#hevajra mandala

[thesobsister]

“Hevajra Mandala,” Tibet, 15th century

“Hevajra appears here in his three-headed and four-armed form. This manifestation is drawn from the Hevajra Tantra, a text revered by the Sakya order of Tibetan Buddhism, who likely commissioned this painting from a Newari artist from Nepal. Hevajra and his consort Nairatmya dance at the intersection of four vajra gateways, indicating their position at the center of the cosmos. His name is composed of two syllables: “he,” compassion, representing the male aspect, and “vajra,” wisdom, the female aspect, which together offer the path beyond this illusory world. The repeating skull symbolism references the impermanence of all phenomena. Beyond the celestial palace are the eight great charnel grounds, each presided over by a yogic master, or mahasiddha. On the reverse, in an ornate Tibetan lantsa script, are the Sanskrit mantra oh ah hum and mantra syllables configured in a stupa silhouette.”

-text via The Metropolitan Museum of Art

[musicmeditationvictoria]

Love

#holodynamics #SNA #socnets #facebooks #facebookpage #facebookmetabusinesssuites .Victoria Hevajra Mandala by The Metropolitan Museum of Art is licensed under CC-CC0 1.0Love

[the-paradigm-web]

'Hevajra Mandala, Tibet, 15th century © The Metropolitan Museum of Art'. Hevajra appears here in his three-headed and four-armed form. This manifestation is drawn from the Hevajra Tantra, a text revered by the Sakya School of Tibetan Buddhism, possibly the patrons of this painting. Hevajra and his consort Nairatmya dance at the intersection of four vajra gateways, indicating their position at the center of the cosmos. Hevajra’s name is composed of two syllables, “he,” compassion, representing the male aspect, and “Vajra,” wisdom, the female aspect, which together offer the path beyond the illusory world. The repeating skull symbolism references death and the impermanence of all phenomena. Beyond the celestial palace are the eight great charnel grounds, each presided over by a yogic master, or mahasiddha. On the reverse are inscriptions in an ornate Tibetan lantsa script of the Sanskrit mantra OH AH HUM and of mantra syllables configured in a stupa silhouette. This painting is likely the work of a Newari artist from Nepal working for a Tibetan patron.

[hinducosmos]

A Hevajra Mandala Second half of the 14th Century, Circa 1370-1380. Tibet. 33 by 29 1/2 in. (83.8 by 75 cm.) (via Sotheby's)

[oncanvas]

Thangka Depicting the Mandala of Hevajra, Tibet, 16th century

Painting 40 x 37 cm (15 ¾ x 14 ⅝ in.)

[noise-vs-signal]

Praise to you, the highest gift, the highest vajra,

Praise to you, fully accomplished one!

Praise to you, arisen out of emptiness,

Praise to you and your enlightened seed!

Praise to your enlightened lust,

Praise to your enlightened desire!

Praise and homage to your enlightened craving and

Praise to your enlightened joy!

(Song of praise to Hevajra as Buddhakapala)

By going into orbit around a structured mandala we perform a form of “Deity Yoga”.

The Goal of the Game is to reach the Centre.

[lamathanka]

Hevajra in four different iconographic forms based on the Samputa Tantra System, from a set of Vajravali mandala paintings.

Shri Hevajra is a principal meditational deity of the Anuttarayoga classification in Buddhist Tantra.

#Tantra #Buddhist #Wisdom #mother #hevajra #mandala #Anuttarayoga #meditational #deity #thangka #thankapainting #lamathankapaintingschool

[vajranam]

Vajrayogini Up Date

Vajrayoginī

(Sanskrit: Vajrayoginī; Tibetan: རྡོ་རྗེ་རྣལ་འབྱོར་མ་, Dorjé Naljorma) is a Tantric Buddhist female Buddha and a Dākiṇī.

Vajrayoginī's essence is "great passion" (maharaga), a transcendent passion that is free of selfishness and illusion — she intensely works for the well-being of others and for the destruction of ego clinging. She is seen as being ideally suited for people with strong passions, providing the way to transform those passions into enlightened virtues.

She is an Anuttarayoga Tantra iṣṭadevatā (meditation deity) and her practice includes methods for preventing ordinary death, intermediate state (bardo) and rebirth (by transforming them into paths to enlightenment), and for transforming all mundane daily experiences into higher spiritual paths.

Practices associated with her are Chöd and the Six Yogas of Naropa.

Vajrayoginī is often described with the epithet sarvabuddhaḍākiṇī, meaning "the ḍākiṇī [who is the Essence] of all Buddhas"

Origin and Lineage

Vajrayoginī's sādhanā originated in the Himalayan region between the tenth and twelfth centuries. It evolved from the Cakrasaṃvara Tantra, where Vajrayoginī appears as his Yab-Yum consort, to become a stand-alone practice of Anuttarayoga Tantra in its own right. The practice of Vajrayoginī belongs to the Mother Tantra (Wylie: ma rgyud) class of Anuttarayoga Tantras along with other tantras such as the Cakrasaṃvara and Hevajra Tantras.

Vajrayana teaches that the two stages of the practice of Vajrayoginī (generation stage and completion stage) were originally taught by Vajradhara. He manifested in the form of Heruka to expound the Root Tantra of Chakrasaṃvara, and it was in this tantra that he explained the practice of Vajrayoginī. All the many lineages of instructions on Vajrayoginī can be traced back to this original revelation. Of these lineages, there are three that are most commonly practiced: the Narokhachö lineage, which was transmitted from Vajrayoginī to Naropa; the Maitrikhachö lineage, which was transmitted from Vajrayoginī to Maitripa; and the Indrakhachö lineage, which was transmitted from Vajrayoginī to Indrabodhi.

Vajrayoginī is visualized as the translucent, deep red form of a 16-year-old female with the third eye of wisdom set vertically on her forehead and unbound flowing hair. Vajrayoginī is generally depicted with the traditional accoutrements of a ḍākiṇī, including a kartika (a vajra-handled flaying knife) in her right hand and a kapala filled with blood in her left hand that she drinks from with upturned mouth.

Her consort Cakrasaṃvara is often symbolically depicted as a khaṭvāṅga on Vajrayoginī's left shoulder, when she is in "solitary hero" form. Vajrayoginī's khaṭvāṅga is marked with a vajra and from it hangs a damaru drum, a bell, and a triple banner. Her extended right leg treads on the chest of red Kālarātri, while her bent left leg treads on the forehead of black Bhairava, bending his head backward and pressing it into his back at the level of his heart. Her head is adorned with a crown of five human skulls and she wears a necklace of fifty human skulls. She is depicted as standing in the center of a blazing fire of exalted wisdom. Her countenance shows both erotic and fierce features, "in the fullness of bliss, laughing and baring her fangs."

Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example, her brilliant red-colored body symbolizes the blazing of her tummo (candali) or "inner fire" of spiritual transformation as well as life force (Shakti), blood of birth and menstrual blood. Her single face symbolizes that she has realized that all phenomena are of one nature in emptiness. Her two arms symbolize her realization of the two truths. Her three eyes symbolize her ability to see everything in the past, present and future. She looks upward toward the Pure Dākiṇī Land, demonstrating her attainment of outer and inner Pure Dākiṇī Land, and indicating that she leads her followers to these attainments. The curved driguk knife in her right hand shows her power to cut the continuum of the delusions and obstacles of her followers and of all living beings. Drinking the blood from the kapala in her left hand symbolizes her experience of the clear light of bliss.

Vajravarahi and Other Forms

Vajrayoginī is a female deity and although she is sometimes visualized as simply Vajrayoginī, in a collection of her sādhanās she is visualized in an alternate form in over two thirds of the practices. Her other forms include Vajravārāhī (Wylie: rdo-rje phag-mo "Vajra Sow") and Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini, Tibetan Tröma Nakmo; Wylie: khros ma nag mo, "Wrathful Lady", "Fierce Black One").

In her form as Vajravārāhī "the Vajra Sow", she is often pictured with a sow's head on the side of her own as an ornament and in one form has the head of a sow herself. Vajrayoginī is often associated with triumph over ignorance, the pig being associated with ignorance in Buddhism. This sow head relates to the origins of Vajravārāhī from the Hindu sow-faced goddess Vārāhī.

The severed-headed form of Vajrayoginī is similar to the Indian goddess Chinnamasta, who is recognized by both Hindus and Buddhists.

A white manifestation, generally designated as Prajñaloka, “Light of Wisdom ,” displays a vajra and a skull bowl.

Practices

Vajrayoginī acts as a meditation deity, or the yab-yum consort of such a deity, in Vajrayāna Buddhism. She appears in a maṇḍala that is visualized by the practitioner according to a sādhana describing the practice of the particular tantra. There are several collections containing sādhanas associated with Vajrayoginī including one collection, the Guhyasamayasādhanamālā, containing only Vajrayoginī sādhanas and comprising forty-six works by various authors.

The yidam that a meditator identifies with when practicing the Six Yogas of Nāropa is Vajrayoginī and she is an important deity for tantric initiation, especially for new initiates as Vajrayoginī's practice is said to be well-suited to those with strong desirous attachment, and to those living in the current "degenerate age".

As Vajravārāhī, her consort is Chakrasaṃvara (Tib. Khorlo Demchog), who is often depicted symbolically as a khaṭvāṇga on her left shoulder. In this form she is also the consort of Jinasagara (Tib. Gyalwa Gyatso), the red Avalokiteśvara (Tib. Chenrezig).

Vajrayoginī is a key figure in the advanced Tibetan Buddhist practice of Chöd, where she appears in her Kālikā (Standard Tibetan: Khros ma nag mo) or Vajravārāhī (Tibetan:rDo rje phag mo) forms.

Vajrayoginī also appears in versions of Guru yoga in the Kagyu school of Tibetan Buddhism.

In one popular system the practitioner worships their guru in the form of Milarepa, whilst visualizing themself as Vajrayoginī.

The purpose of visualizing Vajrayoginī is to gain realizations of generation stage tantra, in which the practitioner mentally visualises themself as their yidam or meditational deity and their surroundings as the Deity's maṇḍala.

The purpose of generation stage is to overcome so-called ordinary appearances and ordinary conceptions, which are said in Vajrayana Buddhism to be the obstructions to liberation (Skt. nirvāṇa) and enlightenment.

According to most commentaries associated with the deity, the practices of Vajrayoginī are relatively easy compared to those of other Highest Yoga Tantra yidams and particularly suited to practitioners in modern times:....

The instructions on the practice of Vajrayoginī contain concise and clearly presented meditations that are relatively easy to practice. The mantra is short and easy to recite, and the visualizations of the maṇḍala, the Deity, and the body maṇḍala are simple compared with those of other Highest Yoga Tantra Deities.

Even practitioners with limited abilities and little wisdom can engage in these practices without great difficulty. The practice of Vajrayoginī quickly brings blessings, especially during this spiritually degenerate age. It is said that as the general level of spirituality decreases, it becomes increasingly difficult for practitioners to receive the blessings of other Deities; but the opposite is the case with Heruka and Vajrayoginī – the more times degenerate, the more easily practitioners can receive their blessings.

Thanks to Wiki Sources

The Sacred Image of Vajrayogini was made by the Donogal family in the ancient Patan district of Kathmandu, home of the finest sacred statue makers in the world. HH Vajrayogini stands approx 5 ft in height and occupies a prominent space in our community’s Three Year Retreat meditation hall.

[magictransistor]

Mandala of Hevajra. Tibet. 1400s. 

Hevajra appears here in his three-headed and four-armed form. This manifestation is drawn from the Hevajra Tantra, a text revered by the Sakya School of Tibetan Buddhism, possibly the patrons of this painting. Hevajra and his consort Nairatmya dance at the intersection of four vajra gateways, indicating their position at the center of the cosmos. Hevajra’s name is composed of two syllables, “he,” compassion, representing the male aspect, and “Vajra,” wisdom, the female aspect, which together offer the path beyond the illusory world. The repeating skull symbolism references death and the impermanence of all phenomena. Beyond the celestial palace are the eight great charnel grounds, each presided over by a yogic master, or mahasiddha. zoom for detail 

[wisdom-and-such]

Artwork from the Tibetan Tantric tradition 

the deity Hevajra, seen dancing with his consort Nairatmya at the center of a fifteenth-century mandala

A monk versed in tantric Buddhist practice would use this mandala to visualize or self-identify.

Central to this practice is the concept of dualism, echoed here in the deity’s name, which fuses the male he (compassion) with the female vajra (wisdom, or shunyata).

[abhayam-dada]

A full article from Arts of Asia about Tibetan art at The Metropolitan Museum of Art, New York is now available to read online!

.

Many of the finest Tibetan Buddhist artworks are tantric, an ancient concept that attempts to evoke self-identification and recapture the enlightenment experience of the historical Buddha. With many Tantric images, the male is fused with the female, as a way of presenting the whole. In this 15th century mandala of the deity Hevajra— “He” symbolising male or compassion, and “Vajra” female or wisdom—who appears in three-headed and four-armed form with his consort Nairatmya, the deities are framed by four gates, signifying their central position in the cosmos. Surrounding them are the eight yogi masters, and repeating skulls that reference impermanence. Now at The Met, curator Kurt Behrendt details this work along with an in-depth overview of Tantric Buddhist art of Tibet using examples from the museum in our March–April 2016 cover story.

To read the full article, visit https://bit.ly/3QRInRy

.

Pictured: Hevajra Mandala, Tibet (central), 15th century, distemper on cloth

[joseandrestabarnia]

Título: Mandala Hevajra, finales del siglo XII

Artistas: Artista desconocido

Acerca de

Este trabajo es un mandala tridimensional, o diagrama cósmico, de Hevajra, quien es la principal deidad del camino budista tántrico (Vajrayana) hacia la iluminación. A diferencia del budismo Theravada y Mahayana, la escuela tántrica creía que, con una aplicación seria y la guía de un maestro religioso, un iniciado podría lograr la iluminación en esta vida. El ejercicio principal fue la meditación. Mientras meditaba, el practicante enfocó toda su energía mental en una deidad, en este caso Hevajra, transfiriéndose así las características de la deidad. El culto a Hevajra floreció en Camboya entre los siglos X y XIII. Aquí Hevajra se encuentra en el centro en un loto de ocho pétalos rodeado de dakhinis, divinidades femeninas menores en el budismo tántrico, y otra figura no identificada.

Departamento de Arte Asiático, AGNSW, mayo de 2011

Detalles:

Lugar donde se realizó el trabajo: Camboya

Origen cultural: Jemer

Fecha: finales del siglo XII

Categoría de medios: Escultura

Materiales usados: bronce

Dimensiones: 39,0 x 23,5 cm

Fecha de firma: No firmado. Sin fecha

Crédito: Goldie Sternberg Fondo de Compra de Arte del Sudeste Asiático 2001, Art Gallery NSW

[garywonghc]

The Importance of Retreat

by Chiwang Tulku Rinpoche

Q: Rinpoche, could you kindly tell us what is meant by retreat?

A: Retreat is a means to attain enlightenment. It provides skillful means to obtain ultimate liberation, however its results mostly depend on how much we exert ourselves in its practice. Basically a Vajrayana retreat entails a development stage, during which we visualise ourselves as the deity and, once we have mastered this, a completion stage follows, through which the visualisation dissolves into emptiness. Through the practice of these two stages, we gradually eliminate all our obscurations and move closer to enlightenment.

There are different kinds of retreat, and these fall into two main categories: recitation practice, or open retreat, and session-wise meditation practice, or closed retreat. In an open retreat, we can leave our meditation cell between sessions and engage in other activities, whilst in a closed retreat, we cannot leave our room, see anyone or be distracted by any other matter.

Ideally, it is preferable to do a closed retreat, but if for one reason or another this proves impossible, then we can do an open retreat and take advantage of every available moment to do our recitations. Some people actually manage to do their recitation practice while they’re at work or while performing their normal activities.

Q: Rinpoche, what kind of obstacles do we meet while we practise retreat?

A: Meditators meet with many kinds of obstacles during retreat. The main ones are drowsiness and agitation. Here drowsiness represents being beset by a foggy mind and continually falling asleep, while agitation means being beleaguered by distracting thoughts. Drowsiness is the worst obstacle for older people like me. If we tend to fall asleep while meditating, there are methods to counter this. We should, for example, reduce our daily intake of meals, wear light clothes, straighten our back, and keep our eyes open while gazing a little bit upwards.

On the other hand, some meditators become so besieged by distractions that they are unable to keep their mind focused during their practice. Even if they try really hard, some practitioners find this very difficult. There is the example of one practitioner whom I know who had so much trouble concentrating that he would punch himself in the head every time he became drowsy, which only served to leave him with a bad headache and several bruises. Thankfully, there are more skillful methods that we can develop to help us steady our mind.

There is a Vajrayogini text called dpa’ bo khrag ‘thung. It is said in the text that obstacles creep into our practice without our knowledge, and that we need to keep a close watch on them so that they don’t take root. A long time ago there was a rich family that lived in Kham. Sadly, the entire family was killed by a group of brigands, with the exception of a young child. The brigands brought the child to the central Tibet with them and abandoned him in Dingri. Because of his good karma, he met with the Dharma and practised meditation. He acquired such powerful meditative skills that he could literally fly from the top of one mountain to another. One day, however, while engaging in meditation on the top of a mountain, he saw a flock of birds swooping down the mountain valley just in front of him. At that moment he thought, “Ah, if these birds were armed, I could finish off all my previous enemies.” This thought got stuck in his mind and gradually gave way to pride and anger. So much so that he returned to Kham and took to robbing and killing.

For seasoned practitioners there are two main methods that help to control the discursive mind during the practice of the development and completion stages. These are known as rnam rtog thog rtzis and snagba gdon ‘ded.

Even while we are keeping the pride of the deity, all kinds of thoughts will keep coming into our mind. Nevertheless, if we can manage to steadily maintain the pride of the deity, all these thoughts will eventually disappear. This is called snangba gdon ‘ded. Here snangba refers to thoughts that are relatively shortlived and not too intense. However when these shortlived thoughts linger and gain intensity in spite of the practitioner’s efforts, this is known as rnam rtog. The way to deal with this is known as rnam rtog thog rtzis, which involves meditating on emptiness. This method helps to keep at bay powerful negative thoughts and, if the practitioner perseveres with it, it will eventually eradicate them altogether.

It is crucial to do away with discursive thoughts right from the beginning. Milarepa said that there are three kinds of ‘phat’ that we can shout. The first ‘phat’ should be shouted when the mind is totally plagued by untamed thoughts and is unable to concentrate. The second ‘phat’ should be used when the mind collapses into drowsiness and sleep. The third ‘phat’ that Milarepa refers to is used to dissolve our mind into emptiness. Since Milarepa is the master of meditation, we can trust that this third ‘phat’ must be very powerful. I don’t have personal experience of this, but I am told that it is very effective. These are the methods to get rid of the main obstacles.

There is a further obstacle that affects modern day practitioners who enter retreat. Many meditators expect to experience meaningful signs as soon as they begin their retreat. It is very unlikely that such signs will appear within a short period of time, and it is unhealthy to entertain hopes and expectations for them to do so. Rather than achieving merits, these expectations can create serious obstacles to our practice.

Likewise, when and if signs do appear, we must be very careful how we handle them. The great Sakyapa Master Sachen Kunga Nyingpo said that if we tell other people of our signs, these will disappear. Also, we shouldn’t over-analyse our experiences or our dreams, as this will only create obstacles. As Mahasiddha Virupa said, we should treat all experiences with impartiality. Whatever experiences arise, we shouldn’t dwell on them for too long.

Nowadays, it’s very easy for retreatants to become distracted with technical gadgets like laptops and phones. Never touch these things while in retreat! During our break, rather than chatting to our friends, we should strive to keep the pride of the deity, do prostrations, offer mandalas and recite the Hundred Syllable mantra. It’s very important to remember this.

I’ve heard that there is a notice displayed at the Phodrang retreat house that discourages practitioners from engaging in mundane conversations involving politics, sectarianism and other such topics. This is very true. Such distractions should be avoided, as they too create obstacles.

Another serious obstacle is one that appears when we have finished a session or a retreat. However much effort we may have invested in our meditation, there is the temptation when it ends to act like an unleashed dog. We must be very careful to take post-meditation practice very seriously. Whenever we hear a voice, we should think of it as the voice of the deity. For a Vajrayogini practitioner, all voices should be heard as the Vajrayogini mantra and all objects perceived by the eyes should be seen as the deity herself. All hopes and doubts experienced by the practitioner should be understood as those of the deity. One should at all moments keep the pride of the deity. If one remembers to do this during critical moments, this will be hugely helpful when we face the frightening experiences that we meet during the intermediate stage after death.

Q: Could you offer advice to those who wish to enter retreat?

A: Firstly, if we wish to practise Tantric meditation, we should first receive an initiation and instructions from a qualified master. To enter retreat without doing so could cause us great harm. As is mentioned in the Dum Sum Rab dhye,

“Like squeezing sand won’t produce butter, There will be no accomplishment without initiation”.

Then, we should consult the appropriate texts. There are, for example, manuals called Snyen-thabs that are guides to the recitation practice for specific deities such as Hevajra, Vajrayogini, Sarvavid and so on. If we find this beneficial, we should refer directly to the text relating to the deity that we wish to practise.

But whether we refer to texts or not, the lamas always advise us that the most important thing to bear in mind when we undertake a retreat is to have the correct motivation. Shaping our motivation from the very beginning is fundamental, whether we are receiving initiations and teachings, or whether we are embarking on a retreat. It would be very wrong to go into retreat with the intention of gaining wealth, long life, luck or health. And so our motivation when we enter retreat should be to bring all sentient beings to Buddhahood. This is extremely important.

Equally important is remembering the four mindchangers, or the four ways of turning our mind away from Samsara. Bearing these in mind helps us to revitalise our meditation and our entire practice of the Dharma. The four mind-changers are: 1) the difficulties of attaining a human life endowed with all the favourable conditions to practise the Dharma; 2) impermanence and the unpredictability of death; 3) the law of causality and 4) the defects of Samsara. Remaining aware of these four mind-changers is of huge benefit, as it automatically makes us more eager to practise the Dharma, more devoted to our teachers, and more passionate about engaging in virtuous deeds.

Regarding the difficulties of obtaining a human life endowed with all the favourable conditions to practise the Dharma, one would think that this is an easy thing to achieve. There are so many human beings in this world, and if we look at the population of a major Indian city, we can think that their numbers are boundless. But if we compare these to the population of insects and animals that occupy the same space, then their numbers become minimal. In relation to animals and insects, human beings are actually quite rare. For instance, this house where I’m living at the moment has three people in it at the moment. But it has countless insects. And so, human life is relatively rare, and a human life endowed with all eighteen favourable conditions to practise the Dharma is extremely difficult to achieve, and therefore very, very precious.

What is more, not only is human life rare and difficult to obtain, it is also very fragile and can be lost in a single instant. The causes of death are numerous and our defenses against it are few. Death is unpredictable and no one knows when it will strike. It can even happen before we are born. And so, knowing that death can happen at any moment, we should strive with all our might to practise the Dharma while we are alive.

Then there is the law of causality. This simply means that virtuous actions bring happiness and unwholesome actions bring suffering. The law of causality is never wrong, never misleading. As His Holiness the Sakya Trizin so vividly explains, if the mere description of the suffering of the hell realms is so frightening, we can well imagine what its actual experience feels like for those who are caught in those realms.

I have never had such experiences, but older lamas used to tell me how they would wake up in a startle in the middle of the night after having deeply pondered on the unpredictability of death and the difficulty of achieving a precious human life. Some described how they would wake up in sorrow, with their pillows soaked in tears.

Of all the factors that help to bring us to enlightenment, the most important one is unconditional devotion to our teacher. As the teacher is the source of all blessings and accomplishment, having utmost faith and respect toward him or her is indispensable. Quoting from the scriptures,

If the sun of devotion does not arise, There will be no source of blessing that flows From the snow mountains of the teachers Who embody the four bodies of Buddha. Therefore be relentless in your devotion.

We can’t receive any blessings unless we have unshakable faith in our teachers. Many disciples claim to possess such a strong faith that they actually see the teachers as the real Buddha. But it is quite difficult to gain such strong faith. Deshung Rinpoche says in his commentary on Lama Nyachopa or ‘Gurupanchashika’ that at times, our own demerits and obscurations are so deeply entrenched that we see our own teachers as ordinary persons equal to ourselves. We see that the teachers need to eat and live normal lives; they even get sick just like other human beings; and so we find it difficult to have faith in them. But, when our own demerits and obscurations diminish, we are able to perceive our teachers as more than just human being and we begin to perceive them as Bodhisattvas, or even Buddhas. Actually, it is very difficult to have strong enough faith to see our teacher as a true Buddha. But the more we decrease our demerits and obscurations, the more our faith grows.

Gaining true faith is indeed very difficult. When Dakpo Rinpoche, one of Milarepa’s disciples, first heard his teacher’s name, he was struck with such overpowering faith that he wanted nothing more in this life than to follow him. He received numerous teachings and pith instructions from Milarepa and practiced these during long periods of retreat. One day, Dakpo Rinpoche asked Milarepa, “When may I gather disciples?” Milarepa replied; “There will come a time when you will reach a level of realisation that is far superior to your present one. At that time you will truly perceive me, this old man, as a real Buddha.” Then you will be ready to teach others.

A follower once asked Atisha for a blessing, to which Atisha replied; “Certainly, but you must first become devoted to me.” This reminds us that there can be no blessing without devotion.

And finally, it is very important to dedicate our merits. After each session of meditation, we should recite the Boddhisattva Samantabhadra’s prayer in order to dedicate all the merit accumulated during our meditation session for the purpose of helping every sentient to attain Buddhahood. As mentioned in the prayer thus;

Just as the warrior Mañjuśrī attained omniscience, And Samantabhadra too, All these merits I now dedicate To train and follow in their footsteps. As all the victorious Buddhas of past, present and future Praise dedication as supreme, So now I dedicate all these roots of virtue For all beings to perfect Good Actions.

If we cannot recite this prayer after each session, then we should at least recite it after our evening session. Dedication forms an integral part of a retreat, and we should always remember to do it.

This is what little advice I have to give to anyone who wishes to practise meditation. It comes not from my own experience, but from what I have heard and read from great teachers. I hope that it may be of some help.

[letztesleuchtfeuer]

Etwas auf dem Weg

Etwas auf dem Weg.. 道

"Jedes Phänomen ist seiner Essenz nach leer - nur das Beheften mit unseren Ideen und Konzepten machen sie letztendlich für uns zu etwas festem." (- Bodhi Absz aus Diamantgeiszt)

Eine angeschnittene buddhistische Lehre des mittleren Wegs über die Verankerung von Illusion in unserem Lebenserfahren, die im Umkehreffekt doch auch bedeutet, dass die intendierte Beheftung einer Sache, sei sie metaphysischer Natur oder Körper, aus dem inneren heraus auch nach belieben erzeugt werden kann.

Hierzu ein paar Stichpunkt Empfehlungen für die Beobachtung;

🔯Visualisierung (Meditation)

Meditative Visualisierung ist eine Übung, in der bestimmte Vorstellungsbilder konzentrativ und imaginativ hervorgerufen werden.

↪(westliche) Medizin

Als Element der Psychotherapie werden im Autogenen Training Farben, Formen (brennende Kerze, Rose, Dreiecke, Rechtecke) und Landschaften visualisiert. Sie wird auch zur Krebstherapie nach Carl Simonton angewendet.

↪Leistungssport

Geistige Projektionen werden von Spitzensportlern angewandt, um Bewegungsabläufe zu optimieren und höchstmögliche Leistungen zu erzielen.

↪Magie und Esoterik

Verschiedene Visualisierungstechniken finden sich im Bereich der Esoterik. In der westlichen Magie ist die Visualisierung von grundlegenden, geometrischen und/oder farbiger Formen wie von Dreiecken, Fünfsternen und Gegenständen ein wichtiges Praxiselement.

↪Buddhismus

Visualisierung als „geistige Projektion“ von verschiedenen Buddhas oder Mandalas ist insbesondere im tantrischen Buddhismus (Vajrayana, Hevajra) eine grundlegende Meditations­übung. Dort werden verschiedene Buddha-Formen (tib. Yidam) und Mandalas, die teilweise äußerst detailliert mit vielen Attributen dargestellt werden (Damtsigpa), von den Praktizierenden während der Meditation geistig-optisch projiziert bis zur Selbstidentifikation. Unterstützend werden während solcher Praktiken Mantras rezitiert. Die Konzentrationsfähigkeit des Übenden wird gefördert und die Identifikation des Geistes mit der Vorstellung eines eigenständig existierenden unabhängigen Ichs und eines eigenen unabhängig von anderen Phänomenen existierenden Körpers soll gelockert werden.

Ziel solcher Übungen ist die Auflösung der Ich-Vorstellung, die nach buddhistischer Lehre Ursache allen Leidens ist und die Überwindung der den unerleuchteten Wesen eigenen, unnatürlichen Aufspaltung der Phänomene der Welt in Subjekt und Objekt sowie die Überwindung von Leidenschaften.

🔽

Daoismus

Im Daoismus gibt es unterschiedliche daoistische Meditations­techniken, die häufig mit Visualisierungen verbunden sind. Besonders der *Shangqing-Daoismus* legt auf Visualisierungen großen Wert.

↪ https://de.m.wikipedia.org/wiki/Shangqing-Daoismus :

"Im Shangqing trachte der Adept danach, sich mittels der Imaginationsmethoden zu vergöttlichen und zu kosmisieren, so dass sein mikrokosmisches Wesen ein Abbild des Makrokosmos wird und er somit das Dao verwirklicht. Das Ziel des Shangqing besteht darin, die Vielheit des menschlichen Geistes und Körpers zu einer komplexen Einheit zu verschmelzen und zur Harmonie zu bringen und so zur ursprünglichen Einheit zurückzukehren. Der Adept nimmt teil an der Welt der Götter mit himmlischer Musik, prächtigen Höfen, Baldachinen aus bunten Federn, Drachenscharen, singenden Phönixen und prächtigen Wagen, sucht Paradiese auf, gelangt zu den Weltenbergen, bereist die Gestirne, visualisiert die Körpergottheiten, absorbiert das Qi der neun uranfänglichen Himmel und Ähnliches mehr. Diese imaginativen Reisen lassen sich nur mittels Führern, Karten, Talismanen und der Kenntnis geheimer Namen der Götter und der zu durchschreitenden Pforten durchführen."

(Die Techniken der Shangqing-Schule, deren Ursprünge sich bis zu den ekstatischen Flügen der Schamanen der Zhou-Zeit zurückverfolgen lassen, wie sie in den Chuci beschrieben werden, basieren auf visuellen Meditationen, bzw. visionärer daoistischer Mystik oder geistiger Imagination, und die älteren Techniken des Daoismus wie physische Übungen, Anwendung von Drogen und Heilkräutern oder operative Alchemie treten in ihr zurück. Die Götter erscheinen in dieser Schule nicht als Wesen, die durch magische Formeln bezwungen werden können, wie bei den Himmelsmeistern, sondern als Fürsprecher und Vermittler von Wissen, die dem Adepten die Schlüssel zu den himmlischen Reichen überbringen.)

Wen das zu lesen interessierte, third eye high five in der Herzhöhle, 😁 <3 道

Intendierte Visualisierung ist essenziell zur Kreation und jedem begeiste(r)tem Wesen gegeben.

✴ Open to the chamber, obtain and create (:

Hierzu noch ein paar Themenbezogene Ausläufe;

Visuelle Erzeugung// innerbildliche Wahrnehmung

Körpereigenes DMT ist in Meditation freisetzbar, Lokalisiert in der Zirbeldrüse, ist diese verkalkt durch Fluoride zB in Zahnpasta und mittlerweile vielen Trinkwässern, blockiert dies das spirituelle Quellzentrum im Hirn und Menschen fühlen sich Isoliert und alleine; ich bin überzeugt, dass dies unter anderem die Wurzel von "Depression" und vieler psychischer Leiden ist - hierbei interessant zu sehen, was die'stinkreichee' Lobby der Pharmazie für Psychopharmaka/Neuroleptika verwendet; (statt mit Energie zu arbeiten, wird eine Chemie verabreicht - ein Unterdrückungsverfahren von Krankheit in Distanz vom Individuum und seinen Erfahrungen) Beispielsweise erhalten Menschen, die "einen anderen Film fahren" Präperate mit hohem Fluoridgehalt, Effekt daraus ist hohe Gefügigkeit und drastische Reduzierung wichtiger Botenstoffe und Hormone im Hirn, was zu allerlei Nebenwirkungen bis in die physische Ebene wirkt. Explizite Wortwahl diesbezüglich - spirituell verstümmelnd. Wieso wird die Zirbeldrüse von führender Medizin ignoriert? Weil sie im weiteren Sinn deren Existenz gefährdet. "Krankheitsgewerbe" der dreckigste Wirtschaftskurbler mit den betitelten Bekittelten. Für mich eine der schattigsten Illusionen. Nun zurück zu dem göttlichen Molekül DMT. Die endokrine kieferzapfenförmige Drüse ist ein sehr kleines Organ, das sich im Zentrum des Gehirns befindet. Die Zirbeldrüse produziert wichtige Hormone und reguliert. Dazu zählen unter anderem Serotonin, Melatonin und Dimethyltryptamin (DMT). Melatonin ist uns vielleicht während des Traumes bekannt. In wie viele Ebenen der Existenz wir Einfluss haben, mag uns nicht immer bewusst sein. Erhelle mit dem Licht deines demütigen Willens und öffne dein inneres Auge.. Die gebotene Welt kann meines Erachtens zur Wiedergeburt der Neugier am Leben führen; natürlich ist innere und äußere Balance auch hierbei von Bedeutung. <3

Lass Rollen!

Lisi

[leyhejuhyunghan]

'First open database of live human brain cells’, David #Hockney’s ‘Henry Geldzahler and Christopher Scott’, 'Tibetan Thangka Depicting a Hevajra Mandala’

'First open database of live human brain cells’, David #Hockney’s ‘Henry Geldzahler and Christopher Scott’, 'Tibetan Thangka Depicting a Hevajra Mandala’ https://blog.naver.com/artnouveau19/221482406660

[lamathanka]

Hevajra in four different iconographic forms based on the Samputa Tantra System, from a set of Vajravali mandala paintings.

Shri Hevajra is a principal meditational deity of the Anuttarayoga classification in Buddhist Tantra.

#Tantra #Buddhist #Wisdom #mother #hevajra #mandala #Anuttarayoga #meditational #deity #thangka #thankapainting #lamathankapaintingschool