ILLUSTRATIONS xv



Plate 15: Tangka of the cosmos according to the Abhidharmakosa. Tibet. Ethnographic Museum of the University of Zurich, inventory number 13560 (92.5 cm x 60 cm).

Reproduced in Brauen 1997.



Plate 16: Palm leaves from kutila Newari manuscript (K) of the Guhyasamayasddhanamdld (GSS) . Nepal, twelfth-thirteenth century. Copyright Bodleian Library, University of Oxford (ms. Sanskc. 15 (R)).

a. f. 14V showing alphabet in kutila Newari script.

b. f. jov showing colophon to Vajravarahl Sadhana by Umapatideva

(continued onf. yir).



Line Drawings

Figure Page

1 Naro-khecari, Mongolian woodblock print

(IWS/T 77 , LC 587) xxii

2 Naro-khecari, Mongolian woodblock print

(IWS/T 87, LC 597) xxiii

3 Indra-khecari, Mongolian woodblock print

(IWS/T 79, LC 589) _ 51

4 Twelve-armed Vajravarahl (Dharmacari Aloka) 55

5 Varahyabhyudaya mandala (diagram) (Dharmacari Aloka) 58

6 Six-armed Vajravarahl with consort (Dharmacari Aloka) 61

7 Mandala of six-armed Vajravarahl with consort

(Dharmacari Aloka) 62

8 Six-armed Vajradakini Vajravarahl (Dharmacari Aloka) 63

9 Mandala of Vajradakini Vajravarahl (Dharmacari Aloka) 65

10 Arthasddhana-Va.rah.1, Mongolian woodblock print

(IWS/T 80, LC 590) 6 7

11 White Vajravarahl (GSS38) (Dharmacari Aloka) 69

12 Two-armed Vajrayogini in warrior stance (Dharmacari Aloka) 71

13 Vajra chopper (vajrakartri) (Dharmacari Aloka) 72

14 Four-armed Vajrayogini in warrior stance (Dharmacari Aloka) 73



XVI VAJRAYOGINI

15 Red Vajravarahl with foot raised (Dharmacari Aloka) 75

16 Mongolian woodblock print (IWS/T 84, LC 594) 7 6

17 VajrayoginI in falling-turtle pose,

Mongolian woodblock print (IWS/T 85, LC 595) 77

18 Vidyadharl VajrayoginI, Mongolian woodblock print, "Maitrl-khecarf (IWS/T 78, LC 588) 79

19 Dharmodaya with mantras and bliss swirls 80

20 Flying Vidyadharl VajrayoginI (Dharmacari Aloka) 82

21 VajravilasinI (Dharmacari Aloka) 85

22 GuhyavajravilasinI (Dharmacari Aloka) 86

23 TrikayavajrayoginI (Dharmacari Aloka) 94

2 4 Dagger deity: Kakasya (Dharmacari Aloka) 135

25 The cosmos (Dharmacari Aloka) Y ac

26 Double vajra (Dharmacari Aloka) 1A n

27 Vajravarahl (Dharmacari Aloka) ^

28 Vajra (Dharmacari Aloka) ^

29 Skull staff (khatvanga) (Dharmacari Aloka) 157

30 Armor Vajravarahl, Mongolian woodblock print

(IWS/T 62, LC 572) l65

31 Armor YaminI, Mongolian woodblock print

(IWS/T 63, LC 573) 165
3 2 Thirty-seven-fold Mandala of Vaj ravarahl

(Dharmacari Aloka) joj

33 Body mandala (Dharmacari Aloka) 200

34 Preparation of nectar (Dharmacari Aloka) 209

35 Flame gesture (Dharmacari Aloka)



211



Drawings in Endnotes

i "Sahaja Reversed," Mongolian woodblock print

(IWS/T 88, LC 598) 406

ii "Vajravarahl in the tradition of Brahmana Srldhara,"

Mongolian woodblock print (IWS/T 86, LC 596) 408



Abbreviations



Additional abbreviations and symbols related to the Sanskrit edition and apparatus can be found on pages 315-19.



ADK/B
ADUT
Asian Art

Asu/N
BBK

Blue Annals

D

GST

GOS

GSS

HA

Himalayan Art

History

HT
IASWR

IWS

JV/Jvalavall

K

KSTS

KYT

LC

Legends
Mkhas grub rje

N



A bhidharmakosalbhdsya

Abhidhdnottaratantra

http://www.asianart.com/mandalas/index.html

Arthaviniscayasiltra/Arthaviniscayasutra-Nibandhana

Bongo Butten no Kenkyu. See K. Tsukamoto et al.

1989
The Blue Annals. See Roerich 1949-53 Devanagari paper ms. of GSS Guhyasamdjatantra
Gaekwod's Oriental Series Guhyasamayasddhanamdld
Herukdbhisamaya
http://www.himalayanart.org Taranatha's History of Buddhism in India. See

Chattopadhyaya 1970
Hevajratantra
Institute for the Advanced Study of World Religions,

New York
Icons Worthwhile to See. See Willson and Brauen, 2000 Jvdldvalivajramdldtantra
Kutila Newarl palmleaf ms. of GSS Kashmir Series of Texts and Studies Krsnayamdritantra
Copies of Mongolian icons published by Raghu Vira

Chandra and Lokesh Chandra 1961-72, 1986 Masters of Mahdmudrd. See Dowman, 1985 See Lessing and Wayman 1978 Newarl, early twentieth-century paper ms. of GSS



xvi 1



1



XV111



VAJRAYOGINI



NAK

NGMPP

NP

NYA

Ota/Q



PED



PU



Sacred Art of Tibet
Sed



SM

SP

SpUT

SS

STTS

SUT

T/IWS

TA
TJS
Toh/D



VA

VT

YRM

YS

YSCT



National Archives, Kathmandu Nepal-German Manuscript Preservation Project Narthang Pantheon
Nispannayogavali

The Tibetan Tripitaka: Peking Edition — kept in the Library of the Otani University, Kyoto. Reprinted under the supervision of the Otani University, Kyoto. Edited by Daisetz T[eitaro] Suzuki. Tokyo-Kyoto, 1961. Pali-English Dictionary, ed. T.W. Rhys Davids and

W. Stede. 1921-23. London: Pali Text Society. Pradipoddyotana commentary on the

Guhyasamdjatantra by Candrakirti Wisdom and Compassion: The Sacred Art of Tibet. See

Rhie and Thurman 199 1
Sarnath Edition oi Abhisamayamanjari (GSS5) pub- lished in Dhih Review of Rare Buddhist Text Series (no. 13, 1992: 123-54) Sadhanamdld
Satapitaka Series
Samputodbhavatantra

Sddhanasamuccaya (Designation for SM used in BBK) Sarvatathagatatattvasamgraha Samvarodayatantra

Mongolian woodblock prints numbered according to Tachikawa et al. 1995 and Willson and Brauen 2000 Tantraloka by Abhinavagupta Tattvajnanasamsiddhi

A Catalogue-Index of The Tibetan Buddhist Canons (Bkah-hgyur and Bstan-hgyur). Edited by Hakuju Ui, Munetada Suzuki, Yensho Kanakura, and Tokan Tada. Published by Tohoku Imperial University, Sendai, 1934. Vajravali by Abhayakaragupta Vasantatilaka
Yogaratnamald
Yum skor
Yoginisamcaratantra



Preface



My interest in the Buddhist tantras — and in sadhana meditation in particular — really began while I was in Oxford studying under Professor Alexis Sanderson. It was the inspiration of his research, as well as his personal encouragement, that led me one day to a Sanskrit manuscript in the Bodleian Library dating from the twelfth or thirteenth century, and preserved on palm leaves in a lovely, rounded kutila script. The text comprised a collection of some fifty sadhanas — meditation and ritual works — all of which were concerned with the practice of Vajrayogini, a deity of the highest tantras. With Professor Sanderson's help, and the untir- ing support of Dr. Harunaga Isaacson, I set about the tasks of editing the texts and attempting to understand their contents. Without the knowledge of these two outstanding scholars, I could hardly have begun to fathom the complexity of the Buddhist tantric traditions, let alone begin my doctoral thesis. The thesis was completed in 1999 and was entitled Vajrayogini: Her Visualisation, Rituals and Forms. This book is an adaptation of that thesis. Taken as a whole, the texts in the manuscript form a so-called garland of sadhanas (sddhanamdld), which in this case includes praise verses and commentarial passages alongside the ritual and meditation manuals of the sadhanas themselves. This book focuses upon one Sanskrit sadhana from this unique collection, the Vajravarahi Sadhana by Umapatideva. At the same time, I hope to give a flavor of the breadth and richness of the other works in the Guhyasamayasddhanamdld. For while they all center upon Vajrayogini as the generic deity, they describe many manifestations. Indeed, the collection contains over fifty iconographical descriptions, within which we can discern about twenty distinct forms of Vajrayogini, some of whom — such as Vajravarahi — are significant tantric deities in their own right. In fact, although the collection receives the late title Guhyasamaya- sddhanamala (GSS), the Secret Pledge Sadhana Collection, a more suitable title might have been the *Vajrayoginisddhanamdld, the Vajrayogini Sadhana Collection. I have therefore attempted to draw from all its major works in the course of this study and, in the opening chapters, I survey the diverse forms and practices of Vajrayogini in India, according to this collection. In



xix



XX VAJRAYOGINI

this way, I hope the book will serve a double purpose: examining, from our textual evidence, the cult of Vajrayogini in India prior to 1200 c.e., and shedding light on tan trie sadhana meditation.

The decision to base the study upon a single sadhana from the Guhya- samayasddhanamdld was made for several reasons. While scholarly interest in the Indian Buddhist tantras has increased in recent years, our knowl- edge of their vast array of texts remains in its infancy and will only improve as scholars produce critical editions of surviving texts along with informed study based upon them. The difficulty of drawing accurate conclusions from the texts currently available is due to the fact that the umbrella term "Buddhist tantra" actually covers a bewildering variety of methods, prac- tices, and systems. These competed in India within a highly fertile and inventive environment over several centuries. Even contemporary accounts in the eleventh to twelfth centuries that describe a range of different sys- tems, such as Abhayakaragupta's encyclopedic Vajrdvali or Jagaddarpana's derivative Kriydsamuccaya, cannot be taken as conclusive evidence for prac- tice on the ground, as those authors themselves struggled with the various currents of opinion without necessarily reaching their own conclusions. In addition, the meanings of many terms remain obscure and will only come to light when a far broader field of reference is available.

Given this complexity, and the need to clarify so many aspects of tantric practice, I chose to focus my study upon a single feature of the whole. Key pieces of the overall picture are therefore missing. I give only the briefest sketch of the initiations that were the necessary preliminary to sadhana practice, and only a hazy description of the place of sadhana in the tantrika's overall scheme of spiritual practice. And there are many points where my conclusions are at best provisional. Within these limitations, I have attempted to highlight those practices that characterize the Indian traditions of Vajrayogini. In so doing, I hope to reveal how our particular author adapted earlier sources and responded to his own scriptural heritage, absorb- ing new trends and reflecting different developments within the highest Buddhist tantras.

The sadhana that I have edited, translated, and studied here is the Vajravdrdhi Sadhana (GSS11) by Umapatideva, an early-twelfth-century author from northeastern India. This work is a fruitful subject because of the length, clarity, and excellence of its composition. It was also desirable to choose a work from the Guhyasamayasddhanamdld collection that was as yet unpublished, because some primary sources dealing with Vajrayogini and Vajravarahi are already available in recent editions, including some



PREFACE xxi

studies in European languages. For a long while, the main academic accounts of Vajravarahi and Vajrayogini were the iconographical descrip- tions given by Benoytosh Bhattacharyya in The Indian Buddhist Iconogra- phy (1924) and by Marie Therese de Mallmann's Introduction a TIconographie du Tdntrisme Bouddhique (1975), both of which contain some errors (e.g., n. 228). These works draw heavily on Bhattacharyya's edition of the Sddhanamdld (1925 and 1928), which contains fewer than a dozen complete Vajrayogini/ Vajravarahi sadhanas, all of which also appear in the Guhyasamayasadhanamala} More recent studies also focus on selections from the Sddhanamald sadhanas, such as the short study of Vajravarahi by Mallar Mitra (1999: 102-29), which is too brief to be fully comprehensive. A beautiful collection of sculptures of the deity from different phases of Tibetan art have been published by von Schroeder (1981, 2001); however some of his iconographical comments are also erroneous (e.g., n. 83). A few other Sanskrit editions of Vajrayogini sadhanas have been published, such as the short Vajravdrdhisddhana by Advayavajra (=GSS3) by both Louis Finot (1934) and Richard O. Meisezahl (1967), a Trikdyavajrayoginisddhana («GSS25) by Max Nihom (1992), and a handful of sadhanas from the Guhyasamayasddhanamdldm Dhih (namely, GSS5, GSS10, GSS26, GSS42, and GSS43), as shown in the appendix. Published editions of highest tantric texts also provide an important resource for a study of Vajrayogini/ Vajra- varahi, especially those from the Cakrasamvara tradition, such as the Yogini- samcdratantra with both its available Sankrit commentaries, edited by J. S. Pandey (1998), and some chapters of the Samvarodayatantra (possibly a later Nepalese composition) 2 edited and translated by Shin'ichi Tsuda (1974).

The paucity of publications for the Indie Vajrayogini tradition is in stark contrast to the number of Sanskrit manuscripts that must once have existed. Bongo Butten no Kenkyu (BBK) catalogs just over a dozen Vajrayogini texts not found in the Guhyasamayasadhanamala, appearing within works such as the Yah skor (BBK: 261) and Yum skor (BBK: 273-77), commentaries on the Tattvajndnasamsiddhi (BBK: 279-80), the Jvdldvalivajramdldtantra (BBK: 493-94), as well as the later Nepalese Vajravdrdhikalpa in thirty-eight chapters (BBK: 261) — although many sadhana materials listed here are also found in our collection (details in the appendix). We can deduce the existence of yet more Indian Vajra- yogini sadhanas from the number of translations in the Tibetan canon that have no extant Sanskrit original. In an index to the Bka' 'gyur and Bstan 'gyur published in 1980, there are about forty-five sadhanas with Vajrayogini or Vajravarahi in the title, very few of which have (as yet)



XX11



VAJRAYOGINl



been correlated with a Sanskrit original by the compilers of the index. 3 The popularity of the VajrayoginI transmissions in Tibet is remarked upon in the Blue Annals (Roerich 1949-53: 390), which states, "The majority of tantric yogis in this Land of Snows were especially initiated and followed the exposition and meditative practice of the system known as [the Six Texts of Vajravarahi] P hag-mo gZhung-drug (p. 390). 4 What is now known of her practice derives mainly from Tibetan Buddhism, in which VajrayoginI (Rdo rje rnal 'byor ma) and Vajravarahi (Rdo rje phag mo) are important deities.

Perhaps the main emphasis on forms of VajrayoginI/ Vajravarahi (the names often seem to be used interchangeably) is found in the bKa' brgyud schools. This lineage is traced back to the siddha Tilopa (c. 928-1009), who had many visions of the deity, and who passed on oraTtransmissions to his pupil, Naropa (c. 956-1040). Naropa also had many visions of dakinl forms, the most famous of which is recounted in his life story\ dated to the fifteenth and sixteenth century, 5 in which VajrayoginI appears to him as an ugly old hag who startles him into abandoning monastic scholasticism in favor of solitary tantric practice. However, this account does not appear in the ear- liest biographies (Peter Alan Roberts, personal communication: 2002). 6




Fig. 1. Naro-khecarl.
Mongolian woodblock print (IWS/T 7 7> LC 587)



The form of VajrayoginI especially associated with Naropa in Tibet is

Nd ro mkha spyod; "Na ro [pa]'s tradition of the dakinl" or "Naro's khe-

cari" (lit., "sky-goer"). This form is discussed below, as it is closest to that

of Vajravarahi described in the Indian sadhana translated here by

_£ Umapatideva.

Several different practices of Vajravarahi/ VajrayoginI were transmitted in the numerous traditions of the Tibetan bKa' brgyud school, through various



PREFACE



Fig. 2. Naro-khecari.

Mongolian woodblock print

(IWS/T 87, LC 597)



XXlll




V&w^ *\yr



teachers; for example, through the translator, Mar pa (Mar pa Chos kyi bio gros, 1012-97) i nto the Mar pa bKa' brgyud, and through Ras chung pa (Ras chung rDo rje grags pa, 1084-1161) into the several branches of the Ras chung sNyan rgyud, and yet another through Khyung po rnal 'byor, founder of the Shangs pa bKa' brgyud (eleventh-twelfth centuries) appar- ently from Niguma (sometimes said to be Naropa's sister). This complex matrix of lineages continued in Tibet within the various bKa' brgyud tra- ditions. In the Karma bKa' brgyud, the oral transmission was written down in the form of a sadhana by the third Karma pa, Rang byung rdo rje (b. 1284) (Trungpa 1982: 150). However, it is a saHKana by the sixth Karma pa (mThong ba don ldan, 1416-53) that serves as the basis for the main textual source in this school. This is the instruction text composed in the sixteenth century by dPa' bo gTsug lag phreng ba (1504-66). 7 Vajravarahi also appears in bKa' brgyud versions of the guruyoga, in which the devotee worships his guru (in one popular system, Mi la ras pa) while identifying himself as Vajravarahi. Examples include the famous "four sessions" guruyoga (Thun bzhVi bla ma'i rnal 'byor) of Mi skyod rdo rje, the eighth Karma pa (1507-54), and the Nges don sgron me, a meditation manual by the nine- teenth-century teacher Jam mgon Kong sprul (1977: ii9ff.)> itself based on a sixteenth-century root text, the Lhan cig skyes sbyor khrid by the ninth Karma pa (dBang phyug rdo rje, 1556-1603). While Karma bKa' brgyud lamas around the world today frequently give the initiation of Vajravarahi, they observe a strict code of secrecy in imparting the instructions for her actual practice; however, published accounts of some practices within some bKa' brgyud schools are now available. 8 4f f. -

VajrayoginI is also an important deity within the Sa skya school. Accord- ing to Lama Jampa Thaye (personal communication: 2002), 9 her practices



/•



n\



xxiv VAJRAYOGINl

were received into the Sa skya tradition in the early twelfth century, during the lifetime of Sa chen Kun dga' snying po (1092-1158), first of the "five ven- erable masters" of the Sa skya. Sa chen received from his teachers the initi- ations, textual transmissions, and instructions for three forms of Vajrayoginl. 10 The first is a form derived also from Naropa, and again called Nd ro mkha spyodoi "Ndro's khecari" (although it is entirely different from the Tilopa-Naropa-Mar pa transmission of Vajravarahl in the bKa' brgyud in that the deity has a different iconographical form with a distinct set of associated practices). The second is a form derived from the siddha Maitnpa^ known therefore as Maitri Khecari (Metri mkha ' spyod ma; see fig. 18). The third is derived from the siddha Indrabhuti, known therefore as Indra Khecari {Indra mkha sypod ma; see fig. 6). This Form is sometimes also known as Indra Vajravdrdhi, although as a deity in her own right, Vajravarahl has received much less attention among Sa skya pas than the Khecari lineages. i 1

These three forms are traditionally considered the highest practices within a collection of esoteric deity practices known as The Thirteen Golden Dharmas ofSa skya (Sa skya V gser chos bcu gsum), as they are said to lead directly to transcendental attainment. 12 However, it was Ndro Khecari who became the focus of most devotion in the Sa skya tradition, and the prac- tice instructions associated with her sadhana were transmitted in the form of eleven yogas drawn from the siddha Naropa's own encounter with Vajra- yoginl. The most influential exposition of this system of eleven yogas emerged in the sixteenth century; known as The Ultimafe'Secret Yoga, it is acomposition by 'Jam dbyangs mkhyen brtse dbang phyug (1524-68) on the basis of oral instructions received from his master, Tsar chen Bio gsal rgya mtsho (1494-1560). 13 Since that time, the eleven yogas "have retained great importance in the Sa skya spiritual curriculum" (ibid.). The practices have retained their esoteric status for Sa skya pas, and are "secret" in as much as one may not study or practice them without the requisite initia- tions and transmissions.

In the eighteenth century, it appears that the Sa skya transmission of Ndro Khecari and the eleven yogas entered the dGe lugs tradition. This ; { seems to have occurred in the lifetime of the Sa skya master, Ngag dbang kun dga' legs pa'i 'byung gnas. His exact dates are unclear, but the next Sa skya lineage holder is his pupil, Kun dga' bio gros (1729-83). Ngag dbang kun dga' legs pa'i 'byung gnas is in fact the last of the Sa skya lineage hold- ers given in dGe lugs sources (he appears as "Nasarpa" in the list given by K. Gyatso 1999: 343-46), and from this point, the dGe lugs lineage prayers



PREFACE xxv

reveal their own distinct sequence of transmissions (ibid.). The dGe lugs pa had originally focused upon Vajrayoginl/Vajravarahl in her role as consort to their main deity, Cakrasamvara, following the teaching of TsongTcha pa (i357- I 4 I 9)- Cakrasamvara was one of the three meditational deities, along with Yamantaka and Guhyasamaja, whose systems Tsong kha pa drew together as the foundational practices of the dGe lugs school. In this con- text, Tsong kha pa's explanatory text, Illuminating All Hidden Meanings (sBas don kungsal) is apparently the main source on Vajrayogini (K. Gyatso 1999: xii); and she has actually been described as Tsong kha pa's "innermost yidam, kept very secretly in his heart" (Ngawang Dhargyey 1992: 9). This claim, however, was probably intended to bolster Vajrayogini's relatively recent presence in the dGe lugs pantheon, as the Sa skya tradition of eleven yogas was only popularized in the dGe lugs in the twentieth cenutury, by Pha bong kha (1878-1941). According to Dreyfus (1998: 246), "Pa-bong-ka differed in recommending Vajrayogini as the central meditational deity of the Ge-luk tradition. This emphasis is remarkable given the fact that the practice of this deity came originally [i.e., as late as tKe^gfiteenth century] from the Sa-gya tradition and is not included in Dzong-kha-ba's original synthesis." The Vajrayogini practice passed on by Pha bong kha and his pupil, Kyabje Trijang, focuses on the set of eleven yogas; and despite their esoteric, and therefore highly secret, nature — and the absolute prerequisite of receiving correct empowerments — explanations of these practices have been published and are widely available in English: by Geshe Kelsang Gyatso (1991/99), Geshe Ngawang Dhargyey (1992), and Khensur Rin- poche Lobsang Tharchin (1997). 14

The rNying ma has also drawn the practices of Vajrayoginl/Vajravarahl into its schools. Her presence is read back into the life of Padmasambhava, the eighth-century founder of the rNying ma, who is said to have received initiation from Vajravarahi herself following his expulsion from the court of King Indrabhuti (Dudjom 1991: 469). Other important rNying ma lin- eage holders are also traditionally associated with the deity. For example, in the life story of Klong chen Rab 'byams pa (1308-63), as given by Dud- jom Rinpoche (1991), he is said to have received visions of both a white Varahl and a blue Vajravarahi, who foretell Klong chen pa's own meeting with Padmasambhava {ibid.: 577, 581). It is also Vajravarahi who leads him to the discovery of the treasure text (gter ma), Innermost Spirituality of the Dakini ((Man ngag) mkha"gro snyingtig), the meaning of which is explained to him by Yeshe Tsogyel (Ye shes mtsho rgyal) {ibid.: 586). This identifi- cation between Vajrayoginl/Vajravarahl and Yeshe Tsogyel is significant —



xxvi VAJRAYOGINl

although Yeshe Tsogyel tends to be identified at different times with most of the major female deities of the tradition, such as Samantabhadri and Tara (Dowman 1984: 12; Klein 1995: 17). In the account of Yeshe Tsogyel's life, a gter ma discovered in the eighteenth century (and now translated no fewer than three times into English), she is at times clearly identified with Vajrayogini/Vajravarahi (e.g., Dowman 1984: 38, 85, 178); indeed, her sambhogakaya is said to be that of the deity (e.g., Gyelwa Jangchub in Dow- man 1984: 4-5, 224; Klein 1995!: 147; J. Gyatso 1998: 247). The identifica- tion of Yeshe Tsogyel with Vajrayogini/Vajravarahi is also suggested by Rig 'dzin 'Jigs med gling pa (1730-98), whose Dakkis Grand Secret Talk is revealed to him by a "paradigmatic" dakinl, whom J. Gyatso (1998: 247) concludes is Yeshe Tsogyel herself 15 Various guruyoga practices within the rNying ma also formalize the connection between Yeshe Tsogyel and the deity. For example, in 'Jigs rned gling pa's mind treasure, the Klong chen snying thig, the devotee longs for union with his guru as Padmasambhava, while identifying himself (and his state of yearning) with Yeshe Tsogyal in the form of Vajrayogini/Vajravarahi. In other guruyoga practices, such as The Bliss Path of Liberation (Thar pa'i bde lam), the practitioner identifies directly with Vajrayogini, who becomes "the perfect exemplar of such devo- tion" (Rigdzin Shikpo 2002: personal communication). 16

Over and above the deity's ubiquitous involvement in guruyoga medi- tations (a feature, as we have seen, of many Tibetan traditions), her pop- ularity as a main deity in her own right is revealed by the growing number of liturgies devoted to her practice in the later rNying ma traditions. Robert Mayer (personal communication: 2002) mentions entire ritual cycles devoted to Vajravarahl, such as a volume entitled, Union of All Secret Dakinis (mKha ' gro gsang ba kun 'dus kyi chos skor). This was composed by the eminent nineteenth-century figure, 'Jams dbyangs mkhyen brtse'i dbang po, who believed it to be the "further revelation" (yanggter) of a gter ma dating back to the thirteenth century. The original gter ma revelation was by the famous female rNying ma gter ston Jo mo sman mo, herself deeply connected with Vajravarahi {ibid.; Allione 1984: 209-11). This vol- ume is entirely dedicated to an important form of Vajravarahl in rNying ma practice, which is related to the gCod tradition, from Ma gcig lab sgron ma (1031-1129) (Allione ibid.: 142-204). Here, the deity takes the wrath- ful black form of (ma cig) KhroslKhro ma nag mo or Krodhakali, also some- times identified as Rudrani/i (Mayer op. cit.). Patrul Rinpoche (1994: 297-98) describes an iconographical form that, apart from its color, is much the same as that of Indraddkini (for a full tangka of Krodhakali with



PREFACE xxvii

retinue, see Himalayan Art, no. 491). In full, however, this is an extremely esoteric practice and, in the case of the principal bDud 'joms gter ma cycles at least, is regarded as "so secret and powerful that practitioners are often advised to either take it as their sole practice, or not seek the initiation at all" (Mayer op. cit).

Tibetans also recognize a living reincarnation trulku (sprul sku) of Vajravarahi (rDo rje phag mo). The first trulku was a pupil of Phyogs las rnam rgyal (also known as 'Jigs med grags pa and as Chos kyi rgyal mtshan, 1376-1452), the learned Bo dong Pan chen of the monastery Bo dong E (probably a bKa' gdams pa foundation in 1049). A Bo dong pa Monastery was subsequently founded at bSam sdings by the side of Yar 'brog mtsho (Yamdrog Lake), referred to as Yar 'brog bSam sdings dgon pa, and it was here that the trulku of rDo rje phag mo became established (Rigdzin Shikpo 2002: personal communication). The first abbess is one of the most famous incarnations, memorable for escaping from an invasion in 1717/19 of the Dzungar Tartars by apparently causing everyone in the monastery to appear as a herd of grazing pigs. But later incarnations have also been revered, and famed for their connection with Vajravarahi, until the present trulku (b. 1937/38) who became an eminent official in the Chinese administration (Simmer-Brown 2001: 185-86; cf. Taring 1970: 167; Willis 1989: 104).

The pervasiveness of Vajrayogini/ Vajravarahi in Tibet is attested by her appearance also within the Tibetan Bon tradition. Peter Alan Roberts (per- sonal communication: 2002) has translated a meditation text by Shar rdza bKra shis rgyal mtshan (1859-1934) that focuses on the development of the experience of "the wisdom of bliss and emptiness" (bde stongye shes), with "heat" (gtum mo/canddll) as a sign of accomplishment. The work is entitled The Inferno of Wisdom (Ye shes me dpung) u and draws on Bon compositions going back to the eleventh or twelfth century gter ma texts. It describes a wrathful, cremation-ground dakini named Thugs rjes Kun grol ma ("She Who Liberates All through Compassion") who is clearly a form of Vajra- varahi. She is ruby-red in color, adorned with skulls, and stands on one leg in the dancing posture; a black sow's head protrudes from her crown, and she brandishes a chopper aloft, holds a skull bowl of fresh blood to her heart, and clasps a skull staff in the crook of her left shoulder. The sym- bolism governing her attributes, as well as the metaphysical context of emptiness, all appear in typical Vajravarahi sadhanas in the Buddhist tantric traditions.

The practice of Vajrayogini/ Vajravarahi is not exclusive to Tibet, how- ever. In Nepal, Vajrayogini is popularly worshiped as one of a set of four



xxvill VAJRAYOGINI

vdrdhis or yoginls: Guhyesvarl (also worshiped as Prajnaparamita, Nairat- mya, and Agniyogini), Vidyesvarl of Kathmandu, Vajrayogini of Sankhu, and Vajrayogini of Pharping (Slusser 1982: 256, 327). There are several tem- ples of Vajravarahl and Vajrayogini in the Kathmandu Valley, for example, at Chapagaon Grove {ibid.: 325-26, 341), and at the hilltop temple of Phar- ping {ibid.: 331). In Sankhu, Vajrayogini is the tutelary deity of the town, and her temple is dedicated to the fierce cremation ground goddess "Ugratara Vajrayogini" (Slusser 1982: 72 with n. 141). Here, Vajrayogini is also identified with Prajnaparamita, "mother of all tathagatas," and is con- sidered the spouse of Svayambhu or Adibuddha, who is housed in a smaller shrine on the same site, while in the Hindu version of the local myth, she is identified with Siva's consort, Durga (Zanen 1986: 131). Gellner (1992: 256) comments that in Nepal, "Vajrayogini seems... to play a role in unit- ing exoteric deities, such as Tara or Kumarl and the Eight Mothers, with the consorts of the secret tan trie deities, viz. Vajravarahl... Jnanadakinl... and Nairatmya." Gellner goes on to describe tan trie rites of initiation in cur- rent Newar practice that are taken mainly by Vajracarya and Sakya males {ibid.: 169-270). Here, "Tantric initiation (diksd) means primarily the ini- tiation of Cakrasamvara and his consort Vajravarahl" {ibid.: 268). The rites of initiation themselves are considered highly esoteric and are guarded with secrecy {ibid.: 273-80). Gellner's description — gleaned with difficulty from a learned informant — provides a rare insight into the modern-day prac- tices. The first part of the initiation focuses upon Cakrasamvara, and is based on handbooks that follow the twelfth-century exegetical work, the Kriydsamuccaya. The second part of the rite focuses on the consort Vajravarahl (or "Vajradevl") and is based upon material taken from the Samvarodayatantra, but also upon as yet unidentified sources {ibid.: 272). Despite drawing from early tantric sources, the rites currently in use in Nepal have been substantially altered in the process of taming and adapt- ing them to suit tantric initiates who are householders {ibid.: 30off.). Never- theless, the preeminence of Vajravarahl in the tantric pantheon is retained in the modern Newar system. The series of rites that comprise the tantric initiation culminates with initiation into the practice of Vajravarahl, thus indicating her supreme position within the hierarchy of Newar religious practice {ibid.: 280; cf. ibid.: 261-62).

From this brief overview of the practices of Vajrayogini and Vajravarahl outside India, it should be evident that we are dealing with a deity of major significance within tantric Buddhism. It is therefore unsurprising to find, within the burgeoning of modern publications on the highest tantras, a



PREFACE xxix

number of works that also relate to the subject. Some impressive studies on the dakini have appeared, such as the detailed monograph by Adelheid Her- rmann-Pfandt (1992) and valuable explorations by Janet Gyatso (1998) and Judith Simmer-Brown (2001). Such studies tend to range also across other academic disciplines; notably, the image of the yogini or dakini has inspired a large body of crosscultural and feminist theological discourse. 18

My own approach is predominantly textual: I have explored the con- tents of a major Sanskrit source that sheds light on the Indian origins of Vajrayogini practice and underpins later traditions. The importance of the Guhyasamayasddhanamdldto the study of Vajrayogini/Vajravarahi can hardly be overstated. Within this, I have restricted the scope of my work to Sanskrit sources (and as I do not know Tibetan, I am greatly indebted to others in the few instances where I cite Tibetan texts). My aim has been, simply, to represent my sources as faithfully as possible, either by translating or summarizing their contents. Although this type of under- taking may itself be prone to, perhaps even determined by, all kinds of sub- jective and cultural interpretation and selectivity by its author, I have tried to present the material in a manner that is more descriptive than inter- pretive. For example, my use of the masculine pronoun throughout reflects the usage in my source material; this, despite the fact that the practice of Vajrayogini/Vajravarahi was — and certainly is — undertaken by women as well as men. What I hope emerges here is as accurate a record as I am able to give of the early origins of the cult from the textual evidence that remains to us.

I have begun in chapter 1 by locating Vajrayogini within the complex tra- ditions of the Buddhist tantras. I then turn to the Guhyasamayasddhanamdld itself and explore what is known of its provenance, both of its authors and of the tantric sadhana that makes up the bulk of its contents. Chapter 2 forms a survey of all the different forms of Vajrayogini within the Guhyasamayasddhanamdld, and also of the various ritual contexts in which these forms are evoked. It therefore gives an overview of the cult in India as it emerges from these texts. Chapter 3 is a study of one particular sadhana from the collection, the Vajravdrdhi Sadhana by Umapatideva, which is divided into its own distinctive meditation stages and final ritual portion. The Sanskrit edition (with notes) and the translation to the sadhana follow chapter 3. The appendix gives a list of all sadhanas in the Guhyasamaya- sddhanamdld (with witnesses where I have found them) and a summary of their contents.



xxx VAJRAYOGINI

Acknowledgments

It is a great delight to acknowledge the generosity of my teachers, colleagues, friends, and family. My debt to Professor Alexis Sanderson in guiding me through my doctoral thesis has already been recorded, and I thank him for his continued scholarly help and kind encouragement. Dr. Harunaga Isaac- son has all along been a patient and untiring teacher and friend; with unique care, he commented upon earlier drafts of this book, never demuring when I presented him with everchanging versions. Despite all their corrections, many mistakes no doubt remain, the responsibility for which are mine alone. Many colleagues have also contributed substantially, with no small investment of time and energy, among whom I am particularly grateful to Professor Gudrun Biihnemann, Dr. Adelheid Herrmann-Pfandt, Lama Jampa Thaye, Dr. Robert Mayer, Rigdzin Shikpo, Dr. Peter Roberts, Dr. Geoffrey Samuel, and Dr. Jan-Ulrich Sobisch and also to the librarians of the Indian Institute Library, Oxford, and to Adrian Hale, formerly of Wolf- son College library, Oxford. For their comradeship and help during the years of the doctorate, I would like to thank Dr. David Burton (Dharmacari Asanga), Dr. Kei Kataoka, Philip Purves (Dharmacari Vijaya), Dr. Judit Torzsok, Dr. Som Dev Vasudeva and Dr. Wan Doo Kim, not forgetting musical interludes with Isabelle Phan, and the constancy of Girindre Bee- harry. For his practical resourcefulness and kindness during my time at Oxford, I also thank Professor Richard Gombrich. My research was made possible by financial support from a number of bodies: the British Acad- emy, the Boden Fund, and the Spalding Trust, and more recently from St. Martin's College.

In dedicating this book to my teachers, I am able to include my loving parents, with whom this journey really began. And I rejoice in the merits of Venerable Urgyen Sangharakshita, who inspired me to set out on the spiritual path, and whose example is a daily reminder of what is possible. I am also blessed with exceptional friends, among whom it is a joy to thank Tejananda — whose contribution would take a book in itself to acknowl- edge — and Vassika. Indeed, my heartfelt gratitude goes to all my leonine friends who have helped in so many ways to bring this book about. Finally, my thanks go to E. Gene Smith at Wisdom Publications for looking favor- ably at my unwieldy doctoral thesis, and to my editor, David Kittelstrom, whose patient care and eagle eye have transformed it into a book.

The generosity of my publishers has allowed me to bring together six- teen color plates in this volume, and a large number of line drawings. For



w



PREFACE xxxi

helpful advice in this respect, I thank Mr. Robert Beer, Dr. Martin Brauen, Professor Lokesh Chandra, Dr. Giinter Gronbold, and Professor Deborah Klimburg-Salter. Above all, it is a pleasure to thank Dharmacari Aloka for his considerable contribution in providing so many fine line drawings, effortlessly conjured up, as it seemed, from the descriptions of the Sanskrit texts. These have been generously funded by The Spalding Trust, and Dharmacari Padmakara. I hope that this study of Vajrayogini will prove a useful offering to the ever growing literature on the rich traditions of Buddhism.

Elizabeth English
August 2002



1



l. VajrayoginI and the Buddhist Tantras



7



"^he cult of tantric goddess, VajrayoginI, flowered in India between the tenth and twelfth centuries c.e. at a mature phase of / ^ the Buddhist tantras. One of the most important sources for her



practice in India is a collection of sadhanas. A sadhana is a meditation and ritual text — literally, a "means of attainment" (sadhanam) — that centers upon a chosen deity, in this case, upon VajrayoginI or one of her various manifestations. This particular collection was written and preserved in San- skrit and drawn together under the late, collective title, the Guhyasamaya- sadhanamala (GSS). It is one of these sadhanas that is edited and translated in this book, and that serves as the basis for our exploration of the goddess, particularly in her form as Vajravarahi.

Who is VajrayoginI? The texts refer to her reverentially as a "blessed one" (bhagavati), as a "deity" (devata) or "goddess" (devi). She is divine in the sense that she embodies enlightenment; and as she is worshiped at the cen- ter of a mandala of other enlightened beings, the supreme focus of devo- tion, she has the status of a buddha. In the opening verse to the Vajravarahi Sadhana, the author salutes her as a vajradevi, that is, as a Vajrayana or tantric Buddhist (vajra) goddess, and in the final verse prays that all beings may become enlightened like her, that is, that they may attain "the state of the glorious vajra goddess" (srivajradevipadavi).



The Buddhist Tantric Systems

Tantric_B uddhism is the wing of the Mahayana that revolves around mantra as a path or "way," and that is known therefore as the Mantrayana or Mantranaya, or as the Vajrayana after one of its primary symbols, the vajra. A pithy definition of tantra is elusive. 19 Vaisnavism, Saivism, and



2 VAJRAYOGINI

other Indian religions including Buddhism all developed rich tantric tra- ditions, and the term broadly denotes particular types of ritual employed within their various deity cults. "Tantra" also refers to the various bodies of literature within these traditions: scriptural and exegetical texts that pro- vide instructions for attainments, both spiritual and mundane. One gains an idea of the size of the Buddhist tantric tradition alone when one con- siders that it evolved in India for a thousand years (from about the second century c.e.), and that this process has continued in Tibet and beyond for another thousand. The main production of tantric texts occurred in India between about the third and twelfth centuries. Some indication of the numbers involved can be gleaned from the sheer quantity of works trans- lated from Sanskrit into Tibetan from the end of this period. The tantric portion of the Tibetan canon contains almost five hundred tantric scrip- tures and over three thousand commentarial texts; Isaacson (2001: per- sonal communication) suggests there may exist as many as three thousand Buddhist tantric texts in Sanskrit, of which over a quarter — perhaps many more — have not been translated into Tibetan or any other language. 20 In order to locate Vajrayogini and her cult within this vast spiritual corpus, it is worth beginning with a brief summary of Buddhist tantric literature. But with so many texts to consider, and with such an array of practices and methods revealed within them, where is one to begin? The problem of how to classify and codify the material has occupied scholars from at least the eighth century and does so even today as contemporary scholars con- tinue to propose new ways of approaching and organizing the materials (e.g., Linrothe 1999). The result is that there are various systems for cate- gorizing the Buddhist tantras that are by no means standard, and how these different classes of texts arose, or came to be known, is something of a mystery.

It seems that one of the earliest classifications of the Buddhist tantras occurred in the eighth century by Buddhaguhya, who recognized only two classes, kriydtantras and yogatantras (Mimaki 1994: 122, n. 17). The subject- matter ofsome tantras, however, was neither principally kriyd (kriydpra- dhdna), nor principally yoga (yogapradhdna), but seemed to combine "both" (ubhaya); these were termed ubhayatantras y and later, carydtantras (Isaac- son 1998). It is this threefold classification — kriya-, carya-, and~yoga-



tantras — to which an eighth-century scholar/practitioner, Vilasavajra, confidently refers. Of these classes, the earliest tantric texts are found within the kriyatantras ("action tantras"), which appeared between at least the third century, when they are known to have been translated into Chinese



VAJRAYOGINl AND THE BUDDHIST TANTRAS 3

(Hodge 1994: 74-76), and at least the sixth century. The so-called carya- tantras ("performance tantras") were current from at least the mid seventh with the emergence of its root text, the Vairocanabhisambodhi {ibid.: 6$ff.) Despite their status as "tantras," religious teachings supposedly revealed by the historical Buddha, these classes hold essentially ritual manuals and dharanis concerned with supernatural, desiderative attainments {siddhis), such as locating treasure, alchemy, flying, invisibility, forcing access to heav- enly realms, warding off evils, and so on; they make little reference to sote- riological goals. Sanderson (1994b: 97 n. 1) comments on the enduring popularity of the kriya- and caryatantras, even among translators of later soteriological tantras (such as Amoghavajra, d. 774), as well as their con- tinuing importance in apotropaic rituals in Newar, Tibetan, and Japanese Buddhism. The fascination with siddhis of various types remains in later tantric literature, as the study of Vajrayogini will show.

By distinguishing the kriyatantras (or the kriya- and caryatantras) from the yogatantras, the eighth-century scholars were in fact pointing to the emergence of a new kind of tantra that had entered the Buddhist arena, probably from the late seventh century (Hodge op.cit.: 65-66, 58). The root text of the yogatantra is the Sarvatathagatatattvasamgraha (STTS), and like the caryatantras, it centers on the supreme buddha, Vairocana. However, it reveals an important shift in emphasis. This is the first work in which tantric methodologies, such as rites of consecration, mantras, and mandalas, were directly aligned to soteriological as well as to desiderative goals. The significance of bringing a liberationist slant to bear on tantric methods was not lost upon commentators, who were clearly aware of the need to bring traditional Buddhist values into the tantric field. Vilasavajra, for example, wrote a commentary based on the Vajradhatumandala of the STTS, in which he set out "to encode and interpret tantric ritual in Mahayanist doc- trinal terms" (Tribe 1994: 4). 21 Portions of yogatantra text are probably the oldest incorporated into the literature of Vajrayogini.

Even within Vilasavajra's exegesis, however, there was other liberationist material that did not fit easily into the yogatantra category, a fact he seems to have recognized by designating his root text, the Ndmasamgiti, a "mahayoga" or "great tantra" (Tribe 1997: 128, nn. 11, 18, and 20). Indeed, new kinds of texts with marked differences in subject matter were begin- ning to emerge, and these were soon to be contrasted with the yogatantras and given the new designation "yoginltantras." Within the soteriological tantric realm these two terms — yogatantra and yoginltantra — seem to refer to the two main divisions of Buddhist tantras, and commentators frequently



1



J.
VAJRAYOGINI I



pair them together as the "yoga- and yoginltantras." 22 Thus, the common- est classification of tantric texts in India was probably fourfold: kriya-, carya-, yoga-, and yoginitantras (Isaacson 1998).

The yoginltantra class is characterized by the appearance of a new Buddha at the center of its mandalas, namely Aksobhya and his manifestations, supreme enlightened beings who belong to the vajra ("diamond" or "thun- derbolt") family of deities. These deities are wrathful in appearance with a startling affinity for places of death and impurity, the cremation grounds; they also manifest a vivid sexual symbolism. 23 One of the key cults within this class is based on the tantric deity Hevajra and was probably emerging around or after the tenth century. 24 In the Hevajratantra, Hevajra is seen to be a heruka form, that is, a type of wild enlightened being who dwells in cremation grounds with a retinue of cremation-ground deities and spirits. Other yoginltantra systems, probably roughly contemporary with the Hevajratantra, also center on this type of heruka deity: Cakrasamvara, Candamaharosana, Buddhakapala, Mahamayahva, and Kalacakra are all heruka forms who appear as lords of their own mandalas. Their appearance, accoutrements, and behavior all relate to practices that ascetics undertook while dwelling in cremation grounds. These are the kapdlika observances, or observances based on the skull (kapalah, kapalam), chief tool and sym- bol for yogins of this kind. The heruka lord is also worshiped in embrace with his consort, while the retinue of male and female deities in his mandala may also be in sexual union.

The principle of sakti begins to emerge in these texts as a potency man- ifesting in powerful female deities. It comes to the fore through the figure of the female consorts and the many types of goddesses, witches, or female spirits — yoginis and dakinls — who haunt the wilds and live in the crema- tion grounds. As sakti is increasingly emphasized, texts tend to redefine tra- ditional Mahayana soteriology in the language of erotico-yogic techniques and mahamudra (p. 91). Thus, as one tantra explains: "The Mahayana is mahamudra, and yoginis bring magical power." 25 It is these texts that form the direct basis for the cult of Vajrayoginl. Within the yoginitantras we see a growing preoccupation with the yogini, or enlightened female deity. In some mandalas she is worshiped as the chief deity within a predominantly female mandala, even though she is still in embrace with a male partner (e.g., see ch. 2). Eventually, cults emerged in which the male consorts dis- appeared entirely from view, leaving the female deity to be worshiped alone at the center of a new mandala. Often the form of the mandala is preserved exactly as it was before, except that the male deities have simply been



VAJRAYOGINl AND THE BUDDHIST TANTRAS 5

removed. This is typical of the mandalas described in the sadhanas of the Guhyasamayasddhanamdla. Our study of the Vajravarahl mandala in Umapatideva's Vajravarahl Sddhana will show that it is modeled exactly upon that of Cakrasamvara, except that in Vajravarahl' s mandala all the male gods of Cakrasamvara' s mandala have disappeared, leaving the god- desses without consorts, and supreme.

Our summary so far of the tantric systems has shown the cult of Vajra- yogini to be firmly grounded within the yoginitantra class. But this classi- fication is more complex than I have made out. On the one hand, there were already texts akin to the yoginitantras well before the maturing of the Heruka cults in the ninth and tenth centuries; the Sarvabuddhasamdyoga- ddkinijdlasamvara is one such "proto-yoginitantra" that is known to have been in existence in the mid-eighth century (Sanderson 1995). 26 Here, the lords of the mandalas are heruka- type, esoteric deities, in sexual union with consorts and surrounded by retinues of female dakinis. This tantra was still in use in Tibet in the eleventh century, "no doubt because of its evident kin- ship with the later yoginitantras" (ibid.). On the other hand, there were texts that sat uncomfortably within the yogatantra system, but that were not so markedly different that they fell naturally into the yoginitantra classifi- cation. This gave rise to another tantra class known as the "yogottara," lit- erally that which is "higher than the yoga [class]."

Isaacson (op.cit.) suggests the term "yogottaratantra" was a later designa- tion. Certainly when Vilasavajra refers to the Guhyasamdjatantra, and to other texts that were later named as "yogottara," such as the Vajrabhairava- tantra and the Mdydjdlatantra, he seems to be unaware of any such class (Tribe 1994: 5). This stratum of tantric literature arose about a century after the yogatantras, and its root text, the Guhyasamdjatantra, was codified and translated into Tibetan in the eighth century (Matsunaga 1972; Snellgrove 1987: 183). The introduction of this extra "yogottara" classification seems to reflect the fact that in the course of its evolution, the Guhyasamaja system (including its exegetical literature) came to be seen as sufficiently different from the older yogatantras — and certainly superior to it — to require a dif- ferent label (Isaacson op.cit). As in the yoginitantras, the mandalas of the Guhyasamaja (or Samaja) tradition are presided over by Aksobhya and by vajra-family deities, who are often both wrathful and erotic in character. Since the tantras of the yogini class were deemed superior even to those of the yogottara, Isaacson suggests that they probably received the additional designation "yoganiruttaratantras," literally: "tantras of the highest (nirut- tara, division: of the yoga [class]" (translation by Sanderson 1994b: 98 n.



6 VAJRAYOGINI

I).

Even this fivefold classification of kriya-, carya-, yoga-, yogottara-, and yoginitantras (the system almost ubiquitously expounded in our secondary literature) was not necessarily a widely accepted solution by scholars/prac- titioners of the day. Mimaki (1994) lists seven different classifications from various Indian exegetes and tantras, without even touching on the fourfold schema described above as possibly the most common (i.e., kriya-, carya-, yoga-, and yoginitantras). Atis'a, for example, writing in the early mid- eleventh century, sought to clarify works that strayed between the yoga and yogottara camps by inserting between them two more tantra classes — upaya- ("means"), and ubhaya- ("dual") — thus presenting a new sevenfold classi- fication of tantras.

In Tibet, the classification of texts likewise presents a complex picture (Mimaki 1994: 121). Among the gSar ma pa schools, there is the famous system of Bu ston (1290— 1346), which preserves the divisions of the kriya- (bya ba'i rgyud), carya- (spyod pa'i rgyud), and yoga- (rnal 'by or gyi rgyud), but which classes those of the yogottara- and yoginitantras together as the anuttaratantra, or "ultimate tantra" (rnal 'byor bla na medpa V rgyud). This fourth class is itself subdivided into father (phargyud), mother (margyud), and nondual tantras (gnyis med rgyud). Mother tantras, or wisdom tantras (yeshes rgyud) are further analyzed into seven groups, one of which (itself with five subdivisions) comprises tantras connected with Heruka (Tsuda 1974: 28). The classification of the rNying ma tantric canon is based on a ninefold system of classification, in which such categories as mahayoga (noted above) re-emerge as a distinct group (Germano 1994: 241-51 with n. 114, Williams and Tribe 2000: 203).

Complicated as the divisions and subdivisions of the tantric corpus are, they have been made more so by mistranslations in use in the West. Sanderson (1993) has pointed out that the term anuttarayogatantra found in some secondary sources does not occur in Sanskrit enumerations of the different classes of tantras and is likely to derive from an incorrect back- formation from the Tibetan rnal 'byor bla med kyi rgyud or "yoganiruttara- tantras." (This refers to the class of Sanskrit works whose translations in the Tohoku catalogue are nos. 360—441, also termed rnal 'byor ma'i rgyud or "yoginitantra"; Sanderson 1994b: 98 n. 1). The term "yoganuttaratantras" (sometimes applied by secondary authors to yoganiruttaratantras) is also not attested in Sanskrit sources (Isaacson 2001: personal communication).

Within this vast and complex body of tantric literature, the practices of Vajrayogini belong to the most developed phase of the yoginitantras. Vajra-



r



VAJRAYOGINl AND THE BUDDHIST TANTRAS 7

yoginl literature is unlike other systems within that class, however, in that it generally lacks its own tantras. It draws instead upon the scriptural texts of the Cakrasamvara cult: the Samvara-, or Samvaratantras. 27 Sanderson (1995) summarizes the Samvara corpus as follows:

The root text (mulatantram) is the Laghusamvaratantra, also called Herukdbhidhdna- or Cakrasamvaratantra (BBK: 251). The text does not survive in its entirety; lost portions are accessible only through the early eleventh-century Tibetan translation, lem- mata in tenth-century Sanskrit commentaries, and in secondary texts such as the Abhidhdnottaratantra.

The Abhidhdnottaratantra (BBK: 254). Its relationship with the Cakrasamvaratantra is that of explanatory tantra (*vydkhyd- tantram) to root text (mulatantram), according to Buddhaguhya's terminology.

Vajraddkatantra (BBK: 255).

Samvarodayatantra (BBK: 256).

Ddkdrnavatantra (BBK: 255).

Yoginlsamcdratantra (BBK: 258).

Herukdbhyudaya (not surviving in Sanskrit).

Caturyoginisamputa (BBK: 259).

It is scriptures such as these — in particular, the Yoginlsamcdratantra, Samvarodayatantra, and Abhidhdnottaratantra — that inform the sadhanas of the Guhyasamayasddhanamdld. One sadhana in the collection (GSS70) is based upon a unique Vajravarahi scriptural source, the Vardhyabhyu- dayatantra, itself apparently extracted from the Abhidhdnottaratantra (Sanderson 2001a). In another, there is even a reference to the Laksdbhi- dhdna 1 * (sometimes identified with the Khasamatantra) , which is a mythi- cal work, supposedly vast and authoritative in ten thousand verses, and allegedly the source from which the Cakrasamvaratantra itself was extracted (Tsuda 1974: 33). The same legendary authority is claimed in the Yoginlsam- cdratantra following its description of the body mandala, a core Cakra- samvara practice taken over with very little adaptation in Umapatideva's Vajravarahi Sadhana.

The Vajrayogini tradition does not simply graft itself onto the scriptural rootstock of Cakrasamvara; it borrows equally freely from the Cakrasamvara tradition of commentary and exegesis. We will see how the authors of the Guhyasamayasddhanamdld rely on the liturgical and commentarial texts at



8



VAJRAYOGINI



Table i. Authors

Authors



and their works in the Guhyasamayasadhanamala Works in GSS



Indrabhuti
(or his lineage)

Luyipada



Vajrayoginimukhagama (GSSi)

Pradlpahutividhi (GSS14)

Indrabhutikramena Vajrayoginlsadhana by Vijayavajra (GSS35)

Vajravarahlsadhana (GSS 2)



Advayavajra



Sakyaraksita



Vajravarahlsadhana (GSS3)

Sarvarthasiddhisadhana (GSS15)

Vajravarahlsadhana (GSS31)

Possibly Trayodas'atmikavajradakinivajravarahisadhana (GSS16)

Abhisamayamanjarl (GSS 5)



Sahara

(and his lineage)



Guhyavajravilasinlsadhana (GSS10) Vajrayoginlsadhana (GSS19) Vidyadharivajrayoginyaradhanavidhi (GSS23) Possibly Vidyadharlkramavajrayoginisadhana (GSS21) Vidyadharikramabhavana (GSS22) [Vidyadhari-jaradhanavidhi (GSS5, K38n)



Umapatideva



Vajravarahlsadhana (GSS11)



Buddhadatta



Gopyahomavidhi (GSS13)



Vi



rupa



'Laksmi" (?)



"Pindarthah Sodas'aslokas Trikayavajrayoginyah" (GSS26) Trikayavajrayoginistutipranidhana (GSS27) Trikayavajrayoginisadhana (GSS25) Possibly Vajrayoginlsadhana (GSS20) TrikayavajrayoginI text in GSS 5 (K36r5) Vajrayoginlsadhana (GSS9, GSS30)

Laksmisadhana (GSS24)



Vilasavajra



Samksiptavajravarahisadhana (GSS29) Possibly GSS4



Sahajavalokana-
samadhivajra



Binducudamanir nama svadhisthanakrama (GSS32) Possibly GSS33



Dhyayipada



Vijayavajra



"Paramagambhiropades'o Vajrayoginyah Karankatoranakramah

Svadhisthanam" (GSS34)
Possibly GSS33

Indrabhutikramena Vajrayoginlsadhana (GSS35)



Vibhuticandra Vajravilasinistotra (GSS43)



Anangayogin



Dakiniguhyasamayasadhana (GSS46)



VAJRAYOGINI AND THE BUDDHIST TANTRAS 9

their disposal, and how they are able to adapt them for the worship of Vajrayogini. This is most evident in the ritual portion of the sadhana, as described in chapter 3.



The Guhyasamayasadhanamala and Its Authors

The most direct sources for our study of Vajrayogini are the sadhanas of the Guhyasamayasadhanamala (GSS). This is a group of some forty-six San- skrit works drawn together as a collection centering upon Vajrayogini and her manifestations. Fifteen of its works claim the authorship of named indi- viduals, and it is to them that we now turn in order to gain some insight into the date of the compositions and the context in which they were writ- ten. Table 1 shows a list of our authors and the works attributed to them. Since in some cases an author's influence upon an unattributed work may be inferred, authorship of almost half the texts in the collection can be firmly or loosely established (details are supplied in the appendix).

Establishing the dates of these authors is a thorny subject. I tentatively summarize the dates discussed here on the time chart (table 2). Various life histories survive, chiefly in Tibetan, although informed by a hagiographi- cal and sometimes sectarian agenda (Tatz 1987: 696). Among key sources on this subject is the famous Legends of the Eighty-Four Mahasiddhas (Grubthob brgyadcu rtsabzhVi lorgyus, hereafter Legends), which supplies accounts of the lives of Indrabhuti, Laksminkara, Luyipada, Sahara, and the slightly younger author Virupa. 29 More information on their lineages, and episodes from their lives, can be gleaned from the Blue Annals (Debther sNgonpo), written by 'Gos Lotsawa (Locchawa) (1392-1481), and the History of Buddhism in India by Taranatha (1575-?), but neither of these works can be relied upon for accurate dating. Scholars have often attempted to date authors according to the testimony of transmission lineages, a risky enter- prise that Kvaerne describes as "methodological error" (1977: 6). Illustra- tive of the problem is Dowman's attempt to date the mahasiddhas using traditional Buddhist scholarship, according to which there are no fewer than three kings of Oddiyana called Indrabhuti (1985: 2326°; cf. Dudjom 1991: 441, 458-59, 485-87): Indrabhuti the Great, who may be as early as the seventh century (642 c.e. according to the Chinese Tang Annals), an inter- mediate Indrabhuti, possibly of the eighth century (although apparently not recognized by Taranatha, Dowman ibid.: n.233), and Indrabhuti the Younger, of the late ninth century. Davidson (2002), however, comments



IO VAJRAYOGINl

that even pinpointing three Indrabhutis is "surely an underestimate" and points to "the tendency for traditional apologists and modern scholars to J* ma te aiTia ^ tne various personalities into one grand persona." Dowman (op. cit.) also puts forward three possible candidates for Indrabhuti's sister, Laksmlnkara, including a nun of similar name; however, even if we agree that this same Laksmlnkara is the author of our Laksmisddhana (GSS24), the only certainty we can have is that she was no later than the Tibetan translator of the text, who was known to have lived 1059-1109. 30 Virupa, tra- ditionally the pupil of Laksmlnkara (Blue Annals: 390), is just as elusive, and may have lived as early as the eighth century (Taranatha History: 197) or as late as the eleventh century, when he supposedly taught Maitrlpada (also called Advayavajra) and Mar pa the translator (Blue Annals: 390). Similar problems .beset the dating of the Mahasiddha Luyipada. Kvaerne (1977: 5-6), for example, hesitantly cites Taranatha (History: 311), accord- ing to whom "Lui" was a contemporary of Maitrl (Advayavajra) in the eleventh century, and notes that in one tradition, Luylpada's guru was Saraha, who may have flourished in the eleventh century or earlier (see also Dasgupta 1946: 6). Davidson (1991: n. 24) notes that Luyipada's Sri- Bhagavadabhisamaya was translated into Tibetan in the first part of the eleventh century, "apparently the earliest attested practice of the Cakrasamvara" in the Tibetan canon. However, Sa skya legends assert that Luyipada was a scribe at the court of Dharmapala in the late eighth cen- tury (Dowman 1985: 37). The dating of Sahara is even more problematic. He appears as an early teacher in several genealogical traditions (Dowman ibid.: 65; Kvaerne 1977: 6), but also as a teacher to later authors such as Vanaratna in the fifteenth century. Dowman therefore posits a line of teach- ers called Sahara, the only merit of which is that it echoes the legend of Sahara's immortality, according to which he would still be teaching today. Another of Sahara's pupils is said to be Advayavajra, whose dates have been discussed at length by Tatz (1987: 697) and shown to be tied to the reign of King Neyapala in the eleventh century (1007-85). 31 Sahara also apparently initiated Vibhuticandra into the sixfold yoga system (sadangayogah) (Blue Annals: 727). Stearns (1996: 127-71) places Vibhuticandra in the later twelfth to early thirteenth centuries at the time of the Moslem invasions. Vibhuticandra would thus be the youngest author in our collection.

Some of the younger contributors to the Gubyasamayasadhanamala are slightly easier to place because they admit their debt to earlier authors. One such is Sakyaraksita, whose Flower Cluster of Clear Understanding (Abhi- samayamanjariGSSs) draws heavily on the Clear Understanding of Heruka



VAJRAYOGINl AND THE BUDDHIST TANTRAS II

(Herukdbhisamaya) by Luylpada. Apart from the similarity of his title, Sakyaraksita refers twice to Luylpada's work, commenting on Luylpada's method for establishing the vajra ground {vajrabhiimi, K20V2) and knowl- edge circle {jndnacakra, Knv6), and referring to it for an in-depth treatment of Vajravarahi's thirty-seven-deity mandala. 32 Sakyaraksita adds that this was taught "by my teacher in the Vajravali," which reveals that his guru was Abhayakaragupta, abbot of the monastic university Vikramas'ila during the reign of King Ramapala (c. 1084-1126/1130). 33 If Sakyaraksita was a younger contemporary of Abhayakaragupta, he would probably have flourished in the mid-twelfth century.

Our study of Umapatideva's Vajravdrdhi Sddhana (GSS11) will show that it shares much in common with Sakyaraksita's work, in both its subject matter and use of sources. Fortunately, Umapatideva's lineage and dates are on slightly firmer ground, and these place him in the same generation as Sakyaraksita, perhaps as an older contemporary. The colophon to the Tibetan translation describes him as "one who has the lineage of the instruc- tions of Virupa, sri Umapatidatta" (Tib 49.7), and the dates of the transla- tors link him fairly securely to the same period as Abhayakaragupta. The translators of Umapatideva's two known texts in the bsTan-'gyur are Vagisvaragupta and Rwa Chos rab. 34 Rwa Chos rab was active in India and Nepal in at least the first quarter of the twelfth century, and was a pupil of the Nepalese pandit Samantas'ri; Samantas'ri himself flourished in the early to mid-twelfth century and received the Kalacakra teachings from Abhaya- karagupta {Blue Annals: 760-61; cf ibid.: 756, 789). 35 Thus, the translation of Umapatideva's works would seem to belong to the early to mid-twelfth century, and may even have been contemporary with the author. If Uma- patideva was of the same generation as Samantas'ri (whom he is unlikely to have postdated, since his translator was a pupil of the latter), he may also have been a pupil of Abhayakaragupta's.

In the absence of much reliable evidence for dating the authors of the Guhyasamayasddhanamdld, we must look for other clues as to their origins. First, it seems that several authors in the Guhyasamayasddhanamdld are asso- ciated with the early dissemination of tantric lineages. Indrabhuti, for exam- ple, is traditionally known as "the first tdntrika" and was credited with initiating several tantric lineages, including the yogottara, Hevajra, and Cakrasamvara traditions {Blue Annals: 869; Dudjom 1991: 485, 462; Dow- man 1985: 233; SM vol. 2: xxxi). Luylpada is particularly associated with the Cakrasamvara system, on the basis of which he is traditionally known as the "original guru" (ddiguru) of the mahamudra (Dowman 1985: 37). Accord-



12



VAJRAYOGINI



Table 2. Time chartf



Year



Rulers



Events



Authors



Works



600



650



700



750



800



850



^* Gupta dynasties
(Harsa 606-47)



Pala Dynasties of. . .



Nalanda Founded



Vikramas'lla founded
first diffusion into Tibet



Indrabhuti?



Luyipada?



Virupa?



Sahara



>~ kriyatantras yogatantras yogottaratantras

ist-md cent. >► late 7th cent. — ►



yogottaratantra exegesis
and translation into Tibetan



caryatantras
mid-7th cent.



STTS



proto-yoginitantras — ^>

• Guhyakosa
  

Sarvabuddhasamdyogadakinijalasamvara



Laksminkarar >



t The sources for these dates are mentioned in chapter 1 or elsewhere in the book, and in historical secondary sources given in the bibliography. Many dates are



uncertain.



VAJRAYOGINl AND THE BUDDHIST TANTRAS



13




■a? >



950



1000



1050



1100



1150



1200



.Bihar and Bengal 760-1142



Sena dynasty 1162-99



Moslem invasions



second diffusion into Tibet



1197 Nalanda sacked
1203 Vikramas'lla sacked



Naropa d. 1040
Atis'a d. 1042 (in Tibet)



-^ Abhayadatta
(Lives of the 84 Siddhas)



Virupa?



Advayavajra ^

Ratnakaras'anti

Abhayakaragupta
Umapatideva
Buddhadatta Sakyarakska

Laksmlhkara? — ► Virupa?

Laksmi the Nun?
Sahara ► Sahara



Yibhuticandra



yoginltantras



1165 SM Cambridge ms.



Cakrasamvaratantra



Hevajratantra



-^ — Compilation of

• Guhyasamayasddhana mala
  

Palmleaf ms. (K) of

• Guhyasamayasddhanamdld — ^~
  

Life of Naropa
in Tibetan



Kdlacakratantra



14 VAJRAYOGINl

ing to the Tibetan tradition, he is one of three main transmitters of the Cakrasamvara system along with Ghantapada and Krsnapada {Blue Annals: 389; Dawa-Samdup 1919: 9; Jackson 1994: 125). Sahara is also associated with the spread of mahamudra, according to the evidence of the Guhya- samayasddhanamdld (see chapter 2) , and is an important transmitter of the Sadangayoga discipline (Padma gar dbang, cited Stearns 1996: 140). One tradition putatively connects Sahara with the origins of the Trikaya-vajra- yogini tradition through his lineal descendant Krsnacarya (Dowman 1985: 320; 7.19), although Benard (1994: 12-13) prefers to credit Laksminkara. In Tibet, Virupa was regarded as the "first lama or ddigum of the Sa skya sect (Dowman 1985: 52; Dudjom 1991: 853). The fact that the Guhyasamaya- sddhanamdld opens with two texts, one attributed to Indrabhuti (or else- where to Sahara; see GSSi in the appendix) and an almost identical work to Luyipada, is significant. It asserts the antiquity of the collection, and hence its authenticity. Similarly, Indrabhuti's authorship implies that the geographical source of the teachings is Oddiyana, the very homeland of esoteric spiritual revelation, as many tantric colophons testify. 36 The text itself (GSSi«GSS2) reveals an East Indian influence, with its clear exchange of the consonants v for b in its mantroddhdra.

The fame of our later authors rests upon their scholarly transmission of the tantric teachings. The Blue Annals (pp. 841, 866, 976) refers to Advaya- vajra's transmission of mahamudra, and associates him particularly with compositions of the amanasikdra class (e.g., ibid.: 842); it is in a text of this class, the *Siddha-Amndya, that Advayavajra's quest for a vision of Vajra- yoginl is described, and in which he is requested by his guru, Sahara, to return to academic life to commit his new understanding to writing. 37 Advayavajra is one of the younger adepts who were working in the envi- ronment of the monastic universities in northeast India. These were cen- ters of Mahayana and tantric learning established under the Pala dynasties of Bihar and Bengal (760-1142 c.e.), which flourished until their destruc- tion by the Moslem invaders between 1197 and 1207 (Dutt 1962: 380). The five outstanding foundations were: Vikramas'lla, founded — according to Tibetan sources — under Dharmapala (770—810 c.e., ibid: 359); Odantapura and Somapura (also "Somapuri') under Devapala (c. 810-59 c.e., ibid.: 373-74); Jagaddala in Varendra (north Bengal), which probably flourished under Ramapala (1077-1120); and the oldest establishment, Nalanda, which had been sponsored at the end of Gupta rule by Harsa (606-47 c.e.). Although less cultivated by Pala kings, Nalanda remained a prestigious seat of Mahayana philosophy, and at its peak, Chinese sources state that it catered



VAJRAYOGINl AND THE BUDDHIST TANTRAS 15

to several thousand students, offering as many as one hundred lectures, tutorials, or debates a day on topics both brahmanical and Buddhist {ibid.: 333; Misra 1998 I: 24iff.). Vikramas'ila was the most renowned monastic universitiy in the Pala period, with Abhayakaragupta at its head, and its var- ious "schools" (samsthdh) conferring various posts, honors, and "degrees," such as dvdrapdla (gatekeeper), pandita, or mahdpandita {ibid.: 360-63 fol- lowing Tibetan accounts).

The reference to the academic milieu in the *Siddha-Amndya is inter- esting because it illustrates the contrast between the life of Advayavajra, the yogin-pandit working within the monastic universities, and the supposed source of his learning, the illiterate adept and mountain-dwelling huntsman Sahara. Although our younger authors may have lived and worked in the intellectually charged milieu of the monastic universities, their sadhana texts reflect the culture of the earliest proponents of the systems. They lay down prescriptions to practice in wild, solitary places void of people, and it is this aspect of their own practice that is most attractive to legend. In many accounts, historical narrative breaks into mythic motif precisely at the point when the monk rejects formal academia in favor of tantric yogic prac- tice. For example, the story of Advayavajra in the *Siddha-Amndya (p. 11) first describes his formal training in grammar and orthodox (nontantric) Buddhist disciplines at monastic universities such as Vikramas'ila; it then recounts his tantric studies (possibly under Naropa) at Nalanda, but only finally launches him on his higher tantric career when he leaves the monas- tic life and sets out on his magical journey to seek Vajrayogini, prompted by a voice in a dream. In Tibetan accounts, Advayavajra was expelled from the monastery for keeping liquor and a woman in his cell (Tatz 1987: 700—701). The same motif of expulsion is found in the account of Virupa's life. According to the Legends (Dowman 1985: 43-52), this mahasiddha first became a monk of Somapura monastery, but despite his initiation into the practice of sow-faced Vajravarahi, he failed to see her even in a dream until, after twelve years, in a depressed state, he threw his rosary into the toilet. He attained mahamudra after another twelve years. Virupa's subsequent expulsion from Somapura (for eating pigeon pie) was accompanied by var- ious miracles, such as walking on water and holding back the sun in a ploy to avoid settling his tab at the local tavern.

The distinction between the two lifestyles — formal academic versus wan- dering yogic — may not have been so marked in practice. The wandering life was an integral part of the monastic experience. Practitioners would move between universities in pursuit of various teachers, and periods of retreat and



16 VAJRAYOGINl

prior service (purvasevd) were also an essential part of formal training. The perceived dichotomy may have been a natural advertising ploy for the tech- niques to be espoused, and a crystallization of the ideal of the solitary tantric yogin. This is an ideal firmly embedded in the Indian traditions. The Bud- dha's going forth is an important role model for any would-be Buddhist saint, and the inflation of this motif to actual expulsion from a monastery is one that provides a useful exegetical comment upon tantric praxis; it is precisely from their antinomian propensities that the practices of the high- est tantras draw their power. The texts themselves seem to envisage both lifestyles. At their most extreme, they advocate a type of yogic existence that transcends ritual observances, such as rites of the mandala, or obla- tions with mantras (see the first upadesah in GSS32, appendix), but at the same time, they envisage a ritual specialist capable of performing numbers of such rites, not just for his own sake, but on behalf of others (see, for example, ch. 3 §39).

In pursuit of either lifestyle, it seems it was not altogether necessary for the practitioner to be an ordained member of the Buddhist sangha. The higher tantric initiations (ch. 3), which include the empowerments for sex- ual praxis, were also open to householders. This is implicit in one of the erotico-yogic texts in the Guhyasamayasddhanamdld that refers to the "[householder's] own house" (svagrhe) as one possible meditation site (GSS34, appendix). Umapatideva himself, author of the Vajravdrdhi Sddhana, may have been a layman, as well as an initiate into the lineage of Virupa. His name means "lord of Uma," that is, Siva, while ordination into Buddhist orders would ordinarily have endowed him with a Buddhist name. If he were a lay scholar, it would seem that Umapatideva still had access to the scriptural and exegetical sources available to those working in the monastic environment, judging by the extent of the redaction in the Vajravdrdhi Sddhana.

This situation did not lie comfortably with some members of the monas- tic community, however. In her study of tantric antinomianism, Onians (2002: 292-93) comments that, "The tension between tantric monks and householders must reflect a time when tantric practitioners were found both in and outside monasteries, and the Sangha was compelled to reassert its primacy...." Thus, the Kriydsamuccaya (f.3.2rT; Gellner 1992: 295) cites many tantric references to support the claim that a tantric teacher (vajrdcdryah) should be a monk, although the fact that it opens with a lengthy discussion on the matter raises the possibility of his not being so. Indeed, in his Vajrdcdryalaksanavidhi, Jagaddarpana states that a tantric



1



VAJRAYOGINI AND THE BUDDHIST TANTRAS 17



teacher may be of three types: monk, novice, or householder (following the Samvardrnavatantra), but he asserts the superiority of the teacher who is ordained by adding that, should all three be found together, the house- holder should not be worshiped, for this would be disrespectful to the Three Jewels. 38 Another tantric exegete prescribes certain "beginners" rites and observances (ddikarma) for the householder practitioner (grhapatibodhi- sattvah), 39 suggesting, perhaps, that the qualifications of the lay practitioner were inferior to those of a monk. However, Isaacson (1999: personal com- munication) points out that the qualifications of the lay practitioner were [ not necessarily inferior to those of a monk, and that Jagaddarpana's open-

! ing discussion does not reveal his final position on the matter. Indeed, it

I may even have been the case that practitioners who had taken the

I bhiksusamvara were sometimes forbidden or discouraged from the actual

J performance of transgressive practices.

j With their emphasis on solitary practice, the sadhanas themselves give

jr no indication as to how they would be practiced within a monastic routine.

1 This is particularly pertinent where the sadhana involves sexual practices

! that would infringe the monastic vow of celibacy (brahmacaryam). In tack-

I ling this issue, exegetes tended to argue that the tantric observances incor-

j porate and surpass, rather than negate or contradict, earlier vows of

j celibacy: 40 "[In taking tantric initiation] will he not then be guilty of aban-

i doning his earlier vows [of celibacy] ? No, for each subsequent observance

I transcends the preceding, just as the lay devotee becomes a novice and the

novice a monk. When a person has become a monk is there the absence of the vows he took as a lay devotee, etc.? [Of course not.]" Jagaddarpana (Onians op. cit) actually redefines brahmacarya, so that for a nontantric monk it still refers to celibacy; but for a monk who has taken highest ini- tiation (and whom he therefore understands to be spiritually superior), it refers to the retention of semen in the course of yogic sexual practices. How- ever, the attitudes of tantric authors on this matter are complex, as Onians makes clear {op. cit.: 268-71): Atis'a, for example, has — with justification — been interpreted as insisting that for those who held full monastic ordina- tion, the language of sexual yoga was open only to symbolic interpretation and was otherwise incompatible with monastic rule; and yet his conclu- sions are far more subtle than this and clearly depend upon the context in which celibates may perform the higher initiations and upon a rigorous application of the qualifications that would permit a monk to bypass or transcend his monastic precepts — crucially, the degree of insight with which sexual praxis is imbued. Such sophisticated apologetics are a reflection of



l8 VAJRAYOGINI

the difficulty that must have arisen in bringing tantric practices within the monastic fold. Indeed, there are accounts of iconoclasm among Sthavira- vadins unable to tolerate deities such as Cakrasamvara at Vajrasana (Bodh- gaya), which Taranatha himself recorded (1990: 279):

In a temple of Vajrasana there was then a large silver image of Heruka and many treatises on tantra. Some of the Sravaka Sen- dhavas ["Siddhas"] of Singa island (Ceylon) and other places said that they were composed by Mara. So they burnt these and smashed the image into pieces and used the pieces as ordinary money.

But on these issues, the new tantric orthodoxy was clear, as the hagiog- raphy of Abhayakaragupta testifies {Blue Annals: 1046; Willson 2000: 397-98). Painting the picture of an exemplary abbot-scholar of traditional Buddhist hue, the lifestory of Abhayakaragupta describes his initial reluc- tance to embrace the new teachings, as he declines to welcome a woman into his monastic cell. When the woman turns out to be none other than Vajra- yoginl in disguise, the monk sees the error of his ways, but finds that he has lost the opportunity ever to gain union with her in his lifetime. He is com- pensated with the promise that if he composed a "great number of com- mentaries on profound tantras and many rites of mandalas," he would soon become "a fortunate one" — a challenge he appears to have accepted.



Sadhana Collections

Having examined the Indian milieu in which Umapatideva's Vajravdrdhi Sadhana was written, it is time to look more closely at the compilation of the Guhyasamayasddhanamala itself. According to the approximate dating of their authors, some texts in the collection are possibly as old as the ninth century, but perhaps only date from the eleventh century, while others are later still, dating from the twelfth century. The collection closes toward the end of the twelfth century with the work of an author who was probably a living contemporary, Vibhuticandra (GSS43). Its upper date is fixed by the oldest surviving manuscript (K), which Sanderson (1995: personal com- munication) suggests is from the twelfth to thirteenth centuries. This date would be roughly contemporary with the earliest manuscript of another sadhana collection, the Sddhanasatapahcasikd, which dates from 1165 c.e. (Cambridge add. 1686). The Guhyasamayasddhanamdld receives its title only



VAJRAYOGINI AND THE BUDDHIST TANTRAS 19

later; the name is found in the Devanagari manuscript (D) alone, in which the title of the last work in the collection (Ddkini-guhyasamaya-sddhanamdld- tantrardja) seems to serve as the basis for the collective title Sri-Guhyasamaya- tantra.

The processes by which sadhanas were compiled into recognizable col- lections has been studied by Buhnemann (1994), who suggests that schol- ars were engaged in collecting such works from the eleventh century on. Buhnemann discusses four sadhana collections in all, basing her work on the four collections that Bu ston (1290— 1364) drew into his catalog of the bsTan 'gyur (summarized in table 3): 41

1. The One Hundred and Fifty Sadhanas (^Sddhanasatapancdsikd, sGrub thabs brgya danglnga bcu), 42 consisting of about this num- ber of sadhanas.

2. The Hundred Sadhanas (*Sddhanasataka, sGrub thabs brgya rtsa), which contains about ninety- three sadhanas.

3. The Ocean of Sadhanas ( *Sddhanasdgara in Bu ston's catalog), also called the Collection of Sadhanas {Sddhanasamuccaya in the Peking edition P4221-4466), and the Garland of Sadhanas {Sddhanamdla in the colophon of some Sanskrit manuscripts), consisting of a large collection of 242 sadhanas.

4. The *Devdntaravisvasddhana collection, which appears in the Peking edition as an appendix to the second collection, the

• Sddhanas'ataka.
  

It is from these collections that Bhattacharyya (1925/28) produced his edition of the so-called Sddhanamdla, accidentally conflating the largest collection of 242 sadhanas (*Sddhanasdgara) with the collection of 150 sadhanas (*Sddhanasatapancds'ikd)} 5

What does Biihnemann's survey of the sadhana collections reveal about the manner and date of their compilation? Buhnemann shows that there are problems in fixing the contents of these collections since the Sanskrit man- uscripts do not agree between themselves, either in the sequence in which sadhanas appear or in the number of sadhanas they contain, and the Tibetan translations do not seem to accord with the Sanskrit "originals." The com- pilation of substantial numbers of sadhanas, or the addition of other collec-



20



VAJRAYOGINI



Table 3. Sadhana collections in the bsTan 'gyur



1. 150 sadhanas
trans, c. 1100



2. 100 sadhanas
trans, c. 1100



3. Ocean (or collection) of sadhanas (Sddhanasdgara, °samuccaya, °mdld) trans, c. 1286



Appendix to
Peking Edition



4. Devantaravisvasadhana



Sadhanamala Tantra
Cambridge ms.
add. 1686



Sadhanamala
ed. Bhattacharyya
1925/28



tions to them, seems to coincide with the appearance of a title for the col- lection as a whole. This may have encouraged closure, as in the case of the

• Sddhanasatapancasikd, which received its title only once it had collected its one hundred and fifty works {ibid. 1994: n). Similarly, Buhnemann hints that Bu ston's third collection may have received its title ^Sddhanasdgara in the later recensions preserved in Tibetan from its final portion of texts, entitled Devdntarasddhanasdgara {ibid. 1994: 12). In some collections, the colophon to each individual sadhana also gives the collective title, but again this prac- tice is not standard {ibid. 1994: 11-12). Such irregularities in a title's appear- ance in related recensions, and in the title itself, suggest that collective titles were a later feature of the sadhana compilations. Their introduction (possi- bly coupled with efforts to "round up" the collections to grandiose figures that then serve as collective titles) gives the impression that the sadhana col- lection was emerging as a genre in its own right. The datings given by Buhnemann indicate that the earliest translations into Tibetan of whole col- lections were made in the later eleventh century and around the turn of the
  

VAJRAYOGINI AND THE BUDDHIST TANTRAS 21

twelfth century and continued into the thirteenth century (and beyond), that is, in the period when the monastic universities under the Pala dynas- ties were at their height. Records of the Sanskrit manuscripts confirm this picture. Comparing the evidence of the manuscript collections with the dates of likely authors, it is clear that the time between the composition of a sadhana and its subsequent inclusion in a collection was often brief and that translation into Tibetan was also a rapid process.

These conclusions confirm what has been gathered of the Guhyasamaya- sddhanamdld collection. There are, however, notable differences. The Guhyasamayasddhanamdld is far smaller, containing only forty-six works. Moreover, it seems to have been relatively stable. Only one sadhana (GSS8) is omitted in the later recension of the collection represented by the devanagarl manuscript, a sadhana that is anyway repeated identically later in the collection (GSS39). The Guhyasamayasddhanamdld was not trans- lated into Tibetan, although some of its sadhanas appear in the bsTan 'gyur as part of other collections (details are given in notes to the appendix). Remarkable is that all forty-six sadhanas of the Guhyasamayasddhanamdld focus upon Vajrayoginl/Vajravarahl. Other sadhana collections, apart from being much larger, are more diverse. They include sadhanas relating to var- ious deities, sometimes arranged accordingly in groups inside the compila- tion. There are, for example, groups of sadhanas within the so-called Sddhanamdld that focus on other female deities (ch. 2), but not one of these has been preserved as a separate collection in its own right.

The reason the Guhyasamayasddhanamdld remained a discrete collection and was not absorbed into another collection is unknown. Perhaps as a grouping it was too large to be placed inside another collection, or perhaps it had its own pretensions to reach a desirable "fifty." Another suggestion \. is that this collection — with its single-minded concern with Vajrayogini

and its "contemporary" nature — may have been the initiative of a single scholar. This impression is heightened by its internal organization. The col- lection begins with traditional-style mandalas of the Cakrasamvara tradi- tion adapted to the female deity Vajravarahi. There follows a gradual shift toward mandalas exhibiting a more fully kdpdlika character, a trend that is further developed in the "skeleton arch" (karankatorana) sadhanas, which reject the temple-palace structure of the mandala altogether. Within this overall structure, the works seem to have been carefully, if approximately, grouped according to particular manifestations of Vajrayogini, and to the type of work in question. These groupings may be roughly broken down as follows, with some sadhanas appearing in this list more than once where



22 VAJRAYOGINl

different groupings overlap (the various forms of VajrayoginI are discussed in chapter 2, and the sadhanas are described individually in the appendix):

GSSi«GSS2

The first two sadhanas in the collection deal primarily with the hog- headed ardhaparyarika-pose Vajravarahi, and are attributed to the pres- tigious figures Indrabhuti and Luylpada.

GSS2, GSS3, GSS4, GSS5

The next manifestation is of Vajravarahi in her classic warrior-stance form. She appears by herself (GSS2, GSS4), in her fivefold mandala (GSS3), and finally in the full thirty-seven-fold mandala (GSS5).

GSS3, GSS4, GSS5 (GSS11, GSS16)

The third sadhana (GSS3) is by another eminent figure, Advayavajra. It is the first in a group of essentially Cakrasamvara-based works, all simi- lar in their exposition of the warrior-stance Vajravarahi within a mandala based on the temple palace. All sadhanas in this group salute Vajravarahi in their opening reverence. Umapatideva's Vajravarahi Sadhana (GSS11) is also of this type. An interesting sadhana that belongs in part to the Advayavajra group and in part to the Sahara- related texts, is the sadhana of the thirteenfold Vajradakini Vajravarahi (GSS16).

GSS6, GSS7

The next group is of two sadhanas redacted from the Abhidhdnottara- tantra, the first presenting a six-armed, seated manifestation of Vajravarahi in embrace with her consort within a thirteenfold mandala (GSS6), the second a twelve-armed ardhaparyanka-posc Vajravarahi in a forty-one-fold mandala (GSS7).

GSS8«GSS39, GSS13, GSS14, GSS41

The oblation ritual (homavidhih) that follows is one of a more dispersed group of oblation rituals in the collection.

GSS10, GSS43

There follow some distinctive, erotic practices of Vajrayogini, notably VajravilasinI (GSS10), who is also the subject of a stotra (stotram) or praise work (GSS43).

GSS12, GSSi7«GSS45

Similarly amorous are the "raised-foot" (urdhvapdda-) pose deities, first the red Vajravarahi (GSS12), and then the white Vajrayogini (GSSi7«GSS45).



VAJRAYOGINI AND THE BUDDHIST TANTRAS 23

GSS15, GSS18, GSS38

Next comes the red hog-headed "Vajraghona" manifestation of Vajra- varahl (GSS15, GSS18), possibly related to a white manifestation of the same deity (GSS5, GSS38).

GSS19

The next section of the Guhyasamayasddhanamdld deals primarily with magical erotic forms of VajrayoginI, such as a two-armed Vajrayogini at the center of a fivefold mandala (GSS19).

GSS20, GSS24, GSS25, GSS26, GSS27, GSS3o«GSS9

Another magico-yogic manifestation is the striking, self-decapitated Trikayavajrayogini ("Chinnamasta") in sadhanas GSS20, GSS24, and GSS25, and in verse works related to Virupa, GSS26 and GSS27. This form is related to the deity to be visualized in GSS9«GSS30.

GSS21, GSS22, GSS23

Another such group is that of the flying Vidyadhari Vajrayogini forms of the Sahara school.

• GSS28?, GSS29, GSS30, GSS31, GSS39
  

Next, the Guhyasamayasddhanamdld contains a collection of repeated works that are almost identical to those transcribed earlier in the GSS, but with minor differences. This section includes: *GSS28 (»GSSi9?), GSS29 (-GSS4), GSS30 (-GSS9), GSS31 (-GSS3), and GSS39 (=GSS8).

GSS32, GSS33, GSS34, GSS35

The collection then provides three svddhisthdna-method sadhanas (GSS32, GSS33, and GSS34), the internalized nature of which is also reflected in a rare four-armed form of warrior-stance Vajrayogini (GSS35).

GSS36, GSS37, GSS38

Some unusual Vajrayogini forms follow, such as the yellow Vajrayogini in falling-turtle pose (GSS36), and two white warrior-stance Vajrayogini forms, GSS37 an d GSS38.

GSS42, GSS43

There are two Vajrayogini stotras in the collection grouped together.

GSS40, GSS46

Finally, there are two commentarial works.



<



24 VAJRAYOGINI

While these groupings are not entirely even, they are marked enough to suggest a conscious arrangement of the materials. What is even more strik- ing is that this arrangement is complemented by the internal structure of the Abhisamayamanjarihy Sakyaraksita (GSS5). Sakyaraksita's work begins with classic sadhana meditations on Vajravarahi's thirty-seven-fold mandala, after which it becomes a compendium of alternative visualizations of the deity in her different manifestations (see appendix). The catalog of visual- izations supplied in the Abhisamayamanjari mirrors the sequence of the Guhyasamayasddhanamala collection as a whole, so that the classic warrior- stance Vajravarahi of the first part of the work is followed by the iirdhvapdda-pose Vajrayogini, Vajraghona, the two-armed Vajrayogini, and the Trikayavajrayogini forms. Thus, it looks as if the Abhisamayamanjari may have been used as a blueprint for the arrangement of sadhanas by the compiler of the Guhyasamayasddhanamala.



Tantric Sadhana

The importance of the Guhyasamayasddhanamala collection to the Vajra- yogini tradition, and its uniqueness as a collection, have now been estab- lished. However, the decision to edit and translate the Vajravarahi Sadhana by Umapatideva (GSS11) still requires some explanation. Not only are there many sadhanas in the Guhyasamayasddhanamdld deserving of attention, but tantric literature in general is vast, and sadhana itself forms only one genre within it. What, then, is the significance of the sadhana within the tantras? And what is of particular interest in Umapatideva's Vajravarahi Sadhana* A sadhana is a progressive sequence of meditative and ritual procedures that focus upon a particular deity or set of deities. It is a relatively late addi- tion to the tantric corpus. The first embryonic sadhanas appeared only in the eighth century with the yogatantras, and their form was still not stan- dardized by the time of the Hevajratantra. Perhaps one of the earliest ref- erences to sadhana practices appears in the yogatantra scripture, the Sarvadurgatiparisodhanatantra, which recounts "a sadhana taught by Sakyanatha" (p. 132 9b). The meditation is to be done "with the method of generation" (p. 130 8a: utp attikr amend) , and it is described as "the highest deity yoga" (devatdyogam. . . uttamam). Despite the inclusion of material not generally found in later sadhanas, it clearly sets out the key features of a mature sadhana, all of which will be seen as distinct stages in the Vajravarahi Sadhana (GSS11) studied here in chapter 3. Thus, it includes the usual



VAJRAYOGINl AND THE BUDDHIST TANTRAS 25

preliminaries, the construction of a circle of protection, the accumulations of merit and wisdom, pujd, and the merging of the mandala in space with the mandala in the heart. 44 The eighth-century commentator Buddhaguhya recognized the sadhana material in the Sarvadurgatiparisodhanatantra as distinct from the rest of the tantra, describing it as an "introduction" (gleng gzhi = niddna) to "the actual text" (mdo bshad) dealing with mandalas (Sko- rupski 1983: xxvii). Another yogatantra commentator, Vilasavajra, also approaches the topic in his Ndmamantrdrthdvalokini. In adhikara IV, Vilasavajra produces his own proto-sadhana, which includes key prelimi- nary meditations and the generation of deities within a mandala, but which lacks other established features of the later sadhana, such as developed stages of generating oneself as the deity, or the merging of the pledge and knowl- edge forms of deities (Tribe 1994; 1997: 115-17, 123-25).

The eighth century also saw the emergence of the Guhyasamdjatantra (GST), and the beginnings of the exegetical schools based upon it. This tantra begins to systematize the components of deity practice. It distin- guishes a fourfold sequence of meditations as a prelude to ritual undertak- ings (e.g., GST ch. 12, w. 60-65) that it refers to as: (1) service (sevd); (2) auxiliary attainment (upasddhanam); (3) attainment (sddhanam); and (4) great attainment (mahdsadhanam).^ These cover introductory and prelim- inary meditations (in the first and second stages), with the "urging" (codanam) and summoning of the deity, and its final visualization (in the third and fourth stages). A related schema in the Guhyasamdjatantra, also in four stages, focuses just upon the generation of the deity. This is the "[set of] four vajras" (vajracatuska), which corresponds in yoginitantra texts to the sequence of five awakenings. The Guhyasamdjatantra also distinguishes a stage of "generation" (utpatti), from a stage of "completion" (utpannal nispanna) (e.g., GST ch. 18, v. 84; see Wayman 1977: 23), an important classification that we will see in the mature sadhanas of the yoginitantra. The two stages or methods (kramah), the generation stage (utpattikramah) and the completion stage (utpannakramah, nispannakramah), were elaborated upon in the two schools of Guhyasamaja exegesis, each of which produced its own texts based on the classification. 46

The period of yogottara systematization took place in the ninth to tenth centuries in the setting of the great monastic universities (Mimaki and Tomabechi 1994: ix), a period that coincided with the emergence of the new yoginitantras. The highest tantra scriptures develop the deity meditations into sadhana-type practices that bear much the same form as the mature sadhana (e.g., Hevajratantra, devatdpatala 1.3 and Samvarodayatantra,



26 VAJRAYOGINl

sriherukodayanirdesapatala ch. 13). The four stages of the yogottara system (sevd, etc.) are still current — both implicitly in a fourfold structure of the sadhana-type passages, and explicitly through direct reference (e.g., HT1.1.25; ADUT ch. 14: 317©. It is also notable that the internal structure of these tantras may demonstrate the same sequence of meditative and rit- ual events as those we will see in our study of a mature sadhana. The Samvarodayatantra, for example, begins with the methods of generating the deity and his wider mandala, followed by the ritual practices grounded in that self-generation. 47 The structure of the Hevajratantra is similar and also mirrors the composition of a sadhana. 48 The scriptural sources of the yoginitantras therefore draw closely on the methods of the sadhana, and may be seen as products of existing praxis that cultivated sadhana or sadhana-type techniques. Without an understanding of these stages within the sadhana practice, the intended meaning of the tantras is lost.

At the same time, this period saw important developments in the form and structure of the sadhana itself. Such developments were doubtless stim- ulated by the new trends of the highest tantras and perhaps also reflected the need to clarify the practices outlined in the scriptures. Thus, features of the sadhana already evident in the yogatantra corpus underwent gradual defini- tion. The process is detectable in certain sets of sadhanas in the Sddhanamdld collection, such as the sizable collections of sadhanas grouped around man- ifestations of Avalokitesvara (SM6 to SM42) and Manjusn (SM44 to SM84). Here one sees how the peaceful cults of princely cakravartin-style bod- hisattvas are increasingly permeated by tantric elements, such as the preem- inence of the guru, the use of transgressive substances, erotic and wrathful Saiva-based iconography, erotico-yogic praxis, and cremation-ground motifs. The method of generating the deity is also refined, and evolves into the series of five awakenings found in the mature sadhanas, to be followed by the merging of its pledge and knowledge forms. By the time of the yoginitantra sadhanas of the Guhyasamayasddhanamdld, the form of the tantric sadhana was well established, and yet our study of the collection will reveal that the genre was still developing. In response to developments in the yoginitantra scriptures, some sadhanas will be seen to introduce cremation-ground (kdpdlika) features within the standard format of the sadhana, and others to reject mainstream formats altogether.

The sadhana is significant within tantric literature as a whole in that it mirrors and clarifies developments in content and method. As a genre it is particularly flexible, because its form may be easily adapted to cater to changing currents and trends in praxis. In this way, the sadhana is able to



VAJRAYOGINI AND THE BUDDHIST TANTRAS 27

elaborate and develop tantric practices that are lacking or marginal in the scriptural material itself. This is particularly pertinent in the cult of Vajra- yoginl/ Vajravarahi, which has no scriptural corpus of its own, but borrows from the scriptural tradition of Cakrasamvara. One reason Umapatideva's Vajravarahi Sadhana is a useful subject for analysis is that it highlights the processes of redaction by which new tantric techniques were adapted from existing ones — that is, how the author borrows from scriptural and exeget- ical sources concerning the Cakrasamvara mandala and its rituals, and alters them to describe the Vajravarahi mandala and its rituals. Since sadhanas are not tied to a particular scriptural source, we will see that dif- ferent works in the Guhyasamayasadhanamald draw on different parts of the Buddhist (and Saiva) traditions and produce a range of forms and prac- tices of Vajrayogini.

Above all, sadhanas are manuals of practice; they are the "means of attainment" (sadhanam) whereby the goals of the highest tantras may be realized. Their prescriptions encompass a range of meditation techniques and ritual procedures, the length and complexity of which suggest a full- time commitment to the practices. As shown earlier, little in the sadhana suggests the practitioner's broader lifestyle. His daily routine is indicated only by general injunctions that are embedded into the sadhana itself, namely, to rise early, to wash, to perform the sadhana in a solitary place pre- ceded by certain preliminary rites, to repeat it three or four times a day, and to perform various external rites on the basis of this meditation. Sadhana J tex ts also say little of the previous spiritual practice that has prepared the

I practitioner for taking up the sadhana or of the initiations that have qual-

fied him to do so. Such preliminaries are so fundamental to the tantric sys- tem that they are usually taken for granted by the author of a sadhana, whose audience is understood to be made up exclusively of initiates into the cult. As one sadhana in the Guhyasamayasadhanamald puts it, the prac- titioner should be someone "who has an undivided attitude of devotion toward his teacher and the Buddha, who has firmly seized the will to enlightenment, [and] who has correctly obtained initiation." 49 The topic of initiation or consecration is a vast and complex one; it is discussed briefly in our study of the sadhana at the point when the meditator visualizes his own consecration by celestial deities, a process that mirrors the types of consecrations employed by tantric teachers in their initiatory empower- ment of pupils. It is only after such inititations have taken place that cer- tain practices may be undertaken, indeed, that the sadhaka becomes obliged to fulfil his vows to practice.



1]



28 VAJRAYOGINI

The role of the guru in this process is, of course, central. It is upon his authority alone that the tantric systems depend. It is the teacher who trans- mits teachings, authorizes praxis, and performs the initiations that qualify pupils to identify themselves with their chosen deity in the practice of deity yoga. The importance of understanding the guru to "be" the Buddha (that is, the central deity of the particular tantric cult), the benefits of worship- ing him, and the evils of transgressing his instructions, are therefore favorite themes in tantric literature and often appear in frame verses to sadhana texts, for example: 50

The guru is the Buddha, the guru is the Dharma, and the guru is the Sangha. The guru is the glorious Vajradhara; in this life only the guru is the means [to awakening] . Therefore, someone wishing to attain the state of buddhahood should please the guru.

The post-initiatory observances are known as the observances of the pledge 01 samaya (samaydcdrah). 51 Their supreme importance to the newly conse- crated yogin is often emphasized by the texts with the insistence that the samaya be "protected." The yogin does this by practicing it faithfully, and by maintaining a strict code of secrecy. Reminders that the practices are secret (guhya) and solemn injunctions to secrecy are therefore common, especially when the texts invert traditional ethical norms by prescribing transgressive disciplines, such as sexual yoga. This leads us back to the cen- trality of the guru, who is the source of teachings that may well remain purely oral. The first sadhana in the Guhyasamayasddhanamdld is itself described as the "Oral Teaching of Vajrayogini" (Vajrayoginlmukhdgama), and its secret practices are said to go from "ear to ear, mouth to mouth." The sadhana includes a description of a parvapujd in which the yogin is to worship a young virgin and, while naked, make transgressive offerings of sexual fluids to the deity; it then enjoins secrecy, and reminds the yogin that if he wants to obtain siddhi, he must preserve the samaya. In a Vajraghona puja (GSS18), midnight offerings include incense made of powdered human flesh, following which the text states that "this is not to be told to any- one." 52 Secrecy preserved and enhanced the efficacy of the teachings, and was understood to be the crucial context for their practice, the essential ingredient that gave the antinomian cults of esoteric Buddhism their power. It was (and still is) of crucial importance to the practices of Vajra- yogini/Vajravarahi, who is described in one text as "mother of the guhyakas [lit: 'those with secrets,' i.e., initiates]" (n. 75).



VAJRAYOGINl AND THE BUDDHIST TANTRAS 29

Following his initiation into a sadhana practice, the pupil would next undertake a prolonged period of mantra recitation, which forms a prepara- tory foundation for undertaking the sadhana itself. This is referred to as "prior service" (purvasevd). Without this bedrock it is said that the sadhaka "would stun, damage, and harm himself" (mKhas grub rje: 275-79). The number of mantra recitations required varies according to different sys- tems. For example, in the Hevajra system (HT1.10.25ab) there are to be one hundred thousand for the lord of the mandala and ten thousand for the mandala retinue; similar numbers are given in the Vajrdvali for the Kalacakra texts, while in the Samvara system, there are said to be both medium and brief periods of service (mKhas grub rje ibid.). 55

Since authors of sadhanas say little about the preparation and training undergone by a sadhaka prior to his undertaking the practice, they assume that he has already acquired the necessary meditative, ritual, and con- ceptual skills. This most important meditative tool is the technique of visualization meditation. This demands that the practitioner be able to visualize the object of meditation, located either in space in front of him or at the center of his own body. Texts state that he should "see" (pasyet, avalokayet, ikseta) the object of meditation "very clearly" (GSS11 v.17: vispastataram) and unwaveringly (SM123: 254); he should "contemplate" (vi-cintayet), "imagine" (vi-bhdvayet), "meditate upon" (dhydyat), or "be convinced of (adhimuncet) it. The manner of producing the visualized object in the mind is described as the arising or generation (utpattih) of the object and usually begins with a mantra syllable representing the essence or source of the object to be visualized. This is known as its seed (bijam) or seed-syllable (bijdksaram), and it has both an aural dimension, such as the sound of the mantra syllable hum, and a visual dimension as the written form of that syllable, "f , seen with the mind. The seed-syllable then undergoes an imaginative transformation into the object for which it is the more essential symbol, which is expressed in Sanskrit as the object being "produced" or "born" (-ja, -bhuta, -nispanna), or — where there is a whole sequence of such visualizations — by their "evolution," "develop- ment," or "transformation" (parindmena) into the final object. 54 The visu- alized forms are understood to be made of light; they are vibrant, incandescent, pellucid, and yet as insubstantial as any other simile for emptiness. They scintillate with the emission and retraction of light rays that function as powerful agents of the meditation, acting to remove igno- rance and impurities, destroy obstacles, give succor to beings, or praise or coerce deities. 55



30 VAJRAYOGINI

The locus of the visualization is significant because it differs according to different rites, and plays an important part in the classification of the sadhana. The deity may be visualized "in space" (khadhdtau) in front of the meditator, as in the preliminary puja, or be generated within an exter- nal ritual object, such as a mandala diagram drawn upon the ground or upon the meditator's own hand. The process of generating objects of med- itation is at its most elaborate in the section that deals with the yogin's gen- eration of himself as the deity. Here the generation is located at the center of the yogin's own body, inducing in him the conviction that he "is" the deity. The sadhana is therefore a "means of attainment" because it is a tool for the transformation of the mundane into the the transcendental.

The application of the self-generation method at this stage generally clas- sifies the sadhana as a generation-stage practice (utpattikramah, see ch. 3). In a self-generation sadhana, the subject of prescription changes in mid- course. The mundane personage of the practitioner who begins the prac- tice is designated variously as the sadhaka, the yogin, the mantrin (literally, "the possessor of mantra"), or by some traditional laudatory epithet acknowledging that he is "a skilful one" (vicaksanah), wise (budhah), or learned in mantric lore (mantravit). In the course of the self-generation, the meditator acquires the transcendental identity of the chosen deity. The new agent is described as "one conjoined with the deity" (devatdyuktavdn), the practitioner of "deity yoga" (devatdyogah). He is the "yogin-as-deity" or, as in the context of our Vajravarahi visualization, the "yogin-as-goddess."

Another means of transforming a mundane object into a transcendental one is by symbolically equating one with the other. This is termed, literally, a "purification" (visuddhih). The correspondence is made on the firm under- standing or conviction (adhimoksah, niscayah) of the mundane object "as" the supramundane counterpart. The yogin understands that the true essence or inherent nature (svabhdvah) of the mundane element is ontologically equivalent to that of the supramundane, because both are empty (sunya). The mundane is "purified" through the practitioner's realization that emptiness pervades both sides of the equation. For example, a practice well attested in yogottara and yoginitantra sources is the purification of the yogin's entire pyschophysical being as a preliminary to undertaking the sadhana. Here, each of his five skandhas, his sense organs and the five elements in the body, are correlated imaginatively with a particular buddha, bodhi- sattva, or buddha-consort. The visuddhi is more than a means of imbuing an object with a symbolic value to an object, although a complex web of symbolic relationships may be implied, connecting together different levels



VAJRAYOGINI AND THE BUDDHIST TANTRAS 31

of reality. It is rather a "purifying correspondence" that associates the mun- dane with the supramundane on the basis of emptiness, and thereby purifies the former. As Sferra (1999) notes, in his discussion of the topic, the term visuddhi indicates on one hand "pureness," Buddha nature itself, "the ever shining and pure condition that is always present in all things. ... On the other hand, the term indicates purification and therefore a process or a means."

In addition to the sadhaka's skill in visualization and meditation tech- niques, he is expected to be a ritual specialist. Tantric ritual in general revolves around the methods of the sadhana, which provide the means and the rationale for rites, both on private and public levels. In the sphere of private practice, rituals of worship and propitiation are generally prescribed following the main body of the sadhana, and we will see how, according to the highest tantric systems, they can be undertaken only on the basis of deity yoga. The transformation of the sadhaka into the deity during the course of the sadhana is therefore the necessary preliminary to all other rit- ual acts whatsoever, and it is really the transcendental deity itself — in this case, Vajrayogini — who performs the rituals, and not the (unenlightened) practitioner. In the public arena, the transformative tools of sadhana med- itation are just as crucial. For example, rites of consecration (pratisthd) play a key part in communal practice, as all objects for religious use must be consecrated, from buildings such as monasteries and stupas, to objects such as statues of deities, painted images, the cloth on which those images are drawn, religious texts and manuals, initiation vases, ritual implements, and so on. In order to undertake the rites of consecration, the tantric offi- ciant must first have generated himself as the deity by means of the sadhana, and then, in his transcendental persona, must set about trans- forming the mundane object into a receptacle for the deity to enter, recre- ating it as the locus in which the deity becomes present and established (pratisthita). In this process, the tools of sadhana meditation are employed to generate the form of the deity within the object, to infuse it with supra- mundane wisdom, and then to initiate it according to the tantric system of initiations. In her detailed study of the consecration of images and stupas in tantric Buddhism, Bentor traces the elements of these complex public rites, and shows how they are in themselves a "special application" of the "basic transformative ritual" that is the sadhana (1996: especially 1-13; Tanemura 2002).

The transformative influence of the sadhana is intended to permeate the sadhaka s entire life. Rites are sometimes distinguished according to whether



32 VAJRAYOGINl

they are "outer" (*bdhyakriyd) or "inner" (adhydtmayogah) (e.g., mKhas grub rje: 219), and it is clear that the different elements of the sadhana cover both planes. On an outer level, sadhana prescriptions govern bodily actions and speech, as when the yogin performs his morning ablutions or prepares a suitable site for the meditation through mantra recitation. On an inter- nal level, we have seen how mental, imaginal, and experiential faculties all come into play in visualization meditation to create the conviction of new transcendental reality. But the rites and meditations of the sadhana cannot really be so clearly divided. External ritual actions also play an important part in the yogin's internal world, as the visualization meditations them- selves also include bodily movements such as hand gesture (mudrd), verbal utterance (mantrah) } or the complex mental activity of preparing and visu- alizing offerings to deities. In some meditations, the inner world the yogin has conjured up in the course of the sadhana is itself treated as if it were an "external" object and subjected to meditative practices that seek to inter- nalize it even further, integrating it within his experience on less and less conceptual levels. Note, for example, the increasingly subtle meditations prescribed within the context of yogic meditations, practices such as the contemplation of iconic and aniconic forms of deities and "drops" that are perceived within the yogin's own "veins" (nddis) and "body centers" (cakras) (ch. 3). Looked at another way, the internal world that is created through the practice of deity yoga must also be externalized and made to imbue all the yogin's outer actions in his daily life. This happens at the end of the sadhana, when the sadhaka is instructed to keep the internal convictions produced through his visualization meditation and to maintain an awareness of himself with the form and nature of Vajravarahi while he goes about his everyday business. In this way, his whole life becomes a meditative ritual. The inner and outer levels are thoroughly interwoven and interconnected, and come together to forge the practitioner's conviction that he is the deity on all levels of his being: on the external planes of his bodily and verbal action, on the internal planes of thought process and existential conviction, and on the subtle experiential dimensions beyond conceptualization. The method is thus perfectly allied to the goal of unification with the deity, or deity yoga.

The same methodology is reflected in the structure of the sadhana. It begins with a series of preparations that allow the sadhaka to assimilate himself to the outer and inner character of his chosen deity, and intensifies as he imagines himself reborn as Vajravarahi and infused with her wisdom. Since the sadhana is to be performed at least once daily, it results in a



32 VAJRAYOGINl

they are "outer" (*bdhyakriyd) or "inner" (adhydtmayogah) (e.g., mKhas grub rje: 219), and it is clear that the different elements of the sadhana cover both planes. On an outer level, sadhana prescriptions govern bodily actions and speech, as when the yogin performs his morning ablutions or prepares a suitable site for the meditation through mantra recitation. On an inter- nal level, we have seen how mental, imaginal, and experiential faculties all come into play in visualization meditation to create the conviction of new transcendental reality. But the rites and meditations of the sadhana cannot really be so clearly divided. External ritual actions also play an important part in the yogin's internal world, as the visualization meditations them- selves also include bodily movements such as hand gesture (mudrd), verbal utterance (mantrah), or the complex mental activity of preparing and visu- alizing offerings to deities. In some meditations, the inner world the yogin has conjured up in the course of the sadhana is itself treated as if it were an "external" object and subjected to meditative practices that seek to inter- nalize it even further, integrating it within his experience on less and less conceptual levels. Note, for example, the increasingly subtle meditations prescribed within the context of yogic meditations, practices such as the contemplation of iconic and aniconic forms of deities and "drops" that are perceived within the yogin's own "veins" (nddls) and "body centers" (cakras) (ch. 3). Looked at another way, the internal world that is created through the practice of deity yoga must also be externalized and made to imbue all the yogin's outer actions in his daily life. This happens at the end of the sadhana, when the sadhaka is instructed to keep the internal convictions produced through his visualization meditation and to maintain an awareness of himself with the form and nature of Vajravarahi while he goes about his everyday business. In this way, his whole life becomes a meditative ritual. The inner and outer levels are thoroughly interwoven and interconnected, and come together to forge the practitioner's conviction that he is the deity on all levels of his being: on the external planes of his bodily and verbal action, on the internal planes of thought process and existential conviction, and on the subtle experiential dimensions beyond conceptualization. The method is thus perfectly allied to the goal of unification with the deity, or "deity yoga."

The same methodology is reflected in the structure of the sadhana. It begins with a series of preparations that allow the sadhaka to assimilate himself to the outer and inner character of his chosen deity, and intensifies as he imagines himself reborn as Vajravarahi and infused with her wisdom. Since the sadhana is to be performed at least once daily, it results in a



VAJRAYOGINl AND THE BUDDHIST TANTRAS



33



spiraling circularity. It establishes and reestablishes the yogin in a form that he already believes himself to possess. The significance of the sadhana within tan trie literature therefore lies in the fact that it is the basic tool of all tantric praxis; it supplies the means with which the practitioner is to recreate ordinary reality as transcendental reality, and thus to achieve his — or her — ultimate aim.



i



2. The Cult of VajrayoginI in India






t | tHE SADHANAS of the Guhyasamayasddhanamdld present a rich and varied picture of the VajrayoginI cult in India between the tenth and twelfth centuries. In this chapter, we will take a closer look at the tantric practices that underpin the cult, focusing first on the influence of nondual Saivism. We then turn to the emergence of Vajrayogini within the broader context of other female deity cults, and also of Vajravarahi, who comes to be seen as one of Vajrayogini's chief manifestations. The rest of the chapter is really a survey of the forms of Vajrayogini that appear in the Guhyasamayasddhanamdld collection. These are gleaned from the sections in the sadhanas that deal with the generation — or more usually, self- generation — of the deity and describe her iconographical form and the set- ting in which she is to be visualized. Of the forty-six works extant in the collection, thirty-seven prescribe a visualization, or in some cases, several visualizations of the goddess, and so overall we find about fifty separate iconographical descriptions. In this way, drawing from the Guhyasamaya- sddhanamdld alone, we find almost twenty distinct forms of Vajrayogini.

Although the sadhanas of the Guhyasamayasddhanamdld undoubtedly include the main forms of the goddess, variations were constanly emerging as the cult developed. A full survey of all of these would entail not just wider investigation of Sanskrit sources than I have managed, but a study of both written and artistic sources for the cult in Nepal, Tibet, and Mongolia; there are also the fascinating but largely unplumbed riches of the Tangut empire, which developed a strong Buddhist identity during its two-hundred- and-fifty-year existence (982-1229) at a time contemporary with the cult of Vajrayogini in India. Among their conquests the Tanguts counted the city of Khara Khoto (c. 1030), from which many fine tangkas remain (e.g., plates 2, 3, and 11).



35



36 VAJRAYOGINI

Within the Guhyasamayasadhanamald, we find that the commonest sub- ject is the red, two-armed warrior-stance Vajravarahi (fig. 27). 56 It is this form that is the focus of Umapatideva's Vajravarahi Sadhana, and in our study of that sadhana in chapter 3, we explore in depth the visualizations and meditations associated with her and her mandala, and the various mantras and rites prescribed for her practice. In the survey of the forms and manifestations that follows, we find that Vajravarahi even assumes some- thing of the generic status of Vajrayogini, as she herself takes on a number of different forms. However, the different forms of the goddess are also quite distinct in a number of ways. Although I distinguish them here on the grounds of iconographical differences, a truer method of differentiat- ing the forms would be on the basis of the different mantras (often based on the Vajrayogini root mantra), which — following Saiva models—authors took great care to preserve. Following the iconographical descriptions of each form, I therefore give a brief account of the associated mantras and rit- uals; this also mirrors the structure of the sadhanas themselves.

Where possible, I have tried to find artistic representations to illustrate the various forms of the deity. In the case of some sadhanas, it has been pos- sible to draw on a set of wooden block prints that were commissioned in Mongolia in 1810 in connection with an empowerment ceremony given by the fourth Panchen Lama, bsTan pa'i nyi ma phyogs las rnam rgyal (1781— 1854) (Tachikawa et al. 1995: 7; Willson and Brauen 2000: xvii). The textual basis for the Mongolian icons of Vajrayogini is a compilation of sadhanas that the fourth Panchen Lama produced especially for the empow- erment ritual, known in brief as the Rin lhan. The basis for the Rin than is a cycle of over three hundred Tibetan sadhanas compiled in the early sev- enteenth century by Taranatha (1575-1634), and commonly known as the Rin 'byung brgya rtsa. Taranatha himself was drawing on translations of Sanskrit sadhanas that reach back to the time of the Guhyasamayasadhana- mald; indeed some of the forms of Vajrayogini in our collection are also described in the Tibetan texts of the Rin lhan, the fourth chapter of which is devoted to this deity. 57

The woodblocks were produced from the textual descriptions of the Rin lhan. The set consists of over five hundred miniature images of deities with their mantras, for use during initiations or as an aid to visualization. They have now been published at least three times, in different forms, and under different titles: 58 (1) as a set of prints from original woodblocks (Tachikawa et al. 1995); (2) as set of line drawings based on the woodblock prints, but



THE CULT OF VAJRAYOGINI IN INDIA 37

altered in some standard details; commissioned by Lokesh Chandra, and appearing in his various publications as part of the so-called "Narthang Pan- theon" (between 1959 and 1988) ; 59 and (3) as a set of color prints, perhaps dat- ing to around 1850, shown to have been carefully painted to the drawings of the woodblocks, and somewhat embellished (Willson and Brauen 2000).

To illustrate forms of VajrayoginI from the Guhyasamayasddhanamdld, I draw on the set of woodblock prints commissioned by Lokesh Chandra. I am also able to reproduce in color the painted versions of several Mon- golian icons in plate 10. Where no Mongolian icon is available (and where I have found no other artistic source), I have commissioned an original line drawing in a similar style by a contemporary English Buddhist artist, Dharmacari Aloka. His line-drawings are careful conjectural reconstruc- tions drawn according to the Sanskrit text, which we have conceived as an aid to the reader in imagining the forms of the deity described but with no claim to "authenticity" beyond that. Indeed, the Mongolian icons them- selves are late Tibetan reconstructions in the style of their time and shed no light upon how these forms may have been conceived originally by the Indian authors of our texts.



The Influence ofNondual Saivism

A formative influence upon the VajrayoginI cult was that of nondual Saivism. Pioneering research in this area by Sanderson (1993, 1994b, 1995, 2001b) has shown the highest Buddhist tantras to be startlingly reliant upon nondual Saiva sources; so much so that it amounts to no less than what he calls "pious plagiarism" (1995). Sanderson (2001b) estimates that in the root text of the Cakrasamvara tradition, the Laghusamvaratantra, "long passages, amounting to some two hundred verses, nearly a third of the whole, can be seen to have been redacted from Saiva originals," which — since this part of the Saiva canon is itself only partly preserved — must indicate an impressive debt. The Saiva cults that leave their imprint most strongly upon the higher and highest Buddhist tantras are those belonging to the mantrapitha or "seat of mantras," and the vidydpltha or "seat of vidyas," both of which are divisions within that stream of Saiva dispensation termed the mantramdrga, or "path of mantras" (Sanderson 1988: 668ff.). 60 Worship within the mantrapitha was of a type of Siva called a "bhairava" ("terrible"), a wrath- ful, cremation-ground form of the god in union with an equally terrible



38 VAJRAYOGINI

consort, such as Svacchandabhairava (or Aghora) and his consort, Aghore- s'vari. The cremation-ground elements are even more in evidence in the Vidyapltha, where they relate principally to esoteric cults based upon fem- inine power (saktih) such as those of the Trika and the Krama. The Trika focuses on three goddesses, Para, Apara, and Parapara, who have subordi- nate consorts in bhairava forms and retinues of male and female deities. The Krama cults manifest fierce forms of the goddess Kali. In one of the highest forms of nondual Saivism, the goddess is worshiped within a mandala of twelve identical Kalis; she appears alone without any consort, indeed, stamping upon the corpse of Bhairava, or wearing parts of his dis- membered body for her ornaments {ibid.: 674-75). 61 The Vidyapltha per- ceived itself as related but superior to the mantrapitha, just as the Buddhist yoginitantras perceived themselves as related but superior to the yogottara- tantras. It is from the Vidyapltha tradition that the yoginitantras drew most heavily.

Sanderson has pointed to a number of ways in which the Buddhist tantra is indebted to the Saiva tradition (1988: 678-79; 1994b; 1995; 2001b), and what follows is a brief summary of his findings with just a few exam- ples. First, the Buddhist tantra borrows on the textual level. One way it does this is to draw on Saiva scriptural titles, with little or no adaptation to the new Buddhist context. For example, the Buddhist title Yogini- samcdratantra points directly to the Saiva chapter title Yoginisamcdra (in the Kali-centered Jayadrathaydmalatantrd) . Another Buddhist tantra title, Sarvabuddhasamdyogaddkinijdlasamvara, is closely influenced by the titles of two Saiva works, the Sarvavirasamdyoga and the Yoginijdlasamvara, while the Buddhist Hevajraddkinijdlasamvara again draws on the Saiva title Yoginijdlasamvara.

As well as relying on Saiva nomenclature, great portions of text are drawn wholesale from Saiva sources. For example, Sanderson (ibid., espe- cially 2001b) has shown that the root Cakrasamvara scripture draws directly on Saiva sources in the chapter teaching how to identify and distinguish members of the various families; thus the Laghusamvaratantra (ch. 19) describes the characteristics of a class of yoginis known as "lamas" by draw- ing directly on the Saiva Siddhayogesvarimata (ch. 29), and on the same theme the root text (chs. 15-17) draws directly from the third satka of the Jayadrathaydmalatantra (Yoginisamcdra section, the Samaydcdracestd- vidhdna patala, w. 116-48); it also incorporates portions from Trika texts such as the Nisisamcdra and the Tantrasadbhdva. The so-called explana- tory tantra to the root text, the Abhidhdnottaratantra (ch. 43), has drawn



THE CULT OF VAJRAYOGINI IN INDIA 39

directly on the Picumata-Brahmaydmalatantra (ch. 85) for the rules (samayas) that bind initiates; the Samvarodayatantra (ch. 15) draws also upon the Pic'umata (ch. 4) for the classification of skull bowls. As one may expect from such a heavy reliance upon the Saiva texts, apart from the stunning number of parallel verses, there is also a high degree of overlap in stylistic convention and stereotypical expression, such as the common introduction: "Next I will explain. . ." (athdtah sampravaksydmi. . .). In these ways, the Saiva texts serve not just to provide concrete materials on vari- ous topics, but become structural models for the new Buddhist composi- tions. This affected even the most unique element of any tantric practice, the mantra, which may not only be written down according to Saiva con- ventions for preserving mantras intact, but are themselves in the style of the Saiva vidyapltha {ibid. 2001b: n. 52). A clear example of Buddhist recy- cling and adaptation of a Saiva mantra is found in the Guhyavajravildsini- sddhana (GSSio) discussed below.

Second, the Buddhist tantras have taken their wrathful and erotic ori- entation from Saiva praxis. The terrifying, cremation-ground character of the higher Buddhist tantras has its roots in Saiva mythology. According to the myth (described variously in the Puranas), the original skull observance (kdpdlavratam), or "great observance" (mahdvratam), was the result of a quarrel between Brahma and the Vedic form of Siva, Rudra. When Rudra ends the matter by plucking off Brahma's head, he finds he has commited the heinous crime of slaying a brahmin (brahmahatyd). He is then forced to undergo a period of extreme penance in which he lives in exile from soci- ety, dwells in cremation grounds (sites of the greatest impurity), smears himself with ashes of the dead, and begs for food using a bowl made of a human skull. Orthodox Dharmasastra (as mirrored by the myth) states that brahmin-slayers can only expiate their offence through a period of twelve years in exile, by inhabiting cremation grounds and by carrying a skull bowl (kapdlam) and skull staff (khatodngah) when begging food. Manu, for exam- ple, states that "A priest-killer should build a hut in the forest and live there for twelve years to purify himself, eating food that he has begged for and using the skull of a corpse as his flag" (11.73, trans. Doniger 1991). The mythical role model of the penance of Rudra became the direct inspiration for early ascetic cults in the atimdrga ("outer path") stream of Saivism, such as the Pas'upatas (dating from the second century) and in particular their more extreme offshoot, the Lakulas (Sanderson 1988: 664-66). Lakula as- cetics adopted the outer appearance and behavior of Rudra as part of a pro- gressive series of practices aimed at complete immersion in the god. Skull



4 VAJRA YOG INI

observances were also adopted by ascetics in the mantramarga stream of Saivism, who moved away from the liberationist goals of the atimarga, choosing instead to aim for the acquisition of supernatural power (bhogah). They wore bone ornaments and carried the skull staff of kapalika obser- vance, but modeled themselves instead upon terrifying cremation-ground ectypes of Siva, whom they worshiped with impure substances such as alco- hol, blood, and sexual fluids obtained from intercourse with a consort in orgiastic rites {ibid.: 667-ji).

The Buddhist initiate into the esoteric cults of the yoginitantras likewise performed a skull observance, known as the "vow of the observance of heroes" (viracaryavrata), or the vajra (i.e., "Vajrayanist") skull observance (vajrakapdlikacaryavratam)? 1 As in the Saiva tradition, this was based on the practitioner's inner identification with his chosen deity and involved wor- ship of the god with impure substances. In Abhayakaragupta's description of the "vajra skull observance" (Sanderson 1994b: 91, 98 n. 2), the male practitioner wears the attributes of the Buddhist deity Cakrasamvara. He adorns himself with a garland of skulls, a tiger skin as lower garment, a brahmanical thread made of sinews or human hair, a headdress, a garland, a vajra, armlets, anklets, and little bells, and he visualizes his consort as Vajravarahl. While the Buddhist observance, like the Saiva counterpart, also brings the promise of supernatural attainment (siddhih), the goal is ultimately that of enlightenment.

Another feature of the Vajrayogini cult that owes its origin to non- dualistic Saiva developments is its emphasis on the worship oifonale_deities. In the vidyapitha traditions of Saivism, the cremation-ground cults center on families of "mothers" (see p. 43): classes of wild yoginis who drink blood, wear skull ornaments, and are enticed by impure offerings of bodily and sex- ual excretions (Sanderson 1988: 67off). In this context, the central god- desses of the Trika rise above their male consorts in status to become the chief deities of the mandala, while esoteric forms of Kali emerge entirely from the embrace of their consorts. As a sign of her supremacy, Kali sub- jugates her former consort by trampling him underfoot. We will see Vajra- yogini and Vajravarahl rise above the male forms in the same way in the Buddhist tradition, and with the same iconographical symbolism. Within the highest Buddhist tantras, however, the iconographical borrowings take an unexpected turn, as it is not the deities of outmoded Buddhist systems that are trodden down, but the Saiva gods themselves. Thus, while the motif of subjugation is another example of the Buddhist reliance upon Saiva norms, it clearly expresses the Buddhist superiority over those norms.



THE CULT OF VAJRAYOGINl IN INDIA



41



Transgressive Discipline (vamacarah)



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As in the esoteric Saiva systems, kdpdlika and sexual practices in the Bud- dhist tantras are grounded upon a metaphysics of nonduality. Its purpose is to counter the ordinary, conventional dualism of the mind that naturally perceives aspects of the world as either "pure" or "impure." By shattering these instinctive responses, kdpdlika practices radically challenge the unen- lightened dualistic tendencies of the mind, attacking the innate dichotomy of subject and object and forcing it to break through to the experience of a nondual reality. In both nondual systems, the underlying method is that of "transgressive discipline" or "conduct of the left" (vdmdcdrah).

The "left" (vdma) in vdmdcdra refers to the left hand, which in Indian society is reserved for impure bodily functions and signifies impurity. The rites of the highest tantras, however, specifically prescribe the use of the left hand. This forms a powerful contradiction of cultural norms that refy on the use of the rig hthand to mai ntain purity. Use of the left hand, especially within a ritual context, was from an orthodox standpoint, nothing short of socioreligious iconoclasm. Because orthodox brahmanical society relied upon the strictest preservation of purity, transgressive discipline set out to undermine sanctified distinctions between pure and impure wherever pos- sible, embracing deeply felt taboos and relishing contact with sources of the greatest impurity. Thus, by taking place in cremation grounds, and requiring ornaments of human bone, kdpdlika observances place the prac- titioner in contact with that gravest source of impurity: death. Many high- est tan trie rites also involve the use of impure substances such as alcohol and bodily fluids, either for drinking or for washing. Sexual regulations, tradi- tionally essential to the preservation of class and caste structures, are also overturned. Texts that prescribe sexual yogic practices often recommend the use of consorts from the most taboo groups such as close relatives, or untouchable and contaminated classes 1 — a fact reflected in the names of goddess consorts such as Saundini, 2. female from the liquor-selling caste (GSS11 v. 51O. The ideal consort is erotically provocative. Abhayakaragupta states that, if possible, a consort should be young and beautiful, as well as an initiate {samayini; lit: "holder of the pledge"). 63 Sanderson (1995) has commented on the difference between the two tantric traditions, stating that "If there is a significant difference between the iconographies of the rival systems, it is that the Buddhist is more explicitly erotic than the Saiva.... In internalising the image of Saivism, the Buddhist has exagger- ated it." Transgressive discipline is central to the practices and iconography



I



42 VAJRAYOGINI

of Vajrayogini. She is to be visualized within a cremation ground, naked but for ornaments of bone, and not only sexually empassioned, but "streaming" with blood (n. 382); a provocative juxtaposition given the traditional pre- scriptions that strictly separate intercourse and menstruation (e.g., Manu, 4.40-42).

Within the context of the ordained Buddhist sangha, prescriptions for sexual practices were (if possible) even more radical in that they required a deliberate, yet legitimate, inversion of the celibate monastic code. In this way, transgressive discipline not only overturns embedded cultural norms, it intentionally challenges the fundamental ethical and doctrinal tenets of Buddhism. Rather than eradicating the "poisons" (klesas) of lust (rdgah) and wrath (dvesah), as traditional Buddhism would have it, the yogin is to use his passions as a means of eradicating all defilements. The highest tantras explain this type of practice as operating through a "homeopathic cure" (Snellgrove's translation of viparitausadhikalpandt, HT2.2.47); it works on the same analogy as the curing of poison with another dose of poison, of flatulence by eating beans, of burns by heat, and so on (HT2.2.46-49). In the same way, the poison of passion is said to be cured by passion (HT2.2.5iab). In fact, "By whatever sin [ordinary] beings go to lower realms, by that same 'sin' a yogin quickly attains success." 64

The first work in the Guhyasamayasddhanamdld ends with some typical tantric verses in praise of vdmdcdra. These begin with a pun on the word vdma (left) /vdmd (woman); they then describe how socioreligious norms governing religious rituals and commensalism are to be broken, and instinc- tive notions of impurity put aside. The passage ends with a reminder that the "cure" worked by vdmdcdra functions on the metaphysical plane through the principle of nondualism: 65

(v. 4) The entire universe, the three worlds including the ani- mate and inanimate, have arisen from the left (vdma-) (or: have arisen from woman, vdmd^) . The yogin whose discipline is always transgressive should step out with his left foot in front [when starting to walk] , he should make offerings with the left hand, —

(v. 5) gratify deities and eat food with the left. The observance of five classes [namely, the four classes plus "untouchables"] is considered to be as one class.

(v. 6) One should abandon [notions of] "to be eaten" or "not to be eaten" [with regard to solid substances], and "to be drunk"



THE CULT OF VAJRAYOGINl IN INDIA 43

[or "not to be drunk" with regard to liquids], [and all] inhibition and shame. The yogin is free of all conceptualizations and has put aside all dualities, for he should dwell like a lion with the "assem- blies of the net of yoginis" (yoginijdlasamvaraih).



The Emergence ofVajrayogini

These developments in the nondual Saiva and highest Buddhist tantras provided the fertile soil in which the cults of female deities took root. The cremation grounds and mountainous wilds in which the deities of the higher tantras dwelt were the locus of powerful female spirits such as yoginis and dakinls and other classes of demonic female (which in Saivism included s'dkinis, yaksinis, and rdksasis) . 66 Dakinls are protean, flying, witchlike beings. 67 Their association with tantric practice had been longstanding — Sircar (1948: 105), for example, cites an early fifth-century Vaisnava inscrip- tion in a temple in Mandasor that describes "a terrible abode, full of dakinls." The aim of much tantric yogic practice was to access the power of these terrible spirits by delighting them with the transgressive offerings, including offerings of sexual fluids, and inducing them to serve the yogin's own interests. On the yogini cults of the nondual Saiva Trika, Sanderson (1988: 671) writes, "The goal of the initiate was to force or entice these yoginis to gather before him and receive him into their band (yoginiganah), sharing with him their miraculous powers and esoteric knowledge." Although the goddesses generally inhabited the power seats {pithas) asso- ciated with the cremation grounds, they were also believed to possess women "and thereby to enter into the most intimate contact with their devotees" (ibid.). Human or divine, s'aktis were divided into recognizable classes and families, the predominant being those of the eight families of the "mothers" (mdtr/mdtrkd), namely Brahmi (or Brahmanl), Rudrani (or Mahesvarl), Kaumarl, Vaisnavi, Varahl, Indrani (or Aindrl), Camunda, and Mahalaksmi (Sanderson 1998: 672; Heilijgers-Seelen 1994: 102).

In Buddhist sources, the taming of these powerful forces is a major theme of the legendary accounts of tantric adepts or siddhas. Mahasiddha Kambala, for example, confronted a whole assembly of dakini witches, forcing them to spew up the fragments of his woolen blanket, which they had cunningly stolen — and then eaten (Dudjom 1991: 486-87; Dowman 1985: 180-83). In common with the Saiva sdkta traditions, female spirits were particularly asso- ciated with the semimythical Oddiyana, a place name traditionally related



44 VAJRAYOGINI

to the word ddkini, and thus to flight. 68 Oddiyana is described in the Leg- ends as a kingdom divided into two halves, Sambhala and Lankapuri, each having two hundred and fifty thousand towns. King Indrabhuti ruled Sam- bhala, while Lankapuri was under the dominion of King Jalendra who mar- ried Indrabhuti's sister, Laksmlnkara. As for its geographical location, on the authority of the Buddha himself (as reported in the Blue Annals: 361), the kingdom of Indrabhuti is located "in the northern quarter, in s'ri Vajra- sthana Oddiyana." 69 According to the legendary tales, dakinis make many magical appearances in Oddiyana. In one version of Ghantapada's life, the adept travels to this land through divine intervention, where he encounters a female swineherd who becomes his instructress and later transpires to be none other than Vajravarahi herself (Dowman 1985: 273). Because yoginis were believed to take human form in this way, they were considered to be ideal consorts for yogins engaged in sexual yogic practice. Large portions of the redaction from Saiva sources in the Cakrasamvara corpus concern the signs by which adepts may recognize and communicate with females belong- ing to one or other of the yogini or dakini families. 70 Because the vajra fam- ily is that to which the heruka forms of the yoginltantras belong, the human consorts of the vajra class were particularly valued. The Hevajratantra (HT1.6.8-9) recommends a girl from the vajra family (vajrakanyd) as the ideal consort (failing which, the text adds, one may be taken from the fam- ily of one's chosen deity, or from some other family).

The way in which Buddhist yoginis are differentiated from female spir- its of other tantric systems is by the characteristic tag vajra, the distin- guishing mark of nondual Vajrayana Buddhism. They thus become known as vajra-y oginis and vajra-dakinis. A commentarial text in the Guhya- samayasddhanamdld opens by explaining the word vajra in vajrayogini'm just these terms: "[The word] vajra serves to exclude (nirdkaranam) the yoginis of the heretics and so forth." 71 The term vaj ray ogini was thus generic and denoted females — human or divine — who were analyzed in tantric texts by character and appearance into their various classes and families. As a solo deity, Vajrayogini is the vajra-yogini par excellence, "leader of the yogini hordes." 72 That she, too, has a generic quality emerges from the texts of the Guhyasamayasddhanamdld. The great majority of sadhanas begin with a salutation to Vajrayogini, or name Vajrayogini in a benedictory verse or introductory statement. However, less than a third of the forms subse- quently described in the visualization are actually named "Vajrayogini." We will see that most receive a different appellation and prove to be icono- graphically distinct.



THE CULT OF VAJRAYOGINl IN INDIA * 45

Before we move on to look at the different forms of VajrayoginI, it is important to note that her cult is but one of many female deity cults within the highest Buddhist tantras. Other vajra-yoginis had also emerged, cen- tering on female figures drawn from both exoteric and esoteric traditions. Some had been important female buddhas or bodhisattvas in their own right, or had appeared as relatively minor goddesses in their mandalas but had now taken on tantric forms and become the focus of tantric worship. Others had been consorts to major male deities and had gradually risen in status to occupy the center of tantric mandalas, with their male consort expelled. Many of the characteristics we find in the cult of Vajrayogini are also found among such deities. They, too, draw upon the stock of tantric — often Saiva-imported — imagery and method that existed within the high- est Buddhist tantras; and within their individual cults, they also manifest in different ways, rich with varying iconographical forms and siddhi-related rites. There is a great deal of overlap between some of these manifestations and the forms of Vajrayogini.

A plethora of tantric forms, for example, center on the well-known fig- ure of Tara, and these in themselves provide ample evidence for the abun- dance of female deity cults in India. Indeed, tantric manifestations of Tara have so many forms that they would need a whole book to themselves. One such is Vajratara, subject of a handful of lengthy sadhanas (e.g., SM93-97), including one by Ratnakaras'anti (SM110) who has a number different forms. Another is Janguli (SM117-22), famous for protecting from snakebite (e.g., SM118 p. 247) and invoked during the construction of monasteries (Tanemura 2002: 6y n. 1), perhaps for this reason. Yet another is Ugratara or "Fierce Tara" (also known as Tara of "Great China," Mahacinatara SM100— 102), whom we have already noted shares a temple with Vajra- yogini in Sankhu, Nepal. There is also the irresistible Kurukulla (SM171-90; Beyer 1978: 301-10). Red in color, and poised to shoot a bow and arrow made of flowers, she is particularly associated with rites of love and subju- gation, characteristics we will also see among the forms of Vajrayogini. Two of Tara's former attendants (in her peaceful Khadiravani-Tara form) also rise to prominence in the tantric traditions as central deities in their own right, and both illustrate once again the way in which their tantric practices overlap with those of Vajrayogini. Ekajata is represented by only five sadhanas in the Sddhanamdld (SM123-27), but these describe about the same number of forms, including an extremely fierce manifestation with twenty-four arms and twelve heads; this sadhana ends with the visualiza- tion of a classic two-armed form of Vajrayogini at one's heart — red, fierce,



4 5 VAJRAYOGINI

and dancing in the ardhaparyanka pose (SM123 p. 259). Of even more obvi- ous significance to the cult of Vajravarahi is the goddess Marici who has six- teen sadhanas in the Sadhanamala (SM132-47), and one in the Nispannayogavali (no. 17). Within this small but diverse collection, over half a dozen forms of Marici emerge, with multiplicities of heads, arms, and legs. Like most forms of Vajravarahi, Marici is also presided over by Vairocana, but her most striking similarity with Vajravarahi is the hog motif that permeates her iconography. She has a chariot drawn by seven hogs (so that she is frequently compared to Surya, the Indian sun god, whose char- iot is drawn by seven horses), and several of her subsidiary heads may be hogs' heads. Even in her single-headed form she said to "have the form of a hog" (SM141 p. 289: sukararupa-) . She also has four attendants who are all hog-headed, one of whom is called "Hog-Face," Varahamukhi. The ter- rifying presence of the hog's head, in both cases, does not preclude the god- dess' association with erotic forms of practice. Marici's attributes include a branch of an As'oka tree, as well as the bow and flowery arrow, and a hook and noose, all of which indicate the mode of attraction and love (and by association, the power to subjugate and bring others under one's control). Although she has many characteristics of a cremation-ground deity, Marici's sadhanas usually state that she is to be visualized within a caitya (two more of her attributes are a needle and thread, part of a monk's domestic pos- sessions), which is possibly why so many early statues of Marici remain from the Buddhist monastic sites of India. 73 Plate 5 depicts a fairly late Tibetan statue of a goddess identified by von Schroeder (2001: 1054) as Marici ('Od zer can ma). She has a single hog's head and four arms, iden- tical, in fact, to our hog-headed, four-armed form of Vajravarahi called Vajraghona, who also holds a vajra and hook (right) and a skull bowl and noose (left), with a staff tucked into her left shoulder.

Many other examples of female deity cults could also be given, all bear- ing strong resemblances to that of Vajrayogini. Nairatmya, like Vajravarahi, is another example of a consort to a preeminent heruka deity, in this case, Hevajra. She emerges in her own right as the heroine of her own mandala based on Hevajra lines, as a handful of sadhanas in the Sadhanamala and Nispannayogavali testify. 74 Her form, while blue in color and without a hog's head, is very similar to that of the ardhaparyanka Vajravarahi. A wonderful illustration of a blue dakini in this pose is the early thangka from Khara Khoto in plate 3 (Nairatmya has the blue, earth-touching Buddha Aksobhya on her headdress, indicating that she belongs to the vajra family). Vajra-



THE CULT OF VAJRAYOGINI IN INDIA 47

yoginl also has connections with another Aksobhya-family heruka, called Mahamaya. The tradition of Mahamaya emphasizes the transcendence of the feminine principle in an unusual manner. Despite being a male deity, his name is feminine in gender, and he is referred to as "the mother of all

guhyakas" His consort is BuddhadakinI — "dakini of the Buddha(s)" and

he is worshiped in embrace with her at the center of a mandala of four dakinis (who also appear elsewhere within a mandala of a wrathful black form of Vajravarahl). 75 VajrayoginI herself appears in one instance as BuddhadakinI within the Trikaya VajrayoginI sadhanas, and her main mantra includes the invocation of the mantra deity, Sarvabuddhadakinl. This epithet is in itself telling. While it is not the name of any independent form of VajrayoginI, according to the Indian sources I have seen, it clearly asserts that — at least within the VajrayoginI cult — VajrayoginI is understood to be the "dakini of all buddhas"; that is, she is the supreme manifestation of a Buddhist dakini, the preeminent vajra-yoginl, and the summation of all tan trie female deities.



The Emergence of Vajravarahl .--

The most common form of VajrayoginI in the Guhyasamayasddhanamdld is Vajravarahl. Hailed as VajrayoginI in the salutation of most of the Vajravarahl sadhanas, Vajravarahl is regarded as essentially the same as VajrayoginI; that is, as a vajra-yoginl: "from inside that [dharmodayd] arises the goddess Varahl who is VajrayoginI [or: Varahl who is a vajra-yoginl]."^ 6 Vajravarahl's name means "vajra-hog" (vardhah is a hog or boar), or "Bud- dhist"-Varahl. Her origins lie in the brahmanical goddess, Varahl, who was widely worshiped as one of the seven or eight mothers (mdtrkds); indeed, she is still worshiped as such in Nepal, although clearly distinguished from the Buddhist goddess, Vajravarahl (Gellner 1992: 96, Bautze-Picron 2000). Usually portrayed with the single face of a hog or a boar, the brahmanical Varahl is the female counterpart of Varaha, Visnu's avatara as a boar. She is often four-armed, holding hook or goad (left), noose (right), and ham- mer or mace and spear, and she is pot-bellied, fierce and powerful, invoked to destroy enemies (Biihnemann 200oi: 120-21; Donaldson 1995: I58ff). The Buddhist deity inherits her wrathful character and, just as Varahl with her gruesome head, is intended to inspire terror in her enemies, so Vajravarahl's character is fierce and wrathful.

Like Varahl, Vajravarahl does not always appear with a hog's head, but



48 VAJRAYOGINl

in one of the commonest forms of Vajravarahl, a snarling hog's head attached sideways to the right of her head can be seen. Fearsome animal- headed forms are traditionally associated with protection, and this seems to be the purpose of the characteristic hog's head in Vajravarahi's iconogra- phy. None of the Sanskrit sadhanas add anything more on its significance or symbolism, although the pig is traditionally associated in Buddhism with the root poison of ignorance (mohah), and Tibetan literature reads Vajra- varahi's hog's head as the sublimation of that passion (e.g., Simmer-Brown 2001: 142). I have seen only one passing reference in Sanskrit sources in this connection: a goddess, Pramoha ("Deluder"), appears in an early yogini- type mandala who is said to have the face of the "primal boar" (i.e., Visnu as Varaha) with a "deluding gaze." Even here, however, the text's empha- sis is upon her wrathful character. 77 Wrathful tantric deities are said to be "fearful to fear itself — or "dangerous to danger itself" (e.g., HT2.5.8: bhayasydpi bhaydnakam) — and thus their wrath is understood to be an expression of their great compassion. Vajravarahl, in common with other tantric deities, is described as "terrifying (bhisand) with anger [which is in fact displayed out of] compassion (karundkrodba)."^ 8

The hog-faced goddess seems to have entered Buddhist scripture in the yogatantras. In the Sarvatathdgatatattvasamgraha (ch. 6: 60), Varahi is named as one of the Saiva all-mothers {sarvamdtrs) located in the hell regions, who upon her conversion to the Buddhist mandala by Vajrapani assumes the name Vajramukhl ("Vajra Face"). In the yoginltantras, a hog- faced goddess "Varahi" appears in Heruka mandalas as one of many atten- dant goddesses, such as those surrounding the Yamari forms in the Krsnayamdritantra and commentary. As we have seen above, she is also one of a set of hog-faced attendants to Marici, along with the hog-faced Vart(t)ali, who is another form of the brahmanical Varahi and also associ- ated with protection (Biihnemann op. cit.: 152-54). Vajravarahl assumes greater importance in the mandalas when she becomes the consort of the central Heruka manifestation; and in this role, her iconography changes. She appears in the Hevajratantra at the end of its proto-sadhana (HT1.3) as the "wisdom" (prajnd) consort of an alternative form of Hevajra with four arms. Here she is described as having the same form as her lord, that is, blue in color, and holding the skull bowl and vajra in her free hands (HT1.3.17)' but without any mention of a hog's head. She is also described as an alter- native consort to Hevajra in a couple of mandalas in the Nispannayogdvali- But Vajravarahl really takes center stage within the Heruka mandalas only when she is taken up as consort to Cakrasamvara. The tantric systems cen-



THE CULT OF VAJRAYOGINI IN INDIA 49

tered on Cakrasamvara worship him as a blue, Heruka, Bhairava-type deity with twelve arms, who holds Vajravarahl in embrace (plate 11). Here the goddess assumes her own distinctive form, once again without any hog's head. She is red, two-armed, and maddened with lust. In her right hand she holds a vajra, and in her left she raises aloft a skull bowl overflowing with blood, which she pours into the open mouth of her lord so that he may drink. Vajravarahl remains the consort of Cakrasamvara when he manifests in other guises, such as the form of Vajrasattva-Jnanadaka at the center of the Satcakravartimandala from the Abhidhdnottaratantra, in which the central couple is surrounded by five daka-buddhas. Here she is named var- iously Jnanadakini, Jnanadhatvlsvarl, or Vajravarahl {Nispannayogdvall: 79). Her iconographic form tends to change in response to the form assumed by Cakrasamvara. For example, when she appears as consort of the six-armed Saptaksara manifestation of Cakrasamvara, she likewise has six arms and nearly identical attributes, except that she holds a bow and arrow where Cakrasamvara holds a flayed human skin (SM251: 491). In yet another tantric tradition, Vajravarahl is consort to the Heruka form of Hayagriva.

As the yogini cults took root, Vajravarahl becomes the leader of the mandala in her own right. Our survey of mandalas in the Guhyasamaya- sddhanamdld shows her to be the central deity, both in embrace with Cakra- samvara, and more commonly as a "solitary heroine" (ekavlrd) without any consort. Here we find that Vajravarahl is capable of manifesting a number of different forms, and that she assumes something of the generic quality associated with Vajrayoginl. In Vijayavajra's Vajrayoginisddhana (GSS35), for example, Vajravarahl is the subject of the salutation, while Vajrayoginl is actually the deity of the visualization. Elsewhere, a commentator states that all dakinis are born in the Varahi family. 80 Despite the richness of its iconography, the Guhyasamayasddhanamdld\s by no means exhaustive, and there were doubtless many variations of Vajravarahl in other works of tantric literature and art. (For example, an eighteenth-century Nepalese tangka shows a rare image of Vajravarahl with six arms and four variously colored hogs' heads attached to her central human face; Kreiger 1999, plate 22.) One of the most classic forms of Vajravarahl is that described in the Vajravarahl Sddhana by Umapatideva (GSSn), the subject of our study in chapter 3. This sadhana centers on the warrior-stance form of Vajravarahl with no hog's head. Both wrathful and erotic in character, she stands in the center of a retinue of yoginis within a thirty-seven- fold mandala.



50 VAJRAYOGINl

Dancing-Pose (ardhaparyanka) Vajravarahl

One of the main manifestations of Vajrayogini is as Vajravarahl in the half- paryanka (ardhaparyanka) pose. This is the posture in which she stands upon her left leg, deeply flexed, and bends her right leg so that the sole of her foot rests upon her left thigh. She is dancing the wild tandava dance of Siva at the end of the aeon. Dance (ndtyam) plays a large part within clas- sical Indian notions of dramatic art, and Buddhist tantric deities (follow- ing Saiva norms) are often said to be equipped with the nine dramatic sentiments (rasas)* 1 Vajravarahl appears with this form in the two opening sadhanas of the Guhyasamayasadhanamald, in two very similar texts, both ascribed to key tantric authorities. The Oral Tradition of Vajrayogini ( Vajra- yoginimukhagama GSSi) is ascribed to Indrabhuti (and elsewhere to Sahara, see appendix), and the Vajrayoginlsddhana (GSS2) to Luyipada. Drawing on this older material, the Abhisamayamanjarl (GSS5 Sed p. 152, Y^,jr^) also includes the form, as do two of the self-consecration (svddhisthdna) sadhanas (GSS32 Kio6n, GSS34 Kii2r6). 82

In the West, the dancing image is perhaps the best known iconograph- ical form of Vajravarahl. In fact, B. Bhattacharyya (1924/1985:156) was so misled by its prevalence as to state that Vajravarahl and Vajrayogini are sep- arate goddesses with individual stances: the ardhaparyanka pose for Vajravarahl, and the warrior (dlldhah) stance for Vajrayogini — although the Guhyasamayasadhanamald sadhanas clearly show that both poses are used for both deities (and that the distinction between the two forms is anyway not so simple). Rather confusingly, von Schroeder invents the des- ignation, "Vas'ya Vajravarahl" for ardhaparyanka forms of Vajravarahl holding the chopper, although this is without any valid textual basis. 83 Examples of the dancing Vajravarahl are reproduced here in plates 1, 4, and 8, and others are published elsewhere. 84 A couple of very similar versions of this form also appear among the Mongolian icons (fig. 3 below), based on two almost identical sadhanas in the Rin 'byung brgya rtsa (Willson and Brauen 2000: 257-58, 259). The first is the "two-faced Vajravarahl in the dPyal tradition" (rDo rje phag mo zhal gnyis ma dpyal lugs) whose right hand holds the chopper facing outward; 85 the second is the form of Vajravarahl associated with Indrabhuti, " [two-] faced Varahi, Indra[bhuti]'s dakini" (Phag mo zhal gnyis ma Indra mkha spyod), whose right hand holds the chopper facing inward. The latter is one of a set of three dakinis (mKha ' spyod skor gsum = khecari cycle) comprising the forms of Vajrayogini associated with Naropa, Maitripa, and Indrabhuti. 86 Both forms of the



THE CULT OF VAJRAYOGINI IN INDIA



51



dancing Vajravarahl are said in the Tibetan sadhanas to be presided over by Aksobhya.




^^{



Fig. 3. Indradakini
Mongolian woodblock print (IWS/T 79, LC 589)



It is this form of Vajravarahl that demonstrates her name, "Vajra Hog" or "Vajra Boar," since her distinguishing feature is the small hog's or boar's face that protudes from the right of her head as her eponymous characteristic. As if to emphasize the terrifying nature of the hog's head, our texts add that her main face is "angry." She brandishes a vajra chopper aloft in her right hand, and in the left she holds a skull bowl to her heart. Her other attributes are the tantric bone ornaments typical of a cremation-ground goddess known as the sect marks, or signs of observance (mudrds; see ch. 3). Here (in GSSi=GSS2) she wears five mudras: a chaplet, earrings, necklace, armlets, and girdle, all of bone found in a cremation ground. As leader of a mandala (in GSS34), she wears the sixth mudra also from a cremation ground: ash. There is no men- tion of a skull staffer corpse throne in any of the Guhyasamayasddhanamdld sources — although these do appear in some artistic representations of the goddess. 87 The influence of esoteric Saivism is evident in the five skulls upon Vajravarahi's headdress, which are described as the "five Brahmas." 88

Despite her wrathful nature, the iconography of the goddess is also overtly erotic. She is red like the China rose, "lovely with fresh youth," and with "charming plump arms and feet." 89 The letters of her mantra are to be visualized within a dharmodaya that is located inside the goddess's sex; it is red in color, blazing, full to the brim with syllables, and whirling around 'like a potter's wheel." 90 This visualization is externalized in a rite prescribed by Indrabhuti (GSSi K8or5) that mirrors the vision of the whirling mantra syllables. The yogin draws the dharmodaya onto a stainless vessel containing



52 VAJRAYOGINI

a paste of saffron and vermilion powder, inside which the mantra is written letter by letter. By the side of this he places a "swirl of bliss" (nandydvartah), makes both traditional and transgressive offerings, and then performs the worship of a young virgin (kumdrl), the kumdrlpujd. The only other pre- scription in this text is that the rite is to be conducted on parvan days, here the tenth day of the lunar month. 91 Another text in the Guhyasamaya- sddhanamdld (GSS33) adds that the worship of the kumdrl may be per- formed either "internally" (imaginatively) or externally: 92

On the tenth or eighth night of the light or dark [phase of the moon] , he should always worship a virgin (kumdrlm), imagined to be [Vajrayogini under the synonym] Suruyogini. Internally (svdntar) he should worship her at his side, externally (bdhye) [he should worship her] at the center within a mandala (cakra-) drawn [on the ground]. [He should worship her] according to the pledge (samvare) of the Cakrasamvara [mandala of] heroes and hero- ines. He should worship [her] with whatever foods and delicacies [he can] , also with [edibles] of the best to be licked and sucked.

The goddess's main mantra — the "utterance" mantra (japamantrah) or root mantra (mulamantrah) — is a combination of the main mantras for the warrior-stance Vajravarahl (p. 179). Thus it includes the name elements Vajravairocani (from the heart mantra) and Sarvabuddhadakini and Vajravarnani (from the auxiliary heart mantra):

om om om

sarvabuddhaddkinlye vajravarnnanlye vajrabairocaniye

hum hum hum phat phat phat svdhd

In order to preserve the mantra in its correct form, some Buddhist authors adopted the Saiva practice of transcribing the mantra in code within the text and then giving instructions for the letter-by-letter "extraction" (uddhdrah) of each of its syllables. 93 This method is adopted by our two opening sadhanas, and accredited to a scriptural source, the Samvardrnavatantra. The text first describes the drawing ofzprastdra, or "spread"; this is a dia- gram split into individual cells, the number of which is described (possibly intentionally) in rather cryptic terms (n. 95). These begin with a single cell at the bottom, three above that, five above that, and so on to thirteen, which forms the shape of an inverted triangle (as shown in table 4). The text



THE CULT OF VAJRAYOGINl IN INDIA 53

explains that the letters of the alphabet are to be written into each cell. Thus, we find that the prastdra echoes the visualization of the mantra described above, as it takes the inverted triangular "E" shape of the dharmo- dayd, or woman's sex, filled with "whirling" syllables. The author then explains where each syllable of the mantra is to be found by providing a cipher known as the "extraction of the mantra" (mantroddharah). First, the text explains, the mantrin must find the letter in the cell above the "tha" (itself found on the second line). This turns out to be ^ ("o"), which he must "adorn" with a dot ° within a semicircle ~ to form the nasal ending, thus producing # (om), the first syllable of the mantra; he should do this three times. Continuing in this way, the text explains how to "extract" the whole mantra from the diagram: 94

Further, I shall teach the performance of the supreme rite of the extraction of mantras (mantroddhdra-). The lovely triangular mandala is produced from the vajrdralli known as the origin of existents (dharmodayd), also as the woman's sex. On it he should write in sequence the eight sound-groups (vargas) according to their division into vowels and consonants. The arrangement of the cells (kosthah) [in the diagram] is to be done sequentially according to the teaching [by dividing them up as follows:] one [cell at the bottom], three [cells above that], five, seven, [and] nine [cells respectively above that] , and eleven [cells on the topmost line]. 95 Beginning with [the letter] a [in line one at the bottom, the yogin should draw in] the syllables [of the alphabet] on all sides up to and including [the letter] ha, in a clockwise direc- tion, as described in the Samvardrnavatantra.

[The method of extracting the mantra is as follows:] He should form the letter above tha "three times" (trigunitam), adorned with dot and semicircle [i.e., om om om], etc.

The mantra as extracted: GSS mantra:

om om om om om om

sarvabuddhaddkiniye sarvabuddhaddkiniye

bajravarnnaniye vajravarnanlye

bajrabairocaniye % vajravairocaniye

hum hum hum hum hum hum

phat phat phat svdhd phat phat phat svdhd



54



VAJRAYOGINI



\ f / \
\ / r


1


b


e


ai





a


am/ \
\/ah


ka / \ ga /
\ /kha\ /


\ u


da


.dha


na


ta


tha


da


/ \ na

dhaW


/ \g na /
P a \/




u


tha


ra


la


va


sa


sa / \
\ /pha


na /






, I


ta


\ ya


/ ha


sa


/ \ ca
ba\ /








i


na


ma


bha


cha /








a


jha


j a







Table 4. Root mantra ofVajrayogini

(The key for the extraction of the mantra ofVajrayogini)



Twelve-Armed Vajravarahi in Dancing Pose



Another dancing, \12M-paryanka pose form of Vajravarahi appears in the Sadhana of the Twelve-Armed Vajravarahi (Dvadasabhujavajravarahl- sadhana GSS7) , redacted from the VarahyabhyudayatantralAbhidhanottara- tantra (see the appendix). This solitary heroine is modeled upon twelve-armed Cakrasamvara and occupies the center of a mandala also based upon a Cakrasamvara model. 97

As may be expected, twelve-armed Vajravarahi takes on many of the iconographical features of her former consort (plate 11). 98 There are, how- ever, notable differences. Discarding Cakrasamvara's ax and skull bowl, she makes the flame mudra (jvaldmudra) at her forehead; she holds the vajra and bell in the gesture of embrace, revolving them in the "lotus-turning" gesture (kamaldvartamudra), and also replaces his trident with a hook or



THE CULT OF VAJRAYOGINI IN INDIA



55



!



goad (ankusah/vajrdnkusah). Her four faces, like his, take on the colors asso- ciated with the cardinal directions — black (east), green (north), red (west), and yellow (south) — but her eastern face assumes a form that is male on one side of its central axis and female on the other (ardhandris'vari).^ Upon her headdress she wears Cakrasamvara's distinguishing sickle moon, and a dou- ble vajra at the center of the chaplet of skulls and vajras. In keeping with her position as leader of the mandala, she wears all six signs of observance (mudrds). Her hair flies loose and she is "mad with lust." She is depicted according to these prescriptions in figure 4, trampling the corpses of Bhairava and Kalaratri. 100




Fig. 4. Twelve-armed Vajravdrdhi Drawn according to the Sanskrit text by Dharmacari Aloka



Table 5. Attributes of Twelve-armed Vajravarahi

Cakrasamvara Vajravarahi



Hands


Right


Left


Right


Left


1st pair


Elephant skin


Elephant skin


Human skin


Human skin


2nd pair


Vajra


Bell


Vajra


Bell


3rd pair


Drum


Staff


Drum


Skull and staff?


4th pair


Ax


Skull-bowl


Flame gesture


Flame gesture


5th pair


Chopper


Noose


Chopper


Noose



6th



pair



Trident



Brahma's head



Hook



Brahma's head



$6 VAJRAYOGINI

Having visualized himself as twelve-armed Vajravarahl, the yogin then generates her mandala. This contains forty-one goddesses, the same deities as those in the thirty-seven-fold mandala, but with the addition of the four mothers, Mamaki, Locana, Pandaravasini, and Tara. A Tibetan painting of the mandala, based upon the Vdrdhyabhyudayatantra (though with some variations in the artistic depiction of the deities), is shown in plate 13. Because the text of GSS7 is both curtailed and corrupt (see appendix), I draw upon the Abhidhdnottaratantra and the reconstructed text of the Vdrdhyabhyu- dayatantra (w. 55-85) in the following summary of the practice.

On the four petals surrounding the central deity, the practitioner visu- alizes the goddesses — Dakini, etc. — but with fierce, therianthropic forms. Dakini (on the eastern petal) has a lion's face, Lama (north) the face of a hog, Khandaroha (west), that of an elephant, and RupinI (south), that of a horse. These goddesses are protean (visvarupini-) kdpdlikd deities, with three eyes and loose hair, and are seen naked, dancing in the ardhaparyanka pose, with Bhairava and Kalaratri beneath their feet. They hold skull and staff in two of their four arms, and the head [of Brahma] and a chopper in the other pair. On each intermediate petal rests an ornate white vase, topped by a skull bowl containing the nectars, "semen, etc." (bodhicittddi- bhdjanam).

Around the central lotus in the cardinal directions are four multicolored lotuses. Upon these reside the four mothers: Mamaki, Locana, Tara, and Pandaravasini. Mamaki, on the eastern lotus, is the presiding lady (kules- vari) of the vajra (Aksobhya) family, and has three colors (i.e., three faces of three colors): black, white, and red. Locana, to the North, presides over the karma (Amoghasiddhi) family, with faces of green, white, and red. Tara, on the western lotus, is head of the padma (Amitabha) family; her faces are red, yellow, and green. Pandaravasini, to the south, is leader of the s'asvata (Vairocana) family, with white, blue, and red faces. The mothers are naked, wearing only a garland of heads, and all the skull and bone ornaments, including — as leaders in their own right — the sixth mudra of smeared ash. Underfoot, they dance upon the four maras. They have six arms, and among their attributes, they hold the particular emblem (cihnam) of their family: the vajra, double vajra, red lotus, and wheel respectively. These emblems are probably clasped to their hearts, above a skull bowl held in the oppo- site hand. In another pair of hands they hold a head and either a damaru or a bell (the texts are all corrupt at this point, and the details in plate 13 are not very clear); with the final pair, they wield a vajra and chopper, while the staff is tucked into the crook of their left arms.



THE CULT OF VAJRAYOGINI IN INDIA 57

The four lotuses upon which the mothers stand each have six petals, and upon those the meditator sees a further six goddesses. These twenty-four deities are exactly those of the wheels of body, speech, and mind in the thirty-seven-deity mandala of Vajravarahi (as described in the Vajravarahi Sddhana). Just as in that visualization, the goddesses are understood to reside in the sacred sites (prthas), so here the six petals of each lotus are to be understood to be those twenty-four sites. The practioner is to install (nyaset) each goddess upon each petal in turn. Assuming this visualization proceeds counterclockwise (see n. 441), the sequence is that given in figure 5, and the correlations with the sites the same as table 23 below. All these deities exhibit a typical kapalika iconography as they dance, naked but for the five mudras, upon the backs of corpses. Like their mandala leader, they are also "half-male, half-female" (ardhanarisvari), their two sides (perhaps just their faces) variously visualized as white and green (on the eastern lotus), black and yellow (on the northern lotus), red and yellow (on the western lotus), and yellow and red (on the southern lotus). In their four arms they brandish a bowl and staff, with a damaru and their familial attribute. The visualization of this part of the mandala is only complete when the medi- tator sees each of the four lotuses rimmed with the appropriate attribute: a ring of vajras in the east, of wheels (?) in the north, lotuses in the west, and double vajras (?) in the south; 101 and in the intermediate directions ("in the corners") a double vajra. The central lotus is also surrounded by its own ring, here of vajras, and this whole part of the mandala (the central lotus plus the four surrounding lotuses) are finally protected by a ring of corpses and vajras. In plate 13 (a key for which is given on figure 5) these outer rims are shown only with empty white circumferences.

The deities of the outer mandala are similar in type. They are also bitonal: Kakasya, black and red; Ulukasya, green and red; Svanasya, yellow and grey; and Sukarasya, green and blue. In addition to the usual kapalika iconogra- phy, they are to be visualized as "dwarfish in shape and squint-eyed" (K42r6; vamanakarah kekaras ca; cf. Varahyabhyudayatantrav. 74c). In the corners of the outer mandala stand Yamadadhi, YamadutI, Yamadamstrini, and YamamathanI, but assuming terrible animal-headed forms of the buffalo, ass, camel, and horse respectively. All the outer deities wield skull bowls and the heads of Brahma (left) and choppers and damarus (right), with staves tucked into the crooks of the left arms.

The rites and meditations that follow are very similar to those described for the thirty-seven-deity mandala in the Vajravarahi Sddhana. Thus, having completed the visualization of the mandala, the yogin imagines



58



VAJRAYOGINl



himself worshiping all the deities with the traditional (nonesoteric) offer- ings. He also contemplates the mandala as his own body, using the same sets of correlations for the body mandala as described in chapter 3 below. Our text expands the visuddhis to include the elements (dhdtus), skandhas, and sense organs and fields {dyatanas), which introduces male deities into the contemplation (see table 9), while the Abhidhdnottaratantra/Vdrdhya- bhyudayatantra also adds the equation of the mind with Aksobhyavajra, speech with Amitabhavajra, and body with Vairocana. The Vdrdhyabhyu- dayatantra gives in full the instructions (only hinted at in GSS7) for the melding of the pledge and knowledge circles, the consecration, and the chanting of mantras for all the deities of the mandala. It also adds the con- templation of the mandala as the thirty-seven bodhipdksikadharmas. All these are as described below in the Vajravdrdhi Sddbana (§22rT.).

Fig. 5. Vdrdhyabhyudaya mandala




EAST



THE CULT OF VAJRAYOGINl IN INDIA



59



Vajravarahyabhyudaya mandala key



Central Lotus
i. Twelve-armed Vajravarahi



Cardinal Petals

2. Dakini (lion-faced)

3. Lama (hog-faced)

4. Khandaroha (elephant-faced)

5. RupinI (horse-faced)



Lotuses in Cardinal Directions

6. Mamaki (East)

7. Pracanda in Pulllramalaya

8. Candaksl in Jalandhara

9. Prabhavati in Oddiyana

10. Mahanasa in Arbuda

11. Viramati in Godavarl

12. Kharvari in Ramesvara



13-



Locana (North)

14. LaiikesVari in Devikota

15. Drumacchaya in Malava

16. Airavati in Kamarupa

17. Mahabhairava in Odra

18. Vayuvega in Tris'akuni

19. Surabhaksi in Kos'ala



20. Tara (West)

21. Syama(devl) in Kalinga

22. Subhadra in Lampaka

23. Hayakarna in Kanci

24. PChaganana in Himalaya

25. Cakravega in Pretapun

16. Khandaroha in Grhadevata

27. Pandaravasini (South)

28. Saundini in Saurastra

29. Cakravarmini in Suvarnadvipa

30. Suvira in Nagara

31. Mahabala in Sindhu

32. Cakravartini in Mam

33. Mahavirya in Kulata



Outer Mandala (gates)

34. Kakasya (crow-faced)

35. Ulukasya (owl-faced)

36. Svanasya (dog-faced)

37. Sukarasya (hog-faced)



Outer Mandala (corners)

38. Yamadadhi

39. YamadutI

40. Yamadamstrini

41. Yamamathani



60 VAJRAYOGINI

Six-Armed Vajravdrdhi with Consort

In one sadhana of the Guhyasamayasddhanamdld y Vajravarahl is visualized in union with Cakrasamvara, but as the main deity of a thirteenfold mandala. This is "Red Vajravarahl" of the Raktavajravdrdhlsddhana (GSS6), another work in the collection to be redacted from the Abhidhdnottaratantra {patala 33/35, see the appendix). 102 Iconographically the sadhana is inter- esting, as it reverses the usual conventions for deities in union, and clearly states that it is Vajravarahl — the female partner — who sits in the medita- tion posture holding her consort in the gesture of embrace. The text reads as follows: 103

And now I will teach the supreme sadhana of [Vajra-]varahl: Through the practice of the generation stage (utpattikrama- yogena), [the practitioner] should visualize, as himself, a body that is as bright as twelve suns, [red] like vermilion powder, [and red] like the bandhuka flower and the China rose. [Vajravarahl should be visualized] with three heads and six arms. [She should be seen] replete with all [the bone] ornaments, sitting firmly (su-) in the sattvaparyanka [with the right foot placed on the left: thigh and the left foot on the right thigh] , with a garland of skulls as her headdress, her hair strewn about [her] , [and] as beautiful. [She should be seen] with a vajra and bell [in her crossed arms, held behind her consort's back] , pressed against by the [kiss of the] lower [lip] of her consort. [She is visualized] holding a bow and arrow, [and] is poised [with the bowstring] drawn back to her ear; [she is seen] holding a skull bowl [in one hand] and a staff [lodged in the crook of the same arm] [and] is intent upon draw- ing in with a hook. She is [visualized] in the center of a red lotus, as one who grants all desires.

The deities are illustrated figure 6, with the female deity facing the viewer, and the male held in her lap. Traditional precedents for this in Tibetan art are extremely rare, although just such a reversal of iconographical norms is also found in the Mongolian icons (IWS/T 88, LC 598) based on the Tibetan text. 104



THE CULT OF VAJRAYOGINI IN INDIA



61




Fig. 6. Six-armed Vajravarahi with consort

Drawn according to the Sanskrit text by Dharmacari Aloka

om srivajravdrdhi ah vam
hum hum phat svdhd



r,
rt
is
le



The mandala is of a very different type from those discussed earlier. Eight retinue goddesses (Vajraguhyottama, etc.) are installed around Vajravarahi and her consort on the eight petals of the central lotus; the cardinal god- desses counterclockwise, and the intermediate goddesses clockwise (K39V2-6). Each is seated upon a corpse throne, with a male consort who holds them in the gesture of embrace with a vajra and bell. They are visu- alized as red in color, with three faces, three eyes, and six arms; their hair hangs loose, and they wear all the usual bone ornaments. In their six arms, they bear a vajra and bell, a skull bowl and staff, and a hook and noose, which they shake up and down with a threatening gesture. Four more god- desses (Vajrajvalottama, etc.) are visualized at the gates with the same form, although possibly with only two arms, holding a noose and a vajra (the text is ambiguous). Installed in each corner of the outer mandala is a primed bow and arrow, traditionally the weapon of the love god, Kama.

The deities in embrace, and their attributes symbolic of love and attrac- tion, indicate the erotic mode of the sadhana. There is no mention of wrath- ful or terrifying characteristics, only of the compassionate, wish-fulfilling nature of the deities. In this respect, Red Vajravarahi conforms more closely to the sensual Vajravilasini forms described below, and shares with them an iconographical association with the erotic Saiva goddess of the Srividya cult, Tripurasundari (below). The sadhana ends with the recitation of mantras for all the female mandala deities. Red Vajravarahi's mantra is unusual in that it includes the vocative of the single mantra deity, Vajravarahi (om srivajravdrdhi dh vam hum hum phat svdhd). The mantras of the retinue follow suit, with the name of each goddess inserted between a string of mantra syllables; these include^/; hum vam hoh, syllables notable for their power to attract. 105



62



VAJRAYOGINl



Fig. 7. Mandala of six-armed Vajravarahi with consort




Central lotus

1. Six-armed Vajravarahi
with consort

Cardinal petals

2. Vajraguhyottama

3. Vajrasamayottama

4. Vajratejottama

5. Vajraratnottama



EAST

Intermediate petals

6. Vajrajnanottama

7. Vajravidyottama

8. Vajrasiddhottama

9. Vajrabhasmottama

Outer mandala (gates)

10. Vajrajvalottama

11. Vajramrtottama

12. Vajrakrodhottama

13. Vajradamstrottama



Six-Armed Vajradakini Vajravarahi in Warrior Stance

A six- armed form of Vajravarahi in warrior stance is described a couple of times in the Guhyasamayasddhanamdld. On one occasion, "Varahi" is to be



THE CULT OF VAJRAYOGINI IN INDIA



63



visualized as an armor goddesss within the armoring section of the Abhi- samayamanjari (GSS5 K21V5, see ch. 3). She has three faces (red, blue, and green), and her six arms hold a chopper, Brahma's head, and hook (right), and a skull bowl, staff, and noose (left), as shown in the Mongolian icons (plate 10a and fig. 30).

The other six-armed manifestation appears in the Sadhana of the Thirteenfold Vajraddkini Vajravdrdhi ( Trayodasdtmikavajraddkinivajra- vdrdhisddhana GSS16). Here it seems that the armor goddess has developed into a "terrible leader, thirteenfold in nature." 106 Following the preparations for the sadhana, Vajradakini Vajravarahi is self-generated from vam through the series of awakenings; she is self- visualized in a form that is both kdpdlika in character, and passionate.




Fig. 8. Six-armed
Vajraddkini Vajravdrdhi.
Drawn according to
the Sanskrit text by
Dhammacari Aloka.
Cf. plate 10a.

om vajravairocaniye
hum hum phat svdhd



She is seen adorned with all six mudras, a headdress, and a garland of wet skulls, blazing like the fire at the end of the eon, and trampling underfoot Bhairava and Kalaratri (named here Sambhu and Camunda). Her erotic nature is evident in her red color, her slim waist and firm breasts, and her fanged face, which is only "slightly snarling" (isaddamstrdkardlinim). Her attributes are those of the armor goddess, except that she has only one face and substitutes a vajra (the usual attribute of warrior-stance Vajravarahi) for the chopper, and an ax for Brahma's head. 107 The source for this sadhana is once again the Abhidhdnottaratantra. 10 *



I



64 VAJRAYOGINI

Vajradakini Vajravarahi is said to be "thirteenfold" in nature because she is a reflex of the thirteen-syllabled heart mantra. The yogin first visualizes her as the syllable vam. He then emanates a thirteenfold mandala from the thirteen syllables of Vajravarafri's mantra: om va-jra-vai-ro-ca-nl-ye hum hum phat svd-bd. m Having created the mandala in this way, he begins to generate the iconographic form of Vajravarahi through the five awaken- ings, with a vajra empowered by the syllable vam at her heart. Rays issue from this vam, and through them the surrounding syllables of the mandala are "urged" or "impelled" (K77 v.6: samcodita-) to transform into the dakinis of the mandala retinue. The names of these dakinis reflect their mantric origins, thus the syllable om gives rise to Praw^^vajradakini (pranava = om), the syllable vam, to V^davavajradakini, the syllable jam to /ramitavajradakini, and so on (see fig. 9). The stages of this fairly complex sadhana, and the subsequent rituals, are summarized in the appendix.

The mandala retinue is described in some detail (GSS16 K78n-79r2). It begins first of all with the four dakinis who are installed counterclockwise on the petals of the central lotus. They are visualized with one face, four arms, three eyes, and wearing all the tantric ornaments. They stand upon corpses in the dancing ardhaparyanka pose, naked with loose hair, their bodies sensuous, "with full breasts, celestial forms, captivating, their faces [only] a little furrowed, [and] amorous with [their] sidelong glances." 110 In their right hands, they hold a vajra and damaru, in their left, a staff and a bowl filled with blood. On the intermediate petals are ornamental vases topped with a skull bowl, which are filled with the nectars, including semen (bodhicittam), first menstrual blood (svayambhukusumam), urine (vajram- bu), and human feces (mahabhaisajam).

At the outer gates are eight more dakinis. In the cardinal directions (installed counterclockwise) four dakinis are visualized dancing upon a "lotus moon" (padmacandre) and declaring their transcendence of male deities of other religions by trampling the corpses of Indra, Yaksa (Kubera), Jala (Varuna), and Yama respectively. They hold the same attributes as the dakinis of the inner mandala, only substituting different implements for the damaru, such as a hook (in the east) or a noose (in the north); the text for the other attributes is corrupt (K78VI-2) . They wear the five mudras and are also three-eyed, slim-waisted, and adorned with garlands of heads. Their hair stands upright (urdhvakesa-) and they are described in erotic terms, as "naked, with huge vaginas, overcome with lust." 111 At the corners of the outer mandala (installed clockwise) are four wrathful dakinis, also upon lotus moons and trampling corpses in the dancing pose. They are described



iff:.



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65



in similar terms, both as kapalika deities and as goddesses with sensuous and erotic forms. All the vajra-dakinls of the mandala are said to have their hearts filled with innate bliss (sahajananda-).

Fig. 9. Mandala ofVajradakini Vajravarahl




Central pericarp
1. Six-armed



EAST



Vajradakini Vajravarahi



Cardinal petals

2. Pranavavajradakini (white)

3. Vadavavajradakini (green)

4. Jramitavajradakini (yellow)

5. VairanlvajradakinI (blue)



Outer mandala (gates)

6. Rosanlvajradakini (blue)

7. Capalavajradakini (green)

8. Nlharlvajradakini (red)

9. YemalavajradakinI (yellow)

Outer mandala (corners)

10. Humkarlvajradakini (white)

11. Humnadivajradakini (blue)

12. Phatanivajradakini (yellow)

13. SvakarivajradakinI (red)



66 VAJRAYOGINI

Red Vajraghona Vajravarahl

Vajraghona Vajravarahl is another warrior-stance manifestation whose prac- tice is prescribed in several works in the Guhyasamayasadhanamdld, the Sddhanafor [Gaining) Siddhi in All Things (Sarvdrthasiddhisddhana GSS15), the Vajravdrdhi Rite (Vajravarahikalpa GSS18), and two alternative visual- izations in the Abhisamayamanjari (GSS5) . m Vajraghona means "vajra snout"; ghond is a (hog's) snout, and is thus a rough synonym of Vajravarahl mean- ing "vajra hog." This ferocious, therianthropic goddess has only the single face of a snarling hog, with three eyes and a terrifying frown; she is, in fact, iden- tical to the Tibetan statue in plate 5. There is a scriptural source for the hog- headed deity in the Krsnayamdritantra. Here, Vajravarahi/Varahi (the vajra- prefix is often dropped) is named as one of four outer goddesses in the mandalas of the god Yamari (installed counterclockwise: Vajra-Carcika, Vajra- Varahi, Vajra-Sarasvati, and Vajra-Gauri); Vajravarahl is to be visual- ized as "three-headed, six- armed, a hog, having a vajra in her hand, very blue." 113 The commentator, Kumaracandra, glosses ghondm as "having a hog's face" (ghondm iti sukaramukhim), and the goddess' mantra includes the voca- tives "You with the vajra snout! You with the lovely snout!" In the Yamari mandala described by Kumaracandra, a three-faced Vajravarahl also appears in which the central face is again that of the hog. 114

From our available sources, however, the justification for calling this man- ifestation Vajraghona is slim. One of our texts eschews the term vajraghona altogether (GSS15), and another uses it only as an adjective, placing it within a string of adjectival (bahuvrihi) qualifications (GSS18). The Krsnayamari- tantra demonstrates the general fluidity in Sanskrit between qualifications and epithets by using the term both adjectivally, and nominally as the vocative in the mantra. Nevertheless, in the Abhisamayamanjari (GSS5 Sed p. 149, K34J--V), Vajraghona'^ clearly used as a proper noun, as it describes the visu- alization of the goddess as the "glorious Vajraghona method," and the asso- ciated rituals as the "Vajraghona Sadhana." 115 The Abhisamayamanjari possibly shows a more developed version of the manifestation, in part because it promotes the adjective to nominal form, and also because it presents an alternative visualization of a second Vajraghona form, as described below. In a Nepalese sketchbook possibly dating back to the eighteenth century, the artist depicts a form of "Vajraghona" (holding a trident skull staff, instead of a hook) (Biihnemann: 2003). The Tibetan text of the Rin 'byung brgya rtsa, however, depicts a form identical with that in our sadhanas, and takes the deity's appellation from the title of the Sarvdrthasiddhisddhana (GSSi5J>






THE CULT OF VAJRAYOGINI IN INDIA



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referring to her as "Accomplishing (Arthasiddhi) Varahi" (Phag mo don grub ma) (Willson and Brauen 2000: 259. See plate 10c).

In the Guhyasamayasddhanamdld szdhanas, the series of awakenings that generates Vajraghona/Vajravarahl begins with a red triangular dharmodayd at the navel. Inside this, a blazing red hrim is visualized at the center of a red, round-leafed lotus, resting (in GSS15) upon a sun disk placed upon a corpse. Vajravarahi is self- visualized as the transformation of all this, stand- ing in the warrior stance, also upon a lotus, corpse, and sun disk. She is four- armed and holds in her right hand a vajra and hook, and in her left, a skull bowl with staff, and a noose with a threatening gesture of the forefinger. She is bright red in color, while the yellow hair of her head streaks upward, standing on end. She has a dwarfish potbelly, and her tongue lolls as she laughs a laugh that is "unbearable to all evil beings." (Laughter and wrath are connected in tantric iconography, as laughter is one of the means whereby deities spread terror.) She is visualized wearing the five mudras and a garland of heads, and is otherwise naked. 116 She is depicted in this way, without any bone ornaments, in the Mongolian icons (see fig. 10 and plate 10c). She is also drawn in an unusual stance, in which her outstretched right leg turns to rest upon its heel, with the toes pointing upward, while her head looks to her right. The Tibetan text explains this as "trampling on the three worlds in dlidha (right leg extended) in the manner of a wrestler' s throw (gyad kyi dor stabs kyisf (Willson and Brauen ibid). 117




Fig. 10. Arthasadhana Varahi. Mongolian woodblock print (IWS/T 80, LC 590). Cf. plate 10c.

Heart mantra:

om hrim hum hrim hram (in GSS5;

om hum hrim ham (in GSSi8j

Auxiliary heart mantra:

om vajravarahi dvesaya sarvadustdn

hrim (or hrih) svdhd



^*c<^



When he has completed the self-visualization, the yogin is to recire the mantras (for which the exact prescriptions vary). The heart mantra 'given in



68



VAJRAYOGINI



two of our three texts) is composed entirely of mantra syllables (bijas), includ- ing the heart syllable hrih (om hrim hum hrim hram in GSS5; om hum hrim ham in GSS18). The auxiliary heart mantra also diverges from that of the main Vajrayoginl/Vajravarahl tradition in its use of an imperative for van- quishing obstacles, of the sort familiar in bali rituals (om vajravdrdhi dvesaya sarvadustdn hrim svdhd). u8 The mantras for both rites that follow appear with some variants, but are similar to the heart mantra in that they consist of strings of syllables (ah hrim hum, ham, hih, and phet/phem).

The rituals are to be performed by the sadhaka who has generated him- self as Vajraghona for the attainment of siddhi and has performed one hun- dred thousand recitations of the mantras. The wrathful character of the goddess is reflected in a desiderative worship that includes incense made from powdered human flesh, which is offered in front of an image of the goddess on a cloth for twenty-one days, and a nighttime bali offering (see ch. 3) made "for the purpose of quelling all maras." 119 For this practice, the utmost secrecy is enjoined and, indeed, is the precondition upon which "the vajrayoginis (or Vajrayogini) will empower [him].'



'120



White Vajraghona Vajravarahi



An alternative form of Vajraghona Vajravarahi is taught in the Abhisamaya- manjari (GSS5 Sed p. 149, K34.V5). According to this transmission, she is generated at the heart (rather than the navel), upon a red lotus. First, a sun disk is produced from am. Upon this stands a red five-pointed vajra, empow- ered by a white hrih that transforms into the goddess. Since the color of a deity is usually a reflex of the seed-syllable, this form of Vajraghona is pre- sumably white. She stands upon a lotus that is uniquely striped red and white, trampling in warrior stance "a sleeping man [symbolic] of igno- rance." In her heart is a replica red vajra on a sun disk, also presided over by a white hrih on a sun disk. The text states that in other respects she is like the previous manifestation of red Vajraghona (i.e., a therianthropic goddess with four arms). Unusually, however, this form of Vajraghona is empowered by Aksobhya, enthroned upon a multicolored lotus. 121

That we are dealing with a white form of Vajraghona is perhaps con- firmed by her similarity to a white form of Vajravarahi, who appears in another sadhana in the collection. We will see that the generation, self- visualizaton, and ritual prescriptions for each are strikingly similar.



!i



THE CULT OF VAJRAYOGINl IN INDIA



6 9



White Vajravarahi

The practice of "Noble White Vajravarahi" is prescribed in the sadhana of that name {AryasukUvajravdrdhisddhana GSS38). This is the only other form of white Vajravarahi in the Guhyasamayasddhanamdld and one in which the process of generation is very similar to that of white Vajraghona. (A much fuller account of this form — or one very similar, with identical rites — is described in SM218-20; see appendix for details.) White Vajravarahi is self- generated upon a sun disk (produced from am) and from a white hrih that transforms first into a five-pointed vajra and then into Vajravarahi. She also carries a white hrih on a sun disk at her heart and is presided over by Aksobhya — apart from white Vajraghona, the only form of Vajrayogini in the Guhyasamayasddhanamdld to bear this buddha as the seal. 122 White Vajravarahi shares the explicitly wrathful character of the Vajraghona manifestations. The text describes itself as a "fierce" sadhana, and the deity is said to bring fear to gods, antigods, and men. There are some differences, however, between the two forms. For example, white Vajravarahi is generated following an empti- ness meditation, and is thus produced from emptiness rather than at the navel. Most notably, there is no mention of a hog's head in the iconography of white Vajravarahi. She is self-visualized in the warrior stance, naked but for the five mudras, and wearing a curious garland consisting of a row of skulls between two rows of vajras (although SM218 describes it rather as a garland worn on the headdress). She is two-armed and carries a vajra in her right and a skull staff in her left, with no skull bowl. Worship both before and after the self- visualization is performed by "Pracanda etc.," which, judging from the fuller descriptions of SM218 (p. 427), refers to the presence of the twenty- four god- desses of the sites, within the mandala circles of mind, speech, and body. 123




Fig. 11. White

Vajravarahi (GSS38).

Drawn according to the Sanskrit

text by Dharmacari Aloka

om vajravairocaniye
hum hum phat svdhd



70 VAJRAYOGINl

The similarities between white Vajraghona and white Vajravarahi are also borne out on a ritual level. Thcjapain both cases consists of the recita- tion of a white syllable hrih that is visualized in garland form as a "mantra rosary" (mantramdld). In a yogic meditation (described in slightly more detail in the Abhisamayamanjari GSS5 and SM218), the self-generated yogin-goddess sees a white hrih syllable at the navel and imagines it revolv- ing through him, exiting through the mouth and entering again at the navel. As it enters the navel, the mantramdld brings him the [mundane] power of all the arts and sciences as well as the mass of [supramundane] qualities of the buddhas. According to the Abhisamayamanjari: UA

Next on his navel he should see a (white) hrih on a red and white sun disk placed on a multicolored lotus. He should send forth from the opening of his mouth a mantra garland of that [sylla- ble hrih] in the form of a string of beads, white [in color, and] whirling like (-yogena) a wheel. Having obtained skill in medi- cine, astronomy, writing, and the sciences and arts by means of the jewel mantra of the many- faceted (gunagana) buddha, he should contemplate [this mantra garland], which burns all the ignorance of oneself and others, entering the opening of his navel. He should recite the mantra, avoiding the fault of doing it too fast [or too slow] . The mantra is hrih. When he wants to arise [from the practice], he should make that mantra garland disap- pear into the hrih in his navel, perform worship [bait rites, etc.], and dwell as he wishes [namely, in the form of the deity] .

The texts describe further rites using the mantramdld (GSS5 Sed p. 150.8, K35r4, SM218 p. 430, and briefly in GSS38 Ki23r2) for the acquisition of other siddhis, such as supreme learning, scholarship, powers of oration, invin- cibility in debate, and freedom from fevers and poisons — all of which would seem particularly handy in the political arena. For this, the tongue is first imagined in the shape of a lotus petal, and on it a flaming white hrih forms a garland of fifty beads. So powerful is this practice, that — the texts claim — if a piece of chalk is consecrated with this mantra in this way, then the one who holds it, be he even a fool, will become a poet. Toward similar ends per- haps, the GSS texts also claim the power of this mantramdld for bending another to his will or subjugation (vasyam), although the rather fuller sadhana that describes this rite in the Sddhanamdld (SM219— 20) states that the purpose of this rite is to bring beings into the four truths of the Buddhists (p. 432:



I



THE CULT OF VAJRAYOGINI IN INDIA



71



sattvdn vasikrtya caturdryasatye avatdrandya. . .). Here in the rite of subjugation (vasyavidhih), the goddess must be visualized as red, and she holds only two attributes (i.e., with only two arms), namely, the noose in her left generated from hrih, and a hook or goad in her right (GSS5 Sed p. 150.14, K35V1, SM219). These attributes are another reminder of this deity's affinity with Vajraghona.



Two-Armed VajrayoginI in Warrior Stance

Most of the remaining forms in the Guhyasamayasddhanamdld collection appear in the portion of the collection that deals principally with Vajra- yoginI manifestations of a magical and often erotic nature (also found, in brief, in the same portion of the Abhisamayamanjart) . First, we turn to a red, reversed warrior-stance form of VajrayoginI, described within a Vajra- yoginisddhana attributed to Sahara (GSSi9«SM236), and in the Abhisamaya- manjart (K35v6~36r « GSS28?). A white form of VajrayoginI in reversed warrior stance, and holding the same attributes, is also described within a corrupt passage in the Oddiydnasvddhisthdnakrama-Vajrayoginlsddhana (GSS37), details for which are in the appendix.




Fig. 12. Two-armed
VajrayoginI in warrior stance. Drawn according to the Sanskrit text by Dharmacari Aloka.

Heart mantra:

om vajraddkintye hrlm hum phat

svdhd (GSS5, SM236)

om sarvasiddhim prayaccha

hri<m> hum phat svdhd (GSS19)



Auxiliary heart mantra:

om vajrayoginiye hum phat svdhd (GSS19, SM236)

om vajravairocanlye hum phat svdhd (GSS5)

Root mantra:

om sarvabuddhaddkinlye om vajravarnanlye om vajravairocanlye hum hum hum phat phat phat svdhd



72 VAJRAYOGINI

Here, VajrayoginI is generated upon a multicolored lotus (produced from pam). Upon the lotus the yogin visualizes a sun disk (produced from a red ram), and upon that, a red syllable hum (GSS19 K83V1). The seed-syllable is then imagined transforming into Vajrayogini, who becomes the central deity of the usual fivefold mandala. The visualization (which is never described as a self- visualization) is of Vajrayogini within terrible cremation grounds, where she stands upon a yellow corpse in the reverse warrior (pratyalidha) stance (stepping to the right). She is fierce and naked and emits intense rays of light. Her color is red, and she is full of fresh youth, with large, firm breasts. She has three eyes, which are red, round, and rolling, brows that are contracted into a fierce frown, and a fanged mouth, with a lolling tongue. Her hair flies loose. She appears as the leader of a five- fold mandala and therefore wears all six mudras, including ash, and is replete with tinkling bells and strings of pearls. The Abhisamayamahjari states that the goddess should be visualized with red hair flaming and standing on end, but adds that sometimes she is visualized with loose hair, and some- times without the corpse throne. Her attributes are a skull bowl "full of blood" (GSS5 Sed p. 151, K36n: vame raktapurnakapala-) in her left hand, with a staff (in GSS19 only), presumably tucked into the crook of her left arm. In her right hand she holds a knife or chopper (kartri) (instead of the vajra normally held by warrior-stance forms of Vajravarahi). 125




Fig. 13. Vajra chopper (kartri).



The chopper (fig. 13) is especially associated with Vajrayogini in the Guhyasamayasadhanamaldssxdi symbolizes the "chopping off' of defilements. It is mentioned, for example, in the twenty-one- verse stotra (GSS42 v. 8): "Homage to you, Vajrayogini! You who hold a skull bowl and staff on your left [and] a chopper on your right; who hold emptiness and compassion." 126

The texts enjoin rites of "worship and so on" for this form of the goddess,



THE CULT OF VAJRAYOGINl IN INDIA



73



which are to be conducted in sites such as a cremation ground upon auspi- cious nights of the lunar calendar, namely, the eighth, tenth, fourteenth, and fifteenth in the moon's cycle. 127 Practice at these auspicious times was believed to enhance the power of female spirits such as yoginis and dakinis to such an extent that, in the Saiva tradition, the mere mention of their names was prohibited: "He should not utter the word ddkinl or any other [with a similar meaning] during any of the exceptional rituals [such as those that are required on parvan days]." 128 The fivefold mandala is indicated by a set of offering mantras, which are prescribed for the petals of the central lotus in the cardinal directions. The mantras include the request that each goddess accept a "vajra flower" (presumably the purified form of an actual flower). 129 The usual tripartite root mantra for Vajrayogini appears with some variants in the three texts, and there are distinctive heart and auxiliary heart mantras. 130 The texts also supply the mantra for a final ball ritual.



131



Four-Armed Vajrayogini in Warrior Stance

A four-armed form of Vajrayogini in warrior stance is found in a single sadhana in the Guhyasamayasddhanamdld in a section dealing with inter- nalized practices: the Vajrayogini Sadhana in the Tradition ofIndrabhuti y by Vijayavajra {Indrabhutikramena Vajrayoginisddhana GSS35) . This sadhana takes the self-generation onto a more intensely internal level, as the yogin imagines the elements of the visualization within his yogic body.




Fig. 14. Four-armed Vajrayogini in warrior stance.
Drawn according to the Sanskrit text by Dharmacari Aloka.

om vajravairocanlye
hum hum phat svdhd



74



VAJRAYOGINI



Following the emptiness meditations, the yogin first generates the cos- mos, starting from a white letter a (GSS35 Kii8vi: sukla akdrdt) that is said* to have the nature of Causal Vajradhara. Then, from a green hum, he pro- duces a five-pointed double vajra, as the five limbs of his body (head, arms, and legs). In the center of that he sees a red inverted triangular syllable e (V) transforming into a blood-colored origin of existents (here masculine: dharmodayah) marked with vajras at its points, which he understands to be his torso. Within the dharmodaya is an eight-petaled lotus wreathed in fire, which represents his nine bodily orifices, while the four-petaled pericarp has the nature of four channels within the body. 132 Vajrayogini is then gener- ated upon a ferociously bright sun disk, as the transformation of a white chopper that represents the central channel, Avadhuti. Vajrayogini herself is a vibrant, light red ("yellow- red, like blooming saffron"). She is seen as sixteen years of age, with delicate youthfulness and a laughing, wrathful face. She wears the five mudras and a garland of fifty heads. Standing in the warrior stance, she is seen trampling the brahmanical gods, Brahma, Indra, Visnu, and Siva, who represent the four kles'as (n. 362). Vairocana crowns her headdress. In two of her four arms, Vajrayogini holds the vajra and bell in the crossed gesture of embrace, and in the other pair, a chopper (right) and a gleaming skull bowl (left), upon which she fixes her gaze as she holds it aloft. A skull staff rests in the crook of her left arm. From one of the fol- lowing yogic meditations, it also emerges that the goddess has a red letter a at her heart. 133

The rites given for the practice are desiderative in nature and include esoteric offerings within an external dharmodaya that has been drawn upon the ground with trangressive substances (GSS35 K119V3), and various other rites of worship such as a hand worship and bali offering (Kii9v6-i2or). There is also the ritual of accepting a pupil (Ki2or2~3) and the preparation of a protective amulet (vidydvidhih, Ki2or6) based on a thirteen-syllable mantra (presumably, the Vajravarahi heart mantra).



Red Vajravarahi with Foot Raised



The remaining forms of the deity in the Guhyasamayasddhanamdld assume an increasingly erotic and magically outlandish character, manifestations often associated with Oddiyana, home of flying dakinis. One such adopts the striking pose "with the foot up" (urdhvapddah). In this stance, Vajra- yogini stands upon her right leg and lifts the left above her head, wrapping



h

T

m



THE CULT OF VAJRAYOGINI IN INDIA



75



her left arm about it to hold it in place, while at the same time drinking from the skull bowl she still holds in that arm: "She should be visualized. . .con- tinuously drinking the stream of blood in the skull bowl, having the pos- ture of embracing her own left foot; [her left foot] is held up with [her] left hand, in which is held a skull bowl that is full of red [blood] on the inside and is white on the outside." 134





>^




y ^J^Q)


i>


$>




W^§






J&fflLz$*&






Yw




m




rjg^~-x-~x~~*r-





Fig. 15. Red Vajravarahi

with foot raised.

Drawn according to the Sanskrit

text by Dharmacari Aloka.

Cf plates 9 and 10 b.



Two forms with this pose are represented in the collection. The first appears in a Vajrayogini Sadhana from Oddiyana{Oddiyanavinirgatavajra- yoginisadhana GSSi2«SM225; also found in GSS5) 135 and is a red manifes- tation of Vajravarahi. Here, Vajravarahi occupies the center of the fivefold mandala (as described in chapter 3), and her generation, iconography, and mantras all relate to the red warrior-stance forms of Vajravarahi. She is gen- erated from a vajra presided over by vam and is endowed with the usual kapdlika ornamentation, such as the bone girdle and garland of fifty human heads. Like the main warrior-stance Vajravarahi, her attributes are a skull bowl and vajra, but no staff.



White Vajrayogini with Foot Raised

Here, the deity is white in color, and is quite distinct from her red cousin. To do the practice, the yogin resorts to a solitary place in the midst of cre- mation grounds, and (self?) -generates Vajrayogini from a white seed-



7 6



VAJRAYOGINl



syllable, either hum (GSS45) or &h (GSS17). He sees her standing upon a multipetaled lotus and sun disk, trampling underfoot the brahmanical and Saiva deities: "She is to be visualized. . .with her foot raised, trampling Sakra [= Indra] and Brahma, [and] with her lower foot [trampling] Bhairava and Kalaratri." 136 In her right hand is a vajra chopper (vajrakartri), and in her left, the skull bowl from which she drinks. The skull staff (khatvdngah) is balanced in its usual place upon her left shoulder. Her white body emits an intense light, and she inspires extreme terror (in those who oppose her), with her fierce facial expression, fangs, and three eyes, which are red, round, and rolling. She is seen completely naked, without ornaments, her loose hair and large firm breasts emphasizing her erotic and youthful character. Her mantras, as well as her iconography, are typical of Vajrayogini. The root, heart and auxiliary heart mantras are those supplied for the warrior-stance




Fig. 16. White Vajrayogini

with foot raised

(Phag mo gnam zabs ma).

Mongolian woodblock print

(IWS/T84, LC594).

Cf. plate iod.



om vajraddkini(ye) hrih hum phat svdhd

om vajrayogini hiim phat svdhd

{om vajrayogini hum phat svdhd: GSS17)



om sarvabuddhadakiniye vajravarnaniye vajravairocaniye hum hiim hiim phat phat phat svdhd



THE CULT OF VAJRAYOGINI IN INDIA



71



form of VajrayoginI (above), but the bali mantra is unique, naming the mantra-deity, VajrayoginI (instead of Vajradakinl), amid the repetition of stuttering man trie syllables. 137

A Mongolian icon illustrates a form of this goddess. According to the underpinning Tibetan text, the visualization is of VajrayoginI (who may hold either a vajra-marked chopper or a knife); however, the title given the form in the Rin 'byung brgya rtsa is "Varahl with Raised Leg" (Phag mo gnam zabs ma), and Taranatha (with perhaps a suspiciously different referent for "Indra") adds "Indra [i.e., Indrabhuti]'s Dakini Crushing Opponents" (Phas rgo joms pa'i indra mkha' spyod ma). 138 Although the Mongolian title describes this form as a manifestation of Vajravarahl, the icon nevertheless provides a satisfactory illustration of our form of Vajra- yoginI in the Guhyasamayasddhanamdld (fig. 16, plate iod).



VajrayoginI in the Falling- Turtle Pose

The combination of intense eroticism and intense terror is found in other manifestations; indeed, to the uninitiated, it is the goddess's overwhelming lust that would in itself be terrifying. One such form is found in the Sddhana of VajrayoginI with the Method of the Falling Turtle (Kurmapatanakramena Vajrayoginisddhana GSS36).





iHAi MM


— " =! -_jv|








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Fig. 17. VajrayoginI in
falling-turtle pose.
Mongolian woodblock print (IWS/T 85, LC 595)
Cf plate ioe.

om vajravairocaniye svahd



78 VAJRAYOGINI

The sadhana is unusual in our collection in that the deity is not self- generated but visualized directly in front of the yogin. Before beginning the meditation, he should first prepare an image of Vajrayogini "in what- ever way, with whatever form" (as an aid to the visualization). He may then generate her meditatively within a red dhannodayd upon a white lotus. At the center of the lotus, Vajrayogini appears standing upon the flayed skin of Bhairava "with the method of the falling turtle." This seems to be a reference to her stance, as it is the pose later prescribed for the yogin himself during the midnight balinwxal. She is yellow in color, naked, with dishevelled hair, and (only) two eyes, which she fixes upon the sadhaka. Her attributes are those of Vajrayogini, the chopper and skull bowl. She laughs the terrifying laugh of Siva, and is "terrifying because of her extreme desire." 139

Having visualized Vajrayogini as if she were present before his very eyes (sdksdd iva), the yogin is then to worship her with transgressive bali offer- ings of yogic substances (yogidravyam). 140 The bali mantra is based on the mantra deity Vajrayogini, although the following japa mantra is the ten- syllabled heart mantra of Vajravarahi (om vajravairocaniye svdhd). The text then continues with a bali ritual, again given according to Vajravarahi texts. Thus, the yogin is to stand naked upon a hilltop at midnight (GSS36, Kinvi: nisisamaye), with hair flying loose and his gaze directed upward as he performs the gestures and mantric utterances that will attract the vajra- yoginls. 141 The sadhana outlines the hand gestures {mudrds) and mantras, adding that, as he performs them, the yogin is to assume the "falling- turtle" pose (kurmapatanapddah). ui

The final instruction is not that the sadhaka should dwell as the deity but that he should continue to visualize her in front of him: "He should continually visualize himself embracing Vajrayogini. He should imagine her as if she were his wife. Then before long Vajrayogini will empower him. Being realized, she fulfills his desired [goal]: of this there is no doubt." 143 The Mongolian icons illustrate a form of "Tortoise-legged (KurmapddiJVararii" Phag mo kurma pa di (IWS/T 85; LC 595). The text from the Rin 'byung brgya rtsa, although different from our sadhana in many respects, also describes this as an embodiment of a yellow Vajrayogini with a similar stance: "Her two legs, in the tortoise posture, trample on black Bhairava, who is lying upside down on a white lotus and sun, holding a knife and skull and wearing a tigerskin loincloth and a human skin." 144 This is depicted in figure 17 and on plate ioe.



THE CULT OF VAJRAYOGINl IN INDIA



79



Vidyadhari Vajrayogini

Another group of sadhanas in the Guhyasamayasddhanamala focuses on peaceful, erotic forms of Vajrayogini. These sadhanas abandon the terrify- ing, cremation-ground aspects of Vajrayogini practice and prescribe instead beautiful, mountainous abodes. In these works, Vajrayogini is described as a vidyadhari, a lovely, celestial maiden. The classical association with vidyadharis is of beauty and lovemaking; one poet, for example, paints the heavenly damsels writing love letters on birch bark. 145

• 5^fo
  

Fig. 18. Vidyadhari Vajrayogini "Maitri-khecari. "
Mongolian woodblock print (IWS/T 78, LC 588). Cf plate 10b.



The first vidyadhari form appears in the Vajrayogini Sadhana with the Vidyadhari Method {Vidyadharikramavajrayoginisddhana GSS21) and the Vidyadhari Method Meditation (Vidyddharikramabhavana GSS22). Here, the yogin visualizes himself as a red goddess with her foot raised up (iirdhvapdda-). She is described in one text as the "garland (mala-) Vidya- dhari Vajrayogini" after the flower garland that he sees balancing on the tip of her left hand in the form of a noose. In the palm of the same hand rests the skull bowl from which she drinks, fixing her gaze upon it as she does so. In her right hand she holds a vajra (and not the chopper otherwise asso- ciated with Vajrayogini forms). There is no skull staff, and the vidyadhari is completely naked, being void of all ornaments. She is seen with the bril- liant (fiery) form of destruction at the end of the aeon. 146

The Vajrayogini root mantra appears in only one text (GSS22) and is based on the tripartite mantra of Vajrayogini, although the number and sequence of the mantra deities seem confused. 1



147



8o



VAJRAYOGINI



A Mongolian woodblock print illustrates this form of VajrayoginI, clearly showing the garland in her left hand (see the line drawing in figure 18). The related color plate, however, omits the garland, and embellishes the figure with ornaments and yellow (rather than black) hair (plate iob). The Tibetan text calls this form "Maitri's Dakini, Playful Mantra-holder" (Mai tri mkha spyod rig pa 'dzin pa rtsen ma), which points to an association with Maitripada/Advayavajra found also in the Sanskrit sources (notably, the

• Siddha-Amndya). m This form is also illustrated to the right of the main figure in plate 9.
  

In keeping with the feminine mood of the sadhana, the observance that the yogin undertakes on the basis of visualizing Vidyadhari Vajrayogini is the "mad observance" (unmattacarya). This is described briefly both in the Bhdvand (GSS22), and in the Abhisamayamanjari (GSS5«SM235). 149 It also appears in more detail in a chapter by K. Gyatso (1999: 207-10). Accord- ing to our Sanskrit sources, the mad observance begins with a period of worship (pujd) that lasts for six months and (in GSS22) with the prayer that the goddess grant the fruit of mahamudra. During this time, Vidyadhari Vajrayogini is generated and worshiped within the triangular dharmodayd that the yogin has drawn onto the surface of a highly polished mirror using vermilion powder. Taking more of the powder, the yogin inscribes her seed- syllable vam outside the triangle at the corners and the syllables of her mantra inside it. He also draws four counterclockwise bliss swirls at the four points (the cardinal directions) surrounding the triangle. 150





Fig. 19. Dharmodayd
with mantra syllables
and bliss swirls



THE CULT OF VAJRAYOGINI IN INDIA 8l

He then makes the traditional offerings and recites the mantra. When he has finished, he takes the vermilion powder he has just used in the rite, and puts it to one side in a special container. He repeats this process at auspi- cious times for a period of six months, either on the eighth day of the lunar months (GSS5) or during a lunar or solar eclipse (GSS22). When the six months are up, the yogin takes his collected store of vermilion powder and places it inside the hollow stem of a langali (coconut) tree. According to Gyatso (ibid.), the langali is similar to bamboo (although bigger), in that the stem is also knotted, like a tube with natural blockages. In order to stopper the open end, the yogin must make a special plug that he carves on one side with a bliss swirl — he will later use this as a stencil for marking a bliss swirl on his own forehead. The yogin then takes the langali stem and buries it in a cremation ground, performing a further month of bali offer- ings and mantra recitation. (Gyatso describes how the yogin sits on the earth above the burried langali container, while an attendant stays nearby reciting the Heruka mantra to prevent interruptions.) This ends the prepa- ration of the vermilion powder, and the yogin is now ready to set out upon the mad observance itself.

To undertake the mad observance, the yogin must remove the sacred vermilion powder from its secret burial site and use it to draw a sign upon his forehead — either a six-pointed star (GSS22) or a bliss swirl (GSS5; K. Gyatso 1999). He then wanders about as if he were mad, seeking alms in the village (GSS5) or in solitary sites. A scriptural source for the practice is found in Samvarodayatantra where, adopting the "crazy observance" (vatula carya), the yogin is to wander alone without companions, "like an agitated bird." 131 Wherever he meets a woman in a secluded place — by a deserted dwelling, an empty well, or such like — the yogin should circumambulate her in counterclockwise fashion. The aim is to discover, and propitiate, a living emanation of Vajrayogini. He will recognize her by the fact that the bliss swirl upon his own forehead is magically transferred to hers. (Gyatso adds that to make sure, the yogin can check in his mirror to see if his own bliss swirl has indeed disappeared.)

The mad observance is based upon the principles of mahamudra, accord- ing to which all women are to be worshiped because all women embody the goddess, just as all men embody the god. 152 Our texts claim the lineal tradi- tion of Sahara (GSS5 Sed p. 153, K38r6«SM235), an adept whose association with mahamudra is developed in the next Vidyadhari Vajrayogini text (GSS23), and in the erotic sadhana of Guhyavajravilasini described below.



82



VAJRAYOGINl



Flying Vidyadhari Vajrayogini

The second vidyadhari in the Guhyasamayasddhanamdld is a flying form of Vajrayogini, with four three-eyed faces of different colors. She is described in the Propitiation Ritual {Arddhanavidhi GSS23) within a med- itation rite (bhdvandvidhih). The text directs the meditator to see her with left leg in the raised-foot (urdhvapddah) position, and the other "raised sideways" (so that both feet are in the air), her right foot positioned just below her right hand brandishing its red five-pointed vajra. As usual, she has her gaze fixed on the gleaming skull bowl that she holds in her left hand, but there is no mention of a flower garland in the form of a noose. Instead, the vidyadhari is ornamented by blossoming red ndgakesa flowers (Mesua roxburghii). She seems to be even more erotic than the last. Her nature is feminine power (saktih) and innate bliss (sahajdnanda-); her red, naked body is fresh and tender, her hair hangs loose, and she is visualized laughing a little with her body horripilating. 153 Her mantra is a variant of Vajrayogini's tripartite mantra. 134




Fig. 20. Flying Vidyadhari

Vajrayogini.

Drawn according to the

Sanskrit text by

Dharmacari Aloka.

Cf. plate p.

om sarvabuddhaddkiniye
vajravarnaniye vajravairo- caniye hum hum hum
phat phat phat ca svdhd.



Both vidyadhari forms of Vajrayogini (as well Guhyavajravilasini, GSS10) inhabit a beautiful, mountainous setting. This is most fully described in the Arddhanavidhi (GSS23), which begins with a short hagiographical sketch



THE CULT OF VAJRAYOGINl IN INDIA



83



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is
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ith
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ust
she
left
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SS10)
n the
ketch



of the mountain-dwelling adept, Sahara. The text describes how Sahara had been granted a sadhana by Lokesvara (the bodhisattva Avalokitesvara) that was guaranteed to bring about a vision of Vajrayogini within six months. After this time, however, Sahara had still had no vision, and despite redou- bling his efforts and practicing assiduously for twelve years, he failed to see her "even in a dream." He became disheartened and was about to lose faith in the buddhas and give up completely when the goddess finally appeared to him amid the mountainous peaks: 155

Then, in a flash, there was suddenly a direct vision of the god- dess adorned with color, arms, and so on to be described below.

• [She appeared] between (madhye) the surpassingly captivating, most lovely mountains [called] Manobhanga (Destruction of the [Defiled] Mind) and Cittavisrama (Heart's Reposel Resting-place of the Mind) ; [these] had five peaks of different colors, and were adorned with gardens in which nagakesara flowers were bloom- ing in colorful pools.
  

• or: [She appeared] in the midst of the surpassingly captivating, most lovely mountains where the mind comes to rest because of the destruc- tion of the defiled mind.
  

It is not clear from this portion of text whether the yogin is to visualize a pair of mountains named Manobhanga and Cittavisrama, or whether the description is to be understood adjectivally as the mountain(s) "where the mind comes to rest (cittavisrama) because of the destruction of the [defiled] 156 mind (manobhanga)!" Of the three other references to the moun- tains in the Aradhanavidhi (GSS23), only one states unambiguously that there is indeed "a pair of mountains" (parvatadvaya-), but here there is no mention of the names Manobhanga and Cittavisrama. 157 The mountains are mentioned also in a few other sources. The Guhyavajravildsinisddhana (GSS10) seems to name them as a pair (though with a possible ambiguity, n. 169), and they are also described in the dual in the * Siddha-Amnaya (except for one occurrence in the singular), where they are located in the external world, in Daksinapatha. 158

Manobhanga is also mentioned in the sadhana of Vajradakini Vajravarahi (GSS16), which claims the legendary authority of the Laksabhidhanatantra: "On Mount Manobhanga, which is the most essential [place] on earth, on



8 4



VAJRAYOGINl



this peak [or: within this dwelling] (tasmin kute), in a pavilion (-mandape) that is the sole resting place of the mind (cittavisrdma-) for the great- minded, [is] the terrible... leader Vajravarahl." 159 Although the verse does not mention the second mountain, Cittavis'rama, it suggests that on the mountain peak (kutam) there is also a pavilion (mandapahlm) that is the "resting place of the mind" (cittavisrdma-). A similar kind of beautiful dwelling is also the abode of Vidyadharl VajrayoginI (GSS21), who is to be seen "entering a jewel dwelling (kuta-) (i.e., hut) made of masses of [red flowers] — Mandarava, As'oka, and Red Coral." 160 In all these texts, there is a slight ambiguity as to whether kuta means a "peak" (kutam) or a "dwelling" (kiltah) — a problem that a second scribe attempts to clarify in GSS21 by inserting the gloss, "hut" (grham). The same verdant mountain- ous setting, with its fragrant, flower-strewn abode, is also found in the Guhyavajravildsinisddhana. This sadhana describes how the yogic partners are to meet in a beautiful glade or garden that is full of jewels and red flow- ers and resonant of love (below with n. 179). Both this sadhana and the

• Siddha-Amndya associate this magical setting with the adept Sahara. Indeed the mountain(s) and the delightful dwelling become Sahara's abode, the place where he teaches the practice and the place in which a yogin may realize Vajrayogini through sexual yoga practice with his consort.
  

Vajravilasini Vajravarahl



Vajravilasini is a peaceful, compassionate form of Vajravarahl. Her name Vilasini suggests "amorous playfulness" and "wanton charm," and she is striking for her loving nature and the atmosphere of heightened sexuality that pervades her practice. The chief source in the Guhyasamayasddhana- mdld is the Praise of Vajravilasini by Vibhuticandra ( Vajravildsinistotra GSS43), although she also appears, with a rather different iconographical form, as "Secret Vajravilasini" in the highly erotic Guhyavajravildsini- sddhana by Sahara (GSS10). There is a small class of goddesses, the ten vajra-vildsinhy who act as the agents of the consecration in the Abhisamaya- mahjari (GSS5 K22V1), and perhaps Vajravilasini arose as a generic form of this vilasini type. Vajravilasini is also hailed within verses of obeisance in the Abhisamay amahj art (GSS5 Sed p. 125, K14V3) and in two stotras to Trikayavajrayogini by Virupa (GSS26 and GSS27). 161



THE CULT OF VAJRAYOGINI IN INDIA



85



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ul
be
ed
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in
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he
ers
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ie is
ility
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is to




Fig. 21. Vajravilasini.

Drawn according to the Sanskrit

text by Dharmacari Aloka.



In Vibhuticandra's praise verses, Vajravilasini is evidently a manifestation of Vajravarahi: "O Vajravarahi, you are the refuge of men, nagas (=ahih), and gods, [merely] when they are intent on your name!" 162 She is in embrace with her consort. The verses describe her engaged in lovemaking with Cakrasamvara, her eyes almost closed in the bliss of passion: "[You] whose lotus-like mouth is kissed by the honey-drinking [bee] who is Samvara, whose lotus heart is embraced by his two arms." 163

Vajravilasini holds the usual attributes of Vajravarahi, the skull bowl and vajra, but she disdains all other kdpdlika accoutrements. She is adorned only with swinging earrings and a pearl necklace. Apart from the threaten- ing gesture with which she holds the vajra, there is nothing wrathful about her, and she is addressed as one whose three eyes are red like the early sun, intent on removing the suffering of the world — to whom the supplicant appeals: "O mother, goddess, look upon me! How can you bear my unbear- able grief?" 164 Indeed, through the power of her compassion she is reminis- cent of Avalokitesvara and Tara, saving her devotees from the (eight) terrible



dan



gers



.165



I



Danger from lions, elephants, fire, snakes, and thieves does not come near to one whose mind is intent on you!

Vajravilasinfs character is also intensely sensual, and Vibhuticandra invokes many classical references in praise of her beauty, such as the three folds of flesh on her belly {trivalih, v.4), her lofty buttocks, and her firm breasts. Saiva imagery intensifies the mood of love, as Vibhuticandra hints at the amours of Siva, whose wife is "unable to bear the moon on his headdress"



86



VAJRAYOGINI



[because of her jealous love]. Such references identify Vajravilasini as the Buddhist counterpart of Siva's consort in her amorous aspect. 166

Figure 21 shows Vajravilasini as the (self- visualized) main deity with her two-armed consort. The praise verses do not indicate directly whether she is seated or standing, but we depict a seated figure because of her similar- ity with Guhyavajravilasini, and also depict her as the main deity, that is, with the female form drawn facing the viewer (cf. fig. 6).



Guhyavajravilasini

Another highly erotic form of Vajravilasini appears in the Secret Vajravilasini Sadhana, the Guhyavajravildsinisadhana by Sahara (GSS10); a verse-by- verse summary is given in the appendix. Although the text refers to her mainly as Vajravilasini, I shall use the name Guhyavajravilasani (Secret Vajravilasini) after the title of the sadhana and after its opening salutation, in order to dis- tinguish her from the goddess Vajravilasini described previously. 167




Fig. 22. Guhyavajravilasini. Drawn according to the Sanskrit text by Dharmacari Aloka.



The practice of Guhyavajravilasini is related to that of Vidyadhari Vajra- yogini in a number of ways. The teacher for both is the mountain-dwelling adept, Sahara (presumably a member of the wild mountain sabara tribe): 168



I, Sabara, the [ignorant] mountain-dweller who has no learn- ing at all



THE CULT OF VAJRAYOGINI IN INDIA

shall speak a few words (lit., syllables) through the power of Lokanatha.



87



Both practices are also located in the mountainous setting of Manovibhanga and Cittavis'rama, here named as the place where Sahara first learned the sadhana of GuhyavajravilasinI from his teacher. 169

(v. 4) Having set foot on Manobhanga [and] on the delightful mountain [called] Cittavis'rama, abundant with all sorts of jew- els, fragrant with the odor of musk deer,

(v. 5) in that very lovely place where highly fragrant flowers grow (-dsraye), where the beautiful (sundara-?) mango trees glisten [and] the cuckoos coo low,

(v. 6) in a glade massed full of red [-flowering] asoka trees, on the lunar day of the "As'oka-eighth," 170 this [goddess] Vilasini was taught me by the teacher named Karuna.

Sahara's association with the practice is also attested in the *Siddha-Amndya within a hagiography of the tantric scholar Advayavajra (apparently an ema- nation of Nagarjuna). In this text, we find several themes familiar from the Guhyasamayasddhanamdld texts. Advayavajra (at this point bearing the ordained name Maitrigupta) is prompted by a voice in a dream to leave his monastery and to set out, first for Khasarpana, and then for Manobhanga and Cittavis'rama in Daksinapatha — the place where he will find the adept who will be his preceptor, SabaresVara. The monk has some trouble locat- ing the mountains, and it is only after a period of Tara worship and the intervention of Tara herself that he leaves Udra (Oddiyana) and travels for fifteen days to the northwest, reaching the (two) mountains the following day. 171 Despite making mandalas daily on the mountain (only a single mountain is mentioned) and fasting for ten days in meditation upon a rock, he fails to achieve a vision of Vajrayogini, managing only to see her in a dream. In despair on the tenth day, he is about to cut off his own head when Sahara appears before him, consecrates him, and gives him the new name, Advayavajra. 172 Advayavajra's practice of Vajrayogini is not immediately successful. His preceptor orders him to demonstrate how all appearances — even the Buddhist precept of nonviolence — are illusory (prdndtipdtamdyd) by chopping off the head of his companion, Sagara, and then restoring it. Advayavajra has no problem with the first half of the task, but fails dismally in the second. Perhaps as a measure of his disappointment in his pupil,



88 VAJRAYOGINl

Sahara immediately orders Advayavajra to return to his teaching post at the university; but Advayavajra, who is now rather unconfident about his cre- dentials, demurs. Sahara, however, reassures him, declaring that the prac- tice of Vajrayogini will always bear fruit in the end.

A tale with some similarities is recounted by Taranatha in his History (pp. 191-95), perhaps suggesting that this story is an adaptation of the mythology that surrounds AvalokitesVara. Taranatha's account describes the journey of the layman Santivarman, a contemporary of the pretantric Dignaga. In response to a dream, the king sends the upasaka to seek the res- idence of AvalokitesVara on Potala mountain, and to request his aid in coun- teracting famine and epidemic in Jambudvipa. Santivarman first reaches the temple of s'rl-Dhanyakataka on the island of *Dhanas , ri, after which he trav- els first underground and then above ground to reach Potala. After even- tually meeting the bodhisattva, Santivarman returns by himself, and while he is resting on the way, AvalokitesVara joins him, coming "through the sky" to the place that henceforth becomes known as *Khasarpana ("Sky-going"). Later, Santivarman makes two further visits to Potala, one of them at the behest of monks at Varanasi to solve a textual problem in their scriptures.

Santivarman's and Advayavajra's stories share several features. Both undertake their journeys as a result of a dream, and both journeys are to mountainous regions accessible only through magical means. Both travel- ers fail at first to find the mountain and must engage in a period of medi- tation before meeting the deity/adept, but both finally receive a "direct vision" on the mountain. Both travelers pass through s'rl-Dhanyakataka and Khasarpana, and finally, both are concerned to further the academic understanding of the scriptures. The earlier story may have come to inform the Advayavajra legend through the association of Sahara with Avalokites'- vara. Sahara's chosen deity (istadevatd) is the eleven-headed, thousand- armed form of AvalokitesVara called Mahakarunika {Blue Annals p. 1044; Dowman 1985: 62). In the Guhyavajravildsinisddhana (GSS10), Sahara is taught by his teacher Karuna to visualize himself as PadmanartesVara, a form of the bodhisattva LokesVara/Lokanatha (AvalokitesVara), while the Arddhanavidhi (GSS23) is said to have to be taught by LokesVara in Sahara's form. 173 Sahara's iconography also echoes that of the bodhisattva Avaloki- tesVara. He wears a deerskin, carries a bow and arrow, and resides on a mountain. Both fulfill their vow by remaining forever in the world for the sake of sentient beings.

In addition to her shared lineage and location, Guhyavajravilasini bears iconographical resemblances to Vidyadharl Vajrayogini, as well as to




THE CULT OF VAJRAYOGINl IN INDIA 89

Vajravilasini. The first descriptions appear in the preparations to the sadhana, in which the partners are directed to wash and adorn themselves and, after making love, position themselves in the posture of the deities ready for the preliminary meditations and the self-generation (these elabo- rate prescriptions are summarized in the appendix). After evoking the deities through a series of awakenings consonant with practice of sexual yoga (K47VI ff, w. 38-45), the yogin is ready to visualize his consort as Guhya- vajravilasinl. He sees her as bright red, or perhaps yellow, in color, "clad [only] in her own loveliness." She is thus naked, without any ornament except the pearl necklace, an asoka flower behind her ear, and an added streak of red lac across her forehead. 174 In her right hand she holds aloft a vajra chopper in a graceful arc; in her left she holds a noose. She is dizzy with the intoxication of love (lola-), and her girdle swings to and fro with the movements of her love-play (lildndolitamekhald-). She is visualized mak- ing love to her consort in the following posture: "[seated] with her sex placed on the elevation of Padmanarta's "banner" (i.e., penis), in the squat- ting (utkuta) posture, 175 giving seductive smiles with flirtatious glances... lovely with [her] flowing sex because of the touches of [his] throbbing

' " 1 76

penis. w

The yogin, her consort, does not visualize himself as Cakrasamvara but as Padmanarta; that is, as PadmanartesVara, "Lord of the Dance (nartah) in the Lotus [Family]," the esoteric reflex of AvalokitesVara. His self- visualization (K48r4, w. 54-63) is given in terms as erotic and explicit as that of the goddess. PadmanartesVara is said to embody the beauties of a six- teen-year-old youth; he is a vibrant red and, like his consort, is adorned only with an asoka flower behind the ear, a streak (of gold) across his fore- head (K4-8r6, v. 56c), and a dangling pearl necklace. His attributes are a yellow lotus in the left hand and a vajra in the right. His eyes are half closed in ecstatic pleasure, as he reclines slightly on his back, his lower left leg somewhat contracted, and his right leg stretched out with his consort placed between them. 177 He visualizes himself "causing Vilasini to dance with his penis (guhyavajrena), which is very much in evidence." 178 And he embraces her again and again, murmuring (kujita) with pleasure, intensely passion- ate, and entirely absorbed in the "innate" (sahaja-) bliss.

The deities are shown in figure 22, in which we attempt to depict this anatomically challenging pose. We follow the conventions of the Mongo- lian icons in seating the deities upon a lotus, although none is prescribed in our text. Since the yogin is to place himself upon a "comfortable seat" (K472: sukhdsanasamdsina-) , we show them seated upon a deerskin (cf.



« 



1



9 o VAJRAYOGINl

IWS/T 88, LC 598). According to the text, the practice and the self- visualization take place "on a mountain or some such place, in a cave, in a place [full] of fragrant flowers, in a deserted dwelling, or if one wishes, in a garden or an empty wood." 179

The Guhyavajravildsinisddhana is unusual in the Guhyasamayasddhana- mdld collection in that the sadhaka visualizes himself as the male deity. But Vajravilasini is evidently the central deity. She is the first to be described as a result of the generation from the consort's sex/ dharmodayd, and the mantra concealed within the extraction of the mantra (mantroddhdrah) belongs to her and not to the god. The female consort is also given a degree of independence from her partner in the worship that follows the conse- cration (K49n-49V2, w. 68-79). F° r example, each partner worships the other's body with offerings of flowers, fruit, and incense (K49r4), gives the other betel nut, and recites loving verses, exchanging "sweet noth- ings." 180 Furthermore, after the erotic rituals have been performed, the text describes how the female consort may perform the practice upon the male partner (K51V3, vv. 119-20). The sadhana's prescriptions for the behavior of the consort even continue in a section that covers the contingency of no consort being available, when the text describes a method of mastur- bation for each partner separately, combined with the visualization of the full sexual act. 181

Sanderson (1999: personal communication) has pointed out that the iconographic and mantric form of GuhyavajravilasinI is close to that of the Saiva goddess of the Srividya cult, Lalita (" Playful") -Tripurasundari ("Beau- tiful Goddess of the Three Worlds"). Tripurasundari (also called Kames- vari, "Lady of Love") is depicted in the main scripture of the cult as red, with red garments, garlanded with red flowers, one-faced and four-armed, carrying a noose, hook, a bow and five arrows (the five arrows of the love god), and seated above lower gods on the body of white Sadas'iva. 182 Guhya- vajravilasinI is similar to the Saiva goddess in that she holds a noose, and like her, is red in color, of unparalleled beauty, and seductive by nature. Their names too are similar, as Tripurasundari's alternative appellation is "Lalita," which like "Vilasini" is suggestive of the sport of love. Most telling of Tripurasundari's influence, however, is Guhyavajravilasini's mantra sup- plied in the mantra extraction (mantroddhdrah, GSS10 K52r4, w. 129-32). This reveals a distinctive five-syllabled mantra (em nlim rim rum blim), the syllables of which are a caique upon the five "arrow" syllables of the Saiva goddess, as taught in the Vdmakesvarimata (Sanderson ibid). m

The male consorts in the two traditions are also similar in that both are



THE CULT OF VAJRAYOGINI IN INDIA



91



"lords of love," masters, or gods (isvara-) of sexual pleasure (kamah, suratah). Tripurasundarl perches upon KamesVara's left thigh, while Vajravilasini makes love with PadmanartesVara: "The practitioner is to visualize himself in this way as PadmanartesVara, the lord of sexual pleasure, as though he were great bliss itself made manifest." 184 As a form of AvalokitesVara, Padma- nartes'vara's connection with the compassionate Vajravilasini goddesses seems particularly appropriate, and this is borne out on the mythical level by Sahara's association with the practice, discussed earlier. In drawing upon the form of PadmanartesVara in this way, Sanderson has suggested that the Guhyasamayasddhanamdld sadhana may be using material from the lesser-known parts of the Buddhist tradition in order to accommodate new Saiva-based elements within the Buddhist tradition. The name "Padmanar- tesVara" itself is, of course, immediately reminiscent of Siva as "Lord of the Dance," Nataraja. 185

The soteriological goal of the practice is mahamudra. This is described here as one of the magical powers (siddhis) attainable by realizing Guhya- ajravilasini: "Having obtained [the siddhis of] subjugation and bringing near, paralyzing, slaying, and driving forth, the eye ointment [for invisibil- ity], the preparation of the pill (gudikasiddhih), and many others, (v. 9) and [also] the state of mahamudra, I verbally entreated [Vajravilasini with the following words] : 'When a practitioner visualizes you according to this method, may you grant him the fruit of that [practice]!'" 186

In the frame verses at the end of the sadhana, the sadhaka is assured that all female beings, celestial and human, will become his servants, and that after twelve years of constant practice, he will progress to mahamudra and become a siddha. In a similar vein, another mahamudra text ends with the guarantee that "he will wander about surrounded by women, like a lord of elephants [in rut] surrounded by bees." 187 According to the methodology of mahamudra, women are necessary to the sadhaka because they are his chief soteriological tool. In the words of the guru at the time of initiation, "She is an excellent ship that serves to cross over the water of the ocean of pas- sion." 188 Just as a great herbal medicine that is delicious to the taste strikes down an illness, so the "bliss of wisdom and means" (the union of female and male) "easily destroys the defilements." 189 To this end, no effort is eschewed that will heighten sensual experience. Physical beauty, fragrance, and sweet words are all employed. As the practices are enjoined at night (four times a month on the two fourteenth-nights and eighth-nights, K44.V6, v. 26), the yogin is instructed to use a lamp so that everything is illuminated, particu- larly the details of the body. 190 The violent passion that accompanies sexual



92 VAJRAYOGINI

rapture in classical Indian eroticology is put aside, and the couple are advised not to wound each other with their nails, lest they regret it later. 191

Although the practitioners do everything possible to enhance the sexual impulse, it is within a controlled context. The yogin is to make love to his consort, "only for as long as his mind is not stirred up." 192 An indirect com- ment on his skill in this respect is found in the visualization of the couple's consecration, which is granted at the hands of celestial beings including the two famous apsarases, Rambha and Tilottama. These nymphs often appear in Puranic myths in order to distract advanced sages from their development of tapas when it is set to become a threat to the power of the gods. Their involvment in the consecration of a Buddhist yogin is a telling inversion of the Indian classical tradition. Its object is to prove that the sadhaka is able to manipulate the nymphs for his own ends rather than the other way around, and thus to demonstrate that his sexual love is under his command. 193

The yogin's control over his mundane sexuality is achieved by one- pointed concentration upon the goal of his practice, sahaja bliss: "The mind is fickle because of excessive movement; because it is motionless (niscalanat) [it becomes] the means (mukham) of enlightenment. His mind set on [the bliss of] sahaja (sahajasaktacetasah), he should make the goddess tremble in sexual play." 194 In the Hevajra system followed by our author, sahaja bliss is understood to be the final stage in a series of four "blisses" or "joys" (anandas). Each bliss arises at a particular "moment" (ksanah), the final, highest bliss occurring at the moment said to be free of both passion and nonpassion (HT2.3.8: vilaksanam). m The ultimate, sahajabliss is described here as that final moment of intensity when he "excites the goddess," but retains his own semen: 196

(v. 90) The god and goddess should perform [the sexual move- ments of] churning and swinging (manthdndndolanam) 197 accord- ing to their own mudra (svamudrd). But one should realize that sahaja bliss has arisen in the moment of vilaksana. (v. 91) With his penis he should excite the goddess, and he should not emit his semen. If he emits his semen, how can there be great bliss? (v. 92) He should churn the ocean of the vagina through his desire for the ambrosia of sahaja, but in such a way that the poi- son (kdlakutam) of passionlessness does not arise.

In these verses, the classical metaphor of "churning the ocean" is cleverly employed to place especial emphasis on the importance of passion.



THE CULT OF VAJRAYOGINI IN INDIA 93

Whereas the devas and asuras churned the ocean of milk to produce both the nectar of immortality and mortal poison (kalakutam), in contrast, the churning of sexual yoga should avoid the poison (passionlessness) and pro- duce only nectar {sahaja bliss). In an inversion of traditional Buddhist val- ues, tantric sexual yoga is based on the premise that there can be "no greater sin than passionlessness": "In short, there is no place for passionlessness in a buddha." 198

The erotic practices of the Guhyavajravildsinlsddhana describe the process whereby sahaja bliss is transmuted into the soteriological goal of maha- mudra. The necessary basis of the yogin's erotic experience — as of all his experience — must be that of emptiness. This is a subject treated only cur- sorily here, however. 199 Instead, the recurring metaphor is of fusion and its power to induce the experience of nonduality. Thus, during the first of the "nine kinds of sexual play" {navapuspiw. 80-92), the yogin-deity is said to "penetrate the body of his lover from head to toe." 200 Once a classical love simile, the fusion referred to in this context is repeatedly shown to extend beyond the lovers' bodies to the macrocosm. The rays from the copulating goddess, or from her mantra, are of such intensity that they melt the three worlds into a single essence of blood, in the center of which the divine cou- ple is visualized making love. 201

The sexual fusion is related to the yogic fusion of winds and drops. For example, during the "pendulum recitation" (doldjdpah, K50V5, w. 102-09) the couple is in union, each imagining the five blazing syllables of Vilasini's mantra circulating through their bodies. The syllables start on the sex of the female consort (vidyd), enter the male via his penis, exit through his nos- tril, enter the vidyd via. her nostril, and again pass into her sex. The mantra is recited up to five hundred times as it revolves through their united bod- ies, resulting in the fusion of ndda and drop (binduh) within the internal bodily channels. This is followed by a repeated "mutual sucking" of the male and female sex. 202 At the end of the pendulum recitation, the practioner imagines the "fusion of their identities" (atmamelakah, K5K3, w. 110-14), and the three worlds are visualized whirling around like a wheel in the liq- uid form of purified gold "blazing with the flavor of sameness," and cut- ting off the defilements of the world down to the most subtle. 203 Only then does it become extinguished and dissolve like a rainbow into the ocean of space, upon which space itself dissoves into sahaja, "the ocean of awaken- ing that brings great success." 204 The text describing the yogic rituals ends with a Madhyamaka-type analysis of emptiness, in which reality is com- pared to dream experience because of its dependence upon causes (K51VI,



94



VAJRAYOGINl



w. 115-18). The experience of fusion, it suggests, is the correlative of the wis- dom of sameness: for the yogin who is concentrated on this fact [of non- duality], and "steady in his continual practice of going to sameness," will become a siddha and have the great power of mahamudra. 205



Trikayavajrayogini (Chin namasta)

The last manifestation of Vajrayogini to be discussed here is Trikaya- vajrayogini, "triple-bodied Vajrayogini." She is also known as Chinnamasta, or Chinnamunda — "She Whose Head Is Severed" — because she is visual- ized holding her own severed head in her hand. In our texts, however, the emphasis is not so much upon her severed head as upon her threefold nature, that is, Vajrayogini who manifests as three: the central deity plus two attendants named after the components of the tripartitite Vajrayogini mantra, Vajravairocani (right) and Vajravarnani (left); the central figure as a single deity is known as Sarvabuddhadakini (GSS27) or Sribuddhadakini (GSS24). Following Virupa's nomenclature, I shall therefore refer to this triple-bodied manifestation of Vajrayogini as Trikayavajrayogini rather than Chinnamasta. 206 (See fig. 23 and plate 9.)




Fig. 23. Trikayavajrayogini. Drawn according to the Sanskrit text by Dharmacari Aloka.

om sarvabuddhadakinlye om vajravarnanlye om vajravairocanlye hum hum hum
phat phat phat svaha



Right



Center



Left



Vajravairocani
yellow



rasana



Sarvabuddhadakini
yellow

avadhutl



Vajravarnani
red



lal



ana



THE CULT OF VAJRAYOGINI IN INDIA



95



The Guhyasamayasadhanamala contains a number of texts that describe Trikayavajrayoginl. These fall into two groups:

i. The first group (I) comprises the Laksmisddhana (GSS24), perhaps by Laksmi (see the appendix), the Sadhana of Triple-Bodied Vajrayogini (Trikayavajrayoginisadhana GSS25), and two praise works {stotras GSS26 and GSS27) by Laksmi's pupil, Virupa. This group also includes two other texts that are closely related to Virupa's sadhana, the Vajrayoginisadhana (GSS20«SM232) 207 and a portion of the Abhisamayamanjari (GSS5 Sed p. 151, K36r5).

2. The second group (II) is centered on a text also called the Vajrayogini- sadhana, which appears in three nearly identical versions (GSSc>« GSS30«SM234). Here the iconographical material is so scant that its relationship with Trikayavajrayoginl is chiefly indicated by the form and arrangment of the offering mantras.

Table 6.

Trikayavajrayoginl texts in Guhyasamayasadhanamala WSadhanamala




II



Laksmi



GSS9 - GSS30 - SM234



stotras sadhana GSS25



GSS26 GSS27




GSS24



GSS20 — GSS5



balividhi SM238 SM232 (no balividhi)



According to the texts in group I, the self-generation of Trikayavajra- yoginl begins at the yogin's navel with the visualization of a blossoming white (or red, GSS24) lotus topped with a red sun disk produced from ram. Upon this, the yogin visualizes a red dharmodayd produced from the sylla- ble hrim, within which Vajrayogini is generated, also from the syllable hrim.



96 VAJRAYOGINI

The second group of texts prescribes the generation of the deity at the heart upon a multicolored lotus but, as in the first group, within a vibrantly red dharmodayd and as a transformation of hrim. There are significant differ- ences between the two sets of sources in the way the central form of Vajra- yogini is then to be visualized. In group I, the texts are economical and focus their attention mainly on her stance. She is described as yellow in color and naked. Whether she should be seen with bone ornaments is there- fore ambiguous; the (slightly different) text of GSS24 does prescribe them (which we follow in figure 23). Her legs are in the warrior (dlidhah) stance (GSS24), which Virupa's text does not name but describes, "with her right leg stretched out, and the left foot contracted" (GSS25, cf. GSS20, GSS5); in his stotras, however, he states that she is in the reverse warrior (pratydlidhah) stance. Most strikingly, the goddess is visualized holding "her own head, chopped off with her own knife by herself." The left arm hold- ing the head is stretched up to her left, while her right arm holding the chopper points down diagonally in line with her outstretched right leg. From the goddess's decapitated torso, three streams of blood are seen gush- ing up into the air. The first spurts out of the central bodily channel, avadhuti, and flows directly into the mouth of the severed head in her out- stretched hand. Blood from the channel on the left (laland) and the chan- nel on the right (rasand) also streams out and enters the mouths of the two yoginis at her sides. 208

The attendent yoginis are named as Vajravarnani to the left side of the central figure and Vajravairocani to the right. Vajravarnani is a dark color, probably blue (GSS25 etc.: sydmdvarndm), or red (GSS24: raktavarndm) , and Vajravairocani is yellow. Each steps toward the central goddess, so that Vajravarnani to the left stands in the pratydlidha stance, and Vajravairocani to the right stands in the dlidha stance. Their attributes are the classic skull bowl and chopper of Vajrayogini, which they hold so that the chopper is on the outside, while the skull bowl is on the inside closest to the central figure. The attendant goddesses form mirror ima'ges of each other; they are naked with loose hair, and "between them, in space," the yogin is to visu- alize "a very terrifying cremation ground" (since the text is truncated, in fig- ure 23 we depict them wearing the bone ornaments, despite no prescriptions for this). 209 All three deities are depicted in the IWS, according to the Rin 'byung brgya rtsa, in which Vajravarnani is said to be green. 210

In the second group of sources (GSS9«SM234«GSS3o), there is no men- tion at all of a severed head or of any other distinguishing feature. The fact that the goddess is a form of Trikayavajrayogini can only be inferred from



THE CULT OF VAJRAYOGINl IN INDIA 97

the presence of the two attendant goddesses by her side and by the mantras that follow. Her generation is described, however, beginning at the heart from a multicolored pam that transforms into a multicolored lotus and cul- minating in the goddess Vajrayogini produced from a red hum and seen having the color "dark gold" (kanakasydmdm)— that is, red in color rather than yellow. 211

The ritual component of the practice is a puja. In both groups of sources, the worship involves offerings to an external mandala accompanied by an unusual sequence of offering mantras. The first sources relate how the yogin is to draw a square mandala upon the ground and then generate the god- dess through a sequence that mirrors the awakenings. Thus, a sun disk (a circle) is drawn inside the square, and a dharmodayd triangle is drawn on top of the circle with the syllable hrim within. The sadhaka may then wor- ship either the seed-syllable or the iconographical form of the goddess, which he produces from the seed-syllable "placing [her] down" (dropya) in the center of the triangle. 212 Having emanated the three goddess inside the dharmodayd, he is then to make offerings.

The offerings proceed with the recitation of offering mantras. These form three sets, which are listed almost identically in all our sources, group I and group II (see table 7). The mantras for the shorter sadhanas (group II) include the color of the goddess to whom the offering is made, as well as

the vocative mantric element vajrapuspe — "O Vajra Flower!" suggesting

that the mantras are to be recited while offering a flower. 213 Other works prescribe either a fuller worship with traditional offerings or just with guest water. 214 Our sources also state where on the mandala the offering is to be made; that is, to the central goddess, or to the yogini on her left and right, so that in the course of the worship, all three goddesses are honored. (The allocations in group II, however, seem problematic. 215 ) The worship ends with the final recitation of the japa ("utterance") mantra, which is the tri- partite root mantra of Vajrayogini. 216

The object of the first set of mantras is to worship the triple nature of Trikayavajrayogini. The set opens with the tripartite japa mantra, which praises Trikayavajrayogini as three deities in one. Individual offerings are then made to her in her three aspects, namely, to the central deity as Sarva- buddhadakini, to the dark lefthand deity Varnani, and to the yellow right- hand deity Vairocani. Having recited all three sets of offering mantras, the yogin may then make a final offering to Trikayavajrayogini (in GSS25 and in group II), which seems to be another all-embracing mantra to her as three-in-one. In this worship, the goddesses are externalizations of the



9 8



VAJRAYOGINI



Table 7. Trikdyavajrayogini offering mantras

Offering Mantras
Group T



1st set In the center of the dharmodaya: japa mantra" 1



Center: om sarvabuddhaddkiniye hum (phat) svdhd

On the left: om vajravarnaniye hum (phat) svdhd

On the right: om vajravairocanlye hiim (phat) svdhd



Offering Mantras
Group IF



In the center: om sarvabuddhaddkiniye vajrapuspe svdhd

In front: om (sarva?)buddhaddkini yellow- colored vajrapuspe svdhd

fOn the right/southf: om vajravarnani dark-colored vajrapuspe svdhd

tBehind/westf: om vajravairocani white- colored vajrapuspe svdhd



2nd set [Center] om oddiydna vajrapuspe hum svdha om dharmakdyavajrapuspe svdhd



[Left] om purnagiri vajrapuspe hum svdhd



om sambhogakayavajrapuspe svaha



[Right] om kamakhya vajrapuspe hum svaha om nirmdnakayavajrapuspe svaha



Again in the center: om sirihatta vajrapuspe hum svdhd



In the center: om mahasukhavajrapuspe svaha



3rd set [Center] om dharmakdya vajrapuspe hum om oddiyanavajrapuspe svahd

svdhd



[Left] om sambhogakaya vajrapuspe hum svdhd

[Right] om nirmdnakdya vajrapuspe hiim svdhd

Again in the center: om mahdsukhakdya vajrapuspe hiim svdhd



om purnagirivajrapuspe svaha



om kamarupavajrapuspe svaha



In the center: om srihattavajrapuspe svaha



(GSS25 only) Again in the center: om namah Again in the center: om namah sarvabuddha- sarvagurubuddhabodhisattvebhyo vajrapuspe bodhisattvavajrapuspe svdhd

hum svdhd



{Japa mantra]: om namah sarvabuddhaddkini [Japa mantra]: om sarvabuddhaddkiniye om

om namah sarvavajravarnani om namah vajravarnaniye om vajravairocaniye hiim hum

hrim sarvavairocani hiim hiim hiim phat phat hiim phat phat phat svdhd phat svdhd



THE CULT OF VAJRAYOGINI IN INDIA 99



Notes to Table 7

i E.g., GSS25 (K9ir3) (my numbering): (1) tatra dharmodaydmadhye "om sarvabuddha- ddkinlye" ityddimantrena prathamam arcayet. tadanu "om sarvabuddhaddkini" hiim phat svdhd' ity anendrgho deyah, vdme "om vajravarnaniye hiim phat svdhd" daksine "om vajravairocaniye hum phat svdhd" ity arcayet. (2) "om oddiydna vajrapuspe hiim svdhd, " "om purnagiri vajrapuspe hum svdhd, " "om kdmdkhya vajrapuspe hum svdhd, " punar madhye "om s'irihatta vajrapuspe hum svdhd. "(3) "om dharmakdya vajrapuspe hum svdhd, " "om sambhogakdya vajrapuspe hum svdhd, " "om nirmdnakdya vajrapuspe hum svdhd, "punar madhye "om mahdsukhakdya vajrapuspe hum svdhd. " [Texts diverge. GSS25 continues] punar madhye "om namah sarvagurubuddhabodhisattve- bhyo vajrapuspe hum svdhd. " dhydndt khinno mantram japet, tatrdyam mantrah, "om sarvabuddhaddkiniye svdhd, " "om sarvabuddhaddkiniye om vajravarnaniye om vajra- vairocaniye hum hiim hum phat phat phat svdhd. "

•phat] GSS25 only • vdme] GSS25, GSS5; pascdd vdmaparsve GSS20, tatas tasyaiva tadvdmaparsve ca GSS24 • vajrapuspe] GSS25, om. GSS20, GSS24, GSS5 (also in the following mantras) • purnagiri] GSS20, GSS5; purnagiri GSS25, GSS24 • kdmdkhya] in various mss. it appears as kdmdkhya and kdmarupa* sirihatta] GSS25, GSS20, GSS24; srlhatta GSS5 •

The mantras for the second and third sets of offerings are given in full only in GSS25 (K92r3). In GSS24 (9OV3), GSS20 (84V6), and GSS5 (K36V6) the mantras are given in abbreviated form, e.g., GSS5: om <oMiydna>\ m % z >purnagirikdmdkhydsribatta <dharma > \ m g 2 ) sambhoganirmdnamahdsukhakdydkhydndm p ratyekam caturthyan- tam ndma vidarbhya omkdrddisvdhdntena pujayitvd purvavat. This japa mantra differs slightly in the different texts for groups I and II.

ii In group II (GSS9 I<45r.2, GSS30 Ki02r3, SM234 p. 455), the three sets of mantras are as follows (my punctuation and numbering): (1) om sarvabuddhaddkinlye vajra- puspe <hum>(SMz34) svdhd, madhye. agratah om sarvabuddhaddkini pltavarnd vajrapuspe svdhd. daksine om vajravarnanl sydmavarnd vajrapuspe svdhd. pascime om vajravairocanl gauravarnd vajrapuspe svdhd. (2) om dharmakdyavajrapuspe svdhd. om sambhogakdyavajrapuspe svdhd. om nirmdnakdyavajrapuspe svdhd. ma- dhye om mahdsukhavajrapuspe svdhd. (3) om oddiydnavajrapuspe svdhd. ompurna- girivajrapuspe svdhd. om kdmarupavajrapuspe svdhd. madhye om srlhattavajrapuspe svdhd. punar madhye om namah sarvabuddhabodhisattvavajrapuspe svdhd. om namah sarvabuddhaddkini om namah sarvavajravarnanl om namah hrlm sarva- vairocani hiim hiim hiim phat phat phat svdhd.

(1) • °varnani] GSS30, SM234; °varnanaGSS<) • agratah om sarvabuddha°] GSS9; agratah om buddha GSS30, SM234 • vajravarnanl] GSS30, SM234; vajravarnana GSS9 * om vajravairocanl gauravarna\ SM234; gauravarnd om vajravairocanl GSS9, GSS30 • (3) sarvavairocani] SM234; sarvavairocanlye GSS9, GSS30

iii This is omitted in GSS24, which begins with the offering mantras to Sarvabuddha- dakini in the center. In GSS25, GSS20, and GSS5 it appears in shorthand with iti (sarvabuddhaddkiniye ityddimantrena), which can only refer back to the japa mantra given after the visualization in GSS25 and GSS5. In GSS20 the japa mantra is omitted after the visualization (it appears instead at the end), and thus there is no referent for iti in this sadhana.



IOO



VAJRAYOGINI



three central yogic channels or veins in the body, and each represents the channel from which she drinks the blood. In the Trikdyavajrayoginistotra (GSS27), Vajrayogini is said to be established within each channel in turn, and to manifest in each with a particular color 217 and a particular iconography: :



.218



(v. 2cd) In the central portion of this [dharmodayd- triangle] is the syllable hrim, which is described as yellow in color, (v. 3) [Trikayavajrayogini] arises from it and is [also] yellow. She is by nature (svayam) situated in the avadhuti, but in lalandshe is very dark, and in rasand she has a white [color], (v. 4) In the middle she is in the pratydlidha stance, naked, and charming in [her] yellow [color]. [Thus] the goddess Trikayavajrayogini is estab- lished in the three channels, (v. 5) This [goddess] as a single [god- dess] is called Sarvabuddhadakini.



Vajrayogini's threefold nature is also extolled in the other Trikdyavajra- yoginistotra (GSS26) in which it becomes the central motif. Thus, she inhab- its sky, earth, and the underworld, and makes the triple world tremble (v. 4); she is without dissolution or arising but is the agent of both (v. 7). The unification of her threefold nature into a single goddess represents the yogic goal of great bliss, the result of the conjunction of winds in the central channel: "Through the conjuction of laland and rasand, she is avadhuti, great bliss." 219 This gives rise to a fourth category, namely, the unified, tran- scendent aspect of the threefold system. For example, Vajrayogini has the dot (binduh), the subtle sound (nddah), and the moon segment (kald), (v. 5a) and yet she passes beyond them (GSS26 K93VI, v. 6a: bindunddakaldtitd). The stotra goes on to identify Vajrayogini with the four moments and blisses of the Hevajra system (v. 9cd) and the four bodies of the Buddha (v. 5cd). 220 In the sadhanas, this fourth, transcendent aspect is represented by the uni- lateral mantra offering to the complete mandala, the goddess unified as "one-in-three."

The second set of mantra offerings includes the name of four sites: Oddiyana, Purnagiri, Kamakhya (= Kamarupa), and Srihatta (Syllhet in modern Bangladesh). This is reminiscent of the body mandala, in which the Cakrasamvara/Vajravarahi mandala is understood to comprise twenty- four sites (pithas) within the three worlds (ch. 3). Of those twenty-four sites, however, only Oddiyana appears in the mandala of Trikayavajrayogini; indeed, this fourfold set seems to have been unique. 221 With the recitation



THE CULT OF VAJRAYOGINI IN INDIA



IOI



of these offering mantras, the yogin identifies the three goddesses with the first three sites, and the central goddess again (presumably as the transcen- dent "fourth") with the fourth site.

The same procedure is followed for the third set of offering mantras, which identify the goddesses with the bodies of the Buddha. Similar cor- relations are seen in the Samvarodayatantra (ch. 4, w. 22cd-27), m which the triadic yogic structure is identified with many different external triads, including both the triple world and the Buddha's three bodies, and where it is said that by realizing the correlation between the outer and inner tri- ads, the yogin attains buddhahood (v. 27cd).

The goals of the Trikayavajrayogini practice are enumerated chiefly in terms of the magical powers (siddhis) accrued. The Laksmisddhana describes the rewards of mantra recitations in the prior service (purvaseva): one lakh (one hundred thousand) calms obstructive spirits, two lakhs attract women, three lakhs conquer cities, four lakhs attract the king and five lakhs bring the practitioner whatever he desires (GSS24 K90V6-9K, cf. Benard 1994: 72-74). Liberationist goals are not forgotten, however, and the stotra describes the goddess's power of liberating the practitioner "from the bonds of the oceans of existence." 222 Unusually, liberation is also the stated goal of the bali offerings that end the sadhana practices. The bali mantra in the Virupa-based Trikayavajrayogini sadhanas (group I) is the only mantra in the GSS that states that it is "for enlightenment" (samyaksambodhaye). 225 The fact that siddhi is not clearly distinguished from liberation in these texts is a reflection of Vajrayogini's supramundane status. Siddhi and liberation are the same in that both are realized by cleansing the mind of the obscu- rations that give rise to dual appearances. This is demonstrated by the icono- graphical symbolism of Trikayavajrayogini's severed head. By chopping off her own head and surviving to drink her own blood, the goddess dramati- cally declares that she has transcended the world of dual appearances.

The motif of self-decapitation runs through other works in the highest tantras; indeed, it is not an uncommon theme in Indian mythology in gen- eral. 224 For example, one Tibetan hagiograpny of Kanhapa/Krsnacarya describes how his two pupils, the yoginis Mekhala and Kanakhala, are chal- lenged to cut off their heads in a bid to convert the king. This they happily undertake, before dancing headless into space and disappearing into rain- bow light. Taranatha says that their actions started a head-chopping trend among dakinis and that as an antidote Vajravarahi herself appeared with a severed head among her devotees. 223 The princess Laksminkara also used the device to prove to her father that in becoming the consort of her brother



102 VAJRAYOGINI

Indrabhuti, she was innocent of an incestous relationship. She chopped off her head and walked around the city while white blood flowed from her neck, after which the citizens called her Chinnamunda Varahl. 226 For such adepts, the severing of their own heads usually indicates the severing of defilements. Thus, Gampopa's final realization comes when he has a dream in which his head is cut off and rolls down a hill, symbolizing that his "grasping the idea of a self (dtmagrahah) is severed (Benard 1994: 96).

The * Siddha-Amndya makes the same point, in a rather different fash- ion, when Advayavajra attempts to prove his mastery of appearances by temporarily decapitating his friend. He fails because he had not purified his mind of conceptualization (*Siddha-Amndya p. 11.26: vikalpasambhutat- vdt). Self-decapitation — or the breaking of some other fundamental Bud- dhist precept — therefore represents a moment of crisis. Thus, it is only when Advayavajra is about to cut off his head in despair at ever finding his guru that Sahara appears {^Siddha-Amndya p. 11.22). Similarly, Naropa's guru appears only after he has decided to cut his veins with a razor (Guen- ther 1963: 36). In the Arddhanavidbi above (GSS23), Sahara's failure leads him to doubt the truth of the lord's words, whereupon the goddess finally appears and tells him it is his own obscurations that are to blame. When Virupa's practice of Vajravarahl was fruitless, he was driven to throwing his rosary down the toilet, whereupon Vajravarahl appeared, and set him on the path that led him ultimately to enlightenment (Dowman 1985: 43-52). In these accounts, it is only by reaching a breaking point that the yogin breaks through his defilements. By confronting his limitations in that crucial moment, he removes his final obscurations and gains access to the transcendent realm he has so dearly sought.



Conclusions

We have now seen a variety of forms of Vajrayogini and Vajravarahl, all of which reflect the kdpdlika and/or s'dkta and yogic concerns of the highest Buddhist tantras. It remains to be asked whether we can tell anything of the origins and direction of the cult from our survey. Do the various manifes- tations present a dynamic picture of the cult of Vajrayogini in a process of evolution and development; or do they instead represent a number of dis- tinct if overlapping sytems, so that it would be more appropriate to talk of the Vajrayogini "cults" rather than of a single tradition?



THE CULT OF VAJRAYOGINl IN INDIA 103

The main feature that unifies the many manifestations of Vajrayogini is the mantra, which, despite certain variants, revolves around the three epi- thets or mantra-deities, sarvabuddhadakini vajravarnani, and vajravairo- cani. Vajravairocani is the deity of Vajrayoginl's heart mantra, and Sarvabuddhadakini and Vajravarnani of her auxiliary heart mantra. The three combine in the root mantra:

om om om

sarvabuddhadakiniye vajravarnaniye vajravairocaniye

hum hum hum p hat p hat p hat svaha

None of these mantra deities occurs commonly by itself In the Trikaya- vajrayogini visualization they are given iconographical form as external representations of the three inner channels of the body, but apart from this, there is only one other mention of an independent separate goddess based on the mantra epithets. This is Vajravairocani, who appears in a rather suprising statement in the Abhisamayamanjari in which (having just prescribed the visualization of Vajravarahi as a solo deity) the author comments, "Furthermore, the goddess Vajravairocani is called Vajra- yogini, and according to the scriptures and the teaching, there are many differences in the transmission." 227 This seems to reflect the idea that once Vajravarahi appears outside her Cakrasamvara-based mandala, she may take on a different form (in this instance, that of Vajravairocani) and is perceived as a manifestation of the generic deity, Vajrayogini. How, then, did this identification between the two goddesses Vajravarahi and Vajra- yogini come about?

Any attempt to look for the origins of the cult through the textual sources on hand can be little more than conjecture. We can, however, see two emer- gent trends at work in the sakta cults of the highest Buddhist tantras, and these seem to converge within Vajrayogini tradition. One trend is the emer- gence of a Buddhist yogini (a vajra-yogini) with Vajrayogini herself as the generic representative of that group. We have seen this same tendency at work in the forms of goddesses who represent particular classes of female, as in the attendant goddesses on the four petals, Dakini or Lama, and pos- sibly in the emergence of a single goddess called Vajravilasini. We also noticed Vajrayogini appearing as the essentialized form of other female deities, such as Ekajata and Buddhadakini. The other trend is the rise of the solitary heroine Vajravarahi. We have seen how Vajravarahi gravitated from the outer reaches of Heruka mandalas toward the center, to appear, on



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VAJRAYOGINl



occasion, as consort to Hevajra, and then as chief lady in the Cakrasamvara system. Finally, as Buddhism absorbed the impact of sakta Saivism, Vajra- varahi assumed greater significance still and rose to the position of mandala- leader within her own all-female mandala. In this context, Vajravarahi appropriated the mandala and ritual systems of her former consort, and her own cult developed. These two trends converge as Vajravarahi is identified with Vajrayogini. The process seems natural enough. As the former con- sort of the deity, Cakrasamvara, Vajravarahi is an outstanding example of a vajra-yoginl and easily associated with the essentialized form of all vajra- yoginis, Vajrayogini herself.

Whatever the factor that drew Vajravarahi into Vajrayogini's fold, once inside, she had a formative influence on the cult. First, she brought several different manifestations with her. For example, the dancing ardhaparyanka- pose form of Vajravarahi with the protruding hog's head may have pre- dated that of Vajravarahi as Cakrasamvara's consort, since she still bears her eponymous hog's head, which the consort does not. There also seems to be a tradition of the hog-headed forms of Vajravarahi belonging to the buddha family of Aksobhya, rather than to the presiding deity of Vajra- varahi in the Cakrasamvara mandala, Vairocana. A Tibetan source states that the hog-headed Vajravarahi is presided over by Aksobhya (n. 122); and the entirely hog-headed Vajraghona Vajravarahi, a goddess present in the mandalas of the Yamari herukas, is also presided over by Aksobhya. As we have seen, the Vajraghona form may have been emerging in its own right as the popularity of the wider cult grew, and this in itself hints at broader trends within the cults of female deity worship in India. Amid their ever- expanding pantheons, we find another popular hog-headed goddess: Marici, in her many forms.

The interweaving of the Vajrayogini and Vajravarahi traditions might also explain the iconographical difference we noted between the manifes- tations that hold a chopper and those that hold a vajra. In the main, the chopper belongs to forms of Vajrayogini, and to the ardhaparyanka-pose Vajravarahi. The vajra generally belongs to warrior-stance forms of Vajravarahi. The chopper may then be associated with the "older" forms of the yogini-type goddess who was later essentialized as Vajrayogini, while the vajra may date from Cakrasamvara's embrace of Vajravarahi as his consort.

The merging of once separate forms may also explain discrepancies within the mantras. Not all sadhanas prescribe the tripartite root mantra of the Vajrayogini tradition, and there are some exceptional mantras based on the mantra deities Vajravarahi, Vajradakini, and Vajrayogini. For example,



THE CULT OF VAJRAYOGINl IN INDIA 105

the mantra deity Vajravarahi is included in the mantra utterance for the three forms of Vajravarahi: the Vajraghona forms, the six-armed embrac- ing Vajravarahi, and a warrior-stance Vajravarahi (in GSS2 K11V3). We also find the same mantra deities, VajradakinI and VajrayoginI, in mantras relat- ing to the warrior-stance form of VajrayoginI with a chopper, and to both the raised-leg-pose goddesses, white VajrayoginI, and red Vajravarahi. It seems to be Vajravarahl-as-consort who bequeathed the tripartite root mantra to the VajrayoginI tradition. The mantra element Sarvabud- dhadakinI appears in the Cakrasamvara texts in the auxiliary heart mantra of Vajravarahi (e.g., ADUT ch. 14, p. 288: om sarvabuddhaddkiniye hum humphatsvdhd), and the inclusive nature of this epithet sarvabuddhaddkini ("dakinl of all the buddhas") is a testimony to Vajravarahl's importance as consort to Cakrasamvara and may have been another factor in equating her with the generic form of VajrayoginI. The epithet "Vajravairocanl" proba- bly arose because in the Cakrasamvara mandala Vajravarahi is assigned to the buddha family of Vairocana. I have found no clear directions as to the origins of the third epithet, vajravarnani. Although the three mantra epi- thets do not seem to have referred to separate forms of the goddess in the first instance, they may have acquired such status over time, as suggested by Sakyaraksita's (relatively late) reference above to a solo form of Vajra- varahi called Vajravairocanl. The same development seems to have affected the epithet sarvabuddhaddkini in later traditions. In Indian sources, I have not seen an independent goddess called SarvabuddhadakinI attested outside the TrikayavajrayoginI sadhanas. However, a deity iconographically identi- cal with warrior-stance, chopper-wielding VajrayoginI is referred to, on occasion, in Tibetan sources as SarvabuddhadakinI, or Sangs rgyas thams cad kyi mkha' 'gro ma (e.g., von Schroeder 1981: plate 111E), although this seems rare. In fact, the appellation "SarvabuddhadakinI" may be something of a Western usage, perhaps originating in a misreading of the Sddhanamdld sadhanas of TrikayavajrayoginI. 228

Another feature of the practice of VajrayoginI in India is the tendency to associate particular forms of the goddess with charismatic founders of a lineage. This seems to have taken hold in Tibet, where there are three main transmissions of the goddess. As we have seen, Indrabhuti is associated with the transmission of the dancing ardhaparyanka form of Vajravarahi with hog's head, Indra-khecari (mKha spyod); Advayavajra/Maitrlpa(da) with the raised foot (urdhvapddah) form of Vidyadharl VajrayoginI, known in Tibet as "Maitrl-khecarl"; and finally, Naropa with the classic warrior- stance form of Vajravarahi, Na-ro-khecarl.



w



106 VAJRAYOGINI

Although the transmissions were oral to begin with, we have seen how their "textualization" occured very early. In a traditional Buddhist enviro- ment, this would have little affect on the esoteric nature of the worship and the still-primary role of the guru in granting intiation into the practices.

(This remains true even today. As Lama Jampa Thaye put it [2002: per- sonal communication], "[The practices] remain 'secret' in as much as we cannot study or practise them without the requisite initiations and trans- missions — although one may, of course, possess the books." In other quar- ters, with the popular appeal of tantric Buddhism to Westerners and the willingness of Tibetan lamas to cater to that, the traditional structures no longer hold true. This situation has, of course, provided a rationale or jus- tification for academics, who argue that if such information is to appear in the public domain, then it may as well be accurate and subject to the schol- arly methods of the academy.)

In conclusion, our survey of the Vajrayogini tradition in this chapter has revealed the general unity of the cult: Its mantras are relatively stable, and most forms of the goddess receive the generic labeling "Vajrayogini." How- ever, it has also indicated the existence of separate currents within the tra- dition, based on its historical roots and the influence of separate teachers. The two main streams in the tradition center on the goddesses Vajravarahi and Vajrayogini, and it is perhaps unsurprising that some forms in the Guhyasamayasddbanamdldhzve been seen to draw on both these traditions. Thus, the raised-foot-pose goddesses manifest as a form of white Vajra- yogini and as a form of red Vajravarahi; the same is true of Vilasim, who in one manifestation is related to Vajravarahi and in another to the Vidyadhari Vajrayogini; and both traditions are found to merge in the prac- tice of the turtle-stance Vajrayogini. This suggests that such forms are later developments in the cult, able to draw upon a mature iconographical stock. Is it possible, then, to trace the evolution of the cult from our analysis of its contexts? It seems fairly certain that an early stage would be the defini- tion of the solitary heroine (ekavird) within an all-female mandala based on the Cakrasamvara system. This may have encouraged the identification of Vajravarahi with the generic goddess Vajrayogini and the proliferation of her forms in their terrifying and/or erotic aspects. Our analysis of Umapatideva's Vajravarahi Sddhana will also shown an increasing cremation-ground ori- entation within these practices, one of which is taken further still in the "skeleton arch" practices (GSS32-34). Here, the tradition seems to draw on forms of Vajrayogini that survive in earlier tantric practices, and also from



THE CULT OF VAJRAYOGINl IN INDIA 107

sources that lie outside the main Herukatantra traditions, namely from eso- teric Saivism and perhaps from less influential portions of the Buddhist tantras. Finally — or perhaps simultaneously — we see specialist practices emerging from within these different streams of the Vajrayogini tradition, as in the practices that reject the kdpdlika culture altogether and cultivate the erotico-yogic soteriology of mahamudra.

The impressive number of forms in which Vajrayogini manifests and the variety of her practices together reflect the richness and popularity of her cult in the land of its birth. According to tradition, of course, such diver- sity simply illustrates the power of the goddess's compassion and her mas- tery of skillful means as she caters to differences in "the character and disposition" of beings. 229 Seen in this light, and despite all our efforts, any study of the goddess could only ever reveal a fraction of her true nature — for as the Abhisamayamanjari points out, Vajrayogini's manifestations are, in reality, infinite:'



.230



So one should understand the transmissions of the goddess such as these that have come down (dydtd) in the lineage of pupils from the teachings of the siddhas to be endless, because of the [endless] differences in the dispositions of those to be trained. This [work] has described this merely in outline. So (ca) having taken up one method among these methods [taught here] , one should meditate imbued with faith and compassion, unattached, following the pledge, [and] free from doubt. One will inevitably succeed.



3. Study of the Vajravarahl Sadhana



Outline of the Sadhana



T



iHE Vajravdrdhi Sadhana by Umapatideva is one of the lengthiest sadhanas in the Guhyasamayasadhanamald. It comprises nearly eighty original Sanskrit verses interspersed with prose portions, much of which the author has redacted from elsewhere. The backstay of his work is the literature of Cakrasamvara, and it is from this source that Umapatideva draws the description of Vajravarahl and her thirty-seven-deity mandala, as well as the ritual practices that follow. We will see how Vajravarahi's mandala is carefully adapted from the sixty-two-deity mandala of Cakra- samvara, which appears in embryonic form in the Cakrasamvaratantra (e.g., chs. 2-3) and in various presentations in its derivative literature, such as the Yoginisamcaratantra (e.g., patalas 6-8), the Samvarodayatantra (e.g., chs. 8 and 13), the Abhidhanottaratantra (e.g., chs. 9 and 14), and in exegetical lit- erature, such as Luyipada's Herukabhisamaya.

The Vajravarahl Sadhana forms a rewarding subject for study, because in it the processes and methodology of the sadhana are particularly clear. These are highlighted by its distinctive structural framework: it is divided into four "meditation stages" (bhdvandkramas) , followed by a fifth section prescribing various external ritesTlt finishes with a few verses that form a sort of brief appendix, giving additional details of the eight cremation grounds. The four meditation stages describe progressively longer medita- tions based on the visualization of Vajravarahl within her mandala. The first meditation stage reads as a complete sadhana in itself. It opens and closes with the usual frame verses, prescribes the practitioner's preliminary actions, and then progresses to the yogin's generation of himself as Vajravarahl. Ritual and yogic procedures are then mentioned in brief, and it ends, as is standard in a sadhana, with the repetition of the deity's mantra. The second meditation stage is brief, as it simply prescribes the visualiza- tion of a fivefold mandala, that is, the central deity, Vajravarahl, on the



109



IIO VAJRAYOGINI

pericarp of the lotus, surrounded by four more goddesses on the four main petals of the pericarp. The third meditation stage increases the mandala to include the eight outer goddesses at the gates, thus creating a thirteenfold mandala. The fourth meditation stage goes on to supply the goddesses of the twenty-four sites (pithas) situated upon the three mandala circles that surround the central petal in concentric rings; this brings the mandala to its complete thirty-seven-fold form. For each meditation stage, Umapati- deva prescribes the necessary mantras for the attendant goddesses, as well as additional mantras for the central deity. Upon completing the mandala, meditation stage four also describes the contemplative practices to be undertaken upon the basis of the full visualization. The full mandala is shown in figure 32 (related to plate 12).

Umapatideva's neat organization of the details of the practice serves a didactic purpose. It enables him to clarify the methods for each visualiza- tion associated with the full mandala, and to offer each stage as a complete visualization in itself. Importantly, he is able to distinguish the mantras associated with the central deity at each stage. Other authorities on the mandala follow the more usual method, which is to prescribe the progres- sive visualization of mandala deities starting at the central pericarp and moving outward, thus: mandala leader(s) on lotus pericarp — » goddesses on surrounding lotus petals -* goddesses of the twenty- four sites — * outer goddesses.

This is the structure of the sixty- two-fold Cakrasamvara mandala as pre- sented in Luyipada's Herukdbhisamaya; and it is the structure of the other complete Vajravarahi mandala in the Guhyasamayasddhanamdld collection, the Abhisamayamanjari (GSS5) by Sakyaraksita, which is also closely based on Cakrasamvara sources. In this lengthy work (summarized in the appen- dix), the Abhisamayamanjari uses this progressive method to introduce the entire sadhana for the generation of the thirty-seven-fold mandala, from its preliminary procedures to its closing rites. Only then does it offer alter- native practices. The first alternative describes a fivefold mandala "for those wanting a medium-length version" (K33V5: madhyarucis tu...), as in Umapatideva's second meditation stage. The Abhisamayamanjari then gives the instructions for the visualization of Vajravarahi alone "for those want- ing a short version" (K34n: samksiptdrthi tu yathoktarupdm bhagavatim eva kevaldm bhdvayati), as in Umapatideva's first meditation stage. The struc- tural differences between these two important sadhanas are summarized in tabular form in table 8:



STUDY OF THE VAJRAVARAHI SADHANA



III



Table 8. Comparative structure of the Vajravarahi Sadhana and Abhisamayamanj an



Vajravarahisadha
by Umapati


na (GSSii)
deva


Abhisamayamanj arl (GSS5) by Sakyaraksita


meditation stage i


sadhana for
Vajravarahi alone


sadhana for visualization of complete 37-fold mandala including ritual practices


meditation stage 2


5-fold mandala

(with 4 goddesses on petals)


meditation stage 3


13-fold mandala

(with 8 outer-goddesses)


meditation stage 4


37-fold mandala

(with 24 site goddesses
& contemplations)


5-fold mandala
(first alternative)


ritual practices


ball rituals,
hand pujd, etc.


single goddess Vajravarahi (next alternative)


verse "appendix"


verses describing the
cremation grounds


more alternative meditations for five other manifestations of Vajrayogini


closing verses


closing verses



Umapatideva's handling of the ritual practices in the fifth section of the sadhana also has a didactic effect. It is standard that authors prescribe rit- ual procedures such as external worship at the end of a sadhana, as the sadhana is actually a preliminary to the rites — indeed to all activity — that the practitioner is to undertake in his new divine form. However, Uma- patideva is particularly careful to separate the rites from the body of the sadhana, which enables him to preserve the narrative flow of the four med- itation stages. For example, in the first meditation stage he simply points out in passing the moment when the tasting of nectar ritual is to be per- formed (v. 28b), but he reserves the actual procedures for the later section that deals specifically with ritual practices (v. 59ff.)- In this way, the ritual practices as given in Umapatideva's sadhana form a kind of extended



"2. VAJRAYOGINl

"ritual epilogue" to the main body of the work. This structure allows

Umapatideva to include other rites that may or may not be performed at

the same time as the sadhana, such as the ball ritual and various external

worship ceremonies, and it demonstrates that the rites may be performed

using the visualization of the mandala in any of its four stages. The same

clarity of exposition is evident in Umapatideva's treatment of other mate- y. i

rial that is tangential to the main thrust of the meditation. Thus, he inserts

the alternative visualization of the circle of protection at the end of the first

meditation stage (v. 35), and details of the cremation grounds at the very

close of the sadhana (w. 70-76).

The lucid structural framework of the Vajravdrdhi Sadhana is matched by an elegance of style. In contrast to the formulaic Sanskrit prose and occasional "doggerel" (usually anustubh) of much sadhana literature, Umapatideva employs the somewhat more poetic meter upajdti. The first meditation stage comprises thirty-five of Umapatideva's own verses with additional prose passages redacted from other texts to expand upon the terse prescriptions of the verse. For the description of the full mandala in the second, third, and fourth meditation stages, Umapatideva draws from a stock of source material (discussed below) and thus employs a combina- tion of anustubh and prose. He concludes the sadhana with a return to his own verses in upajdti to explain the visualization of the cremation grounds and to close his composition with the dedication of merit. Within the clas- sical conventions that mold his verses, Umapatideva sets the prescriptive tone of the sadhana in the traditional fashion with the use of optative finite verbs applying to the sadhaka ("he should visualize," "he should perform," etc.), while his metrical reworking of the older material means that he avoids many stock descriptions found elsewhere in the Vajrayogini litera- ture. Nevertheless, in refining familiar phrases (for example, in his descrip- tion of Vajravarahi, w. 19-24), it seems as if he is consciously aiming to preserve the flavor of the older passages — no doubt as a mark of respect for the tradition he sets out to describe.



Meditation Stage i



Benediction



v. i The sadhana opens in traditional fashion with a verse of benediction (mangalam). This takes the form of an expression of obeisance and hom- age (namaskdrah) to the chosen deity of the practice (istadevatd) and gives voice to the devotion felt by the author. Our author, Umapatideva, begins by saluting the lotuslike foot of the vajra goddess, which — in true poetic (kdvya) style — suggests both her extraordinary beauty and his inability to describe more than a single feature of so awe-inspiring a whole. Hinting per- haps at the goddess's dance, Umapatideva praises the divine qualities of such a foot, which is capable of destroying dichotomizing consciousness and engendering the realization of emptiness. For comparison, here are the benedictory verses to the other major sadhana of Vajravarahi in the Guhya- samayasddhanamdld, the Abhisamayamanj 'art (GSS 5) . These include a brief namaskdra followed by a prayer (dsirvddah) for the deity's favor. Once again, salient features of the composition are highlighted, in this case, the mani- fold nature of Vajrayogini's forms and her evident compassion: 231

Homage to Vajrayogini, whose nature is emptiness and

compassion,
who has manifold forms because of the diverse natures of people, who is irradiated by brightness (vaisadya-), because she is

thoroughly cleansed (sudhdvana) by the nectar (sudhd) of perfect

enlightenment,
quiescent (sdntd) though she is [within], without she spreads

redness because of her affection for the multitude of those to

be trained.
Bearing a vajra, a stainless skull bowl, and a skull staff of terrible

splendor,
may this blessed Vajravilasini bring you prosperity!

The composition of a sadhana is a religious undertaking and is therefore framed by benedictory verses at the start, and, in the final verse, with a ded- ication of the merit gained by completing the task. The merit generated by the opening expressions of homage serves an immediate practical purpose,



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114 VAJRAYOGINI

as it is believed to help the author through the mass of demonic obstacles eager to obstruct the progress of any pious endeavor.



Preliminaries

v. 2 Umapatideva's second verse describes the necessary preliminaries to the sadhana: finding a suitable site in which to practice and sitting down to meditate. The verse begins by dictating the type of spot the yogin should choose for meditation. The ideal places are wild and solitary, "pleasing to the heart" (v. 2c) of a tantric sadhaka because they are "suitable to prac- tice." 232 While huts and temples are also listed in other yoginitantra texts, this is not typical of the Vajrayogini tradition. Indeed, on the two occasions where indoor dwelling places are mentioned in the Guhyasamayasddh ana- maid (amid more terrifying alternatives), they are said to be deserted; Vajrayogini practices clearly follow the most extreme wing of the Buddhist tradition. 233 This is in stark contrast to the sutra-type sadhanas (such as many in the Sddhanamdld collection) that prefer quiet resorts or temple shrines as sites for meditation, "delightful" (manohara) because they are beautified with fragrant water and flowers, and free of disturbances such as robbers, noise, or thorns. 234

Having chosen the site for his meditation, the yogin then sits himself down "on a very comfortable seat, with yogic ease" — Sddhanamdld sources speak of soft cushions and tender pillows. 235 Vajrayogini texts occasionally mention two other types of seat. One is "made of a double vajra" (visva- vajramayi-), which suggests a double vajra (fig. 26) drawn or embroidered onto a cushion or decorative hanging, or traced upon the ground; the other consists of a corpse. 236 Once seated, the yogin assumes his meditation pos- ture, probably the traditional cross-legged pose (paryankah/vajra- paryankah), which seems to be the commonest position prescribed in the Sddhanamdld^ 7 In a passage that lists a number of seated meditation pos- tures, Abhayakaragupta explains the vajraparyarika thus: "Having placed the left foot between the right calf and thigh, he should place the right [over the left] between the left calf and thigh. This is the vajraparyanka [posture]." 238

Far more complex preliminary activities are prescribed elsewhere, and the yogin would undoubtedly wish to undertake a number of these before con- tinuing. To start with, he would usually enact rituals for the protection of "place, person, and practice," which may involve time-consuming external






STUDY OF THE VAJRAVARAHI SADHANA 115

rites and internal meditations, or simply be accomplished by reciting om ah hum. 239

For the "protection of the place," sadhanas usually prescribe a bali rit- ual, injunctions for which appear later in the Vajravdrdhl Sddhana (v. 66ff.). This can be a very complex rite in which a special propitiatory food offer- ing — a bali — is offered to local spirits, as well as to the deities of the mandala. Alternatively, the site may be empowered by the utterance of a sequence of mantras performed with the appropriate hand gestures, or mudras. 240

The "protection of the person" involves the purification of the practi- tioner's body, speech, and mind. Many sadhanas begin with bodily purifi- cation. The yogin is instructed to rise early (prdtar utthdya. . .), "when the night has 'one hour and a half (ardhaydma) remaining" (or, according to Saiva ritual texts, "within two hours before dawn"). 241 He is then to wash his mouth and perform other ablutions such as going to the toilet (mukha- saucddika-)y which he ritualizes by reciting mantras and maintaining the conviction that as he washes, he is being consecrated by the buddhas. 242

For the purification of speech (vdgvisuddhih), the Abhisamayamanjari (GSS5) prescribes a threefold recitation of the syllables of the alphabet. The syllables represent the undifferentiated mantric form of the deities. They are visualized forming three circles around the meditator as the three circles (cakras) of the mandala (see below), while light rays shine from the syllables and transform into a mass of deities who destroy all the obstacles impeding the practice. The vdgvisuddhi, which is referred to several times in the Guhyasamayasddhanamdld, is derived from Cakrasamvara literature. The longest version, although still confusingly terse, is found in the Abhisamayamanjari. (The alphabet is shown in plate 16a from ms. K.): :

"om adiiuiirfllue ai au am ah ka kha ga gha ha ca chaja jha ha ta tha da dha na ta tha da dha na pa pha ba bha ma ya ra la va sa sa sa ha ksa hum hum phat. " Having thrice pronounced [the syllables of] this row of vowels and consonants [and seen each syllable emerging from his mouth as he does so] , he should visu- alize [them] as located surrounding him, emitting five [-colored?] rays, [and as] having destroyed the mass of obstacles by means of the mass of deities of the three cakras that have been emitted [from the scintillating syllables (and are then retracted back into them)]. This is the purification of speech (vdgvisuddhih).



.243






I



n6



VAJRAYOGINI



The purification of mind — in fact, of body, speech, and mind alto- gether — is achieved with another preparatory ritual found in the higher tantras. This is the contemplation of the purifying correspondences (yisud- dhis) — a method of establishing, or reestablishing, the yogin in union with the deity. Indeed, one Cakrasamvara text specifically prescribes it as a pre- liminary for a yogin who has lost the awareness of himself as the deity. 244 The purification takes place on the basis that the yogin understands every part of his psychophysical being — viz. his five aggregates {skandhas), the sense organs with their respective sense fields {dyatanas), and the five ele- ments (dhdtus) — to be ontologically equivalent to the buddhas, because all share the nature of emptiness. Although this preparatory practice is not found in the Vajravdrdhi Sddhana (possibly because it includes the visual- ization of male deities), it is worth describing here because of its similarity to the armoring stage later in the sadhana. Our source is the Abhisamaya- manjari, and is again clearly based upon Cakrasamvara sources. It intro- duces the visualization as follows: 245



He should be firmly convinced (adhimuncet) of the purifying correspondence [s] for the skandhas and the rest [of his psy- chophysical being] since (iti) [rites] such as worship [that are performed] on the basis of the purified skandhas, etc., are a speedy cause of enlightenment. Of these, [the buddhas] Vairo- cana and so on [i.e., Ratnasambhava, Amitabha, Amoghasiddhi, and Vajrasattva (sic)] are firmly understood (nisceydh) as [the skandhas,] "form" up to and including "consciousness," by virtue of [both the buddhas and the skandhas] being like foam, bubbles, rays of light, the plantain plant, [or] illusions, [i.e., empty] . Aksobhya [is understood] as tathatd. Alternatively it is simply the firm belief in Vairocana and the other deities that constitutes the purification of those [skandhas etc.] .

The text then correlates each buddha individually with the skandhas, and describes the iconographical forms they are to assume as the meditator con- templates the correspondences. The buddhas assume a typically tantric appearance as they stand in the warrior (dlidhah) stance, with three eyes, matted locks, and bearing the five signs of observance {mudrds). They hold tantric attributes "gracefully" (salila) in their right hands, and place their left "proudly" (sagarva) upon their girdles full of bells.

Next, the meditator correlates his sense organs and sense fields with



STUDY OF THE VAJRAVARAHI SADHANA 117

another set of deities who are the esoteric equivalents of the above: Ksiti- garbha, Vajrapani, Khagarbha, Lokesvara, Sarvanivaranaviskambhin, and Samantabhadra. They are visualized holding an attribute in their right hands and a bell in their left. The author also provides alternative names that reflect their capacity to destroy the poisons: "Mohavajra because he destroys ignorance (mohab), Dvesavajra because he is the enemy of malice (dvesah), the three Irsya[vajra], Raga[vajra], and Matsaryavajra because they destroy [respectively] envy (irsyd), all clinging (sarvdsangah), and miserli- ness (mdtsaryam), and Aisvaryavajra because he bestows all powers." 246 Finally, the yogin equates the four elements with the four goddesses Patani, Marani, Akarsani, and Nartes'vari, and the element space with Padmajvalini. They also assume a kdpdlika form, and are visualized naked, with loose hair, holding tan trie attributes in their four arms, while the fifth goddess has three faces and six arms. The text states that the goddesses are also known as Locana, Mamald, Pandara, Tara, and Dharmadhatuvajra, namely, the traditional consorts of the buddhas and "mothers" of the yogatantra systems. 247 These correlations and the salient iconographical fea- tures are summarized in table 9.

One other preparatory rite is worth mentioning, as it illustrates the purification of the practitioner's body, speech, and mind through trans- gressive discipline (vdmdcdrah). This is the mantra bath (mantrasndnam), which is performed using forbidden substances, such as alcohol, and con- ventionally "disgusting" bodily secretions and fluids. The practice forces the yogin to break through his instinctive, dualistic perception of matter as either pure or impure, and in so doing the transgressive substances become nectars capable of purifying his body, speech, and mind. This practice appears almost identically in the first two sadhanas of the Guhyasamaya- sddhanamdld, attributed to Indrabhuti (GSSi) and Luyipada (GSS2):



.248



Next, in order to purify the body, speech, and mind, he should [take] the three (GSS2: four) kinds of divine liquid according to their availability, [namely, fomentations from] honey (GSSi: mddbvi;GSS2: mrdvlkd and mddhvika), molasses (gaudl), [and] flour (paistl) and mix them with the five nectars [namely, semen, blood, flesh, urine, and feces] and place them in a chalice. [Then] having consecrated [the mixture] with the three-syllabled mantra [om dip hum], he should perform a "mantra bath" (mantrasnd- nam) using this liquid on all the major and minor limbs [of the



I



Table 9. Contemplation of purifying correspondences (visuddhis)



Skandhas


Purifying Deity


Color


Right Hand(s)


Left Hand(s)


-


form
(rupam)


Vairocana


white


wheel (aloft)


bell (at hip)


feeling
(vedana)


Ratnasambhava
[Vajrasurya]


yellow


jewel (aloft)


bell (at hip)


cognition
(samjna)


Amitabha
[Padmanartes'vara]


red


red lotus (aloft)


bell (at hip)


volition
(samskarah)


Amoghasiddhi
[Vajraraja]


green


double vajra (aloft)




bell (at hip)


consciousness
(vijnanam)


Vajrasattva


white


vajra (to the heart)


bell (at hip)


suchness
(tathata)


Aksobhyavajra
[s'ri-Herukavajra]


black


earth-touching
mudra


bell (at hip)


Sense Organs and Fields




eyes


Ksitigarbha
Mohavajra


white


wheel (aloft)


bell (at heart)


ears


Vajrapani
Dvesavajra


black


vajra (at heart)


bell (at hip)


nostrils


Khagarbha
Irsyavajra


yellow


jewel (aloft)


bell (at heart)


face


Lokes'vara
Ragavajra


red


red lotus (aloft)


bell (at heart)


whole body


Sarvanivarana-

viskambhin

Matsaryavajra


dark

[green]


double vajra
(aloft)


bell (at heart)


all sense fields


Samantabhadra
Aisvaryavajra


pure white


vajra (at heart)


bell (hip)


Elements




earth


Patani
Locana


yellow


wheel
chopper


skull bowl
skull staff


water


Marani
Mamaki


black


vajra
chopper


skull bowl
skull staff


fire


Akarsani
Pandara


red


lotus
chopper


skull bowl
skull staff




wind


Nartes'vari
Tara


green


sword
chopper


skull bowl
skull staff




space


Padmajvalini
Dharmadhatuvajra


grey

3 faces:
grey, red,
& white


goad
Brahma's

severed head
chopper


skull bowl

staff

noose





■ Br;;..



STUDY OF THE VAJRAVARAHI SADHANA 119

body starting] from the left hand. He should sprinkle the sub- stances to be offered with this same [mixture, i.e., using the ring finger (anamika) and thumb joined together to flick the sub- stances]. Next, with these mantra syllables, <om vam?> hamyom, hrlm mom, hrem hrlm, hum hum, phat phat, he should [first] purify the thumb [and fingers] of the left hand, [and then] utter the triple purification [see below] . . .

However brief or complex the preliminary rites are, their underlying purpose is to prepare the yogin for the essential goal of the sadhana — the meditator's inner transformation of himself into Vajravarahi through a total assimilation of her appearance and character. The preliminaries pave the way for this inner process. Her fondness for cremation grounds and mountainous haunts is reflected in the lists of possible meditation sites. Her iconography is mirrored by the meditator's seat, as she stands above a mandala resting upon a crossed vajra (visvavajravedika), and upon a corpse throne. Her posture, too, may be imitated by the practitioner, as one ball ritual directs him to assume her actual pose, standing upon raised ground in warrior stance, naked, with loose hair and eyes raised (GSS31). He may also model his appearance upon that of the goddess, either by going naked with loosened hair, or by donning red hair band and red clothes in order to emulate her color. 249 Practices based on the purifying correspondences or upon transgressive discipline prepare the yogin by reaffirming his under- standing of nonduality, and paving the way for his inner identification with the deity who is a reflex of that reality. Taken as a whole, the prelim- inaries demonstrate the same objectives as the sadhana: the yogin's ongo- ing attempt to erode his perception of himself as a mundane individual and to reconstitute himself as Vajravarahi. In the complex array of preliminary procedures, the ancient Indian adage is at play, that "one must become a god to worship a god." 250



Bodhisattva Preparations

v - 3- The next portion of the sadhana lays the spiritual foundations for the

^ 2 yogin's transformation into the deity. It follows the career of the Mahayana

bodhisattva who makes his resolve to attain enlightenment for the sake of

all sentient beings, and then sets out upon the aeons-long path to attain

the twin accumulations of merit (punyasambharah) and wisdom (jhana-



120 VAJRAYOGINl

sambhdrah). The Vajravdrahi Sddhana follows the method standard in mainstream sadhanas, which is to cultivate a more speedy accumulation of merit through the practices of worship and the brahmavihdra meditations, and a more instant accumulation of wisdom through the contemplation of emptiness. 251 It is to the former that Umapatideva now turns in the fol- lowing verses and prose portions.



Worship

v. 3 The worship is based on the Mahayana supreme worship (anuttarapiljd) in seven stages and includes both the visualization of offerings and the recitation of verses. The first step is to make abundant offerings to crowds of celestial beings. The yogin begins by visualizing a glowing red vam (T) in his heart, the seed-syllable of Vajravarahi in her most essential form. The syllable quivers and shines with an intense spiritual energy and emits light rays that stream through all the pores of the meditator's body before "drawing down" (dkarsanam) the deities to be worshiped. Rays are a typ- ical tool of a visualization meditation. They are a reflex of the power of the deity, capable of pervading the entire universe, purifying it, removing its suffering, and nourishing it. Sometimes they take the form of a hook or goad (ankusah) that "urges" or "impels" (samVcud) the deities to coop- erate in the ritual. 252 In the Vajravdrahi Sddhana (v. 3d), the rays draw down "a mass of buddhas and so on" from their dwelling place in the Akanistha heaven, where they reside in a body of enjoyment (sambhoga- kdyah). 253 A characteristic list of the beings to be worshiped includes "gurus, buddhas, and bodhisattvas" (e.g., v. 6a: gurvddibhih) . 254 The prece- dence shown here to the guru is a reminder of his centrality within the tantric systems and his supreme significance to the yogin, who views him as the chosen deity itself. Some yoginitantra texts, however, supplant even the guru by introducing the yoginis at the head of the list (yoginiguru- buddhabodhisattva-). This is effectively what happens in the worship sec- tion of the Abhisamayamanjari, in which Vajravarahi's entire mandala circle is summoned for worship, as well as the teachers and other enlight- ened beings: :



.255



Then, in the subtle space inside his own heart, he should visu- alize the red syllable vam placed on a sun disk that has [itself] been produced from the seed-syllable ram, [and] having driven



STUDY OF THE VAJRAVARAHl SADHANA 121

out [his] inner impurity with rays from that [vam], he should draw down the mandala circle of the goddess to be described, and the teachers, buddhas, and bodhisattvas by means of [rays from the vam syllable] pouring forth from every hair pore [of his body], and [then] he should visualize in front [of him] in space [the celestial hosts] .

The divinities are suspended in front of the practitioner in a thronging mass, a scene familiar from Mahayana sutras and the earlier tantras. The beings fill the entire universe, packing the ten directions of space so abun- dantly that it is said to resemble a sesame pod full of densely packed seeds. 256 f. 4ab The next verse in the Vajravdrdhi Sddhana instructs the yogin to wor- ship the celestial hosts with imaginary offerings. These billow out like clouds from the rays of the seed-syllable in his heart or through the pores of his body. 257 Here, in an abbreviated reference, they comprise the five offerings {upacdras), which usually refers to flowers, incense, lamps, per- fumed powders, and food — although the exact sequence may alter accord- ing to the class of tantra (mKhas grub rje: 179-83). The worship visualization may become more elaborate still as sadhanas prescribe other offerings, such as water to drink and water for washing the feet, or other traditional sets of offerings, such as the seven jewels (saptaratna) or the eight auspicious symbols (astamangala). 2 ™ This type of offering is referred to as "outer worship" (bdhyapiljd) and is distinguished from an "inner wor- ship" (adhydtmapuja) comprising offerings of the five sense organs (kdmagunas), which are represented by their respective sense objects: a mir- ror for form or sight, music for sound, incense for smell, food for taste, and cloth for touch. 259

Both outer and inner offerings are prescribed in the worship section of the Abhisamayamanjarl (elsewhere termed the "secret worship," guhya- pujd). 260 The Abhisamayamahjari employs sixteen variously colored "wor- ship goddesses" (pujddevis) to make the offerings. The first four goddesses offer the traditional gift of music and are named after the instrument they play: Vina (lute), Vamsa (flute), Mrdanga (tabor), and Muraja (drum). The next four goddesses offer song and dance, and their names also reflect their actions: Hasya makes the laughing dance gesture (hdsydbhinayah), Lasya the dance gesture of love (Idsydbhinayah), and Nrtya ("dance") the lotus dance gesture (kamalabhinayah), while Gita ("song") holds "bell metal" Q.kamsika). The next set comprises Puspa, Dhupa, Dipa, and Gandha, who are the eponymous bearers of a flower, incense, lamp, and



122



VAJRAYOGINI



fragrant powders. The final four goddesses hold offerings representing the bodily senses. Adars'a ("mirror") holds a mirror for the sense of sight; Rasa ("juice") a dish of juice for taste; Sparsa ("touch") a cloth (visvavastram) for touch; and Dharma ("existent") the dharmodayah or "origin of existents" as the object of the sixth sense, mind. 261 The goddesses also hold other tantric ornaments in their remaining arms. These are shown in the table below, which summarizes the text of the Abhisamayamanjari.



262



Table 10. Sixteen worship goddesses



Music Offerings

4 arms:
instrument

vajra & vajra-bell


Song & Dance Offerings

4 arms:
dance gestures

skull & staff


Other Traditional Offerings

4 arms:
offering & damaru

skull & staff


Sense Offerings

4 arms:

offering &

damaru

skull & staff


Vina - lute
(blue)


Hasya — dance
(red)


Puspa — flower
(white)


Adars'a - mirror
(white)


Vams'a - flute
(yellow)


Lasya - dance
(blue)


Dhupa — incense spoon
(smoky)


Rasa - dish
of juice

(red)


Mrdanga — tabor

(red)


Gita - song
(yellow)


Dipa - lamp stick ! Sparsa - cloth (flame-colored) (green)


Muraja - drum

(green)


Nrtya - dance
(green)


Gandha - conch

shell of powders

(red)


Dharma -

dharmodaya

(dazzling white)



v. 4c § i,

w. 5-7.



It is interesting that neither the Vajravdrdhi Sddhana nor the Abhi- samayamanjari prescribe transgressive offerings at this stage, as do other sadhanas in the Guhyasamayasadhanamdld. Perhaps our authors saw no reason to accommodate tantric norms at this point, since this portion of the sadhana represents the Mahayana phase of the spiritual tradition (the bodhisattva's accumulation of merit) and is firmly grounded in Mahayana models of worship. It is tempting to see Umapatideva's sadhana as transi- tional, offering a practice that retains some traditional features, but in so doing, foregoing a complete integration of tantric methods. 263

Following the worship of the deities, Umapatideva prescribes the seven- fold "supreme worship" (anuttarapujd) of traditional Mahayana ritual and composes verses that were probably intended for recitation (w. 5-7). The






fttMff



STUDY OF THE VAJRAVARAHI SADHANA



123



seven steps of the puja begin here with "confession of faults." This differs from the Mahayana model, which opens with "worship" (pujand), followed by "salutation" (vandana, "bowing down to all the buddhas"). 264 In the sadhana, the stage of worship has already been performed (v. 4ab), and so Umapatideva omits it, along with the salutation. This is typical of many other sadhana writers, who tend to detach these two stages from the seven- fold model. 265 Without the stages of worship and salutation, Umapatideva is forced to add two more stages in order to preserve the sevenfold sequence, and he therefore finishes the puja with "resorting to the path" and "dedication of one's body." Not all sadhana writers produce such a neat solution to the loss of the first two steps in the sequence. The Abhisamaya- manjari (GSS5 Sed p. 128, Ki7r2), for example, follows its elaborate visu- alization of the worship with a salutation in the form of the eight-part mantra. It then presents the Mahayana sequence from the third stage (con- fession), but adds, rather vaguely, that two more stages — "going for refuge" and "resorting to the path" — are to be done "beforehand" (which make seven). Table 11 lays out the Mahayana sequence beside Umapatideva's, and gives examples of the sequences adopted in other sadhanas. The par- allels illustrate the amount of variation and inconsistency at this point in the sadhana, despite the fact that many authors cite verses very similar to those given by Umapatideva. This seems to reveal a certain awkwardness in integrating the traditional Mahayana anuttarapiljd with the methodol- ogy of the sadhana.



Brahmavihara Meditations



w.
8-11



The sevenfold puja is followed by the four brahmavihdras, meditations dat- ing back to the earliest Buddhist literature for the cultivation of loving- kindness (maitri), compassion (karund), sympathetic joy (muditd), and equanimity (upeksd). These meditations are an established feature of main- stream sadhanas, and although Umapatideva's verse glosses are the only ones in the Guhyasamayasddhanamdld, they are highly typical of sadhana literature in general. 266 Upon completing these meditations, the sadhaka is understood to have fulfilled his accumulation of merit.



.T^tf



Table n. Supreme worship (anuttarapuja)























































































.2 §"^










X








_>,






















-o








-T3




















3 °

.a c
-d o






.S a
c - G

OJ -^

-*-3

rt -d


3 °

.2 c




"g:2

_^-3
rt -d

^ g








prayer &

requesting

[teaching]








K


OJ <h_

-d o


i) a




^ 2


-a o










——










^


















>,

• £s
  

-d










-3
bD rt


-Si


bO rt


bD, — ,
C bf)


bD, — ,

C bO


^2


bD








3








vo


3 Oh
'3 U

1-1 _3

<U O

l_ 4-1


"precede
goingfo,
refuge


3 Oh

O "t3
<u O

l-H 4-1


'3 .s

to 3
3 u

<U 43
Ui 1 1


on - 3

i_ i 1


"§:s

-^ -3
rt-d

^ g


<-2

bD oj
3 u -

'O O

bDCi








'3 ^

oj "u
.i- 3

-d

u u_

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3 , ,




5f> rt

3 £


c

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bD

c


bC rt


2P "i

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bD « 


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bD rt




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bD rt




-3
bD rt






'3 «-i
rt « 

.y E




'2 "0

(U -^

_* -3


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'S


C Oh

fe -3


3 - G

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3 Oh

fe -3


3 Oh




3 Oh

« -3




3 Dh

• w <U
  

S -3






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rt -0


rt


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to

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too


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bD


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in 3

=5 6


^2






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bD<-t!


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Dh-S> <\


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bD, — ,




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bD, — 1


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3


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bD






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U) »-,








3




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3 T"


3






1/5 '3




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3'5


3 '5


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bD <U






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CJ 4J


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^d E


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3 "-








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bcw:


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'o o


<u «^_


t» Uh


<L» <H-


w u_


3J Cl_


'J? c


"O
bDOz




v/>


I-, I 1


rrs


Qh


-o o


T3 O


i_ 1 — 1


-d


"d


-d






bD/3




bD w


bD w


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STUDY OF THE VAJRAVARAHl SADHANA 125

Development of Wisdom

The bodhisattva's accumulation of wisdom is accomplished in the sadhana

through a meditation on the causal nature of reality and the emptiness of

inherent existence. The verse, with its simile of the "moon in water," illus-

Ip trates the illusory, dreamlike nature of a mind tainted by dichotomizing

f conceptualization, and points to the philosophy of the Cittamatra/Yoga- cara. 267 The yogin is to reflect upon this through the recitation of the two mantras on emptiness.

(§l) The ^ irst mantra (which I term for convenience the "purity mantra") expresses the fact that the inherent nature (svabhdvah) of all existents (sarva- dharmdh) and of the meditator (aham) are ontologically identical in that both are empty, and hence "pure": om svabhdvasuddhdh sarvadharmdh om svabhdvasuddho 'ham ("All existents [dharmdh] are pure by nature; I am pure by nature"). Other sadhanas explain that by understanding all exis- tents to be empty, the object (grdhyam) is purified, while by understand- ing the practitioner to be empty, the subject (grdhakah) is purified. 268 In other words, the first task of the meditator is to realize that all existents that are objects are merely conceptual constructs: they are "empty" of any mind- independent reality that may be imputed onto them by the dichotomizing or defiled mind, as in the first half of the purity mantra: "All existents (dharmas) are pure by nature." The second task is to apply the same under- standing to himself, the subject, as in the second half of the purity mantra: "I am pure by nature." This leaves the meditator, in traditional Yogacarin terms, with nothing but the nondual flow of consciousness, empty of sub- ject and object. 269

A fuller formulation of the purity mantra is sometimes given. This is the "triple purification" (trivisuddhih), which asserts the identity of subject and



t The following is the approximate sequence of the anuttarapujd in Mahayana texts. Crosby and Skilton (1995: 10) suggest variations to this structure in their updating of the classic study by Dayal (1932: 54—58). Commenting on Santideva's citations in his Siksdsamuccaya from the Bhadracarydpranidhdna-gdthd (the final, floating chapter of the Gandavyuhasutrd) , they comment (p. 9): "We can infer from the frequency with which the Bhadracaryd was copied and quoted, that this provided, for several centuries at least, a widespread model for the Supreme Worship." The antiquity of this practice is attested by the Gandavyuhasutrd 's translation into Chinese in the fourth century c.e., while elements of the anuttarapujd also appear in Lokaksema's Ajdtasatrukaukrtyavinodand, which was translated far earlier, in the late second century c.e. The "prayer" (ydcdnd) is the request to the buddhas to remain in samsara for the sake of beings. It may be replaced by the awakening of the will to enlight- enment (bodhicittotpdda).



126



VAJRAYOGINI



object on the basis that they are pure in their inherent nature, pure because they are nondual (vajra), and pure because of the practice (yogah): 270

om svabhdvasuddhdh sarvadharmdh, svabhdvasuddho 'ham iti. om vajrasuddhdh sarvadharmdh, vajrasuddho 'ham iti. om yogasuddhdh sarvadharmdh, yogasuddho 'ham iti.

Alternatively, the identification may be made on the basis of the pledge (samayah) (e.g., GSS5 Sed p. 145, K3or4~5): om samayasuddhdh sarva- dharmdh, samayasuddho 'ham.

The second emptiness mantra (which I have termed here the "nonduality mantra") is also a standard feature of mainstream sadhanas: om sunyatd- jndnavajrasvabhavdtmako 'ham ("I am identical with the essence [svabhdva] of the nondual [vajra] knowledge of emptiness"). 271 The mantra is explained in the Abhisamayamanjari, where it is encompassed within a short visual- ization meditation. This begins with the meditator seeing the external uni- verse and the mandala of deities (which was drawn down previously for the puja) dissolving into the "clear light" of emptiness. He then sees himself disappearing into clear light. First, he dissolves his whole body into the sun disk at his heart that supports the seed-syllable vam (^f). He then dis- solves the sun disk into the syllable, and the seed-syllable itself from bot- tom to top (the cf into the half-moon w , and the half-moon into the final dot or "drop" °). As even the final drop dissolves into subtle sound or nddah, and the subtle sound fades away into nothing, he is left only with emptiness. The meditation is designed to dissolve the yogin's conventional perception that there is a difference between the world of objects ("the three worlds"), his visualization (the deity mandala), and himself. The text then goes on to explain the "nonduality mantra," om sunyatdjndnavajrasva- bhdvdtmako 'ham, breaking down the long Sanskrit compound into its grammatical parts. It states that the [meditator's] "knowledge of empti- ness" (sunyatdjndna) is "nondual" (vajra), because vajra means "indivisible" or "nondual" (vajram abhedyam); this is the standard interpretation of vajra in the higher tantras. 272 The passage reads as follows:



.273



He should [first] cause the three worlds and the previous (?) mandala wheel, whose nature is just illusion (pratibhdsah), to enter clear light (prabhdsvarah) itself. Likewise (ca) [he should dissolve himself into emptiness, first dissolving] himself into the sun disk [at his heart], that into the vam syllable [on the sun



STUDY OF THE VAJRAVARAHI SADHANA 127

disk] , that into the half-moon, that into the drop (binduh), that into the subtle sound (nddah). He should even abandon the notion of that [subtle sound], having uttered the mantra with the recollection of its meaning:

om sunyatdjndnavajrasvabhdvdtmako 'ham om I am identical with the essence of the nondual (vajra) knowledge of emptiness

The "knowledge of emptiness" (sunyatdjndna) is "nondual" (vajra) [indicating a karmadhdraya compound] 274 because of its indivisiblity (abhedyatvdt). [When this compound is further compounded with -svabhdva, it forms a genitive tatpurusa com- pound, meaning] the essence (svabhdvah) of that [nondual knowledge of emptiness] . The meaning [of the bahuvrlhi com- pound with -dtmako is]: "I have the nature (-dtmako) of that [essence of the nondual knowledge of emptiness]."

Variations upon this mantra appear in other texts. First, the "knowl- edge" component is sometimes differently defined, as when the mantra is the means of contemplating different aspects of reality. In a relatively early appearance of the mantra, the meditator is identical with the "essence of the dharmadhdtu (om dharmadhdtusvabhdvdtmako 'ham). 175 Second, the grammatical structure of the compound is sometimes subtly altered to read: "I am identical (dtmako) with the nondual essence (vajrasvabhdva) of X" {"yi-vajrasvabhdvdtmako 'ham"), for example: "I am identical with the non- dual essence of the body, speech, and mind of all yoginis" (om sarvayogini- kayavdkcittavajrasvabhdvdtmako 'ham). 27G This must be a relatively early version of the mantra, because it is common in the Guhyasamdjatantra, especially at the start of chapter 6, where it appears repeatedly in slightly different forms but with this same structure. 277

The sequence in which the two emptiness mantras are given in the Vajravdrdhi Sddhana is significant. Our author follows the general pattern in sadhanas, which is to prescribe the purity mantra followed by the non- duality mantra. This is because the purification of subject and object (by means of the first mantra) leads one to the understanding (expressed by the second mantra) that there is simply a nondual consciousness, untainted by notions of subject and object. Thus: "Next he should utter the mantra l om — All existents are pure by nature. I am pure by nature.' Then he should



128



VAJRAYOGINl



contemplate emptiness for a while. Having done so he should identify with it (ahamkdram utpddya) [through meditating on the mantra] 'om — I am identical with the essence of the nondual knowledge of emptiness.'" 278

The Advayavajra-school sadhanas actually treat the purity mantra as an explanatory gloss rather than as an individual mantra. The Sanskrit loses the opening om for the purity mantra and restructures the sentence to make it look like an exegetical frame for the nonduality mantra. 279

sunyatdjndnavajrasvabhdvdh sarvadharmdh — om sunyatdjndnavajrasvabhdvdtmako 'ham

All existents have the essence of the nondual knowledge of

emptiness —
"om I am identical with the essence of the nondual knowledge of emptiness."

In some instances, these texts seem to present a third type of mantra alto- gether; one that combines the structure of the purity mantra (the com- parison between "all existents" and "I") with the compound of the nonduality mantra ("having the essence of the nondual knowledge of emptiness"): "Then [reflecting that?] — all existents are identical (dtmakdh) with the essence of the nondual knowledge of emptiness — [one should be] meditating on the meaning of the mantra ' om, I am identical with the essence of the nondual knowledge of emptiness (om sunyatdjndnavajrasva- bhdvdtmako 'ham),' which summarizes the essential nature of all things." 280 In many sadhanas the "nondual knowledge" is described in terms of the yogin's experience of "clear light" (prabhdsvarah) or "radiance/manifesta- tion" (prakdsah), of his absorption in "innate bliss" (sahajdnandah), or of the "fusion of emptiness and radiance" (yuganaddhah). 1 * 1 Anupamaraksita (SM24) explains: 282



He should meditate on the emptiness of all existents. Emptiness here is [to be contemplated] as follows: [All] this is just con- sciousness as radiance manifesting itself in various forms, as in a dream. There is nothing outside this consciousness. And because there is no object outside consciousness, there is no con- sciousness grasping it. So all existents are empty (khasvarupdh). Their being devoid of (sunyatd-) proliferations (prapanca-) is the



r j V



STUDY OF THE VAJRAVARAHI SADHANA

fact (tattvam) that they are void of all such conceptual elabora- tions (kalpana-) as object (grdbya-) and subject (grdhaka-); that is, their ultimate nature (paramarthah). This is what is meant. One should reflect that the [whole] world of the animate and inani- mate is of the nature of just nondual (advaita-) bringing forth (prakdsa-). This same emptiness he should make firm [or empower] with this mantra: "om — I am identical with the essence of the nondual knowledge of emptiness."



129



However, the experience of nonduality (in whatever terms it is couched) is not the final goal of the sadhana at this point. It is only a stepping stone and must itself be transcended by an understanding of emptiness that negates even the intrinsic existence of the nondual mind. This is why most sadhanas follow the meditations on emptiness with the instruction to remain for only a short while in the contemplation of emptiness as non- duality; the meditator is to remain in the contemplation, but "without resting on it [i.e., on emptiness] as an object" (apratisthitarupena, aprati- stharupena). 285 This points to the Madhyamaka-based doctrine of univer- sal nonobjectification (sarvadharmdpratisthdnavdda), which claims that no experience should be "objectified" by the mind, that is, treated as an object with intrinsic existence — not even the experience of emptiness as nondual consciousness or mind. There are many brief references to this doctrine in the Guhyasamayasddhanamdld, including the well-attested verse: "Homage to you whose conceptualization is without discrimination, whose mind does not rest [on emptiness as an object] (apratisthitamdnasa), who are without remembrance and recollections, without support!" 284

The doctrine of universal nonobjectification arose to counterbalance the Yogacara position on emptiness, which some exegetes saw as positing a really existent substrate to the mind. 285 It is this Yogacara-Madhyamaka synthesis of the eighth century to which our sadhana writers are heir. Santaraksita (c. 680-740 C.E.), who, with his pupil Kamalas'ila (c. 700-750 c.e.), spearheaded the reworking of Yogacara expressions of emptiness, outlines this synthesis as follows: "Based on the [standpoint] of mind-only one must know the non-existence of external entities. Based on this stand- point [of the lack of intrinsic nature of all dharmas] one must know that there is no self at all even in that (which is mind-only). Therefore, those who hold the reins of logic while riding in the carriage of the two systems [Madhyamika and Yogacara] attain the stage of a true Mahayanist." 286

The effect of universal nonobjectification in the sadhana is to endow a



130 VAJRAYOGINI

purely relative or provisional value to the experience of emptiness engen- dered by the emptiness meditations. According to the Madhyamaka under- standing of emptiness, even emptiness as the experience of nonduality may be (wrongly) taken hold of as a conceptual construct. But in fact, nondual consciousness, or nondual mind, is no different from anything else since it also lacks intrinsic existence and thus belongs to the realm of conventional truth. Seen from this basis, the nondual mind is — like everything else — merely illusory. This is the key to the following stages of the sadhana. The sadhaka's insight into the dreamlike nature of the nondual mind gives him the power to produce or create whatever he chooses, and — crucially — to understand that those creations are just as "real" (or "unreal") as anything else. In this way, he is able to re-create himself (indeed, the whole world) as the deity.

As the "accumulation of wisdom" in the Vajravdrahl Sadhana is so brief, it omits two features often found in other sadhanas. First, the purpose of the emptiness meditations is said to be to abandon the "ordinary idea of self (prdkrtahamkdrah) that derives from epistemological error. 2sr During the self-generation that follows, the yogin will replace his ordinary or mun- dane personality, ego identity, or idea of self (ahamkarah) with the divine ahamkdra of the goddess or deity (devy ahamkarah, devatdhamkdra). The emptiness meditations are sometimes likened to the death of the medita- tor, as he dissolves his ordinary self into the dharmakdya. 28s He will under- take the following stages of the meditation in the form of an intermediate being — for example, as a ndda (an aspect of subtle sound) situated in space looking down from above. Only once the site has been meditatively pre- pared for the deity with the construction of the vajra ground and temple palace will the yogin gradually transform into the seed-syllable for the ges- tation and birth of the deity (K. Gyatso 1997: 80-88).

The second point commonly made is that the experience of emptiness is not only nonconceptual but blissful. The yogin must therefore make a conscious effort to rouse himself from the meditation, spurred on by his altruistic motivation. The early yogatantra sadhana of Vilasavajra states that, while the yogin is absorbed in meditation on the purified dharma- dhdtu, he is separated from the actions that bring welfare to all beings; he continues with the next stage of the sadhana only because of the force of the previously formed bodhisattva vow in his mental continuum. 289 In tantric sadhanas the bodhisattva vow is commonly formulated in terms of the deity's ahamkdra. It voices the sadhaka's aspiration to "become" the



r



STUDY OF THE VAJRA VARAHI SADHANA 131

deity and to make the whole world have her form. Although couched in the language of deity yoga, such prescriptions end the accumulations of merit and wisdom in a manner befitting a full-fledged Mahayana bodhi- sattva, of whom it is said (albeit poetically) that he foregoes his entry into nirvana for the benefit of sentient beings: "For a moment he should med- itate on emptiness and so calm his mind. Having recollected his previous vow, he should again recall just the seed-syllable. Then he should abandon inactive emptiness, being filled with compassion for others, thinking, 'I have betrayed [my fellow] creatures. [For] how shall I rescue them from the bottomless ocean of samsara if I am in this state of complete quiescence?"' 290



Creating the Circle of Protection

w. In the next stage of the sadhana, the yogin aims to re-create the ordinary 13-15' meditation site into a pure, adamantine realm, suitable for the "birth" of >3~>5 Vajravarahi. This is described here in w. 13-15 with a prose redaction taken from Cakrasamvara sources in prose paragraphs §3— §5. The newly created meditation site is referred to as the "circle of protection" (raksacakram), for, in the course of the visualization, the yogin imagines a protective shield of vajras that encompasses the entire universe. 291 Our sources describe a struc- ture somewhat like that of a traditional temple. The outer walls define an immeasurable square precinct above which soars the domed "roof (liter- ally, "cage," panjaram) with a dangling canopy (in classical fashion) over the central point. 292 It is here, within an elaborate temple palace, that the deity will be generated.
w. The meditation begins with the visualization of hum, the seed-syllable l )~H of a vajra. The yogin then sees the syllable transforming into a double vajra (fig. 26). Other sadhana writers embellish the process, adding that the double vajra is also empowered by hum at its hub, or that it is visual- ized on a sun disk and is blue in color. 293 In our text the circle of protec- tion is constructed from light rays that blaze out from the first double vajra. It consists of five component parts: the vajra ground, vajra roof, vajra canopy, a net (best understood here as a "shield") of arrows (sara- jalam), and four outer vajra walls. In comparison, the sequence given in the Abhisamayamanjari describes the installation of six parts, starting with the walls and including a ring of flames, all to be visualized simultane- ously. 294 (See table 12.)



132



VAJRAYOGINI



Table 12. Circle of protection



1st



2nc



3rd



Lth



6th



Vajravarahi Sadhana
(GSSn)



ground (bhumih)



roof (panjaram)



canopy (vitanah)



shield of arrows

(sarajdlam)



5th [four outer] walls

(prdkdrdh)



Abhisamayamanjarl
(GSS5)



vajra walls (vajraprakarah)



ground (bhumih)



shield of arrows (sarajalam)



vajra roof (vajrapanjaram)



vajra canopy (vajravitanah)



vajra flames (vajrajvalah)



Sadhanas often elaborate on the circle of protection. Its parts arc :. tu [ t0 be composed of burning vajras, or of the blazing rays that issue from the vajras themselves. Where the vajras or rays interlace, they fuse togcil.rr so entirely that they become "a single mass without interstices." 295 Conn 1. only, the vajra ground is made of vajras that "reach to the bottom of the world" (e.g., GSS5 Sed p. 129, Ki8n) and thus encompass the whole universe- Rays then issue out from the ground to produce the roof and canopy. Alirrna- tively, the rays from the hum may shoot upward to form the canopy, down- ward to produce the floor, and sideways to produce the walls.-"' The .11 rows in the net, or "shield" of arrows, are also composed of vajras, ..-, the Abhisamayamanjarl reveals: "above [the vajra ground is] an extremely dense shield of arrows (sarajdlam) [clustered] in the form of five-pointed vajois." 297 The vajras are so vibrant and blaze with rays so intense that then efful- gence engulfs the whole mandala. This forms a protective outer l.iycr of flames or fiery vajras that complete the circle of protection. 2 ^ When depicted in tangkas, the flames are either flame-colored, or the colors of the five buddha families — usually yellow, blue, red, and green (Beer 1999; ,.3) — symbolizing the supreme protection of wisdom. The direction in whi< h the flames swirl is also significant. As Sanderson (1994a n. 47) has shown in an analysis of 139 mandalas from the Ngor monastery's collection (bSod nams- rgya-mtsho 1989), the mandalas drawn from tantras in the cycles of Samvara and Hevajra in the yoganiruttara class nearly all depict the flames swirling



STUDY OF THE VAJRAVARAHI SADHANA 133

counterclockwise, while mandalas of other tantric cycles depict the flames swirling in the auspicious, clockwise direction.

The creation of the vajra walls is often more complex still, as we see in the Vajravdrdhi Sadhana (v. 14 and §4). The yogin visualizes the syllables of four mantras, which he sees shooting out into the four directions of space, emitting "a net of quivering rays":

om sumbha nisumbha hum hum phat. om grhna grhna hum hum phat. om grihndpaya grihndpaya hum hum phat. om anaya ho bhagavdn vajra hum hum phat.

The blazing rays from the mantras "fasten in place" the four vajra walls in a gigantic square. This is confirmed by a parallel passage from the Abhisamayamanjari, which also shows how the yogin generates the walls from the light issuing from the syllables (which, according to one Tibetan Cakrasamvara sadhana, are themselves the color of their respective directions): 299

With a snap of his left forefinger and thumb he should project out (utsdrya) the mantras, [uttering] (iti) — om sumbha nisumbha hum hum phat — om grihna grihna hum hum phat — om grihndpaya grihndpaya hum hum phat — om anaya ho bhagavdn vajra hum hum phat. [Then,] with rays from the mantras begin- ning [om] sumbha [etc.], in the directions east, north, west, and south respectively [i.e., counterclockwise], he should imagine four vajra walls [stretching] as far as he wishes, colored [respec- tively] black, green, red, and yellow, vast in size, blazing, [and] extending from the top of the world of Brahma ("Brahmanda") to the underworld ("Rasatala").

In the Cakrasamvara tradition, this four-part mantra is prescribed as a method for installing the complete circle of protection, and is referred to as the "four-faced mantra" (caturmukhamantrah). m The function of the walls is to define the outermost limits of a meditation ground that encom- passes the cosmos. In some texts, they are said to form a "vajra binding" (vajrabandhah) or a "boundary" (siman), that is, the topographical limit of the area that the sadhaka is to bring under his control. 301

The circle of protection is installed in some sadhanas simply through the



134



VAJRAYOGINl



recitation of a set of six mantras. 302 Most of the mantras refer to the feature they install (the noun in stem form), and revolve around the seed-syllable of the vajra, hum. For the shield of arrows, however, the mantra is based on the seed-syllable of the arrow (tram), while the mantra for the final ring of flames is the invocation of Vajrajvalanalarka. Vajrajvalanalarka appears in the yogatantra corpus as the wrathful head of the vajra family (see Ricca and Lo Bue 1993: plate 44). His connection with the circle of protection is found in the Sarvadurgatiparisodhanatantra (p. 134), where his mantra fol- lows its installation. The installation mantras are shown in table 13. Vari- ous features of the circle of protection are also visible on tangka paintings encircling the temple palace, as in plates 12-14.

Table 13. Mantras for installing the circle of protection



I


ground (bhumim)


om medini* vajribhava vajrabandha hum


2


walls (prdkdrdm)


om vajraprdkdra hum vam hum


3


roof (panjaram) .


om vajrapanjara hiim pam hum


4


canopy (vitdnam)


om vajravitdna hiim kham hiim


5


arrow shield (sarajdlam)


om vajrasarajdla tram sdm tram


6


ring of flames


om vajrajvalanalarka hiim hum hiim

• • medini] conj.; medini K. (GSS3, GSS31). I emend on the basis of GSS5 (Ki8r3), which preserves a vocative, medini. However, medini is attested in the Tibetan translations to the Advayavajra texts SM251 and SM217 (Sanderson 1994a), and in the Vdrdhyabhyudaya- tantra (from ADUT 4.28).
  

v. 15, The next verse in the Vajravarahi Sadhana continues the visualization §3 - §4 of the circle of protection by explaining how to purify the space within. It describes a method for expelling any demonic beings (v. 15 mar as) or neg- ative obstacles (§4 vighnas) that may have become trapped inside the vajra zone during its construction. This is done by means of eight fearsome god- desses. The first four (Kakasya, Ulukasya, Svanasya, and Sukarasya) occupy the cardinal directions. They are produced from the same four mantras that the yogin has just imagined producing the four vajra walls {om sumbha nisumbha, etc.). The remaining four goddesses (Yamadadhi, Yamaduti, Yamadamstrini, and Yamamathani) occupy the intermediate directions and are produced from the brilliant rays emitted by the four mantras. These rays



STUDY OF THE VAJRAVARAHl SADHANA



135



are said to issue from the corners where the four mantras — that is, the walls — intersect. It appears that the mantras and the walls are the same thing here. Although the mantras previously "became" the walls (in v. i4/§4), now the walls are understood to "be" the mantras. 303 The "four- faced" mantra is clearly associated with protection. In an earlier text (STTS ch. 6: 56), the mantras appear in the context of subjugating Saiva deities. Here, the mantric units sumbhaanA nisumbha provide an unmistakable ref- erence to violent defeat, as they were originally names of terrible asuras who could be subdued only by the goddess Devi herself. 304




Fig. 24. Dagger deity: Kdkdsyd. Drawn according to the Sanskrit text by Dharmacari Aloka.



As we may expect, the eight goddesses produced by these mantras in the sadhana have gruesome forms (§4). Below the navel, they assume the shape of a ritual stake or dagger (kilah), while in their two arms they hold a vajra hammer and a stake bearing their own form (dtmariipakila). This is shown, according to the Sanskrit prescriptions, in figure 24. Ritual daggers (kilah /Tib.: phur ba) have a complex iconography, as they are understood to be animated by, and hence to represent, deities. 305

Having visualized the awful goddesses, the yogin imagines them herd- ing together all the obstacles inside the universe of the vajra zone and destroying them. To accomplish this, the goddesses utter the powerful vajric syllable hum! upon which eight "wells" appear in each of the directions



136 VAJRAYOGINl

"near" (samipa) the vajra walls. 306 The goddesses now force the obstacles into these wells by means of two aggressive mantras: first, the "staking mantra" common to the higher tantras {kilanamantrah; cf. GS ch. 14, w. 59-65), and next the "hammering mantra" (dkotanamantrah). In the par- allel account of the Abhisamayamanjari, the mantras also transform the slain obstacles into enlightened consciousness "by means of great bliss" (mahdsukbena), so that they have "the single form of suchness" (tathataika- rupam). This text adds that once they have served their purpose, the yogin imagines the goddesses themselves dissolving into the walls, leaving him convinced that "the world is made of one solid mass without interstices and is free of obstacles." 307

A final note on the circle of protection concerns its position within the structure of the sadhana as a whole. In the Vajravdrdhi Sddhana it appears immediately after the yogin has completed the bodhisattva accumulations of merit and wisdom. In some sadhanas, however, it is prescribed before the practitioner has performed the latter with its meditations on emptiness. Indeed, this seems to have been the earlier version. 308 The Abhisamaya- manjari explains the different methods by stating that, for advanced prac- titioners, their understanding of emptiness affords supreme protection in itself, and so they do not need to reinforce the effect of the emptiness med- itations with the additional protection of the vajra ground, as ordinary practitioners do: 309

However, in the [Heruka-JAbhisamaya (the "[Heruka] Method of Realization") of Luyipada, the meditation on emptiness is taught following the canopy of protection and so forth, because one who has exceptional insight is qualified [by his spiritual maturity to do so]. For him, emptiness itself (sunyataiva) m is the supreme protection. But in this [sadhana], because [of the needs] of the mass of ordinary folk, the canopy of protection and so on is taught immediately after the meditation on emptiness. And in many [other] methods of realization (abhisamayas) this same sequence is found.



The Cremation Grounds

v. 16a and The next line in the sadhana directs the yogin to visualize a suitable w. 70-76 dwelling place for the goddess inside the circle of protection. In accordance



STUDY OF THE VAJRAVARAHI SADHANA 137

with her kdpdlika character, this takes the form of (eight) cremation

• i grounds. Although many tantric sadhanas mention the cremation grounds in brief, the Vajravarahi Sddhana is one of only a couple works in the Guhyasamayasadhanamala to give a full account of them. 31 x Although they are relatively undeveloped in earlier yoginitantras, in the Cakrasamvara corpus they appear as a set of eight charnel grounds that extend into the eight directions of space. It is upon these sources that our author draws when he appends seven verses (w. 70-76) to the end of the Vajravarahi Sddhana in order to describe the cremation grounds in more detail. In the discussion that follows, I draw upon these works. They are summarized in tabular form in table 14 (with notes). 312 ^ jo- The Vajravarahi Sddhana verses describe the cremation grounds first in 76 the cardinal, and then in the intermediate, directions. Here we see that each cremation ground has its own distinctive characteristics. Each is indi- vidually named and has a named set of features and creatures dwelling within it. These include a tree, a protector, a serpent (ndgah), and a cloud. Other texts also mention demons {rdksasas), great adepts (mahdsiddhas) , funeral monuments (caityas), mountains, fires, lakes (the abode of the nagas), and rivers (which in pictorial representations often divide the cre- mation grounds). Sometimes the inhabitants are described in relation to each other, as when the naga at the foot of the tree makes obeisance to the protector (see notes to table 14).
  

Other accounts are given in more general terms. The cremation grounds are home to fearsome creatures, such as crows, owls, vultures, jackals, hawks, lion-faced and tiger-faced beings, lizards, camels, and so on. Grue- some corpses are found impaled on spears, hanging, half-burned, or decap- itated; their dismembered parts are scattered about: skulls, knees, large bellies, heads with tusks, and bald heads. Supernatural spirits haunt the grisly place, such asyaksas, vetdlas, rdksasas, and others roaring with kilikild laughter. Finally, we find tantric adepts and spiritual beings resident there; siddhas with magical powers, vidyddharas, troops of yogins and yoginis, and so forth. 313 Another sadhana from the Guhyasamayasadhanamala col- lection (GSS34) describes the cremation grounds as follows: 314

In this [explanation?] there are the cremation grounds; they are harsh and terribly frightening; they [each] have a protector, a tree, a serpent lord, and a cloud king. They are replete with the eight [auspicious] signs. This is the characteristic of the crema- tion ground. It is said: He should perform the prior service



I



I3 8 VAJRAYOGINl

actually in the cremation ground in which [there are terrible dis- turbances] such as fearsome fights, which is disfigured, which is very gruesome, [and] in which there is a terrifying noise from the crowds of female ghosts. [He should perform it] in the company of female ghosts, female goblins, female jackals, and so on.

The cremation grounds are often vividly depicted in tangkas. Com- monly, the different cremation grounds are separated by rivers (usually eight), which are seen running through them, as in plates i, n, and 13 (and on the detail of the tangka shown here on the back cover). Within the cre- mation grounds, we see depicted the protectors and their consorts on their appropriate mounts, often presiding at the center of each cremation ground, seated by a tree and surrounded by fearsome animals, birds, skele- tal remains, and plenty of bones. We can also see fires, caityas, nagas, mahasiddhas, devotees, and wild dancing figures. In some tangkas (as in the small details of plate 11), we find the cremation grounds depicted inside the circle of protection, with auspicious embellishments beyond that (although GSS34 cited above included the auspicious signs as features of the cremation grounds themselves). Other artists depict the cremation grounds outside the circle of protection (as in the crowded and lively scenes on plate 12). Where the cremation grounds appear as a pictorial backdrop to tangkas (as in plates 1 and 11), it is particularly clear that they are not meant to take a peripheral place in the outer reaches of the mandala, but that they underpin the whole scene, with the rest of the mandala super- imposed upon them. 315

As they fill the entire vajra ground (which itself fills all of space), the cre- mation grounds take on cosmic proportions. In this respect it is interest- ing to note that some of the cremation-ground features bear similarities to the traditional Abhidharmic cosmos. This suggests that the higher tantras are recasting the cosmos along kdpdlika lines so that the eight cremation grounds become a cosmological model in their own right. Thus, just as the cremation grounds, spread in the eight directions, are presided over by the traditional protectors and include eight mountains and eight lakes, so the cosmos according to the Abhidharma describes continents spreading in the directions (although twelve in number), with eight mountains (Mount Meru and its seven mountain ranges) and eight "lakes." 316 Features of our own continent, Jambudvipa, may also be echoed in the composition of the cremation grounds, as it too contains sets of mountains, a lake (Lake Anava- tapta beyond Gandhamadana Mountain), and rivers. The jambu tree is



STUDY OF THE VAJRAVARAHI SADHANA 139

located near the lake (ADK ch. 3, v. 57), and there are also eight nagas who are said to sustain the earth (ADK ch. 3, v. 83b-d with Pruden 1991 n. 472). The development of a cremation-ground cosmology is evident in myths from the yogatantra corpus dealing with the subjugation of Saiva deities. In the Sarvatathagatatattvasamgraha (STTS ch. 6), the conversion of Siva brings about the creation of a new buddha field in the form of a cremation ground called "Covered with Ashes" (Bhasmachanna), while Siva himself becomes the tathagata "Lord of Ashes" (Bhasmesvara). The new cosmo- logical perspective is strikingly illustrated in the contemporary (eighth-cen- tury) *Guhyagarbha. In this text, Heruka is emanated in warrior stance upon a mountain of bones surrounded by an ocean of blood — a clear ref- erence to the traditional cosmology of Mount Meru and its surrounding ocean. It is in just these terms that a twelfth-century Tibetan work seeks to account for the origin of the cremation-ground cosmos: 317

At the beginning of this kaliyuga, beings started contending with each other through their common animosity. As the bodies started piling up from their mutual slaughter, they were removed to the various directions, and the eight great charnel grounds formed. From the corpses ran blood and, as its vapor rose into the sky, the eight clouds evolved. When the clouds gave off rain, the eight rivers developed, and in them the eight divine nagas arose. Mists came from the rivers, and the eight trees grew, each of them with its own protector. Then to the south of Sumeru, in the continent of Jambudvipa, MahesVara's emanation arose.



140 VAJRAYOGINl

Table 14. The eight cremation grounds'



N



W



Cremation gr. Candogra Gahvara

(s'mas'dnam)



"Karahkaka"" "Subhisana" Attattahasa

(Jvalakula)



Tree 1 "
(vrksah)



Sirls'a



Bodhi v



Kaiikeli v



Cuta v



Protector""
(dikpatih)



Indr



Kubera xiv



Varuna"



Yam a"



Serpent"
(ndgah)



Vasuki"



Taksaka*



Karkota"



Padi




Is'ana""



Mahapadnia



Cloud*"
(meghah)



Garjita



Ghurnita



Ghc



Avartaka"



Gh



ana



Caitya Sitavajra

Mountain Sumeru

[Not in SUT/GSS11]



Samskaravajra Samjnavajra Pis'unavajra Cittavajra

Mandara Kaildsa Malaya Mahendra



IV



For the sources drawn together in this table, see endnote 312.

See Textual Note to v. 70 for a discussion of the names of the western and southern cre- mation grounds.

Meisezahl (1980: 9) states that exegetes often equate the eight trees with the eight bodbi- trees of the buddhas (the current buddha, plus the seven previous ones who also attained enlightenment under trees). The Smasdnavidbi (v. 24) states that each tree has a secondary tree (upavrksah) beside it, which is lovely and covered in vanga flowers and fruit. This text also states (v. 23) that in each tree there lives a demon (raksasah), naked and wrathful in form, who eats human flesh and who has the animal face of the mount of the dikpati in his cremation ground. These rdksasas would seem to be the same as the eight ksetrapdlas men- tioned in the Adbhutasmasdndlamkdra (Meisezahl 1980: 19), whose colors correspond to those of the dikpdlas and who are also animal-headed, their theriocephalic forms deter- mined by the dikpdlas mount. In the details from the Vajravarahl tangka on plate 1, the tree-dwelling rdksasas are seated on the mount, while the dikpati is without a mount but is in embrace with his consort. The artistic representations in Meisezahl's tangkas show the rdksasa/ksetrapdla seated in the tree, his lower body masked by leaves, and only his torso vis- ible. The Adbhutasmasdnavidhi specifies that he holds a chopper and skull bowl, but the details from Meisezahl's planche 1 {ibid.: 85-92) show different abhinayas with no attrib- utes. Some illustrations also seem to depict the rdksasas as female. The individual names of these tree-dwellers are absent in the Smasdnavidbi. Meisezahl states that in the Adbhutasma- sdnavidhi, the ksetrapdla "porte le nom, parfois en abrege, du cimetiere qu'il habite." In con- trast, however, the notes to his planche 1 (ibid.: 85-92) ascribe an incomplete set of names determined by the particular therianthropic form, namely, Gajamukha, white (E) Manusyamukha, yellow (N); *Makaramukha/Makarasya? (not given), red (W)

• Mahisamukha/Mahisasya? (not given), black (S); Gomukha (NE); Chaganana, red (SE) Ghorandhakara, buffalo's head (SW); Mrganana (NW).
  

Usually Sirlsa, but Sukataru in GSS34, both names for Acacia Sirissa. Perhaps problematically, the Adbhutasmasdndlamkdra gives harivdsa (Ficus religiosa) for the east and * bodhivrksah for the north, which are synonyms. Meisezahl (1980: 19) doesn't note any problem in the text. as'vattha in SUT (17 v. 38a), Smasdnavidbi (v. 6), and Smas'dndlamkdratantra (Meisezahl 1980: 22), also a name of the bodhi tree, the sacred figtree (Ficus religiosa). The Kahkeli (also in SUT ch. 17, v. 38b) is Jonesia Asoka. In other texts, it is called As'oka, e.g., in the Adbhutasmasdndlamkdra (Meisezahl 1980: 19) and Smasdnavidbi (v. 8). It has flaming red flowers.



STUDY OF THE VAJRAVARAHI SADHANA



141



Laksmivana




Prapurana*



SW



Lata-Parkati"



Jatudhana"



Kulika*



Varsa*



NW



Ghorandhakara Kilakilarava



Arjuna x



Prabhanjana*



Sankha xxix



Canda



Kayavajra Ratnavajra Dharmavajra

Gandhamddana Hemaparvata Sriparvata



Vll



Xlll



The mango tree.

The triple banyan (Ficus indica), also reported as vata (in SUT ch. 17, v. 38a; GSS34) and nyagrodha (in Smasanavidhi \. 12 and Adbhutasmasandlamkdra, Meisezahl 1980: 19). Karanja is Pongamia Glabra.

Lata-Parkati, the Creeper-Parkati/Parkati (Ficus infectoria).

Arjuna is Terminalia-Arjuna, listed as pdrthiva (in SUT ch. 17, v. 38c!), and dhananjaya (GSS34). Meisezahl (1980: 19) reports it as questionable (srid grub?) in Adbhutasmasand- lamkdra.

An ancient set (e.g., Manu v. 96), according to Puranic legend, the eight protectors (astadikpdldh) were appointed to each direction by Brahma. They are listed variously as: Indra (E), Kubera (N), Varuna (W), Yama (S), Soma/Candra, also Isani/Prthivi (NE), Agni (SE), Surya/Nirrti (SW), Pavana/Vayu (NW). The protectors (also termed here dikpatis /dikpdlas/lokapdlas) are described iconographically in Luylpada's Smasanavidhi, and the Adbhutasmasandlamkdra as reported by Meisezahl (1980: 19). The Smasanavidhi (v. 20) states that they are in union with their "wives" (sapatnikdh) and that they have four arms, two of which make the anjali gesture of obeisance, the second pair holding the emblems (usually a skull bowl and a tantric weapon). The Smasdndlamkdratantra (Meisezahl 1980: 21-22) includes Surya, Soma, and Prthivi as co-protectors. Some tangkas show the protec- tors upon their mounts; others sitting at the base of the tree (Meisezahl, K. Gyatso). Indra is king of the gods, also called Sakra {Smasanavidhiw. 4) and Devendra (GSS34). In the Smasanavidhi he is described mounted on his elephant, Airavata. He is white and holds a vajra (left) and skull bowl (right); in Adbhutasmasandlamkdra (Meisezahl ibid.: 20) he is said to hold a vajra (left), and make the threatening gesture, the tarjanimudrd (right). Synonyms for Kubera are Dhanada (in SUT ch. 17 v. 39a), Yaksadhipa (in GSS34) or Vais'ravana (Gyatso). Kubera is the custodian of wealth, and king of the^^s (cf. Vana- parvan ch. 3, v. 10 of the Mahdbhdrata). In kdvya, he appears famously at the start of Kalidasa's Meghaduta. In Puranic literature, yaksas are a class of "semi-god" (upadevah), which include the vidyddhara, apsaras, yaksa, rdksasa, gandharva, kinnara, pis'dca, guhyaka, siddha, and bhiita. These are all spirits associated with cremation grounds in Buddhist texts and appear in the ^//'mantras. Iconographically in the Smasanavidhi, Kubera has a human mount (v. 6: naravdhana-) , is yellow, and "holds a mongoose spitting out a jewel" (v. 6cd: nakulam udgilad ratnam dhatte...) and skull bowl. In the Adbhutasmasandlamkdra (Meisezahl 1980: 20) he is yellow, mounted on a "nidhi" and holds a club (left) and makes the gesture of threatening (right).



142



VAJRAYOGINI



xv



XVll



Varuna is a prominent god in the Vedas; his later association is as lord of the waters. Hence he is listed as Nagendra (in SUT ch. 17, v. 39b) and is described in the Adbhutasmasdndlam- kdra (Meisezahl 1980: 20) as mounted on a makara. He is red in color and brandishes a lasso (left). K. Gyatso states that he is white, has a hood of seven snakes, and holds a snake rope and skull cup.

Yama is associated with the south and with the sun (vivasvat, descended from Surya), hence he is also "Vaivasvata" (GSS34) or "Yama Vaivasvata." He is also god of death, Kala, whose agents brings departed souls to Yamapuri. Iconographically, the Smasdnavidhi describes Yama as mounted on a buffalo (v. 10: mahisdrudha-), black, red-eyed, fat, fearsome, hold- ing a stick/cudgel (dandah) and a skull bowl. This accords with the description reported by Meisezahl (1980: 20) in the Adbhutasmasdndlamkdra.

The northeast (aisdni) is associated with Siva, hence Is'ana also appears as Nilalohita (in GSS34), a synonym of Siva in epic and Puranic tales, and Kapalis'a (in Smasdnavidhi v. 12). He is described as white, carrying a trident (suit), mounted on a bull, and wearing a tiger- skin (in Smasdnavidhi v. 12 and Adbhutasmasdndlamkdra Meisezahl 1980: 20). The southeast (dgneyya) belongs to Agni (in Smasdnavidhi v. 14 and the Adbhutasmasdnd- lamkdra Meisezahl 1980: 20). Here, the synonym "Vais'vanara" is given, the name of the fire in the Caturmasya sacrifice; hence it is also listed as Hutavahadigls'a (GSS34) and "Hutas'ana" (in SUT ch. 17, v. 39c = GSS16). He is described in the Adbhutasmasdndlamkdra as mounted on a goat, potbellied, red-limbed, having a "firepit skull bowl" (? kundakapdli) and a "pot with rosary" (sdksasutrakamandaluh).

The southwest (nairrti) is the quarter of the demons, lorded over by the demon-imp Nairrti (in Smasdnavidhiv. 16). Nairrti is the child of Nirrti, "Calamity/Death," wife of Mrtyu. He is also called Raksasa (as in Adbhutasmasdndlamkdra Meisezahl 1980: 20) and Nis'cares'a, "Lord of Night Wanderers" (in GSS34). "Jatudhana" also appears as Ydtudhdna (Monier- Williams 1899), a kind of evil spirit or demon responsible for sorcery or witchcraft (ydtuh). He is described in the Smasdnavidhi (v. 16) and Adbhutasmasdndlamkdra as blue-back (nila), standing on a corpse, holding sword and skull bowl, naked, with men's skulls on his head [as a chaplet].

The northwest (vdyavi) is protected by Prabhafijana [Vayu], hence listed also as the wind, "Vata" (in Smasdnavidhiv. 18), but — problematically, suggesting the southwest — as Raksa- sendra/Raksasa in SUT (ch. 17, v. 39d) and Adbhutasmasdndlamkdra (Meisezahl 1980: 20). He is described in the Adbhutasmasdndlamkdra and Smasdnavidhi as blue/smoke-colored (respectively), mounted on an antelope (mrgah), holding a yellow banner (dhvajah) and skull bowl.

The naga kings (here, ndgardja-, ndgesa-, nagendra-, bhujagesa-) are described iconograph- ically in Luyipada's Smasdnavidhi and the related Adbhutasmasdndlamkdra reported by Meisezahl (1980: 19). The descriptions are missing for the intermediate directions NW and NE, possibly due to lost verses. This text states that all wear white ornaments (v. 19: sitdlamkdrabhusitdh) . The plates to planche 1 (Meisezahl ibid.: 85-92) show that the nagas have human torsos above their coiled snaketails and raised hoods above their heads. Meisezahl (1980: 20—21) consults Bu ston for their colors and describes the markings that each bears upon his raised hood. They all make obeisance to the dikpati who is before them. They are seated beneath the tree (in Smasdnavidhiv. 17). Their presence must be related to that of the cloud king, since nagas are associated with water and rain. More complex accounts (e.g., K. Gyatso and some tangkas) provide a lake in the cremation ground as an abode for the naga.

xxii In the Smasdnavidhi (v. 5), Vasuki is white (Bu ston: yellow), with a blue lotus on his hood. He makes the anjali, bowing before the lord before him.

xxiii The Smasdnavidhi states that Taksaka is red (v. 7: bandhukapuspasamnibhah) and has a svastika on his hood, making the anjali with bowed head. Meisezahl (following Bu ston) states that he is black.

xxiv In the Smasdnavidhi (v. 9), the naga Karkota is described as "resplendent as dark-green durvd grass" (durvdsydmasamadyutih), with three lines on his throat, and making the anjali- (Meisezahl, following Bu ston, describes him as red.)

xxv The Smasdnavidhi (v. 11) states that Padma is white and has on his hood speckles or



xxi




STUDY OF THE VAJRAVARAHl SADHANA



H3

XXVI



XXV11



sea[water] (Meisezahl reads: vankabindusironkitah; Finot reads vanga°, a type of flower mentioned on the upavrksah in v. 24). He supplicates his teacher (ydcann djndm ca sdstdram) in the usual manner with the anjali. (Meisezahl, following Bu ston, states that he is red ) In the Smasdnavidhi (v. 13), Mahapadma is "lovely like the moon," with a trident (trisulah) on his hood, making the usual anjali. (Meisezahl, following Bu ston, states that he is green ) Huluhulu is also "Ananta" (in the Smasdnavidhi v. 15 and Adbhutasmasdndlamkdra Meisezahl 1980: 20), described there as [colored] like a peacock's neck (s'ikhikanthanibha) with a lotus on his hood, making the anjali before his lord's feet. (In Meisezahl,' following Bu ston, he is yellow-white.) xxviii Kulika/Kulisa is described in the Smasdnavidhi as smoke-colored, having a half-moon on his hood, seated beneath the mass of creepers (latdjatydm), making the anjali. (In Meisezahl following Bu ston, he is yellow-white.) The mss. of GSS report Kulisa (see GSSn edition' apparatus to v. 77).

Sarikha is also listed as Sankhapala (GSS34). In Smasdnavidhi (v. 19), there is a very brief description of him as yellow, with spots [on his hood] (kalankita), or a tilaka (Meisezahl reporting the Adbhutasmasanalamkdra) .

The clouds, or cloud kings (meghardja GSS34), in the cardinal directions have names that are associated with the loud noises of thunderclouds; the names of the clouds in the inter- mediate directions (GSSn v. 77) are associated with rain. The names in the Smasdnavidhi (v. 21) are different in some cases (the sequence for the directions is insecure): Jayabhadra Srinando (Tib: *Srighana, Meisezahl 1980: 37), Vrstisupriya, Drutaghosa, Canda, Varsa' Purana, and Capala. As these names suggest, the clouds are loud and terrifying,' emitting lightning and torrents of rain (Smasdnavidhi v. 22). Their presence in the cremation grounds may be connected with the appearance of the nagas who are deemed responsible for rain

xxxi Avartaka: "Personified Cloud," also listed as Balahaka, "Thundercloud" (in GSS34)

xxxii Purana (in SUT ch. 17, v. 41c), but GSSn mss. report prapurdna.

xxxiii Varsa is also given as Varsana (GSS34).



xxix



XXX



144 VAJRAYOGINI

The Cosmos and Temple Palace

(See The commonest method of visualizing the deity's dwelling place in main- v - 35) stream sadhanas — even in higher tantric sadhanas, such as the Abhisamaya- manjari — is not as a cremation ground but as the traditional Abhidharmic universe. This begins with the visualization of the elements that underpin the earth's surface; the yogin then sees the axial mountain Sumeru (or Meru) rising up into the heavens. Above this (or encompassing it all), he installs the circle of protection and the dharmodayd, or "origin of existents." Finally, upon the mountain's peak, he visualizes an elaborate and decora- tive temple palace (kutdgdrah) as the future abode of the deity. This more traditional method is also mentioned briefly in the Vajravdrdhi Sddhana, which offers it as an alternative at the end of meditation stage 1 (v. 35). In our text, the visualization includes the generation of the elements and Mount Meru inside the vajra ground, but it omits any mention of the tem- ple palace. Before exploring why this is so, we will look in more detail at the visualization of the cosmos itself.

Umapatideva's prescriptions for the meditation can be filled out from the account in the Abhisamayamanjarl Here we see how the cosmic ele- ments are produced from their own seed-syllables, yam, ram, vam, and lam, and how each has a particular shape and is adorned with its own symbols. 318 The meditation also states that the yogin sees his own consciousness "as" the elements, a reminder that the practitioner's normal ego identity has been dissolved as a result of the previous emptiness meditations: 319

Arising from the meditation on emptiness under the influence of the latent impressions (dvedha) [established in his conscious- ness] by his original resolve [i.e., the bodhisattva vow], he should visualize his own consciousness as the mandalas of wind, fire, water, and earth, one above the other. [These are] generated from the syllables yam, ram, vam and lam in the shape of a semicircle, triangle, circle, [and] square, colored blue/black, red, white, and yellow, [the semicircle] having a fluttering flag marking both tips, [the triangle] marked by a flame, [the circle] marked with a vase, and [the square] with three-pronged vajras in the four corners as symbols. Then on top of that, generated from the syl- lable sum, he should visualize Sumeru as four-sided with eight peaks and made of silver, lapis lazuli, crystal, and gold on its east- ern, southern, western, and northern sides [respectively].




STUDY OF THE VAJRAVARAHl SADHANA

This meditation is summarized in table 15, and shown in figure 25. Table 15. Element visualization with Mount Sumeru



H5



Element Syllable Shape



Col



or



Symbol



wind


yam


fire


ram


water


vam


earth


lam


Sumeru


sum



semicircle blue/black blue flag fluttering at each end

triangle red red flame

circle white white vase

square yellow yellow three-pronged vajra

at each corner

four-sided bejeweled surrounded by seven square

mountain ranges, etc.



Figure 25. The cosmos.



A bhidarmakos'a



Sadhana



Kalacakra



Heavens
Sumeru



Gold



Heavens
Sumeru



Earth



Water



Wind
Space




Water



Fire



Air



Emptiness



Emptiness



At the center of figure 25 is the cosmos according to the sadhana visual- izations of the yoginitantras. For comparison, the elements that make up the cosmos according to the Abhidharma are shown to the left, while to



I4 6 VAJRAYOGINI

the right, the elements according to the cosmos of the Kalacakra (suggest- ing, perhaps, that this later tantric system was informed by the develop- ments in the yoginitantras). The traditional cosmos is described in the Abhidharmakosa and bhdsya (ch. 3, "The World"). It is said to exist upon a substrate of space (akasah), upon which rest cylindrical layers of wind, water, and gold, one upon the other, each diminishing in size. Upon the topmost layer of gold is the ocean, which is encompassed by an iron ring at its rim and dotted with twelve continents in the four directions. At the center of the ocean are the mountains: seven ranges separated by lakes with Mount Meru in the center. (See plate 15.)

Comparing this with the sadhana visualization, it is clear that several changes have taken place. 320 Firstly, the higher tantras replace the substrate, space — which is a metaphor for emptiness — with emptiness itself. This is appropriate to the sadhana because the visualization of the cosmic sub- strate "emptiness" arises out of the experience of emptiness that the yogin has cultivated in the foundational meditations on emptiness that precede it (sometimes directly preceding it, as in the Abhisamayamanjari cited ear- lier). 321 Next, the sadhana visualizations introduce the element fire between the mandalas of wind and water, producing the new sequence: wind, fire, water, and earth. This sequence mirrors the traditional list of the elements within the human body (ADK ch. 3, v. 44b) and has the effect of corre- lating macrocosm (the cosmos) and microcosm (the practitioner). This correlation is a theme developed later in the sadhana, particularly in the meditations upon the body mandala. Finally, the sadhana visualization directs the meditator to visualize Mount Meru resting directly upon the ele- ment earth, somewhat simplifying the traditional cosmic features of the ocean and its continents.

In contrast, the visualization of Mount Meru itself may be elaborate. Once again, the earlier citation from the Abhisamayamanjari fills out details that are absent in the brief prescriptions of the Vajravarahi Sadhana (v. 35c). The Abhisamayamanjari is typical of mainstream sadhanas in that it accords with the Abhidharmakosa and its commentaries, in which Mount Meru is described as square, with four immeasurable walls made of gold, silver, lapis lazuli, and crystal facing north, east, south, and west respectively (ADK ch. 3, v. 50a, with Vydkhydby Yas'omitra). Sadhana literature often refers to the "eight peaks" of Meru (ADK ch. 3, w. 48D-49C), that is, its own central peak (the square of four jeweled substances), plus the seven golden "peaks" in diminishing height that form concentric squares around Mount Meru. 322 Meru itself also has four "terraces" (parisandas) that are the abode of vari-



STUDY OF THE VAJRAVARAHl SADHANA



H7



ous types of beings. In a visualization of Sumeru supplied by mKhas grub rje (p. 175), which he ascribes to the kriyatantra, the terraces are to be embel- lished with stairs of precious stuffs, wish-fulfilling trees, and victory banners. (These are also visible on plate 15.)

In traditional, Abhidharmic cosmology, Meru is crowned by the city of the thirty-three gods (Sudars'ana) with Sakra's palace (Vaijayanta) at the center, surrounded by parks "for pleasure and for love" (ADK ch. 3, w. 65-68). In the higher tantras, Sakra's temple palace is taken over by their cult deities, and the central mountain becomes a stage to the cosmic dra- mas of enlightenment played out by new buddhas at the head of new divine retinues. 323 Mainstream sadhanas frequently draw on formulaic verse from older yogatantra sources to describe the ornamental features of the temple palace: It is made of jewels, is square with four or eight pillars, and has four multilevel porticoes. The eaves are supported by makaras (mythical sea monsters), flanked to the right and left by a buck and a doe, and topped by a Dharma wheel. It is beautified with strings of pearls, cloth banners, vases, mirrors, yak-tail fly whisks, multicolored pennants and bells, and may sport a cupola adorned by a jewel and a vajra, or vajras resting on sickle moons at the four corners. 324 In tangka paintings, the porticoes are aligned with the four tips of the double vajra upon which the whole edi- fice rests (visvavajravedika)? 25 These elaborate gates are usually drawn as if seen from in front, as in plates 12 and 13 — although the rest of the mandala is shown from an aerial perspective. In plate 14, however, we see the entire temple palace in three-dimensional elevation. 326




Fig. 26. Double vajra.



In rejecting the temple palace as the residence of the deity, the Vajra- varahi Sadhana makes significant strides toward a more integrated higher rantric practice. We have seen that the prescriptions for the cremation grounds are given weight in the sadhana with an extra series of verses (w.



I4 g VAJRAYOGINl

70-76) supplementing the main prescription (in v. 16). In contrast, the visualization of the cosmos is merely appended in brief at the end of the first meditation stage. The Vajravarahi Sadhana therefore represents an interesting phase of development within the Guhyasamayasddhanamald col- lection as a whole. It appears to be midway between sadhanas that remain rooted in the cakravartin temple palace tradition, and those that depict a more consistent representation of kapalika praxis. Thus, we can broadly identify three types of sadhana composition, all roughly contemporane- ous, in the Guhyasamayasddhanamald.

i. First are the mainstream sadhanas that follow the traditional cakra- vartin model. These locate the temple palace upon Mount Mem (visu- alizing it inside the circle of protection and the origin of existents [dharmodayd]). They make no reference at all to the cremation grounds as a location for the self-generation, despite the fact that they deal with the generation of a kapalika deity — for example, the Abhi- samayamanjari (GSS5; based on the Herukdbhisamaya f. 3v) and sadhanas by Advayavajra (e.g., GSS3). 2. Next are the transitional sadhanas that combine an implicit temple palace model with a greater focus on kapalika praxis. This is the mid- way position of the Vajravarahi Sadhana. As the mandala is built up in the subseqent meditation stages, we will see that its structure is that of the temple palace, in which deities of the retinue are placed formally around a central cakravartin-style deity. Despite this, the Vajravarahi Sadhana omits any mention of the temple palace itself perhaps an admission that the formal symmetry of this structure is an anachronism within the cremation-ground culture of a kapalika cult. Although our author does include the visualization of the traditional cosmos, he downgrades it to a lesser alternative by placing it at the end of his first meditation stage (v. 35). His preferred emphasis on the cre- mation-ground cosmology highlights the fact that the deities of Vajravarahi's mandala inhabit a very different setting and command a very different worldview. These developments have their base in scripture, for it is notable that Umapatideva's omission of the temple palace mirrors the Samvarodayatantra (ch. 13, w. I2-I3ff). 327 3. Moving a stage further still toward the integration of kapalika inter- ests, the Guhyasamayasddhanamald also includes a group of "skeleton arch" (karankatorana) sadhanas (GSS32-34). In these, we find that the anomalous temple palace has been restructured in a style more



^ ■

• 
  

STUDY OF THE VAJRAVARAHI SADHANA



149



architecturally suited to its cremation-ground setting. The self- generated goddess is enthroned beneath an arch of human skeletons that is ornamented with skeletonic parasols. These developed kdpdlika sadhanas also show a greater degree of internalization within the med- itation techniques espoused, based on the yogic methods of svd- dhisthdna ("self-consecration") practice (see the appendix for more details).



Self-Generation through the Awakenings

v. 16 The next stage in the visualization is perhaps the most important in the sadhana as a whole: the self-generation of the yogin "as" Vajravarahi. The yogin begins by creating a locus for the forthcoming meditations at the center of the cremation grounds (v. 16a). He first visualizes an inverted tri- angle that (in our text) is white in color, 328 and within which he sees a vibrant red lotus (v. i6b-d). The triangle is the "origin of existents" (dharmodayd) or "source of [all purified] dharmas" (dharmodayah), a spatial and visual metaphor for the unoriginated, transcendental plane of real- ity. 329 Terms such as the Dharma body (dharmakdyah), suchness (tathatd), and the sphere of Dharma (dharmadhdtuh) are also applied to the dharmo- dayd, and it is often said to "have the nature of the dharmadhatu" (dharma- dhdtusvabhdva) or to be "one with the dharmadhatu" (dharmadhdtumaya). As a "source" or "origin," the dharmodayd \s also equated with the female sex organ or womb (bhagah, yonih). This imagery is highlighted by its inverted triangular shape (V), which is a simulacrum of the pubis. As in north Indian post-Gupta scripts, V happens to represent the letter e y so the dharmodayd is sometimes referred to simply as ^. 330

The fact that the origin of existents represents both the reality of empti- ness and a woman's sex reflects the sexual soteriology of the higher and highest tantras. 331 In these systems, emptiness is described experientially as the ecstatic, all-consuming great bliss, the tantric metaphor for which is orgasm. Thus, the experience of emptiness or bliss is said to "arise in" or to be "produced from" the dharmodayd, or the woman's sex. This imagery is employed in both the Guhyasamaja (yogottara) and Hevajra (yoganirut- tara) traditions, in which the root tantras famously begin: "Thus have I heard: At one time the Lord sported in the vaginas of the vajra maidens/' 32 Here, because the vagina represents the bliss of enlightenment, it becomes another spatial metaphor for buddhahood. Its locus is the blissful dwelling



I50 VAJRAYOGINI

place of the buddhas, a tantric reworking of the Mahayana concept of the pure land Sukhavatl. 333 Where tantric deities are in sexual union, the female deity represents bliss, emptiness, or wisdom, while the male partner sym- bolizes compassion, or means (updyah). In the Vajrayogini tradition, how- ever, the goddess is without a consort, and so she represents in herself the union of both wisdom (female) and means (male). Nevertheless, sexual symbolism still permeates the visualization. For example, during the med- itation representing Vajravarahi's "conception" (v. 17), we will see that her seed-syllable vam is visualized inside the dharmodaya. Here, the syllable vam is also the seed-syllable for the vajra, which is a tantric euphemism for penis, while the dharmodaya triangle symbolizes the woman's sex or womb. Because of the coincidence of V with the letter e, the word evam (syllables e + vam) is often said to symbolize this union: "Homage to you, Vajra- yogini; [you] who is seated in the syllables e(V)-vam, whose form is innate (sahaja) bliss, who is the knowledge of wisdom, and who is placed in the body!" 334
w. The following verses describe the conception and birth of the deity. The I7-I9a terse lines of the Vajravarahi Sddhana in fact describe a sequence of med- itations known in exegetical works as the five awakenings (pancdbhisam- bodhikramah). These are significant in that they define the Vajravarahi Sddhana as a sadhana of the "generation method" (utpattikramah). The five awakenings have their roots in the yogatantras, where the term "awak- ening" (abhisambodhih) refers to a meditation on the five wisdoms as part of the preliminary emptiness meditations. 335 The term seems to have been first applied to the process of self-generation in the Hevajratantra, although it is chiefly the Hevajra commentarial tradition that is responsible for its analysis into the five awakenings. 336 The subject proved to be a fertile ground for meditative and exegetical elaboration. Indeed, the five awak- enings are only one of many sets of correlations that surround the self- generation process, including an earlier systematization in the yogottara tradition that produced a rather different [set of] four vajras (vajracatuska). A set of "six gods" is also taken up in one Tibetan tradition and correlated with the five awakenings. 337

Because the Vajravarahi Sddhana deals with the subject only briefly, a fuller exposition of the five awakenings is cited below from an elaborate prose passage in the Abhisamayamahjari. Following the exegetical tradi- tion, Sakyaraksita correlates each stage with a wisdom, signifying that the deity "born" in the self-generation is endowed with every aspect of enlight- ened wisdom. 338



tm



STUDY OF THE VAJRAVARAHI SADHANA



151



At the center of that [temple palace] 339 he should perceive a red pam transforming into an eight-petaled lotus symbolizing the eight worldly dharmas (astalokadharmatd-). On the pericarp, on a sun disk symbolizing the extinguishing of the darkness of igno- rance, [he should visualize] a <vam> seed-syllable situated on a sun disk inside the central hub of a vajra, which has [itself] been produced from a red vam, and which is in the space between a sun disk and a moon disk (samputamadhye). [The vam syllable is understood as] the great bliss of the union of the moon [on the one hand], which is produced by the transformation of a double row of vowels and is identical with mirror wisdom (ddarsajndna- svabhdva-), and the sun [on the other] , which is produced by the transformation of a double row of consonants including d dh d dh ya la and is identical with the wisdom of equality (samatd- jndnasvabhdva-). [The vam syllable itself is] identical with dis- criminating wisdom (pratyaveksandsvabhdva-). With rays created by that [vam] that have the form of the goddess, he should [then] irradiate the ten directions, [and then] perform the welfare of [all] beings, [followed by] the withdrawal [of the rays] back again into [the vam] itself. [This is] the performance wisdom (krtydnustha- nam). With the transformation of all that, [he should visualize] himself as the goddess Vajravarahi, identical with the wisdom of pure reality (suvisuddhajndnasvabhdvd-).

The sequence of the awakenings, and their correlating wisdoms, is sum- marized in table 16.



Table 16. The five awakenings





Sequence of Generation


Correlated Wisdom


I.


the moon disc


mirror wisdom (ddarsajndnam)


2.


the sun disc


wisdom of equality (samatdjndnam)


3-


the seed-syllable (or emblem)


discriminating wisdom

(pratyaveksandjndnam)


4-


the emission and retraction of rays


performance wisdom (krtydnusthdnajndnam)


5


the transformation of the seed-syllable into the deity


wisdom of pure reality
(suvisuddhadharmadhdtujndnam)



I 5 2 VAJRAYOGINI

v. 17a The Vajravdrahi Sadhana covers the first two stages of the five awaken- ings in one line (v. 17a). It instructs the sadhaka to imagine a moon disk (the first awakening) and a sun disk (the second awakening); these are seen lying upon the red lotus that is inside the dharmodayd. The passage just cited from the Abhisamayamanjari describes a more complex version of the med- itation. In a tradition following both the Hevajra and Samvara scriptures, the disks are generated from the letters of the alphabet. The moon disk is produced from a sequence of vowels, and the sun disk from a sequence of consonants, which is termed in brief the "yoga ('union' or 'practice') of vow- els and consonants" (dlikdliyogah). 540 The alphabetical sequence of letters has been shown above in the vagvisuddhi (GSS5 Sed p. 125, K14.V5); but here, the Abhisamayamanjarl states that the sixteen vowels (adiiuu r flue ai au am ah) should be visualized as a double row, thus making thirty-two letters, and that the thirty-three consonants (ka to ha) should also be extended by the addition of ksa and six other letters (da dha da dhaya la), to make forty. This row of forty letters is also visualized as a double row, making eighty consonants in all. This embellishment introduces the added symbolism of the thirty-two auspicious "major marks" (laksanas) and the eighty "subsidiary marks" (anuvyanjanas) of a buddha. Some sources add that the rows of letters are seen to revolve, the vocalic turning counter- clockwise and the consonantal turning clockwise, before they transform into the moon and sun disks respectively. 341

At the close of the second stage of the awakenings, the sun disk and moon disk should be seen to mingle. This is a simulacrum of sexual union and gives rise to great bliss. For just as the vowels and consonants formed a pair of opposites that represented the polarity of female and male, this is true also of the two disks. In this case the red sun disk symbolizes the blood of the female partner, and the white moon disk the semen of the male part- ner (e.g., Beyer 1978: 110), thus supplying two of the three essential factors required for conception in traditional embryology (ADKbh ch. 3, w. 10-17). The third factor, the intermediate being, arises in the course of the next awakening.
v. I7b-d In the same verse, the Vajravdrahi Sadhana describes the third awaken- ing: the visualization of Vajravarahi's seed-syllable, vam, between the two disks. This represents the third requirement for conception, namely, the presence of the intermediate being (gandharvasattvami)^ 1 that is generated when the great bliss of intercourse gives rise to the implantation of a "seed in the womb. 343 Our author instructs the meditator to visualize the vam as red, quivering with light rays, and vividly clear. In some Vajravarahi



STUDY OF THE VAJRAVARAHI SADHANA



153



&&'



V.



18



sadhanas, the seed in the womb is represented instead by a vajra that is empowered by a vam syllable enscribed upon its central point. 344 In his Amndyamanjari, Abhayakaragupta explains that the seed is a five-pronged vajra, and that each of its prongs correlates with a limb (head, two feet, and two hands) of the divine embryo, or (as elsewhere in the same text), with the five fingers and toes, and the five sense organs on the head of the embryo (Beyer 1978: 124). The vajra is in fact the emblem (cihnam) of heruka manifestations such as Hevajra and Samvara through their familial genesis in the vajra family of Aksobhya, and as such is sometimes produced from hum, the seed-syllable of the vajra family. Although Vajravarahi's emblem is the wheel (cakram), from her association with the buddha fam- ily of Vairocana, her tradition preserves the vajra as an established part of the sequence of awakenings.

The next verse (v. 18) describes the fourth awakening, namely, the emis- sion and retraction of rays from the seed-syllable into the universe, where they provide spiritual benefit to all beings. The power of mantric rays to remove sins, to benefit beings, and to attract or impel deities is often referred to in this stage. Their agency is lavishly described by mKhas grub rje (p. 161) :-



.345



Then one imagines that from those letters emanate innumer- able rays of light, from the ends of which issue innumerable aspects of the body of that god to be intensely contemplated. They purify all sentient beings from their sins, obscurations, and sufferings, and they give joy to all the buddhas and their sons by making offerings to them. Then the rays, together with the gods, are withdrawn, absorbed by the letters; and the moon, together with the letters, transforms itself into the perfected body of the god to be contemplated.



V -I9a



Once the rays have accomplished their lofty purpose, they are seen retract- ing back into the seed- syllable. The Vajravdrdhi Sddhana states that, as they retract, they should bring back countless buddhas into the syllable; elsewhere they summon the entire world (e.g., GSS10 K47V3). The seed- syllable vam is now pregnant with significance: It is at once the repository of the potentiality of buddhahood (GSS32 Ki05r2: buddhatvam hetu- bhutam. . .) and a symbol of its actuality, Vajravarahi.

The final awakening (described in v. 19a) transforms the seed-syllable into the body of the deity. This is understood as the deity's birth into the



154 VAJRAYOGINl

world. The analogy is given in the second chapter of the Samvarodayatantra (w. nc-20) in a passage that draws upon both traditional Indian embry- ology and upon the tantric topology of the inner body made up of chan- nels, winds, and drops. 346 In the first stage of this account (w. I2b-i6b), consciousness is said to arrive through the mouth, carried on winds that circulate in the seventy- two-thousand channels (nddts). The scripture (v. i6cd) then describes the attainment of highest bliss as the vowels and con- sonants melt together. This is the equivalent of the second awakening. Next, consciousness "exists between semen (sukram) and menstrual blood (sonitam) in the form of a dot (binduh)" (v. I7ab), which is the moment when the gandharvasattva enters, the equivalent of the third awakening. In the fifth month of its germination, the embryo develops its fleshly form in five aspects (w. iycd-icjb), and these are correlated with the five buddhas. In the seventh month (v. i9cd), it grows hair, nails, and sex organs; in the eighth and ninth it develops its senses and full form; and in the tenth, it takes on sentience (v. 2od: cetand). The birth (which takes place accord- ing to Indian tradition in the tenth month after conception) is equivalent to the generation of the body of the deity in the final stage of the five awak- enings. (The processes of gestation and birth described here are even more explicit in sadhanas where the deities to be evoked are in sexual union.) 347 Together, the five awakenings are understood to correspond to the three bodies of a buddha. The dharma body (dharmakdyah) is the origin of the self-generated deity in the unconstructed transcendental plane of emptiness. Tsong kha pa remarks that "it is inadmissible that a Buddha could wish to serve the aim of those he takes in hand only through the Dharma Body without a body of form" (Beyer 1978: 127). Thus, in the course of the self- generation, the irradiating seed-syllable of the fourth awakening is seen as the emanation body (nirmdnakdyah) which, like that buddha body, is for the benefit of the world. The final form of the deity is understood to exist as an enjoyment body (sambhogakdyah), with all the major and minor marks of a tenth-stage bodhisattva (mKhas grub rje 1978: 27). Abhayakara- gupta explains that the sambhogakdya and the nirmdnakdya are conven- tional in that both are reflexes of emptiness and are therefore constructed. 348



Self-Visualization As Vajravarahi

w. The next six verses describe the culmination of the self-generation process l 9~M as the meditator visualizes himself transforming into the sambhogakdya



STUDY OF THE VAJRAVARAHI SADHANA



155



form of Vajravarahl. The prescription to "make his own body Varahi" (v. 24c!) is a reminder to the yogin that it is "himself (atmanam) that he is to visualize becoming the deity. 349 Strictly, this must be metaphorical, since the notion of an ordinary "self has already been dissolved during the med- itations on emptiness. Indeed, one sadhana adds the comment that after the emptiness mantras the body must be seen merely as an appearance. 350 The Vajravarahl Sadhana now gives the iconographical details for Vajravarahl, prescribing her color, face, attributes, and stance. As we will see, these reveal an iconography closely based on Vajravarahl as consort to Cakrasamvara (plate n). 351 In Tibetan works, it is a form very similar to this manifestation of Vajravarahl that is associated with the adept Naropa. 352




Fig. 27. Vajravarahl in
warrior stance.

Drawn according to the Sanskrit text by Dharmacari Aloka. Cf. plates 7 and 10 f.



Vajravarahl is deep red in color, a reflex of her red seed-syllable vam. The Vajravarahl Sadhana describes her as "saffron-colored" (v. 19b: kasmira- varnam),™ but elsewhere she is compared to vermilion powder (sindilrah), or to startlingly red flowers such as the China rose (javakusumam), the bandhukah (Pentapetes phoenicea or Terminalia tomentosa), and the pome- granate flower (dddimah). Her radiance is likened to the fire that blazes at the end of the aeon. Throughout the visualization her redness contrasts vividly with white, as the yogin sees the red lotus juxtaposed against a white dharmodaya (GSS11 v. 16), a red sun disk against a white moon disk, 354 the whites of her rolling eyes against her red irises, and streams of blood falling from her gleaming white skull bowl and splashing against her garland of white skulls. The colors are eloquent in the Indian tradition of primordial



i 5 6



VAJRAYOGINl



polarities, such as hot and cold, bride and groom, passion and purity, rajas- sattva, east and west, female and male.

The Vajravarahi Sadhana describes Vajravarahi as having one head (v. 19b), just as she had as consort to Cakrasamvara — that is, without her epony- mous characteristic, the hog's head (varahah), which appears in her other main manifestation (ch. 2). Her face is fanged (v. 2id) and has three eyes; these are a standard feature of tantric iconography drawn from the iconogra- phy of Siva. 355 Other texts add that her face is distorted by wrath, with brows knit together in a fearsome frown, and eyes "red, round, and rolling." 356 I n her two arms (v. 20) she holds her particular attributes, a vajra and a skull bowl filled with blood; these are held in her right and left hands respec- tively (as seen from the point of view of the meditator/ deity herself). 357




Fig. 28. Vajra.



Although the text of this verse is corrupt (v. 20c), it clearly prescribes a vajra. It seems that Indian iconography distinguishes between forms of warrior-stance Vajravarahi (who holds a vajra) and forms of warrior-stance Vajrayogini (who holds a vajra chopper). 358 The vajra is usually red in color, and sometimes described as blazing and adorned with shining streamers. It is generally five-pointed — the four jutting angles plus the central spoke — which are said in the Abhisamayamanjarl to symbolize "the five knowl- edges combined into one essence." Vajravarahi holds it outstretched, pointing her forefinger threateningly at all ignorance and evil. This is a gesture common among wrathful deities, who shake their weapons men- acingly so that they become "terrifying even to fear [itself]." 359

The skull bowl is held aloft in Vajravarahi's left hand, and she drinks the stream of blood that flows from it (v. 2oab), fixing her gaze upon it as she drinks. 360 The vajra and skull bowl are attributes adapted from the iconography of Vajravarahi as consort to Cakrasamvara, but when the deities




STUDY OF THE VAJRAVARAHl SADHANA



157



are in embrace, it is Cakrasamvara who drinks the blood as Vajravarahi pours it down into her lord's open mouth, "causing him to drink." 361 The skull bowl itself is formed of a severed head, part of the standard insignia of kapdlika praxis, while the blood within it is often said to be that of the four wicked mdras, or of other evils; in the Abhisamayamanjari, however, it has the taste of great bliss and great compassion. 362

Vajravarahi's third attribute is the skull staff (khatvangah/m) balanced upon her left shoulder (v. 21a). According to the Abhisamayamanjari:™

On her left [side] resting on her arm, Vajravarahi is [visualized] carrying a skull staff (khatvanga-) whose nature is the means [of enlightenment]. It is brilliant with a white stock that has a sin- gle prong at its base and a black five-pronged [vajra] at its upper end, and [beneath that vajra] a desiccated [human] head, a [fresh human] head wet [with blood], a pair of crossed vajras, a golden vase, and fluttering from the vase's base, multicolored streamers with tiny tinkling bells.




Fig. 29. Skull staff (khatvanga).



In illustrations, the "dry and wet heads" (suskasardrasiras-) are usually depicted as whitish-yellow for the upper head, and blood-red for the freshly severed lower head, although there is a good deal of variation in artistic works. 364 The Kriyasamuccaya distinguishes a different type of skull staff altogether, with three dried heads. 365 The equation of the skull staff with



I5 8 VAJRAYOGINI

means (GSS5: updyasvabhdvd) is a common one and identifies the staff with the male consort. 366 Stein (Cours 1975: 49°) expands upon the sexual connotations: the staff is usually held on the left, the side associated with feminine consorts, and is not so much "held" as "embraced" (d-sakta).

Other tantric ornaments adorn Vajravarahi's body. She wears a garland of heads (v. 21b), fifty in number corresponding to the fifty vowels and consonants, and said in the Vajravarahi Sddhana to be bloody, that is, freshly severed and dripping. 367 This is another feature assumed from the male heruka forms, as female consorts generally wear only a garland of dried skulls. 368 The colors and characterization of the heads in tantric art are highly individual, and they are depicted strung together by the hair or with a cord through their mouths. 369

Vajravarahi is also beautified by a set of five tantric ornaments (w. 22-23), all made of human bone (perhaps embossed with vajras), 370 and known collectively as the five mudrds, or signs — indicating here the signs of kdpdlika observance. These incude a chaplet, earrings, a necklace, arm- lets, and a girdle. A sixth sign is also worn by male gods, consisting of ashes from the cremation ground smeared over the body. It is these six that became the prototype for tantric yogins, who wore them as part of their "skull observance" (kapdlikavratam)? 7 ' Perhaps as a reflection of the god- dess's new cultic role as central deity, the sixth mudra of ashes is on occa- sion also assumed by female deities (see ch. 2). The Abhisamayamanjari lists both the fivefold and sixfold sets of mudras and comments on Vajravarahi's new status: 372

[Vajravarahi] bears the five signs of observance {mudrds), namely, chaplet (cakri), earrings (kundalam), necklace (kanthi), armlets (rucakam), and girdle made of pieces [of bone] (khan- ddnkamekhald). There is the following verse (iti): " [Visualize her] adorned with necklace, armlets, earrings, head jewel, 373 [and with] the sacred thread [and] ash. [These are] proclaimed as the six signs of observance." Some say (iti) she has the six signs of observance because of the fact that she is leader of the mandala.

As a set of five or six, the mudras are naturally equated with the five buddhas and the sixth, transcendent buddha. 374 They may also take on a ritual appli- cation, as they are on occasion installed on the yogin-goddess' body with mantra syllables rather in the manner of an armoring. 375 As we will see, this type of symbolism pervades each of the mudras individually.



STUDY OF THE VAJRAVARAHI SADHANA 159

For the chaplet, the Vajravarahi Sadhana describes an ornate forehead band (v. 22d). The cloth band would once have been a tie wound counter- clockwise around the head for binding up matted locks, 376 but here (v. 22c) it is more decorative and sports a row of five human skulls interspersed with vajras. The five skulls are identified with the five buddhas, and it is com- mon for the central skull to manifest the seal, the presence in miniature of the head of the buddha family to which the deity belongs — Vairocana (reserved in our sadhana for the next stage of the meditation; see v. 27). 377 The Vajravarahi Sadhana (v. 22ab) also notes that Vajravarahi's hair tie has come adrift, leaving her hair loose and disordered — a statement of her untrammeled sexuality. 378 Some hair (perhaps her matted locks) is fastened on the top of her head by a hair clasp formed of a double vajra. 379 The other mudras (v. 23) are also of human bone. Apart from the necklace and ear- rings (often depicted as two large loops), there are two sorts of armlet on each arm, a wrist bracelet (rucakam), 380 and an armlet worn on the upper arm (keyilram). There may also be anklets (nilpurafp), which Umapatideva says are "tinkling" (he lists them in v. 21c separately from the other mudras). The girdle is particularly ornate as it is "adorned with pieces [of bone]," and "swings seductively" around the goddess's hips, perhaps embellished with bells and strings of pearls. As the Khara Khoto tangkas (e.g., plate 11) show, artists like to exploit the beautiful lacelike effect of intricate ivory work. 381

Altogether, Vajravarahi reveals her passionate and abandoned nature through her exultant nakedness (v. 21b), her blood-red color, and her hair, which flies loose in defiance of socio-sexual constraint. On occasion she is even described as menstruating. 382 She is tantalizing "with fresh youth" (v. 24b), an aspect of the erotic sentiment (srngarah) that the texts are eager to promote. 383 Her breasts are firm and raised, and her form, tender and lovely. Despite her lone status, she is still overcome with lust (as when she was in embrace with Cakrasamvara), and she laughs with her mouth open and her body horripilating, a perfect "receptacle of great bliss" (v. 24c). 384

Another aspect of Vajravarahi's character is her compassionate wrath. This is particularly evident in her stance (v. icjcd). Like her former consort Cakrasamvara, Vajravarahi assumes the classical pose of the archer, the warrior stance (dlidha-asanam): she steps onto her flexed left leg and stretches out her right leg behind, as described in the Abhisamayamanjarl: "[Vajravarahi should be visualized] . . .with the alldha [stance] , bending her left leg and stretching back her right five vitastis [i.e., sixty finger-breadths], indicating that the world is "licked up" (a + Vlih > alldha) by emptiness." 385

And just as Cakrasamvara is visualized trampling upon the corpses of the



160 VAJRAYOGINI

supreme Saiva deities, Bhairava and Kalaratri, so is the solo Vajravarahi. 386 The Vajravarahi Sadhana states that she stands with one foot (the left) upon Bhairava's head and the other (the right) upon Kalaratri's breast (v. I9cd). Bhairava is described in another sadhana 387 "with four arms, his torso heart-[side] down, [his] face up gazing at the lady [Vajravarahi], with a chopper and skull held in the first pair of arms, wearing a tiger skin [as a lower garment], [and] in his other pair of arms holding a damaru and tri- dent, with three eyes, a snarling mouth, blue, with yellow hair, [and] adorned with [a chaplet] of white skulls." The subdued Saiva goddess, Kalaratri ("Kalaratri" and "Kalaratrika" are also attested in our texts, but in this instance she is called Carcika), is simply described as "red." Illus- trations generally depict her lying face up, holding a vajra chopper and skull bowl in her two arms. 388 In general terms, the subjugation of the Saiva deities represents Vajravarahi's conquest over all evil, whether that repre- sented by another religious system (other brahmanical gods are sometimes trampled upon, too), or of evil per se in the classic guise of Mara, the Bud- dhist embodiment of the defilements and death. 389

The subjugation of deities is an expressive theme within the higher and highest Buddhist tantras as a whole, and has recently been the focus of scholarly attention. 390 Its origins are twofold. In its widest sense, the topos of subjugation embraces the traditional Indian mythology of the battle between the gods and the demons, good and bad. This is a favorite theme of the Puranas, perhaps the most famous example of which is the fight for the nectar of immortality churned up from the ocean of milk. Some myths produce a variation upon the theme and recount tales in which a demonic foe is not only defeated and forced to submit, but in which the submission is then transformed into devotion (bhaktih) and service toward the gods. 391 In the higher tantras, the myth is given its own particular slant and brought into the service of Buddhism. The story first appears as a comic tale in the root scripture of the yogatantras, the Sarvatathagatatattvasamgraha (ch. 6). It concerns the entry of Vajrapani, the tantric bodhisattva, into the mandala of the buddha Vairocana. Vajrapani has boldly announced that he will not enter (prati-Vpad) the mandala himself until he has seen the world's wickedness entirely transformed and brought within the mandala also. Vairocana therefore utters powerful mantras that drag all the evil beings of the world before his palace on Mount Meru, including the terrible Lord Siva (MahesVara) and his retinue of evil gods whom none, not even all the tatha- gatas, have succeeded in taming. Vajrapani then commands them to con- vert (prati-Vpad) by taking the three refuges and vowing to gain omniscient



STUDY OF THE VAJRAVARAHI SADHANA 161

knowledge. This outrages Mahesvara who declares that he is none other than the creator and destroyer of the universe, the supreme God of gods — he will never stoop to taking orders from Vajrapani, a mere spirit (yaksam)\ Vajrapani boldly returns: "Submit, you who eat the human flesh of rotting corpses! You whose clothes, bed, and food are the ashes of the funeral pyres! Obey my command!" (p.57: pratipadya bho kataputanamdnusamdmsdhdra citibhasmabhaksyabhojyasayydsanaprdvarana mamdjndm pdlayal). But the proud god pays no heed, and he is eventually overcome by the mantra om nisumbha vajra hum phat (uttered by Vairocana) followed by Vajrapani's explosive hum! Instantly, Mahesvara is struck dead, while his retinue falls to the ground groaning. Thrice the gods plead for their lives, slyly arguing that they don't understand Buddhism, and so it would be un-Buddhist of Vajrapani — a compassionate bodhisattva — to kill them. Vajrapani at last restores them, and they experience divine blisses and serve him. But the conversion of recalcitrant Mahesvara is not so easy. Although he is restored to life, he insists that he would rather die than obey Vajrapani's demands. Thereupon, Vajrapani utters mantras that haul Mahesvara and his consort stark naked before him, and tramples them underfoot while the world looks on and laughs. With another mantra, Vajrapani stands with his left foot upon Mahesvara and his right foot upon Uma, and a great cry resounds through the three worlds proclaiming Vajrapani as the victor. Then through Vairocana's compassion, the touch of Vajrapani's foot becomes a source of consecrations, meditational powers, and so forth leading to enlightenment, and Mahesvara is transformed into a buddha (BhasmesVaranirghosa) in another buddha realm (Bhasmacchanna) in a far-off world system. 392

The same themes of subjugation and conversion appear in other eighth- century texts, some of which show a marked increase in sex and violence. 393 The myth in the *Guhyagarbha/Guhyakosa is a case in point, as the accounts by Sanderson (1995) and Davidson (1991) reveal. Following these scholars, we find that here Mahesvara's demonic activities are more pronounced. After a period in the hells (because of practicing transgressive tantras without an understanding of emptiness) he is at last reborn as Rudra, who terrorizes the universe with diseases and insanity. In order to rescue Rudra from samsara, the tathagata emanates a consort for himself (Krodhesvari, Lady of Wrath), and from their mingled sexual fluids gives birth to a pantheon of wrathful deities who conquer the wicked tyrant and his retinue. The tathagata then assumes a wrathful form of a Heruka with three heads, six arms, and four legs, and stands in warrior stance upon a mountain of bones in a cremation ground surrounded by oceans of blood, with Mahesvara and his consort prostrate



l6z VAJRAYOGINI

beneath his feet. As this still does not overcome his antagonist, the Tathagata assumes an even more terrifying form with nine heads, eight legs, and eight- een arms, and resorts to even more extreme methods, which Davidson (1991: 203) describes as follows: "Heruka, the cosmic policeman, seizes Mahesvara and his entire retinue, rips out their internal organs, hacks their limbs to pieces, eats their flesh, drinks their blood, and makes ritual ornaments from their bones— a model of thoroughness. Having digested all these gods [but discarding their hearts and sense organs], Heruka excretes them into an enormous ocean of muck, which one of his henchmen, Ucchusmakrodha, drinks up. The gods are then revived. Properly grateful for what can only have been an extraordinary experience, Mahesvara and his minions beseech Heruka and the divinities of his mandala to accept their wives, mothers, and daughters as ritual consorts while they take their correct places as the seats of the divinities in the mandala."

The themes reappear in yoginitantra exegetical works, with some varia- tions. 394 In Bu ston's account (related at length by Kalff 1979: 6yff.), the twenty-four sacred sites (ptthas) have been wickedly usurped by low-class spirits and demonic gods; raksasas, yaksas, ndgas, asuras, and so forth. Steeped in lust and savagely cannibalistic, they scheme to take over the whole universe by inducing Mahesvara himself to lead them. Mahesvara agrees but is too busy making love to Kalaratri to commit himself personally, and so he sends twenty-four stone lingas to be installed in the pithas by which he can be wor- shipped vicariously. In response to this dire situation, Vajradhara (taking the form of Heruka on the summit of Mount Meru) causes the emanation of the Cakrasamvara mandala with himself as its lord. He presses Bhairava and Kalaratri beneath his feet so that they gain enlightenment, and then emanates the twenty-four pairs of heroes and dakinis who subdue the evil spirits and gods in the twenty-four sites. In this account, the Saiva deities are tamed through "subduing," "enjoying," and "absorbing" (Kalff ibid.: 73). They are subdued in body when their victors take over their names and physical appear- ance, throwing them down and pressing them underfoot; in speech, by the appropriation of their mantras, which are transformed by the insertion of om at the beginning and hum hiimphatzt the end (cf. Vajravarahi Sadhana §33); in mind, by realization of the void of nonconceptual awareness. Tam- ing by "enjoying" consists in sexual yoga as the heroes copulate with the con- sorts of the vanquished gods, while sporting their bone ornaments, skull staff, and other attributes, and sitting upon their corpses as thrones. "Absorbing" is firstly the complete purification of their obscurations and then the fusing of their minds with the clear light of nonduality. Bu ston's account is typi-



STUDY OF THE VAJRAVARAHI SADHANA 163

cal of the Cakrasamvara versions of the myth, which are based around the batde for thepithas. The victorious Buddhist heroes not only take their adver- saries' kdpdlika attributes and their consorts, but strip them entirely of their identities by assuming the exact guise of their conquered foes. Individual Saiva gods are no longer revived to serve in the Buddhist mandala, as in the earlier myths, but survive merely as thrones for Buddhist deities who have appropriated their cosmic status, mantras, and outward forms.

The myth of subjugation lends another dimension to the Buddhist reliance upon tantric Saiva norms and methodology (p. 37 ff.). For although on their own level the myths clearly express the transcendence of the Bud- dhist tantras over the Saiva, they look suspiciously like a "doctrinal apology" (Sanderson 1995) for "an area of Buddhism so subjugated by Saivism that it has become little more than a Buddhist reflex of that religion." As apolo- getics go, however, they were a powerful means of lending legitimacy to the Buddhist tantric systems. At the same time, they declared Buddhism's inde- pendence of Saivism by the simple trick of demonizing it. Above all, the Buddhist function of the Saiva models is never in doubt (Sanderson 1994a, 1995). As in the method of subjugation by absorbing described above, the purpose within Buddhism is to convert Saiva 'irreligion' by purifrying it of its wrong views, and bringing it within the orbit of universal enlightenment. The motivation is compassionate, and the myths are an uncompromising expression of skillful means. Throughout the higher and highest tantras, we see Buddhism confidently imposing its own doctrines and theory onto the underlying Saiva framework. This process is clearly illustrated by the Vajravdrdhi Sddhana, where we will find that even such features as the Saiva pithas are overcoded and correlated with the traditional formulations of the Buddhist path. In our account of the visualization of Vajravarahi herself, we have seen how her pan-tantric iconography is imbued at every step with a transcendental symbolism that is entirely Buddhist. 393



Armoring

As the yogin has now imaginatively transformed his outer body into that of Vajravarahi, the next step is to transform his inner being also. He does this in two stages. First, he protects the body of "himself-as-goddess" with an armor (kavacam) of mantra syllables (v. 25~§6), and he then infuses it with transcendental knowledge (v. 26-§y). As we will see, the deity's outer form and its internal essence are distinguished as two "beings" (sattvas): the



164 VAJRAYOGINI

pledge being (samayasattvam) and the knowledge being (jndnasattvam), and the infusion of knowledge takes place as the two beings are visualized merging together as one. The process of armoring (kavacanam) serves as the preparation for this essential moment. (In contrast, some texts state that the yogin-goddess is first infused with knowledge and then armored, so that the armoring functions as a purificatory prelude to the following consecration.) 396
v. 25a-c, In the Vajrayogini tradition, the yogin-as-goddess performs the armor- §6 ing with a placing or "installation" (nydsah) of six pairs of mantric syllables at six points on his/her body. The verse in the Vajravdrdhi Sddhana (v. 25) is based upon a scriptural citation that often accompanies the syllables, and that names the parts of the body upon which, or within which (the loca- tive is ambiguous) the armoring syllables are to be placed: navel, heart, mouth, head, crown, and all limbs "as the weapon" (astram). 397

In some sadhanas, the armor syllables may take iconographical form as six armor goddesses. This is the case in the Abhisamayamanjari, which states that "because of the indivisibility of the mantra and the deity" (mantradevatayor abheddt), the meditator is to generate six kdpdlika god- desses. They all are disheveled with hair loose, naked, three-eyed, and stand- ing in the warrior stance. The goddess at the navel is a form of Vajravarahl herself. She is red, as usual, but she has three faces colored red, blue, and green. Her six arms hold, on her left, a skull bowl, staff, and noose, and on her right, a hook, Brahma's head, and chopper. The remaining armor god- desses are Yamini (blue-black), Mohini (white), Samcalini (yellow), Samtrasini (green), and Candika (smokey-gray), who are visualized at the heart, mouth, head, crown, and "all limbs." They have only one face and four arms. On their left, they hold skull and staff, and on their right, a damaru and chopper. 398

The armor goddesses are depicted in the Mongolian icons, almost iden- tically to our prescriptions, along with a set of the male armor gods. 399 The Tibetan sadhana describes the generation and visualization iconography of the "armor heroines" (go cha V dp a mo drug) more fully, endowing them with the five mudras and a garland of freshly severed heads. They are each said to stand upon a sun disk (except Mohani, who stands upon a moon), and upon a corpse (which is depicted as female). 400 Plate 2 depicts an early painting of a red, dancing ddkini form from Khara Khoto, distinctly Indian in style; she holds the same four attributes, though in slightly different positions. The two line drawings in figures 30 and 31 illustrate Armor Vajravarahl and Yamini.



STUDY OF THE VAJRAVARAHI SADHANA



165




Fig. 30. Armor Vajravardhi. Mongolian woodblock print (IWS/T 62, LC 572)




^s — ^ — V



Fig. 31. Armor Yamini.
Mongolian woodblock print (IWS/T 63, LC 573)



In contrast to other descriptions, the armoring in the Vajravardhi Sddhana is quite simple. This is because it omits a set of prescriptions that prepare the meditator for the armoring, by asking him first to purify (sodhayet) or "empower" (adhitisthet) all aspects of his/her pyschophysi- cal organism. This empowerment is accomplished by equating mantric syllables with the skandhas, the sense organs and the sense fields, and the elements, as follows: 401



i66



VAJRAYOGINl



Table 17. Syllables of empowerment



skandhas



om



ah



hrih/hrim hohlhum hum/horn hrih/hih



senses & fields bhrum/om hum/hum kham ah/am ham/ha



ha



m



elements



lorn



mam



pam



tarn



kham



The empowerment process is similar to the preparatory meditation with purifying equations {visuddhis) described earlier, although it lacks the cor- relation with a deity visualized in iconographical form (summarized in table 9). Although the Vajravarahi Sadhana eschews both the preparatory correlations and the empowerment (perhaps because they include male deities), these are important practices in the related texts. A commentator on the Yoginisamcaratantra, for example, repeatedly remarks that the pur- pose of identifying the five buddhas with the skandhas is to destroy the "ordinary idea of self (prakrtahamkarah) by taking on the "divine idea of self (devatahamkarah). This is, of course, the process by which the tantric practitioner becomes "united" with his deity (devatayogavan) 4Q1

Taken altogether, the stages of empowerment and armoring are also related to the body mandala described later in the Vajravarahi Sadhana. The body mandala correlates deities with the yogin's internal and external being in order to identify him with the full mandala, a process that can be difficult to distinguish from the armoring. 403 In some texts, the purifying correspondences {visuddhis) of body, speech, and mind (with om ah hum) are also incorporated into the armoring meditation, a correlation that again points to the full mandala, with its three circles of body, speech, and mind (kayacakra, vakcakra, and cittacakra). 404 It seems that the armoring there- fore forms a specialized application of the broader themes of the body mandala. Its particular function is to prepare the yogin-deity for the infu- sion of knowledge that is to follow, and it is commonly distinguished by its use of mantra syllables and — in most texts — by the preceding empow- erment of the self-generated yogin's psychophysical being.



Pledge and Knowledge Beings

w. 25d- Having prepared the pledge deity (samayadevata) with the armoring, the 26, §7 Vajravarahi Sadhana (v. 25d) instructs the yogin to infuse it with the



I



STUDY OF THE VAJRAVARAHI SADHANA 167

knowledge deity (jnanadevata). The pledge deity is the imaginary form of the goddess created by the "pledge-holding" initiate through the self- generation. In his Tantrdrthdvatdra, Buddhaguhya describes the pledge forms (samayasattvah, samayamandalam, samayacakram) as "those [forms] discerned by persons pledged (*samayin) [to them] . . .ones imagined as aris- ing from the body of a deity and as having the shape of a deity which the pledge person has generated in conformity with that [body of a deity], or imagined congruently with the latter's parts." 405 Buddhaguhya describes the knowledge forms (jndnasattvam, jndnamandalam, jndnacakram) as "the self-existent (*svabhdvin) discerned as deity." The knowledge being is said to have both form and "inherent nature" (mKhas grub rje: 235, citing the Paramddyatantra) .
v. 16- The Vajravarahl Sddhana now describes how the two "beings" are fused §7 together to become one. The prose passage (§7) lists a traditional set of four mantra syllables, each of which has a particular function: 406

1. j ah Summoning the knowledge being (dkarsanam)

2. hum Causing its entry into the pledge form (pravesanam)

3. vam "Binding" of pledge and knowledge forms (bandhanam)

4. hoh Gratification of the fused forms (tosanam)

In the previous verse (v. 26), however, the Vajravardhi Sddhana prescribes a slightly different procedure, one also common in other sadhanas:

1. Summoning the knowledge being (omitted in the Vajravardhi Sddhana)

2. Worshiping the knowledge being (v. 26ab)

3. Causing its entry into the pledge form (v. 26c)

4. Merging of pledge and knowledge beings (v. 26d)

In both the verse and prose, summoning or attraction (dkarsanam) is the first step, and the yogin (that is, the yogin-as-goddess) must visualize the knowledge deity of Vajravarahl standing in space before him. One com- mentator explains that there are two kinds of summoning, "invitation from the Dharmadhatu Palace of Akanistha, and attraction from the worldly realms of the ten quarters" (Padmavajra's Tantrdrthdvatdravydkhydna cited by Lessing & Wayman 1978: 236, n. 33). The first is reminiscent of the sadhana's preliminary worship visualization and indicates that the knowl- edge deity is Vajravarahl in her sambhogakdya form. The summoning of



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VAJRAYOGINl



deities from the ten directions is typical of the method used in the case of bali rituals, and indeed this is the ritual that generally provides the proto- type for the summoning here. Thus the meditator is instructed to summon the knowledge deity by uttering the syllable phetlphem, making a hand ges- ture (mudra) at the forehead, and impelling the deities to descend with hooklike rays from the heart to the accompaniment of a scriptural verse {krtvdgragranthyd khalu madhyasuci. ..; see n. 505) — the very prescriptions laid down for the bali ritual itself. 407

Once summoned, the Vajravdrahi Sddhana (v. 26ab) instructs the yogin to make offerings to the knowledge deity in the manner of the worship above (v. 4). The summoning and the worship are anyway interlinked, as Padmavajra actually explains summoning as "the invitation by offerings" (Lessing & Wayman op. cit.). m In the case of the mantra syllables— -/tf/? hum vam hob — it is the last syllable, hoh, that is for worship, or "gratify- ing" (tosanam). m There is another well-attested tradition that states that hoh is not for gratification, but for the subjection and control of the deity. This is evidence of the power orientation typical of cremation-ground praxis and another reminder of the influence of the bali ritual. 410 Padma- vajra {ibid. n. 36) seems to attempt a reconciliation between these two inter- pretations of hoh by remarking that "Subduing means making (them) rejoice, pleasing (them)." The Vajravdrahi Sddhana ends the verse by direct- ing the yogin to make the knowledge being enter into the pledge being (v. 26c) and "bind" the two of them together (v. 26d) (with the utterance of syllables hum and vam). The verse describes the fusion of the two beings as they mingle together, like water in water, or ghee in ghee. Elsewhere, texts describe them "becoming one" (ekikaranam, advaita-) or, in the words of Padmavajra, "Tying means binding so there is no distinction between the evoker [i.e., the pledge form of the yogin-goddess] and the thing evoked [i.e., the knowledge deity]" {ibid.: n. 35).

Considering the overall structure of the sadhana, the infusion of Vajra- varahl's outer form with knowledge is perhaps surprising. After all, the self- generation stage has already endowed her with the five wisdoms and shown her to be a reflex of the dharmakdya. This kind of repetition, however, is a hallmark of the sadhana, as it seeks to identify the yogin ever more indis- tinguishably with the essential nature of the deity. And it is this tendency that seems to have been at work in the evolution of the theory of different "beings" {sattvas), which has its roots in the yogatantras. The earlier mate- rial constantly expresses the urge to relocate the true essence of the deity in a more essential form. For example, in the sadhanas of Manjus'ri, it is



v. v



STUDY OF THE VAJRAVARAHl SADHANA 169

common for a deity to be visualized with the form of another deity or syl- lable placed at its heart as its "essence," "nature," or "source." In one instance, the text prescribes a visualization of the tathagatas with the bodhi- sattva Manjusri at their hearts, and at the heart of Manjusri himself the syllable a from which he was himself produced (akdrasambhavah) (Ndma- mantrarthavalokinim Tribe 1994: ch. 4). A is thus the most essential form of Manjusri, and hence the "limit of reality" (bhutakotih). An

The same reductionist urge is expressed in yogottara sources (Isaacson 1996b) as a theory of three "beings": the pledge being (samayasattvah), knowledge being (jndnasattvah), and meditation being (samddhisattvah). The pledge being bears the more essential knowledge being at its heart, and the knowledge being bears the even subtler meditation being at its heart. Thus, in the Pindikramasddhana (w. 91-92), the pledge being is a self-generated deity bearing six attributes; the knowledge being has the same form, but carries only the two most essential emblems; and the med- itation being is the seed-syllable in the heart of the knowledge being (Isaac- son: ibid.)} u This seems to be the system bequeathed to the yoginitantras in the slightly simpler twofold theory of the pledge and knowledge beings. 413 This type of visualization is depicted in art in the early fifteenth-century paintings at Gyantse, which show a series of buddhas with an eight-armed deity at their hearts and a two-armed deity within the hearts of each eight- armed deity (Ricca and Lo Bue 1993: plates 5-9).



Consecration

v. 27 The Vajravdrdhi Sddhana now directs the yogin to visualize enlightened ~§ 8 beings bestowing consecration upon himself as Vajravarahi (v. 27~§8). The meditation begins once again with the emanation of the deities as the yogin- deity radiates light from the heart, which summons or impels them into the sky before him (§8). 414 Our author states in the verse that these enlight- ened beings are tathagatas (v. 27b), but in the prose passsage, he describes them as eight yoginis. As both tathagatas and yoginls are traditionally pres- ent at the consecration, it is not entirely clear which our author has in mind. In the earlier Hevajra system, it is the tathagatas who administer the consecration, while ten attendant goddesses sing and dance in praise. 415 But in the Cakrasamvara tradition, the tathagatas are summoned only in order to emanate the goddesses who will themselves bestow the consecration, or it is the yoginis alone who perform the ceremony. 416 In the Vajrayogini



170



VAJRAYOGINl



texts, the yoginls rise still further, and appear in the Abhisamayamanjari as a special class often consecration goddesses called vajravildsinis. 417 The shift toward feminine power is mirrored by an increasing emphasis on cremation- ground symbolism. Thus, the Vajravdrdhl Sadhana describes how the yoginis pour out the "nectar of innate knowledge" (that is, the five nectars) onto the head of the yogin-as-goddess from the skull bowls they hold in their hands; whereas in Hevajra and most Cakrasamvara texts, the vessel is instead visualized as a ritual vase (kalasah). 418 v. 271 As the enlightened beings pour the liquid, they recite a traditional accom- panying verse followed by the mantra om sarvatathdgatdbhisekasamayasriye hum ("To the glory of the pledge [of?] consecration by all tathagatas!"). 419 The verse (v. 271) focuses upon the important purificatory function of the consecration, which is sometimes said to counteract ignorance and to wash away obscurations. In some sadhanas the liquid is imagined flowing through the yogin-deity's crown and filling him completely as it transforms into buddhas who transform all negativity whatsoever." 20 Here it gives rise to the buddha who seals Vajravarahi on her crown — in this case, Vairocana.

The consecration in the sadhana is, of course, based on the actual rituals enacted by the guru when he consecrates a pupil into the practices of the highest tantras. Such initiatory rites are divided into two types: the lower consecrations, of which there are usually five (pancdbhisekah), and the higher consecrations, often starting with the teacher consecration (deary dbhisekah)? lx For example, the first of the lower consecrations (the water consecration) begins with the pupil's request to his guru that he bestow the consecration upon him — an element also included in many sadhanas 422 — and the guru then sprinkles water from a vase as he recites an accompanying verse, exactly the same format as that in the sadhana. The influence of the teacher con- secration can also be seen, as this rite requires the guru to visualize the tathagatas bestowing the empowerment from a vase upon the head of a pupil who is already "in union with his chosen deity" (svestadevatdyoga- yuktah); this is mirrored in the sadhana in all but the third-party interven- tion of the guru. The function of the teacher consecration is also significant. As the first of the higher consecrations, it permits and obliges the new vajrdcdrya to remain in union with his deity, to bestow consecrations upon pupils, and to progress to further esoteric consecrations, such as the taking of a consort for sexual yoga practice. Similarly, the consecration in the sadhana requires the yogin to preserve the form of the goddess (the conse- cration in HT1.4 actually ends with just this injunction: devatdmurtyi sthdtavyam), and it paves the way for meditations based on sexual yoga.



STUDY OF THE VAJRAVARAHI SADHANA



171



u 28 The Vajravarahi Sadhana follows the consecration with typical acts of worship (v. 28ab) in which puja goddesses are visualized in space worship- ing the newly consecrated yogin-goddess, the practitioner as Vajravarahi. This verse also refers to a ritual of worship called the tasting of nectar (v. 28cd), although the rite's full exposition is reserved for the final section of the sadhana, which is devoted entirely to an explanation of the rituals of deity yoga.



Inner Yogic Practices



w.



29-31*
§9



With the consecration, the process of self-generation is finally complete. What follows in the sadhana is a series of contemplations based on the seed-syllable or the mantras of the deity. They contrast to some extent with the visualizations of the generation (utpattih) by generally taking place within the subtle yogic body that the yogin imagines, or experiences, inside his physical body. This type of meditation tends to be non-iconograhical, in that the objects of focus include visualized mantra syllables, colored "drops" within the yogic body, and the sensations caused by energies or "winds" moving within the yogic body. The principal aim of this type of meditation is finally to dissolve all visual and oral symbols of reality into reality itself and thus to bring about an experience of emptiness that is formless and void of any type of proliferation, whether visual, oral, or men- tal. This is a goal already familiar to practitioners of the Mahayana (paramitanayah), and as Germano (1994: 220) suggests, the tantric tech- niques that the yogin applies to achieving it "can also be understood in part as attempts to formally incorporate the non-exoteric styles of meditation on emptiness (that were increasingly normative in orthodox monastic envi- ronments) into tantric practice and ideology."

Such inner yogic practices are generally considered to contrast with generation-type meditations. In a distinction dating back to the eighth century and the Guhyasamajatantra, the latter became known as the gen- eration stage and the former as the stage of "perfection" or "completion" (utpannakramah). A famous exposition of the completion method is Nagar- j una's sixfold yoga (sadangayoga) developed in the yogottara exegetical tra- dition, and of particular importance in the later Kalacakra system, as expounded by Naropa. 423 However, it is worth asking to what extent such labels apply within sadhana compositions themselves. Sadhana writers do, on occasion, refer to the yoga of the generation stage (utpattikramah/utpattikramayogah),



172 VAJRAYOGINI,

but they do not tend to make a distinction within the sadhana between those meditations revolving around self-generation and a subsequent "per- fection stage" involving the inner yogic practices — even if the latter evince features of what they may regard as perfection-stage praxis (GSS33 is an exception in our collection; see the appendix). Indeed, although most of our authors (although not necessarily all) were evidently aware of these classifications — and some, such as Ratnakarasanti or Advayavajra, com- ment upon them elsewhere — what scholars/practitioners of the time actu- ally meant by the terms utpattikrama and utpannakrama is by no means as clear as current secondary literature makes out. In significant research on this classification, Isaacson (1999, 2001) has revealed the tremendous com- plexity of the distinction, and I can do no more here than summarize a few of his key findings (robbing them of the extensive bedrock of his citations from the early sources).

The renowned scholar and tantrika Ratnakaras'anti explains the gener- ation stage as "that stage or type of yoga (utpattikramayogah) in which the yogin produces, in a series of steps, [himself in] the form of the deity" (Isaacson's summary of the author's commentary on Hevajratantra i.8.24cd- 25ab in 2001: 470). The aim is ultimately to realize nondual emptiness, free of the mind's proliferation (prapancah), although to achieve this, the meditation itself relies on prescribed sequences involving just such prolif- eration. So much, it seems, was generally accepted by tantrikas of the time. Nevertheless, on the exact function of the generation stage, and on its value relative to the so-called perfection stage, "there is evidence that there was a dispute, probably a long-running one" (Isaacson 1999). Thus, while Ratnakaras'anti was content to see the utpattikrama as a necessary prelim- inary for ensuing higher stages of practice, Isaacson also cites authors who were dismissive, even contemptuous, of it. A thornier matter still is deter- mining what exactly these higher practices were, and how they were to be classified. Again following Ratnakaras'anti, Isaacson explains the perfection stage, or utpannakrama, as the yoga of cultivating the sahaja or "innate nature of the sadhaka himself, and of other beings. 424 It is called the innate nature, Ratnakaras'anti explains, in that it is "[already] arisen," and "does not need to arise or be produced. . ." {ibid.: 470). In other words, the deity already exists within the practitioner's deepest convictions (svabhavika), and is thus already "born" (utpanna)^ — clearly a process that no longer needs the meditative apparatus of generation, such as the five awakenings. Indeed, in Ratnakaras'anti's terms, it relies upon a cultivation or contempla- tion of a sensation of great bliss (mahasukham) that "spreads throughout



STUDY OF THE VAJRAVARAHI SADHANA I73

the sadhaka's body, and then is to be imagined pervading the entire uni- verse" {ibid.: 471). There is little call here for iconographical visualization, and the chief tool for creating the experience of this bliss is a progressive form of sexual yoga moving from imaginary, to symbolic, to actual prac- tice with a female consort. Ratnakarasanti then goes on to refine the med- itations involved in the perfection stage, pinpointing both "ordinary" and "extremely profound" (paramagambhira-utpannakrama) stages and stating that the latter is itself "of many kinds" {ibid.: 472). But as Isaacson points out, Ratnakaras'anti's was by no means the only voice in the debate, and other authors defined the perfection stage quite differently. Advayavaira, for example, focused on its function as an accelerated means of practice but maintained that it is still fully iconographic {ibid.: 471, n. 99).

A sure indicator of the diversity within the categorization, definitions, and usages of utpatti and utpanna is the variety of terms relating to the subject. Isaacson (1999) has shown that the term utpannakrama, or "per- fection stage," may be used interchangeably with nispannakrama. (The term "sampannakrama" sometimes encountered in secondary literature is an anomaly, which Isaacson states does not appear in any original Sanskrit source and appears to have crept in through another wrong back transla- tion from Tibetan.) In addition, the term nispannakrama may have been used by some, such as Candrakirti and Ratnakarasanti, to point to the term nispannayoga. This usage would have suggested to other scholars of the day a deliberate correspondence between the generation and perfection stages, and a different system of classification as found in the Mdydjdlatantra, namely, a series of yogas called nispanna-, kalpita-, and adhisth ana-yoga. Other authors clearly knew of the categories of the Mdydjdlatantra and preserved them in their writings, but without attempting to equate them with other systems around at the time. Abhayakaragupta, for example, opens his Nispannayogdvali (Cycle of Completion Practices) With, a direct ref- erence to the Mdydjdlatantra 's "completion yoga" (p. 1: yogo mpannah) (ibid.). Other systems and terms were also current, and we have also already noted a category of inner yogic practices called the "self-consecration," or svddhisthdna method, which corresponds in type to aspects of the perfec- tion stage.

My brief summary of Isaacson's research would be incomplete without pointing to his comments on the possible motivation for these early debates. In a unique observation, Isaacson (1999) cites the earliest known source for the distinction between utpatti and utpanna from the Guhyasamdiatantra and reveals that it is unmistakably modeled upon Nagarjuna's declaration



174 VAJRAYOGINl

of the two truths, a doctrine essential to Nagarjuna's philosophy, and key to the development of the pdramitdnaya.^ Isaacson writes, "such a con- scious parallel therefore suggests that the distinction of the two kramas is an equally fundamental one for tantric Buddhism." It is a correspondence, moreover, that is taken up by later tantrikas (e.g., Kanha YRM p. 104 gloss- ing HT1.1.1). But why should such distinctions be necessary? For Nagarjuna, the declaration of the two truths follows his assertion that all categories, including Buddhist ones, are empty. In the light of this, he needs to explain that on an "ordinary" level, Buddhism still requires its doctrines and paths, and that these remain true and effective. In other words, "the verse is actu- ally introduced to protect the lower (samvrtisat), not so much to justify the higher (paramdrthasat), [the fact of] emptiness, which has been established in the preceding chapters" (ibid.). Isaacson suggests that the parallel dis- tinction between generation and perfection stages serves a similar function. That is, the verse in the Guhyasamdjatantra protects or safeguards the teach- ings of the generation stage (which are after all the majority of tantric teach- ings) by proposing that they are a first stage, or a necessary preliminary, to the higher practices of the perfection stage. This way of framing the (tantric) teachings means that they are now being expressed in terms of a path, to be trodden step-by-step in hierarchical sequence. The introduction of a tantric "path" at the time of the Guhyasamdjatantra was, Isaacson proposes, moti- vated by the contemporary debate between gradual and subitist approaches to enlightenment, which he shows the Arya school of the Guhyasamdja- tantra to have taken very seriously.

The inner yogic practices of the sadhana, as we have just seen, move beyond the iconographical visualizations of the self-generation and focus on experiences produced inside the meditator's body. This depends upon a complex analysis of the internal, subtle, or "yogic" body into "channels" or "veins" (nddts) and "body centers" {cakras), a topic well documented in published sources on the highest tantras. 427 In brief, there are three main channels within the torso about a quarter of an inch in diameter. The cen- tral channel in particular is understood to be very straight (so that it can convey airs and liquids), soft like a lotus petal, bright and translucent, and either red or blue in color. It runs from the tip of the sexual organ, or at a point between the genitals and the anus, up to the top of the crown, usu- ally curving down from there to the point between the eyebrows. The side channels join the central channel at the navel and run up parallel with the central channel to the crown, where they curve away on each side to the two nostrils; they are a little thinner than the central channel. The channels



STUDY OF THE VAJRAVARAHI SADHANA 175

are known as avadhuti (center), rasana (right), lalana (left), and together they serve as conduits for a series of inner "winds," or energies. There are different kinds of winds, which are vehicles for different kinds of con- sciousness or mind, and those in the outer channels are understood to be impure, while those in the central channel are pure. Their flow is consid- ered vital to the healthy functioning of the body. The three main channels are assisted by 120 principal channels and 72,000 subsidiary channels that circulate the winds through the rest of the body. Normally, the winds are unable to enter the central vein because the two side veins twist around it at four vital points, like knots, obstructing their flow. These points are the four cakras (literally, "circles," but variously translated "plexus," "centers of veins," "psychic centers," etc.). They are placed along the central chan- nel, and depending on the yogic system followed, they are located at the head, throat, heart, and navel, or at the head, heart, navel, and sex organ, and are represented by different kinds of lotuses. The three main veins also carry a flow of "nectar" between the cakras, namely, urine in lalana {d. n. 217; or sometimes male semen), blood in rasana (the female "semen"), and semen, or bodhicitta, in avadhuti (sometimes understood as the fusion of the male and female components, wisdom and means; Tsuda 1974: 63).

The purpose of yogic meditations is to bring the winds from the outer channels into the central channel, avadhuti. The winds are said to do this naturally at death, so the yogin's ability to manipulate them at will indi- cates his transcendence of death. The section on completion methods in the Abhisamayamahjari includes prescriptions for such a practice (although it refers to the visualization of the complete mandala rather than the sin- gle deity as in the Vajravdrdhi Sddhand) . Here the yogin is to use his absorp- tion in the vam syllable (or its subtle sound, the ndda) to manipulate the flow of the outer winds. When he causes the upward wind (here, prdnah) and downward wind to enter avadhuti, an experience of intense heat rises through the channel from the navel, characterized as the fire, candall (also understood as the red, female essence). Its blazing causes the nectar (bodhi- cittam, or male essence) visualized in the topmost cakra to melt, and as it does so, it flows down and blissfully pervades the four cakras in turn. Thus, the yogin is said to experience four kinds of "joys" or "blisses" (dnandas) that culminate in the highest kind of bliss, sahajaov "innate" bliss. In this blissful state, dualistic perception is said to be transcended: 428

If he is unable to fix his mind firmly on so big a mandala circle for a long while, then, [he should] make the mind become firm



176 VAJRAYOGINI

[by focusing on the ndda, that is,] on the ray of light in the form of a thread of lotus fiber from the vam seed [-syllable], which [he visualizes] in the space between the sun and moon disks on the lotus at his navel. [By so doing (-dvdrena), he] removes the flow in both [left and right] veins of the vital (prdnah) and down- ward (apdnah) winds, because of which (-parihdrdt) the [winds] enter the central [channel] . When [this happens, pravese] , [then] there is the arising of sahaja [which comes about] through the sequential [experience of the four] joys etc., [which occurs] because (kramena) the cakras are pervaded by the moon [i.e., nectar] in the head, which has been made to melt [lit.: "through the cakra pervasion of the moon in the head, which has been made to melt"] because of the blazing cdnddli. [When this hap- pens, sahajodaye], [there comes about] either the nonperception (anupalamabhah) of the mandala circle through the sudden removal of all proliferating thoughts or [through its] gradual dis- appearance (antarbhdvah) into emptiness.

The Abhisamayamanjari goes on to describe how the entire world, the cre- mation grounds, the mandala and its goddesses, and the yogin himself (self- visualized as Vajravarahi) each dissolve into each other so that only the
- vam remains. This also dissolves away, starting from the lowest part of the syllable, so that only its uppermost particle, the ndda, remains, but with a form so subtle that it is imperceptible. 429 This reaffirms the yogin's inner experience of nonduality, expressed here in terms of the "highest point" (bhutakotih), clear light (prabhdsvarah), or yuganaddha — "the fusion of the pair (emptiness and radiance)" (see n. 281):



.430



He should also see that ndda as having the form of a one- hundred thousandth part of a hair tip, but not even that is per- ceptible, due to its extreme [subtlety]. Because the goddess is identical with the knowledge circle, [she] enters clear light (prabhdsvare). In this way, again and again, [the yogin] should enter [clear light] and rise out [of it again]. So it is said: "Just as a puff (vdtah) of breath on a mirror dissolves entirely, so the yogin should enter the highest point (bhutakotih) again and again." By entering and leaving [this clear light] again and again, the yogin directly experiences (karoti) yuganaddha [produced] from the nondifferentiation of the two truths.



STUDY OF THE VAJRAVARAHI SADHANA 177

Another yogic practice is to take the deity's mantra or seed-syllable as the object of the internalized meditation and to circulate its syllables through the body via the central channel. It is this kind of meditation that the Vajravarahi Sadhana now describes. The verses describing the yogic med- itation (w. 29-31) are supplemented by a fuller prose description (§9). This explains how the mantra is to be simultaneously recited and visualized in coordination with the incoming and outgoing breaths. First, the yogin visualizes a moon disk at his navel cakra, upon which he sees Vajravarahi's seed-syllable vam (or the subtler nada). He then begins to recite her mantra in its ten-syllable form (om vajravairocaniye svdhd). As he exhales, he sees the syllables of the mantra leaving the vam seed-syllable (i.e., breathing out "through" his navel). Through his ongoing recitation, he produces a great multitude of syllables, which irradiate the world as goddesses (probably still in syllabic form) for the benefit of all beings. As he breathes in, the yogin visualizes himself inhaling the mantra. Although our text does not say so, the syllables must now be understood to enter his mouth and descend down the central channel, avadhuti, until they reach his navel. There they are absorbed back, taking on the form once again (v. 29c) of the seed-syllable vam (or the nada), ready for the next exhalation of sylla- bles from the navel. This process of circulating the syllables is said to be like "drawing in a thread" (§9) or like "counting the thread of a rosary" (GSS5, cited later). This yogic practice also gives rise to the experience of clear light (v. 3id).

A slightly fuller parallel to our text appears in the Abhisamayamanjarl (following the meditations on the winds cited earlier). As it assumes the prior generation of the entire mandala, this passage offers the yogin the option of using one of the mantras for the goddesses of the retinue (mantras that are only described in the later meditation stages of the Vajravarahi Sadhana). It also offers alternative methods of visualizing the syllables, including their circulation in the reverse direction, so that instead of flowing from the mouth down to the navel, the yogin sees them mov- ing up the avadhuti, out of the mouth, and back into Vajravarahi's body, via her sex: 431

When he becomes tired, he should make his mind enter the vam syllable on the lotus at his navel, [and] simultaneously reciting either the heart or the auxiliary heart mantra described below (one of the two according to his [own] wishes), he should emanate the five [mandala] circles from the nada of that [vam]



178 VAJRAYOGINI

syllable, with the outgoing breath, and make them benefit the [entire] world. When the breath enters [his body again], he should make it enter into that very [vam syllable on his navel], with [the simultaneous recitation of] the mantra, in the way that one draws in the thread of a rosary.

For those who want to recite the mantras of the individual goddesses [of the mandala], as given below, [he should do the meditation as before, but] when the recitation of the mantras of the individual goddesseses is over, he should emanate and withdraw [the syllables of each mantra] one by one, as he did before.

Alternatively, [he should visualize] that same <syllable> as before, as a rosary of syllables rising up via the channel of avadhiiti, [and] having emitted [the syllables] from his mouth, [they should be seen] going to their own place in [Vajravarahi's] sex (padmah/m) [and] whirling around just there. Wfiile he is visualizing (bhdvayan) [this], he should [simultaneously] recite the garland [i.e., root] mantra given below or either the heart or auxiliary heart mantra.

Alternatively, seeing the garland of mantras like a garland of flames placed (sthitdm) winding around that very seed-syllable [vam], [he should recite whatever mantra he has chosen] with- out haste, without hesitation, and avoiding false notions.



The Mantra

v. 32ab, Mantras are usually given at the end of a sadhana, often as an alternative §9 to the visualization meditation, "when the yogin has grown tired." Our author's inclusion of Vajravarahi's mantras at this point indicates that the first meditation stage of the Vajravarahi Sadhana can be performed as a dis- crete sadhana, based on the generation of the single goddess, Vajravarahi. The Vajravarahi Sadhana (§9) prescribes a version of Vajravarahi's mantra with ten syllables: om vajravairocaniye svdhd. Its dative name ele- ment — vajravairocaniye — salutes Vajravairocani, a form of the goddess otherwise barely mentioned in the Guhyasamayasddhanamdld, but the pres- ence of the name in the mantra points to Vajravarahi's family association with the buddha Vairocana. This is the "heart mantra" (hrdayamantrah),



STUDY OF THE VAJRAVARAHI SADHANA



179



that is, the mantra that evokes the essence of Vajravarahi. As such, it is the mantra most closely identified with her as a single deity and is most com- monly recited when she is visualized alone; thus it is also referred to as the recitation or japa mantra in some texts (e.g., GSS29, GSS3«GSS3i).

There are, in fact, two versions of Vajravarahi's heart mantra. The Abhi- samayamanjari (Sed p. 137, GSS5 K24V) prescribes a mantra with thirteen syllables as the main one, with the ten-syllabled version as an alternative. Although manuscripts yield a good many variants (as the manifestations described in chapter 2 have shown), the two heart mantras for Vajravarahi are generally as follows: thirteenfold: om vajravairocaniye hum hum phat svdha, and tenfold: om vajravairocaniye svdha. 432 The Vajravarahi Sadhana is precise in giving only Vajravarahi's heart mantra at this point, at the close of the first meditation stage. In the following meditation stages, we will find that other mantras are required as the visualized mandala increases. For the fivefold mandala, the text prescribes another type of heart mantra that is auxiliary, secondary, or "near" to the heart mantra 'itself, the upahrdaya mantra, and also an eight-part mantra; the full mandala requires in addition the chanting of a long root (mula) mantra. The type of mantra prescribed therefore depends on the form and size of the visualized mandala:

Table 18. Vajravarahi mantras for thirty-seven-fold mandala



Lone Vajravarahi
(meditation stage 1)


heart mantra
(§9)


10 syllables: om vajravairocaniye svdha [GSS5, 13 syllables: om vajravairocaniye hum hum phat svdha]


Fivefold mandala
(meditation stage 2)


[heart mantra, plus:]
auxiliary heart mantra

& eight-part mantra

(§12)


om sarvabuddhaddkiniye vajra- varnaniye hum hum phat svdha

om namo bhagavati vajravarahi vam hum hum phat. . . om namo vajravarahi mahdyogini
kdmesvari khage hum hum phat


Full 37-fold mandala
(meditation stages
3 and 4)


[heart, auxiliary heart,
and eight-part mantra,
plus:] root mantra
(§32)


om namo bhagavati vajravarahi vam. . . bhutatrasani mahdvire paramasiddhayoges'vari phat hum hum hum phat svdhd.



i8o



VAJRAYOGINl



w.



The mantra recitation is in some ways the most significant part of the sadhana because it deals with the deity in its most essential, most power- ful form. It is an audiovisual refraction of divine reality even more subtle and all-pervasive than its iconographic manifestation. In his vision of the female deities of the Hevajra mandala, Marpa described the mantra at the heart of the consort "like a reflection in a mirror, clearly appeared, unob- scured by her outer form." 433 Given its importance, it is often emphasized that it should be recited properly, with resonant tone, neither too fast nor too slow. 434

A favorite theme in tantric texts is the supreme power of the mantra. The 32cd, Vajravdrdhi Sddhana likens it to a wish-fulfilling jewel or a wish-fulfilling 33cd tree anc [ g Uaran tees that its constant recitation will bring speedy results; indeed "success" (siddhih), our author promises, will come about within six months. In the Sabara-related sadhanas, one month is said to bring "con- firmation of progress" — such as a dream or vision of the goddess — prac- tice for six months is said to bring about specific goals, and practice for a year is said to bring "magical powers" {siddhis) . 435

Its rather brief handling of the matter of siddhi is perhaps an indication of the Vajravdrdhi Sadhanas liberationist concerns. In its broadest sense, siddhi means "success" or "attainment" (the word is etymologically related to the verb Vsddh, and hence to sddhana, the "means of attainment"). But in the tantras it usually refers to the supernormal or magical powers that initated practitioners of tantric deity cults are able to develop. These include both white and black magic (although the Indian scheme uses a different color coding), the four most basic being the siddhis of welfare (s'dntih), of increase or restoring to health (pustih), of subjugating a victim (vasikaranam), and of causing death (mdranam). Other powers include drawing victims toward one (dkarsanam), paralyzing them (stambhanam), and driving them away (uccdtanam). A common list of eight siddhis includes: invincibility with the sword (khadgasiddhih), invisibility (anjana°), ointment to make one swift-footed (pddalepa °), invisibility (antardhdna °), the alchemical abil- ity to transform base metals into gold or the elixir of immortality (rasarasdyana , siitaka ), flying (khecara , vidyddhari ), going anywhere in an instant (bhucara , "gulikd-/gutikd-°), and going to netherworlds (pdtdla ). Other popular siddhis are those that grant oratory powers (kavit- vam), the powers of a sword-magician (khadgavidyddharah), and life for hundreds of years. Some texts make extraordinary claims for the power of the mantra, including its ability to remove even the consequences of the



v - 3



STUDY OF THE VAJRAVARAHl SADHANA



181



"deadly sins" (anantaryakarmani). AiG A siddhi that is particularly relevant to the sexual practices of mahamudra (as expounded from the orientation of its male practitioners) is the ability to gain power over women (strindm vasyakaranam). A yogin who recites the root mantra of Vajravarahi twenty- one times during an eclipse of the sun or moon will, it is said, be approached by thousands of women (as well as gaining the ability to per- form other spectacular siddhis, such as summoning the gods, starting or quenching fires, and so on; SM222 p. 436). This is a prominent topos in the Candamaharosanatantra (e.g., ch. 12.6.39), i n which the yogin is to go to bed, hold his penis in his left hand, and recite the root mantra 108 times in order to attract the woman he has in mind. The system of mahamudra is so strongly identified with methods of magical attainment that liberation itself is classed as the most superior of siddhis.



Dwelling As Vajravarahi

w. The overall aim of the Vajravarahi Sadhana is expressed in the final verses 33 a b- of the "short meditation" (v. 34d) that comprises its first meditation stage. 34 These are the concluding injunctions of any yoginitantra sadhana, namely, that the practitioner should continue to maintain the divine ego (ahamkarah) of his chosen deity at all times (v. 33ab). 4r In order to strengthen this inner conviction, the Abhisamayamanjari (K3or6-K3ir2) integrates the practices of deity yoga into the yogin's everyday activities: when he bathes, he imagines that he is receiving consecration; when he eats, he imagines that he is offering bali to the deity and her mandala ret- inue; while sleeping, he is aware of sleep as clear light. 438 Thus, unless he loses his awareness (which is of course a possibility, see above, p. 116), the yogin will still imagine himself to be Vajravarahi when he sits down the next time to meditate at one of the three junctures (samdhyds) of the Indian tra- dition (v. 34cd): dawn, midday, and dusk — and in some tantric texts, also at midnight. 439 The "means of attainment" presented by the sadhana is therefore a spiraling reinforcement of the tantric initiate's identity with the deity — and his eventual inner transformation into Vajravarahi herself. v - 35 (See above: "The Cosmos and Temple Palace," p. I44ff.)



Meditation Stage 2



w. The second meditation stage describes the fivefold mandala of Vajravarahl. 3^-37 This begins the prescriptions for the complete thirty-seven-fold mandala that will be built up in the remaining meditations of the sadhana, based on Cakrasamvara sources. It opens with a pair of scriptural verses that sum- marize the various stages of the mandala as follows:



v. 36cd meditation stage 2



fivefold mandala
Vajravarahl plus the four retinue goddesses on the petals of the central lotus, Ddkini, etc.



v. 36cd meditation stage 3 thirteenfold mandala

fivefold mandala plus eight outer goddesses, Kdkdsyd, etc.



v. 37



meditation stage 4



thirty-seven-fold mandala thirteenfold mandala plus twenty-four goddesses of the sites (pithds), Pracandd, etc.



These meditation stages offer the meditator alternative and progressively more complex methods of visualizing himself as Vajravarahl within her mandala. They do not form discrete sadhanas, as the first meditation stage does, but sets of additional instructions that would be inserted optionally into the self-generation section of the first meditation stage (following w. 19-24), depending on the length of the practice the practitioner chooses to undertake. 440



§1



Fivefold Mandala

§10 The prose prescriptions for the fivefold mandala refer back to the scrip- tural verses just cited (v. 36ab). Thus, the meditator is to visualize Vajravarahl standing upon the pericarp of an eight-petaled lotus, and sur- rounding her he is to see the four principal goddesses of her retinue upon



182



STUDY OF THE VAJRAVARAHl SADHANA 183

the four cardinal petals of the lotus: Dakini in the east, Lama in the north, Khandaroha in the west, and Rupini in the south (see plate 12, with fig. 32). (As a rule in the yoginitantras, installation (nydsah) on the cardinal points is performed in a counterclockwise direction, and clockwise in the intermediate directions.) 441 This level of the mandala is designated "the cir- cle of great bliss" (see below). vv. The iconography of the dakinis (w. 38-40) is similar to that of their 38-4° mandala leader. They are naked kdpdlika deities in warrior stance, with three eyes, loose hair, the five tantric ornaments, terrible fangs, garlands of oozing heads, corpse thrones (v. 41), and chaplets of vajras (§21). They have four arms, holding a skull staff and skull bowl in the left, and damaru drum and vajra chopper in the right. Each goddess is a different color, according to the direction in which she stands. Following the traditional colors of the buddha families, Dakini (east) is blue-black, Lama (north) is green, Khandaroha (west) is red, and Rupini (south) is yellow. The iconography of the arms is shown in the delightful red dakini from Khara Khoto (plate 2).
§11 The four goddesses are presided over by the buddha Ratnasambhava, bearing him as the seal in their crown. Between them, on the intermedi- ate petals, are four skull bowls that contain semen (bodhicittam). In simi- lar texts, other impure substances are mentioned inside the skull bowls, such as menstrual blood, or the five nectars and five lamps (see below), all of which are transformed into an elixir like quicksilver. The bowls them- selves are pure white ("like a conch, jasmine, or moon") and may be visu- alized balancing elegantly on top of ornamental vases. 442 §12 The mantras for the fivefold mandala are supplied at the end of the sec- ond meditation stage, first for Vajravarahi as a mandala leader, and then for the four retinue goddesses. Vajravarahi's mantras include the ten- syllabled heart mantra given already in meditation stage 1, based on the mantra deity Vajravairocani (om vajravairocaniye svdhd), and the auxiliary heart mantra, sometimes said to have twenty syllables (e.g., GSS4 Ki4r5: upahrdayam vimsatyaksaram) , based on the mantra deities Sarvabuddha- dakini and VajravarnanI (om sarvabuddhaddkiniye vajravarnaniye hum hum phat svdhd). There is also the eight-part mantra, which frequently occurs in a ritual context for praise. 443 The mantras for the four goddesses on the petals follow the standard format for all goddesses of the retinue: om, the insertion of the goddess's name, then the insertion of the syllables hum hum phat. AAA



184 VAJRAYOGINI

The fivefold mandala — like the rest of Vajravarahi's mandala — was orig- inally the mandala of the Heruka deity, Cakrasamvara. In his practice, the four goddesses on the petals generally appear with the same iconographic form as they have in the Vajravarahi mandala, despite dramatic changes to the central cult figure. Variations relate principally to whether they are two- or four-armed. Occasionally they assume a more radical form, as we have seen in the sadhana of the twelve-armed Vajravarahi redacted from the Abhidhdnottaratantra (GSS7), where they take the terrifiying theri- anthropic form characteristic of that mandala, trampling the corpses of Bhairava and Kalaratri in ardhaparyanka pose, and holding a severed head (rather than the damaru of Vajravdrdhisddhana) , 445

The four retinue goddesses are representatives of ideal classes of female. The yoginitantras have a special interest in characterizing and categorizing such types as consorts for sexual yogic practices. The Samvarodayatantra (ch. 31), for example, describes the "beautiful characteristics" of Dakini, Lama, Khandaroha, and Rupini, their physical attributes, character, voice, and smell, and the way of making love to them. Female types are divided into classes and, according to their attributes, belong to particular buddha families. A nine-pointed vajra on the lower joint of the fourth finger, for example, is said to indicate a member of the Aksobhya family (HT2.2.1-2). The Abhidhdnottara has chapters dedicated to the classes of yoginis, dakinis, lamas, and others; and Kalff (1979: 44-56; cf. 91-95) — who discusses this area in detail — suggests that the goddesses Rupini and Khandaroha (some- times interchangeable for Lama) also arose from among these generic clas- sifications. 446 As individual goddesses, the goddesses of the petals therefore assume a generic quality associated with their type. Dakini represents all dakinis, and never appears as an individual goddess outside this set; Lama represents all lamas, and so on — in fact, these two only appear as classes of female within the Cakrasamvaratantra itself — and in this respect, the god- desses are akin to Vajravarahi, the supreme vajra-yogini. Their kinship is noted in the Abhidhdnottaratantra: Dakini is described as a vajra-dakini who has "arisen in the family of Vajravarahi"; the chapter on lamas describes the characteristics of "lamas who are varahis," while the com- mentary adds that lamas belong to "the varahi family" or "family of varahi's good qualities." 447 Another chapter describes the "practice of the four dakinis" (ADUT ch. 19 Caturddkiniyogapatala) in which the goddesses are visualized with three faces and eight arms, trampling four maras, and with the vajra prefix to their mantras ("vajra-dakini," etc.). Although they are



STUDY OF THE VAJRAVARAHI SADHANA



I8 5



in attendance upon Cakrasamvara in union with Vajravarahi, the com- mentary draws attention to their close relationship with Vajravarahi by describing the mandala as an essentialized form of the complete retinue, with Vajravarahi (and not Cakrasamvara) as the chief deity (cited Kalff 1979: 217, n. 1).



Meditation Stage 3



Thirteenfold Mandala

§!3_§!5 In the third meditation stage, our author points once again to the verses v - 4 1 from the Cakrasamvara scriptures (v. 36cd) as the authority for the thir- teenfold mandala. 448 This is done by adding a further eight goddesses to the fivefold mandala and installing them in the outer portion of the mandala, said here to be part of the circle of great bliss. Four of the goddesses are visu- alized at the gates (dvaram), that is, at the four central porticoes of the tem- ple palace (see plate 12 with fig. 32). They are terrifying in form, with "faces to match their names" (§14): a crow's head for Kakasya, an owl for Ulukasya, a dog for Svanasya, and a hog for Sukarasya. Otherwise, their accoutrements and stances resemble those of the goddesses on the petals^, and like them, they are four-armed and carry skull staff and skull bowl in their left arms, and damaru drums and choppers in their right. Their colors, we must assume, are those of the cardinal directions in which they reside: black, green, red, and yellow. 449 (Plate 1 shows therianthropic attendant goddesses with two arms. In plate 14, the goddesses are visible at the gates.)

In the intermediate directions (installed counterclockwise), the medita- tor visualizes four more goddesses in each corner (konah) of the mandala where the walls intersect. These are the fearsome yoginis of the god of death, Yama: 450 Yamadadhi, Yamaduti, Yamadamstrini, and Yamamathani. They are similar in every other way to the gate goddesses except that they are human-faced and are bitonal because they straddle two directions of space. All eight outer goddesses are sealed by Amoghasiddhi, and their mantras fol- low the format of the other goddesses of the retinue (om + name element + hum hum phat). No additional mantras are given for Vajravarahl at this stage, which suggests they remain the same as those for the fivefold mandala: heart, auxiliary heart, and eight-part mantras.

The outer goddesses have already made an appearance in the Vajravarahl Sadhana during the installation of the circle of protection (v. I5ff.), where they took on a stakelike form for staking, hammering, and removing obsta- cles. Here, their theriocephalic forms again indicate their protective func- tion, following a trend set in the earliest yoginitantras. For example, the

• Guhyakos'a describes a mandala of fifty-eight wrathful deities surrounding Buddhaheruka and his consort Buddhakrodhesvari, in which there are eight theriocephalic divinities (phra men ma) and four "gate keepers" {*dvdrapdlis),
  

186



STUDY OF THE VAJRAVARAHI SADHANA 187

plus an outer circuit of twenty animal-headed deities (Sanderson 1995). Similarly, in a complex mandala from the Sarvabuddhasamayogadakinijala- samvara, the four gate keepers bear the heads of horse, hog, crow, and dog:

• Hayasya, *Sukarasya, *Kakasya, and *Svanasya (ibid). 45 ' This mandala is a forerunner to the mandala of six cakravartins, a Cakrasamvara-based prac- tice that includes the eight outer goddesses beginning with Kakasya (e.g., NYA p. 79). This, in turn, is the prototype for a rather different Vajravarahi mandala drawn from the Vajravarahyabhyudayatantra and found in the Guhyasamayasadhanamala (GSS7), the forty-one-fold mandala discussed earlier of twelve-armed Vajravarahi that is based upon the four mothers. In this mandala the outer goddesses are all strongly individual and pre- serve features quite distinct from the other goddesses of their mandala; the corner goddesses, for example, have protean (visvariipa-), theriocephalic forms, with the faces of buffalo, ass, camel, and horse.
  

Terms for Aspects of the Mandala

The Vajravarahi Sadhana gives the designation "circle of great bliss" (mahasukhacakram) for the central lotus with Vajravarahi and the four god- desses of the petals (§10) and for the eight goddesses in the outer walls of the temple (§13). In other texts, however, the terms seem to vary. In the Abhidhanottaratantra, for example, the term "pledge circle" (samaya- cakram) covers (both individually and collectively) the central goddess, the petal goddesses, and the outer goddesses, and therefore seems to be used synonymously with "circle of great bliss." Other terms are also found. The goddesses in the outer reaches of the mandala are frequently said to reside in the "outer circle" (bahyacakram) (e.g., GSS5 Sed p. 136, K23V3), while in the Abhidhanottaratantra, we also find the fivefold central mandala referred to as the vagina (bhagah), and the lotus petals distinguished as the knowledge circle (jndnacakram).^ 1 The origin of these terms is not alto- gether clear.



453



Meditation Stage 4



Thirty-seven-fold Mandala

§16 At the start of the fourth meditation stage, our author once again cites the scriptural verse (v. 37) as the source for the meditation. Here, the medita- tor is to visualize three concentric circles (cakras) between the central lotus and the outer walls of the temple palace, and upon each circle he is to see eight goddesses. With the addition of these twenty-four goddesses, the thirty-seven-deity mandala of Vajravarahi is complete. In this meditation stage, the Vajravarahi Sadhana first states how to visualize the three circles with their twenty- four goddesses (§i6-§2i), then gives instructions for a series of meditations on the mandala (§22-§3i), and ends in the usual man- ner with the mantras (§32-§34). Through these descriptions, we will see how successive layers of meaning and significance are woven into the completed mandala so that it represents or "becomes" transcendental wisdom (the mandala as wisdom), the thirty-seven bodhipaksikadharmas (the mandala as doctrine), and the body of the meditator himself (body mandala, kaya- mandala). The structure of the full mandala is shown on plate 12 with fig. 32.



Circles of Mind, Speech, and Body

§17- The three circles visualized around the central lotus are called the circles of §*9 mind, speech, and body. The innermost circle is the "mind circle" (citta- cakram, §17) understood to exist in space. This is blue-black (nila) in color and surrounded by a ring of blue-black vajras. It is said to have eight spokes or sectors that are aligned to the cardinal and intermediate directions (the "eight directions of Mem"). These sectors "have the nature of (GSS5 Sed p. 133, K21X2: pithasvabhava-) certain semimythical sacred sites (pithas). Their individual names, Pulllramalaya, etc., are given in the text as the dwelling places of the eight goddesses of the mind circle, who are referred to collectively as the "congregation of sky-dwelling goddesses." The next concentric circle is the speech circle (vdkcakram, §18), understood to exist on the "circumference of the earth." It is red, encircled with red lotuses, and with eight goddesses similarly installed on its eight sacred sites. These god- desses are described collectively as the "congregation of earth-dwelling goddesses." Finally, the outermost concentric circle is the body circle



STUDY OF THE VAJRAVARAHI SADHANA 189

(kayacakram, §19), understood to exist "on the surface of the earth encir- cled by the oceans." This is visualized as white and surrounded by white wheel emblems (cakras). The goddesses dwelling there are described as the "congregation of goddesses abiding in the underworld, or hell (pdtalah)" i54 The three circles of mind, speech, and body also appear in the Cakra- samvara mandala, where they are occupied by twenty-four site gods, Khandakapalin, etc., in embrace with their consorts, Pracanda, etc. (see table 23). If we compare the structure of Vajravarahi's mandala with that of Cakrasamvara, we find that the two mandalas are identical except that in the mandala of Vajravarahi all the male gods have been removed. The mandala leader, Cakrasamvara, has been superseded by his consort, Vajravarahi, and the goddesses appear alone in the twenty- four sites, thus reducing the size of the mandala from sixty- two to thirty-seven deities. This adaptation of the Cakasamvara mandala to a new, all-female model is not without its problems. We will see later how it creates inconsistencies in the meditations that correlate the full mandala with the body, and how mantras must be adapted to omit the names of the male gods.

§20 The next prose passage reveals the familiar kdpdlika character of the site goddesses. They each have one face and four arms, and hold the same implements as the other retinue goddesses: skull bowl and staff (left) and chopper and damaru (right). They stand in the warrior stance without a corpse throne and wear the five tantric ornaments and a garland of "hang- ing human heads." Their colors are determined by the color of the circle in which they dwell, itself a reflex of the buddha who presides over it. Thus, the goddesses on the mind circle, sealed by Aksobhya, are blue-black; those on the speech circle, sealed by Amitabha, are red; and those on the body circle, sealed by Vairocana, are white. Some of the names of the site god- desses are strikingly un-Buddhist, reflecting the influence of esoteric Saivism. 455

§21 The following paragraph repeats the installation of the eight outer god- desses. These protective goddesses have already been visualized in the third meditation stage, where they were located at the "gates" and "corners" — suggesting the traditional structure of the temple palace walls (§13— §15). Here, however, Kakasya, etc., are said to inhabit the eight cremation grounds "on the level of the underworld within rings of fire and wind." 456 The repetition of the outer goddesses is slightly odd. One rationale may be that our author is attempting to give them a cosmological bearing akin to that of the site goddesses because he wishes to include them alongside the site goddesses in the body mandala meditation, for which they will need



190



VAJRAYOGINI



a cosmological status. Another explanation may be the ambiguous pres- ence of the temple palace in this sadhana. Umapatideva never actually prescribed the visualization of the temple palace. Instead, he located the self-generation within the setting of the cremation grounds (v. 16); and even when he offered the traditional alternative of Mount Meru, we noted that he omitted any reference to the temple palace (v. 35). The location he prescribes here for the outer goddesses — the cremation grounds sur- rounded by protective rings of fire and wind — in fact harks back to their visualization earlier in the sadhana, when they appeared in the construc- tion of the circle of protection (at §4). If this cosmological orientation is an original contribution by Umapatideva (and it is absent in the other sources studied here), it is consistent with his attempt to replace the cakravartin-style architecture of the mandala palace with the cremation grounds.

Clearly following, and adapting from, his Cakrasamvara sources, our author ends his prescriptions in §21 with a final comment covering all the goddesses in the retinue, stating that all of them are to be visualized wear- ing chaplets of vajras. 457 It is at this point that the Abhisamayamanjari (GSS5 Sed p. 139, K26r5) offers alternatives to the visualization of the full mandala, which are credited to the Vajrdvaliby the author's guru, Abhaya- karagupta. These include the optional visualization of Vajravarahl as either yellow or blue, and changes to the colors and attributes of the deities of the retinue. 458

With the visualization of the retinue goddesses on the three cakras, the mandala is complete.



The Mandala As Wisdom

Once the full mandala is complete, its interweaving layers of symbolism come more clearly into focus. One of the most evident is the association with wisdom, as all the goddesses in the mandala are presided over by a bud- dha, each indicating a different aspect of enlightened wisdom. The sequence in the Vajravarahl mandala is exactly that of the Cakrasamvara mandala (excluding the presiding Buddha Aksobhya for Cakrasamvara himself). 459 The correspondences with the buddha families rarely work evenly through- out a given mandala, however. For example, Vairocana, who seals the god- desses of the body circle, appears twice in the Vajravarahl mandala, since he is also the buddha who seals the central goddess, Vajravarahl (§8). What



STUDY OF THE VAJRAVARAHI SADHANA



191



Fig. 32. Thirty-seven-fold Vajravarahi mandala




Central Lotus

1. Vajravarahi

Cardinal Petals

2. Dakini

3. Lama

4. Khandaroha

5. Rupini

Mind Circle

6. Pracanda

7. Candaksi

8. PrabhavatI

9. Mahanasa
10 ViramatI

11. Kharvari

12. Lankes'varl



EAST

13. Drumacchaya

Speech Circle

14. AiravatI

15. Mahabhairava

16. Vayuvega

17. Surabhaksl

18. Syama(devi)

19. Subhadra

20. Hayakarna

21. Khaganana

Body Circle

22. Cakravega

23. Khandaroha

24. SaundinI

25. Cakravarmini



26. Suvira

27. Mahabala

28. CakravartinI

29. Mahavirya

Outer Mandala (Gates)

30. Kakasya

31. Ulukasya

32. Svanasya

33. Sukarasya

Outer Mandala (Corners)

34. Yamadadhl

35. YamadutI

36. Yamadamstrini

37. Yamamathani



r



192



VAJRAYOGINl



is more, only the site goddesses of the three cakras reflect the color and emblem of their buddha family, while Vajravarahi herself retains the char- acter and attributes of a typical vajra family member, despite her allocation to the Vairocana family within the Cakrasamvara mandala. 460 The result, nevertheless, is that all deities are associated with a different buddha, and that the mandala overall is a symbol of perfect wisdom.



Table 19. Mandala as wisdom



1

Aspect of Mandala


Buddha Seal


Goddess Color


central goddess
(mahasukhacakra)


Vairocana
(white)


red


petal goddesses

(mahasukhacakra)


Ratnasambhava

(yellow)


color of the
directions


site goddesses

(cittacakra)


Aksobhya
(blue/black)


blue/black


site goddesses

(vdkcakra)


Amitabha
(red)


red


site goddesses
(kdyacakra)


Vairocana
(white)


white


outer goddesses \ Amoghasiddhi ! color of the (mahasukhacakra) 1 (green) : directions



The Mandala As Doctrine



§22-§29 Following the visualization of the full, thirty-seven-fold mandala, the Vajravarahi Sadbana continues with a meditation that correlates the mandala with the entire Buddhist doctrine. The text states that this med- itation deepens the meditator's conviction of himself as Vajravarahi within her mandala and leads to enlightenment (§22). In the course of the con- templation, each of the thirty-seven goddesses is equated with one of the thirty-seven bodhipaksikadharmas, "factors that favor enlightenment." This Abhidharmic grouping of Buddhist doctrines is made up of traditional sets of teachings, which are contemplated as follows:

(§23) The four bringers of awareness (anu-smrtyupasthanas) (§24) The four means of mind concentration (rddhipddas) (§25) The five empowering faculties (indriyas) (§26) The five powers (balas)



STUDY OF THE VAJRAVARAHI SADHANA



193



(§27) The seven causes of enlightenment (bodhyangas)

(§28) The eight factors of the path (arydstdngo margah)

(§29) The four means of complete abandonment (samyakprahdnas)

For each set, the text supplies typical commentarial glosses, at one point even citing Panini (§23). This is the fullest example of Abhidharmic exe- gesis in the Guhyasamayasddhanamdld and shows our author's reliance on traditional Buddhist sources. There are, however, notable variations — not to say, idiosyncracies — in his manner of listing some of the doctrines, which are discussed in the notes to the translation.

The meditation correlating the mandala with Buddhist doctrine is drawn directly from Cakrasamvara praxis, in which the yogin identifies the sixty- two-deity Cakrasamvara mandala with the thirty-seven bodhipdksika- dharmas. However, only the thirty-seven female deities of the mandala are correlated, except in the case of the last bodhipdksikadharma, which is understood to be Cakrasamvara himself. Perhaps it is because of the tantric association of the female consort (sometimes called a vidya) with wisdom (vidyd) that the male gods are overlooked. As a result, the practice is easily adapted to the all-female mandala of Vajravarahi, although a certain amount of juggling is required to accommodate the mandala goddesses within the groups of doctrines.

Table 20. Mandala as doctrine (thirty-seven bodhipdksikadharmas)



37 bodhipdksikadharmas


goddesses of the mandala


4 smrtyupasthdnas


4 petal goddesses


4 rddhipadas


4 site goddesses of mind circle


5 indriyas


4 site goddesses of mind circle + 1 site goddess of speech circle


5 balas


5 site goddesses of speech circle


7 bodhyangas


2 remaining site goddesses of speech circle 5 site goddesses of body circle


8 angas of astangamarga


3 site goddesses of body circle

4 gate goddesses
1 central goddess


4 prahdnas


4 corner goddesses



194



VAJRAYOGINI



The Mandala As Cosmos



Another major feature of the mandala is its symbolic representation of the cosmos. In fact, several cosmological systems are at play within it. First, we have seen how the whole visualization takes place within a cosmos con- ceived of as eight great cremation grounds — or alternatively upon the more traditional cosmic setting of Mount Meru.

Next, we have seen that the three mandala circles of mind, speech, and body are tiered according to the popular division of the world along its vertical axis. This is usually understood as the division of the three worlds (tribhuvanam) of space, earth, and underworld, as in the Abhisamayaman- jari (GSS5 K28r6). However, the Vajravdrdhi Sddhana describes a fourfold division of space in order to include the cremation grounds within the cos- mological picture:



.461



(§17) mind circle

(§18) speech circle

(§19) body circle

(§21) cremation grounds



in space

in the circumference (valayah) of the earth

on the surface (talam) of the earth

encircled by the oceans

on the surface of the underworld

within rings of wind and fire



Our author's adaptation from the usual cosmological scheme is slightly awkward because, according to the Abhidharmic system, the underworlds are actually located within the element water (illustrated by Brauen 1997: 20; 1994: 54). It also means that the site goddesses who are collectively termed "underworld dwellers" (§19) — and who, in the Abh isamayamahj 'ari, are happily located in the underworld — are said, less logically, to dwell on the "surface of the earth encircled by the oceans." Table 21 compares the Abhisamayamahjari with the Vajravdrdhi Sddhana and shows the slight inconsistencies of the latter. By comparing the cosmological structure of our mandala with that of the Kalacakra, it also reveals how the Vajravdrdhi Sddhana seems to foreshadow that system, in which the cosmos is gener- ated upon the elements air, fire, water, and earth (see also fig. 25).



STUDY OF THE VAJRAVARAHl SADHANA



195



Table 21. Mandala as cosmos



aspect

of mandala


GSS5


GSS11


inhabiting
goddesses


Kalacakra
cosmos


mind circle


sky


space


site goddesses
"sky-dwellers"


12 winds
orbiting Meru


speech circle


earth


circumference
of earth


site goddesses
"earth-dwellers"


circle of earth


body circle


underworld


surface of earth
encircled
by oceans


site goddesses
"underworld-
dwellers"


circle of
water


outer
mandala




surface

of underworld
within rings of
fire & wind


outer goddesses
in cremation
grounds


circle of fire
& air



The Sacred Sites (pithas)



Another important cosmological structure in the full mandala is that of the twenty- four sacred sites {pithas), listed §i7~§i9 (and table 23). These, as we have seen, are understood to exist within the mandala, on the three circles of mind, speech, and body, with eight sites on each. The sacred sites have their origins in Saiva myth, which relates how Siva's body was dismembered and fell to earth (or how Siva scattered the dismembered body of Sati/Par- vati across the world in his grief), thus creating sites of sacred power. v ~ The existence of these sites here in the Buddhist tantric systems has its root in the accounts of Siva's subjugation, which — as we saw earlier — generally begin with MahesVara's (Siva's) demonic tyranny of the universe and end with his defeat and conversion at the hands of the Buddhist heroes. In Cakrasamvara exegetical literature, however, MahesVara's overlordship is represented specifically in terms of his occupation of the twenty-four sacred sites, while his subjugation is framed in terms of the Buddhist takeover of those sites from the wicked gods of his mandala retinue. The inclusion of the sacred sites in the meditation and ritual texts of tantric Buddhism is also due to its "pious plagiarism" of tantric Saiva methods, in particular, the eso- teric system of the Trika (Sanderson 1994b, 1995). 463 Kalff (1979: 103-4) states that the names of most sites are those of towns or countries from almost every part of India," while the actual pilgrimage sites are holy sanc- tuaries within those countries — predominantly of Kali-type deities.""



196 VAJRAYOGINI

The significance of the sacred sites within the mandala is that they con- firm the mandala "as" the universe. This plays a vital part in the coming meditations, in which the mandala as cosmos is correlated with the body of the meditator.



The Ten Places (desas)

In the meditations that follow, yet another aspect of the cosmos is woven into the symbolic textures of the mandala. This is a set of ten "places" {desas) made up of five primary places, and five secondary or "nearby" places. Each of the places contains two or four of the twenty- four sacred sites (w. 43-53), as shown in table 23. The places are correlated during the course of the body mandala with the ten bodhisattva stages (w. 43-53). They also appear within a slightly different, twelvefold account in the Hevajra system. 465 These are summarized in table 22. 466

In the semi-mythical world of the highest tantras (and drawing once again on Saiva praxis), the places and sites serve as dwelling places for var- ious classes of yogini. Such texts devote some time to explaining the means of identifying and conversing with these types of women, as in a passage from the Samvarodayatantra: "A woman who is always fond of meat and spirituous liquors and forgets shame and fear is said to be an 'innate woman' (sahajd) born of the dakini family. They are born in each district [i.e., place]; (these) yoginis should be worshiped at all times." 467 The idea is that the yogin should visit the places in search of his consort. The lord himself, in the Hevajratantra (1.7.8— 11), specifically refers to them as the "meeting place" (melapakasthanam) for yogins and yoginis who know the "secret signs" (choma). The texts clearly suppose that the places and the sacred sites that they contain have a real, external existence because, on occasion, they make derogatory remarks about such goings-on, complaining that the expert yogin need not "tire himself out by wandering around the twenty- four sites in person," and emphasizing that the sites are mentioned merely "for the benefit of simple fools who wander about the country." 468

Within the mandala as a whole, the different cosmological systems do not fit easily together. A comment by Bu ston illustrates this. In his account of the subjugation of the Saiva gods (quoted by Kalff 1979: 68-69), Bu ston first describes the Buddhist occupation of the Saiva sites and then states that four kinnaris and four phra men ma take control of the eight great crema- tion grounds. He then proceeds to cite "the opinion of others" who instead



STUDY OF THE VAJRAVARAHI SADHANA



197



of naming the eight cremation grounds mention yet another system, namely the pilavas and upapilavas (i.e., the places). Within the mandala of the Vajravdrdhi Sddhanawc can also see evidence of some competition between the different systems. For example, the cremation grounds are one of the categories of place, and as such appear on the body circle (see table 23. This is awkward for the overall scheme of the mandala, in which they are other- wise located beyond the outer circle, within the circle of protection.



Table 22. The ten places






1. site pitha


2.


nearby site upapitha


3. field ksetra


4-


nearby field upaksetra


5. chandoha chandoha


6.


nearby chandoha upacchandoha


pilava (HT)




nearby pilava (HT)


7. meeting place meldpaka


8.


nearby meeting place upameldpaka


9. cremation ground smasana


10.


nearby cremation ground upasmasdna



Body Mandala



v. 42 Our author now introduces a meditation known as the body mandala (kdyamandalam). The practice involves correlating the mandala as cosmos with the practitioner's own body. This type of purifying equation (visud- dhih) — of a divinity with an aspect of the yogin's body — has already appeared in the sadhana, first as a preliminary purification of the practi- tioner's psychophysical organism, and again as the armoring. In some scrip- tural sources, the correlations of the body mandala serve to generate the mandala directly within the body without any prior generation (e.g., in ADUT ch. 9). Indeed, mKhas grub rje defines it as a means of self-gener- ation ranking above that of the generation method (utpattikramah) and completion method (nispannakramah). m The Yoginisamcdratantra empha- sizes the importance of the practice in the Cakrasamvara tradition by ascrib- ing it to the mythical Laksdbhidhdnatantra (although the practice was in fact Saiva in origin). 470 §30 The method of producing the body mandala is described in an explana- tory prose paragraph. This explains that the yogin must begin by uttering (and visualizing) the seed-syllable for the site, which is created from its first syllable (e.g., pu for Pulllramalaya) with the added nasalization of the



198



VAJRAYOGINl



anusvdra (pum). He should then see the seed-syllable transforming into an empty circle that is understood to represent Pulllramalaya itself (and so on for all twenty-four sites). Simultaneously, the yogin installs the empty circle, Pulllramalaya, on a certain point on his body (in this case, his head), as shown in figure 33. Meanwhile the goddess Pracanda, who dwells within the site, is transformed into a channel or vein (nddi) inside the head. The placing of each site on a body point relocates the external world or cos- mos symbolized by the mandala "on" or "in" the meditator's body, so that his body actually becomes, or contains, the world of the sacred sites and places. In this way, the body mandala internalizes the yogin's prac- tice of actually wandering through the sites and places in the real world in search of a consort. It is to be undertaken by an "internal yogin" (adhydtmayogin GSS5) and is deemed to be superior to ordinary external pilgrimage. 471
w. 43-54 The purifying equations of the sites and their goddesses with points on the yogin's body are given in a series of verses. After each verse, the text gives a one-line description allocating the sites to the ten places, and cor- relating those with the ten bodhisattva stages. These are summarized in table 23.

The vertical division of the cosmos into three (or four) "worlds" also transfers to the body through the processes of the body mandala. Once again, the correlations are somewhat approximate. The sites of the mind circle, equated with the sky, relate to points of the body around the head and shoulders. The sites of the central circle, the speech circle, are associ- ated with earth (the central world), and this is roughly correlated with the midpoints of the body (the tip of the nose and mouth are also included in this set). The sites of the body circle (usually associated with the lower world) are equated with the lower body. Although in the Vajravogini tra- dition the body mandala should be undertaken by the yogin who imagines himself as the goddess (fig. 33a), the correlations with the body points fit more naturally upon a figure seated in meditation (fig. 33b), perhaps an indication that the practice first arose outside the systems of deitv voga. For example, the body points for the hands and feet are grouped together for a figure seated in meditation, but are forced apart for the body standing in warrior stance. Above all, the preservation of the sixteenth body point "penis" (medhram) is an anomaly if the meditator is visualizing himself in female form.

By verse 53, our author has finished describing how to install the sites and site goddesses (i.e., the circles of mind, speech, and bodv) onto the



STUDY OF THE VAJRAVARAHI SADHANA 199

meditator's body, and he has correlated those sites with the ten places and ten bodhisattva stages.

Verse 54 appears only as a marginal insertion in one manuscript, com- menting on the value of the correlation with the ten bodhisattva stages (see Textual Notes).

vv. In the following couple of verses, our text widens and extends the prac- 55-56 tice by equating other points of the body with the outer goddesses (v. 55) and the goddesses of the four petals (v. 56). This is not entirely faithful to the original method of the body mandala, in which a body point should correlate with one of the twenty-four sites. It is also difficult to see any par- ticular rationale governing the new body points (except perhaps that the petal goddesses are located at the heart), especially since the parallel corre- lations in the Abhisamayamanjarl (GSS5) seem just as haphazard, and only vaguely related to those offered by the Vajravdrdhi Sddhana} 72 These incon- sistencies arise in the VajrayoginI tradition because of its adaptation from the Cakrasamvara practice. There, the correlations of the body mandala applied to the body of the twelve-armed heruka in embrace with his con- sort (e.g., Abhidhdnottaratantra ch. 9), in which scheme the four petal god- desses and eight outer goddesses were installed on the twelve handheld attributes of the male god. Since these arms and attributes are absent in the self-generated form of Vajravarahi, those goddesses are left without a clear function in her body mandala. Another inconsistency in the Vajravdrdhi Sddhana (as in the Abhisamayamanjarl) is that our author is forced to reduce the body mandala by not including the more subtle aspects of the yogin's psychophysical body (see table 9). The psychophysical body points were correlated with male deities in the Cakrasamvara mandala and are therefore inadmissable in the all-female Vajravarahi mandala.

None of the correlations given here overtly explains the designations of the mandala circles themselves as "mind circle," "speech circle," and "body circle." However, this correlation of the mandala with the fundamental division of the person demonstrates, on the simplest level, that the mandala as a whole is understood to "be" the practitioner. Conversely, the practi- tioner "is" the mandala and thereby embodies not only the chosen deity, but her entire retinue and the worlds in which they dwell.

§31 The correlations of the body mandala also incorporate the subtle yogic body in the form of the channels or veins (nddls). At §30, our text stated that the channels are to be established through the "transformation" of the site goddesses. In other words, the site goddesses dwell "within" the sites identified at a particular point on the body (e.g., Pracanda within Pulliraya-



200



VAJRAYOGINl





Fig. 33. Body mandala.

with

Table 23. Body mandala (tabula?- summary, opposite)



Position
in the
mandala


Goddess
(as the vein)


Twenty-
four sites


Ten places

(bodhisattva-

bhumis)


Thirty-seven

bodhipaksika-

dharmas


Body point



Fivefold Mandala










pericarp


Vajravarahi






eightfold path

samyaksamadhi


heart


—


E


Dakini


smrtyupasthanas

kaya°


N


Lama


vedana"


W


Khandaroha


dharma


'


s


Rupini


citta"



Mind Circle (blue-black, sealed


by Aksobhya; surrounded by blue-black vajras)




1


E


Pracanda


Pulliramalaya


pithas

pramudita"

upapithas

vimala"


rddhipadas

chanda"


head


2
3


N


Candaksi


Jalandhara


virya"


topknot


W


Prabhavati


Oddiyana


mimarnsa


right ear


4
5

6


s


Mahanasa


Arbuda


citta°


back of the head


SE


Viramati


Godavari


indriyas

sraddha


left ear


SW


Kharvari


Rames'vara


virya°


between
eyebrows


7


NW


Lankes'vari


Devikota


smrti°


2 eyes


8


NE


Drumacchaya


Malava


samadhi°


2 shoulders



Speech Circle (red, sealed by Amitdbha; surrounded by red lotuses)


9


E


Airavatt


Kamarupa


ksetras

prabhakari

upaksetras

arcismati"

chandohas

abhimukhi"

upacchandohas

sudurjaya


...indriyas
prajna


2 armpits


10


N


Mahabhairava


Odra


balas
sraddha"


2 breasts


11


W


Vayuvega


Trisakuni


vlrya°


navel


12


s


Surabhaksi


Kosala


smrti°


tip of nose


13


SE


Syama(devi)


Kaliiiga


samadhi"


mouth


14


SW


Subhadra


Lampaka


prajna


throat


15


NW


Hayakama


Kanci


sambodhyangas

samadhi


heart


16


NE


Khaganana


Himalaya


virva


penis



Aspect of body nourished

by the veins as the hero in the

Cakrasamvara tradition



<t>


nails & teeth (Khandakapdlin)


<=>


head & body hair
(Mahdkankdla)


<=>


skin & filth (Kankdla)


<=>


flesh (Vikatadamstrin)


<=>


sinew (Surdvairin)


<=>


bones (Amitdbha)


<t=>


kidney? (Vajraprabha)


<=>


heart (Vajradeha)



«•


eyes (Ankurika)


•t*


bile (Vajrajatila)


<z>


lungs (Mahdvira)


<=>


entrails (Vajrahumkdra)


<=>


coiled gut (Subhadra)


<=>


belly (Vajrabhadra)


<=>


feces (Mahabhairava)


<=>


hair part (Virupdksa)



Body Circle (white, sealed by Vairocana; surrounded by white wheels)


17


E


Cakravega


Pretapuri


melapakas

durangamao

upamelapakas

acala°

smasanas

sadhumati °

upasmasanas
dharmamegha"


. . .sambodhyangas

priti°


sexual organ


18


N


Khandaroha


Grhadevata


prasrabdhi


anus


19


W


Saundini


Saurastra


dharmapravicaya"


2 thighs


20


S


Cakravarmini


Suvarnadvlpa


smrti°


2 shanks


21


SE


Suvira


Nagara


upeksa"


fingers & toes


22


SW


Mahabala


Sindhu


...eightfold path

samyagdrsti


back of feet


23


NW


Cakravartini


Maru


"samkalpa


thumbs
& big toes


24


NE


Mahavirya


Kulata


°vak


2 knees



<££•


phlegm (Mahabala)


<=>


pus (Ratnavajra)


<=>


blood (Hayagriva)


<=>


sweat (Akasagarbha)


<=>


fat (Heruka)


<=>


tears (Padmanartesvara)


o


phlegm (Vairocana)


<=>


snot (Vajrasattva)



Outer Mandala




E


Kakasya






"karmantah


mouth




N


Ulukasya


"ajiva


navel




W


Svanasya


"vyayama


sexual organ




S


Sukarasya


°smrtih


anus




SE


Yamadadhi


prahanas

arising of
kus'aladharmas


hair curl


~ ■ — -


SW


Yamaduti


maintaining"


ears


NW


Yamadarnstrini


|


eradicating...
akus'aladharmas" >


eyes


NE


Yamamathani






not producing"


nose



202 VAJRAYOGINI

malaya, at the head), but they are imaginitively transformed into channels "within" the body. Tantric sources commonly refer to the goddesses "as" the channels or veins. 473 The Vajravdrdhl Sddhana makes only an oblique reference to the function of the channels within the body mandala: The channels are said to be like rivers that "nourish" the sites and so on in the external world "with water." The nourishing fluid that flows in the chan- nels in the meditation (like the water in the rivers) is not referred to here, but according to the Samvarodayatantra (ch. 7, w. 16-18), the contents of the central channels are urine (in laland), blood (in rasand) and semen (in avadhutt). Another analogy (in §31) touches upon the soteriological significance of these yogic correspondences; for just as, in the external world, the river Niranjana nourishes the site of enlightenment (vajrapitham) upon which the Buddha sat, so in the internal "yogic world," the central channel avadhutt nourishes the circle of great bliss upon which Vajravarahl stands.

In the Cakrasamvara version of the body mandala, on which the Vajra- varahi materials are based, the function of the channels is more explicit. In that system, the twenty-four male gods on the sites (consorts to the site god- desses) are said to represent or "purify" certain aspects of the body. For example, Pracanda's consort, Khandakapalin, becomes the nails and teeth; the channel (Pracanda herself) carries nourishment from the head (Pulliramalaya) to the nails and teeth (Khandakapalin). 474 The nddi'is there- fore a "channel" (vahd/vdhini; that which flows, samdvaba-lvahati) from an external point on the body "through" the related aspect of the body, thereby nourishing it. In the Samvarodayatantra (ch. 7 Nadicakrakramopayapatald) this is expressed as follows: 4 5

(3) The point [on the body] for the channels (nadisthanam) and the sites [with which they are identified] are known (pramdna- tah) to number twenty-four; and between those, three channels flow all through [the body]. (4) On the head <=> Pulliramalaya [is the body point for the channel that] exists [inside the body] as a channel (-vahd) for the nails and teeth. On the top- knot^Jalandhara [is] the channel for the head and body hair (? kesaroma). (5) On the right ear<=>Oddiyana [is] the channel that is the channel for the skin and [its] filth, (etc.)

The aspects of the body named in the Cakrasamvara version are a tra- ditional set, weighted, as Kalff notes, toward the "repugnant," and a set that




STUDY OF THE VAJRAVARAHI SADHANA 203

already occurs in the Pali canon in almost the same order. 476 The twenty- four aspects of the body are listed in table 23 beside the male god who puri- fies them. Once again, this part of the body mandala is omitted in the Vajravdrdhl Sddhana because of its references to the male gods.

In a (presumably) later work in the Guhyasamayasddhanamdld, the inconsistencies noted in the Vajravdrdhl Sddhana s version of the body mandala are are avoided by the invention of a new body mandala medita- tion that draws exclusively upon the cosmology of the cremation grounds. 477

This practice finishes the series of contemplations on the mandala. The Abhisamayamanjarl ends this portion of text with a reminder to the yogin to dwell in meditation, "firmly convinced" of the completed body mandala. 478



Mantras for the Complete Deity Mandala

§32 The fourth meditation stage ends with the mantras to be inserted within the sadhana, as in the first meditation stage. First, our author gives the root mantra (mulamantrah) for Vajravarahi as leader of a full mandala, adding it to her mantras for earlier stages of the practice (namely, the heart, aux- iliary heart, and eight-part mantras). The root mantra is full of terrifying epithets, aggressive imperatives, fearsome laughter, and general clamor. §33- Next, the text supplies mantras for the site goddesses (§33). These con-

§34 tain cryptic mantric elements called "vajra words" (kulisapaddni) and owe their form to the mantras of the site gods in the Cakrasamvara mandala. Thus, in Cakrasamvara sources, the mantras for the site god and the site goddess are listed side by side, as follows:



.479



om khandakapdlina kara kara hum hum phat svdhd

(for site god, Khandakapalin).

om pracande hum hum phat svdhd

(for site goddess, Pracanda).

etc.

Another Cakrasamvara source, Luyipada's Herukdbhisamaya (f. 13O, col- lapses the two mantras into one and omits the name of the male deity, thereby producing a version closer to the mantras given in the Vajravarahi texts: om kara kara hum hum phat pracande hum hum phat {tot site god and goddess, Khandakapalin and Pracanda), etc. The Vajravarahi texts take the



204



VAJRAYOGINl



process one step further, and omit both the name element of the male god, Khandakapalin, and its following mantra syllables: om kara kara pracande hum hum phat {$ot site goddess Pracanda alone), etc. With the discussion of the mantras, the fourth meditation stage comes to a close.



Ritual Practices



Tantric Ritual

The next portion of the Vajravdrdhi Sddbana deals with ritual practices. These are chiefly rites of worship and offering, but adapted for the context of deity yoga. A comment on the nature of tantric ritual in general is found in an oblation text in the Guhyasamayasddhanamdld attributed to Indra- bhuti, the Pradipdhutividhi (GSS14). This draws on the ancient shamanic or magical understanding of ritual, namely that: "X here produces Y there" (v. 17): "Such is the true nature (dharmatd) of the worlds: for one who acts with intensity (lit: 'whose deeds are sharp') it may be only a flower [that he offers] here, [but] in the next world it [bears] a great fruit." 480 While ritual is a mechanistic process, it does not simply operate on an external plane. Indrabhuti describes how mental intention, too (see p. 215), is a means to generate results (w. 24-25): "Whatever merit is dedicated with a mind firmly convinced, with whichever method, in whatever place, in whatever way, <fruit?> arises in a corresponding form, in a corresponding place, in a corresponding way, like the pot of a potter." 481 In a Yogacara-Madhyamaka environment, such promises are made possible by the infinite possibilities of emptiness. Once appearances are understood to be empty and thus unreal (in that they lack intrinsic existence), then they are no different from mag- ical appearances, which are also empty and unreal. As Indrabhuti explains: (v. 26) "Whatever he cultivates further, and whatever more is dedicated, that bears fruit, like a reflection in a mirror that is both real and not real," (v. 28) "Only through the mind, not through anything else, does one resort to the dualities 'good' (sreyas) and 'bad'; for samsara is nothing but the mind, and nirvana [too] is nothing but the mind." 482 It is not the case, however, that the ontology of Mind-only renders external ritual actions meaning- less, as they are justified on the basis of Nagarjuna's doctrine of two truths (cf. Bentor 1996: 13-21). Although on the level of ultimate truth (para- mdrthasatyam), ritual action is empty, it is meaningful because it is under- stood to operate on the level of conventional truth (lokasamvrtisatyam). This is the basis upon which the yogin proceeds: (v. 22) "The buddhas (munisvardh) say that with one hundred and eight oblations, [performed] on the basis of an understanding of the two truths, the fruit of universal monarch-hood or buddhahood [is attained]." 483

The rites described by the Vajravdrdhi Sddhana are as follows:



205



206 VAJRAYOGINI

(v. 57-§4o) offering bali (balividhih)

(w. 59-66) tasting nectar (amrtdsvddanam)

(§4i-§49) external worship (bdhyapujd)

(§46) hand worship (hastapujd)

(§49) alternative external worship (bdhyapujd)

(§51) internal oblation (adhydtmahomavidhih)

(§52) rite for leftover bali (*uccchistabalividhih)

Our text here is very similar to that of the Abhisamayamanjari (GSS5), and both works base their prescriptions on rites described in Cakrasamvara literature. Their comparison with a series of Cakrasamvara rituals by Sasvatavajra (published by Finot in 1934 under the editorial title *Vidbi- samgraha, Collection of Rites) demonstrates how simple the redaction of material into the Vajravarahi corpus was. The *Vidhisamgraha describes the same series of rites, but directs the prescriptions to the yogin in union with Cakrasamvara rather than with Vajravarahi. Sasvatavajra' s descrip- tions of the rites are very similar to our author's and are almost identical with those of the Abhisamayamanjari (GSS5), differing from the latter sometimes only in phrasing. Despite their close relationship, significant differences between the three texts also emerge, and these suggest that the authors of the Guhyasamayasddhanamdld were probably not redacting directly from Sasvatavajra's text, but that all three authors were looking to a common Cakrasamvara-based source. 484 (The contents of the three texts are compared in table 24.)



The Bali Ritual

v. 57 The first ritual taught in the Vajravarahi Sddhana is the bali ritual (bali- vidhih), a propitiatory food offering (balih) to local spirits and deities and — in our sources — to the principal deities of the mandala. The offering of bali is essentially a brahmanical ritual, and probably predates the Vedas; such offerings certainly form a large part of Vedic prescription. 485 A more imme- diate source for the Buddhist tantras is the bali offering in Saiva and Vaisnava rites, in which the bali is often a concluding rite. 486 The Vajravarahi Sddhana introduces the bali ritual by stating that rites such as worship are to be preceded by bali offerings (v. 57). So if the bali is a pre- liminary rite, why do our texts tend to teach it at the end — and not at the beginning — of the practice? 487



STUDY OF THE VAJRAVARAHI SADHANA



207



Table 24. Rituals in parallel texts



Vajravarahi Sadhana
GSS11


Abhisamayamanjari
GSS5

• Vidhisamgraha
  

Finot 1934




amrtdsvddana,
following self generation (K2 3 n)




amrtdsvddana
(w. 60-67)
within balividhi
(v. 58-§37)


balividhi (Kiyv?,)

(without balimantra
of our §36)


Smas'dnavidhi

by Luyipada
(PP. 49-5i)


(+ ^//mantra §36)


midday &
midnight junctures

(K30V4)

• "Mantrapdtha "
  

(PP- 53-54> i-c,
balimantra as
GSSn §36)


bdhyapujd (§38)


bdhyapujd (K3ir2)


bdhyapujd,

by SasVatavajra

(pp. 52-53)


hastapujd (§40)


hastapujd (K32n)


hastapujd by
SasVatavajra

(PP- 54-55);
also SM253
(pp. 498-500)


alternative bdhyapujd
+ implied hastapujd
(P41: athavd)


alternative bdhyapujd
+ implied hastapujd
(K32V5: yadvd)
(p. 55-56: yadvd)


alternative

hastapujd 'with
bdhyapujd


adhydtmahomavidhi
(§42)


adhydtmahoma vidhi
(K 33 vi)


Cakrasam va ra balividhi
by SasVatavajra

(pp. 56-58)

(with preparation as

for amrtdsvddana)

• ucchistabalividhi (§43)
  

• ucchistabalividhi
  

(K33V2)


Vajravarahi
Sadhana
(pp. 59-61)


cremation grounds

(w. 71-75)


reference to

desiderative homa rites,

considered too lengthy

to be described by the author

(K33V4: vistarabhaydn

na likhitdh)


Sekakriydkrama
(incomplete)
(pp. 61-62)



208 VAJRAYOGINl

v. 58 Our author (v. 58) answers this supposed question by explaining that since the bali must be offered by the practitioner in union with the deity, the instructions for self-generation are a necessary prerequisite and must be taught first. Despite this careful apology, it is clear that bali rituals are usu- ally taught at the end of a text as a concluding rite (as well being a prelim- inary ritual), and perhaps his statement is best understood as a comment upon ritual within the highest tantras, in which self-generation is a pre- requisite to the performance of all rites.



Tasting Nectar (amrtasvadanam)

§35 As a preliminary part of the bali ritual itself the Vajravdrdhi Sadhana teaches (cf. v. 28) the rite of tasting nectar (amrtasvadanam). Earlier in the sadhana our author promised a description of this rite, because it was prescribed as part of the worship following the consecration of the newly fledged yogin-deity (v. 28). The tasting of nectar is also prescribed in the parallel sources (Abhi- samayamanjari and Cakrasamvarabalividhi), from which it seems that our texts are incorporating an independent ritual of tasting nectar into the bali offering and using it to serve as a preliminary for that rite. 488 This is also the method employed in the Vajravali (SP f. 1x017), m which Abhayakaragupta joins the two rites together by first describing an Amrtasadhana for the preparation of the nectar, and then relating how the ^//should be offered according to the Samaja, Hevajra, and Cakrasamvara systems. In contrast, the Advayavajra-based sadhanas clearly treat the tast- ing of nectar as a distinct rite of worship. 489 In some Guhyasamayasddhana- mdla texts, the two rites are simply sequential, the tasting of nectar first comprising an imaginary offering of nectar, and the subsequent bali, the offering of real (or imagined) foodstuffs with the recitation of bali mantras. 490

A hint in our texts suggests that our Cakrasamvara-based bali rituals may be appropriating the tasting of nectar rite, and thus joining two inde- pendent rites together. In the Cakrasamvarabalividhi, the rite of tasting nectar requires the yogin to generate an imaginary bowl in which he will visualize various substances transforming into the nectarized offering. Because the independent bali ritual also requires a bowl for the food offer- ings, the text then prescribes the generation of a second — but now strictly unnecessary — offering bowl (also GSS16 cited n. 490: dvitiyam bali- bhajanam). SasVatavajra perhaps attempts to accommodate this problem



STUDY OF THE VAJRAVARAHI SADHANA



209



with a remark that justifies the "transferral" of the nectar from the first bowl into the bowl generated for the ball (balisvikarartham). If the balim- ual has appropriated the rite of tasting nectar, the reasons for it are clear. The relationship between the two rites is close, and the tasting of nectar is itself a type of ball offering. It is particularly well suited to the ball offer- ings in the Cakrasamvara tradition, in that it describes an imaginary food offering resulting in great bliss, to be offered within the context of inter- nalized meditative performance. Moreover, it describes a handy means of purifying offerings that in our tradition are composed of transgressive sub- stances, and of transforming them into nectar fit for the gods. w. The first step in the rite of tasting nectar is the preparation of a hearth, 59-60 whereon the food offerings may be cooked, purified, and turned into nec- tar. First, raging flames are generated from the combination of wind and fire, represented by their elemental symbols and the syllables yam and ram (v. 59). Above this, a hearth {cullikd; v. 60b) is then fashioned from three heads arranged like the base of a tripod; these are produced (in our tradition) from the syllable kam. m On top rests a skull bowl generated from ah, as the caul- dron. 492 (See fig. 34.)




Fig. 34. Preparation of nectar.



2IO



VAJRAYOGINI



v. 61



v.



6z



63



w. 64-66



The next verse (plus the following prose) describes the preparation of the nectar inside the cauldron. The ingredients are generated from seed- syllables and comprise the usual esoteric offerings, namely, the five nectars and the five meats, or "lamps" {panca pradipas) . The five nectars are semen blood, flesh, urine, and feces, and the five lamps are the flesh of cow, dog, horse, elephant, and man. 493 The seed-syllables are not a very stable set, and the Advayavajra-based sources, for example, prescribe the generation of the ten transgressive substances from the five syllables of the buddhas alone. 404

Our author then describes the cooking process itself. The fire should be visualized blazing up and heating the ingredients and turning them bright red. The Vajrdvall (seemingly following Cakrasamvara scripture) adds that the ordinary color, smell, and potency of the ingredients are removed with the syllables ha ho hrih. 495

Next, a white, inverted skull staff is visualized above the mixture, pro- duced from hum. From its contact with the heat or steam rising from the liquid below, the skull staff melts and drips into the cauldron, cooling the red liquid and turning it white, or "quicksilver," in the process. 496

It only remains for the liquid to be empowered by the syllables om ah hum. These three syllables are generated from the letters of the alphabet and visualized above the liquid. The syllables then emanate the deities of the mandala into the universe to benefit beings. Finally, the deities are retracted and dissolve into the three syllables, and the three syllables themselves dis- solve into the nectar below. The liquid is now empowered by the syllables and is complete. The meaning of this stage of the visualization is clearer in the parallel texts, which imply that the nectars and meats in the cauldron are pledge forms, as they require the infusion of knowledge. In the Abhisamayamanjari, the three syllables emanate rays rather than deities, and these draw out the "knowledge nectar in the hearts of all tathagatas." 497 The Cakrasarnvara balividhi (based on both male and female deities of the Cakrasamvara mandala) reads as follows:



§36



.498



Xext above that [liquid] , [he should visualize] om ah hum as transformations of the vowels and consonants, in sequence, one above the other. With the ray[s] emanated from those [three syl- lables], using the "method of transferral" (samkramananyayena), he should draw down in the form of the three [mandala] circles icakrakaram) [the "knowledge" forms of the "pledge" nectars nd meats, namely] the "knowledge nectars" and "knowledge



/»..




STUDY OF THE VAJRAVARAHl SADHANA



211



lamps" (jndnamrtapradipam) of the heroes and heroines in the ten directions. 499 Having [caused those deities of the three mandala circles] to accomplish the welfare of the world, he should visualize them (avalokya) first coming together [in sex- ual union] [and then] melting (dravibhilya), and as entered accordingly (yathayatham) into those [three syllables] t and that in all the oceans t. Then, having seen om, etc. melted in sequence (kramavilinam) [i.e., one into the other, and then back into the liquid], he should empower [it] for as long as he wishes with the three syllables.

If the nectar had been prepared for an independent rite of tasting nec- tar, it would now be fed through tubes of light to the mandala deities, who would "taste" it and experience great bliss. 500 In our text (§36), however, the nectar becomes the ^//offering, and thus the so-called "tasting of nec- tar" has served simply to prepare the offering.



Bali Offering with Mantras

§36 The Vajravdrdhi Sadhana now prescribes the method for offering the bali. m The first step is to summon the deities to the spot with a hand gesture, simul- taneously uttering a mantra syllable. Some texts add that the yogin has an upward gaze to the left, so that he projects his powerful yogic stare at the deities he wishes to ensnare. 502 The syllable uttered is phet (or in other texts, phet or phem), m while the hand gesture is the flame mudra (jvdldmudrd). m




Fig. 35. Flame gesture (jvalamudra).



In one Tibetan tradition, the flame mudra is formed by making the trian- gular flame symbol with thumbs and forefingers, and splaying out the other



212



VAJRAYOGINI



fingers like flames (see fig. 39; also K. Gyatso 1999: 495). At this point, many texts cite a verse that explains that, having made the mudra, the yogin "should place it at the center of his forehead and move it around several times." 505 This is understood to summon the deities.

Next, the yogin should generate the imaginary skull bowl that is used to serve nectar to the deities. He does this in a sequence that mirrors the self-generation of the deity described in the first meditation stage. It begins in the same way, with the preliminary worship and mantric contempla- tion of emptiness. Then comes the sequence of awakenings. The hands are cupped in the gesture of reverence, and these become the sun and moon disks (generated from the vowels and consonants in parallel texts, as in the first awakening). 506 In between them, the seed-syllable hum arises and is visualized transforming into the bowl of nectar. This visualization procedure is still followed even in the Cakrasamvarabalividhi, which prescribes the use of actual foodstuffs in a real bowl placed between the hands. 507

v. 67 Before the nectar is offered to the gods, our text prescribes the utterance of a benedictory verse "for the sake of obtaining the desired siddhi" (cf. SUT ch. 8, v. 26). The aim of the same verse in SasVatavajra's Cakra- samvarabalividhi is more specific in its application and perhaps makes bet- ter sense: it states that the verse is recited for the purpose of "appropriating" the bali (p. 57: balisvikarartham) . In other words, the nectar — which has been prepared inside a different skull bowl according to the tasting of nec- tar — must "belong" inside this bowl (a remark that seems to rationalize the appearance of this second offering bowl within the rite). The nectar is then offered to the deities of the mandala in the eight directions, passing the bowl counterclockwise in the cardinal directions — a prescription pecu- liar to the Samvara tradition (it is absent in bali rituals described in the Vajravali from the Samaja and Hevajra systems). 508 While the offering is made, the yogin must keep the metaphysical basis of emptiness in mind. The ontology of nonduality is reflected by the generation of white "vajra tongues" for the deities. §37 Our text next supplies two bali mantras with which to offer the nectar to the deities. Since the Cakrasamvarabalividhi (p. 58) names the deities who are to receive the offering with these mantras, we discover that the first mantra given in the Vajravarahi Sadhana is for the site goddesses. It is recited once only.
§38, In the same way, we know that the next mantra is for the mandala

v - 69 leader plus the goddesses on the petals and in the outer circle (i.e., the



m




STUDY OF THE VAJRAVARAHI SADHANA 213

thirteenfold mandala). This is to be repeated five times and is accompa- nied by a scriptural verse (v. 69) for the purpose of achieving siddhi (in the Cakrasamvarabalividhi, this is visualized with the addition of music and betel).
§39 Our author then names the recipients of the final offering as the ten protectors of the directions. The mantra is uttered twice.

The recipients of the bali offering vary in other texts. In the Samvaro- dayatantra (ch. 8, v. 25), it is given to the deities of the three mandala cir- cles alone; shorter texts may give a more limited selection (often the goddesses of the thirteenfold mandala, or the ten protectors), with or with- out verses. In contrast, the ^//offerings described by Abhayakaragupta in the Vajrdvali (f. I23r— v) are for many different categories of being, and include (1) a general ball mantra serving all beings (sarvabhautika), absent in GSS11; (2) ^//mantras begging the beings of the thirteenfold mandala to accept the offering (similar to §38); (3) the longer mantra for the site deities on the three mandala circles (as given in §37); (4) mantras inserting the individual names of the ten krodhas ("wraths"; see n. 513); and (5) the mantra for the protectors (as in §39) "outside" the circle of protection.

As the protectors are offered the bali, they are imagined granting mag- ical powers {siddhis) to the yogin (§39). Related texts add that the mantrin also sees the protectors experiencing great bliss. 509 This reflects the desider- ative function of the bali ritual. The Samaja-based bali ritual in the Vajrdvali (SP f. i22r.7ff.) states that the method of performing the rite depends upon which class of siddhi is foremost. This will influence the time at which the rite is performed, the direction in which bali is offered, and the color of the bali offering. For example, a black-magic rite (abhicdrah) would be performed at midnight to the south, with black balis. 510 A desiderative bali ritual may also be performed on behalf of another person. This is described in the Samvarodayatantra (ch. 8, w. i9ff.), where the worship of the mandala with food offerings, etc., is performed on behalf of a third party (ddnapatih), and the "teacher's assistant" (karma- vajrin) 511 therefore meditatively generates the donor as well as the mandala (v. 23ab: utsarjayed ddnapatim mandalam ca purahsaram) . The same is true in the Vajrdvali accounts, in which the bali mantras from all three systems leave the name of the beneficiary to be supplied (amuka-). The Samaja rit- ual adds that it is the sadhaka's own name that should be used and not that of the third party for whom the ritual is performed. He should instead be convinced that he "is" that third party: 512 "Even when offering bali on another's behalf, one should just recite 'of me, mine' as appropriate in the



214 VAJRAYOGINI

mantra exactly as it is. And [the ritual performer] should have the firm conviction of [the other person] as being himself. Through having the atti- tude that 'if he is helped, I am helped,' there is the attainment of benefit. Immediately after that he should make the request for him."

The main function of the balividhi, however, is propitiatory: It is to calm obstacles and to appease malevolent influences. This is evident in the meaning of the mantras themselves, which focus upon destroying or paci- fying negative forces. In the Vajrdvali account, the individual mantras for the ten krodhas actually include the name of the person who requires their cooperation. 513 This is the function of the ^//offering when it is performed as a preliminary rite and when (along with other preparatory procedures) it serves to purify the site and to quell obstacles, particularly those of wild or malevolent spirits that may impede the practice. 514 The propitiatory agenda explains the emphasis in many £4// mantras on the outermost (i.e., "lesser") beings of the cosmological mandala. Frequently, it is only the last bali mantra (§39: om kha kha khdhi khdhi. . .) that appears in a text, that is, the mantra designated in our work for the protectors, overlords of the wild cremation grounds. In the Samaja rite, Abhayakaragupta states that after all the deities have received their bali offerings, the mandala circle is absorbed back into the mantrin, whereas the protectors and krodhas, are posted outside the mandala hut in the ten directions, "intent on protec- tion and fulfilling desires."

The fact that the bali rituals in our texts go beyond a merely protective function is perhaps the logical consequence of extending the ^/z offerings to the complete mandala. The bali becomes another powerful means of worshiping deities within the practice of deity yoga for recognized rewards. Another feature of the Vajrayogini bali ritual is that actual foodstuffs are often superseded by imaginal transgressive offerings, purified and nectarized according to the methods given for the rite of tasting nectar. This is again symptomatic of an upgrading of the bali, as it transforms the ancient food offering into a means of inducing great bliss. The deities so propitiated are understood to be all the more powerful in that they fulfill desires on both the mundane and transcendental levels. These developments are borne out by Abhayakaragupta in a liberationist coda to his account of the bali ritu- als of the Samaja, Hevajra, and Samvara systems. He classifies these meth- ods as generation-method practices, then adds a final bali ritual to be performed according to the superior completion method. The completion- method bali ritual intensifies the "internalization" already evident in those of the generation method. The visualized forms of the deities are distilled




STUDY OF THE VAJRAVARAHI SADHANA 215

in the crucible of pure awareness, and the bali transformed into an offer- ing of knowledge itself: 515

These three bali rituals [of the Samaja, Samvara, and Hevajra sys- tems] are within the generation method. In the completion method, however, the bali ritual [consists of] an offering of bali that is not distinct from the [unique] flavor of knowledge. [It is offered] to [the protectors of the directions] starting with Indra together with the [mandala] deities, beginning with one's own lord of the mandala, whose forms are wisdom and means [and] who have been drawn [down] merely by focusing the attention on them, with a mind "not shaken" from wisdom and means.



Rite of Completion

§40 The bali offering ends with a rite of completion (also taught at §45, §48, (§45> and §49), the purpose of which is to compensate for any omission or addi- ^4 ' tion that the yogin may have accidentally made during its performance. (c \ This is an integral part of the ritual system, which is founded on the prem- ise that only the correct performance of a prescribed act ensures success. Correct performance supersedes all other factors, such as the intention or mental state of the ritual performer. If this seems to contravene the Bud- dhist canonical definition of action as "intention" (Anguttaranikaya III.415), this is somewhat counterbalanced by the emphasis we find in the sadhanas on cultivating and maintaining the correct ontological understanding of action, with frequent reminders of its basis in emptiness. Thus, the yogin's mental attitude is still deemed to be crucial, as he must maintain the cor- rect attitude toward his actions, and the texts supply frequent reminders of their basis in nonduality (e.g., §36 following v. 6y: pujyapujapujakan abhedena pasyei) and frequent injunctions in the course of the rituals them- selves to recite the emptiness mantras.

For the rite of completion, betel and other foodstuffs are first offered to the assembled deities all together. Secret hand signals (choma) are per- formed, and the bell is rung. The hundred-syllabled mantra is then recited, followed by the recitation of an emptiness mantra, and the deities are simul- taneously gratified with the gesture of "turning the lotus" (kamalavarta- mudra). For this gesture, the sadhaka holds a vajra and vajra bell in his outstretched fingers and revolves them with a fluttering motion — a "dance"



2l6



VAJRAYOGINl



that resembles "a blossoming lotus stirred by the wind." (The bell is another symbol of the feminine aspect or consort, and as such is often visualized along with the vajra, representing the male aspect.) 516 The deities are then dismissed as the yogin moves his arms into the crossed gesture of embrace, snaps his fingers (or touches the ground), 517 and then withdraws the mudra, while reciting the syllables of dismissal. Finally, the practitioner absorbs the mandala into himself.




External Worship

§41 The Vajravdrdhi Sadhana now moves on to the external rites of worship (bdhyapujd), the essential features of which are (1) the generation of the goddess in a locus external to the yogin's own body, (2) her worship in that locus, and (3) a rite of completion. Our author describes two rituals of worship. The following paragraphs (§4i-§45) give detailed prescriptions for the first, and this is followed below (at §49) with a second, briefer account, involving the imaginal feasting of deities with food offerings. Both optionally involve the "hand worship" (§46). (The parallel texts for these portions are cited in full in the Textual Notes to §4i-§52.)

Like the sadhana meditation, these rites were probably intended to be performed three or four times a day. Indeed, the self-generation is the nec- essary preliminary to their performance, as they are to be undertaken by the yogin in union with the goddess (GSS5 Sed p. 145, K3ir2: vajravairo- canlyogavdn mantrt). However, the practitioner of deity yoga may also undertake the rites independently from the self-generation meditation, as the passage (§41) begins with prescriptions to rise early and to purify the place. With the appropriate mantras, the yogin also visualizes a circle of pro- tection that imaginally constitutes the ground in front of the yogin as the "vajra ground." Next, a mandala diagram is drawn onto the vajra ground. Here, the text prescribes a triangle containing a circle, which represents the lotus within the dharmodayd, the origin of existents (as in the self- generation of the sadhana). In the alternative external worship (§49), the yogin draws only the simple (inverted) triangle of the dharmodayd (and the shape of the diagram does vary in other texts). 518 The diagram is drawn using a paste made of esoteric substances, or failing those, of cow dung (and, in the second rite, of wine §49). The nectars are described as a "pill" (gulikd; here vatikd or gudikd) made of the five nectars, and sometimes called the samaya pill. 519 Elsewhere prescriptions require the yogin to draw



STUDY OF THE VAJRAVARAHI SADHANA 217

the diagram "using saffron, bright yellow orpiment, and vermilion powder, r with [just] one of them." Other esoteric substances may also be used, such as the first menstrual blood of a young girl, a highly valued substance in pan-Indian sdkta traditions, or a mixture of blood and onion. 520 The yogin draws the diagram by tracing it with the liquid or paste onto the ground with the fourth finger of his left hand (§49). According to other accounts he does this with an implement such as a golden stylus (GSS35), or a brush made of the hair of thieves executed in the cremation ground. 521 Within the drawn dharmodayd, the yogin then generates the pledge form of Vajravarahi from her seed-syllable, vam, which has issued from his heart, and the knowledge form is drawn into the pledge form with rays in the usual way. Our author adheres to his sequential approach, prescribing only the generation of the central deity, Vajravarahi, at this stage. The method of doing the practice with the fuller mandala may be inferred (§45) from the meditation stages taught above. In contrast, the Abhisamayamanjari is faithful to its method of self-generating the mandala in its entirety upon the elements and Mount Meru.

§42 The stage is now set for the worship itself, which constitutes a number of different ceremonies. It begins with traditional offerings visualized bil- lowing from the sadhaka's heart. Next he makes an actual external offer- ing from his left hand of a flower, which has been ritually purified for the purpose (perhaps with mantras, or with a rite similar to that supplied for the mantra bath). Next the usual mantras for the central goddess are uttered along with the eight-part mantra "for praise" (given earlier, §32), and this section of the worship closes with a final offering mantra to the eight pro- tectors (as in the bali ritual), this time with their names included in the mantras.

§43 Next, the yogin offers a flower to the deities that he has visualized "on his hand." This is a slightly ambiguous reference to the hand worship (full details for which are only given by the author below, §46) but one con- firmed by the parallel texts (see Textual Notes). The hand worship also appears in two Nepalese Sanskrit ritual texts of the yoginitantra tradition; they confirm its usage in this context. 522 In these works, the opening sequence (termed ddiyogd) is similar to the Vajravarahi Sadhana in that it includes: preparations, the generation of the mandala and its infusion with the knowledge deities (as at §41), the offering of a flower to each deity of the mandala with the appropriate mantra followed by the eight-part mantra (as at §42), and finally the hand worship (apparently here at §43). 523 The practice as described in the Vajravarahi Sadhana (§43) ends with the



2l8 VAJRAYOGINl

absorption of the deities on the yogin's left hand into himself, which again points to the the hand worship. §44-§45 The following paragraph continues the worship of the mandala with mantras and verses of praise and concludes with the bodhisattva prepara- tions. This again mirrors the ddiyoga in the Nepalese ritual texts, which end with the supreme worship (it perhaps also overlaps with their mandalddiyoga portion, which begins with the brahmavihdras and meditations on empti- ness). A rite of completion (§45) marks the end of the external worship.



Worship on the Hand (hastapuja)

§46 The hand worship is to be inserted into a rite of external worship in the manner just described (§43). Our sources (parallel text is cited in the Tex- tual Notes) all state that the hand worship is derived from the Yogini- samcdratantra (§48), although this scripture sheds no further light on the practice. 524

The hand worship begins (§46) by stating that the mantrin is "in union with his own chosen deity" (svestadevatdyukto mantri), that is, self- generated as Vajravarahl. He visualizes her within the festive "circle of the assembly and so on" (ganamandalddau) . The gathering of an actual ganamandala or ganacakra included a tantric feast at which alcoholic sub- stances such as soma were drunk, delectable foods eaten, and sexual yogic rites with consorts performed. The orgiastic nature of the rites is explic- itly described in the Kriydsamuccaya, for example in its Nisdcakra, which recommends eight types of taboo consort — all female relatives. Indeed, according to its Ganacakravidhi, "that sacramental circle (ganacakra) that is without [sex with] a female partner (prajnd) is a [mere] meeting of rice scum" (cited Gellner 1992: 297). 525 In the Vajravdrdhi Sddhana, however, the feast is performed imaginally, and the tantric assembly comprises a mandala of armor gods and armor goddesses. There is also the alternative of visualizing the goddesses of the three mandala circles (whose associa- tion with the sites as meeting places for sexual yogic practices has already been discussed.

In the first stages of the rite, six syllables are placed on the fingers on the palm side of the left hand. These are the syllables of the armor gods in the Cakrasamvara tradition and are represented by the six buddhas (variants to the syllables are shown in the footnotes to the translation)^ 26 The San- skrit text states that the syllables are placed on the fingers and thumb of



STUDY OF THE VAJRAVARAHl SADHANA



219



i^-



the left hand, plus their "nails." 527 Sanderson (1999: personal communica- tion) notes that in Saiva prototypes, the thumb's mantra is installed with the index finger and the mantras of the fingers with the thumb. For the nails, one would presumably curl the fingers and run the thumb over the nails, so that the sixth buddha (the mantra syllables phat ham) is placed on them collectively — much as the sixth kavaca deity is for the "whole body" in the armoring.

Then, in the palm of the hand itself, the yogin sees a lotus with om vam on its pericarp, the essentialized form of Vajravarahi as armor goddess. Sur- rounding her on a five-petaled lotus (pancadalakamalam) are the syllables of the five remaining armor goddesses in sequence. On the back of the hand is seen the mirror image of the syllables. As an alternative, the back of the hand may be visualized with the three mandala circles (probably indicating the visualization of the syllables of the sites, pum, etc., as at §30).



Table 25. Syllables for hand worship (hastapuja)



LEFT DIGITS


SYLLABLES


AS BUDDHAS


i

! USUAL ARMOR GOD


thumb


om ha


Vajrasattva


[pure-]white


Vajrasattva


first finger


nama hi


Vairocana


white


Vairocana


middle finger


svdhd hum


Amitabha


red


Padmanartes'vara


fourth finger


vausat he


Aksobhya


black


HerukafvajraJ


little finger


hum hum ho


Ratnasambhava


yellow


Vajrasurya


nails


phat ham


Amoghasiddhi


dark-green


Paramds'vdstra 1
Paramdsva 1
Hayagriva 1
Vajrardja



Left Palm



center


om vam


Vajravarahi


red


east


ham yom


Yamini


blue


north


hrim mom


Mohini


white


west


hrem hrim


Samcalini


yellow


south


hum hum


Samtrasini


green


^southeast


phat phat


Candika


smoky gray



220 VAJRAYOGINI

§47 The worship itself (§50) is performed by smearing purified wine on the syllables/deities on the hand. This consititutes a transgressive food offer- ing so irresistible to the yoginis that they are attracted into the presence of the yogin, where they "preside" over him.

§48 The hand worship concludes with the hundred-syllabled mantra as a rite of completion (cf. §45, §48) and verses of supplication that again express the wish that the "yoginis preside." The text also tells the yogin how to dis- pose of the transgressive liquids that remain after the worship has ended. This involves daubing points of his body as he utters the three syllables in their inverted sequence: hum (heart), ah (throat), om (forehead). 528 Finally, the visualized deities/mantras are absorbed back into the body of the yogin.



Alternative External Worship

§49 The Vajravdrdhi Sddhana describes another rite of external worship (bdhya- pujd), which is offered as an alternative (athavd. . .) to the previous one (at §41). It is conducted along similar lines to the first rite but involves a few variations. Here the yogin is to imagine feasting the single goddess Vajravarahi with food offerings, but in a different external locus. He visu- alizes her within a triangle drawn upon the ground, dwelling in the eight cremation grounds. The offerings of food are visualized as the production of the nectars and so on, and the beings of the cremation grounds are again to be gratified with a final mantra offering in the manner of a final ball rit- ual. At this point in the previous rite of worship, the hand worship was per- formed, and it seems likely that the hand worship is also intended here despite no overt directive, as the final prescriptions (§50) are for the dis- missal of the "deity mandala on the hand." 529

§50 The rite ends with a rite of completion that is very similar to that pre- scribed for the hand worship and that states that the goal of the worship is for the "deity to preside" (devatddhisthdndrtham). The text then provides the option for the external worship to be performed for the fivefold, thir- teenfold, or full mandala, according to the sadhana's meditation stages (the goal of which would be to induce all the chosen goddesses of the mandala to preside). 530



STUDY OF THE VAJRAVARAHl SADHANA 221

Internal Oblation

§51 The final rite described in the Vajravdrahi Sddhana is an oblation (homah), and is based upon a traditional external rite of oblation — an offering made into fire. In our text, however, the oblation ritual takes the form of a visu- alization performed internally, within the yogin. For an external oblation ritual within the Vajrayogini tradition, we can turn to the Pradipdhutividhi (GSS14). 531 This text describes how the mantrin in union with his deity cre- ates a fire pit (v. 5), within which he lights a fire, both by kindling wood (v. 7a) and through mentally drawing down the "supreme fire of knowl- edge (jndndgni-) oi the conquerors" with the seed-syllable in his own heart (v. 6ab). He then visualizes the fire deity in the heart of the fire (the only solitary male deity mentioned in the GSS) and his own deity (Vajrayogini) seated in its heart. He worships Vajrayogini by making oblations into the fire consisting of the five nectars and of scented woods. The Vajravdrahi Sddhana adapts and internalizes this kind of external oblation to suit the context of meditative yogic performance. Thus we find that the fire pit is understood to be the yogin's own navel, and offerings are made to the god- dess who is visualized within it engulfed in the "fire of wisdom." 532

The process of internalizing the oblation ritual can also be observed in two other Vajrayogini texts. In an internal oblation described in the Sam- putodbhavatantra (w. i8-22ab), the "blazing fire of wisdom" is located within the meditator's genitals (while the Vasantatilakd adds that the wind that fans the fire is within his feet): 533

(18) The oblation (homah) should be made into the greatly blaz- ing fire of wisdom, with the offering (havis) that inwardly is semen [in the central channel, avadhuti,} and [blood in the right channel, rasand, and urine in the left channel, laland], and out- wardly is [the skandhas] beginning with form.

(19) [The "outward" worship] of the six sense fields, elements, [and] skandhas etc., which have the form of the deities, likewise of the dakinis,

(20) is called yoga worship, since these [deities] are worshiped by him. Whereas (tu) [in the "inward" homa], this head skull (kapdlam) [where semen (sukra) is stored] 534 is the offering ves- sel (bhdjanam).

(21) The ladle is called rasand; the heart cakra is identical with



222 VAJRAYOGINl

lalana, taught to be the [offering] bowl (patri) (or: the [offering] bowl is the mouth), and the fire pit is the navel. (22ab) The fire is in the loins (trikati-), fanned up by the winds of karma [which are in the feet]. 535

As this passage shows, the oblations that are to be made into the wisdom fire are said to have an "outer" and "inner" value. The "outward" level is that of a body mandala, in which the psychophysical body of the yogin is identified with the mandala of goddesses. In this oblation, the offering consists of the skandhas, which are burnt up as "fuel," 536 while the offer- ings into the fire are not to the goddess Vajravarahi but to the buddhas and mothers (dakinis) who are equated with the psychophysical organism. The "inward" level is that of internal yogic practice, in which the oblation offer- ings are understood to be the contents of the three central veins or chan- nels (semen, blood, and urine), which will all be drawn into the central channel in the course of being offered into the fire.

In these internal oblation texts, the traditional ritual tools of an external oblation rite are also represented. For example, traditional oblation requires a ladle (sruvah) held in the right hand, and the vessel holding the oblation of ghee ([ghrta] patri) held in the left hand (there is also a larger ladle, the sruky sometimes used instead of the sruvah).^ 7 In the internal oblation, the ladle and the vessel are understood to be the two lateral channels. Rasand on the right is the ladle, and lalana on the left is the oblation vessel (SpUT v. i9d: havirbhajanam; referred to in GSSn simply as the "oblation": ahutih). This scriptural passage also seems to identify the ritual parapher- nalia with yogic cakras, as the heart cakra is said to be lalana (v. 20b). §52 The ritual prescriptions of the Vajravarahi Sadhana close (§52) with a rite that is concerned with an offering of ball made up of actual foodstuffs. (This is probably because the source text continued with a series of exter- nal oblation rituals, as shown in the parallel texts and Textual Notes.) 538 The bali is offered to the eponymous deity of leftovers, Ucchistavajra (as the imperative of the mantra reveals). With the offering of the leftover bali, the yogin induces him to preside. This rite appears also in the Samvarodaya- tantra (ch. 8, v. 38), in which the remnants of the oblation are offered to the spirits (bhiitas) as well as to the god, "Ucchusma."



STUDY OF THE VAJRAVARAHl SADHANA



223



Concluding Verses



vv. The remaining verses of the sadhana append a detailed account of the jo-7 6 nature of the eight cremation grounds (discussed above). It is possible that Umapatideva's source material included an account of the cremation grounds, since the so-called *Vidhisamgraka (Finot 1934) includes the Smasdnavidhi by Luyipada. v. 77 The text concludes in the proper manner with a dedication of merit, and a colophon stating Umapatideva's authorship.



Edition and English Translation of the

Vajravdrdhi Sddhana

by Umapatideva

from the
Guhyasamayasddhanamdld (GSSn)



sri-Vajravarahisadhana by Umapatidevapada



om namah srivajrayoginyai

srivaj radevlcaranaravindam {N37r}

samchinnasamkalpaVibandhapasam I pranamya vaksyami yathopadesam tatsadhanam t vikramasena t* yatnat I (i*)

<ghore> 2 smasane girigahvare ca

srotasvatisagara 3 samnidhau ca I

anyatra va hrdyatame A pradese

dhyayad imam yogam abhistasiddhyai I (2)

vam vlksya bijam hrdi padmamadhye bandhukapuspadyutim adadhanam I tadrasmisamdiptanabhas 5 talastham pasyet samantat sugatadivrndam I (3)

tadbljarasmiprabhavair vicitraih {K54r}

sampujya devan kusumadibhis tan I krtvarcanam saptavidham jinoktam kuryac caturbrahmaviharacintam I (4)



1 samkalpa] Kpc, N; (sam)kalpa K(mg2), D.

2 ghore] conj.; omit codd.; Tib. p. 32.3 jigs pa V (*ghora, bhima, raudra qualifying

• smasane).
  

3 srotasvatisdgara] conj.; srotasvatisdra codd.

4 hrdyatame] conj.; hrdyam me codd. (Tib. p. 32.4: "pleasing" yid du 'ongba'i).

5 nabhas] Kpc; na(bhas) K(mg); nabhaN, D.




Vajravarahl Sadhana by Umapatidevapada

[Meditation Stage i]

Salutation to the glorious Vajrayogini!

(i) Having saluted the lotus-like foot of the glorious vajra goddess (vajradevl) by which the encircling noose of conceptual thought (samkalpah) is broken asunder, I will carefully relate her sadhana according to the teaching, f O Vikramasena t-

(2) In a terrifying cremation ground, on a mountain, in a mountain cave (girigahvare) ,™ or (ca) near a river [or] ocean, or elsewhere in a place pleasing to the heart, [the practitioner] should con- template this practice (yogah) in order to [obtain] the desired success (siddhih).

(3) Having observed the seed-syllable vam in the heart, on the cen- ter of a lotus emitting the [red] glow of a bandhilka flower,' he should see all about [him] a mass of buddhas and so on in the sky, which is irradiated by rays from that [seed-syllable] .

(4) Having worshiped those deities with manifold flowers, [incense, lamps, perfumed powders, and food] 11 issuing from the rays from that seed-syllable, he should perform the sevenfold worship taught by the conquerors, [and then] he should do the medita- tion on the four sublime abodes {brahmavihdras) .



i Pentapetes Phoenicea (Terminalia tomentosa). Its red flower (bandhilkam, bandhii-

kapuspam) is one of the commonest similes for the red color of Vajravarahl.

ii The Sanskrit has "flowers, etc.," a typical abbreviated reference to the traditional fivefold offering (pancopacdrab).



228 VAJRAVARAHISADHANA

[§i]* tatra saptavidharcana 6 yatha papadesana punyanumodana trisaranagamanam punyaparinamana bodhicittotpado 7 margasrayanam atmabhavaniryatanam ceti.

etasya papadikadesanader
nirupanam yat kramato yatha tat I esam purastat pratidesayami maya samastam yad akari papam I (5)



{D 39 <



gurvadibhih punyam uparjitam yat tat sarvam evabhyanumodayami I krtam karisyami karomi yac ca 8 sattvdjindh santu^ subhena tena I (6)

ratnatrayam vai saranam prayami sydm 10 dharmarajo jagato hitaya I margam jinanam aham asrayami grhnlta nathah svatanum dadami I (7)

caturbrahmaviharas tu maitrikarunamuditopeksalaksanah - te canukramato yatha:



yatha jananam 11 svasute pravrttih snehanuviddha 12 niyamena vrtta I tatha bhaved yanyasute 'pi tesam tarn dvesahantrlm kurutatra 13 maitrim I (8)



{N37V}
{K 54 v|



10
11
12

13



arcana] K; arcana N; area D. otpddo] corr.; otpddahK, D; otpddaN. yac ca] K; ya ~ N; yatna D.

sattvdjindh santu] conj.; satvdjindsmanta K, satvd(hn?)indsmanta N; satvd* itdsmanta D. (Tib. p. 32.7: sems can ma lus rgyal bar smon, "I pray that all beings may be victors.")
sydm] conj.; syddK, N; sad- D.

jananam] con].; jindndm codd.; (Tib. p. 33.1-2: jig rten pa "those in the world. ) viddhd] em.; vidhd codd.
hantrim kurutd] K; hantim- N; hanti kuru D.




THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



229



>■



[§i] In this, worship is of seven kinds, as follows: [i] confession of faults, [ii] rejoicing in merit, [iii] going for threefold refuge, [iv] transfer- ence of merit, [v] arising of the will to enlightenment, [vi] resort- ing to the path, and [vii] dedication of one's body (atmabhavah).

(5) The definition of these teachings and [practices] beginning with the confession of faults, etc., as it is in the sequence [of practice] , is as follows 1 ' 1 —

[i] I confess before these [deities] all the sins that I have done.

(6) [ii] I rejoice at all the merit that has been accumulated by the teachers, [buddhas, and bodhisattvas]. iv

[iv] By that good that I have done [in the past] , will do [in the future], and am doing [now], may beings become conquerors.

(7) [iii] I go for refuge to the Three Jewels.

[v] May I be a king of righteousness for the welfare of the world. 540

[vi] I resort to the path of the conquerors.

[vii] Accept [it] , lords — I offer my own body!

As for the four sublime abodes — namely, [i] loving-kindness (maitri), [ii] compassion (karuna), [iii] rejoicing [in the attainments of others] (muditd), and [iv] equanimity (upeksa) — those are also (ca) [defined] in sequence as follows:

(8) [i] Just as the conduct (pravrttih) of [ordinary] people toward their own son is (vrtta) invariably permeated with affection



111



IV



I have numbered the successive stages listed in the prose (§1). This shows that the verses (w. $cd-7) are not, in fact, in sequence. However, the stages of the puja in sadhana texts are very unstable.

Literally, "teachers and so on (ddi-). n This refers to the tantric list, "teachers, buddhas, and bodhisattvas" (gurubuddhabodhisattva-).



230 VAJRAVARAHISADHANA

duhkhat tatha duhkha 14 nimittabhutat proddhartum iccham 15 sakalan 16 janaughan I aghata 17 cittapratipaksabhutam vibhavayet tarn 18 karunam jagatsu I (9)

anantasattvoddharanam na sakyam evam visadasya vighatadaksam I kito 'pi buddho 'bhavad ity aveksya samjatavlryo muditam vibhavya I (10)

mamedam asyaham iti pravrddham cittam yad etat sa ca moha eva I tasyopahantrim aparigrahatvad imam upeksam paricintaya tvam I (11)

pratltyajatvaj jalacandratulyam pasyed alikam bahir antaram ca I svabhavasuddhadikamantrapathat 19 sunyadhimoksam 20 vidadhita mantri I (12)

[§2] tatredam 21 mantradvayam. om svabhavasuddhah 22 sarvadharmah svabhavasuddho 'ham. om sunyatajnanavajrasvabhavatmako 'ham iti. {D4.01-}



14 tatha duhkha] N; ^duhkbdK; athdD.

15 iccham] corr.; icchdcodd.

16 kaldn] N, D; kdldn K.

17 dghdta] K; adydta N, D. (Tib. p. 33.3: srog gcod las dang mi mthun phyogs kyi bsampa "thought that is contrary to the act of killing.")

18 tdm] em.; tdK, N; dm D.

19 mantrapdthdi\ N; mantrapdtK; mantred yd(va)t D {add).

20 sunyadhimoksam] conj.; s'unya(vi?)kamoksam K; s'unyddhikamoksam N; sunyadhikamoksa D.

21 tatredam] conj.; tatreyam K, D; tatrdyam N.

22 svabhavasuddhah] em.; svabhavasuddhah N; subhdvasuddhdD.




THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 231

(snehd), so they should also have that (yd) [loving-kindness (maim)] toward the son[s] of others: you should now (atra) cultivate that loving-kindness that destroys hatred. 541

(9) [ii] He should cultivate that compassion with regard to the world that is the antidote to cruelty (dghdtacitta)? [namely] the wish to extract the entire mass of beings from suffering and the causes of suffering.

(10) [iii] "It is not possible to extract numberless beings [from suf- fering]!" He should cultivate rejoicing that is skilfull at destroying this kind of depression, being [himself] one who has gained energy [by] considering that "Even a worm became a buddha!"

(11) [iv] "This belongs to me!" [or] "I belong to that!" It is a puffed-up mind that thinks so (iti) — and this is just delusion! Contemplate equanimity that destroys such [thoughts] because it is free of grasping.

(12) He should see [everything, both] external and internal, as false like the moon [reflected] in water, because it is produced in dependence [upon causes]. The mantrin should establish the conviction of emptiness through the recitation of the mantras that have the opening "[om] svabhdvasuddhd. . .. "

[§2] For this there are the following two mantras:

om svabhdvasuddhdh sarvadharmah svabhdvasuddho 'ham: 1

[and]

om sunyatdjndnavajrasvabhdvdtmako 'ham: 1 '



v Literally, "a mind of striking."

vi "All existents are pure by nature; I am pure by nature.

vii "I am identical with the essence of the nondual (vajra, knowledge of emptiness."



232 VAJRAVARAHISADHANA

athatra humkaraj avis vavaj ram drstva samantat sphuradamsu 23 jalam I tenaiva bhumlm 24 atha panjaram 25 ca pasyed vitanam sarajalakam ca I (13)

purvottaradikramato disasu sumbhadimantrams 26 caturo nivesya

tadras'mijalaprabhavan vidadhyat 27 {K55r}

prakaranamnas caturo bahir 28 vai I (14)

kakasyakadyah punar astadevih

sumbhadimantraprabhavah prapasyet I

humjdstakupesu nivesya mdrdn

dkotanarrP kilanam dcarantilf Q I (15) {N381:}

[§3]- tatrami te mantrah. om sumbha nisumbha hum hum phat. om grhna* grhna hum hum 31 phat. om grihnapaya grihnapaya hum hum phat. om anaya ho bhagavan vajra 32 hum hum phat. atrastau devyo 33 yatha kakasya ulukasya svanasya sukarasya yamadadhi yamaduti yamadamstrini 34 yamamathani ceti.



23 sphuradamsu] conj.; prasphuradamsu K; pras - amsu N; prasphura(m<)dasum D.

24 bhumlm\ codd. (metri causa, understand bhumim).

25 panjaram] codd.; Tib. translates "walls" (p. 33.6: ra ba), also in v. 14 (p. 33.7).

26 mantrams] K; mantras r N, D.

27 prabhavan vidadhyat] conj. Isaacson; prabhavan vibadhydtK; prabhavdndhivadhydtN; prabhavandhivandhyatD . (Tib. suggests "he should meditate" p. 33.7: bsgom par bya. Cf. GSS35: raksddigbandhadikam vidadhyat.)

28 caturo bahir vai] em.; caturo diksu bahi vai K; caturo " diksu. bahi — N; caturo diksu bahi D. (Possibly diksu was an explanatory gloss that became incorpo- rated into the text.)

29 hum—*dkotanam] conj.; humjdstakupesu nivesya mdran dkotanam Kpc; ~mdra(ko)n dkotanam Kac.(del); humjdstadevih kupesu nivesya mdrdn dkotanam N; humjdstakupesu nivesya mdrakotanam D. (Tib. p. 34.1 bdud rnams = mdrdn).

30 dcarantih] em.; dcarenti codd.

31 hum hum] N; hum K, D.

32 vajra] K, N; vidydrdja D (The reading vidydrdja replaces bhagavan vajra in some texts, see n. 300).

33 devyo] D; devyau K, N, {ditto)

34 yamadamstrini K, N; yamadusti D.



THE VAJRA VARAHI SADHANA OF UMAPATIDEVA 233

(13) Next in this [meditation], he should visualize a hum syllable transforming into (-ja) a double vajra, having all about it a net of quivering rays. It is with this [net of rays] that he should then visualize the ground, and then the domed roof (pan- jaram), [then] the canopy and the [outer] shield (jalam/" 1 of arrows [as the circle of protection] .

(14) He should cause the four mantras beginning with "[om] sumbha" 'to enter the directions, east, north, [west, and south] in [a counterclockwise] sequence; he should fasten in place (vibadhyat) four walls that have been produced from a net of rays [issuing] from those [four mantras] at the very exterior [of the circle of protection] .

(15) Moreover, he should visualize eight goddesses, Kakasya and so on, produced from the mantras beginning "[om] sumbha." [He should see them] hammering and nailing down the evil ones (mdras), which they have made to enter eight wells pro- duced from hum.

[§3] In this [visualization], these are the [four] mantras:

om sumbha nisumbha hum hum phat.

om grhna grhna hum hum phat.

om grihnapaya grihnapaya hum hum phat.

om anaya ho bhagavan vajra hum hum phat.'*

Here, the eight goddesses are as follows: Kakasya, Ulukasya, Svanasya, [and] Sukarasya* [in the cardinal directions]; Yamadadhi, Yamaduti, Yamadamstrini, and Yamamathanf 1 [in the intermedi- ate directions] .

viii Literally, "net."

ix "O [demon] Sumbha! O [demon] Nisumbha! Seize! Make [them] seize! Take! O Blessed One! O Vajra!"

x Crow-face (Kakasya), Owl-face (Ulukasya), Dog-face (Svanasya), and Hog-face (Sukarasya).

xi Death's Tooth (Yamadadhi, dadha is probably from damstrd, but may also mean "wish, desire." The Tibetan text consistently translates Yamadadhi brtan ma "the Stable One," as if from drdhd), Death's Messenger (Yamaduti), Death's Fang (Yamadamstrini), and Death's Destruction (Yamamathani).



)1-

,36



234 VAJRAVARAHISADHANA

[§4] atropadesah. vamahastasyangusthatarjanibhyam chotikam dattva "om sumbha nisumbha hum hum phad" ityadimantran uccarayan 35 krsnaharitaraktapltavarnan patalabrahmandavyap jvalanmahakayan <vajraprdkdrdtf> vamavartena purvadidiksu yathakramam nivesayet. panjarad bahih etanmantracatustayanispannah kakasyadicatasro devih, etannispattikala eva daksinavartenagneyyader 37 ubhaya- mantrakonasya rasmisambhuta yamadadhyadicatasro devih pasyet. {D40V} eta astau dvibhujaikavaktrah. {K55V} atra prastave nabher adhah sulakarah, daksine vajramudgara 38 dharah, vame atmarupakilakahastah. spharanayogena gatva digvidiksthita- sakalavighnavrndam 39 aniya humkaranispannesv astasu kupesu 40 svamantrasamanavarnaprakarasamipavartisu pravesya kilanakotana 41 mantroccaranapurvakam vighnavrndam kilayitva kotayitva ca prakaresu liyamanas tah pasyet. {N38V}



35 uccarayan] K, N; uccarayetD.

36 purvadidiksu] N; purvadiksu K, D.

37 agneyyader] corr.; dgnydder codd.

38 mudgara] em.; mudgardK, N; mudgaro D.

39 vighnavrndam] K; vrndam N; vighnavpidakam D.

40 kupesu] em.; kupe codd.

41 kotana] em.; kotana codd.



THE VAJRAVARAHI SADHANA OF UM Al»/\TIDEVA



235



!.. ,J. t



[§4] The teaching on this [is as follows]: He shoul.J gi ve a snap of the forefinger and thumb of the left hand, [and while] uttering the mantras beginning "om sumbha nisumbha bum hum phat, " he should make <the vajra walls> enter into the directions starting in the east in a counterclockwise sequence; [they ,»re] colored black, green, red, [and] yellow, extending from the underworld to the sphere of Brahma, burning [and] vast.



Outside the [vajra] zone (panjaram),™ he should see the four god- desses starting with Kakasya who are produced from these four mantras. At the same time that they are produced [he should visu- alize] the four goddesses starting with Yamadadhi produced from rays [issuing] from the corner angles of the two (ubhaya) mantras [that intersect at the intermediate points], starting from the south- east [proceeding] in a clockwise direction.

These eight [goddesses] have two arms and one face. In this con- text, Xi " they are [described as] spike-shaped beneath the navel. In their right [hands] they hold a vajra hammer; in their left they have in their hands a stake that has their own form. He should visual- ize those [eight goddesses] going forth through self-projection [to the limits of the universe] (spharanayogena gatvd), 542 fetching the entire mass of obstacles found (sthita) in the cardinal directions and intermediate directions, placing [the mass of obstacles] in eight wells that have been produced from the syllable hu?n [and that are] located (-vartisu) near the walls of the same color as the respective (sva) mantras [from which they were produced], staking and ham- mering the mass of obstacles with the recitation of the mantras for staking and hammering down, and [finally he should see those eight goddesses] dissolving into the [vajra] walls.



Xll



The domed "roof or (literally), "cave" (panjaram) of the circle of protection is that which surrounds the structure on the top and on the sides, and which defines the space within. K. Gyatso (1999: 119) describes it as having "the shape of a Mon- golian tent."
xiii The text is distinguishing the appearance of the eight goddesses here within the topic (prastdvah) of the expulsion of obstacles from the circle of protection, from their later appearance within the deity mandala.



236 VAJRAVARAHlSADHANA

[§5] atra kllanamantro yatha - om gha gha ghataya 42 * ghataya sarva- dustan phat. 43 om 44 kilaya kilaya sarvapapan phat hum hum hum. vajrakila vajradhara ajnapayati. 45 sarvavighnanam kayavakcittavajram kilaya 46 hum phad iti. akotanamantro yatha - om vajramudgara vajrakilakotaya 47 hum phad iti.

• tatpanjarantarnivasacchmasana- madhyasthitam 48 urdhvavisalarupam I pasyet trikonam saradindugauram 49 dharmodayam raktasarojagarbham I (16)
  

tatpadmamadhyasthitayo ravlndvor 50 madhyasthitam visphuradamsujalam I vamkarabijam sphutavidrumabham vibhavayet spastataram yatha syat I (17)

mihsrtya 51 bijodbhavarasmijalat krtva janaughan jinabodhibhajah I

• tatraiva bije <hi> nivesitantar- buddhadikam samparibhavayed vai 52 I (18)
  

{K561



{D 4 ir}



42

43
44
45
46

47
48



49
50



5i

5*



ghataya] K, ghataya N, D.

phat] K, N; hum phat D.

om] N; omitted K, D.

dhara djnd°] D; dharo djndK; dhardjndN.

vajram kilaya] N; vajram kllam K; vajrakllaya D.

vajrakilakotaya] K, N; kilakotaya D.

tatpanjard-* sthitdm] conj. Sanderson; -jard(r?)nti nirvvisatasmasdnamadhya-

K;-jard- r nirvvisatasmasdnamadhye - N; -jardn nirvisatasmasdnamadhye- D.

(cf. GSS42 v. 4b: smasandstanivdsini)

gaurdm] K, D; gaurlm N.

tatpadmamadhyasthitayo ravlndvor] em.; tatpadmadhyasthitayo ravlndundorK;

tatpadmamadhyasthitayo ravlndundorK; tatpadma(ma)dhyasthitayd ravindudor

D(add).

nihsrtya] conj.; naihsrtya codd.

tatraiva bljehi—*vai] conj. Sanderson; - nivesitdr aneka(cdga)buddhdbhikdh

samparibhavayed vai Kpc.(add); -nivesitdr aneke (b,y?)uddhdbhi(k?)dh

samparibhdsaye vai. N; - nirvesitdr anekabuddhdbhikdh samparibhdsayed vai D.



THE VAJRA VARAHI SADHANA OF UMAPATIDEVA 237

[§5] In this [meditation] the "staking mantra" is as follows:

m gha gha ghataya ghataya sarvadustdn phat. om kilaya kilaya sarvapdpdn phat hum hum hum. vajraklla vajradhara djndpa- yati. sarvavighndndm kayavdkcittavajram kilaya hum phat™

The "hammering mantra" is as follows;

om vajramudgara vajrakildkotaya hum phat™

(16) Placed in the center of [eight] cremation grounds dwelling (-vasat-)™ within the zone (pahjaram) of that [circle of pro- tection], he should visualize, with its broad side uppermost [i.e., inverted], a triangular dharmodayd, white as the autumn moon [and] containing a red lotus.

(17) In the center of that lotus, between a sun disc and a moon disc, he should visualize a vam seed-syllable in such a way that it is [all] vividly clear, with a quivering net of rays [emanat- ing from it, and] with the color of blossoming [red] coral.

(18) Having sent forth [the buddhas and so on] from the net of rays produced from the seed-syllable, he should make multi- tudes of people share the awakening of the conquerors; then (hi) he should imagine [Vajravarahl] with the buddhas and so forth retracted inside [her] (nivesitdntar-) into that same seed- syllable.



xiv "Kill all evils! Stake all sinners! O Vajraklla! O Vajradhara! — He commands [it]

for the body-, speech-, and mind-vajras of all obstacles. Stake [them]!" xv "O vajra hammer! O vajra stake! Hammer [them]!" xvi In v. 73, the cremation grounds are also said to "dwell" Vvas.



238 VAJRAVARAHISADHANA

candrarkablja 53 *prabhavam trinetram kasmiravarnam 54 dvibhujaikavaktram I alidha-m-akranta 55 sirahkucagram uttanayor bhairavakalaratryoh 56 I (19)

utksiptavamasthitapadmabhandat patatpravaham 57 rudhiram pibantim I

• savajrasavyetara /*- w f 58
  

bhutarjani 59 tarjitadustavrndam I (20)

khatvangasamsobhitavamabhagam 60 vilambiraktdkta GX nrmundamalam I nagnam kvanannupura 62 bhusitanghrlm 63 damstrakaralam vadanam vahantim 64 I (21)

vajrena visvadhvanipurvakena {N39r)

krantottamangam 65 cyutakesabandham I vaj ravalimadhyaviraj amana- lalatapattasthitapancamundam I (22)



53 candrdrkabija] Kac; candrdrka(vahni) Kpc.(add), N, D.

54 kasmiravarnam] em; kdsmiravarndK, D; kdsmlravarna N .

55 dlidhamdkrdnta] N; dlidhamdkrdnta K, D.

56 rdtryoh] em.; rdtrydh codd.

57 bhdnddt patatpravaham] Kpc.; bhd(nda) nddta patat (v-). pravdham K(del); bhdnde. te patat^ N; bhdmdat patat. pravyaham D.

58 savajrasavyetara f— " f\ conj. Sanderson; savajravdrdhlmdlyakara prasrtiK;

savajravdrahi -4- kara prasrti N; savyakaraprasrti D.

59 bhutarjanl] conj. Sanderson; bhut tarj 'am codd.

60 vdmabhdgdm] Kpc. (vdma add); (vpiddm) bhdgdm K(del); twwtf -4- bhdgdm N;

61 vilambiraktdkta] conj. Sanderson; vilambinim rakta codd.

62 nagndm kvananniipura] em.; nagnd kvanannu- K; nagnd — no- N; nagnd vanannaii" D.

63 drighrim] K; dnghrim N, D.

64 vadanam vahantim] N; vadana vahantiYL, D.

65 piirvakena krantottamangam] em. purvamkena krdntottamdnga K; piirvakena krdntottamdnga N\ piirvakena krdntonumdrigl D? (indistinct). (Tib. p. 34.6: j«tf tshogs rdo rjes dbuyi steng nas mnan par mdzad"z. double vajra is pressing down from the top of her head.")



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 239

(19-24) He should visualize himself (dtmatanum) as [Vajra] varahl (v. 24c!), who is produced from the moon, sun, and seed- syllable [vam], with three eyes, having the color of [red] saf- fron, with two arms and one face, trampling in the warrior pose on the head and breast of Bhairava and Kalaratri, who lie face up [beneath her] (v. 19); drinking blood that streams down from the "lotus bowl" (padmabhdndah)™ placed in her upraised left hand, with a vajra in her right hand f... /"threat- ening all who are wicked with the index finger pointing threateningly to the ground (bhutarjani) (v. 20); [her] left side adorned with a skull staff (khatvdngah), with a bloody (raktdkta) garland of human heads hanging [around her neck] , naked, her feet decorated with tinkling anklets, [and] with a face terrible with its tusks (v. 21); with her head topped by a double vajra,™" 1 with her hair- tie fallen off, [and] with five skulls in her headband gleaming in the midst of a row of vajras (v. 22); with head, ears, throat, both wrists, [and] hips glistening with the chaplet, swinging earrings, charming neck- lace, glittering bracelets, [and] girdle [respectively] (v. 23); covering the three worlds with quivering rays, with a body full (dkrdnta-) of fresh youth, [and] filled with the single taste of great bliss xix (v. 24b-d).



xvii The "lotus vessel" is the tantric term for skull bowl, e.g., HT2.3.58b: kapdlam

padmabhdjanam.
xviii Literally, "having her topmost limb (uttamdngam) passed over (or 'subjected,'

krdntd) by a vajra preceded by the word visva [i.e., a vis'vavajra]." xix Literally (v. 24c): "She is filled with the single taste (rasaika) that has the aspect

(dkdrah) of great bliss (mahdsukham)."



240



VAJRAVARAHlSADHANA



[§6]



cakxicalatkundalacarukanthi- samullasadrocaka 66 mekhalabhih I abhyullasan 67 mastakakarnakantha- hastadvayagranthikatipradesam I (23)

sphuradgabhastisthagita 68 trilokam {K56V}

akrantadeham 69 navayauvanena I mahasukhakararasaikapurnam varahikam atmatanum vidadhyat I (24)

athatra nabhau hrdaye ca vaktre sirah 70 sikhayam sakaletarange I mantrais tu sadbhih kavacam vidhaya I jnanapravesam samaye vidadhyat I (25)

ami te san mantrah 71 * - om vam, ham yom, hrim mom, hrem hrim, hum hum, phat phad 72 iti. ete

vajravarahiyaminImohinisamcalini 73 samtrasinicandikasvarupah {D41V} raktanllasveta<pita 74 >haritadhumradhusaravarnas ca.

hrdisthacakrasthitavammayukha- prabhutapuspadibhir arcayitva I pravesayet tarn samaye nabhahstham I sarpir yatha sarpisi vari vari 75 I (26)



66 rocaka] codd. (metri causa); roca(ka) Kpc.(mg). Understand °rucaka.

67 abhyullasan] K; -6- san N; sat D (no gap or marked omission in D).

68 sthagita] K; stha -4- N; stha " " D.

69 dehdm] em.; dehan codd.

70 sirah] codd. {metri causa). Understand sirasi (singular locative) or sirahsikhayam (dual locative).

71 mantrah] conj.; mudrah codd.

72 phat phad\ conj. ; phat codd.

73 samcalini] N; sancdlini K; samcdriniD.

74 svetapita] conj. sveta codd.; Cf. suklapita §46; sitapita GSS5 Knv(mg)

75 zw7 tvm] codd. (loose syntax for vari varini).



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 241

(25) And then on this [body], on the navel, heart, mouth, head, crown, and on all the other limbs, he should establish the armor with the six mantras, [and then] introduce the knowl- edge [deity] into the pledge [deity] .

[§6] The six [armor] mantras here are: om vam, ham yom, hrim mom, hrem hrim, hum hum, phat phat. They embody Vajravarahi, Yamini, MohinI, Samcalini, Samtrasini, and Candika** and are col- ored red, blue-black, white, <yellow>, green, [and] smoky-gray.

(26) He should [first] honor [the knowledge deity] with flowers and so on™ that are produced from rays [which themselves issue] from the vam [syllable] on the circle [of the lotus peri- carp] in his heart. [Then] he should cause that [knowledge deity], which is [visualized before him] in the sky, to enter into the pledge [deity], just like ghee into ghee, or water, water.



xx Lady of Night (Yamini), Deluder (Mohini), Agitator (Samcalini), Terrifier

(Samtrasini), and Terrible One (Candika). xxi This is another reference to the traditional offerings. See ch. 3.



242



VAJRAVARAHlSADHANA



[§7]* jnanasattvapravese tu akarsanapravesanabandhanatosanakarah jah hum vam hor iti catvaro mantra™ boddhavyah.



o«77



mantrena sekam dadhato nabhahsthan tathagatams tan 78 vyavalokya samyak I sesabhisekodakabindujatam vairocanam pasya sironivistam 79 I (27)



{N 39 v}

• tatrayam sekamantrah:
  

yatha hi jatamatrena snapitah sarvatathagatah 80 I {K57V}

tatha 'ham snapayisyami suddham divyena varina I (27!)

• "om sarvatathagatabhisekasamayasriye hum" iti.
  

[§8] atrayam upadesah. hrdbijarasmina, astabhir yoginibhir yatha hltyadikam varinetyantam 81 pathantibhir isadavarjitapancamrtabhrta 82 vamakarakapalebhyo* nijajnanamrtavaridharabhir abhisicyamanam mahasukhamayam atmanam vibhavya, sesambunispanna<m> sirasi vairocanam drstva, om sarvatathagatabhiseketyadimantram uccarayed iti.



76

77

78
79

80
81
82



mantra boddhavyah] conj.; mudra boddhavyah K; mantra boddhavyah N,

mantro boddhavyah D. (See Textual Note to §6.)

dadhato nabhahsthan] em.; dadhato nasthdsYLac, D; ~na(bha)sthds K.pc.(mgi)'>

dadhatd na ~ sthds N.

tathagatams tan] conj. Sanderson; tathdgatdn codd.

sironivistam] em.; sironivestim K, N; sironivestim D. Tib. p. 35.4 gtsug tor nyid

du "on the very crown of the head (gtsug tor)"

sarvatathagatah] corr. (hyper.); sarvatathdgatds codd.

varinetyantam] conj.; vdrine codd.

bhrta] conj.; bhuta codd.



[§7l



[§8]



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 243

Know that when the knowledge being enters, there are four mantras [to be uttered], namely, jah hum vam [and] hoh. These attract [the knowledge being], make [it] enter, bind [it in place], and propitiate [it].

(27) Correctly visualize the tathagatas in the sky consecrating [you ] with the mantra. [Then] visualize Vairocana on [your] head [imagining that he has] come forth from the drops of the water remaining from the consecration.

The consecration mantra here is:

(27O "For even as the tathagatas were bathed as soon as they were born, so I will wash [you], purified,™ with heavenly water."

om sarvatathagatdbhisekasamayasriye hum™ 1

In this [rite] there is the following instruction: With [the transfor- mation of] a ray from the [vam] syllable in the heart, he should [first] visualize himself being consecrated by eight yoginis 544 who are reciting [the verse invocation] beginning "For even as..." ending ". . • with [heavenly] water. " [He should visualize them consecrating him] with streams of water, which is the nectar of innate knowl- edge, from the slightly inclined skull bowls full of the five nectar, in [their] left hands, [so that he is] full of great bliss. [Next], havinp- visualized Vairocana on [his] head produced from the remaining liquid, he should recite the mantra beginning " [om] sarvatathagatl bhiseka etc."



xxii "To the glory of the pledge [ofi] consecration by all tathagatas!"



244



VAJRAVARAHlSADHANA



nabhahsthadevlr abhipujayantir 83 varahikam 84 tarn stuvatlr 85 ca viksya I yad vaksyamanakramasadhitam vai plyusam asvadanam asya kuryat I (28)

gatva samastam 86 spharanena kastham krtva ca sarvam jagadarthakrtyam I bije svamurtim 87 visatlh prapasyed

• akhedam evam punar eva 88 kuryat I (29)
  

atha svacittam sthiratam vinetum pasyet susuksmam 89 sphuradamsurekham nabhisthacandrarkasamudgavarti- 90 susuksmavamnadasamucchritaya 91 I (30)



{D 4 2r}



atropadesakramalabdha 92 margo vibhavanlyo 'nupalambhayogah I sattvarthasampadanahetubhuta- prabhasvaratvapratilambhahetoh I (31)



{K57W



83



84

85
86

87



89
90



9i



92



nabhahsthadevlr abhipujayantir] conj.; nabhasthadevibhir abhipujayanti(bhi)

Kpc.(del); nabhasthadevibhir abhipujayantih N; nabhasthadevibhir abhipiija-

yantibhi D.

varahikam] K, N; varahikam D.

stuvatir] em.; stuvaticodd.

samastam] em.; samastam K, N; samasta D.

bije svamurtim] conj.; bijesu murtim codd. (Tib. p. 35.5 has no plural marker on

• bije).
  

akhedam evam punar eva] conj. Sanderson; a khedaparyantam evam punar eva

codd.

pasyet susuksmam] K, N; pasyat susuksmydm D.

nabhisthacandrarkasamudgavarti] conj. Sanderson; nabhisthacandrarkasamud-

bhavarti codd. (Tib. p. 35.6: Ite ba la gnas nyi zla kha sbyar dbus nyid du.

"[being] in the center (dbus nyid du < varti) of the conjoined sun and moon

(kha sbyar < samudgah) at the navel."

susuksmavamnadasamucchritd yd] conj. Sanderson; susuksmavamnddasamuc-

chritddyai codd.; Tib. p. 35.6: bam gi nd da shin tuphra ba las bzhengs pa

"arisen from the very fine ndda of the bam."

labdha] K; lartha N, D.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 245

(28) [Then] having visualized goddesses in the sky worshiping [Vajrajvarahi and praising her, he should perform the tasting of nectar — for which the method of production will be taught below [w. 59-66].

(29) Having pervaded all the limits [of the universe] by emanat- ing [goddesses in mantric form],'™" and having [thereby] accomplished all the needs of sentient beings, he should visu- alize them entering [i.e., assuming] a form according to the seed-syllable [vam]. He should repeat this procedure until he tires.

(30) In order to make his mind firm he should visualize a very fine, brilliant ray of light rising from the subtlest resonance [of the visualized syllable] (nadah), [or from] the syllable vam [itself], 545 which is located in (varti) the enclosed space (samudgah) between the moon and sun at his navel.

(31) In this [yogic practice], he should meditate upon the yoga of nonperception, the path that is obtained through (krama) instruction [from a guru], in order to obtain the state of clear light (prabhdsvarah), which is (bhuta) the cause of fulfilling the aims of all beings.



xxiii A prose explanation of this yogic practice appears below [§9],



246 VAJRAVARAHlSADHANA

vibhavanayam parijatakhedo I mantri japen mantravaram vidhanat I vrksena cintamaninopamokta 93 I svayam jinair yasya dasaksarasya I (32)



{N 4 or}



[§9P



tato 'pi khinno vihared yatheccham 94 I svadevatahamkitim adadhanah I ittham japadhydna^szdabhiyogat sanmasatah siddhim upaiti yogi I (33)

yo 'naratam 96 bhavayitum na saktah so 'pi prasidhyed yadi tasya samyak I pratyusamadhyahnadinavasana- samdhyakhyakale 97 ksanabhavana syat I (34)

tatrayam dasaksaro hrdayamantrah. om vajravairocanlye svaha. asya japavidhir yatha, bhavanayam khede sati jhatiti devatim adhimucya, tannabhicandre raktavamkaram nadam va drstva, mantram uccarayan, tasma<d bijan> nadad va 98 nirgamavayuna devisamuham samspharya, jagadartham krtva ca punar mantram uccarayan t sahaiva mala t sutrakarsananyayena pravesavayuna tasminn eva bije nade va pravesayen mantri. 99 {D42V} evam punah kuryad yavat khedo bhavatlti. {K58r}



93 opamoktd] K; opamoksdN, D.

94 eccham] em.; ecchdm codd.

95 ittham japadhyana-] conj.; itthem jape dhyanaK.; ittham japed dhydnaN; ithe jape dhyana D (Tib. p. 36.1: sngags dang bsam gtan "mantra and meditation.")

96 yo naratam] conj. Isaacson (Tib. p. 36.1: rgyun du); maunaratam codd. 9 7 samdhyakhyakale] co n j . ; samdhyakhyakala codd .

98 tasmad bijan nadad va] conj. Sanderson; tasman ndddn codd.

99 mantri] em.; mantra codd.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



247



(32) When he has grown tired in the meditation, the mantrin should utter, according to the rules, the best of mantras, the ten-syllabled [heart mantra of Vajravarahi, §9], which has been compared (upamoktd) by the Buddha himself with the [wishing] tree [or] wish-fulfilling jewel.

(33) When he is tired of that, too, he may [end the meditation and] dwell as he wishes, providing that he preserves the [con- viction of his] identity (aba mkrtib) with his chosen (sva) deity. In this way, through constant practice of mantra recitation and meditation, the yogin attains siddhi after six months.

(34) Even one who is not able to practice (bhdvayitum) continu- ously may attain success if he performs a short meditation (ksanabhdvand)™" in the correct [way] at dawn, midday, and the close of day, [that is,] at the times called the "junctures."

[§9] In this [meditation], the ten-syllabled heart mantra is:

om vajravairocaniye svdbd

The procedure for its utterance is as follows:™ When [the practi- tioner] becomes tired in the meditation, he should immediately be convinced of [himself as] the deity, [and then, on the basis of this conviction], he should see on the moon [disc] on his navel a red vam syllable, or the [even more subtle] ndda. Uttering the mantra [as given], he should emanate the multitude of goddesses from that seed-syllable, or from the ndda, with his outgoing breath. Once (ca) he has fulfilled (krtvd) the welfare of [all beings in] the world [through them], the mantrin, once more uttering the mantra, should make [the goddesses] enter into that very seed-syllable or ndda [on his navel] with his incoming breath t • • • t in the way that



xxiv This "short meditation" is probably a reference to the first meditation stage, com- prising the self-generation of Vajravarahi alone, without her mandala. xxv This rite was described in v. 29 above.



248 VAJRAVARAHlSADHANA

tatparijaramahparibhavitanam vayvagiiivariksitimandalanam I svabijajanam uparisthamerau rathaiva devlm api 100 bhavayed va I (35)



<



iti> prathamo bhavanakramah. 1.



^akinv^dicaturdevls 101 catuskarotamadhyagah I ♦ciklsvldvastadevlr va, adhikatvena 102 bhavayet I (36)

vac vl cakratrayasina 103 pracandadivibhavanam I scmadvrikam sudhih kuryad iti syat purnamandalam I (37) ■N\tcv : -

[§10 : ~:.ar.Iiuxhacakrastham vajravarahlm

?L- o~ara:?a5cimadaksinadiksthitabhir iJ^^rJil^.lkhandaroharupinibhih sahitam bhavayitum icchan-



ilkir.vadicarurdevis catuskarotamadhyaga" iti [v. 36ab]



100 .Jc" • „-_-_-* j;r_ .: .:/:>; ' r/°N; devV vi°K, D (hypo. codd.). The Tibetan for :~__ • J.— :c-i.jLi "meditate on the goddesses as before, in the order as before."

r ",r ^ r-.-. r : rzr:*: ./;.; mo mams ni sngon bzhin rim pas bsgom)

101 cur.--', trr..: .zni zc*zd. ct. below where K reads ° devirhwx. N & D retain the

z~zsz :- : I ^.ir:K.ir.ena\ conj. (syncop.); adyastadevi bodhisattvena K;

~j^ " : : r-:<i.rissrn.-e?ia N; ddi astadevi bodhisattvena D. Cf. §13. Tib. p.

. '.- tv r.'™~. -z r: ?aong sogs brgyad I de kar lhag ma V bdag nyid ("nature of

ii:::..* i.e.. iddition-ness > adhikatvena) dam.

r%n JL-f--^ jc~.: czkratraya(m?)sinaYj, cakratrayamsina N , D.

\:s~: r-zrt IrS conj.; iccha v (ti)r aha. K(del); icchati tad aha. N; icchatir

? C: §:;, §:c- cv Textual Note.



102


uz.r.'ct.




dcVi*.

<?. -

the


103


cj.t?y


104





THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 249

(nydyena) one draws in a thread.™ 1 He should repeat [the medita- tion] in this way until he becomes tired.

(35) Alternatively,™" he should visualize the goddess herself (api) in the same way, [but she is to be generated instead] upon Mount Meru, which is situated on top of the [four] elements of wind, fire, water, and earth; [these are] to be visualized inside the [vajra] zone, produced from their own seed-syllables [one on top of the other] .

Here ends meditation stage 1.



[Meditation Stage 2]

Next: 546

(36) He should visualize the four goddesses starting with Dakini in between four skull bowls, or, in addition, eight goddesses beginning with Kakasya.

(37) Alternatively, the knowledgeable [practitioner] should do the extended meditation [with the twenty-four goddesses] , start- ing with Pracanda seated on the three circles [of body, speech, and mind] . This would be the complete mandala.*™ 1 '

[§10] For someone wishing (icchantam) to visualize Vajravarahi on the circle of great bliss, accompanied by Dakini, Lama, Khandaroha, and Rupini in the cardinal directions to the east, north, west, and south [respectively], [scripture] says: "the four goddesses starting with Dakini in between four skull bowls." [v. 36ab]



xxvi GSS5 describes this as like drawing in the thread of a rosary. For a similar but

extended rite in this Sadhana, see p. 177 above, xxvii This verse gives an alternative location for the generation of Vajravarahi from that

described above in v. 16. The syllables for the visualization of the elements are:

yam, ram., vam, and lam.
xxviii Prescriptions for the complete mandala are given in meditation stage 4 below.



250 VAJRAVARAHlSADHANA

tad uktam -

• dakinl ca tatha lama khandaroha tu rupinl I
  

nyaset padmadisah sthane sarvasiddhipradayikah I (38)

krsna syama rakta gaura ekavaktras caturbhujah I

vame khatvangakapalah 105 daksine 106 damarukartrikah I (39)

trinetra muktakesas ca 107 alldhasanasamsthitah 108 I damstrakaralavadanah pancamudravibhusitah I (40) {K58V}

[§n] Vidiksu <caiva> catvaro bodhicittakarotakah 109 I iti.

dakinyadicatustayam 110 ratnasambhavamudritam boddhavyam.

[§12] tatra bhagavatya hrdayamantra uktah.* {D43r} upahrdayamantro yatha -

om sarvabuddhadakinlye vajravarnanlye hum hum 111 phat svaha.

astapadamantras 112 tu yatha —

om namo bhagavati vajravarahi vam 113 hum hum 114 phat.



ion vam^-^kapalah} em. (unmetric); vame-* kapalam K; pasakhatvarigakapaiamN,

D.
100 daksine] codd. (hyper.). A conjectural emendation to dakse is possible, but

unnecessary in this type of Sanskrit, probably considered scriptural. 10- muktakesas ca] em.; muktakesa K; raktakesaN, D. 10S sthinlh] corr.; it^z'/tf codd. 100 karotakah] conj.; ^rc^codd. (Tib. p. 36.7: phyogs dang bral ba'i mthams bzhi

na I byang chub sems gang thodpa bzhi I zhespa 0.)

110 catustayam] em.; catustay dm codd.

n hum hum] codd. The Tibetan text (p. 37.1) reads: hum hum.

111 mantras] em.; mantras codd. 1:3 vam] codd., omit Tib.

-t hum hum] codd. The Tibetan text for each mantra of the eight-part mantra reads: hum hum.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



251



So it is said [in scripture] :

(38) Dakini, Lama, Khandaroha, and Rupini: he should place [these goddesses], who grant all siddhis, in position (sthdne) in the cardinal directions of the lotus.

(39) They are black, dark- [green], red, and white (gaurd), they have one face and four arms; in [their] left [hands] they have a skull staff and skull, in their right they have a damaru and chopper.

(40) They have three eyes [and] loose hair, stand in the warrior stance, have fanged, grimacing faces, [and] are adorned with the five signs of observance {mudrds).

[§11] [Scripture also says:] "In the intermediate directions there are four skull bowls [full] of semen."

The fourfold group [of goddesses] starting with Dakini are to be understood as sealed (mudrita-) by Ratnasambhava [on their crowns] .

[§12] In this [fivefold mandala], the [ten-syllabled] heart mantra of the [central] goddess has already been taught [§9]. The auxiliary heart mantra is as follows:

om sarvabuddhaddkiniye vajravarnaniye hum hum phat svdhd.

As for the mantra in eight parts, 547 [it is] as follows:'™"



i) om namo bhagavati vajravarahi vam hum hum phat.



548



xxix (The numbering is mine.) (i) Homage! Blessed Vajravarahi! (ii) Noble invinci- ble! Mother of the three worlds! O goddess of great knowledge! (iii) You who are



252



VAJRAVARAHlSADHANA



om nama aryaparajite trailokyamate 115 mahavidyesvari hum hum

phat.
om namah sarvabhutabhayavahe mahavajre hum hum phat. om namo vajrasane 116 ajite 'parajite vasamkari 117 netrabhramini

hum hum phat.
om namah sosani 118 rosani krodhani karalini 119 hum hum phat. om namah samtrasani 120 marani suprabhedani 121 parajaye 122 hum

hum phat. {N4.11:}
om namo jaye vijaye 123 jambhani <stambhani> mohani 124 hum

hum phat.
om namo 125 vajravarahi mahayogini kamesvari khage 126 hum

hum phat.

dakinyadinam mantra yatha. om dakinrye hum hum 127 phat. om lame hum hum phat. om khandarohe hum hum phat. {K59r} om rupiniye hum hum phat.



it



iti dvitiyo 128 bhavanakramah. 2.



115 trailokyamate] codd.; understand trailokyamdtar.

116 vajrasane] GSS5; vaj rdsani GSS11 codd., Finot.

117 vasamkari] GSS11 codd.; vasyamkari GSS5, Finot.

118 sosani] K; sosani N; sokhaniD.

119 krodhani karalini] GSS11 codd., Finot; krodhakarale GSS5.

120 samtrdsam] GSS5; samtrasani K, N; samtrasani D; trasani Finot.

121 suprabhedani] GSSn codd.; prabhedani GSS5, Finot.

122 parajaye] codd.; apardjayeT'ib.

123 jaye vijaye] conj. (§32); 'parajaye vijaye GSSn coAAr, jayavijayeGSSy, vijaye Finot, Tib.

124 jambhani <stambhani> mohani] §32, Tib.; jambhani mohani codd.

125 namo] N, GSS5, Finot; omitted K, D.

126 mahayogini kamesvari khage] K, N, Finot; mahdyogesvari kha(r)ge D(del). (GSS5: vajravarahi mahdyogesvari khage - eyeskip between mahayogini & kamesvari)}

127 hum hum] codd. The Tibetan text for all four mantras reads: hum hum.

128 dvitiyo] em.; dvitiya codd.







THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 253

ii) om nama drydpardjite trailokyamdte mahdvidyesvari hum hum

phat.
iii) om namah sarvabhiitabhaydvahe mahdvajre hum hum phat. iv) om namo vajrdsane ajite pardjite vasamkari netrabhrdmini

hum hum phat.
v) om namah sosani rosani krodhani kardlini hum hum phat. vi) om namah samtrdsani mdrani suprabhedani pardjaye hum hum

phat.
vii) om namo jay e vij aye jamb hani stambhani mohani hum hum

phat.
viii) om namo vajravdrdhi mahdyogini kdmesvari khage hum hum

phat.

The mantras for Dakini etc. [are] :

om ddkinlye hum hum phat
om lame hum hum phat
om khandarohe hum hum phat om rupinlye hum hum phat

Here ends meditation stage 2.



terrifying to all creatures! You with a mighty vajra! (iv) Vajra-throned! Invinci- ble! Invincible to others! Subduer! Eye-roller! (Lit: "you who cause [your own] eyes to roll!") (v) Withering one! Angry one! Enraged one! Gaping one! (vi) Ter- rifying one! Exterminator! Finely piercing one! Invincible! (vii) Victorious one! Very victorious! Crushing one! Paralyzing one! Bewildering one! (viii) Vajravarahi! Mighty yoginl! Mistress of love! Sky-goer!



254 VAJRAVARAHlSADHANA

[§13] idanim eva mahasukhacakram 129 purvottara 130 pascimadaksina- dvaresv avasthitabhih kakasyolukasyasvanasya 131 sukarasyabhir 132 agneyanairrtyavayavyaisanakonasthitabhir yamadadhiyamadutlyamadamstrinlyamamathanlbhis 133 ca sahitam 134 bhavayitum icchantam 135 praty aha -

"kakasyadyastadevir 136 va, adhikatvena bhavayed" 137 iti. [36cd]

[§14] kakasyadayas 138 catasrah sva 139 namamukhah. {D43V}

yamadadhyadayas 140 tu manusyamukha 141 dvivarnas ca. eta astav amoghasiddhimudritah, dakinyadisamas ca savasanatvam param asam visesah. tad uktam 142 -

• yatha dakinijanasya tatha kakasyadi tu bhedatah I vidiksthas 143 <tu> tatha devyo, dvau hi rupau 144 manoharau I pretasana mahaghorah 145 sattvarthakaranodyatah 146 I (41) iti.
  

129 mahdsukhacakra] em.; mahasukhacakram codd.

130 purvottara] D; purvottara ca K; puvettira ca N.

131 s'vdnd] K, N; svdndD.

132 silkard] K, D; sukardN.

133 mathanibhis] corn; mathanlcabhis'K, N; mathanicebhis'D.

134 sahitdm] K, N; sahitd D.

135 icchantam] em.; iccham codd. (see Textual Note to §10.)

136 devlr] K; devlN, D.

137 kakasyadyastadevir va, adhikatvena bhdvayed\ conj. (syncop.); kdkdsyddyas adevir va dtrddhikatvena vibhdv ayed codd. (See v. 36cd.)

138 ddayas] D; dsyddyas'Kpc, N; dsyd(dya)s'K(mgi).

139 sva] K, D; svasvaN.

140 dddhyddayas] em.; dddhyddiK, dddhyddisN, D.

141 mukhd] em.; mukhau codd.

142 tad uktam] Kpc.(mg2), N; tad ukta D; omit Kac.

143 sthds] D; sthdK, N.

144 rupau] K; " pau N; dvayau D.

145 ghordh] corr.; ghord codd.

146 odyatdh] corr.; odyatd codd.




THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 255

[Meditation Stage 3]

[§13] Now for someone wishing (icchantam) to visualize the circle of great bliss [namely, Vajravarahl], along with [the goddesses] Kakasya, Ulukasya, Svanasya, [and] Sukarasya installed at the gates to the east, north, west, [and] south [i.e., in the cardinal points, counterclockwise], and Yamadadhi, Yamaduti, YamadamstrinI, [and] YamamathanI placed in the corners to the southeast, south- west, northwest, [and] northeast [i.e., in the intermediate points, clockwise], [scripture] says:

Or, in addition, he should visualize eight goddesses begin- ning with Kakasya. [v. 36cd]

[§14] The four [goddesses] Kakasya (Crow-face), plus [Ulukasya (Owl- face), Svanasya (Dog-face), and Sukarasya (Hog-face)] have the faces of their names, but [the four goddesses] Yamadadhi (Death's Tooth), plus [Yamaduti (Death's Messenger), Yamadamstrini (Death's Fang), and YamamathanI (Death's Destruction)] have human faces and are of two colors. [All] eight are sealed with Amoghasiddhi [on their crowns] . They are similar to [the four goddesses on the petals] starting with Dakini, and have the further (param) distinguishing feature of corpse thrones. It is taught [in scripture]:

(41) Just as of Dakini and her crew, so, with some differences, [the four goddesses] Kakasya, etc., and the [four] goddesses of the intermediate directions with their charming two colors. ^ [All eight] have corpse thrones. They are very fearsome [and are] intent upon accomplishing the welfare of [all] beings.



xxx These four goddesses are bitonal as they occupy the corners of the mandala where the colors of the four directions meet.



1

II



256 VAJRAVARAHISADHANA

[§15] asam mantra yatha. om kakasye hum hum 147 phat. om ulukasye hum hum phat. om svanasye hum hum phat. om sukarasye hum hum phat. {N41V} om yamadadhiye 148 hum hum phat. {K59V} om yamadutiye hum hum phat. om yamadamstrinlye hum hum phat. om yamamathaniye hum hum phat.

iti trtiyo bhavanakramah. 3.



[§16] adhuna sampurnam eva devicakram bhavayitum 149 icchantam v praty aha -

"yad vetyadi" [v. 37]

cakratrayasabdena cittacakram vakcakram kayacakram ucyate.



147 hum hum) codd. The Tibetan text for all four mantras reads: hum hum.

148 dddhiye) K; dddiye N, D.

149 bhavayitum] K, N; bhavanatum D.

150 icchantam] em.; iccham codd. (cf. Textual Note on §10.)



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 257

[§15] Their mantras are as follows:

[gate goddesses] om kdkdsye hum hum phat; om ulukdsye hum hum phat; om svdndsye hum hum phat; om sukardsye hum hum phat

[corner goddesses] om yamadddhiye hum hum phat; om yamadutiye hum hum phat; om yamadamstriniye hum hum phat; om yamamathaniye hum hum phat

Here ends meditation stage 3.



[Meditation Stage 4]

[§16] Now for someone wishing (icchantam) to visualize the circle of deities actually complete, [scripture] says [the verse beginning]:

Alternatively. ..etc. [v. 37]

By the expression "the three circles" [in v. 37] is meant the mind circle, the speech circle, [and] the body circle.



258



VAJRAVARAH'ISADHANA



[§17] tatrakas'e meror astadiksu 151 cittacakram astaram nllavarnam

nlla 152 vajravaliparivrtam, 133 tasya purvottarapascimadaksinaresu

pulllramalayaj alandhara-oddiyanarbudakhyesu yathakramam

pracandacandaksiprabhavatl 154 mahanasadhyeyah,

agneyanairtyavayavyais'anaresu 155

godavariramesVaradevlkommalavakhyesuvIramatikharvarilankes-

varidrumacchayah. {D44r} iti cittacakram. khecarlnam

samgrahah.

[§18] tatra bhumivalaye meror astadiksu vakcakram astaram raktam raktapadmavaliparivrtam. tasya purvottarapascimadaksinaresu kamarupa-odra^^ris'akunikos'alakhyesu

airavatimahabhairava 157 vayuvegasurabhaksyo 158 bhavyah, {K6or} agneyanairrtyavayavyais'anaresu kalingalampakakancihimalayasamj fiakesu syamadevisubhadrahayakarnakhagananah. 159 iti vakcakram. 160



bhucarinam 161 samgr



ahah.



151

152

153



154

i55
156

i57
158

i59
160

161



diksu] N; diksuh K, D.

nila] N; nilam K, D.

vajrdvaliparivrtam] codd.; emendation to nilavajravalim parivrtam is perhaps

desirable, but the phrase re-appears below (§18: padmavaliparivrtam; §19:

suklacakrdvallparivrtarri) .

prabhdvatl] K, N; prabhamati D.

aisandresu] conj.; aisdnesu K, N; esdnesu D.

odra] Kpc, o(dra) K(mg); - mdlava - N; omit D.

bhairavd] K, D; bhairavlN.

surdbhaksyo] conj.; surdbhaksiK, D; surd- bhaksiN.

khagdnandh.] corr.; khagdnand codd.

vakcakram) em.; vdkcakra codd.

bhucarinam) K; bhucardndm N, D.






,s-



•Wf



%



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 259

[§17] Of those [three circles of the full mandala], the mind circle is in space in the eight directions of Meru, 549 with eight "sectors" (dram)™ blue in color [and] surrounded by a ring of blue vajras. On its sectors in the east, north, west, [and] south, in those [sites] called Pulliramalaya, Jalandhara, Oddiyana, [and] Arbuda respec- tively [i.e., installed counterclockwise] are to be imagined [the god- desses] Pracanda, Candaksl, Prabhavati, [and] Mahanasa. 50001 On the sectors in the southeast, southwest, northwest, [and] northeast [i.e., installed clockwise], in those [sites] called Godavarl, RamesVara, Devikota, [and] Malava are [the goddesses] Viramati, Kharvari, Lankesvari, [and] Drumacchaya. xxxul This is the mind circle, the con- gregation of sky-dwelling [goddesses] .

[§18] The speech circle is on the circumference of the earth in the eight directions of Meru, with eight sectors, red, surrounded by a ring of red lotuses. On its sectors in the east, north, west, [and] south, in those [sites] called Kamarupa, Odra, Tris'akuni, [and] Kos'ala are to be visualized [the goddesses] Airavati, Mahabhairava, Vayuvega, [and] Surabhaksi.**™ On the sectors in the southeast, southwest, northwest, [and] northeast, in those [sites] designated Kalinga, Lampaka, Kanci, [and] Himalaya are [the goddesses] Syamadevi, Subhadra, Hayakarna, [and] Khaganana.^ This is the speech circle, the congregation of earth-dwelling [goddesses] .



xxxi Literally, dram means "corner," or perhaps "spoke" if the circle (cakram) is thought of as a wheel.

xxxii Terrible One (Pracanda), Fierce-eye (Candaksl), One Who Has Light (Prabha- vati), and Great-nose (Mahanasa).

xxxiii Heroic One (Viramati), Dwarfish One (Kharvari), Queen of Lanka (Lankesvari), and Tree Shade (Drumacchaya). {Lankesvari may mean "Queen of Demons," as Lahkesvara is another name of the demon king, Ravana. The Queen of Lanka is associated with cremation-ground-dwelling rdksasas and meat-eating dakinls whose main dwelling was Lanka.)

xxxiv Elephant Queen? (Airavati; feminine of Indra's elephant), Greatly Terrible (Mahabhairava), Wind Turbulence (Vayuvega), and Wine Drinker (Surabhaksl).

xxxv Blue Queen (Syamadevi, Tib.: sngo bsangs, pale blue), Good Lady (Subhadra), Horse-ears (Hayakarna), and Bird-face (Khaganana).



1



z6o



VAJRAVARAHlSADHANA



[§19] tato bhumitale samudravalaye kayacakram astaram suklam sukla- cakravaliparivrtam. {N42r} tasya purvottarapascimadaksinaresu pretapurlgrhadevatasaurastrasuvarnadvipakhyesu cakravegakhandarohasaundinicakravarminyo dhyeyah, agneyanairrtyavayavyaisanaresu nagarasindhumarukulatakhyesu

suviramahabalacakravartinimahavlryah. 163 iti kayacakram. patalavasinlnam samgrahah.



164



[§20] tatra cittavakkayacakrastha devyo 'nukramat krsna raktah sukla aksobhyamitabhavairocanamudritas ca, sarvah 165 pracandadayo devya ekavaktras caturbhujah vame khatvangakapaladharah daksine kartridamarudharas trinetra muktakesa nagnah panca- mudravibhusitas ca kanthavalambinarasiromala alldhapadas ca.

{K6ov} {D44V)



[§21] tatah patalatale 'gnivayuvalayamadhye meror astadiksu astasu smasanesu kakasyadayo bhavyah. sarvasam eva vajravarahyadinam lalate vajramala.



166



162 vdyavyais] K; vdyuvyaisN; vdyuvyesD.

163 mabdvirydk] corr.; mahdviryd codd.

164 kayacakram] em.; kdyacakra codd.

165 sarvah] em.; sarvd codd.

166 astasu] Tib. (p. 39.7: brgyadrnams la); su codd.




THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 261

[§19] Then (tato), on the surface of the earth encircled by the oceans, is the body circle, with eight sectors, white, surrounded by a ring of white wheels (cakras). On its sectors in the east, north, west, [and] south, in the [sites] Pretapuri, Grhadevata, 550 Saurastra, [and] Suvarnadvipa, are to be imagined [the goddesses] Cakravega, Khandaroha, Saundini, [and] Cakravarmini. xxxvi On the sectors in the southeast, southwest, northwest, [and] northeast, in those [sites] called Nagara, Sindhu, Maru, [and] Kulata 551 are [the goddesses] Suvira, Mahabala, Cakravartini, [and] Mahavlrya. 500 "" 1 This is the body circle, the congregation of [goddesses] abiding in the under- world (pdtdlam).

[§20] In that [mandala] the goddesses placed in the mind circle, speech circle, and body circle are [colored] respectively, black,**™" red, [and] white, and are sealed with Aksobhya, Amitabha, and Vairo- cana [on their crowns] . All [twenty-four] goddesses beginning with Pracanda have one face [and] four arms. In their [two] left [hands] they hold a skull staff and a skull bowl; in their [two] right [hands] they hold a chopper and a damaru. They have three eyes, loose hair, they are naked, and are adorned with the five signs of obser- vance (mudrds). They have garlands of human heads hanging around their necks and are in the warrior stance.

[§21] Then, on the surface of the underworlds within rings of fire and wind, in the eight directions of Meru, in the eight cremation grounds, are to be visualized [the goddesses of the outer mandala] starting with Kakasya. 552

All of the [thirty-seven goddesses of the mandala], from Vajravarahl on, have a garland of vajras on their foreheads.



xxxvi Discus Speed (Cakravega), Khandaroha (literally, "sprouting in bits," also the name of a goddess of the cardinal petals), Wine-seller's Wife (Saundini, Tib. "wine-seller" chang 'tshongma), Armored with Cakras (Cakravarmini).

xxxvii Great Warrioress (Suvira), Mightily Strong (Mahabala), One Who Rules with the Wheel (Cakravartini, Tib. 'khor los sgyur ma), Mighty Energy (Mahavirya).

xxxviii For black (krsna), the Tibetan reads "blue" (sngon mo).



262 VAJRAVARAHlSADHANA

[§22] *atha -

devatahamkara^/;^ 167 sarvajnataptaye tatha devatayogato yojya bodhipaksikadharmah. ete punar dharmah saptatrimsat.

[§23]* tatra caturviparyasanam sucisukhanityatmanam pratipaksataya catvary anusmrtyupasthanani 168 * bhavanti. tad yatha kayanusmrtyupasthanam dakini, {N42V} vedananusmrtyu- pasthanam lama, dharmanusmrtyupasthanam khandaroha, cittanusmrtyupasthanam rupini.

grhitagrahi 169 jnanam smrtih smaranam, tasya upasthanam upasthdpakam,™ bahulavacanat antarbhavitanyarthat 171 kartari lyut. 172 tat punah purvanubhutasyopasthapakatvad 1 ' ^/??^^ < g■w«^*vismaranap^atipaksabhutam. ,



173

JdXVctLVcHJ.

174



bhutendriyasamghatah kayah, sukhadyanubhavo 175 vedana, bhutakotir dharmah, pratibhasamatram 176 cittam. {K6ir} tesam mayopamatvenanusmaranam, 177 tasyopasthapakam kayadyanusmrtyupasthanam.



167 labbdya] conj. (Tib. p. 40.1: translates dgodpa "to stabilize," i.e., as if reading

• sthdpaniya); ndsdya codd.; cf. GSS5 K26V4: devatdhamkdratydgdya.
  

168 catvary a<nu>smrtyupasthdndni or catvdri smrtyupasthdndni\ conj.; catvdryasmrtyupasthdndni codd.

169 grbitagrdhi] em.; grhitagrahi codd.

170 upasthdpakam] conj.; upasthanamyakam K, D; upasthdnayakam N .

171 nyarthdt] K, N; nyamarksdtD.

172 kartari lyut.] K, N; kartdnyutd D.

173 purvdnubhutasyopasthdpak<atvdd>\ conj. Sanderson purvddbhiitdrthasyopasthdyak- codd.

174 bhutam] em.; bhiitah codd.

175 anubhavo] K, D; anubhaiyeN.

176 mdtram\ em.; mdtra codd.

177 smaranam] em.; smaram codd.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



263



►\-7*£



[§22] [The thirty-seven factors that favor enlightenment (bodhipdksika- dharmas) §§22-29] 553
Next, in order to establish the ego identity (ahamkdrah) of the deity, also to gain omniscience, the factors that favor enlightenment (bod- hipdksikadharmas) are to be applied through [the practice of] deity yoga. Moreover, these factors are thirty-seven [in number].



[§23] [The four bringers of awareness (anu-smrtyupasthdnas)] 554

[The first] of these are the bringers of awareness (anusmrtyu- pasthdnas) because they oppose the four inverted views (viparydsas) , [namely: that what is not pure, pleasurable, permanent, or possess- ing a self really is] pure, pleasurable, permanent, [and possessing] a self. 555 They are four [in number and are embodied in the mandala] as follows: (i) bringing awareness of the body, as Dakinl, (ii) bring- ing awareness of feelings, Lama, (iii) bringing awareness of reality, Khandaroha, and (iv) bringing awareness of mind, Rupini.

"Awareness" (smrtih > smaranam) means a cognition (jndnam) that grasps what has already been grasped [on a previous occasion] . [The compound smrtyupasthdnam means] "the upasthdnam of this awareness" [where] upasthdnam means "that which brings" (upasthdnam > upasthdpakam). The term bahula "in diverse cir- cumstances" (in Panini 3. 3. 113) allows this suffix lyut[> -ana] to be added in the sense of the agent to this root ("to come forth") in a causative sense ("that which causes to come forth") without that causativity (ni) being explicit in the form itself [i.e., upasthdnam rather than upasthdpanam] . Because it brings back (punah. . . upasthdpakatvdd) what has been previously experienced, it is the antidote to forgetting qualities of oneself (? dtmagund) [such as body, feelings, reality, or mind]



556



"Body" (kdyah) is a conglomeration of elements and senses. "Feel- ing" (vedand) is the experience of pleasure and so forth. "Reality" (dharmah) is [in the sense of] highest reality. "Mind" (cittam) is mere appearance (pratibhdsah). [In compound], the bringers of awareness of body, [feeling, reality, and mind] indicate a genitive relationship, [namely] the bringing (upasthdpaka) of that [aware- ness], i.e., recollection (anusmaranam) that (-tvena) those [four "qualities of oneself," body, etc.] are [all] like an illusion. 557



264 VAJRAVARAHlSADHANA

[§24] catvara 178 rddhipadah. tatra chandarddhipadah pracanda, vlryard- dhipadas 179 candaksl, mimamsarddhipadah 180 prabhavatl, 181 citta- rddhipado mahanasa, iti. {D45r}

saddharmavisaye srutadyabhilasas 182 chandah.*

rddhih samrddhih 183 cittasya samadhanam, tasyah pada angani 184 rddhipadah. chandas casau rddhipadas ceti vigrhya samasah. evam vlryarddhipadadisu ca boddhavyam. 185 "rty aka," 186 iti prakrtibhavad gunabhavah. kusale karmani cetaso 'bhyutsaho viryam, 187 mlmamsatyantavicarana, cittam jiianam.

[§25] indati jnanam 188 yasmin sati tad indriyam caksuradi. 189

tatsadharmyat sraddhadikam apindriyam 190 ucyate. tat panca- vidham, tad yatha sraddhendriyam vlramati, {N43r} viryen- driyam kharvari, smrtindriyam lankesvari, samadhindriyam drumacchaya, prajnendriyam airavati.



178 catvara] D; catvdriK, N.

179 pddas] N, D; pddds'K.

180 pddah] corr.; pada codd.

181 prabhavatl— * rddhipadas ceti\ Kmgi, N, D.

182 srutddyabhi] K, N; srutd abhiD.

183 rddhih samrddhih] conj.; rddhi {sal nga?) rddhih. K; rddhipadah N, D.

184 pddd angdni\ K; pdddngani N, D.

185 boddhavyam] K; bodhyangahN, D.

186 rty aka] Kpc; rtha- ty aka Kac; rthaty aka N, D.

187 sdho viryam] K; sdhd virya N, D.

188 indati jnanam] K; omit N, D.

189 caksuradi] K; caksurddikam D, N.

190 apindriyam] corr.; api indriyam codd.




THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 265



1558



[§24] [The four means of mind concentration (rddhipddas)]'

[Then] there are the four means of mind concentration {rddhi- pddas). Of these, (i) desire (chanda rddhipddah) is Pracanda, (ii) energy (virya rddhipddah), Candaksl, (iii) investigation (mimdmsd rddhipddah), Prabhavati, and (iv) mind (citta rddhipddah), Mahanasa.

[In the compound chanda rddhipddah], chandas (desire) means longing for [the development of wisdom by] learning, [reflection], and [meditation] 559 in the sphere of Buddhist (sad) teaching.

[In the compound rddhi pdddh], rddhi means samrddhi, i.e., con- centration of the mind. 560 The rddhipddds are the means (pdddh > arigdni) 561 of [accomplishing] rddhi [so understood]. The com- pound chanda rddhipdda should be analyzed (vigrhya) as a karma- dhdraya compound [meaning, the means of mind concentration that is desire]. The terms virya rddhipddah, etc., should be under- stood in the same way. [The application of the grammatical rule means] there is no substitution of the guna vowel [ar in the place of r- (in rddhih)] because [it] remains in its natural state by the rule rtyakah (Panini 6.1. 128). 562 [In compound with rddhipddah], viryam (energy) means mental energy with regard to [the ten] skillful actions, mimdmsd (investigation) means the deepest cogitation, cit- tam (mind) means cognition (jndnam).

[§25] [The five "empowering" faculties (indriyas)] 563

The eyes and other [sense organs] are called indriya because when they are present [and active], cognition is empowered (Vind). Because they share this character, the term indriya is also used for faith, [energy, awareness, meditation], and [wisdom]. This ["empowerer" (indriyam)] is of five kinds: (i) faith (sraddhen- driyam), which is Vlramati, (ii) energy (viryendriyam), Kharvari, (iii) awareness (smrtindriyam), Lankesvari, (iv) meditation (samddhindriyam), Drumacchaya, and (v) wisdom (prajnendriyam), Airavati.



2 66 VAJRAVARAHISADHANA

tatra viryam uktam. 191 smrtis cokta. sraddha tu laukikalokottarayam samyagdrstau karmaphalopabhoge ca citta- prasadah. samadhis 192 cittaikagrata. heyopadeyasyavadharika buddhih prajna.

sraddhendriyasritan 193 dharman yad udanayaty 194 upadhaukayati tad viryendriyam. {K6iv}

vlryopadhaukitasyarthasyasampramosah smrtih. smrtindriyam asritan dharman yad abhimukhi 195 karoti tat samadhindriyam. samadhindriyenaikagrikrtan 196 dharman yad vidhyati tat prajnen- driyam.

[§26] indriyany eva taratamadibhedena prakarsapraptani balany ucyante. tad yatha sraddhabalam mahabhairava, viryabalam vayuvega, smrtibalam surabhaksi, samadhibalam syamadevi, prajfiabalam subhadra ceti. {D45V)

[§27] *samyag bodher angani karanani sambodhyangani. 197 tani punah sapta, tad yatha samadhisambodhyangam hayakarna, vlryasambodhyangam khaganana, pritisambodhyangam cakravega, prasrabdhisambodhyangam khandaroha, dharmapra- vicayasambodhyangam saundini, smrtisam 198 bodhyangam cakravarmini, 199 upeksa sambodhyangam suvireti.



191 viryam uktam] K; viryendriyam ukta - N, virya(m?) indriyam ukta D.

192 samadhis] K; samddhiN, D.

193 s'raddhendriyds'ritdn] conj. Sanderson; s'raddhepayam codd.; cf. Asu ch. 16, p. 32 (cited in full in n. 565 to Translation).

194 yad udanayaty upa\ conj.; yady udanayaty upa codd.

195 abhimukbi] em.; abhimukhi codd.

196 tat—>aikd] Kpc; ta v t (samadhindriyam) sam- K(mg2); tat samadhindriyer aikd N, D.

197 samyag bodher angani karanani sambodhyangani] conj. Sanderson; sambodhye kdrana samyaksambodher angani karanani bodhyangdni K, N; sabodhyemga kdrand-^ bodhyangdni D.

198 sam] N, D; sa K.

199 cakravarmini] K, N; cakravarmani D .



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 267

Of these, "energy" has [already] been discussed [under virya rddhipddah, §24]; "awareness" too has been discussed [under smrtyupasthdnam, §23]. As for "faith," this is clarity of mind (citta- prasddah) in respect of the correct view in its worldly and supra- mundane [sense] , and in respect of the experience of the fruits of one's actions. "Meditation" is one-pointedness of mind. "Wisdom" is understanding what is to be abandoned and what is to be taken up. 564

The faculty of energy is that which "presents" (uddnayati > upadhaukayati) those existents (dharmas) that rest on the faculty of faith. Awareness (smrtih) is the nondestruction of things (arthah) [i.e., existents] presented by [the faculty of] energy. The faculty of meditation is that which makes actual those existents that rest on the faculty of awareness. The faculty of wisdom is that which imbues (vidhyati) those existents that have been brought into focus (ekdgrlkrta) through the faculty of meditation.



565



[§26] [The five powers (balas)}

These same faculties, when they have reached their highest degree through gradual intensification, are called the "powers" (balas). %G Accordingly, (i) the power of faith (sraddhdbalam) is Mahabhairava, (ii) the power of energy (viryabalam), Vayuvega, (iii) the power of awareness (smrtibalam), Surabhaksi, (iv) the power of meditation (samddhibalam), Syamadevi, and (v) the power of wisdom (prajridbalam), Subhadra.

[§27] [The seven causes of complete enlightenment (sambodhyarigas)] 567 [The next elements in the list of thirty-seven are] the sambo- dhyarigas, the causes (arigdni > kdrandni) of complete enlighten- ment (sambodhih > samyag bodhih). They are seven [in number] : (i) meditation (samddhisambodhyarigam), which is Hayakarna, (ii) energy (viryasambodhyarigam), Khaganana, (iii) joy (pritisambodh- yarigam), Cakravega, (iv) serenity (prasrabdhisambodhyarigam), Khandaroha, (v) investigation of dharmas (dharmapravicayasam- bodhyarigam), Saundini, (vi) awareness (smrtisambodhyarigam), CakravarminI, and (vii) equanimity (upeksdsambodhyarigam), Suvlra.



268 VAJRAVARAHISADHANA

samadhis' cittaikagrata. 200 sa casau bodhyangam ceti vigrhya samasah. {N43V} evam <virya>sambodhyangadisu 201 boddha- vyam. {K62r} kausidyanavakasam 202 * viryam. manaso dharmai- kagrata pritih. atmatmiyadi 203 vasanocchedat 204 kayavakcittanam kusale karmani 205 saktatvam prasrabdhih. dharmanam nairatmyarupenavadharanam dharmapravicayah. 206

sakalasatt^arthanimitta 207 sambodhipranidhanasrutacintabhavana- der asampramosah smrtih. audasinyacittatopeksa.

[§28] klesavaranasya pratipaksabhutatvad aryani samyagdrstyadiny astangani yasya sa aryastango 208 margah.

jneyavarana 209 prahanabhavanayai mrgyate 'nvisyate, iti margah. asyangani yatha samyagdrstir 210 mahabala, samyaksamkalpas cakravartinl, {D46r} samyagvag mahavirya, samyakkarmantah kakasya, samyagajiva ulukasya, samyagvyayamah svanasya, samyaksmrtih sukarasya, samyaksamadhir bhagavati vajravarahi.

tatra buddhavakye paramagauravam samyagdrstih. prarabdhasya krtyasyaparityagah samyaksamkalpah. sattvarthavisamvadakam 211 vacanam samyagvak. {K62v} dasakusalanatikramena krtyam samyakkarmantah. nyayarjitavittenajivanam 212 samyagajivah. sva- pararthasampannimittam kayavanmanasam karma samyagvyayamah. buddhavacananusmaranam samyaksmrtih. s'rivajravarahirupalambanam samyaksamadhih. {N44r}



200 samadhis cittaikagrata] em.; samadhicittekdgrata K, samddhicitta**ata~N; samadhicitakaya D.

201 <virya>sambodhyangddisu\ conj.; sambodhyangddisu K, N; sambodhyanganidisu D.

202 kausidyanavakasam\ N.; kausidyenavakasam D; kosidyavakasam K.

203 dtmdtmiyddi] em.; dtmd dtmiyddi codd.

204 occheddt] conj.; occhedakdt codd.

205 kusale karmani] K; kusaladharmani N, D.

206 dbarma] em.; pradharma K; pra " rmma N, pratidharma D.

207 nimitta] em.; nimittam codd.

208 aryastango] K, N; drydstdngdni D.

209 jneydvarana] K; yo jneyavarana N; yogeydvarana D.

210 drstir] K, N; drsti D.

211 visamvddakam] K; visamvodakamN; visamvadarakam D .

212 nyayarjitavittenajivanam] K; nyayorjitacittend^ N, D.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 269

Meditation (samadhih) is one-pointedness of mind. Samadhibodh- yanga, the cause of complete enlightenment that is meditation, is to be analyzed (vigrhya, cf. §24) as a karmadharaya compound. The same [type of compound] is to be understood in relation to the cause of complete enlightenment that is energy, and so on. "Energy" gives no opportunity for sluggishness. "Joy" is the state of focusing the mind on dharmas. "Serenity" is the adherence of body, speech, and mind to [the ten] good actions because of the cutting off of latent impressions (vasana), such as those related to [the ideas of] self and ownership. The investigation of existents {dharmas) is ascertaining that existents are by nature without self. "Awareness" is not losing hold of [one's] learning, reflection, and meditation, [nor of one's] vow to attain enlightenment caused by [one's desire for] the welfare of the entire [mass of] beings. "Equa- nimity" is the state of having [one's] mind uninvolved.

[§28] [The eight factors of the path (astangamarga)]

In the term aryastango margah (the path having eight noble fac- tors), the word margah (path) is qualified by the bahuvrihi adjec- tive, aryastango ([that] whose eight factors are noble). This refers to the fact that the path has eight (asta-) factors that promote it (angani), namely right view and so on. These factors are termed arya (noble) because they oppose the barrier of the defilements (klesavaranam). The word marga (path) is from the verb Vmrg" to seek" as it is that which is sought (mrgyate > anvisyate) as the means of accomplishing [the stage of] meditation through which one may remove the barrier of [the perception of] objects [as other than consciousness] (jneydvaranam). 568

The factors of that [eightfold path] are as follows: (i) right view (samyagdrstih) is Mahabala, (ii) right resolve (samyaksamkalpah), Cakravartini, (iii) right speech (samyagvak), Mahavirya, (iv) right action (samyakkarmantah), Kakasya, (v) right livelihood (samyaga- jivah), Ulukasya, (vi) right effort (samyagvyayamah), Svanasya, (vii) right mindfulness (samyaksmrtih), Sukarasya, and (viii) right med- itation (samyaksamadhih), the goddess Vajravarahl.

Of these, right view is supreme respect for the Buddha's word; right resolve is not giving up a task that has been begun; right speech is



270



VAJRAVARAHlSADHANA



[§29] ragadayah samyak prahlyante ebhir 213 iti krtva samyakprahanani catvari, tad yatha anutpannanam kusalanam dharmanam utpadanam yamadadhi, 214 utpannanam kusalanam 215 dharmanam raksanam yamaduti. utpannanam akusalanam dharmanam prahanam 216 yamadamstrinl, 217 anutpannanam akusalanam dharmanam anutpadanam yamamathani ceti.

athatah 218 sampravaksyami kayamandalam uttamam I pithadikramayogena das'abhumivis'uddhitah I (42)

[§30] 219 pu ja o a go ra de ma ka o tri ko ka la ka hi pre gr sau su na si ma ku. ity agamah. {D46V} atrarthah, pulliramalayadlnam 2 adyaksarani </?« : /^>-ityadini 221 sanusvarany uccaryante. 222 pumkaradyaksaraparinatani {K631:} agre s'unyani cakrani, pulllramalayadini plthadisthanani s'irahprabhrtini jhatiti boddhavyani. tesu 223 s'irahprabhrtisv 224 avasthita nadyah, 223 pracandadidevataparinamena vyavasthita bhavya iti.



,220



■\ 1



213 ebhir] Kac; ebhi"(vi)r K(mgz), N(mgi); evirD.

214 yamadadhi] K; yamada(d?)i N; yamadddi D.

215 kusalanam] N, D; kus'aldm K.

216 prahanam] corr.; prahana N; nasanam Kmg; omit D.

217 yamadamstrint] K, N; yamadustri D.

218 athatah] K, N; atha D.

219 pu^ku] K, N; pum-*kum D.

220 pulliramalayadinam] K; pulliramalaye. dinam N, D.

221 <pu-jd>-ityddim] conj.; ityddiniK, N; ityddiniD.

iiz sanusvarany uccaryante] K; sdnu - ranicchdyante N; Idnugdranyic codyante D.

223 tesu] K; teN, D.

224 s'irahprabhrtisv] Kpc; (s'irah)prabhrtisvK(mgi); s'irahprabhrti ty'N; sirah- prabhiti vy°D.

225 nddyah] K; na - h N; ndmah D.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 271

speech that is not contradictory to the welfare of beings; right action is an act [performed] without transgressing the ten virtuous acts; right livelihood is supporting oneself with income (vittam) that has been honestly acquired; right effort is bodily, spoken, or mental action that aims at fulfilling the welfare of oneself and others; right mindfulness is recollection of the word of the Buddha; right med- itation is assuming the form of Vajravarahi.

[§29] [The four means of complete abandonment (samyakprahdnas)]™ [Then] there are the samyakprahdnas, "the means of complete aban- donment," passion and the other [defilements] being what is com- pletely abandoned. They are four [in number] : (i) The giving rise to skillful dharmas that have not [yet] arisen, which is Yamadadhl, (ii) the protection of skillful dharmas that have [already] arisen, Yamaduti, (iii) the abandoning of unskillful dharmas that have [already] arisen, Yamadamstrini, and (iv) the nonarising (anut- padanam) of unskillful dharmas that have not [yet] arisen, Yama- mathani.

[The body mandala (kdyamandala)}

(42) Now I shall teach the highest body mandala; [I will do this] through the sequence that begins with the sites (pithddi), xxxix with their purifying correspondences (visuddhita-) for the ten stages (dasabhumi-).



[§30] Scripture relates:



570



puja a go ra de ma ka tri ko ka la ka hi pre gr sau su na si ma ku



xxxix The meaning of the abbreviation pithadi is expanded upon in the prose below (§30) and the following verses (w. 43-53). It indicates the correlations of the twenty-four sites with the twenty-four goddesss of the three mandala cakras of body, speech, and mind. These are further equated with points on the yogin- deity's body. Table 23 gives a summary of the following correspondences.



272



VAJRAVARAHISADHANA



pulliramalaye candam prapurvam 226 sirasi sthitam I jalandhare sikhayam tu candakslm paribhavayet I (43)

daksinakarnato dhyayad 227 oddiyane prabhavatim I arbude sirasah prsthe mahanasam vibhavayet I (44)



iti pitham pramudita bhumih.



{N44^



vame godavari karne 228 vlramatim vicintayet I ramesvare ca bhrumadhy^ kharvarim pasya samsthitam caksurdvaye ca devinam kote lankesvarim imam I (45)



>230



skandhadvaye samakhyatam malavadesasamjnakam 2 tatra vai cintayet devlm 231 drumacchayeti namikam I (46)



226

227
228

229
230



231



prapiirvdm] K, N; prapurna D.

dhydydd\ em.; dhyeydd codd.

vdme godavari karne] codd. (loose Sanskrit). Understand vame goddvarydm

karne, or an infelicitous karmadhdraya, "goddvari-karne. "

ca bhriimadhye] conj.; bhrumadhyeYc, t?hru(tdr)madhyeN, rdmesvaramadhyeD.

malavadesasamjnakam] conj.; mdlavam vesasamjnakam codd.; Tib. p. 41.7:

dpung mgo g.yas dangg.yon pa nyid I ma la ba zhes by a ba ste "The right and left

upper-arms (no case) known as (zhes bya ba) Malava (short a-)."

devlm] em.; ^mcodd.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



273






I



The meaning here is that the first syllables of [the sites] beginning with Pulliramalaya, pu, ja, etc., are [to be] pronounced adding a nasal ending (anusvarah) [i.e.,pum,jdm, etc.]. One is to understand the syllables pum, etc., transforming into [twenty-four] empty cir- cles in front [of one], simultaneously [perceived to be identical with] the places beginning with the sites, Pulliramalaya etc., [which are themselves understood] as [the points on the body] starting with the head. [Finally] one imagines that the goddesses Pracanda and so forth [reside in the sites, and that they] have transformed into the channels (nddis) [that issue] within those [points on the body] starting with the head. [As follows:]

(43) One should visualize Pracanda* 1 in Pulliramalaya in one's head, 571 Candaksi in Jalandhara at the crown (sikhd).

(44) On the right ear he should imagine Prabhavati in Oddiyana; in Arbuda, on the back of the head (sirasah prsthe), 572 he should visualize Mahanasa.

These are the sites {pithas) [that correspond with] the [first bodhi- sattva] stage (bhilmih), "joyful" (pramuditd)^

(45) On the left ear in Godavari he should visualize Viramati; and in Ramesvara, the point between the eyebrows (bhrumadhye), see Kharvari positioned; and on the two eyes (caksurdvaye) b7i in Devikota, Lankes'vari.

(46) On the two shoulders (skandhadvaye)' 7 ^ is the place known as Malava; just there, he should imagine the goddess named Drumacchaya.



xl
xli



Literally, "[The goddess called] Candd preceded by Pra-. n Literally, "Thus the site, joyful stage." The twenty-four sites, Pulliramalaya, etc., are further divided into ten kins of "places": pithas, upapithas, ksetras, upaksetras, chandohas, upacchandohas, meldpakas, upameldpakas, smasanas, and upasmasanas. These are now equated with the ten bodhisattva states {bhumis). Umapatideva gives the fifth and sixth bhumis as sudurjayd and abhimukhi° y which, according to the Dasabhumikasutra (Dayal 1932: 283-91), is in reverse order. The text for the eighth bhumi (acala°), has dropped out, as shown in Textual Note to <v. 5ii>. The places are also shown in table 23.



274 VAJRAVARAHlSADHANA

ity upapltham vimala bhumih.



232



kaksayoh kamarupe tu dhyayad airavatim imam I odre 233 stanadvaye devim mahabhairavikam tatha I (47)

iti ksetram prabhakari bhumih.

nabhau trisakunau pasyed vayuvegam sphuraddyutim I {K63V} kosale nasikagre tu surabhakslm imam tatha I (48)

ity upaksetram arcismati bhumih.

kalinge vadane devim syamakhyam tu vibhavayet I {D471;)

lampake kanthadese tu subhadram devatim tatha I (49)

iti chandoho 'bhimukhi bhumih.

kancyam tu hrdaye devim hayakarnam vibhavayet I medhre m himalaye sthane khagananam imam tatha I (50)

iti upacchandohah 235 sudurjaya bhumih.

pretapuryam smarel 236 linge cakravegam lasad 237 dyutim I ya grhadevata tasyam gude syat khandarohika 238 I (51)



232 vimala bhumih] K; prabhakari bhumih N; vimala bhumih D.

233 odre] K, N; om D.

234 medhre] medreK, N; medra D, Tib. p. 42.3: mdoms "groin."

235 upacchandohah] N; upacchandoha K, D.

236 smarel] em.; smareK, N; smara D.

237 lasad] em.; lasata codd.

238 khandarohika] em.; khandarohikam codd.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 275

These are the secondary sites (upapithas), the [second bodhisattva] stage, "stainless" (vimald).

(47) In the two armpits (kaksayoh), 575 in Kamarupa, he should imagine Airavati; similarly in Odra, on the two breasts, the goddess Mahabhairavika.

These are the fields (ksetras), the [third bodhisattva] stage, "illu- minating" (prabhdkari).

(48) On the navel in Tris'akuni, he should see Vayuvega of scin- tillating light (sphuraddyutim); and similarly in Kos'ala, on the tip of the nose, Surabhaksi.

These are the secondary fields (upaksetras), the [fourth bodhisattva] stage, "blazing" (arcismati).

(49) In Kalinga, on the mouth (vadane)? 7G he should visualize the goddess called Syama; and similarly in Lampaka, at the throat, the deity Subhadra.

These are the chandohas, the [fifth bodhisattva] stage, "confident approach" (abhimukhi).^ 1

(50) In Kaiici, at the heart, he should visualize the goddess Hayakarna; similarly on the penis (medhref 11 in Himalaya, Khaganana.

These are the secondary chandohas (upacchandohas), the [sixth bodhisattva] stage, "invincible" (sudurjayd).

(51) In Pretapuri (pretapuryam), 578 on the sexual organ, he should recollect Cakravega, of glistening light (lasaddyutim); in that [site] that is Grhadevata, in the anus, should be Khanda- rohika.



xlii Literally, "turning toward," but also confidence in, firm belief, or conviction. Note that, traditionally, the fifth bhumi is sudurjayd, which is followed by abhimukhi as the sixth.



276



VAJRAVARAHISADHANA



iti melapako durangama bhumih.

<v. 5ii>*

nagare 'ngulikasv esa suvlra nama yogini I

sindhau tatpadayoh prsthe 239 yoginim tarn mahabalam I (52)

{N 45 r}

iti smasanam sadhumati bhumih.

marav 240 angusthayor dhyayad yoginim cakravartinim I kulatayam mahavirya janudvaye mata tatha I (53)

ity upasmasanam dharmamegha bhumih.

(v. 54)*

kakasyadya 241 mukhe nabhau linge gude kramat sthitah I urnakarnaksinase tu yamadadhyadayas 242 tatha I (55) {K641:}



239 prsthe] N, D; prstha K.

240 marav] K, N; merav D.

241 kakasyadya] K, N; kakasyddi D.

242 yamadadhya] K; yamadddydN, D.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 277

These are the meldpakas, the [seventh bodhisattva] stage, "far-going" (durangamd).

(5ii) <In Saurastra, on the two thighs, he should visualize the god- dess Saundini; and similarly in Suvarnadvipa, on the two shanks, the goddess CakravarminL>

<These are the secondary meldpakas (upameldpakas) , the eighth bodhisattva stage, "immoveable" (acald).>

(52) In Nagara, on the fingers and toes (angulikdsu) 579 [is] this yogini called Suvlra; in Sindhu, on the back of the two feet, xllil that yogini Mahabala.

These are the cremation grounds (smasdnas), the [ninth bodhi- sattva] stage, "good [thoughts]" (sddhumati).



580



(53) In Maru, on the thumbs and toes (angusthayoh),™ 1 he should imagine the yogini CakravartinI; similarly Mahavirya is con- sidered [to be] in Kulata on the two knees.

These are the secondary cremation grounds (upasmasdnas) , the [tenth bodhisattva] stage, "cloud of Dharma" (dharmameghd).

(54) xl,v

(55) Kakasya, [Ulukasya, Svanasya, and Sukarasva] are placed on the mouth, navel, sexual organ, [and] anus respectively; and similarly, Yamadadhl, [Yamaduti, Yamadamsrrini, and Yama- mathani] are on the hair-curl between the eyebrows, the ears, the eyes, [and] the nose.



xliii The "back" of the foot is the upper part above the toes, opposite to the sole

(equivalent to the "back" of the hand), xliv This verse seems to be an incorrect marginal insertion in ~s. K. See Textual

Notes.



278 VAJRAVARAHISADHANA

dakinyadyas caturdevyo hrdayam 243 asritya samsthitah I

iti sampurnam 244 sada bhavyam kayamandalam uttamam I (56)

[§31] * bahye 245 pithadisu nadyd 1 ^ yatha toyena posanam 247 kurvanti tatha dehe nadyo 248 sravantyo nakhadikam posayanti. bahye vajrapitham mahabodhisthanam, 249 niranjana 250 nadi, dehe tu mahasukhacakram vajrapitham 251 avadhuti niranjaneti matam.

{D 47 v}

[§32] idanim devatanam mantra 252 ucyante. tatra vajravarahya hrdayopa- hrdayastapada 253 mantra uktah. mulamantras tv asyah 254 kathyate:

om namo bhagavati vajravarahi vam - aparajite 255 trailokyamate mahavidyesvari - sarvabhutabhayavahe mahavajre - vajrasani ajite 'parajite 256 vasamkari netrabhramini 257 - sosani rosani 258 krodhani karalini - samtrasani 259 {N45V} marani suprabhedani parajaye 260 - jaye vijaye jambhani stambhani mohani — vajravarahi mahayogini kamesvari khage -



243 hrdayam] K, N (hyper.); hrdayem D. (One could emend to hrdam, but the fol- lowing pdda is also hypermetrical, and neither fault is in the even pdda.) f 244 sampurnam] em.; sampurna codd.

• • 245 bahye] K, N; bahya D.
    

4; 246 nddyd] conj.; nddyoK; ndnyoN, D.

247 posanam] K; to(va?)nam N; tosanam D.

248 nadyo] conj. Isaacson; nddyahYc, ndnyah- N, D. (cf. GSS5 K28V6 in Textual Note.)

249 mahabodhisthanam] K; mahdbodhisthdna N, D.

250 niranjana\ K, N; nirasandD.

251 vajrapitham] em.; (vajra)pitham azK(mg2), codd.

252 mantra] K, N; mantra D.

253 hrdayopahrdaydsta] conj.; dayopahrdayddyasta codd. (For the omission of ddi'm the compound, see the Translation and explanations of the mantras.)

254 mulamantras tv asyah] corr.; mulamantra tv asyah K; mulamantra tasydh N; mulamantra tv asyd D.

255 aparajite] codd.; arydpardjite Tib.

256 ajite parajite] corr. (as for eight-part mantra §12, codd.); ajite (aparajite) K(mg2); ajiteYizc, N, D.

257 bhrdmini] corr.; cf. §12, GSS5; bhrdmani codd.

258 s'osani rosani] codd.; visani sosani rosani Tib.

259 samtrasani] corr.; samtrdsiniK, N; samtrasani D.

260 suprabhedani parajaye] codd.; prabhedani apardjaye Tib.



THE VAJRA VARAHI SADHANA OF UMAPATIDEVA 279

(56) The four goddesses Dakinl, [Lama, Khandaroha, and Rupini] are in place (samsthitdh) at the heart. Complete in this way, the supreme body mandala is to be visualized at all times.

[§31] Just as outside there is nourishment in the sites [and other places] with the water of the river, so in the body, the flowing channels (nddis) nourish [aspects of the body, beginning with] the nails [and teeth] .

"Outside" [refers to] the vajra seat (vajrapitham), the place of great enlightenment, [and] the river [is] Niranjana. Whereas (tu) in the body, the circle of great bliss, is held to be the vajra seat, and [the central channel] Avadhuti, Niranjana.

[§32] Now the mantras for the deities [of the mandala] are taught. Among these, Vajravarahi's heart mantra [§9], auxiliary-heart mantra, and eight-part mantra [§12] have been given above, but her root mantra is told [here]: 582

om namo bhagavati vajravdrdhi vam - apardjite trailokya- mdte mahdvidyesvari — sarvabhiitabhaydpahe mahdvajre - vajrdsani ajite 'pardjite vasamkari netrabhrdmini — sosani rosani krodhani kardlini — samtrdsani mdrani suprabhedani pardjaye —jaye vijaye jambhani stambhani mohani - vajravdrdhi mahdyogini kdmesvari khage — xlv



xlv This is an abbreviated form of the eight-part mantra (see §12)



280 VAJRAVARAHlSADHANA



262



267

Li V^O.,

269



prottunge 2GX hana hana pranan, kini kini khinkhini khinkhini dhuna dhuna m vajrahaste sosaya s'osaya vajrakhatvangaka- paladharini mahapisitamamsasini {K64v} manusantrapravrte samnidhya 2(A narasiromalagrathitadharini, 265 sumb- hanisumbhe 2GG hana hana papam mama sarvasattvanam ca sarvapas'unam 268 mahamamsacchedani krodhamurte damstrakaralini 270 mahamudre sriherukadevasyagramahisi sahasragrive sahasrabahave 271 satasahasranane 272 jvalitatejase jvalamukhi 273 pingalalocane vajrasarire vajrasane 274 mili mili timili timili he he he he 275 hum hum 276 kha kha dhu dhu 277 ru ru, 278 dhuru dhuru muru muru 279 advaite mahayogini pathita- siddhe om dhram 2 * he he ha ha bhime hasa hasa ha ha ho ho



261 prottunge) GSS11 codd., GSS5; om vajravdrahi protange Finot.

262 kini 2 khinkhini 2] conj. Sanderson (cf. SM221 ms. AC p. 435: kinkini 2 khikhini 2); kinkini khinkhini GSS11 codd.; kini 2 khikhi 2 GSS5.

263 dhuna dhuna) corr.? (cf. dhuna 2 GSS5, Finot); dhuna K; muna N; punar D.

264 samnidhya] Finot; sdnnidhma K, N; sdnidhyeD; samnidhye GSS5.

265 grathitadhdrini] K, N; grathitadhdrini D (for narasiromalagrathitadharini understand naras'irograthitamdlddhdrini) .

266 sumbhanisumbhe) GSS11 codd., GSS5, Finot. (Possibly emend to sumbha nisumbha, or to sumbhe nisumbhe, for the usual form of these mantric elements in the Buddhist tantra, see §3.)

267 ca) K, D; 2 N.

268 hana-* sarvapasunam) codd.; hana hana prdndn sarvapdpa<m> sattvdnam sarvapuspdnam Tib.

269 hana-^-murte) GSS11 codd.; hana hana prdndn sarvapasavdndm mdmsacchedam krodhakrodhamilrte GSS5; hana 2 prdndn sarvapisdcdndm mahamamsacchedani. krodha murte Finot.

270 damstrakaralini] GSS5, Finot; damstrdkardli GSS11 codd.

271 sahasragrive sahasrabahave) GSS11 codd. (bdhave: for dative understand voca- tive); sahasras'irosahasravdhave Finot; sahasrasive sahasravdhave GSS5.

272 satasahasranane) K, N; satasahasranetre D.

273 jvalamukhi) K, N; jvalamukhi D.

274 vajrasane) GSS5, Finot; vajrdsani GSS11 codd.

275 he he he he) GSS11 codd.; he he ha ha GSS5, Finot, Tib.

276 hum hum) codd.; hum hum Tib.

277 dhu dhu) N, D; dhu(ru) dhu(ru) dhu K(del).

278 ru ru) codd. omit Tib.

279 ru-^muru) GSS11 codd.; ru ru sum sum GSS5; ru 2 muru 2 dhuru 2 Finot

280 om dhram) K; om - N; om D; drem (vrem, dhrem?) drem pram GSS5 codd. (for which Sed reads draim dham draim dham but reports codd. reading dram vram dram pram); drem dham 2 gram 2 Finot; drem dham drem dham gram gram Tib.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



28l



xWl prottunge — hana hana prdndn — kini kini khinkhini khinkhini — dhuna dhuna — vajrahaste — sosaya sosaya — vajra- khatvdngakapdladhdrini — mahdpisitamamsasini — mdnusdn- traprdvrte — sdmnidhya - narasiromdldgrathitadhdrini — sumbhanisumbhe — hana hana pdpam mama sarvasattvdndm ca — sarvapasundm mahdmamsacchedani — krodhamurte — damsprdkardlini — mahdmudre — sriherukadevasydgramahisi — sahasragrive - sahasrabdhave — satasahasrdnane — jvalitatejase — jvdldmukhi — pingalalocane — vajrasarire — vajrdsane — mill mili timili timili he he he he hum hum kha kha dhu dhu ru ru, dhuru dhuru muru muru — advaite — mahdyogini — pathita- siddhe — om dhram he he ha ha — bhime — hasa hasa ha ha ho



xlvi



Elevated <?>, kill creatures! O female jackal!. . .O vajra hands! Parch! O holder of vajra-staff and skull! O eater of human flesh! O you who are enveloped by human entrails! Be present! {sdmnidhya: Sanderson [1998: personal communication] sug- gests this is a denominative form from sdmnidhyam, "presence"), O you who carry a garland with human heads tied together! O Sumbhanisumbha! (or: "O Sumbha Nisumbha," see §3); kill evil for me and all [evil] beings! O cutter of human flesh of all creatures (pasuh)\ You with anger-form! Fanged one! Great consort! Foremost queen of the glorious god Heruka! Thousand-necked! Thou- sand-armed! One hundred thousand-faced! Flaming brilliance! Flame-faced one! Red-eyed one! Vajra-bodied! With vajra stance!. . . Nondual one! Great yogini! O you who are realized when recited!... O terrible one!... Destroyer of the three worlds! O you with a retinue of 100,000 kotis of tathagatas!... You with lion form!. . . You with elephant form!. . . O you who have swallowed the three worlds! Whose girdle is the great ocean! Eat, eat!. . . One with heroes!. . . Stunner of great beasts! You are Mahayoges'varl! Dakini! Saluter of all worlds! Creator of instant proof 1 .... Terrifier of spirits! Great heroine! Peerless-magic yogini!...



2 82 VAJRAVARAHISADHANA

hum hum 281 trailokyavinasini 282 {D48r} satasahasrakoti- tathagataparivare hum hum hum phat phat 283 simharupe khah gajarupe ah 284 trailokyodare mahasamudramekhale 285 grasa grasa hum hum phat phat 286 vlradvaite hum hum ha ha 287 mahapasumohani, mahayogesvari tvam, dakini sarvalokanam vandani 288 sadyahpratyayakarini hum hum phat 289 bhutatrasani mahavire paramasiddhayogesvari phat hum hum hum phat svaha. 290 }K65r}

[§33] dakinyadinam mantra 291 uktah, {N46r} kakasyadinam castanam, pracandadinam tu kulisapadakramena^ 1 mantrah, yatha -

• om kara kara pracande hum hum phat. om kuru kuru candaksiye hum hum phat. om bandha bandha 293 prabhavatiye
  

281 ha ha ho ho hum hum] GSS11 codd., GSS5; vire ha 2 hoh 2 Finot, vire ha ha hoh hoh hum hum Tib.

282 trailokyavinasini\ GSSn codd.; trailokyavindsaniGSS^.

283 hum hum hum phat phat] GSSn codd.; hum hum phat GSS5, Finot.

284 ah] GSSn codd., Finot; gah GSS5, Tib.

285 mahasamudramekhale] conj.; mahasumudra- GSSn codd. & GSS5; samudra- mekhale Finot.

286 grasa-^-phat] GSSn codd.; grasa 2 hum hum phat GSS5; grasa grasa hum hum phatTib. grasa om hum om phat Finot.

287 hum hum ha ha] GSSn codd., GSS5; hum he 2 Finot.

288 mahayogesvari-* vandani] GSSn codd.; yogesvari tvam dakini lokanam vandani GSS5; yogesvari tvam dakini sarvalokanam vandani Finot.

289 hiim hum phat] GSSn codd.; hum hum GSS5, hum hiimphatTib.

290 paramasiddha-^svdhd] GSSn codd.; paramasiddhe yogesvari phat hum hum phat svaha GSS5; paramasiddhayogesvari phat hiim 2 phat hiim 2 phat svaha Finot, paramasiddhe yogesvari hum hiim phat hum hum hiim phat svaha Tib.

291 mantrdK, N; mantra D.

292 kulisapadakramena] ?conj.; kulisapadakramena K, N; kulisaparakramena D . Tib. p. 43.6-7: rab gtum ma la sogs pa rnams kyi sngags ni rdo rje mams kyiji Ita ba bzhin du go bar bya "The mantras of Pracanda etc. should be understood as being just like those of the vajras."

293 bandha bandha] K, N; badha badha D.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 283

ho hum hum - trailokyavindsini — satasahasrakotitathdgatapari- vdre - hum hum hum phat phat - simhariipe - khah -gajarilpe — ah — trailokyodare — mahdsamudramekhale - grasa grasa — hum hum phat phat - vlrddvaite - hum hum ha ha - mahdpasumohani — mahdyogesvari tvam — ddkini - sarva- lokdndm vandani — sadyahpratyayakarini — hum hum phat — hhutatrdsani - mahdvlre — paramasiddhayogesvari^ - phat hum hum hum phat svahd.

[§33] The mantras of Dakini [Lama, Khandaroha, and Rupini] have been taught [§12], and of the eight [goddesses] starting with Kakasya [§15]; but the mantras of [the twenty-four goddesses] starting with Pracanda are as follows, with vajra words (kulisapadakramena)™ in sequence [after the om and before the vocatives] : xlvil

(1) om kara kara pracande hum hum phat

(2) om kuru kuru canddksiye hum hum phat

(3) om bandha bandha prabhdvatiye hum hum phat



xlvii (1) Do! (2) Act! (3) Bind! (4) Terrify! (5) Make [them] shake!... (10) Burn! (11) Cook! (12) Eat! You with a hanging garland of fat (vasa = vasa), blood, [and] entrails! Wine Drinker! (13) Seize the snake in the seven netherworlds, or the ser- pent! Threaten! (Note KalfFs translation 1979: 209: "Seize, seize the snake-demon gone to the seven regions under the earth or else threaten, threaten the serpent.") (14) Make them Eat (? dkadda?/dkddya).



284



VAJRAVARAHlSADHANA



hum hum phat. om trasaya trasaya mahanase hum hum phat. om ksobhaya ksobhaya vlramatiye hum hum phat. om hrem hrem 294 kharvarlye hum hum phat. om hrah hrah 295 lankesvarlye hum hum phat. om phem phem drumacchaye hum hum phat. om phat phat 296 airavatiye hum hum phat. om daha daha mahabhairavlye hum hum phat. om paca paca vayuvege hum hum phat. om bhaksa bhaksa vasa 297 rudhirantramalavalambini 298 surabhakslye hum hum phat. om grihna grihna saptapatalagatabhujangam sarpam va 21 ^ tarjaya tarjaya syamadeviye hum hum phat. om akadda akadda 300 subhadre hum hum phat. om hrlm hrlm 301 hayakarne hum hum phat. om jlom jlom 302 khaganane hum hum phat. om ksyam ksyam 303 cakravege hum hum phat. om ham ham 304 khandarohe hum hum phat. {D 4 8v} om 305 him him 306 saundiniye hum hum phat. om hum hum 307 cakravarm'iniye hum hum phat. om kill kili suvire hum hum {K6 5 v} phat. om sili sili 308 mahabale hum hum phat. om cili



294 hrem hrem] GSSn codd, hraum 2 §37, Tib,, hrau 2 HA; Finot p. 53, P- 57 (for Amitabha).

295 hrah hrah] K, N; hra hrah D; ha 2 HA.

296 phat phat] K,D; pha phaN.

297 vasa] GSSn codd.; understand vasd- (fat, marrow), although Finot (pp. 53, 57)

reads vama (vomit).

298 dvalambim] GSSn codd, avalambino Finot (pp. 53, 57); ADUT ch.14; avalam- bine, §37, HA (for Vajrahumkara).

299 bhujangam sarpam vd] K, N; bhujanga D; bhujangasarpam va, ADU 1 ; bhuiangdn sarpam vd HA.

300 akadda akadda] GSSn codd. (possibly "dkam 2" K §37); dkadya 2 §37 (N, D); HA' (for Vajrabhadra); dkadya 2 em. KalfT ADUT (p. 325, with mss. reading variously, ADUT; dkaddha? 2; dkadha x 2; dkaddhya 2); dkattha Finot p. 57; dkarirF'mot p. 53.

301 hrlm hrlm] GSSn codd.; om hrl An ADUT (some mss.).

302 jlom jlom] K, N; jnomjnom D; jhomjnom ADUT; jtraum 2 Finot (p. 54), jraum Finot (p. 57 for Virupakse), jnaum jnaum Tib.

303 ksyam ksyam] GSSn codd.; ksmdm 2 (with variants ksmom 2, ksmam 2) ADUT; ksdm 2 Finot (p. 53 for Mahabala), ksmam ksmamTib.

304 ham ham] GSSn codd.; dam 2 Finot (p. 54); ham 2 Finot (p. 57).

305 om] N, D; ha omK.

3 06 him him] codd.; him him ADUT, Finot (p. 57); dim 2 Finot (p. 54).

307 hum hum] K, N; hum hum D.

308 sili silt] K, N, (§37); sin sin D, ADUT; mill 2 Finot (p. 57; a misreading.).



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



285



(4) om trdsaya trdsaya mahdndse hum hum phat ($) om ksobhaya ksobhaya viramatiye hum hum phat

(6) om hrem hrem kharvarlye hum hum phat

(7) om hrah hrah lankesvariye hum hum phat

(8) om phem phem drumacchaye hum hum phat (p) om phat phat airdvatlye hum hum phat

(10) om daha daha mahdbhairavlye hum hum phat

(11) om paca paca vdyuvege hum hum phat

(12) om bhaksa bhaksa vasarudhirdntramdldvalambini surdbhaksiye hum hum phat

(is) om grihna grihna saptapdtdlagatabhujangam sarpam vd tarjaya

tarjaya sydmddevlye hum hum phat (14) om dkadda dkadda subhadre hum hum phat (1$) om hrim hrlm hayakarne hum hum phat

(16) om jlom jlom khagdnane hum hum phat

(17) om ksydm ksydm cakravege hum hum phat

(18) om ham ham khandarohe hum hum phat (ip) om him him saundiniye hum hum phat

(20) om hum hum cakravarminiye hum hum phat

(21) om kili kili suvire hum hum phat

(22) om sili sili mahabale hum hum phat

(23) om cili cili cakravartiniye hum hum phat

(24) om dhili dhili mahdvirye hum hum phat



286 VAJRAVARAHISADHANA

cili 309 cakravartiniye hum hum phat. om dhili dhili 310 mahavirye hum hum phat.

[§34] atra pracandadimantresu prathamo humkaro 311 hrasvah, dvitiyo dirghah. *etac ca gurupadesad boddhavyam. 312 bhavyadimatena tu 313 "om pracande 314 hum hum phat, om candaksi 315 hum hum phat" ityadi ca asam mantra 316 iti vaksyate, tatha hi - {N46V}

svanamoccaranam 317 mantranam humhumphatkarayojitam 318 I

ity asyagamasyayam arthas tair upadarsitah. asam yogininam svanama 319 mantrah. adau paramaomkarah, 320 ante ca humhumphatkarah karya, iti svanametyadina darsitam.

iti cathurtho bhavanakramah.

pujadividhayah sarve 321 ye kecid agamoditah i balipradanapurvas te kartavyah 322 siddhikanksibhih I (57)

devatayogayuktena balir deyo yato matah I tasmat tadyogatah pascad balir esa nigadyate I (58)



309 cili ah] GSS11 codd.; dhili 2 §37; hili hili HA, ADUT, Finot (p. 57), Tib.; vili 2 Finot (p. 54).

310 dhili dhili] K, N (§37); dhiri dhiri D; ADUT; angam 2 Finot (pp. 54, 57).

311 humkaro] K; humkdroN, D.

312 boddhavyam] K, N; boddhavydD.

313 bhavyadimatena tu] conj. Sanderson; bhavyadimattena tu K; bhavyddimantre na tu N; bhavyddimantresu(ra?) tu D.

314 pracande] N; pracando K, pracando D.

315 dksi] em.; dksi codd.

316 mantra] em. Sanderson; mantrdhN; mantrahK; mantraD.

317 svanamoccaranam] conj. (hyper.); svandmoccdrana codd. (hyper.)

318 humhumphatkarayojitam] em.; humhumphatkdrayojitd codd.

319 svandma] N, D; svandK.

320 parama omkdrah] em.; param omkdrah K, N; paramo kdrah D.

321 pujadividhayah sarve ] conj. (ddi is not translated in the Tibetan p. 44.4: mchod pa'i rim pa ma lus pa'i "of the stages of offering without exception"); pujd- vidhayah sarvd codd. (unmetric.)

322 kartavyah] em.; kartavy d codd.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



287



[§34] In these mantras of Pracanda and the rest, the first hum is short [i.e., hum] and the second is long [i.e., hum]. This is to be learned orally from the guru. But it will be stated below that according to the view of Bhavya[klrti?] and others their mantras are om pracande hum hum phat. om canddksi hum hump hat, etc. This is how they explain the text of scripture:

for [these] mantras there is the utterance of [the goddess's] own name with hum hum phat.

The mantra of each of these yoginis is her own name, but om is to be placed before it and hum hum phat after it. This is what is demonstrated by this line of scripture.'



585



Here ends meditation stage 4.



[Ritual Practices]



(57) Those who desire siddhi should perform all rites of worship and so on that are taught in the scriptures, with a preceding offering of ball.

(58) Since it is held that a ball should be offered by one engaged in deity yoga, the [ritual of offering] bali is taught here, after [teaching] union with that [deity, and not before it].



z88



VAJRAVARAHISADHANA



§35 tatra balyamrtasvadanam' 15 ucyate, tad yatha -

krsnayamkarasambhutam dhanvabham vayumandalam I raktam asyopari madhye ramjatam 324 vahnimandalam I (59) {K66r}

tasyopari sthitam suklam ahkarajam karotakam I

• akrantakamtrayodbhuta 325 trimundakrtacullikam 326 I (60)
  

{D 4 9r}

pancamrtadi omadibijajam 327 tadadhisthitam I

tadrupena karotastham 328 raktadyam 329 ca 330 vicintayet I (61)

• omadlti: om <bum/vum> am jrim 331 kham hum 332 lam mam pam tarn iti pancatathagatacaturdevlnam bljani.
  

vayuddiptagnitapena 333 vilinam tatra bijajam 334 I viksya 335 tad dadimlpuspa 336 varnena sadrsa 33 Myutim I (62)



323



324
325



326

327

328

329

330

331

332

333

334

33S

M6

M7



balyamrtasvadanam] conj.; baldrtham amrtasvadanam codd. (or conj.:

balyadyamrtdsvddanam). The Tibetan text (p. 44.5) reads gtor ma bdud rtsir

bsgrub par bya ba "the practice of making the bali into nectar."

ramjatam] em.; yamramjdtam codd.

bhuta] K, D; bhuta N. Sanderson notes that the Tibetan indicates the Sanskrit

• akrantatattrayodbhuta- {de nyid > tat, sa eva, tad eva etc.). (p. 44.6: de nyid
  

gsum lasyongs su gyur I thod pa gsum gyi rgyed pu stel de'i stengayig las 'byungpa

I thod pa dkar poyongs su brtag).

cullikam] em. Sanderson; cullikam K, cullikam N; culikam D.

bijajam] K, N; bijam D.

tadrupena karotastham] K, N; ta(tta?)pena karotakam(tyam?) D.

raktadyam] codd.; Tib. reads "food etc." (*bhaktddi, p. 44.7: bza' ba la sogs).

ca] K, D; caram?N.
jrim] K, N;jim D.

hum] K, D; hum - N (marked omission suggesting a missing bijdZ).

vdyild] N; vdyudK, D.

bijajam] em.; sabijajam codd.

viksya] D; viksye K, N.

tad dadimipuspa] conj; tadd dimipuspa codd.

sadrs'a] K, N; sadrsam D.




THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



289



[§35] In that [ball ritual], the tasting of nectar with the bali (balyamrta- svadanam) is taught as follows:

(59) [The practitioner should visualize] a bow-shaped wind mandala arisen from a black yam; above it, in the center, a red fire mandala as a transformation of ram.

(60) [He should visualize] a white skull bowl generated from ah above (akranta-) a hearth (-cullikam) that has been fashioned from three heads (mundam) produced from three kam [sylla- bles]. 586



(61) In the skull bowl, he should visualize the five nectars and so on, produced from the seed-syllables om, etc.; [he should see them] presided over by those [same syllables] in their [alpha- betic] form, and red, etc. [in color] .

om, etc." means: om <bum/vum> am j rim kham hum lam mam pam tarn, [namely om plus] the seed-syllables of the five tathagatas and four [mother] goddesses. xlviii

(62) With the heat of the fire blazing up because of the wind, he should see [the nectars and so on] that have been produced from the seed-syllables [being] dissolved in that [skull bowl], then [taking on] a bright luster like the color of a pomegran- ate flower. xl,x



xlviii The ten syllables (om plus the rest) refer to the five nectars and five meats, xhx A bright red color is intended; elsewhere the heated liquid is compared in color

to the "very early morning sun" (GSS5 Sed p. 135, Ki^i = Cakrasamvarabalividhi

p. 57: abhinavabhdnuvarnadravarupam) .



Hlj 290 VAJRAVARAHISADHANA

tato humbhavakhatvange 338 sudhatmadhomukhe 339 site viline suklasitalam dravam tasydvalokayet 540 1 (63)

tasyopary alikalinam 341 parinamasamudbhavat 342 I

om ah hum ity ato mantrat kramoparyuparisthitat I (64)

{N 4 7r}
spharitva devatacakram krtva sattvaprayojanam I viliya tryaksare vistam tryaksaram camrte 343 tatha I (65)

tarn amrtam 344 dravam pasyet tryaksaraih samadhisthitam I t nispddite 345 tasmin balim dadydt vidhindmund. t (66)

[§36] *yW^raz^m 346 phetkarabhyam anitam 347 devatacakram arghadipurahsaram pujayitva {K66v} -

• <om> anyonyanugatah sarvadharmah parasparanupravistah •*
  

sarvadharmah hum



338 khatvdnge] K, N; sadvdmgam D.

339 mukhe] em.; mukho codd.

340 viline suklasitalam dravam tasydvalokayet conj.? (unmetric); villye dravam suklasitalam sya* avalokayetK; - suklasitalam avalokayetN; - suklasitalam.

• valokayet D (cf. Finot p. 57: -suklakhatvdnge viline tarn dravam
  

pdradavarna<m> sitibhutam drstva..).

341 tasyopary dlikdlindm] conj; tasyopariryy dlikdlindm codd.

342 parinamasamudbhavat conj.; pariname samudbhavat K; parindme samudbha- vatiN, D. (hyper.)

343 cdmrte] N; (pam)cdmrtaK(mgi); cdmrtamD.

344 tarn amrtam] corr.; tarn amrta K, D; tarn amrteN (possibly pahcdmrtam, if the pam that was added to -camrta in the previous pada by a second hand was intended here).

345 nispddite tasmin] em.; nispddite tan asmmin K; nispdditena tasmin N; nispdditte tena asmin D; Tib. de Itar yongs su rdzogs byas nas.

346 jvdldmudrd] ?conj., Tib. (p. 45.2) 'bar ba'i phyag rgyas; jdldmudrd codd.

347 anitam] em.; dnita K, N; dnite D.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



291



(63) He should visualize a skull staff [above the skull bowl], pro- duced from hum, filled with nectar, inverted, [and] white [like quicksilver]; [he should see it] melting [because of the heat below], and then [visualize] its liquid form as white and cool.

(64) [He should visualize] om dh hum, one on top of the other in sequence, [the three syllables of which have been] produced through a transformation of the vowels and consonants [visu- alized] above that [liquid], [and] from this mantra,

(65) he should emanate the circle of deities, and then fulfill the aim of [all] beings. [He should see] the circle of deities dissolve and enter the three syllables [and] the three syllables dissolve and enter the nectar, 587

(66) [and, finally,] he should see that liquid nectar empowered by the three syllables. When this has been produced, he should offer the ball according to the following method:

[§36] He should draw down the circle of deities with the flame hand ges- ture (jvdldmudrd) and the syllable />>W, and honor them with guest water and the other [offerings] . After reciting the mantra

<om> anyonydnugatdh sarvadharmdh paraspardnupravistdh sarvadharmdh hum 1



1 "All existents {dharmas) mutually accord with each other; all existents are mutu-

ally interpenetrating."



292 VAJRAVARAHlSADHANA

iti mantrapathapurvakam candrasuiyarudha 348 humkaradvaya- parinamena vajranjalikrtakaratale 349 amrtabhandam avasthapya dhyatva va 350 * abhimatasiddhyartham pathed idam -

devyah pramanam samayah pramanam taduktavacas ca param

pramanam I
etena satyena bhaveyur eta devyo mamanugrahahetubhuta<h>

I (67)

iti. tatah pujyapujapujakan abhedena pasyet. 351 {D49V} purvadidiksu 352 vamenavartena vidiksv agnikonam arabhya daksinenavartena 353 bhandam bhramayan humbhavavajrajihvanam* devatanam mantradvayam pathams tad amrtam upadhaukayet.

<v. 68* 354 >

[§37] tatrayam mantrah -

om kara kara, kuru kuru, bandha bandha, trasaya trasaya, ksobhaya ksobhaya, hraum hraum^ < 356 > hrah hrah, 357 phem phem, phat phat, 358 daha daha, paca paca, bhaksa bhaksa vasa 359 rudhirantramalavalambini, 360 grihna grihna 361



348 drudha] K; a - dha N; o(ru?)dha D.

349 karatale] ?em.; karatalam codd.; {vajranjalikrtakaratale Fmot p. 57).

350 avasthapya dhyatva vd] conj.; avasthdpayitva vd K, D; apasthdpyayitvd vd N.

351 pasyet] Kac; pasyet *Kpc. (see "v. 68" for insertion); pasyet. suktijam-^ ddpayet

N,D.

352 purvadidiksu] N; purvddiksu K, D.

353 daksinenavartena] conj.; daksindvartena codd.

354 suktijam-^ ddpayet] omit, ed.; K(mgi or 2), incorporated into text in N & D but omitted in Tibetan translation. The verse is given in the Textual Note.

355 hraum hraum] codd.; hrem hrem §33 (see variants).

356 omit] conj. (§33); ksmdm 2 K, N; (*) 2 D(del).

357 hrah 2] K, N; hre 2 D.

358 phat 2] N, D; phat V K.

359 vasa] Kpc, N, D; (bhaksa 2 vasa) K(del?) bhaksa 2 cara K(mg2) (for vasd\ cf. §33)

360 lambini\ em. (as §33); lambine codd.

361 grihna grihna] K, N; grhna D.



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 293

[he should visualize his hands as] a moon and sun disc [themselves produced from the vowels and consonants 588 ] with a hum syllable on each in order to make them into (-parindmena) the vajra ges- ture of offering. Between the palms of his hands he should [then] place or visualize the bowl of nectar. He should [then] recite this [verse] in order to achieve his desired goals:

(67) "The goddesses are the authority, the pledge is the authority, and the words spoken by them are the supreme authority. By the virtue of this truth may these goddesses bring me grace." 589

Then he should see the object of worship, the worship, and the worshiper without [any] difference [from each other] . Circulating the bowl in the cardinal directions beginning in the east in a counterclockwise direction, [and then] in the intermediate direc- tions starting from the southeast corner in a clockwise direction, he should offer that nectar to the deities whose tongues [should be visualized] as [white] vajras produced from hums. [He should do this] while reciting the two mantras [given below] .

<v. 68> n

[§37] Here is the [first ] mantra [for the twenty-four goddesses of the

sites]: 590



om kara kara, kuru kuru, bandha bandha, trdsaya trdsaya, ksobhaya ksobhaya, hraum hraum, hrah hrah, phemphem, phat phat, daha daha, paca paca, bhaksa bhaksa vasarudhirdntra- mdldvalambini, grihna grihna saptapdtdlagatabhujangam



li A verse inserted into the lower margin of ms. K. See Textual Notes.



294



VAJRAVARAHISADHANA



saptapatalagatabhujangam 362 sarpam va tarjaya tarjaya, {N47V} akadda akadda™ hrim hrim, < 364 > j lorn j lorn, 365 ksmam ksmam, 366 ham ham, 367 him him, 368 <hum hum 369 >, kili kili, sili sili, dhili dhili 37 " dhili dhili, 371 hum hum 372 phat



iti. ayam mantra ekavaram pathitavyah.



373



[§38] {K67r} tad anu ca -

'om vajraralli hoh jah hum 374 vam hoh, vajradakinyah samayas tvam drsya hoh.

ity ayam mantra, ekadvitricatuhpancavaran uccarya dhaukayed amrtam. tata acamanadikam krtvabhimata 375 siddhyartham slokam idam pathet -

bhavasamasamasanga 376 bhagnasamkalpabhangah 377 kham iva sakalabhavam 378 bhavato viksamanah I gurutarakarunambhah 379 sphitacittambunathah kuruta kuruta devyo mayy ativanukampam I (69)



362 bhujarigam] K; bhujanga N, D.

363 akadda 2 OR akatta 2] K; akadya 2 N, D, dkaddhya akaddhya Tib. (See vari- ants §33.)

364 omit] conj. (§33); blaum codd.

365 jlom 2] N, (§33); jlaum 2 K; jrom 2 D, jhaum jnaum Tib. (See variants §33.)

366 ksmam 2] K; omit N, ksydm 2 D; ksyam, ksmam ksmam Tib., §33 (See variants.)

367 ham 2} K, N; ham D.

368 him 2] K, him D; omit N (See variants §33.)

369 hum hum] conj. (§33); omit K, N; hi-um D (for Cakravarmini).

370 dhili 2] K; hili hiliN, D; cili n/z'Tib, §33 (See variants for Cakravartini.)

371 dhili 2] K, N; dhiri 2 D.

372 hum hum] K, N; hum hum D, hum hum Tib.

373 ekavaram pathitavyah] em.; ekavarah pathitavya codd.

374 jah hum] K, N; ja hum D.

375 krtvdbhimata] corr.; krtva 'bhimata K, N; krtvd abhimata D.

376 bhavasamasamasanga] N, D; w bhavasamasangd. masarigdK (The insertion mark may relate to the cursive Tibetan in upper margin.)

377 bhangdh] K, N; sangdh D.

378 sakalabhavam] codd.; bhdvdn SUT 8.28 (ed.).

379 dmbhah] em.; ambha codd.




THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



295



sarpam va tarjaya tarjaya, akadda akadda, hrim hrim, jlom jlom, ksmdm ksmdm, ham ham, him him, <hum hum>, kili kili, silisili, dhili dhili, dhili dhili, hum hum phaf n

This mantra is to be recited once.



[§38] And then this mantra [for the thirteenfold mandala]:

m vajraralli hoh jah hum vam hoh, vajradakinyah samayas Warn drsya hoh" 11

Having recited [it] once, twice, three, four, [or] five times, he should offer the nectar. Then having performed the sipping (acamanam) [of nectar, accompanied by the mantra recitation and other rituals (?)], 591 he should recite this verse in order to gain siddhi.

(69) "O ye who are equally conjoined to existence and to quietude, by whom the obstacles of conceptualization have been broken, regarding all existing things as [like] space because of the state you have realized (bhavatah), the oceans of whose hearts are filled with the water of extreme compassion: Pray, goddesses, bestow immeasurable compassion upon me!" 592



lii See §33 for translation, and chapter 3 for a discussion of its structure, liii "O Vajraralli!. . . Vajradakinis! You [singular] are the pledge! Ah, pleasing!



296



VAJRAVARAHISADHANA



ltl.



[§39] tato 'stasmasanasthitadikpaladlnam diksu vidiksu ca purvavat bhramayan 380 mantram dvitrivaran pathann 381 upadhaukayed amrtam. 382
tatrayam mantrah - {D50r}

om kha kha khahi khahi

sarvayaksaraksasabhutapretapisaconmadapasmaradakadakinya- daya 383 imam balim grhnantu samayam raksantu mama sarvasiddhim prayacchantu yathaivam yathestam bhunjatha pibatha jighratha matikramatha mama sarvakarataya satsukha- vivrddhaye 384 sahayaka bhavantu hum hum phat svaha.

iti dikpalah samtustah santo bhavakasya siddhim dadato drastavyah. {K67V}

[§40] tad anu tesam samudayena tambuladikam dattva cchomakahas- tena samcchomya vamena nyunadhikavidhiparipuranartham ghantam vadayan purvam pathen mantram amum - {N48r}

om vajraheruka samayam anupalaya, herukatvenopatistha, drdho me bhava, sutosyo me bhava, suposyo me bhava, anu- rakto me bhava, sarvasiddhim me prayaccha, sarvakarmasu ca me cittam sreyah kuru hum, ha ha ha ha hoh bhagavan vajra- heruka ma me munca, heruko bhava mahasamayasattva ah hum phat



380 bhramayan] K, N; bhrdmayetD.

381 pathann] K; pathan N; omit D.

382 amrtam] N; amrtah K; amrta D.

383 dakinyadaya] GSS11 codd.; ddkinyddayahYSCT (A51-, B7O.

384 satsukhavivrddhaye] GSS11 codd., GSS5 (K29V6); satsukhavisuddhaye YSCT. (B7f2), HA (f.i4vi); pravrddhaye; YSCT (A5r4).



L-"'iT."



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 297

[§39] Then, circulating [the bowl] as before in the cardinal directions and intermediate directions, uttering the mantra twice or thrice, he should offer the nectar to the protectors of the quarters who are in the eight cremation grounds. This is the mantra [for the protectors]:

om kha kha khdhi khdhi sarvayaksardksasabhutapretapisd- conmdddpasmdraddkaddkinyddaya imam balim grhnantu samayam raksantu mama sarvasiddhim prayacchantu yath- aivam yathestam bhunjatha pibatha jighratha mdtikramatha mama sarvdkdratayd satsukhavivrddhaye sahdyakd bhavantu hum hum phat svdhd lw

With this (iti), the protectors of the quarters should be seen being gratified [and thus] granting siddhi to the meditator.

[§40] Next, 593 having given the betel and so on to those [deities and pro- tectors] collectively (samuddyena), he should make the signals (samcchomya) using hand signs (cchoma), [and then] he should first recite this mantra, ringing the bell with his left hand in order to fill out omissions or [to counteract] additions in the rite:

om vajraheruka samayam anupdlaya, herukatvenopatistha, drdho me bhava, sutosyo me bhava, suposyo me bhava, anurakto me bhava, sarvasiddhim me prayaccha, sarvakarmasu ca me cittam sreyah kuru hum, ha ha ha ha hoh bhagavan vajraheruka ma me munca, heruko bhava mahdsamayasattva dh humphat u



liv "...Eat! All yaksas, demons, spirits, hungry ghosts, pisdca demons, madness [demons], epilepsy [demons], dakas, dakinis etc.! May you accept this bali\ May you protect the pledge! May you grant me all siddhis! As you like it, as you want it, eat, drink, savor! Do not transgress [your pledge]! May you be my helpers so that [my experience of] excellent bliss may increase all-encompassingly (sarvd- kdratayd)\"

lv "O Vajraheruka! Guard the pledge! Be present to me as Heruka! Be firm for me! Be very glad for me! Be very abundant for me! Love me deeply! Grant me all sid- dhi! And in all actions, make my intention better!. . .(laughter). . .O blessed one, Vajraheruka! Do not desert me! Be a Heruka, great samaya being!. . ." This invo- cation of Heruka is an adaptation from the more frequent invocation of Vajrasattva, also found in Vajravarahl texts (e.g., SM218 p. 430).



298 VAJRAVARAHISADHANA

iti. tatah om yogasuddhah sarvadharmah yogasuddho 'ham iti pathan kamalavartamudraya samtosya tanmudropasamharenalinganabhinayam lqt^anamikangustha 385 cchotikadanapurvakam, om mur iti mantram pathan visarjya tac cakram atmani 386 pravesayet.

[§41] *atha bahyapujavidhir ucyate. pratar utthaya svadevatayogavan yogi 387 sucipradese vamahastam dattvd™ {D50V} om sumbha nisumbhetyddimantracatustayam uccdrya pancamrtasugandhddivatikayd™ {K68r} pancdmrtddyabhdve nyatamamisritayd vd gomayamisritayd vd madhya 390 vartulam trikonam mandalam krtva

tanmadhyavasthita 391 rakta<padma 392 >karnikayam hrdayanirgatam vamkaram avasthapya tadbijarasmibhir 393 jiianasvabhavam bhaga- vatim aniya vamkare pravesya tatparinatam bhagavatim pasyet.

[§42] *tato hrdbijavinirgatapuspadyaih sampujya

yathaw^/7/sodhita 394 vamakarena om ah hum iti mantram uccarayan puspam dadyat tad anu {N48V} hrdayopahrdayastapadais ca puspam dadyat. tad anu



385 dlingandbhinayam krtvdndmikdrigustha] conj.; dlingandbhinayendndmikdngustha- K, N; dbhinayand^ D; cf. dlingandbhinayam krtvd cchotikdm ca dattvd (GSS11 §45); dlingandbhinayapurvakam (GSS5=Finot).

386 atmani\ GSS11 codd.; cf. atmani sarvdtmand (GSS5) .

387 sucipradese-^- gomayamisritayd vd] GSS11 codd. » GSS5. (Possibly emend as per Finot: sucipradese pahcdmrtasugandhddivatikayd pancdmrtddyabhdve 'nyata- mamisritayd vd gomayamisritayd vd vamahastam dattvd om sumbha nisumbhe- tyddimantracatustayam uccdrya)

388 vamahastam dattvd] codd. GSS11; cf. hastam dattvd (GSS 5) ; samputahastam dattvd (Finot) .

389 vatikayd] K, N; vatikayo D (see Translation).

390 vd madhya] K; madhye N, D.

391 tanmadhydvasthita] em.; madhya(va)sthita K(add); madhyevasthitaN; tatma- dhyevasthita D.

392 padma] Tib. (p. 47.2: padma'i), omit codd.

393 rasmibhir] N; rasmibhi K; rasmibhi D.

394 yathdvi<dhi>sodhita] conj.; yathdvisodhita codd.; cf. yathdvidhis'odhitamadanena (§46 in apparatus & GSS5 ^§42 & «§46); but yathdsodhitamadanena (§49, & Finot p. 52).



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



299



Then reciting [the emptiness mantra]

om yogasuddhdh sarvadharmdh yogasuddho 'ham



Ivi



he should gratify [the deities] with the lotus-turning gesture (kamaldvartamudrd)}™ [then] releasing that mudra, he should make the gesture of embrace; [then] he should dismiss [them] with a snap of the thumb and fourth finger while reciting the mantra om muh, m [and finally] he should make that circle [of deities] enter into himself

[§41] Next 595 the rite of external worship is given. The yogin in union with his chosen deity should rise before sunrise (prdtah); WlVl [then] having placed his left hand on a pure spot 596 [and] having recited the set of four mantras beginning om sumbha nisumbha [§3], he should make a mandala [of] a triangle [V] with a circle inside, using a pill (vatikd)^ composed of the five nectars, fragrant powders, and so forth, or if [the full range of substances starting with] the five nectars cannot be found, [using a paste] mixed with [just] one of them, or with cow dung. [Having then traced a red lotus in the cen- ter of the mandala within the triangle V], he should install, on the pericarp of that red lotus within the mandala, a vam syllable, [which he should visualize as having] emerged from his heart. Having [then] drawn down the goddess in her wisdom form (jndnasva- bhdva) with the rays from that seed-syllable, and having made her enter into the vam syllable, he should visualize her transformed out of that [vam].

[§4 2 1 Next, having worshiped [her] with flowers [and the other tradi- tional offerings] issuing from the seed-syllable in [his] heart, he should offer a flower with his left hand that has been purified according to the [correct] method, while reciting the mantra om ah hum. Then he should also (ca) offer a flower with the heart,



lvi "All existents are pure by yoga; I am pure by yoga." ivii For kamaldvartamudrd, the lotus-turning gesture, see chapter 3. Iviii An hour and a half, or two hours, before dawn.

lix Sometimes vatikd is interchangeable for gudikd or gulikd, meaning "pill," or as here, something more paste-like.




300



[§43l



VAJRAVARAHISADHANA

smasanasthita 395 dikpaladikam tryaksarena sampujya namavidar- bhitena pujayet.

• tato vamakaravinyastanam devatanam tattat 396 sthanesu tattan- mantrena 397 vaksyamanena 398 om ha ityadina 399 puspam dadyat. <tatas tad vamakaragatapuspam astapadamantroccarana>- purvakam mandale praksipya sirasi puspanjalim baddhva vamakaragatam 400 devatacakram 401 atmani pravesayet.
  

[§44] *tato hrdayastapadamantrair anyais ca stotraih 402 stutim {K68v} ca krtva papadesanadikam dhyanajapapranidhanadikam ca krtva -

[§45] *nyunadhikavidhicchidrapuranartham sataksaramantram pathet. tad anu om yogasuddhah sarvadharma yogasuddho 'ham {D511:} iti mantrapatha 403 purvakam kamalavartamudraya samtosya tan- mudropasamharenalinganabhinayam 404 krtva cchotikam ca dattva bhumim 405 sprsan om mur iti mantrena visrjya tarn devatim atmani pravesayet. tato mandala 406 rekham lumped 40 " iti.



395 sthita] Kac; (sthita) K(del2?); omit N, D.

396 vamakaravinyastanam devatanam tattat] em.; -vinyasta nai tattatK; -vinyasta ~ ' - N; ^vinyasta (da?)ksinakare D.

397 mantrena] codd., Kpc; mantre(su)na K(del).

398 vaksyamanena] conj. Sanderson; raksamanena codd.

399 puspam-^purvakam] conj . ; puspam dadyat \ (tadargha?* tasme vamakaragat- apuspamadhupadoccarana){m%L) tad anu smasanasthitadikpalddikam tryaksarenapurvakam K; puspam dadyat tad anu smasanasthitadikpalddikam tryaksarenapurvakam N, D. Cf. GSSs/Finot in Textual Note.

400 gatam] codd., Kpc; (ga)gatamK(dd).

401 devatacakram] corr.; devatdcakramm codd.

402 stotraih] N, D; stautraih K.

403 pdtha] K, N; pdtha D.

404 samharendlingandbhinayam] corr.; samhdrend(iingand)linayam K(add2); samhdrendlinayam N; samhdrandlinayam D.

,y>S bhumim] em.; bhiimi codd. ,jo6 mandala] K, N; mandale D. ,j<>7 lumped] K, N; lumedD.




THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



^OI



[§43]



auxiliary-heart, and eight-part [mantras]. Then having worshiped the protectors of the quarters [and other inhabitants] in the cre- mation grounds with the three syllables, he should worship them by uttering their name followed by a single recitation of the three- syllabled mantra (namavidarbhitena).™

Next, [according to the method of the hand worship to be described below, §46], 598 he should offer a flower to the deities placed on his left hand in their respective positions with their respective mantras om ha, etc., 1 * which I shall state presently. <Then (tatas)> having thrown onto the mandala <that flower in [his] left hand> with (purvakam) <the recitation of the eight-part mantra>, he should form the flower gesture of offering at his head, [and then] he should cause the circle of deities on his left hand to enter into himself.

[§44] Next, having performed a praise [ritual] with the heart and eight- part mantras and with other verses of praise, he should perform [the "bodhisattva preparations," namely, the sevenfold worship] starting with the confession of faults and the [brahmavihdra] med- itations, the recitation [of the emptiness mantras], and the [bodhi- sattva] vow (pranidhdnam) , lxi

[§45] [And having performed these] he should recite the hundred- syllabled mantra in order to fill out omissions or [to counteract] additions in the rite. Then, to the accompaniment (purvakam) of the mantra rectitation

om yogasuddhah sarvadharmdh yogasuddho 'ham [xu

he should gratify [the deities] with the lotus-turning gesture (kamalavartamudra), [then] releasing that mudra, he should make the gesture of embrace, and having given a snap [of the thumb and



lx



The syllables are those of the armor (kavaca) deities and are thus a means of pro- tecting the deities generated on the hand by armoring.

Ixi The list describes the meditations preparatory to the sadhana.

Ixii Translated as above §40.



302 VAJRAVARAHISADHANA

evam anaya 408 disa dvitiyadibhavanakramesu devatlnam pujakramah svayam uhanlyah.'



409



[§46] *atha hastapujavidhir ucyate. ganamandaladau svestadevatayukto mantri vamahastavrddhatarjjanl 410 madhyamanamikakanisthasu nakhesu satsu 411 yathakramam vajrasattvavairocanamitabhakso- bhyaratnasambhavamoghasiddhirupan suklasita 412 raktakrsna- pltasy ama 4 1 3 var nan .

{N 49 r}

• om ha, 414 nama hi, svaha hum, vausat he, hum hum ho, phat ham 415
  

iti mantran nyaset. karodare tu jhatiti nispannam raktam paiicadalakamalam {K69r} dhyatva karnikamadhye vajravarahlsvarupam raktam "om vam" iti <bijarrf XG > pasyet. purvottarapascimadaksinakonadalesu 417 yathakramam yamini 418 mohinisamcalini 419 samtrasinicandikasvarupani nilasuklapitaharitadhumradhusaravarnani -



408 evam anayd] K, N; evam mataydD.

409 svayam uhanlyah] K, N; svayam muhuniyah D.

410 hastavrddhdtarjjanl] Kpc, D; ha(stavrddhdtarjjanivdmaha)statarjjani ^K(del); hastavrddhdstarjjanW^.

411 kanisthasu nakhesu satsu] K, N; ^sa(ta)su D(correction mark). The Tibetan reads "the thumb's face" * angusthamukha (p. 48.2 mthe bo'igdong). (See Textual Note for Sanskrit parallels.)

412 sita] Kac, N; «'ta'Kpc(mg2); (Tibetan aksaras in the lower margin of K68v read sita); sita v D.; cf. suklapltaraktakrsnaharita (SM253=GSS5, i.e., omiting sita); Finot's ms. is missing here altogether.

413 pitasydma] Kac; pita v sydma K(mg3) (Tibetan aksaras on K68v6 gloss sydma as harita at the insertion mark); pitaharita N (=GSS5=SM253); pita D.

414 om ha] K, D; om hah N.

415 phat ham] K; phat 2 ham N, D.

416 bijam] GSS5 (understand dual); omitted GSS11 codd.

417 daksinakonadalesu] conj.; daksindsu konadalesu K, N; daksinesu konadalesu D; GSS5«Finot reads: purvddidigdalesu vdmdvartena yathakramam. Tib p. 48.4: shar phyogs dang I byangphyogs dang I nub phyogs dang I Iho phyogs dang I me mtshams kyi 'dab ma rnams la "in the petals of the east, north, west, south, and fire direction (me mtshams) [i.e. southeast]."

418 ydmini] K, N; yogini D.

419 samcdlini] K, N; samcdriniD.




THE VAJRAVARAHI SADHANA OF UMAPATIDEVA



303



fourth finger (§40)], he should dismiss [them] with the mantra om muh, [uttered] while touching the ground, [and then] make that goddess enter into himself. Then [finally] he should erase the out- line (rekha) of the mandala.



Along the same lines (evam anayd disd), he should infer for him- self the sequence of worship for the deities in the second, [third], and [fourth] meditation stages.

[§46] And now 599 the rite of hand worship (hastapujd) is explained. The mantrin, who is unified with his chosen deity in the festive mandala (ganamandala) {xni and so forth, should place the mantras on the six [places of his hand, namely]: the thumb, first finger, middle fin- ger, fourth finger, and little finger of the left hand [and] on the [tips of their] nails, 600 in sequence, in the form of [the buddhas] Vajra- sattva, Vairocana, Amitabha, Aksobhya, Ratnasambhava, [and] Amoghasiddhi, with the colors [pure] white (sukla), white (sita), red, black, yellow, and dark [green] :

om ha, nama hi, svdhd hum, vausat he, hum hum ho, phat ham hlv

But in the hollow of the palm, having meditatively produced (nispannam. . .dhydtvd) a red five-petalled lotus all at once, he should see at the center of its pericarp the red <syllable(s)> om vam as Vajravarahi. In the eastern, northern, western, southern, <and> [southeastern] corner petals accordingly, he should see the syllables



lxiii The term ganamandala is parallel to ganacakra, the gathering of those who meet on the occassion of a tantric feast.

lxiv These are the Cakrasamvara male armor (kavaca) syllables that appear with many minor variants in the texts (and are represented iconographically in the Mongo- lian icons). See Textual Notes for details.



3°4



[§47l



[§4«]



421



425



VAJRAVARAHISADHANA

ham yom, hrim mom, hrem hrim, hum hum, 420 phat phat

iti bijani pasyet. etatkarasthabijaksarapratibimbam tricakram vadhah karaprsthe 422 parisphuvam pasyet.

t423 tatah karagatani sakala 424 bijaksarani {D51V} dravadravyena mraksayitva karatalam sarvayoginlbhir adhisthitam dhyatva tad- dravadidravyam* tryaksarenastapadamantrena va dadyat.

• tatah sampujya nyunadhikavidhicchidrapuranartham 426 sataksaramantram pathitva vajrayoginya adhisthanartham 427
  

devyah pramanam samayah pramanam I (cf. v. 68)



r^428



ityadinadhyesya tatkaragatadravyam aparadravye patre va 4 sthapayitva, hasta 429 lagnena dravyena vamanamikagrhitena hrjjihvasiramsi hum ah om ity {K69V} uccarya mraksayams tad- devatavrndam atmani pravistam adhimunced iti. esa tu vidhih samcaratantrokto 430 boddhavyah.



420 hum hum] codd.; hum hum Tib.

421 tricakram] codd. GSS11; cf. trayacakram (GSS5=SM253).

422 karaprsthe] GSS11; cf. karaprsthe pi (GSS5=Finot).

423 tatah karagatdn -* adhimuhcet] added GSS5 («SM253); omit GSSn

424 sakala] K, N; kara D.

425 dravadravyena] conj.; yathavidhis'odhitamadanena codd.; cf. dravadravyena (GSS5); dravadravyena (SM253 ed.); upadravadravyena (SM253 mss. AC); dravadravydni (Finot, who mistakenly records SM253 as reading: dravasravyena); Tib. p. 48-6 dag par hyaspai myos byed"whh the intoxicant that purifies."

426 nyunddhika] K, N; nyund'purana**D.

427 vajrayoginya adhi] conj.; vajrayoginyddhi codd.

428 aparadravye pdtre vd] conj.; aparadravyapdtre wzcodd.; cf. aparadravye nyatra va (GSS5); aparasmin dravye 'nyatra vd (Finot, SM253), Tib. (p. 49.1).

429 hasta] K, N; haste D.

430 tantrokto] K; tantroktd N, D. (Tib. omits esa tu -> boddhavyah.)



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA 305

hdmyom, hrim mom, hrem hrim, hum hum, phat phat

in the form of [the remaining five armor goddesses], Yamini, MohinI, SamcalinI, SamtrasinI, [and] Candika, blue, white, yel- low, green, and smoky gray in color.

On the back of his (etat) hand, underneath, he should see very clearly the mirror image of these seed-syllables on [the palm of] his hand, or alternatively, the three circles [of the mandala, with their mantra deities].

[§47] < lxv > Then he should smear with liquid ingredient [s] (drava- dravyena) all the seed-syllables in his hand, [and] having contem- plated the palm of his hand as presided over by all the yogims, 1 ™ he should offer these liquids and other substances [that he has smeared onto his hand] (taddravadidravyam) with the three syl- lables or with the eight-part mantra.

[§48] Then, having worshiped [the deities] [and] having recited the hun- dred-syllabled mantra in order to make good any defects of defi- ciency or excess in the rites, he should entreat [the goddesses] in order that Vajrayogini [may] preside, with the [verse] beginning:



The goddesses are the authority, the samaya is the auth ity... (v. 67)



or-



He should [then] place the substance on his hand into the other offering substance[s] or into [another] vessel. [Then,] smearing [himself] with the liquid [still] stuck to his hand — which has been dabbed (grhita) by the left fourth finger onto the heart, tongue, and head — [while] pronouncing the syllables hum ah om, he should



lxv



Ixvi



An additional sentence is added here in GSS5, cited in the Textual Note: "Next, he should be convinced that the elements earth, water, fire, wind, and space, hav- ing the nature of [the goddesses] Patani, MaranI, Akarsani, Nartesvari, [and] Padmajvalini, are on his hand."

The parallel texts read: "...being convinced that the palm of his hand has the nature of the three [mandala] circles presided over by all the yoginls." (See Tex- tual Note.)



306



VAJRAVARAHISADHANA



[§49] *athava 431 purvoktavidhisodhitavamakarasyanamikaya 432 {N49V} yatha<^/W/;/>sodhita 433 madanena 434 sahitaya trikonam vamavartena bhumau mandalakam 433 krtva tanmadhye hrdayavinirgatabijanispannam vajravarahim astasmasanaso- bhitam drstva etasyai pancamrtadirupena nispaditam khadyadikam 436 tryaksarenastapadamantrena va 437 dhaukayitva padmabhandadigatadravyam amrtayitam madanam vrddhanamikabhyam grhitva bhagavatlm tryaksaramantrahrday- opahrdayastapadamantraih samtarpayet. smasanadevatas 438 tryaksarena tarpayet.

[§50] t evam sampujya nyunadhikavidhicchidrapuranartham sataksara- mantram pathitva {D52r} devatadhisthanartham purvavad adhyesya ca <om> yogasuddhah sarvadharma yogasuddho 'ham iti pathan kamalavartamudraya samtosya

• mudropasamharenalinganabhinayapurvakam tricchotikabhir om mur iti visrjya devatam atmani 439 pravesayet. {K701:} tato bhumigatamadanam vamanamikaya 440 grhitva hrjjihvasiramsi hum ah om ity uccarya mraksayet. karagatam api devatacakram atmani pravistam avalokayed iti.
  

43i
432

433
434



435
436

437
438

439
440



athavd] codd. GSSn; cf. atha {SMz^)\yadvd{GS^ Finot).

dndmikayd] conj.; dndmikd codd.

yathdvidhisodhita] conj.; yathdsodhita codd.; cf. §41 with apparatus.

madanena] K, N; madanene D (madanenal madanam occurs sevaral times in the

text [see §49, cf. GSS5 K32V-331:] and is therefore left unemended; probably

madanam is a mistake for madand rather than madah or madyah.)

mandalakam] K, N; mandalam D.

nispaditam khadyadikam] conj.; nispddita khadyadikam K, N; nispdditakam D.

va] conj.; (^>"K(del. of kx.o v>); praN, D.

devatds] conj.; devatam codd.

devatam atmani] conj.; devatdtmani codd.; cf. devatim atmani (§45).

madanam vdmdndmikayd] K, D; (dhra)danam (pya)mdndmikayd N(faint).



THE VAJRAVARAHl SADHANA OF UMAPATIDEVA



307



•:



have the firm conviction that the mass of deities on that [hand] has entered into himself. Know that this ritual is that which has been taught in the [Yoginijsamcdra Tantra.



601



[§49] Alternatively, with the fourth finger of his left hand, which has been purified according to the rite described above using wine made pure according to the [correct] rite, he should trace (krtvd) on the ground, in a counterclockwise direction, a triangular mandala (mandalakam). GQ2 [Then,] in the center of that [triangle], he should see Vajravarahi produced from the seed-syllable emanated from his heart, beautified by the eight cremation grounds [around her]. [Then] he should offer to this [goddess] food and so on that has been generated in the form of the five nectars and so on, with [the recitation of either] the three syllables or the eight-part mantra. [Then,] having taken, with the fourth finger and thumb, the sub- stance in the skull bowl or other vessel (?) (ddi), [that is,] the wine that has been turned into nectar, he should gratify the goddess [with it], with [the simultaneous recitation of] the three-syllabled mantra, the heart and auxiliary-heart, and eight-part mantras. He should satisfy the deities in the cremation grounds [i.e., the pro- tectors of the quarters] with the three syllables.

[§50] Having worshiped [her] thus, he should [first] recite the hundred- syllabled mantra in order to make good any defects of deficiency or excess in the rites, and [then], having prayed [to the goddess] as before for the deities to preside (devatddhisthdna)^ he should grat- ify [her] with the lotus turning gesture (kamaldvartamudrd), [while] reciting the [emptiness] mantra:

om yogasuddhdh sarvadharmdh yogasuddho 'ham***"



lxvii Presumably he prays as above, with the verse beginning, "The goddesses

authority etc." (v. 67)
lxviii Translated as above §40.



are



the



i



J I



.442



3<D g VAJRAVARAHlSADHANA

evam anaya 441 disa dvitlyadibhavanakramesu svasvamantrair devatah 443 pujayed iti.



[§51] *tad anu sukiahumkaraparinatasuklavajrajihvam 444 1 daksinahas- tasruvetarahutih t 445 svanabhikamale {N5or} karnikavyavasthitam jvalamalakulam devim juhuyad it/^adhyatmahomavidhih.

[§52] * tad anu -

om ah ucchistavajradhitisthemam 447 balim hum hum hum phat svaha,

iti mantrenocchista^/iw adhisthdpayet i4s bahir gatveti.



441 evam anaya] Kpc; evamm v (an)aya K(add); evamm - N; evammasa D.

442 svasvamantrair] K; svasvamantra N, D.

443 devatah] D; devatyah K, N.

444 jihvam] conj. ; jihvd codd.

445 sruvetard] con.; sruvetardK; (chu?)vatardN; s'ruvatardD.

446 juhuyad ity] corr. ; juhuyad iti K; juhuyadi N ; juhuyat iti D .

447 ucchistavajradhitisthemam] conj.; utsistavajradhisthemam codd.

448 occhistabalim adhisthapayet] conj.; otsistabalir adhi(ti-)sthed K(unfinished) ; otsistabalir adhisthedN; atsistabalir adhisthadD. (See Textual Note.)



[§JI]



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 309

He should [then] dismiss [ the goddess] first b withdraw A

ttnTh 7^Tf 3nd makIng the «««™ <* embrace § [and thenj by [g,vmg] three snaps [of the thumb and fourth finger Un] w.th (ttt) [the syllables] om muh. He should [then] make Tt god dess enter into himself. B

Next having taken the wine on the ground [used for tracing the mandala] on the fourth finger of the left hand, he should smear [i t] onto his heart tongue, and head uttering hum ah om. He should also vsuahze the assembly ofdeit.es on his hand entering himself.

In the -me way he should worship the deifies in the second and Me thud and fourth] meditation stages, usmg the mantras of

Next, [the practioner] should make oblations to the goddess [who

s vtsuahzed] standing (vyavasthita) on the pericarp on the lotus in

hts own navel, engulfed m flames, [and] with a white vajra tongue,

whtch he has vtsualized] transformed from the white syllable turn

ladle (sruvah)^ and [Lalana as] hrs lefi hand holdtng the obLon [vessel] (ahunh); his navel [at the Avadhiiti] is the fire pit™ t This is the rite of internal oblation. '



[§52] Nex[



omah uechistavajrddhitmhemam halim hum hum hum phat



svaha



-with this ^mantra he should go outside and make [the deity of leftovers, Ucchistavajra], preside over the leftover ball



Ixi



IX



lxx



e«° r ::;^; ,a :: (l8 f f nes r 4 *- " a smdi w °° den ^ <** • « 

extreme, or two oval collateral excavations, used for pouring clarified melted >:ZZt 8C ' adle " Smk; S ° metimeS ak ° ^ d ^-d She £

"Om ah Ucchistavajra, preside [over] this ball..."



3io



VAJRAVARAHISADHANA

• idanim praguddistam^ smasanam ucyate -
  

pracyam udicyam varunanvitayam yamesvarayam dis'i vai smasanam I candograndmdtba ca 450 gahvaram ca

• karankakakhyam ca subhlsanam ca I (70)
  

esu s'mas'anesu 451 s'irisabodhl 452 kankelicutau kramato drumah syuh 453 I indrah kubero 454 varuno yamas' ca I pracyadikone patayo 455 'nubodhyah I (71)

s'rivasukis taksakasamjnakas' ca karkotapadmav iha santi nagah I meghas tv ami garjitaghurnitau ca 456 ghoras tathavartakas'abdavacyah I (72)



{K 7 ov}

{D 5 2V}



Is'anavaisVanarajatudhana 457 - prabhafijananam 458 atha konakesu I catursu catvary atibhisanani 459 kramac chmas'anani vasanty amuni I (73)



449 prdguddistam] ?co n j . ; prdguddista codd .

450 ndmdtha ca] conj.; ndtham dtha ca codd. s'mas'anesu] conj.; s'masdne codd. s'irisabodhl^ K; sirisabodhiN; s'irisabodhiD.

drumah syuh] em.; drumd (syu)h K(unclear); drumds ca N; drumah D. kubero] K; kubera N; kuberau D. kone patayo] conj.; ko(ne)sthdyatayo K(de\); kosthdyata(py?)oN; (kd?)sthdyatayo D .

456 garjitaghurnitau ca] Kpc; garji(taghurni)tdu ca K(add2); garjita ca Kac; garjitd caN, D.

vaisvdnarajdtudhdna-] em.(unmetric); ~ (jdjtudhdnah K, D(corr. mark); vais'vanala - ydt tu dhdne N. jandndm] K, D;jandpramN.
atibhisanani] conj.; atibhisanesu codd.



451
452

453
454
455



457

458
459



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 311

[Cremation Grounds]

Now the cremation grounds are taught, as indicated above [v. 16].

(70) In the eastern, northern, western, [and] southern direction are the cremation grounds Candogra, Gahvara, Karankaka, and Subhisana. lxxi

(71) In these cremation grounds there are the trees Sirisa, Bodhi, Kankeli (As'oka), and Cuta, respectively. Know that Indra, Kubera, Varuna, and Yama are the lords [dwelling] in the "area" (? kone) 1 ™ 1 of the east, [north, west, and south].



(72) Vasuki, Taksaka, Karkota, and Padma are the serpents (ndgas) here. The clouds are Garjita and Ghurnita, Ghora, and Avartaka. 1 **" 1

(73) Then in the four intermediate points belonging to Is'ana (Siva, NE), VaisVanara (Agni, SE), Jatudhana (Nairrti, SW), and Prabhanjana (Vayu, NW) dwell these very terrifying crema- tion grounds, in order:



lxxi "Fierce/Formidable" (Candogra, east); "Deep/Impenetrable" (Gahvara, north);

"[Place] with bones" (Karankaka, west); "Very Frightening" (Subhisana, south), lxxii (?) kone cannot here mean "intermediate point" or "corner(s)," but must be "part"

or "area" encompassed by the cardinal directions, or possibly the corner of each

cremation ground,
lxxiii "Thundered" (Vgarj: to thunder, roar), "Rolled" (Vghiirn: to roll, shake), "Awful

Cry" (Vghur: to frighten with cries), Avartaka, "Thunder Cloud" (personified).



312



VAJRAVARAHlSADHANA

attattahasadhvanivacyam ekam laksmlvanam nama tatha dvitiyam I ghorandhakaram ca yatharthanama kilaravakhyam 460 kila sabdapurvam 461 I (74)



,462



vrksah kramena trivatah karanjah 4 srlmallataparkatir arjunas ca I Isanavaisvanaraj atudhana- 463 prabhanjanan konapatin 464 pratihi I (75)

nagas 465 tu padmo mahata visisto hulur dvir uktah kulikas 466 ca samkhah eko ghano 467 dvau prapurana^vzrsau candas caturtho 469 jaladah 470 syur ete I {76)



{N50



idam vidhayopacitam madiyam punyam saraccandramaricigauram I tenahatasesavikalpadosah
srivajradevipadavim labhantam 471 I (77)



< 472 >



srivajravarahlsadhanam samaptam. krtir iyam panditama- hopadhyayasn-umapatidevapadanam iti. {K711-}



460 vakhyam] em.; vdkhyaK; vakhya(m)N {del?), D.

461 kila sabdapurvam] Kpc; kila sabda w (purvam) K(add2); kila sabda N; sabda

D.

462 trivatah karanjah] K; trivataka karanja N; trivatah karahja D.

463 j atudhana] K; (ja)tudhdneN, D(corr. mark).

464 prabhanjanan konapatin] K; prabhanjanana konapatina N; prabhahjandna konayatina D.

465 nagas] em.; nagas codd.

466 kulikas'] ?em.; kulisas codd.; (Kulika is given in SUT ch. 17, v. 40c! and Smasanavidhi v. 17; also in HT texts.)

467 ghano] em.; ghane K; ghana N.

468 prapurdna] codd.; prapurana SUT ch. 17, v. 42c.

469 candas caturtho] Kpc; candas catu(lya)rtho K(del); catulyatho N, D.

470 jaladah] em.; jaladd codd.

471 labhantam] K; labhanteN, labhante-D.

472 />/' sriguhyasamayatantre] D; omit K, N.



THE VAJRAVARAHI SADHANA OF UMAPATIDEVA 313

(74) First is Attattahasa, 1 *™ Laksmivana is second, [then] the appropriately named Ghorandhakara (Terrible Darkness), and [finally] Kilakilarava. lxxv

(75) The trees, in order, are the Trivata (Triple Banyan), Karanja, the glorious creeper Parkati, and Arjuna. Know Isana (Siva), Vais'vanara (Agni), Jatudhana (Naimi), and Prabhanjana (Vayu) as the lords of the intermediate directions.

(76) The ndgas are Mahapadma, 1 *™ Huluhulu, Kulika, and Sankha. These are the clouds [in the intermediate directions] : Ghana; Prapurana (or: Prapurana), m Varsa, and Canda as the fourth. 1 *™ 1

{yy) Having composed this [sadhana] , I have accumulated merit that is as fair as the rays of the autumn moon. By it may [all beings], with the entire faults of conceptualization destroyed, attain the state (padavi) of the glorious vajra goddess (vajradevi)l

Here ends the sadhana of the glorious Vajravarahi.

It was written by Pandita Mahopadhyaya lxxviii Umapatideva.



Ixxiv Literally, "denoted by the name Attattahasa" {attatta is the sound of boisterous

laughter especially associated with Siva), lxxv Boisterous Laughter (Attattahasa, NE), Fortune Forest or Spring of Splendor or

Abundant Wealth (PLaksmivana, SE), Terrible Darkness (Ghorandhakara, SW),

and Kila-kila Clamor (Kilakilarava, NW). lxxvi Literally, "Padma is distinguished by his 'greatness'" (i.e., because of the word

maha).
lxxvii Cloud Mass (Ghana, NE), Very Old/Very Full (Prapurana/Prapurana, SE), Rain

(Varsa, SW), Deluge Cloud (Canda, NW). Ixxviii Pandita (scholar) and Mahopddhydya (great teacher) are academic titles.



Conventions, Abbreviations, and Symbols



Conventions in the Translation



commentary



endnotes (n.)



English text



footnotes (fn.)
italics



mantras



Translation of terse Sanskrit passages dealing with the analysis of terms tends to be generous. The trans- lation of the term under discussion is given in dou- ble quotation marks, with its Sanskrit original appearing beside it in parentheses. If the author pro- vides an additional gloss of the Sanskrit word, this will be contained within parentheses with the sym- bol > showing that it is a gloss, thus: "Awareness"

(smrtih > smaranam) means

Endnotes provide additional comment on the trans- lation where necessary, although the main discussion of the text is found in chapter 3. Square brackets [ ] enclose material that is additional to the Sanskrit text, e.g., -ddi ("beginning with," "and so on") is often filled out with the intended or implied referents.

Footnotes translate terms and names not given in the main text of the translation.

English words in italics indicate that the text, or an emendation to the text, is uncertain at this point. Some untranslated Sanskrit terms are also in italics. Mantras and seed-syllables are supplied in lowercase in italics. Where necessary, a summary translation is supplied in the footnotes, omitting seed-syllables and onomatopoeic syllables, and aiming to represent the lack of syntax.



315



3 i6



VAJRAYOGINI



Sanskrit text



proper names Where a name seems to be an attempt to commu-

nicate the nature of a deity, a loose translation is given, using English compounds or phrases that reproduce the sometimes ambiguous compounding of the Sanskrit.

prose paragraphs [§] The numbering and arrangement of prose para- graphs (§) is editorial.

Sanskrit text in parentheses indicates the word or pas- sage translated, either because the translation needs clarification because the word is polyvalent, or because the translation is loose. Nouns in parenthe- ses usually appear with their nominative inflections. Numbering of verses is editorial. Daggers enclose text that the editor judges corrupt but cannot emend.

A double dagger in the text refers to the Textual Notes covering linguistic points, problems, and parallels.



verse (v.)

t t

• 
  

Abbreviations and Symbols in the Sanskrit Text



§ [e.g., §i]
v., w.

t
{}

< >



t t

- or v or

bold

italics



Prose portions of text are numbered editorially. Verse numbers are added editorially. A double dagger indicates that there is a note in the Textual Notes on the associated word or passage. Braces contain new folio numbers for each ms., e.g.,

{d 39 v}

Angle brackets indicate text added editorially to the Sanskrit text or contain text added by a second hand in the manuscripts (as indicated). Daggers enclose letter(s) that the editor judges cor- rupt but cannot emend.

Indicate the missing heavy, light, or optionally weighted syllables respectively in a hypometrical verse, e.g., tathdgatdn — vyavalokya samyak. A syllable in bold indicates faulty meter that is left unemended.

Words in italics indicate that the text, or an emen- dation to the text, is uncertain at this point.




CONVENTIONS, ABBREVIATIONS, AND SYMBOLS



317



punctuation



Punctuation is used only where the Sanskrit requires elucidation, e.g., a comma may be used where a full stop (dandah) is inappropriate, but where the silent omission of the danda would be confusing. Hyphens are used for word breaks, to introduce quotes, or for some recitation passages.



Abbreviations and Symbols in the Apparatus



2LC



add/add2



cf.



codd.

conj./conj. X
corr.
corr. mark

D

dam.

del/deh

ditto.

ed.X

em. /em. X
f., ff.
haplo.



hyp



er.



"Before correction" (ante correcturam), e.g., kdkdsya- kddydh] Kpc; kdkdsyodydh Kac. Added in the manuscript on the same line/added by a second hand on the same line, e.g., iddnlm (idam) Kpc(add2).

Identifies allusions to testimonia for comparison, either identical (=) or similar («), that throw light upon the text, e.g., a paraphrase of its subject mat- ter or a passage in the same or another text sup- porting the editor's choice of reading. The manuscripts K, N, and D (codices). "I have conjectured. "/"X has conjectured." "I have corrected."

Correction mark of three dots over an aksara (found only in ms. D).

Devanagari paper ms. (ff. 39r3~52v8). Damaged text.

Deletion of letters in the manuscript by the first hand, or by a second hand, e.g., sthd(nam) K(del2). The reading in the manuscript is due to the scribal error of dittography.
Edition by X.

"I have emended"/ "X has emended." Folio, folios.

The reading in the manuscript is due to the scribal error of haplography.

A line of verse is hypermetrical, e.g.,... snap itah sarvatathdgatdm is shown in the apparatus, sarva- tathdgatdh] corr. (hyper.); sarvatathdgatds codd.



3 i8



VAJRAYOGINI



hypo.

K

meta.

metri causa
mg/mgi

ms./mss.
N
omit. X



syncop.
Tib.

unmetric.

v

X-*Y



x



§ [e.g., §i]



]



(x)



A line of verse is hypometrical.

Kutila Newari palmleaf ms. (ff. 5^4-7111).

The reading in the manuscript is due to the scribal

error of metathesis.

"For the sake of the meter."

Text is placed in the margin by the first hand/by a

second hand, e.g., (sam)kalpa K(mg2).

Manuscript/manuscripts.

Newari paper ms. (ff. 36V7-50V2).

Omitted by X.

"After correction" (post correctionem), e.g., sthdnam]

Kpc; stha(nam) K(add2).

folio recto.

A line of verse is syncopated.

Tibetan translation of Vajravarahisadhana by Uma-

patidatta. Toh 1581/Ota 2292, N (T) 292.

The reading or suggested emendation is unmetrical.

folio verso.

Used inclusively to indicate a passage of text, "from

X to Y," e.g., pratitya-* allkam, "The passage start- ing pratitya and ending alikam." A syllable in bold indicates faulty meter that is left unemended.

Prose portions of text, numbered for cross reference. The square bracket encloses the lemma, presented as the accepted reading.

All letters prior to or following ° in the lemma are as they appear in the edited text. (The symbol is not reused for the variant readings or where the lemma is clear.)

A tilda in the variant readings indicates the contin- uation of text as in the lemma, e.g., hantrim kuruta] K; hantim - N; hantl kuru D (where tilda indicates "kuruta" in N).

In a variant, parentheses enclose the letters that are described beside the, e.g., na(bha)stbdsK{mgi) means that bha has been added in K's margin by a second hand; mantredya(va)tK(2idd) means the aksara "va has been inserted into the line of text in K.



CONVENTIONS, ABBREVIATIONS, AND SYMBOLS



319



(xO



x-



- (e.g., -7-)







In a variant, the letter x is uncertain in the manu- script.

In a variant, the letter x is an unfinished aksara in the manuscript.

A hyphen above the line indicates a marked omis- sion in the text, e.g., ya ~ .

A hyphen on the line indicates an unmarked omis- sion in the text of approximately one aksara. The estimated number of aksaras that the lacuna repre- sents will be given for larger gaps, e.g., vama -7- N Illegible syllables in the text are indicated by asterisks.

Omission marker in the text. Decoration in the text.



Other Editors

Finot L. Finot {Cakrasamvarabalividhi ed. 1934).

Isaacson Dr. Harunaga Isaacson (personal communication).

Meisezahl R. O. Meisezahl {Geist und Ikonographie, 1980).

Sanderson Professor Alexis Sanderson (personal communication)

Tsuda S. Tsuda (The Samvarodaya Tantra: Selected Chapters, 1974).



Silent Editorial Standardizations



The text has been regularized in the following respects:

1. Final m > m.

2. Homorganic nasals in external sandhi of m > m.

3. Seed-syllables are shown without external sandhi.

4. Avagrahas have been added.

5. Consonants after r, frequently doubled in the mss., are single.

6. Double ts before v (e.g., tattva, bodhisattvd) where the scribes regu- larly write a single consonant (tatva, °satva).

7. Dandas are not shown, unless significant to the accepted reading or suggestive of the cause of corruption in a variant reading.



320



VAJRAYOGINl



8. Numbered repetitions of mantra syllables within a mantra are written out in full, e.g., hum 2 > hum hum.



Scribal variations in these matters have not been recorded unless they are significant.




Plate i: Vajravarahl tangka. Central Tibet, twelfth-thirteenth century. Courtesy of Anna Maria Rossi and Fabio Rossi.




Plate z: Red Dakini. Khara Khoto, twelfth-thirteenth century. The State Hermitage Museum, St. Petersburg.




Plate 3: Blue Dakinl (Nairatmya?) . Khara Khoto, twelfth-thirteenth century.

The State Hermitage Museum, St. Petersburg.




i-urrri



Plate 4: Vajravararu (Tib.: rDo rje phag mo).

Tibet, fifteenth century. Gilt copper, fit. 41.5 cm.

Photo by Ulrich von Schroeder.




Plate 5: MaricI (Tib.: 'Od zer can ma).

Tibet, c. 1700. Gilt copper, ht. 13.8 cm,

Photo by Ulrich von Schroeder.




Plate 6: Animal -headed Vajrayoginl. Tibet, nineteenth century. Painted clay. Courtesy of the British Museum (0Ai948.7-16.24).




Plate 7: Vajrayogini, Naro-khechari. Eastern Tibet, eighteenth century. From the collection of the Shelley and Donald Rubin Foundation.






Plate 8: Vajravarahl tangka (with detail of Severed-head Vajrayogini) Nepal, fourteenth century. John and Berthe Ford Collection.




Plate 9: Severed-head Vajrayogini (Chinnamasta/Chinnamunda) tangka. Tibet/Nepal, c. 1900. Linden Museums, Stuttgart.



^^^^^»^




■■■■■■^—i»«M— lil**^.WN«ltilli

• ■ I
  

«"5'*e , '^\



c





e




h^ai

• ■>-* -v ?-rr
  

Plate 10: Painted Mongolian woodblocks. Tibet, c. 1850. Ethnographic Museum of the University of Zurich.




Plate n: Tangka of Cakrasamvata in union with Vajrav Khara Khoto, twelfth- thirteenth century. The State Hetmitage Museum, St. Petersbutg.




Plate 12: Tangka of Cakrasamvara Mandala. Central Tibet, c. 1100. Private Collection, Photograph by John Bigelow Tavk*

Photograph © 1998 the Metropolitan Museum of Art




Plate 14: Tangka of "Vajrayogini in Kechara

Tibet, eighteenth century. Collection of Tibet House, New York.



lse.



Y>




Plate Tyi Tangka of the cosmos according to the Abhidharmakom,

Tibet. Ethnographic Museum of the University of Ziirich,

inventory number 13560 (92.5cm x 60cm).




V



flip



i§§iffe







I




Sa*£








1*6*18* i
Ills







o




tt;



Plate 16: Palm leaves from kutilaNtwari manuscript (K) of the Guhyasamayasddhanamdld

Nepal, twelfth-thirteenth century. Copyright Bodleian Library, University of Oxford (rns. Sanskc, 15 (R)).



Manuscript Sources



The Manuscripts of the Guhyasamayasadhanamala (GSS)

Ms. K Oxford, Bodleian Library. Ms. Sansk c. 16 (R). No. 1455 (Winter- nitz and Keith 1905). Palm-leaf, cataloged as probably fourteenth century, although it may date from as early as the twelfth or thirteenth centuries (Sanderson 1995: personal communication). The last folio is numbered f 147. The script is kutila-newdri. 1 K is the oldest and most reliable witness for the collection of sadhanas, written in a clear, bold hand. Due to the derivative nature of the later manuscripts, citations from the GSS in the footnotes to the Edition are from manuscript K only, unless other manu- scripts contribute to the sense (significant variants alone are recorded).

Each sadhana in K has a short colophon, but K does not provide an over- all title to the collection as a whole. The last work in the series is the Ddkiniguhyasamayasddhana (GSS46), which seems to have given its title to the collection as a whole in a later manuscript (D). The Bodleian catalog calls the collection the Sddhanamdld Tantra. The sadhanas themselves are not numbered (the scribe leaves a small gap between them), and the num- bering of the GSS collection (GSS1-GSS46) is thus entirely editorial.

There are fifteen missing folios (ff. 96-100, and ff. 29-38 inclusive). Four highly damaged folios in a second hand have been placed at the bottom of the pile of leaves, and these may contain some of the missing passages of text. Most palm leaves have been reduced around the edges, and some are a little split, although this rarely impedes legibility. Most folios have cor- rections written in by either the first or a second hand, some with evidence of several hands, such as the addition of the mantra syllables to be extracted with a mantroddhdra (e.g., f. 52r-v, GSS10). Red sindiira powder appears

1 The term kutila (curved) was coined by Bendall; Sankrtyayana calls it "circular"

(vartula) (Biihnemann 1994: 21).



322 VAJRAYOGINI

on a number of leaves. Tibetan script is found in some of the margins, often bearing the colophon to a sadhana. 2 The foliation is problematic. I found the folios of the manuscript out of sequence, a confusion that has been transferred to the photographs of the Bodleian microfilm (Reel No. SF. Or. 2584). I have now corrected the sequence of the folios and have the following observations to make on the foliation (and misfoliation) of the

collection:

1) The original foliation probably occurred after the text was first copied, because some folio numbers are not in text sequence, and because the hand of the first foliator may be different from that of the main scribe.

2) At some stage, the sequence of the leaves was disordered, and the orig- inal foliation was tampered with by a second foliator without reference to the sequence of the Sanskrit text. This gave rise to the following

problems:

• There is a folio without a number containing the middle portion of GSS2. I have numbered this folio V (o.r. and o.v.).

• The colophon Vajravarahisadhanam appears twice in the collection (GSS2 and GSS11). The two leaves containing the folios were placed together, the second colophon (for GSS11 on f. 70) being placed before the first (for GSS2 on f. 11). The folio number on the former was altered from 70 to 10, to accord with its new position prior to folio 11.

. The missing folios 96 through 99 were "replaced" with folios from the bottom of the pile (belonging to GSS46), and the numbers on these folios altered to read 96, 97, 9^> 99> regardless of the actual text. (Folio 100 remains missing.)

• Folio 102 was misplaced under 128 and corrected to read 129.

• Folio 80 was upside down and found following folio 70. It was num- bered by a second foliator after it had been put upside down since the numeral appears on the recto.

• The number 139 was altered to 129 by a second foliator who didn't real- ize there were folios missing following folio 128.



Folios bearing Tibetan script: folio ii recto and verso, 279V, 4r, nr-v, I3r, 14V, z8r-v, 2 9 r, 3 ir, 39 r, 4 or, 4 3v, 45^ 53v, 6 4 r, 66v, 6 7 r, 6 7 r, 70acv, 7ir, 7™, 74V> 75 v- 7 6r, 8ir, 8iv, 8 3 r/v, 8 4 r, 8 5 r, 8 7 r, 88r-v, 9 ir, 9 zv, 94 r, 95V, ioir, io 4 v, 1051:, io6v, 107V, io8r, io8v, nzr, 115V, n8r, nov, iziv, izir, 1231:, I2 4 r, 125V, 1x71, 128, i3 9 acv, 1401:, i 4 3acv, I44acv, I45acr, i45acv, 147V.




MANUSCRIPT SOURCES 323

Because the Bodleian microfilm has photographed the folios out of sequence, and without a logical progression of recto and verso, I describe them here in text sequence (* = my foliation):

folio *i Perhaps a leaf reused by a second scribe, as it contains two center holes (all other leaves have one center hole), and on both sides looks as if it once contained writing that has now faded or been washed off. On one side is a faint om and hum, and possibly a smudged vam. Two items of a list also appear in the top right corner, possibly a continu- ation of the "index" from the folio beneath (folio *ii). On the other side is a s'loka saluting the Buddha, Lokanatha, and Vajrasattva, deli- cately written, perhaps in the first hand but corrupt/illegible.

folio *ii This leaf is discolored and may have suffered damage from water. It also appears to have been reused by the current scribe; its contents are smudged and faded. The side bearing the Bodleian stamp holds a list of numbered sadhanas (a few titles are legible). This list is contin- ued on the reverse of the leaf, which also contains some Tibetan script (and possibly on folio *i).

folio 2jgr Also discolored, as by water, with evidence of older writing underneath. A few lines on the left contain a salutation to the Bud- dha, Dharma, and Sahgha. A numbered list on the right contains a leg- ible list of the ten knowledges (dasajndna).

folio 279V GSSi(i) — the first side of GSSi.

folio 2jir-v, or 2jpr-v GSSi(2)-GSSi(3). The leaf is slightly discolored with the number added by a different hand, as the last numeral 1 or 9 (?) is not like those of the other foliators.

folio 80 (upside down) GSSi(4). The numbered side contains the earlier text, and the unnumbered side contains the later text. The leaf was upside down when the curvaceous numerals were added by a second foliator. I found the leaf following folio 70. An ink smudge approximately one inch across on the lower left happened once the leaf was upside down and ran through several leaves, but it doesn't obscure the text.

folio 4r GSSi(6)-GSS2(i) and folio 4V GSS2(2). Ink stain continues.

folio *o.r-v: GSS2(3)-GSS2(4). Ink stain continues.

folios iir-6pv GSS2(5)-GSSn. These folios appear in the correct numer- ical sequence until folio 70ac/iopc (GSS11).

folio yoacl folio iopc I found this leaf located before folio 11 and erro- neously renumbered 10. It contains the colophon for GSS11 (Vajravdrdhisddhana), which has the same colophon as GSS2. It was



324 VAJRAYOGINl

mistakenly inserted before the colophon page of GSS2 (f. 11) and given the new number (f. 10).
folios 71-95V The folios are in their correct sequence. Folio 95V contains the incomplete colophon to GSS27.

folios 96-100 Missing folios of text containing at least one sadhana. The next available text is the bali mantra and colophon for GSS28, which appear on f. ioir. A second foliator took folios from the bottom of the pile of leaves (i.e., from GSS46) and "replaced" the missing folios 96-99 (but not f. 100). He then refoliated these folios to read accord- ingly (96, 97, 98, and 99). This botched arrangement appears on the Bodleian microfilm.

folio ioir End of GSS28 to the start of GSS29.

folio loiacl folio I2ppc GSS29 continues. I found this folio placed under f. 128 and refoliated to read 129. It appears like this on the Bodleian microfilm.

folios 103-28 Folios in correct sequence.

folios 129-38 Ten lost folios in GSS44. N recognizes the lacuna (N91V1: parihrtadasa. atrapi trutitam asti. sya°)\ D inserts nonsense (D94V4: parihrtadasdmagdka syd°).

folio i39ac/folio i2(?)9pc The verso contains the end of GSS44 and the start of GSS45. The original number 139 was altered to 129 by a scribe who didn't realize there were folios missing following folio 128.

folio 140 Start of GSS46. The folios for this sadhana were found scattered throughout the collection, as shown above, and refoliated by a misguided second foliator. This is how they remain in the Bodleian microfilm. 3

3 I have reconstituted the sequence of folios for GSS46 following the sequence of

the text (and corrected the order of the folios in the Bodleian manuscript), as fol- lows: f. nor-v: GSS46(i)-GSS46(2) -* f. I290?pc/i4iac recto: GSS 46(3) (on micro- film found below f. I02v) -» f. I290?pc/i4iac verso: GSS46U) (on microfilm found above i39rac) -*• f. 98pc/i42ac recto: GSS46(<>) (on microfilm found following 97^pc) -* f. 98pc/i42ac verso: GSS46(6) (on microfilm found following 99rpc) -» f. 43pc/i43ac recto: GSS46(7) (on microfilm found under f. 141V) -> f. 43pc/i43*c verso: GSS46(8) (on microfilm found mysteriously at the start of the collection above GSSi) -* f. 99pc/i44ac recto: GSS46(9) (on microfilm following f. 142*);
-* f. 99pc/i44ac verso: GSS46 (10) (on microfilm preceding f. ioir) -» f. 97pc/i45 ac recto: GSS46(n) (on microfilm following i46ac/ p6vpc) -* f. 97pc/i45* c verso: GSS46(i2) (on microfilm above i42acr/98rpc) -» f. 96pc/i46ac recto: GSS46(i3) (on microfilm beneath 95V) -> f. 96pc/i46ac verso: GSS^6(\^ (on microfilm after f. 95V, as if *f. 96) -*• f. 147 recto: GSS46(i5) (on microfilm found following f. 140V) -> f. 147 verso: GSS46(i6) (on microfilm found preceding 1431:).




MANUSCRIPT SOURCES 325

Ms. N IASWR MBB 1972 I-140. Nepali, paper. N.S. 1038 (=1918 c.e.). 98 folios. Newdri script. (Manuscript ^f of Sarnath edition of Abhisamaya- manjari) A faint, delicately written manuscript, difficult to read but fairly correct. There is one leaf missing containing the end of GSS7 and the start of GSS8 (f. 29, with marginal note on f. 28: atra dvipatrakhanditaii) . There is no collective title for the series of sadhanas. Following the colophon to the last sadhana (f. 98r4: iti sriddkiniguhyasamayasddhanam samdptarri), a second colophon states the year, month, and day of completion, and names the scribe as Nilavajra. On the first leaf (recto) there are four lists, a namaskdra with four verses, and an illegible colophon. The four lists are the ten knowledges (as in K), the ten paramitds, the ten dhdtus, and the ten kayos. The text of GSSi begins on f. iv, which also contains an attractive line drawing of two-armed ardhaparyanka-pose Vajravarahi trampling a single prone corpse, her hog's head clearly visible. The IASWR supplies a handwritten list of contents, with the sadhanas numbered 1 through 40. There are some mistakes in this handwritten index, and the numbering differs from that given editorially to K (GSS1-GSS46). 4

Ms. D IASWR Guhyasamayatantra MBB-II-126. Paper. Twentieth cen- tury. Although copied clearly and in good condition, the manuscript is the most corrupt and suffers from a large number of scribal errors. It omits GSS8 (sri-Vajravdrdhigopyahomavidhi) y the sadhana for which the first portion is lost in N due to a missing folio. Like N, it also omits GSS28, the sadhana for which the early folios are lost in K. This manuscript supplies an indi- vidual colophon to each sadhana that records the name of an overall title for the collection, namely, the sri-Guhyasamayatantra (e.g., iti sriguhya- samayatantre srivajravdrdhisddhanam samdptam). This is a title drawn from the final sadhana in the collection (GSS46). This last colophon contains both the name of the final sadhana (Ddkiniguhyasamayasddhanamdldtantra-



The handwritten index is incorrect in the following respects: (i) GSS7 is incom- plete, and the leaf containing its colophon (f. 29) is missing; (2) The s'ri- Vajravdrdhisddhana by Umapatideva (GSS11) is not recorded in this list, although appearing on ff. 36V-50V in the ms; (3) The Vidyddharikramabhdvand (GSS22) is not recorded as a separate work (see appendix); (4) the final bali mantra and colophon to the missing Vajrayoginisddhana GSS28 are omitted in N, which leaves no trace of this sadhana in the collection; (5) there is no record in the index of GSS40, the commentarial passage upon GSSi, although this appears in the ms. (ff. 87-88); (6) there is no record in the index of Vajravdrdhikalpa (GSS41), although this appears in the ms. with colophon (ff. 88—89).



326 VAJRAYOGINI

raja), and the overall name for the collection, Guhyasamayasddhanamdld- tantrardja?

Tibetan (Tib.) The Tibetan translation of sri-Vajravdrdhisddhana by "Umapatidatta" (GSSn). Toh 1581/Ota 2292, N (T) 292. (Bodleian refer- ence: Tibetan blockbooks a. 68 vol. 24, pp. 32-49). The colophon states that the sadhana was translated by Vaglsvaragupta with Lotsawa Chos-rab, and was composed by "One who has the lineage of the instructions of Virupa, sri-Umapatidatta" (p. 49.7). The translation omits many of the prose expo- sitions that interrupt the verses in the Sanskrit, also the Abhidharmika glosses on the body mandala and the final verses describing the cremation grounds. 6 It may therefore represent an older version of the text. It is cited here where it helps clarify the Sanskrit text, but minor variations from the Sanskrit text are not recorded. (My thanks to Dr. Peter Alan Roberts, Professor Sander- son, and Dr. Isaacson for helping me record the Tibetan variants.)



Textual Transmission

The three manuscripts, K, N, and D, are closely related. N is derivative of K. It shares the same colophons (different from those in D), and where K has been corrected or enlarged by text in the margins, N often incorporates the correction or the marginal text into itself 7 In places N does not incor- porate a marginal gloss, suggesting that, on those occasions, the transmis-

5 Dioiv: samdpto yam ddkiniguhyasamayasddhanamdldtantrardjeti. vipravamsairi- vajrdcdryajlvaratnena guhyasamayasddhanamdldtantrardja<m> likhitam, subham bhiiydt. • ratnena] corr.; ratnenena D.

6 The Tibetan translation includes the following Sanskrit text: (omits om) "Homage to Bhagavan Vajrayogini," w. 1-4, (omits §1), w. 5-7, (omits v.8§), w. 8-12, §2, w. 13-15, (omits §3— §5), w. 16-25, (omits §6), v. 26, (omits §7), v. 27, (omits tatrdyam sekamantrah -»• v.27§, §8), w. 28-34, (omits §9), v. 35, (omits prathamo bhdvandkramah.-^ atha), §i6-§22, §23-§29 (omits all exegetical glosses of doc- trinal terms; see Textual Note for details), v. 42, §30, v. 43-53, (omits v. 54), w. 55-56, (omits §31), §32-§34, (omits §34 etac ca gurilpadesdd boddhavyam -* darsi- tam), w. 57-61 (omits om <bum> dm . . .), w. 62-66, §36, (omits v. 68), §37-§4°> (omits §48 esa tu -*■ boddhavyah), §49 athavd-* kamalavartamudrayd samtosya (omits mudrop >asamh >drend c '-» §51 juhuydd ity) , §51 adhydtmahomavidhih -* bahir gatveti, (omits iddmm...w. 70—76), v. 77.

7 E.g., ebhir] Kac; ebhi v (vi)rK{mgi), N(mgi); evirD. cf. candrdrkabija] Kac; candrdrka(vahni) Kpc(add), N, D. cf. also the text of v. 68.




MANUSCRIPT SOURCES 327

$ion occurred before the latter was added in K. 8 N tidies the text of K on some occassions, as when it admits that the text of sadhana GSS28 is lost, and omits the final ball mantra and colophon that remain in K (N91V1). Occasionally, it provides the correct reading where K fails. It does not descend directly from K, for it appears to rely upon an intermediary that on occasion is more correct 9 and on others, more problematic. 10

Manuscript D is also very close to K and N, but introduces many more errors. The scribe may have been copying from the newdrl script, since on many occasions he misreads a short vowel for a long. 11 D is more closely derivative of N, and shares many of its errors. 12 However, it also blurs the text of N, as when it fails to record lacunae carefully marked in N. 13 D sometimes seems to rely on a transmission closer to K, or produces a dif- ferent reading altogether, thereby suggesting that it is not N's direct descen- dant, and/or that it also had access to other sources, and/or that it innovates. 14 This may be illustrated by two points:

• There is a problem in N produced by a missing folio (f. 29). This loses the end of GSS7 including the colophon (in K: vajravdrdhyd dvddasa- bhujdydh sddhanam) and the start of GSS8. At this point, D ascribes a dif- ferent (corrupt) colophon to GSS7 (oddiydnapithddisthitadevisddhanam) and omits GSS8 altogether. If it was reliant solely upon N after f. 29 had

8 E.g., garjitaghurnitau ca] Kpc; garji(taghurni)tdu ca K(add2); garjitd ca Kac; gar- jitdcaN, D. Note that N also omits the mantra syllables that have been included in the margins to reveal the result of mantroddhdra in GSS10.

9 E.g., mantrapathat] N; mantrapdt K; mantred yd(va)t D(add). cf. purvddidiksu] N; purvddiksu K, D.; pddas] N, D; pddas K. cf. diksu] N; diksuh K, D; upasthdpakam] conj.; upasthdnamyakam K, D; upasthdnayakam N .

10 E.g., abhyullasan] K; -6- san N; satD (no gap or marked omission in D); dadhato nabhahsthdn] em.; dadhato nasthdsKac, D; ~na(bha)sthdsKpc(mgi); dadbatd nah sthds N; vlryam uktam] K; vlryendriyam ukta - N, virya(m?) indriyam ukta D; dharma] em.; pradharma K; pra ~ rmma N, pratidharma D.

11 E-g-> vindsdc] N; vindsdcK; vindsayaD; asydgamasydyam] K, N; esydgamasyoyam D; bhutdi[ K, N; bhutdte D. See also Insignificant Variants.

12. E.g., dddhiye] K; dddiyeN, D; punar] K, (su?)narN; su na D (marked faulty); ebhir] Kac; ebhi v (vi)rK.(mgi), N(mgi); evirD.

13 E.g., kila sabdapurvam] Kpc; kila sabda v (purvam) K(add2); kila sabda N;

sabda D.

14 E-g-> jandndm] K, D; jandpram N; vlryam uktam] K; vlryendriyam ukta - N, vlrya(m?) indriyam ukta D; vighnavrndam] K; vpidam N; vighnavrndakam D; catvdra] D; catvdriK, N. cf. yamadamstrinl] K, N; yamadustrl D; daksinesu] D; daksindsu K, N.



328



VAJRAYOGINl



been lost, it would not have been able to finish GSS7. It seems at this point to draw upon another source that attributes a different colophon to GSS7. The subsequent omission of GSS8 is also suspicious, as the start of this sadhana is lacking in N. • As stated above, D employs different colophons for each sadhana attributing each to the Guhyasamayatantra, its overall title for the whole collection; perhaps a late innovation.



Editorial Policy



Except in the edition to GSS11, K is the only manuscript cited in the foot- notes to this book, unless the other manuscripts afford important contri- butions to the sense. Variants from the various (late) manuscripts relied upon in the Sarnath Edition (Sed) of Abhisamayamanjari (GSS5) af e not given, where clear readings from K exist.



Textual Notes



' + >",



The Textual Notes (* in Edition) attempt to clarify linguistic problems and remark on textual matters. Parallel text for the ritual portion of the sadhana, from §41 to §52, is reported in full from the Abhisamayamanjari (GSS5) and

• Vidhisamgraha (Finot 1934); see chapter 3 for details.
  

v.i Verse numbers: All verse numbers are editorial. The meter is upajati (w. i-35> ^7 y 70-77) with some verse citations in anustubh (v. 8§; v. 27§; w. 36-67; v. 68§) and malinliy. 69).

v.i vikramasena: Umapatideva addresses Vikramasena in his benedictory verse. Proper nouns in a benedictory verse would normally be those of the deity or the guru. Although "Vikramasena" may be the name of an unknown Buddhist preceptor, it is famously the name of the industrious and pious brahmanical king whose exploits are recounted in the Kathasarit- sagara. If it were "King Vikramasena" who was addressed, it would suggest that our author is teaching — indeed, converting — the king. This epic-type frame story is not found in sadhana literature, and a "conversion" would be antithetical to the esoteric, initiation-based systems fundamental to tantric sadhanas. However, there is some doubt as to whether Umapatideva was himself an ordained monk, and it is just possible that the naming of a lay personage may have some significance. The Tibetan text is unconvinc- ing; it attempts a literal translation of Vikramasena, rendering vikramasena yatnat" Tor the benefit (*artha)ot the one(s) having the section (sde = *sena) offeree (rnampargnonpa = *vikrama) n (p. 32.3: rnam par gnon pa'i sde Idan don du), indicating that the work is written for the sake of a student who may have asked him to compose the sadhana. Another possibility would be that the text is a corruption of the logical kramena, a reading that would accord with the careful divisions of the sadhana into meditation stages (bhdvanakramah).



329



330 VAJRAYOGINI

§i Omitted in the Tibetan translation.

§3— §5 tatrami te mantrah -» vajrakildkotaya hum phad hi: Omitted in the Tibetan translation.

§3 grihna: The orthography here is variable. K uses grihna; N and D both use the more correct grhna. These mantras in the Varahyabhyudayatantra (after v. 30) read long vowels in hum (rather than hum).

§4 <vajraprdkarandn>\ Umapatideva's text is ambiguous here, since with- out this conjectural addition it is not clear what exactly is projected into the four directions. The nearest available object is the "mantras" in the previous sentence. In contrast, the Abhisamayamanjari (GSS5 Sed p. 129 14 , Ki7v-i8r, cited above: . . . caturo vajraprdkdrdn) states unambigously that it is the walls that are projected into the directions (the adjectives that describe their color and size are the same as those used by Umapatideva). Umapatideva's prior verse description of the visualization also prescribes the erection of four vajra walls (v. I4d: vajraprdkdrandmnah) . I therefore insert this object into the prose text at §4.

§5 om gha gha ghdtaya: GST ch. 14 also reads ghdtaya rather than ghdtaya (Matsunaga 1978: 69): om gha gha ghdtaya ghdtaya sarvadustdn phat kllaya kilaya sarvapdpdn phat hum hum hum vajrakilaya vajradhara djndpayati kdyavdkcittavajram kilaya hum phat. (Note that Candrakirti glosses the syallables gha gha as vocatives, PU p. 158: ghdtakety dmantranam) The plu- ral genetive sarvavighndndm in our mantra (§5) is attested by the Pindikrtasadhana (facsimile edition in Mimaki and Tomabechi 1994 p. 2* ms. A f.2v, p. 31* ms. B f.2r-v). Both the "staking" and "hammering" mantras are found in the Varahyabhyudayatantra: (after v. 30 and v. 31), with some corruptions and variants.

v.i6a panjardntar: As in v. 13 and also in v. 35, the Tibetan text reads "wall" (ra ba) for panjara: "The cremation grounds are (gnas = -stha/sthita) within that very wall (ra ba de nyidf (Tib p. 34.1: ra ba de nyid nang na dur khrodyang dag gnas). The reading with panjara (Sanskrit mss.) rather than *prdkdrah (ra ba) is supported by two passages elsewhere in GSS11: (a) "within the canopy" (panjardntar) appears here in contrast to the pre- ceding passage that begins "outside the canopy..." (paiijardd bahih.- yamadddhyddicatasro devih pasyet); (b) the alternative method of generation



■if**



TEXTUAL NOTES 331

supplied below also reads "within the canopy" (GSS11 v.35: tatpanjardn- tah...devim vibhdvayed va) , although here the Tibetan again reads ra ba. Other Vajrayoginl/Samvara sources also read panjara, e.g., GSS5 (Sed p. 130 15 , Ki9n): vajrapanjaramadhye dharmadhdtusvabhdvdm dharmodaydm ekdrdm upari visdldm adhah suksmdm vicintya; SUT ch. 17, v. 36ab: vajra- panjaramadhye tu smasdndstakabhusitam. However, the reading with prdkdra is also found, cf. YRM on HT 1. 3. 16: vajraprdkdrdsv antare ghordstasmasdndni tanmadhye kutdgdrodare viharati.

v.i8a nihsrtya bljodbhavarasmijdldt: The Tibetan has instead "countless" dpag med (* ameya, aparimita, aprameya, etc.). Tib p. 34.3: sa bon las byung 'odzer dpag med 'phrospayis I skye bo ma lus byang chub snoddu mdzad 'gyur bas, "Countless light rays that have radiated from the seed-syllable trans- form all beings into vessels (snod < bhdjana, etc.) of enlightenment."

v.i8cd tatraiva bije hi-^vai: The Tibetan text has (p. 34.3): slaryangsa bon de nyid las ni rnal 'byor mas I ma lus pa mams 'dus par yang dag bsgom bya 0. "Again (slar yang) meditate (bsgom bya 0) correctly (yang dag) that the yogini(s) {rnal 'byor mas, instrumental) from (las) that very (de nyid) seed- syllable (sa bon) gathers in Cduspar) everything (ma lus pa rnams)" Sander- son (1998: personal communication) suggests that the feminine °buddhddikdm would explain the Tibetan's "yogini."

v.i9a candrdrkabljaprabhavdm trinetrdm: The earlier reading (with bija) is a reference to the third stage of the series of awakenings (pancdbhisam- bodhikramah) that has just been described (from w. 16-18) and therefore seems likelier than the corrected text reading vahni (probably inserted because it suggests the yogic symbolism of the three eyes as moon, sun, and fire; see ch. 3). The Tibetan supports °bija (p. 34.4: sa bon).

v. 2ocd savajrasavyetara — > dustavrnddm: A literal translation of the Tibetan reads "[Her] other-than-left [hand, i.e., * savyetaral* vdmetara] is together with a chopper [shaped] like a leaf; through pointing made at the ground, the hosts of the angry [ones] are defeated." (Tib. p. 34.5): gyonpa las gzhan gri gug dang bcas shing lo 'dra I sdigs mdzub sa gzhir mdzad pas sdangpai tshogs rnams joms. The Tibetan strongly supports Sanderson's conjecture in the first half of v. 20c, sa- (dang bcas) -vajrasavyetara . However, Sander- son states that he sees no metrical solution to the second half of the c-pdda. He notes that the word prasrtih means the palm of the hand when the



332



VAJRAYOGINl



fingers are contracted (Amarakosa 2.85c: 152), as when it is holding some- thing — here, the vajra. (The Tibetan has "chopper" rather than vajra, which is interesting because the texts of the GSS prescribe a vajra for warrior- stance Vajravarahl and a chopper for ardhavaryarika-pose Vajravarahl and VajrayoginI, an iconographical distinction that seems to be lost in Tibetan sources; see ch. 3).

Sanderson also points out that the reading bhutarjani 'at the start of v. 2od (supported by the Sanskrit mss.) is consistent with the Tibetan, which indicates the gesture to the ground (mdzub sa gzhir mdzad pas), and also with the Sanskrit, which clearly specifies the vajra — an implement for which a bhutarjani (presumably the finger pointing threateningly to the ground) is entirely appropriate.

§6 ami te san mantrah: This prose paragraph is omitted in the Tibetan translation. The corruption san mudrah (for san mantrah) appears again in K when supplying mantras (below, §7), although N and D there have the variant mantra-. Other texts refer to six "mantras," e.g., GSS3 (Ki3r3): saddevatisuddhair mantrapadair bhagavatim kavacayet, but the mantra syl- lables may have been accompanied by hand gestures (mudrah), and it is just possible that the reading ° mudrah in the mss. is correct. In a corrupt pas- sage, the YSCT uses both mudra and mantra to describe the armoring in patala 7 (A4X.7, B5V): tatah kavacadvayam dtmdnam jnanacakram vibhdvitam. samayacakre pravisy(dsysa?) mudramantrena yogind. Some sadhanas supply the syllables and describe their accompanying mudras, e.g., SMi (p. 5); SM28 (pp. 68-69): tatah pancdngavinydsam mudrdbhir mantrasamhatdbhih kurydt; etc.

§7 jndnasattvapravese tu: §7 is omitted in the Tibetan text.

v.27i tatrdyam sekamantrah — »v. 27i, §8: Omitted in the Tibetan text.



v.27i "om sarvatathdgatdbhisekasamayasriye hum " iti: There seem to be two traditions in the formulation of the mantra. Our texts (of the Cakrasam- vara/Vajravarahl tradition from Luyipada) provide a single hum following the dative, °s'riye, e.g., HA (fi4r); GSS5 (Sed p. 135 5 , K22V4), SM218 (p. 429), SM251 (p. 493). Elsewhere, other syllables are found, including svahd, dh, and phat as, for example, in ADUT ch. 9 (p. 287): om sarvatathdgatd- bhisekasamayasriye svahd dh hum, with variants svdhdh hum or hum hum; cf. ADUT ch. 14 (p. 321): a hum phat svahd (with variant hum hum).



TEXTUAL NOTES



333



§8 Isaddvarjitapancamrtabhrtavamakarakapalebhyo: The reading of the mss. (°amrtabhuta) is a scribal error due to the orthographical similarity between bhii- and bhr-. The skull bowls are "full" and do not themselves "become" the nectar; cf. SM250 (p. 489): pancamrtadravapurnaih kapalair. The scribal error is found elsewhere, e.g., in Kumaracandra's^w/'/^to the KYT (p. 127): pancamrtabhutakalasairabisicyate. The reading with V bhr is well attested; see HT 1.4.2 pancamrtabhrtaih pancatathagatatmakaih kalasaih; cf. SM97 (p. 199); Ratnakarasanti's Vajratdrasadhana (SM110 p. 231); SM228 (p. 446): pascdd amrtabhrtaih kumbhair abhisicyate, etc.

v.29d akhedam evam punar eva kurydt: Sanderson's conjecture is sup- ported by the prose (§9) and the meter. He notes (1998: personal commu- nication) that the corrupt reading — the more usual way of stating the idea in prose (a ... paryantam) — may have entered the text by a substitution of an explanatory gloss for a less familiar term, the adverbial bahuvrihi, "akhedam. "

§9 Omitted in the Tibetan translation.

<iti> prathamo bhdvandkramah.-^ atha: Omitted in the Tibetan transla- tion. (The other divisions into meditation stages are noted in the Tibetan.)

§10 icchantam: The accusative present participle is correct Sanskrit, but the emendation is doubtful. The passage appears three times (§10, §13, §16), with the reading iccham in the second and third occurrences. Perhaps iccham should be preserved, taken loosely for icchantam?

The Tibetan text from mahdsukhacakrastham^>iti\y. 36ab} reads "The above [i.e., w. 36-37?] is for the benefit of one who wishes to meditate on the four skull bowls in the four intermediate directions together with Dakini, Lama, Khandaroha, and Rupini, in the east, north, west and south of Vajravarahi, who resides in [the cakra of] great bliss." (p. 36.4-5): bde ba chen po la gnaspa 7 rdo rje phag mo 7 shar dang byang dang nub dang Iho phyogs mams la gnaspa / mkha ' 'gro ma dang Id ma dang khanda ro ha dang gzugs can ma mams dangl mtshams bzhir thodpa bzhi dang bcas pa mams bsgompar 'dodpa'i don duo. At §13, the Tibetan text lists the goddess and their directions "Now Crow- face... residing on east..." and concludes:

That was said for the benefit for those wishing to meditate [on all the above] and the eight goddesses." (p. 37.5): ...danglha mo brgyad sgom par

dodpa rnams kyi don du gsungs zhespao. At §16, the Tibetan text reads:



334



VAJRAYOGINI



"Now for the purpose of completing the circle of the goddesses, three cir- cles that are like this, the mind circle, speech circle, body circle," (p. 3 8. 2 ) : da ni lha mo'i 'khor lo yongs su rdzogs par bya ba'i don du 'khor lo gsum di Ita ste I thugs kyi 'khor lo dang I gsung gi 'khor lo dang I sku V 'khor lo mams zhes bya 'o.

w.38-40 The first verse (v. 38 dakini ca tatha lama) is scriptural, found in the Yoginisamcdratantra (A3r.2, B3V.2) with the reading dakini tu.... (The scripture continues with a few words qualifying the goddesses as four- armed and one-faced, etc., and then gives a pdda similar to that cited at §11.) Luyipada also cites this verse in his HA (with ca: f 6ri), and follows it with prose (or corrupt verse) similar to w. 39-40 plus the line opening §11. The metrically correct version produced by Umapatideva may be an example of "polishing." See also GSS12 (K71V1): the z-pdda by itself as in GSSn with ca; SM225 (p. 439): dakinim tu... cited immediately below. These verses seem to form the basis for the prose exposition in GSS3 (Ki2v6) and GSS5 (Sed p. 132 16 , K20V3).

§11 vidiksu <caiva> catvaro. . . : This is another scriptural citation describ- ing the fivefold mandala. It was probably once anustubh, as reflected in the Tibetan upon which the conjecture is based (p. 36.7). A similar line appears in the YSCT (a possible source text) preserving the anustubh meter (A f.3r.2; B f3v.2): vidisena tu catvarah pancapurnakarotakam. It also appears in the SUT ch. 13, v. 28ab vidiksu ca catvaro bodhicittddibhdndakdh, which is cited in Luylpada's HA (f 6r4-5, omitting ca). Cf. SM225, in which the first pdda is that of v. 36a, followed by a hypermetrical b-pdda describing the inter- mediate petals (p. 439): dakinim tu tatha lamdm khandarohdm tu rupinim Ividikpatre tatha bhdvydh karotds catvarah sobhandh. This sadhana is repro- duced in the GSS collection (GSS12, K71V), but the first pdda appears alone without the b-pdda mentioning the skull bowls in the intermediate directions.

§12 hrdayamantra uktah The Tibetan text cites the heart mantra in full.

v.41 yatha ddkinijanasya. . . : This verse, with its unusual syntax, is attested elsewhere, e.g., the HA (f. 8r.6-8v); also in GSS44 (Ki39(ac)n) as follows:

yathd ddkinijanasya tatha kakdsyddi tu bhedatah



TEXTUAL NOTES 335

vidiksthds tu tatha devyo 15 dvau hi rilpau^ manoharau pretdsand mahaghordh sattvdrthakaranodyatdh

The latter pddas also occur in the SUT ch. 13, v. 32: vidiksthane 17 tatha devi dvau hi rupau manoharau I pretasanamahdghordh pancamudravibhusitah, and a portion of the verse in the YSCT, but with a different verse describ- ing the corpse thrones (A^, B5r): savam dkramya pddena dlidhdsanam f asram? te f.

§22-§29 atha devatdhamkdraldbhdya. . . : The opening line (devatdham- kdraldbhdya-^ °dharmdh) was probably originally intended to be metrical, as it is translated into Tibetan in four pddas within quotation marks (p. 40.1). The same list of equations between the thirty-seven bodhipdksikadharmas and the site goddesses appears in GSS5 (Sed p. I40 6 ff., K26V4-28O. These texts draw on the YSCT (Aiv6-2r, B1V7): atha saptatrimsadbodhipaksika dharma devatayogena (?) pujaniyah • ms. A may read yunjaniydh. . . and even more directly on the HA (ff. 8V3-9V5): -bodhipaksadharmadevatayoga. ...

§23~§29 The Tibetan text omits all exegetical glosses of doctrinal terms, as follows: omits tatra caturviparyasanam -* anusmrtyupasthanani bhavanti; continues tadyatha kayanusmrtyupasthanam — > rupini; omits grhitagrdhi -> tasyopasthapakam kayadyanusmrtyupasthanam; continues §24 catvdra- rddhipaddh — > mahanasa, iti; omits saddharmavisaye ^> §25 tadyatha; con- tinues sraddhendriyam viramati — > airdvati; omits tatra viryam uktam — » §26 tadyatha; continues sraddhdbalam mahdbhairavd -* subhadra ceti; omits §27 sambodhyai — > tad y atha; continues samadhisambodhyangam hayakarnd^ suvireti; omits samadhis cittaikdgratd^ §28 asydngdni yatha; continues samyagdrstir mahdbald —> vajravardhi; omits tatra buddhavdkye ~* §29 /#*/ yatha; continues anutpanndndm kusaldndm dharmdndm utpadanam yamadddhi — > yamamathani ceti, v. 42 etc.

§23 catvary anusmrtyupasthanani: The usual Abhidharmic term for this doctrinal formula is smrtyupasthdnam. Umapatideva uses the variant anu-



l 5 devyo] em.; deviK.
J 6 riipaii} em.; r#/>0 K.

l 7 Tsuda reports vidiksthane as an insecure reading, with certain mss. rendering something nearer to ours (e.g., -stham, -sthdm, -stha).



336



VAJRAYOGINl



smrtyupasthanam consistently (kdyanusmrtyupasthdna, etc.), and so I l eaV e the term unemended, although it is unattested in the mainstream Abhi- dharmic sources. It is noticeable that when Umapatideva explains the com- pound (citing Paninl), he gives it its usual form, smrtyupasthanam, and it may be that he is drawing on another source at this point. Following the Paninian passage, he returns to his previous usage, anu-smrtyupasthdnam. The addition of the prefix anu- may be a tantric peculiarity; it appears in the Vasantatilakatikd, which also glosses anu, e.g., (p. 52): tatra katamdni catvdri smrtyupasthanani? aha - kayanusmrtyupasthanam. . . ; (p. 53): tasmdd ubhayadharmarahitatvdc chunyo 'yam kdya itiya nusmrtis tasyd upa samipe cittasya sthdpanam kayanusmrtyupasthanam; cf. Vimalaprabhd vol. 2, p. 129 (the sequence of the 37 bodhipdksikadharmas is different here because the correlations with the mandala deities are different; however, the commen- tary follows the traditional sequence for the smrtyupasthanam). The form anusmrtyupasthdnam may have arisen from its similarity to the appellation of a popular Mahayana formula, the "recollections of the Buddha" (buddhdnusmrtayah). The anusmrtis are listed in Edgerton's Buddhist Hybrid Sanskrit Dictionary 1953 (buddha , dharma° y samgha , sila°, tydga , devata ); an extended version of this set in the Visuddhimagga includes kayagata . However, Edgerton notes that kayagata is usually compounded with sati rather than anussati, which makes it a distant contender as a pos- sible source of confusion with kdyasmrtyupasthana.

§23 atmagunavismaranapratipaksabhutam: Sanderson (1998: personal communication) comments that in the absence of parallels, dtmaguna is uncertain. The first syllable at- may be the survival of his conjectured -tvdt (purvdnubhutasyopasthdpak<atvdd>).

§24 saddharmavisaye. . . chandah: Sanderson (ibid.) notes that the gloss of chanda-rddhipdda given in the first sentence of this paragraph would nor- mally follow the gloss of rddhipdda supplied here in the second sentence. However, a similar structure is found below (§27), and so the text is not emended.

§27 samyag bodher-*tadyathd: Omitted in Tibetan translation. Sander- son notes that the corruption in the Sanskrit mss. (sambodhye/sabodhyemga kdrana/d) is highly suspect. It seems to be a corruption of part of the com- plete sentence that follows, which is itself corrupted by a misplaced sam (samyaksambodher. . . bodhyangani).



TEXTUAL NOTES



337



§27 °avakasam: Edgerton (1953: 69) notes that avakasam appears once as neuter.

<v.5ii> There is a verse missing in the Sanskrit mss. but present in the Tibetan text (p. 42.4), which should supply the places Saurastra and Suvarnadvipa. The goddesses at those places are Saundini and Cakra- varmini, to be placed on the body at the two thighs and two shanks, respec- tively. This pair represents the places known as the upamelaka, which are in turn equated with the acalabhumih. The missing correlations are sup- plied from other texts, e.g., SUT ch. 7, v. 13: saurastra uruyugale sonitam ca sadd vahd I suvarnadvlpe janghasthdne nddi prasvedavdhini; ADUT ch. 9 (p. 286): saum urudvaye hayagrivasaundini / sum janghdydm dkdsagarbha- cakravarmini I upamelapakah; ADUT ch. 14 (p. 320): saurdstre urudvaye saundini. suvarnadvlpe janghddvayos cakravarmini. upamelapakah. For the correlating bodhisattvabhiimi, see HA (ff. iov6-nr):. . . upameldpakadvayam. acalabhumih; ff. 6r6~7.v4; also YSCT A6V5, B9V6 cf. fifth patala A^t dam- aged, B4r3.

v.54 Omitted in the Tibetan text, and in the Sanskrit mss. N and D, the verse only is included in a marginal insertion in K63V: dasapapavinasac™ ca dasabhumisvari^ matd I dasajndnavisuddhdtmd tendpi hi dasahara. "And because [Vajravarahi] destroys the ten bad deeds she is deemed the lady of the ten [bodhisattva] stages. Her nature is purified by the ten knowledges, and therefore she removes the ten [bad deeds] (dasahara)!" The reference is to the canonical list often bad deeds" (akusalakarmas) . (The ten knowl- edges are listed in a second hand on one of the unnumbered folios at the start of K and on the first leaf in N.)

§31 bdhye pithadisu. . .: It is doubtful whether this passage belonged to the original Bhdvandkrama because it deals with the correspondences belong- ing to the male gods of the Cakrasamvara mandala. It should perhaps be dropped. In addition to its evidently corrupt state (and the divergences between ms. K and mss. N and D), it is also lacking in the Tibetan trans- lation, and there are no related lines in YSCT, HA, or edited portions of SUT. However, a similar passage appears in GSS5 (Sed p. 142 19 , K28V6): tesu pithadisu tattatsthdnagatd nddyas tattaddevatdrupena parinamayya



18 vindsac] N; vinasac K; vinasaya D.

19 is'vari] K, N; isvard D.



33 8



VAJRAYOGINI



vyavasthitd bhdvydh —yathd bdhye pithddisamipasthd nadyas toyena posanam kurvanti tadvad dehe 'pi nddyo nakhddindm posanam kurvantlti samdnatd. bdhye vajrapitham mahdbodhisamjnakam sthdnam niranjand ca nadi. dehe mahdsukhacakram vajrapitham avadhuti niranjand:



w 20



§33 om kara kara pracande hum humphat: Both /-stem and tf-stem femi- nine nouns appear in this mantra with the suffix -ye. The dative inflexion
-iyeis discussed in n. 432. All feminine proper nouns are unemended here.

§34 etac ca gurupadesdd boddhavyam^ darsitam: This is omitted in the Tibetan text. The Tibetan text transcribes all mantras with the distinction commented upon by the author here: hum humphat (as noted in the foot- notes to the edition at §12). The distinction between hum and hum that Umapatideva makes here is clearly differentiated in K, but seems to be lost in other mss. N is small and faint but seems to read hum hum. D also reads hum hum. Umapatideva's statement is also not borne out in other sources examined for this book. A scriptural parallel for the key to the mantras is cited in another GSS sadhana extracted from the ADUT, in which the mss. supply a long vowel in hum (GSS7 K43V4— 5): pranavam ndmasam- yuktam humhumphatkdrasamyutam.

v.6o dkrdntakamtrayodbhuta. . .: Sanderson (1998: personal communica- tion) notes that although our Tibetan witnessess prescribe ah, Stein records a different Tibetan tradition that supports kam (1976-77, p. 533: Puis trois tetes humaines issues de ka servent de pierres du foyer); Sanderson adds that the reading kam is supported in the Sanskrit by the Kriydsamuccaya (SP 405.1: kamjatriculikam dhydydt tadurdhva<m> prthubhdjanam d<h>kdra- bijasambhutam). Therefore, this is probably the better reading.

Our Tibetan witnesses are following a Sanskrit tradition attested by the ritual texts related to GSS11 and GSS5 (Sed p. 135 7 , K22V6): pascdd amrtdsvddanam kurydt. yamkdrena vdyumandalam tadupariramkdrajdgni- mandalam. tatra sukla-dhkdrajam suklapadmabhdjanam mundatrayakrta<m> cullikdvasthitam; also Cakrasamvarabalividhi (p. 56 11. 25-26): tatra purato yamkdrena vdyumandalam tadupari ramkdrajdgnimandalam tatra sukla- dhkdrajamunaatritayaknacullikdrudham suklapadmabhdjanam. • yam] em.; yam Finot • ram] em.; Finot ram; SM251 (p. 494): yamkdraparinatam vdyumandalam tadupari rephaparinatam agnimandalam tadupari rakta-



20 niranjana] em.; niranjanam K.




TEXTUAL NOTES 339

dhkarajampadmabhdjanam. Different syllables altogether are given in the VA om ah hum {Amrtasddhanam SP f.izov): tatrayamjavdyupari ramjdgnau d<h>kdrajasubhrdbjabhdjanam omdhhumjatrimundastha<m>.

v.6iff. omdditi-*bijdni: Omitted in the Tibetan translation. The seed-syllable for Vairocana (bum/vum) must have dropped out of the set in the Sanskrit since ten syllables are required. It is also absent from the parallel texts (GSS5 Sed p. 135 9 , K2 3 n, and Finot 1934: 57). However, it is present in other texts, e.g., GSS16 (K8ir6) and SM251 (p. 494) cited in notes to chapter 3.

§36 jvdldmudrd: The GSS mss. read jdldmudrd, along with the majority of Cakrasamvara/VajrayoginI texts. As stated (ch. 3), this is something of a hybrid between jvdld° and jdla°. The former (jvdldmudrd) is the version attested in Abhayakaragupta's Sdmvarikah Sdrvabhautikabalividhi in the VA (SP f. I23r4): laldtopari jvdldmudrdm krtvdphed iti sdtopam trir uccdrya. and is that transmitted into the Tibetan tradition. However, it appears only once in the GSS (GSS35), as shown in the (unemended) citations in notes to chapter 3.

§36 <om> anyonydnugatdh sarvadharmdh: The om is omitted in all GSS11 mss. but included in the Tibetan translation (p. 45.3). It also appears in the Cakrasamvarabalividhi (p. 57) and GSS5 (Sed p. 143 10 , K2 9 r 5 ) where the mantra is given in a slightly different form (om anyonydnugatdh sarvadharma atyantdnupravistdh sarvadharmd hum). In other texts, (e.g., GSS4) the more common mantra appears (om yogasuddhdh sarvadharmdh yogasuddho 'ham), while other <W/ rituals omit the mantra altogether (e.g., GSS31, GSS35).

§36 amrtabhdndam avasthdpya dhydtvd vd (conj.): The missing alternative verbal action is found in parallel texts cited ch. 5, e.g., GSS5 (Sed p. 143 12 , K29V1): tad amrtabhdndam avasthdpya dhydtvd vd~ Cakrasamvarabalividhi (Finot 1934: 57): tad amrtabhdndam avasthdpya dhydtvd ca; Sdmvarikah sdrvabhautikabalividhi (VA SP f.i2 3 r-v) : amrtabhdndam dropya dhydtvd vd.

§36 humbhava vajrajihvdndm: The tongue is often described as white; cf. the parallel passages in GSS5 (Sed p. 143 17 , K29V3): humbhavasukUzvajra- jihvdndm; 2 ' Cakrasamvarabalividhi (p . 57): humbhavasuklavajrarasandndm tricakradevatdndm. Other rites involving the transformation of the tongue

21 jihvdnam] em.; jihvaydnam K.



340



VAJRAYOGINl



also include the adjective, e.g., GSSn §51: s'uklahumkaraparinatasuklava- jrajihva-; GSS5 (Sed p. 145 3 , K30V3): humkaranispannam suklavajramaylm jihvam vidhaya ...; GSS5 (Sed p. 148 6 , K33V1): oms'ukla-omkaraparinatava- jrajihva-; cf. GSS5 (Sed p. 150 8 , K35r4): ahkarajasarojadalabhasvajihva- yam. . . .

v. 68 s'uktijam^ ddpayet: Inserted into the lower margin of K66v (possibly by the first hand?):

suktije 12 narikele 15 tu kurmaje kicaje 2A tatha bhukhevaricaranam ca pancamamsani ddpayet iy . 68).

"He should offer the five meats of creatures moving on the earth, in the air, and in water [i.e., animal, bird, and fish] in [a vessel] made of mother-of-pearl (suktija), coconut shell (narikela/narikera), turtle shell, and bamboo" (trans. Sanderson).

There are several problems with this verse: (1) The insertion mark is on line 3 of ms. K following pasyet (and incorporated at this point into the text of N and D). I have moved the insertion in the edition here to a more logi- cal position, following upadhaukayet on line 4. The text to be inserted actu- ally states that it belongs on line 4, so it seems that the insertion mark itself is wrong. It does not appear in the Tibetan translation. (2) The inserted text is metrical in the middle of a prose passage. (3) Its relevance is ques- tionable because it describes a different kind of vessel and seems to refer to an alternative set of lamps rather than five nectars.

§38 m vajraralli hoh -* samayas warn drsya hoh: cf. YSCT (A5r3) : om aralli hoh jah hum vam hoh vajradakinyah samayas tvam drsya hoh. evam tri~ catuhpancavaranuccarya samayadravyani. . . (dam). . . om kha kha khahi etc.; HA (f. I4r6): om aralli hoh jah hum vam hoh vajradakinyah samayas tvam drsya hoh vajranjalyorddhvavikaca? balim dadyan nisarddhake. om kha kha khahi etc.; GSS5 (Sed p. 143 19 , K29V3): om aralli hoh jah hum vam ho<h> vajradakinyah samayas tvam drsya ho<h> ity anena ekadvitricatuhpanca-



22 suktije] conj. Sanderson; suktijam K, N; muktijam D.

23 ndrikele] conj. Sanderson; ndrikelas K, N, ndrikela D.

24 kurmaje kicaje] conj. Sanderson; kurmajam kisajam codd.




TEXTUAL NOTES



341



vdroccdritena dhaukayet;F'mot (1934: 58); GSS16 (K81V4): om vajraralli hoh jah hum vam hoh vajraddkinyah samayas warn drsya hoh.

The sequence jah hum vam hoh has been discussed in chapter 3. Other elements of this mantra also appear in earlier texts, such as samayas warn, e.g., Sarvatathdgatatattvasamgraha (p. 23); Sarvadurgatiparisodhanatantra (p. 152): samayas Warn, (p. 181): drsya hoh. The mantra element vajraralli or aralli is obscure. There is no dictionary entry in Sanskrit for the word. Sanderson (1998: personal communication) has noted that aralli may be derived from Tamil and Malayalam arali meaning "oleander" (Burrow and Emeneau 1961. A Dravidian Etymological Dictionary. Oxford: entry 173), but that there are also other Dravidian possibilities, namely, Tamil aral "to be terrified" {ibid. s.v. entry 2980), and aral, "to burn," "to become angry" / arali, "fire" {ibid. s.v. entry 234); drral "power," "wisdom" {ibid. s.v. entry 239).

The word appears in compound in GSSi«GSS2, cited in full in chapter 2 (p. 53) (K28ov/ov): trikonamandalam ramyam vajrarallivinihsrtam. Here it may be equivalent to padma, and hence the term would mean: "produced from [the union of] vajra (penis) and padma (vagina)." Isaacson (1996) has shown other instances of the term, including a possibly similar usage in Mahasukhavajrapada's commentary to the Canddmahdrosanatantra, in which the lord of the mandala is said to have "arisen from the vajrdrall? (ms. NAK 3-402 NGMPP B 31/7 f. 6v2). Here its function seems to be that of the dharmodayd, as in the Samputatantra ch. 1 (p. 238): ekdrdkrtimadhye rasasyaivam yathd bhavati I trikone mandale ramye vajraralivinismrtam I dharmodayeti vikhydtam yositdm bhaga ityapiltasya madhye gatam padmam astapatram sakarnikam; cf. Vasantatilaka ch. 9, v. 6 (p. 73): vajrdrallau padmagatdni pratidaladiksuvidiksu vinirgatdni, in which the commentator does not gloss the word and the Tibetan translation transliterates. There is a group of Vajrdrallitantras in the tantric canon (e.g., the Rgi-dralli), now known only through quotations in surviving literature (Isaacson 1997: per- sonal communication; cf. Bendall 1885: 171). The "A ra //"tantras appear in Bu ston's analysis of the Tibetan canon within the Yeshes rgyud (wisdom tantras) within the Samvara (bDe mchog) groupings, that also contain the Laghusamvara and the Samvarodayatantra (see Tsuda 1974: 28 and Dawa- Samdup 1919: 7-8).

Ǥ4i GSS5 (Sed p. 145 15 , K3ir2): bdhyapujdvidhir ucyate. iha bhagavatim pujayitukdmah prdtar utthdya yathdvasaram vd vajravairocaniyogavdn mantri sucipradese hastam dattvdom sumbha nisumbhetyddimantram uccdrya



342



VAJRAYOGINl



pancdmrtasugandhddivatikayd anyatama*dravyamisritagomayavatikayd caturasramandalam upalipya tanmadhye bastam dattvd pujetyddicaturvim- Utyaksardnipithopapithddidasandmdnicatattadbhumyadhimoksapurvakam uccdrayet'. tatas tatra mandalake jhatiti caturmahdbhutasthasumerupari raktapadmasthasuryavamkdram drstvd tadrasmibhir jndnamandalam dnlya tatra pravesya tatparinatdm bhagavatim saparivdrdm sarvdkdranispanndm

pasyet. [cont. below =§42]

Cf. BahyapujdvidhiSziyzx.^^ (Finot 1934: 52). This text outlines the

ritual for the yogin in union with Cakrasamvara. GSS5 is closely related to

the Cakrasamvara text, although SasVatavajra's text is longer, describing

the preparatory acts more elaborately. There is also some difference in word

order in the following problematic passage: srisamvarayogavdn sucipradek

pancdmrtasugandhddivatikayd tadabhdvenyata[ma]dravyamisritagomaya-

vatikayd vd samyuta[m] bastam dattvd, om sumbhanisumbhetyddikam

uccdrya, caturasramandakkam upalipya, om ah vajrarekhe hum ity adhisthdya,

tanmadhye hastamdattvd pujetyddicaturvims^tyaksardnipithopapithddidasa-

bhumisvabhdvdni tattadbhumyadhimohapurvakam uccdrayet.

=§42 GSS5 cont. (Sed p. 146', K 3 ir6) (=Finot 1934: 52-53): tato hrdbijanir- gatavinddidevibhih sampujya saptaratnddini ca tannirgatdni* dhaukayitvd yathdvidhisodhitavdmakarena mandalamadhye bhagavatyai tryaksarena puspam dadydt. punas tatraiva bhagavatihrdayopahrdayamantrdbhydm. tato ddkinyddinam yamamathaniparyantandm svasvamantrena diksu vdma- 'vartena vidiksu daksindvartena yathdsthdnam mandalake puspa<m> deyam.^
=§43 17 tato 'vaksyamdnahastapujdkramena karavinyastdndm devatdndm 1 ' tattatsthdnesu tattanmantrena om ha ityddind puspam dadydt. tatas tadvdma- karagatapuspam astapadamantroccdranapurvakam mandalake praksipya s'irasy ahjalikaranapurvakam karatalagatadevatdcakram dtmani pravesayet.
=§44 tadanu hrdayddyastapadamantrastutipurvakamyathdvartitastutibhih samstutyayathdsaktipdpadesanddikamdhydnamantrajdpapranidhdnddtkam

ca vidhdya - [cont. below =§45]

»§ 45 GSS5 cont. (Sed p. 146 10 , K 3 iv6) (»Finot 1934: 53): - s'atdksaram



25
26

27



28



anyatama] corr.; anyatamdK.

tannirgatdni] em.; tannirgatddi K. .

tato vaksyamdnahastapujdkramena karavinyastdndm devatdndm] GSS5; >ata<.

karavinyastdndm devatdndm Finot. devatdndm] Finot, devatdndm ca GSS5.




TEXTUAL NOTES 343

uccdrya om yogasuddhdh sarvadharmd 19 yogasuddho 'ham iti mantrasahita- kamaldvartamudrayd samtosya mudropasamhdrendlingandbhinaya 30 purah- saram chotikdddnasahitam 31 om vajra mur iti pathan 32 visarjya tac cakram dtmani pravesayet. tato mandalarekham lumped iti. 55 [cont. below ^§46]

Ǥ46 GSS5 cont. (Sed p. 146 14 , K^zrz) (-Finot 1934: 54~56): hastapujd- vidhir ucyate. 34 tatra ganamandalddau srivajravdrdhiyogavdn yogi vdmakare vrddhdtarjanimadhyamdndmikd 3b kanisthdtannakhamukhesu 3G vajrasattva- vairocandmitdbhdksobhyaratnasambhavdmoghasiddhisvarupdn 31 yathdkramam suklasitaraktakrsnapitaharita 3% varndn om ha. 39 nama hi. 40 svdhdhum. vausat he. hum hum ho. phat hamkdrdn vinyaset. karatale jhatiti nispannam^ rakta- pancadalakamalam dhydtvd purvddidigdalesu vdmdvartena yathdkramam ydminimohinisamcdlanisamtrdsanicandikdsvarupdni nilasvetapitaharita- dhumra A1 dhusaravarndni. ham yom hrim mom hrem hrim hum hum phat phad iti bijdksardni pasyet. karnikdyam 43 vajravdrdhisvabhdvam 44 rak- tavarnam om vam iti bijam. 45 etatpratibimbam" tricakram vddhah 4 ^ karaprsthe 'pi parisphutam pasyet. [cont. below Ǥ47].

29 sarvadharmd] corr.; savadharmd K.

30 abhinaya\ em, dbhinaye K.

31 purahsaram chotikaddnasahitam] GSS5; cf. purvakam andmikayd bhumim sprsan Finot.

32 pathan] em.; path ana K.

33 tato mandalarekham lumped iti] GSS5; cf. mandalarekhapronchanadikam kurydd iti. bdhyapujdvidheh punyam samgrahddyan maydrjjitam I ' tena bhuydj jagat sarvam buddhapujdparayanam (plus colophon) Finot.

34 hastapujdvidhir ucyate] GSSy, atha hastapujdvidhir ucyate GSS11; pranamya vajravardhim yoginicakrandyikam I ' samgrhyate yathdnydyam hastapujdvidhir mayd SM253.

35 ndmikd] corr.; 'ndmikdK.

36 tannakhamukhesu] GSSy, tannakhesu SM253.

37 siddhisvarupan] GSSy, siddhisvabhdvdn SM253.

38 suklasitaraktakrmapitaharita] em.; suklapitaraktakrmaraktaharita K; suklaplta- raktakrmaharita SM253.

39 om ha GSSy, om hah Finot.

40 nama hi] GSS5; namah hi Finot.

41 nispannam] em.; nispa(nndm) K(mg2) .

42 dhumra] corr.; dhumrava K.

43 karnikdyam] GSSy, karnikdyam ca Finot.

44 svabhdvam] em.; svabhdvam K.

45 bljam] understand dual.

46 bimbam] em.; bimbdm K.

47 tricakram vddhah] corr.; tricakram vd adhah K; cakratrayam vddhah Finot.



344



VAJRAYOGINI



§46 om ha, nama hi. . . ; The form chosen here is that which follows our ms. K most closely, and which seems to represent one tradition (while our ms. N follows another in some instances). In all cases but one, GSS11 agrees with Luylpada's HA (f. 11V3): hum hum hoh. Sanderson (1994a n. 88) exam- ines the form of the kavaca syllables with reference to the Tibetan translit- erations and their description in the Cakrasamvaratantra and its Panjika, and these are found to agree with K in all instances except svdhd hum, which Sanderson reports as svdhd hu. He notes (2001: personal communi- cation) that the short vowel u (in hu) is required to fit the sequence ha, hi, <hu> he ho, ham. Sanderson adds, "These vowels (a, i, u, e,l, with the syl- lable am) are known in the Saiva technical terminology of mantrasdstra as the "five shorts" (hrasva-). They are used to form the five "face mantras" of any mulamantra, when they are substituted for the vowel of the seed- syllable (bijam). In the light of this, the presence of the syWdkAchum in our texts (in svdhd hum) "is evidently the result of a scribe's error, a substitu- tion of the common for the exceptional."

The YSCT (A4r4~5) represents a different tradition, however, and its variants are shown here in table 26, followed by variants from other texts (including mss. of SM251 and Kalffs mss. of the ADUT, pp. 286-87 and p. 301):

Table 26. Variants in Cakrasamvara armor syllables



GSSn


YSCT
ms. A/ch. 7, v.2


other variants


om ha


om hah


om hiim, om horn


nama hi


namah hih


nama hih, nama hri


svdhd hum


svdhd hum


svdhd hie


vausat he


vausat he


vausat 1 vausat hem


hum hum ho


hum hiim horn


hiim hiim ho


phat ham


phat phat ham





«§47 GSS5 cont. (Sed p.147 4 , K32V1): tatah karagatdn prthivyaptejo- vdyvdkdsadhdtun pdtanimdrani-dkarsaninartes'varipadmajvdlinisvabhdvdn adhimuncet.^ tatas tatkaragatdni bijdksardni dravadravyena® mraksayitvd



48



49



tatah-* adhimuhcet] GSS5; this appears at the start of the rite in Finot. It is omit- ted altogether in GSSn.
dravadravyena] GSS5; dravadravydni Finot.



TEXTUAL NOTES



345



tatkaratalam™ sarvayoginyadhisthitatricakrasvarupam^ adhimucya taddravadi- dravyam tryaksaramantrendstapadamantrena vddadydt. [cont. below «§48]

§47 taddravadidravyam: All the sources read taddravadidravyam. Finot (i934 : 55) emends to tatra dravadidravyam. The SM edition (p. 498) inter- prets it tad dravadidravyam. The Tibetan text implies taddravddidravya- tryaksarena, "the three syllables of that which has melted, etc." (p. 48.7: zhu ba V de nyid la sogspa 'iyigegsum). I preserve tad- in compound, as this yields some sense, although the passage as a whole includes a number of ques- tionable demonstrative pronouns in compound.

Ǥ48 GSS5 cont. (Sed p. 147 8 , K32V3): tatah sampujya nyunddhikavidhi- purandrtham satdksaram pathitvd cakrddyadhisthdndrtham 51 adhyesya taddravam aparadravye nyatra vd sthdpayitvd^ hastalagnena dravyena vdmd- ndmikdgrhitena hrjjihvdsirdmsi hum-dh-omkdroccdranapurvakam mraksayan taddevatdvrndam dtmani pravistam adhimuncet. etat tu vidhdnam samcdra- tantre^ prasiddhamP hastapujdvidhih/' 6 [cont. below Ǥ49]



^57



«§49 GSS5 cont. (Sed p. 147^, K32V5) («Finot 1934: 55-56; SM253): yadvd purvoktavidhisodhitavdmakardndmikayd pithopapithddidas'andmdny™ uccdrayan yathdvidhi sodhitamadanena trikonacakradvayam abhilikhya^ tanmadhye vartulam mandalam tatra svahrdbijanirgatdm tatkirandkrstdm vd sddhdrddheyamandaldm m bhagavatim vicintya tasyai pancdmrtddirupena



50 tatkara(talam)] K(mg); tatkara(gatam) K(del).

51 svarilpam] em.; svarupdmK.

52 cakrddyadhisthdndrtham] em.; cakrddyadhisthdnddyartham K, Finot ms. (possibly retain this reading); cakrddhisthdndd bandham Finot ed.

53 sthdpayitvd] Kpc; sthdpayet Kac.

54 tantre] em.; tantra K.

55 prasiddham] em.; pratisiddham K.

56 etat tu vidhdnam -*hastapujdvidbih.] GSS5; iti likhitd haste pujd samasya samcdra- tantrasambaddhd I smrtaye mandadhiydm api Sdsvatavajrena guruvardmndydt Finot; iti likhitd haste pujd mayd sya (etc. as Finot) SM253 (unmetric).

57 yadvd] GSS5=Finot; athavdGSSu; athaSMift.

58 pithopapithddidasandmdny] GSS5; pithopapithddisvabhdvapujetyddi caturvimsaty aksardny Finot; pithopapithadicaturvimsaty aksardny SM253.

59 abhilikhya] GSS5; abhilekhya K; alikhya Finot.

60 tatra-^sddhdrddheyamandaldm] GSS5= SM253; tatra svahrdbljanirgatam tatra kirandkrstam vd ddhdrddheyamandalam Finot; (GSS5 Sed reads vdsddhdrddheya- cakrdm).



346



VAJRAYOGINl



nispdditam khddyabhojyddikam 61 tryaksarendstapadamantrena vd dattvd padmabhdjanagatam amrtdyitam madanam vrddhdndmikdbhydm grhitvd bhagavatim svahrdayopahrdaydbhydm ddkinyddiyamamamathaniparyantds %l cayathdsvam etdsdm eva mantraih samtarpayet. [cont. below Ǥ5o]

Ǥ50 tatah sampujya nyundtirekavidhipurandrtham satdksaram pathitvd ganacakrddhisthdndrtham cddhyesya - om yogasuddhdh sarvadharmd yoga- suddho ham iti-pathan kamaldvartanamudrayd^ samtosya tanmudropasam- hdre<na> GA dlingandbhinayapurvakam andmikayd bhiimim sprsan om vajra mur iti pathitvd visarjya taccakram dtmani pravesayet. tatas tad^ bhumigata- madanam^ vdmdndmikayd grhitvd tena hrjjihvdsirdmsi hum-dh-om- kdroccdranapurvakam mraksayan, tat karagatam api devatdcakram dtmani pravistam dlokayediti hastena pujoktd. 67 [cont. below Ǥ5i]

§49 mudropasamhdrend -* §51 juhuydd ity: Omitted in the Tibetan text.

Ǥ5i GSS5 cont. (Sed p. 148 6 , K33V1): tatah f omsukla-omkdraparinata- vajrajihvdh daksinasruvenetardhutim svandbhikamalakarnikdydm avasthita- jvdldmdldkulacakresu fjuhuydt. ityadhydtmahomah sesah. [cont. below Ǥ 52]

§52 tadanu - om ah ucchistavajra. ..: The closing remark, bahir gatvd, in GSS11 is strange, and it is at this point that Umapatideva finishes his redac- tion from the source text. However, it is explained in the parallel text in GSS5, that also ends at this point (with a slightly extended text), giving an indication that the source text continues with a description of bdhyahoma rituals, as follows:



61 khadyabhojyadikam] GSS5; khadyapeyddikam Finot, SM235.

62 dakinyadiyamamathaniparyantam\ Kpc2, Finot, SM253; ddkinyddiyamadddhi- paryantds Kzc.

63 kamaldvartanamudrayd] GSS5; kamaldvarttamudrayd Finot, SM253.

64 tanmudropasamhdre<na>] GSSn; tanmudropasamhdra GSS5; tanmudropasamhdre Finot, SM253.

65 tad\ com; tata K.

66 madanam] cbrr.; madamnam K.

67 hastena pujoktd] GSS5; cakrasamvarandthasya tryasramandalavarttinah I esd has- tena pujoktd yogindm hitakarini I samgrhya (SM253: sampujya) yan maydvdptam hastapujdvidheh (SM253: vidhim) s'ubham I tena sarvejanah (SM253: sarvajandh) santu hastapujdpardyandh I ' hastapujavidhih samaptah. krtih Sdsvatavajrapdddndm iti. (SM253: Sdsvatavajrasya) Finot, SM253.



TEXTUAL NOTES 347

GSS5 cont. (Sed p.148 8 , K33V2): om ah ucchistavajra 6 * adhitisthemam balim hum svdhd. sunyatdkarunddvayatraidhdtukacakrdkdrajndnavahnau tu yathopadesam skandhddindhanadahandn niruttarahomah. sdntikapaustikddi- bdhyahomas tu homavidhau karmdnurupavihitakundakusumasamidha- sosanddikam anusrtya vidhayo vistarabhaydn na likhitah. evam tdvat pujdbalividhdnddisametam vistarena bhagavatyd bhdvandmandalam nirdistam.

iddmm-^w. 70-77: Omitted in Tibetan text.

v.70 karankakakhyam ca subhisanam ca: For the textual sources referred to here, see chapter 3. Various names are given for the western and southern cremation grounds in these sources, and there is some confusion between them. For the western cremation grounds, texts give Vajrajvalakula- karankaka, Jvalakulakarankaka, Karankaka, and Jvalakula. For the south- ern cremation grounds, they may give Subhlsana or Vibhisana, or omit Subhisana/Vibhisana altogether and split the compound for the western cremation grounds, to give Karankaka (west) and Jvalakula (south). More textual research is needed to solve the problem, which may have arisen because both jvalakula and subhlsana, > vibhisana are possible qualifications of the proper nouns that designate the cremation grounds. From the sources examined so far, the names Jvalakulakarankaka (west) and Vibhisana (south) are the most common (perhaps corroborated by the inclusion in this western cremation ground of the asoka/kankeli tree, whose flaming red flowers also suggest a motif of flame), e.g., SUT ch. 17, v. 36cd: candogram gahvaram caiva vajrajvdldkarankinam, which suggests Vajrajvala west and Karahkin south, although the text should read a dual (. . . vajrajvdldkarankini). GSS16, although corrupt, seems to cite the SUT text (i7-36cd) but, confusingly, adds Vibhisana in what may have once been an insertion or qualifying gloss (GSS16 K76V6): candogra<m> gahva- ram caiva vajrajvdldkarankakah. vibhisanam ca purvddidiksu vdmena samsthitam. GSS34 (Kii3r5) gives Jvalakula west and Karankaka south. The Adbhutasmasdndlamkdra (reported by Meisezahl 1980: 19) gives Karankakin west and Vibhisana south. Luylpada's Smasanavidhi (v. 8) gives Jvalakulakarankaka west and (v. 10) Vibhisana south. Cf. K. Gyatso (1999: 120-22). This is possibly corrupt, since the verse with the compound



68



ucchistavajra] corr.; utsistavajra K.



34 g VAJRAYOGINI

Jvalakulakarankaka actually omits the name of the protector, Varuna (v.8): pracydm pddapo 'soko jvdldkulakarankake I svetah saptaphanah pan makarasthah kapdladhrk 69



69 Finot takes the qualification "having a noose," past, in the third pdda to indicate the proper name of a god Pasin = Varuna. Meisezahl notes that this is not the reading in the Tibetan, but he still translates past as "Varuna" on the ha: ,..:■ : ! ^ Mailman's identification of the noose-bearing god Pasin as Varuna in the Mahabharata (1980: 42 n. 33).




Insignificant Variants



A variant is judged "insignificant" when it is suggestive of scribal practice or scribal error rather than a separate manuscript lineage. (Variants in proper nouns are shown in the apparatus, however, except those showing faulty declensions.)

Typical examples of insignificant variants:

In allmss.:

• scribal errors such as dittography or metathesis, e.g.,yadakdn] K, N; day akdriD (meta.)

• some omission of anusvdra or visarga, e.g., sthdnam] N; sthdna K, D

• omission of "r," e.g., sarva] N, D; sava K

• "invisible" virdma, e.g., vidadhita] N; vidadhitK, D

• some corrections to samdhi, e.g., phat] com; phad codd.

• confusion between sibilants, e.g., sarpisi] em.; sarpisi codd.

• confusion between i/I, u/u, e.g., °varahi] K, N; vdrdhi D

• lacuna, or confusion in the source-text of a ms. that makes no difference to the reading, e.g., surdbhakst] K, D; surd - bhaksi N

• intentional lacunae or decoration dividing sections of the text, eg - ®
- K; -7- N.

• additions or corrections by the first or second scribe in K that have been preserved in transmission, e.g., etasya] codd., Kpc; (e)tasya K(add2)

• regular orthographical "mistakes," e.g., nairtya (codd.) for nairrtya; datvd (codd.) for dattvd; satva- (codd.) for sattva-.

In ms. D:

• haphazard addition and omission of strokes of the aksara producing long



350 VAJRAYOGINI

vowels, e.g., asydgamasydyam] K, N; esydgamasyoyam D, or bhiitdt] K, N; bhiitdte D

• confusion between r and 1, e.g., siro°] K, N; s'ila D

• nonsense probably produced through sloppy copying, e.g., visddasya] K, N; vivyadasma D



Insignificant Variants to GSSii

v.2d abhista] K, N; abhista D; v.3b °dyutim] K, N; °dyutitD; v.4a °bhavair] N, D; °bhavaiK; v.4d catur] N, D; cata K; §1 °dsrayanam] corr.; dsrayanam K, N; dsayanam D; v.5a ftajrya] codd., Kpc; (e)tasya K(add2); v.5d samastam] corr.; samastam codd., Kpc; sa(pta)mastam K(dd); yad akdri] K, N; day akdriD (WtaJ;v.8§a caturbrahmavihdrds] N, D; catubrahmdvihdrds K; v.9a bhiitdt] K, N; bhiitdte D; v.lOa °ranam na s'akyam] K, N; ranam na sakyam D; v. 10b visddasya] K, N; vivyadasma D; v.lOd o i//rj/0 muditdm] K; wjw- N; wirj/a muditdD; v.llc °hantrim] K, N; hamtim D; v.l2ab pratitya-^alikam] K, N; pratitejatvdj (vra?)lacandratubhyam pasyad alikam D; v,12d vidadhita] N; vidadhitYi, D; §2 &zmz] N, D; azw* K; svabhdvasuddho] N, D; svarvvadhabhavasud- dho K (ditto.); sunyatd] K, N; sunyatdm D; \A3A.pasyed vitdnam] K, N; pasyad vitdna D; v.l4a *&$&«] K, N; awa/w D; v.l4b cataro nivesya] K, N; caturdm ivesya D; v. 15a kdkdsyakddydh] Kpc; kdkdsyodydh Kac; kdkdsydkddyoh N; kdkdsydkddyoh D; v. 15b />rf/yrt] K, N; />ar)/^ D; §3 mantrdh] K, N; mantrah D; sukardsyd] K, N; sukaldsyd D; §4 ^zrtw*] em.; dWa codd.; v. 17b visphuradamsujdlam] K, N; visphuratadasujdlam D; v.20b pibantim] K, N; pibantiD; v.22c ° virdjamdna] K, N; virdjamdndD; v.23d °granthi] Kac, N; gra(nthi?) Kpc2. (correction obscure); granthiD; §6 °vdrdhi] K, N; vdrdhiD; samtrdsini] em.; satrdsiniK.; v.26a mayukha] K, N; mayukha D; v.26c nabhahsthdm] em.; nabhasthdm codd.; v.26d sarpisi] em.; &wpz« codd.; v.27c °sekodaka] K, N; khebhyedaka D; §7 samaya] K, N; jawa D; §8 astdbhir yoginibhir] K, N; astdbhi yoginibhi D; v.28d piyusam] K, N; piyusam D; v.30d susuksma] K, N; susuksmya D; v.31c sampddana] K, N; sapddana D; v.34c pratyiisa] K, N;pratyusaD; §9 °dksaro] K, N; dksardD-Jhatiti] K, D;jhatatiN; nirgama] K, D; »/rga "waN; tasminn] K; tasminN, D; £/>«fo] K, N; Ar/ra&K D; v.35a fctf] em.; tata K, D; /ateA N; prathamo bhdvandkramah 1.] K; - - prathamo bhdvandkramah — N; prathamo






INSIGNIFICANT VARIANTS 35I

bhdvandkramah - - D; v.36 atha] codd., Kpc; a(tha) K(mg); °karota] K, N (syncop.); karota(ka) Dpc(add2); v.37c samadhikdm] K, N (unmetric); samadhikyamD; kurydd] N, D; kurydtdK; v.37d purnamandalam] codd. (^«a?/>.;;§10 vajravdrdhim] K, N; vajravardhiD; purvottara] K. D; purvd - ttaraN; °dbhir] K, N; aM/D; ^«/] Kpc, N, D; dakini(bhi) K(del); sahitdm] K, N; sahitdD; °devis] K; aWN, D; v.38a <ra] K, N; <:a D(add); v.38b ft/] K, N; /» Dadd; v.40c aWftvz] K, N; dustrdD; §11 raft^™] codd., Kpc; catvd(ri)ro K(del); §12 bhagavati] N; bhavatiK; bhagavati D; °vdrdhi] K, N; vdrdhiD (vajravdrdhi-^phat in] K, N read - /;D reads -/unless otherwise stated.); °»/] K; esvariN; es'variD; 'pardjite] K, N; apardjite D; ^aw] K, N; tWj/ara D; namah] N; mo K, D; />VJ N, D; />A* K; mantra] K, N; w^ftY? D; phat.] corr.; />>W /'ft codd.; 2.] K, D; - 2 -N; §13 wfoww] Kac, N, D; iddnim (idamj Kpc(add2); nairrtya] corr.; nairtyaK, N; nairtyeD; aisana] K, N; <?&»<? D; °^/>] K, N; M*>D; °dddhl] K; aW/N, D; §14 °samds] K, N; &/«*' D; savdsanatvam] K, N; savdsanatvam D; i/i&wA] K, N; vise*D; v.4le fltfftw*! em.; satod codd.; §15 svdndsye] K, N; svdndsye D; sukardsye] K, N; MardsyeD; °damstriniye] K, N damstriyeD; phat.] corr.; phad codd.; 3] K, -5-N; §16 devicakram] K; devicakraN, D; cakratraya] K, N; r^ra- mg^D; §17 °«H K, N; r^r«w D; iW/] K; zW/'N, D; pulltramalaya] K, N; puIliiamalayeD; °kramam] K, N; kramaD; °ndsd°] D; «*&K, N; nairrtya] corr.; nairtya codd.; mdlava°\ K, N; molavdD; samgrahah- K; samgrahah - 1- N; samgrahah-- D; §18 wrf/my*] em.; wrf/rtjwcodd.; ^z^/*°] K, N; w*yf«/<?D; samgrahah- K; samgrahah- - 2 -
- N; samgrahah- D; §19 /z^w] K, N; j«^ D; <&/>*] K, N; </w>* D; varminyo] codd.; ^rw//»/;«yoK(del); nairrtya] em.; /w/njwcodd.; samgrahah] K, D; samgraha. 3 N; §20 cittavdkkdya] codd.; aft^Y^%rfD(add); vibhusitds] K, N; vibhusitds D; siro°] K, N; //'/a D; §21 Wwa ] K, N; sufmaD; §22 ndsdya] K; ^a>*N, D (Wta.;; "yogato yojySi K; yogatoyo - N; yogatayo - D; />w/wr] K, (su?)narN; su na D (marked faulty); §23 sthanam] N; rfA/wi* K, D; *«*ar] K, N; ^ D; /wmafl corn; /wmfr codd.; °^;/>] K, N; kotiD; tesdm] K, N; fcraD; A "H Kpc, N, D; sthd(nam) K(addi); §24 pdddh] codd., Kpc; ^A Kac; r<M>/°] K, N; rddhiD; °chandah] codd., ^Wa^N(add); rddhi°] K, N; rddhiD; ceti] codd., f^ftj rcft Kpc(mg); §25 tat pancavidham] K, N; tat pancavidham tat pancavidham D (ditto.); viryendriyam] K, N; viryindriyam D; V^/a^ ] K, N; dayasyora D; ° kitasydrthasyd] Kpc;

• //a^rt*4;^K(add); kitasydrthasyo N , D; w«mA] K, N; D(add); /»/■
  

352 VAJRAYOGINI

prajne-] N, D; tataprajne- K; §27 sapta] K, N; saptah D; ° bodhyangam] Kpc, N, D; dhy-bodhyarigamKzc; upeksd] codd.; w/*(fe*J K(add); 0/><?te] K, N; 0/^0 D; §28 sukardsyd] K; MardsydN, D; samddhir] K, N; samddhiD; nimittam] K, N; rc/w/'fczw D; §30 r*| K, N; tow D; kd] K, N; few D; gr] K; £w N, gum D; ddydksardm] K, N; ddyoksardni D; pulliramalayddini] codd.; pulliramala(yd)dini D(mg); sirahprabhrtini] K, N; sirahprabhitini D; jdlandhare] K, N;jdlandhara D; canddksim] K, N; canddksiD; dhyeydd oddiydneK, N; dhydyddauddiydneD; mahdndsdm] corr.; mahdndsdm codd.; />#*/»] K; />/;/;* N, D; Www/'/; - ® - K (decora- tion); Www/'/; -7- N; Www/'/; no gap in D; v.45 vdme goddvari karne] K, N; vdme goddvari karnaD; virzmatim] K, N; vi(ra)matim D(add); W*r- z/jr/w] K, N; kharvariD; samsthitdm] K, N; samsthitdD; v.46 «»/a^ K, N; «»**;* D; Www/> ® - K; bhumih-y N; Www/'/; - ® - D; v.47 <£w//w] K, N; *fcw D; Www/'/; - ® - K; Www/'/; -J- N; Www/'/; - ® - D; v.48 'ndsikdgre] corr.; nds'ikdgreK, D; «aw%*N; Www/'/; - ® - K; fcii; -/- N; Www//; - D; v.49 subhadrdm] K, N; subhadrdm D; Www/'/; - ® - K; Www/'/? -7- N; Www/'/; D; v.50 ^/w] K, N; devi D; A/^%] K, N; /;/'w^ D; Www/'/;] K, N; Www/ D; ® - K; - 7 -N; v.51 pretapurydm] K, N; pretapuryd D; cakravegdm] K, N; cakravegd D; ;w] K, N; 70 D; - ® - K; -7- N; v.52 yoginim] K, N; j/0£/w D; mahdbaldm] K, N; mahdbald D; sddhumati] K, N; sddhumati D; - ® - K; -7- N; v.53 dhydyddK, N; dhydydD; v ® - K (omission mark applies to v. 54); -7-N; v.54 °visuddhdtmd] K, N; visuddhdtmdD; v.55 «**] em.; wa&codd.; v.56 °mandalam] N, D; mandalamam K; wtazw^w - K, wtazw^w -tf-N; v.57 />wi»ftl K, N; /> ^witf D; §31 &*%] K, N; bdhya D; *zW/;wY/] K, N; avadhuti D; «w/aw - K; matam -5- N; wataw - - D; §32 iddnim] N, D; wfcw/ K; bhagavati] K, N; bhagavaftD; mahdvidyesvari] K, N; mahdvidyesvari D; vasamkari] K, N; vasamkari D; stambham] codd.; sta(ni)mbhani K(dd); mahdyogim] K, N; mahdyoginiD; kdmesvari] K, N; kdmefvariD; sosaya] K, N; / W f D; kapdladhdrim] K, N; kapdladhdrini D; mahapisita ] corr.; mahdpisitaK, N; mahdpisiD; mdnusdntraprdvrtte] K, N; mdnusdncaprdvrte D; narasiro] K, N; /wrrfHro D; °ww>#] K, N; °murteD; dgramahisi] K, N; dgramahisi D; vajrasarire] K, N; vajrasarire D; mahdyogim] K, N; mahdyoginiD; hum hum] K, N; /;ww /;ww D; trailokyavindsim] K, N; trailokyavinds'iniD; satasahasra] K, N; fltfao*- tew D; /;ww /;ww] K, N; /;ww /;ww D; virddvaite] K, N; virddvaiteD; °pasumoham] K, N; pasumohaniD; vandam] K, N; vandaniD; opratyayakdrim] K, N; pratyayakdrini D; /;ww k>] K, N; /;ww /;ww D;



*• '



INSIGNIFICANT VARIANTS 353

bhutatrdsam] corr.; bhutatrds'ani K, N; bhutatrdsam D; paramasiddha-

yogesvan] K, N; paramasiddhayogesvari D; svaha K; svaha -$- N; §33

°ndse] corr.; tas'eK; suvlre] K, N; suvireD; cakravartiniye] K, N; cakravartiniD; phat- K; phat -6- N; />/w;- - D; vaksyate] K, N; ***£&«* D; asydgamasydyam] K, N; esydgamasyoyam D; *wa] K, N; rf/zto D; kdrya] K, N; kdrydD; bhdvandkramah - K; bhdvandkramah -7- N; bhdvandkramah - D; v.60a °yamkdra] K, N; jwfera D; v.64cd w'//>? K, N; w'% D; v.67b tryaksaram] K, N; tryeksaram D; v.67d tryaksaraih] K, N; tryeksaraihD; §36 foiZwi] N, D; baliK; purvakams] corr.; purvakam codd.; v.68cd <?*«] K, N; *D; grahahetu] N, D; £7»A<?*w K; §37 mantrah] K, D; 77w»*r* N; £W/w 2] K, N; (W^/v* 2 D; §38 dcamanddikam] codd., Kpc; dcam(d)nddikam K(del); §39 upadhaukayed\ codd., Kpc; upadhau(pa)kaye(*)dK(de\); mdtikramatha] codd.; md*-tikramatha¥L; prayacchantu-*mdtikramathaN(hmt); hum hum] K, N; /?ara A«w D; §40 nyunddhika] K, N; nyuvddhikaV; °vidhi] codd., Kpc; w^z'K(add); /xtf/wi] K, N; /w/A<? D; «flaw sreyah] K, N; ataz /rgwra D; yogasuddhdh] K, N; yogasuddhd D; toe] K, N; to D; pravesayet- K; pravesayet -7- N; §41 utthaya\ K, N; utsthdyaD; yogi] K, N; j/ag/D; misritayd] K, N; misritayoD; vd gomayamisritayd] codd., K(add); *»z)«] N, D; *(%* K(del); §42 puspddyaih] K, N; puspddyaisD; vdmakarena] codd., Kpc; vdm(arnn)akaremK(feY)\ hrdayopahrdayd ] K, N; hrdayo*daydD; °dikpdld°] K, N; digpdld°D; °gatam] codd., Kpc; (ga)gatam K(del); devatdcakram] corr.; devatdcakramm codd.; §45 nyunddhika] K, N; nyunddhika D; to^H codd.; /*&£*»« Kac and Kpc2; kamaldvarta] codd.; kam(d)ldvarta K(del); tow] K, N; to^D; uhaniyah-K; uhaniyah
-7-N; uhaniyah-- D; §46 /w] codd.; (jrawj /w D(correction mark); vajravdrdhi] K, N; vajravdrdhi D; °bimbam] K, N; bimbaD; °prsthe] K, N;prsthaD; §47 tryaksarendstapadamantrena] codd.; §48 Kpc (ditto.); tryaksare(ndstapadamantre)ndstapada^ K(del) ; grhitena] K, N; hrhitenaD (haplo.); §49 tanmadhye] K, N; tatmadhye D; °sobhitdm] K, N; sobhitdm D; rtagw/] K, N; yetasyai D; °rupena] K, N; rtf/wi* D; tryaksarend] K, N; tryaksarandD; tricchotikdbhir] N; tricchotikdbhi K, D; §51 *wb<£«w ^w/w] K, N; dkuld deviD; juhuydd ity] con.; juhuydd itiK; juhuyddiN; juhuydt iti D; homavidhih - K; homavidhih -5- N; homavidhih -4- D; §52 &*A/>] K; bahiN, D; gatveti- K; ^aft/*// -4- N; gatveti- D; v.71 prdcydm udicydm] K, N; /racjw w mudicydm D; dnvitdydm] K; d(nv?)itdydm N; dndhitdydm D; subhisanam] K, N; subhisanasD; v.74 konakesu] codd., Kpc #/#0.J; kona(kona)kesu K(del); <*tfwrc«] K; r^tow



354



VAJRAYOGINI



N, D; kramac chmasanani] corr.; kramat smasdnani codd.; amuni\ N; amuniK, D; v.75 attatta] K, N; ^«a«a D; °kdram] codd., Dpc; (kd)ram D(add); v.76c #*»*] codd., Kpc; *^wKac(del); (7.&>tf K(addz); vaisvdnard\ K, N; vaisvdnala D; v.77 wtfgtff *w] K; wdgtf/w /w N; «^w ^ D; hulur] K, N; /w/« D; v.78 ° marlcigauram] K, N; maricigoram D; °4&/^] K, N; dfaw/? D; samdptam - K; samdptam -5- N; samdptam D.



Appendix: Summary of Sadhanas in the Guhyasamayasddhanamdla



The following summary of the contents of the Guhyasamayasddhanamdla (GSS) provides a brief description of each sadhana and notes witnesses and publications where I am aware of them. I also give the reference to the work in BBK. A list of contents of the GSS (with citations) may also be found in Dhih I (Review of Rare Buddhist Texts, Sarnath: 7-41). For references to further discussions of the sadhanas, see the index.

gssi Vajrayoginimukhdgama (Oral Transmission ofVajrayogini) by

Indrabhiiti '
The sadhana begins with a benedictory s'loka and proceeds with the prepa- rations upon rising, including a mantra bath (mantrasndnam). The empti- ness mantras follow, and the sudden self-generation of ardhaparyarika-posz Vajravarahi at the navel. Her mantra is visualized whirling and blazing in her sex and is supplied in a mantra extraction (mantroddhdrah). This is fol- lowed by an external worship (parvapujd) and ten traditional frame verses on the topics of secrecy, transgressive discipline, Yogacara metaphysics, the success of the practice, and the guru. The bulk of this text (up to and includ- ing the mantra extraction, but excepting the concluding worship and frame- verses) is the same as the Vajravdrdhisddhana (GSS2) by Luyipada. The only commentarial text in the collection (GSS40) is a loose collection of



Witnesses: GSS K (the foliation in K is f. 279VI -» f. 2711--V -* f. 80 -» f. 4 r< , Nin-3vi, Dro-3v6; cf. GSS2; Yum skor in which Sahara is given as the author (Toh 1545, Ota 2253, BBK: 275); s'ri-Vajrayoginirahasya-kamakarnamukhamuk'-j IASWR MBB-III-13 (BBK: 282). Tokyo University Library 307 rMnuju^- tiniyojana and Other Texts"); this ms. attributes the work to Srisabarapada. \s does the Tibetan translation above.



356



VAJRAYOGINI



glosses upon Indrabhuti's text, including his parvapujd and final verses. The work probably owes its title to its emphasis upon the role of the trans- mission lineage in the opening verse (K279V1) and the concluding line (K4r4): srlvajrayoginlrahasyam karndt karnam mukhdn mukham.

GSS2 Vajravdrahisddhana by Luyipada 1

The text is nearly identical to GSSi until the end of the mantra extraction. The ritual injunctions then include a puja and the offering of transgressive substances to a two-armed, dlldha-stance Vajravarahl. The sadhana ends with the promise of siddhi, and external food offerings as the ball

GSS3 Vajravdrahisddhana by Advayavajra?

The work begins with the standard preliminaries and bodhisattva prepa- rations. Following the emptiness mantras, the cosmos is visualized with Meru and the temple palace, and the circle of protection is installed. The self-generation through the sequence of awakenings is of a two-armed, pratydlidha-stance Vajravarahl within the fivefold mandala. The following prescriptions include the entry of the knowledge circle, armoring, mantras, and a concluding ball GSS3 is almost identical to GSS31, except that the latter has an extended bali section.

GSS4 Samksiptavajravardhisddhana (Brief Vajravarahl Sadhana) by

Vildsavajra(?) A
Brief prescriptions cover the preliminaries, bodhisattva preparations, awak- enings, visualization of the cremation grounds, and the self-generation in that place of a two-armed pratydlldha-stzncc Vajravarahl. After worship, the yogin-as-goddess puts on the armor with the armoring mantras, sum-



Witnesses: GSS K (the foliation in K is f. 4^ -» f. 4V -* f. o.r-v -» f. IK-V7), N3V2-5V3, D3v6-6r7; cf. GSSi. Two authors in the GSS refer to Luyipada: (1) Sakyaraksita in the Abhisamayamahjari (GSS5 Sed p.i39 15 > K26r4; see ch. 1); and (2) Dhyayipada, who refers three times to Luyipada as the source of the teaching (GSS34 Kiiivi, Kii5r6, K116V4). Toh. / Ota. - ?

Witnesses: GSS Knv7-i3r6, N5V3-6V5, D6r7~7V4 « SM217; cf. GSS31. Yum skor (BBK: 273-74); Toh 3607, Ota 4429 (SS, BBK: 273-74, 463). Edition of the San- skrit text by Meisezahl (1967, 1980, with Tibetan text) and Finot (1934: 59-61). Witnesses: GSS Ki3r6-i4vi, N6V5-7V4, D7V4-8V4 - SM226; Jvalavali 10; Toh 3300; Ota 4122 « 5130 (SS, BBK: 465); Jvalavali 10 (BBK: 493, but erroneously recorded as SM3, instead of SM226.); cf. GSS29 « SM227. For authorship, see GSS29 below.



APPENDIX: SUMMARY OF SADHANAS 357

mons deities, and offers bait with the fe// mantra. The heart and auxiliary- heart mantras are followed by a concluding yogic meditation. See GSS29 below in this list for parallels.

GSS5 AbhisamayamanjarP (Flower Cluster of the Method of Realization)

by Sakyaraksita 6
The sadhana falls into two main parts. The first portion (K14VI-K33V5) describes the entire practice for the self-generation of the thirty-seven-fold mandala, from its preliminary prodedures to its closing rites. This includes: preliminaries, purification of speech (vaguisuddhih) and skandhas (skandha- visuddhih), bodhisattva preparations, visualization of the cosmos with Mount Meru and temple palace, circle of protection, self-generation with awakenings of two-armed alidha-stance Vajravarahi within a thirty-seven- deity mandala, armoring, entry of knowledge circle, consecration, tasting



Witnesses: GSS Ki 4 vi-39r2, N 7 v4-2 5 r6, D8v 4 -28r8. Toh. 1582. Ota. 2294. A Sarnath edition (Sed) of the text (attributed to Subhakaragupta) has been pub- lished in Dhih (no. 13 1992: 123-154), and again as a separate booklet with a Tibetan edition in the Rare Buddhist Text Series no. 11, 1993. References to the 1992 edition are given in citations in this book, but without noting variants, as our manuscript K is the oldest and most reliable witness. The Sarnath edition is based on four Sanskrit manuscripts, as follows: ^> the Guhyasamayasddhana- samgraha (Microfilm Catalog of the Buddhist Mss. Nepal 1981. p.no);^the Ddkiniguhyasamyasddhanamdldtantrardja (a photocopy of a manuscript related to our ms. D); ?r tne Guhyasamayasamgraha (our ms. N); and ^T the Abhisamaya- manjari (1ASWR, MBB11-243) described as prdcina newdri. There are many por- tions of text in GSS5 that are found in similar or identical form in other sadhanas of the GSS and SM, listed as appropriate elsewhere in this book. Mss. K, N, and D all refer to the author as Sakyaraksita (K39r2). The same colophon appears in the Nepali paper ms. (Sed ms. ^ ) but reading "Santaraksita," while the colophon to Sed (p. 154) reads "Subhakaragupta," although the source of this reading is unclear. According to BBK (p. 279), different mss. of the Tattvajndnasamsiddhi attribute the work to Santaraksita and Subhakaragupta. The antiquity of the GSS manuscript K supports the authorship of Sakyaraksita. Moreover, Sakyaraksita states that his guru was Abhayakaragupta (see ch. 1), while Subhakaragupta was a scholar associated with Jagaddala at the end of the twelfth century just before its destruction (Dutt 1962: 378), and probably too young to have been Abhayakaragupta's pupil. Similarly, Santaraksita, the famous abbot of bSam yas in the latter eighth century is too early to be associated with Abhaya- karagupta. (For the dating of Santaraksita, see Snellgrove 1987: 366 and 43off., Dowman 1985: 233, Dhih on Tattvasamgrahano. 11, pp. 146-57, including notes in Hindi upon his authorship, and accounts of his reputed guru, Virupa.)



35 g VAJRAYOGINI

of nectar, yogic meditations, mantras, alternative iconography drawn from VA (Ki6r5), correlations with the thirty-seven bodhipdksikadharmas, the body mandala (kdyamandakm), a ball rite, rituals to be undertaken at dif- ferent times, and finally, the external worship, hand worship, and internal oblation (cited in full in the Textual Notes).

The second part of the sadhana (K 33 v 5 -K 3 8r 4 ) forms a compendium of alternative manifestations of the goddess with their associated mantras and ritual applications. These include the ekavird VajravairocanI within a fivefold mandala (Oddiydnavinirgatakrama), ekavird VajravairocanI, two forms of Vaj'raghona,' rites associated with a white form of Vajravarahl (see GSS38), red warrior-stance Vajrayogini, Trikayavajrayogini, and ardhaparyanka-pose Vajravarahl. The work closes with frame statements (K 3 8r-v) in praise of transgressive discipline and the guru, and with a ded- ication of merit.

gss6 Raktavajravdrdhisddhana (Sadhana of Red Vajravarahl) 7 The GSS text opens with two sdrdulavikridita verses of homage to Vajra- varahl and to Cakrasamvara. The text following (K 3 9r 5 : athdnyam <sam>- pravaksydmi vdrdhydh sadhanottamam) is lifted, with some editing by the redactor, from the ADUT (Guhyasamayottamapatala). It describes the visu- alization of a six-armed form of Vajravarahl seated in embrace with Cakrasamvara and in the center of a thirteenfold mandala, with a retinue of eight goddesses of the petals and four goddesses at the gates. The sadhana also prescribes the entry of the knowledge deity, and some mantras. (The ADUT provides the mantras for the goddesses of the petals longhand, whereas GSS7 gives the formula for the mantra. It also finishes with verses on the nature of dharmatd absent in the GSS redaction.)



7



Witnesses: GSS K 3 9r2- 4 or 3 , N2 5 r6-26r 4 , D28r8-2 9 r 7 ; ADUT Guhyasamayot- tamapatala ch. 33 (NGMPP E 695/3 f- i6ov 3 -i62v 3 . Toh 1541, Ota. 2286 (Toh/6ta. by Prajfiabhadra); from chapter 3 6 of the Tibetan translation of the

ADUT (Toh 369, Ota. 17).

Herrmann-Pfandt (1997: 21 with n. 40) states that this appears in ADUT ch. 36 (Lokesh Chandra's edition pp. 201.7-204.2; iconography pp. 202.1-203.1), with the Tibetan translation in Peking Kanjur no. 17, fol.i8oai-b8. She also traces this form to the Sri-Vajravarahi-sadhana by Prajfiabhadra, Peking bsTan 'gyur no. 2286. She goes on to show that the tradition was known to Taranatha in the seventeenth century, and that it appears within the nineteenth-century Sa skya pa collection by 'Jam dbyangs bio gter dbang po, where the transmission is cred- ited to Virupa {ibid.: 23, with nn. 43, 44)-



APPENDIX: SUMMARY OF SADHANAS 359

GSS7 Dvddasabhujavajravarahisadhana* (Sadhana of the Twelve-Armed

Vajravarahl) 3
The GSS text redacts from the ADUT7 Varahyabhyudayatantra, correcting the Sanskrit in places and omitting a dozen or more verses. Its starts abruptly with the self-generation, omitting the opening two verses from the source text praising the work (ADUT ch. 9: atha yogam pravaksyami...). It prescribes the visualization of an ardbaparyarika-pose, twelve-armed Vajravarahl in the midst of an extended forty-one-deity mandala with the addition of the four mothers, and with the visualization of therianthropic features for the retinue goddesses. It continues with the installation (nyasah) for the body mandala, including correlations of the skandhas and ayatanas with male deities. There is a brief closing reference to the entry of the knowledge deity, consecration, mantras, and a yogic meditation. The text in the ADUT is problematic, and its difficulties have been inherited by the GSS text, The problem lies in the order in which the mothers — Mamaki, Locana, PandaravasinI, and Tara — are listed; this affects the directions they occupy, their cihna, and their membership in the respective buddha fam- ilies. A fourteenth-century Tibetan mandala painting (Rossi and Rossi 1993) depicts the mandala described in this text (see plate 13).



dvadasabhujavajravarahisddhana) conj.; vajravarahya dvadasabhujah sadhanam K, oddiyanapithadisthitadevisadhanam D ("Sadhana of the Goddess in Oddiyana and the Other Power Places [pithas]"). The colophons in D and K do not relate directly to the colophon to chapter 9 in ADUT (yoginipithasiddhikramanimittanirdesa), while the colophon in N is missing due to a missing folio (f. 29). Witnesses: GSS K4CT3-43V7, N26r4~28vi incomplete, D29ry-^iv6; ADUT Yoginipithasiddhikramanimittanirdesapatala 9 (mss. details ms. A: NGMPP E 695/3 ff 64r6-7iv4) = ch. 12 in Tibetan Toh. 377, Ota. 22, and ADUT 37. The sadhana is based upon Varahyabhyudayatantrawv . 45fF. (as reconstructed from the Tibetan translation of this text, and from patala 9 of the ADUT by Professor Sanderson, unpublished). For the Tibetan mandala painting reproduced in plate 13 (from Rossi and Rosssi 1993), the accompanying entry by Jane Casey Singer (unnumbered sheet) describes it as the "Vajravarahl Abhibhava Mandala" (phagmo mnob 'byung gi dkyil 'khor). Sanderson (annotations to his edition of the Varahyabhyudayatantra, before v. 45) writes "The Sanskrit is evidently another mistaken Tibetan reconstruction, the original name, which the Tibetan exactly renders, being Varahyabhyudaya" Singer identifies only the five deities of the inner circle; the remainder are identified above in chapter 2.



360



VAJRAYOGINI



gss8 Vajravdrdhyd Gopyahomavidhih" (Secret Oblation Rite of

Vajravdrdhi)
GSS8 includes oblations and mantras for black-magic rites of subordina- tion, attraction, inciting hatred in a named person, and stunning; it also includes desiderative oblations for prosperity and increase of wealth.

GSS9 Vajrayoginisddhana (lineage ofVirupa?)"

This is a short form of aTrikayavajrayogini sadhana but without reference to a severed head. The text includes self-generation in a red dharmodayd, mention of two attendants flanking the central goddess, and offerings to the center, front, behind, and center again. Apart from a couple of minor variants, the text of GSS9 is identical to that of GSS 3 o, except that GSS9 describes the two attendant goddesses as dakinis, where GSS30 appears to intend saktis (saktidvayam) conj.; sdntadvayam K, s'dktadvayam N). The same text, under the same tide, in appears in the Sddhanamdld (SMzh=GSS 9 ) following the "dakinl" recension. The central goddess may be a red form of the severed-head Vajrayogini.

gssio Gubyavajravildsinlsddhana by Sahara' 1 (Sadhana of Secret

Vajravildsini)
A lengthy sadhana of 152 predominantly s'loka verses (verse numbers are editorial), prescribing erotico-yogic techniques to be practiced on the bas.s of the self-visualization of Vajravilasini and her consort Padmanartesvara in the lovely mountainous setting of Manobhanga and Cinavis'rama. After a vasantatilakd verse of homage to Lokanatha (v. 1), and a sdrdulavikndtta verse of homage to Vajravilasini (v. z), Sahara states that he speaks the fol- lowing (s'loka) verses through the power of Lokanatha (v. 3). The body of the text is as follows: w. 4-7 describe the bejeweled mountainous setting of Manobhanga and Cittavisrama where guru Karuna taught [the sadhana of] Vilasim, and where "I practiced it with [my consort] Sabari"; w. 8-10 guarantee siddhis including mahamudra; w. 11-16 list those whose physi- cal and ethical qualities disqualify them from practice, and those who qual-



IO



II



12



Witnesses: GSS K44n~44v5; N has missing folios until the final lines of the

sadhana (f. 3012), D31V6 omits the sadhana. Toh/Ota.-?

Witnesses: GSS K44V5~45r6, N 3 or2- 3 ov2, D3iv6-32r 7 ;«GSS 3 o«SM234. ^or

authorship, see Nihom (1992: 226). Toh./Ota.-?

Witnesses: GSS K45r5"53V4> N 3 ov2- 3 6v 7 , D 3 2r 7 -39r2; Jvdldvali no. 2 (Br3R:

493); Dhih no. 17 Pp.5-!7- Toh./Ota.-?




APPENDIX: SUMMARY OF SADHANAS 361

ify; w. 17-24 prescribe preliminaries: the site of a fragrant cave or glade in which the sadhaka and consort wash themselves, rub their bodies with fra- grant flowers, put on eye liner and hair oil, adorn their naked bodies so that they resemble Padmanartesvara and his consort, and then make love as long as the mind is not disturbed; w. 25-29 give times for the worship of the goddess (four times per month, etc.), to be done in a well-lit place so that the details of the body are illuminated, abandoning negative states, shy- ness, or inhibition for the attainment of mahamudra; w. 30-32 prescribe the positioning of the sadhaka with his consort modeled on the poses of the deities; w. 33-36 prescribe preparatory rites: the yogin draws a circle on his consort's dharmodayd-yantra using saffron and red-sandal, and within that, a dharmodayd triangle enscribed with the [five-syllabled] mantra (to be taught in the mantra extraction below), he then offers a flower, prac- tices the four brahmavihdras, and meditates on emptiness; w. 37-38 pre- scribe the armoring with the five-syllabled mantra on the sadhaka's body; w- 38-45 give the visualization of a blazing dharmodayd into which the whole world is seen to dissolve; w. 46-53 prescribe the visualization of the sadhaka's consort as VajravilasinI in sexual play; w. 54-62 prescribe the visualization of the sadhaka as Padmanartesvara in sexual play; w. 63-64 describe the fusion of the three worlds into an ocean of blood, with the sadhaka playing with the goddess in the center in the bliss of great passion; w. 65-66 give the consecration of the self-generated couple; w. 67-73 detail the rites of worship, i.e., worship of the mandala (while uttering the mantra and the goddess's name), of the ^w^-mandala with flowers, fruit, etc., of the sadhaka's own penis (which has been fondled and is erect, svaklyam kulisam . . . Idlitonnatam) , of the goddess' mantra, and of the parts of the consort's and the sadhaka's own body by waving incense; w. 74-79 describe how the couple offer betel, etc., and recite loving verses to each other; w. 80-92 prescribe the embrace and practice of the navapuspl (nine kinds of sexual play) with the arising ofsahajdnanda;w. 93-95 describe the pervasion of the world with rays (from lovemaking) and the propitiation of deities with sexual fluid (golakam); w.96-100 give an explicit descrip- tion of the lovemaking, which is accompanied by the yogin's visualization that he plays with the goddess VilasinI; this includes a yogic meditation of his body as empty; w. 102-9 describe the pendulum recitation (doldjdpah), a yogic meditation in which the couple is in union, each imagining the five blazing syllables of Vilasinf s mantra circulating through their bodies. The syllables start on the lidyas sex, enter the male via his penis, exit through his nostril, enter the 1 /^W via her nostril and again pass into her sex. The



362 VAJRAYOGINl

mantra is recited up to five hundred times as it revolves through the bod- ies united in lovemaking. The recitation results in the fusion of ndda and bindu; it is followed by a repeated "mutual sucking" of the male and female sex; w. 110-18 prescribe the visualization of the "fusion of the identities" of the couple and the entire world in the lovemaking (dtmamelakah) with the result that the defilements are cut off, all kles'as are burnt up, and every- thing is dissolved into the ocean of awakening with the end of conceptu- alization; w. 119-20 describe how the female consort does the practice on the yogin, making the mandala on his penis and practicing the meditation and mantra recitation as described; w. 121-22 enjoin that the couple abide outside this meditation as Nartesvara and VilasinI and recite the mantra; w. 115-28 give prescriptions for practice when no male/female consort is available; w. 129-37 give the mantroddhdrafor the five-syllabled mantra (em nllm rim rum blim) and the ball mantra to be recited while making the ball offering; w. 138-51 comprise various frame verses praising the practice, guaranteeing mahamudra in twelve years, warning against undertaking the practice with illicit passion, prescribing secrecy, naming the teachers of the practice as Lokanatha (v. 146) and Karuna (v. 147), and advocating passion to destroy passion; v. 152 is a benediction, and is followed by the colophon.

gssii Vajravdrdhisddhana by Umdpatideva 15

See chapter 3 for a study of the sadhana and above for an edition and trans- lation, with textual notes.



13 Witnesses: GSS K53v4-7in (Bodleian reference: ms. Sansk c.16 (R)), N36V7- 50V2, D39r3-52v8; Toh 1581, Ota 2292, NOO292 (BBK: 279, 287); cf. Toh 1584, Ota. 2293.

The author's name in the Tibetan is transliterated as *Umapatidatta (BBK: 279): s'rl U ma pa ti dattahi shabs. The Tibetan colophon to GSS11 (Toh 1581/Ota 2292, N (T) 292. Bodleian Tibetan blockbooks a.68, vol. 24, pp. 32-49) states that the sadhana was translated by Vaglsvaragupta with Locchava (Lo tsa ba) Chos rab (i.e., Rwa Chos rab), and written by "One who has the lineage of the instructions of Virupa, sri Umapatidatta" (p. 49.7). The only other work known to be by this author is Umapatidatta's Vajrayogini mandalavidhi-ndma (Toh. 1581, Bodleian Tibetan blockbooks a.68, vol. 24, pp. 96-135), translated by the same translators. In total, Rwa Chos rab translated two texts in the bKa' 'gyur and ten in the bsTan 'gyur. Vaglsvaragupta translated a total of four texts with Rwa Chos rab, includ- ing the two by Umapatidatta.







APPENDIX: SUMMARY OF SADHANAS 363



♦



GSS12 Oddiydnavinirgatavajrayoginisddhana u (Vajrayogini Sddhana

from Oddiydna)
The text starts with the visualization of the cosmos with Mount Sumeru and is followed by the self-generation of the red two-armed Vajravarahi in urdhvapdda pose in the center of the fivefold mandala. It supplies heart and auxiliary-heart mantras (although SM225 gives only the latter). GSS12 (K71V1) and SM225 both share pddas from the textual tradition of the YSCT (SM225 p. 469, ddkintm tu tathd Idmdm. . . cf. GSS11 v. 38a, with Textual Note). The z-pdda from GSS12 (Kyu6: tarjayanti disah sarvd dustatarjana- vajrikd) is also attested in the visualization of warrior-stance Vajravarahi (GSS4 K13V2, reading accusatives).

GSS13 Vajrayoginimatena Gopyahomavidhi (Secret Oblation Rite

According to the System of Vajrayogini) by Buddhadatta' 5 The text prescribes the generation of a red fire deity from ram in a trian- gular fire pit (he is four-armed, making the "fearless gesture" (abhaya- mudrd), and holding a pitcher, a firebrand, and a rosary; he is then merged with the knowledge deity. There follow oblations of transgressive sub- stances, the recitation of mantras, and the worship of Vajrayogini with her mandala retinue in the center of the fire. The text explains the different sub- stances to be offered for rites of different kinds and concludes with the mandala cakra entering the practitioner's body, bali offerings, a supreme worship (lokottarapujd), and the request for siddhi. Two frame verses guar- antee siddhi and mahamudra.

GSS14 Pradipdhutividhi (Glorious [ly Elucidated] Oblation Rite) by

Indrabhuti) XQ>
The thirty-seven (unnumbered) verses are ascribed in the colophon to



14 Witnesses: GSS K7KI-71V2, N50v3~5ir3, D52v8-53r8~SM225 (m-Odiyanavajra- pithavinirgata-urddhvapadavajravarahisadhana);'! oh 3299, Ota 4121*5129 (BBK: 465); cf. GSS5 (Sed p.148 16 , K 3 3v6-3 4 r).

15 Witnesses: GSS Kyivz-yirf, N5ir3-5iv4, D53r8-54r2; Toh 1556, Ota 2264 (BBK: 278). This is the sixth of the Six Texts of Vajravarahi. A passage in the Blue Annals (pp. 393-97) describes how Buddhadatta came to compose the sri-Vajrayogini- homavidhi. A layman receives initiation of Paindapatika and then requests that he write down the sri-Tattvajnanasiddhi, the Sarvarthasiddhi-sddhana-nama, and the sri-Vajrayoginihomavidhi. The guru refuses, but permits his nephew Buddha- datta to write down the Vajrayoginihomavidhi.

16 Witnesses: GSS K72r6~74vi, N5iv4-53r7, D54r2-55V5. Toh, Ota.-?



364 VAJRAYOGINI

Indrabhuti and, in the opening verse, to his lineage (Kyzr6). There are two further references to the doctrine (matam) of "King Indrabhuti" (v. 16 K73r4, v. 35 Ky^). The meter is mainly anustubhwith two verses in upajdti and two in sragdhard. The text describes the preparation of the firepit, its shape depending on the rite (v. 5), the drawing down of the knowledge deity into the middle of the firepit (v. 6), and the visualization of the fire deity as a young man, colored red and mounted on a goat (cf. SM36, where a red Avalokitesvara is seated on two rams). The fire deity is seen as four- armed, making the varadamudra, with a rosary, a pot (kamandalu), and a firebrand (w. 7-8). The following verses enjoin offerings of wood, etc., to be made into the fire to the chosen deity (Vajrayogini) in the heart of the fire-deity (w. 9-11), also a hand worship (v. 12), the recitation of mantras, and various oblations (w. 13-15). The author then comments upon the method of the ritual (w. 16-33) and concludes with dedications of merit (w. 34-37)-

GSS15 Sarvarthasiddhisddhana (Sadhana for [Gaining] Siddhi in All

Things) by Advayavajra 17 The text opens with a iW/ offering and prescribes the generation from hrih of a hog-faced wrathful Vajravarahl in the alidha stance (Vajraghona). This is followed by the entry of the knowledge deity and rites of worship for Vajrayogini to preside.

gssi6 Trayodasatmikavajradakinivajravarahisadhana}* (Sadhana of the Thirteenfold Vajradakini-Vajravarahi) (in the lineage ofAdvaya-

vajra?) 19
The text opens with seven verses praising Vajravarahl and stating that the



17



Witnesses: GSS K74VI-75VI, ^3^-540, D5$v$-56r9; Ton 1552, Ota 2260 (BBK: 278). This is the second of the Six Texts of Vajravarahl Cf. GSS18; GSS 5 (Sed p.149 3 , K34r4). A translation of the self-visualizaton section from the Sarvartha- siddhisadhana appears in the Rin 'byung brgya rtsa (Willson and Brauen 2000: 259), with some slight differences. Another sadhana with a similar name appears in the bsTan-'gyur, Vajravarahikalpasarvarthasiddhisadhana (Toh 1578, Ota

3610).

18 trayodasatmika] D; trayodasatmikaK, N.

19 Witnesses: GSS K75vi-82r5, N54r3~59v2, D56r9-6iv7. Sanderson (1997: per- sonal communication) notes that the source for this sadhana is ADUT patala 56 (NGMPP, E 695/3 fif. 220v3-222r3: hrdayamantrakavacau devya hrdayabhavana- patalah). Toh 1595, Ota. 2306.







APPENDIX: SUMMARY OF SADHANAS 365

sadhana was taught by the lord in the Laksabhidhanatantra, on Mount Manobhanga/Cittavisrama. The visualization is of a six-armed warrior- stance Vajravarahl and her generation from the thirteen syllables of the Vajravarahl/Vajrayogini heart mantra. The sequence of the prescriptions in the text is as follows: preliminaries (« GSS3/GSS31) ending with a bodhi- sattva vow, armoring, circle of protection, temple palace (mahavimana) surrounded by cremation grounds (with a short description of the crema- tion grounds drawing on SUT), visualization of the thirteen-syllabled mantra as the thirteenfold mandala, the generation through awakenings of Vajravarahl in iconographic form surrounded by Vajradakinl goddesses produced from syllables, the worship of the goddesses with imaginary offer- ings, entry of knowledge deities, armoring, praise, and bodhisattva vow, sevenfold worship with the recitation of flower-offering mantras followed by another bodhisattva vow, emptiness mantras with nonabiding, the rep- etition of the installation of the circle of protection and the subsequent visualization of Vajravarahl produced suddenly with the mandala retinue placed on points on the body, worship, the tasting of nectar, external ball offerings, another bodhisattva vow, concluding verses possibly by Advayavajra, and dedication of merit.

This sadhana combines several important themes. In its preparatory stages, it describes the cremation grounds in detail, as well as prescribing the visualization of a palace (vimanah/m). The erotic overtones of the sadhana may be associated with the fact that the sadhana was supposedly taught by the Buddha in the location of Mount Manobhanga and the pavil- ion, Cittavis'rama, a place associated with erotic manifestations of Vajra- yogini. The structure of the sadhana is also unusual. The mandala is first produced through an externalization of the thirteen syllables of the deity's mantra. This is then intensified by its transformation from mantric to iconographic form. The emanation of the iconographic mandala is then repeated in a completion-stage practice, by self-generating it "all at once" (jhatiti), thus indicating the sadhaka's complete integration of the external forms within himself. Finally, the mantra syllables of which the dakini god- desses are representations are placed upon his body in a short body mandala, thus internalizing the mandala back into the body of the yogin. Every step in this process includes an armoring, and the sadhana therefore includes far more armor sections than is normal. This may be related to the fact that its central form of six-armed Vajradakinl- Vajravarahl seems to have emerged from the form of the armor goddess, Vajravarahl.



^66 VAJRAYOGINI

GSS17 Urdhvapddasuklavajrayoginisddhana 20 (Sadhana of White

Vajrayoginl with Foot Raised) In a deserted cemetery, the sadhaka is to generate the raised-foot-pose Vajrayoginl from a white syllable am. This short text also provides mantras for the japa, and a bali offering.

gssi8 Vajravarahikalpa 2X (Vajravarahi Ritual)

After an initial bali offering, the text prescribes the self-generation of a Vajraghona form of Vajravarahi, with an accompanying offering rite for the vajrayoginis to preside.

GSS19 Vajrayoginisadhana 22 (according to Sabara) 23 The text opens with the self-generation of Vajrayoginl through a series of awakenings, and the four goddesses of the petals are installed with flower- offering mantras. The bhavana that follows provides iconographic details for the visualization and is followed by mantras and a bali mantra for per- formances on specified auspicious days. This may have been the manifes- tation prescribed in *GSS28 (Vajrayoginisadhana), which appears in a string of repeated sadhanas, but of which only the latter part of the ^//mantra survives. The surviving fragment proves to be identical with the bali mantra in SM236, a text nearly identical to GSS19. SM236 differs from GSS19 in its offering section and in a few variants to the mantras.

GSS20 Vajrayoginisadhana (lineage ofVirupa?) 1A

The text covers the self-generation of Trikayavajrayogini with attendant

goddesses, VajravairocanI (left) and VajravarnanI (right), and prescribes an



20
21



22



23






U



Witnesses: GSS K82F5-82V5, N59V2-6on, D6iv7~62r6 - GSS45. Toh., Ota.-? Witnesses: GSS K82V5-83VI, N6on-6ovi, D62r6-62v 7 - SM224 (Vajravarahi- :j|

sadhana); Cf. GSS15; GSS5 (Sed p.i 4 9 3 > ^>AH)- Toh 3298, Ota 4120 (in SS, BBK: 465); Toh 1578, Ota 2289 (BBK: 278 s'ri-Vajravarahikalpasarvatha-sadhaka)\ Toh

3610, Ota. 4432.

Witnesses: K83v-84r, N6ov-6ir, D62v-63r - SM233 and SM236; Toh 1548, Ota 2256 (BBK: 276), Yum skor (BBK: 276). Cf. GSS5 Sed p.151 6 , K 35 v6; *GSS28. K84r3: siddhasabarapddadesitam {D6y9 is without its usual colophon itisriguhya- samayatantre...).
24 Witnesses: GSS K8 4 r 4 -85r4, N6ir 3 -62r2, D6 3 r 9 -64r7 - SM232. Close witnesses, and the relationship between them, are discussed in chapter 2, namely: SM238 (for bali mantra), GSS24 and GSS25; and GSS9«GSS 3 o«SM2 3 4. I also discuss a Sanskrit edition of a text similar to GSS25 by Nihom 1992.



im



APPENDIX: SUMMARY OF SADHANAS 367

external puja within a drawn mandala. This is accomplished with four offering mantras to the goddesses, to four sites, and to the four bodies of the Buddha, with the subsequent utterance of a tripartite root mantra and a concluding bali mantra.

GSS21 Vidyddharikramavajrayoginisddhana 2 (Vajrayogini Sadhana with the Vidyddhari Method) (in the lineage of Sahara? See GSS23 below) The text opens with an emptiness meditation ascribed to the Mahamaya tra- dition (cf. the namaksara emptiness meditation in Mahamaya sadhana, SM240 p. 466). It then supplies a short description of Vidyadhari Vajrayogini, a traditional Vajravarahl armoring and a bali mantra, drawn from the Mahamaya tradition. The bali mantra is nearly identical to SM249 (mahdmdydtantrasya balividhih) but with the addition of bali mantra elements from the Vajra- yogini/Cakrasamvara tradition. The Mahamaya version in SM249 ends with two vocatives (om sarvadakini...om sarvayogini), while the GSS version contains more "laughing" syllables (ha ha hih) and includes the coercion syllables om jah hum vam hoh. The text shares some features of other Mahamaya sadhanas, and apart from the general affinity between the Vajrayogini tradition and that of Mahamaya, another association may be one of Mahamaya s four attendant goddesses, Vajradakini, on the eastern petal of the lotus in the Mahamaya mandala. Here, she is a recipient of bali offerings in the mantra, and in the white urdhvapdda forms of Vajrayogini, Vajradakini is the epithet in the heart mantra.

GSS22 Vidyddharikramabhdvand 2G (Vidyddhari Method Meditation) (in

the lineage of Sahara? See GSS23 below) The bhdvand opens by describing itself as a "Vidyadharl-method meditation"

The Chinnamundavajravarahisadhana by Srimatidevi (Toh. 1554 = GSS24) is the third of the Six Texts of Varahi. Chinnamunda texts in the bsTan-'gyur are discussed and summarized by de Mallmann (1975: 432 on SM234) and Meisezahl (1967), and touched upon by Benard (1994: 18, n.35). BBK refers to: Toh 3301, Ota 4123 « 5131 (BBK: 467) also Toh 1547, Ota 2255 (BBK: 276), Yum skor (BBK: 276). A summarized translation of the Rin 'byung brgya rtsa sadhana of * Chin- namunda Vajrayogini (rDo rje rnal 'byor ma dbu bead ma) is published by Will- son and Brauen (2000: 260, n. 1), with references.

25 Witnesses: GSS K85r4-86n, N62r2-62V3, D64ry-64v8; Toh 380, Ota 25 (BBK: 259). Cf. SM249 (mahaymdyatantrasya balividhih); cf. GSS22, GSS23. Cf. Ota 4M (?)•

26 Witnesses: K86n-87n, N6iv3-63r7, D64V9-65V4; cf. GSS21, GSS23. Toh., Ota.-? The rite also appears in GSS5 K38n~5 « SM235.



368 VAJRAYOGINI

(om siddhih. vidyddharikramabhdvana). It has no colophon (ending sim- ply: hi dmndyah). Since the previous sadhana (GSS21) ends with a typical concluding balividbi and colophon, and the text that follows (GSS23) starts with an opening salutation, GSS22 is treated here as a separate text. Its contents also follow the standard structure of a sadhana except that it begins with a yogic emptiness meditation in which the body is dissolved in stages into clear light. See chapter 2 for a description of the "mad observance" (unmattacaryd) prescribed in the text and for this text's relationship to other Sabara-based texts.

GSS23 Vidyddharivajrayoginydrddhanavidhi (Propitiation Rite of

Vidyddhari Vajrayogini) according to Sahara 17 The Arddhanavidhi begins with a hagiographical account of Sahara's attempts to achieve a vision of the goddess, her eventual appearance to him in her mountainous setting, and her promise to teach a method by which even lazy practitioners can achieve a vision of her in six months (K87n-88r2). The text then lists eight teachers in the transmission linea^ (K88r2, cf. * Siddha-Amndya p. 10). Finally, it describes five kinds of rite: worship, visualization, subjection, bali offering, and accepting a pupil (K88r3: atra pujdbhdvandvasikaranabalisisydnugraha hi pancaprakdrdh) .



27 Witnesses: K871-1-89V6, ^6^7-6^, D65V4-67V8; cf. GSS21, GSS22, GSS10, GSS5 Sed p.153 11 , K381-1, Toh, Ota.-? Cf. * Siddha-Amndya. Sahara's lineage is only named directly in this Vidyadhari text (GSS23), although the rite in GSS22 is related to the Arddhanavidhi in Sahara's lineage in GSS5. There are also simi- larities with the Guhyavajravildsinlsadhanahy Sahara (GSS10), such as the moun- tainous location, the wish to obtain a vision of the goddess, the goal of siddhi in six months, and the focus on mahamudra (also mentioned in GSS22, K86v2). GSS10 may also hint at the hagiography in GSS23 in which the sadhaka loses heart and decides that the lord's promise must be untrue (cf. GSS10 K53r3~4 v. 145: yadi candras tatha suryo bhilmau patati siryate / tathapi lokandthasya nedam vaco mrsd bhavei). The * Siddha-Amndya is similar in structure to GSS23. It opens with a verse hagiography of Advayavajra's life, in the course of which he discovers Sahara in the same mountainous location as that described in the GSS Vidyadhari/ GuhyavajravilasinI texts. After the hagiographical introduction, both texts include a succession list and a Vajrayoginl-based ritual. This is followed in the longer

• Siddha-Amndya by another succession list, a repeat of its verse hagiography in prose, another succession list, and another Vajrayogini rite.
  

APPENDIX: SUMMARY OF SADHANAS 369

GSS24 Lahmisadhana 2 * by Laksmi/Laksminkara? 29

After an opening namaskara, the text describes preliminary preparations and the self-generation of TrikayavajrayoginI with attendant goddesses Vajravairocani (left) and VajravarnanI (right). An external puja follows, with prescriptions for traditional offerings within a drawn mandala accom- panied by offering mantras to the goddesses, to four sites, to the four bodies of the Buddha, and ending with the utterance of a tripartite root mantra. The number of mantric utterances required for the piirvaseva is supplied, with the siddhi they achieve. The sadhana ends with a frame verse and a concluding bali mantra. This sadhana varies slightly in phras- ing and content from the other TrikayavajrayoginI sadhanas in the GSS, as in details of the awakenings, more elaborate external offerings, and the piirvaseva section. Judging by Benard's translation of the Tibetan text (1994: 74-75)> the Sanskrit and Tibetan texts diverge only slightly, e.g., the seed- syllable hrlm (GSS24) appears in my bsTan 'gyur edition as hrih. The offer- ings to the mandala are slightly expanded, and a cotrupt passage in the Sanskrit describing the fruits of japa is found intact in the Tibetan.

GSS25 Trikayavajrayoginisadhana™ (Sadhana of Triple-Bodied

Vajrayogini) by Virupa 5X The text covers the self-generation of TrikayavajrayoginI with attendant



28 Witnesses: K89v6-9ir5, N65V3-66V7, D6yvS-69^. This is the second of the Six Texts of Vajravarahl (Toh. 1554, Ota. 2262). Cf. Benard (1994: 66 & 79 n. 14).

29 According to Benard (1994: 66), Laksmi in the title is a reference to the text's author, whom she identifies as Laksmlnkara. The Tibetan translation of the Laksmisadhana (GSS24) appears in the bsTan 'gyur as * Chinnamundd Vajra- varahl Sadhana. Its translator bLo ldan shes rab (1059-1109) names the Indian author as Srimatidevi. Bernard concludes that since the sadhana is not of the deity Laksmi, the title must refer to the author, and that Srimatidevi is therefore an epithet of the ninth Laksml/Laksminkara. Laksmlnkara's best-known surviv- ing work in Sanskrit is the Advayasiddhi (ed. Mishra 1995). There are nine works attributed to her in the Tibetan bsTan 'gyur (listed by Robinson 1979: 306), although her fame rests chiefly upon her transmission of the Six Texts of Vajravdrdhi.

30 °sddhanam] corn; ity aryatrikayavajrayogini(pitacchinmmastd)sddhanarn K92v6(mg2),
-pitacchinnamastasadhanam N68r2, ity aryaguhyasamayatantre trikayavajrayogini- citacchinnamastasadhanam D7or7~8 .

31 Witnesses GSS K9K5-92V6, N66v7-68r3, D69r3~7or8. For close witnesses see GSS20. Toh. 1555, Ota. 2263 (?).

See also Nihom's article (1992). The Vajrayogini text that Nihom presents



3 yo VAJRAYOGINI

goddesses Vajravairocanl (left) and Vajravarnani (right); utterance of the tripartite;^ mantra; an external puja within a drawn mandala, with offer- ing mantras to the goddesses, to four sites, and to the four bodies of the Buddha; the subsequent utterance of the tripartite root mantra and a con- cluding ^//mantra (called mulamantrah)', and finally, a dedication of merit.

gssz6 Pindarthah Sodasaslokds Trikayavajrayoginyah (Sixteen Praise Verses

of Triple-Bodied Vajrayogini with Essential Meaning) by Virupa? 1 The text opens with four salutations to (i) the Three Jewels, (2) the guru, buddha, and bodhisattvas, (3) the vajravildsinis, and (4) the ten krodhas with their consorts. This is followed by a brief bali mantra and two intro- ductory praise verses. The sixteen (unnumbered) verses of the stotra praise different aspects of Vajrayogini' s inner and outer nature, especially her universal aspect as a manifestation of all other goddesses. The stotra ends with a praise section of six verses (K94r3-6).



32



(from a manuscript belonging to J. Locke) is identifiably our GSS25. According to Nihom's edition, Locke's manuscript differs in a few minor points. For exam- ple, there are a handful of variants and scribal errors, the omission of mantra units hum and phat on a couple of occasions, and some differences in the final dedicatory verse. One significant difference is the addition in Locke's ms. or heart and auxiliary-heart mantras. These appear after the worship section with tripar- tite japa mantra, and before the bali mantra (om vajravairocaniye hum phat^ hrdayamantrah. om vajrayoginiye upahrdyamantrah omkdrddi-dsvdhdntena pujdyitvd purvavadvisarjayed iti). .This is a rather unwelcome addition. No other sadhanas in this set mention these mantras, and the auxiliary-heart mantra is, in any case, incomplete. It is followed by the phrase used in GSS5 to explain the formulation of the mantras with the sites and to finish the visualization (see ch. 2). I suggest that Locke's manuscript has become contaminated at this point. Some emenda- tions/corrections to Nihom's edition are desirable in the light of our texts. In particular, the flow of blood into Vajrayogini's own head should be from avadhuti^ (Nihom 1992: 227, 229). Nihom 1992 n. 37 (kabandhdd avadhrtivartmand nihsrta srgdhdrd) should read kabandhdd avadhutivartmand nihsrta srgdhdrd.... Other conclusions reached in the article should also be revised or elaborated upon in the light of the evidence presented by the Guhyasamayasddhanamdld. Witnesses: GSS K 9 2v6- 9 4r6, N68r 3 -6 9 r 3 , D 7 or8- 7 ir9; ed. Dhih (no. 2 1986: 4-5). Cf. Benard (1994: 74) for an English translation from the edition in Dhih. The edition in Dhih omits the opening salutations, bali mantra, and two intro- ductory praise verses and, judging by its distinctive colophon, was based on our manuscript D or one related to it. Toh., Ota.-?



V APPENDIX: SUMMARY OF SADHANAS 371

GSS27 Trikdyavajrayoginistutipranidhdna 53 (Praise Contemplation of

Triple-Bodied Vajrayogini) by Viriipa? 34 The opening salutations are identical to GSS26. The text then gives a verse description of the iconography of TrikayavajrayoginI and her attendents, which is followed by verses supplicating the compassionate goddesses to help the humble devotee.

GSS28 Vajrayoginisadhana (incomplete) 5 ^

The bulk of the sadhana is lost due to five missing folios in K (ff. 96-100). The final folio of the work (f. ioir) contains the concluding ball mantra, injunctions to practice on auspicious nights, and the colophon. The final injunctions are similar to those in other texts that prescribe the visualiza- tion of a warrior-stance Vajrayogini. The sadhana also appears in a group of repeated sadhanas. It is not known whether the missing folios included one long work or whether other sadhana(s) may have been lost also.

GSS29 Samksiptavajravdrdhisadhana 5G (Brief Vajravardhi Sadhana) by

Vilasavajra 57
The opening verse is almost identical to that in SM226/SM227. The text then continues parallel to GSS4«SM2i7 except that it prescribes the dlidha stance with the six signs of observance (mudrds) (rather than the pratydlidha stance as in GSS4, with no mention of the mudras), and it omits the armor- ing and summoning of deities and bali offering.



33 trikdyavajrayoginistutipranidhana] corr.; trikdyavajrayoginydh stutipranidhdnam codd.

34 Witnesses: GSS K94r6-95v6, N6c,v6-yovi, D71V4-72V7. The author's name has been added by a second hand in the oldest manuscript (K95V7) and is included in N and D. Toh., Ota.-?

35 Witnesses: Kioiri-2; c£ GSS19, GSS5 (Sed p.151 13 , K 3 6r4), SM236.

36 Witnesses: GSS Kioir2-i02ri, N7or2-7ir4, D72V8-73V2 « SM227, Jvdldvali no. 11 (Vajravdrdhlsddhanakalpa); Toh 3300; Ota 4122^5130 (SS, BBK: 465); cf. GSS4«SM226.

37 Tribe (1994) has distinguished Vilasavajra, author of this tantric sadhana, from the mid to late eighth-century yogatantra exegete of the same name. A discussion of the two authors appears in Tribe's introduction to his doctoral thesis on the Ndmamantrdrthdvalokini commentary to the Aryamahjusrlndmasamgiti by the earlier Vilasavajra (sometimes also called "Lilavajra" and occasionally confused with an eleventh-century "Lalitavajra," disciple of Maitnpa, Tilopa, and Naropa). Tribe records that he was teacher to Buddhajfiana/Jnanapada (a pupil of Hari-



372 VAJRAYOGINI

GSS30 Vajrayoginisddhana™ See above, GSSp.



,39



GSS31 Vajravdrdhisddhana 1

The work is nearly identical to GSS3 except for an opening namaskdra and

an additional balipujd.

GSS32 Binducuddmanir ndma svddhisthdnakramah

(Self-Consecration Method Known As the Crest Jewel of the Drop)

by Sahajdvalokanasamddhivajra AQ This is the first of three svddhisthdna (self-consecration) method sadhanas in the GSS collection (GSS32, GSS33, and GSS34). The set is unusual in a number of ways. All three sadhanas focus upon the male deity Cakrasamvara as well as his consort, Vajrayogini/Vajravarahl. Both deities are visualized as drops (bindus) within the sadhaka's body, which is visu- alized as a skeleton-arch (karankatoranam) located in the midst of the cre- mation grounds. The meditations espoused are often obscure, based on the visualization of the deities-as-drops produced from the syllables of the salutation (namah srivajrayogini): their fusion in yogic meditations is pro- ductive of great bliss. The visualization of iconic forms are sited on/in the sexual organs and often involve deities not mentioned elsewhere in the Vajrayogini corpus. The vocabulary of the sadhanas shows the influence of Hevajratantra systems in some of its citations and terminology, e.g., bola=vajra (penis); kakkola=padma (vagina), cf. HT2.3.53rT. Synonyms are



bhadra, founder of the eponymous Jnanapada tradition of Guhyasamajatantra exegesis in the eighth century), and that he also has a tenuous connection with the early Indrabhuti lineage in that he may be linked to the translator rMa Rin chen mchog, "known to be one of the first six or seven Tibetans ordained at bSam-yas by Santaraksita (779 c.e.)" (ibid.). Another work sometimes attributed to the earlier commentator, but which Tribe considers to be more likely that of the later author, is the Mahatilakakrama (Toh 1290). Tribe states that it is "placed in the Hevajratantra section of the bsTan-'gyur... concerned with completion stage practices." Vilasavajra is hailed as guru by Sahajavalokanasamadhivajra, author of the first Svadhisthana text (GSS32).

38 Witnesses: Ki02ri-i02v2, N7ir4~7iv4, D73V2~74r2 « GSS9 « SM234. Toh.,

Ota.-?

39 Witnesses: GSS K102V3-104V5, N71V4-73VI, D74r2~75v8 « GSS3 « SM217, Toh. 1542, Ota 2287 (BBK: 274), Yum skor (BBK: 273-74). Cf. Toh. 3607, Ota. 44^9; Meisezahl (1967, 1980).

40 Witnesses: K104V6-106V5, N73VI-74V7, D75v8~77r8; cf. GSS33, GSS34.



APPENDIX: SUMMARY OF SADHANAS



373



often found for mahdsukham (e.g., urusdtam, mahdsdtam, sarman), as well as for VajrayoginI (e.g., Sarustrl, Sahajangana, Suruyogini, PaviyoginI, Vyadhamayogini) . The development of the svddhisthdna wing of the kdpdlika movement requires further research. Isaacson (in his unpublished annotations to the Hevajrasekaprakriyd 1996) explores its textual prove- nance. He refers to the Pancakrama (chapter 3 of Svddhisthdnakrama), which provides the backdrop to the yogimtantra practices and to yogini- tantra exegetes, such as Advayavajra (e.g., in the Advayavajrasamgraha: Pancatathdgatamudrdvivarana, Caturmudrdniscaya, and Amanasikdrd- dhdra), Laksminkara (in Advayasiddhi in Guhyddyastasiddhisamgraha Rare Buddhist Texts no. 1, Sarnath, 1987 pp. 162-63), Abhayakaragupta (in Buddhakapdlatantrd) , and Padmavajra (in Guhyasiddhih 4.61) . Typical ref- erences to svddhisthdna refer to its completion methodology, its incon- ceivability, and its rejection of ritual, including dlksd, homa, mantras, and special days for observance. 41 Isaacson (1998: personal communication) has also pointed to the connection between svddhisthdna practices and the late tantric methodology of the Vasantatilakd } which also deals with internal- ized yogic practice (Vasanta/ Heruka as a drop in the heart merges with Tilaka/Varahl, a drop in the navel or sex, nirmdnacakrd) , but whereas the Vasantatilaka practices are internal and relate mainly to the movement of drops between the heart and navel, the emphasis in the GSS texts is upon the locus of the sex organs and the generation of sexual passion, either in practice with a consort or imaginally. 42



41 See SUT ch. 21, vv. 6ff.; Pancakrama (ch. 3, v. 45): sarvapujdm parityajya guru- pujdm samdrabbet I tena tustena tal labbyam sarvajnajndnam uttamam (also cited SUT ch. 33, v. 27); YSCT (ch. 12, v. 1): na raksanlyam na bbaksaniyam na mandaleyam, na ca mandalam ca I na mantrajdpo na tapo na bomab samasatas cittasamajarupi; ch. 15 (A7V): nakaryam vidyate kimcitl ndcintyam vidyate sadd I nabbaksam vidyate kimcit ndvdcyam yac chubbdsubbam I. . . iti samcintya yogdtmd sarvamudrdmantravarjitam simhavad vicaret vlrab sarvdsdparipurakab; Aryadeva's Svadbisthdnaprabheda {Dhih vol. 10, pp. 20-24, v. 7): ndtra saucam na niyamo na tapo na ca duskaram I aduskarair aniyamaib sukbair barsais ca sidbyati. Cf. Vdrdbyabhyudayatantra w. 4—5.

42. In terms of dating such practices, Isaacson (ibid.) notes that Abhayakaragupta was aware of the method, and refers to it in his commentary to the Buddbakapdla- tantra. There is also a reference to vasantatilaka in the Samputodbbavatantra (6. 2. iff.), here referring to the fusion of two drops (Tilaka/Nairatmya in the navel, with Vasanta//; um, the "unsounded syllable" andbatam bljam, in the heart).



374



VAJRAYOGINl



GSS32 starts with three namaskdra verses. The first lauds the noti-i discriminatory mind "without rememberance and recollections" (asmrti manasikdra); the second salutes the supreme Binduraja; the thirj acknowledges the teacher Vilasavajra. The sadhana is divided into three "teachings" (upadesdh). The first upadesa states that in the svddhistharuh method practice (svddhisthdnakramayoge), there is no necessity for place, time, or purification in rites of the mandala, or for oblation with mantric utterances. It prescribes the contemplation of the Binduraja within the dharmodayd on the sex organ (nirmdndbjam). The second upadesa prc-1 scribes the cultivation of passion (anurdgam) in obscure Sanskrit (includ- ing a verse also found in HT1.9.19). The third upadesa describes the internalization of sites and places, the generation of Vajravarahl from hum in the navel, her contemplation as a bindu moving along the internal chan- nels, her embrace with Heruka, and the bliss (sdtam) of the union of the vagina (kakkolah) and penis (bolah).

GSS33 Paramagambhirakarankatoranakramavajrayoginisddhanasva-

dhisthanakrama* (Self-Consecration Method Vajrayogini Sadhana with the Supremely Profound Method of the Skeleton Arch) The sadhana is divided into profound (gambhira) expositions of the gen- eration (utpattih) and completion (utpannah) stages, with a teaching (uddcsah) and a detailed teaching (nirdesah) upon each.

1. gambhirotpattikrama-uddesah: The written syllables sri-va-jra-yo-gi-ni produce the shape of a skeleton arch. From the syllables na-ma, the yogin visualizes himself in its center as Cakresa (Cakrasamvara) in union with Paviyogini (pavi = vajra). From the sexual yoga arise two throbbing bindus that fuse together. This gives rise to the armor goddesses produced from syllables s'ri-va-jra-yo, the first called Vyadhamayoginl (vyadhdma = vajra), with YaminI, MohanI, etc.

2. gambhirotpattikramanirdesah:The divine couple produced from na- ma are seen inside the temple of the skeleton arch. The Cakrasamvara/ Vajravarahl mandala of kdpdlika gods surrounding the central deity (called



43 Witnesses: GSS Kio6v5-mr4, N74V7-78r3, D77r8-8ov9. Toh 1568, Ota. 2276 " Kankalatalasadhana attributed to Darikapa." I thank Dr. Isaacson for noting the Tibetan translation (he adds that the Tibetan text is similar to GSS34, but with added material at the end, possibly from Toh 1569, which may be a commentary on 1568 by Kumarabodhi).



APPENDIX: SUMMARY OF SADHANAS 375

here Jndnasdgara) is visualized on the erect penis, which "whirls intensely" in the vagina.

3. utpannakrama-uddesah: The syllables na-ma are internalized yogic drops; this introduces four yogas that describe the two bindus moving through the body creating great bliss (urusdtam, mahdsdtam, sarman). The yogas describe different samddhis, in which VajrayoginI is denoted by syn- onyms (Sarustrl, Sahajangana, SuruyoginI, PaviyoginI, Vyadhamayogini). . 4. The final section of the sadhana describes a kumdripujd. (It quotes Saraha in an apabhrams'averse, part of which appears also in the HT2.4.67.)

GSS34 Paramagambhiropadeso 44 Vajrayoginydh Karankatoranakramah Svddhisthdnam (Supremely Profound Teaching: Self-Consecration As Skeleton-Arch Method of VajrayoginI) by Dhydyipdda 45 The author acknowledges that the work is written by the grace of Luyipada, and through the power of self-consecration (Kiiivi: luyipddaprasddena svddhisthdnabalena ca) and later ascribes a bhdvand to Luyipada (Kii5r6). He cites many verses from other sources, referring by name to the s'ri- Hevajradvikalpardja (Kii4r3), Sahajanirdesa (K114V2), and Caturmudrdn- vaya (Kii5r4) (none of which are listed in BBK although a Sahajasiddhi by Domblheruka is given on p. 351, and a Caturmudrdniscaya by Nagarjuna on pp. 352, 358). He refers also to the Tattvajndnasamsiddhi-svddhistdna- krama (BBK: 277, now published). The opening sdrdulavikridita verse is a homage to Vyadhamasriyogini. Its (perhaps willfully?) corrupt Sanskrit is followed by the author's claim that "To me [what matters is] reliance on meaning not reliance on syllables, and similarly, reliance on dharmas, not reliance on persons." 46 In the choice of a site that follows, there is a sug- gestion of lay involvement (K111V3: svagrhe <vd> vijane nirupadrave vasan).



44 paramagambhiropadeso] em.; paramagdmbhiropadesaY^.

45 Witnesses: Kmr4-ii8r2, N78r3-83r4, D8in-86r4. I can find no other reference to the author, Dhaylpada, who seems to have been a pupil in the lineage of Luyipada, as he refers three time to Luyipada as the source of the teaching (GSS34 Kiiivi, Kii5r6, K116V4). Toh., Ota.-?

46 GSS34 (Kinr6): arthapratisaranatd mahyam na vyahjanapratisaranatd. dharma- pratisaranatd caiva na pudgalapratisaranatd. • vyanjanapratisaranatd] corr.; vyahjanapratisaranato K. In fact, this expresses a common idea in Buddhist lit- erature, and references are given by Edgerton q.v. pratisarana/apratisarana, e.g., Mahdvyutpatti 1546: arthapratisaranena bhavitavyam na vyanjanapratisaranena, "one must rely on the real meaning, not the 'letter,'" etc.



376



VAJRAYOGINI



In outline, the meditations of the practice are as follows:

i. The sadhana describes the visualization of the syllables of the obeisance 1 na-ma-hi and the production from those of the skeleton arch and deities. First is visualized the skeleton arch (from na-) surrounded by fearsome cre- mation grounds, the corpse throne with sun disc (from ma-), and the god- dess VyadhamayoginI (from sri-). Next comes the teaching on the five syllables (pancdksaranirdesah) va-jra-yo-gi-nu which produces the armor

goddesses (K112V4).

2. The twenty-four sites are then equated with the skeleton arch visual- ized in the nirmdna lotus, i.e., the vagina (Kii 3 r3). These are internalized (lit: suppressed, nirodhah).

3. The cremation grounds are also internalized and equated with the psychophysical organism in a kind of yogic body mandala (Ki^-il^).

4. A yogic meditation induces a deep meditative state (ascribed to a text called the Sahajanirdesa, K114V2).

5. There is an installation (of syllables?) onto the limbs of four goddesses equated with the four types of consort (mudrd) (karma-, dharma-, samaya-, and mahamudra, K114V5). The meditations and quotes that follow expand upon the four mudras, e.g., the Caturmudrdnvaya is cited regarding the qualities of the karmamudrd (£115*4) .

6. A six-spoked Cakrasamvara/Vajravarahi mandala is visualized on the erect penis and another within the vagina. The central figure is the lord under the arch; there follow yogic meditations of union.

7. Meditations by Luyipada (Kii 5 r6) equate the cremation ground with the eight vijndnas; the skeleton arch is visualized in their midst with the fusion of two bijas in its center productive of "great lust and passion" (mahdrdgdnurdga-). There is a reflection on the bindu upon the syllable hum and the union of two bindus.

8. An explanation follows of the samayamudrdm which samaya is defined as twofold, rahanam, and bhaksanam (Kii6ri; see ch. 3), and each is fur- ther defined as tenfold. Yogic meditations on the nddam prescribed, pro- ducing the nondual awareness called samayamudrd.

9. The yogin is to meditate on mahamudra according to the teaching or Luyipada (Kii6v 4 ), with the contemplation of the skeleton as compassion and the arch as emptiness, and mahamudra within that. The siddhi ol mahamudra is attained through yogic meditations. (The text includes a citation from the TattvajndnasamsiddhiKiijvi-}.)




APPENDIX: SUMMARY OF SADHANAS 377

GSS35 Indrabhutikramena Vajrayoginlsddhanam (Vajrayogini Sddhana in

the Tradition oflndrabhuti) by Vijayavajra* 7 The preparations stress the practitioner's assimilation to the form and iden- tity of the deity; they require him to face west, to understand himself to be in the "great cemetery, Oddiyana," and to wear red. Following his enjoy- ment of the five nectars and contemplation of the brahmavihdras, he sud- denly takes on the ahamkdra of the deity. The vajra ground is installed, followed by emptiness meditations and the visualization of the cosmos with Mount Sumeru. A four-armed Vajrayogini is generated internally. The knowledge deities are summoned and worshiped with the supreme worship and the tasting of nectar (Kii9r2), which is followed by a yogic- type armoring (of the six cakras and nine orifices with hum, K119V4) and a yogic meditation in which mantras are visualized flowing through the body, culminating in the nonperception of dharmas. In an external rite, the form of the goddess is self-generated suddenly and empowered with an armoring (as before, K119V3). The ground is prepared with transgressive substances, a mandala is drawn, and offerings made. In this rite, the letters of the mantra are drawn counterclockwise on the surface of a mirror with vermilion powder, and the knowledge form is drawn into it. There follow rites performed with the left hand (K119V6-120O, namely, the hand wor- ship, tasting of nectar, and ^//offerings, followed by praise, the bodhisattva vow, and a dedication of merit. Two short rites describe the means of accepting a pupil (Knon) and of creating an amulet (Ki2or6-v).

GSS36 Kurmapatanakramena Vajrayoginisddhana^ (Sddhana of

Vajrayogini with the Method of the Falling Turtle) This form of Vajrayogini is generated in front of the sadhaka inside a dou- ble dharmodaya with the aid of an image of the goddess. She is produced through a sequence of awakenings and stands in the "falling-turtle" stance. It concludes with a bait ritual.






47 Witnesses: Kn8r2-i20V3, N83r4~85r4, D86r4-88r4. Toh., Ota .-?

48 Witnesses: K120V3-121V2, N85r4-85v6, D88r4~88v8. Bhattacarya (SM vol. 2, p. cxiv) provides a list of sixteen texts by Sahara in the bsTan 'gyur, including one called Kunnapadmiddhisddhana. This is not among the texts that Robinson lists from the bsTan 'gyur by Sahara (1979: 291). Toh. 1560, Ota. 2268; Toh. 1559, Ota. 2267; cf. Ota. 5134.



378 VAJRAYOGINI

GSS37 Oddiydnasvddhisthdnakramavajrayoginisddhana (Vajrayogini Sddhanafrom Oddiydna with the Self-Consecretion Method) by Virupa 49
The text prescribes the self-generation (from hrim) of white Vajrayogini with two arms in a standing pose, or alternatively an aniconic visualization of the syllable hrim in the dharmodaya, with offerings of bali at the four junctures. After practice on ten parvan days, a vision of Vajrayogini is promised, to be preceded by omens. Rites of appeasement, etc., are then to be performed. The text is corrupt where it prescribes the pose (f pratyalidhastham urdhvapddam ca f). 50 Although there is no trace of a dual in the text, it may have intended these poses to refer to two attendant god- desses who would be placed one on each side of the central goddess. It is noteworthy in this respect that Vajrayogini wears the six mudras of a mandala leader. Another threefold mandala is also described in other texts associated with Virupa, cf. the TrikayavajrayoginI group. Possibly indica- tive of corruption is the unnecessary repetition of the goddess as two armed (dvibhujdm) just before the poses are given.

The white form of Vajrayogini described in GSS37 appears in the GSS collection beside the white warrior-stance Vajravarahl (GSS38) shown to be related to white Vajraghona- Vajravarahl. The two manifestations share some details, such as the goddess's generation from a white syllable hrim (GSS37) or hrih (GSS38). However, the white Vajrayogini in GSS37 has most in common with the red warrior-stance Vajrayogini, as described in GSS19. The ritual portions are similar in that both prescribe worship of the goddess on an auspicious night. GSS37 adds that the goal is siddhi (Ki22n: vajrayoginisiddhyartham) and mentions various omens and a vision of the goddess as a prerequisite for peaceful rites. The heart and auxiliary-heart mantras and bali mantra are the same in both texts, and both also supply the tripartite root mantra. In GSS37 the latter is a little unusual because



49 Witnesses: Kiiivi-mrs, N85v6-86r7, D88V8-89VI; cf. GSS38, GSS19. Toh., Ota.-?

50 GSS37 (K121V3): svahrdi padme candrasuryadharmodaydmadhye suklahrimkdra- parindmena bhagavati<m> vajrayoginlm ekamukhdm muktakesdm nagndm pinon- natapayodhardm dvibhujdm raktavarnd<m> trilocandm savdrudhdm hdrdrdhaha- rakinkinijalakhandxtmanditamekhaldmalddisanmudropetdm bhdvayet. dharmo- daydmandale dvibhujdm kapdlavajrakhatvdngadhardm ^pratydlidhastham urdhva- pddam ca\ brahmasirasam dkramya sddhayet sthiramdnasah I '(mantras follow).

• kinking em.; kinkinim K • dharmodaya\ em; dharmodayaK* sirasam] conj. (siras used as masc); brahmas'iram K.



APPENDIX: SUMMARY OF SADHANAS 379

the mantra deity VajravairocanI appears in first place (rather than the usual third place), and the syllable hrim is inserted at the end (om vajravairo- canlye sarvabuddhaddkiniye vajravarnaniye hrim hum hum phat phat svdhd).

GSS38 Aryasuklavajravdrdhisddhana^ (Sddhana of Noble White

Vajravarahi)
After a namaskdra verse, the text describes the preliminary worship and emptiness meditations, a series of awakenings from a white, five-pointed vajra produced from hrih, and the self-generation of white, two-armed Vajravarahi in dlidha stance. The awakenings, yogic recitation of a mantramdld, and rites are those associated with the (white?) Vajraghona manifestation described in GSS5, the Abhisamayamanjari (GSS5 Sed pp. 150-51, K35n-35vi). A much fuller sadhana centering on this white form of Vajravarahi and her associated rites, is found in the Prajndlokasddhana by Konkadatta (SM218), with some overlapping text, especially in the rit- ual portions. The brief reference to the rite of subordination (preceded by a rite of tasting nectar) with which GSS38 ends is also found in the Abhisamayamanjari (GSS K35VI-6), and this is described much more fully in SM219, probably ending with the final line listed as SM220. The GSS texts in fact demonstrate that SM218-SM220 are continuous text; the colophons in the SM (perhaps editorial?) are misleading, and the opening lines in SM219 referring to the generation of the goddess in the sequence ' given previously" (p. 432: purvoktakramena nispanndm bhagavatim) refers to the previous sadhana, SM218.

GSS39 Vajravdrdhihomavidhi: 1 See GSSS

GSS40 Commentary on Portions ofGSSi (Colophon in D:

Vajravdrdhisddhana)^"
GSS40 opens with commentary upon the namaskdra verse (GSSi: namah srivajrayoginyai sunyatdkarundtmane. . .), which it interprets as an internal



51 dryasuklavajravdrdhisddhanam] corr.; diyasuklavajravdrdhydh sddhanam K. Wit- nesses: Ki22r>-i23r 4 , N86r7-87r3, D89vi-c;or5; cf. GSS5 (Sed p.150 3 , K351-1). Cf. SM218 (p. 426-31); with SM219-20.

52 vajravdrdh'ihomavidhih] corr.; vajravdrdhyd hornavidhib K. Witnesses: GSS Ki23r 4 -i24n, N87n-87v6, D9or5~9o8v « CiSS8. Toh., Ota.-?

53 Witnesses: GSS Ki24n-i25r3, N87V6-88V2, D90VI-91V3; cf. GSSi. The colophon in [) (Vajravdrdhlsddhana) is a misleading late addition. Toh., Ota.-?



3 g Q VAJRAYOGINl

yogic meditation with drops based on the four consecrations in the Heva- jra system. It then comments upon the parvapujd and upon the frame verses praising transgressive practice. The remaining commentary is upon text that is not part of GSSi in this recension of the sadhana.

GSS41 Vajravdrdhikalpa (Vajravarahi Ritual)™

A sacrificial rite (ydgakriyd) in the cremation ground in which a wrathful form of Vajravarahi is visualized in the fire and is propitiated with ground- up buffalo meats for the attainment of black-magic siddhis.

GSS42 Vajrayoginiprandmaikavimsikd (Stotra) (Twenty-One Praise Verses

for Saluting Vajrayogini)^ A twenty-one-verse stotra (verses are numbered in the text) praising Vajrayogini: her embodiment of the four blisses, her compassion, her tran- scendent wisdom (in Yogacara terms), and her ability to manifest with many different forms, including as the supreme goddess in other religious systems (Sakti, Candi, "Vedavati," Kubjika, VaisnavatI, etc., according to the different religious systems).

GSS43 Vajravildsinistotra (Praise ofVajravildsini) by Vibhuticandra % The stotra consists of forty-five (unnumbered) couplets. The meter is not dryagiti proper, since the final short syllable must often be read as long to make up the full sixteen mdtrds in each pdda; there is some rhyme and yamaka. The iconography and character of Vajravilasini are described.

GSS44 SvddhisthdnakumdritarpanavidhP 1 (The Self-Consecration Rite for

Propitiating a Virgin)
After the namaskdra and an expression of the guru's worth, the text is lost. Ten folios are missing in K (ff. 129-38), and N and D note the lacuna. It seems that one lengthy sadhana is contained in the missing portion. The text resumes (Ki39ri) with a description of the outer portion of the thirty- seven-deity mandala, citing a verse from the YSCT/SUT group (= GSSn



54
55



Witnesses: GSS Ki25r 3 -i25V5, N88v2-8 9 r2, D 9 iv 4 -92r 4 . Toh., Ota.-? Witnesses: GSS Ki25v5-i2 7 r2, N8 9 r2-9in, 092^-93^; Ms. "C" (CUL ms. add. 1697 IV, photocopy); ed. Dhlh no. 1 (1986: 1-3). Toh., Ota.-? 56 Witnesses: GSS Ki2 7 r2-i28v 4 , N 9 ir2-9ir6, D9 3 r4~94V2; ed. Dhlh no. 1 (1986: 4-6). Cf. Toh. 1602, Ota. 4681. Witnesses: GSS K128V5-139V2, N9ir6-9ivy, D94V2-95F4. Toh., Ota.-?



57



_J



APPENDIX: SUMMARY OF SADHANAS



381



v.41) and the statement that all goddesses wear vajra garlands on their brows (= GSSn §21). There is a brief reference to the purification of the sense organs, the summoning of a knowledge mandala, and its empowerment with the respective mantras for each deity. There follow worship and praise, the offering of bali, and the dismissal of the deities.

GSS45 Indrajitkramavajrayoginisadhana™ (Vajrayoginl Sadhana with the

Method for Conquering Indra) This is very similar to GSSiy (see above) and prescribes the generation of a white, raised-foot-pose form of Vajrayoginl.

GSS46 Ddkiniguhyasamayasddhana 59 (by Anarigayogin?) 60 The following text is not a sadhana, as stated in the colophon, but a com- mentarial work dealing with Cakrasamvara-based material with a strong Kalacakra influence. Our author quotes from many key Yogottara and Yoganiruttara texts, such as the Guhyasamdjatantra, Hevajratantra, Cakrasamvaratantra (= Laghusamvaratantra) and its tikd by Vajrapani, Samvarodayatantra, Abhidhdnottaratantra, Kdlacakramulatantra (Para- mddibuddhatantra), the Catuspitha, Mdydjdla, and Ddkinijdlapanjara. He is extensively influenced by Kalacakra exegetical works, such as the Vimala- prabhd, Vajrapani's Laghutantratikd (Pinddrtha), the Amrtakanika, and Sekkoddesatikd. The text deals with a sexual-yogic interpretation of the con- secrations, the brahmavihdras, Amrtakundali, yogic meditations with the four blisses for the attainment of siddhi, the six yogas, etc. There are many frame verses on the methodology and success of the practice, its meta- physics, and the authority of the guru.



58
59



60



Witnesses: GSS Ki39v2-i 4 or 3 , N 9 iv 7 -92r7, D^v^-c,^ « GSS17. Toh., Ota.-? Witnesses: GSS Ki 4 or 3 -i47v6, N 9 2r7- 9 8r6, D95V3- ioiv 5 . Published as Ddkinljdlasamvararahasya (ed. Samdhong Rinpoche and Vrajavallabha Dvivedi. 1990). Toh., Ota.-?

The namaskara verse states that the sadhana is written by Anahgayogin, whom I have not traced. (The mahasiddha Anahga has been identified by Dowman 1985: 368-71 with the earlier Anaiigavajra dated to the ninth century; cf. Snellerove 1987: 182.) 5




Notes



About fifteen Vajrayogini/ Vajravarahi texts are listed in Bhattacharyya's edi- tion of the so-called (n. 42) Sadhanamala (1925/ 1928), although many of these are actually portions of longer texts, printed separately because they contain brief colophons. All of the Sadhanamala works appear in almost identical or similar form in the Guhyasamayasddhanamdld. The one exception is the longest Vajravarahi Sadhana in the Sadhanamala (SM218, with SM219 and SM220), although this is still represented in the Guhyasamayasadhanamala in two sep- arate, but much shorter, versions (in GSS5 and GSS38). One can also find iconographical descriptions of Vajravarahi as consort in the Sddhanamdld's small collection of Cakrasamvara sadhanas (e.g., SM250, 251, 255). A few sadhanas of other deities also incorporate Vajrayogini materials into them, for example, the Manjursri Sadhana SM48 "vajrayoginibhdsitam vadirajamanjusri- sddhanam" which has no reference to Vajrayogini except in the title, and contains minimal tantric elements; the Ekajata Sadhana SM123; and a Vidyd- dharikrama text SM249 from the Mahamaya tradition, containing the balividhi from GSS21. The main sources in the Sadhanamala are: SM217 Vajravdrdhisddhana^GSSy, cf. GSS31.

SM218-220: SM218 Prajndlokasddhana by Koiikadatta with SM219 vasyavidhi given as "Vajravarahisadhana" and SM220 "vajravdrdhyd vas'yavidhih" (final line of preceding vasyavidhi with colophon)«GSS5 (K34V5-35V6, Sed p. 149) and GSS38 (see appendix entry to GSS38).

SM221-223: Printed as three texts (though probably redacted from a single source) focusing on the (male) deity Mahamaya, but with the Vajravarahi root mantra. SM221 (colophon in one ms. only: jvdldmukhisddhanaprayogah) opens with verses extolling the deity, followed by the Vajravarahi root mantra, identical (with a few variants) to GSS11 §32 and related texts. SM222 (colophon in one ms. only: mahdmdydjvdldmukhivajravdrahiprayogasddhanam) refers to the previous Vajravarahi root mantra, with instructions for its recita- tion and rites for siddhi. SM223 mahdmdyddevydh smasdnam is a short para- graph giving an account of cremation grounds a little different from that in Vajravarahi materials.



383



384 NOTES TO PAGES xxi-xxii

• SM224 Vajravdrdhisddhana^GSSiS.

• SM225 Odiydnavajrapitbavinirgata-urdhvapddavajravdrdhisddhana^GSSii.

• SM226 Samhiptavajravdrdhisadhana^GSS^.

• SM227 Samksiptavajravdrdhisddhana~GSSz9~SMiz7.

• SM232 Vajrayoginisddhana (Trikaya-Vajrayoginl)«GSS20~GSS25.

• SM233 Vajrayoginisddhana**GSSi% cf. GSS28.

• SM234 Vajrayoginisddhana**GSS<)=GSS}o.

• SM235 nandydvarttena siddhasavarapddiyamatavajrayoginydrddhanavidhih^ GSS5 (K3811-5, Sed p. i53)*GSS22 (K86r6-86); cf. GSS23.

• SM236 Vajrayoginisddhana**GSSi<).

• SM237 vajrayoginyupadesah. Fragment probably from the end of a sadhana describing yogic meditations with recitation of mantra.

• SM238 vajrayoginyd balividhih=balimantra from GSS25.

2 Isaacson (2001: personal communication) suggests that the Samvarodayatantra was influential chiefly in Nepal, and may even be a Nepalese composition, possibly dating from as late as the twelfth century.

3 Guide to the Nyingma Edition of the sDe-dge bKa'-'gyur/bsTan-'gyur in two volumes, July 22, 1980 (Berkeley CA: Dharma Publishing).

4 The Six Texts ofVajravdrdhi (Phag mo gZhung drug) in the bsTan 'gyur (Toh 1551-56) comprise the Sri-Tattvajndnasiddhi by Sunyasamddhi (Toh 1551), Sarvdrthasiddhisddhana by Avadhutipa (Toh i552=GSSi5), Jndndves'a by Sunyasamadhi (Toh 1553), Chinnamunddvajravdrdbisddhana by Srlmatidevi (Toh i554=GSS24), Chinnamunddsddhana by Virupa (Toh i555=GSS 25/GSS20), and Sri-Vajrayogini-homavidhiby Buddhadatta (Toh 1556 =GSSi3). All six were translated by Varendraruci and bLo ldan shes rab. The transmis- sion of this set is sometimes credited to Sabaris'vara/Sabara (Robinson 1979: 290; Bhattacharya 1928 vol. 2: cxv). However, it is elsewhere attributed either to Laksminkara (from her brother, Indrabhuti) and her disciple, Virupa, or to Kambala (a problem Dowman attempts to solve by suggesting that Kambala was Laksminkaras guru, 1985: 375). See the Blue Annals (pp. 389-94) for the transmission lineage from Indrabhuti and the eventual written composition of some of the six texts.

5 This Tibetan lifestory, translated by Guenther (1963), is by Lha btsun Rin chen rnam rgyal (1473— 1557) and is entitled mKhas grub kun gyi gtsug rgyan panchen nd ropa V rnam thar ngo mtshar rmad byung. For the transmission from Tilopa, see Guenther {ibid: 44), and for Naropa's famous vision {ibid: 24-25). Guenther {ibid.: xv) dates this biography to the late twelfth century, but more recent schol- arship has shown its author to have been a follower of the "mad lama" (bla ma smyon pa), gTsang smyon Heruka (1452-1507), (Samuel 1993: 522, citing Gene Smith 1969: i6-2j). For a discussion of the dating of Tilopa and Naropa, see Wylie 1982.

6 The earliest lifestory by sGam po pa (1079-1153), the Ta'i lo dang ndro'i rnam thar, simply describes how a female deity (not identified as Vajrayogini, but vaguely as "mother of/from Khada") appears in a dream and persuades him to seek Tilopa; only after studying under Tilopa does he enter Nalanda and



NOTES TO PAGE xxill



385



become a fully fledged pandita. {sGampopa bSodnams rin-chen 1974: 18-30.) The other text ascribable to before 1200 is by sGam po pa's nephew's pupil, founder of the Tshal pa bKa' brgyud school, Bla ma Zhang (g.Yu bra pa brTson 'grus grags pa, 1123-93). This text appears in Bla ma Zhang's collection of life stories entitled Deeds and Lives {mDzad-pa rNam-thar gyi skor, 1972). Here, Naropa dreams of many dakinis (again, not specifically Vajrayoginl); he becomes a pandita, again only after serving as a pupil of Tilopa, but at Vikra- mas'ila. There is also a life of Naropa accredited to Marpa in the eleventh cen- tury, found within the collection brGyud pa yid bzhin nor bu'i rnam par thar pa, The Life Stories of the Wish-Fulfilling Jewel Lineage. This collection is con- tained within a sixteenth-century compilation of texts by Byang chub bzang po entitled bDe-mchogmKha'-'gro sNyan-rgyud (New Delhi: 1973. Reproduced from a rare manuscript in the library of Apho Rinpoche (no publisher given)). However, this compilation is in fact a later work clearly abbreviated from ear- lier sources (see Roberts 2002: ch. 2). I am indebted to Peter Alan Roberts (per- sonal communication: 2002) for providing this endnote and references, and the following details of transmissions within the bKa' brgyud traditions. There are two editions of dPa' bo's work on the Vajrayoginl practice (details for which I thank Dr. Sobisch; 2001: personal communication), as follows:

dPal rje btsun rdo rje rnal 'by or ma 'igsang ba 'i sgrub thabs kyi rnam par bshad pa zab mo rnam 'byed: A Detailed Exegesis of the Esoteric Meditation-Devotional Practice (Guhyasadhana) Focusing upon Vajrayoginl According to the bKa' brgyud pa Tradition. dPa'bo gTsug-lag Phreng-ba of gNas-gnang. Bir: [s.n.], 1974. 1 v. (unpaged). On boards: Cover title: rDo rje rnal 'byor ma'i gsang sgrub kyi rnam bshad. Reproduced from a manuscript transcription of an ancient block- print in the library of Nam mkha' rdo rje (Microfilm no.): Set 2-16. LMpj-012066. R-2241-74-901524.

dPal rje btsun rdo rje rnaTbyor ma 'igsang ba V sgrub thabs kyi rnam bshad pa zab mo rnam 'byed: A Detailed Explanation of the Twelve Esoteric Instructions on the Guhyasadhana of Vajrayoginl Transmitted by Naropa. Rumtek: Dharma Cakra Center, 1975. 512 pp.; 9 x 50 cm. Added Tibetan title on boards: dBal (sic.) rje btsun rdo rnal 'byod (sic.) ma 'igsang ba 'i sgrub thabs kyi rnam par bshad pa zab mo rnam 'byedches (sic.) by a ba bzhugs so. Study of Esoteric Teachings Prac- ticed by the Karma Kargyudpa (sic.) Tradition of Tibetan Lamaism. (Microfilm no.): Set 3-20. LMpj-012504. SB-2214. LCCN-76-900087. For example, teachings on the sadhana by Chogyam Trungpa have been pub- lished (1982, 1991, 1999), and Simmer-Brown's exploration of the dakini and her description of Vajrayoginl (2001: ch. 4) is based mainly upon transmis- sions within the bKa' brgyud and rNying ma schools (ibid.: xii-xix). I owe this entire paragraph, with notes and references to a full letter written to me on the subject by Lama Jampa Thaye (January 15, 2002), whom I sometimes cite word for word. This was particularly kind given his reservations about bringing esoteric tantric material into the public domain. He points out that sources dealing with the topic are almost exclusively in Tibetan. Although this



386 NOTES TO PAGES xxiv-xxvi

overview is itself extremely condensed, other published references in English are far more fleeting; namely, Chogay Trichen's History of the Sakya Tradition (Bristol: Ganesha Press, 1983) and Sherab Gyaltsen Amipa's A Waterdrop from the Glorious Sea (Rikon, Swizterland: Tibetan Institute, 1976).

10 The full details of the transmission lineages of these three are found in the lin- eage supplications (rgyud 'debs) attached to the relevant sadhanas. The initia- tions and sadhanas themselves have been published in recent years amongst Sa skya pas in India, in a six-volume collection of teachings on Vajrayogini, enti- tled the dPal Idan sa skya pa V lugs naro mkha ' spyod ma 'i skor. They are also found in sgrub thabs kun btus, the monumental fourteen volumes of Vajrayana teachings collected by Jamyang Khyentse Wangpo ('Jam dbyangs mKhyen brtse dbang-po, 1811-1892) and Jamgon Loter Wangpo ('Jam mgon bLo gter dbang po, 1847-1914), published some years ago by Dzongsar Institute for Advanced Studies, Bir, Kangra, H.P., India.

11 There is an initiation and sadhana of Vajravarahi found in the "One Hundred Sadhanas of Bari" (in vol. 12 of sgrub thabs kun btus), the collection of Vajrayana practices brought from India by Bari Lotsava (b. 1040) and transmitted onward through Sa chen Kun dga' snying po.

12 The initiations and sadhanas for these esoteric instructions are located in sgrub thabs kun btus. Unlike the two other forms of Vajrayogini and the rest of The Thirteen Golden Dharmas, Maitri Khecari entered the Sa skya tradition with Sa chen Kun dga' snying po's son, rje brsun Grags pa rgyal mtshan (1147-1216). According to the material on Maitri Khecari (in dPalldan sa skyapa'i lugs naro mkha' spyod ma'i skor vol. 6, p. 203), he received it from one Dar ma Yon ten, a disciple of Sum pa Lo tsa wa. One Tibetan publication (with the English title A History of the Sa-skya-pa Sect of Tibetan Buddhism, by T. G. Dongthog, New Delhi, 1977: 173), states that he received it directly from Sum pa Lo tsa wa.

13 Found in volume 2 of dpal Idan sa skya pa V lugs naro mkha ' spyod ma V skor.

14 None of these teachers aims to present a textual analysis of his original sources. Indeed, Ngawang Dhargyey (1992: 19) notes that in imparting the Sa skya lin- eage teachings, his own teacher, Kyabje Trijang Dorjechang, was often speak- ing from his own experience rather than relying on textual transmissions or commentaries. To what extent these works can help throw light on the Indian textual tradition studied here is very doubtful. Where I provide citations from these works, I do so with caution. This caution is all the more necessary because the teachers have tended to compose and edit their works from transcriptions of their oral commentaries (Tharchin 1997: Acknowledgments; K. Gyatso i997 : ix) — transcriptions made by pupils who themselves may have relied upon a translator. Apart from the difficulty in locating the sources used by the teach- ers, it is not always evident how a given translation relates to its explanation, as Dr. Sobisch has pointed out, e.g., Tharchin 1997: 192.

15 The appearance of Vajravarahi within rNying ma theology, hagiography, and myth is well attested, as in the definitive volumes by Dudjom Rinpoche (199 1 )' as well as in many other published works, e.g., Germano and Gyatso (2000:



NOTES TO PAGES xxvi-2 387

246ff.). Ye shes mtsho rgyal's lifestory (Bod kyi jo mo ye shes mtsho rgyal gyi mdzad tshul mam par thar pa gab pa mngon byung rgyud mangs dri za'i glu 'phreng)has been translated by Tulku (1983), Dowman (1984), and Changchub and Nyingpo (1999). References to Ye shes mtsho rgyal as the principal custo- dian and transmitter of "treasure" texts (gter-ma) abound, e.g., Dancing Moon in Watery (J. Gyatso 1998: 31-2), Dudjom (1991: 581, 586-87), Dowman (1984: 73, 121-41), Germano and Gyatso (2000: 244, 248).

16 Literature on the meditative practice of Ye shes mtsho rgyal /Vajravarahi/Vajra- yogini is plentiful, e.g., Klein (1995: 139, 144, 147), Patrul (1994: 313), Khyentse (1988), Thondup (1983, 1992). The Thar pa i bdelamwas composed by Jam mgon Kong sprul bLo gros mtha' yas (1813-99). This is the sngon 'gro of the extremely popular treasure cycle dKon mchogspyi ^derived from the treasure revealer, Rig 'dzin 'Ja 'tshon snying po (1585-1656). Lama Jampa Thaye (to whom I owe this information) points out that the chief deity of the cycle is in fact the dakini Simhamukha (sic), who is the focus of the yanggsangC utterly secret") part of the generation-stage practices. He writes, "The employment of Vajrayogini in the sngon 'gro may reflect the influence of the bKa' brgyud tradition among the rNying ma. 'Ja 'tshon sNying po, prior to his activity as a treasure-revealer, was a 'Brugs pa bKa' brgyud monk and the sngon 'gro itself was formulated later by 'Jam mgon Kong sprul, who was of course a Karma bKa' brgyud pa." I also thank Rig- dzin Shikpo for sending me his outline and explanation of the Thar pa 'i bde lam.

vj The full name of the Tibetan text is rDzogs pa chen po sku gsum rang shar las thun monggtum mo'i nyams len ye shes me dpung bzhugs so, which the author translates into pidgin Sanskrit as Kayasahasarvam trisvayambiirpasya samanya- candaugnibhya jnajvala tisma. I thank Dr. Peter Alan Roberts for this infor- mation and for providing me with a copy of his unpublished translation.

18 Simmer-Brown's (op. cit.) wide-ranging survey includes an interesting analy- sis of the various Western encounters with the subject, in a critique of both the Jungian approach (pace Guenther 1963) and feminist models. Apart from Herrmann-Pfandt, other feminist writers in the field include Rita Gross (1989, 1993), Janice Willis (1989), Miranda Shaw (1994), Anne Klein (1995), and June Campbell (1996). There is also the synthetic account of Chinnamasta Vajra- yogini from Buddhist and Saiva sources by Elisabeth Anne Benard (1994), and studies that touch on the subject from other academic disciplines, such as David Gellner's (1992) anthropological work, or Toni Huber's (1999) ethnohistorical study of Tsari, a region in Tibet associated with Cakrasamvara and Vajravarahi.

19 The problems of defining tantra in the Buddhist context have been explored in recent years, for example by Hodge (1994: 58-59). A full overview of the dif- ficulties and how various scholars have attempted to meet them is given in Lopez (1996: 78-104), and contributions to the subject continue, e.g., Williams and Tribe (2000: 196, 197 ff.).

20 The figures for the Tibetan translations are reached by counting the texts in the tantric sections of the Tibetan bKa' 'gyur and bsTan 'gyur, both from the Tohoku Catalogue of the Derge edition (Toh/D) of 1733, and from the Otani Catalogue



388



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21



of the Beijing Qianlong edition (Ota/Q) of 1717-20. (Figures remain approxi- mate, as there are other editions of the canon that vary slightly, and also manu- script editions that did not undergo revisions and so include texts not found in later editions.) The rGyud 'bum section of the bKa' 'gyur (Toh/D 360-845) numbers just under five hundred texts, and there are in addition about twenty- four dharani texts (from the gZungs 'dus section, Toh/D 846-1108) not con- tained here. This means that in all there are about five hundred and ten tantric texts in the bKa' 'gyur of the Derge edition. The rGyud section of the bsTan 'gyu r (Toh/D 1109-3785) includes just under two thousand seven hundred texts. An additional tantra collection appears in the Beijing and Narthang bsTan 'gyurs (Ota/Q 4604-5183) that contains about five hundred texts over and above those found in the Derge bsTan 'gyur. This brings the number of tantric texts in the different bsTan 'gyur editions to just under three thousand two hundred. I thank Dr. Hermann-Pfandt for this information (2002: personal communication). See also Sanderson 1998: 661, and Williams and Tribe 2000: 195.

As for the Sanskrit texts, BBK lists 1,500 Sanskrit tantric texts, although Isaac- son (1998) notes that there are many texts not listed there. Matsunami (1965) lists about forty pages of tantric Sanskrit texts.

A portion of the Namamantrarthavalokinl, Vilasavajra's commentary upon the Aryamahjusrinamasamgiti (or Ndmasamgitt) , has been edited and translated by Tribe in his unpublished doctoral thesis (1994) and discussed in a published article (1997: 109-36). For the life of this yogatantra scholar (also known as Lilavajra), see Dudjom 1991: 463.

22 Skorupski (1994: 201 n. 47), for example, notes that the commentators on the Samputodbhavatantra, such as Indrabhuti, use the phrase "yoga and yogini tantras"; cf. Kriyasamuccaya f. 409: yoginiyogatantresu.

23 Gellner (1992: 373, n. 5) notes that "veiled and peripheral references to sexual rites do occur" rather earlier in the yogatantras, for example in , n.ipter 5 of the STTS. Cf. Sanderson 1994!: 97 n. 1.

24 Snellgrove (1959 vol. 1: 12-13) dates the Hevajratantra from the latter eighth to early ninth century, using the myth of Padmasambhava's connection with King Indrabhti. Herrmann-Pfandt (Herrmann 1983) comments that this connection is doubtful because the Padmasambhava myth belongs to later rNying ma apolo- getics from the twelfth century. The evidence of Taranatha, who makes the eminent commentator Kanha a contemporary of the eminent King Devapala (first half of the ninth century; Snellgrove 1959 vol. 1: 14), is likewise untrust- worthy (see Isaacson 2001: 458 n. 4, who also discusses the commentator's name). It is, in fact, extremely difficult to date the emergence of the yoginitantras. Although Heruka-type material was in existence from the mid-eighth century (in the Sarvabuddhasamayogadakinijalasamvara, see n. 26 below), neither the Hevajratantra nor the Cakrasamvaratantra were transmitted into Tibet unti the second diffusion (from the latter tenth century). The dating of translators and commentators is helpful, but this tells us only that the tantras were in exis- tence by the late tenth or early eleventh centuries at the time the commentaries



NOTES TO PAGES 4-9



389



and translations were written. For example Gaya(a)dhara, translator of the Hevajratantra, was active in the second quarter of the eleventh century, and its commentator Ratnakarasanti was a pupil of Naropa's, and datable to the early eleventh century (Mimaki 1992: 297 n. 1); the first commentary on the Cakrasamvaratantra is late tenth century. But we still do not know how long the tantras had been in existence before this; and given the exegetical produc- tivity of the period, there is no reason to assume that the texts are much older than their commentaries. It is also unclear which tantra is the older of the two. The Hevajratantra is built upon a mandala of the older Sarvabuddha- samdyogaddkinijdlasamvara, which may indicate its antiquity; but on the other hand, it is more coherent than the Cakrasamvaratantra, and many of its meth- ods are more sophisticated (as in its system of four joys, ch. 3 with n. 195) and more attractive to exegetical expansion (Sanderson 2002: personal communi- cation). As for the Kalacakra tradition, Newman (1998: 343) has concluded that its root texts were completed "between 1025 and ca. 1040," although Isaacson notes (op. cit.'.Afi-] n. 2) that Ratnakarasanti "shows nowhere (to my knowledge) any awareness of the Kalacakra-system and its literature." Davidson (2002) offers some comments on dating of yogottara and yogini traditions.

25 YSCT: p. 839 ch. v. ib (A4V.5, B6r.3): mahdydnam mahdmudrd yogini siddhi- dd tathd.

26 A brief summary of this tantra, or a version of it, appears in a Chinese text trans- lated by Amoghavajra, sometime between 746 c.e. and 774 c.e. See Tanaka 1994: 323; cf. Abe 1999: 260 and Tsuda 1999: 305. I thank Professor Sanderson (1995; 2002: personal communication) for these references.

27 Our authors were well aware that the variant orthography points to two dif- ferent etymologies: sam-, "bliss," is used as a synonym for sdta, sukha, and there is no doubt an allusion intended to Siva, the "creator of bliss" (sam-kara) (Isaac- son 2001: personal communication). "Samvara" (literally, "restraint") was prob- ably just a shorthand for "Cakrasamvara." The two different spellings occur in the Tibetan translations also (bde mchog for Samvara, and sdompa for Samvara).

28 GSS16 (K75V3): tantre laksdbhidhdne hi ndthena kathitd svayam.

29 According to the colophons of the Tibetan manuscripts, the Legends are a trans- lation of the Caturasitisiddhapravrtti of Abhayadatta from the twelfth century, although Tatz (1989) is not convinced of their Indian origin and points out that neither the purported author (Abhayadatta) nor the translator (sMon grubs shes rab) have been identified with any degree of certainty. In his translation, Dowman (1985: 384, appendix I) decribes the Legends as belonging to The Cycle of Blessings of the Eighty-Four Indian Mahdsiddhas (rGya gar grub thob brgyad cu rtsa bzhi'i byin brlabs chos skor), 2. cycle of texts found in the bsTan 'gyur and also in the sGrub thabs kun btus. He states that an edition in Tibetan of the Legends in the sNar thang bsTan 'gyur is also available (Sangpo Khetsun, ed. 1973. Biographical Dictionary of Tibet. Dharamsala Tibetan Library: 633-770). See also Robinson's translation (1979) and the review by Tatz (1989) of Dowman's and Robinson's work. The other main source for the lives of the



39Q



NOTES TO PAGES IO-II



eighty-four siddhas is Taranatha, who groups his stories according to the lin- eage of teachings to which they belong in a work entitled The Seven Instruc- tion Lineages by Jo Nang Taranatha (Templeman 1983).

30 Benard 1994: 66, cf. Blue Annals: 847 and Taranatha's History: 197 n. 13.

31 See Blue Annals: 841-42, Taranatha's History: 305, Bhattacarya SM II: xci, and Cordier Catalogue, vol. Ill: 273 cited Kvaerne 1977: 6.

32 GSS5 (Sed p. 139, K26r4): evam taval luyipaddbhisamayakramena vistaratah saptatrimsadatmakam bhagavatya mandalam. tatraiva mandalabheddntaram vajravalyam asmadgurubhir upadarsitam.

33 The colophons of three of Abhayakaragupta's works state that they were writ- ten during specific years of Ramapala's reign: the Abhayapaddhati commentary on the Buddhakapalatantra during the twenty-fifth year, the Munimatalankara during the thirtieth, and the Amnayamahjari during the thirty-seventh (Biihne- mann 1992). Abhayakaragupta is an important author and translator, and in his history in the Blue Annals, he is said to be the transmitter of the *Sadhana- samuccaya (p. 1048). Twenty-four works are ascribed to him in Cordier's bsTan 'gyur (cited Bhattacharyya 1972: 9, see also Biihnemann 1994, 1992).

34 The other work by Umapatideva in the bsTan 'gyur is a Vajrayogini mandala rite (1584 in the Derge edition). Vagisvaragupta and Rwa Chos rab were also co-translators of a number of Kalacakra texts (1358, 1359, 1362, 1392, 1393, and

1394)-

35 Apart from his work with Vagisvaragupta, Rwa Chos rab translated another six

texts (365, 440, 1374, 1754, I755> and 1964), five of them with Samantasri, includ- ing two of Samantasri's own compositions. It seems that Rwa Chos rab flour- ished in the early twelfth century. His dates may be tentatively deduced from two sources. First, the Blue Annals (p. 756) lists the "followers of the Rwa-lo tra- dition" and places Rwa Chos rab two lineage successions after "Kalacakra Junior," who is identified with Naropa who died in 1040 (Newman 1991: 65-76, Wylie 1982: 691) and two lineage successions before another datable translator, rGya lo (1203-82). The second source is the biography of Rwa Chos kyi grags pa (eleventh to early twelfth century, introducer of Yamantaka to Tibet), which describes Rwa Chos rab as his nephew and pupil. This biography (which is said to have been written by Chos rab's own pupil, successor, and possibly son, Rwa Ye shes seng ge; see Blue Annals: 756), states that after the death of Rwa Chos kyi grags pa (Tibetan text p. 343): "His heart son [principal pupil], Locchava Rwa Chos-rab continued his activities for five years. Then he went to Nepal [where he met SamantasrI]." The deathdate of the uncle, Rwa Chos kyi grags pa, is therefore significant. He seems to have died in the early twelfth century since his biography, though fantastical, states that he outlived Mar pa Chos kyi bio gros (pupil of the elderly Naropa, and teacher of Milarepa, who died c. 1096). It also states that he traveled in the same group with Ras chung pa to India. According to the Lho rong chos 'byung (rTa-tshag Tshe-dbang rGyal, Lho- rong Chos-'byung, China: Bod-ljongs dPe-yig dPe-rnying dPe-skrun-khang, 1994: 87), Ras chung pa's visit to India took place c. mo (Roberts 2000: 294*



NOTES TO PAGES 14-19



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36



37



38



328-29, 422-23.) This would place Rwa Chos rab's visit to Nepal (Newman 1991: 76) — where according to Bu ston he stayed for five years, ten months, and five days — in the first half of the twelfth century. Rwa Chos rab is also said to have traveled with Samantasri to Tibet, where they transmitted and translated Kalacakra teachings (in the "Rwa-locchava tradition," Blue Annals: 756, 789, Newman ibid). I thank Dr. Peter Alan Roberts for his help in researching this subject and providing translations from the Tibetan text. E.g., GSS7, GSS12, GSS37; also see historical sources such as Taranatha's His- tory: 332. _

• Siddba-Amndyap. 11: desandprakdsandh kuru! Tatz (1989: 695) describes the amanasikara as "a philosophic system called 'nonattentiveness.'" There are twenty-four works by Advayavajra and his pupils in the bsTan 'gyur (Toh / Tg. rGyud 2229-52). The *Siddha-Amndya (I designate this text according to its listing in BBK: 291) opens by locating itself within the amanasikara tradition (p. 8: amanasikdrdmndyam vaksyate). In a useful article, Tatz (1987: 695-711) compares the life of Maitrlgupta/ Advayavajra as it is told in the *Siddha- Amnaya with that in later Tibetan sources.
  

"If such is available then other mantrins, [that is to say nonmonastic tantrikas] should not be venerated. For if all three are found together and the house- holder is worshiped then the three jewels of Buddha, Dharma, and Sangha are cheapened." Kriydsamuccaya (SP f. 3.6): uttame vidyamdne tu ndrddhyd anya- mantrinah/satsu trisv ekadesesu grhasthah pujyate yadd/tadd buddhas ca dharmas ca samgho gaccbaty agauravam/iti.

Kudrstinirghdtanam in Advayavajrasamgraha: 1-12. Gellner (1992: 300) com- ments that these are much the same as the routinized version of tan trie prac- tice now found among Newar followers of the Vajrayana.

40 Kriydsamuccaya SP f. 6 3 " 5 (translated by Sanderson, cited Gellner 1992: 295); a passages discussed with text excerpts by Sanderson (1994!: 87-102, especially n. 37). Abhayakaragupta explains the sexual nature of the guhydbhiseka and prajndbhiseka in his Vajrdvali (Ms. B f. 64*6-64^5 cited Isaacson 1996b n. 80).

41 Buhnemann's survey of primary materials and secondary opinions is based on historical sources such as the Blue Annals, The Collected Works ofBu ston, (part 26 (LA), ed. by Lokesh Chandra from the collections of Raghu Vira. 1971), and Bu ston's History of Buddhism (Chos 'byung) (pans I and II, translated from Tibetan by E. Obermiller. 1931-32). She uses catalogs by Bendall (1883), Cordier (1909-15), and others, while her discussions of dating are indebted to the work of modern scholars such as Meisezahl (1980) and especially N. Okuyama (1988. "Tibetto bukkyo pantheon keisei ni kansuru futatsu no kadai." Indogaku Bukkyogaku Kenkyutfli. 892-96). More detailed bibliographical references for her study can be found in her bibliography, pp. 24-26. Lokesh Chandra also describes the four collections in the bsTan 'gyur in his introduction to the Narthang Pantheon (1986 vol. 1: 34).

42 Also less correctly entitled *Sddhanasataka (sGrub thabs brgya rtsa), according to Biihnemann (1994: 11 with n.i).



39



392 NOTES TO PAGES 19-25

43 Biihnemann (1994: 19) shows that the basis of Bhattacharyya's edition is the third and largest of Bu ston's collections known variously as *Sddhanasdgara/ Sddhanasamuccaya/Sddhanamdld, which Bhattacharyya entitled Sddhanamdld according to the catalog description of one of the Cambridge manuscripts (Add. 1593). However, the catalog entry for the palmleaf manuscript of the Sddhanasatapancdsikdm Cambridge (Add. 1686) was also cataloged by Bendall (1883: 174) as the Sddhanamdld tantra (Biihnemann 1994: 17). This catalog entry, and the appearance of this title in manuscripts, misled Bhattacharyya into including it in his edition of sadhanas.

44 These extracts from the Sarvadurgatiparisodhanatantra show how close its sub- ject matter is to the stages of the sadhanas in the Guhyasamayasddhanamdld. See Sarvadurgatiparisodhanatantra, 8a, for opening prescriptions and assurance of success (anena yathoktatantrdnusdrdnukramena vidhdnena pratyaham prabhdta- kdla utpattikramena bhdvayamdno bhdvayet. devatdyogam samddhitrayam uttamam yatnato durgatiparisodhanasiddhir bhavati.); 9b-ioa for preliminaries (tatsddhanam sdkyandthena bhdsitam. prathamam tdvad vijane mano nukula- pradese mrdusukumdrdsane nisannah sugandhena mandalam krtvd pancopahdra- pujd karaniyd. tatah sarvadharmanairdtmyam bhdvayitvd. dtmdnam humkdrena vajrajvdldnaldrkam bhdvayet. tasya kanthe hrihkdrena padmam <... genera- tions. . . > tena vajrajihvd bhavati, mantrajdpaksamo bhavet. . .); ioa-nb for the construction of the circle of protection, with the "binding" of creatures in the directions; a vajramdldbhiseka and armoring follow here, out of place accord- ing to later structures; I3ab for obeisances, twentyfold offerings and puja; 17a for emptiness mantras; I7b-i8b for bodhisattva vow; 19b for the generation of the mandala and the summoning of previous puja deities who are then made to enter the mandala in the yogin's heart, and the two mandalas merge into one; self- visualization of the yogin himself as deity at the center of the mandala.

45 GST ch. 12 w. 60C-63: vijndya vajrabhedena tatah karmdni sddhayetl sevdsamddhisamyogam bhdvayed bodhim uttamam I upasddhanasiddhyagre vajrdyatanavicdranam I sddhane codanam proktam mantrddhipatibhdvanam I mahdsddhanakdlesu bimbam svamantravajrinah I makute 'dhipatim dhydtvd sidhyate jndnavajrinah). Also GST ch. 18 v. I36ff. v. 136: sevdvidhdnam pratha- mam dvitlyam upasddhanam I sddhanam tu trtiyam vai mahdsddhanam catur- thakam. Wayman (1977: 34, on ch. 12 w. 6o-6ia and pp. 156-57) translates the four "steps" as: "service" (sevd), "near-evocation" (upasddhana), "evocation (sddhana), and "great evocation" (mahdsddhana). I suggest a better translation of sddhana here is that of "attainment [of the deity]," or "mastery [over the deity]." _

46 Texts of the generation and completion method in Nagarjuna's Arya school are the Pindikramasddhana and Pancakrama respectively, and in the Jnanapada school of Buddhas'rljnana, the Caturangasddhanasamantabhadrandmasddhana and Muktitilakandma (Matsunaga 1978: xxi-xxii; Wayman 1977: 93-95) • ^ these, the Caturangasddhana supplies the fullest elaboration of the four vajras as belonging to the generation stage (Matsunaga ibid.: xxii), while the stage or



NOTES TO PAGES 26-28



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49



50



completion is most famously expounded in the six yogas (Sadangayogandma) attributed to the tantric Nagarjuna (Wayman ibid.: 36, 163-73); see n. 423.

47 The topics of the early chapters of the SUT (published by Tsuda, 1974) are also those of a mature sadhana such as GSSn analyzed below. Like the sadhana, the SUT deals, in sequence, with birth and the generation method (chs. 1 and 2), the completion method (ch. 3), the armoring of the psychophysical organism (ch. 4), yogic prdndydma practices (chs. 5-6), yoga, yoginis, sites, etc. (ch. 7~9=body mandala); and ritual acts (ch. 10).

48 In the HT, the sequence of the topics is: self-generation (HT1.3), self- consecration (HT1.4), meditation on emptiness (HT1.5), ritual performance (caryd) (HT1.6), sites and yoginis (HT1.7-1.8), and generation of the full mandala through visuddhis (HT1.9).

GSSi (K279V2)«GSS2 (K4r6): adau tavan mantri gurubuddhayor abhinna- bhaktimdnaso drdhagrhitabodhicittah samyakprdptdbhisekah. . . • drdha] sudrdha GSS2. Cf. SM218 p. 431.

GSSi (K4r2) and GSS5 (Sed p. 154 9 , K38V4): gurur buddho gurur dharmo guruh samghas tathaiva ca I gurur vajradharah srimdn gurur evdtra kdranam I gurum drddhayet tasmdd buddhatvapadavdnchayd. •vdnchayd] GSSi; vdnchayatiGSS^.

The GSS produces many other citations on this vast subject. At the start of the Abhisamayamanjari (GSS5) the author claims: "In the [tantric] system, the yogin is one whose devotion to the Buddha and the guru is undifferentiated" (Sed p. 125, K14V.4): iha gurubuddhayor abhinnasraddhah... yogi; d. GSSi (K279V2): ddau tavan mantri gurubuddhayor abhinnabhaktimdnaso. .. ; GSS46 (K147V) cites a number of verses from scripture extolling the guru, comparing him with various buddhas, and warning the pupil of the dire consequences that will follow if he transgresses the guru's commands, such as leprosy in this life and hell in the next. Frame verses also appear in GSS10 (e.g., K53r3): gurupddam vind vatsa ma gaccha yogininayam, and GSS33 (Kinr3). For scrip- tural sources, see e.g., SUT ch. 8 w. 5-12, also SUT ch. 18 v. i-v. 6ab (some- what balanced by a description of a good pupil) within passages on consecration, e.g., STTS ch. 6 (cited Snellgrove 1987: 218). There is a great deal of primary and secondary literature available on this topic; especially use- ful is the work of Sparham (1999).

51 For the samaya as post-initiatory observance, see the VA (SP p. 180): samayo mantratantramudrddih. The term has a double meaning, as it also refers to transgressive substances used in tantric rites (see p. 216 with n. 519), both of which are to be protected, e.g., Cakrasamvaratantra i.iocd, ncd: samaydn pdlayen nityam. Jayabhadra's Panjikd (NAK 3-365, f. 2on-2) on the Laghu- samvara states that the mantrin is "committed to the samvara, both those that have to be observed [i.e., the pledges of the initiate] and those that have to be consumed [the 'impure' substances of the cult]" (edited and translated by Sanderson 2001b).

52 GSSi (K8or3): . ..suguptam caiva kartavayam pujdkdle samdhitah. . . .yadi sid- dhim pardm icchan raksayet samayam sada...srivajrayoginirahasyam karndt



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karnam mukdn mukham. Cf. GSS44 Svddhisthdnakumdritarpanavidhih (K128V5): kanydpujdkramam vaksye guruvaktrakramdgatam • kramdgatam] em.; kramdgatah K; GSS18 (KS^r6): yasya kasyacin na kathaniyam. Note injunctions to secrecy following the declaration of the efficacy of transgressive discipline in the Mahdcandarosanatantra ch. 13.

53 See Ratndvalipahjikd (p. 80): purvasevdm vind na kdryasiddhih; SMi (p. i) : jfa khalu. . .mahdtantre mantramandale rajomandale vd vidhivallabdhddhikdro mantri taduktasamayasamvarasthah purvasevdm cikirsuh. . . vasan. This sadhana prescribes different numbers of recitations, e.g., (p. 1): tatprandmdlam- banajdpam abhyasan sahasram japet I tatah sarvamantrdndm laksajdpah krto bhavati...; this constitutes the prior service that is the opening part of the sadhana (p. 2): tatah svapardbhyudayasddhandngam evam purvasevdvidhim anutisthet; SM37 (p. 83): <gives mantra> purvasevdyutam japtvd pascdt sddhanam drabhet; SM266 (p. 524): mantri abhisikto nujndtah krtapurvasevo vajradharam sddhayitukdmo. . . See also Beyer (1978: 25-27) for a description according to a Tibetan tradition of "Contemplative Training: The Preliminary Practices," and J. Gyatso (1998: 187-88) for the way in which initiation and prior service are put into practice by one particular Tibetan yogin, Jigme Lingpa.

54 E.g., SM50 (p. 105): hrdindumadhye bijam. . .tadbijarasmijagurubuddhabodhi- sattvdn drstvd; purvoktabljanispannam srimanjuvajram. . .cintayet; SM61 (p. ixj):.sridharmadhdtuvdgisvaram. ..dtmdnam nispddya; GSS3 (K12V3): etatsarva- parindmendtmdnam bhagavatim vajravdrdhim. . .bhdvayet; cf. GSS31; GSS9 (K45ri): purvoktaih samastaih parindmena vajrayoginim... bhdvayet; SM3 (p. 19): sakalasamastaparinata-. . .samastam etat parinamya; SM4 (p. 22): sarvam etat parinamya; SM14 (p. 39): tad etat sakaiaparinatam dtmdnam bhagavantam dhydydt; etc.

55 E.g., GSS5 (Sed p. 125, Ki5r2): phenabudbudamarlcikadallmdyopamatvena nisceyd vairocanddayah; GSS11 v. 48b, v. 51b, SM3 (p. 19): tad eva jyotirii- paparinatam candramandalam; SM36 (p. 82): suryamandalam rasmimayam vicintya; SM55 (pp. 133-34): nyaset purastdt khalu jdliniprabham I susubhra- rephodbhavam eva nirmalam I pamkdrajam rasmimayam manoharam; SM65 (p. 130): trilokim dlokamayim avalokayet; SM66 (p. 133): mdydmaricyudakacan- drakalpam vibhdvayel lokam imam samagram; etc. The purificatory power or rays will emerge throughout the sadhana, for example in the vdgvisuddhi, wor- ship, awakenings, etc.

56 She appears as the subject of the practice in seven different sadhanas: in the war- rior stance in GSS2 (parvapujd, Kiin), GSS5 (Sed p. 132, K2or3), GSS11, GSS29, and in the reverse warrior (pratydlidhah) stance in GSS3»GSS3i and GSS4.

57 The Rin 'byung brgya rtsa is the first and largest of three collections that make up the complete set of Mongolian images of the IWS. The second collection is the sNar thang brgya rtsa, and the third comprises the main deities of the col- lection of mandalas described by Abhayakaragupta in the Vajrdvali (rDor phreng ba). The full name of the Icons Worthwhile to See (Bris sku mthong ba don



NOTES TO PAGE 36



395



58



Idan), comprising these three collections is Rin 'byungsnar thang brgya rtsa rdor 'phreng bcas nets gsungs pa'i bris sku mthong ba don Idan (Tachikawa 1995: 7).

Rin 'byung brgya rtsa or Jewel Mine of Hundred [texts] is itself an abbrevi- ation for Taranatha's collection, the full title of which is: The Mine of Jewels, Sddhanas of the Ocean ofYidam Deities: Yi dam rgya mtsho'i sgrub thabs rin chen 'byung gnas. This collection has been reprinted in two volumes in New Delhi, 1974-76, as Jo nang rje btsun Taranatha's Yi-dam rgya-mtsho'i sgrub- thabs rin-chen 'byung-gnas: A Collection of Sddhanas for Invoking the Various Tutelary Deities of Lamaism (Willson and Brauen 2000: 231, 233 n. 1; Tachikawa op.cit.).

Large as Taranatha's work already was, the fourth Panchen bLa ma added to it to compile his own text as the basis for the empowerment ceremony of 1810, presenting for each practice both a sadhana text and a rite conferring permis- sion. This work is called The Clear Meaning of the Jewel Mine, an Expansion of "The Mine of Jewels, Sddhanas of the Ocean ofYidam Deities" (Yi dam rgya mtsho V sgrub thabs rin chen 'byung gnas kyi lhan thabs Rin 'byung don gsal). This was also published in New Delhi in 1974 by Lokesh Chandra under the title Sadhana-Mala of the Panchen Lama bs Tan-pa 'i-Nyi-ma Phyogs-las rNam-rgyal. The abbreviated title for this work, which appears in the margin of each page, is Rin lhan. Biihnemann (1994: 14-15) notes that the Rin lhan has its roots in the collection of sadhanas translated as the Sddhanasataka about the turn of the twelfth century or earlier (and also, according to Chandra, in the Sddhana- sdgara; op.cit.: 45-46). The fourth chter of the Rin lhan is dedicated to sadhanas of Vajravarahi (Tachikawa 1995: 10, Chandra 1986 vol.i, p. 47).

Where icons from the Mongolian pantheon are used below, I have com- pared the relevant Sanskrit sadhana of the Guhyasamayasddhanamdld with the Tibtean source; for this, I have relied upon the translations of the Rin lhan/Rin 'byung brgya rtsa given by Willson and Brauen {op.cit.: 252-62). In these instances, I have noted the Tibetan title and mantras (although normalizing the orthography of the Sanskrit). I number the Mongolian icons according to the woodblock prints published in 1995 by Tachikawa et al., and to the painted images of the Icons Worthwhile to See published in 2000 by Willson and Brauen (T/IWS), and I also crossrefer to the different numbering system of the line- drawings commissioned by Lokesh Chandra (LC) on the basis of the wood- block prints, several of which are reproduced in chter 2. An analysis and critical comparison of these different publications is given by Willson and Brauen (2000: 7-22). The woodblock prints published by Tachikawa et al. are chiefly located at the Indian Institute of the University of Hamburg (the missing folios of this set — 8 percent of the whole — being found in the Library of Tibetan works and Archives in Dharamsala; Tachikawa et al. 1995: 3). No further information is given by the editors as to the origin of this set. Willson and Brauen {op. cit.: 8) note, however, that there are apparently other copies: two in St. Petersburg and one in Ulan-Ude. There is also one set in the Bayerische Staatsbibliothek, Munich.



396 NOTES TO PAGE 37

Brauen's discussion highlights the difficulty of nomenclature for the Mon- golian icons. Lokesh Chandra (e.g., 1986, 1987) refers to them as the "Narthang Pantheon," apparently basing this on nineteenth-century scholar- ship that mistakenly claimed that the blockprints were from Narthang Monastery in Tibet {op.cit.: xvii). The title "Narthang Pantheon" has been mistakenly picked up by other secondary authors, such as von Schroeder (2001). Tachikawa et al. (1995) corrected this to Five Hundred Buddhist Deities. Brauen points out, however, that while there are just over five hundred (507) images (and Tibetan sources do refer to "five hundred images": sKu brnyan Inga brgya), many depict more than one deity, both male and female. He notes that the authentic Tibetan title of the blockprint set is Bris sku mthong ba don Idan, translated as Icons Worthwhile to See (IWS). Willson and Brauen's pub- lication of the painted icons therefore appears under the title Deities of Tibetan Buddhism: The Zurich Painting of the "Icons Worthwhile to See (Bris sku mthon don Idan). "

59 As for the origins of the set published by Lokesh Chandra, he writes (2001: per- sonal communication): "The line-drawings are based on an original xylogra- phy my father Prof. Raghu Vira brought from Ulan Bator in 1955, on a photocopy of the Leningrad copy, and also on the copy of Prof. Lessing. The Tibetan artists who worked with me had to consult all the three prints to clar- ify the details. The work of tracing and drawing was completed in i960." In the absence of a clearer set of woodblock prints, such as that produced by Tachikawa et al., the Tibetan artists seem to have been concerned with pro- ducing both clear copies and images that were artistically pleasing in their own right. This led to a number of changes that are internally consistent within the set but that have altered aspects of the original woodblocks. Thus, the dimen- sions of the drawings differ and, while standard, are more rectangular than the woodblock prints; the mantras for each deity appear below the images (rather than on the reverse, as on the woodblock prints). The artists have also drawn clouds in the background, sometimes adding foreground landscape too (much as the painters of the IWS have done), replacing the simple sun and moon that flank the deities in some of the woodblocks. They have also used a different convention for the lotus, drawing downward-pointing lotus leaves rather than the upward-pointing leaves of the woodblocks.

60 Sanderson (1988: 668) notes that these classifications are postscriptural and belong to a period of systemization of nondual Saiva traditions in the ninth and tenth centuries in Kashmir. For a detailed analysis of the dating of the Saiva tantras themselves, see Sanderson 2001b. The nouns mantra (masculine) and vidya (feminine) in Mantrapltha and Vidyapitha signify "sacred sound-for- mulas" {ibid.: 669), and Sanderson comments that the progression in termi- nology from masculine to feminine is another indication of the progressive tendency within the Bhairava tantras toward extolling feminine power. (It is worth noting, perhaps, that the pure, dualistic tradition of the Saiva Siddhanta also belongs to the Mantramarga).See also Dyczkowski 1988.



NOTES TO PAGES 38-43



397



62



63



61 For the chief cremation ground cults, the Picumatabrahmaydmalatantra is the authority (approximately 1,200 verses on the cult of Canda Kapalini and Kapallsabhairava; Sanderson 1995). The textual basis of the Trika system is the Siddhayogesvarimata and the Tantrasadbhdva (also the Nisisamcdra and Mdlini- vijayottaratantra). The text underpinning the worship of Kali is the Jayad- rathaydmalatantra (or Tantrardjabhattdrika), which teaches the kdpdlika cult of Bhairava, Kali, and the yoginis. These are "the main pillars of the esoteric Saiva tradition" (Sanderson 1994!: 94).

Vajravali (SP f. 219.5): viracarydvratam eva yauvardjyavratacaryeti vajrakd- pdlikacarydvratam iti coktam s'risamputatantre. Cited by Sanderson (1994!: 91, 98 n. 2) who also describes and discusses the rite.

Cf. HT2.5.59; Kriyasamuccayaf. 409; HT1.5.2, HT2.5.59, Samputatantra ch. 1, Skorupski 1994: 221-22). From the description of the Vajravali Guhyd- bhisekavidhi (SP p. 210.3): sisyo 'bhinavayauvanddisampannd<m> samayini<m> tadaldbhe nydm vd prajnd<m> guhydbhisekdrtha<m> gurave nirydtya krtdhjalir guru<m> vajrasatvam adhimucya. . . • tadaldbhe] conj.; tadandmeS? • nydm] em.; hyds SP • nirydtya SP. Cf. GSi8.n8ab: atisraddhdm mahdprdjnim surupdm sddhakapriydm.

64 Mahdcandarosanatantra ch. 13: yena yenaiva pdpena sattvd gacchanty adhogatim I tena tenaiva pdpena yogi sighram prasiddhyati (v. 5) II... rdgena hanyate rdgo vahniddho 'tha vahnind I visendpi visam hanydd upadesaprayogatas 1 1 (v. 6) 'Pas- sion is destroyed by passion. One who has been burned by fire [is healed] by fire. Poison also is destroyed by poison, through the application of the recieved instructions." Cf. HT2. 2.46-49 and HT2.2.5iab.

I am grateful to Dr. Isaacson for his help in translating this passage, attrib- uted to Indrabhuti. GSSi (K*8ov5): vdmodbhavam jagat sarvam trailokyam sacardcaram I vdmdcdrah sadd yogi vdmapddah purah kramet I [iv] I pujayed vdmahastena vdmatarpanabhaksanam I pancavarnasamdcdram ekavarnam tu kalpitam I [v] I bhaksydbhaksyam tathd peyam ghrndm lajjdm ca varjayet I sarvasamkalpanirmuktah sarvadvandvavivarjitah I simhavad vicared yogi yoginijdlasamvaraih. [vi] . Lines from these verses, or variations upon them, appear also in YSCT, e.g., [v. i cd] ch. 15 v. i5ab, [v. iii cd] v. 13b simhavad vicared virah sarvdsaparipurakah; Luyipada's HA (f. 15V6, f. i6n); SUT 9.27a; cf. HTI.6.5ab. For yoginijdlasamvaram, see YSCT ch. 9 v. 3a with commen- tary; Tsuda's remarks (1974: introduction: 54-60), Herrmann-Pfandt (1992- 395ff).

66 For the categorization in Saivism see Heilijgers-Seelen (1994: 126) citing Kubji- kdmatatantra i8.78cd on their categorization, and Ksemaraja's commentary on Netratantra 2.13-14 for their malicious tendencies.

67 The term ddkini is usually glossed from Vdai "to fly," as in the YRM (Snell- grove 1959 vol. 2: 142), which states that ddkini derives from the root "to fly," understood literally as "to go in space, which is the Siddhi of moving anywhere in space." Hevajratantratikd f. 49V (cited Bauddhatantrakosa: 45): dai vihdya- sagamane dhdtur atra vikalpitah. sarvdkdsacari siddhir ddkiniti\ Vasantatilakdtikd:



65



398 NOTES TO PAGES 44~4^

41 (cited ibid): tatra prthivyakdse dayandd dakini, Vasantatilakatikd: 60 (cited ibid): dai vaihayasi gamane buddho dhdtur prakalpitah I sarvakdsacard siddhd ddkiniti nigadyate. It is this etymology that is carried into the Tibetan term for dakini, kha'gro ma, "one who goes in space" (a translation of another term for dakini in Sanskrit, khe-cari). The word dakini, and its rich polyvalence, is dis- cussed elsewhere, e.g., by Herrmann-Pfandt (1992: H5rT.) and J. Gyatso (1998: 305 n. 8; cf. 246-64). Heilijgers-Seelen (1994: 126-128) reviews the diverse schol- arly opinions on the matter of dating.

68 Oddiyana may be related to dakini through the root Vdi "to fly, to soar."

69 Sanderson (2001: personal communication) has collated detailed citations from Buddhist, Jain, and Saiva Sanskrit sources that confirm the location of Oddiyana (also spelled: Odiyana, Odryana, Uddiyana, Udiyana, Udyana, and Udyana) in the northwest of India, as well as references in Tibetan to Oddiyana (U rgyan or O rgyan), in Chinese (Wuzhangna guo (Pinyin), Wu-chang-na kuo (Wade-Giles)), and in Japanese (Ujona koku). Sanderson's findings shed light on the work of previous scholars, who have discussed and disputed the loca- tion, for example, Snellgrove (1987: 182) and Mishra (1995: 15-16), who sum- marizes the debate.

70 Some of Sanderson's findings on the processes of redaction (1994!, 1995, 2001b) have been presented above (ch. 2). For other Buddhist literature on classes and types of female spirit, see also n. 446.

71 GSS40 (Ki24r4): tirthikadiyogininirakaranartham vajra<m> <iti>.

72 GSS24 (K89V6): namah srivajrayoginyai yoginicakranayikayai... • ndyikdyai] em.; ndyikeK.

73 For early stone sculptures of Marici from Nalanda, Bengal, Orissa, and else- where (from tenth to eleventh century), see Mullick (1991: 58—59, with plates 42, 52, 56, 61, 66, 82); Ray (1986: plate 203), and S. Huntingdon (1984: plate 213). An early fifteenth-century mandala of Marici is found in the chapel devoted to her at Gyantse (Ricca and Lo Bue 1993: 227, plates 50, 87, 88, 89). Refer- ences and plates are also published by von Schroeder, mostly of Marici as an attendant to Tara (1981: 489, plate 138E and 2001: 1055, plates 73A, 93C, 121D, 267A (reproduced here as plate 5), and 357B). Studies of Marici, or references to her, appear in Bhattacharyya (1985/1924: 95-98, with plates), de Mallmann (1975: 55-56, 75, 259-265), Misra (1998 vol. 3: 92-93), and Patry and Thurman (1977: 35). Willson and Brauen (2000) provide translations and summaries of Tibetan sadhana texts relating to illustrations from the nineteenth-century Mongolian icons (nos. 195-96, 267, 430, 502), and (peaceful) forms of Marici appear likewise in the line drawings of Lokesh Chandra's version of this pan- theon (1961-72). A number of useful articles on Marici also contain early images, by Donaldson (1988, 1995), Mitra (1991), and Bautze-Picron (2000), who dates the earliest images recovererd at Bodh Gaya to the nineth and tenth centuries (ibid: 265, figs. 1-2) but proposes that images were being made at least one century earlier." This article includes a helpful list of images of Marici {ibid: 186-91).



NOTES TO PAGES 46-48 399

74 A small set of sadhanas in the Sddhanamdld is devoted to the single deity Nairatmya/Nairatma without a consort (SM228-231; also NYA no. 6). From these, it emerges that she is black/blue (krsna) and usually two-armed, holding chopper and bowl (with or without staff) . This is the iconography of Nairatmya as consort to Hevajra (e.g., SM245; NYA no. 8). In SM254 (Buddhakapdla- sddhana), a set of goddesses including Nairatmya surround Buddhakapala and his consort, all of them blue, one-faced, holding chopper (right) and skull bowl (left) in ardhaparyanka pose (p. 502: sarvd devyo nilavarnd dvibhujd ekavaktrd asthydbharandh pingorddhvakesd mundamdldrahitd vdme kapdlam daksine kar- trikd ardhaparyankanrtyasthdh). Some references to Nairatmya/Nairatma, mainly as a subsidiary deity, are given by de Mallmann (1975: 271-72) and von Schroeder (2001: 284).

75 The four dakinis are: VajradakinI (east), Ratnadakini (south), Padmadakini (west), and VisvadakinI (north). E.g., SM239, SM240, SM248, NYA no. 9 (de Mallmann 1975: 132-33). These dakinis are also attendants to Wrathful Black Varahl (Phag mo khros nag), along with KarmadakinI, SamayadakinI, SarvadakinI, and LokadakinI (Willson and Brauen 2000: 262, with Mongolian Icons T/IWS 89-97, LC 599-607).

For Mahamaya as the mother of all guhyakas see Mahdmdydtantra (1.7a): guhyakdndm iyam mdtd; and as the (female) source of creation, (1.6): saisd samharate visvam srjate sd punah punah. Ratnakaras'anti confirms that Mahamaya is a male Heruka form: saiseti herukariipd mahdmdyd. (I thank Dr. Isaacson for these references.) We see this first qualification referring also to Vajravarahl (SM221 p. 434), with material from the Mahamaya tradition appearing in some Vajrayogini sadhanas, such as SM221-223, and our GSS21 (see appendix).

y6 GSS7 (K4or5): tanmadhydd utthitd devl vdrdht vajrayogini.

7 j This remark belongs to a passage in which the glances of all the attendant god- desses are described, from the section on the visualization of the inner circuit of Heruka in the system of the Sarvabuddhasamdyogaddkinijdlasamvaray in Anandagarbha's Vajrajvdlodayd ndma Sriherukasddhanopayikd (Niedersachs- ische Staats- und Universitatsbibiliothek, Gottingen, MS Xc 14/39, f- I70r6-i86r5; ms. Xc 14/39), £ *78r: atra sriherukasydbhyantaramandalakosthas tasya tadyogino vd tasminn eva kosthake purvadigbhdge gauri gauravarnd sdntadrstih saumyamukhd. . . pascime pramohd ddivardhamukhd pramohadrstir fvakrasthdf caturbhujd madyapurnakapalavdmakard daksinakare vajra- sphotanam sarvam krodhakula<m> bandhayantl (I thank Professor Sanderson for this reference.)

78 E.g., ADUT patala 56 f. 22in-5: karundkrodhabhisand. The notion of karund- krodha is widely attested elsewhere. Cf. SM117 p. 246: Jdngull . .sarosahasitd, lit.: "Jangull... smiling, with anger."

79 E.g., in the Saptadas'atmakahevajra Mandala (NYA no. 5, p. 14): athavd catur- bhujo dvibhujavat aparabhujdbhydm svdbhavajravdrdhisamdlingita ity eva visesah; also in the Navatmakaherukacatustaya Mandala (NYA No. 8 p. 21). The



400 NOTES TO PAGES 49~5°

following verse in the HT also describes a six-armed form of Hevajra embrac- ing a different, and now little-known goddess, Vajras'mkhala (HT1.3.18); also in NYA no. 5.

80 Vasantatilakdtikd p. 41 (cited Bauddhatantrakosa p. 45): sarvd eva ddkinyo vdrdhikulasambhavdh.

81 The parydnka, as we will see (n. 238), is a seated meditation posture. In the half- paryanka (ardhaparyanka), the deity is standing up and dancing, that is, with one leg on the ground, flexed with the movement of dance, and with the other raised up, the sole of the foot placed against the opposite thigh (similar to the seated meditation position). E.g., NYA (p. 14): [Hevajra] vamorau daksina- car anagram samstbdpydrdhaparyariki" [Hevajra] is in the ardhaparyanka [pose], having placed the tip of his right foot on his left thigh." SM241 (p. 469): visva- padmasurye vdmapddam tasyaivorau daksinacaranam vinyasya nrtyam kur- vantam herukaviram bhdvayet. "One should visualize the hero, Heruka, with his left foot on a sun [disk] on a multicolored lotus, having placed his right foot on his [left] thigh, doing a dance." SM242 p. 490: [Heruka] suryamandalam tanmadhye samupavistham. . .ardhaparyankinam; SM254 p. 502: [devis] ardha- paryankanrtyasthdh; etc. Sanderson (2002: personal communication) notes that Bhavabhatta's commentary to the Cakrasamvaratantra glosses the root text (19.10c: dkuncitavdmapaddn tu) as: "The phrase, 'With the left foot bent' means, he should be seen dancing in the ardhaparyanka pose." (Cakra- samvaratantravivrtilASWRMBh-l-tf, f. y6v6): dkuncitavdmapddeti. ardha- paryankandtyam darsayed ity arthah.

Warrior-stance forms are also said to be dancing, but this posture is more

clearly associated with dance, and I therefore tend to refer to the ha\f-paryarika

as the "dancing" pose; e.g., GSS2 (K28or3/Kor2): ardhaparyankatdndavdm;

GSS7 (K4or5): ardhaparyankam dsind nrtyamdna; GSS32 (Kio6r2): nrtydrdha-

paryankini; and describing Heruka's form, e.g., KYT (p. 142): caturmdrasama-

krdntam ardhaparyankatdndavam. For the rasas, see e.g., GSS34 (Kii2vi):

navandtyarasdnvitd, also of Heruka forms such as Sam vara, e.g., NYA (p. 26):

navandtyarasardsih, cf. SUT ch. 13.22b.

82 The two texts are very similar. Cf. GSS5 (Sed p. 152, K37r3); Vasantatilakd ch.

9. GSSi (K28on)«GSS2 (K4V6-0O: tatah svadeham traidhdtukavisuddha-

kutagdram ity dkalayya jhatiti tato ndbhimandale dvibhujdm kartrika-

pdladhdrinim muktasiroruhdm nagndm trinetrdm — navayauvanaldvanydm

pancamudrdvibhusitdm I pancabrahmamahdmukutim ardhaparyankatdndavdm

1 1 I somasurydgnimadhyasthdmjavdsindurasannibhdm I idrgriipadhardm devirn

bhdvayed yogavit sadd I 2 I koldsyam daksinam tasydh krodhdsyam vdmatas tathd

I samvrtiparamdrthena vaktradvayam pragiyate I 3 I gurupadesamdrgena

jndtavyah kramavistarah I tasydh kusesaydntahstham cakram sarvdrthasiddhidam

1 4 I trigundlamkrtam cihnam raktavarnam mahddyuti I mantrdksarasusampurnarn

kuldlacakravad bhramet I 5 I rdksasdsyam samdkuncya samujjvdlya vibhdvasum I

koldsyasannidhau drstvd nandydvarte bhramed vapuh I 6 I mudrddvayaprayogena

trailokyam api sddhayet I jhatitdkdrayogdtmd yogi sidhyati ndnyathd I 7 I



NOTES TO PAGE 50



401



• itydkalayya] GSSi, abhiviksyaGSSx • tato-* dvibhujam] GSSi, vajrayoginim dvi(bhujdm) dvimukhdm GSS2(del) • muktasiroruhdm] GSSi, muktakesim GSS2 • (ic) pancabrahma } GSSi, ******/>* GSS2(dam) • (id) tdndavdm] GSSi; tdndavim GSS2 • (3b) vamatas tathd] GSSi, GSS2; vdmam eva ca GSS5 • (3c) samvrtiparamdrthena] GSSi, GSS2; satyadvayavisuddhyd tu GSS5 • (3d) pragiyate] GSSi; uddhrtam GSS2, GSS5 • (4b) jndtavyah kramavistarah] em.; jnatavyam kramavistaram GSSi; jnatavyam kramavistarah GSS2 (Perhaps leave the reading as it stands in GSSi since GSS40 glosses the lemma kramavistaram.)

• (4c) kusesaydntahstham] GSSi; pankajamadhyastham GSS2 • (5b) rakta- varnam] conj.; vai raktavarnam GSSi; raktavarnaGSSz 9 (5b) mahddyuti] em.; °dyutihGSSi, °dyutimGSSi • (5c) ° susampurnam] corr.; sumsampurnamGSSi, sampurnamGSSx • (6a) rdksasdsyam] GSS2, rate^GSSi • (6b) vibhdvasum] GSSi;prabhdsvaramGSSz* (6d) nandyavarte] conj.?; nandyavartaGSSi, GSS2

• (7b) <*/>/] GSSi; £/^(7ttJ GSS2(mg2) • (7c) jhatitdkdrayogdtmd] GSSi; jhatitdkdrayogena GSS2.

83 The Sddhanamdld works listed for Vajravarahi by von Schroeder include a short line of text describing the form of Vajravarahi for a rite of subjugation (SM220 p. 433: digambard muktakest vajravarahi ndbhidese kartrikapdladhdrini nrtyanti cintyd. vasyam bhavatiti. vajravdrdhyd vas'yavidhih) . This is evidently a fragment from the vasyavidhi described in the preceding sadhana (SM219), which in turn is a ritual applying to the previous sadhana (SM218) (see GSS38 with appendix entry). Perhaps misled by the fact that SM220 describes Vajravarahi here as "dancing" (which may be most evident iconographically in the ardhaparyanka forms of deities, but which is frequently also an aspect of warrior-stance forms), von Schroeder takes this line of text as the basis for coin- ing the appellation "Vasya-Vajravarahi" for ardhaparyanka chopper-holding forms of Vajravarahi (see many plates in publications published 1981 and 2001, with 2001: 1052). As this form of Vajravarahi is associated with all types of rites, not just rites of subjugation, this appellation is misleading. It is also based on the scantiest of evidence, and in fact von Schroeder's source (GSS220) is actu- ally a continuation of the previous two works (SM218 and SM219), and the pose intended for this form is rather the reverse warrior stance (pratydlidhah) and not the ardhaparyanka at all. Ironically, von Schroeder does state that the form is in the "pratydltdha" pose, but he confuses this term with ardhaparyanka, erroneously describing the former as "dancing on the left foot with the right leg raised and bent" (2001: 1052) — that is, as the ardhaparyanka pose (see n. 81). In this same entry (ibid), von Schroeder correctly points out that the hog's head is not mentioned in any of the SM sadhanas, although the reason for this is because these sadhanas do not focus on the hog-headed ardhaparyanka form of Vajravarahi but on her warrior-stance forms, which are invariably without a hog's head.

84 There are plenty of published depictions of the ardhaparyanka-pose Vajra- varahi. Some of the earliest, including a few contemporary with our texts, are early Indian statues in late Pala style dating from the eleventh to twelfth



402 NOTES TO PAGES 50-51

centuries (von Schroeder 2001: plates 125A-E), and thirteenth-century Nepalese (ibid.: plate 173B-E) and twelfth-thirteenth-century Tibetan sculptures {ibid.: plates 289A-C, 295A, 94A-F; Leidy and Thurman 1998: plate 17). Slightly later are the fourteenth-fifteenth-century brasses of Vajravarahi from Central Tibet (Reedy 1997: C180, and C189), a beautiful laughing gilt-bronze Vajravarahi from fourteenth-century Tibet (Pal 1969: plate 55), the sixteenth-century sil- ver and gold free-standing sculpture {Sacred Art of Tibet: plate 113), the similar seventeenth-century Tibetan bronze (Rawson 1973: plate 73), the Tibetan (?) bronze of "Indrabhuti Vajradakini" c. 1700 (Sacred Art of Tibet, p. 261), and the serenely ecstatic statues (of unknown date) in Snellgrove (1987: plate 27) and Pal (1974: plate 287). See also many plates in von Schoeder 1981: plate 70G (twelfth century, Pala style), plate 95F (fourteenth century, Nepalese), plate 115A (fifteenth-century Tibetan), and 120F (sixteenth-seventeenth-century Tibetan).

85 According to Lokesh Chandra, Taranatha's title for no. 586 is dPyal-lugs rDorje Phag-mo. The Tibetan text of the Chel form (but not of Indrabhuti's men- tioned below) prescribes the visualization of the mantra within the deity's sex, as in our Sanskrit text. The history of the dPyal family is given in the Blue Annals (p. 395), starting with the pupil of a mid-twelfth-century Nepalese mas- ter, Pham mthing pa, who was a pupil in the lineage of Naropa.

86 For the set of three deities, see Willson and Brauen 2000: 258, with n. 1. Fur- ther references for Indrabhuti's Vajravarahi are also given (ibid.: 259): P2253~54/Toh 1545-46 by Indrabhuti, and the first of the Six Varahi Texts (Blue Annals pp. 390-97), P2259/Toh 1551, known as "the Great Two-Faced." The root mantra in the Tibetan texts is the same as the tripartite mantra of the Sanskrit sadhanas, given below.

87 Two examples of Tibetan sculptures, namely, Sacred Art of Tibet plate 113, and Snellgrove: 1987 plate 27, show no trace of a staff, consonant with the texts in the GSS. In contrast, the early Khara Khoto tangka of Vajravarahi (Sacred Art of Tibet, plate 93; Piotrovsky 1993, plate 22), the bronze in Raw- son (1973: 94), and the Mongolian icons all show her with a staff. In two bronzes (Snellgrove 1987 and Rawson 1973) Vajravarahi is depicted standing upon a single corpse, while in plates 1 and 8 she stands upon a sun disk placed on top of the corpse.

88 GSSi*GSS2 (cited above n. 82): pahcabrahmamahamukutim. In Saivism, the "five Brahmas" originate from the five faces of Sadas'iva and refer to the five brahmamantras purified as Sadyojata, Vamadeva, Aghora, Tatpurusa, and Is'ana. See Kiranavrtti on Kiranatantra 3.i7c-i8b, further discussed in ch. 62 entitled Pahcabrahmavidhi (in Goodall 1998: 283, n. 373) and Dyczkowski (1988: 32, citing Tantrdloka 29.18-27).

89 GSSi (K28or2): navayauvanalavanya-; GSS34 (Kii2v6): dosdnghriyugacdrupi- vara • dosdnghn] conj.; domdkriK.

90 GSSi (K28or5)«GSS2 (Kor3) w. 3D-4, cited n. 82 above; also in Vasantatilakd ch. 9.




NOTES TO PAGES 52-54



403



91



93



94



GSSi (K8or6): dasamiparvani prdpte. kparvan is a day of change in the lunar cycle upon which one traditionally practices brahmacdryd. There are six par- van days per lunar month: new moon, eighth (halfway waxing), fourteenth, full, eighth (halfway waning), and fourteenth. 92 GSS33 (Kiiov.5): dasamyam astamibhutdm (?) sitakrsne ca vd sadd I kumdrim caikam <sampujya>m%i suruyoginikalpitdm I parsvasthdm svdntar madhyasthdm bdhye likhitacakragdm I pujayed viraviresicakrasamvarasamvare I bhaksyair bho- jyais ca yair yais ca I lehyais cosyais tathd paraih \ • dasamyam astamibhutdm]} conj.; dasamydmstamibhutdm nkhydh K • caikam] em.; caika K • yogini] coir.; jwgzw/ K • sthdm] em.; rt/ww K • yah] em.; ^ K • cosyais] em.; ctfa^/y K.

The rite also appears in the Samvarodayatantra, patala 14, where it is pre- scribed on the fourteenth of each half-month, and in the Kriydsamuccaya (SP ff- 4 I 3-7~4i5-4) 5 which refers to this scriptural source (Sanderson 1999: personal communication). See also Allen 1975 on the modern-day kumdripujd'm Nepal. I owe the explanation of this process and of the text to Professor Sanderson (1995: personal communication), who is responsible for table 5 showing the prastara. See GSSi (K280V1) « GSS2 (Kov6) (verse numbers added): atah param prava- ksydmi mantroddharavidhim param I trikonamandalam r amy am vajrdrallivinih- srtam I 8 I dharmodayeti vikhydtam yositdm bhagam ity api I tatrdlikdlibbedena vargdn astau kramdl likhet I 9 I rupagnibdnamunayo randhresau kdma eva ca I kramdt kosthasya vinydsah kartavya upadesatah I 10 I akdrddikam drabhya hakdrdksarasamantatah I daksinavartayogena yathoktam samvardrnave I 11 I thordhvam trigunitam kurydd bindunddavibhusitam I. . .etc. • atah] conj. Sanderson; athdnyatahK* vajrdrallivinihsrtam] obscure; see Tex- tual Note to §38.

95 The references in the text to "one, three, five, seven, nine, and eleven" are given in terse, cryptic language, as Sanderson (op.cit.) has explained. The first horizontal of the prastara consists of a single cell, referred to in the text by form (rupa-), indicating "oneness." The next horizontal row is divided into three cells, referred to as fire, indicating the three fires (agni-J. Next is a row of five cells, referred to by arrows, indicating the five arrows of Kama. The row of seven is referred to by the seven sages (muni-), the row of nine by the nine apertures of the body (randhra-), the row of eleven by the eleven lords (isas), and the row of thirteen by Kama, the presiding deity of the thirteenth day of the lunar fortnight.

96 The exchange of the consonant v for b shows the east Indian, Bengali, or Nepali provenance of the text.

97 Just as the thirty-seven-deity mandala of Vajravarahi is based on the sixty-two- fold Cakrasamvara mandala, the mandala of this twelve-armed form of Vajravarahi is based on the mandala of the six cakravartins. For the Satcakra- vartimandala, see NYA (p. 79), and KalfF(i979: 30-32) for further references. GSS7 ends with a very truncated reference to this mandala, which is described slightly more fully in the Vdrdhyabhyudayatantra (w. 101-2). Following the description of the Vajravarahi mandala, the Vdrdhyabhyudayatantra also goes



404



NOTES TO PAGES 54—57



on to describe the cremation grounds in some detail and ends with a ^//offer- ing typical of the Vajravdrdhi Sddhana (GSS11).

98 Cakrasamvaras iconography is described, for example, by Abhayakaragupta in the NYA (p. 26.4): bhagavan. . .savajravajraghantdbhujayugmdlingitavajra- vdrdhiko bhujdbhydm prsthatah subhrasaraktaprasrtagajacarmadharas tadaparair damaruparasukartritris'iildni bibhrad vdmair vajrdnkitakhatvdngaraktapiirita- kapdlam vajrapdsam brahmasiras ca. . .; cf. ADUT ch. 9 (p. 156).

99 The ArdhandrisvaralGaurisvara icon is well attested within Saivism, but andro- gynous deities of this kind appear within the Buddhist tantras also. Sanderson (1996: personal communication) notes that, apart from this instance in the GSS/ 'ADUT/ Vdrdhyabhudayatantra, he has encountered this type in the (Yathdlabdha-)Khasamatantra, as transmitted in a manuscript of the Khasamd, Ratnakarasanti's commentary upon it.

100 The corpses beneath Vajravarahi's feet are not mentioned in the Sanskrit text for the main deity, but all the goddesses of the retinue stand upon corpses, which in the case of the four goddesses on the petals are named as the Saiva deities (GSS7 K4or6) : pretaprsthe 'rdhaparyankdvikatotkatabhisandh I bhairavah kdlardtrisca devyd pddatale krtau. Cf Vdrdhyabhyudayatantra v. 58. The corpses are clearly depicted beneath the central deity in the Tibetan tangka, plate 13.

In this rather corrupt self-visualization passage, the attributes are listed in verse. In depicting the image from the text in figure 4, we have therefore not followed the particular order of the verses (which are determined by the meter) but base the drawing on the attributes as held by Cakrasamvara (table 5). The parallel in ADUT ' I Vdrdhyabhyudayatantra (w. 45~54> fr° m ADUT patala 12.3-12.44b, plus prosd patala 9) is very similar in content, though its phrase- ology varies and the lines of various verses appear in different orders. GSS7 (K4or5): dvddasabhujd caturvaktrd trinetrd ca madanotkatd I ardhaparyankam dsind nrtyamdnd susobhand I digvdsd muktakesd ca, ardhanarlsvarimukhl I sitaraktedrsarilpd I f ... f \ visvavajrdnkacandrdnkd kapdlamukutotkatd I vajraghantdkaravyagrd kamaldvartavartini I laldte jvdldmudrd tu naracarma- patottari II karaih kapdlakhatvdngapdsdmkusakrpltakam dadhati kartrikdm brahmamundam <ca> anyais f caturmukham. nilapltaharitadivyam t damstrdldsyd tathdrund I sanmudrdmudritd devi khandamanditamekhald I keyuranupurdbhydm ca yathdsthdnam vibhusitd I laldte vajramdldsydh I ...

• sitaraktedrsarilpd] Vdrdhyabhyudayatantra v. 49 (Tib); sitaraktadharirupdm K; sitaraktadharirupd ADUT '. • candrdnka\ em.; candrdnka K • naracarma- patottari] Vdrdhyabhyudayatantra (ADUT=Tib.); naracarmapatordhvadharlK

• vibhusitd] em.; ca vibhusitd K. Cf. Vdrdhyabhyudayatantra (w. 49-5 J ) : sitaraktedrsarilpd kapdlamakutotkatd I vajraghantdkaravyagrd kamaldvarta-^ vartini I 49 I laldte jvdldmudrd tu naracarmapatottari I kapdlakhatvdngadhara pdsdnkusadhard para I 50 I damarum kartri mundam ca I caturvaktram ca brahmakam I nilapitaharitadivyavaktropasobhitd 1 51 I . . .

101 I have altered the prescriptions in the texts to allot the correct attribute to each direction. Surely incorrectly, the injunctions in the Vdrdhyabhyudayatantra



NOTES TO PAGES 6o-6l



405



and Abhidhanottara (absent in GSS7) state that the double vajras ring the cakra in the south, and wheels in the north. Sanderson's (2001a: 22-23) edition of the former reads (v. 69): bdhyavestya tatas cakram / vajravali tu purvatah I cakravalyas tu uttare I pastime visvavajrdvalya I padmavalya tu daksine I madhye vajravali sus'obhana I (v. 70) konabhagesu sarvesu visvavajran samalikhet I tadbahye vestsayed dhiman I pretavalya savis'vaya. (I do not reproduce Sander- son's apparatus here, as it contains no variants significant to this problem.)

102 This chapter of the Abhidhanottaratantra also prescribes an optional six-faced, twelve-armed form, with a hog's (varaha-) face on top (Sanderson 1996: per- sonal communication).

103 (I do not generally attempt to emend the very faulty meter.) GSS6 (K39r5): athanyam <sam>pravaksyami varahyah sadhanottamam I utpattikramayogena atmabhavam vibhavayet I dvadasarkanibham deham sinduraksodasamnibham I bandhukajavaprakhyam ca, trimukham sadbhujam tatha I sarvalamkara- sampiirnam sattvaparyankasusthitam I kapalamaldmukutam kesavicchurita<m> subham I vajraghantasamapannam upayadharapiditam I banagandivadharam karnapuritaksobhitam I kapalakhatvangadharam amkusakarsanaparam I rakta- padmasya madhyastham sarvakamapraddyikam \ ...

• dharam amkusakarsana] em.; dharamm akusakarsanam K.

104 The mandala of the "six-armed Vajravarahi Yab-Yum with Heruka" is also illustrated within her mandala in R. V. Chandra and L. Chandra (1961-72: part 14 no. 82). Here, however, the mandala includes four goddesses in the intermediate directions of the outer temple, instead of the bow and arrow described in our text. Other practices in the GSS, in which the female deity is the main partner, are those of Vajravilasini and Guhyavajravilasini, discussed below. The six-armed Vajravarahi and its sources are noted by Herrmann- Pfandt (1997: 21-26) and its implications for feminist discourse discussed; Simmer-Brown (2001: 158-60) offers a critique of this approach. Other exam- ples of ritual and meditative contexts for the yum yab practice are also docu- mented Herrmann-Pfandt (1992: 325-28; 2001: 580-82) and Simmer-Brown {op. tit.: 331-32 nn. 104-5).

The Mongolian icons (IWS/T 88, LC 598) illustrate the figure entitled Sahaja Reversed (Go bzlog lhan skyes). Here, the male deity takes the role reversal so far as to adopt Vajravarahi's implements. In the sadhana of the Rin 'byung brgya rtsa (Willson and Brauen 2000: 261-62), Vajrayogini is white, with one face and two arms. She holds a lotus stem in each hand, one "marked" with (i.e., bearing) a vajra, the other a bell. She sits upon a spotted antelope skin in the vajraparyanka and holds Samvara "in her lap." Her consort is depicted smaller and with his back toward us, holding the attributes normally assigned to Vajrayogini. In his left hand he brandishes a chopper, and his right arm embraces Vajrayogini and simultaneously pours blood from the skull bowl into his own mouth. Neither wears any ornaments or garments. The mantra is given as om vajravairocaniye hum hum phat I om hrih ha ha hum hum phat.



406



NOTE TO PAGE 6l




Endnote fig. i.
"Sahaja reversed"
(Go bslog IHan skyes)
Mongolian woodblock print (IWS/T 88, LC 598).



The Tibetan go bzlog ("reversed") translates the Sanskrit viparita as in viparita- surata- (also known as purusdyitam), which indicates a so-called reversed or inverted position for lovemaking (Sanderson 2001: personal communication). In the language of Indian erotology, this position is one in which the woman is said to "act like a man" in relation to her lover (Kdmasutra 2.8.17: ndyake nay ikd purusavad dcared iti purusdyitam), in that she lies on top of him {Kama- sutra 2.8.1-3): nayakasya samtatdbhydsdt parisramam upalabhya rdgasya cdnu- pasamam anumatd tena tarn adho vapdtya purusdyitena sdhdyyam dadydt (I) svdbbiprdydd vd vikalpayojandrthini (I) ndyakakutuhaldd vd): "Having seen that the male lover has become tired because of [their] continual lovemaking [lit: practice] and that his passion is not yet assuaged, with his permission she should put him underneath [her] and help him by means of the purusdyita [position]. Alternatively, [she may do this] because she desires to unite differently by her own wish, or because the male lover is curious."

Another example in Tibetan art ofzyumyab figure is one mentioned to me by Robert Beer (2001: personal communication), who writes, "The only major deity I know of who appears in Yum-Yab is the Karma bKa' brgyud protector Palden Lhamo in union with Dorje Bernagchen. This union of deities is known as ma-mgon zhal-sbyor meaning 'Mother Protector Face to Face,' and origi- nates from a vision of the second Karma-pa, Karma Pakshi. Here the four- armed form of Palden Lhamo/Sri Mata Devi (Rang-'byung gyal mo) sits facing outwards on her blue 'iron mule,' whilst the dwarf form of Mahakala as Ber- nag-can (the Black-Cloaked) is seated upon her lap. The mass of cloaks and silks that cover both deities depicts nothing of their sexual union." 105 om s'rivajravdrdhi ah vam hum hum phat svaha • hum hum] ADUT Bi47r2; hum hum hum GSS K4ori. The syllables of attraction (see ch. 3) appear only in GSS6 and depend upon the following conjectural insertions (K4or2): om srivajrajvdlottame jah hum hum phat. om srivajrdmrtottame <hilm?> hum hum phat. om srivajrakrodhottame <vam?> hum hum phat. om srivajradamstrottame






NOTES TO PAGES 63-66 407

hoh hum humphat. The mantras for the gate goddesses as given in the ADUT follow the standard form for the mantras of all the other retinue goddesses, om srivajraguhyottame hum 2 phat svdhd, etc.

106 GSS16 (Ky^y^itrayodasdtmikdghord vajravdrdhindyika. • vajravdrdhi\ Kmetri causa. For the connection this sadhana bears to the armoring processes, see the appendix.

107 GSS16 (K77V1): bhagavatim vajravdrdhim sarvalaksanasampurnd<m> vicin- tayet. dddimakusumasadrsim ekdnandm trinetrdm muktakesam sadbhujdm digambardm krsodardm khandamanditamekhaldm pancabuddhamukutinim sdrdramundamdldlamkrtdm sanmudrdmudritdm hdraniipura f ghughura f samalamkrtdm sarvasiddhipraddyikdm dedipyamdnavadavdnalasadrsim devim vibhdvayet, savyabhuje vajrdmkusaparasudhardm vdmabhuje kapdlapdsa- khatvdngadhardm dlidhdsanasthdm pdddkrdntakrtasambhucdmunddm f bhaya f vihvald<m> kapalamdlini<m> sarvdlamkdrabhusitdm. bhagavatyd hrdi rakta- padmopari raktacandramandalam tadupari raktamukulitavajram vamkdrd- dhisthitam cintaniya<m> tasya rasminirgatasamcoditan bdhyabljdksardn avabhdsya svasvarupena parinispanndn devtganamandaldn pas'yet.

• dddima] em.; drddima K • sdrdra] em.; sddra K • hdraniipura] em.; hdranopura K • sadrsim] em.; sadrs'dm K • krtasambhucdmunddm] em.; krtam. sambhus cdmunddm K • mukulita] em.; mukulitam K • samcoditdn] em.; samcoditam K

• avabhdsya] corr.; avabhdsya K • mandaldn] K (I do not emend to neuter).

108 In the Abhidhdnottaratantra, patala 56, the main form of Vajravarahi differs in that it is self-visualized with five faces and twelve arms and wears only five mudras (Sanderson 1997: personal communication). ADUT (f. niri-j): nllapitaraktaharita-urdhvasitdnand; (f 22in-5): kapdlakhatvdngasulakartrika-

damamvajraghantdpds^n^usabrahmasirahparasutarjanidhardnaracarmapam- dhvakard. . . • sirah] corr. Sanderson, sird codd.

109 GSS16 (K75V4): mantrdksaravinispannam mandalam mandalottamam • nispannam] corr.; nispanndm K.

no GSS16 (K78r3): ... pinastanoruyugald divyarupd manoramd<h> kincidvikrtd- nand<h> katdkseksanacancald<h> • pinastanoruyugald] conj.; pinatana-uruyu- gaidK.

in GSS16 (K78V4): nagnd sthiilapadmd madavihvald.

112 The first practice in the Abhisamayamanjari (GSS5 Sed p. 149 4 , K34r4) is that found in GSS15 and GSS18; the second (GSS5 Sed p. 149 18 , K34V5) bears sim- ilarities to the white two-armed Vajravarahi in GSS38 (Aryasuklavajravdrdhi- sddhana). In the Tibetan canon (references in the appendix), this is the second of the Six Texts of Vajravarahi. The Sarvdrthasiddhisddhana appears in the Rin 'byung brgya rtsa, with a translation of the self-visualization portion in Willson and Brauen (2000: 259 "Accomplishing Varahi"). The Tibetan text shows some minor variations, but gives the identical root mantra: om vajravarahi avesaya sarvadustam (for sarvadustdn) hrih svaha.

113 ch. 7, v. 2ab (p. 50): trimukhdm sadbhujdm ghondm vajrahastdm sunilikdm.

114 ch. 7, v. 9 (p. 51): om vajraghone sughone vajramdmaki bhara 2 sambhara 2



4o8



NOTES TO PAGES 66-67



traidhdtukamahdmadyam dkarsayajah. Ratndvalipanjikdm KYT ch. 17 (p. 126): miilaghondvadand.

115 GSS5 (Sed p. 149 8 , K34r6): in srivajraghondkramah; GSS5 (Sed p. i49 ,5 > K34V4): anena prathamato balim dattva vajraghondsddhanam idam anustheyam.

116 GSS15 (K74V3): tato baliddnapurvakam vajravdrdhim bhdvayet. tatra svandbhi- madhye raktatrikoticakram vibhdvya. tanmadhye raktavartuladalakamalakarni- kdydmsavdrkamandabpaHkalpdgnisamnibhd<m> raktahrihkrtim pasyet. tadanu tadbijaparindmajdm vajravdrdhim sindurdrunavarnd<m> padmapretdrkaman- dale, dlidhdsanenasthitd<m>. urdvakacaromardjikdmpancakapdldkmkrtaUUtdm mundamdldvibhusitagdtrdm pancamudrdknasobhdm ekavadandm trinetram bhriikutikoldnandm vajravajrapralambhdm lalajjihvdm ni<r>vdsasdm caturbhu- jdm, daksinevajravajrdmkusadhardm, vdmekapdUkhatvdngatarjjanipdsahastdm kharvalambodarimsarvadustaduhsahahasitakrodharupdm inhambhutdm bhava- yet. • bhrukutt] em.; bhrkuti K • inhambhutdm] em.; inhambhutam K. Cf. GSS5 (Sed p. 149 7 , K34r6): koldsydm; GSS18 (K83F2): urdhvapingalakesdm (the Tibetan text is translated [Willson and Brauen 2000: 259], "Her brown head hair twists upward and her body hair and pubic hair stand erect"); GSS18 (K83t3): lalajjihvdm; GSS35 (Kii8v6): lalitakrodhamukhdm.

117 The same stance is illustrated in the other fully hog-headed illustration in the pantheon, "Vajravarahi in the Tradition of the Brdhmana Sridhara" {Bram ze dpal 'dzin lugs kyi rdo rjephag mo; IWS/T 86; LC 596; translation from Tibetan text in Willson and Brauen 2000: 261). In this form, the deity is flanked by a blue Varnani on her left and a yellow Vairocani on her right, as in our Trikdya- vajrayogini sadhanas, with the mantras: om krodhabuddhaddkiniye hum p hat svdhd, om vajravarnnaniyehumphatsvdhd, om vajravairocaniye hum phat svdhd. Willson and Brauen (ibid: n. 1) supply the further references for Sridhara: P2297/Toh 1586: Krodhavdrdhivajrayoginisddhana, and P4825/Toh 1990 Srivajravdrdhisddhana-ndma.




Endnote fig. ii. Vajravarahi in the tradition of the Brdhmana Sridhara (Bram ze dpal 'dzin lugs kyi rdo rje phag mo) Mongolian woodblock print (IWS/T 86, LC 596)



i«S^^^«^h^



NOTES TO PAGES 68-69 409

118 om vajravarahi dvesaya sarvadustdn hrim svdhd • hrim] GSS5 (Sed p. 149 9 , K3 4 r6-v), GSS18 (K8 3 r 3 ); hrih GSS15 (K7513). This seems to have been a cru- cial mantra, as it is the only one prescribed for the japa in GSS15 (K75r3) and actually appears before the heart mantra in GSS18 (K83r3).

119 E.g., GSS5 (Sed p. 149 11 , K34V2): mahdmdmsacurnena dhupam dadyap, GSS5 (Sed p. 149 13 , K34V2): sarvamdraprasamandrtham nisd balih pancopacdrena ddtavyah.

120 GSS5 (Sed p. 149 14 , K34V3-4): tena vajrayoginyo dhitisthanti; cf. GSS18 (K83r6). GSS15 puts this same statement in the singular (K/4r6): tato 'dhitisthati vajra- yogini ndnyathd.

121 GSS5 (Sed p. 149 16 , K34V5): adhikam hi pras'asyata iti. kvacidiyam hrdraktapadme, dmkdrajasurymthasitahrihkdrMhisthitdmnapancasukavaj bhojasthasuryasuptdjndnapurusopari, dlidhapadasthitd suryasthahrihkdrddhisthi- tasiiryasthavajrahrdayd, visvapadmasuryasthdksobhydbhisekajd. aparam sarvam pilrvavat. • sitalohitdmbhoja] conj.; sitdlohitdmbha K; Cf. Sed p. 149.

122 Vajravarahi also appears in the Aksobhya family in the long sadhana by Kumaracandra, while Vairocana (the usual seal for Vajravarahi in our texts) pre- sides over Vajracarcika (Ratndvalipanjikd'm KYT p. 127). Another white form of Vajravarahi is described in the sadhana as the consort to a manifestation of Krsnayamari called Dvesayamari/Vajrasattva {ibid: p. 124). She is like her con- sort, namely, white with three faces and six arms. The Rin 'byung brgya rtsa text for the two dancing forms of Vajravarahi also states that she has Aksobhya on her crown (Willson and Brauen 2000: 257-58, 259).

123 GSS38 (Ki22r5): namah srivajrayoginyai. pranamya vajravdrdhim satsukhd- dhdrahetukdm I kriyate ruciram tasydh samksiptam raudrasddhanam I amkdra<ja>suryasthasitahrihkdrarasmijdUnirmitM^

vajravdrdhyddikam sampujya svabhdvasuddhety adhimucya sunyatddibhdvand- purahsaram raktapadmopari amkdrajasurye sitahrihkdrajapancasukavajrena nispanndm vajravdrdhim sukldm raktatrinetrdm damstrdkardlavaktrdm mukta- kesdm vajrdvalidvayamadhyikrtakapdlamdlddhardm pancamudrdmudritdm daksinakarasthitavajrdm vdme khatvdngam dhdrayantim dlidhapadasthdm nagndm devdsuramanusyabhayaddm anantarasmin sphdrayantim sicryasthahrih- kdrddhisthitahrdaydm vajravdrdhim dtmdnam bhavayet. • s'iika] em.; sitka K • sukldm] em.; sukla K • damstrdkardla] em.; damstrddamstrdkardmla K. GSS38 (K122V5): pracandddibhir dtmdna<m> sampujydmrtdsvddam krtvd. ...

The unusual garland described in the GSS text is possibly explained by SM218 (pp. 427-28). In describing the visualization of the twenty-four goddesses of the mandala circles, the SM text describes them with triple topknots bound up with a garland of vajras, lotuses, and cakras — i.e., probably the attribute of their own mandala circle — and skulls (p. 427 10 : vajrapadmacakrakapalamdld- vabaddhatrisikhdlamkrtasirobhih). In the visualization of Vajravarahi that fol- lows, she is described as having her triple topknot bound up with a garland of skulls between two rows of black vajras, i.e., probably pointing to her place in the vajra family of Aksobhya, her presiding buddha (p. 428 s : krsnavajra-



4IO NOTES TO PAGES 70~73

validvayamadhyikrtakapdlamdldvabaddhatrisikhdm). Expertise in the ways of

tying up matted braids would no doubt shed light on the matter!

124 GSS5 (Sed: p. 150 3 , K35ti)=SM2i8 (p. 429): tad anu svanabhau viiva-

padmasthdrunasubhrasuryamandale sitahrihkdram drstvd tanmantramdlam

aksasutrdkdrdm sitdm cakrabhramanayogena vadanavivarena niscdrya buddha-

gunaganamanimannausadhicandratdrdlipisdstrakalddiprabhdvam dddya ndbhi-

vivare pravisantim svaparesdm sarvdjndnadahandtmikdm dhydydt. GSS5 (com.):

drutddidosarahita<m> mantram japet. mantrah hrih. yadotthdtukdmo bhavati

<tadd> td<m> mantramdldm ndbhisthahrihkdre ntarbhdvy a pujddikam krtvd

yathdsukham viharet.

• svanabhau] SM218, ndbhau GSS5 • drunasubhra] GSS5; druna SM(ed.) • (sitajhrih] K(mg2); hrihYLzc* mantramdldm] corr; mantramdldm K> nab hivi- vare] K; ndbhivivare(na) K(del) (Sed. p. 150 gives the mantra as hrim hrim, reporting two mss. with this reading and four, including the Tibetan, reading

hrih) (cf. GSS38 K122V6)

125 GSS19 (K83V4): netrdm sabhrubhangabhrkutinim damstrakaralavadanam lalaj- jihvdm muktakesimpitasavdrudhdm navayauvandm hdrdrddhahdrakinkinighur- ghurdravaih sanmudropetdm vdme khatvdngakapdkdhardm daksine vajrakartrikdm bhlmarupam 'smasanddau bhdvayedyogi mahdkrpah. GSS5 (Sed p. 151, K 3 6n): iirdhvajvalitaraktakesdm; (K 3 6r 4 ): kvacidiyam raktahumkarajatd muktakunta- lakaldpd drsyate kvacic chavarahitd. . .

126 GSS42 (Ki26r3-4 v. 8): vdme kapdlakhatvdnge daksine kartndhdrini I sunyatdkarundvdhi namas te vajrayogini I 8 I • daksine] K; deksine C • °dhdnni] C ; dhdriniK* vdhi] K; vdhinakartrir jagato duhkh ache dam; cf. HTI.8.2oab: tathd mdnddisaddosdn kartitum kartrkd sthitd, KYT thirteenth patala, v. 1 (p. 83): athdtah 'sarvasattvasya yavantah papakarmakah I tan vai kdrayitum kartn

kosah klesddi chedandt.

127 GSS19 (K8 4 r. 3 ): pujddikam kartavyam. GSS5 (Sed p. 151, K 3 6r 4 ): visesatvenasta- myddau nisi smasane ddtavyah [balih]; GSS19 (K8 4 r2): astamydm dasamyarn caturdasydm vd; SM236 (p. 459): astamydm pancamydm caturdasyam; *GSSz8 (Kioiri): astamydm pancadasy dm caturdasyam.

128 Tantrasdra,Ahnika 13, KSTS ed. (p. 151): sarvesu naimittikesu sdkinityadisabddn na vadet. Professor Sanderson (1998: personal communication) supplied this reference and the following: Tantrdloka i 5 .55*ab: sakinivdcakam sabdam na kaddcitsamuccaretid. Siddhayogesvarimata6.<>2cd (A=ASB 5465 [G] f. I2r6-vi; B=NAK 5-2403, NGMPP A 203/6): ddki(ki A: gi B)niti na vaktavyaji pramdddn mantrind-m-api; Tantrasadbhdva (A=NAK 5 -445> NGMPP A 44/2 f. 5 6vr, B=NAK 1.363, NGMPP A 44/1, f- 103V3-4): sa(sa B : sdA)kinitina vaktavyam dhappatim varavarnini I ' chindd{ndd A : nna B)li<m> ca mahadevt sehdri<m> naiva-m-ucca (cca B: tsaA)ret.

129 The mantra offerings in GSS19 are (K83V2): om vajrayogini vajrapusparn praticcha svdhd. purvadale. om ddkiniye hum tram vajrapusparn praticcha svaha. daksinadale. om lame hum lam vajrapusparn praticcha svdhd. pascimadale. om khandarohe hum kham vajrapusparn praticcha svdhd. uttaradale. om rupini hum



M'



NOTES TO PAGES 73-75 4 H

rum vajrapuspam praticcha svahd. • vajrapuspam] em.; vajrapuspeK 9 rum] em.; rum K. For similar sets of offering mantras, see n. 213.

130 There is a variant to the usual root mantra: GSS19 (K83V6-84O and SM236 omit om before the second and third datives and give the final hum with the long vowel: om sarvabuddhaddkiniye vajravarnaniye vajravairocaniye hum hiim hum phat phat phat svahd. The heart mantra is either (in GSS5 Sed p. 151, K36r2, SM236) om vajraddkiniye hrim hum phat svahd or (in GSS19 K84n=SM236) om sarvasiddhim prayaccha hri<m> hum phat svahd. The auxiliary heart mantra is om vajrayoginiye hum phat svahd.

131 The bali mantra is either (GSS19 K84r2) om vajraddkiniye hiim hum imam balim grhna 2 hah 2 jah 2 ah 2 hum phat mama siddhim prayaccha svahd, or (GSS5 Sed p. 151, K36r2, SM236) om vajraddkiniye imam balim grihna grihna ha ha ha ha kha kha kha khaaaaa mama siddhim prayaccha hum phat svahd. In GSS28 (Kioiri) only the latter part is preserved: ...kha kha kha kha aaaa mama siddhim prayaccha prayaccha hiim phat svahd.

132 GSS35 (K119V5): caturnddisvabhdvacaturdalakamalopari. For the three chan- nels, see ch. 3. Isaacson (1999: personal communication) states that a fourth channel containing feces is mentioned in the Cakrasamvaratantra and in the Vasantatilakd (p. 79).

133 GSS35 (Kii8vi): tatah sukla-akdrdd hetuvajradharasvabhdvdt prthivyddica- turmahdbhutasvabhdvam yamramvamlamkdraparinatam caturatnamayam saptaparvatasaptasitakalpavrksadvddasadvipaparitam sumerum bhdvayet. tan- madhye haritahumkdraparinatapancdngasvabhdva<m> visvavajram tanmadhye rakta-ekdraparinata<m> lohitavarnam sarirasvarupam urdhvadharmodayam trikone vajrdnkitam jvdldmdldsahitanavadvdrasvabhdvdstadalapadmam 'f padmoparistham tadantas f caturnddisvabhdvacaturdalakamalopari canddm- sumandale avadhutisvabhdvasubhrakartriparinatdm vajrayogini<m> kimsuka- sydmasamnibhdm sphutavarapitalohitdm sodasabddm sukumdranavayauvandm lalitakrodhamukhdm pahcamudrdmudritdm pancdsannarasirohdradhardm dli- dhacarandkrdntacatuhkles'avisuddhabrahmendraharihardmvairocanamukutinim prathamadaksinavdmakaratalakalitavajraghantd< m > updydlingandbhinaydm punar daksinakare kartri vdmakarakalitordhvanabhastalavilasatkapalavini- vistadrstim vdmdngakhatvdngasamgatdm <bhdvayet>.

• saptasita] em.; saptasitdK (cf. ADK ch. 5 v. 51) • lohitavarnam] em.; lohita- varnd K • padmam padmoparistham] conj.(?); padma sadmoparistham K • kimsukasydma] em.; kimsukasydmd(m) K(pc) • carand] em.; cardndK* ' vairo- cana] em.; verocanaK* talakalita] conj.; talakaliK.

134 Varjayoginydrddhanavidhi by Sahara GSS23 (K88vi): bdhyasitdbhyantararak-

tapuritapadmabhdjanadhrtavdmakarenoddhrtasvavdmapdMingandbhinaydm padmabhdjanastharaktadhdrdm anavaratam pibantim. . .dhydtvd • bdhya] em. bdhyeK* bhdjanadhrta] K (understand bhdjanadhara) • oddhrta] corr.; odhrta K • dlingand] em; dlingitand K.

135 The brief reference in the Abhisamayamanjari to the urdhvapdda pose of Vajravarahi likewise states its provenance in Oddiyana, (GSS5 Sed p. 148,



412



NOTES TO PAGES 76-78



K33V6-341:): oddiydnavinirgatakrame punar iyam urdhvapddd bhavati. Here it is presented as an alternative form of the main (warrior-stance) Vajravarahi visualization for those who want a "medium-length" practice (K33V5): madhya-

rucis tu...
136 GSS17 (K8zr6) («GSS45 K139V3): bhagavatim devim vajrayoginim sukldm ugrakirandm urdhvapddasthitdm sakrabrahmakrantam adhahpddena bhairava- kdlardtrim dvibhujdm ekananam muktakesim nagndm nirdbharandm pinonnata- payodhardm raktavartulacalatpracandanayandm bhrubhangabhrkuti<m> da<m>strdkardlavadandm vdme khatvangakarotadhardm daksine vajrakartri- dhardm atibhimarupdm <GSS 4 5: smasanddau> bhdvayet. • kdlardtrim] corr.; kdlardtrim • pinonnata] pinonataK* vajrakartridhardm] GSS45; vajrakartrim GSS17 • sakrabrahmakrantam] GSS17 K; sa(kra)brahmdnddkrdntdm GSS 4 5(mg) (the variant reading in GSS45 states that the goddess stands upon Sakra and "Brahma's egg" (sakrabrahmdnddkrdntdm), indicating her subjection of the entire cosmos. The related Tibetan sadhana in the Rin 'byung brgya rtsa describes her stance as follows: "Her right leg, outstretched to the seven under- worlds, tramples on Bhairava and Kalaratri. Her raised left leg, stretching to the realm of Brahma, tramples Brahma and Sakra into the worlds above" (Will- son and Brauen 2000: 260).

137 GSS17 (K83V4): om vajrayogini hrlh ru ru ru khah khah kha<h> phem phem phem am am am mama siddhim prayaccha balimgrhna hum phat svdhd. GSS45 (Ki 4 ori): om vajrayogini imam balim grhna 2 ru 2 kha 2 phem phem a a mama siddhim prayaccha hum phat svdhd. The mdldmantra (om hum vamjah) is also

given in GSS45 (Ki4on).

138 Willson and Brauen (2000: 260-61). The Tibetan text of the visualization seems to be loosely based on that of the Sanskrit, although it also includes other elements, such as the vase consecration ("flask empowerment") and the emanation of countless other Vajrayoginls and other enlightened deities. It also includes a visualization of Vajrapani in Heruka aspect overcoming demons and throwing them into a vajra well produced from hum, "stabbing them with the dagger and reducing them to dust with the vajra" (with the mantra om hrt ghaghaghdtayaghdtaya hum phat). The mantras, however, are very similar to those of the Sanskrit text. They include the root mantra (om sarvabuddha- ddkiniye vajravarnaniye vajravairocaniye hum hum hum phat svdhd), the auxi- iary mantra (om vajraddkini hrt hum phat svdhd), the heart mantra (om vajraddkini hri 'hum phat svdhd), and a seed mantra (om vam hum). In com- mon with many of the Tibetan sadhanas, the eight-part mantra is also pre- scribed (p. 179). #

139 GSS36 (K120V4): prathamam tdvat sddhako vajrayoginydh pratikrtim karayet. yathd tathdyena tendkdrena raktatrikonadvayasamputamadhye s'uklavartula- padme, tanmadhye bhairavacarmopari upavistdm kurmapatanakramena pita- vdrndm nagndm muktasikhdm dvinayandm kartrkarparadhardm attattahasaip kdmotkatabhisandm sddhakam niriksayantim bhdvayet. •sddhako] em.; sadha <* K • tendkdrena] em. ; kena tendkdrena K • padme] conj . ; padmam K • bhairava-






NOTES TO PAGES 78-79 4 ! 3

carmo] D88r6; bbairacarmoKi20v$, N85r5 • karparadhardm] conj.; karparamK. For the yogin in this stance, see n. 142 below. It is worth noting that there was an adept called Kurmapada, who was associated with the Vajravarahl tradition through his lineal descent from Ghantapada {Blue Annals pp. 754, 803). Ghantapada was one of the main transmitters of the Cakrasamvara tra- dition (n. 356), although whether he had any connection with this practice I do not know.

140 GSS36 (Ki20v6-izir): . ..divydmrtam iva yogidravyam nivedayet. Isaacson (1997: personal communication) suggests this may be the same as the Saiva viradravya, which consist of the five nectars, plus onion, garlic, human flesh, beef, goat's meat, fish, and fowl.

141 For a description of the bali rite according to Vajravarahl texts, see ch. 3; cf ADUT ch. 14 (p. 326) and GSS31 (Kio 4 n).

142 GSS36 (Ki2ir3): tato laldte jvalamudram vdmdvartena bhrdmayet. phemkaram uccdrayetkurmapatanapddordhvadrstyd, anena yoginydkananam. tatra pathet om aralli hohjah hum vam hoh vajraddkinyah samayas tvam drsya boh. vajrdnjalyd urdhvavikacayd balim dadydt. om kha kha khahi khahi. . . (for mantra, see GSS11 §39).

•jvalamudram] em.; jdldmudrdm K (cf. n. 504); • phemkaram] corn; phem- kdra(nd)dam K(del) • kurmapatanapdda urdhvadrstya] em.Sanderson; kurma- patanapadordhvadrstya K • tatra] Kpc; tatah Kac.

143 GSS36 (Ki2ivi, N85V5, D88v6): satatam vajrayoginyalingitam dtmanam pasyet. svapatnim iva kalpayet. tato arenaiva kdlena vajrayoginyadhisthdnam bhavati. siddhasati vdnchitam purayati ndtra samsayah. • vajrayoginyalingitam dtmanam] D, vajrayoginyalingitam ****nam K(dam.); vajrayoginydlingi**m dtmanam N(dam/del?).

144 Willson and Brauen 2000: 261. The Tibetan sadhana is a self-visualization in which Vajrayogini is described in typical kdpdlika terms, with three eyes, hair black and loose, and wearing all the bone ornaments with a garland of dry heads. (The artist of the IWS deviates from the text by giving her yellow hair.) The Tibetan text also prescribes a Vajravarahl mantra, although one closer to her thirteen-syllabled mantra than the ten-syllabled mantra of GSS36: om vajra- vairocaniye hum phat svdhd.

145 Three GSS works prescribe the self-visualization of the Vidyadharl goddess (GSS21, GSS22, and GSS23), and there is also a reference to one of her rites in the Abhisamayamanjari (GSS5 Sed p. 153, K38n- 3 8r6). Other GSS texts also describe her mountainous abode (GSS10, GSS16). This manifestation of Vajrayogini has a particular association with the adept Sahara, as many of these texts will show, an association confirmed by the hagiography of Advayavajra that appears in the *Siddha-Amndya (see appendix). The classical reference to Vidyddharts is from Kalidasa's Kumdrasambhava 1. 7.

146 GSS21 (K85r6): tadbijaparinatdm raktam urdhvapadordhvadrstim kapdlamdld- vestitakardmpuspamdldpdsasavydgrdm daksine vajrahastdm sarvdbharanavini<r>- muktam vidyddharikramayuktdm sphuratsamhdravigrahdm, mdnddravdsokapdri-



414 NOTES TO PAGES 79-80

jdtakodbhiltam ratnakutam <grham>(mgi) pravisantim dtmdnam bhdvayet. • sarvdbharana] em.; sarvdvarana K • savydgrdm] conj. (or: savya<kard>grdm); savyagrdm K • vidyddharl] em. vimdyusirK (cf. GSS22 K86n vidyddharlkram- abhdvand) • mdnddrava\ corn; mdnddrdvdK* °odbhutam] em.; °odbhutdmK. GSS22 (K86r3): jhatiti mdldvidyddharlvajrayoginlm udydndd astasrngopetaratna- grham pravisantim sphuratsamhdravigrahdm dtmdnam bhdvayet. • udydndd] corr.; udydndt. codd.

147 The mantra appears twice in GSS22, first as the principle japa mantra (K86r.5) : bhdvandt khinno mantram japet, with the mantra itself given as an addition in the lower margin in K, but incorporated into the text of N62r7 and D6$t6 (K86r5): om vajravairocaniye om vajravarnanlye hum 3 phat 2 svdhd. It appears again as a mdldmantra with the name elements once again altered from the standard version (K8 6v6): om vajravarnanlye om vajravairocaniye om sarva- buddhaddkinlye hum p hat p hat svdhd.

148 Willson and Brauen (2000: pp. 258-59) give the Sanskrit equivalent as Maitrl- khecarl Vidyddhari-keli. The text of the Rin 'byung brgya rtsa is similar to our Sanskrit sources in its description of Vajrayogini as naked and bearing a gar- land (though not a garland noose). Her pose is described as follows: "Her left hand holds a skull full of nectar and, embracing her left leg in the hollow of the knee, raises it up so that a stream of nectar pours into her mouth. Her right hand holds a five-pointed vajra, thrusting it toward the right heel. The right leg is not quite extended, as if flying. Holding in her left hand a garland of ndga tree flowers, she stands naked and without ornaments...." However, the Tibetan sadhana reveals a far more wrathful deity, with frown and bared fangs, who is aligned not with Vajrayogini, but with Vajravarahi ("I appear in the form of Lady Vajravarahi Vidyadharl-keli") and crowned with Aksobhya. The usual tripartite mantra is given (ibid: 213): om om om sarvabuddhaddkinlye, vajravarnanlye, vajravairocaniye, hum hum hum phat phat phat svdhd.

149 GSS22 K85r6 (N63r4~5, D65V2): caryd tasydh kathyate sddhakdndm hitdrthdya. candragrahe suryagrahe vd darpanatale kimcit sinduram <pdtayitvd> suvarna- saldkayd bhatdrikdm Likhya pancopacdrendbhipujya tasya (?) sinduram grhltvd tdmrabhdnde sthdpayet. Idngaliyd gaccham utpddya svasthdne pdtayet. evam sanmdsdni pratyaham pujayet. mahdmudrdphalam daddhi me. pratyaham sampujya vandayet. evam sanmdsdni sampiirnam krtvd yoginlndm pancopacdra- bhojanam krtvd pranamydjndm prayaccha iti prdrthayet. Idngaliyd madhye sinduram bharet. kapdlam grhltvd unmattacaryayd caret, sa kondkrti<m> sinduram laldte krtvd bhramet. sanmdsdni sunyagehabhagnakupasamlpe bahubhi<h> strl<m?> vdmdvartena pradaksindm drabhet. unmattacaryayd caret, sanmdsena pancdnantaryakdrl yah so 'pi sidhyati.

• candragrahe] N, D; candragrheK • kimcit] conj.; ci Kac; (kdm)ci K(mg); vd jalataleD; N omit. • pdtayitvd] conj. (see GSS5 K38n) • tasya] codd. Possible conjectural emendation to tasmdt (?) • caryayd] conj. (or carydm); carydydK, cdrydydm N63r4, caryd D65VI • samlpe] corr.; same(pe) K(mg2). • unmatta- caryayd] conj. (or unmattacarydm); unmattacaryd codd.




NOTES TO PAGES 80-83 415

GSS5 K38n (Sed p. 153, N24V3, D27V2): api cdtyantanirmrstadarpa<na> tale stamydm sinduram pdtayitvd tatra dharmodayamudrdm likhitva konesu bdhyesu devibijam vilikhya madhye mantram ca dharmodayabahyesu catuhpdrs'vesu vdmdvartena nandydvartim likhitva puspddibhih sampujya yathdsakti mantram parijapya sindura<m> tad ekatra bhdnde sthdpayet. evam sanmdsam ydvat kuryat. tato langaliya visanalikdmadhye tat sinduram praksipya smasane nikhanya balipujam ca vidhaya mantram japet yathdkdmam. evam pratyaham mdsam ekam kuryat. tat sindurena nandydvartakrtim tilakam vidhaya bhiksartham gramam praviset. yatra tattilakam samkrantam drsyate tarn <strim> yatnendradhayed iti. evam nandyavartenasiddhasabarapadiyavajrayoginyaradhanavidhih. * nirmrsta] em.; nirmista K • devibijam] N, D, debijam K • strim] Sed, codd. omit • sidd'ha] em.; siddhiK.

150 According to one Tibetan tradition at least, the bliss swirls (nandyavartah) are pink, spin counterclockwise, and are in the corners to the left and right, leav- ing the front and back corners blank (Tharchin 1997: 159; K. Gyatso 1999: 118).

151 SUT Caryanirdesapatala (ch. 21, v. 13-Hab, ed. Tsuda:): athava vdtuldm ndma carydm kartum sukhotsahah I asahayah paryaten nityam ekdki ekamdnasah I udbhrdntapatrivad bhramed unmattavratam dsritah. The text then lists a series of solitary sites in which he may dwell, such as a cremation ground, by a soli- tary tree, in various types of deserted dwelling, at a crossroads, etc. I am grate- ful to Professor Sanderson for showing me this passage.

152 GSS10 (K49VI, v. 78): ekabijasamudbhutam prajnopdyamayam jagat I sarva- narimayd devi sarvopdyamayah prabhuh. • samudbhutam] corr.; samudbhutai- tam K; Cf. Candamahdrosanatantra (p. 18 line 1.14) [bhagavdn]: mam najdnanti ye mudhah sarvapumvapusi sthitam; (line 1.20) [bhagavati]: mam najdnanti yd ndryah sarvastridehasamsthitdm.

153 GSS23 (K88r6): tatah sunyatam sarvadharmanirdlambarupdm vicintya jhagiti purvoktamanobhangacittavisrdmaparvatamadhye gaganalikhitam citravadan- d<m>, saktirupdm sdrdrasusnigdharupdm raktavarndm trinetrdm dvddasaksikdm sahajdnandarupdm nagndm muktakesdm isaddhasantim romdncakahcukitdm bahyasitdbhyantararaktapuritapadmabhdjanadhnavdmakarenoddhrtasvavdmapd- ddlingandbhinaydmpadmabhdjanastharaktadhdrdm anavaratam pibantim tirya- gurdhvtkrtadaksinapddoparisthadaksinakarena raktapancasukavajradhdrimm

vikasitanagakesarakusumdbharand<m> samullasitapadmabhdjanagatadrstim dhydtva.

•purvokta] Kpc(add2) • omit, Kac; gaganalikhitam] em.; //f^>^;Kpc(add2); gaganalitaK* saktirupdm] em.; saktirupdmlKpciaddi); saktarupdKsic • susnig- dharupam] conj.; susnigdha K • bdhya] em.; bdhye K • bhdjanadhrta K (under- stand °dhara) • karenoddhrta] em.; karenodhrta K • padalingand] corr.; pdddlingitand K • pancasuka] corr.; pancasuka K • kesara] corr.; kesara K.

154 The mantra here has only one om and a curious ca, GSS23 (K89V4): om sarvabuddba- ddkiniye vajravarnaniye vajravairocaniye hum hum hum phat phat phat ca svdhd.

155 GSS23 (K87V2): tato jhagiti atimanohararamaniyataravicitrasarahpravikasita- ndgakesarodydnavibhusitapancavarnasikharamanobhangacittavisrdmaparvata-



4 l6 NOTES TO PAGES 83-84

madhye vaksyamdnavarnabhujddibhusitadevydh sahasd sdksdddarsanam abhut. • vibhiisita] em.; vibhusitamK* manobhanga] manobhagangaK. (The adjectives atimanohara and ramaniyatara may be taken to qualify the colored pools only.)

156 The defiled mind (klistamanas) is the seventh category in the Yogacara's analy- sis of mind, by virtue of which one clings to the storehouse consciousness (dlayah) as the self.

157 GSS23 (K8c>r3) : pratyusasandhydydm arunodaye ndndvicitraratnavibhusitaparva- tadvayopari pddadvayam dhrtvd prasdritabhujadvaydm purvoktalaksandm devim atiraktavarndm. . .sddhakas tu. ..vicintya. . . iti devyd balividhih.

The other references in the Arddhanavidhi (GSS23) either repeat the ambi- guity, as in the bhdvandvidhi, GSS23 (K88r6): jhagiti <purvokta>(mgi) mano- bhangacittavisrdmaparvatamadhye, or refer only to the mountain peaks, as in the rite of subordination (vasyavidhih). The vasya vidhi requires the practitioner to visualize the goddess above the towns and villages (which he wishes to sub- due) in space above the mountains. He then imagines her left foot "stumbling" and "by merely having touched the mountain peaks" all the inhabitants of the towns are turned into semen-nectar and then into a red liquid, which he imag- ines himself inhaling and exhaling through his nostrils: GSS23 (K88v6): tato nagaragrdmddindm upary dkdse purvoktaparvatopari bhagavatim dlambya tad- vdmapddam skhalitvd parvatasikharasprstamdtrena bodhicittdmrtibhuta-. . . iti

vasyavidhih.

158 *Siddha-Amnaya (p. 11): daksindpathe manobhangacittavisrdmau parvatau.

159 GSS16 (K75V2): prthivydm sdrasambhute manobhange mahidhare I tasmin kute mahdcittaikacittavisrdmamandape I tantre laksdbhidhdne hi ndthena kathitd svayam I trayodasdtmikd ghord vajravdrdhindyikd I mantrdharavinispannam mandalam mandalottamam \yathdnujnd may a labdhd tathaiva kathaydmy aham. • trayodasdtmikd ghord vajravdrdhindyikd] em.; trayodasdtmikdm ghordm vajravdrdhindyikdm K (vajravdrdhi, metri causa) • vinispannam] em.; vinis- panndm K • tathaiva] conj.; vaiK.

160 The passages prescribing the visualization of the goddess are given in full in n. 146. GSS21 (K85r6-v2; N62r; D64r): . . .mdnddravdsokapdrijdtakodbhutam ratnakutam <grtiam>(mgi) pravisantim. • mdnddravd] corr.; mdnddrdvd K • °odbhutam] em.; °odbhutdm K.

GSS22 (K86r3; N62V; D64V): jhatiti mdldvidyddharivajrayoginim udydndd astasrngopetaratnagrham pravisantim. . .dtmdnam bhdvayet. • udydndd] corr.; udydndt. codd. GSS22 seems problematic, since it describes the goddess "enter- ing from a glade into a jewel hut with eight peaks."

161 The ten goddesses include the four mothers (Locana, Mamaki, Pandara, and Tara) and six others who are unnamed (GSS26 K92v6=GSS27 K94V1): namo buddhadharmasamghebhyah. namo gurubuddhabodhisattvebhyah. namolocand- didasavajravildsinibhyah. namo yamdntakddi dasakrodhavirebhyah saprajne- bhyah. These are probably the six goddesses of the sense organs, agents of consecration in the Hevajratantra (HT1.4): Rupavajra, Sabdavajra, Gandha- vajra, Rasavajra, Sparsavajra, and Dharmadhatuvajra (see Snellgrove 1959'- 59'



N



OTES TO PAGES 85-87 417



n. 4). The four mothers are also referred to as vildsinh (possibly in an adjecti- val sense) in the KYT ch. 16 v. 6cd (p. no): ndndrupavildsinyah sarvdbharana- bhitsitdh, in which they appear as essentially kdpdlika goddesses in the intermediate corners of the outer mandala of the "great Heruka," Yamantaka (ibid.:w. 7-9).

162 GSS43 v. zed (Ki27r3): vajravarahi nardhisurdndm I tvam saranam tava ndma- pardndm. Cf. the opening obeisance in the Abhisamayamanjari, cited p. 113, in which Vajravilasini is also named as a form of Vajravarahi.

163 GSS43 v. i3cd (Ki28n): samvaramadhupavicumbi<ta>mukhdbje I tadbhujayuga- parirambhihrdabje • rambhi\ Kpc; rasthi Kac.

164 For the attributes, see v. 4 (Ki2 7 r 4 ), for the pearl ornaments, w. 12-13 (Ki27v(mg)-Ki27v6-i28r), and the vajra, v. 5 (Ki2 7 r5). GSS43 Ki2 7 r 4 -5 (v. 3cd): matar devi nibhdlaya mahyam I kirn sahase mama duhkham asahyam? • matar] em.; mdturK. Cf. v. 6cd (K127VI-2): bdlaravitrivilokanarakte I jagato duhkhanirdkrtisakte.

16$ GSS43 v. 3ab (Ki27r4): harikarisikhiphanitaskarabhitih I tvatparacitte naiva sameti. The eight great dangers (astamahdbhaydni/bhaydstakam) traditionally include those mentioned here, plus other calamities such as drowning at sea, imprisonment by kings, sea monsters, demons, and plagues, etc., e.g., Tattva- jnanasamsiddhitika (p. 26): harikarisikhiphanitataskaranigadamahdrnavapi- <saca>bhayasamani I sasikiranakdntihdrini bhagavati tare namas tubhyam. (I thank Professor Sanderson for supplying this text.)

166 See GSS43 v. 13 (Ki2 7 v6-i28n), and v. 15a (Ki28r2): patimaulisthitavidhum amrsantl.

167 Apart from the title and salutation, the Guhyavajravildsinlsddhana (GSS10) once calls the deity "GuhyavajravilasinI" (K46V1), on one ocassion "Srivajra-

vilasini" (K45V2), but most commonly — because of the restraints of meter

simply "Vilasini" (K45V6, r<48r4): tarn evdgre sthitdm vidydm dhydydd vajra- vildsinlm; (K48V2; K9 4 r6): vilasini namo stu te; (K50V3): ...vilasini bhdveyed dtmavigraham; also K51V4; K51V5.

168 GSS10 (K45V3): na srutam pathitam kincic chabarenddricdrind I lokandthddhi- patyena vade yam kiyad aksaram. • (v. 3a) pathitam] conj.; na pathitam K.

169 GSS10 (K45V4): sarvaratnamaye ramye gandhamrgasugandhini I manobhange (0 padam dattvd cittavisrdmaparvate I (4) tatpradese mahdramye sugandhiku- sumdsraye I lasatsundaramdkande mandrakujitakokile I ($) raktdsokaghanodydne mamdsokds amitithau I gurund karundhvena desiteyam vilasini I (6).

• (4c) manobhange] conj. Sanderson; manobhangam K. • (5c) lasatsundara- mdkande] conj. Sanderson; lasatkandaramdkanda K {kandara must be a cor- ruption for some word that either qualifies the mango trees [mdkanda-]oi that is another type of tree).

Given the descriptive nature of the terms manobharigaznd cittavisrdma, it is worth considering the text without the emendation of the accusative mano- bhangam dattvd to the locative manobhange dattvd. An unemended reading of the manuscript (manobhangam padam dattvd cittavisrdmaparvate) reads,



4i8



N



OTES TO PAGES 87-89



"having placed [his] foot that destroys the [defiled] mind on the Mountain Cittavilrama .." This is reminiscent of the adjectival interpretation considered above for the compound manobhangacittavisrdmaparvata in GSS23 ("the mountains] where consciousness comes to rest because of the destruction of the [defiled] mind"). It is also possible that the subject of the placing foot is not the sadhaka at all, but his teacher Karuna, who is the logical subject in the following verse (gurund karundhvena dehteyam vildsmi). Thus it would be the guru's foot that would "destroy the [defiled] mind." 170 The asoka eighth is the eighth day of the bright half of Caitra the second month of spring Sanderson explains it as follows (2001: personal communication)-. "The Jokdstamivratam is so called, according to the paurdnika sources that advocate it.'because one observing it is to drink/eat eight ^blossoms after first offering a puja to Rudra with such blossoms on the eighth of the bright fortnight of Caitra and because by doing so one will become asokah, i.e., free of grief. The source is a passage in the Hemadri {Caturvargaantamam vol. 2 parr I pp 862-63 Kashi; Sanskrit Furer 235), which cites the Lingapumna and the Kurmapurdna. The latter prescribes worship of Rudra: caitramds, ntastam- ydm budhavdrepunarvasau I asokakusumai rudram arcayttvd vidhanatah I asoka- sydstakalikd mantrenoktena bhaksayet I s'okam naivdpnuydn martyo rupavan apt jdyate The former prescribes worship of the tree itself: asokakahkapanam asokatarupujanam I sukldstamydm tu caitrasya krtvd prdpnoti mrvrtim. i 7 i SidJha-Amndya*(p. n.18): pdramadine manobhangacittavurdmm prapyete. _

172 Siddha-Amndya* (p. 11.21): dasame divase grivdm chetum drabdhah. tathanat sdhdddarianam bhavati sekam dadati Advayavajranamabhut.

173 Sahara twice states that he has been taught the sadhana by his teacher, Karuna (GSS10 K4 5 r/v and K 53 r). Lokanatha is hailed in the opening vasantat,laka verse (ICtfvi)- ...mlokandthacaranam saranam vrajdmi. He is also the power through which the illiterate Sahara is able to communicate the sadhana (v. 3c K45V4), lokandthddhipatyena, which the colophon states had been taught by Lokanatha in the Mahdyoginijdlatantra: (K 53 v): mahdyogmijalatantre mmal- bkandthapddenedamdeHtamyoginisarvmvamndmaguhyavajravildsmtmdhanam

samdptam. • nSMaxc., ndmahK. Cf. GSS23 (K8 7 n): mmacchabararupadha- rind .lokesvarenabhagavatoddistautpattikramasddhanah. I74 GSS10 w. 46-53 (K47V6 ff.). Here she is likened in color to a bandhuka Hower (a common simile for her red luster), "flashing like red gold, pale" (gdun- usu- ally white, but it can also mean yellowish, reddish, or pale red); although ear- lier in the sadhana, she is described as "arrayed in yellow/having yellow rays (v. 46 K47V6): etatparinatdm devim bandhukakusumapmbhdm 1 raktahemayva- timgaurmmjaldvanyabhusitdm.CL{K4Vz):pitdmsukd.

175 GSS10 (K47V6 tt):padmanartadhvajocchrdyasamdropitapankajdm I utkutasan - nrtyasthdm katdksasmitabhangurdm I ( 49 ) . . . ullasadbhidurasparsaih ksaratka-

malavibhramdm I (51). _ ,,_..;.

176 This is a squatting pose with the feet twelve finger-breadths apart (VA bhupar grahavidhih ms. A f. nv; SP f. i6r-v): vitastyantaritam pddadvayam asane nyasy






NOTES TO PAGES 89-91 419

utkutakas tisthed ity utkutakdsanam. When GSS10 prescribes this pose for the yogin's consort in the preparations, it adds that "her sex is clearly revealed" (v. 32b K47r3~4): vyaktapadmotkatdsandm.

177 GSS10 (v. 58d K48V1): kimciduttdnasdyinam; GSS10 (v. 30cd~3ia Y^jrz): svajanghdm kincid dkuncya daksindm tuprasdrayet I tayor madhye gatdm vidyam. Cf. GSS10 (w. 58-59 K48V1).

178 GSS10 (v. 59cd K48V2): suvyaktaguhyavajrena nartayantam vildsinim.

179 GSS10 (w. 18-19 K46V1): parvatddiguhdmadhye sugandhikusumdsraye I bhdva- niyd sakdntena guhyavajravildsinl I sunyavesmani svacchandam udydne vijane vane I pujaniyd sadd devl sddhaniyd yathdvidhi.

180 GSS10 (v. 77 K49V1): anyonyavandandm kurydt madhurdksarabhdsanaih. ...

181 GSS10 (w. 123-27 K51V6). The male himself makes the mandala upon his penis and fondles it (without emitting semen) while reciting the mantra. The female makes the mandala upon her own sex, then puts her thumb and forefinger together as a "good pair." "She should perform the mantra recitation, medita- tion, and so on using this [substitute] penis in her sex." GSS10 (K52r2): updyamelakdbhdve vidydpi svdbjamandale I purvavad mandalam krtvd nitya- pujdvidhim caret I tarjanydngulijyesthdbhydm ekikrtya suyugmakam I tadvajrdb- janiyogena jdpadhydnddikam caret.

182 E.g., Nitydsodasikdrnava (ch. 1 w. 130-50), also Sanderson (1988: 688), Pal (1981: 74-75), and Biihnemann 2000a: (154-57).

183 The arrow syllables extracted from a mantroddhdra by Jayaratha are dram, drim, klim, blum, sah (Vdmesvarimatavivarana on 4.61, quoting the Nitydkaula; emending nitydkdloktah to nitydkauloktah). Cf. Sivananda on the same (Rjuvi- marsanl on Nitydsodasikdrnava 4.62): dram, drim, klim, blum, sah. Another set that may have influenced the form of the Buddhist mantra are the three bijas of Bala Tripurasundari (Vamaki 1.830-86): aim, klim, sauh. (There is also another similar set of eight bijas, ibid.: 1.64-78.) I am grateful to Professor Sanderson for these references.

184 KamesVara is described in Kdmakaldvildsa 37 cited Khanna (1986), Renfrew Brooks (1992: 64). GSS10 (K48V3, v. 62): ityevambhutam dtmdnam bhdvayet suratesvaram I mahdsukham iva vyaktam padmanartesvaram prabhum. GSS10 ends with a reference to the god of love, Kamadeva (whose banner is the myth- ical sea monster or makarah), promising that [practitioners of this sadhana] "fervently clasping their lover enjoy the makara bannered [i.e., ^w^/Kama]" (K53VI-2, v. I5icd): kdmini<m> gddham dlingya bhujanti makaradhvajam.

185 Synonyms for Siva Nataraja include Ndtyesvara, Natesa, and in an east Bengali inscription, Nartesvara; see the study of Nataraja by Sivaramamurti (1974). Further research is needed to establish the origins of Padmanartesvara and the sources behind the GSS sadhana here. Sanderson (1997: personal commu- nication) notes that the Lokesvarakalpa is concerned with Padmanatha/ Padmanartesvara, and that a possible root text for this is the Sarvabuddha- samdyogaddkinisamvaratantra. In this proto yoginitantra, Padmanartesvara is lord of one of six families headed respectively by Vajrasattva, Vairocana,



NOTES TO PAGES 91-92.



Heruka, Padmanartesvara, Vajrasurya, and Paramasva (Tanaka 1993, cuing Sanderson) Tanakas introduction to the Chinese version of the Lokesvara- kalpa (the Yi-qie-fa she-xiang-ying da-jiao wang-jing sheng-guan-zt-zat p Usa nian-Lgyi-gui) suggests that the cult of Padmanartesvara subsided wuh the rise of the Heruka family, bequeathing the tradition lutle else than a few short sadhanas (The Padmanartesvara sadhanas in the SM each present different iconographical forms of the god with his consort Pandaravasmi; the nearest to Padmanartesvara of the GSS text is SM30 Padmanartesvaralokanatha- sddhana ) However, Padmanartesvara's fame evidently continued beyond this, since he is still important in the Ddkinivajrapanjaratantra (Isaacson 1999: per- scnal communication). In the Cakrasamvara tradition Padmanartesvara appears as an attendant deity on the southwest spoke of the kayacakra ,n the Cakrasamvara mandala in union with Mahabala (see table 23). He remains there when this mandala is taken over by Mahavarahamukh. in the Ddkdrnavatantra, a thirty-seven-deity mandala of a form of Va,ravarah, with thirty-six animal faces (the central one of which ,s a boar) seventy-two arms, and Veen legs (Ngor mandalas plate 8,, listings p. 146) Padmanartesvara is also one of the armor gods (table 25). I am informed that the cult of Padma- nartesvara/Avalokites'vara is central to the mamnmdu festival, Thangboch, Monastery, Nepal (Martin Boord 1999: personal communication).

186 GSS10 (K4 5 v6): vaJyakarsanastambhanamdranoccdtandm ca\ anjanam gud,ka-_ ^ddUmUthdnyJbahuni ca I (8) I mahdmudrdpadam labdhvd ^myaata TaydiMhindbhdvayetyastvdmtasma.dasyasnatphaUm^) • gud.kasrddb^

187 Sst^W K 53 t l): mabdmudrdpaddrtdbab nddbo bbava, sddbakab ; 7 ^U em, padarUdhab K; GSS.6 (K 9 *): ^endra ,«. madbupa.r

ndrlbbirvestito bhramet • madhupair] conj. Sanderson; ™ dhuratr \ tSS TSSto (Ks'on-2 v. 88ab): rdgdmbbodhijalam tartum sunaukeyam upastbm.

prainopayasukham tadvat helayd kleianasakam. x 9 o GSS10 (i6v6- 47 r, v. 27): pradipam jvdlayet tatra prabhdkarasamaprabham I

yathdprakasatevisvampratyangamcavuesatah. Wnim d-

x 9 i GSS10 (K49V5, v. 84ab): nakhaksatam na ddtavya^n pascdttdpamvmaye^o^

ing with nails and teeth for enhancing sexual pleasure b a topos of the Kama

,92 SL (K46V5, v. 2 5 cd): tavanmatrarn m kartavya<rn> na mano ^va^aM- L CSSio(K48« w 65-66): tadanu cintayet turnam abhumcant, mam punah 193 ^a^UkLaLga^ 4 ^) rambbd ^md^na^ gandnvitdh I puspadhupadibhir vadyair nananrtyamahotsavaih I (66) vady

Tih^S has discussed the appearance of Tilottama in other Buddhisl tantras, e. .^one of eight apsaravs in the (kriyatantra) »****"£ £ and in particular, in the Hevajratantra. In the latter, she is to be attract foremost of apsarases beginning with Rambha (HT2. 9 .2ic-d: karsayet »*,



NOTES TO PAGE 02

rambhddindm tilottamdm), and on another occasion, as the agent of consecra- tion (HT2. 5 . 4 2cd: abhisekam vajragarbhasya datum krsyam tilottamam) Nihom points to another instance in which Tilottama gives the consecration, this time to the Buddha on his path to enlightenment, according to the account given by Mkhas grub rje (pp. 36-37). Nihom's understanding of the Tibetan text dif fers from that of Lessing and Wayman here, and he translates: "At that time all the buddhas of the ten directions having gathered, they caused him to arise from [his] meditative-concentration by the sound of snapping their fingers They said, 'You are not able to become a completely enlightened one by this meditative-concentration alone.' When he said, 'How then?' all the buddhas of the ten directions having attracted the divine maiden Tilottama, she con- cretely gave the third, the prajnajnana consecration."

194 GSS10 (K 5 on, v. 87): niscalanan mukham bodher aticdlandc cancalam manah helayd khelayed devim sahajdsaktacetasah. • niscalanan} conj. Sanderson- nisca lannamukharn K Cf. GSS43 (Ki28r 5 v. i 7 cd): pratyangasparso py animittah , sahajambudhivipldvitacittah, "The signless touching, also, of every limb by which the mind is bathed in the ocean of sahaja" ' '

195 See Davidson (2002) for a discussion of the four dnandas, particularly in rela- tion to the meaning of sahaja. The dnandas are related to the "four consecra- tions" (caturabhisekas) of the Hevajra system as follows, although some traditions invert the final two blisses (HT1.1.24 and HT2.3.5-9):

Endnote table i. Four consecrations in the Hevajratantra



^secranonsj^^

acar 7 a ananda v j c i tra

g un ya paramananda vipaka

prajnajnana viramananda/^%*- vimarda

caturtha sahajananda/ v irama- vilaksana

196 GSS10 (K 5 on-2): manthdnandolanam kdryam devadevyoh svamudrayd I <ahaja- nandam tu boddhavyam vilaksanaksanoditam I ( 9 o) I vajrena ksob hayed devim bodhicittam na cotsrjet I utsrste bodhicitte tu kutas tatra mahdsukham I ( 9I j | manthayet kamaldmbhodhim sahajdmrtakdmksayd I vairdgyakdlakutam ca nottisthati yathd tat ha I (92). ' '

197 "Churning" and "swinging" (manthdnandolanam) seem to refer to the move ments of lovemaking. "Churning" (manthdnam) would be the sexual action of the male; cf. CandamahdrosanatantraYme 4.48. (p. 24): tato manthdnayo Z ena purve svetdcakm srjet; "swinging" (andolam) would refer to the female action cf. GSS10 v. 9 8ab (K5or2): kurydd dndolandhlddam kimcid dkuncya pankajam and GSS10 v. io8ab (K 5 ir2): dasadhdndoUnam devi dadydd dhlddacetasd. This may refer to a movement of the hips, as dndolita is classified as a "slow and oblique movement of the hips" in Ndtyasdstra (Mdnasolldsa cited by M. Bose 1970- 74)



4 22 NOTES TO PAGES 93~94

198 GSS26 (K94r6): buddhe viragdvasaro nasty atra kirn bahuneti. Cf. Candamahd- rosanatantra (6.182-83, pp. 30-31): anurdgat prdpyate punyam virdgdd agham dpyate I na virdgdt param pdpam na punyam sukhatah param.

199 The preliminaries to the sadhana include the recitation of the emptiness mantra, and during the course of the subsequent love practices, the yogin is to contemplate his body as illusory. GSS10 (K50V3 v. 100): sphuratsamhdrayogena bhavayed dtmavigraham I gandharvanagarakdram mrgatrsndmbucancalam.

200 GSS10 (K49W. 83): cumbanam tu praddtvayam yatra puspaih supujitam I masta- kadi pddaparyantam visaty anga<m> f samangatau fl Cf. Meghaduta (v. 99): angendngam pratanu tanund. . . visati.

201 GSS10 (K48V4 w. 63-64). Other instances are at GSS10 K47VI-6 w. 39-45 (visualization of the dharmodayd) , K5or5 w. 93-100 (producing offerings from the lovemaking), and K53r3 w. 110-14 (dtmamelaka discussed below).

202 GSS10 (K5K1): ekadaiva samuccdrya vidyayd saha susvaram I nddabindulaydli- nam idamjdpasya laksanam I (106) satam astottaram japtva kuryad anyonyacu- sanam I vajrabjayos samam tatra muhur garudamudraya I (107) .

203 GSS10 (K5ir5, v. ind): samarasojjvalam; (K5K5, v. ii2cd): chedayantam jagat- ktesam trailokyasyapi mandalam.

204 GSS10 (K5ir6-v, v. 114): sakracapakramenaiva tal linam gaganambudhau \gaga- nam sahaje linam bodhdmbhodhau mahodaye.

205 GSS10 (K51V3): ity evam hi samddhisthah samagdbhydsaniscalah I tadd yogi bhavet siddho mahdmudramaharddhikah I (v. 118) • bhavet] em.; bhavet yogiY. (ditto.).

206 The colophons to Virupa's sadhana and two stotras name her "Trikayavajra- yogini," while in the colophons to GSS20, SM232, and SM238, and in the body of the texts themselves, she is simply referred to as "Vajrayogini."

The epithet "She Whose Head Is Severed" appears in Tibetan translations. Chinnamunda is the name given by all the sadhanas in the bsTan 'gyur (Benard 1994: 18 n. 35; see the appendix for details). Thus, for example, the Tibetan translation of the Laksmisadhana (GSS24) is entitled the * Chinnamunda- vajravardhisddhana (Benard 1994: 66). Similarly, in the Nandydvartatraya- mukhdgamandma attributed to Mekhala and Kanakhala (sDe dge bsTan 'gyur rgyud 'grel vol. 43 (Zi): 34-35), the sadhaka is instructed to visualize himself as dBu bead ma yum, i.e., as "Chinnamunda" Vajravarahi (ibid.: 14). A Chinna- munda Sadhana also appears in the Rin 'byung brgya rtsa, "Vajrayogini of the Severed Head" (rDo rye rnal 'byor ma dbu bead ma), or, according to Taranatha, "Vajravarahi of the Severed Head" (rDo rjephagmo dbu bead ma) (Willson and Brauen 2000: 259-60), details for which see below n. 210.

In the Sanskrit sadhanas and stotras, that I have seen, however, there are only two references to the name Chinnamasta, and these are made in a later hand in K (which in both cases are transmitted in N and D). In one instance, a sec- ond scribe adds to the original colophon in GSS25 that she is yellow and has a severed head (K92V6): ity dryatrikdyavajrayogini<pitachinnamastd>sddhana. In the second instance, a second scribe inserts a corrupt verse in sragdhard meter at the start of GSS24 that actually interrupts the first and second pddas



X



NOTES TO PAGES 95-96 4 2 3

of the benedictory verse in anustubh. This states that the goddess generated inside the dharmodaydm Chinnamasta, "who has attained a threefold body, the triple path," GSS24 (K89V6): tasmin madhye trimdrgd tritayatanugatd cchinna- mastd prasastd • trimdrgd] em. trimdrgam codd. Cf. GSS27 (K94V5, v. 4 cd): trimdrge samsthitd devi trikdyavajrayogini.

207 SM232 is almost identical to GSS20, but it has no bali mantra. However, a "floating" ^/r mantra is printed as SM238 (Vajrayoginyd Balividdhih), which tallies with the longer ^/r mantra in GSS25, cited below. I suggest that SM232 and SM238 therefore belong together.

208 GSS25 (K9K5): svandbhau vikasitasuklavarnapamkdraparinatam sitapadmam satadalam vibhdvayet. tatropari raktavarnarephajam suryamandalam bhdvayet. tatropari sinduravarndm dharmodaydm ca vibhdvayet. tatrdpi ca madhye pita- hrimkdrajdpitdsvayam eva kartryd kartita<m> svamastakam vdmahastasthitam dhdrayanti daksinahastasthakartryd sahitd urdhvavistrta<vdma>bdhvi, adhona- mitadaksinabhujd, vdsasunyd, prasdritadaksinapddd dkuhcitavdmacarand, kaban- dhdd avadhutivartmand nihsrtdsrgdhdrd tasyd mukhe patati pravisati ca. apare lalandrasandbhydm ca nihsrtya pdrsvayoginyor mukhe pravisata iti bhdvyam.

• sinduravarndm] em.; sinduravarniK* pitahrlmkdrajd] em.; pitahrimkdrajdm K • vdsasunyd] SM232; vdmasunydK, vdmah sunydm GSS20 K84VI. Cf. GSS24 (K9or 4 ): digvdsasdm, GSS27 (K94V5): nagnd. • pravisati ca] conj.; pravisati vd K. Cf. GSS20 (K84V2): svamukhe pravisati.

GSS24 (K9CT1): tatah samayi svandbhimadhye raktavikasitakamaUm vibhdva- yet. tadupari raktaravimandalam pas'yet. tasyopan raktahrimkdrasambhutdm dharmodaydm visvdbjdrkodard<m>, tatra hrimkaram vibhdvya taddhrimkdra- pannatdm bhagavatim vajrayoginim pitavarndm raktacchdydm svakarakartyd svasiram cchittvd vdmahastenordhvadhdrinim kartnkdsametadaksinakard<m> dhdrdprasdrinim dlidhapadasthitdm kapdldlamkrtasirasdm muktakesdm di<n-dsa- sdm mudrdmudritdngdm srtbuddhaddkinirn madhye, tatah cchinnasirodtardm srotasam urdhvam sravantim rudhiradhdrd<m> svamukhe plavantim bhdva;et.

• raktahrimkdra-] corr.; raktahrimkdram K • vibhdvya] corr.; vibhdvya; K • dhdrd] em.; dhara K • srotasam] corr.; srotasam K • sravantim] corr.; s'ravantiK

209 GSS27 (K95r2): karavad etayoh pddau viparitau ca tau sthitau; GSS20 (K84V4): ubhayor yoginyor madhye ntarikse cdtibhaydkulam smasdnam bhdvayed iti bhdvand* kulam] corr.; kuldm K). Cf. GSS25 K 9 2ri; GSS24 K 9 or.5.

210 Willson and Brauen (2000: 259-60). The text of the Rin 'byung brgya rtsa dif- fers considerably from our Sanskrit sources, as the three deities are first self- visualized as one-headed forms of Vajrayogini (in warrior stance, trampling Bhairava and Kalaratri, and holding the usual attributes, chopper and skull bowl, including a skull staff for the central figure). They are visualized as orange (SarvabuddhadakinI in the center), green ("Vajravarnani" to the left), and yel- low ("Vairocani" to the right), with garlands and bone ornaments of the hve mudras, very wrathful amid blazing fire. Their mantras are given separately and are to be visualized with the syllables "all stacked up" within their dharrno- dayds (i.e., within the sexual organs): om sarvabuddhaddkini hum phat siand;



4 2 4 NOTES TO PAGE 97

om vajravdrnaniye humphat; om vajravairocaniye humphat. The self-visualization then continues, as the meditator sees the principal deity cutting off her own head and holding it aloft by the hair "with the three eyes looking downward." The text continues: "From the severed central channel in her neck, a jet of mixed white and red bodhicitta pours into her own mouth; from the left chan- nel, laland, a jet of 'semen' (kunda) mixed with Aksobhya pours into the mouth of the left deity; and from the right channel, rasand, menstrual blood (rajas) mixed with ordinary blood pours into the mouth of the right one." The sadhana then continues with other meditations and rites.

The Mongolian icons also depict this sadhana, illustrating each deity sepa- rately. The central deity, Chinnamasta (dBu bead ma), is not shown with her head severed (IWS/T 81, LC 591), and she is described as a form of Vajravarahl. "Vajravarnani" (rDo rje rab sngags ma) is seen as green, and painted in the IWS with a skull staff not given in the text or woodblock prints (IWS/T 82, LC 592, in which she is called "Vajrapranava"). "Vairocani" (rNam snang ma) is yel- low, also with the addition of a skull staff in the IWS (IWS/T 83, LC 593).

211 GSS9 (K44V5): hrdi ndndvarnapamkaraparindmena visvapadmam bhavayet. atropari raktarephaparindmena suryamandale dharmodayam samadhikarakta- varnam bhavayet. dharmodayopari raktavarnam hrimkaram. hrimkarddibhih purvoktaih samastaih parindmena vajrayoginim kanakasydmdm surydsane padma- madhye. tathdtra pdrsve dakinidvayam bhavayet. kartrikarotadhardm dlidha- padasamsthitdm. • dakinidvayam] SM234; sd(hu?)Ladvayam GSS9 K4511, sdntadvayam GSS30 Kio2r3 (perhaps for saktidvayamt) .

212 GSS25 (K92r2): iddnim pujocyate. mandalam caturasram tatra suryopari tallag- ndm dharmodayam likhitvd tanmadhye hrimkaram dlikhya pujayet, tadbhavdm vdpurvoktarupdm bhagavatl<m> madhye dropya. . . (mantras given table 7).

• tallagndm] GSS25 (cf. GSS20: surydlayalagndm) • hrimkaram dlikhya] conj.; hrimvdmdlikhya K (cf. GSS20: hrimkdrasahitam, GSS5: hrimkdra<m> ca vicintya) • purvokta] conj.; purvoktdm K • madhye dropya] GSS25, cf. GSS20: tatah purvoktabhdvanaya bhattdrikdm madhye dropya, GSS5: tajjdm uktarupdm bhagavatim pujayet.

213 The mantric unit vajrapuspa also appears in GSS25, in the worship section of the Vajradakini mandala in GSS16 (K79r6): om vajravairocaniye hum humphat vajrapuspe svdhd. om pranavdvajraddkiniye hum humphatvajrapuspesvdhdetc, and in the installation of the fivefold mandala of the red two-armed Vajra- yogini in GSS19 cited above (K83V2): om vajrayogini vajrapuspam praticcha svdhd. om etc.; see n. 129. The association of the unit vajrapuspa- with rites of worship is apparently borne out by the Sddhanamdld. Nihom (1992: 224) finds that of the 312 sadhanas of this collection, thirteen use the vocative vajrapuspe in mantras of worship, and the remaining 299 appear in the context of tradi- tional puja. Nihom states that the occasions upon which a single flower is offered are those upon which the name of the deity is specifically cited. Other- wise, vajrapuspe is usually found as first of a set of five relating to the five gifts of the standard puja (pancopacdrah). Nihom (ibid: 114 and n. 15) offers the fol-



NOTES TO PAGES 97-IOO



425



lowing breakdown of sadhanas in the SM that contain the term vajrapuspa-: SM3, SM 7 , SM15, SM35, SM36, SM50, SM80, SM128, SM129, SM131, SMi 59 , SM266, and SM234. The "honorific" prefex vajra- is sometimes omitted, e.g., in SM12, SM67, and SM147. The name of the deity appears in conjunction with the offering of a single flower in SM3, SM35, SM36, and SM159.

214 E.g., GSS24 (K90V3): tatra om sarvabuddhaddkiniye hum svdhety anena mantrena dharmodaydmadhye puspam dattvd tato 'rgham dattvd dhupagandhd- dibhih samantraih pujayet. For the offering of guest water alone, see GSS25 cited table 7, n. i.

215 In the second group of sources, the first offering (presumably the unilateral offering to the central goddess as three-in-one) is made in the center, but to the single mantra deity Sarvabuddhadakini. The next offerings are made to Sarvabuddhadakini "in front" (or to "Buddhadakinl" in GSS30 and SM234), to Vajravarnani (usually left) "in the south/right" (daksine), and to Vajra- vairocani (usually right) "to the west/behind" (pastime). These are the points usually associated with a circular mandala, in which the goddesses are installed in a counterclockwise manner, east-south-west (and north, omitted here).

216 The japa mantra is omitted in GSS5, however. In the GSS texts, the tripartite mantra begins with a single om syllable. A variant appears in SM232 (p. 453): om om om saravabuddhaddkintye vajravarnaniye vajravairocaniye hum hum hum phat phat phat svdhd, which is the form of the tripartite mantra raised in the mantroddhdra (GSSi~GSS2) loosely known in the Tibetan tradition as the "three oms" This formulation of the mantra is found also in Virupa's Chinna- munddsddhana in the bsTan 'gyur (vol. 23: 411-15), which Nihom (1992: 224) presents as partial evidence for Virupa's authorship of SM232 («our anonymous GSS20).

217 The colors of the three goddesses do not seem to be determined by the con- tents of the channel, which in SUT ch. 7 w. 16-18 are given as semen in Avadhuti, blood in Rasand, and urine in Laland(d. HT1.1.15).

Endnote table ii. Yogic channels in the Trikdyavajrayoginisddhana



center

right

left



SUT Ch. 7, vv. 16-18



Avadhuti semen
Rasana blood

Lalana urine



GSS texts



Sarvabuddhadakini

Vajravairocani

Vajravarnani



yellow
yellow
dark/ red



218 GSS27 (K94V4): hrimkdro madhyabhdge 'sydh pitavarnah prakirtitah I (2cd) I tadbhavd pitavarnd ca. avadhutyd<m> ca svayam sthita I lalanaydm tu susydmd. rasandydm ca gaurikd I (3) I pratydlidhapadd nagnd madhye pitamanoramd I trimdrge samsthitd devi trikdyavajrayogini I (4) I seyam ndmnd bhaved ekd sarva- sambuddhaddkini I (sab).



426



NOTES TO PAGES IOO-IOI



• (v. za) °bhdge 'sydh] conj. °bhdgebhyohK* (v. 5a) ndmnd] cony, ndmvdYs,^ ndmrd Dyzri. (The verses continue with an iconographical description of Vajravamani and Vajravairocanl.)

219 GSS26 (v. ncd): lalandrasandyogdd avadhuti mahdsukhd.

220 The notion that the yogic structures of the body can be understood as a god- dess with a fourfold nature also appears in the Samvarodayatantra. The lotuses at the head cakra (ch. 31, w. 19-23) and at the navel cakra (ch. 31, w. 27-31) are both said to have a seed-syllable at their center, each of which gives rise to a god- dess attended by Laland and Rasand, SUT ch. 31 (w. 29~3oab): Inland prajndsvarupena rasanopdyena samsthitd I tayor madhyagatam devi amkdram visvarupini I '29 I ' catuskdydtmakam devi sarvasiddhipraddyinl The central god- dess embodies sahaja bliss (v. 23a) and has the nature of four joys (v. 22d: catvdrdnandarupini). Cf. HT1.1.20 on the thirty-two channels: tribhavapari- natdh sarvd grdhyagrdhakavarjitdh I athavd sarvopdyena bhdvalaksanakalpitah.

221 For a discussion of this set, see Heilijgers-Seelen (1994: 21, 132) and citations by Sircar (1948: 11-15). Sircar's thesis — that these four sites represent an ancient grouping from which longer lists of sites later developed — is refuted by Kalff (1979: 101). Sircar {op. cit.: 12) notes the appearance of this fourfold set in HT1.7.12: pitham jdlandharam khydtam oddiydnam tathaiva ca I pitham paurnagiris caiva kdmarupam tathaiva ca.

Sanderson (2001: personal communication) has remarked that although in Saiva sources, Oddiyana, Purnagiri, and Kamarupa often appear with Jalan- dhara as a set of sites, he has seen no other reference to Srlhatta/Sylhet (evi- dence of the east Indian basis of this set) in any tantric Saiva scripture. However, it appears that it is found in the Nath tradition, as Sanderson records its pres- ence, in texts teaching the yoga of the Nath yogins. See Mallik (1954: 40, v. 81a) and references in Mallinson (2002).

222 GSS26 (K93V6, v. i3cd): yam labdhvd yogino muktd bhavasdgarabandhandt.

223 The ^//mantra appears in full in Virupa's sadhana (GSS25 K92V3) and almost identically in the Sddhanamdld (SM238 p. 458). Only the second half of this ball mantra appears in GSS20 (K8sr3). GSS25 (K92V3): om <sri>vajrayogini sarvabhutapretapisdcadin dsodhaya 2 hana 2 daha 2 grasa 2 sarvasiddhisddhandm prayaccha sarvdsdm me paripuraya svdhd. om srivajrayogini sarvasiddhim <me> kuru 2 sarvavighnavindyakdn hana 2 samyaksambodhaye mama idam balim grhna 2 hum 5 p hat 5 svdhd.

• om... paripuraya svdhd] GSS25, SM238, omitted GSS20 • srivajrayogini] SM238; vajrayogini GSS25 • dsodhaya] GSS25; sodhaya sodhaya SM238 (SM 238 repeats imperatives rather than supplying "2") • sddhandm] SM238, sddhani GSS25; prddhani Locke's ms. (Nihom 1992: 228) • sarvdsdm] em; sarvdsdm GSS25, SM (variant in ms. "C") • om srivajrayogini sarvasiddhim] GSS25, SM238; om vajrayoginiye samsiddhim me GSS20 • vindyakdn] GSS25, SM238; vindyakdndm GSS20 • idam balim] GSS25; balim SM238 • grhna 2] GSS25; grhna SM238; grhnatha 2 GSS20 • hiim] GSS25; hum SM238. In contrast, the ^//'mantra in the Laksmisddhana is based on the japa mantra



NOTE TO PAGE IOI 4 2 7

and describes simple worship offerings of flower, incense, fragrant powder, and the bali itself, GSS24 (K9113). 224 The motif of the severed head appears in different contexts in the wider Indian tradition. In popular epic tales, such as those recounted in the Vikramacarita, the hero is able to demonstrate his unflinching faith by offering blood from his own throat to the goddess as an act of faith, e.g., Vikramacarita ch. 7 and ch. 8; Kathdsaritsagara (Somadeva 1994: 216-19).

The motif also appears in the mythology of local cults, as in the folktales and devotional songs of Rajasthan, in which a warrior-hero (the jhumjhar ji or bhomiya) slices his head off before the battle (or loses it in the course of bat- tle), but fights on to kill many enemies before dying himself (Kothari 1989; J. Smith 1991: 90).

Myths in south India tell of the goddess Renuka, who both loses and regains her head, based on the Puranic tale in the Bhagavatapurana ch. 9.16. (Local vari- ants to the myth have been explored by Sonya Stark and discussed in a paper given at Wolfson College, Oxford, Michaelmas Term 1996, entitled "Who Is Renuka? Some Mythological and Ritualistic Aspects of a Popular South Indian Goddess." See also Benard (1994: 6) on the Mahabharata (3.117.5-19).

The theme is also popular in the Saiva tradition, which develops its own tra- dition of Chinnamasta, borrowing and adapting from the Trikayavajrayogini cult. Chinnamasta is one of the ten Mahavidyas (emanations of Sati); her sev- ered-headed form is explained in a myth recounted in the Saktisamgamatantra (4.5.152-73) (see S. Gupta 2000). Sanderson (2001: personal communication) dates the earliest evidence for Chinnamasta worship in Saivism to the work of Sarvanandanatha, one of the earliest east Indian tantric authors, living in Bangladesh probably in the fifteenth century. Included in a list of some sixty- four Saiva tantras from the Todalatantra (w. 2.2-20), Sarvanandanatha (Sar- volldsa 3.1-29) helpfully quotes a section from the Jnanadvipa that mentions Chinnamasta (3.23). This passage lists ten Mahavidyas: Kali, Tara, Tripura, Bhuvanesvari, Bhairavi, Chinnamasta, Dhumavati, Bagalamukhi, Matarigi, and Kamala (Sanderson ibid.). See also Kinsley (1997: 144-66), Pal (1981: 79-86) for Chinnamasta as one of the ten Mahavidyas, and the full discussions by Buhnemann that chronicle the Hindu borrowings from the Buddhist tra- dition (200oi: 37-38, 107-12).

Sakta Saivas adopted Chinnamasta into their ritual practices, and paddhatis for her worship appear throughout the period to the present day (Sanderson 1999: personal communication). Benard (1994: 33-34) describes a Chinnamasta sadhana from the Chinnamastatantra that forms part of the nineteenth-century Sakta Pramoda (a popular manual of tantric ritual for puja of the ten mahavidyas zn&pancadevata). B. Bhattacharyya (1932: 159-61) compares the iconography and mantras of the Buddhist [Trikaya]vajrayoginI and the "Hindu Chinna- masta" from the later sakta texts, the Tantrasara and the Chinnamastakalpa. For plates see Pal 1981: 79-83, Herrmann-Pfandt 1992: 269, plate 7, and Benard 1994: plate 2, with p. 13.



428 NOTES TO PAGES IOI-II3

225 Benard (1994: 10) cites this story from the Kahnapa in Taranatha's The Seven Special Transmissions. In the Tibetan Legends it is to Krsnacarya that the two sisters Mekhala and Kanakhala owe their intiation into the Vajravarahi mandala, and it is also he who later tests their realization by demanding their severed heads as a fee (Dowman 1985: 3170°.). Herrmann-Pfandt (1992: 262-75) also dis- cusses the textual background and symbolism of the self-decapitated dakini.

226 Cited by Benard (1994: n) from the gter ton, Orgyan las'phro glingpa, dated 1586-1656 {ibid.: p. 19, n. 40). The story does not appear in the Legends of Abhayadatta.

227 GSS5 (K34r3): kirn ceyam eva bhagavati vajravairocani vajrayoginity ucyate. asyds ca yathdgamam yathopadesam bahuprakdrd dmndyabheddh. (Sed p. 150.)

228 Western scholars and museums frequently use the name Sarvabuddhadakini. De Mallmann (1975: 339) provides a separate entry on "Sarvabuddhadakini," stating that Tibetan sources equate her with Naro-dakini (also called Nadi- dakini), a form of Vajravarahi related to the adept Naropa. She mentions the appearance of Sarvabuddhadakini in three sadhanas in the Sddhanamdld (SM234«GSS9=GSS30, SM236«GSSi9, and SMi^= balividhi from GSS21), although here the name Sarvabuddhadakini occurs only within the mantras, and the goddess of the practice is actually called Vajrayogini. De Mallmann overlooks other occurrences in the same mantras in other sadhanas (e.g., SM225, SM226, SM232, and SM233). Bhattacharyya (1924/1985: n. 155) seems to equate Sarvabuddhadakini with the Trikayavajrayogim form; he states, "The headless form is designated in the Mantra as Sarvabuddhadakini, while the other form is called in the Mantra as Vajrayogini [sic]." In fact, he is referring to four sadhanas, all of which use the mantra epithet Sarvabuddha- dakini, and he also overlooks all the other sadhanas that give this mantra. Bunce (1994: 480) refers to Sarvabuddhadakini as the "patroness of the Sa skya sect."

229 This is a particular topos of the twenty-one-verse stotra (GSS42), in which she is said to appear as the goddess of other religious systems (see the appendix) and in many forms and colors, e.g., v. nab (Kii6t6): sattvdsayavasenaiva nirmi- tdnekarupini • vasenaiva] C; vasenaiva K • nirmitdnekarupini] em.; nirmitd- naikarupini K, nirmitd ekarupini C.

230 GSS5 (Sed p. 152, K37r4): tad evamddayah siddhopadesaparampardydtd vineydsayabheddd anantd bhagavatyd dmndyd boddhavydh. dinmdtram idam darsitam. esu ca kramesu kramam ekam addya sraddhddaydvan nihsangah samayasevi nirvicikitso bhdvayen niyamena sddhayati. • evamddayah] em.; dddya(h) K(del) • dmndyd] em.; dmndya • s'raddhd] conj., srdddho K.

231 Namaskdra in anustubh GSS5 (Sed p. 125 1 , K14V1): namo stu vajrayoginyai sunyatakarundtmane I bibharti murtivaicitryam yd jagadbhdvabhedatah. • yd] em.; yo K.

Asirvdda in sdrdillavikridita GSS5 (Sed p. 125 3 , K14V2): yd sambodhisudhd- sudhdvanavasdd vaisadyavidyotitd, sdntdpy dtanute vineyajanatdrdgdd bahih sonatdm I bibhrdnd kulisam kapalam amalam khatvdngam ugradyuti, seyarn



NOTES TO PAGE 114 429

vajravildsinibhagavatibhuyddvibhutyaitava. •ugradyuti] conj. Isaacson.; ugra- jyotihK. (hyper.)

232 E.g., YRM on HTi. 6.6 (p. 119): carydnurupam sthdnam; SM172 (p. 347): mano 'anukule sthdne.

233 For lists of sites in the GSS, see the Advayavajra-based sadhanas GSS3«SM2i7* SM251 (K11V7): girigahvarddimanorame sthdne; GSS3 (K102V4): prdtar utthdya mukhasaucddikam krtvd grhddau, athavd mantram samayam prdpya smasana- girigahvare, ekavrkse naditire parvatamastake vd manonukule; GSS34 (K111V3): vrksamule svagrhe <vd?> vijane nirupadrave vasan. Longer lists appear in other Cakrasamvara-based scriptures. Sanderson (1994 n. 8) cites an interesting pas- sage in the SUT (ii.3cff.) that equates each deity of the mandala with a par- ticular siddhi and with a meditation place appropriate to its cultivation. He also gives other examples, e.g., SUT ch. 8.2~3b (f. I2v6): svagrhesu guptasthdne vijane ca manorame I girigahvarakunjesu mahodadhitatesu vd I smasdne mdtrgrhe ca nadisamgamamadhyatah; and ibid.-A. 2or. 4-5; Yoginijdlamahdtantra (if. 30V.9, 16.13): girigahvarakunjesu mahodadhitatesu ca I catuspathesu mandapasthdne smasdne ca manorame; ADU (f. 14.5, 4.5c): girigahvarakunjesu naditiresu samgame mahodadhitate ramye I ekavrkse sivdlaye mdtrgrhe smasdne vd, udydne vividhottame I vihdracaityalayane grhe vdtha catuspathe; Ddkinijdlasamvara (f. 3r.5-6). Cf. HTi. 6.6: mdtrgrheznd the glosses cited in Snellgrove 1959: 63, n.6; and GS 12.65: girigahvarakunjesu sadd siddhir avdpyate • kunjesu] conj. Isaac- son, kulesu ed.; Vdrdhyabhyudayatantraw. 7-8. In the Sddhanamdld, see SMi (p. 1) parvatdranyddisu guhdgrhdrdmalayanddisu vd viviktavijanesu manoramesu vasan; SM7 (p. 28): devagrhe; SM142 (p. 290): devagrham pravisya; SM172 (p. 347): kva cin manonukule sthdne strijanasamsargddirahite; SM187 (p. 389): smasdne gahanagiriguhdgahvarakrodasamdh<y>au vrkse vdtha svagehe kvacidapi vigatopadrave vd pradese. • kroda] em. Sanderson, krodha SMed.; SM239 (p. 458): dhydndlayam pravisya; SM265 (p. 515): nadisamgame smasdne vd ekavrkse devdyatane srivajradharagrhe vd ityevamddisthdne; SM267 (p. 525): kvacit giri- gahvarddau manonukule pradese.

Extreme practices of this kind are not new to the Buddhist tradition. The dhutangas (Pali), originally prohibited by the Buddha, include living in the jungle and at the foot of trees. See Dantinne's (1991) monograph; cf. entries in PED on Vinaya w. 131, 193, etc., and on dhutaguna in Edgerton (1953).

234 E.g., SM47 (p. 97): cauradhvanipramukhakantakavarjite ca nirvartya krtyam aparam ca sukham nispadya; SM52 (p. 109): sugandhopaliptam ndndpuspdva- kirnam bhiimibhdgam krtvd; etc.

235 GSSi (K279V3 « GSS2 K11V4): sukumdrdsane yogalilayd. Cf. GSS24 (K89V6): bhubhdge sukhdsandsina-; SMi (p. 3): sukhdsanopavistah; SM24 (p. 54): mrduvistardsanopavistah • °vistardsano] conj. Sanderson; °vistardmalo SMed.; SM54 (p. no): tatra madhye pattamasurakam tatropavisya. . . ; SM65 (p. 130): masurakddyupavistah; SM96 (p. 193): atyantasukhdsanopavistah; SM112 (p. 238): mrdvdsanopavistah; etc.

236 The references to the vajra seat are found in the Advayavajra-based texts. See



430 NOTES TO PAGE 114



GSS3 (Kiiv7-i2n) and SM251 (p. 49°) : visvavajrasamdsinah; GSS31 (Kio2v 4 ) : visvavajramayi-dsinah; GSS16 (K 7 6r2) and SM217 (p. 424): vuvavajrdsandsinah. The last is closest to the Tibetan translation of SM251, sNa tshogsrdo rje gdan la 'dug ste, cited by Sanderson (i 9 94 n. 7); cf. ADUT 4.10 (ibuL), which describes the meditator, "[seated] with focused awareness on a lovely seat sealed with a visva [vajra-] over a spread [of kus'a grass]." vuvamudrasane ramye vistaresu samdhitah. • vistaresu] em. Sanderson; vistaresu

For the corpse seat, see for example GSS5 (Sed p. 125 8 , Ki 4 v 5 ): kvaac chma- sdnaparvatddidese sukhdsanopavistah sdksdc chavopavistho va; cf. SM218 Konka- datta's Prajnalokasddhana (p. 426): kvacit smasdnddau manonukule sthdne saccandanddyupalipte ndndpuspaprakaropasobhite sdksdt savdsane vdyathd- sukham upavisya...; and (p. 430): kvacit pradese savaparyankena sukhasano-



sthah.



pavistrmrj. , .. .

237 Sanderson (1994, "• l) notes that this is no different from the posture described by mainstream Mahayana exegetes such as Kamalaslla, and traditionally under- stood to be modeled upon the Buddha's posture. He cites Bhdvandkramall (p. 4 )- mrdutarasukhdsane vairocanabhattdrakabaddhaparyarlkendrdbparyankena va nhadya, "Having sat down in the pdryanka [posture] adopted by the lord Varro- cana, or in the ardhaparyanka [posture] , on a very soft and comfortable seat . . %

And Bhdvandkrama I (p. 205): sukhdsanopamstah paryarikam dbhujya samddhim ,-|

abhinispddayet. Cf. SM81 (p. 157): mandalamadhye vajraparyankenopavtstah, 4

etc.; SM82 (p. 159): paryankenopavisyd; SMno (p. 224): -dhydnagaradikam ,.

pravisya sukhdsane paryankam baddhvd; etc. 238 This is a quote from a longer passage (again cited by Sanderson 1994 n. l) that appears also in the Kriydsamuccaya {66, 5-6): VA (ms. A f. iivi-6) (my under- lining)- torn vajraparyankam bhumisparsamudrdbandhanddva jmandbhinavah 1 samddhimudrdbandhandd dhydrtdmndbhmayah 2, daksmajamghorumadbye vamampddam nyasya tadupari vdmajamgborumadbye daksinam nyased mm*- paryankah h daksinajamghdyam vdmajamghdm krtvdvanatam janudvayam kurydd hi pndmdtanam 4, vdmoriipari daksinam pddam vmyasya vamam daksinorutale sthdpayet <iti> wtvaparyankab 5,...

The passage in full describes a series often postures to be assumed one alter the other by the Vajracarya during the preliminary ritual of "appropriating the site" (bhuparigrabavidhih). The first is the vajrdsana, in which the legs are in the vajraparyarika and the hands are in the earth-touching mudra (see Sddhanamdldvol 2 cxlviii plate I). The next is the dhydnmana, which is iden- tical except that the hands are in the meditation mudra. After the vajra- paryankd itself comes the padmdsana, in which both knees are on the ground ,

with the left calf placed on the right. This is followed by another seated pos- ture commonly prescribed for sadhana practice, the sattvaparyanka (e.g., SM39 p. 85; SM80 p. 154; SM147 p. 305). This reverses the position of the feet in the vahaparyanka and puts the left foot on top, as stated in the VA: Having placed the right foot on top of the left thigh, he should position the left on the surface of the right thigh. This is sattvaparyanka [posture]. U. Carta



NOTES TO PAGES II5-I16 431

mahdrosanatantra 6.161-62: "Having placed the right shank gracefully on top of the left shank, it is called the sattvaparyanka, which grants all happiness and desires." vdmajanghopari sthdpya I savyajanghdm tu lilayd I khydto yam sattva- paryankah I sarvakdmasukhapradah. The remaining postures are variations on seated or squatting poses.

239 E.g., GSS16 (K76r3): sthdndtmayogaraksdm kurydt, om ah hum mantrena.

240 E.g., GSS2 (K4V2): mantrddhisthitasthdne upavisya. For a complex preparatory rite prior to worship, see mKhas grub rje (pp. 279-83).

241 E.g., SM218 (p. 426): ardhaydmdvasesdydm rajanydm vidhinotthitah. Sanderson (1999: personal communication) points to Aghorasiva's prescription to rise within "five nddikds [twenty-four minutes]" (i.e., two hours) of early dawn; see Aghorasiva's Paddhati (cited in Brunner-Lachaux 1963, vol. I, p. 5, n. 3b): prdtas- samaydt purvam pahcanddikdvacchede samutthdya.

242 E.g., GSS16 (K76n): prdtar utthdya mukhasaucddikam krtvd...; SM20 (p. 51): prathamam mukhasaucddikam krtvd; SM48 (p. 100): vadanasaucddim krtvd; SM239 (p. 458): prdtar utthdya svahrtsuryasthahumkdrarasmibhir dtmdnam vis'odhya krtamukhasaucddikah; SM123 (p. 254): om hum vajrdnge mama raksa raksa phat svdhd ity anendtmaraksdm krtvd prathamam tdvadyogi mukhasaucddi- kam krtvd. . .; etc. For the bath conceived as a consecration, see above.

243 GSS5 (Sed p. 125 9 , K14V5): om adiiuurf 1 1 u e ai au am ah ka kha ga gha na ca chajajha na ta tha da dha na ta tha da dha napapha ba bha may a ra la va sa sa sa ha ksa hum hum phat. ity dlikdliparikti<m> spharatpancarasmikdm trir uccdrya parives ya sthitdm spharattricakradevatdvmdamarditavighnavmddm bhdvayet. iti vdgvis'uddhih • devatdvrnda] em. Sed/Tib; devatdvrndam K.

A scriptural source for the recitation of alphabet is YSCT patala 12 (A6r6, B9r2). Much briefer references to the vdgvisuddhi appear in the Advayavajra- related texts GSS3«3i (Ki2n): dlikdlim vdratrayam uccdrya...; and GSS16 (K76r2): yogi dlikdlim vdratrayam uccdrya. . .

244 SasVatavajra's Bdhyapujdvidhi (p. 52): iha sricakrasamvaram mandalake pujay- itukdmo yogi prdtar utthdya yathdvasaram va, avismrtadevatdyogas tathaiva sudrdhatadahamkdravdn, vismrtadevatdyogas tu pancaskandhddyahamkaravdn, svabhdvasuddhamantroccdranapurvakam sunyatdm adhimucya. . .

245 GSS5 (Sed p. 125 15 , Ki5n): visuddhaskandhddisamuttham pujddikam bodheh sighrakdranam bhavatiti skandhddivisuddhim adhimuncet. tatra rilpddisu vijndnaparyantesu phenabudbudamaricikadalimdyopamatvena nisceyd vairo- canddayah. tathatdydm aksobhyah. yad va vairocanddidevatddhimoksa eva tesdm visuddhih. • visuddhaskandha\ em.; visuddhiskandhd K • samuttham] conj.; samutthd(na) K(del). The remaining text is summarized in table 9.

The practice given by Sakyaraksita in the Abhisamayamanjari (GSS5 Sed p. 125, Ki5ri) is related to Luyipada's HA (f. iv) in that it uses the same correla- tions, but it is fuller than Luyipada's version. The scriptural source for Luyipada is probably the YSCT (ch. 1, w. 5-9; A1V3): prathamam tdvad yogisvarena pancaskandhdhamkdram utpddayet. It also appears as a preliminary practice in the Cakrasamvarasddhana (Dawa-Samdup 1919: 79), and the Vdrdhyabhyu-



43*



NOTES TO PAGES II7-II9



dayatantra (w. 22-26). The practice is common in earlier tantric systems also; note GS (ch. 17 v. 50): pancaskandhdh samdsena pancabuddhdh prakirtitah I vajrdyatandny eva bodhisattvdgryamandalam; Candraklrti discusses this practice in the opening portion of his commentary (PU on GST ch. 1, p. 18).

There are various discrepancies between these texts. For the buddhas corre- lated with the skandhas, HA, YSCT, and Varahyabhyudayatantra read Vajrasurya for Ratnasambhava; Padmanartesvara for Amitabha; Vajraraja for Amoghasiddhi; SrI-Herukavajra for Aksobhyavajra. For the buddhas corre- lated with the sense organs, the alternative buddha names (Mohavajra, etc.) do not appear in my mss. of HA, YSCT, or in the Varahyabhyudayatantra (except for Aisvaryavajra, v. 24). For "whole body," ADUT ch. 9 (p. 286) reads "touch" (sparse). The set of goddesses correlated with the elements does not appear in the HA, while the YSCT mentions them, but without giving them their alter- native names. For Nartesvari the YSCT (ch. 1, v. 6, A1V5) reads Padmanartesvari, and Varahyabhyudayatantra (v. 26b), Nartani. For Padmajvalini there is the vari- ant PadmajalinI (Ki6r2, Varahyabhyudayatantra v. 26c).

246 The alternate names appear only in GSS5: (Sed p. 126 7 , K15V5): tatra moha- vindsandn mohavajrah, dvesadvesandd dvesavajrah, irsydsarvdsangamdtsarya- vindsdd irsydvajrddayas trayah, sarvaisvaryaddndd aisvaryavajrah.

247 The yogatantra "mothers" are identified with the elements in a verse from the GST (ch. 17 v. 51: prthivi locandkhydtd, abdhdtur mamakl smrtd I 'pdndardkhyd bhavettejo vdyus tdrd prakirtitd) . In earlier tantric systems they are the consorts of the five buddhas, the fifth consort being Vajradhvatlsvari (e.g., Vimalaprabhd, cited Bauddhatantrakosa p. 85).

248 GSSi«GSS2 (K279V4/K4V2): tad anu kdyavdkcittaparisuddhaye madhvim gaudim paistim trividham divyodakam yathdldbham pancapiyusasamyuktam arghapdtre samsthdpya tryaksaramantrendbhimantryaitenodakena vdmahastdd drabhya sarvdngapratyangamantrasndnam kurydt tenaiva pujddravyam ca proksayet. tadanantaram <om vam?> ham yom, hrlm mom, hrem hrim, hum hum, phatphad — ity etair mantrdksarair vdmakardngusthddikam visodhya trivi- suddhim uccdrayet. . • madhvim gaudim paistim trividham divyodakam] conj.; mddhvigaudipaistitrividhadivyodakamGSSimrdvikdmddhvikdgaudikdpam^ caturvidham GSS2; • sarvdngapratyangamantrasndnam] GSS2; sarvdngam pratyangamantram GSSi • om vam] GSS2, omitted GSSi. (The inclusion of om vam in GSS2 is possibly because it is the first of the set of six armor syllables (GSS11 §6), but the addition is perhaps unnecessary because the purification here is of the "thumb and fingers," for which a set of five syllables suffices. In the hand worship, om vam is placed on the palm, not on the digits of the hand; see above) • vdmakardngusthddikam visodhya] GSS2; vdmakardngulisu samsodhya GSSi. On the types of spiritous liquor, note SUT (ch. 26, w. 30-33).

249 E.g., GSS35 (Kii8r4): nagno muktakesah. athavd raktakesaparidhdyi raktavastra-- sukhi. This process of assimilation to the deity is well attested in the Saiva tantric tradition. Khanna (1986: 217) describes the "special rule" that before approach- ing the deity, the devotee must abolish all distinction of sex and person and



NOTES TO PAGES 119-120 433

assume the identity of the deity (tripurikrtavigraha, Nityasodasikarnava 1, 122b). The adept is to adorn himself in a manner that resembles his inner vision of the deity. Thus, in the Tripurasundari tradition, he dresses as a woman in fine red garments, hair and body adorned with red flowers, mouth filled with betel and herbs (to dye it red), the body red with vermilion powder and scented with musk (Nityasodasikarnava ch. 1, w. 103-5). Assuming the guise of a woman (strirupadhdritvam) was accepted by exegetes such as Bhaskararaya (Setubandhu, ibid.: p. 78): raktakusumasya strivesasya va parigrahah. In later sources, false breasts and wigs were also prescribed (Saktisamgamatantra vol. 2.18, 72-75) in order to promote the sadhaka's "immersion in the religious sen- timent" (bhdvdvesah). See also Jayadrathaydmala (NAK ms. 1.1468, f. 31- 1.4 cited Khanna op. cit.: 219): rasdvesavasasthityd devatdkdrdlambanam. (Refer- ences as supplied by Khanna are to the Nitydsodasikdmava with Setubandha by Bhaskararaya, eds. Kasinatha Vasudeva Abhayamkara and Ganesasastri Ambadasa Joshi. 1976. ASG no. 56; and Saktisasamgamatantra, vol. 1 Kdlikhanda,, vol. 2 Tdrdkhanda, and vol. 3 Sundarikhanda, ed. Benoyotosh Bhattacharyya. 1932-47. GOS nos. 61, 91, and 104.)

250 For the vis'uddhis as a preliminary practice in this way, see SM123 (p- 254): dsayavisuddhir ahamkdramamakdraparitydgas ceti maitrikarundmuditopeksdm ca bhdvayet. Dvivedi (1992: 121) traces the statement "Having become a god, he attains the gods" to the Vedic corpus (Brhaddranyakopanisad), and interprets it in the light of comparable statements in the Satapathabrdhmana to mean that "having assumed the nature of one's chosen god, one should propitiate gods." It is this injunction (sivibhilya sivam yajet) that is commonly cited in Saiva tantras; e.g., Khanna (1986: 22) notes its appearance in the Svacchanda- tantroddyota. However, its meaning varies according to the different Saiva tra- ditions. Davies (1992: niff.) discusses its significance in the Saiva-Siddhanta, and Dvivedi (op. cit.) in nondual Saivism.

251 E.g., GSS5 (Sed p. 128 10 , Ki7r2): saptavidhdnuttarapujdm krtvd...maitrim... karundm. . . muditdm. . . upeksdm ca bhdvayitvopdrjitapunyasambhdrah. jhdna- sambhdrdbhwrddhaye om svabhdvasuddhdh sarvadharmdh svabhdvasuddho 'ham ity arthdbhimukhikaranapurvakam pathet. • bhdvayitvo] em.; bhdvayitvd Kpc; bhdvayeyitva Kzc. Cf. SUT ch. 13, v. 7 (=SMi23 p. 254): cittamdtram tu vai tisthed bodhisambhdrabhdvanaih; SM67 (p- 138): etena punyasambhdrdrtham yogi jagad dkalayati; SM71 (p. 142): pujayet vandeta ca subhavrddhyartham; etc.

252 For the rays as hooks, see SM24 (p. 55): hrihkdrabijdd nihsrtya. . . ankusakdrair maricivisaraih...dkrsya; SM58 (p. 121) :...dhihkdrabijavinirgatdnkus'akdra- ras'mydkrstdrapacana-; SM82 (p. 156): tanmaricisamcayair ankusakdrair dkrsya bhagavantam...; cf, Ddkinijdlasamvara (ed. Sanderson 1994, n. 10) (f3r-v:

bijahrdaydntardUmadhyavamisphuradraktaraviman^lamadhyasthitaparamdks- aranirgatapdtaldmsuvisarair dasadiganantdparyantalokajadhdtiln avabhdsya tair evdmsuvisarair vydvarttamdnair ankusakarair gurubuddhabodhisattvayogini- cakram aprameyam dkrsya...* bija°] em.; bija ms. • visarair] em.; visarair ms. • dkrsya] em.; dkrsya ms.). Rays may take on the shape of the deity, or the colors



434



NOTES TO PAGES I20-I2I



of the five buddhas as in the Manjusri sadhanas, SM52 (p. 109): muhkdrdt pancavarndn rasmimeghdn svaromakupebhyo niscarayet, tais ca rasmibhir manjughosariipaih samcchannam gaganam pasyet; SM 128 (p. 268): humkdrad dtmano romavivarena mukhddidvdrena <ca > pancakdrdn rasmln niscaratas cintayet; SM251 (p. 490) etc.

253 Buddhas reside in the Akanistha realm in their body of enjoyment (sambhoga- kdyah) as one of the five certainties of that body: "It does not depart from Akanistha for elsewhere" (mKhas grub rje: 20). Departure from it requires them to assume the emanation body (nirmdnakdyah), the body in which they are said to impart the scriptures in the lower realms — on which, see Hari- bhadra's Abhisamaydlamkdrdloka (Buddhist Sanskrit Texts No. 4, Dharbhanga: 281, cited Sanderson 1994 n. 12): sdkyamunitathdgatddirupo nirmdnakdyah punyajndnasambhdrdmsaja eva srdvakddyupalambhayogyo desitah.

254 E.g., GSS4 (Ki3r7): omkdrakiranair gurubuddhabodhisattvdn dnlya purato

valambya pujdpdpadesanddikam krtvd...; cf. also the opening salutations in GSS26«GSS27 (K92v6/K94ri): namo buddhadharmasamghebhyah. namo gurubuddhabodhisattvebhyah. . . .

255 GSS5 (Sed p. 127 11 , Ki6r5): tatah svahrdante susire ramkdrabljanirydta- ravimandalastharaktavamkdram drstvd tatkiranair antahkalmasam apasarya pratiromavivaravinirgatair vaksyamdnabhagavatimandalacakram gurubuddha- bodhisattvdms cdkrsy dnlya nabhasi purato vibhdvya... • svahrdante] em.; svahrdanta K; • ramkdrabtja] conj.; rambija K • apasarya] em.; apasarya K • vinirgatair] em.; vinirgatavarairK. Cf. GSS3, which is similar except that Vajra- varahi is summoned by herself, without her entire mandala retinue (Ki2ri): svahrdabjasurye raktavamkdram pasyet. tadiyaraktarasmibhih pralayanaladuh- sahair akanisthabhuvanavartinim vajravardhlm vaksyamanavarnabhujdyudhdm gurubuddhabodhisattvams cdnlyakdse puratah samsthdpya hrdrasmwinirgatapujd- bhih sampujya ca. For other examples of the inclusion of all the mandala deities within the preliminary puja, see Bdhyapujdvidhi by Sasvatavajra (p. 52): tadbija- ras'mibhir dasadiksthatricakradevatam dnlya. . . bhagavantam saparivdram sarvd- kdranispannam pasyet; also the HA, described by Davidson (1992: 115). A full puja, with bodhisattva preparations, is prescribed by Ratnakarasanti in his Vajratdrdsddhana (SM110 p. 224 ff.)

For a list with yogini at the head, see SM251 (p. 490): tatah svabljdt sam- sphdryya bdhyaguhyatattvapujdvisesair bhagavantam yoginlgurubuddhabodhi- sattvdms ca yathdvidhina pujayet vandayet <ca>. 256 Isaacson (2001: personal communication) has pointed out that the image of divine beings filling space "like sesame seeds" (tilabimbam iva) is an old one; it is found several times in the STTS, as in the opening scene (p. 3): tilabimbam iva paripurnam jambiidvlpe samdrsyate; and in the GST ch. 1 (p. 4): api ndma tilabimbam iva paripurnah sarvdkdsadhdtuh sarvatdthagataih samdrsyate sma. On this, Candrakirti points out that the image is of the seeds packed together inside a pod (simbah/simbd) (PU p. 18): yathd tilasimbe tilabljani anyonya- samprstdny aparasparaplddrupena [?] sthitdni, tathd desandkdle sarvatathdgatd



NOTES TO PAGE 121 435

gaganam vydpya sthitd bhagavanta iti); also on the Tibetan translation to SM251 (tilgyigan bulta bu). The simile recurs elsewhere, e.g., Vdrdhyabhyudayatantra (v. ijcd): tilabimbopamam drstvd krodhadevih samantatah; and in sadhana lit- erature, e.g., SM251 (p. 490): taiica rasmibhir akanisthabhuvanavarttinam bhagavantam vaksyamdnavarnabhujdyudham sarvayoginigurubuddhabodhi- sattvdms ca tilasimbopamdn dniya • tilasimbo] em. Sanderson 1994 n. 14; tilabimbo SMed., SM 123 (p. 257), etc.

For other examples of drawing down the deities for worship, see SM17 (p. 47): s'uklahrihkdram hrdipasyet. tadrasmibhis traidhdtukam avabhdsydkanistha- bhuvanavartinam simhanddam...dkrsya; SM45 (p. 94): taccakrarasmisamiiham antahsariram avabhasya pratiromakupavivaraih nihsrtya dasadiglokadhdtum avabhasya punas tair eva romakupavivaraih pravisy antahsariram avabhdsa- yantam ciram vicintayet; SM98 (p. 201): tato 'pi pitatamkarabijad nihsrtya jaganmohandhakarapaharibhir mayukhasamuhair dasasu diksu ye caparyantd lokadhatavo vidyante, tan sarvan avabhasya tatrasthan apy asamkhyeydn aprameydn buddhabodhisattvdms cdkdsadese 'py dniydvasthdpyante. A good exam- ple of the ornate sutra setting in some sadhanas is SM65 (p. 130).

257 For the "imaginary" clouds of offerings billowing from the sadhaka's body, see SMi (p. 7): manomaydms tu pujdmeghdn evam pravartayet; SM3 (p. 19): snanapujdmeghaprasarair sampujya; SM 13 (p. 37): hrdbljarasmisambhava- pujdmeghaih sampujya; SM14 (p. 38); SM15 (p. 44); SM28 (pp. 67-68); SM48 (p. 100): pujdm manomaytm; SM52 (p. 109); etc.

258 For the pancopacdrdh (puspam, dhupah, dipah, gandhah, naivedyam) offered with offering mantras and mudras, see SM3 (pp. 18-19); SM7 (p. 28); SM 15 (p. 44); SM29 (p. 72), SM50 (p. 105); SM65 (p. 130), etc. Nihom (1992 n. 15) usefully summarizes the variations in this set of five found in sadhanas of the Sddhanamdld. The offerings of guest water are prescribed in GSS34 (Kii4r): arghapddyddikam dattvd. . .puspadhupddikam dattvd piljayet.

The saptaratndni include: a queen (stri°), a minister (purusa°) y a wish-ful- filling jewel (mani°), a wheel (cakra°J> a sword (khadga ), an elephant (gaja°), a horse (asva°). The lists vary somewhat (sometimes they include a general, senapati ), and there is also a list of secondary jewels (uparatndni). The eight auspicious symbols comprise a pair of golden fishes (suvarnamatsyah), a lotus (padmam), a treasure vase (nidhighatah), a golden wheel (suvarnacakram), a banner of victory (dhvajah), an endless knot (srlvatsah), a white right-spiraling conch shell (sankhdvartah), and a parasol (chattrah).

The seven jewels are prescribed in the outer worship (bdhyapuja) in GSS5 (Sed 146 1 , K3ir6): tato hrdbijanirgatavinddidevibhih sampujya saptaratnddini ca tannirgatdnidhaukayitvd • tannirgatdni\ em., tannirgatddiK; also SM159 (p. 223); and in the Bdhyapujdvidhi by Sasvatavajra (Finot 1934: 52). For a list of vari- ous traditional offerings (to be offered with mudras and mantras), see SM 1 (pp. 7-8): tato dasadiglokadhdtusthitacitrapujdngdny evam nirydtayet. prandmdnjalim baddhvdye asamd aparigrahd dasadiglokadhdtusupujdngavisesah sthalajd ratna- parvatakalpavrksddayo jalajdh sdmudraratnddayah kanakapankajddayas ca ye



436



NOTES TO PAGES I2I-I22



canye sarvalokadhdtusu divyamanusyakdh sarvarupasabdagandharasasparsadayas tan sarvdn buddhabodhisattebhyo nirydtaydmity uddharet. manomaydms tupujd- meghdn evam pravarttayet; SM24 (pp. 55> 60); SM56 (p. 116), etc. In addition to Nihom's work (1992), note Locke's description of these puja offerings among Newar Buddhists (1980: 76-78). Olschak (1973 P- 87, also p. 45) provides a set of bronzes illustrating the sets of symbols. Beer illustrates and discusses these offerings (1999: chs. 7-8, PP- 160-203, plates 77"95)-

259 In yogottara and yoganiruttara texts, the inner worship (adhyatmapuja) may take the form of the five senses (kdmagunah) offered within a skull bowl; namely, the heart or body for touch, the eyes for sight, the ears for sound, the nose for smell, and the tongue for taste. These form an esoteric version of the traditional five upacdras (e.g., GST ch. 6, v. 2, p. 17: pancakdmagunair buddhdn pujayed vidhivat sadd I pancopahdrapujdbhir laghu buddhatvam dpnydt). See Beer for illustrations (1999: 325"*7> P late l ^ 6) ' The inner wor ' ship may, however, refer to trangressive offerings such as the five nectars and

five lights.

260 For the secret worship (guhyapujd), Beyer (1978: p. 143^) lists sixteen vajra goddesses; he distinguishes between the outer, inner, and secret offerings, and also mentions the occasional addition of a truth offering (tattvapujd), describ- ing it as an offering of great bliss, namely, semen (bodhicittam). On the truth offering, Sanderson (1994 n. 16) notes GST 6.20cd: guhyatattvamahdpujdm sampujya ca vibhavayet; and GST 8.25: tarunih samprapya subhagdm cdruvak- trdm susobhandm I adhistdnapadam dhydtvd tattvapujdm prakalpayet.

The various types of offering, including the tattvapujd, are referred to in the Advayavajra-based texts, e.g., SM251 (p. 490): bdhyaguhyatattvapujdvisesair; GSS44 (Ki39r 4 ): bdhyaguhyapujdvisesaih; GSS 16 (K79r2): tatah pujayet. puspair dhupair dipair gandhair naivedyair ndndvidhaih pujdbhih pujayet. manomaya- pujd tattvapujddibhih. Also SM125 (p. 263): gurubuddhabodhisattvdn sampujya; SM67 (p. 137): adhyatmapuja; SM71 (p. 142): manomayd puja; etc. Yet another analysis of offerings is mentioned by a commentator on the Cakrasamvara scriptures, namely of a fourfold classification into outer, secret, "mind-made," and "immediately visible," Bhavabhatta (p. 68): catvdrah pujdcatuh...bdhya' guhyamanomayasaksddbhdvabhedena td uktdh. 261 The five sense offerings (kdmagunah) are offered in present-day Newar and Tibetan practice as follows: a mirror with a flaming border for form, a pair of cymbals or flute (Tibetan) or bell (Newar) for sound, a conch shell full of fra- grant powder for smell, a bowl of food for taste, and a band of cloth for touch. The emphasis on bells for the musicians and dancers in the Newar tradition echoes the account given here in GSS5 (see Gellner 1992: 106 for a full account). For a discussion of the offerings and illustrations of their artistic depiction, see Beer (1999: 194-203 with plates 9^-95)- Tne offerings are often depicted together in a single bowl on the altar table, the mirror in the center, the pair of cymbals flanking it, with the conch shell and fruit to either side of the cym- bals, and the cloth as a scarf draped around the whole (cf. Olschak 1973: 45> K *



NOTES TO PAGES 122-123



437



•>*



mv



Gyatso 1999: 499). The mantras and hand gestures (mudrds) that accompany the offerings are illustrated in Beyer (1978: 160 fig. 19), (quite differently) in K. Gyatso (1999: 49 2 ff-)> and (differently again) in Tsong ka pa (1987 vol. 2: 127-32).

262 Table 10 summarizes the text of GSS5 (Sed p. 127 15 , Ki6r5-i7r). The same six- teen goddesses, with individual iconography, appear in the outer parts of the Vajrasattva mandala from the Samputatantra (NYA p. 10). Two other sadhanas in the Sddhanamdld list offering goddesses starting with Lasya, either eight goddesses (cf. SM265 p. 518: astabhih guhyapujdbhih piijayet), or sixteen god- desses SM266 (p. 523: sodasaldsydpujdbhih pujayet) . The set of eight is given as follows (one has dropped out): Vajralasya, Vajramalya, Vajraglta, Vajranrtya, Vajrapuspa, Vajradhupa, and Vajraloka. Charming line drawings of the offer- ing goddesses are provided by L. Chandra (1986: 141-42). Offering goddesses are depicted in plate 2.

263 For sadhanas with typical Mahayana-style glosses on the worship, see SM24 (PP- 55-57) > SM 44 (p. 90), SM51 (p. 106), SM56 (pp. 116-17), SM80 (p. 154), SM 171 (p. 344), etc. But for references to transgressive offerings at this stage of the sadhana, see GSS35 (Kii8r4): sevitapancamrtah prathamatas caturbrahma- vihdrdn bhavayet; DdkinijdlasamvaraR. 3v-4r (cited Sanderson 1994, n. 16); also Beyer (1978: 158-59), who states that the offering is made by flicking drops of water with the right ring finger while reciting the mantra om pancdmrta- pujd<m> khdhi.

264 E.g., Siksdsamuccaya (p. 152 29 ): vandand sarvabuddhdn namasydmlti. The salu- tation may be verbal, bodily, or accomplished with body, speech, and mind (kdyavdkcitta), as attested in many sources.

265 E.g., SM3 (p. 19): tatah sndnapujdmeghaprasaraih sampujya tatah pdpadesa- ndm... tatah sunyatdm vibhdvayet; SM181 (p. 373): piijayitvd paramakdruniko yogi bhaktinamrah kdyavdkcittena vandayed iti vandand vandayitvd ca papa- desandpunydnumodanddikam kurute; etc.

266 The brahmavihdra meditations do not appear in the proto-sadhanas of Vilasavajra (Ndmamantrdrthdvalokini, adhikdra^), or in the Sarvadurgatipari- sodhanatantra (Skorupski 1983: 132). They are found, however, in the scriptural sadhanas of the HT(i.3.i) and SUT (13.7). Umapatideva's glosses are consonant with other sources, particularly those in the Sddhanamdld, e.g., on maitri in SM48 (p. 100): maitrim satputrasampritisahasragunitdm jane I duhkhahetor duhkhdc ca krpdm uddhartukamandm I. ..dhydtvd; cf. SM56 (p. 115), SM67 (p. 138), SM87 (p. 192), SM98 (p. 202-3), SM185 (p. 385), SM187 (p. 389), SM206 (p. 405), etc. Umapatideva's gloss on upeksd is more unusual in its direct ref- erence to Yogacara insight. A commoner explanation is found in SM48 (p. 57): keyam upeksd? pratighdnunayanibandhanam apahdya hitdhitesu sattvesu parama- hitdcaranam; expanded upon in SM98 (p. 203). Overall, Umapatideva's expla- nation of the four brahmavihdras is similar to that of Advayavajra (Advayavajra- samgraha, Kudrstinirghdtana pp. 4-5.24): sarvasattvesv ekaputrapremdkdrdm maitrim, duhkhdduhkhahetoh samsdrasdgardt samuddharanavdnchdsvabhdvdm



438



NO



TES TO PAGES 125-126



karundm, ratnatrayasaranagamandt samullasanmanahprabhavdm muditam, adhydsangaparilaksandm upeksdm ca vibhavya. ... 267 Similes for emptiness are frequent in our texts, for example, for the simile of the dream, see GSS10, "Hence, arising in dependence upon causes, existent things have a great similarity to things produced in dreams." (K 5 ivi): atah pratityajd bhdvdh svapnajdtamahopamdh. Also, GSS16, "Like illusion, like a dream, like an invented construction— seeing the world [in this way, he under- stands it to be] made of cognition, eternal and undefiled." (K82r 3 ): yatha mdyd yathd svapnam yathd nirmdnanirmitam I jndnarupam jagat sarvam pasyan nityam andviLm. A verse cited twice in the GSS sadhanas states, "When hav- ing produced an illusion, the magician destroys it once more, nothing of that exists at all; for this is the reality of existents." GSS2 (K4v6)=GSS 5 (Sed p. 128 19 Ki 7 r6): mdydm vidhdya mdydvi yadd samharate punah I na kimcid vidyate tatra dharmdndm sd hi dharmatd I («Nagarjuna's Mahaydnavimsikd v. 17 in Tucci 1956: 203). For the end of conceptualization, see Ddkiniguhyasamaya- sddhana (GSS46), which contains the most systematic philosophizing in the collection, and which cites Vasubandhu, "For the cutting of the defilements is awakening" (Ki 4 6n): tathd coktam dryavasubandhupddaih dvaranapartcchedo hi bodhih Such references are typical of mainstream sadhanas, for example SM 3 (p. 19): tatah sunyatam vibhdvayet. sarvadharmdn nihsvabhdvarupdn vibhavya aksararupam bodhicittasvarupam prabhdsvaram atmdnam pasyet; SM14 (p. 39): vimnamdtrdtmako bhdvakah; SM71 (p. 143): *» bhavantam nijabijena sahaiki- bhutam drstvd sarvam traidhdtukam sthdvaram jangamam pratityasamutpannam svapnamdyapratibimbopamam avicdrasaham vicintya prakrtiprabhdsvaram eva kevakm parisuddham atmdnam bhdvayet. om svabhdvasuddhah sarvadharmah svabhdvasuddho Urn; SM24 (p. 58), SM44 (p- 90), SM45 (pp. 93~94)> SM110 (pp. 225-16), etc. ...

268 GSS5-GSS2 (Sed p. 128 17 , Ki 7 r5/K4V4): am svabhdvasuddhah sarvadharma m Zrahyavisuddhih svabhdvasuddho 'ham iti grdhakavisuddhih. Cf. the Bhrama- haranama Hevajrasddhana: nasti cittdd bdhyam cittagrahyam. grahyabhavac cittam apigrdhakam na bhavati, tasmdc cittasarirah sarvadharmah, tesamgrahya- grdhakasunyataparamdrtha iti; and Sddhanamdla texts, e.g., SM6 (p. 27); SM7 (p 29), SM28 for the mantra's power to expel obstacles (p. 68): vighnopaiamo bhavati; SM39 (p- 85). SM51 (p. 106), SM56 (p. 117), SM6 5 (p. 130), SM67 (p. 139), SM71 (p. 143). SM80 (p. 155). «c. „ . jl

269 For one of the earliest assertions of mind-only ontology, see Vasubananu, whose authoratitive Trimsikd (c. 320-400 C.E.) opens: "All this is only per- ception (vijnaptimdtra)..."; see ibuL:yv. vj-ofr on the paratantrasvabhavah. Cf. Asanga's Mahaydnasamgraha 3:29 (cited Williams 1989: 90).

270 E.g., GSSi (K279V6) and GSS2 (K4V4). The mantra with yogaiuddha- appears alone in some external rituals, such as the balividhi in GSS11 (§40. §45» ™& §50); cf. GSS 4 , GSS5, and GSS 3 8=SM2i8_ (p. 418). A lone mantra with vajras'uddha- is also not uncommon, e.g., HA (f. nr6ff.), SM35 (p- 80), SM36 (p. 82), etc.



NOTES TO PAGES 126-127



439



271 Literally, "I am one whose self has the inherent nature (svabhdvah) of the non- dual knowledge of emptiness." (The translation "I am identical with the essence" is by Sanderson 1994.) For other examples of the mantra, see e.g., SM17 (p. 47), SM24 (p. 58, with gloss), SM46 (p. 95), SM48 (p. 100), SM52 (p. 109), SM80 (p. 154), etc. Isaacson (1997: personal communication) points out that this mantra is of vital importance from at least the GST onward, where it is found in chapter 3 (prose before v. 1). The PU commentary (p. 67) breaks down the mantra in a series of verses.

272 A fuller gloss on vajra is cited by Advayavajra from the Vajrasekhara (Advaya- vajrasamgraha p. 23, and p. 37): drdham sdram asausiryam acchedydbhedya- laksanam I addhi avindsi ca siinyatd vajram ucyate.

273 GSS5 (Sed p. 129 \ K17V1): traidhdtukam atitamandalacakram ca pratibhdsa- mdtrasvabhdvam prabhdsvara eva pravesya, dtmdnam ca ravau, tarn vamkdre, tarn ardhacandre, tarn bindau, tarn node, tadvikalpam api — om sunyatdjhdnava- jrasvabhdvdtmako 'ham — ity arthdnugamenoccdrya tyajet. sunyatdjndnam evdbhedyatvdd vajram tasya svabhdvas taddtmako 'ham ity arthah. • atita] K. This may refer to the "previous" mandalacakra visualized in the preceding puja, or a conjectural emendation may be considered to dnita, i.e., to a mandala that has just been "drawn down" [by rays]. • vamkdre] Kpc vamkdre(na) K(del); • svabhdvas] Kpc; svabhdv(vd)as K(del).

274 The karmadhdraya relationship "nondual=knowledge" is also suggested in an earlier gloss by Candrakirti (PU p. 123 on GST ch. 13; prose before v. 1): jndnavajram advayajndnam tad eva pradhdnatvdd agram taddhdrandj jndna- vajrdgradhdrinah. "In this analysis of the compound jndnavajrdgradhdrinah (holders of the foremost nondual knowledge) he glosses -jndnavajra- as advayajndna."

275 GST 3. 11. See also SM67, as when the mantra forms a contemplation of the five wisdoms (pp. 139-40): <om> ddarsajndnasvabhdvdtmako 'ham iti pathati; and for the consecration (p. 140): om suvisuddhadharmadhdtujndnasvabhavdt- mako 'ham.

276 This mantra appears in a short midday meditation prescribed in GSS5 (Sed p. 145 6 , K30V4): madhydhnasamdhydydm tu dhydnagrham pravisya om ah hum <om?> sarvayoginikayavdkcitta<vajra>svabhdvatmako 'ham om vajrasuddhdh sarvadharmdh vajrasuddho 'ham iti mantratrayam uccdrayan. jhatiti mandala- cakram adhimucya purvavat sarvam krtvd yathdsukham vihared iti. • dhydna- grham] em.; dhydnam grham K; • sarvayogini] Kac; sarvayogini(ndm) K(mg2); • <vajra>] K(mg2); omit Kac.

277 E.g., <om> sarvatathdgatacittavajrasvabhdvdtmako 'ham. There seems to be a variant reading of the mantra om dharmadhdtusvabhdvdtmako 'ham in GS 3.11, since Matsunaga has printed om dharmadhdtu<vajra>svabhdvdtmako 'ham (his apparatus shows the omission of vajra in several witnesses). Isaacson (2001: personal communication) suggests, however, that a variant with vajra may also be fairly early.

Isaacson (ibid.) notes that the reading of a bahuvrihi compound "nondual



440



NOTES TO PAGE 128



essence" (vajrasvabhdva) is not unsupported elsewhere. Abhayakaragupta, in the Abhayapaddhati (MS NAK 5 -2i=NGMPP A 48/2 f. iov), analyzes the mantra om sunyatajnanavajrasvabhavatmako 'ham in this way: om iti kdyavdkcittam, iknyatdnaihsvdbhdvyam,jndnam mahdkarund, tat trayam abhedyatvdd vajrasva- bhavam atma svabhavo yasya so 'ham. "[The meaning of] om is body, speech, and mind; the meaning of emptiness (sunyatd) is the fact of being without inherent existence'; [the meaning of] knowledge (jnana) is 'great compassion.' Those three [om, sunyatd-, and jnana] 'have a nondual nature' because they are indivisible. I am one who is identical [i.e., who has the nature (atma > svabhavo) of that]." Isaacson (ibid.) notes that in his Amndyamanjari, however, Abhayakaragupta gives a more natural interpretation, basically agreeing with that in GSS5 above (see the Tibetan translation, Toh 1198, sDe dge bsTan 'gyur, rgyudwol. cha, f. nov).

278 SM210, translated by Sanderson 1994 n. 24 (p. 515): tadanantaram om svabhdva- suddhdh sarvadharmah svabhavasuddho 'ham iti mantram uccdrya muhurtam sunyatdm bhdvayet. tatah om sunyatajnanavajrasvabhavatmako 'ham ity aham- kdram utpddya. ... The two mantras appear together in many texts, e.g., SM7 (p. 29), SM13 (p. 37), SM25 (p. 62), SM50 (p. 105 with a verse between them),

SM82 (p. 159X etc.

279 For the loss of om and the restructuring of the pair of mantras, see GSS31 (Kio3r2): tatah— svabhdvasuddhdh sarvadharmah svabhavasuddho 'ham om sunyatajnanavajrasvabhavatmako 'ham— iti imam mantrdrtham dmukhikurvan muhurtam apratistharupena tisthet. Also GSS16 (K 79 v6): tatah svabhdva- <suddhdh sarvadharmah svabhavasuddho 'ham tu,—om sunyatajnanavajrasva- bhavatmako 'ham—iti> sunyatdm vibhdvya dkdsopamdn sarvadharmdn vicintya apratisthdnarupam ksanamdtram vibhdvayet. • <suddhdh... 'ham iti>] Kpc(mgi); Kac omit •sunyatdm] Kpc; su(ddhd)nyatdm K(del) • vibhdvya] em.;

vibhdvyah K.

280 For the third type of mantra, see SM251 Saptdksarasddhana (p. 490; ed. and trans. Sanderson 1994 n. 24): tatah sunyatdjndnavajrasvabhdvdtmakdh sarva- dharmah om sunyatajnanavajrasvabhavatmako 'ham iti sakalavastutattvasdra- samgrdhakam mantrdrtham dmukhikurvan. • tatah] em. Tib.; tatah om SMed.

• dtmakdh] SMed.; dtmako 'ham SM mss. AC. The other sadhanas in the Advayavajra group are all similar, though all slighdy corrupt: SM17 (Simhandda- sddhanap. 47), SM217 (Vajravdrdhisddhanap. 425)* and GSS3 (Ki2r4).
  

281 In the Arya school of yogottara exegesis, yuganaddha is dealt with in the Panca- krama, chapter 5. For yoginltantra exegesis, see especially Advayavajra, e.g., Yuganaddhaprakdsa: (v. 7) "The fact of non-production [is] due to lack of inherent existence; the fact of non-cessation is due to condition(s); hence (atah) there is neither existence and non-existence, for there appears the "fusion of Emptiness and Radiance" (yuganaddha; this translation is by Sanderson 199415 Per Kvaerne 1975: 132 translates "bound to the same yoke"), (v. 8) "The unity of Emptiness and compassion is established [in meditation], not through con- ceptualization, because yuganaddha [is] the original nature (prakrtih) of



NOTES TO PAGES 128-129



441



Emptiness and clear light." In Advayavajrasamgraha (p. 47): naihsvdbhdvydd ajdtatvam pratyaydd aniruddhatd I bhdvdbhdvdv ato na sto yuganddham tu bhdsate (v. 7) sunyatdkrpayor aikyam vidheyam na svakalpatah I sunyatdydh prakdsasya prakrtyd yuganaddhatd (v. 8); also his Kudrstinirghdtana (Advaya- vajrasamgraha p. 1): pranidhdnavegasdmarthydt yuganaddhdndbhogayogatah . . .; Mahdsukhaprakds'a(ibid:p. 50): bhiitakotim tato vistvd yuganaddhapadam gatah / yuganaddhasthito yogi sattvdrthaikaparo bhavet. Cf. Ratnakaragupta's Dvi- bhujasamvaropadesa SM255 (p. 505): ekah svdbhdvikah kdyah sunyatakarund- dvayah I napumsakam iti khydto yuganaddha iti kvacit.

282 Anupamaraksita's sadhana of Khasarpana (see SM24 p. 58), trans. Sanderson (1994 n. 26) and Isaacson (2002: personal communication): sarvadbarmasunyatdm dhydydt. tatreyam sunyatd: manomdtram evedam tena tendkdrena prakdsdtmakam pratibhdsate yathd svapne<. > ndsti manaso bdhyam manogrdhyam, grdhydbhdvdd grdhakam api mano ndsti. tatas ca khasvarupdh sarvadharmdh. tesdm grdhya- grdhakddisakalakalpandprapancasunyatd tattvam paramdrtha iti ydvat. ayam arthah; advaitaprakdsamdtrdtmakam sacardcaram jagad iti cintaniyam. imam eva sunyatdm — om sunyatdjndnavajrasvabhdvdtmako 'ham ity amund mantrend- dhitisthet. • khasvarupdh] em. Sanderson; kharupdh SM ms. "A"; manahsvarupdh SMed.

283 E.g., SM6 (p. 26): sunyatdm muhurtam dlambayet. For the translation and explanation of these terms, see Sanderson 1994 n. 26. Advayavajra uses the term adverbially as follows: GSS3«GSS3i (Kio^):... muhurtam apratistha- rupena tisthet; GSS16 (K79V6):. . . sunyatdm vibhdvya dkdsopamdn sarvadharmdn vicintya apratisthdnarupam ksanamdtram vibhdvayet; SM251 (p. 490): muhurtam apratistharupenasamtisthet, etc. Cf. GSS23 (K88r6): tatah sunyatdm sarvadharma- nirdlambarupdm vicintya; GSS35 (Kii8r6): tatah sarvadharmanirdlambana sunyatdm vibhdvya mantram uccdrayet.

284 GSS32 (K104V6): avikalpitasamkalpa apratisthitamanasa I asmrtimanasikara nirdlamba namo stu tel • mdnasah] K (the masculine vocative assumes that the verse addresses a transcendent Binduraja) • asmrtimanasikara nirdlamba] em.; asmrtimanasikdram nirdlambam K • asmrti] GSS32; parallels read asmrtya in the Advayavajrasamgraha and acintya in the Pancakrama. I thank Dr. Isaacson for pointing to the following authoritative parallels: Pancakrama (4.10); SUT ch. 3, v. 9; ch. 8, v. 36 (although not in all manuscripts); several of Advayavajra's works in the Advayavajrasamgraha, e.g., Pancatathdgatamudrdvivarana (p. 25), Caturmudrdniscaya (p. 38), Amanasikdrddhdra (p. 60), in which it is identified as a verse from the AryasawabuddhavisaydvatdrajMnabkdknkdrarnahdydnasutra.

285 Some Yogacarin exegesis arguably posits the paratantrasvabhdva as a really exis- tent substrate, e.g., Maitreyanatha's opening to the Madhydntavibhdga: "The imagination of the non-existent (abhutaparikalpah) exists. In it duality does not exist. Emptiness, however, exists in it." (Williams 1989: 86, citing Friedmann 1937. Madhydntavibhdgatikd.) While the tathagatagarbha doctrine certainly represents an extreme move in this direction, the debate as to whether such ten- dencies reflect the original Yogacara position continues. Sanderson (1994, n.



442



NOTES TO PAGES 129-131



i



i

,; i ■■

UK-



111
r;|-



2 6 citing Asanga's JBrifci****- on the Vajracchedikd) comments that the W exegesis of the eighth century can be seen as a duect recychng of the i school of Asanga and Vasubandhu, in winch there « no suggesnon that ttparatantrasvabbla is a really existent entity. Consonant wnh this opuuon hat "without an object mind does not exist," Wrlhams * en, p. *, 7) .ferstoalengthypUeintheM^^^

leX" (namely, Rahula ^ pp. 79-85. and Wilhs x 97 J On the other hand Wilhams (<p. lit, 89) himself disagrees with this v.ew He contmues, I rema n unconvinfed, however. It is clear in these cases that the neganon o ZZTmlvijndna) is not a negation of the really ex 1S tmg nondual stream of rltions. I but only of the mind as subject-a vjew he supports w«h a ciution (ibid -89-90) from Sthiramati's MadhydntavMaganka and examples from the Mahdydnasutrdlamkara and Mahaydnasamgraha. .

2 86 ZZ^dLkdra (w. 9-93) translated from T.betan by M. Ichrgo m Gomtand Silk I9 8 9 : 141-40. 1 am grateful to Dr. Burton for showmg me

.87 ^n STLd 'the ordinary objects,' 'ordinary' means ignorance; ordinary

7 [obi as are superimposed [upon reality] by that [ignorance]. ^hayapMn

J orS praklaJyd iti. prakrtir atrdvidyd tayddhydrop.tah prakrtah^ (cued

Lderson X994 n.tf. Cf. GS&6 (K 70 r 5 -6): ^T^^^

tatojhatiti vakfyamdnadevyahamkdrena ; Cf. SM3 and SM4 (p. £ ^ dharmadhdtusvabhdvdtmako 'ham iti advaydhamkaram kuryat; SM67 (p. 139)- V wTmantral ri«*ya« frahtakmahavlOrmn tyaktvd yogaauamatrena-

SSl (P- 373^%^^^

Wfcferw* SM171 (p. 344): att^ lunydrn Utah kuryat prakrtakarahanay,

,8 7: k ^2t^^^^ Beyer ^ « citmg

hitacittasamtana vasad. . . ^ ompnK This.

29 o Williams (i 9 8 9 : 5-54) comments on the poeac value o such * «^ passage is translated by Sanderson (i 99 4 n. 31) from SM171 (p. 344)- «****• «££•>»«. kurydlcittasya visramam 1 ,r^ ,**W |£«*

ZufrJU*/ <g*** M«**«* ' '»' sanvakrpdvuto nucestam sunyata* tyt^nirJ® em. Sanderson; ,**«4 SMed. For typ.cal reference t th vow in sadhana literature, see e.g., the A^yavajra grou^ GSS -GSS (KiWKrojr,): purvapranidhdnavas'dt samadher vyutthaya GSS16 (K79

H-#i> Lw****^ c i ar f yam '£*t?t S

pranidhanam anusmrtya; also, SM181 (,p. 373;- P"™*" /* •



NOTES TO PAGE 131



443



sattvdrtham abhiviksamdno mantrl; SM248 (p. 482): tatah samsdraduhkhebhyah sattvdbhyuddharandsayah I mdyopamam jagattattvam yathdbhiitam vilokyasah; SM54 (p. in); SM65 (p. 130), etc. Many sadhanas also comment on the mantrin's vow to make himself/the world "become" the deity, e.g., GSS3«GSS3i (K102V5): aham vajravdrdhi bhiitvd taddkdram jagat sarvam karisydmiti; GSS16 (K76r5): aham sarvavid bhiitvd taddkdram jagat sarvam karisydmlti krtaniscaya<h>; SM251 (p. 490): prabhdsvardd utthdya svapnamdydvat visvam pasyan jaga- darthdydtmanah sriherukatvam vibhdvayet. • jagadarthdyd ] em. Sanderson; jagadutthdyaSMed.; vibhdvayei\ conj. Sanderson; vibhdvayanSMed.; cf. other mainstream sadhanas, e.g., SM24 (p. 61): punah punar anavaratandndprakdram pardrtham krtvdjagadapi bhagaval lokesvarariipena nispddya. . .samddher utthito jagallokesvararupam viksya tadahamkdrena yathestam viharet iti; SM48 (p. 101): svayam manjuvaro bhiitvd jagat pasyams ca tanmayam; SM51 (p. 106); etc.

291 Sadhanas use the term "circle of protection" or raksdcakra interchangeably for vajra ground (vajrabhiimih), vajra roof (vajrapanjaram), and so on, as citations below will show (the base of the structure is, of course, square and not circu- lar, as it is formed by the walls in the cardinal directions). E.g., SM179 sadhana of Uddiyanavinirgata-Kurukulla (p. 359): prdkdram panjarabandhanam {ca} vajramayim <ca> bhiimim vibhdvayed iti raksdcakram; cf. GSS35 (Kii8r5): tato jhatiti vaksyamdnadevyahamkdrena caturo humkdrdms caturdiksu ca samantato vajraprdkdravajrapanjaram bhdvayet, athavd sumbhanisumbhddicaturmukha- mantrena raksddigbandhddikam vidadhydt. • ca] em.; carma K • (vajra)panja- ram] K(mg) • caturmukha] Kpc; caturmuntra Kac. The term can also have a more specialised sense, as in a Kalacakra mandala that describes a wheel with spokes in the cardinal and intermediate directions and the nadir and zenith inside the vajra zone, upon which are placed the protective deities of the mandala (NYA p. 83: kdlacakramandale vajrapanjardbhyantare raksdcakram dasdram tasya purvadaksinapascimottardresv. . .)

Umapatideva's prose text is related to the Abhisamayamanjdri (GSS5, Sed pp. 129-30, Ki7v5-i9r and K20V2). The latter (GSS5 Sed p. 132, K20V cited below) refers to, and probably redacts from, Luylpada's HA. Unfortunately, there is damage to the relevant folios of the HA in the manuscript available (f. 3v). The previous folio (f. 3r) contains the emptiness meditation and mantras followed by the element visualization with Mount Meru (f. 3v), below which the folio is damaged. However, the missing text probably described the circle of protection, because the next folio begins with the self- generation of Herukavajra "within the vajra zone" (f. 4r4): vajrapanjara- madhye....

292 On the structure of a temple, note the ground plan of Bayon at Angkor given by Snodgrass (1985: 74-75 fig. 30). The underlying correspondences between the structure of the complete mandala and the religious architecture of India have been studied by Snodgrass (ibid.) and others. One classical reference to the canopy (vitdnah) suspended over the sacred spot in a temple is Kumdra- sambhava(j. 10): vitdnavantam yuktam manistambhacatustayena I pativratdbhih



AAA

1 11



NOTES TO PAGES 131 — 133



parigrhya ninye [UmdJ. For references in sadhanas, see SM54 (p- no) in which the sadhaka is seated within a bejewelled mandapa with a vitdna extended over

it; cf. SM65 (p. 130).

293 E g., GSS5 (Sed p. 129 15 , Ki8r3fF.): humkdrajatadadhisthitavisvavajrena;XKM (p. 114): rephendgnivarnena suryamandalam drstvd, tadupari nilahumbhava-

visvavajram.

294 GSS5 (Sed p. 129 9 , Ki7v 5 -i8r): tatah ...caturo vajraprdkdrdn. om vajraprakara hum vam hum ity uccdrya nivesayet. tatsamakdlam eva humkdrajatadadhisthi- tavisvavajrena. om medini vajribhava vajrabandha hum itipathitva visvavajra- mayim bhumim ' drasdtalaparyantdm adhitisthet. <tato vajrarasmibhih>{m%L) om vajrasarajdla trdm sum tram ity abhidhdya pancasukavajrdkdram atimbidam uparisarajdkm. tasyddho vajrapanjara humpam hum ity uccdrya vajrapanjaram. om vajravitdna hum kham hum. ity pdthdntaram yathdsthdnam vajravitdnam om vajrajvaldnaUrka 'hum hum hum ity uktvd vajrajvdutm ca cintayet. • tasyddho]

em.; tasyddhaK. #

295 E g NYA (p. 1): drasdtalam upary upary uccairghanambidajvaladvajrapra- kdrordhvato nihsamdhyekakhandibhutam upari vajravitdnamanditam jvalad-

vajrapanjaram.

296 This is the method in, for example, SM110 (p. 226), SM123 (p. 255), SM239 (p. 459) and YRM (p. 114). The methods proposed in Tibetan sadhanas and com- mentaries also vary somewhat, as will be seen in extracts below provided by Dr Sobisch (2001: personal communication) on the Cakrasamvara sadhanas ot ('Bri gung pa) dKon mchog ratna (1590-1654), with commentary by ('Bn gung pa) bsTan 'dzin padma'i rgyal mtshan (1770-1826), ('Bri gung pa) Rig 'dzin Chos kyi grags pa (i 5 95-i659)> and Mi bskyod rdo rje, the Eighth Karma pa (1507-54). Cf. also K. Gyatso (1999: "9) and Tharchin (1997: 158, 160).

297 GSS5 (Sed p. 129 17 , Ki8r4) cited n. 294. .

298 E.g., YRM (p. 114): bahir vajrdgnijvdldm bhdvayet. For outer rings ot vajras, lotuses, and cakras, see n. 307.

299 GSS5 (Sed p 129 9 , K17V5): tatah om sumbha nisumbha hum humphat. omgnbna grihna hum hum phat. om grihndpaya 2 hum hum phat. om dnaya ho bhagavan vajra hum humphaditi caturo mantrdn vdmatarjanyangusthe chotikdddnapurva- kam utsdrya krsnaharitaraktapitavarndn brahmdndarasdtalavydpijvalanmah^ kdydn purvonarapascimadaksindsu diksu kramena sumbhddimantrarasmibhn ydvadicchdvistardn caturo vajraprdkaran... cintayet. • °haritarakta] corr.; hart-

taraktaharitaK(ditto). ul A

Dr Sobisch has kindly translated for me the Mowing passage of Mi bskyod rdo rje's sadhana: "[The sumbha ni sumbha mantra, etc., then:] These syllables [are manifested] , having counterclockwise the colors black, green, red, and yel- low, reaching from the world of Brahma down to the golden base, and through [their*] blazing rays of light the square vajra fence [is manifested, having the respective] color [of the four*] directions [i.e., black, green, red, and yellow, as before] . ." Ur): yi ge de rnams g.yon skor du I nag Ijang dmar ser kha dog can tshangspa 'i jig rten nas bzung ste I gser gyi sa gzhir thuggi bar I khyab cing bar



NOTES TO PAGES 133-135



445



%



ba'i 'odzer gyis I rdo rje'i ra ba gru bzhipa / phyogs mdog. ... *This is explicit in the prose of dKon mchog ratna, which continues: "[The mantras] are emitting rays of light in their respective colors, 'cutting off [or eliminating] all enemies and obstructors. The rays of light are gathered [again and] dissolve into the mantras. Thereby a square vajra fence [arises].. .. " (p. 710): odzer rang ranggi mdogspros dgra bgegs thams cad tshar bead 'odzer tshur 'duspa sngags rnams la thim pas, rdo rje 'i ra ba gru bzhipa. . . .

300 E.g., GSS35 (Kii8r6): athavdsumbhanisumbhddicaturmukhamantrena raksddig- bandhddikam vidadhydt. Note the slighdy different fourth mantra with vidyaraja, as attested in Nagarjuna's Pindikramasddhana (Mimaki and Tomabechi 1994 p. 1* ms. Af.2r, p. 31* ms. Bf.2r) and in the SUT ch. 10, v. 26; and SUT ch. 13, w. 2c-3b: digbandhanam tu prakaram caturmukhamantram uccaret 1 2 I - om sumbha nisumbha hum hum phat. purve. - om grihna grihna hum hum phat. uttare — om grihnapaya grihnapaya hum hum phat. pascime. — om dnaya ho vidyaraja hum hum phat. daksine — chotikdm ddpayed diksu dustamdrdndm trasanam I $ab.

301 The idea of "binding" is prominent in the early account of the raksdeakra in the Sarvadurgatiparisodhanatantra (p. 134; 10a), which is constructed with a variety of mantras and mudras (interrupted by some other rituals, such as abhiseka and kavacana), and which results in the binding of its various parts plus aspects of the mandala, e.g., (10a): vajrabandham krtva...; (na-b): mudrayuktya sarvavighnabandham kuryat. vajrabandham baddhvangustha- dvayam prasdrya. . .prasdritavajrabandham bhumydm pratisthdpyddhobandham kuryat... purvam disam bandhayet... (nb) digvidiksv adha urdhvam ca vighna- nikrntanam kuryat vajrakdlyottardm disam bandhet; (12a): vajrakarmand mandalabandham krtva prakaram dadydt. This usage remains in place, e.g., HT1.3.3: panjarabandhanam, with Muktdvali: uparigataih prdkdrasikharod- gatam paiijaram, tdbhydfn api sphuradbhih simdbandham (note that there is no vitdna in the HT). For the boundary, see SMi (pp. 5-6) in which the vajramandapa is installed with hand gestures and mantras (p. 5): tato vajramandapamudrayd svasthdnam vajramayam adhitisthet, in the following order: ground, walls, roof, Vajrajvalavahita mantra (i.e., flame ring), and "boundary" (p. 6): tatah simdn badhniydt; NYA (p. 1): anantd vajramayi bhumih, tajjvalanmayukhajvdldvalisimdbandhah; SM110 (p. 226): bahir dvdre simdbandhah karya iti. . ., etc.

302 For the installation mantras following the sequence in the Advayavajra texts, see GSS5 (Sed p. 129 13 , Ki8r2, cited n. 294), also GSS3 (Ki2r6)«GSS3i (Ki03r5)»SM2i7 (p. 424), and SM251 (p. 491). This is not part of the Hevajra system, which empowers the circle of protection with a different mantra, as in YRM (p. 114): om raksa raksa hum hiim hum phat svdhd.

303 The equivalent generation of the intermediate goddesses in the Abhisamaya- manjari (GSS5) supplies a distributive, stating that they are produced "from rays from both [pairs of those mantras] individually" (Ki8r-i8v): ubhaya-ubhayara- smisambhutd. It seems that there is no great difference between the walls and



446



NOTES TO PAGES 135-136



the mantras: The SUT states, "As for the binding of the directions, he should utter the four-faced mantra as the wall." SUT ch. 13, v. 2: digbandhanam tu prdkdram caturmukhamantram uccaret.

304 Devibhdgavatapurdna, skandha 5. The fourfold mantra appears prior to the kilanamantra in the Arya school of the Guhyasamaja (Pindikramasddhana by Nagarjuna, Mimaki and Tomabechi 1994 p. 1* ms. Af.2r, p. 31* ms. Bf.2r). Despite its reference to Puranic asuras, nisumbha in the Buddhist tantric tradition seems to have been generally understood as an imperative

(cf.PUp.153).

305 See Huntington 1975: 2-5, with plate 45, etc.; Marcotty 1987: 29; and illustra- tions by Beer 1999: 245-49, with plate 114. The cult status of the klla as deity in the Vajrakilaya corpus has been studied by Boord (1993) and Mayer (1996).

Examples of deity daggers are given in Huntington (e.g., figs. 19, 21, 22, and 24, all of which hold another dagger). The last shows a three-tiered dagger. The topmost deity is four-armed and holds instruments for staking and hammer- ing, the central deity holds a single hammer, and the third face above the blade is therianthropic. _

On the rite of staking (kilanavidhih), see VA VighnakilanavidhiS? f. I7v-i8r. This rite is often associated with the ten krodhardjas. A vivid example is a Hevajra rite described by Davidson (1992: 116), in which the creation of the cir- cle of protection is followed by the visualization of a "rimless wheel with blade- like spokes in the ten directions" that are occupied by the ten krodhas. The meditator as Usnisacakravartin, with retinue, sits in the center, summons the demonic forces with rays, and causes them to fill the area between the sharp spokes of the wheel. He then sees the wheel revolving, chopping the vighnas into pieces, burning them with fire, and dispersing them by wind. Their "men- tal principles" are sent to the realm of Aksobhya with the recitation of the appropriate mantra, and the wheel melts into space.

306 More specifically, in GSS5, the wells are created from "the lengthy subtle res- onance of the syllable when it is recited" (Ki8vi): dasadiggatavighnavrndam dnlya dirghanddoccdritahumkdranispannesuprdkdrabdhyesu samipe digvidigas tu kupesupravesya. The instruction to dig the wells "near" the vajra walls is unclear to me and is not clarified by the Tibetan texts, which state that the wells appear "outside" the wall or fence. (Once again, I owe the translations to Dr. Sobisch.) Mi bskyod rdo rje comments on the "eight deep wells that appeared from the hum syllable(s?) on the outside (phyi la) of the vajra fence. . ." Uv): rdo rje'i ra phyir hum yig las I byung ba 'i khron zab brgyad. . . I (understanding ra phyir as ra ba'iphyi la). The commentary on a similar passage in dKon mchog ratna says, "Having moved toward the vajra fence, the ten female guardians of the gates that have been visualized earlier utter hum. Thereby the eight deep wells that arise from the hum behind the outer vajra fence...." (p. 715): rdo rje'i ra ba dang nye bar slebs nas, sngar bsgom pa / sgo mtshams ma bcuyis hum zhes brjod pas, rdo rje'i ra baphyi ma 1 rgyab tu hum las byung ba / khron pa zab mo brgyad.

307 GSS5 (Sed p. 130 9 , K18V4): . . .akotanakilandbhydm vighnavrndam mahdsukhena



NOTE TO PAGE 136



447



tathataikarupam kurvanti<m> bhdvayet. punah sesavighndn utsdrya prdkdresu liyamdndsu tdsu toye f toydsphalanabindunirgamanyd f <iva> yena simdbandhdr- tha<m> vartuldn vajrapadmacakraprdkdrdn cintayet. tad evam vajraprdkdrd- divighnotsdrena visuddhyd nihsandhaikakhandibhutam nirvighnam ca jagad adhimucya ... • nihsandhaika] em.; nihsandhyaika K • jagaa] corr.; jagat. K. This text is based on the Vajrdvali ( Vighnakilanavidhi SP f. i8v).

Dr. Sobisch (2001: personal communication) comments that in the three Cakrasamvara sadhanas mentioned above, the circle of protection is sealed not only by a ring of fire, but by rings of vajras, lotuses, and wheels (cakras) (thus echoing the mandala circles inside the temple palace). He translates the Tibetan texts as follows, e.g., Mi bskyod rdo rje: "The wrathful [female goddesses] dis- solve into the fence. As droplets are scattered by throwing water into water, rays of light again come forth [that] turn [into] a vajra, lotus, and wheel-fence [that is] round, without interstices, and of one piece. Thereby [one] is free from

obstacles " (fol. 4v): khro mo rnams II ra ba la thim chu la chu I brdabs pas

zegs ma 'thor ba bzhin II 'od zer phyir 'phros rdo rje dangl padma 'khor lo'i ra ba ni II zlum po bar med dum bu gcig II gyur pas bgegs dang bral ba'o. Cf. dKon mchog ratna's slightly extended prose (p. 35) and its commentary, which reads: "The deities return and dissolve into the vajra fence. Thereby, like the spray- ing of droplets [when] water is thrown into water, or like the sparkling of fire sparks [when] a fire stick(?) is striking against a vajra, they form three fences, one of blue vajras, behind that one of red lotuses, and behind that one of wheels of weapons, which are round, without gaps, and of a single piece. Behind that, beginning with the powerful vajra fire that is arising from the rays of light of these [fences], sixty-four levels of white, yellow, red, green, and blue, [circu- lating?] counterclockwise, blazing and moving upward, downward, and into all directions, become one with the [wall of] fire that was visualized earlier." (p. 718): lha mo rnams tshur by on rdo rje'i ra ba la thim pas, chu la chu brdab pa'i zeg ma 'thor ba'am, me Icags rdo rje(?) la brdab pa'i me stag 'phro ba bzhin rdo rje sngonpo de'i phyir, padma dmar po, de'i phyir mtshon cha'i 'khor lo'i ra ba gsum zlum po bar mtshams med cing, dum bu gcig tu gyur pa 'iphyi rol du, de rnams kyi 'odzer las skyespa 'i rdo rje 'i me dbang Idan nas brtsams te, dkar ser dmar Ijangsngo ba 'i rim pa drug bcu re bzhig.yon skor du steng ogphyogs mtshams kun tu 'barzhing 'khrugspa, sngar bsgompa'i me dang gcig tu gyur pas. Similarly, in the Vajrayoginisddhana of Rig 'dzin Chos kyi grags pa: "Again the goddesses are dissolving into the fence, thereby [manifesting] as a single round fence of fire, vajras, jewels, lotuses, and wheels, being firm and reliable/' (vol. ta, p. 580): slaryang lha mo rnams ra ba la thim pas me dang, rdo rje dang, rinpo che dang, padma dang, 'khor lo 'i ra ba zlum po gcig tu sra zhing brtan pa 'i bdag nyid can du gyur. Note that the outer rings of vajras, lotuses, and fire are depicted in the Ngor mandalas, p. 126 (a mandala in the same tradition as that described by Mi bskyod rdo rje).
308 The structure of the material still seems to be stabilizing in the earlier texts. Thus, in the Sarvadurgatiparisodhanatantra, the circle of protection appears



448



NOTES TO PAGES 136-137



before the worship section (p. I34> i° a: tat0 raksdcakrabhdvand kartavyd), the same sequence as that found in the SUT ch. 13, w. 2-8. The HT1.3.3 mentions the installation of the walls and canopy following the sequence of awakenings (1.3.2). Its commentators, however, are in line with our GSS texts, which place the circle of protection after the accumulations; e.g., YRM (p. 114). Cf. GSS5 (Sed p. 129, Ki7v5-i8r), the Advayavajra-based sadhanas GSS3 (Ki2r6), GSS4 (Ki3r7)«SM226 (p. 440), SM227 (p. 442-): humvajrikrtabhumyddau..., GSS16 (K76V1), also SM40 (p. 83): sunyatdbhdvandnantaram, etc. In GSS35 (Kii8r5) the protective circle is generated after the accumulation of merit but prior to the emptiness meditations. Note SMi (pp. 10-11): yadi sakto bhavati apardhne 'pisarvam etat raksddiparikaram piljddikam ca krtvdjapet, no cet purvdhnakrtam eva raksddi avisarjitam sthitam eva drdham adhimucya. . . vikdle ca prdkdrapan- jarddikam visarjya rasmimdlinyd kavacam kurydt. 309 GSS5 (Sed p. 132 13 , Kzovi):yattu luyipdddbhisamaye raksdpanjardder anantaram sunyatdbhdvanoktd tad adhimdtraprajnddhikdrdt. tasya sunyataiva pard rakseti. sarvajanasamgrahanai<h> punar atra sunyatdbhdvandnantaram raksdpanjard- dikam uktam. bahusu cdbhisamayesu iyam evdnupurvi drsyeta iti. • sunyataiva] conj.; sunyateva K. The suggestion that the realization of emptiness is the supreme protection is made elsewhere (Isaacson 1997), e.g., in the Yogimanohard Pancakramatippani, ed. Zhongxin Jiang and Toru Tomabechi. 1996. Bern. vol. 23 (p. 13): tad anuparamdrthe sunyataiva paramd rakseti; also by Ratnakarasanti, Muktdvalion HT1.3.3: tatra maitryddibhdvanam prathamd raksd, sunyatdbodhir dvitiyd, trtiydm raksdm rephddislokendha. Cf. SMno (p. 226).

310 This translation depends upon the conjectural emendation oi sunyateva (codd.) > iunyataiva (conj.). Without emendation, the text translates: "For him it is said (iti) other protection is like emptiness. ..." The function of iti (rakseti) > is not entirely clear. Perhaps it indicates a citation, for example, from Luyipada's HA.

311 In the GSS collection, only two sadhanas apart from the Vajravdrdhi Sddbana elaborate upon the cremation grounds: the Trayocksdtmikavajraddkinisddhana (GSS16) and the "skeleton arch" practice of Dhyayipada (GSS34). These, and other sources for the cremation grounds, are discussed below in n. 312. It is com- mon, however, for GSS sadhanas to refer in brief to the visualization of the god- dess within the cremation grounds, e.g., GSS 4 «GSS2 9 (Ki 3 vi): vajriknabhumau smasdndstakamadhye; GSS19 (K8 3 v6): bhimarupdm smasdnddau bhdvayedyogi ^^^/Trikayavajrayoginl sadhanas, e.g., GSS20 (K8 4 v 4 ): ubhayor yoginyor madhye ntartkse cdtibhaydkulam smasdnam bhdvayed; GSS35 (Kii8r3-4): dhydnasthdne utpdditoddiydnamahtimasdnddhimoksah. • oddiydna] corr.; odiydnamK; GSS37 (K121V2): smasdnddau bhdvayed vidhipurvakam.... Cf. other tantric sadhanas, such as SM40 (p. 83): vajraprakdram vajrapanjaram ca vibhdvya tanmadhye ghorasmasanam tasya ca madhye raktdstadalakamalam. . .; etc.

312 A detailed study of the evolution of the eight cremation grounds is yet to be made. In the Buddhist tantras, early references to the cremation ground appear in the yogatantra corpus, particularly within the subjugation myths. The ere-



NOTE TO PAGE 137



449



mation-ground culture pervades the HT, but without mention of the eight cremation grounds as such. For example, in its proto-sadhana (HT1.3.4), the yogin is to seat himself inside the vajra zone on a corpse; later in the chapter, the text states that the lord plays in the cremation ground surrounded by his eight yoginis (HTi.3.i6ab): smasdne kridate ndtho 'stayogimfbbihj pravrtah. The text later finds a convenient etymology (niruktih) of the word smasdna from the verbal root "to expire" (HTi.3.i6cd): svasatity anayd yuktyd smasdnety abhidhiyate.

The locus classicus for the eight cremation grounds in the Samvara tradition is the SUT (ch. 17, w. 36-45), and it is to this passage that Umapatideva's verses are related. The scripture describes the types of inhabitants by group (eight named cremation grounds, eight trees, eight protectors, etc.). Umapatideva rearranges this grouping slightly and divides the cardinal cre- mation grounds (w. 70-72) and intermediate cremation grounds (w. 73-76). The SUT ends with a more generalized description of the terrifying contents of the cremation grounds, and this seems to be the basis for a similar account in the ADUT (ch. 9, p. 293)/ Vdrdhyabhyudayatantra (w. 103-9) that men- tions colors, animals, corpses, etc., but no individual features or names. An important exegetical work from the Samvara corpus is the Smasdnavidhi by Luylpada (in Finot 1934 and Meisezahl 1980). This text allots two verses to each feature (but gives the clouds separately, v. i8ff.), and like the SUT ends with a general description of the cremation grounds. The order of the inter- mediate cremation grounds in this text is suspect (southwest, northwest, and omitting northwest and northeast). Meisezahl (1980) discusses two Tibetan
-translations of Cakrasamvara exegetical texts in the Tibetan canon: the Adbhutasmasdndlamkdra (a subcommentary in the Cakrasamvara collection in bKa' 'gyur, Toh 413, reported in Meisezahl op. cit.: 18-21); and the Smasdnd- lamkdratantra (Toh 402, reported in Meisezahl op. cit.: 21-22). These seem to be related to Luyipada's Smasdnavidhi since they have many features in com- mon (including the same imprecision in the intermediate directions).

In the GSS collection, the Trayodasdtmikavajraddkinisddhana (GSS16, K76V5-77O merely lists the direction and name of each cremation ground (drawing initially on SUT ch. 17 w. 36cd~37ab). The "skeleton arch" prac- tice of Dhyayipada (GSS34) gives a brief description of them as the setting for the skeleton arch (GSS34, Kii2ri) and then supplies a more detailed account as the cremation grounds are internalized by the yogin (Kii3r5) and used as the basis for a series of equations with his psychophysical being, in an internalized, cremation-ground version of the yogic body mandala (n. 477 with endnote

table vi).

Secondary materials on the eight cremation grounds are limited, and not consistent (which reflects the unstudied diversity of the primary sources). Meisezahl (op. cit.) examines the contents of cremation grounds and illustrates them with plates, but this is a short and preliminary study (with several mis-






45Q



NOTES TO PAGES 137-138



takes) that concentrates on a small number of Samvara-based texts (SUT, the Adbhutasmasdndlamkdra, Smasdndlamkdratantra, and Luyipada's Smasdna- vidhi). Tsuda (1974: 292, nn. 1-3) mentions a description of the cremation grounds in the Laghutantrapinddrthavivarana, in works by Tsong kha pa, and in a sadhana by Bu ston. KalfT(i979: 24) discusses the relevance of Pali sources describing meditations on decaying corpses. K. Gyatso (1999: 120-23) gives an account of the meditation, also drawing upon Tsong kha pa and dGe lugs sources. Their symbolism is discussed by L. Chandra (Preface to Dawa Samdup 1919: 28-32, citing the Vajrapradipatippani oi Suratavajra).

I draw these primary and secondary materials together in the annotations to table 14.

313 For birds and animals, see SUT ch. 17, w. 42-43^ ADUT ch. 9, p. 293; Smasdnavidhi y. 25; Tsuda (SUT p. 293) gives references to them in Bu ston's Mandalavidhi. For descriptions of the corpses, see SUT ch. 17, w. 43c~44b, ADUT ch. 9, Smasdnavidhi v. 26, and Smasdndlamkdratantra reported in Meisezahl (1980: 22). For supernatural beings, see SUT w. 44-45 and the Smasdnavidhi, which describes yoginis with chopper and skull bowl, drums, and food (v. 27) and eight siddhas (v. 28). Some features of the cremation grounds that are not included in the Samvara texts are also shown in table 14. Of these, only the Smasdnavidhi (v. 28) mentions that eight caityas (unnamed) adorn the cremation grounds; Meisezahl (op. cit.: 56) suggests these are drawn from the tradition of eight holy sites of the Buddha's life. The additional fea- tures are mentioned by Meisezahl in his annotations to planche 1 (Mandala of Chinnamunda-Vajravdrdhi picture no. 4072, Rijksmuseum voor Volkenkunde, Leyden, Netherlands); he names the ksetrapdla, the caityas, and the mountains individually, but his textual sources for so doing are unclear (elsewhere, he mentions that Bu ston supplies a list often caityas, ibid.: 21). K. Gyatso's account (op. cit.) also mentions the additional features, such as a stupa (unnamed) on the top of the mountain (named).

314 The Sanskrit text of GSS34 is very uncertain (see the appendix), and I have not even attempted to make full emendations here. GSS34 (Kii2n): tatrdyam smasdndni ddrunam atibhisanam I dikpdlavrksanagendrameghardjasamanvitd I cihndstakasamdyuktah smasdnasya tu lanchanam I tad uktam — mahdhavddau vikrte 'tighore pretdngandsamkulabhimas'abde I bhutlpisacisivayositddyaih kurydt smasdne khalu purvasevd<m> I • dik] corr.; digK. • ndgendra] em.; ndgendrah K • samanvitd\ K, understand samanvitam • cihnd] corr.; cihndK • samdyuktah] K, understand samdyuktam • ldnchanam\ em.; Idnjanam K.

315 The artistic sources suggest a more fully developed and perhaps standardized version of the cremation grounds than that described in our texts. Further tex- tual research upon this subject is needed, drawing on Tibetan authors such as Bu ston and Tsong kha pa, against a study of the artistic representations. The cremation grounds do not just appear in tangkas in the Cakrasamvara tradition; there are many of Heruka-based mandalas, including those of the Hevajra tra- dition (e.g., mandalas of Hevajra, Nairatma, Buddhakapala, and Vajrahumkara



NOTES TO PAGES 138-146



451



st-



iri Tibetan Painted Mandalas, Rossi and Rossi 1993). Some show the cremation grounds beyond the felly of the circle of protection and some within it. I see no basis from artistic works for Kelsang Gyatso's remark (1997: 89) that the crema- tion grounds are inside the circle of protection principally in Vairavarahi practices.

316 See Abhidharmakosabhdsya ch. 3, w. 53b— 56 for the four continents (includ- ing Jambudvipa) extending in the cardinal directions. Each continent is flanked by two smaller continents. There are therefore twelve continents, but only eight cremation grounds. For the mountains, see ADK/B ch. 3, w. 48D-49C; for the lakes, ADK/B ch. 3, w. 51C-52C. There are seven lakes (liter- ally "cools": sitds) that separate the mountain ranges, plus the great ocean itself beyond. The interpretation of sitd is debatable, however (see Pruden, nn. 380-82). The Abhidharmic cosmology is discussed and helpfully illustrated by Brauen (1997: 18-21).

317 A summary of How Heruka Was Born {dPal he ru ka'i byung tshul, SK III.298.4.2-300.2.6) by Davidson (1991: 205ff.).

318 Sanderson (1994 n. 35) demonstrates that the use of the standard seed-syllables (yam ram vam lam) in the Buddhist sadhanas corresponds to that of the Vaisnava and Saiva tantric traditions, and he proposes that these, and the tra- dition of relating each to a symbol, are in origin brahmanical (on which see also Heilijgers-Seelen 1994: 20).

319 GSS5 (Sed p. 129 5 , K17V3): tatah purvapranidhanavedhavasat sunyatasamadher vyutthaya svacittam evopary upariyamramvamlamparinatadhanustrikonavartu- UcaturasrdkaranihraktasvetapitavarnacaUtpatdkdnkakotidva^

a < trisukavajrdnka >mg2 konacatustayam. vayuvahnivarunaksitimandaUsvabhd- vam vicintya tadupari sumkarasamudbhavam caturasram astasrnvam purva- daksinapascimottarapdrsvesu rupyavaiduryasphatikasuvarnamayam sumerum dhyatvd* astasrngam piirva] em. astasrngo purvo IC Cf. SUT ch. 13, w. 9-12; HA (f. 3v); and sadhanas showing various elaborations to the process, e.g., the red fire element may have the syllable ra- inscribed in each corner, e.g., SM110 (p. 226): tato ramkdrendgneyam trikonam raktakonesu rephdnkam (cf. SM95, SM97); the elements may have the seed-syllable and the emblem upon them (as in Kumaracandra's commentary on the KYT patala 17 (p. 124); Vdrdhya- bhyudayatantra w. 35—40; etc.

320 Changes to the Abhidharmic model can be observed as early as the yogatantra corpus in the Vairocana sadhana of the Sarvadurgatiparisodhana (p. 160), which includes the substrate of emptiness (in the form of the emptiness meditations) and the fire element. It also describes the water dement as "the great ocean" (mahodadhih)y and generates the mandala of gold above that from the syllable kam. The changes in the yoginltantras accord with the cosmic systems described in Saiva and Vaisnava tantric traditions and may evince their influence (Sander- son, opxit). Isaacson (1998: personal communication) notes that other mod- els were also in use, for example, the Buddhist tantric Catuspltha tradition uses quite different syllables: yum hum sum hum.

Both cosmological systems are also beautifully illustrated in line drawings by



45^



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Beer (1999: plate 61 with pp. 108-9), and in computer-generated illustrations in Brauen's exposition of the cosmos (1994: 5°~54 and 1997: 19-20, figs. 5 and 8). I do not attempt to reproduce the cylindrical shape of the elements here in fig. 25, as the dimensions are not even possible to reproduce with computer drawings. For example, although the height of the elements is given in the Abhidharmakosa, the circumference of the wind element is said to be "immeas- urable," and space is infinite; Mount Meru also dives beneath the gold/earth to a given depth, and Brauen (ibid.) shows how the mountain is formed dif- ferently in the different systems. There are also numerous heavens above Meru within the kdmadhdtu, the rupadhdtu (culminating in the Akanistha heaven), and the drupyadhdtu.

321 Sadhanas that direcdy follow the emptiness meditation with visualization of the cosmos must postpone installing the circle of protection until after the cosmos has been set in place. This differs from the method in the Vajravdrdhi Sddhana, in which the emtpiness meditations lead on directly to the circle of protection, and in which the cosmos — whether the cremation grounds as in v. 16a or the traditional cosmos as in v. 35 — is visualized inside the circle of protection. Examples of texts that place the visualization of the cosmos immediately after the emptiness meditations (and therefore before the circle of protection has been generated) include Sarvadurgatiparisodhanatantra (p. 160); SUT ch. 13, w. 8-9; HA (f. 3O; GSS5 (Sed p. 129 4 , K17V3); GSS3 (Kizrs); and GSS12 (K7in). The difference is more apparent than real, since in these cases, the cir- cle of protection presumably encompasses the visualized cosmos, or as it says in GSS3, it is visualized "on top" (GSS3 Ki2r6: tadupart), perhaps "superim- posed"? The dharmodaydznA temple palace are then visualized within the cir- cle of protection, on top of Mount Meru.

322 E.g., GSS3, GSS12, cf. SUT 13.13: caturasram caturatnamayam astasrngopasobhi- tam vicintya.

323 E.g., STTS ch. 6 (p. 56): sumerugirimurdhni vajramaniratnakutdgdre samdjam

agamy a. . . .

324 E.g., STTS ch. 6 (p. 63): caturasram caturdvdram catustoranasobhitam. . .; Sarvadurgatiparisodhana (p. 160), Ndmamantrdrthdvalokini (Tribe 1994: 244); cf. GSS16 (K76V2), ADUT (ch. 14, p. 316), and similar descriptions in many other sources, e.g., HT1.10.20; KYT (p. 140); SM54; SM95; SM97; SMno; SM123; etc. See also Sanderson (1994* n. 48) and Wayman (1990: 82-89) for sources for the temple palace. In tantric visualizations, the various aspects of the temple palace also become the subject of purifying equations. The con- nection with the yogatantra corpus may explain the common visuddhi of the temple palace with the body of Vairocana, e.g., GSS5 (Sed p. 130 16 , Ki9ri-2):
-savidydvairocandtmakam kutdgdram. . . <bhdvayet>; Hevajrasekaprakriyd{vairo- canahiddhyd kutdgdram. . .); SMno (p. 227): parisuddhabuddhaksetram samksepa- rupam mahdmoksapuram vairocanasvabhdvam ndndratnamayam kutdgdram. .., etc. Studies have shown that the traditional Indian temple, based on the intri- cately conceived vdstupurusamandala, is equated with both the cosmos and the



NOTES TO PAGES 147-149



453



body (Snodgrass 1985: 104-17). For a brief resume* of work on this topic, see Brauen (1997: 73-74).

325 Earlier sadhanas describe the generation of the temple palace upon a lotus (e.g., SM123 p. 255), but later texts add the detail that upon the pericarp is an altar- like foundation composed of a double vajra, e.g., SUT (ch. 13, v. 13); HA (f. 3v); Bhramaharandma Hevajrasddhana (ed. Isaacson 1997); SM97 (p. 136); SM110 (p. 227); NYA (p. 12); cf. K. Gyatso (1997: 86, 93). This is illustrated artistically in the sculpted Sumeru Temple in Chengde (Jehol, China), in Brauen (1997: 74 fig. 50).

326 The manner in which the elevation of the temple is depicted within the two- dimensional mandala is discussed by. Brauen and illustrated with a helpful series of explanatory models (1997 fig. 47 and plates 15-21).

327 Another "transitional" GSS sadhana is the Trayodasdtmikavajraddkinisddhana (GSS16), which fuses the tradition of the temple palace with the setting of the eight cremation grounds; it is the only GSS sadhana to locate the self-generation within the eight cremation grounds and also to endow the goddess with a palace (vimdnam) within those cremation grounds. The setting of the temple palace within the cremation grounds is familiar from other tantric systems, and is that represented in all artistic representations of mandalas within the cre- mation grounds. Cf. commentary on HT1.3.16 (smasdne kridate ndtho) in YRM (p. 115): vajraprdkdrdsv antare ghordspasmasdndni tanmadhye kutdgdrodare viharati ndtho hevajrah.

328 Cf. YRM (on HT1.8.3). Its color differs in other Vajrayogini sadhanas, in which it may be visualized as red and may rest upon a red sun disk generated from a red syllable ram. E.g., GSS35 (K118V3): rakta-ekdraparinatam lohitavarnam sarirasvarupam urdhvadharmodayam; GSS 10 (K47V2): tatra dharmodaydm dhydtvd raktddyaksarasambhavdm; GSS24 (K9or2): raktahrimkdrasambhutdm dharmodaydm.

329 The compound dharmodayd is a feminine bahuvrihi whose gender is derived from the now absent referent, "womb" or "source" (yonih), i.e., "that [womb] which is the origin of dharmas" (dharmodayayonih > dharmodayd) (Sanderson 1998: personal communication). However, it also appears as a masculine noun, functioning as a genitive tatpurusa compound, dharmodayah.

330 The triangular fire pit in the Gopyahomavidhi (GSS8) is referred to as "vagina

shaped" (K44n): bhagdkare vasyakunde As for the letter e, see GSS5 (Sed p.

130 15 , Ki9n): dharmodaydm ekdrdm uparivisdldm adhahsuksmdm vicintya. For its correlation with the female sex organ, see GSSi«2 (K280VI-2): dharmodayeti vikhydtam yositdm bhagam ity api; also cited Vasantatilakd ch. 9, v. 2, p. 71. A corrupt passage in the SUT ch. 2, v. 25ab: dharmodayayonidvdrdndm abhimukham bhavati niscitam is translated by Tsuda: "It is certain that it (the seed) faces the aperture of the yoni, that is, 'the origin of dharmas."' Sander- son (1999: personal communication) suggests that the sense is of rebirth: "It is certain that [the being to be reborn] approaches the exit from (dvdra-) the vagina that is the source of existents (dharmodayayonih). ." Similar instances are



454 NOTES TO PAGES 149-150

cited in the Bauddhatantrakosa (p. 20) e.g., Vimalaprabhd (p. 39): e rahasye khadhdtau vd bhage dharmodaye mbuje.

331 Sanderson (1999: personal communication) points out that the dharmodaydis already present in the root text of the Caryatantra, the Vairocanabhisambodhi- tantra, as depicted in the 122-deity mandala based on the scripture in the Ngor mandalas of Tibet (1989; plate 20, also in color at the end). Here it has its scrip- tural form, downward pointing, with the vajra at its center. This tantra was translated into Chinese (T 848) in 725 C.E.; on the Far Eastern version, see Stein (1974-75: 481-88)

332 GST 1.1, HT1.1.1: evam mayd srutam ekasmin samaye bhagavdn sarvathatdgata- kdyavdkcittahrdayavajrayosidbhagesu vijahdra.

333 For the dharmodayd as Sukhavati, see HT2.2.38ab: vihare 'ham sukhdvatydm; sadvajrayosito bhage; HT2.2.4ia: yosidbhage sukhdvatydm; HT2.4.30c~3ib: strikakkolasukhavatyam evamkdrasvarupake I sukhasya raksanddeva sukhdvatiti sabditam. The YRM (p. 139) states unambiguously: amitdbhasya tathdgatasya buddhaksetram sukhdvatlty ucyate. iha tu nairdtmyddinam bhagdni sukhdvati- samksepdni, niruttarasukhasya raksandt. Hence the dharmodayd is frequently described in terms of "self-perceived {svasamvedyam, known-in-itself) great bliss" (HTi.8.46b: svasamvedyam mahat sukham) and as wisdom and means, viz. buddhahood, HTi.8.49ab: dharmodayodbhavam jndnam khasamam sopd- yanvitam. On Sukhavati as a "generalized religious goal," see Schopen 1977.

334 GSS42 (K125V5): evamkdrasamdsine sahajdnandarupini I prajndjndne ca dehasthe namas te vajrayogini 1 1 • prajndjndne ca dehasthe] em.; prajhdjhdnadehastho K; prajndjndne ca dehagre C. Cf. GSS17 (K82r5-6): ekdramadhye vamkdram; and the related sadhana GSS45 (K139V2): prathamam tdvad evamkaramadhye . . . ; and citations in Bauddhatantrakosa (p. 20). Note that in the Hevajra tradition, evam designates innate bliss (sahajdnandah), the summation of four types of sexual activity that are equated with four tantric initiations. For example, HT2.3.2-4b: "The union (samvaram) of all the buddhas is grounded in the sound evam. Correctly produced through [the four] consecration [s], evam is great bliss.. . .the syllable e, which is divine, is adorned with vam in the center." samvaram sarvabuddhanam evam-kdre pratisthitam [cf. SUT ch. 3, v. 17] I abhisekdj jndyate samyag evam-kdram mahat sukham 1 2. ..e-karakrtiyaddivyam madhye vamkdrabhusitam. Ratnaraksita's Panjikd on the SUT also explains evam with reference to the fourth abhiseka (Tsuda 1974: 246 n. 2); Kanha's commentary upon the HT (YRM pp. 103-4) identifies e as vagina (bhagah), and vam as penis (kulisah). In one Tibetan exegetical tradition, mKhas grub rje (pp. 333-36) describes three types of evam stating that the inseparability of bliss (vam) and void (e) is the principal subject matter of the highest tantras.

335 Introduction to Adhikara IV, Ndmamantrdrthdvalokini by Vilasavajra (Tribe 1994): samvaragrahanapurvakam bodhicittam utpddya pancdkdrdbhisambodhim bhdvayed anena kramena. See Tribe 1997: 122.

336 See Kanha commenting on HTi.8.4b-8b in YRM (p. 115): yogasariram punar atra pancdkdrdbhisambodhih; and Vajragarbha's Hevajrapanjikdcd. Sanderson



NOTES TO PAGES 150-152



455



1994, n. 57 (ff. 47V-48O: ddarsasamatdjndnapratyaveksanakam kramdt I tesdm aikyam anusthdnam bimbanispattihetuh I ' dharmadhdtur idam proktam pancamam jndnam uttamam I pancdkdrdbhisambuddham hevajram dvibhujam bhdvayet. $y/ The vajracatuska comprise: (1) awareness of emptiness (sunyatdbodhih), (2) producing the seed-syllable (bijasamgrahah), (3) concentrating the seed (bijanispattih), and (4) placing the syllables (aksaranydsah). This is taught in the GST (ch. 12, v. 66a; ch. 18, v. 137) as part of the fourfold series sevd, etc., mentioned on page 25 (GST ch. 12, v. 6off.; ch. 18, v. I36ff.). See also Candra- kirti's exposition (PU to GS ch. 12 in Wayman 1977: 36-41)- It was also taken up in the yoginitantra tradition in the HT (1.3.2) and its commentaries (Snell- grove 1959: 57). Beyer (1978: 109-10) describes its correlation in a Tibetan tra- dition with the process of rebirth. In the sixfold arrangement (of six "gods"), the first "god" (tattvadevatd) represents meditations on the nature of the "self; the second (sabdadevatd) is "the god as sound," i.e., the mantric syllable resounding above the moon disk; the third (aksaradevatd) is the mind as the moon disk with the mantra written in gold around it; the fourth (rupadevatd) is the rays issuing from those letters to benefit the world and retracting once again into the deity's body; the fifth (mudrddevatd) is the armoring of the deity's body; the sixth (nimittadevatd) is the meditation on the form of the deity to fortify the ahamkdra. The six gods are discussed by mKhas grub rje (ch. 4: 159-63), who correlates them with the five awakenings (ibid.: 163, with n. 16; cf. ch. 1: 29), and also by Tsong kha pa (1987: 104-9), witn discussion by H. H. Tenzin Gyatso (ibid: pp. 21-24). This is also summarized by Brauen (1997: 64-65). mKhas grub rje states that "the method of contemplating the six gods" is referred to by the yogatantra commentator, Buddhaguhya, cit- ing Kriyatantra texts (ch. 4: 165). See also Bentor (1996: 97-100) for a help- ful summary of some of the different Western treatments on the subject of generation.

338 GSS5 (Sed p. 131 3 , Ki9r5): tasya ndbhau astabkadharmatdm upalaksayed visuddhyd raktapamkdrajdstadaUkamakkarnikdydmavidydndhakdravidhamanav siiryamandakdvigundliparinatddarsajMnasvabhdvacandrad^ dvigunakdliparinatasamatdjndnasvabhdvasuryayor meldpakamahdsukham samputamadhye raktavamkdrajavajramustyantargatabhdnustha<vam?>bijam pratyaveksandsvabhdvam tannirmitarasmind spharitvd dasadiksu bhagavatyd- kdrena sattvdrtham krtvd punas tatraiva samharanam krtydnusthdna<m>. etat sarva<m> parindmendtmdnam bhagavatim vajravdrdhim suvisuddhajndnasva- bhdvdm ...bhdvayet. • upalahayed\ N; upaleyadK.

339 Note that in contrast to the Vajravdrdhi Sddhana (which directs the yogin to visualize the red lotus inside the dharmodaya), the Abhisamayamanjari pre- scribes the visualization of the red lotus within the temple palace. The temple palace itself has already been generated within the dharmodayd.

340 SeeHTi.8.4cff(v. 6): sthitdlis ' candrarilpena kdlirupena bhdskarah;d. Samputod- bhavatantra 3.3. 5fF. In the GSS, see GSS12 (K7ir3): tanmadhye pamkdra- parinatam visvapadmam. tasyopari humkdraparinatam visvavajram. tadvaratake



456



NOTES TO PAGES 152-153



dlikdliyogam. . .; GSS7 (K4or4): tadantar dlikdlih syddmadhye vamkdrabhusitam; GSS16 (Ky/T^—6): madhye. . .dliparindmena candramandalam. kdliparindmena suryamandalam. hdmvamparindmena mukulitavajram; GSS33 (K107VI-2): dtmdnam adhimucydsu kurydt sahajasddhanam I vajropamasamddhind kdlydli- samputam kuru. Other sadhana texts contain lengthy descriptions of the process; e.g., SM67 (p. 139), the sadhana of Cakrasamvara translated by Beyer (1978: 112), and Sanderson (1994, n. 57) cites Tathagataraksita's Yoginisamcdra- nibandha, where only the moon disk appears (NAK ms. No. 5-22/vi SamcdratantrapanjikdToh. 1422). On the other hand, the transformation of the vowels and consonants may provide a shorthand for the whole sequence of awakenings, e.g., SM251 (p. 462): dvdtrimsallaksandsityanuvyahjandtmakam prabhum ...;cf. SM95 (p. 190), etc.

341 For the revolving vowels and consonants, see the sadhana of Cakrasamvara (Dawa Samdup 1919: 88) and ADUT 6.3 cited Sanderson op.cit. (NVMP Reel no. E 695/3): tanmadhye dlikdlidvigunikrtvdnulomaviloma<m> humkdrotthi- tam vd vajrasattvayogena suratasukhodbhutas'riherukdtmdnam bhdvayet. • hum- kdrotthitam] conj. Sanderson; humrddhitam ms.

342 ADK/B ch. 3, w. 10-17; cf- Beyer 1978: 113, Isaacson 1996b: 25, nn. 16, 27.

343 Ratnakarasanti's Muktdvali on the same passage (HT1.8.5-6, ed. Sanderson 1994: n. 57) describes a fourfold ennumeration of the bliss of the seed, in which the first three types of bliss encompass the third awakening, and the final bliss describes the fourth awakening: (1) the bliss of the seed placed (directly) upon the sun disk (prayogasukham), (2) the bliss of the emblem (cihnam) that has arisen from the seed (millasukham), (3) the bliss of the seed inside the cihna (paricchedasukham), and (4) the bliss of the innumerable yoginis that emanate and retract [into that seed through the agency of rays] (pardrthasukham). Sanderson (ibid.) notes that Ratnakarasanti's account is unusual in that the moon disk is followed directly by the sun disk and that the seed syllable is placed upon that. In contrast, Kanha uses the sequence described here, which becomes standard in the yoginitantra sadhanas, e.g., commenting on HTi.8.4cd-5ab YRM (p. 124): dvayor iti prajnopdyasvabhdvayos candrasuryayoh, tanmadhye mahdsukhasvabhdvam bijam uktam • svabhdvayos] em. Sanderson; svabhavam ca Snellgrove.

344 For descriptions of the seed/emblem, see GSS3 (K12V2-3): tadvaratake dlikdliparinatacandrasuryasamputamadhyeraktavajrdntargatamraktav prakrtiprabhdsvaram pasyefi, GSS12 (K7113): tanmadhye pamkdraparinatam visva- padmam. tasyopari humkdraparinatam visvavajram. tadvaratake dlikdliyogam. tanmadhye vamkdram tatparinatd bhagavati vajravdrdhi raktavarnd\ GSS38 (K122VI-2): sitahrihkdrajapancasukavajrena nispanndm vajravdrdhim • hrih] Kpc; (humjhrih K(dc\).

345 Cf. SM6 (p. 26): tato niscarad anekarasmisatasahasram dhydtvd tena sarva- sattvdndm asesdnddikdlasamcitam rdgddiklesasamuham sattvdndm visodhyante; SM66 (p. 133): punas ca guhyam paramam pavitram I bijdksaram praksarad- ansujdlam I ' bandhukapuspadyutasannikdsam I 'vacant prapancaprasaraikahetum. . .;



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■?-'■•






SM67 (p. 140): /#/» bljdksardn nihsrtya rasmibhir pancagatikasattvdn dman- trayet....dmantritasadgatikasattvdn bijdksare pravesya. . . . The "expansion and contraction" of rays is a common term, e.g., SM56 (pp. 116, 118): spharanasam- harandkdrena; SM58 (p. 122): sphuranasamharanam ca dhydydt.

346 SUT (ed. Tsuda 1974), Utpattinirdesapatala (ch. 2, w. 12C-20): sdmagrim na labhate tdvat saptdham antardbhave tisthati I izbc I kathamcit karmasiltrena sadgatis ca prajdyate 1 13 I mdtrpitrddisamyogd iksayed bhavajanminah I atinir- bharam dnandam mukhamdrge pravesyate 1 14 I asvdrohanavaj jhdnam vdyu- vdhanarudhavat I sighrataram samdgatya muhurtaksanamdtrakam I 15 I dvdsaptatisahasran ca nddlh samcodya tatksanam I paramdnanda samprdptam dlikdli dravlkrtam 1 16 1 sukrasonitayor madhye bindurilpena tisthati I prathamam kalaldkdram arbudan ca dvitiyakam 1 17 1 trtiye pesito jdtah caturtham ghanam eva ca I vdyund preryamdnan ca mdmsdkdravad bhavet 1 18 1 pahcamdsagatam bijam pancasphotah prajdyate I kesaromanakhdcihnam saptamdsena jdyate I ip I indriydni ca rupdni vyajyante cdstamdsatah I sampurnam navamdsena cetand dasamdsatah 1 20.

347 Here, the generation involves two stages. The first generation is of the deities' "causal" form (or hetuvajradhara)\ then the second generation gives rise to the "resultant" forms (phalavajradhara). The causal deities are visualized in sexual intercourse, during which the seed is implanted in the womb of the female deity via the male's penis, as in the Bhramaharandma Hevajrasddhana (Isaac- son 1997: 5): tasydnandina dsyena dvihohkdravidarbhitam I jvalad bijadvayam rdgdt padmdntah pravisad dravet, upon which Isaacson (ibid.: 27) writes: "Ratnakarasanti is perhaps deliberately slightly obscure here; it must be under- stood that the sddhaka visualizes himself in the form of the seed syllables am and hum, preceded and followed by hoh, and that he then enters into the mouth of the Hevajra generated in the pancdkdrdbhisambodhi above and passes through the central channel of the deity's body and via his penis into the womb of Nairatmya, where the seed syllables melt to form a single white drop." The drop produced from the great bliss must then be aroused with song (see Beyer for a discussion based primarily on Tsong kha pa's sNgags rim chenpo, 1978 pp. 113, 126-27, and Wayman 1990: 211-17.)

348 On the three bodies in relation to the self-generation, see Sanderson (1994: n. 57) citing, for example, the Yoginisamcdranibandha: "Having a nirmdna [body] means the embodiment of the deity as the Emanation-Body which pulsates for the benefit of living beings... hence, because it is being enjoyed by the deities in the temple palace through their enjoyment of Truth, it is called the Enjoyment-Body." (f. 4n): . . . nairmdnikam itijagadartham prati spharanasam- harandtmakam devatddeham nirmdnakdyasvabhdvam jndtveti sesah...ata eva dharmasambhogadvdrena kutdgdrasthitadevatdbhih sambhujyamdnatvdt sam- bhogakdya ity ucyate; also, "The Body of Transformation in the state of radiat- ing the deities is like the state of begetting sons and so on" (Amndyamanjari cited Beyer 1978: 126). On the conventionality of the sambhoga form generated in the meditation, Abhayakaragupta's commentary to the Buddhakapdlatantra



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states, "But in this [system] the Emanation-Body is taught with the form of Heruka etc. constructed thus and thus out of consideration for [the needs of] those to be trained, by means of the Dharmakaya. But the Emanation-Body, the 'constructed-Buddha' that is taught in the Paramitanaya, is [taught] here too, and it is similar because it is constructed. Even if it is the case that the Enjoyment-Body is constructed from the Dharmakaya, in the Paramitanaya [the Enjoyment-Body] is ordinary/conventional simply (eva) because it enjoys the Dharma" (cited Sanderson op. cit). Abhayapaddhati (f. 6rz): iha tv asau dharmakdyavasena vineydnurodhato herukddirupena tathatathanirmitena nirmanakaya ucyate. yas tu nirmitabuddho nirmanakayah paramitanaye kathyate so 'trapi tadvad eva nirmitatvac ca. saty api dharmakdyanirmitatve sambhoga- kdyasya paramitanaye prthaktvam dharmasambhogdd eva. • nirmitatvac] em. Sanderson; nirmitavdc ms. Cf. YRM (on HT1.1.5): nirmanakayah samayasattva- sabdenabhidhlyate.

349 The reflexive pronoun is usually supplied, e.g., GSS34 (Kii2v 3 ): mahddevim dtmdnam adhimuncayet.

350 SM25 (p. 62): etadanantaram pratibhdsamdtrakam svakdyam avalokya.

351 Cakrasamvara is described, for example, in SUT ch. 13, w. 22C-24, and NYA, Samvaramandala p. 26.

352 Naropa's connection with Vajravarahi/Vajrayogini is described in his Tibetan life story (Guenther 1963: 24). Rhie and Thurman (1991: 261) refer to three Vajradakini forms, which are said to have been revealed to Indrabhuti, Maitripa, and Naropa. These three masters are all associated with separate lin- eages in the Tibetan tantric tradition, according to an anlaysis of nine Samvara schools by Tibetan commentator Ngag dbang rigs 'dzin rnam rgyal rdo rje, namely the three main lineages of Luylpada, Ghantapada, and Krsna/Kanhapa, plus the lesser-known methods of Prabhutacandra, Kambala, Nagarjuna, Indrabhuti, Maitripada, and Trinetra (L. Chandra in Dawa-Samdup 1919: 9)-

A sadhana of this form of Vajravarahi is found in the Rin 'byung brgya rtsa, in which she is called "Nam's Dakini" (Nd ro mkha 'spyod) (Willson and Brauen 2000: 258). She is depicted twice in the Mongolian icons following this text (IWS/T 77, LC 587 and IWS/T 87, LC 597)- The Tibetan sadhana (ibid.) dif- fers from our Sanskrit description in the following ways: Naro-Dakinl holds in her right hand either a "knife marked with a vajra, or a damaru dangling from a vajra." Her skull staff may be held either "in her left armpit" (as IWS/T 87, LC 597), or "on the shoulder" (as IWS/T 77, LC 587). Her black hair is adorned with "five sorts of «^-tree flowers," and her garland is of dried skulls; she wears only five signs of observance. The mantra given is: om om om sarva- buddhadakiniye, vajravdrnnaniye, vajravairocaniye, hum hum hum phat phat

phat svdhd {ibid. : 213) .

353 Sanderson (1998: personal communication) suggests that this may refer to the brilliant red of the stigmas of the saffron crocus before they have been removed from the flower and dried. ,

354 E.g., GSS16 (K8or4): raktapadmacandrdsanasthdm; GSS20 (K84t5): vikasita-



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suklavarnapadmam bhdvayet. tatropari atiraktavarnam suryamandalam bhdva- yet; GSS2 (Kiir4): vdme padmabhdjanam sitavarnam asrkpurnam, etc.

355 The Saiva symbolism of the three eyes is as follows: "Spontaneously, I realize [my] three eyes as the three circles [in the earthly sphere of the cakra] , whose form is the three luminaries: the sun, the moon and fire" (translation by Khanna 1986 of the Subhagodayavdsand by Sivananda, v. 11): somasuryakrsdn- vdtma tejas tritayariipam I netratrayam bhdvaydmi vrttatdtritayam ahjasd.

356 E.g., GSS5 (Sedp. 131 15 , K19V6): mithyddrstiprahdnddvikrtaikdnandm caturmd- ravindsandd damstrotkatabhtsandm; GSS17 (K82V2): damstrdkardlavadandm; the goddess is also described as only "slightly fanged" GSS16 (K8or5): isaddam- strdkardlinlm; GSS4 (K13V3): damstrdkardlavadandm trinetrdm vikrtdnandm; GSS45 (K139V4): caladvartulatrinetrdm bhrubhangabhrkutini<m>; see GSS17 (K82V2): raktavartulacalatpracandanayanam. . .atibhimarupdm; GSS19 (K83V4): ugrd<m> . . . caladvartularaktatrinetrdm; although also with a lustful or com- passionate expression, GSS7 (K4or5): trinetrd ca madanotkatd; GSS5 (Sed p. 131 16 , K19V6): kdyavdkcittavisuddhakrpdraktanetratraydm. For Sam vara, see SUT ch. 13, v. 21a: vikrtdnanam; NYA p. 26: -damstravaktro, etc.

357 Buddhist tantric sources follow Saiva conventions, which specify a stage-left and stage-right procedure for describing a deity, thus: "In this description, when we say 'left' [from the point of view of the deity] we mean 'right' [from the point of view of the observer] and 'right' means 'left' [in the same way]." Siddhayogesvarimata (6.i9cd— 28): vdmam daksinam evdtra daksinam cottaram smrtam. ed. Torzsok 1999.

358 See p. 72. This distinction seems to have been blurred by the traditions trans- mitted into Tibet (and subsequently by secondary sources). In the Textual Note to the corruption in verse 20, it is noted that, according to the Tibetan translation, the goddess holds a "chopper shaped like a leaf." The Tibetan sadhana of Naro-Dakini (Willson and Brauen 2000: 258) notes that she holds in her right hand either a "knife marked with a vajra, or a damaru dangling from a vajra."

359 GSS5 (Sedp. I3i 9-12 , K19V2): vajravdrdhim...samarasibhutapancajhdnavisud- dhydrunavajradhardm; SM218 (p. ^xS):...arunapancasucikavajram dhydtvd. In contrast, Luyipada prescribes a vajra with a single point (GSS2 Kiir4): daksine ekasukavajram. In sadhanas of the tantric goddess MaricI, both types of vajra are prescribed, illustrating that they are classed as different attributes, e.g., SM138 (vajram); SM143 (ekasilcivajram); SM134 (both vajra and sua); SM140 (both visvavajram and ekasilcivajram). Snodgrass (1985: 175 fig. 106) shows examples of vajras with one, two, three, four, five, and nine prongs, and dis- cusses the vajra as a multivalent symbol, {ibid: 174). Beer (1999: 232-43, with plates 108-12) illustrates iconographical differences and discusses their sym- bolism. References to the threatening gesture abound, e.g., SUT ch. 13 (v. 24a): daksine tarjanivajram. In the GSS, see; GSS3 (Ki2v): vajravdrdhim. ..dvi- bhujdm daksinena vajratarjanikdkardm • kardm] em., karam K; GSS 5 (K19V2): bhagavatim vajravdrdhim... satyadvayavisuddhy a bhujadvaydm daksinena



460



NOTES TO PAGES 156-157



'



prasrtordhvatarjanikayd dustatarjanikayd dustatarjanap arena samarasibhuta- pancajndnavisuddhydrunavajradhardm. • bhujadvaydm] codd. (understand bdbuvrihi); GSS6 (K39V6): vajrolldlanatarjanyd<m>\ SM218 (p. 428): vila- sattnpatdkojjvaIasavyakarapalkvasthitapuwokta[=am ajndnapurusasya bhaydnuvidhdyinim.

360 E.g., GSS35 (K1191-1): vamakarakalitordhvanabhastakvilasatkapakvinivistadrstim.

361 NYA (p. 26.9): vajravarahi tu. . .dlinganakaradhrtakapdlagalitarajodhdrayd prabhum pdyayanti prasrtordhvabhujatarjanaikavajrena dustdn samtarjayanti. . . . Another early tangka from Khara Khoto (twelfth-thirteenth centuries) shows a two-armed Cakrasamvara with Vajravarahi (Piotrovsky 1993: plate 27). Some early statues of solo Cakrasamvara have also been published, such as the brass from northeastern India dating to the eleventh-twelfth century (von Schroeder 2001: plate 104A), the metalwork statue found near the ruins of Vikramas'Ila (Linrothe 1999: plate 206), and the very fine leaded brass Cakrasamvara from Kashmir dated ninth to tenth centuries, holding an almost complete elephant about his shoulders (Reedy 1997: plate K62; Linrothe op. cit. plate 211); also some eloquent stone sculptures from eleventh-century Bihar (Huntingdon 1984: plate 195), Orissa and Bengal (Linrothe op. cit.: plates 198, 199, 203). Linrothe includes a study of Cakrasamvara in his survey of wrathful esoteric male deities.

362 For blood of the evil mdras (namely, Kles'amara, Skandhamara, Mrtyumara, and Devaputramara), see GSS12 (K7ir5): vamabhuje ca kapalam dustamara- dyasrkpurnadhara; SUT ch. 13, v. 24c: dustamdrddyasrgdhara; SM218 (p. 428): caturmdrdsrgdpurnapadmabhdjanam. SM236 (p. 457): vame kapalam devasura- rudhirapuritam. HTi.8.20cd: raktam ca caturmaranam piyate siddhihetave. The reference to the blood in GSS5 (Sed p. 131, K19V5) is in the note below. While skull bowls generally hold blood or the nectars, another mandala described by Abhayakaragupta (NYA p. 15 Saptadasatmakahevajramandala) ascribes each attendant goddess a skull bowl containing animate creatures ranging from a tur- tle swimming in the blood (sakurmaraktapurnakapala) to a monk (sasukla- kapalasthabhiksu). As for the classification of skulls in the Buddhist tantras, Sanderson (1994K 95) has noted that its exposition in the SUT (ch. 15) is closely related to the Saiva kapalika Picumata (ch. 4). Various types of skull bowl are depicted by Beer (1999: 265, plate 119).

363 GSS5 (Sed p. 131 12 , K19V4): vajravarahim. . . vamena^ha~ekasukordhvakrsnapanca~ sukasitadanddnugatasiiskasdrdrasirovUvavajrakanakakalasam ksmaghanukdnvimviwapata^virdjitopdyasvabh

mahdsukhamahdkamndrasasamaydsrkpurnakapdkm ca bibhratlm • °sdrdra] SM218 (p. 428).; sdrdram K • kanaka] Kpc 2, Kac om. Translation based on Sanderson 1994 n. 64.

364 Cf. Khara Khoto Vajravarahi (Sacred Art of Tibet plate 93), sixteenth- to sev- enteenth-century tangka of Padmasambhava from western Tibet (ibid: plate 49), brass of "Naro Dakini" (ibid.: plate 114), and the tangka of Padma- sambhava (ibid: plate 48). For a version of the khatvdngavnrh. just two skulls



NOTES TO PAGES 157—158



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(rather than three), see the six attendant goddesses to the Khara Khoto Vajravarahi (ibid.: plate 93). A staff with only one human head is held by Rakta- yamari {ibid.: plate 107). Beer (1999: 253-58, with plates 115-16) discusses and illustrates the variations.

365 SP 459.7-460.1 (translated by Sanderson 1994: n. 64): "Next the skull staff. [There are two kinds.] The first is as follows. Its upper end is adorned with a samayavajra. Below that it is decorated with three dry heads [i.e., skulls: suskamundatraya]. It has a visvavajra at its middle, and part of [i.e., half] a single-pronged vajra at its base. [The other kind] has two heads at the top of its staff, one dessicated and the other fresh. Above them is a samayavajra. In

IH^. its center is a vase adorned with mango leaves and the like. Above its mouth is

a visvavajra with five streamers attached to it. In both kinds the staff is thick [er] at the top and narrow[er] at the bottom. It is adorned with tiny bells and the like. The heads etc. are to be depicted in whatever manner is beautiful."

366 E.g., YSCT ch. 15, v. 7 (p. 134): khatvangam devatdmilrtih prajna damarukal- pitam I khandakapdlddayah sarve sariradhatukalpitam. Cf. K. Gyatso 1999: 126.

367 E.g., GSS2 (Kiir4-5): dlikalimundamdldmudritam; and GSS5 (Sed p. 132 4 , K2CT2— 3): dlikdlipancdsadaksarasvabhdvdm grathitasdrdranarasiromdlinim. For the dripping garland on Heruka forms, see SUT ch. 13, v. 2id: s'atardhana- rasiravibhusitam; YRM on HT2.5-9a (p. 152): mundeti sdrdramundamald, the Mahamaya sadhanas (SM240, SM242, SM244), etc. For the same on the lone Vajravarahi goddess, see GSS12 (K7ir5): s'atdrdhanarasiromdldpralambitd; GSS3«GSS3i (K12V5): sdrdramundamdldlamkrtagdtrdm. On twelve-armed Marici, the dried skulls of the chaplet are distinguished from the dripping heads of the garland, SM139 (p. 185): suskapancamundamdldmaulikam vigalan- mundamdldpralambitakandhardm.

368 E.g., NYA (p. 26): niraktatvena suskanarasiromdlini (see Sacred Art of Tibet plates 68, 69, 70). This is not a rule since Nairatma, consort to Hevajra, also wears the bloody garland of heads (NYA p. 20). Alternatively, the lone god- dess is commonly depicted wearing only a garland of skulls (e.g., Sacred Art of Tibet plate 114).

369 For the former, see the Mahakala Brahmanarupa brass in Sacred Art of Tibet plate 72; and for the latter, the seventeenth-century brass of Begtse ibid.: plate 120. See Beer's discussion and illustrations (1999: 316-18, with plate 137).

370 E.g., GSS7 (K42r2): nilpurair mekhaldbhis ca keyurair vajraldnchitaih; SM245 (p. 475): nardsthikundalinam.

371 E.g., Cakrasamvarapanjikd (f. 6v): avayave krtam lingam sd mudrd. Cf. the Carydvrataddnavidhi cited by Sanderson (1994 n. 69), and mentioned n. 381.

372 GSS5 (Sed p. 131 18 , K2on, Niiv, Di3r2): cakrikund^lakanthirucakakhanddnka- mekhaldkhyapancamudrddhardm. — fanthikdmcakakui^ldnisiromanivibhusitdm \ yajnopavitam bhasmeti mudrdsatkam prakirtitam — iti. mandalandyikdtvena sanmudritdm ity eke. • kanthi] K; kanthi N, D • khanddnka] K, N, Dpc; kha(dvdnga) D(mg) • mekhaldkhya] em.; mekhaldkhydh codd. • kanthikd-^



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NOTES TO PAGES 158-159



vibhusitdm] codd.; Understand "kanthikdrucakakundalasiromanivibhusitdm" (the text is corrupt and unmetrical; but the sense is clear). • yajnopavitam] D; yajnopavitinam K, N • °satkam] K, N; sadkam D • sanmudritdm] corr.; sadmudritdm K, N; sanmudritdm D). Cf. GSS7 (K40V2): sanmudrdmudritd devi khandamanditamekhald I keyuranupurdbhydm ca yathdsthdnam vibhusitd.

373 The chaplet is usually made of human skulls (see below, v. 22cd), but some- times a "head jewel" is prescribed instead. Cf. Samvara in Cakrasamvaratantra- panjikd(£. i8v): panca mudrd<h> mcakasiromanikunaalakanthikdyajnopavltdh; DharmadhatuvaglsVara in NYA (p. 54): pancabuddharatnakiriti; and Vajra- sattva/Manjuvajra in NYA (p. 2); and SM250, which equates the six mudras with the six perfections (p. 489):. kanthikd rucakam ratna<m> kundalam bhasma sutraka I sad vaipdramitd eta mudrdrupena yojitdh.

374 This is described in the Carydvrataddnavidhi from the Kriydsamuccaya (cited Sanderson 1994: n. 69), in which the ornaments are said to symbolize Aksobhya (chaplet), Amitabha (earrings), Ratnasambhava (necklace), Sasvata=Vairocana (armlets), and Amoghasiddhi (girdle), and Vajrasattva (ashes). For the corre- spondence of the five buddhas with the five mudras in the Hevajra tradition, see HTi.6.n-i2a: aksobhyas cakrirupendmitdbhah kundaldtmakah I ratnesah kanthamdldydm haste vairocanah smrtah I mekhaldydm sthito 'moghah; HT1.8.17: cakri kundala kanthi ca haste rucaka mekhald I ' pancabuddhavisuddhyd capancaite suddhamudrakdh; HTi.4.i4cd; HT2.6.4cd; HT2.9.12C. Also, sadhana of Dvi- bhuja Heruka SM245 (p. 475): sirasy aksobhydtmakanarasiroghatitacakridharam karne amitdbhdtmakanardsthikundalinam kanthe ratnasambhavdtmakakanthi- kdyuktam haste vairocandtmakarucakadharam katydm amoghasiddhydtmaka- mekhaldyuktam.

375 ADUT ch. 14 (p. 322): evam vicintya dtmdnam dksepamantraraksitam brahmacaryam sadd bhunjet. This is tabulated by Kalff(i979: 203).

376 See Samvara described in the NYA, "Having a wreath of five skulls above his forehead, a 'counterclockwise' headdress (mukutah) of black matted locks sur- mounted by a double vajra and half-moon." (p. 26): laldtordhvapancakapdla- mall vamavarttitdrdhacandravisvavajrdkrdntakrsnajatdmukutah. Vaj rasattva/ Vajradhara in the Srisamputatantroktavajrasattvamandala has black twisted locks (jatdjuta) beneath a double vajra with a jewel in it (nivista), and above his forehead is the headdress (mukuta) of the five buddhas and a half-moon, which are wound round counterclockwise, perhaps forming a kind of turban {ibid: p. 8): krsnajatdjuto nivistamanivisvakulisdd adho vamavalayitdrdhasu- dhdmsupancabuddhamukutalaldtopari pancakarotakacakrikundalakanthiruca- kamekhaldbhasmavibhusitas...\ Navatmakaheruka (ibid.: p. 20): laldtopari nihstabdhitapancamundamanditah pancabuddhamukuti; SUT ch. 13, v. 20: kapdlamdldlamkrtasekharam ardhacandravibhusitam / visvavajrdnkitam murdhni kulddhipatimastakam.

377 Cf. GSS5 (Sed p. 132 9 , K2or6): vajrdvalidvayamadhyikrtapancatathdgatdtmaka- kapdlamdldbaddhatrisikhdm, visvdnugrdhakatvena visvavajrakrantamaulim; GSS6 (K39r6): kapdlamdidmukutdm; GSS7 (K4OV2): laldte vajramdldsydh I



NOTES TO PAGE 159



463



Li



kapdlamdldmukutyah pancamudrdvibhusitdh; GSS16 (K77V3): pancabuddha- mukutinim. E.g., GSS35 (Kii8v6-ii9r): vairocanamukutini.

378 For Vajravarahi's loose hair, see GSS6 (K39r6: kesavicchurita) , commonly expressed muktakuntalakaldpd-. This is a classical motif, and many kdvya poets describe the longing the absent husband feels for the moment when he may untie the bands (e.g., Ksemendra Kaldvildsa ch. 7.3: muktakesakakaldpdh) .

379 The tied-up locks form a "crown" (mukutah/m), which Monier- Williams (1899) states may be crescent shaped at the top, pointed (kiritam, sikha), or three-pointed (maulih, trisulajatd); e.g., ten-armed Marlcl in SM132 (p. 274): ndndratnavira- citatrisikhdlamknajatdmukutim. The hair clasp, perhaps originally a piece of bone, appears in sadhana visualizations in various ways, including a double vajra, a half-crescent moon (famously, the attribute of Siva), and a head jewel, e.g., GSS4 (K13V2-3): muktakesd<m> . . . visvavajradhardm murdhni vajrakapdla- mdldsobhitdm; GSS7 (K4or6): visvavajrdnkacandrdnkd kapdlamukutotkatd; HT2.5.9C: visvavajradharam murdhni. An elaborate clasp contained within an open lotus is illustrated in Sacred Art of Tibet plate 102.

380 E.g., Muktdvali on HTi.6.nd (f. I7r): hasta iti prakosthagata<m> rucakam.

381 GSS37 (K121V4): hdrdrdhahdrakin^inijdUkhandamanditamekhaldmdlddisan- mudropetdm. • kirikim] em.; kinkinim K; cf. GSS5 (Sed p. 132 20 , K20V6): mekhaldsardvaghughurddivibhusitd; cf. SUT ch. 13, v. 22d. Exegetical works distinguish different types of girdle, depending upon the number of loops they contain. See the Carydvrataddnavidhi in the Kriydsamuccaya (cited Sanderson 1994: n. 69), which describes the male's girdle of eight loops, the female's of six- teen, and the special rasand girdle.

382 Sexual intercourse is prohibited at the time of menstruation (Manu 4.40-42), but the goddess in her aroused state is also described as "streaming," e.g., GSS3«GSS3i (K12V5-6): sravadrudhiram; GSS5 (Sed p. 132 8 , K2or5): rajoyogdt sravantim; GSS12 (K7ir6): kalpdgnivan mahdtejd sravanti rudhirapriyd; GSS16 (K8or6): sravanti<m> rudhirapriydm; SUT ch. 13 (v. 23d): sravanti rudhira- priyd. For the goddess menstruating while in embrace with Cakrasamvara, see NYA (p. 26): rajahsvald. In contrast, Tsuda (1974: 284 n. 3) notes that the ADUT suggests "dribbling blood from the mouth, and fond of blood" ch. 7: khrag la dgyes shing zhal nas 'dzag (vol. 2, 48-5-7) and ch. 9: zhal khrag 'dzag cing khrag la dga' ba (vol. 2, 50-2-7). A graphic tangka in the Rossi collection shows the goddess as she "straddles a sea of blood fed from distant mountain streams and into which flows her own menses. The sea of blood is agitated, car- rying corpses and a skeleton, and is about to inundate even the mountain tops. Carried by golden rays emerging from her vulva are spiders, scorpions, other insects and birds, as if to suggest that she is the source of all of creation." (From: http://www.asianart.eom/rossi/gallery3/4.html: Dakini (sic). Tibet. 18th century.)

383 Reference to the "sentiment of passion" (spigdrarasah) is commonplace in descriptions of yoginitantra deities, cf. Halahala-Lokesvara in SM27 (p. 65): spigdrarasasundara, and tantric forms of Mafijus'rl, e.g., SM59, SM60 (p. 124): mahdspigdramurti, SM61, SM62, SM63 (p. 128): mahdrdgasrngdrarasojjvalam.



464



NOTES TO PAGES 159-160



Heruka forms are often ascribed all the rasas, e.g., ADUT ch. 9 where Heruka's faces have different sentiments according to their color (p. 284): raudrahasyaspigdravirabhibhatsalelihananam, and Hevajra in Bhramaharandma Hevajrasddhana (p. 7): srngdravirabibhatsaraudrahdsyabhaydnakaih karundd- bhutasdntais ca navandtyarasair yutam.

384 See GSS5 (Sed p. 131 10 , K19V2-3): mahdrdgavisuddhyd dddimikusumasam- kdsdm; GSS10 (K47r3): nijaldvanyabhilsitdm; GSS23 (K88vi): sdrdrasusnig- dharupdm. . . isaddhasantim romdncakancukitdm; GSS16 describes her retinue in a similar fashion (K/8r3): digvdsd muktakesd<h> pinastanoruyugald divyariipd manoramd<h> kincidvikrtdnand<h> katdkseksanacancald<h>; cf. NYA (p. 26): rajahsvald romdncakancukitd; HT2.5.ycd mahdrdgdnurdgena sahajdnandasvarupatah I ...ratidvandvasamdpannam nairdtmyd saha samyutam. For the goddess in union, see SM251, e.g., (p. 492): paramdnanda- vihvald bhdvyd, etc.

385 GSS5 (Sed p. 132 5 , K2or3): sunyatdlidhajagacchucakatvena vdmapddam dkuh- cya daksinapancavitastiprasdrandddlidhend • chucakatvena] Kpc; chukaratvend Kac • pddam] em.; pdden K. The standard measurement of a vitasti is twelve finger breadths (arigulas), thus "five vitastis" is sixty angulas; see Abhayapad- dhati{(. 10V4) : pancavitastiti sasthyangulam (cited Sanderson 1994). Cf. GSS25 (K9ir5ff.): prasdritadaksinapddd dkuncitavdmacarand.

For classical references to the pose ascribed to Kama see, for example, the Kumdrasambhava ch. 3, v. 70: dkuncitasavyapddam, glossed by Mallinatha: dlidhdkhyasthdnake sthitam ityarthah, or Raghuvams'a ch. 3.52.

386 For Cakrasamvara's pose, see NYA (p. 26): bhdnusthabhairavakdlardtrydv dlidhacarandbhydm akrdntah. The place of Bhairava and the Bhairava tantras within Saivism is discussed on pp. 37-38. Sanderson (1998: personal commu- nication) points out that the Buddhist iconography does not represent Bhairava as a supreme deity, for example, with five faces and with ten or eighteen arms (e.g., Svacchandabhairava in the Svacchandatantra 2.88c~94b; Bhairava in Netratantra io.i-6b). The Buddhists' Bhairava is closer in scale to those of the cycle of eight Bhairavas Sivadipasrdddha (ff. 421-23) of the Karmakdnda (San- skrit text from Kashmir, ed. L. Chandra, vol. 7, Satapitaka Series, vol. 333, New Delhi: Sharada Rani p. 239). Each of these is single-faced and four-armed, car- rying a skull bowl, a khatvdnga y and a trident.

387 GSS2 (Kiir2): bhairavam caturbhujam adhohrdayordhvamukham bhatdrikd<m> niriksayantam sthitam kartrikapdladhrtaprathamabhujadvayam vydghracarma- paridhdnam. aparabhujabhyam damarutrisuladharam trinetram vikardldsyam nlla<m> pingalakesam sitakapdlamundamanditam. • kartrikapdladhrta] em.; kartrikapdlam dhrtam K • °dsyam] em.; dsydm K.

388 GSS2 (Kiir2): carcikd<m> raktd<m>. GSS texts are otherwise silent on the iconography of Kalaratri, and her representation in Tibetan art is variable. Plates iof and 11 show a two-armed form of Kalaratri, as do Naro Dakini (Sacred Art of Tibet, plate 114), and a twelfth-century bronze from eastern India, British Museum (Zwalf 1985, plate 152). A four-armed form appears in the



NOTES TO PAGES 160-162



465



"Paramasukha-Chakrasamvara" tangka (Sacred Art of Tibet: $hx.e 69; see 69.2), and also in an eleventh-century Kashmirian bronze of ekavlra Samvara (Pal 1975: plate 64a, b), which vividly depicts a writhing Bhairava and an emaciated Kalaratri/Camunda holding a trident, a vajra chopper, a skull bowl, and another implement (? damaged).

389 GSS35 prescribes the visualization of Brahma, Indra, Visnu, and Siva, sym- bolizing the four Maras (Kn8v6): dlidhacarandkrdntacatuhklesavisuddha- brahmendraharihardm. Cf. HT2.5.8C caturmdrasamdkrdntam; and SM3 (pp. 19-20). For the equation of Mahesvara/Rudra with Mara, see Davidson (1991: 216) and Mayer (1996: 122, 1998). Sometimes, however, Vajravarahi subdues only a single, unnamed corpse representing ignorance (e.g., plates 1 and 3 and Khara Khoto Vajravarahi in Sacred Art of Tibet, plate 93 and Piotrovsky 1993, plate 22).

390 A useful discussion of the scholarly work has been made by Mayer (1996: 104-48, 1998), much of it based on research by Sanderson (1988, 1991, 1993). See also Stein (1995 based on 1971-77), KalfF(i979), Iyanaga (1985), Snellgrove (1987: 134-41, i52ff.), and Davidson (1991).

391 Mayer (1996: i09ff.) discusses the subject in some detail, drawing on A. Hilte- beitel 1989, W. Doniger O'Flaherty 1975, and others.

392 This is followed by the conversion of the gods of the three worlds, Narayana (= Visnu), Sanatkumara (= Skandha), Brahma, and Indra, and the deities of intermediate space, space, earth, and hell, all of whom receive new names. The lesser evils (dustakrodhas, dakinis, illnesses, hells, and calamities) are converted or thrown into the sea, while for humans, the mandala of victory over the three worlds (trilokavijayamandala) is laid out.

393 Davidson's highly useful article (1991), traces the myth from the eighth-century yogatantra sources, through into fifteenth-century Tibetan materials. He amus- ingly translates a portion of the STTS and describes the similar account in the eighth-century Trailokyavijayamahdkalpardja and Vajrasekharamahdyogatantra. He then shows how the myth takes a more violent turn in the Candraguhya- manitilakamahdtantrardja and in the Guhyagarbhatattvaviniscaya (= Guhya- garbhatantra/*Guhyakosatantra). Another eighth-century text that shares the theme of subjugation is the Sarvabuddhasamdyogaddkinijdlasamvara (discussed by Sanderson 1995). Its pantheon is similar to that in the *Guhyagarbha/ Guhyakosa, and it also represents Heruka subduing the Brahmanical gods and taking their wives as his consorts.

394 Sanskrit originals dealing with the Cakrasamvara-based myth are scant. Stein (Annuaire 1973: 468) has noted the existence in the Tibetan canon of transla- tions of (unspecified) Sanskrit commentaries by Indrabhuti, Vajra, and Naropa, but as yet no study has been made of this material (these are listed with refer- ences by Mayer 1996: 118 n. 12). Davidson (1991: n. 14) notes that Naropa's ver- sion of the myth is not cited by other Tibetan exegetes, so that, in Tibet at least, its influence was "less than complete." Versions of the subjugation myth also appear in indigenous Tibetan texts. The Tibetan scholar Bu ston (1292-1361)



466



NOTES TO PAGES 163-164



deals with it in some length in his commentary to the Cakrasamvaratantra (Kalffi979: 67ft), admittedly relying on Sanskrit authors, including Bhava- bhaua. A version of the myth (How Heruka Was Born) was also written by the late twelfth-century scholar Grags pa rgyal mtshan (1167-1216), a summary of which is given by Davidson (1991: 204). Davidson (ibid.: 209ft.) also discusses two indigenous Tibetan texts that are concerned with the myth from the Lam 'bras tradition.
395 A wry lampoon upon the Buddhist approach — and perhaps an admission of its success — appears in a thirteenth-century Saiva text, the Haracaritacintdmani of Jayadratha. Sanderson (1994, 1995) describes how, in this account of the Puranic myth, Jayadratha attributes a new ploy to the gods in their battle against the demons. As usual, the demons have attained near-invincibility because of their devotion to Siva, and so the teacher of the gods, Brhaspati, clev- erly sets about undermining their adherence to Saivism, the very source of their power (v. 13.74C-83): "I shall propagate the following system and call it Baud- dha [Buddhist] — truthfully enough, since it will be no more than the inven- tion of my intellect [buddhi]. In it the famous Buddha will be represented as master over the [Hindu] gods. In his visualizations even our great cause deities, Brahma, Visnu, Rudra, Isvara, Sadas'iva, and Bhairava, will be portrayed as his parasol bearers, and the Buddhist idols will be shown standing on the heads of Ganapati and other high Saiva deities. When the demons get to know of these falsely conceived icons, they will undoubtedly fall into the delusion of believ- ing that these deities really are superior to Siva." Brhaspati does not stop here but devises the cunning scheme of culling mantras from Saiva tantras, and even lifting passages out of Saiva scriptures with which to "propagate a system of [Buddhist] tantric ritual." He would also attack the demons on the meta- physical front: "My liberation will be a Voidness' calculated to undermine their faith in their Saiva rituals. . .and I shall deny the existence of the Supreme Lord by arguing that there is no self." In this way Brhaspati plots the demons' destruction through their conversion to Buddhism. Perhaps an even more direct acknowledgement of the success of the Buddhist methods appears else- where in the same text, when the Saivas respond in kind with the terrible form of Kali "Destroyer of the Buddhas" (Sugatasamhdrini), whose ornaments are created from the dismembered parts of Buddhist deities (cited Sanderson 1994 n. 72 from Jayadrathaydmala, satka 2 21. 9-14). 396 The scriptural source for Umapatideva may be the SUT, which concludes the generation of Samvara's thirteenfold mandala in ch. 13 with "two armorings (referring to Cakrasamvara and Vajravarahl in union) and the subsequent infu- sion of the knowledge circle, (v. 34): tatah kavacadvayam jndtva jnanacakram vibhdvayet. Another scriptural source is the YSCT, which describes the double armoring (kavacadvaya) in ch. 7 (as cited in textual note to §6), andthe "cakrakarsanam" in ch. 8. This is the method that informs Luyipada's HA (f- nv): tatah kavacadvayam krtvd jnanacakram vibhdvayet. samayacakre pravesya), and thus also the Abhisamayamanjart GSS5, which oddly preserves the "two



NOTES TO PAGE 164



467



I



armorings (Sed p. 134 1 , K21V5): tatah kavacadvayam krtvd jndnacakravibhd- vanam iti luyipddoktam. Cf. also ADUT ch. 9 (p. 287).

For this alternative sequence (infusion with knowledge — * armoring —> con- secration), see elsewhere in the ADUT (ch. 14, p. 321: svahrdy ankusayogena jndnacakram tu-m-dkarsayed budhah I nydsam evam prakurvita abhisekam anukramdt I pravesya baddhvd tu samtosya anurdgena yogatah I kavacadvayam tato nyastvd ekarasasvabhdvatah) . Advayavajra also follows this method, cf. SM251 (p. 492) and GSS3 (Ki3r3). It is, in fact, very common, e.g., Hevajra- sekaprakriyd; SM26 (p. 65: caksurddyadhisthdnam kdyavdkcittddhisthdnam krtvd abhisekam prdrthayei) , etc.

397 "ndbhau hrdi tathd vaktre sirahsikhestram eva ca. "This appears (with the same eccentric syntax) in the YSCT (A4r.6), HA (f. i2r), ADUT ch. 9 (p. 287) and ch. 14 (p. 326); cf. GSS4 (K13V4), SM226 (p. 441): sirah sikhdstram eva ca; etc.

Published sources from the dGe lugs tradition describe how the syllables (which stand upright on moon disks) are visualized "between the skin and the flesh" (Dhargyey 1992: 20) or "flat against your body and lie just under the skin but without going into the flesh" (Tharchin 1997: 192-93), or simply, "at the level oP our navel, etc. (K. Gyatso 1999: 144-45). It is the variously colored light rays emitted by the syllables and fanning out through the body (though described in these sources in slightly different ways) that actually create the armor. These Tibetan sources agree that "mouth" is here equivalent to the throat area, in one case (Dhargyey op. cit) acknowledging the discrepancy of the oral tradition: "Now, at the throat (although the text says 'mouth')...." They also agree that the final armoring in/on "all the limbs" refers to the "eight great joints," i.e., shoulders, wrists, hips, and ankles. However, oral instructions in other Tibetan traditions vary considerably in this matter (Sobisch 2001: per- sonal communication).

398 The marginal insertion claims that the five armor goddesses also hold a bell in their left hands; this seems to be an error. GSS5 (Sed p. 134 1 , K21V5): tatah kavacadvayam krtvd jndnacakravibhdvanam iti luyipddoktam. kavacam kurydt. bhrumhumkhamdmhdmhamkdrair dyatandni samsodhya vdrdhiyaminimohani- samcdlinisamtrdsinicandikdndm sanndm devindm mantraih svasvadevatdvan nairdtmyena kavacayet. om vam ndbhau. hdmyom hrdi. hrim mom vaktre. hrem hrim miirdhi. hum hum sikhdydm. phatphat sarvdngesv astre. athavd mantrade- vatayor abheddt f tattan f manasi nisp annas tesu tesu sthdnesu <tat>taddevatd eva bhdvydh. tatra vdrdhi<m> raktanilaharitamukhi<m>, vdme kapdlakhawdnga-



>.



pdsa<dhardm> daksine ankusabrahmamundakartribibhrdndm <drastavydi

ydrnanimohanisamcdlinhamtrdsinicandikdnilasitapitahantadhu^

caturbhujdh sakapdlakhatvdngds ca vdme damarukartrikd dadhdndh, sarvds ca

muktakesyo nagnds trinetrd dlidhdsanasthd drastavydh.

• luyipddoktam kavacam] em.; luyipddoktah kavacam K; liiyipddoktara-

ksdkavacam Sed p. 134 • hdmham] em.; hdmhdm K • harita] em.; haritd K •

ankusabrahma^ca vdme] K(mg). • bibhrdndm drastavyd] conj.; bibhrdndm K •



468



NOTES TO PAGES 164-166



dhusara] em.; dhusara K • sakapdlakhatvdngds] sakapdLakhatvdngdm ghanta K(mg2) • damarukartrika\ em.; damarukartrikaK.

399 The armor goddesses are depicted in LC 57^~77> ana< IWS/T 62-67. In Cakrasamvara sources, there is also a set of six male mantra gods, which are placed as armor on the Heruka god prior to the armoring of his consort with the female mantra gods, a process said to unify the couple, e.g., ADUT ch. 14 (p. 321): kavacadvayam tato nyastvd ekarasasvabhdvatah. The male syllables are given in the Vajravardhtsddhana during the worship in the hand (showing themselves much less stable than those for the female deity). They are also illustrated in the Mongolian icons (LC 566-71, IWS/T 56-61) following the Tibetan text (Willson and Brauen 2000: 252).

400 Willson and Brauen 2000: 252-53. Variants in the seed syllables in the Tibetan text are: ham yom (Yamini) and hum hum (Samtrasini). Both the Tibetan sadhana and the "conferral" are rather different from the Sanskrit texts. The former includes the self-visualization of Vajravarahi with Vajrasattva as consort.

401 See GSS5 (Sed p. 134 1 " 2 , K2iv6) cited above; GSS3 (Ki3r3): tatah bhrumhum- khamdhhdhamkdrair dyatandni sodhayet. saddevatisuddhair mantrapadair bhagavatlm kavacayet; GSS16 (K80V3): tata dyatanam visodhayet. omhumkham- dmhdmham. caksuhsrotraghrdnajihvdkdyamana<msi> saddevatimantrena kava- cayet. kdyavdkcittapathesu om ah hum iti sthdpayet • tata] corr.; tato K • saddevati] corr.; satdevatlK; SM251 (p. 462): jndnasattvahrdbijam dhydtvd lorn mdmpam tarn kham ityebhih panca dhdtun adhitisthet, omdhhrlhhohhumhrihkdraih skandharupddikdn api, bhmmhumkhamdhhdmhamkdrair dyatandni sodhayet. tatah saddevatdtmakamantrakavacair dtmdnam kavacayet. • hdmhamkdrair] em.; hdmhamdkdrair SMed.; cf. SM250, and variants as listed by Sanderson 1994 n. 87 from other texts.

402 Alakakalasa on the Yoginlsamcdratantratikd (NAK ms. 3-683 NGMPP Reel no. A1279/2 f. 13V), reference provided by Dr. Isaacson (1998: personal com- munication). Cf. SUT ch. 13, v. 2cd: pancaskandhddyahamkdram dvibhuja- herukayogavdn.

403 For example, in the chapters of the Samvarodayatantra, the purification of the psychophysical organism follows the self-generation and visualization, as in our armoring section, but in fact the subject matter of the chapters edited by Tsuda (1974) reveals a sequence of practices that together encompass the aspects of the body mandala — namely the progression from the generation method (ch. 2) to the completion method (ch. 3); followed by a purification of four ele- ments, skandhas, and dyatanas (ch. 4); yogic correlations with sun and moon (chs. 5-6); purification of the veins (ch. 7); and activity concerning the sites (chs. 8-9). The armoring is also presented as part of the visuddhi of the com- plete mandala in the ADUT (chs. 9, 14).

404 This is particularly evident in the sadhanas of Vajrasana (SM3-SM5), in which the visualization of the syllables is embellished with emblems and colors that exactly match those of the mandala circles. SM3 (pp. 20-21, discussed and translated by Sanderson 1994 n. 95) may be summarized as follows:



NOTES TO PAGES 167-168



469



Endnote table iii. Armoring in Sadhanamala no. 5.



Purification


Syllable


Site


Emblem


Color


body


om


head/forehead


wheel


white


speech


ah


throat


lotus


red


mind


hum


heart


vajra


black



405 Tantrdrthdvatdra by Buddhaguhya translated from Tibetan (Toh 2501, 7b ff.) by Lessing and Wayman (1978: pp. 234-35, n - 3°)- Here (and in another lengthy note on this topic, ibid.: p. 162, n. 17) the authors translate samayasattva as "symbolic being," which expresses the "conventionality" (samayah = conven- tion) of the form. I prefer to translate it "pledge being" (samayah = pledge), the form created by the "pledge-holding" initiate (samayin). The samaya is the sadhaka's pledge of postinitiatory observences.

406 This set dates from at least the yogatantras, e.g., Sarvadurgatiparisodhanatantra (19b; 21b) and STTS ch. 6, cited Snellgrove (1987: 216). For the four syllables in yoginltantra texts, see GSS3«GSS3i (Ki3r2): tadanu bhagavatihrdbijanirgata- rasmi<bhi>r jahkdrena jnanacakram amy a humkdrena samayacakre jale jalam iva pravesya vamkarena bandhanam hohkarena tosanam kuryat • tad anu] em., tadagra K • samayacakre] conj.; svasamayacakre K; GSS5 (Sed p. 134 12 , Kz2r4): tato hmmadhyavartiraktdstadaUpadmasthitabhdnumanaalopari raktavajravarata- kdntargataravisthavambijarasmibhirdasadigvartisawaviraviresva jnanacakram jahkdrendkrsyatannirgatavinddisoa^isadevibhir arghddipurahsaram pujayitvd phemkdrandditapdthapurvakam jvaldmudrdm baddhvd laldte vdmd- vartena bhrdmayet. hiimkarena samayacakre jale jalam iva pravesya vamkarena bandhayitva hohkarena samtosya om yogasuddhdh sarvadharmd yogasuddho 'ham itipathet. • hrnmadhya\ corr.; hrtamadhyaK • ravisthavambijarasmibhir] em.; ravistham bimbijarasmir K • sodasadevibhir] corr. sodaso devibhir K • jvald- mudrdm] em.; jdldmudrdm K. Cf. Hevajrasekaprakriyd (p. S):jah hum vam hoh yathdkramam gauricaurivettdlighasmaribhi rajomandale dkarsanam pravesanam bandhanam tosanam caksurddyadhisthanam kuryat; etc. mKhas grub rje (pp. 235-49) discusses the four syllables as the "four seals" and describes the differ- ent ways of fusing them according to whether the mandala is generated in front or as a self-generated object (pp. 291-95).

407 The similarity between summoning deities for the bali ritual and the sum- moning of the knowledge being(s) is attested in texts such as the YSCT ch. 7 on armoring (A4r8, B5V3) and ch. 10 on bali ritual (A5r2, B6v); HA (f. I2r); likewise in the ADUT, e.g., ch. 14 (p. 321), prior to the infusion of knowledge and again (J). 326) for the bali. Sometimes the context is ambiguous, as in GSS4, which includes the scriptural verse after the armoring (as if to summon the knowledge deities), but then ends with mantras and the ^//mantra, indi- cating the final balividhi.



47Q



NOTES TO PAGES 168-169



IP



408 For a fairly elaborate worship section at this point, see the Vajrasana sadhanas, e.g., SM3 (p. 21), which includes offerings, nectar tasting, and stutis; SM4 (p^ 23): tato hrdbija<rasmi>samdkrstajndnasattvam arghyapddyddindndvidhapujd- santarpanastutiprandmapurvakam samayasattvena sahaikikrtya); also the Khasar- pana sadhanas, e.g., SM15 (p. 45) in which jah hum vam hoh is placed inside a vandandmantra; SM24 prescribes bdhya and guhya offerings with praise verses and the four syllables with mudras (p. 60): bhavantam jfidnasattvdtmakam arcayet.

409 For deities in union, gratifying (tosanam) may consist of the rays issuing from their lovemaking (anurdganam); e.g., ADUT ch. 9 (p. 321) : pravesya baddhvd tu samtosya anurdgenayogatah. The lovemaking is described more fully elsewhere, and structurally may occur at different points, as in SM251 (p. 493) where it follows the consecration. Cf. SM239 (p. 462); SM248; Cakrasamvarasddhana in Beyer 1973: 114.

410 This tradition seems to be based in the yogatantra scriptures, e.g., the Sarva- durgatiparisodhanatantra 19b; lib: jah hum vam hoh pravartayet. yathdsthdnesu akrsya pravesya baddhvd vasikurydt; and in generating the Vajradhatu mandala in the STTS ch. 1, w. 7-8: jah hum vam hoh. .J tato buddhddayah sarvamahd- sattvah samagratah I dkrstd supravistds ca badhvd ydmyanti tadvaiam, a passage translated by Snellgrove (1987: 216; see also 223). The tradition also appears widely in the yoginitantra strata, e.g in Ratnakaras'anti's Bhramaharandma Hevajrasddhana (p. 10): jah hum vam hoh ity ebhir yathakramam dkarsana- pravesanabandhanavasikarandni krtva samayajndnamandalayor ekalolibhdvam vibhdvya; SM110 (p. 230): om vajrankusi dkarsaya jah, om vajrapdsi pravesaya hum, om vajrasphota bandhaya vam, om vajravese vasikuru hoh; SM226 (p. 441): jah hum vam hoh vajrdnkusadiyogena akrsya pravesya baddhvd vasan nayet. vasan] em.; vasan ed. The same "yoga of the vajra hook" is described in the ADUT (ch. 9, p. 287; cf. ch. 14, p. 321). See Snellgrove (1987: 235-40) on "The Power of Coercion."

411 Mafij usn-related texts may have been influential to the formation of the notion of * jndnasattva because of Mafij usn's association with wisdom. Thus, Vilasa- vajra's root text refers to the deity Mafij usnjiianasattva; the text describes itself as the "Ndmasamgitiof the Knowledge Being Manjusri, who is the knowledge body (jndnakdya) of all the Tathagatas" (Tribe 1997: 115, with n. 31). Although Vilasavajra shows no acquaintance with a mature sattva theory, he was famil- iar with the term jndnasattva (e.g., ch. 4, v. 27; Tribe 1994), and elements of the later theory are also present in his sadhana (Tribe 1997: 116-17).

The appearance of the samayasattva and jndnasattva in yogatantra texts is worth further study. mKhas grub rje (p. 235) gives little idea of the use of these terms in the yogatantra scriptures, citing only the explanatory tantras, the Paramddya and Vajras'ekhara, rather than the root yogatantra, the Sarvatathdgata- tatwasamgraha. Mention of the samayasattva appears in the Sarvadurgatipan- sodhanatantra (19b) where it is described in terms that are associated in our texts with the jndnasattva, namely, the drawing down of deities into the heart mandala with rays, a process that, however, is said to complete the samayamandala.



NOTE TO PAGE 169 471

The Manjusri sadhanas of the Sddhanamdld also reveal an evolution toward a knowledge being, both in their reductionist tendencies and in their use of yogic practices based on the deity in the heart. Thus, in the Vadirdd-Manjusri- sddhanaSM$i (p. 107), which describes itself as following the kriyatantra, the seed-syllable is placed on the heart of the self-generated deity; in the Vddirdd- Manjusrtsddhana SM54 (p. in) accredited to the Mahjus'rikalpa, the self- visualized god is said to have a knowledge body (jndnadeham) as a result of a five-colored seed-syllable mum (an early equivalent of the five awakenings). In the SM56 Arapacana-Manjusrisddhana (pp. 117-18) there is still no series of awakenings, but Mafijus'ri arises having "the knowledge essence of all tathagatas" (sarvatathagatajnanasvarilpa) and with the ego of the pledge being (samayasattvdhamkdravdn). Then am in the heart gives rise to the generation of Arapacana at the heart, with a syllable at his heart also, surrounded by deities with syllables of his mantra at their hearts; rays emitted from the whirling cakra in the heart then destroy ignorance. A similar practice in SM58 (p. 122) specifically mentions the jndnasattva (p. 122): tato ndyakahrdbljavinirgatdmsv- dkrstajndnasattvena sahaikatdm ca cakram ca sighram bhramet. The Vajrdnga- Manjusrisddhana SM59 (showing more higher tantric influences) again incorporates the jndnasattva within a yogic practice (p. 122): bijebhyah sphdrayed rasmin ucchvdsendtha rasmibhih I nihsvdsaughair jndnasattvam bljesv dkrsya samharet I visramyajndnasattvddyabijakasphdrasamhrti I svdsasya sthiradhih kurydt nirga- mdgamayoh kramdt. In the following sadhanas, the wisdom being is unified with the self-generated Mafijus'ri just as in the Vajrayogini sadhanas, SM60 (p. 124): tatah jndnasattvenaikikrtya om manjughosa hrihjah iti mantramjapet; SM65 (p. 132): samayasattvdbhinnasvarupam jndnasattvam dnayantlm vibhdvayet.

The letter A is widely regarded as the "source" or "essence." In the yogatantras, as Manjusri is born from A, the syllable is hailed as dharmadhdtu, mahaksara, the "vajra womb of the buddhas," etc. (Tribe 1994 citing Aryamanjusri- ndmasamgiti and its subcommentaries; see Tribe 1997: 123). Cf. the string of qualifications awarded the syallable in the Ndmamantrdrthdvalokini, ch. 4 (ed. Tribe 1994; commentary below v. 27): taddhrdaye candramandalam vibhdvya tadupari prajndpdramitasvabhavam sarvajndjndnodayakdranam sarvasrdvakapratyekabuddhdndm utpattibhutam sarvamahdbhodhisattvdndm . punyajnanasambhdrabhutamparamdrthdksaram sarvaksardndm kdranabhutam akdram vinyaset. In yogottara exegesis, the letter A appears at the heart of the buddhas in the illustrious company of om and ah (Pancakrama 1.42: akdroddesa- kam jndnam buddhasya hrdayam bhavet) and is awarded the etymology from anutpannatvdt{Pancakramatippani: ms. F, f. 8a.i, ibid: p. 95*): akdroddesakam jndnam ityddy anutpannatvdt sarvadharmdndm. Cf. GSS26 (K93r2), HT1.2.1, and HT2.4.4iff.
412 In Candraklrti's PU, the samddhisattva is again an aniconic, mantric entity (ch. 10, p. 92; eh. 11, pp. 98-99, 115). See also GST12 w. 46-47 (in Wayman 1977: 32). Dr. Isaacson (unpublished 1996b) cites many Samaja exegetes on this subject.



iml



ftj 4



If-



NOTES TO PAGES 169-170

472

A1 , Dr Isaacson fiW also notes that the supposedly w\y Hevajraprakdsa by

4 Shu lagupta has t aces of both the twofold dms,on of the yogmnantras

Kanuiagupia ^ tt1)/t ) ^d a threefo d w«vtf theory, in which the

ssri »"- o ( a ,L «,.« » T « -**» -*.

same moment that the yogi

CSS< K22V1): jnanacakrakarsanasamakalam eva. mere may F

«, — — — -^ o?:rfc "-id **.

• Z"V; toTl— «L to-. 7.oc«, *« ™n» Uto, Una
  

instruments. v Th presses also

4I6 E.,, A«W^^2^^^trU, SM, 5 o (P. 4*9):

mbundmrtakaksagrhitahastdbhihstncet. Cf. ch. 9 (P- *\*3 S X singing. continued from n. 406):

4,7 2£3EL2lL^XS^ to— -*p««;-^-to

dh V Zftihhavva - om sarvatathdgatdbhisekasamayasnye hum - *>

p samayacairasthanam amoghasiddhih. • /^-* * ° S Note to v. z 7 i) ' kapdlanipatita] con,, kapalampatataK kulesah\ em., *wr . K* dmitdbha]em.;dmitdbhdK, j;„; nrf i V e structure.

4I 8 Textual descriptions of the consecrauon tend to have a d.stmct.ve



NOTES TO PAGE 170



473



ITT



ft



.*■"



The consecration is described within a prose passage in the passive continuous, with the consecration "being given by" the yoginls/deities who are described with a string of qualifying bahuvrihi compounds in the instrumental as hold- ing the consecration vessel and pouring out its contents and uttering a verse. See the parallel account in the Abhisamayamanjari cited in n. 417. Cf. SM218 (p. 429).

419 The use of this mantra referring to "all tathagatas" in Umapatideva's text is somewhat incongruous, as he deals with the consecration of the solo deity, Vajravarahl, presided over by Vairocana. It makes more sense when it appears in the Abhisamayamanjari (cited n. 417) in which the water of consecration is understood to produce all five tathagatas as the seal; these are then allocated as presiding buddhas to the goddesses in different parts of the mandala.

420 On the purificatory function of the consecrations, Dr. Isaacson (1996b) notes that in the VA, Abhayakaragupta states that the five consecrations (vidydbhi- sekas) plus the "Garland Consecration as the sixth" counteract ignorance (VA B f. 73 r): ete mdlodakddayah sad abhisekd avidydvipaksayogyatdpddandd vidydbhiseka ucyate; see also YRM on HT1.4 (p. 115): abhiseko jndnambubhih savdsanasarvdvaranaksdlandrtham. Elsewhere the consecration liquid is imag- ined transforming into the buddhas of hate, slander, envy, craving, ignorance (and the dharmadhatu for the sixth), which thereby purify those negativities, e.g., SM251 (p. 493), mKhas grub rje (p. 221, with Wayman's notes). Professor Sanderson (1994 n. 96) provides a full discussion of these correspondences.

421 Published overviews of the topic in English include Kvaerne 1975, Lessing and Wayman 1978, Snellgrove 1987: 231-77 (also 1959 vol. 1: 95, n. 1), and Bentor (1996: 240-61) on the rites of initiation, both lower and higher, within tan trie rites of consecrating images, etc.

The fivefold series of lower consecrations is also termed the vase consecra- tion (kalasdbhisekah) after the vessel bestowing the empowerment, or the knowledge consecration (vidydbhisekah), either because of its association with wisdom (vidyd) or after the female agents of consecration, vidyds, in our texts (mKhas grub rje, chapter 9, comments on both interpretations). The five con- secrations of this set generally comprise: the water consecration (udakdbhise- kah), the head jewel consecration (mukutdbhisekah), the vajra consecration (vajrdbhisekah), the bell consecration (ghantdbhisekah), and the name conse- cration (ndmdbhisekah). However, research by Dr. Isaacson (1996b) has shown the classification of the consecrations to be a highly complex matter, with dif- ferent series of consecrations listed according the different tantric systems and to the individual scholars attempting to clarify the varying accounts. For exam- ple, Isaacson shows that not only was opinion divided over the exact contents of the lower consecrations just listed, but a certain group of influential exegetes actually included the teacher consecration (dedrydbhisekah) within them (for example Abhayakaragupta, who gives an account of the various systems in his VA [ms. U B" f. 8iv]; Kuladatta, as implied in his Kriydsamgrahapanjikd Cam- bridge [f. io6v]; Kumaracandra in his Ratndvalipanjikd to the KYT [Sed p.



474 NOTES TO PAGES 170-171

100]; the unknown author of the Hevajrasekaprakriya; and Advayavajra in his Advayavajrasamgraha [pp. 36-38; also cited by Snellgrove 1987: 229]). The vase consecration and teacher consecration together are sometimes referred to sim- ply as the teacher consecration (deary dbhisekah), or as the irreversible conse- cration (avaivarytdbhisekah) since they operate as a prerequisite to the consecration of a guru (Snellgrove 1987: 231).

The locus classicus for the vase consecration is the Uttaratantra portion of the GS (ch. 18, v. 113), which lists the consecrations as vase (kalasa ), secret (guhya°), wisdom (prajnd°)> an d "fourth" (caturtha ) (which was purely verbal in nature, Isaacson op. cit). Similarly in the Hevajra tradition (HT2.3.10), the main con- secrations are listed as teacher, secret, wisdom, and "fourth." Dharmaklrti explains the first of these (the vase or teacher consecration) as follows (Snell- grove's translation HT vol. 1 1959: 95, n. 1):

"The first is called Jar consecration (kalas'dbhiseka) or the Master's consecra- tion (deary dbhiseka). It is called a baptism because impurity is washed away, that is to say that the impurity of the body is washed away. It is called the conse- cration (or baptism) of the jar, because it is characterised by (the use of) a jar, and the consecration of the Master because it is far removed from evil and wickedness. It is also called the consecration of knowledge [vidy dbhiseka] because it overthrows ignorance and arouses an awareness of the five spheres of knowledge (pahcavidydjndna). "

422 E.g., SM251 (p. 493): abhisekam anundthayet bhagavantah sarvatathdgatd abhisekam dadantu me iti; cf. HT1.4, Hevajrasekaprakriya, etc. The consecra- tion verse supplied by Umapatideva (v. 27!) would normally provide the "reply" to the request.

423 Direct references to the utpattikrama in the GSS are found in GSS6 (K39r5): utpattikramayogendtmabhdvam vibhdvayet and GSS23 (K87n): lokesvarena bhagavatoddista utpattikramasddhana<h>. The six angas are treated in some depth in the final commentarial-style work of the GSS, the Ddkiniguhyasamaya- sddhana GSS46 (K143V ff.). They are: (1) withdrawal [of the senses] (pratydhdrah), (2) ^%rf«rf-meditation, (3) breath-control (prdndydmah), (4) concentration of the mind (joined with retention of the breath) (dhdrand), (5) recollection (anusmrtih), and (6) ^zw^/'-meditation. Apart from their early exposition in the Sadangayoga-ndma (Peking Tibetan Tripitaka vol. 85), they are widely expounded in Sanskrit and Tibetan texts, e.g., in yogottara works such as the PU commentary to the Guhyasamdjatantra (PU p. n6ff. on GST ch. 12, w. 60-64), i n which Candrakirti cites and comments on the six yogas as given in the "Uttaratantra" portion GST ch. 18, v. 137 and w. 140-54 (also edited and translated by Wayman 1977: 38-50). Kalacakra texts dealing with the system include Naropa's Sekoddes'atika from the Sekoddesa portion of the Kalacakra- tantra (see Orofino 1994), the main commentary on the root tantra, the Vimala- prabhdtikd by Pundarika, and the Gundbharani ndma Sadangayogatippani by Ravisnjnana (Sferra 2000). Note also the work of Cicuzza and Sferra (1997) anc ^ Cicuzza (2001).



NOTES TO PAGES 172-174 475

424 For the inherence of innate buddhahood in all livings see HT2.2.44 (tasmdt sahajam jagat sarvam) with Ratnakarasanti's gloss: sahajena buddhatvena yogdt sahajam jagat sarvam, cited by Isaacson (2001: 471 n. 96). For a full discussion of the origin and development of the term sahaja, including its various trans- lations, see Davidson 2002.

425 For example, Kanha comments on the passage in the HT1.8.1-14 with HT1.8.24D-25 (. . . utpannam kathayamy aham), as follows (YRM p. 125): iddnim utpattikramam nirdisya dvitiyam utpannakramam prastotum aha krametyddi. kramah prakdrah. kasya kramah? samddheh. candracihnabijddiparindmena devatdkdranispattir utpattih. sa yasmin samddhdv asti sa utpattikramah. utpannam svdbhdvikam eva rupam. tadeva tattvarupenddhimucyate bhdvyate yasmin yoge sa utpannakramah. •prastotum] em.; prastotam Sndlgrove; • utpannam svdbhdvi- kam] em.; utpannasvabhdvikam Snellgrove. • yoge sa] em.; yogeSndlgvowt.

The SUT (ch. 3, v. 3) refers to the Stage of completion (utpannakram- abhdvand) as the "aspect of instantaneousness" (jhatitdkdram). However, many sadhanas seemingly of "generation" type also refer to "jhatiti, " e.g., see GSSi«GSS2 (K28or2): jhatiti tato ndbhimandale. ..devim bhdvayet yogavit sadd; also GSSi (K28or6-vi): jhatitdkdrayogdtmd yogi sidhyati ndnyathd; GSS5 (Sed p. 133 19 , K21V5): td devyd bhagavatinispattisamakdlam eva jhatiti nispannd drastavydh;GSSi2 (K86r 3 ); GSS16 (K80V2); GSS35 (K119V3); cf. HA (f. iir.5-6). For its mention in the ADUT, see Tsuda's citations (1974: 244).

426 GST 18.84 (Samajottara 84) edited by Isaacson: kramadvayam upds'ritya vajrindm dharmadesand I kramam autpattikam caiva kramam autpannakam tatha. (Cf. HT1.8.24D-25.) Nagarjuna's Muuimadhyamakakdrika ^24.8: dve satye samupds'ri- tya buddhdndm dharmadesand I lokasamvrtisaty am ca satyam ca paramdrthatah I.

427 The different yogic traditions reveal a vast array of systems, practices, and cor- respondences, accounts of which are widely available in primary and second- ary literature. An important source for the subtle yogic body is the SUT Nddicakrakramopdyapatala (ch. 7), which opens (w. 1-2) with an account of the structure of the channels inside the body drawn from the Pancakrama, and which describes the content and nature of the three principal channels (w. 16-22). Cf. SUT (ch. 2, w. 15-16, for the winds) and Tsuda (1974: 260 nn. 1-3). The cakras and their lotuses according to the Samvara system are described at SUT ch. 31, w. 19-28, namely: (w. 19-20) the mahdsukhacakrant the head with a four-petaled subtle lotus and a thirty-two-petaled lotus; (v. 24) the sambhogacakra at the throat with a red lotus of sixteen petals; (v. 25) the dharmacakra at the heart with a multicolored lotus of eight petals; and (v. 27) the [nirmdnajcakra at the navel with a blue lotus of sixty-four petals (Tsuda ibid: 63, 327 n. 4). For the flow of bodhicitta nectar between the cakras, see SUT ch. 31, v. 20 (cd): bodhicittatmikd candrah kaldpahcadasatmakah; with w. 21, 24, and for their contents, SUT ch. 7, w. 16-18.

For the Hevajra system of cakras at the heart, throat, and sex organ, see HT1.1.23 with YRM on the different lotuses at each (p. 107): dharmacakram sambhogacakram nirmdnacakram. hrtkanthayonisu yathdkramam; or of cakras



476 NOTES TO PAGES 175-177

at the sex organ, heart, throat, and head (HT2.4.5iff.): dharmasambhoganirmd- nam mahasukham tathaiva ca I yonihrtkanthamastesu trayah kdyd vyavasthitdh; cf. Bhramaharandma Hevajrasddhana (p. 8): kanthahrdbhagamastesu catus- cakram yathdkramam I sambhogadharmanirmanamahdsukham iti smrtam. In the Kalacakra tradition, the number of cakras is extended to six — at the crown, brow, throat, heart, navel, and sex organ.

In the summary that follows, I also draw on other sources, such as those pub- lished by J. Gyatso (1998), K. Gyatso (1991/1999), Germano (1994), Mullin (1996), Patrul Rinpoche (1994), Simmer-Brown (2001), andTharchin (1997).

428 This meditation follows the tasting of nectar, as it does in GSS11, but describes the contemplation of the full mandala. GSS5 (Sed p. 135 18 , K23r6, Ni4r3): yady etdvati mahati mandalacakre cittam cirataram sthirikartum asamarthas tadd ndbhikamalastharavisomasamputdntargatavambijampmUtanwdkdrarasmirekhd cittasthirikaranadvarena prdndpdnayor nddidvayavdhaparihdrdn madhyamdpravese jvalitayd cdnddlyd drdvitasya sirahsasinas cakravydptikramenanandddibheddt sahajodaye sakalavikalpasamharat sakrd vd mandalacakrasyanupalambhah kramena vd sunyatdntarbhdvah. •asamarthas] corr.; asamarthahK.

429 I am paraphrasing GSS5 cont. (Sed p. 136 4 , K23V3, Ni4r5): tatrdyam kramah. jagat smasanesu, smasandni bdhyacakre, bahyacakram kayacakre, kdyacakram

vakcakre, vdkcakram cittacakre, cittacakram diggataddkinyddisu, ddkinyddls ca mahdsukhacakragatd bhagavatimukhe, bhagavatydsandmbhojam bhdnau, bhdnum bhairave, bhairavam kdlardtrydm, kdlaratri<m> khatvdnge, khatvdngam bhaga- vatydm, bhagavatlm nabhikamale, ndbhikamalam ravisomasampute, <ravisoma>- samputam vakdre, vakaram ardhacandre, ardhacandram bindau, bindum ndde 'ntarbhavya. . . [pasyet].

• cittacakram] em.; cittacakrasya K, N • diggatadakinyddisu] N; diggdta- ddkinyadisuK •ddkinyddls] N, (vidiggatd****disu)ddkinyddis'K(mg2)

430 GSS5 cont. (Sed p. 136 10 , K23V6, N14V1): nddam tarn api vdldgrasatasahasra- bhagarupam pasyet, adhimdtras tu tarn api nopalabhate. jhdnacakrasvabhdvata- ydpi bhagavatydh prabhdsvare pravesah. evam bhiiyo bhiiyah pravised uttisthet <ca>. taduktam — svdsavdto yathddarse lay am gacchati sarvatah I bhiitakotim tathdyogi pravisec ca muhur muhuh I punah punah pravesavyutthdnais ca satyadvaydbhinna- nispannayuganaddhasamadhim yogi sdksdtkarotiti.

• nddam] em.; (ndda) K(mg2) • nopalabhate] em. Isaacson; nopalabhyate K • svabhdvataydpt] em.; svabhdvaydtdpiK

431 GSS5 (Sed p. 136 16 , K24r2, N14V3): khede sati ndbhisarojasthavambije cittam nivesya vaksyamdnahrdayopahrdayamantrayor yathdbhilasam anyatarasyoccd- ranasamayam eva tadbijandddn nirgamavdyund panca cakrdni samsphdrya jagadartham karayitvd vdyoh pravesasamaye maldsutrdkarsananyayena mantrena saha tasminn eva pravesayet. vaksyamdnapratyekadevimantrajdpdrthindm tu pratyekadevatamantroccaranasamdptaupratyekaspharanasamharanampurvavat

kartavyam. athava tad eva <bijam> purvavad uttisthantim avadhutivartmand mukhdn nihsrtya padme svasthdnam gatvd tathaiva bhramantim aksaramdldm bhdvayan hrdayopahrdayor anyataram vaksyamdnamdldmantram vd japet.



NOTE TO PAGE 179 477

athavd tad eva <bijam> parivestya sthitd<m> pradipamdldm iva mantramdldm alokayan adrutam avilambitam asatsamkalpavarjitam iti. • mdldsutrd] em.; mdldsrtdK, N • jdpdrthindm] N;jdpdrthindK* pradipa] Kpc (pra)dipa K(mg2)

Note the following yogic meditation in GSS35, in which the syllables revolve instead from the heart, out into the world, and back through the goddess's sex: "Having done the meditation (evam vicintya) he should repeat the mantra. [He should visualize] the syllables [of the mantra] as coming forth with the out- breath from a red A on a sun [disk] at [her] heart [thinking of them] as one with that [A] (tatsvarupdni); [and then], as he breathes in, [he should see them] dissolving back into that A after entering the central channel (avadhuti) through [her] genitals (svaguhyena). The color of the syllables changes according to the type of rite performed. Then, when he is tired, he should enter clear light. In that [practice], he should visualize in the center of his navel in the central chan- nel (avadhuti) [either] the A syllable blazing up like a white star or a red drop like a lamp. Through practice in this way over a long time, knowledge is pro- duced.... He should cultivate the nonperception of all dharmas." (GSS35 Kii9r4): evam vicintya mantram japet. hrdayasthasuryasthdrundkdrdtsvdsanirga- mena tatsvarupdny aksardni nirgatdni, svdsapravese svaguhyena pravesydvadhu- tydm akdre lindni. karmabhedato haravarnabhedah. tadanu khede prabhdsvare viset. tatrandbhimadhye vadhutisusire sukranaksatravad ujjvalam akdram, dipaval lohitam bindum vd bhdvayet. evam ciratardbhydsdd udiyate jndnam. . .(K119V3) sarvadharmdnupalambham sambhdvayet.

• hrdayastha] em.; hrdaya(sthd) K(del) • gamena] em.; gamene K • pravesyd] cm.;pravisydK • susire] corr.; susireK. Cf. K. Gyatso 1999: 169-71; Tharchin 1997: 230-33.

432 In the GSS, the ten-syllabled heart mantra is given for the red, two-armed, warrior-stance Vajravarahl (GSS4, GSS5, GSS11) and for kurmapatanaVzjrz- yogini (GSS36). The thirteen-syllabled heart mantra appears for the same two- armed, warrior-stance manifestation of Vajravarahl (GSS5), for urdhvapdda Vajravarahl (GSS12), and for the six-armed mandala leader (GSS16). Different manifestations of Vajrayogini are ascribed different mantras (see ch. 2).

Manuscripts reveal considerable numbers of variants in the mantras. In par- ticular, the length of the vowel hum/hum varies. While this may be a matter of orthography, the two syllables are distinct, and Umapatideva himself com- ments upon this in a mantra that combines both (see §34). The long syllable (hum) is the seed-syllable of the tathagata Aksobhya and thence of the various Herukas of which he is the family lord. In most Vajravarahl mantras in the GSS, the syllable is short (hum). Another common variant is the form of the name element. Following the brahmanical model, the dative form (-iye) is the norm, as the extraction of the mantra (mantroddhdrah) described in GSSi« GSS2 confirms. However, our manuscripts also transcribe the name element as a vocative (-i) and, probably through a corruption of the vocative, as a nom- inative (-i). Edgerton (1953: vol. 1, io.86ff. p. 74) presents -iye as the "oblique



47 8



NOTES TO PAGES 179-181



singular feminine" form that has evolved from the Middle Indie forms, pri- marily Pali -iyd and Prakrit -la. (Details are given in Wackernagel's Altindische Grammatikbznd 3 §83-96.) Edgerton records that -iyemxy indicate the instru- mental (10.91), ablative (10.93), genitive (10.94), and locative (10.95) of -/and
-/ stems, but, significantly, cites -lye only as the dative of 4 stems. However, he states that -iyeis extremely common in some manuscripts (10.90) and seems to suggest that -iye is interchangeable with -iyai (10.131). Mantric syntax is gen- erally fluid. For example, many mantras may include the salutation namah but without supplying a dative inflexion, as in Vajravarahi's mantra here. (Cf. the eightfold mantra in GSSn §32).

433 Gtsang smyon Heruka. (1995: 138). For the mantra "as" the deity, see GSS5 (Sed p. 134 5 , Kun): athavd mantradevatayor abheddt. ..; cf. Kumaracandra on KYT p. 117. The same understanding of the mantra is found in other nondual tantric traditions, as in the Saiva Trika tradition noted by Khanna (1986: 225) from the Gandharvatantra (11, 54b): svam mantratanur bhutvd devim mantramaylm yajet.

434 For the proper manner of reciting a mantra, see GSS5 (Sed p. 150 6 , K^):

drutddidosarahita<m> mantram japet; HT2.5 v. 43*b: dyutajdpaspastena dlrgha-

nddena cdrund; KYT ch. 12 v. 7: na drutam na vilambitam na ca hrasvam na

dirghakam I na kincic chruyate mantram jap amdno narottamah; SMi (p. 10):

tatah...jdpam abhyasan yathdbhilasitam mantram na drutam na vilambitam

asatsamkalpavarjitam mantrdksaragatacittam tdvaj japet ydvan na khedo bhavati;

SM29*(p. 72): antarjalpam atispastam na drutam na vilambitam I ' yathasukham

japam krtva. . . ; SM172 (p. 349) :•••>* matrdhinam. . . ; etc. mKhas grub rje gives

many details regarding recitation, e.g., (pp. 189-90) "While muttering, one

should be neither hurried nor slow / Neither too loud nor too low / Neither

speaking nor distracted / Nor disregarding the upper and lower vowel signs,

the anusvdra, or the visarga (citing Subdhupariprcchdtantra, Toh 805). In one

Avalokitesvara-based dhdrani (SM41), the mantra is to be recited with 108 beans

in the mouth (p. 87): somagrahe siiryagrahe vapancagavyenapraksdlya astottara-

satamdsdn mukhe praksipya tdvaj japet ydvan na mukto bhavati. Cf. Tharchin

1997: 222.

435 For the promise of siddhi in six months, see GSS23 (appendix), also GSS10 v. 140 (K52V6): yathdsvdsaldbho bhaven mdse satmdse vdnchitam phalam I rddhi- siddhir bhavedabde vasydkrstipunahsard • dkrstipunahsard] conj.; dkrstih punahsardh codd.; SM71 (p. 143): mahjuvajrdhamkdrenotthdya tathaiva viharediti. sanmasena vdgiivaratdm dsddayati); SM 7 (p. 30); SM28 (p. 70); SM80 (p. 156), etc. The nature of such guarantees is pan-tantric, e.g., Siddhayogesvarimata i2.iocd-nafr kavitvam mdsamdtrena sdlankdramanoharam...sadbhir mdsaih svayam karta sastrdndm jdyate tu sah (edition supplied by Judit Torzsok at a seminar at All Souls College, Oxford, 1996).

436 For an account of the principal siddhis and their attainment according to obla- tion rituals in the different Buddhist tantric systems, see Abhayakaragupta s Homavidhi (VA SP ff. n6r-n8r). On the eight siddhis, see e.g., SM172 (p- 350), SM221 (p. 434), Vasantatilakd (p. 74)> etc.; and on other siddhis, SM7i>






NOTES TO PAGES 181-182 479

GSS2 Kiir6-nvi, GSS5 (Sed (p. 138 11 , K25V1), SM218 (p. 431), etc. For the removal of dnantaryakarma with the hundred-syllabled mantra recited 108 times, see SMi (p. 2): tatah sarvakarmavaranaksaydrtham sarvatathagatahrdayam satdksaram tenaiva vidhind astasahasram japet. saddharmadusandnantaryddikam karmdvaranam prahiyate, but with a rider that the sadhaka must believe him- self able to do so (pp. 12-13): yathokte ndham s'akta iti navasdditavyam; cf. SM8 (p. 30): pancdnantaryakdrino 'pi kotijdpena sidhya<n>ti; SM17 (p. 48), etc. Cf. mKhas grub rje (p. 220) plus Wayman's note; Benard (1994 6 3 ff.) ; etc., and for a useful account of the six principal rites in the Saiva tradition, see "The Six Rites of Magic" by Buhnemann (in White 2000: 447-62).

437 Injunctions to remain in the form of the goddess often follow the bali offering, the last ritual of the sadhana. This is also expressed as "dwelling according to his pleasure," e.g., GSS2 (Kiiv6): balim dattvd samhared iti yathasukham viharta- vyam sarvdrtham siddhyati; GSS3 (K^): trisamdhyam balipurvakam bhagavatim bhdvayet. viharan bhagavatiriipena sarvadd viharet; GSS5 (Sed p. 145 8 , K30V5): sarvam krtva yathasukham vihared iti; (^4): pujddikam krtva yathasukham viharet.; GSS38 (Ki23ri): tanmurtyd viharet samdhyantare py evam); etc. Cf. SM218 (p. 430): samdhyantare 'pi bhatiti devydkdram abhimukhikrtya.

438 These injunctions are given within a passage describing ritual procedures such as tasting of nectar, bdhyapuja, etc. Although this portion of text is one also redacted by Umapatideva, he omits these prescriptions. See also Mahamayd- sddhanaby Ratnakarasanti (SM238 p. 464). Cf. SM218 (p. 430).

439 On the midnight juncture, see GSS5 (Sed p. 145 10 , K 3 ov 5 ): ardhardtrasam- dhydydm madhydhnasamdhyavat sarvam krtva. . .prabhdsvaram amukhikrtya nidrayas ca prabhdsvaratam adhimuhcan sayita. The junctures are not always listed in the same way, e.g., SMi (pp. 10-11) mentions: purvdhna (forenoon); apardhna (afternoon, last watch of the day); vikdla (twilight, evening); purvardtra (from dusk to midnight); aparardtra (latter half of the night, the last watch); jdgarikd (waking time). mKhas grub rje (p. 193) writes: "The times of the watches are as follows: The morning interval is from the moment when half of the sun disk emerges until it casts a man-sized shadow. Noon is the eighth or ninth chu tshod (approx. 45 minutes, a quarter of a watch). The afternoon interval is from the moment when there remains a man-sized shadow until half of the sun disk is submerged. The initial interval of night is from the moment when half of the sun disk is submerged through half the night. The period from this halfway point to dawn when half the sun disk has emerged is called the second interval of night. Midnight onward is the time for terrible rites, such [siddhis] as invisibility, and the cremation ground rites; while in other periods one performs the appeasing rites, etc.. .."

440 The structure of the Abhisamayamanjariis quite the reverse, as the self-generation of the full thirty-seven-fold mandala occurs "all at once" (jhatiti) in its com- plete form, at the very same moment that the central goddess is visualized in her complete form (GSS5 Sed p. 133 18 , K21V5): sarvdsca tddevyo bhagavatinispatti- samakdlam eva jhatiti nispannd drastavydh. The prescriptions for the fivefold



480 NOTES TO PAGES 183-184

and thirteenfold phases of the mandala are given below as shorter alternatives to the full mandala.

441 E.g., NYA (p. 26): tatah prdcyddidiksu vdmdvartena vahnyddividiksu daksindvar- tena nydsah • vahnyddi] conj. caksvddied. Bhattacharyya.

442 For the contents of the skull bowls, see GSS3 (Ki3ri): vidigdalesu catvdri bodhi- cittddipurndni kapdldni vicintayet; GSS7 with ornamental stands (K40V5): dgneyddicatuhkone bodhicittddibhdjanam I ' kalasopari vinyastam samkhakunden- dusannibham; GSS5 (Sed p. 132 20 , K20V6): dgneyddividigdalesu daksindvartena bodhicittena rajasa pahcdmrtaih pancapradipaih siddharasavadamrtibhutaih mrndni catvdri padmabhdjandni bhdvydni; cf. NYA Samvara Mandala (p. 26): vidigdalesu bodhicittena rajasa pancdmrtaih pahcapradipais ca siddharasavada- mrtlbhutaih purndny abjabhajandnu catvdry api pahcdmrtapurndni vd.

443 For the eightfold mantra associated with praise, see GSS35 {Kiion):...balim dadydt. astapadamantrena stutvd pranidhdnam vidhdya puny am parindmayet. . . (Ki2or6): astapadamantrena sarvatra stutih; GSS5 (Sed p. 146 8 , K31V5): tadanu hrdayddyastapadamantrastutipurvakam yathdvartitastutibhih samstutya yathd- sakti pdpadesanddikam dhydnamantrajdpapranidhdnddikam ca vidhdya. This is based on the same usage in YSCT (M7V6) and HA fev). Cf. K. Gyatso 1997: 132-37.

444 GSS7 {Kjtfv^): pranavam ndmasamyuktam humhumphatkarasamyutam • hum- hum] em. humhum codd. The corruption of the long vowel may have been transmitted into Tibetan. Kalff (1979: 73) cites Bu ston's remark that these mantras have been rendered Buddhist by the application of the syllables om and hum hiim phat.

445 In GSS texts, the iconography of the fivefold mandala is pretty stable; in GSS3 (Ki2v6) Vajravarahi appears in the reverse warrior stance; and GSS 5 describes a fivefold mandala "from Oddiyana," with Vajravarahi in urdhvapdda pose, as does GSS12 in greater length (ch. 2). The fivefold mandala appears again in a Sabara-school Vajrayoginisddhana (GSS19), which is the only fivefold mandala not to have Vajravarahi as its presiding goddess but Vajrayogini. In this prac- tice, the four retinue goddesses are installed in position with a flower-offering mantra. The iconography of the goddesses in Cakrasamvara texts is either that of our texts (e.g., NYA, Samvaramandala p. 26) or slightly different (e.g., SUT ch. 13, w. 25-28a). The latter supplies a close parallel to Umapatideva's verses, except that the goddesses are only two-armed and hold a skull bowl and chop- per plus staff.

446 As shown above, Sanderson (1994K 95) has demonstrated that much of this material has its roots in esoteric Saivism, for example, a class of yogini called "Lamas" is also mentioned in the Laghusamvaratantra ch. 19 (ch. 29 of the Saiva Siddhayogesvarimatd) . For classes of female consort, see SUT ch. 9 Chomdpithasamketabhuminirdesapatala; ch. 31 Caturyogininirdesacatus- cakrakramabodhicittasamkramanapatala; ADUT ch. 39 Yoginilaksanapatala (pp- 376ff); ch. 40 Ddkinilaksanapatala (pp. 385ff), ch. 41 Ldmdlaksanapatala (pp. 39off.), ch. 42 Angamudrdlaksanapatala (pp. 397ff). Other yoginitantra



N



OTES TO PAGES 184-187 481



sources that deal with this subject include the HT and its commentaries, e.g., HT1.6.8-9 ("vajrakanya"), HT1.7 (with Snellgrove's quotations from its com- mentaries, p. 66); HT2.2.1-2, HT2.5.4-5, etc.

447 The Cakrasamvaratantra (chs. 2 and 3) contains several references to the four goddesses, but with Dakini and Lama always as a class of females, e.g., 3.15: dakinyo yogamdtardh, dakinyo lamayas caiva khandarohdtu rupini(drak edition by Professor Sanderson based on Oriental Institute, MS University, Baroda, Ace. no. 13290: "Herukavidhanatamtra," ff. 2V-31:). Cf. ADUT ch. 40 (p. 385): [Dakini] vajravdrdhikulodbhutd; ch. 41 (p. 391): vdrdhindm tu Idmdndm etad bhavati laksanam. For Surangamavajra's commentary, see Kalff 1979: 252, n. 1.

448 Umapatideva draws closely on the SUT (ch. 13) and cites verses from the YSCT (see Textual Note to v. 41), although he does not follow the structure of these sources, in which the outer goddesses are to be installed last (i.e., after the site goddesses of the fourth meditation stage).

449 A similar description in GSS5 (Sed p. 134, K21V3) also omits the colors, but these are confirmed by SUT ch. 13, w. 29-33 and HA (f. 8r 4 ). The iconographical schema generally echoes that of the SUT in which, however, the goddesses hold a chopper rather than a damaru (as did the petal goddesses in that source). The similarity between the gate goddesses and the petal goddesses is mentioned in GSS11 v. 41, and in related texts such as the YSCT (see Textual Notes).

450 A classical image of Yama appears in the third book (Vanaparvan) of the Mahdbhdrata, in the Sdvitryupdkhydna, where Yama is described as handsome but dark, with red eyes, terrifying and holding a noose, wearing a yellow gar- ment and with bound-up hair. With his noose he forcibly extracts the "thumb- sized person" from the dying body. Yama is taken over in Buddhist sources as the god of death, but other forms also appear, such as Yamantaka, "stopper of death," with a new iconography. The latter's main forms are Raktayamari, Krsnayamari, and Vajrabhairava Yamantaka (Sacred Art of 'Tibet pp. 283-89, with plates).

451 This set of gate goddesses is similar to that of the Heruka-Hevajra mandala, in which Simhasya replaces Kakasya, e.g., Hevajra and Nairatma mandaias NYA (pp. 14 and 16).

452 For other references to the outer goddesses in the "samayacakra, " see GSS5 (Sed p. 13 5 7 , K22V5): samayacakrasthdndm amoghasiddhih; NYA (p. 28); ADUT ch. 9 (pp. 289-90): samayacakravisuddhih, and Surangamavajra's commentary to the ADUT (see ch. 14, Kalff 1979: 217 n.i). (Note that KalfFs translation p. 180 needs revision.) For the association of the petal goddesses and the "knowl- edge" level of the mandala, see ADUT ch. 9 (p. 288): jndnapadmavisuddhih; also ch. 9 (p. 290): jndnaddkiniyogena visvapadmddimadhyatah. Here, the site goddesses of the cittacakra are also called vajraddkinis (as they are surrounded by ring of vajras) and the vdkeakra site goddesses padmaddkinls (as they are sur- rounded by a ring of lotuses). The Tibetan tradition attested by K. Gyatso (1997: 44) describes the lotus petals as the level of "great bliss," and the outer- most cakra as the "pledge" (samayacakra).



482 NOTES TO PAGES 187-189

453 "Circle of great bliss" may be a reference to the blissful conception of the god- dess in the sequence of awakenings within the dharmodayd, a synonym for vagina or womb. A "body of great bliss" (mahdsukhakdya) is also applied to a fourth buddha body, whose transcendent status may be reflected by the cen- trality of the mahdsukhacakra in the mandala. The yogic system of body cakras also designates the head cakra as the mahasukhacakra, but the fact that the terms coincide is probably incidental, as none of the other levels of the mandala are related, as such, to the body cakras. The terms pledge circle (samayacakram) and knowledge circle (jnanacakram), as we have seen, applied initially during the self-generation of the goddess and her mandala. The further testimony of the higher tantric commentaries would be of interest. 454 Similar paragraphs describing the three cakras appear twice in GSS5 (Sed p. 133 2 K2in and Sed p. 142 2 Ki8r4). The first instance (GSS5 Kun: tadbahir...) comes after the description of the fivefold mandala and describes the next level of the complete mandala, namely, the site goddesses on the three cakras that "have the nature of (svabhdvesu) the sites. Here, there is no mention of the site goddesses as generic groups within the cosmos, as in GSS11 (khecarindm samgrahah etc.). The next instance (GSS5 Kz8r4) is in the context of the body mandala (cf. §30). Here, the site goddesses are identified with a site and a body point; these are then associated with the ten places (as GSS11 v. 43ft.). The ref- erence to the goddesses as a generic group is made at this point. This assigns them to the level of the cosmos in which they "move" and accords with the cos- mological location of their particular cakra. In the ADUT, as in GSS5 (Kz8r4), this detail is reserved for the descriptions of the body mandala. Thus, the ADUT (ch. 9 pp. 285-86) correlates the god/goddesses with the sites and body points, allocates them to the ten places, and finishes with the collective desig- nation of the goddesses of the cakra (pp. 285-86): cittacakrasya khecari...; vakcakrasya bhucari. ..; kayacakrasya patdlavdsini. ... It is notable that this text refers to a single female goddess instead of to a "group," despite the fact that the text has just described a collection of eight site gods and site goddesses (male and female) in union on the cakra. The same phraseology is found in GSS5, which adds a possible explanation, i.e., that "with this [goddess]" (i.e., through her as a type) "there is the collection of those [male and female deities]" (Sed p. 142 6 , K28r6): ...cittacakrasya khecari. anaya svargagatdndm samgrahah. ...vakcakre bhucari. anaya martydndm samgrahah... kdyacakre patalavasinl anaya pdtdlagatdndm samgrahah. • cittacakrasya] K; possibly emend: cittacakre • bhucari] conj.; khecari K.

In GSSn, Umapatideva (§I7-§I9) sp^ rather more lucidly when he describes "the collection of those [goddesses] who dwell. ..." Kalff (1979: 33 n.i) notes that in the HT1.8.15, there is a reference to the single, feminine goddesses Khecari

and Bhucari.
455 Sanderson (1995) has pointed to the Saiva provenance of these goddesses, par- ticularly their many correspondences with the twenty-four yoginis listed in the



NOTES TO PAGES 189-190 483

Yoginisamcdraprakarana, the third satka of the Jayadrathayamala. This is also discussed by Kalff(i979: 8iff.).

456 Redacting from his souce texts, Umapatideva gives goddesses on the three cakras a generic status as "the congregation of goddesses" (see n. 454 above). At §21, however, he is no longer redacting, and the outer-goddesses are simply "to be visualized" (bhdvydh) within the eight cremation grounds.

457 The process of Umapatideva's redaction from the HA is evident here. Luyipada follows his description of the outer goddesses with a remark applying to the full mandala, namely, that vajra garlands are worn by all heroes and yoginis of the mandala, (f. 8vi): sarvesdm virayoginindm laldte vajramdld. Umapatideva has therefore borrowed the closing line of Luyipada's iconographical prescriptions to mark the end of this section of his text. Possibly incorporating a marginal note, the Tibetan text (p. 40.1) seems to have added that the goddesses are adorned by "five skulls residing in the center of (two? dag) vajramalas" (the Tibetan syntax is not smooth).

458 First, the Abhisamayamanjari states that all the deities of the mandala may be visu- alized as two-armed, except (it seems) Dakini, etc., who are said to be four-armed. The two-armed outer goddeses, Kakasya, etc., hold only a skull bowl in their left hands (with the staff tucked into the crook of their arms) and a damaru in their right; everything else is as described before. Another alternative to the visualiza- tion is that the central form of Vajravarahi may be visualized as either yellow or blue. In this case, the four goddesses on the petals (Dakini, etc.) are all yellow, and presumably two-armed, as they are said to hold in their right hands a damaru. The yoginis of the three circles change their color and their attributes also. Those of the mind circle are now white, and (apart from the bowl and staffon their left sides) they hold a vajra threateningly in their right hands; those of the speech cir- cle are black and hold a lotus; those of the body circle are red and hold a wheel. The outer goddesses, Kakasya, etc., hold a chopper threateningly in their right hands, and Yamadadhl, etc., a damaru (with bowl and staff to the left). All twelve deites (of the petals and the gates) are in the dancing ardhaparyanka pose, and their iconography is otherwise as before. GSS5 (Sed p. 139 17 , K26r 5 ): tatraiva mandalabheddnantaram vajrdvalydm asmadgurubhir upadarsitam. likhyate ndyikddayah sarvd dvibhujdh, dakinyadayas ' caturbhujds catasrah, kdkdsyddayas ca vamena kapdlam bdhvdsaktakhatvdngam ca bibhrdndh savyena damarukam aparam sarvam purvavat. athavd bhagavati pitavarna nild va. dakinyadayas cata- sras tupitdh savyena damarubhrtah. cittacakrasya yoginyah sitah savajratarjanlkasa- vyakara, vakcakrasya krsnah sapadmatarjani<ka>savyahastah, kayacakrasya raktah savyena tarjanikacakrabhrtah, kakasyadayah savyena satarjanikakartridharah sarva devya vamahastena kapaladharinah, yamadddyddayah savyena damarum vamena tarjanikamundam bibhratyah, ddkinyddlnam kdkdsyddindm ca vdmabdhau khatvdngam. etas' ca dvddasd <d>rdhaparyankena nrtyantyah. aparam sarvam purvavat. • kdkdsyddindm] Kpc(mg2); Kac omit.

459 E-g-> Cakrasamvara mandala in NYA (p. 28): kulesas tu bhagavato 'ksobhyo



484 NOTES TO PAGES 192-196

vajravdrdhyd vairocano ddkinyddindm ratnesah. cittavdkkdyagatdndm aksobbyd- mitdbhasdsvatdh samayacakrasthdndm amoghasiddhih.

460 The rather haphazard nature of the correspondences of the buddhas with the levels of the mandala is highlighted by a survey of the mandalas in the NYA. For example, in the Aksobhya mandala, Aksobhya at the center is presided over by Vajrasattva {ibid.: 5, summarized p. 35), while in the Vajrasattva mandala, the leader Vajrasattva is presided over by Aksobhya (from the Samputatantra ibid.: 8, summarized p. 37). The correlations are usually with five buddha families, but sometimes with the six, although on occasion they are "not reliable enough to be dependable" (see B. Bhattacharyya's comment, ibid: 40).

461 A fourfold division of worlds is not new; it appears, for instance, in the STTS ch. 6 (p. 59), which describes the conversion of the brahmanical overlord Narayana and his retinue. Here Visnu's retinue comprises the gods of inter- mediate space, of space, of the earth and the underworld, and their female counterparts (antariksacari-; khecari-; bhucari-; pdtdlavdsini-).

462 Sircar (1948: 8-11) notes that the earliest written evidence ofthepitbas is prob- ably the reference to them as places of s'akti worship in the Mahdbhdrata (Tirthaydtrd, Vanaparvan) at a site actually associated with Bhimadevi. See Sanderson (1994K 94-95) for references to the Saiva ritual texts influential here, such as the Yoginilaksana, ch. 16 of Tantrasadbhdva.

463 Sanderson (personal communication) points to the systems of twenty-four pithas in the Kubjikdmata (22.23-36) and in Tantrdloka i^.tf-yib (especially

Tantrdloka 29.71C-72D): hrt kundali bhruvor madhyam etadeva kramdt tray am II ' smasandni drumdh {drumdh em.: kramdt ed.) ksetrabhavam sadyoginiganam. He states (ibid.) that an earlier version in the Trika is seen in the Nisisamcdra, patala 4 and the Tantrasadbhdva, patala 19 (ksetropaksetrdrcanam). The devel- oping cosmological model of the cremation grounds in the Buddhist tradition may have its roots in the Saiva model of the sites, which are each said to include a goddess, a cremation ground, a tree, and a Bhairava who is the ksetrapala (Mayer 1996: 119, citing Sanderson, personal communication).

464 The geographic location of the sites has been discussed by some secondary authors, e.g., Sircar (1948), KalfF(i979: 98-107) drawing on Sircar and others, and Boord (1994: 27-32) summarizing ancient and modern sources (including the accounts of Chinese pilgrims from Hazra 1983).

465 There is a twelvefold system of places in the Hevajra tradition, which leads to a twelvefold enumeration of the bodhisattvabhiimis (HT1.7.11, see Snellgrove's note p. 69). The Hevajra system describes the same list, but follows (or replaces) meldpaka and upameldpaka with two other kinds of "place" called pilava and upapilava (HT1.7.10, HT1.7.13, HT1.7.17). Kalff (1979: 101) notes that there is no agreement between the Hevajra and Cakrasamvara systems as to which sites belong to which category, and, moreover, only nineteen of the sites coincide and can be identified with each other. Snellgrove (1959: 70) attempts to rec- oncile the two lists.

466 For references in Cakrasamvara literature to the division of sites into places, see






NOTES TO PAGES 196-197 485

SUT ch. 9, w. 13-19; Tsuda (p. 271) also cites their appearance in the Samputa- tantra (kalpa 5, prakarana 1), the Ddkdrnava (patala 15, giving a "very unusual" account of the sites in comparison), ADUT (chs. 5, 9, 14, and 56), and the Yoginisamcdra (chs. 5 and 13). Davidson (1991) also gives detailed references for their appearance in the ADUT. The places are correlated with the bhumis in the context of the body mandala (SUT ch. 9, v. nff.).

The translation or definition of the terms for the types of place is problem- atic. Dharmakirti's commentary on the HT (the Netravibhanga) glosses the "secondary" or "auxiliary" type of place (upa-) as "nearby to that [place]" (tatsamnivesam), cited in Snellgrove (1959: 68-69 n. 1). Snellgrove also discusses the difficulties this presented to Tibetan translators, who either rendered "absurd" translations (which exegetes then attempted to explain, see Blue Annals??. 980, 983) or who resorted to transliteration (e.g., of the terms "chan- doha"znd "piLzva"). Indian exegetes had also struggled with the terms. Snell- grove mentions Dharmakirti's etymologies that attempt to explain the terms, for example chandoha: "because one desires and yearns, it is called chando? Kalff (1979: 158) also broaches this topic, noting: "There is no ready transla- tion for the term chandoha!"

467 Tsuda's translation of SUT ch. 9, v. 12: madyamdmsapriyd nityam lajjdbhaya- ndsani ca yd I dakinikulasambhutah sahaja iti kathyate I des'e des'e 'bhijdyante yoginih sevayet sadd; cf. also SUT ch. 8, v. 25. Sanderson (19941: 99-100, n. 20) cites a passage from the Tantrasadbhdva ( Yoginilaksana 16, v. 63), the text from which the list of sites has been redacted in the Laghusamvara, which includes the comment: esu des'esu yah kanyd<h> striyo vd klinnayonayah I sarvds tdh kdmarupinyo manovegdnuvrttayah.

468 These remarks appear in the context of an internalized contemplation of the places and sites. See SUT ch. 4 (v. 29cd): pithaksetre tu samkete yoginiyogi- melakam, and GSS11 v. 57. ADUT ch. 9 contains a rather unwieldy list of such goddesses or consorts, which includes among others "the innate woman" (sahaja), "one born in a field" (ksetrajd), and "one born in a site" (pithajd). These listings also include those of sky, earth, underworld, as in our texts (here described as gandharvari, yaksani, ndganl, respectively). Kalff notes that such groupings are inconsistent and their origin as yet undetermined (1979 pp. 292 and 34).

469 In this context mKhas grub rje (pp. 253-54) describes the utpattikrama, the nispannakrama, and the *anucdravis'uddhizs three types of tantras. The implicit hierarchy here is corroborated by a (Tibetan) school cited by him (p. 257) that correlates different types of visuddhi with divisions of the tantric corpus: the purification of the (gross) psychophysical organism (skandhas, dhdtus, dyatanas) with the "father tantras" (yogottaratantra texts), the (yogic) purification of the veins with the "mother tantras" (yoganiruttara/yoginitantras), and the purifi- cation of both with the "nondual tantras" (KdUcakratantra, Ndmasamglti). Our yoginitantra texts are not, in fact, recognizable under this classification, as they include both types of visuddhi, gross and yogic.



486 NOTES TO PAGES 197-202

470 YSCT ch. 13 (A6v. 6; Bior.i): laksdbhidhdnatantrasya uddhrtam tena samvaram I khasama<ta>nt<r>e pindasdram tvayd khydtam, abhidhdne 'bhyudaye sthitam I "He has extracted the [Laghujsamvara from the Laksdbhidhana; you have pro- claimed the essential core in the Khasama[tantra]; it is found in the [Heruka-] Abhidhdna [i.e., Laghusamvara, and] in the [Heruka-]Abhyudaya" Sanderson (1993) has shown that the actual roots of the practice are in the Saiva tradition, for example, in the Saiva Tantrasadbhdva {adhikdra 16, Yoginilaksana) . In his paper ("History through Textual Criticism in the Study of Saivism, the Panca- ratra and the Buddhist Yoginitantras" 2001b), he shows that the yogic wan- dering through the pithas, etc., as an ascetic practice (carydvrata) (i.e., the internalization of this as the dehamandalam) is taught in the Tantrasadbhdva, patala 15, in a passage that has been redacted as the Kubjikamata 25.64-99. Sanderson (1999: personal communication) also refers to the body sites of the closely related system of twenty-four power-places of the Mddhavakula taught in Tantrdloka 29.58-63, and the system from the Nisisamcdra (ibid.) i5.8oc~97b and commentary.

471 For a comparison of the inner and outer methods, see GSS5 (Sed p. 141 14 , K28n): <pra>muditd-vimald-prabhdkari-arcismati-abhimukhi-sudurjayd-dum acald-sd^humatl-dharmameghdkhyd-dasabhumivisuddhydkramen^

dirupam kdyamandalam adhydtmayogind bhdvayitavyam. tad uktam - caturvimsati bhedena pithddy atra vyavasthitam I atas tadbhramanenaiva khedah kdryo na tdttvikaih I ksiyante dhdtavas tesdm bhramandd bdhyayoginam I ato bahyam nirdkrtya sthdtavyam yogininaye I iti. Cf. Vajragarbha (Hevajrapin- ddrthatika cited Snellgrove 1959: 69 n. 2): "externally these are places in the world without, where dwell those goddesses who run after flesh and blood and so keep to the towns, but internally these places exist in the body in the form of veins and there is no need to look elsewhere for them." Also Saraha's Doha- kosa {ibid: 70): "I have visited in my wanderings ksetra zrvipitha and upapitha, for I have not seen another place of pilgrimage blissful like my own body."

472 In GSS5 (Sed p. 143 3 , K29r2), these correlations appear somewhat as an after- thought, appearing at the very end of the body mandala (i.e., after the text parallel to our §31): vaktravamadaksinandsdputam gudadvaresu kramena kakd- syddayo dvdrapdlyah. savydpasavyasrotrasavy-dpasavyanetresuyamadddhyddayah. hrlUldtakanthandbhikamalakarnikaydsu ddkinyadayas catasrah. • yamadddhyd- dayah\ em.; yamadddhydtK.

473 For the site goddesses "as" the veins, see Abhisamayamanjari (GSS5 Sed p. 142 1 , K28V6): tesu pithddisu tattatsthdnagatd nddyas tattaddevatdrupena parinamayya vyavasthitd bhdvydh; also Tsuda (1974: 55) citing Tsong kha pa: "Ddkini is thirty-six veins and humours flowing in them...." This is clearly put in the Vasantatilakd ch. 4 (p. 27); ch. 5, v. 15 (p. 36); ch. 6, v. 44 (p. 50); ch. 7, v. 9 (p. 57). Cf. K. Gyatso 1997: 41.

474 E.g., HA f. I5r4: viravisuddhih. See Translation note 570 for further references. The SUT also is a rich source of information upon the body mandala. In ch. 7 (w. 23-25) the veins are related to the birth of the embryo; see also chapter



NOTES TO PAGES 202-206 4 g

9 (v. zoff.) and chapter 13 (w. 41-42). Tsuda (i 974: 260 n. 4) notes that these correlations are found repeatedly" in tantric literature, and that they "furnish important internal evidence as to the relations between tantras of the Samvara literature.

475 This retranslates the passage from Tsuda's edition, expanding on the terse

Sanskrit verses (SUT ch. 7 v. aff )• nddhthar,^ ,„ J.u

,, ■ / v. jir.i. naatsthanam ca pitham ca caturvimsat-

pramanatahl tesdm rnadbye trayo nddya dirayanti ca sarvagdh / 3 / pulliramalaye sirasi nakhadantavahd sthita I ' jdlamdharasikhdsthdne kesaromasamdvahd 1 4/ oddiydne daksine kame nodi tvanmalavdhini /etc.

476 Kalff (1979: 197 n. 1) refers here to Digha N.kaya, sutta 22, vol. 2, Pali Text Soci- ety, London, 1903.

477 !r« C ; Sel f- COn ^ Crati °f ' (^htsthana-) method sadhana of Dhyayipada (GSS34), the traditional Cakrasamvara contemplation of the mandala as cosmos is replaced with a series of correlations for the eight cremation g'rounds in each direction of space. Here, each of the eight cremation grounds, and each of its agfat features, is equated with a subtle aspect of the practitioner's psy- chophysical and yogic body, as shown in table iv below.

478 GSSj (Sed p. 143', K2 9 r 3 ): hi sampurnam kdyamandaUm muhurmuhu<r> draham adhimoktavyam.

479 For parallels, see footnotes to the Translation, § 33.

480 GSS14 (K 73 r4): dharmatd khalu lokdndm idrsi tivrakarmanah I puspamdtram thawa syat paraloke phalam mahat I \ 7 . • paraloke] cm.; para/oka K

4 8r GSS14 (K73V3): yenayena vidhdnena yatra yatra yathd yathd I ' adhimuktena cit tena yat punyam parindmyate I '24. / tern tendpi rupena tatra Ultra tathd tathd I utpadyate tatha <pbalam?> kumbhakdraghatddivat I '25.

482 GSS14 com. (K73V5): yadyad bhdvyate bhuyo bhuyas ca parindmyate I tat pratiphalaty eva darpane sadasad yathd I '26 I . . . cittdd eva na ednyasmde chreyo heyadvayasrayah I cittam eva hi samsdro nirvdnam cittam eva ca 1 28 • v 26 bhdvyate] corr. (hypo.); bhyavyate K • chreyoheya] conj.; chrethayaK Cf GSSl (Ki6t.i): yenayena hi bhdvena manah samyujyate nrndm/tena tanmayatdm ydti vuvampo mamr yathd ' yujyate] em.; pujyate K; "With whatever state (bhdva-) the mind of man is connected, it is to that [state] he goes, like the jewel in which everything [is contained]." This verse is widely attested, eg YSCT (ch 11) and is clearly related to a similar verse cited in Saiva sources, e.g., by Jayadratha in his Vweka on Tantrdloka 1.115, and by Narayanakamha in his commentary to the Mrgedratantra Kriydpdda, where he attributes it to the Sarvasrotahsamzra- hasdra. (I thank Dr. Isaacson for these references.} ' '

483 GSS14 (K73V2): f>ttarasatdhutydsatyadvayasamd<sra> y dt/cakravartitvabud-

rcXTc^t t dhUT muniimr ^'^ ' ™™vardh\ corr, manisvardh K Cr. YbCl ch. 16, w. 8, 10.

484 To summarize some of the differences: (i, Sasvatavajra's ritual texts are all marked by autograph verses of benediction and dedication, and/or colophons The parallel passages in GSS5 and GSSn d«cnbe the separate rites in a con' tinuous body of text, (ii) There is some additional material in the GSS texts at



488



NOTES TO PAGE 206



Endnote table iv. Yogic body mandala*

8 cremation <=> apertures of the body

grounds



8 protectors o sense consciousnesses



8 serpents <=> named winds



8 trees



8 clouds



named veins (nadis)



<£>



sense spheres (-dhatum)



mouth, right nostril, anus, left nostril, right and left earholes, right and left pupils

tongue, nose, body, mind, ear, defiled-mind, store, and eye consciousness

Astakoti, tKarkotakat, Kota, tKotibhat, Kola, Kolava,
Kolagandha, Kolibha

Ugra, Ghora, Agnivadana,
TejanI, Khargadharani, Cakri, Sucimukha, Kubji

taste, olfactory, touch, "ideas" (dharmadhdtum), sound,
cognition (vijndna ),
consciousness (jndna°), form

• The practice requires a knowledge of the Cakramsavara/Vajravarahi body mandala, as the eight apertures of the body are referred to cryptically by the name of the site in those sys- tems. For example, the first cremation ground, Candogra, is correlated with the mouth, for which the text explains: "Candogra is in the entrance to Kaliiiga" (GSS34, K1131-): tatra smasdndni kalingadvdre candogram.... Kalinga, we find, is the site for the mouth in the Cakrasamvara/Vajravarahl body mandala. The cremation-ground body mandala therefore draws on the traditional language of the body mandala, but moves beyond it to a type of yogic practice based on exclusively on kdpdlika cosmology.
  

The Smasdndlamkdratantra (reported by Meisezahl 1980: 21-2) also mentions "secret" or "interior" cremation grounds Cguhyasmasdndni) and describes a similar subtle body mandala. This relates the five features of the cremation grounds to five groups of nddh on the body: 8 nddh at the tip of the nose (= 8 cremation grounds); 8 nddh at the navel (= trees); 8 nddh at the chest? snying kar rca brgyad(= dikpdlas); 8 nddh at the throat (= nagas); 8 nddh at the head spyi bor rca brgyad{= clouds). The eight cremation grounds are also equated with the eight types of consciousness in the Visesadyota by Tathagatavajra in the Peking Tengyur (Otani 2224, described in Meisezahl 1980: 7). Elsewhere they are also correlated with the eight doors of liberation {ibid.: 9).



§51 and §52 (in both GSS11 and GSS5). GSS5 also contains prescriptions for rites during the day and at midday and midnight junctures, (iii) The *Vid- hisamgraha'mdudes the Smasdnavidhiby Luyipada, raising the possibility that cremation ground material appeared in a shared source, and that Umapatideva drew upon this while reworking the material into his own verses, and drawing upon other sources such as the SUT; GSS5 omits any account or the crema-



NOTES TO PAGES 206-208 489

tion grounds, (iv) The position and designation of the Amrtdsvadana differs in the three texts, (v) For the hastapiija, all three texts share a reference to the YSCT, stating that fuller prescriptions for the rite appear in that tantra. In Sasvatavajra's text this appears in a colophon verse. Sasvatavajra's hastapiija text also appears by itself in the Sddhanamdld (SM253 pp. 498-500). (vi) The second, alternative, external worship in GSS11 (at §49) implies the (optional?) inclusion of the hastapiija within the rite, an option that is explicit in Sasvatava- jra's text (yadvd. . .) because of his use of colophon verses to mark the separate rites in the series.

485 See Kane (1941) History of Dharmasdstra (ch. 20, p. 741ft) on the "vaisvadeva" (including baliharana/bhutayajhd), and (ch. 18, p. 696ft) on the "pancayajna. " For the latter, Kane states that the Satapathabrdhmana (11. 5.6.1.) contains the locus classicus for the mahayajnas (Taittiriya Aranyaka 2.10), where they are defined as devayajna (offering to fire), pitryajna (sraddha), bhiitayajna {ball offering), manusyayajna (food to brahmins), and brahmayajna (study of the Vedas). The Grhyasutras and Srautasutras refer to the mahayajnas in the same terms, although sources differ as to the order in which the five are presented. Similarities between the brahmanical rite and the ball taught here include the prescriptions to perform the ritual at specified junctures of the day, the prior cooking of the food offerings, the lowly type of recipient (see Manu III w. 87-93, Yajnavalkya 1. 103, and sources cited by Kane ibid.: 745-46, e.g., Mahdbhdrata, Vanaparvan II. 59), and their propitiatory and even liberationist function, e.g., Manu II. 28: svddhydyena vratair homais traividyenejyaya sutaih I mahdyajnais ca yajnais ca brdhmiyam kriyate tanuh.

486 For example, in the Saiva Svacchandatantra 3.206-210, bait is described as the concluding rite of the first day of initiation [adhivasadinam] and is offered to all bhutas (celestial, terrestial, and aerial), to the ksetrapdlas, patitas, and svapacas. It is similar in the (unpublished) Nisisamcdra, in which esoteric balk of the five nectars and wine are offered by Mahavratin sadhakas. The offerings are pre- sented by sadhakas when they enter a power site, in order to gratify (and so pla- cate) its guardian (ksetrapdla/sthdnapdla), and are accompanied by wild laughter and the rattling of the damaru drum, with a balimantra (om hrim hiim he hah phat2. . .). This ritual has been taken over through the redaction of Nisisamcdra into Buddhist tantras such as the Catuhpithatantra (Parapitha, patala 3) and the Vajraddkatantra 18.16. In Saiva rites, the ^//'offerings may be to animals, bhutas, the mam, and yoginls etc., e.g., Netratantra 19.112c: trptyartham bhutasamghasya mantri raksdrtham udyatah (and its commentary): sangho mdtryoginyddiganah. The making of bali offerings to principal mandala deities seems to be an innovation in Buddhist sources. I thank Professor Sanderson (1998: personal communication) for these references.

487 Of the twenty-six GSS texts that teach a bali ritual, most do indeed describe it at the end, or following the self-generation, e.g., GSS4, GSS5, GSS15, GSS18, GSS21 etc.

488 As in the Vajravdrdhi Sddhana, the tasting of nectar appears in the Abhisamaya-



490 NOTES TO PAGES 208-209

manjari following the self-generation, but in contrast to Umapatideva's text, it appears in full at this stage. When he later describes the balividhi, Sakya- raksita's text refers simply to the purification of the offering "as above," with- out naming it specifically as the amrtdsvddanam, and without describing it again (GSS5 Sed p. 143 7 , K29r3): tato balim dadydt. bhojyddikam puratah samsthdpya prdguktakramena visodhya. Umapatideva's text is therefore closer to Sasvatavajra's Cakrasamvarabalividhi (pp. 56-58), in which the amrtdsvddana also appears as an integrated part of the balividhi. Curiously, although the Cakrasamvarabalividhi describes the same process as that given the GSS texts, it never actually names the rite as the "amrtdsvddana. "

489 In the Saptdksarasddhana (SM251), for example, the self-generation of the cop- ulating deities is followed by worship: first with the traditional offerings of the sixteen goddesses (p. 493), and then with the amrtdsvddana (p. 494). Similarly in GSS4, the tasting of nectar is a distinct means of worshiping the deity (K13V4): pujdstutyamrtdsvddam krtvd. In SM219 the tasting of nectar is the pre- liminary to a rite of subjugation (p. 432: vasyavidhih) .

490 E.g., GSS35 (K119V6): yathdldbhato hastapujayd sampujya amrtam dsvddya ganabhojanam ca vidhdya balim dadydt. GSS16 (K8ir6): . . . mantram japet. yavad udvego na bhavati tdvad amrtam dsvddayet. evam balibhdjanam dlokya vum dm jrim kham hum dravibhutam cintayed iti. dtmano jihvdgre candramandalopari nilavajram yavaphalamdtram rasmispharantam vibhdvyam. tayd rasmydvabhdsena ndlikdrupendtmdnam pdyayet dvddasadevibhih. evam prinayet. pitvd mahdsukham anuvartet<a>. pranidhdnam kurydt. dvitiya<m> balibhdjana<m> vistirnam vicintayet. tatra bhaktakulattha-indariparpati-vadiv2ita.(?)-matsyamdmsapupa- vyanjanamadyasidhusurdphal fophali f ndndrasasamtosanam krtvd puspadhupadipa- gandhamdlyavilepananaivedyam ca sthdnas'masdnavrksanadi f parvatasthitdlayesuf tebhyo ddpayet- om vajrdralli hohjah hum vam hoh vajraddkinyah samayas tvam drsya hoh - puspdn avakirnayet. - om kha kha khdhi khdhi... - tatah pranidhdnam ca.

dlokya] com; dloksaK 9 candramandalo] corr.; candramandalaloK* rasmispha- rantam vibhdvyam] em.; rasmipharantam vibhdvyahK* rasmydvabhdsena] corr.; rasmydvabhdsenaK* vadivata^)] perhaps for * ' vadabdnaht (digestive powder)? • naivedyam] corr.; naivaidyamK* parvatasthitdlayesu] conj.?; parvatdsthitdlayete K. (Mss. N and D share the same corruptions, and introduce new ones.)

In other accounts, the "tasting of nectar" appears to be the ritual method "whereby" the bali is offered (e.g., GSS31 K104V2): tad anu nispdditabalim amrtdsvddavidhindnena mantrena dadydt. 491 The text has "munda-" which could refer to a severed head, a dried-up head, or a complete skull. However the seed syllable kam (see note to Translation) suggests "head" (kam). K. Gyatso (1999: 61) also takes the tripod to consist of three heads. This is illustrated in Brauen (1997: 106, fig.61) and Sacred Art of Tibet plate 158 (pp. 380-81). However, skulls would perhaps seem more appro- priate in that their color and shape mirrors the white sphere of the water ele- ment that normally follows the elements of wind and fire. Two separate plates



NOTES TO PAGES 209-HO 491

in Tanaka (1997) illustrate the two possibilities: three heads are depicted in the rNying ma tangka of Nyi ma 'od zer (no. 34: 92-93), and three skulls in a tangka of six-armed Hayagriva (no. 57: 137).

492 This is the method attested in the dGe lugs tradition vividly described by K. Gyatso (1999: 61) "From the state of emptiness a blue letter YAM appears. This is the seed of the wind element. ... The YAM transforms into a gigantic wind mandala. This is blue, semi-circular in shape, and lies flat with its curved edge furthest from us. At both corners there is a fluttering white banner. The move- ment of the banners activates the wind mandala causing the wind to blow. Above the wind mandala there appears a red letter RAM.. . . This letter trans- forms into a triangular fire mandala that is flat and red. It has one corner point- ing toward us, directly above the straight edge of the wind mandala, and the other two corners above the semi-circular edge of the wind mandala. This red triangle, which is slightly smaller than the wind mandala, is the core of the fire mandala. As this core is fanned by the wind, red-hot flames blaze and cover the whole wind mandala. Above the fire mandala there appear three AH let- ters of different colors. The letter AH above the eastern point, the point clos- est to us, is white; the letter above the northern point, to our right, is red; and the letter above the southern point, to our left, is blue. These letters transform into three large human heads in the same colors as the letters from which they developed. A large white letter AH... appears above the center of the three heads. This transforms into a vast skullcup, white outside and red inside, which rests on top of the heads."

493 In the Cakrasamvaratantra, the nectars are listed cryptically as: "honey, blood, and karpura, with rakta, and sandalwood." (i.iocd, ncd): ...madhu raktam sakarpuram raktacandanayojitam. Bhavabhatta decodes the list in his com- mentary on the root text: "When practising meditation, before it begins, he should eat a pellet of go-ku-da-ha-na [the flesh of a cow (go-), a dog (kukkurah), a horse (damyah), an elephant (hasti), and a man (narah)} and the five nectars; for this removes any obstacles [that might have impeded his practice] . In [the passage] beginning with the word 'honey' (madhu) the [revealer of the text] teaches another form of direct worship that consists in the practice of [these] five nectars. 'Honey' means semen, because of the latter's resemblance to it; for it is agreed that [semen] destroys the three defects when included. The term 'blood' [that follows] is meant literally. 'Karpura'is flesh, that [whose existence is] established through the addition and elision of sounds, [the term karpuram being used here not in its literal sense, namely 'camphor,' but etymologically as] that which causes joy (kar- from kam 'joy') to fill (pura- from the causative ofV/>r'to be full') the body. "Rakta"-\. . .t [means "urine"]. 'Sandalwood' means Vairocana [i.e., feces] because [defecation like sandalwood] is a source of delight]." Cakrasamvaravivrti (f. i8r-v): bhdvandh ca kurvvdno gokudahandndm pahcamrtasya ca vatikdm bhdvandrambhe bhaksayet. tena hi nirvvighnatd. . . . apardm pancamrtasevdrupdm sdksdtpujdm aha madhv ityddi. madhusddharmydt madhu sukram, samyoge tridosaghnatvena sanketitatvdt. raktam prasiddham. kam



492



NOTES TO PAGE 2IO



sukham sarlre purayatlti karppuram varnndgamavindsdbhydm siddha(i)m. ta*c ca*mdtisam. f ramyatannddlti fraktam. candanam dhlddakaratvddvairocanah. The edition and translation of this corrupt passage is by Sanderson (1994 n. 5). 494 E.g., SM251 (p. 494): padmabhdjanam, tanmadhye vum dmjim kham hum etat- parindmena pancdmrtapancapradlpam svabijdnkitam. See HT1.2.2 for the five syllables of the buddhas (with Snellgrove's comments 1959: 50 n.2).

Tibetan sources, following a Cakrasamvara sadhana, describe a much more complex visualization in which ten syllables (of the buddhas and their con- sorts) are seen to transform the substances and animal corpses, each of which has been assigned to a particular direction. This is summarized from Beer (1999: 327-30, with plate 141) and K. Gyatso (1999: 62) in the following table:

Endnote table v. Seed-syllables for nectars and lights





GSS11
v. 6iff.


GSS5

K23H


GSS16
K8ir6




(Tibetan) Cakrasamvara Sadhana




om




om








Vairocana


<vum>


<vum>


vum


E


white om


=> yellow excrement


Amoghasiddhi


am


tram


am


N


green kham


=> white brains


Amitabha


jrim


am


jrim


W


red am


==> white sperm


Ratnasambhava


kham


kham


kham


S


yellow tram


=> red blood


Aksobhya


hum


hum


hum


Mid


blue hum


=> blue urine


Locana


lam


lam




SE


white lam


=> black corpse of cow/bull


Mamakl


mam


mam




SW


blue mam


=> red/blue corpse of dog


Pandaravasini


pam


pam




NW


red pam


=> white corpse of elephant


Tara


tarn


tarn




NE


green tarn


=> green corpse of horse


(Vajravdrdhi)








Mid


red vam


=> red human corpse



495 Vajr avail (SP f. I20v): hahohrihkdrair yathdkramam hrtaprdkrtagandhavarna- vlryam. Sobisch (2001: personal communication) notes the injunction in the bDe mchog 'byung ba zhes by a ba'i rgyudkyi rgyalpo chen po=Srimahdsamvaro- dayatantrardja (P vol. 2, no. 20, p. 21 6-5-1 ff.): "Bless [i.e., control it] constantly through the mantra om ah hum! ^ Purify and realize [it] through the mantra ha ho hrihl Steal the color with the syllable /w/ Defeat the smell with hoi Defeat the potency, too, with the syllable hrib! [Thus you] should fully partake of the nectar!"

The Saptdksarasddhana (SM251 p. 494) prescribes a rather different cooking process, in which the skull-bowl cauldron containing the transgressive sub- stances has a lid (pidhdnam) formed of an om syllable and above it a vajra on a moon disk; the lid, the moon disk, and vajra all melt into the cauldron as a result of the blazing fire beneath.

496 Cf. GSS5 (Sed p. 135 13 , K23r3): tadbdspasparsdt. . .; Cakrasamvarabalividhi (p. 57): pdradavarnahumbhdvddhomukhdmrtamayasuklakhatvdnge viline.

Sobisch (2001: personal communication) notes that in the Tibetan Cakra-



NOTES TO PAGES 2IO-2II



493



samvara tradition, both the staff and the syllable hum are produced from the steam of the boiling liquid. He provides and translates the text of the com- mentary by bsTan 'dzin padma'i rgyal mtshan, as follows: "The hum syllable which is the form that manifests from the steam of that [boiling nectar] points head-down. Even though the syllable hum is not directly mentioned in the text [of the ritual of evoking the deity], one must visualize it, because the sDom 'byung teaches: 'Above that a white khatvanga staff arises from the mercury- colored hum' The hum melts and a white khatvanga that is the nature of absolute bodhicitta of the Heruka's mental stream of consciousness [arises], the peak pointing down. A stream of bodhicitta nectar drips [down]. The staff, too, having melted [starting] with the braid(?) below, becomes inseparable with the nectar inside the scull cup by. . . Idemgyi Ihung ba (?). Visualize that thereby the ocean of nectar has turned white, is cool to the touch, and has become the own-nature of bodhicitta!' (p. 690): de'i rlangspa las grub pa 'i rnampa humyig mgo mthur bstan, humyig tshiggis ma zin kyangsdom byung du, de'i steng ngul chu 'i mdog can gyi hum las byung ba V kha twang ga dkarpo gsungspas dmigs dgos, de zhu ba dang he ru ka 'i thugs rgyud don dam byang chub sems kyi ngo bo kha twang ga dkarpo rtse mo thur Ita, byang chub sems kyi bdud rtsi'i rgyun 'dzagpa, de nyid kyang oggi slas(?) pas zhu nas thodpa V nang du Idem gyi Ihung bos bdud rtsi dang dbyer med du 'dres pas, bdud rtsi'i rgya mtsho kha dog dkarpo, reg by a bsil ba, byang chub sems kyi rang bzhin du gyur par dmigs.

497 GSS5 (Sed p. 135 11 , K23n): tadupari tryaksaram uparyupari drstvd tadrasmibhis trailokyodaravartisarvamrtena sdrdham asesatathdgatahrdayavarti jndndmrtam dkrsya tatraivdntarbhdvya kramasa tryaksarendpi vilinai<h>. Cf SM251 (p. 494): tatah om-dh-hum-ity uccarya sarvadevatdndm amrtam dkrsya tatraiva pravesayet, anenaivddhisthdya. . . • hum] conj. Sanderson; hum SMed. See also VA (SP f. I20v-i2ir) and the graphic descriptions in K. Gyatso (1999: 63).

498 I am grateful to Professor Sanderson for explaining this passage (p. 57): tadu- pari dlikdliparinatdn om-dh-humkdran anukramenoparyuparisthitdn tebhyah sphuritarasmind dasadigvarttiviraviresvarindm jhdndmrtapradipam samkrama- nanydyena tricakrdkdram dkrsya jagadartham kdrayitvd samapattipurvakam dravibhuya yathdyatham tesu pravistam f sakalasdgarddistham ca f tata omkdrddikam kramavilinam avalokya tryaksarena ydvadiccham adhitisthet. • humbhavd] em.; humbhdvd Fmot.

499 Sanderson (1998: personal communication) explains samkramananydya as the yogin's method of extracting the essences of a victim, of transferring them to himself, and from himself into a skull bowl for offering to the mandala deities. This imaginary process of transferral is usually accomplished along a "circuit of energy" that runs from the sadhaka into the victim, and back again. In the tasting of nectar, the yogin visualizes the rays extracting the essences of the heroes, transferring them into the three syllables, and thence back into the nectar; the "circuit of energy" is here supplied by the rays from the syllables.

500 See GSS16 K8ir6 (n. 490); also GSS5 (Sed p. 135 13 , K23r5 cont.): punas



p

I

Hi
I-



F



j 494 NOTES TO PAGES 2II-2I2

I

I tryaksarenddhisthdydtmano mandaleyadevinam cajihvdydm suklahumkdrajayava-

I phaLpramdnam suklavajram dhydtvd tadrasminalikayd prdsanam kurydt. tato

I vaksyamdndstapaddrcanamantraih stuydt. • nalikayd] em.; nalikaydbhih K.

• 5 oi For other references to the bali ritual in GSS texts, see GSS31 (Ki04r-v); SM251
  

(p. 495); GSS5 (Sed p. 143 7 , Ki^t-v^ Cakrasamvarabalividhi p. 57); GSS35 : (K119O; GSS36 (Ki2ir).

502 E.g., YSCT (8th patala A4r, B5V): dkrdntapddordhvadrstim (>s) tu; with com- r ! mentary YoginisamcdranibandharSamcdratantrapanjikd" cited by Sanderson

• 1994: urdhvadrstim tv iti vdmavalitordhvadrstyd.

I 503 For ^as in GSS11, see HA (fi2v), GSS11, GSS31, SM218, (Art in ADUT ch.

if 9, p. 287, possibly a misreading of />/?rt by Kalff). For />/;rt see YSCT (8th

patala Kau B5V), VA (f. I23r.); and for phem see GSS4, GSS36, SM251. The syllable is not always given, e.g., Cakrasamvarabalividhi (p. 57), ADUT (ch.

14, p. 326).
504 The term used in our sources is "jalamudra, "e.g., GSS31 (Ki04r-v): vajranjalim urdhvavikacam krtva tad anu jalamudram vidhaya, avartyavartyena virayoginir akrsya...* virayoginir] em.; virayogininam K; Cakrasamvarabalividhi (p. 57): tato jalamudratanmantrabhyam anitam sarvakaranispannam mandalam purato avasthapya...; GSS5 (Sed p. i43 ? > K29r-v): tato balim dadyat. bhojyadikam puratah samsthapya praguktakramena visodhyajdldmtidratanmantrabhyam anitam sarvakaranispannam mandalacakram purato vasthapya...; GSS36 (Ki2ir): tato laldte jalamudram vamavartena bhramayet phemkaranadam uccarayet kurma- patanapddordhvadrstya, anena yoginydkarsanam. . . . This is a something of a hybrid between *jvdldmudrd (the flame mudra), and *jdlamudrd (the "net ges- ture"). Both are appropriate images for the mudra, which could either be said to resemble a flame or to function like a net for "drawing in" the deities — a process sometimes accomplished with a "net of rays," rasmijala. The former (jvdldmudrd) is rare in our texts, and appears only once in the GSS, in GSS35 (Kii9r): tad anu jvdldmudrdm baddhvd phetkdrasabdena viravires'variparivrtam jhdnacakram puro drstvd. . . . This is the version transmitted into Tibetan, how- ever. It is elsewhere described as the "vajra-ofFering gesture, open at the top," e.g., SM251, GSS31 (K104V1): vajranjalim urdhvavikacam krtva, and as a "vajra hook," ADUT ch. 9, SM226 (p. 441): vajrdnkusyddiyogena dkrsya. 505 The full verse reads: krtvdgragranthyd khalu madhyasuci<m> I angusthavajrau drdha samprayojya (or: samprapidya) I samsthapya tdm madhyalaldtadese I avarti- vartena bhramayet. It is cited, with variants, at YSCT (8th patala A4r, B5V) with gloss in Yoginisamcdranibandha (f. 3v4,_cited Sanderson 1994); ADUT (ch. 9 p. 287); ADUT (ch. 14, p. 326); HA (fi2v); cf. GSS4 (K13V-14O. Sanderson (1999: personal communication) explains that the verse, translated freely, may be understood in two ways: (1) "He should make the shape of a pyramid between [his hands] by joining the tips [(of the index fingers?) of both hands] and firmly pressing together the [tips of the] two vajra- thumbs." (2) "Make straight the two middle fingers while joining their tips and firmly join/press together the [tips of the] two vajra-thumbs." The second does not



NOTES TO PAGES 212-213 495

accord with the method used in the Tibetan tradition today (shown in fig. 35 above); however, Sanderson proposes it is the prefered interpretation, as it is similar to the blossoming lotus mudra (vikasitakamalamudra) described in SM24 p. 60 below (see n. 516).

506 GSS5 (Sedp. 143 8 , K29r 4« Cakrasamvarabalividhi p. 57): mandalacakram purato 'vasthapyarghddikapurahsaramsampujydlikdliparinatacand dvaydntargatahumkdram drstva-om anyonyanugatdh sarvadharmdh atyantdnu- pravistdh sarvadharmd hum - ity uccdranapurvakam candrasurydrudhahumkdra- parindmena vajrdnjalikrtakaratale tad amrtabhdndam avasthdpya dhydtvd vd, abhimatasiddhyartham itipathet. - devyah pramdnam samay ah pramdnam. . .etc.

507 The Cakrasamvara-related balividhk describe a rite in which "actual" foods are also involved, laid out prior to the ceremony in front of the mantrin (Cakrasam- varabalividhi p. 56): prathamato. . . mantri bhaksyabhojddikam puratah samsthdpya. Cf. the rite according to the Samvaratantra in the Vajrdvali, in which the yogin points with his right hand to the bowl of nectar in his left (SP f. 123V): pddyddiddnapurvakam purvavat trimandalavisuddhya vdmakaratale candrasthita- humjavisvavajrandbhdv amrtabhdndam dropya dhydtvd vd vajramustikrtasavya- karaprasrtatarjanyd tad darsayan.

508 In the Sdmvarikasarvabhautikabalividhi (VA SP f. 123O, the VA provides a rather different version of the balividhi according to the Samvara system. This is more clearly related to the rite according to the Samaja system, Sdmdjika- sarvabhautikabalividhi (VA SP f. mr.i), said to be according to the method of the Pindikrama (Nagarjuna) and the Caturanga (Buddhajnanapada), and also to the Hevajra-based rite, Haivajrikasarvabhautikabalividhi (VA SP f. 124 v. 6).

509 Cakrasamvarabalividhi (p. 58)«GSS5 (Sedp. 144 11 , K3on): tadamrtabhaksandd dikpdlddayo mahdsukhasamarpitavigraha bhdvydh; GSS16 (K8ivi): evam prinayet. pitvd mahdsukham anuvarteta (understand: causative).

510 GSS31 (Ki04n) prescribes a balimxxdl to be performed in secrecy at midnight, in which the yogin is to assume the warrior stance of the deity and stand naked with loose hair on a hilltop facing south (cf. ADUT ch. 14, p. 326). Note also the bali ritual in HT2.4, which mentions protection (sattvdndm prdnaraksdya vighnddvindyakddapi) and then lists the types of siddhi that will ensue from the worship of "all beings" through utterance of the bali mantras and apabhramsa verses (HT2.4.89c-95d): vasydbhicdraripusainyandsanam uccdtanamdrandkarsanam ca santisukham paustikam bhavet ca.

511 The term is unexplained by Tsuda, but Sanderson (1999: personal communi- cation) translates "teacher's assistant." According to the rites of the Kriydsamuc- caya, the karmavajrin is a ritual specialist, much like the karmacarya in Newar ritual practice, whose task is to ensure the correct performance of the rites (Gellner 1992: 273, with n.25).

512 VA (SP f. I22ff.): anydrtham api balipraddne mantre yathdsambhavam me mameti vd yathdvasthitam eva pathaniyam. sa catmatvenddhimoktavyah. asyopakdre mamaivopakdro bhavatity asayato hitakdryasiddhir bhavati. anantare ca tadar- tham vijndpayed. . . . This Samaja bali ritual is more complex than the rite out-



496 NOTES TO PAGES 214-216

lined in our texts. The ^//offerings are made to the ten krodhas and/or fifteen protectors (the eight protectors plus seven brahmanical gods in between), in an external rite that is to take place away from the meditation hut. In this rite, the recipients are represented by clay balls (mrtpindi) surmounted by appro- priately colored banners arranged on the ground in their respective directions. Beyond those, the mantrin should offer saucers of milk to the eight nagas who are either represented by clay balls or by circular cow pats (gomayakrtamandala-), and outside that, he is to strew bali of boiled rice and five streams of the "pure" nectars — ghee, honey, water, wine, and milk — while circumambulating. Sanderson (1997: personal communication) notes that this is very similar to the standard Saiva bali, also called "external" (bdhya-).

513 The form of the mantra is: om vajra-lnzme of krodha] vajra imam balim grhna amukasya sdntim raksdm ca kuru hum phat. The names of the ten krodhas to be inserted into the mantras are: (1) Vajrahumkara, (2) Vajradanda, (3) Vajrana- larka, (4) Vajrakundali, (5) Vajrayaksa, (6) Vajrakala, (7) Vajramahabala, (8) Vajrabhlsana, (9) Vajrosnisacakravarti, and (10) Vajrapatala. They are under- stood to occupy a circle of protection with ten "spokes" radiating from the central point of the meditation hut (sakrodhadasdraraksdcakra-). For the pro- tective function of the ten krodhas, see also the "rite of expelling obstacles" (vighnanivdranavidhiVA, SP f. 252.3).

514 E.g., GSS18 (K83r5): dadydt nisdydm balim sarvamdraprasamanam; GSS15 (K74V2): samayi sthdndtmayogaraksdyai sarvavighnopasamanamantram udirayet. om hrih gha 2 ghdtaya 2 sarvadustdn hum phat svdhd. Cf. VajrdvaliSV (f I20r7): atroktavidhisu kdrydntaresu caddv ante ca vighnopasdntaye balim dadydt.

515 VA (SP f. I26r4): etac cotpattikrame balividhitrayam. utpannakrame tuprajno- pdydnuccalitena cetasd samanvdhdramdtrdnitebhyah prajnopdyarupebhya eva svestamandalesddidevatdsahitendrddibhyojndnarasdvyatiriktasya baler upadhau- kanam balividhih.

516 On the "kamaldvartamudrd" (GSSu, Finotp. 58) also "kamaldvartanamudrd" (GSS5 Sed p. I44 16 , K3or5/ Sed p. 148 1 , K33r4), Durjayacandra's commentary on the Catuhpithatantra states (f. 44^-5): mdrutaprerandt prabuddhapadma- syeva prasrtdnguler agrapdniyugasya nartanam kamaldvartah. (I am grateful to Dr. Isaacson for this reference.) The "blossoming-lotus mudra" in SM24 may be related (p. 60): kihcit ucchritam samputdnjalim krtvd madhyame sucikurydt sesas cdngulyah kimcit samkocya sammukham asamslista dhdrayet, angusthau tar- janidvayasamipe sthdpayed iti vikasitakamalamudreyam. There is also a dance movement of the hands called kamalavartanikd (Bose 1970: 151-52). In GSS7, a twelve-armed Vajravarahl is visualized revolving the vajra and bell in her fin- gers with the kamaldvartamudrd (K4or 6): vajraghantakaravyagra kamaldvarta- vartini, and the four-armed ekavird mothers also (each at the center of their individual cakras, K4ir3): tadvad ghantddhardh sarvdh kamaldvartavartinyah. For the bell as feminine consort, see Jndnasiddhi 15.24: prajnd ghantdbhidhiyate (cited Bauddhatantrakosa p. 35).

It is perhaps this gesture that is depicted in the bronze of Mahasiddha



NOTES TO PAGES 216-217 497

Ghantapa and consort as Cakrasamvara and Vajravarahl, which depicts the male adept waving the vajra and bell gracefully aloft while his diminutive con- sort drinks from her skull bowl in his lap (sixteenth- to seventeenth-century Tibetan bronzes in the Victoria and Albert Museum illustrated in Sacred Art °f Tibet plate 40, and Rawson 1973 plate 105). In a Tibeto-Chinese brass of Guhyasamaja Aksobhyavajra in embrace with Spars'avajra, it is the consort who holds a vajra and bell stretched aloft and to the side, perhaps with a revolving motion (fifteenth or sixteenth century in the Asian Art Museum of San Fran- sisco, Sacred Art of 'Tibet plate 101, p. 277; the attributes are missing in the brass but can be inferred from the text of GSS6).

517 The final gesture may comprise one snap of finger and thumb (GSS11 K67V, GSS5 Sed p. 144 17 , K3or5 and Sed p. 146 11 , K32n), three snaps (GSS11 K69V), or the fourth finger (anamika) touching the ground (GSS11 K68v, Sed p. 148 2 , GSS5 K33r5).

518 Other texts specify a dharmodaya (i.e., a triangle) inside a triangle (e.g., GSS35), or a square containing a triangle (e.g., GSS25). The parallel account {bdhya- pujdvidhi^GSS$) prescribes a square mandala in the first bahyapuja, with the syllables of the sites (pu, ja, etc.) probably drawn onto it, representing the ten places. In the alternative bahyapuja, the parallel texts enjoin a double dharmo- daya with, a circle inside it (Finot 1934: 55): trikonacakradvayam alikhya tan- madhye ca vartulamandalam.

519 E.g., GSS5 (Sed p. 125 8 , K14V4): pahcavatikadiprayogaparisodhitavaktro yogi; GSS3«GSSi6 (Kiiv7/K76r3): samayagudikdm mukhe praksipya. Referring to the root tantra (Cakrasamvaratantra i.iocd, ncd: samayan palayen nityam...) Bhavabhatta also explains how "samaya "denotes the five nectars (cited Sander- son ibid): "he should preserve the pledges" means "eating the pledges, relish- ing the five nectars in the circle of the assembly with the drinking of soma" Cakrasamvaravivrti (f. i8r-v): samayapalanam samayabhaksanam pahcamrtab- haksanam ganacakre somapanavat pancamrtasvadah. Jayabhadra, another com- mentator on the root tantra observes: "The word samayahas two meanings: (1) that which is to be observed [i.e., a post-initiatory rule] and (2) that which is to be eaten." Cakrasamvarapanjika: samayo dvividhah raksaniyo bhaksaniyas ca (cited Sanderson ibid, f. 5r).

520 GSS35 (K120V1): kumkumagorocanasindurenanyatamena va; GSS2 (K11V2): rajasvaldkanyaprathamasvayambhukusumena; GSS2 (K11V3): asrkhingulamisram krtva likhitva ca.

521 GSS2 (K11V3): cauryakesalekhanya. Cf. cauryakesakrtam mukutam (HT1.6.15). Snellgrove notes that the intended meaning of cauryakesa is caudakesa "piled up hair," but Sanderson (1998: personal communication) points out that the meaning is rather a "crown" made from the hair of a thief (caurya for caura); and that this is confirmed by the Tibetan rkun ma 7 (caura) skra las (-kesa-) cod pan (mukuti-). Kanha glosses *caurakesah (em: cauryakesah Snellgrove) with the word, udbaddhakesah, but this does not mean the hair "piled up" (Snell- grove's "cauda"), but "[a criminal] who has been hanged." Sanderson notes



498 NOTES TO PAGES 217-218

several other citations in support of udbaddha- with this sense, e.g., Vajra- garbha's commentary cited HT vol. I: 65, n. 1; KYT 7.10: udbaddhasya kesena; KYT -vydkhyd (p. 68): vrksdvalambitam udbaddham; and Saiva sources, e.g., Picumata^.^zd-^y. tato nimbam samdlikhet I saptaddlam mahdbhimam citibhih prajvalantibhih I ekaikasmim likhet dale nagnam udbaddhakam naram. "Then he should draw a Nimba tree with seven branches, most terrible with burning pyres, and on each branch he should draw a naked hanged man." Jayadrathaya- mala, Yoginisamcdra (8.7id-72b): disair vrksdn samdlikhet I udbaddhanara- pracchanndn.

522 These texts were introduced to me by Professor Sanderson (1999: personal communication). They are the Cakrasamvarapujdvidhi (NGMPP D35/25) and Hevajrasamksiptatrisamddhipujd (TakaokaDH 372). Sanderson (ibid.) outlines the stages of the rite as follows: the ddiyoga section, followed by the mandald- diyoga (similar sequences of preparatory meditations and self-generations, but for the full mandala), the siiksmayoga (completion-stage practices), japa with a rosary, balividhi, and concluding rites.

523 Sanderson (ibid.) lists the contents of the ddiyoga as follows: (1) sunyatd- bhdvand, (2) karasodhanam, (3) ghantdvddanam, (4) sankhddhisthdnam, (5) balyadhisthdnam, (6) mandalddhisthdnam, (7) mantrap dtrasodhanam (skull vessel), (8) installation of twenty-four syllables of pith >as etc., (9) anganydsah (om ha hisvdhd, etc.), (10) purification of body, speech, and mind, (n) instal- lation of deities in skhandas, dyatanas, and dhdtus, (12) generation-in-front of mandala (Heruka with eight yoginis), (13) protection, expulsion of obstacles, (14) bringing of knowledge deities, (15) offering of a flower to each deity on I the mandala with their mantras, the five offerings, praise, etc., ringing of bell, 1 (16) eight-part mantra, (17) hand worship, (18) one hundred-syllabled mantra,

(19) anuttarapujd.

524 The Textual Notes cite GSS5, which is almost identical to Sasvatavajra's Hasta- i pujdvidhi (Finot pp. 54-55) and SM253 (pp. 498-500). Sasvatavajra's Hastapujd- * vidhi contains a colophon following the hastapujd (and its stated source in the j [Yoginij-Samcdratantra) . It continues with the alternative bdhyapujd text | (yadvd. . .) and supplies a second colophon verse at the end of that, which also f describes the rite as a hastapujd (cited in Textual Notes). This hastapujd text is | also published in Meizezahl (1985: 29ff), although with some errors (e.g., he

omits the buddha Aksobhya in his translation, thus mistakenly reducing the J

buddhas to five). I

Reference to the rite in the Yoginisamcdratantra scripture is scant, with only the i

passing remark that if the yogin is poor then he may obtain what he needs (food, jj

drink, clothes, etc.) by means of the hand worship (A7r4; B11V2): yogidaridram f

arthi sydt hastapujena sepsitam (-satipsitam) prdpya. . . , and a further praise of the 1

hastapujd in the fourteenth patala. The consistent acknowledgment of a source in |

which the rite is not fully explained suggests either that our ritual texts relied on *

a different recension of the tantra, or upon a shared (Cakrasamvara-based) source j other than the YSCT, which also makes this claim.



NOTES TO PAGES 2l8-220



499



525 Kriyasamuccayas Ganacakravidhi (cited Gellner 1992: 297, f. 411): prajndhinam yac cakram tac cakram mandamelakam. Gellner (ibid.) records that for Newar Buddhists today, a ganacakra is a sacramental meal after a tantric ritual.

For alcoholic substances, see Cakrasamvaravivrti (f. i8r-v cited above n. 519). The Kriydsamuccaya mentions foods, e.g., (f. 411): tad uktaganacakra- vidhind mandaldgdre khdnapdnddibhis. . . and sexual yogic practice, including the types of consort spelled out in its Nisacakram, (f. 409): yoginiyogatantresu yaduktam ganamelakam. . . . vajram padme pratisthdpya bodhicittam na cotsrjet. ...evamvidhe nisdcakre varjana<m> naiva kasyacit. janani<m> bhagini<m> caiva duhitam bhdgineyakdm. mdmakasya tathd bhdrydm svasrkdm ' tathdpunah I pitubhagini mdtus ca astau prajnd<h> susiddhidd<h>. etdsdm pujanam karya<m> bolakakkolayogatah.

526 The parallel texts also mention the goddesses who traditionally empower the psychophysical organism. As yoginitantra reflexes of the mothers, these god- desses are also consorts to the five buddhas. Sasvatavajra's Hastapujdvidhi opens with the yogin's conviction that on his hand are the elements with the nature of the goddesses (SM253, p. 498): svavdmakarasthdn prthivyaptejovdyvdkdsa- dhdttin pdtanimdrani-dkarsaninartes'varipadmajdlinisvabhdvdn adhimucya. . . . As the buddhas are then placed immediately on the hand, there is an implicit pairing of the deities in union. Sakyaraksita (GSS5) moves this prescription to a later point in the rite (between the text equivalent to GSSn §46 and §47) that renders it less significant. Umapatideva's omission of this line may be to accom- modate his single-sex mandala; he is unable to remove the male buddhas from the hastapujd, but he can remove any trace of their union.

527 GSS5 (Sed p. 146 15 , K32r3) (cited Textual Notes) describes them as "their nails' face" (-tannakhamukhesu). In the Tibetan text of the sadhana, the sixth buddha is placed only on "the thumb's face" (see apparatus: *angusthamukha) . Sobisch (2001: personal communication), however, confirms that other Tibetan sources also place the syllables on all the nails collectively, in line with oral instructions. E.g., bsTan 'dzin padma'i rgyal mtshan's commentary reads: on the (lit.:) "com- bined nails" (p. 801: sen mo bsduspd).

528 The same inversion of the three syllables is prescribed below in the alternative external worship at §50. For the traditional correlation see GSS5 (Sed p. 134 11 , K22r3): tad anu laldtakanthahrdayesu om-dh-hum-ityaksarani suklaraktanildni nivesayet, and for example, the Khasarpana-Lokesvara sadhanas, e.g., SM13 (p. 37): tatah sirasi omkdram, kanthe dhkaram, hrdi humkdram, and for other pre- scriptions, SM70 (p. 142): [anjalim] hrdi urndydm kanthe murdhni nyaset; SM95 (p. 191): kdyavdkcittesu om-dh-humkdraparinatdh khecari-bhucari-nairdtmds cin- taniydh; Hevajrasekaprakriyd (p. 17): adhisthdya mahdmudrdm buddhais traidhdtukasamsthitaih, sirohrtpddadesesu om hum ah iti tryaksaraih.

529 This is also suggested by Sasvatavajra's parallel text (Finot p. 57: "yadvd... "), as it is included as part of the text of the Hastapujdvidhi. This portion opens with a benediction and closes with a dedication of merit, both of which refer to the hastapujd.



500 NOTES TO PAGES 220-222

530 In contrast, the parallel texts (cited in Textual Notes) state that it is for the ganacakra to preside (ganacakrddhisthdndrtham cddhyesya), presumably because they deal with the generation of the complete mandala in the first instance, and not optionally, as in Umapatideva's version of the rite.

531 GSS14 (K72V3-6): kundam ca kdrayet karmabhedadharmaprabhedatah I catura- sram vartulam tryasram rephdnkitamadhyagam I 5. I svahrdbijdmsu<m> samutsrjya jndndgnim jainam uttamam I pradipakalikdkdram karsayed dipti- vattaram I 6. I kundamadhye nyased agni<m> bhdva<ye>c ca caturbhujam I varaddksasutrakamandalulkddandadhdrina<m> I 7. I sphuradriipam kumd- rdkdram raktavarnam prabhdsvaram I kapilacchagaldrudha<m> pinga<la>- jvdlaydvrtam 18.1 hrdaye tasya samvistdm bhdvayen nijadevatdm I argham dadydt sdcamanam prandmddipuraskrtam I 9.

• v. 5cd unmetric; possibly emend 5d rephdnkitam ca madhyagam • (v. 6) pradipakali<kd>kdram] conj. ; pradipakalikdram K (lit: a great luster "with the form of a streak of a lamp") • (v. 7) sutrakamandalu\ unmetric. • (v. 8) 8a and 8c unmetric; cf. SM36 where AvalokitesVara has a similar form. • (v. 9) samvistdm] conj.; samvistaK.

532 Samputodbhavatantra 6.3.176. cited below: prajhdgni-; GSS5, cited Textual Notes: sunyatdkarunddvayatraidhdtukacakrdkdrajndnavahni-.

533 I am grateful to Professor Sanderson and Dr. Isaacson respectively for point- ing out these two passages: Samputodbhavatantra (SpU) Vasantatilakd section 6.3.i8-22b (text supplied by Sanderson; see also Vasantatilakd (VT) 8.20C-24 pp. 66- 7): abhyantaraih sukrddyais tu bdhyai rupddibhis tathd I havibhih kriyate homah prajndgnau tu mahojjvale / 18 / saddyatanadhatiLndm skandhddinam visesatah I devatdrupindm tesdm ddkinindm tathaiva ca I 19 / yogapujd samdkhydtd tena te piljitd yatah I sirahkapdlam etat tu havirbhdjanam ucyate I 20 I sruvam tu rasand khydtd hrccakram {hrccakram SpU; hrccandro VT 8.23d) lalandtmikd I pdtriti ca samuddistam {ca samuddistam ed; mukham uddistam VT 8.24a) kundam ca ndbhimandalam /21 / karmamdrutanirdhuto vahnis trikati- samsthitah {vahnis trikatisamsthitah] conj. Isaacson; vahnistrikatisamsthitah SpU; brahmdgnis trikate (trikate > guhyeYT-tikd) sthitahVT 8.24) /22ab.

534 E.g., Vasantatilakatikd ibid. (p. 67): candrdjya, "moon-butter."

535 Cf. VT ch. 8.3 (p. 61): sthitah pddatale vdyur vairambho dhanurdkrtih I sthitas trikatidese tu trikone jvalanas tathd.

536 GSS5 cited Textual Notes: skandhddindhanadahana-.

537 For the pdtri held in the left hand, see Kriydsamuccaya SP f. 387.3 (cited Sander- son 1999: personal communication). The two ladles are referred to in the com- mentary to the Vasantatilakd 8.20C-24 p. 67, in which Lalana is identified with the sruk and Rasana with the sruvah. According to the root text, the pdtri is the mouth (VT 8.24a).

538 In the related Abhisamayamanjari, the bait seems to be offered into the "fire of knowledge" (blazing at the yogin-deity's navel) and is described as the "supreme oblation" (niruttarahomah) because it burns the "fuel" of the skandhas.



NOTES TO PAGES 227-229 501

539 The compound girigahvara- is taken as a tatpurusa, meaning "mountain cave," but it could also be understood as a dvandva, "mountain and cave," despite the fact that it does not decline in the dual (girigahvarayoh or girigahvarddyoh). Both cave and mountain are mentioned independently in other texts, and are traditionally associated with meditative practice (Saiva texts frequently pre- scribe a "mountain top" parvatdgre, also girisrnge). The compound could also mean "mountain thicket" (or "mountain and thicket"), because gahvaram also means a thicket (adjectively, it refers to something deep or impenetrable). How- ever, I prefer to understand "cave," because this site is suggested by the paral- lel compound giriguha, e.g., SM24 (p. 61): vijanavanasmasdnagiriguhdsina-; SM24 (p. 54): vijanagiriguhdydm sthdne sucau vd kva cit. Sanderson (1994: n. 8) notes that elsewhere gahvara means a "thicket." In the list of sites for siddhi- sddhana in the SUT (ch. 11. 2-3, f. 2r.3: girigahvarakunjesu mahodadhitatesu vd), gahvara is more closely defined in a following verse as a place "full of trees" (5ab: gahvare vrksasamkirne mandalam vartayet sadd) , despite the semantic over- lap with kunjah ("a place over run with plants or overgrown with creepers," Monier- Williams 1899). Bhavabhatta seems to recognize the problem with this interpretation, and glosses gahvara here as crevice or ravine, literally, "a space between two walls of the [mountain]" (Cakrasamvaravivrti f. 27r.2: girih par- vatah. gahvarasabdena tadbhittidvaydntaram) (Sanderson op. cit). It may be that there is some semantic overlap between "crevice" and "thicket" here, since ravines in mountains are often thickly wooded. Other sources follow the inter- pretation in the SUT itself, e.g., (i6.i5ab f. 31 r.2), and the Tibetan translation of SM251, which takes girigahvara (in girigahvarddi-) as a dvandva compound meaning "mountain and dense copse" (ri bo dang tshang tshing) (cited Sander- son op. cit.). Comparing Umdpatideva's verse 2 with the passage from the SUT (ch. 11. 2-3), it is notable that the list of sites is almost identical, except that GSS11 omits kunjah. This might suggest the emendation <kuhje> smasdne giri- gahvare ca. However, the conjecture ghore is adopted here on the basis of the Tibetan text as shown. The Tibetan translates girigahvare "on the peak of a mountain" (p. 32.4: ri bo'i rtse nyid na), and °samnidhau as "on the banks/ shore" (p. 32.4: 'gram dag).

540 Lengthier sentiments of this kind in the Bodhicarydvatdra (e.g., ch. 3, v. 9: daridrdndm ca sattvdndm nidhih sydm aksayah...) are glossed in Prajfiakara- mati's commentary — apparently on the scriptural authority of the Aryavajra- dhvajasiitra — as the "dedication" (parindmand) of "roots of goodness" (p. 39): sa tdni kusalamuldni parindmayan evam parinamayati. A more common expres- sion of the parinamana in the context of the sevenfold worship is found in many Sddhanamdld sadhanas, e.g., SM24, "I dedicate all that merit that has arisen here to the sake of complete enlightenment" (p. 57): puny am prabhutam yad ihdpi sarvam sambodhaye tat parindmaydmi. In v. 7b, the "King of Right- eousness" refers to the Buddha. Cf. SM51 (p. 106): . . .anumode jagatpunyam buddhabodhau dadhe manah I utpddayami varabodhicittam nimantraydmi aham sarvasattvdn / istdm carisye varabodhicdrikdm buddho bhaveyam jagato hitdya.;



502 NOTES TO PAGES 231-251

Buddhacarita (1.75b): lokasya sambudhya ca dharmardjah karisyate bandhanamo- ksam esah. According to the prose list (§1), the resolve to become a buddha in v. 7b relates to the "arising of the will to enlightenment" (bodhicittotpddah).

541 The simile derives, famously, from one of the earliest Buddhist texts, the Mettdsutta (Sutta Nipdta, 1.8 v. 7): "Just as a mother would protect with her life her own son, her only son, so one should cultivate an unbounded mind toward all beings." (Norman 1985: 24). For this sentiment in sadhana literature, see SM98 (pp. 202-3): tatra key am maitri sarvasattvesv ekaputraprematd-; SM56 (p. 115), etc.

542 The expression spharanayogena/sphuranayogena is common in meditative genera- tion for the process of emanating rays, mantras, or deites, e.g., SM56 (pp. 116-18): spharanasamharandkdrena; SM58 (p. 122): sphuranasamharanam cadhydydt, etc.

543 The Sanskrit supplies a rather forced object for the causative sndpayisydmi, "I will bathe [you who are] purified (suddham) '. . . ." The use of the singular first person suggests that the verse may have originated in a rather different context, perhaps the bestowal of consecration by the guru upon a pupil. However, the reading with suddham in the d-pdda of the verse is well attested. It appears in Luyipada's HA (f. 14^4), and in all the GSS mss., such as the Abhisamayamah- jari(GSS<) K22V3) and in SM26 (p. 65); SM180 (p. 364); SM218 (p. 429: sud- dham tu). Isaacson (1996: personal communication) notes an early text that has the same reading, namely, Rahulagupta's Hevajraprakdsa, which probably dates from the late tenth century, since the author was supposedly a teacher of Atisa (palmleaf ms. IASWR MBB 1-34 f. 23r). In the ADUT ch. 9 (KalrT 1979 p. 303) reports three mss. reading suddhen, but perhaps these mss. are veering toward the reading attested by the Tibetan translation of his text, suddhena.

544 The eight yoginis described by Umapatideva are possibly eight goddesses from the Vajravarahi retinue. In the Hevajra tradition, Ratnakaras'anti {Muktdvali f. 21V4) describes the yoginis as the eight yoginis Gauri, etc. (gauryddibhih), i.e., the eight goddesses who surround the central couple. Only four goddesses (Dakini, etc.) surround the central deity in the Vajravarahi mandala, however.

545 Sanderson (1998: personal communication) suggests that the visualization of the syllable vain is intended as an alternative (as is the case at §9), despite the lack of clarity in the verse. The ndda is frequently visualized as a subtle ray of light rising from the dot (binduh) of the nasal ending (anusvdrah) of the sylla- ble, e.g., SM79 (p. 153): nddo rasmirekhd.

546 The following verses (36-37) seem to be scriptural, although I have not traced their source. Umapatideva cites them as the starting point in each meditation stage to illustrate the composition of the mandala at its different phases. They do not appear in our recension of the YSCT (nor derivative HA ), which is curi- ous, as other pddas earlier do (w. 38-40, §11).

547 The eight-part mantra appears in abbreviated form within the longer mula- mantra given in §32. Significant variants in the parallel texts GSS5 (K24V3) and Vajravdrdhisddhana (Finot 1934: 60—61) are shown in the apparatus to the Sanskrit edition, including notable variants in the Tibetan (p. 37.1). (Minor variants in the Tibetan text are not noted.)



NOTES TO PAGES 251-263 503

548 In the Tibetan text, each of the eight mantras end with the syllables hum hum phat. This is also true of the auxiliary-heart mantra (§12), of the mantras of the four petal goddesses, Dakini, etc. (§12), of the outer goddesses, Kakasya, etc. (§15), and of the mulamantra (§32), which similarly read hum hum.

549 The "eight directions of Meru" (§17 and §18 meror astadiksu. . .) refer to the car- dinal and intermediate points of the compass. Meru is conceived as the cen- tral point. The parallel text in GSS5 (Kun and K28r3) omits this cosmological reference to the eight compass points surrounding Meru. It is also absent in §19, which has a slighdy different opening sentence describing the body circle, perhaps because the reference to Meru has dropped out accidentally.

550 Sanderson (i994i: 95) shows that the inclusion of "Grhadevata" as a site is an anomaly, the roots of which lie in the Buddhist redaction of these lists from the Saiva Tantrasadbhava (Adhikara 19; Yoginilaksana). In the source texts, each site is equated with groups of deities. In these pairings, Saurastra is cor- related with the set of household deities (grhadevata). Sanderson concludes: "Evidently, while intending to extract only the place names from a list pairing names and deities, the redactor's mind has drifted without his being aware of it from the name-list to that of the deity-list and back again."

551 The correct Sanskrit for the site is Kuluta (sometimes Kulutam, Kulutah); in the vernacular, Kulu. The Cakrasamvara corpus seems to have been responsi- ble for a preservation of the erroneous form, Kuluta, even in redactions out- side scripture (Sanderson 1997: personal communication).

552 Following this prescription the Tibetan text continues, "Alternatively, medi- tate on them as being to the east etc. of the palace" (p. 39.7: yang nagzhalyas khanggi shar la sogs pa rnams su bsgom par bya'o).

553 The translation "factors that favor enlightenment" (bodhipaksikadharmas/bodhi- paksadharma) has been suggested by Sanderson (1997: personal communica- tion). The set is listed in Abhidharmakosa/bhasya ch. 6, v. 67ab and explained there (v. 6yb-c) as favorable (anuloma) to enlightenment (bodhih). Gethin (2001), in his comprehensive analysis of the bodhipakkiya dhamma, translates, "Dhammas that Contribute to Awakening." Having discussed the variations in the forms of the term in Pali and Sanskrit, with commentarial definitions of the set, he concludes {ibid: 284-302): "we should not be misled by English transla- tions such as 'helping,' 'aiding,' 'favorable to,' 'conducive to' and so on, into thinking that the relationship between bodhi-pakkhiy >a dhamma and bodhih one of rather vaguely and generally assisting in the bringing about of awakening. On the contrary, they appear to be thought of as rather closely and definitely related to bodhi." Other scholars suggest "adjutants of bodhi," including Pruden (1991, n. 422, p. 1080), who also lists the appearance of the set in Pali and Sanskrit Buddhist sources. Gethin's book is the fullest and most recent analysis of the seven sets of doctrinal formulas that make up the thirty-seven factors. He deals first with each of the seven sets individually (chs. 1-6), and then turns to their appearance as a collective set in the Pali Nikayas and Abhidhamma, with some reference also to Sanskrit Abhidharmic sources (chs. 7-10).



504



NOTE TO PAGE 263



Umapatideva's glosses on the bodhipdksikadharmas are the fullest example of Abhidharmic exegesis in the GSS collection. His work reveals the influence of Abhidharmic mainstays, such as the Abhidharmakosa and bhdsya (ch. 6) and the Arthaviniscayasutra (chs. 13-19), and has a strongly traditional basis, as when he cites PaninI (§23) to explain the smrtyupasthdnas, thus taking after Yas'omi- tra ( Vydkhydp. 104). However, we will see that it also has many unpredictable moments when the formulas are not listed in standard order. This may be unique to Umapatideva. Other tantric texts, such as the Samputatantra ch. 1 (Skorupski 1994: 224-31), also cite traditional glosses, but use the correct sequences; similarly the Vasantatildkdtikd (ch. 7, p. 51), although this text shows some overlap with Umapatideva's lists (e.g., anusmrtyupasthdnas ch. 7, v. 2, p. 52, rddhipddas p. 53, etc.). For the bodhipdksikadharmas themselves, Umapatideva changes the traditional sequence, in which the four right exer- tions (samyakprahdnas) are second. See endnote table vi:

Endnote table vi. Thirty-seven bodhipdksikadharmas



ADK/B / Asu/N


GSS11




smrtyupasthdnas


smrtyupasthdnas (§23)




samyakprahdnas


rddhipddas (§24)




rddhipddas


indriyas (§25)




indriyas


balas (§26)




balas


bodhyangas (§27)




bodhyangas


drydstdngo margah (§28)




drydstdngamarga


samyakprahdnas (§29)





554 The translation of anusmrtyupasthdnas (smrtyupasthdnas) as "bringers of aware- ness" is because of Umapatideva's own explanation of the term below. It is translated elsewhere as "Fields of Mindfulness" (Samtani 1971) or "Foundations of Mindfulness" (Pruden 1991). Gethin gives a full analysis of the satipatthdnas, mostly from Pali sources, which he terms "The Establishing of Mindfulness" (2001: 29-68). The sequence in Umapatideva's text differs from the norm, but follows the identical text of the YSCT ch. 3, v. 2, as follows in endnote table vii:

Endnote table vii. anusmrtyupasthdnas



ADK/B ch. 6, nabff.; Asu/N ch. 13

kdya°

vedand°

citta°

dharma °



GSSn

kdya°
vedand°
dharma °



citta



NOTES TO PAGES 263-265



505



555 For the smrtyupasthdnas as an antidote to the four viparydsas, see ADK/B v. I5cd„ with Vydkhyd (p. 906); also Asu/N (p. 208).

556 See ADK/B with Vydkhyd (following 6.15b, p. 904), where Yasomitra cites the same Paninian sutra; cf. Asu/N p. 211, n. 4. I am grateful to Professor Sander- son for his help in emending and translating this passage.

557 ADK/B (ch. 6 v. ncdff.) discusses the characteristics of body, etc. See Asu/N ch. 13 (pp. 212, 210): atha kdya iti ko 'rthah? samghdtdrthah.

558 The translation of rddhipddas is usually given as "elements (or bases) of super- natural power," e.g., by Edgerton (1953); Gethin (2001: 81-100), in his full dis- cussion of the set from Pali canonical and commentarial sources, translates iddhipddas as "Bases of Success." Umapatideva himself defines them later in this work as the "means of mind concentration," following the traditional asso- ciation of the set with samddhi {ibid.: 92, with n. 46).

The rddhipddas traditionally come third in the list of bodhipdksikadharmas, following the prahdnas. Umapatideva's sequence for the rddhipddas also varies from any of the Abhidharmic sources but may represent the usual tantric account, since this is the list supplied in the Bauddhatantrakosa from a num- ber of sources. However, the sequence and number vary even in earlier texts, and Sanskrit and Pali sources list between four and six. References are sup- plied by Pruden (1991: 1081 n. 434), Samtani (1971: 219 n. 1), and Edgerton (1953). The ADK/B does not, in fact, set out the complete list (ADK/B ch. 6, w. 66 and 69ff.), which leaves it to Yasomitra to clarify {Vydkhyd p. 1015, cf. p. 1019 for the questionable inclusion of samddhi in the list). The Asu/N sup- plies more detail (ch. 15).



Endnote table viii. rddhipadas



Sanskrit sources
(Edgerton)


ADK-Vyakhya

Asu/N


Pali sources


GSS11


chandas


chandas


chanda °


chandas


\ citta°


virya °


virya °


virya °


virya


citta°


citta°


mimdmsd^


mimdmsd


mimdmsd


mimdmsd


citta°


samddhi


prahdna

!



559 For wisdom as a result of hearing, reflection, and meditation (srutacintdbhdva- ndmayiprajnd), see ADK/B ch. 1, v. 2b; ADK/B ch. 6, v. 15, and Asu/N ch. 13, p. 211. In these Abhidharmic texts, this threefold set is given within the expo- sition of dharmasmrtyupasthdna. Umapatideva deviates from the norm in placing them here within his exposition of the rddhipddas.

560 Asu/N also explains rddhih with samrddhih meaning "wealth of all qualities



506



NOTES TO PAGES 265-267



w



'f-i



f



I



such as supernatural knowledges" (p. 219): sarvasydbhijnddikasya gunasya sam- rddhih rddhih; cf. Samtani ibid.: n.2, Madhydntavibhdgabhdsya and Vibhanga- atthakathd.

561 The traditional gloss is pada > pratisthd (ADK/B p. 1019; Asu/N p. 218: tasya rddheh pratisthdnena pdddh rddhipdddh). Here, the author specifies that pada means a subsidiary (angam), namely, that without which the principal (in this case, bodhih) cannot be accomplished.

562 rti (when the vowel r follows) akah (there is no substitution in the place of the simple vowels a, i, u, r, 1). I am grateful to Dr. James Benson for his help with this sentence.

563 As Gethin (2001: 105) points out, the complete list of indriyas, "probably com- mon to all Buddhist schools," contains twenty-two such faculties. This set comprises the "spiritual" faculties (i.e., numbers fifteen to nineteen). His dis- cussion of the set ends with comments upon their "ubiquity in the Nikayas" (ibid: 138-40). I follow Professor Sanderson's suggestions for the translation of this paragraph.

564 Some of these glosses appear in Asu/N, although not all relating to the indriyas. For sraddhendriya, the Asu/N also glosses sraddhd, "cetasah prasddah" (ch. 16, p. 223; also given ADK/B ch. 2, v. 25fT.) and supplies the same connections with samyagdrsti and karmavipaka (Asu/Asu/N ch. 16, pp. 31/224). For viryendriya, Umapatideva gives the gloss supplied in Asu/N (ch. 16, p. 223) but under virya-rddhipdda (§24). For smrtendriya, Umapatideva supplies a similar gloss to that in the Asu/N ch. 16 (p. 223): smrtir dlambandpramosah, which would indeed be repeating what he has said above (§23), although this does not pre- vent him from repeating it in the next paragraph. For samadhindriya, Umapatideva's gloss on samddhi is identical with the Asu/N (p. 223): samddhis cittasyaikdgrata. For prajnendriya, he differs from the traditional gloss on prajnd in this context (ADK/B ch. 6, v. 68ff , p. 1017): smrtyupasthdndni dharma- pravicayasambodhyangam samyagdrstis ca prajnaiva; Asu/N (p. 223): prajnd dharmapravicayah. But his reference to mental states to be abandoned or devel- oped seems to draw on the description of chanda-rddhipdda given in the Asu/N, which defines these mental states exactly (Asu/N pp. 220-21).

565 In this sequence, Umapatideva draws on traditional Abhidharmic exegesis, e.g., AKD/B ch. 6, w. 68-69 (p. 1020): indriydndm kimkrto nukramah? sradda- dhdno hi phaldrtham viryam drabhate, drabdhaviryasya smrtir upatisthate. ..; cf. the identical analysis in the Asu/N (p. 224). Umapatideva's text, however, is closer to the Asu itself (ch. 16, p. 32; cf. Samputatantra ch. 1, p. 227). Like the sutra, Umapatideva omits sraddha horn the sequence, having dealt with it first (and in the same manner). He then echoes the relative-clause construction of the sutra in dealing with the remaining indriyas. His exposition amounts to a short, derivative summary of the contents of the Asu, with some changes; for example, he glosses the verb samuddnayati with upadhaukayati and changes the phrasing na viprandsayati to abhimukhikaroti. (Asu ch. 16, p. y2)\...idam ucyate sraddhendriyam. tatra katamad viryendriyam? ydn dharmdn sraddhen-



NOTES TO PAGES 267-269 507

driyena sraddhayati tan dharmdn virendriyena samuddnayati. idam ucyate viryen- driyam. tatra katamat smrtindriyam? ydn dharmdn viryendriyena samuddnayati tan dharmdn smrtindriyena na viprandsayati. idam ucyate smrtindriyam. tatra katamat samddhindriyam? ydn dharmdn smrtindriyena na viprandsayati tan dharmdn samddhindriyena ekdgrikaroti. idam ucyate samddhindriyam. tatra kata- mat prajnendriyam? ydn dharmdn samddhindriyena ekdgrikaroti tan dharmdn prajhendriyena pratividhyate. sa tern dharmesu pratyaveksanajdtiyo bhavati. idam ucyate prajnendriyam.

566 Cf. ADK/B ch. 6, w. 68-70 (p. 1020): kasmdd indriydny eva baldny uktdni? mrdvadhimdtrabheddd avamardaniyanavamardaniyatvdt; there is also a long exposition of this in the Vydkhyd. Asu/N follows suit, in brief (p. 226): tdny eva sraddhddini pancendriyani balavanti baldny ucyate. Cf. AD KB ch. 6, v. 7off. (p. 1022): samddhisannis'rayena lokottaradharmddhipatibhutdni sraddhadinin- driydni. tdny eva ca nirjitavipaksasamuddcardni baldni. Pali sources list many balas, including ten balas of a buddha (e.g., in in PED/Edgerton 1953); these are discussed in his analysis of the balas by Gethin (2001: 140-45).

567 Umapatideva's list of sambodhyangas differs from the norm in placing samddhi first instead of smrti, and in juggling the order of the other angas (see endnote table ix). This same sequence is attested in the Vasantatilakdtikd, which pro- vides similar glosses to some angas (pp. 55-56). In his discussion of this set, Gethin (2001: 146-89) translates the bojjhangas as "the Factors of Awakening."

Endnote table ix. sambodhyangas



ADK/B / Asu/AsuN (ch. 18) GSSn

smrti° samddhi



dharmapravicaya ° virya °

virya° p r iti°

priti° prasrabdhi

prasrabdhi dharmapravicaya



samddhi smrti°

upeksd upeksd 1



Umapatideva's glosses do not relate directly to passages in the ADK/B or Asu/N ch. 18 (see Samtani 1971: p. 228 n. 3 for references to other sources). On the sambodhyangas as part of the bodhipaksadharmas see ADK/B ch. 6, w. 67-69, and as a prelude to the astangamarga, ADK/B ch. 6, v. 7off.; ch. 6, w. 71-73. For the role of priti and prasrabdhi in dhydna, see ADK/B ch. 8, v. 9b ff. and Asu ch. 8 (catvdri dhydndni); for prasrabdhi (also priti and upeksd) relating to the ten good gctions, see ADKB ch. 2, v. 25ff.; on the cultivation of the sambodhyangas see ADK/B ch. 7, v. nff. 568 Vasubandhu notes that the four noble truths are called such because they are



508 NOTE TO PAGE 271

the "truths of the noble ones (dryas)" (ADK/B ch. 6, commentary to v. 2c, p. 874: dryasatydniti siltre ucyante. ko sydrthah? arydndm etdni satydni tasmdd dryasatydni siltre evoktam.) Gethin (2001: 205-7) offers reflections on the sig- nificance of the term "noble" in Pali sources within his wider analysis of this sequence {ibid.: 190-226).

The aim of the eightfold path is couched here in Yogacara terms as the anti- dote to jneydvarana (the obstructive belief that things really exist as other than consciousness, i.e., belief in an object) and to kles'dvarana (the obstructive belief in real individuality satkdyadrstih, i.e., belief in a subject). The Asu/N describes it in more traditional terms as the antidote to wrong views, etc.(ch. 19, p. 231): mithyddrstipratipaksena ydvan mithydsamddhipratipaksena samyagdrstyddindm mdrgdngdndm yathdkramam vyavasthd. . . .

The sequence of the eightfold path in relation to the sambodhyangas is dis- cussed in the ADK/B ch. 6, v. 67b ff. The wider context of the discussion is of the relative position on the path (mdrgah) of each of the bodhipaksadharmas (ADK/B ch. 6; cf. Vasantatilakatika ch. 7, p. 51). It is to this discussion that Umapatideva refers hereJADK ch. 6, v. iab: klesaprahdnam dkhyatam satyadarsanabhdvandt. . .). Abhidharmikas ennumerated five stages of the path (sambhdramdrga, prayoga , darsana , bhdvand , as'aiksa ), in the course of which all defilements (kles'as) would be removed. In this analysis, the eightfold path is said to belong to the path of seeing (dars'anamdrgah), that is, the path of removing (prahdnamdrgah) the kles'as of belief in a self (drstih). The type and number of kles'as are reckoned according to how "strong" they are, and how "weak" the practitioner is. The most subtle kles'as are destroyed only once the dars'anamdrga has been traversed (according to some, this happens in a flash), and the stage of "meditation" is reached. The bhdvandmdrga comprises the path of removing more subtle defilements (rdgah, dvesah) (cf. Vasantatilakatika ch. 7, p. 56: klesdvaranapratipakse dars'anamdrgam uktvd jneydvarana- pratipaksam bhdvandmdrgam aha). The subtlest kles'as are removed with the very highest meditation, called Vajropamasamadhi, and this opens the way to the final path of "no more training" (as'aiksa), which is characterized by the "knowledge of the destruction of the defilements" (ksayajndnam) and "knowl- edge that they will never arise again" (anutpddajndnam). In GSS11, Umapatideva ascribes the eightfold path to both paths, the dars'anamdrga and bhdvandmarga. In the Vasantatilakatika it belongs only to the latter (ch. 7, p. 56: tatra bhdvandmarge jneydvarana<m> nihsvabhdvam iti yd dhih sd samyagdrstih. ..). The varying distribution of the bodhipaksikadharmas over the five paths is dis- cussed by Gethin (2001: 338-42). 569 The change to the normal sequence of bodhipaksikadharmas (in which the samyakprahdnas appear second) has been discussed above. It may, possibly, be accounted for by the designation of the set samyak, since the prefix samyakm the case of the eightfold path gives it an inclusive and hence higher position in the sequence of bodhipaksikadharmas (see especially Vydkhyd on ADK/B ch. 6, v. 68, p. 1017). However, the traditional glosses on the first prahdnas (ADK/B



NOTE TO PAGE 271 509

69a, Vydkhya p. 1015, Asu/N ch. 14) justify their original position in the sequence, in that they are causally related to the rddhipadas (for example, the abandoning of unskillful states gives rise to chandas, the first of the rddhipadas; prahana is also defined as virya).

The meaning of samyakprahdna is "right abandonment," and this term Cprahanam) is usual in Sanskrit sources. However, the Pali term for this four- fold formula was "right effort," samma-(p)padhdna (e.g., Dighanikaya II.120, Majjhimanikaya II.11, III.296; further references in PED). There is another similar set of four padhdnas in Pali literature, namely, restraint [of the senses] (samvarah), abandonment [of sinful thoughts] (pahdnam), cultivation [of skill- ful states] (bhdvand), and guarding [skillful states] (anurakkhand) (Dighanikaya III.225, Anguttaranikaya II.16, etc.). "Effort" (padhdnam, pradhdnam) seems to be the older term, and indeed this is what the older Chinese translations tend to translate. However, the linguistic similarity of the Pali (padhdnam) with the Sanskrit (prahana), and the inclusion of the stage "abandonment" in both four- fold formulas, seem to have given rise to the later usage. Thus, later Chinese translations render prahana, and it is this reading that also went into Tibetan translations (see Pruden's translation of Abhidharmakosa 1991, n. 423, p. 1080 to Abhidharmakosa). For a fuller analysis of the terminology behind the "right endeavors," see Gethin (2001: 69-72) and following (72-80) for his discussion of the set. A different list of four efforts (samyak-pradhdna) is also found in San- skrit literature, namely: effort (prayatnah), endurance (utsahah), valor (viryamj, and resolve (vyavasdyah).

The sequence in which the stages appear in the texts varies, and although Umapatideva's coincide with none of the Abhidharmic sources mentioned here, r is a sequence found in the YSCT ch. 2, v. 8, as shown here in endnote table x.

Endnote table x. Four pr ah anas



ADK ch. 6, v. 69a; p a li sources GSS11

Vydkhya (p. 1015 on ADK 6.66) Asu (ch. 14, variation in 1 & 2; Samtani ibid. p. 29, n. 2)



(i) abandoning of unskillful (ii) ([{[)



(ii) nonarising of unskillful (i) (j v )



(iii) giving rise to skillful (iii) (j)

(iv) protection of skillful (i v ) (n)



570 The scriptural citation opens the description of the body mandala. The note- below show some variant readings from the Cakrasamvara/Vajrayogini tradi- tions, and comment upon some problems in the texts of the Cakrasamvar^



5 IO NOTES TO PAGES 273-275

body mandala. Umapatideva's opening description of the body mandala echoes the phrasing in prose and verse descriptions elsewhere. It starts with a citation from the GST i6.iab and has similarities with the several accounts of the body mandala (or aspects of its correlations) in the YSCT. For example, YSCT ch. 5 (B3r2: virddvayam uttamam; B3r6: virdngavisuddhinirdesah) prescribes the correlation of the hero with the aspect of the body to be nourished by the channels, and then identifies the site in which the pair of site deities dwells according to the mandala cakra and its place in the vertical cosmos (ibid): pumkdrddi-samdyogd? (B damaged; A: pu-kdra-) . . . dese dese vyavasthitdh. pu iti pulliramalaye khandakapdlinapracanddh . . .pitham. . .cittacakrasya khecari. The YSCT thirteenths^ describes the body mandala again (A6v. 2, B9V. 1): atha param pravaksydmi. . . virayogiriim advayam — s'riherukamahdyogisthdnam aksara- bhumyakam; cf. GSS11 v. 42. This time it includes the body points with the structure: "In the site on the body point... the places" (pulliramalaye sirasi. . . pitham); it ends by listing the sites by their first syllables (A6v6; Bion), the man- ner in which GSSn begins. See also ADUT ch. 9 (pp. 285-87): asyaiva pithddikrama<m> vinyasydtmayogam uttamam. pum khandakapdlinapracandd sirasi; ADUT ch. 14 (p. 319); also Luyipada's HA (f. ion fif.), which is the basis of the body mandala in GSS5 (Sed p. 142 1 , K28r3): tatra pu-d-o-a-go-rd-de-md- kd-o-tri-ko-ka-la-kd-hi-pre-gr-sau-su-na-si-ma-ku-. pulliramalayas'irasi pracandd . . .pitham; cf. GSS7 (K43n).

571 K. Gyatso (1997: 41) gives "hair-line."

572 Some texts attest the "back of the head," e.g., mastakaprsthe (YSCT ch. 13, GSS5 Sed p. 142 3 , K28r4-5, ADUT ch. 14 p. 319). Others specify the "back- bone," prsthavamse (SUT ch. 7 v. 5cd, ADUT ch. 9 [p. 285]; HA f. ion).

573 There is some question over the related aspect of the body for the hero in the Cakrasamvara body mandala (table 23). Some texts place the hero "in the heart" (bukke),'e.g., YSCT (Bf^), SUT ch. 7 v. 7b, ADUT sources (ch. 14 and GSS7). However, Kalff(op. cit.: 196 on Sanskrit text p. 319) suggests that bukke is a corruption of vrkke (kidney?), as suggested by the Tibetan translations (ADUT: mkhal ma, "kidney;" and SUT: mchin pa, "liver"). The HA (fi4v6) is unclear, but may read vrkke.

574 A variant in other texts reads "armpits," bdhumulayoh (YSCT ch. 13, ADUT ch. 9, p. 285).

575 My ms. B of the YSCT (B f. 3^) is corrupt at this point (and ms. A is dam- aged). The aspect of the body is usually "eyes" for the hero Ahkurika. How- ever, YSCT (B f. 3r4) gives kaksayor, repeating the body point occupied by the goddess. This is followed by a short passage of dittography; the mansucript later omits the correlations between numbers 14 ("belly") and 22 ("Padma- nartesvara").

576 Other texts also read "mouth," e.g., mukhasthdne (SUT ch. 7, v. 10a, mukhe YSCT ch. 13, ADUT chs. 9 and 14, K. Gyatso 1997: 41). In the Cakrasamvara body mandala, the aspect of the body for the hero, Subhadra, has many variants. Kalff {op. cit.: 196) compares the Sanskrit readings in different



NOTES TO PAGES 275-277 5II

sources and different manuscripts (e.g., gudavartih in SUT ch. 7, v. 10b; gunavarti in ADUT) and their Tibetan translations, arguing that the intended meaning is "coiled gut." Other readings include gunavatti (GSS7); gudavartti (HA f. i 5 r.i-2 and SUT); gulavatt (YSCT B f. 3 r. 4 ). 577 The body mandala practice in the Cakrasamvara tradition gives this body point as "penis" (medhre) 'with the corrupt form medram (YSCT ms. B); medre(¥iA, GSS5, GSSn); medhrasthane (SUT ch. 7, v. 11a); medhre (ADUT ch. 9). Cf ADUT ch. 14 (with variants in different mss.: medre, madhre, mattre, Tib.: bshangsgo). Kalff {op.cit.: 159) reads medhre "penis" but notes that the Tibetan reads "gate of excrement" i.e., anus (although "anus" is already given in the San- skrit list for the eighteenth goddess Khandaroha in Grhadevata). One Tibetan tradition (K. Gyatso 1997: 41) gives "the two testicles" and for the next site, the "tip of the sex organ." An alternative reading, mede, apparently for medasi (w^="marrow/fat"), is found in GSS7, but this seems likely to be another corruption of medhre. The body point "penis" poses a problem for the Vajrayo- gini tradition in that the body mandala is supposedly conducted by the yogin who has self-generated himself as the goddess Vajravarahi. If the body mandala is taken to apply to the body of the (male) meditator and not to that of the yogin-as-goddess, then the emendation medhre is justified. This is substanti- ated by the Tibetan, which reads "genitals" (mdoms).

578 Other texts read Pretadhivasini (YSCT ch. 13 and SUT ch. 7, v. 12a).

579 Our tradition (GSS texts, YSCT ch. 13, HA) reads anguli, meaning either "fingers" or "toes," although the Tibetan translates as "on the fingers" (p. 42.4: sor mo rnams). Kalff (op. cit.: 159-60) notes that there are two traditions here (as also for the twenty-third goddess, see angustha below). One tradition spec- ifies "toes" (e.g., SUT ch. 7, v. 14: pddangulau; also the ADUT commentary by Surangavajra: rkangpai sor mo kun la, "on all the toe(s) of the foot"). The other tradition is to understand both toes and fingers simultaneously. Thus, Luyipada states, "the sixteen fingers (and toes) (ser [sic] mo bcu drug no refer- ence, Meisezahl 1967: 296); Cakrasamvarasadhana (Dawa-Samdup 1919: sor mo bcu drug); cf. Tucci (1935/1989: 41). It seems to me most likely that if one tra- dition is "correct," it would be that in which the nyasa takes place on two body parts at once (hands and feet), which is the same method as that employed for other body parts, such as the two shoulders, two thighs, two shanks, two knees, etc. In addition, the nyasa of sites/deities in the kayamandala takes place on the body of the yogin who is seated in meditation; the toes and fingers are there- fore proximate to each other and can easily count as one site. This is not the case if the yogin-deity visualizes himself in the warrior stance as Vajravarahi for the kayamandala.

580 sadhumat (fern.: sadhumati) is literally "having good," but this is usually trans- lated as if from sadhumati "having a good mind/heart," e.g., Dayal (1932: 290). This is the standard translation of the Tibetan "good intelligence/excellent knowledge" (legs pa'i bio gros).

581 Our tradition gives angusthayoh, also in the Tibetan translation (p. 42.5: mthe



512 NOTES TO PAGES 279-291

bo dag) (e.g., GSS texts, HA, ADUT, also its Tibetan translation, and SUT ch. 7, v. 15). This is ambiguous since it may mean "on the two thumbs" or "on the two big toes." Kalff (op. cit.: 160, n.i) again notes that two traditions exist. He states that Surarigavajra's comment on the ADUT specifies the two big toes (rkangpai mthe bognyis la). The Cakrasamvarasddhana (Dawa-Samdup op. cit.: 21) and Luylpada (Meisezahl op. cit.: 296) specify both thumbs and big toes (Tib.: mthe bongb'zi), as does Tucci {op. cit.: 41). Once again, I prefer the lat- ter, in line with the earlier arguments (v. 52a).

582 Vajravarahl's root mantra in GSS11 has two parts. The first part comprises an abbreviated form of the eight-part mantra (see §12), in which the eight parts (indicated here by editorial hyphens) are run together by the omission of the mantra syllables enclosing the vocatives. The second part of the root mantra is a lengthy mantra beginning protturige, introduced in the Tibetan by *tadyathd (p. 43.2). This also appears in GSS5 (Sed p. 137 15 , K24V6), directly following the full form of the eight-part mantra (GSS 5 Sed p. 137 6 , K24V3), and the sec- ond part alone (prottunge. . .) appears in the Vajravardhisadhana (Finot 1934: 6o-6i«GSS3). In the Vajravardhisadhana (Finot op. cit.) this is also called the mulamantra, but in GSS5 it is termed the "garland mantra" (GSS5 Sed p. 137 15 , K24V6: atha ca mdldmantro bhavati). Variants appearing in the text of GSS 5

§j are reported in the apparatus, with some variants from Finot (except where they

§ seem to be the result of an illegible aksara or the result of the editor's misread-

ing from his mss.). Notable variants from the Tibetan text (p. 43.1) are also shown. This root mantra (with a few variants) is the bulk of SM221 (pp. 434~35)-

583 The Saiva flavor of this epithet is unmistakable since Paramasiddhayogesvari is the name of a Saiva goddess from the nondual Trika tradition.

584 The term "vajra words" (kulisapaddh, vajrapaddh) refers to elements of mantras that cannot be understood as straightforward Sanskrit (cf. GS 9.17a). It refers here to those parts extracted from the mantras of the male deities in the Cakrasamvara mandala, e.g., kara kara. Another version of the mantra, con- sisting solely of the vajra words, appears in the bali ritual described below (§37). It also appears in this form in the *Mantrapdtha (Finot op. cit.: 53-54) anc *

fc; Cakrasamvarabalividhi (ibid.: p. 57); also in the mantras of the twenty- four

gods of the sites in the Cakrasamvara mandala, as in the HA (f. 13O and ADUT (ch. 14, pp. 324-25). A comprehensive edition of the male site gods' mantras is

•|| not provided here, but significant variants to the text of GSS11 are shown in

«| the apparatus from these sources.

585 I am grateful to Professor Sanderson for clarifying the edition and translation of this passage. This may be the mantra recited during ritual performances, as Sakyaraksita states that it is a general mantra, applicable to all types of ritual (GSS5 Sed p. 139 2 , K25V4: sarvakarmiko 'yam mantrah).

586 There seem to be two traditions for the generation of the heads. The Sanskrit prescribes the syllable kam (presumably based on the meaning kam, "head") and the Tibetan, the syllable ah. See apparatus to Sanskrit text, and Textual Notes.

587 Translated by Professor Sanderson.



$



NOTES TO PAGES 293-299 513

588 The Tibetan text adds that "from the transformation (yongs sugyurpa) of the vowels and consonants [comes] the moon..." (p. 45.3: a li kd li yongs su gyur pa las zla ba...).

589 The verse is also recited by the practitioner during the hand worship [§46]. In the SUT ch. 8, w. 22cd-26, this indravajrd verse follows the offering of food stuffs to the emanated mandala (w. 22cd-24), and it is the gods and goddesses of the sites who are saluted specifically (v. 25).

590 The same mantras are prescribed in the parallel texts, GSS5 (Sed pp. i43 18 ~44 13 , K29V3~3or3) and Cakrasamvarabalividhi (p. 58). The latter also indicates the recipients of each mantra offering (shown here in square brackets).

591 "Sipping" (acamanam) is usually the ritual cleansing by sipping water and touching it to parts of the body (e.g., Kriydsamuccaya SP f. 414.3: pddydcama- nddikam dattvd; f. 415.2: acamanam tato datvd sugandhair sodhayet (sodhayet conj.; suksayetSV) karam). Here the context may suggest the sipping of nectar.

592 This mdlini verse appears in SUT ch. 8, v. 28 and is used in the context of ball offering in GSS5 (Sed p. 144 3 , 29V1) and Cakrasamvarabalividhi (p. 58). It is absent in the account of the ^//'mantras in YSCT (A5O and HA (f. i4r-v).

593 Parallels with almost identical text appear elsewhere in the GSS, e.g., in GSS11 (§45> §4 8 > §49); GSS5 (Sed p. 144 14 , K3or4): cchomdhastena samcchomya nyunddhikavidhipurandrtham satdksaramantram ghantdvddanapurvakam pathet.
= Cakrasamvrabalividhi (p. 58; a line has dropped out of the mantra in Finot's edition); cf. VA, Sdmvarikah sdrvabhautikabalividhi (SP f. i24r) and Mandalo- pasamhdrddividhi (SP ff. n8r-H9v); and the hundred-syllabled mantra as short- hand for the fuller rite, sometimes with substitution of the earlier Vajrasattva for Heruka, e.g., SM29 (p. 74), SM71 (p. 145), SM218 (p. 430), SM247 (p. 480), etc.

594 Umapatideva's text repeats this form of the dismissal mantra (§45, §50). How- ever, it appears as om vajra muh in GSS5 (Sed p. 144 17 , K3CT6; Sed p. 146 11 , K32n; Sed p. 148 2 , K33r5) and the Cakrasamvarabalividhi (Finot op. cit.: 58), and in the Mandalopasamhdrddividhi in the VA (SPf.n8v) as om ah hum vajra muh. The final mantra syllable muh is associated with dismissal (e.g., Khasarpana-Lokes'vara SM24 p. 57: om ah hum muh). It appears in (or in asso- ciation with) a much-cited scriptural verse for dismissing deities, e.g., GSS16 (K82ri): tatah. om ah hum mur iti mantrena pdniyaculukdm grhitvd mandalam sincayet. - om krto vah sarvasattvdrtha<h> siddhir dattd yathdnugd I gacchadhvam buddhavisayam punardgamandya ca. • dattd] em.; datvd K. The ms. reading (datvd) seems to be influenced by the parallel in SUT ch. 23, v. 52a-d: om krto vah sarvasattvdrthah siddhim dattvd yathdnugdm I gacchadhvam buddhavisayam viharadhvam yathdsukham. For the emendation to dattd, and for other variants in the d-pdda, cf. SM29 (om krto vah. . .siddhir dattd yathdnugd. . .punardgama- ndya ca), and for the final element muh, see SM67 (p. 138), SM211 (p. 417), and SM247 (p. 480): krto vah. . .siddhir dattd yathdnugd . . .punardgamandya muh.

595 The parallel text of the Abhisamayamanjart (GSS5 Sed p. 145 15 , K3ir2) is cited in full in the Textual Notes and is indicated in the apparatus along with the closely related text of the Bdhyapujdvidhi of SasVatavajra (Finot op. cit.: 52-53).



514 NOTES TO PAGES 299-313



j Sasvatavajra encloses his work with a benediction and dedication of merit, both

I of which mention the Bdhyapujdvidhi by name. Other puja texts mentioned ] are from GSS2 (Kiin), GSS20 (K84V5)»GSS25 (K92r2), and GSS35 (KH9V3). \ 596 The text of GSS11 contains one injunction "to place the left hand (on)"

vdmahastam dattvd following the locative sucipradese. The parallel texts (GSS5« Bdhyapujdvidhi) cited in the Textual Notes contain two similar injunc- tions (hastam dattvd). The construction is familar from other texts, e.g., Hevajrasekaprakriyd (s'irasi hastam dattva), Kumaracandra's pahjikd on Krsna- yamaritantra (p. no).
h 597 The meaning of vidarbhanam is explained by Padoux (1977: 345) as the utter-

ly ance of the mantra a single time after the name. Umapatideva repeats the same

sequence of offerings in the alternative bdhyapuja below (§49) but without the i injuction to insert the names. The parallel texts (cited in the Textual Notes)

j| differ at this point because they deal with offerings to the entire mandala.

II Umapatideva intends this last offering to be to the outermost inhabitants of

ij the mandala, in the manner of the final bali mantra. The same method is

I adopted for the outermost deities, the ten krodhas, in the Samvara bali ritual

%■ in the VA (n. 513), their names likewise inserted before the mantras.

I 598 The parallel texts include this instruction (vaksyamdna-); see Textual Notes.

u: 599 The parallel text in GSS5 is cited in the Textual Notes, with some variants

from the very close text of Sasvatavajra's Hastapujdvidhi (Finot op. cit.: 54-55) reported where of interest. (Text dealing with the Cakrasamvara version of the rite and some of Finot's emendations are not shown.) These two texts are also related (a little more distantly) to SM253 (pp. 498-500), which also contains Sasvatavajra's Hastapujdvidhi, and which Finot uses to supply the missing por- tion of his ms.

600 The Tibetan text states that the syllables are placed on the five digits, with the sixth syllable on "the thumb's face" (see the apparatus to the Sanskrit edition).

601 The rite is mentioned only briefly in this tantra (see n. 524).

602 Sanderson (1998: personal communication) notes that mandalakam is the term in both Buddhist and Saiva texts for this kind of simple outline traced during the course of most external rituals.

603 I am grateful to Professor Sanderson for explaining the corrupt Sanskrit text, with reference to the Samputodbhavatantra 6.3.i8-22b.

604 The SUT ch. 17, v. 42c has Prapurana, which Umapatideva seems to have altered for metrical reasons to Prapurana, although the sense is not as good.



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fe



S : 1
fi






Index



References to Vajravarahi Sadhana text are in boldface type.



abandonment, means of

(samyakprahdnas) , 271, 509 (table) Abhayadatta, 12-13 (table) Abhayakaragupta, 11, 15, 18, 190, _357(n.6), 373

Amndyamanjarl, 153

dates of, 12-13 (table)

on generation of deity, 154

on meditation posture, 114

Nispannayogdvali, 46, 48, 173

Sam varikah Sdrvabhautikabalividhi, 339

Vajrdvali, xx, 29, 190, 208, 210, 212-14

on vdmdcara, 40—41

works by, 390(^33)
Abhidhdnottaratantra, 7, 22, 38, 49, 381, 405^.101)

and Cakrasamvaratantra, 109

on deities, 184

mandala, 187

on Vajravarahi practice, 54, 56, 58, 60, 184
Abhidharma, 138, 335-36

and Buddhist doctrine, 192-93

cosmology of, 144-47, H5(%), 194 Abhidharmakosa, 145-46, 451(^316),

452^.320), 503(^553), plate 15 Abhisamaya (Luyipada), 136 Abhisamayamanjari (Sakyaraksita;

GSS5), 10, 22, 99, 356(n.2),

357» 379
on armoring, 164



on body mandala, 199, 203 on central channel meditation,

175-78
on circle of protection, 131-33,

i32(table), 136, 445^.303) on consecration, 170
on cosmic visualization, 144-46,

I45(fig), 148
on external worship, 217
on five awakenings, 150—53 on mandala, 187, 190, 194,

I95(table), 199
on mantra, 126, I34(table) on nectars, 492(table)
on purification, 115-16
on ritual, 206, 207(table) sadhanas in, no, in (table) on skull staff, 158
on tasting nectar, 210
on vajra, 156
on Vajrayogini forms, 24, 107

dancing-pose Vajravarahi, 50

Trikayavajrayogini, 95-96

two-armed warrior-stance
Vajrayogini, 71-72

Vajraghona Vajravarahi, 66-68

Vajravairocani, 103

Vajravarahi, 63, 157-58

Vajravilasini, 84

Vidyadhari Vajrayogini, 80-81

White Vajravarahi, 70
on worship, 120-23, I22(table),

I24(table)



541



542



VAJRAYOGINl



academic study of tantric Buddhism,

106
Adars'a, 122
Adbhutasmasdndlamkdra, 140—43

(nn.iii— vi, xi-xxi, xxvii, xxix), 347 Adbhutasmasdnavidhi, 140 (n. iii) Advayasiddhi (Laksmirikara) 369(11.29),

373
Advayavajra, 14-15, 22, 80, 105, 365, 373 Advayavajrasamgraha, 373
cosmology of, 148
dates of, 12-13 (table)
on ritual, 208, 210
school and purity mantra, 128 and Sahara, 10, 87, 102, 368(^27) Sarvdrthasiddhisddhana (GSS15), 23,

66-67, 3^4
Vajravdrdhisddhana (GSS3), xxi, 22,

i34(table), 148, 179, 356, 383(11.1) works by, 8 (table)
on yogic practice, 173
Yuganaddhaprakdsa, 440 (n . 281) See also *Siddha—Amndya, Advayavajra lineage

Trayodasdtmikavajraddkinivajra- vdrahisddhana (GSS16), 22, 63—64, 83, 364-65* 453(^.32.7). 492-(table) Aghora, 38
Aghores'varl, 38
Agni, I42(n.xviii), 311-13 Aindri, 43
Airavati, 59(table), I9i(fig), 20i(table),

259, 265, 275
Ais'varyavajra, 118 (table) Ajdtasatrukaukrtyavinodand

(Lokaksema), 125 (n)
Akarsani, 117, n8(table), 305(n.lxix) Aksobhya(vajra), 4-5, 46-47, 58, 116 n8(table), 184, 189, i92(table), 2i9(table), 261, 303, 492(table) and Vajravarahl forms
dancing, 50
hog-headed, 104
white, 69
Amanasikdrddhdra, 373
Amitabha(vajra), 58, i88(table), 189,



I92(table), 2i9(table), 261, 303, 492(table)
Amndyamanjari (Abhayakaragupta), 153 Amoghasiddhi, n8(table), 183, I92(table), 2i9(table), 255, 303, 492(table)
Amrtakanikd, 381
Anahgayogin, 8 (table)
Ddkiniguhyasamayasddhana
(GSS46), 23, 381, 474(n.423) Angkor, 443(11.292)
Anupamaraksita, 128-29
Apara, 38
Arddhanavidhi (GSS23) , 23, 81-83,

88, 102, 368
Arbuda, 59 (table), 201 (table), 259,

273
armoring (kavacanam)
deities, 63, 218-19, 301
and identification with deity, 163-66 syllables, 344(table)
Aryamanjusrindmasamgiti, 371^.37)

Ndmasamglti (Vilasavajra), 3 Arya school, 173
Aryasuklavajravdrdhisddhana (GSS38) ,

23, 69, 70, 379, 383(11.1) atimdrga, 39-40
Ansa, 12-13 (table), 17
Avadhuti, 279, 309, 425(table) Avalokitesvara, 26, 83, 85, 88-89, 9 1 *

364
awakenings, five, 150—54, I5i(table)

Bagalamukhi, 4iy{n.i2^)

bali ritual, 206-8, 211-15, 287-93,

297(n.liii), 309
defined, 115

and identification with deity, 119 mantras, 73, 78, 101, 115, i4i(n.xiv),

168, 220, 512^.584)
and oblation, 222, 309
and rite of completion, 215—16 and summoning the deity, 168 and tasting nectar, 208—9, 2n and Vajrayogini forms

falling-turtle Vajrayogini, 78



INDEX



543



four-armed warrior-stance Vajra- yogini, 74
Red Vajraghona Vajravarahl, 67 two-armed warrior-stance Vajra- yogini, 73
Vidyadharl Vajrayogini, 81 White Vajrayogini with foot raised, 77
Bayon temple (Angkor), 443 (n. 292) Bhadracarydpranidhdna-gdthd, i25(n) Bhdgavatapurdna, 427^.224) Bhairava, 37-38, 78
subjugated, 55-56, 63, 162, 166, 184, 239
Bhairavatantras, 38, 396(n.6o) Bhairavi, 427 (n. 224)
Bhattacharyya, Benoytosh, 50 Indian Buddhist Iconography, xxi Sddhanamdld. See reference Bhdvandkrama (GSS22), 23, 79-81, 84,

337. 368
Bhavya, 287

Bhutaddmaratantra, 420(^193) BhuvanesVari, 427 (n. 224) Binducuddmanir ndma
svddhisthdnakramah
(Sahajavalokanasamadhivajra; GSS32), 23, 51, 106, 148, 153, 372-74 Binduraja, 374
bliss, 92-93, 187
four joys (dnandas), 65, 82, 92, 175,

421(11.195), 454^.334)
mahdsukha, 136
See also mahamudra
Bodhicarydvatdra, 501 (n. 540) bodhipdksikadharmas (factors that favor enlightenment), 188, 192-93, 2 ^3> 335-36, 358, 503(11.553), 5o8(nn.568-69)
bodhisattva, 26
and body mandala, 196, 198-99 and five awakenings, 154
and identification with deity, 130-31 preparations, 119
and purification, 30
states, 273(n.xli)



vow, 301
body mandala (kayamandala), 100, 166, 197-203, 200-201 (figs), 271-79, 488(table)
Brahma, 39, 51, 74, y6, I4i(n.xii) Brahmani, 43
Brahml, 43

bringers of awarenesss {anusmrtyu- pasthanassmrtyupasthdnas) , 263, 504(table)
Brhaspati, 466^.395)
Brief Vajravarahl Sddhana (Vilasavajra) GSS4, 22, 180, 356
GSS29, 23, 179, 371
bsTan 'gyur, xxi, 11, 19, 2o(table), 21,

387^.20)
buddha(s), 3, 202, 365
bodies of, 154
and guru, 28
and hand worship, 218-20,

219 (table)
identification with, 16, 116 in mandala, 190, I92(table) and mudras, 158-59
on Oddiyana, 44
and seed-syllables, 153
and sexual imagery, 149-50 and Tilottama, 421(0.193) and Trikayavajrayogini, 100-101 Buddhadakini. S^Sarvabuddhadakini Buddhadatta, 8(table), i2-i3(table) Vajrayoginimatena Gopyahomavidhi (GSS13), 22, 363
Buddhaguhya, 2, 7, 25
Tantrarthdvatdra, 167
Buddhaheruka, 186
Buddhajiiana, 371^.37)
Buddhakapala, 4
Buddhakapdlatantra, 373
Buddhakrodhesvari, 186
Buddhism
categorization in, 174
and mandala, 192-93
and Saivism, 163, 466^.395) and tantric literature, 2-8 Bu ston (1290-1364), 6, 162, 196-97, 341



544



VAJRAYOGINI



and bsTan 'gyur, xxi, n, 19, 2o(table),

21, 387(11.20)
Sddhanasdgara, 19-20

cakras. See channels
Cakrasamvara, xxv, 4-5, 11, 14, i59> plate 11
armor syllables, 303(n.lxiii),

344(table)
and body mandala, 197, 199, 202 on circles of protection, 133 consecration, 169-70
cosmology of, 148
on cremation grounds, 137 mandala of, 21, 100, 103, 105-6, 109-10, 162, 184-87, 189-90, 192-93, 337, 420(11.185), plate 12 on nectars, 492(table)
on ritual, 206, 208-9, 342 Saiva influence on, 37-38, 44 texts of, xxi, 10, 27, 105, 109, 381 at Vajrasana temple, 18
and vajra skull observance, 40 and Vajrayogini forms, 7
Vajravarahl, xxviii, 22, 48-49, 52, 54-55, 5 5 (fig), 60, 104-5, 155-57 Vajravilasini, 85
Cakrasamvarabalividhi, 208, 210-13, 339 Cakrasamvaratantra, 7, I2-I3(table),

184, 344, 381, 49i( n -493) Cakravarmini, 59 (table), 191 (fig),

201 (table), 261 267, 277, 337 Cakravartini, 59 (table), 191 (fig),

201 (table), 261, 267, 277 Cakravega, 59(table), i9i(fig),

20i(table), 261, 267, 275 Cakres'a, 374
Camunda, 43
Candaksi, 59(table), i9i(fig),

20i(table), 259, 265, 273 Candamaharosana, 4
Candamahdrosanatantra, 181, 341 Candi, 380

Candika, 164, 219 (table), 241, 305 Candrakirti, 173, 432, 434, 471, 474 Capalavajradakini, 65 (fig)



caryatantras, 2-3, 6, i2-i3(table)

Caturmudrdniscaya, 373

Caturmudrdnvaya, 375-76

Caturyoginisamputa, 7

Catuspitha, 381

celibacy, 17, 42

channels (in body), 74, I74~7 8 > *98-99>

279, 488 (table)
Chapagaon Grove, xxviii
Chinnamastdkalpa, 427 (n. 224) Chinnamastdtantra, 427(^224) Chinnamunda/Chinnamasta.
See Vajrayogini, forms of Chinnamunddsddhana (Virupa),

422(n.2o6), 425(n.2i6)
Chos rab, Rwa, 11, 326, 362^.13) Cittamatra, 125

Cittavisrama, 83-84, 87, 360, 365 Clear Understanding ofHeruka

(Luyipada), 10-11
Commentary on portions ofGSSi

(GSS40), 23, 379-80
consecration rituals, 31, 169-71, 243,

421(11.193, 195)
consort(s)
family and, 44
goddesses as, 184
of Siva, 37-38
of Trika goddesses, 40
and Vajrayogini forms, xxviii Guhyavajravilasini, 89-93 Vajravarahi, 22, 60, 48-49, 104-5,

155-57
Vajravilasini, 85-86, 360-62

and vdmdcdra y 41
yogin and, 196
See also sexual practices cosmos, 144-46, I45(%)> I94-9 8 * plate 15
visualization of, 144-46, I45(fig), 148
cremation grounds, xxvii-xxviii, 4, 26, 223, 261, 277, 365
and body mandala, 203, 488(table) cosmology of, 137-39, 140-41 (table), 147-49, 194, i95(table)



INDEX



545



delineated, 311-13
and external worship, 300 and mandala, 190, 197
and meditation, 119, 149
names of, 347-48
and Saivism, 37-40
and tasting nectar, 297
and Vajrayogini forms, 43

Trikayavajrayogini, 96

two-armed warrior-stance Vajra- yogini, 72

Vidyadhari Vajrayogini, 81

White Vajrayogini with foot raised, 76
and vdmdcdra, 41-42
See also kdpdlika

Ddkdrnavatantra, 7, 420(^185) Dakini, 249-55, ^h *79> 2.83, 483O1.458), plates 2, 3, 10 etymology of, 397^.67)
in mandala, 56, 59 (table), 103, 182-84, 191 (fig) > 201 (table) Ddkiniguhyasamayasddhana

(Anangayogin; GSS46), 23, 381, 474(n.423)
Ddkinijdla-anjara, 381
Ddkinivajrapanjaratantra, 420 (n . 1 8 5) Daksinapatha, 83, 87
Dasabhumikasutra, 273(n.xli) deities, 4, 21, 43, 45, 104 armoring, 163-66, 218-19, 3 QI and bali ritual, 212-15
and circles of protection, 134-36,

I35(fig)
and consecration, 31, 169—71 dagger, 135

as drops (bindu), 372-75
dwelling place of, 144-49 and external worship, 217, 220,

299-303
and hand worship, 218-20,

219 (table), 303-309
identification with, 30-32, 116-19,

130-31, 149-55, 163-66, 168, 181,

199, 247



and mandala as doctrine, 193 (table) and oblations, 221-22, 309 pledge/knowledge, 166-67, Z 4 I and Saivism, 40
subjugation of, 135, 139, 160-63,

195-96
and tasting nectar, 210-11, 291—99 worship goddesses, 121-22, I22(table) See also Saiva deities; individual deities
Devdntarasddhanasdgara, 20 Devdntaravisvasddhana, 19, 20 (table) Devendra, i4i(n.xiii)
Devi, 135

Devibhdgavatapurdna, 446^.304) Devikota, 59 (table), 201 (table), 259,

273
dGe lugs tradition, xxiv-xxv,

491^.492)
Dhanada, I4i(n.xiv)
Dhanas'ri island, 88
Dharma, 28, 122

Dharmadhatuvajra, 117, n8(table) Dharmapala (c. 770-810), 10, 14 Dharmasamgraha, i25(n)
Dharmasastra, 39
dharmodayd, 341
and circle of protection, 237 and external worship, 216-17 imagery of, 144, 149-5°
of Vajrayogini forms
dancing-pose Vajravarahi, 51 Trikayavajrayogini, 96-100 Vajravarahi, 155
Vajravilasini, 361
Vidyadharl Vajrayogini, 8o(fig) See also mandala
DhumavatI, 427(^224)
Dhupa, 121, i22(table)
Dhyayipada, 8(table), 35^(n.2) Paramagambhiropades'o
Vajrayoginydh
Karankatorankramah
Svddhisthdnam (GSS34), 23, 51, 106, 137-38, 148, 375-76, 487(n.477) diksd. See initiation



546



VAJRAYOGINI



Dlpa, 121, i22(table)
Drumacchaya, 59 (table), 191 (fig),

2oi(table), 259, 265, 273 Dvddasabhujavajravdrdhisddhana

(GSS7), 7, 22, 54, 184, 188, 359 Dvesavajra, 11 8 (table)

eightfold path, 265-67
Ekajata, 45, 103
elements, 249
in mandala cosmos, 194, I95(table) and purification, 116-17, 118 (table) and tasting nectar, 209
visualization of, 144-47, !45(%) empowerment (of yogin), 27, 165-66,

170
empowering faculties {indriyas), 192, 193, 201, 265-67, 504(n.553), 506^.563)
See also spiritual faculties emptiness, 125, 231
and ritual, 205, 212, 215 See also mantra, emptiness; meditation, emptiness
enlightenment
causes of (sambodhyangas) , 267—69,

5C>7(table)
factors (bodhipdksikadharmas) , 188, 192-93, 263-71, 335, 336, 358, 503^.553), 504(table),
508^.568-69)
See also mahamudra; soteriology erotic practices. See sexual practices

factors of the path (astdngamdrga),

193, 269-71
factors that favor enlightenment {bodhipdksikadharmas). See enlightenment, factors
faculties
empowering (indriyas). See

empowering faculties
spiritual. See spiritual faculties

Gampopa, 102
Ganacakravidhi, 218



Gandavyuhasutra, i25(n)
Gandha, 121, I22(table)
Gelug. See dGe lugs tradition generation. See self-generation Ghantapada, 14, 44, 413^.139) Gita, 121, i22(table)
Glorious[ly Elucidated] Oblation Rite (Indrabhuti; GSS14), 22, 205, 221, 363-64
Godavari, 59 (table), 201 (table), 259,

273
goddesses. See deities; individual

goddesses
Grhadevata, 59(table), 20i(table), 261,

275
Guhyagarbha (8th cent.), 139, 161 Guhyakosa, i2-i3(table), 161, 186 Guhyasamaja, xxv, 5, 149
Guhyasamdjatantra (GST), 5, 381 mantra in, 127
sadhana of, 25

on yogic practice, 171, 173—74 Guhyasamayasddhanamdld (GSS), plate 16
authors and works, 8 (table), 9-14,

i2-i3(table), 355-81
compared with Sddhanamdld,

383(n.i)
manuscripts, 321—28
sadhanas in, 22-23, 355 — 81 See also individual authors and works Guhyasamayasddhanasamgraha,

357(n.5)
Guhyasamayottamapatala, 358 Guhyasiddhih, 373
Guhyavajravilasini. See Vajravarahi,

forms of
Guhyavajravildsinisddhana (Sahara; GSS10), 22, 39, 82-84, 86, 88, 90, 153, 360-62, 368^.27)
Guhyesvari, xxvii
guru, 28, 106, 287, 4i8(n.i69) consecration by, 170, 502^.543) and initiation, 27, 106
qualifications of, 16—17 worship of, 120



INDEX



547



yoga, xxm, xxvi
Gyantse paintings, 169

hand worship. See worship, hand Haracaritacintdmani (Jayadratha) ,

466(n.395)
Harsa (606-47), H
Hasya, 121, I22(table)
Hayagriva, 49, 219 (table) Hayakarna, 59 (table), 191 (fig),

20i(table), 259, 267, 275 Hayasya, 187

Heruka, 4-6, 44, 46-49, 139, 297(n.liv), 373, 420^.185)

dancing, 40o(n.8i)

and hand worship, 219 (table)

and Mahamaya, 399(11.75)

mandalas, 104

mantra, 81

and subjugation of deities, 161-62

Yamari, 104

Herukdbhidhdnatantra (Luyipada), 7,

109-10
Herukdbhisamaya (Luyipada), 203,

431(^245)
Herukdbhyudaya, 7
Hevajra, 11, 104

and bali ritual, 212, 214-15

and bliss, 92

and consecration, 169-70

on letters of alphabet, 152

mandalas, 132

and mantra, 29

and Nairatmya, 46

on ritual, 205

sacred sites, 196, I97(table)

and sexual imagery, 149

and Trikayavajrayogini, 100 Hevajraddkinijdlasamvara, 38 Hevajraprakdsa (Rahulagupta),

472(n.4i3)
Hevajratantra (HT), 4, 24, 26, 48, 372, 381

on consecration, 421 (n. 195)

on consorts, 196

dates of, 12-13 (table)



on goddesses, 4i6(n.i6i), 420^.193) on self-generation, 150
Himalaya, 59 (table), 201 (table), 259,

275
History of Buddhism in India

(Taranatha), 9-10, 88
Humkarivajradakini, 65 (fig) Humnadivajradakini, 65 (fig) Hundred Sddh anas, 19

Icons Worthwhile to See (IWS), 396

See also Rin 'byung brgya rtsa impurity, 41-43
Indra, 64, 74, y6, i4o(table) and bali ritual, 215
and cremation grounds, 311 Indrabhuti, xxiv, 9-11, 14, 372(^37), 388(n.24)
dates of, 12-13 (table)
and Laksminkara, 44, 101-2 Pradipdhutividhi (GSS14), 22, 205,

221, 363-64
on purification, 117
and Vajravarahi, 22, 50, 105 Vajrayoginimukhdgama (GSSi),

14, 22, 28, 50-51, 117, 355 works by, 8 (table)
Indrabhutikramena Vajrayogini-

sddhanam (Vijayavajra; GSS35), ^3>

49. 73~74> 377> 477(n-43i) Indradakini, xxvi, 51 (fig)

Indrajitkramavajrayoginisddhana

(GSS45), 22, 381
Indra^khecari, xxiv, 105
Indrani, 43

Indra Vajravarahi, xxiv
initiation, xxiii, 27

and consecration, 170

by guru, 106

and layman, 16

in Newar practice, xxviii

of Virupa, 15
Irsyavajra, 118 (table)
Is'ana, i4o(table), 311-13

Jagaddala, 14, 357(n.6)



54 8



VAJRAYOGINI



Jagaddarpana, 16-17

Kriydsamuccaya, xx, xxviii, 16, 157-58, 218

Vajrdcdryalaksanavidhi, 16 Jala, 64
Jalandhara, 59 (table), 201 (table), 202,

259, 273
Jalendra, King, 44
Jambudvipa, 88, 138-39
Jangull, 45
japa. See mantra
Jatudhana, 141 (table), 311-13 Jayadratha

Haracaritacintdmani, 466^.395) Jayadrathayamalatantra, 38 Jnanadakini, 49
Jnanadhatvisvari, 49
Jfianapada, 371^.37)
Jramitavajradakini, 65 (fig) Jvdldvalivajramdldtantra, xxi

Kakasya, I35(fig)> 2 33-35> 2 49> 2 55> 261, 269, 277

in mandala, 57, 59 (table), 134, 186-87, i9i(fig), 20i(table),

483(n.458)
Kalacakra, 4, 11, 381, 389(^24)

cosmology of, 145 (fig), 146

mantra, 29

mandala, 194, i95(table), 443(^291) Kdlacakramulatantra, 381
Kdlacakratantra, 12-13 (table) Kalaratri, 55-56, 63, j6, 162-63, ^4* 2,39 Kali, 38, 40, 195, 427^.224),

466^.395)
Kalihga, 59 (table), 201 (table), 259, 275 Kama, 403 (n.95)
Kamadeva, 4i9(n.i84)
Kamakhya, 100
Kamala, 427 (n. 224)
BCamalasila, 129
Kamarupa, 59(table), 20i(table), 259,

275
Kdmasutra, 42o(n.i9i)
Kamesvara, 91
Kamesvari, 90



Kanakhala, 101

Kafici, 59(table), 20i(table), 259, 275 Kanhapa, 101
Kankdlatdlasddhana (Darikapa),

374(n.43)
kdpdlikd, 117
body mandala, 488 (table) and cosmic visualization, 148-49 goddesses, 183, 189
mandalas, 21

practices, 4, 26, 40-41, 106-7 skull observance, 39-40, 158 and Vajrayogini forms
falling- turtle-pose Vajrayogini, 78 Red Vajravarahi with foot raised, 75 twelve-armed Vajravarahi, 56—57 two-armed warrior-stance Vajra- yogini, 72-73
Vajradakini Vajravarahi, 63-65 Vajravarahi, 51, 155-57
See also cremation grounds; transgressive discipline
Karuna, 87-88, 360, 362, 418(^169) Kathdsaritsdgara, 329, 427 (n. 224) Kaumari, 43
Khadiravani-Tara, 45
Khaganana, 59(table), I9i(fig),

20i(table), 259, 267, 275 Khagarbha, 117, n8(table) Khandakapalin, 202
Khandaroha, 249-53, 261-63, 2 *>7> 279, 283
in mandala, 56, 59 (table), 183-84, i9i(fig), 20i(table)
Khandarohika, 275
Khara Khoto tangkas, 35, 46, plates 2, 3, 11
ddkinlm, 164

Vajravarahi in, 159, 183, 402(^87) Kharvari, 59 (table), 191 (fig), 201 (table),

259, 265, 273
Khasarpana, 88

Kos'ala, 59 (table), 201 (table), 259, 275 Krama cult, 38

Kriydsamuccaya (Jagaddarpana), xx, xxviii, 16, 157-58, 218



INDEX



549



kriyatantras, 2-3, 6, 12-13 (table)

Krodhakdli, xxvi

Krsnacarya, 14, 101, 428(11.225)

Krsnapada, 14

Ksitigarbha, 117, n8(table)

Krsnayamaritantra, 48, 66

Kubera, 64, i4o(table), 311

Kubjika, 380

Kulata, 59 (table), 201 (table), 261, 277

Kumaracandra, 66

Kumari, xxviii

Kurmapada, 413(11.139)

Kurmapddasiddhisddhana, 377(11.48)

Kurmapatanakramena Vajrayogini-

sddhana (GSS36), 23, 77, 377 Kurukulla, 45

Laghusamvaratantra, 7, 37-38, 341 Laghutantratikd, 381
Laksdbhidhdnatantra, 7, 83-84, 197, 365 Laksmi, 8(table), i2-i3(table), 95,

369(11.29)
Laksml/Laksmlnkara
Laksmlsddhana (GSS24), 10, 23,

95-96, 99, 101, 369
Laksmliikara, 9-10, 14, 44, 101 Advayasiddhiy 369(11.29), 373 dates of, 12-13 (table)
Laksmlsddhana (Laksml/Laksminkara;

GSS24), 10, 23, 95-96, 99, 101,

369, 422(11.206)
Lalana, 309, 425(table)
Lalita, 90

Lalitavajra, 371(11.37)
Lama, 249-53, ^3, 279, 283 in mandala, 56, 59 (table), 103,

182-84, I9i(fig)> 2oi(table) Lampaka, 59 (table), 201 (table), 259,

275
lamps, five, 183, 210
Lankapuri, 44
Lankesvari, 59(table), I9i(fig),

201 (table), 259, 265, 273 Lasya, 121, i22(table)
Legends of the Eighty-Four

Mahdsiddhas, 9, 15, 44



letters of alphabet, 152-54, 158, 289-91 liberation. See enlightenment;

mahamudra; soteriology
lifestyle, 16-17, 27, 31-32, 181 Lllavajra, 37i(n.37)
Locana, 56, 59(table), 117, n8(table),

492(table)
Lokaksema

Ajdtas'atrukaukrtyavinodand, i25(n) Lokanatha, 87-88, 360, 362 Lokesvara, 83, 88, 117, n8(table) Lokesvarakalpa, 419(^185) Luyipada, 8(table), 9-11, i2-i 3 (table), 14, 22, 117, 356(n.2), 375-76 Abhisamaya, 136

Clear Understanding ofHeruka^ 10-11 Herukdbhidhdnatantra, 7, 109-10 Herukdbhisamaya, 203, 431(^245) Smasdnavidhu 140-43 (nn.xii-xiv, xvi, xxv-xxx), 207(table), 223, 343, 347. 449(n.3i2)
srl-Bhagavadabhisamaya, 10 Vajravdrdhisddhana (GSS2J, 14, 22,

50-51, 117, 355-56
Vajrayoginisddhana, 50

Madhyamaka, 129-30, 205
mad observance, 80—81
Mahabala, 59 (table), 191 (%j :

2oi(table), 261, 269, 277,

420^.185)
Mahabhairava, 59 (table), 191 (fig),

201 (table), 259, 267
Mahabhairavika, 275
Mahdbhdrata, ioi(n.224), 481^.450),

484O1.462)
Mahakarunika, 88
Mahalaksmi, 43
Mahamaya(hva), 4, 47, 367 mahamudra, 4, 11, 14-15, 107 and Guhyavajravilasini, 91-94 and sexual practice, 181
and skeleton arch, 376
and Vidyadhari Vajrayogini, 80-81 Mahanasa, 59(table), i9i(figj,

20i(table), 259, 265, 273



550



VAJRAYOGINI



Mahasiddha Kambala, 43
Mahasukhavajrapada, 341
Mahdtilakakrama, yjiXyv.y/) Mahavarahamukhl, 420(11.185) Mahavidya, 427(11.224)
Mahavlrya, 59 (table), 191 (fig),

20i(table), 261, 269, 277 Mahayana, 1, 3-4
bodhisattva, 119, 131
on emptiness, 129, 171
universities, 14—15
worship, 120-23, I24(table), I25(n) Mahayoges'varl, 283(n.xlvi) Mahes'vara, 160-62, 195
Mahesvarl, 43
Maitri-khecari xxiv, 105
Maitrlpa(da), xxiv, 10, 50, 80, 105 Malava, 59(table), 20i(table), 259, 273 male role, 4—5
in body mandala, 199, 203 as Mahamaya, 47
in reversed position, 405— 6(n.i04) in Saiva Trika cult, 40
in thirty-seven-fold mandala, 189, 193 with Vajrayogini forms
falling-turtle-pose Vajrayogini, 78 GuhyavajravilasinI, 89—94 six-armed Vajravarahi, 60 Mamaki, 56, 59(table), 117, n8(table),

492(table)
mandala, 4-5, 16, 21-24, 109-12, plates 12, 13
and bali ritual, 211-15
as Buddhist doctrine, 192-93 body. See body mandala

(kdyamandala)
of Cakrsamvara, 21, 100, 103, 105—6 and circle of protection, 132-33 cosmos: visualization of, 144-46,

I45(fig), 148
mandala as cosmos, 144-46, I45(fig),

148, 194, i95(table)
and cremation grounds, 138 and external worship, 216—18, 220,

299-303
and hand worship, 218-19, 303-7



Kalacakra, 443 (n. 291)

Kali, 38

and mantra, 53, 54(table), 179-80

and oblation, 222

and rite of completion, 216

sacred sites in, 195—97

stages of, 182-92, i9i(fig)

and subjugation of deities, 160-63

and tasting nectar, 289

in Trayodasdtmikavajraddkinlvajra-

vdrdhisddhana (GSS16), 365 and Vajrayogini forms

dancing Vajravarahi, 52

Red Vajrajarahl with foot raised, 75

six-armed Vajravarahi with consort, 60-61, 62(flg)

TrikayavajrayoginI, 97—100

twelve-armed Vajravarahi, 56-59, 58-59 (table)

two-armed Vajrayogini in warrior stance, 72-73

VajradakinI Vajravarahi, 63-65, 65(fig), 420^.213)

Vajravarahi, 11, 49, 104, 119-20, 158

Vajravilasini, 361-62

White Vajravarahi, 69
See also dharmodayd
Mandasor temple, 43
Mafijus'rl, 26, 168-69
Manobhariga mountain, 83-84, 87,

360, 365
mantra, 109-11
and armoring, 163-64, i66(table),

241
and bali ritual, 211-15
and central channel meditation,

177-78
and circle of protection, 131, 133-36,

i34(table), 233, 237
of consecration, 170, 243 diagram, 52, 54(table)
eight-part, 251-53

emptiness, 125-29, 231, 299-301, 307 and external worship, 216—17, 2 99~" 3°3 goddess, 253, 257, 283-87 and hand worship, 303-7



INDEX



551



heart, 179, 247, 251

and mandala, 182-86, 203-4

and mudra, 158

and pledge/knowledge deities, 167-68

power of, 153, 180

and purification, 115, 117, 119

and oblations, 309

recitation, 16, 29, 32

and rite of completion, 215-16

root, 279-83

Saiva influence on, 39

and tasting nectar, 291-99

transcription/extraction of, 52-53,

54(table)
and VajrayoginI forms, 36 falling-turtle-pose VajrayoginI,

77-78
four-armed warrior-stance

VajrayoginI, 74
flying Vidyadharl VajrayoginI, 82 GuhyavajravilasinI, 90, 93 Red Vajraghona Vajravarahl, 61,

67-68
two-armed warrior-stance

VajrayoginI, 73
two-armed white VajrayoginI,

405^.104)
TrikayavajrayoginI, 94-101,

98(table)
VajradakinI Vajravarahl, 64, 103-5 Vajravarahl, 178-81, I79(table) Vajravarahl/ VajrayoginI, 51-53,

54(table)
VajravilasinI, 361-63
Vidyadharl VajrayoginI, 79-81 White Vajravarahl, 69-70
White VajrayoginI with foot raised, 76-77
in Vajrayoginimukhdgama, 355 See also seed-syllable
mantramdrga, 37, 40
Mantrapdtha, 207 (table)
mantrapitha, 37-38
Manu, 39
Mara, 160
MaranI, 117, n8(table), 305(n.lxix)



Marici, 46, 48, 104, 461^.367), plate 5 Mar pa the translator (1012-97), xxii,

10, 180
Maru, 59 (table), 201 (table), 261, 277 MatangI, 427^.224)
Matsaryavajra, n8(table)
Mdydjdlatantra, 5, 173, 381 means of mind concentration {rddhipddas), 265, 505(table) meditation, 25, 27
and body mandala, 198-99
brahmavihdra, 123
on central channel, 175-78 and circle of protection, 131 emptiness, 69-70, 74, 125-30,

144-46, i45(fig)> I54~55> 171-72. on flying Vidyadharl VajrayoginI, 82 posture, 114
stages, 109-10, 182
visualization in, 29—30, 32 See also visualization
Mekhala, 101
Meru. See Mount Meru
Mettdsutta, 502(^541)
Mi bskyod rdo rje (8th Karma pa; x 5°7-54)> xxiii, 444(0.299), 447^.307)
Mi la ras pa system, xxiii Mohanl, 374
Mohavajra, 118 (table)
MohinI, 164, 2i9(table), 241, 305 monasteries, 14—16, 21, 25

See also individual monasteries monastic universities, xxii, 15-16 Mongolian woodblock print

illustrations, 36-37, plate 10 monk, 16-17, 42

Mount Meru, 144, 160, 162, 187, 249, 259-61
and cosmology, 138-39, 194,

I95(table)
and external worship, 217 visualization of, 144—48 Mrdaiiga, 121, 122 (table) Mrtyu, i42(n.xix)
mudras, 372



55*



VAJRAYOGINl



and bali ritual, 211-12, 2ii(fig) and external worship, 301 and knowledge deity, 168
and hand worship, 307-9
and protection rituals, 115-16,

n8(table)
and rite of completion, 215-16 and sexual practices, 92
and tasting nectar, 291, 299 as tantric ornaments (signs of observance)
dancing-pose Vajravarahi, 51 falling-turtle-pose Vajrayogini, 78 four- armed warrior-stance

Vajrayogini, 74
Red Vajraghona Vajravarahl, 67 twelve-armed dancing-pose

Vajravarahi, 55-57
two-armed warrior-stance

Vajrayogini, 72
Vajradakini Vajravarahi, 63—64 Vajravarahi, 158-60
White Vajravarahi, 68
Muktdvali (Ratnakarasanti), 456(^343) Muraja, 121, I22(table)

nddis. See channels

Nagara, 59(table), 20i(table), 261, 277

Nagarjuna, 171, i73~74> 205

Nagendra, i42(n.xv)

Nairatmya, 46, 373(n.42), 461(^.368)

Nairrti, I42(n.xix), 311-13

Nalanda monastery, 14-15

Ndmamantrdrthdvalokini (Vilasavaj ra) ,

25, 371^.37)
Ndmasamgiti (Vilasavaj ra). See Arya

manjus'rindmdsamgiti
Naro-Dakini, 428(^225), 458^.352),

459(n.358)
Naro-khecari, xxii-xxiv, xxiii(tig), 106 Naropa (c. 956-1040), xxii-xxiv,

i2-i3(table), 50, 102, 105, iss Nartesvara, 362

Nartesvari, 117, n8(table), 305vn.LxL\) "Narthang Pantheon," 37, 396vn.>8) Nataraja, 91



nectars, five, 183, 210
Nepal

hand worship in, 217-18

initiation rites in, xxviii

Sankhu temple, 45

Thangbochi Monastery, 420(^185)

Vajraghona in, 66

Vajravarahi in, 47, 49

Vajrayogini in, xxi, xxvii Ngor mandalas, 132
Niharivajradakini, 65 (fig) Nilalohita, I42(n.xvii)
Niranjana River, 202, 279 Nirrti, I42(n.xix)
Nisdcakra, 218
Nis , cares , a, I42(n.xix) Nisisamcdra, 38 _

Nispannayogdvali NYA

(Abhayakaragupta), 46, 48, 173

nonduality, 4i-43> I 75~77> 2I2 nonobjectification, 129-30 Nrtya, 121, I22(table)

oblation, 221-22, 309

Ocean ofSddhanas, 19, 20 (table)

Odantapura, 14

Oddiyana, 59(table), 87, 100, 20i(table), 259, 273, 377-78 in body mandala, 202
and flying dakinis, 74
and Indrabhuti, 9, 14, 43-44

Oddiydnasvddhisthdnakramavajrayoginl- sddhana (Virupa; GSS37), 23, 71,

378-79
Oddiydnavinirgatavajrayoginlsddhana

(GSS12), 22, 75, 363
Odra, 59 (table), 201 (table), 259, 275 One Hundred and Fifty Sddhanas,

19, 2o(table)
Oral Tradition of ^ Vajrayogini (Indra- bhuti; GSSi), 14, 22, 28, 50-51, 117, 355

Padmajvalini, 117, n8(table),

305(n.lxix)
Padmanartesvara, 88-89, 91, n8(table),

2i9(table), 360-61



INDEX



553



Padmanatha, 419(11.185)
Padmasambhava (8th cent.), xxv-xxvi,

388(11.24)
Padmavajra, 168, 373
Paindapatika, 363(11.15)
Pala dynasties (760-1142), 14-15, 21 Pancakrama, 373

Pancatathdgatamudrdvivarana, 373 Panchen Lama, 36
Pandara(vasini), 56, 59 (table), 117,

n8(table), 420(^185), 492(table) Panini, 193, 263, 265, 336, 504(^553) Panjikd, 344
Para goddesses, 38
Paramagambhirakarankatoranakrama-

vajrayoginisddhanasvddhisthdna-

krama (GSS33), 23, 52, 106, 148,

172, 374-75
Paramagambhiropadeso Vajrayoginydh

Karankatorankramah

Svddhisthdnam (Dhyaylpada;

GSS34), 23, 51, 106, 137-38, 148,

375-76, 487(n.477)
Paramasva, 219 (table)
Paramasvastra, 219 (table) Pas'in, 348

Pas'upata Saivites, 39
Patani, 117, 118 (table), 305(n.lxix) PaviyoginI, 373-75
Phatanivajradakini, 65 (fig) Picumata-Brahmaydmalatantra, 39 Pinddrthdh Sodasaslokds Trikdyavajra-

yoginydh (Virupa; GSS26), 23, 84,

95(table), 100, 370
Pindikramasddhana, 169
places, ten (des'as), 196-97 Potala mountain, 88
powers (balas), 267
Prabhafijana, I4i(table), 311-13 Prabhavati, 59 (table), 191 (fig),

201 (table), 259, 265, 273 Pracanda, 249, 259-61, 265, 273,

282-83
and body mandala, 198, 202 in mandala, 59(table), i9i(fig),

201 (table)



Pradlpdhutividhi (Indrabhuti; GSS14),

22, 205, 221, 363-64
Pradlpyotana, 435^.258)
Praise Contemplation of Triple-Bodied Vajrayogint (Virupa; GSS27), 23, 84, 95(table), 100, 371
Praise ofVajravildsini (Vibhuticandra;

GSS43), 22, 84-85, 380
Pramoha, 48

PranavavajradakinI, 65 (fig) Pretapuri, 59 (table), 201 (table), 261,

275
Propitiation Rite ofVidyddhari- Vajrayogini (Sabara; GSS23), 23, 81-83, 88, 102, 368
protection
and bali ritual, 213-14
circle of, 112, 114-15, 131-36,

I32(table), I34(table), 144, 233-35 mantra for, 297
puja. See ritual
Pulliramalaya, 59 (table), 198, 2oi(table), 202, 259, 273 Puranic legend, 92, I4i~42(nn.xii, xiv, xvii), 160, 466^.395)
See also individual Puranas purification, 30—31
and bali ritual, 214
and body mandala, 198
of circles of protection, 134-36 and consecration, 170
and correspondence (visuddhi),

116-19, 118 (table), 271
and mantra, 125-29
rituals, 115-16, 209
and vdmdcdra, 41-43
Purnagiri, 100
Puspa, 121, I22(table)

Ragavajra, 118 (table)
Rahulagupta

Hevajraprakdsa, 472^.413) Raktavajravdrdhisddhana (GSS6),

22, 60, 358
Ramapala, King (c.1077-1120), 11, 14 Rambha, 92



554



VAJRAYOGINl



Rames'vara, 59 (table), 201 (table), 259,

273
Rasa, 122

Rasana, 309, 425(table)
Ratnakarasanti, 12-13 (table), 45, 172-73

Muktdvali, 456(11.343)
Ratnasambhava, n8(table), 183, I92(table), 2i9(table), 251, 303, 492(table)
rddhipddas. See means of mind con

centration
Renuka, 427(n.224)
Rin 'byung brgya rtsa (Taranatha), 36, 364^.17), 367^.24)
on Trikayavajrayogini, 96 on Vajravarahl, 50, 66, 77-78,

407(n.ii2), 409(n.i22)
on Vajrayogini, 405(0.104), 412^.136), 414^.148)
Rin lhan, 36

ritual, 3, 27-32, 109-12, 205-6, 207(table)
consecration, 31, 169—71 efficacy of, 205
initiation, xxviii
intention, 215
kumdri, 52
and lifestyle, 16
oblation, 22, 221—22
offerings, 121
rite of completion, 215-16, 297,

305-7

staking, 446(11.305)

tasting nectar, 208-11, 209(fig), 214, 289-99

See also bali ritual; worship Rosanivajradakini, 65 (fig) Rudra, 39, 161
Rudrani, xxvi, 43
RupinI, 249-53, 263, 279, 283

in mandala, 56, 59(table), 183-84,

191 (fig), 201 (table)

Sabara, 9-10, 14-15, 22-23, 102, 355(n.i), 377(0.48)
dates of, 12-13 (table)



and Guhyavajravilasini, 86-88 Guhyavajravildsinisddhana (GSS10) ,

22, 39, 82-84, 86, 88, 90, 153, 360 62, 368(n.27)

on mantra, 180

and Vajrayogini, 81, 83-84, 86, 91,

4i3(n.i45)
Vajrayoginisddhana (GSS19), 23, 71,

366

Vidyddharivajrayoginydrddhanavidhi

(GSS23), 23, 81-83, 88, 102, 368 works by, 8 (table)
Sabara lineage
Vidyddharikramabhdvand (GSS22),

23, 79-81, 84, 337, 368
Vidyddharikramavajrayoginisddhana

(GSS21), 23, 79, 84, 367
sacred sites, 195-99
Sadas'iva, 90
sadhaka, 28-32, 91-92, 174-78. See also

male role
sadhana, xix— xxi

and celibacy, 17

collections of Bu ston, 19

collections in GSS, 7, 18-24

defined, 1, 24

evolution of, 24-26

generation and perfection/ completion stages, 171-74

preliminaries, 27, 114-19

site for, 114— 15

structure of, 27-33, 113
Sadhana for [Gaining] Siddhi in All Things (Advayavajra; GSS15), 23, 66-6-j, 364
Sddhanamdld, xxi, 19, 2o(table), 21, 26

armoring in, 469(table)

compared with GSS, 383^.1)

goddesses in, 45-46, 428(0.225), 437(n.262)

and Manjus'n, 471^.411)

on mantramdld ritual, 70

on meditation posture, 114

on Trikayavajrayogini, 95, 105, 360

on worship, 424^.213)
Sddhanamdld Tantra, 2o(table), 321



INDEX



555



Sddhana of Noble White Vajravdrdhi (GSS38), 23, 69, 70, 379, 383(11.1)

Sddhana of Red Vajravdrdhi (GSS6), 22, 60, 358

Sddhana of Secret Vajravildsini (Sahara; GSS10), 22, 39, 82-84, 86, 88, 90, 153, 360-62, 368(n.27)

Sddhana of the Thirteenfold Vajraddkini Vajravdrahi
(Advayavajra lineage; GSS16), 22, 63-64, 83, 364-65, 453(11.327), 492(table)

Sddhana of the Twelve-Armed Vajra- vdrdhi (GSS7) , 7, 22, 54, 184, 187, 359

Sddhana of Triple-Bodied Vajrayogini (Virupa; GSS25), xxi, 23, 95-99, 369-70

Sddhana of Vajrayogini with the Method of the Falling Turtle (GSS36), 23, 77, 377

Sddhana of White Vajrayogini with Food Raised (GSS17), 22, y6, 366

Sddhanasdgara (Bu ston), 19-20

Sddhanasataka, 19

Sddhanasatapahcds'ikd (1165), 18-20

Sagara, 87

Sahajaiigana, 373, 375

Sahajanirdesa, 375

Sahaja Reversed, 405(11.104), 4o6(fig)

Sahajasiddhi, 375

Sahajavalokanasamadhivajra, 8 (table), 372(11.37)
Binducuddmanir nam a
svddhisthdnakramah (GSS32), 23, 51, 106, 148, 153, 372-74
Saiva deities
and Mara, 465(^389)
subjugation of, 135, 139, 160-63, 195-96
^ trampled, 55-56, 63, 74, 76, 78 Saivism
and bali ritual, 206
on decapitation, 427(^224) and GuhyavajravilasinI, 90-91 and identification with deity, 432^.249), 433(11.250)



influence of, 1, 27, 37-40, 44, 104, 107, 160-63, 189, 197, 512(^583) and sacred sites, 195
seed-syllables in, 344
on three eyes, 459(^355)
^ and Vajravilasini, 85-86 Sakra, y6, I4i(n.xiii), 147 Sdkta Pramoda, 427 (n. 224) Sakti, 380

Saktisamgamatantra, 427(^224) Sakya. See Sa skya
Sakyanatha, 24

Sakyaraksita, 10-11, 105, 357(^6), 372(n.3 7 )
Abhisamayamahjari (GSS5). See reference dates of, 12-13 (table)
on emptiness, 129
on five awakenings, 150
works by, 8 (table)
Samaja, 208, 212-15
Samantabhadra, 117, n8(table) Samantabhadrl, xxvi
Samantas'ri, 11
Sambhala, 44

Samcalini, 164, 2i9(table), 241, 305 Samksiptavajravdrdhisddhana (Vilasavajra)
GSS4, 22, 183, 356
GSS29, 23, 179, 371
Samputatantra, 341
Samputobhavatantra, 221, 373(^42) Samtrasini, 164, 2i9(table), 241, 305 Samvara
on letters of alphabet, 152 mandalas, 132
on mantra, 29
on ritual, 212, 214-15
texts of, 7

and Vajravilasini, 85
and Vajrayogini, 405^.104) Samvdrdrnavatantra, 52—53 Sdmvarikah Sdrvabhautikabalivadhi

(Abhayakaragupta), 339
Samvarodayatantra, xxviii, 7, 26, 341, 381, 468(n.403)
on bali ritual, 213



556



VAJRAYOGINI



on birth of deity, 154
on body mandala, 202
cosmology of, 148
on cremation grounds, 449(^312) on goddess consorts, 184
on mad observance, 81
on mandala, 109
on oblation, 222
and Saivism, 39
on triads, 101
Tsuda translation, xxi
on yogic body, 426(n.22o) on yoginis, 196
Sangha, 28
Sangs rgyas thams cad kyi mkha' 'gro

ma, 105
Sankhu temple (Nepal), xxviii, 45 Santideva

Siksdsamuccaya, I25(n)
Santivarman, 88
Saptaksara, 49

Saptdksarasddhana, 492(^495) Saraha, 10
Sarustri, 373, 375

SarvabuddhadakinI, 47, 52, 94, 97, 100, 103, 105, 183, 423(n.2io), 425^.215, 217)
Sarvabuddhasamdyogaddkinijdlasamvara, 5, i2-i3(table), 38, 187, 389(n.24), 399^.77), 419(^185)
Sarvadurgatiparisodhanatantra, 24-2 5 , 134, 341, 445^.301), 447(n.3o8), 45i(n.32o)
Sarvanandanatha (15th c.)

Sarvolldsatantra, 427(^224) Sarvanivaranaviskambhin, 117,

n8(table)
Sarvdrthasiddhisddhana (Advayavaj ra;

GSS15), 23, 66-67, 364
Sarvatathdgatatattvasamgraha, 3, 48,

135, 139, 160, 341
Sarvavirasamdyoga, 38
Sa skya, xxiii-xxv, 10, 14, 358^.7) Sas'vatavajra, 206-8, 207(table), 342 Cakrasamvarabalividhi, 207(table) , 208, 210-13



Satapathabrdhmana, 43 3 (n. 2 50) Satcakravartimandala, 49
Saundini, 41, 59(table), I9i(fig),

20i(table), 261, 267, 277, 337 Saurastra, 59 (table), 201 (table), 241, 277 secrecy, xxiii, xxv, xxvii-xxviii, 28, 68,

73, 106
Secret Oblation Rite According to the System ofVajrayogini
(Buddhadatta; GSS13), 22, 363 Secret Oblation Rite ofVajravdrdhi

(GSS8), 21-22, 360
seed-syllable,
and bali ritual 211-12
of body mandala, 197-98
and central channel meditation,

175-78
and circles of protection, 131-34, 237 and deities, 169
and elements, 144, 145 (fig) and external worship, 217, 299 and hand worship, 218-20,

2i9(table), 303-9
and heart mantra, 68
and meditation, 29, 130
and oblations, 309
in Saivism, 344

and self-generation, 150-54, i5i(table) and tasting nectar, 209-11, 289-93 ofVajrayogini forms
TrikayavajrayoginI, 97
Vajravarahi, 155
Vidyadhari Vajrayogini, 80 and worship, 120—21
See also mantra
Sekakriydkrama, 207 (table) Sekkoddes'atikd, 381

Self-Consecration Method Known As the Crest Jewel of the Drop (Sahajavalo- kanasamadhivajra; GSS32), 23, 51, 106, 148, 153, 37 2 ~74
Self Consecration Method Vajrayogini Sddhana with the Supremely Profound Method of the Skeleton Arch (GSS33), 23, 52, 106, 148, 172, 374-75



INDEX



557



Self-Consecration Rite for Propitiating a

Virgin (GSS44), 380-81
self-generation
and bali ritual, 208, 214-15 of deity, 149-55, i5i(table), 166-67,

171-72
and external worship, 216-17 Seven Special Transmissions (Taranatha), 428(^225)
sexual practices, 5, 22-23, ^8, 44, 107, 173, 365, 470^.409)
and bindu, 372-75
and consecration, 170
and hand worship, 218
and mantra, 181
and menstruation, 463(11.382) and monastic vows, 17
retention of semen, 92
reversed position, 405-6^.104) and Saivism, 40-42
and sakti, 4
and skeleton arch, 376
symbolism of, 149-50, 152, 154, 158 and Vajrayoginl forms, 84 falling-turtle-pose Vajrayogini,

77-78
Guhyavajravilasini, 89-94 six-armed Vajravarahi, 60-61 Vajradakini Vajravarahi, 63-64 Vajravarahi, 159
Vajravilasini, 360—62
and vdmdcdra, 41—42
See also consort; mahamudra

• Siddha-Amndya, 14-15, 83-84, 87,
  

102, 368(n.27)
Siddhayogesvarimata, 38
siddhis, 3, 40, 70, 91, 101, 180-81, 213,

287, 295-97
Siksdsamuccaya (Santideva), I25(n) Sindhu, 59(table), 20i(table), 261, 277 sites, twenty-four (pithas), 57, 100, no,

162, 196, 273, 376
Siva, 78, 85-86, I42(n.xvii) bhairava, 37-38

and cremation grounds, 311-13 dance of, 50, 91



subjugation of, 74, 139, 160-62, 195 Sixteen Praise Verses of Triple-Bodied Vajrayogini with Essential Meaning (Virupa; GSS26), 23, 84, 95(table), 100, 370
skeleton arch, 374-76
skull bowl, 156-57
skull observance, 39-40, 158 skull staff, 157-58, 210
Smasdndlamkdratantra, i4i(n.xii),

488(tabie)
Smas'dnavidhi (Luyipada), 140-43 (nn.xii-xiv, xvi, xxv-xxx), 207(table), 223, 343, 347, 449(^312) Somapura Monastery, 14-15 soteriology, 3—4, 40
and bali ritual, 214
and body mandala, 202
and Guhyavajravilasini practice, 91-94 and mandala, 192
sexual, 149

and subjugation of deities, 161-62 and Trikayavajrayogini practice, 101 See also enlightenment; mahamudra Spars'a, 122

spiritual faculties, 506^.563) sri-Bhagavadabhisamaya (Luyipada), 10 Srlbuddhadakinl, 94
s'ri-Dhanyakataka, 88
sri-Guhyasamayatantra, 19 Srlhatta, 100

s'ri-Herukavajra, 118 (table) sri-Hevajradvikalpardja, 375 Srimatidevi

• Chinnamundd Vajravarahi Sddhana, 367^.24), 369^.29)
  

Srlsabarapada, 355(n.i)
s'ri- Vajravdrdhisddhana

(Prajfiabhadra), 358^.7)
s'ri- Vajrayoginihomavidhi, 363 (n.15) s'ri- Vajrayogininirahasya-

karndkarnamukhdmukha, 355(n.i) Srividya cult, 61, 90
Sthaviravadins, 18
Subhadra, 59 (table), 191 (fig), 20i(table), 259, 267, 275



558



VAJRAYOGINI



Subhakaragupta, 357(0.6)
Sukarasya, 233, 255, 269, 277 in mandala, 57, 59(table), 134,

186-87, I 9 I (%)> 20i(table) SukhavatI, 150
Sumeru. See Mount Meru
summoning the deity, 167—68 Supremely Profound Teaching:

Self-Consecration as Skeleton-Arch

Method ofVajrayogini

(Dhyayipada; GSS34), 23, 51, 106,

137-38, 148, 375-76, 487(0.477) Surabhaksi, 59 (table), 191 (fig),

20i(table), 259, 267, 275 Suruyogini, 52, 369, 371
Suvaroadvipa, 59 (table), 201 (table), 261,

277
Suvira, 59(table), I9i(fig), 20i(table),

261, 267, 277
Svacchandabhairava, 38
Svacchandatantroddyota, 433(0.250) Svddhisthdnakumdritarpanavidhi

(GSS44), 380-81
svddhisthdna-method sadhaoas, 23 Svakarivajradakioi, 65(fig) Svaoasya, 233, 255, 269, 277 in mandala, 57, 59(table), 134,

186-87, I 9 I (%)^ 20i(table) Syama(devi), 59(table), I9i(fig),

20i(table), 259, 267, 275

tangkas

circles of protection, 134, 138

cremation grounds, 138, 140 (n.iii)

temple palace, 147
Tangut empire (982-1229), 35 Tantrdrthdvatdra (Buddhaguhya), 167 Tantrasadbhdva, 38, 486(0.470),

503^.550)
Tantrasdra, 427 (n. 224)
tantric

literature, 2-9, 26-27, 37-40

mandalas, 132-33

practice
vs. academic study, xxii, 15—16 and female spirits, 43



systems, 1-5, 163, 195
Tara, xxvi, xxviii, 85, 427(0.224), 492(table)
and Advayavajra, 87
forms of, 45

in mandala, 56, 59(table) and purification, 117, n8(table) Taraoatha (1575-1634), 358(11.7), 388(n.24), 390^.29)
on destruction of Vajrasana temple, 18 History of Buddhism in India, 9-10, 88 Rin 'byung brgya rtsa. See reference on self-decapitation mythology, 101 Seven Special Transmissions, 428(n.225)
Tattvajhdnasamsiddhi, xxi, 357(n.6) Tattvajndnasamsiddhi-

svddhistdnakrama, 375—76 teacher. See guru.
temple palace, 144-49, 189-90 Thangbochi Monastery (Nepal),

42o(n.i85)
Tibet, xxi— xxii, 2, 6
armor goddesses in, 164
Bon tradition, xxvii
goddess transmissions in, 105—6 self-decapitation mythology in, 101 Tilaka, 373

Tilopa (c. 928-1009), xxii Tilottama, 92
transgressive discipline (vdmdcara),

41-43, 117, 119
translation, 2, 19-21, 386(0.14), 387(11.20) Trayodasdtm ika vajraddkinivajra vdrdh i- sddhana (Advayavajra lineage; GSS16), 22, 63-64, 83, 364-65, 453(n.327), 492(table)
Trika cult, 38, 40, 43, 195 Trikayavajrayogini, 23, 47, 94—102, 94(fig), 105
in GSS5, 358
in GSS9, 360
in GSS20, 366
in GSS25, 369-70
and Sahara, 14
texts of, 95(table)



NDEX



559



and Vajravilasini, 84
Trikdyavajrayoginisddhana (Virupa;

GSS25), xxi, 23, 95-99, 369-70,

425(11.217)
Trikdyavajrayoginistotra

GSS26, 23, 84, 95(table), 100, 370

GSS27, 23, 84, 95(table), 100, 371 Trikdyavajrayoginistutipranidhdna

(Virupa; GSS27), 23, 84, 95(table),

100, 371
Tripura, 427(11.224)
Tripurasundari, 61, 90—91, 433(11.249) Trisakuni, 59 (table), 201 (table), 259,

275
Twenty-One Praise Verses for Saluting

Vaj 'ray ogini (GSS 42), 23, 72, 380

Ucchistavjra, 222, 309
Ucchusmakrodha, 162
Ugratara, xxviii, 45
Ulukasya, 233, 255, 269, 277

in mandala, 57, 59(table), 134, 186, i9i(fig), 2oi(table)
Uma, 161
Umapatideva

dates of, i2-i3(table)

works by, 8(table)
universities. See monasteries Urdhvapddasuklavajrayoginlsddhana (GSS17), 22, 76, 366

Vadavavajradakini, 65(fig) VagisVaragupta, 11, 326, 362(^13) Vairanivajradakini, 65(fig) Vairocana, 3, 46, 58, 74, 243, 261, 492(table)
goddesses and, 189-90, 192, 409^.122) and hand worship, 2i9(table), 303 in mandala, I92(table)
and purification, 116, n8(table) seed-syllable of, 339
and Vajrapani, 160-61
Vairocandbhisambodhi(tantra), 3 ,

454(n.33i)
Vairocani, 52, 358, 423^.210), 425(nn.2i5, 217)



and mantra, 103, 105, 178, 183, 379

and Trikayavajrayogini, 94, 96-97, 367, 369-70
Vaisnavati, 380
Vaisnavi, 43
Vaisnavism, 1, 43, 206
Vais'ravana, I4i(n.xiv)
Vaisvanara, 141 (table), 311-13 Vaivasvata, I42(n.xvi)
vajra, H7(ng), I56(fig)

defined, 44

family, 153

as nondual, 44, 126

symbolism of, 153

vs. chopper iconography, 104, 156, 332 Vajrabhairavatantra, 5
Vajrabhasmottama, 62(fig) Vajracdryalaksanavidhi
(Jagaddarpana), 16
Vajraddkatantra, 7

Vajradakini. See Vajravarahi, forms of Vajradamstrottama, 62(fig) Vajradhara, 28, 162, 237(n.xiv) Vajradhatumandala, 3
Vajraghona. See Vajravarahi, forms of Vajraguhyottama, 62(fig)
Vajraheruka, 297(11. liv) Vajrajnanottama, 62(fig)
Vajrajvalottama, 62(fig)
Vajrakila, 237(n.xiv)
Vajrakrodhottama, 62(fig) Vajramrtottama, 62(fig)
Vajramukhi, 48
Vajrapani, 48, 117, n8(table), 160-61,

381, 412^.138)
Vajraraja, n8(table), 2i9(table) Vajrdrallitantra, 341
Vajraratnottama, 62(fig)
Vajrasamayottama, 62(fig) Vajrasana, 468 (n. 404)
Vajrasattva, 49, n8(table), 2i9(table),

297(n.liv), 303
Vajrasiddhottama, 62(fig) Vajrasurya, n8(table), 2i9(table) Vajratara, 45
Vajratejottama, 62(fig)



560



VAJRAYOGINI



Vajravairocanl. S^Vairocani

Vajravalanalarka, 134

Vajrdvali (Abhayakaragupta), xx, 29,

190, 208, 210, 212-14
Vajravarahi, xxv-xxvi, 1, 21-24, 269-71, plates 4, 6, 8, 10, 11 compared with Vajrayogini, xxii, 47,

49, 102-6
emergence of, 47-49
forms of, 103, 155 (fig), 155-60 dlidha-stznct, 356-57
ardhaparyanka (dancing) pose, 22, 50-53, 5i(fig), 104, 105, 184, 325, 355, 358-59, front cover, plate 1 armor, 164, 165 (fig)
Arthasadhana, 67 (fig)
in Brahmana Sridhara tradition,

4o8(n.ii7; fig)
Guhyavajravilasini, 82, 86-93,

86(fig), 405(^104)
pratydlidha-stance, 356
Red, 60-61

red, two-armed warrior-stance, 36 Red Vajraghona, 66-68, 67(fig),

104-5
red, urdhvapdda (foot-raised) pose,

74-75> 75(%)> 105-6, 363
sambhogakdya, 167
six- armed, warrior-stance, 62—65,

63(fig), 365
six-armed with consort, 60—62,

6i-62(fig), 105, 358
thirty-six animal faces, 420^.185) twelve-armed, dancing-pose,

54~59> 55(fig)
Vajradakini, 22, 63 (fig), 105, 365,

367, 424(n.2i3)
Vajravilasini, 22, 61, 84-86, 85(fig),

89-91, 103, 106, 360-62, 380,

405(n.i04)
Vajraghona (hog- faced), 23, 28,

46-48, 51, 66-68, 67(fig), 104,

364, 366, 378-79> P^te 5
warrior-stance, 22, 23, 36, 49, 52,

105-6, 363
white, 69-71, 69(fig), 358



White Vajraghona, 68, 104-5

and Ghantapada, 44

and hand worship, 219 (table)

identification with, 32, 116— 19, 149-55, 163-66, 168, 181-82, 239

and mandala, 5, no, 191 (fig)

mantra of, 178-81, I79(table)

subjugation of males, 40

See also Vajrayogini
Vajravdrdhihomavidhi (GSS39) »

21-23, 379
Vajravdrdhikalpa, xxi

GSS18, 23, 66-68, 366

GSS41, 22, 380
Vajravdrdhikalpasarvdrthasiddhi-

sddhana, 364(^17)
Vajravdrdhi Ritual, xxi

GSS18, 23, 66-68, 366

GSS41, 22, 376
Vajravdrdhisddhana

GSS2 (Luyipada), 14, 22, 50-51, 117,

355-56
GSS3 (Advayavajra), xxi, 22,

I34(table), 148, 179, 356, 383(^1) GSS11 (Umapatideva). 5>f individual

topics
GSS31, 23, I34(table), 179, 372 Vajravdrdhyabhyudayatantra, 187 Vajravdrdhyd Gopyahomavidhih

(GSS8), 21-22, 360
Vajravarnani, 52, 423(^210), 425^.215, 217)
and mantra, 103, 105, 183 and Trikayavajrayogini, 94, 96—97, 367, 369-70
Vajravidyottama, 62(fig)
Vajravilasini. See Vajravarahi, forms of Vajravildsinistotra (Vibhuticandra;

GSS43), 22, 84-85, 380
Vajrayana, 1, 44

Vajrayogini, xxv-xxvi, 21-24, I02 --7> plates 7-9, 14
and Cakrasamvara texts, 27 compared with Vajravarahi, xxii, 47,

49, 102-6
emergence of, 43—47



INDEX



5 6l



forms of, 36, 103
ardhaparyanka (dancing) pose,

45-46
Chinnamunda/Chinnamasta, 23,

94, 102, 387(11.18), 424(n.2io),

427(n.224)
falling-turde-pose, 23, 77-78,

77(fig), 106, 377
flying Vidyadhari, 23, 82-84,

82(fig)

four-armed, warrior-stance, 73-74,

73 (fig)
Guhyavajravilasini, 86-93, 86(fig) red, warrior-stance, 358, 378 severed-head, 360
Trikayavajrayogini, 23, 94-102,

94(fig)> 105, 358, 360, 366, 369-70 two-armed, warrior-stance, 71-73,

71 (%)

urdhvapdda (raised-foot) pose, 22,

366
Vidyadhari, 23, 79-84, 79 (fig),

82(fig), 86-89, 105-6, 367 white, two-armed, 378-79,

405^.104)
white, foot raised, 76-77, 76(fig), 105-6
identification with, 31
subjugation of males, 40
and vdmdcdra, 42
See also Vajravarahl
Vajrayoginimandalavidhi-ndma

(Umapatideva), 362(11.13) Vajrayoginimatena Gopyahomavidhi

(Buddhadatta; GSS13), 22, 363 Vajrayoginimukhdgama (Indrabhuti; GSSi), 14, 22, 50-51, 117, 355

Vajrayoginiprandmaikavimsikd

(GSS42), 23, 72, 380
Vajrayoginisddhana
GSS9 (Virupa lineage), 23, 95(table),

96, 99, 360
GSS19 (Sahara), 23, 71, 366 GSS20 (Virupa lineage), 23,

95(table), 96, 99, ^66-6y GSS28, 23, 71, 371



GSS30, 23, 95(table), 96, 99, 372 Vajrayogini Sddhana from Oddiydna

(GSS12), 22, 75, 363
Vajrayogini Sddhana from Oddiydna

with the Self-Consecration Method

(Virupa; GSS37), 23, 71, 378-79 Vajrayogini Sddhana in the Tradition of

Indrabhuti (Vijayavajra; GSS35),

2 3> 49> 73-74> 377> 477(n.43i) Vajrayogini Sddhana with the Method for Conquering Indra (GSS45), 22, 381
Vajrayogini Sddhana with the Vidyadhari Method (Sahara lineage; GSS21), 23, 79, 84, 367 vdmdcdra (transgressive discipline),

41-43, 117, 119
Vdmakesvarimata, 90
Vams'a, 121, I22(table)
Vanaratna, 10
Varahamukhi, 46
Varahi, 43, 47-48, 373. See also

Vajravarahl
Varahyabhyudaya mandala, plate 13 Vdrdhyabhyudayatantra, 7, 54, 56, 58,

330, 359, 404(0.101)
Varendra, 14
Vart(t)ali, 48

Varuna, 64, i4o(table), 311, 348 Vasanta, 373
Vasantatilakd(tikd), 221-22, 336, 341,

373
"Vasya Vajravarahl," 50
Vayu, I42(n.xx), 311-13
Vayuvega, 59 (table), 191 (fig),

201 (table), 259, 267, 275 Vedavati, 380
Vibhuticandra, 8 (table), 10,

12-13 (table), 18
Vajravildsinistotra (GSS43), 22,

84-85, 380
Vidhisamgraha, 206, 207(table), 223 Vidyadhari. See Vajrayogini, forms of Vidyddharikramabhdvand (Sahara

lineage; GSS22), 23, 79-81, 84,

337> 368



562



VAJRAYOGINl



Vidyadharikramavajrayoginisadhana

(Sahara lineage; GSS21), 23, 79,

84, 367
Vidyadhari Method Meditation (Sahara

lineage; GSS22), 23, 79-81, 84,

337, 368
Vidyddharivajrayoginydrddhanavidhi

(Sahara; GSS23), 23, 81-83, 88,

102, 368
vidydpithdy 37—40
Vijayavajra, 8 (table)
Indrabhutikramena

Vajrayoginisddhanam (GSS35), 23,

49> 73-74, 377, 477(n.43i) Vikramacarita, 427(^224)
Vikramasena, 329
Vikramaslla Monastery, 14—15 Vilasavajra, 3, 5, 8(table), 374, 470(11.411)
Ndmamantrdrthdvalokini, 25 Ndmasamgiti, 3
Samksiptavajravdrdhisddhana GSS4, 22, 183, 356
GSS29, 23, 179, 371
Yogatantra Sddhana, 130
Vilasini. See Vajravarahi, forms of Vimalaprabhd, 381
Vina, 121, I22(table)
Viramati, 59(table), 191 (fig), 20i(table),

259, 265, 273
Virupa, 9-10, 14-15, 23, 102, 357(0.6), 358(11.7), 360
Chinnamunddsddhana, 422(n.2o6),

425(n.2i6)
dates of, 12-13 (table)
Oddiydnasvddhisthdnakramavajra- yoginisddhana (GSS37), 23, 71,

378-79
Pinddrthdh Sodasaslokds Trikdya-

vajrayoginydh (GSS26), 23, 84,

95(table), 100, 370
on Trikayavajrayogini, 84, 94-96 Trikdyavajrayoginisddhana (GSS25) ,

xxi, 23, 94-99, 369-70
Trikdyavajrayoginistutipranidhdna

(GSS27), 23, 84, 95(table), 100, 371



works by, 8 (table)
Virupa lineage
Vajrayoginisddhana

GSS9, 23, 95(table), 96, 99, 360

GSS20, 23, 95(table), 96, 99,

366-67
Visnu, 47-48, 74

visualization, 24—25, 29—30, 32, 109—12 and bali ritual, 212-15
and body mandala, 198
and circle of protection, 131-36,

I32(table)
and consecration, 170
of cosmos, 144, i45(fig)
of deity's dwelling place, 144-49 emptiness, 125-30
and external worship, 216-17, 22 ° and hand worship, 218—19, 3°3 — 5, 3°9 and identification with deity, 149-55 and oblations, 221—22, 309 and purification (visuddhi), 116— 19,

n8(table)
tasting nectar, 210, 289-93, 2 99 of Vajrayogini forms, 120—23, I22(table)

Guhyavajravilasini, 89—93

four-armed warrior-stance Vajrayogini, 72-73

flying Vidyadhari Vajrayogini, 82-84

six-armed Vajravarahi, 60-61

twelve-armed Vajravarahi, 56-58

two-armed warrior-stance Vajra- yogini, 72

Vajradakini Vajravarahi, 63-66

Vajravarahi, 155

Vajravilasini, 357-58

Vidyadhari Vajrayogini, 79-81

White Vajravarahi, 69-71

White Vajrayogini with foot raised, 76-77
and worship, 120—22
See also meditation
visuddhi (purification), 30-31, 116— 19,

n8(table)
Vyadhama(s'ri)yogini, 373—76



INDEX



563



worship

external, 216-18, 220, 299

hand, 217-20, 2i9(table), 301-9

identification with, 293

of knowledge deity, 168

sevenfold, 229

supreme, 122-23, i24(table)

of Vajrayogini forms, 120—23, i22(table)
dancing-pose Vajravarahi, 51-53 falling-turtle-pose, 78
four-armed warrior-stance

Vajrayogini, 74
GuhyavajravilasinI, 90
Trikayavajrayogini, 97
twelve-armed Vajravarahi, 58 two-armed warrior-stance

Vajrayogini, 72-73
Vajraghona, 68
Vidhyadhari Vajrayogini, 80-81

See also ritual

yaksa, 64, i4i(n.xiv)
Yaksadhipa, i4i(n.xiv)
Yama, 64, i4o(table), 186, 311 Yamadadhi, 233-35, 2 55> 2 7i> 2 77^

483(0.458)
in mandala, 57, 59(table), 134, 186,

i9i(fig), 20i(table)
Yamadamstrini, 233, 255, 271, 277 in mandala, 57, 59(table), 134, 186,

I9i(fig), 20i(table)
Yamaduti, 233, 255, 271, 277 in mandala, 57, 59(table), 134, 186,

i9i(fig), 20i(table)
Yamamathani, 233, 255, 271, 277 in mandala, 57, 59(table), 134, 186,

i9i(fig), 20i(table)
Yamantaka, xxv, 481^.450) Yamari, 48, 66
Yamini, 164, i65(fig), 2i9(table), 241,

3Q5> 374



Yatudhana, I42(n.xix)
Yemalavajradakini, 65 (fig) Ye shes rgyud, 341
Yeshe Tsogyel, xxv— xxvi Yogacara, 125, 129, 205, 414^.156) yoganiruttaratantras, 5-6, 132, 149 yogatantra, 2, 6

on awakening, 150

dates of, 12-13 (table)

on deities, 168

origin of, 3—4

sadhanas in, 24
Yogatantra Sadhana (Vilasavajra), 130 yogin. S^sadhaka
Yoginijalasamvara, 38
Yoginisamcaratantra (YSCT), 7, 38, 109, 334, 43i(nn.243, 245)

armor syllables in, 344(table)

on body mandala, 197

on hand worship, 218, 307, 494(n.505), 498(11.524),

on identification with deity, 166

Pandey edition, xxi
yoginitantra

dates of, I2-I3(table)

origin of, 3-5

and Saivism, 37-40

in Tibet, 6
yogottara, 11

on deities, 169

origin of, 5

purification in, 30—31

on self-generation, 150

sexual imagery in, 149

systematization of, 25-26

tantras, i2-i3(table)

in Tibet, 6
Yuganaddhaprakas'a (Advayavaj ra) , 44o(n.28i)



About the Author




Elizabeth English recieved her first degree in His- tory from Bristol University. She received her M.Phil and her D.Phil in Classical Indian Reli- gion from Oxford University and teaches at St. Martin's College, Carlisle, U.K. She is a member of the Western Buddhist Order.



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