VAJRAYOGINI
Stut/i~s
in Indian anti Tibdlln BuJJhism
THIS SERIES WAS CONCEIVED to provide a forum for publishing outstanding new contributions to scholarship on Indian and Tibetan Buddhism and also to make accessible seminal research not widely known outside a narrow specialist audience, including translations of appropriate monographs and collections of articles from other languages. The series strives to shed light on the lndic Buddhist traditions by exposing them to historical-critical inquiry. illuminating through contex:tualization and analysis these traditions' unique heritage and the significance of their contribution to the world's religious and philosophical achievements. Members of the Editorial Board: Tom Tillemans (chair), Univmity ofLllusmrn~ J~
CabczOn, Univnrity ofC41ifomi4. S4nt4 &zriNtr11 Georges Dreyfus, Wii/Ymu Colkgt. MIISSIIChusms Janet Gyatso, H11TNrti Uniwrsity Paul Harrison, Univnrity ofC4ntn'INry, N~ Zell14nd Toni Huber, Vic14ri4 Univnsity. Nnu alllllnJ Shoryu Katsura, Hiroshi""' Univnrity Thupten Jinpa Langri, lnstituu ofTiiHt4n ClAssics, Montrtlli Frank Reynolds, Emnitus, Univmity ofChicago Leonard van der Kuijp, H11rvartl Univmity Cristina Scherrer-Schaub, Univmity ofLtUSAnM E. Gene Smith, Tibtt~m Bw./Jhist Rnourc~ Cmtn'. Nnu York Ernst Steinkellner, Univmity ofVmtNI
STUDIES IN INDIAN AND TIBETAN BUDDHISM
VAJRAYOGINI Her Visualizations, Rituals, & Forms A Study of the Cult ofVajrayogini in India
Elizabeth English
•i
•
Wisdom Publications • Boston
Wisdom Publications 199 Elm Street SomctVillc, Massachusetts ou..w USA www.wisdompub5.org
c 1001 Elizabeth Eng!Uh All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photoCOpying. recording. or by any information storage and mri~ system or technologies now known or later cbdopcd, without permission in writing from the publisher.
Limry ofCII"fMS ~,_;,.~, D4t11 English. Elizabeth Vajrayogini : Her visualizations, rituals. & forms :a stUdy of the cult ofVajrayogini in India I Elizabeth Enpuh p. em. - (Studies in Indian and Tibetan Buddhism) Includes bibliographical references and index. ISBN o-86171-319-X (alk. paper) 1. Vajrayogini (Buddhist deity) 1. Tantric Buddhism-Rituals. I. Title. II. Title: Vajrayogini. III. Series.
BQ,.S90.VJ4.4E6s
1001
19<4· 3. 41.11...---dc:l.J
1001011148
ISBN o-86171-319-X First W asdom Edition o6os04 4
3
1
Designed by Gopa and T ecb photo: See List of Illustrations
~
Wasdom Publications' books arc printed on acid-free paper and meet the guidelines for permanencle and durability set by
the Commi~ on Production Guiddincs for Book !Angcvity of the Council on Library Raowces. Printed in the USA.
To my teachers
Publishn-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 Line Drawings Abbreviations Preface
xt xv xvu xtx
Chapter I: Vajrayogini and the Buddhist Tantras The Buddhist Tantric Systems The Guhyasamayasadhanamala and Its Authors Sadhana Collections T antric Sadhana Chapter 2: The Cult ofVajrayogini in India The Influence ofNondual Saivism Transgressive Discipline (vamacarab) The Emergence of Vajrayogini The Emergence ofVajravarahi Dancing-Pose (ardhaparyanka) Vajravarahi Twelve-Armed Vajravarahi in Dancing Pose Six-Armed Vajravarahi with Consort Six-Armed VajracJakini Vajravarahi in Warrior Stance Red Vajragho.ga Vajravarahi White Vajragho.ga Vajravarahi White Vajravarahi Two-Armed Vajrayogini in Warrior Stance Four-Armed Vajrayogini in Warrior Stance Red Vajravarahi with Foot Raised White Vajrayogini with Foot Raised Vajrayogini in the Falling-Turtle Pose Vidyadhari Vajrayogini Flying Vidyadhari Vajrayogini Vajravilasini Vajravarahi Vll
I I
9 I8 24
35 37
4I 43
47 50 54 6o 62
66 68 69
7I 73
74 75 77
79 82 84
viii
VAJRAYOGINI
Guhyavajravilasini Trikayavajrayogini (Chinnamasta) Conclusions Chapter 3: Study of the Vajravarahi Sadhana Outline of the Sadhana MEDITATION STAGE I Benediction Preliminaries Bodhisattva Preparations Worship Brahmavihara Meditations Development ofWisdom Creating the Circle of Protection The Cremation Grounds The Cosmos and Temple Palace Self-Generation through the Awakenings Self-Visualization As Vajravarahi Armoring Pledge and Knowledge Beings Consecration Inner Yogic Practices The Mantra Dwelling As Vajravarahi
86 94 102 109 109 Il3 Il3 II4 II9 120 123 125 131 136 144 149 154 163 166 169 171 178 181
MEDITATION STAGE 2 Fivefold Mat}cJala
182 182
MEDITATION STAGE 3 Thirteenfold Mal).cJala Terms for Aspects of the Mat}cJala
186 186
MEDITATION STAGE 4 Thirty-seven-fold MaJ).cJala Circles of Mind, Speech, and Body The Mal).cJala As Wisdom The Mal).cJala As Doctrine The Mal).cJala As Cosmos The Sacred Sites {pifhas) The Ten Places (defas)
!88 188 188
187
190 192 194 195 196
ix
CONTENTS
Body Mar_t4ala Mantras for the Complete Deity Ma.J}4ala RITuAL PRACTICES
T antric Ritual The Bali Ritual Tasting Nectar (am.rttlsvliJa111Zm) Bali Offering with Mantras Rite of Completion External Worship Worship on the Hand (htlstllpUjti)
Alternative External Worship Internal Oblation Concluding Verscs Vajravartihi Sddha111l by U mapatideva Meditation Stage 1 Meditation Stage 2. Meditation Stage 3 Meditation Stage 4 Ritual Practices Cremation Grounds
Conventions, Abbreviations, and Symbols
Conventions in the T ranslarion Abbreviations and Symbols in the Sanskrit Text Abbreviations and Symbols in the Apparatus Other Editors Silent Editorial Standardizations Manuscript Sources The Manuscripts of the Guhyasamayas4tiha111Zma/4 (GSS) Textua1 Transmission Editorial Policy
Textual Notes
197 2.03 2.05 2.05 2.06 2.08 2.11 2.15 2.16 118 110 2.2.1 2.2.3 2.2.5 2.2.7 249
2.55 2.57 2.87 3ll 315 315 316 317 319 319 32.1 32.1 32.6 32.8
32.9 Insignificant Variants 349 Appendix: Summary of Sadhanas in the Guhyasamayast1Jh41Ulmtiltl 355 Notes 383
X
Bibliography
Index About the Author
VAJRAYOGINi
List of Illustrations Color Plat~s Front cover: Vajravarahi tangka (detail). Central Tibet, c. 12oo-uso. Private Collection. Photograph by John Bigelow Taylor. Photograph© 1998 The Metropolitan Museum of Art. Th~ cmtral Vajravartihi is in ardhaparyanka pos~ stlmJing upon a sun Jislt on a corpu. TIN t~mglta tlqJias hu against a badttirop of~ right cmnation grountis ("!Jrotluc~J hn-t on th~ baclt cDVn'). SN is fonlt~J by 1M thrt~ armoring goJJmn to th~ kft, Sa'!'trti.rini (gnm), Caf.ll!ilui? (grty?), Vajrav4r4hi (rtti); anti thrtt to ~right. Sa,ctiUni? ~/low?), Mohini? (whi~). anti Yamini (blw-blaclt). Armor Vajravlirtihi has thrH Nads anti six arms, anti tiN rtSt ho/J sltuJ/ bowl anti st4/J (kji) anti t/4maru anJ mopp" (right). Upp" anti loUin' rtgistm oftlu full tanglta ho/J jigu1r1 Jatabk to tN ~/fth cmtury from a Blta' brgyrui li1Uag~. PublisMti: Kossalt anti Cas9 Singn- 1999, plate 21.
Plate 1: Vajravarahi tangka. Central Tibet, twelfth-thineenth century. Councsy of Anna Maria Rossi and Fabio Rossi.
TN cmtral Vajravlirtihi is in ardhaparyanka pos~ against a baclttlrop oftN ~ight cmnation grountis. Sh~ is j/41Wti by right goJJesm (ho/Jing sltuJJ bowl anti t/4maru in thrir two arms),· four haw animal Nati.s, possibly blaclt crow 4nd bltzclt Jog (kft), anti rtti owl anJ whi~ hog (right). (TNs~ goJJns~s tlr~ similar to tlu gotiJm~s of~ out" ma~ in GSS11; but tiN /ann h4w four 4rms, ho/Jjng staff anJ sltu/J bowl t/4maru anJ chop~; tiN animal Nads on th~ ga~ goJdns~s ar~: bltzclt crow (~lllt), grtm owl (north), mJ Jog (wm) 4ndytllow hog (south); 4nd th~ intn?MJiak goJJmn art bitontd.) Tht cmtrtdftt~mes of1M vmicJJ rtgistm tlqJit:t four ~inis to left anJ right, in Wllrrior stanc~ with Vflrious attributn in ~irfour arms. &low thnn art Sa/tytlmuni anti four-amuJ Avaloltiulvt~r4 (kji), anti Manjugho14 anJ VajraJHi!'i (right). TIN uppn- wgistn- contains siJJhas anJ monlts. TIN bottom wgistn- has six Uncing Jritin (possibly offoringgoJJm~s), with a monlt (for left) anJ boJhisattva (for right). PublisiNJ: ChristUm Inyt/in- Orimtal Brrmzn Ltti. 1997, itm114: 44-45; Rossi 4nd Rossi 2002, plate 4· xi
xii
VAJRAYOGINi
Plate 2: Red J:)akini. Khara Khoto, twelfth-thineenth century. The State Hermitage Museum, St. Petersburg.
In h" four arms, the t}Uini holds slnJJ bowl anJ singk-poinkti Stlljf(/4i}, chop!'" anti tj411Uiru (right), anti she thncn in ardhaparyailka pos~ upon a bull. Published: Piotrovslty 1993. no. JJ. Plate 3: Blue J:)akini (Nairatmyi?). Khara Khoto, twdfth-thineenth century. The State Hermitage Museum, St. Petersburg.
Tht blue t/llltini hollis a sltu/J bowl (/4i) tmJ a Njra (right), with a tritlmt-stlljf. Sht uncn in ardhaparyanka pos~ upon a 1Nlle croUJMJ figurt, anti 1m- bilu:ing hair flies upward. The ~anh-touching Alqobhytz on Nairtinny4's he~ss wou/J nomlll/Jy ~ blue. PublisJNti: Piotrovslty 1993, no. Jf. Plate 4: Vajravarahi (fib.: rOo rje phag mo). Tibet, fifteenth century. Gilt copper, ht. 41·5 em. Photo by Ulrich von Schroeder.
Po til Ia colkaion: Li ""' lh4 lth.n~ invmtory no. 1680. LoCiltul on tiN thirdfloor ofthe Pho 'brang ti11Uir po, the "&ti Pa/4«. .. LhllSII, Cmtral TiNt (tiBus). Pub/ishtti: 11011 SclmNtin- 2001, 110L 2, piau 266D (photo: 1997). Plates: Mirici (Tib.: 'Od zer can rna). Tibet, c. 1700. Gilt copper, ht. 13.8 em. Photo by Ulrich von Schroeder.
This form is iJmtical to tiN 'Vajragho1}11• form ofVajravarllhi. H~. tht hoghtaMJ Marici holds a noos~ anti sltrJJ bowl (kji), with stlljftuclt~J into tiN croolt ofM l4i arm, anti a gOIUL anti vajra (right). ]o lthang I gTswg lag lthang colkction; invmtory no. 99{A]. Lhastz. Cmtral TiiHt (JBus). Pub/ishttJ: 110n Schr«ttn 2001, 110l. 2, piau 267A (photo: 1992). Plate 6: Animal-headed Vajrayogini. Tibet, nineteenth century. Painted clay. Counesy of the British Museum (OAI948·7-I6.24).
Plate 7: Vajrayogini, Naro-khechari. Eastern Tibet, eighteenth century. From the collection of the Shelley and Donald Rubin Foundation.
This Kannll bKa • broufi tllnglta tkpicts a
warrior-stllnc~ form
of Vajrayogini
LIST OF ILLUSTRATIONS
xiii
ho/Jing slndJ bow/anti choppn-anti carrying a kha!riDga staff. Sht stantls atop tht botlies ofpinlt Kllilzratri and bllzclt Bhlzirava. At tiH top cmter is tM butidh11 V•jr.Jhllra, 111 tM kft is th, InJUn mllhasiJJh/1 Tii1Jp11 ho/Jing "fish in his upr11isul Jqt htmtJ, 11ntl at tht right is a s~llleti Tibn.n yogi wearing a white cotton uppu robt ll1lli ":p/Jow metlitlltion/Nit. At tht bottom f4i is tht wr•thfol tinty Hu,.lulra, anti on tht right is g. Yu sgron 11114 a fmuJe tlnty ofTibn.n origin ho/Jing wiHzt apptan to bt 11 IArgt drum in hn- right IHznJ anti a sticlt in hn- kft. JJ x 23 em. Ground mi~td pigmmt on cotton. Himalayan An no. 6I.
Plate 8: Vajravirahi tangka (with details of Severed-head Vajrayogini). Nepal, fourteenth century. John and Berthe Ford Collection. Dttail (f4i) shows &wrtJ-htMi VajrllJOgini, Tri/tiiytlvajrllJOtjni (Chin1111masttil ChinNimu(ll/4), with Vajravairocani (right, ytllow) tl1UI Vajravan,ulni (lqt, rwi). IXtai/ (right) shDws a rtti Tri/t4yavajrll]Ogini with VajrllVIlrutni (right, "urlt? anti V11jravairocllni (lqt, ytllow). Publishtti: Pal I97J· piAu 45· anti 2o1JI, cllllliiJg mtry I26. p. 2I6 (foJJ tllng/ttz}; BmarJ I994· piAu 3 (JmUI); ll1lli Biihnmwnn 2000, p!Att 24t (tkt4il).
Plate 9: Severed-head Vajrayogini (Chinnamasta/Chinnamut]9i) tangka. Tibet/Nepal, c. 1900. Linden Museums, Stuttgart. Tht s~lf-dtcqitamlform ofVajrllJOgini apptars wi~t llttmli4nt yoginis Vajravairocani ll1lli Vajravaf!14ni to right and f4i. Abovt hn- to tht f4i is a dancing, ardhaparyailka-post form ofVajrayogini; abovt cmter is a flying form (stt p. 82}; anti abovt right is tht ·rais~J-foot"form (~t p. 74). Publishtti: Hn'rmllnn-Pfantit I992, p/4tt 6.
Plate 10: Painted Mongolian woodblocks. Tibet, c. 18so. Ethnographic Museum of the University of ZUrich. Reprotluc~J in
WiUson anJ Braum 2ooo.
a. Armor Vajravmhi (IWS 62) b. Maitri's l)akini (IWS 78) c. Accomplishing (Arthasiddhi) Varahi (IWS 8o) d. Varahi with Raised Leg (IWS 84) e. Tortoise-legged (Kfumapadi Varahi) (IWS 8s) f. Naro's l)akini (IWS 87)
XJV
VAJRAYOGINi
Platen: Tangk.a ofCakrasarpvara in union with Vajravarahi. Khara Khoto, twelfth-thineenth century. The State Hermitage Mweum, St. Petersburg.
Cllltrasa'!'vara app~ars against a bacltJrop of~ crnnation grounds within a sixtytwo tkity ma!lf!ala. Two oftiN ouur goJJmn of tM gaus art rtcogniZilbk htrt: /GiJwya (crow{actd. blaclt. to tht tast) in ~ cmur oftiN bottom rtgisur, and U/Wuisya (ow/{actd. grtm, to tht north) in tiN cmttr oftht vtrticalframt to tht right. Of tiN bitonal intn'TMJiau ouur godtkssts, wt can rteogniu: Yamat/tit!hi (southtastlbottom kft comtr), Yamamathani (nortkastlbottom right comtr) and Ya1'1ltlda'!'!!ri!li (northwtStltop-right comn). TIN rtmaining visibk figum art tht gods and godtkssts (in union) oftht twtnty-four sitn. Two additional Jnties art also ekpiatd: two-armtd Htr~~lta. blut (cmur ofstcond row from top). andfourarmtd Acala (cmur ofs~cond row from bottom). Stt PiotrfJVs/ty 1993: 15~58 for attributions for this ma!lf!a/a. "Paramasultha CakrllSil'!fiNlra, Yo~tb- Yum. Luipo~t Ma!lf!ala." Pub/ishtd· Rh~ and Thurman 1991, no. 92; Piotrovslty 1993, no. 26.
Plate 12: T angk.a of Cakrasarpvara MaQ<Jala. Central Tibet, c. noo. Private Collection. Photograph by John Bigelow Taylor. Photograph (Q 1998 The Metropolitan Museum of An.
This sixty-two-anty ma!Yfa/a is s~t against a baclulrop oftht crnnation grounds. Figurt 32 provitin A !tty to tht 1111l!Yfa/a as it is aJ.,puJ for Vajravarahi and htr rttiM. Tabk 23 inclutks tht namn oftht 1'1lllk dntin. Publis!NJ: Kossalt o~tnd Singtr 1999. piau 2. Plate 13: Tangk.a ofVarahyabhyudaya MaQ4ala. Counesy of Anna Maria Rossi and Fabio Rossi.
Stt figurt 5 for !tty. Pub/ishtd· Rossi and Rossi 1993 as "Vajravtirahi Abhibhdva Ma!lf!ala .. (sic); and rtproductd in tht Rossi Co/kaion onliM (Asiltn Art).
Plate 14: T angk.a of "Vajrayogini in Kechara Paradise... Tibet, eighteenth century. Collection ofTibet House, New York.
A Sa skya tllng/ta in tht liMagt ofNaropa. Vajrayogini stands insUk A dha17111Jdaya within a thrtt-dimtnswna/ tnnpk-palact. Tht ani11141-htatktlgodtkss~s (Kiiltasya. ttc.) art visibk at tiN gatn. Tht upptr titrS oftht palact hDitJ Sa s/tylt masurs.
LIST OF ILLUSTRATIONS
XV
Plate 15: Tangka of the cosmos according to the AbhidhamwltoJa. Tibet. Ethnographic Museum of the University of ZUrich, inventory number 13560 (92.5 em x 6o em).
&protlunJ in Braum 1997· Plate 16: Palm leaves &om ltu#/4 Ncwiri manuscript (K) of the GuhyasamllJIISiidhaNZmtilli (GSS). Nepal, twelfth-thirteenth century. Copyright Bodleian Library, University of Oxford (ms. Sansk c. 15 (R)).
a. b.
f f
14v showing alphabn in kutila N~ri script.
70v showing colophon to Vajravir.ihi Sadhana by U1Nlpatilkva (continwJ on f 71r).
Line Drawings PAGE FIGURE Niro-khccari, Mongolian woodblock print XXII (IWSIT 77, LC 587) 2 Niro-khccari, Mongolian woodblock print XXlll (IWS/T 87, LC 597) 3 lndra-khccari, Mongolian woodblock print (IWSIT 79, LC 589) 51 55 4 Twelve-armed Vajravarahi (Dharmacari Atoka) s8 s Varahyabhyudaya maJ)<Jala (diagram) (Dharmacari Atoka) 61 6 Six-armed Vajravarahi with consort (Dharmaciri Atoka) 7 Mai)<Jala of six-armed Vajravarahi with consort (Dharmacari Aloka) 62 8 Six-armed Vajra4akini Vajravarahi (Dhacmaciri Aloka) 63 Mai)<Jala ofVaj~ni Vajravarahi (Dharmaciri Atoka) 65 9 10 Arthtu4tiha7UI-Varahi, Mongolian woodblock print (IWSIT 8o, LC 590) 67 White Vajravarahi (GSS38) (Dharmacari Aloka) II 69 12 Two-armed Vajrayogini in warrior stance (Dharmaciri Aloka) 71 72 13 Vajra chopper (vajralt411Ji) (Dharmacari Atoka) 73 14 Four-armed Vajrayogini in warrior stance (Dharmacari Atoka)
xvi
VAJRAYOGINi
IS Red Vajravarahi with foot raised (Dharmaciri Atoka) 16 Mongolian woodblock print (IWSff 8~ LC 594) 17 Vajrayogini in falling-turtle pose, Mongolian woodblock print (IWS/T 85, LC 595) 18 Vidyadhari Vajrayogini, Mongolian woodblock print, "Maitri-khccari" (IWSff 78, LC s88) 19 Dharmotlttyd with mantras and bliss swirls 20 Flying Vidyadhari Vajrayogini (Dharmaciri Aloka) 21 Vajravilisini (Dharmaci.ri Atoka) 22 Guhyavajravilisini (Dharmaciri Aloka) 23 T rikayavajrayogini (Dharmacari Aloka) 2.4 Dagger deity: Kakisyi (Dharmacari Atoka) 25 The cosmos (Dharmacari Aloka) 26 Double vajra (Dharmacari Aloka) 27 Vajravarahi (Dharmaciri Aloka) 28 Vajra (Dharmacari Atoka) 29 Skull staff (lthfl!Vilnga) (Dharmacari Aloka) 30 Armor Vajravarahi, Mongolian woodblock print (IWS/T 62, LC 572)
31 32 33 34 35
Armor Yamini, Mongolian woodblock print (IWSIT 63, LC 573) Thirty-seven-fold MaQ4aJ,a ofVajravarahi (Dharmaciri Aloka) Body maQ4aJ,a (Dharmacari Aloka) Preparation of nectar (Dharmacari Aloka) Flame gesture (Dharmaciri Aloka)
75 76 77 79
8o 82 85 86 94 135 145 147 155 156 157 165
165 191 200 209 211
Drawings in Endnotes
11
"Sahaja Reversed," Mongolian woodblock print (IWSff 88, LC 598) "Vajravarahi in the tradition ofBrahmaQa Sridhara," Mongolian woodblock print (IWSff 86, LC 596)
406 408
Abbreviations Additional abbreviations and symbols related to the Sanskrit edition and apparatuS can be found on pages 315-19.
ADK/8 ADUT Asian Art Asu/N BBK Blue Annals D GST GOS GSS
HA Himalayan Art
History
Abhitihamudtollllbhli!Ja AbhiJhanottllrlllllntra http://www.asianart.com/mandalas/index.html ArthllvinilcllJtiSiitriiiArthllvinilcllyt.Uiitra-NibantlhtzNZ Bongo Butten no Kenkyu. See K. Tsukamoto et al. 1989 Tht Blw Anntds. See Roerich 1949-53 Dcvanagan paper ms. of GSS Guhymll1Nljlllllntra Gaekwod's Oriental Series GuhymllmllJttstlJhaMmlllli HmJuibhis41NIJ4 http://www.himalayanart.org Taranitha's History ofButitJhism in InJiiL See Chanopadhyaya1970
HT
Htw~jratllntrll
IASWR
Institute for the Advanced Study ofWorld Religions, New York Icons Worthulhik to Sn. See Willson and Braucn, 2000 ]vdUvllliVIljrllmliUt4ntra Kuti/4 Newiri palmleaf ms. of GSS Kashmir Series ofTens and Studies /(1'f1."1J1lmtlrilllntra Copies of Mongolian icons published by Raghu Vira Chandra and Lokesh Chandra 1961-72, 1986 MllSttrs ofMahtlmuar4. See Dowman, 1985 See Lessing and Wayman 1978 Newiri, early twentieth-century paper ms. of GSS
IWS JV/Jvalavali K KSTS
KIT LC
Ugmtis Mkhas grub rje N
xvii
xviii
NAK NGMPP NP
VAJRAYOGINI
National Archives, Kathmandu Nepal-German Manuscript Preservation Project Narthang Pantheon
NYA
N;,pan111l]ogtlvali
OtalQ
The Tibetan T ripitaka; 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. Pradipotltiyotana commentary on the Guhyasamlijatantra by Candrakirti
PED PU Sat:r~J Art ofTib~t
Sed
SM SP SpUT
ss
STTS SUT T/IWS
TA TJS Toh/D
VA VT YRM YS YSCf
W'utlom anti Compassion: TIN Sat:r~J Art ofTi!Ht. See Rhie and Thurman 1991 Sarnath Edition of Abhisamayamafijari (GSSs) published in Dhib Review of Rare Buddhist Text Series (no. 13, 1992: 123-54)
Slldhanamtlla Satapifalca Series
Sa1Jlpuf0tlbhavatantra Stitlhana.samuccaya (Designation for SM used in BBK) Sarvatathagatatattvasa1Jlgrah4 Sa1Jlvarot/4yatantra Mongolian woodblock prints numbered according to T achikawa et al. 1995 and Willson and Brauen 2000 Tantrtilolta by Abhinavagupta
Tattvajfuinasa1[UitJJhi A Cata/ogt«-Intkx ofTh~ Tiktan BuJJhist Canons (Bita/,J-bgyur anti Bstan-bgyur). Edited by Hakuju Ui, Munetada Suzuki, Yensho Kanakura, and Tokan T ada. Published by Tohoku Imperial University, Sendai, 1934. Vajrtlvali by Abhayakaragupta
Vasantatilalta Yogaratnamlilti Yum sltor Yoginisa1Jlcdratantra
Preface the Buddhist tantras-and in sadhana meditation in panicular-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 thineenth century, and preserved on palm leaves in a lovely, rounded ltu!i/4 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 hdp, and the untiring 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 entided Vajrayogini: HnVisulllislltion, Rituals anti 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 (sdtihaNlmli/4), 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 &om this unique collection, the Vajrawirtihi StiJha1111 by Umipatideva. At the same time, I hope to give a flavor of the breadth and richness of the other works in the Guhyasa1114Jasdtiha114m4111. 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 tide Gllbytull1114Jast1Jha114mdlti (GSS), the &ern Pie~ 54Jha114 Collection, a more suitable ride might have been the *Vajrayoginis~Ulhtuulm4/11, the Vajrayogini StiJhA1111 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 ofVajrayogini in India, according to this collection. In
M
Y INTEREST in
XIX
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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 tantric sidhana meditation. The decision to base the study upon a single sadhana &om the Gllhyasam4Jasli4ha11111'Nilti was made for several reasons. While scholarly interest in the Indian Buddhist tantras has increased in recent years, our knowledge 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 currendy available is due to the f.act that the umbrella term "Buddhist tantra" actually covers a bewildering variety of methods, practices, 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 systems, such as Abhayikaragupta's encyclopedic Vlljrawdi or Jagad~a's derivative Kriylisamuccaya. cannot be taken as conclusive evidence for practice 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 f.u 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 arc 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 sidhana in the tintrika's overall scheme of spiritual practice. And there are many points where my conclusions arc 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, absorbing new trends and reflecting different dcvdopments within the highest Buddhist tantras. The sadhana that I have edited, translated, and studied here is the Vajravlirlihi Stitiha1111 (GSSu) by Umipatideva, an early-twelfth-century author &om 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 Guhyasamayaui~Jhttllllmalli collection that was as yet unpublished, because some primary sources dealing with Vajrayogini and Vajraririhi arc 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 descriptions given by Benoytosh Bhattacharyya in TIN IndiAn BuJJhist Iconography (192.4) and by Marie Th~rese de Mallmann's Introduction 11conographu tiM T4ntris1M BowJJhiqw (1975), both of which contain some errors (e.g., n. 228). These works draw heavily on Bhattacharyya's edition of the SliJhanamti/4 (1925 and 1928), which contains fewer than a dozen complete VajrayoginiNajravarahi sadhanas, all of which also appear in the GuhyllSamayllSiidhanama/4. 1 More recent studies also focus on selections from the S4Jha111lm414 sadhanas, such as the shon study ofVajravarahi 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 arc also erroneous (e.g., n. 83). A few other Sanskrit editions ofVajrayogini sadhanas have been published, such as the shon Vajravtirllhislidhana by Advayavajra (=GSS3) by both Louis Finot (1934) and Richard 0. Mcisczahl (1967), a Tri/u1ytzvlljrayoginislidhana {-GSS25) by Max Nihom {1992), and a handful of sadhanas from the GuhyllSilmllJilSiiJhanamtilii in Dhip (namely, GSSs, GSS1o, GSS26, GSS42, and GSS43), as shown in the appen& Published editions of highest tantric texts also provide an imponant resource for a study ofVajrayoginiNajravarahi, especially those from the Cakrasarpvara tradition, such as the YoginiSil1f'Ciirlltllntra with both its available Sankrit commentaries, edited by J. S. Pandey (1998), and some chapters of the SA,.VIlT'Otlayatantra (possibly a later Nepalese composition) 2 edited and translated by Shin'ichi Tsuda {1974). The paucity of publications for the lndic Vajrayogini tradition is in stark contrast to the number of Sanskrit manuscripts that must once have existed. Bongo Buttm no K~nltyu (BBK) catalogs just over a dozen Vajrayogini texts not found in the GuhyasamayllSiidhanamli/4, appearing within works such as the Yab skor {BBK: 261) and Yum skor {BBK: 273-77), commentaries on the TattvlljliliNUa,nJJhi (BBK: 279-'o), the ]va/4valivajram4/4tantra {BB~ 493--94), as well as the later Nepalese Vajravtirllhikalpa 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 Vajrayogini 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 Vajravirahi in the title, very few of which have (as yet)
a
XXII
VAJRAYOGINi
been correlated with a Sanskrit original by the compilers of the index. 1 The popularity of the Vajrayogini transmissions in Tibet is remarked upon in the Blut Annals (Roerich 1949-53: 390), which states, "The majority of tannic yogis in this Land of Snows were especially initiated and followed the exposition and meditative practice of the system known as [the Six Ttxts ofVajravtirtihi] Phag-mo gZhung-dru( (p. 390). 4 What is now known of her practice derives mainly from Tibetan Buddhism, in which Vajrayogini (Rdo rje rnal 'byor rna) and Vajravarahi (Rdo rje phag mo) are important deities. Perhaps the main emphasis on forms of VajrayoginiNajravarahi (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 oral transmissions to his pupil, Naropa (c. 956-1040). Naropa also had many visions of 4alcini forms, the most famous of which is recounted in his life story, dated to the fifteenth and sixteenth century.~ 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 earliest biographies (Peter Alan Robens, personal communication: 2002). 6
Fig. 1. Ntiro-khtcari. Mongolian woodblock print (IWS/T 77, LC 587) The form ofVajrayogini especially associated with Naropa in Tibet is Nti ro mkha' spyod; "Na ro [pa]'s tradition of the 4akini" or "Naro's khecari" (lie., "sky-goer"). This form is discussed below, as it is closest to that of Vajravarahi described in the Indian sadhana translated here by U mapatideva. Several different practices ofVajravarahiNajrayogini were transmitted in the numerous traditions of the Tibetan bKa' brgyud school, through various
PREFACE
XXIII
Fig. 2. Naro-lth~cari. Mongolian woodblock print (IWSff 87, LC 597)
teachers; for example, through the translator, Mar pa (Mar pa Chos kyi blo gros, 1012-97) into the Mar pa bKa' brgyud, and through R.as chung pa (R.as chung rOo rje grags pa, I084-1161) into the several branches of the R.as chung sNyan rgyud, and yet another through Khyung po rnal 'byor, founder of the Shangs pa bKa' brgyud (eleventh-twelfth centuries) apparently from Niguma (sometimes said to be Naropa's sister). This complex matrix of lineages continued in Tibet within the various bKa' brgyud traditions. 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 sadhana 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). Vajravarahi also appears in bKa' brgyud versions of the guruyoga, in which the devotee worships his guru (in one popular system, Mi Ia ras pa) while identifying himself as Vajravarahi. Examples include the famous "four sessions" guruyoga (Thun bzhi'i bla ma'i rna/ 'byor) of Mi skyod rdo rje, the eighth Karma pa (1507-54), and the Ng~s don sgron m~. a meditation manual by the nineteenth-century teacher Jam mgon Kong sprul (1977: 119fT.), itself based on a sixteenth-century root text, the Lhan cig slty~s sbyor lthrid by the ninth Karma pa (dBang phyug rdo rje, 1556-1603). While Karma bKa' brgyud lamas around the world today frequently give the initiation ofVajravarahi, 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 Vajrayogini is also an important deity within the Sa skya school. According to Lama Jampa Thaye (personal communication: 2002)," her practices 7
XXIV
VAJRAYOGINI
were received into the Sa skya tradition in the early twelfth century, during the lifetime of Sa chen Kun dga' snying po (1092-II58), first of the "five venerable masters" of the Sa skya. Sa chen received from his teachers the initiations, textual transmissions, and instructions for three forms of Vajrayogini. 10 The first is a form derived also from Niropa, and again called Na ro mkha' spyotior "Niiros khecari,..(although it is entirely different from the Tilopa-Naropa-Mar pa transmission ofVajraririhi in the bKa' brgyud in that the deity has a different iconographical form with a distina set of associated practices). The second is a form derived from the siddha Maitripa, known therefore as Maitri Khecari (Mttri mltha' spyoJ 111/l; see fig. 18). The third is derived from the siddha lndrabhuti, known therefore as Indra KMcari (lnJra mkha 'sypoJ 111/l; see fig. 6). This form is sometimes also known as /Nira Vajravarahi, although as a deity in her own right, Vajravarahi has received much less attention among Sa skya pas than the Khecari lineages. 11 These three forms are traditionally considered the highest practices within a colleaion of esoteric deity practices known as Tht Thirt«n Go/Jm Dhamuzs ofSa sltya (Sa sltya I gsn- chos bcu fl'ITn), as they are said to lead directly to transcendental attainment. •z However, it was Naro IONcari who became the focus of most devotion in the Sa skya tradition, and the practice instructions associated with her sadhana were transmitted in the form of eleven yogas drawn from the siddha Niropa's own encounter with Vajrayogini. The most influential exposition of this system of eleven yogas emerged in the sixteenth century; known as Tht Ultim~~tt Stcrtt Yoga, it is a composition by 'Jam dbyangs mkhyen brtse dbang phyug (Is24-68) on the basis of oral instructions received from his master, Tsar chen Blo gsal rgya mtsho (1494-1560). n Since that time, the eleven yogas "have retained great importance in the Sa skya spiritual curriculum" (ibitJ.). The practices have retained their esoteric status for Sa skya pas, and are "secret• in as much as one may not srudy or praaice them without the requisite initiations and transmissions. In the eighteenth century, it appears that the Sa skya transmission of Naro 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' blo gros (1729-83). Ngag dbang kun dga' legs pa'i 'byung gnas is in fact the last of the Sa skya lineage holders given in dGe lugs sources (he appears as "Nisarpa" 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 (ibitl.). The dGe lugs pa had originally focused upon Vajrayogini/Vajravarahi in her role as conson to their main deity, Cakrasarpvara, following the teaching ofTsong kha pa (1357-1419). Cakrasarpvara 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 context, Tsong kha pa's explanatory text, Illuminating All HiJJm Meanings (s&u Jon !tun gsa/) is apparendy the main source on Vajrayogini (K. Gyatso 1999: xii); and she has actually been described as Tsong kha pa's "innermost yidam, kept very seemly in his hean" (Ngawang Dhargyey 1991: 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 cenurury, by Pha bong kha (1878-I94J). According to Dreyfus (1998: 146), "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 the eighteenth 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---cxplanations of these practices have been published and are widely available in English: by Geshe Kelsang Gyatso b991/99), Geshe Ngawang Dhargyey (1992.), and Khensur Rinpoche Lobsang Tharchin (1997).' 4 The rNying rna has also drawn the practices ofVajrayoginiNajravarahi into its schools. Her presence is read back into the life ofPadmasambhava, the eighth-century founder of the rNying rna, who is said to have received initiation from Vajravarahi herself following his expulsion from the coun of King lndrabhiiti (Dudjom 1991: 469). Other imponant rNying malineage 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 Dudjom Rinpoche (1991), he is said to have received visions of both a white Varahi and a blue Vajravarahi, who foretell Klong chen pa's own meeting with Padmasambhava (ibitJ.: 577, 58I).It is also Vajravirihi who leads him to the discovery of the treasure text (gttr mA), Innmnost Spirituality oftht f?alti!'i ((Miln ngag) mltha' p mying tig), the meaning of which is explained to him by Yeshe Tsogyel (Ye shes mtsho rgyal) (ibitl.: 586). This identification between VajrayoginiNajravirihi and Yeshe Tsogyel is significant-
XXVI
VAJRAYOGINI
although Ycshe T sogyel 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 ofYcshe Tsogyd's life, a gtn' ma discovered in the eighteenth century (and now translated no fewer than three rimes into English), she is at times clearly identified with VajrayoginiNajravarahi (e.g., Dowman 1984: 38, 85, 178); indeed, her sa,bhogaltaya is said to be that of the deity (e.g., Gyelwa Jangchub in Dowman 1984: 4-5, 224; Klein 1995i: 147; J. Gyatso 1998: 247). The identification ofYcshe Tsogycl with Vajrayogini/Vajravarahi is also suggested by Rig 'dzin 'Jigs med gling pa (173<>-98), whose I)altlris Grand s~cnt TaUt is revealed to him by a "paradigmatic" qakini, whom J. Gyatso (1998: 247) concludes is Yeshe Tsogyd hersel£ •~ Various guruyoga practices within the rNying rna also formalize the connection between Ycshe T sogyel and the deity. For example, in 'Jigs med gling pa's mind treasure, the Klong chm snying thi~ the devotee longs for union with his guru as Padmasambhava, while identifying himself (and his state of yearning) with Yeshe T sogyal in the form of VajrayoginiNajravarahi. In other guruyoga practices, such as TM Bliss Path ofLib"ation (Thar pa I bek 14m), the practitioner identifies dirccdy with Vajrayogini, who becomes "the perfect exemplar of such devotion" (Rigdzin Shikpo 2002: personal communication). 16 Over and above the deity's ubiquitous involvement in guruyoga meditations (a feature, as we have seen, of many Tibetan traditions), her popularity as a main deity in her own right is revealed by the growing number ofliturgics devoted to her practice in the later rNying rna traditions. Robert Mayer (personal communication: 2002) mentions entire ritual cycles devoted to Vajravarahi, such as a volume entitled, Union of All s~cr~t I)altinis (mKha' gro gsang ba !tun iJus ltyi chos sltor). This was composed by the eminent nineteenth-century figure, 'Jams dbyangs mkhyen brtse'i dbang po, who believed it to be the "funher revelation" (yang gt") of a gt" ma dating back to the thirteenth century. The original gtrr ma revelation was by the famous female rNying rna gt" ston Jo mo sman mo, herself deeply connected with Vajravarahi (ibitJ.; Allione 1984: 209-11). This volume is entirely dedicated to an important form ofVajravarahi in rNying rna practice, which is related to the gCod tradition, from Ma gcig lab sgron rna (1031-1129) (Allione ibiJ.: 142-204). Here, the deity takes the wrathful black form of (ma cig) Khros/Khro ma nag moor Krodhalttili, also sometimes identified as Rudra!lili (Mayer op. cit.). Patrul Rinpoche (1994: 297-98) describes an iconographical form that, apart from its color, is much the same as that of Indra#Jtini(for a full tangka of KroJhalttiliwith
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xxvii
retinue, see Himalayan An, no. 491). In full, however, this is an extremely esoteric practice and, in the case of the principal bDud 'joms gtn- 'INl 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 trulltu (sprul situ) of Vajravarahi (rOo rje phag mo). The first trulku was a pupil ofPhyogs las rnam rgyal (also known as 'Jigs med grags pa and as Chos kyi rgyal mtshan, 1376-1452.), the learned Bo dong Pat] chen of the monastery Bo dong E (probably a bKa' gdams pa foundation in 1049). ABo 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 rOo rje phag mo became established (Rigdzin Shikpo 2.002.: personal communication). The first abbess is one of the most famous incarnations, memorable for escaping from an invasion in 1717l19 of the Dzungar T anars by apparendy 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. 1937l38) who became an eminent official in the Chinese administration (Simmer-Brown 2.001: 185-86; cf. Taring 1970: 167; Willis 1989: 104). The pervasiveness ofVajrayogini/Vajravarahi in Tibet is attested by her appearance also within the Tibetan Bon tradition. Peter Alan Roberts (personal 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" (bek stong yt sh~). with "heat" (gtum mo/ca!'f!4Ji) as a sign of accomplishment. The work is entitled Tht Inftrno ofWistlom {Yt shts 1M Jpung) 11 and draws on Bon compositions going back to the eleventh or twelfth century gttr 1M texts. It describes a wrathful, cremation-ground Qakini named Thugs rjes Kun grol ma ("She Who Liberates All through Compassion") who is dearly a form ofVajravirihi. 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 symbolism governing her attributes, as well as the metaphysical context of emptiness, all appear in typical Vajravarahi sadhanas in the Buddhist tantric traditions. The practice ofVajrayoginiNajravarahi is not exclusive to Tibet, however. In Nepal, Vajrayogini is popularly worshiped as one of a set of four
xxviii
VAJRAYOGINi
varihis or yoginis: Guhydvari (also worshiped as Prajtiaparamita, Nairatmyi, and Agniyogini), Vidydvari of Kathmandu, Vajrayogini ofSankhu, and Vajrayogini ofPharping (Slusser 1982.: 2.56, 32.7). There are several temples ofVajravirihi and Vajrayogini in the Kathmandu Valley, for example, at Chapagaon Grove (ibiJ.: 325-26, 341), and at the hilltop temple ofPharping (ibiJ.: 331). In Sankhu, Vajrayogini is the tutelary deity of the town, and her temple is dedicated to the fierce cremation ground goddess "Ugrawa Vajrayogini" (Slusser 1982.: 72. with n. 141). Here, Vajrayogini is also identified with Prajfiaparamira, "mother of all tathigatas," and is considered the spouse ofSvayambhu 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 scems ... to play a role in uniting exoteric deities, such as Tara or Kumari and the Eight Mothers, with the consons of the secret tantric deities, viz. Vajravirihi ... jfiina4akini ... and Nairitmyi., Gdlner goes on to describe tantric rites of initiation in current Newar practice that are taken mainly by Vajr.icirya and Sakya males (ibiJ.: 169-270). Here, "Tantric initiation (Ji/q4) means primarily the initiation ofCakrasarpvara and his consort Vajravarahi" (ibid.: 268). The rites of initiation themselves are considered highly esoteric and are guarded with secrecy (jbU/.: 2.73-80). Gellner's description-gleaned with difficulty from a learned informant-provides a rare insight into the modem-day practices. The first part of the initiation focuses upon Cakrasatpvara, and is based on handbooks that follow the twelfth-ccntwy exegetical work, the Kriyasamuccaya. The second part of the rite focuses on the consort Vajravarahi (or "Vajradcvi") and is based upon material taken from the Sa1J1varodaJatantra, but also upon as yet unidentified sources (ibid.: 272). Despite drawing from early tantric sources, the rites currendy in use in Nepal have been substantially altered in the process of taming and adapting them to suit tantric initiates who are householders (ibiJ.: 300ff.). Nevertheless, the preeminence ofVajravirihi 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 ofVajravarahi, thus indicating her supreme position within the hierarchy of Ncwar religious practice (ibiJ.: 280; cf. ibiJ.: 2.61-62). From this brief overview of the practices ofVajrayogini and Vajravarahi 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 modem publications on the highest tantras, a
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XXIX
number of works that also relate to the subject. Some impressive studies on
the 4akini have appeared, such as the detailed monograph by Adelheid Herrmann-Pfimdt (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 4akini has inspired a large body of crosscultural and feminist theological discourse. •• My own approach is predominantly textual: I have explored the contents of a major Sanskrit source that sheds light on the Indian origins of Vajrayogini practice and underpins later traditions. The importance of the Guhyas11wutyast1Jha1Ulmtilll to the study ofVajrayoginiNajravarahi 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 undertaking may itself be prone to, perhaps even determined by, all kinds of subjective and cultural interpretation and selectivity by its author, I have tried to present the material in a manner that is more descriptive than interpretive. For example, my usc of the masculine pronoun throughout reflects the usage in my source material; this, despite the fact that the practice of VajrayoginiNajravirihi 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 traditions of the Buddhist tantras. I then tum to the Guhytts411UlJIIS~ itself and explore what is known of its provenance, both of its authors and of the tantric sidhana that makes up the bulk of its contents. Chapter 2 forms a survey of all the different forms of Vajrayogini within the GuhyiiSil11UlJIISilllhll111lmlill1, and also of the various ritual contexts in which these forms arc 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 Vlljravarlihi Sdtihii1Ul by Umipatideva, 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 Guhytts4mll)IZSiiJhii1Ulmt114 (with witnesses where I have found them) and a summary of their contents.
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Acknowledgments It is a great delight to acknowledge the generosity of my teachers, colleagues, friends, and f.unily. 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 Isaacson 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. Roben Mayer, Rigdzin Shikpo, Dr. Peter Roberts, Dr. Geoffrey Samuel, and Dr. Jan-Uirich Sobisch and also to the librarians of the Indian Institute Library, Oxford, and to Adrian Hale, formerly ofWolfson College library, Oxford. For their comradeship and help during the years of the doctorate, I would like to thank Dr. David Bunon (Dharmaciri Asaitga), Dr. Kei Kataoka, Philip Purves (Dharmacari Vijaya), Dr. Judit Tt>rzs
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helpful advice in this respect, I thank Mr. Robcn Beer, Dr. Manin Brauen, Professor Lokesh Chandra, Dr. Giinter Gronbold, and Professor Deborah Klimburg-Salter. Above all, it is a pleasure to thank Dharmaciri Atoka 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 Dharmaciri Padmakara. I hope that this study ofVajrayogini will prove a useful offering to the ever growing literature on the rich traditions of Buddhism. Elizabeth English August 2002
1. Vajrayogini
and the Buddhist Tantras
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 sidhana is a meditation and ritual text-literally, a "means of attainment" (sitihan~~m}-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 Sanskrit and drawn together under the late, collective tide, the Guhyasa1Nl]ll~ (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 Vajravirihi. Who is Vajrayogini? The texts refer to her reverentially as a "blessed one" (bhatllVIlti), as a "deity" (tkvatli) or "goddess" (tkvi). She is divine in the sense that she embodies enlightenment; and as she is worshiped at the center of a mal}4a(a of other enlightened beings, the supreme focus of devotion, she has the status of a buddha. In the opening verse to the Vajravardhi Stldh4114, the author salutes her as a vlljrllMvi, 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" (lrivajraMviptu/Avi).
T
HE. CULT OF TANTIUC GODDESS,
Th~ BuJJhist
Tantric Systnns
T antric Buddhism is the wing of the Mahayana that revolves around mantra as a path or "way," and that is known therefore as the Manttayina or Mantranaya, or as the Vajrayina after one of its primary symbols, the vajra. A pithy definition of tantra is elusive. 19 Vaifl}avism, Saivism, and
2.
VAJRAYOGINi
other Indian religions including Buddhism all developed rich tantric traditions, and the term broadly denotes particular types of ritual employed within their various deity cults. "Tantra'' also refers to the various bodies oflitcraturc within these traditions: scriptural and exegetical texts that provide instructions for attainments, both spiritual and mundane. One gains an idea of the size of the Buddhist tantric tradition alone when one considers 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 translated from Sanskrit into Tibetan from the end of this period. The tantric portion of the Tibetan canon contains almost five hundred tantric scriptures and over three thousand commentarial texts; Isaacson {2001: personal 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 continue to propose new ways of approaching and organizing the materials (e.g., Linrothe 1999). The result is that there are various systems for categorizing the Buddhist tantras that arc 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, kriyatantras and yogatantras (Mimaki 1994: 122, n. 17). The subjectmatter of some tantras, however, was neither principally ltriyd (ltriyapradhana), nor principally yoga (yogqraJhana). but seemed to combine "both" (ubhaya); these were termed ubhayatantras, and later, caryatantras (Isaacson 1998). It is this threefold classification-kriya-, carya-, and yogatantras-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
VAJRAYOGINi AND THE BUDDHIST TANTRAS
3
(Hodge 1994: 74-76), and at least the sixth century. The so-called caryatantras ("performance tantras") were current from at least the mid seventh with the emergence of its root text, the Vllirocanlibhisa'!'bodhi (ibiJ.: 6sff.) Despite their status as "tantras," rdigiow teachings supposedly revealed by the historical Buddha, these classes hold essentially ritual manuals and dhara!Jis concerned with supernatural, desiderative attainments (siJJhis), such as locating treasure, alchemy, flying. invisibility, forcing access to heavenly realms, warding off evils, and so on; they make little reference to soteriological 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 Arnoghavajra, d. 774), as well as their continuing importance in apotropaic rituals in Newar, Tibetan, and Japanese Buddhism. The fascination with sit/Jhis of variow types remains in later tantric literature, as the study ofVajrayogini 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.: 65~6, 58). The root text of the yogatantra is the SttnNZtathagatatllttviiSil'!'graha (SITS), 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 ~4afas, 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. Vtlasavajra, for example, wrote a commentary based on the Vajradhatum~4ala of the SITS, in which he set out "to encode and interpret tantric ritual in Mahayanist doctrinal terms" (Tribe 1994: 4). 21 Ponions of yogatantra text are probably the oldest incorporated into the literature ofVajrayogini. 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 Nlim4S4'!'giti, a "mahayoga" or "great tantra" (Tribe 1997: 128, nn. n, 18, and 20). Indeed, new kinds of texts with marked differences in subject matter were beginning to emerge, and these were soon to be contrasted with the yogatantras and given the new designation uyoginitantras." Within the soteriological tantric realm these two terms--yogatantra and yoginitantra-scem to refer to the two main divisions of Buddhist tantras, and commentators frcquendy
4
VAJRAYOGJNl
pair them together as the "yoga- and yoginitantras. " 22 Thus, the commonest classification of tantric texts in India was probably fourfold: kriy:i-, cary:i-, yoga-, and yoginitantras (Isaacson 1998). The yoginitantra class is charaaerizcd by the appearance of a new Buddha at the center of its maJ]9alas, namely ~obhya and his manifestations, supreme enlightened beings who belong to the vajra ("diamond" or "thunderbolt") 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. 2' 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.l
VAJRAYOGINI AND THE BUDDHIST TANTRAS
5
removed. This is typical of the 1Jla.94alas described in the sadhanas of the GuhymamayastUlhaNZm414. Our study of the Vajravmhi m~Qala in Umipatideva's Vajravartlhi SaJhana will show that it is modeled exactly upon that of Cakrasatpvara, except that in Vajravirihi's m~Qala all the male gods of Cakrasarpvara's mar:tQala have disappeared, leaving the goddesses without consorts, and supreme. Our summary so far of the tantric systems has shown the cult ofVajrayogini to be firmly grounded within the yoginitantra class. But this classification 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 SarvabutitJhasJtmtiyogat!tZftinijliWa'!'vara 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 1Jla.94alas are heruka-type, esoteric deities, in sexual union with consorts and surrounded by retinues of female 4akinis. This tantra was still in use in Tibet in the eleventh century, "no doubt because of its evident kinship with the later yoginitantras" (ibiJ.). 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 classification. This gave rise to another tantra class known as the "yogottara," literally that which is "higher than the yoga [class]." Isaaaon (op.dt.) suggests the term "yogottaratantra" was a later designation. Certainly when Vilisavajra refers to the Guhymll11Uijatantra, and to other texts that were later named as "yogottara," such as the Vajrabhairavatantra and the Mdyajtllat4ntra, he seems to be unaware of any such class (Tribe 1994= s). This stratum of tantric literature arose about a century after the yogatantras, and its root text, the Guhyasllmajatantra, was codified and translated into Tibetan in the eighth century (Matsunaga 1972; Sndlgrove 1987: 183). The introduction of this extra "yogottara" classification seems to reflect the &a that in the course of its evolution, the Guhyasamija system (including its exegetical literature) came to be seen as sufficiendy different from the older yogatantras-and certainly superior to it-to require a different label (Isaacson op.dt.). As in the yoginitantras, the rnaJ)4aJas of the Guhyasamija (or Samaja) tradition are presided over by Alqobhya and by vajra-&mily 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 (niruttara) [division] of the yoga [class]" (translation by Sanderson 1994b: 98 n. 1).
6
VAJRAYOGINI
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/practitioners 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). Atisa, for example, writing in the early mideleventh century, sought to clarify works that strayed between the yoga and yogottara camps by inserting between them two more tantra dassc:s--upaya("mcans"), and ubhaya- ("dual")-thus presenting a new sevenfold classification of tantras. In Tibet, the classification of texts likewise presents a complex picture (Mimaki 1994: 121). Among the gSilr mapa schools, there is the famous system of Bu ston (129
VAJRAYOGINi AND THE BUDDHIST TANTRAS
7
yogini 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 Cakrasarpvara cult: the Sarpvara-, or Sarpvaratantras. 27 Sanderson (1995) summarizes the Sarpvara corpus as follows: The root text (mullltantram) is the Laghu.la1f1varatantra, also called HmJ!tabhiJhana-or Cakrasa'!lvaratllntra(BBK: 251). The text does not survive in its entirety; lost ponions are accessible only through the early eleventh-century Tibetan translation, lemmata in tenth-century Sanskrit commentaries, and in secondary texts such as the Abhitihinottllratllntra. The AbhiJhtinottllratllntra (BBK: 254). Its relationship with the Ultrasa1f1varatllntra is that of explanatory tantra ("'vyti!thyatantram) to root text (miilllt4ntrtzm), according to Buddhaguhya's terminology. Vajrat!4/tat4ntra (BBK: 255). Sa1f1varod4yatantra (BBK: 256). /)tlluiT!"ZVIltllntra (BBK: 255). Yoginisa'!'Ctlratllntra (B 8 K: 2 s8). Hm4/ulbhyuJaya (not surviving in Sanskrit). Caturyoginisa1f1pUf4 (BBK: 259). It is scriptures such as these--in panicular, the Yoginisa1f1ctlratantra, Sa,varotiayat~~ntra, and Abhitihanottllratllntra-that inform the sadhanas of the GuhyasamayastiJhanamilti. One sadhana in the collection (GSS7o) is based upon a unique Vajravarahi scriptural source, the VarahyabhyuJ4yatantra, itself apparently extracted from the Abhitlhanottllratantra (Sanderson 2001a). In another, there is even a reference to the I..alt,abhiJhinlfl (sometimes identified with the Khasamatllntra), which is a mythical work, supposedly vast and authoritative in ten thousand verses, and allegedly the source from which the CttkrllSil1f1VIlrat4ntra itself was extracted (fsuda 1974: 33). The same legendary authority is claimed in the Yoginisa'!lctlratantra following its description of the body m~cJala, a core Cakrasarpvara practice taken over with very little adaptation in Umapatideva's
Vajravarlihi StiJhana. The Vajrayogini tradition does not simply graft itself onto the scriptural rootstock of Cakrasarpvara; it borrows equally freely from the Cakrasarpvara tradition of commentary and exegesis. We will see how the authors of the GuhyllSam4]astiJhanamlilli rdy on the liturgical and commentarial texts at
8
VAJRAYOGINi
Table 1. Authors anti th~ir worlts in th~ GuhyasamllyasaJhaMmtilli Authors
Works in GSS
lndrabhuti (or his lineage)
Vajrayoginimukhagama (GSSI) Pradipahutividhi (GSS14) IndrabhutikrameQa Vajrayogini.sidhana by Vijayavajra (GSS35)
Luyipada
Vajravmhisadhana (GSS1)
Advayavajra
Vajravmhisadhana (GSS3) Sarvirthasiddhisidhana (GSS1 s) Vajravmhisadhana (GSS31) Possibly T raycxWatmikavajra4ikinivajravarahisadhana (GSS16) Abhisamayamafijari (GSSs)
Sabara (and his lineage)
Guhyavajravilasinisidhana (GSS10) Vajrayoginisadhana (GSS19) Vidyadharivajrayoginyiridhanavidhi (GSS1.3) Possibly Vidyidharikramavajrayoginisidhana (GSS1.1) Vidyidharikramabhavana (GSSn) [Vidyidhari-]mdhanavidhi (GSSs. K}Sn)
Umapatideva
Vajravarihisidhana (GSSu)
Buddhadatta
Gopyahomavidhi (GSS13)
Virupa
"PiQ~ ~okas Trikayavajrayoginyil;t" (GSS1.6) TrikayavajrayoginistutipraQidhina (GSS17) Trikayavajrayoginisidhana (GSS1.s) Possibly Vajrayoginisidhana (GSS10) Trikayavajrayogini text in GSSs (K36rs) Vajrayoginisidhana (GSS9, GSS3o)
"Lalqmi" (?)
Lalqmisadhana (GSS1.4)
Vuasavajra
~iptavajravmhisadhana
(GSS19)
Possibly GSS4 Sahajavalokanasamadhivajra
Binducii~a.;tir
nama svadhi'thinaJuama (GSS31.)
Possibly GSS33
Dhyayipada
'"Paramagambhiropaddo Vajrayoginyil;t Karailkato~ Svadh~pwwn· (GSS34) Possibly GSS33
Vijayavajra
lndrabhutikrameQa Vajrayoginisidhana (GSS35)
Vibhuticandra
Vajravilasinistotra (GSS43)
Anailgayogin
I)akiniguhyasamayasadhana (GSS46)
VAJRAYOGINI AND THE BUDDHIST TANTRAS
9
their disposal, and how they are able to adapt them for the worship of Vajrayogini. Tills is most evident in the ritual ponion of the sidhana, as described in chapter 3·
Tht GuhyasamayasaJhanamd/4 and Its Authors The most direct sources for our study ofVajrayogini are the sadhanas of the GJJyasA1Nl]iiSiiJha1lll1Nllll (GSS). This is a group of some fony-six Sanskrit works drawn together as a collection centering upon Vajrayogini and her manifestations. Fifteen of its works claim the authorship of named individuals, 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 written. Table 1 shows a list of our authors and the works attributed to them. Since in some cases an author's influence upon an unanributed work may be inferred, authorship of almost half the texts in the collection can be firmly or loosely established (details arc 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 1). Various life histories survive, chiefly in Tibetan, although informed by a hagiographical and sometimes sectarian agenda {Tatz 1987: 696). Among key sources on this subject is the famous L~~nJs of th~ Eighty-Fo11r Mahlisitldhas (G114bthob ~ rtsabz:hi'i lortJUS. hereafter Ugnu/s), which supplies accounts of the lives oflndrabhiiti, Lalqmiilkari, Liiyipada, Sahara, and the slighdy younger author Viriipa. 29 More information on their lineages, and episodes from their lives, can be gleaned from the Blw AnNlls (lnbth" sNpnpo). written by 'Gos Lotsawa (Locchawa) b392-I,..S1), and the HisttJry ofBwJJhinn in Intiia by Taranatha (157s-?), 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 enterprise that Kvaeme describes as "methodological error" (1977: 6). Illustrative of the problem is Dowman's attempt to date the mahllsitJJhas using traditional Buddhist scholarship, according to which there arc no fewer than three kings of O#yana called lndrabhuti (1985: 131ffi c£ Dudjom 1991: 441, 458-59, 485-87): Indrabhiiti the Great, who may be as early as the seventh century (641 C. E. according to the Chinese rang Annals), an intermediate Indrabhiiri, possibly of the eighth century (although apparendy not recognized by Taranatha, Dowman ibiJ.: n.133), and Indrabhiiti the Younger, of the late ninth century. Davidson (1002.), however, comments
10
VAJRAYOGINi
that even pinpointing three Indrabhutis is "surely an underestimate" and points to "the tendency for traditional apologists and modern scholars to amalgamate the various personalities into one grand persona." Dowman (op. cit.) also puts forward three possible candidates for Indrabhiiti's sister, ~minkara, including a nun of similar name; however, even if we agree that this same ~minkara is the author of our Lalt!misadhana (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, traditionally the pupil of~minkara (Blw 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 Maitripada (also called Advayavajra) and Mar pa the translator (Blw Annals: 390). Similar problems beset the dating of the Mahasiddha Liiyipada. Kvaerne (1977: 5-6), for example, hesitantly cites Taranatha (History: 311), according to whom "Lui" was a contemporary of Maitri (Advayavajra) in the eleventh century, and notes that in one tradition, Liiyipada'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 Liiyipada's SriBhagavadtzbhisamaya was translated into Tibetan in the first part of the eleventh century, "apparently the earliest attested practice of the Cakrasaqtvara" in the Tibetan canon. However, Sa skya legends assen that Liiyipada was a scribe at the coun of Dharmapala in the late eighth century (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 teachers 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 (sat!ttngayoga/1) (Blw Annals: 727). Stearns (1996: 127-71) places Vibhuticandra in the later twelfth to early thirteenth centuries at the time of the Moslem invasions. Vibhiiticandra would thus be the youngest author in our collection. Some of the younger contributors to the Guhyasamilyasadhanamtila are slightly easier to place because they admit their debt to earlier authors. One such is S~ita, whose Flown- Clustn of Ckar UnJnstanding (AbhisamilyamafijariGSSs) draws heavily on the Ckar UrulnstantiingofHmJta
VAJRAYOGINi AND THE BUDDHIST TANTRAS
11
(HtrUittibhisamaya) by Luyipada. Apart from the similarity of his title, Sakyaralqita refers twice to Luyipida's work, commenting on Liiyipada's method for establishing the vajra ground ( vajrabhumi, K2ov2) and knowledge circle {jfidNlCaltra, K2IV6), and referring to it for an in-depth treatment of Vajravarahi's thirty-seven-deity 1I1a94ala. 12 Sakyaralqita adds that this was taught "by my teacher in the Vajravali," which reveals that his guru was Abhayakaragupta, abbot of the monastic university Vikrama.Sila during the reign of King Ramapala (c. 108.f,-1126/n30).11 IfSakyaralqita was a younger contemporary of Abhayakaragupta, he would probably have flourished in the mid-twelfth century. Our study ofUmapatideva's Vajravtirtihi StulhaNl (GSSu) will show that it shares much in common with Sakyaralqita'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 Sakyaralqita, perhaps as an older contemporary. The colophon to the Tibetan translation describes him as "one who has the lineage of the instructions ofViriipa, sri Umapatidatta" (Tib 49.7), and the dates of the translators link him fairly securely to the same period as Abhayakaragupta. The translators of U mapatideva' s two known texts in the bs Tan- gyur are VagiSvaragupta and Rwa Chos rab. 14 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 pat]cJ.it Samanta.Sri; Samanta.Sri himself flourished in the early to mid-twelfth century and received the Kalacakra teachings from Abhayakaragupta (Biw Anntds: 76o--61; cf. ibid: 756, 789). 1s Thus, the translation ofUmipatideva's works would seem to belong to the early to mid-twelfth century, and may even have been contemporary with the author. IfUmapatideva was of the same generation as Samanta.Sri (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 GuhyasamayastitlhaNlmtilii, we must look for other dues as to their origins. First, it seems that several authors in the Guhyasam4yastiJ111lmtilti are associated with the early dissemination of tantric lineages. Indrabhuti, for example, is traditionally known as "the first llintrilta" and was credited with initiating several tantric lineages, including the yogottara, Hevajra, and Cakrasatpvara traditions (Blw AnNlls: 869; Dudjom 1991: 485, 462; Dowman 1985: 233; SM vol. 2: xxxi). Luyipada is particularly associated with the Cakrasarpvara system, on the basis of which he is traditionally known as the "original guru" (aJiguru) of the mahamudra (Dowman 1985: 37). Accord-
VAJRAYOGINi
12.
Table 2. YEAR
Tim~
chartt 600
650
700
800
750
850
Pila Dynasties of...
Rut.ERS
Vikram.aSda founded
Nilanda Founded
first diffiWon into Tibet Inchabhuti?
At.rmoas
liiyipida? - - - - - - -
V&riipa?
WoRICS
___. kriyicantras yoS2fancras yogouarawuras Jst-Uld anc. ___. lace 7th cent. ___.
caryitanms
yogouaratanm exegesis and translation into Tibetan
proco-yoginitantras __,....
mid-7th ant. •
SITS--,...
~14
s.,~,.ij~
t 1he sources for these dates are mentioned in chapter 1 or d.sewhere in the book. and in historical secondary sourccs given in the bibliography. Many daces are uncmain.
VAJRAYOGINI AND THE BUDDHIST TANTRAS
900
1000
950
1050
1200
1150
1100
-~
... Bihar and 8cnpl ~1141 Moslem invasions
~
leCODd diffusion into Tlba
Niropa d. 1040
.AtUa d.
lOop
(in Tiber) ~ Abbayadatta
(Liws •/tiN &, SiJJJJa)
Advayavajra_____.
Buddhadana
.-vwpa? l...aJqm.i the Nun?
Sahara- -___.
Vibhiiticandra
n6s SM Cambridge ms. Compil;~tion of • ~JtlliNlU
Pa1mlcaf m&. (K) of
~-· H~
Lifo•fN.,_,.
in Tibetan
YAJ RAYOGINi
ing to the Tibetan tradition, he is one of three main transmitters of the Cakrasarpvara system along with GhaJ}tapada and ~l]apada (Biw Annals: 389; Dawa-Samdup 1919: 9; Jackson 1994: 125). Sahara is also associated with the spread of mahamudra, according to the evidence of the Guhyasamayasadhanama/a (see chapter 2), and is an important transmitter of the ~aQaitgayoga discipline (Padma gar dbang, cited Stearns 1996: 140). One tradition putatively connects Sahara with the origins of the Trikaya-vajrayogini tradition through his lineal descendant Krfl}icirya (Dowman 1985: 320; 7.19), although Benard (1994: 12-13) prefers to credit Lalqmirikara. In Tibet, Viriipa was regarded as the "first lama or adiguru" of the Sa skya sect (Dowman 1985: 52; Dudjom 1991: 853). The fact that the GuhyasamayaSiil:lhanam4/a opens with two texts, one attributed to Indrabhiiti (or elsewhere to Sahara; sec GSS1 in the appendix) and an almost identical work to Liiyipada, is significant. It assens the antiquity of the collection, and hence its authenticity. Similarly, Indrabhuti's authorship implies that the geographical source of the teachings is 044iyana, the very homeland of esoteric spiritual revelation, as many tantric colophons testify.Jt» The text itself (GSS1-GSS2) reveals an East Indian influence, with its clear exchange of the consonants v for b in its mantroJJhtira. The fame of our later authors rests upon their scholarly transmission of the tantric teachings. The Blu~ Annals (pp. 841, 866, 976) refers to Advayavajra' s transmission of mahamudra, and associates him panicularly with compositions of the amanasilttira class (e.g., ibid: 842); it is in a text of this class, the *SidJha-Amnaya. that Advayavajra's quest for a vision ofVajrayogini 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 environment of the monastic universities in northeast India. These were centers of Mahayana and tantric learning established under the Pala dynasties of Bihar and Bengal (76o-1142 c. E.), which flourished until their destruction by the Moslem invaders between II97 and 1207 (Dun 1962: 380). The five outstanding foundations were: Vikrama.Sila, founded--according to Tibetan sources-under Dharmapala (77o-81o c.E.., ibid: 359); Odantapura and Somapura (also "Somapuri') under Devapala (c. 81o-59 c.E., ibitl.: 373-74); Jagaddala in Varendra (nonh Bengal), which probably flourished under R.amapala (1on-n2o); and the oldest establishment, Nalanda, which had been sponsored at the end of Gupta rule by Ha~a (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
VAJRAYOGINi 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 1: 241ff.). Vikrama.Sila was the most renowned monastic universitiy in the Pala period, with Abhayakaragupta at its head, and its various "schools" (sa1f2St/uib) conferring various posts, honors, and "degrees," such as Jvarapa/4 (gatekeeper), pa'."Jita, or mahapa'."Jita (ibid.: 36cr63 following Tibetan accounts). The reference to the academic milieu in the *Sit/Jha-AmNiya is interesting because it illustrates the contrast between the life of Advayavajra, the yogin-paJ}Qit 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 practice. For example, the story of Advayavajra in the *SiJJha-Amnliya (p. u) first describes his formal training in grammar and orthodox (nontantric) Buddhist disciplines at monastic universities such as Vikramaftla; it then recounts his tantric studies (possibly under Nampa) at Nalanda, but only finally launches him on his higher tantric career when he leaves the monastic 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: 7oo-701). The same motif of expulsion is found in the account ofViriipa's life. According to the llgmJs (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 mahamudri after another twelve years. Viriipa's subsequent expulsion from Somapura (for eating pigeon pie) was accompanied by various 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 wandering 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
VAJRAYOGINi
prior service (piirvasn~d) were also an essential part of formal training. The perceived dichotomy may have been a natural advenising ploy for the techniques 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 Buddha's going fonh is an imponant 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 highest 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 maJ]cJala, or oblations with mantras {see the first upaJ&J; 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 sexual praxis, were also open to householders. This is implicit in one of the erotico-yogic texts in the GuhyasamllJasdtihan4mdlli that refers to the "[householder's] own house" (svagrht) as one possible meditation site (GSS34, appendix). Umapatideva himself, author of the Vajravdrahi SI1Jhan4. may have been a layman, as well as an initiate into the lineage of Viriipa. His name means "lord ofUma," 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 SaJhana. This situation did not lie comfonably with some members of the monastic 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 reassen its primacy .... " Thus, the Kriyasamuccaya (f.3.2ff; Gellner 1992: 295) cites many tantric references to suppon the claim that a tantric teacher (vajracdryap) should be a monk, although the fact that it opens with a lengthy discussion on the maner raises the possibility of his not being so. Indeed, in his Vajrdcdryalaltfa'.'llvidhi, JagaddarpaJ}a states that a tantric
VAJRAYOGINi AND THE BUDDHIST TANTRAS
17
teacher may be of three types: monk, novice, or householder (following the S.'!'Wirlin;uzVIIItlntrll), but he asserts the superiority of the teacher who is ordained by adding that, should all three be found together, the householder should not be worshiped, for this would be disrespectfUl to the Three Jewels.)ll Another tantric exegete prescribes certain "beginners" rites and observances (li/Jj/tarma) for the householder practitioner (ghapatibotihisattva/1),39 suggesting, perhaps, that the qualifications of the lay practitioner were inferior to those of a monk. However, Isaacson (1999: personal communication) points out that the qualifications of the lay practitioner were not ncccssarily inferior to those of a monk, and that Jagaddarpal}a's opening discussion does not reveal his final position on the matter. Indeed, it may even have been the case that practitioners who had taken the bhi/tp4s1Uf11Hlra were sometimes forbidden or discouraged from the actual performance of transgressive practices. With their emphasis on solitary practice, the sadhanas themselves give no indication as to how they would be practiced within a monastic routine. This is particularly pertinent where the sidhana involves sexual practices that would infringe the monastic vow of celibacy (brahm4caryam). In tackling this issue, exegetes tended to argue that the tantric observances incorporate and surpass, rather than negate or contradict, earlier vows of celibacy: .. "[In taking tantric initiation] will he not then be guilty of abandoning his earlier vows [of celibacy]? No, for each subsequent observance 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.],. J agaddarp~a (Onians op. cit.) actually redefines bralmuwtTJII. so that for a nontantric monk it still refers to celibacy; but for a monk who has taken highest initiation (and whom he therefore understands to be spiritually superior), it refers to the retention of semen in the course of yogic sexual practices. However, the attitudes of tantric authors on this matter are complex, as Onians makes clear (op. cit.: 168-71): AtiSa, for example, has-with justificationbeen interpreted as insisting that for those who hdd full monastic ordination, the language of sexual yoga was open only to symbolic interpretation and was otherwise incompatible with monastic rule; and yet his conclusions are far more subde 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
18
VAJRAYOGINi
the difficulty that must have arisen in bringing tantric practices within the monastic fold. Indeed, there are accounts of iconoclasm among Sthaviravadins unable to tolerate deities such as Cakrasaqlvara at Vajrisana (Bodhgaya), which Taranatha himself recorded (1990: 279): In a temple ofVajrisana there was then a large silver image of Heruka and many treatises on tantra. Some of the Sravaka Sendhavas ["Siddhas"] ofSinga 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 hagiography of Abhayakaragupta testifies (B/w Annllls: 1046; Willson 2000: 397-98). Painting the picture of an exemplary abbot-scholar of traditional Buddhist hue, the lifestory of Abhayakaragupta describes his initial reluctance 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 Vajrayogini in disguise, the monk sees the error of his ways, but finds that he has lost th~ opportunity ever to gain union with her in his lifetime. He is compensated with the promise that if he composed a "great number of commentaries on profound tantras and many rites of maJ}Qalas," he would soon become "a fortunate one"-a challenge he appears to have accepted.
Sadhana Colkctions Having examined the Indian milieu in which Umapatideva's Vajravarahi Sadhana was written, it is time to look more closely at the compilation of the GuhyasamayasaJhanam4la itself. According to the approximate daring 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, Vibhiiticandra (GSS43). Its upper date is fixed by the oldest surviving manuscript (K), which Sanderson (1995: personal communication) suggests is from the twelfth to thirteenth centuries. This date would be roughly contemporary with the earliest manuscript of another sadhana collection, the Slitihanalat4paiicllfilta, which dates from 1165 c.E. (Cambridge add. 1686). The GuhyasamayaW:/hanamaldreceives its title only
VAJRAYOGINi AND THE BUDDHIST TANTRAS
19
later; the name is found in the Devanagari manuscript (D) alone, in which the tide of the last work in the collection (I;Jaltini-guhyasamaya-Siidhanama/iitllntraraja) seems to serve as the basis for the collective tide Sri-Guhyasamaya-
tllntra. The processes by which sadhanas were compiled into recognizable collections has been studied by Bi.ihnemann (I994), who suggests that scholars were engaged in collecting such works from the eleventh century on. Bi.ihnemann discusses four sadhana collections in all, basing her work on the four collections that Bu ston (I29
nur
I. The On~ Hundrtd and Fifty Sddhanas (*Sadhanalatapaficalik~ sGrub thabs brgya tlang lnga bcu), 42 consisting of about this number of sadhanas. 2. The HunJrtd Sadhantzs (*StiJhanaiatalt4, sGrub thabs brgya rtsa), which contains about ninety-three sadhanas. 3· The Oc~an ofsadhanas ( *Siidhanasagara in Bu stan's catalog), also called the Colkction ofSlidhanas (Slidhanasamuccaya in the Peking edition P4221-4466), and the Garland of Sadhanas (saJhanaTNi/4 in the colophon of some Sanskrit manuscripts), consisting of a large collection of 242 sadhanas. 4· The *Dtvtintllravilvaslidhana collection, which appears in the Peking edition as an appendix to the second collection, the
*Sadhanaiatllluz. It is from these collections that Bhattacharyya (I92SI28) produced his edition of the so-called Slidhanama/4, accidentally conflating the largest collection of 242 sadhanas (*StiJhanasagara) with the collection of ISO
sadhanas (*Sddhanaiatllpafictiiiltd). 43 What does Bnhnemann's survey of the sadhana collections reveal about the manner and date of their compilation? Bnhnemann shows that there are problems in fixing the contents of these collections since the Sanskrit manuscripts 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 compilation of substantial numbers of sadhanas, or the addition of other collec-
VAJRAYOGINi
20
Table 3· Sddhana colkctions in tht bs Tan gyur 1. 150
sadhanas
2. 100
trans. c. uoo
sadhanas
trans. c. uoo
3· Ocean (or collection) of sadlww
(SiitJJuuuu4gara, SilmuccllJII, •m4Jii) 0
trans. c. n.86
Appmdixto
Ptltint Edition
SMlhaN17111i/4 Tantra Cambridge ms.
S4Jha111l7Nil4 cd. Bhattacharyya
add. !686
1915h8
tions to them, seems to coincide with the appearance of a tide for the collection as a whole. This may have encouraged closure, as in the case of the *Siitihanaiauzpaiicafilt4, which received its tide only once it had collected its one hundred and fifty works (ibid 1994= 11). Similarly, Biihnemann hints that Bu ston's third collection may have received its tide *StiJhtmastlgara in the later recensions preserved in Tibetan from its final portion of texts, entitled DtvanwasaJhanllSilgara (ibid 1994: 12). In some collections, the colophon to each individual sadhana also gives the collective tide, but again this practice is not standard (ibid 1994: 11-12). Such irregularities in a tide's appearance in related recensions, and in the tide itself, suggest that collective tides were a later feature of the sadhana compilations. Their introduction (possibly coupled with efforts to "round up" the collections to grandiose figures that then serve as collective tides) gives the impression that the sadhana collection was emerging as a genre in its own right. The datings given by Biihnemann indicate that the earliest translations into Tibetan of whole collections 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 thincenth century (and beyond), that is, in the period when the monastic universities under the Pala dynasties 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 dear 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 Guhyasll11UIJilsaJhanamlllll collection. There are, however, notable differences. The Guhytmzmayasadhanamti/4 is far smaller, containing only forty-six works. Moreover, it seems to have been rdatively stable. Only one sadhana (GSS8) is omitted in the later recension of the collection represented by the devanagan manuscript, a sidhana that is anyway repeated identically later in the collection (GSS39). The Guhyasa71U1J11Siilihanam4111 was not translated into Tibetan, although some of its sadhanas appear in the bs Tan gyur as part of other collections (details are given in notes to the appendix). Remarkable is that all forty-six sadhanas of the Guhyastl11UlJASiklhanamti/4 focus upon VajrayoginiNajravarahi. Other sadhana collections, apart from being much larger, are more diverse. They include sadhanas relating to various deities, sometimes arranged accordingly in groups inside the compilation. There are, for example, groups of sadhanas within the so-called Sdtlhanamti/11 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 GuhyllS41Nl]aslilihanam4111 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 collection begins with traditional-style ~c;lalas of the Cakrasarpvara tradition adapted to the female deity Vajravarahi. There follows a gradual shift toward mal}~ exhibiting a more fully lttipaliltll character, a trend that is further developed in the "skeleton arch" (ltar/lnltlltOrll'."l) sadhanas, which reject the temple-palace structure of the ntal}c;lala 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
2.2.
VAJRAYOGINi
different groupings overlap (the various forms ofVajrayogini 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 hogheaded artlhaparyanlta-pose Vajravarahi, and are attributed to the prestigious figures lndrabhuti and Luyipada. GSS2, GSS3, GSS4, GSSs The next manifestation is of Vajravarahi in her classic warrior-stance form. She appears by herself (GSS2, GSS4), in her fivefold maJ]Qala (GSS3), and finally in the full thirty-seven-fold maJ]4aJa (GSSs). GSS3, GSS4, GSSs (GSSu, GSS16) The third sadhana (GSS3) is by another eminent figure, Advayavajra. It is the first in a group of essentially Cakrasarpvara-based works, all similar in their exposition of the warrior-stance Vajravarahi within a maJ]4aJa based on the temple palace. All sadhanas in this group salute Vajravarahi in their opening reverence. Umapatideva's Vajravarllhi sadhaM (GSSn) is also of this type. An interesting sad.hana that belongs in part to the Advayavajra group and in part to the Sahara-related texts, is the sadhana of the thineenfold Vajra4akini Vajravarahi (GSS16). GSS6, GSS7 The next group is of two sadhanas redacted from the Abhidhiinottaratantra, the first presenting a six-armed, seated manifestation of Vajravarahi in embrace with her conson within a thineenfold maJ]Qala (GSS6), the second a twelve-armed arJhaparyanlta-pose Vajravarahi in a forty-one-fold maJ]Qala (GSS7). GSS8-GSS39· GSSI3, GSSI4, GSS41 The oblation ritual (homaviJhib) that follows is one of a more dispersed group of oblation rituals in the collection. GSSIO, GSS43 There follow some distinctive, erotic practices of Vajrayogini, notably Vajravilasini (GSS1o), who is also the subject of a stotra (stotram) or praise work (GSS43). GSSI2, GSSI7-GSS45 Similarly amorous are the "raised-foot" (urtihvaptiJA-) pose deities, first the red Vajravarahi (GSS12.), and then the white Vajrayogini (GSSI7-GSS45).
VAJRAYOGINi AND THE BUDDHIST TANTRAS
13
GSS15, GSS18, GSS38 Next comes the red hog-headed "VajraghoJ]a" manifestation ofVajra-
varahi (GSS15, GSS18), possibly related to a white manifestation of the same deity (GSSs, GSS38).
GSSI9 The next section of the Guhyasamayaslilihanama/4 deals primarily with magical erotic forms ofVajrayogini, such as a two-armed Vajrayogini at the center of a frvefold maJJ4ala (GSS19).
GSS1o, GSS24, GSS15, GSS16, GSS17, GSS3o-GSS9 Another magico-yogic manifestation is the striking, self-decapitated T rikayavajrayogini ("Chinnamasta,) in sadhanas GSS1o, GSS24, and GSS15, and in verse works related to Viriipa, GSS16 and GSS17. This form is related to the deity to be visualized in GSS9-GSS30.
GSS21, GSS12, GSS13 Another such group is that of the flying Vidyadhari Vajrayogini forms of the Sahara school.
*GSS18?, GSS19, GSS3o, GSS31, GSS39 Next, the Guhyasa1NIJilSiidhanama/a contains a collection of repeated works that are almost identical to those transcribed earlier in the GSS, but with minor differences. This section includes: •GSS2.8 (-GSS19?), GSS19 (-GSS4), GSS3o (-GSS9), GSS31 (-GSS3}, and GSS39 (=GSS8). GSS31, GSS33, GSS34, GSS35 The collection then provides three svlilihif.thana-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 and GSS38.
GSS42, GSS43 There are two Vajrayogini stotras in the collection grouped together.
GSS..,a, GSS46 Finally, there are two commentarial works.
VAJRAYOGINi
While these groupings are not entirely even, they are marked enough to suggest a conscious arrangement of the materials. What is even more striking is that this arrangement is complemented by the internal structure of the Abhisa1111lJ411Ulfijariby Sakyaralqita (GSSs). Sakyaralqita•s work begins with classic sadhana meditations on Vajravarahi's thiny-seven-fold mal}qata, after which it becomes a compendium of alternative visualizations of the deity in her different manifestations (sec appendix). The catalog of visualizations supplied in the Abhisa1'111lyamafijari mirrors the sequence of the GuhyasamayastUJhanamlild collection as a whole, so that the classic warriorstance Vajravarahi of the first pan of the work is followed by the iirJhvapliU-pose Vajrayogini, Vajragho!]i, the two-armed Vajrayogini, and the Trikayavajrayogini forms. Thus, it looks as if the Abhisamayamaiijari may have been used as a blueprint for the arrangement of sadhanas by the compiler of the Guhyasa11lll]llStiJhallllmt1la.
TantricSadhanll The importance of the Guhyasa17UlJilStidhanamlilli collection to the Vajrayogini tradition, and its uniqueness as a collection, have now been established. However, the decision to edit and translate the Vajravartihi StidhaM by Umapatideva (GSSu) still requires some explanation. Not only are there many sadhanas in the GubyasamayasliiJhNlTNi/d deserving of attention, but tantric literature in general is vast, and sidhana itself forms only one genre within it. What, then, is the significance of the sadhana within the tantras? And what is of panicular interest in Umapatidcva's Vajravlirllhi SiiJhaNl? 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 addition to the tantric corpus. The first embryonic sadhanas appeared only in the eighth century with the yogatantras, and their form was still not standardized by the time of the Hnajrlllllntra. Perhaps one of the earliest references to sidhana practices appears in the yogatantra scripture, the SArvadurgatipariJodhanlltantra, which recounts "a sadhana taught by Sakyanatha· (p. 132 9b). The meditation is to be done "with the method of generation" (p. 130 Sa: utpattiltramn_ta), and it is described as "the highest deity yoga" (tkvatayoga'fl ... Ultamll'fl). Despite the inclusion of material not generally found in later sadhanas, it dearly sets out the key features of a mature sadhana, all of which will be seen as distinct stages in the Vajravartihi Sddhana (GSSu) studied here in chapter 3· Thus, it includes the usual
VAJRAYOGINI AND THE BUDDHIST TANTRAS
25
preliminaries, the construction of a circle of protection, the accumulations of merit and wisdom, pujti, and the merging of the mal}4a}a in space with the~ in the bean. 44 The eighth-century commentator Buddhaguhya recognized the sadhana material in the Sarvllllurgatipariioelhttnatllntra as distina from the rest of the tantra, describing it as an "introduction" (glmg gzhi = nitlbut) to "the aaual text" (mJo bshllll) dealing with mai}Qalas (Skorupski 1983: xxvii). Another yogatantra commentator, Vilasavajra, also approaches the topic in his Nllmamantrllrthavaloltini. In adhikara IV, Vilisavajra produces his own proto-sadhana, which includes key preliminary meditations and the generation of deities within a mal}4ala, 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 knowledge forms of deities (Tribe 199~ 1997: 115-17, 123-25). The eighth century also saw the emergence of the Guhyasamlljtttllntra (Gsn, and the beginnings of the exegetical schools based upon it. This tantra begins to systematize the components of deity practice. It distinguishes a fourfold sequence of meditations as a prelude to ritual undenakings (e.g., GST ch. 12, vv. 6o-6s) that it refers to as: (1) service (sn~ll}; (2) auxiliary attainment (upasllJhanam}; (3) attainment (Wihanam}; and (4) great attainment (mahdsi1Jhanam). 45 These cover introduaory and preliminary meditations (in the first and second stages), with the "urging" (cotlanam) and summoning of the deity, and its final visualization (in the third and founh stages). A related schema in the Guhyasamlljatllntrll, also in four stages, focuses just upon the generation of the deity. This is the "[set of] four vajras" (vajracatrqlttt), which corresponds in yoginitantra texts to the sequence of five awakenings. The Guhyasamajatllntra also distinguishes a stage of "generation" (utpatti), from a stage of "completion" (utpttnnal n;,p~~nna) (e.g., GST ch. 18, v. 84; see Wayman 1977: 23), an imponant classification that we will see in the mature sadhanas of the yoginitantra. The two stages or methods (ltrama[l), the generation stage (utpattiltrllwuzb) and the completion stage (utpllnnaltrllmll/J, niyJiln~). were elaborated upon in the two schools of Guhyasamija 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 Tomabcchi 1994= ix), a period that coincided with the emergence of the new yoginitanttas. The highest tantra scriptures develop the deity meditations into sadhana-type practices that bear much the same form as the mature sadhana (e.g., Hn~ajrlltllntra, Mvlltipa!IJill 1.3 and Sll'!'VIlrotiiZJiltllntra.
VAJRAYOGINI
irihm~ltoe/ayanirtidapafil/4 ch. 13). The four stages of the yogottara system (sn~d,
etc.) are still current-both implicidy in a fourfold structure of the sadhana-type passages, and explicitly through direct reference (e.g., HTI.1.15; ADlJf ch. 14: 317fl).It is also notable that the internal structure of these tantras may demonstrate the same sequence of meditative and ritual events as those we will see in our study of a mature sadhana. The Sa'!'varodayatantra, for example, begins with the methods of generating the deity and his wider mai)Qala, followed by the ritual practices grounded in that self-generation.•' The structure of the Hn1ajrauzntra is similar and also mirrors the composition of a sadhana. •• 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 itsel£ Such developments were doubdess stimulated 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 evid~nt in
th~
yogatantra corpus underwent gradual defini-
tion. The process is detectable in certain sets of sadhanas in the Sdt/hanamd/4 collection, such as the sizable collections of sadhanas grouped around manifestations ofAvalokitdvara (SM6 to SM41) and Mafijwri (SM-44 to SM84}. Here one sees how the peaceful cults of princely cakravartin-style bodhisattvas are increasingly permeated by tantric elements, such as the preeminence of the guru, the use of transgressive substances, erotic and wrathful Saiva-based iconography, erotica-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 GuhyasamayastiJha111lmal4, 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 (ltdplili/ta) 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 itsd£ This is particularly pertinent in the cult ofVajrayoginiNajravarahi, which has no scriptural corpus of its own, but borrows from the scriptural tradition of Cakrasarpvara. One reason U mapatideva' s Vajravariihi Sitiha111l 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 exegetical sources concerning the Cakrasarpvara ma~c;lala and its rituals, and alters them to describe the Vajravarahi ma~4ala and its rituals. Since sadhanas are not tied to a particular scriptural source, we will see that different works in the Guhyasamayastidha1Ulmtilti draw on different parts of the Buddhist (and Saiva) traditions and produce a range of forms and practices of Vajrayogini. Above all, sadhanas are manuals of practice; they are the "means of attainment" (sadha111lm) 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 fulltime 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 preceded 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 texts also say litde of the previous spiritual practice that has prepared the practitioner for taking up the sadhana or of the initiations that have qualified him to do so. Such preliminaries are so fundamental to the tantric system 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 Guhyasa11lllJIISiltlha1Ul7'Nila puts it, the practitioner 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 empowerment of pupils. It is only after such inititations have taken place that certain practices may be undertaken, indeed, that the Slilihalta becomes obliged to fulfil his vows to practice.
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 transmits 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 worshiping 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:~ 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 ofbuddhahood should please the guru. The post-initiatory observances are known as the observances of the pledge or samaya (sam4Jiictlrab)Y Their supreme importance to the newly consecrated 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 centrality of the guru, who is the source of teachings that may well remain purely oral. The first sadhana in the GuhyasamayasaJhanamala is itself described as the "Oral Teaching ofVajrayogini" (Vajrayoginimulthagama), and its secret practices are said to go from "ear to ear, mouth to mouth." The sadhana includes a description of a parvapiijti 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 Vajragho~a plija (GSS18), midnight offerings include incense made of powdered human flesh, following which the text states that "this is not to be told to anyone. "~ 2 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 VajrayoginiNajravarahi, who is described in one text as "mother of the guhyaltas [lit: 'those with secrets,' i.e., initiates)" (n. 75).
VAJRAYOGINI 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 preparatory foundation for undcnaking the sadhana itsd£ This is referred to as "prior service" (purwun~a). Without this bedrock it is said that the sadhaka "would stun, damage, and harm himself' (mKhas grub rjc: 2.75-79). The number of mantra recitations required varies according to different systems. For example, in the Hcvajra system (HTI.10.25ab) there are to be one hundred thousand for the lord of the IIW}Qaia and ten thousand for the maJ}Qala retinue; similar numbers arc given in the Vajravali for the Kalacakra texts, while in the Sarpvara system, there arc said to be both medium and brief periods of service (mKhas grub rje ibiJ.).~1 Since authors of sidhanas 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 conceptual 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" (p*t, avalokaytt, ik!tta) the object of meditation "very clearly" (GSSn v.17: vispfl!.tlltllram) and unwaveringly (SM123: 254); he should "contemplate" (vi-cintaytt), "imagine" (vi-bhavaytt), "meditate upon" (e/hyiyat), or "be convinced or (adhimulictt) it. The manner of producing the visualized object in the mind is described as the arising or generation (utpattip) 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 (bijalqaram), and it has both an aural dimension, such as the sound of the mantra syllable hii'f', and a visual dimension as the written form of that syllable, 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. -nqpanna), or-where there is a whole sequence of such visualizations-by their "evolution," "development," or "transformation" (pariruJmnut) into the final object.S4 The visualized forms arc 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 ignorance and impurities, destroy obstacles, give succor to beings, or praise or coerce deities. ss
f,
30
VA J RAY 0 GIN i
The locus of the visualization is significant because it differs according to different rites, and plays an important pan in the classification of the sadhana. The deity may be visualized "in space" (lthaJhatau) in front of the meditator, as in the preliminary puja, or be generated within an external ritual object, such as a maJ]4ala diagram drawn upon the ground or upon the meditator's own hand. The process of generating objects of meditation is at its most elaborate in the section that deals with the yogin's generation 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 classifies the sadhana as a generation-stage practice (utpattiltra1'Nll}, see ch. 3). In a self-generation sadhana, the subject of prescription changes in midcourse. The mundane personage of the practitioner who begins the practice 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" (vica/qa'.'fl!J), wise (butihab), 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" (tkvattiyuktavan), the practitioner of"deityyoga" (ekwztdyoga[1). 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" (viiutblhii,J). The correspondence is made on the firm understanding or conviction (adhimolqa[1, niicltJab) of the mundane object "as" the supramundane counterpan. The yogin understands that the true essence or inherent nature (svabhavab) of the mundane element is ontologically equivalent to that of the supramundane, because both are empty (iiinya). 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 sltantihas, his sense organs and the five elements in the body, are correlated imaginatively with a particular buddha, bodhisattva, or buddha-conson. The viiuddhi 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 mundane 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 viiuJJhi 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 techniques, he is expected to be a ritual specialist. T antric 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 ritual 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 meditation are just as crucial. For example, rites of consecration (prafi!tha) play a key part in communal practice, as all objects for religious use must be consecrated, from buildings such as monasteries and stiipas, to objects such as statues of deities, painted images, the doth 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 officiant must first have generated himself as the deity by means of the sadhana, and then, in his transcendental persona, must set about transforming the mundane object into a receptacle for the deity to enter, recreating it as the locus in which the deity becomes present and established (prafi!thita). In this process, the tools of sadhana meditation are employed to generate the form of the deity within the object, to infuse it with supramundane wisdom, and then to initiate it according to the tantric system of initiations. In her detailed study of the consecration of images and stiipas in tantric Buddhism, Ben tor 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 sentire life. Rites are sometimes distinguished according to whether
32
VAJRAYOGINi
they arc "outer" (*bahyaltriyli) or "inner" (adhytitmayoga/1) (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 internal 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 themselves also include bodily movements such as hand gesture (mudrti), verbal utterance (mantra/J), or the complex mental activity of preparing and visualizing 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 internalize 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 arc perceived within the yogin's own "veins" (nlitjis) 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 ofVajravarahi 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
VAJRAYOGINi 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 tantric 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 h~r herultimate aim.
2.
The Cult of Vajrayogini in India
T
HE sAD HANAS of the Guhyasa1NIJilSiklhana1Nilli 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 ofVajrayogini within the broader context of other female deity cults, and also of Vajraririhi, who comes to be seen as one of Vajrayogini' s chief manifestations. The rest of the chapter is really a survey of the forms ofVajrayogini that appear in the GuhyasamAyastilihanamd/4 collection. These are gleaned from the sections in the sadhanas that deal with the generation~r more usually, selfgenerarion~f the deity and describe her iconographical form and the setting 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 GuhyasamayasaJhanamd/4 alone, we find almost twenty distinct forms of Vajrayogini. Although the sadhanas of the GuhyASa1NIJilSiklhanam4/4 undoubtedly include the main forms of the goddess, variations were constanly emerging as the cult devdoped. 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 largdy unplumbed riches of the T angut empire, which developed a strong Buddhist identity during its two-hundredand-fifty-year existence (982-1229) at a rime contemporary with the cult of Vajrayogini in India. Among their conquests the T anguts counted the city ofKhara Khoto (c. 1030), from which many fine tangkas remain (e.g., plates 2, 3, and n).
35
VAJRAYOGINI
Within the GuhyasamAyastiJhanamlila, we find that the commonest subject is the red, two-armed warrior-stance Vajravarahi (fig. 17).~ It is this form that is the focus of U mapatideva's Vajravartihi SaJhana, and in our study of that sadhana in chapter 3, we explore in depth the visualizations and meditations associated with her and her maQQala, 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 something of the generic status ofVajrayogini, 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 differentiating 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 rituals; 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 possible 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 rna phyogs las rnam rgyal (1781-1854) (Tachikawa et al. 1995: 7; Willson and Brauen 1000: xvii). The textual basis for the Mongolian icons of Vajrayogini is a compilation of sadhanas that the fourth Panchen Lama produced especially for the empowerment ritual, known in brief as the Rin /han. The basis for the Rin /han is a cycle of over three hundred Tibetan sadhanas compiled in the early seventeenth 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 Guhyastzmayasa4ha111lma/.ti; indeed some of the forms of Vajrayogini in our collection are also described in the Tibetan texts of the Rin /han, the fourth chapter of which is devoted to this deity. ~ 7 The woodblocks were produced from the textual descriptions of the Rin /han. 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 tides: 58 (1) as a set of prints from original woodblocks (Tachikawa et al. 1995); (1) as set of line drawings based on the woodblock prints, but
THE CULT OF VAJRAYOGINIIN INDIA
37
altered in some standard details; commissioned by Lokesh Chandra, and appearing in his various publications as pan of the so-called "Nanhang Pantheon" (between 1959 and 1988);s' and (3) as a set of color prints, perhaps dating 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 Guhyasllmll]llStkihll111lm411i. 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 Mongolian 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 reconstructions 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 themselves 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.
Tht lnjlumct ofNondua/ 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 rdiant upon nondual Saiva sources; so much so that it amounts to no less than what he calls "pious plagiarism" (1995). Sanderson (2oorb) estimates that in the root text of the Cakrasarpvara tradition, the Lllghrdtnrzvllratllntrll, "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 mantrapi!ha or "seat of mantras," and the vitiydp~tluz or "seat of vidyas," both of which arc divisions within that stream of Saiva dispensation termed the mantrllmtirgll. or "path of mantras" (Sanderson 1988: 668ff.). 60 Worship within the m~~ntrapithll was of a type of Siva called a "bhairava" ("terrible"), a wrathful, cremation-ground form of the god in union with an equally terrible
VAJRAYOGINi
consort, such as Svacchandabhairava (or Aghora) and his consort, Aghore5vari. The cremation-ground elements are even more in evidence in the Vidyipitha, where they relate principally to esoteric cults based upon feminine power (laktif.J) such as those of the Trika and the Krama. The Trika focuses on three goddesses, Para, Apara, and Parapara, who have subordinate 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 ~4ala of twelve identical Kalis; she appears alone without any consort, indeed, stamping upon the corpse of Bhairava, or wearing parts of his dismembered body for her ornaments (ibitl.: 674-75). 61 The Vidyipitha perceived itself as related but superior to the mantrapitha, just as the Buddhist yoginitantras perceived themselves as related but superior to the yogottaratantras. It is from the Vidyipitha 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 examples. First, the Buddhist tantra borrows on the textual level. One way it does this is to draw on Saiva scriptural tides, with litde or no adaptation to the new Buddhist context. For example, the Buddhist title Yoginisa,caratantra points directly to the Saiva chapter tide Yoginisa1J1Cilra (in the Kali-ccntered jayaJrathayamalatantra). Another Buddhist tantra title, SarvabuJJhasamliyogiUja/tiT}ijlllasa1J1vara, is closely influenced by the titles of two Saiva works, the Sarvavirasamayoga and the YoginijaWa,vara, while the Buddhist HnJajratjakinijalasa,.vara again draws on the Saiva tide Yoginijalala'!'vara. As well as relying on Saiva nomenclature, great portions of text are drawn wholesale from Saiva sources. For example, Sanderson (ibitl., especially 2001b) has shown that the root Cakrasaqtvara scripture draws directly on Saiva sources in the chapter teaching how to identify and distinguish members of the various families; thus the LaghulaTf'varatllntra (ch. 19) describes the characteristics of a class of yoginis known as "lamas" by drawing directly on the Saiva SU/dhayogdvarimata (ch. 29), and on the same theme the root text (chs. 15-17) draws directly from the third ~!ka of the ]ayaJrathayamalatantra ( Yoginisa,cara section, the Samayacaract!!llvidhana pa!fl/a, vv. 116-48); it also incorporates portions from Trika texts such as the Niiisa1J1Cilra and the Tantrasatibhava. The so-called explanatory tantra to the root text, the Abhidhanottaratantra (ch. 43), has drawn
THE CULT OF VAJRAYOGJNi IN INDIA
39
directly on the Picumtlta-Brahmayamallltantra (ch. 85) for the rules (sanuzyas) that bind initiates; the Sa'!'varodayat4ntra (ch. 15) draws also upon the Picumtltll (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 ... " (athlitllb Sll'!'prava/qytimi... ). In these ways, the Saiva texts serve not just to provide concrete materials on various topics, but become structural models for the new Buddhist compositions. This affected even the most unique element of any tantric practice, the mantra, which may not only be written down according to Saiva conventions for preserving mantras intact, but are themselves in the style of the Saiva vidyapiPta (ibiJ. 2.001b: n. 52.). A dear example of Buddhist recycling and adaptation of a Saiva mantra is found in the Guhyavajravi/asiniSillihaNl (GSSxo) discussed below. Second, the Buddhist tantras have taken their wrathful and erotic orientation 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 PuriQas), the original skull observance (luipllillvratam), or "great observance" (mllhavratam), 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 (brahmllhatyd). He is then forced to undergo a period of extreme penance in which he lives in exile from society, 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 (lulpti/am)and skull staff (ltha!Jidnga/1)when begging food. Manu, for example, 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. Donigcr 1991). The mythical role model of the penance of Rudra became the direct inspiration for early ascetic cults in the atimd1f4 ("outer path") stream ofSaivism, such as the Pasupatas (dating from the second century) and in particular their more extreme offshoot, the Ukulas (Sanderson 1988: 664-66). I...akula ascetics adopted the outer appearance and behavior of Rudra as part of a progressive series of practices aimed at complete immersion in the god. Skull
VAJRAYOGINi
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 (bhogaf,l). They wore bone ornaments and carried the skull staff of ltaptililta observance, but modeled themselves instead upon terrifying cremation-ground ectypes of Siva, whom they worshiped with impure substances such as alcohol, blood, and sexual Auids obtained from intercourse with a consort in orgiastic rites (ibid: 667-71). 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 (vajraltapalilttuarydvratam). 62 As in the Saiva tradition, this was based on the practitioner's inner identification with his chosen deity and involved worship 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 Cakrasarpvara. 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 Vajravarahi. While the Buddhist observance, like the Saiva counterpart, also brings the promise of supernatural attainment (sitJJhi~). the goal is ultimately that of enlightenment. Another feature of the Vajrayogini cult that owes its origin to nondualistic Saiva developments is its emphasis on the worship of female deities. In the vidyapi!ha traditions of Saivism, the cremation-ground cults center on families of"mothers" (seep. 43): classes of wild yoginis who drink blood, wear skull ornaments, and arc enticed by impure offerings of bodily and sexual excretions (Sanderson 1988: 67off.). In this context, the central goddesses of the T rika rise above their male consorts in status to become the chief deities of the m~Qala, while esoteric forms of Kili emerge entirely from the embrace of their consorts. As a sign of her supremacy, Kili subjugates her former consort by trampling him underfoot. We will see Vajrayogini and Vajravarahi 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 tum, 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 dearly expresses the Buddhist superiority over those norms.
THE CULT OF VAJRAYOGINIIN INDIA
Transgressive Discipline (vamacarab) As in the esoteric Saiva systems, JuipaJilta and sexual practices in the Buddhist tantras arc 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, lulplililtll practices radically challenge the unenlightened 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"transgrcssive discipline" or "conduct of the left" (vlimlkdrfl/1). The "left" (vtitnll) in vtimaclirll 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 rely on the use of the right hand to maintain purity. Use of the left hand, especially within a ritual context, was &om 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 possible, embracing deeply felt taboos and relishing contact with sources of the greatest impurity. Thus, by taking place in cremation grounds, and requiring ornaments of hWIWl bone, lttipdlilt4 observances place the practitioner in contact with that gravest source of impurity: death. Many highest tantric rites also involve the use of impure substances such as alcohol and bodily fluids, either for drinking or for washing. Sexual regulations, traditionally essential to the preservation of class and caste structures, are also ovenumed. Texts that prescribe sexual yogic practices often recommend the usc of consorts &om the most taboo groups such as close relatives, or untouchable and contaminated classes--a fact reflected in the names of goddess consorts such as Sttr~!'#ni. a female &om the liquor-selling caste (GSSn v. 51i). The ideal consort is erotically provocative. Abhayakaragupta states that, if possible, a consort should be young and beautiful, as well as an initiate (s111Nl]ini; lit: "holder of the pledge"). 6 } Sanderson (1995) has commented on the difference between the two tanuic 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 intemalising the image of Saivism, the Buddhist has exaggerated it." Transgressive discipline is central to the practices and iconography
VAJRAYOGINi
ofVajrayogini. 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 prescriptions that strictly separate intercourse and menstruation (e.g., Manu, 4·4
THE CULT OF VAJRAYOGINIIN 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 "assemblies of the net of yoginis" (yoginijti/asa'!'varaib).
Th~ Emergmc~ ofVajrayogini
These developments in the nondual Saiva and highest Buddhist tantras provided the fenile 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 4aJclnis and other classes of demonic female (which in Saivism included Jaltinis, yaltfi'.'is, and rtllt,asis)."" Qakinis are protean, flying, witchlike beings. 67 Their association with tantric practice had been longstandingSircar (1948: 105), for example, cites an early fifth-century VaifJ.tava inscription in a temple in Mandasor that describes "a terrible abode, full of 4akinis." 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 (yoginiga!Jilb), sharing with him their miraculous powers and esoteric knowledge." Although the goddesses generally inhabited the power seats (pi!hiiS) associated with the cremation grounds, they were also believed to possess women "and thereby to enter into the most intimate contact with their devotees" (ibitJ.). Human or divine, Saktis were divided into recognizable classes and families, the predominant being those of the eight families of the "mothers· (wuitrlmatrltti), namely Brihmi (or BrahnW:]i), Rudril}i (or MaheSvari), Kaumiri, Vai~J.tavi, Vmhi, Indril}i (or Aindri), QmUJ.t4a, and Mahal~mi (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, oonfronted a whole assembly of Qakini 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: 18o-83). In oommon with the Saiva ldltt4 traditions, female spirits were panicularly associated with the semimythical OqQiyana, a place name traditionally related
VAJRAYOGINi
to the word tjaltini, and thus to flight. 61 0QQiyina is described in the Ugnuls as a kingdom divided into two halves, Sambhala and Lankapuri, each having two hundred and fifty thousand towns. King Indrabhiiti ruled Sambhala, while Lankapuri was under the dominion ofKingjalendra who married lndrabhiiti's sister, Lalqmitikara. As for its geographical location, on the authority of the Buddha himself (as reponed in the Blue AnNlls: 361), the kingdom oflndrabhiiti is located "in the nonhem quaner, in sri Vajrasthana 044iyana. "69 According to the legendary tales, Qakinis make many magical appearances in 04Qiyana. In one version of G~{ipada' s life, the adept travels to this land through divine inteiVention, 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 ponions of the redaction from Saiva sources in the Cakra.satpvara corpus concern the signs by which adepts may recognize and communicate with females belonging to one or other of the yogini or Qakini families. 70 Because the vajra family is that to which the heruka forms of the yoginitantr.IS belong, the human consons of the vajra class were panicularly valued. The HnJajrauntra (HT1.6.8--9) recommends a girl from the vajra family (vajralutnya) as the ideal conson (failing which, the text adds, one may be taken from the family of one's chosen deity, or from some other family). The way in which Buddhist yoginis are differentiated from female spirits of other tantric systems is by the characteristic tag vajra, the distinguishing mark of nondual Vajrayana Buddhism. They thus become known as vajra-yoginis and vajra-4akinis. A commentarial text in the GuhyaSil1114JilSiidhanamii/4 opens by explaining the word vajra in vajrllJOfini in just these terms: "[The word] vajra selVes to exclude (niraltarll1J4m) the yoginis of the heretics and so fonh. "71 The term vajrayogini 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. "~2 That she, too, has a generic quality emerges from the texts of the Guhyasllm4JilSdtihanamal4. The great majority of sadhanas begin with a salutation to Vajrayogini, or name Vajrayogini in a bencdiaory verse or introductory statement. However, less than a third of the forms subsequently described in the visualization are actually named "Vajrayogini." We will see that most receive a different appellation and prove to be iconographically distinct.
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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, centering on female figures drawn from both exoteric and esoteric traditions. Some had been imponant female buddhas or bodhisattvas in their own right, or had appeared as relatively minor goddesses in their JJW]4aias 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 maJ]4aias, 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 tantricoften 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 ofVajrayogini. A plethora of tantric forms, for example, center on the well-known figure ofTara, and these in themselves provide ample evidence for the abundance 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 oflengthy sadhanas (e.g., SM93-97), including one by Ratnakara$anti (SMuo) who has a number different forms. Another is }anguli (SMu7-22), famous for protecting from snakebite (e.g., SMu8 p. 247) and invoked during the construction of monasteries (Tanemura 2002: 67 n. 1), perhaps for this reason. Yet another is Ugratara or "Fierce Tara" (also known as Tara of "Great China," Mahacinatara SM1oo-102), whom we have already noted shares a temple with Vajrayogini 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 subjugation, characteristics we will also see among the forms ofVajrayogini. Two of Tara's former attendants (in her peacdUI KhadiraVat]i-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 StidhaMTNIIti (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 visualization of a classic two-armed form ofVajrayogini at one's heart-red, fierce,
VAJRAYOGINi
and dancing in the arJhaparyanlta pose (SM123 p. 259). Of even more obvious significance to the cult ofVajravirihi is the goddess Manci who has sixteen sadhanas in the SdtihaMmald (SM132-47), and one in the Nifpan1Ul]Ogtlvali (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 V airocana, 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 frcquendy compared to Siirya, the Indian sun god, whose chariot 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: iiiltarariipa-). She also has four attendants who arc all hog-headed, one of whom is called "Hog-Face," Varahamukhi. The terrifying presence of the hog's head, in both cases, docs not preclude the goddess' association with erotic forms of practice. Marici's attributes include a branch of an ASoka tree, as wdl 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 possessions), 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 rna). She has a single hog's head and four arms, identical, in fact, to our hog-headed, four-armed form of Vajravarahi called Vajraghof)a, 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 bearing strong resemblances to that ofVajrayogini. 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 mal)c.lala based on Hevajra lines, as a handful of sadhanas in the Slidhanamald and Nqpannayogavali testify. 74 Her form, while blue in color and without a hog's head, is very similar to that of the artlhaparyanlta Vajravarahi. A wonderful illustration of a blue Qakini in this pose is the early thangka from Khara Khoto in plate 3 {Nairatmya has the blue, earth-touching Buddha.Alqobhya on her headdress, indicating that she belongs to the vajra f.unily). Vajra-
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47
yogini also has connections with another Alqobhya-&mily heruka, called Mahimiyi. The tradition ofMahimayi emphasizes the tran.scmdence 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 guhyaltas ... His conson is Buddha4akini-"c;takini of the Buddha(s)"-and he is worshiped in embrace with her at the center of a ~Qala of four 4akinis (who also appear elsewhere within a maJ}qaia of a wrathful black form of Vajravirihi).rs Vajrayogini herself appears in one instance as Buddha4ilini within the Trikaya Vajrayogini sadhanas, and her main mantra includes the invocation of the mantra deity, Sarvabud~. This epithet is in itself telling. While it is not the name of any independent form ofVajrayogini, according to the Indian sources I have seen, it dearly asserts that-at least within the Vajrayogini cult-Vajrayogini is understood to be the "c;takini of all buddhas,; that is, she is the supreme manifestation of a Buddhist Qakini, the preeminent vajra-yogini, and the summation of all tantric female deities.
Tht Emngmct ofVajravarahi The most common form of Vajrayogini in the Guhyas~ZTN~yasdJhaMm414 is Vajravarahi. Hailed as Vajrayogini in the salutation of most of the Vajravarahi sadhanas, Vajravarahi is regarded as essentially the same as Vajrayogini; that is, as a vajra-yogini: "from inside that [Jharmod4ya] arises the goddess Varahi who is Vajrayogini [or: Varahi who is a vajra-yogini]."76 Vajravarahi's name means "vajra-hog" (varahfl/1 is a hog or boar), or "Buddhist,-Varahi. Her origins lie in the brahmanical goddess, Varahi, who was widely worshiped as one of the seven or eight mothers (mdtr/tlis); indeed, she is still worshiped as such in Nepal, although dearly distinguished from the Buddhist goddess, Vajravarahi (Gellner 1992:96, Bautze-Picron 2000). Usually portrayed with the single face of a hog or a boar, the brahmanical Varahi is the female countcrpan ofVaraha, Vi~~lU's avatara as a boar. She is often four-armed, holding hook or goad (left), noose (right), and hammer or mace and spear, and she is pot-bellied, fierce and powerful, invoked to destroy enemies (Biihnemann 2oooi: 12e>-21; Donaldson 1995: 158ff.). The Buddhist deity inherits her wrathful character and, just as Varahi with her gruesome head, is intended to inspire terror in her enemies, so Vajravarahi's character is fierce and wrathful. Like Varahi, Vajravarahi does not always appear with a hog's head, but
VAJRAYOGINi
in one of the commonest forms of Vajravarahi, a snarling hog's head attached sideways to the right of her head can be seen. Fearsome animalheaded forms are traditionally associated with protection, and this seems to be the purpose of the characteristic hog's head in Vajravarahi's iconography. 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 (moha/J), and Tibetan literature reads Vajravarahi'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 yoginitype mat:t9ala who is said to have the face of the "primal boar" (i.e., Vi~~u as Varaha) with a "deluding gaze." Even here, however, the text's emphasis is upon her wrathful character.n Wrathful tantric deities are said to be "fearful to fear itselr'-or "dangerous to danger itself" (e.g., HT2.5.8: bhayasyapi bhayanaka'!'}-and thus their wrath is understood to be an expression of their great compassion. Vajravarahi, in common with other tantric deities, is described as "terrifying (bhqa!ld) with anger [which is in fact displayed out of] compassion (karu,_,altrodha). "71 The hog-faced goddess seems to have entered Buddhist scripture in the yogatantras. In the Sarvatathtigatatattvasa'!'graha (ch. 6: 6o), Varahi is named as one of the Saiva all-mothers (sarvamdtfs) located in the hell regions, who upon her conversion to the Buddhist ~9ala by Vajrap3r)i assumes the name Vajramukhi ("Vajra Face"). In the yoginitantras, a hogfaced goddess "Varahi" appears in Heruka m~9alas as one of many attendant goddesses, such as those surrounding the Yamiri forms in the K.T!'.'IlJamtiritantra 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 associated with protection (Biihnemann op. cit.: 152-54). Vajravarahi assumes greater importance in the m~9alas when she becomes the conson of the central Heruka manifestation; and in this role, her iconography changes. She appears in the Hroajratantra at the end of its proto-sadhana (HT1.3) as the "wisdom" (prajna)conson of an alternative form ofHevajra 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 alternative conson to Hevajra in a couple of mat:t9alas in the Nifpannayogtivali.., But Vajravarahi really takes center stage within the Heruka ~9alas only when she is taken up as conson to Cakrasarpvara. The tantric systems cen-
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tered on Cakras31!1vara worship him as a blue, Heruka, Bhairava-typc deity with twelve arms, who holds Vajravarahi in embrace (plate u). 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. Vajravarahi remains the consort of Cakrasaqtvara when he manifests in other guises, such as the form ofVajrasattva-Jfianac:{aka at the center of the $1ltcaltravartimaruf,a/a from the Abhial11i110ttllratantra, in which the central couple is surrounded by five Qaka-buddhas. Here she is named variously jfiana<Jakini, jfianadhatvi$vari, or Vajravarahi (Nqpannayogavali: 79). Her iconographic form tends to change in response to the form assumed by Cakrasarpvara. For example, when she appears as consort of the six-armed Sap~ra manifestation of Cakrasarpvara, she likewise has six arms and nearly identical attributes, except that she holds a bow and arrow where Cakras31!1vara holds a flayed human skin (SM251: 491). In yet another tantric tradition, Vajravarahi is consort to the Heruka form of Hayagriva. As the yogini cults took root, Vajravarahi becomes the leader of the mat]~a in her own right. Our survey of Olal)~as in the Guhyasa1111lyasa4htuutmalli shows her to be the central deity, both in embrace with Cakrasaqtvara, and more commonly as a "solitary heroine" (tkavird)without any consort. Here we find that Vajravarahi is capable of manifesting a number of different forms, and that she assumes something of the generic quality associated with Vajrayogini. In Vijayavajra's Vajrayoginisdtihana (GSS35), for example, Vajravarahi is the subject of the salutation, while Vajrayogini is actually the deity of the visualization. Elsewhere, a commentator states that all Qikinis are born in the Varahi f.unily. 110 Despite the richness of its iconography, the Guhyasamll]asdtihanamli/4 is by no means exhaustive, and there were doubdess many variations ofVajravarahi in other works of tantric literature and art. (For example, an eighteenth-century Nepalese tangka shows a rare image ofVajravarahi 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 Vajravarahi is that described in the Vlljravdrdhi Sdtihana by Umapatideva (GSSu), the subject of our study in chapter 3· This sadhana centers on the warrior-stance form of Vajravarahi 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 RW]4ala.
so Dancing-Pos~
VAJRAYOGINI
(ardhaparyanlta) Vajravarahi
One of the main manifestations ofVajrayogini is as Vajravarahi 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 tti!Vfava dance of Siva at the end of the aeon. Dance (nli.tyam) plays a large part within classical Indian notions of dramatic an, and Buddhist tantric deities (following Saiva norms) arc often said to be equipped with the nine dramatic sentiments (rasta).•• Vajravarahi appears with this form in the two opening sadhanas of the GuhyasamayastitihaMmdlti. in two very similar texts, both ascribed to key tantric authorities. The Oral Tratiition ofVajrll]Ogini ( Vajrayoginimukhiigama GSS1) is ascribed to Indrabhuti (and elsewhere to Sahara, sec appendix), and the VajrayoginisiiJhana (GSS2) to Liiyipada. Drawing on this older material, the Abhisamayamafijari (GSS5 Sed p. 152, K37lJ) also includes the form, as do two of the self-consecration (wtitihif!hilM) sadhanas (GSSj2 Kio6n, GSS34 KII2r6).'2 In the West, the dancing image is perhaps the best known iconographical form ofVajravarahi. In filet, B. Bhattacharyya (I924II98s:Is6) was so misled by its prevalence as to state that Vajravarahi and Vajrayogini arc separate goddesses with individual stances: the ardhaparyanka pose for Vajravarahi, and the warrior (a/it!ha!1) stance for Vajrayogini-although the GuhyasamayastitihaMmiilti sadhanas clearly show that both poses arc used for both deities (and that the distinction between the two forms is anyway not so simple). Rather confusingly, von Schroeder invents the designation, "Va$ya Vajravarahf' for ardhaparyanka forms of Vajravarahi holding the chopper, although this is without any valid textual basis.13 Examples of the dancing Vajravarahi arc reproduced here in plates 1, 4, and 8, and others arc published elsewhere... 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 brgJa rtsa (Willson and Brauen 2000: 257-58, 259). The first is the "two-faced Vajravarahi in the dPyal tradition., (rDo rj~ phag mo zhal gnyis ma dpyallug.s) whose right hand holds the chopper facing outward;•~ the second is the form of Vajravarahi associated with Indrabhuti, "[two-]faced Varahi, Indra[bhuti]'s Qakini" (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 cJakinis (mKha • spyod skor g.sum = kh~cari cyck) comprising the forms of Vajrayogini associated with Naropa, Maitripa, and lndrabhuti. 16 Both forms of the
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51
dancing Vajravar.ihi are said in the Tibetan sadhanas to be presided over by Alqobhya.
Fig. 3· lndratjaltini Mongolian woodblock print (IWS/T 79, LC 589)
It is this form ofVajravarahi that demonstrates her name, "Vajra Hog" or "Vajra Boar," since her distinguishing fearure is the small hog's or boar's face that pro tudes 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 (mudras; see ch. 3). Here (in GSSt=GSS2) she wears five mudras: a chaplet, earrings, necklace, armlets, and girdle, all of bone found in a cremation ground. As leader of a maJ.lc:Wa (in GSS34), she wears the sixth mudra also from a cremation ground: ash. There is no mention of a skull staff or corpse throne in any of the Guhyasamayasadhanama/a sources-although these do appear in some artistic representations of the goddess.~.. 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 ovenly erotic. She is red like the China rose, "lovely with fresh youth," and with "charming plump arms and feet. "lt'l 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. "'10 This visualization is externalized in a rite prescribed by Indrabhuti (GSSt K8ors) 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" (Nlndyllvartll/J). makes both traditional and transgressive offerings, and then performs the worship of a young virgin (ltumdri), the ltumdripiijd. The only other prescription in this text is that the rite is to be conducted on parvan days, here the tenth day of the lunar month."' Another text in the Guhyasamayasddhaflllmd/4 (GSS33) adds that the worship of the ltumtiri may be performed either "internally" (imaginatively) or externally:"2 On the tenth or eighth night of the light or dark [phase of the moon], he should always worship a virgin (ltumdri1J1), imagined to be [Vajrayogini under the synonym] Suruyogini. Internally (svdnttzr) he should worship her at his side, externally (b~) [he should worship her] at the center within a maJ}4a}a (cakra-)drawn [on the ground]. [He should worship her] according to the pledge (-sa1Jlvart) of the Cakrasarpvara [maJ}cJala of] heroes and heroines. He should worship [her] with whatever foods and ddicacies [he can], also with [edibles] of the best to be licked and sucked. The goddess's main mantra-the utterance" mantra (japamantra/1} or root mantra (miiiAmantra/1)--is a combination of the main mantras for the warrior-stance Vajravarahi (p. 179). Thus it includes the name elements Vajravairocani (from the bean mantra) and Sarvabuddha4aJcini and Vajravar~ani (from the auxiliary bean mantra): 01Jl 01Jl 01Jl
saroabuJdhatjdltiniyt vajravll'?'!"l"iJt vajrabairocaniyt hu1J1 hu1J1 hu1J1 pha! pha! pha! 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" (uJJharafJ) of each of its syllables. 9 j This method is adopted by our two opening sadhanas, and accredited to a scriptural source, the Sa1Jlvard'!J'Watantra. The text first describes the drawing of a prastdra, or "spread"; this is a diagram 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 thineen, which forms the shape of an inverted triangle (as shown in table 4). The text
THE CULT OF VAJRAYOGINIIN INDIA
53
explains that the letters of the alphabet are to be written into each cell. Thus, we find that the prastlira echoes the visualization of the mantra described above, as it takes the invencd triangular "E" shape of the Jharmouyi, 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" (m411trot1Jhllra[1). 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 1' ("o"), which he must "adorn" with a dot 0 within a semicircle "" to form the nasal ending, thus producing~ (o1fl}, the first syllable of the mantra; he should do this three rimes. Continuing in this way, the tat explains how to "extraa" the whole mantra from the diagram: 94 Funher, I shall teach the performance of the supreme rite of the extraction of mantras (ma11troJJhllra-). The lovely triangular mai}Qala is produced from the vajrllra/li known as the origin of existents (Jiuzrmotiayll), also as the woman's sex. On it he should write in sequence the eight sound-groups ( va7gas) according to their division into vowels and consonants. The arrangement of the cells (lto!tha/J) [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).9S 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 direction, as described in the Sa1J1varli'!"lvatll11trll. [fhe method of exrraaing the mantra is as follows:] He should form the letter above tha "three times" (trigu!Jitllm), adorned with dot and semicircle [i.e., 01JI 01JI 01fl], etc. The mantra as cxtraaed: 01JI 01fl 01fl
GSS mantra: 01fl 01JI 01fl
S11rv11~i11~ bajraVII'!'!'/111~
sarvabuJJhlll/4lti11~
bajrabairoc1111~96
vajravairoc1111~
vajrav11'!'411iy~
hu'!' hu'!' hu1fl
hu'!' hu'!' hu'!'
phat pha! phat svllhll
pha! phat pha! svllhll
VAJRAYOGINi
Table 4- Root mantra ofVajrayogini (The key for the extraction of the mantra ofVajrayogini)
Twelve-Armed Vajravariihi in Dancing Pose Another dancing, half-paryanka pose form of Vajravarahi appears in the
Sadhana of th~ Tw~lv~-Arm~J Vajravlirahi (Dvtli14JabhujavajravarahiSiiJhana GSS7), redacted from the Vartihyabhyutiayatantra/AbhiJhanottaratantra (see the appendix). This solitary heroine is modeled upon twelve-armed Cakrasaqtvara and occupies the center of a rrw:t9ala also based upon a Cakrasarpvara model. '17 As may be expected, twelve-armed Vajravarihi takes on many of the iconographical features of her former consort (plate u).91 There are, however, notable differences. Discarding Cakrasarpvara's ax and skull bowl, she makes the flame mudra (jva/amutira) at her forehead; she holds the vajra and bell in the gesture of embrace, revolving them in the "lotus-turning" gesture (kama/avartamutira). and also replaces his trident with a hook or
THE CULT OF VAJRAYOGINIIN INDIA
55
goad (anltufa/Jivajriinlruiab). Her four faces, like his, take on the colors associated 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 (arJhaniiriJvari).?? Upon her headdress she wears Cakrasalpvara's distinguishing sickle moon, and a double vajra at the center of the chaplet of skulls and vajras. In keeping with her position as leader of the mal)<;iala, she wears all six signs of observance (mudriis). 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· T~lw-arrNd Vajraviiriihi Drawn according to the Sanskrit text by Dharmaciri Aloka
Tables. Attribuus ofTwtlvt-armtd Vajraviiriihi Vajravarahi
Cakrasarpvara L~ft
Right
Elephant skin
Elephant skin
Human skin
Human skin
2nd pair
Vajra
BcU
Vajra
Bell
3rd pair
Drum
Staff
Drum
Skull and staff?
Skull-bowl
Flame gesture
Flame gesture
Hands
Right
1st pair
----~~-------------------------
__!_~pair
5th pair
Chopper
6th pair
Trident
---'-----
Noo~ ·--------~!t__oppe~--~--~0<>_~- ____ _ Brahma's head
Hook
Brahma's head
VAJRAYOGINi
Having visualized himself as twelve-armed Vajravarahi, the yogin then generates her m~4ala. This contains forty-one goddesses, the same deities as those in the thirty-seven-fold m~4a}a, but with the addition of the four mothers, Mamaki, Locana, P~4ar;lvasini, and Tara. A Tibetan painting of the maQ4a}a, based upon the Varahyabhyudayatantra (though with some variations in the artistic depiction of the deities), is shown in plate 13. Because the text of GSS7 is both cunailed and corrupt (sec appendix), I draw upon the Abhidhtinottllratantra and the reconstructed text of the Varahyabhyutlayatantra (vv. ss-8s} in the following summary of the practice. On the four petals surrounding the central deity, the practitioner visualizes the goddcsses-l)akini, etc.-but with fierce, thcrianthropic forms. l)akini (on the eastern petal} has a lion's face, Lama (north) the face of a hog, Khal)4aroha (west}, that of an elephant, and Rupil)i (south), that of a horse. These goddesses are protean (vifvariipi!'i-) ltapalilta deities, with three eyes and loose hair, and are seen naked, dancing in the artihaparyanlta 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." (boJhicittliJi-
bhajamzm). Around the centrallorw in the cardinal directions arc four multicolored lotuses. Upon these reside the four mothers: Mamaki, Locana, Tara, and P~cJaravasini. Mamaki, on the eastern lotus, is the presiding lady (ltuldvari) of the vajra (Alqobhya) 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 arc red, yellow, and green. Par]4ar;lvasini, to the south, is leader of the sasvata (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 (cihmzm) of their family: the vajra, double vajra, red lotus, and wheel respectively. These emblems arc probably clasped to their hearts, above a skull bowl held in the opposite hand. In another pair of hands they hold a head and either a 4amaru 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 arc c:xacdy those of the wheels of body, speech, and mind in the thirty-seven-deity maQ4ala ofVajravarahi (as described in the Vajravartihi SaJhan~~). Just as in that visualization, the goddesses arc understood to reside in the sacred sites (pithas), so here the six petals of each lotus arc to be understood to be those twenty-four sites. The practioncr is to install (nyas~t) each goddess upon each petal in tum. Assuming this visualization proceeds counterclockwise (sec 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 luipalilttl iconography as they dance, naked but for the 6vc mudris, upon the backs of corpses. Like their I'IW}4ala leader, they arc also "half-male, half-female" (arJhan~~rilvllri). 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 4amaru and their familial attribute. The visualization of this pan of the maJ)4aJa is only complete when the meditator 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 comers") a double vajra. The central lotus is also surrounded by its own ring, here of vajras, and this whole pan of the I'IW}4ala (the central lotus plus the four surrounding lotuses) arc 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 rnaJ)4aJa are similar in type. They are also bitonal: Kakasya, black and red; Uliikasya, green and red; Svanasyi, yellow and grey; and Siikarisya, green and blue. In addition to the usualltapaliltll iconography, they are to be visualized as "dwarfish in shape and squint-eyed" {1(42r6; vtlmllndlttlrti/Jit~lttlrtil ca; cf. VarahytzbhyuJitJiltllntrll v. 74C). In the corners of the outer maJ]Qala stand YamadaQhi, Yamadiiti, YamadarpftriJ].i, and Yamamathani, but assuming terrible animal-headed forms of the buffalo, ass, camd, and horse respectively. All the outer deities widd skull bowls and the heads of Brahma (left) and choppers and 4amarus (right), with staves tucked into the crooks of the left arms. The rites and meditations that follow arc very similar to those described for the thirty-seven-deity maQ.4ala in the Vajr~tvtirtihi SaJh111Ul. Thus, having completed the visualization of the mat]Qala, the yogin imagines
VAJRAYOGINi
himself worshiping all the deities with the traditional (nonesoteric) offerings. He also contemplates the mar;t9ala as his own body, using the same sets of correlations for the body mar;t9ala as described in chapter 3 below. Our text expands the viiuddhis to include the elements (dhatus), skandhas, and sense organs and fields (ayatanas), which introduces male deities into the contemplation (see table 9), while the Abhidhiinottaratantra!Varahyabhyudayatantra also adds the equation of the mind with ~obhyavajra, speech with Amitabhavajra, and body with Vairocana. The Varahyabhyudayatantra 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 mat:l9ala. It also adds the contemplation of the mar;t9ala as the thirty-seven bodhiptik!ikadharmas. All these are as described below in the Vajravarahi Sadhana (§22ff.). Fig. 5· Varahyabhyudaya matufala
EAST
THE CULT OF VAJRAYOGINi IN INDIA
59
Vajravirihyabhyudltya ma'.'f!tJ4 /tty Cmtrtd Lotus I.
Twelve-armed Vajravarahi
Cardiul Pdllls 2.
~ni
(lion-faced)
3· Limi (hog-&ccd)
+
Kh~9aroha (dcphant-faccd) S· Rupil}i (horse-faced)
Lotusn in CtmiiNd Dir«tions 6. Mamaki (East) 7. Praca1]4i in Pulliramalaya 8. Cal}4alqi in Jalandhara 9· Prabhavari in 09Qiyana 10. Mahinisi in Arbuda 11. Viramati in Godavari 12. Kharvari in RamcSva.ra 13. Locana (Nonh) 14. Lankdvari in Dcvikota IS. Drumacchayi in Milava 16. Airavati in Kimariipa 17. Mahabhairava in 09ra 18. Viyuvegi in TriSakuni 19. Surabhalqi in KoSala
20.
Tara (Wcsr) 21.
22.
Syama(dcvi) in Kalinga Subhadra in Lampika
23. Ha~ in Kalici 24· Khaganana in Himalaya 25. Cakravegi in Pretapuri
26. Khal}4ar'oha in Grhadevati 27.
Pindaravasini (South) 28 .• SaUI}4ini in Sa~!ra 29. Cakravarmil}i in SUYarl)advipa 30. Suvira in Nagara 31. Mahabala in Sindhu 32. Cakravartini in Maru 33· Mahaviryi in Kulati
Ouur Mil~ (g~~tn)
Ouur Mil~ (cornns)
34· K.ikisyi (crow-&ccd) 3S· Uliikasya (owl-b.ccd)
38. 39· 40. 41·
36.
Svanasya (dog-&ccd)
37. Siikarisyi (hog-&ccd)
Yamada4hi Yamaduri YamadaJN!ril}i Yamamathani
6o
VAJRAYOGINi
Six-Armed Vajravarahi with Consort In one sadhana of the Guhyma1flllY'lS4Jhanam4/4. Vajravarahi is visualized in union with Cakrasaqwara, but as the main deity of a thineenfold ma.QQala. This is "Red Vajravirahi" of the R4ktavajravartihisddhana (GSS6), another work in the collection to be redacted from the Abhidhanottaratantra (pafala 33/35, see the appendix). 102 Iconographically the sadhana is interesting, as it reverses the usual conventions for deities in union, and dearly states that it is Vajravarahi-the female partner-who sits in the meditation posture holding her conson in the gesture of embrace. The text reads as follows: 103 And now I will teach the supreme sadhana of [Vajra-]varahi: Through the practice of the generation stage (utpattiltramayognuz). [the practitioner] should visualize, as himself, a body that is as bright as twelve suns, [red] like vermilion powder, [and red] like the bantlhulta flower and the China rose. [Vajravarahi should be visualized] with three heads and six arms. [She should be seen] replete with all [the bone] ornaments, sitting firmly (su-) in the
sattvaparyanlta [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 conson's back], pressed against by the [kiss of the] lower [lip] of her conson. [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 drawing 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 &cing 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. lo-4
THE CULT OF VAJRAYOGINIIN INDIA
61
Fig. 6. Six-amud Vajravarahi
with consort Drawn according to the Sanskrit text by Dharmaciri Atoka
O'!l irivajravarahi afJ va'!l hii'!l hii'!l phaf svaha The mal)9ala is of a very different type from those discussed earlier. Eight retinue goddesses (Vajraguhyottama, etc.) are installed around Vajravarahi and her conson on the eight petals of the central lotus; the cardinal goddesses counterclockwise, and the intermediate goddesses clockwise (K39v2-6). Each is seated upon a corpse throne, with a male conson who holds them in the gesture of embrace with a vajra and bell. They are visualized 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 goddesses (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 maJ)Qala 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 attraction, indicate the erotic mode of the sadhana. There is no mention of wrathful 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 maJ)c;lala deities. Red Vajravarahi's mantra is unusual in that it includes the vocative of the single mantra deity, Vajravarahi (o'!l irivajravarahi lip va'!l hii'!l hii'!l phaf svaha). The mantras of the retinue follow suit, with the name of each goddess insened between a string of mantra syllables; these include jafJ hii'!l va'!l hop. syllables notable for their power to attract. 10~
VAJRAYOGINi
Fig. 7· Marztjala ofsix-armtd Vajravlirahi with consort
EAST
Cmtral lotus 1.
Six-armed Vajravarahi with consort
Cardinal pttals Vajraguhyottama Vajrasamayonama 4· Vajratejottama s. Vajraratnottama 2.
3·
lnttrmtdiatt pttals Vajrajfianottama 7· Vajravidyouama 8. Vajrasiddhouama 9· Vajrabhasmottama
6.
Outtr maru:fa/4 (gaus)
Vajrajvalottama Vajramrronama 12. Vajrakrodhottama 13. Vajradal'flnronama
10. 11.
Six-Armed Vajratjakini Vajravtirtihi in Warrior Stance A six-armed form of Vajravarahi in warrior stance is described a couple of times in the Guhyasamayasiidhanamtilti. On one occasion, "Virahi" is to be
THE CULT OF VAJRAYOGINIIN INDIA
visualized as an armor goddesss within the armoring section of the Abhisamayamanjari (GSSs K2tvs, sec: 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 tht
Thirumfold Vajratjdltini Vajravarahi ( Trayodmatmiltavajratjdltinivajravarahistidhana GSS16). Here it seems that the armor goddess has developed into a "terrible leader, thirteenfold in nature. " 106 Following the preparations for the sadhana, VajracPkini Vajravarahi is self-generated from Vll'!l through the series of awakenings; she is self-visualized in a form that is both luipalika in character, and passionate.
Fig. 8. Six-armtd
Vajrat/tikini Vajravarahi. Drawn according to the Sanskrit text by Dharnmaciri Atoka.
Cf p/att roa. D'!l vajravairocaniyt hu'!l hu'!l phaf svaha 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 Sarnbhu and camul)4a). Her erotic nature is evident in her red color, her slim waist and firm breasts, and her fanged face, which is only "slightly snarling" (i!add4'!lf.trliltaralini'!l). 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. 10 ~ The source for this sadhana is once again the Abhidhanottaratantra. tot!
VAJRAYOGINI
VajraQakini 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 Vtt7JI· He then emanates a thirteenfold maQ9ala from the thirteen syllables of Vajravarahi's mantra: O'!' va-jra-vai-ro-ca-ni-y~ hu'!' hu'!' phat wd-hd. IO'J Having created the maQ9ala in this way, he begins to generate the iconographic form of Vajravarahi through the five awakenings, with a vajra empowered by the syllable va'!' at her heart. Rays issue from this va,., and through them the surrounding syllables of the maQ9ala are "urged" or "impelled" (K77 v.6: sa,.codita-) to transform into the 9ikinis of the maQ9ala retinue. The names of these 9akinis reflect their mantric origins, thus the syllable O'fl gives rise to Pra!Javavajra4akini (pra!Javd = o'!'), the syllable va'!', to V~avavajra9ikini, the syllable ja'!' to jramitavajra9akini, and so on (see fig. 9). The stages of this fairly complex sadhana, and the subsequent rituals, arc summarized in the appendix. The maQ9ala retinue is described in some detail (GSS16 K78n-79n). It begins first of all with the four 4aJcinis 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 ardhaparyanlta pose, naked with loose hair, their bodies sensuous, "with full breasts, celestial forms, captivating, their faces [only] a litde furrowed, [and] amorous with [their] sidelong glances." 110 In their right hands, they hold a vajra and 4amaru, 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 (bodhicittllm), first menstrual blood (wayambhukusumam), urine (vajrambu), and human feces (mahabhaifajam). At the outer gates are eight more 9akinis. In the cardinal directions (installed counterclockwise) four 9akinis are visualized dancing upon a "lotus moon" (padmacarulrt) and declaring their transcendence of male deities of other religions by trampling the corpses oflndra, Yalqa (Kubera), }ala (VaruQa), and Yama respectively. They hold the same attributes as the 4akinis of the inner maQ9ala, only substituting different implements for the 4amaru. such as a hook (in the cast) 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 (urtlhvaltda-) and they are described in erotic terms, as "naked, with huge vaginas. overcome with lust." 111 At the comers of the outer maQ9ala (installed clockwise) are four wrathful 9akinis, also upon lotus moons and trampling corpses in the dancing pose. They are described
THE CULT OF VAJRAYOGINi IN INDIA
in similar terms, both as kapalika deities and as goddesses with sensuous and erotic forms. All the vajra-c;{akinis of the mal)c;{ala are said to have their hearts filled with innate bliss (sahajanant/4-). Fig. 9· Marz~IA ofVajratjlikini Vajravarahi
EAST
Cnural pmcarp 1.
Six-armed
6.
Ro~ivajra#kini
Vajra<;{akini Vajravarihi
7.
Capalavajra4alcini (green)
Cardinal p~ta/s 2.
3· 4· 5·
Ouur marzt;laLl (gaus)
Prtll)avavajra<Jakini (white) Va<Javavajra<Jalcini (green) Jramitavajra<Jakini (yellow) Vairar:tivajra<Jakini (blue)
(blue)
8. Niharivajra4alcini (red) 9· Yemalavajra<Jakini (yellow) Outn marzt;laLl (cornm)
Hrupkarivajra<Jakini (white) Huqmadivajra<Jalcini (blue) 12. Phatanivajra4akini (yellow) 13. Svikarivajra4aJcini (red)
10.
u.
66
VAJRAYOGINi
&d Vajraghor_ui Vajravarahi Vajraghol}i Vajravarahi is another warrior-stance manifestation whose practice is prescribed in several works in the GuhyasamayasdJhant~mtilti, the SaJhallll for {Gaining] SitJJhi in AU Things (SarvarthasiJJhisaJhant~ GSSis). the Vajravtirdhi Rik ( VajravtirahilttJpa GSS18), and two alternative visualizations in the Abhisllm4yamaiijari(GSSs). 112 Vajraghol}i means "vajra snout"; gho!'4 is a (hog's) snout, and is thus a rough synonym ofVajravarahi meaning "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 filet, identical to the Tibetan statue in plate 5· There is a scriptural source for the hogheaded deity in the K.'P.'4Jamtirit4ntra. Here, VajravarahiNarahi (the vajraprefix is often dropped) is named as one of four outer goddesses in the maJ)4alas of the god Yamari (installed counterclockwise: Vajra-Carci.ka, Vajra-Varahi, Vajra-Sarasvati, and Vajra-Gauri); Vajravarahi is to be visualized as "three-headed, six-armed, a hog, having a vajra in her hand, very blue. " 113 The commentator, Kumaracandra, glosses gho!"11fl as "having a hog's face" (gho!Jd'!' iti liilt4ramulthi1f1), and the goddess' mantra includes the vocatives "You with the vajra snout! You with the lovely snout!" In the Yamari maJ]4ala described by Kwnaracandra, a three-faced Vajravarahi also appears in which the central &ce is again that of the hog. ••• From our available sources, however, the justification for calling this manifestation Vajragho~a is slim. One of our texts eschews the term vajragho!Jd altogether (GSS15), and another uses it only as an adjective, placing it within a string of adjectival (bahuvrihi) qualifications (GSS18). The K.'P.'4Jil11111rit4ntra demonstrates the general fluidity in Sanskrit between qualifications and epithets by using the term both adjectivally, and nominally as the vocative in the mantra. Neverthdess, in the Abhisamayam4fljari (GSSs Sed p. 149, K34t-v), Vajragho!Jd is dearly used as a proper noun, as it describes the visualization of the goddess as the "glorious Vajragho1_1a method," and the associated rituals as the "Vajragho~ Sadhana."m The Abhisamayamafijari possibly shows a more developed version of the manifestation, in part because it promotes the adjeaive to nominal form, and also because it presents an alternative visualization of a second Vajraghol}i form, as described below. In a Nepalese sketchbook possibly dating back to the eighteenth century, the artist depicts a form of"Vajraghoi]a" (holding a trident skull staff, instead of a hook) (Buhnemann: 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 tide of the SarvdnhasiJJhisdJhana (GSS15),
THE CULT OF VAJRAYOGINIIN INDIA
referring to her as "Accomplishing (Arthasiddhi) Varahi" (Phag mo don grub ma) (Willson and Brauen 2000: 259. See plate IOc). In the Guhyasamayasiidhanama/a sadhanas, the series of awakenings that generates Vajragho~a/Vajravarahi begins with a red triangular dharmodayti at the navel. Inside this, a blazing red hri'!' 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, standing in the warrior stance, also upon a lotus, corpse, and sun disk. She is fourarmed 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 1oc). 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 tilitjha (right leg extended) in the manner of a wrestler's throw (gyad kyi dor stabs kyis}' (Willson and Brauen ibid.). 11 '
Fig. 10. Arthasiidhana Vtirtihi. Mongolian woodblock print (IWS/T So, LC 590). Cf plate Ioc. Hean mantra: D'JZ hri'!' hii'!' hri'!' hra'!' (in GSSs); O'JZ hii'!' hri'!' hti1!' (in GSS18) Auxiliary hean mantra: O'JZ vajravtirtihi tiv~laya sarvad"!.tlin hri1!' (or hrib} svtihti
When he has completed the self-visualization, the yogin is to recite the mantras (for which the exact prescriptions vary). The hean mantra (given in
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VAJRAYOGINi
two of our three texts) is composed entirely of mantra syllables (bijas), including me heart syllable hri[1 (o'!' hri'!' hu'!' hri'!' hra7!' in GSSs; 0f!1 hu'!' hri'!' ha, in GSS18). The auxiliary heart mantra also diverges from that of the main VajrayoginiNajrarir.ihi tradition in its use of an imperative for vanquishing obstacles, of the sort f.uniliar in bali rituals (o'!' vajravarahi l1vday4 sa1'VIlfiun4n hri'!' svaha). 118 The mantras for both rites that follow appear with some variants, but arc similar to the heart mantra in that they consist of strings of syllables (afJ hri'!l hu,_ ha,. hi[1. and p'""pht,). The rituals are to be performed by the sadhaka who has generated himself as Vajraghof)a for the attainment of siddhi and has performed one hundred 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 doth for twenty-one days, and a nighttime bali offering (see ch. 3) made "for the purpose of queUing all maras. " 119 For this practice, the utmost secrecy is enjoined and, indeed, is the precondition upon which "me vajrayoginis (or Vajrayogini) will empower [him]." 110
Whiu Vajragho1Jii Vajravarahi An alternative form ofVajraghol}i Vajravarahi is taught in the Abhisa1Nl]ll1Nlfijari (GSSs Sed p. 149, K34v5). According to this transmission, she is generated at the heart (ramer than the navel), upon a red lotus. First, a sun disk is produced from 41!1- Upon this stands a red five-pointed vajra, empowered by a white hrib that transforms into the goddess. Since the color of a deity is wually a reflex of the seed-syllable, this form ofVajraghol)i is presumably white. She stands upon a lotus that is uniquely striped red and white, trampling in warrior stance "a sleeping man [symbolic] of ignorance." In her heart is a replica red vajra on a sun disk, also presided over by a white hri[1 on a sun disk. The text states that in other respects she is like the previous manifestation of red Vajraghol}a (i.e., a therianthropic goddess with four arms). Unwually, however, this form ofVajraghol}a is empowered by Alqobhya, enthroned upon a multicolored lotus. 121 That we are dealing with a white form of Vajragho~ is perhaps confirmed by her similarity to a white form of Vajravarahi, who appears in another sadhana in the collection. We will see that the generation, sclfvisualizaton, and ritual prescriptions for each are strikingly similar.
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White Vajravarahi The practice of "Noble White Vajravarahi" is prescribed in the sadhana of that name (Aryafuklavajravtirtihisadhana GSS38). This is the only other form of white Vajravarahi in the Guhyasamayasadhanamtilii and one in which the process of generation is very similar to that of white Vajraghot:li. (A much fuller account of this form--or one very similar, with identical rites-is described in SM218-2o; see appendix for details.) White Vajravarahi is selfgenerated upon a sun disk (produced from a'!') and from a white hrib that transforms first into a five-pointed vajra and then into Vajravarahi. She also carries a white hrib on a sun disk at her hean and is presided over by Alqobhya-apart from white Vajraghol)a, the only form ofVajrayogini in the Guhyasamayastidhanamtilii to bear this buddha as the seal. 121 White Vajravarahi shares the explicitly wrathful character of the Vajraghol)a manifestations. The text describes itself as a "fierce" sidhana, 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 emptiness 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 selfvisualization is performed by "Pracai)Qa etc.," which, judging from the fuller descriptions ofSM218 (p. 427), refers to the presence of the twenty-four goddesses of the sites, within the mal)9ala circles of mind, speech, and body. m
Fig. n. Whiu Vajravtirtihi (GSS38). Drawn according to the Sanskrit text by Dharmaciri Atoka
vajravairocaniyr huf!l huf!l phat svtihti
Of!Z
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VAJRAYOGINi
The similarities between white VajraghoJ.la and white Vajravarahi are also borne out on a ritual level. The japa in both cases consists of the recitation of a white syllable hrifl that is visualized in garland form as a "mantra rosary" (mantramdld). In a yogic meditation (described in slightly more detail in the Abhisamayamanjari GSSs and SM218), the self-generated yogin-goddess sees a white hrib syllable at the navel and imagines it revolving through him, exiting through the mouth and entering again at the navel. As it enters the navel, the mantramdldbrings 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: 124 Next on his navel he should see a (white) hriflon 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 [syllable hrib] in the form of a string of beads, white [in color, and] whirling like (-yogma) a wheel. Having obtained skill in medicine, astronomy, writing, and the sciences and arts by means of the jewel mantra of the many-faceted (gu!fllga1Jil) 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 f.tult of doing it too fast [or too slow]. The mantra is hri/1. When he wants to arise [from the practice], he should make that mantra garland disappear into the hrifl in his navel, perform worship [bali rites, etc.], and dwell as he wishes [namely. in the form of the deity]. The texts describe funher rites using the mantramli/4 (GSSs Sed p. 150.8, K35r4, SM218 p. 430, and briefly in GSS38 KI23n) for the acquisition of other siddhis, such as supreme learning, scholarship, powers of oration. invincibility 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 hri/1 forms a garland of fifty beads. So powerful is this practice, that-the texts claimif 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 perhaps, the GSS texts also claim the power of this mantramald for bending another to his will or subjugation (vaiyam). although the rather fuller sadhana that describes this rite in the Sdtlhtmamd/a (SM21~2o) states that the purpose of this rite is to bring beings into the four truths of the Buddhists (p. 432:
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sattvan va.fi/trtya caturaryasa~ avatlira!Jiiya.. .). Here in the rite of subjugation (vaiyavidhi!J), 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 hri!J, and a hook or goad in her right (GSSs Sed p. 150.J4, K35Y1, SM219). These attributes are another reminder of this deity's affinity with Vajragho~a.
Two-Armed Vajrayogini in Warrior Stance Most of the remaining forms in the Guhyasamayasadhanamalli collection appear in the portion of the collection that deals principally with Vajrayogini manifestations of a magical and often erotic nature (also found, in brief, in the same portion of the Abhisamayamafijan). First, we turn to a red, reversed warrior-stance form ofVajrayogini, described within a Vajrayoginisadhana attributed to Sahara (GSS19--SM236), and in the Abhisamayamafzjari (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 Ofjtjiyanasviidhifthanakrama- Vajrayoginisadhana (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:
01Jl vajratfakiniye hri1Jl hii1Jl phat svaha (GSSs, SM236) 01Jl sarvtUiddhi1J1 prayaccha hri<1J1> hii1J1 phat svaha (GSS19) Auxiliary heart mantra:
01Jl vajrayoginiye hii1Jl phat svaha (GSS19, SM236) 01Jl vajravairocaniye hii1Jl phat svaha (GSSs) Root mantra:
01Jl sarvabuddhatfakiniye 01Jl vajrava'!laniye 01Jl vajravairocaniye hu1J1 hu1Jl hu1Jl phat phat phat svaha
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VAJRAYOGJNI
Here, Vajrayogini is generated upon a multicolored lotus (produced &om Pll'!'>· Upon the lotus the yogin visualizes a sun disk (produced from a red ra1fl). and upon that, a red syllable hii'!' (GSS19 K83v1). The seed-syllable is then imagined transforming into Vajrayogini, who becomes the central deity of the usual fivefold mar:t4a[a. The visualization (which is never described as a self-visualization) is ofVajrayogini within terrible cremation grounds, where she stands upon a yellow corpse in the reverse warrior (pratytilitjha) 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 &own, and a fanged mouth, with a lolling tongue. Her hair flies loose. She appears as the leader of a fivefold maJ)4aJa and therefore wears all six mudras, including ash, and is replete with tinkling bells and strings of pearls. The Abhis4mllJIZ11'Iliijari 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 sometimes without the corpse throne. Her attributes are a skull bowl "full of blood .. (GSSs Sed p. 151, K36n: vam~ raltt~~pii'!"'ltapti/4-) 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 (ltartri) (instead of the vajra normally held by warrior-stance forms ofVajravarahi).m
Fig. 13. Vajra chopp" (ltartfi).
The chopper (fig. 13) is especially associated with Vajrayogini in the
Guhyasamlt]llStUihanamtila and symbolizes the "chopping oft" 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. "u• The tats enjoin rites of"worship and so on" for this form of the goddess,
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which are to be conducted in sites such as a cremation ground upon auspicious nights of the lunar calendar, namely, the eighth, tenth, founeenth, and fifteenth in the moon's cyde.'r Practice at these auspicious times was believed to enhance the power of female spirits such as yoginis and 9akinis to such an extent that, in the Saiva tradition, the mere mention of their names was prohibited: "He should not utter the word tjdkini or any other [with a similar meaning] during any of the exceptional rituals [such as those that are required on paroan days]. "' 2s The fivefold maJ)4ala 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).'1<1 The usual tripartite root mantra for Vajrayogini appears with some variants in the three texts, and there are distinctive heart and auxiliary heart mantras.'-\() The texts also supply the mantra for a final bali ritual.'J'
Four-Arm~d
Vajrayogini in Warrior Stanc~
A four-armed form of Vajrayogini in warrior stance is found in a single sadhana in the Guhyasamayastidhanamti/a in a section dealing with internalized practices: the Vajrayogini Sddhana in the Tradition oflndrabhuti, by Vijayavajra {lndrabhutikrame!"l Vajrayoginistidhana 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 Atoka.
vajravairocaniye hu'!l hu'!l pha! svdhd
O'f!l
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VAJRAYOGINi
Following the emptiness meditations, the yogin first generates the cosmos, starting from a white letter a (GSS35 Kn8VI: lult/a alearat) that is said to have the nature of Causal Vajradhara. Then, from a green hii,, he produces 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 ~ (V) transforming into a blood-colored origin of existents (here masculine: dharmodayab) 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 generated 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, lndra, Vi~QU, and Siva, who represent the four ltklas (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 following 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 I
Red Vajravarahi with Foot Raised The remaining forms of the deity in the Guhyasamayasadhanamii/li assume an increasingly erotic and magically outlandish character, manifestations often associated with Oc;lc;liyana, home of flying Qakinis. One such adopts the striking pose "with the foot up" (iirdhvaptitJ4b). In this stance, Vajrayogini stands upon her right leg and lifts the left above her head, wrapping
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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 ... continuously drinking the stream of blood in the skull bowl, having the posture 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. "n•
Fig. 15. R~d Vajravtirtihi
with foot
rais~d.
Drawn according to the Sanskrit text by Dharmaci.ri Aloka.
Cf platts 9 and Job. Two forms with this pose are represented in the collection. The first appears in a Vajrayogini Stidhana from Of#iytina ( Of#iytinavinirgatavajrayoginisadhana GSS12-SM225; also found in GSS5)u' and is a red manifestation ofVajravarahi. Here, Vajravarahi occupies the center of the fivefold maJ]Qaia (as described in chapter 3), and her generation, iconography, and mantras all relate to the red warrior-stance forms ofVajravarahi. She is generated from a vajra presided over by va'!l and is endowed with the usual ktiptilika 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 cremation grounds, and (self?)-generates Vajrayogini from a white seed-
VAJRAYOGINI
syllable, either hii'!' (GSS45) or iib (GSS17). He sees her standing upon a mulriperaled lotus and sun disk, trampling underfoot the brahmanical and Saiva deities: "She is to be visualized ... with her foot raised, trampling Sakra [= lndra] and Brahma, [and] with her lower foot [trampling] Bhairava and Kalararri ... ,,b In her right hand is a vajra chopper (vajrakart[i). and in her left, the skull bowl from which she drinks. The skull staff (kha.tviingab) is balanced in irs usual place upon her left shoulder. Her white body emirs 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 ofVajrayogini. The root, hean and auxiliary hean mantras are those supplied for the warrior-stance
Fig. 16. Whiu Vajrayogini
with foot raiud (Phag mo gnam zabs ma). Mongolian woodblock print (IWS/T 84, LC 594).
Cf piAu 1od.
0'!1 vajr~Ujdkini(y~) hrib hii'!' phaf sviihii 0'!1 vajrayogini hii'!' phaf sviiha
(of!l vajrayogini hii'!' phat svaha: GSS17) 0'!1 sarvabuddhatjdkiniye vajrava'?laniy~ vajravairocaniy~
hii'!' hii'!' hii'!' pha.t pha.t phaf sviihii
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form of Vajrayogini (above), but the bali mantra is unique, naming the mantra-deity, Vajrayogini (instead ofVajraq.akini), amid the repetition of stuttering mantric syllables.' 31 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 tide given the form in the Rin 'byung brgya rtsa is "Varahi with Raised Leg" (Phag mo gnam 'zabs ma), and Taranatha (with perhaps a suspiciously different referent for "Indra") adds "Indra [i.e., Indrabhuti]'s Qakini Crushing Opponents" (Phas rgo Joms pa 'i indra mkha' spyod ma). us Although the Mongolian tide describes this form as a manifestation of Vajravarahi, the icon nevertheless provides a satisfactory illustration of our form of Vajrayogini in the Guhyasamayasadhanama/a (fig. 16, plate Iod).
Vajrayogini in the Falling- Turtk 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 Slidhana
ofVajrayogini with the Method ofthe Falling Vajrayoginisadhana GSS36).
Turtl~ (Kurmapatanakram~a
Fig. 17. Vajrayogini in folling-turtk pose. Mongolian woodblock print (IWS/T 85, LC 595)
Cf plate JOt. O'Jl vajravairocaniyt sviihii
VAJRAYOGINi
The sadhana is unusual in our collection in that the deity is not selfgenerated but visualized directly in front of the yogin. Before beginning the meditation, he should first prepare an image ofVajrayogini "in whatever way, with whatever form" (as an aid to the visualization). He may then generate her meditatively within a red Jharmodayti 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 bali ritual. 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 (stilqad iva), the yogin is then to worship her with transgressive bali offerings of yogic substances (yogiJravyam). 1 ~ The bali mantra is based on the mantra deity Vajrayogini, although the foUowingjapa mantra is the tensyllabled heart mantra ofVajravarahi (o'!' vajravairocaniyt svaha). 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, K121VI: niiisamayt). with hair flying loose and his gaze directed upward as he performs the gestures and mantric utterances that will attract the vajrayoginis.••• The sadhana outlines the hand gestures (mudras) and mantras, adding that, as he performs them, the yogin is to assume the "falling-turtle" pose (ltumuzpat~tnaptitJab). 141 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." 10 The Mongolian icons illustrate a form of"Tortoise-legged (Kiimuzpiidi)Varahi," Phag mo kurma pa di (IWSrr 8s; 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 toe.
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Vidyadhari Vajrayogini Another group of sadhanas in the Guhyasamayastidhanama/a focuses on peaceful, erotic forms ofVajrayogini. These sadhanas abandon the terrifying, cremation-ground aspects ofVajrayogini 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. 14 ~
Fig. 18. Vidytidhari Vajrayogini
"Maitri-khtcari. " Mongolian woodblock print (IWS/T 78, LC 588). Cf plate 1ob.
The first vidyadhari form appears in the Vajrayogini Sadhana with tht Vidytidhari Mtthod (Vidytidharikramavajrayoginistidhana GSS21) and the Vidytidhari Mtthod Mtditation (Vidytidharikramabhiivanii GSS22). Here, the yogin visualizes himself as a red goddess with her foot raised up (iirdhvapiida-). She is described in one text as the "garland (mala-) Vidyadhari 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 associated with Vajrayogini forms). There is no skull staff, and the vidyadhari is completely naked, being void of all ornaments. She is seen with the brilliant (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. 14 ~
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VAJRAYOGINi
A Mongolian woodblock print illustrates this form ofVajrayogini, 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 1ob). The Tibetan text calls this form "Maitri's I)akini, Playful Mantra-holder" (Mai tri mltha' spyoJ rig pa t/zjn pa rtun ma). which points to an association with Maitripada/Advayavajra found also in the Sanskrit sources (notably, the *Sit/Jha-Amntiya).' 48 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 undenakes on the basis of visualizing Vidyadhari Vajrayogini is the "mad observance" (unmattacarya). This is described briefly both in the Bhavanli (GSS22), and in the Abhisamayamafijari (GSSs.SM235).' 49 It also appears in more detail in a chapter by K. Gyatso (1999: 207-10). According to our Sanskrit sources, the mad observance begins with a period of worship (pujti) 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 dharmodaytl 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 seedsyllable va'!' 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.•so
Fig. 19. Dharmotiaya with mantra syl/4bles
anti bliss swirls
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81
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 auspicious times for a period of six months, either on the eighth day of the lunar months (GSSs) 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 llingali (coconut) tree. According to Gyatso (ibitJ.), the /4nga/i 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 llingali stem and buries it in a cremation ground, performing a further month of bali offerings and mantra recitation. (Gyatso describes how the yogin sits on the earth above the hurried llingali container, while an attendant stays nearby reciting the Heruka mantra to prevent interruptions.) This ends the preparation of the vermilion powder, and the yogin is now ready to set out upon the mad observance itself. To undenake 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 (GSS12) or a bliss swirl (GSSs; K. Gyatso 1999). He then wanders about as if he were mad, seeking alms in the village (GSSs) or in solitary sites. A scriptural source for the practice is found in Sat,lvarodayatantrawhere, adopting the "crazy observance" (vatu/4 caryi), the yogin is to wander alone without companions, "like an agitated bird."m Wherever he meets a woman in a secluded place-by a dcsened dwelling. an empty well, or such like-the yogin should circumambulate her in counterclockwise f.ashion. The aim is to discover, and propitiate, a living emanation ofVajrayogini. 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, according to which all women are to be worshiped because all women embody the goddess, just as all men embody the god. m Our tats claim the lineal tradition of Sahara (GSSs Sed p. 153, K38r6-SM135), an adept whose association with mahamudra is developed in the next Vidyadhari Vajrayogini text (GSS13), and in the erotic sadhana of Guhyavajravilasini described below.
VAJRAYOGINi
Flying Vidyadhari Vajrayogini The second vidyadhari in the Guhyasamayasadhanamti/a is a flying form of Vajrayogini, with four three-eyed faces of different colors. She is described in the Propitiation Rituai(ArtidhanavidhiGSS23) within a meditation rite (bhtivandvidhi~). The text directs the meditator to see her with left leg in the raised-foot (urdhvapadabJ 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 ntigaluia flowers (M~sua roxburghii). She seems to be even more erotic than the last. Her nature is feminine power (lakti~) and innate bliss (sahajtinanda-); her red, naked body is fresh and tender, her hair hangs loose, and she is visualized laughing a little with her body horripilating. m Her mantra is a variant of Vajrayogini' s tripartite mantra."•
Flying Vidyadhari Vajrayogini.
Fig.
20.
Drawn according to the Sanskrit text by Dharmacari Aloka. Cf piau 9·
orrz sarvabuddhatjdkiniy~ vajrava'!llln~y~ vajravairocaniy~ hurrz hu'fl hurrz phaf pha! phaf ca svaha.
Both vidyadhari forms ofVajrayogini (as well Guhyavajravilasini, GSS10) inhabit a beautiful, mountainous setting. This is most fully described in the Artidhanavidhi (GSS23), which begins with a short hagiographical sketch
THE CULT OF VAJRAYOGINI IN INDIA
of the mountain-dwdling adept, Sahara. The tat describes how Sahara had been granted a sadhana by Lokdvara (the bodhisanvaAvalokitdvara) 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 redoubling his efforts and practicing assiduously for twelve years, he f.Uied to see her "even in a dream." He became disheartened and was about to lose f.Uth in the buddhas and give up completely when the goddess finally appeared to him amid the mountainous peaks: 1 ~ 5 Then, in a flash, there was suddenly a direct vision of the goddess adorned with color, arms, and so on to be described below. • [Sht apptartd} bttwttn (madhye) tht surpassingly captivating,
most lovtly mountains [ca/kJ] Manobhanga (Dtstruction of tht [D~kd} Mind) and CittavilrlimA (Htart's RqJDst!Rtsting-pl4ct of tht Mind/; [these] had five peaks of different colors, and were adorned with gardens in which Nigaltnara flowers were blooming in colorful pools. •or: [Sht apptartd} in tht midst oftht surpassingly captivating, most lovtly mountains whtrt tht mind comn to mt btcaust oftht dmruc-
tion oftht tkfiltJ mind. It is not dear from this portion of tat whether the yogin is to visualize a pair of mountains named Manobhailga and Cittavisrima, or whether the description is to be understood adjectivally as the mountain(s) "where the mind comes to rest (cittaviirama) because of the destruction of the [defiled] 1 ~ mind (manobhanga)." Of the three other references to the mountains in the Arlitihanavidhi (GSS23), only one states unambiguously that there is indeed "a pair of mountains" (parvaiiU.Iva]ll-). but here there is no mention of the names Manobhailga and Cinavisrama. 157 The mountains arc mentioned also in a few other sources. The GuhyavajravildsiniSJU/hana (GSS1o) seems to name them as a pair (though with a possible ambiguity, n. 169), and they are also described in the dual in the* SitJJha-Amnliya (except for one occurrence in the singular), where they arc located in the external world, in DalqiJ]apatha. 1 ~ Manobhanga is also mentioned in the sadhana ofVajraQakini Vajravarahi (GSSr6), which claims the legendary authority of the LalqabhiJhanatantTa: "On Mount Manobhailga, which is the most essential [place] on earth, on
VAJRAYOGINI
this peak [or: within this dwelling] (tasmin lti!~), in a pavilion (-mll!"//zpt) that is the sole resting place of the mind (cittavilrdmll-) for the greatminded, [is] the terrible .. .leader Vajravarahi. "•~., Although the verse does not mention the second mountain, Cittavisrama, it suggests that on the mountain peak (ltifam) there is also a pavilion (mll!"//zpfl/1/m) that is the "resting place of the mind" (cittaviirdmll-). A similar kind of beautiful dwelling is also the abode ofVidyadhari Vajrayogini (GSS21), who is to be seen "entering a jewel dwelling (/tu.ta-) (i.e., hut) made of masses of [red flowers]-Mandarava, ASoka, and Red Coral." 160 In all these texts, there is a slight ambiguity as to whether /tufa means a "peak" (ltii!'lm) or a "dwelling" (ltifap}-a problem that a second scribe attempts to clarify in GSS21 by insening the gloss, .. hut" (grham). The same verdant mountainous setting, with its fragrant, flower-strewn abode, is also found in the Guhyavajravildsinislklhana. This sadhana describes how the yogic panners are to meet in a beautiful glade or garden that is full of jewds and red flowers and resonant of love (below with n. 179). Both this sadhana and the *SWJha-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 conson.
Vajravilasini Vajravarahi Vajravilasini is a peaceful, compassionate form of Vajravarahi. 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 GuhyasamllJIISdJhanamli/4 is the Praiu of Vajravi/dsini by Vibhiiticandra ( Vajravi/dsinistotra GSS43), although she also appears, with a rather different iconographical form, as "Secret Vajravilasini" in the highly erotic Guhyavajravillisinisddhana by Sahara (GSS1o). There is a small class of goddesses, the ten vajra-viltisinis, who act as the agents of the consecration in the Abhisa1Nl]llmaftjari (GSSs K22VI), and perhaps Vajravilasini arose as a generic form of this vildsini type. Vajravilasini is also hailed within verses of obeisance in the Abhisamayamaftjari (GSSs Sed p. 125, I
THE CULT OF VAJRAYOGINIIN INDIA
Fig. 21. Vajravilasini. Drawn according to the Sanskrit text by Dharmaciri Aloka. In Vibhuticandra's praise verses, Vajravilasini is evidently a manifestation ofVajravarahi: "0 Vajravarahi, you are the refuge of men, nagas (=ahiM, and gods, [merely] when they are intent on your name!"'c'1 She is in embrace with her consort. The verses describe her engaged in lovemaking with CakrasaqlVara, her eyes almost dosed in the bliss of passion: "[You] whose lotus-like mouth is kissed by the honey-drinking [bee] who is Sarpvara, whose lotus heart is embraced by his two arms."'b' Vajravilasini holds the usual attributes ofVajravarahi, the skull bowl and vajra, but she disdains all other lttipalilta accoutrements. She is adorned only with swinging earrings and a pearl necklace. Apart from the threatening 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: "0 mother, goddess, look upon me! How can you bear my unbearable grief?"•(,. Indeed, through the power of her compassion she is reminiscent of Avalokite5vara and Tara, saving her devotees from the (eight) terrible dangers: 16 ~ Danger from lions, elephants, fire, snakes, and thieves does not come near to one whose mind is intent on you! Vajravilasini's 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 (trivalib, 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"
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[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 similarity with Guhyavajravilasini, and also depict her as the main deity, that is, with the female form drawn facing the viewer (cf. fig. 6).
Guhyavajravi/asini Another highly erotic form ofVajravilasini appears in the s~cr~t Vajraviltisini Stidhana, the Guhyavajraviliisinistidhana by Sahara (GSSIO); 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 tide of the sadhana and after its opening salutation, in order to distinguish her from the goddess Vajravilasini described previously. 11''
Fig. 22. Guhyavajraviltisini. Drawn according to the Sanskrit text by Dharmaciri AJoka.
The practice ofGuhyavajravilasini is related to that ofVidyadhari Vajrayogini in a number of ways. The teacher for both is the mountain-dwelling adept, Sahara (presumably a member of the wild mountain fabara rribe): 168
I. Sahara, the [ignorant] mountain-dweller who has no learning at all
THE CULT OF VAJRAYOGINIIN INDIA
shall speak a few words (lit., syllables) through the power of Lokanatha. Both practices arc also located in the mountainous setting ofManovibhailga and CinaviSrima, here named as the place where Sahara first learned the sadhana of Guhyavajravilisini from his teacher. 169 (v. 4) Having set foot on Manobhanga [and] on the delightful mountain [called] Cinavisrama, abundant with all sorts of jewels, fragrant with the odor of musk deer, (v. s) in that very lovely place where highly fragrant Rowers grow (-iirayt), where the beautiful (sundara-?) mango trees glisten [and] the cuckoos coo low, (v. 6) in a glade massed full of red[-Aowering) aiolta trees, on the lunar day of the "ASoka-eighth, " 170 this [goddess] Vilasini was taught me by the teacher named Karu~a. Sahara's association with the practice is also attested in the •sitJ4ha-Amnliya within a hagiography of the tantric scholar Advayavajra {apparendy an emanation ofNagarjuna). In this text, we find several themes familiar from the GuhyllSIImayaslidhan~~7Nila 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 Khasarp~, and then for Manobhanga and Cinavisrama in Dalqi~apatha-the place where he will find the adept who will be his preceptor, Sabardvara. The monk has some trouble locating the mountains, and it is only after a period of Tara worship and the intervention of Tara herself that he leaves U4ra (044iyana) and travels for fifteen days to the northwest, reaching the (two) mountains the following day. 111 Despite making m~4a}as 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 sec 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 (pril!'fltipatamdyd) by chopping off the head of his companion, Sigara, and then restoring it. Advayavajra has no problem with the first half of the task, but f.lils dismally in the second. Perhaps as a measure of his disappointment in his pupil,
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Sahara immediately orders Advayavajra to return to his teaching post at the university; but Advayavajra, who is now rather unconfident about his credentials, demurs. Sahara, however, reassures him, declaring that the practice ofVajrayogini 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 AvalokitcSva.ra. Taranatha's account describes the journey of the layman Santivarman, a contemporary of the prctantric Dignaga. In response to a dream, the king sends the upasaka to seek the residence of Avalokitdvara on Potala mountain, and to request his aid in counteracting famine and epidemic in Jambudvipa. Santivarman first reaches the temple of sri-Dhanyaka~ on the island of*Dhana$ri, after which he travels first underground and then above ground to reach Potala. After eventually meeting the bodhisattva, Santivarman returns by himself, and while he is resting on the way, Avalokitdvara joins him, coming "through the sky" to the place that henceforth becomes known as *KhasarpaJ:.la ("Sky-going"). Later, Santivarman makes two further visits to Potala, one of them at the behest of monks at VaraJ]asi 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 travelers fail at first to find the mountain and must engage in a period of meditation before meeting the deity/adept, but both finally receive a "direct vision" on the mountain. Both travelers pass through sri-DhanyakaraJca and KhasarpaJ:.la, 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 ofSabara with Avalokitdvara. Sahara's chosen deity (if!'Ukvata) is the eleven-headed, thousandarmed form of Avalokite5vara called Mahikaru.~]ika (B/.w Annals p. 1044; Dowman 1985: 62). In the Guhyavajravi/tisinisddhana (GSS1o), Sahara is taught by his teacher KaruJ:.la to visualize himself as Padmanartc:Svara, a form of the bodhisattVa Loke5vara/Lokanatha (AvalokitcSva.ra), while the ArddhanaviJhi (GSS23) is said to have to be taught by LokcSvara in Sabara's form. 17~ Sahara's iconography also echoes that of the bodhisattVa AvalokiteS\'ara. 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 Vidyadhari Vajrayogini, as well as to
THE CULT OF VAJRAYOGINIIN INDIA
Vajravilasini. The first descriptions appear in the preparations to the sidhana, in which the partners arc 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 elaborate prescriptions arc summarized in the appendix). After evoking the deities through a series of awakenings consonant with practice of sexual yoga (I<47VI ff, vv. 38-45), the yogin is ready to visualize his consort as Guhyavajravilasini. 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 aiolta flower behind her car, 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 (/ildnJolitamrlthala-). She is visualized making love to her consort in the following posture: "[seated] with her sex placed on the elevation ofPadmanarta's "banner" (i.e., penis). in the squatting (utltu!4) posture/'~ giving seductive smiles with flirtatious glances ... lovely with [her] flowing sex because of the touches of [his] throbbing penis." 176 The yogin, her consort, does not visualize himself as Cakrasarpvara but as Padmanarta; that is, as Padmanartdvara, "Lord of the Dance (narta/1) in the Lotus [Family]," the esoteric reflex of Avalokitdvara. His selfvisualization (1<48r4, vv. 54--63) is given in terms as erotic and explicit as that of the goddess. Padmanartc$vara is said to embody the beauties of a sixteen-year-old youth; he is a vibrant red and, like his consort, is adorned only with an alolta flower behind the ear, a streak (of gold) across his forehead (l<48r6, v. s6c), and a dangling pearl necklace. His attributes are a yellow lotus in the left hand and a vajra in the right. His eyes arc half closed in ecstatic pleasure, as he reclines slighdy 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 (guhyavajrn,ut). which is very much in evidence. " 171 And he embraces her again and again, murmuring (ltiijita) with pleasure, intensely passionate, 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 Mongolian 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" (1<471: sulthtisanasamasina-), we show them seated upon a deerskin (cf.
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IWS/T 88, LC 598). According to the text, the practice and the selfvisualization 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. "r7"J The GuhyavajraviltisinistiJhaNZ is unusual in the GuhyasamllyastiJhaNZmalti collection in that the sadhaka visualizes himself as the male deity. But Vajravilasini is evidently the central deity. She is the first to be described as a result of the generation from the consort's sex/ dharmodaya, and the mantra concealed within the extraction of the mantra (mantroJJharab) 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 consecration (l<49ri-49V2, vv. 68-79). For example, each partner worships the other's body with offerings of flowers, fruit, and incense (l<49r4), gives the other betel nut, and recites loving verses, exchanging "sweet nothings. "••o 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 masturbation for each partner separately, combined with the visualization of the full sexual act. ••• 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 ("Beautiful Goddess of the Three Worlds"). Tripurasundari {also called Kamdvari, "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 Sada.Siva. 112 Guhyavajravilasini 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 oflove. Most telling ofTripurasundari's influence, however, is Guhyavajravilasini's mantra supplied in the mantra extraction (m~~ntrodtiharab. GSS1o K52r4, vv. 129-32). This reveals a distinctive five-syllabled mantra (nJt iili'!l ri'!l rU'Jl blim), the syllables of which are a calque upon the five "arrow" syllables of the Saiva goddess, as taught in the Vam~~kdvarim~~ta (Sanderson ibit/.).' 83 The male consorts in the two traditions are also similar in that both are
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"lords of love," nwters, or gods (iivara-) of sexual pleasure (/uima!J, surata/1). Tripurasundari perches upon Kamdvara's left thigh, while Vajravilasini makes love with Padmanandvara: "The practitioner is to visualize himself in this way as Padmanandvara, the lord of sexual pleasure, as though he were great bliss itself made manifest." 114 As a form ofAvalokite5vara, Padmanartdvara'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 Padmanartdvara in this way, Sanderson has suggested that the Guhyasam4yasaJhanamti/4 sadhana may be using material from the lesser-known pans of the Buddhist tradition in order to accommodate new Saiva-based elements within the Buddhist tradition. The name "Padmanartdvara" itself is, of course, immediately reminiscent of Siva as "Lord of the Dance," Nataraja. 18 ~ The soteriological goal of the practice is mahamudri. This is described here as one of the magical powers (siddhis) attainable by realizing Guhyaajravilasini: "Having obtained [the siddhis of] subjugation and bringing near, paralyzing, slaying, and driving forth, the eye ointment [for invisibility], the preparation of the pill (gut!iltasiJJhib). and many others, {v. 9) and [also] the state of mahamudri., 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 [practiceW" 111' 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 twdve years of constant practice, he will progress to mahamudri. and become a siddha. In a similar vein, another mahamudri. tat ends with the guarantee that "he will wander about surrounded by women, like a lord of elephants [in rut] surrounded by bees. "117 According to the methodology of mahamudri., 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 passion."118 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. " 1" To this end, no effon 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 founeenth-nights and eighth-nights, !44v6, v. 26), the yogin is instructed to use a lamp so that everything is illuminated, panicularly the details of the body. 190 The violent passion that accompanies sexual
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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 conson, "only for as long as his mind is not stirred up. " 1' 2 An indirect comment 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 apsartUeS, Rambha and Tilottami. These nymphs often appear in Pu~ic myths in order to distract advanced sages from their development of tllpas 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. 19-' The yogin's control over his mundane sexuality is achieved by onepointed concentration upon the goal of his practice, sahaja bliss: "The mind is fickle because of excessive movement; because it is motionless (niica/4Nit) [it becomes] the means (multham) of enlightenment. His mind set on [the bliss of] sahaja (sahajasaltttu~tma/J). he should make the goddess tremble in sexual play. "I
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93
Whereas the devas and asuras churned the ocean of milk to produce both the nectar of immortality and mortal poison (lui1Aitu!4'!'), in contrast, the churning of sexual yoga should avoid the poison (passionlessness) and produce only nectar (sahaja bliss). In an inversion of traditional Buddhist values, tantric sexual yoga is based on the premise that there can be "no greater sin than passionlessness": "In short, there is no place for passionlcssness in a buddha." 1911 The erotic practices of the Guhyavajravildsinislklhana describe the process whereby Sllhaja bliss is transmuted into the soteriological goal of mahamudra. 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 cursorily here, however. 1"' 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" (1UlvapUfPivv. 8<>-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 couple is visualized making love. 201 The sexual fusion is related to the yogic fusion of winds and drops. For example, during the "pendulum recitation" (Jo/4japab, Ksovs, vv. 102-o9) the couple is in union, each imagining the five blazing syllables ofVilasini's mantra circulating through their bodies. The syllables stan on the sex of the female consort (vitiya), enter the male via his penis, exit through his nostril, enter the viJyavia her nostril, and again pass into her sex. The mantra is recited up to five hundred times as it revolves through their united bodies, resulting in the fusion of nliJa and drop (bi,JW_,) within the internal bodily channels. This is followed by a repeated "mutual sucking" of the male and female sex. 2Q2 At the end of the pendulum recitation, the practioner imagines the "fusion of their identities" (atm~:t7nelaltab. K51r3, vv. no-14), and the three worlds are visualized whirling around like a wheel in the liquid form of purified gold "blazing with the flavor of sameness," and cutting off the defilements of the world down to the most subde.~n Only then docs it become extinguished and dissolve like a rainbow into the ocean of space, upon which space itself dissoves into sahaja, "the ocean of awakening that brings great success. "204 The text describing the yogic rituals ends with a Madhyamaka-type analysis of emptiness, in which reality is compared to dream experience because of its dependence upon causes (KSIVI,
VAJRAYOGINi
94
vv. 115-18). The experience of fusion, it suggests, is the correlative of the wisdom of sameness: for the yogin who is concentrated on this fact [of nonduality], and "steady in his continual practice of going to sameness," will become a siddha and have the great power of mahamudra. 10 ~
Triktiyavajrayogini (Chinnamastti) The last manifestation of Vajrayogini to be discussed here is Trikayavajrayogini, "triple-bodied Vajrayogini." She is also known as Chinnamasta, or Chinnamur:t9a-"She Whose Head Is Severed"-because she is visualized 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 Vajravarr:tani (left); the central figure as a single deity is known as Sarvabuddha9akini (GSS27) or Sribuddha9akini (GSS24). Following Virupa's nomenclature, I shall therefore refer to this triple-bodied manifestation ofVajrayogini as Trilciyavajrayogini rather than Chinnamasta.~O(,
(See fig. 23 and plate 9.)
Fig. 23. Triluiyavajrayogini. Drawn according to the Sanskrit text by Dharmaciri AJoka.
01JZ sarvabuddh~Ujdkiniy~ 01JZ vajravarruzniy~ 01JZ l'a}ravairocaniy~ hii1JZ hii'!l hii'!l pha! phaf phaf svtihti Right
c~nur
Lift
Vajravairocani yellow
Sarvabuddha«;iakini yellow
Vajravan:tani red
rasana
avadhiiti
lalana
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The Guhyast~milyasaJhanamd/4 contains a number of texts that describe Trikayavajrayogini. These f.ill into two groups: 1.
The first group (I) comprises the Ltdt,mi.sliJhllNl (GSS24), perhaps by Lalqmi {see the appendix), the Sitlhana ofTriplt-Bot&d Vt~jrllJOgini (TrilttiyllvajrayoginistiJhana GSS25), and two praise works (stotras GSS26 and GSS27) by Lalqmi's pupil, Viriipa. This group also includes two other texts that are closely related to Viriipa's sadhana, the Vt~jrllJOginisaJhana (GSS2o-SM232) 207 and a portion of the Abhisarnayamafzjari {GSSs Sed p. 151, K36rs).
2.
The second group (II) is centered on a text also called the Vt~jrllJOgini slilihana, which appears in three nearly identical versions (GSS9GSS3o-SM234). Here the iconographical material is so scant that its relationship with Trikayavajrayogini is chiefly indicated by the form and arrangment of the offering mantras.
Table 6.
TrilttiyllVIljrllyogini tats in Guhyasamayasadhanamala llM Sadhanamala
1-----------
~~
Viriipa
Lalqmi
/~ stotras
II
/I" CSS9 - GSS30 - SM234
sadhana GSS2S
/"
GSS26 GSS27
GSS24 GSS2o- GSSS
balividhi SM238
I
SM232 (no balividhi)
According to the texts in group I, the self-generation ofTrikayavajrayogini 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 'll1fl· Upon this, the yogin visualizes a red dharmodtlytl produced from the syllable hri,., within which Vajrayogini is generated, also from the syllable hri,.
VAJRAYOGINI
The second group of texts prescribes the generation of the deity at the bean upon a multicolored lotus but, as in the first group, within a vibrandy red tiharmoe/ayd and as a transformation of hri1f1. There are significant differences between the two sets of sources in the way the central form ofVajrayogini is then to be visualized. In group I, the texts arc 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 therefore ambiguous; the (slightly different) text of GSS24 docs prescribe them (which we follow in figure 23). Her legs are in the warrior (tilitjha!J) stance (GSS24), which Virupa's text docs not name but describes, "with her right leg stretched out, and the left foot contracted" (GSS25, cf. GSS2o, GSSs); in his stotras, however, he states that she is in the reverse warrior (pratya/ujha/1) stance. Most strikingly, the goddess is visualized holding "her own head, chopped off with her own knife by herself." The left ann holding 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 ofblood arc seen gushing up into the air. The first spurts out of the central bodily channel, avaJhuti, and flows directly into the mouth of the severed head in her outstretched hand. Blood from the channel on the left (/414na) and the channel on the right (rasana) also streams out and enters the mouths of the two yogin is at her sides. 208 The attcndent yoginis are named as VajravaJl)ani to the left side of the central figure and Vajravairocani to the right. Vajravar~ani is a dark color, probably blue (GSS25 etc.: lyamavaJ?IIi'!'), or red (GSS24: ralttava'!'Ji'!'), and Vajravairocani is yellow. Each steps toward the central goddess, so that Vajravar1.1ani to the left stands in the pratylilUjhastancc, and Vajravairocani to the right stands in the alujha 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 images of each other; they arc naked with loose hair, and "between them, in space," the yogin is to visualize "a very terrifying cremation ground" (since the text is truncated, in figure 23 we depict them wearing the bone ornaments, despite no prescriptions for this). MAll three deities are depicted in the IWS, according tO the Ri11 'byung brgya rtsJZ, in which Vajravar~ani is said to be green. 210 In the second group of sources (GSS9-SM234-GSS3o), there is no mention at all of a severed head or of any other distinguishing feature. The fact that the goddess is a form ofTrikayavajrayogini can only be inferred from
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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 /HI'!' that transforms into a multicolored lotus and culminating in the goddess Vajrayogini produced from a red hri'!' and seen having the color "dark gold" (lut1lllluzlydm41f1}-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 m~4ala accompanied by an unusual sequence of offering mantras. The first sources relate how the yogin is to draw a square m~4ala upon the ground and then generate the goddess through a sequence that mirrors the awakenings. Thus, a sun disk (a circle) is drawn inside the square, and a Jharmot/4yi triangle is drawn on top of the circle with the syllable hri'!' within. The sadhaka may then worship either the seed-syllable or the iconographical form of the goddess, which he produces from the seed-syllable "placing [her] down" (tlropya) in the center of the triangle. m Having emanated the three goddess inside the Jha~ 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 dement Vlljrap~-"0 Vajra Flower!"-suggesting that the mantras arc to be recited while offering a flower. m Other works prescribe either a fuller worship with traditional offerings or just with guest water.m Our sources also state where on the ~4ala 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.m) The worship ends with the final recitation of the japa {"utterance") mantra, which is the tripanite root mantra ofVajrayogini. 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 T rikayavajrayogini as three deities in one. Individual offerings arc then made to her in her three aspects, namdy, to the central deity as SarvabuddhaQakini, to the dark lefthand deity VarJJani, and to the yellow righthand deity Vairocani. Having recited all three sets of offering mantras, the yogin may then make a final offering to Trikayavajrayogini (in GSS2.s and in group II), which seems to be another all-embracing mantra to her as three-in-one. In this worship, the goddesses are cxternalizations of the
VAJRAYOGINI
Table 7. Trilttiyavajrayogini offmng 1111tntras
1st set
Offering Mantras
Offering Mantras
Group Ji
Group II;;
In the center of the tih4rmotl4y4: }•/"' mantra'" Center:
O'fl SllrwbwJJh;ujA/tin~
In the center:
bu'!' (phat)
lfl4h4 On the ldt:
O'fl
vajrttWI'!fA"iJI
svtih4 On the right: (phat) svtih4
2nd set
O'fl Sllrw~niyt
fllljrtl~ swiha
"*"' (phaf)
O'fl WljraiNiirrKan~ hi'!'
In front: O'!' (SArw!)~ltini ~/Jow co/.oml rNI}""/'U!Pt svtih4 tOn the rightlsoutht: O'fl fllljra""'!"lni dtult-coillm/ flll}r"PJI!/H nNiiNi tBehindlwcstt: O'fl vajrttflllirtKilni whi~ coiDmJ WljrttP"fpt siNiJM
[Center] 0'!' ~!"' va}rtlpUfPt hi'!' wih4
[Left]
O'fl pun:uariri
[Right]
Wljrap"!JH hi'!' w.ih4
O'fl !ttl~ Wljra~ hi'!'
swlh4
Again in the center: 0'!' lirihaf!" wrJ""/'fi!Pt
hi,Sfllihd
3rd set
[Center]
O'fl
JJM,.,Utiya fllljra~ ha,
swliNl [Left] O'!' SAmbhDgaltliJa vajrttpfl!~ hi'!' I1Nlhd [Right] svdha
O'fl nirmli~liJ"
va}r"PUfPt hi'!'
Again in the center: O'!' mAhtimlthaJuiy4 VlljrttpJ1!pt hi,. sthih4
(GSSzs only) Again in the center: O'!f Mm4/1 SllnltlpnlbllliJJMboJhisllttwbhytJ flll}rllp"!JH
Again in the center: O'!f Mm4/1 S11111tllnuiJhll-
ll•l"' mantra]: O'fl Mmtz/1 Sllrw~ni O'fl umtz/1 Sllnlllvajrafiii'!'Ani 0'!' umtz/1
U•f"l mantra]: O'!f SII1'1NI~Itin~ O'fl WI}""""~ O'f' fllljriiiNiirrKtm~ ha,. hi'!'
hri'!' SllnlllflllirtKilni hi'!' hi'!' hi'!' pmq phil!
hi, phil!""" phat SVtlhA
"*"' w4JNl
""'' swlhli
boJhisllmwvajr•~ lfNihtl
THE CULT OF VAJRAYOGINI IN INDIA
NOTES TO TABLE
99
7
E.g., GSS15 (K9U3) (my numbering): tlllrll ·o,. SIZTVIlbuJJhllt/41ti'* . itytiJimllnlmJil prt#hlmuun llrrllJd. taJll11U "o,. Sll1VIlbwJJhtujUini"hu,. (I)
~
phat svihd' ity ll1lnllirgho tleyllb. rHbne "o'!' vajrllVIl17Jil1'iJt hi'!' phat waha" titzlqi!U "tn.n Vlljr~~VIliroaz~ hi, phat svdhd" ity IZTriiJd· (2) "tn.n ~!"' lllljrflJJUfP~ hi, sv4h4. .. "o'!' Jlib!ultiri tJil~ hi, sv4h4. .. ·o, ~ vaj~ hi'!' sviihtl, .. pu111lr ~ •01fllirihllf!ll rNljrflJJ~ hu,. SVt1ha. • (J) "O'!' dhllmutlt4y4 VlljrllJ1U!IN hi, sv4h4. • ·o,. Sllmhhogtz/t4yllllll~ hi1fl nNihti, • "tn.n nirmll~ vajr~ hi'!' S1Nlhli, • punAr ~ "o'!' mllhtisulthll/uiylllllljrtlp~ hW,. wihtl. • [Tcxts diverge. GSS2s continues] JniNU ~ "01f11lllmii/J SllnNtprubutitiJMboJhis4ttwbhyo vaj~ hibfl Sfl4h4. ..e/hy4Nlllthi111UJ 1NI1Jtrll1fl jlljJn. flltl'liyll1fi1Ninmz/J, •O'f' ~'* S1Hih4, .. ·o,. SIUINlbuJJhtuj41tin~ O'!' lllljrll1HJ1?11Uliyt O'!' wzjrlllllli~ - hiim ,.l.... phlltphat • bum • bum . J"-t • . Wllha. • • pha!J GSS25 only • wimt'] GSS15, GSSs; paiciti wi1Nlpllrfw GSSw, taw tllSJiliVIl tllliwi7Ntptzr/w ell GSS2..4 • Vlljr"PUfP~ GSS25, om. GSS1o, GSS2.4, GSSs (also in the following mantras) • pii'!'llginl GSS2o, GSSs; pu'!'llgiri GSS1s, GSS2.4 • lt4mliltbytz] in various mss. it appears as lt4mtllthy4 and U1N1riipa • lirihtzt/ll] GSS2 s, GSSw, GSS2.4; frihlln4 GSSs • The mantras for the second and third sets of offerings are given in full only in GSS2.5 {K92J'3). In GSS2..4 (90\'3). GSS20 (84v6), and GSSs (K36v6) the mantras are given in abbreviated form, e.g., GSSs: O'f' <~>(mp)JIU'!'Ilgirilul1Nllthyalrihll!!fl <Jhllmuz>(mp) Jll1!lbhogllm1'1Nb_Jilmllhisu/thlllt4ya/thytin41f1 pr~luz'!' uturthytln141f' Nlmll vitl4rbhyll o,..ulrllliisviihintmll piijll]itwi piirvallllt. This j11p11 mantra differs slighdy in the different tcxa for groups I and II. ii In group ll (GSS9 K.,.sr.1, GSS3o Klo1r3, SM134 p. 455), the three sets of mantras are as follows (my punauation and numbering): (I) O'!' sllTfNibuJtJhaij4/tiniyt VlljriiPUfP~ <Jnn.n>(SM234) S1Nlhli. ~· •grlltll/1 O'f' SllrvabuJtJhllt!41tini pitaVIlrpd VlljrapUfP~ swih4. dll/qi~ O'!' VlljrllVIl'!U'ni /y41NIVII'?"i lllljrllp~ wihi. JUlkim~ O'f' lllljrllVIlirocllni g•urllVIl'!"i vlljrllpUf~ SJNiha. (2) O'!' tihllmwltllyavajrllpUfp~ svlih4. 01f1 Sfl'!'bhogll/t4ylllllljr~ sv4htl. 01f1 nirmll!fAitllJilVIljrq~ sv4ful. 1NI~ O'!' 1Nlh4sulthavajrllpUf~ sv4htl. (3) tn.n ot!t/iyi111llllljrllp~ svlihi. O'!' pu'!U'giriVIljrlljJ~ sv4h4. O'f'lt4mtmifJilvlljrq~ sv4h4. ~ 01fllrihfl!!llvlljrllpUf~ swihiJ. punAT ~ 0'!' nAmllb SllTVIlbuJJhllboJhisllttvllVIljrllpUf~ wihi. 0'!' 1lllmii/J SllrJNl~ni O'!' nA11Ut/1 SllrVIlVIljrllVfl'!'llni O'f' ~ hri'!' SllrvaVIli1'0Cilni hi, phat phat phat svihi. (I) • VIl'!'llnil GSS3o, SM134; Vfl7!'1lnllGSS9 • agratab O'f' SllrvabutJJha, GSS9; llgrtlta/J 01fl bru/Jhll 0 GSS3o, SM134 • VlljrllVIl'?fllni] GSS3o, SM234; vlljrllVIlT!fllnll GSS9 • O'!' vlljrllVIlirocani gaurllVIl"??i) SM234; gllurllVIl'?'Jl O'f' VlljrllVIlirocllni GSS9, GSS3o • (3) Sllrvavairocllni] SM13.o4; S1UVIlVIliroclln~GSS9, GSS3o iii This is omitted in GSS2..4, which begins with the offering mantras to Sarvabuddha4ikini in the center. In GSS2.5, GSS2.o, and GSSs it appears in shorthand with iti (Sil1VIlbwJJhtujUi~ itytiJim~~ntrn;~~~). which can only refer back to the japll mantra given after the visualization in GSS1s and GSSs. In GSSw the jllpll mantra is omitted after the visualization (it appears instead at the end), and thus there is no referent for iti in this sidhana. 0
"*"' "*"'
0
100
VAJRAYOGINI
three central yogic channels or veins in the body, and each represents the channel from which she drinks the blood. In the Triltayavajrayoginistotra (GSS27), Vajrayogini is said to be established within each channel in turn, and to manifest in each with a particular color 17 and a particular iconography: 211 (v. 2cd) In the central portion of this [dharmodayd-triangle] is the syllable hri1fl, which is described as yellow in color. (v. 3) [Trikayavajrayogini] arises from it and is [also] yellow. She is by nature (svaya,)siruated in the avadhUti, but in /a/ana she is very dark, and in rasanii she has a white [color]. (v. 4) In the middle she is in the pratydlitjha stance, naked, and charming in [her] yellow [color]. [Thus] the goddess Trikayavajrayogini is established in the three channels. (v. s) This [goddess] as a single [goddess] is called Sarvabuddha9akini. Vajrayogini's threefold nature is also extolled in the other Trilulyavajrayoginistotra (GSS26) in which it becomes the central moti£ Thus, she inhabits sky, eanh, 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 14/ana and rasa1111, she is avadhiti, great bliss. " 219 This gives rise to a fourth category, namely, the unified, transcendent aspect of the threefold system. For example, Vajrayogini has the dot (bintlup), the subde sound (1111Jtzb), and the moon segment (JuJd), (v. sa) and yet she passes beyond them (GSS26 K93VI, v. 6a: bintlu1Ui441tlll4titli). 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. scd). 120 In the sadhanas, this fourth, transcendent aspect is represented by the unilateral mantra offering to the complete maJ]4ala, the goddess unified as "one-in-three." The second set of mantra offerings includes the name of four sites: 049iyana, Piiri]agiri, Kamakhya (= Kamariipa), and Srihana (Syllhet in modern Bangladesh). This is reminiscent of the body maJ]4ala, in which the Cakrasarpvara/Vajravarahi maJ]4ala is understood to comprise twentyfour sites (pi!has) within the three worlds (ch. 3). Of those twenty-four sites, however, only 044iyana appears in the maJ]4ala of T rikayavajrayogini; indeed, this fourfold set seems to have been unique. 221 With the recitation
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101
of these offering mantras, the yogin identifies the three goddesses with the first three sites, and the central goddess again (presumably as the transcendent "founh") with the founh site. The same procedure is followed for the third set of offering mantras, which identify the goddesses with the bodies of the Buddha. Similar correlations are seen in the Sa,.varoe/4yatllntra (ch. 4, vv. 2.1Cd-2.7), in 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 triads, the yogin attains buddhahood (v. 27cd). The goals of the Trikiyavajrayogini practice are enumerated chiefly in terms of the magical powers (siddhis) accrued. The L~Jqmis4Jha1111 describes the rewards of mantra recitations in the prior service (piirvtlsnNi): one /41th (one hundred thousand) calms obstructive spirits, two 14/thsattract women, three 14/ths conquer cities, four 14/ths attraa the king and five lalths bring the practitioner whatever he desires (GSS24 K9ov6-91r, 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 Viriipa-based Trikiyavajrayogini sadhanas (group 0 is the only mantra in the GSS that States that it is "for enlightenment" (sll1f'Y'IItstnp~). 223 The &ct that siddhi is not clearly distinguished from liberation in these texts is a reflection ofVajrayogini's supramundane status. Siddhi and liberation are the same in that both are realized by cleansing the mind of the obscurarions that give rise to dual appearances. This is demonstrated by the iconographical symbolism ofTrikiyavajrayogini's severed head. By chopping off her own head and surviving to drink her own blood, the goddess dramatically 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 general. 224 For example, one Tibetan hagiography of Kir}hapa/Kffl}icarya describes how his two pupils, the yoginis Mekhali and Kanakhali, are challenged to cut off their heads in a bid to conven the king. This they happily undertake, before dancing headless into space and disappearing into rainbow light. Taranitha says that their actions started a head-chopping trend among cJ.ikinis and that as an antidote Vajravirihi herself appeared with a severed head among her devotees. m The princess I...alqmiilkari also used the device to prove to her father that in becoming the conson of her brother
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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 ChinnatnUI).Qa Varahi. 2u. For such adepts, the severing of their own heads usually indicates the severing of defilements. Thus, Ga~ppopa' s final realization comes when he has a dream in which his head is cut off and rolls down a hill, symbolizing that his ugrasping the idea of a self" (litmagrahll/1) is severed (Benard 1994: 96). The • SiJdha-Amnliya makes the same point, in a rather different fashion, 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 (*SiJJha-Amnliya p. 11.26: viltalpllsa,bhutatwit). Self-decapitation~r the breaking of some other fundamental Buddhist 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 ( *SiJdha-Amnliya p. 11.22). Similarly, Nampa's guru appears only after he has decided to cut his veins with a razor (Guenther 1963: 36). In the AriiJhtznavidhi 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 Vajravarahi was fruitless, he was driven to throwing his rosary down the toilet, whereupon Vajravirahi 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 obscurarions and gains access to the transcendent realm he has so dearly sought.
Conclusions We have now seen a variety of forms ofVajrayogini and Vajravarahi, all of which reflect the luiplililta and/ or Jti!ttA 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 manifestations present a dynamic picture of the cult ofVajrayogini in a process of evolution and development; or do they instead represent a number of distinct if overlapping sytems, so that it would be more appropriate to talk of the Vajrayogini "cults" rather than of a single tradition?
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The main feature that unifies the many manifestations ofVajrayogini is the mantra, which, despite certain variants, revolves around the three epithets or mantra-deities, sarvabuJJhat/4/tini. vajraVIl'?'Jlni, and vajravairocani. Vajravairocani is the deity of Vajrayogini's heart mantra, and Sarvabuddha4ikini and Vajravar-:tani of her auxiliary heart mantra. The three combine in the root mantra: 01JI 01JI 01JI
sarvabuJJhat/4}tiniyt vajraVIl'?'JlniJt vajravairocaniyt hu'!' hu'!' hu'!' pha! pha! phil! svdha None of these mantra deities occurs commonly by itself. In the Trikiyavajrayogini 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 Abhisamayamllfijari in which (having just prescribed the visualization ofVajravarahi as a solo deity) the author comments, "Furthermore, the goddess Vajravairocani is called Vajrayogini, and according to the scriptures and the teaching, there arc many differences in the transmission. "22' This seems to reflect the idea that once Vajraviri.hi appears outside her Cakrasarpvara-based ma-:tcJa1a, 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 Vajrayogini come about? Any attempt to look for the origins of the cult through the textual sources on hand can be little more than conjccrurc. We can, however, sec two emergent trends at work in the Jaltta cults of the highest Buddhist tantras, and these seem to converge within Vajrayogini tradition. One trend is the emergence 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, l)ikini or Lama, and possibly in the emergence of a single goddess called Vajravilasini. We also noticed Vajrayogini appearing as the esscntialized form of other female deities, such as Ekaja!i and Buddha4akini. The other trend is the rise of the solitary heroine Vajraviri.hi. We have seen how Vajraviri.hi gravitated from the outer reaches of Heruka m~qalas toward the center, to appear, on
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occasion, as consort to Hevajra, and then as chief lady in the Cakrasatpvara system. Finally, as Buddhism absorbed the impact of laltta Saivism, Vajravarahi assumed greater significance still and rose to the position of m~Qala leader within her own all-female m~4ala. In this context, Vajravirihi appropriated the m~Qala 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 consort of the deity, Cakrasarpvara, Vajravarahi is an outstanding example of a vajra-yogini and easily associated with the essentialized form of all vajrayoginis, Vajrayogini herself. Whatever the factor that drew Vajravarahi into Yajrayogini' s fold, once inside, she had a formative influence on the cult. First, she brought several different manifestations with her. For example, the dancing arrJhaparyanlutpose form of Vajravirahi with the protruding hog's head may have predated that of Vajravarahi as Calcrasarpvara'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 ofVajravarihi belonging to the buddha family of Alqobhya, rather than to the presiding deity of Vajravarahi in the Cakrasa!Jlvara mat.t4aJa, V airocana. A Tibetan source states that the hog-headed Vajravirahi is presided over by Alqobhya (n. 122); and the entirely hog-headed Vajragho~a Vajravarihi, a goddess present in the ma~4alas of the Yamari herukas, is also presided over by Alqobhya. As we have seen, the VajraghoQa 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 everexpanding pantheons, we find another popular hog-headed goddess: Marid, in her many forms. The interweaving of the Vajrayogini and Vajravirahi traditions might also explain the iconographical difference we noted between the manifestations that hold a chopper and those that hold a vajra. In the main, the chopper belongs to forms of Vajrayogini, and to the arrJhaparyan/ta.-pose Vajravarahi. The vajra generally belongs to warrior-stance forms of Yajravarahi. The chopper may then be associated with the "older" forms of the yogini-type goddess who was later essentialized as Yajrayogini, while the vajra may date from Cakrasarpvara's embrace ofVajravirahi 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, Vajra4akini, and Vajrayogini. For example,
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the mantra deity Vajravarahi is included in the mantra utterance for the three forms ofVajravirihi: the VajraghoJ}i forms, the six-armed embracing Vajravirihi, and a warrior-stance Vajravirihi (in GSS2. KitvJ). We also find the same mantra deities, Vajra4aJcini and Vajrayogini, in mantras rdating to the warrior-stance form ofVajrayogini with a chopper, and to both the raised-leg-pose goddesses, white Vajrayogini, and red Vajravirahi. It seems to be Vajravirihi-as-consort who bequeathed the tripartite root mantra to the Vajrayogini tradition. The mantra clement SarvabuddhaQikini appears in the Cakrasarpvara texts in the auxiliary heart mantra ofVajravarahi (e.g., ADliT ch. 14, p. 2.88: O'fl sarvalnuJJhtuj4/tin~ hu'!' hu'fl pha! nNihi), and the inclusive nature of this epithet sarvtllnu/Jhat!4ltini ("cJikini of all the buddhas") is a testimony to Vajravirihi's importance as consort to Cakrasarpvara and may have been another &ctor in equating her with the generic form ofVajrayogini. The epithet "Vajravairocani" probably arose because in the Cakrasarpvara maQ4a}a Vajravirihi is assigned to the buddha family ofVairocana. I have found no clear directions as to the origins of the third epithet, vajrava'?'4ni. Although the three mantra epithets 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 Sakyaralqita's (relativdy late) reference above to a solo form of Vajravarahi called Vajravairocani. The same devdopment seems to have affected the epithet sarvab~ni in later traditions. In Indian sources, I have not seen an independent goddess called SarvabuddlwJakini attested outside the Trikiyavajrayogini sidhanas. However, a deity iconographically identical with warrior-stance, chopper-widding Vajrayogini is referred to, on occasion, in Tibetan sources as Sarvabuddha4ikini, or Sangs rgyas thams cad kyi mkha' 'gro ma (e.g., von Schroeder 1981: plate 111E), although this seems rare. In fact, the appellation "Sarvabudclha4akini• may be something of a Western usage, perhaps originating in a misreading of the 54Jhan41Ni/4 sidhanas ofTrik.iyavajrayogini. 221 Another feature of the practice of Vajrayogini in India is the tendency to associate panicular 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, lndrabhuti is associated with the transmission of the dancing artihllparyanltll form ofVajravarahi with hog's head, Indra-khccari (mKha' spyoti); Advayavajra/Maitripi(da) with the raised foot (u~) form ofVidyadhari Vajrayogini, known in Tibet as "Maitri-khccari"; and finally, Naropa with the classic warriorstance form of Vajravarahi, Na-ro-khccari.
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Although the transmissions were oral to begin with, we have seen how their "textualization" occured very early. In a traditional Buddhist enviroment, 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 praaices. (This remains true even today. As Lama Jampa Thaye put it [2002: personal communication], "[The practices] remain 'secret' in as much as we cannot study or praaise them without the requisite initiations and transmissions--although one may, of course, possess the books." In other quarters, 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 justification 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 scholarly 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." However, it has also indicated the existence of separate currents within the tradition, 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 Guhyasam4Jasddhanamli/4 have been seen to draw on both these traditions. Thus, the raised-foot-pose goddesses manifest as a form of white Vajrayogini and as a form of red Vajravarahi; the same is true ofVilasini, who in one manifestation is related to Vajravarahi and in another to the Vidyadhari Vajrayogini; and both traditions are found to merge in the practice 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 definition of the solitary heroine (tltavirli) within an all-female mat}4a}a based on the Cakrasaqtvara system. This may have encouraged the identification of Vajravarahi with the generic goddess Vajrayogini and the proliferation of her forms in their terrifying anclJor erotic aspects. Our analysis ofUmapatideva's Vajravtirtihi Stidhana will also shown an increasing cremation-ground orientation within these praaices, one of which is taken further still in the "skeleton arch" praaices (GSS32-34). Here, the tradition seems to draw on forms of Vajrayogini that survive in earlier tantric praaices, and also from
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sources that lie outside the main Herukatantra traditions, namdy from esoteric 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 lttipti/ilta culture altogether and cultivate the erorico-yogic soteriology of mahimudra. The impressive number of forms in which Vajrayogini manifests and the variety of her praaices together reflect the richness and popularity of her cult in the land of its birth. According to tradition, of course, such diversity simply illustrates the power of the goddess's compassion and her mastery 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 fraaion of her true nature-for as the Abhisamayamaiijari points out, Vajrayogini's manifestations are, in reality, infinite: 2JO So one should understand the transmissions of the goddess such as these that have come down (ayatti) 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 oudine. 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] fr« from doubt. One will inevitably succeed.
3· Study of the Vajravarahi Sadhana
Out/in~ ofth~ Slitihanll
the-
HE Vajravirahi SiJhana by Umapatidcva is one of the lengthiest sidhanas in 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 ofCakrasarpvara, and it is from this source that Umapatidcva draws the description ofVajravarahi and her thirty-seven-deity JJW}cJala, as well as the ritual practices that follow. We will sec how Vajravarihi's maJ]cJala is carefully adapted from the sixty-two-deity maJ]cJala of Cakrasarpvara, which appears in embryonic form in the CaltrllSII'!'Varatantra (e.g., chs. 1-3) and in various presentations in its derivative literature, such as the Yoginisa'!Jcliratantra (e.g., JHl!lllas 6-8), the Sll'!'varotittyatantra (e.g., chs. 8 and 13), the AbhiJhtinottaratantra (e.g., chs. 9 and 14), and in exegetical literature, such as Liiyipada's Hm4/ttibhisamllJIL The VajrlliNirtlhi SlitJhana forms a rewarding subject for study, because in it the processes and methodology of the sadhana are panicularly clear. These arc highlighted by its distinctive structural framework: it is divided into four "meditation stages" (bhtivanliltra1NlS), followed by a fifth section prescribing various external rites. It finishes with a few verses that form a son of brief appendix, giving additional details of the eight cremation grounds. The four meditation stages describe progressivdy longer meditations based on the visualization of Vajravarahi within her maJ]cJala. The first meditation stage reads as a complete sadhana in itself. It opens and closes with the usual frame verses, prescribes the practitioner's prdiminary actions, and then progresses to the yogin's generation of himself as Vajravirihi. 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 visualization of a fivefold JJW}cJala, that is, the central deity, Vajravarahi, on the
T
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VAJRAYOGINi
pcricarp of the lotus, surrounded by four more goddesses on the four main petals of the pericarp. The third meditation stage increases the maJ]c:Jala to include the eight outer goddesses at the gates, thus creating a thirteenfold OW)9ala. The fourth meditation stage goes on to supply the goddesses of the twenty-four sites (pi!fJas) situated upon the three maJ]9ala circles that surround the central petal in concentric rings; this brings the mar:tc:Jala to its complete thirty-seven-fold form. For each meditation stage, Umapatideva prescribes the necessary mantras for the attendant goddesses, as well as additional mantras for the central deity. Upon completing the maJ]9ala, meditation stage four also describes the contemplative practices to be undertaken upon the basis of the full visualization. The full maJ]9ala 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 visualization associated with the full maJ]9ala, 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 maJ]9ala follow the more usual method, which is to prescribe the progressive visualization of mal}<;iala deities staning at the central pericarp and
moving outward, thus: mar:t9ala 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 Cakrasatpvara mar:tc:Jala as presented in Liiyipada's HmJtabhisamaya; and it is the structure of the other complete Vajravirihi mar:t9ala in the Guhyasamayasadhanama/a collection, the Abhisamayamaftjari (GSSs) by Salcyaralqita, which is also closely based on Cakrasatpvara sources. In this lengthy work (summarized in the appendix), the Abhisamayamaftjariuses this progressive method to introduce the entire sadhana for the generation of the thirty-seven-fold mar:tc:tala, from its preliminary procedures to its closing rites. Only then does it offer alternative practices. The first alternative describes a fivefold mar:t9ala "for those wanting a medium-length version" (K33vs: Wlllllhyaruds tu .. . ), as in U mapatideva's second meditation stage. The Abhisamayamaftjari then gives the instructions for the visualization ofVajravarahi alone "for those wanting a short version" (K34r1: s4'f!l/t!iptarthi tu yatholttariipti'!' bhagavatim eva ltroalli'!' bhavayatt), as in Umapatideva's first meditation stage. The structural differences between these two important sadhanas are summarized in tabular form in table 8:
STUDY OF THE VAJRAVARAHI SADHANA
III
Table 8. Comparativt structurt oftht Vajravarahi Sadhana and Abhisamayamafijari
VajravarahislitJhana (GSSu)
Abhisamayamlliijari (GSSs)
by U maparideva
by Sakyaralqira
meditation stage 1
sidhana for Vajraririhi alone
meditation stage 1
s-fold ~Qala (with 4 gocldcsacs on petals)
meditation stage 3
sidhana for visualization of complete 37-fold ~Qala including ritual practices
13-fold m~4ala (with 8 ourer-goddcucs)
meditation stage 4
37-fold ~4ala (with 2<4 site goddessa
s-fold ~4ala (fim alternative)
& c:onremplations)
ritual practices
INJi rituals. hand pUjli, etc.
verse "appendix"
dosing verses
verses describing the cremation grounds
single goddess Vajravirahi (next alternative) more alternative meditations for five other manifestations ofVajrayogini dosing verses
U mapatideva's handling of the ritual praaices in the fifth seaion of the sadhana also has a didactic effect. It is standard that authors prescribe ritual 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. Umapatideva is particularly careful to separate the rites from the body of the sadhana, which enables him to preserve the narrative Aow of the four meditation 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 performed (v. 2.8b), 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 U mapatideva' s sadhana form a kind of extended
ll2
VAJRAYOGINi
"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 bali ritual and various external worship ceremonies, and it demonstrates that the rites may be performed using the visualization of the maJ.I<Jala in any of its four stages. The same clarity of exposition is evident in Umapatideva's treatment of other material 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 (vv. ?o-?6). The lucid structural framework of the Vajravarlihi SaJhana is matched by an elegance of style. In contrast to the formulaic Sanskrit prose and occasional "doggerel" (usually anUftubh) of much sadhana literature, Umapatideva employs the somewhat more poetic meter upajati. 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 ~<Jala in the second, third, and fourth meditation stages, U mapatideva draws from a stock of source material (discussed below) and thus employs a combination of anU!_tubh and prose. He concludes the sadhana with a return to his own verses in upajati to explain the visualization of the cremation grounds and to close his composition with the dedication of merit. Within the classical 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 literature. Nevertheless, in refining familiar phrases (for example, in his description ofVajravarahi, vv. 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
Bnudiction v.
1
The sadhana opens in traditional fashion with a verse of benediction (mangalttm). This takes the form of an expression of obeisance and homage (namasltira/J) ro the chosen deity of the practice (~)and gives voice to the devotion felt by the author. Our author, Umapatidcva, begins by saluting the lotuslike foot of the vajra goddess, which-in true poetic (luivya) style-suggests both her extraordinary beauty and his inability to describe more than a single feature of so awe-inspiring a whole. Hinting perhaps at the goddess's dance, Umapatidcva 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 bencdictory verses to the other major sadhana ofVajravarahi in the GuhyaSIImllJilSiitlhll1lll1Nil4, the AbhisamllJilmafijari (GSSs). These include a brief namasluirafollowed by a prayer (aiirvtitJ4b)for the deity's favor. Once again, salient features of the composition are highlighted, in this case, the manifold nature ofVajrayogini's forms and her evident compassion:23 ' 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 (vaiiatiya-), because she is thoroughly cleansed (suJhavana) by the nectar (suJha) of perfect enlightenment, quiescent (ftlntli) 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 rdigious undenaking and is therefore framed by bencdictory verses at the start, and, in the final verse, with a dedication 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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VAJRAYOGINi
as it is believed to help the author through the mass of demonic obstacles eager to obstruct the progress of any pious endeavor.
Preliminari~
v. :z. 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 practice. "Hl 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 GuhyasamayasaJhaMmdla (amid more terrifying alternatives), they are said to be desened; Vajrayogini practices clearly follow the most extreme wing of the Buddhist tradition. m This is in stark contrast to the siitra-type sadhanas (such as many in the SiidhaMmlila collection) that prefer quiet resorts or temple shrines as sites for meditation, "delightful" (m~mohttra) 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 scat, with yogic ease"-StitihaMmdlasources speak of soft cushions and tender pillows. m Vajrayogini texts occasionally mention two other types of seat. One is "made of a double vajra" (vifvavajramayi-). 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. 2-'6 Once seated, the yogin assumes his meditation posture, probably the traditional cross-legged pose (paryan/uz!llvajraparyankab). which seems to be the commonest position prescribed in the SaJhaMTNila. 231 In a passage that lists a number of seated meditation postures, Abhayakaragupta explains the vajraparyanka 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 vajraparyanlta [posture]."m Far more complex preliminary activities are prescribed elsewhere, and the yogin would undoubtedly wish to undertake a number of these before continuing. To start with, he would usually enact rituals for the protection of "place, person, and practice," which may involve time-consuming external
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rites and internal meditations, or simply be accomplished by reciting 07JI ti/;J hii,. For the "protection of the place," sadhanas usually prescribe a bali ritual, injunctions for which appear later in the Vajravardhi StiJhana (v. 66fT.). l)9
This can be a very complex rite in which a special propitiatory food offering-a bali-is offered to local spirits, as well as to the deities of the ~~a. 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 practitioner's body, speech, and mind. Many sadhanas begin with bodily purification. The yogin is instructed to rise early (pratar iitthaya ... ), "when the night has 'one hour and a half (artihayama) remaining" (or, according to Saiva ritual tats, "within two hours before dawn"). 241 He is then to wash his mouth and perform other ablutions such as going to the toilet (multhalauctiJi/ta-), which he ritualizes by reciting mantras and maintaining the conviction that as he washes, he is being consecrated by the buddhas. 2• 2 For the purification of speech (vagvilwldhiJ,J), the Abhisamayamafljari (GSSs) 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 maJ]~a (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 vagviiutJJhi, which is referred to several times in the GuhyasllmllJasatlhanamii/a, is derived from Cakrasarpvara literature. The longest version, although still confusingly terse, is found in the AbhisllmllJilmafljari. (The alphabet is shown in plate r6a from ms. K.):W "o'!' IZ a i i U jj f f' ,I j jj ~ ai 0 IZU IZ'!' 1Zp Jea Jeha ga gha ria CIZ cha ja jha filz !ll P,a t/4 ,P,a !14 til tha dtz dha napa pha ba bha maya ra 14 va 14 !" SA ha lt,a hu'!' hu'!' phat." Having thrice pronounced [the syllables of] this row of vowels and consonants [and seen each
syllable emerging from his mouth as he docs so], he should visualize [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 (vagvilwldhip).
n6
VAJRAYOGINI
The purification of mind-in fact, of body, speech, and mind altogether-is achieved with another preparatory ritual found in the higher tantras. This is the contemplation of the purifying correspondences ( viiutJdhis)-a method of establishing, or reestablishing, the yogin in union with the deity. Indeed, one Cakra.sarpvara text specifically prescribes it as a preliminary for a yogin who has lost the awareness of himself as the deity. 2<44 The purification takes place on the basis that the yogin understands every part of his psychophysical being-viz. his five aggregates (sluznJhas), the sense organs with their respective sense fields (ayataNIS), and the five elements (dhatus}-to be ontologically equivalent to the buddhas, because all share the nature of emptiness. Although this preparatory practice is not found in the Vajraviiriihi SdJhana (possibly because it includes the visualization of male deities), it is worth describing here because of its similarity to the armoring stage later in the sadhana. Our source is the Abhis~tmaya1111liijari, and is again clearly based upon Cakra.sarpvara sources. It introduces the visualization as follows: 24 ~ He should be firmly convinced (adhimuli«t) of the purifying correspondence[s] for the skandhas and the rest [of his psychophysical being] since (iti) [rites] such as worship [that are performed] on the basis of the purified skandhas, etc., arc a speedy cause of enlightenment. Of these, [the buddhas] Vairocana and so on [i.e., Ratnasarpbhava, Amitibha, Amoghasiddhi, and Vajrasattva (sic)] arc firmly understood (nilctyii/1) as [the skandhas,] "form" up to and including "consciousness," by vinue of [both the buddhas and the skandhas] being like foam, bubbles, rays of light, the plantain plant, [or] illusions, [i.e., empty]. Alqobhya [is understood] as tllthata. 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 contemplates the correspondences. The buddhas assume a typically tantric appearance as they stand in the warrior (iilitjha/J) stance, with three eyes, matted locks, and bearing the five signs of observance (muJrtis). They hold tantric attributes "gracefully" (udila) in their right hands, and place their left "proudly" (s~tgarva) 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: ~iti garbha, Vajrapil}i, Khagarbha, Lokdvara, Sarvani~av~kambhin, and Samantabhadra. They are visualized holding an attribute in their right hands and a bdl in their left. The author also provides alternative names that reflect their capacity to destroy the poisons: "Mohavajra because he destroys ignorance (mohfl/1), ~vajra because he is the enemy of malice (tivqa};), the three Iqya[vajra], Raga[vajra], and Matsaryavajra because they destroy [respectively] envy {i"!J'i), all clinging (sarvasangfl/1), and miserliness (mlitsa'J'Im), and Ai$varyavajra because he bestows all powers. "246 Finally, the yogin equates the four elements with the four goddesses Patani, MaraJ]i, .A.kaqa!]i, and Narte5vari, and the element space with Padmajvalini. They also assume a ltapalilta form, and are visualized naked, with loose hair, holding tantric 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, Mamaki, Pi.l]4ara, Tara, and Dharmadharuvajra, namely, the traditional consorts of the buddhas and "mothers" of the yogatantra systems. 247 These correlations and the salient iconographical features are summarized in table 9· One other preparatory rite is worth mentioning, as it illustrates the purification of the praaitioner's body, speech, and mind through transgressive discipline (vimticira/1). This is the mantra bath (mantrasnanam), which is performed using forbidden substances, such as alcohol, and conventionally "disgusting" bodily secretions and fluids. The praaice forces the yogin to break through his instinaive, 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 GuhyllSil7NlJIZsatiha1UI1Nilll, attributed to lndrabhiiti (GSS1) and Liiyipada (GSS2): 241 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: mlilihvi; GSS2: m.rtlvilti and mlitlhviltli), molasses (gawJi), [and] flour (paqp) 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 [o'!' db hu,.], he should perform a "mantra bath" (mantrasntinam) using this liquid on all the major and minor limbs [of the
Table 9· Contnnpllltion ofpuri!Jing corrtspondmcts (viluddhis) Skandbu
Purifying Deity
Color
Right Hand(s)
Left Hand(s)
form (riipam)
Vairocana
white
wheel (aloft)
bell (at hip)
feeling (vcdana)
Ratnasarpbhava [Vajrasiirya]
yellow
jewel (aloft)
bdl (at hip)
cognition (sarpjf\a)
Amitabha [Padmanandvara]
red
red lotus (aloft)
bell (at hip)
volition (sarpskaral;t)
Amogha.siddhi [Vajralija]
grttn
doubk vajra (aloft)
bell (at hip)
consciousness (vijfiinam)
Vajra.sattva
white
vajra (to the heart)
bell (at hip)
such ness
Alqobhyavajra
black
[~ri-Herukavajra]
earth-touching mudri
bdl (at hip)
(tathati)
Sen.e Orpu and Fidds eyes
l
white
wheel (aloft)
bdl (at bean)
ears
Vajrapil.ti Dvcpvajra
black
vajra (at bean)
bell (at hip)
nostrils
Khagarbha lqyavajra
yellow
jewel (aloft)
bdl (at bean)
&.ce
Lokdvara R.agavajra
red
red lotus (aloft)
bdl (at bean)
whole body
Sarvanivara.t;lavifkambhin Marsaryavajra
dark
double vajra (aloft)
bell (at bean)
[green]
Samantabhadra Aimryavajra
pure white
vajra (at bean)
bdl (hip)
Patani
yellow
whed chopper
skull bowl skull staff
Marani
black
vajra chopper
skull bowl skull staff
~j
red
lotus chopper
skull bowl skull staff
all sense fidds
FJemeots earth
Locana
water fire
Mam~ P~dari
wind
Nandvari Tiri
green
sword chopper
skull bowl skull staff
space
Padmajvalini Dharmadharuvajra
grey
goad
skull bowl staff noose
3 faces: grey. red, &white
Brahma's severed head chopper
STUDY OF THE VAJRAVARAHi SADHANA
119
body staning] from the left hand. He should sprinkle the substances to be offered with this same [mixture, i.e., using the ring finger (andmikd) and thumb joined together to flick the substances]. Next, with these mantra syllables,
hti'!' JO'!'• hrim mo1JI. hrnJJ hri1J1. hu'!' hu,, phat phaf, 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 m~4ala resting upon a crossed vajra (viJvavajrav~dika), and upon a corpse throne. Her posture, too, may be imitated by the practitioner, as one bali 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. 24'~ Practices based on the purifying correspondences or upon transgressive discipline prepare the yogin by reaffirming his understanding 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 preliminaries demonstrate the same objectives as the sadhana: the yogin's ongoing 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. " 2 ~
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 (pu~yasambharap) and wisdom (jlidna-
VAJRAYOGINi
12.0
sambharab). The Vttjravarahi StiJhant1 follows the method standard in mainstream sadhanas, which is to cultivate a more speedy accumulation of merit through the praaices of worship and the brllhmllvihara meditations, and a more instant accumulation of wisdom through the contemplation of emptiness. 2 ~ 1 It is to the former that Umapatidcva now turns in the following verses and prose portions.
Worship v. 3 The worship is based on the Mahayana supreme worship (anunarapuja) 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 Vll7fl {t) in his heart, the seed-syllable ofVajravirihi 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" (alta"!41_Ulm) the deities to be worshiped. Rays are a typical 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 (anltuiab) that "urges" or "impels" (sa'!' cuJ) the deities to cooperate in the ritual. m In the Vajravarlihi SM/hana (v. 3d), the rays draw down "a mass of buddhas and so on" from their dwelling place in the Akani,!ha heaven, where they reside in a body of enjoyment (sa'!'bhogaltayah). m A characteristic list of the beings to be worshiped includes "gurus, buddlw, and bodhisattVas" (e.g., v. 6a: prv4dibhif1). 2 S4 The precedence 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 (yoginigurubuJJhabodhisltttva-). This is effectively what happens in the worship section of the Abhisamayamlliijari, in which Vajravarahi's entire maJ]qala circle is summoned for worship, as well as the teachers and other enlightened beings:m
v
Then, in the subde space inside his own heart, he should visualize the red syllable VIZ'!' placed on a sun disk that has [itself] been produced &om the seed-syllable ra'!', [and] having driven
STUDY OF THE VAJRAVARAHI SADHANA
121
out [his] inner impurity with rays from that [va,.], he should draw down the mal}4a}a circle of the goddess to be described, and the teachers, buddhas, and bodhisanvas by means of [rays from the va,.syllablc] pouring forth from every hair pore [ofhis body], and [then] he should visualize in front [of him] in space [the celestial hosts].
v. ~
The divinities arc 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 abundandy that it is said to resemble a sesame pod full of densely packed seeds. 2% The next verse in the Vajravdrahi St1Jha1111 instructs the yogin to worship 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. 2s7 Here, in an abbreviated reference, they comprise the five offerings (upactiras), which usually refers to flowers, incense, lamps, perfumed powders, and food-although the exact sequence may alter according to the class of tantra (mKhas grub rjc: 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 (llf.tllmanga/4). 2sa This type of offering is referred to as "outer worship" (btihyapuja) and is distinguished from an "inner worship" (aJhylltmapujll) comprising offerings of the five sense organs (ltamagu1JIIS), which arc represented by their respective sense objects: a mirror for form or sight, music for sound, incense for smell, food for taste, and cloth for touch. zs9 Both outer and inner offerings are prescribed in the worship section of the Abhisamayamafijari (elsewhere termed the "secret worship," guhyapuja). 260 The Abhisa11111J1lmafijari employs sixteen variously colored "worship goddesses" (pujtkkvis) to make the offerings. The first four goddesses offer the traditional gift of music and arc named after the instrument they play: Vil}a (lute), V:upSa (flute), Mrdailga (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 (hllsyllbhi111lya/J), Lasya the dance gesture of love (/llsyllbhi1111Jilf1), and Nrcya ("dance") the lotus dance gesture (ltama/4bhi111lyab), while Gita ("song") holds "bell metal" (? lta1fUilta1. The next set comprises P~pa, Dhupa, Dipa, and Gandha, who are the eponymous bearers of a flower, incense, lamp, and
VAjRAYOGINi
122
fragrant powders. The final four goddesses hold offerings representing the bodily senses. Adarsa ("mirror") holds a mirror for the sense of sight; Rasa ("juice"} a dish of juice for taste; Spar$a ("touch") a doth (vilvavastram) for touch; and Dharma ("existent") the JharmotiAyab 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 Abhisam4Jamllfljari.262
Table 10. Sixt~~n worship goddesses Music Offainp
Song & Dance Ofl'ainp
omu Tnditional Ofl'eriap
Sen.e Ofl'ainp
4 arms: instrument
4 arms: dantt gestures
4 arms: offering & 4amaru
4 arms: offering &
vajra & vajra-bdl
skull & staff
skull & staff
skull & staff
Vini -lute (bl~)
Hasya-dantt (red)
P~pa - flower
VanUi- flute
l...isyi - dance
(fellow)
(bl~)
Dhupi - incense spoon (smoky)
Rasi -dish ofjuitt (red)
MrcW\ga - tabor
Giti-song
oa:a -lamp stick
(red)
(yellow)
Sparii-doth (green)
Muraja- drum
Nft)'i-dantt
Gandhi- conch
Dharma-
(green)
(green)
shell of powders (red)
dharmodayi (dazzling white)
~
(white)
(
me-colored)
Adarla -
mirror (white)
It is interesting that neither the Vajravtirtihi Sdtihana nor the Abhisam4Jamllfljari prescribe transgressive offerings at this stage, as do other sadhanas in the Guhyasam4Jasd4hanamtild. 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 transitional, offering a practice that retains some traditional features, but in so doing, foregoing a complete integration of tantric methods. 263 V. 4c, §I, Following the worship of the deities, Umapacideva prescribes the sevenvv. S-7· fold "supreme worship" (anuttarapujti) of traditional Mahayana ritual and composes verses that were probably intended for recitation (vv. 5-7). The
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" (pujan4), foUowed by "salutation" (vandand, "bowing down to all the buddhas"). 264 In the sadhana, the stage of worship has already been performed (v. ~b), 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 sevenfold 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 Abhisawuzyamaiijari (GSSs Sed p. 128, KI7n), for example, follows its elaborate visualization of the worship with a salutation in the form of the eight-pan mantra. It then presents the Mahayana sequence from the third stage (confession), 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 parallels 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 U mapatideva. This seems to reveal a certain awkwardness in integrating the traditional Mahayana anuttarapiijii with the methodology of the sadhana.
Brahmavihara Mtditations vv. The sevenfold puja is followed by the four brahmavihiiras, meditations dat8-n ing back to the earliest Buddhist literature for the cultivation of lovingkindness (m~titri), compassion (ltaru!IJl), sympathetic joy (muJitd), and equanimity (up~lqti). These meditations are an established feature of mainstream sadhanas, and although Umapatideva's verse glosses are the only ones in the Guhyasam11J4Siitlhanamlild. 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.
confession of faults
visualized worship
confession of faults
confession of faults
confasion of faults
p;ing r refuge
confession of faults and undmaking not to do
visualized worship
visualized worship
visualized worship
visualized worship
visualized worship
aaua.l worship salutation
SM,.S p. roo
SM67 p.rJ8
SM71
SMno
SM171
SM118
with guest water. etc.
confession of faults
visualized worship
SM-46 p. 95
!l salutation
wrong again
confession of faults
confession of faults
visualized worship
SM16p. 64
!l salutation
confession of faults
visualized worship
!lpraisc
confession of faults
I
J confession of faults
SMI4P· J8
VltjrtnNiwihi 5MJNm. GSSu GSSs (Kl7r)
1
worship
visualized worship
~.ryti
Tantric sadhana
I
salutation
Mahiyina
ment
dedication of merit dedication of merit dedication of merit
~joicing ~joicing
in merit
~joicing
dedication of merit
in merit
~joking
in merit
in merit
p:ing r rduge
in merit
~joicing
p:ing r refuge
rcqucs~ [tcachi
~joking
in merit
in merit
awakening bodhicim
p:.ing r ~fugt dedication of mind
f:r"::fugt
dedication of one's body
p:.ing r refuge
dedication of merit
mern
~joicing
1n
~ing r refuge
~tta
[teachin
requmi:r
of~rit
transfer
4
p4M
r:Jh~'. tnttiJt-
6
dedication of merit
p:ing r rduge
prayer
f:ing r refuge
J
requcsti;f [tcachin
s
~joici~g
in merit
~joking
in merit
~joking
1n
~joici~g
1
~joici~ [in~nt]
4
resorting the path to
resorting the path to
retorting the path resorting to the path to
awakening bodhicim
resorting to the path
awakening
dedication of merit
awakening bodhlcitta
s
7 dedication [of merit]
dedication of one's body
r~fugc
p:.ing
bodhlcitta
awakening
rcques'!;t [tcachi
rcques'!;t [teachi
retorting to the path
1¥fotr
"pm:Nkti , .. r.oingfor
resorting to the path
6
pinnJ
prayer & + rcques= MJic•ti4m [teachi •f111nit
awakening bodhicitta
dedication of one's body
awakening bodhicim
&mtn'ti'I IIJtNfN'
dedication of one's body
7
~
~I
~ "'6
~
~
~ ;:s
~ "~ S~·
"'6
~
~
....
~n-
STUDY OF THE VAJRAVARAHI SADHANA
D~lopmmt of Wisdom
v. n. 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," illustrates the illusory, dreamlike nature of a mind tainted by dichotomizing conceptualization, and points to the philosophy of the Cittamatra/Yogacira. 267 The yogin is to reflect upon this through the recitation of the two mantras on emptiness. (§2.) The first mantra (which I term for convenience the "purity mantra") expresses the faa that the inherent nature (svabh4va/J)of all existents (sarvaJha17111i[1) and of the meditator (aham) arc ontologically identical in that both arc empty, and hence "pure": O'f' svabhavalut1Jh4b sarvaJhllmlllh O'fl svabhdvaJuJJho 'ha'!' ("All existents [Jha17111i[1} arc pure by nature; I am pure by nature"). Other sadhanas explain that by understanding all existents to be empty, the objca (grahyam) is pwified, while by understanding the practitioner to be empty, the subject (grtihalta/1) is purified. 261 In other words, the first task of the meditator is to realize that all existents that arc objects arc merely conceptual constructs: they arc "empty" of any mindindependent reality that may be imputed onto them by the dichotomizing or defiled mind, as in the first half of the purity mantra: "All existents (dham145) arc pure by nature." The second task is to apply the same understanding 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 subject and objca. 269 A fuller formulation of the purity mantra is sometimes given. This is the "triple pwificarion" (triviiuJJhifJ), which asserts the identity of subject and
t The foUowins is the approximate sequence of the _ _,.,../*.# in Mah.iyina rnu. Crosby and Skilton b99s: 10) suggat variations to this structure in their updating of the classic study by Dayal (1931: s...-s8). Commenting on ~intidcva's citations in his -s;lqbnnwc4Jtl from the Bhtubt~Urytlpr•pU/JHbul-t4th4 (the final, Boating chapter of the G. .~ll). they comment (p. 9): ·we can infer from the frequency with which the Bhtub~~e•rytl was copied and quoted, that this provided, for several centuries at least, a widcsplad model for the Supreme Worship. • The antiquity of this practice is attested by the G.~~~ tnnslation into Chinese in the fourth century c.L, while clements of the lllnlltllr.,fifti also appear in Lokalqema's AjbJJ4trwlt4Urty.fli,tNJ.U. which was translated far earlier, in the late second century c.a. The •prayer• {y«4Ni) is the request ro the buddhas to remain in wpsira for the sake of beings. It may be replaced by the awaltcning of the will to enlight· enmcnt (INNJhidn.IJHIIU).
VAJRAYOGINI
12.6
object on the basis that they arc pure in their inherent nature, pure because they arc nondual (vajra), and pure because of the practice (yoga/1): 210
swzbhavaiwJJhd/1 sarvaJha11flli!J, svabhavafutJJho 'ham iti. 01f1 vajraiut/Jhd/1 sarvaJhamuif1, vajraluJJho 'ham iti. 01fl yogafutJdhd!J sarvaJharmab, yogalutJJho 'ham iti. 01f1
Alternatively, the identification may be made on the basis of the pledge (samaya}_l) (e.g., GSSs Sed p. 145, K3or4-5): 01fl samayaJuJJhab sarva-
JhamllifJ, samayaiuJdho 'ham. The second emptiness mantra (which I have termed here the "nonduality mantra") is also a standard feature of mainstream sadhanas: 01fl fUnyatdjn4navajrllSVabhtivlitmllko 'ham ("I am identical with the essence /swzbhava] of the nondual/vajra]knowledge of emptiness"). 271 The mantra is explained in the Abhisa1MJilmaiijari, where it is encompassed within a short visualization meditation. This begins with the meditator seeing the external universe and the 11W]4aia of deities (which was drawn down previously for the piija) 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 Vll1fl (t). He then dissolves the sun disk into the syllable, and the seed-syllable itself from bottom to top (the 't into the half-moon -, and the half-moon into the final dot or "drop" 0 ). As even the final drop dissolves into subtle sound or fllilia!J, and the subde 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 mar_14ala), and himself. The text then goes on to explain the "nonduality mantra," 01f1 fUnyatlljfidnavajraswzbhavatmalto 'ham, breaking down the long Sanskrit compound into its grammatical pans. It states that the [meditator's] "knowledge of emptiness" (iunyatlijfidna) is "nondual" (vajra). because vajra means "indivisible" or "nondual" (vajram abMJyam); this is the standard interpretation of vajra in the higher tantras. 112 The passage reads as follows:m He should [first] cause the three worlds and the previous (?) (pratibhtJsa.b), to enter clear light (prabhasvarab) itself. Likewise (ca) [he should dissolve himself into emptiness, first dissolving] himself into the sun disk [at his heart], that into the V111f1 syllable [on the sun m~4ala wheel, whose nature is just illusion
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disk], that into the half-moon, that into the drop (bindup), that into the subtle sound (111iJab). He should even abandon the notion of that [subde sound], having uttered the mantra with the recollection of its meaning:
o'!' fimyatlijUMvajrasvabhavatmalto 'ham O'!' I am identical with the essence of the nondual (vajra) knowledge of emptiness The "knowledge of emptiness" (JUnyatt1jnd114) is "nondual" (vajra) [indicating a ltarmadharaya compound] 27• because of its indivisiblity (abhtdyatvat). [When this compound is further compounded with -svabhava, it forms a genitive tatpu""!" compound, meaning] the essence (svabhavab) of that [nondual knowledge of emptiness]. The meaning [of the bahuvrihi compound with -dtmalto is]: "I have the nature (-atmalto) of that [essence of the nondual knowledge of emptiness]., Variations upon this mantra appear in other texts. First, the "knowledge" component is sometimes differendy 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 dharmAdhanl' (o1f1 dha1'7'NUihdtusvabhavatmalto 'ham). 275 Second, the grammatical structure of the compound is sometimes subdy altered to read: "I am identical (dtmalto) with the nondual essence (vajrasvabhava) of X" ("X-vajrasvabhdvlltmlllto 'ha1f1), for example: "I am identical with the nondual essence of the body, speech, and mind of all yoginis" (o1f1 sarvayoginiltayavdltdtuzvajrasvabhavdtmalto 'ham). 276 This must be a relatively early version of the mantra, because it is common in the Guhyasamlljatantra, especially at the start of chapter 6, where it appears repeatedly in slighdy different forms but with this same structure. m The sequence in which the two emptiness mantras are given in the Vajravdrdhi SaJhantl is significant. Our author follows the general pattern in sadhanas, which is to prescribe the purity mantra followed by the nonduality 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 'tn,n-All existents are pure by nature. I am pure by nature.' Then he should
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contemplate emptiness for a while. Having done so he should identify with it (aha1f1lttlram utpaJya) [through meditating on the mantra] 'o,._I am identical with the essence of the non dual knowledge of emptiness. '"271 The Advayavajra-school sadhanas actually treat the purity mantra as an explanatory gloss rather than as an individual mantra. The Sanskrit loses the opening 01fl for the purity mantra and restructures the sentence to make it look like an exegetical frame for the nonduality mantra.m
liinyatlijfit1114vajrasvabhavab sarvaJhamuiJ_J01f1 Jiinyatlijfit1114vajrasvabhavatmalto 'ham All existents have the essence of the nondual knowledge of emptiness"o'!' 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 altogether; one that combines the structure of the purity mantra {the comparison between "all existents" and "I") with the compound of the
nonduality mantra ("having the essence of the nondual knowledge of emptiness"): "Then [re~ecting that?]-all existents are identical (at'1114/taf1) with the essence of the nondual knowledge of emptiness-[one should be] meditating on the meaning of the mantra '01f1, I am identical with the essence of the nondual knowledge of emptiness (o1f1 Jiinyatdjfit1114vajrasvabhavat'11141to 'ham),' which summarizes the essential nature of all things. "210 In many sadhanas the "nondual knowledge" is described in terms of the yogin's experience of"clear light" (prabhasvara[l) or "radiance/manifestation" (praltlifa[1), of his absorption in "innate bliss" (sahaji114nt/4!J), or of the "fusion of emptiness and radiance" (yugaNZJJhap). 211 Anupamaralqita (SM24) explains: 282 He should meditate on the emptiness of all existents. Emptiness here is [to be contemplated] as follows: [All] this is just consciousness 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 consciousness grasping it. So all existents are empty (lthasvariiptlp). Their being devoid of (Jiinyata-) proliferations (prapanca-) is the
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12.9
fact (tattvam) that they are void of all such conceptual elaborations (/udpaNZ-) as object (grtihya-) and subject (grtihalta-); that is, their ultimate nature (param~~rthaf.J). This is what is meant. One should reflect that the [whole] world of the animate and inanimate is of the nature of just nondual (atlvaita-) bringing forth (praltiiJa-). This same emptiness he should make firm [or empower] with this mantra: ·o~-1 am identical with the essence of the nondual knowledge of emptiness." 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 shon while in the contemplation of emptiness as nonduality; the meditator is to remain in the contemplation, but "without resting on it [i.e., on emptiness] as an object" (aprllli!!hitariipn,uz, aprati!!harii~). m This points to the Madhyamaka-based doctrine of universal nonobjectification (sarvaJhamuiprat;,_thtinavliJtl), 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 Guhyasll1nllJIISil4hana1nllllt including the well-attested verse: "Homage to you whose conceptualization is without discrimination, whose mind does not rest [on emptiness as an object] (apratifthitamlinASil), who are without remembrance and recollections, without suppon!"'214 The doctrine of universal nonobjectification arose to counterbalance the Yogacira position on emptiness, which some exegetes saw as positing a really existent substrate to the mind. 21s It is this Yogacara-Madhyamaka synthesis of the eighth century to which our sadhana writers are heir. Santaralqita (c. 68o-740 c.E.), who, with his pupil Kamala.Sila (c. 7oo-7so c.E.), spearheaded the reworking of Yogacira expressions of emptiness, oudines this synthesis as follows: "Based on the [standpoint] of mind-only one must know the non-existence of external entities. Based on this standpoint [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. "' 216 The effect of universal nonobjectification in the sadhana is to endow a
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purely relative or provisional value to the experience of emptiness engendered by the emptiness meditations. According to the Madhyamaka understanding 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 elsemerely 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 Vajravarahi StiJhana 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' (praJtrttiha'!'karaJ;) that derives from epistemological error. 287 During the self-generation that follows, the yogin will replace his ordinary or mundane personality. ego identity. or idea of self (aha,ltara/1) with the divine aha,kara of the goddess or deity (tkvyaha'!'ktirab, tkvalliha'!'ktira). The emptiness meditations are sometimes likened to the death of the meditator, as he dissolves his ordinary self into the dha77Nlltaya. 288 He will undertake the following stages of the meditation in the form of an intermediate being-for example, as a ntida {an aspect of subtle sound) situated in space looking down from above. Only once the site has been meditatively prepared for the deity with the construction of the vajra ground and temple palace will the yogin gradually transform into the seed-syllable for the gestation and birth of the deity (K. Gyatso 1997: 8o-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 dharmadhatu, 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. 219 In tantric sadhanas the bodhisattva vow is commonly formulated in terms of the deity's ahaf!lklira. It voices the sadhaka's aspiration to "become" the
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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 bodhisattVa, of whom it is said (albeit poetically) that he foregoes his entry into nirvat]a for the benefit of sentient beings: "For a moment he should meditate 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 sarpsira ifl am in this state of complete quiescence?"'290
Creating the Circk ofProtection In the next stage of the sadhana, the yogin aims to re-create the ordinary meditation site into a pure, adamantine realm, suitable for the "birth" of Vajravarahi. This is described here in vv. 13-15 with a prose redaction taken from Cakrasarpvara sources in prose paragraphs §3-§5. The newly created meditation site is referred to as the "circle of protection" (ralqicllltram), for, in the course of the visualization, the yogin imagines a protective shield of vajras that encompasses the entire universe.l"l• Our sources describe a structure somewhat like that of a traditional temple. The outer walls define an immeasurable square precinct above which soars the domed "roof' (literally, "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. vv. The meditation begins with the visualization of hu,, the seed-syllable 1}-14 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 hu'!' at irs hub, or that it is visualized on a sun disk and is blue in color. 293 In our text the circle of protection 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 (iaraja/am), 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 simultaneously.294 (See table 12.)
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Table 12. Circk ofpro"ction V~tjralllirlihi SMJhaM
(GSSu)
AbhisllnuzyamtZfijari (GSSs)
1st
ground (bhiimjfl)
vajra walls (vajr~tpriltbq)
2nd
roof (paiij~tram)
ground (bhumjfl)
3rd
canopy (vitliM/J)
shidd of arrows (i4rajli/4m)
4th
shidd of arrows
vajra roof (vajraJNIIij~tram)
(i4rajlil4m) sth
[four outer] walls
vajra canopy (vajravitlina/J)
{prliltlirtifJ) 6th
vajra flames
(vlljrajv~)
Sadhanas often elaborate on the circle of protection. Its parts are said to
be composed of burning vajras, or of the blazing rays that issue from the vajras themselves. Where the vajras or rays interlace, they fuse together so entirely that they become "a single mass without interstices."m Commonly, the vajra ground is made of vajras that "reach to the bottom of the world" (e.g., GSSs Sed p. 129, KI8n) and thus encompass the whole universe. Rays then issue out from the ground to produce the roof and canopy. Alternatively, the rays from the hu'!' may shoot upward to form the canopy, downward to produce the floor, and sideways to produce the walls. 2CJ6 The arrows in the net, or "shield" of arrows, are also composed of vajras, as the AbhisamllJamanjari reveals: "above [the vajra ground is] an extremely dense shield of arrows (larajtilam) [clustered] in the form of five-pointed vajras."297 The vajras are so vibrant and blaze with rays so intense that their effulgence engulfs the whole maJ]Qala. This forms a protective outer layer of flames or fiery vajras that complete the circle of protection. 24)1 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: 23)symbolizing the supreme protection of wisdom. The direction in which the flames swirl is also significant. As Sanderson (19943 n. 47) has shown in an analysis of 139 maJ]Qalas from the Ngor monastery's collection (bSod-namsrgya-mrsho 1989), the maJ]Qalas drawn from tantras in the cycles ofSa~pvara and Hevajra in the yoganiruttara class nearly all depict the flames swirling
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counterclockwise, while maJ]c;lalas 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 Vajravarlihi 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":
O'!' sumbha nisumbha hu'!' hu'!' pha!. O'!J trh!lll grh!'ll hu'!' hu'!' pha!. O'!' grih7;14paya grihr_uipaya hu'!' hu'!' pha!. O'!' li1lllJil ho bhagavlin vajra hu'!' hu'!' phaf. 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 AbhisamllJilmafijari. which also shows how the yogin generates the walls from the light issuing from the syllables (which, according to one Tibetan Cakrasaqtvara sadhana, are themselves the color of their respective directions} :m With a snap of his left forefinger and thumb he should project out (utsdrya) the mantras, [uttering] (iti)-o'!' sumbha nisumbha
hu'!' hu'!' pha!-D'!J grihna grihna hu'!' hu'!' pha!-D'!' grihruipaya grihntipaya hu, hu, phat-o'!' anaya ho bhagavan vajra hu'!' hu'!' pha!. [Then,] with rays from the mantras beginning fo'!'] sumbha [etc.], in the directions east, nonh, west, and south respectively [i.e., counterclockwise], he should imagine four vajra walls [stretching] as far as he wishes, colored [respectively] black, green, red, and yellow, vast in size, blazing, [and] extending from the top of the world ofBrahma ("Brahm~Qa."} to the undeiWorld ("Rasatala"). In the Cakrasarpvara 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" (caturmulthamtZntra/J).• The function of the walls is to define the outermost limits of a meditation ground that encompasses the cosmos. In some texts, they are said to form a "vajra binding" (vajrabandha/J) or a "boundary" (simtZn), that is, the topographical limit of the area that the sadhaka is to bring under his control..J0 1 The circle of protection is installed in some sadhanas simply through the
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recitation of a set of six mantras. lOl Most of the mantras refer to the feature they install (the noun in stem form}, and revolve around the seed-syllable of the vajra. hu,. For the shield of arrows, however, the mantra is based on the seed-syllable of the arrow (trti7J'I). 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 SarvaJurgatiparilodhanlltllntra (p. 134}, where his mantra follows its installation. The installation mantras are shown in table 13. Various 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 instalUng th~ circk ofprottction I
ground (bhumim)
O'fl m~tlini• Vlljribhtzva vajNINznJha Jtu,
2
walls (praurdm)
O'fl Vlljraprtiltdra hu'!' Vll'!f hii'!'
3
roof (paftjaNm)
O'fl vajrapaftjara hu'!' pa1f1 hu'fl
canopy 4 r - - ----
(vittiMm)
O'fl vajravitti1UI hii'!' kha'!' hii'!'
5
arrow shield (larajd/4m)
O'fl vajraiarttjaiA trti'!' lti'!' frli'!'
6
ring of flames
O'fl vajrajvtildntd4rlt4 hu, hu'!' hu'!'
.
• meJim] conj.; metiini K (GSS3, GSS3I). I emend on the basis of GSSs (Kl8f3), which p~rves a vocative, metiini. However, meJini is attested in the Tibetan translations to the Advayavajra tcxu SM151 and SM117 (Sanderson 199,.a), and in the V4rihy4~t.tntr11 (from ADUT +18).
The next verse in the Vajravtirtihi Stidhana continues the visualization of the circle of protection by explaining how to purify the space within. It describes a method for expelling any demonic beings (v. 15 m4ras) or negative obstacles (§4 vighnas) that may have become trapped inside the vajra zone during its construction. This is done by means of eight fearsome goddesses. The first four (Kakasya, Uliikasya, 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 (07J'I sumbha nisumbha, etc.). The remaining four goddesses (Yamada4hi, Yamadiiti, Y~. andYamamathani) occupy the intermediate directions and are produced from the brilliant rays emitted by the four mantras. These rays
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are said to issue from the corners where the four mantras-that is, the walls-inrerscct. It appears that rhe mantras and the walls arc the same thing here. Although the mantras previously "became" the walls (in v. 14/§4), now the walls are understood to "be" the mantras.J03 The "fourfaced" mantra is dearly associated with protection. In an earlier text (SITS ch. 6: s6), the mantras appear in the context of subjugating Saiva deities. Here, the mantric units sumbhll and nisumbhll provide an unmistakable reference to violent defeat, as they were originally names of terrible asuras who could be subdued only by the goddess Devi hersdf.-'04
Fig. 24. Daggn- deity: K4/uisya. Drawn according to the Sanskrit text by Dharmaciri 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 (ltiiAp). while in their two arms they hold a vajra hammer and a stake bearing their own form (litmllriipalti/4). This is shown, according to the Sanskrit prescriptions, in figure 24· Ritual daggers (lti/4 /Tib.: phur ba) have a complex iconography, as they are understood to be animated by, and hence to represent, deities . .Mn Having visualized the awful goddesses, the yogin imagines them herding together all the obstacles inside the universe of the vajra zone and destroying them. To accomplish this, the goddesses utter the powerful vajric syllable hu,, upon which eight "wells" appear in each of the directions
VAJRAYOGINi
"near" (samipa) the vajra walls. J06 The goddesses now force the obstacles into these wells by means of two aggressive mantras: first, the "staking mantra" common to the higher tantras (lriltznamantrab: cf. GS ch. 14, vv. 59-65), and next the "hammering mantra" (altotanamantrap). In the parallel account of the Abhisamayamanjari, the mantras also transform the slain obstacles into enlightened consciousness "by means of great bliss" (mahasulthma), so that they have "the single form of suchness" (tathatllilutriipa1J1). 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. "J07 A final note on the circle of protection concerns its position within the structure of the sadhana as a whole. In the Vajravartihi SaJhana 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 Abhisamayamttfljari explains the different methods by stating that, for advanced practitioners, their understanding of emptiness affords supreme protection in itself, and so they do not need to reinforce the effect of the emptiness meditations with the additional protection of the vajra ground, as ordinary practitioners do:~ However, in the [H~Ita-}Abhisamaya (the "[Heruka] Method of Realization") of Liiyipada, 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 (1Unyatlliva}' 10 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 vv. 7o-76 dwelling place for the goddess inside the circle of protection. In accordance
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with her lulpalilta character, this takes the form of (eight) cremation grounds. Although many tantric sadhanas mention the cremation grounds in brief, the Vajravarlihi Stitihana is one of only a couple works in the GubyasamiiJIISiillha1111mtilti to give a full account of them..m Although they are relatively undeveloped in earlier yoginitantras, in the Cakrasarpvara corpus they appear as a set of eight chamd grounds that extend into the eight directions of space. It is upon these sources that our author draws when he appends seven verses (vv. 7o-76) to the end of the Vajravarlihi StiJhana 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 The Vajravlirahi Stuiha1111 verses describe the cremation grounds first in the cardinal, and then in the intermediate, directions. Here we sec that each cremation ground has its own distinaivc characteristics. Each is individually named and has a named set of features and creatures dwelling within it. These include a tree, a protector, a serpent (nagab), and a cloud. Other texts also mention demons (rti/tfasiiS), great adepts (mahasiJJhas), funeral monuments (caityas), mountains, fires, lakes (the abode of the nagas), and rivers (which in pictorial representations often divide the cremation 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 arc home to fearsome creatures, such as crows, owls, vultures, jackals, hawks, lion-&ced and tiger-&ced beings, lizards, camels, and so on. Gruesome corpses are found impaled on spears, hanging, half-burned, or decapitated; their dismembered parts arc scattered about: skulls, knees, large bellies, heads with tusks, and bald heads. Supernatural spirits haunt the grisly place, such as yalt,as, wtli/as, rli!t,asas, and others roaring with ltililti/a laughter. Finally, we find tantric adepts and spiritual beings resident there; siJJh4s with magical powers, viJyaJharas, troops of yogins and yoginis, and so forth. m Another sadhana from the Guhyasamayaslit/hanamti/4 collection (GSS34) describes the cremation grounds as follows:~•• 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 cremation ground. It is said: He should perform the prior service
VAJRAYOGJNi
actually in the cremation ground in which [there are terrible disturbances] 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. Commonly, the different cremation grounds are separated by rivers (usually eight), which are seen running through them, as in plates 1, n, and 13 (and on the detail of the tangka shown here on the back cover). Within the cremation 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, skeletal 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 platen), 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 n), it is particularly clear that they are not meant ro take a peripheral place in the outer reaches of the maJ.l4aJa, but that they underpin the whole scene, with the rest of the maJ.l4aJa superimposed upon them.m As they fill the entire vajra ground (which itself fills all of space), the cremation grounds take on cosmic proportions. In this respect it is interesting 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 lttiptililta 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 Anavatapta 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. 83~ 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 Sarvatathagatatllttvas41flgraha (SITS 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" (Bhasmtkhann~~), while Siva himself becomes the tathagata "Lord of Ashes" (BhllS71ldvara). The new cosmological perspective is strikingly illustrated in the contemporary (eighth-century} *Guhyagarbha. In this text, Heruka is emanated in warrior stance upon a mountain of bones surrounded by an ocean of blood-a clear reference 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:m At the beginning of this ltaliyuga. 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 douds gave off rain, the eight rivers developed, and in them the eight divine nagas arose. Mists carne from the rivers, and the eight trees grew, each of them with its own protector. Then to the south of Sumeru, in the continent ofjambudvipa, Mahdvara's emanation arose:.
VAJRAYOGINi
Table 14.
Th~ ~ight crmzation grounds i
E
N
w
Gahvara
.. Ka.rankaka••
s
NE
"Subhi.pq.a..
Ananahasa
Cremation gr. (lnw.Wwm)
CaJ:.4ogra
Tree-
Sirua··
Bodhi•
Kaillcdi"'
Cuta..
Trivat:a""'
Indra""
Kubera...
Varu~"
Yama-
iaa-
Serpent"" (,uigafJ)
Vasuki-
Talqak.a.....
Karltofa-
Padma-
Mahipadma-
Cloud•o (rMfhafJ)
Garjita
Ghiarl]ita
Ghora
Avanaka-
Ghana
Sa'f'SuratNZjra Mawr•
S,.jiWNjra
PiluNUN~jr•
CilliiNjnl
JGU!bl
Ma/.aytl
Mllhnulra
Ovalakula)
(~)
Protector"'
(Ji/tplltib)
Gtitytt Sit4Njra Mountilin Sumtru [Not in SUT/GSSnl
ii iii
iv
v vi
For the sources drawn together in this table, see endnote 311. See T atual Note to v. 70 for a discussion of the names of the western and southern cremation grounds. Meisczahl (J98o: 9) states that cxcgctes often equate the eight trees with the eight boJhi.. trees of the buddhas (the current buddha, plus the seven previous ones who also attained enlightenment under trea). The SW11114narNJhi (v. 14) states that each tree has a secondary trtt (upt~vr~) beside it, which is lovdy and covered in .,.,;ga flowen and fruiL This tat also stata (v. 13) that in each trtt there lives a demon (r~). naked and wrathful in form, who eats human flesh and who has the animal face of the mount of the ~in his cremation ground. These ri/q4sla would seem to be the same as the eight lqnrapti/la mentioned in the AIJJ,Inl~,ura {Meisezahl1980: 19), whose colon correspond to those of the JikpdiAs and who are also animal-headed, their therioccphalic forms determined by the Jiltpd/A's mount. In the details from the Vajravirihi tangka on plate 1, the trtt-dweUing ~ are seated on the mount, while the Ji/tpini is without a mount but is in embrace with his consort. The artistic representations in Meisezahl's tanglw show the rtilt,asallf,nraptilll seated in the trtt, his lower body masked by 1cavcs. and only his tono visible. The AJbhu141ma1JnavitJhi specifics that he holds a chopper and skull bowl. but the detaili from Meisczahl's planche 1 (ibiJ.: 8s-91) show different abhi""J'" with no attributes. Some illustrations also seem to depict the rti/qAsas as female. The individual names of thc:sc trtt-dwdlers are absent in the SmAiAnavU/Jn. Mei.sczahl states that in the~ ltinavitJhi. the /qnrtlptiltl ·pone le nom. parfois en abr¥, du ~re qu'il habitc. •tn conmast, however, the notes to his planche 1 (ibUL: 85--91) ascribe an incomplete set of names determined by the particular therianthropic form. namely, Gajamukha, white (E); ManUfYamukha, yellow (N); •Makaramukha/Makarisya? (not given), red (W); •Mahipmukha/M~? (not given), black (S); Gomukha (NE); Chaginana, ted (SE); Ghorand.hakara. buf&lo's head (SW); Mrganana (NW). Usually Sirip. but Sukataru in GSS34o both names for Aaui4 Siri.ua. Perhaps prob&ematially, the ~~ra gives hariPiis4 (Finu rJipsA) for the east and·~ for the north, which are synon~ Mcisczah.l {I98o: 19) doesn't note any problem in the tat. aivattha in SUT (17 v. 38a), ~'11fllillfllltliJhi (v. 6), and S~lrtl (Mcisczahl 198o: 11), also a name of the bod.hi tree, the sacred figtrec (Ficus "lips.). The Kankdi (also in SUTch. 17, v. 38b) is }Mni4 Aso.U. ln other tc:xts, it is called Aiob. e.g.• in the AIJJ,InmzJrna/JNiiA,Ur~~ (Meisezahl198o: 19) and ~~; (v. 8). It has flaming red flowers.
STUDY OF THE VAJRAVARAHI SADHANA
SE
sw
NW
Lalqmivana
Ghorindhakira
Kilakilirava
Karalija•
Lati-Parbp•
Arjuna"'
Vaiivinan-
jirudhina...
Prabhanjana..
Huluhulu-
Kulika.....,
Sankha....
Prapuri.t:la-
Vaqa.....
CaQ~
/GiytnNijrtl
RAtMNjra
DINmruiNjra
G~PIII
Hmu~JN~rtllll4
SriJNU'W'IA
vii viii ix X
xi
xii
xili
xiv
The mango tree. The triple banyan (Ficru inJica), also reported as fN1!A (in SliT ch. 17, v. 38a; GSS:u) and ~(in S1fllli4,..,;JJ,i v. 11 and AJb~nAJ.,Jtilra. Meiscuhl 1980: 19). Karalija is Ptmp"'i4 Glabra. lati-Parkati. the Crceper-Parlcap/Parkati (Ficus in/«ttJriA). Arjuna is Tnminalia-ArjuM. listed as ptlrthiva (in SUTch. 17, v. 38d), and tihaNdtjaya (GSS.w). Meisczah.l (1980: 19) reports it as questionable (sriJ grw/1?) in AJb~Ni-
14mlt4ra. ~ ancient
set (e.g., Manu v. 96), according to Purir}.ic legend, the eight prot«tors (~14/1) were appointed to each di~on by Brahrna. Thq- are listed variously as: Indra (E), Kubera {N), VatU~].~ (W), Yarna (S), Sorna/Candra, also ISini/Pfthivi (NE), Agni
(SE), Siirya/Niqti (SW), PavanaNiyu (N\V). The prot«rors (aho termed here tli/tptltiJ ltliltpiJ./IsltiiJNil.) are described iconographically in Uiyipada's SPN~~i4,..,;JJ,i, and the ~~lulra as reported by Meiscuhl (198o: 19). The SmAillMIIidhi (v. 10) states that they are in union with their •wives• (sapatniltliiJ) and that they have four arms, two of which make the alija/i gesture of obeisance, the second pair holding the emblems (usually a sJwll bowl and a tantric weapon). The Sm414Ni~1Anlrtl (Meisez.ahlr98o: 11-2.2.) includes Sfirya, Soma, and Prthivi as co-prot«tors. Some tangkas show the prot«ton upon their mounts; others sitting ar the base of the tree (Meisezahl, K Gyatso). Indra is king of the gods. also called Sakra (S~; v. 4) and Devendra (GSS34). In the Smafbw,;JJ,i he is described mounted on his dephant, Airivata. He is white and holds a vajra (left) and skuU bowl (right); in ~1141a,.lt4ra (Meisczahl illili.: 10) he is said to hold a vajra (left), and maJu: the threatening gesture, the l#lr}A11imwlrtl (right). Synonyms for Kubera are Dhanada (in SlJf ch. 17 v. 39a), Yakpdhipa (in GSS34) or Vaimval}a (Gyauo). Kubera is the custodWt of wealth, and king of the Jll}qas (cf. Vanaparvan ch. J, v. 10 of the Mahiib~NiratA). In lthya. he appears f.amously at the start of Ki.lidisa's M~ In P~ic literature, ,U,. are a class of "semi-god• (upaJna!J). which include the ~ aps41'1U, ~ r~ f~UU~harw, piWa. phyaltll. siMJ/ta, and bh#ta. These are all spiriu associated with cremation grounds in Buddhist texts and appear in the bali mantras. Iconographically in the SWIIII4tw,;JJ,i, Kubera has a human mount (v. 6: r~~~rt~viiMM-), is yellow. and "holds a mongoose spitting out a jewel• (v. 6cd: ~ tUirjlaJ ratna'!' tiJNuu... ) and skull bowL In the AtlJHtM~Ia,dllra (Meiscuhl 198o: 10) he is ydlow. mounted on a "nidhi· and holds a club (left) and makes the gesture of threatening (right).
It;,,.,.,.
142
xv
xvi
xvii
xviii
xix
VAJRAYOGINi
Varu(.la is a prominent god in the Vedas; his later association is u lord of the waters. Hence, he is listed as Nagendra (in SliT ch. 17, v. 39b) and is descri~ in the AJbhulllimAi4Ni/4'!'kJrll (Meisaahl 1980: 10) as mounted on a mUilrll. He is mi in color and brandishes a lasso (ldt). K. Gyatso sr.ues that he is white, has a hood of seven snUcs, and holds a snake rope and skull cup. Yama is associated with the south and with the sun (viV4Wilt. descended from Sruya), hence he is also "Vaivasvata.. (GSS34) or "Yama Vaivasvata." He is also god of death, Kila, whose agents brings depaned souls to Yamapuri. Iconographically, the SutiMviJhi describes Yama as mounted on a buffalo (v. 10: Mllh~-). black, mi-eyed, fat, fearsome, holding a sticklcudgd (~)and a skull bowl. This accords with the description reponed by Mcisczahl (1980: 10) in the A~n41A~ The: nonhcast (aillini) is associated with Siva, hence isana also appears as Nilalohita (in GSS34), a synonym of Siva in epic and Puri.f.lic tales. and ~pali$a (in Smaitiuvitihiv. u). He is described as white, carrying a trident (f*li}, mounted on a bull, and wearing a tigerskin (in Smaitiuvitihi v. 11 and AJJJ~n4iA~rll Mei.sezahl1980: 10). The southeast (~)belongs to Agni (in SnwiJMvitihi v. 14 and the AJbhulllimAi4NlJ.,.JtAra Meisczahl 1980: 10). Httc, the: synonym "VaiSvanara'" is given, the name of the fire in the Oturmisya sacrifice; hence it is also listed as HutavahadigiSa (GSS34) and "HutiSana" (in SUTch. 17, v. 39C"' GSS16). He is descri~ in the AdbhulllimAi4Ni/4~aas mounted on a goat, potbellied, red-lim~. having a "fircpit skull bowl" (?ltu!Uf41utpali) and a "pot with rosary" (~trmmll~). The southwest (flllirrti) is the quaner of the demons, lorded over by the demon-imp Naiqti (in SWIIIid,.rtUJhiv. 16). Nairrti is the child ofNirrci. "Calamity/Death," wife ofMrryu. He is also called IUkpsa (as in AIJJJh~1lllill'!'ltJra Mei.sczahl 1980: 10) and Ni.Scirda, "Lord of Night Wanderers'" (in GSS34). "Jatudhana" also appears as Ylitluih;;u (MonierWilliams 1899). a kind of evil spirit or demon responsible for sorcery or witchcraft (ydtu/1). He is described in the SnudJnavU/hi (v. 16) and AJbln.r.i~mltdra as blue-back (nil.).
standing on a corpse. holding sword and skull bowl, naked, with.mcn's skulls on his head xx
[as a chaplet]. The nonhwest ('*vi) is protected by Prabhanjana [Viyu], hence listed also as the wind. "Vita" (in Sm.itln4flillhiv. 18), but-problematically, suggesting the southwest-as Rilqain SUT (ch. 17, v. 39'1) and AAbhulllimAiliNl/4'!'/uira (Meisezahl198o: 10). He is dcscri~ in the AJbhulllimAJiin411tmit4ra and SmlliliMviJhi as blue/smoke-colored (respectively). mounted on an antelope r",.rg;z!,). holding a yellow banner (tlhwtjll/1) and
scndral~
skull bowl. The niga kings (hue, Nigartijll-. Nip-. Nignuira-. bh.jllgtia-) arc described iconographically in Uiyipida's SmllitlrutlliJhi and the related ~Nl/4'flltdra reponed by Mcisczahl (t98o: 19). The descriptions arc missing for the intermediate directions NW and NE, possibly due to lost verses. This text states that all wear white ornaments (v. 19: si~lul~it4). The plates to planche 1 (Mcisczahl ibiJ.: 85-91) show that the nagas ha~ human torsos above their coiled snaketails and raised hoods above their heads. Mcisczahl (t980: 1o-11) consults Bu ston for their colors and describes the: markings that each bears upon his raised hood. They all make obeisance to the diltpttti who is before them. They arc seated beneath the tree (in Sm.J4114vUihiv. 17). Their presence must be related to that of the cloud king, since nigas 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 niga. xxii In the Smlli4Mvitihi (v. s). Visuki is white (Bu ston: yellow), with a blue lotus on his hood. He makes the anjllii. bowing before the lord before him. xxiii The SnwiJ,.viJhi states that Talqaka is red (v. 7: bandhiill4p"f/'IIS'I'fl11ibhfl!J) and has a WtUtilta on his hood, making the dja/i with bowed head. Mcisczahl (following Bu ston) states that he is black. xxiv In the SmaitiNWUihi (v. 9), the niga Karkofa is described as .. resplendent as dark-green JunNi grass" (JMnllllyJm4S4m~UiyutifJ), with three lines on his throat, and making the •ftjllli. (Mcisaahl, foUowing Bu ston, describes him as rcd.) xxv The: S11111itiMvillhi (v. u) states that Padma is white and has on his hood speckles of xxi
STUDY OF THE VAJRAVARAHI SAOHANA
xxvi xxvii
xxviii
xxix
xxx
xxxi xxxii xxxiii
143
sea(water] (Meisczahl reads: wtnubiNitJironltitA/1: Finot rcads ....,;p•. a type of flower mmti~ on~ uJNt,,q4/Jin v.1.4). He supplicates his teacher (J4anm 4jNbp "'14st41'111!1) in the usual manner with the ·~ (Mcisczahl, following Bu non, states that he is red.) In the S~uo,; (v. 13), Mahipadma is "lovely like the moon," with a uident (~) on his hood, making the usual•rg./i. (Mcisczahl, foUowing Bu ston, states that he is green.) Huluhulu is also •Ananra" (in the SWIIIi4ulliJhi v. •s and AJ#hulll.im4/4114ill'!'ltb• Meisczahlt98o: 10), described there as [coloml] like a peacock's neck (lilthibt?rf/14m/HM), with a lows on his hood, making the •lijtdibeforc his lord's feet. (In Meisczahl, following Bu non, he is yellow-white.) KulikaiKulU. is described in the Sm414,..,;Jhi as smoke-colored, having a half-moon on his hood, seated beneath the mass of creepers (illt4}4!Y41f'), making the •fijtdi. (In Mcisez.ahl, foUowing Bu ston, he is ydlow-whitc.) The m.ss. of GSS rcpon KuliU (sec GSSn edition, appararus to v. n). Sankha is also listed as Sankhapila (GSS34). In SwwJ4,..,;,p,; (v. 19), there is a very brief description of him as yellow, with spoa [on his hood] (ltlllmikit~~), or a tit.ltll (Meiscuhl reporting the AJ.b~Nilll,.wlint). The clouds, or cloud kings(~ GSS34), in the cardinal directions have names that arc associated with the loud noises of thunderclouds; the names of the douds in the intermediate directions (GSSu v. 77) arc associated with rain. The nama in the S..,...,;JJ,; (v. 11) arc different in some cases (the sequence for the directions is insecure): Jayabhadra, Srinando (Tib: •Snghana. Mcisczahl•98<>: J7), VrttiJupriya. Drumgh•• ~. Vaqa, Pwit}a, and Cipala. As these names sugest, the clouds arc loud and terrifying. emitting lightning and to~nts of rain (S1NIIiliNtviJhi v. 2.2.). Their pracncc in the cremation grounds may be connected with the appearance of the nigas who arc dccmcd responsible for rain. Avanab: ·Personified Cloud, • also listed as Balihab, "Thundercloud• (in GSSu). P~ (in SliT ch. 17, v. 4JC), but GSSu mss. rcpon prwpJmb.uL Varp is also given as Vaqal)a (GSS34).
144
VAJRAYOGINI
The Cosmos and Temple Palace (See The commonest method of visualizing the deity's dwelling place in mainv. JS) stream sadhanas--aren in higher tantric sadhanas, such as the Abhisam4)ilmAiijari-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 Jharmodaya. or "origin of existents." Finally, upon the mountain's peak, he visualizes an elaborate and decorative temple palace (ltufdgara/1) as the future abode of the deity. This more traditional method is also mentioned briefly in the Vajravdrahi SdahaNl. 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 temple 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 Abhisamayam4fijari. Here we see how the cosmic dements are produced from their own seed-syllables, ya,. ra,. va'!'. and Ia,. and how each has a particular shape and is adorned with its own symbols. 311 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 (av«iha) [established in his consciousness] by his original resolve [i.e., the bodhisattva vow], he should visualize his own consciousness as the rnaJ)<Jalas of wind, fire, water, and earth, one above the other. [These are] generated from the syllables ya,. ra'!'• va'!' and Ia'!' 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 syllable SU'f'. he should visualize Sumeru as four-sided with eight peaks and made of silver, lapis lazuli, crystal, and gold on its eastern, southern, western, and northern sides [respectively].
STUDY OF THE VAJRAVARAHI SADHANA
145
This meditation is summarized in table IS, and shown in figure 2S. Table IS. Elnnmt visualization with Mount Sumuu Element Syllable Shape wind fire
water eanh Sumeru
,.,
J41!l
VIII!'
"""
SU'!'
semicircle
Color
Symbol
blue/black blue flag fluttering at each end
triangle
red
red flame
circle
white
white vase
square
yellow
yellow three-pronged vajra at each comer
four-sided
bejeweled
surrounded by seven square mountain ranges, etc.
Figure 2.5. Tht cosmos. Heavens Sumcru
Heavens Sumeru
Gold
Water
Water
Fire
Air
Wmd Space
Emptiness
Emptiness
At the center of figure 2.5 is the cosmos according to the sadhana visualizations of the yoginitantras. For comparison, the elements that make up
the cosmos according to the Abhidharma are shown to the left, while to
VAJRAYOGINI
the right, the elements according to the cosmos of the Kalacakra (suggesting, perhaps. that this later tantric system was informed by the developments in the yoginitantras). The traditional cosmos is described in the Abhidharmaltoia and bha,ya (ch. 3. "The World"). It is said to exist upon a substrate of space (iiltiila/J), 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. 32° 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 substrate "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 earlier).~11 Next, the sadhana visualizations introduce the element fire between the mar:tcJalas of wind and water, producing the new sequence: wind, fire, water, and eanh. This sequence mirrors the traditional list of the elements within the human body (ADK ch. 3, v. 44b) and has the effect of correlating macrocosm (the cosmos) and microcosm (the practitioner). This correlation is a theme developed later in the sadhana, panicularly in the meditations upon the body mar:tc:lala. Finally, the sadhana visualization directs the meditator to visualize Mount Meru resting directly upon the element 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 Abhisamayamalijari fills out details that are absent in the brief prescriptions of the Vajravdrlihi Sddhana (v. 35c). The Abhisamayamafijari is typical of mainstream sadhanas in that it accords with the Abhidharmakoia 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 (AD K ch. 3, v. soa, with Vyakhyaby Ya.Somitra). Sadhana literature often refers to the "eight peaks" ofMeru (ADK ch. 3, vv. 48b--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.-m Meru itself also has four "terraces" (pan,ar,vlas) that are the abode of vari-
STUDY OF THE VAJRAVARAHi SADHANA
147
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 embellished 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 (Sudar-Sana) with Sakra's palace (Vaijayanta) at the center, surrounded by parks "for pleasure and for love" (ADK ch. 3, vv. 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 dramas of enlightenment played out by new buddhas at the head of new divine retinues.m 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 ponicoes. The eaves are supponed 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, doth banners, vases, mirrors, yak-tail fly whisks, multicolored pennants and bells, and may spon a cupola adorned by a jewel and a vajra, or vajras resting on sickle moons at the four corners.' 24 In tangka paintings, the ponicoes are aligned with the four tips of the double vajra upon which the whole edifice rests (vifvavajravedika). m These elaborate gates are usually drawn as if seen from in front, as in plates 12 and 13-although the rest of the mal}c:lala is shown from an aerial perspective. In plate 14, however, we see the entire temple palace in three-dimensional elevation. m,
Fig. 26. Doubk vajra.
In rejecting the temple palace as the residence of the deity, the Vajravarahi Sadhana makes significant strides toward a more integrated higher tantric practice. We have seen that the prescriptions for the cremation grounds are given weight in the sadhana with an extra series of verses (vv.
I-48
VAJRAYOGINi
7o-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 Vajravarlihi SaJhaNl therefore represents an interesting phase of development within the Guhyasamayaslilihanama/A collection 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 ltapalilta praxis. Thus, we can broadly identify three types of sadhana composition, all roughly contemporaneous, in the Guhyasamayasadhanamti/a. 1.
2.
3·
First are the mainstream sadhanas that follow the traditional cakraVartin model. These locate the temple palace upon Mount Meru (visualizing it inside the circle of protection and the origin of existents [dharmodayii}}. 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 ltiipalilta deity-for example, the Abhisamayamanjari (GSSs; based on the Hm4ltabhisamaya f. 3v) and sadhanas by Advayavajra (e.g., GSS3). Next are the transitional sadhanas that combine an implicit temple palace model with a greater focus on lulpiililta praxis. This is the midway position of the Vajravarahi saahana. & the mar:t4ala 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 Vajraviirahi SaJhana 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 ltapiililttl 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 cremation-ground cosmology highlights the fact that the deities of Vajravarahi' s mar:t4ala 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 Sa,varoJayatantra (ch. 13, VV. 12-13ff.).327 Moving a stage funher still toward the integration of ltaplililttl interests, the GuhyasamayastiJhaMmtiiA also includes a group of"skdeton arch" (ltaranltatora!'a) 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 selfgenerated goddess is enthroned beneath an arch of human skeletons that is ornamented with skeletonic parasols. These developed ltapdlilta sadhanas also show a greater degree of internalization within the meditation techniques espoused, based on the yogic methods of svdJhi!_thdna ("self-consecration") practice (see the appendix for more
details).
S~lf-Gmnation
through th~ 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 invened triangle that (in our text) is white in color / 21 and within which he sees a vibrant red lotus (v. 16b-d). The triangle is the "origin of existents" (Jharmoti4yd)or "source of[all purified] JhamlllS" (Jhamuxitlya/1). a spatial and visual metaphor for the unoriginated, transcendental plane of reality.329 Terms such as the Dharma body (e/harmaltayab). suchness (tathatd), and the sphere of Dharma (dharmadhiituiJ) are also applied to the dharmot/4yd, and it is often said to "have the nature of the dharmadharu" (e/harmaelhdtustNJbhtiva)or to be "one with the dharmadharu" (Jhamuulhiitumaya). A3 a "source" or "origin," the Jha1'1fl0fi4yli is also equated with the female sex organ or womb (bhagaf,l. yonip). This imagery is highlighted by its invened triangular shape (V), which is a simulacrum of the pubis. A3 in north Indian post-Gupta scripts, V happens to represent the letter t, so the dharmoti4yd is sometimes referred to simply as t.no The fact that the origin of existents represents both the reality of emptiness and a woman's sex reflects the sexual soteriology of the higher and highest tanuas. m 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 JharmoJayii, or the woman's sex. This imagery is employed in both the Guhyasamaja (yogottara) and Hevajra (yoganiruttara) traditions, in which the root tantras famously begin: "Thus have I heard: At one time the Lord sponed in the vaginas of the vajra maidens. "m Here, because the vagina represents the bliss of enlightenment, it becomes
another spatial metaphor for buddhahood. Its locus is the blissful dwelling
ISO
VAJRAYOGINi
place of the buddhas, a tannic reworking of the Mahayana concept of the pure land Sukhavati. m Where tannic deities are in sexual union, the female deity represents bliss, emptiness, or wisdom, while the male partner symbolizes compassion, or means (upayab). In the Vajrayogini tradition, however, the goddess is without a conson, 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 meditation representing Vajravarahi's "conception" (v. 17), we will see that her seed-syllable va'!l is visualized inside the dharmodaya. Here, the syllable vaiJI is also the seed-syllable for the vajra, which is a tantric euphemism for penis, while the dharmotlayatriangle symbolizes the woman's sex or womb. Because of the coincidence of V with the letter ~. the word roa1JI (syllables ~ + va1J1) is often said to symbolize this union: "Homage to you, Vajrayogini; [you] who is seated in the syllables ~(V) -Va'Jl. whose form is innate (sahaja) bliss, who is the knowledge of wisdom, and who is placed in the body!"3l4 vv. The following verses describe the conception and binh of the deity. The 17-19a terse lines of the Vajravarahi saJhana in fact describe a sequence of meditations known in exegetical works as the five awakenings (paficabhisambodhiltramab). These are significant in that they define the Vajravtirahi Sddhana as a sadhana of the "generation method" (utpattiltramab). The five awakenings have their roots in the yogatantras, where the term "awakening" (abhisambodhib) refers to a meditation on the five wisdoms as pan of the preliminary emptiness meditations. 335 The term seems to have been first applied to the process of self-generation in the Hroajratantra, although it is chiefly the Hevajra commentarial tradition that is responsible for its analysis into the five awakenings. 3J6 The subject proved to be a fenile ground for meditative and exegetical elaboration. Indeed, the five awakenings are only one of many sets of correlations that surround the selfgeneration process, including an earlier systematization in the yogottara tradition that produced a rather different [set of] four vajras (vajracam,lta). A set of"six gods" is also taken up in one Tibetan tradition and correlated with the five awakenings ..m Because the Vajravariihi SaJhana deals with the subject only briefly, a fuller exposition of the five awakenings is cited below from an elaborate prose passage in the Abhisamayamaiijari. Following the exegetical tradition, S:ikyaralqita correlates each stage with a wisdom, signifying that the deity "born" in the self-generation is endowed with every aspect of enlightened wisdom. '""11
STUDY OF THE VAJRAVARAHI SADHANA
151
At the center of that [temple palace]m he should perceive a red /'ll'!' transforming into an eight-petaled lotus symbolizing the eight worldly dharmas (ll!.tllloltaJhaT7Nltd-). On the pericarp, on a sun disk symbolizing the extinguishing of the darkness of ignorance, [he should visualize] a seed-syllable situated on a sun disk inside the central hub of a vajra, which has [itself] been produced from a red va, and which is in the space between a sun disk and a moon disk (sa'!'PUfa~). [The va'!' 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 (dlitzrlajfilinasvabhava-), and the sun [on the other], which is produced by the transformation of a double row of consonants including t! tjh d dh ya Ill and is identical with the wisdom of equality (samatdjfilinasvabhdva-). [The va'!' syllable itself is] identical with discriminating wisdom (pratyawk,a!Jilsvabhdva-). With rays created by that [va'!'] that have the form of the goddess, he should [then] irradiate the ten directions, [and then] perform the welf.ue of[all] beings, [followed by] the withdrawal [of the rays] back again into [the va'!'] itsel£ [This is] the performance wisdom (/trtytinllf!haM'!'). With the transformation of all that, [he should visualize] himself as the goddess Vajravarahi, identical with the wisdom of pure reality (suviiudJhajfidNISVabhavti-). The sequence of the awakenings, and their correlating wisdoms, is summarized in table 16. Table 16. The fiw awaltening.r
I. 2.
Sequence of Generation the moon disc the sun disc
Correlated Wa.sdom mirror wisdom (4114rilfjfi41111m) wisdom of equality (S4""'t4jfi4Nim)
3· the seed-syllable (or emblem)
cfucriminating wisdom
+
~rmmccwoom(~~~M""~
{prtZIJtltM/qiD:uljNiNml) the emission and retraction of rays
5 the transformation of the seed-syllable into the deity
wisdom of pure reality
(suviluJtJJNuJh4mwJJNitujNinll1n)
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VAJRAYOGINi
The Vajravarahi Sadhana covers the first two stages of the five awakenings 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 dhannodaya. The passage just cited from the Abhisamayamaftjari describes a more complex version of the meditation. In a tradition following both the Hevajra and Saqwara 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 vowels and consonants" (aliltti/iyoga}_l).~ The alphabetical sequence of letters has been shown above in the vagvilutidhi (GSSs Sed p. 125, IU4vs); but here, the Abhisamayamanjari states that the sixteen vowels (a d i i u ur f! u t ai o au a'!' ab) should be visualized as a double row, thus making thirty-two letters, and that the thirty-three consonants (Ita to ha) should also be extended by the addition of Jt,a and six other letters (1/4 rJha da Jha ya 14), to make forty. This row of forty letters is also visualized as a double row, making eighty consonants in aU. This embellishment introduces the added symbolism of the thirty-two auspicious "major marks" (lalt!a1J4S) and the eighty "subsidiary marks" (anuvyafijanas) of a buddha. Some sources add that the rows of letters are seen to revolve, the vocalic turning counterclockwise and the consonantal turning clockwise, before they transform into the moon and sun disks rcspcctivdy.,.• At the dose 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 partncr (e.g., Beyer 1978: no), thus supplying two of the three essential factors required for conception in traditional embryology (ADKbh ch. 3, vv. Io-17). The third factor, the intermediate being, arises in the course of the next awakening. v. 17b-d In the same verse, the Vajravdrahi Sdl:ihanadescribes the third awakening: the visualization ofVajravarahi's seed-syllable, V41!'· bctwccn the two disks. This represents the third requirement for conception, namely, the presence of the intermediate being (gandharvasattvami) 342 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 va'!' as red, quivering with light rays, and vividly clear. In some Vajravarahi v. 17a
STUDY OF THE VAJRAVARAHI SADHANA
sadhanas,
the seed in the womb is represented instead by a vajra that is empowered by a Vll'!' syllable enscribed upon its central point.,.. In his AmNiyllmdjllri, 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: 12.4). The vajra is in fact the emblem (cihnam) of hmJuz manifestations such as Hevajra and Sarpvara through their familial genesis in the vajra family of Alqobhya, and as such is sometimes produced from hu,, the seed-syllable of the vajra family. Although Vajravarahi's emblem is the wheel (CAitrllm), from her association with the buddha family ofVairocana, her tradition preserves the vajra as an established part of the sequence of awakenings. v. 18 The next verse (v. 18) describes the fourth awakening, namely, the emission 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): 34~ Then one imagines that from those letters emanate innumerable 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. Once the rays have accomplished their lofty purpose, they are seen retracting back into the seed-syllable. The Vlljrttviiriihi StiJhllna states that, as they retract, they should bring back coundess buddhas into the syllable; elsewhere they summon the entire world (e.g., GSS1o I47V3). The seedsyllable Vll'!' is now pregnant with significance: It is at once the repository of the potentiality of buddhahood (GSS32 Kiosr2.: bu4dh~ttva7'!' h~tu bhiitllm .. .) and a symbol of its actuality, Vajravarahi. v. 19a 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
VAjRAYOGINI
world. The analogy is given in the second chapter of the Sa'!'varodayatantra (vv. 12c-2o) in a passage that draws upon both traditional Indian embryology and upon the tantric topology of the inner body made up of channels, winds, and drops.w. In the first stage of this account (vv. 12~16b), consciousness is said to arrive through the mouth, carried on winds that circulate in the seventy-two-thousand channels (1Uitjis). The scripture (v. 16cd) then describes the attainment of highest bliss as the vowels and consonants melt together. This is the equivalent of the second awakening. Next, consciowness "exists between semen (Jultram) and menstrual blood (io!Jitam) in the form of a dot (bindu/J)" (v. 17ab), 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 (vv. I7cd-19b), and these are correlated with the five buddhas. In the seventh month (v. 19cd), 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: utanli). The birth (which takes place according 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 awakenings. (The processes of gestation and birth described here are even more explicit in sadhanas where the deities to be evoked are in sexual union.)w Together, the five awakenings are understood to correspond to the three bodies of a buddha. The dharma body (dharmaltayab) 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). Thw, in the course of the selfgeneration, the irradiating seed-syllable of the fourth awakening is seen as the emanation body (nimui!JaltliJab) 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 (sa,bhogalttiyab), with all the major and minor marks of a tenth-stage bodhisattva (mKhas grub rje 1978: 27). Abhayakaragupta explains that the Sll'!'bhogaltaya and the nimui!Ja/uiya are conventional in that both are reflexes of emptiness and are therefore constructed. m
S~lf- Visualization
As Vajravarahi
vv. The next six verses describe the culmination of the self-generation process 19-14 as the meditator visualizes himself transforming into the Sll'!'bhogaltliya
STUDY OF THE VAJRAVARAHi SADHANA
155
form ofVajravarahi. The prescription to "make his own body Varahi" (v. 24d) is a reminder to the yogin that it is "himself" (titmtinam) that he is to visualize becoming the deity.~"' Strictly, this must be metaphorical, since the notion of an ordinary "self' has already been dissolved during the meditations on emptiness. Indeed, one sadhana adds the comment that after the emptiness mantras the body must be seen merely as an appearance.wi The Vajravtirahi Stitlhana now gives the iconographical details for Vajravarahi, prescribing her color, face, attributes, and stance. As we will see, these reveal an iconography closely based on Vajravarahi as conson to CakrasaJ!lvara (plate u).j" In Tibetan works, it is a form very similar to this manifestation ofVajravarahi that is associated with the adept Naropa.l~~
Fig. 27. Vajravariihi in wamor stanc~. Drawn according to the Sanskrit text by Dharmaciri Aloka Cf plmn 7 and 10[
Vajravarahi is deep red in color, a reflex of her red seed-syllable va'!'. The Vajravartihi Stidhana describes her as "saffron-colored" (v. 19b: ktiimiravartzti'!'), m but elsewhere she is compared to vermilion powder (sindura!J), or to startlingly red flowers such as the China rose (javtikusumam), the bandhukab (Pmtap~us phomiua or T nmina/ia tommtosa), and the pomegranate flower (datjimap). 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 (GSSu v. 16), a red sun disk against a white moon disk, 3 ~ 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
VAJRAYOGINI
polarities, such as hot and cold, bride and groom, passion and purity, rajllSsattva, east and west, female and male. The Vajravtirahi S4tlhana describes Vajravarahi as having one head (v. 19b), just as she had as consort to Cakrasarpvara-that is, without her eponymous characteristic. the hog's head (varahab), which appears in her other main manifestation (ch. 2). Her face is fanged {v. nd) and has three eyes; these are a standard feature of tantric iconography drawn from the iconography of Siva.m Other texts add that her face is distorted by wrath, with brows knit together in a fearsome frown, and eyes "red, round, and rolling. "3 ~ In 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 respectively (as seen from the point of view of the meditator/deity herself). 351
Fig. 28. Vajra.
Although the text of this verse is corrupt (v. zoe), 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). 351 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 spokewhich are said in the Abhisamayamanjari to symbolize "the five knowledgcs 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 menacingly so that they become "terrifying even to fear [irself].•m The skull bowl is held aloft in Vajravarahi' s left hand, and she drinks the stream of blood that flows from it (v. zoab), fixing her gaze upon it as she drinks. j(,O The vajra and skull bowl are attributes adapted from the iconography ofVajravarahi as consort to Cakrasarpvara, but when the deities
STUDY OF THE VAJRAVARAHI SADHANA
157
are in embrace, it is Cakrasaf!lvara who drinks the blood as Vajravarahi pours it down into her lord's open mouth, ..causing him to drink. "~• The skull bowl iudf is formed of a severed head, part of the standard insignia of lulpalilul praxis, while the blood within it is often said to be that of the four wicked mliras, or of other evils; in the Abhisamayam4njari, however, it has the taste of great bliss and great compassion. " 2 Vajravirihi's third attribute is the skull staff (lthatvlingaf,lm) balanced upon her left shoulder (v. 21a). According to the Abhisamaya1Nlnjari:'" On her left [side] resting on her arm, Vajravarahi is [visualized] carrying a skull staff (lthatvlinga-) whose nature is the means [of enlightenment]. It is brilliant with a white stock that has a single 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. 19. Skull stajf(ltha!JNlnga).
In illustrations, the "dry and wet heads" (Ju,ltastiraraliras-) 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 Kriytismnuccaya distinguishes a different type of skull staff altogether, with three dried heads.J6s The equation of the skull staff with
VAJRAYOGINi
means (GSSs: upayasvabhtiva) is a common one and identifies the staff with the male consort.~ Stein (Cours 1975: 490) 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" (li-sakta). Other tantric ornaments adorn Vajravarahf s body. She wears a garland of heads (v. 21b), fifty in number corresponding to the fifty vowels and consonants, and said in the Vajravlirtihi StiJhana to be bloody, that is, freshly severed and dripping. 367 This is another feature assumed from the male h""ka forms, as female consorts generally wear only a garland of dried skulls.JOII The colors and characterization of the heads in tanttic 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 (vv. 22-23), all made of human bone (perhaps embossed with vajras), 370 and known collectively as the five muJriis, or signs-indicating here the signs of ktiptilika observance. These incude a chaplet, earrings, a necklace, armlets, 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" (kaptilikavratam). 311 Perhaps as a reflection of the goddess's new cultic role as central deity, the sixth mudra of ashes is on occasion also assumed by female deities (see ch. 2). The Abhisam4Jilmaiijari lists both the fivefold and sixfold sets of mudras and comments on Vajravarahfs new status: 372 [Vajravarahi] bears the five signs of observance (muariis), namely, chaplet (cam), earrings (ltu'."!tJam), necklace (kaT}!hi), armlets (rucakam), and girdle made of pieces [of bone] (kha!'t!Jnkamekhala). There is the following verse (iti): "[Visualize her] adorned with necklace, armlets, earrings, head jewel,-m [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 maJ;lQala.
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 application, as they are on occasion installed on the yogin-goddess' body with mantra syllables rather in the manner of an armoring. m As we will see, this type of symbolism pervades each of the mudras individually.
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159
For the chaplet, the Vajravarahi StidhaNZ describes an ornate forehead band (v. 2ul). The cloth band would once have been a tie wound counterclockwise around the head for binding up matted locks,.m but here (v. 22e) 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 common 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).~ 17 The Vajravdrahi StiJhaNZ (v. 22ab) also notes that Vajravarahi's hair tie has come adrift, leaving her hair loose and disordered-a statement of her untrammeled sexuality. 371 Some hair (perhaps her matted locks) is fastened on the top of her head by a hair clasp formed of a double vajra. 319 The other mudris (v. 23) are also of human bone. Apart from the necklace and earrings (often depiaed as two large loops), there are two sons of armlet on each arm, a wrist bracelet (rucaltam).• and an armlet worn on the upper arm (/uyiiram). There may also be anklets (nupura/1). 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 bdls and strings of pearls. As the Khara Khoto tangkas (e.g., platen) show, artists like to exploit the beautifullacelike effect of intricate ivory work.-"' 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 (frtigtira/1) that the texts are eager to promote. 113 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 Cakrasarpvara), and she laughs with her mouth open and her body horripilating, a perfect "receptacle of great bliss" (v. 24C).·~ Another aspect of Vajravarahi's character is her compassionate wrath. This is particularly evident in her stance (v. 19cd). Like her former consort Cakrasarpvara, Vajravarahi assumes the classical pose of the archer, the warrior stance (aliljha-dsaNZm): she steps onto her flexed left leg and stretches out her right leg behind, as described in the Abhisam4Jilman}ari: "[Vajravarahi should be visualized] ... with the alitjha [stance], bending her left leg and stretching back her right five vittzstis [i.e., sixty finger-breadths], indicating that the world is "licked up" (a + Jib > tiJV!ha) by emptiness... ,.., And just as Cakrasarpvara is visualized trampling upon the corpses of the
v
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VAJRAYOGINI
supreme Saiva deities, Bhairava and Kalaratri, so is the solo Vajravarahi. 516 The Vajravdrdhi SaJhana states that she stands with one foot (the left) upon Bhairava's head and the other (the right) upon Kalaratrfs breast (v. 19cd). Bhairava is described in another sadhana387 "with four arms, his torso hean-[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 t#zm4ru and trident, 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." Illustrations generally depict her lying face up, holding a vajra chopper and skull bowl in her two arms.~ In general terms, the subjugation of the Saiva deities represents Vajravarahi's conquest over all evil, whether that represented by another religious system (other brahmanical gods are sometimes trampled upon, too), or of evil per se in the classic guise of Mara, the Buddhist embodiment of the defilements and death. 319 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 Puri!]as, 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 (bhaltti/1) and service toward the gods...,• In the higher tantras, the myth is given its own panicular slant and brought into the service of Buddhism. The story first appears as a comic talc in the root scripture of the yogatantras, the Sarvat4thdgal4tllttVasil'!'grttha (ch. 6). It concerns the entry ofVajrapir)i, the tantric bodhisattva, into the maJ]9ala of the buddha V airocana. Vajrapil]i has boldly announced that he will not enter (prati-Vpad) the maJ]4ala himself until he has seen the world's wickedness entirely transformed and brought within the IIW]4aia 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 (Mahdvara) and his retinue of evil gods whom none, not even all the tathagatas, have succeeded in taming. Vajrapil]i then commands them to conven (prati-vpaJ) by taking the three refuges and vowing to gain omniscient
STUDY OF THE VAJRAVARAHi SADHANA
161
knowledge. This outrages Mahc:Svara who declares that he is none other than the creator and destroyer of the universe, the supreme God of godrhe will never stoop to taking orders from Vajra~, a mere spirit (ya~J! VajrapiJ.U 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: pr11tipady4 bho /uztllpiitllnllmtinll!'lmti'fUiih4ra dtibhllmuzbhalqyabhojy4/tlyyasa1Ulprtlvllra!'Jl 1111lmtljfill7!' pllllly11!). But the proud god pays no heed, and he is eventually overcome by the mantra 01fl nisumbh11 vajrtl hu'!' pha! (uttered by Vairocana) followed by Vajra~i's explosive Jnn.n.'lnstandy, Mahdvara 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 Vaj~i-a compassionate bodhisattva-to kill them. Yaj~i at restores them, and they experience divine blisses and serve him. But the conversion of recalcitrant Mahdvara is not so easy. Although he is restored to life, he insists that he would rather die than obey Vajra~'s demands. Thereupon, Vajrapil:li utters mantras that haul Mahc:Svara and his conson stark naked before him, and tramples them underfoot while the world looks on and laughs. With another mantra, Vajra~i stands with his left foot upon Mahdvara and his right foot upon Umi, and a great cry resounds through the three worlds proclaiming Vajra~ as the victor. Then through Vairocana's compassion, the touch ofVajrapaqi's foot becomes a source of consecrations, meditational powers, and so forth leading to enlightenment, and Mahdvara is transformed into a buddha (BhasmeSvaranirghop) in another buddha realm (Bhasmicchanna) in a far-off world system. m The same themes of subjugation and conversion appear in other eighthcentury texts, some of which show a marked increase in sex and violence. " 3 The myth in the *Guhyllgarbha/GuhyaltoiA is a case in point, as the accounts by Sanderson (1995) and Davidson (1991) reveal. Following these scholars, we find that here Mahdvara'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 sarpsara, the tathigata emanates a oonson for himself (KrodheSvari, Lady of Wrath), and from their mingled sexual fluids gives birth to a pantheon of wrathful deities who oonquer the wicked tyrant and his retinue. The tathigata then assumes a wrathfUl form ofa Heruka with~ heads, six arms, and four legs, and stands in warrior stance upon a mountain ofbones in a acmation ground surrounded by oceans of blood, with Mahdvara and his oonson prostrate
wt
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 eighteen arms, and resorts to even more extreme methods, which Davidson (1991: 203) describes as follows: "Heruka, the cosmic policeman, seizes Mahdvara 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, Ucch~makrodha, drinks up. The gods are then revived. Properly grateful for what can only have been an extraordinary experience, Mahdvara and his minions beseech Heruka and the divinities of his maQQala to accept their wives, mothers, and daughters as ritual consorts while they take their correct places as the seats of the divinities in the Mai)Qala." The themes reappear in yoginitantra exegetical works, with some variations.394 In Bu ston's account (related at length by Kalff 1979: 67ff.), the twenty-four sacred sites (pi!hiiS) have been wickedly usurped by low-class spirits and demonic gods; r~, yak,as, nligiiS, llSUrtE,, and so forth. Steeped in lust and savagely cannibalistic, they scheme to take over the whole universe by inducing Mahdvara himself to lead them. Mahdvara 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 p~thas by which he can be worshipped vicariously. In response to this dire situation, Vajradhara (taking the form ofHeruka on the summit of Mount Meru) causes the emanation of the CakrasaJ!lvara maQ<Jala 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 cjakinis 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 appearance, throwing them down and pressing them underfoot; in speech, by the appropriation of their mantras, which are transformed by the insertion of O'!' at the beginning and hu'!' hu'!' phil! at the end (cf. Vajravarahi Stit/hana §33); in mind, by realization of the void of nonconceptual awareness. Taming by "enjoying" consists in sexual yoga as the heroes copulate with the consorts 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 dear light of nonduality. Bu stan's account is typi-
STUDY OF THE VAJRAVARAHI SADHANA
cal of the Cakrasaqtvara versions of the myth, which are based around the battle for the p~thas. The viaorious Buddhist heroes not only t2k.e their adversaries' luiptililuz 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 mai}Qala, 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 Buddhist 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 apologetics go, however, they were a powerful means oflending legitimacy to the Buddhist tantric systems. At the same time, they declared Buddhism's independence of Saivism by the simple trick of demonizing it. Above all, the Buddhist function of the Saiva models is never in doubt (Sanderson 199.-p, 1995). As in the method of subjugation by absorbing described above, the purpose within Buddhism is to conven Saiva 'irreligion' by purifiying 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 sec Buddhism confidently imposing its own doctrines and theory onto the underlying Saiva framework. This process is dearly illustrated by the Vajravtirtihi Slilihana. where we will find that even such features as the Saiva p~thas are overcoded and correlated with the traditional formulations of the Buddhist path. In our account of the visualization ofVajravarahi herself, we have seen how her pan-tantric iconography is imbued at every step with a transcendental symbolism that is entirely Buddhist.m
Armoring As the yogin has now imaginatively transformed his outer body into that ofVajravirihi, the next step is to transform his inner being also. He does this in two stages. First, he protects the body of"himself-as-goddcss" with an armor (ltawuam) of mantra syllables (v. 25-§6), and he then infuses it with transcendental knowledge (v. 26-§7). As we will see, the deity's outer form and its internal essence are distinguished as two "beings" (sattvas): the
VAJRAYOGINi
pledge being (samayasattvam) and the knowledge being (jnanasattvam), 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. )196 v. 1sa--c, In the Vajrayogini tradition, the yogin-as-goddess performs the armor§6 ing with a placing or "installation" (nyasa/.1) of six pairs of mantric syllables at six points on his/her body. The verse in the Vajravarahi SaJhana (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 locative is ambiguous) the armoring syllables are to be placed: navel, heart, mouth, head, crown, and all limbs "as the weapon" (astram).'91 In some sadhanas, the armor syllables may take iconographical form as six armor goddesses. This is the case in the Abhisamayam4fijari, which states that "because of the indivisibility of the mantra and the deity" (mantratkvat4]tlr abhtdat), the meditator is to generate six ltapalilta goddesses. They all are disheveled with hair loose, naked, three-eyed, and standing in the warrior stance. The goddess at the navel is a form ofVajravarahi 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 goddesses are Yamini (blue-black), Mohini (white), Sarpcalini (yellow), Sarptrasini (green). and Uu}Qika (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 ~maru and chopper. ' 91 The armor goddesses are depicted in the Mongolian icons, almost identically to our prescriptions, along with a set of the male armor gods/" The Tibetan sadhana describes the generation and visualization iconography of the "armor heroines" (go cha 'i dpa '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).* Plate 2 depicts an early painting of a red, dancing tjakini 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 Vajravarahi and Yamini.
STUDY OF THE VAJRAVARAHI SADHANA
Fig. 30. Armor Vajravdrdhi. Mongolian woodblock print (IWS/T 62, LC 572)
Fig. 31. Armor Ytimini. Mongolian woodblock print (IWS/T 63, LC 573)
In contrast to other descriptions, the armoring in the Vajravdrdhi 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 (loJhay~t) or "empower" (atihiti!fh~t) all aspects of his/her pyschophysical organism. This empowerment is accomplished by equating manrric syllables with the s!tandhas, the sense organs and the sense fields, and the elements, as follows: 401
166
VAJRAYOGJNI
Table 17. Sylklbks ofnnpowmnmt
skandhas ~nscs &
elemenu
O'fl
fields
bhriJ'fi/O'fl
"'"'
4/J
"""""""' nW'f'
hri!1fhri'!' hobfhu'!'
hu'fllho'fl
hribfhi~
"""'
ltN,.
lib/41!'
h4'fllh,;
JHi'!'
tti'!'
lth4'fl
The empowerment process is similar to the preparatory meditation with purifying equations (viludJhis) described earlier, although it lacks the correlation with a deity visualized in iconographical form (summarized in table 9). Although the Vajravlirtihi StltJhan4 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 Yoginisa1Jicliratantra. for example, repeatedly remarks that the purpose of identifying the five buddhas with the sltanJhas is to destroy the "ordinary idea of self" (prfikrtliha1J1Itlira/.J) by taking on the "divine idea of selr (lkvatliha1J1ltdrap). This is, of course, the process by which the tantric practitioner becomes "united" with his deity (lkvatliyogavan).••u Taken altogether, the stages of empowerment and armoring are also related to the body mat:tcJala described later in the V11jravarahi SdtJhana. The body mat:~Qala correlates deities with the yogin's internal and external being in order to identify him with the full mat:tcJala, a process that can be difficult to distinguish from the armoring. 403 In some texts, the purifying correspondences (viludJhis) of body, speech, and mind (with 01JI 4[1 hu1J1) are also incorporated into the armoring meditation, a correlation that again points to the full mat:t9ala, with its three circles of body, speech, and mind (ltayacaltra, vliltcaltra. and cittacaltra).4/.)4 It seems that the armoring therefore forms a specialized application of the broader themes of the body mat:t4ala. Its particular function is to prepare the yogin-deity for the infusion of knowledge that is to follow, and it is commonly distinguished by its use of mantra syllables and-in most texts-by the preceding empowerment of the self-generated yogin's psychophysical being.
Pkdg~ and Knowkdg~ B~ings
vv. 1sd- Having prepared the pledge deity (sam4JIIIkvatli) with the armoring, the 16, §7 Vajravlirlihi Sadhana (v. 25d) instructs the yogin to infuse it with the
STUDY OF THE VAJRAVARAHI SADHANA
knowledge deity (jfilinlllkvatll). The pledge deity is the imaginary form of the goddess created by the "pledge-holding" initiate through the selfgeneration. In his Tantrtirthlivatllra, Buddhaguhya describes the pledge forms (samllyasattva/J, SllmllJilmll~m, samllyacaltram) as "those [forms] discerned by persons pledged (*samayin) [to them] ... ones imagined as arising 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 {jfuillllSilttVIlm, jfuinamllryjldam, jfilin.acaltram) as "the self-existent (*svabhavin) discerned as deity." The knowledge being is said to have both form and "inherent nature" (mKhas grub rje: 235, citing the
Paramtitlyatantra). The Vajravdrdhi Sdtihana now describes how the two "beings" are fused together to become one. The prose passage (§7) lists a traditional set of four mantra syllables, each of which has a particular function:• I. jab
2.
Summoning the knowledge being (alta'!lll)ll"')
Jtu, Causing its entry into the pledge form
3· Vll'!' 4· hob
(prawiaTIIlm)
"Binding" of pledge and knowledge forms (banJhaTIIlm) Gratification of the fused forms (tO!Il!'/lm)
In the previous verse (v. 26), however, the Vajravdrtihi StiJhana prescribes a slightly different procedure, one also common in other sadhanas: 1.
Summoning the knowledge being (omitted in the Vajravlirtihi
Sli/Jhana) 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 attraaion (tilta'!lll)llm) is the first step, and the yogin (that is, the yogin-as-goddess) must visualize the knowledge deity ofVajravirihi standing in space before him. One commentator explains that there are two kinds of summoning, "invitation from the Dharmadhatu Palace of Akani~tha, and attraction from the worldly realms of the ten quarters" (Padmavajra's Tantrtlrthdvatdravyalthyanaeited by Lessing & Wayman 1978: 236, n. 33). The first is reminiscent of the sadhana's preliminary worship visualization and indicates that the knowledge deity is Vajravarahi in her sa,bhogaltdya form. The summoning of
168
VAJRAYOGINI
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 prototype for the summoning here. Thus the meditator is instructed to summon the knowledge deity by uttering the syllable ph~phnn, making a hand gesture (muJra) at the forehead, and impelling the deities to descend with hooklike rays from the hean to the accompaniment of a scriptural verse (lt,rtvligragranthya ltha/u mm/hyasUci.. .; seen. sos)-the very prescriptions laid down for the bali ritual itself. 407 Once summoned, the Vajravlirahi Stk/hana (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.). 408 In the case of the mantra syllables-jab hu'!' vam hob-it is the last syllable, hop, that is for worship, or "gratifying" (to!aiJilm). -tCY'J There is another well-attested tradition that states that hob is not for gratification, bur 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} 10 Padmavajra (ibiJ. n. 36) seems to attempt a reconciliation between these two interpretations of hob by remarking that "Subduing means making (them) rejoice, pleasing (them)." The Vajravlirlihi Stklhanaends the verse by directing 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 hu'!'. and va1J1). 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" (~ltiltara'."l'!'• aJvaita-) 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]" (ibiJ.: n. 35). Considering the overall structure of the sadhana, the infusion ofVajravarahi' s outer form with knowledge is perhaps surprising. After all, the selfgeneration stage has already endowed her with the five wisdoms and shown her to be a reflex of the Jharmaltliya. This kind of repetition, however, is a hallmark of the sadhana, as it seeks to identify the yogin ever more indistinguishably 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 material constantly expresses the urge to relocate the true essence of the deity in a more essential form. For example, in the sadhanas of Manju5ri, it is
STUDY OF THE VAJRAVARAHi SADHANA
common for a deity to be visualized with the form of another deity or syllable placed at its heart as its "essence," "nature," or "source." In one instance, the text prc:scribes a visualization of the tathagatas with the bodhisattva Mafiju$ri at their hearts, and at the heart of Mafiju$ri himself the syllable 11 from which he was himself produced (altllras~~mbhlliHI/1) (Nilmllmtlntrllrthllvaloltini in Tribe 1994: ch. 4). A is thus the most essential form of Mafiju$ri, and hence the "limit of reality" (bhut~tlto_tib)."" The same reductionist urge is expressed in yogonara sources (Isaacson 1996b) as a theory of three "beings": the pledge being (Sitmtl]llSilttrJil/1), knowledge being {jfitiNIS4ttvtzb), and meditation being (SilmlkihisilttVII/1). 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 PiruJi/trllm4Stitlha1lll (vv. 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 meditation being is the seed-syllable in the heart of the knowledge being (Isaacson: ibit1.).412 This seems to be the system bequeathed to the yoginitantras in the slighdy simpler twofold theory of the pledge and knowledge beings. 411 This type of visualization is depicted in art in the early fifteenth-century paintings at Gyantse, which show a series ofbuddhas with an eight-armed deity at their hearts and a two-armed deity within the hearts of each eightarmed deity (Ricca and LoBue 1993: plates 5-9).
Cons~cration
v. 2.7 The Vlljravarlihi St1Jha1lll now directs the yogin to visualize enlightened --§8 beings bestowing consecration upon himself as Vajravidhi (v. 27-§8). The meditation begins once again with the emanation of the deities as the yogindeity 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 enlightened beings are tathagatas (v. 2.7b), but in the prose passsage, he describes them as eight yoginis. As both tathagatas and yoginis are traditionally present at the consecration, it is not entirdy clear which our author has in mind. In the earlier Hevajra system, it is the tathigatas who administer the consecration, while ten attendant goddesses sing and dance in praise. m But in the Cakrasarpvara tradition, the tathigatas are summoned only in order to emanate the goddesses who will themselves bestow the consecration, or it is the yoginis alone who perform the ccremony. 4 ' 6 In the Vajrayogini
VAJRAYOGINi
texts, the yoginis rise still further, and appear in the AbhisamtlJilTMfijari as a special class of ten consecration goddesses called vajravildsinis. 417 The shift toward feminine power is mirrored by an increasing emphasis on cremationground symbolism. Thus, the Vajravlirahi StiJhana 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 Cakrasa!pvara texts, the vessel is instead visualized as a ritual vase (lutWa/1). 411 v. 17i As the enlightened beings pour the liquid, they recite a traditional accompanying verse followed by the mantra 07!' sarvllt4thagatiibhif~ltasa1Nlyalriyt hu'!' ("To the glory of the pledge [of?] consecration by all tathagatas!").4'" The verse (v. 27i) focuses upon the important purificatory function of the consecration, which is sometimes said to counteract ignorance and to wash away obscurations. In some sidhanas 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. no 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 praaiccs of the highest tantras. Such initiatory rites are divided into two types: the lower consecrations, of which there are usually five (pancabhi!~/ta!l). and the higher consecrations, often starring with the teacher consecration (licliryiibhif~ltaf1). 421 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 consecration 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" (svq~tliyoga yu/tt4!1); this is mirrored in the sadhana in all but the third-party intervention 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 vajrlicdrya 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 conson for sexual yoga practice. Similarly, the consecration in the sadhana requires the yogin to preserve the form of the goddess (the consecration in HT1.4 actually ends with just this injunction: tkvatdmurtyd sthlitavyam), and it paves the way for meditations based on sexual yoga.
STUDY OF THE VAJRAVARAHi SADHANA
v. 2.8
171
The Vajrawirtihi Sidhana follows the consecration with typical acts of worship (v. 28ab) in which piija goddesses are visualized in space worshiping 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.
Innn- Yogic Practices vv. With the consecration, the process of self-generation is finally complete. 19-31, What follows in the sadhana is a series of contemplations based on the §9 seed-syllable or the mantras of the deity. They contrast to some extent with the visualizations of the generation (utpattib) by generally taking place within the subde 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 mental. This is a goal already familiar to practitioners of the Mahayana (paramitli""J'lb), and as Germano (1994: 220) suggests, the tantric techniques 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 environments) 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 Guhyasamtljatantra, the latter became known as the generation stage and the former as the stage of "perfection" or "completion" (utpan111lkrllm4/1). A famous exposition of the completion method is Nagarjuna's sixfold yoga (satjangayoga) developed in the yogottara exegetical tradition, and ofpartia.llar impo112ncc in the later Kalaakra system, as expounded by Naropa.•23 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 (utpattiltra7111lf11utpattikramayogaf1),
VAJRAYOGINi
but they do not tend to make a distinction within the sadhana between those meditations revolving around self-generation and a subsequent "perfection 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 R.atnakara.Santi or Advayavajra, comment upon them elsewhere-what scholars/practitioners of the time actually meant by the terms utpattiltram4 and utpannaltram4 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 complexity 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 Ramakara$anti explains the generation stage as "that stage or type of yoga (utpattiltramayoga/1) in which the yogin produces, in a series of steps, [himself in] the form of the deity" (Isaacson's summary of the author's commentary on HnNZjratantra 1.8.24Cd25ab in 2001: 470). The aim is ultimately to realize nondual emptiness, free of the mind's proliferation (prapanca/J), although to achieve this, the meditation itself relies on prescribed sequences involving just such proliferation. So much, it seems, was generally accepted by tantrikas of the time. Neverthdess, on the exact function of the generation stage, and on its value relative to the so-called perfection stage, "there is evidence that there was a dispute, probably a long-running one" (Isaacson 1999). Thus, while R.atnakara.Santi was content to see the utpattiltrama as a necessary preliminary for ensuing higher stages of practice, Isaacson also cites authors who were dismissive, even contemptuous, of it. A thornier matter still is determining what exactly these higher practices were, and how they were to be classified. Again following Ramakara.Santi, Isaacson explains the perfection stage, or utpannaltrama. as the yoga of cultivating the sahaja or "innate" nature of the sadhaka himself, and of other beings. 424 It is called the innate nature, Ramakara$anti explains, in that it is "[already] arisen," and "does not need to arise or be produced ... " (ibiJ.: 470). In other words, the deity already exists within the practitioner's deepest convictions (svdbhavika), and is thus already "born" (utpannaJ 2 ~-dearly a process that no longer needs the meditative apparatus of generation, such as the five awakenings. Indeed, in RamakaraSanti's terms, it relies upon a cultivation or contemplation of a sensation of great bliss (m4hdsultham) that "spreads throughout
STUDY OF THE VAJRAVARAHI SADHANA
173
the sidhaka's body, and then is to be imagined pervading the entire universe" (ibiJ.: ~71). 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 &om imaginary, to symbolic, to actual practice with a female conson. RamakaraSanti then goes on to refine the meditations involved in the perfection stage, pinpointing both "ordinary" and "extremely profound" (paramagambhira-utpannllltrllm4) stages and stating that the latter is itsdf"of many kinds" (ibiJ.: 472). But as Isaacson points out, RamakaraSanti's was by no means the only voice in the debate, and other authors defined the perfection stage quite differendy. Advayavajra, for example, focused on its function as an accdcrated means of practice but maintained that it is still fully iconographic (ibiJ.: 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 utp4nnaltra1114, or "perfection stage," may be used interchangeably with nqpanNlkrllm4. (The term •SID!'pannaltrama • sometimes encountered in secondary literature is an anomaly, which Isaacson states docs not appear in any original Sanskrit source and appears to have crept in through another wrong back translation from Tibetan.) In addition, the term nifpannaltrama may have been used by some, such as Candrakini and RamakaraSanti, to point to the term niglan1lll]Oga. 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 Mliylijailltantra, namely, a series of yogas called nifpanna-, Ita/pita-, and lllihinhana-yoga. Other authors clearly knew of the categories of the Maydjalatantra and preserved them in their writings, but without attempting to equate them with other systems around at the time. Abhayakaragupta, for example, opens his NigJanllll]og4Vali (Cyck ofCompktion Praaicn) with a direct reference to the Mayajailltantras "completion yoga" (p. 1: yogo ni!panna/J) (ibiJ.). Other systems and terms were also current, and we have also already noted a category of inner yogic practices called the "self-consecration," or svadhidhana method, which corresponds in type to aspects of the perfection 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 &om the GuhyasmNijatantra and reveals that it is unmistakably modeled upon Nagarjuna's declaration
174
VAJRAYOGINI
of the rwo truths, a doctrine essential to Nagarjuna's philosophy, and key to the development of the ptiramitdnaya. 426 Isaacson writes, "such a consciow parallel therefore suggests that the distinction of the rwo ltramttS is an equally fundamental one for tanuic Buddhism." It is a correspondence, moreover, that is taken up by later tintrikas (e.g., Kif)ha YRM p. 104 glossing HTI.I.I). But why should such distinctions be necessary? For Nagarjuna, the declaration of the two truths follows his assenion 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 docuines and paths, and that these remain true and effective. In other words, "the verse is actually introduced to protect the lower (sa'!'Vftisat), not so much to justify the higher (paramlirthasat), [the filet of] emptiness, which has been established in the preceding chapters" (ibid). Isaacson suggests that the parallel distinction between generation and perfection stages serves a similar function. That is, the verse in the Guhyasamlijatantra protects or safeguards the teachings of the generation stage (which are after all the majority of tantric teachings) 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 arc 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 Guhyasttm4jlll4ntra was, Isaacson proposes, motivated by the contemporary debate between gradual and subitist approaches to enlightenment, which he shows the Arya school of the Guhyasamlijatantra 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 focw 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" (n#is) and "body centers" (cakras), a topic well documented in published sources on the highest tantras. m In brief, there are three main channels within the torso about a quarter of an inch in diameter. The central channel in particular is understood to be very straight (so that it can convey airs and liquids), soft like a lotw 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 anw, up to the top of the crown, usually 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
arc known as ~~t~adhuti (center), rasanli (right), Witnti (left), and together they serve as conduits for a series of inner "winds," or energies. There arc different kinds of winds, which arc vehicles for different kinds of consciousness or mind, and those in the outer channels arc understood to be impure, while those in the central channel arc pure. Their flow is considered 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 arc 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 channel, and depending on the yogic system followed, they arc located at the head, throat, heart, and navel, or at the head, heart, navel, and sex organ, and arc represented by different kinds oflotuses. The three main veins also carry a flow of"nectar" between the cakras, namely, urine in 111141111 (cf. n. 217; or sometimes male semen), blood in rasanli (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, avaJhUti. The winds are said to do this naturally at death, so the yogin's ability to manipulate them at will indicates his transcendence of death. The section on completion methods in the Abhisllmt~yamaiijari includes prescriptions for such a practice (although it refers to the visualization of the complete IJW}9ala rather than the single deity as in the Vajravarlihi StiJhana). Here the yogin is to use his absorption in the va'!' syllable (or its subde sound, the Nit.l4) to manipulate the flow of the outer winds. When he causes the upward wind (here, prli'."lb> and downward wind to enter avaJhUti, an experience of intense heat rises through the channel from the navel, characterized as the fire, cli!'f!a/i (also understood as the red, female essence).lts blazing causes the nectar (bodhidttam. or male essence} visualized in the topmost cakra to melt, and as it docs so, it flows down and blissfully pervades the four cakras in tum. Thus, the yogin is said to experience four kinds of "joys" or "blisses" (lillllndas) that culminate in the highest kind of bliss, sahaja or "innate" bliss. In this blissful state, dualistic perception is said to be transcended:~ 28 If he is unable to fix his mind firmly on so big a mar.t9ala circle for a long while, then, [he should] make the mind become firm
VAJRAYOGINi
[by focusing on the ntidtz, that is,] on the ray of light in the form of a thread of lotus fiber from the va'!' seed[-syllable], which [he visualizes] in the space between the sun and moon disks on the lotus at his navel. [By so doing (-dvarn,uz), he] removes the flow in both [left and right] veins of the vital (pra!'Jib) and downward (apana/1) winds, because of which (-parihtirtit) the [winds] enter the central [channel]. When [this happens, pravd~], [then] there is the arising of sahaja [which comes about] through the sequential [experience of the four] joys etc., [which occurs] because (ltramn,uz) 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 carv!tJli. [When this happens, sahajod4~], [there comes about] either the non perception (anupa/4mabha}_J) of the ma~<Jala circle through the sudden removal of all proliferating thoughts or [through its] gradual disappearance (antarbhavafJ) into emptiness. The Abhisamayam4fijari goes on to describe how the entire world, the cremation grounds, the ma~Qala and its goddesses, and the yogin himself (self-visualized as Vajravarahi) each dissolve into each other so that only the va'!' remains. This also dissolves away, staning from the lowest pan of the syllable, so that only its uppermost panicle, the ntidtz, remains, but with a form so subde that it is imperceptible. 429 This reaffirms the yogin's inner experience of nonduality, expressed here in terms of the "highest point" (bhutaltofib), clear light (prabhasvara/J), or yugaNJJJha-"the fusion of the pair (emptiness and radiance)" (see n. 281):•~ He should also see that ndJa as having the form of a onehundred thousandth part of a hair tip, but not even that is perceptible, due to its extreme [subtlety]. Because the goddess is identical with the knowledge circle, [she] enters dear light (prabhasvar~). In this way, again and again, [the yogin] should enter [dear light] and rise out [of it again]. So it is said: "Just as a puff (vita}_,) of breath on a mirror dissolves entirely, so the yogin should enter the highest point (bhutalto_tib) again and again." By entering and leaving [this dear light] again and again, the yogin directly experiences (learoti) yugaruuldha [produced] from the nondiffcrentiation of the two truths.
STUDY OF TH£ VAJRAVARAHI SADHANA
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 Vajravllrtihi Slidhana now describes. The verses describing the yogic meditation (vv. 29-31) arc 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 Vll'!J (or the subtler naJJz). He then begins to recite her mantra in its ten-syllable form (O'!J vajravairocaniyt svahi). As he exhales, he sees the syllables of the mantra leaving the Vll'!J 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 docs not say so, the syllables must now be understood to enter his mouth and descend down the central channel, avatlhiiti, until they reach his navel. There they are absorbed back, taking on the form once again (v. 29c) of the seed-syllable Vll'!J (or the Nit/4), ready for the next exhalation of syllables from the navd. This process of circulating the syllables is said to be like "drawing in a thread" (§9) or like "counting the thread of a rosary" (GSSs, cited later). This yogic practice also gives rise to the experience of dear light (v. 31d). A slightly fuller paralld to our text appears in the Abhisam4Jamafljari (following the meditations on the winds cited earlier). As it assumes the prior generation of the entire maQ4ala, 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 Vajravirihi SdJhana). 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 moving up the avaJhiiti, out of the mouth, and back into Vajravarihfs body, via her sex: 01 When he becomes tired, he should make his mind enter the Vll'!J 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 [maQ4ala] circles from the ntiJa of that {va7J1}
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 [ va'!' 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 m~c.iala], 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 avaJhuti, [and] having emitted [the syllables] from his mouth, [they should be seen] going to their own place in [Vajravarahi's] sex {paJ11111plm) [and] whirling around just there. While he is visualizing (bhdvayan) [this], he should [simultaneously] recite the garland [i.e., root] mantra given below or either the heart or auxiliary hean mantra. Alternatively, seeing the garland of mantras like a garland of flames placed (sthitli1J1) winding around that very seed-syllable [va'!']. [he should recite whatever mantra he has chosen] without haste, without hesitation, and avoiding false notions.
Th~Mantra
v. 31ab, 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 ofVajravarahi's mantras at this point indicates that the first meditation stage of the VajrlltNirdhi Stidhana can be performed as a discrete sadhana, based on the generation of the single goddess, Vajravarahi. The Vajravarahi Sadhana (§9) prescribes a version of Vajravarahi's mantra with ten syllables: D'fl vajravairocan~ svaha. Its dative name element-vajravairocanry~salutes Vajravairocani, a form of the goddess otherwise barely mentioned in the Guhyasam4JilSiitihanam4/4, but the presence of the name in the mantra points to Vajravarahi's family association with the buddha Vairocana. This is the "heart mantra" (h_rtiayamantrap),
STUDY OF THE VAJRAVARAHI SADHANA
179
that is, the mantra that evokes the essence ofVajravarahi. As such, it is the mantra most closely identified with her as a single deity and is most commonly recited when she is visualized alone; thw it is also referred to as the recitation or japa mantra in some texts (e.g., GSS2.9, GSSj-GSS31). There are, in fact, two versions ofVajravarahi's heart mantra. The Abhisamayamllfijari (Sed p. 137, GSS5 l<2.4v) prescribes a mantra with thinecn syllables as the main one, with the ten-syllabled version as an alternative. Although manwcripts yield a good many variants (as the manifestations described in chapter 2. have shown), the two heart mantras for Vajravarahi are generally as follows: thineenfold: 01J2 vajravairocan~ hu'!' hu'!' pha! svaha, and tenfold: 01J2 vajravairocaniy~ svahli. 432 The Vajravarahi Satihana 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 mal}4ala increases. For the fivefold mal}Qala, the text prescribes another type of heart mantra that is auxiliary, secondary, or "near" to the heart mantra itself, the upah.rtiaya mantra, and also an eight-part mantra; the full mal}Qala requires in addition the chanting of a long root (mii/4) mantra. The type of mantra prescribed therefore depends on the form and size of the visualized mat]9ala: Table 18. Vajravarahi mllntras for thirty-sn~m-fo/J 1114'.1{1414 01fl r~t~jrar~t~irocan~
Lone Vajrav:irihi (meditation stage I)
heart mantra (§9)
Fivefold fDa9Qala
[heart manua, plus:] auxiliary heart mantra
O'!f SllrvllbutJJhal!tilriniyt w.jrarNI'!Jilniyt hu'!' hu'!' phat svt1hd
& eight-part mantra (§12)
O'f' 11111110 bhaxavati VlljrllVIirtihi rNI'f' hu'f' hu'!' f'ha!· .. 01f1 11111110
(meditation stage 2)
10
syllables:
sviha [GSSs, 13 syUables: O'!f Wljrar~t~iTOCIIn~ hu'!' hu'!' phil! w.ihd]
r~t~jrawirtlhi ~,;
ltlimdvari lthau hu'!' hu, phil! Full 37-fold mat:'4ala (meditation stages 3 and 4)
[heart, auxiliary heart, and eight-pan mantra, plus:] root mantra (§32)
O'!f 11111110 bhagaVIIIi Wljrt~vtirtihi rNtm ... bhuttltrtis4ni 1l'lllhlillin ~ra~ri phaf """' """' """' phtq svihti.
VAJRAYOGINi
180
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 powerful form. It is an audiovisual refraction of divine reality even more subde and all-pervasive than its iconographic manifestation. In his vision of the female deities of the Hevajra ~9ala, Marpa described the mantra at the heart of the consort "like a reflection in a mirror, dearly appeared, unobscured by her outer form. "n' Given its importance, it is often emphasized that it should be recited properly, with resonant tone, neither too fast nor too slow.4}4 vv. A favorite theme in tantric texts is the supreme power of the mantra. The 32Cd, Vajravlirtihi Slidhana likens it to a wish-fulfilling jewel or a wish-fulfilling 33cd tree and guarantees that its constant recitation will bring speedy results; indeed "success" (sitkihiJ;), our author promises, will come about within six months. In the Sahara-related sadhanas, one month is said to bring "confirmation of progress"-such as a dream or vision of the godd~prac tice for six months is said to bring about specific goals, and practice for a year is said to bring "magical powers" (sitkihis);435 Its rather brief handling of the matter of siddhi is perhaps an indication of the Vajravarahi SaJhana's libcrationist concerns. In its broadest sense, siddhi means "success" or "attainment" (the word is etymologically related to the verb Slidh, and hence to slidhana, 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 (fantip), of increase or restoring to health (puuiJ;). ofsubjugating a victim (vali/tara1_11Zm), and of causing death (mlira!"''!')· Other powers include drawing victims toward one (aka'!fl!"'m), paralyzing them (stambhanam), and driving them away (uccll.tanam). A common list of eight siddhis includes: invincibility with the sword (khat!gasiJtihib). invisibility (aiijana 0) , ointment to make one swift-footed (pli/Jakpa 0) , invisibility (antartihlina 0 ) , the alchemical ability to transform base metals into gold or the elixir of immortality (rasarasliyana 0 , siitalta 0) , flying (kh~cara 0, viJylidharr). going anywhere in an instant (bhiicara 0 , "gulika-lgufikli- 0) , and going to nethcrworlds (patlila Other popular siddhis arc those that grant oratory powers (kavitvam), the powers of a sword-magician (khatlgaviJyaJhara[1). 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
0 ).
STUDY OF THE VAJRAVARAHI SADHANA
J8J
"deadly sins" (tinantaryaltarm4!'i). 4)6 A siddhi that is panicularly relevant to the sexual practices of mahamudra {as expounded &om the orientation of its male practitioners) is the ability to gain power over women (stri!Jii'!' vaiyaltara!"'m). A yogin who recites the root mantra ofVajravarahi twentyone 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 perform other spectacular siddhis, such as summoning the gods, starring or quenching fires, and so on; SM222 p. 436). This is a prominent topos in the Caf.U!amaharo!ll!"'t4ntra {e.g., ch. 12.6.39), in 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.
~/ling As
Vajravarahi
vv. The overall aim of the Vajravarahi sadhana is expressed in the final verses nab- of the "short meditation" (v. 34d) that comprises its fim meditation stage.
U These are the concluding injunctions of any yoginitantra sadhana, namely, that the practitioner should continue to maintain the divine ego (aha'flltlira/1) of his chosen deity at all times (v. 33ab). 437 In order to strengthen this inner conviction, the Abhisamayamafljari (K3or6-K31r2) 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 maJ}4ala retinue; while sleeping, he is aware of sleep as clear light. 431 Thus, unless he loses his awareness {which is of course a possibility, sec above, p. u6), the yogin will still imagine himself to be Vajravarahi when he sits down the next time to meditate at one of the three junctures (sa,Jhyi&) of the Indian tradition (v. 34C'f): dawn, midday, and dusk-and in some tantric texts, also at midnight.•-" The "means of attainment" presented by the sidhana is therefore a spiraling reinforcement of the tantric initiate's identity with the deity-and his eventual inner transformation into Vajravarahi herself. v. 3S (Sec above: "The Cosmos and Temple Palace," p. 144fT.)
MEDITATION STAGE 2
vv. The second meditation stage describes the fivefold mal)4ala ofVajravarahi. 36-37 This begins the prescriptions for the complete thirty-seven-fold Olal)cjala that will be built up in the remaining meditations of the sadhana, based on Cakrasarpvara sources. It opens with a pair of scriptural verses that summarize the various stages of the ~4ala as follows:
v. 36cd
meditation stage 2
fivefold Olal)4ala
Vajravdrlihi plus tht four rttinut gotb.kssts on tht pttals oftht cmtral lotus. (Jaltini, ttc.
v. 36cd
meditation stage 3
thirteenfold maJ)cJala
.fivtfo/4 m4'.'f!4/a plus tight outtr gotb.kssts, Ktiklisyll. ttc.
v. 37
meditation stage 4
thirty-seven-fold mat)Qala
thirumfo/4 ma'.'f!tda plus twmty-four gotb.kssts oftht sitts (pifhtis), Pracaf.U!d, ttc. These meditation stages offer the meditator alternative and progressively more complex methods of visualizing himself as Vajravarihi within her mal)4ala. 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 vv. 19-24), depending on the length of the practice the practitioner chooses to undertake.~
Fivifo/4 Ma!l'!ala §Io The prose prescriptions for the fivefold mal)4ala refer back to the scriptural verses just cited (v. 36ab). Thus, the meditator is to visualize Vajravarihi standing upon the pericarp of an eight-petaled lotus, and surrounding her he is to see the four principal goddesses of her retinue upon
STUDY OF THE VAJRAVARAHf SADHANA
vv. 38-40
§u
§u.
the four cardinal petals of the lotus: Qaki~i in the east, Lama in the nonh, Khai}<Jaroha in the west, and Riipi~i in the south (see plate 12, with fig. 32). (As a rule in the yoginitantras, installation (nyasab) on the cardinal points is performed in a counterclockwise direction, and clockwise in the intermediate direaions.) 441 This level of the mai}Qala is designated "the circle of great bliss" (see below). The iconography of the <Jakinis (vv. 38-40) is similar to that of their mai}<Jala leader. They are naked leapalilta 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 fjATNZru 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, Qaki~i (east) is blue-black, Lama (nonh) is green, Kha~cJaroha (west) is red, and Rupi~i (south) is yellow. The iconography of the arms is shown in the delightful red <Jakini from Khara Khoto (plate 2). The four goddesses arc presided over by the buddha Ratnasatpbhava, bearing him as the seal in their crown. Between them, on the intermediate petals, are four skull bowls that contain semen (botihicittam). In similar 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 themselves are pure white ("like a conch, jasmine, or moon") and may be visualized balancing elegandy on top of ornamental vases. 442 The mantras for the fivefold mal}cJala are supplied at the end of the second meditation stage, first for Vajravarahi as a mat}Qala leader, and then for the four retinue goddesses. Vajravarahi's mantras include the tensyllabled heart mantra given already in meditation stage 1, based on the mantra deity Vajravairocani (o1fl vajravairocan~ svaha). and the auxiliary heart mantra, sometimes said to have twenty syllables (e.g., GSS4 Kl4C5: upah_rdaya'fl vi,Uatyalt!aram), based on the mantra deities SarvabuddhacJalcini and Vajra~ani (01!' saroabuddhtVjlikin~ vajravaf!11Zniyt hu'!l hu'!l phat svaha). There is also the eight-pan mantra, which frequendy 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: O'fl, the insenion of the goddess's name, then the inscnion of the syllables hu'!'
hu'!' phaf. 444
VAJRAYOGINI
The fivefold m:u:tqala-like the rest ofVajravm.hi's m:u:tqala-was originally the m:u:t4ala of the Heruka deity, Cakrasarpvara. In his practice, the four goddesses on the petals generally appear with the same iconographic form as they have in the Vajravarahi maJ)cJala, 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 AbhiJhanottaratantra (GSS7), where they take the terrifiying therianthropic form characteristic of that m:u:t<Jala, trampling the corpses of Bhairava and Kalaratri in arJhaparyanluz pose, and holding a severed head (rather than the tjAmaru of VajravdrahisdJhana). 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 Sa'!'varodayatantra (ch. 31), for example, describes the "beautiful characteristics" of l)akini, Lama, Kh:u:tcJaroha, 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-point~ vajra on the lower joint of the fourth finger, for example, is said to indicate a member of the .Alqobhya family (HT2.2.1-2). The AbhiJhanottara has chapters dedicated to the classes of yoginis, ~. Iimas, and others; and Kalff (1979: 44-56; cf. 91-95)-who discusses this area in detail-suggests that the goddesses Rupi~i and Kh~<Jaroha (sometimes interchangeable for Lama) also arose from among these generic classifications.446 As individual goddesses, the goddesses of the petals therefore assume a generic quality associated with their type. l)akini represents all cJilcinis, 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 Caltrasa,varatantTa itself-and in this respect, the goddesses are akin to Vajravm.hi, the supreme vajra-yogini. Their kinship is noted in the AbhiJhdnottaratantTa: l)akini is described as a vajra-cJikini who has "arisen in the family of Vajravarihi"; the chapter on lamas describes the characteristics of "lamas who are varihis, .. while the commentary adds that lamas belong to "the varahi family" or "family of varahi' s good qualities. "447 Another chapter describes the "practice of the four cJilcinis" (ADUT ch. 19 Caturtjdltiniyogapata/tz) in which the goddesses are visualized with three fitces and eight arms, trampling four micas, and with the vajra prefix to their mantras ("vajra-Qakini," etc.). Although they are
STUDY OF THE VAJRAVARAHI SADHANA
185
in attendance upon Cakra.wpvara in union with Vajravarahi, the commentary draws attention to their dose relationship with Vajravirihi by describing the maJ]Qala as an essentialized form of the complete retinue, with Vajravarahi (and not Cakrasaqlvara) as the chief deity (cited Kalff 1979: 217, n. 1).
MEDITATION STAGE
3
Thirteenfold Mar.ufala §13-§1s In the third meditation stage, our author points once again to the verses v. 41 from the Cakra.sarpvara scriptures (v. 36cd) as the authority for the thir-
teenfold maiJ9ala. 441 This is done by adding a further eight goddesses to the fivefold maiJ9ala and installing them in the outer portion of the rnat}9ala, said here to be part of the circle of great bliss. Four of the goddesses are visualized at the gates (dvliram), that is, at the four central ponicoes of the temple 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 Siikarasya. 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 rjamaru 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. 44' (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 meditator visualizes four more goddesses in each corner (ltotuZ~) of the maiJ9ala where the walls intersect. These are the fearsome yoginis of the god of death, Yama:•w Yamada4hi, Yamadiiti, Yamadaql~!ril')i, 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 follow the format of the other goddesses of the retinue (o1f1 + name element + hu'!l hu'!l phaf). No additional mantras are given for Vajravarahi at this stage, which suggests they remain the same as those for the fivefold maiJ4ala: heart, auxiliary heart, and eight-part mantras. The outer goddesses have already made an appearance in the Vajravtirtihi SaJhana during the installation of the circle of protection (v. 15fT.), where they took on a stakdike form for staking, hammering, and removing obstades. Here, their theriocephalic forms again indicate their protective function, following a trend set in the earliest yoginitantras. For example, the *Guhyaltofa describes a maiJ9ala of fifty-eight wrathful deities surrounding Buddhaheruka and his conson Buddhakrodhdvari, in which there are eight theriocephalic divinities (phra mm ma)and four "gate keepers" (*dvaraptilis), 186
STUDY OF THE VAJRAVARAHI SADHANA
plus an outer circuit of twenty animal-headed deities (Sanderson 1995). Similarly, in a complex m:u:t4ala from the SaroabuddhasamdyogaJ/dkinijtilasa'!lvara, the four gate keepers bear the heads of horse, hog, crow, and dog: *Hayasya, *Siikarasya, *Kakasya, and *Svanasya (ibiJ.).m This m:u:tQala is a forerunner to the ffial}4ala of six cakravanins, a Cakrasatpvara-bascd practice that includes the eight outer goddesses beginning with Kakasya (e.g., NYA p. 79). This, in tum, is the prototype for a rather different Vajravarahi maJ]Qala drawn from the Vajravartihyabhyutiayatllntra and found in the Guhyllsa1nllJIISI14haNZmtil4 (GSS7), the forty-one-fold ffial}4ala discussed earlier of twelve-armed Vajravarahi that is based upon the four mothers. In this maJ}Qala the outer goddesses are all strongly individual and preserve features quite distinct from the other goddesses of their ffial}gala; the comer goddesses, for example, have protean (vilvariipa-), theriocephalic forms, with the &ces of buffalo, ass, camel, and horse.
Tnms for Aspects ofthe Ma'.lf!ala The Vajravarahi StitlhaNZ gives the designation "circle of great bliss" (mahasulthacaltram) for the central lotus with Vajravarahi and the four goddesses of the petals (§1o) and for the eight goddesses in the outer walls of the temple (§13). In other texts, however, the terms seem to vary. In the AbhiJhanottaratantra, for example, the term "pledge circle" (sa1111tJacaltram) 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 maJ]Qala are frequently said to reside in the "outer circle" (btihyacaltram) (e.g., GSSs Sed p. 136, Kl.3V3), while in the AbhiJhanottaratlmtra, we also find the fivefold central ma~gala referred to as the vagina (bhagafJ), and the lotus petals distinguished as the knowledge circle {jliliN«altram).m The origin of these terms is not alto-
gether clear. 453
MEDITATION STAGE
4
Thirty-srom-fo/J Ma!Jtfala §16 At the stan of the founh meditation stage. our author once again cites the scriptural verse (v. 37) as the source for the meditation. Here, the meditator 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 sec eight goddesses. With the addition of these twenty-four goddesses, the thirty-seven-deity ma1]9ala of Vajravarahi is complete. In this meditation suge, the Vajravdrahi saJhana first states how to visualize the three circles with their twenty-four goddesses (§16-§21), then gives instructions for a series of meditations on the mal}4ala (§22-§31), and ends in the usual manner with the mantras (§32-§34). Through these descriptions, we will sec how successive layers of meaning and significance are woven into the completed mai]9ala so that it represents or "becomes" transcendental wisdom (the DW)4ala as wisdom), the thiny-seven boJhipalqiluuiharmas (the Mal}4ala as doctrine), and the body of the meditator himself (body m~4aJa, ltayama'.V!tzla). The structure of the full maJ]Qala is shown on plate 12 with fig. 32.
Circl~s
ofMind,
Sp~~ch,
and Body
§17- The three circles visualized around the central lotus are called the circles of §I9 mind, speech, and body. The innermost circle is the "mind circle" (dttacaltram, §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 ofMeru"). These sectors "have the nature or' (GSSs Sed p. 133, K2.n2: pi!hasvabhava-) cenain semimythical sacred sites (pi!has). Their individual names, Pulliramalaya, etc., are given in the text as the dwelling places of the eight goddesses of the mind circle, who are referred to colleccivdy as the "congregation of sky-dwelling goddesses." The next concentric circle is the speech circle (valtcaltram, §18), understood to exist on the "circumference of the eanh." It is red, encircled with red lotuses, and with eight goddesses similarly installed on its eight sacred sites. These goddesses are described collectively as the "congregation of eanh-dwdling goddesses." Finally, the outermost concentric circle is the body circle 188
STUDY OF THE VAJRAVARAHI SADHANA
(ltiytlcaltram, §19), understood to exist "on the surface of the eanh encircled by the oceans." This is visualized as white and surrounded by white wheel emblems (caltras). The goddesses dwelling there are described as the "congregation of goddesses abiding in the underworld, or hell {pliUi/4!1)." 4 ~ The three circles of mind, speech, and body also appear in the Cakrasaqtvara maq4ala, where they are occupied by twenty-four site gods, Khal}4akapalin, etc., in embrace with their consorts, PraeaJ}4a, etc. (see table 23). If we compare the structure ofVajravarahi's maqQala with that of Cakrawpvara, we find that the two mai}<Jalas are identical except that in the maqQala ofVajravarahi all the male gods have been removed. The maq4ala leader, Cakrasaf!lvara, has been superseded by his consort, Vajravarahi, and the goddesses appear alone in the twenty-four sites, thus reducing the size of the mai}<Jala from sixty-two to thirty-seven deities. This adaptation of the Cakasa.rpvara mai}<Jala to a new, all-female modd is not without its problems. We will see later how it creates inconsistencies in the meditations that correlate the full maq<Jala with the body, and how mantras must be adapted to omit the names of the male gods. §10 The next prose passage reveals the f.uniliar lttiptililta 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 r!tz1Nl1'U (right). They stand in the warrior stance without a corpse throne and wear the five tantric ornaments and a garland of"hanging human heads." Their colors are determined by the color of the circle in which they dwell, itself a rdlcx of the buddha who presides over it. Thus, the goddesses on the mind circle, sealed by Alqobhya, are blue-black; those on the speech circle, sealed by Amitibha, are red; and those on the body circle, sealed by Vairocana, are white. Some of the names of the site goddesses are strikingly un-Buddhist, reflecting the influence of esoteric
..
~ ·~~ ;)aJVJSlll.
§2.1
The following paragraph repeats the installation of the eight outer goddesses. These protective goddesses have already been visualized in the third meditation stage, where they were located at the "gates• and "corners"suggcsting the traditional structure of the temple palace walls (§I}-§Is). 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 slighdy 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 maJ}Qala meditation, for which they will need
VAJRAYOGINi
a cosmological status. Another explanation may be the ambiguous presence of the temple palace in this sadhana. Umipatideva 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 Mcru, 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 surrounded by protective rings of fire and wind-in fact harks back to their visualization earlier in the sidhana, when they appeared in the construction of the circle of protection (at §4). If this cosmological orientation is an original contribution by Umipatideva (and it is absent in the other sources studied here), it is consistent with his attempt to replace the cakravartin-stylc architecture of the maJ)Qala palace with the cremation grounds. Clearly following, and adapting from, his CakrasaJ!lvara sources, our author ends his prescriptions in §21 with a final comment covering all the goddesses in the retinue, stating that all of them arc to be visualized wearing chaplets of vajras. 451 It is at this point that the Abhisamayamaftjarl (GSSs Sed p. 139. K26rs) offers alternatives to the visualization of the full mat)4ala, which are credited to the Vajravali by the author's guru, Abhayikaragupta. These include the optional visualization ofVajravarahi as either yellow or blue, and changes to the colors and attributes of the deities of the retinue.•~• With the visualization of the retinue goddesses on the three cakras, the maJ)4ala is complete.
Tht Mar.ufa/4 As Wisdom Once the full maQQala 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 I'JW}4ala are presided over by a buddha, each indicating a different aspect of enlightened wisdom. The sequence in the Vajravarahi maJ)4ala is exactly that of the Cakrasaqlvara mat)4ala (excluding the presiding Buddha Alqobhya for CakrasaJ!lvara himsdf).•S') The correspondences with the buddha families rarely work evenly throughout a given mat)4ala, however. For example, Vairocana, who seals the goddesses of the body circle, appears twice in the Vajravarahi maJ)Qala, since he is also the buddha who seals the central goddess, Vajravarahi (§8). What
STUDY OF THE VAJRAVARAHI SADHANA
191
Fig. 32. Thirty-stvm-folti VajraVtirtihi maru}aitz
EAST
Cmtral Lotus Vajravarahi
1}. Drumacchiya
Gtrtii111ll P~t4/s 2.. I;>ikini 3· Lima
14. Airavati
1.
4· 5·
KM~4aroha Rupi~i
MinJCirck Praca~4a 7· Ca~~i 8. Prabhavati
6.
9· Mahanasa 10 Viramari 11.
12.
Kharvari Wkdvari
Spuch Circk 15.
Mahabhairavi
16. Suvira 17. MahabaJa 28.
Cakravanini
19. Mahavirya Ou~n
Ma1JtfaiA
16. Vayuvega 17. Suribh~i 18. Syama(devi)
}0. Kilwya
Subhadri
31. Svanasya
19.
31.
(Ga~l)
Ulukasya
10. Hayakar~a 11. Khaganana
n. Sukarasya
Body Circk 11. Cakravegi
34· Yamada4bi 3S· Yamaduti 36. Yamadaf!lHri~i
23. l<M~4aroha
24· Saui;t4ini 15. Cakravarmi~i
Ouln' Ma'JI!aiA (CornnT)
37.
Yamamathani
192
VAJRAYOGINi
is more, only the site goddesses of the three cakras reflect the color and emblem of their buddha family, while Vajravarahi herself retains the character and attributes of a typical vajra family member, despite her allocation to the Vairocana family within the Cakrasarpvara maJ]cJala. 460 The result, nevertheless, is that all deities are associated with a different buddha, and that the maJ}4a}a overall is a symbol of perfect wisdom. Table 19. Maf.ll!tda as wisdom Asj"d ofMa!'t/414
BuJJha&al
GotJJm CoiDr
central goddess (mahdsukhacaltra)
Vairocam (white)
red
petal goddesses (m4h4sult1Mcaltra)
Rauwambhava
color of the directions
site goddesses
Alqobhya (blue/black)
blue/black
rdtt~~emAJ site goddesses (wiltcaftra)
Amitabha (red)
red
site goddesses (ltJy«aha)
Vairocana
white
outer goddesses (malwulthacaftrt~)
Amoghasiddhi
(yellow)
(white)
(green)
color of the directions
The Ma'."!ala As Doctrine §11-§19 Following the visualization of the full, thirty-seven-fold maJ}qala, the Vajravarlihi Slitihana continues with a meditation that correlates the maJ}qala with the entire Buddhist doctrine. The text states that this meditation deepens the meditator's conviction of himself as Vajravarahi within her ffiaJ}cJala and leads to enlightenment (§22). In the course of the contemplation, each of the thirty-seven goddesses is equated with one of the thirty-seven bodhipaltfiltllliharmas, "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-sm.rtyupasthanas)
(§2.4) The four means of mind concentration (rtblhipadas) (§25) The five empowering faculties (§26) The five powers (balas)
(indriyas)
STUDY OF THE VAJRAVARAHI SADHANA
193
(§27} The seven causes of enlightenment (bodhyangas) (§28} The eight factors of the path (a1Jii!!dngo margah) (§29) The four means of complete abandonment (samyaltprahd'}llS)
For each set, the text supplies typical commentarial glosses, at one point even citing Pir]ini (§23). This is the fullest example of Abhidharmic exegesis in the GuhyasamayasaJhant~mdla 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 ma1_1Qala with Buddhist doctrine is drawn dirccdy from Cakrasarpvara praxis, in which the yogin identifies the sixtytwo-deity Cakrasaqtvara maJ.14ala with the thirty-seven bodhipalqiltaJharmas. However, only the thirty-seven female deities of the maJ.14aia are correlated, except in the case of the last bodhiJHilt!iltaJharma, which is understood to be Cakrasarpvara himself. Perhaps it is because of the tantric association of the female conson (sometimes called a viJya} with wisdom (viJya) that the male gods are overlooked. As a result, the practice is easily adapted to the all-female ma.J]4ala of Vajravarihi, although a cenain amount of juggling is required to accommodate the ma1_14ala goddesses within the groups of doctrines. Table 20.
Ma~ as doctrint
(thirty-stvm bodhipa/qiltadharmas)
37 boJhiptilqilwlhamuzs
goddesses of the maJ;t~
4 sm,nyuptuthliNa
4 petal goddesses
4.rt1Jh~
4 site goddesses of mind circle
s intbiJIIS
4 site goddesses of mind circle+ 1 site goddess of speech circle
5 b""'-s 7
botlbyang115
8 aps of llff41iKIIINllf11
s site goddesses of speech circle remaining site goddesses of speech circle 5 site goddesses of body circle
2
3 site goddesses of body circle 4 gate goddesses 1 central
4pr~
goddess
4 comer goddesses
194
VAJRAYOGINi
The Ma!'tfala As Cosmos Anomer major feature of me mat.t9ala is its symbolic representation of me cosmos. In fact, several cosmological systems are at play within it. First, we have seen how the whole visualization takes place within a cosmos conceived of as eight great cremation grounds--or alternatively upon the more traditional cosmic setting of Mount Meru. Next, we have seen that the three mat.t9aJa 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 Abhisamayamalijari (GSSs K28r6). However, the Vajravtirtihi Stidhana describes a fourfold division of space in order to include the cremation grounds within the cosmological picture:+~> 1 (§17) mind circle (§z8) speech circle (§19) body circle (§21) cremation grounds
in space in the circumference (valayab) 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 AbhisamllJamalijari, are happily located in the underworld-are said, less logically, to dwell on me "surface of me earth encircled by the oceans." Table 21 compares the Abhisamayamanjari with the Vajravardhi Stidhana and shows the slight inconsistencies of the latter. By comparing the cosmological structure of our mat.t9ala with that of the Kalacakra, it also reveals how me Vajravdrahi Sddhana seems to foreshadow that system, in which the cosmos is generated upon the elements air, fire, water, and earth (see also fig. 25).
STUDY OF THE VAJRAVARAHI SADHANA
195
Table 21. Marztjala as 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 "underworlddwellers "
circle of water
surface of underworld within rings of fire &wind
outer goddesses in cremation grounds
circle of fire &air
outer maJ].4ala
The Sacred Sites {pifhas) Another imponant cosmological structure in the full me199ala is that of the twenty-four sacred sites (piphas), listed §17-§19 (and table 23). These, as we have seen, are understood to exist within the me199ala, 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 eanh (or how Siva scattered the dismembered body of Sati/Parvati across the world in his grief), thus creating sites of sacred power. 462 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 Mahe5vara' s (Siva's) demonic tyranny of the universe and end with his defeat and conversion at the hands of the Buddhist heroes. In Cakrasarp.vara exegetical literature, however, Mahesvara' s overlordship is represented specifically in terms o~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 me199ala 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 esoteric 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 sanctuaries within those countries-predominantly ofKali-type deities. 464
VAJRAYOGINi
The significance of the sacred sites within the maJ]Qala is that they confirm the maJ)Qala "as" the universe. This plays a vital pan in the coming meditations, in which the maJ]Qala as cosmos is correlated with the body of the meditator.
Th~ T~n Plac~s
(tkfas)
In the meditations that follow, yet another aspect of the cosmos is woven into the symbolic textures of the ma~9ala. This is a set of ten "places" (tklas) 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 (vv. 43-53), as shown in table 23. The places are correlated during the course of the body maJ]Qala with the ten bodhisattVa stages (vv. 43-53). They also appear within a slightly different, twelvefold account in the Hevajra system. 46 ~ 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 variow 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 Sa'flvaroti4yllt4ntra: "A woman who is always fond of meat and spirituous liquors and forgets shame and fear is said to be an 'innate woman' (sahaja) born of the 9akini 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 conson. The lord himself, in the H~vajratantra (1.7.8-u), specifically refers to them as the "meeting place" (m~llipaltasthanam) 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 expen yogin need not "tire himself out by wandering around the twentyfour sites in person," and emphasizing that the sites are mentioned merely "for the benefit of simple fools who wander about the country. "461 Within the maJ]Qala 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 kin11Jlris and four phra mm ma take control of the eight great cremation grounds. He then proceeds to cite "the opinion of others" who instead
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of naming the eight cremation grounds mention yet another system, namely the pilavas and upapilavas (i.e., the places). Within the mal)gala of the Vajravdrahi Sadhanawe 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 mal)gala, in which they are otherwise located beyond the outer circle, within the circle of protection. Table 22. The ten places upapifba
pifba
2.
3· field
kfetra chandoha
4· nearby field 6. nearby chandoha
upak1etra
5· chandoha
7· meeting place
meliipaka
8. nearby meeting place
upameliipaka
9· cremation ground
fmafiina
I.
site
nearby site
ro. nearby cremation ground
upacchandoha
upafmafiina
Body Marzrj,ala v. 42 Our author now introduces a meditation known as the body mal)gala (kayamatzrfalam). The practice involves correlating the mal)gala as cosmos with the practitioner's own body. This type of purifying equation (vifuddhip)-of a divinity with an aspect of the yogin's body-has already appeared in the sadhana, first as a preliminary purification of the practitioner's psychophysical organism, and again as the armoring. In some scriptural sources, the correlations of the body mal)gala serve to generate the mal)gala 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-generation ranking above that of the generation method (utpattikramap) and completion method (nifpannakramap). 469 The Yoginisa1Jlcdratantraemphasizes the importance of the practice in the Cakrasa111vara tradition by ascribing it to the mythical Lakttibhidhanatantra (although the practice was in fact Saiva in origin). 470 §30 The method of producing the body mal)gala is described in an explanatory 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 Pulliramalaya) with the added nasalization of the
VAJRAYOGINI
anusvdra {puiJI). He should then see the seed-syllable transforming into an empty circle that is understood to represent Pulliramalaya itself (and so on for all twenty-four sites). Simultaneously, the yogin installs the empty circle, Pulliramalaya, on a certain point on his body (in this case, his head), as shown in figure 33· Meanwhile the goddess Pracal)<:li. who dwells within the site, is transformed into a channel or vein (Nif/i) inside the head. The placing of each site on a body point relocates the external world or cosmos symbolized by the mai)Qa1a "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 mal)~ala internalizes the yogin's practice 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" (aJhyatmJZyogin GSSs) and is deemed to be superior to ordinary external pilgrimage. 4' 1 vv. 43-s4 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 correlating 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 mai)Qala. 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 associated 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 Vajrayogini tradition the body m3J)Qala 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 deity yoga. 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" (mttforam) 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 body) onto the
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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, commenting on the value of the correlation with the ten bodhisattva stages (sec Textual Notes). vv. In the following couple of verses, our text widens and extends the pracss-s6 rice 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 maJ)9aJa, in which a body point should correlate with one of the twenty-four sites. It is also difficult to see any particular rationale governing the new body points (except perhaps that the petal goddesses are located at the heart), especially since the parallel correlations in the Abhisam4Jamafijari {GSS5) seem just as haphazard, and only vaguely related to those offered by the Vajravdrahi S4tiha111l. 472 These inconsistencies arise in the Vajrayogini tradition because of its adaptation from the Cakrasaqtvara practice. There, the correlations of the body maJ)Qala applied to the body of the twelve-armed hmJta in embrace with his conson (e.g., Abhitihanottaratantra ch. 9), in which scheme the four petal goddesses 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 ofVajravarahi, those goddesses are left without a clear function in her body maJ)9aJa. Another inconsistency in the Vajrllvarahi sadhantl (as in the AbhisamayamAfijllri) is that our author is forced to reduce the body maJ)Qala by not including the more subdc aspects of the yogin's psychophysical body {sec table 9). The psychophysical body points were correlated with male deities in the Cakrasarpvara maJ)Qala and arc therefore inadmissable in the all-female Vajravarahi maJ)Qala. None of the correlations given here ovcrdy explains the designations of the maJ)Qala circles themselves as "mind circle," "speech circle,, and "body circle." However, this correlation of the maJ}Qala with the fundamental division of the person demonstrates, on the simplest level, that the maQ4aia as a whole is understood to "be" the practitioner. Conversely, the practitioner "is" the maJ}Qala 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 ffiat}Qala also incorporate the subde yogic body in the form of the channels or veins (nt¥is). 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., Pracat}Qi within Pulliraya-
200
VAJRAYOGINI
Fig. 33· Body ma~la. with Table 23. Body ma!Jtfala (tabular summary, opposite)
Aspect ofbody nourished by the veins as the hero in the Cakrasa1(1vara tradition
nails & teeth (Kha!'¢akapiilin) head & body hair (Mahiikankiila)
Jalandhara Oq<J.iyana
skin &filth (Kankiila)
Arbuda
flesh (Vika.tadaf!1!.trin) sinew (Suriivairin)
Godavari upapi~as
Ramdvara
vimala•
virya•
between eyebrows
bones (Amitiibha)
DevikoFt
smfti
2 eyes
kidney? (Vajraprabha)
Malava
samadhi•
2 shoulders
heart (Vajradeha)
0
Kamariipa
eyes (Ankurika)
Oqra
bik (Vajraja.fila)
TriSakuni
lungs (Mahiivira}
KoSala
entrails (Vajrahii1(1kiira}
Kalinga
coikdgut (Subhadra)
Lampaka
belly (Vajrabhadra)
Kafici
flees (Mahiibhairava)
Himalaya
hair part (Viriipiik!a)
Pretapuri
phlegm (Mahiibala}
Grhadevara
pus (Ratnavajra}
Sa~!fa
blood (Hayagriva)
Suvan;1advipa
sweat (Akiiiagarbha)
Nagara
fot (Heruka)
Sindhu
tears (Padmanarteivara)
Maru
phlegm (Vairocana}
Kulara
mot (Vajrasattva}
mouth navel sexual organ prahil]as arising of kuSaladharmas
hair curl
maintaining•
ears
<eradicating ... eyes akuSaladharmas• > 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. m The Vajravdrdhi Sadhana makes only an oblique reference to the function of the channels within the body mat)Qala: 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 channels in the meditation (like the water in the rivers) is not referred to here, but according to the Sa'!'varodayatantra (ch. 7, vv. 16-18), the contents of the central channels are urine (in /a/anti), blood (in rasana) and semen (in avadhuti). Another analogy (in §31) touches upon the soteriological significance of these yogic correspondences; for just as, in the external world. the river Nirafijana nourishes the site of enlightenment (vajrapifpam) upon which the Buddha sat, so in the internal "yogic world." the central channel avadhuti nourishes the circle of great bliss upon which Vajravarahi stands. In the Cakrasaf!1vara version of the body maQQala, on which the Vajravarahi 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 goddesses) are said to represent or "purify.. certain aspects of the body. For example, PraCat)Qa's consort, Khai)Qakapalin, becomes the nails and teeth; the channel (Pracai)Qi herself) carries nourishment from the head (Pulliramalaya) to the nails and teeth (Kh31)Qakapalin). 474 The NVfzis therefore a "channel" (vaha/vahini; that which flows, samdvaha-/vahati) &om an external point on the body "through" the related aspect of the body, thereby nourishing it. In the Sa,varodayatantra (ch. 7 Nlkftcaltrakramopayapafllla) this is expressed as follows:m (3) The point [on the body] for the channels (nd/{uthtina'!')and the sites [with which they are identified] are known (prama~ tap) 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 (-vaha) for the nails and teeth. On the topknot~Jalandhara [is] the channel for the head and body hair(? luiaroma). (5) On the right ear~099iyana [is] the channel that is the channel for the skin and [its] filth. (etc.)
The aspects of the body named in the Cakras3f!1vara version are a traditional 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 twentyfour aspects of the body are listed in table 23 beside the male god who purifies them. Once again, this part of the body mai)Qaia is omitted in the Vajravlirahi StiJha111l because of its references to the male gods. In a (presumably) later work in the GuhyllSil1111lJIUtiJhanamiila, the inconsistencies noted in the Vajravdrahi Sdtihanti s version of the body mai)Qala are are avoided by the invention of a new body mai)Qaia meditation that draws exclusively upon the cosmology of the cremation grounds. m This practice finishes the series of contemplations on the mar~lCJala. The AbhisamllJa1111lfl}llri ends this portion of text with a reminder to the yogin to dwell in meditation, "firmly convinced" of the completed body maJ]Qala. •111
Mantras forth~ Compkte Dnty Ma!Yfala §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 (mulltmantrllp) for Vajravarahi as leader of a full maJ]Qala, adding it to her mantras for earlier stages of the practice (namely, the heart, auxiliary heart, and eight-part mantras). The root mantra is full of terrifying epithets, aggressive imperatives, fearsome laughter, and general clamor. §33Next, the text supplies mantras for the site goddesses (§33). These con§u tain cryptic mantric elements called "vajra words" (ltuliillpatlani) and owe their form to the mantras of the site gods in the Cakrasatpvara mai)Qala. Thus, in Cakrasaipvara sources, the mantras for the site god and the site goddess are listed side by side, as follows: 419
O'!' kha1}1/4/taplili114 kara /tara hu'!' hii'!' phat svaha (for site god, Khai]Qakapalin). o'!' pr~~ea!'ffo hii'!' hu'!' pluzt sviiha (for site goddess, PfaCa99i). etc. Another Cakrasatpvara source, Luyipada's Hmdtabhisamaya (f. 13r), collapses 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: O'!' kllra /tara hu'!' hu'!' phat praca!"ft hu'!' hu'!' phil! (for site god and goddess, I
204
VAJRAYOGINI
process one step funher, and omit both the name clement of the male god, Khat)9akapalin, and its following mantra syllables: fn!llulrllltllrll prllCil!"P hu'!' hii'!' ph•! (for site goddess PracaJ)Qa 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 Vajravartihi SiiJhana deals with ritual practices. These arc 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 GuhyasamayasiJhanamd/4 attributed to Indrabhuti, the PraJiptihutiviJhi (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 (Jharmatii) of the worlds: for one who acts with intensity {lit: 'whose deeds arc sharp') it may be only a flower [that he offers] here, [but] in the next world it [bears] a great fruit. "•so While ritual is a mechanistic process, it does not simply operate on an external plane. Indrabhuti describes how mental intention, too (sec p. 215), is a means to generate results (vv. 24-25): ''Whatever merit is dedicated with a mind firmly convinced, with whichever method, in whatever place, in whatever way, arises in a corresponding form, in a corresponding place, in a corresponding way, like the pot of a potter. "411 In a Yogacara-Madhyamaka environment, such promises arc made possible by the infinite possibilities of emptiness. Once appearances arc understood to be empty and thus unreal (in that they lack intrinsic existence), then they are no different from magical appearances, which arc 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. 2.8) "Only through the mind, not through anything else, docs one reson to the dualities 'good' (mym) and 'bad'; for saqtsara is nothing but the mind, and nirvil]a [too] is nothing but the mind." 412 It is not the case, however, that the ontology of Mind-only renders external ritual actions meaningless, as they arc justified on the basis ofNagarjuna's doctrine of two truths (cf. Bcntor 1996: 13-21). Although on the level of ultimate truth (paramlirthtlsatyam). ritual action is empty, it is meaningful because it is understood to operate on the level of conventional truth (/oltasa'!'VTfisatyam). This is the basis upon which the yogin proceeds: (v. 22) "The buddhas (muniivtlr/ib) 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]. "413 The rites described by the Vajravarlihi Sadhana arc as follows: 105
206
VAJRAYOGINI
(v. 57-§40) (vv. 59-66) (§41-§49) (§46) (§49) (§51) (§52)
offering bali (balividhi/1) tasting nectar (am.rtdsviiJanam) external worship (btihyapiijti) hand worship (hastapiijti) alternative external worship (btihyapiijd) internal oblation (aahytit7nahomavidhi/J) rite for leftover bali (*uccchiffllbalividhi/J)
Our text here is very similar to that of the Abhisamayamaiijari (GSSs), and both works base their prescriptions on rites described in Cakrasarpvara literature. Their comparison with a series of Cakrasatpvara rituals by Sasvatavajra (published by Finot in 1934 under the editorial title *Vu/hisa1Jigraha, Colkction of Rius) demonstrates how simple the redaction of material into the Vajravarahi corpus was. The *Vidhisa1Jigraha describes the same series of rites, but directs the prescriptions to the yogin in union with Cakrasatpvara rather than with Vajravarahi. Sasvatavajra' s descriptions of the rites are very similar to our author's and are almost identical with those of the Abhisamayamaiijari (GSSs). differing from the latter sometimes only in phrasing. Despite their dose relationship, significant differences between the three texts also emerge, and these suggest that the authors of the Guhyasamayasddhanamti/ti were probably not redacting directly from Si.Svatavajra's text, but that all three authors were looking to a common Cakrasatpvara-based source. •M (The contents of the three texts are compared in table 24.)
The Bali Ritual v. S7 The first ritual taught in the Vajravdrdhi Stidhana is the bali ritual (ba/ividhi/1). a propitiatory food offering (ba/i/J) to local spirits and deities andin our sources-to the principal deities of the mat]4a}a. The offering of bali is essentially a brahmanical ritual, and probably predates the Vedas; such offerings cenainly form a large pan of Vedic prescription. ••~ A more immediate source for the Buddhist tantras is the bali offering in Saiva and Vai~l)ava rites, in which the bali is often a concluding rite. 486 The Vajravtirdhi Sadhana 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 preliminary rite, why do our texts tend to teach it at the end-and not at the beginning--of the practice?1 '17
STUDY OF THE VAJRAVARAHI SADHANA
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Table 24· Ritu~.~ls in paralkl ttxts V4jr4vtir4hi 54Jh4Nt
Abbis41NIJilm4fijari
•v.Jhw,.graha
GSSn
GSS5
Finot 1934
am~.
following self generation (K23n)
amrt4sv4114na (vv·. 6o-67) within balivitJhi (v. sB-§37) (+
bali mantra §36)
bdhy4pujtl (§38)
balivitihi (1<291))
S1Nii4naviJhi
(without ba/imantra of our §36)
by Luyipida (pp. 49-51)
midday& midnight junctures (KJOY4)
btlhyttpujtl (K3u1)
•·MantrllJNllha • (pp. SJ-54· i.e., bali1Nintra as GSSu §36)
b~Uj4.
by iSvatavajra (pp. 52-53)
luutllfJUjtl (§40)
luut~~piijtl (K31n)
luutapuja by Samavajra (pp. 54-55); also SM153 (pp. 498-500)
alternative btlhytlpujtl + implied luutllpUjti (P.p: athavJ)
alternative btlhyapujli + implied hastapujtl (K32vs: yaJwt) (p. ss-s6: yllllvtiJ
alternative hast~~pujtl with
aJhylltmllhom~~viJhi
lllihytilmllhom~~vitJhi
(§42)
(K33vt)
CUrllS4mvaraba/ivitJhi by Sasvaravajra
btihydpujtl
(pp. 56-s8) (with preparation as for am.rtlisrNiliANI)
•ucC'hq!"balivitJhi (§43)
*ucchif!"balivitihi
Vajravtirtihi
(K33n)
StitJJNma (pp. 59-61)
cremation grounds (vv. 71-75)
reference to desiderative ho""' rites, considered too lengthy to be described by the author (K33v4: vistllrabhaylln
nalilthitll/J)
<altriy41tra""' (incomplete)
(pp. 61-61)
208
v. sS
VAJRAYOGINi
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 usually taught at the end of a text as a concluding rite (as well being a preliminary ritual), and perhaps his statement is best understood as a comment upon ritual within the highest tantras, in which self-generation is a prerequisite to the performance of all rites.
Tasting N~ctar (am.rtasvadanam) §3s As a preliminary part of the bali ritual itself the Vajravarahi Sdtihana teaches (cf. v. 28) the rite of tasting nectar (am.rtlisvtitianam). Earlier in the sadhana our author promised a description of this rite, because it was prescribed as pan 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 (Abhisamayamaiijari and Caltrasa'!'varaba/ividhi), from which it seems that our texts arc incorporating an independent ritual of tasting nectar into the bali offering and using it to seJVe as a preliminary for that rite. ••• This is also the method employed in the Vajrava/i (SP f. 12017), in which Abhayakaragupta joins the two rites together by first describing an Amruzstidhana for the preparation of the nectar, and then relating how the bali should be offered according to the Samaja, Hevajra, and Cakrasarpvara systems. In contrast, the Advayavajra-based sadhanas clearly treat the tasting of nectar as a distinct rite of worship ...., In some Guhyasa1flllJilSiltlha1111mald 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.•~
A hint in our texts suggests that our Cakrasarpvara-based bali rituals may be appropriating the tasting of nectar rite, and thus joining two independent rites together. In the Caltrasa'!'varabalividhi, the rite of tasting nectar requires the yogin to generate an imaginary bowl in which he will visualize various substances transforming into the nectarizcd offering. Because the independent bali ritual also requires a bowl for the food offerings, the text then prescribes the generation of a second-but now strictly unnecessary-offering bowl (also GSS16 cited n. 490: Jvitiya'!' ba/ibhajanam). Sasvatavajra perhaps attempts to accommodate this problem
STUDY OF THE VAJRAVARAHI SADHANA
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with a remark that justifies the "transferral" of the nectar from the first bowl into the bowl generated for the bali (balisviluirartham). If the bali ritual 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 bali offering. It is particularly well suited to the bali offerings in the Cakrasaqtvara tradition, in that it describes an imaginary food offering resulting in great bliss, to be offered within the context of internalized meditative performance. Moreover, it describes a handy means of purifying offerings that in our tradition are composed of transgressive substances, and of transforming them into nectar fit for the gods. vv. The first step in the rite of tasting nectar is the preparation of a hearth, S~ whereon the food offerings may be cooked, purified, and turned into nectar. First, raging Oames are generated from the combination of wind and fire, represented by their elemental symbols and the syllables Jil1!l and ra'!' (v. 59). Above this, a hearth (cu/Jilui; v. 6ob) is then &shioned from three heads arranged like the base of a tripod; these are produced (in our tradition) from the syllable lta,.•91 On top rests a skull bowl generated from aft. as the cauldron. 492 (See fig. 34.)
Fig. 34· Inparation ofntctar.
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VAJRAYOGINI
v. 61
The next verse {plus the following prose) describes the preparation of the nectar inside the cauldron. The ingredients are generated from seedsyllables and comprise the usual esoteric offerings, namely, the five nectars and the five meats, or "lamps" (pafica 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. 4"J 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.•?4 v. 62. 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 Vajravali (seemingly following Cakrasal!lvara scripture) adds that the ordinary color, smell, and potency of the ingredients are removed with the syllables ha ho hri~. 49 ~ v. 63 Next, a white, inverted skull staff is visualized above the mixture, produced from hu1Jl. 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.•')(, vv. 64-66 It only remains for the liquid to be empowered by the syllables 01Jl a!J hu1Jl. These three syllables are generated from the letters of the alphabet and visualized above the liquid. The syllables then emanate the deities of the mal}4ala into the universe to benefit beings. Finally, the deities arc retracted and dissolve into the three syllables, and the three syllables themselves dissolve into the nectar below. The liquid is now empowered by the syllables and is complete. The meaning of this stage of the visualization is dearer in the parallel texts, which imply that the nectars and meats in the cauldron arc pledge forms, as they require the infusion of knowledge. In the Abhisamayamafijari, the three syllables emanate rays rather than deities, and these draw out the "knowledge nectar in the hearts of all tathagatas. "w The Caltrasa1Jlvara balividhi (based on both male and female deities of the Cakrasarpvara mal)4ala) reads as follows: 4" 8 Next above that [liquid], [he should visualize] 01Jl a~ hii1Jl as transformations of the vowels and consonants, in sequence, one above the other. With the ray[s] emanated from those [three syllables], using the "method of transferral" (sa,.krama'}llnyay~na), he should draw down in the form of the three [mal}4a[a] circles (tricaltrakaram) [the "knowledge" forms of the "pledge" nectars and meats, namely] the "knowledge nectars" and "knowledge
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lamps" {jfui111im.rtapradipa7!J) of the heroes and heroines in the ten directions .•.,., Having [caused those deities of the three ma~<:iala circles] to accomplish the welfare of the world, he should visualize them (avalokya) first coming together [in sexual union] [and then] melting (dravibhuya), and as entered accordingly (yathayatha'!') into those [three syllables] t and that in aU tht octans t. Then, having seen O'!J, etc. melted in sequence (ltramavilinam) [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 nectar, it would now be fed through tubes of light to the ma~<:iala deities, who would "taste" it and experience great bliss.o;oo In our text (§36}, however, the nectar becomes the bali offering, and thus the so-called "tasting of nectar" has served simply to prepare the offering.
Bali 0./firing with Mantras §36 The Vajravdrdhi Sddhana now prescribes the method for offering the bali.~~ The first step is to summon the deities to the spot with a hand gesture, simultaneously 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. -.o] The syllable uttered is phtt (or in other texts. phtfor phf1!1),\03 while the hand gesture is the flame mudra (jvaidmudrd).~ 14
Fig. 35· Flamt gtsturt {jvdidmudra).
In one Tibetan tradition, the flame mudra is formed by making the triangular flame symbol with thumbs and forefingers, and splaying out the other
212
v. 67
§37
§38, v. 69
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."~~ 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 docs 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 contemplation 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 hii'!' arises and is visualized transforming into the bowl of nectar. This visualization procedure is still followed even in the Caltrasa,varabalivitihi, which prescribes the usc of actual foodstuffs in a real bowl placed between the hands.w 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. SUTch. 8, v. 26). The aim of the same verse in SaAvatavajra's Caltrasa'!'varaba/ivU/hi is more specific in its application and perhaps makes better sense: it states that the verse is recited for the purpose of"appropriating" the bali (p. 57: ba/isviltarartham). In other words, the nectar-which has been prepared inside a different skull bowl according to the tasting of nectar-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 m~Qala in the eight directions, passing the bowl counterclockwise in the cardinal directions-a prescription peculiar to the SaJ!lvara tradition (it is absent in bali rituals described in the Vajrava/i from the Samaja and Hevajra systems).* 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. Our text next supplies two bali mantras with which to offer the nectar to the deities. Since the CaltrasiUJivarabalivitihi (p. 58) names the deities who are to receive the offering with these mantras, we discover that the first mantra given in the Vajravarahi Stldhana is for the site goddesses. It is recited once only. In the same way, we know that the next mantra is for the ~4ala leader plus the goddesses on the petals and in the outer circle (i.e., the
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thirteenfold mal}4a}a}. This is to be repeated five times and is accompanied by a scriptural verse (v. 69} for the purpose of achieving siddhi (in the Gzltrasa,varabalivitlhi, 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 Sa,varotiayatantra (ch. 8, v. 25), it is given to the deities of the three mal)4aJa circles alone; shorter texts may give a more limited selection (often the goddesses of the thirteenfold m31)4aJa, or the ten protectors), with or without verses. In contrast, the bali offerings described by Abhayakaragupta in the Vajravali (f. 123r-v) are for many different categories of being, and include (I) a general bali mantra serving all beings (sarvabhautika). absent in GSSn; (2) bali mantras begging the beings of the thirteenfold m31)4aJa to accept the offering (similar to §38); (3) the longer mantra for the site deities on the three m31)4aJa circles (as given in §37); (4) mantras inserting the individual names of the ten ltrodhas ("wraths"; seen. 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 magical powers (sitldhis) to the yogin (§39). Related texts add that the mantrin also sees the protectors experiencing great bliss.~ This reflects the desiderative function of the bali ritual. The Samaja-based bali ritual in the Vajrdvali (SP f. 122r.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 (abhicarab) would be performed at midnight to the south, with black balis. s•o A desiderative bali ritual may also be performed on behalf of another person. This is described in the Sa'f'varodayatantra (ch. 8, vv. 19ff.), where the worship of the ID31)4a}a with food offerings, etc., is performed on behalf of a third party (dlinapafi/1), and the: "teacher's assistant .. (ltarmavajrin)511 therefore meditatively generates the donor as well as the m31)Qala (v. 23ab: utsatja~J elanapati'!' ma~ltz'!' ca pura/Jsaram). The same is true in the Vajravali accounts, in which the bali mantras from all three systems leave the name of the beneficiary to be supplied (amulta-). The Samaja ritual 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
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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 attitude 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 pacifying negative forces. In the Vajrtivali account, the individual mantras for the ten ltrodhas actually include the name of the person who requires their cooperation. m This is the function of the bali 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. ~ 14 The propitiatory agenda explains the emphasis in many bali mantras on the outermost (i.e., "lesser") beings of the cosmological mal)9ala. Frequently, it is only the last bali mantra (§39: 01JI kha kha khtihi lthahi.. .) 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, Abhayak.aragupta states that after all the deities have received their bali offerings, the mal)9ala circle is absorbed back into the mantrin, whereas the protectors and krodhas are posted outside the m31)9a}a hut in the ten directions, "intent on protection 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 bali offerings to the complete mal)9ala. 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 rituals of the Samaja, Hevajra, and Saf!lvara systems. He classifies these methods as generation-method practices, then adds a final bali ritual to be performed according to the superior completion method. The completionmethod bali ritual intensifies the "internalization" already evident in those of the generation method. The visualized forms of the deities are distilled
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in the crucible of pure awareness, and the bali transformed into an offering of knowledge itself-5 15 These three bali rituals [of the Samija, Sarpvara, and Hevajra systems] 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] Ravor of knowledge. [It is offered] to [the protectors of the directions] starting with Indra together with the [maJ}Qala] deities, beginning with one's own lord of the maJ}Qala, 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.
Riu ofCompletion The bali offering ends with a rite of completion (also taught at §45, §48, and §49), the purpose of which is to compensate for any omission or addition that the yogin may have accidentally made during its performance. This is an integral part of the ritual system, which is founded on the premise that only the correct performance of a prescribed aa ensures success. Correct performance supersedes all other faaors, such as the intention or mental state of the ritual performer. If this seems to contravene the Buddhist canonical definition of action as "intention" (Anguttaraniluiya III.+Is), this is somewhat counterbalanced by the emphasis we find in the sadhanas on cultivating and maintaining the correa ontological understanding of aaion, 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 correct attitude toward his actions, and the tats supply frequent reminders of their basis in nonduality (e.g., §36 following v. 67: pujyapujtipujalttln abheJnul p*t) and frequent injunctions in the course of the rituals themselves 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 performed, and the bell is rung. The hundred-syllabled mantra is then recited, followed by the recitation of an emptiness mantra, and the deities are simultaneously gratified with the gesture of "turning the lotus" (luzmlllllvartamuJrti). For this gesture, the sidhaka holds a vajra and vajra bell in his outstretched fingers and revolves them with a fluttering motion-a "dance"
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VAJRAYOGINi
that resembles "a blossoming lotus stirred by the wind." (fhe bell is another symbol of the feminine aspect or consort, and as such is often visualized along with the vajra, representing the male aspect.) 5' 6 The deities are then dismissed as the yogin moves his arms into the crossed gesture of embrace, snaps his fingers (or touches the ground),m and then withdraws the mudra, while reciting the syllables of dismissal. Finally, the practitioner absorbs the mat:tcJala into himself.
External Worship §~1
The Vajravarahi SaJhana now moves on to the external rites of worship (bahyapujti), 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 (§41-§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 tats for these portions are cited in full in the Textual Notes to §.p-§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 necessary preliminary to their performance, as they are to be undertaken by the yogin in union with the goddess (GSSs Sed p. 145, K31n: INljraVIlirocaniyogavan mantn). 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 protection that imaginally constitutes the ground in front of the yogin as the "vajra ground." Next, a tnaQC;iala diagram is drawn onto the vajra ground. Here, the text prescribes a triangle containing a circle, which represents the lotus within the dharmodayti, the origin of existents (as in the selfgeneration of the sadhana). In the alternative external worship (§~9), the yogin draws only the simple (inverted) triangle of the dharmotl4ya (and the shape of the diagram does vary in other texts). 511 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 arc described as a "pill" (gulilta; here va,tilta or gw!iltli) made of the five nectars, and sometimes called the samaya pill. m Elsewhere prescriptions require the yogin to draw
STUDY OF THE VAJRAVARAHi SADHANA
2.17
the diagram .. using saffron, bright yellow orpiment, and vermilion powder, or 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 ltlltta traditions, or a mixture of blood and onion.~20 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. m Within the drawn JharmoJtzya, the yogin then generates the pledge form ofVajravarahi from her seed-syllable, va,, 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 maJ]cJala may be inferred (§45) from the meditation stages taught above. In contrast, the Abhisamayamalijari is faithful to its method of self-generating the maJ]4a}a 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 billowing from the sadhaka's heart. Next he makes an actual external offering 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 protectors (as in the bali ritual), this time with their names included in the mantras. S-43 Next, the yogin offers a flower to the deities that he has visualized "on his hand." This is a slighdy ambiguous reference to the hand worship (full details for which are only given by the author below, §46) but one confirmed by the: parallel texts (sc:c: Textual Notes). The hand worship also appears in two Nepalese Sanskrit ritual texts of the yoginitantra tradition; they confirm its usage in this context. m In these works, the opening sequence (termed aJiyoga) is similar to the Vajravartihi StiJhana in that it includes: preparations, the generation of the maJ]Qala and its infusion with the knowledge deities (as at §4J), the offering of a flower to each deity of the maJ]4a}a with the appropriate mantra followed by the eight-part mantra (as at §42), and finally the hand worship (apparendy here at §43). m The practice as described in the Vajravlirlihi Stidhana (§43) ends with the
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VAJRAYOGINI
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 mai)Q.ala with mantras and verses of praise and concludes with the bodhisattva preparations. This again mirrors the iidiyoga in the Nepalese ritual texts, which end with the supreme worship (it perhaps also overlaps with their ma~iyoga portion, which begins with the brahmavihtiras and meditations on emptiness). A rite of completion (§45) marks the end of the external worship.
Worship on the Hand (hastapiija) §-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 Textual Notes) all state that the hand worship is derived from the Yoginisa1Jlctiratantra (§48), although this scripture sheds no further light on the practice. 'H The hand worship begins (§46) by stating that the mantrin is "in union with his own chosen deity" (sve!fadevattiyultto mantri), that is, selfgenerated as Vajravarahi. He visualizes her within the festive "circle of the assembly and so on •• (ga!Jama!Jtjaltidau). The gathering of an actual ga!J4ma'}l}ala or ga!'flcakra included a tantric feast at which alcoholic substances such as soma were drunk, delectable foods eaten, and sexual yogic rites with consorts performed. The orgiastic nature of the rites is explicitly described in the Kriytisamuccaya. for example in its Niiacakra, which recommends eight types of taboo consort-all female relatives. Indeed, according to its Ga!'fl'akravidhi, "that sacramental circle (ga!Jacaltra) that is without [sex with] a female partner (prajfui) is a [mere] meeting of rice scum" (cited Gellner 1992: 297).m In the Vajravtirtihi Stidhana. however, the feast is performed imaginally, and the tantric assembly comprises a mal)4ala of armor gods and armor goddesses. There is also the alternative of visualizing the goddesses of the three mai)Q.ala circles (whose association 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 CakrasaJ!lvara tradition and are represented by the six buddhas (variants to the syllables are shown in the footnotes to the translation).~ 16 The Sanskrit text states that the syllables are placed on the fingers and thumb of
219
STUDY OF THE VAJRAVARAHI SADHANA
the left hand, plus their "nails. "m Sanderson (1999: personal communication) 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 ha'!') is placed on them collectively-much as the sixth leavaca deity is for the "whole body" in the armoring. Then, in the palm of the hand itself, the yogin sees a lotus with O'!' Vll1fl on its pericarp, the essentialized form ofVajnlVarahi as armor goddess. Surrounding her on a five-petaled lotus (paiiclllialaleamalllm) 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 maJ].Qala circles (probably indicating the visualization of the syllables of the sites, pu'!'- etc., as at §30). Table 25. Syl/4bln for hanJ worship (hastapujti) LEFT DIGITS
SYUABLI!S
thumb
O'fl
first finger
Mmtl
AS BUDDHAS
USUAL ARMOR COD
Vajrasattva
[pure-}white
Vajrasattva
Vairocana
white
Vairocarw
middle finger SVIih4 ~~u,
Amitibha
red
P~Ubrumartdvara
founh finger
INIU/4/'"
Alqobhya
black
Hn'Uita[vajra}
little finger
hu'!' hu'!' ho
Ratnasambhava
yellow
nails
pha! N'fl
Amoghasiddhi
dark-green
VajriiSiirya Parllmlifvtlstra I Param4/val
ha hi
HIIJ4gri~~t~l
Vajrartija
Left Palm O'fl INI'fl
Vajravirihi
red blue
Mrfh
1Ni'!'J01!1 hri'!' mo'!'
Yamini Mohini
white
west
h"'f' hri,
Satpcilini
ydlow
hu'!' hu'!'
Saqmisini
green
piNt! pha!
~4ika
smoky gray
tnltn' tllSt
south •sou~ast
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§47
The worship itself (§so) is performed by smearing purified wine on the syllables/deities on the hand. This consititutes a transgressive food offering 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 (c£ §45, §48) and verses of supplication that again express the wish that the "yoginis preside." The text also tells the yogin how to dispose 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: hu'!' (heart), til; (throat), O'!' (forehead). 521 Finally, the visualized deities/mantras are absorbed back into the body of the yogin.
§49 The Vajravariihi Siitlhana describes another rite of external worship (bahyapuja), which is offered as an alternative (athava ... ) to the previow 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 visualizes 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 bali ritual. At this point in the previow rite of worship, the hand worship was performed, and it seems likely that the hand worship is also intended here despite no overt directive, as the final prescriptions (§so) are for the dismissal of the "deity maJ)Qala on the hand."~29 §so The rite ends with a rite of completion that is very similar to that prescribed for the hand worship and that states that the goal of the worship is for the "deity to preside" (tkvatddhifthanartham). The text then provides the option for the external worship to be performed for the fivefold, thirteenfold, or full m~4afa, according to the sadhana's meditation stages (the goal of which would be to induce all the chosen goddesses of the m~Qala to preside). uo
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Internal Oblation §sr The final rite described in the Vajravariihi Slitihana is an oblation (homa/.J),
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 visualization performed internally, within the yogin. For an external oblation ritual within the Vajrayogini tradition, we can tum to the PraJipahutivitJhi (GSS1-4).m This text describes how the mantrin in union with his deity creates a fire pit (v. s), within which he lights a fire, both by kindling wood (v. 7a) and through mentally drawing down the "supreme fire of knowledge {jfuiNigni-) of 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 Vajravtirtihi Stitlhana 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 goddess who is visualized within it engulfed in the "fire of wisdom. "m The process of internalizing the oblation ritual can also be observed in two other Vajrayogini texts. In an internal oblation described in the Sa'!'pufOI/bhavatllntra (vv. 18-22ab), the "blazing fire of wisdom" is located within the meditator's genitals (while the Vasantllti/4/ui adds that the wind that fans the fire is within his feet):m (18) The oblation (homa/.J) should be made into the greatly blazing fire of wisdom, with the offering (havis) that inwardly is semen [in the central channel, avatihiiti,] and [blood in the right channel, rasallli, and urine in the left channel, la/4Ni], and outwardly 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 Qakinis, (20) is called yoga worship, since these [deities] are worshiped by him. Whereas (tu) [in the "inward" homa], this head skull (ltapti/4m) [where semen (Jultra) is stored]s_,.. is the offering vessel (bhajaMm). (21) The ladle is called rasallli; the heart cakra is identical with
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VAJRAYOGINI
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 (trilta.ti-), fanned up by the winds of karma [which are in the feet].u~
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 maJ]Qala, in which the psychophysical body of the yogin is identified with the maJ]Qala of goddesses. In this oblation, the offering consists of the skandhas, which are burnt up as "fuel, "H6 while the offerings into the fire are not to the goddess Vajravarahi but to the buddhas and mothers (Qakinis) who are equated with the psychophysical organism. The "inward" level is that ofinternal yogic practice, in which the oblation offerings are understood to be the contents of the three central veins or channels (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 (sruva[J) held in the right hand, and the vessel holding the oblation of ghee ({gh,rta]pdtri) held in the left hand (there is also a larger ladle, the srult, sometimes used instead of the sruval;).w In the internal oblation, the ladle and the vessel are understood to be the two lateral channels. Rmand on the right is the ladle, and lalana on the left is the oblation vessel (SpliT v. 19d: havirbhtijanam; referred to in GSSn simply as the "oblation": lihuti/,1). This scriptural passage also seems to identify the ritual paraphernalia with yogic caltras, as the heart caltra is said to be /a/ana (v. 2ob). §p. The ritual prescriptions of the Vajravlirdhi SaJhana close (§52) with a rite that is concerned with an offering of bali made up of actual foodstuffs. (This is probably because the source text continued with a series of external oblation rituals, as shown in the parallel texts and Textual Notes.)~ 18 The bali is offered to the eponymous deicy of leftovers, Ucchi~!avajra (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 Sa,varotitzyatantra (ch. 8, v. 38), in which the remnants of the oblation are offered to the spirits (bhutas) as well as to the god, "Ucchu~ma."
STUDY OF THE VAJRAVARAHI SADHANA
223
Concluding Vmes vv. The remaining verses of the sadhana append a detailed account of the 7o-76 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 *ViJhisa'!'graha (Finot 1934) includes the SmaltinavitJhi by Liiyipada. v. 77 The text concludes in the proper manner with a dedication of merit, and a colophon stating Umipatidcva's authorship.
Edition and English Translation of the
Vajravarahi Siidhana by Umapatideva ~
from the
Guhyasamayasadhanama/4 (GSSu)
iri-Vajravtirtihisadhana by Umtipatidevapiitla
orp nama]) srivajrayoginyai srivaj radevicara~aravindarp sarpchinnasarpkalpa 1vibandhapasam I pra~amya valqyami yathopaddarp tatsadhanarp t vikramasena t* yatnat I (1*)
2 sma$ane girigahvare ca srotasvatisagara3sarpnidhau ca I anyatra va h_rdyatllme• pradese dhyayad imarp yogam abhi~~iddhyai I (2) varp vilqya bijarp hrdi padmamadhye bandhukap~padyutim adadhanam I tadmmisarpdiptanabhasstalastharp pa5yet samantat sugatadivrndam I (3) tadbijara5miprabhavair vicitrai~ sarppiijya devan kusumadibhis tin I lqtvarcanarp saptavidharp jinokta.rp kuryic caturbrahmaviharacintim I (4)
2
{Ks4!}
sa'!'ltalpa] Kpc., N; (sa1Jf)ltalpa K(mg2), D. ghort) conj.; omit codd.; Tib. p. 32.3 Jigs pal (•ghtmz, bhim4. r~tutbll qualifying •imiiJ4~).
,m,f4S&~~~tisdg-ar11]
4
conj.; lrot4SV11tisdra codd.
hrtiyalllmij conj.; h.rtiyll'!' m~codd. (fib. p. }2.~ "pleasing" yiJ tlu ong bai). 1111bhas] Kpc.; NZ(bhas) K(mg); 1111bhll N, D.
Vajravarahi Sadhana by Umapatidevapada
[M~ditation Stag~ I}
Salutation to the glorious Vajrayogini!
ii
(1)
Having saluted the lotus-like foot of the glorious vajra goddess (vajrtU.kvi) by which the encircling noose of conceptual thought (sa'!fluzlpa[1) is broken asunder, I will carefully relate her sadhana according to the teaching, t 0 Vikramasena t.
(2)
In a terrifying cremation ground, on a mountain, in a mountain cave (girigahvar~),w, or (ca) near a river [or] ocean, or elsewhere in a place pleasing to the heart, [the practitioner] should contemplate this practice (yogab) in order to [obtain] the desired success (siJJhi[1).
(3)
Having observed the seed-syllable va'!' in the heart, on the center of a lotus emitting the [red] glow of a bandhuka 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];; issuing from the rays from that seed-syllable, he should perform the sevenfold worship taught by the conquerors, [and then] he should do the meditation on the four sublime abodes (brahmavihiiras).
Pmttzpnn Phomia11 (T""'ina/Ur tommtoSII}. Its red flower (luznJhii/uzm, luzntlhiilttzpfi!PII"'') is one: of the: commonest similes for the: red color ofVajravarahi. The: Sanskrit has "Rowers, etc.," a typical abbreviated rc:fc:rencc: to the: traditional fivefold offering {pllncop~~ellr~).
21.8
[§1]*
VAJRAVARAHISADHANA
tatra saptavidharcana6 yatha papaddana p~yanumodana triSarar)agamanarp pu!]yapariJ]amana bodhicittotpado7 margasra~ atmabhivaniryatanarp ceti. etasya papadikade$anader niriipaJ]arp yat kramato yathi tat I e~ purastat pratiddayarni maya samaswp yad akari papam I (s) gurvadibhil] p~yam uparjiwp yat tat sarvam evabhyanumodayarni I lq-tarp kari~i karomi yac ca• sattva jinti/J santu 9 subhena tena I (6) ratnatrayarp vai sarar]arp prayarni
sya,ro dharmarajo jagato hitaya I margatp jinanam aham asrayimi grlu]ita nathal] svatanurp dadami I (7) caturbrahmaviharas tu maitrikarul]amuditopelqal~ - te canukramato yatha: yatha jananarp 11 svasute pravrnil] snehanuviddha12 niyamena vftti I tatha bhaved yanyasute ,pi tqarp tirp dv~antrirp kurutatra 13 maitrim I (8)
6 7
8 9
10
u 12.
13
irran4] K; bcana N; irta D. otpitlo] corr.; otpitJa/1 K. D; oiJNIM N. yac ca] K; ya- N; yama D. sattiNi jiNiiJ saruu] conj.; Slltll4ji114sm1lnta K. Sllhlli(hn?)iNimulnlll N; sai'IJIPit4smanta D. (Tib. p. 32..7: snns can""' Ius rgpd bar mum, '"I pray that all beings may be victors.") .rytim] conj.; sy.u/K, N; sat/- D. j~] conj.; ftninir!l codd.; (fib. p. 33.1-2.: Jit rtm JNI '"those in the world.") uitJJht1] em.; vit/hi codd. hantri'!' kurutJ] K; hand'!'- N; hanti kuru D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
[§1]
22.9
In this, worship is of seven kinds, as follows: [i] confession of&ults, [ii] rejoicing in merit, [iii] going for threefold refuge, [iv] transference of merit, [v] arising of the will to enlightenment, [vi] resoning to the path, and [vii] dedication of one's body (itm~~bhlirlll/1). (s)
The definition of these teachings and [praaices] beginning with the confession of &ults, etc., as it is in the sequence [of praaice1, is as followsiii[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 bodhisanvas] ... [iv] By that good that I have done [in the past], will do [in the future], and am doing [now], ""'J IHings btcome ctl1lf/WJTm.
(7)
[iii] I go for refuge to the Three Jewels. [v] May I be a king of righteousness for the wel&rc of the world. 'He)
[vi] I rcson to the path of the conquerors. [vii] Accept [it], lords---1 offer my own body!
As for the four sublime abodes-rwndy, [i] loving-kindness (1Niitri), [ii] compassion (luzru!fll), [iii] rejoicing [in the attainments of others] (mwlita), and [iv] equanimity (upt/qa)-thosc arc also (ca) [defined] in sequence as follows: (8)
iii
iv
[i] Just as the conduct Go1'11VJ1tibJof[ordinary] people toward their own son is (,-tttl) invariably permeated with affection
I have numbered the succc:ssivc stages listed in the prose (§1). TlUs shows that the verses (vv. scd-7) are not, in fact, in sequence. Howew:r, the stages of the pnji in sidhana texts are very unstable. literally, •rcachen and so on (4tli-).• This refm to the rantric list, •teachcn, buddhas, and bodiUsanvu• (srmt~-).
2.30
VAJRAVARAHiSADHANA
duQkhit tathi duQkha••nimittabhruat proddhartum icchif!1 1 ~ sakalan 16 janaughan I aghata 17ci ttapratipalqabh iitif!l vibhavayet tiJ'!l 18 karul)if!l jagatsu I (9) anantasattvoddh~ na sakyam evaf!1 vi~dasya vighatadalqam I ki!o 'pi buddho 'bhavad ity ave~ saf!1jitaviryo muditiqt vibhivya I (10)
mamedam asyaham iti pravrddhaf!l cittaf!l yad etat sa ca moha eva I tasyopahantrim aparigrahatvad imam upe~if!l paricintaya tvam I (u) pratityajatvij jalacandratul~ pa5yed alikatp bahir an taraf!1 ca I svabhava5uddhidikamantrapa!hat 19 siinyadhimolqatp 20 vidadhita mantri I (12) (§2]
14
15 16 17 18
tatredaf!1 21 mantradvayam. OJ'!l svabhava$uddh~ 22 sarvadharmiQ svabhavaSuddho 'ham. OJ'!l Siinyatajfianavajrasvabhavatmako 'ham iti. {D4or}
llltha Jui,Jitha] N; .. Jui,Jitha K: atha D. iccha'!'] corr.; iccha codd. lt414n] N, D; ltaiAn K. aghatll] K; Jtiy4t4 N, D. (Tib. p. 33·3= srog gcoJ Jang mi mthun phyogs ltyi buzm pa "thought that is contrary to the act of killing...) t4'!f] em.; t4K, N: li'!' D.
w
19
mantraplithlit] N; mantraplit K; mantr~J ya(va)t D(add).
20
IUnyUhimoltfa'!'l conj.; 1UnyJ(vi?)ltamo1t!a'!' K; IUnytiJhiltAmok,a'!' N; IUnylitihiltAmolt,a D. tlltrttia'!'] conj.; llltrtya'!' K, D; llltrliJa'!' N. svabhavaiuJJhti/1] em.; svabhlivaiutJJhaK. N; lubhavasuJJha D.
21 22
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
231
(mtha), so they should also have that (yi) [loving-kindness (maitri)] toward the son[s] of others: you should now (atra) cultivate that loving-kindness that destroys hatred.!>4' (9)
[ii] He should cultivate that compassion with regard to the world that is the antidote to cruelty (aghatacitta)," [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!" (n) [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. (11) He should sec [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 "{o1fl} svabhavafutJJha..• " [§2]
For this there are the following two mantras:
01fl svabhavaiutJJhtifJ sarvadhamuib svabhavalutidho 'ham.. ., [and] 01Jl liinyallijfuinavajrasvabhavatmalto
v vi vii
'ham. vii
Literally, "a mind of striking.'" "All existents are pure by nature; I am pure by nature ... "I am identical with the essence of the nondual (vajra) knowledge of emptiness."
l.p.
VAJRAVARAHISADHANA
athatra hurpkarajavimvajraJ!l ~!Vi samantit sphuradarpSuDjalam I tenaiva bhiimim2• atha panjararp21 ca pa5yed vitinatp 5arajalalwp ca I (13) piirvonaradikramato diSasu sumbhadimantr~ caturo nivdya tadraSmijalaprabhavan vidadhyit 21 prakaranamna5 caturo bahir' vai I (1-4)
kakasyakidyil} punar anadevif.t sumbhadimantraprabhaval_t prapa.Syet I hu'!'}a,taltUPt!u nivtiya marlin tiltofllNZ'!i' kilanam ikaranti~ I (15) [§3]*
23 24
25 26 27
2.8
29
30 31 32 33 34
{Kssr}
{N38r}
tatrimi te mantril_t. orp sumbha nisumbha hurp hwp phat. orp grhJFl* grhr.ta hwp hurp 31 phat. orp grihr_1apaya grilu]apaya hwp burp phat. orp anaya ho bhagavan vajra32 hwp hwp phat. atri.ftau dcvyo.n yatha kakasya uliikasya Svinasya siikarisya yamada4hi yamadiiti yamada~Jlf!rir.ti,. yamamathani ceti.
sphurllllA,UU] conj.; pr4sphlmlli4,UU K; pTtiS-"""" N; prllspNII('fi?)Miu'!' D. bhiimi1f1] codd. (JNtri CIIUSII, understand bhiimi'fl). JNifljara'!'] codd.; Tib. trarulates "walls" (p. 33.6: Ttl ba), also in v. 14 (p. 33·7>· mmJtri'fls1 K; mmJtrliiN, D.
prabhavdn vitJ4JhytU) conj. Isaacson; pTtlbhavdn vibadhy4t K; prabhavdnJhivlllihy4t N; prabhavanJhiwzlllihy4t D. (Tib. suggests •he should meditate.. p. 33· 7: /ntom par by4. Cf. GSS3s: riiJt,4Jig/NmJh4JiU, WIM/hy4t.) caturo bahir 111111 em.; c11turo Ji/qu bahi wzi K; caturo- Jilttu. bahi- N; c-lllUro Ji/qu bahi D. (Possibly dilt,u was an explanatory gloss that became incorporated into the text.) hii,-UD/IINI'fl] conj.; hu1f'i4.f~ nivelya mblln altofll1141f1 Kpc.; .. mlira(lto)n liltofll11111f' Kac.(dd); hu1f'i~ ltiipqu niw/yii1Nir4n UofllNl'fl N; hu'flftilflllnipqu nive/yll mlirutJfll""'f' D. (Tib. p. 34-1 btUui1'1lllml = m4rtln). lkar~~nti/1] em.; lkllrmti codd. lnnp hu'!'] N; hfn!l K, D. lllljra] K, N; vit.ly4riija D (The reading vU/y4rtija replaces bhtlglltNln wzjra in some rcxu. seen. 300). Jn,ro] D: tlevyau K, N, (ditto.) J117riMi4'!'!!ri!'il K. N; JII"'"""P D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
2.33
(13) Next in this [meditation], he should visualize a IM,I syllable transforming into (-jll) 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 {pllfijllrllm), [then] the canopy and the [outer] shield (jlil4mr• of arrows [as the circle of protection]. (~)
He should cause the four mantras beginning with "fo'!'] sumbhll"to enter the directions, east, north, [west, and south] in [a counterclockwise] sequence; he should fasten in place (vibiU/hytlt) 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].
(Is) Moreover, he should visualize eight goddesses, Kakisya and so on, produced from the mantras beginning "[o'!'] sumbha." [He should see them] hammering and nailing down the evil ones (mdrllS), which they have made to enter eight wells produced from hW,..
[§3]
In this [visualization], these are the [four] mantras:
O'!' sumbhll nisumbha hu'!' hu'!' phat0'!' g/11}11 :rh!'ll hu, hu, phfl!. o, grihruiJIIlJil grih!'flpaya hu'f' hu'!' phfl!. O'!' ilnllya ho bhllgavdn vlljrtl hu'!' h"'f' phat. ia Here, the eight goddesses are as follows: K.ak.asyi, UliilWya,
Svanasya, [and] Sukarasya• [in the cardinal directions]; Yamada4hi, Yamadiiti, Yama~trirft, and Yamamathani.. [in the intermediate directions]. viu
Literally, •net.•
ix
·o [demon] Sumbha! 0
x xi
[demon] Nisumbha! Seize! Make [them] seize! Take! 0 Blessed One! 0 Vajra!" Crow-&ce (Kikisyi), Owl-&ce (Ulillwyi), Dog-&ce (Svinisyi), and Hog-face (Siikarisyi). Dcath's Tooth (YamacJi4hi, ~is probably from but may also mean •wish, desire. • The Tibetan tat consistendy translates Yamadi41U imlm ""''"the Stable One," u if from J,.;JM), Death's Messenger (Yamaduti), Death's Fang (Y~). and Death's Destruction (Yamamathani).
"""""4,
234
(§4)
VAJRAVARAHISADHANA
atropadcSa}.t. vamahastasyangunhatarjanibhyatp cho!ikirp darrva "of!l sumbha nisumbha huf!l hUf!l pha4" ityadimantri.n uccirayan 3 ~ ~~aharitaraktapitavar~an pawabrahm~Qavyapi
jvalanmahak.ayan < vajrapriiltdrliw> vamavanena piirvadidi~u 36 yathakramarp nivc$ayet. pafijarad ~ etanmantracatu~~yani~pann~ kakasyadicatasro deviQ, etann~pattikala eva dalqi~avartenagneyyader'7 ubhayamantrako~asya ra5misarpbhiira yamadaQhyadicatasro deviQ pa5yct. {D4ov} eta ~tau dvibhujaikavaktra.Q. {Kssv} atra prasravc nabher adhaQ siilakaraQ, dalqiQe vajramudgara-"dharal], vamc atmariipakilakahasta.Q. sphar~ayogcna garva digvidiksthitasakalavighnavrndam39 aniya hii~pkaran~pannC!V ~tasu kii~u-to svamantrasamana~aprakarasamipa~u pravc$ya kilanako~na41 mantroccira~apiirvalwp vighnavrndaqt kilayitva ko~yitva ca prakir~u liyamanas til} pa$yct. {N38v}
35 36
pii~u]
37
d~ (;Orr.;
38 39
muJgara] em.; muagari K, N; mwlgaro D. vighNZ,.,Mm] K; ,.,Mm N: vighM,M/u,'!' D. n~] em.: hpt'codd.
40 41
uccdr.,an] K, N; uccdrayn D. N; piiTVIiliilqu K, D.
tignytiJn codd.
ko.tana] em.; lto.taNi codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
(§4]
235
The teaching on thls [is as follows]: He should give a snap of the forefinger and thumb of the left hand, [and while] uttering the mantras beginning "o'!' sumbha nisumbha hu'!' hu'!' pha!• .. he should make enter into the directions starting in the east in a counterclockwise sequence; [they are] colored black, green, red, [and] yellow, extending from the underworld to the sphere of Brahma, burning [and] vast. Outside the [vajra] zone {pafijaram).ui he should see the four goddesses starting with Kakasya who are produced from these four mantras. At the same time that they are produced [he should visualize] the four goddesses starting with Yamada4hi produced from rays [issuing] from the comer angles of the two ( ubhaya) mantras [that intersect at the intermediate points], starting from the southeast [proceeding] in a clockwise direction. These eight [goddesses] have two arms and one face. In this context, ..;' 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 visualize those [eight goddesses] going forth through self-projection [to the limits of the universe] (sphara!'ll}Ogm~~ gatva).-,. 2 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'!' [and that are] located (-varfi!u) near the walls of the same color as the respective (sva) mantras [from which they were produced], staking and hammering 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.
xii
xiii
The domed "roof" or (literally), "cave" {pdjar11m) 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: II9) describes it as having "the shape of a Mongolian tent." The text is distinguishing the appearance of the eight goddesses here within the topic {priiStillll/1) of the expulsion of obstacles from the circle of protection, from their later appearance within the deity ~4ala.
236
[§s]
VAJRAVARAHISADHANA
atra kilanamantro yatha- orp gha gha ghataya42t gharaya sarvad~~ phat. 43 orp44 kilaya kilaya sarvapapan phat hiirp hiirp hurp. vajrakila vajradhara ajfiapayati. •s sarvavighnanarp kiyavakcittavajrarp kilaya46 hiirp pha4 iti. akotanamantro yathaorp vajramudgara vajrakilako{aya47 burp pha4 iti. *tatpafijarantarnivasacchma$anamadhyasthitirn411 iirdhvavisalariipim I pa.Syet trikol}irp saradindugaurirp49 dharmodayarp raktasarojagarbham I (16) tatpadmamadhyasthitayo ravindvorso madhyasthirarp visphuradarpSujalam I varpkirabijarp sphutavidrurnabharp vibhavayet sp~{atararp yatha syat I (17)
{Ks6r}
•nil_tsrrya~• bijodbhavara5mijalat lq-tva janaughan jinabodhibhajal] I *tatraiva bije nive$itintarbuddhadikirp samparibhavayed vai~ 2 I (18)
42. 43
44 45 4/)
47
48
pt11J4) K, g/Ni!4J4 N, D. p/NliJ K, N; bu, piNz! D. tnfl] N; omitted K. D. Jhar11 ijUG_l 0; Jharo djNIK; JhllwijUN. 1Nlfr4'fl ki/4y4] N; INljra'!' lti14,. K; vajraltiiiiJ. D. Njraltil41to!4J4] K. N; It~ D. tlllplllijarll-sthitllm] conj. Sanderson; • jarli(r?)nti nirvvi14141m414""""""':J-K;-jarli- r nirvvilat4im414NZ~-- N: ·jtuln mffJiuz~ .. D. (cf. GSS42. v. 41>: JmaJilnli!!lmiwlsinl)
49
so
K. 0; gauri'!' N. llltplllimAwuu/hyllsthilllJO ravinJvoJi em.; tll~thitllyO ,.~,. K; ~thitayo ravinJunJor N; tlltptu/m4(7NI}Jhytuthi111]4rtlflitulwJm
gaurtl'fl]
D{add).
51 52.
ni/lsrt]4) conj.; 1lllifnrty4 codd. tllJTaiva bije hi-INll] conj. Sanderson; --nivdillir IIMU(clga)lnuJJJNibhiltll/l SllmJNlribhliVIIJNL VIIi Kpc.(add); --nivdillir liMite (b,y!)tultlhibhi(i!}lb SII'!JP4ribha,~ ,.;. N; • nirvditlir llMittJnu/JhtibhiluilJ Sll'f'JNUib~ ,.; D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
[§s)
137
In this [meditation] the "staking mantra" is as follows:
O'!' gha gha ghtltaya ghtltll]ll sarwuiU!!'l" pha1. 01!' lti/4yilltilaya sarvapllplln pha! hu'!' hu'!' hu,. Vfljralti/4 VfljraJhara lljlillpayati. sarvavighnllNl'!' ltllyavllltdlt4rHljrll1!' lti/4ya hu'!' phaf' The "hammering mantra" is as follows;
O'!' VfljramuJgara Vfljralti/4lto!"JJZ hu'!' phtzr• (16) Placed in the center of [eight] cremation grounds dwelling (-rHISilt-) ...i within the zone (pafljaram) of that [circle of pro-
tection], he should visualize, with its broad side uppermost [i.e., inverted], a triangular tlha~ white as the autumn moon [and] containing a red lorus. (17) In the center of that lorus, between a sun disc and a moon disc, he should visualize a ""'!"seed-syllable in such a way that it is [all] vividly clear, with a quivering net of rays [emanat-
ing &om it, and] with the color of blossoming [red] coral. (18) Having sent forth [the buddhas and so on] &om the net of rays produced from the seed-syllable, he should make multitudes of people share the awakening of the conquerors; then (hi) he should imagine [Vajravirahi] with the buddhas and so forth retracted inside [her] (niveJitllntllr-) into that same seedsyllable.
xiv xv xvi
"Kill all evils! Stake all sinners! 0 Vajrakila! 0 Vajradhara!-He commands [it] for the body-, speech-, and mind-vajras of all obstacles. Stake [them]!.. ·o vajca hammer! 0 vajra stake! Hammer [them]!• In v. 73, the aemation grounds are also said to •dweJl• ..frNU.
VAJ RAVARAH ISADHANA
candrarkabijamprabhavarp trinetmp kaSmiravarl)arp ~ dvibhujaikavaktram I alicJha-m-akrinta5 ~si~kucagram
uttinayor bhairavakalaratryo}:lS61 (19) uclqiptavamasthitapadmabhaJ:tgat patatpravaharp ~7 rudhirarp pi bantim I *savajrasavyetara t-"'- - t.,. bhiitarjanis'tarjitad~~Vflldam I (20) kha!Vangasarp5obhiravamabhagarp60 vilambiralttlilttl/' nrmul)9amalam I nagnarp kval)anniipura62 bh~itailghrirp63 datN!rakaralarp vadanarp vahantim 64 I (21) 1
vajrel)a viSvadhvanipiirvakel)a krantottamangat!165 cyutake5abandham I vajravalimadhyavirajamanalalatapanasrhitapaficamul}9im I (22)
53 54 55
s6 57
58 59
6o 61 62
63 64 65
canJrtirkabija] Kac.; canJrtirka(wzhni) Kpc.(add), N, D. ktilmirava'!'fi~] em; luismirava'!'fi K, D; luismirllVIlf?UI N. ti/iljh111Nilmint11] N; ti/iljhamlikrantll K, D. rtltryop] em.; rtiti"JJi!1 codd.
bhti!'f!4t p~ttlltprtWah~t~] Kpc.; bhti(!Jf!a)!fl!tiu jNltllt (v-). prllVIlhtt~ K(dcl); bhtif.Ufr. k jNltllt- N; bhti'fll!at plltllt. pravyaha~ D. SIIVIljrllSil~tllra t- . -- t1 conj. Sanderson; SllVIljravtirtihim4Jya/ttnll prlll.rti K; sawzjravarahi -4- kara pras,ti N; savyakaraprasrti D. bhut11rj11n~ conj. Sanderson; bhiit tlltjani codd. wim~~bhaglim] Kpc.(vam~~ add); (,.,JA~) bhtigam K(del); vlima -4- bhligtim N; wim~~bhagti D. villlmbiralttaktll] conj. Sanderson; villlmbini~ r11ktll codd. nat;na1f1 kva!f4nniipura] em.; nat;na kvanannu- K; nagn4 -no.- N; nagnli Vll!fllnnau- D. anghrim] K; anghrim N, D. vadllna1fl vahanti'!'] N; vadana vahanti K, D. purvakn:w m1110ttllmlingli'!'] em. purva~kn:w kr4ntottllm4nga K; purvaltnuz krtintottllmtiriga N; piirvaltma kr4ntonumti1igi D? (indistinct). (Tib. p. 34-6: sna tshogs rdo rja tibu yi stmg nas mnan par mtlzaJ .. a double vajra is pressing down
from the top of her head.")
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
239
(19-24) He should visualize himself (atmatanum) as [Vajra]varahi (v. 24d), who is produced from the moon, sun, and seedsyllable /va'!l}. with three eyes, having the color of [red] saffron, 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, (paamabhar,vja/:J)'I.'tlii placed in her upraised left hand, with a vajra in her right hand t ... fthrcatening all who are wicked with the index finger pointing threateningly to the ground (bhutarjani) (v. 20); [her] left side adorned with a skull staff (lthatvangaf.J), with a bloody (ralttaltta) 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, ·~iii with her hair-tic fallen off, [and] with five skulls in her headband gleaming in the midst of a row of vajras (v. 22); with head, cars, throat, both wrists, [and] hips glistening with the chaplet, swinging earrings, charming necklace, glittering bracelets, [and] girdle [respectively] (v. 23); covering the three worlds with quivering rays, with a body full (altranta-}offrcsh youth, [and] filled with the single taste of great bliss"" (v. 24b-d).
The "lotw vessel" is the tantric term for skull bowl, e.g., HT2..3.58b: ltapa/4'!' paJmtzbhajaNZm. xviii Literally, "having her topmost limb (uttamdngam) passtd over (or 'subjected,' ltrtintll) by a vajra prc:ccded by the word viiva [i.e., a vilvav~tjra]." x.ix Literally (v. 2.4c): "She is filled with the single taste (rasailta) that has the aspect xvii
(41tdrii/J) of great bliss
(nu~hlisultham)."
VAJRAVARAHiSADHANA
140
cakricalatkuJ}~Pti samullasadrocaka"mekhalab~
I abhyullasan mastakalcan]akal}thahastadvayagranthikappradcWn I (23) 67
sphuradgabhasristhagita'-trilokam akrantadehaql69 navayauvanena I mahasukhakararasaikapiirJ}irp varahikam atmatanllf!l vidadhyat I (2.4)
{Ks6v}
atharra nabhau hrdaye ca vaktre sira}:l"' sikhayarp sakalcrarange 1 mantrais tu p9bhil} kavacarp vidhaya I jfianapravdarp samaye vidadhyat I (25) [§6]
amite PI} mantra~}"*- orp varp, harp yorp, hrirp morp, hrerp hrirp, hurp hurp, pha! phaQ12 iti. ere vajravarahiyaminimohinisaqtcalinf'saqttrisinical)4ikisvariipi}) {D4rv} raktanilaSvctaharitadhfunradhiisara~ ca. 74
hrdisthacakrasthitavarpmayiikhaprabhutap~padibhir arcayirva I pravdayet tirp samaye nabhal}stham I sarpir yatha sarp~i vari vari~ I (26)
66 67 68 69 70 71 72
73 74 75
roctdw] codd. (tMtri ciiUSil}; roca(lut) Kpc.(mg). Understand •ruu~ut. a/JhyuJltlslln) K; -6- san N; sat D (no gap or marked omission in D). sth4giu] K; stha -4- N; SliM- - D. ~]em.; tkhmrcodd. lir4f1] codd. (mmi caUUL). Understand lirllli (singular locative) or lirlll,ni/th4ytl'!' (dual locative). 1Nintrti/J] conj.; mlllir4.b codd. pilaF pluuA conj.; p/Nq codd. lll'f'Cillim1 N; Sllficllli11i K; Jll1!K4rini D. lwtapita] conj. lwu codd.; Cf. Mlllpilll §46; sitapita GSSs Kuv(mg) thiri fl4n] codd. (loose: syntax for fl4ri flllriru).
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
2.41
(:z.s) 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] inuoduce the knowledge [deity] into the pledge [deity]. [§6]
The six [armor] mantras here are: 01f' 1Hl1f', N1f' JO'!'• hri'!' mo,., h"'!' hri'!', hu'!' hu,., phil/ pha1. They embody Vajravirihi, Yamini, Mohini, Saqtcalini, Saqttrisini, and ~4iki.,. and are colored red, blue-black, white, , green, [and] smoky-gray. (2.6) He should [first] honor [the knowledge deity] with flowers and so onui that are produced from rays [which themselves issue] from the Vll'!' [syllable] on the circle [of the lotus pericarp) 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
xxi
Lady of Night (Yimini), Deluder (Mohini), Agitator (Saqtcilini), Tcrrifier (Suptrlsini), and Terrible One (CaQ4iJci). This is another reference to the traditional offerings. Sec ch. }.
2.42. (§7]~
VAJRAVARAHISADHANA
jfianasattvapravde tu ~apravdanabandhanato~~akaral_t jal) hor iti catvaro m11ntrii 76 boddhavyal.t.
hu~ v~
mantrcJ].a sck.arp dadhato nabhal)sthann tathaga~s tan 71 vyavalokya samyak I ~bhi~kodakabinduja~ vairocan~
paSya Jironivif!JZ111' I (27)
{N39v}
yatha hi jatamatreJ].a snapita1_t sarvatathagata1_t80 I {Ks7V} tatha 'h~ snapayi~i luJJha'!' divyena viril)a I (2.7i) '" o~ sarvatathagatabh~kasamaya5riye hii~" iti. (§8]
atrayam upaddal). hrcfbijara5mina, ~!ibhir yoginibhir yatha hityadik.arp varil)etyan~ 11 pathantibhir ~adavarjitapaficimrtabhrta111 vamakarakapalebhyo~
nijajiianamrravaridharabhir abhi~icyamanarp mahisukhamayam atmin~
vibhavya, s~buni~panna<~> sirasi vairocanatp uccarayed iti.
d~!Va, o~ sarvatathagarabhi~keryadimantram
76
77 78 79 8o 81 81
T1Wntr4 bot/Jhavytif,l] conj.; mutbli bot1Jhavy4/J K; TIWntrli botiJJNzVJill? N. mantro botJJhavy4!J D. (S~ Textual Not~ to §6.) timDutto Nlb~Nzfnthan] ~m.; JaJhato 114Sthlis Kac., 0; -111l(blut)sth4s Kpc.(rng2);
tit.uJiutt4 1lll - sthlis N. tiZthagllhi'!'l tlin] conj. Sanderson; tathligat4n codd. lironiviffllm] ~m.; iironivq_ti1Jf K, N; sironiw,!i1Jf D. Tib. p. 3S·4 gtsug tDr nyiJ tiM .. on me very crown of th~ head (gtsug tDr)... uzrvatllthagatli[l] coer. (hyp".); U11'VIItllthtigallis codd. vdri!UIJtl11tli1Jf] conj.; Vtlri1,1~ codd. bhftiZ] conj.; bhiit~~ codd.
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
(§7]
2.43
Know that when the knowledge being enters, there are four mantras [to be uttered], namely, jab hii'!' va'!' [and] hob. These attract [the knowledge being], make [it] enter, bind [it in place], and propitiate [it]. (27) Correctly visualize the tathagaras 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: (27i) "For even as the tathagatas were bathed as soon as they were born, so I will wash [you]. purifi~d.""' 3 with heavenly water." 07fl saroatathagatdbhif~ltasamayairiy~ hu~i
(§8]
In this [rite] there is the following instruction: With [the transformation of] a ray from the fva'!'] syllable in the heart, he should [first] visualize himself being consecrated by eight yoginisY14 who are reciting [the verse invocation] beginning "For roen as... " ending "... with [h~avmly] waur... [He should visualize them consecrating him] with streams of water, which is the nectar of innate knowledge, from the slightly inclined skull bowls full of the five nectars in [their] left hands, [so that he is] full of great bliss. [Next], having visualized Vairocana on [his] head produced from the remaining liquid, he should recite the mantra beginning" [o1fJ] sarvatathagatlibhif~lta etc...
xxii
"To the glory of the pledge [of?] consecration by all tathagaw!"
VAJRAVARAHISADHANA
nabhaJ.tsthadevir abhipujayantirl' varahikarp14 tarp stuvatirls ca vi~ I yad valqyamiJ]akramasadhitarp vai pi~ asvadanam asya kuryat I (28) garva samastilp16 spham_1ena ~thi~p lqtva ca sarvatp jagadarthalqtyam I
{D4u}
bije svamiirtirp17 viSati~ prapaSyed *akhedam evarp punar eva.. kuryat I (29) atha svacittarp sthirararp vinerurp paSyet sus~milp 89 sphuradatpSurekhim I nabhisthacandrarkasamudgavani-'10 sus~mavarpnadasamucchrira yi91 I (3o) atropaddakramalabdha'1margo vibhavaniyo 'nupalambhayogaQ I sattvarthasampadanahetubhiita-
{Ks7Vl
prabhasvaratvapratilambhahetol} I (JI)
83
84 8s
86 87 88 89 90
91
92
n~~biNzbsthWvir abhipiij11Jtl11ti~ conj.; n~~bh.stlwkvibhir abhi!*jiiJill'ti(bhi) Kpc. (del); n~~bh.sthtuimbhir abhipuj4J411tib N; 111lbh11St1Nu/nibhir llbhipiijaJIII'tibhi D. wirlihilt47f1] K, N; wirlihilt47f1 D.
mwatirJ em.; stu11ati codd.
sam4SI47f1] em.; samastll'fl K, N: sa11111St11 D. bijt .wllmiirti'!'] conj.; bijqu miirti'!' codd. (Tib. p. 3S·S has no plural marker on *bijt). 4/thtJam tvll'fl pun~~r tva] conj. Sanderson; li lthNiaparytmtllm tvll7fl 1'"""' trill codd. ~~ susiiltpnd'fl] K, N; palyat ~D. NibhisthaciiiUirtirluuamutlfawzrn] conj. Sanderson; 111ibbisthacii1UirirluuiunuJbhawirti codd. (Tib. p. Js.6: ~ b4 ill f""S nyi ri4 ltha sbym Jbru nyitl h "'[being) in the center (Jbus nyitJ Ju < wzrti) of the conjoined sun and moon (ltha sbyar < samut/ga/1) at the navel."' susa/qmllll47flnliJ4samU«hritti yti] conj. Sandenon: susa/qmll1147f1~ chritdt/y4i codd.; Tib. p. Js.6: H, gi nil Ja shin tu phra b4 las bzhmgs pa "arisen from the very fine 1lliJ4 of the batp." ilzbtlha] K; illrtiM N, D.
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
2.45
(2.8) [Then] having visualized goddesses in the sky worshiping [Vajra]virihi and praising her, he should perform the tasting of nectar-for which the method of produaion will be taught below [vv. s9-66]. (19) Having pervaded all the limits [of the universe] by emanat-
ing [goddesses in mantric form),uiii and having [thereby] accomplished all the needs of sentient beings, he should visualize them entering [i.e., assuming) a form according to the seed-syllable [fill'!']. He should repeat this procedure until he tires. (3o) In order to make his mind firm he should visualize a very fine, brilliant ray of light rising from the subdcst resonance [of the visualized syllable] (1l~i~Jtlb), [or from] the syllable ""'!' [itself],S0 which is located in (llllrti) the enclosed space (Silmutiga/1) between the moon and sun at his navel. (31) In this (yogic practice], he should meditate upon the yoga of nonpcrception, the path that is obtained through (ltrii1Nl) instruction [from a guru], in order to obtain the state of clear light (prabhliwara!J), which is (bhuta) the cause of fulfilling the aims of all beings.
xxili A prose explanation of this yogic practice appears bdow [§9].
2.46
VAJ RAVARAH iSADHANA
vibhavanayatp. parijatakhedo I mantri japen mantravanup vidhinat I vr~e~Ja cintamai_linopamokta.•~ I svayaqt jinair yasya ~asya I (32) tato 'pi khinno viharcd yatheccham,. I svadevatahaqtlq-tim adadhanal) I itthaqt japadhyana''~sadabhiyogat ~masatal) siddhim upaiti yogi I (33) yo 'narataqt'!6 bhavayituf!l na Saktal} so ·pi prasidhyed yadi tasya samyak I pra~amadhyahnadinavasana
saqtdhyakhyakile'' ~abhavana syat I (34) (§9]:
ran·araf!l daSalqaro hrdayamantral). Of!l vajravairocaniye svaha. asya japavidhir yatha, bhavanayatp. khede sati jhapti devatim adhimucya, tannabhicandre raktavarpkararp nadaf!l vi ~{vi. mantram uccirayan, tasmi nidid vi'1 nirgamaviyuni
devisamuhaqt S3f!1spharya, jagadarth3f!llq-tvi ca punar mantram uccarayan t sahaiva mti/4 t siitr~anyiyena pravdavayuna tasminn eva bije nade vi prave5ayen mantri. 99 {D42v} ev3f!1 puna~} kuryad yavat khcdo bhavatiti. {Ks8r}
93 94 95
96 97 98 99
opt~moltlli) K; op11mo/qd N, D. «cham] em.; ~ccham codd. ittha'!' jt~padhydn~~-] conj.: itthnn }lip~ dhytin~~ K; ittha'!' j11peJ t/hy4M N; irk j11pe t/hy41111 D (Tib. p. 36.1: snt"fl tiant bs11m pn "mantra and meditation.") JD narll14'!') conj. Isaacson (Tib. p. 36.1: 'l!"n Ju); m~~uNirlll4'!' codd. SII,Jhyhilthya/ttik] conj.: s.,ahyaythyalul/4 codd. t4SmiiJ bijlin N1liatJ vd] conj. Sanderson; lllml4n ruitl4n codd. m4ntri] em.: m4ntrll 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 [bean mantra of Vajravarahi, §9], which has been compared (upamoktli) 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 [conviction ofhis] identity (aha'!'Jtrtib)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 (bhavayitum) continuously may attain success if he performs a short meditation (/qa1J4bhavanti)ai• in the correct [way] at dawn, midday, and the dose of day, [that is,] at the times called the "junctures., [§9]
In this [meditation], the ten-syllabled bean mantra is:
0'!' vajravairocaniyt svaha The procedure for its utterance is as follows: ... When [the practitioner] 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 vaT!' syllable, or the [even more subtle] naaa. Uttering the mantra [as given], he should emanate the multitude of goddesses &om that seed-syllable, or &om the ruid4, with his outgoing breath. Once (ca) he has fulfilled (/trtvti) 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 1111114 [on his navel] with his incoming breath t ... t in the way that
xxiv This .. shon meditation" is probably a reference to the first meditation stage. comprising the self-generation ofVajravarihi alone, without her maJ.l4a.Ja. xxv This rite was described in v. 29 above.
VAJRAVARAHISADHANA
tatpafi jarantal]paribhivitiniql viyvagni~itimat]cJalinam I
svabijajinam uparisdwnerau tathaiva tkvim api 100 bhivayed vi I (35)
atha <JikinyadicaturdeviS101 ca~karo~yagal] I kakasyidytlf~ir vi, adhikatvena 10l bhivayet I (36) yad va cakratrayisina' 0 'pracaJ]Qadivibhavanam I samadhikaql sudhi~ kuryid iti syit pU~cJalam I (37) {N4ov} [ §10]
mahisukhacakrasthirp vajravarahirp purvonarapaScimadalqif)adiksthitibhir 4akinilamalcha.l)qarohiriipif)ibhi~ sahitirp bhivayirum i«hanIA'!'' praty aha 104 -
"4akinyadicaturdevis ca~karor-mtadhyagi'" iti [v. 36ab].
100
101
tlnim •psl conj.; tlni'fl • ,;oN; tlni • ,;o K. D (hypo. codd.). The Tibetan for this plit/4 reads "meditate on the goddesses as before, in the order as before." (p. 36.3: sngon ln:hin lhtl mo 1714ms ni sngon ln:hin rim JNIS bsxom) Jnis1 em.; Jni codd. cf. below where K reads oMuir but N & D retain the
reading 0 ani. 101
~r rNi lllihiluztrlmll] conj. (syncop.); ~ ~
K;
4Ji "!!Mini~ D. a. §13. Tib. p. 36.3: 1M mo lthwa yi fM"K SDf} brg;,tuJ I tk lur IMt ""'I btl.t nfoJ ("nature of ~ -IIi botihiSilltllnUI N;
103 104
the addition," i.e., addition-ness > ~) Jmn. c~iM) corr.; l"llltrlltrllJti('lfl?}siu K; cllltratrt1J47f1Siu N, D. i«h.nlll7f1 prlliJ .;h.) conj.; i«<M Yti)r 4h4. K(dd); iah.Ji wJ AIM. N; icch.Jir lihiL D. Cf. §13, §16, & Textual Note.
THE VA)RAVARAHI SADHANA OF UMAPATIDEVA
2.49
(nJIIynw) one draws in a thread...m He should repeat [the meditation] in this way until he becomes tired. (3s) Alternativdy,..m; he should visualize the goddess hmelf(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 &om 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 ~ni 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], starting with Pracaq4i seated on the three circles [of body, speech, and mind]. This would be the complete ~Qala.DYiii [§10]
For someone wishing (icchant111'f') to visualize Vajravirihi on the circle of great bliss, accompanied by ~ni, Lima, J
xxvi GSSs describes this as like drawing in the thread of a rosary. For a similar but extended rite in this sadhana. sec p. 1n above. xxvii 11Us verse giva an alternative location for the gmaation ofVajraririlU from that described above in v. 16. The syllables for the visualization of the dements are: ,.,., Tll'fl. f1111!1· and """xxviii Prescriptions for the complete rrw:t4ala are given in meditation stage 4 below.
VAJ RAVARAHISADHANA
150
tad uktarp:9akini ca tatha lama kha..t4az'oha tu riipi~i I nyaset padmadisaJ:t sthane sarvasiddhipradayikal) I (38) kr~r:ta
5yama rakta gaura ekavaktra.S caturbhuj~ I
varne kha!Vailgakapal~ 1 os ~it:te 106 Qamarukanri~ I (39) trinetra muktakdas ca107 alicJhasanasarpsthi~ 108 I darp~trakaralavadan~ paficamudravibh~it~ I (40) ~idilqu
[§u]
{Ks8v}
catvaro bodhicittakarotakai} 10'J I iti.
9akinyadicat~taYaJ!l 110
ratnasarpbhavamudritarp boddhavyam.
tatra bhagavarya hrdayamantra uktaJ:t.' {D43r} upahfdayamantro yathaOf!t sarvabuddhac;iakiniye vajravar~aniye huf!t hwp 111 phat svaha.
(§12)
~tapadamantras 112
tu yathaOf!t namo bhagavati vajravarahi varp 113 burp hurp 114 phat.
105
vdm~lutpdlli~] em.
(unrMtric.};
llim~luzp4/4'!' K;
pdilz/th4twingalttzp4/4'!' N,
D. 1o6 107
108 109
no Ill
112
II3
114
d4Jqi~] codd. (hypn-.). A conjectural emendation to t/4/qt is possible, but unnecessary in this type of Sanskrit, probably considered scriptural. multtaluidl ca] em.; multtalt&i K; ralttalttla N, D. sthittif1] corr.; sthita codd. ltaro.taltli~] conj.; ltaro.ta codd. (Tib. p. 36.7: phyogs tiang braJ ba I mthams bzhi N1 I byang chub snns gang thod pa bzhi I zJm pa o.) cafU!.taya'!'] em.; cafU!.taJii'!' codd. hu'!' hu'!'] codd. The Tibetan text (p. 37.1) reads: hu'!' hu'f'. mantras] em.; mantrtis codd. va'!'] codd., omit Tib.
hu'!' hu'!'] codd. The Tibetan text for each mantra of the eight-pan mantra reads: hu'!' hii1J1.
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
2.51
So it is said [in scripture]: (38) Qakini, Lama, Kh~9aroha, and Rilpil]i: he should place [these goddesses], who grant all siddhis, in position (sthane) in the cardinal directions of the lotus. {39) They are black, dark-[green], red, and white (gaurtl), they have one face and four arms; in [their] left [hands] they have a skull staff and skull, in their right they have a tjamaru 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 (mutirlls).
[§n]
[Scripture also says:] "In the intermediate directions there are four skull bowls [full] of semen." The fourfold group [of goddesses] starting with l)akini are to be understood as sealed (mutiritll-) by Ratnasaf!lbhava [on their crowns].
[§12]
In this [fivefold ma.J]9ala], the [ten-syllabled] heart mantra of the [central] goddess has already been taught [§9]. The auxiliary bean mantra is as follows:
As for the mantra in eight parts, s..7 [it is] as follows:"" i) O'!J namo bhagavati vajrawirahi va1J2 hu1J2 hu1J2 pha!. WI
xxix (The numbering is mine.) (i) Homage! Blessed Vajravirihi! (ii) Noble invincible! Mother of the three worlds! 0 goddess of great knowledge! (iii) You who are
VAJRAVARAHISADHANA
Of!l nama aryaparijite trailokyarnate''~ mahavidydvari hwp hwp phat. Of!l nama~] sarvabhiitabhayavahe mahivajre hwp hwp phat. Of!l namo vajrisane 116 ajite 'parajite vaWpkari"' netrabhrimiQi hwp hwp phat. Of!l nama~] S~al)i 118 ro~i krodhani karalini 119 hwp hwp phat. Of!l nama~] sarptrasani' 20 l1lira1}i suprabhedanim parajaye' 22 hwp huf!l phat. {N41r} Of!l namo jaye vijayem jambhani <Stambhani> mohanP 24 hwp hwp phat. orp namo 121 vajravarahi mahayogini kame$vari khageu6 hurp hUf!l phat. 9ikinyadinirp mantra yatha. orp 4akiniye hwp hwp 121 phat. orp lame hUf!l hwp phat. Of!l khaQQan>he burp hurp phat. {K59r} orp riipiQiye huf!l huf!l phat. iti dvitiyo 121 bhavanakramal}.
us u6 u7 u8 II9 120 12.1
12.1
123 124
us 12.6
127
12.8
2.
trailokyamate] codd.; understand trailoltymruiw. vajnfsaM] GSSs; vajrlisllni GSSn codd., Finot. ~1 GSSn codd.; vllfymfllutri GSSs, Finot.
ID/Iltlll K; lo_saniN; loltJNmi D. ltroJhani lumilins1 GSSn codd., Finot; lmNihaltarak GSSs. S41fJITilstuu] GSSs; Sll7fltTil.lani K, N; Sll'f'IT4Silni D; tr4Silni Finot. suprabhNJAnsl GSSu codd.; prabh« mohantl §32, Tib.;jambh.ni mohtmicodd. namo] N, GSSs. Finot; omitted K, D. 1NlhliJotini lulmdvari khat~] K, N, Finot; ~ ltha(r~ D(dd). (GSSs: vajrll1Nlr4hi ~ khatt- cyeskip between ~ni & lulmdvari.) bu'!l bu'f'] codd. The Tibetan text for all four mantras reads: b'f' ~~u,.. Jviliyo] em.; Jvitiya codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
ii)
2.53
tnf111111Nl iryip~~riji~ trllilo/tyam4te 1l'lllhllvU/yeirNtri hu'!' hu'f'
phil!. ill) O'f' 1111111/lfJ sarvllbhiitllbh"J'ivaht 1111lh4vajrt hu'!' hu'!' phaf. iv) O'!' Mmo Vlljriisllru ajite partljiu Vllltt,kari rutrabhrtimi!Ji
hu'!' hu,. phaf. v) O'f' 1111ma/1 lo!4!'i rtJ.Sil!Ji lmxihani lt~~rtilini hu1f' hu1f' phaf. vi) O'!' 1111111/lfJ Sll1JIIrtlsllni mlira!Ji suprabMJ4ni partljaye hu'!' hu'!'
phat. vii) O'f' Mmo jaye vija:p jambhani stllmbhani mohani hu'!' hu'!'
phaf. viii) O'f' 1111mo INijravllrtihi 11Uihi.yogini ltimdvari lthage hu'!' hu'!'
P""!· The mantras for ~ikini etc. [are]:
O'!' ~niye hu'f' hu'!' phaf tnflbime hu'f' hu'f' phaf O'!' ltha'.'f!arohe hu1f' hu'f' phat O'f' riipi!Ji:p hu'!' hu'!' phat Here ends meditation stage 2..
terrifying to all creanues! You with a mighty vajra! (iv) Vajra-throncd! Invincible! Invincible to others! Subduer! Eye-roUer! (lit: •you who cause [your own] eyes to roll!•) (v) Withering one! Angry ond Enraged one! Gaping one! (vi) Terrifying one! Exterminator! Finely piercing one! Invincible! (vii) VICtorious one! Vcry viaorious! Crushing one! Paralyzing one! Bcwi1dcring one! (viii) Vajravirihi! Mighty yogini! Mistress of love! Sky-goer!
254
[§13]
VAJRAVARAHISADHANA
idanim eva mahasukhacakrarp'l'J purvonara'JOpa$cimadalqi-9akakasyoliikasyaSvana.sya msiikarisyabhir132 agneyanairrcyavayavyaisanakoQasthitabhir yamada4hiyamadutiyam~¢Qiyamamathanibhis'H ca sahititp 1 ~ bhavayitum icchantaqtm praty ahadvar~ avasthitabhi~
"kakasyady~!adevir' 36
[§14]
va, adhikatvena bhavayed" 137 iti. [36cd]
kakasyadaya$u• catasr~ sva"'namamukhal_t. {D43v} yamadaQhyadayas' 40 tu man~ukha••• dvivar-9as ca. eta ~av amoghasiddhimudritaJ.t, ~nyadisamas ca $avasanatvaqt param asarp vi~~· tad uktaqt 14l 'yatha 9akinijanasya ratha kakasyadi ru bhcdatal} I vidiksthas 143 tatha devyo, dvau hi riipau 144 manoharau I prctasana mahagho~··~ sattvarthalcanu}odyatil}' 46 1 (41) iti.
129 130 131 132
133 134 135 I 36
137
rnahasulthac~tltra] em.; mllhdsukhaclllml'!' codd. purotJttllrll] D; purvottllra ca K; piiwnira caN. Ivana] K. N; svanJ D. sUitllra1 K, D; Iii/tara N. mtUhanibhis1 corr.; 1NlthllnicabhiiK, N; TNllhanicrbhiiD. Sllhilli'!'] K, N; sahilli D. icchllnlll'!') em.; iccha, codd. (sec Textual Note to §10.) a'nir) K: Jevj N' D. ~!Jlllnnr Vti, aJhilt4tvmll bha~Jj conj. (syncop.); It~ m:lnir
Vti litriidhiltatvma vibhlillll]Ni codd. (Sec v. 36cd.)
138 139 140 141 142 143 144 145 146
4Jay4l] D: JJydJJIIIKpc.• N; asya(t/y4)/K(mg2). sva] K. 0; svasva N. ~em.; J4t!hyddiK, tWjhytiJisN, D. mukhJ) em.; multhau codd. tad uklll'!'] Kpc.(mg1). N; taJ ult111 D; omit Kac. st/Ms] D; sthaK. N. 1'Upau] K: - pau N; tiVIIJilu D. ghorli/1) corr.; ghora codd.
oe/yllf4!7] corr.; ot/ylltli codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
255
[Mtditation Stagt 3] [§13]
Now for someone wishing (icchanta'!') to visualize the circle of great bliss [namely, Vajravarahi], along with [the goddesses] Kakasya, Uliikasya, Svanasya, [and] Siikarasya installed at the gates to the east, north, west, [and] south [i.e., in the cardinal points, counterclockwise], and Yamada4hi, Yamadiiti, Yamadaqt~triJ}i, [and] Yamamathani placed in the corners to the southeast, southwest, northwest, [and] northeast [i.e., in the intermediate points, clockwise], [scripture] says: Or, in addition, he should visualize eight goddesses beginning with Kakasya. [v. 36cd]
[§14]
The four [goddesses] Kakasya (Crow-face), plus [Ulukasya (Owlf.acc), Svanasya (Dog-f.acc), and Sukarasya (Hog-face)] have the faces of their names, but [the four goddesses] YamadaQhi (Death's Tooth), plus [Yamadiiti (Death's Messenger), Yamadarp~trii,ti (Dcath's Fang), and Yamamathani (Dcath's Destruction)] have human faces and are of two colors. [All] eight are scaled with Amoghasiddhi [on their crowns]. They arc similar to [the four goddesses on the petals] starting with ~akini, and have the further (param) distinguishing feature of corpse thrones. It is taught [in scripture]:
(41) Just as of~ni 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. ns [All eight] have corpse thrones. They are very fearsome [and arc] intent upon accomplishing the welfare of [all] beings.
xxx
These four goddesses arc bitonal as they occupy the comers of the m~Qala where the colors of the four directions meet.
156
(§Is]
VAJRAVARAHISADHANA
3sirp mantra yatba. orp kikasye burp burp' 47 phat. orp uliikisye burp burp pha{. orp Svinisye burp burp pba{. orp suk.arasye burp burp phaf. {N4JV} orp yamadi4ftiye••• burp burp phat. {K59v}
orp yamadiitiye burp burp phat. orp yamadaqlwiQiye burp burp phat. orp yamamathaniye burp burp pha{.
(§16]
adhuna sarppiirQam eva devicakrarp bhavayitum' 4' icchllnta,t'JI) praty aha-
"yad vetyidi" [v. 37] cakratrayaSabdcna cittacakrarp vikcakrarp kiyacakram ucyate.
Lt7
hw,t Jnu,r] codd. The Tibetan text for all four mantras reads: hu1fl hi,.
L48
til¥h~1 K; ~ N. D.
149
bluillll]illlm] K. N; bhtiMNihlm D. icch.nuz'!'] em.; i«hmft codd. (cf. Textual Note on §Io.)
ISO
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
[§15]
257
Their mantras are as follows: [gate goddesses] 01flltlllttisyt hu'!l hu1fl phaf; 01fl ulultiisyt hu'!' hu'!' phat O'!' lvtintisyt hu'!' hu'!' phaf; D'!' sU/uzrtisye hu'!' hu'!'
phat [corner goddesses] 07f' yamaJ#hiyt hu'!' hu'!' phat; O'!' yamllliiitiyt hu'!' hu'!' phat; O'!' yawuu/41fl!fri'.'iyt hu'!' hu'!' phaf; O'!' Jllm4mllthaniyt hu'!' hu'!' phat Here ends meditation stage 3·
[Mtditation Stagt 4] [§16]
Now for someone wishing (icchan14'!') 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
[§17]
VAJRAVARAHiSADHANA
tatrakaSe meror ana~u 1 ~ 1 cittacakram ~!if;up nilavarJ];up nila 1~lvajravaliparivrwJl, IH tasya piirvottarapa5cimadalqi!]~U pulliramalayajalandhara-o44iyanarbudakhy~u yathakramatp prac:at)~~iprabhavati 1 S4mahanasa
dhyeyal_t,
agneyanairtyavayavyaisanar~u I~~
godavarirame5varadeviko!amalavakhye~u varidrumaccha~.
viramatikharvarilailkd{D44r} iti cittacakram. khecari!]arp
sarp~.
[§18]
tatra bhiimivalaye meror ~~di~u vakcakram ~!irarp raktarp raktapadmavaliparivrwn. tasya piirvottarapa5cimadalqiJ]a~u kamarupa-oQra 156trisakunikoSalakhy~u airavatimahabhairava 157vayuvegasurabh~o 1 ~· bha~, {K6or} agneyanairrtravayavyaiSanarqu kalingalarppakakiiicihimalayasarpjfiakefu 5yamadevisubhadrahayakarl]akhaginanal}. 1w iti vakcakram. 160 bhiicari~ 161 sarp~.
~]
N; Ji/tpJJ K, D. nila) N; nila1f1 K. D. 153 lltljrtiJNZiiparifl!lll'!'] codd.; emendation to rrillwafrbali'fl parifl!lll1fl is perhaps desirable, but the phrase re-appears below (§I8: paJm4va/iparifl!lll1fl; §19: iuk!Mahava/iparifl!lll1f1). I 54 prabh4vatz1 K, N; prabham4ti D. ISS .tif4n4rqu] conj.; aiJtinqu K. N; dllnqu D. I 56 t¥ra] Kpc., o(fba) K(mg); - mlilaJNZ- N; omit D. I 57 bhairavtl} K. D; bh.-ir.tvi N. ISS surabha/qytl] conj.; surabhalt,i K. D; sura- bhalt,iN. I 59 kh.tirran4f1.] corr.; lthllttbuuui codd. I6o va!tcaltram] em.; vdltc.-!tra codd. 161 bhiicarirub!J) K; bhiicar41JI1'!' N, D. 151
152
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
259
[§17]
Of those [three circles of the full maJ]4aJa], the mind circle is in space in the eight directions of Meru, S49 with eight "sectors.. (dram}, Dlli 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, 044iyana, [and] Arbuda respectively [i.e., installed counterclockwise] arc to be imagined [the goddesses] Pracal)qa, Ca.)qalqi, Prabhavati, [and] Mahinasa. ua~i On the sectors in the southeast, southwest, northwest, [and] northeast [i.e., installed clockwise], in those [sites] called Godavari, IUmdvara, Deviko!a, [and] Milava arc [the goddesses] Viramati, Kharvari, I...aJikcSvari, [and] Drwnacchaya.n*ii This is the mind circle, the congregation 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 Kamariipa, Q4ra, TriSakuni, [and] KoSala arc to be visualized [the goddesses] Airavati, Mahabhairava, Vayuvega, [and] Surabhalqi.aniv On the sectors in the southeast, southwest, northwest, [and] northeast, in those [sites] designated Kalitiga, Larppaka, Kalici, [and] Himalaya arc [the goddesses] Syarnadcvi, Subhadra, Hayakar~a, [and] Khaganana. un This is the speech circle, the congregation of earth-dwelling (goddesses].
xxxi Literally, tlr11m means ·corner," or perhaps ·spoke" if the circle (ultr11m) is thought of as a wheel. xxxii Terrible One (P~<Ji), Fierce-eye (~i). One Who Has Light (Prabhivati), and Great-nose (Mahanisl). xxxiii Heroic One (v-uamati), Dwarfish One (Kharvari), Queen oflailka (I..ankdvari), and Tree Shade (Drumacchiyi). (Ltue/Mri may mean •Queen of Demons." as I...ankdvara is another name of the demon king, ~a. The Queen of Lanka is associated with cremation-ground-dwelling r4/qllsta and meat-eating cJikinis whose main dwelling was Lanka.} xxxiv Elephant Queen? (Airivati; feminine of Indra's elephant), Grcady Terrible (Mahibhairav:i), Wmd Turbulence (Vayuvegi), and Wme Drinker (Swabhalqi). xxxv Blue Queen (Syamadevi, Tib.: mto bumg.s. pale blue), Good Lady (Subhadra), Horse-ears (Hayakan;ti), and Bird-&cc (Khaginana).
260
YAJRAYARAHISADHANA
tato bhiimitale samudravalaye kayacakram ~tiJ'alp suklatp suklacakravaliparivrtam. {N.p.r} wya piirvottarapa5cimadalqii]~U
[§19]
pretapurigrhadevatisa~p-asuvart]advipakhyqu
cakrav~4arolWaUQ4inicakravarmi1]yo dhycyi~J,
agneyanairft}'aviyavyaiSinarqu 162 nagarasindhumarukulatikhyqu suvirimahabalicakravartinimahivi~. I6J
iti kayacakram. 164
patilavasininarp sarpgrahal}. [§20]
tatra cittavakkayacakrastha devyo 'nukramit k!lt:li raktil:l sukli
alqobhyimitibhavairocanamudritiS ca, sarvil} I6S p~4idayo devya ekavaktriS caturbhuj~ vime khatviilgakapiladharil} dalqiJ]e kanricJamarudhalis trinetra mukta.keSi nagnal] paficamudravibh~itiS ca lw}thavalambinara$iromili iliQhapadiS ca. {K6ov} {D44v}
[§u]
pitilatale 'gniviyuvalayamadhyc meror ~lqu ~~ 166 sma5anqu k.akasyidayo bhivyil}. ta~
sarvasam eva vajcavarahyadinilp lalitc vajramila.
162 163 164 165
v4Ja'?4iJ1 K; "4Ju114it'N; rNiJul?"' D. 7riAINwiryli!J.] corr.; 1Nlh411iry4 codcl ~11m] em.; /t4y«11ltrll codd. ~) em.; SllrN codd.
166
"!f4SU] Tib. (p. 39·7:
lnr/tiJ ""'ms lll)i su codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
(§19]
261
Then (t4to), on the surfilce of the eanh 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, Grhadevati,sso Sauranra, [and] Suvaq1advipa, are to be imagined [the goddesses] Cakravega, KhaJ}Qar<>ha, Saur.t4ini, [and] Cakravarmil}i.uzvi On the sectors in the southeast, southwest, northwest, [and] northeast, in those [sites] called Nagara, Sindhu, Maru, [and] Kulatim are [the goddesses] Suviri, Mahabala, Cakravartini, [and] Mahavirya.umi This is the body circle, the congregation of [goddesses] abiding in the underworld {ptltlilttm).
[§20]
In that [maJ}4aia] the goddesses placed in the mind circle, speech circle, and body circle arc [colored] respectively, black, uniii red, [and] white, and arc sealed with Alqobhya, Amitabha, and Vairocana [on their crowns]. All [twenty-four] goddesses beginning with PraCaJ}cJi 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 t#zmaru. They have three eyes, loose hair, they arc naked, and are adorned with the five signs of observance (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 Mcru, in the eight cremation grounds, arc to be visualized [the goddesses of the outer ffiaJ}4aia] starting with Kakasya. m All of the [thirty-seven goddesses of the ffiaJ}4ala], from Vajravirihi on, have a garland of vajras on their foreheads.
Discus Speed (Cakravegi), Klw;l4aroha (literally, "sprouting in bits," also the name of a goddess of the cardinal pctab), Winc-scller·s Wife (Sa~4ini, Tib. "wine-seller" chmtg 't:shtmg ma), Armored with Cakras (Cakravarm~). xxxvii Great Warriorcss (Suviri), Mightily Strong (Mahibala), One Who Rules with the Wheel (Cakravanini, Tib. 'khor los sgyur ma), Mighty Energy (Mahiviryi). xxxviii For black (/tmuz), the Tibetan reads •blue" (mgon mo). xxxvi
2.62.
[§22]
VAJRAVARAHiSADHANA
*atha devatahaJ!1kiraldbhliya167 sarvajfiatiptaye tatha devatayogato yojya bodhipalqikadharm~. ete punar dharma~] saptatriqt$at.
[§23] f tatra caturviparya.sanarp sucisukhanityatmanarp pratipalqataya catvary anusmft}'Upasthanani 16u bhavanti. tad yatha kayanusmftYUpasthatlaJ!l Qaki~i, {N42v} vedananusmftYUpasthanaJ!llama, dharmanusmftYUpasthanal!l ~cJaroha, ci nan usmft}'UpasthinaJ!l riipi~i. grhitagrahi 169 jfiinaJ!l smrri~ sm~arp, tasya upasthanam upasthtipalta1J2, 110 bahulavacanat antarbhavi~yarthat 171 kartari lyut. 172 tat pun~ piirvanubhiitasyopasthapakatvad113 titmagu!J4*vism~apratipalqabhiitam. 174 bhiitendriyasaJ!lgha~ ka~,
sukhadyanubhavom vedana, bhiitakopr dharm~, pratibhasamatfaJ!1 1' 6 cittam. {K6u} t~rp mayopamatvenanusm~, m tasyopasthapakaqt kayadyanusmft}'Upasthanam.
liibhliy4] conj. (Tib. p. 40.1: translates JgoJ p4 "to stabilize," i.e., as if reading cf. GSSs K26v4: Jnat4ha,Uratydgtlya. 168 catvary asm.rtyujNUthanlini or Clttviri sm.rtyupasthan41fl1 conj.; caiVflryasm.rtyupasthtiNlni codd. 169 grhit~~grahz1 em.; grhitigrahi codd. 170 upasthapa/ta'!'] conj.; upasth4NZ1fZJillul'!' K. D; upast}NlNIJtllta'!' N. 171 ~yarthal) K. N; !IJ"'!"'r/qdt D. 172 ltartari /yuf.] K, N; ltttrtli!fJU!Ii D. 173 purwinublmt~UJDpasthlipU<JIIViiil>] conj. Sanderson pu17NlJbhiittirthasyopasth4yalt- codd. 174 blnita'!'] em.; bhuta./1 codd. 175 anubhaw] K, D; anub~N. 176 mitra'!'] em.; min-a codd. 177 smara~'!'l em.; smara'!' codd. 167
• sthllp4niJil); Niitiy4 codd.;
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
263
[§2.2]
[The thirty-seven factors that favor enlightenment (botihipalqikadharmas) §§22-29]m Next, in order to ~blishthe ego identity (ahtu[Jttira}_l)of the deity, also to gain omniscience, the factors that favor enlightenment (bodhiptilqiluu/harmas) 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-sm.rtyupasthtinas)P.,. [The first] of these are the bringers of awareness (anusm.rtyupasthtinas) because they oppose the four inverted views (viparytisas), [namely: that what is not pure, pleasurable, permanent, or possessing a self really is] pure, pleasurable, permanent, [and possessing] a sel£ m They are four [in number and are embodied in the InaQ(.iala] as follows: (i) bringing awareness of the body, as J;>akini, (ii) bringing awareness of feelings, Lama, (iii) bringing awareness of reality, Kha!]9ar'oha, and (iv) bringing awareness of mind, Rupi.a:ti. "Awareness" (sm.rtib > smararuzm) means a cognition {jfitinam) that grasps what has already been grasped [on a previous occasion]. [The compound sm.rtyupasthti111lm means] "the upasthti111lm Q[ this awareness" [where] upasthti111lm means "that which brings" (upasthti111lm > upasthtipakam). The term bahu/4 "in diverse circumstances" (in PaJ}ini 3·3-II3) allows this suffix /yu! [> -a111l] 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 (!Ji) being explicit in the form itself [i.e., upasthtinam rather than upasthtipa111lm]. Because it brings back (punal,J ... upasthtipaltatviill) what has been previously experienced, it is the antidote to forgetting qualiti~s of on~s~lf (? titmagu'!"') [such as body, feelings, reality, or mind].~S6
"Body,. (lttiyab) is a conglomeration of elements and senses. "Feeling" (vedanti) is the experience of pleasure and so forth. "Reality" (dharmab) is [in the sense of] highest reality. "Mind" (cittam) is mere appearance (pratibhtisa/J). [In compound], the bringers of awareness of body, [feeling, reality, and mind] indicate a genitive relationship, [namely] the bringing {upasthtipalttt) 2f that [awareness], i.e., recollection (anusmara!Jam) that (-tv~111l) those [four "qualities of oneself," body, etc.] are [all] like an illusion.~''
VAJRAVARAHISADHANA
[§2.4]
catvira 171 rddhipadal}. tatra chandarddhipadai} p~4a, viryarddhipada$1" cal}Qalqi, mimarpsarddhipadal] 110 prabbavati, 111 cittarddhipado mahinasa, iti.
{D4sr}
saddharmav~aye srutadyabhil~ 112 chan~.*
rJJhib samrJJhiJ!'' cittasya samidhanarp, tasyil} pada angani rddhipadal}. chandaS casau rddhipadaS ceti vigrhya samba~}. evarp viryarddhipididi,u ca boddhavyam. ••~ "rtr aka, "116 iti
pralqtibhavad gul}abbava}:l. kuSale karmaQi cewo 'bhyutsiho viryarp, 117 minWpsatyantavicaJ"al}a, cittarp jfiinam. [§25]
178 179
indati jfianarp 1" yasmin sati tad indriyarp calquradi. 1" tatsadharmyat sraddhadikam apindriyam 190 ucyate. tat paficavidharp, tad yatha sraddhendriyarp viramati, {N43r} viryendriyarp kharvari, smrrindriyarp laOkeSvari, samadhindriyarp drumacchaya, prajfiendriyam airavati.
CiUWira] D; CJitvlri K, N. pli~WJ
N, D; p4t/41K. 18o ~] corr.; JNiM codd.
prabhtitltltt-rtiJhiptitJAI em] Kmgx. N. D. lrulliiJyabht] K, N; irut4 abhi D. .rt/Jhi/1 Sllm,rt/Jhi/1] conj.; ,rt/Jhi (SIII~ga!'J.rt/Jhi!J. K; ,rt/Jhip4114!1 N, D. 184 p4ti4 ang4nt] K; p41/4nglini N. D. 181 182 183
185 186 187 188 189 190
~'!'] K; bot/hyllliga!JN, D. ,rty au] Kpc.; rt/Nt- ty alta Kac.; ,rtiMty aU N, D. Sllho lli1J41!1] K; Slihtillirya N, D. ind4ti jUNt1f1] K; omit N, D. cllltpntUit] K; ~u'!' D. N. apintbiJtlm] corr.; IIJ>i indriJIIm codd.
liM
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
[§24]
265
[The four means of mind concentration (rt/Jhiplit/as)psa [Then] there are the four means of mind concentration (rrJJhiJNltltls). Of these, (i) desire (chand4 ,rt/Jhipt144p) is PracaJ]cP,, (ii) energy (virya rt14hipliiJ4b), CaJ.t4alqi, (iii) investigation (mimll1'f'SII ,rt/Jhipi~Jab), Prabhavati, and (iv) mind (citta .rt/Jhipi~Jab).
Mahanasa. [In the compound chant/a rt1JhiptU/4J:J], chant/as {desire) means longing for [the development of wisdom by] learning, [reflection], and [meditationPs' in the sphere of Buddhist (sad) teaching. [In the compound .re/Jhi plifi4!1], .rt/Jhi means sa'flrJJhi, i.e., concentration of the mind. S60 The ,rtidhiplititis are the means (ptitJdb > anglini!" of [accomplishing] rt1Jhi [so understood]. The compound chanJa rJJhipdlia should be analyzed (vighya) as a ltarmatihdrll]4 compound [meaning, the means of mind concentration that is desire]. The terms virya ,rJJhipliJizb. etc., should be understood in the same way. [The application of the grammatical rule means] there is no substitution of the fU!Jil vowel [ar in the place of (in .rJtihi/1)] because [it] remains in its natural state by the rule ,rty a/ulb (Parpni 6.x.u.8). ~ [In compound with rJJhipliJizb], viryam (energy) means mental energy with regard to [the ten] skillful actions, mimll1f1Sii (investigation) means the deepest cogitation, cittam (mind) means cognition (}Ninam).
r-
[§2.5]
[The five "empowering" faculties (inJriyas)]~3 The eyes and other [sense organs] are called indriya because when they are present [and active], cognition is empowered (vinJ). Because they share this character, the term intlriya is also used for &ith, [energy, awareness, meditation], and [wisdom]. This ["empowerer" (inJriyam)] is of five kinds: (i) faith (lraddhmdriyam), which is Virarnati, (ii) energy (virymdriyam). Kharvari, (iii) awareness (sm.rtindriyam), Wkdvari, (iv) meditation (sllmliJhinJriyam), Drumacchaya, and (v) wisdom (prajflmdriyam),
Airavan.
2.66
VAJ RAVARAH iS AD HAN A
tatra viryam uktam. 191 SffirW COkta. Sraddha tu laukikalokotwayarp samyagd~tau karmaphalopabhoge ca cittaprasadal}. samadhis1' 2 cittaikagrata. heyopadeyasyavadhariki buddhil;t prajfia. sraddhendriy3Sritan 19' dharman yad udanayaty'CJot upa9haukayati tad viryendriyam. {K6IV} viryopa9haukitasyarthasyasarppramo~ smrri~. smrtindriyam asritan dharman yad abhimukhi 19Skaroti tat samadhindriyarp. samadhindriye~ilqtan 196 dharman yad vidhyati tat prajfiendriyam. (§2.6]
indriyit}y eva taratamadibhedena prakaqapraptani balany ucyante. tad yatha sraddhabalarp mahabhairava, viryabalarp vayuvega, smrribalarp surabhalqi, samadhibalarp 5yamadevi, prajiiabalarp subhadra ceti. {D45V}
[§2.7]
'samyag bodher angani kiraz.tani sarpbodhyailgani.'"' tani puna~} sapta, tad yatha samadhisatpbodhyail.garp hayakar~a, viryasarpbodhyail.garp khaganana, pritisarpbodhyangarp cakravega, prasrabdhisarpbodhyail.garp kh~4aroha, dharmapravicayasarpbodhyailgarp $au~4ini, Slllftisarp 191bodhyail.garp cakravarmi~i, 1 '" upelqa sarpbodhyarigarp suvireti.
191 191 193
194 195 196
Vi1JIIm uk14'!'] K; virymJriyt~m u-"14- N, viryt~('!'?) indriy4m ulttll D.
SllmMJhilj K; SllmMJhiN, D. irtUJJhnuiriylilrillln] conj. Sanderson; lrtuiJJNpt1y4m codd.; cf. Asii ch. 16, p. 31 (cited in full in n. 565 to Translation). yiUi ut.I4NIJiliY upa] conj.; yaJy rul4n4yt~ty up4 codd. .bhimukh~ em.; abhimukhi codd. 14t-aiU] Kpc.; 14 ·, (Silm4tlhiN/riy4'!') Sllm- K(mg2); 141 Sll1NiJhintlriyn-ailui
N.D. 197
Sll"'Jttf botihn-arigani ura!'4ni Jil'!'bot/hytznganzl conj. Sanderson; 14'!'~ luirtt!fll ~mboJhn- angtini luiraruini bot/hytzngtini K. N; 14botihyn,ga luirt~!"l - bot/hytzngani D.
198 199
14'!'] N, D; S4 K. cma1111rmi!'IJ K, N; cakravamut!Ji D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
167
Of these, "energy" has [already] been discussed [under virya §2.4]; "awareness" too has been discussed [under sm.nyupasthanam, §23]. As for "f.Uth," this is clarity of mind (ciwprasat/tJ.J) in respect of the correct view in its worldly and supramundane [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.S64
rtltihiptiJa/1.
The faculty of energy is that which "presents" (ut./4nayati > upat/haultayati) those existents (JharmAs) that rest on the faculty of faith. Awareness (sm.rti/1) is the nondestruction of things (artha/J) [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 (viJhyati) those existents that have been brought into focus (~ltagriJtrta) through the faculty of meditation. 56s [§26]
[The five powers (baiAs)] These same faculties, when they have reached their highest degree through gradual intensification, are called the "powers" (blli4s).S66 Accordingly, (i) the power of faith (lrlllitihdblllllm) is Mahabhairavi, (ii) the power of energy (viryaba/4m), Vayuv~ (iii) the power of awareness (sm.rtiba/4m), Surabhalqi, (iv) the power of meditation (samtiJhiba/4m), Syimadevi, and (v) the power of wisdom (prajnabaltzm). Subhadra.
[§27]
[The seven causes of complete enlightenment (Sil1ftbodhyangas)].,.7 [The next elements in the list of thirty-seven are] the Sll1ftbodhyangas, the causes (ang4ni > ltara'}lini) of complete enlightenment (sa,.boJhil) > Sllmyag boJhil)). They are seven [in number]: (i) meditation (samadhisa,.bodhyangam). which is Hayakar9a, (ii) energy (viryasa,bodhy4ngam), Khaganana, (iii) joy (pritisa1[lbotihyangam), Cakravega, (iv) serenity (prasrabJhisa,.boJhyangam). Kha.QQa!oha, (v) investigation of dharmas (dharmttprllVicllJilSil'!lbodhyangllm), Sau94ini, (vi) awareness (sm.rtisambodhyangam). Cakravarmi9i, and (vii) equanimity (up~lt!lisll1ftbodhyangam). Suvira.
2.68
VAJRAVARAHISADHANA
samadhis cittaikagrara. 200 sa cisau bodhyailgaJ!l ceti vigrhya samasal). {N.uv} C'Val!l sarpbodhyailgadi~u 201 boddhavyam. {K62r} kauSidyanavalWatpwH viryam. manaso dharmaikigrata priti}.l. atmatmiyadi20-\rasanocchedit* kayavakcittinirp kuSale karmai]iws saktatvaqi prasrabdhil}. dhar~arp nairatmyariipet]avadhirar]arp dharmapravicayal}.sakalasattvanhanimitta207sarpbodhipl'al]idhanasrutacintabhavanader asarppramo~ smrtil}. audisinyacittatopekp. [§28]
kldavarai]asya pratipalqabhutatrid ~i samyagdfltyadiny anangani yasya sa ~tafl80 2111 marF.t. jfteyavatai]a209prahiJ.tabhavanayai mrgyate 'nvifyate, iri m. . . asyangani yatha samyag~pr 10 mahibala, samyaksarpkalpa5 cakravartini, {D46r} samyagvag mahaviryi, samyaklcarmantal} kakasya, samyagajiva uliikasya, samyagvyayamal) nrinasya, samyaksmrril} siikarasya, samyaksamadhir bhagavati vajravarahi. tatra buddhavakye paramagauravcup samyagdfltii]. prarabdhasya lq-tya.syapari~ samyaksarpkalpaf.l. sattvanhivisarpvadakarp21 1 vacanarp samyagvak. {K62v} daSakuSalinatikramet]a lqtyarp samyakkarmintal). nyayirjitavittenajivanarp212 samyagajival}. svapararthasampannimittal!l kayavanmana.saqt karma samyagvyayamal). buddhavacaninusmaraJ]arp samyaksmftil}. srivajravarahirupalambanarp samyaksamadhil}. {Nw}
202
sa7NiJhil rittailttigrat4) em.; samlilihicitult4grat4 K. samllllhicitta••alliN; sa7Nilihicitalt4ya D. JID!Ibotihyangtitii,u) conj.; ~ K. N; Slllfl~ D. ltawuJy4navalt4ill'!f1 N .: ltawuJymatNIIt414,. D: ~ K.
103
limuitmiytU/tl em.; lilmli litmiylidi codcl.
200
WI
O«he~ conj.; occhetlalt4t codd. lndak ltarma~zl K; lndaiatJharma~i N, D. 1o6 Jharma] em.; pratlharma K; pra - rmma N, pratitJIMrma D. 107 nimitta] em.; nimittll'fl codcl. 2o8 b]d!fliligoJK. N: li'J'i!!liliglini D. 209 jMytlvara!'ll] K; yo jMJiivarll!'ll N; yogtylivara!'ll D. 210 tin#~ K, N; ti.'!!i D. 211 uisa,.~} K; uisa7f1uotlalttz, N; uisa7f1JIIitlaraU7fl D. 211 nyliytlrjitauittmlijiuana'!') K; 11J1lyorjitacittmli- N, D. 104
ws
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
169
Meditation (sllmtUihi/1) is one-pointedness of mind. SllmlilihibotihJ111iga, the cause of complete enlightenment that is meditation, is to be analyzed (vighya, cf. §2.4) as a ltamuuihtiraya 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 opponunity for sluggishness. "Joy" is the state of focusing the mind on Jhllmuzs. "Serenity" is the adherence of body, speech, and mind to [the ten] good actions because of the cutting off of latent impressions (vlisllnli), such as those related co [the ideas of] self and ownership. The investigation of existents (tihamllls) 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. "Equanimity" is the state of having [one's] mind uninvolved. [§2.8]
(The eight &ctors of the path (fl!!dngamdrga)] In the term t11Jii!!li1igo mdrga/J (the path having eight noble factors), the word mllrga/1 (path) is qualified by the bahuvrihi adjective, ilr:Jii!!tlngo ([that] whose eight factors are noble). This refers to the faa that the path has eight (11!!11-) factors that promote it (angtlni), namdy right view and so on. These factors are termed tlrya (noble) because they oppose the barrier of the defilements (ltkltivarll!lJlm). The word mllrga (path) is from the verb m.rg "to seek" as it is that which is sought (m.rgyat~ > anvi!Jau) 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] (jfi~ra!lJlm). 5611
v
The factors of that [eightfold path] are as follows: (i) right view (samyagdt!.ti!J) is Mahabala, (ii) right resolve (samyalua'flkaipa!J), Cakravartini, (iii) right speech (samyagvtllt), Mahavirya, (iv) right action (samyllltlutrmtintll/J), Kakasya, (v) right livelihood (samyagajiva/J), Uliikasya, (vi) right effort (samyagvytlylimJZfJJ, Sva.wya, (vii) right mindfulness (samyaltsm.rti[1), Siikarasya, and (viii) right meditation (samya/tsllmi1Jhi[1), the goddess Vajravarahi. 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
2.70
VAJRAVARAHiSADHANA
[§29]
ragada~
samyak prahiyante ebhir 11 iti lqtva samyakprah3.Qani catvari, tad yatha anutpannanarp kl!Salanarp dharrn3.J)am ucpadanaqt yamad34hi, 214 ucpannanarp kuSala.na.rpm dharrn3.J)arp ralqaJ.laqt yamaduti. ucpannanam akuSalanarp dharm3.Q3.1p prahar:tam 2 ' 6 yamadaqtnrit:ti, 2 ' 7 anutpannanam akuSalanarp dharrn3.1)3.m anutpadanarp yamamathani ceri. athatalJ 218 sampravalqyami kayaman9alam unamam I pi!hadikrarnayogena daSabhiirnivi.SuddhicalJ I (42)
[§30]
2.13 2.14 2.15 2.16
mpu ja o a go ra de rna lea o tri ko ka Ia lea hi pre gr sau su nasi rna ku. icy agamalJ. {D46v} atrarthalJ, pulliramalayadinam220 ad~ar3.J)i -ityadini221 sanusvar3.Qy uccaryance.lll pwpkaradyalqarapariQatani {K63r} agre siinyani cakra.Qi, pulliramalayadini pi!hadisthanani SiralJprabhrtini jha!iti boddhavyani. t~um sira1Jprabhrti~ 24 avasthita na9~,m pracar:t4adidevatiparir:tamet:ta vyavasthiti bhavya iti.
tbhi~
Kac.; tbhi"(vi)r K(mg2), N(mg~);
J'""M#hiJ
n~ir D.
K; J4mllli4(ti?)i N; J"1PIIIIi4Ji D.
lrui414111i'!'] N, D; lrui4/4'!' K. prllhd!J4m] corr.; prllhd'."l N; Nii4NI'!' Kmg; omit D. 117 J41PIIIIiA'!'!!ri!'il K. N; J4111111iUf!ri D. 218 athtiu/1] K, N; ath4D. 119 pu-ku] K, N: pu,-ku, D. 110 pu/JiramalayM/iNim] K; pu/JiramaJ.ye. JiNim N, D. 111 -ityiliinzl conj.; ityUini K. N; ityUini D. 111 Slinusvdrli!IJ umiryanu) K; slinu - rii!Jicdhiy~tnu N; /4nugllrll!IJic coJyttnu D. 2.13 tqu] K; uN, D. 124 liraftprabhrtifv] Kpc.; (lira/J)prabh.rfi!v K(rttg1); iira/Jprllbh_rti ry•N; Jirafr prabhiti ry 0 D. 2.2.5 ~] K; rui-~N; Nlnw/JD.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
2.71
speech that is not contradictory to the welfare ofbcin~; right action is an act [performed] without transgressing the ten vinuous acts; right livelihood is supporting oneself with income (vittam) that has been honesdy acquired; right effort is bodily, spoken, or mental action that aims at fulfilling the welf.ue of oneself and others; right mindfulness is recollection of the word of the Buddha; right meditation is assuming the form ofVajravarahi. [§29]
[The four means of complete abandonment (samya/tprahll!'fJS)]S69 [Then] there are the samyaltprahll!fAS, "the means of complete abandonment," passion and the other [defilements] being what is completely abandoned. They are four [in number]: (i) The giving rise to skillful dharmas that have not [yet] arisen, which is YamadaQhi, (ii) the protection of skillful dharmas that have [already] arisen, Yamaduti, (iii} the abandoning of unskillful dharmas that have [already] arisen, Yamadatpnril)i, and (iv) the nonarising (anutpa44Nlm) of unskillful dharmas that have not [yet] arisen, Yamamathani. [The body m~c_lala (ltayama!'f!td4)] (42) Now I shall teach the highest body ~4aJa; [I will do this] through the sequence that begins with the sites (p~thlilii),.m. with their purifying correspondences (viiuJJhitll-) for the ten stages (tWabhumi-).
[§30]
Scripture relates: 170
pu ja o a go ra tk mil ltd o tri Ito Ita 14 Ita hi pr~ gr sau su Nl sima ltu
xxxix The meaning of the abbreviation pi,m;Ji is expanded upon in the prose below (§30) and the following venes (vv. 43-53). It indicates the correlations of the twenty-four sites with the twenty-four goddesss of the three ~~ cakras of
body, speech, and mind. These are further equated with points on the yogindeity's body. Table 2.3 gives a summary of the following correspondences.
VAJRAVARAHISADHANA
pulliramalaye au:t4irP prapflrvir!l1l6 farasi sthitim I jalandhare Sikhayilp tu Cll}4ilqirp paribhivayet I (43) da.lqir.WcarQato dhyiyad127 <>44iyane prabhavatim I arbude sirasal] pmhe rnahana.wp vibhavayet I (44)
vame godavari kan:ten' viramatim vicintayet I rimdvare ca bhrii1fllllihyi-29 kharvarirp pa5ya sarpsthitim I calqurdvaye ca devi-:taqt kote lailkdvarim imam I (45) skandhadvaye samakhyatarp malavaddasarpjfiakamlJO I tatra vai cintayet devirpUI drumacchiyeti namikam I (46)
216 pr~tplimi'fl] K, N; prt~pli~ D. 2.27 ~ em.; tlhJ9U codd. 218 v41N p}41111ri u~ codd. (loose Sanskrit). Understand llfiwu ~ lt~U?U, or an infelicitow UmwJhb11]4. ~ri~. • 2.19 ell bhru~ conj.; b~ K; blri(tb)mlllihye N, r~ D. 2.30 m4/.rt~'f'.ililllutm) conj.; ~ wlils4'f'jlilllutmcodd.; Tib. p. 41·7= t/piUig mgo g.ytU JAng g.yon P"1f7iti I""' 14 1M r.hn by. 1M su '"The right and left upper-arms (no case) known as (r.hn bytt btl) Malava (short a-)." 2.31 Jm''f'] em.; Jni codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
2.73
The meaning here is that the first syllables of [the sites] beginning with Pulliramalaya, pu, }li~ etc., are [to be] pronounced adding a nasal ending (anusvira/1) [i.e., ptDf~,j~ etc.]. One is to understand the syllables pu'!'~ etc., transforming into [twenty-four] empty circles 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 PracaJ}4a and so forth [reside in the sites, and that they] have transformed into the channels (Niljis) [that issue] within those [points on the body] staning with the head. [As follows:] (43) One should visualize PracaJ}4a•' in Pulliramalaya in one's
head,m CaJ]~i in Jalandhara at the crown (liltha). (44) On the right ear he should imagine Prabhavati in 044iyana; in Arbuda, on the back of the head (Jirasa/J P."!!ht)~ m he should visualize Mahanasa.
These are the sites {pi!has) [that correspond with] the [first bodhisattVa] stage (bhumib)~ "joyful" (pramutlitti).di (4S) On the left ear in Go4avari he should visualize Viramati; and in R.amdvara, the point between the eyebrows (bhrii~). see Kharvari positioned; and on the two eyes (calqurdvayt)m in Deviko~, Lailkdvari. (46) On the two shoulders (sltanJhaJva~/ 74 is the place known as Malava; just there, he should imagine the goddess named Drumacchayi. x1 xli
Literally, ·nne goddess called] c.~prccedcd by Prw-." Literally, '"Thw the site, joyful stage." The twenty-four sites, Pulliramalaya, etc., arc further divided into ten kins of "places": piP,., uptzpit/Ha, /qmta, u~trii!S, ~ uJHI«<Mnt~Dhta. ~. ~. lmAibua, and uJNlfm41411115. These arc now equated with the ten bodhisattVa states (bhumis). Umipatidcva gives the 6fch and sixth bhumis as swlurj11J11°and llbhimulthi 0 , which, according to the Dtl/4bhumilwUrr. (Oayal1931: 183-91), is in reverse order. The text for the eighth bhumi (/laZ/4°), has dropped out, as shown in Tcxrual Note to . The places are also shown in table 13.
VAJ RAVARAHiSADHANA
274
ity upapi~haf!l vimala bhiirni}:l.m kalqayo~ kimariipe tu dhyayad airavatim imam I o9rem stanadvaye devirp mahabhairavikarp tatha I (47)
iti ~etrarp prabhakari bhiirniJ:t. nabhau triSakunau paSyed vayuvegiql sphuraddyucim I {K63v} ke>Sale nasikagre tu surabhalqim imarp tatha I (48) ity upalqetram arci~mati bhii~. kalirige vadane devirp Syimakhyiqt tu vibhavayet I {D47r} lampake kaQthadde tu subhadratp. devatirp tatha I (49) iti chandoho 'bhimukhi bhiimiQ. kaficyilp tu hrdaye devirp hayakart.tarn vibhavayet I mtt!hrt~
himalaye sthane khagananarn imarp tatha I (so)
iti upacchandohal) 235 sudurjaya bhiimiQ. pretapuryarp smardm linge cakravegarplasad237dyutim I ya grhadevati tasyarp gude syat khat:tQarohika238 I (sl)
232 233 234 235 236 237 238
vim414 bhumi[J] K; prabhalutri bhiimi[J N; uimtlld bhiimi[J D. ~w)
K. N; o'!' D.
m«fort] mtdrt K, N; wudra D. Tib. p. 42.3: mdom.r'groin." upacchmuitJ~] N; upaah4ntltJh4 K. D. .murrtl] em.; .murrt K, N; .murra D. /4sd] em.; ilzs4111 codd.
lthtu:uf41'0hiU] em.; lth4ruj4rohillll'!l codd.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
275
These are the secondary sites (upapithas), the [second bodhisattVa] stage, "stainless" (vi1Nlili). (47) In the two armpits
(klllqayob)." 1"' in Kamariipa, he should
imagine Airivati; similarly in OQra, on the two breasts, the goddess Mahabhairavika. These are the fields (lqmas), the [third bodhisattva] stage, "illuminating" (prabiNiltari). (48) On the navel in TriSakuni, he should sec Vayuvcga of scin-
tillating light (sphuratiJyutim); and similarly in KoSala, on the tip of the nose, Suribhalqi. These are the secondary fields (upalqmas), the [fourth bodhisattva] stage, "blazing" (arcipnati). (49) In Kalinga, on the mouth (vaJane)."''6 he should visualize the
goddess called Sya.ma; and similarly in Lampaka, at the throat, the deity Subhadra. These are the chandohas, the [fifth bodhisattva] stage, "confident approach" (abhimukhi). dii (so)
In Kalici, at the heart, he should visualize the goddess Hayakan]a; similarly on the penis (me,P,re)m in Himalaya, Khaganana.
These are the secondary chanJohas (upacchanJohas), the [sixth bodhisattva] stage, "invincible" (nu/urjaya). (sl) In Pretapuri (pmapuryd'!')/" on the sexual organ, he should
recollect Cakravega, of glistening light (14stu/Jyutim); in that [site] that is Grhadevata, in the anus, should be Khar]4arohika. xlii
Literally, "turning roward," but also confidence in, firm belief, or conviction. Note that, traditionally, the fifth bbumi is swlMI'jll]li. which is followed by ahhimulthi as the sixth.
VAJRAVARAHISADHANA
iti melapako diirailgama bhiimil_t. '
nagare 'riguli.kasv qa suvira nama yogini I sindhau tatpadayol_t pmhem yoginirp tirp mahabalam I (p.) {N4srl iti sma.Sanarp sadhumati bhiimil_t. maravl~ anguW1ayor dhyayid yoginirp cakravaninim I kulatiyarp mahavirya janudvaye mati tathi I (53)
ity
upa5ma5anarp dharmamegha bhiimi~. (v. 54)*
kakasyadya1•• mukhc nabhau tinge gudc kramit sthitil} I ur~ikar~ilqinasc ru yamadi4Jtyida~ tathi I (ss> {K64f'}
139 Pt1!1N] N, D; P."'!!M K. 140 ,.,4v] K, N; "'"4" D. 141 ~ K, N; lt4luisyM/i D. 142. y(zrnllti4#}J) K; JllmAJ4Jy4 N, D.
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
277
These are the nu/4palt4s, the [seventh bodhisattVa] stage, "far-going"
(Jurangamli). {sti) (52.) In Nagara, on the fingers and toes (llngulilttisul 19 [is] this yogini called Suviri; in Sindhu, on the back of the two feet,"'" that yogini Mahabala.
These are the cremation grounds (fmlllli1111s), the [ninth bodhisattVa] stage, "good [thoughts]" (Siidhumati).~
(53) In Maru, on the thumbs and toes (llriPf.thll]0/1),s• 1 he should imagine the yogini Cakravartini; similarly Mahavirya is considered [to be] in Kulata on the two knees. These are the secondary cremation grounds (upaimllili1Uls), the [tenth bodhlsanva] stage, "cloud of Dharma" (dhllmuzm~hd).
(ss)
Kakasya, [Ulukasya, Svinisyi, and Sukarasyi] are placed on the mouth, navd, sexual organ, [and] anus respectivdy; and similarly, Yamadaqhi, [Yamaduti, Y~pf}i, and Yamamathani] are on the hair-curl between the eyebrows, the ears, the eyes, [and] the nose.
xliii The •back" of the foot is the upper pan above the toes, opposite to the sole (equivalent to the ..back" of the hand). :div This verse ~«ms to be an incorrect marginal insertion in ms. K. Sec T cxtual Notes.
VAJ RAVARAHISADHANA
9akinyadyas caturdevyo hrdayam243 asritya SatpSthi~ I iti sarppiirl}aqt244 sada bhavyaf!l kayamai}Qalam uttamam I (56) [§31]
*bahye24 s pithadi~u nadya24b yatha toyena po~al}am247 kurvanti tatha dehe nadyo 241 sravantyo nakhadikarp po~yanti. bahye vajrapi!harp mahabodhisthaDaf!l, 249 nirafijana2~0 nadi, dehe tu mahasukhacakrarp vajrapiP,lam 2 ~ 1 avadhuri nirafijaneti maram. {047V}
[§32]
idaniql devatanarp manrram ucyante. tatra vajravarahya hrdayopahfdayanapada2Hmanrra uktal:t. miilamantras tv asy3},t2~ kathyate: Of!l namo bhagavati vajravarahi vaf!1 - aparajitezss trailokyamate mahavidydvari - sarvabhutabhayavahe mahavajre - vajrasani ajite 'parajite216 ~i netrabhtimiJ}P57 - so~9i ro~P~' krodhani karalini- sarptrasanim {N45V} marat}i suprabhedani paraja~ - jaye vijaye jambhani stambhani mohani vajravarahi mahayogini kamdvari khage-
hruyam] K, N (hyp".); h,rtiaynn D. (One could emend to h,rt/lzm. but the following piil14 is also hypcrmctrical, and neither fault is in the even piil14.) 144 Sll'f'PUJ?IIl'!'] em.; Sll'!'PUJ?IIl codd. 245 ~] K, N; blihytzD. 246 ruiJy4) conj.; Nif!yo K; Ninyo N, D. 247 fHJ!4!'4'!'1 K: to(VIl?)!Ul'!' N: to11l!J4'!' D. 2.48 nll4'yo] conj. Isaacson; ruit)ya!J K; 111lnJ4!1-- N, D. (cf. GSSs K28v6 in Textual Note.) 249 mllh4boJhisth4NZ'!'] K; 1fl4h4botihisththw N, D. 250 nirlllijlln4i] K, N; nirllSIINi D. 251 Vlljrllpi/!Nzm] em.; (lllljrll)p~t/.M'!' Cll K(mp.), codd. 2 52 m11ntrd) K, N; mll1ltrll D. 253 h,rU,O~] conj.; tillyopllh,r~ codd. (For the omission of lltii in the compound, see the Translation and explanations of the manuas.) 2.54 miilllmllntras tv~) corr.; mulmruzntrll tv~ K; miillmumtrll tiiSJii!1 N; mulllm~~ntrll tv asya D. 255 4p4rlijiu] codd.; llrydpllrlijit~Tib. 256 lljiu 'pllrlljiu] corr. (as for eight-pan mantra §12, codd.); 11jite (llpulijiu) K(mp.); 11jit~ Kac., N, D. 2.57 bhrtlmi!'zl corr.; cf. §12., GSSs: bhrtim411i codd. 258 lo!ll!'i TOfll!'J] codd.; ~i io!4!'i rD!Il!fiTib. 259 Sll'!'ITatllm] corr.; Slllfltrtlsi!fi K, N; Sll'!'ITiisa!fi D. 26o suprllbkuni p4rlij~] codd.; pr11bkuni ap4rllj4Jt Tib. 243
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
279
(56) The four goddesses f?ikini, [Lama, KhaJ.l4arohi, and RupiJ.li] arc in place (SII1!Uthilllf1) at the bean. Complete in this way, the supreme body mal_l4a}a is to be visualized at all times. [§31]
Jwt as outside there is nourishment in the sites [and other places] with the water of the river, so in the body, the flowing channels (Nkjis) nourish [aspects of the body, beginning with] the nails [and teeth]. "Outside" [refers to] the vajra seat (vajrapi!ham), the place of great enlightenment, [and) the river [is] Nirafijana. Whereas (tu) in the body, the circle of great bliss, is held to be the vajra seat, and [the central channel] Avatihiiti, Nirafijana.
[§32]
Now the mantras for the deities [of the maJ.l<J.ala] arc 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 [hcre]:~2
O'!' namo bhagavati vajravtirtlhi va'!' - apartijiu trai/oltyamtit~ mahtivitly~Jvari- sarvabhiitabhayapah~ wuzhtivajr~
vajrasani ajiu partijiu valatflltari nmabhrtimi!fi - IO!Il!fi ro1arzi ltroJhani leartilini - sa'!'triisani mtira!'i suprabh~tl4ni parllj~-j~ vija~ jambhani stambhani mohanivajrllvtirtihi mllhayogini lttim~fvari lthagt - a~.
xlv
This is an abbreviated form of the eight-pan mantra (see §u.).
280
VAJRAVARAHISADHANA
prottunge, 261 hana hana praJ:Ian, kini kini khinkhitzi khinkhitzi 262 dhuna dhuna 263 vajrahaste so~aya so~aya vajrakhatva.ri.gakapaladharil).i mahapisitamarp.sasini {K64v} manu~antrapravrte sarpnidhya 264 narasiromalagrathitadharil).i, 265 sumbhanisumbhe, 266 hana hana paparp. mama sarvasattvanarp. ca, 267 sarvapasunarp. 268 mahamarp.sacchedani krodhamurte 269 darp.grakaralini270 mahamudre sriherukadevasyagramahi~i sahasragrive sahasrabahave271 satasahasranane 272 jvalitatejase jvalamukhi273 pingalalocane vajraSarire vajrasane274 mili mili timili timili he he he he 275 hurp. hurp. 276 kha kha dhu dhu 277 ru ru, 278 dhuru dhuru muru muru 279 advaite mahayogini pa~hita siddhe orp dhrarp 280 he he ha ha bhime hasa hasa ha ha ho ho
prottunge] GSSu codd., GSS5; orrz vajraviiriihi protange Finot. kini 2 khinkhi1Ji 2] conj. Sanderson (cf. SM221 ms. AC p. 435: kinki7Ji 2 khikhi7Ji 2); kinkini khinkhi1Ji GSSu codd.; ki7Ji 2 khikhi 2 GSSs. 263 dhuna dhuna] corr.? (cf. dhuna 2 GSS5, Finot); dhuna K; muna N; punar D. 264 siirrznidhya] Finot; siinnidhma K, N; siinidhye D; sarrznidhye GSS5. 265 grathitadhiiri1}t] K, N; grathitadhiiri1}i D (for narafiromiiliigrathitadhiiri1}i understand narafirograthitamiiliidhiiri1}i). 266 sumbhanisumbhe] GSSu codd., GSS5, Finot. (Possibly emend to sumbha nisumbha, or to sumbhe nisumbhe, for the usual form of these mantric elements 261 262
267 268 269
270 271 272 2 73 274 275 276 277 278 279 28o
in the Buddhist tantra, see §3.) ca] K, D; 2 N. hana -sarvapafuniirrz] codd.; hana hana prii7Jiin sarvapiipa<1J1> sattviinii1J1 sarvapiifpiinii1J1 Tib. hana- murte] GSSu codd.; hana hana prii7Jiin sarvapafaviinii1J2 mii1J1sacchedani krodhakrodhamurte GSS5; hana 2 prii7Jiin sarvapifiiciinii1J2 mahiimii1J2Sacchedani. krodha murte Finot. da1J1f.triikariilinz] GSS5, Finot; da1J1f.triikariili GSSu codd. sahasragrive sahasrabiihave] GSSu codd. (biihave: for dative understand vocative); sahasrafirosahasraviihave Finot; sahasrafive sahasraviihave GSS5. fatasahasriinane] K, N; fatasahasranetre D. jviiliimukhz] K, N; jviiliimukhi D. vajriisane] GSSs, Finot; vajriisani GSSu codd. he he he he] GSSu codd.; he he ha ha GSS5, Finot, Tib. hurrz hu1J1] codd.; hii1J1 hu1J2 Tib. dhu dhu] N, D; dhu(ru) dhu(ru} dhu K(del). ru ru] codd. omit Tib. ru-muru] GSSu codd.; rii rii suru suru GSS5; ru 2 muru 2 dhuru 2 Finot o1J1 dhra1J2] K; 01J'l- N; orrz D; drerrz (vre1J2, dhre1J2?) dre1J2 pra1J2 GSS5 codd. (for which Sed reads drai1J2 dha'!l drairrz dha'!l but reports codd. reading dra1J2 vrarrz drarrz pra1J1); dre1J2 dha1J1 2 gra1J12 Finot; dre1J1 dha1J1 dre1J2 dha'!l gra'!l gra1J'l Tib.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
281
dviprottung~
- hana hana prllf.Uln - ltini ltini lthinlthi!Ji lthinlthi!Ji - dhuna dhuna - vajrahaste - io!IJJiliOfllJil - vajralthatvangaltapalllJhdri!Ji - mllhapiJitllm41fUiilini - mdnJI!Iintraprav.rt~ - sll'!'niJhya - narlliiro7'Nlltigrathitlllihdri!Ji sumbhanisumb/N- hana hana JHl!Jil'!' mama sanJilSilttvdNl'!' ca - SllnJapa/Unll'!' maluimll1fUilCch~Jani - ltrodhamurt~ tia'!'!.trdltartilini - 1Nlhdmutlrt - Jrihn-ulwkvasydgramahqi sahasragrive- sahasrabtihave -lalllSahasrdnan~- jvalitllf9as~ - jvdlamulthi - pinga/4/ocan~ - vajraiarirt - vajrasan~ - mili mili timili timili ht ht ht h~ hu'!' hu1f1 ltha ltha tJhu dhu ru ru, Jhuru Jhuru muru muru - aJvaite - 1Nlhdyogini - paP,itas~ - O'!' Jhra'!' h~ ht ha ha - bhim~ - hllSil hasa hd hd ho
xlvi
Elevated, kill creatures! 0 female jackal!. .. 0 vajra hands! Parch! 0 holder of vajra-staff and skull! 0 eater of human flesh! 0 you who are enveloped by human entrails! Be prcscnrl (sll'flni~Jhytz: Sanderson [1998: personal communication] suggests this is a denominative form from sli'fi"U/hytl"'· "presence'"), 0 you who carry a garland with human heads tied together! 0 Sumbhanisumbha! (or: "0 Sumbha Nisumbha,• see §3); kill evil for me and all [evil] beings! 0 cutter of human flesh of all creatwa (p41u/J)! You with anger-form! Fanged one! Great conson! Foremost quem of the glorious god Heruka! Thousand-necked! Thousand-armed! One hundred thousand-&ccd! Flaming brilliance! Flame-&ced one! Red-eyed one! Vajra-bodied! With vajra stance! ••• Nondual one! Great yogini! 0 you who are realized when recited! ... 0 terrible one! ... Destroyer of the three worlds! 0 you with a retinue of 100,000 /tops of tathagatas! ... You with lion form! ... You with dephant form! ... 0 you who have swallowed the three worlds! Whose girdle is the great ocean! Eat, eat! ... One with heroes! ... Stunner of great beasts! You arc Mahiyogdvari! J)ikini! Saluter of all worlds! Creator of instant proof! ... Terrifier of spirits! Great heroine! Peedess.-magic yogini! ...
VAj RA VARAH iS AD HAN A
hurp hiirpn 1 trailokyavinaftnF•2 {D48r} satasahasrakotitathagataparivare hfup hurp hilip phar pha{213 sirphariipe kh~ gajariipc al]284 trailokyodare mahasamudramekhalem grasa grasa hurp hurp phat phar16 viradvaite hurp hwp ha ha287 mahapa$umohani, mahayogdvari tvarp, 4akini sarvalokanarp vandanil" sady~pratyayakariQi hurp hurp phar., bhutatrasani mahavire paramasiddhayogdvari phat hfup hurp hurp phat svaha. 190 {K6sr} [§33]
4akinyadinarp mantral"fl uktal:t, {N46r} kakasyadinarp ~{anam, pra<:aQ4adinaqt tu kulilapadllltramn.uzm mantral;l, yatha *orp kara kara pracat.t4e hurp hfup phar. orp kuru kuru cat)4alqiye hwp hiirp pha{. orp bandha bandha29' prabhavatiye
281 282 283 284 285
286 287 2.88
2.89 290
291
292
293
hJ hJ ho ho hu'!' hti'!'] GSSn codd., GSSs; virt h11 2 hob 2 Finot, virt ha ha ho/.1 ho/.1 hu'!' hti'!' Tib. trai!IJ/tytzviNliinzl GSSu codd.; trailoltyaviNilani GSSs. hu'!' hu'!' hti'!' pha! pluzjj GSSu codd.; hu'!' hu'!' phat GSSs. Finot. 4/1] GSSn codd., Finot; ga/.1 GSSs, Tib. 1Nlhasamutir111Nithak) conj.; mllhasumuJra- GSSn codd. & GSSs; samutira1Mithak Finot. gr~pha(J GSSu codd.; grasa 2 hu'!' hu'!' pha!GSSs; grasagrasa hu'!' hi'!' phat Tib. grasa 01fl hU1fl 01fl pha! Finot. hu'!' hu'!' hli hJ] GSSu codd., GSSs; hu'!' he 2 Finot. mahlytlgtlvari- vanJant] GSSn codd.; yogtfwlri 1V41f1 (14/tini /olt4Ni1f1 vandani GSSs; yofdvari tva'!' t/4}tini sarvaloJlliNi'!' vanJani Finot. hi'!' hti'!' phtzjj GSSn codd.; hu'!' hu'!' GSSs. hu,. hu'!' piNt! Tib. paramasiJJha-SfNihd) GSSu codd.; pmamasiJJht yogtlvari p/Nz! hu'!' hu'!' piNt! swih4 GSSs; parammiJJhayogtlvar pha! hu'!' 2 phaf hu'!' 2 phtz! svlih4 Finot, paramasiJJht yogtlwlri hu'!' hu'!' phat hu1f1 hu,. hi'!' phaf sv4ht1 Tib. mantra K. N; mantra D. ltuJilapaM/tramn_u~] ?conj.; ltuliiapatl4/rramn_u~ K. N; /nJiiapar4/tramtpt~ D. Tib. p. 43.6-7: rab gtum ma Ia sog.r pa m4ms ltyi mgag.s ni rtlo tjt rnams ltyi ji Ita ba bzhin Ju go bar byll'The mantras of Pracat,tejla etc. should be understood as being just like those of the vajras... banJha banJha] K, N; batJha blldha D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
2.83
ho hu'!' hu'!' - trailo/tyllvintiiini- llllllSahasralto#Jathtigataparivar~- hii'!' hii'!' hii'!' phat phaf- si1f1hariip~ -lthll/1- gajariip~ - tifJ - trai/oltyoe/4" - mahdsamuJram~lthak - grasa grasa hulfl hulfl pha! pha! - viraavaiu - hulfl hulfl ha ha mahapalumohani - mahayogmari tva'!' - tjliltini - sarvaloltanli'!' vanthni - satiya!Jpratyayaltliri!Ji - hii'!' hii'!' phllf bhutatrasani - mahlivir~ - paramasiJJhayog~fvari" 1 ' - phaf ha, ha, hu'!' phaf svliha. (§33]
The mantras ofQakini [Lama, Klw]Qa1"oha, and Riip~] have been taught [§12], and of the eight [goddesses] starring with Kakasya [§15]; but the mantras of [the twenty-four goddesses] starting with PracaJ}cJi arc as follows, with vajra words (ltulifapad41tramn.uzr in sequence [after the orp and before the vocatives]:~;
O'!' !tara !tara praca'."fo hu'!' hii'!' pha! (2) 01f' lturu lturu ca~~ hu'!' hii'!' phat (3) O'!' bantiha bantiha prabhavati:p hu'!' hii'!' pha! (1)
xlvii (1) Do! (2.) Act! (3) Bind! (4) Terrify! (s) Make [them] shake! ... (Io) Burn! (u) Cook! (12.) Eat! You with a hanging garland of fat (1111S4 = viiSil), blood. [and]
entrails! Wine Drinker! (13) Seize the snake in the seven netherwodds, or the serpent! Threaten! (Note Ka1fFs translation 1979: 109: •Seize, seize the snake-demon gone to the seven regions under the earth or else threaten, threaten the serpent.") (14) Make them Eat(? ~/~).
VAJRAVARAHISADHANA
burp hiirp phat. orp trisaya trisaya mahirWc burp hiirp pbat. orp k¥>bhaya lqobbaya viramatiye burp biirp phat. orp brerp hretp 294 kharvariye burp biitp pbat. otp ~ ~ 29s lankcSvariye hurp burp phat. orp pherp pherp drumacchaye burp burp phat. orp pbat pha~ airavatiye burp burp phat. orp daha daha mahabbairaviye burp biirp pbat. orp paca paca vayuvege burp hiirp pbat. orp bhakp bhaqa vasamrudhirintramilavalambinP• surabhak.pye burp biirp phat. orp grih~a grih~a saptapatilagatabbujarigarp sarparp vi299 tarjaya tarjaya 5yamadeviye burp biirp phat. orp aka44a a1ca49a• subbadre burp burp phat. orp brirp hrirp301 hayakal'l}e hwp hutp pbat. orp jlorp jlorpJOJ khaginane hwp hiirp pbat. orp lqyatp lqyarp30-' cakravege burp burp phat. orp harp harpliM ~4arobe burp hiirp phat. {D...Sv} orpJOS hirp hirp306 sau~4ffiiye burp biirp phat. orp biirp biirp307 cakravarmi~iye burp burp phat. orp kili kili suvire burp biirp {K6sv} phat. orp sili sili• mahabale burp biirp phat. orp cili ~1m,~ hm,n] GSSu codd.; hr~~Mm 2 §37. Tib.; hr11u 2 HA; Finot p. 53, p. 57 (for Amidhha). 295 hr~ hrll/11 K, N; hr11 hr~ D; h112 HA. 296 phil! phlln K, D; ph11 phil N. 297 114S11] GSSu codd.; understand fNISii. (f.at, marrow), although Finot (pp. SJ, 57) 294
reads 298
Vllmll
lvt~llzmbiml
bi~. S37. 299
300
.JOI 302 303 304 }OS
3o6 307
308
(vomit).
GSSu codd.; 4wd4mbino Finot (pp. 53, 57); ADUT ch.~ lllllillm-
HA (for Vajrahrupkara).
bhvj•nt•'fl Sllrpil'fl Vti] K, N; bhuj•Jit• D; bhujt~ngiiSIII'jJIU!I 114. ADUT; bhvj•ntan Sllrpil'fl va HA. ~~~a~] GSSu codd. (possibly·~ 2• K S37); tiltMJyll2 S37 (N, D); HA (for Vajrabhadra); alt1Uiy112 em. KalEr ADUf (p. 325, with mss. reading variously, AD tiT; 4/uu#hll? 2; ~ x 2; 4/uu!t!hytl2); alt.n/M Finot p. 57; 4/uznr Finot p. SJ . hri'fl hri'fl] GSSu codd.; D'fl hri hri ADUf (some mss.). jill'!' jill'!'] K, N; jflo'!' jfiiJ'!' D; jlit»ff jfiiJ'!' ADtrr; jtTIIM'fl 2 Finot (p. 54), jr11u'!' Finot (p. 57 for Vuiipilqe), j!'Afll!l j~'!' Tib. ~ koli'!'1 GSSu codd.; ~ 2 (with variants /qmtnfl 2, Jtpno, 2) ADtTf: /qhfl 2 Finot (p. 53 for Mahibala), Jtpno, Jtpno, Tib. hd'fl hm,rr] GSSn codd.; t!l'!' 2 Finot (p. 54); Nu,t 2 Finot (p. 57). 0'!'1 N. D: ""D'fl K. hi'!' hi'fl] codd.; hi'!' hi'!' ADUT, Finot (p. 57); tft'!' 2 Finot (p. 54). hii'fl hii1f1] K. N; hu'fl hu, D. sili siul K, N, (§37); siri siri D, ADtTf; mili 2 Finot (p. 57; a misreading?).
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
(4) (5) (6) (7) (8) (9) (Io) (n)
(I2) (IJ) (I4) (IJ) (I6) (I7) (I8) (I9) (2o) (2I) (22) (23) (24)
285
01J1 trtisaya trtisaya mahtintlfe hu1J1 hii1J1 phaf 01J1 kfobhaya kfobhaya viramatiye hu1J1 hii1J1 phaf 01J1 hre1J1 hre1J1 kharvariye hu1J1 hii1J1 phaf 01J'l hrap hrap lankefvariye hu1J1 hii1J1 phaf 01J1 phe1J1 phe1J1 drumacchtiye hu1J1 hii1J1 phaf 01J1 phaf phaf airtivatiye hu1J1 hii1J1 phaf 01J1 daha daha mahtibhairaviye hu1J1 hii1J1 phaf 01J1 paca paca vtiyuvege hu1J1 hii1J1 phaf 01J1 bhakfa bhakfa vasariidhirtintramtiltivalambini surtibhakfiye hu1J1 hii1J1 phaf 01J1 grihrta grihrta saptaptittilagatabhujanga1'(l sarpa1J1 vti tarjaya tarjaya fytimtideviye hu1J1 hii1J1 phaf 01J1 aka~ tik~ subhadre hu1J1 hii1J1 phaf 01J1 hri1J1 hri1J1 hayakarre hu1J1 hii1J1 phaf 01J1 jlo1J1 }lo1J1 khagtinane hu1J1 hii1J1 phaf 01J1 kfJti1J1 kfJti1J1 cakravege hu1J1 hii1J1 phaf 01J1 hti1J1 hti1J1 kharf/arohe hu1J1 hii1J1 phaf 01J1 hi1J1 hi1J1 faur~iniye hu1J1 hii1J1 phaf 01J1 hii1J1 hii1J1 cakravarmiriye hu1J1 hii1J1 phaf 01J1 kili kili suvire hu1J1 hii1J1 phaf 01J1 sili sili mahtibale hu1J1 hii1J1 phaf 01J1 cili cili cakravartiniye hu1J1 hii1J1 phaf 01J1 dhili dhili mahtivirye hu1J1 hii1J1 phaf
286
VAJRAVARAHlSADHANA
cili 309 cakravartiniye hurp. hurp. pha~. orp. dhili dhili 310 mahavirye hurp. hurp. pha~. atra pracal).4adimantre~u prathamo hurp.karo 311 hrasv~, dvitiyo dirgh~. *etac ca gurupade5ad boddhavyam. 312 bhavyadimatena 314 tu 313 "orp. pracal).4e hurp. hurp. pha~, orp. cal).4~i 315 hurp. hurp. pha( ityadi ca asarp. mantra316 iti v~yate, tatha hi {N46v}
[§34]
svanamoccaral).arp. 317 mantral).atp. hurp.hurp.pha~karayojitam 318 I ity asyagamasyayam arthas tair upadarsit~. asarp. yogininarp. svanama319 mantr~. adau paramaorp.kara}:l, 320 ante ca hurp.hurp.pha~kara}:l karya, iti svanametyadina dar5itam. iti cathurtho bhavanakram~. pujadividhay~ sarve321 ye kecid agamodita}:ll
balipradanapurvas te kartavya}:l 322 siddhikati.~ibhi}:ll (57) devatayogayuktena balir deyo yato mat~ I tasmat tadyogat~ pascad balir e~a nigadyate I (58)
cili cilt] GSSn codd.; r/hili 2 §37; hili hili HA, ADUT, Finot (p. 57), Tib.; viii Finot (p. 54). 310 dhili dhilt] K, N (§37); dhiri dhiri D; ADUT; arigarrz2 Finot (pp. 54, 57). 3n hiirrzkiiro] K; hurrzkiiro N, D. 312 boddhavyarrz] K, N; boddhavyii D. 313 bhavyiidimatena tu] conj. Sanderson; bhavyiidimattena tu K; bhavyiidimantre na tuN; bhavyiidimantrefu(ra?) tu D. 314 pracarzr/e] N; pracarzrjo K, pracarzrjo D. 315 iikft] em.; iikfi codd. 316 mantra] em. Sanderson; mantriib N; mantrab K; mantra D. 317 svaniimocciirarzarrz] conj. (hyper.); svaniimocciirarza codd. (hyper.) 318 hurrzhurrzphatkiirayojitam] em.; hurrzhurrzphatkiirayojitii codd. 319 svaniima] N, D; svanii K. 320 parama orrzkiirab] em.; param orrzkiirab K, N; paramo kiirab D. 321 piijiidividhayab sarve] conj. (iidi is not translated in the Tibetan p. 44.4: mchod pa'i rim pa malus pa'i "of the stages of offering without exception"); piijiividhayab sarvii codd. (unmetric.) 322 kartavyiib] em.; kartavyii codd.
309
2
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
[§3~]
287
In these mantras ofPracal'.l4a and the rest, the first hi'!' is shon [i.e., hu'!'] and the second is long [i.e., hu'!'l· This is to be learned orally from the guru. But it will be stated below that according to the view of Bhavya[kirti?] and others their mantras are 01J' praca~ hu'!' hu'!' pha!. 01JI ca~lt,i hu'!' hu'!' pha!o etc. This is how they explain the text of scripture: for [these] mantras there is the utterance of [the goddess's] own name with hu'!' hu'!' pha!. The mantra of each of these yoginis is her own name, but 01J' is to be placed before it and hu'!' hu'!' pha! after it. This is what is demonstrated by this line of scripture.~s
Here ends meditation stage 4·
[Ritual Practicn] (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 bali. (58) Since it is hdd that a bali 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].
288
§35
VAJRAVARAHlSADHANA
tatra balyamrtasviidanarrr 23 ucyate, tad yathalq-~J).ayatp.karasa!!lbhutatp.
dhanvabhatp. vayumaJ).qalam I raktam asyopari madhye ratp.jatatp.324 vahnimal).qalam I (59) {K66r} tasyopari sthitatp. suklam a~karajatp. karo~akam I *akrantakatp.trayodbhuta325 trimuJ).qalq-tacullikam326 I (6o) {D49r} paficamrtadi otp.adibijajatp.327 tadadhighitam I tadrupeJ).a karo~asthatp. 328 raktadya!!l329 ca330 vicintayet I (61) *otp.aditi: otp. atp. jritp.331 khatp. hutp.332 latp. matp. patp. tatp. iti paficatathagatacaturdevinatp. bijani. vayuddiptagnitapena333 vilinatp. tatra bijajam334 I vi~ya335 tad dacJimipu~pa33 6varJ).ena sadrsa337dyutim I (62)
balyamrttisvtidanam] conj.; baltirtham amrtasvtidanam codd. (or conj.: balytidyam.rttisvtidanam). The Tibetan text (p. 44.5) reads gtor ma bdud rtsir bsgrub par bya ba "the practice of making the bali into nectar." 324 rarrzjtitarrz] em.; yarrzrarrzjtitarrz codd. 325 bhiita] K, D; bhutaN. Sanderson notes that the Tibetan indicates the Sanskrit *tikrtintatattrayodbhiita~ (de nyid > tat, sa eva, tad eva etc.). (p. 44.6: de nyid gsum las yongs su gyur I thod pa gsum gyi rgyed pu stel de'i steng a yig las 'byung pa I thod pa dkar po yongs su brtag). 326 cullikam] em. Sanderson; culliktim K, ciilliktim N; ciiliktirrz D. 327 bijajarrz] K, N; bijarrz D. 328 tadriiperza karofastharrz] K, N; ta(.tfa?)perza karofakarrz(tyarrz?) D. 329 rakttidyarrz] codd.; Tib. reads "food etc." (*bhakttidi, p. 44.7: bza' ba la sogs). 330 ca] K, D; cararrz?N. 331 jrirrz] K, N; jirrz D. 332 hiirrz] K, D; hiirrz- N (marked omission suggesting a missing bija?). 333 vtiyiid] N; vtiyudK, D. 334 bijajam] em.; sabijajam codd. 335 vikfya] D; vikfye K, N. 336 tad dtitfimipUJpa] conj; tadti tfimipUJpa codd. 337 sadrfa] K, N; fadrfarrz D.
323
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
(§n]
2.89
In that [bali ritual], the tllSting ofn«ttlr with tiN bali (INt/yam.rt4lVIli14Nlm) is
taught as follows:
(59) [The practitioner should visualize] a bow-shaped wind maJ]Qala arisen from a black ]4'!'; above it, in the center, a red fire ma.l}4a)a as a transformation of rll'!'· (6o) [He should visualize] a white skull bowl generated from
ti/1
above (liltrlintll-) a hearth (-culliletzm) that has been fashioned from three heads (mu'.'f!4m) produced from three U1JI [syllables].,. (61) In the skull bowl, he should visualize the five nectars and so
on, produced from the seed-syllables O'fl, etc.; [he should see them] presided over by those [same syllables] in their [alphabetic] form, and red, etc. [in color]. "01J1, etc." means: 01JI li1J1 jri'!' ltha,_, hi'!' /4,_, mli1J1 pli1J1 tli1fl, [namdy 01JI plus] the seed-syllables of the five tathigatas and four [mother] goddesses ..twiii (62.) With the heat of the fire blazing up because of the wind, he
should sec [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 pomegranate flower .....
xlviii The ten syUables (D'!' plus the rest) refer to the five nectars and five rne.tts. xlix A bright red color is intended; elsewhere the heated liquid is compared in color to the "vay early morning sun" (GSSs Sed p. I3S· K13n • ~INININdiviJhi p. S7: UhiNnhlblt4m.N~m).
VAJRAVARAHISADHANA
tato burpbbavakhatvangel}ll sudhatma.dhomukhe339 site I viii~ lultlaRtalmtz drava'!' tasyavalokayt~ I (63) rasyopary alikalinarp~ 1 parit.lamasamudbbava~ 2 1 orp ~ burp ity ato mantrat kramoparyuparisthirat I (64) {N47r}
spbaritva devatacakrarp lqtva sattvaprayojanam I viliya tryalqare viHarp ~ararp almft~ 1 tatha I (6s) tam
t [§36]
amrrarp3-44 dravarp pa.Syet tryalq~ samadh~thitam I
nigJaJitt~~
tasmin bali'!' dat:lyat vidhintimunti.
t (66)
7
*jvaldmudra346 pbetkarabbyam anitarp~ devatacakram arghadipur~sararp pujayitva {K66v} * anyonyanugata.Q sarvadharm~ parasparanupravi~~ sarvadharmal] burp
ltha!JNing~]
K, N; pu/va,ga1!' D. multM em.; multho codd. viliM lultlaliRW'!' drava'!' tasydvalolt~ conj.? (unmetric.); viliyt drava'!' lultlalita/4'!' sya • avaloltay~t K; ~ lultlalitala1f' avaloltayet N; ~ fult/alita/4'!'. -valo~t D (cf. Finot p. 57: -iultlaltha!Jian~ viliM tll1fl Jrava1f1 pdra4ava'!'fl <'!' > litibhuta'!' J.rnva. .. ). 341 tasyopary tililtlllinll'!'] conj; tasyopariryy liiiluilinli'!' codd. 342 pari!~JimasamuJbhavti~ conj.; pari~ samuJbhavtit K; pari~~ samuJbhavati N, D. (hyp".) 343 cam.1U) N; (pa'!')ciim.rta K(mg2); ctim.rta'!' D. 344 tam am.rta'!'] corr.; tam am.rta K, D; tam am.ru N (possibly panc4m.rta1f1. if the pa'!' that was added to -ctim.rta in the previous ptiJa by a second hand was 338 339 340
intended here).
ni!p4t/itt tamrin] em.; n;,ptidit~ tan asmmin K; nifPtitlitma tamrin N; n;,ptidin~ tma asmin D; Tib. tk /tar yontJ su rtlr.ofl byas nas. 346 jva/4mudra) ?conj., Tib. (p. 45.2) 'bar ba I phyag rgyas: j414mutb4 codd. 347 anita'!'] em.; anita K. N; tinitt D. 345
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
291
(63) He should visualize a skull staff [above the skull bowl], pro-
duced from hii1f', filled with nectar, invcncd, [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] O'!' lif,l hii'!', one on top of the other in sequence, [the three syllables of which have been] produced through a transformation of the vowels and consonants [visualized] 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 sec] the circle of deities dissolve and enter the three syllables [and] the three syllables dissolve and enter the nectar,s87 (66) [and, finally,] he should see that liquid nectar empowered by the three syllables. When this has been produced, he should offer the bali according to the following method: [§36]
He should draw down the circle of deities with the flame hand gesture (jvaltlmuJra) and the syllable ph~t. and honor them with guest water and the other [offerings]. After reciting the mantra
anyonyanugattil; sarvatihamuib paraspartinupravi!!tib sarvatihamu1}_, hii7'!' 1
"All existents (dh41'7Nl5) mutually accord with each other; all existents arc mutu-
ally interpenetrating."
VAJRAVARAHISADHANA
iti mantrapafhapurvakal11 candrasilryaru<Jha348hill11k.aradvayapariiJ.ameJ].a vajrafijalilqtakaratale349 amrtabhat].<Jam avasthapya dhyatva va350 * abhimatasiddhyarth~ pafhed idam devyal]. pramaiJ.~ samayal]. pramat].~ taduktavaca5 ca par~ pramaJ].am I etena satyena bhaveyur eta devyo mamanugrahahetubhutad:t> I (67)
iti. tatal]. piljyapiljapujakan abhedena pa.Syet. 351 {D49v} pilrvadidi~u352 vamenavartena vidi~ agnikoJ].am arabhya d~iJ].enavartena353 bhat].<Jam bhramayan hu111bhavavajrajihvan~ *devatana111 mantradvay~ pafh~s tad amrtam upa<Jhaukayet.
[§37]
tatrayam mantra~}. 0111 kara kara, kuru kuru, bandha bandha, trasaya trasaya, ~obhaya ~obhaya, hraulfl hrau1fl, 355 <356> hral]. hral]., 357 phe111 phe111, phaf phaf, 358 daha daha, paca paca, bh~a bh~a vasa359 rudhirantramalavalambini,360 griht].a griht].a361
348 349 350 351
iiriirj,ha] K; ii- tfha N; o(rii?)rj,ha D. karatale] ?em.; karatalam codd.; (vajriiiijali/e_rtakaratale Finot p. 57). avasthti.pya dhyiitvtl. vtl.] conj.; avasthti.payitvii viiK, D; apasthti.pyayitvtl. vaN. paiye~ Kac.; paiyet VKpc. (see "v. 68" for insertion); paiyet. suktijartr+diipayet
352 353 354
purviididikfu] N; purviidik!u K, D. dalefi!leniivartena] conj.; dalefi!lti.vartena codd.
N,D.
355 356 357 358 359 360 361
suktijartr+diipaye~ omit, ed.; K(mg1 or 2), incorporated into text inN & D
but omitted in Tibetan translation. The verse is given in the Textual Note. hrau'f!l hrau'f!l] codd.; hre'f!l hr~ §33 (see variants). omit] conj. (§33); kfmtl.'f!l2 K, N; (*) 2 D(del). hra~ 2] K, N; hre 2 D. phaf 2] N, D; phaf vK vasa] Kpc., N, D; (bhakfa 2 vasa) K(del?) bhakfa 2 cara K(mg2) (for vasii, c£ §33) lambim] em. (as §33); lambine codd. grih'!la grih'!la] K, N; grh'!la D.
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
293
[he should visualize his hands as] a moon and sun disc [themselves produced from the vowels and consonanrs5• ] with a bu'f' syllable on each in order to make them into (-pari~) the vajra gesture 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 arc the authority, the pledge is the authority, and the words spoken by them arc the supreme authority. By the virtue of this truth may these goddesses bring me grace.,.~ Then he should sec 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 cast in a counterclockwise direction, [and then] in the intermediate directions 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 hu,.s. [He should do this] while reciting the two mantras [given below].
[§37]
Here is the [first] mantra [for the twenty-four goddesses of the sites]: 590
/tara /tara, lturu lturu, bantiha banJha, trtlsaya trtlsaya, lt,obhllJil lt,obhaya, hrau'!' hrau1f1, hrab hra/7, phn,t phn,l, pha! phaf, tiaha tiaha, paca paca, bhaft.sa bhaltfa vasaruJhirantramtlkiva/4mbini, grih!'IZ grih!'IZ saptapat414gatabhujanga'!' O'f'
li
A verse inserted into the lower margin of ms. K. Sec Textual Notes.
VA) RA VARAHISADHANA
294
saptapatalagatabhujatigal!l362 sarpam va tarjaya tarjaya, {N47V} akarjtja akarjtja, 363 hriql hriql, <364 > jlo1'(l jlo1JZ/65 ~m3.ql ~m3.ql/66 haq1 haq1, 367 hiq1 hiq1/ 68 , kili kili, sili sili, rjhili rjhili, 370 dhili dhili, 371 huq1 huq1372 pha! iti. ayam mantra ekavaram pa!hitavyal].. 373 [§38]
{K67r} tad anu ca~oq1
vajraralli hoi]. jal]. huq1374 Val!l hoi]., vajra4akinyal]. samayas tvaq1 drsya hoi]..
ity ayal!l mantra. ekadvitricatul].paikavaran uccarya 4haukayed amrram. tata acamanadikal!l kftvabhimata375siddhyarthal!l slokam idaql pa!het bhava5amasamasatiga376 bhagnasal!lkalpabhatigal].377 kham iva sakalabhaval!l378 bhavato vi~amat;1al]. I gurutarakarut;lamhhal].379sphitacittambunathal]. kuruta kuruta devyo mayy ativanukampam I (69)
362 363
bhujangarrz] K; bhujanga N, D. iikatjtja 2 OR iikaf!a 2] K; iikadya 2 N, D, iikaf#hya iikarjtjhyaTib. (See vari-
ants §33.) 364 omit] conj. (§33); hlaurrz codd. 365 jlorrz2] N, (§33); jlaurrz2 K; jrom 2 D, jfiaurrz jfiaurrz Tib. {See variants §33.) 366 kfmii1'fl2] K; omit N, k!yiirrz2 D; fe.syiirrz, k1marrz k1marrz Tib., §33 {See variants.) 367 hiirrz2] K, N; hiirrz D. 368 hirrz 2] K, hi'f!l D; omit N {See variants §33.) 369 hurrz hurrz] conj. (§33); omit K, N; hi-urrz D {for Cakravarmit;tl}. 370 rjhili 2] K; hili hiliN, D; cili ciliTib, §33 (See variants for Cakravartini.) 371 dhili 2] K, N; dhiri 2 D. 372 hurrz hurrz] K, N; hurrz hurrz D, hurrz hurrzTib. 373 ekaviiram pafhitavyab] em.; ekaviirab pafhitavya codd. 374 jab hurrz] K, N; ja hurrz D. 375 /e.rtviibhimata] corr.; /e.rtvii 'bhimata K, N; krtvii abhimata D. 376 bhavafamasamasangii] N, D; "bhavafamasangii. masangiiK (The insertion mark may relate to the cursive Tibetan in upper margin.) 377 bhangiib] K, N; sangiib D. 378 sakalabhiiva'f!l] codd.; bhiiviin SUT 8.28 (ed.). 379 iimbhab] em.; iimbha codd.
THE VAJRAVARAHl SADHANA OF UMAPATIDEVA
295
sarpam vii tarjaya tarjaya, iikarft!a iikaf4/a, hrirp hrirp, jlorp jlorp, k!miirp k!miirp, harp harp, hirp hirp, , kili kili, sili sili, rjhili rjhili, dhili dhili, hiirp hiirp phatlii This mantra is to be recited once.
(§38]
And then this mantra [for the thirteenfold ma.Q.4ala]:
orp vajriiralli hop jaf.J hiirp varp hof.J, vajrarjiikinyaf.J samayas tvarp drfya ho!Jjjj Having recited [it] once, twice, three, four, [or] five times, he should offer the nectar. Then having performed the sipping
(iicamanam) [of nectar, accompanied by the mantra recitation and other rituals (?)], 591 he should recite this verse in order to gain siddhi. (69) "0 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 (bhiivataf.J), the oceans of whose hearts are filled with the water of extreme compassion: Pray, goddesses, bestow immeasurable compassion upon me!" 592
Iii liii
See §33 for translation, and chapter 3 for a discussion of its structure. "0 Vajraralli!. .. Vajra9akinis! You [singular] are the pledge! Ah, pleasing!"
V AJ RA VARAH ISAD HAN A
iti. tato 'ga5ma5anasthitadikpaladiniql di~u vidi~u ca purvavat bhramayan380 mantrarp dvitrivaran parhann381 upacj.haukayed amr:am.3s2 {Dsor} tatrayam mantra~).-
[§39]
orp kha kha khahi khahi sarvay~ar~asabhutapretapisaconmadapasmara4aka4akinya
daya383 imarp balirp grhl)antu samayarp r~antu mama sarvasiddhirp prayacchantu yathaivarp yathegarp bhufijatha pibatha jighratha matikramatha mama sarvakarataya satsukhavivrddhaye384 sahayaka bhavantu hurp hurp phar svaha. iti dikpala.l) sarptu~ra.i) santo bhavakasya siddhirp dadato dr~ravya.l). {K67V} [§4o]
tad anu te~iql samudayena tambuladikarp dattva cchomakahastena sarpcchomya vamena nyiinadhikavidhiparipiiral)artharp {N48r} ghal)!iql vadayan purvarp pa!hen mantram amurp orp vajraheruka samayam anupalaya, herukatvenopati~rha, dr4ho me bhava, suto~yo me bhava, supowo me bhava, anurakto me bhava, sarvasiddhirp me prayaccha, sarvakarmasu ca me cittarp sreya.l). kuru hurp, ha ha ha ha hol_t. bhagavan vajraheruka rna me mufica, heruko bhava mahasamayasattva a~) hurp phar
380 381 382 383 384
bhriimayan] K, N; bhriimayet D. pathann] K; pathan N; omit D. amrtam] N; am.rtab K; am.rta D. rfiikinyiidaya] GSSn codd.; rfiikinyiidayab YSCT (Asr, B7r). satsukhavivrddhaye] GSSn codd., GSS5 (K29v6); satsukhavifuddhaye YSCT. (B7r2), HA (f.14VI); pravrddhaye; YSCT (A5r4).
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
(§39]
297
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]:
ltha ltha lthlihi lthihi sllrviiJII~i/qllS4bhut4pr~t4pilti connulJiipii11Nlrllf/liltllljdltinytk/4yll i11111'!' bali'!' grh1)11ntu SllmAJil'!' ralr,antu mama sarvmiJJhi'!' prayacchantu yathaiflll'!' yatht!_t4'fl bhuiijatha pibatha jighratha mlitiltram4tha """""' SJZrviltllrat4yi satsulthllflivrt/Jhayt sahiyaltll bhavantu O'fl
"""' """' phat sviht1"' With this (iti), the protectors of the quarters should be seen being gratified [and thus] granting siddhi to the meditator.
[§-40]
Next,~9J
having given the betel and so on to those [deities and protectors] collectively (Silmwillyma), he should make the signals (s"'!'Cchomya) using hand signs (cchom4), [and then] he should first recite this mantra, ringing the bdl with his left hand in order to fill out omissions or [to counteract] additions in the rite:
vajrahn-ulta samayam anuplllaya. hn-ultatvmopatqtha, Jrt!ho ~ bh4V11, 1UtO!JO ~ bh4va, supo_syo me bh4va, anuraltto m~ bhava, sarvmiJJhi'!' m~ prllJIIccha, sarvalut17NISU ca m~ cittll'fl m,ab lturu hu'fl, ha ha ha h4 hob bh4gllVIln vajrahnulut mli m~ mufica, hmJto bha1111 mahisama]IISilttvllli/J hu'!' phat O'fl
liv
lv
" ... Eat! All J4/qll5, demons, spirits, hungry ghosts, piflk11 demons, madness [demons), epilepsy [demons], #)c.as, c_Ukirus etc.! May you accept this bali! May you protect the pledge! May you grant me all siddhia! lu you like it, as you want it, eat, drink, savor! Do not transgress (your pledge]! May you be my hdpers so that [my experience of] excellent bliss may increase all-encompassingly (Sil111tllt4r1114Jti}!" "0 Vajraheruka! Guard the pledge! Be present to me as Hcruka! Be finn for me! Be very glad for me! Be very abundant for me! Love me deeply! Grant me all siddhi! And in all actions, make my intention better! ... (laughter) ... O blessed one, Vajraheruka! Do not desert me! Be a Herub, great samaya being! ... " Thls invocation of Heruka is an adaptation from the more frequent invocation of Vajrasaava, also found in Vajravirihi texts (e.g., SM118 p. •OO).
YAJ RA YARAHISADHANA
iti. tataQ orp yoga.Suddhal) sarvadharmal) yoga.Suddho 'ham iti pathan karnalavartamudraya sarptoD"a tanmudropasaJ!lhar~alinganabhinayarp lqtvanamikiil~tha}8~cchotikadinapiirvakarn,
orp mur iti mantrarp pathan visarjya tac cakram atmanP16 pravdayet.
[§41]
*atha bahyapiijavidhir ucyate. pratar utthaya svadevatiyogavan yogi ·'117 !ucipr/Ukl~ vlimahasta'!' d4ttvd}Bt4 {Dsov} O'!' sumbha nisumbh~tytidimantraca1Uf.tayam ucclirya paficlim.rtasugandhtidiva#ltayti319 {K68r} paficlim.rttidyabhtivt 'nyatamamilritayli vii gomayamilritayli vti madhya~ularp trikor:tarp Maf]Qalarp lqtva tanmadhyavasthita391 rakta<padma.m>kar~ikayarp hrdayanirgatarp varpkaram avasthapya tadbijarumibhirn j6anasvabhavarp bhagavatim aniya varpkare pravdya tatparir:tatarp bhagavatirp pa$yet.
[§42]
*tato hrdbijavinirgatapllfl>id~ sarppiijya yathaviJhisodhita~amakare~a orp a~ hiitp iti man tram uccirayan p~parp dadyat tad anu {N48v} hrdayopahrda~tapadais ca p~parp dadyat. tad anu
385
386 387
388 389 390 391 392 393 394
lili7igll1WbhiNZJ47!1 /trtvdnlimiltdlif'll!ha] conj.; lilinganlibhiNIJnllituimilt4npnh4~ K, N; libhiNIJIINi~ D; cf. lilingll1Uibhin~~Jil'!' /trnNi cchofilul'!' C4 e/4ttvli (GSSu §4s); lilinganabhi1111Japii1'VIlltll,. (GSSs·Finot). linnaml GSSn codd.; cf. linnani sarvlinnanli (GSSs). fudpradd~gomayamilriuyli vd) GSSn codd. • GSSs. (Possibly emend as per Finot: Judpratkk paliclim.rtllSUgandhliJiva.tiUyli paiiclim.nlillyabhlive 'nyaumamilritayli vii go""'}'lmilrilllyli vii vlimahast47fl d4ttvli 07f1 sumbha nisumbktylitlimAntracaiUf!IIJam wclirya.) vlimahii.St47f1 Jattwi] codd. GSSn; cf. hasu, ti4tt7Nl (GSSs}; sa,.puf'lhana, e/4nvli (Finot). wt/ikayd) K, N; v11ti/tayo D (sec Translation). vii mmihytz] K; ~ N, D. unmlllihydvii.Sthiu] em.; mm/hytz(va)sthiu K(add): 11141ihynJII.Sthiu N; tlllm4t/hynii.SthittJ D. ptu/mA] Tib. (p. 47.2: pat./wuli), omit codd. ralmibhi'fi N; raimibhi K; rmmibhi D. y~tthlivi<Jhi>ioJhiu] conj.; yathliviioJhiu codd.; cf. yathliviJhiloJhilll1fiMI4nm~~ (§46 in apparatus lS£ GSSs -§42 lS£ •§46}; but yathliioJhitllmiUillnnw (§49, & Finot p. 52).
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
299
Then reciting [the emptiness mantra] 01fl yogaiuJJJ"i/1
sarvatiharmai,J yogaiut/Jho nam"'j
he should gratify [the deities] with the lotus-turning gesture (ltamJZidvartamutlra), 1"; [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 01fl mub.~ [and finally] he should make that circle [of deities] enter into himself. Next 5~
[§41]
the rite of external worship is given. The yogin in union with his chosen deity should rise before sunrise (pratab);lri;; [then] having placed his left hand on a pure spot~96 [and] having recited the set of four mantras beginning 01f1 sumbhtz nisumbha [§3], he should make a mar.tQala [of] a triangle [V] with a circle inside, using a pill (vafilta)'a 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 center of the maJ}cJala within the triangle V], he should install, on the pericarp of that red lotus within the ffiaJ}cJala, a val!' syllable, [which he should visualize as having) emerged from his heart. Having [then] drawn down the goddess in her wisdom form (jfianasvabhava) with the rays from that seed-syllable, and having made her enter into the val!' syllable, he should visualize her transformed out of that {val!'].
[§42]
Next, having worshiped [her] with flowers [and the other traditional offerings] issuing from the seed-syllable in [his] heart, he should offer a Rower with his left hand that has been purified according to the [correct] method, while reciting the mantra O'!' ab hu,. Then he should also (ca) offer a flower with the heart,
lvi "All existents arc pure by yoga; I am pure by yoga." lvii For u1NikiVIITIIlmwbi. the lotus-rurning gesture, see chapter 3· lviii An hour and a half, or two hours, before dawn. lix Sometimes Nfiu is interchangeable for f"l!ilt4 or gulilui. meaning "pill." or as here, something more paste-like.
VAJRAVARAHISADHANA
JOO
sma5anasthita395dikpaladikarp. try~arel)a sarp.piijya namavidarbhitena piijayet. *tato vamakaravinyastanarp. devatanarp. tattaf%sthane~u tattanmantrel)a397 v~yamal)ena398 orp. ha ityadina 399 pu~parp. dadyat.
[§43]
< tatas tad vtimakaragatapUfpam 0-ffapadamantrocctirara>-
piirvakarp. mal)4ale pr~ipya sirasi pu~patijalirp. baddhva vamakaragatarp.400 devatacakram401 atmani pravdayet. [§44]
*tato hrday~~apadamantrair anyais ca stotrail}.402 stutirp. {K68v} ca kftva papadesanadikarp. dhyanajapapral)idhanadikarp. ca kftva -
[§45]
*nyiinadhikavidhicchidrapiiral)artharp. sat~aramantrarp. pa~et. tad anu orp. yoga5uddhal]. sarvadharma yoga5uddho 'ham {D5rr} iti mantrapa~ha403piirvakarp. kamalavartamudraya sarp.to~a tanmudropasarp.harel)alitiganabhinayarp.404 kftva cchorikarp. ca dattva bhumirp.405 sprsan orp. mur iti mantrel)a visrjya tarp devatim atmani pravesayet. tato ffial)4ala406rekharp.lumped407 iti.
395 396 397 398 399
sthita] Kac; {sthita} K(deh?); omit N, D. viimakaravinyastli1Ul1JZ devatii1Ul1JZ tatta~ em.; ,.. vinyasta nai tattat K; ,.. vinyasta -- - N; --vinyasta (da?)k!i1}1lkare D. mantre~a] codd., Kpc.; mantre{!u)1Jil K(del). vak!Jamii~ena] conj. Sanderson; rak1amii~ena codd.
pu,pa1JZ-piirvaka1JZ] conj.; PU!Pa1JZ dadyiit~ (tadiirgha?* tasme viimakaragatapUfpamadhupadocciirana)(mg2) tad anu fmafiinasthitadikpiiliidika1Jl tryak1are~apurvaka1JZ K; PU!Pa1Jl dadyiit tad anu fmafiinasthitadikpiiliidika1JZ tryak1are~apurvaka1JZ N, D. C£ GSS5/Finot in Textual Note. gata1JZ] codd., Kpc; (ga}gata1JZ K(del). devatiicakram] corr.; devatticakra1Jlm codd. stotraib] N, D; stautraib K. piifha] K, N; piitha D.
400 401 402 403 404 sa1JZhiir~iiliriganabhinaya1JZ] corr.; sa1JZhiir~ii(lirigana)linaya1JZ K(add2); sa1JZhiire~linaya1JZ N; sa1JZhiira~linaya1JZ D. 405 bhumi1JZ] em.; bhumi codd. 406 ma~rfala] K, N; ma~rfale D. 407 lumpe~ K, N; lumedD.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
301
auxiliary-heart, and eight-part [mantras]. Then having worshiped the protectors of the quarters [and other inhabitants] in the cremation grounds with the three syllables, he should worship them by uttering their name followed by a single recitation of the threesyllabled mantra (ruimavidarbhitena). 597 [§43]
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 07fl ha, etc.,1x which I shall state presently. having thrown onto the ma.Q.<_lala with (purvakam) , 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 eightpart 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 [brahmavihara} meditations, the recitation [of the emptiness mantras], and the [bodhisattva] vow (prar;idhanam). 1xi
[§45]
[And having performed these] he should recite the hundredsyllabled mantra in order to fill out omissions or [to counteract] additions in the rite. Then, to the accompaniment (purvaka7fl) of the mantra rectitation
07fl yogafuddhab sarvadharmab yogaJuddho
'ham1xii
he should gratify [the deities] with the lotus-turning gesture (kama/avartamudra), [then] releasing that mudra, he should make the gesture of embrace, and having given a snap [of the thumb and
lx lxi lxii
The syllables are those of the armor (kavaca) deities and are thus a means of protecting the deities generated on the hand by armoring. The list describes the meditations preparatory to the sadhana. Translated as above §40.
VAJ RAVARAHiSADHANA
302
evam anaya~ elisa dvitiyadibhavanakramqu devatinilp piijakrama}:t svayam iihani~. 409 [ §46]
*atha hastapiijavidhir ucyatc. gat:WDar_tQaladau svq!Cldevatayukto mantri vamahastavrddhatarjjani410 madhyamanamikakani~!hasu nakh~u ~atsu••• yathakramarp vajrasattvavairocanamitabh~ bhyaratnasambhavamoghasiddhiriipan suklasita412 rakt~~a pita.Syama41'var~an.
*of!l ha, 414 nama hi, svaha huf!l, vau~t he, hllf!l huf!l ho, phat harpm iti mantr·an nyaset. karodare tu jhatiti n~pannarp raktarp paflcadalakamalarp {K69r} dhyatva ~ikamadhyc vajravarahisvariiparp raktarp "of!l varp" iti pa.Syct. plirvottarapa5cima~i~ako~adale~u417 yathakramarp yamini 418 mohinisarpcalini 419sarptrasini~9ik.asvariip~i
nila.SuklapitaharitadhUmradhUsaravarr.tani n~~~m an4Jd] K, N; n~a'!J mataya D. SWIJ4m iihaniy4!1] K, N; svaymp muhuniya/1 D. 410 hmt4vrJJhaltlrjjaniJ Kpc., D: ha(st4vrJdhatarjjanivamaha)stat4TjjaniK(dd); hmt4vrJJhast4rjjani N. 411 luzni!.thasu 1111/thqu !IZJ:SU] K, N; -!a(t4)su D(correction mark). The Tibetan reads "the thumb's face". anp,fhamultha (p. 48.2 mt/N bo'i gJon~. (Sec Textual Note for Sanskrit parallels.) 412 sit4] Kac., N; sit4"Kpc(mp); (Tibetan a/qaras in the lower margin ofK68v read siltl); sit4 "D.; cf. lult/apiltlralttalt.r!rutharita (SM253=GSSs, i.e., omiting sit4); Finot' s ms. is missing here altogether. 413 pitalytlma] Kac.; pit4 "lyilma K(mg3) (Tibetan alt,aras on K68v6 gloss lydma as harit4 at the insertion mark); pitaharita N (=GSSs=SM2.S3): pita D. 414 o'!' ha] K, D; 0'!1 ha/1 N. 415 phllf ha'!'] K; pha! 2 hlz'!' N, D.
408
409
418
bijll'!'] GSSs (understand dual); omitted GSSn codd. dalqi,_,asu lto1,11lfla/qu K, N; Jalqi!Je,u ko~adalqu D: GSSs•Finot reads: piirvaJUJigda/qu vamavartma yathaltrama,_ Tib p. 48.4: shar phyogs dang I byang phyogs dang I nub phyogs dang I lho phyogs dang I m~ mtshams ltyi 'dab ma rnams Ia "in the petals of the east, north, west, south, and fire direction (mt mtshams) [i.e. southeast]." ydminlj K, N; yogini D.
419
Sll'!'caJint] K, N; Sll'!'Ciirini D.
416 417
Jalqinalto~] conj.;
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
303
fourth finger (§40)], he should dismiss [them] with the mantra O'!J mufJ. [uttered] while touching the ground, [and then] make that goddess enter into himself. Then [finally] he should erase the outline (rtltha) of the maJ)4ala. Along the same lines (n~am anayli diia), he should infer for himself the sequence of worship for the deities in the second, [third], and [fourth] meditation stages. [§46]
And now~'J'J the rite of hand worship (hasuzpiijli) is explained. The mantrin, who is unified with his chosen deity in the festive maJ]4ala (ga!Ulma'.'l!a/a)tti•i and so fonh, should place the mantras on the six [places of his hand, namdy]: the thumb, first finger, middle finger, 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] Vajrasattva, Vairocana, Amitabha, .Alqobhya, Ratnasambhava, [and] Amoghasiddhi, with the colors [pure] white (fult/4), white (sitll), red, black, yellow, and dark [green]: D'!J ha, nama hi. svaha hu1fJ. va"!a! ht, hu1fJ hu1fJ ho. pha!
ha1fl'"" But in the hollow of the palm, having meditatively produced (nifpanna1JI ... dhyatvli) a red five-petalled lotus all at once, he should sec at the center ofits pericarp the red <syllable{s)> 01fJ V41fJ as Vajravarahi. In the eastern, northern, western, southern, [southeastern] corner petals accordingly, he should see the syllables
lxiii The term fll'."'1111l1JI!aiA is parallel to g~ the gathering of those: who meet on the occassion of a tantric feast. lxiv These are the Cakrasa.rpvara male armor (UVI«Il) syllables that appear with many minor variants in the texts (and are represented iconographically in the Mongolian icons). See Textual Notes for details.
VAJRAVARAHiSADHANA
harp yoqt, hriqt moqt, hreqt hriqt, hwp hwp, 420 phat phat iti bijani pa.Syet. etatkarasthabij~pratibimbaqt tricakrarp421 vadha1_t karap!lthe422 parisphuvarp pa5yet. [§~7]
tatal] karagacani sakala424 bij~i {D5IV} JravaJravyn;uz 42*J m~yitva karatalaqt sarvayoginibhir adhinbitaqt dhyatva tati-
1423
dravdtiitJravya'!' f [§48]
tryalqarel}~taf>adamantrel}a va
dadyat.
~ tataQ
saqtpiijya nyiinadhikavidhicchidrapiilal}irthaqt426 5atalqaramantraqt pathitva vajrayoginya ~thanirtham 427 devyal_t pramil}aqt sama~ pramil}am I (cf. v. 68) icyadinadhy~ tatkaragatadravyam aparadravye patre
va428
sthapayitva, hasta lagnena dravye~ vamanamikagrhitena hrjjihvaSiriqtsi hiiqt ~ oqt ity {K69v} uccilya mrakpyarps taddevatavrndam atmani pravinam adhimuficed iti. qa tu vidhil} saqtairatantrokto4» boddhavyal.t. 429
41.0
421 422. 423 42.4
42.5
hu'fl hu'fl] cod,i.; ~, hWp Tib. tTicADII'fl] codd. GSSu; cf. tTt:lJ«Urlllf' (GSSs=SM153). lt4rt~p.'!/M GSSu; cf. lttzrflJJ.rnM 'pi (GSSs=Finot). tAIA/JitJJrAgt~tlln -llllhimu~ added GSSs (.SM2.53); omit GSSu ~] K, N; ltJJr11 D. tirt~IIIUir~] conj.; J'lfhtilliJhiioJhitll"'lll14nm~~ codd.; cf. JrnlllirlliiJn:lll (GSSs); Jrt~wubAIIJmll (SM153 c
42.6 42.7 42.8
that purifies." nyintkihiltA] K, N; nyuNi..ptirqtj..,D. lllljrii]Ofinya lllibt] conj.; lllljriiJDtjnyMlhi codd. llptlrii/Jr~ plitw,;] conj.; llptlrWIIIIJ41Nlm JNl codd.; cf. llptlrtllbttUJI ilyamr
42.9 430
tNi (GSSs); flJJA'IImlin tbtlUJI '"J'#TA JNl (Finot, SM2.53), Tib. (p. 49.1). h.stlt] K, N; hllste D. tllntroltto] K; tllntroltt4 N, D. \fib. omits q4111- bottiJhll~.)
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
305
in the form of [the remaining five armor goddesses], Yamini, Mohini, Sarpcalini, Sarptrasini, [and] Gu}4ika, blue, white, yellow, green, and smoky gray in color. On the back of his (~tat) hand, underneath, he should sec very dearly the mirror image of these seed-syllables on [the palm of] his hand, or alternatively, the three circles [of the ~C:Wa, with their mantra deities].
[§47]
Then he should smear with liquid ingrcdicnt[s] (Jravadravyn_lll) all the seed-syllables in his hand, [and] having contemplated the palm of his hand as presided over by all the yoginis,~rn he should offer these liquids and other substances [that he has smeared onto his hand] (ttuiJrtW4JitJravyam) with the three syllables or with the eight-part mantra.
[§48]
Then, having worshiped [the deities] [and] having recited the hundred-syllabled mantra in order to make good any defects of deficiency or c:xccss in the rites, he should entreat [the goddesses] in order that Vajrayogini [may] preside, with the [verse] beginning: The goddesses arc the authority, the ity ... (v. 67)
SllmllJil
is the author-
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 founh finger onto the heart, tongue, and head-[while] pronouncing the syllables hu'!' lib 01f', he should
An additional sentence is added here in GSS5, cited in the Tarual Note: "Next, he should be convinced that the dements canh, water, fire, wind, and space, having the nature of [the goddesses] Patani, M~i • .Alwprp, Nanemn, [and] Padmajvilini, are on his hand." lxvi The paralld textS read: • ... being convinced that the palm of his hand has the nature of the three [IJlaQ4aia] circles presided over by all the yoginis. • (See T extual Note.)
lxv
306
VAJRAVARAHISADHANA
[§49] *athava•-'• piirvoktavidhi$odhitavamakarasyanamikaya432 {N49v} yatha< viJhi >Sodhita433madanena04 sahitaya trikol)arp varnavanena bhiimau maJ)9alakarpm lqtva tanmadhye hrdayavinirgatabijan~pann~ vajravarahim ~~ma5ana$o bhi~ d!l!Va etasyai paftcamf(idiriipeJ.la ni~paditarp khadyadikarp436 try~arel_l~tapadamantrel_la va437 Qhaukayirva padmabhal_lqadigatadravyam am{tiyitarp madanarp vrddhanamikabhy~ grhitva bhagavatif!1 tryalqaramantrahrdayopahfdayagapadamantrail;l 5af!ltarpayet. sma5anadevatas0 ' tryalqare1_1a tarpayet. [§so]
*evarp sarppiijya nyiinadhikavidhicchidrapiiral_lartharp satalqaramantraf!1 pafhitva {D52r} devatadhi~fhanartharp piirvavad ca yoga$uddhal] sarvadharma yoga$uddho 'ham iti pafhan kamalavartamudraya sarpto~ *mudropasarphare1_1alitiganabhinayapiirvakarp triccho!ik.abhir Of!l mur iti visrjya devatam atmani439 pravdayet. {K7or} tato bhiimigatamadanarp vamanamikaya~ grhirva hrjjihvasiriqtsi hiif!1 al;l Of!l ity uccarya mr~ayet. karagatam api devatacakram atmani prav~!am avalokayed iti. adhy~a
431 432 433 434
435 436 437 438 439 440
atlurvd) codd. GSSn; cf. ath4 (SM253); yad va (GSSs. Finot). an4miUy4] conj.; aNimilui codd. yathdviJhiioJhilll] conj.; yathtiloJhi111 codd.; cf. §41 with apparatus. mAdanma] K. N; mAda~ D (mAdanmalmaJiuulmoccurs sevara1 times in the text [sec §49, cf. GSSs K32v-33r] and is therefore left unemcnded; probably matiaMm is a mistake for mAJana rather than maJa/.1 or maJ]tllJ.) ""'~'!'] K. N; mA!Y/ai4'!' D. nqptitJilll'!' lthdJylillilta'!'] conj.; n;,pidit~~lthdt.lyilliiltll'!' K. N; nqpiltiillllta'!' D. vti] conj.; (lt)a K(dd. of It to v?); pra N, D. tkvaw] conj.; tkvatll1fl codd. tkvatllm atmanzl conj.; tkvallitmani codd.; cf. tkvatim 4tmani (§-ts). maUM'!f rNimlinlimiltllJd] K. D; (tlhra)t14111l'!' {pya)mlindmiltayaN(faint).
THE VAJRAVARAHi 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 /Yogini]sa,clira Tantra.(J{)' [§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 (Jt.rtva) on the ground, in a counterclockwise direction, a triangular maJ]4ala (ma!'f!a/altam).fi(J 2 [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 substance in the skull bowl or oth" wsul (?) (iidi). [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 protectors of the quarters] with the three syllables.
[§so]
Having worshiped [her] thus, he should [first] recite the hundredsyllabled 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 (tkvataahifthlina),m he should gratify [her] with the lotus turning gesture (ltaTnllilivartamutira). [while] reciting the [emptiness] mantra:
lxvii Presumably he prays as above, wirh rhe verse beginning. "The goddesses are the authority etc." (v. 67)
lxviii Translated as above §40.
VAJRAVARAHISADHANA
308
evam anaya441 eliSa dvitiyadibhavanakramqu svasvamantrair441 devataf]443 piijayed iri. [§51]
'tad anu suklahiirpkarapari~ta5uklavajrajihvirp444 t tl4/tp!'flhastllSrUWtllrahutip t 445 svanabhikamale {N sor} kan}ikavyavasthiti!p jvalamalakularp devirp juhuyad i~adhyatmahomavidhi~.
[§52]
'tad anu orp ~
ucchinavajradhitinhemarp447 balirp hrup hrup hrup
pha! svaha, iti mantreQ~!aba/im aJhisthap~• bahir gatveri.
n~am anayJJ Kpc.; n~amm "(an)ay4 K(add); n~amm- N; nN~mmlliA D. sv411Vamantraiti K; SrNISIItlmantra N, D. tlnalli/1] D; tlnaiJIII? K, N. jiltwb,l] conj.; jihwl codd. .f111W'tm"d] corr.; lruvnarll K; (chu?)vatm'll N; Jruvlllllrll D. juhuyllJ ity] corr.; juhuyMI iti K; juhfl)llJi N; juhuyit iti D. ucchq!fJIIIljrlltlhiti!fhmun!J] conj.; utsidawfrlltlhif!hmut'!' codd. 448 D«hq!fJbalim lllihis~~ conj.; otsq!flba/ir lllihi(ti-)f!M/K(unfinished); otsq[4balir lllihidheJN; tltsi[[4balir lllihinhtuJD. (See Textual Note.)
441
442. 443 444 44S 446 447
THE VAJRAVARAHi SADHANA OF UMAPATIDEVA
309
He should [then] dismiss [the goddess] first by withdrawing that {ltamJtltivartll]miidrli and making the gesture of embrace, [and then] by (giving] three snaps [of the thumb and fourth finger, §40] with (iti) [the syllables] O'f' mufJ. He should [then] make that goddess enter into himself. Next, having taken the wine on the ground [used for tracing the maJ]Qaia] on the fourth finger of the left hand, he should smear [it] onto his heart, tongue, and head uttering hu'!' 11/J O'f'. He should also visualize the assembly of deities on his hand entering himself. In the same way he should worship the deities in the second and [in the third and fourth] meditation stages, using the mantras of each.
(§si]
Next, [the practioner] should make oblations to the goddess [who is visualized] standing (fiJilvll!thita) on the pericarp on the lotus in his own navel, engulfed in flames, [and] with a white vajra tongue, [which he has visualized] transformed from the white syllable hu'f'. t {TIN prllditionn understanJs RA.sanli liS} his right hand hoUJing tlu bulk (srutiii/J), .... and [LalaNi liS] his f4i hand ho/Jing tlu oblation {vmtl} (lihuti/1): his nawl {at tht Avlllihuti} is tht pit/~ 3 t This is the rite of internal oblation.
Jirt
O'f'
11/J ucchi!fatNZjrtiJhiti!!htmll7!' bali'!' hii'!' hii'!' hi'!' phil!
JtNihalu
-with this (iti) mantra he should go outside and make [the deity of leftovers, Ucchiftavajra], preside over the leftover bali.
lxix Monier-Williams (1899) ddincs sruWI/Jas, •a small wooden ladle (with a double extremity, or two oval collateral excavations, used for pouring clarified melted butter into the large ladJe or Sruk; sometimes also employed instead of the latter in libations)." lxx ·a,. lib Ucchi!.llllltljr.. preside [over] thU bali..."
VAJRAVARAHISADHANA
310
pracyam udicyarp varu~anvitayarp yamdvarayarp diSi vai smaS:inam I ~q,ograndmdtha ca•'J() gahvamp ca *karankakikhyatp ca sub~arp ca I (70) qu sma.Sanqu 4 ~ 1 Siri~bodhi'm kailkeliciitau kramato drumil_l syu}Jm I indral} kubero•~ varu~o yama5 ca I pracyadiko~e patayom 'nubodh~ I (71)
srivasukis talqakasarpjnakaS ca karko!apadmav iha santi n~ I meghas tv ami garjitaghiir~itau ca•s6 ghoras tathavartakaSabdavacyal:t I (72) isanavaiSvanarajatudhanamprabhafijaninam418 atha kot.tak~u I caruqu catvary atibhip!}ani•s' kramac chmaSanini vasanty amiini I (73)
449 pT'Ii~'fl] ?conj.; prtiguJJi!,tll codd. 450 Nimdth4 c11] conj.; Nithtzm ath11 "" cocid. 451 lm4/4nqu] conj.; lmAJ4ne codd. 451 li~tJ K; ii~i N; firi!abotlhi D. 453 bumd/1 ~] em.; tlrumd (syuJb K(undear); Jrum41 "" N; tlrum41J D. 454 kubn-o] I<; kuiHrll N; hMIIU D. 455 Ito!'~ patllJO] conj.; Ito(~)~ K(dd): lto,~(Jiy?)o N: (ItA?)~ D. 456 gll1jit11p'?'itllu c11] Kpc.; giUji(tllgbU'?'i)lllu ell K{adch); g11rjit4 "" Kac.; gllrjitll
CIIN,D. 457
Wliiwi1141'11jtitwihtln~~-] em.(unmrtric}; •
458 459
fllliiwinlllll - Jlit Ill tlhtiM N. j11nlintim] K, D;jllnliprttm N. 4tibhqll!"lm1 conj.; 4tibhq4!fqu cocid.
{jll)twihtl'Nl/1 K, D(corr. mark):
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
3Il
{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 ~c_logra, Gahvara, Karankaka, and Subhi~a.~m
(71) In these cremation grounds there are the trees Sir~a, Sodhi, Kankeli (ASoka), and Ciita, respectively. Know that Indra, Kubera, VaruQa, and Yama are the lords [dwelling] in the "area"(? ltont)ai of the east, [north, west, and south].
(72) Vasuki, Talqaka, Karko!Cl, and Padma are the serpents (nagas) here. The clouds are Garjita and GhiirQita, Ghora, and Avartaka.!uiii
(73) Then in the four intermediate points belonging to Isana (Siva, NE), VaiSvanara (Agni, SE), Jarudhana (Naiqci, SW), and Prabhafijana (Vayu, NW) dwell these very terrifying cremation grounds, in order:
"Fierce/Formidable" (~qogra, cast); "Deep/Impenetrable" (Gahvara, north); "[Place] with bones" (Karailkaka, west); "Very Frightening" (Subhi~, south). lxxii (?) ~cannot here: mean "intermediate point" or "comer(s)," but must be ·pan" or "area" encompassed by the cardinal directions, or possibly the comer of each cremation ground. lxxiii "Thundered" (Vgarj: to thunder, roar), "Rolled" (Vghfl'!':to roll, shake), "Awful Cry.. (vghur: to frighten with cries), Avartaka, '"Thunder Cloud" (personified). lxxi
312.
VAJRAVARAHISADHANA
ananahasadhvanivicyam ekarp lalqmivanarp nama tatha dvitiyam I ghorandhak.irarp ca yatharthanama kilaravakhyarp* leila 5abdapurvarp~' I (74) vr~
krame!]a triva~ karatijaJ:t
nap46 ~
tu padmo mahati vi.Sif!o hulur dvir uktaJ:t /nJj/taJ'* ca Sarp.khaJ:t eko ghano~7 dvau prapllrli~u ca!]4a$ carunho46" jaladalt'o syur ere I (76)
{Nsov}
idarp vidhayopacitarp madiyaJ!l waccandramaricigauram I tenahatiSqavikalpadopl} srivajradevipadavirplabhantim471 I (77) pU1]}'3J!l
<472 > srivajravirahisidhanarp samaptam.lqtir iyaJ!l pat}4itamahopadhyaya.Sri-umapatidevapadanam iti. {K7u}
Nk~~] em.; Nkhytl K; wiltbJti('fl) N(dd?), D. ki/4 14bti4purva1!J] Kpc.; lti/4 l4btJ4 Ypww'!f) K(add1); lti/4 14bt.l4--- N; l4btJ4 D. 461 tri1111/4!J lutraiiftlb] K; triNf4/t4/umuija N; tri~Nl/4!1 karlliija D. 463 j4twlh4114] K; (jtl)tuJhli,~ N, D(corr. mark). 464 prabh41ijii1WI ~p4tin] K; prabh4iijaNl114 lto!f'IJNidNl N; prUhtmjaNi114 lto!"'J"'i"" D.
46o
,¢1
465
ntlftls] em.; nlltmcodd.
466 ltrJiluzs1 ?em.; ltrJiJaJ codd.; (Kulika is given in SliT ch. 17, v. 4od and Sm4itiNtvitJhi v. If, also in HT texts.) 467 pano] em.; fNM K; g/Nl114 N. 468 priiJiur~] codd.; priiJiiir11!f4 SliT ch. 17, v. 42.e. 469 ca!'f!41 ciiiUrtho] Kpc.; ca!'f!4/ Clllf4(/ya)rtho K(dd); 470 }IJMJ4!1] em.; jalM/4 codd. 471 14biM"I4'f'] K; IAbhtm« N, IAIJh4,k- D. 471 iti Jri~,trt] D: omit K, N.
~ N,
D.
THE VAJRAVARAHI SADHANA OF UMAPATIDEVA
313
(74) First is Agagahasa, 1""iv Lalqmivana is second, [then] the appropriately named Ghorandhakara (Terrible Darkness), and [finally] Kilakilarava. 1xxv
(75) The trees, in order, are the Triva!a (Triple Banyan), Karafija, the glorious creeper Parka!i, and Arjuna. Know Isana (Siva), Vaisvanara (Agni), Jatudhana (Naiqti), and Prabhafijana (Vayu) as the lords of the intermediate directions. (76) The ntigas are Mahapadma, lxxvi Huluhulu, Kulika, and Satikha. These are the clouds [in the intermediate directions]: Ghana; Prapurtirta (or: Prapurarta),604 V~· and Cal)ga as the fourth.lxxvii (77) 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 (padavz) of the glorious vajra goddess (vajradevi)!
Here ends the sadhana of the glorious Vajravarahi. It was written by Pa~gita Mahopadhyaya1xxvm Umapatideva.
lxxiv Literally, "denoted by the name Ananahasa" (a!fa.tfa is the sound of boisterous laughter especially associated with Siva). lxxv Boisterous Laughter (Ananahasa, NE), Fortune Forest or Spring of Splendor or Abundant Wealth (?~mivana, 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
mah4). lxxvii Cloud Mass (Ghana, NE), Very OldNery Full (PrapuraJ).a/Prapilra.t:la, SE), Rain (Var~a, SW), Deluge Cloud (Ca.t:l4a, NW). lxxviii Parzr/.ita (scholar) and Mahopiidhyiiya (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 translation of the term under discussion is given in double quotation marks, with its Sanskrit original appearing beside it in parentheses. If the author provides an additional gloss of the Sanskrit word, this will be contained within parentheses with the symbol > showing that it is a gloss, thus: "Awareness" (smrtib > smarartam) means .... Endnotes provide additional comment on the translation 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., -adi ("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
VAJRAYOGINI
Where a name seems to be an attempt to communicate 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 paragraphs (§) is editorial. Sanskrit text Sanskrit text in parentheses indicates the word or passage translated, either because the translation needs clarification because the word is polyvalent, or because the translation is loose. Nouns in parentheses usually appear with their nominative inflections. verse (v.) Numbering of verses is editorial. Daggers enclose text that the editor judges corrupt t t but cannot emend. A double dagger in the teXt refers to the T C'XtUal Notes covering linguistic points, problems, and parallels. proper names
Abbmliations and Symbols in tht Sansltrit Ttxt § [e.g., §1] v., vv.
{} <>
t t -or"
bold italia
or~
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., {D39v} 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 corrupt but cannot emend. Indicate the missing heavy, light, or optionally weighted syllables respectively in a hypometrical verse, e.g., tathagatdn- vyava/o!tya samya/t. A syllable in bold indicates faulty meter that is left unemended. Words in italics indicate that the text, or an emendation to the text, is uncertain at this point.
CONVENTIONS, ABBREVIATIONS, AND SYMBOLS
punctuation
317
Punctuation is used only where the Sanskrit requires elucidation, e.g., a comma may be used where a full stop (tlarv/ab) is inappropriate, but where the silent omission of the t.I4'.V/4 would be confusing. Hyphens are used for word breaks, to introduce quotes, or for some recitation passages.
Abbm~iations anJ Symbols
in the Apparatus
ac
"Before correction" (an~ corrtet'Uram). e.g., ltdluisya-
addladd2.
ltliliy4!1] Kpc; ltdlt4syoJJilb Kac. Added in the manuscript on the same line/added by
cf.
codd. conj./conj. X corr. corr. mark
D
dam. del/deb. ditto. ed.X em./em. X
f., ff.
""'"'· hyper.
a second hand on the same line, e.g., il14nim (iJ4m) 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 matter or a passage in the same or another text suppaning the editor's choice of reading. The manuscripts K, N, and D (codic~). "I have conjectured." /"X has conjectured." "I have corrected." Correction mark of three dots over an U,ara (found only in ms. D). Dcvanigari paper ms. (ff. 39rJ-52v8).
Damaged text. Deletion of letters in the manuscript by the first hand, or by a second hand, e.g., sthd(na'f') K(deh). 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., ... mdpittifl sarvatathllgatli'fl is shown in the apparatus, sarvatathllgattJb] corr. (hyper.); Sllrvatathligatlls codd. 317
318
VAJRAYOGINi
hypo. K m~ta.
m~tri
causa
mg/mg2 ms./mss.
N omit. X pc r
syncop. Tib. unm~tric.
v
x-.y
X
§ [e.g., §1]
] 0
(x)
A line of verse is hypometrical. KUfiltt Ncwari palmleaf ms. (ff. S3V4-7Iri). 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., (sa'f')ltalpa K(mg2). Manuscript/ manuscripts. Ncwari paper ms. (ff. 36V7-50V2). Omitted by X. "After correction" (post corr~ctiomm). e.g., sthdna'f'] Kpc; stha(na'f') K(add2). folio recto. A line of verse is syncopated. Tibetan translation of Vajravarahisl1dhtlna by Umaparidatta. Toh IS8I/0ta 2292, N 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-.alilta'f'. "The passage starting pratitya and ending alilta'f'." 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 o 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 continuation of text as in the lemma, e.g., hantri1f1 kurutd] K; hanti1fJ ... N; hanti kuru D (where tilda indicates "kuruta" in N). In a variant, parentheses enclose the letters that are described beside the, e.g., na(bha)sthas K(mg2) means that bha has been added in K' s margin by a second hand; mantrtdya(va)t K(add) means the altfara ·va" has been inserted into the line of text in K.
m
CONVENTIONS, ABBREVIATIONS, AND SYMBOLS
319
In a variant, the letter x is uncertain in the manuscript. In a variant, the letter x is an unfinished ak,ara in the manuscript. A hyphen above the line indicates a marked omission in the text, e.g., ya-. A hyphen on the line indicates an unmarked omission in the text of approximately one alefara. The estimated number of alqaras that the lacuna represents will be given for larger gaps, e.g., vdma -7- N Illegible syllables in the text are indicated by asterisks. Omission marker in the text. Decoration in the text.
(x?) x-
- (e.g., -J-)
®
Othtr Editors L. Finot ( Caltrasa1f1vllrabalividhi ed. 1934).
Finot Isaacson Meisezahl Sanderson Tsuda
Dr. Harunaga Isaacson (personal communication). R. 0. Meisezahl (Grist unJ 1/tonographi~, 1980). Professor Alexis Sanderson (personal communication). S. Tsuda (Th~ Sa,varotittya Tantra.· s~ka~J Chaptns. 1974).
Silmt Editorial Standardizations The text has been regularized in the following respects: 1. Final '!' > m. 2.. Homorganic nasals in external sanJhi of 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 before v (e.g., lllttva, bodhisattva) where the scribes regularly write a single consonant (llltva, 0satva). 7. Da'.'f!izs are not shown, unless significant to the accepted reading or suggestive of the cause of corruption in a variant reading.
ts
320
8.
VAJRAYOGINI
Numbered repetitions of mantra syllables within a mantra are written out in full, e.g., hu1'fl2 > hu'fl hu'fl.
Scribal variations in these matters have not been recorded unless they are significant.
Plat t:
ajra arahi rangka.
ourt · of Anna
nrral Tiber
tw
lfrh-.t hin nth enrury.
aria Ro i and Fabio Ro
1.
Plate
2:
Red J;>.akitni. Khara Khoto n ·elfth-ib..irteenth century. he State Hermitage Museum t. Peter burg.
Plate 3: Blue Qakini (Nairatmya?). Khara Khoro, twelfth-thirteenth century. The Stare Hermitage Museum, St. Petersburg.
Plat 4: Va:ravarahi (Tib.: rOo rje phag m ). Ti r, fifteenth century. ilr pper ht. 41.5 m. Photo by lri h von · chro der.
Plate 5: Marlci (Tib.: Od zer can rna). Tiber, c. qoo. Gilt copper, ht. 13.8 em. Photo by Ulrich von chroeder.
Painred da .
urt ·
jra 'ni. Tibet nin f rh Brici h Museum (
t At
mh nrury. 4 .7-1 .24).
Plate : Vaj . ~yogml,
-r '-kh haii. Eas·tern Tibet, eighte nth. century.
From the c II tion of ·the h JJc:y and
onald Rubin Foundation.
Pla e 8: .aj viriU1i tangka with del .il of evered~he-ad Vajrayogioi).
oun:eenrh
nrury. John and Berthe ford
olle otion.
Plate 9: Sever · ··-h d Vaj.rayogiru (Cbinnamastil hinnamWJ4:) tang~. Tibet/Nepal, c. 1900. 1· den Museum ,, Stuttgart.
a
,~--~==~--
-'\.
-----
c
f
P'.lat lo: Pa::" nred Mongo~.iao woodbtocl<s. ' ibet,. c. 1.850. d1n graphic Museum of rhe U njversiry of Ziirkh.
Plarc n: Tangka ofCakrasa11wara in unjon with Vajravarahi. Khara K.hoto, rwdfth-thineenth century. The tate H rmita e Mu ·um
t.
Pete.rsburg.
lowTa lor.
Plate 13: Tangka ofVarahyabhyudaya MaJ.19ala. ourte y of Anna Maria Ro i and Fabio Ro i.
PI are 14: T angka of " aj rayogini in K ·chara P radi c.
Tib r, eighteen h century. olle tion of ib
t
ou
ew York.
invent ry numb r
1
560 92. m
a
b
Plate 16: Palm leaves from kufila Newari manuscript (K) of the Guhyasamayasiidhanamiila (GSS) . Nepal, twelfth-thirteenth century. Copyright Bodleian Library, University of Oxford (ms. Sansk c. 15 (R)).
Manuscript Sources
Tht Manuscripts oftht Guhyasamayasadhanamdla (GSS) Ms. K Oxford, Bodleian Library. Ms. Sansk c. 16 (R). No. 1455 (Winternitz and Keith 1905). Palm-leaf, cataloged as probably founcenth 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 ltufi/4-nmJtiri.' 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 manuscripts contribute to the sense (significant variants alone arc recorded). Each sadhana in K has a shon colophon, but K does not provide an overall tide to the collection as a whole. The last work in the series is the /)tiltiniguhyasamayastidhanJt (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 SaJhanJtmala Tantra. The sadhanas themselves arc not numbered (the scribe leaves a small gap between them), and the numbering of the GSS collection (GSS1-GSS46) is thus entirely editorial. There arc fifteen missing folios (ff. 9~100, 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 corrections 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 mantrotltJhtira (e.g., f. 52r-v, GSS1o). Red sinJura powder appears The term ltufiliz (curved) was coined by Bendall: Sanlqtyayana calls it "circular" (INI1'tiJ4) (BUhnemann 1994= 2.1).
32.1
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 original 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 ponion of GSS2. I have numbered this folio "o" (o.r. and o.v.). • The colophon Vajravtirtlhisddhanam appears twice in the collection (GSS2 and GSSn). The two leaves containing the folios were placed together, the second colophon (for GSSu on f. 70) being placed before the first (for GSS2 on f. u). 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, 98, 99, regardless of the actual text. (Folio 100 remains missing.) • Folio 102 was misplaced under 128 and corrected to read 129. • Folio 8o was upside down and found following folio 70. It was numbered 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 realize there were folios missing following folio 128.
2
Folios bearing Tibetan script: folio ii recto and verso, 179vt 4rt nr-vt 13r, 14v, 28r-v, 29rt 32r, 39r, 40r, 43v, 45r, 53v, 64f, 66vt 67rt 67r, 70acvt 71r, 71vt 74Vt 7sv-76r, 82.r, 82v, 83r/v, 84r, 8sr, 87r, 88r-v, 91r, 92v, 94r, 9SV· 101r, 104v, 105r, Io6V, I07V, I08r, Io8Vt II2rt llSV, n8rt 120Vt IllV, 122ft 123ft I24f, I25V, 127r, 128, 139acvt 140r, 143acv, 1~cvt 14sacr, 14sacv, 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 O'fl and hu'fl, and possibly a smudged Vll'fL Two items of a list also appear in the top right corner, possibly a continuation of the "index" from the folio beneath (folio *ii). On the other side is a /lou saluting the Buddha, Lokanatha, and Vajrasanva, delicately written, perhaps in the first hand but corrupt/illegible. folio •;; 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 tides are legible). This list is continued on the reverse of the leaf, which also contains some Tibetan script (and possibly on folio *i). folio 279r Also discolored, as by water, with evidence of older writing underneath. A few lines on the left contain a salutation to the Buddha, Dharma, and Sangha. A numbered list on the right contains a legible list of the ten knowledges (JaiajNiNZ). folio 279" GSS1(1)-the first side of GSS1. folio 27Ir-v, or 279r-v GSSI(l)-GSSI(3). The leaf is slighdy discolored with the number added by a different hand, as the last numeral I or 9 (?) is not like those of the other foliators. folio Bo tltnun) GSS1(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-69v GSS2(s)-GSSu. These folios appear in the correct numerical sequence until folio 70ac/Iopc (GSSn). folio 70«/foliD Iopc I found this leaf located before folio u and erroneously renumbered 10. It contains the colophon for GSSn (VajravlirlihistitJhaNZ), which has the same colophon as GSS2. It was
(IIJ'SiM
VAJRAYOGINI
mistakenly inserted before the colophon page ofGSS2 (f. u) and given the new number (f. 10). folios 71-9sv 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 ( 101r. 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 accordingly (96, 97, 98, and 99). This botched arrangement appears on the Bodleian microfilm. folio 101r End of GSS28 to the start of GSS29. folio 102aclfolio 129pc GSS29 continues. I found this folio placed under f. 128 and refoliated to read 129. It appears like this on the Bodleian microfilm. folios IOJ-28 Folios in correct sequence. folios 129-38 Ten lost folios in GSS44. N recognizes the lacuna (N9m: parih.rtadaia. atrapi trufitam asti. .ryti 0 ); D inserts nonsense (D94v4:
parih.rtadasamagaka .ryaj. folio IJ9ac/folio 12(?)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 ofGSS46. 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.-' 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 follows: f. 14or-v: GSS46(t)-GSS¢(2)- f. I2.90?pcl141ac r«to:GSS46(3) (on microfilm found below f. 102v) - f. I29o?pcl14Jac vmo: GSS.¢(4) (on microfilm found above 139rac) -f. 98pd142ac r«to: GSS46(s) (on microfilm found following 97r.pc)- f. 98pc/142aC vmo:GSS46(6) (on microfilm found following 99rpc)f. 43pdi.43ac rtcto: GSS46(7) (on microftlm found under f. 141v) - f. <~Hpc/Loac vtno: GSS46(8) (on microfilm found mysteriously at the start of the collection abov~ GSS1) - f. 99pchwlc r«to: GSS46(9) (on microftlm following f. 141v); -f. 99pd1~ vmo:GSS46 (xo) (on microfilm preceding f. IOir}- f. 97pc/14sac rtcto: GSS46(11) (on microfilm following 146ad,96t.pc) - f. 97pc/145ac vmo: GSS46(12) (on microfilm above 142acr/98rpc) - f. 96pc/146ac recto: GSS46(13) (on microfilm beneath 9SV) - f. 96pd146ac vmo: GSS¢(14) (on microfilm after f. 9SV· as if •f. 96) - f. 147 rtt:to: GSS46(15) (on microfilm found following f. 140v) - f. 147 vmo: GSS46(16) (on microfilm found preceding 143r).
MANUSCRIPT SOURCES
325
Ms. N IASWR MBB I972 I-I40. Nepali, paper. N.S. ro38 (=I9I8 c.E.). 98 folios. Newdri script. (Manuscript 1f of Sarnath edition of Abhisamayamafijari.) A faint, delicately written manuscript, difficult to read but fairly correct. There is one leaf missing containing the end of GSS7 and the start ofGSS8 (f. 29, with marginal note on f. 28: atra dvipatrakha1Jflitau). There is no collective title for the series of sadhanas. Following the colophon to the last sadhana (f. 98q: iti frirjdkiniguhyasamayasadhana'f!l samapta'f(l), 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 namaskara with four verses, and an illegible colophon. The four lists are the ten knowledges (as inK), the ten paramitiis, the ten dhatus, and the ten kayas. 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 I through 40. There are some mistakes in this handwritten index, and the numbering differs from that given editorially to K (GSSI-GSS46). 4 Ms. D IASWR Guhyasamayatantra MBB-II-126. Paper. Twentieth century. 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 (fri- Vajravarahigopyahomavidhi), the sadhana for which the first portion is lost inN due to a missing folio. LikeN, it also omits GSS28, the sadhana for which the early folios are lost in K. This manuscript supplies an individual colophon to each sadhana that records the name of an overall title for the collection, namely, the fri-Guhyasamayatantra (e.g., iti friguhyasamayatantre frivajravdrdhisadhana'f!l 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 (pakiniguhyasamayasadhanamaliitantra4
The handwritten index is incorrect in the following respects: (1) GSS7 is incomplete, and the leaf containing its colophon (f. 29) is missing; (2) The friVajraviiriihisiidhana by Umapatideva (GSSu) is not recorded in this list, although appearing on ff. 36v-5ov in the ms; (3) The Vidyiidharikramabhiivanii (GSS22) is not recorded as a separate work (see appendix); (4) the final bali mantra and colophon to the missing Vajrayoginisiidhana GSS28 are omitted in N, which leaves no trace of this sadhana in the collection; (5) there is no record in the index of GSS4o, the commentarial passage upon GSSr, although this appears in the ms. (ff. 87-88); (6) there is no record in the index of Vajraviiriihikalpa (GSS41), although this appears in the ms. with colophon (ff. 88-89).
VAJRAYOGINI
riija). and the overall name for the collection, Guhyasamayaslidhanamtillitantrariija. ~ Tibetan (Tib.) The Tibetan translation of lri- Vajraviiriihislilihanll by "Umipatidatta" (GSSu). Toh 1581/0ta 2292, N 292. (Bodleian reference: Tibetan blockbooks a.68 vol. 24, pp. 32-49). The colophon states that the sadhana was translated by V3gi5varagupta with Lotsawa Chos-rab, and was composed by "One who has the lineage of the instructions of Viriipa, sri-Umapatidatta" (p. 49.7). The translation omits many of the prose expositions that interrupt the verses in the Sanskrit, also the Abhit/harmi!ta glosses on the body mal)9ala 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 Sanderson, and Dr. Isaacson for helping me record the Tibetan variants.)
m
Textual Transmission The three manuscripts, K, N, and D, are closely related. N is derivative of K. It shares the same colophons (different &om 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 itsel£.7 In places N does not incorporate a marginal gloss, suggesting that, on those occasions, the transmisD101v: samdpto Ja'!' tjdltiniguhya.samayas4t/hanamd/Atantrarlijni. uipraua'fi/Afri-
6
7
vajriictiryll}illllratnma guhyasa~114md/Atantrarlija<'!' > lilthita'!', lubhlz'!' bhuydt. • ratnma] corr.; ra~ma D. The Tibetan translation includes the following Sanskrit text: (omits O'!') .. Homage to Bhagavan Vajrayogini," vv. 1-4, (omits §1), vv. 5-7, (omits v.8§), vv. 8-12, §1, vv. 13-15, (omits §3-§5), vv. 16-15, (omits §6), v. 2.6, (omits §7), v. 2.7, (omits tatrtiya'!' s~ltam4ntra/1- v.17§, §8), vv. 18-34, (omits §9), v. 35, (omits prathtzmo bhtivaNiltr~tm4/J.- atha), §x6-§u, §13-§29 (omits all exegetical glosses of doctrinal terms; see Textual Note for details), v. 42, §30, v. 43--53, (omits v. 54), vv. ss-s6. (omits §}1), §32-§34> (omits §34 ttiiC ca guriipad&iJ botJJhat!JII"'- Jarlitam), vv. 57-61 (omits O'!' ti'!' .. .), vv. 61-66, §36, (omits v. 68), §37-§48, (omits §48 qa tu - boJtlhauyab), §49 athtzwi- ltamalliwzrtamudrl~Jti SIZ'!'tfJ.SJIZ (omits mutbopasa,hdrtrur- §stjuhuydJil]), §51 aJhydtmahomauiJhib- bahir :awni. (omits ilitini, ... vv. 7o-76). v. n. E.g .• tbhir] Kac; ~bhiy(ui)r K(mgl.). N(mgx}; ~ir D. cf. canJrarlt~tbija] Kac; canJraritll(llllhni) Kpc(add), N, D. cf. also the text of v. 68.
MANUSCRIPT SOURCES
327
sion 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 bali mantra and colophon that remain inK (N91vi). Occasionally, it provides the correct reading where K fails. It does not descend direcdy from K, for it appears to rely upon an intermediary that on occasion is more correct' 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 nnuiiri script, since on many occasions he misreads a short vowel for a long. 11 D is more closely derivative ofN, 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. n D sometimes seems to rely on a transmission closer to K, or produces a different reading altogether, thereby suggesting that it is not N's direct descendant, and/or that it also had access to other sources, andlor that it innovates.•• This may be illustrated by two points: • There is a problem inN produced by a missing folio (f. 29). This loses the end of GSS7 including the colophon (in K: vajraviiriihyii Jviii14Jabhujiiyii/1 siidhanam) and the start of GSS8. At this point, D ascribes a different (corrupt) colophon to GSS7 (otf,t!iyiinapifhiitiisthitatkvisiitihanam) and omits GSS8 altogether. If it was reliant solely upon N after f. 29 had 8
9
10
u 12
13 14
E.g., gmjit~~ghuT!filllu ca] Kpc; garji(lllghUT!fi)lllu ca K(add2); garjilll ca Kac; gar-
jilli caN, D. Note that N also omits the mantra syllables that have been included in the margins to reveal the result of m4ntroJJh4ra in GSS10. E.g., 11111ntr11JNi!h4~ N; 71111ntrllJNil K; m4ntrtti yJ(va)t D(add). cf. p;;rvdtiitiilqu] N; purvtiJilqu K, D.; ptiJils1 N, D; ptWii K. cf. tiilqu] N; tiilt,u/1 K, D; up11Sth4plllt4'fl] conj.; upasthlina'!'Jillta'!' K, D; upasthtinayaltll'!' N. E.g., 11bhytJ}4s4n] K; -6-11111 N; 1111 D (no gap or marked omission in D); tillJhato nabhafnthan] em.; tillJhllto NZSthas Kac, D; .. na(bhll)sthlls Kpc(mg2); ti11Jh11t4 1111/1 stluis N; vi'Y"m ukra'!'] K; virymtiriyam ultt4 - N, Vi1Jil('!'?) inJriyam ult111 D; Jharm~~] em.; praJhamw K; pra- """"' N, prlllilihllrm11 D. E.g., vin4/dti N; vindslk K; vi111i/4ya D; ~tryiga~] K, N; nydg11nwyoyam D; bhullil] K. N; bhulliR D. See also Insignificant Variants. E.g., ti4{ih~] K; ~ N, 0; punar] K, (fU?)nar N; !U na D (marked faulty); ,bh;~ Kac; dlhiYvi)r K(mg2). N(mg1); ~ir D. E.g., /ti/4 illbJ4purvll'!'] Kpc; /ti/4 illbtJA ·(puf'V111!1} K(add2); ltiiA illbt/4 - - - N; 1111Hi4D. E.g., jlln4Nim] K, D; jaNiprllm N; vi'Y"m ulttA'fl] K; virynu/riyam ult111- N, vi'Y"('!f?) inJriyam ulttll D; vigh"""'!'f!/flm] K; ,.,JAm N; vighnavrnt/11/t"'!' D; clltvtlrll] D; clllfNlri K, N. cf. ya11141i4'!'!fri!'~ K. N; ya"""'"'!ri D; tWt!i!fqu] D; tl4ft,i!flisu K, N.
VAJRAYOGINI
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 tide for the whole collection; perhaps a late innovation.
Editorial Policy Except in the edition to GSSu, K is the only manuscript cited in the footnotes to this book, unless the other manuscripts afford important contributions to the sense. Variants from the various (late) manuscripts relied upon in the Sarnath Edition (Sed) of Abhisamayamafijari (GSSs) are not given, where clear readings from K exist.
Textual Notes
The T enual 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 AbhisamllJamanjari (GSSs) and *ViJhisatpgraha (Finot 1934); sec chapter 3 for details. v.1 Verse numbers: All verse numbers are editorial. The meter is upajdti (vv. 1-35, 67, 7o-n) with some verse citations in anUf!Ubh (v. 8§; v. 27§; vv. 36-67; v. 68§) and TNilini (v. 69). v.I viltramASmtl: U mapatideva addresses Vikramasena in his benedictory verse. Proper nouns in a benediaory verse would normally be those of the deity or the guru. Although "Vikramascna, may be the name of an unknown Buddhist preceptor, it is f.unously the name of the industrious and pious brahmanical king whose exploits are recounted in the /GzthasaritSiigara. If it were "King Vikramascna" 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 unconvincing; it attempts a literal translation of ViltramASmtl, rendering viltramasmtl yatnllt "for the benefit (*artha) of the one(s) having the section (stk = ·s~rui) offorce (rnampargnonpa =*viltrama)" (p. 32.3: rnampargnonpa'istk/Jtzn tlon Ju), 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 ltram~a. a reading that would accord with the careful divisions of the sadhana into meditation stages
(bhlivaNlltramllfJ). 329
330
VAJRAYOGINI
§1 Omitted in the Tibetan translation. §3-§5 tatrami t~ mantra/J--. vajrakildkofllya hu'fl phatj iti: Omitted in the Tibetan translation. §3 grih')ll.· The onhography here is variable. K uses grihlJil: N and D both use the more correct grhlJil. These mantras in the Vardhyabhyudayatantra (after v. 30) read long vowels in hu'!' (rather than hu'!'). §4 : Umapatideva's text is ambiguous here, since without 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 Abhisamayamafljari (GSSs Sed p. 129 1\ Kl?V-I8r, cited above: ... caturo vajraprakartin) 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. 14d: vajraprtiluiraNimnafJ). I therefore insen this object into the prose text at §4. §s O'!' gha gha ghataya: GST ch. 14 also reads ghataya rather than ghd_taya (Matsunaga 1978: 69): O'!' gha gha ghdtaya ghataya sarvadUffdn pha! ki/4ya
kilaya sarvapliplin pha! hii'fl hii'!' hii'!' vajrakilaya vajraJhara li}Nipayati ktiyavdkcittavajra'!' kilaya hii'!' pha!. (Note that Candrakini glosses the syallables gha gha as vocatives, PU p. 158: ghatak~ty limantra!UJm.) The plural genetive sarvavighnlinli'!' in our mantra (§s) is attested by the PirujiJtrtasdtihana (facsimile edition in Mimaki and Tomabechi 1994 p. 2.* ms. A f.2v, p. 31* ms. B f.u-v). Both the "staking" and "hammering" mantras are found in the Vlirahyabhyudayatantra: (after v. 30 and v. 31), with some corruptions and variants. v.16a paiijardntar: As in v. 13 and also in v. 35. the Tibetan text reads "wall" (ra ba) for pafljara: "The cremation grounds are {gn4s = -sthal-sthita) within that very wall (ra ba ek nyit:IJ' (Tib p. 34.1: ra ba ek nyit:l nang na dur khrod yang Jag gnas). The reading with paiijara (Sanskrit mss.) rather than *prakdra/J (ra ba) is supponed by two passages elsewhere in GSSn: (a) "within the canopy" (pafljarlintar) appears here in contrast to the preceding passage that begins "outside the canopy ... " (paiijartiJ bahi[1... yamadtv!hyiiliicatasro ekvib p*t); (b) the alternative method of generation
TEXTUAL NOTES
331
supplied below also reads "within the canopy" (GSSu v.35: tatpanjaranta!J ... tkvi'!' vibhava~J va), although here the Tibetan again reads ra ba. Other Vajrayogini/Saqtvara sources also read pafljara, e.g., GSSs (Sed p. 130'~, KI9r1): vajrapanjara~ JhaT7fllllihatusvabhavli'!' Jharmodayam ~kartim upari viltiltim aJhab sU/epnti'!' vicintya; SUTch. 17, v. 36ab: vajrapafljara11llllihyt tu JmalliN1f!llkabhufitam. However, the reading with praltara is also found, cf. YRM on HT l.3.16: vajrapraltarlisv antar~
ghorlif.lllimalanani tanmaJhyt ku,agarotiArt viharati. v.18a nipsreya bijodbhavaraimijallit: The Tibetan has instead "countless" Jpagmtd(*amtya. aparimita. apramtya. etc.). Tib p. 34.3: Sll bon las byung
OJ zn dpag m~J 'phros pa yis I sky~ bo ma Ius byang chub mod du mdztuJ D'ur bas, "Countless light rays that have radiated from the seed-syllable transform all beings into vessels (mod < bhlijana, etc.) of enlightenment." v.18cd tatraiva bijt h;-.vai: The Tibetan text has (p. 34.3): sillr yang sa bon
tk nyiJ las ni T7141 'byor mas I mlllus pa T714ms iJus par yllng dllg bsgom bya o.
"Again (slar yang) meditate (bsgom bya o) correctly (yang JAg) that the yogini(s) (rn41 'byor mas, instrumental) from (las) that very (tk nyid) seedsyllable (Sil bon) gathers in (iJus par) everything (ma Ius pa rnllms)." Sanderson (1998: personal communication) suggests that the feminine 0 butJJha4i/ta'!' would explain the Tibetan's "yogini." v.19a cllndrarkabijaprabhavli'!' trinttrli'!': The earlier reading (with bija) is a reference to the third stage of the series of awakenings (pancabhisambotihiltra1Nl/J) that has just been described (from vv. 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 0 bija (p. 34·~ Sll bon).
v.2ocd savajrasavptara_.du!,tavrnJdm: A literal translation of the Tibetan reads "[Her] other-than-left [hand, i.e., *sllvy~tllral*vam~tara] 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): gyon pa las gzhlln gri gug dllng bellS shing /o ilrll I sdigs mdzub sll gzhir mdzAJ pas sdllng pa 'i tshogs rnllms Joms. The Tibetan strongly supports Sanderson's conjecture in the first half of v. 2oc, sll- (dllng bellS) -vlljrllSilV]dllra 0 • However, Sanderson states that he sees no metrical solution to the second half of the c-padll. He notes that the word pras_rtifl means the palm of the hand when the
332
VAJRAYOGINI
fingers are contracted (Amarakofa 2.85c: 152), as when it is holding something-here, the vajra. (The Tibetan has "chopper" rather than vajra, which is interesting because the texts of the GSS prescribe a vajra for warriorstance Vajravarahi and a chopper for ardhavaryanka-pose Vajravarahi and Vajrayogini, an iconographical distinction that seems to be lost in Tibetan sources; see ch. 3). Sanderson also points out that the reading bhutarjani 0 at the start of v. 200 (supported by the Sanskrit mss.) is consistent with the Tibetan, which indicates the gesture to the ground (mtlzub sa gzhir mdzaJ pas), and also with the Sanskrit, which dearly specifies the vajra-an implement for which a bhutarjani (presumably the finger pointing threateningly to the ground) is entirely appropriate. §6 ami u !a!l mantrab: This prose paragraph is omitted in the Tibetan translation. The corruption !a!' mudrab (for !a!' mantrab) 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): !atfokvatiiuddhair mantrapaJair bhagavati'!' kavacay~t. but the mantra syllables may have been accompanied by hand gestures (mudraJ;), and it is just possible that the reading o mudral; in the mss. is correct. In a corrupt passage, the YSCf uses both mudra and mantra to describe the armoring in pafala 7 (A4r.7, Bsv): tatab kavacadvayam iilmlina1f1 jfiiinacaltra1fl vibhavita,. samayacakr~ pravisy(asysa?) mudramantrn,uz yoginti. Some sadhanas supply the syllables and describe their accompanying mudras, e.g., SMI (p. 5); SM28 (pp. 68-69): tata/1 paficangavinyasa, mudrabhir mantrasa,hatabhib kuryat; etc. §7 jfuinasattvapravei~ tu: §7 is omitted in the Tibetan text. v.27i tatraya'!' ukamantrab -.v. 27i, §8: Omitted in the Tibetan text. v.27i "o'!' sarvatathagatiibhi!~kasamayairiyt hu'!' .. iti: There seem to be two traditions in the formulation of the mantra. Our texts (of the Cakrasarpvara!Vajravarahi tradition from Liiyipada) provide a single hu'!' following the dative, ofriy~. e.g., HA (&4r); GSSs (Sed p. 135\ K22v4), SM218 (p. 429), SM251 (p. 493). Elsewhere, other syllables are found, including svihd, ti/J, and phaf as, for example, in ADUT ch. 9 (p. 287): 01JI sarvatathligatllbhi!~kasamayairiy~ svdhti ab hu,, with variants svahti/J hu1f1 or hu'!' hu,: cf. ADUT ch. 14 (p. 321): a hu'!' phaf svahli (with variant hu'!' hu1f1).
TEXTUAL NOTES
333
§8 ¥aJdvarjitapaflcdm.rtabh.rtavdmakarakapdltbhyo: The reading of the mss. ( 011m.rtllbhuu) is a scribal error due to the orthographical similarity between bhu- and bh.r-. The skull bowls are "full" and do not themselves "become" the nectar; cf. SM2so (p. 489): paflcdm.rtadravdpiif!Jaib kapdltzir. The scribal error is found elsewhere, e.g., in Kumaracandra's pafijikdto the KYf (p. 127): paficdm.rtabhiilllkallllair abi!icyat~. The reading with bhr is well attested; see HT 1.4.2 paficdm.rtabh.rtaib pancatathagatlltmalraib lraWai/:J; cf. SM97 (p. 199); Ratnakarawui's VajratardsdJhana (SMno p. 231); SM22.8 (p. 446): paicdJ am.rtabh.rtaib ltumbhair abhificyatt, etc.
v
v.29d dkh~dam nJil1fl punar nJil lturylit: Sanderson's conjecture is supported by the prose (§9) and the meter. He notes (1998: personal communication) that the corrupt reading-the more usual way of stating the idea in prose (d ... paryantam}-may have entered the text by a substitution of an explanatory gloss for a less familiar term, the adverbial bahuvrihi, "dkh~dam."
§9 Omitted in the Tibetan translation.
prathamo bhdvandkramaJ_,.--.atha: Omitted in the Tibetan translation. (The other divisions into meditation stages art noted in the Tibetan.) §10 icchantll1f1: The accusative present participle is correct Sanskrit, but the emendation is doubtful. The passage appears three rimes (§10, §13, §16), with the reading iccha'!l in the second and third occurrences. Perhaps iccha'!l should be preserved, taken loosely for icchanta1f1? The Tibetan text from mahlisulthacaltrasthli'!'--.;ti {v. 36ab} reads "The above [i.e., vv. 36--37?] is for the benefit of one who wishes to meditate on the four skull bowls in the four intermediate directions together with I)akini, Lama, Kh~4aroha, and Riipi~i, in the east, north, west and south ofVajravarahi, who resides in [the cakra of] great bliss." (p. 36.4-5): bek ba chm po Ia gnas pa 'i rdo rjt phag mo 'i shar dang byang dang nub dang lho phyogs mams Ia gnas pa I mltha' gro ma dang Ill ma dang ltha~ ro ha dang gzugs can ma mams dang I mtshams bzhir thoel pa bzhi dang bcas pa rnams bsgom par 'dod pa 'i don au 'o. 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·S): .. . dang lha mo brgyaJ sgom par iJoJ pa rnams ltyi don Ju g.rung.r zhts pa o. At §16, the Tibetan text reads:
334
VAJRAYOGINi
"Now for the purpose of completing the circle of the goddesses, three circles that are like this, the mind circle, speech circle, body circle," (p. 38.2):
da ni lha mo 'i 'khor /o yongs su rdzogs par bya ba I tkn du 'khor /o gsum iii Ita su I thugs kyi 'khor /o dang I gsung gi 'khor /o dang I sku 'i '!thor /o rnams r.ht>s byao. vv.38-4o The first verse (v. 38 rjaltini ca tatha lama) is scriptural, found in the Yoginisamcaratantra (A3r.2, B3v.2) with the reading rjaltini tu .. .. (The scripture continues with a few words qualifying the goddesses as fourarmed and one-faced, etc., and then gives a paJa similar to that cited at §u.) Liiyipada also cites this verse in his HA (with ca: f. 6n), and follows it with prose (or corrupt verse) similar to vv. 39-40 plus the line opening §u. The metrically correct version produced by U mapatideva may be an example of "polishing." See also GSS12 (K71VI): the a-ptitl4 by itself as in GSSn with ca; SM225 (p. 439): rjliltini'!' tu .. . cited immediately below. These verses seem to form the basis for the prose exposition in GSS3 (K12v6) and GSSs (Sed p. 132 16 , K2ov3). §u vidik!u catvaro ... : This is another scriptural citation describing the fivefold m~4aJa. It was probably once anU[!Ubh, as reflected in the Tibetan upon which the conjecture is based (p. 36.7). A similar line appears in the YSCf (a possible source text) preserving the anU!,.tubh meter (A f.3r.2; B f3v.2): vitliima tu catvarab paficapii'!'llltaro!fllt4'!'· It also appears in the SliT ch. 13, v. 28ab vidik,u ca catvdro boJhidtttit)jbharu!tzltlib, which is cited in Liiyipada's HA (f. 6r4-5, omitting ell). C£ SM225, in which the first paJa is that of v. 36a, followed by a hypermetrical b-piU/4 describing the intermediate petals (p. 439): rjaltini'!' tu tatha lama'!' lthat'f!4rohli'!' tu riipi!'im I vidiltpatrt> tatha bhavyab ltaro.tlii clttvarllb iobhana.p. This sadhana is reproduced in the GSS collection (GSS12, K71v), but the first ptitl4 appears alone without the b-pliJIZ mentioning the skull bowls in the intermediate directions.
§u hrdtzyam~tntra ulttafJ The Tibetan text cites the heart mantra in full. v.41 yatha tja}tinijanasya ... : This verse, with its unusual syntax, is attested elsewhere, e.g., the HA (f. 8r.6-8v); also in GSS44 (KI39(ac)r1) as follows:
yatha rjaltinijanllSJil tatha ltaltasyadi tu bht>datafJ
TEXTUAL NOTES
335
vitJiksthtis tu tllthti tkvytP tlvau hi riipau16 mJZnoharau P"tlisanti mJZhtighorti/.1 sattvdrthakara!'odyatdb The latter pdllas also occur in the SliT ch. 13, v. 32: vidiluthtint 17 tllthd tkvi
Jvau hi riipau mJZnoharau I P"tlisanamllhlighorti/.1 paficamuardvibhU,itdfJ, and a portion of the verse in the YSCf, but with a different verse describing the corpse thrones (A..t.rJ, Bsr): lavam tikramya pdtima ti/it!htisanam t asra'!'? tt t. §22-§29 atha elnJatliha'!'ktiraldbhdya... : The opening line (tinJatdha'!'karaldbhtiya-+ 0 JharmtiJ,J) was probably originally intended to be metrical, as it is translated into Tibetan in four ptit14s within quotation marks (p. 40.1). The same list of equations between the thirty-seven botihipak,iluulharmll5 and the site goddesses appears in GSSs (Sed p. 14o6ff., K2.6v4-28r). These texts draw on the vscr (Alv6-2r, BIV]): atha sapt4tri,Sillibodhipak,ika dharTNi tiewztdyogma (?) pujaniyti/1 • ms. A may read yufijaniy4/J... and even more directly on the HA (ff. 8v3-9v5): -bodhipalqaJha1'7'NUlnlat4yoga.... §23-§29 The Tibetan text omits all exegetical glosses of doctrinal terms, as follows: omits tatra caturviparytisliNi'!' -+ anusm,rtyupasthtindni bhavanti; continues tadyathti kayanusm,rtyupasthtina'!' -+ riipini; omits ghitagrtihi-+ tasyopasthapaka'!' kayaJyanusm,rtyupasthanam; continues §24 catvtira,rJJhipaJJifJ-+ mJZhtinl1sti, iti; omits saJJhaT'mllvqayt-+ §25 t4Jyathti; continues JraJJhmdriya'!' viramJZti-+ airtivati; omits tatra viryam uktam-+ §26 taJ yathti; continues fraJJhabala'!' mllhtibhairavd -+ subhalird ctti; omits §27 sa'!'bodhyai-+ tllli yatha; continues samtldhisa,botlhyanga'!' hayakan;ut-+ suvi"ti; omits samdJhiJ cittailuigratd-+ §28 asyangani yatha; continues samyagtl.r!fir mllhaba/4 -+ vajravarahi; omits tlltra buJJhavd~ -+ §29 taJ yathti,· continues anutpannlinli'!' kuialdnd'fl Jhamui!'dm utptit/4na'!' yammltitjhi-+ yamamJZthani ctti, v. 42 etc. §23 catvdry anusm.rtyupasthdnlini: The usual Abhidharmic term for this doctrinal formula is sm,rtyupasthtinam. Umapatideva uses the variant anu-
IS
~]ern.;
16
ripau) em.; riipo K. Tsuda reports viJiltsthaN as an insecure reading, with certain mss. rendering something nearer to ours (e.g., -stha'fl, -sthti,., -sthJ).
17
aniK.
VAJRAYOGINi
sm,rtyupasthanam consistently (kayiinusm,rtyupasthii111l, etc.), and so I leave the term unemended, although it is unattested in the mainstream Abhidharmic sources. It is noticeable that when Umapatideva explains the compound (citing Pa-:tini), he gives it its usual form, sm,rtyupasthti111lm, and it may be that he is drawing on another source at this point. Following the Pa-:tinian passage, he returns to his previous usage, anu-sm,rtyupasthii111lm. The addition of the prefix anu- may be a tantric peculiarity; it appears in the Vasantatikzka.tikii, which also glosses anu, e.g., (p. 52): tatra katamiini catviiri sm,rtyupasthiiniini? aha- kayiinusmrtJUpasthii111lm ... ,· (p. 53): tasmtiJ ubhayadharmarahitatvtic chiinyo yam luiya iti ya 'nusm.rtis tasyd upa Sllmijn cittasya sthiipana'!l kaydnusm,rtyupasthiinam; cf. Vimalaprabhd vol. 2, p. 129 (the sequence of the 37 bodhipiilqikadharmas is different here because the correlations with the ma-:t<Jala deities are different; however, the commentary follows the traditional sequence for the sm,rtyupasthiinas). The form anusm,rtyupasthiinam may have arisen from its similarity to the appellation of a popular Mahayana formula, the "recollections of the Buddha" (buddhtinusm.rtayab). The anusm,rtis are listed in Edgerton's Budtihist
Hybrid Sanskrit Dictionary 1953 (buddha 0 , dharma 0 , Sll1flghll 0 , fiUz 0 • tyaga 0 • tkvata an extended version of this set in the Visuddhimagga includes kiiyagata 0 • However, Edgerton notes that kayagata is usually compounded with sati rather than anussati, which makes it a distant contender as a possible source of confusion with kiiyasm,rtyupasthiina. 0
);
§23
dtmagu!'avismara!Japratipak!abhutam: Sanderson (1998: personal
communication) comments that in the absence of parallels, iitmagu!"l is uncertain. The first syllable dt- may be the survival of his conjectured -tviit
(piirvtinubhiitasyopasthapak ). §24 saddharmavi!ay~ ... chanda/1: Sanderson (ibid) notes that the gloss of
chanda-,rddhipiida given in the first sentence of this paragraph would normally follow the gloss of ,rddhipiida supplied here in the second sentence. However, a similar structure is found below (§27), and so the text is not emended. §2 7 samyag bodh~r- tad yathd: Omitted in Tibetan translation. Sander-
son notes that the corruption in the Sanskrit mss. (sa'!lbo~lsabot/hynrtga kiirarza/d) is highly suspect. It seems to be a corruption of part of the complete sentence that follows, which is itself corrupted by a misplaced Sll1fl (samyaksambodh~r... bodhyangani).
TEXTUAL NOTES
337
§17 °4wUttilam: Edgerton (1953: 69) notes that avalttiiam appears once as neuter.
There is a verse missing in the Sanskrit mss. but present in the Tibetan text (p. 42.4), which should supply the places Saurdftra and SuNrruuJvipa. The goddesses at those places are Sau~ini and CakraVflrmini, to be placed on the body at the two thighs and two shanks, respectively. This pair represents the places known as the upam~lttka, which are in turn equated with the acallibhUmifJ. The missing correlations are supplied from other texts, e.g., SlTf ch. 7, v. 13: saurdftra uruyugak lo!fita'!' ca saJ4 vllhti I sufJIU!liUlvip~ jllilghasthtin~ ntU/i prasvN14vahini; ADtrr ch. 9 (p. 186): sau'!' urwivaye hayagrivasau~ini I su'!' janghdyd'!' dltdfagarbhacakraVflrmi!fi I uJHlmrllipaka/1; ADtrr ch. 14 (p. 310): saurd!tr~ uruJva~ Jau'JI!ini. suVfl11,1111iv~ janghlitivayol cakravarmi!Ji. upam~llipakap. For the correlating bodhisattvabhUm~ see HA (ff. 1ov6-nr): ... upam~lapaWvaya,. aca/4bhumip; ff. 6r6-7.v4; also YSCf A6vs, B9v6 cf. fifth pa,tala A3r damaged, 84fj. v.54 Omitted in the Tibetan text, and in the Sanskrit mss. Nand D, the verse only is included in a marginal insertion in K63v: tlalaJHipaviNiilic 18 ca
tl4/abhumilvllri" matli I tlaJajiilinavilutJJhatmti tnuipi hi Jaiaharti. "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 rmroves th~ tm [bati tk~Js] (Jaiahara)." The reference is to the canonical list of"ten bad deeds" (altufalaltarmas). (The ten knowledges are listed in a second hand on one of the unnumbered folios at the start
ofK and on the first leaf inN.)
§31 ~ pi!hli/Jipl... : It is doubtful whether this passage belonged to the original Bhavandkrama because it deals with the correspondences belonging to the male gods of the Cakrasatpvara maJ]4a}a. 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 translation, and there are no related lines in YSCf, HA, or edited portions of SlTf. However, a similar passage appears in GSSs (Sed p. 1411' , K28v6): t~
18 19
pi!hatii,u tattatsthanagatli Niljyas llirul~Mi N; lliNlsiic K; 11irui/4y4 D. i!Nn1 K, N; iillarti D.
tattadtkvatliriip~!Ja
parirtamayya
VAJRAYOGINi
vyavasthita bhavyab-yatha b~ pithatlisamipastha nadyas t~na po!ll1J4'!' kurvanti tlldvad tkht pi ntkjyo nakhaJinti1JI pofll!lJlm kurvantiti samlinatli. bahyt vajrapitha1J1 mahabodhisa1JI}flalta1JI sthtina1JI niranjana ca nadi. ekht mahtisukhacaltra1J1 vajrapifham avadhiiti niranjand. 211 §33 O'!' kara kara praca!'{k hu1J1 hii'!' phat: Both i-stem and d-stem feminine nouns appear in this mantra with the sufftx -yt. The dative inflexion -iyt is discussed in n. 432. All feminine proper nouns are unemended here. §34 ttac ca guriipadtiatl boddhavyam-.Jarfitam: This is omitted in the Tibetan text. The Tibetan text transcribes all mantras with the distinction commented upon by the author here: hu'!' hii1J1 phaf (as noted in the footnotes to the edition at §12). The distinction between hu1J1 and hii'!' that Umapatideva makes here is clearly differentiated inK, but seems to be lost in other mss. N is small and faint but seems to read hu'!' hu,. D also reads hu'!' hu'!f. Umapatideva's statement is also not borne out in other sources examined for this book. A scriptural parallel for the key ro the mantras is cited in another GSS sadhana extracted from the ADUT, in which the mss. supply a long vowel in hii'!' (GSS7 l43v4-5): pra1J4VIl'!' ndmasa7JI-
yukta'!' hii1J1hii'!fphafkdrasa1J1yutam. v.6o alrrantalta'!'trayodbhuta ... : Sanderson (1998: personal communication) notes that although our Tibetan witnessess prescribe af,l. Stein records a different Tibetan tradition that supports Ita'!' (1976-77, p. 533: Puis trois titts humaints issuts ek Ita snvmt ek pin-rts du foytr); Sanderson adds that the reading ka'!l is supported in the Sanskrit by the Kriydsamuccaya (SP 405.1: lta,jatriciililta'!' dhytiyat tlldiirdhva<'!'> P.rthubhdjana'!' altarabijasa,bhuta1J1). Therefore, this is probably the better reading. Our Tibetan witnesses are following a Sanskrit tradition attested by the ritual texts related to GSSu and GSSs {Sed p. 135 7 , K22v6): palcatl
am.ruisvatlana'!' lturyat. Jll1JIItdrtruz vayuma'."/4la1J1 taJuparira,lttirajagnima!'f!4/a'!'. tatra fultla-af.Jiuira}a'!' fultlaptulmabhajana1JI mu!'f!4traya/trta<'!'> cu//ikavasthita'!f: also Cakrasa,varabalividhi (p. s6ll. 25-26): tatra purato ya'!lltdrt'}ll vayuma!'f!.ala'!' tadupari ra'!'lttirajagnimat~t/4/a'!' tatra iult/aabltiirajamuf.ll!atritaya/trtacu/Jiktiriitfoa'!' fultlapadmabhiijaNZ'!'- • Jll'!'] em.; ya'!l Finot • ra'!l] em.; Finot rli'!l; SM251 (p. 494): ya'!llttirapari1,1fltll7JI vayumat~tf41a'!' taJupari rtphapari'}llta'!' agnima!'t./4/a'!' taJupari raltta10
nirmij~tllli}
em.; niranj4Ni'!l K.
TEXTUAL NOTES
339
tJbltaraja'!' paJmtzbhlijana'!'. Different syllables altogether are given in the
VA O'fl t#J hi1fl (Am.rtiiSiiJhanam SP £12ov): tatra JID!Ijaviyiipari ra,jagnau li ltlirajaiubhrabjabhtijantl'!' o,abhu'!'jatrimu!'f!astha <'!' >. v.6d[ t»fflllJiti-. bijlini: Omitted in the Tibetan translation. The seed-syllable for Vairocana (bu1fl/vu'!') must have dropped out of the set in the Sanskrit since ten syllables arc required. It is also absent from the parallel texts (GSSs Sed p. 1359 , K23n, and Finot 1934: 57). However, it is present in other texts, e.g., GSS16 (K8n6) and SM251 (p. 494) cited in notes to chapter 3· §36 jvalllmutlra: The GSS mss. read jtilllmuarli, along with the majority of Cakrasaqtvara/Vajrayogini texts. As stated (ch. 3), this is something of a hybrid between jwild 0 and jtila 0 • The former (jvlildmutlra) is the version attested in Abhayakaragupta's Slimvari/ut!J SlirvabhautiltabalivitJhi in the VA (SP f. 123r4): lald!opari jvaldmutlra'!' k,tva piNt! iti Sli!opa'!' trir ucclirya... , and is that transmitted into the Tibetan tradition. However, it appears only once in the GSS (GSS35), as shown in the (unemendcd) citations in notes to chapter 3· §36 <01fl> anyonylinugatlib sarvatiharmab: The O'!' is omitted in all GSSu mss. but included in the Tibetan translation (p. 45.3). It also appears in the Caltrasa,.varaba/ivitlhi (p. 57) and GSSs (Sed p. 143 10 , K29r5) where the mantra is given in a slighdy different form (o'fl anyonyanugflllib sarvatihaT7111i atyantlinupriZVif.tlib saroadhaT7111i hii,.). In other texts, (e.g., GSS4) the more common mantra appears (o'!' yogaiut/Jhfib saf'VIlliharmtJb yogaiuJJho nam), while other bali rituals omit the mantra altogether (e.g., GSS31, GSS35). §36 am.rtabha'.V!am avasthtipya dhylitvtl VIi (conj.): The missing alternative verbal action is found in parallel texts cited ch. s, e.g., GSSs (Sed p. 143 12 , I<29V1): taJ am.rtabha'.V!am avasthlipya dhyatvtl vd•Cakrasa.,varaba/ividhi (Finot 1934: 57): tad am.nabha!Y!am avasthapya dhydtva ca; Sd'!'varilt~zb sarvabhautiltaba/ivitJhi (VA SP £123r-v): am.rtabha'.V!am aropya dhyatva va. §36 hu.,bhava vajrajihwinli'!': The tongue is often described as white; cf. the parallel passages in GSSs (Sed p. 143' 7 , K29V3): hu,bhavalultlavajrajihvti1111'!';11 Caltrasa'flvarabalivitlhi (p. 57): hu,bhavaiultlavajrarasanlinli'!' tricakratkvattintim. Other rites involving the transformation of the tongue 21
jihv4111im] em.; jihvdytind'fl K.
VAJRAYOGINi
340
also include the adjective, e.g., GSSn §51: iuklahu,Jtarapari'.'lltaiukillwzJrajihvti-; GSSs (Sed p. 1453 , K30v3): hii'!'ltdranqpanTIIi1fl iultlavajra11111Ji1fl Jihvti1Jl vidhtiya .. .; GSSs (Sed p. 1486 , K33v1): o,sustla-o1flltdrapari'.'lllllvaJrajihva-; cf. GSSs (Sed p. 15o8 , K35r4): apkarajasarojadallibhasvajihwi-
Jti1Jl .... v.68 iukti}a'!'-.Jdpayn: Inserted into the lower margin ofK66v (possibly by the first hand?):
fuktijt!l nariktk 13 tu kiinnajt kicajt 2• tathli bhukhtVaricarti'Jii'!' ca pancamti1J'Siini tidpaytt (v. 68). "He should offer the five meats of creatures moving on the eanh, in the air, and in water [i.e., animal, bird, and fish] in [a vessel] made of mother-of-pearl (fuktija), coconut shell (nliriktla/TIIiriktra), turtle shell, and bamboo" (trans. Sanderson). There are several problems with this verse: (1) The insenion mark is on line 3 of ms. K following p~t (and incorporated at this point into the text of Nand D). I have moved the insertion in the edition here to a more logical position, following upatjhaukaytton line 4· The text to be inserted actually states that it belongs on line 4t 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 questionable because it describes a different kind of vessel and seems to refer to an alternative set of lamps rather than five nectars. §38 O'!' vajrtiralli ho~_. samayas tva'!' J.riya hob: cf. YSCf (AsrJ): O'!' aralli
hob Jab hii'!' va'!l hob vaJratfiikinyab samayas tva'!' J.rJya hop. tvll'f' tricatu!Jpafzcavlirtinuccarya samayadravyarzi... (dam) ... 01fl kha kha lthtlhi etc.; HA (f. 14r6): O'!' tiralli hob jab hu'!' val!' hob vajra#}tinyab Slt""'J'U tVIl'f' J.riya hob vaJrafzjalyorddhvaviltaca? bali'!' tladyan nifart/Jhaltt. O'!f ltha ltha khahi etc.; GSSs (Sed p. 143 1' \ K29v3): O'!' dralli hob Jab hu'f' Vlt'f' ho vajratfJikinyab samayas tva'!' J.riya ho ity anma tltadvitricatu[lpaflca-
22 23
24
iuktijt] conj. Sanderson; Julttija'!' K, N: multtija'!l D. narilttk] conj. Sanderson: ndrilttlas K. N, ndrilttla D. lriirmajt lticajt} conj. Sanderson: ltUrmaja'!l ltisaja'!l codd.
TEXTUAL NOTES
341
INirtH:ctiritnut t/)ut~t; Finot (19}4: 58); GSSI6 (K8IV4): 0'!' vajrtiralJi hob jab hu'!' Vll'!' hob vajrtUjtiitinya!J samayas tva'!' J.rlya hob. The sequence jab hu'!' va'!' hob has been discussed in chapter 3· Other dements of this mantra also appear in earlier texts, such as samayas tvam, e.g., Sarvattzthdgatlltllttvasa'!'graha (p. 23); Sa~rgatipariioJhanatllntra (p. 152): samayas tvam, (p. 181): e/.rlya hob. The mantra element vajrtiraOi or tira/U is obscure. There is no dictionary entry in Sanskrit for the word. Sanderson (1998: personal communication) has noted that tira/U may be derived from Tamil and Malayalam ara/i meaning "oleander" (Burrow and Emeneau 1961. A Draviliian Etymological Dictionary. Oxford: entry 173), but that there are also other Dravidian possibilities, namely, Tamil araf "to be terrified" (ibid. s.v. entry 2980), and acal, "to burn," "to become angry" I acali. "fire" (ibid. s.v. entry 234.); tircal"power," "wisdom" (ibid s.v. entry 239). The word appears in compound in GSSt-GSS2, cited in full in chapter 2 (p. 53) (IU8ov/ov): trilto1Jilma'.'f!4ia'!' ramya'!' vajrtirallivinibsrtam. 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 Car.u:/dmahtiro!Jl1Jiltllntra, in which the lord of the maJ}4aia is said to have "arisen from the vajrtiraOi" (ms. NAK 3-402 NGMPP B 31/7 f. 6v2). Here its function seems to be that of the Jharmot./4yti, as in the Sa'!'putatantra ch. 1 (p. 238): ~lttira/t.rti~ riiSIISJiliva'!' yathti bhavati I trilto!'~ ma!'f!ak ramy~ vajrtiralivinism.rta'!' I tiiNtrmotiaydi vilthytitll'!' JO!itti'!' bhaga ity api I tasya maJhy~ gata'!' paJmam "!taPatra'!' slllta'!liltam; cf. Vasantati/altti ch. 9, v.6 (p. 73): vajrtirall4u paJm4gllttini pratitJaJiuJilquviJi/qu vinirgattini, in which the commentator does not gloss the word and the Tibetan translation transliterates. There is a group of Vajrtirallitllntras in the tantric canon (e.g., the ~gi-tirallz), now known only through quotations in surviving literature (Isaacson 1997: personal communication; cf. Bendallt885: 171). The ...A ra li .. tantras appear in Bu ston's analysis of the Tibetan canon within the Y~ shts rgyuJ (wisdom tllntras) within the Saipvara (bD~ mchog) groupings, that also contain the Laghusa,VIlra and the Sa'!'varodttyatllntra (sec Tsuda 1974: 28 and DawaSamdup 1919: 7-8). -§41 GSSs (Sed p. 145 1 ~, K31n): bahyapujaviJhir ucyat~. iha bhagavati1JI
pujayitultti1fllli.J prtitar utthaya yathtivasllrll'!' vti vajrllvairocaniyogavtin mantri luciprtZJd~ hasfll'!' Jattvti O'!' sumbha nisumbhayliliimantram ucctirya
342
VAJRAYOGINI
paficiimrtasugandhiidivafikayii anyatama 25 dravyamifritagomayavafikayii caturasramatl¢alam upalipya tanmadhye hastarrz dattvii pujetyiidicaturvirrzfatyak!ariitli pifhopapifhiididafaniimiini ca tattadbhiimyadhimokfapiirvakam ucciirayet. tatas tatra matl¢alake jhafiti caturmahiibhiitasthasumeriipari raktapadmasthasiiryavarrzkiirarrz dnfvii tadrafmibhir jfiiinamatl¢alam iiniya tatra pravefya tatparitlatiirrz bhagavatirrz sapariviiriirrz sarviikiiranifpanniirrz pafyet. [cont. below =§42] Cf. Biihyapiijiividhi Sasvatavajra (Finot 1934: 52). This text outlines the ritual for the yogin in union with Cakrasarpvara. GSS5 is closely related to the Cakrasarpvara 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: frisarrzvarayogaviin sucipradefe paficiimrtasugandhiidivafikayii tadabhiive 'nyata[ma}dravyamifritagomayavafikayii vii sarrzyuta[rrz} hastarrz dattvii, orrz sumbhanisumbhetyiidikarrz ucciirya, caturasramatl¢alakam upalipya, orrz ii/:J vajrarekhe hurrz ity adhi!fhiiya, tanmadhye hastarrz dattvii pujetyiidicaturvirrzsatyak!ariitli pifhopapifhiididafabhiimisvabhiiviini tattadbhiimyadhimokfapiirvakam ucciirayet. =§42 GSS5 cont. (Sed p. 146 1, K3u6) (=Finot 1934: 52-53): tato hrdbijanirgatavitliididevibhi/:J sarrzpiijya saptaratniidini ca tannirgatiinP 6 rjhaukayitvii yathiividhifodhitaviimakaretla matl¢alamadhye bhagavatyai tryak!aretla pufparrz dadyiit. punas tatraiva bhagavatihrdayopahrdayamantriibhyiirrz. tato r/iikinyiidiniirrz yamamathaniparyantiiniirrz svasvamantretla dikfu viimiivartena vidik!u dak!itliivartena yathiisthiinarrz matl¢alake pufpa deyam. =§43 27 tato vak!yamiitlahastapiijiikrametla karavinyastiiniirrz devatiiniirrz 28 tattatsthii1'lefU tattanmantretla 01J'l ha ityiidinii pufparrz dadyiit. tatas tad Viimakaragatapufpam a!fapadamantrocciiratlapiirvakarrz matl¢alake prakfipya firasy afijalikaratlapiirvakarrz karatalagatadevatiicakram iitmani pravefayet. =§44 tad anu hrdayiidJd.ffapadamantrastutipiirvakarrz yathiivartitastutibhi/:J sarrzstutya yathiiiakti piipadefaniidikarrz dhyiinamantrajiipapratlidhiiniidikarrz ca vidhiiya- [cont. below =§45]
25 26 27
28
anyatama] carr.; anyatamd K. tannirgatdnz] em.; tannirgattidi K. tato vakfyamdtzahastapujakrametza karavinyastdntirrz devatdntirrz] GSS5; tata karavinyastdntirrz devatdndrrz Finot. devatdntirrz] Finot, devatdndrrz ca GSS5.
TEXTUAL NOTES
343
ucciirya orrz yogafuddhiif; sarvadharmii 29 yogafuddho 'ham iti mantrasahitakamaliivartamudrayii sarrztofya mudropasarrzhiirertiilinganiibhinaya30pural;sararrz chofikiidiinasahitam 31 orrz vajra mur iti pafhan 32 visarjya tac cakram iitmani pravefayet. tato martflalarekhiirrzlumped itiY [cont. below =§46] =§46
GSS5 cont. (Sed p. 146 1\ K32r2) (=Finot 1934: 54-56): hastapiijii-
vidhir ucyate. 34 tatra gartamartflaliidau frivajraviiriihiyogaviin yogi viimakare vrddhiitarjanimadhyamiiniimikii 35 kanif!hiitannakhamukhefU 36 vajrasattvavairocaniimitiibhiikfobhyaratnasambhaviimoghasiddhisvariipiin37 yathiikramarrz fuklasitaraktakrfrtapitaharita 38 varrtiin orrz ha. 39 nama hi. 40 sviihii hurrz. vaufaf he. hurrz hurrz ho. phaf harrzkiiriin vinyaset. karatale jhafiti nifpannarrz 41 raktapaficadalakamalarrz dhyiitvii piirviididigdalefu viimiivartena yathiikramarrz yiiminimohinisarrzciilanisarrztriisanicartflikiisvariipiirti nilafvetapitaharitadhiimra42 dhiisaravarrtiini. hiirrz yorrz hrirrz morrz hrerrz hrirrz hurrz hurrz phaf phafl iti bijiikfariirti pafyet. karrtikiiyiirrz 43 vajraviiriihisvabhiivarrz 44 raktavarrtarrz orrz varrz iti bijam. 45 etatpratibimbarrz 46 tricakrarrz viidha/; 47 karapnfhe 'pi parisphufarrz pafyet. [cont. below =§47]. 29 30 31
sarvadharmti] corr.; savadharmti K. abhinaya] em, abhinaye K. purabsararrz chofikiidtinasahitam] GSS5; cf. piirvakam antimikayti bhiimirrz sprfan
32 33
pafhan] em.; pafhana K. tato maw;ialarekharrz lumped iti.] GSS5; cf. marzt;ialarekhaprofzchanadikarrz kuryad iti. bahyapiijavidheb purzyarrz sarrzgrahadyan mayarjjitarrz I tena bhiiyaj jagat sarvarrz buddhapiijtipartiyarzarrz (plus colophon) Finot. hastapiijtividhir ucyate.] GSS5; atha hastapiijtividhir ucyate GSSn; prarzamya vajravtirtihirrz yoginicakranayiktim I sarrzgrhyate yathanyayarrz hastapiijavidhir maya
Finot.
34
SM253. 35 36 37
38 39 40 41 42 43 44 45 46 47
ntimikti] corr.; 'ntimikti K. tannakhamukhe~u] GSS5; tannakhe~u SM253.
siddhisvariiptin] GSS5; siddhisvabhtivtin SM253. fuklasitaraktakr~rzapitaharita] em.; fuklapitaraktaknrzaraktaharita K; fuklapitaraktaknrzaharita SM253. orrz ha GSS5; orrz hab Finot. nama hz] GSS5; namab hi Finot. ni~pannarrz]
em.; ni~pa(nntirrz) K(mg2).
dhiimra] corr.; dhiimrava K. karrzikayarrz] GSS5; karrzikayarrz ca Finot. svabhavarrz] em.; svabhavtirrz K. bijarrz] understand dual. bimbarrz] em.; bimbtirrz K. tricakrarrz vadhab] carr.; tricakrarrz vti adhab K; cakratrayarrz vtidhab Finot.
VAJRAYOGINi
344
§46 O'!J ha, nama hi ... : The form chosen here is that which follows our ms. K most dosely, and which seems to represent one tradition (while our ms. N follows another in some instances). In all cases but one, GSSu agrees with Luyipada's HA (f. uv3): hu'!l hu'!' hob. Sanderson (19943 n. 88) examines the form of the kavaca syllables with reference to the Tibetan transliterations and their description in the Caln-asa,varatantra and its Palijilta, and these are found to agree with Kin all instances except svahli hu,., which Sanderson reports as svaha hu. He notes (2001: personal communication) that the short vowel u (in hu) is required to fit the sequence ha. hi, he ho, ham. Sanderson adds, "These vowels (a. i, u, e. i, with the syllable llf!l) are known in the Saiva technical terminology of mantrailistra as the "five shorts" (hrasva-). They are used to form the five "&cc mantras" of any mukzmantra, when they are substituted for the vowel of the seedsyllable (bijam). In the light of this, the presence of the syllable hu'!l in our texts (in svaha hu'!l) "is evidently the result of a scribe's error, a substitution 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. ofSM251 and Kalffs mss. of the ADUT, pp. 286-87 and p. 301): Table 26. VariJZntJ in Calrrasa'!lvara annor sy/Jabks GSSn
YSCf ms. A/ch. 7, v.1
0'!' ha
nama hi --
0'!' hafl nam~~{J
hip
i
other variants o'!' ha,. o, ho,.
svdha hu'!l
swihd hii'!'
hi/1. """"' hri swiha hu
1111"!111 ht
IJilU!III ht
VIIU/IIt I 1111"!111 ~
hu'!' hu'!' ho
hii'!' hii'!' ho'!'
hii'!' hii'!' ho
----
phaf ha'!l
-----
1JII11111
ph11f '""' """'
GSSs cont. (Sed p.147\ K32v1): tatab ltaragatan P.rthivyapt9ovayvaltiifadhatiin patanimara!Ji-tilta,.,a!Jinartelvaripaamajvalinisvabhavan adhimuiicet. u tatas tatltaragattini bijak!arli!Ji dravadravyn_uz"'9 mralt,ayitva
-§47
48 49
tataf,-aJhimuflur.] GSSs; this appears at the stan of the rite in Finot. It is omitted altogether in GSSu. dravadra~!Ja] GSSs; dravatlravy4!ti Finot.
TEXTUAL NOTES
345
t4tltltr4 tttltn,l so S4roayoginyttJhinhitiiJricaltr11SVariipam s1 IUihimucyt~ tllliJravaJitlrt~vya'!' trytJqtlraman~JNZtltlman~ vii tltuiyat. [cont. below -§48] §47 tatJtlravtltiidravyam: All the sources read tadJraviiJitiravyam. Finot (1934: 55) emends to tatra draviiJidratiJilm. The SM edition (p. 498) interprets it taJ tlraflliliiJravyam. The Tibetan text implies tadJraviit:Jidravyatryalt,t~r~ "the three syllables of that which has melted, etc., (p. 48.7: zhu ba I ek nyitJ Ia sogs pa I yi gt gsum). I preserve ttul- in compound, as this yields some sense, although the passage as a whole includes a number of questionable demonstrative pronouns in compound. -§48 GSSs cont. (Sed p. 147', K32v3): tatafJ sa,piijyll nyiinlilihiltavidhipiirt~rztirtha'f' Jatiilt!ara'!' pa!hitvii caltriklyatihif!hiiniirtham ~ 2 adh~sya tatJtlravam apartuir~ 'nyatra vii sthiipayitvii~J hastttlagnma tlravyn;uz vlimdNimilulgrhitma h,jjihvalira,si IMtz-lif1-o'f'ltliroccara!"lpUrvalta'f' mraJt,ayan ttu/Jevatii,Jam imutni pravi!.tam atlhimuiiett. ttat tu vidhana'!' Sll'f'Ciiratantrts-4 prasit/Jham. ~s hastapiijaviJhib. S6 [cont. below -§49] -§49 GSSs cont. (Sed p. 147' 2, K32v5) (•Finot 1934: 55-56; SM253): yadva' 7 purvolttavitlhiiotlhitaviimaltariiniimiltayii pi!hopapi!haditlaianiimliny ~~ IICCilrllJiln yathavidhi lodhitamtUianma triltot;lllCilkradvayam abhililthya ~., tanwuulhyt vartu/4'!' m4'.'f!alit'!' tatra svahrrlbijanirgatli'f' tatltirt~!Jti/tr!!li'!' vti siJhtirliJhtya1Tlll1JI!alli'!'fA) bhagavati'!' vicintya tasyai panclim.rtadiriipt!"l so 51
51 S3 54 SS
s6
wluiTit(tll/mtl)] K(mg); tillkllrll(gata'!') K(dd). 11141Wpnr] em.; 11141'Uplim K. ~if!h4narth4m] em.; ca/miJytulhiffhaNiJyllnhllm K, Finot ms. (possibly retain this reading); cmtitlhi{fhhuid bt~Nlhllm Finot ed. sthiJHZJitNJ Kpc; sthtiptzyn Kac. tanlrt'] em.; tll1llTtl K. prasU/Jh4m} em.; prt~tisU/Jh4m K. n~~t ru vU/h4""'f' -INutapiljliWJhib.J GSSs; iti lilthilli htl.m piijli SllmiiSJII S111f1Ciirll"'""111111f'INu/Jiul I sm.~ maNIMJhiylim 11pi SJJvat~~vajr~ p111varlim114ytit Finot; iti likhilli htJ.m P*jti m11Jti jya (etc. as Finot) SM253 (unmetric).
S7
J"'INi] GSSs=Finot; athiiiNi GSSu; lltha SM253.
s8
p~thoptlp~tht1JiJ41111141Nl11J)
S9
llbhili/thytl) GSSs; llbhiklthyll K; ti/i/thyll Finot. tlltrtl-~""'~'!'1 GSSs= SM153; tatra svllh.rtibijanirgat41f1 tatra ltir~m INi liJhtir~ma~'!' Finot; (GSSs Sed reads wistiJhtirlitJJNyatllltrlhfl).
6o
GSSs; p~thopap~thlitJisvllbhlivapiijnyM/i ~~ Finot; pif}JDpt~pifhliJic"tutvi'fllllty aiqllrli!IJ SM153.
CllturviiJWuy
VAJRAYOGINI
nifpiidita1J1 khiidyabhojyiidikarrf 1 tryakfare7Jiif!apadamantre7Ja vii dattvii padmabhiijanagatam amrtiiyita1J1 madana1J1 vrddhiiniimikiibhyii1J1 grhitvii bhagavati1J1 svahrdayopahrdayiibhyii1J1 rfiikinyiidiyamamamathaniparyantiislf,2 ca yathiisvam etiisiim eva mantraifJ sa1J1tarpayet. [cont. below ""'§50] tatab sa1J1piijya nyiiniitirekavidhipiira7Jiirtha1J1 fatiikfara1J1 pafbitvii ga1}acakriidhif!hiiniirtha1J1 ciidhyefya - 01J1 yogafuddhiib sarvadharmii yogafuddho ham iti-parhan kamaliivartanamudrayii 63 sa1J1tOfya tanmudropasa1J1hiire<1Ja>64 iili1iganiibhinayapiirvakam aniimikayii bhiimi1J1 sprfan 01J1 vajra mur iti pafhitvii visarjya taccakram iitmani pravefayet. tatas tad65 bhiimigatamadana1J166 viimiiniimikayii grhitvii tena h,rjjihviifirii1J1si hii1J1-iib-o1J1kiirocciira7Japiirvaka1J1 mrakfayan, tat karagatam api devatiicakram iitmani pravif!am a/okayed iti hastena piijoktiiY [cont. below ""'§51] ""'§5o
§49 mudropasa1J1hiire7Jii-- §51 juhuyiid ity: Omitted in the Tibetan text. ""'§51
GSS5 cont. (Sed p. 148 6 , K33v1): tatab f 01J1fukla-o1J1kiirapari1Jata-
vajrajihviib dakfi1Jasruve7Jetariihuti1J1 svaniibhikamalakar7Jikiiyiim avasthitajviiliimiiliikulacakrefU f juhuyiit. ityadhyiitmahomab fefab. [cont. below ""'§52] §52 tad anu- 01J'l iib ucchif!avajra ... : The closing remark, bahir gatvii, in GSSu is strange, and it is at this point that Umapatideva finishes his redaction 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 biihyahoma rituals, as follows:
61 62 63 64 65 66 67
khadyabhojyadikarrz] GSSs; khadyapeyadikarrz Finot, SM235. tjdkinyadiyamamathaniparyantam] Kpc2, Finot, SM253; tjdkinyadiyamadtirjhiparyantiif Kac. kamalavartanamudraya] GSSs; kamalavarttamudraya Finot, SM253. tanmudropasarrzhare] GSSn; tanmudropasarrzhara GSSs; tanmudropasarrzhare Finot, SM253. tad] carr.; tata K. madanarrz] carr.; madarrznarrz K.
hastena pujokta] GSSs; cakrasamvaranathasya tryasramatzrfalavarttinab I efd hastena pujokta yoginarrz hitakaritzi I sarrzgrhya (SM253: sarrzpujya) yan mayavaptarrz hastapujavidheb (SM253: vidhirrz) fubharrz I tena sarve janab (SM253: sarvajanab) santu hastapujaparayatzdb I hastapujavidhib samaptab. krtib Safvatavajrapadiinam iti. (SM253: Safvatavajrasya) Finot, SM253.
TEXTUAL NOTES
347
GSSs cont. (Sed p.1488, K33V2.): D7!l ti~ ucchif!avajra(A aJhitif!hmlll'!l bali'!' hi'!' SVIiha. !Unyatdltaru!JiidvayatraitlhdtultllCaltrtilttirajiilinavahntlU tu yathopaJda'!' slumJhtiJindhanaJahantin nirutt4rahoma/,J. JdntiltJlptlU!,tiltiidibtihyahomAS tu hom4vitihau ltarmtinuripavihitllltu!'f!altusumasamidhalof4!1Jitliltam anus,rtya vitJhayo vistarabhaytin na lilthitti~. roa'!' tdvat pujtibalivitJhtintiJisam~tll'!' vistar~ bhagavatyti bhtivantima7JI!ala'!' nirtli!,tllm. itJiini'!'~- 7o-77: Omitted in Tibetan text.
v. 70 ltaranltaltiilthya'!' ca subhifa!Ul'!' 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 Vajrajvalakulakarankaka, Jvalakulakar.uikaka, Karailkaka, and Jvalakula. For the southem cremation grounds, they may give Subhi~a or Vibhi~a, or omit Subhi~a/Vibhi~a 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 jvtiltiltula and subh;,a~vibhifa!Ul arc possible qualifications of the proper nouns that designate the cremation grounds. From the sources examined so far, the names Jvalakulakarankaka (west) and Vibhipt)a (south) are the most common (perhaps corroborated by the inclusion in this western cremation ground of the aloluJ/Itan/t~/j tree, whose flaming red flowers also suggest a motifofftame), e.g., SUTch. 17, v. 36cd: ca!'f!,ogra'!' gahvarfll!l CJZiva vajrajvti/iiltaranltillllm, which suggests Vajrajvala west and Karailkin south, although the text should read a dual (... vajrajvaltlltaranltini). GSS16, although corrupt, seems to cite the SUT text (17.36cd) but, confusingly, adds Vibhi,aJ]a in what may have once been an insertion or qualifying gloss (GSS16 K76v6): ca?Ufogra<'!'> gahva-
ra'!' caiva vajrajvd/Uaranltalta!J. vibhi!tJ!JII'!' c11 purvddiJiltfu vlimma sa'f'Sthita'!'. GSS34 (KI13rs) gives Jvalakula west and Karailkaka south. The AJbhutalmaltintila'!'lttira (reported by Meisezah1198o: 19) gives Karankakin west and Vibh~J}a south. Liiyipada's SmaldllllvitJhi (v. 8) gives Jvalakulakarailkaka west and (v. 10) Vibhi~ south. Cf. K. Gyatso (1999: 12o-22). This is possibly corrupt, since the verse with the compound
68
ucchi!f4vajra] corr.; utsi!f4vajra K.
VAJRAYOGINI
Jvalakulakararikaka actually omits the name of the protector, Varu.r~a (v.8):
pracya'!' padapo soko jva/aku/akarmikakt I ivtta{1 saptapha!Jilb paii tMitarastha!J ltapal4dhrk. 6'1
69
Finot takes the qualification .. having a noose," pas;, in the third JNlllA to indicate the proper name of a god Pwn = Varur;ta. Meisczah.l notes that this is not the reading in the Tibetan, but he still translates piili as "VaruJ].a" on the basis of de Mailman's identification of the noose-bearing god PiSin as Varu~Ja in the Mahabharata (1980: 41 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 Jlmss.: • scribal errors such as dittography or metathesis, e.g., ya4 akan1 K, N; day altari D (mdll.) • some omission of anusvara or visarga, e.g., sth4111l'!'] N; sthanll K, D • omission of"r," e.g., .sarva] N, D; sava K • "invisible" virlim4. e.g., vidaJhitll] N; viJaJhit K, D • some corrections to sfli!Uihi, e.g., pha!.] corr.; phatj codd. • confusion between sibilants, e.g., .sarpifz1 em.; sarpisi codd. • confusion between i/i, u/u, e.g., 0 V4rdhi] K, N; vtirdhi D • lacuna, or confusion in the source-text of a ms. that makes no difference to the reading, e.g., surtlbhtz/qi] K, D; sura- bhalqiN • intentional lacunae or decoration dividing sections of the text, e.g.,-® - K; -J-N. • additions or corrections by the first or second scribe in K that have been preserved in transmission, e.g., aa.rya] codd., Kpc; (t)tasya K(add2) • regular onhographical "mistakes," e.g., nai_rtya (codd.) for nairrtJa; thtvti (codd.) for tlattva; satva- (codd.) for sattva-.
In ms. D: • haphazard addition and omission of strokes of the alqara producing long 349
350
VAJRAYOGINI
vowels, e.g.• a.ryagama.rydyam] K, N; ~syagamasyoyam D. or bhutti~ K, N;
bhiitauD • confusion between rand I, e.g., iirtf] K, N; fila D • nonsense probably produced through sloppy copying, e.g., v~a] K, N; vivyadmma D
Insignificant Variants to GSS11 v.2d abhif.ta] K, N; abh¥_ta D; v.3b 0 dyutim] K, N; 0 dyutit D; v.4a obhavai~ N, D; obhavaiK; v.4d catu~ N, D; catu K; §1 °as'raya!'Jlm] corr.; alraya!"l'!' K, N; tiiaya!'a'!' D; v.Sa ~ta.rya) codd., Kpc; (~)tasya K(add2); v.Sd samasta'!'] corr.; samastam codd., Kpc; sa(pta)mastam K(del); yad akan] K, N; day akari D (m~ta.); v.8§a caturbrahmaviharas] N, D; catubrahmaviharas K; v.9a bhuta~ K, N; bhuttiu D; v.lOa Ta!'Jl'!' na fakyam] K, N; rana'!' !Ul saltyam D; v.lOb v,;raJa.rya] K, N; vivyadasma D; v.lOd 0 Viryo mutlitti'!'] K; viyo-- N; vi!Ja muditti D; v.llc ohantrim] K, N; ha'!'tim D; v.l2ab pratitya-alika'!'] K, N; pratitqatvaj (vra?)lacandratubhya'!' paiyaJ alika'!' D; v.12d vidadhita] N; vidadhit K, 0; §2 saroa] N, 0; sava K; svabhavaluJJho] N, 0; svarvvaJhabhavaiutldho K (ditto.}; liinyatti] K, N; funyalli'!' D; v.13cl paiy~d vittina1Jl] K, N; paiyad vitlina D; v.l4a diitisu] K, N; diiaiu D; v.14b caturo niv~.rya] K, N; caturam ivdya 0; v.l Sa lttiltdsyalttiJya!J] Kpc; kakasyodyafJ Kac; kakasyakaJyo~ N; luiluiiyakaJyo~ D; v.l Sb p*~ K, N; paiyat D; §3 mantrafJ] K, N; mantrab D; sultararya] K, N; liiltaldsya 0; §4 dattva] em.; datva codd.; v.l7b visphurada'!lfujalam] K, N; visphuratadaiujdlam 0; v.lOb pibantim] K, N; pibanti D; v.22c 0 Virajamdna] K, N; virdjamanli 0; v.23d ograntht] Kac, N; gra(nthi?) Kpo.. (correction obscure); gra!'Jhi D; §6 °wtrah~ K, N; varahi D; sa'!'trtisin~ em.; satrasini K; v.26a mayiikha] K, N; mayultha 0; v.26c nabha!Jsthdm] em.; nabhasthli'!' codd.; v.26d sarpift] em.; sarpisi codd.; v.27c !~1todalta] K. N; kh~b~daka D; §7 samaya] K, N; sama D; §8 anabhir yoginibhi~ K, N; ll!fdbhi yoginibhi D; v.28d piyii!am] K, N; piyu!am 0; v.30cl ~] K, N; susuk_smya D; v.31c samptidtzna] K, N; saptidtzna D; v.34c praiJU!a] K, N; praiJU!a 0; §9 o ak,aro] K, N; alqara D; jhafitt] K, O;jhafatiN; ni'lama] K, 0; ni'la- maN; tasminn] K; tasmin N, 0; khedo] K, N; kh~dau D; v.3Sa ta~ em.; tata K, 0; tata~ N; prathamo bhavanalrramab 1.] K;-- prathamo bhavanakrama~-- N; prathamo 0
0
INSIGNIFICANT VARIANTS
351
bhavllnliltrllmJJ}_J-- D; v.36 athll] codd., Kpc; ll(thll) K(mg); o karof4] K, N (syncop.): kllrof4(kll) Dpc(add2); v.37c sllTNUihikli'f'] K, N (unm~tric.}; samlllihi/tyll'!' D; kuryaa] N, D; kuryattiK; v.37d pii'!'Jlmll~lam] codd. (syncop.): §10 vajravarahi'f'] K, N; vlljrllviirtihi D; purvottara] K. D; purva- ttara N; 0iibhi;J K, N; abhi D; tjdkin~ Kpc, N, D; tjdkini(bhi) K(dd); sahitli'!'] K, N; sahitli D; 0 tkvil] K; ikviN, D; v.38a ca] K, N; ca D(add); v.38b tu] K, N; tu Dadd; v.40c tl4'f'!trli] K, N; Ju,p-aD; §11 catvliro] codd., Kpc; clltvli(ri)ro K(dd); §12 bhllgllvatz] N; bhllvati K; bhagavati D; 0 vtirtih•] K, N; vartihi 0 (vajrllvtirahi-phll! itt] K, N readi; 0 reads -i unless otherwise stated.); 0 tivan] K; tsVari N; tlvari 0; 'pardji~ K, N; apardjite 0; vaia'!'] K, N; valya'!' D; ruzma/J] N; namo K. D; pha!J N, D; pha K; mantra] K, N; mantro 0; phaf.] corr.; phatj iti codd.; 2.] K, 0;- 2- N; §13 Uidnim] Kac, N, 0; Uidnim (U/am) Kpc(add2); nai7?1Jil] corr.; na~rtytt K, N; na~~ D; aifana] K, N; ~/lint D; 0 bhiri K. N; bhirD; oJdt!h~ K; d4JiN, D; §14 °samtis1 K, N; lamas D; lavtisaNttva'f'] K, N; savtisanlitva'!' D; vift,sa/1] K, N; vii~"' D; v.41e sattvli, em.; satvli codd.; §15 JvtinA.ryt] K, N; wtinlisyt 0; sukarasy~] K, N; Iii/tar~ 0; 0 ti4'!'!,tri!'iyt] K, N tl4'f'!.tri~ 0; phat.] corr.; phmj codd.; Jl K, -J- N; §16 tkvicaltra'!'] K; tkvicaltra N, 0; cakratraya] K, N; cakratraytD; §17 °cakram] K, N; cakrnnD; vali] K; va/iN, 0; pu/Jiramalaya] K, N; puUilama/a~ D; okrama'!'] K, N; krama 0; 0 D; ndlti K, N; Nti7?1Jil] corr.; na~rtya codd.; malavti, K, N; molavti 0; sa'f'grah~ K; sa'!'graha/1- 1- N; sa,grahaf1-- D; §18 naiJ79'1l] em.; na~rtya codd.; vayavyai, K. N; vtiyuw 0; sa,grah~ K; sa'!'grahafr- 2- N; sa'!'grllha/1- 0; §19/uk/a'f'] K, N; suit/a 0; dvipli] K. N; dvipa 0; VllmU!'JO] codd.; varmi(t~i)!'JO K(del); nai'1"JJl] em.; nai,rtya codd.; sa,graha~] K, D; s41!'graha. J N; §20 dttavtiltkaya] codd.; cittllvti(lta)!tdya D(add); vibhU,itlilj K. N; vibhuptli/D; liro, K. N; lila 0; §21 K, N; lulma 0; §22 nas'aya] K; llinliya N, 0 (mtta.),· ')ogato yojyli] K; yogato yo - N; yogatll yo - D; puNt;j K, (su?)Ntr N; !" na 0 (marked faulty); §23 sthdna'!'] N; sthana K, 0; antati K, N; anta 0; purvliiiJ corr.; purvdtcodd.; 0 /tofi;J K. N; Ito# D; t~'!'] K, N; te]'li 0; stha1141f'] Kpc, N, 0; stha(na1f') K(add2); §24 ptit/ti~] codd., Kpc; payiib Kac; rddhi, K, N; .rt/JhiD; 0 char,vla!J] codd., cha~(h)N(add); .rt/Jhi, K, N; rdJhi 0; em] codd., (uti) uti Kpc(mg); §25 tilt palicaviJha'!'] K, N; tat palicaviJha'!' tat palicaviJha'!' 0 (ditto.); virytntlriya'!'] K, N; viryinJriya'!' 0; 0tkyasytiva, K, N; tl4yasyora 0; 0 kitasytirthasyti] Kpc; kitll(sytirtha)syti K(add); kitasyarthasyo N, 0; sm.rti~] K, N; O(add); tilt
ntisli,
suima,
352
VAJRAYOGINi
prajfze-] N, 0; tata prajfu- K; §27 sapta] K, N; saptal_, 0; o botlhyanga'!'] Kpc, N, 0; dhy-bodhyatiga'!' Kac; up~ft.sti] codd.; up~(kfd) K{add); op~~ K, N; op~k!o D; §28 sukararya] K; lultardsyd N, 0; samtiJhi~ K, N; samtiJhi D; nimittatJZ] K, N; nimitatJt 0; §30 rd] K, N; I41J1 0; Ita] K, N; Ito'!' 0; gr] K; gu N, gu'!' 0; adyalt!arti!'t] K, N; adyok,arani 0; pulliramalayadim] codd.; pu/liramala(yd)dini O{mg); lirabprabh,rtinz] K, N; firaf.Jprabhitini 0; jiilandhar~] K, N; jalandhara 0; ca~i'fl] K, N; ca!'tfdlt!i 0; dhyryaJ o#iyan~ K, N; dhyiiyaJ aUf:4/iyan~ 0; mahtindsli'fl] corr.; mahaniiiti'!' codd.; pifbatJt] K; pifba N, 0; bhumib- ®- K {decoration); bhumib -7- N; bhumib no gap in 0; v.45 vam~ gotjtivari ka'"!'t'] K, N; vam~ gotfavari lta'!'ll 0; viramatim] K, N; vi(ra)matim O{add); ltharvaritJt] K, N; kharvari 0; sa1J1Sthita'!'] K, N; SlltJ1Sthita D; v.46 dntaytt] K, N; cintayt 0; bhiimi~ ®- K; bhumib-7- N; bhiimib- ®- 0; v.47 tkvi'!'] K, N; tkvi 0; bhiimib- ®- K; bhumib -s- N; bhumib- ®- 0; v.48 niisiltagr~] corr.; ndfiltagrt K, 0; nasi/tag~ N; bhumib- ®- K; bhumib -7- N; bhiimib- 0; v.49 subhadra'fl] K, N; fubhadrii'!' 0; bhiimib- ®- K; bhiimib -7- N; bhiimib 0; v.50 ekvitJZ] K, N; Jn,; 0; himalayt] K, N; himalaya 0; bhumib] K, N; bhumi 0; ®- K; -7- N; v.Sl pr~tapuryti'!'] K, N; pr~tapurya 0; cakra~a'!'] K, N; caltra~a 0; ya] K, N; yo 0;- ®- K; -7- N; v.52 yoginitJt] K, N; yogini 0; mahaba/4m] K, N; mahaba/4 D; siidhumatt1 K, N; siidhumati 0;- ®- K; -7- N; v.S3 dhyayaJK, N; dhyaya 0; .. ®- K (omission mark applies to v.54); -7- N; v.54 o vifuddhatma] K, N; visudJhatmti 0; v.55 nii.s~] em.; Nil~ codd.; v.56 °mll!'tjalam] N, D; ma!'tJala1J21lm K; uttamam - K, uttamam -6- N; v.57 po!ayantt] K, N; po!ayanti 0; §31 bahye] K, N; btihya 0; avadhutt1 K, N; avadhiiti 0; matatJt - K; matatJt -s- N; mata'!'- - 0; §32 Uiani'fl] N, 0; idiini K; bhagavatt] K, N; bhagavati 0; mahavitiydvan] K, N; mahdvitlytfvari 0; vafa'!'ltan] K, N; vaia'!lltari 0; stambham] codd.; sta(ni)mbhani K(del); mahiiyogim] K, N; mahayogini 0; ltamdvan] K, N; lttimdvari 0; io!aya] K, N; fo!ayt 0; ltapalatihari!'t] K, N; ltapilatihari!'i 0; mahapifita, corr.; mahapisita K, N; mahapifi 0; mdnu!Jintraprdvrtt~] K, N; mdnUfdiicapriv,ru 0; naraiiro] K, N; narasiro 0; miirtt] K, N; murtt 0; agramahifz] K, N; agramahifi 0; vajraiarirt] K, N; vajrasarir~ 0; mahayogim] K, N; mahliyogini 0; hu'!' hu'!'] K, N; hu'!l hu'fl 0; trai/oltyavindfim] K, N; trai/oltyaviniiiini 0; iatasahasra] K, N; satasahasra D; hii'!l hii'!l] K, N; hu'!' hu'!' 0; viraJvaite] K, N; viradvait~ 0; pafumoham] K, N; pafumohani 0; vandam] K, N; vanJani 0; o pratyayaltdri!ll] K, N; pratyayaltari!li 0; hii'!' hii'fl] K, N; hu'fl hu'!' 0; 0
0
0
INSIGNIFICANT VARIANTS
353
bhutatrdsaml corr.; bhiit4trii/ani K, N; bhutlltrliJani 0; paramiiSitJJhayogdvtln] K, N; paramllSiJJhii]Dgdvlzri D; svliha- - K; swlha-5- N; §33 0 nds't'] corr.; tliit' K; suvirt'] K, N; suvirt' D; cakravartinryti K, N; cakravartini 0; pha!- K; pha! -6- N; phaf- - 0; vakgatt'] K, N; valqau 0; asyagama.rydyam] K, N; t'sydgamllSJO]am 0; antt'] K, N; antll 0; kdrya] K, N; karyaO; bhlivaNiltram~~b- K; bhavan41tramab -7- N; 0
bhavanikramab- 0; v.60a Ja~kara] K, N; ]t'ktira 0; v.64c:d vili]t' K, N; vi/iyt' 0; v.67b tryak,ara~] K, N; tryt'k,ara~ 0; v.67d tryalqaraip] K, N; tryt'lt,Arai/1 D; §36 bali~] N, D; bali K; piirvalta1fU1 corr.; piirvalta~ codd.; v.68cd t'td] K, N; "D; grahaht'tu] N, D; grahnu K; §37 mantra/1] K, 0; mantra N; banJha 2] K, N; (w?)dha 2 0; §38 licamanliliika~] codd., Kpc; licam(a)NiJiltA~ K(del); §39 uJHll!haulta]NIJ codd., Kpc; upa#au(pa)/tayt'(")a K(del); mlitikramatha] codd.; mli"-tiltramatha K; prayacchantu-mlitikramatha N(&int); hu'!l hu'!l] K, N; hu'!' hu'!' 0; §40 nyiituiJhiltA] K, N; nyuvlitihika 0; 0 vidht1 codd., Kpc; viJhi K(add); pafhm] K, N; pa!ht' 0; dtta'!' lrrya/1] K, N; dtta lrt'Jil'!' D; yogaiuJJhti/J] K, N; yogaluJJha D; tac] K, N; ta 0; pravt'layn- K; pravda}t't -7- N; §41 utthaya] K, N; utsthaya D; yogt1 K, N; yogi 0; miiritayd) K, N; miiritayo D; vi gomayamilritayll1 codd., K(add); lin~] N, D; a(li)ya K(dd); §42 pJ4!paJyai[1] K, N; pUfplidyais D; vamaka~] codd., Kpc; vam(a'!'!l)aka~ K(del); h.rtiayopahrdayadJ K, N; hrthyo"tlayti D; Jiltpd/ti, K, N; digpaltr D; ogata'!l] codd., Kpc; (ga)g11141fl K(del); tkvatticakram] corr.; tkvatticakra'!'m codd.; §4S nyiintiJhiltll] K, N; nyuntiJhilta D; taJanu] codd.; taJanu Kac and Kpa; kamaltivarta] codd.; ltllm(a)ltivarta K(del); tan] K, N; tat D; iihtzniya}J- K; iihaniyab -7- N; uhaniya/1-- D; §46 tu] codd.; (svu) tu D(correction mark); vajravartlh~ K, N; vajravtirtlhi D; bimba'!'] K, N; bimba D; p.rehl'1 K, N; P!!.tha 0; §47 trya/t.saf't"!!''!f'lpadamantrt'!llt] codd.; §48 Kpc (ditto.); trya/qart'(1)11!!4padamantrt')!'fl!.tapada ... K(del); ghitma] K, N; h,rhitma 0 (hap/o.); §49 tanwuuJhyt'] K, N; tatmadhyt' D; /obhitti'!'] K, N; sobhitti'!' D; t'ta.ryat] K, N; yaasyai D; rUPt'!'IZ1 K, N; 1'Upma D; tryalt,A~ K. N; tryalqara!14 D; tricchofikabhi~ N; tricchofikabhi K, 0; §S 1 altulti1fl tkvi~] K. N; akulti dnJi D; juhuyaJ iry] corr.; juhuyaJ iti K; juhuyaJi N; juhuyat iti D; homavitihi/1- K; homavitihi/7-5- N; homaviJhib -4- D; §52 bahi~ K; bahi N, D; gatwti- K; gatwti -4- N; gatwti- D; v.71 prtkyllm utlit:)ll'!'] K, N; prlil:yli ~ muJicya~ D; tinvittiyd'!'] K; a(nv?)ittiyti'!' N; tinJhittiyti'!' D; subhi,a!IIZ~l K, N; subhqa~O; v.74 ko!lltkqu] codd., Kpc (ditto.); ko!IIZ(ko!IIZ)Itqu K(dd); catu'1U] K; catup4 0
0
0
0
0
354
VAJRAYOGINi
N, 0; kramlic chmalanlini] corr.; !tramdt imalanlini codd.; amum1 N; amuniK, D; v.7S ananal K, N; af!lltta 0; Rdra~] codd., Ope; (ka)ra~ D(add); v.76c iidna] codd., Kpc; •-na Kac(del}; (iia)na K(add2); vaiivanara] K, N; vaiivana/a D; v.77 nagas tu] K; nagam tuN; naga'!' tu 0; hulu~ K, N; hulu D; v.78 °mttricigauram] K, N; mJZricigoram D; 0 tlo!alJ1 K, N; do!ob D; samdptam- K; samdptam -5- N; samdptam D. 0
Appendix: Summary of Sadhanas
in the Guhyasamayasadhanamala
The following summary of the contents of the GuhyasamayasatlhanamA/ii (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 Dhib I (Review of Rare Buddhist Texts, Sarnath: 7-41). For references to funhcr discussions of the sadhanas, see the index.
Vajrayoginimukhagama (Oral Transmission ofVajrayogini) by Indrabhuti 1 The sadhana begins with a bcnedictory Jloka and proceeds with the preparations upon rising, including a mantra bath (mantramlinam). The emptiness mantras follow, and the sudden self-generation of ardhaparyanka-pose GSSI
Vajravarahi at the navel. Her mantra is visualized whirling and blazing in her sex and is supplied in a mantra extraction (mantrotitiharab). This is followed by an external worship (parvapuja) and ten traditional frame verses on the topics of secrecy, transgressive discipline, Yogacira metaphysics, the success of the practice, and the guru. The bulk of this text (up to and including the mantra extraction, but excepting the concluding worship and frameverses) is the same as the V~tjrllvarahisaJhana (GSS2.) by Liiyipada. The only commentarial text in the collection (GSS4o) is a loose collection of
Wimesses: GSS K (the foliation inK is f. 179v1- f. 171r-v- f. 8o- f. 4rs). Nui-}VI, DtVI-}v6; cf. GSS1; Yum sltor in which Sabara is given as the author (Toh IS4S· Ota 12.53, BBK; 175); Jri- Vajr"YfJtini~-u'?"iluuruzmulth4multhll IASWR MBB-III-13 (BBK: 181). Tokyo University Library 307 r·M,rt4SUgatiniJf'.ia"" aru/ Othn- Tats?; this ms. attributes the work to Sri$abarapada, as does the Tibetan translation above.
355
VAJRAYOGINI
glosses upon lndrabhuti's text, including his parvapiija and final verses. The work probably owes its tide to its emphasis upon the role of the transmission lineage in the opening verse (K279VI) and the concluding line {J4r4): irivajrayoginirahasya'!' lta'!"it lta'!Jil'!' multluin multham.
Vajravartihistklhana by Liiyipiilia2 The text is nearly identical to GSS1 until the end of the mantra extraction. css2
The ritual injunctions then include a puja and the offering of transgressive substances to a two-armed, tiJi4ha-stance Vajravarahi. The sadhana ends with the promise of siddhi, and external food offerings as the bali. GSS3
Vajravarahisadhana by AdvayaVIljra'
The work begins with the standard preliminaries and bodhisattva preparations. 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, pratytl/it!ha-stance Vajravarahi within the fivefold maJ}Qala. The following prescriptions include the entry of the knowledge circle, armoring, mantras, and a concluding bali. GSS3 is almost identical to GSS31, except that the latter has an extended bali section. GSS4
Sa1J1fttiptavajravarlihis4Jhanll (Brir[Vajravtlrlihi Stuihana) by Viltisavajra(?l
Brief prescriptions cover the preliminaries, bodhisattva preparations, awakenings, visualization of the cremation grounds, and the self-generation in that place of a two-armed pratya/Yjha-stance Vajravarahi. After worship, the yogin-as-goddess puts on the armor with the armoring mantras, sum-
2
3
4
Witnesses: GSS K (the foliation inK is f. 41'S- f. 4v- f. o.r-v- f. ur-'7), N3V2-SV3, D3~17; cf. GSS1. Two authors in the GSS refer to Uiyipida: (I) Sakyaralqita in the Abhistl"""J'lJ"'lRjllri (GSSs Sed p.IJ9 1\ K26r4j see ch. 1); and (2) Dhyiyipada, who refers three times to Uiyipida as the source of the teaching (GSS34 KltiVI, Kltsr6, Klt6v4). Toh. IOta.-? Witnesses: GSS KliV7-13r6, NSVJ~vs, D617-7V4 • SM217; cf. GSSJI. Yum sltor (BBK: 273-74}; Toh 36<>7, Ota 4429 (55, BBK: 273-74, 463). Edition of the Sanskrit text by Meisezahl (1967, I98o, with Tibetan text) and Finot (I9W s~I). Witnesses: GSS Kl3r6-14VI, N6vs-?V4t D7V4-8v4 • SMu6; }114/liwdi 10; Toh 3300: Ota 4122 • 5130 (SS, BBK: 465); jv414va/i 10 (BBK: 493. but erroneously recorded as SM3, instead ofSMu6.); cf. GSS19 • SM227. For authorship, see GSS19 bdow.
APPENDIX: SUMMARY OF SADHANAS
357
mons deities, and offers bali with the bali mantra. The heart and auxiliaryheart mantras are followed by a concluding yogic meditation. See GSS29 below in this list for parallels. csss
Abhisamayamafljan~
(Flown- C/ustn- oftiN MnhoJ ofRealizAtion)
by Sa/tyara/qita 6 The sadhana falls into two main parts. The first portion (KI4v1-K33V5) describes the entire practice for the self-generation of the thirty-seven-fold IIW}Qala, from its preliminary prodedurcs to its closing rites. This includes: prdiminaries, purification of speech (vaguiiuJJhifJ) and skandhas (sluznJhaviiw/JhibJ. bodhisattva preparations, visualization of the cosmos with Mount Meru and temple palace, circle of protection, self-generation with awakenings of two-armed alitjha-stance Vajravarahi within a thirty-sevendeity maJ]Qala, armoring, entry of knowledge circle, consecration, tasting
6
Witnesses: GSS Kl4VI-39tt, N]V4-25r6, D8v4-28r8. Toh. 1582. Ota. 2294- A Samath edition (Sed) of the text (attributed to Subhilwagupa) has been published in Dhib (no. 13 1992: 123-IS4), 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 DWluscript K is the oldest and most reliable witness. The Samath edition is based on four Sanskrit manuscripts, as follows: • the Gubytu4~NI SII'flfPJ"' (Microfilm Catalog of the Buddhist Mss. Nepal 1981. p.no); \4f the 1)4/tiniguhyauzmytiSiitJhiiNtmtillilllntrllTiijll (a photocopy of a OWluscript related to our ms. D): 1T the Guhyas4""'J'JS"1!'1IIhll (our ms. N); and 1(f the Abhisll""'J'Jmlliijllri (IASWR, MBBu-2..43) described as prlkiNI nnuliri. There arc OWlY portions of text in GSSs 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 Sikyaralqita (K39n). The same colophon appears in the Nepali paper ms. (Sed ms. "if) but reading "Santaralqita, .. while the colophon to Sed (p. 154) reads ·Subhikaragupta,'" although the source of this reading is unclear. According to BBK (p. 279), different mss. of the TllltlllljlitiNISII'fiSUIJhi attribute the work to Santaralqita and Subhikaragupta. The antiquity of the GSS manuscript K supports the authorship of ~ta. Moreover, S~ita states that his guru was Abhayikaragupta (see ch. I), while Subhilwagupta 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 Abhayikaragupta's pupil. Similarly, Sintaralqita, the famous abbot of bSam yas in the latter eighth century is too early to be associated with Abhayikaragupa. (For the dating of Sintara.lqira, sec Sndlgrovc 1987: 366 and 430ff., Dowman 1985: 233, Dhib on TllltJJIIsll1fltllhll no. n, pp. 146-s7, including notes in Hindi upon his authorship, and accounts of his reputed guru, Viriipa.)
VAJRAYOGINi
of nectar, yogic meditations, mantras, alternative iconography drawn from VA (K2.6rs), correlations with the thirty-seven bodhipalt!iltaJharmas, the body maJ)4a}a (ltayama!'f!4/am), a bali rite, rituals to be undenaken at different times, and finally, the external worship, hand worship, and internal oblation (cited in full in the Textual Notes). The second pan of the sadhana (K33v5-K38r4) forms a compendium of alternative manifestations of the goddess with their associated mantras and ritual applications. These include the ~ltavira Vajravairocani within a fivefold maJ.lcJala (O#iyanavinirglll4ltramA), ~ltavira Vajravairocani, two forms of VajraghoJ.la, rites associated with a white form of Vajravarahi (see GSS38), red warrior-stance Vajrayogini, Trikayavajrayogini, and ardhaparyanlta-pose Vajravarahi. The work doses with frame statements (K38r-v) in praise of transgressive discipline and the guru, and with a dedication of merit. css6 &zlttavajravarahistidhana (sadhana ofRed Vajravartihi) 7 The GSS text opens with two itirdulavi/tfit!ita verses of homage to Vajravarahi and to Cakrasarpvara. The text following (K39r5: athanya'!l <S41Jl>pravaJtvami vdrahyli!J sadhanottllmam) is lifted, with some editing by the redactor, from the ADUT (Guhyasamayottamapa,ala). It describes the visualization of a six-armed form of Vajravarahi seated in embrace with Cakrasarpvara and in the center of a thineenfold maJ)4a}a, 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 dhamuztti absent in the GSS redaction.)
7
Witnesses: GSS K39r1-401J, N1sr6-26r4, D18r8-19f7; ADUT Guhyasam4)0ttilm4JHI!tll4 ch. 33 (NGMPP E 695/3 f. t6ov}-I62.vJ. Toh 1541, Ota. 2286 (Toh/Ota. by Prajflibhadra): from chapter 36 of the Tibetan translation of the ADUT (Toh 369, Ota. 17). Herrmann-Pfandt (1997: 2.1 with n. 40) states that this appears in ADUT ch. 36 (Lokesh Chandra's edition pp. WI.]-204-2.; iconography pp. 2.02.1-2.03-1), with the Tibetan translation in Peking Kanjur no. 17, fol.I8oai-b8. She also traces this form to the Sri- Vajrawlrtihi-SiiJhana by Prajfiabhadra, Peking bsTan 'gyur no. 2286. She goes on to show that the tradition was known to Taranath.a in the seventeenth century, and that it appears within the nineteenth-century Sa skya pa collection by 'Jam dbyangs blo gter dbang po, where the transmission is credited to Viriipa (ibid.: 23, with nn. 43, 44).
APPENDIX: SUMMARY OF SADHANAS GSS7
359
Dvadaiabhujavajravarahisadhana' (Siilihana ofthe Twelve-ArTMd Vajravlirdhi)'
The GSS text redacts from the ADUT/ Varahyabhyutiltyat4ntra, correcting the Sanskrit in places and omitting a dozen or more verses. Its stans abrupdy with the self-generation, omitting the opening two verses from the source text praising the work (ADUT ch. 9: athtt yoga'!' pravaJtvdmi.. .). It prescribes the visualization of an ardhaparyanlta-pose, twelve-armed Vajravarahi in the midst of an extended forty-one-deity maJ]4ala with the addition of the four mothers, and with the visualization of therianthropic features for the retinue goddesses. It continues with the installation (ny4sa/.J) for the body mat]4ala, including correlations of the skandhas and ayat4NJS with male deities. There is a brief dosing reference to the entry of the knowledge deity, consecration, mantras, and a yogic meditation. The text in the ADliT' is problematic, and its difficulties have been inherited by the GSS text. The problem lies in the order in which the mothers-Mamaki, Locana. P~Qar-avasini, and Tara-are listed; this affects the directions they occupy. their cihna. and their membership in the respective buddha families. A fourteenth-century Tibetan Mat)4ala painting (Rossi and Rossi 1993) depicts the maJ]4ala described in this text (see plate 13).
8
d~hujawzjravtirlihislitJJNzna]
conj.; Wljravarlihya JIHili4iabhujaiJ Slit.ihanam K.
ot}l!iy4Mpi!htit/isthiwkvislitJJNzn~~m 0 (.. Sidhana of the Goddess in O<J<#yana and
9
the Other Power Places [pi~]"). The colophons in 0 and K do not relate directly to the colophon to chapter 9 in ADUT (yoginipithtzsidtJhiha~Mnimittanirtkla), while the colophon inN is missing due to a missing folio (f. 29). Witnesses: GSS l<4or3-43V], N2.6r4-18v1 incomplete, 019f7-31v6; ADUT Yoginip~thasiJJhiltramanimittanireklapafA/4 9 (mss. details ms. A: NGMPP E 695/3 ff. 6¥6-7IV4) = ch. 11 in Tibetan Toh. 377• Ota. 22, and ADUT 37· The sadhana is based upon Vtirtihy4bhyw/4yalllntravv. 45ff. (as reconstrUCted from the Tibetan translation of this text, and from p4!"la 9 of the ADUT by Professor Sanderson, unpublished). For the Tibetan IIW}4ala painting reproduced in plate 13 (from Rossi and Rosssi 1993), the accompanying entry by Jane Casey Singer (unnumbered sheet) describes it as the "Vajravirihi Abhibhiva Mar;t<Jala" (piNtgmo mnob 'byunggi J/tyil '!thor). Sanderson (annotations to his edition of the Varlihyabhyw./4y4tantra, before v. 45) writes "The Sanskrit is cvidendy another mistaken Tibetan reconstruction, the original name, which the Tibetan exactly renders, being Virlihyab~" Singer identifies only the five deities of the inner circle; the remainder arc identified above in chapter 1.
VAJRAYOGINi
Vajravdrtihya Gopyahomavidhi/1' 0 (Stcrtt Oblation Rite of Vajravdrdhi)
GSS8
GSS8 includes oblations and mantras for black-magic rites of subordination, attraction, inciting hatred in a named person, and stunning; it also includes desiderative oblations for prosperity and increase of wealth.
VajrayoginistiJhaNZ (lintagt ofViriipa?) 11
GSS9
This is a short form of a Trikayavajrayogini sadhana but without reference to a severed head. The text includes self-generation in a red Jluzrmoe/aytl, mention of two attendants flanking the central goddess, and offerings to the center, front, behind, and center again. Apan from a couple of minor variants, the text of GSS9 is identical to that of GSS3o, except that GSS9 describes the two attendant goddesses as 4akinis, where GSS3o appears to intend Jalttis (falttitivayam] conj.; ftintaJvayam K, fd/ttaJvayam N). The
same text, under the same tide, in appears in the SlitlhllNlmd/J1 (SM234=GSS9) following the "Qakini" recension. The central goddess may be a red form of the severed-head Vajrayogini.
GuhyavajravildsinislidhaNZ by Sabarli 2 (SdlihaNl ofStcrtt Vajravilasini) A lengthy sadhana of 152 predominandy flolta verses {verse numbers arc GSSIO
editorial), prescribing erotico-yogic techniques to be practiced on the basis of the self-visualization ofVajravilasini and her consort Padmanartdvara in the lovely mountainous setting ofManoblwiga and Cittavisrama. After a vasantatilakdvcrse of homage to Lokanatha (v. 1), and a fardiilavikri#ta verse of homage to Vajravilasini (v. 2), Sahara states that he speaks the following (1/oka) verses through the power of Lokanatha (v. 3). The body of the text is as follows: vv. 4-7 describe the bejeweled mountainous setting of Manobhanga and CittaviSrama where guru ~<arw;ta taught [the sadhana of] Vilasini, and where "I practiced it with [my consort] Sabari"; vv. 8-10 guarantee siddhis including mahamudra; vv. n-I6list those whose physical and ethical qualities disqualify them from practice, and those who qual-
10 n 12
Witnesses: GSS J44n-44v5; N has missing folios until the final lines of the sidhana (f. 30n), D3IV6 omits the sadhana. Toh/Ota.-? Witnesses: GSS J4.4vs-45r6, N3on-3on, D3IV6-3217;-GSS3o-SM234· For authorship, see Nihom (1992: u6). T oh./Ota.-? Witnesses: GSS l<4srs-53v4, N3on-36V7, D3217-39r2; ]vtllllllllli no. 2 (BBK: 493); D/ti!J no. 17 pp.5-17. Toh./Ota.-?
APPENDIX: SUMMARY OF SADHANAS
ify; vv. 17-24 prescribe preliminaries: the site of a fragrant cave or glade in which the sadhaka and consort wash themselves, rub their bodies with fragrant flowers, put on eye liner and hair oil, adorn their naked bodies so that they resemble Padmanarte5vara and his consort, and then make love as long as the mind is not disturbed; vv. 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, shyness, or inhibition for the attainment of mahamudra; vv. 30-32 prescribe the positioning of the sadhaka with his consort modeled on the poses of the deities; vv. 33-36 prescribe preparatory rites: the yogin draws a circle on his consort's dharmodayii-yantra using saffron and red-sandal, and within that, a dharmodayiitriangle enscribed with the [five-syllabled] mantra (to be taught in the mantra extraction below), he then offers a flower, practices the four brahmavihiiras, and meditates on emptiness; vv. 37-38 prescribe the armoring with the five-syllabled mantra on the sadhaka' s body; vv. 38-45 give the visualization of a blazing dharmodayii into which the whole world is seen to dissolve; vv. 46-53 prescribe the visualization of the sadhaka' s consort as Vajravilasini in sexual play; vv. 54-62 prescribe the visualization of the sadhaka as Padmanarte5vara in sexual play; vv. 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; vv. 65-66 give the consecration of the self-generated couple; vv. 67-73 detail the'rites of worship, i.e., worship of the ma1)9ala (while uttering the mantra and the goddess's name), of the guhya-mal)siala with flowers, fruit, etc., of the sadhaka's own penis (which has been fondled and is erect, svakiyarrz kulifarrz ... liilitonnatam), of the goddess' mantra, and of the parts of the consort's and the sadhaka' s own body by waving incense; vv. 74-79 describe how the couple offer betel, etc., and recite loving verses to each other; vv. 80-92 prescribe the embrace and practice of the navapufpi (nine kinds of sexual play) with the arising of sahajiinanda; vv. 93-95 describe the pervasion of the world with rays (from lovemaking) and the propitiation of deities with sexual fluid (golakam); vv.96-roo give an explicit description 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; vv. 102-9 describe the pendulum recitation (doliijapap), a yogic meditation in which the couple is in union, each imagining the five blazing syllables ofVilasini' s mantra circulating through their bodies. The syllables start on the vidya's sex, enter the male via his penis, exit through his nostril, enter the vidya via her nostril and again pass into her sex. The
VAJRAYOGINi
mantra is recited up to five hundred times as it revolves through the bodies united in lovemaking. The recitation results in the fusion of 1Uit.i4 and bindu; it is followed by a repeated "mutual sucking" of the male and female sex; vv. uo--18 prescribe the visualization of the "fusion of the identities" of the couple and the entire world in the lovemaking (litmlltMiaka/1) with the result that the defilements are cut off, all kkias are burnt up, and everything is dissolved into the ocean of awakening with the end of conceptualization; vv. u9-20 describe how the female consort does the practice on the yogin, making the maQQala on his penis and practicing the meditation and mantra recitation as described; vv. 12.1-22 enjoin that the couple abide outside this meditation as Nandvara and Vilasini and recite the mantra; vv. 115-28 give prescriptions for practice when no male/female consort is available; vv. 129-37 give the 111/lntroeltihtirafor the five-syllabled mantra("!' nli'!l ri'!J rii'!' bli1J1) and the bali mantra to be recited while making the bali offering; vv. 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 KaruQa (v. 147), and advocating passion to destroy passion; v. 152 is a benediction, and is followed by the colophon. Gssu Vajravdrahislilihana by UmdpatUkvan See chapter 3 for a study of the sadhana and above for an edition and translation, with textual notes.
13
Witnesses: GSS K53V4-71r1 (Bodleian reference: m.s. Saruk c.16 (R)), N36V7SOV2, D39r3-s2v8; Toh 1581, Ota 2292., Nm292. (BBK: 179, 2.87); cf. Toh •sS... Ota. 1293. The author's name in the Tibetan is transliterated as •Umapatidatta (BBK: 279): sri U mapa ti dattal}i shahs. The Tibetan colophon to GSSu (foh 1581/0ta 2192, N m 292. Bodleian Tibetan blockbooks a.68, vol. 24· PP· }l-49) States that the sadhana was uanslated by VagiSvaragupta with Locchiva (Lo tsa ba) Chos rab (i.e., Rwa Chos rab}, and written by "One who has the lineage of the instructions ofViriipa, sri Umipatidatta" (p. 49· 7). The only other work known to be by this author is Umipatidatta's Vajrii]Ogini m4~uiJhi-n4m4 (foh. 1581, Bodleian Tibetan blockbooks a.68, vol. 2.4. 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. VigiSvaragupta translated a total of four texts with Rwa Chos rab, including the two by u mapatidatta.
APPENDIX: SUMMARY OF SADHANAS
GSSI2.
(H#iyli~nirgat4vajrayoginistiJhantt•
(Vajrayogini saJha1111
from Ot/t!iya111l) 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 iirtlhvaplilh pose in the center of the fivefold nw:t~a. It supplies heart and auxiliary-heart mantras {although SM225 gives only the latter). GSS12 {K7IVI) and SM2.25 both share p - from the textual tradition of the YSCf (SM225 p. 469, t/tiltini'!' tu t~ttha llimtl7f' ... cf. GSSu v. 38a, with Textual Note). The a-plilh from GSS12. {K7u6: tarjayanti Jiiafl sarvd dUfflltllrJIIIIIlvajriltti) is also attested in the visualization of warrior-stance Vajravarahi {GSS4 KI3V2., reading accusatives). css13
Vajrayoginim4tmll Gopyahom4vitlhi (S~crrt Oblation Riu
According to tht Systnn ofVajrayogini) by BuJJhati4tta 1 ~
'"'!'
The text prescribes the generation of a red fire deity from in a triangular fire pit {he is four-armed, making the "fearless gesture" (abhayamwlrti), and holding a pitcher, a firebrand, and a rosary; he is then merged with the knowledge deity. There follow oblations of transgressive substances, the recitation of mantras, and the worship ofVajrayogini with her ffial}~a retinue in the center of the fire. The text explains the different substances to be offered for rites of different kinds and concludes with the mal}4aia cakra entering the practitioner's body, bali offerings, a supreme worship (lo!tottarapiija), and the request for siddhi. Two frame verses guarantee siddhi and mahamudra. css14 Pradipahutivitlhi (Giorious{ly Elucitiat~ti} Oblation Riu) by
Jndrabhiiti)i 6 The thirty-seven {unnumbered) verses arc ascribed in the colophon to
L4
Witnesses: GSS K71r1-71V1, NsoVJ-Sif3, Ds2v8-53r8-SMus (lri-f¥iyi1Nlwjrll-
IS
lifhavinirtll14-urt/JJnNzjHlMwtjNwirtihisdtJJNtM); T oh 3299, Ota 4121-5129 (BBK: 465); cf. GSSs (Sed p.I48 16• K33v6-34t). Wim~: GSS K71V2-7u6, NsnJ-SIV4· Dnr8-s~; Toh 1556, Ora 1264 (BBK: 178). This is the sixth of the Six Ttxts ofVajrllfNlrtihi. A passage in the Blw AnNlls (pp. 393-97) describes how Buddhadatta came to compose the sri- Vll}Nyogini-
16
hom~~viJhi. A layman receives initiation of Pall}4apatika and then requests that he write down the lri- TanvtljNiMSUIJhi, the S.rwirtluuiJJhi-SiiJJNtM-PIIima, and the sri- VajTII}tlfjnihomllvidhi The guru refuses, but permiu his n~htw Buddhadana to write down the VlljrttyOginihDmAViJhi. Witnesses: GSS K71r6-74VI, Ns•v4-S3r'l· Ds4!2-ssvs. Toh, Ora.-?
VAJRAYOGlNi
Indrabhiiti and, in the opening verse, to his lineage (K72r6). There are two further references to the doctrine (matllm) of "King lndrabhiiti" (v. 16 K73r4, v. 35 K74t5). The meter is mainly anunubhwith two verses in upajtiti and two in sragdharti. The text describes the preparation of the firepit, its shape depending on the rite (v. s). 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 (c£ SM36, where a red Avalokitdvara is seated on two rams). The fire deity is seen as fourarmed, making the varad4muJr~ with a rosary, a pot (lumuz!UJalu), and a firebrand (vv. 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 (vv. 9-11), also a hand worship (v. 12), the recitation of mantras, and various oblations (vv. 13-15). The author then comments upon the method of the ritual (vv. 16-33) and concludes with dedications of merit (vv. 34-37).
Sarvtirthasit/Jhistitlhana (StiJhana for [Gaining} SiJJhi in AU Things) by AJvayavajra 17 The text opens with a bali offering and prescribes the generation from hri[l of a hog-&ced wrathful Vajravarahi in the ti/it!!Ja stance (Vajragho!fll). This GSSIS
is followed by the entry of the knowledge deity and rites of worship for Vajrayogini to preside. css16
Trayoe/aftitmiltavajrlf#ltinivajravtirtihistiJhanJt• (Stidhana oftM ThirumfoltJ Vajrlf#ltini- Vajravtirtihi) (in tht lintagt ofAdvayavajra?)19
The text opens with seven verses praising Vajraviri.hi and stating that the
17
18 19
Witnesses: GSS K74VI-75VI• N53'7-54CJ, D5svs-561'9; Toh 1551, 0ta n6o (BBK: 278). This is the second of the Six Tats ofVIljrlltNirlihi. Cf. GSS18; GSS5 (Sed p.149', K3414). A translation of the sclf-visualizaton section from the SllrtNirthtlsiJJhisll.tJhll"" appears in the Jan ~nt brgyll TISil {Willson and Braucn 2000: 259), with some slight differences. Another sid.hana with a similar name appears in the bsTan-'gyur, Vlljrllvlirlihilul/pllSilrvtirthiiSiJJhisUhll1111 (Toh 1578, Ora 3610).
trii]Odllititmilul] D: tr~ilui K. N. Witnesses: GSS K7sv1-82rs, N5413-59V2, D56r9-6IV7. Sanderson (1997: personal communication) notes that the source for this sidhana is ADUT }NI!4IIl 56 (NGMPP, E 695/3 ff. 220\'3-222f3: ~lliulVIICilu Jnyti hrt/llyllbhatH1111iJNlf4/11!1}. Toh 1595, Ota. 13o6.
APPENDIX: SUMMARY OF SADHANAS
sadhana was taught by the lord in the L41t,abhitlhi1Uttantra, on Mount ManobhailgaiCittavisrama. The visualization is of a six-armed warriorstance Vajravarahi and her generation from the thineen syllables of the VajravarahiNajrayogini hean mantra. The sequence of the prescriptions in the text is as follows: preliminaries (- GSS3/GSS31) ending with a bodhisattVa vow, armoring, circle of protection, temple palace (mllhavim4n4) surrounded by cremation grounds (with a short description of the cremation grounds drawing on SUT), visualization of the thirteen-syllabled mantra as the thirteenfold maJ]4ala, the generation through awakenings of Vajravarahi in iconographic form surrounded by Vajra4akini goddesses produced from syllables, the worship of the goddesses with imaginary offerings, entry of knowledge deities, arrnoring, praise, and bodhisattVa vow, sevenfold worship with the recitation of flower-offering mantras followed by another bodhisattVa vow, emptiness mantras with nonabiding, the repetition of the installation of the circle of protection and the subsequent visualization ofVajravarahi produced suddenly with the maJ]4aia retinue placed on points on the body, worship, the tasting of nectar, external bali 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 (vim4Ntl;lm). The erotic overtones of the sadhana may be associated with the f2ct that the sadhana was supposedly taught by the Buddha in the location of Mount Manobhailga and the pavilion, Cittavisrama, a place associated with erotic manifestations of Vajrayogini. The structure of the sadhana is also unusual. The maJ]4aia 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 maJ]4aJa is then repeated in a completion-stage practice, by self-generating it ..all at once" (jhafiti). thus indicating the sadhaka's complete integration of the external forms within himself. Finally, the mantra syllables of which the 4akini goddesses are representations are placed upon his body in a short body maJ]4ala, thus internalizing the maJ]4aia back into the body of the yogin. Every step in this process includes an arrnoring, 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 Vajra4akini-Vajravarahi seems to have emerged from the form of the armor goddess, Vajravirihi.
VAJRAYOGINI
GSSI7
Urdhvaptidafuklavajrayoginistidhana 20 (Stidhana ofWhite Vajrayogini with Foot Raised)
In a deserted cemetery, the sadhaka is to generate the raised-foot-pose Vajrayogini from a white syllable a1J'l. This short text also provides mantras for the japa, and a bali offering. Gssr8 Vajravtirtihikalpa 21 (Vajravtirtihi Ritual) After an initial bali offering, the text prescribes the self-generation of a Vajraghor:a form ofVajravarahi, with an accompanying offering rite for the vajrayoginis to preside. GSSI9
Vajrayoginistidhana 22 (according to Sabara)2 3
The text opens with the self-generation ofVajrayogini through a series of awakenings, and the four goddesses of the petals are installed with floweroffering mantras. The bhtivanti that follows provides iconographic details for the visualization and is followed by mantras and a bali mantra for performances on specified auspicious days. This may have been the manifestation prescribed in *GSS28 (Vajrayoginistidhana), which appears in a string of repeated sadhanas, but of which only the latter part of the bali mantra survives. The surviving fragment proves to be identical with the bali mantra in SM236, a text nearly identical to GSSr9. SM236 differs from GSSr9 in its offering section and in a few variants to the mantras. css2o Vajrayoginistidhana (lineage ofViriipa?)2 4 The text covers the self-generation of Trikayavajrayogini with attendant goddesses, Vajravairocani (left) and Vajravarr:ani (right), and prescribes an
20 21
22 23 24
Witnesses: GSS K82r5-82v5, N59v2-6on, D61v7-62r6"" GSS45. Toh., Ota.-? Witnesses: GSS K82v5-83v1, N 6on-6ov1, D62r6-62v7 ""' SM224 (Vajraviiriihisiidhana); Cf. GSS15; GSS5 (Sed p.149 3 , K34r4). Toh 3298, Ota 4120 (in SS, BBK: 465); Toh 1578, Ota 2289 (BBK: 278 fri- Vajraviiriihikalpasarviitha-siidhaka); Toh 3610, Ota. 4432. Witnesses: K83v-84r, N6ov-6u, D62v-63r"" SM233 and SM236; Toh 1548, Ota 2256 (BBK: 276), Yum skor (BBK: 276). Cf. GSS5 Sed p.151 6, K35v6; *GSS28. K84r3: siddhafabarapiidadefitarrz (D63r9 is without its usual colophon iti friguhyasamayatantre... ). Witnesses: GSS K84r4-85r4, N6u3-62r2, D63r9-64r7""' SM232. Close witnesses, and the relationship between them, are discussed in chapter 2, namely: SM238 (for bali mantra), GSS24 and GSS25; and GSS9""GSS3o""SM234. I also discuss a Sanskrit edition of a text similar to GSS25 by Nihom 1992.
APPENDIX: SUMMARY OF SADHANAS
external piija within a drawn m~Qala. 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.
VulyaJharikramavajrayoginistklhaNl 2" {Vajrayogini SdtihaNl with tiN VuJytk/hari MahoJ) (in tht lintllgt ofStzbllra? Stt GSS23 btlow) The text opens with an emptiness meditation ascribed to the Mahimaya tradition (c£ the 111imdlt,4racmptiness meditation in Mahamayasadhana, SM240 GSS2I
p. 466). It then supplies a short description ofVidyadhari Vajrayogini, a ttaditional VajravmiU armoring and a bllli rrumaa drawn from the Mahamaya tradition. The bllli mantra is nearly identical to SM249 (~tantrllS)Il blllivitJhifJ) but with the addition of bali mantra elements from the Vajrayogini/Cakra.wpvara tradition. The Mahamaya version in SM249 ends with two vocatives (o'!' sllrvatjdltini. .. O'!' sllrvayogini), while the GSS version contains more "laughing" syllables (htz ha hib) and includes the coercion syllables 01fl JAb hii'!' va'!' hob. The text shares some features of other Mahamaya sadhanas, and apan from the general affinity between the Vajrayogini tradition and that of Mahamaya, another association may be one ofMahamaya's four attendant goddesses, VajraQikini, on the eastern petal of the lotus in the Mahamaya m~4afa. Here, she is a recipient of bali offerings in the mantra, and in the white iirdhvaplillll forms ofVajrayogini, Vajra4akini is the epithet in the heart mantra. VulytiJhariltramabhdvllTIIi 26 (Vuiyadhari Mahoti Mtditation) (in tht lintllgt ofStzbllra? Stt GSS23 btlow) The bhaVIlllli opens by describing itselfas a "Vidyadhari-method meditation" GSS22
25
The ChinnamUJ}4ivajravirihisadhana by Srimatidevi (Toh. 1554 =GSS14) is the third of the Six Texts ofVa.rahi. Chinnamu'.'9i texts in the bsTan-'gyur arc discussed and summarized by de Mallmann (I97s: 432. on SM2.34) and Mcisczahl (1967), and touched upon by Benard (1994: 18, n.35). BBK refers to: Toh 3301, Ota 4123 • 5131 (BBK: 467) also Toh 1547, Ota 2.155 (BBK: 176), Yum skor(BBK: 176). A summarized translation of the Rin 'byung brgya rts4 sidhana of •chinNimu~ Vlljrii]Ofini (rDo rj~ rNil 'byor""' Jbu bcaJ m4) is published by Willson and Brauen (1000: 160, n. 1), with references. Wim~: GSS K8sr..-86ri, N61n-61v3, D64Jr7-64v8; Toh 380, Ota 25 (BBK: 159). Cf. SM149 (~lllrasya baliviJhjfJ}; cf. GSSu, GSS13. Cf. Ota.
4678 (?). 2.6
Witnesses: K86n-87n, N62.VJ-63ry, D64v9-6sv4; cf. GSS11, GSS13. Toh.,
Ota.-? The rite also appears in GSS5 K38n-s • SM135.
VAJRAYOGINi
(o'!' siJJhip. viJyaJhariltram4bhtivaNi). It has no colophon (ending simply: iti dmNiyap). Since the previous sadhana (GSS2.1) ends with a typical concluding baliviJhi and colophon, and the text that follows (GSS2.3) stans with an opening salutation, GSS2.2. 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" (unmtlttacaryd) prescribed in the text and for this text's relationship to other Sabar.l-based tats. ViJyaJharivajrayoginytirtitJhanaviJhi (Propitiation Rik of Vu/ytitJhari Vajrayogini) llCcortling to Sabara 21 The AriiJhanaviJhi begins with a hagiographical account of Sahara's GSS23
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 lineage (K88n, cf. • SiJJha-AmNiya p. 10). Finally, it describes five kinds of rite: worship, visualization, subjection, bali offering, and accepting a pupil (K88rj: atTa pUjtibhavaNivaliltara!f4balili!Jtinugraha iti paficapraltdrdp).
27
Witnesses: K87n-89V6, N63f7-65V3, D6sv4-6]V8; cf. GSS:u, GSS22, GSS10, GSSs Sed p.ts3'', K38n, Toh, Ota.-? Cf. • SitJJJM-AmNiyll. Saban's lineage is only named directly in this Vidyidhari text (GSS23), although the rite in GSS22 is rdated to the ArtiJhallllvitlhi in ~abara'slineagc in GSSs. There are also similarities with the G.J,yalhljravillisiniWJJNuul by Sabara (GSSto), such as the mountainow location, the wish to obtain a vision of the goddess, the goal of siddhi in six months, and the focw on mahamudri (also mentioned in GSS22, K86V2.). GSS1o may also hint at the hagiography in GSS23 in which the sidhaka loses bean and decides that the lord's promise mwt be untrue (cf. GSS1o Ks31J-4 v. 145: yMi e~ziUiriiS 111tha 1Uryo bhU1Niu pa111ti liry;zu I llllh4pi lolttll'llliiNuytz ~ rNICD m.J11i bhtz~. The • Si4Jha-Am111iya is similar in structure to GSS23. It opens with a verse hagiography of Advayavajra' s life, in the course of which he discovers Saban in the same mountainow location as that described in the GSS Vidyidharil Guhyavajravilasini texts. After the hagiographical introduaion, both texts include a succession list and a Vajrayogini-bascd ritual. This is followed in the longer • Sit/JJuz-Am111iyil by another succession list, a repeat of iu vase hagiography in prose, another succession list, and another Vajrayogini rite.
APPENDIX: SUMMARY OF SADHANAS
LaltpnisliJhana23 by Ltzltpni/Lalqminltara?l
and the self-generation of Trikayavajrayogini with attendant goddesses Vajravairocani (left) and VajravarJ]ani (right). An external puja follows, with prescriptions for traditional offerings within a drawn maJ]4aJa accompanied by offering mantras to the goddesses, to four sites, to the four bodies of the Buddha, and ending with the utterance of a tripanite root mantra. The number of mantric utterances required for the purvasnhi is supplied, with the siddhi they achieve. The sadhana ends with a frame verse and a concluding bali mantra. This sadhana varies slightly in phrasing and content from the other Trikayavajrayogini sadhanas in the GSS, as in details of the awakenings, more elaborate external offerings, and the purvasnhi section. Judging by Benard's translation of the Tibetan text (1994= 74-75), the Sanskrit and Tibetan texts diverge only slightly, e.g., the seedsyllable hri'!' (GSS24) appears in my bsTan 'gyur edition as hri/J. The offerings to the maJ]4aJa are slightly expanded, and a corrupt passage in the Sanskrit describing the fruits of japa is found intact in the Tibetan.
TriltayavajrayoginisliJhantfA> (Satihana ofTripk-Bodi~d Vajrayogini) by Viriipa"
GSS2S
The text covers the self-generation of Trikayavajrayogini with attendant
l8 19
}O
31
Witnesses: K89v6--9us, N6M-66V7, D67V8-691J· This is the second of the Six Texts ofVajravarahi (Toh. 1554. Ota. 12.62). Cf. Benard (I994l= 66 ~ 79 n. 14). According to Benard (1994: 66), /..4kpni in the tide is a reference to the text's author, whom she identifies as ~minkari. The Tibetan translation of the L4/qmis4/Jh4"" (GSS14) appears in the bsTan 'gyur as •chinNZm"!"/4 V4jrawlrihi S4tJJuuuz. Its translator bLo ldan shes rab (IOS9-II09) names the Indian author as Srimatidcvi. Bernard concludes that since the sadhana is not of the deity Lalqmi, the ride must refer to the author, and that Srimatidcvi is therefore an epithet of the ninth Lalqrni/l.alqmilikari. Lalqmilikari's best-known surviving work in Sanskrit is the AtiiNt]tiSUJJhi (ed. Mishra 1995). There are nine works attributed to her in the Tibetan bsTan 'gyur (listed by Robinson 1979: 3o6), although her fame rests chiefly upon her transmission of the Six Ttxts of
V4jratNirtihi. s4tllwram] rorr.; ity~(pi~ K91v6(mg2), -pilll«hin~m N 68n, ity dryttp/lyas41NlJ411lntrt tri/uiyatNljTIIJOKinidlll«hinNZmtl114s4Jha114m D70ry-8.
0
Witnesses GSS K91f5-91v6, N66V7-681'3, D6911-70r8. For close witnesses see GSS2o. Toh. ISSS. Ota. 2263 (?). Sec also Nihom's article (1992). The Vajrayogini text that Nihom presents
370
VAJRAYOGINJ
goddesses Vajravairocani (left) and Vajravarl)ani (right); utterance of the tripartite japa mantra; an external puja within a drawn mal)qala, with offering 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 concluding bali mantra (called miilamantraf.J); and finally, a dedication of merit. GSS26
Pitzrjdrthab $of/afafloktis Triktiyavajrayoginyab (Sixteen Praise Verses of Triple-Bodied Vajrayogini with Essential Meaning) by Viriipa 32
The text opens with four salutations to (1) the Three Jewels, (2) the guru, buddha, and bodhisattvas, (3) the vajraviliisinis, and (4) the ten krodhas with their consorts. This is followed by a brief bali mantra and two introductory 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).
(from a manuscript belonging to]. Locke) is identifiably our GSS25. According to Nihom' s edition, Locke's manuscript differs in a few minor points. For example, there are a handful of variants and scribal errors, the omission of mantra units hiirrz and phaf on a couple of occasions, and some differences in the final dedicatory verse. One significant difference is the addition in Locke's ms. ofheart and auxiliary-heart mantras. These appear after the worship section with tripartite japa mantra, and before the bali mantra (o1'J'l vajravairocaniye hiirrz phaf
h_rdayamantra(l. 01'J'l vajrayoginiye upah_rdyamantra(l 01'[lkririidi-dsvrihrintena piijayitvri piirvavad visarjayed iti). This is a rather unwelcome addition. No other sadhanas
32
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 emendations/corrections to Nihom's edition are desirable in the light of our texts. In particular, the flow ofblood into Vajrayogini's own head should be from avadhiiti (Nihom 1992: 227, 229). Nihom 1992 n. 37 (kabandhrid avadh_rtivartmanri ni(ls_rtri s_rgdhrirri) should read kabandhad avadhiitivartmanri ni(ls_rtri s_rgdhrirri. . . . Other conclusions reached in the article should also be revised or elaborated upon in the light of the evidence presented by the Guhyasamayasridhanamrilii. Witnesses: GSS K92v6-94r6, N68r3-69r3, D7or8-71r9; ed. Dhi(l (no. 2 1986: 4-5). Cf. Benard (1994: 74) for an English translation from the edition in Dhi(l. The edition in Dhi(l omits the opening salutations, bali mantra, and two introductory praise verses and, judging by its distinctive colophon, was based on our manuscript D or one related to it. Toh., Ota.-?
APPENDIX: SUMMARY OF SADHANAS
GSS2 7
371
Trikayavajrayoginistutiprm:zidhana 33 (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 ofTrikayavajrayogini 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 inK (ff. 96-roo). The final folio of the work (f. rou) contains the concluding bali mantra, injunctions to practice on auspicious nights, and the colophon. The final injunctions are similar to those in other texts that prescribe the visualization 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
Sarrzkfiptavajravdrdhisadhana36 (BriefVajravdrdhi Sadhana) by Vilasavajra 37
The opening verse is almost identical to that in SM226/SM227. The text then continues parallel to GSS4""'SM217 except that it prescribes the ali¢ha stance with the six signs of observance (mudrtis) (rather than the pratyali¢ha stance as in GSS4, with no mention of the mudras), and it omits the armoring and summoning of deities and bali offering.
33 34
35 36
37
trikiiyavajrayoginistutiprarzidhiina] corr.; trikiiyavajrayoginyiib stutiprarzidhiina1'J'l codd. Witnesses: GSS K94r6-95v6, N69r6-7ov2, D71V4-72V7. The author's name has been added by a second hand in the oldest manuscript (K95v7) and is included inN and D. Toh., Ota.-? Witnesses: Kimn-2; cf. GSS19, GSS5 (Sed p.15J 13 , K36r4), SM236. Witnesses: GSS Klmr2-102n, N70r2-71r4, D72v8-73v2"" SM227,]viiliivalino. n {Vajraviiriihisiidhanakalpa); Toh 3300; Ota 4122""5130 (SS, BBK: 465); cf. GSS4""SM226. 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 Niimamantriirthiivalokini commentary to the Aryamafijufriniimasa1'J'lgiti by the earlier Vilasavajra (sometimes also called "Lllavajra" and occassionally confused with an eleventh-century "Lalitavajra," disciple ofMaitripa, Tilopa, and Naropa). Tribe records that he was teacher to Buddhajfiana/Jfianapada (a pupil of Hari-
372
VAJRAYOGINI
GSS30
Vajrayoginistidhana 38 See above, GSS9.
GSS3I Vajravtirtihistidhana 39 The work is nearly identical to GSS3 except for an opening namasktira and an additional balipujti.
Binducutfiimarir nama svtidhifthtinakramab {Self-Consecration Method Known As the Crest jewel ofthe Drop) by Sahajtivalokanasamtidhivajra 40 This is the first of three svtidhiftptina (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 Cakrasarp.vara as well as his consort, Vajrayogini/Vajravarahi. Both deities are visualized as drops (bindus) within the sadhaka's body, which is visualized as a skeleton-arch {karmikatoraram) located in the midst of the cremation grounds. The meditations espoused are often obscure, based on the visualization of the deities-as-drops produced from the syllables of the salutation {namap frivajrayogini): their fusion in yogic meditations is productive 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. HT2.3.53ff. Synonyms are GSS32
38 39
40
bhadra, founder of the eponymous Jfianapada tradition of Guhyasamiijatantra exegesis in the eighth century), and that he also has a tenuous connection with the early lndrabhuti 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 Santar~ita (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 Mahiifilakakrama (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 SvadhiHhana text (GSS32). Witnesses: Kro2n-ro2v2, N7rr4-71v4, D73V2-74r2""' GSS9""' SM234. Toh., Ota.-? Witnesses: GSS Kro2v3-104V5, N71v4-73v1, D74r2-75v8 ... GSS3 .... SM217, Toh. 1542, Ota 2287 (BBK: 274), Yum skor(BBK: 273-74). Cf. Toh. 3607, Ota. 4429; Meisezahl (1967, 1980). Witnesses: Kro4v6-ro6v5, N73v1-74v7, D75v8-77r8; cf. GSS33, GSS34.
APPENDIX: SUMMARY OF SADHANAS
373
often found for mahdsukham (e.g., urusdtam, mahdsdtam, farman), as well as for Vajrayogini (e.g., Sarustri, Sahajangana, Suruyogini, Paviyogini, Vyadhamayoginl). The development of the svddhif!hdna wing of the kdpdlika movement requires further research. Isaacson (in his unpublished annotations to the Hevajrasekaprakriyd 1996) explores its textual provenance. He refers to the Paficakrama (chapter 3 of Svddhif!hdnakrama), which provides the backdrop to the yoginitantra practices and to yoginitantra exegetes, such as Advayavajra (e.g., in the Advayavajrasa'f!lgraha: Paficatathdgatamudrdvivararza, Caturmudrdnifcaya, and Amanasikdrddhdra), L~minkara (in Advayasiddhi in Guhyadyt¥fasiddhisa'f!lgraha Rare Buddhist Texts no. 1, Sarnath, 1987 pp. 162-63), Abhayakaragupta (in Buddhakapdlatantra), and Padmavajra (in Guhyasiddhi/;4.61). Typical references to svddhif!hdna refer to its completion methodology, its inconceivability, and its rejection of ritual, including dik!d, homa, mantras, and special days for observance. 41 Isaacson (1998: personal communication) has also pointed to the connection between svddhif!/;dna practices and the late tantric methodology of the Vasantatilakd, which also deals with internalized yogic practice (Vasanta/ Heruka as a drop in the heart merges with Tilaka/Varahi, a drop in the navel or sex, nirmdrzacakra), 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
42
See SUT ch. 21, vv. 6ff.; Paiicakrama (ch. 3, v. 45): sarvapii}ii'f!l parityajya gurupujiirrz samiirabhet I tena tuf!erza tallabhya'f!l sarvajiiajiiiiiiam uttamam (also cited SUT ch. 33, v. 27); YSCT (ch. 12, v. 1): na raktarziyarrz na bhaktarziya'f!l na marzrfaleyarrz, na ca marzrfalarrz ca I na mantrajiipo na tapo na homa!J samiisataf cittasamiijariipi; ch. 15 (A?V): niikiiryam vidyate kirrzcitl niicintyarrz vidyate sadii I niibhaktarrz vidyate ki'f!lcit niiviicyarrz yac chubhiifubha'f!l I. . . iti sa'f!lcintya yogiitmii sarvamudriimantravarjitarrz si'f!lhavad vicaret vira!J sarviifiiparipiiraka!J; Aryadeva' s Sviidhif!hiinaprabheda (Dhi!J val. 10, pp. 2o-24, v. 7): niitra fauca'f!l na niyamo na tapo na ca dutkaram I adutkarair aniyamai!J sukhair hartaif ca sidhyati. Cf. Viiriihyabhyudayatantra vv. 4-5. 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 Buddhakapiilatantra. There is also a reference to vasantatilakii in the Sa'f!lpufodbhavatantra (6.2.1ff.), here referring to the fusion of two drops (Tilalci/Nairatmya in the navel, with Vasantal hii'f!l, the "unsounded syllable" aniihatarrz bija'f!l, in the heart).
374
VAJRAYOGINI
GSS32 starts with three namaskdra verses. The first lauds the nondiscriminatory mind "without rememberance and recollections" (asmrtimanasikdra); the second salutes the supreme Binduraja; the third acknowledges the teacher Vilasavajra. The sadhana is divided into three "teachings" {upadefdf;). The first upadefa states that in the svddhif!hdnamethod practice (svddhif!f;dnakramayoge), there is no necessity for place, time, or purification in rites of the mal)4ala, or for oblation with mantric utterances. It prescribes the contemplation of the Binduraja within the dharmodayd on the sex organ {nirmdrzdbjam). The second upadefa prescribes the cultivation of passion {anurdgam) in obscure Sanskrit (including a verse also found in HTr.9.19). The third upadefa describes the internalization of sites and places, the generation ofVajravarahi from hiirrz in the navel, her contemplation as a bindu moving along the internal channels, her embrace with Heruka, and the bliss (sdtam) of the union of the vagina {kakkolaf;) and penis {bola(;). Paramagambhirakarmikatorarzakramavajrayoginisddhanasvddhif!hdnakrama43 (Self-Consecration Method Vajrayogini Sadhana with the Supremely Profound Method ofthe Skeleton Arch) The sadhana is divided into profound {gambhira) expositions of the generation {utpattif;) and completion {utpannaf;) stages, with a teaching {uddefaf;) and a detailed teaching (nirdefaf;) upon each. r. gambhirotpattikrama-uddefaf;: The written syllables fri-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 Cakre5a (Cakrasarp.vara) 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 fri-va-jra-yo, the first called Vyadhamayogini (vyddhdma = vajra), with Yamini, Mohani, etc. 2. gambhirotpattikramanirdefaf;: The divine couple produced from nama are seen inside the temple of the skeleton arch. The Cakrasarpvara/ Vajravarahi mal)4ala of kdpdlika gods surrounding the central deity (called GSS3 3
43
Witnesses: GSS Kw6v5-IIIf4, N74v7-78r3, D77r8-8ov9. Toh 1568, Ota. 2276 "Kankiilatiilasiidhana 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 jfuiNUigara) is visualized on the erect penis, which "whirls intensely'' in the vagina. 3· utpannaltrama-tu:kkJafJ: The syllables na-ma are internalized yogic drops; this introduces four yogas that describe the two binJus moving through the body creating great bliss (uruslitam, mahlisatam, Iannan). The yogas describe different samitlhis, in which Vajrayogini is denoted by synonyms (Sarustri, Sahajangana, Suruyogini, Paviyogini, Vyadhamayogini). 4· The final section of the sadhana describes a ltumtiripujd. (It quotes Saraha in an apabhra'!'faverse, part of which appears also in the HT2.4.67.)
Paramagambhiropatkio'" Vajrayoginyaf1/Vzranluttora1)1lltramap Switihi!,thanam (Supmn~ly ProfounJ T~aching: S~lf-Constcration As Slt~kton-Arch MahoJ ofVajrayogini) by Dhyayipatltl·~ The author acknowledges that the work is written by the grace ofLUyipada, and through the power of self-consecration (Knrvr: luyipatlaprasitima SVIitlhi!_thanabalma ca) and later ascribes a bhavanli to Luyipada (Kusr6). He cites many verses from other sources, referring by name to the JriHn~ajratlviltalparija (I vijaM nirupaJraw vasan). GSS34
44 45
JNlrllm4fllmbhiroplllkio] em.; p1Zrllm4fdmbhiropatkla K.
46
GSS34 (Knu6): 4rth1Zprtltis4r~Z!J~Ztd m~~hyttr!' 1111 VJ11Rjll1111prtltis4rm;wt4. Jhllmwprlltisllrll!'lllli c11iv11 1111 pwig111Apr11tisllrii1.J4td. • VJIIR}111111pr1Ztisllr111.J4ld] corr.; VJ111ij~t114pr1Ztisllrii1.J411J K. In f.act, this expresses a common idea in Buddhist literature, and references are given by Edgenon q. v. prlllistzrii!'IZIIIJirlltilariii.J4. e.g., Mllh4vyutplltti 1546: ~~rthtlpratistzrtUJnw bhllvilllVJtl'!' 1111 "J'ZR}111111pr1Ztis4rii!Jnl4.
Witnesses: Kuu4-118n, N78rj-8}r4, D8tn-86r4. I can find no other reference to the author, Dhiyipida, who seems to have been a pupil in the lineage of Uiyipada, as he refcn three time to LUyipada as the source of the teaching (GSS34 KniVI, Knsr6, Kn6v4). Toh., Ota.-?
"one must rdy on the real meaning, not the 'letter,"' etc.
VAJRAYOGINi
In oudine, the meditations of the practice are as follows: 1. The sadhana describes the visualization of the syllables of the obeisance na-ma-fri and the production from those of the skeleton arch and deities. First is visualized the skeleton arch (from NZ-) surrounded by fearsome eremarion grounds, the corpse throne with sun disc (from ma-), and the goddess Vyadhamayogini (from fri-). Next comes the teaching on the five syllables (pancli/qaranirtkia/1) va-jra-yo-gi-ni, which produces the armor goddesses (KI12v4). 2. The twenty-four sites are then equated with the skeleton arch visualized in the nirmii!'4lorus, i.e., the vagina (KI13r3). These are internalized (lit: suppressed, niroJha/1). 3· The cremation grounds are also internalized and equated with the psychophysical organism in a kind of yogic body maQQala (Kli3rS-II4f3). 4· A yogic meditation induces a deep meditative state (ascribed to a teXt called the Sahajanirtkia, I
APPENDIX: SUMMARY OF SADHANAS
GSS35
377
Indrabhiitikrametza Vajrayoginisddhanam (Vajrayogini Sadhana in the Tradition ofIndrabhiiti) by Vijayavajra 47
The preparations stress the practitioner's assimilation to the form and identity of the deity; they require him to face west, to understand himself to be in the "great cemetery, O<;f<;fiyana," and to wear red. Following his enjoyment of the five nectars and contemplation of the brahmavihdras, he suddenly takes on the aharpkdra 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 (KI19r2), which is followed by a yogictype armoring (of the six cakras and nine orifices with hiirrz, KI19v4) and a yogic meditation in which mantras are visualized flowing through the body, culminating in the non perception of dharmas. In an external rite, the form of the goddess is self-generated suddenly and empowered with an armoring (as before, KII9v3). The ground is prepared with transgressive substances, a mal).<;fala 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 (KII9v6-nor), namely, the hand worship, tasting of nectar, and bali offerings, followed by praise, the bodhisattva vow, and a dedication of merit. Two short rites describe the means of accepting a pupil (KI2or2) and of creating an amulet (KI2or6-v). GSS36 Kiirmapatanakrametza Vajrayoginisddhana 48 (Sadhana of
Vajrayogini with the Method ofthe Falling Turtle) This form ofVajrayogini is generated in front of the sadhaka inside a double dharmodayd 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 bali ritual.
47 48
Witnesses: Kn8r2-120v3, N83r4-85f4, D86r4-88r4. Toh., Ota.-? Witnesses: Kr20V3-121v2, 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 Kurmaptidasiddhistidhana. 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·
VAJRAYOGINI
O(lt!iyanasvadhi!!hdnakramavajrayoginisaJhana (Vajrayogini sadhana from O(lt!iyana with t~ &lf-Cons~~tion M~thoJ) by Viriipa 49 The text prescribes the self-generation (from hri'!') of white Vajrayogini GSS37
with rwo arms in a standing pose, or alternatively an aniconic visualization of the syllable hri'!' in the Jharmodaya, 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 pratydlitfoastha'!' iirtihvapdt/tl'!' ca f).~ Although there is no trace of a dual in the text, it may have intended these poses to refer to two attendant goddesses 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 maQ9ala leader. Another threefold mat)4ala is also described in other texts associated with Viriipa, cf. the T rikayavajrayogini group. Possibly indicative of corruption is the unnecessary repetition of the goddess as two armed (dvibhu}d'!') just before the poses are given. The white form ofVajrayogini described in GSS37 appears in the GSS collection beside the white warrior-stance Vajravarahi (GSS38) shown to be related to white Vajragho1_1a-Vajravarahi. The rwo manifestations share some details, such as the goddess's generation from a white syllable hri'!' (GSS37) or hrib (GSS38). However, the white Vajrayogini in GSS37 has most in common with the red warrior-stance Vajrayogini, as described in GSS19. The ritual ponions are similar in that both prescribe worship of the goddess on an auspicious night. GSS37 adds that the goal is siddhi (KI22n: vajrayoginisiddhyartha'!') 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 tripanite root mantra. In GSS37 the latter is a little unusual because
49
Witnesses: Kl1IV1.-I11rs. N8sv6-86ry, D88v8-89v1; cf. GSS38, GSS19. Toh.,
Ota.-? so
GSS37 (Kl2IVJ): SVIIh,rtli padm~ cllntiriiSiiryii/Jharmodttyd~ JultiAhri'flltlirllpari!flimma bhagavad<'fl> vajriiJDtjmm ~!tllmulthti'fl multtlllt~i41!1 nllgnli'fl pinon111ltapayot/hard1f1 tivibhu}d'fl rlllnllvar!fli<'fl> tril«anli'fllllwirlif!ha'!l hararJhahlirllltinlti!Jijtiilllthll!'f!llmll!fljitllm~lthll/4mlillitlifa!'mrulropnli1f1 bha~t. Jharmo~/, Jvibhu}li'!' ltllplil4flajraltha.tvlingadhara, t pratydlitjhastha,. urtihvapadll, c11t brahmllliriiS4m altramya ~t sthiramli1111Sa/J I (mantras follow). • ltinki!'il em.; ltinlti!Ji'!' K • Jharmoe/4yli] em: Jha77lllllillya K • lir11S4m] conj. (liras ~ as masc.); brahm41iram K.
APPENDIX: SUMMARY OF SADHANAS
379
the mantra deity Vajravairocani appears in first place (rather than the usual third place), and the syllable hrirrz is inserted at the end (orrz vajravairocaniye sarvabuddhatjdkiniye vajravan:zaniye hrirrz hiirrz hiirrz phat phat svdhd).
Aryafuklavajravdrdhisddhana 51 (Sadhana ofNoble White Vajravdrdhi) 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 hrip, and the self-generation of white, two-armed Vajravarahi in dliflha stance. The awakenings, yogic recitation of a mantramdlii, and rites are those associated with the (white?) Vajraghol).a manifestation described in GSS5, the Abhisamayamaftjari (GSS5 Sed pp. 150-51, K35ri-35v1). A much fuller sadhana centering on this white form ofVajravarahi and her associated rites, is found in the Prajndlokasddhana by Konkadatta (SM218), with some overlapping text, especially in the ritual 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 Abhisamayamaftjari (GSS K35v1-6), 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: piirvoktakrametza nifpanndrrz bhagavatirrz) refers to the previous sadhana, SM2I8. GSS38
GSS39
Vajravdrdhihomavidhi. 52 See GSS8
GSS40 Commentary on Portions ofGSSI (Colophon in D: Vajravdrdhisddhana) 53 GSS4o opens with commentary upon the namaskdra verse (GSS1: namap frivajrayoginyai fiinyatdkarutzdtmane .. .), which it interprets as an internal
51
52 53
iiryafuklavajraviiriihisiidhanam] corr.; iiryafuklavajraviiriihyiifl siidhanam K. Witnesses: K122r5-123r4, N86r7-87r3, D89v1-9or5; cf. GSS5 (Sed p.150\ K35n). Cf. SM218 (p. 426-31); with SM219-20. vajraviiriihihomavidhifl] corr.; vajraviiriihyii homavidhifl K. Witnesses: GSS KI23r4-124r3, N87r3-87V6, D9or5-9o8v = GSS8. Toh., Ota.-? Witnesses: GSS KI24r3-125r3, N8?V6-88Y2, D90VI-9Iv3; cf. GSS1. The colophon in D (Vajraviiriihisiidhana) is a misleading late addition. Toh., Ota.-?
VAJRAYOGINI
yogic meditation with drops based on the four consecrations in the Hevajra system. It then comments upon the parvapujii and upon the frame verses praising transgressive practice. The remaining commentary is upon text that is not part of GSS1 in this recension of the sadhana.
Vajraviiriihikalpa (Vajraviiriihi Ritua/) 54 A sacrificial rite (yiigakriyii) in the cremation ground in which a wrathful form ofVajravarahi is visualized in the fire and is propitiated with groundup buffalo meats for the attainment of black-magic siddhis. GSS4I
Vajrayoginiprarziimaikavirrzfikii (Stotra) (Twenty-One Praise Verses for Saluting Vajrayogini)5 5 A twenty-one-verse stotra (verses are numbered in the text) praising Vajrayogini: her embodiment of the four blisses, her compassion, her transcendent wisdom (in Yogacara terms), and her ability to manifest with many different forms, including as the supreme goddess in other religious systems (Sakti, Cag<#, "Vedavati," Kubjika, Vai~gavati, etc., according to the different religious systems). GSS42
Vajraviliisinistotra (Praise ofVajraviliisini) by Vibhuticandra 56 The stotra consists of forty-five (unnumbered) couplets. The meter is not iiryagiti proper, since the final short syllable must often be read as long to make up the full sixteen miitriis in each piida; there is some rhyme and yamaka. The iconography and character ofVajravilasini are described. GSS43
Sviidhif!hiinakumiiritarparzavidhi 57 (The Self-Consecration Rite for Propitiating a Virgin) After the namaskiira and an expression of the guru's worth, the text is lost. Ten folios are missing inK (ff. 129-38), and Nand 0 note the lacuna. It seems that one lengthy sadhana is contained in the missing portion. The text resumes (KI39n) with a description of the outer portion of the thirtyseven-deity maggala, citing a verse from the YSCT/SUT group(= GSSn GSS44
54 55 56 57
Witnesses: GSS KI25r3-I25V5, N88v2-89r2, D9Iv4-92r4. Toh., Ota.-? Witnesses: GSS KI25v5-I27r2, N89r2-9m, D92r4-93r4; Ms. "C" (CUL ms. add. I697 IV, photocopy); ed. Dhib no. I (I986: I-3). Toh., Ota.-? Witnesses: GSS KI27r2-128v4, N9Ir2-9Ir6, D93r4-94v2; ed. Dhib no. I (I986: 4-6). Cf. Toh. I602, Ota. 4681. Witnesses: GSS KI28v5-I39V2, N9u6-9Iv7, D94v2-95r4. Toh., Ota.-?
APPENDIX: SUMMARY OF SADHANAS
v.4J) and the statement that all goddesses wear vajra garlands on their brows (= GSSn §2.1). There is a brief reference to the purification of the sense organs, the summoning of a knowledge mal}Qala, 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. Jntirajitkram4vltjrltyoginis4Jha1Ul~
GSS4S
{VajrllJOgini StidhltNl with tiN
MnhotJ for Conquning lntira) This is very similar to GSS17 (sec above) and prescribes the generation of a white, raised-foot-pose form ofVajrayogini. GS$46
J?tiltiniguhyllsll~M w
(by AMngayogin?)6U
The following text is not a sadhana, as stated in the colophon, but a commentarial work dealing with Cakrasarpvara-based material with a strong Kalacakra influence. Our author quotes from many key Yogottara and Yoganiruttara texts, such as the G14hyas~tmtij~ttllntrll, Htvajratllntrll, Ctlltraslt'f'VIlrlttllntra (= Lllghusa,.varatllntrlt) and its filtti by VajrapiJ}i, Sll'f'VItrotl4y~Ztllntrlt,
AbhitJhtinottllrlttllntrlt, K4ltum~tmiilttllntrlt (P~trlt mtiJilnuitJhtuantra), the ClltugJifha, Mtiytijti/ll, and J?tiltinijtilapanj~tra. He is extcnsivdy influenced by Kalacakra exegetical works, such as the Vimalltpr~tbha, Vajrapil}i's Laghutllntrllfiltti (Pi!'f!drthll), the Am,rtllltlt!Jiltti, and <ltot/Je/llfilul. The text deals with a sexual-yogic interpretation of the consecrations, the brllhmavihtlras, Amrtakui}Qali, yogic meditations with the four blisses for the attainment of siddhi, the six yogas, etc. There arc many frame verses on the methodology and success of the practice, its metaphysics, and the authority of the guru.
s8 S9
6o
Witnesses: GSS Kl39V2-140rJ, N9IV7--9217, D9sr4--9M- GSSI7. Toh., Ota.-?
Wimesses: GSS Kt.torJ-I47V6. N9117--98r6, D9M- Iotvs. Published as /)4/tin~fNlTilriiiNuya (ed. Samdhong Rinpoche and Vrajavallabha Dvivedi. 1990). Toh., Ota.-? The 114miiSWil verse states that the sidhana is written by Anangayogin, whom I have not traced. (fhe mahisiddha Ananga has been idmtified by Dowman 1985: 368-71 with the earlier Anangavajra dated to the ninth century. cf. Snellgrove 1987: 181.)
Notes
About fifteen VajrayoginiNajravarahi texu arc listed in Bhanacharyya's edition of the so-called (n. 42) SaJhanawuild (192511918), although many of these arc actually portions of longer texts, printed separately because they contain brief colophons. All of the Slltihanawuild works appear in almost identical or similar form in the Guhytutz1llllJ4Siillhllnllm4111. The one exception is the longest Vajrawirihi S4Jhana in the SaJha111l1Ni/d (SM218, with SM219 and SMno), although this is still represented in the G~nanui/4 in two separate, but much shoncr, versions (in GSSs and GSS38). One can also find iconographical descriptions of Vajravarahi as conson in the SaJhanama/4's small collection of Cakrasarpvara sadhanas (e.g., SM250, 251, 255). A few sadh2nas of other deities also incorporate Vajrayogini materials into them, for example, the Mafljurlri S4Jhana SM48 "vajrayoginibha,ifiU!I vaJirlijttmaiijuirisdtihanAm," which has no reference to Vajrayogini except in the tide, and contains minimal tantric clcmenu; the Eltajafd S4tihana SM12.3; and a ViJytiJhariltramA text SM249 from the Mahimaya tradition, containing the baliviJhi from GSS21. The main sources in the Slltihananui/4 are: • SM217 VajravarlihistiJIM~SS3; cf. GSS31. • SM218-2.2.o: SM218 PrajNiiDiuzsitJhllna by Korikadatta with SM219 vaiyaviJhi given as V'ajrawirlihis4tihana .. and SM22.o ·vajrawirtlhya valyavitihib • (final line of preceding vaiyllvitlhi with colophon)-GSSs (K34v5-3sv6. Sed p. 149) and GSS38 (sec appendix entry to GSS38). • SM221-223: Prinred as three tcxu (though probably redacted from a single source) focwing on the (male) deiry Mahamaya, but with the Vajravarahi root mantra. SM2.2.1 (colophon in one rns. only: jwi/llmulthisdJhanaprayoga/1) opens with verses extolling the deity, followed by the Vajravirahi root mantra, identical (with a few varianu) to GSSn §32 and related texts. SM222 (colophon in one rns. only: 11Uihanuiylljwi/imulthivajravlirtihiprayogllS/1Jhanam) refers to the previow Vajravarahi root mantra, with instructions for iu recitation and rites for siddhi. SM223 1'111lhi711Jlylilkvyli.b bnailinam is a shon paragraph giving an account of cremation grounds a little different from that in Vajravarahi materials.
NOTES TO PAGES xxi-xxii
SM224 VajravarahisdlihaNZ-GSSJ8. SM22s O{iiyiNZvajrapifhavinirglltll-iirJhvapli44vajrawlrtlhis4JINzna-GSSI2. SM226 Sa,k,iptavajravarahislldhaNZ-GSS4. SM227 Sa'!'/qiptavajravarahislidhan:a-GSS29-5M227. SM232 VajrayoginisllJhaNZ (T rikaya-Vajrayogini)-GSSw--GSS25. SM233 Vajrayoginis4JhaNZ-GSSI9; c£ GSS28. SM234 VajrayoginisaJhaNZ-GSS9=GSS3o. SM 23 s Ntrulyivarttma sitldhalavaraplldiyam4tllvajrayoginyiriJhaNtviJhifJGSSs (K38r1-5, Sed p. 153)-GSS22 (K86r6-86); cf. GSS23. • SM236 VajrayoginiuJJhaNZ-GSSI9. • SM237 vajrayoginyupaekla/J. Fragment probably from the end of a sadhana describing yogic meditations with recitation of mantra. • SM238 vajrayoginyi baliviJhifJ=baiimtlntra from GSS2s. 2 Isaacson (2001: personal communication) suggests that the Sa,.varrHillyatantra 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 sD~..Jg~ bKa ~ 'gyurlbs Tan- Du' in two volumes, July 22, 1980 (Berkeley CA: Dharma Publishing). 4 The Six Texts ofVajravirahi (Phag mo gZhung drug) in the bsTan 'gyur (Toh ISSI-s6) comprise the Sri- TattvajiWnasiJdhi by Siin]llSilmiJhi (Toh ISSI), SArvtirthasiJJhisliJhana by Avadhutipa (Toh ISS2=GSSis), jfi4Nlvd4 by Sunyasamadhi (Toh ISS3), ChinNtmu!'t/dvajrav4rahis111Jhan4 by Srimatidcvi (Toh ISS4=GSS24), Chinnamu!'t/dsiJhaNZ by Viriipa (Toh ISSs=GSS 25/GSSw), and Sri-VajrtlJOgini-hom4viJhiby Buddhadatta (Toh 1556 =GSS13). All six were translated by Varcndraruci and bLo ldan shes rab. The transmission of this set is sometimes credited to SabariSvara/Sabara (Robinson 1979: 290; Bhattacharya 1928 vol. 2: c.xv). However, it is elsewhere attributed either to I...alqminkara (from her brother, lndrabhuti) and her disciple, Viriipa, or to Kambala (a problem Dowman attempts to solve by suggesting that Kambala was Lalqmiilkara's guru, 1985: 375). Sec the Blw Annals (pp. 389-94) for the transmission lineage from lndrabhuti and the eventual written composition of some of the six texts. s This Tibetan lifestory, translated by Guenther (1963), is by Lha baun Rin chen mam rgyal b473-ISS7) and is entitled mKhas grub !tun gyi pug rgyan panchm n4 ro pa I rnam thar ngo mtshar miiUi byung. For the transmission from Tilopa, see Guenther (ibid: 44), and for Nampa's &mous vision (ibiJ..: 24-25). Guenther (ibid: xv) dates this biography to the late twelfth century, but more recent scholarship has shown ia author to ha~ been a follower ofthe" mad lama" (b/4 mil smyon pa), gTsang smyon Heruka (I4S2-IS07), (Samucl1993: 522, citing Gene Smith 1969: ~27). For a discussion of the dating ofTdopa and Nampa. sec Wylie 1982. 6 The earliest lifcstory by sGam po pa (I079-1153), the Ta 'i lo lkmg Niro I"""" 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 seck Tilopa; only after studying under Tilopa docs he enter Nalanda and • • • • • • • •
NOTES TO PAGE xxiii
become a fully fledged }Jil!U/.ita. (sCam po pa hSoJ 1111ms rin-chm 1974: 18-30.) The other text ascribable to before 12.00 is by sGam po pa's nephew's pupil,
7
founder of the Tshal pa bKa' brgyud school, Bla ma Zhang (g.Yu bra pa brTson 'grus grags pa, 112.3-93). This text appears in Bla ma Zhang's collection of life stories entitled D~~Js anJ LiwJ (mDzml-pa rNam-thar gyi sltor, 1972.). Here, Niropa dreams of many 9ikinis (again, not specifically Vajrayogini); he becomes a }Jil!U/.illl, again only after serving as a pupil ofTilopa, but at Vikrama$ila. There is also a life ofNiropa accredited to Marpa in the eleventh century, found within the collection brGyuJ p4 yiJ bzhin nor bu'i rnam p4r thar pa, TIN Lift Storin of~ Wish-Fu/fiUingf~/ Lin~ag~. This collection is contained within a sixteenth-century compilation of texts by Byang chub bzang po entided bD~-mchof mKha ~fro JNyan-rgyuJ (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 earlier sources (sec Roberts 2.002.: ch. 2.).1 am indebted to Peter Alan Roberts (personal communication: 2.002.) 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 Vajrayogini practice (details for which I thank Dr. Sobisch; 2.001: personal communication), as follows:
tiPaJ rfr btsun rJo rj~ rna/ 'byor ma 'i gsang ba 'i sgrub thabs ltyi rnam p4r bJuul pa TAb mo mam 'byeJ: A !Rtaikd Ex~nis of~ Esotmc M~ditation-DnHJtiona/ Praaict {~)Focusing upon Vajrayogini According to~ bKA 'brrJUd pa TrtUJitiqn, dPa•bo gTsug-lag Phreng-ba of gNas-gnang. Bir: [s.n.], 1974. 1 v. (unpaged). On boards: Cover title: rDo 1j~ mal 'byor ma'i png sgrub lryi r711lm bshaJ. Reproduced from a manuscript transcription of an ancient blockprint in the library of Nam mkha' rdo rje (Microfilm no.): Set 2.-16. LMpj-o12.o66. R-2.2.41-74-90152.4·
dPaJ rj~ btnm rtio rj~ mal' byor ma 'i gsang b4 'i sgrub thabs ltyi rnllm bshadpa zab mo mam 'byNJ: A DaaiiNJ Explanation oftM T~/w Esotnic Instructions on tiN Guhy4wlha1111 ofVajrayogini Transmi~d by Naropa. Rwntek: Dharma Cakra Center, 1975. 512. pp.; 9 x so em. Added Tibetan title on boards: dBa/ (sic.) rj~ btsun rJo rna/ 'byod (sic.) ma 'i gwng b4 'i sgrub thabs ltyi rn4m par bshad pa TAb mo"""" Dp1 chn (sic.) bya b4 bzhugr so. StuJy ofEsotnic Tuchings Prt«tic~J by tiN KArma KArgyuJpa (sic.) Tradition ofTi!Htan Lamaism. (Microfilm 8
9
no.): Set 3-2.0. l..Mpj-oi2.S04· SB-2.2.14. LCCN-76-9ooo87. For example, teachings on the sadhana by ChOgyam Trungpa have been published (1982., 1991, 1999), and Simmer-Brown's exploration of the 4ilcini and her description of Vajrayogini (2.001: ch. 4) is based mainly upon transmissions within the bKa' brgyud and rNying rna schools (ibiti.: 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. 2.002.), 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
NOTES TO PAGES xxiv-xxvi
overview is itsdf extremely conderued, other published references in English are far more fleeting; namdy, Chogay Trichen's History ofthe Saltya Trllliition (Bristol: Ganesha Press, 1983) and Sherab Gyaltsen Amipa's A WatnJrop .from Glorious s~a (Rikon, Swizterland: Tibetan Institute, 1976). 10 The full details of the transmission lineages of these three are found in the lineage supplications (rgyuti iiebs) attached to the relevant sidhanas. The initiations and sadhanas themselves have been published in recent years amongst Sa skya pas in India, in a six-volume collection of teachings on Vajrayogini, entided the dPal /J4n S4 sltya JNII lugs nliro mltha' spyod mal sltor. They are also found in sgrub thabs !tun btus. the monumental fourteen volumes ofVajrayana 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. u There is an initiation and sadhana ofVajravarahi found in the "One Hundred Sadhanas ofBari" (in vol. 12 of sgrub thabs !tun btus), the collection ofVajrayina 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 !tun btus. Unlike the two other forms of Vajrayogini and the rest of TIN Thirtun Go/Jm Dharmas. Maitri Khecari entered the Sa skya tradition with Sa chen Kun dga' snying po's son, rJe bnun Grags pa rgyal mtshan (1147-1216). According to the material on Maitri Khecari (in dPal /Jan Sll s/ry4 JNZ'i lugs nl1ro mltha' spyoJ mal sltorvol. 6, p. 203), he received it from one Dar rna Yon ten, a disciple of Sum paLo tsa wa. One Tibetan publication (with the English tide A History ofrlH Sa-sltya-pa S«t ofTibdlln BuJJhism, by T. G. Dongthog, New Ddhi, 1977: 173), states that he received it directly from Sum paLo tsa wa. 13 Found in volume 2 of dpal /Jan Sll sltya pa I lugs nliro mltha 'spyod ma I sltor. 14 None of these teachers aims to present a textual analysis of his original sources. Indeed, Ngawang Dhargycy (1992: 19) notes that in imparting the Sa skya lineage teachings, his own teacher, Kyabje Trijang Dorjechang. was often speaking from his own experience rather than relying on tatual 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 1997: ix)-transcriptions made by pupils who themselves may have relied upon a translator. Apart from the difficulty in locating the sources used by the teachers, it is not always evident how a given translation rdatcs to its explanation, as Dr. Sobisch has pointed out, e.g., Tharchin 1997: 192. 15 The appearance ofVajravarahi within rNying rna theology, hagiography, and myth is wdl attested, as in the definitive volumes by Dudjom Rinpoche (1991), as well as in many other published works, e.g., Germano and Gyatso (2000:
t'"
NOTES TO PAGES xxvi-2
246ff.). Ye shes mtsho rgyal's lifestory (Bod kyi jo mo ye shes mtsho rgyal gyi
mdzad tshul rnam par thar pa gab pa mngon byung rgyud mangs dri za 'i glu 'phreng) has been translated by Tulku (1983), Dowman (1984), and Changchub
16
17
18
19
20
and Nyingpo (1999). References to Ye shes mtsho rgyal as the principal custodian and transmitter of"treasure" texts (gter-ma) abound, e.g., Dancing Moon in Waterr4 Q. Gyatso 1998: 31-2), Dudjom (1991: 581, 586-87), Dowman (1984: 73, 121-41), Germano and Gyatso (2000: 244, 248). Literature on the meditative practice ofYe shes mtsho rgyal/Vajraviirahi/Vajrayogini is plentiful, e.g., Klein (1995: 139, 144, 147), Patrul (1994: 313), Khyentse (1988), Thondup (1983, 1992). The Thar pa'i bde lam was composed by Jam mgon Kong sprul bLo gros mtha' yas (1813-99). This is the sngon 'gro of the extremely popular treasure cycle dKon mchog spyi 'dusderived from the treasure revealer, Rig 'dzin 'Ja 'tshon snying po (1585-1656). LamaJampa Thaye (to whom I owe this information) points out that the chief deity of the cycle is in fact the <;lakini Sif!1hamukha (sic), who is the focus of the yang gsang("utterly secret") part of the generation-stage practices. He writes, "The employment ofVajrayogini in the sngon 'gro may reflect the influence of the bKa' brgyud tradition among the rNying rna. '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 Rigdzin Shikpo for sending me his outline and explanation of the Thar pa 'i bde lam. The full name of the Tibetan text is rDzogs pa chen po sku gsum rang shar las thun mong gtum mo 'i nyams len ye shes me dpung bzhugs so, which the author translates into pidgin Sanskrit as Kayasahdsarva1J'l trisvaya1J2biirpasya sdmanyaca!ltfiiuKJJibhya jfzajvala tisma. I thank Dr. Peter Alan Roberts for this information and for providing me with a copy of his unpublished translation. Simmer-Brown's (op. cit.) wide-ranging survey includes an interesting analysis of the various Western encounters with the subject, in a critique ofboth 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 Vajrayogini 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 ofTsari, a region in Tibet associated with Cakrasaf!1vara and Vajravarahi. 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 difficulties 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.). 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
NOTES TO PAGES
3-4
of the Beijing Qianlong «lition (Ota/Q) of 1717-20. (Figures remain approximate, as there are other editions of the canon that vary slighdy, and also manuscript «litions that did not undergo revisions and so include texts not found in later editions.) The rGyud 'bum section of the bKa' 'gyur (foh/D 36o-845) numbers just under five hundred texts, and there are in addition about twentyfour dhir.u)i tats (from the gZungs 'dus section, Toh/D 846-no8) not contained here. This means that in all there are about five hundred and ten tanuic texts in the bKa' 'gyur of the Dergc edition. The rGyud section of the bsTan 'gyur (Toh/D II09-3785) includes just under two thousand seven hundred texts. An additional tantra coUecrion appears in the Beijing and Nanhang bsTan 'gyurs (OtafQ 46<>4-5183) 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 «litions to just under three thousand two hundred. I thank Dr. Hermann-Pfandr for this information (2002: personal communication). Sec also Sanderson 1998: 661, and Williams and Tribe 2000: 195. As for the Sanskrit texts, BBK lists 1,500 Sanskrit tantric texts, although Isaacson (1998) notes that there are many texts not listed there. Matsunami (1965) lists about forty pages of tanrric Sanskrit texts. 21 A ponion of the Ntimamantrtirthdvalokini, Vilasavajra's commentary upon the Aryamaiijuirindmasa'!'giti (or Ndmma'!lgih), has been edited and translated by Tribe in his unpublished doctoral thesis (1994) and discussed in a published anicle (1997: 109-36). For the life of this yogatantra scholar (also known as Lilavajra), sec Dudjom 1991: 463. 22 Skorupski (1994: 201 n. 47), for example, notes that the commentators on the Sa,putodbhavatantra, such as Indrabhiiti, use the phrase "yoga and yogini tanrras"; cf. Kriydsamuccaya f. 409: yoginiyogatanfrr!u. 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 chapter 5 of the STTS. Cf. Sanderson 1994i: 97 n. 1. 2.4 Snellgrove (1959 vol. 1: 12-13) dates the HnJajratantra from the latter eighth to early ninth century, using the qtyth ofPadmasambhava's connection with King lndrabhti. Herrmann-Pf.mdt (Herrmann 1983) comments that this conncaion is doubtful because the Padmasambhava myth belongs to later rNying rna apologetics from the twelfth century. The evidence of Taranatha, who makes the eminent commentator Kil)ha a contemporary of the eminent King Devapala (first half of the ninth century; Snellgrove 1959 vol. 1: 14), is likewise untrustwonhy (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 SarvabuddhasamJyogatjlikinijlilala'!lvara, sec n. 2.6 bdow), neither the Hroajratantra nor the Caltrasa'!'varatantra were transmitted into Tibet until 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 existence by the late tenth or early eleventh centuries at the time the commentaries
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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 ofNaropa's, and datable to the early eleventh century (Mimaki 1992: 297 n. I); the first commentary on the Cakrasarrzvaratantra is late tenth century. But we still do not know how long the tantras had been in existence before this; and given the exegetical productivity 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 mal).<;iala of the older Sarvabuddhasamdyogarjakinijalafarrzvara, which may indicate its antiquity; but on the other hand, it is more coherent than the Cakrasarrzvaratantra, and many of its methods are more sophisticated (as in its system of four joys, ch. 3 with n. 195) and more attractive to exegetical expansion (Sanderson 2002: personal communication). 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.: 457 n. 2) that Ratnakara5anti "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): mahdydnarrz mahdmudrd yogini siddhi-
dii tathd. 26 A brief summary of this tantra, or a version of it, appears in a Chinese text translated 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 different etymologies: farrz-, "bliss," is used as a synonym for sdta, sukha, and there is no doubt an allusion intended to Siva, the "creator of bliss" (farrz-kara) (Isaacson 2001: personal communication). "Sarpvara" (literally, "restraint") was probably just a shorthand for "Cakrasarpvara." The two different spellings occur in the Tibetan translations also ( bde mchog for Sarpvara, and sdom pa for Sarpvara). 28 GSS16 (K75v3): tantre lak!abhidhane hi ndthena kathitd svayam. 29 According to the colophons of the Tibetan manuscripts, the Legends are a translation of the Caturafitisiddhaprav_rtti 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), a 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 byTatz (1989) ofDowman's and Robinson's work. The other main source for the lives of the
390
NOTES TO PAGES IO-II
eighty-four siddhas is Taranatha, who groups his stories according to the lineage of teachings to which they belong in a work entitled The Seven Instruction 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. III: 273 cited Kvaerne 1977= 6. 32 GSS5 (Sed P· 139, K26r4): evarrz tdvalliiyipadiibhisamayakramerta vistarata&
saptatrirrzfadatmakarrz bhagavatyd martrJalam. tatraiva martrJalabhediintararrz vajrdvalydm asmadgurubhir upadarfitarrz. 33
The colophons of three of Abhayakaragupta's works state that they were written during specific years ofRamapala's reign: the Abhayapaddhati commentary on the Buddhakapdlatantra during the twenty-fifth year, the Munimatdlarikara during the thirtieth, and the Amndyamafijari during the thirty-seventh (Bi.ihnemann 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 *Sadhanasamuccaya (p. 1048). Twenty-four works are ascribed to him in Cordier's bsTan 'gyur (cited Bhattacharyya 1972: 9, see also Bi.ihnemann 1994, 1992). 34 The other work by Umapatideva in the bsTan 'gyur is a Vajrayogini mal).4ala rite (1584 in the Derge edition). Vagisvaragupta and Rwa Chos rab were also co-translators of a number ofKalacakra 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, 1755, and 1964), five of them with Samanta5ri, including two ofSamantasri's own compositions. It seems that Rwa Chos rab flourished 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 tradition" 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 ofYamantaka 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 blo 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 (rT a-tshag T she-dbang rGyal, Lhorong Chos- 'byung, China: Bod-ljongs dPe-yig dPe-rnying dPe-skrun-khang, 1994: 87), Ras chung pa's visit to India took place c. 1IIO (Roberts 2000: 294,
NOTES TO PAGES 14-19
391
32.8-19, 411-13.) 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 uavcled with Samanwri to Tibet, where they transmitted and translated Kalacakra teachings (in the "Rwa-locchiva tradition," Blw Amuds: 756, 789, Newman ibiJ.). I thank Dr. Peter Alan Roberts for his hdp in researching this subject and providing uanslations from the Tibetan text. 36 E.g., GSS7, GSS12., GSS37; also see historical sources such as Taranatha's History: 331. 37 • SiJJha-Amruiyll p. u: tl&truiprlllt41anti/1 lturu!Taa (1989: 695) describes the llmll1111Silt4rll as "'a philosophic system called 'nonattentivencss."' There arc twenty-four works by Advayavajra and his pupils in the bsTan 'gyur (Toh ITg. rGyud 2.2.2.9-52.). The •sit1Jh4-Amruiy4 (I designate this text according to its listing in BBK: 191) opens by locating itself within the llmll1111Silulra tradition (p. 8: IUIUINISiJulrtbtiNlJtU'!I ~·In a wcfu1 anide, Taa (1987: 695-711) compares the life of MaitriguptalAdvayavajra as it is told in the •sitJJhaAmn4)w with that in later Tibetan sources. 38 .. If such is available then other mantrins, [that is to say nonmonastic tlintrikllS] should not be venerated. For if all three arc found together and the householder is worshiped then the three jewels of Buddha, Dharma, and Sangha arc cheapened." Kriyiisa1fuu:Cil]fl (SP f. 3.6): uttam~ vUI:yamlin~ tu ruirtk/hy4 an)llmllntri~SIItsu trip~ ~ltatkJqu grhastha/1 pu}yllu yaJ4/tM/4 lnu/JJ1IIi ca dharmai
ca Sll'!'f}lo gacchaty agaravt~mliti. 39 KuJminirghlltanam in A.Jvayalllljrasll'f't"aha: 1-12.. Gellner (1991: 300) comments that these arc much the same as the routinized version of tantric practice now found among Ncwar followers of the Vajrayana. ¥> Kriy4sllmuall)ll SP f.~~ (traJUlated by Sanderson. cited Gellner 1991: 195); a passages discussed with text excerpts by Sanderson (1994i: 87-101, especially n. 37). Abhayikaragupta explains the saual nature of the guhylibhi!~lta and prlljUbh~lta in his Vlljrtlwzli (Ms. 8 f. 64f'6-64VS cited Isaacson 1996b n. 8o). 41 Bnhnemann's swvcy of primary materials and secondary opinions is based on historical sources such as the Blw Annals. TIN CoJI«uJ Worlts ofBu ston, (part 2.6 (LA), ed. by Lokesh Chandra from the collections ofRaghu Vira. 19]1), and Bu ston's History of BuJJhism (Chos 'byung) (parts I and II, traJUlated from Tibetan by E. Obermiller. 1931-32.). She uses catalogs by Bendall (1883), Cordier (l9C)9-IS), and others, while her discussions of dating arc indebted to the work of modem scholars such as Mcisczahl (1980) and especially N. Okuyama (1988. libetto bukkyo pantheon kcisei ni kansuru futatsu no kadai., lnJogaltu Bu/Jtyigllltu KnJtyu 36h. 892.-96). More detailed bibliographical references for her study can be found in her bibliography. pp. 2.4-2.6. Lokcsh Chandra also describes the four collections in the bsTan 'gyur in his inuoduction to the Narthang Pantheon (1986 vol. 1: 34). 42. Also less correctly entided •S4Jha11fli4tlllta (IGrub thllbs brgyll rtsll), according to BUhnemann (1994= 11 with n.I).
392
NOTES TO PAGES 19-25
43
Bi.ihnemann (1994: 19) shows that the basis of Bhattacharyya's edition is the third and largest of Bu stan's collections known variously as *Siidhanasdgaral SadhanasamuccayaiSadhanamdla, which Bhattacharyya entitled Siidhanamala according to the catalog description of one of the Cambridge manuscripts (Add. 1593). However, the catalog entry for the palmleaf manuscript of the Sadhanafatapaficdfika in Cambridge (Add. 1686) was also cataloged by Bendall (1883: 174) as the Sadhanamala tantra (Bi.ihnemann 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 Sarvadurgatiparifodhanatantra show how close its subject matter is to the stages of the sadhanas in the Guhyasamayasadhanamala. See Sarvadurgatiparifodhanatantra, 8a, for opening prescriptions and assurance of success (anena yathoktatantrdnusdrdnukramerta vidhanena pratyaha'IJ'l prabhata-
kala utpattikramerta bhavayamdno bhavayet. devatdyoga'IJ'l samadhitrayam uttama'IJ'l yatnato durgatiparifodhanasiddhir bhavati.); 9b-10a for preliminaries (tatsadhana'IJ'l fakyandthena bhdfita'f'(l. prathama'f'(l tdvad vijane mano 'nukulapradefe mrdusukumdrdsane nifartrtab sugandhena marttfalam k.rtvd paficopaharapujd karartiyd. tatab sarvadharmanairdtmya'f'(l bhavayitvd. dtmdna'f'(l hu'f'(lktirerta vajrajvaldnalarka'f'(l bhavayet. tasya kartthe hribkarerta padma'f'(l < ... generations ... > tena vajrajihvd bhavati, mantrajdpakfamo bhavet... ); IOa-ub for the construction of the circle of protection, with the "binding" of creatures in the directions; a vajramalabhifeka and armoring follow here, out of place according to later structures; 13ab for obeisances, twentyfold offerings and puja; 17a for emptiness mantras; 17b-18b for bodhisattva vow; 19b for the generation of the mal).4ala and the summoning of previous puja deities who are then made to enter the mal).4ala in the yogin's heart, and the two mal).4alas merge into one; self-visualization of the yogin himself as deity at the center of the mal).4ala. 45 GST ch. I2 vv. 6oc-63: vijfidya vajrabhedena tatab karmdrti sadhayetl
sevdsamadhisa'f'(lyoga'f'(l bhavayed bodhim uttamam I upasadhanasiddhyagre vajrdyatanavicdrartam I sadhane codana'f'(l prokta'f'(l mantradhipatibhavanam I mahdsadhanakalefu bimba'f'!l svamantravajrirtab I makute 'dhipati'f'(l dhyatvd sidhyate jfidnavajrirtab). Also GST ch. 18 v. 136ff. v. 136: sevdvidhana'IJ'l prathama'f'(l dvitiyam upasadhanam I sadhana'f'(l tu trtiya'f'(l vai mahtisadhana'f'(l caturthakam. Wayman (1977: 34, on ch. 12 vv. 6o-61a and pp. 156-57) translates the four "steps" as: "service" (sevd), "near-evocation" (upasadhana), "evocation" (sadhana), and "great evocation" (mahasadhana). 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 Pirtrfikramasadhana and Paficakrama respectively, and in the Jfi.anapada school of Buddhasrijfi.ana, the Caturarigasadhanasamantabhadrandmasiidhana and Muktitilakandma (Matsunaga 1978: xxi-xxii; Wayman 1977= 93-95). Of these, the Caturarigasadhana supplies the fullest elaboration of the four vajras as belonging to the generation stage (Matsunaga ibid.: xxii), while the stage of
NOTES TO PAGES 26-28
393
completion is most famously expounded in the six yogas ($atj4ngAyogAn41Nl) atttibuted to the tantric Nigarjuna (Wayman ibid: 36, 163-73); see n. 423. 47 The topia of the early chapters of the SliT (published by Tsuda, 1974) are also those of a mature sidhana such as GSSu analyzed below. Like the sadhana, the SliT deak, in sequence, with binh and the generation method (chs. 1 and 2), the completion method (ch. 3), the armoring of the psychophysical organism (ch. 4), yogic prti!Jily41Nl practices (chs. s-6), yoga, yoginis, sites, etc. (ch. 7-9=body IJW}4aia); and ritual acts (ch. 10). 48 In the HT, the sequence of the topics is: self-generation (HT1.3), selfconsecration (HT1.4), meditation on emptiness (HT1.5), ritual performance (cllryti) (HT1.6), sites and yoginis (HTI. 7-1.8), and generation of the full IIW}4aia through viiuJJhis (HT1.9). 49 GSS1 (IU79V2)-GSS2 (l4c6): iidAu liivlln m~~ntri gurubuJJ/utyor abhinnllbhllhiWIIlNutJ J.rtfhagrhitllboJhicittlll; sa,yaltprtipt4bhi!~/&l!J ...
• J.rt/ha] suJ.rtfoa
GSS2. Cf. SM218 p. 431. so GSS1 (i<.4n) and GSSs (Sed p. 1549 , K38v4): gurur buJJhD gurur Jhamw gurup 1111!'ghm ttah4i1Nl ca I gurur vajrlllihllra!J irimlin gurur nhitra ura!"'m I gurum ~ tii.S7'NlJ lnuiJhlliiNIJN144winchay4. • winchlly4] GSSr; Vllnchll]llli GSSs. The GSS produces many other citations on this vast subject. At the start of the Abhi.wn.ryttmlliijari(GSSs) the author claims: "In the [tantric] system, the yogin is one whose devotion to the Buddha and the guru is undifferentiated" (Sed p. 125, KI4v.4): ihll gurubuJJhayor abhinnllirllliJhafJ .. ·JDgi; cf. GSSr (IU79V2.): lil14u ttivan 1Nlnlri gurubuJJhAyor abhinnllbhllktimliNlSO .. .; GSS46 (1<14?V) 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 GSSto (e.g., K53r3): guru~ vintl Vlltw m4 gacchll )Dgininayam, and GSS33 (KniiJ). For scriptural sources, see e.g., SliT ch. 8 vv. 5-12, also SliT ch. 18 v. 1-v. 6ab (somewhat balanced by a description of a good pupil) within passages on consecration, e.g., S1TS ch. 6 (cited Snellgrove 1987: 218). There is a great deal of primary and secondary literature available on this topic; especially useful is the work of Sparham (1999). 51 For the SII""'JJZ as post-initiatory observance, sec the VA (SP p. 180): sllmAJD INlntrlllllntramutirtldifJ. 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 arc to be protected, e.g., Caltrasa'!'VIlratantra I.Iocd, ucd: samaytin p4/4ym niiJtU!I. Jayabhadra's Panjiltd (NAK 3-365, f. 2.on-2) on the L4ghu14'!'1N1rll states that the mantrin is "committed to the Sll'fiiNlrll, 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). p. GSS1 (KBoiJ): .. . suguptll'!' caiva ltartllVaytl'!' piijtiltdk samdhitll/J. .. .ylllli siJtihi'!' pt~r4m icchlln rlllt,~t Sllmll]tl'!' sat/ti... srivajraJDginirahasya'!' lta'!"lt
394
53
NOTES TO PAGES 29-36
ltan.uz'!' mult4n multham. Cf. GSS44 Svadhifthanllltumdritarpa!U'vidhib (Ku.8vs): ltanyipujllltrll11lll'fl ~ guruvalttraltramllgata'!' •ltramllgal41fl] em.; ltramllgatab K; GSS18 (K83r6): yasya ltasyacin na ltathaniytlm. Note injunctions to secrecy following the declaration of the efficacy of transgressive discipline in the Mahllca!'f!4ro!fl'.Jiltantra ch. 13. Sec Ratndvalip4fljilta (p. 8o): piirvasnJil'fl vinll na lulryasidJhib; SM1 (p. 1): iha ltha/u ... mahlltantr~ mantrama~k rajoma!Jt!tzk vll viJhivali4bJhtiJhilt4ro mantri tadultttJ.samayasamvarastha/1 purvasnNi'!' dlrif'!UIJ ... viiSiln. This sadhana prescribes different numbers of recitations, e.g., (p. 1): tatpra!Jiimlllambanajllpam abhyasan sahasra'!' ja~t I uztab sarvamantrll!Jii'f' laft,ajllpab ft.no bhavati... ; this constitutes the prior service that is the opening part of the sadhana (p. 2): tatab svaparabhyut/4yastiJhanangam ~'!' piirvas~llvidhim anutifthn; SM37 (p. 83): piirvasnNiJuta'fl japtrHI paiciit s4Jhanam drabhn; SM266 (p. 524): mantri abh;pkto 'nujfldt4/J /trttlpurvasnKJ vajratihara'!' si1Ahayitult4mo ... Sec also Beyer (1978: 25-27) for a description according to a
54
55
56
57
Tibetan tradition of "Contemplative Training: The Preliminary Practices," and J. Gyatso (1998: 187-88) for the way in which initiation and prior service arc put into practice by one particular Tibetan yogin, Jigme Lingpa. E.g., SM so (p. 105): h_rdindu~ bija'fl .. . uulbijaralmijaprubuddhabodhisattvlln J.Tf!VIl; purvolttabijanifJNlnnll'fl frimafijuvajra, ... cinta:pt; SM61 (p. 127): .fritiha17111Uihtituwigiivara1JI...lltmtlna1J1 nqplit/ya; GSS3 (K11V3): natsarvaJNlri!Jilm~l'mllnll'fl bhagavati'!' vajravartihi'f' ... bhava:pt; cf. GSS31; GSS9 (l<45n): purvoltuzib samastai/1 JNlri!Jilm~ vajrayogini1f1 ... bhava:pt; SM3 (p. 19): saltalasamastapari'.Jilfa-... samastam nat pari1J4mya; SM4 (p. 22): sarvam ~uzt pari'.Jilmya; SM14 (p. 39): t4l1 ~uzt saltalaparif.11Ztam iilmllnll'fl bhagavanta1f1 Jhyllyllt; etc. E.g.• GSSs (Sed p. 125, Ihodbhavam ~ nirmalam Ipa,Jtara}a'!' ralmimaya, manohararp; SM6s (p. 130): trilolti'f' aloltamayim avalolta:pt; SM66 (p. 133): mliyllmaricyutiaJtacandraltalpa'f' vibhavay~/ loltam ima'!' samagram; etc. The purificatory power of rays will emerge throughout the sadhana, for example in the vllgviiuJJhi, worship. awakenings, etc. She appears as the subject of the practice in seven different sadhanas: in the warrior stance in GSS2 (parvapujii. Kun), GSS5 (Sed p. 132, K2.or3), GSSu, GSS29, and in the reverse warrior (pratytilif!hab) stance in GSS3-GSS31 and GSS4. 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 collection of mal)4alas described by Abhayakaragupta in the Vajrllva/i (rDor 'phrmg ba). The full name of the Icons Worthwhik to s~~ (Bris sku mthong ba don
NOTES TO PAGE 36
395
!dan), comprising these three collections is Rin 'byung snar thang brgya rtsa rdor 'phreng bcas nas gsungs pa'i bris sku mthong ba don !dan (Tachikawa 1995: 7). Rin 'byung brgya rtsa or jewel Mine of Hundred [texts] is itself an abbreviation for Taranatha' s collection, the full title of which is: The Mine ofjewels, Sadhanas of the Ocean of Yidam 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 sgrubthabs rin-chen 'byung-gnas: A Collection of Sadhanas for Invoking the Various Tutelary Deities of Lamaism (Willson and Brauen 2000: 231, 233 n. r; Tachikawa op.cit.). Large as Taranatha' s work already was, the fourth Pal! chen bLa rna 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 permission. This work is called The Clear Meaning ofthe jewel Mine, an Expansion of
"The Mine ofjewels, Sadhanas of the Ocean of Yidam Deities" (Yi dam rgya mtsho 'i 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 ofthe Panchen Lama bsTan-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. Bi.ihnemann (1994: 14-15) notes that the Rin lhan has its roots in the collection of sadhanas translated as the Sadhanafataka about the turn of the twelfth century or earlier (and also, according to Chandra, in the Sadhanasdgara; op.cit.: 45-46). The fourth chter of the Rin lhan is dedicated to sadhanas ofVajravarahi (Tachikawa 1995: IO, Chandra 1986 vol.r, p. 47). Where icons from the Mongolian pantheon are used below, I have compared the relevant Sanskrit sadhana of the Guhyasamayasadhanamalawith 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 linedrawings commissioned by Lokesh Chandra (LC) on the basis of the woodblock prints, several of which are reproduced in chter 2. 58 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 ofTibetan 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.
NOTES TO PAGE
37
Brauen's discussion highlights the difficulty of nomenclature for the Mongolian icons. Lokesh Chandra (e.g., 1986, 1987) refers to them as the "Narthang Pantheon," apparently basing this on nineteenth-century scholarship 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 (20or). 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 lnga 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 ldan, translated as Icons Worthwhile to See (IWS). Willson and Brauen' s publication of the painted icons therefore appears under the title Deities o[Tibetan
Buddhism: The Zurich Paintingofthe '1cons Worthwhile to See (Bris sku mthon don ldan)." 59 As for the origins of the set published by Lokesh Chandra, he writes (2001: personal communication): "The line-drawings are based on an original xylography 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 clarify the details. The work of tracing and drawing was completed in 1960." 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 producing 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 dimensions 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. 6o 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 2oorb. The nouns mantra (masculine) and vidya (feminine) in Mantrapi~ha and Vidyapi~ha signify "sacred sound-formulas" (ibid: 669), and Sanderson comments that the progression in terminology 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-•H
397
For the chief cremation ground cults, the Picrlm4tllbrahm4J4mtd4tllntra is the authority (approximately 1,2.00 verses on the cult of Cat}Qa Kapalini and KapiliSabhairava; Sanderson 1995). The textual basis of the Trika system is the S~rimlltll and the TllntrllSillihhdva (also the Niiisll'!'c4ra and M4/inivijayott4ratllntra). The text underpinning the worship of Kali is the ]aylllirathaylmlll4t4ntra (or Tantrartijllbha.tflirilta), which teaches the lt4plliiluz cult of Bhairava, Kili, and the yoginis. These au "the main pillars of the esoteric Saiva tradition• (Sanderson 1994i: 94). 61 Vajrtlwdi (SP f. 119.5): viracaryivratllm nNJ yauvarijyavratllcary~ti vajralt4p4/iluzcary4vratllm iti colttll'!' lrisa'!'PU!'ltllntr~. Cited by Sanderson (1994i: 91, 98 n. 1) who abo describes and discusses the rite. 63 Cf. HT1.5.59; Kriytisamuccaya f. 409; HTI.5.1, HT1.5.s9. Sil'!'pu!fltantra ch. I, Skorupski I994: 121-2.2.). From the description of the VajriVIlii Guhy4bhqJuwidhi (SP p. 110.3): iigo 'bhinavayaufNl111111is1lmpann4<'!'> samayini<'!'> ~ ~'!' v4 Praiiid_<'!'> guhylibhi!~luirthd<"!> gur11~ ni'}'i~ ~jalir guru<'!'> INIJrtiSilltNlm Mihimucytz ... • tatiald~ conJ.; t4d411117MSP • "JJl'!'] em.; 'nytis SP • niry4tya SP. Cf. GSI8.u8ab: atilraJJhd'!' mllhiprijfii'!' suriiJNi'!' 61
SliJhllltapriJi1!1. 64 Milh4cll~/ll!Jiltlmtrll ch. IJ: ynuz Jmllitlll p4pmll sllttv4 gllCchtlnty lllihog11tim I tm11 tmlliva p4pm~~ yogi lighr11'!' prllSit/Jhyllti (v. s) II ... r4g"J4 hllnya" rdgo vahniJtlho 'thll Vllhninlll vq~pi vqll'!' hanydJ uJNllkillprayoglltllS II (v. 6) 'Passion is destroyed by passion. One who has b«n burned by fire [is healed] by fire. Poison also is destroyed by poison, through the application of the rccicvcd instructions." a: HT1.2..46-49 and HT1.2..51ab. 6s I am grateful to Dr. Isaacson for his help in translating this passage, attributed to lndrabhuti. GSSI (K•sovs): vimoJbhllva'!' jagat sarva'!' trailo/tyll'!' SllCilrlkllrllm I wlmlklirll/1 siU/4 yogi wim~~fHU/ab purll/J Vll1Mt I [iv1 I pUjapJ virrlllluutmll vimlltllrp41,Jilbhll/qll1,Jilm I pancllVIl'?'4Sfl1Nicirllm ~ltava'?U''!' tu lt11lpitllm I [v] I bhalt,y4bhll/qyll'!' tllthi P9"'!' gh,'!'Ji'!' llljj4'!' ell vllrjllJ~t I Sll1'VIlSII'!'itll/pllnirmulttll}_l sarvlllivllndvllvivarjitllp I si'!'h11vllli vicareJ yogi yot;inij~varlliiJ. [vi]. Lines from these verses, or variations upon them, appear also in YSCf, e.g., (v. i cd) ch. IS v. ISab, {v. iii cd) v. I3b si'!'hllvaJ vic11mi virll/1 sa1V1114paripiiraltll/1; Luyipada's HA (f. 15v6. f. 16n); SUT 9.273; cf. HTI.6.sab. For yoginijlilllsa'!'VIlram, sec YSCf ch. 9 v. 3a with commentary; Tsuda's remarks (1974: introduction: 54-60), Hcrrmann-Pfandt (1992: 395fT.). 66 For the categorization in Saivism sec Hcilijgcrs-Scclcn (I994= 12.6) citing Kubji~1118.78cd on their categorization, and ~maraja's commentary on Nnrlltllntral..IJ-14 for their malicious tendencies. 67 The term f/Uini is usually glossed from ..ff/lli "to fly," as in the YRM (Snellgrove 1959 vol. 2: 142.), which states that t/4/tini derives from the root "'to fly,,. undcmood literally as "to go in space, which is the Siddhi of moving anywhere in space. • H~jrlltantrll!ilt4 f. 49v (cited BauJJhlltantrakoill: 45): t/lli vihdyllSilfll1niiM dh4tur lltrll viltlllpitfl!1. ~ sit/Jhir t/likiniti;
VllSilntatil41t4#1t4:
NOTES TO PAGES 44-46
41 (cited ibid): tatra p,rthivy41tdl~ ~nlili t!aJtini, V4S4ntatilaktitiltd: 6o (cited
ibid.): t:Uzi vaihayasi gamlln~ buJJho dhatur praltalpi~ I sarvtiltdlacari sitldhd r.jdltiniti nigad]llt~. It is this etymology that is carried into the Tibetan term for <;iakini.ltha'gro 71lll. "one who goes in space" (a translation of another term for
68 69
70
71 72 73
Qakini in Sanskrit,kh~-cari). The word Qakini, and its rich polyvalence, is discussed elsewhere, e.g., by Herrmann-P&ndt (1992: nsff.) and J. Gyatsa (1998: 305 n. 8; cf. 246--64). Heilijgers-Scclen (1994= 126-128) reviews the diverse scholarly opinions on the matter of dating. O<;i<;liy.ina may be related to t/dltinithrough the root -ltji"to fly, to soar." Sanderson (2001: personal communication) has collated detailed citations from Buddhist, Jain, and Saiva Sanskrit sources that confirm the location of O<;!Qiy.ina (also spelled: OQiyina, OQryina, U<;i<;iiyana, U<;liy.ina. U<;iy.ina, and Udy.ina) in the northwest oflndia, as well as refc~nccs in Tibetan to O~y.ina (U rgyan or 0 rgyan), in Chinese (Wfrzhangna 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 location, for example, Snellgrove (1987: 182) and Mishra (1995: 15-16), who summarizes the debate. Some of Sanderson's findings on the processes of redaction (1994i, 1995, 2001b) have been presented above (ch. 2). For other Buddhist literature on classes and types of female spirit. see also n. 446. GSS4o (Kl24t4): tirthi/uuliyogininirliltara!Jiirtha1J'I vajra<m> . GSS24 (K89v6): namtlb srivajrayoginJili yoginicaltranliyiltayai... • nliyiltayat] em.: ndyilt~ K. For early stone sculptures of Marici from Nalanda, Bengal, Orissa, and ehcwhcre (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 maJ)Qala of Marici is found in the chapel devoted to her at Gyantsc (Ricca and Lo Buc 1993: 227, plates 50, 87, 88, 89). References and plates arc also published by von Schroeder, mostly of Marici as an attendant to Tara (1981: 489, plate 138E and 2001: 1055, plates 73A, 93C, 12.1D, 267A (reproduced here as plate 5), and 3578). Studies of Marici, or ~ferenccs to her, appear in Bhanacharyya h9851I924: 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 sidhana texts ~lating to illustrations from the nineteenth-century Mongolian icons (nos. 195-96, 267, 430, 502), and (peaceful) forms of Marid appear likewise in the line drawings ofLokesh Chandra's version of this pantheon (1961-72). A number of useful articles on Marici also contain early images, by Donaldson (1988, 1995), Mitra (1991), and Bautzc-Picron (2000), who dates the earliest images rccovererd 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 ofMarici (ibiJ.: 286-91).
NOTES TO PAGES
46-48
399
74 A small set of sidhanas in the Sdtihanamllld is devoted to the single deity Nairatmyi/Nairatma without a conson (SMn8-131; also NYA no. 6). From these, it emerges that she is bbcklbluc (lrr,!'Jl) and usually two-armed, holding chopper and bowl (with or without staft). This is the iconography ofNairarmya as conson to Hevajra (e.g., SM145; NYA no. 8). In SM15<4 (BuJJh4/uzp4/asM/hana), a set of goddesses including Nairitmyi surround Buddhakapala and his conson, all of them blue, onc-f.tced, holding chopper (right) and skull bowl {left) in llrtihllptzrymiluz pose (p. 502.: Sllrvti tkvyo nilallllrrui Jvibhujli ~luzvalttr4 llSthylibhllrll!fll/! pingtmltihvaktili mu~rllhilli INi7M /uzpdJII'!' tllllt,i~ kllrtrilt4 llwihllptl1]41iltlln,rty11Sthli/J). Some references to Nairitmyi/Nairirma, mainly as a subsidiary deity, arc given by de Mallmann (1975: 171-72.) and von Schroeder (1001: 18<4). 75 The four 4iJcinis arc: Vajra4akini (cast), Ratna4akini (south), Padma9ikini (west), and Vi5vaq.akini (nonh). E.g., SM139, SM140, SM148, NYA no. 9 (de Mallmann 1975: 131-33). These #kinis arc also attendants to Wrathful Black Virihi (Phag mo khros nag), along with KarmaQakini, Samaya4akini, Sarva4iJclni, and l..oka#kini (Wilbon and Braucn 1000: 161, with Mongolian Icons T/IWS 89-97, LC 599-6<>7). For Mahimiya as the mother of all phytJtAs see Mllhlimliylitllntrll (I.7a): phyalulNlm iyllm mlilli; and as the (female) source of creation, (1.6): s11i!li sa,.Jutrau viJfHl1!' S]'jllU Sli puna/1 puna/7. RatnikaraSanti confirms that Mahimiya is a male Hcruka form: Sll#ni hn-uktzripli mahlimtiyli. (I thank Dr. Isaacson for these references.) We sec this fint qualification referring also to Vajravirihi (SM111 p. 43-4), with material from the Mahimiyi tradition appearing in some Vajrayogini sidhanas, such as SM111-1.13, and our GSS11 (sec appendix). 76 GSS7 (K,.ors): t11n1'111U11tytiJ lltthilli Jn,; wirlihi wzjrll]Ogini. n This remark belongs to a passage in which the glances of all the attendant goddesses arc described, from the section on the visualization of the inner circuit of Heruka in the system of the S~trwzlnuiJh4sllm4JOflllj4/tinijliJillll'!'vllrll, in Anandagarbha's Vajrajvlilod4ya nlima SrihmJtllSiitJhllnopayilui (N icdcrsachsischc Staats- und Univcrsitatsbibiliothek, Gottingen, MS Xc 1<4/39, f. 17or6-186r5; ms. Xc 14/39), f. 178r: atralrihmJuuytibhyantllrllmtl~f!has tllSJ4 tllliyogino vii tllmlinn ~~~ ko!lhllk~ piirwuligbh4te fllllri g~turllwzn,ul llintMJ.'!.ti/1 SAumymnultha... }NIIdm1 pramoha Mliwzrlihamulthti pr11mohtu/mir trNikrasthli t c~tturblnl}li mllliJ4Piir1JAiulpli/llvlimalutrli tllllt,ir,utlutrt vajraspho!'lnll'!' Sll11KIIflltroJhllJtrJ4<'f'> btzndhllJilnti. (I thank Professor Sanderson for this reference.) 78 E.g., ADUT JNl!llla 56 f. 121n-5: lul~bhi!tJ~ The notion of uru~ lnwihll is widely attested elsewhere. SMn7 p. 246: ]lingrJi... Silro,a.hasilli. lit.: ..)anguli ... smiling, with anger." 79 E.g., in the SaptadaSatmakahevajra M~4ala (NYA no. 5, p. 14): athllvd clltur-
a.
blnljo JvibhujllVIlt llptlrabhujabhyli'!' sv4bhawtjr~tv4rlihisllmlilingitll ity ~~~ vi.lqA}J; also in the Navitmakahcrukacatuftaya Ma.t:~4ala (NYA No. 8 p. 21). The
400
NOTES TO PAGES 49-50
following verse in the HT also describes a six-armed form ofHcvajra embracing a different, and now little-known goddess, Vajra.Srnkhala (HT1.3.18); also in NYA no. 5· 8o Vasantatilttkdfilta p. 41 (cited Bauddhatantraltola p. 45): sarvll n~a t!Uinyo vdrahikulasa'!'bhavd~.
81
The parydnka, as we will sec (n. 138), is a seated meditation posture. In the halfparyanka (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): [Hcvajra] vamorau J4/qirwcara1Jiigra'!' Sll'!'Jthapyardhaparyanki"[Hcvajra] is in the ardhaparyanlta [pose], having placed the tip of his right foot on his left thigh." SM241 (p. 469): vilva-
padmasuryr vamapdda'!' tasyaivorau dalt!i!Jilcara!Jil'!' vinyllSJil n.rtya'!' lturvanta'!' hn-ukavira1Jl bhavayrt. "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." SM2.42 p. 490: [Heruka] siryama~'!' tanmadhyr samupavi!fha'!J ... ardhaparyanltina1J1,· SM254 p. 502.: [dcvis] artlhaparyankan.rtyasthdfJ; etc. Sanderson (2002.: personal communication) notes that Bhavabhana's commentary to the CaltrllS41f1VIlratantra glosses the root text (19.10C: akuiicitavdmapaddn tu) as: "The phrase, 'With the left foot bent' means, he should be seen dancing in the ardhaparyanlta pose." ( Caltrasa'!'varatantraviv_rti IASWR MBB-I-33, f. 76v6): dltulicitavamaplkkti. artlha-
paryanltanli!Jil'!' darla:pd ity artha/J. 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 half-paryaw as the .. dancing" pose; e.g .• GSS2 (K1.8of3/Kon): ardhaparyanltat11!U}4v4,: GSS7 (1<.4ors): ardhaparyankam dsind n,rtyamdnll; GSS32 (K106n): n,rtyllrdhaparyanki!Ji; and describing Heruka's form, e.g., KIT (p. 142.): Clltu17'fllirllSIImllkrantam ardhaparyankatd!Jf/avam. For the rasas, see e.g .• GSS34 (Kn1VI): navand!Jarasdnvitd, also of Heruka forms such as SaiJlvara, e.g., NYA (p. 2.6): navand!Jilrasardiip, cf. SUTch. IJ.2.2b. 82 The two t~xts are very similar. Cf. GSSs (Sed p. 152, K37f3); Vasantati/alui ch. 9· GSS1 (K28on)-GSS2 (1<.4v6-or): tAta/J sviUkha'!' traidh4tukavilutJJha-
ku!f1gdram ity aka/ayya jhafiti tato ndbhima!'f!ak Jvibhu}d'!' ltt~rtrilta pakuihdrif.li'!' muktaiiroruhd'fl nagnd1JI trinrtrdf!1-navayauvanall1vat~Jih!l paiicamuJrdvibhU,itdm I paiicabrahmamahamultufim artihapllryanltlltll!U}4vl1m II I somasurydgnimadhyasthd'!' javdsintlurasannibhdm I u/.ry;rUpat/hllrli1J1 tkvi'fl bhdvayrJyogavit sadd I 2 I koldsya'!' dak,if}ll'!' tasyd!J kroJhdsya'!' vdmatas tathti I Sll'!'V.rtiparamdrth~na valttradvaya'!' pragiyt~tr I 3 I guripad.dt~mllrg~ jfuitavyap kramAvistara/J I tasyd/J ltui~layanta/Jsthll'!' ct~ltra'!' sarvtirthmiJJhiJmn l4 I trigu!Jdia'!'krta'!' cihna'!' raktavaTf}ll'!' mahdtiyuti lma~llSUSIIIJ'IP"'!UD!' kuld/acakravaJ bhram~t I 5 I rdft.sasdsJa'!' samdltuiicya samujjvtilya vibhllvasum I ko/asyasanniJhau ti.'!!Vd nanayavaru bhram~J vapup 16 I mudraJINIJ4pr~ trailolryam api sddhayrt I jhafitdkdrayogdtmd yogi sidhyati Nin)illhl1l7 I
NOTES TO PAGE 50
40!
• ity akalayya] GSS1, abhivikfya GSS2 • tato--dvibhujiirrz] GSS1, vajrayoginirrz dvi(bhujarrz) dvimukharrz GSS2(del) • muktafiroruhiirrz] GSS1, muktakeSirrz GSS2 • (1c) paficabrahmao] GSS1, ******haGSS2(dam) • (1d) tii1Jrfaviirrz] GSS1; tii1Jrfavirrz GSS2 • (3b) viimatas tathii] GSS1, GSS2; viimam eva ca GSS5 • (3c) sarrzvrtiparamiirthena] GSS1, GSS2; satyadvayavifuddhya tu GSS5 • (3d) pragiyate] GSS1; udiihrtam GSS2, GSS5 • (4b) jfiiitavyab kramavistarab] em.; jfiiitavyarrz kramavistaram GSS1; jfiiitavyarrz kramavistarab GSS2 (Perhaps leave the reading as it stands in GSS1 since GSS4o glosses the lemma kramavistaram.) • (4c) kufefayiintabstharrz] GSS1; pankajamadhyastharrz GSS2 • (5b) raktavar7Jarrz] conj.; vai raktavar7Jarrz GSS1; raktavar1Ja GSS2 • (5b) mahadyutz] em.; odyutib GSS1, dyutirrz GSS2 • (5C) susarrzpiir7Jarrz] corr.; surrzsarrzpiir7Jarrz GSS1, sarrzpiir7Jarrz GSS2. (6a) riikfasiisyarrz] GSS2, riikfasiisya GSS1. (6b) vibhavasum] GSS1; prabhiisvararrz GSS2 • (6d) nandyavarte] conj.?; nandyavarta GSS1, GSS2 • (7b) apz] GSS1; kha(lu) GSS2(mg2) • (7c) jhafitiikiirayogiitmii] GSS1; jhafitiikiirayogena GSS2. 83 The Sadhanamiilii works listed for Vajravarahi by von Schroeder include a 0
0
short line of text describing the form of Vajravarahi for a rite of subjugation (SM22o p. 433: digambarii muktakefi vajraviiriihi nabhidefe kartrikapaladhari1Ji nrtyanti cintyii. vafyarrz bhavatiti. vajraviirahya vafyavidhib). This is evidently a fragment from the vafyavidhi 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 SM22o 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 coining the appellation "Vasya-Vajravarahi'' for ardhaparyanka chopper-holding forms ofVajravarahi (see many plates in publications published 1981 and 2001, with 2001: 1052). As this form ofVajravarahi 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 actually a continuation of the previous two works (SM218 and SM219), and the pose intended for this form is rather the reverse warrior stance (pratyiilirjhab) and not the ardhaparyanka at all. Ironically, von Schroeder does state that the form is in the "pratyiilirjha" 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 (seen. 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 ofVajravarahi 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 Vajravarahi. 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
85
86
87
88
89 90
NOTES TO PAGES 50-51
centuries (von Schroeder 2001: plates usA-E), and thlnecnth-ccntury Nepalese (ibid: plate 1738-E) and twdfch-thineenth-century Tibetan sculptures (ibid: plates 2.89A-C, 29sA. 94A-F; Leidy and Thwman 1998: plate 17). Slighdy later are the founeenth-fifteenth-century brasses ofVajravarahi from Central Tibet (Reedy 1997: C18o, and C189), a beautiful laughing gilt-bronze Vajravirihi from founecnth-century Tibet (Pal 1969: plate ss), the sixteenth-century silver and gold free-standing sculpture (S~d .Art ofTibtt: plate 113), the similar seventeenth-century Tibetan bronze (Rawson 1973: plate 73), the Tibetan (?) bronze of"Indrabhuti Vajra4akini" c. 1700 (S~d.ArtofTibd, p. 261), and the serenely ecstatic statues (of unknown date) in SneUgrove (1987: plate 27) and Pal (1974: plate 2.87). Sec abo many plates in von Schoeder 1981: plate 70G (twelfth century, Pala style), plate 95F (founeenth century, Nepalese), plate nsA (fifteenth-century Tibetan), and uoF (sixteenth-seventeenth-century Tibetan). According to Lokcsh Chandra, Taranatha's tide for no. 586 is t/Pylll-lUfJ rDorj~ Phllg-mo. The Tibetan text of the Chcl form (but not of lndrabhiiti's mentioned below) prescribes the visualization of the mantra within the deity's sex, as in our Sanskrit text. The history of the dPyal fmtily is given in the Blw .AnNlls (p. 395), staning with the pupil of a mid-twelfth-century Nepalese master, Pham mthlng pa, who was a pupil in the lineage ofNaropa. For the set of three deities, sec Willson and Brauen 1000: 158, with n. 1. Further references for lndrabhiiti's Vajravirihi are also given (ibid.: 259): P2153-54'Toh 1545-46 by lndrabhuti, and the first of the Six Varahi Texu (B/w Annllls pp. 39Q-97), P2259ffoh 1551, known as "the Great Two-Faced." The root mantra in the Tibetan tau is the same as the tripanite mantra of the Sanskrit sadhanas, given below. Two examples of Tibetan sculptures, namely, Sacr~tl Art ofTib~t 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 ofVajravirahi (~J Art ofTib~t. plate 93; Piotrovsky 1993, plate 12), the bronze in Rawson (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 I and 8 she stands upon a sun disk placed on top of the corpse. GSS1-GSS1 (cited above n. 81): pancabrahmamtlhamultufi'!'· In Saivism, the "five Brahmas" originate from the five faces of SadaSiva and refer to the five brahmamantras purified as Sadyojata, Vamadeva, Aghora, T atpu~a, and isana. See Kira!'flvrtti on Kira!Jillllntra 3·I7c-t8b, funher discussed in ch. 61 entitled PancabrahmaviJhi (in Goodall 1998: 2.83, n. 373) and Dyczkowski (1988: 32, citing Tantralolut 29.18-27). GSS1 (K2.8on): naV4Jiluvanaldva1JY11-: GSS34 (I
NOTES TO PAGES
52.-54
GSS1 (K8or6): eW~tmipllrva!Ji prtip~. A JHl"""' is a day of change in the lunar cycle upon which one traditionally practices brllimuzc4ry4. There are six JNUVIllldays per lunar month: new moon, eighth (halfway waxing), fourteenth, full, eighth (halfway waning), and founccnth. 91 GSS33 (Knov.s): tidillmyam llf.tllmibbutli'!' (?) sitll~ ell wi slll14 lltumliri'!' Cllilw,a <Silmpijyll>mp suruyogini/udpit4m IJNirlwlsth4'!' SfNintllr 1NUlbyllsthli1f' ~ ulthitllelllmtg4m I~ virnirmCilltrllSII1flwmJSA1f'""" I bhll/qyllir bho91
jyllii ell Jllir Jllif ell I khytlii CO!Jilis l4thil parllib I • ~m ll!!""'ibhitd1f1]? conj.; tl4imnJ41f1!!1lmibhitlbfl nlthy4!1 K • ClliU1f1] em.; clliluz K • yogin~ corr.; ]Ofini K • sth4'!'1 em.; sthll1fl K • Jilin em.; 1' K • COOAis] em.; CllU!Jilis K.
93 94
95
96 97
The rite also appears in the Sll1f'rNZroti4ylltllntrt1, pafll[a 14, where it is prescribed on the founccnth of each half-month, and in the Kriylislzm~«cll]ll (SP ff. 413·7-415·4), which refers to this scriptural source (Sanderson 1999: personal communication). Sec also Allen 1975 on the modem-day ltumllripiji in Nepal. I owe the explanation of this process and of the text to Professor Sanderson (1995: personal communication), who is responsible for tables showing the prllStllrll. Sec GSS1 (K2.80VI) • GSS1 (Kov6) (verse numbers added): lll4fJ /JilTil1fl pr111Nl/qy4mi m~~ntrot1Jh4r~tvitihi1f' JNlrim I ~'!' Tll"'JJl'fl INijrtlrllllivini/1srt"m I 8 I tihllrmodllydi vilthy4tll1fl yo#tll'!' bh~~g~~m ity qi I tlltr4ult4/ib/Ntimll 1Nl'f4n 11!/IIU ltr~tmtlllilthn I 9 I riiptlgniba!"'muNlJO r11111ihrdttu lt4m~~ n~a ell I ltr~tmtit lto!!hllsJil vinytls~ ft4114VJil up1Ukilltll.{1 I 10 I mrtlJilt~tm 4r~tbhyll hlllttlr4/qllrllSilmllntllt~ I tlll/qiT,Uiwtrtll]Ogmll Jlllholttll'!' Sll1f'VIlr4n,uzv~ I I 1 I thorrilw.m trigu!Jita'!' lturyliJ binJun4111lvibhi[itllm I... etc. • a~] conj. Sanderson; 11thli~ K • vajrlir11Uivin~] obscure~ secTexrual Note to §38. 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 prllStllrll consists of a single cell, referred to in the text by form (riifJil-). indicating "oneness." The next horizontal row is divided into three cells, referred to as fire, indicating the three fires (~tgni-). 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 aperrures of the body (ranJhrll-), the row of eleven by the eleven lords (illls), and the row of thincen by Kima, the presiding deity of the thincenth day of the lunar fonnight. The exchange of the consonant v for b shows the east Indian, Bcng2li, or Nepali provenance of the text. Just as the thirty-seven-deity IIW}4a}a ofVajravarahi is based on the sixty-twOfold Cakrasamvara m~4ala, the m~4ala of this twelve-armed form of Vajravirihi is based on the m~4ala of the six cakravanins. For the $1ltcmll1Nlrti1nfl!ll!ttlll. sec NYA (p. 79), and Kalff(1979: JC>-32) for further references. GSS7 ends with a very truncated reference to this m~4a(a, which is described slighdy more fully in the Vtir4hytlbhyw/4ylltllntrll (vv. 101-2.). Following the description of the Vajravirihi IIW}4ala, the Vtirtihyllbhyut/4ylltllntra also goes
NOTES TO PAGES
54-57
on to describe the cremation grounds in some detail and ends with a bali offering typical of the Vajravarahi Sdt/hamz (GSSu). 98 Cakrasaqtvara's iconography is described, for example, by Abhayakaragupta in the NYA (p. 26.4): bhagavdn ... savajravajragha!Jfdbhujayugmlllingitavajra-
variihiko bhujabhyd'!' Pt!!ha~ lubhrasaralrtapras,rtagajacaT'miUiharas ta44p.rt~ir tjamaruparalukartritrifULini bibhrad vamair vajranltitakha.tvangarahapuritaluzpa/4'!' vajraptiia'!' brahmlliiraJ ca ... ; cf. ADUT ch. 9 (p. 156). 99 The Ardhandriivara/Gauriivara icon is well attested within Saivism, but androgynous deities of this kind appear within the Buddhist tantras also. Sanderson
100
101
(1996: personal communication) notes that, apan from this instance in the GSS/ADUT/ Varahyabhudayatantra, he has encountered this type in the {Yatha!Abdha-)Khasamatantra, as transmitted in a manuscript of the Khasam4. Ratnikamanti's commentary upon it. 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 (GSS7l<4or6): pr~tap.rf!k 'rdhaparyanka viluz!Otlt4fllbhi!fl!Jiib I bhairaVIl/1 ka/4rtitri1 ca tkvya pddatak k,rtau. Cf. Varahyabhyutlayatantra v. 58. The corpses are dearly 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 Cakrasarpvara (table s). The parallel in ADUT/ Vdrahyabhyud4yatantra (vv. 45-54, from ADUT JNI!Ill4 12.3-12.44b, plus prose/ pafll/4 9) is very similar in content, though its phraseology varies and the lines of various verses appear in different orders. GSS7 (1<4ors): dvaJaiabhujd caturvaktra trin~trd ca m~UiAnotkll!li I ardluzparyanlutm dsind n.rtyamdnd sufobhand I digvasa muktalufa ca. ardhanariJvarimukhi I sitaraltud,riariipd I t . . . t I viivavajrankacandranlta ltaptllamultutotlta.t4 I vajraghar'flikaravyagrd kama/Avartavartini I IAiat~ jvti/amudra tu naracarmapafottari II karai/1 kapa!Akhatvdngapliid'!fku/alt,rpi!'Zka'!' dtu/hati kartriltd'fl brahmamu!Jt}am anyaif f caturmukham. nilapitaharitiUiivya'!' f da'!'!.trd/dsya tathtiru!Jd I !ll!Jmudramudrit4 tkvi kha~ma?UJitawultha/4 I kryiiraniipurabhya'!' ca yathasthana'!' vibhii!itd I 1414!~ vajramti/4sytlb I ... • sitarakuJ.riariipd] VarahyabhyuJAyatantra v. 49 (Tib); sitarahaJhaririipd'!' K; sitaraktmihaririipa ADUT. • candrankal em.; candranlut K • mzracarmapafottan1 Vardhyabhyudayatantra (AD UT=Tib.); mzracarmapatordhvadhari K • vibhU,ital em.; ca vibhii!ita K. Cf. VdrahyabhyuJayatantra (vv. 49-51): sitarakud,riariipa kapa/amakutotka,ui I vajragha!',tllkaravyagra kamallivartavartini I 49 I laid!~ jwiiAmudra tu mzracarmapafottari I lutpa/41tha/'Nlngadhar4 ptiiankuladhara para I so I tjamaru'!' kartri mu!'tfa'!' ca I cllturvalttra'!' ca brahmakam I nilapitaharitadivyavaktropalobhitti I 51 I ... I have altered the prescriptions in the texts to allot the correct attribute to each direction. Surely incorrectly. the injunctions in the VarahyabhyuJtt.yatantra
NOTES TO PAGES 60-61
and AbhitDNlnotuzra (absent in GSS7) state that the double vajras ring the cakra in the south, and wheels in the north. Sanderson's (2.001a: 2.2.-2.3) edition of the former reads (v. 69): btihytive!!J" uztal caltra'!' I vajravali tu purvata/J I c;z/mivalylis tu unaw I palt:im~ viivavajravalya I paJmava/ya tu J.Jt,i!'~ I maJhyt vajravali sulobhanli I (v. 70) lto!"'bhag~su SllfW!U viivavajrtln samalilt~t I ~ 7Je!.~J Jhiman I prnavalya savilwtya. (I do not reproduce Sanderson's apparatw here, as it contains no variants significant to this problem.) 102. This chapter of the AbhiJhanotuzratllntra also prescribes an optional six-faced, twelve-armed form, with a hog's (wlrliha-) face on top (Sanderson 1996: personal communication). 103 (I do not generally attempt to emend the very faulty meter.) GSS6 (K39r5): athlinya'!' <Sil1fl >prava/qytlmi vdrahyaf! S1111hanott41Nlm I utpattiltramstyognuz
10~
lltmllbhava'!' vibhavayn I JINiJ4Jarltanibha'!' dtha,. sintltira/qoJma,nibham I banJhultajavapralthya'!' c11, trimulthli'!' !"'!bhu}a'!' t11tha I sarvtila1f1ltarasa1f1pi'!"l'!' sattvaparya1iltmusthit4m llta.pd/4md/4multu!4'!' ltdavicchuritli<'!' > lubhlim I vajragha!J!4J41Nlpannlim upayaJharapitjilllm I b41Jilgti!'f!iwuiharti'fl luz'!"lpuriuzlqobhitllm 1/t;zpaLzlthatvlingaJhartim ll'flltultiltaT!'l'.f'lJNlrtim I ralttapabuuya mMlhyastha, sarvaltamapratl4yiltam I ... • Jhartim ll1flltui4ltJJT!'l'.f'l1 em.; Jharam'!' altuiilta'1"!'4'!' K. The mal}
NOTE TO PAGE 61
Endnote fig. i.
"Sahaja rro~rsrd" (Go bslog /Han slry~s) Mongolian woodblock print (IWS/T 88, LC 598).
The Tibetan go bzlog ("reversed") translates the Sanskrit viparita as in viparitasurata- (also known as puTUfiiyitam), 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: miyalu niiyilui puTUfavad iicarrd iti puTUfliyita'f!l). in that she lies on top of him (Kiimasutra 2.8.1-3): niiyaltasya sa,tatiibhyiisiit pariiramam upalabhya riigasya ciinu-
paiamam anumatii una tam adho 'vapiitya puTUfiiyittna siihiiyya'!' dadyiit (I) sviibhipriiyiid vii viltalpayojaniirthini (I) niiyaltalturuha/iid vii): "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 puTUfiiyita [position]. Alternatively, [she may do this] because she desires to unite differendy by her own wish, or because the male lover is curious." Another example in Tibetan art of a yum yab 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 lllamo in union with Dorje Bernagchen. This union of deities is known as ma-mgon zhal-sbyor meaning 'Mother Protector Face to Face,' and originates from a vision of the second Karma-pa, Karma Pakshi. Here the fourarmed form of Palden Utamo/Sri Mata Devi (Rang- 'byung gya/ mo) sits facing outwards on her blue 'iron mule,' whilst the dwarf form of Mahakala as Bernag-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 O'f!l frivajraviiriihi iiJ; va'!' hu'!' hu'!' phaf sviihii • hu'!' hu'!'] ADUT B147r2; hu'!' hu'!' hu'!' GSS l<.4on. The syllables of attraction (see ch. 3) appear only in GSS6 and depend upon the following conjectural insertions (l<.4or2): O'!'
frivajrajviilottamr Jab hu'!' hu'!' phaf. o'!' frivajriim.rtottam~ hu'!' hu'!' phaf. o'!' frizJajrakrodhottamt < va'!'?> hu'!' hu'!' phaf. O'!' frivajrada'!'!!rottamr
NOTES TO PAGES 63-66
hob hii'!' hii'!' pha!. The mantras for the gate goddesses as given in the AD liT follow the standard form for the mantras of all the other retinue goddesses, O'!' lriwzjraphyottllrN hu'!' 2 pha! SVIihli. etc. 1o6 GSS16 (K7SV4):trayot/411itmilllighor41Hljrawlrihi111iyi}t4. • wzjrllVIlrihtl K 1Ntri causll. For the connection this sadhana bears to the annoring proccsscs, sec the appendix. 107 GSS16 (K77VJ): bhagavllli'!' wzjravdrihi'!' Sllrwzilz/qa?J~U•'!'Piif!lll<'!'> vidn~t. J4t!imalnuu7N1Satirfim ~ltliNlNi'!' trinmli'!' multtt~lte/4'!' !fll!bhu}ii'!' Jigllmbarli'!' /tr!otillrli'!' lthll~1Nl!'f!ittuMitha/4'!' paflcabruJJhamun,tini'!' s4rtiramu'.Y!amal4/a,,t.rt41f1 !4!Jmutb4mrulrit41f1 haraiipura t ghupura t sa1Nll4'!'/rrt4'!' sarwuit/Jhiprllli4yiltli'!' JnlipytzmliNZvat/4vtlnllwll4,rli'!' tkvi'!' vibh41Nl]tt. SllVJilbhuj~ vllfrli1f1/nJ4parlliutlharli1f1 Vli1Nlbhuje ltapi/4p41•ltha,twingatlharii'!' 4~ piiJ4/mlntll/trtlllllmbhuctlm"!ff!!i'!' t bhll]ll t vihvllili<'!'> ltapii/4milini<'!'> Sllrv~r~~bhii,illlm. bhaga1Hlty4 hrdi rlllttllpadmopari raltt~~eandrll1Nl~'!' tlltiupari rutllmukulitllvajra, Vll'!'ltiirll~ cintllniJil<'!'> tllS)Il rtzlminirg~ blib]ttbijii/qllrlin aVflbhtisya tvllSVIlriipn,lll parinifpllnNin tkviga!'ll~" p4iyn. • Jiujimll] em.; Jrlilji1Nl K • sirt/r~t] em.; s4Jra K • hlir~~niipura] em.; haranopur• K • uuJ.rli'!'] em.; s.J,rili'!' K • Jtrtaiambhucllmu~] em.; Jtrtli'!'· iambhul ctlmu!'f!4'!' K • mukulitt~] em.; multulitt~'!' K • Sll,coJitlin] em.; lll'!'cotlilll'!' K • llvabhlisya] corr.; lliNlbh/lgll K • ~] K (I do not emend to neuter). 108 In the AbhitJJulnottllr~ttllntra. pa!fl/a s6. the main form ofVajravarahi differs in
that it is self-visualized with five faces and twelve arms and wears only five mudris (Sanderson 1997: personal communication). ADUT (f. 22Iri-s): ni/4pitllrutllh4ritll-iirtiJnNuitlbulnli; (f. 2210-5): /tap4laltha!JNingllfii/Uartri/ta-
tjllmaru1Jiljrllgha!JftiJH114n/nJabrllhmllfirll/t}'llrlllfltll1jllniJharli Nlr«ll17NIJNl!tJrelhvalt~~rii... • firll/1] corr. Sanderson, firll codd. 109 GSS16 (K7sv4): mantrii/qaravinqpanna'!' ~'!' mll!'t/lllottllmam • nifJHlnnll'!'] corr.; nqpannli'!' K. no GSS16 (K78r3): ... pinllStllnorrlJUgll/4 tliVJilriipii mlln0ram4 !tiflciJvilt,rttiNlNl luztl1/q~lt,•!"""iical4 • pinllStllnOrrlJUgllLiJ conj.; pinlltllnll-uruyuga/4K. III GSS16 (K78v4): nagnli sthiilllpadm4 7Nllitzvihva/4. 112 The first practice in the AbhiSilwutyam~~nj•ri (GSSs Sed p. 149\ K34C4) is that found in GSS15 and GSS18; the second (GSSs Sed p. 14911 , K34v5) bears similarities to the white two-armed Vajravarahi in GSS38 (Arya.iult/4wzjrtnNlrllhiwihanll). In the Tibetan canon (references in the appendix), this is the second of the Six Tnas ofVajrllVIlrihi. The S.rwlrtluuiJJhis4t./Juuuz appears in the Rin 'byung brg]ll rtSil, with a translation of the self-visualization portion in Willson and Braucn (2000: 259 "Accomplishing Virihi"). The Tibetan teXt shows some minor variations, but gives the identical root mantra: D'!' wzjraviirlihi aveillya SllrtJtUIU!fll'!' (for lll1111Ul.qflin) hr;!1 wlihii. 113 ch. 7, v. ub (p. so): trimulthli'!' !"'!bhufti'!' ghorul'!' vlljrllhllStllm sunililllim. 114 ch. 7, V. 9 (p. si): 0'!' Vlljr~tgho!f~ sugho!Je fNljrllmlimalti bhllrll 2 Sllmbharll 2
NOTES TO PAGES 66-67
traidhiitukamahiimadyam iikarfaya jab. Ratniivalipafijikii in KYr ch. 17 (p. 126): mulagho1Jdvadanii. II5 GSS5 (Sed p. 149 8 , K34r6): iti frivajragho1Jiikramab; GSS5 (Sed p. 149 15 , K34v4): anena prathamato balirrz dattvii vajragho1Jiisiidhanam idam anuftheyam. n6 GSS15 (K74v3): tato balidiinapurvakarrz vajraviiriihirrz bhiivayet. tatra svaniibhimadhye raktatrikopicakrarrz vibhiivya. tanmadhye raktavartuladalakamalakar1Jikiiyiirrz faviirkama1Jr/alopari kalpiignisarrznibhii raktahribk_rtirrz pafyet. tad anu tadbijapari1Jdmajiirrz vajraviiriihirrz sinduriirii1JaVar1Jii padmapretiirkama1Jrjale, iili¢hiisanena sthitii < m >. urdhvakacaromariijikiirrz paficakapiiliilarrzk.rtalald.tiirrz mu1J¢amiiliivibhiifitagiitriirrz paficamudriikrtafobhiim ekavadaniirrz trinetriirrz bhriikupikoliinaniirrz vajravajrapralambhiirrz lalajjihviirrz niviisasiirrz caturbhujiirrz, dakfi1Je vajravajriirrzkufadhariirrz, viime kapiilakhafViirigatarjjanipiifahastiirrz kharvalambodarirrz sarvaduftadubsahahasitakrodhariipiim, ittharrzbhutiirrz bhiivayet. • bhrukutz] em.; bhrkupi K • ittharrzbhutiirrz] em.; ittharrzbhutarrz K. Cf. GSS5 (Sed p. 149 7 , K34r6): koliisyiirrz,· GSS18 (K83n): urdhvapirigalakefiirrz (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 (K83r3): lalajjihviirrz; GSS35 (Kn8v6): lalitakrodhamukhiirrz. II7 The same stance is illustrated in the other fully hog-headed illustration in the pantheon, "Vajravarahi in the Tradition of the Briihma1Ja Sridhara" (Bram ze dpal 'dzin lugs kyi rdo rje phag 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 Varl).ani on her left and a yellow Vairocani on her right, as in our Trikiiyavajrayogini sadhanas, with the mantras: orrz krodhabuddhatjdkiniye hiirrz phat
sviihii, orrz vajravar1J1Janiye hurrz phat sviihii, orrz vajravairocaniye hurrz phat sviihii. Willson and Brauen (ibid.: n. 1) supply the further references for Sridhara: P2297/Toh 1586: Krodhaviiriihivajrayoginisiidhana, and P4825/Toh 1990
Srivajraviiriihisiidhana-niima.
Endnote fig. ii. Vajraviiriihi in
the tradition ofthe Briihma1Ja Sridhara (Bram ze dpal 'dzin lugs kyi rdo rje phag mo) Mongolian woodblock print (IWS/T 86, LC 596)
NOTES TO PAGES
68-69
118 01JI vajravarahi av~iaya sarvadUf!lin hri1JI sviiha • hri1J1] GSSs (Sed p. 149'\ K34r6-v), GSS18 (K83r3); hrib GSS15 (K7sr3). This seems to have been a crucial manua, as it is the only one prescribed for the japa in GSS1~ (K75r3) and actually appears before the heart mantra in GSS18 (K83q). 119 E.g., GSSs (Sed p. 149", K34v2): mahamd1Jilacii.rtlma dhupa'!l dadyat:. GSS~ (Sed p. 149 1\ K34v2): sarvamdrapraiamaniirtha'!l niia balib pafzcopacdr~!Ul
datavyal;. 120 GSSs (Sed p. 149 1\ K34v3-4): tnuz vajra_yoginyo 'dhifi!fhanti; cf. GSS18 (K83r6). GSS15 puts this same statement in the singular (K74r6): tato 'dhitif,thati vajra-
yogini niinyatha. 121 GSSs (&d p. 149 16, K34v5): adhika'!l hi praiasyata iti. kvacid iya'!l hrdraktapad~.
a,karajasiiryasthasitahribkarddhif!hitdruiJilpafzcaiultavajrapariiJiltd sitalohittimbhojasthasuryasuptdjfztinapuTUfopari, alitjhapadasthitti siiryasthahribkarddhiffhitasiiryasthavajrahrdaya, viivapadmasuryasthiik!obhyabhif~ltaja. apara'!l sarva'!l purvavat. • sitalohitdmbhoja] conj.; sitd/ohittimbha K; Cf. Sed p. 149. Vajravarahi also appears in the ~obhya family in the long sadhana by Kumiracandra, while Vairocana (the usual seal for Vajravarahi in our texts) presides over Vajracarcika (Ratntivalipanjilta in KYf p. 127). Another white form ofVajravarahi is described in the sadhana as the consort to a manifestation of ~1,1ayamari called Dv~yamariNajrasattva (ibid: p. 12.4). She is like her consort, namely, white with three faces and six arms. The Rin 'byung brgya rna text for the two dancing forms ofVajravarahi also states that she has ~obhya on her crown (Willson and Brauen 2000: 257-58, 259). 123 GSS38 (K122r5): namab irivajrayoginyai. praiJilmya vajravdrdhi'!l satsukhiz122
dharah~tukdm I kriyau rucira'!l rasyab sa'!'k!ipta'!' raudrasddhanam I a,Jtdra<ja>siiryasthasitahriblttiraraimijlilAnirmitaca!'tJiilthytiditricaltratkvibhi< r> vajravdrahyadilta'!' sa1J1piijya svabhavaiuddh~ty adhimucya iunyatdtiibhat,andpural;sara1JI raktapadmopari a'!lltiirajasury~ sitahribkarajapafzcaiultavajr~'f}a nifpannii1J1 vajravdrahi'!' iukla'!l raktatrin~trd1J1 da1J1!trdkaralavaktrd'!l multtak~id1J1 vajrdvalidvayarna.dhyikrtakapalamaladhard'!l pafzcamudramudritd'!J dalt!iiJilkarasthitavajrd'!l vam~ lthatvdnga'!l dharayantim dlitjhapadasthd'!J nagnii1JI tkvdsuramanUfYabhayaddm anantaraimin sphdrayanti1J1 suryasthahribltdradhif!hitahrdaJd'!' vajravardhim dtmdna1JI bhdvay~t. • iulta] em.; suka K • iuklli'!'] em.; iukla K • da1J1!.trdltardla] em.; da1J1!trdda1JI!trdkard'!Jia K. GSS38 (Kluvs): praca~ibhir atmdna<'!J> sa'!Jpiijyamrrasvdda'!l/t.rtva....
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 maJ)Qala 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 ma1,1qala circle-and skulls (p. 427w: vajrapadmacakrakapdlamdldvabadJhatriiilthala'!lJrrtaiirobhib}. In the visualization ofVajravarahi that follows, she is described as having her triple topknot bound up with a garland of skulls between rwo rows of black vajras, i.e., probably pointing to her place in the vajra family of A~obhya, her presiding buddha (p. 428": krHUlrJajra-
410
NOTES TO PAGES 70-73
valiJVIl~/trulttzp4/4m41dwtbaJJhatriiiltha'!'). Expertise in the ways of tying up matted braids would no doubt shed light on the matter! 12.4 GSSs (Sed: p. 150~, K3sn)=SM218 (p. 429): t4J anu svandbhau vilwz-
pat:lm4Stharu1}4iubhrasiryama'.'f!4k sitahril_,lttira'!' ti.'1!VIi tllnrNZntramtiltim a/qasUtrllltllrli'!' sitli'!' caltrabhra1Nl!'4}0gmA wuianaviva"!"l nilctirya buJJhaP!f4Kil!Jil1Nl!firNZntra~icantlrat11rlilipiilistrafta/4Jiprabhavam tit/4ytl ndbhiviwtrt pravilanti'!' svapart!'l'!' sarv4jfitlnaJ4handtmilui'!' dhytiydt. GSSs (cont.): tirutdJiJIJ!"rahitll<'f'> 1Nlntra'!' japn. mantra/~ hri/.1. yatiotthatulttimo bhAvati < tlldii> t11 <'!' > 1Nlntra1'Ni/4'!' ndbhisthahril_,luirt 'nt4rbh4VJ4 pujlklilta'!' ftrtv4 yath4sulth4'!' vihartt. • svandbhau] SM218, Nibhau GSSs • dru!Jillubhra] GSSs; 4ru!Jil SM(ed.) • (si14)hri/.1] K(mg2); hri/.1 Kac • m4ntriZ11Uillim] corr; m4ntr4md/4m K • Nibhivivart] K; ntibhivivart{!Jil) K(del) (Sed. p. 150 gives the mantra as hri'!' hri'f', reporting two mss. with this reading and four, including the Tibetan, reading hri/.1.) (cf. GSS38 K.I22v6) 125 GSS19 (K83v4): nm4'!' sabhriibhAngabh.rltufini'!' da'fllpiiltara/4va4Anll'!' 14/aj-
jihva, multtllltm'!' pil4iav4riif!ha'!' navayauwtnli'!' htlrartidhaharaltinlti!fighur-L.-IiTatJaih• ,S4flmwlm - flli1N lthtztwbi,.ALAAAJA.JLA.,..;_ ~UMI< , ~ ~-'M'f' tiAhiM , • VltJ'ra.ltJutrilttim bhimariiJHi'!' lmallln41itzu bhavayttiyogi mah4Jtrpa!J. GSSs (Sed p. 151, K36r1): urtihvajwtlit4raltt41telli'!'; (K36r4): ltvaciJ iJa'!' raltt4hu,.luiraj4tli multt4ltunt4lalta/4pa J.rlyau /wade chavarahit4... GSS42 (K126r3-4 v. 8): wimt /ttzpti/4/thafWlngt tialt!i!ft urtridh4ri!fi I liinyatllltaru!fllv4hi nam4S tt vajrllJOtini I 8 I • Jalt,i!ft'] K; dtft,i!ft C • tih4ri!ft] C.; tih4rit~i K • wiht] K; wlhinaltartrir jag1110 tiul_,lthachNitlni; cf. HTI.8.wab: tllth4 1'Nin4Ji.rat/Jo!4n lttzrtitu'!' lttzrtrlui sthitti, KYf thirteenth paf4/4, v. 1 (p. 83): athdta/J sarvasllttvasya Jdvantll/1 p4paluzrmalt4b I tlln vai ft4r4Jitu'!' urtri ltoial_,lti&Jdi chtdantit. GSS19 (K84f.3): pUjl14ilttz'!' lttzrt~~vyam. GSSs (Sed p. 151, K36r4): vik_satvnlli.f!amy4dau nili lmalllnt tl414vya/.1 {bali/.1); GSS19 (K84t2): ll!.14mJd'!' tiaiamy4'!' caturtiAiy4'!' wi,· SM236 (p. 459): "!.14"'J4'!' paiicamJii'!' caturtiAiy4'!',· *GSS28 (K.Io1n): 4f.tllmJ4'!' paiicatialya, caturtl41y4,.. Tantrasllra, Ahnilta 13, KSTS cd. (p. 151): Sllrfft!U naimittiltqu ialtinity4tiilabd4n na v~Ukt. Professor Sanderson (1998: personal communication) supplied this reference and the following: Tantr4/olttz 15.552.ab: ltiitinivlkau'!' iabtJtur. na /uu/4 cit samuccartt; cf. SiJJhayogdvarimat4 6. sud (A=ASB 5465 [G] f. ru6-VI; B=NAK 5-2.403, NGMPP A 203/6): tjdlti(lti A: gi B)niti na vafttAIIJil'f' pramlkl4n mantri~-m-api; TantrllSIIIibh4VIl (A=NAK 5-445, NGMPP A 44/2 f. 56VI; B=NAK 1.363, NGMPP A 44/1, f. 103v3-4): 14(14 8 : s4 A)ltiniti na vafti4VJ4'!' tihappllli'f' varawt~ini I chi!'t/d('.'t/4 A : nna B)li<'!'> ca mahaJn,i sth4ri<'f'> naiva-m-ucca (cca 8: tsaA)rtt. The mantra offerings in GSS19 arc (K83v2): O'!f vajrayogini vajrapU!plt'!' praticcha svdhll. purwuiak. O'f' tjdltiniyt hi'!' tr4'!' vajrap"!J'4'!' praticchA svdh4. tiA/t.si~k. O'!f 14m~ hi'!' Ia'!' vajraPU!P"'!' praticchA sv4h4. paicimada/e. O'!' ltha?UJaroht hu'!' ltha'!' VlljrapU!P"'!' praticcha sv4h4. utt4rtU/4k. O'!' riipi!Ji hu'!' 0
0
126
0
127
n.8
12.9
NOTES TO PAGES 73-75
4II
riirrz vajrapufparrz praticcha svdhd. • vajrapUfparrz] em.; vajrapufpe K • riirrz] em.; rurrz K. For similar sets of offering mantras, seen. 213. 130 There is a variant to the usual root mantra: GSS19 (K83v6-84r) and SM236 omit orrz before the second and third datives and give the final hiirrz with the long vowel: orrz sarvabuddharjdkiniye vajravarrzaniye vajravairocaniye hiirrz hurrz hiirrz phat phat phat svdhd. The heart mantra is either (in GSS5 Sed p. 151, K36r2, SM236) orrz vajrarjdkiniye hrirrz hiirrz phat svdhd or (in GSSI9 K84ri=SM236) orrz sarvasiddhirrz prayaccha hri hiirrz phat svahd. The auxiliary heart mantra is
orrz vajrayoginiye hiirrz phat svdhd. 131 The bali mantra is either (GSS19 K84r2) orrz vajrarjdkiniye hiirrz hiirrz imarrz balirrz grhrza 2 hab 2 Jab 2 ab 2 hiirrz phat mama siddhirrz prayaccha svdhd, or (GSS5 Sed p. 151, K36r2, SM236) orrz vajrarjdkiniye imarrz balirrz grihrza grihrza
ha ha ha ha kha kha kha kha a a a a mama siddhirrz prayaccha hiirrz phat svdhd. In GSS28 (Kioui) only the latter part is preserved: ... kha kha kha kha a a a a
mama siddhirrz prayaccha prayaccha hiirrz phat svdhd. 132 GSS35 (KI19v5): caturndtjisvabhavacaturdalakamalopari. For the three channels, see ch. 3· Isaacson (1999: personal communication) states that a fourth channel containing feces is mentioned in the Cakrasarrzvaratantra and in the Vasantatilakd (p. 79). 133 GSS35 (Kn8vi): tatab fukla-akdrdd hetuvajradharasvabhavdt prthivyddica-
turmahabhiitasvabhdvarrz yarrzrarrzvarrzlarrzkdraparirzatarrz catiiratnamayarrz saptaparvatasaptafitakalpavrkfadvadafadvipaparitarrz sumerurrz bhavayet. tanmadhye haritahiirrzkdraparirzatapaficdngasvabhdva < rrz > vifvavajrarrz tanmadhye rakta-ekdraparirzata lohitavarrzarrz farirasvariipam iirdhvadharmodayarrz trikorze vajrankitarrz jvaldmaldsahitanavadvdrasvabhavdftadalapadmarrz t padmoparistharrz tadantaf t caturndt;fisvabhdvacaturdalakamalopari carzrftirrzfumarzt;fale avadhiitisvabhavafubhrakartriparirzatdrrz vajrayogini < rrz > kirrzfukafydmasarrznibharrz sphutavarapitalohitdrrz fot/afabdarrz sukumdranavayauvandrrz lalitakrodhamukharrz paficamudrdmudritdrrz paficdfannarafirohdradhardm alitjhacararzdkrdntacatubklefavifuddhabrahmendraharihardrrz vairocanamukufinirrz prathamadakfirzavdmakaratalakalitavajragharztd< m > updyalinganabhinaydrrz punar dakfirzakare kartri vdmakarakalitordhvanabhastalavilasatkapdlaviniviftadrftirrz vdmdngakha.tvdngasarrzgatdrrz < bhdvayet>. • saptafita] em.; saptafitd K (cf. ADK ch. 5 v. 51) • lohitavarrzarrz] em.; lohitavarrzd K • padmarrz padmoparistharrz] conj.(?); padma sadmoparistharrz K • kirrzfukafydma] em.; kirrzfukafydmd(rrz) K(pc) • cararzd] em.; cardrzd K • vairocana] em.; verocana K • talakalita] conj.; talakali K. 134 Varjayoginydrddhanavidhi by Sabara GSS23 (K88v1): bahyasitabhyantararaktapiiritapadmabhajanadhrtavdmakarerzoddhrtasvavdmapadalingandbhinaydrrz padmabhajanastharaktadhardm anavaratarrz pibantirrz ... dhydtvd • bahya] em. bahye K • bhajanadhrta] K (understand bhajanadhara) • oddhrta] corr.; odhrta K • alingand] em; alingitand K. 135 The brief reference in the Abhisamayamafijari to the iirdhvapdda pose of Vajravarahi likewise states its provenance in 044iyana, (GSS5 Sed p. 148,
NOTES TO PAGES
412
76-78
K33v6-34r): otft.Jiyanavinirgatllkram~ punar iyam iirdhvapdlld bhavati. Here it is presented as an alternative form of the main (warrior-stance) Vajravirihi visualization for those who want a "medium-length" practice (K33v5): 111Mihyarucis tu ... 136 GSS17 (K8u6) (-GSS45 KI39v3): bhag~tvati1JI tkvi'!' vajrllJOgini'!' iult/4'!'
ugrakira!Jdm iirdhvapiidmthitd1J1 14krabrahmanlintdm aJha/JpliJnul bhairt~va kiilartitri1JI dvibhujam tkdnanti1JI multtlllttli'!' 111lgM'!' nirlibhart~!fll'!' pinonNllllpayodharli1J1 raktllvartulacalatpraca~111lJtZnti1JI bhriibhang~tbhrltufi<'!'> da<1JI>!.trlikllrtilavadanti1JI vdmt kha.twingakllro.uuiharti'!' u/qi!ft vlljraltllrtridhardm atibhimariipd'!' bhdvayn. • k4illrdtri'!'] coer.; ltd/drdtri'!' • pinonnata] pinonatll K • vajralt4rtriJhard1J1] GS~s; vajr11unrim GSS17 • iakrabrahmtikrantd'!'] GSS17 K; 14(kra)brahmli!'#Jmlnfli'!' GSS4s{mg) (the variant reading in GSS45 states that the goddess stands upon Sakra and .. Brahma's ~.. (iakrabrahma!"f4krdntd1JI). indicating her subjection of the entire cosmos. The related Tibetan sadhana in the Rin 'byung brgJA rtSil describes her stance as follows: "Her right leg, outstretched to the seven underworlds, tramples on Bhairava and K.alaratri. Her raised left leg, stretching to the realm ofBrahma, tramples Brahma and Sakra into the worlds above" (W"allson and Brauen 2000: 260). 137 GSS17 (K83v4): 01JI vajrayogini hri~ ru ru ru kh~ lth~ ltha<~> phn,z phn,l
pht1J1 "'!' "'!' tt'!' mszma sititlhi'!' prayaccha bali'!' g/11)11 hii'!' phil! svtihd. GS~s (KI4on): O'!' vajrayogini ima'!' bali'!' grh1)112 ru 2ltha2 phnp phn,l a 11 wutm4 sUidhim prayaccha hii'!' phaf svtihli. The mdltimantra (o1JI hii'!' va'!' jll/1) is also given in GSS45 (KI40n). 138 Willson and Brauen (2000: 26o-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 Vajrayoginis and other enlightened deities. It also includes a visualization ofVajrapoif)i in Heruka aspect overcoming demons and throwing them into a vajra well produced from hii,., "stabbing them with the dagger and reducing them to dust with the vajra" (with the mantra 0'!' hri gha gha ghtilllya ghatllya hii'!' phaf). The mantras, however, arc very similar to those of the Sanskrit text. They include the root mantra (o'!' s~trvabuJJhtt t/Jkiniyt vajravar1Jtlniyt vajravairoc11niyt hu'!' hii'!' hii'!' phfl! svtiha), the auxilary mantra (o'!' vajratfdkini hri hii'!' pha! svlihli), the heart mantra (o'!' vajrat/dkini hri hii'!' pha! svdhii), and a seed mantra (o'!' Vtl'!' hii1J1). In common with many of the Tibetan sadhanas, the eight-pan mantra is also prescribed (p. 179). 139 GSS36 (KI2ov4): prathama'!' tdvat sdl/haleo vlljrayogi1fJdl! prlltiJtrti'!' k4rll]d.
yathd tllthii yma ttntikdu1JtZ raktlltriko!fadvayasampu/111'lllllibyt iuki4VIlrtulabhairavacarmop11ri upavif.td'!' lriirm4plltll114Nrll~ pit4vii'!l'i'!' 111lgnti'!' muktaiikhii'!' dvinayanli'!' ltanrltarparadhllrtlm ll.t/11/!llhtlstl'!' kamotka.tllbh;,a!fti'!' sddhaka'!' niri/qayanti'!' bhdvay~t. • s44htzlto] em.; SlliJh4Juz K • tmdkdreya] em.; kma tnuikdreya K • paJm~ conj.; JNUimll'!' K • bhair11va-
padm~. tllnmadhy~
NOTES TO PAGES 78-79
canno] D88r6; bhairacanno Kr2ov5, N85r5 • karparadhardm] conj.; karparam K. For the yogin in this stance, seen. 142 below. It is worth noting that there was an adept called Kurmapada, who was associated with the Vajravarahi tradition through his lineal descent from Ghal).~apada (Blue Annals pp. 754, 803). Ghal).~iipada was one of the main transmitters of the Cakrasarp.vara tradition (n. 356), although whether he had any connection with this practice I do not know. 140 GSS36 (K:r2ov6-12rr): .. . divydm.rtam iva yogidravyarrt 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 Vajravarahi texts, see ch. 3; cf. ADUT ch. 14 (p. 326) and GSS3r (K:ro4rr). 142 GSS36 (K:r2rr3): tato !alate jvaliimudrdrrt vdmdvartena bhrdmayet. pherrtkdram
uccdrayet kunnapatanapiidordhvadrflyd, anena yoginyakar!a!lam. tatra pathet Or[l aralli ho~ ja~ hiirrt varrt ho~ vajrarjdkinya~ samayas tvarrt d[!ya ho~. vajrdfijalya iirdhvavikacayd balirrt dadydt. Or[l kha kha khahi khahi ... (for mantra, see GSSrr §39).
• jvaliimudrdrrt] em.; jaliimudrdrrt K (cf. n. 504); • pherrtkdram] corr.; pherrtkara(nd)dam K(del) • kunnapatanapada iirdhvadntya] em.Sanderson; kunnapatanapadordhvadr.s.tyd K • tatra] Kpc; tata~ Kac. 143 GSS36 (K:r21vr, N85v5, D88v6): satatarrt vajrayoginyalirigitam dtmdnarrt pafyet. svapatnim iva kalpayet. tato 'cire!laiva kalena vajrayoginyadhifthdnarrt bhavati. siddha sati vdfichitarrt piirayati ndtra sarrtfaya~. • vajrayoginyalirigitam dtmdnarrt] D, vajrayoginyalirigitam ****narrt K(dam.); vajrayoginyalirigi**m dtmdnarrt N(dam/del?). 144 Willson and Brauen 2000: 261. The Tibetan sadhana is a self-visualization in which Vajrayogini is described in typical kapalika 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 Vajravarahi mantra, although one closer to her thirteen-syllabled mantra than the ten-syllabled mantra of GSS36: Or[l vajra-
vairocaniye hiirrt phat svdhd. 145 Three GSS works prescribe the self-visualization of the Vidyadhari goddess (GSS21, GSS22, and GSS23), and there is also a reference to one of her rites in the Abhisamayamafijari (GSS5 Sed p. 153, K38rr-38r6). Other GSS texts also describe her mountainous abode (GSSro, 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 Vidyadharis is from Kalidasa's Kumdrasambhava I.7. 146 GSS21 (K85r6): tadbijapari!latdr[l raktam urdhvapadordhvadr!tirrt kapdlamalii-
veffitakardrrt pUfpamdliipiifasavydgrdr[l dakfi!le vajrahastdr[l sarvabhara!lavini < r>muktdrrt vidyadharikramayuktdr[l sphuratsarrthdravigrahdr(l, mdndiiraviifokapdri-
NOTES TO PAGES 79-80
jataltodbhiita'!' rllt1Uikii!4'!' (mg2) praviillntim titmllna'!' bhlivayn. • sarvtibharll!"'] em.; sarvtlvarll!"' K • sarry4grli'!'] conj. (or: saVJilgrtl'!'); S4VJilgTii'!' K • viJylitihan1 em. vi,Jyu,ir K (d. GSS22 K86n vU/y4Jharilmlmllbhiivan4) • mdwravli] corr.; 1NiwravaK • 0 odbhii141J1] em.; 0 oJbhiilli'!' K. GSS22 (K861J): j~Ja#ti miiliivitlytU/hllrivajwzyoginim wJyiiN1J ~ grha'!' praviianti'!' sphurlltsa1J1hdravigraham iitmllna1JI bhiwtyn. • utl]llflliiiJ corr.; uJydNit. codd. 147 The mantra appears twice in GSS22, first as the principle jllptl mantra (K86r. s): bhiivaNit lthinno mantrll'!' j~t. with the mantra itself given as an addition in the lower margin inK, but incorporated into the text of N62r7 and D65r6 (K86rs): D1JI vajravllirocan~ D'!' vajraVfli!Uln~ hu'!' 3 phil! 2 sviihi. It appears again as a mii/4mantra with the name clements once again altered from the standard version (K86v6): D1JI vajravaJ!Ulniyt O'!' vajravairocaniyt D1JI sarvabuJJhat!liltin~ hii'!' pha! pha! swlhii.
148 Willson and Brauen (2000: pp. 258-59) give the Sanskrit equivalent as Mllitrilt/Ncari VU/ytJtihllri-lte/i. The text of the Rin 'byung brgya rtsa is similar to our Sanskrit sources in its description ofVajrayogini as naked and bearing a garland (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 kn«, 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 h«l. The right leg is not quite extended, as if flying. Holding in her left hand a garland of Nlga tree flowers, she stands naked and without ornaments .... " However, the Tibetan sadhana reveals a far more wrathful deity, with frown and bared f.angs, who is aligned not with Vajrayogini, but with Vajravidhi ("I appear in the form of Lady Vajravarahi Vidyadhari-kcli") and crowned with Alqobhya. The usual tripartite mantra is given (ibiJ.: 213): D'!' D1JI D'!' sarva~ltiniyt, va}rtiVIl'!f4"~· vajravairocaniyt, hii'!' hum hii'!' plut! plut! phil! mlh4.
149 GSS22 K8sr6 (N63r4-s, D6sv2): cll1Jii t4SJ11!11titthyate Slltihaki1Ni'!' hilllrthliya.
canelragrahe siiryagrahe wi datpa!"'tak lti'f'dt sinJiirll'!' <JNlta]itwl> SUVIl'!flllali1Jtayti bhllfi1rilt4'!' /ilthya paficopaci1rt1}1Ibhipiijya tasya (?) sintlura'!' grhitvi1 tlimrabhli!'f!e sth4payet. liingaliyti gaccham utpad)'l sVIlSthline piitayet. evil'!' fll!fm4sdni pratyahll'!' piij~. mah4mutiriiphala, dat/4hi me. pratyaha'!' 141Jipiijya vantlayn. evil'!' !ll!Jnuislini Sll'f'PU'!fll'!' ftrtva yoginin41J1 ptliicopacllrabhojana'!' Jt.nva pra!"'mJii}Nl'!' prayaccha iti prarthayet. liingali]li miUihye sindura'!' bham. ltitpi/4'!' grhitva unmattacaryayil caret. 111 ltoruJitrti<1JI> sintliirll1JI 14/ate /trtvii bhram~t. !ll!Jmdsiini liinyagehabhagna/tiiJHUilmipe bahubhi<~> slri<'!'?> va1NiVIlrtmll prtu/Aiqi1}1Im 4rabhet. un1flllltllCaryayti cartt. !ll!Jmtisma paiicanantaryaltdri ya!J so 'pi sitihyati. • candragrahe] N, D; canJragrhe K • ki'!'d~ conj.; d Kac; (ltli'!')d K(mg); wi jalatak D; N omit. • pitayitvli] conj. (sec GSSs K38n) • 14ry4] codd. Possible conjectural emendation to tasmtit (?) • caryayd) conj. (or ca1J111JI); cary4y4 K, ciiryiiyii'!' N63r4, caryii D6SVI • samipe] corr.; sam~(pe) K(mg2). • unmatlllca1Jil)'4] conj. (or unmattacllryii'!'); unmattacaryii codd.
NOTES TO PAGES
ISO
151
80-83
GSSs K38n (Sed p. 153, N2.4V3, D27V2): 11pi cilylln14nirm.'1.tllli4TJNI l4k ~ siNiur111fl JHitiiJitv4 tlltrll tihllnn~mwir41f1 lilthitvli lto!JqU bahyqu tkvibijll'fl vi/ilthyll 1NII1hye 1'N111trtl1fl ell JhllrmoUyibihyqu clltu/tp4rlvqu wlmll1N11'tn14 nllnti]'lVII11i'!' Jilthitvli PU!Piliibhi/J sll1flpii}JII J11th4i41tti m4ntrll1f1 pmijllPJII siNiurll<1fl> t4IJ ~lttnr11 b~ sth4P"Jd. nlll1fl !""1Nisll1fl ytlVIlt lturyllt. 11110 ilingllliya vqllnlllilui1NIIlhye lilt si~r111f1 pr11/qipy4 im~Wln~ nilthllnJII b4/ipiijll'fl Cll viJJHlyll mllntrtl'fl jllpn Jtlthiftmtwm. nN11f1 pr~l~Jtlhit'!' 1Nls4m ~Jut'!' ltury4t. tilt sinJii"!'4 nllnJyilVIlrt4/trti'!' tilllfuutl viJJHlyll bhi/q4rth4'fl f!"lm41f' pr11viln. Jlllrll t~tttillllut'fl Sll'flltrlintll'fl J.riyllu tli'fl <Stri'fl > Jlltnniiirillh•J iti. nNl'f' 1111111iyiVIlrtmll ~IIJNUiiJIIVIIjrllyoginyiriJhllnllviJhi/J. • nirm.'!!4] em.; nirrflidll K • Jnibijll'fl] N, D, tkbijlutl K • stri'fl] Sed, codd. omit • siJJh11} em.; siJJhi K. According to one Tibetan tradition at least, the bliss swirls (1JII1lliylivllrfll!J) arc pink, spin counterclockwise, and arc in the corners to the ld't and right, leaving the front and back corners blank (fharchin 1997: 159; K. Gyatso 1999: u8). SUT C4ry4nirtl&zfJII!Idtt (ch. 21, v. 1}-I..pb, ed. Tsuda:): athllwl Vlltuili'!' nlimll Cll'Jil1fl ltllrtu1f1 sulthotlllhllb I IISilhll]/lfl paryiZ{m nil]llm ~ltilti ~ltaminllSII/1 I utibhrintllJNttriVIlli bhra~J unmllttllvrlllllm tllrilll/t. The text then lists a series
of soliwy sites in which he may dwell, such as a cremation ground, by a soliwy tree, in various types of desencd dwelling, at a crossroads, ere. I am grateful to Professor Sanderson for showing me this passage. 152 GSS1o (J49V1, v. 78): ~lutbijllSilmuJbhiil41fl prlljfwJNlJilmaJII'!' j11gat I Sll1VIlnliri""'Jfl Jni sarvoJNiJttmllJIIb prllbhuft. • samuJhhiit41f1] corr.; Sllmutibhiiuitll'fl K; Cf. C.~!fllliUitrll (p. 18 line 1.14) {bhllglliNin]: mtbfr nil jtlnllnti yt miil}hli!l Sll11HlJ1Umvapup sthi141f1; (line 1.20) {bhapVIlli}: mtl1fl nil jlinllnti y4
nli']tl/1 SII1'1111StriJehllsa1f'Sthit41f1.
1414/t IJinyatlbfl sarvatiharmllnirillzmbllriipli'fl vicintya jhagiti piirvoltt41Nl1UJbh41igiiCittaviJrlimllJNlrvlltii1NIIlhye g~tgllnlllilthit41f1 citriiVIllillnli<'fl>. /Utiriip41f1 sirtlrasusnigJhariipli'!' rllltt41J117!11i'fl trinnrd'fl J~ilui'f' sllhajinllnt/4riipli1f1 nllgnli1fl multt4ltdim qaJdhllSilnti1f1 romlliicllltlliicultilll1f1
153 GSS23 (K88r6):
b4h]asitllb~ritllpMJmAb~~VIlm4pd
J4liligtlNlbhiuJ41fl plllimAbhijll1uzsthllrlllttlllihlirlim ll1IIIVIl1'llll pibllnti1fl tiryaprtihvi/trtMJ4/qi~JNtristha44/qi1J11Iut"!fll ralttiiJNtncaliiltavajraJhdri!fi'!' viluuitllrulfllltnarllltusumlibhara!fll<'!' > sllmul/4silllpllJmabh4janllgatiiiJ.'1!i'!' ~mi...
• pirvolttll] Kpc(add2) • omit, Kac; gap11111i1thitlbfl] em.; li(lthit4'f') Kpc(add2); g~tg~tnlllilll K •ialttiriipll'fl] em.; illlttiriip41fi?Kpc(add2); sut4riip4Kac • susnigtlhttruJNI'!'] conj.; susnigtihll K • bih]ll] em.;~ K • bh4janlllih,rtll K (understand 0 t/ha1'11) • ~oJJh,rlll] em.; lut"!foJh.rta K • p4Jiilingarul] corr.; p4J4/i1igit4nli K • palicaliilt4] corr.; paliciiSiilut K • /tnm-a) corr.; ltnara K. IS~ The mantra here has only one tJ1f1 and a curious or. GSS23 0<89v~): O'fl sarvabuJJhatj4kin~ vajTIIVIlT'JII"~ mjrtlVIliroc~tmye hu'f' hu'f' hu, phil! phil! phil! ca swlh4. ISS GSS23 (K87V2): tllto jh4giti lltimanoh4rllTilmll!fiylllllravidtrllSIIraf,Tpravilwil4nllgaltdllroJy4Mvibhiifit11palicavan.uzjilthar~~m~~nobh41igadttaviir4map4rvllta-
416
NOTES TO PAGES
83-84
~ vak,syamd1}11van:uzbhujtidibhU,itadnya~ sahasa saJqadJarianam abhvt.
• vibhU,ita] em.; vibhU,ita'!' K • mAnobhanga] mAMbhaganga K. (The adjectives atimanohara and rama!'iyatara may be taken to qualify the colored pools only.) 156 The defiled mind (klif.tamanAS) is the seventh category in the Yogacara's analysis of mind, by vinue of which one dings to the storehouse consciousness (alayafJ) as the self. 157 GSS23(K89r3): pratyii!asandhyaytim aru!JOda~ ndnlivicitraratnllvibhU,illlptzTVIltadvayopari padadvaya'!' Jh.rtvti prasdritabhujlllivayi'!l purvoltlll/tJqa!'Jl'!l Mvi'!l atiraktava'?Ui'!'· .. smihakas tu ... vidntya ... iti ekvyti baliviJhi~. The other references in the Ariidhanavitlhi (GSS2.3) either repeat the ambiguity, as in the bhavandvidhi, GSS23 (K88r6): jhagiti (mf,2.) manobhangacittaviirdmaparvata~, or refer only to the mountain peaks. as in the rite of subordination (vafyavidhip). The vaiyavit/hi requires the practitioner to visualize the goddess above the towns and villages (which he wishes to subdue} 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 ~ turned into semen-nectar and then into a red liquid, which he imagines himself inhaling and exhaling through his nostrils: GSS2.3 (K88v6): lllto
nagaragrdrnJt/indm upary aka/~ piirvolttaparvatopari bhagavatim liiAmbya tativdmapddaf!l skhalitvd parvatafiltharasprf!amdtrn:uz boelhidttlim.rtibhulll-... iti vaiyavidhifl. 158 •sUJdha-Amndya (p. u): dAk!i!Jdpatht manobhangacittaviirdmau parvalllu. 159 GSS16 (K75V2): P.rthiryli'!' sdrasambhiitt mAnobhangt mahit/Jum I tannin !tu~ mahdcittaikacittaviirdmama!'t/aPt I tantrt lalqabhiJhdnt hi nlithnw ltAthitll svayam I trayodaiatmikd ghord vajravdrahinliyikti I mantrlilt!aravinqpanna'!' ma'.'f/aJA'!' ma~ttama'!' Iyathdnujfid maya labdha tathaiva lt4th4ytlmy aham. • trayodailitmikti ghorti vajravlirtihintiyiltli] em.; trayodAilitmikll'!l gbora, vajravdrahindyiltam K (vajravlirahi, m~tri causa) • vinqpanna'!'] em.; vinqpannd'!' K • tathaiva] conj.; vai K. 160 The passages prescribing the visualization of the goddess are given in fuJI in n. 146. GSS21 (K8sr6-v2; N6u; D64r): ... mtind4ravliioltapllrijataltotJJJhulll'!' ratn4kiifll'!' (mgl.) praviianti'!'. • mand4rawi) corr.; mdnJilriva K • odbhiitaf!1] em.; otibhiitd'!' K. GSS22 (K86ry; N62v; D64v): jhafiti mdllivUiyiidharivajrayoginim wiyanlill a,fairngopttaratnagrha'!' praviianti,. ... dtmlina'!' bhava~t. • uJyanliJj co".; utlytindt. codd. GSS22 seems problcmalic, since it describes the goddess "entering from a glade imo a jewel hur with eight peaks." 161 The ten goddesses include rhc four mothers (Locana, Mamaki, PtU]<;lara, and 0
0
Tara) and six others who are unnamed (GSS2.6 K92.v6=GSS2.7 K94VI): 1111mo
buddhadharmasa'!'ghtbhyafl. namo gurubudJhaboJhisanwbhya!l. namo l«an4didaiavajravillisinibhyaf1. namo yamlintllktidi daialtrodhavirtbhya/1 SJZprajMbhyafJ. These are probably the six goddesses of the sense organs, agents of consecration in rhe Htvajratllntra (HT1.4): Rupavajri, Sabdavajri, Gandhavajri, Rasavajri, Spa..Savajra, and Dharmadhatuvajri (sec Sndlgrove 1959: 59·
NOTES TO PAGES 85-87
n. 4). The four mothers are also referred to as vilasinis (possibly in an adjectival sense) in the KYT ch. 16 v. 6cd (p. no): niiniirupavilasinya~ sarviibharatlabhu~itii~, in which they appear as essentially kiipiilika goddesses in the intermediate corners of the outer mal)4ala of the "great Heruka," Yamantaka (ibid: vv. 7-9). 162 GSS43 v. 2cd (KI27r3): vajraviiriihi nariihisuriitliirrzl tvarrz faratlarrz tava niimapariitliirrz. Cf. the opening obeisance in the Abhisamayamaiijari, cited p. u3, in which Vajravilasini is also named as a form ofVajravarahi. 163 GSS43 v. 13cd (KI28rr): sarrzvaramadhupavicumbimukhiibje I tadbhujayugaparirambhihrdabje • rambhz] Kpc; rasthi Kac. 164 For the attributes, see v. 4 (KI27r4), for the pearl ornaments, vv. 12-13 (KI2?V(mg)-I
165 GSS43 v. 3ab (KI27r4): harikarifikhiphatlitaskarabhiti~ I tvatparacitte naiva sameti. The eight great dangers (attamahiibhayiinilbhayiiftakam) traditionally include those mentioned here, plus other calamities such as drowning at sea, imprisonment by kings, sea monsters, demons, and plagues, etc., e.g., Tattvajiiiinasarrzsiddhifikii (p. 26): harikarifikhiphatlitataskaranigatjamahii'tlavapibhayafamani I fafikiratlakiintihiiritli bhagavati tiire namas tubhyam. (I thank Professor Sanderson for supplying this text.) 166 See GSS43 v. 13 (KI2?V6-n8rr), and v. 15a (KI28n): patimaulisthitavidhum amr~anti.
167 Apart from the title and salutation, the Guhyavajraviliisinisiidhana (GSSw) once calls the deity "Guhyavajravilasini" (K46v1), on one ocassion "Srivajravilasini" (K45v2), but most commonly-because of the restraints of metersimply "Vilasini" (K45v6, K48q): tiim eviigre sthitiirrz vidyiirrz dhyiiyiid vajravilasinirrz; (K48V2; K94r6): vilasini namo 'stu te; (K50v3): ... viliisini bhiiveyed iitmavigraham; also K51v4; K51v5. 168 GSS10 (K45v3): na frutarrz pafhitarrz kiiicic chabaretliidriciiritlii llokaniithiidhipatyena vade 'yarrz kiyad ak~aram. • (v. 3a) pathitarrz] conj.; na pathitarrz K. 169 GSSw (K45v4): sarvaratnamaye ramye gandhamrgasugandhini I manobharige (?) padarrz dattvii cittavifriimaparvate I (4) tatpradefe mahiiramye sugandhikusumiifraye llasatsundaramiikande mandrakujitakokile I (s) raktiifokaghanodyiine mamiifokiif amitithau I gurutlii karutliihvena defiteyarrz vilasini I (6). • (4c) manobharige] conj. Sanderson; manobharigarrz K. • (sc) lasatsundaramiikande] conj. Sanderson; lasatkandaramiikanda K (kandara must be a corruption for some word that either qualifies the mango trees [makanda-} or that is another type of tree). Given the descriptive nature of the terms manobhariga and cittavifriima, it is worth considering the text without the emendation of the accusative manobharigarrz dattvii to the locative manobharige dattvii. An unemended reading of the manuscript (manobharigarrz padarrz dattvii cittavifriimaparvate) reads,
NOTES TO PAGES 87-89
"having placed [his] foot that destroys the [defiled] mind on the Mountain Cittavisrama .... "This is reminiscent of the adjectival interpretation considered above for the compound manobhangacittavifriimaparvata in GSS23 ("the mountain[s] 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 Karul).a, who is the logical subject in the following verse (guru1Jii karu1Jiihvena defiteyarrz viliisini). Thus it would be the guru's foot that would "destroy the [defiled] mind." 170 The afoka 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 afokiiftamivratam is so called, according to the paurii1Jika sources that advocate it, because one observing it is to drink/eat eight afoka blossoms after first offering a piija to Rudra with such blossoms on the eighth of the bright fortnight of Caitra and because by doing so one will become afokab, i.e., free of grief. The source is a passage in the Hemadri ( Caturvargacintiima1Ji vol. 2 part I, pp. 862-63 Kashi; Sanskrit Fi.irer 235), which cites the Lingapurii1Ja and the Kiirmapurii1Ja. The latter prescribes worship of Rudra: caitramiisi sitiiftam-
yiirrz budhaviire punarvasau I afokakusumai rudram arcayitvii vidhiinatab I afokasyiiftakalikii mantreJJoktena bhakfayet I fokarrz naiviipnuyiin martyo riipaviin api jiiyate. The former prescribes worship of the tree itself: afokakalikiipiinam afokatarupiijanam I fukliiftamyiirrz tu caitrasya k_rtvii priipnoti nirv.rtim. " 171 Siddha-Amniiya* (p. n.I8): paramadine manobhangacittavifriimau priipyete. 172 Siddha-Amniiya* (p. n.22): dafame divase griviirrz cheturrz iirabdhab. tatkfa1Jiit siikfiiddarfanarrz bhavati sekarrz dadiiti. Advayavajraniimiibhiit. 173 Sahara twice states that he has been taught the sadhana by his teacher, Karul).a (GSSw l<45r/v and K53r). Lokanatha is hailed in the opening vasantatilakii verse (l<4.5v1): .. . frilokaniithacaraJJarrz faraJJarrz vrajiimi. He is also the power through which the illiterate Sahara is able to communicate the sadhana (v. 3c l<45v4), lokaniithiidhipatyena, which the colophon states had been taught by Lokanatha in the Mahiiyoginijiilatantra: (K53v): mahiiyoginijiilatantre frimal-
lokaniithapiidenedarrz defitarrz yoginisarvasvarrz niima guhyavajraviliisinisiidhanam samiiptam. • niima] corr., niimab K. Cf. GSS23 (K87n): frimacchabarariipadhiiri1Jii.. . lokefvare1Ja bhagavatoddifta utpattikramasiidhanab. 174 GSSw vv. 46-53 (l<47V6 ff.). Here she is likened in color to a bandhiika flower (a common simile for her red luster), "flashing like red gold, pale" (gauri-; usually white, but it can also mean yellowish, reddish, or pale red); although earlier in the sadhana, she is described as "arrayed in yellow/having yellow rays" (v. 46l<47V6): etatpari1Jatiirrz devirrz bandhiikakusumaprabhiim I raktahemajjvaliirrz gaurirrz nijaliiva1Jyabhiifitiim. Cf. (l<4. 5v2): pitiirrzfukii. 175 GSSw (l<47V6 ff.): padmanartadhvajocchriiyasamiiropitapankajiim I utkutiisanan_rtyasthiirrz katiikfasmitabhanguriim I (49) ... ullasadbhidurasparfaib kfaratkamalavibhramiim I (51). 176 This is a squatting pose with the feet twelve finger-breadths apart (VA bhiiparigrahavidhib ms. A f. nv; SP f. I6r-v): vitastyantaritarrz piidadvayam iisane nyasya
NOTES TO PAGES 89-91
utn,alw tif!htJ ity ~"""'!'- When GSS10 prescribes this pose for the yogin's coruon in the preparations, it adds that '"her sex is clearly revealed., (v. }2.b l<..t71J-4): vyUtllJHIIimotltiJ!IlsaNl'f'. 177 GSSIO (v. 58d 148VI): lti'f'CiJUttaNlillyiNZ~ GSSIO (v. }OCd-}la l<..t7r2.): Wlljanghtb, ltilidJ llltuficya u/qi'."i'f' tu prllSilr~ I tllJOr ~ glllll'f' viJ}'i'f'. Cf. GSS10 (vv. 58-59 ~VI). 178 GSS1o (v. 59Cd K..t8V2.): suvyahaguhyaiNlj"'Jil NZrtllyllntll'f' vi/4sinim. 179 GSS1o (vv. 18-19 l<..t6v1): parvalliJiph~ SUft:tntihilru.nl~ I bhavaniyd saltantma guhytzwzjrllviwini I fi11J1lwlm~~ni sVIll:chantl4m wi}'inr vijllnr INIM I pujaniyd saJa Jn,; siJhaniyd yathaviJhi. 180 GSS1o (v. 77 l<..t9VI): llnyon)ll1Nlntla1Ul'f' lturyit 11llllihurllqarabha,a!'4i~ .... 181 GSS10 (vv. 12.3-2.7 K5IV6). The male himself makes the mal}cJala upon his penis and fondles it (without emitting semen) while reciting the mantra. The female makes the mal}4a)a upon her own sex, then puts her thumb and forefinger together as a "good pair.· .. She should perform the mantra recitation, meditation, and so on using this [substitute] penis in her sex." GSS1o (K52.r1): updy4m~lalulblulw vitiy4pi stNibjam~~f.U!ak I purvaVIlli m~~!'f!illa'!' ftrtvi nityapujllviJhi'!' earn I tllrjany4ngu/ijyq/hdbhy4,. ~lti/trtya suyugmllltam I tlllivajr4bjaniyogma j4paJhylillliliilut'!' ca"t. 181 E.g., Ni1J4!Df/alilt4'?f41Nl (ch. 1 vv. 13
(1981: 74-75), and Biihnemann 2.oooa: (154-57). 183 The arrow syllables extracted from a m~~ntrod4h4ra by Jayaratha arc drtl1f'o dri'f', ltli,., blu,., sa~ (VIim~Jvarimatllvivara!'ll on 4.61, quoting the Nityliltau/a; emending nitylllulloltlll/1 to nity41tauloltlll/1). Cf. Sivinanda on the same (l§uvim4r/4ni on N~ilti1'?'41N14.62.): Jra,, Jri,., kli,., biM,., s~. Another set that may have influenced the form of the Buddhist mantra arc the three bij• of Bali Tripurasundari (Vamaki 1.83c-86): ai,., ltli'f'. sau/J. (There is also another similar set of eight bijll5, ibitl: 1.64-78.) I am grateful to Profc.uor Sanderson for these references. 184 Kamcivara is described in K411UIItalllvi/4sa 37 cited Khanna (1986), Renfrew Brooks (1992.: 64). GSSto (I48V3, v. 62.): itynNl'flbhUtllm litmllna'f' bha~t surllkiwzrllm I mahlisultham iva VJilltlll'fl JHUI~rll'fl pr11bhum. GSSto ends with a reference to the god oflovc, Kimadcva (whose banner is the mythical sea monster or makawz/1), promising that [practitioners of this sidhana] '"fervendy clasping their lover enjoy the maltara bannercd [i.e., ui1UII1 glkjham 4/inp bhuj11nti mllkllrlllihvlljam. 185 Synonyms for Siva Napuija include Nll,tydvara, Nafdtl, and in an cast Bengali inscription, Narmvara; sec the study of Na{adja by Sivaramamurti (1974). Further research is needed to establish the origins of Padmanandvara and the sources behind the GSS sidhana here. Sanderson (1997: personal communication) notes that the LoltdiNirlllta/pa is concerned with Padmanathal Padmanandvara, and that a possible root text for this is the S~~r~N~bwi4ha sa1111iyog~Uj4/tinisa1f11N17'11t11111ra. In this proto yoginiWltra, Padmanandvara is lord of one of six families headed respcctivdy by Vajrasattva, Vairocana,
NOTES TO PAGES 91-92
Heruka, Padmanarte5vara, Vajrasiirya, and Paramasva (Tanaka 1993, citing Sanderson). Tanaka's introduction to the Chinese version of the Loltdvaraltalpa (the Yi-qu-fo sht-xiang-ying dtl-jiao wang-jing shmg-p4n-zi-ZIIi pu-sa nun-song yi-gui) suggests that the cult of Padmanartdvara subsided with the rise of the Heruka family, bequeathing the tradition little else than a few shon sadhanas. (The Padmanartdvara sadhanas in the SM each present different iconographical forms of the god with his conson, P~daravisini; the nearest to PadmananeSva.ra of the GSS text is SM30 Pad11UlnartdvaraloltanathasaJhana.) However, Padmanartdvara's fame evidendy continued beyond this, since he is still imponant in the I;Jaltinivajrapanjaratantra (Isaacson 1999: personal communication). In the Cakrasarpvara tradition, Padmanartdvara appears as an attendant deity on the southwest spoke of the lulyacaltra in the Cakrasarpvara maJ]<Jala in union with Mahabala (see table 23). He remains there when this maJ]4ala is taken over by Mahavarahamukhi in the f:J4/wrutvat4ntra, a thirty-seven-deity maJ]<Jala of a form ofVajravarahi with thirty-six animal faces (the central one of which is a boar), seventy-two arms, and eighteen legs (Ngor maJ]4alas plate 82, listings p. 146). Padmanartdvara is also one of the armor gods (table 25). I am informed that the cult ofPadmanarteSva.ra/Avalokitdvara is central to the 1flll!JirimJu festival, Thangbochi Monastery, Nepal (Manin Boord 1999: personal communication). 186 GSS1o (J<4sv6): vafytilta'!"!'JlSfllmbhanamllra!Joccll.tanani calaiijana,. gu.r/iltll-
siJJhi'!' tathtlny4ni bahiini ca I (8) lmtlhllmuJrllJHlll41fl 14bdhv4 vtlcti Sll1fl}lkitli may41 vitlhina bha~t yas tvll1f1 t4m14i Jtisyasi tatphal4m I (9) • gw!iJulsitJJhi'f'] em.: gw!iltasitJJhis. 187 GSS10 (v. 142cd K53rl): 1nllhdmutb4padariil!ha/J siJJho bhavati sliJhaltaJ_, • padariitJha/1] em.; pllliAriitfoa/1 K; GSS26 (K94£6): gajnuJra iva mMihupair naribhir Wf!ito bhramn • maJhupaili conj. Sanderson; madhurair K. 188 GSS1o (Kson-2, v. 88ab): r4g4mbhoJhija/47fl taTtu'f' sunauluyam upasthitli. 189 GSS1o (Knr6 v. 149): yathli mahaJI!Illlha'fl ltiiicit susvaJa,. vytitlhipiUtltam I prajiiopayasultha1f1 taJvat ht/4yti ltki4Nllaltam. 190 GSS10 (J<46v6-47r, v. 27): pradipa1f1 jvtl/4yn Ultra prabhiltarasamaprabham I yathi pralullau vilva1fl pratyanga'!' CJZ vilqata/1. 191 GSS1o (J<49vs. v. 8~b): nalthaltpzta'f' na tl4t11VJ111!1 paicattlipllni,.,.. Wounding with nails and teeth for enhancing sexual pleasure is a topos of the Kdmasutra. 192 GSS1o (J<46vs, v. 25cd): tlivanmlilra'f' tu ltartavya<'f'> na mano vihvaia'f' yathll. 193 GSS1o (K48vs, vv. 6s-66): tadanu cintayn tii'!'4m abhipiicanti ma, puna/1 I tllthagatli loltaJNII4!1Iti7f1711Zrorag~ I (65) rambhli tilottamti caiva niNipsllroga!'invifli/11 PU!Padhiipadibhir vdtiyair nanan.rtyamahots~tvai/1 I (66) • vi1Jy4ili corr.; wu/yair K. Nihom (1995) has discussed the appearance ofTilottama in other Buddhist tantras, e.g., as one of eight apsariiJ'f!S in the (kriyatantra) BhutiUjllmaratantra, and in panicular, in the Htr~~~jratantra. In the latter, she is to be attracted as foremost of ap14r11Sf!S beginning with Rambha (HT2.9.21c-d: ka"!4)d Sllliya
NOTES TO PAGE 92
421
rambhiidiniirrz tilottamiirrz), and on another occasion, as the agent of consecration (HT2.5.42cd: abhifekarrz vajragarbhasya diiturrz k,r,syarrz tilottamarrz). 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 differs 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 concretely gave the third, the prajfiajfiana consecration." 194 GSSw (Kson, v. 87): nifciilaniin mukharrz bodher aticiilaniic cafzcalarrz manab I helayii khelayed devirrz sahajiisaktacetasab. • nifciilaniin] conj. Sanderson; nifcaliinnamukharrz K. Cf. GSS43 (K128r5 v. 17cd): pratyangasparfo 'py animittab I sahajiimbudhivipliivitacittab, "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 iinandas, particularly in relation to the meaning of sahaja. The iinandas are related to the "four consecrations" (caturabhijekas) of the Hevajra system as follows, although some traditions invert the final two blisses (HTr.r.24 and HT2.3.5-9): Endnote table i. Four consecrations in the Hevajratantra consecrations (abhijekas)
blisses (iinanadas)
acarya guhya prajfiajfiana caturtha
ananda paramananda viramananda/ sahajasahajananda/ virama-
vi citra vipaka vimarda vil~al).a
196 GSSw (Kson-2): manthiiniindolanarrz kiiryarrz devadevyob svamudrayii I sahajiinandarrz tu boddhavyarrz vilakfa!lakfa!loditam I (90) I vajre!la kjobhayed devirrz bodhicittarrz na cots,rjet I utsnte bodhicitte tu kutas tatra mahiisukham I (91) I manthayet kamaliimbhodhirrz sahajiim,rtakiirrzkfayii I vairiigyakiilakutarrz ca nottif{hati yathii tathii I (92). 197 "Churning" and "swinging" {manthiiniindolanam) seem to refer to the movements oflovemaking. "Churning" {manthiinam)would be the sexual action of the male; cf. Ca!l~mahiirofa!latantra line 4.48. (p. 24): tato manthiinayogena purve svetiicalarrz s,rjet; "swinging" (iindolam) would refer to the female action, cf. GSSw v. 98ab (K5or2): kuryiid iindolaniihliidam kirrzcid iikufzcya pankajam, and GSSro v. ro8ab (K51r2): dafadhandolanarrz devi dadyiid iihliidacetasii. This may refer to a movement of the hips, as iindolita is classified as a "slow and oblique movement of the hips" in Nii,tyafiistra (Miinasolliisa cited by M. Bose 1970: 74).
422
NOTES TO PAGES 93-94
198 GSS26 (K9416): but1tJhe virdgdv4SilTO ntlsty atra lti'!' bllhunai. Cf. Ca'Y/amahdrolaruztantra (6.182-83, pp. 3o-31): anurtigllt prdpylla pu!IJA'!' virtlgdJ agham dpyaa I na virtigdt para'!' papa'!' na P"!'Jil'!' sulthata/1 param. 199 The preliminaries to the sidhana 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 (KsOV3 v. zoo): sphuratsa,hdrayogma bhdv~J dtmllvigraham I gantiharvllllllgardltdra'!' m.rgfliTP.Jilmbucllnclliam. 2.00 GSS1o (l<49v v. 83): cumbana'!' tu prrullltrH1]4'!' yatrtz J'U!PIIib supiijitam I mastaltdJi paJaparyanta'!' viiAty llliga<'!'> t Sllmllngatau t I Cf. M~haJiita (v. 99): angnulngll'!' pratanu ttmunli. .. vilati. 2.01 GSS1o (l<48v4 vv. 63-64). Other instances arc at GSSto I<47VI-6 vv. 39-45 (visuali2.ation of the Jharmoeillyd), Ksors vv. 93-100 (producing offerings from the lovemaking), and K53r3 vv. uo-14 (dtlnlli'M!Aita discussed below). 2.02. GSSto (Ksut): ~ltaJaiva samuccdrya vU/yaytl saba sustNZTtlm I niiJIIbinJuiAylllinam ida'!' jtipasya IA!t,a!'llm I (106) iatam IZ!.tottara'!' japtlhl kurytlti anyonyacii!a!'llm I vajrdbjayos Sllmll'!' tatra muhur garutjllmutlrll)4 I (107). 2.03 GSS1o (Ksus, v. n1d): samarllSojjvailzm,· (Ksus, v. ul.Cd): ch~Jayanta'!' jagat-
ltkla'!' traiiD/tyasy4pi ma'Y/alllm. 2.04 GSS1o (K5u6-v, v. 114): ialtractlpalmzmn,uziva tal /ina'!' gaganll'!'lnuihau I gaganil'!' sahaj~ /ina'!' boJhd,.bhoJhau mahoda~. 2.05 GSS1o (K51V3): ity nNZ'!' hi sam4Jhisthflb sam4gtibhydsanilca/llb I tM/4 yogi bhaVd siJJho mahdmuJrdmahartidhilta/11 (v. u8) • bhawfJ em.; bhavttyogiK (ditto.). 206 The colophons to Virupa's sadhana and two stotras name her "Trikayavajrayogini," while in the colophons to GSS2o, SM2.32., and SM2.38, 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. ChinnamW)<Ja is the name given by all the sidhanas in the bsTan 'gyur (Benard 1994: 18 n. 35; see the appendix for details). Thus, for example, the Tibetan translation of the Llk,mistiJhana (GSS24) is entitled the *Chinnamu!J#vajravtirdhistiJhana (Benard 1994: 66). Similarly, in the Nandylivartatrayamulthdgamandma attributed to Mekhala and Kanakhala (sDe dgc bsTan 'gyur rgyuJ '"lvol. 43 (Zi): 34-35), the sadhaka is instructed to visualize himself as JBu bcaJ ma yum, i.e., as "ChinnamW)<Ja" Vajravirihi (ibid: 14). A Chinnamu!'f!d StiJhana also appears in the Rin 'byung brtJ4 rtsa, "Vajrayogini of the Severed Head" (rDo 1]~ mal 'byor ma Jbu bcaJ ma). or, according to Tiranatha, "Vajravarahi of the Severed Head" (rDo 1]~ phag mo Jbu bcaJ ma) (W"illson and Brauen 2.000: 2.59-6o), details for which see below n. 2.10. In the Sanskrit sidhanas and stotras that I have seen, however, there arc only two references to the name Chinnamasti, and these are made in a later hand inK (which in both cases arc transmitted inN and D). In one instance, a second scribe adds to the original colophon in GSS2.5 that she is yellow and has a scvcrcd head (K92.v6): ity 4ryatriluiyavajrayoginiSiiJhana. In the second instance, a second scribe inserts a corrupt verse in nagJhard meter at the start of GSS24 that actually interrupts the first and second pdtias
NOTES TO PAGES 95-96
of the bcnedictory verse in tmu,,tubh. This states that the goddess generated inside the tih4~ is Chinnamasti, "who has attained a threefold body, the uiple path," GSS14 (K89v6): tllmlin ~ trimllrgd tritllyatanugllt4 cchimuzmt1St4 prllit.ut4 • trim4rg4] em. trimllrgll'!' codd. Cf. GSS27 (K94v5, v. 4cd): trimd~ Sll'f'Sthit4 tkvi
triltiyllvajrayogini.
107 SM131 is almost identical to GSS2o, but it has no bali manua. However, a "floating" bali manua is printed as SM138 (VIljrllyoginytl &liviJJhi/1). which tallies with the longer bali mantra in GSS15, cited below. I suggest that SM232 and SM238 therefore belong together. 108 GSS15 (K91r5): svanllbhau viluuitaiultlllvarruzJ>Il'!'ltdrllpllri!f41/l'!' sitaptzdmtt'!'
flltiUillill'!' vibhtiv~. tatroptlri rllltt~~varruz"Phajll'!' mryamll~ill'!' bhdvayn. tatropt.tri sinduraiiiJ1!Ub!l Jha1'1n01itzya, ell vibhtivayn. tlltrdpi Cll ~ pitllhri,kllraja pit4 svayam nJaluzrtryi ltAnita<'!'> svamllSfllluutr vamaluutmthita'!' tihlirll]llnli tilllqi1,11lhastasthaltartryi Sllhit4 urdhvavistrtahlihvi. aJhonamiflllill/qi!fllbhuja, wlsllJinyd. prllSIJritMJU#!fllpliJ4 mfidtllvimllcllr~J!Ul. /tabanJh44 avaJhutitNI1't7nllnli nifnrt4srgJhara tasyll mult~N pat~~ti pravilati ca. ap4r~ lllllln4rllSiltuibhy4'!' ca ni/nrtya pdrlvayoginyor mult~N pravilllta iti bh4VJ4'!'· • sindiirava'!"l'fl] em.; sindUT'allll7?'i K • pitllhri'flltdrajJJ em.; pitllhri,.ltarajll'!' K • vdul.iUnyd] SM132; rNlmaiUnyaK, vamt.t/Jiii11J4'!'GSSw K84VI. Cf. GSS24 (K90r4): tligvdsasll'fl, GSS17 (K94vs): nllgn4. • pravilati ell] conj.; pravilllti va K. Cf. GSS1o (1<84V2): svamult~N pravilati. GSS14 (K90rl): tllt/lf1 Sllmllyi svan4bhi~ ralttllviltasitaltamllill'fl vibhava~t. taJupari ralttaravimll~'!' '*t. tasyopt.tri ralttahri,.ltar4Sil1f'bhit4'!' JharmotlaJib!l vilvabjarltotiarll<'!'>· tlltra hri,.lulra, vibhdi!Jil tadJhri'!'ltdraJ>Ilri'."'t4'!' bhag~tvati'!' vajr11yogini'!' pitllvll'!"l'!' rlllttacthllyd'!' svaltaraltllrtyt1 svalirll'!' cchitiVII rNlmllhastmorJhvaJhtlri!'i'!' ltArtriltds4mnatill/qi!f4ltard <'!' > Jhllraprasllri!Jim 4lit/htzplll1asthit4'!' luzpiiJalll'!'krtafiriiSbfl multtllltna, digwlsaSil'!' mrulrtimw.lritlbiga, lrilnu/Jhlll/dltini'!' ~. tlltll/1 cchimuzlirodharli'!' srotasam iirtihva'!' sravanti1f1 nulhiraJharli<'!'> svamult~N plllvanti'!' bhtivayn. • rlllttllhri,ltara-1 corr.; ralttllhri,kllra'!' K • vibhavya] corr.; vibhdvyas K • Jh4rti) em.; Jhara K • srotasam] corr.; lrotasam K • sravanti1f1] corr.; fravanti K 109 GSS17 (K9sn): luzravaJ ntzyop pdt/llu viJ>Ilritllu Cll tllu sthitau; GSS2o (K84v4): ubhayor yoginyor ~ 'ntari/q~ catibhayllltulll,. s1nllilinll1f' bht1va~ti iti bhavanll• ltu/4'fl) corr.; ltu/4'!' K). Cf. GSS2s K92r1; GSS14 K9or.s. 210 Wilbon and Braucn (woo: 259-60). The text of the Rin 'byung brgya rtsa differs considerably from our Sanskrit sources, as the three deities are first selfvisualized as one-headed forms of Vajrayogini (in warrior stance, uampling Bhairava and K.alaratri, and holding the usual attributes, chopper and skull bowl, including a skull staff for the central figure). They are visualized as orange (Sarvabuddha<Jalcini in the center), green ("Vajravaf9ani" to the left), and yellow ("Vairocani" to the right), with garlands and bone ornaments of the five mudras, very wrathful amid blazing fire. Their mantras arc given separately and are to be visualized with the syllables "all stacked up" within their Jharmotiayds (i.e., within the sexual organs): O'f' sarvabuJJhatjll/tini hii'!' pha! svtJhll;
NOTES TO PAGE 97
01J1. vajravii~niye hii1J1. phat; 01J'l vajravairocaniye hii1J1. phaf. 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 channel, lalanii, a jet of'semen' (kunda) mixed with Alq;obhya pours into the mouth of the left deity; and from the right channel, rasanii, 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 separately. The central deity, Chinnamasta (dBu bead rna), is not shown with her head severed (IWS/T 81, LC 591), and she is described as a form ofVajravarahi. "Vajravarl)ani" (rDo rje rab sngags rna) 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 "Vajrapral)ava"). "Vairocani" (rNam snang rna) is yellow, also with the addition of a skull staff in the IWS (IWS/T 83, LC 593). 2n GSS9 (K44v5): hrdi niiniivan:zapa1J1-kiirapari~iimena vifvapadma1J1. bhiivayet. raktarephapari~iimena siiryama~rjale dhannodaya1J1. samadhikaraktabhiivayet. dhannodayopari raktava~a1J'l hri1J1-kiira1J1.. hri1J1-kiiriidibhip piirvoktaip samastaip pari~iimena vajrayogini1J1. kanakafyiimii1J1. siiryiisane padmamadhye. tathiitra piirfve ~kinidvaya1J1. bhiivayet. kartrikarotadharii1J1. iilitjhapadasa1J1-sthitii1J1.. • ~kinidvayam] SM234; sii(hu?)ladvaya1J1. GSS9 K45n, fiintadvayam GSS3o Kio2r3 (perhaps for faktidvayam?). 212 GSS25 (K92r2): idiini1J1. piijocyate. ma~rfala1J'l caturasra1J1. tatra siiryopari tallagnii1J1. dhannodayii1J1-likhitvii tanmadhye hri1J1-kiiram iilikhya piijayet, tadbhavii1J1. vii piirvoktariipii1J1. bhagavati<1J1.> madhye iiropya ... (mantras given table 7). • tallagnii1J1.] GSS25 (cf. GSS2o: siiryiilayalagnii1J1.) • hri1J1-kiiram iilikhya] conj.; hri1J1-viimiilikhya K (cf. GSS2o: hri1J1-kiirasahitii1J1., GSS5: hri1J1-kiira<1J1.> ca vicintya) • piirvokta] conj.; piirvoktii1J1. K • madhye iiropya] GSS25, cf. GSS2o: tatap piirvoktabhiivanayii bha,ttiirikii1J1. madhye iiropya, GSS5: tajjiim uktariipii1J1. bhagavati1J1. piijayet. 213 The mantric unit vajrapufpa also appears in GSS25, in the worship section of the Vajra4akini ma1)4ala in GSS16 (K79r6): 01J1. vajravairocaniye hii1J1. hii1J1. phat vajrapufpe sviihii. 01J1. pra~aviivajra~kiniye hii1J1. hii1J1. phat vajrapUfpe sviihii etc.,
atropari va~a1J1.
and in the installation of the fivefold ma1)4ala of the red two-armed Vajrayogini in GSS19 cited above (K83v2): 01J'l vajrayogini vajrapufpa1J1. praticcha sviihii. 01J'l etc.; seen. 129. The association of the unit vajrapufpa- with rites of worship is apparently borne out by the Sadhanamiilii. Nihom (1992: 224) finds that of the 312 sadhanas of this collection, thirteen use the vocative vajrapufpe in mantras of worship, and the remaining 299 appear in the context of traditional 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. Otherwise, vajrapufpe is usually found as first of a set of five relating to the five gifts of the standard puja (paficopaciirap). Nihom (ibid: 224 and n. 15) offers the fol-
NOTES TO PAGES
97-100
lowing breakdown of sadhanas in the SM that contain the term rHljrapUfP4-: SM3, SM7, SMts, SM3s. SM36, SMso, SM8o, SMn.8, SM119, SMt31, SM159. SM166, and SM13+ The •honorific" prefcx INljra- is sometimes omitted, e.g., in SM11, SM67, and SM147. The name of the deity appears in conjunction with the offering of a single flower in SM3, SM35, SM36, and SM159· 114 E.g., GSS14 (K90V3): tatra o'!' SllnNlbuJJhat!41tin~ ha'!' SfNlhny anma 1Nin'"t'A Jha~~ PUf/JII'!' tlattvt1 tato 'rg/uz'!' t14ttN JhapaganJhiJibhifJ SII1Nintrllif/ piijayn. For the offering of guest water alone, see GSS15 cited table 7, n. i. 115 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 Sarvabuddha<Jilcini. The next offerings are made to Sarvabuddh~ni "in front" (or to "Buddha4ikini" in GSS30 and SM134), to Vajravar~ani (usually left) "in the south/right" (Ja/qi!J~). and to Vajravairocaru (usually right) "to the west/behind" {p41dwu). These are the points usually associated with a circular mal}~. in which the goddesses are installed in a counterclockwise manner, east-south-west (and north, omitted here). 116 The j11pa mantra is omitted in GSSs, however. In the GSS texts, the tripartite mantra begins with a single O'!f syllable. A variant appears in SM131 (p. 453): 0'!' O'fl O'fl SIITII~iye IIII}WliNI'?"'~ wtjrllfNliWXIUI~ hu'!' hu'!f hu'!f
phat p/Mt phil/ svliha. which is the form of the tripartite mantra raised in the 1Nlntrot/Jh4ra (GSSt-GSS1) loosely known in the Tibetan tradition as the "three O'fiS·· This formulation of the mantra is found also in Viriipi's Chinn~~ mu~nll in the bsTan 'gyur (vol. 13: 4J1-15), which Nihom (1991: 12.4) presents as partial evidence for Vlriipa's authorship ofSM131 (-our anonymous GSSw). 117 The colors of the three goddesses do not seem to be determined by the contents of the channel, which in SUf ch. 7 VV. 16-18 are given as semen in Awuihiiti, blood in lWan4, and urine in laiiZNi (cf. HTI.I.IS). Endnote table ii. Yogic chan~ls in the Tri/t4y41Nljrll]Oginisli4ha114 SUTCh. 1· VV.I~I8
GSSmas
center
Avadhiiti
semen
Sarvabuddh~ni
right
Rasana
blood
Vajravairocani
yellow
left
Lalani
urine
Vajra~ani
dark/red
yellow
118 GSS17 (K94v4): hri'!'lulro mlllihyabh4gt 'sJti!1 pitaiNl'!fllb praltirtita/1 I (1Cd) I taJbhatNi pitllfN11!11l Cll. IIIIIUihatytl<'fl> Cll SW~Jll'!' sthitli I /4Jan4yli, tu suiya7'Nl. riiSIINiyli'f' ca g11uriltli I (3) I pratyli/UjhajNU/4 n11gn4 ~ pitamanorll1Nl I tri1111lrgt Sll1f'Sthitll tkvi tri/uiyarHljrayogini I (4) I S9fl'!' NimNi b~Nzv«i ~ltJI SIITWISil'!f~ni 1 (sab).
NOTES TO PAGES 100-101
• (v. 2a) 0 bhage ryap] conj. 0 bhagebhyop K. (v. 5a) namna] conj.; namvtiK94V5, namra D72r1. (The verses continue with an iconographical description of Vajravart:ani and Vajravairocani.) 219 GSS26 (v. 12cd): lalanarasanayogtid avadhuti mahiisukha. 220 The notion that the yogic structures of the body can be understood as a goddess with a fourfold nature also appears in the Sa'l'(lvarodayatantra. The lotuses at the head cakra (ch. 31, vv. 19-23) and at the navel cakra (ch. 31, vv. 27-31) are both said to have a seed-syllable at their center, each of which gives rise to a goddess attended by Lalana and Rasana, SUT ch. 31 (vv. 29-3oab): lalana
prajfiasvariipetza rasanopayena sa'l'(lsthita I tayor madhyagata'l'(l devi a'l'(lktira'l'(l vifvariipitzi I 29 I catufkdyatmaka'l'(l devi sarvasiddhipradiiyini. The central goddess embodies sahaja bliss (v. 23a) and has the nature of four joys (v. 22d: catvaranandariipitzi). Cf. HTI.I.20 on the thirty-two channels: tribhavaparitzatap sarva grahyagrahakavarjitap I athava sarvopayena bhavalakfatzakalpitap. 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 HTr.7.12: pipha'l'(l jalandhara'l'(l khyata'l'(l o~~iyana'l'(l tathaiva ca I pipha'l'(l
paurtzagirif caiva kamariipa'l'(l tathaiva ca. Sanderson (2001: personal communication) has remarked that although in Saiva sources, Oqqiyal).a, Purt:agiri, and Kamarupa often appear with Jalandhara as a set of sites, he has seen no other reference to Srihana/Sylhet (evidence 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 presence, in texts teaching the yoga of the Nath yogins. See Mallik (1954: 40, v. 81a) and references in Mallinson (2002). 222 GSS26 (K93v6, v. 13cd): yti'l'(llabdhva yogino mukta bhavasagarabandhanat. 223 The bali mantra appears in full in Virupa's sadhana (GSS25 K92v3) and almost identically in the Sadhanamala (SM238 p. 458). Only the second half of this bali mantra appears in GSS2o (K85r3). GSS25 (K92v3): O'l'(l vajrayogini
sarvabhiitapretapifactidin iifodhaya 2 hana 2 daha 2 grasa 2 sarvasiddhistidhanani prayaccha sarviifti'l'(l me paripiiraya svaha. O'l'(l frivajrayogini sarvasiddhi'l'(l <me> kuru 2 sarvavighnavinayakan hana 2 samyaksambodhaye mama ida'l'(l bali'l'(l grhtza 2 hii'l'(l 3 phat 3 svaha. • O'l'(l ... paripiiraya svaha] GSS25, SM238, omitted GSS2o • frivajrayoginz] SM238; vajrayoginiGSS25 • iifodhaya] GSS25; sodhaya sodhaya SM238 (SM 238 repeats imperatives rather than supplying "2") • sadhananz] SM238, sadhani GSS25; pradhani Locke's ms. (Nihom 1992: 228) • sarvafti'l'(l] em; sarviisti'l'(l GSS25, SM (variant in ms. "C") • O'l'(l frivajrayogini sarvasiddhi'l'(l] GSS25, SM238; O'l'(l vajrayoginiye sa'l'(lsiddhi'l'(l me GSS2o • vinayakan] GSS25, SM238; vinayakanti'l'(l GSS2o • ida'l'(l bali'l'(l] GSS25; bali'l'(l SM238 • grhtza 2] GSS25; grhtza SM238; grhtzatha 2 GSS2o • hii'l'(l] GSS25; hu1'!l SM238. In contrast, the bali mantra in the Lakfmistidhana is based on the japa mantra
NOTE TO PAGE
101
and describes simple worship offerings of flower, incense, fragrant powder, and the bali itself, GSS24 (K911J). 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 V"tkrllmllCaritll, 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., Viltrll1N1Cilritll ch. 7 and ch. 8; Ktzthbzritsligu11 (Somadcva 1994: 216-19). The motif also appears in the mythology oflocal cults, as in the folktales and devotional songs of Rajasthan, in which a warrior-hero (the jhumjhllr ji or bhomiytz) slices his head off before the batde (or loses it in the course of batde), but fights on to kill many enemies before dying himself (Kothari 1989; J. Smith 1991: 90). Myths in south India tell of the goddess Rc~uka, who both loses and rcgairu her head, based on the P~c tale in the BhligllVIIIIlpUrli!fll ch. 9.16. (Local variants to the myth have been explored by Sonya Stark and discussed in a paper given at Wolfson College, Oxford, Michaelmas Term 1996, entided "Who Is Rc~uka? Some Mythological and Ritualistic Aspects of a Popular South Indian Goddess: See also Benard (1994= 6) on the Mllh4bh4rlltll (3.II7·5-19). The theme is also popular in the Saiva tradition, which devdops its own tradition ofChinnamasti, borrowing and adapting from the Trikayavajrayogini cult. Chinnamasti is one of the ten Mahavidyas (emanations of Sari); her severed-headed form is explained in a myth recounted in the SUtismpgllmlltllntrll (4-5.152-73) (seeS. Gupta 2000). Sanderson (2001: personal communication) dates the earliest evidence for Chinnamasti worship in Saivism to the work of Sarvinandanitha, one of the earliest east Indian tantric authors, living in Bangladesh probably in the fifteenth century. Included in a list of some sixtyfour Saiva tantras from the T~i4tllntrll (vv. 2.2-20), Sarvinandanatha (SIIr110lltisll3.1-29) hdpfully quotes a section from the jlilinlulvipll that mentions Chinnamasti (3.23). This passage lists ten Mahavidyas: Kili, Tara, Tripuri, Bhuvandvari, Bhairavi, Chinnamasti, Dhiimivati, Bagalamukhi, Mataligi, and Kamala (Sanderson ibiJ.). See also Kinsley (1997: 144-66), Pal (1981: 79--86) for Chinnamasti as one of the ten Mahavidyas, and the full discussions by Bilhnemann that chronicle the Hindu borrowings from the Buddhist tradition (2000i: 37-38, 107-12). Sakta ~aivas adopted Chinnamasti into their ritual practices, and p;uidhatis for her worship appear throughout the period to the present day (Sanderson 1999: personal communication). Benard (1994= 33-J-4) describes a Chinnamasti sidhana from the Chinn~~ntllltlitllntrll that forms part of the nineteenth-century ~ Jlr4motl4 (a popular manual of tantric ritual for puji of the ten 1Nlh4viJy4s and panaukvatll}. B. Bhattacharyya (1932: 159-61) compares the iconography and mantras of the Buddhist [Trikiya]vajrayogini and the "Hindu Chinnamasti'" from the later l4lttll texts, the T11ntraslirll and the Chinn~~mASt4/uJpa. For plates see Pal1981: 79--83, Herrmann-Pf.mdt 1992: 269, plate 7, and Benard 1994: plate 2, with p. 13.
NOTES TO PAGES 101-113
us Benard (1994: 10) cites this story from the K4hn4 pain Taranatha's Tht &vm Sp«iaa Trllnsmissions. In the Tibetan Ugnuls it is to ~ that the two sisters Mckhala and Kanakhala owe their intiarion into the Vajravirihi ~Qala, and it is also he who later tests their realization by demanding their severed heads as a fcc (Dowman 1985: 317ff.). Herrmann-Pf.mdt (1991: 161-75) also discusses the textual background and symbolism of the self-decapitated ~ni. 12.6 Cited by Benard (I994: u) from the gtn' ton, Orgylln 14sphro gling pa. dated 1586-I656 (ibid.: p. 19, n. 40). The story docs not appear in the Ugnuls of Abhayadatta. 127 GSSs (K341J): lti7J1 Ctyllm roll bhagllVIlti VlljrllvlliroCJtni Vlljrllyoginity UCJAU.asydf ell )llthagllmll7JI Jllthopillkill'!' bllhuprllltdrtlllmNlyllbhet/4!1. (Sed p. ISO.) 228 Western scholars and museums frequently usc the name Sarvabuddha4akini. De Mallmann (1975: 339) provides a separate entry on "Sarvabuddha4akini," stating that Tibetan sources equate her with Naro-9ikini (also called Na9i9ikini), a form of Vajravarahi related to the adept Naropa. She mentions the appearance of Sarvabuddha4ikini in three sadhanas in the StiJhllnllmtilil (SM234-GSS9=GSS3o, SM236-GSS19, and SM249=blliivitJhi from GSS2I), although here the name Sarvabuddhaqakini 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., SMus, SMu6, SM232, and SM233). Bhattacharyya h92.4i198s: n. ISS) seems to equate Sarvabuddha4ikini with the Trikayavajrayogini form; he states, "The headless form is designated in the Mantra as Sarvabuddha4alclni, while the other form is called in the Mantra as Vajrayogini {sic}." In fact, he is referring to four sadhanas, llil of which usc the mantra epithet Sarvabuddha4akini, and he also overlooks all the other sadhanas that give this mantra. Bunce (1994: 480) refers to Sarvabuddhaqakini as the "patroness of the Sa skya sect." 229 This is a particular topos of the twenty-one-verse Itotrll (GSS42), in which she is said to appear as the goddess of other religious systems (sec the appendix) and in many forms and colors, e.g., v. nab (KI26r6): lllt't1HiillyllVIlinutifNI nirmit4nnuzriipi!Ji • VlllnutifNI] C; VllSnutivll K • nirmit4n~ltllriipi!Jt] em.; nirmit4-
nlliluzrupi!Ji K. nirmit4 ~ltllriipi!Ji C. 230 GSSs (Sed p. 152, K37r4): tllJ ~11'111dayllp siJJhopade/llpllrllmp~trliyitli vinryiilllJilbh~JtiJ llMntti bhllgllVIltyli llmnliya boJJhllVJiil!. dinntlitrllm ilill'!' ~~u ell ltrllm~fU ltrllmllm ~ltllm tkltiyll lrllliJhillay4v4n nifnllngilb
Jarlitllm.
SllmllJill~i
nirviciltitso bhivllJm ni)ll111n111 slldhtzJilti. • ~ll1nlillllJ'lb] em.; t1114Jil(.h) K(dcl) • llmntiyd] em.; llmnliJil• lrllt/JhJj conj.,irtWJho K. 231 NllmlliUrll in llnUf!Ubh GSSs (Sed p. 125 1, KI4V1): nllmo 'stu vlljrllJOginylli IUnJiltdluzru'.f'ltm4~ I bibhllrti murtivllicitr)ll'!' y4 jllglllibhtifNlb~. • yd) cm.;yoK.
Alirvit14 in llirdulllvi/trit!it4 GSSs (Sed p. 125', Kl4V2): yl1 Sll7J1bodhinulh4suJhavaMvlliad VlliJild]llVU/yotittl, /ant4PJ litllnUU vin91Z}IlnlltliragaJ b/lhip lo!Jiltlim I bibhrd!Jd ltulii4'!' ltllpaillm ll1111l14, lthll!fJ4ngllm ugrllliyuti, s~'!'
NOTES TO PAGE II4
vajravildsini bhagavati bhiiyiid vibhiityai tava. • ugradyutz] conj. Isaacson.; ugrajyotib K. (hyper.) 232 E.g., YRM on HT1.6.6 (p. n9): caryiinuriiparrz sthiinam; SM172 (p. 347): mano 'anukiile sthiine. 233 For lists of sites in the GSS, see the Advayavajra-based sadhanas GSS3""'SM217""' SM251 (K11v7): girigahvariidimanorame sthiine; GSS3 (K1o2v4): priitar iitthiiya
mukhafauciidikarrz krtvii grhiidau, athavii mantrarrz samayarrz priipya fmafiinagirigahvare, ekavrkfe naditire parvatamastake vii manonukiile; GSS34 (K1nv3): vrkfamiile svagrhe vijane nirupadrave vasan. Longer lists appear in other Cakrasaqwara-based scriptures. Sanderson (1994 n. 8) cites an interesting passage in the SUT (u.3cff.) that equates each deity of the mal).cJala with a particular siddhi and with a meditation place appropriate to its cultivation. He also gives other examples, e.g., SUTch. 8.2-3b (f. 12v6): svagrhefu guptasthiine vijane ca manorame I girigahvarakufi}efU mahodadhitafefu vii I fmafiine miit[grhe ca nadisarrzgamamadhyatap; and ibid.: f. 20r. 4-5; Yoginijiilamahiitantra (f. 30v.9, 16.13): girigahvarakufi}efu mahodadhitafefu ca I catufpathefU matzrfapasthiine fmafiine ca manorame; ADU (f. 14.5, 4.5c): girigahvarakufi}efu naditirefu sarrzgame mahodadhitafe ramye I ekavrkfe fiviilaye miit[grhe fmafiine vii, udyiine vividhottame I vihiiracaityalayane grhe viitha catufpathe; l)iikinijiilasarrzvara (f. 3r.5-6). Cf. HT1.6.6: miit[grheand the glosses cited in Snellgrove 1959: 63, n.6; and GS 12.65: girigahvarakufi}efU sadii siddhir aviipyate • kufi}efu] conj. Isaacson. kulefU ed.; Viiriihyabhyudayatantra vv. 7-8. In the Siidhanamiilti, see SM1 (p. 1) parvatiiratzyiidifu guhiigrhiiriimalayaniidifu vii viviktavijanefU manoramefU vasan; SM7 (p. 28): devagrhe; SM142 (p. 290): devagrharrz pravifya; SM172 (p. 347): kva cin manonukiile sthiine strijanasarrzsargiidirahite; SM187 (p. 389):
fmafiine gahanagiriguhiigahvarakrorfasarrzdhau vrkfe viitha svagehe kvacid api vigatopadrave vii pradefe. • krorja] em. Sanderson, krodha SMed.; SM239 (p. 458): dhyiiniilayarrz pravifya; SM265 (p. 515): nadisarrzgame fmafiine vii ekavrkfe deviiyatane frivajradharagrhe vii ityevamiidisthiine; SM267 (p. 525): kvacit girigahvariidau manonukiile pradefe. 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 vv. 131, 193, etc., and on dhutagutza in Edgerton (1953). 234 E.g., SM47 (p. 97): cauradhvanipramukhakatzfakavarjite ca nirvartya krtyam apararrz ca sukharrz niJpadya; SM52 (p. 109): sugandhopaliptarrz niiniipUfpiivaki71Jarrz bhiimibhiigarrz krtvii; etc. 235 GSS1 (K279v3 = GSS2 K11v4): sukumiirtisane yogalilayii. Cf. GSS24 (K89v6): bhiibhiige sukhtisantisina-; SM1 (p. 3): sukhtisanopavif!ap; SM24 (p. 54): mrduvif!arasanopavif!ab • 0 Vif!artisano] conj. Sanderson; 0 vif!ariimalo SMed.; SM54 (p. no): tatra madhye pa.tfamasiirakarrz tatropavifya .. .; SM65 (p. 130): masiirakiidyupavi;fap; SM96 (p. 193): atyantasukhtisanopavi!fap; SMn2 (p. 238): mrdvtisanopavif!ap; etc. 236 The references to the vajra seat are found in the Advayavajra-based texts. See
NOTES TO PAGE II4
430
GSS3 (KI1v7-12ri) and SM251 (p. 490): vifvavajrasamiisinaf; GSS31 (Kio2v4): vifvavajramayi-iisinaf; GSS16 (K76r2) and SM217 (p. 424): vifvavajriisaniisinaf. The last is closest to the Tibetan translation of SM251, sNa tshogs rdo rje gdan la 'dug ste, cited by Sanderson (1994 n. 7); cf. ADUT 4.10 (ibid.), which describes the meditator, "[seated] with focused awareness on a lovely seat sealed with a vifva [vajra-} over a spread [of kufa grass]." vifvamudriisane ramye vistare!u samiihitaf. • vistare!u] em. Sanderson; virfare!u. For the corpse seat, see for example GSS5 (Sed p. 125 8 , KI4v5): kvacic chmafiinaparvatiididefe sukhiisanopavirfaf siik!iic chavopavirfho vii; cf. SM218 Kotikadatta' s Prajniilokasiidhana (p. 426): kvacit fmafiiniidau mano 'nukiile sthiine
saccandaniidyupalipte niiniipu!paprakaropafobhite siik!iit faviisane vii yathiisukham upavifya .. .; and (p. 430): kvacit pradefe favaparyankena sukhiisanopavirfhaf. 237 Sanderson (1994, n. 7) notes that this is no different from the posture described by mainstream Mahayana exegetes such as Kamala.Sila, and traditionally understood to be modeled upon the Buddha's posture. He cites Bhiivaniikrama II (p. 4): mrdutarasukhiisane vairocanabha,t,tiirakabaddhaparyankeniirdhparyankena vii ni!adya, "Having sat down in the paryanka [posture] adopted by the lord Vairocana, or in the ardhaparyanka [posture], on a very soft and comfortable seat .... " And Bhiivaniikrama I (p. 205): sukhiisanopavirfaf paryankam iibhujya samiidhim abhini!piidayet. Cf. SM81 (p. 157): ma1}f/alamadhye vajraparyankenopavirfaf, etc.; SM82 (p. 159): paryankenopavifya; SMno (p. 224): -dhyiiniigiiriidika'f!l pravifya sukhiisane paryanka'f!l baddhvii; etc. 238 This is a quote from a longer passage (again cited by Sanderson 1994 n. 7) that appears also in the Kriyiisamuccaya (66, 5-6): VA (ms. A f. nv1-6) (my underlining): tatra vajraparyanka'f!l bhiimisparfamudriibandhaniid vajriisaniibhinayah
samiidhimudriibandhaniid dhyiiniisaniibhinayah 2, dak!i1}a}a'f!lghorumadhye viima'IJ'l ptida'IJ'l nyasya tadupari viima}a'IJ'lghorumadhye dak!i1}a1J'l nyased iti vairaparyankah 3, dak!i1}a}a'f!lghiiyii1J'l viima}a'f!lghii'f!l krtviivanata'f!l jiinudvaya'f!l kuryiid iti padmiisanam 4, viimoriipari dak!i1:za1J'l piida'f!l vinyasya viima'IJ'l dak!i1}orutale sthiipayet satvaparyankah s, ...
1,
The passage in full describes a series of ten postures to be assumed one after the other by the Vajracarya during the preliminary ritual of"appropriating the site" (bhiiparigrahavidhif). The first is the vajriisana, in which the legs are in the vajraparyanka and the hands are in the earth-touching mudrii (see Siidhanamiiliivol. 2 cxlviii plate 1). The next is the dhyiiniisana, which is identical except that the hands are in the meditation mudra. After the vajraparyanka itself comes the padmiisana, in which both knees are on the ground with the left calf placed on the right. This is followed by another seated posture commonly prescribed for sadhana practice, the sattvaparyanka (e.g., SM39 p. 85; SM8o p. 154; SM147 p. 305). This reverses the position of the feet in the vajraparyanka 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]." Cf. Ca1}t/-
NOTES TO PAGES 115-116
431
7'Nlhiro!41,11ltll1ltra 6.161-61: "Having placed the right shank gracefully on top of the left shank, it is called the S~U~Vap~~ryanlta, which grants all happiness and desires." v41NljanghoJHiri sthtlPJII I savyajanghtl'fl tu lilaytl I lthylito 'yam sattviiJHiryan/ta/1 I sarvalt4masulthaprlll14b. The remaining posrures arc variations on seated or squatting poses. 139 E.g., GSS16 (K76r3): sthtlrultm~tyogara/qll'fl lturytlt, O'fl il!J hii'!' 1Nl1l~ 2.40 E.g., GSS2. (1<.4V2.): mtmtradhie/JitiiSthaM ujNlviiyll. For a complex preparatory rite prior to worship, see mKhas grub rje (pp. 179-83). 141 E.g., SM2.18 (p. 416): arJhaydmtivalt,SiiJib!l rtljanytl'fl vitJhinotthitafl. Sanderson (1999: personal communication) points to AghoraSiva's prescription to rise within "five 1lliljilttls [twenty-four minutes]" (i.e., two hours) of early dawn; sec AghoraSiva's PtWihtzti(citcd in Brunncr-Lachaux 1963, vol.l, p. s, n. 3b): prtltiiS-
samtlJ'il JIUrva'l' JNlfic11111if/i/ulllil«MM samutth4y4. 2.42. E.g., GSS16 (K76n): pr4tllr utthdyll multhlll4uctlliiluup ftrtva ... ; SM2.o (p. sl):
prathama'fl multhalaucliJilut'fl ft.rtJNI; SM-48 (p. 100): vatlanaiaucliJi'!' ft.rtJNI; SM2.39 (p. 458): prlltllr utthi]ll sflllh.rtm1]11Stluzhu'fllttlraralmibhir tltm41U11f1 viloJJJ,a ftrtamu/Juzlauetltliluzb; SM12.3 (p. 2.54): O'fl hu, Vlljrtlnu 1Nl1Nl rlllqa r~~/qll p}Nq sv4h4 ity a1inultmllr~ k,tv4 pr~ 1411114yogi multhalaucdtiilut'!' ftrtvll.. .; etc. For the bath conceived as a consecration, sec above. 2.43 GSSs (Sed p. 1259 , Kl4vs): O'fl a tl i i u ur f!! u ~ ai o au"'!' fl/1/ta ltha ga gha ria ca elM ja jiM fill !II .tha tfa tjha !"' til tiM Ja Jha ""JHI ph4 ba bha 1Nl ya 1'11 Ia va fa !" sa h4 Jt,a hu'fl hu'fl phil!. ity 11Ji1&1Jipanltti<'fl> spharatpaficaraJmiU, trir uccllrya JHirivq ya sthittl'fl sph4rattricaltrMkvall1vf1u/ll1NlrJitllvigh111lV,mda'fl bhavayn. iti tHlgviluJJhib • tievat4vrnJa] em. Scdffib; ekvattl"f1.U/4'fl K. A scriptural source for the recitation of alphabet is YSCf pa/414 12. (A6r6, 89n). Much briefer references to the wlgvi/uJJhi appear in the Advayavajrarelated texts GSS3•31 (Kun): tllilulli'fl vtlrlltrllJilm ucctlrya .. . ; and GSS16 (K76n): yogi lllilulli'!' vtlratrllJilm ucctlrya... 244 Sasvatavajra's Btlhyapujtlvitlhi (p. 52.): iha fricaltrllSil'fiVIUil'fl ma!'t!aJa}t~ pajayitululmo yogi pr414r utthilya yathtlvasarll'fl w1, avism.ruukvattlyogas tathaiva ~ha'flluirawln, vism.rtt:ukvattlyogas tu JHificaslwuJJNiJyahll'flltllratNin. svabhllvaiut1Jha1Nlntro«4ra1,11lpii,rvaltll'fl fiinyat4m aJhimucya... 2.45 GSS5 (Sed p. 125'\ Ktsn): viluJJhaslutnJhliJisamuttha'fl pujiiliilta'fl boJh~p lighralt4ra'!'4'!' bhavatiti sltllntlh4JiviluJJhim aJhimufic~t. tatra riipiidifu vijfuinaparyantqu ph~buJbu4411WridltiUkzlimliyopa11llltv~ nilc94 vairoca~. tlllhattly4m alqobhyab. yaJ vtl vairoc11114JiJnNzt4Jhimo/qll n111 tt,sd'f' viluJJhip. • viiwJJhasltatulhi] em.; viiwJJhisltandhtl K • samuttha'fl] conj.; samunhtl(na) K(del). The remaining text is summarized in table 9· The practice given by Sakyaralqita in the Abhisa11lllJtl1Nlfijari (GSSs Sed p. 125, Klsn) is related to Luyipada's HA (f. 1v) in that it uses the same corrdatioru, but it is fuller than Luyipada's version. The scriptural source for Uiyipada is probably the YSCf (ch. I, vv. s-9; Alvj): prath111Nl'fl ttlviUi yogilvarn,uz paficaslutndhtlha'flluiram utplklayn. It also appears as a preliminary practice in the Caltrasa,varasiidhallll (Dawa-Samdup 1919: 79), and the V4rahyabhyu-
432
NOTES TO PAGES 117-119
uyalltnmz (vv. 11-2.6). The practice is common in earlier tantric systems also; note GS (ch. 17 v. so): ptmcmlt~tntlhab samdsma panca~ praltirtitab I Vlljrdylllltntlny nNl boJhisattvagryama1Jf!A/4m; Candrakini discusses this practice in the opening ponion of his commentary (PU on GST ch. 1, p. 18). There arc various discrepancies bclWeen these texts. For the buddhas correlated with the skandhas, HA, YSCT, and Vdrdhyllbhyut/Ayalltntra read Vajrasiirya for Ratna.sal!lbhava; Padmanandvara for Amitabha; Vajraraja for Amoghasiddhi; Sri-Herukavajra for Alqobhyavajra. For the buddhas correlated with the sense organs, the alternative buddha names (Mohavajra, etc.) do not appear in my mss. ofHA, YSCT, or in the Vartihyabhyw/Aya~~tntrA(cxcept for AiSvaryavajra, v.14). For "whole body," ADUT ch. 9 (p.l86) reads "touch,. (sparl~). The set of goddesses correlated with the clements does not appear in the HA, while the YSCT mentions them, but without giving them their alternative names. For Nandvari the YSCT (ch. 1, v. 6, Arvs) I'Cids Padmanartdvari, and Varlihytzbhywiayttt4ntra(v.16b), Nartani. For Padmajvalini there is the variant Padmajilini (KI6n, Vlirtihyab~ntrav. 2.6c). 146 The alternate names appear only in GSSs: (Sed p. 116', I
147 The yogatantra .. mothers.. arc identified with the clements in a verse from the GST (ch. 17 v. 51: P.rthivi loc~tNllthy,;ta, abdhdtur m47Ntki sm.rt4 I JNiru:/lzralthya bhavn tqo vdyus tllrd praltirtilli). In earlier tantric systems they arc the consorts of the five buddhas, the fifth conson being VajradhvatiSvari (e.g., Vl1flll14prabhd, cited &uJJha~~tntralto/a p. 85). 2.48 GSS1•GSS1 (Kl79v.VK4v1): tad anu ltdyavdltcitt4JHiriluJJh4~ mllJhvi'!'
gaUI'/i'!' JHii!!i'!' triviJha'!' divyoe/4/ta'!' yath414bha'f' panc~tpiJii!'ls4'!'yultlllm arghapdtr~ Sll'f'StluiPJII try~t/qllraman'"!l"bhimantryaitmodtzltma vlimllhmtllli drabhya sarvdng~tpratyangamantr4Snd1Ul'f' lturyar tmlliva piijllJravya'!' ca pro/qll~t. uui41Ulnlltram hd'f' JO'!'· hrim WUJ'f', h"'f' hri'f!l, hu,. hu,. phat pha9-ity ~lllir mantra/q4rair vamaurtinP/.thatlilta,. vilodhya trivilutJJhim uccirayn.. .• mliJhvi'!' gawft'!' J'lli!!i'!' triv~ divyoe/4/tA'f'] conj.; 1'1tdJhvigawftpai!.titriviJJuulivyodA}tA'f' GSS1 m.rdviltdm4JJwWigawftlulpaini/McAturvitJha'!' GSS2.; • Sllrvdngapratyangamantrasnllnll'f'] GSS2.; sarv41iga'!' pratyanga1111lntr1J1!1 GSS1 • O'f!l Vll'f'] GSS1, omitted GSSt. (The inclusion of O'!' VII'!' in GSS1 is possibly because it is the first of the set of six armor syllables (GSSn §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, O'fl VII'!' is placed on the palm, not on the digits of the hand; sec above) • Vllmalttzrin~ vilodhya] GSS2.; vd1NIItllrlbigu/qu sa,Uotihya GSS1. On the types of spiritous liquor, note SUT (ch. 16, vv. 3o-33). 149 E.g., GSS35 (Ku8r~): n~~gno m~. 11thavi raltt~~lt&IJNlriJhdyi ralt14wutrasulthi. This process of assimilation to the deity is well attested in the Saiva tantric tradition. Khanna (1986: 117) describes the "special rule,. that before approaching 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 (tripurik.rtavigraha, Nityiifot/afiktin:tava I, I22b). 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 (Nityiiforfasiktin:zava ch. I, vv. 103-5). Assuming the guise of a woman (striropadhtiritvam) was accepted by exegetes such as Bhaskararaya (Setubandhu, ibid.: p. 78): raktakusumasya strivefasya vti parigraha&. In later sources, false breasts and wigs were also prescribed (Saktisa'f!lgamatantra vol. 2.I8, 72-75) in order to promote the sadhaka's "immersion in the religious sentiment" {bhtivtivefa&J. See also ]ayadrathaytimala (NAK ms. I.I468, f. 3r 1.4 cited Khanna op. cit.: 2I9): rastivefavafasthityti devattiktirtilambana'f!l. (References as supplied by Khanna are to the Nityiifot/afiktin:tavawith Setubandha by Bhaskararaya, eds. Kasinatha Vasudeva Abhayaf!lkara and Gal).dasastri Ambadasa Joshi. I976. ASG no. 56; and Saktisasa'f!lgamatantra, vol. I Kalikhartrfa, vol. 2 Ttirtikhartrfa, and vol. 3 Sundarikhartrfa, ed. Benoyotosh Bhattacharyya. I932-47· GOS nos. 6I, 9I, and 104.) 250 For the vifuddhis as a preliminary practice in this way, see SMI23 (p. 254):
tifayavifuddhir aha'f!lktiramamaktiraparitytigaf ceti maitrikarurttimuditopekfti'f!l ca bhtivayet. Dvivedi (I992: I2I) traces the statement "Having become a god, he attains the gods" to the Vedic corpus (Brhadtirartyakopanifad), and interprets it in the light of comparable statements in the Satapathabrtihmarta to mean that "having assumed the nature of one's chosen god, one should propitiate gods." It is this injunction (fivibhuya fiva'f!l yajet) that is commonly cited in Saiva tantras; e.g., Khanna (I986: 22) notes its appearance in the Svacchandatantroddyota. However, its meaning varies according to the different Saiva traditions. Davies (I992: Inff.) discusses its significance in the Saiva-Siddhanta, and Dvivedi {op. cit.) in nondual Saivism. 25I E.g., GSS5 (Sed p. 128 10 , Kqn): saptavidhtinuttarapu}ti'f!l krtvti ... maitri'f!l ...
karurtd'f!l ... muditti'f!l ... upekfti'f!l ca bhtivayitvoptirjitapurtyasambhtira&. jfitinasa'f!lbhtirtibhivrddhaye O'f!l svabhtivafuddha& sarvadharmti& svabhtivafuddho 'ham ity arthtibhimukhikarartapurvaka'f!l pafhet. • bhtivayitvo] em.; bhtivayitvii Kpc; bhtivayeyitvti Kac. Cf. SUT ch. I3, v. 7 (=SMI23 p. 254): cittamtitra'f!l tu vai tif!hed bodhisambhtirabhiivanai&; SM67 (p. I38): etena pu[tyasambhtirtirtha'f!l yogi jagad tikalayati; SM7I (p. I42): pujayet vandeta ca fubhavrddhyartham; etc. 252 For the rays as hooks, see SM24 (p. 55): hri&ktirabijtid ni&srtya ... arikuftiktirair maricivisarai& ... akrfya; SM 58 (p. I2I): ... dhi&karabijavinirgattirikufaktirarafmyiikrf!tirapacana-; SM82 (p. I56): tanmaricisa'f!lcayair arikufaktirair aknya bhagavanta'f!l .. .; cf, Dakinijtilasa'f!lvara (ed. Sanderson I994, n. ro) (f3r-v: bijahrdaytintartilamadhyavarttisphuradraktaravimartt/alamadhyasthitaparamtikfaranirgataptifalii'f!lfuvisarair dafadigananttiparyantalokajadhtitiin avabhtisya tair evti'f!lfuvisarair vytivarttamtinair arikufakarair gurubuddhabodhisattvayoginicakram aprameyam akrfya ... • bija•] em.; bija· ms. • visarair] em.; visarair ms. • akr..rya] em.; akr.rya ms.). Rays may take on the shape of the deity, or the colors
NOTES TO PAGES 120-121
434
of the five buddhas as in the Mafiju$ri sidhanas, SM52 (p. 109): mu~luirdt
pancAvAn_uin
rllimim~hdn
svaromAitiipn,hyo
nilcArll)~t,
tAil cA rllimibhir
mAiijugho_Silripai~ Sll'!'cchAnnA'fl gaganA'fl ~t; SM 12.8 (p. 268): hii,,tarikl dmuzno romAvivar~ multhdtiU/varn;w <ell > paiic~tltdrdn raimin nilcArAtlli
rintAyn; SM251 (p. 490) etc. 253 Buddhas reside in the Akanin}ta realm in their body of enjoyment (Sil'flbhoga~) as one of the five certainties of that body: "It docs not depart from Akan~~ha for elsewhere" (mKhas grub rje: 20). Departure from it requires them to assume the emanation body (nirmd!JAittlyAI_,). the body in which they are said to impart the scriptures in the lower realms--on which, see Haribhadra's Abhisll7'nllJiliA'!'Itdriiloluz (Buddhist Sanskrit Texts No. 4o Dharbhanga: 281, cited Sanderson 1994 n. 12): Jd/tyAmunitllthdgatliiliriipo nirmd!JAittlya~ pu!IJil}iiANISil'flbhdrd,JA}A nNZ Jrtivalt4Jyupa/4mbhllyogyo tkiitll/J. 254 E.g., GSS4 (KI317): D'fiUraltira~_U~ir gurubuJJh~tbodhisAttvdn dniJil purato 'valllmbytz piijdpdp/UkiA1IIilliltA'fl lt_rtvti... ; cf. also the opening salutations in GSS26-GSS27 (K92v6/K94f1): n~~mo buJJhadhamwa,.gh~bhyA~. namo gurubuJJhabodhisa~bhyll!1 ....
255 GSS5 (Sed p. 12711 , KI6rs): tatll~ svahrtillnu lufir~ ra,.ltdrabijanirydtllravimA~thar~tlttllva,.ltara, ti.Tftvli tatltira!JAir an~lta/Tnllfam apaJiiryll pratiromAvivaravinirgAtllir vllltvamti!JAbhagavatimA!"/tzi4caltra'fl gurulnu/Jhabodhisattvd,J cd/t.'7]4niya n~~bhasi purato vibhdvya ... • Wllh.rtlllntiJ em.; svahrdtlntll K; • ra,Urabija] conj.; ra,.bijA K • apauiryA] em.; apasATJ~Z K • vini1fatllir) em.; vinirgAtaVArair K. Cf. GSS3, which is similar except that Vajravarahi is summoned by herself, without her entire mA~ retinue (KI2n): svah_rtlllbjasii~ ralttllVA,.Jtdra'!' paiyn. 111/Jiyaralttllraimibhi~ pra/4ylln~~/4Ju~ saJuur aluznif!hahhuvan~tVArtini'!' vajravllrllhi'fl va/qyamll!JAva'!"'bhujayuJhli'fl gurubutJJhaboJh~ Cliniyaltdk puratll/J Sll1fUtMpya h_rriraimivini1fatapii}llbhi~ Sll'flpii}yll cA. For other examples of the inclusion of all the maJ]4ala deities within the prdiminary puja, see &ihyapiijtivit:Jhiby Sa5vatavajra (p. 52): tAJbijaralmibhir JalaJiltsthAtricaltratkVAtlim dniya ... bhllgavantll'fl Sllpariwlra, sarvdlttiranqpannll'fl paiyn; also the HA, described by Davidson (1992: us). A full
puja, with bodhisattva preparations, is prescribed by Ratnakara.Santi in his Vajratlirtisiklhtzna (SMuo p. 224 ff.) For a list with yogini at the head, see SM251 (p. 490): til~ svabijtlt SA'fl-
sphd'YJ'l bahyttguhylllllttvapiijtivil~air bh~tgavanta'!' yoginigurubuJJhaboJhiSilttvli,U ca JAthdviJhiNi piijayn vantlayn . 256 Isaacson (2001: personal communication) has pointed out that the image of divine beings filling space "like sesame seeds" (ti/4bimbam iva) is an old one; it is found several times in the SITS, as in the opening scene (p. 3): ti/4bimbam iva paripii'!"''!' jambiilivip~ sa,Jr/yau: and in the GST ch. 1 (p. 4): api nlimA tilabimbam iva paripii'!"'~ SllrvdluiJAJhtltul; Sllrvatllthliglllllo/ Sll'fldriyau sma. On this, Candrakirti points out that the image is of the seeds packed together inside a pod (Jimba!Jiiimbli) (PU p. 18): )lltlui ti/aiim~ ti/4bijani anyon)llSilf!IP."!.tliny ~tparasparapil/tiriip~ [?] sthittini, tllthti tkilz111llttik sarvatllthtigatli
NOTES TO PAGE 121
435
gaga111l1Jl vyapya sthitli bhagavanta iti); also on the Tibetan translation to SM251 (til gyi K"" bu ItA bu). The simile recurs elsewhere, e.g., Vartihyab~ntra (v. 17cd): ti1Abimbopam41J1 ti.'!.lvllluoJhlllini/1 Sllmll1ltatafl; and in sadhana literature, e.g., SM251 (p. 490): tail ca ralmibhir altanif.thabhuvanavarttina'!' bhagavanta'!' va/qyam4!"'1Nl11,11lbhujtiyutlha'!' sarvayoginiprubuJJhabotlhisattvi,S ca tilaiimbopam4n iniya • tilalimbo] em. Sanderson 1994 n. 14; tilabimbo SMcd., SM 123 (p. 257), etc. For other examples of drawing down the deities for worship, sec SM17 (p. 47): lultlah.riflluira'!' h,Ji"*t. ttulralmibhis traitlhitultam avabhasyiltanil!habhuvanavartina'!' si,htznliliam ... 4/tr!ya; SM45 (p. 94): ta«altraraimisamuham
anta/Jiltriram avabhisya pratiroma/tupavivarai/1 nibs.rtya tiAkuiigloltaJhitum avabhisya punas tair n~a roma/tupavivaraib praviiyintablariram avabhtisayantll'!' dra'!' vidnta:pt; SM98 (p. 201): tato pi pitlltl11f1ltirabijlid ni/ls,rtya jaganmohinJhaltiripaharibhir mayU/thllSilmuhair tWasu Jilt!u :p ciparyantli loltaJ/ultavo viJyantt, tlln sarvlln avabhtisya tatrasthin apy asa1f1khytyin aprtl1neJiin bw1Jhabotlhisattv4,U c41t4/aJdt 'py aniyivasthtlpyan~. A good example of the ornate sutra setting in some sadhanas is SM6s (p. 130). 257 For the .. imaginary" douds of offerings billowing from the sadhaka's body, S« SMr (p. 7): manomayll,S tu pujimtghin tVIl'f' pravartaytt; SM3 (p. 19): sninapiijimtghtzprasarair sampujya; SM 13 (p. 37): hrdbijarafmisambhavapiijimtghaib Sll11lpiijy4; SM14 (p. 38); SM15 (p. 44); SM28 (pp. 67--68); SM48 (p. 100): piiji'!' manomll]im: SM52 (p. 109); etc. 258 For the paflcopactiri.{1 {pUfP4m, Jhiipab. Jipa/1, ganJhab, naivtdyam) offered with offering mantras and mudras, sec SM3 (pp. 18--19); SM7 (p. 28); SM 15 (p. 44); SM29 (p. 72), SMso (p. 105); SM6s (p. 130), etc. Nihom (1991 n. 15) usefully summarizes the variations in this set of five found in sadhanas of the Sidhanama/4. The offerings of guest water arc prescribed in GSS34 (Kli4f):
arghap4tlytUJilta'f' dattvi.. .pf4!pat/huplidi!ta, Janvi piijayn. The Sllptaratnllni include: a queen (stri 0) , a minister (pfU'U/Il 0), a wish-fulfilling jewel (ma!'i 0 ) , a whcd (caltra 0) , a sword (khat!ga 0) , an elephant (gaja 0 ), a horse (afva 0). The lists vary somewhat (sometimes they include a general, smapati 0 ) , and there is also a list of secondary jcwcls (uparatnll!'i). The eight auspicious symbols comprise a pair of golden fishes (suvll11.Jilmatsya}J}, a lotus {patbnam), a treasure vase (nitJhigha!fl!1J, a golden whcd {suva11,14Caham), a banner of victory (Jhvaja/J), an endless knot (lrivatsa/1), a white right-spiraling conch shell (iankhivartaf.J), and a parasol (chama.fJ). The seven jewels arc prescribed in the outer worship (bdhyapuja) in GSSs (Sed 1461, K31r6): tato h,rtibijll1lirgatavi1,UldiJnibhi[1 Sll'f'PiiJJa saptaratniJini ca tannirgatlini 1/hau/tayitva • t~tnniJgatlint] em., tltnnirgatliJiK; also SM159 (p. 223); and in the BihyapujavitJhi by Sasvatavajra (Finot 1934.: 51). For a list of various traditional offerings (to be offi:rcd with mudras and mantras), sec SM 1 (pp. 7-8): tato UiaJiglokatlhitusthitacitrapiijmigllny t1NZ1f1 niryitayn. prA!"lm41ijali'!'
bAiii:Jhvd~ asam4 aparigrahi dalaJiglo~ piijtbigllllilqa/1 sthaiAji ramaJ'IlTVAtaludJNlvr/q4Jizyo jlliAji.{1 s4muJrarllt1JI1JAya/1 kanaltapankllj4J4ya/ ca ~
NOTES TO PAGES Ill-Ill
canyt sarva/oluulh41UfU divyamllnuna/tli/1 sarv4ri1plli4bd4gantlharllSilSJNlriatl4yas tlln Sllrwln buJJhabodhi.utttebhyo niryatayllmity tu/4ham. 1Ntno71fllJ4'!JS tu puj4meghan nJil1!f prava~t; SM2.4 (pp. 55, 6o); SM56 (p. n6), etc. In addition to Nihom's work (1992.), note Locke's description of these piija offerings among Newar Buddhists (1980: 76-78). Olschak (1973 p. 87, alsop. 45) provides a set of bronzes illwtrating the sets of symbols. Beer illwtratcs and discusses these offerings (1999: chs. 7-8, pp. 16o-2.03, plates 77-95). 2.59 In yogottara and yoganiruttara texts, the inner worship (aJhytitmaJn1j4) may take the form of the five senses (lui1NtguN1/1) offered within a skull bowl; namely, the heart or body for touch, the eyes for sight, the cars for sound, the nose for smell, and the tongue for taste. These form an esoteric version of the traditional five upaclras (e.g., GST ch. 6, v. 2., p. 17: paiicaltlmagu!Jilir buJJhan puj~J vidhivat s4J4 I paiicopahllrapujabhir 14ghu buJJhatvam tlpn~. Sec Beer for illustrations (1999: 32.5-2.7, plate 140). The inner worship may, however, refer to trangrcssive offerings such as the five nectars and five lights. 2.6o For the secret worship (guhyapiijtl), Beyer (1978: p. 143ff.) lists sixteen vajra goddesses; he distinguishes between the outer, inner, and secret offerings, and also mentions the occasional addition of a truth offering (t4ttvapuj4), describing it as an offering of great bliss, namely, semen (bodhicittllm). On the truth offering, Sanderson (1994 n. 16) notes GST 6.2ocd: guhytullttvamahllpiijli'fl Sll'!'Pii}ya ca vibh4vayn; and GST 8.25: tllru!Ji/1 Sll'!'prtipya subhaga, ctiruvalt-
trl'!' su1obh4Nim I aJhif.tllnilp4tJ4'!' Jhy4tv4 tllttvapuja, praltalpaya. The variow types of offering, including the t4ttvapiij4, are referred to in the Advayavajra-based texts, e.g., SM2.51 (p. 490): btihyagu}1)4t4ttvapujivilqmr; GSS44 (I
guhyamanomllJilSil/q4Jbh4vabM/ma t4 ultt4[1. 2.61 The five sense offerings (ltamagu!fllb) arc 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 fragrant powder for smell, a bowl of food for taste, and a band of cloth for touch. The emphasis on bells for the mwicians and dancers in the Newar tradition echoes the account given here in GSSs (sec Gellner 1992: 1o6 for a full account). For a discussion of the offerings and illwrrations of their artistic depiction, sec Beer (1999: 194-2.03 with plates 92-95). The offerings arc often depicted rogether 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 cymbals, and the cloth as a scarf draped around the whole (cf. Olschak 1973: 45, K.
NOTES TO PAGES 122-123
437
Gyatso 1999: 499). The mantras and hmd gestures (mutirtls) wt accompany the offerings arc illustrated in Beyer (1978: 160 fig. 19), (quite differendy) in K. Gyatso (1999: 492.ff.), and (differendy again) in Tsong ka pa (1987 vol. 2: 127-32). 262 Table 10 summarizes the text ofGSSs (Sed p. 1271\ KI611-17r). The same sixteen goddesses, with individual iconography, appear in the outer pam of the Vajrasama m~ from the Stunpuf4111ntrll (NYA p. 10). Two other sadhanas in the S4Jhll1UJm4Jii list offering goddesses starting with Usyi, either eight goddesses (cf. SM26s p. SIB: "!!!lbhi/1 guhyllpijabhi/J pij~~. or sixteen goddesses SM266 (p. S23: !'N!aialasy4pujtibhib piij~~· The set of eight is given as follows (one has dropped out): Vajralasya, Vajramilyi, Vajragia, Vajranft}'i, VajrapUfPi, Vajradhiipi, and Vajraloka. Charming line drawings of the offering goddesses are provided by L. Chandra (1986: 141-42). Offering goddesses arc depiaed in plate 2. 2.63 For sldhanas with typical Mahayana-style glosses on the worship, see SM24 (pp. SS-S7), SM44 (p. 90), SMs1 (p. 1o6), SMs6 (pp. 116-17), SM8o (p. IS4), SM 171 (p. 344), etc. But for references to transgressive offerings at this stage of the sidhana, see GSS35 (KI18r4): snitllJNiiic4m.rtllf.J prllthllmlltlll clltUrbrttlmuzvihtlrtbl bh.vtzyn; DA!tinij~fNITII ff. 3V-4J' (cited Sanderson 1994. n. 16); also Beyer (1978: ISS-59), who states that the offering is made by flicking drops of water with the right ring finger while reciting the mantra O'!' p11ficam.rtll!*ji<1f1> lt/Mhi. 264 E.g., Si/qtlslzmucCilJII (p. IS2l9): wtnJana SllnHlbuJJhin 1UlmllSJiimiti. The salutation may be verbal, bodily, or accomplished with body, speech, and mind (/uiytzwlltdltll), as attested in many sources. 26s E.g., SM3 (p. 19): t~~tll/l sniNtpiijllrrughilprllSilrllif, Sll1f1piijyll tlltll/l piplltk/111'1fi1!1 ••• ~ /iinylltlbfl vibhtiwtyn; SM181 (p. 373): piijiiJitvli JNirll711Jl!tJlru1)ilto yogi bhUti1UJmrllb ltllyllvaltcittmll wt~tl iti wtndtznli llllnMyittNl ca pap4wnllpfl!l)4nu1NIIilln4JiU, lt#ruu; etc. 266 The brllh11U1vihllr11 meditations do not appear in the proto-sadhanas of Vdasavajra (NtbNmutntrllrthavaloltini, ae/hilulra 4), or in the SlmwiurgllliJHlrilotihllNllllntra (Skorupski 1983: 132). They are found, however, in the saiprural sidhanas of the HT(l.3.I) and SliT b3.7). Umlpatidcva's glosses arc consonant with other sources, particularly those in the ~ e.g., on wuUtri in SM-48 (p. 100): maitri'!' satputras~tmpritisahasrap!Jit41f1 j11n~ I tlublthah~tor ~lthic Cllltrpim ~Nim I ... tlhyattNl; cf. SMs6 (p. us). SM67 (p. 138), SM87 (p. 192), SM98 (p. 202-3), SM185 (p. 385), SM187 (p. 389), SM2o6 (p. 4JOS), etc. Umapatidcva's gloss on ~/qtl is more unusual in its direct reference to Yogacara insight. A commoner explanation is found in SM4B (p. s7): /tqtzm u~/q4! pratightinu1111J4nib11Nihllnam llJNih4ya hilllhitqu Y1t1WfU JNtram~~ hitllcllrll1)1lm; expanded upon in SM98 (p. 203). Overall, Umlpatidcva's explanation of the four lmzJmwvihllrlls is similar to that ofAdvayavajra ~wtjrll Sil1flfTIIha. Kut/.'!!inirghlltll1UJ pp. 4-s.24): saTWISilttvqv ~luzputr11prnn4/ulrll1fl Wlllitri1f1. ~ltlwiu},l/thllhnob Sll'f'SilrllSilgllrtit SllmuJtihar111)1lv4iichasvllbh4v41!1
NOTES TO PAGES 125-126
ltaru!'fl'!'· ratnlltrayafaral)llgamanlit samu/Jasanmana/;Jprabhavi'!' mutiitim, adhytisangapari/a}qa!'flm u~~ ca vibhavya.... 267 Similes for emptiness are frequent in our texts, for example, for the simile of the dream, see GSSto, "Hence, arising in dependence upon causes, existent things have a great similarity to things produced in dreams." {K51VI): atllb pratityaja bhavll/1 svapnajatamahopamab. Also, GSS16, "Like illusion, like a drcam,like an invented construction-seeing the world [in this way, he understands it to be] made of cognition, eternal and undefiled." (K821J): yatha m4yi
yatha wapna'!' yatha nirm.i!JIInirmita'!' I jNinariipa'!' jagat sarva'!' palyan nityam anivila,.. A verse cited twice in the GSS sidhanas states, "When, having produced an illusion, the magician destroys it once more, nothing of that exists at all; for this is the reality of existents." GSS2 (1<.4v6)=GSSs (Sed p. 1'2.8 19, KI7r6): miJi'!' vUJhaya mdyaviyaJa sa,.hara~ punaf,J I na ln,.dJ vidya~ tatra Jharmd!Jil'!' stl hi Jharmati I (-Nagarjuna's Mahaytlnavi,Uilta v. 17 in Tucci 1956: 203). For the end of conceptualization, sec l)altiniguhyasamayastldhanll (GSS46), which contains the most systematic philosophizing in the collection, and which cites Vasubandhu, "For the cutting of the defilements is awakening" (KI46n): tathd colttll'!f i'J'ZfNlSUbanJhuplitl.aib ivara~chedo hi boJhib. Such references arc typical of mainstream sadhanas, for example SM3 (p. 19): tata},J Junyati'!' vibhavayn. sarvaJharmtln nibsvabhavariipan vibhavya a/qarariipa'!' boJhicittasvariipa1J1 prabhtlsvaram atmtlnll'!J paiyn: SM14 (p. 39): vijMnllmdtratmako bhavalta/1: SM71 (p. 143): tato bhavanta'!' nijabijm~~ sah.iltibhutll'!f dr!!Vi SIITVa1JI traUihatuluz'!' sth4var1J1!1 ja1igllma1fl pratityasamutpann1J1!1
svapnllmtlyipratibimbopamam avictlrasaha'!' vicintya pra/trtiprabhiisvaram nJa ltn~a/4'!' pariluJJham titmtlna1JI bhti~t. 01f1 svabhavalutJJhab sarvadharmab svabhavaiuJJho 'ham: SM2.4 (p. 58), SM44 (p. 90), SM45 (pp. 93-94), SMno (pp. 225-26), etc. 268 GSSs-GSS2 (Sed p. 128 17 , Kt7rs/l<4v4): atra svabhava.lutJJhdb sarvadharmtl iti grahyaviiuJJhib svabhavaiuJJho 'ham iti grtihaltaviiutJJhib. Cf. the Bhrama-
harantlma Hn~ajrastldhana: ntlsti citttit/ bahya'!' cittt~grtihyam. grllhytlbhtlvac cittam api grtihaka'!' na bhavati. tasmlk cittal4rirll[1 Sll1'VIIIiharm41}. ~11'!' grlihyagrtihaltalunyattl paramtlrtha iti; and Stltihanllmiltltexts, e.g., SM6 (p. 27); SM7 (p. 29), SM2.8 for the mantra's power to expel obstacles (p. 68): vighnopalllmo bhavati; SM39 (p. 8s), SM51 (p. 1o6), SMs6 (p. 117), SM6s (p. 130), SM67 (p. 139), SM71 (p. 143), SM8o (p. 155), etc. 269 For one of the earliest assertions of mind-only ontology, sec Vasubandhu, whose authoratitivc Tri,Uilul (c. 32o--400 C. E.) opens: "All this is only perception (vijNiptimtltra) ... ";see ibid: vv. 27-29b on the paratantrasvabhllvab. Cf. Asanga's Mahayanasa,graha 3:29 (cited Williams 1989: 90). 270 E.g., GSS1 (K279v6) and GSS2 (J4v4). The mantra with yogaiuJdha- appears alone in some external rituals, such as the balivit/hi in GSSn (~o, §45, and §so); cf. GSS4, GSSs. and GSS38=SM218 (p. 428). A lone mantra with vajraluJJha- is also not uncommon, e.g.• HA (f. nr6ff.), SM35 (p. 8o), SM36 (p. 82), etc.
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171 Literally, "I am one whose self has the inherent nature (SVIlbhavafJ) of the nondual knowledge of emptiness . ., (The uanslation "I am identical with the essence" is by Sanderson 199+) For other examples of the mantra, see e.g., SM17 (p. 47), SM24 (p. 58, with gloss), SM46 (p. 95), SM48 (p. 100), SM51 (p. 109), SM8o (p. 154), etc. Isaacson (1997: personal communication) points out that this mantra is ofvital 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. 171 A fuller gloss on wzjr11 is cited by Advayavajra from the Vajrai~khar11 (Advayavll}rtull'f'graha p. 13, and p. 37): Jr#"1fl s4ram IISiluliryam acch~Jyabh~JJII
J./q4')1lm I aJAhi 11viNlii CIIIU11J4fll wzjram ucya~. 173 GSSs (Sed p. 119'. Kl7VI): trlliJh4tultam atitam~~!U/tzlac~tltrll1fl ca pratibhtisa-
mtitriiSVIlbhawz,. pr11biMsvara ~ prawlya. lil'mlina1fl ca rawzu, tll1fl Vll'f'k4", tllm ~. tll'f' bintillu, tll'f' rWk, taJviltalpam api--o'!' fii"JJllll}fiilnavajrasvabhtlvtitmako 'hllm-ity arthlinugammocclirya tyllj~t. IUnJIItlljfidnam nNih~tv4J fllljram tiiSJII svabhlivlls tAJ.titmalto 'hllm ity arthap. • atita] K. This may refer to the •previous" m~~!'f!tzlaaUtra visualized in the preceding pilja, or a conjectural emendation may be considered to tillita, i.e., to a mar;t4aJa that has just been "drawn down" [by rays]. • Wl'f'U"] Kpc va,Jui"(')ll) K(dcl); • SVIlbh.ifNlS] Kpc; SVIlbhtlll(vli)llS K(del). 174 The luz1"fttlldhhlrllJ4 relationship "nondual=knowlcdge" is also suggested in an earlier gloss by Candrakini (PU p. 113 on GST ch. 13; prose before v. 1): jfiil1111vajram aJvaya}fiil11111fl taJ nJa pratlhlinatv4ti "K'"'!' ttuiJhlir~~tylj jiillnavajr4grat}h4rirwf1. "In this analysis of the compound jfiilnavajrligratlhtirirw/1 (holders of the foremost nondual knowledge) he glosses -jfuinavajra- as atitJIIJII}Iilinll.., 175 GST 3.11. Sec also SM67, as when the mantra forms a contemplation of the five wisdoms (pp. 139-40): liJarlajfidnasvabhatNitmalto 'hil'!' iti pa!hati; and for the consecration (p. 140): D'f' suviiuJJhaJha17fiiUihlitujfillnasvabhlivlitrnalto 'hll,. 176 This mantra appears in a short midday meditation prescribed in GSSs (Sed p. 14f, K3ov4): maJhylihnllSII1f'llhyliyli'!' tu Jhyaugh111f1 praviiya O'!' lib hi'!' s~trwzyogini/ulyllvliltcittaSVIlbhaiNltmako 'ham D'f' vajrairu/Jhli/1 I4nllllih4muib VlljraiutJJho 'ham iti mllntrlltrll)llm U«liriiJIIn. jhll#ti m~~!'f!ala caltrllm tUJhimiKJII piirVIIVIIt SllrVII'!' /trtwi yathlisuJthll'!' vihllrwi iti. • t/hy4Mgrhm_n] em.; t/hy4n111f1 grhll1fl K; • sarvayogini] Kac; SIITVIIJOf}ni(n41f1) K(mg2); • ] K(mg1); omit Kac. 177 E.g., SllrVIItllthagatacittavajrawabhdvatmako 'hll,. There seems to be a variant reading of the mantra 0'!' Jh~abhavlitmalto 'h11m in GS 3.11, since Matsunaga has printed D'f' tlharmaJhlitu<wzjra>svabhlivatmlllto 'hllm (his apparatus shows the omission of wzjra in several witnesses). Isaacson (1001: personal communication) suggests, however, that a variant with vajra may also be fairly early. Isaacson (ibiJ.) notes that the reading of a bahuvrihi compound "nondual
440
NOTES TO PAGE 128
essence" (vajrasvabharNt) is not unsupponcd dsewhere. Abhayakaragupta, in the Abh4J4paJJJuui (MS NAK S-21=NGMPP A ,.Sh f. 10v), analyzes the mantra D'JI 1Unyatlijii11111lrNtjrasvabhavai1Nllto 'ham in this way: D'JI iti ltayawlltcittllm,
IU"JJIIIi NlibwJbhaVJtlm. jfilinm!l11111h41ta~ tat tTilJilm abhedyatrNid VlljrtiSINlbhavam dmul svabhavo yasya so 'ham. .. [The meaning of] O'JI is body, speech, and mind; the meaning of emptiness (IUnyatd) is the fact of being 'without inherent existence'; [the meaning of] knowledge {jfulNl) is 'great compassion.' Those three /o'!', iUnJIIIIl-. andjfulNl}havc a 'nondual nature' because they arc indivisible. I am one who is identical [i.e., who has the nature (lllm4 > svabhavo) of that]." Isaacson (ibid) notes that in his Amndyamllnjari, however, Abhayakaragupta gives a more natural interpretation, basically agreeing with that in GSSs above (sec the Tibetan translation, Toh n98, sOc dgc bsTan 'gyur, ~ vol. cha, f. nov). 278 SM21o, translated by Sanderson 1994 n. 24 (p. SIS): tlllia111lntara'!' O'JI svabhavaiut~Jha.b sarvaJhamllifJ svabhavaluJJho 'ham iti mllntram ucc4rya muhurtll'JI iu"J'llli'!' bha~t. uztllf.J O'!' iiinyatlijful111lvajrasvabhavtitmalto 'ham ity aha'!'lt4ram utpdliya .. .. The two mantras appear together in many texts, e.g., SM7
(p. 29), SM13 (p. 37), SM25 (p. 62), SMso (p. lOS with a verse between them), SM81 (p. 159), etc. 279 For the loss of D'JI and the restructuring of the pair of mantras, sec GSS31 (l
iUnyatlljn4111lVItjrasvabhavatmlllto 'ham-iti imll7!' mllntrlirtham amulthilturvan muhurtllm apralif.tha,upn.uz tif!h~t. Also GSS16 (K79v6): taflll? svabhava<.Jw.~Jhab sarvaJha1'7nii.[1 svabh4vaiutJJho 'ha'!' tii,--(J'!' iUnyat4jfi4111lVajrasvabhawitmlllto 'ham-iti > liinyatli'!' vibhaVJil alttilopaman sarwzdluzmuln vicintytz apralif.thlinarUpa'JI /qa!'llmlitrll'!' vibhava:pt. • ] Kpc(mgt}; Kac omit •liinyatli'!'] Kpc; lii(JJha)nyat4'!' K(del) • vibhaVJil] em.; vibha"JJl!1 K. 280 For the third type of mantra, sec SM251 Saptlik,arasliJha111l (p. 490; ed. and trans. Sanderson 1994 n. 24): taflll? lt1nyatlljful111lvajrasvabhava~ SIITVIIJiuzrmafJ D'JI 1iinyatlljfi4111lvajrllSVIlbhavatmlllto 'ham iti saltaJavastutllttvasarasa'!'grlihalta'!' mllntrartluzm llmulthilturvan. • t4tll/l] em. Tib.; taflll? 01!1 SMcd. • 1itm~~lt4/J] SMcd.; atm~~lto 'ha'!' SM mss. AC. The other sadhanas in the AdV2yavajra group are all similar, though all slighdy corrupt: SM17 (Si,.hanMiastiJhana p. 47), SM217 ( Vajravlirahisaahana p. 425), and GSS3 (Klu4). 1th In the Arya school of yogottara exegesis, yuga111111Jha is dealt with in the Pancaltra1Nl, chapter S· For yoginitantra exegesis, sec especially Advayavajra, e.g., YugaNUitihapraltllla: (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 (aflliJ) there is neither existence and non-existence, for there appears the "fusion of Emptiness and Radiance • (yuga1UIIidha; this translation is by Sanderson 1994i; Per Kvacrne 1975: 132 translates "bound to the same yoke,.). (v. 8) "The unity of Emptiness and compassion is established [in meditation], not through conceptualization, because yuganaJJha [is] the original nature (praJt.rti[l) of
NOTES TO PAGES 118-119
Emptiness and clear light." In AJvayavajrllSa'!'graha (p. 47): 114i/,1svtibhivydd
llj4111tvtl'f' pr11ty4}4J 11niruJJhatd I bhavabhiVIlv ato na sto yug•nJJha'!' tu bh4sau (v. 7) 1Unyat4/trpllyor 11i/ry11'!' vit/heya'!' na svalttJpalll/,1 I liinyat4y4/J pralt4illsya pM/trlytl yug11711U1Jhat4 (v. 8); also his KuJnfinirg/NitiiNl (k/VIl}a1Nljr4Sil1flgraha p. I): pr~ttUJhi114Wf4Siimllrtbyat JUKil1111114hiNlbhogii]Ogata/,1 ... ; MaiNlnJthaprlllttJJa (ibiJ.: p. so): bhitaltofi'!' t4tD vi!!fNiJUt~'!' gafll!J I yugaiiii4Jhllsthito yogi Sllttvirtlutiuparo bhavn. Cf. Ratnakaragupta' s DvibhujllSilmiNlroptzt/&z SM255 (p. sos): ~ltll/1 svdbh4viluz/,1ltliJII/,11U11J1114Iutru!JiiJVIlJtll; I ""Pu'f'SI'Iuzm iti lthyato JUfllnllliJha iti ltvacit. 282 Anupamaralqita's sadhana of KhasarJHl1.14 (sec SM14 p. s8), trans. Sanderson (1994 n. 2.6) and Isaacson (2.002: personal communication): SllriNI4harm4ii11J1111b!1 Jhy4ydt. t4trtya1!11UnJilt4.· m~~nomdtrllm ~'!' tm4 tm4ltlim,uz pr~ prlltibhislzkyath4 SINljJM<. > Nlsti mll114S0 bihyam m~~nogrlihyll'!'. grihy4bhiwiJ grlihllluzm 11pi 11111110 Nisti. tatlll ca lthllsvariipa/,1 sarvaJhamfll!1. U.Sibft gr4hyagrihllWisllulll/WpaNlpraJ>IllicaJiinyat4 tllttva'!' J>llramllrtha iti ylivat. llJil"' ~trthtzb; lllivaitqriiiWilmlltrd~ s~~ellrtkllra1JI j~tgatl iti cintllniyam. imllm ~ IU11]1l14'fi-(J'!' IU1IJilt4jfillnaVIljrllSVIlbh4v4tmlllto 'hllm ity ~~muNl mantrn,JdJhitif!hn. • lth4svariipli/,1] em. Sanderson; lthariiJNI/,1 SM ms. "A"; m~~nll/1SVIlriiJN'!1 SMed. 2.83 E.g., SM6 (p. 26): iiinyatd'!' muhiirtllm lilllmba~t. For the translation and explanation of these terms, sec Sanderson 1994 n. 16. Advayavajra uses the term adverbially as follows: GSS3-GSS31 (KI03f3): ... muhiirtllm aprafi!.tharii~ tif!ha; GSS16 (K79v6): .. .liin]lltlb!l vibhtlvjll iluilopamlin SllTfNIIihtmndn vidniJil ~ ltpu,uz11llltrtl1JI vibhbayn; SM151 (p. 490): muhurtmn ap~ Sll1fllinhn, etc. 0: GSS13 (K88r6): flllll/,1 IU11Jf1141!1 ~ nirii/ambariiJNi'!' vicintya; GSS35 (Ku8r6): 111111/,1 sarvlllihllrmllnirtlillmbana
/iinylltli'!' vibhdvya m~~ntram ucCiiray~t. 284 GSS31 (Kto4v6): aviu/pitllSII'!'Itll/pllaprafi!fhitllmllNlSil I 4Sm.rtima114Silt4ra nirlliamba 114mo stu u I • mt1111114/,1] K (the masculine vocative assumes that the verse addresses a transcendent Binduraja) • llSm{timllNlSilulra nirtilambll] em.; 4Sm,rti1111lnasilttirll'!' nirlilllmbll'!' K • asm,rn] GSS31; parallels read asm,rtya in the AJvayaVIljrllSil'!'fl'aha and acintyll in the Plllicaltrllma. I thmk Dr. Isaacson for pointing to the following authoritative parallels: Palicaltramll (4-10); SUT ch. 3. v. 9; ch. 8, v. 36 (although not in all manuscripts); scvcral of Advayavajra's works in the AJVtZy4vajrASil1f1f!'aha, e.g., Paficat4tiNigAt4muJrliviVIlrA1Jil (p. 15), CllturmwlrinilcllJil (p. 38), Amanasilt4r4Jh4ra (p. 6o). in which it is identified as a verse from the A"JttSSl"''lbuJJhauif4J'lVIltllrajfilinalolt4Wilt4r~tra. 2.85 Some Yogacarin exegesis arguably posits the J>llt'lltllntr~Uvabhiva as a really existent substrate, e.g., Maiueyanatha·s opening to the MIZiihytlntllvibhtlga: "The imagination of the non-existent (abhutqariltlllpa/,1) exists. In it duality docs not exist. Emptiness, however, exists in it." (Williams 1989: 86, citing Friedmann 1937. M/1Jby4nlllvibhdgafilt4.) While the tathigatagarbha doctrine certainly represents an extreme move in this direction, the debate as to whether such tendencies reflect the original Yogacara position continues. Sanderson (1994, n.
NOTES TO PAGES 129-131
26, citing Asatiga's Karilulsaptati on the VajrllCcktliltaj comments that the "new" exegesis of the eighth century can be seen as a direct recycling of the "old" school of Asanga and Vasubandhu, in which there is no suggestion that the paratantrasvabhava is a really existent entity. Consonant with this opinion that ..without an object mind does not exist," Williams (op. cit.: p. 280 n. 7) refers to a lengthy passage in the Mahliydna.sUtrlll4'f'lttira (6: 6-10) repeated in the Mahdylinasa,graha (3: 18). He also refers to "certain scholars" who have argued that "mind in the Cinamatra tradition ... has no greater reality than any other entity• (namdy, Rahula 1978 pp. 79-85, and Willis 1979). On the other hand, Williams (op. cit.: 89) himself disagrees with this view. He continues, "I remain unconvinced, however. It is clear in these cases that the negation of mind (cittalvijflllna) is not a negation of the really existing nondual stream of perceptions ... , but only of the mind as subject•-a view he supports with a citation (ibid: 89-90) from Sthiramati's MaJhyantavibhagapluz and examples from the MahdylinasUirt1/4'f'lt4rtt and Mahtly4nasa,graha. 286 Madhyamalui/a'f'ltllra (vv. 92-93) translated from Tibetan by M. Ichigo in Gomez and Silk 1989: 141-2.40. I am grateful to Dr. Burton for showing me this passage. 287 "In [the term] 'the ordinary objects,' 'ordinary' means ignorance; ordinary [objects] arc superimposed [upon reality] by that [ignorance]." AbhayapaJJhati (f. 10r3): prli/trtavi!ayli iti. praltftir atraviJya tayaJhyaropitli}_J prUrtli/1 (cited Sanderson 1994 n. 31). Cf. GSS16 (K76rs-6): bodhicituJtpdti4tilayavilwJJhib aJJa,ltAramamalwaparitydga iti • ~ri9'1iga] em.; parityaga K; GSS35 (Kn8rs): tato jhafiti va/qyam4~'!'1tlirn_ut... ; Cf. SM3 and SM4 (p. 22-23): O'f' dhamuulhtitusvabhatNltmalto 'ham iti aJvaytiha,kAra'!' lturytit; SM67 (p. 139): ["purity mantra"] cintayan prtiJtrtaiarirliha'!'luira'!' tyalttvti yogaci~ vatif!hlimi; SM181 (p. 373): prli/t.rta/uiyaparityllgllya svabhlivaiuJJhamantram limulthilturvan; SM171 (p. 344): citta1f11UnJii'!' tatafJiturytit prti/t.rttiluirahtinaye. • prtJkrtA] em. Sanderson; praJtrtd SMed.; etc. 288 E.g., Wayman citing Tsong kha pa 1990: 211-17; Beyer 1978: 122 citing Abhayakaragupta; K. Gyatso 1997: 8o-88. 289 Tribe (1994: 2.42): tatai ca sarvasattvdrthaltriyavirahito yogi purvapra!JUlhanli-
hitacittasa'!'tllna vaiAJ... 290 Williams (1989: 52-54) comments on the poetic value of such statements. This passage is translated by Sanderson (1994 n. 31) from SM171 (p. 344): muhurta'!'
lunyatllyoga'!' lturyik cittasya vilramam I pratijflll'!' prtilttani'!' sm.rttNl bijam4tra'!' puna/1 smarn I pratliritll 1Nl]li sanvli. ~lttintap~~rini"'J11lb 1/uztha'!' tlln uti4h~tri!ylimi •glilihtlti bhavasligarlit I iti sattvaftrptivi!to nilc~!!li'!' Junylltll'!' tyaj~t I • nirv.rttzb] em. Sanderson; ni11f!tdb SMed. For typical references to the vow in sadhana literature, see e.g., the Advayavajra group, GSS3-GSS31 (Knrs/Kio3r3): purvapra!Jidh4navaldt samtidh" vyutthaya; GSS16 (K79v6): punafJ stutiJHi!ha<'f'> man~ pr~t!'iJhlina'f' ca luzrll!'iyttm iti; SM251 (p. 490): purv~tpra!'iJJuln4vttihllSiimarthyit pr~tbhtisvarlili uttlulya; SM17 (p. 47): tatab pr~t!JiJhiinam anusm.rty~~; also, SM181 (p. 373): purviihitaprlt!Jitihlinaballlt
NOTES TO PAGE 131
443
sattvtlrthllm abhiviltfamll!'f' mantri; SM248 (p. 482.): tatafJ sa'!JS'lratiuiJ!thJJhyalJ sattwibhyuJJhara1,141IIJIII? I mliyofHl"UU!' jagattllttwl'f' yath4bhii141f1 viloltya safJ; SM54 (p. 111); SM65 (p. 130), etc. Many sadhanas also rommcnt on the manuin's vow to make himsdf/the world "become" the deity, e.g., GSS3-GSS31 (I; SM251 (p. ~90): prabhlisvarlili utthtiya svapn~~mdydvat vilva'!' palyan jagaJarthtiy4tm4na.[l lrihn-uluztva'!' vibhti,.t. • jaglll14rthllytl~ em. Sanderson; jagiUiutthaya SMcd.; vibhtivaynJ conj. Sanderson; vibhtivayan SMed.; cf. other nWnstream sadhanas, e.g., SM24 (p. 61): puna/1 puur anavarataNlnlipraltara'!' parirfhmtt ftrtvd jagaJ api bhagava/ loltdvararUJ"tl'l niyNIJya... samlilih" utthito jagalloltdvarllripa'!' vi/qya uuiaha~ yathq_ta'!' viharn iti; SM-48 (p. 101): SVIlJ"'!' 1Niiijuvaro bhutva jagat palya,U ca tllnm4JIIm: SM51 (p. 106); etc. 291 Sidhanas use the term •circle of protection" or ra/q4caltra interchangeably for vajra ground (vajrabhiimi}_J), vajra roof (vajrapafijaram), and so on, as citations bdow will show (the base of the structure is, of course, square and not circular, as it is formed by the walls in the cardinal directions). E.g., SM179 sidhana of Uqqiyinavinirgata-Kurukulli (p. 359): praltllrA1f1 pttfijarAbAndhana1f1 {ca} vAjrllmllJi'!' bhiimi'!' vibhavay~J iti ra/qlicaltram; cf. GSS35 (I
tilllirA1f1 tllsJil piirvadalt#!fllpllicimottllrlirqv... ) Umapatideva's prose text is related to the Abhisamayam~~fijliri (GSS5, Sed pp. 129-30, Kl?VS-I9r and K2.0V2). The latter (GSS5 Sed p. 132, K2ov cited below) refers to, and probably redacts from, Liiyipada's HA. Unfortunately, there is damage to the relevant folios of the HA in the manwcript available (f. 3v). The previow 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, becawe the next folio begins with the selfgeneration of Herukavajra "within the vajra zone" (f. ~r4): vAjrapafljara-
~····
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 maQ4aJa and the religiow architecture of India have been studied by Snodgrass (ibiJ.) and others. One classical reference to the canopy (vitdnap) swpended over the sacred spot in a temple is Kumlirasllmbhava (7.10): vitllNZvaniiUfl yuktll'!' mA?JistllmbhacAI'U!!IIJnllll pativratllbhi/J
NOTES TO PAGES 131-133
parigrhya nin~ {Umll]. For references in sadhanas, sec SM54 (p. no) in which the sadhaka is seated within a bejewelled ma!V/4pa with a vitli1UI extended over it; cf. SM6s (p. 130). 293 E.g., GSSs (Sed p. 129 1\ Kl8r3ff.): hii1!Jiuirajatllli4JhqthitaviivtJVajm_w; YRM (p. 114): r9h~gniva~ stiryama!V/4/.a'!J d."!!Vd. tadupari ni/4pii1!Jbhava-
vilvavajrll1!'. 294 GSSs (Sed p. 1299 , I
hii'!J
hii'!' ity ucclirya niwillyn. tatsamalt4lllm nNZ hii,UrajlliiUiatihq!hiD'!f mNlini vajribhava vajrabanJha hii'!' iti paP,itvi vilvavajramayi'!' bhiimim lirasdtalaparyantlim adhitifth~t. (mg2) D'fl vajraiarajliiA tTii'!J fa'!' tTd'fl ity abhidhtJya paiicaliiltavajraluiram atinibil/lzm upari iarajalmn. tasytitJho vajrapaiijara l1ii, JNI'!' hii'!' ity ucairya vajrapafljll1'a1!J. D'!f vajravitli1UI hii'!' ltha'!' hw,L ity pti!htintar41!' yathlisth471Jl1!1 vajravitlinam D1JI vajrajvlilllMIIirlta hii'fl hii'!' hii1!J ity ulttvti vajrajvild'fl ca cin~t. • tasylidho] em.; tasyaJha K. 295 E.g., NYA (p. 1): lirasdtalam upary upary uccairghaNtnibi{UzjvalaJvajraprilltdrorJhvato ni!Jsa~ltaltharu}ibhiitam upari vajravitliNtm~~!'f!ita'!' jvalaJvajrapaiijaram. Vll'fl
tavilvavaj"tJ~Z.
296 This is the method in, for example, SMno (p. 226), SM123 (p. 255), SM239 (p. 459), and YRM (p. 114). The methods proposed in Tibetan sadhana.s and commentaries aJso vary somewhat. as will be seen in extraCtS below provided by Dr. Sobisch (2001: personal communication) on the Cak.ra.wpvara sadhanas of ('Bri gung pa) dKon mchog ratna (159o-I654), with commentary by ('Bri gung pa) bsTan 'dzin padma'i rgyal mtshan (Ino-1826), ('Bri gung pa) Rig 'dzin Chos kyi grags pa (IS9S-16S9), and Mi bskyod rdo rje, the Eighth Karma pa (1507-54). Cf. also K. Gyatso (1999: 119) and Tharchin (1997: 158, 16o). 297 GSSs (Sed p. 129 17, I
mu,.
grihM hu'!' hu'!' phllf. D'fl grilmapaya 2 hu'!' hu'!' phat. D'!J il1UIJII ho bhagaviln vajra hu1!J hu'!' phluj iti caturo mantran vllmatarjanymiguuht cho#/t4t}4napiirwllta'!J utslirya Jw'.fllharitaralttapitavarrztin brahmll'.UJarast1talavyilpijva/4nmah4ltdytin piirvottarapafd11141ia/qitwu Jilqu ltramttJ~~ sumbh4Jim~~ntraralmibhir Jtiwulicchavistarlin caturo vajrapruarlin ... cin~t. • hllritaralcta] corr.; haritaralttaharita K(ditto). Dr. Sobisch has kindly translated for me the following passage ofMi bskyod rdo rje's sadhana: "[The sumbha ni sumbha mantra, etc., then:] These syllables [are manifested]. having counterclockwise the colors black, green, red, and ydlow, reaching from the world ofBrahma down to the golden base, and through 0
[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] ..... (4f): yi g~ tk rnams g.yon sltor au I Mg ljang dnuzr In' ltha Jog Clln I tshangr pa I Jig rtm 1I4S bzung skI grn gyi sa gzhir thug gi bar I lthyab dng 'bar
NOTES TO PAGES 133-135
445
b. I OJ ur Dis I rtlo rj~ I "' b. gru bzhi pa I phyogl mJog.... *This is explicit in the prose of dKon mchog ratna, which continues: "[The mantras] ace emitting rays of light in their respective colors, 'cutting oW [or eliminating] all enemies and obstructors. The rays of light arc gathered [again and] dissolve into the mantras. Thereby a square vajra fence [arises] .... , (p. 710): OJ ur r1111g ranggi mJog spros Jgra bgtg.s tN111S ctUI tshar bctUI 'oJ ur tshur 'diu pa mgags mtmJS 14 thim pas. rJo rj~ I ra ba gru bmi pa .... 300 E.g., GSS3s (Ku8r6): lllht.wtl sumbh4nisumbhliJiclltllnnultha"""'tm)/l ra/qtiJig· ~ viJtUihy4t. Note the slightly different fourth mantra with vitlymllja. as attested in Nagarjuna's Pi!'f!iltra1fi4Siil/hana (Mimaki and Tomabechi 1994 p. I* ms. Af.l.r, p. 31* ms. Bf.u) and in the ch. 10, v. 2.6; and ch. 13, vv. 2.e-3b: Jigbantihana'!' tu pr41uira'!' clltllnnulthmnantram wurn I 2 I- t»f1 sumbha nisumbha hu'!' hU, phil!. ~rw. - D1f' grihruz grihruz hi'!' hu'!' piNt!. uttlln - D1f' gri~IIJII griJJruipaJil hii'!' hii'!' pha!. pakim~. - D1f' liNZJII ho viJy4rtlja hii'!' hu'!' phil!. Ja/qi!U - cho#kli'!' ~ Jilqu JUf!"mbli1Jii'!' trtisllnam I Jab. 301 The idea of "binding"' is prominent in the early account of the ra/q4cllkra in the S41'JNU/urgatipariioJhanatllntra (p. IJ-4; 1oa), which is constructed with a variety of mantras and mudras (interrupted by some other rituals, such as abh~Jt. and luwacana), and which results in the binding of its various para plus aspects of the maJ]4ala, e.g., (loa): vajrabanJha'!' lt,rtrNl.. .; (ua-b): muJrtiyu/ttyli sarvavighnabanJha'!' kurylit. vajrabane/Juutl batitihwinP!fhaJvaya,. prasllrya... prasllritllvajrabane/Juutl bhii"'J'b!! pratin/14py4JhobanJha'!' /turylit...piiT'vlbfl bantlhayn.. . (ub) JigviJilqv aJha iirt/hva'!' ca vighnani/trntaM'!' kuryllt vajr~tlullyottllrll'!' Jila'!' banti~Nt; (12.a): vajralt.nnarui ma~btuuihll'!' ftrtv4 prtiltlirll'f' JMiy4t. This usage remains in place, e.g., HT1.3.3: pafijar~tbantlhana,. with Muktllvali: uparig•tlli/1 pr41tilrlliikharoJgat41f1 JHlfijaram, tllbhytb,t api sphuraJbhib simlliNuuiham (note that there is no vitllna in the H"'. For the boundary, see SMI (pp. s-6) in which the wzjr~pa is installed with hand gestures and mantras (p. s): tllto wzjramaru/4p~tmudrll]li SVIISthilna'!' vajrll""'J'l1" Mlhilif.thn, in the following order: ground, walls, roof, Vajrajvalivahita mantra (i.e.• flame ring), and "boundary"' (p. 6): tllt4/J similn badhniyllt; NYA (p. 1): anantll vajr11mayi bhiimifl. tajjva/lm11111Jii/th4jtNl/4valisim4bant/hiz!l; SMuo (p. 2.2.6): Hhir tl~ sim4bantJha.b l&uya iti... , etc. 302. For the installation mantras following the sequence in the Advayavajra texts, see GSSs (Sed p. 12.9 13 , KI8r2., cited n. 2.94), also GSS3 (I
sur
aua,
sur
NOTES TO PAGES 135-136
the mantras: The SUT states, "As for the binding of the directions, he should utter the four-faced manua AS the wall." SliT ch. 13, v. 2.: tligbant0ut111l'!' tu
prlilttira'!' caturmukhamllntram uccarn. 304 Dn~ibhdgavatapurd!fll, skanJha S· The fourfold mantra appears prior to the kii4NZ1111lntra in the Arya school of the Guhymamdja (Pi!"JiltramasdJhana by Nagirjuna, Mimak.i and Tomabechi 1994 p. 1* ms. M.2.r, p. 31* ms. Bf.u). Despite its reference to PuriJ]ic muras, 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: 2.9; and illustrations by Beer 1999: 2.45-49, with plate 114- The cult status of the /ti/4 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, 2.1, 2.2., and 2.4, 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 hammering, the central deity holds a single hammer, and the third face above the blade is therianthropic. On the rite of staking (ltii4NZviJhjf1), see VA VighnaltilanaviJhi SP f. I]V-I8r. This rite is often associated with the ten ltrodhardjas. A vivid example is a Hevajra rite described by Davidson (1992.: u6), in which the creation of the circle of protection is followed by the visualization of a "rimless wheel with bladelike spokes in the ten directions" that are occupied by the ten ltroJJNa. The meditator as U~J]ipcak.ravartin, 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 "mental principles" are sent to the realm of Alqobhya with the recitation of the appropriate mantra, and the wheel mdts into space. 306 More specifically, in GSSs, the wells are created from "the lengthy subde resonance of the syllable when it is recited" (Kl8vl): JaiaJiggatavip111lvnu/ttm dniya dirghan44occ4ritahii'!'ltliran#pannqu prdlt4rabdhyqu Sllmi~ JigviJigm tu ltupt_su prawlytL The instruction to dig the wdls "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 hu'!' syllahle(s?) on the outside (phyi 14) of the vajra fence ... " (4v): rJo rj~ I ra phyir hum yig l4s I byung ba llthron zab brgyati... I (understanding ra phyir as ra ba I phyi /4). 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 hu'!'- Thereby the eight deep wells that arise from the hu'!' behind the outer vajra fence .... " (p. 715): rJo rj~'i ra
ba dang n~ bar skbs nilS, mgar bsgom pa I sgo mtshams 11lll bcu yis hum rks brjotl pas, rJo rj~ 'i ra ba phyi mal rgyab tu hum l4s byung bal khron pa ub mo brgyati. 307 GSSs (Sed p. 130", KI8v4): .. . 4lto!tJnalti/4n4bhyd, vip111l,Aa'!' mahtisulthma
NOTE TO PAGE 136
447
llllhlzlllilutriJNI'!' ltunNtnli<'fl> bhtivttyn. puNZ/1 l~ghnlin ui:Sii'Jil PTWTtfU /iymn41111su t4sw ~ t ll1J4spha/411111nn4Mni'f'l7'Nlnytl t Jm4 si1Nlbtzrulh4rtha<'fl> 1Nlrtul4n vajraptubN«altrapTiilulrtin cin~t. IIlii nlll'fl vajrapTiilt4rt1JivighnotslirnJ11 viluJJhy4 ni/1Sil1'Yihltiltllltlut'.'f!ibhiil4'fl nirvighnll'fl ea jagtUJ lllihiml«]]l ... • nibSilnJhailt4] em.; nifnanJhyai/t• K • }"tMIJ corr.; }~~fat. K. This text is based on the Vajrtivali ( VighNlltil4naviJhi SP f. 18v). Dr. Sobisch (1001: personal communication) comments that in the three Cakrasarpvara sidhanas mentioned above, the circle of proteCtion is sealed not only by a ring of fire, but by rings of vajras, lotuses, and wheels (etlltras) (thw echoing the maJJ4ala circles inside the temple palace). He translates the Tibetan texts as follows, e.g., Mi bskyod rdo rje: "The wrathful [female goddesses] dissolve into the fence. As droplets arc scatteced by throwing water into water, rays of light again come forth [that] turn [into] a vajra, lotw, and wheel-fence [that is] round, without interstices, and of one piece. Thereby [one] is free from obstacles .... " (fol. 4v): lthro mo rnams II ra 1Hz Ia thim elm Ia elm I brd4bs JNU
'thor 1Hz bzhin II 'oJ ur phyiT phros rtJo rjt e/4ng I ptuJnuz '!thor lo I Ttl 1Hz ni II rJum po btlr md tlum bu gcig II gyur JNU bgtf.s el4ng brill 1Hz o. Cf. dKon
Uf} ""'
mchog ratna's slighdy extended prose (p. 35) and iu commentary, which reads: "The deities rerum and dissolve into the vajra fence. Thereby, like the spraying of droplets [when] water is thrown into water, or like the sparkling of fire sparks [when] a fire stick(?) is strilOng 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, ydlow, red, green, and blue, [circulating?] counterclockwise, blazing and moving upward, downward, and into all directions, become one with the [wall of] fire that was visualized earlier." (p. 718): lhtl mo rnams tshur byon re/o rjtl T4 INtla thim JNIS• chu Ia chu brdAb
I"' 'j ug m4 'thor ""am. 1M lctlg.s rt1o rjt{?) Ia brdAb I"' 'j 1M slllg 'phro "" bzhin rt1o rjt mgon po tk i phyiT, ptuJnuz Jm4T po. tk i phyir mtshon elM i '!thor lo 'i Ttl btl g.sum zlum po btlr mtshllms mtJ cing. thlm bu gcig tu gyur I"' i pbyi rol Ju, tk rnams ltyi 'oJ Zl'1' Ills sltyn pa I rJo rj~ i 1M Jbtzng lthn 1IIIS brtumu u. Jl&zr Str am4T ljang mgo b4 I rim pa Jrut bcu rr bzhi g.yon sltoT tiM stmg og phyogs mtshtlms /tun tu 'btlr r.hing 'lthrugs pa. mgar bsgom I"' 'i 1M dAng gcig tu D"T pas. Similarly, in the Vtl}TflYOginisliJJMNI 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, jcwds, lorwes, and wheels, being firm and reliable.• (vol. ta, p. s8o): sl4r Jllng lha mo rnams Til b4 Ia thim JNU "'' el4ng. rJo rjt dAng. rin po cht Ung, ptuinuz Ung. '/thor /o 'i Ttl N zlum po gcig IU STtl zhing /nun }'4 'i bdAg nyU/ can Ju gyuT. Note that the outer rings of vajras, lotuses, and fire arc depicted
in the Ngor m~4aJas, p. 116 (a maJJ4aia in the same tradition as that dacribed by Mi bdcyod rdo rje). 308 The structure of the material still seems to be stabilizing in the earlier texts. ThU5, in the S.rvadu1fatipariiotlha111ll4ntra, the circle of protection appears
448
NOTES TO PAGES 136-137
before the worship section (p. 134, IOa: tato rak!dcakrabhdvand kartavyd), the same sequence as that found in the SUTch. 13, vv. 2-8. The HTr.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. n4). Cf. GSS5 (Sed p. 129, Kr7V5-18r), the Advayavajra-based sadhanas GSS3 (Kr2r6), GSS4 (Kr3r7)""'SM226 (p. 440), SM227 (p. 442): hurrzvajrikrtabhiimyddau .. . , GSS16 (K76v1), also SM4o (p. 83): fiinyatdbhdvandnantaram, etc. In GSS35 (Kr18r5) the protective circle is generated after the accumulation of merit but prior to the emptiness meditations. Note SM1 (pp. 10-n): yadi fakto bhavati apardh!Je
'pi sarvam etat rak!ddiparikararrz piijddikarrz ca k.rtvd japet, no cet piirvdh!Jakrtam eva rak!ddi avisarjitarrz sthitam eva dnlham adhimucya ... vikdle ca prdkdrapafijarddikarrz visarjya rafmimdlinyd kavacarrz kurydt. 309 GSS5 (Sed p. 132 13 , K2oV2): yat tu liiyipdddbhisamaye rak!dpafijardderanantararrz fiinyatdbhdvanoktd tad adhimdtraprajfiddhikdrdt. tasya fiinyataiva pard rak!eti. sarvajanasarrzgraha!Jai punar atra fiinyatdbhdvandnantararrz rak!dpafijarddikam uktam. bahU!u cdbhisamaye!u iyam evdnupiirvi drfyeta iti. • fiinyataiva] conj.; fiinyateva K. The suggestion that the realization of emptiness is the supreme protection is made elsewhere (Isaacson 1997), e.g., in the Yogimanohard Paficakramapippa!Ji, ed. Zhongxin Jiang and T oru T omabechi. 1996. Bern. vol. 23 (p. 13): tad anu paramdrthe fiinyataiva paramd rak!eti; also by Ratnaka.rasanti, Muktdvali on HTr.3.3: tatra maitryddibhdvanarrz prathamd rak!d, fiinyatdbodhir dvitiyd, f[tiydrrz rak!drrz rephddiflokendha. Cf. SMno (p. 226). 310 This translation depends upon the conjectural emendation of fiinyateva (codd.) > fiinyataiva (conj.). Without emendation, the text translates: "For him it is said (iti) other protection is like emptiness .... " The function of iti (rak!eti) is not entirely clear. Perhaps it indicates a citation, for example, from Liiyipada's HA. 3II In the GSS collection, only two sadhanas apart from the Vajravdrdhi Sddhana elaborate upon the cremation grounds: the Trayodafdtmikavajrarjdkinisddhana (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 common, however, for GSS sadhanas to refer in brief to the visualization of the goddess within the cremation grounds, e.g., GSS4""'GSS29 (Kr3v1): vajrik_rtabhiimau fmafdntiftakamadhye; GSS19 (K83v6): bhimariipdrrz fmafdnddau bhdvayed yogi mahdk.rpafJ;Trikayavajrayogini sadhanas, e.g., GSS20 (K84v4): ubhayoryoginyor madhye 'ntarik!e cdtibhaydkularrz smafdnarrz bhdvayed; GSS35 (Kr18r3-4): dhydnasthdne utpddito#iydnamahdfmafdnddhimok!afJ. • o#iydna] corr.; o~iydnarrz K; GSS37 (KI21v2): fmafdnddau bhdvayed vidhipiirvakam .... Cf. other tantric sadhanas, such as SM4o (p. 83): vajraprdkdrarrz vajrapafijararrz ca vibhdvya tanmadhye ghorafmafdnarrz tasya ca madhye raktdftadalakamalarrz ... ; 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
marion-ground culture pervades the HT, but without mention of the eight cremation grounds as such. For example, in its proto-sadhana (HT1.j.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.j.l6ab): lmllkiM lrrit/4~ 1llltho !!Ayogini[bhi/1} pra"ffllb. The text later finds a convenient etymology (niruhi/J) of the word im4l4na from the verbal root "to expire· (HT1.j.I6cd): lvasatity aNZyi yulttyl lmtll4n~ty abhiJhiya~.
The locus clllSsicus for the eight cremation grounds in the Saf!lvara tradition is the SUT (ch. 17, vv. 36-45), and it is to this passage that Umipatidcva's verses arc related. The scripture describes the types of inhabitants by group (eight named cremation grounds, eight trees, eight protectors, etc.). Umipatidcva rearranges this grouping slighdy and divides the cardinal cremation grounds {vv. 7o-72) and intermediate cremation grounds (vv. 73-76). The 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)/ VtirahyabhyuJa]lltantra (vv. 103-9) that mentions colors, animals, corpses, etc., but no individual features or names. An important exegetical work from the Saf!lvara corpus is the Sm414114Wihi by Liiyipada (in Finot 1934 and Meisezahl 1980). This text allots two verses to each feature {but gives the douds separately, v. 18ff.), and like the SUT ends with a general description of the cremation grounds. The order of the intermediate cremation grounds in this text is suspect (southwest, northwest, and omitting northwest and nonhcast). Meisczahl (1980) discusses two Tibetan translations of Cakrasaf!lvara exegetical texts in the Tibetan canon: the AJbhutaim414111llm,luira (a subcommentary in the Cakrasaf!lvara collection in bKa' 'gyur. Toh 413, reported in Meisczahl op. cit.: 18-2.1); and the Smai4ntil'"!'luiratantra (fob 402, reported in Meisczahl op. cit.: 21-2.2). These seem to be rdated to Liiyipada's SmaitiNZviJhi since they have many features in common (including the same imprecision in the intermediate directions). In the GSS collection, the TrayoJa/lltmiltavajratf41tinisllJha114 (GSS16, K76v5-77r) merely lists the direction and name of each cremation ground (drawing initially on SUT ch. 17 vv. 36cd-37ab). The "skeleton arch" practice ofDhyayipada (GSS34) gives a brief description of them as the setting for the skeleton arch (GSS34. Kn2.r1) and then supplies a more detailed account as the cremation grounds arc internalized by the yogin (Kn3r5) and used as the basis for a series of equations with his psychophysical being, in an internalized, cremation-ground version of the yogic body DW}4a}a (n. 477 with endnote table vi). Secondary materials on the eight cremation grounds arc limited, and not consistent (which reflects the unstudied diversity of the primary sources). Mcisczahl (op. cit.) examines the contents of cremation grounds and illustrates them with plates, but this is a short and preliminary study (with several mis-
sur
450
NOTES TO PAGES 137-138
takes) that concentrates on a small number of Samvara-bascd teXts (SliT, the
AJbhutalm4ilin4/a1f1/tara, S1Nli4Nila'f'lt4ratantr~. and Liiyipada's S1Nll4naviJhi). Tsuda (1974: 292, nn. 1-3) mentions a description of the cremation grounds in the 1Aghutantrapi!'f!arth4viVIlra!fll, in works by T song kha pa, and in a sadhana by Bu ston. Ka1ff (1979: 2.4) discusses the relevance ofPali sources describing meditations on decaying corpses. K. Gyatso (1999: 1~23) gives an account of the meditation, also drawing upon Tsong kha pa and dGc lugs sources. Their symbolism is discussed by L. Chandra (Preface to Dawa Samdup 1919: 2.8-32., citing the VajrapriUiifJIZ!ippa!'i of Suratavajra). I draw these primary and secondary materials together in the annotations to table 14. 313 For birds and animals, sec SliT ch. 17, vv. 42-.~ub; ADliT ch. 9· p. 293; SmailinaviJhiv. 2.5; Tsuda (SliT p. 293) gives references to them in Bu ston's Mar.ufalaviJhi. For descriptions of the corpses, sec SliT ch. 17, vv. 43c-44b, ADliT ch. 9, SmailinaviJhi v. 2.6, and Smailinlila'f'ltlirat4ntra reponed in Meisczahl (1980: 2.2). For supernatural beings, sec SliT vv. 44-45 and the SmailinaviJhi, which describes yoginis with chopper and skull bowl, drums, and food (v. 17) and eight siddhas (v. 2.8). Some features of the cremation grounds that arc not included in the SaJ!lvara texts arc also shown in table 14. Of these, only the SmailinaviJhi (v. 18) mentions that eight caii]IIS (unnamed) adorn the cremation grounds; Meisczahl (op. cit.: s6) suggests these are drawn from the tradition of eight holy sites of the Buddha's life. The additional fcatwes arc mentioned by Mciscuhl in his annotations to planchc 1 (Ma'JI/tda of Chinnamu!V/Il- Vajravlirtihi picture no. 4072., Rijksmuscum voor Volkcnkundc, Leyden, Netherlands); he names the /q~trapli/a, the cllity4s. and the mountains individually, but his textual sources for so doing are unclear (dscwhere, he mentions that Bu ston supplies a list of ten caii]IIS. ibiJ.: 2.1). K. Gyarso's account (op.dt.) also mentions the additional features, such as a stiipa (unnamed) on the top of the mountain (named). 314 The Sanskrit text ofGSS34 is very uncenain (sec the appendix), and I have not even attempted to make full emendations here. GSS34 (KII2.fi): tlltrliya'!'
fmllilinlini Jliru1_11lm atibhi!41_11lm I diltplilav_r/qanligmarii7MghartijllSil1Nlnvit4 I dhni!.taltllSamliyultta~ lmallinasya tu llliichllnllm I tMJ ultta1f1 - mllhlihavidau vi/tru 'tighor~ pmllnganllsa'f'ltulabhimai4/xk I bhiitipi.l4cilivayo!illlliyai/1 !turyllt
lmailiM lthalu piirvasnNl<'f'> I • Jilt] corr.; dig K • nligma'ra] em.; nllgmtira/.1 K • samanvit4] K, understand samanvitllm • dhNij corr.; dh!'4 K • samiyultta!J] K. understand samliyulttam • llinchllnam] em.; lliiijana'!' K. 315 The anistic sources suggest a more fully devdoped 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 T song kha pa, against a study of the anistic representations. The cremation grounds do not just appear in tangkas in the Cakrasalpvara tradition; there arc many ofHcruka-ba.scd r:naJ.l4ala.s. including those of the Hevajra tradition (e.g., r:naJ.l4ala.s ofHevajra, Nairarma. Buddhakapala, and Vajrahiirpkara
NOTES TO PAGES 138-146
316
317 318
319
451
in 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 cremation grounds are inside the circle of protection principally in Vajravarahi practices. See Abhidharmakofabhiifya ch. 3, vv. 53b-56 for the four continents (including 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, vv. 48b-49c; for the lakes, ADK/B ch. 3, vv. 51c-52c. There are seven lakes (literally "cools": sitiis) that separate the mountain ranges, plus the great ocean itself beyond. The interpretation of sita is debatable, however (see Pruden, nn. 380-82). The Abhidharmic cosmology is discussed and helpfully illustrated by Brauen (1997: 18-21). 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.). Sanderson (1994 n. 35) demonstrates that the use of the standard seed-syllables (ya1J'l ra1J'l va1J'l la1'f'l) in the Buddhist sadhanas corresponds to that of the Vaig1ava and Saiva tantric traditions, and he proposes that these, and the tradition of relating each to a symbol, are in origin brahmanical (on which see also Heilijgers-Seelen 1994: 20). GSS5 (Sed p. 129\ Kr7V3): tatab piirvapra1Jidhanavedhavafat fiinyatiisamadher
vyutthaya svacittam evopary upari ya1J'lra1J'lVa1'f'lla1J'lpari1Jatadhanustriko1Javartulacaturasrakaranilaraktafvetapitavar7Jacalatpatakankakofidvayajvaliinkaghatank amg2k01Jacatuf!ayam. vayuvahnivaru7Jakfitima1Jt/alasvabhaVa1J'l vicintya tadupari su1J'lktirasamudbhava1J'l caturasram aftasrnga1J'l piirvadakfi1Japafcimottaraparfvefu riipyavairjiiryasphafikasuvar1Jamaya1J'l sumeru1J'l dhyatva • af!af.rnga1J'l piirva] em. ~tafrngo piirvo K. Cf. SUTch. 13, vv. 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., SMno (p. 226): tato ra1J'lktire7Jtigneya1J'l triko1Ja1J'l raktako1Je!u rephankam (cf. SM95, SM97); the elements may have the seed-syllable and the emblem upon them (as in Kumaracandra's commentary on the KYT papala 17 (p. 124); Varahyabhyudayatantra vv. 35-40; etc. 320 Changes to the Abhidharmic model can be observed as early as the yogatantra corpus in the Vairocana sadhana of the Sarvadurgatiparifodhana (p. 160), which includes the substrate of emptiness (in the form of the emptiness meditations) and the fire element. It also describes the water element as "the great ocean" (mahodadhib), and generates the ma!).<j.ala of gold above that from the syllable ka1J'l. The changes in the yoginitantras accord with the cosmic systems described in Saiva and Vai~I).ava tantric traditions and may evince their influence (Sanderson, op.cit.). Isaacson (1998: personal communication) notes that other models were also in use, for example, the Buddhist tantric Catu~pi~ha tradition uses quite different syllables: JU1J'l kfU1J'l SU1J'l hu1J'l. Both cosmological systems are also beautifully illustrated in line drawings by
NOTES TO PAGES 146-147
452
Beer (1999: plate 61 with pp. 108-9), and in computer-generated illustrations in Brauen's exposition of the cosmos (1994: 5o-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 Abhidharmakofa, the circumference of the wind element is said to be "immeasurable," 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 differently in the different systems. There are also numerous heavens above Meru within the kiimadhiitu, the riipadhiitu (culminating in the Akanigha heaven), and the iirupyadhiitu. 321 Sadhanas that directly 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 Vajraviiriihi Siidhana, 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 Sarvadurgatiparifodhanatantra (p. 16o); SUTch. 13, vv. 8-9; HA (f. 3r); GSS5 (Sed p. 129\ Kqv3); GSS3 (Kr2r5); and GSS12 (K71n). The difference is more apparent than real, since in these cases, the circle of protection presumably encompasses the visualized cosmos, or as it says in GSS3, it is visualized "on top" (GSS3 Kr2r6: taduparz), perhaps "superimposed"? The dharmodayii and temple palace are then visualized within the circle of protection, on top of Mount Meru. 322 E.g., GSS3, GSSn, cf. SUT 13.13: caturasra'f!l catiiratnamayam tlf!af.nigopafobhi-
ta'f[l vicintya. 323 E.g., SITS ch. 6 (p. 56): sumerugirimurdhni vajrama7Jiratnakufiigiire samiijam
iigamya .. .. 324 E.g., STTS ch. 6 (p. 63): caturasra'f!l caturdviira'fj'l catustora7Jafobhita'f[l .. .; Sarvadurgatiparifodhana (p. 160), Niimamantriirthiivalokini(Tribe 1994: 244); cf. GSS16 (K76V2), ADUT (ch. 14, p. 316), and similar descriptions in many other sources, e.g., HTuo.2o; 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 connection with the yogatantra corpus may explain the common vifuddhi of the temple palace with the body ofVairocana, e.g., GSS5 (Sed p. 130 16, Kr9n-2):
-savidyiivairocaniitmaka'f!l kutiigiira'f!l ... ; Hevajrasekaprakriyii (vairocanafuddhyii kutiigiira'f!l ... ); SMno (p. 227): parifuddhabuddhakfetra'f[l sa'f!lkfepariipa'f!l mahiimokfapura'f!l vairocanasvabhiiva'f!l niiniiratnamaya'f[l kutiigiiram ... , etc. Studies have shown that the traditional Indian temple, based on the intricately conceived viistupurufama7Jrfala, 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, sec Braucn (1997: 73-74). 32.5 Earlier sidha.nas describe the generation of the temple palace upon a lorus (e.g., SM12.3 p. 2.55), but later texts add the detail that upon the pcricarp is an altarlike foundation composed of a double vajra, e.g., SUT (ch. 13, v. 13); HA (f. 3v); Bhramttluzran41114 HnNljras4Jh11114 (eel. Isaacson 1997); SM97 (p. 136); SMuo (p. 2.27); NYA (p. 12.); cf. K. Gyatso (1997: 86, 93). This is illustrated artistically in the sculpted Sumeru Temple in Chengde Uehol, China), in Braucn (1997: 74 fig. so). 32.6 The manner in which the dcvarion of the temple is depicted within the twodimensional m~Qa1a is discussed by Brauen and illustrated with a helpful series of explanatory models (1997 fig. 47 and plates 15-2.1). 32.7 Another "transitional .. GSS sadhana is the Trayotildatmiluzvajra44/tinisd4h4M (GSS16), wruch fuses the tradition of the temple palace with the setting of the eight cremation grounds; it is the only GSS sidhana to locate the self-generation within the eight cremation grounds and also to endow the goddess with a palace (vimli111lm) 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 m~Qalas within the cremation grounds. Cf. commentary on HT1.3.16 (lmAJ4N Jtri4au Nitho) in YRM (p. 115): Vlljrapriilulriisv ll1Jta" thDrt1!!4fmiz/iJNJni tlln~ /rii!Jltiirotillrt
viharati 1llitho lmlajraf.J. 32.8 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 Tll'!f. E.g., GSS35 (Ku8v3): raltta-elt4rllJHlri!f11ta'!' lohitavll'!'Jl'!' illrirasvaripam urJhVIIIiharmtu/aya'!'; GSS1o (I<47V2.): tatra dhllrmtulayii'!' Jhytltwi rtdttlldylllqarasa'!'blutvii'!'; GSS2.4 (K90n): ralttllhri'!'urllSilf!lbhiitdf!l Jha~.
32.9 The compound Jh~~rmtxlayti is a feminine bahuvrihi whose gender is derived from the now absent referent, "womb" or "source" (yoni/1). i.e., "that [womb] which is the origin of dhllTmllS .. (JhaT111111iAyayonip > JhaT1110114yii) (Sanderson 1998: personal communication). However, it also appears as a masculine noun, functioning as a genitive tatpuf'U!Il compound, Jha~. 330 The triangular fire pit in the GtJpyahDm11viJhi (GSS8) is referred to as .. vagina shaped" (f<44n): biNzgliltiirt va/yllltu~.. .. As for the letter t. sec GSSs (Sed p. 1301\ KI9r1): Jh~ tltiirllm UJNlriviilllbn aJha~'!' viciniJil. For its correlation with the female sex organ, sec GSS1-2. (K2.80VJ-2.): tiha~ vilthyitll'!' JO!itdf!l bhllgam ity api; also cited VllSilntati/Uii ch. 9. v. 2., p. 71. A corrupt passage in the SUT ch. 2., v. 2.sab: JharmtHlayayoniJviirii!Jilm abhimult~Hz, bh4VIlti nikitllm is translated by Tsuda: "It is certain that it (the seed) &ccs the aperture of the yoni, that is, 'the origin of dharmas: .. Sanderson (1999: personal communication) suggests that the sense is of rebirth: "It is ccnain that [the being to be reborn] approaches the exit from (JtNira-) the vagina that is the source of existents (tliNzrmtHiayayoni/1) ... Similar instances arc
454
NOTES TO PAGES 149-150
cited in the &uJJhatantraltola (p. 10) e.g., Vi11UZI4prabhli (p. 39): ~ ra~
lthaJhitau vii bhagt Jha~ 'mbujt. 331 Sanderson (1999: personal communication) points out that the JharmoJayd is already present in the root text of the Caryitantra, the Vairoca111lbhisa'!'boJhitantra, as depicted in the 111-deity IJW}4a}a based on the scripture in the Ngor OW)<Jalas ofTibet (1989; plate 10, also in color at the end). Here it has its scriptural form, downward pointing. with the vajra at its center. This tantra was translated into Chinese (T 848) in 715 C.E.; on the Far Eastern version, sec Stein (1974-75: ,.SI-88) 331 GST 1.1, HT1.1.1: tva'!' 1'NlJ'i lrutam ~lwmin sa~ bhagavlin sa11Nithatligatalttiyavdltcittahrtlayavajrayo/idbhag~
vijahlira.
333 For the Jharmotitzyli as Sukhivati, sec HT1.1.38ab: vihart 'ha'!' sulthlivatya'!': sadvajrayo1ito bhagt,· HT1.1..pa: JO!Uihhag~ sulthlivatyllm; HT1.4.30C-31b:
striltaltlto/4sulthlivatyli'!' tva,luirasvariipaltt I sulthasya ~ ~~~ sulthlivatiti labditam. The YRM (p. 139) states unambiguously: amillibhasya tath4galas]ll buJdha/qttra'!' sulthllvatity ucyatt. iha tu nairlitmylltJinli'f' bhagllni sulth4vatisa'!'/qqui!Ji. niruttarasulthasya ralqa,_,at. Hence the JharmoJayd is frequently described in terms of "self-perceived (svasa'!'vtdyam, known-in-itself) great bliss" (HT1.8.46b: svasa'!'vttiya'!' 11Ulhat sultham) and as wisdom and means, viz. buddhahood, HT1.8.49ab: JhannodayoJbhava'!' jfiiina'!' lthllS41fUZ1!I sopayanvita'!l. On Sukhavati as a "generalized religious goal," sec Schopen 1977. 334 GSS41 (Kusvs): ~lulrllSilmlisiM sahajiiNzntlarupi!Ji I prajMjNIM Cll ekhastht namas tt vajrayogini I I • prajiilijNIM ca ekhastM) em.; prajNijfillNzJehastho K; prajifdjfilint ca ekhligrt C. Cf. GSS17 (KBus-6): dtiir~11'11Mihyt va'!'luira'!l; and the related sadhana GSS45 (KI39Vl): pratha1Nl'!' ttiwu/ tva'!'lulra1'11Mihyt.. . ; and citations in &uJJhatantraltola (p. 10). Note that in the Hcvajra tradition, ~a'!' designates innate bliss (sahajtinanJ4b), the summation of four types of sexual activity that are equated with four tantric initiations. For example, HT1.3.1-4b: "The union (sa'!'varam) of all the buddhas is grounded in the sound ~"'!'· Correctly produced through [the four] consccration[s], nJII'!' is great bliss.... the syllable t, which is divine, is adorned with ""'!'in the center." Ja'!fVIITII'!f sarvabuJJh4111lm twl1fl-ltlirt pralif/hita'!l [cf. SUT ch. 3. v. 17] I abh;,tluljjNJyatt samyag twl'f'-lulra'!' mah111 sult~Nv,~ I 2 ••. ~-ltllrllkrtiyaJ di11J41!1 1'fiMihyt va,Juirabhifita'!'. Ratnaralqita's Paiijilta on the SUT also explains tva'!' with reference to the fourth abhif~lta (Tsuda 1974: 146 n. 1); Kir}ha's commentary upon the HT (YRM pp. 103-4) identifies ~ as vagina (bhagap), and VII'!' as penis (ltulila/:J). In one Tibetan exegetical tradition, mKhas grub rje (pp. 333-36) describes three types of~'!' stating that the inseparability of bliss (va'!') and void (t) is the principal subject matter of the highest tantras. 335 Introduction to Adhikira IV, Nll11UZ11Ulntrdrthllvaloltini by Vilasavajra (Tribe 1994): Sll'!fvaragraha!'flpiirvaltll'!' boJhicittam utpiJya paiictiluJrllbhisa'!'boJhi'!' bhliva:pJ anma ltramn,w. See Tribe 1997: Ill. 336 Sec ~ha commenting on HT1.8.4b-8b in YRM (p. us): yoglliarira'!' punar atra pancllltdrabhisa,.boJhi/,1; and Vajragarbha's Htvajrapaiijilui ed. Sanderson
NOTES TO PAGES 150-152
455
1994, n. 57 (ff. 47V-48r): ddarfasamatajfianapratyavekfartaka'f!l kramat I tefdm
aikyam anUfthana'f!l bimbanifpattihetub I dharmadhatur ida'f!l prokta'f!l paficama'f!l jfianam uttamam I paficakarabhisa'f!lbuddha'f!l hevajra'f!l dvibhu}a'f!l bhavayet. 337 The vajracatufka comprise: (1) awareness of emptiness (fiinyatabodhib), (2) producing the seed-syllable (bijasa1[lgrahab), (3) concentrating the seed (bijanifpattib), and (4) placing the syllables (akfaranytisab). This is taught in the GST (ch. 12, v. 66a; ch. 18, v. 137) as part of the fourfold series seva, etc., mentioned on page 25 (GST ch. 12, v. 6off.; ch. r8, v. 136ff.). See also Candrakirti's exposition (PU toGS 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 (Snellgrove 1959: 57). Beyer (1978: 109-10) describes its correlation in a Tibetan tradition with the process of rebirth. In the sixfold arrangement (of six "gods"), the first "god" (tattvadevata) represents meditations on the nature of the "self'; the second (fabdadevata) is "the god as sound," i.e., the mantric syllable resounding above the moon disk; the third (akfaradevatd) is the mind as the moon disk with the mantra written in gold around it; the fourth (riipadevata) is the rays issuing from those letters to benefit the world and retracting once again into the deity's body; the fifth (mudradevata) is the armoring of the deity's body; the sixth (nimittadevata) is the meditation on the form of the deity to fortify the aha1[Zkdra. 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. r: 29), and also by Tsong kha pa (1987: 104-9), with 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, citing Kriyatantra texts (ch. 4: r65). See also Bentor (1996: 97-roo) for a helpful summary of some of the different Western treatments on the subject of generation. 338 GSS5 (Sed p. 1313 , Kr9r5): tasya nabhau ~.talokadharmatam upalakfayed vifuddhya
raktapa1[ZkdraJiiftadalakamalakarrtikayam avidyandhakaravidhamanavifuddhya siiryamartrfale dvigurtaliparirtatarlarfajfianasvabhavacandrarfat:Lhadadhayalopetadvigurtakaliparirtatasamatajfianasvabhavasiiryayor meltipakamahasukha'f!l sa1[Zpupamadhye raktava1[lkdrajavajramuftyantargatabhanusthabiJa'f!l pratyavekfartdsvabhava'f!l tannirmitarafmina spharitva dafadikfu bhagavatyakarerta sattvartha'f!l krtva punas tatraiva sa'f!lhararta'f!l krtyanuffhdna<m>. etat sarva<'f!l> parirtdmertdtmana'f!l bhagavati1[l vajravarahi'f!l suvifuddhajfianasvabhavd'f!l ... bhavayet. • upalakfayedj N; upaleyad K. 339 Note that in contrast to the Vajravarahi Sadhana (which directs the yogin to visualize the red lotus inside the dharmodaya), the Abhisamayamafijari prescribes the visualization of the red lotus within the temple palace. The temple palace itself has already been generated within the dharmodaya. 340 See HTr.8.4cff (v. 6): sthitalif candrariiperta kaliriipe7Ja bhtiskarab; cf. Sa1[Zpupodbhavatantra 3·3·5ff. In the GSS, see GSS12 (K71q): tanmadhye pa1[Zkdra-
parirtata1[l vifvapadmam. tasyopari hii1[lkdraparirtata1[l vifvavajram. tadvarapake
NOTES TO PAGES 152-153
alikaliyogam .. .; GSS7 (l<.4or4): uuiantllr aliltdlip sydti ~ Wl~biiptllm; GSS16 (Knrs-6): ~· . . alipariruJmma canJr~tmll~m. luilipllri~ siiryama!Jt/aiAm. htl'!fVII1f1PIIriruJmma multuiitllvajram; GSS33 (I hu,lt4rotthilll'!' vd v~tjras~~ttvayogma sur~ttasulthoJbhiillllrihmJtlil1n41141f1 bhavayn. • hii'flltarotthilll1f1] conj. Sanderson; hii'!'rtltihitllm ms. 341 ADK/8 ch. 3, vv. 1o-17; cf. Beyer 1978: 113, Isaacson 1996b: 25, nn. 16, 17. 343 RatnakaraSanti's MultttiVflli on the same passage (HTI.8.s-6, cd. 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: (I) the bliss of the seed placed (directly) upon the sun disk (prayogasultlutm), (1) the bliss of the emblem (cihnam) that has arisen from the seed (m~ham), (3) the bliss of the seed inside the cihna (paricc'"elasulth~tm), and (4) the bliss of the innumerable yoginis that emanate and retract [into that seed through the agency of rays] (p~tr4rthasulthllm). 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,l<ar]ha uses the sequence described here, which becomes standard in the yoginitantra sadhanas, e.g., commenting on HTI.8 ...00-sab YRM (p. 114): dvtzyor iti pr~tjfioJHiJ4SvllbhafN1JDI c~tnJrllliiryllyop. tlln~ mllhasultlutsvabhllva'fl bijam ulttllm • w~tbh4VIIJOIJ em. Sanderson; Wllbh4VIl'!f ell Snellgrove. 344 For descriptions of the seed/emblem, see GSS3 (Kun-3): lllliv11rtt,U~ aliltdliparif.'IIIIICanJrasii1Jasii'!'P"fll~ rlllttllWijrlintllrgll""!' rllkt4V111f1U1'111f' pr~t/trtiprtlbhdsvarll'!' p*t, GSS11 (K?IIJ): llln~ JNl1!lltliriiJNlri!IJllll'!' vilvtt-
paJmam. tasyopari hii'!'lt4r~tp11ri!JIIIIl'!f viiv~tv~tjram. lllliVIlriJ!IIIt~ 4/ilulJiyog~tm. tlln~ Vfl1JIIttlr111fl tlltpllri!JIItd blutg~tvllli vajr~tvirihi rUtiiWI'!"l; GSS38 (Kinvt-2): silllhriplt4r~tj11p~tiicaiiiltllv~tj"'."' nifpannli'!f Vlljr~tVIirihi'!' • hrifJ] Kpc; (hii'!f)hrip K(del). 345 Cf. SM6 (p. 16): IIlio niicaraJ IIMitllralmiJatasllhasra, dhyatVIi tmll SIITVIISIIttVIindm lli~!'lndtiiltalas~t'!fdtll'!f rtigiiliiltklasamuha, SllttVIirul'fl viiot./byanu; SM66 (p. 133): punai ell guhyll'!' parllmll'!f JNWitr"'!' I bijli/qllr"'!' pra/qllraJIl1ilujdlam I b4ndhiiJ&zpU!JIIUiyutasanniltJia'!' I Vtkli'!f prapaiicapr~.. .;
NOTES TO PAGE 154
457
SM67 (p. 140): tllto bija/qllrtin nibs.riJil rllimibhir pancagatiltasattvlin anumtrayn. ...limllntrilllflll!tlltiltllSilttVIin bijalt,art pravdya.. . . The ..expansion and contraction" of rays is a common term, e.g., SMs6 (pp. n6, n8): sphara!J4Sil'!'hara~mut; SMsS (p. 122): sphuraf.W111f1hara!"l'!' ca tihyaytit. 346 Strr (ed. Tsuda 1974), Utpattinirtl&zpataiA (ch. 2., vv. 12c.-2.o): sdmagri'!' na
IAbhau tll11at sapt4h4m anlllr4bh4v~ fi!!hati I 12bc I ltatha'!'Cit ltarmasutr~!"l !'l'!gatil ca prajliyat~ I IJ I mdtJPitrdt.liSII'!'yogti ilq~J bh4vajanmi~ I atinirbh4ram lln4Ma1f1 multhamtlrg~ prav~syau I I4 I aivdroha!"lvaj jfiAna'!' vtiyuvllhanariif!havat I fighratllra'!' samtlgatya muhurtalt,at_Uinuitraltam I If I atNlsaptatWzhasrafi C4 ntitft/1 sa'!'CodJII tat/qa!"lm I parai'Ninaw sa'!'prtiptam 4Jilt4Jj tbavi/rrtam I I6 I lultraio1_1itayor ~ biNluriip"J'l tif!hati I pratha"""!' ltaiA/4/uiram arbuJafi ca Jvitiya/utm I IJ I IJ'ti~ ~lito jtitaii caturtha'!' ghanam nNl ca I viyuNl prnyanui!"lli ca mtl'fUiilttiravad bh4vn I I 8 I paiiCJZmlisagata'!' bija'!' pancaspho!"'J prajdy4u I lt&tromanalthticihna'!' saptamtis~ jtiyau I 19 I intlriJII!Ii ca riipli'.'i vyajyant~ cdffllmdsataf1 I Sll'f'Pii'!"l'!' navamtis~ utand ~120.
347 Here, the generation involves two stages. The first generation is of the deities' "causal" form (or hnuvajrllllhara); 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 Bhramah4ra111lma HnNZjraslilihana (Isaacson 1997: s): tasytinantlina tisyma dvihof1lttiravi44rbhitam I jva/ad bijadVIIJil'!' rtigtit paJ1111inta/J praviilul Jrawt, upon which Isaacson (ibid: 2.7) writes: "RamakaraSanti is perhaps deliberately slighdy obscure here; it must be understood that the sdtJhalta visualizes himself in the form of the seed syllables ll'!' and ~ preceded and followed by hop, and that he then enten into the mouth of the Hevajra generated in the paiictiltdrtibhisa'!'botihi above and passes through the central channel of the deity's body and via his penis into the womb ofNairatmya, 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 T song kha pa's sNgags rim chm po, 1978 pp. IIJ, 12.6-2.7, and Wayman 1990: 2.11-17.) 348 On the three bodies in relation to the self-generation, see Sanderson (1994: n. 57) citing, for example, the Yoginisa'!fCdranibanJha: "Having a nirmli!'4 [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. 4f1}: ••. nairmli'.'iltam iti jagatlartha'!' prati sphara1JilSII'!'h4ra1}4tmalta'fl tinNzt/Ukha'fl nirmd!"llttiyasvabhdva'!' jNitv~ti i~I'IP· .. ata n~a
dharmasa,bhogadvti"'."' ltufllgtirasthitatkvatlibhib sa,.bhujyamtinatvtit Sll'flbhop/t4ya ity ucyau; also, "The Body of Transformation in the state of radiating the deities is like the state of begetting sons and so on" (Amndyamlliijari cited Beyer 1978: 12.6). On the conventionality of the sa,.bhoga form generated in the meditation, Abhayakaragupta's commentary to the Butbihaltapdlatantra
NOTES TO PAGE
155
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 Piramitanaya {the Enjoyment-Body] is ordinary/conventional simply (roa) because it enjoys the Dharma" (cited Sanderson op. cit.). Abhayapaddhati (f. 6n): iha tv asau
dharmaluiyavaimil vinryanurodhato h~rultadiriip~'}il uzrhatllthanirmittnll nirmti'}illtaya ucyau. yas tu nirmitllbuddho nimui!"lltaya}_J paramittinay~ kathyau so 'trapi tadvad roa nirmitlltvac ca. saty api dharmaltayanirmitlltv~ sa7J~bhoga luiyasya paramitdnayt P.rthalttva'!' dharmasambhogad roa. • nirmitatvac] em. Sanderson; nirmitllvacms. Cf. YRM (on HT1.1.5): nimui'}illtliyabSilmayasattvaiabdmabhidhiyau. 349 The reflexive pronoun is usually supplied, e.g., GSS34 (Kt12v3): mahtitkvi'!' atmanam adhimuflcaytt. 350 SM25 (p. 62): ~ta.dllnantllra7JI pratibhasamlitralta7J1 svaltliyam avalokya. 351 Cakrasa111vara is described, for example, in SUTch. 13, vv. 22c-24, and NYA, Sa'!'varama!'~Jalil 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 Vajra4akini forms, which are said to have been revealed to Indrabhuti, Maitripa. and Naropa. These three masters are all associated with separate lineages in the Tibetan tantric tradition, according to an anlaysis of nine S~vara schools by Tibetan commentator Ngag dbang rigs 'dzin rnam rgyal rdo rje. namely the three main lineages ofLuyipada, Ghatnapada, and ~r;tall
hu'!' hu'!' hu7!' pha! pha!
phaf svaha (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): ralttapadmacaruirasanastha'!'; GSS2o (K84r5): viltasita-
NOTES TO PAGE 156
459
fuklavarrzapadma'f!l bhavayet. tatropari atiraktavarlJ.a'f!l siiryamal}(iala'f!l bhavayet; GSS2 (Kiu4): vame padmabhajana'f!l sitavarrzam asrkpiirrza'f!l, 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. n): somasiiryakrfanvdtma tejas tritayariipam I netratraya'f!l bhavayami vrttatatritayam afijasa. 356 E.g., GSS5 (Sed p. 131 15 , KI9v6): mithyadr!fiprahiil}iid vikrtaikanand'f!l caturmdraviniifaniid da'f!l!.trotkatabhi!alJ.d'f!l; GSS17 (K82v2): da'f!l!.triikariilavadand1J2; the goddess is also described as only "slightly fanged" GSS16 (K8or5): i!adda'f!l!.triikaralini1J2; GSS4 (KI3v3): da'f!l!.triikaralavadanii1J2 trinetrd'f!l vikrtanand1J2; GSS45 (KI39v4): caladvartulatrinetrd'f!l bhriibhangabhrkufini<1J2>; see GSS17 (K82v2): raktavartulacalatpraca1}(ianayand1J2 ... atibhimariipd1J2; GSS19 (K83v4): ugrd<'f!l> ... caladvartularaktatrinetrd1'(l; although also with a lustful or compassionate expression, GSS7 (K4or5): trinetrd ca madanotkafd; GSS5 (Sed p. 131 16 , KI9v6): kayavakcittavifuddhak,rparaktanetratrayd'f!l. For Sa.qlVara, see SUT ch. 13, v. 21a: vikrtanana'f!l; NYA p. 26: -da'f!l!fravaktro, 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]." Siddhayogefvarimata (6.19cd-28): vdma'f!l dak!i1J.am evdtra dak!i!la'f!l cottara'f!l smrtam. ed. Torzsok 1999. 358 Seep. 72. This distinction seems to have been blurred by the traditions transmitted 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 ofNaro-Qakini (Willson and Brauen 2000: 258) notes that she holds in her right hand either a "knife marked with a vajra, or a <;lamaru dangling from a vajra." 359 GSS5 (Sed p. 1319- 12 , KI9v2): vajravdriihi'f!l ... samarasibhiitapaficajfidnavifuddhydru1J.avajradhard1J2; SM218 (p. 428): .. . aru1J.apaficasucikavajra'f!l dhyatvd. In contrast, Luyipada prescribes a vajra with a single point (GSS2 Kiu4): dak!ilJ.e ekafiikavajram. 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 (ekasiicivajram); SM134 (both vajra and siici); SM140 (both vifvavajram and ekasiicivajram). Snodgrass (1985: 175 fig. 106) shows examples of vajras with one, two, three, four, five, and nine prongs, and discusses the vajra as a multivalent symbol, (ibid.: 174). Beer (1999: 232-43, with plates 108-12) illustrates iconographical differences and discusses their symbolism. References to the threatening gesture abound, e.g., SUT ch. 13 (v. 24a): dak!i!le tarjanivajra'f!l. In the GSS, see; GSS3 (KI2v): vajravdriihi1J2 ... dvibhu}d'f!l dak!i1J.ena vajratarjanikakard1J2• kard1J2] em., kara'IJ'l K; GSS5 (KI9v2):
bhagavati1'(l vajravdriihi'f!l ... satyadvayavifuddhya bhujadvayii1'(l dak!il}ena
NOTES TO PAGES 156-157
prasrtordhvatarjanikayd du!fatarjanikayd du!fatarjanapare?}a samarasibhiitapafzcajfzdnavifuddhydru1}avajradhard1Jl. • bhujadvayd1J1] codd. (understand bahuvrihi); GSS6 (K39v6): vajrolliilanatarjanyd<1Jl>; SM218 (p. 428): vilasattripatdkojjvalasavyakarapallavasthitapiirvokta[=aru?}apafzcasiicikavajra}vajr~ ajfzdnapurufasya bhaydnuvidhayini1Jl. 360 E.g., GSS35 (Kir9n): vdmakarakalitordhvanabhastalavilasatkapdlaviniviftadtf.ti1'fl· 361 NYA (p. 26.9): vajravdrdhi tu ... dlinganakaradhrtakapdlagalitarajodhdrayd prabhu1J1 pdyayanti prasrtordhvabhujatarjanaikavajre?}a duftdn sa1J1tarjayanti.. .. Another early tangka from Khara Khoto (twelfth-thirteenth centuries) shows a two-armed Cakrasarpvara with Vajravarahi (Piotrovsky 1993: plate 27). Some early statues of solo Cakrasarpvara have also been published, such as the brass from northeastern India dating to the eleventh-twelfth century (von Schroeder 2001: plate w¢), the metalwork statue found near the ruins of Vikrama5ila (Linrothe 1999: plate 206), and the very fine leaded brass Cakrasarpvara from Kashmir dated ninth to tenth centuries, holding an almost complete elephant about his shoulders (Reedy 1997: plate K62; Linrothe op. cit. plate 2n); 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 Cakrasarpvara in his survey of wrathful esoteric male deities. 362 For blood of the evil mdras (namely, Kldamara, Skandhamara, Mrcyumara, and Devaputramara), see GSSn (K7u5): vdmabhuje ca kapdla1J1 duftamdrddyasrkpiir?}adhard; SUTch. 13, v. 24c: duftamdrddyasrgdhard; SM218 (p. 428): caturmdrdsrgdpiir?}apadmabhajanam. SM236 (p. 457): vdme kapdla1J1 devdsurarudhirapiiritam. HT1.8.2ocd: rakta1J1 ca caturmdrd1}d1Jl piyate siddhihetave. The reference to the blood in GSS5 (Sed p. 131, KI9v5) is in the note below. While skull bowls generally hold blood or the nectars, another mal).<;iala described by Abhayakaragupta (NYA p. 15 Saptadafdtmakahevajrama?}rjala) ascribes each attendant goddess a skull bowl containing animate creatures ranging from a turtle swimming in the blood (sakiirmaraktapiir?}akapdla) to a monk (safuklakapdlasthabhikfu). As for the classification of skulls in the Buddhist tantras, Sanderson (1994i: 95) has noted that its exposition in the SUT (ch. 15) is closely related to the Saiva kapdlika Picumata (ch. 4). Various types of skull bowl are depicted by Beer (1999: 265, plate n9). 363 GSS5 (Sed p. 131 12 , KI9v4): vajravdrdhi1J1 ... vdmenddha-ekafiikordhvakn~pafzca fiikasitada?}rjdnugatafUfkasdrdrafirovifvavajrakanakakalafamiilavinirgatara~tsii
kfmagha1}fikdnvitavifvapatdkdvirdjitopdyasvabhdvabdhudd1}1/dsaktakha.tvdnga<1Jl> mahdsukhamahdkaru1}drasasamaydsrkpiir?}akapdla1J1 ca bibhratim • 0 sdrdra] SM218 (p. 428).; sdrdra1Jl 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 seventeenth-century tangka of Padmasambhava from western Tibet (ibid: plate 49), brass of "Naro Dakini" (ibid: plate n4), and the tangka of Padmasambhava (ibid.: plate 48). For a version of the kha.tvdnga with just two skulls
NOTES TO PAGES 157-158
(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 Raktayamari (ibid.: plate 107). Beer (1999: 253-58, with plates n5-16) 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: fufkamutzr/atraya]. It has a vifvavajra 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 its center is a vase adorned with mango leaves and the like. Above its mouth is a vifvavajrawith 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): khatvtlrigarrz devattlmurti~ prajfttl r/amarukalpitam I khatzr/akapaladaya~ sarve fariradhatukalpitam. Cf. K. Gyatso 1999: 126. 367 E.g., GSS2 (Kru4-5): alikalimutzr/amaliimudrittlrrz; and GSS5 (Sed p. 1324 , K2or2-3): alikalipaftciifadakfarasvabhavarrz grathitasardranarafiromalinirrz. For the dripping garland on Heruka forms, see SUT ch. 13, v. 21d: fattlrdhanarafiravibhufitam; YRM on HT2.5.9a (p. 152): mutztfeti stlrdramutzr/amalii, the Mahamaya sadhanas (SM240, SM242, SM244), etc. For the same on the lone Vajravarahi goddess, see GSS12 (K71r5): fattlrdhanarafiromalapralambittl; GSS3""GSS31 (K12v5): stlrdramutzr/amalalarrzkrtagtltrtlm. On twelve-armed Marici, the dried skulls of the chaplet are distinguished from the dripping heads of the garland, SM139 (p. 185): fufkapaftcamutzr/amaliimaulikarrz vigalan-
mutzr/amalapralambitakandhartlrrz. 368 E.g., NYA (p. 26): niraktatvena fufkanarafiromalini (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 goddess is commonly depicted wearing only a garland of skulls (e.g., Sacred Art of Tibet plate n4). 369 For the former, see the Mahakala Brahma~arupa brass in Sacred Art of Tibet plate 72; and for the latter, the seventeenth-century brass ofBegtse ibid.: plate 120. See Beer's discussion and illustrations (1999: 316-18, with plate 137). 370 E.g., GSS7 (~2r2): nupurair mekhaliibhif ca keyurair vajralaftchitai(l; SM245 (p. 475): nartlsthikutzr/alinarrz. 371 E.g., Cakrasarrzvarapaftjika (f. 6v): avayave krtarrz lirigarrz sa mudrtl. Cf. the Carytlvratadiinavidhi cited by Sanderson (1994 n. 69), and mentioned n. 381. 372 GSS5 (Sed p. 131 18 , K2on, Nnv, D13r2): cakrikutzr/alakatzthirucakakhatzrfiirika-
mekhaliikhyapaftcamudriidhartlrrz. - katzthikarucakakutzr/aliini firomatzivibhiifittlm I yajfzopavitarrz bhasmeti mudrtlfatkarrz prakirtitam - iti. matzr/alanayikatvena fatzmudrittlm ity eke. • katzthi] K; katzthi N, D • khatzrfiirika] K, N, Dpc; kha{dvariga) D(mg) • mekhaliikhya] em.; mekhalakhya~ codd. • katzthika~
NOTES TO PAGES 158-159
vibhii§itiim] codd.; Understand "ka1Jthikiirucakaku1Jr/alafiroma1Jivibhiifitiim" (the text is corrupt and unmetrical; but the sense is clear). • yajfiopavitam] D; yajfiopiivitina'f!l K, N • 0 fatka'f!l] K, N; faflka'f!l D • fa1Jmudritiim] corr.; faflmudritiim K, N; fa1Jmudritiim D). Cf. GSS7 (K4ov2): fa1Jmudriimudritii devi kha1Jr/ama1Jflitamekhalii I keyuranupuriibhyii'f!l ca yathiisthiina'f!l vibhiifitii. 373 The chaplet is usually made of human skulls (see below, v. 22cd), but sometimes a "head jewel" is prescribed instead. Cf. Sa.I!lvara in Cakrasa'f!lvaratantrapafijikii (f. 18v): pafica mudrii rucakafiroma1Jiku1Jr/alaka1Jthikiiyajfiopavitiib; Dharmadhatuvaglsvara in NYA (p. 54): paficabuddharatnakirifi; and Vajrasattva/Mafijuvajra in NYA (p. 2); and SM250, which equates the six mudras with the six perfections (p. 489): ka1Jtbikii rucaka'f!l ratna<'f!l> ku1Jr/ala'f!l bhasma sutraka I fa¢ vai piiramitii etii mudriiriipe1Ja yojitiib. 374 This is described in the Caryiivratadiinavidhi from the Kriyiisamuccaya (cited Sanderson 1994: n. 69), in which the ornaments are said to symbolize ~obhya (chaplet), Amitabha (earrings), Ratnasarp.bhava (necklace), Sasvata= Vairocana (armlets), and Amoghasiddhi (girdle), and Vajrasattva (ashes). For the correspondence of the five buddhas with the five mudras in the Hevajra tradition, see HT1.6.n-12a: akfobhyaf cakrirupe1Jiimitiibhab ku1Jr/aliitmakab I ratnefab ka1Jthamiiliiyii'f!l haste vairocanab smrtab I mekhaliiyii'f!l sthito 'moghab; HT1.8.q:
cakri ku1Jr/ala ka1Jthi ca haste riicaka mekhalii I paficabuddhavifuddhyii ca paficaite fuddhamudrakiib; HT1.4.14cd; HT2.6.4cd; HT2.9.12c. Also, sadhana of Dvibhuja Heruka SM245 (p. 475): firasy akfobhyiitmakanarafiroghafitacakridhara'f!l kar7Je amitiibhiitmakanariisthiku1Jr/alina'f!l ka1Jtbe ratnasambhaviitmakaka1Jthikiiyukta'f!l haste vairocaniitmakarucakadhara'f!l ka.tyiim amoghasiddhyiitmakamekhaliiyukta'f!l. 375 ADUT ch. 14 (p. 322): eva'f!l vicintya iitmiinam iikfepamantrarakfita'f!l brahmacarya'f!l sadii bhufijet. This is tabulated by Kalff (1979: 203). 376 See Sarp.vara described in the NYA, "Having a wreath of five skulls above his forehead, a 'counterclockwise' headdress (mukutab) of black matted locks surmounted by a double vajra and half-moon." (p. 26): laliipordhvapaficakapiilamiili viimiivarttitiirdhacandravifvavajriikriintakrf1Ja)atiimukutab. Vajrasattva/ Vajradhara in the Srisampupatantroktavajrasattvama1Jr/ala has black twisted locks (japiijupa) beneath a double vajra with a jewel in it (nivifta), and above his forehead is the headdress (mukupa) of the five buddhas and a half-moon, which are wound round counterclockwise, perhaps forming a kind of turban (ibid.: p. 8): krf1Ja}atii}iito niviftama1Jivifvakulifiid adho viimavalayitiirdhasu-
dhii'fJ'lfupaficabuddhamukutalaliitopari paficakarotakacakriku1Jr/alaka1Jthirucakamekhaliibhasmavibhufitas .. . ; Navatmakaheruka (ibid.: p. 20): laliipopari nibstabdhitapaficamu1Jr/ama1Jflitab paficabuddhamukupi; SUT ch. 13, v. 20: kapiilamiiliila'f!lk.rtafekharam ardhacandravibhiifitam I vifvavajriirikita'f!l murdhni kuliidhipatimastakam. 377 Cf. GSS5 (Sed p. 1329 , K2or6): vajriivalidvayamadhyikrtapaficatathiigatiitmakakapiilamiiliibaddhatrifikhii'f!l, vifviinugriihakatvena vifvavajriikriintamauli'f!l; GSS6 (K39r6): kapiilamiiliimukutii'f!l; GSS7 (K4ov2): laliite vajramiiliisyiib I
NOTES TO PAGE 159
luzp414mdlllmultu!Jtlb ptzflc11mwirtivibhU,i~; GSS16 (K77V3): muku#ni1fL E.g., GSS3s (Ku8v6-u9r): vairociiNlmtmufini.
panc~tbuJJha
378 For Vajravarahi's loose hair, sec GSS6 (K39r6: ltd~tvicchurit/1), commonly expressed multt4/tunt4Wttddpli-. This is a classical motif, and many luivy11pocts describe the longing the absent husband feels for the moment when he may untie the bands (e.g., ~mendra Kllltivi/4s4 ch. 7.3: multt41t&llt41t1114pd/1). 379 The tied-up locks form a "crown.. (multufll!Nm). which Monier-Williams (1899) states may be crcsccnt shaped at the top, pointed (ltiri_tllm, likha), or three-pointed (m~~uli!J, tri.IUIAjllfli): e.g., ten-armed Marici in SM132. (p. 2.74): ntinliratnaviracitlltrilikh4/mpftrtaj~tflimultup'f'. 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 (I ... viivllvajratihltrbfl miirt/hni wtjT'Illuzpti/4mlilllfobhilll'!'; GSS7 (1<4or6): vifvaVIIjrtinlt~tciiNirtinltti lt~tp414multu!otltafd; HT2..s.9C: vilvawzjrll4hllrll'fl murtlhni. An elaborate clasp contained within an open lotus is illustrated in SacmJ .Art ofTibn plate 102.. 380 E.g., Multt4Nii on HT1.6.ud (f. 17r): hlls111 iti pruouhag~ttll<'f'> ruC~Ziutm. 381 GSS37 (I rw/hir~tpriylim; SUT ch. 13 (v. 2.3d): srawznti nu/hirapriyd. For the goddess menstruating while in embrace with Cakras:upvara, sec NYA (p. 2.6): rlljll/tsvlll4. In contrast, Tsuda (1974: 2.84 n. 3) notes that the ADUT suggests "dribbling blood from the mouth, and fond of blood'" ch. 7: lthr"t 14 J~s shing mal 1lllS 'Jzag (vol. 2., 48-s-7) and ch. 9= zhlll lthrag iiug dng lthrag 14 dg11' b11 (vol. 2., so-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, carrying corpses and a skeleton, and is about to inundate even the mountain tops. Carried by golden rays emerging from her vulva arc spiders, scorpions, other irucas and birds, as if to suggest that she is the source of all of creation." (From: http://www.asianan.rom/rossilgallern/4-html: Dakini (sic). Tibet. 18th century.) 383 Reference to the "sentiment of passion" (~rrigtirarasabJ is commonplace in descriptions of yoginitantra deities, cf. Halahala-Lokdvara in SM2.7 (p. 6s): ~nigtirariiSIISUNI4ra. and tantric forms ofManju$ri, e.g., SMs9, SM6o (p. 12.4): mahiJ,ngtir11murti, SM61, SM62., SM63 (p. 12.8): 1NIIuirllgllf.rrig4rarasojjvtlla'fl.
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): raudrahiisyaf.nigdravirabhibhatsalelihananarrz, and Hevajra in Bhramaharandma Hevajrasadhana (p. 7): ~nigdravirabibhatsaraudrahiisyabhaydnakaib karurzad-
bhutafdntaif ca navand,tyarasair yutam. 384 See GSS5 (Sed p. 131 10 , K19v2-3): mahardgavifuddhya diirj,imikusumasarrzkafdrrz; GSSw (K47r3): nijalavarzyabhii~itdm; GSS23 (K88v1): sdrdrasusnigdhariipdrrz ... i~addhasantirrz romdficakaficukitdrrz; GSS16 describes her retinue in a similar fashion (K78q): digvdsd muktakefa pinastanoruyugala divyariipd manorama kificidvikrtanana kapak~ek~arzacaficala; cf. NYA (p. 26): rajabsvala romdficakaficukitd; HT2.5.7cd mahdrdgdnurdgerza sahajdnandasvariipatab I ... ratidvandvasamdpannarrz nairdtmyd saha sarrzyutarrz. For the goddess in union, see SM251, e.g., (p. 492): paramdnandavihvalii bhavyd, etc. 385 GSS5 (Sed p. 1325, K2oq): fiinyatalirj,hajagacchiicakatvena vamapiidam akuficya dak~irzapaficavitastiprasararzad alirj,hena • chiicakatvena] Kpc; chukaratvena Kac • padarrz] em.; paden K. The standard measurement of a vitasti is twelve finger breadths (angulas), thus "five vitastis" is sixty angulas; see Abhayapaddhati (f. 10v4): paficavitastiti ~~thyangulam (cited Sanderson 1994). Cf. GSS25 (K9u5ff.): prasaritadak~irzapddii akuficitavamacararza. For classical references to the pose ascribed to Kama see, for example, the Kumarasambhava ch. 3, v. 70: akuficitasavyapadam, glossed by Mallinatha: alirj,hakhyasthanake sthitam ityarthab, or Raghuvarp.sa ch. 3.52. 386 For Cakrasarp.vara's pose, see NYA (p. 26): bhanusthabhairavakalaratrydv alirj,hacararzabhyam akrantab. The place of Bhairava and the Bhairava tantras within Saivism is discussed on pp. 37-38. Sanderson (1998: personal communication) 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 10.1-6b). The Buddhists' Bhairava is closer in scale to those of the cycle of eight Bhairavas Sivadipafraddha (ff. 421-23) of the Karmakarztfa (Sanskrit text from Kashmir, ed. L. Chandra, vol. 7, Satapi~aka Series, vol. 333, New Delhi: Sharada Rani p. 239). Each of these is single-faced and four-armed, carrying a skull bowl, a kha.tvdnga, and a trident. 387 GSS2 (Knn): bhairavarrz caturbhujam adhohrdayordhvamukharrz bhaparikd<'f!l> nirik~ayantarrz sthitarrz kartrikapaladhrtaprathamabhujadvayarrz vyaghracarmaparidhanam. aparabhujabhyarrz tfamarutrifuladhararrz trinetrarrz vikaraliisyarrz nila pingalakefarrz sitakapalamurzt/amarzt/itam. • kartrikapaladhrta] em.; kartrikapalarrz dhrtarrz K • iisyarrz] em.; iisyarrz K. 388 GSS2 (Knn): carcikd<'f!l> raktd. GSS texts are otherwise silent on the 0
iconography of Kalaratri, and her representation in Tibetan art is variable. Plates wf and n show a two-armed form ofKalaratri, as do Naro Dakini (Sacred Art ofTibet, plate n4), 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
"Paramasukha-Chakrasamvara" tangka (SacrttlArtofTibtt: plate 69; sec 69.2), and also in an dcvcnth-century Kashmirian bronze of tltavira SaJ!lvara (Pal 1975: plate 6441, b), which vividly depicts a writhing Bhairava and an emaciated Kilaritri/Qmu~qa holding a trident, a vajra chopper, a skull bowl, and another implement (? damaged). 389 GSS3s prescribes the visualization of Brahma, Indra, V~~u. and Siva, symbolizing the four Maras (Kn8v6): alitfoacara!Ulltrlint4catubltkJavilruJJhabrllhmmJrllhariharli'!'· Cf. HT2.5.8c caturmdrllSamlikrinta'!'; and SM3 (pp. 19-20). For the equation ofMaheSvara/Rudra with Mara, sec Davidson (1991: 216) and Mayer (1996: 122, 1998). Sometimes, however, Vajravarahi subdues only a single, unnamed corpse representing ignorance (e.g., plates I and 3 and Khara Khoto Vajravarahi in Sacrtd.AnofTiiHt, plate 93 and Piotrovsky 1993, plate 22). 390 A useful discussion of the scholarly work has been made by Mayer h996: 104-48, 1998), much of it based on research by Sanderson (1988, 1991, 1993). Sec also Stein (1995 based on 1971-n), Kalff (1979), Iyanaga (1985), Snellgrove (1987: IJ4-41• 152ff.), and Davidson (1991). 391 Mayer (1996: 109ff.) discusses the subject in some detail, drawing on A Hiltebcitel1989, W. Doniger O'Fbherty 1975, and others. 392 This is followed by the conversion of the gods of the three worlds, Naray~a (= V1f~u), Sanatkumara (= Skandha), Brahma, and Indra, and the deities of intermediate space, space, earth, and hdl, all of whom receive new names. The lesser evils (JU!~· qakinis, illnesses, hells, and calamities) arc convened or thrown into the sea, while for humans, the m~4ab of victory over the three worlds (triloltavija)ll""'!"/ala) is laid out. 393 Davidson's highly usd'ul anidc h991), traces the myth from the eighth-century yogatantra sowces, through into fifteenth-century Tibetan materials. He amusingly translates a portion of the SITS and describes the similar account in the eighth-century Trllilo/tyilvijaytt~rllja and Vajrakltharamahayogatllntra. He then shows how the myth takes a more violent rum in the Gzntiraguhyamll!Jitilaltam~~hlitantrarlija and in the GuhyagarbhlltllttrHiviniicllJil (= GuhyagarbhatantrarGuhyakoilltantra). Another eighth-century text that shares the theme of subjugation is the Sarv4bw1Jhasam4yogat!4ftinij1114sa'!'VIlra (discussed by Sanderson 1995). Its pantheon is similar to that in the *Guhyagarbhal Guhya/tola. and it also represents Heruka subduing the Brahmanical gods and taking their wives as his consorts. 394 Sanskrit originals dealing with the CakrasaJ!lvara-based myth arc scant. Stein (Annuairc 1973: 468) has noted the existence in the Tibetan canon of translations of (unspecified) Sanskrit commentaries by lndrabhuti, Vajra, and Nampa, but as yet no study has been made of this material (these are listed with references by Mayer 1996: n8 n. 12). Davidson (1991: n. 14) notes that Niropa's version of the myth is not cited by other Tibetan cxcgttes, 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 (1291-1361)
NOTES TO PAGES 163-164
deals with it in som~ length in his commentary to th~ CaltrllSil'!IWZTIZtllntriZ (Kalff 1979: 67ffl, admittedly relying on Sanskrit authors, including Bhavabhana. A version of th~ myth (How Hm4/uz Was Born) was also written by the late twdfch-c~ntury scholar Grags pa rgyal mrshan (1167-12.16), a summary of which is given by Davidson (1991: 2.04). Davidson (ibid.: 2.09ff.) also discusses two indigenow Ti~an texts that au concerned with th~ 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, th~ H~tr«llritlldnllima'.'i of Jayadratha. Sanderson (1994, 1995) describes how, in this account of th~ Puril}ic myth, Jayadratha attributes a new ploy to the gods in their batd~ against th~ demons. As wual, th~ demons have attain~d near-invincibility because of th~ir devotion to Siva, and so the teacher of the gods, Bfhaspati, d~ ~rly 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 Bauddha [Buddhist]-truthfully enough, since it will be no more than the invention of my intell«t {buJJhi]. In it the famow Buddha will be represented as master over the [Hindu] gods. In his visualizations ~en ow great cause deities, Brahmi, Vi~J)U, Rudra, i5vara, SadaSiva, and Bhairava, will be ponrayed as his parasol bcaurs, and the Buddhist idols will be shown standing on the heads of Gar:'apati and other high Saiva deities. When the demons get to know of these falsely conceived icons, they will undoubtedly fall into the ddwion of believing that these deities really arc superior to Siva." Brhaspati docs not stop here but devises the cunning scheme of culling mantras from Saiva tantras, and ~en lifting passages out ofSaiva scriptures with which to "propagate a system of [Buddhist] tantric ritual.,. He would also attack the demons on the metaphysical 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 elsewhere in the same text, when the Saivas respond in kind with the terrible form of Kili "Destroyer of the Buddhas· (Sug~ri!fi}. whose ornaments arc created from the dismembered pans of Buddhist deities (cited Sanderson 1994 n. 72. from JIIJIUir1ZthllJil1NliiZ. !"!U 2. 2.1.9-14). 396 The scriptural source for Umapatidcva may be the Strr, which concludes the generation of Sarpvara's thinccnfold Mal)4aia in ch. 13 with "two armorings" (referring to Cakra.sarpvara and Vajravarahi in union) and the subsequent infusion of the knowledge circle, (v. 34): ~ UVIZCIZiiVIZJil'!l jfidtvti jli41111C1Zitr1Zm vibhawtyn. Another scriptural source is the YSCf, which describes the double armoring (lt~tv«IZiiviZJIZ) in ch. 7 (as cited in textual note to §6), and th~ "azltr41t1Z'11Z'.'Ilm·in ch. 8. This is the method that informs Luyipada's HA (f. IIV): tlltiZI,1 UVIZCMVIZJIZ'fl ftrtvd jN11IIlCilltriZ'fl vibhdwzyn. SllmiiJilCIIItrt pr~tvdylz), and thus also the AbhisiZ1NlJIZ1Nlflj1Zri GSSs. which oddly preserves the "two"
NOTES TO PAGE 164
armorings (Sed p. 134 1, Kl.IVs): t11t4/1 luzvactUivaJil'!' k,tvti }fuin4CaltravibhavaMm iti IU]ipilMitfll'!'. Cf. also ADUT ch. 9 (p. 2.87). For this alternative sequence (infusion with knowledge - armoring - consecration), sec elsewhere in the ADUT (ch. 14, p. 32.1: svahrely anltulayogma }NiNlcura'!' tu-m-4/ta"!a~tl butihtz/1 I nyisam nNZ'!' pralturvitll abhq~ltam anwa7Nil I pravdya btu/Jhwi tu S111f11D!JII anurtlgn_uz yog•I/J.JI lt11vaclllivaya'!' tllto n]llStvi ~lt111WIISVIlbhtivat4/J). Advayavajra also follows this method, cf. SM2.51 (p. 492.) and GSS3 (Kl3£3). It is, in fact, very common, e.g., HnN~jra s~ltllprllhiyti; SM2.6 (p. 65: clllt,uriJytu/h~ lt4J11viltdnadhi.f!htin4'!' Jtrtwi abhi!Jt•'!' prtirtlutyn), etc. 397 "1Ulbh11u hrtli tllth4 Vllltm iira/liilt~'strllm nNZ ca.· This appears (with the same eccentric syntax) in the YSCT (A,v.6), HA (f. ur), ADUT ch. 9 (p. 2.87) and ch. 14 (p. 32.6); cf. GSS4 (Kl3v4), SM2.2.6 (p. 441): iirll/1 iilthistram ~~~ c11; etc. Published sources from the dGe lugs tradition describe how the syllables (which stand upright on moon disks) arc visualized "between the skin and the flesh" (Dhargycy 1992.: 2.0) or "flat against yow body and lie just under the skin but without going into the flesh" (Tharchin 1997: 192.-93), or simply, "at the level of" ow 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 slighdy different ways) that actually create the armor. These Tibetan sources agree that "mouth" is here equivalent to the throat area, in one case (Dhargycy op. dt.) acknowledging the discrepancy of the oral tradition: "Now, at the throat (although the text says 'mouth') .... " They also agree that the final armoring inion "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 2.001: personal 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. GSSs (Sed p. 134 1, K2IVs): tlltll/1 luzvacllliVIIJII'!' Jtrtvi }Ninacm•vibhiVIINlm iti liiyip41iolttll'!'. lt11vaca'!' lturytit. bhru,hii,Jt~htl,h,l'!'lt4rair iyllt11n4ni Sll1J'flotlhy4 v4r4hiyliminimoh4niSil'!'C4linis4'!'tr4sinicll!fl!ilu1ntl'!' !IIP!Jil'!' tkvind1f1 mantr11jfl svasvlll'kvatdvan Nlirtltmynw luz~t. 0'!' Vll1f' ntlbh4u. hi'!' JO'!' h.rtli. hrim mD1!' wzlttrt. hr"!' hri'!' miirJhi. hu'f' hu'!' lilthaytim. ph•! phA! SA~v AStiY. mhAva mAntriUkvatllJOr 11bMtl41 f tllttlln f ma1111Si ni!JNlnnlis tqu rqu sthinqu llllitkvtttd nNZ bhtlUJtlb. llltrll Vtlr4hi<'!'> rllltt~tnilahtlrilllmulthi<'f'>. INi1M luz~nga piill <Jhllri1f1> ei4Jt,i!Jt anltuillbrahmamupt/4/tartribibhripti, . ytlmllni~pism!ftrtisinicfl!ll!i/tli nilllsi~~~pilllharittulhiimraJhiisllrllllll1"((lii
c11turbhuj4/1 sllkllJHillllthll!JHinglil c11 v41M t/tJ1'NU'Uitllrtrilt4 tilllihindf,l, sarwil ca multtllltdyo 1Uign4s trinnrli ilitjh4slliUISthil tlrllff4VJI1b. • liiyipliJolttll'f' k•vac•'!'l em.; /iiyipaJolttll/1 lt11vac11'!' K; luyipdJolttara/q4/tllvac111f1 Sed p. 13_. • h4,mz,.] em.; h41f'h4'!' K • hllritll] em.; haritd K • 11pltuillbrahma•c11 v4~ K(mg). • bibhri(lll'!' tlrll!fllvytlJ conj.; bibhripli'f' K •
NOTES TO PAGES 164-166
dhusara] em.; dhufara K • sakapiilakhafviirigiis] sakapiilakha.tviingiirrz gharzfii K(mg2) • rjamarukartrikii] em.; rjamarukartrika K 399 The armor goddesses are depicted in LC 572-77, and IWS/T 62-67. In Cakrasa.qwara 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): kavacadvayarrz tato nyastvii ekarasasvabhiivatab. The male syllables are given in the Vajraviiriihisiidhana 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: harrz yorrz (Yamini) and hurrz hurrz (Sarp.trasini). Both the Tibetan sadhana and the "conferral" are rather different from the Sanskrit texts. The former includes the self-visualization ofVajravarahi with Vajrasattva as consort. 401 See GSS5 (Sed p. 134 1 ~2 , K21v6) cited above; GSS3 (Kr3r3): tatab bhriirrzhiirrz-
kharrziibhiiharrzkiirair iiyataniini fodhayet. farJdevatifuddhair mantrapadair bhagavatirrz kavacayet; GSS16 (K8ov3): tata iiyatanarrz vifodhayet. orrzhurrzkharrziirrzhiirrzharrz. cakfubfrotraghriirzajihviikiiyamanii< rrzsi > farJdevatimantrerza kavacayet. kiiyaviikcittapathefu orrz iib hurrz iti sthiipayet • tata] corr.; tato K • farJdevatz1 corr.; fafdevati K; SM251 (p. 462): jfziinasattvahrdbijarrz dhyiitvii lorrz miirrz piirrz tiirrz kharrz ityebhib pafzca dhiitiin adhitiffhet, orrziibhribhobhurrzhribkiiraib skandhariipiidikiin api, bhrurrzhurrzkharrziibhiirrzharrzkiirair iiyataniini fodhayet. tatab fatf.devatiitmakamantrakavacair iitmiinarrz kavacayet. • hiirrzharrzkiirair] em.; hiirrzharrziikiirair SMed.; cf. SM250, and variants as listed by Sanderson 1994 n. 87 from other texts. 402 Alakakalasa on the Yoginisarrzciiratantrafikii (NAK ms. 3-683 NGMPP Reel no. Ar279h f. 13v), reference provided by Dr. Isaacson (1998: personal communication). Cf. SUT ch. 13, v. 2cd: pafzcaskandhiidyaharrzkiirarrz dvibhuja-
herukayogaviin. 403 For example, in the chapters of the Sarrzvarodayatantra, 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 mal).<;lala-namely the progression from the generation method (ch. 2) to the completion method (ch. 3); followed by a purification of four elements, skandhas, and iiyatanas (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 vifuddhi of the complete mal).<;lala in the ADUT (chs. 9, 14). 404 This is particularly evident in the sadhanas ofVajrasana (SM3-SM5), in which the visualization of the syllables is embellished with emblems and colors that exactly match those of the mal).<;lala circles. SM3 (pp. 20-21, discussed and translated by Sanderson 1994 n. 95) may be summarized as follows:
NOTES TO PAGES 167-168
Endnote table iii . .Armoring in StitihaNZmdlii no. J.
Purificlllion
SyllAble
Sitr
Emblnn
Color
body
orp
head/forehead
wheel
white
speech
il]
throat
lotus
red
mind
hflrp
bean
vajra
black
40S T~tntrtinh4vallira by Buddhaguhya translated from Tibetan (Toh 2.501, 7b ff.) by Lessing and Wayman (1978: pp. 2.34-35, n. 30). Here (and in another lengthy note on this topic, ibiJ.: p. 162., n. 17) the authors translate sanuty~~Silttva as ..symbolic being," which expresses the "conventionality" (Sil""'J"!1 = convention) of the form. I prefer to translate it .. pledge being" (S111114J4!1 s: pledge), the form created by the "pledge-holding" initiate (Silmayin). The samaya is the sadhaka's pledge of postinitiatory observcnccs. ~06 This set dates from at least the yogatantras, e.g., SllrvadurgatiJNtriiodh~tNZtllntra (I9b; 2.1b) and S1TS ch. 6, cited Snellgrove (1987: 2.16). For the four syllables in yoginitantta texts, S« GSS3-GSS31 (KI3n): ttul anu bhttgavatih,rtibijanirgalll-
rllimir ja/11t4"!"' jli41111C4Itram tiniyll hii,kar~ S111NlJIICU" jak jalam iva pr~tw/yll va'!'lul~ ba1Uih4NZ'!f ho~lllir~ to!4!J41JI lturyat • uu/ anu] em .• ttul4gra K • S111Nl]4C41trt) conj.; SWISilmtlJIICUrt K; GSSs (Sed p. 13412 , K2.2.r4): tlliO ~vartir~JNIIimtuthitabhanu~JNlri ralttllvajravarll!IZ~~bijllrllimibhirt141adigvanisllrvavirllVirdvaripmi~'!'
jli4Nicllltr41J1 ja/1/ul~ tannirg411lvi1Jikli!~bhir argh4Jipura/1SIIra1JI piijayitrNl pht1J1IttiraNUiitaJhith4piirvalta1J1 jwJ/timuJrli'!' baJJhvti lal4tt vdmdvartnut bhrtl~t. hii'!'~ Sll1NlJIIC~ jak jalam iva prawiyll va'!'kli~ bll1llihllyitwi hoflkti"!f" Sll'!'to.SJil 01JI yoga/uJJh4!J SllrvaJharmd yoglliutklho 'ham iti JNt/het. • h,m111111ihya] corr.; h[umlllihya K • ravisthava,.bij~tralmibhili em.; r~tvistha'!' bi,bijarllimir K • !~ibhili corr. 1ot/.aio tkvibhir K • jwWimrulri'!'] em.; jlillimuJrti1JI K. Cf. HnNZjrastltapraltriya (p. 8): ja/1 hii'!' VII'!' hob Jtllhilltr~tma'!' gauricaurivmlllighamuzribhi rajoma'.'/14/e li~1Jil'!' pravtillna'!' ba1'U!h4Nl'!' ttJ.S111Jil1JI calqurlillyaJhidhlin41J1 lturyat; etc. mKhas grub rje (pp. 2.35-~9) discusses the four syllables as the "four seals" and describes the different ways of fusing them according to whether the m~4ala is generated in front or as a self-generated object (pp. 2.91-95). 407 The similarity between summoning deities for the b~tli ritual and the summoning of the knowledge being(s) is attested in tats such as the YSCf ch. 7 on armoring (A¥8, BM) and ch. 10 on bali ritual (A5r2., B6v); HA (f. 12.r); likewise in the ADlTf, e.g., ch. 14 (p. 32.1), prior to the infusion of knowledge and again (p. 32.6) for the bali. Sometimes the contat is ambiguous, as in GSS~, which includes the scriptural verse after the armoring (as if to summon the knowledge deities), but then ends with mantras and the bali mantra, indicating the final baliviJhi.
NOTES TO PAGES 168-169
470
408 For a fairly elaborate worship section at this point, see the Vajr.isana sadhanas, e.g., SM3 (p. 21), which includes offerings, nectar tasting, and stutis; SM4 (p. 2 3):
tllto h,rJbijA < ralmi>Sil11l/ikrnlljfUinASIIttvam Arghyllp4tlyaJin4NlviJhllpuj4-
sant4rpa!f11Stutipr~~!'Jlm4piirvalt"'!' Sllm4JilSIIttwnA Sllhai/rikrtytl); also the Klwar-
"""'hob
pal)a sadhanas, e.g., SM15 (p. 45) in which j~ hii, is placed inside a vandlzntbnllntr11,· SM24 prescribes b4hyll and guhya offmnp with praise verses and the four syllables with mudras (p. 6o): bhiiiNlntll'!' jfUinASIIttvdtmlllulm ~t. 409 For deities in union, gratifying (to!"1J4m) may consist of the rays issuing from their lovemaking (AnurdgA1,UZm);e.g., ADliT ch. 9 (p. 321): prAvdyll btukJhtNJ tu sa'!'to!JII Anura~ yoglllll/1. 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); SM2.48; CUriiS4'!'1NlTilSilliJNznll in Beyer 1973: 114. 410 This tradition seems to be based in the yogatantra scriptures, e.g., the Stzrvadurgatip4riioJhan~~tllntriii9b;
ub: j~ hii'!' ""'!' hob prt~VIl~t. )llthdsthine,su
dJcrvA pr~~vd)ll bllliJJnNi vafilturydt; and in generating the Vajradhatu ma~:t~a in the STfS ch. I, vv. 7-8: j~ hu'!' INZ'!' hob.. ./ tllto ~ SIITVIlmllhlisattw.zb samagratllfJ I ak_Tf!d supravif!41 ell b4tJhva yd"'}}lnti tllJV414m, a passage translated by Snellgrove (1987: 2.16; see also 2.2.3). The tradition also appears widely in the yoginitantra strata, e.g in Ratnakara.Sami's BhrAm4h4rANima Hn~~~jrAStiJhAnA (p. 10): jA!J hu,. VA'!' ho!J ity ,bhir ytzthtiltrAmAm liU'1"!JIIpr4vdilnAb4nJhAnAVIIIilulrA',IIlni /trtvli SllmiiJtljfUin~~ma~layor ~lullo/ibhliiNl'!' vibhlivya; SMno (p. 230): o'!' Vlljranltuii ~JII j~. o'!' VlljrApdli pr4W!11Ja hu,, o'!' vajrllSJ'ho.tll bAnJhllya fNl1!'. o'!' Vttjrawk Vlliilturu hob; SM22.6 (p. 441): jAb hii'!' Vll1JI hob Njrtinltuidtiiyogmll 4ltr!J4 prAvdyll blllidhvti vlli11n "":Pt. vas4n] em.; VllSiln ed. The same "yoga of the vajra hook" is described in the
ADliT (ch. 9· p. 287; cf. ch. 14, p. 321). Sec Snellgrove (1987: 235-40) on "The Power of Coercion." 411 Mafiju$ri-rdated texts may have been influential to the formation of the notion of a jfillnAStmva because of Manju$ri's association with wisdom. Thus, Vilasavajra's root tat refers to the deity Mafiju5rijnanasauva; the tat describes itself as the "NdmAS4'!'fiti of the Knowledge Being MafijuSri, who is the knowledge body (j!UintWiyll)of all the Tathagatas" (Tribe 1997: 115, with n. 31). Although Vilasavajra shows no acquaintance with a mature SllttVa theory, he was &miliar with the term jfUiNlSilttvll (e.g., ch. 4, v. 27; Tribe 1994), and dements of the later theory are also present in his sadhana (fribe 1997: 11~17). The ap~cc of the SllmiiJilSIItiWI and jNinASIIttva in yogatantra tens is worth funher study. mKhas grub rje (p. 235) gives little idea of the usc of these terms in the yogatantra scriptures, citing only the explanatory tantras, the Parlll'fiiUiJII and VAjrllklthar~~, rather than the root yogatantra, the S41V4tllthligtltlltllttVIISil1Jigraha. Mention of the s4m4JilS4tiWI appears in the Sttrwulurg4tip4riloJhan~~tllntra (19b) where it is described in terms that are associated in our texts with the jNiniiSilttVII, namdy, the drawing down of deities into the bean rnarxlala with rays, a process that, however, is said to complete the SllmllJamll~
NOTE TO PAGE 169
471
The Maftju5ri sadhanas of the SiJJhaMm414 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 Vlitiirt¥-Mafijulrisd/Jhan~~ SM51 (p. 107), which describes iudf as following the kriyatantra, the seed-syllable is placed on the heart of the self-generated deity; in the VliljirliljManjulrisaJhllllll SMs-. (p. u1) accredited to the Manjulriltalpa, the selfvisualized god is said to have a knowledge body {jfillnlllkham) as a result of a five-colored seed-syllable mu'!' (an early equivalent of the five awakenings).ln the SMs6 Arapaca1111-Maiijuiris4Jha"" (pp. 117-18) there is still no series of awakenings, but Maiiju5ri arises having "the knowledge essence of all tathagatas" (sa1Vflllllh4gatajfill1111Svariipa) and with the ego of the pledge being (SIDNIJtlSIIttwlluz'fllttirawin). Then ll'fl in the heart gives rise to the generation of Arapacana at the heart, with a syllable at his heart also, surrounded by deities with sylbbles of his mantra at their hearts; rays emitted from the whirling cakra in the heart then destroy ignorance. A similar practice in SMs8 (p. 122) specifically mentions the jfi4NU4ttvll (p. 122): tato NiJ41uzhrtlbiJ4vinirgllld,Svilltr!ftljli41IIIS4ltrlmll sahailtatll'fl ca ca~mz, calighra'!' bhramn. The VajrtingaM~SMs9 (showing more higher annie influences) again incorporates the jUNZSilttvll within a yogic practice (p. 122): bijtbhyab spharayttl raimin
ucchv4smtilha raimibhi/JI ni{llvtisaughair jfillNU4ttvll'fl bijqv dltr!Ja sa'!'ha"t I viirllmJII jli4NUilttVtiJyabijaltasphtiriiJil1!lh.rti 1/vasasya sthiratlhi~ lturytit nirgamligamayo~ lrram4t. In the following sadhanas, the wisdom being is unified with the self-generated Maiiju5ri just as in the Vajrayogini sadhanas, SM6o (p. 124): tatafJ jli41IIISilttVm4ilti/trtya O'fl 11111fijugho!'l hri~ ja/1 iti 11111ntrll'fl japtt; SM6s (p. 132): Sll""'J'JSI'ttvtibhinNISfNlrijpa'fl jli4NU4ttvllm iNlyanti'!' vibhiva~. The letter A is widely regarded as the "source" or "essence.,. In the yogatantras, as Maiiju$ri is born from A, the syllable is hailed as tlharmadharu, maluilqarA, the "vajra womb of the buddhas.· etc. (Tribe 199_. citing AryamllfijulrintimllSa'!'giti and its subcommentaries; sec Tribe 1997: 123). Cf. the string of qualifications awarded the syallable in the Nimllmllntrirthivaloltini, ch. 4 (ed. Tribe 199-.; commentary below v. 27): tiU/Jh,rtla~ cantlrama!"fa/4'!'
vibhiV]Il tatiupari prajNipiramitllsvabhiva'fl sarvajNijiiinotlayalttira!Jillfl sarvalrlvaltApratytltabuJJhintim utpattibhiilll'fl sarvamahibhotlhisattvinli'fl pu!'Jil.ifi4NU4'flbhbabhiita'fl paramiirthi/qarll'fl sarvilqari!'Jl'!' lttira!Jilbhiitalfl aUrttm vin}'Un. In yogonara cxcgcsi.s, the letter A appears at the hcan of the: buddhas in the illustrious company of O'!' and 4/1 (Paficaltrama 1.42: aluiroddtfalta, }filin4'!' buJJh1UJ4 hrtJaya, bhawt) and is awarded the etymology from anutpannatrHit (Paiicaltra""J!ipfJIZ!'i: ms. F, f. 8a.1, ibiJ.: p. 95*): Utirodtkialta'!' jfiliMm it}IIJy anutpanNitwit sa1'VIIIihamul!'Jlm. Cf. GSS26 (K93r2), HTt.2.I, ~2
and HT2.4-~ff. In Candrakirti's PU, the sa1111idhisattva is again an aniconic, mantric entity (ch. 10, P· 92; ch. II, PP· 98-99· ns). Sec also GSTI2 vv. -.6--.7 (in Wayman 1977: 32). Dr. Isaacson (unpublished 1996b) cites many Samaja exegetes on this subject.
472
NOTES TO PAGES 169-170
413 Dr. Isaacson (ibid) also notes that the supposedly early HnN~jr~tpra/ul/4 by Rihulagupta has traces of both the twofold division of the yoginitantras (SA1N1JilSittttlll and jnliflllSAttva), and a threefold sattva theory, in which the "beings" are called sam11yas. Traces of the earlier SAmllJII terminology survive in the ADUT, e.g.• in ch. 14 (p. 317; cf. ch. 19, p. 353), in which Heruka is to have at his heart the jnlinllSIImaya, a replica of the main deity, with the same color and arms. For the twofold sattva theory. sec ADUT ch. 24, p. 362. 414 In the Abhis~tmllyamanjari, the deities of the consecration appear at exactly the same moment that the yogin draws down the knowledge circle (Sed p. 13416, GSSs K22VI): jnanacakraka"!a1JIISamaluilllm nNL There may be some overlap here with the earlier system, in which the generation of Heruka and his conson (HT1.3) is followed directly by their consecration (HT1.4- tkvatdbhydtapa!llillb) without a prior summoning of the knowledge deity. 415 HT1.4: tkvatdbhi!~kapafala,. Cf. Mahayana-style sadhanas, such as the Si,handtiA-Lok~ivara SlitlhanllS, e.g.• SM25 (p. 63): tathliglltlln sph4ry4bhyiiicnl dtmiina'!' mauldv amitdbhamuJrana'!' dntay~t. The attendance of women singing and dancing at a bathing ceremony is, of course, a classical Indian motif, e.g., in the KumaraSilmbhava (ch. 7.1ocd), where women bathe Umi with water poured out from golden pots to the accompaniment of musical instruments. 416 E.g., Advayavajra's Saptd/qarasdtihana SM251 (p. 493). The goddesses also appear as agents in some other Cakrasarpvara texts, e.g., SM2.50 (p. 489):
!ll!caltravarticaltrasthatkviv.17lliAillzrasthitai/.1 I p4iictlm,rtlllir111Nlpiir1J11i/1 ktzp4/llir abhi!~cay~t; ADUT ch. 14 (p. 321): ja/1 hii'!' till'!' ho[l praymtik.11JII pr11vdyll baJdhvd vafi/t.rtyll ca. virayoginibhir gaganataill'!' paripii11'11'!' J.'!!Vtl jNinlimbunamrtaka/alagrhitllhastdbhi/.1 sinctt. Cf. ch. 9 (p. 287); also SM36 (pp. 81-82): ndndnir1fllif}~Uihdri!'JO lllljrayoginyo 'bhq~ka'!' prllJIICchanti; and SM67 (p. 140), in which the consecration ofSiddhaikavira comprises his bathing by
piijlkkvis emanated for that purpose, to the accompaniment of dancing and singing. 417 AbhisamaJilmaiijari (Sed p. 134 16, GSSs K2.2.v1 continued from n. 406):
jiidnacakrakar!A!IIISilmllkdlam n~dk.f'!!libhir vajravi/4sinibhir jNI1141flllJilmfUpun;uzkllpdlai/AmaruJhdriT,libhi h,rtibijanirgauvi1',11kkvipujit4bhi - yath4 hi jatamatr~ sndpitii~ saroatllthagatlis I tllthlihll'!' mliJHlyi!Jilmi luJJh11'!' divyma vdriT,~~ti- pllfhantibhir iflllidwtrjitavlimllltllraltllp4/llnipatilll}Nbulm,rtll· Jharabhir abhqicyamlina'!' mahtisulthllm li1'1111i111l'!f vidntylllqtimbuni!pann4n tllthdglltiin lirasi vibhavya - O'!f sarolltathliglltlibhy~klllAmayai~ hii'!' - ity adhifi!thn. tlltra bhagavatya/.1 ltukiafllirasi vairocana/.7. tf41tiny4Jinli'!' ratnll· SA'!fbhava/1. dttavakkdyaglltdnd1f1 yathdsa,.khyllm ll/qobhytlmitllbhlll41vlltlib. samayacakrasthanam amoghasiJJhi/.1. • jii4namlly4m,rtll] coer. (or jli4Nlm.rt11); jnanaram.na Kac;jiidna(mllya)m.na K(mg2) • iuJJha'!' di~] K (sec Textual Note to v. 27i) • kapti/Anipatilll] corr.; ktzp4/llniplltalll K • ku/eJa!J] em.; /nJd4!J K • amitdbhll) em.; dmitdbhd K. 418 Textual descriptions of the consecration tend to have a distinctive structUre.
NOTES TO PAGE 170
473
The consecration is described within a prose passage in the passive continuous, with the consecration "being given by" the yoginis/deities who are described with a string of qualifying bahuvrihi compounds in the instrumental as holding the consecration vessel and pouring out its contents and uttering a verse. See the parallel account in the Abhisamayamaftjari cited inn. 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, Vajravarahi, presided over by Vairocana. It makes more sense when it appears in the Abhisamayamaftjari (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 mal).4ala. 420 On the purificatory function of the consecrations, Dr. Isaacson (1996b) notes that in the VA, Abhayakaragupta states that the five consecrations (vidyabhifekas) plus the "Garland Consecration as the sixth" counteract ignorance (VA B f. 73r): ete miilodakadayab far/ abhifekii avidyavipakfayogyatiipiidaniid vidyabhifeka ucyate; see also YRM on HT1.4 (p. 115): abhifeko jftiiniimbubhib saviisanasarviivara!lakfiilaniirtham. Elsewhere the consecration liquid is imagined 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. r: 95, n. 1), and Benter (1996: 240-61) on the rites of initiation, both lower and higher, within tantric rites of consecrating images, etc. The fivefold series of lower consecrations is also termed the vase consecration (kalafabhifekab) after the vessel bestowing the empowerment, or the knowledge consecration (vidyabhifekab), either because of its association with wisdom (vidyii) or after the female agents of consecration, vidyiis, in our texts (mKhas grub rje, chapter 9, comments on both interpretations). The five consecrations of this set generally comprise: the water consecration (udakabhifekab), the head jewel consecration (mukupiibhifekab), the vajra consecration (vajrabhifekab), the bell consecration (gha!lfiibhifekab), and the name consecration (niimiibhifekab). However, research by Dr. Isaacson (1996b) has shown the classification of the consecrations to be a highly complex matter, with different series of consecrations listed according the different tantric systems and to the individual scholars attempting to clarify the varying accounts. For example, Isaacson shows that not only was opinion divided over the exact contents of the lower consecrations just listed, bur a certain group of influential exegetes actually included the teacher consecration (iiciiryabhifekab) within them (for example Abhayakaragupta, who gives an account of the various systems in his VA [ms. "B" f. 8rv]; Kuladatta, as implied in his Kriyiisa'f!lgrahapaftjikiiCambridge [f. w6v]; Kumaracandra in his Ratniivalipaftjika to the KYf [Sed p.
474
NOTES TO PAGES 170-171
roo]; the unknown author of the Hevajrasekaprakriyd; and Advayavajra in his Advayavajrasarrzgraha [pp. 36-38; also cited by Snellgrove 1987= 229]). The vase consecration and teacher consecration together are sometimes referred to simply as the teacher consecration (dcdryabhifeka~), or as the irreversible consecration (avaivarytabhifeka~) 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. n3), which lists the consecrations as vase (kalafa 0) , secret (guhya 0) , wisdom (prajfid 0) , and "fourth" (caturtha 0) (which was purely verbal in nature, Isaacson op. cit.). Similarly in the Hevajra tradition (HT2.3.10), the main consecrations are listed as teacher, secret, wisdom, and "fourth." Dharmakirti explains the first of these (the vase or teacher consecration) as follows (Snellgrove's translation HT vol. I 1959: 95, n. 1): "The first is called Jar consecration (kalafabhifeka) or the Master's consecration (dcdryabhi!eka).lt 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 consecration (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 [vidyabhifeka} because it overthrows ignorance and arouses an awareness of the five spheres of knowledge (paficavidyajfidna). " 422 E.g., SM251 (p. 493): abhi1ekam anundthayet bhagavanta~ sarvatathdgatd abhifekarrz dadantu me iti; cf. HT1.4, Hevajrasekaprakriyd, etc. The consecration verse supplied by Umapatideva (v. 27i) would normally provide the "reply" to the request. 423 Direct references to the utpattikrama in the GSS are found in GSS6 (K39r5): utpattikramayogendtmabhavarrz vibhavayet and GSS23 (K87n): lokefvare~Ja bhagavatoddif!a utpattikramasadhana<~>. The six arigas are treated in some depth in the final commentarial-style work of the GSS, the I;Jakiniguhyasamayasiidhana GSS46 (Kr43v ff.). They are: (r) withdrawal [of the senses] (pratyahdra~), (2) dhyana-meditation, (3) breath-control (prd~Jdydma~), (4) concentration of the mind (joined with retention of the breath) (dhara~Jd), (5) recollection (anusm_rti~), and (6) samadhi-meditation. Apart from their early exposition in the $at;larigayoga-ndma (Peking Tibetan Tripi~aka 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, vv. 6o-64), in which Candrakirti cites and comments on the six yogas as given in the "Uttaratantra"portion GST ch. 18, v. 137 and vv. 14o-54 (also edited and translated by Wayman 1977= 38-50). Kalacakra texts dealing with the system include Naropa's Sekoddefatika from the Sekoddefa portion of the Kdlacakratantra (see Orofino 1994), the main commentary on the root tantra, the Vimalaprabhafikd by Pul).<;iarika, and the Gu~Jdbhara~Ji nama $at;farigayoga{ippa1Ji by Ravisrijfi.ana (Sferra 2ooo). Note also the work of Cicuzza and Sferra (1997) and Cicuzza (2001).
NOTES TO PAGES 172-174
475
424 For the inherence of innate buddhahood in all livings sec HT1.1.44 (tllmlllt ~ jagat Sllnlll'f') with Ratnikara.Santi's gloss: silhlljmA buJJhatvnw nat Sllhaj41!' jAgAt SllrvA'f', cited by Isaacson (1001: 471 n. 96). For a full cllicussion of the origin and development of the term Sllhaja. including irs various translations, sec Davidson 1001.. 415 For example, I<.aJ:ilia comments on the passage in the HT1.8.1-14 with HT1.8.24b-15 (... utpanMm luzthaybny ahtz'f'), as follows (YRM p. 115): it/4nim utp~~ttilmtm4'!' nirtiily11 Jvitiyllm utp~~nNlkrllm4'!' prllStotum aha vAm~tyidi. ltr•71141J pr11urll/1. /wyll Vllmll/1! Sll111111DN/J. cAntlrlldhn~~bijliJipAri!Jdmnw
ilnNitlilt4rllni[pllttir utpllltib. siyasmin SllmiJJhiv llSti SA utptzttiltr111114/J. utpAnNllfl svibhlivilt11'!' nHl riipam. tAli nHl ~i1'1'1WJ"k b~ JIIS"'in you Sll ulplln11111rrA71141J. • prllStiJtum] em.; p1Wtotllm Snellgrove; • Utp/l"""'!' sv4bh4viluz'!'] em.; utp~~n11ASV1lbh4viluzm Snc:Ugrovc. • yogr s11] em.; ]Of~ Sndlgrovc:. The SUT (ch. 3, v. 3) rc:fc:rs to the: Stage of completion (utp~~nNtkram llbhb.Ni) as the "aspect of instantaneousness" (jluz#lllluirll'f'). However, many sadhanas seemingly of "generation" type a1w refer to )luz.titi, .. e.g., sec GSS1-GSS1. (IU8on): jhllfiti tllto Nibhi11111~... tkvi'!' bhtivllyn yog11vit uu/4; also GSSr (Kl8or6-VI): jluzpt4urayogitm4 yogi siJhyati 111inytztha: GSSs (Sed p. 133 1' , K1.1vs): t4 Jn,ytl bhAgiiVIItinifpllttisllmAillllam nNZ jh•#ti nifpAnntl Jr"!.t~~IIJ'i!l; GSS12 (K861J); GSSr6 (K8ovl.); GSS35 (Kn9V3); cf. HA (f. ur.s-6). For its mention in the: AD liT, sec Tsuda's citations (1974: 144). 426 GST 18.84 (Samajottara 84) edited by Isaacson: ltrtmuuivtzyllm upiirityA wzjri!fii'!' tihllr1'111Ui&znd I ltrll1NI'f' 11utplllti/lll'!' clliva ltrll1Nim llUlpllnNI!tll'f' t4th4. (Cf. HT1.8.24b-15.) Nagarjuna's M~ 24-8: Jw ~ Sllmuptl/rityll ~~I loluzSA'!'f1!1is4tJa'!' CA SlltJIU!I "'Pll'~ I. 41.7 The differc:nt yogic traditions rcvc:al a vast array of systems, practices, and correspondences, accounts of which arc widdy available: in primary and secondary literature. An important source for the subtle yogic body is the SUT Nll(/icllltrAitrllmojNlyapA!Ala (ch. 7), which opens (vv. 1-2) with an accoum of the structure of the channc:ls inside: the body drawn from the Pllflcllltrllm4, and which describes the content and nature of the thrc:c: principal channels (vv. 16-12). Cf. SUT (ch. 1, vv. 15-16, for the winds) and Tsuda (1974: 160 nn. 1-3). The cakras and their lotuses according to the Satpvara system arc described at SUTch. 31, vv. 19-18, namely: (vv. 19-10) the mAhasulth~~ellltrll at the head with a four-petaled subdc lotus and a thiny-rwo-pcralcd lotus; (v. 2.4) the Sll'f'bhog~~ellltrll at the throat with a red lotus of sixteen petals; (v. 15) the tihllmlllCAitrll at the heart with a multicolored lotus of eight petals; and (v. 17) the [nimlll!"'}cllltrll at the navd with a blue lotus of sixty-four petals (Tsuda ibiJ.: 63, 32.7 n. 4). For the flow of botihidtlll nectar bctwccn the cakras, sec SUTch. 31, v. 10 (cd): botihidttlltmilul cllntbll/1 ltlll4JN1fwui41~;with vv. 1.1, 24, and for their contents, SliT ch. 7, vv. 16-18. For the Hcvajra system of cakras at the: hcan, throat, and sex organ, sec HT1.1.13 with YRM on the different lotuses at each (p. 107): Jluzrnwcllltrll'!' Sll7flbhog~~etdtr11'!' nimui'JIICilirrA'!'· h.rtltllt~thtt7oni!u J4th41rrllm~~m; or of cakras
NOTES TO PAGES 175-177
at the sex organ, heart, throat, and head (HT2.4.51ff.): dharmasarrzbhoganirmii-
!larrz mahiisukharrz tathaiva ca I yonih_rtka!lthamastefU traya[l kiiyii vyavasthitii[l; cf. Bhramaharaniima Hevajrasiidhana (p. 8): ka'(lthah_rdbhagamastefu catufcakrarrz yathiikramam I sarrzbhogadharmanirmii!lamahiisukham iti sm.rtam. 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 published by]. Gyatso (1998), K. Gyatso (1991ii999), Germano (1994), Mullin (1996), Patrul Rinpoche (1994), Simmer-Brown (2001), and Tharchin (1997). 428 This meditation follows the tasting of nectar, as it does in GSSn, but describes the contemplation of the full mat:l4ala. GSS5 (Sed p. 135 18 , K23r6, N14r3): yady
etiivati mahati ma!ltfalacakre cittarrz ciratararrz sthirikartum asamarthas tadii niibhikamalastharavisomasampu.tiintargatavarrzbijamnziilatantviikiirarafmirekhiiyiirrz cittasthirikara'(ladviire~ prii'(liipiinayor niif/idvayaviihaparihiiriin madhyamiipravefe jvalitayii cii'(lt/iilyii driivitasya fira[lfafinaf cakravyiiptikrame'(liinandiidibhediit sahajodaye sakalavikalpasarrzhiiriit sak_rd vii ma'(lt/alacakrasyiinupalambha[l krame'(la vii fiinyatdntarbhiiva[l. • asamarthas] carr.; asamartha[l K. 429 I am paraphrasing GSS5 cont. (Sed p. 136\ K23v3, N14r5): tatriiyarrz krama[l. jagat fmafiinefU, fmafiiniini biihyacakre, biihyacakrarrz kiiyacakre, kiiyacakrarrz viikcakre, viikcakrarrz cittacakre, cittacakrarrz diggatatfiikinyiidifu, tfiikinyiidif ca mahiisukhacakragatd bhagavatimukhe, bhagavatyiisaniimbhojarrz bhiinau, bhiinurrz bhairave, bhairavarrz kiilariitryiirrz, kiilariitri khafviinge, khafviingarrz bhagavatyiirrz, bhagavatirrz niibhikamale, niibhikamalarrz ravisomasarrzpufe, sarrzpufarrz vakiire, vakiiram ardhacandre, ardhacandrarrz bindau, bindurrz niide 'ntarbhiivya ... {pafyet}. • cittacakram] em.; cittacakrasya K, N • diggatatfiikinyiidifu] N; diggiitatfiikinyadi!u K • tfiikinyiidis1 N, (vidiggatii****difu)tfiikinyiidifK(mg2) 430 GSS5 cont. (Sed p. 136 10 , K23v6, N14v1): niidarrz tam api viiliigrafatasahasrabhiigariiparrz pafyet, adhimiitras tu tam api nopalabhate. jfiiinacakrasvabhiivatayiipi bhagavatyii[l prabhiisvare pravefa[l. evarrz bhiiyo bhiiya[l pravifed uttiffhet . tad uktarrz-fviisaviito yathiidarfe layarrz gacchati sarvata[ll bhiitakofirrz tathii yogi pravifec ca muhur muhu[ll puna[l puna[l pravefavyutthiinaif ca satyadvayiibhinnanifpannayuganaddhasamiidhirrz yogi siikfiitkarotiti. • niidam] em.; (niida) K(mp) • nopalabhate] em. Isaacson; nopalabhyate K • svabhiivatayiipz] em.; svabhiivayiitiipi K 431 GSS5 (Sed p. 136 16 , K24r2, N14v3): khede sati niibhisarojasthavarrzbije cittarrz nivefya vak!yamii'(lah_rdayopah_rdayamantrayor yathiibhilii!am anyatarasyocciira'(lasamayam eva tadbijaniidiin nirgamaviiyunii pafica cakrii'(li sarrzsphiirya jagadartharrz kiirayitvii viiyo[l pravefasamaye miiliisiitriikar!a!lanyiiyena mantre'(la saha tasminn eva pravefayet. vak!yamii'(lapratyekadevimantrajiipiirthiniirrz tu pratyekadevatdmantroccdra'(lasamiiptau pratyekasphara!lasarrzhara!larrz piirvavat kartavyam. athavii tad eva piirvavad utti!fhantim avadhiitivartmanii mukhiin ni[ls_rtya padme svasthiinarrz gatvd tathaiva bhramantim ak!aramiiliirrz bhiivayan h_rdayopah_rdayor anyatararrz vak!yamii'(lamiiliimantrarrz vii japet.
NOTE TO PAGE 179
477
athmNi ttui nNl JNiriWf!Jil sthitli<1f1> prllliiJN11111ilim iva mantram4llim liiD/taytln MiruiiZm aviillmbit~tm ll.UIISII,,uJpaWlrjiiiZm iti. • m4/4siilrli] em.; 1Ni/4srt4K. N • j4JNirthin41f1] N;j4p4rthinllK • prtUiipa) Kpc {prtl)Jipa K(mg2) Note the following yogic meditation in GSS35, in which the syllables revolve instead from the han, out into the world, and back through the goddess's sex: "Having done the meditation (nNZ'fl vidntya) he should repeat the mantra. [He should visualize] the syllables [of the manm] as coming forth with the outbreath from a red A on a sun [disk] at [her] heart [thinking of them] as one with that [A/ (tlltsvarUJNi!Ji); [and then], as he breathes in, [he should see them] dissolving back into that A after entering the central channd (t~VII4hiti) through [her] genitals (svaguhynuz). 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 channel (avaJhiiti) [either] the A syllable blazing up like a white sw or a red drop like a lamp. Through practice in this way over a long time, knowledge is produced .... He should cultivate the non perception of all dharmas." (GSS3s Kt19r4): nlll'fl vidntya mllntrll1f1 japn. ~rytzsthtiru!Jillulr4t iwls4nirgamntll tlltsvariipi!ty alt,ard!'i nirgatlini, lvisllpravd~ svaguhynuz prawiyivaJhiiIJilm alul" linllni. kllrm4bhNI4to '/tpzTilWlf!Ulbh~"'fJ. tlllianu lt!Ntk prabhllsWlrr viln. t4trll nllbhi~ ·~ lultr~avaJ ujjvalmn altdrtl'fl, dipaval /ohitll'fl binJu'!' Vii bhll~t. nJII'f' drtltllribhytisdd ut/iyau }U7J111!1 .. . (Kt19V3)
~~~upa~m~'!'~'flbhll~.
• h_rtiayastha] em.; h.rd4Jil(stlul) K(dcl) • gamnw] em.; ga~ K • pravdy4) em.; pT~Zvilyli K • suP"] corr.; Ju,i" K. Cf. K. Gyatso 1999: 169-71; Tharchin 1997: l.)o-33· 432 In the GSS, the ten-syllabled bean mantra is given for the red, two-armed, warrior-stance Vajravarahi (GSS4, GSSs, GSSn) and for ltirm4ptztllna Vajrayogini (GSS36). The thirteen-syllabled heart mantra appears for the same twoarmed, warrior-stance manifestation of Vajravirahi (GSSs). for urJhvaplilia Vajravarahi (GSSn), and for the six-armed maJ]4aia leader (GSS16). Different manifestations ofVajrayogini are ascribed different mantras (see ch. 2.). Manuscripts reveal considerable numbers of variants in the mantras. In particular, the length of the vowel hu'f'/hu'!' varies. While this may be a matter of orthography, the two syllables are distinct, and Umapatidcva himself comments upon this in a mantra that combines both (sec §34). The long syllable (hu,) is the seed-syllable of the tathagata ~bhya and thence of the various Herukas of which he is the family lord. In most Vajravir:ihi mantras in the GSS, the syllable is short (hu'fl). Another common variant is the form of the name clement. Following the brahmanicaJ model, the dative form (-~) is the norm, as the cxmction of the manm (m~~ntrot/Jh4ral_,) described in GSS1GSS2. confirms. However, our manuscripts also transcribe the name clement as a vocative (-i) and, probably through a corruption of the vocative. as a nominative (-i}. Edgerton h9s3: vol. 1, 1o.86ff. p. 74) presents -~as the "oblique
NOTES TO PAGES
179-181
singular feminine" form that has evolved from the Middle Indic forms, primarily Pali -ryaand Prakrit -ill. (Details arc given in Wackcmagd's Altinelisc!N Grllmm4tilt band 3 §83-96.) Edgenon records that -~may indicate the instrumental (10.91), ablative (10.93), genitive (10.94), and locative (10.95) of -i and -i stems. but, significandy. cites -~only as the dative of -i stems. However, he states that -~is extremely common in some manuscripts (10.90) and seems to suggest that -iyt is interchangeable with -iylli (10.131). Mantric syntax is generally fluid. For example, many mantras may include the salutation Nl1nll/.J but without supplying a dative inflexion, as in Vajravmhi's mantra here. (Cf. the eightfold mantra in GSSn §32). 433 Gtsang smyon Heruka. (1995: 138). For the mantra "as.. the deity, sec GSS5 (Sed p. 134~, K22n): llthtlwi mantr~Ukvatayor llbiNJdt... ; cf. Kumaracandra on KYf 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 Gllndharvlllllntrll (11, 54b): SVII1JI mantrlllllnur bhiitwl tkvi'!' mantrllmayi'!' Jlljn. 434 For the proper manner of reciting a mantra, sec GSS5 (Sed p. 1506 , K3513): drutlkliJo!llrahilll<'!'> mantrll'!' j~t; HT2. 5 v. 43ab: liyllllljllJNISPilf!mll dirgha111itimtl cllru!Jii; KYf ch. 12 v. 7: nil druta'!' nil vilambilll'!' nil ell hrllSJIIZ'!' nil dirgh•luz'!' I nllltindc chriiJil" mantrll'!' J•pai'Nino Mrottll~; SM1 (p. 10): talllp...jllptlm abhyasan yath4bhiilqilll'!' mtlntra'!' M druta'!' nil vilambilllm aslliSIZ1Jtlta/paVIlT}itll'!' mantrti!t,aragatacittll'!' t4VIl}ja~t yavan nil lthNID bhavati; SM29 (p. 72): antarjalpam atispll!,ta'fl nil druta'fl nil vilambilllm I yathllsultha'fl japa1J1 Jtrtwi... ;SM172 (p. 349): ... na 1flllmihi"fl'!' ... ; etc. mKhas grub rje gives many details regarding recitation, e.g., (pp. 189-90) "While muttering. one should be neither hurried nor slow I Neither too loud nor too low I Neither speaking nor distracted I Nor disregarding the upper and lower vowel signs, the aniiSVIira. or the visarga" (citing Sub4huparip,rcch4tllntra, Toh 8os). In one Avalokitdvara-bascd Jhirll!Ji(SM41), the mantra is to be recited with 108 beans in the mouth (p. 87): somagrah~ siiryagrllM VIi paflcagavynuz praJt,ll/y411!f6tt41'11iatamd!lln mult/N pralt,ipya tlivaj japn ytlvlln nil multto bhavati. Cf. Tharchin 1997: 222. 435 For the promise of siddhi in six months, sec GSS23 (appendix), also GSS1o v. 140 (Ks2v6): yathtlivds~Jdbho bhilvm m4s~ !afm4s~ wlnchita'!' phalam I .rJJhisiJJhir IJhav«
NOTES TO PAGES r8r-182
479
GSS2 Knr6-nvr, GSS5 (Sed (p. 138 11 , K25vr), SM2r8 (p. 431), etc. For the removal of dnantaryakarmawith the hundred-syllabled mantra recited 108 times, see SMr (p. 2): tata~ sarvakarmdvara!Jaktaydrtharrz sarvatathagatahrdayarrz
fatdktararrz tenaiva vidhind tlffasahasrarrz japet. saddharmadii-fa!Jdnantaryadikarrz karmdvara!Jarrz prahiyate, but with a rider that the sadhaka must believe himself able to do so (pp. 12-13): yathokte ndharrz fakta iti ndvasdditavyam; cf. SM8 (p. 30): pafzcdnantaryakari!Jo 'pi kopijdpena sidhyati; SMr7 (p. 48), etc. Cf. mKhas grub rje (p. 220) plus Wayman's note; Benard (1994 63ff.); etc., and for a useful account of the six principal rites in the Saiva tradition, see "The Six Rites of Magic" by Biihnemann (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 (Knv6): balirrz dattva sarrzhared iti yathasukharrz vihartavyarrz sarvartharrz siddhyati; GSS3 (Kr3r5): trisarrzdhyarrz balipurvakarrz bhagavatirrz bhavayet. viharan bhagavatiriipe!Ja sarvadd viharet; GSS5 (Sed p. 145 8 , K30v5): sarvarrz krtva yathasukharrz vihared iti; (K35r4): pujadikarrz krtvd yathasukharrz viharet.; GSS38 (Kr23n): tanmiirtyd viharet sarrzdhydntare 'py evam); etc. Cf. SM2r8 (p. 430): sarrzdhyantare 'pi bhapiti devyakaram abhimukhikrtya ... 438 These injunctions are given within a passage describing ritual procedures such as tasting of nectar, bahyapujd, etc. Although this portion of text is one also redacted by U mapatideva, he omits these prescriptions. See also Mahdmdydsadhana by Ratnakara5anti (SM238 p. 464). Cf. SM2r8 (p. 430). 439 On the midnight juncture, see GSS5 (Sed p. 145 10 , K3ov5): ardhardtrasarrz-
dhyaydrrz madhyahnasarrzdhyavat sarvarrz krtvd ... prabhasvaram dmukhikrtya nidrayiif ca prabhdsvaratdm adhimufzcan fayita. The junctures are not always listed in the same way, e.g., SMr (pp. ro-n) mentions: piirvdh!Ja (forenoon); apardh!Ja (afternoon, last watch of the day); vikala (twilight, evening); purvardtra (from dusk to midnight); aparardtra (latter half of the night, the last watch); jagarikd (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 Abhisamayamafzjari is quite the reverse, as the self-generation of the full thirty-seven-fold mal).q.ala occurs "all at once" (jhapiti) in its complete form, at the very same moment that the central goddess is visualized in her complete form (GSS5 Sed p. 133 18 , K2rv5): sarvdf ca td devyo bhagavatinitpattisamakalam eva jhapiti nitpannd drtZfpavyd~. The prescriptions for the fivefold
NOTES TO PAGES 183-184
and thineenfold phases of the maJ)gala are given below as shoner alternatives to the full maJ]QaJa. 441 E.g., NYA (p. 26): t4tll/1 prticyli4iJi/qu v.im4V41'tm4 valmyli.tliviJilqu tl4/tp!IJlvarUnA nydsa~ • vahnytUhl conj. caJt,vdJi ed. Bhattadwyya. 442 For the contents of the skull bowls, sec GSS3 (Kl3n): vitligt/4/qu callldri boJhicittJU/ipun;uini kapa/Jni vicint4yd: GSS7 with ornamental stands (K..Jovs): dgnrytidicatu~ko!'~ bodhicittJI/ibhajamtm I lut/4iopari vinyasl4'!' ia,,thtdtunJmaWitnnibham; GSSs (Sed p. 13220 , K2ov6): agnrylkiiviJigtiA/qu tiA/qi!JAIIIIrtmll boJhicitUIIIl rajasd pancdm.rozi!l pancapraJipai~ siJJhariiS4vadAmrfibhut4i~ pu'?Uini catvdri paJmabhdjan4ni bhavylini; cf. NYA Samwtra Ma!"/414 (p. 26): viJigtlak_su boelhicinma rajas4 pancdm.rtaip pancapraJipaii ca siJJharasavaJam.rtibhut~~i~ pun;uiny abjabhdjan4ni, catvdry api palicdm.rtllpun;uini 114. 443 For the eightfold mantra associated with praise, see GSS35 (Kl2.on): ... ba/i'!' tltulyat. llffllpat/amantreya stutvd pra!'iJh4114'!' viJhdya P"!'J'l'!' pari!IJl~t... (Kl2.or6): ll!.tapatlaman~ Sllf'lllltra stuti/J:GSSs (Sed p. 14~. K31v5): tiUianu hrtiAytidyll!!"Padamantrastutipurvalta'!' yathllwtrtit4Stutibhi!l SII'!'JhiiJ'l yath4Jaltti papatkian4tlikaf!l dhylillllmantrajdpapra!JiJhdnddilta'!' ca vU1h4Ja. This is based on the same usage in YSCf (M.]V6) and HA (fisv). Cf. K. Gyatso 1997:
132-37· +44 GSS7 (f43v4): pra!'ll""'!' ndmasa,yukta'!' hu,Wu,phlqluiriiSII'fiY"tllm • hu'!'-
hu'!') em. huf!lhU'!' 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 O'!f and hu, hu, phil{. 445 In GSS texts, the iconography of the fivefold maJ]Qala is pretty stable; in GSS3
(Kl2.v6) Vajravarihi appears in the reverse warrior stance; and GSSs describes a fivefold maJ]QaJa "from OgQiyana," with Vajravarahi in urdh~~t~ptU/4 ~·as docs GSSn in greater length (ch. 2.). The fivefold maJ)QaJa appears again in a Sahara-school Vajrayoginis4Jha114 (GSS19), which is the only fivefold IDa.J)Qala not to have Vajravarahi as its presiding goddess but Vajrayogini. In this practice, the four retinue goddesses are installed in position with a flower-offering mantra. The iconography of the goddesses in Cakra.saqtvara texts is either that of our texts (e.g., NYA, Samvarama!"/414 p. 2.6) or slightly different (e.g., SUT ch. 13, vv. 2.5-2.8a). The latter supplies a dose parallel to Umapatideva's verses, except that the goddesses are only two-armed and hold a skull bowl and chopper plw staff. 446 As shown above, Sanderson (199.P: 95) has demonstrated that much of this material has its roots in esoteric Saivism, for example, a class of yogini caJJed "Lamas" is also mentioned in the L4ghuia'!'wtrllt4ntrll ch. 19 (ch. 2.9 of the Saiva SiJJhayogdvarimat4). For classes of female consort, see SUT ch. 9 Chomdpifhasa,.lut~tbhuminirtkiapa.t4/4; ch. 31 Czturyogininirtki4catulcaltrllkramabotihicittllkl'!'ltrama'.'llJ'Il!llla.· ADtrr ch. 39 Yoginila/q4~ (pp. 376fT.); ch. 40 J?altinilalt,a~ (pp. 385ff.), ch. 41 Ldmti/4Jqa!'Jlpa!illa (pp. 390fT.), ch. 42 AngamuJra/a/qaT}Ilpafa/a (pp. 397fT.). Other yoginitantra
NOTES TO PAGES
184-187
sources thal deal with this subjccl include the HT and its commentaries, e.g., HT1.6.8-9 (wzjrtdumyllj, HT1.7 (with Snellgrove's quotations from its commenwies, p. 66); HT1.1.1-1, HT1.5.4-5· etc. 447 The 0JtrllSII'!'V111'11tllntrll (du. 1 and 3) contains several references to the four goddesses, but with l)ikini and Lama always as a class of females, e.g.• }.Is: tjli/tinyo ~. tjli/tinyo 141Nl]lll c11iwz lthll!"ftuohd tu riipi!Ji (draft edition by Professor Sanderson based on Oriental Institute, MS University, Baroda, Ac£. no. 13190: .. Herukavidhanawptra, • ff. 1v-3r). Cf. ADUT ch. 40 (p. 385): [l)ikini] wzjravtir4hiltu/oJbhUtli; ch. 41 (p. 39I): v4r4hinli'!' tu lbNinlim nllli bhtzwtti Wt,ll!"lm. For Siiraligamavajra's commentary, see Kalff 1979: 151, n. I. 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 arc to be installed last (i.e., after the site goddesses of the founh meditation stage). 449 A similar description in GSSs (Sed p. 134, KliV}) also omits the colors, but these arc confirmed by St.rr ch. 13, vv. 19-33 and HA (f. 8r4). The iconographical schema generally echoes that of the St.rr in which, how~cr, the goddesses hold a chopper rather than a cJamaru (as did the petal goddesses in that source). The similarity between the gate goddCS$CS and the petal goddesses is mentioned in GSSn v. .p, and in related texts such as the YSCT (see Textual Notes). 450 A classical image of Yama appears in the third book {V~tnap~trvan) of the Mllh4bh4rlllll. in the S4vitryup4lthya114, where Yama is described as handsome but dark, with red eyes, terrifying and holding a noose, wearing a yellow garment and with bound-up hair. With his noose he forcibly extracts the "thumbsized 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, "slopper of death," with a new iconography. The latter's main forms arc Raktayamari, Krf~ayamari, and Vajrabhairava Yamantaka (SIIcreti Art ofTibtt pp. 183-89, with plates). 451 This set of gate goddessa is similar to that of the Hcruka-Hevajra m~. in which Si~ replaces Kikasyi, e.g.• Hcvajra and Nairatmi m~cJalas NYA (pp. 14 and 16). 451 For other rc&rences to the outer goddesses in the ·samiiJIICaltra. • sec GSSs (Sed p. 1357• K:z.1vs): SII1NIJ"CUrasthllnlim amoghllsiJJhi/1; NYA (p. :z.8); ADUT ch. 9 (pp. 2.89-90): sarna:~~~caltraviluJJhib. and Sraratigamavajra's commentary to the ADUT (see ch. 14, Kalff I979= 117 n.1). (Note that Kalffs translation p. t8o needs rmsion.) For the association of the petal goddesses and the "knowledge" level of the m~4ala. sec ADUT ch. 9 (p. 2.88): jiillnafNUlmaviluJJhib: also ch. 9 (p. 190): j~niyogma vilvaptuimMii~. Here, the site goddessa of the cittlle11ltra are also called wzjrtUjA/rinis (as they arc surrounded by ring of vajras) and the vtiltcaltra site goddesses ~ni (as they arc surrounded by a ring of lotuses). The Tibetan tradition attested by K. Gyatso (1997: 44) desaibes the lotus petals as the level of"grcat bliss," and the outermost cakra as the "pledge" (S111111ZJMaltra).
NOTES TO PAGES 187-189
453 "Circle of great bliss" may be a reference to the blissful conception of the goddess in the sequence of awakenings within the dharmot~Aya. a synonym for vagina or womb. A "body of great bliss" (1114hasulthllktlya) is also applied to a fourth buddha body, whose transcendent status may be refleaed by the centrality of the wwhllsulthacalmt in the m~<}.ala. The yogic system of body cakras also designates the head cakra as the mllhasulthacaltra, but the fact that the terms coincide is probably incidental, as none of the other levels of the ~4ala are related, as such, to the body cakras. The terms pledge circle (samayacaltram) and knowledge circle {jfuinacaltram). as we have seen, applied initially during the self-generation of the goddess and her m~<}.ala. 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. 1332 K2.1r1 and Sed p. 142.2 K2.8r4). The first instance (GSSs K2.1n: tatibahir.. .) comes after the description of the fivefold m~<}.ala and describes the next levd of the complete ~4ala, namdy, the site goddesses on the three cakras that "have the nature of' (svabhdW[U) the sites. Here, there is no mention of the site goddesses as generic groups within the cosmos, as in GSSu (lth«arir,ul'!' sa'!'graha/1 etc.). The next instance (GSSs K2.8r4) is in the context of the body maJ]<}.ala (cf. §30). Here, the site goddesses are identified with a site and a body point; these are then associated with the ten places (as GSSu v. 43ff.). The reference to the goddesses as a generic group is made at this point. This assigns them to the levd of the cosmos in which they "move" and accords with the cosmological location of their particular calera. In the ADUT, as in GSSs (K2.8r4), this detail is reserved for the descriptions of the body ~<}.ala. Thus, the ADUT (ch. 9 pp. 2.85--86) correlates the god/goddesses with the sites and body points, allocates them to the ten places, and finishes with the collective designation of the goddesses of the cakra (pp. 2.85-86): cittacaltrasyalth«ari.. .; viltcaltrllSJil bhiicari... ; ltJiyacaltrasya pittiltzvisini.. .. 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 goddessa (male and female) in union on the calera. The same phraseology is found in GSSs, 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 , K2.8r6): .. . cittacaltrllSJillthecari. ll1lll]ll svargagatdnd'!' sa'!'grahitf.1.
. . . Vllltcaltr~ bhiicari. anayli martylind'!' sa'!'graf1af1 ... ltli}"Ca~ plitllltzvlisini. anayli p4tli/agallinli'!' sa'!'grahaf1. • citt4caltrllSJil] K; possibly emend: cittaca~ • bhiican1 conj.; lthecari K. In GSSn, Umipatideva (§17-§19) speaks rather more lucidly when he describes "the collection of those [goddesses] who dwell ...... KaUf (1979: 33 n.I) notes that in the HTI.8.15, there is a reference to the single, feminine goddesses Khecari and Bhiicari. -455 Sanderson (1995) has pointed to the Saiva provenance of these goddesses, particularly their many correspondences with the twenty-four yoginis listed in the
NOTES TO PAGES 189-190
YoginisaJ'!lciiraprakararza, the third fapka of the Jayadrathayamala. This is also discussed by Kalff (1979: 81ff.). 456 Redacting from his sauce 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" (bhiivyii~) within the eight cremation grounds. 457 The process ofUmapatideva's redaction from the HA is evident here. Luyipada follows his description of the outer goddesses with a remark applying to the full mal).cjala, namely, that vajra garlands are worn by all heroes and yoginis of the mal).cjala, (f. 8V2): sarvefiiJ'!l virayogininii1'fllaliipe vajramiilii. Umapatideva has therefore borrowed the closing line ofLuyipada'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? da~ vajramiiliis" (the Tibetan syntax is not smooth). 4 58 First, the Abhisamayamafijari states that all the deities of the mal).4aia may be visualized as two-armed, except (it seems) Qakini, 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 <J.amaru in their right; everything else is as described before. Another alternative to the visualization is that the central form ofVajravarahi may be visualized as either yellow or blue. In this case, the four goddesses on the petals (Qakini, etc.) are all yellow, and presumably two-armed, as they are said to hold in their right hands a r/amaru. 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 staff on their left sides) they hold a vajra threateningly in their right hands; those of the speech circle 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 Yamada<J.hi, etc., a rjamaru (with bowl and staff to the left). All twelve deices (of the petals and the gates) are in the dancing ardhaparyanka pose, and their iconography is otherwise as before. GSS5 (Sed p. 139 17 , K26r5): tatraiva marzr/alabhediinantaraJ'!l vajriivalyiim asmadgurubhir upadarfita1'fl. likhyate niiyikiidaya~ sarvii dvibhujii~, rjdkinyiidayaf caturbhujiif catasra~, kiikiisyiidayaf ca viimena kapiilaJ'!l biihviisaktakhapviingaJ'!l ca bibhriitzii~ savyena r/amarukam aparaJ'!l sarvaJ'!l purvavat. athavii bhagavati pitavartzii nilii vii. rjdkinyiidayaf catasras tu pitii~ savyena tjamarubh.rta~. cittacakrasya yoginya~ sitii~ savajratarjanikasavyakarii, viikcakrasya krftzii~ sapadmatarjanisavyahastii~, kiiyacakrasya raktii~ savyena tarjanikacakrabh.rta~, kiikiisyiidaya~ savyena satarjanikakartridharii~ sarvii devyii viimahastena kapiiladhiirirza~, yamadiirf,yiidaya~ savyena tjamaruJ'!l viimena tarjanikamutztfaJ'!l bibhratya~, rjdkinyiidiniiJ'!l kiikiisyiidiniiJ'!l ca viimabiihau kha.tviingam. etiif ca dviidafii rdhaparyankerza nrtyantya~. apara'l'fl sarvaJ'!l purvavat. • kiikiisyiidiniiJ'!l] Kpc(mg2); Kac omit. 459 E.g., Cakrasarpvara mal).cjala in NYA (p. 28): kulefas tu bhagavato 'kfobhyo
NOTES TO PAGES 192-196
vajrawirtihya vairocano t!tJ'tinytiJinli'!' ratnd~. dttavtiltlui]llgattindm alqobhydmittibha141vatti/J SllmllJilcaltrasthtindm amoghasUIJhjfl. 46o The rather haphazard nature of the correspondences of the buddhas with the levels of the maJ)4aia is highlighted by a survey of the ~IWJ4alas in the NYA. For example, in the Alqobhya ~IWJ4aia, Alqobhya at the center is presided over by Vajrasanva (ibUI.: 5, summarized p. 35), while in the Vajrasattva ~IWJ4ala, the leader Vajrasanva is presided over by Alqobhya (from the Sa,pU!I#Ilntra 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. Bhanacharyya's comment, ibiJ.: 40). 461 A fourfold division of worlds is not new; it appears, for instance, in the STIS ch. 6 (p. 59), which describes the conversion of the brahmanical overlord NaraYaJ)a and his retinue. Here V~u's retinue comprises the gods of intermediate space, of space, of the earth and the underworld, and their female counterparts (antllri/qacari-; lth«ari-; bhucari-; p4tti/4vti.sini-). 462 Sircar (1948: 8-u) notes that the earliest written evidence of the p~thas is probably the reference to them as places of laltti worship in the Mah4bhdratll (nrthaytitrti, Vanaparvan) at a site actually associated with Bhimadevi. Sec Sanderson (1994i: 94-95) for references to the Saiva ritual texts influential here, such as the Yoginii4Jt,a1J4, ch. 16 of Tantraslllibhava. 463 Sanderson (personal communication) points to the systems of twenty-four pifhas in the Kubjiluimlllll (22.23-36) and in Tantrilolta29·53-72b (especially Tantrilolta 29.71c-72b): h.rt ltur.v!a/i bhruvor matlhyam naJ ~~~ ltramtlt trayam II lmalanlini dru1fUI.b (drum4f1 em.: ltramtited.) lqnrabhava'!' sadyoginiga1Jilm. He states (ibid) that an earlier version in the Trika is seen in the Nilisll,ara, pa/ll/4 4 and the Tantrasatlhhava, pata/4 19 (lqnropa/q~trtirt:aNim). The developing 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 ~apala (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 (1979: 98-107) drawing on Sircar and othcn, and Boord (1994: 27-32) summarizing ancient and modem 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 bodhisllnvabhiimis (HT1.7.11, see Snellgrove's note p. 69). The Hevajra system describes the same list, but follows (or repbccs) ~ldpalta and upam~/dpalta with two other kinds of "place" called piiAVIl and upapiiAva(HT1.7.10, HT1.7.13, HT1.7.17). Kalff(1979: 101) notes that there is no agreement between the Hevajra and Cakrascupvara 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 reconcile the two lists. 466 For references in Cakrascupvara literature to the division of sites into places, sec
NOTES TO PAGES 196-197
SliT ch. 9, vv. 13-19; Tsuda (p. 171) also cites their appearance in the S.'!'JIU!II· t4ntrll (lttt/pll s. praltar11p4 1), the f?4k4r!JA111l {pllfllla 15, giving a "'very unusual" account of the sites in comparison), ADliT (chs. s. 9· 14, and s6). and the Yoginislnflc4rll (cbs. sand 13). Davidson (1991) also gives detailed references for their appearance in the AD liT. The places are corrdatcd with the bhimis in the context of the body ma{l4a}a (SliT ch. 9, v. 11fr.). The translation or definition of the terms for the types of place is problematic.. Dharmakini's commentary on the HT (the Nnr~tvibhluig~t) glosses the "'secondary" or "'auxiliary'" type of place (upa-) as "'nearby to that [place]" (tlltslll'flni~), cited in Snellgrove (1959: 68-69 n. I). Snellgrove also discusses the difficulties this presented to Tibetan translators, who either rendered "'absurd" translations (which exegetes then attempted to explain, sec Blw AnNIIs pp. 980, 983) or who resoned to transliteration (e.g., of the terms •cJNmJohll•and pilllvll}. Indian exegetes had also struggled with the terms. Snellgrove mentions Dharmakini's etymologies that attempt to explain the terms, for example clumtlohll: "because one desires and yearns, it is called chllntlo." Kalff (1979: 158) also broaches this topic, noting: "There is no ready translation for the term chllruloh4.'" 467 Tsuda's translation ofSUT ch. 9, v. 11: ~riyli ni'JII'!' llljj4bhll]aNilllni c11 Jll I fjUini~bhitll/1 lllhlljll iti luztbyllu I tkl~ tkl~ 'bhij4]anu Jotinib s~t SMil1; cf. also SUTch. 8, v. 15. Sanderson b994i: 99-100, n. 10) cites a passage from the T11ntrASMlbhllva ( YoginiiA/qll!fll 16, v. 63), the text from which the list of sites has been redacted in the l...llghulll'flrNlTII, which includes the comment: qu t#Jqu yli/Jitllnyll<[l> striyo v4 ltlin1111J01111Jilb I s1111Nls t4/J
ltbutripirryo m~~nowgllnu~. 468 These remarks appear in the context of an internalized contemplation of the places and sites. Sec SliT ch. 4 (v. 19cd): pi!~'" tu Sll'fllt~u yoginiyogi~14U'!'. and GSSu v. 57· AD liT ch. 9 contains a rather unwiddy list of such goddesses or consorts, which includes among others "the innate woman" (Silh.jll), "one born in a fidd" (/qnr~tj4), and "one born in a site" (p~thaj4). These listings also include those of sky, earth, underworld, as in our texts (here described as g11Ni~Nzrv~lri, ~,;, 111ig11ni, respcctivdy). KalfT notes that such groupings arc inconsistent and their origin as yet undetermined (1979 pp. 191 and 34). 469 In this context mKhas grub rje (pp. 253-54) describes the utpattilmz11Ul, the nigNin""'""""" and the •aucllrllviiuJJhi as three types of tantras. The implicit hierarchy here is corroborated by a (fibetan) school cited by him (p. 157) that correlates different types of vihu/Jhi with divisions of the tantric corpus: the purification of the (gross) psychophysical organism (sltmuihtls, tlh4tus. ~) with the "father tantras" (yogottaratantra texts), the (yogic) purification of the veins with the "'mother tantras" (yoganiruttaralyoginitantras), and the purification of both with the "nondual tantras" (/Gikumatllntra, Nli1Nilll'flgiti). Our yoginitantra texts are not, in fact, recognizable under this classification, as they include both types of vihu/Jhi, gross and yogic.
NOTES TO PAGES 197-2.02.
470 YSCf ch. 13 (A6v. 6; B10r.1): Wt,4bhiJhd111114ntrllSJil uJJh.rtll1fl tm4 Sll1!'VIlrll1fl I lthasamant~ pi~rll1!' tvayd lthyalmfl, abhiJh4M ~ sthifiU!I I "He has extracted the [Laghu}sa'!'vara from the La/q4bhiJha114; you have proclaimed the essential core in the Khasamtz[tllntra}; it is found in the /Hnwlul-} AbhiJhana [i.e., Laghusa,vara, and] in the [Hnwlul-}AbhyutiayA." Sanderson h993) has shown that the actual roots of the praaice are in the Saiva tradition, for example, in the Saiva TantriiSIUibhava (aJhilulra 16, Yogini~). In his paper ("History through Textual Criticism in the Study of Saivism, the Paiicar:itra and the Buddhist Yoginitantras" 2001b), he shows that the yogic wandering through the pi!has, etc., as an ascetic practice (caryllvratll) (i.e., the internalization of this as the tkhama'JI!alam) is taught in the TantriiSIUibhava, ptl!llla 15, in a passage that has been redacted as the Kubjilttbnatll 2.5.64--99· Sanderson (1999: personal communication) also refers to the body sites of the closely related system of twenty-four power-places of the MtllihavakulA taught in Tantrilolul29.58-63, and the system from the Niiisfutlcara (ibid) 15.8oc-97b and commentary. 471 For a comparison of the inner and outer methods, sec GSSs (Sed p.141 1•, Kl.Sn):
<.pra>mutlitii-vimali-prabhaltari-arcifmati-abhimulthi-suJurjaya-durangamllIICaid-sliJhumati-dha~hyli-da/4bhilmiviiw/Jhy41tram~ p~thopap~thli
diriiJUl'!' ltayam4!'f!4/am aJhyatmllyOgind bhavayitat!Jilm. tali ulttam catuTfli,Jati bhN/ma pi!hliJy atra tl]lltJaSthitllm latas taJbhrama~nwivalthee/4fJ ltaryo na tdttviluli[111t!iyllnte dhatllvas tqd'!f bhra~ bihyllyogindm lato blihya'!' nira/trtya sthitaVJil'!' yoginina~ I iti. Cf. Vajragarbha (H~ajrapi~ tf4nh4plta 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 Dohaltola (ibid: 70): "I have visited in my wanderings Jt,nraand p~tha and upapi!ha. for I have not seen another place of pilgrimage blissful like my own body." 472. In GSSs (Sed p. 143\ K29n), these correlations appear somewhat as an afterthought, appearing at the very end of the body mal)4aJa (i.e., after the text parallel to our §31): valttrawlmMi41t!i~ntlstlpu!4'!' guJtu/wlrqu ltramn.uz lullul-
syadayo Jwiraptilyll/1. savyapasavyairotrasavy-4pas4VJilMt'fqU ya~. hrllaJa!4fta~fhaNibhilulmalalta'!'iluly4su tjllltinyit/4yai catasra/1. • ya~ dayll/1] em.; ya~t K. 473 For the site goddesses "as" the veins, see Abhisa1Nt]ll11lllfijari(GSSs Sed p. 14219, K:z.8v6): tqu p~thaJifu tllttatsthanagatd 1lliljlyas ~riip~ pari'."'""'YJYl vyavasthitli bhavylil;; also Tsuda (1974: 55) citing Tsong kha pa: "/;)tl1ini is thirty-six veins and humours flowing in them .... " This is dearly put in the VII.Silntlltilalta ch. 4 (p. 27); ch. s. v. 15 (p. 36); ch. 6, v. 44 (p. so); ch. 7• v. 9 (p. 57). C£ K. Gyatso 1997: 41· 474 E.g., HA f. 15r4: viraviiudtihi/1. See Translation note 570 for further references. The SUT also is a rich source of information upon the body JIW]4ala. In ch. 7 (vv. 23-25) the veins are related to the birth of the embryo; sec also chapter
NOTES TO PAGES 101-106
9 (v. wff.) and chapter 13 (vv. 41-41). Tsuda (1974: 16o n. 4) notes that these correlations arc found "repeatedly" in tantric literature, and that they "furnish important internal evidence as to the relations between tantras of the Sarpvara literature. • 475 This rcuanslates the passage from Tsuda's edition, expanding on the terse Sanskrit verses (SUT ch. 7 v. 3ff.): ndlj.isthinA'!' ca pitba'!' '" caturvi,Uatpram41',14111/.11 tqti'!' ~ tr4)D NV!ytlliirayanti ca sarvagli/1 I 3 Ipul/ira~ liriiSi Ndt!Nu/ant11fNlhi sthitll I jala,.JharalilthistlulM ltdtuom~~Sam4vllha I 4 I Df/t!iyaM tiiJqi~ ~ n4lji twlnma/4VIihini I etc. 476 Kalff(1979: 197 n. I) refers here to Digha Nikaya, sutu 11, vol.1, Pall Text Society, London, 1903. 4n In the "self-consecration" (sviJhi[!hana-) method sadhana of Dhyayipada (GSS34), the traditional Cakrasaqlvara contemplation of the maJ]4aJa-ascosmos is replaced with a series of correlations for the eight cremation grounds in each direction of space. Here, each of the eight cremation grounds, and each of its eight fcatwes, is equated with a subde aspect of the practitioner's psychophysical and yogic body, as shown in table iv below. 478 GSSs (Sed p. 1435 , Kl.9f3): iti sampii'?"''!' !t4y4ma!'f!izla'!' muhurmuhu Jrt!ham Uhimolttauytun. 479 For parallds, sec footnotes to the Translation,§ 33· -tBo GSS14 (K73r4): Jh.m~~~tllltha!M lolulNim iJrli tivraltam~~~!'4/J I PllfJNlmlilram ihllifNl syit paralolt~ phala'f' mahat I 17. • paralolt~] em.; paralolta K. 481 GSS~-t (K73V3): yma yma viJhllnn~~~ yatra yatra yatha J4thi I aJhimulttmll cittmll Jtll pu'.'JII'!' pari!"lmJIIU I 14- I tma tnulpi riipquz tlltra tlltra tllthi tllth4 I raptu/J4u tlllh4 ltumbiNtlt4raghaf'iJi1Nlt l2.5. ,.S2. GSS14 cont. {K73vs): ytUl yaJ bhivyat~ bbuyo bhiiyai ca pari!'ll"'Jtlt~ I tilt pratiphalaty na Ja~ satlasaJJ4th4 I 2.6 I ... citWJ na "" cd11J4S1Nlc chrqohtyluJvay4iraya/1 I cittllm na hi S111f1Sdro nirvi!Jil'!' cittam na ell I 18 • v. 16 biNlvyatt'] corr. (hypo.); bhJilvyau K • chrtyOhtya] conj.; chr~thaya K. Cf. GSS1 (KI6r.1): yma yma hi bhd~~m~~ manaf,J SIU!'JIIiJtlU n.fTUlm I tm11 tlln11111J1lt4'!' Jliti vilrNiriipo miJ!Iir J4lh4 •yu,bwui em.; piijyau K; "With whatcVCr state (bhiva-} the mind of man is connected, it is to that [state] he goes, like the jewel in which everything [is contained]." This verse is widdy attested, e.g., vscr (ch. n), and is clearly related to a similar verse cited in Saiva sources, e.g., by Jayadratha in his Viwka on Tantrtllolta I.ns, and by Niri~tha in his commentary to the M,rgttiralllntra Kriy4p4tk where he attributes it to the Sarvasrotaf1sa'!'grah/IS4ra. {I thank Dr. Isaacson for these references.) -483 GSS~-t (K73v1): anottaralat4hlll]ll satyatlVIlJ4Silm4ytlt I calmzV4rtitvabuJt.ihatv4<1f'> phalam ihur mun~ In • munilrNiri/J] corr.; manilvllrib K. cf. vscr ch. 16, vv. s, 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 GSSs and GSSu describe the separate rites in a continuous body of tat. (ii) There is some additional material in the GSS texts at
NOTES TO PAGE 206
Endnote table iv. Yogic boJy ma~/iz* 8 cremation grounds
«> apcnures of the body
mouth, right nostril, anus, left nostril, right and left earholcs, right and left pupils
8 protectors
«> sense consciousnesscs
tongue, nose, body, mind. ear, defiled-mind, store, and eye consciousness
8 serpents
«>named winds
~ti,
8 trees
«>named veins (1,1d#s)
Ugra, Ghora, Agnivadana, Tejani, Khafgadhara9i, Cakri, Sucimukha, Kubji
8 douds
«>sense spheres (-dhdtu'!')
taste, olfactory, touch, "ideas" (dharmatihlii'U'!'), sound, cognition (vijfitin4°), consciousness (jflllnlz 0) , form
tKarkotakat, Kota. tKopbhat, Kola, Kolava, Kolagandha, Kolibha
--rhe practice requires a knowledge of the Cakraquavara/Vajravarihi body nwxbJa. as the eight apertures of the body are rekrred to crypticalJy by the name of the site in those systems. For example, the first cremation ground, Ca.r;lcJogra. is correlated with the mouth, for which the text explains: "Car;tqogra is in the entrance to Kalinga" (GSS34, Kt13r): tAtra imlliJNini ulititaJfNir~ ca~,;ram .... I
GSSu and GSSs). GSSs also contains prescriptions for rites during the day and at midday and midnight juncrures. (iii) The *V'u/hisa,.graha includes the Smaidnavit/hi by Liiyipada, 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 §51 and §52 (in both
upon orher sources such as the SUT; GSSs omits any account of rhe crema-
NOTES TO PAGES 106-108
rion grounds. (iv) The position and designation of the Am.rtlisrNiJ4111ldiffers in the three texts. (v) For the hast~tpiifti, all three tcxu share a reference to the YSCf, stating that fuller prescriptions for the rite appear in that tantra. In Sasvatavajra's text this appears in a colophon verse. Sasvatavajra's hast4pujll text also appears by itself in the S4tihA1UZm411l (SM253 pp. 498--soo). (vi) The second, alternative, external worship in GSSu (at §49) implies the (optional?) inclusion of the hast4ptijiwithin the rite, an option that is explicit in Sasvatavajra's text {ytuJvi... ) because of his usc of colophon verses to mark the separate rites in the series. 48s Sec Kane (1941) History ofDh411flll.lllstrll (ch. 20, p. 741ff.) on the "tJililrNukvll .. (including balihttrtz')lllbhiilllytzjNt), and (ch. 18, p. 696fT.) on the "pplficllJtl.jlill.., For the latter, Kane states that the SataJNtthabrilhm41,11l (n. s.6.I.) contains the locus cWsicus for the 1'1lllhllyajiills ( Tllittiri]4 Arta~ 1.10), where they are defined as tlna]4jlill (offering to fire), pitrJiljlill (lrtJJJha), bhUtllJiljlill (bllii offering), m4nU!J4]4jfUl (food to brahmins), and /mJmutyajiUl (study of the Vedas). The Grhyasiitras and Srautasiitras refer to the 1'1lllhllyajfi4s in the same terms, although sources differ as to the order in which the five are presented. Similarities between the brahmanical rite and the bali 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 Ill vv. 87-93, Yijfiavalkya I.Io3, and sources cited by Kane ibiJ.: 745-46, e.g.• Mllhllbhllnz14, Vanaparvan ll.s9), and their propitiatory and even liberationist function, e.g., Manu 11.2.8: stNitJhy4ymll vrlltllir hom/lis trlliv~ n«4ifJ I mllhliytzjiUliJ CJZ Jlljfi4iJ CJZ brihmi]ll'!' ltri]ilk t4nu/J. 486 For example, in the Saiva SINICdutndllt4ntrll }.2o6-210, bali is described as the concluding rite of the first day of initiation [lltlhi1Nisluli111lm] and is offered to all bbitii.S (celestial, tcrrcstial, and aerial), to the lqnrllJNllas. patitiiS, and lvapac•. It is similar in the (unpublished) Nilisa1f1Ciirll, in which esoteric balis of the five nectars and wine arc offered by Mahivratin sadhakas. The offerings are presented by sidhakas when they enter a power site, in order to gratify (and so placate) its guardian (lqmllJNll4lsthanllJHIIA), and are accompanied by wild laughter and the rattling of the tjllm4ru drum, with a bllli1Nlntr4 (o'f' hri'!' hU'f' '"h4fJ p!Mt 2 ... ). This ritual has been taken over through the redaction of Nilisa1f1Ciirta into Buddhist tantras such as the Clltu[!p~that4ntrll (Pilrap~tha. JNI!Illiz 3) and the VajriU/4}tiUilntrlli8.I6. In Saiva rites, the INJi offerings may be to animals. bhutii.S, the mit[S, and yoginis etc., e.g., Nnratllntr• 19.112.C: tfPIJilrthll'f' bhU,tiiSil'f'fhasya m4ntri rta/qlirtham w./ylllll/1 (and iu commentary}: Sllntho mlltJ'Jofin#fll!"'b· The making of bali offerings to principal mal}~a 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 INJi ritual, most do indeed describe it at the end, or following the self-generation, e.g., GSS4. GSSs, GSS1s. GSS18, GSSu etc. 488 As in the Vlljrllvirahi saJhan~~, 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 baliviJhi, Sakyaralqita's text refers simply to the purification of the offering "as above," without naming it specifically as the am.rtlisvliJaMm, and without describing it again (GSSs Sed p. 14f, K29r;): tato bali'!' datiyat. bhojyaJilta'!' purata/1 Sll'fiSthliPJil pragu/tuzkramn,ut vi/oJhya. U mapatideva'S text is therefore closer tO Sasvaravajra's CaltrllSil1flvarabaliviJhi (pp. s6-s8), in which the am.rtasvddaM also appears as an integrated pan of the ba/iviJhi. Curiowly, although the Caltrasa,varabaliviJhi describes the same process as that given the GSS texts, it never actually names the rite as the "am,T'tlistNUiaM. " 489 In the SaptaJt,arllSiiJhaM (SM251), for example, the self-generation of the copulating deities is followed by worship: first with the traditional offerings of the sixteen goddesses (p. 493), and then with the am.TtlistNIJa1Ul (p. 494). Similarly in GSS4, the tasting of nectar is a distinct means of worshiping the deity (Kl3v4): pujllstutyam,TtllsvliJa'!' Jtrtva. In SM219 the tasting of nectar is the preliminary to a rite of subjugation (p. 432: vaiyaviJhjfJ). 490 E.g., GSS35 (Kl19v6): yathaltibhato hastapujaya sa1J'pujytz am.rtam asviJya ga!"'bho}an41fl ca viJhaya bali'!' Jadyat. GSS16 (K8u6): .. . 1'11411trll1J' japd. yavad udvtgo 1Ul bhavati ttivaJ am.rtam ~ nNZ1J' balibhaja1Ulm a/oltya VU1J' i'!' }ri'!' ltha'!' hu'!' dravibhiita'!' cintaytd iti. iilm4no jihvtigrt candramA'."!tJopari nilavajra'!' yavaphalamatrll'!' raimispharanta'!' vihhaVJtD!L tayti raimyavabhlisnul nlililuiru~na'!' pt1yllyd ~bhi/J. nNl1J' pri!fi~Jd. pitvti 1Nlhasultham anuvartn<4>. pra!JiJhtl1Ul1J' lturyit. dvitiJil<1J'> balibhijana<'!'> visti'!'fl'!' vicinta:pt. tatra bhalttaltulattha-i~riparpa,ti-vaQ.ivata(?)- matsyamli'f'Silpupa-o.:,.--_.J."".,.,.~J....-;u.L.,./ ~/,._./; t ~ -•rAA,/1-d.,A,/; VJIUIJ"'_,, _ _,...,_,__ -J',_. t vr. . . . ltrtva . Y-n-"..,--Jpa gandhamlilyavikpantuuzivtdya, Cll sthll~ t parrNIIIlSthitalayt,ut ubhyo J4payn- 01!' vajraralli ho!J ja/1 hu7!' Vll'!' hob vajrllf/li/tinya/1 Sll1NlJIIS tva'!' d,rlya hob - PUfJHln avalti'!"'Jd· - 01J' ltha ltha lthahi lthdhi... - tatab pra!JiJhdnll1J' ca. alokyiz] coer.; alolt,a K • candr~] coer.; candrama!'f!4/a/o K • raimispharanl4'!' vibhllvya'!'] em.; raimipharan141f1 vibhavya/1 K • raJmyavabhllsm.a] coer.; ralmyawbhal~ K • rwjivatA(?)] perhaps for "vat/ab4Nl14' (digestive powder)? • Mivta'ya,.] coer.; n~~ivaklya'!' K • fJilT'V'liiiSthita/ayttu] conj.?; parvat4sthit4/4ym 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 Klo4v2): tad anu nifpadit4balim am,rtlisvtiJaviJhintinnuz mAnlrt!"' Jadyat. 491 The text has ·mu~-," which could refer to a severed head, a dried-up head, or a complete skull. However the seed syllable Ita'!' (sec note to Translation) suggests "head" (/tam). K. Gyatso (1999: 61) also takes the tripod to consist of three heads. This is illwtrated in Brauen (1997: 106, fig.61) and Sacrttl Art of Tibttplate 158 (pp. 38o-81). However, skulls would perhaps seem more appropriate in that their color and shape mirrors the white sphere of the water clement that normally follows the clements of wind and fire. Two separate plates
NOTES TO PAGES 209-210
491
in Tanaka (1997) illustrate the two possibilities: three heads are depicted in the rNying rna tangka of Nyi ma 'od zcr (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 YA¥ appears. This is the seed of the wind clement .... The YA¥ transforms into a gigantic wind ma.t]<Jala. 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 movement of the banners activates the wind mat]4ala causing the wind to blow. Above the wind ma.t]<Jala there appears a red letter RA¥· ... This letter transforms into a triangular fire maJ]4aJa that is flat and red. It has one corner pointing toward us, directly above the straight edge of the wind maJ]4aJa, and the other two corners above the semi-circular edge of the wind maJ]4aJa. This red uiangle, which is slighdy smaller than the wind maJ]4aJa, is the core of the fire maJ]4aJa.!u this core is fanned by the wind, red-hot flames blaze and cover the whole wind maJ]4aJa. Above the fire maJ]4ala there appear three AJ:IIetters of different colors. The letter AJ:1 above the eastern point, the point closest 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 devdopcd. A large white letter AJ:I ... appcars above the center of the three heads. This uansforms into a vast skullcup, white outside and red inside, which rests on top of the heads." 493 In the CakrllSil1fWIITiltlmtrll, the nectars arc listed cryptically as: "honey, blood, and lttJrpurtJ, with rulll, and sandalwood." (uocd, ned): ... 71llllihu ralrt4'!' sU.rpurll'!' rlllttiiCAwNlJtljitam. Bhavabhana decodes the list in his commentary on the root text: "When practising meditation, before it begins, he should cat a pdlet of go-ltu-Ja-hll-1111 [the flesh of a cow (go-). a dog (ltultlturll}_l), a horse (tl4m:Jilb), an elephant (hllsti), and a man (1111rll}_l)] and the five nectars; for this removes any obstacles [that might have impeded his practice]. In [the passage] beginning with the word 'honey' (1'1Uidln,) the [rcvcaler 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. '!Gtrpiirtt 'is flesh, that [whose existence is] established through the addition and elision of sounds, [the term lt•rpuram being used here not in its literal sense, namely 'camphor,' but etymologically as] that which causes joy (ltllr- from ltllm 'joy) to fill (piirll- from the causative ofvpr'to be full) the body. "R4/tta"t ... t [means "urine"). 'Sandalwood' means Vairocana [i.e., feces] because [defecation like sandalwood] is a source of ddight).,. CtJitrllSil1fiiHlrllViVfli (f. I8r-v): bhfifHlNlfi CllJnuwi!U' goltwJ.htJNind'!' JNlfiaim.rtiiSJII ca fHl!i/tll'!' bhtifHlnllrambh~ bhll~t. tnuz hi nirwigh1111tll.. .. llJNlrl'!' JNdiclm,rtllSnlrUpi'!' Sll/qlltpujim lihtz mlllihv ityitli. ~armyllt
1NIIihu iuh41!'- SIUJIJO~ trido!fllhNltVmll sanltnitlltWlt. r~ pr4Siddham. !ttl'!'
NOTES TO PAGE
492
210
sukha'f!l farire piirayatiti karppiira'J'!l van:z1}iigamavintifabhyii1'[l siddha(i)'f!l. ta*c ca * miinsa'f!l. t ramyatanniifliti t rakta'f!l. candanam ahliidakaratviid vairocanab. The edition and translation of this corrupt passage is by Sanderson (1994 n. 5). 494 E.g., SM251 (p. 494): padmabhiijana'f!l, tanmadhye VU'f!l d'f!l }i'f!l kha'f!l hu'f!l etatparil}iimena paficamrtapaficapradipa1'[l svabijiinkita'f!l. See HTr.2.2 for the five syllables of the buddhas (with Snellgrove's comments 1959: 50 n.2). Tibetan sources, following a Cakrasa.qwara sadhana, describe a much more complex visualization in which ten syllables (of the buddhas and their consorts) 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 GSSu
GSS5
GSSr6
v. 62ff.
K23ri
K8rr6
0!11
(Tibetan) Cakrasa'f{lvara Silihana
0!11
Vairocana
VU!11
E
white OTfl
~
Amoghasiddhi
3.!11
tri!11
il11
N
green ltha'f{l
~white brains
Amitabha
jrirrz
3.!11
jrirrz
w
red a'!l
~
Ratnas~bhava
kh~
kh~
kh~
s
ydlow triiTfl
~red
~obhya
hii!11
hii!11
hu111
Mid
blue hiiTfl
~blue
Locana
Ia111 mal11
Ia111 ma111
SE
whitelii'f{l
~
sw
blue TnliTfl
~
red/blue corpse of dog
Pa~<;iaravasini
Pil11
pa!11
NW
redpiiTfl
~
white corpse of elephant
Tara
ti!11
ti!11
NE
green tiiTfl
~ green
Mid
red vaTfl
~
Mamaki
(Vajraviiriihi}
ydlow excrement white sperm blood urine
black corpse of cow/bull
corpse of horse
red human corpse
495 Vajriivali (SP f. uov): hahohribkarair yathiikrama'J'!l hrtapriik.rtagandhavan:zavirya'f!l. Sobisch (2001: personal communication) notes the injunction in the
bDe mchog 'byung ba zhes bya ba 'i rgyud kyi rgyal po chen po=Srimahiisa'J'!lvarodayatantrariija (P vol. 2, no. 20, p. 216-5-1 ff.): "Bless [i.e., control it] constantly through the mantra O'f!l ab hii1'[Z!Purify and realize [it] through the mantra ha ho hrib! Steal the color with the syllable ha! Defeat the smell with ho! Defeat the potency, too, with the syllable hrib![Thus you] should fully partake of the nectar!" The Saptiikfarasiidhana (SM251 p. 494) prescribes a rather different cooking process, in which the skull-bowl cauldron containing the transgressive substances has a lid (pidhiinam) formed of an O'f!l 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 , K23q): tadbdfpasparfiit.. .; Cakrasa'f!lvarabalividhi (p. 57): piiradavar1}ahii1'[Zbhiiviidhomukhiim.rtamayafuklakhatviinge viline. Sobisch (2001: personal communication) notes that in the Tibetan Cakra-
NOTES TO PAGES 2I0-2II
493
SaJ!lVara tradition, both the staff and the syllable hurrz are produced from the steam of the boiling liquid. He provides and translates the text of the commentary by bsTan 'dzin padma'i rgyal mtshan, as follows: "The hurrz syllable which is the form that manifests from the steam of that [boiling nectar] points head-down. Even though the syllable hurrz 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 kha.tvtinga staff arises from the mercurycolored hurrz.' The hurrz melts and a white khafvtinga 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 .. . ldem gyi !hung 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 rlangs pa las grub pa'i rnam pa hum yig
mgo mthur bstan, hum yig tshig gis ma zin kyang sdom byung du, de'i steng ngul chu 'i mdog can gyi hum las byung ba 'i kha twang ga dkar po gsungs pas dmigs dgos, de zhu ba dang he ru ka 'i thugs rgyud don dam byang chub sems kyi ngo bo kha twang ga dkar po rtse mo thur Ita, byang chub sems kyi bdud rtsi 'i rgyun 'dzag pa, de nyid kyang 'og gi slas(?) pas zhu nas thod pa 'i nang du ldem gyi !hung bas bdud rtsi dang dbyer med du 'dres pas, bdud rtsi 'i rgya mtsho kha dog dkar po, reg bya bsil ba, byang chub sems kyi rang bzhin du gyur par dmigs. 497 GSS5 (Sed p. 135 11 , K23r2): tadupari tryak1aram uparyupari dnfvti tadrafmibhis trailokyodaravartisarvtimrtena stirdham afefatathtigatahrdayavarti jfitintimrtam tikrfya tatraivtintarbhtivya kramafa<s> tryakfarerztipi vilinai. Cf. SM251 (p. 494): tatab orrz-tib-hurrz-ity uccarya sarvadevattintim amrtam aknya tatraiva pravefayet, anenaivtidhif!htiya ... • hurrz] conj. Sanderson; hurrz SMed. See also VA (SP f. 120V-12Ir) and the graphic descriptions in K. Gyatso (1999: 63). 498 I am grateful to Professor Sanderson for explaining this passage (p. 57): tadu-
pari tiliktiliparirzattin orrz-tib-hurrzktirtin anukramerzoparyuparisthittin tebhyab sphuritarafminti dafadigvarttiviravirefvarirztirrz jfitinamrtapradiparrz sarrzkramarzanytiyena tricakrtiktiram aknya jagadartharrz ktirayitvti samtipattipurvakarrz dravibhuya yathtiyatharrz tefu pravif!arrz t sakalastigartidistharrz ca t tata orrzktirtidikarrz kramavilinam avalokya tryakfarerza ytivadiccham adhitif!het. • hurrzbhavti] em.; hurrzbhtivti Finot. 499 Sanderson (1998: personal communication) explains sarrzkramarzanytiya 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 mal).<;iala 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 K8u6 (n. 490); also GSS5 (Sed p. 135 15 , K23r5 cont.): punas
494
NOTES TO PAGES 211-212.
trytz/tplm:uiJhidhdJ4tm4no ma~nm,z ca jihvi]d1!J iult!Ahu,Jtarajayavaphaiapramllf.UZ'!' iultlavajra'!' tihylitrHi t4Jraiminaliltay4 prdlana'!' lturytlt. tato va/qyamli!Jii/.tllpaJiircanamantrai/J stuytit. • naliltay4] em.; naliltaylibhib K. 501 For other references to the bali ritual in GSS texts, see GSS31 (IlltlordhvatJ."!ti'!' {>s} 111; with commentary Yoginisa'!'cliranibanJh4/·Sa'!'Ciiratantrapdjilu1" cited by Sanderson 1994= urtihvaJ.'!.ti'!' tv iti wlmavalitordhvaJ."!.IJii· 503 For plut as in GSSu, see HA (f11v), GSSu, GSS31, SM2.18, (Jut in ADUT ch. 9, p. 187, possibly a misreading of plut by Kalff). For plu! see YSCf (8th pllfllla A4c, Bsv). VA (f. 113r.); and for phn,t see GSS4, GSS36, SM151. The syllable is not always given, e.g., Caltrasa,varabalivU/hi (p. 57), ADUT (ch. 14, p. 316). 504 The term used in our sources is jlillimudrli, ·e.g., GSS31 (I
urtihvavilt4c4'!' ftrtv4 t4J anu jtildmudrli'!' viJhliya. livartydvartynuz virayoginir i/t.'1]4 ... • virayoginir) em.; virayogininli'!' I<; Calrrasa,.varabaliviJhi (p. 57): tllto jaldmudrtitllnmantrtibhylim initll'!' sarwiJtJlrani!JanNI'!' ma!"/tda'!' pur1110 avasthtipya .. . ; GSSs (Sed p. 1437 , K2.9r-v): tllto bali'!' tl4Jy4t. bhojyaJiluz'!' purata!J ~ pr~ fliiodhya j4/dmudrtltanmantrtlbhytlm linit41f1 sarw11ttlrani!/Jan1JIU!Ima~altra'!' purato 'vasthtipya ... ; GSS36 (I I arigu!!h11vajrau
Jrtjha Sfl'!'prayojya (or: S41f1prapujya) I S41f~Sthapya Ill'!' 1NIIihya/4/ll,taMit I tlvartivartma bhramayn. It is cited, with variants, at YSCf (8th pa!flla A¥. Bsv) with gloss in Yoginisa1flcdranibanJha (f. 3v4, cited Sanderson 1994); ADUT (ch. 9 p. 187); ADUT (ch. 14, p. 32.6); HA (f11v); cf. GSS4 (I
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 (vikasitakamalamudrii) described in SM24 p. 6o below (seen. 516). 506 GSS5 (Sed p. 143 8 , K29r4=Cakrasa'Yf'lvarabalividhi p. 57): ma':u/alacakra'Yf'l purato 'vasthiipyiirghiidikapura~sara'Yf'l sa'Yj'lpiijyiilikiilipari?Jatacandrasiiryasvabhiivakaradvayiintargatahii'Yj'lkiira'Yj'l dntvii- O'Yf'l anyonyiinugatii~ sarvadharmii~ atyantiinupravi!fii~ sarvadharmii hii'Yj'l- ity ucciira7Japiirvaka'Yf'l candrasiiryiiriirjhahii'Yj'lkiirapari?Jiimena vajriifijalikrtakaratale tad amrtabhii?Jt/am avasthiipya dhyiitvii vii, abhimatasiddhyartham iti pafhet. - devya~ pramii?Ja'Yf'l samaya~ pramii7Ja'Yf'l ... etc. 507 The Cakrasaf!1vara-related balividhis describe a rite in which "actual" foods are also involved, laid out prior to the ceremony in front of the mantrin ( Cakrasa'Yj'lvarabalividhi p. 56): prathamato ... mantri bhak_syabhojiidika'Yf'l purata~ sa'Yj'lSthiipya. Cf. the rite according to the Sa'Yj'lvaratantra in the Vajriivali, in which the yogin points with his right hand to the bowl of nectar in his left (SP f. 123v): piidyiididiinapiirvaka'Yf'l piirvavat trima?JrJalavifuddhyii viimakaratale candrasthitahiirJ'l}avifvavajraniibhiiv amrtabhii?Jt/am iiropya dhyiitvii vii vajramu!fikrtasavyakarapras_rtatarjanyii tad darfayan. 508 In the Sii'Yj'lvarikasarvabhautikabalividhi (VA SP f. 123r), the VA provides a rather different version of the balividhi according to the Sarpvara system. This is more clearly related to the rite according to the Samaja system, Siimiijikasarvabhautikabalividhi (VA SP f. 121r.1), said to be according to the method of the Pi?JrJikrama (Nagarjuna) and the Caturariga (Buddhajiianapada), and also to the Hevajra-based rite, Haivajrikasarvabhautikabalividhi (VA SP f. 124 v. 6). 509 Cakrasa'Yj'lvarabalividhi (p. 58)-GSS5 (Sed p. 144 11 , K3or2): tadamrtabhakfa?Jiid dikpiiliidayo mahiisukhasamarpitavigrahii bhiivyii~; GSS16 (K81vr): eva'Yf'l pri?Jayet. pitvii mahiisukham anuvarteta (understand: causative). 510 GSS31 (Kro4n) prescribes a bali ritual 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 (sattviinii'Yj'l prii7Jarakfiiya vighniid viniiyakiid api) and then lists the types of siddhi that will ensue from the worship of"all beings" through utterance of the bali mantras and apabhra'Yj'lfa verses (HT2.4.89c---95d): vafyiibhiciiraripusainyaniifanam uccii.tanamiira1Jiikarfa7Ja'Yf'l
ca fiintisukha'Yf'l paUffika'Yf'l bhavet ca. 5II The term is unexplained by Tsuda, but Sanderson (1999: personal communication) translates "teacher's assistant." According to the rites of the Kriyiisamuccaya, the karmavajrin is a ritual specialist, much like the karmiiciirya 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. 122ff.): anyiirtham api balipradiine mantre yathiisa'Yj'lbhava'Yf'l me mameti
vii yathiivasthitam eva pafhaniya'Yf'l. sa ciitmatveniidhimoktavya~. asyopakiire mamaivopakiiro bhavatity iifayato hitakiiryasiddhir bhavati. anantare ca tadartham vijfiiipayed.. .. This Samaja bali ritual is more complex than the rite out-
NOTES TO PAGES 214-216
lined in our texts. The bali 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 (mrtpi1Jtfi) surmounted by appropriately 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 (gomayak_rtama1Jf/dla-), 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" (bahya-). 513 The form of the mantra is: O'f!l vajra-[name of krodha] vajra ima'!l bali'f!l grh1Ja amukasya fdnti'f!l rakfd'f!l ca kuru hu'!l phaf. The names of the ten krodhas to be inserted into the mantras are: (1) Vajrahul!lkara, (2) Vajradal).<;ia, (3) Vajranalarka, (4) Vajrakul).<;iali, (5) Vajraya~a, (6) Vajrakala, (7) Vajramahabala, (8) Vajrabhi~al).a, (9) Vajro~I).i~acakravarti, and (ro) Vajrapatala. They are understood to occupy a circle of protection with ten "spokes" radiating from the central point of the meditation hut (sakrodhadafdrarakfdcakra-). For the protective function of the ten krodhas, see also the "rite of expelling obstacles" (vighnanivdra1JavidhiVA, SP f. 252.3). 514 E.g., GSS18 (K83r5): dadyat nifayd'f!l bali'!l sarvamdraprafamanam; GSS15 (K74v2): samayi sthandtmayogarakfdyai sarvavighnopafamanamantram udirayet. O'f!l hrib gha 2 ghataya 2 sarvaduffdn hu'!l phat svahd. Cf. Vajrdvali SP (f. 120r7):
atroktavidhifu karydntarefu ctiddv ante ca vighnopafdntaye bali'!l dadyat. 515 VA (SP f. 126r4): etac cotpattikrame balividhitrayam. utpannakrame tu prajfio-
ptiydnuccalitena cetasd samanvahdramdtrdnitebhyab prajfiopdyarupebhya eva svef!ama7Jtfalefadidevatdsahitendradibhyo jfidnarasdvyatiriktasya baler uparfhaukana'!l balividhib. 516 On the "kamaltivartamudra" (GSSn, Finot p. 58) also "kamaltivartanamudra" (GSS5 Sed p. 144 16 , K30r5/ Sed p. 148 1, K33r4), Durjayacandra's commentary on the Catubpifhatantra states (f. 44r4-5): mdrutaprera[Jdt prabuddhapadmasyeva prasrtanguler agrapd[Jiyugasya nartanarrz kamaltivartab. (I am grateful to Dr. Isaacson for this reference.) The "blossoming-lotus mudra" in SM24 may be related (p. 6o): kificit ucchrita'f!l sa'f!lpufdnjalirrz k_rtvd madhyame sucikurydt
fefdS cdngulyab kirrzcit sa'f!lkocya sammukham asa'f!lflif!d dharayet, a[Jguf!hau tarjanidvayasamipe sthapayed iti vikasitakamalamudreyam. There is also a dance movement of the hands called kamalavartanika (Bose 1970: 151-52). In GSS7, a twelve-armed Vajravarahi is visualized revolving the vajra and bell in her fingers with the kamaltivartamudra (~or6): vajragha[Jfdkaravyagrd kamaltivartavartini, and the four-armed ekavird mothers also (each at the center of their individual cakras, ~rr3): tadvad gha[i-fadharab sarvab kamaltivartavartinyab. For the bell as feminine consort, seejfidnasiddhir5.24: prajfiagha[Jfdbhidhiyate (cited Bauddhatantrakofa p. 35). It is perhaps this gesture that is depicted in the bronze of Mahasiddha
NOTES TO PAGES
216-217
497
Ghal)fipa and consort as Cakrawpvara and Vajravmhi, which depicts the male adept waving the vajra and bd1 gracefully alofr while his diminutive conson drinks from her skull bowl in his lap (sixrccnth- ro scvenrccnth-ccntwy Tibetan bronzes in the Victoria and Alben Museum illustrated in S4crrJ Art of TiNt plate 40, and Rawson 1973 plate 105). In a Tibcro-Chincsc brass of Guhyasamija Alqobhyavajra in embrace with Spmavajri, it is the conson who holds a vajra and bd1 stretched alofr and ro the side, perhaps with a revolving motion (fifteenth or sixteenth century in the Asian An Museum of San Fransisco, S4cm/Art ofTibnplate 101, p. 177; the attributes arc 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 (GSSn K67V, GSSs Sed p. I+f 17, K3ors and Sed p. 146". K31n), three snaps (GSSn K69v), or the fourth finger (ANlmilui) touching the ground (GSSu K68v, Sed p. 1481, GSSs Knrs). 518 Other texts specify a Jh.~ (i.e., a triangle) inside a triangle (e.g., GSS35), or a square containing a triangle (e.g., GSS15). The paralld account (1Nlhya!*j4Wihi• GSSs) prescribes a square IIW}4aia in the first btlhytlpujll. with the syUables of the sites Cpu. jll. ere.) probably drawn onro it, representing the ten places. In the alternative INlhyApiiji. the paralld texts enjoin a double JhannoJ.yii with a circle inside it (Finot I9W ss): triJtorwcllhtulfNlJ'Im ili/thylz tlln~c~~M~.
519 E.g., GSSs (Sed p. us•. Kl-4v4): JNlficllMfiluiJipr•JOt•JNlrilodhitllvllittro yogi; GSS)-GSS16 (KIIV7/K76r3): S411UIJIIP'filul1fl multhe prlllqipya. Referring to the root tantra (~AtllntrA 1.1ocd, ned: sa""'}ln p4/4ym niiJII'!'· .. ) Bhavabhana also explains how ..S1111'111J1l ..denotes the five nccrars (cited Sanderson ibiJ.): "he should preserve the pledges" means • eating the pledges, relishing the five nectars in the circle of the assembly with the drinking of somA." OUtr4SII1flrHl7'1Wivrti (f. 18r-v): S411UIJIIptl"""""' S4WU~]~Jbhtz/qii'Jil1f1 ptlficllm.rtllb~!"1'!' P!"'C~ somAJNlNltNltptlficbn~. Jayabhadra, another commentator on the root tantra observes: "The word S41NIJII has two meanings: (1) that which is ro be observed [i.e., a post-initiatory rule] and (1) that which is to be eaten., c.lmJs.1f1MrAJNlfijilul: S4""'J' Jvi~ riJ/qllpiyo b~iylll ca (cited Sanderson ibiti., f. sr). p.o GSS35 (KI10VI): ltu1flltumagorocantisinJii"!'flnJillllnuna wi; GSS1 (KI1n): f'llj~~bhiilnuumnuz; GSS1 {KIIVJ): lllf/thinp/mnilra'fl ftrtvtl J;khitwi CIL 511 GSS1 (KIIV3): cnrytt/tdaklthtznyi. 0. cnrya/t&zltrt41f1 mukufli'fl (HTI.6.Is). Snellgrove notes that the intended meaning of caurya/tda is cawfUda •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 Cftrtl); and that this is confirmed by the Tibetan rltun mal (c~turtl) sltra ltu (-ltdll-) coJ JNtn (multup-). ~ glosses •caurakdafJ (em: cllllrya/td~JJ Snellgrove) with the word, wJbMJJhaltnq. but this docs not mean the hair "piled up" (Snellgrove's ·caw/A·), but "[a criminal] who has been hanged.'" Sanderson notes
NOTES TO PAGES 2.17-2.18
several other citations in support of uJbaJJha- with this sense, e.g., Vajragarbha's commentary cited HT vol.l: 65, n. 1; KYf 7.10: uJbaJtJhmytz ltdm4; KYf -vyalthya (p. 68): vr/t!tivalambittzm uJbaJJham; and Saiva sources, e.g., Picumatll3. p.d-93: tllto nimba'!' samlililthd I sapttujd14'!' mahlibhimll'!' dtibhjfl prajvalttntibhi~ I ~ltizilttmni'!' /ilth~t t/t1le 1111gn11m uJbaJJhAJut'!' 1111ram. "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." }ayadrllthayama/4, Yoginisa,cdr4 (8.7Id-72.b): diittir vrtt,dn sttm4/ilth~t I uJblllidhll1Uira-
prllcchttnNin. 52.2 These texts were introduced to me by Professor Sanderson (1999: personal communication). They arc the CllltrllSil'!'VttrttpujaviJhi (NGMPP Dnhs) and Hn~ajrllSil~ipttmisaTNidhipUja(Takaoka DH 372). Sanderson (ibid.) outlines the stages of the rite as follows: the 4Jiyogtt section, followed by the ma'.'fllllddiJOta (similar sequences of preparatory meditations and self-generations, but for the full ~4aia), the sU/qmt.tyoga (completion-stage practices), jttJNl with a rosary, baliviJhi, and concluding rites. 52.3 Sanderson (ibUI.) lists the contents of the ddiyogtt as follows: (1) IMnyatdbhdvttNI, (2.) ltizrllloJhtt1111m, (3) ghllr'!'lwidtz1111m, (4) ill1ilth4Jhifthd1111m, (s) btt/yadhifthi1111m, (6) mar'(IA/4Jhifthdnttm, (7) mantrttjNltrlllodhttnttm (skull vessel), (8) installation of twenty-four syllables of pith. etc., (9) ttngtt11J1lsa!l (o'!' htt hi svaha, etc.), (10) purification of body, speech, and mind, (n) installation of deities in slthttntias, dJiltllNIS, and dhatus, (12.) generation-in-front of m~9ala (Hcruka with eight yoginis), (13) protection, expulsion of obstacles, (14) bringing of knowledge deities, (15) offering of a flower to each deity on the mal)4aia with their mantras, the five offerings, praise, etc., ringing of bell, (16) eight-pan mantra, (17) hand worship, (18) one hundred-syllabled mantra, (19) ttnuttarttpuja. 52.4 The Textual Notes cite GSSs, which is almost identical to Sasvatavajra's HIIStllpiijaviJhi (Finot pp. 54-55) and SM2.53 (pp. 498-500). Sasvaravajra's HIIStllpUjllviJhi contains a colophon following the hmttzpiija (and its stated source in the /Yogini}-S4'!'cdrtttllntrtt). It continues with the alternative bdhyttpujd text {]4Jw1... ) and supplies a second colophon verse at the end of that, which also describes the rite as a hllStllpiija(cited in Textual Notes). This httstapiijatcxt is also published in Mcizczahl (1985: 29ft), although with some errors (e.g., he omits the buddha ~obhya in his translation, thus mistakenly reducing the buddhas to five). Reference to the rite in the Yoginisa'!'CJlrlltllntrtt scripture is scant, with only the passing remark that if the yogin is poor then he may obtain what he nccd.s (food, drink, clothes, etc.) by means of the hand worship (A7r4i BuV2.): yogiJmiJrttm IZTthi sytit httstllpiijnw s9sitll'!' (=safipsittzm) prlipy4... , and a further praise of the hart4piija in the fourteenth pa.1414. 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 (~vara-bascd) source other than the YSCf, which also makes this claim.
NOTES TO PAGES 218-220
499
525 Kriydsamuccaya's Gatzacakravidhi (cited Gellner 1992: 297, f. 4u): prajfuihinarrz yac cakrarrz tac cakrarrz matzt/amelakam. Gellner (ibid.) records that for Newar Buddhists today, a gatzacakra is a sacramental meal after a tantric ritual. For alcoholic substances, see Cakrasarrzvaravivrti (f. r8r-v cited above n. 519). The Kriyiisamuccaya mentions foods, e.g., (f. 4u): tad uktagatzacakravidhinii matzt/aliigiire khiinapiiniidibhif... and sexual yogic practice, including the types of consort spelled out in its Nifiicakram, (f. 409): yoginiyogatantrefU
yaduktarrz gatzamelakarrz . ... vajrarrz padme prati!{hiipya bodhicittarrz na cots.rJet. . . . evarrzvidhe nifiicakre varjana naiva kasyacit. janani bhagini caiva duhitarrz bhiigineyakiirrz. miimakasya tathii bhiiryiirrz svasrkiirrz - tathii punab I pitubhagini miituf ca ~tau prajfzii susiddhidii
. etdsiirrz piijanarrz karya bolakakkolayogatap. 526 The parallel texts also mention the goddesses who traditionally empower the psychophysical organism. As yoginitantra reflexes of the mothers, these goddesses are also consorts to the five buddhas. Sasvatavajra's Hastapiijiividhiopens with the yogin's conviction that on his hand are the elements with the nature of the goddesses (SM253, p. 498): svaviimakarasthiin prthivyaptejoviiyviikiifa-
dhiitiin piitanimiiratzi-iikarfatzinartefvaripadmajiilinisvabhiiviin adhimucya .... As the buddhas are then placed immediately on the hand, there is an implicit pairing of the deities in union. Sakyaralq;ita (GSS5) moves this prescription to a later point in the rite (between the text equivalent to GSSu §46 and §47) that renders it less significant. Umapatideva's omission of this line may be to accommodate his single-sex mat:Isfala; he is unable to remove the male buddhas from the hastapiijii, 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" {-tannakhamukhefu). In the Tibetan text of the sadhana, the sixth buddha is placed only on "the thumb's face" (see apparatus: *arigufthamukha). 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 'd.zin padma'i rgyal mtshan's commentary reads: on the {lit.:) "combined nails" (p. 801: sen mo bsdus pa). 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 , K22f3): tad anu laliitakatzthahrdayefU orrz-iip-hiirrz-ityakfariitzi fuklaraktaniliini nivefayet, and for example, the Khasarpat:Ia-Lokdvara sadhanas, e.g., SM13 (p. 37): tatab firasi orrzkiirarrz, katztbe iipkiirarrz, hrdi hurrzkiiram, and for other prescriptions, SM7o (p. 142): [afzjalirrz} hrdi iirtziiyiirrz katzthe miirdhni nyaset; SM95 (p. 191): kiiyaviikcittefU orrz-iip-hiirrzkiiraparitzatiip khecari-bhiicari-nairiitmiif cintaniyiip; Hevajrasekaprakriyii (p. q): adhifthiiya mahiimudriirrz buddhais
traidhiitukasarrzsthitaip, firohrtpiidadefefU
O'f!l
hiirrz iip iti tryakfaraip.
529 This is also suggested by Sasvatavajra's parallel text (Finot p. 57: "yadvii... "), as it is included as part of the text of the Hastapiijiividhi. This portion opens with a benediction and closes with a dedication of merit, both of which refer to the hastapiijii.
soo
NOTES TO PAGES 220-222
530 In contrast, the parallel texts (cited in Textual Notes) state that it is for the ga!J4Cma to preside (g~AlrrllJhq~'fl ctiJhyqytz). presumably because they deal with the generation of the complete mat]4ala in the first instance, and not optionally, as in Umapatidcva's version of the rite. 531 GSS14 (K72vr6}: ltu!"!a'ff ca ltl1rayn Umulb'"JM.Ihamutprabh~Jata/11 clltllrasra'!' vartu/4'!' tryasra'!' "fJhtlnltitamaJhyllgam I S· I svahrtibijti'fllu
samutsrjya jfulndgni'!' jainam uttllmllm I praJip4/«l/iltilttira'!' lta"!IIJNI Jiptivattaram 16. lltu~~ "JJIS~J ~tgni bhava~>c Cll caturbhuj11m I vara44Jt.sasiitralutm41.JI!al;illultilt~ari!"'<m > I 7. I sphurllllriip11Tfl ltumaraltara'!' ralttavan;ut'!' prabhasv11ram I upi/4cchllglli4riil!h~t pinglljvlilayaVJTIIm 18. I ~ tllSJil Ia'flvif.tli'fl bhdvllym nijllllnHltam I argJM, t/4Jy4t slkllmll11111fl pra!Jtimlidipuras/trtllm l9. • V. Sed Unmctric.; possibly emend 5d TqJMMitaTfl Cit maJhyagam • (v. 6) praJipaltaliltl1ra'!'] conj.; praJipaltaliltlira, K {lit: a great luster "with the form of a streak of a lamp'") • (v. 7) sUirillutm41,11/4[U] unmctric. • (v. 8) 8a and
532
533
8c unmctric.; cf. SM36 where Avalokitdvara has a similar form. • (v. 9) Ia1f1Vi{!41f1] conj.; sa'flvif!ll K. Sa,pu!tJtibhavatantra 6.3.17d cited below: pr11jfidgni-; GSSs, cited Textual Notes: lii"JJlfliltllru!"l4VIIJiltrlliJhatult4clllmllt4rajii41111vahni-. I am grateful to Professor Sanderson and Dr. Isaacson respectively for pointing out these two passages: Sa,.putoJbhavatantra (SpU) VIISIIntatiilllui section 6.3.18-22h (text supplied by Sanderson; sec also VIISIIIItllhWui (V11 8.wc-24 pp. 66-7): llbhyllntarllih lultrlidyais tu bahylli riipidibhis tath4 I hllvibhi/1 /triyllk hom./1 prajn4p~~u tu mllhojjvak I 18 I !"1/ti]lltanllllhtii'Unti'fl sltltnJhUina'!' vif~SIItll}_, I tkvlttliriipi!Jti'!' tqd'fl t/liltinind1f1 tathaivll ell I 19 I yog~tpUjtl samlilthytllll tma ~ piijitli Jlll4l! I iira/J/uzptilllm nllt tu havirbh4jllnam UCJII~ I 20 I STUVII'fl tu rllSilndlthylita Jtrcatltra, (/trccaltra, SpU; h_rccltruiro vr 8.23d) lalaNltmiltd I JNltriti Cll samw/Jq/111!1 (ca S4mut./J4.t41fl ed; multhmn ~ 8.2.4a) ltu!U/11'!' Cll nabhim.~m I 21 I UmutmtlrutanirJhiiUJ vahnis triluztiSII'!'Sthita/1 ( vahnis trilt•fisa'!'Sthitab] conj. Isaacson; vahnistriluzfisll'f'Sihitab SpU; brahmagnis trilt~ (triU,e> guhye Vf-!iltl1) sthitab Vf 8.2.4) l22ab. E.g., VllSilntatilllltafiltli ibiJ.. (p. 67): cllntirtijyll. "moon-butter." Cf. Vf ch. 8.3 (p. 61): sthitafJ JNI""tak vayur Vllirambho JhanurU.rti!J I sthitas
vr
534 535
trilut#Mf~ tu
trilto!Je jvalltnas tatha.
536 GSSs cited T cxtual Notes: sltltnJhaJiNihllnatilthaNt-. 537 For the patri hdd in the left hand, sec KriydsamU«IlJ4 SP f. 387·3 (cited Sanderson 1999: personal communication). The two ladles arc referred to in the commentary to the VllSilnllllilalti18.20C-2.4 p. 67, in which Lalani is identified with the srult and Rasani with the sruvab. According to the root text, the p4tri is the mouth (Vf 8.2.4a). 538 In the related AbhisamllJilm.lijllri. the bali seems to be offered into the "fire of knowledge" (blazing at the yogin-deity's navel) and is described as the "supreme oblation" (niruttllraho1111l/J) because it burns the "fuel" of the skandhas.
NOTES TO PAGES 227-229
501
539 The compound girigllhvara- is taken as a tlllpU"Uffl, meaning "mountain cave," but it could also be understood as a tlvandva. "mountain and cave," despite the f.act that it docs not decline in the dual (girigllhvarll]Ob or girigahfNlradyo/1). Both cave and mountain arc mentioned indepcndendy in other texts, and arc traditionally associated with meditative practice (Saiva texts frcqucndy prescribe a "'mountain top" pa~. also giriipigr). The compound could also mean "mountain thicket" (or "mountain and thicket"), because gahvaram also means a thicket (adjcctivdy, it refers to something deep or impenetrable). However, I prefer to understand "cave," because this site is suggested by the paralld compound giriguhtl. e.g., SM24 (p. 61): vijanava111lima14nagiriguhasina-; SM24 (p. 54): flijanagiriphtiyi'!' sthbu lucau 'N !tva cit. Sanderson (199~ n. 8) notes that dscwbcre gahvara means a "thicket." In the list of sites for siJJhiSiiJhana in the StiT (ch. 11.2-3, f. u.3: girigabvaraltuiifrf'l mahod4Jhit4!qu vd), gahvara is more closdy defined in a following verse as a place "full of trees" (sab: p/nNtw ~i17Je ~ rNlrtllJn saJit), despite the semantic overlap with ltuiija/1 ("'a place over run with plants or overgrown with creepers," Monier-Williams 1899). Bhavabhana seems to recognize the problem with this interpretation, and glosses gahfNITa here as crevice or ravine, literally, "a space between two walls of the [mountain]" (C4ItrllS41fiiNlralliVJ1i f. 27r.2: giri/J parINlta/J. gahvaraJabJma t1Uibhittitbaylint111'11m) (Sanderson op. cit.). It may be that there is some semantic overlap between "crevice" and "thicket" here, since ravines in mountains arc often thickly wooded. Other sources follow the interpretation in the StiT iadf, e.g., (16.1sab f. 31 r.1), and the Tibetan tl"aDSlation of SM251, which takes girigahvara (in girigahwzrtiJi-) as a dwznJwt compound meaning "mountain and dense copse" (ri bo Jmzg tsh4ng tshing) (cited Sanderson op. cit.). Comparing UmllpatitinNiivenc 2 with the passage from the StiT (ch. 11.2--3), it is notable that the list of sites is almost identical, except that GSSn omits ltunjab. This might suggest the emendation lmal4ne girig"""'-'" CJL However, the conjecture g/HJrr is adopted here on the basis of the Tibetan text as shown. The Tibetan translates girigahwz" "on the peak of a mountain" (p. 32..~ ri bo'i rtH nyitl na), and 0S1Uf1nidh4u as "on the banks/ shore" (p. 32.~ gram tltzt). 540 Lengthier sentiments of this kind in the BoJhiaryllvatllra (e.g., ch. 3, v. 9: titlritblltyi'fl ca sattvdntbJI nUihib syllm alqAyab.. .) arc glossed in Prajfiakaramari' s commcnwy-apparcndy on the scriptural authority of the A1JIIfllljraJhvtljlritrtl---a$ the "dedication" (pari!Jiimand)of"'roots of goodness" (p. 39): sa tlini lnJ4/amuJ.ini pari'(lllmtlyan nNI'fl pari!fllmiiJilti. A more common expression of the paril}imana in the context of the sevenfold worship is found in many S4Jhanamlllll sadhanas, e.g., SM24, "I dedicate all that merit that has arisen here to the sake of complete enlightenment" (p. 57): P*1JJ'l1!' prabh#ta'fl yaJ ihllpi SllrrNI'fl Sll'f'boJh~ tilt pari~mi. In v. 7b, the "King of Righteousness" refers to the Buddha. Cf. SMs1 (p. 106): . .. anu1111Jtk j4gatpU!']II'fl bw~Jha~JoJhtzu t.ltv./IN ""'""" I ut}Nil/4]4mi varabotJbicitta'fl ,;,.ntraylimi aha'!' Sll1'llllSIIItW I ¥..14'!' ~ wtrabotlhicllriU, lnuJJho bhaveyt~'!' jagato hitliyll.:
502
NOTES TO PAGES 231-251
Bw./Jhac11rita (I. 75b): loltmya Sll1JibuJhya ell Jhllm141'1i}ll/1 /uzrigllu bllndhaNZmOIqam qa/_1. According to the prose list (§1), the resolve to become a buddha in v. 7b relates to the "arising of the will to enlightenment" (boJhicittotplitlllb). 541 The simile derives, &mously, from one of the earliest Buddhist toas, the Mntlinlttll (Sutta Niptitll.1.8 v. 7): "Jwt as a mother would proteetwith 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 sidhana literature, sec SM98 (pp. 202-3): tatrllltrytl'!' m~~itri sarrNlSilttrlqV ~ltapumzprnnlltli-; SMs6 (p. us). etc. 542 The expression sphllr11~sphu~ is common in meditative generation for the process of emanating rays, mantras, or dcitcs, e.g., SMs6 (pp. n6-t8): sphllrll!fASil,hllrll,..U~ SMs8 (p. 122): sphurll7JilSil,htzrll!'ll1fl ell Jhyliyat. etc. 543 The Sanskrit supplies a rather forced object for the causative sntiPilJi!Jiimi, "I will bathe [you who arc] purified (iutJJhll'fl) ... ."The usc 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 iuJJhll'!' in the d-jHit/ll of the verse is well attested. It appears in liiyipada's HA (f. I4f.4), and in all the GSS mss., such as the Ab~ jllri (GSSs K22V3) and in SM26 (p. 6s); SMt8o (p. 364); SM218 (p. 419: iutiJhll'!' tu). Isaacson (1996: personal communication) notes an early text that has the same reading, namely, Rahulagupta's Hn~~tjrllprllltllill, which probably dates from the late tenth century, since the author was supposedly a teacher of Ati5a (palmlcaf ms. IASWR MBB 1-34 f. 23r). In the ADUT ch. 9 (Kalff 1979 p. 303) reports three mss. reading luJJhm, but perhaps these mss. arc veering toward the reading attested by the Tibetan translation of his text, luJJhma. 544 The eight yoginis described by Umipatidcva arc possibly eight goddesses from the Vajravarahi retinue. In the Hcvajra tradition, Ratnakarawui (MulttliVIlii f. 2IV4) describes the yoginis as the eight yoginis Gauri, etc. {g~turydtiibhi/J), i.e., the eight goddesses who surround the central couple. Only four goddesses (J)akini, etc.) surround the central deity in the Vajravarihi m~9ala, however. 545 Sanderson (1998: personal communication) suggests that the visualization of the syllable Vll'!f is intended as an alternative (as is the case at §9), despite the lack of clarity in the verse. The Nllitz is frcquendy visualized as a subde ray of light rising from the dot (binJub) of the nasal ending (llnusvara/_1) of the syllable, e.g., SM79 (p. 153): nliJo rlliminltha. 546 The following verses (36-37) seem to be scriptural, although I have not traced their source. Umapatidcva cites them as the starting point in each meditation stage to illustrate the composition of the m~4ala at its different phases. They do not appear in our recension of the (nor derivative HA), which is curiow, as other pliJtucarlier do (vv. 38--40, §n). 547 The eight-part mantra appears in abbreviated form within the longer miiltzmllntra given in §31. Significant variants in the paralld texts GSSs (1<1.4V3) and V~tjrllviiriihi.uiJh~truz (Finot 1934: 6o-61) arc shown in the apparatus to the Sanskrit edition, including notable variants in the Tibetan (p. 37.1). (Minor variants in the Tibetan text arc not noted.)
vscr
NOTES TO PAGES 251-263
548 In the Tibetan text, each of the eight mantras end with the syllables hurrz hiirrz phap. This is also true of the auxiliary-heart mantra (§12), of the mantras of the four petal goddesses, Qakini, etc. (§12), of the outer goddesses, Kakasya, etc. (§15), and of the miilamantra (§32), which similarly read hurrz hurrz. 549 The "eight directions ofMeru" (§17 and §18 meror attadikfu .. .) refer to the cardinal and intermediate points of the compass. Meru is conceived as the central point. The parallel text in GSS5 (K21n and K28r3) omits this cosmological reference to the eight compass points surrounding Meru. It is also absent in §19, which has a slightly different opening sentence describing the body circle, perhaps because the reference to Meru has dropped out accidentally. 550 Sanderson (1994i: 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 Tantrasadbhiiva (Adhikiira 19; Yoginilak!a~a). In the source texts, each site is equated with groups of deities. In these pairings, Saur~~ra is correlated with the set of household deities (grhadevatii). 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 Kuliitii (sometimes Kuliitam, Kuliitab); in the vernacular, Kulu. The Cakrasarp.vara corpus seems to have been responsible for a preservation of the erroneous form, Kulutii, even in redactions outside scripture (Sanderson 1997: personal communication). 552 Following this prescription the Tibetan text continues, "Alternatively, meditate on them as being to the east etc. of the palace" (p. 39·7= yang na gzhal yas khang gi shar Ia sogs pa rnams su bsgom par bya'o). 553 The translation "factors that favor enlightenment" (bodhipiikfikadharmaslbodhipak!adharma) has been suggested by Sanderson (1997: personal communication). The set is listed in Abhidharmakofalbhfi!ya ch. 6, v. 67ab and explained there (v. 67b-c) as favorable (anuloma) to enlightenment (bodhi~). Gethin (2001), in his comprehensive analysis of the bodhipakkiyii dhammii, 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 translations such as 'helping,' 'aiding,' 'favorable to,' 'conducive to' and so on, into thinking that the relationship between bodhi-pakkhiyii dhammii and bodhi is 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 ofbodhi,'' 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).
NOTE TO PAGE
263
U mapatideva' s glosses on the bodhipiikfikadharmas are the fullest example of Abhidharmic exegesis in the GSS collection. His work reveals the influence of Abhidharmic mainstays, such as the Abhidharmakofa and bhiifya (ch. 6) and the Arthavinifcayasiitra (chs. 13-19), and has a strongly traditional basis, as when he cites Pai_lini (§23) to explain the smrtyupasthanas, thus taking after Ya5omitra (t.yakhydp. 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 U mapatideva. Other tantric texts, such as the Sarrzpupatantra ch. I (Skorupski 1994: 224-31), also cite traditional glosses, but use the correct sequences; similarly the Vasantatilakafikii (ch. 7, p. 51), although this text shows some overlap with Umapatideva's lists (e.g., anusm.rtyupasthanas ch. 7, v. 2, p. 52, rddhipadas p. 53, etc.). For the bodhipiikfikadharmas themselves, Umapatideva changes the traditional sequence, in which the four right exertions (samyakprahdJJas) are second. See endnote table vi: Endnote table vi. Thirty-seven bodhipdkfikadharmas ADK/B I Asu/N
GSSn
sm.rtyupasthdnas
sm.rtyupasthdnas (§23)
samyakprahdJJas indriyas (§25) balas (§26)
rddhipadas indriyas balas
bodhyarigas (§27)
bodhyarigas
drydffdngo margab (§28)
dryiiffdngamarga
samyakprahdJJas (§29)
554 The translation of anusm.rtyupasthdnas (sm.rtyupasthdnas) as "bringers of awareness" 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 satipa.tfhdnas, mostly from Pali sources, which he terms "The Establishing of Mindfulness" (2001: 29-68). The sequence in U mapatideva' s text differs from the norm, but follows the identical text of the YSCT ch. J, v. 2, as follows in endnote table vii: Endnote table vii. anusm.rtyupasthdnas ADK/B ch. 6, 14abff.; Asu/N ch. 13
kayao
------------~------ _________ --~dyao __
citta o dharma
GSSn
dharma o 0
citta
0
sos
NOTES TO PAGES 163-165
SSS For the sm,rtyupasthanas as an antidote to the four viptuy4slls, sec ADK/8 v. 1scd., with Vy4k~ (p. 9o6); also AsuiN (p. w8). ss6 Sec ADK/8 with Vy4kl.ry4 (following 6.1sb, p. 904), where Ydomitra cites the same P~nian siitra; cf. Asii/N p. 2.11, n. 4- I am grateful to Professor Sanderson for his hdp in emending and translating this passage. 557 ADK/8 (ch. 6 v. 1~) discusses the charaetcristics of body, etc. Sec Asii/N ch. 13 (pp. 111, 110): athtz /u1yll iti Ito 'nha/1? S41f'fhtlt4rt~J4!1. ss8 The translation of ,rJJhiptit/4s is usually given as ..dements (or bases) of supernatUral power," e.g., by Edgerton (1953); Gcthin (1001: 81-100), in his full discussion of the set from Pali canonical and commenwial sources, translates iJJhiptit/4s as "Bases of Success." Umapatidcva himsdf defines them later in this work as the '"means of mind concentration," following the traditional association of the set with Sllmi1Jhi (ibid: 92., with n. 46). The ,rrJJhip4Jizs traditionally come third in the list of boJhipilqiltaJhamua, following the prahtl1,145. Umapatidcva's sequence for the .rt/Jhiptit/4s also varies from any of the Abhidharmic sources but may represent the usual tantric account, since this is the list supplied in the &uu/JhatimtTuoill from a number of sources. However, the sequence and number vary even in earlier texts, and Sanskrit and Pall sources list between four and six. References are supplied by Pruden (1991: 1o81 n. 434), Samtani (1971: 2.19 n. 1), and Edgenon (1953). The ADK/8 docs not, in &a, set out the complete list (ADK/8 ch. 6, vv. 66 and 69ff.), which leaves it to Yalomitra to clarify ( V]iikhyti p. 1015, cf. p. 1019 for the questionable inclusion of Sll1N1Jhi in the list). The Asii/N supplies more detail (ch. 15). Endnote table viii. .rJJhiJNillm Sanskrit sources (Edgenon) chlutt/4so
ADK-Vyakhya AsUIN
chllntl4s
Pall sources
chantim
0
viryao
dtt40 dtt40
GSSu 0
Viryt1°
dtt40 mim41f'IS'i 0
dtt40
SII1NUJhiO pr~o
SS9 For wisdom as a result of hearing, reflection, and meditation (lrutlleintlibhtlvanbNlyiprlljli4), see ADK/8 ch. 1, v. zb; ADK/8 ch. 6, v. 15, and AsUIN ch. 13, p. 2.11. In these Abhidharmic texts, this threefold set is given within the exposition of Jhamuum,rtyup11Sthi111l. Umapatideva deviates from the norm in placing them here within his exposition of the ,JJhiptiJ4s. s6o AsUIN also explains .rrJJhi/1 with Sllm,rJJhib meaning '"wealth of all qualities
NOTES TO PAGES 2.65-2.67
506
such as supernatural knowledgcs" (p. 219): sarvasyllbhijiUltiilttzsya gu'JilS}Il Sllm.rdtlhi/1 .rJJhiJ;; cf. Samtani ibid.: n.2., MaJhyantllvibhllgllbhaga anti Vibhanga-
af!ha/tatha. 561 The traditional
gloss is p4tla > pratif!hll (ADKIB p. 1019; Asii/N p. 2.18: tasyli Here, the author specifics that p4tla
.~ Pralif!hdnma pdt/4.b .rtitlhipdtJ4.b).
562
563
564
565
means a subsidiary (angam), namely, that without which the principal (in this case, boJhi/1} cannot be accomplished. .rti (when the vowel rfollows) alta/7 (there is no substitution in the place of the simple vowels a, i, u, f• !). I am grateful to Dr. James Benson for his help with this sentence. As Gethin (2001: 105) points out, the complete list of inJriyas, "probably common to all Buddhist schools," contains twenty-two such faculties. This set comprises the "spiritual.. faculties (i.e., numbers fifteen to nineteen). His discussion 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. Some of these glosses appear in Asu/N, although not aU relating to the inJriyas. For fraJJhnuiriya. the Asu/N also glosses fratiJhd. "c~fllSil!7 prastldlz/1' (ch. 16, p. 223; also given ADKIB ch. 2., v. 25ff.) and supplies the same connections with samyagt/."!.ti and ltarmavipalta (Asii/Asu/N ch. 16, pp. 31h24). For virymdriya. Umapatidcva gives the gloss supplied in Asii/N (ch. 16, p. 223) but under virya-.rtlJhipada (§2.4). For sm,rtnulriya, Umapatideva supplies a similar gloss to that in the AsuJN ch. 16 (p. 2.2.3): sm,rtir iillzmba1111pramiJ!4!7, which would indeed be repeating what he has said above (§23), although this docs not prevent him from repeating it in the next paragraph. For SllmdJhinJriya. Umapatidcva's gloss on SllmdJhi is identical with the AsuJN (p. 2.2.3): SllmdJhil cittllSyailulgratd. For prajnmJriya. he differs from the traditional gloss on prajfid in this context (ADK/B ch. 6, v. 68fT., p. 1017): sm,rtyupasthllntlni Jharmapravicayasambodhyanga'!' Sllmyagt/.'1#1 ca prajiitziva; Asu/N (p. 223): prajfid Jharmapravicaya/1. But his reference to mental states to be abandoned or developed seems to draw on the description of chanJil-rJJhipaJa given in the AsuJN, which defines these mental states cxacdy (AsuJN pp. 22.o-21). In this sequence, Umapatidcva draws on traditional Abhidharmic exegesis, e.g., AKD/B ch. 6, vv. 68-69 (p. 102.0): inJriyi!Jii'!' lti'!'/trto 'nukrama/J? fraJJadha1W hi pha/Jirtha'!' viryam arabhau, lirabJhaviryasya sm.rtir upatifP,au... ; cf. the identical analysis in the AsuJN (p. 224). Umapatidcva's text, however, is closer to the Asii itself (ch. 16, P· 32.; cf. sa,pU!"fflntra ch. I, P· 22.7). Like the sutra, u mapatidcva omits friU!Jhli from the sequence, having dealt with it first (and in the same manner). He then echoes the relative-clause construction of the siitra in dealing with the remaining inJriyas. His exposition amounts to a shon, derivative summary of the contents of the Asii, with some changes; for example, he glosses the verb samud4nayati with upat!haultayati and changes the phrasing 114 vipra1Jiiiayati to abhimulthiltaroti. (Asii ch. 16, p. 32): ... Ulam ucyau JraJJhmdriyam. tatra katamtUI ,;,~ruiriyam? ytln Jhamuln lraJJhm-
NOTES TO PAGES 267-269
507
Jrip,uz Jr~ti tlln dhttrmlln vimu/rip,uz samw14NZJI#i. iUm ucyau virymdriyam. tlltra ltatAmat sm,nindriyam? yan dharm4n virymdri~ Sllmut:idnayati t4n Jharmlln sm.rtindriJO.IIl na vipra!Jdfayati. U/4m ucytm sm.rtinJriyam. tAITa lt~ttAmat sam4Jhintlri]llm? ]An Jharm4n sm.rtintlri:Pr'll na vipraruiJilJilti t4n Jharmlln sam4JhinJriJ".IIl Jt4grilearoti. U/4m UC'}tiU SllmllJhinJriyllm. tAITtlUtAmat prajfinuiriyllm? ytln dh4muin S1l11111tihi~ ~ltdfriltllroti t4n Jh4rm4n pr~tjnnul~ prativitlh]llu. sa tqu Jharmqu prtlt]llw/qll!fll}lltiyo bharNiti. iUm UCJIIU prajnnulriJilm. s66 Cf. ADK/B ch. 6, vv. 68-70 (p. 102.0): ltasmtid inJriya!IJ n~~~ ba/4ny ultt4ni? mrtivlllihimlltrab!NJM/ avamartillniylinavamartillniya.twit; there is also a long exposition of this in the Vytilthyi. Asii/N follows suit, in bricf(p. 2.2.6): t4ny n~~~ lrtUJJh4Aini JNliic~riJil!'i bll!tzvanti baJdny I«JJIU. Cf. ADKB ch. 6, v. 70ff. (p. 102.2.): s~tm4Jhisannilrayn:uz loltottllratihllrmtitihipatibhit4ni lrlllitihhiinint/riytl!Ji. tllny n111 u niryitllvi~mutiacari!Ji ba/4ni. Pall sources list many baiAs, including ten b111As of a buddha (e.g., in in PED/Edgerton 1953); these arc discussed in his aD2lysis of the IHJ4s by Gcthin (2.001: J4o-•n). 567 Umipatideva's list of sll1flbodhyangas differs from the norm in placing samatihi first instead of sm.rti. and in juggling the order of the other angas (sec endnote table ix). This same sequence is attested in the VllSilntlltiJalul!ilt4, which provides similar glosses to some arigas (pp. ss-s6). In his discussion of this set, Gethin (2.001: 146-89) translates the bojjhllngas as "'the Factors of Awakening." Endnote table ix. Sll1f1bot/hya1igas ADK/B I Asii/AsiiN (ch. 18)
sm.rti
0
GSSn samlltihi
0
Jh4rm~~pravicllya o
Vi1Jil 0
pralrabdhi pralrabdhi Sllmlltihi 0
0
0
Umipatidcva's glosses do not relate directly to passages in the ADKIB or AsWN ch. 18 (see Samtani 1971: p. 228 n. 3 for references to other sources). On the sa1f1bot/hyangll5 as part of the boJhip~tlqaJ/Mmuts sec ADK/B ch. 6, vv. 67-69, and as a prelude to the llf!41igllmlllfa. ADK/B ch. 6, v. 70ft:; ch. 6, vv. 71-73. For the role of priti and prasrabdhi in dhyana, sec ADK/B ch. 8, v. 9b ff. and Asu ch. 8 (clllvllri Jhyinani),· for pTIIS1'1lbdhi (also priti and u~/ql/) relating to the ten good gctions, sec ADKB ch. 2., v. 2.5ff.; on the cultivation of the Sll1f1bot/hyangas sec AD K/8 ch. 7, v. uff. s68 Vasubandhu notes that the four noble truths arc called such because they arc
508
NOTE TO PAGE
271
the "truths of the noble ones (4']45)" (ADKJB ch. 6, commentary to v. 2e, p. 87 4: dryaslltyaniti sitr~ I«JJlnU. /to Sydrthll/1? ll1Jd!'flm mini Slltydni tllSmliJ aryauztydni ~ n;o/ttllm.) Gcthin (2001: 205-7) offers reflections on the significance of the term "noble" in Pali sources within his wider analysis of this sequence (ibUJ.: 1~226). The aim of the eightfold path is couched here in Yogacara terms as the antidote to jMytiVIlra!Jil (the obstructive belief that things reaLly exist as other than consciousness, i.e., belief in an object) and to ltkillVIlrtl!Jil (the obstructive belief in real individuality Slltlt4yat/,Tf!i!J, i.e., beliefin a subject). The Asii/N describes it in more traditional terms as the antidote to wrong views, etc.(ch. 19, p. 231): m~thyat1,7'f.tipr1Ztipalq~ yavan mithyasllmdtlhiprllti~ SllmJilgdmy4Jind1fl margangana'!' Jllthaltrama'!' VJ4vasthil.... The sequence of the eightfold path in relation to the Sll'!Jboe/hytzngllS is discussed in the ADK/8 ch. 6, v. 67b ff. The wider context of the discussion is of the relative position on the path (margll/J) of each of the boJhiplllqaJharmas (ADKJB ch. 6; cf. Vasllntlltilaufilta ch. 7• p. si). It is to this discussion that Umapatideva refers here (ADK ch. 6, v. 1ab: ltkillprllh4!J4m althyatll'!' slltyaeillrlan~~bhavandt... ). Abhidharmikas ennumerated five stages of the path (sll'!'bharllmlirgll, pr11J0ga tillrlll1Ut bhavlln4°, lliailqll in the course of which all defilements (ltkills) would be removed. In this analysis, the eightfold 0
0
,
0
,
),
path is said to belong to the path of seeing (urUnumuirgll/1), that is. the path of removing {prahd1,14mdrga!J) the ltklllS ofbeliefin a sdf ((i.Tf!ib). The type and number of ltkills are reckoned according to how "strong" they are, and how "weak" the practitioner is. The most subtle ltk14s arc destroyed only once the tlllrillnilmlirga has been traversed (according to some, this happens in a flash), and the stage of "meditation" is reached. The bhavanamlirgll comprises the path of removing more subtle defilements (rligll/1. Jw.Sil/1) (cf. Vaslln~ ch. 7, p. 56: ltklavara!"'prlltipll/q~ tillrillumargam ulttva jfl9dvara!"lpr1Ztipll/qll'!' bhavanamlirgam ahtt). The subtlest ltkillS are removed with the very highest meditation, called VajmpamASilmdtihi, and this opens the way to the final path of "no more training" (llillilqll), which is characterized by the "knowledge of the destruction of the defilements" (/qllylljfilln~~m) and "knowledge that they will never arise again" (llnutp4Jiljfilinllm).ln GSSu, Umapatidcva ascribes the eightfold path to both paths, the tlllrilln~~marga and bhavalllbnllrga. In the Vasllntatiillltafilta it belongs only to the latter (ch. 7, p. 56: tlltrll bhavandmarg~ jfl9dvaTil!"'<'!'> nifnvabhaVIlm iti yli JhjfJ Sli Sll"'JJlP.'!.tib· ..). The varying distribution of the bodhiJN1lt!iluzJharmas over the five paths is discussed by Gcthin (2001: 338-42). 569 The change to the normal sequence of bodhipalqi!tlliJhllT'miiS (in which the SllmyUprahli!"'S appear second) has been discussed above. It may, possibly, be accounted for by the designation of the set Sllmyllk, since the prefix s11myalt in the case of the eightfold path gives it an inclusive and hence higher position in the sequence of bodhipdlqi/tllliluz17NlS (see especially Vyalthya on ADKJB ch. 6, v. 68, p. 1017). However, the traditional glosses on the fust praha!"'S (ADKIB
NOTE TO PAGE
171
69a. V]ilkhytl p. 1015, Asii/N ch. 14) justify their original position in the sequence, in that they are causally related to the .rJJhi}NiMs (for example, the abandoning of unskillful states gives rise to chanJ., the fim of the .rJJbiplil/as; pt'llh4!f11 is also defined as viryt~). The meaning of SllmJ"/tprahli!"' is "right abandonment,• and this term ("pr~) is usual in Sanskrit sources. However, the Pali term for this fourfold formula was "'right dfon," Sllmm4-{p)p;u/h4Nl (e.g., Dighani/t4y41I.110, Mlljjhimllnilt4ya II.n, Ill.196; funher references in PED). There is another similar set of four ptuJh4n4.s in Pali literature, namdy, restraint [of the senses] (Sil'flfHli"'I/J), abandonment [of sinful thoughts] {p4ha11111n), cultivation [of skillful states] (bh4van4), and guarding [skillful states] (•nur~) (Dightmi/uiy4 111.11S, Anptt4rt~nikliya 11.16, etc.). •Effon" {ptuJhli1111m, pr1Uihtl114m) seems to be the older term, and indeed this is what the older Chinese translations tend to translate. However, the linguistic similarity of the Pall {ptuJhli"""'Jwith the Sanskrit~). and the inclusion of the sage "'abandonment" in both fourfold formulas, seem to have given rise to the later usage. Thus, later Chinese translations render pr~ and it is this reading that also went into Tibetan translations (see Pruden's translation of Abh~ 1991, n. 413, p. 1080 to AbhiJhllrrNlkoltz). For a fuller analysis of the terminology behind the "right endeavon," see Gethin (1001: 69-71) and following (71-80) for his discussion of the set. A different list of four efforts (S41IIJU-prlllih4114) is also found in Sanskrit literature, namdy: effon (prltJ'#NI!I), endurance (utsah.b). valor (viryam), and resolve (V]tl~). The sequence in which the stages appear in the texts varies, and although Umapatideva's coincide with none ofthe Abhidhannic sources mentioned here, it is a sequence found in the YSCr ch. 2., v. 8, as shown here in endnote table x. Endnote table x. Four prllhd!fAS ADK ch. 6, v. 69a; Vylik~ (p. 1015 on ADK 6.66) Asii (ch. ~variation in 1 & 1;
Pall sources
GSSu
Samtani ibiJ. p. 19, n. 1) (i) abandoning of unskillful (ii) - - - - - - - - - --------------------(ii) nonarising of unskillful (i)
(iii) --
(iv)
-------------------
(iii) giving rise to skillful
(iii)
(i)
(iv) protection of skillful
(iv)
(ii)
570 The scriptural citation opens the description of the body ~4afa. The notes below show some variant readings from the CakrasarpvaraNajrayogini traditions, and comment upon some problems in the tats of the Cakrasarpvara
510
NOTES TO PAGES 273-275
body ~9a}a. Umapatideva's opening description of the body mal}9a}a echoes the phrasing in prose and verse descriptions elsewhere. It stans with a citation from the GST 16.1ab and has similarities with the several accounts of the body mal)Qala (or aspects of its correlations) in the YSCf. For example, YSCf ch. 5 (B3n: virlillvayam uttama'!'; B3r6: virting11vilut1Jhinirtkf4b) 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 mal}4a)a calera and its place in the vertical cosmos (ibid):
pu1J'IIulrtlJi-SIImtiyogi? (B damaged; k pu-lttirll-) ... tid~ tUJe vyavasthitti/1. pu iti lthec11ri. The YSCf thineenth p11f4}11 describes the body maJ}4aJa again (A6v. 2, B9v. I): lllhll ptlrllm pr•wzltotimi... virt.tyoginim ~~1111m 11/qarllbhumyllltll'!'; cf. GSSn v. 42. This time it includes the body points with the structure: "In the site on the body point ... the places" (pu/Jir~ lirllSi ... p~thilm}; it ends by listing the sites by their first syllables (A6v6; B10n), the manner in which GSSu begins. See also ADUT ch. 9 (pp. 2.85-87): llSJiliVII pitht1Jiltrama<1J'I> vi"JJlS}tiimAJog11m uttllmll'f'. PU'f' lt~pti/iNlJ'rt~ell!'f!ti lirllSi; ADUT ch. 14 (p. 319); also Luyipada's HA (f. Ion fT.), which is the basis of the body maJ}Qala in GSSs (Sed p. 142.1, K2.8r}): tlltra pu-4-o-~~-go-r4-tk-1Nl pu/Jir11~ lt~n~~pr1UIIru}4b ...p~tha1f'l ... cittacllltr11S]4
lui-o-tri-lto-lta-IA-Iui-hi-pr~-g-SilU-su-nll-si-m~~-ltu-. pu/Jir~~m~~IAyaiirllSi pr~~e11!'f!ti
...p~th11m; cf. GSS7 (J43n). 571 K. Gyatso (1997: 41) gives "hair-line.,. 572 Some tats attest the "back of the head," e.g., m4Stllitllp,'!!M (YSCf ch. I}, GSS5 Sed p. 142\ K2.8r4-5, ADUT ch. I4 p. 319). Others specify the "backbone, .. p"f!haV41fll~ (SUTch. 7 v. sed, ADUT ch. 9 [p. 28s); HA f. IOn). 573 There is some question over the related aspect of the body for the hero in the ~vara body maQ<Jala (table 23). Some tats place the hero "in the bean" (bultlt~). e.g., YSCT (Bf.3r3), SUT ch. 7 v. 7b, ADUT sources (ch. 14 and GSS7). However, Kalff(op. cit.: 196 on Sanskrit text p. 3I9) suggests that bultlt~ is a corruption of vrltlt~ (kidney?), as suggested by the Tibetan translations (ADUT: mlthlll mil, "kidney," and SUT: mchin JNl. "liver"). The HA (£i4v6) is unclear, but may read vrftlt~. 574 A variant in other texts reads "armpits," bllhumUIAyop (YSCf ch. I3, ADUT ch. 9. p. 2.8s). 575 My ms. B of the YSCf (B f. 3r4) is corrupt at this point (and ms. A is damaged). The aspect of the body is usually "eyes'" for the hero Ankurika. However, YSCf (B f. 3r4) gives lt11/qllyor, repeating the body point occupied by the goddess. This is followed by a shon passage of dittography; the mansucript later omits the corrdations between numbers 14 ("'belly'") and 22 ("Padmanane$vara"). 576 Other texts also read "mouth,'" e.g., multhmthtiM (SUT ch. 7, v. 1oa, multM YSCf ch. I3, ADUT chs. 9 and I4, K. Gyatso 1997: 41). In the Cakrasal!lvara body mat;~4ala, 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
577
578 579
s8o
581
511
sources and different manuscripts (e.g., gru./41Nlrtib in SUT ch. 7, v. 10b; ppaVIIrti in ADU11 and their Tibetan translations, arguing that the intended meaning is "coiled gut."' Other readings include gupaVIItti (GSS7); gru}aVIIrtti (HA f. 15r.1-2. and SlJ11; gu/aVIIti (YSCf 8 f. 3r.~). The body~ practice in the CakrasaJpvara tradition gives thls body point as "penis"' (~w)with the corrupt form 1MUilm (YSCf ms. B); mnbt (HA, GSSs, GSSn); mNjlmuthllne (SliT ch. 7, v. ua); metjhrt (ADtrr ch. 9). Cf. ADliT ch. 1~ (with variants in different mss.: m~tbt. 111111jhw, mll!!J"~. Tib.: bshang sgo). Kalff (op.cit.: 159) reads 1netjhw "penis" but notes that the Tibetan reads "gate of excrement" i.e., anus (although "anus" is already given in the Sanskrit list for the eighteenth goddess Kha~J4arohi in Grhadcvati). One Tibetan tradition (K. Gyatso 1997: .p) gives "the two tcsridcs" and for the next site, the "tip of the sex organ." An alternative reading, mnk, apparently for m~timi (meJAr.. "marrow/fat"'), is found in GSS7, but this seems likely to be another corruption of metjhrt. The body point "penis"' poses a problem for the Vajrayogini tradition in that the body mal)4aJa is supposedly conducted by the yogin who has self-generated himself as the goddess Vajravarahi. If the body maJ]Qala is taken to apply to the body of the (male) meditator and not to that of the yogin-as-goddess, then the emendation m~t/hw is justified. This is substantiated by the Tibetan, which reads "genitals"' (mJoms). Other texts read Prn4Jhivllsini (YSCf ch. 13 and SliT ch. 7, v. 12.a). Our tradition (GSS texts, YSCT ch. 13, HA) reads anguli, meaning either "fingers• or "toes," although the Tibetan translates as "on the fingers" (p. ~.~: sor mo 1714111S). Kal.ff (op. dt.: 159-6<>) notes that there are two traditions here (as also for the twenty-third goddess, see anp,tha below). One tradition specifics "toes" (e.g., SliT ch. 7, v. LJ: JNIJangultzu; also the ADUT commentary by Siiraitgavajra: rluzngpa'i sor mo hn /4, "on all the toc(s) of the foot"). The other tradition is to understand both toes and fingers simultaneously. Thus, Luyipada states, "the sixteen fingers (and toes) (sn- [sic] mo bcu drug, no reference, Mcisczah11967: 2.96); C4/trflS1l1!1VIl1'llSiitlhana (Dawa-Samdup 1919: sor mo bcu tbw~; cf. Tucci b935II989: ~I). It seems to me most likdy that if one tradition is "corrca," it would be that in which the nyisll takes place on two body pam 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 ny4s1t of sites/deities in the lttiytt~ takes place on the body of the yogin who is seated in meditation; the toes and fingers arc therefore 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 Vajravirihi for the /uiyamA'."!a/4. SIJJJmmat (fcm.: ultihumati) is literally "having good,,. but this is usually translated as if from sit/Jnmwti"havingagood mind/heart," e.g., Dayal (1932.: 2.90). This is the standard translation of the Tibetan "good intelligence/excellent knowledge" (kgs pa'i blo gros). Our tradition gives llnPf!hllJO~· also in the Tibetan translation (p. ~2..5: mth~
512
582
583 584
585
586
587
NOTES TO PAGES 279-291
bo day) (e.g., GSS texts, HA, ADUT, also its Tibetan translation, and SUTch. 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.1) again notes that two traditions exist. He states that Surangavajra's comment on the ADUT specifies the two big toes (rkangpa'i mthe bo gnyis Ia). The Cakrasa'f!lvarasiidhana (Dawa-Samdup op. cit.: 21) and Luyipada (Meisezahl op. cit.: 296) specify both thumbs and big toes (Tib.: mthe bong b'zi), as does Tucci (op. cit.: 41). Once again, I prefer the latter, in line with the earlier arguments (v. 52a). Vajravarahi's root mantra in GSSn 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 prottunge, introduced in the Tibetan by *tadyathii (p. 43.2). This also appears in GSS5 (Sed p. 13i\ K24v6), directly following the full form of the eight-part mantra (GSS5 Sed p. 13i, K24v3), and the second part alone (prottunge .. .) appears in the Vajraviiriihisiidhana (Finot 1934: 6o-61=GSS3). In the Vajraviiriihisiidhana (Finot op. cit.) this is also called the mulamantra, but in GSS5 it is termed the "garland mantra" (GSS5 Sed p. 13i\ K24v6: atha ca miilamantro bhavati). Variants appearing in the text of GSS5 are reported in the apparatus, with some variants from Finot (except where they seem to be the result of an illegible akfara or the result of the editor's misreading 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 ofSM221 (pp. 434-35). The Saiva flavor of this epithet is unmistakable since Paramasiddhayogdvari is the name of a Saiva goddess from the nondual Trika tradition. The term "vajra words" (kulifapada(l, vajrapada(l) 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 Cakrasarp.vara mar:<;lala, e.g., kara kara. Another version of the mantra, consisting solely of the vajra words, appears in the bali ritual described below (§37). It also appears in this form in the *Mantrapiiffla (Finot op.cit.: 53-54) and Cakrasa'f(lvarabalividhi (ibid.: p. 57); also in the mantras of the twenty-four gods of the sites in the Cakrasarpvara mar:<;lala, as in the HA (f. 13r) 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 GSSn are shown in the apparatus from these sources. 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 Sakyar~ita states that it is a general mantra, applicable to all types of ritual (GSS5 Sed p. 1392 , K25v4: sarvakarmiko 'yal'J'l mantrap}. There seem to be two traditions for the generation of the heads. The Sanskrit prescribes the syllable ka'f!l (presumably based on the meaning kam, "head") and the Tibetan, the syllable ii(l. See apparatus to Sanskrit text, and Textual Notes. Translated by Professor Sanderson.
NOTES TO PAGES 193-199
s88 The Tibetan ten adds that "from the transformation (yongs su our pa) of the vowels and consonants [comes] the moon ... " (p. 45.3: 4/i lulli yongs su gyur JHl rJ. b.... ). 589 The verse is also recited by the practitioner during the hand worship [§46]. In the ch. 8, vv. 11Cd-16, this i111irllvttjr4verse follows the offering of food stuffs to the emanated IJW}4a)a (vv. 11Cd-14}, and it is the gods and goddesses of the sites who arc saluted specifically (v. 25). 590 The same mantras are prescribed in the parallel texts, GSSs (Sed pp. 143 11-441.1, K19V3-30f3} and CUrllSil1fWilrllb.livU/hi (p. 58). The latter also indicates the recipients of each mantra offering (shown here in square brackets). 591 "Sipping• (4amul1111m) is usually the ritual cleansing by sipping water and touching it to pans of the body (e.g., KriyisllmuccllJII SP f. 414.3: p4tiyicllmt~ n4Jilunp eiAttv4; f. -415.1: llalm4NUf1 t4to tilltwl sug11Nihllir Jotlh4yn (iotlhaytt conj.; ~SP) /uuiDfl). Here the context may suggest the sipping of nectar. 591 This m4liniverse appears in ch. 8, v. 18 and is used in the context of bllli offering in GSS5 (Sed p. 1443, 29VI) and Cll~VIIT~l~NdiviJhi (p. s8). It is absent in the account of the b.li mantras in YSCf (Asr) and HA (f. I4f-v). 593 Parallds with almost identical text appear elsewhere in the GSS, e.g., in GSSn (§45, §48, §49); GSSs (Sed p. 144 1.., K30r4): ccho11UlhllStm4 Sll'!fCcho"'J" ..l.....*";;..A~.... - 7 1VIIIutm ""'"*l.n. 1IJM-n4t/hiJulfiU/hitH1rlllllinhltm r- . . 14t41ts11Til1Nlnt1'11m . • T>'-".~-r· . r-:"' -~vrllb.livitihi (p. 58; a line has dropped out of the mantra in Finot's edition); cf. VA, SbpNri/uz.b s4rwbh.utiluzb.livU/hi (SP f. 114f) and Mll!'l!alo~vU/hi (SP ff. n8r-119V); and the hundred-syllabled mantra as shorthand for the fuller rite, sometimes with substitution of the earlier Vajrasattva for Heruka. e.g., SM19 (p. 74), SM71 (p. 145), SM118 (p. 430), SM247 (p. ..So), etc. 594 Umipatidcva's text repeats this form of the dismissal mantra (§45, §so). However, it appears as 07f1 rNijra mM/1 in GSS5 (Sed p. 14417, K3or6; Sed p. 146", K31n; Sed p. 1482 , Knrs) and the CllltrllSID!'""'•b.livU/hi (Finot op. dt.: sS), and in the M~pllSil1!tlulwlliivU/hi in the VA (SPf.n8v) as 07fl 11/1 hN'!' vajra mufl. The final mantra syllable mub is associated with dismissal (e.g., Khasarpa!)a-LokeSvua SM14 p. 57: 07f1 11/1 ~'!' mub).lt appears in (or in association with) a much-cited scriptural verse for dismissing deiti~ e.g., GSS16 (K8m): tlllll/J. t11f1 4/J bi'!' mur iti """''"!"'pi~ grhitvi 11111'."/41117!' silial]d. - D7fl ltf1tJ VII/I SllTVIISilttv4rthil siJJhir tllltt4Jlllhdnugti I pcdw:Jhva'!' ~'!' pu1111r4fii1'I'UINiJt' ca. • t14lt4] em.; tlAtvti K. The ms. reading (tilztv4) seems to be inftuenced by the paralld in sur ch. 13, v. 51a-
w sur
sur
NOTES TO PAGES 299-313
Sasvatavajra encloses his work with a benediction and dedication of merit, both of which mention the Bahyapujdvidhi by name. Other piija texts mentioned are from GSS2 (Knrr), GSS2o (K84v5)-GSS25 (K92r2), and GSS35 (Kr19v3). 596 The text of GSSn contains one injunction "to place the left hand (on)" vdmahastarrz dattvd following the locative fucipradefe. The parallel texts (GSS5..,.Bdhyapujdvidhi) cited in the Textual Notes contain two similar injunctions (hastarrz dattvd). The construction is familar from other texts, e.g., Hevajrasekaprakriyd (firasi hastarrz dattva), Kumaracandra's pafzjikd on Krrtzayamdritantra (p. no). 597 The meaning of vidarbha1Jam is explained by Padoux (1977: 345) as the utterance of the mantra a single time after the name. U mapatideva repeats the same sequence of offerings in the alternative bahyapujdbelow (§49) but without the injuction to insert the names. The parallel texts (cited in the Textual Notes) differ at this point because they deal with offerings to the entire ma1)4ala. U mapatideva intends this last offering to be to the outermost inhabitants of the ma1)4ala, in the manner of the final bali mantra. The same method is adopted for the outermost deities, the ten krodhas, in the Sarp.vara bali ritual in the VA (n. 513), their names likewise inserted before the mantras. 598 The parallel texts include this instruction (vak!yamd1Ja-); see Textual Notes. 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 Cakrasarpvara version of the rite and some ofFinot'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 portion of his ms. 6oo 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 (seen. 524). 602 Sanderson (1998: personal communication) notes that ma'Jf!alakam 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 Sarrzpupodbhavatantra 6.3.18-22b. 604 The SUTch. 17, v. 42c has Prapura1Ja, which Umapatideva seems to have altered for metrical reasons to Prapurd1Ja, although the sense is not as good.
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Index
References to Vajraviiriihi Siidhana text are in boldface type. abandonment, means of (samyakprahii1Jas), 271, 509(table) Abhayadatta, 12-13{table) Abhayakaragupta, II, 15, 18, 190, 357(n.6), 373 Amniiyamafijari, 153 dates of, 12-13(table) on generation of deity, 154 on meditation posture, II4 JV~pannayogiiva/~46,48, 173
on body mal).<;iala, 199, 203 on central channel meditation, !75-78 on circle of protection, 131-33, 132(table), 136, 445(n.303) on consecration, 170 on cosmic visualization, 144-46, 145(fig), 148 on external worship, 217 on five awakenings, 150-53 on mal).<;iala, 187, 190, 194, 195(table), 199 on mantra, 126, 134{table) on nectars, 492{table) on purification, II5-16 on ritual, 206, 207(table) sadhanas in, no, III{table) on skull staff, I 58 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 Vajraghol).a Vajravarahi, 66-68 Vajravairocani, 103 Vajravarahi, 63, 157-58 Vajravilasini, 84 Vidyadhari Vajrayogini, 8o-81 White Vajravarahi, 70 on worship, 120-23, I22(table), 124{table)
Siimvarikafl Siirvabhautikabalividhi, 339
Vajriivali, xx, 29, 190, 208, 210, 212-14 on viimiiciira, 40-41 works by, 390(n.33)
Abhidhiinottaratantra, 7, 22, 38, 49, 381, 405(n.I01) and Cakrasa1J'lvaratantra, 109 on deities, 184 mal).<;iala, 187 on Vajravarahi practice, 54, 56, 58, 6o, 184 Abhidharma, 138, 335-36 and Buddhist doctrine, 192-93 cosmology of, 144-47, 145(fig), 194 Abhidharmakofa, 145-46, 451{n.3I6), 452(n.320), 503{n.553), plate 15 Abhisamaya (Luyipada), 136 Abhisamayamafijari (Sakyar~ita; GSSs), w, 22, 99, 356{n.2), 357· 379 on armoring, 164 541
542
VAJRAYOGINl
academic study of tantric Buddhism, 106 Adarsa, 122 Adbhutafmafiiniilarrzkiira, 14o-43 (nn.iii-vi, xi-xxi, xxvii, xxix), 347 Adbhutafmafiinavidhi, 140(n.iii) Advayasiddhi (L~minkara) 369(n.29), 373 Advayavajra, 14-15, 22, 8o, 105, 365, 373 Advayavajrasarrzgraha, 373 cosmology of, 148 dates of, 12-13(table) on ritual, 208, 210 school and purity mantra, 128 and Sahara, 10, 87, 102, 368(n.27) Sarviirthasiddhisiidhana (GSS15), 23, 66-67,364 Vajraviiriihisiidhana (GSS3), xxi, 22, 134(table), 148, 179, 356, 383(n.r) works by, 8(table) on yogic practice, 173 Yuganaddhaprakiifa, 440(n. 281) See also *Siddha-Amniiya, Advayavajra lineage
Trayodafiitmikavajratfiikinivajraviirahisiidhana (GSSr6), 22, 63-64, 83, 364-65, 453(n.327), 492(table) Aghora, 38 Aghordvari, 38 Agni, 142(n.xviii), 311-13 Aindri, 43 Airavati, 59(table), 191(fig), 20I(table), 259· 265, 275 Aisvaryavajra, n8(table)
Ajiitafatrukauk.rtyavinodanii (Lok~ema), 125(n) Akar~al).i, 117, n8(table), 305(n.lxix) ~obhya(vajra), 4-5, 46-47· 58, n6 n8(table), 184, 189, 192(table), 219(table), 261, 303, 492(table) and Vajravarahi forms dancing, 50 hog-headed, 104 white, 69 Amanasikiiriidhiira, 373 Amitabha(vajra), 58, r88(table), 189,
192(table), 219(table), 261, 303, 492(table) Amniiyamafzjari (Abhayakaragupta), r 53 Amoghasiddhi, n8(table), 183, 192(table), 219(table), 255, 303, 492(table) Amrtakarzikii, 381 Anangayogin, 8(table)
l)iikiniguhyasamayasiidhana (GSS46), 23, 381, 474(n.423) Angkor, 443(n.292) Anupamar~ita, 128-29 Apara, 38 Ariidhanavidhi (GSS23), 23, 81-83, 88, 102, 368 Arbuda, 59(table), 20I(table), 259, 273 armoring (kavacanam) deities, 63, 218-19, 301 and identification with deity, 163-66 syllables, 344(table) Aryamafzjufriniimasarrzgiti, 371 (n. 37) Niimasarrzgiti (Vilasavajra), 3 Arya school, 173 Aryafuklavajraviiriihisiidhana (GSS 38), 23, 69, 70, 379, 383(n.r) atimiirga, 39-40 Atisa, r2-13(table), 17 Avadhuti, 279, 309, 425(table) Avalokitdvara, 26, 83, 85, 88-89, 91, 364 awakenings, five, 15o-54, 15I(table) Bagalamukhi, 427(n.224) bali ritual, 206-8, 2II-15, 287-93, 297(n.liii), 309 defined, II5 and identification with deity, II9 mantras, 73, 78, 101, II5, 141(n.xiv), r68, 220, 512(n.584) and oblation, 222, 309 and rite of completion, 215-16 and summoning the deity, r68 and tasting nectar, 208-9, 2n and Vajrayogini forms falling-turtle Vajrayogini, 78
INDEX
four-armed warrior-stance Vajrayogini:, 74 Red Vajraghol).a Vajravarahi:, 67 two-armed warrior-stance Vajrayogini:, 73 Vidyadhari: Vajrayogini:, 81 White Vajrayogini: with foot raised, 77 Bayon temple (Angkor), 443(n.292) Bhadracarydpra'l}idhdna-gdthd, 125(n) Bhdgavatapurd1J-a, 427(n.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
Sadhanamdlii. See reference Bhdvandkrama (GSS22), 23, 79-81, 84, 337, 368 Bhavya, 287
Bhutatjdmaratantra, 420(n.193) Bhuvane5var1, 427(n.224) Binducutjdma'l}ir ndma svddhif!hdnakramab (Sahajavalokanasamadhivajra; GSS32), 23, 51, 106, 148, 153, 372-74 Binduraja, 374 bliss, 92-93, 187 four joys (dnandas), 65, 82, 92, 175, 421(n.195), 454(n.334) mahdsukha, 136 See also mahamudra Bodhicarydvatdra, 501(n.540) bodhipdkfikadharmas (factors that favor enlightenment), 188, 192-93, 263, 335-36, 358, 503(ll.553), 508(nn.568-69) bodhisattva, 26 and body mat:l4ala, 196, 198-99 and five awakenings, 154 and identification with deity, 130-31 preparations, 119 and purification, 30 states, 273(n.xli)
543
vow, 301 body mat:l4ala (kdyama'l}rjala), 100, r66, 197-203, 200-201(figs), 271-79, 488(table) Brahma, 39, 51, 74, 76, 141(n.xii) Brahmai).I, 43 Brahm!, 43 bringers of awarenesss (anusmrtyupasthanassmrtyupasthdnas), 263, 504(table) Brhaspati, 466(n.395) BriefVajravdrdhi Sddhana (Vilasavajra) GSS4, 22, 180, 356 GSS29, 23, 179, 371 bsTan 'gyur, xxi, 11, 19, 20(table), 21, 387(n.20) buddha(s), 3, 202, 365 bodies of, 154 and guru, 28 and hand worship, 218-20, 219(table) identification with, 16, n6 in mal).4ala, 190, 192(table) and mudras, 158-59 on 044iyana, 44 and seed-syllables, 153 and sexual imagery, 149-50 and Tilottama, 421(n.193) and Trikayavajrayogini:, 100-101 Buddha4akin1. See Sarvabuddha4akin1 Buddhadatta, 8(table), 12-13(table)
Vajrayoginimatena Gopyahomavidhi (GSS13), 22, 363 Buddhaguhya,2,7,25 Tantrdrthdvatdra, 167 Buddhaheruka, r86 Buddhajfiana, 371(n.37) Buddhakapala, 4 Buddhakapdlatantra, 373 Buddhakrodhdvari:, 186 Buddhism categorization in, 174 and mat:l4ala, 192-93 and Saivism, 163, 466(n.395) and tantric literature, 2-8 Bu ston (1290-1364), 6, 162, 196-97, 341
VAJRAYOGINi and bsTan 'gyur, xxi, 11, 19, 20(tablc), 21, 387(n.20) saah~tNISiigtZra, 19-10
cakras. Su channels Cakrasarpvara, xxv, 4-5, 11, 14, 159, plare n armor syllables, JOJ(n.lxiii), }#(table) and body m;u:t<Jala, 197, 199, 102 on circles of protection, 133 consecration, 169-70 cosmology of, 148 on cremation grounds, 137 m;u:t<Jala of, 11, 100, 103, 105-6, 109-10, 161, 184-87. 189-90. 192-93. 337. 42o(n.185). plate 11 on nectars, 491(tablc) on rirual, 106, 108-4], 342 Saiva influence on, 37-38, # texts of, xxi, 10, 17, 105, 109, 381 at Vajrisana temple, 18 and vajra skull observance, -40 and Vajrayogini forms, 7 Vajravarahi, xxviii, 22., 48-49• 52, 54-5s. s5(fig), 6o, 104-5. 155-57 Vajravilisini, 8s UzkriiSil1!JINU'tdNJiviJhi, 108, 2JQ-13, 339 GzltrllJil1!IIIIITiltllntrll, 7• 11-13(tablc), 184, 344- }81, 491(n.493) Cakravarmi~i. 59(tablc), 191(fig), lOI(tablc), 161 167, 177, 337 Cakravarrini, 59(tablc), 191(fig), lOI(tablc), 161, 167, 277 Cakravcga, S9(tablc), 191(fig), 20I(tablc), 161, 167, 175 Cakrc5a, 374 camu~q.a,43
CaJ:lQilqi, S9(tablc), 191(fig), wl(tablc), 159, 2.6s. 173 C:u:t4arnah~. 4 Cll'.Ufamllhiro!41Jillantra, 181, w C;u:tqi, 380 C;u:tQika, 164, 119(tablc), 1.p, JOS Candrakini, 173, 432, 434· 471, 474 Capalavajraq.akini, 65(fig)
caryitantras, 1-3, 6, 11-13(table) ClltumuuiriniiaiJ'I. 373 Ciuurmtllbtln~N~Jt~, 375-76
Cllturyoginisll'!'IJU!fl. 7 CAIJifPi!hll, 381 celibacy. 17, 42 channels (in body), 74t 174-78, 1~9. 179, 488(tablc)
Chapagaon Grove, xxviii Chin1141N1St41tll/ptl, 417(n.114) ChinnA1Mitlltllntrll, 417(n.114) Chinnam~QiiChinnamasti.
Su Vajrayogini, forms of Chin1111111uruf4s4Jh41111 (Viriipa), 411(n.106), 415(n.116)
Chos rab, Rwa, u, 316, }61(n.13) Cittamitra, 125
CittaviSrima, BJ-8-tt 87, 360, 365
Ck11r Untln7tll1Uiing ofHn-ulut (lliyipada), 1o-n Commmtllry on portions ofGSSI (GSS.,.o), 13, 379-Bo consecration rituals, 31, 169-71, 2.43, 411(n.193• 195) conson(s) family and, # goddesses as, 184 of Siva, 37-38 ofTrika goddesses, -40 and Vajrayogini forms, xxviii Guhyavajravilasini, 8M3 Vajravirihi, 12., 6o, 48-49, 104-5, 155-57 Vajravilisini, Bs-86, 36o-61 and lllim4ctlrtl, 41 yogin and, 196
Sn 4/.so sexual practices cosmos, 144-46, 145(fig), 194-98, plate 15
visualization of. 144--46, 145(6g), 148
cremation grounds, xxvii-xxviii, 4t 16,11J,16I,177,J6S and body m~<Jala. 203, 488(tablc) cosmology of, 137-39, 140-41(tablc), 147-49· 194t 195(table)
INDEX
delineated, JII-IJ and external worship, JOO and masxf.ala. 190, 197
and meditation, 119, ~9 names of, 347-48
and Samsm, 37-40
and wring nectar, 197 and Vajrayogini fOrms, 43 T~j~,96
twO-armed warrior-stance Vajrayogini, 71 Vidyidlwi Vajrayogiru, 81 White Vajrayogini with foot
raiJed, 76 and vimlkirtl, 41-41 See also /t4p4liluz
S4S
and IIW}4a)a as doctrine, 193(table) and oblations, UJ-u, 309 pledge/knowledge, 1~7·141 and ~vism, 40 subjugation of, IJS, 139. I6
Dcvendra, 14J(n.xiii) Devi,IJS DmiJhirii1NitllpUr~ 446(n.Ja-t)
Dcvikota. S9(table), 10l(table), 159, 17J
~- 7• 410(n.I8S) l)ikini, 14HS· 263, 179, ~J. 483(n.4s8), plates 1, J, 10
etymology of. 397(n.67) in ~ s6, 59(table), 103, 181--84, 191(6g), 101(table) /)iii~ (Ananpyogin; GSS46), 13, 381, 474(n.413) 1)4kimj4/ll-dj~~n. 381 1)4/tim~rtiiiUJtrll, 410(n.I8s) ~.8},87 ~ 17J(n.xli)
deities, 4• 11, 43, 4S• 104 armoring, 16~. 118-19, JOI and bt1Ji ritual, 111-IS and circles of protection, 134-36,
l)S(fig)
and consecrarion, 31, 169-71 dager, IJS as drops (bituiu), 371-75
dwd1ing place of. LM-49 and cxtanal wonhip, 117, 110, 1,....,03
and band wonhip, 118-10, 119(table), JOJ-309 identification with, JQ-3:1, 116-19, IJG-JI, 149-SS· 16~, 168, 181, 199·147
dGe lup tradition, uiv-nv, 491(n-491)
Dhanada, 14J(n.xiv) DhanUri island, 88 Dharma, 2.8,111 Dhannadhituvajri, 117, n8(tablc) Dharmapila (c. 770'-81o), 10, ~ Dhtmus.'!'f'ilhll. 11s(n) Dharmaiistra, 39 ~w
and circle of protection, 137 and external wonhip, 116-17 imagay of, 144o 149-50 ofVajrayogini forms dancing-pose Vajravirihi, Sl T rilciyavajrayogiru, 96-100 Vajravirihi, ISS Vajravilisini, }61 Vidyidhari Vajrayogini, 8o(fig) SnlllsD~
DhQmivati, 417(0.114) Dhupi. 111, 111(tablc) Dhyiyipida, 8(tablc), 356(n.1) PIUIDNifiiMbhim!JMldD
V•ftwMi"Ji!!
IGtrllliluuDr~J!~mrnll/1 S~ (GSS34), 13, 51, 1o6, tJ7-JS, J48, 37S-76. 487(n-477) Jilq4. 5« initiation
VAJRAYOGINI
Dipa, 111, u1(table) Drumacchiyi, 59(table), 191(fig), 10I(table), 1S9· 16s, 173
Dvdt:/4J4bhujawzjravir4hi.slit.lhaNJ (GSS7), 7, n, 54, 184, 188, 359 ~vajra, n8(table)
Ga'.'f!avyUhtritra, 115(n) Gandhi, 111, 111(tablc) Gdug. Set dGe lugs tradition generation. Sn self-generation Glw)fipada, 14t #· 413(n.139) Giti, 111, 111(tablc) Glorious{ly EludJami] Ob/4tion Rite
eightfold path, 16s-67 Ekajati. 45, 103 elements,149 in maJ}4aJa cosmos, 194t 195(table) and purification, 116-17, n8(table) and tasting nectar, 109 visualization of. 144-47. 145(fig) empowerment (of yogin), 17,165-66, 170 empowering faculties (i1Uiriylls), 191, 193, 101, 165-67, 504(n.553), 5o6(n.563) Set also spiritual faculties emptiness, u 5, 1}1 and ritual. 205, 211, 215 &t also mantra, emptiness; meditation, emptiness enlightenment causes of (S111f1botJhyangllS}, 167-69, so7(table) faetors (btHJhip4JtpltaJham11ZS), 188, 191-93. 163-11· 335. n6. Js8, so3(n.553), 504(table), so8(n. s68-69) Set also mahimudri; soteriology erotic practices. Set sexual practices faCtors of the path (llf.t41igam4rg11), 193.169-71 factors that favor enlightenment
(boJhiJNillfilt~uJhanNIS). 5« enlightenment, factors faculties empowering (inJriyas). S« empowering faculties spiritual. &t spiritual faculties Ga1ppopa, 101
Ga!fiiCilltraviJhi, 118
(lndrabhuti; GSS14), u, 105, 111, 363-64 Godavari, 59(table), 10I(table), 159, 173 goddesses. Sn deities; individual
goddesses Grhadcvati, 59(table), 10I(tablc), 161, 175 Guhyagllrbha (8th cent.), 139, 161 Guhya/tolll, 11-13(tablc), 161, 186 Guhyasamaja, :av, 5· 149 Guhyasllmlljatllntrt~ (G$11, 5, 381 mantra in, 117 sadhana of, 15 on yogic practice, 171, 173-74 Guhytua1llllJIISiilihtm414 (GSS), plate 16 authors and works, 8(tablc), 9-14, 11-13(table), 355-81 compared with 54dhtnutm4li. 383(n.1) manwcripts, 311-18 sadhanas in, 2.1-13, 355-81 Sn also individual authors and works G~'!'grtlhll. 357(n.5) Guhytutnnayott~~,.paf414, 358 Guhyas~. 373 Guhyavajravilisini. Set Vajravarahi, forms of
GuhyawzjrlltlillsiniWJhanll (Sahara; GSS1o), u, 39, b-84t 86, 88, 90, 153, 36<>-61, 368(n.17) Guhydvari, :avii guru, 18, 106, 187, 418(n.169) consecration by, 170, so1(n.543) and initiation, 17, 1o6 qualifications of, 16-17 worship of, 110
INDEX
yoga. xxiii. nvi Gyantse paintings, 169 hand worship. S« worship. hand H~~~WIIril«intli""'!'i (J ayadratha). 466(n.J9S)
Haqa (6o~7), 14 Hasyi. 121. 1n(rable) Hayagriva. 49· 119(table) Hayaka.n}a. S9(table). 191(fig). 10I(table), 1S9• 167, 17S Hayisyi. 187 Herub. 4-6, 44t 46-49· 139, 197(n.liv). 373. 410(n.I8S) dancing, 4C)O(n.81) and hand worship. U9(table) and Mahimiya. 399(n.75) maJ,14a}as, 104 mantra, 81 and subjugation of deities, 161-61 Yamiri.to,. HmJt4b~,.. {Luyipida). 7·
109-10
Hn-ult41Jhisimutyll (Liiyipida), 103, 431(n.14s) HmJtU~7
Hevajra, n, 104 and b4Ji ritual, 111. 114-15 and bliss, 91 and consecration, 169-70 on letters of alphabet, 151 ma.r,t4aJas, 131 and mantra, 19 and Nairatmyi. 46 on ritual, 105 sacred sites, 196, 197(table) and sexual imagery, 149 and Trikiyavajrayogini. 100 Hn~~~fr~~""""' 38 Hn~~~jrqrtdt41. (Rahulagupta), 471(n.4JJ) HnHijrlllllntN (Hn, 4· 14. 16. ,.S, 371, 381 on consecration, 411(n.195) on consorts, 196 dates of, 11-13(table)
547
on goddesses, 416(n.I61), 410(n.193) on self-generation, 150 Himalaya, S9(tablc), 101(table), 1S9· 175 History ofBuJJhism in /ruJU. (Tiranitha), 9-10, 88 HurpkirivajracJikjni, 6s(fig) Hurpnidivajra#kini, 6s(fig) HuNimJ S4tJJuuw, 19
/com Worthwhile to&,- (IWS). 396 See also Rin 'byung brg,ll rts11 impurity, 41-43 Indra, 64. 74, 76. 140(tablc) and b4li ritual, 115 and cremation grounds, 311 Indrabhuti, xxiv, 9-11, 14o 371(n.37), 388(n.14) dates of. 11-13(table) and l.akfnililkari, 44t 101-1 PriUiip4butivitJhi (GSS14), u, 105, l.U, 363-64 on purification, 117 and Vajravirihi, 11, so, 105 VlljrllJOginimulthipmtl (GSSI), J4, 11, 18, 5<>-51, 117, 355 works by, 8(rable) INir•hlmtilmtm~ V•friiJDtinis4tlh.M111 (Vijayavajra; GSS3s), 2.3, 49· 73-74> 377· 477(n.43d lndra4akini, xxvi, 51(fig) Intlrllji~IIJDfinisllJh.M
(GSS..s). 11, 381
lndra-khccari, xxiv, 105 lndrir_ti, 43 INir• Vlljr•v4Tihi, xxiv initiation, uiii, 17 and consecration. 170 by guru, 1o6 and layman, 16 in Ncwar practice, xxviii ofVirupa. 15 iqyivajra, u8(tablc) lUna, 140(tablc), 311-13
Jagaddala, 14J, 357(n.6)
VAJRAYOGINI
Jagad~a, 16-17
Kriy4sllmucc4Jil. xx, xxviii, 16, 157-58,218 V•jricllry•/4/q~. 16
Jala, 64
Jalandhara, 59(tabk), 201(r.able), 202. 1f9,173 J alendra, King. 44 Jambudvipa, 88, 138-39 Janguli, 4S japa. SN mantra Jatudhana, Lp(table), 311-13 Jayadratha Hllr«llritllcintllm~~!Ji, 466(n.395) ]ll]llbll~tlllltTil, 38 Jnana4akini, 49 jnanadharv~.49
jflanapida, 371(n.37) Jramitivajra4a~Qni, 6s(fig)
]INli4wdiVIljrtl1Nl/4ttuatTil, xxi
K.akisya, 135(£ig), 1JJ-JS, 149, 1fS, 161,169,177 in m~Qala. 57, S9(table), 134, 186-87, 191(fig), 101(table), 483(n.4s8) Kilacakra, 4t II, 381, }89(n.14) cosmology of, 14s(fig), 146 mantra, 19 ~Qala, 194. 195(table), 443(n.19I) Klilllcllltr~~mu/4t~~1llrll, 381 KlilllcllltrlltllniTil. 11-13(table) Kilaritri, ss-s6. 63, 76, 161-63, 184, 139 Kili. }8. 4(), 195· 417(n.114). 466(n.395) Kalinga, 59(table), 10I(table), 1S9· 17S Kama, 403 (n.95) l
KimeSvari, 90
Kanakhala, 101 Kifid, S9(table), 101(table), 1S9• 17S ~pi,IOI
Kmilulllu4UulltJhllu (Dirikapa), 374(n.43)
luip4/iltll, 117 body ~4ala. 488(table) and cosmic visualization, 148-49 ~desses, 183, 189
~4alas. 11 practices, 4t 16, 40-41, 1o6-7 skull observance, 3~40, 158 and Vajrayogini forms &lling-turde-pox Vajrayogini, 78 Red Vajravirihi with foot raised, 75 twelve-armed Vajravirihi, s6-s7 two-armed warrior-sunce Vajrayogini, 71-73 Vajra4iJclni Vajravirihi, 63-65 Vajravirihi, 51, 155--57 5« lliso cremation grounds; transgressive discipline Karu~a. 87-88, 360, }61, .p8(n.169) K4thllsmts4gllrll, 319, 417(n.114) Kawniri, 43 Khadira~i-Tiri, 45 Khaginani, 59(table), 191(£ig), 101(table), 1S9• 1£,7, 17S Khaprbha, 117, u8(table) Klw]4aJcapilin, 201 Klwxlarohi. 14HJ, 161-6},167, 179,2.8} in m~Qala. s6, s9(table), 18}-84. 191(£ig), 101(rable) Klw]4arohika. 17S Khara Khoto tangkas, 35, 46, plateS 1, J, II
tjliltini in, 164 Vajravirihi in, 159, 183, 401(n.87) Kharvari, S9(table), 191(fig), 10I(table), 1f9, 16s, 173 Khasarp~a, 88 KoSala, s9(table), 101(table), 1f9, 17S Krama cult, 38 KriyisllmucciiJII 0~). xx, xxviii, 16, 157-58, u8
INDEX
kriyitantras, 1-3, 6, Il-13(tablc) KIWIIMit4/i, uvi ~ 14t 101, 42-B{n.us)
~·14 Kptigarbha, 117, 118{tablc) ~rita-
..s. 66
Kubcra., 4140(tablc), Jll Kubjiki. ,So Kulati, S9{tablc), 101(table), 2.61, 177 Kwniracandra, 66 Kwniri, uviii
Kiinnapida, 413(n.139) Kii~isMJJNDIII, 377(n.48) ~ VlljWI]Ogilli~(CiSSJ6},1J,77,J77
S49
letters of alphabet, ISl-s4t 158, 189-91 liberation. 5« enlightenment; mahimudri; soteriology lifestyle, 16-17, 17, }1-)1, 181 Ulivajra, 371(n.)7) l..ocani. s6. S9(table), 117, n8(tablc), 491(table)
Lokalqema A~ukrtJtwi~ 115(n)
Lokanitha, 87-88, }6<>, }61 Lokdvara, 83, 88, 117, u8(table)
LD!ttlrNzrllludpa. 419{n.185) Liiyipida, 8(mblc), 9-11, 11-IJ(mblc), 14, 11, 117, 356(n.1), 375-76 Abh~136
Clur UnJnmmJing ofHmJuz,
Kwukulli, 4S
1~11
HmJt4bhiJJNINIIIllftrl4 7• 109-10 ~11,7,
u~lf/ilt4.
37-JI.w
JB•
Ult,4~ 1. 83-84, 197, 36s
Lalqmi, 8(table), 11-13{tablc), 95, 369(n.19)
LalqmiiLaJqminl ~ (GSS14), I0,1J,
9f-96,99,101,J69
LalqmiJikari, 9-10, l4t #t 101 AJ,.,.nJJhi. 369{n.19), 373 dates of, 11-IJ{table) Ulqmis41JJMM (Lalqmi/Lalqmmkari;
HmJt4bh~ 103, 4JI(n.14s)
Sm414Mt~itihi. 140-43(nn.xii-xiv, xvi, :av-xxx), 107(table), 113, J43· 347, 449(n.)11) lri-Bh.tllfiMIII~ 10 VlljMI4r4his4111Nm4 (CiSS1), 14. 11, S~I, 117, 3SS--s6 vlljrtl]tJgi1tis4JJNuul, so
Madhyamaka. 119-JO· 105 mad observance, Bo--11
Mahibali, 59(table), 191(fig),
CiSS14), 10, 13, 95-96, 99· 101, 369, 411(n.106) Lalani. 309· 41S(tablc) Lalid,90 Lalitawjra, J7J(n.J7)
101(table), 2.61, J.69, 177, 410(n.185) Mahibhairavi, S9(table), 191(fig), 101(table), 1f9• 2.67
~.149-SJ,16J,179,21J
Mllh4bhirttt~~, 101(n.114). 48t(n.4so),
in IJW}4a)a, 56, S9(table), IOJ, 181-&f, 191(fig), 101(table) Lampika. 59(table), 101(table), 1J9,
Mabikarw]ib, 88 Mahalaqmi, 43
11J
lamps, fM, 183, 110 tu,kipuri, 44 Wkdvari, S9(table), 191(fig), 101(table), 2.S9· 2.6s, 173 Lisyi. 111, 111(table) Ugmt/s 6/the EifhiJ-Four M~9,1S,#
Mahibhairaviki, 2.7J ..S..(n-461)
M~OBva),4,47•367
mahimudri, 4• II, 14-15, 107 and Guhyavajravilisini, 91-94 and sexual practice, 181 and skeleton arch, 376 and Vldyidlwi Vajrayogini, 8o-81 Mahinisi, S9(tablc), 191{fig), 101(mble), 159, 2.6s, 173
sso
VAJRAYOGINI
Mahisiddha Kambala, 43 Mahisukhavajrapida, 341
Mahli#Wtalmt1N1, 371(n.37) Mahavarahamukhi, 410(n.18s) Mahividyi, ..P.7(n.12.4) Mahiviryi. S9(table), 191(fig}. Wl(table), 2.61, 2.69, 177 Mahiyana,1,3-4 bodhisattva, n9, 131 on emptiness, 119, 171 universities, 14-IS worship. 11~1}, 12.4(table), 11S(n)
MahayogcSvari,18J(n.xlvi) Mahe$vara, 1~1, 195 Mahdvari, 43 Maitri-kheca.ri xxiv, 105 Maitripi(da), xxiv, 10, so, So, 105 Milava, S9(table), 101(table), 1S9· 17J male role, 4-5 in body maJ].<J.ala, 199, 103 as Mahimiyi, 47 in reversed position. 405-6(n.104) in Saiva Trib cult, 40 in thiny-seven-fold maJ]<J.ala, 189, 193 with Vajrayogini forms &lling-tunle-posc Vajrayogini, 78 Guhyavajravilasini, 89-94 six-armed Vajravirihi, 6o Mamaki, s6, s9(tablc), 117, u8(tablc), 491(table) maJ]Qala, 4-s. 16, 11-2.4, 109-11, plates 11, 13 and btJi ritual, 111-IS as Buddhist doctrine, 191-93
body. SN body llW].Qala (lt4]11nut~)
of Cakrsarpvara. 11, 100, 103, 105-6 and circle of protection, 131-33 cosmos: visualization of, 144-46, I4S(fig), 148 mandala as cosmos, 144-46, 145(fig). 148, 194. 195(table) and cremation grounds, 138 and external worship, 116-18, 110, 19~303
and hand worship, 118-19, 303-7
Kalacakra, 443(n.191) Kill, }8 and mantra, SJ, S4(table). 179-80 and oblation, 111 and rite of completion, 116 sacred sites in, 195-97 stages of, 182.-91, 191(fig) and subjugation of deities, 16~3 and tasting nectar, 189 in T~iutNijrll(i4/tinitNljr• v4r4his4Jh41UI (GSS16), 365 and Vajrayogini forms dancing Vajravirihi, 51 Red Vajrajirihi with foot raised, 75 six-armed Vajravilihi with conson, 6~1. 61(fig) Trikiyavajrayogini, 97-100 twelve-armed Vajravirihi, 56-59. sB-s9Ctable) two-armed Vajrayogini in warrior stance, 71-73 Vajra4ikini Vajravirihi, 63-65, 6s(fig), 410(n.1I3) Vajravirihi, u, 49, 104, II9-10, ISS Vajravilasini, 361-61 White Vajravirihi, 69 See also JIM~ Mandasor temple, 43 Matiju$ri, 16, 168-69 Manobhanga mountain, 8}-84, 87, }60,}65 mantra, 109-II and armoring. 16}-64, 166(tablc), 141 and bali ritual, 111-15 and central channd meditation, 177-78 and circle of protection, 131, 1}3-}6, 134(table), 133, 137 of consecration, 170, 143 diagram. 51, 54(table) eight-pan, 1JI-SJ emptiness, 115-2.9, 131, 19HOI, 307 and external worship, 116-17,199-303 goddcss,1JJ,1J7,18}-87 and hand worship, 303-7
INDEX heart, 179, 1.47, 1SI and ~4aJa, 181-86, 103-4 and muclri, 158 and plcdgclknowlcdgc deities, 167-68
SSI
Marici, 46. 48, 104. 461(n.}67), plate s Mar pa the translator (lon-97), xxii, 10,180 Maru, 59(tablc), 10I(tablc), 2.61, 177
power of, IS}, I8o
Ma~. 417(n.114)
and purification, us, 117, ll9 and oblations, 309 recitation, 16, 19, 31 and rite of completion, 115-16 root,179-l3 Saiva influence on, 39 and tasting nectar, 191-99 transcription/extraction of, 51-53, 54(table) and Vajrayogini forms, 36 falling-runic-pose Vajrayogini,
Matsaryavajra, u8(tablc) Miyijilmtmtr~t, s. 173, 381 means of mind concentration (.rtJJhiplil/lls), 2.6s, sos(table) meditation, 15, 17 and body ~
n-78 four-armed warrior-stance Vajrayogini, 74 flying Vidyadhari Vajrayogini, 81 Guhyavajravilisini, ,o, 93 Red Vajragbol}i Vajravirihi, 61, 67-68 two-armed warrior-SWlce Vajrayogini, 73 two-armed white Vajrayogini, 405(n.104) T rikiyavajrayogini, 94-101, 98(tablc) Vajra4ikini Vajravirihi, 64.103-5 Vajravirihi, 178-81, 179(tablc) Vajravirihi/Vajrayogini, 51-53, 54( table) Vajravilasini, 361-63 Vidyidhari Vajrayogini, 79-81 White Vajravirihi, 69-70 White Vajrayogini with foot raised, 16-n in Vlljrti]Ofi,imu/th4g1111f14 355 Sn lllstJ seed-syllable 37, 40 M1111trf~Pi~ha, 107(table) 1fllllllrtiJJq/M. 37-38 Manu, 39 Mira, 160 M~, 117, n8(table), JOS(n.lxix)
,.,ti'IIINl1p.
VAJRAYOGINi
551
and IHdi ritual, 111-11, 111(fig} and external worship, JOI and knowledge deity, 168 and hand worship, 307-9 and protection rituals, us-16, u8(table) and rite of completion, 115-16 and sexual practices, 92 and wring nectar, 191,199 as tantric onwnents (signs of observance) dancing-pose Vajravirihi, 51 falling-tunic-pose Vajrayogini, 78 four-armed warrior-stance Vajrayogini, 74 Red Vajraghol}i Vajravarahi, 67 twelve-armed dancing-pose Vajravarahi, SS-57 two-armed warrior-stance Vajrayogini, 72 Vajra4ikini Vajravirihi, 63-64 Vajravirihi, IS8-6o White Vajravarahi, 68 MultlliiNIIi (RatnilcaraSinti), 456(n. 343) Muraja. 121, 1u(table)
n4tjis. 5« channels Nagara, 59(table), 101(table), 161, 177 Nagarjuna, 171, 173-74, 105 Nagendra, 142(n.xv) Nairitmyi, 46, 373(n.42), 461(n.368) Naiqti, 142-(n.xix), JII-IJ Nalandi monastery, 14-15 Nli1Nl1Nintr4rth4Nioltini (Vilasavajra), 25, 371(n.37) Nll7NISII'f'giti (V.disavajra). 5« Al]4 111111ijulri1llimllslu!'fiti Naro-J)ikini, 418(n.us). 458(n.352), 459(n.358) Naro-khecari, xxii-xxiv, xxiii(fig), 1o6 Niropa (c. 956-1040), xxii-xxiv, u-13(table), so, 102., 105, 155 Nandvara, 362. Nandvari, 117, n8(table), Jos(n.lxix) •Nanhang Pantheon," 37, 396(n.s8) NataJija, 91
nectars, five, 183, 110 Nepal hand worship in, 2.17-18 initiation rites in, xxviii Sankhu temple, 45 Thangbochi Monastery, 41Q(n.185) Vajraghol_li in, 66 Vajravirihi in, 47, 49 Vajrayogini in, xxi, uvii Ngor mal)4a)as, 131 Nihlrivajra4ikini, 6s(fig) NiWohita, 142(n.xvii) Niratijani River, 2.02., 179 Niqti, 142.(n.xix) Nil4uJml, 2.18 Nikirda,J42(n.xix) Nilisluftclirll. 38
Ni!pmt""J'fbtJi NYA (Abhayakaragupta), 46, 48, 173 nonduality, 41-43, 175-77• 111 nonobjectification, 129-30 Nft)'i. 12.1, 1U(table) oblation, 211-11., J09 Oc~a ofS4Jh4114S, 19, w(table) Odantapuri, 14 04<Jiyina, S9(table), 87, 100, 101(table). 2.J9, 17), 377-78 in body mal)4a)a, 101 and flying 41Jcinis, 74 and Indrabhuti, 9, 14, 43-44 rlAAM...M. ..,...JAI.i~•"----uH. "ni~_,..,_,,_,-tf'_'_,..,_-.J'~
s4JhtnuJ (Viriipa; GSS37), 13, 11· 378-79 Of#iJ41J11vinirg•t~~VIIjriiJOfinis41Jh.1111
(GSS11), 11, 7S• 363
04ra, 59(table), 2.01(table), 2.59, 175 OM HUNlrwJ tmJ Fifty S4Jhmuu, 19, w(table)
Oral Trllliition ofV•jrll]Df;ini (lndrabhiiti: GSSI), 14t u, 18, Scrsi· 111· 3SS Padmajvalini, 117, u8(table), JOS(n.lxix) Padmanandvara, 88-89, 91, n8(table), 119(table), 36o-61
INDEX
Padmanatha, 419(n.185) Padmasambhava (8th cent.), xxv-xxvi, 388(n.24) Padmavajra, 168, 373 Pai!)<;iapatika, 363(n.15) Pala dynasties (76o-II42), 14-15, 21 Pafzcakrama, 373 Pafzcatathiigatamudriivivararza, 373 Panchen Lama, 36 Pa!)<;iara(vasini), 56, 59(table), II7, II8(table), 42o(n.185), 492(table) Pa!)ini, 193, 263, 265, 336, 504(n.553) Pafzjikii, 344 Para goddesses, 38
Paramagambhirakarankatorarzakramavajrayoginisiidhanasviidhi!thiinakrama (GSS33), 23, 52, 106, 148, 172, 374-75
Paramagambhiropadefo Vajrayoginyiip Karankatorarzkramap Sviidhi!fhiinam (Dhyayipada; GSS34), 23, 51, 106, 137-38, 148, 375-76, 487(n.477) Paramasva, 219(table) Paramasvastra, 219(table) Pasin, 348 Pasupata Saivites, 39 Patani, II7, II8(table), 305(n.lxix) Paviyogini, 373-75 Pha~anivajra<;lakini, 65(fig) Picumata-Brahmayiimalatantra, 39
Pirzrfarthiip $ot;iafaflokiis Trikiiyavajrayoginyiip (Virupa; GSS26), 23, 84, 95(table), 100, 370
Pirzrf.ikramasiidhana, 169 places, ten (defas), 196-97 Potala mountain, 88 powers (balas), 267 Prabhafijana, I4I(table), 3II-13 Prabhavati, 59(table), 191(fig), 20I(table), 259, 265, 273 Praca!)<;ia, 249, 259-61, 265, 273, 282-83 and body ma!)<;iala, 198, 202 in ma!)<;iala, 59(table), 191(fig), 20I(table)
553
Pradipiihutividhi (lndrabhuti; GSS14), 22, 205, 221, 363-64
Pradipyotana, 435(n.258) Praise Contemplation o[Triple-Bodied Vajrayogini (Virupa; GSS27), 23, 84, 95(table), 100, 371
Praise o[Vajraviliisini (Vibhuticandra; GSS43), 22, 84-85, 380 Pramoha, 48 Pra!)avavajra<;lakini, 65(fig) Pretapuri, 59(table), 20I(table), 261, 275
Propitiation Rite ofVidyiidhariVajrayogini (Sahara; GSS23), 23, 8!-83, 88, 102, 368 protection and bali ritual, 213-14 circle of, II2, II4-15, 131-36, 132(table), 134(table), 144, 233-35 mantra for, 297 puja. See ritual Pulliramalaya, 59(table), 198, 20I(table), 202, 259, 273 Pura!)ic legend, 92, 141-42(nn.xii, xiv, xvii), 160, 466(n.395) See also individual Pura!)as purification, 3o-31 and bali ritual, 214 and body ma!)<;iala, 198 of circles of protection, 134-36 and consecration, 170 and correspondence (vifuddhi), II6-19, II8(table), 271 and mantra, 125-29 rituals, II5-16, 209 and viimiiciira, 41-43 Piir!)agiri, 100 Pu§pa, 121, I22(table) R.agavajra, II8(table) R.ahulagupta Hevajraprakiifa, 472(n.413) Raktavajraviiriihisiidhana (GSS6), 22, 6o, 358 R.amapala, King (c.I077-II20), II, 14 Rambha, 92
554
VAJRAYOGINI
Rame5vara, 59(table), 101(table), 1S9• 173 Rasa. 111 Rasana, 309. 42S(table} RatnakaraSanti, I1-13(table), 45, 171-73 Mukuiwzh, 456(n.J43) Ramasarpbhava, u8(table), 183, 191(table), 119(table), 1ft, 303, 491(table) ,rJJhipliJ.. SH means of mind concentration ReJ;tuki. 417(n.114) Rin 'byung "'rJJl rts11 (firanitha), 36, 364(n.17), 367(n.14) on T rikiyavajrayogini, 96 on Vajravirihi, so, 66, 77-78, 407(n.u1), 409(n.112.) on Vajrayogini, 405(n.IQ4), 411(n.I36), 414(n.L48) Rin /Juzn, 36 ritual, 3, 17-31, 109-11, 105-6, 2.07(tablc) consecration, 31, 169-71 efficacy of, 2.05 initiation, xxviii intention, 115 ltum4ri. 52 and lifestyle, 16 oblation, 11, 12.1-22 offerings, 12.1 rite of completion, 115-16, 197, 305-7 staking. 446(n. 305) tasting nectar, 2.08-u, 209(fig), 114. 189-99 &t lliso b11/i ritual; worship Rop.&;tivajraqakini, 6s(fig) Rudra, 39, 161 Rudfil:li, xxvi, 43 RupiJ;ti, 149-fJ, 163, 179,183 in ~4ala, s6, S9(tablc), 183-8o4. 191(fig), l.OI(tablc) Sahara, 9-10, 14-15, 22.-13, 101, 3Ss(n.1), 377(n ....,S) dates of. 12-13(tablc)
and Guhyavajravilasini, 86-88 Guhy4Njravil4sinistUIINmll (GSS1o), 11,39,81-84,86,88,9Q,153•36o 62, 368(n.:z.7} on mantra, 180 and Vajrayogini, 81, 83-8o4. 86, 91, 413(n.145) Vlljrll]Dginisli/Jhlln~~ (GSS19), 13, 71, 366
Vulyat/haritNijrll]DginytlrtUIINmllviJhi (GSS13), 13, 81-83, 88, 101, 368
works by, 8(table) Sabara lineage
ViJy4Jhtzri/trll1Nlbh4VIlNl (GSSn), 13,79-81,84.337·368 V~vlljriiJOtinistUIJNmll
(GSS11), 13, 79, 84, 367
sacred sites, 195-99 Sada.fava,90 sidhaka, 18-31, 91-91, 174-78. Sn lliso male role sidhana, xix-xxi and celibacy, 17 collections of Bu ston, 19 collections in GSS, 7, 18-14 defined,1,14 evolution of, 14-16 generation and perfection/ completion stages. 171-74 preliminaries, 17, 114-19 site for, 114-15 struau.re of. 17-33. II3
S4tihlln4 for [Gilining} SiJJhi in All Thing.r (Advayavajra; GSSts). 2.3, 66-67.364 544h4n~~m4/4,
xxi, 19, w(table), 11, 16 armoring in, 469(tablc) compared with GSS, 383(n.1) goddesses in, 45-46, 418(n.us). 437(n.161) and Maiiju$ri, 471(n.4J1} on m41ltr'tlm4/4 ritual, 70 on meditation posture, 114 on Trikiyavajrayogini, 95· 105, 360 on wonhip, 414(n.2.13) S44hlln~~1'N11.4 Tllntrtl, 2.0(tablc), 311
INDEX
S4JINm4 DjNDbk Whiu Vlljr4fllirihi (GSS38), 13,
69, -,o, 379. 383(n.I)
S4JJNuul DjRrti V•fr•llllr4hi (GSS6), ~
6o, 358
S4tihmul ofStem V•jr•vi/4sini (Sahara; GSSto), 11, 39, 81--84, 86, 88, 90, ISJ, j6o-61, 368(n.17)
S4JJNuw Df1M Thirumfolti Vlljr61/Ui11i VlljrtnNlrtlhi (Advayavajra lineage; GSS16), 11, 63~4, 83, 364~5, 453(n.317),
491(table)
S4tlhmut oftiN TwJw-A1111N Vlljrt~ tNlrtlhi (GSS7). 7· u, S4o IS., 187, 359 S4JJNuw ofTripii-&JUJ Vlljrtlytlgi,i (Virupa; GSS1s). m, 13, 95-99.
555
influence of. 1, 17, 37-40. 44. 104. 107, 16o-63, 189, 197, SI1(n.s83) and sacred sites, 195 seed-syllables in, 344 on three eyes. 4S9(D.JS5) and Vajravilisini, 85-86 Sakra, 76, I4J(n.xiii), 147 ~ P,llmfHIA. 42-7(n.U4) Sakri,j8o SUtislllflt"""'t~t"mz. 417(n.114) Sakya. Sn Sa skya Sakyanitha, 14 Sakyaralqita, to-u, 105, 3S7(n.6), 371(n.37) ~(GSSs).Sn~
54JJNnudlltllpdai/w (u6s), 18-10
dates of, 11-13(table) on emptiness, 119 on five awakenin~, ISO works by, 8(table) Samija, 1o8, 111-IS Samantabhadra, 117, u8(table) Samantabhadri, xxvi Samanwri, u Sambhala, 44 Sarpcilini, 164, 119(table), 2.41· J()j
Sigara.87
Sto,JiqiptllrNijrtltNIMhislltJhtuut
369-70
SM1INnu ofV•jrllJOPi with tht MnhDJ DftiN FIIIJint Turtk (GSS36), 13, 77, 377
S4Jhmul ofWbite V•jrllJfltini with
FtHNJ RAisNl (GSS17), u, 76, 366 S4JhllNISig4ra (Bu ston), 19-10 ~19
SahajiDgani, 373·37S s.hll}ll,;rtJn., 37S Sahaja Reversed, 40s(n.t().4), 4()6(fig) SllhlljllliJJhi, 37S _ Sahajivalobnasamidhivajra, 8(table), 371(n.37) Bi~""'!';, 1flimll ~(GSSj1),1J, SI, 1o6, f48, 153, 371-74
Saiva deities
and Mir2. 46s(n.}89) subjugation of. 135, 139, 16o-63, 195-96 trampled, ss-s6. 63, 74. 76, 78
Samsm
and b.li ritual, 1o6 on decapitation, 42-7(n.114) and Guhyavajravilisini, 90-91 and identification with deity, 431(n.149), 433(n.150)
(Vilisavajra) Gss., n, I8j, 356 GSS19, 13, 179, 371
5totapfl!lllll11trll, w Sto,JJIU!ObhizNtllnlTII, 111, 373(n.41) Sarptrisini, 16., 119(table), 1.41, JOS Sarpvara on letters of alphabet, 151 IrW]4aJas, 131 on mantra, 19 on ritual, 111, 114-15 texts of, 7 and Vajravilisini, 85 and Vajrayogini, 40s(n.I().4) Sto,J~N~TbytiiVtltllntrt~, S1-S3
StlmVIIriltllfl 54rwlbhlluti!tllbtdi111Uihi (Abhayikaragupta), 339 Siupvll~trll, xxvili, 7· 16,
381, 468(n.4()3) on btJi ritual, 113
w.
ss6
VAJRAYOGINI
on birth of deity, 154 on body maJ]4a}a, 101 cosmology of, 148 on cremation grounds, 449(n.}11) on goddess consorts. 18-4 on mad observance, 81 on maJ)4aJa, 109 on oblation, 111 and Saivism, 39 on triads, 101 Tsuda translation, xxi on yogic body, -416(n.110) on yoginis, 196 Sangha, 2.8 Sangs rgyas dwm cad kyi mkha' 'gro rna, 105 Sankhu temple (Nepal), xxviii, -45 Santic:ieva Si~U«IIJ'It 115(n) Santivarman, 88 Saptalqara. -49 Sapt4/t.SilrllSIIJh.ruz. -492.(n.-49s) Saraha, 10 Sarusui, 373, 375 Sarvabudcfha4ikini, -47, 51, 9-4. 97, 100, 103, 105, 183, -42.3(n.2.10), -42.s(nn.115, 117)
-~ s. 11-13(table), }8, 187, 389(n.2.-4), 399(n.77), -419(n.185) Sltl'fNIIillrgllti}HlriioJINzNllllntrll, 2.-4-1 5· IJ-4, }-41, 445(n.}Ol), #7(n.}o8), -451(n.310) Sarvanandanatha (Isth c.) Stuvol/4stu4ntrll, -42.7(n.12.-4) Sarvanivanll}avipwnbhin, II7, n8(table) ~iulJJNzllll (Advayavajra; GSS15), 13, 66-67, 36-4 S.nNZIIItluiflllll141trNU41f'grllhtJ, 3, _.s, 135, 139, 16o, W SitnNZvirasllmliyoga. 38 Sa skya, xxiii-xxv, 10, 1-4t 358(n.7) SiSvatavajra, 1o6-8, 107(table), 3-42. UUtriiJID!Iwtrllb.UviJhi, 107(table), 108, 2.1o-13
~'"""''"~ -433(n.1so)
$tqalltrllwtni~ -49 ~at194ini, -41, 59(table), 191(fig), 101(table), 161, 167, 2.77, 337 Sauriftra, 59(table), 10I(table), 'J.41, 2.77 secrecy, xxiii, xxv, xxvii-xxviii, 2.8, 68, 73,1o6 5«rn Obllztion /au Aaortling to tiN Systmt ofVIljriiJOiini (Buddhadana; GSSIJ), 12., 363 5«rn Ob!.tion /au ofVlljrt~v4r4hi (GSS8), 11-11, 360 seed-syllable, and INdi ritual 2.11-11 of body ~4aJa, 197--98 and central cbannd meditation, 175-78 and circles of protection, 131-J-4, 2.37 and deities, 169 and elements, 144, l-4S(fig) and external worship, 2.17, 199 and hand worship, 2.18-10, 119(table), JOH and bean mantra, 68 and meditation, 19, 130 and oblations, J09 in Saivism, 3-4-4 and self-generation, 15o--s-4. ISI(table) and tasting nectar, 2.09-11, 2.89-93 ofVajrayogini forms T rikayavajrayogini, 97 Vajravirihi, ISS Vidyidhari Vajrayogini, So and worship. 1~11 SN .Jso mantra SJuUtriy4/tr11m~~, 2.07(table) 5UitMtkl.plt4, 381 &/f-Cons«rlltion MnhoJ KtuJwn .As 1M Cmt ]nun ofthe Drop (Sahajavalolwwamidhivajra; GSS31), 13, 51, 1o6, I48, 153, 371-7-4 &/f-Cons«rlltion MnhotJ V•jrlzyogini SMJhllllll with tht Supmnely ProfounJ Mnhot/ oftiN SkJmln Arch (GSSn). 13, 51, xo6, x,.S, 171, 37-4-7S
INDEX
Self-Consecration Rite for Propitiating a Virgin (GSS44), 38o-81 self-generation and bali ritual, 208, 214-15 of deity, 149-55, 151(table), 166-67, 171-72 and external worship, 216-17
Seven Special Transmissions (Taranatha), 428(n.225) sexual practices, 5, 22-23, 28, 44, 107, 173, 365, 470(n.409) and bindu, 372-75 and consecration, 170 and hand worship, 218 and mantra, 181 and menstruation, 463(n.382) and monastic vows, 17 retention of semen, 92 reversed position, 405-6(n.104) and Saivism, 40-42 and fakti, 4 and skeleton arch, 376 symbolism of, 149-50, 152, 154, 158 and Vajrayogini forms, 84 falling-turtle-pose Vajrayogini, 77-78 Guhyavajravilasini, 89-94 six-armed Vajravarahi, 6o-61 Vajra4akini Vajravarahi, 63-64 Vajravarahi, 159 Vajravilasini, 36o-62 and viimiiciira, 41-42 See also consort; mahamudra *Siddha-Amniiya, 14-15, 83-84, 87, 102, 368(n.27) Siddhayogefvarimata, 38 siddhis, 3, 40, 70, 91, 101, 18o-81, 213, 287,295-97 Sikfiisamuccaya (Santideva), 125(n) Sindhu, 59(table), 2o1(table), 261, 277 sites, twenty-four (pifhas), 57, 100, no, 162, 196, 273, 376 Siva, 78, 85-86, 142(n.xvii) bhairava, 37-38 and cremation grounds, 311-13 dance of, 50, 91
557 subjugation of, 74, 139, 16o-62, 195
Sixteen Praise Verses of Triple-Bodied Vajrayogini with Essential Meaning (Viriipa; 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 Smafiiniilarrzkiiratantra, 141 (n.xii), 488(table) Smafiinavidhi (Liiyipada), 140-43 (nn.xii-xiv, xvi, xxv-xxx), 207(table), 223, 343, 347, 449(n.312) Somapura Monastery, 14-15 soteriology, 3-4, 40 and bali ritual, 214 and body mai].4ala, 202 and Guhyavajravilasini practice, 91-94 and mai].4ala, 192 sexual, 149 and subjugation of deities, 161-62 and Trikayavajrayogini practice, 101 See also enlightenment; mahamudra Sparsa, 122 spiritual faculties, 506(n.563) fri-Bhagavadabhisamaya (Liiyipada), 10 Sribuddha4akini, 94 sri-Dhanyaka~aka, 88 fri-Guhyasamayatantra, 19 Srihaga, 100 sri-Herukavajra, n8(table) fri-Hevajradvikalpariija, 375 Srimatidevi
*Chinnamu'l}fl,ii Vajraviiriihi Siidhana, 367(n.24), 369(n.29) Srisabarapada, 355(n.1)
fri-Vajraviiriihuiidhana (Prajiiabhadra), 358(n.7)
fri- Vajrayoginihomavidhi, 363(n.15) fri- Vajrayogininirahasyakar'l}iikar'l}amukhiimukha, 355(n.1) Srividya cult, 61, 90 Sthaviravadins, 18 Subhadra, 59(table), 191(fig), 20I(table), 259, 267, 275
sss
VAJRAYOGINi
Subhabragupta, 357(n.6) Srtkarisyi, 133, 1Sf, 169, 177 in m~4a]a. 57· S9(table), 13~ 186-87, 191(fig), lOI(table) Sukhivati, 150 Sumeru. &~Mount Meru summoning the deity, 167-68
Suprmuly ProformJ Tt~~ehing: &/f-Cons«rlllion liS SktlntJn-Arch Mnh«J of Vlljrtl]Dgini (Dhyayipida; GSSu). 13, 51, 1o6, 137-38, 148,375-76, 487(n.477) Surabhalqi, S9(table), 191(fig), lOI(table), 1f9• 167, 17f Suruyogini, 51, 369, 371 Su~pa. 59(table), 201(table), 161, 177 Suvili, S9(tablc), 191(fig), 201(table), 161, 167. 177 Svacchandabhairava, 38 SVII«
StNU/hi!_thll""kum4ritllrJNl(lll"iJhi (GSS44), 38o-81 nNIJhq,hlbw-method sidhanas, 13 Svakirivajraq.akini, 6s(fig)
s~.1JJ,1ss.169,177 in mal)~. 57, S9(table), 134, 186-87, 191(fig), 10I(table) Syima(devi), S9(table), 191(fig), 201(table), 159, 167, 175
tangkas 13~ 138 cremation grounds, 1}8, 140 (n.iii) temple palace, 147 Tangut empire (981-1119), 35 TllntrlinhlifNZI4rll (Buddhaguhya), 167 TllntrllSIIIJbh4t~~~, 38, 486(n.470), so3(n.sso) T11ntr11Sbtl, 417(n.114) tanuic
circles of protection,
li~~.1-9,16-17.}7-40 m~4aJas, I}l-}3
practice vs. academic study, xxii, 15-16 and female spirits, 43
~ems, 1-5, 163, 195 Tara, xxvi, xxviii, ss. 417(n.114), 491(table) and Advayavajra, 87 forms of, 45 in ma1)4aia. s6. 59(table) and purification, 117, u8(table) Taranitha (IS7S-16J.t), 358(n.7), 388(n.14), 390(n.19) on destruction ofVajtisana temple, 18 History ofBuJJhism in Jntli4, 9-10, 88
Rin 'byung /nxyll
rts4.
Sn rrftrmct
on self-decapitation mythology, 101 Sntn SJNcW TrtDUmmitl~ 418(n.us) T11ttiNZj~ xxi, 357(n.6) Tlltn~lljMntlstl1fUitJJhi-
sv4Jh;,.t4111llmuu. 375-76 teacher. Sn guru temple palace, 144-49, 189-90 Thangbochi Monastery (Nepal), 410(n.18s) Tibet, xxi-xxii, 1, 6 armor goddesses in, 164 Bon tradition, xxvii goddess transmissions in, 105-6 self-decapitation mythology in, 101 Tilaka, 373 Tilopa (c. 918-1009), xxii Tilottama. 91 transgressive discipline (INimlk4rll), 41-43, 117, 119 translation, 1, 19-2.1, 386(n.14), }S](n.w) T~tmilutllllfr~nivllj1'1lv4rtlhi
s41/h4u (Advayavajra lineage; GSSI6), 11, 6}-64, 8}, 364-65. 453(n.317), 491(table) Trika cult, 38, 40, 43, 195 Trikayavajrayogini, 13, 47, 94-101, 94(fig), 105 in GSSs, 358 in GSS9, 360 in GSS1o, 366 in GSS1s, 369-70 and Sahara, 14 texts of. 9S(tablc)
INDEX
and Vajravilisini, 84 Tri/uly4VIlfrayogi~ (Viriipa;
GSS1s), xxi, 13, 95-99, 369-70, o42s(n.117)
Tri/uly4VIlfrayoginismtra GSS16, 13, 84, 9S(tablc), 100, 370 GSS17, 13, ~ 9S(tablc), 100,371 Trilt4ytnNlfrtZJDfi~""
(Vlriipa; GSS17), 13, 84, 9s(tablc), 100,371 Tripwi, 427(n.114) Tripwasundari, 61,90-91, 433(n.149) TriSakuni, S9(tablc), 101(tablc), 159, 175 Twmty-One Prais1 Vmn for Slduting Vajrayogini(GS~). 13, 71,380
559
and mantra, 103, 105, 178, 183, 379 and Trikayavajrayogini, 94· 96--97, 367,369-70 V~J}avati, 380 Vai,I_lavi, 43 Vai'1_1avism, I, 43, 106 Vai~raval_la, 141 (n.xiv) VaiSvilwa, I41(table), JII-13 Vaivasvata, 142(n.xvi) vajra, 147(fig), 156(fig) defined, 44 family, I S3 as nondual, 44o 116 symbolism of. 153 vs. chopper iconography, 104. 156, 331
vljrabhairtZVIIIIlntrll, s
Vajrabhasmottami, 61(fig)
Ucchiftavjra, 111, 309 UcchUfmakrodha, 161 Ugratiri, xxviii, 45 tnnkisyi,133,1SJ,169,177 in ~a, 57, 59(tablc), 134> 186, 191(fig}, 101(tablc) Umi, 161 Umipatideva dates of. 11-13(tablc) works by, 8(table) universities. SN monasteries O~IIIINzjriiJOtiniWiiM"" (GSS17), 11, 76, 366 Va<Javavajraq.akini, 6s(fig) Vipvaragupta, II, }16, 361(n.I3) Vai~ivajra4ikini. 6s(fig) Vairocana, 3· 46, s8, 74> 243, 161, 491(tablc) goddesses and, 189-90, 191, 409(n.111) and hand worship, 119(table), 303 in maq4ala, 191(rable) and purification, u6, n8(table) seed-syllable of, 339 and Vajra~, 16o-61
Vairocllll4bhiSII'!'boJhi(tllntra), 3, 454(n.}31) Vairocani, 51, 358, 423(n.110), 41S(nn.us, 117)
Vljriai~viJhi
Oagaddarpal}a), 16 Vaj~trll, 7
Vajra4ikini. Su Vajravarahi, forms of Vajradalpfp-ottami, 61(fig) Vajradhara,18, 161, 137(n.xiv) Vajradhitwnai}<Jala, 3 Vajragho1_1a. Set Vajraririhi, forms of Vajraguhyottami, 61(fig) Vajrahcruka, 197(n.liv) Vajrajfiinottama, 61(fig) Vajrajvalottami, 61(fig) Vajrakila, 137(n.xiv) Vajrakrodhottami, 61(fig) Vajrimrrottama. 61(fig) Vajramukhi, 48 VajrapiJ;U, 48. 117, n8(table), 16o-61, 381, 411(n.138) Vajraraja, n8(tablc), 119(table) VajrartJ/iumtr11, 341 Vajraratnottami. 61(fig) Vajrasamayottami, 61(fig) Vajrasana, 468(n.404) Vajrasanva, 49, u8(tablc), 119(tablc), 197(n.liv), 303 Vajrasiddhottami, 61(fig) Vajrasiirya, u8(table), 119(table) Vajratiri, 45 Vajratejoaama, 61(fig)
s6o
VAJRAYOGINI
Vajravairocani. 5« Vairocaru Vajravalinalarka, 134 Vlljr4wzli (Abhayikaragupta), XX, 29, 19(>, 208, 210, 212-14 Vajravarahi. xxv-xxvi, I, 21-24, 2.69-71, plates 4. 6, 8, 10, u compared with Vajrayogini, xxii, 47, 49· 102-6 emergence of, 47-49 forms of, 103, ISS(fig), 155-6o 4/ujhtl-stance, 356-57 llrtihap4ryt~nluz (dancing)
pose. u,
so-53, SI(fig), 1% 105, 184, 325, 355, 358-59, front cover, plate I armor, 164o t6s(fig) Arthasidhana, 67(fig) in Brihmal}a Sridhara tradition, 4()8(n.u7; fig) Guhyavajravilisini, 81, 86-93, 86(fig), 405(n.I04) p~stance, 356 Red, 6o-6J red, two-armed warrior-stance, 36 Red Vajraghol}i, 66-68, 67(fig), 104-5
red,
urt1hvllJNIM (foot-raised} pose.
74-75, 7s(fig), tos-6, 363 Sllf!lbhogllluiyll. 167 six-armed, warrior-stance, 61-65, 63(fig), 36s six-armed with conson, 6o-62, 61-61(fig), 105, 358 thiny-six animal faces, 410(n.I85)
twelve-armed, dancing-pose. 54-59, ss(fig) Vajra4iJcini, 12, 63 (fig), 105, 365, 367, 424(n.213) Vajravilisini, 11, 61, 84-86, 85(fig). 89--91,103, 1o6,36o-61,380, 405(0.104) Vajraghol}a (hog-faced), 13, 18, 46-48, 51, 66-68, 67(fig), 104, 364, 366, 378-79, plate 5 warrior-stance, 21, 13, 36, 49· 52, 105-6. 363 white, 69-71, 69(fig), 358
White Vajragbor;ta. 68, 104--5 and G~!if>ida, 44 and hand worship, 219(tablc) identification with, 32., u6-19, 149--55· 16)-66, 168, 181-81, 139 and IIW}4aia. s. no, 191(fig) mantra of. 178-81, 179(table) subjugation of males, 40 5« lllso Vajrayogini VlljrtnNir4hihomllfliiJhi (GSS39). 21-1}. 379
vlljrn4rihiluz/pll, xxi
GSSI8, 23, 66-68, 366 GSS41, 11, }Bo Vlljrllllirihi~
SiiJhlltfll, 364(n.17) VlljrllrNirihi RiiUIIl, xxi GSS18, 13, ~.}66 GSS41, 11, 376
VlljrtnNiTihisiJhllnll GSS2 (Liiyipada), 14, 21, 50--51, 117, Jss-s6 GSS3 (Advayavajra), xxi, 12., 1J4(table), 148, 179, 356, 383(n.1) GSSu (Umipatidm). 5« individual topics GSS31, 13, 134(table), 179, 371 Vlljrt~llirihyll~trll. 187
Vlljrtlthfr4hy4 Gopyilho1NIIIiJhif1 (GSS8), 21-11, 36o Vajravarl}ani, 51, 413(n.110), 41s(nn.115, 117) and mantra, 103, 105, 183 and Trikiyavajrayogini, 94· 96--97, 367,369-70 Vajravidyottami. 61(fig} Vajravilisini. 5« Vajravirihi, forms of
Vlljruillisinistotrtl {Vibhiiticandra; GSS43), 11, 84-Bs, 38o Vajrayina, 1, 44 Vajrayogini, :av-xxvi, 21-24.101-7, plates 7-9· 14 and Cakrawpvara texts, 17 compared with Vajravirihi, xxii, 47• 49· 101-6 emergence of, 43-47
561
INDEX
GSSJO, 13, 9s(table), 96, 99. 371
forms of, 36, 103
111'1i1Mptl'JI"iittt (dancing) pose, 4S-46 Chinnam~Chinnamasci,
13, 94. 101, 387(n.18), 414(n.110), 417(n.114) falling-tuttle-pose, 13, 77-78, n(fig), lo6, 377 flying Vtdyidhari, 13,81-84, 81(fig) four-armed, warrior-stance, 7r74• 73(fig) Guhyavajravilisini, 86-93, 86(fig) red, warrior-stance, 358, 378 severed-head. 36o T rikiyavajrayosini, 13, 94-101, 94(fig), IOS, JS8, 36o, 366, 369-70 two-armed, warrior-stance, 71-73, 71(fig) ~(raised-foot) pose. 11, }66 Vidyidhari, 13, 79-84- 79(fig), 81(fig), 86--89, IOS-6, 367 white, two-armed, 378-79, 40S(n.I04) white, foot raisccL 76-77, 76(fig), IOS-6 idmtificarion with, 31 subjugation of males, 40 and fNim4drll, 41 5« lllso Vajravirihi VllfrltJtltim~rNJhi-114m11
(Umipatidna), 361(n.13)
v/lfrltJtlti'"""*"'t ~,.,;Jhi (Buddhadana; GSSIJ),
11,
363
VllfrltJtlti~ (lndrabhuri;
GSSt), 14t 11. S~I, 117, 3SS
vllj"'JfJfiniJn'llri41Uilt.vi'f'PJt4 (GSS-41), 13, 71, 38o
vlljrll}fJfinis411htzllll
GSS9 (Vuiipa lineage), 13, 9s(table), 96,99,J6o GSSI9 (Sahara), 1), 7J, 366 GSS10 (Vlriipa lineage), 13, 9s(table), 96, "' 366-67 GSS18, 13, 71, 371
Vlljr4JV'Pii S4JIMu ftom CJ#.iy4u (GSS11), 11, 7S• 363 Vlljrll]tlfini SMIJMu fotm CJ#.iy41111 with the &lf-Oms«rtuitJn MnhoJ (Vuiipa; GSS37), 13, 7J, 378-79 V•jnlytlgim ~ ;, tiN TWlllitio, of l~ti (Vijayavajra; GSS3s), 1), 49· 13-14. 311· 477(0.431) VlljrllJOtim ~with tiN MnhotJ for Ol"'fW"i"tlruir~~ (GSS4s). :z.:z., 381 V•frllJOfini ~ with tiN Vu/yMJJNtri MnhoJ (Sabara lineage; GSSu), 13, 79· 84. 367 wlmlk4r• (transgressive discipline). 41-43, II7, 119 V~l'imar. 90 Vupii, 111, t:z.:z.(table) Vanarama, 10 Varihamuldu, 46 Virihi, 43, 47-48, 373· 5« .!so Vajravirihi Varahyabhyudaya IIW}<Jaia, plate I} V4r4h]tl~~r~~. 1. 54. s6, ss. 330, 3S9• 4C)4(n.IOI) Virendra, 14 Vart(t)ili, 48 VaruJ].a. 64, 140(table), 311, 348 Vasanta, 373 V~~S~mtMiJ.U(.nu). 111-11, n6. w. 373 ·va~ya
Vajravirihi," so Viyu, 141(n.u), JII-IJ Viyuvegi, S9(table), 191(fig), 101(table), 1S9• 2.67, 2.7S vedavad, }80 Vibhiiricandra, B(table), 10, 11-IJ(table), 18 Vlljwwi/4si,islfltr~~ (GSS43), 11, 84-Bs,JRo v~ 2.o6, 107(table). :Z.:Z.J Vidyidhari. SN Vajrayogini, forms of V~bh4tH1114 (Sabara lineage; GSS:z.:z.), 13. 79-81, 84. 337· }68
VAJRAYOGINi
VuJy4tlh4rilmzm4vajrtlJOfinistlt1han4 (Sabara lineage; GSS1I), 13, 79· 8+367 VU/yMJhllri MtthoJ M~Jiwion (Sahara lineage; GSS11), 13, 79--81, 84, 337· 368
VU/yMJhllritHJjrii]OtinyllriJhtuulviJhi (Sabara; GSS13). 13, 81-83, 88, 101, 368 vidytipif~Nt, 37-40 Vijayavajra, 8(table)
/nJrabhutilmlmn_uz VajrayoginisMJhaum (GSS3s). 13, 49· 73-74. 377· 477(n .•ul)
Vinll11UICilrit4, 417(n.114) \r~na, 319
\r.tkramaSila Monastery, 14-15 \rtlasavajra, 3, s. 8(table), 374• 470(n.4}1) Nlimllm4ntrlrthiVIliiJ/tini, 15
N4mllsll1!Jgiti.3
Sm,llt,iptllvajrllvlrlhistiJhau GSS4. 11, 183. 356 GSS19, 13, 179. 371
Yogatllntra S4Jhllna., 130 \rllasini. &~ Vajravirihi, forms of Vimllillprabhl. 381 Vi~. 111, 111(rable) Viramati, 59(table), 191(fig}. 101(table), 159.16S,173 Viriipa. 9-10, 14-15, 13. 101, 3S7(n.6), 358(n.7), 360 Chinumuruf4s4dhllna., 411(n.106), 415(n.116) dates of, 11-13(table)
Ot/t!iyd1111SvlJhi!_thl,U,.111NltllljraJOfinis4tihllNI (GSS37), 13, 71, 378-79
Pi'."/4rthl!J $tJtjllllliiDitls Tri/uiyllVIljrayogi"J'ib (GSS16), 13, 84, 9S(table), 100, 370 on Trik.iyavajrayogini, 84, 94-96 Tri/uiylltHJjrayoginisliJhllu (GSS15). xxi, 13, 94-99· 369-70 Tri/uiyllNjrllJDginistutiprtl!fiJhi1UI (GSS17). 13, 84. 9S(table), 100, 371
works by. 8(table) Viriipa lineage
Vll}rtlJOtinisMiha111l GSS9. 13, 9S(table). 96. 99· 36o GSS1o, 13, 9S(tablc), 96, 99, 36~7
Vifi}U, 47-48, 74 visualization, 14-15, 19-30, 31, 109-11 and INJi ritual, 111-15 and body IJW]4ala, 198 and circle of protection, 131-36, 131(tablc) and consecration, 170 of cosmos, 144. 145(fig) of deity's dwelling place, 144-49 emptiness, 115-30 and external worship, 116-17, 110 and hand worship, 118-19, JOH• 309 and identification with deity, 149-55 and oblations, 111-11, 309 and purification (viluJJhi), n6-19, u8(table) wting nectar, 110, 189-93, 199 ofVajrayogini forms. 110-13, 12.1(tablc) Guhyavajravilasini, 89-93 four-armed warrior-stance Vajrayogini, 72-73 flying Vidyidhari Vajrayogini, 81--84 six-armed Vajravirihi, 6o-61 twelve-armed Vajravirihi, s6-s8 two-armed warrior-stance Vajrayogini, 71 VajraQikiru Vajravirihi, 6~6 Vajravirihi, 155 Vajravilasini, 357-sB Vidyadhari Vajrayogini, 79--81 White Vajravirihi, 69-71 White Vajrayogini with foot raised, 76-77 and worship. 11o-11 5« 11lso meditation uiluJJhi (purification), }Q-JI, 116-19, u8(tablc) Vyidhima($ri)yogini, 373-76
INDEX
worship external, 216-18, 220, 299 hand, 217-20, 219(table), 301-9 identification with, 293 of knowledge deity, 168 sevenfold, 229 supreme, 122-23, 124(table) ofVajrayogini forms, 120-23, 122(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 Vajraghol).a, 68 Vidhyadhari Vajrayogini, 8o-81 See also ritual ya~a, 64, 141(n.xiv) Y~adhipa, 141(n.xiv) Yama, 64, 140(table), 186, 311 Yamada4hi, 233-35, 255, 271, 277, 483(n.458) in mal}4ala, 57, 59(table), 134, 186, 191(fig), 201(table) Yamadarp.gril).i, 233, 255, 271, 277 in mal}4ala, 57, 59(table), 134, 186, 191(fig), 2o1(table) Yamaduti, 233, 255, 271, 277 in mal}4ala, 57, 59(table), 134, 186, 191(fig), 201(table) Yamamathani, 233, 255, 271, 277 in mal}4ala, 57, 59(table), 134, 186, 191(fig), 20I(table) Yamantaka, xxv, 481(n.450) Yamari, 48, 66 Yamini, 164, 165(fig), 219(table), 241, 305,374
Yatudhana, 142(n.xix) Yemalavajra4akini, 65(fig) Ye shes rg;yud, 341 Yeshe T sogyel, xxv-xxvi Yogacara, 125, 129, 205, 414(n.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 Siidhana (Vilasavajra), 130 yogin. See sadhaka Yoginijiilafa'I'J'lvara, 38 Yoginisa'I'J'lciiratantra (YSCT), 7, 38, 109, 334, 431(nn.243, 245) armor syllables in, 344(table) on body mal}4ala, 197 on hand worship, 218, 307, 494(n.505), 498(n.524), on identification with deity, 166 Pandey edition, xxi yoginitantra dates of, 12-13(table) origin of, 3-5 and Saivism, 37-40 in Tibet, 6 yogottara, II on deities, 169 origin of, 5 purification in, 30-31 on self-generation, 150 sexual imagery in, 149 systematization of, 25-26 tantras, 12-13(table) in Tibet, 6 Yuganaddhaprakiifa (Advayavajra), 440(n.281)
About the Author
Elizabeth English recieved her first degree in History &om Bristol University. She received her M.Phil and her D.Phil in Classical Indian Religion &om 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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