Vajrayogini: Her Visualization, Rituals, and Forms

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.

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19-21; 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

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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

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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)(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

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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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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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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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VAJRAYOGINI

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

109

IIO

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} 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 likini 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

STUDY OF THE VAJRAVARAHI SADHANA

197

of naming the eight cremation grounds mention yet another system, namely the pilavas and upapilavas (i.e., the places). Within the 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)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 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}Qarha, 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.

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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)