The objectives of the published blogs on this website are to reduce death and disability from diabetes, heart disease, and several other health disorders developed due to improper eating and physical inactivity TO IMPROVE SEXUAL ENJOYMENT. Through blog comment discussions, we will try to promote health through public education and advocate actionable healthcare information to change lifestyle positively. Anyone can write an original comment for group discussions with or without disclosing the name or the source of information. The writing of comment in the blog is purely to start a free discussion to learn more about the subject for Educational Purposes AND NOT IN THE FORM QUESTIONS AND ANSWERS. The Website is not responsible for the content or posts by any user on this site. Opinions and discussions by users do not necessarily agree with our views. Therefore, we take no responsibility for the content or opinions posted or the results of any action taken by users based on other opinions. DISCLAIMER 1) The information contained on the blog website is for informational purposes only and should not be used to replace professional medical advice. Visitors to the website are responsible for how they choose to utilize this content. 2) This information should not be considered complete, nor should it be relied on in diagnosing or treating a medical condition. Content on this website does not contain information on all diseases, ailments, physical conditions, or their treatment. 3) It is best to seek advice and attention from your physician or qualified healthcare professional. Always consult your physician before beginning a new treatment, diet, or fitness program. ___________________________________________________ Vajrayana
|
|
|
|
|
|
|
|
|
Chinese Esoteric Buddhism it is generally known by various terms such as Zhēnyán (Chinese: 真言, literally "true word", referring to mantra), Tángmì or Hanmì (唐密 - 漢密, "Tang Esotericism" or "Han Esotericism"), Mìzōng (密宗, "Esoteric Sect") or Mìjiao (Chinese: 密教; Esoteric Teaching). The Chinese term mì 密 ("secret, esoteric") is a translation of the Sanskrit term Guhya ("secret, hidden, profound, abstruse").
In Japan Buddhist esotericism is known as Mikkyō (密教, "secret teachings") or by the term Shingon (a Japanese rendering of Zhēnyán), which also refers to a specific school of Shingon-shū (真言宗).
Mahasiddhas, Palpung monastery. Note the figure of the great adept Putalipa at center, seated in a cave and gazing at an image of the meditational deity Samvara and the figure at the bottom left holding a skull-staff (khaṭvāṅga) and a flaying knife (kartika)
Mahasiddha movement
Tantric Buddhism can be traced back to groups of wandering yogis called mahasiddhas (great sages).[3] According to Reynolds (2007), the mahasiddhas date to the medieval period in the North India (3–13 cen. CE) and used methods that were radically different than those used in Buddhist monasteries, including living in forests and caves and practicing meditation in charnel grounds similar to those practiced by Shaiva Kapalika ascetics.[4] These yogic circles came together in tantric feasts (ganachakra) often in sacred sites (pitha) and places (ksetra) which included dancing, singing, sex rites and the ingestion of taboo substances like alcohol, urine, meat, etc.[5] At least two of the mahasiddhas cited in the Buddhist literature are comparable with the Shaiva Nath saints (Gorakshanath and Matsyendranath) who practiced Hatha Yoga.
According to Schumann, a movement called Sahaja-siddhi developed in the 8th century in Bengal. It was dominated by long-haired, wandering mahasiddhas who openly challenged and ridiculed the Buddhist establishment. The mahasiddhas pursued siddhis, magical powers such as flight and extrasensory perception as well as spiritual liberation.
Ronald M. Davidson states that,
"Buddhist siddhas demonstrated the appropriation of an older sociological form—the independent sage/magician, who lived in a liminal zone on the borders between fields and forests. Their rites involved the conjunction of sexual practices and Buddhist mandala visualization with ritual accoutrements made from parts of the human body, so that control may be exercised over the forces hindering the natural abilities of the siddha to manipulate the cosmos at will. At their most extreme, siddhas also represented a defensive position within the Buddhist tradition, adopted and sustained for the purpose of aggressive engagement with the medieval culture of public violence. They reinforced their reputations for personal sanctity with rumors of the magical manipulation of various flavors of demonic females (dakini, yaksi, yogini), cemetery ghouls (vetala), and other things that go bump in the night. Operating on the margins of both monasteries and polite society, some adopted the behaviors associated with ghosts (preta, pisaca), not only as a religious praxis but also as an extension of their implied threats."
Tantras
Diamond Realm Mandala, based on the tantric Vajrasekhara Sutra, and symbolizing the final realization of Vairocana Buddha in Shingon.
Naked tantrikas dancing and eating from skull cups (kapalas), closeup of a Chakrasamvara mandalaMany of the elements found in Buddhist tantric literature are not wholly new. Earlier Mahāyāna sutras already contained some elements which are emphasized in the Tantras, such as mantras and dharani. The use of protective verses or phrases actually dates back to the Vedic period and can be seen in the early Buddhist texts, where they are termed paritta. The practice of visualization of Buddhas such as Amitābha is also seen in pre-tantric texts like the Longer Sukhāvatīvyūha Sūtra.
There are other Mahāyāna sutras which contain "proto-tantric" material such as the Gandavyuha and the Dasabhumika which might have served as a central source of visual imagery for Tantric texts.[12] Later Mahāyāna texts like the Kāraṇḍavyūha Sūtra (c. 4th-5th century CE) expound the use of mantras such as Om mani padme hum, associated with vastly powerful beings like Avalokiteshvara. The popular Heart Sutra also includes a mantra.
Vajrayāna Buddhists developed a large corpus of texts called the Buddhist Tantras, some of which can be traced to at least the 7th century CE but might be older. The dating of the tantras is "a difficult, indeed an impossible task" according to David Snellgrove.
Some of the earliest of these texts, Kriya tantras such as the Mañjuśrī-mūla-kalpa (c. 6th century), teach the use of mantras and dharanis for mostly worldly ends including curing illness, controlling the weather and generating wealth. The Tattvasaṃgraha Tantra (Compendium of Principles), classed as a "Yoga tantra", is one of the first Buddhist tantras which focuses on liberation as opposed to worldly goals. In another early tantra, the Vajrasekhara (Vajra Peak), the influential schema of the five Buddha families is developed. Other early tantras include the Mahāvairocana Abhisaṃbodhi and the Guhyasamāja (Gathering of Secrets).
The Guhyasamāja is a Mahayoga class of Tantra, which features new forms of ritual practice considered "left-hand" (vamachara) such as the use of taboo substances like alcohol, sexual yoga, and charnel ground practices which evoke wrathful deities.[17] Ryujun Tajima divides the tantras into those which were "a development of Mahāyānist thought" and those "formed in a rather popular mould toward the end of the eighth century and declining into the esoterism of the left",[18] this "left esoterism" mainly refers to the Yogini tantras and later works associated with wandering antinomian yogis. This practice survives in Tibetan Buddhism, but it is rare for this to be done with an actual person. It is more common for a yogi to use an imagined consort (a buddhist tantric deity, i.e. a yidam).
These later tantras such as the Hevajra Tantra and the Chakrasamvara are classed as "Yogini tantras" and represent the final form of development of Indian Buddhist tantras in the ninth and tenth centuries. The Kalachakra tantra developed in the 10th century. It is farthest removed from the earlier Buddhist traditions, and incorporates concepts of messianism and astrology not present elsewhere in Buddhist literature.
According to Ronald M. Davidson, the rise of Tantric Buddhism was a response to the feudal structure of Indian society in the early medieval period (ca. 500-1200 CE) which saw kings being divinized as manifestations of gods. Likewise, tantric yogis reconfigured their practice through the metaphor of being consecrated (abhiśeka) as the overlord (rājādhirāja) of a mandala palace of divine vassals, an imperial metaphor symbolizing kingly fortresses and their political power.
Relationship to Shaivism
Vajrayana adopted deities such as Bhairava, known as Yamantaka in Tibetan Buddhism.
The central deity of the Cakrasaṃvara Tantra, which according to scholars like David B. Gray and Alexis Sanderson, appropriated numerous elements from nondual Shaiva Tantra
The question of the origins of early Vajrayāna has been taken up by various scholars. David Seyfort Ruegg has suggested that Buddhist tantra employed various elements of a “pan-Indian religious substrate” which is not specifically Buddhist, Shaiva or Vaishnava.
According to Alexis Sanderson, various classes of Vajrayāna literature developed as a result of royal courts sponsoring both Buddhism and Shaivism. The relationship between the two systems can be seen in texts like the Mañjusrimulakalpa, which later came to be classified under Kriya tantra, and states that mantras taught in the Shaiva, Garuda and Vaishnava tantras will be effective if applied by Buddhists since they were all taught originally by Manjushri.
Alexis Sanderson notes that the Vajrayāna Yogini tantras draw extensively from the material also present in Shaiva Bhairava tantras classified as Vidyapitha. Sanderson's comparison of them shows similarity in "ritual procedures, style of observance, deities, mantras, mandalas, ritual dress, Kapalika accouterments like skull bowls, specialized terminology, secret gestures, and secret jargons. There is even direct borrowing of passages from Shaiva texts."[25] Sanderson gives numerous examples such as the Guhyasiddhi of Padmavajra, a work associated with the Guhyasamaja tradition, which prescribes acting as a Shaiva guru and initiating members into Saiva Siddhanta scriptures and mandalas.[26] Sanderson claims that the Samvara tantra texts adopted the pitha list from the Shaiva text Tantrasadbhava, introducing a copying error where a deity was mistaken for a place.
Ronald M. Davidson meanwhile, argues that Sanderson's claims for direct influence from Shaiva Vidyapitha texts are problematic because "the chronology of the Vidyapitha tantras is by no means so well established" and that "the available evidence suggests that received Saiva tantras come into evidence sometime in the ninth to tenth centuries with their affirmation by scholars like Abhinavagupta (c. 1000 c.e.)" Davidson also notes that the list of pithas or sacred places "are certainly not particularly Buddhist, nor are they uniquely Kapalika venues, despite their presence in lists employed by both traditions." Davidson further adds that like the Buddhists, the Shaiva tradition was also involved in the appropriation of Hindu and non-Hindu deities, texts and traditions, an example being "village or tribal divinities like Tumburu".
Davidson adds that Buddhists and Kapalikas as well as other ascetics (possibly Pasupatas) mingled and discussed their paths at various pilgrimage places and that there were conversions between the different groups. Thus he concludes:
The Buddhist-Kapalika connection is more complex than a simple process of religious imitation and textual appropriation. There can be no question that the Buddhist tantras were heavily influenced by Kapalika and other Saiva movements, but the influence was apparently mutual. Perhaps a more nuanced model would be that the various lines of transmission were locally flourishing and that in some areas they interacted, while in others they maintained concerted hostility. Thus the influence was both sustained and reciprocal, even in those places where Buddhist and Kapalika siddhas were in extreme antagonism.
Davidson also argues for the influence of non-brahmanical and outcaste tribal religions and their feminine deities (such as Parnasabari and Janguli).
Mani stones, stones inscribed with the "om mani padme hum" mantra.
A Japanese Handscroll depicting various mudras, 11th–12th century.
See also: Tibetan Tantric Practice
While all the Vajrayāna Buddhist traditions include all of the traditional practices used in Mahayana Buddhism such as developing bodhicitta, practicing the paramitas, and samatha - vipassana meditations, they also make use of unique tantric methods that are seen as more advanced. These include mantras, mudras, deity yoga, other visualization based meditations, subtle body yogas like tummo and rituals like the goma fire ritual. Vajrayana teaches that these techniques provide faster path to Buddhahood.
A central feature of tantric practice is the use of mantras, and seed syllables (bijas). Mantras are words, phrases or a collection of syllables used for a variety of meditative, magical and ritual ends. Mantras are usually associated with specific deities or Buddhas, and are seen as their manifestations in sonic form. They are traditionally believed to have spiritual power, which can lead to enlightenment as well as supramundane abilities (siddhis).
According to Indologist Alex Wayman, Buddhist esotericism is centered on what is known as "the three mysteries" or "secrets": the tantric adept affiliates his body, speech, and mind with the body, speech, and mind of a Buddha through mudra, mantras and samadhi respectively.[64] Padmavajra (c 7th century) explains in his Tantrarthavatara Commentary, the secret Body, Speech, and Mind of the Buddhas are:
Secret of Body: Whatever form is necessary to tame the living beings.
Secret of Speech: Speech exactly appropriate to the lineage of the creature, as in the language of the yaksas, etc.
Secret of Mind: Knowing all things as they really are.
These elements are brought together in the practice of tantric deity yoga, which involves visualizing the deity's body and mandala, reciting the deity's mantra and gaining insight into the nature of things based on this contemplation. Advanced tantric practices such as deity yoga are taught in the context of an initiation ceremony by tantric gurus or vajracharyas (vajra-masters) to the tantric initiate, who also takes on formal commitments or vows (samaya).[63] In Tibetan Buddhism, advanced practices like deity yoga are usually preceded by or coupled with "preliminary practices" called ngondro which includes prostrations and recitations of the 100 syllable mantra.
Vajrayana is a system of tantric lineages, and thus only those who receive an empowerment or initiation (abhiseka) are allowed to practice the more advanced esoteric methods. In tantric deity yoga, mantras or bijas are used during the ritual evocation of deities which are said to arise out of the uttered and visualized mantric syllables. After the deity's image and mandala has been established, heart mantras are visualized as part of the contemplation in different points of the deity's body.
Deity yoga
An 18th century Mongolian miniature which depicts a monk generating a tantric visualization.
A Japanese depiction of the Amida Triad in Seed Syllable form (Siddham Script). Visualizing deities in the form of seed syllables is a common Vajrayana meditation. In Shingon, one of the most common practices is Ajikan (阿字觀), meditating on the syllable A.
The fundamental practice of Buddhist Tantra is “deity yoga” (devatayoga), meditation on a chosen deity or "cherished divinity" (Skt. Iṣṭa-devatā, Tib. yidam), which involves the recitation of mantras, prayers and visualization of the deity, the associated mandala of the deity's Buddha field, along with consorts and attendant Buddhas and bodhisattvas. According to the Tibetan scholar Tsongkhapa, deity yoga is what separates Tantra from Sutra practice.
In the Unsurpassed Yoga Tantras, the most widespread tantric form in Indo-Tibetan Buddhism, this method is divided into two stages, the generation stage (utpatti-krama) and the completion stage (nispanna-krama). In the generation stage, one dissolves one's reality into emptiness and meditates on the deity-mandala, resulting in identification with this divine reality. In the completion stage, the divine image along with the subtle body is applied to the realization of luminous emptiness.
The Indian tantric scholar Ratnākaraśānti (c. 1000 CE) describes the generation stage cultivation practice thus:
[A]ll phenomenal appearance having arisen as mind, this very mind is [understood to be] produced by a mistake (bhrāntyā), i.e. the appearance of an object where there is no object to be grasped; ascertaining that this is like a dream, in order to abandon this mistake, all appearances of objects that are blue and yellow and so on are abandoned or destroyed (parihṛ-); then, the appearance of the world (viśvapratibhāsa) that is ascertained to be oneself (ātmaniścitta) is seen to be like the stainless sky on an autumn day at noon: appearanceless, unending sheer luminosity.
This dissolution into emptiness is then followed by the visualization of the deity and re-emergence of the yogi as the deity. During the process of deity visualization, the deity is to be imaged as not solid or tangible, as "empty yet apparent", with the character of a mirage or a rainbow.This visualization is to be combined with "divine pride", which is "the thought that one is oneself the deity being visualized." Divine pride is different from common pride because it is based on compassion for others and on an understanding of emptiness.
A Tibetan depiction of the perfection stage practices of tummo (Skt. candali, inner heat) and phowa (transference of consciousness).
Following mastery of the "generation stage", one practices the "perfection" or "completion" stage. The Indian commentator Buddhaguhya (c.700 CE), in his commentary on the Mahavairocana Tantra, outlines the "perfection stage" practices thus:
First you should actualize all the four branches of recitation for a while as before, and then analyze the manifestation of the created (parikalpita) colour, shape, and so on, of your tutelary deity who is identical to yourself, breaking them down into atoms. Or it is also acceptable to do this by way of the reasoning that is unborn and unarising from the very beginning, or similarly by way of the technique of drawing-in the vital energy (prana) through the yoga of turning your mind inside, or by way of not focusing on its appearance [as colour and shape]. In accordance with that realization, you should then actualize the mind which is just self-aware, free from the body image of your tutelary deity and without appearance [as subject and object], and mentally recite your vidya mantra as appropriate.
The Tibetologist David Germano outlines two main types of completion practice: a formless and image-less contemplation on the ultimate empty nature of the mind and various yogas that make use of the subtle body to produce energetic sensations of bliss and warmth.
The subtle body yogas systems like the Six Dharmas of Naropa and the Six Yogas of Kalachakra make use of energetic schemas of human psycho-physiology composed of "energy channels" (Skt. nadi, Tib. rtsa), "winds" or currents (Skt. vayu, Tib. rlung), "drops" or charged particles (Skt. bindu, Tib. thig le) and chakras ("wheels"). These subtle energies are seen as "mounts" for consciousness, the physical component of awareness. They are engaged by various means such as pranayama (breath control) to produce blissful experiences that are then applied to the realization of ultimate reality.
Other methods which are associated with the completion stage in Tibetan Buddhism include dream yoga (which relies on lucid dreaming), practices associated with the bardo (the interim state between death and rebirth), transference of consciousness (phowa) and Chöd, in which the yogi ceremonially offers their body to be eaten by tantric deities in a ritual feast.
Other practices
A Newari Buddhist mandala used for Guru Puja, Nepal, 19th century, gilt copper inlaid with semiprecious stones.
Video of a Shingon Goma Fire Ritual at Yakuōin Yūkiji, Mount Takao
Another form of Vajrayana practice are certain meditative techniques associated with Mahāmudrā and Dzogchen, often termed "formless practices" or the path of self-liberation. These techniques do not rely on deity visualization per se but on direct pointing-out instruction from a master and are often seen as the most advanced and direct methods.
Another distinctive feature of Tantric Buddhism is its unique and often elaborate rituals. They include pujas (worship rituals), prayer festivals, protection rituals, death rituals, tantric feasts (ganachakra), tantric initiations (abhiseka) and the goma fire ritual (common in East Asian Esotericism).
A video of the Cham dance, a traditional practice in some sects of Tibetan Buddhism.An important element in some of these rituals (particularly initiations and tantric feasts) seems to have been the practice of ritual sex or sexual yoga (karmamudra, "desire seal", also referred to as "consort observance", vidyavrata, and euphemistically as "puja"), as well as the sacramental ingestion of "power substances" such as the mingled sexual fluids and uterine blood (often performed by licking these substances off the vulva, a practice termed yonipuja).
The practice of ingestion of sexual fluids is mentioned by numerous tantric commentators, sometimes euphemistically referring to the penis as the "vajra" and the vagina as the "lotus". The Cakrasamvara Tantra commentator Kambala, writing about this practice, states:
The seats are well-known on earth to be spots within the lotus mandala; by abiding within it there is great bliss, the royal nature of nondual joy. Therefore the lotus seat is supreme: filled with a mixture of semen and uterine blood, one should especially kiss it, and lolling with the tongue take it up. Unite the vajra and lotus, with the rapture of drinking [this] liquor.
According to David Gray, these sexual practices probably originated in a non-monastic context, but were later adopted by monastic establishments (such as Nalanda and Vikramashila). He notes that the anxiety of figures like Atisa towards these practices, and the stories of Virūpa and Maitripa being expelled from their monasteries for performing them, shows that supposedly celibate monastics were undertaking these sexual rites.
Because of its adoption by the monastic tradition, the practice of sexual yoga was slowly transformed into one which was either done with an imaginary consort visualized by the yogi instead of an actual person, or reserved to a small group of the "highest" or elite practitioners. Likewise, the drinking of sexual fluids was also reinterpreted by later commentators to refer subtle body anatomy of the perfection stage practices.
Symbols and imagery
Dagchen Rinpoche's hand holds a vajra drawing lines that close the Hevajra Mandala, after the empowerment, Tharlam Monastery of Tibetan Buddhism, Boudha, Kathmandu, Nepal.
Vajrayāna uses a rich variety of symbols, terms, and images that have multiple meanings according to a complex system of analogical thinking. In Vajrayāna, symbols, and terms are multi-valent, reflecting the microcosm and the macrocosm as in the phrase "As without, so within" (yatha bahyam tatha ’dhyatmam iti) from Abhayakaragupta’s Nispannayogavali.
The Vajra
Bronze Vajras and Bell from Itsukushima, JapanThe Sanskrit term "vajra" denoted a thunderbolt like a legendary weapon and divine attribute that was made from an adamantine, or an indestructible substance which could, therefore, pierce and penetrate any obstacle or obfuscation. It is the weapon of choice of Indra, the King of the Devas. As a secondary meaning, "vajra" symbolizes the ultimate nature of things which is described in the tantras as translucent, pure and radiant, but also indestructible and indivisible. It is also symbolic of the power of tantric methods to achieve its goals.
A vajra is also a scepter-like ritual object (Standard Tibetan: རྡོ་རྗེ་ dorje), which has a sphere (and sometimes a gankyil) at its centre, and a variable number of spokes, 3, 5 or 9 at each end (depending on the sadhana), enfolding either end of the rod. The vajra is often traditionally employed in tantric rituals in combination with the bell or ghanta; symbolically, the vajra may represent method as well as great bliss and the bell stands for wisdom, specifically the wisdom realizing emptiness. The union of the two sets of spokes at the center of the wheel is said to symbolize the unity of wisdom (prajña) and compassion (karuna) as well as the sexual union of male and female deities.
Imagery and ritual in deity yoga
Chöd ritual, note the use of Damaru drum and hand-bell, as well as the Kangling (thighbone trumpet).Representations of the deity, such as statues (murti), paintings (thangka), or mandala, are often employed as an aid to visualization, in Deity yoga. The use of visual aids, particularly microcosmic/macrocosmic diagrams, known as "mandalas", is another unique feature of Buddhist Tantra. Mandalas are symbolic depictions of the sacred space of the awakened Buddhas and Bodhisattvas as well as of the inner workings of the human person. The macrocosmic symbolism of the mandala then, also represents the forces of the human body. The explanatory tantra of the Guhyasamaja tantra, the Vajramala, states: "The body becomes a palace, the hallowed basis of all the Buddhas."
Mandalas are also sacred enclosures, sacred architecture that house and contain the uncontainable essence of a central deity or yidam and their retinue. In the book The World of Tibetan Buddhism, the Dalai Lama describes mandalas thus: "This is the celestial mansion, the pure residence of the deity." The Five Tathagatas or 'Five Buddhas', along with the figure of the Adi-Buddha, are central to many Vajrayana mandalas as they represent the "five wisdoms", which are the five primary aspects of primordial wisdom or Buddha-nature.
All ritual in Vajrayana practice can be seen as aiding in this process of visualization and identification. The practitioner can use various hand implements such as a vajra, bell, hand-drum (damaru) or a ritual dagger (phurba), but also ritual hand gestures (mudras) can be made, special chanting techniques can be used, and in elaborate offering rituals or initiations, many more ritual implements and tools are used, each with an elaborate symbolic meaning to create a special environment for practice. Vajrayana has thus become a major inspiration in traditional Tibetan art.
BLOG COMMENTS RULES & GUIDELINES
All comments are subject to moderation.
The Blogs Website reserves the right to delete or edit posts that it deems not to be appropriate or in the best interests of the blog.
The Blogs
Please note the following guidelines:
· Respect other readers. Please use common sense and good etiquette in your conversations.
· Keep conversations respectful and clean. Do not use defamatory, obscene, inflammatory, inaccurate, or insulting language. Anything that falls into this category and/or which we deem is unfit will be deleted.
· In the interest of safety, refrain from posting your personal information (e.g., address, phone, etc.) on the site. However, you can include a website address.
· Do not use this site to solicit business or promote events, charities, products, or services. Readers, please note that we are not responsible for content placed on our site or information you choose to act upon.
· You are fully responsible for what you choose to post online. You are also, fully responsible for the information or opinions you choose to use for the Blog Website.
· Any materials you submit on this site becomes the property of the Blogs Website, which we can choose to use in any way we see fit.
· Blogs Website reserves the right to change or modify rules relating to the blog at any time.
. Anyone can write an original comment for group discussions with or without disclosing the name or the source of information. Here writing of a comment in this blog is purely to start a free discussion for our education to learn more about the subject AND NOT IN THE FORM QUESTIONS AND ANSWERS.
Leave a Reply.
FIRST BLOG |
SECOND BLOG |
THIRD BLOG |
FOURTH BLOG |
FIFTH BLOG |
SIXTH BLOG |
SEVENTH BLOG |
EIGHTH BLOG |
Value |
|||||||
Value |
Value |
||||||
Value |
|||||||
Value |
|||||||