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Each aspect of Vajrayoginī's form and mandala is designed to convey a spiritual meaning. For example, her brilliant red-colored body symbolizes the blazing of her tummo ( candali ) or "inner fire" of spiritual transformation as well as life force ( Shakti ), blood of birth and menstrual blood. [ 9 ]
In 1960 and 1961, after he and the Dalai Lama had fled to India, he gave the Dalai Lama the major empowerments of Heruka Five Deities according to Ghantapa, Vajrayogini according to Naropa, and other initiations. In 1962 he gave him the empowerment of the Body Mandala of Heruka and taught generation stage and completion stage of this Tantra.
Often, Vajravarahi is conflated iconographically with Vajrayogini. She is sometimes called the 'two-faced' Vajrayogini ( shal nyi ma ) [ 7 ] because of the sow's head. The major iconographic differences are reflected in Vajravarahi's dancing posture and her sow's head symbol, while Vajrayogini is in a standing posture, has a damaru (drum) in ...
Other forms of the deities are also known with varying numbers of limbs and features, such as a two armed version. According to the Buddhist Tantric scholar Abhayakaragupta, the deity's mandala is described thus: In the Samvara mandala there is a variegated lotus atop Mount Sumeru within an adamantine tent (vajrapañjara). Placed on it is a ...
Seeing one's body as the body of the deity which is a manifestation of the Dharmakaya; Seeing one's environment as the pure land or mandala of the deity; Perceiving one's enjoyments as the enjoyments of a Buddha, free from any attachment; Seeing one's actions as the supreme activities of a Buddha's ripening sentient beings
In the Sādhanamālā, she is said to be a transformation or emanation of Vajrayogini. [5] Nārodākinī is readily recognizable by her lunging posture and kapala. Her head is uptilted, poised to imbibe the blood that overflows her kapala, and her right hand brandishes a curved kartika. Nārodākinī's physical attributes are interpreted with ...
Briefly, the doctrine says that a Buddha has three kayas or bodies: the nirmanakaya or created body which manifests in time and space; the sambhogakaya or body of mutual enjoyment which is an archetypal manifestation; and the Dharmakaya or reality body which embodies the very principle of enlightenment and knows no limits or boundaries. [5]
Depictions of Vajrayogini typically contain the kartika as one of her attributes. In the iconography of the enlightened dakinis and tantric female yidams , it is common to find the hooked kartika knife in her right hand and the skull cup in her left, representing "the inseparable union of wisdom and skillful means ."