A Monograph on a Vajrayogini Thanka Painting

Written by Julie O'Donnell, Pennie White B.A. Dip.Ed., Rilla Oellien and Evelin Halls

Consultants: John D. Hughes Dip. App. Chem. T.T.T.C. GDAIE

Need for Holding Precepts and Vows

This monograph is unsuitable for heretics who do not hold a minimum of five precepts of
the Theravada tradition and a suggested minimum of 14 Tantric vows.

The five precepts in Pali and English are:

Pancasila

Five Precepts

1. Panatipata Veramani Sikkhapadam Samadiyami

I undertake the rule of training to refrain from destroying living creatures.

2. Adinnadana Veramani Sikkhapadam Samadiyami

I undertake the rule of training to refrain from taking what is not given.

3. Kamesu Micchacara Veramani Sikkhapadam Samadiyami

I undertake the rule of training to refrain from wrong conduct in sexual pleasures.

4. Musavada Veramani Sikkhapadam Samadiyami

I undertake the rule of training to refrain from false speech.

5. Suramerayamajjapamadatthana Veramani Sikkhapadam Samadiyami

I undertake the rule of training to refrain from distilled and fermented intoxicants which are
the occasion for carelessness.

Refer to Pali Chanting with translations.

The 14 Tantric (Vajrayana) vows are:

1. To not disparage one's Master

2. To not transgress the directives of the Buddha

3. To not express anger toward "Diamond Brothers"

4. To not abandon love of the sentient beings

5. To not abandon the Mind of Enlightenment

6. To not disparage the Doctrine of one's own, or of another's tenets

7. To not tell the secrets to immature persons

8. To not abuse the five skandhas for their nature belongs to the five Buddhas

9. To not have reservations concerning the natures intrinsically pure

10. To not have love for the wicked

11. To not apply discursive thought to the wordless natures

12. To not have belittling thoughts toward the believers

13. To not adhere to the pledges in the way they were taken

14. To not disparage women, who are the nature of insight. (Refer Conze)
This monograph has been sealed and protected by Tantric Deities. Refer to footnote 14.

In 2000 C.E., I chose to develop a thanka of Vajrayogini (1).

Available Literature

It is clear great beings follow her practices.

The essential meanings contained in her practices are to ‘Illuminate all hidden meanings’.

In the available English translated literature, I found few paintings of the deity or detailed
writings about tantricas. This is understandable because the 7th Tantric vow is to not tell
the secrets to immature persons.

A preordination was the first time this life I saw a brass image of Vajrayogini at the
Buddhist Discussion Centre (Upwey) Ltd. Temple and heard the name of Vajrayogini. I
had a natural affinity with this deity as if she stirred up memories of familiarity and
affection.

My preliminary practice for 12 months was to adorn this Vajrayogini image with flowers. I
selected fresh flowers from the grounds at our Centre and placed them on the image, often
in her hair, on her shoulders, over her body to form a beautiful garment of flowers, on her
feet, in her hands and between her thighs.

As I offered the flowers and placed them on the image, I clarified my mind and generated
respect and gratitude. Each time the dana was offered, I would adjust my mind, and make
sure that I knew what I was offering and who the offering was being made to.
In time, I was able to multiply the offerings from a single offering to hundreds of thousands
of offerings with ease. I became aware of Vajrayogini and found I could know her mind
and offer dana with no ritual or fantasy.

The ten blessings of offering flowers are: long life; good health; strength; beauty; wisdom;
ease along the Buddha Dhamma path; being born in beautiful environments; born with
good skin, hair and beautiful to look at; always having a sweet body; and pleasant
relationships with friends.

I began to understand this natural affinity towards the deity because of past actions. I
generated the intention to meet with a living Vajrayogini in person one day or one night and
be aware of her teachings and put them into practice in my own life.

Some Vajrayogini Teachings described here were a direct transmission from her minds to
my minds rather than something read and understood with first or second order knowledge.
I now understand that because of my generation stage effort, I was able to complete a
thanka of Vajrayogini and attain progressive understanding in the process.

It is the type of yearning you develop to be with a dear friend. Later, I saw a sketch of
Vajrayogini and began reading about Vajrayogini's teachings in a book by Geshe Kelsang
Gyatso called Guide to Dakini Land. I found there were many hundreds of thousands of
Dakini students in the Vajrayogini heaven world. Recently, my Teacher told me there are
millions of beings in that world. They look alike and all have the same minds.

I learnt about the charnal grounds inside the Vajrayogini mandala and what the different
objects and beings symbolised. Refer to endnote (15)

I learnt of some of the qualities of Vajrayogini. Vajrayogini is Queen of the Dakinis. She is
able to subdue beings with strong attachment by sending her students to work in the world
and teach beings who are teachable.
Vajrayogini has attained the ground of non-abiding nirvana, free from the extremes of
cyclic existence and peace.

I learnt how she teaches beings to help others to practice Buddha Dhamma by overcoming
obstacles. Vajrayogini teaches beings to practice the teachings taught by Buddha and
provides protection and support during their training. Her heaven world has many well
trained devas and devatas who work for the welfare of other beings so that they may come
out of suffering.

I learnt of how to enter a retreat to learn the Vajrayogini teachings. I learnt that it is
possible for me to practice Vajrayogini Teachings as taught in this human life. The retreat
practices are well documented in ‘Guide to Dakini Land’ by Geshe Kelsang Gyatso.

Then, I researched Vajrayogini forms in the John D. Hughes Collection Library and found
two more reference images suitable for my purposes.

The Fabric Used for the Work

I purchased medium grade canvas with dimensions of 25cm by 32cm that had been
stretched onto a wooden frame and layered with a primer called Geso. The total area of the
canvas is 800 square centimetres. The grade of the calico is 25.4 threads per inch and in
metric, 10 threads per centimetre for the warp and 10 threads per centimetre for the weft.
The finer fabric used for some of the thankas at our Centre have 76.2 threads per inch and
in metric 30 threads per centimetre.

Placement of Mantra

The first thing to do with the work of painting, is to place a mantra of the deity or central
character on the back of the work. This makes the mind of the painter stronger to contain
the teachings of the subject.
I requested a local calligrapher to paint the Tibetan Vajrayogini mantra in black ink down a
centre line on the back of the canvas. The mantra was painted in Tibetan. The Vajrayogini
mantra reads:

OM OM OM SARWA BUDDHA DAKINIYE VAJRA WARNANIYE VAJRA

BEROTZANIYE HUM HUM HUM PHAT PHAT PHAT SOHA.

The first OM symbolises the Truth Body of all Buddhas, the second OM the Enjoyment
Body of all Buddhas, and the third OM the Emanation Body of all Buddhas.

SARWA BUDDHA DAKINIYE literally means ‘All the Buddhas’ Dakinis’. In this
context, ‘Dakini’ is the inner Dakini, the clear light mind of a Buddha, and so SARWA
BUDDHA DAKINIYE reveals that Vajrayogini is in nature the clear light mind of all
Buddhas. This does not literally mean that Vajrayogini has the same mind of a Buddha, but
refers to her nature of clear light mind. Only a Buddha can have a Buddha mind.

VAJRA WARNAYNIYE means ‘Vajra speech Dakini’ and indicates Vajrayogini is in

nature the vajra speech of all Buddhas.

VAJRA BEROTZANIYE means ‘Vajra Form Dakini’ and indicates Vajrayogini is the
vajra body of all Buddhas. Here, ‘vajra’ refers to great bliss inseparable from emptiness.
Here again, we do not mean that Vajrayogini has the same Vajra Speech or Vajra Body of a
Buddha. Only Buddha can have the Vajra Speech and Vajra Body of a Buddha.

HUM HUM HUM is a request to Vajrayogini: ‘Please grant me the blessings of your body,
speech and mind so that I may attain the Vajra body, speech and mind’.

The Hum energises the request.

PHAT PHAT PHAT is the request: ‘Please pacify my outer, inner and secret obstacles’
Phat is known as the destruction Mantra. In this context, it is to destroy the outer, inner and
secret obstacles so that the practitioner may have success.
SOHA conveys the request: ‘Please help me to build the foundation of all attainments’. (16)

Another translation of the mantra in Sanskrit is:

OM OM OM SARVA BUDDHA DAKINIYE VAJRA VARNANEYI VAJRA

VAIROCHANEYI HUM HUM HUM PHATU PHATU PHATU SVAHA

OM OM OM is homage to Dharmakaya, Sambhogakaya and Nirmanakaya (19)

SARVA BUDDHA DAKINIYE - all the Buddha Dakinis, (Dakineyi refers to female
wrathful and semi-wrathful deities)

VAJRA VARNANEYE - the Vajra Family to which the Dakinis belong

VAJRA VAIROCHANEYI - The Vairochana Vajra Tathagata Family of Dakinis.

Vairochana Buddha. Vairochana Buddha is one of the five Buddhas of this Buddha Sasana.
(18)

HUM HUM HUM - Vajra power or Vajra energy

PHATU PHATU PHATU destroys all mara or all obstructions

SVAHA - perfectly fulfilled.

The complete mantra means: Obeisance to all the Buddha Dakini, then Vajra Family
Dakini, and then Vairochana Vajra Tathagata Family Dakini, Vajra Power, destruction of
mara, perfectly fulfilled.

The central deities and settings were adapted from images in texts rather than directly
copied to respect copyright laws.

Paint Materials Used

The paints used were Jo Sonjas Artists Quality acrylic water based paints which can be
found at Ferntree Gully Art Supplies and most art suppliers. The colours of the paints used
in the work are chosen for their symbolic meaning (17). The colours used in the work were
warm red, indian red, cerealen blue, pearl white, green oxide, gold and ivory black. Gold
paint is mostly used for decorations mainly for ornaments and backgrounds.

The Placement of the Work

This work depicts Vajrayogini as the central deity with Vajradhara above and Kinkara
below. It is traditional to place the original Teacher of a teaching at the top of the work.
Vajradhara is painted above Vajrayogini because the Vajrayogini teachings were originally
given to Vajradhara within the Heruka (5) Tantra.

The fire surrounding Vajrayogini is a manifestation of the five wisdoms of Vajrayogini and
symbolises bodhichitta (6). Her right leg treads on the breast of Kalaratri (7) and her left leg
treads on the forehead of black Bhairawa (8). These are not the actual sentient beings, but
manifestations of Vajrayogini's wisdom of bliss and emptiness appearing in the aspect of
Kalaratri and Bhairawa. They symbolise the maras of the delusions. Vajrayogini treads on
Kalaritri and Bhairawa to demonstrate that she has destroyed her attachment, hatred and
ignorance and is free from the fears of samsara and solitary peace.

Her whole Devata body is red because it holds her inner fire element. Her inner fire
element causes her body to be pervaded by a bliss so that she can overcome obstructions.
Vajrayogini has a single face indicating her realisation that all phenomena are of singular
nature. She is a two arm form to represent her complete realisation of the two truths.
Vajrayogini is painted with two eyes and a third eye on the ajana chakra revealing her
ability to see everything in the past, present and future with her celestial eye.

In this work, she is looking upwards to the pureland of the Dakinis (9), demonstrating her
attainment of outer and inner Pure Dakini Land (10) and indicating that she is also leading
her followers to these attainments.

A curved knife (11) is held by her right hand to show her power to cut the continuum of the
delusions and obstacles of her followers and of all sentient beings.

A skull cup (Sanskrit kapala) (12) filled with blood held in her left hand symbolises her
experience of the clear light of bliss.(13)

Vajrayogini's left shoulder supports a khatanga showing that she is never separated from
Heruka as she is depicted in yidam.

The khatanga represents Heruka and the various features of the khatanga are the sixty-two
deities of Heruka's mandala (14). The khatanga is octagonal in cross section, symbolising
the eight great charnel grounds (15) of Heruka's mandala.

At the khatanga’s lower tip there is a single pronged vajra which symbolises the protection
circle of Heruka's mandala. Towards the upper end of the khatanga there is a vase
symbolising Heruka's celestial mansion. Above this there is a crossed vajra symbolising the
eight deities of the commitment wheel, and three human heads symbolising the deities of
body, speech and mind.

Geshe Kelsang Gyatso writes that: ‘Vajrayogini's head ornament consists of a wheel,
precious jewels, a tiara of human skulls and a vajra, together these symbolise the perfection
of effort. The ear ornaments represent the perfection of patience, the neck ornaments, the
perfection of giving, the heart ornaments, the perfection of mental stabilisation and the
ornaments of the arms and legs, the perfection of moral discipline. Vajrayogini wears a
garland of fifty human skulls representing her fifty purified inner winds. Her black hair
falls freely down her back to show that she is free from the fetters of self grasping and
represents the unchanging nature of her Truth Body. Vajrayogini is naked showing that she
experiences bliss and that she bestows the siddhi of great bliss upon practitioners.’

The deities below the central image of Vajrayogini on a centre line are known as Kinkara or
Citipati, Dhamma protectors also known as the Father-Mother Lord of the charnel grounds.
These protectors also represent death in its dancing form. Other forms of death can be
represented by bodies in various forms of decay, pictorial representations of possible
rebirths such as hell, hungry ghost or animal. Two figures are portrayed because death
always deals with dualism; where there is death, rebirth must follow.
Endnotes.

(1) Vajrayogini - Sanskrit. Tibetan, rDo-rje-rnal - 'byor-ma. A terrifying goddess-form

emanation of Dhyani Buddha Ratnasambhava. A dakini, and goddess of initiation who
personifies the female wisdom energy of emptiness. She generally appears naked crushing
underfoot the Hindu god Bhairava and is functionally equivalent to Vajravarahi. In her red
form: Face: one, fierce, arms/hands: four, holding tantric staff (danda, hprul-gyis), curved
knife, thunderbolt (vajra, rdo-rje), skkull-cup (kapala, thod-pa) and club; color: red;
emanation of Dhyani Buddha Ratnasambhava. p.597

(2) Citipati - Sanskrit. Chinese, Fen-chu ju-fa; Tibetan, Dur-krod-bdag-po. A pair of

dancing skeletons who are enemies of thieves. As Kinkara, known as the Father-Mother
Lord of the charnel grounds.

(3) Vajradharma - Sanskrit, Chinese, Chin-kang-fa, Chin-kang-miao-fa; Tibetan, rDo-rje-

chos. A form of Dhyani Bodhisattva Avalokitesvara.

(4) Vajradhara - Sanskrit. Mongolian: Ocirdara, Vacir bariqci, Vcir-dhar-a; Tibetan: Do-rje
'chang, rDo-rje hchan. The tantric manifestation of Sakyamuni Buddha, and the
anthropomorphic representation of Adi-Buddha. When in the yab-yum pose with shakti,
they represent that the distinction between "Duality and Oneness Absolute".

(5) Heruka - Sanskrit. A terrifying emanation of Dhyani Buddha Aksobhya. In Tibet he is

considered an Istadevatas. He is believed to confer Buddha-hood.

(6) Bodhicitta - Sanskrit. The Sanskrit word for ;mind of enlightenment’. ‘Bodhi’ means
enlightenment, and ‘chitta’ means mind. There are two types of bodhichitta: conventional
bodhichitta and ultimate bodhichitta. General speaking, the term ‘bodhichitta’ refers to
conventional bodhichitta, which is a primary mind motivated by great compassion that
spontaneously seeks enlightenment to benefit all sentient beings. Conventional bodhichitta
is of two types: aspiring bodhichitta and engaging bodhichitta. Ultimate bodhichitta is a
wisdom motivated by conventional bodhichitta that directly realises emptiness, the ultimate
nature of phenomena.
(7) Kalaratri - Sanskrit. Mongolian, Yam-a eke; Tibetan, gShin-rje-dus-mtshan-ma. A deity
who is in the retinue of Camundi pictured in the Mongolian Kanjur (Mongolian: Monggol
ganjur-un) (1717-1720).

(8) Bhairawa - Sanskrit. Chinese - Wei-lo-wa-chin-kang. Tibetan - hJigs-byed. One of the

fearsome images found in the Chu Fo P’u-sa Sheng Hsiang Tsan. A deity which is adapted
from the Hindu pantheon. An important deity in Nepal. In yab-yum position in shakti.

(9) Dakini - Sanskrit. Chinese, K'ung-hsing fo-mu.Tibetan. Mkha'-'gro-ma. Also known as

"cloud fairies," they are feminine divinities shown either calm or fierce, frequently with
animal heads or as beautiful young girls, and are generally depicted nude in the alidhasana
pose. They are aids to man between the earthly and higher levels. In their fierce attitude,
they are directed against spiritual and physical obstacles which confront man in his attempt
to gain higher planes. In their "usual" form are: Buddha-Dakini, Karma-Dakini, Padma-
Dakini, Ratna-Dakini, Vajra-Dakini and Vishva-Dakini; in their "special" forms are:
Sarvabuddha-dakini, Simhavakira, Makaravaktra and Vajravahari. Other dakinis are: The
Goddesses of the Four Seasons, The five long-Life Sisters, The Twelve Jewel Goddesses
and The Eight Mothers. p.112

(10) Outer Pure Dakini Land - is beyond the world of ordinary experience. It is the Pure
Land of Vajrayogini and Heruka. A Pure Land is a world that is free from true sufferings.
There is nowhere in the world, as we know it, that without true sufferings because the
environment itself acts as a condition to experience suffering. Beings are born in the world
(samsara) without choice and have to experience dissatisfaction and misery. However, if we
purify our mind, we purify our experience of the world and thereby attain a Pure Land free
from all suffering. There are different Pure Lands associated with different Buddhas, Pure
Dakini Land is similar to the Pure Lands of Tushita and Sukhavati. Outer Pure Dakini Land
can also be explained in terms of an individual practitioner's personal experience. From this
point of view, outer Pure Dakini Land is attained by completing the practices of the
generation stage of Vajrayogini meditation.

Inner Pure Dakini Land is meaning clear light. This is achieved only through completion
stage meditation. Through completion stage meditation, persons develop a specific form of
bliss and when this mind meditates on emptiness and gains insight, it is called 'meaning
clear light'. This is the fourth of the five stages of completion stage meditation. When a
person attains inner Pure Dakini Land through Vajrayogini practice, they also attain outer
Pure Dakini Land.
(11) Curved knife - Chopper, ritual. Karttrika, grig-gug. symbolic of Buddhasaktis, dakinis
and some dharmapala, a symbol of tantric manifestation, it is used to cut the "life roots" of
religious enemies.

(12) Kapala - Sanskrit, Tibetan, thod-pa. It is a symbol that is frequently carried by

dharmapalas filled with the blood of the enemies of religion, a tantric manifestation.

(13) Clear Light of Bliss - It is important to distinguish between ordinary bliss, the pure
bliss mentioned in the Sutras and the lower Tantras, and the spontaneous bliss described in
Highest Yoga Tantra. We should also under stand the difference between the bliss achieved
through generation stage practice and the spontaneous bliss achieved through completion
stage practice. By studying authentic commentaries on completion stage practice we will
come to understand the real nature and function of ultimate bodhichitta.

In Clear Light of Bliss four distinct experiences of great bliss are discovered. The foremost
of these is spontaneous great bliss. It is only through attaining a mind of spontaneous great
bliss realising the 18 levels of emptiness that we can succeed. Through completion stage
meditation we can cause the subtle winds to dissolve into the indestructible drop inside the
central channel at the heart. Then, when the bodhichittas melt within the central channel,
we experience great bliss. Several levels of bliss are generated in this way, but the most
sublime is spontaneous great bliss. When spontaneous great bliss realises emptiness, either
directly or conceptually, this wisdom is called 'spontaneously-born exalted wisdom'. We
should try to understand the importance of this wisdom and how it is attained. When we
generate an intense wish to attain this realisation we request our Guru to grant their
blessings to help us.

(14) Deities of Heruka Body Mandala - A body mandala is an actual or celestial mansion or
assembly of deities that is accomplished on the basis of the parts of the body. The four
channel petals of the heart channel wheel in the cardinal directions, which are the paths for
the winds of the four elements ( fire, water, earth, wind) appear as the letters LAM, MAM,
PAM AND TAM beginning clockwise in the east. These transform beginning counter-
clockwise in the east into dark-blue Dakini, in the north into green Lama, in the west to red
Khandarohi, and in the south to yellow Rupini. These Yoginis are sometimes called the
goddesses of the four elements. Skullcups are visualised in the intermediate directions and
symbolise the goddesses of the four offerings. Rupavajra Goddess, Gandhavajra Goddess,
Rasavajra Goddess, Parshavajra Goddess.
The central deity Heruka Father and Mother and the four Yoginis in the cardinal directions
are known as the Deities of the great bliss wheel. Around them are the deities of the heart
wheel, speech wheel, body wheel and commitment wheel.

In the heart wheel at the eastern spoke called Puliramalaya, the nature of the hairline, are
the deities Khandakapala (Samantabhadra) and Partzandi. At the northern spoke called
Dzalandhara, the nature of the crown of the head are the deities Mahakankala (Manjushri)
and Tzandriakiya. At the western spoke called Odiyana, the nature of the right ear are the
deities Kankala (Avalokiteshvara) and Parbhawatiya. At the southern spoke called Arbuta,
the nature of the back of the neck, are the deities Vikatadamshtri (Ksitigarbha) and
Mahanasa. At the south eastern spoke called Godawari, the nature of the left ear, are the
deities Suraberi (Vajrapani) and Biramatiya. At the south western spoke called Rameshori,
the nature of the point between the eyebrows, are the Amitabha (Maitreya) and Karwariya.
At the north western spoke called Dewikoti, the nature of the place between the two eyes,
are the deities Vajraprabha (Akashagarbha) and Lamkeshoriya. At the north eastern spoke
called Malawa, the nature of the place of the two shoulders, are the deities Vajradeha
(Akashakosha - Space Treasure) and Drunatzaya. All these deities of the Heart Wheel have
blue coloured bodies and are known as Heros and Heroines of the Vajra mind family.

In the speech wheel at the eastern spoke called Kamarupa, the nature of the place of the two
armpits, Ankuraka (Sarvanivaranaviskanbini) and Airawatiya. At the northern spoke called
Ote, the nature of the two breasts, are Vajrajatila (Gadze Dhupe - elephant incense) and
Mahabhairawi. At the western spoke called Trishakune, the nature of the navel, are
Mahavira (Lodro Mitsepa - inexhaustible wisdom) and Bayugeya. At the southern spoke
called Kosala, the nature of the tip of the nose, are Vajrahumkara (Yeshe Tog - highest
exalted wisdom) and Surabhakiya. At the south eastern spoke called Kalinga, the nature of
the mouth, are the deities Subhadra (Monpa Kunjom - dispelling all darkness) and
Shamadewi. At the south western spoke called Lampaka, the nature of the throat, are
Vajrabhadra (Powa Tseg - accomplishing confidence) and Suwatre. At the north western
spoke called Kancha, the nature of the heart, are the deities Mahabhairawa (Ngensong
Kunden - liberating all lower realms) and Hayakarna. At the north eastern spoke called
Himalaya, the nature of the two testicles, are the deities called Virupaksha (Drawa
Chenkyio - web of light) and Khaganana.

All the deities of the speech wheel have red-coloured bodies and are known as the Heros
and Heroines of the Vajra speech family.

In the body wheel at the eastern spoke called Pretapuri, the nature of the tip of the sex
organ, are the deities Mahavala (Dao Shonnu - youthful moonlight) and Tzatrabega
(Gyenpung - shoulder ornament). At the northern spoke called Grihadewata, the nature of
the anus, are the deities Ratnavajra (Dorje O - Vajra light) and Khandarohi (Sordang -
individual liberator). At the western spoke called Shauraktra, the nature of the two thighs,
are Hayagriva (Nyimi Okyi Nyingpo - essence of sunlight) and Shaundini (Macha Chenmo
- great powerful one). The southern spoke called Suwanadvipa, the nature of the two
calves, Akashagarbha (Dorje Oser - Vajra light rays) and Tzatrawarmini (Logyonma - one
wearing leaves). At the south eastern spoke called Nagara, the nature of the eight fingers
and eight toes, are Shri Heruka (Tuchen Tog - powerful attainment) and Subira (Dorje
Lukugyu - continuous circle of Vajras). At the south western spoke called Sindhura, the
place of the tops of the feet, are Pamanarteshvara (Norsang - excellent wealth) and
Mahabala (Chirdog Chenmo - great pacifier). At the north western spoke called Maru, the
nature of the two thumbs and two big toes, Vairochana (Sangden - excellent carer) and
Tzatrawartini (Tsugtor Kharmo - white ushnisha). At the north eastern spoke called Kuluta,
the nature of the two knees, are Vajrasattva (Lodro Gyatso - ocean of wisdom) and
Mahabire (Dorje Jigma - rathful Vajra). All the deities of the body wheel have white-
coloured bodies and are known as the Heros and Heroines of the Vajra body family.

The eight doors of the senses are the root of the tongue, the navel, the sex organ, the anus,
the point between the eyebrows, the two ears, the two eyes, and the two nostrils. The
channels of the eight doors are guarded by eight Heroines of the committment wheel. These
Godesses surround the deities of the body wheel. In the east is dark blue Kakase, with
Bodhisattva Kaouri and consort Aparagita, which represents the root of the tongue. In the
north, green Ulukase, with Bodhisattva Tzowri and consort Amritakundalini, which
represents the navel. In the west, red Shonase, with Bodhisattva Bukase and consort
Hayagriva, which represents the sex organ. In the south, yellow Shukarase, with
Bodhisattva Petali and consort Yamantaka, which represents the anus. In the south east,
Yamadhati, who is blue on the right and yellow on the left, with Bodhisattva Kamari and
consort Niladanda, represents the point between the eyebrows. In the south west, Yamaduti,
who is yellow on the right and red on the left with Bodhisattva Shawati and consort
Takkiraja, represents the two ears. In the north west, Yamadangtrini, who is red on the right
and green on the left with Bodhisattva Dzandali and consort Achala, represents the two
eyes. In the north east, Yamamatani, who is green on the right and blue on the left, with
Bodhisattva Tombini and consort Mahabala, represents the two nostrils.

(15) The eight charnel grounds - The eastern charnel ground is called Ferocious One, the
northern ground, Very Dense Forest, the western ground, Blazing Vajra, and the southern
ground, Possessing Bone and marrow. In the south-east the charnel ground is called
Auspicious Guardian, in the south-west, Fearful Darkness, in the north-west Making the
Sound Kili Kili, and in the north-east, Wrathful Laughter. Each charnel ground has eight
features: a tree, a directional guardian, a regional guardian, a lake, a naga, a cloud, a fire,
and a stupa.
In the eastern charnel ground the tree is called Naga Tree. At its foot s the guardian of the
east called Indra. He is yellow, holds a vajra and skullcup, and rides a white elephant. At
the top of the tree there is a white regional guardian called Elephant Face. Below there is a
lake called Water of Compassion in which there is a white naga called Increasing Wealth.
In the sky above, there is a cloud called Making Sounds. A fire called Wisdom Fire blazes
at the base of a precious mountain called Mount Meru. At the crest of the mountain there is
a white stupa called Stupa of Enlightenment.

In the northern charnel ground the tree is called Ashuta. At its foot is the guardian of the
north called Vaishravana. He is yellow, holds a mongoose and skullcup, and rides on the
back of a man. At the top of the tree there is a yellow regional guardian called Human Face.
In the lake blow there is a naga called Jogpo, and in the sky above there is a cloud called
Making Loud Sounds. A fire of wisdom blazes at the base of a green mountain called
Mandara. At the crest of the mountain there is a white stupa.

In the western charnel ground there is a tree called Kangkela. At its foot is the guardian of
the west called Water Deity, or Varuna in Sanskrit. He is white with a hood of seven
snakes. He holds a snake-rope and skullcap and rides on a crocodile. At the top of the tree
there is a red regional guardian called Crocodile Face. In the lake below there is a blue naga
called Karakota, and in the sky above there is a cloud called Wrathful. A fire of wisdom
blazes at the base of a white mountain called Kailash. At the crest of the mountain there is a
white stupa.

In the southern charnel ground the tree is called Tsuta. At its foot is the guardian of the
south called Yama. He is blue, holds a staff and skullcup, and rides on a buffalo. At the top
of the tree there is a black regional guardian called Buffalo Face. In the lake below there is
a white naga called Lotus, and in the sky above there is a cloud called Moving. A fire of
wisdom blazes at the base of a yellow mountain called Malaya. At the crest of the mountain
there is a white stupa.

In the south-eastern charnel ground the tree is called Karanza. At its foot is the guardian of
the south-east called Fire Deity, or Agni in Sanskrit. He is red, holds a mala, a long-necked
vase, and a skullcup, and rides on a goat. At the top of the tree there is a red regional
guardian called Goat Face. In the lake below there is a yellow naga called Carrying a
Conch-shell, and in the sky above there is a cloud called Completely Full. A fire of wisdom
blazes at the base of a yellow mountain called Fragrant Incense. At the crest of the
mountain there is a white stupa.
In the south-western charnel ground the tree is called Padre-yaga. At its foot if the guardian
of the south-west called Possessing a Rosary of Human Heads, or Kardava in Sanskrit. He
is naked, blue in colour, holds a sword and skullcup, and rides on a zombie. At the top of
the tree there is a black regional guardian called Zombie Face. In the lake below there is a
white naga called Possessing Lineage, and in the sky above there is a cloud called
Descending. A fire of wisdom blazes at the base of a white mountain called Possessing
Snow. At the crest of the mountain there is a white stupa.

In the north-western charnel ground the tree is called Parthipa. At its foot is the guardian of
the north-west called Wind Deity, or Vayuni in Sanskrit. He is smoke-coloured, holds a
yellow banner and skullcup, and rides on a deer. At the top of the tree is a green regional
guardian called Deer Face. In the lake below there is a red naga called Boundless, and in
the sky above there is a cloud called Wrathful. A fire of wisdom blazes at the base of a blue
mountain called Mountain of Glory. At the crest of the mountain there is a white stupa.

In the north-eastern charnel ground the tree is called Nadota. At its foot is the guardian of
the north-east called Ishvara. He is white, holds a trident and skullcup, and rides a bull. At
the top of the tree there is a white regional guardian called Bull Face. In the lake below
there is a white naga called Great Lotus, and in the sky above there is a cloud called
Unmoving. A fire of wisdom blazes at the base of a black mountain called Great Power. At
the crest of the mountain there is a white stupa.

In each of the eight charnel grounds the regional guardian holds a red triangular-shaped
torma and a skullcup, and sits in the top of the tree with the upper half of his body emerging
above the branches. The lake, fire, and stupa in each of the charnel grounds have the same
names as those in the eastern charnel ground. In addition to these eight features, in each
charnel ground there are various creatures such as crows, owls, eagles, foxes, snakes, and
bull-headed snakes, as well as other manifestations such as spirits, zombies, and flesh-
eating spirits. There are also many different Tantric meditators in the aspect of humans and
gods, and many Yogis and Yoginis manifesting in various forms. Everything inside the
charnel grounds, including the lakes, clouds, and animals, is an emination of Vajrayogini.

(16) The three OM mantra explicitly contains thirty-two letters. These are like the retinue
of the principal letter, the BAM. The letter BAM consists of five letters, YA, RA, LA, WA,
and short AH and so altogether there are thirty-seven letters. These are of one nature with
the thirty-seven Dakinis. The short AH is Vajrayogini, and the letters YA, RA, LA, and
WA are Lama, Khandarohi, Rupini and Dakini respectively. The letters OM OM OM SAR
WA BU DHA DA KI NI YE VAJ RA WAR NA NI YE VAJ RA BE RO TZA NI YE
HUM HUM HUM PHAT PHAT PHAT SO HA are the retinue of Dakinis: Partzandi,
Tzandriakiya, Parbhawatiya, Mahanasa, Biramatiya, Karwariya, Lamkeshoriya,
Drumatzaya, Airawatiya, Mahabhairawi, Bayubega, Surabhakiya, Shamadewi, Suwatre,
Hayakarna, Khaganana, Tzatrabega, Khandarohi, Shaundini, Tzatrawarmini, Subira,
Mahabala, Tzatrawartini, Mahabire, Kakase, Ulukase, Shonase, Shukarase, Yamadhathi,
Yamaduti, Yamadangtrini, and Yamamatani.

(17) Black is generally used as the background for awesome deities and is a symbol of the
Dharmakaya mind. (The Body of the Law or known as the Truth Body). The red colour of
Vajrayogini’s body is used to symbolise her inner fire. Red is generally used to indicate fire
and sometimes passion. The blue background behind the red form of Vajrayogini is a
symbol of the ‘Clear Light Mind’. Landscapes are generally painted in their natural colours
of greens, yellows and browns.

(18) The five Buddhas - The five Buddhas of this Buddha Sasana are Aksobhya ‘Unmoved
One’, Vairocana ‘The Sun’, Ratnasambhava’Source of Jewels’, Amitabha 'Immeasurable
Light’, Amoghasiddhi ‘Unfailing Success’.

There are many translations of the qualities of these Buddhas. Many thankas contain
mandalas of the five Buddhas where the colour, directional placement and form have
symbolic meaning. Some of the translations are:

Vairocana or Vairochana

Located in a central direction, represented by the colour white, a symbol of space. The
mudra or mode of holding hands is ‘Teaching’ or ‘Turning the Wheel of the Law’ in
Sanskrit, Dharma-cakra. The symbolic object or insignia is the Wheel or in Sanskrit, Cakra.
The seed syllable or mantra representing Vairochana is ‘Om’ situated in the head. The
corresponding skandha is Vinnanam (in Pali), Vijnana (in Sanskrit) meaning, perceptions.

Akshobhya
Located in the eastern direction, represented by the colour blue a symbol of air. The mudra
is ‘Witness’ or ‘Touching the Ground’, in Sanskrit, Bhusparsa. The symbolic object is a
Thunderbolt or in Sanskrit, Vajra. The seed syllable representing Akshobhya is Hum
located in the heart. The corresponding skandha is Rupam (in Pali), Rupam (in Sanskrit)
meaning form.

Ratnasambhava

Located in the southern direction, represented by the colour golden yellow, a symbol of
earth. The mudra is ‘Bestowing’,in Sanskrit Vara. The symbolic object is a Jewel, in
Sanskrit, Ratna. The seed syllable representing Ratnasambhava is Tram or Khram located
in the navel. In other texts the seed syllable is Sva. The corresponding skandha is vedana
(in Pali and Sanskrit) meaning feelings.

Amitabha

Located in the western direction, represented by the colour red, a symbol of light. The
mudra is ‘Meditative’, in Sanskrit, Dhyana. The symbolic object is a Red Lotus, in
Sanskrit, Rakta-padma. The seed syllable representing Amitabha in some texts is Hri and in
others it is Ah, located in the throat. The corresponding skanda is Sanna (in Pali), samjna
(in Sanskrit) meaning ideas or memory.

Amoghasiddhi

Located in the northern direction, represented by the colour green, a symbol of water. The
mudra is ‘Blessing of Fearlessness’, in Sanskrit Abhaya. The symbolic object is a Cross
Thunderbolt or Double Dorje, in Sanskrit Visva-Vajra. The seed syllable representing
Amoghasiddhi is Ah and in other texts Ha, located at the feet. The corresponding skanda is
Sankhara (in Pali), Samskara (in Sanskrit) meaning motivations.

(19) Dharmakaya, Sambhogakaya, Nirmanakaya. - generally called the three bodies - Tri-
kaya.

Dharmakaya, Law-body, Body of the Dharma, essential Bodhi, formless, the Dhyani
Buddha usually named Vairocana Buddha or the ‘Perfect Justification’ or ‘Adi Buddha'.
Pristine wisdom awareness.

Sambhogakaya or Compensation-body, Reflected Bodhi, comes from the Dharmakaya

wisdom;

When a person develops perfect wisdom.

Nirmanakaya or Transformation Body, Practical Bodhi, a form that is manifested by a

Buddha or a Bodhisattva for the purpose of teaching the Buddha Dharma. The form has the
suitable attributes to teach the being or beings at hand.

Glossary

Bhairawa Bhairava-Skt. Chinese, Wei-lo-wa-chin-kang, Tibetan, hjigs-byed. One of the fearsom

images found in the Chu Fo P’u-sa Sheng Hsiang Tsan. A deity which is adapted from
Hindu pantheon.

Bodhicitta - Sanskrit. The Sanskrit word for ;mind of enlightenment’. ‘Bodhi’ means enlightenme
and ‘chitta’ means mind. There are two types of bodhichitta: conventional bodhichitta
ultimate bodhichitta. General speaking, the term ‘bodhichitta’ refers to conventional
bodhichitta, which is a primary mind motivated by great compassion that spontaneous
seeks enlightenment to benefit all sentient beings. Conventional bodhichitta is of two
types: aspiring bodhichitta and engaging bodhichitta. Ultimate bodhichitta is a wisdom
motivated by conventional bodhichitta that directly realises emptiness, the ultimate na
of phenomena.

Charnel Grounds - the eight, (smasana; Tibetan, dur khrod. refer to endnote 15, the eight charnel ground

Citipati - Sanskrit, Chinese, Fen-chu-hu-fa, Tibetan, Dur-khrod-bdag-po. A pair of dancing

skeletons who are enemies of thieves. Refer to endnote 2, Citipati or Kinkara.

Clear Light a manifest very subtle mind that perceives an appearance like clear, empty space. Refe
 endnote 13.

Dakini Sanskrit. Chinese, K'ung-hsing fo-mu.Tibetan. Mkha'-'gro-ma. Also known as "cloud

fairies," they are feminine divinities shown either calm or fierce, frequently with anim
heads or as beautiful young girls, and are generally depicted nude in the alidhasana po
Refer to endnote 9.

Heruka - Sanskrit, aka Trilokyaksepa, A terrifying emanation of Dhyani Buddha Aksobhya. In

Tibet he is considered an Istadevatas.

Heruka Tantra The teachings of Heruka.

Kapala Sanskrit, Tibetan, thod-pa. It is a symbol that is frequently carried by dharmapalas fille
with the blood of the enemies of religion, a tantric manifestation.

Khatanga A ritual object symbolising the sixty-two Deities of Heruka

Kinkara see Citipati.

Mandala a symmetrical diagram, concentrated about a centre and generally divided into four
quadrants of equal size, it is built up of concentric circles and, or,squares possessing th
same centre. Can be the celestial mansion in which a Tantric Deity abides, or in the
environment or Deities of a Buddha Pure Land. Sometimes it is used to refer to the
essence of an element.

Manifestation the action of manifesting; the fact of being manifested; the demonstration, revelation,
display of the existence, presence, qualities, or nature of some person or thing. (Oxford
1993, p.1686)

Monograph a separate treatise on a single specialized topic (Oxford, 1993, p 1818)

Obstructions the action or an act obstructing something or someone; the condition of being obstruct
blockage of a bodily passage, a thing impeding or preventing passage or progress; an
 obstacle, a blockage. (Oxford, 1993, p.1970)

Samsara the cycle of uncontrolled death and rebirth, or the cycle of twelve dependent-related li

Siddhi - Sanskrit, supernatural or magical powers acquired by meditation.(Oxford, 1993, p.28

Tantric Tantra, - Sanskrit, two types, Buddhist and Hindu. Systems of meditation with the use
ritual, highly cryptic in form, the meaning being handed down from Guru to student. B
symbolise the basic duality of manifestation in figures, in sculpture or in pictures,
composed of some deity or aspect of reality with a female partner locked in sexual
embrace. In the Hindu Tantras these Saktis represent the female ‘power’ of the god,
whereas in the Vajrayana or Buddhist Tantras the female represents Wisdom (Prajna)
the male is the active ‘use’ or compassionate ‘Skill in Means’ of that Wisdom.

Tantrica - a female practitioner of Tantra.

Thanka religious paintings, usually in tempura, of divinities. Hieratic in form, and produced on
rigid formula, they are often of very high craftsmanship and beauty of colour. They ar
used on the walls of Temples and Shrines as subjects for meditation and as banners. T
can be rolled up and transported with ease.

Vajradhara Sanskrit. Mongolian: Ocirdara, Vacir bariqci, Vcir-dhar-a; Tibetan: Do-rje 'chang, rDo
hchan. The tantric manifestation of Sakyamuni Buddha. Refer to endnote 4.

Vajrayogini Sanskrit. Tibetan, rDo-rje-rnal - 'byor-ma. A terrifying goddess-form emanation of

Dhyani Buddha Ratnasambhava. Refer to endnote 1.

Yoga tantra - a term used for various spiritual practices such as Guru yoga.

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