Dharmakirti's Commentary on Chakrasamvara

Drikung Kagyu Three-Year Retreat Texts: Preliminaries and Five-Fold Path of Mahamudra (as of 1/12/2014 at 0:54:17 a1/p1)

(“Long version”)

(Dharmakirti’s commentary on the Chakrasamvara yidam sadhana and retreat) Part two, the main practice, has three parts:1 1. Meditating on the yidam. 2. Accomplishing the lama. 3. Taking up the practices of mahamudra. The first of these has two sections: the path of ripening and the path of liberation. a. Regarding the first, it is extremely important that the empowerment of Bhagavan Chakrasamvara, with the preparation, main practice, complete text recitation, and introduction to the meaning through symbols2, is bestowed. b. Regarding the second, Lord Jigten Sumgön said: Experiencing one’s own body as the divine form of the royal deity— If one does not grasp this unchanging support as the basis, The retinue of the mother dakini will not touch one. Establish one’s body as the yidam deity. Thus it is said. (FN: The symbol that one’s own aggregates, elements, and senses are of the primordial nature is the divine sovereign. The symbol of meditation on the generation stage of clear visualization of the deity’s form, the pure meaning of the symbolism, and stable pride of the deity—done for the purpose of purifying conceptual thoughts that cling to the ordinary into the nature of the deity—is a king ruling the kingdom. The symbol of the power of the mother dakini is the power of samsara and nirvana over the retinue of a king.) The meditation of the generation stage to be practiced by the yogin who has obtained empowerment and has taken the corresponding vows and observes them. Here, three are presented: the extensive, medium, and abridged practices. (FN: One can do the abbreviated form of generating bodhicitta as described above or it is acceptable to do the unabbreviated form.) Regarding the first of these: OM SVABHAVA SHUDDHA SARVA DHARMA SVABHAVA SHUDDHO HANG. (FN: The intrinsic nature is completely pure; all phenomena are completely pure.) OM VAJRA SHUDDHA SARVA DHARMA VAJRA SHUDDHO HANG. (FN: The vajra is completely pure; all phenomena are the completely pure vajra.) OM YOGA SHUDDHA SARVA DHARMA YOGA SHUDDHO HANG. (FN: Yoga is completely pure; all phenomena are the completely pure yoga.) These words are the purification into emptiness through the three mantras of complete purity.

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Instantly, light radiates from a dark blue HUNG in the center of a sun in the heart of myself, clearly visualized as the co-emergent father and mother. The light forms a double vajra as a base, with walls and a canopy of vajra-nets, which become a tent. Surrounding this is a blazing wisdom fire, which becomes a great protection circle. This is the meditation on the ordinary protection circle. Light radiates from the three places marked by the three syllables within one’s own body clearly visualized as the deity. 3 The outer container becomes the celestial palace, and its contents become the deity.4 The light returns, dissolving into the three syllables. One’s own body clearly visualized as the deity melts into light from above and below, dissolving into the three syllables. The two upper syllables dissolve downward into the syllable HUNG. The syllable HUNG dissolves: the u at the bottom (Tib. shabkyu; Skt. ukara, “letter u”) into the main body (Skt. hakara, “letter ha”); the main body into the head5 (Skt. matra); the head into the lda tse6 (Skt. chandra, “[crescent] moon”); the lda tse into a drop (Tib. thigle, Skt. bindu); and the drop into a squiggle (Skt. nada7). Performing this at the time of death is carrying the dharmakaya on the path. The nada becomes smaller. Raise the nada into space, and rest in that. Performing this in the bardo is carrying the sambhogakaya on the path. In the center of the protection circle is a hundred thousand-petalled multicolored lotus, above which is a sun seat, above which is a sun from which comes KA KHA GA GHA NA, CA CHA JA JHA ÑA, TA THA DA DHA NA, TA THA DA DHA NA, PA PHA BA BHA MA, YA RA LA VA SHA SHA SA HA KSHA.8 These circle to the right and left as two red arms9—the bodhicitta that arises from the wisdom of equanimity, the essence of the eighty excellent [minor] characteristics. Above that is a moon on which are the syllables: A AA, I II, U UU, RI RII, LI LII, E AI, O AU, ANG AH.10 These circle to the right and left as two white arms—the complete embodiment of the mirror-like wisdom, the essence of the thirty-two [major] marks. In between those two is the nada, from which arises a blue syllable HUNG, from which arises a five-pronged vajra marked with a dark blue syllable HUNG, from which light emanates as cause [of the deity’s arising]—the bodhicitta which is the intrinsic nature of the Vajra-holder (Vajradhara?), the complete embodiment of discriminating wisdom. Light radiates from that, making offerings to the aryas and purifying the negative actions and obscurations of sentient beings, placing them in the state of the glorious Heruka. The blessings of the buddhas and bodhisattvas are gathered completely into the light and dissolve into oneself—the bodhicitta that is the complete embodiment of the allaccomplishing wisdom, which comes from the gathering of all into one. The body of the co-emergent father and mother Bhagavan Shri Chakrasamvara is complete perfection—the bodhicitta which is the complete embodiment of the wisdom of

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the dharmadhatu. Performing this at the time of birth is carrying the nirmanakaya on the path. It is also acceptable to perform the medium length generation stage practice: The clear self-visualization of the deity melts into light, which becomes the three syllables, which become the syllable HUNG, which becomes the nada as described above. The nada dissolves, and one remains in a non-referential state. From this arises the syllable HUNG on top of a lotus and sun, which becomes a dark blue vajra marked by the syllable HUNG. Light radiates, making offerings to the aryas, collecting blessings, and purifying the mindstreams of beings, placing them in the state of the deity. By completing this emanation and collection, the co-emergent father and mother are generated. It is also acceptable to perform the abbreviated generation stage practice: One performs the dissolution of the nada into the non-referential state as above. In the center of the protection circle, one generates Mt. Meru with four jeweled sides. On top of this is a four-tiered seat, a lotus, sun, moon, and Bhairava and Kalaratri, above which is the Heruka father and mother. In this way, whichever of the extensive or brief generation stage practices one performs, this is the meditation on the clear visualization of the deity’s form. I myself am the glorious Bhagavan Chakrasamvara, black in color (FN: or blue), with three eyes (FN: or two), showing four slightly protruding fangs. His hair, eyebrows, and beard are orange. In his right hand he holds a five-pronged vajra; in his left holds a bell. He embraces the mother. Above his topknot, bound with silks, is the wish-fulfilling jewel wangkyi gyalpo (“powerful king”). In front [of the topknot] is a double vajra. To the left, his head is ornamented with a crescent moon. In particular, he has the three ornaments, a silk scarf with three furls fluttering, and a garland of vajras joined to five skulls forming a tiara at the hairline, which is ornamented with jewels. He is wearing a garland of fifty-one fresh skulls and is ornamented with the six mudras: a great bone wheel, earrings, throat ornament (necklace), bracelets (armlets and wristlets), girdle, and funeral ash between the eyebrows and all over his body. He expresses the nine moods of dance: seductive, heroic, frightening, laughing, insulting, fearsome, compassionate, peaceful, wonderful, etc. The first of the above are the three moods of the body: • seductive, graceful in movements; • heroic, because he is victorious over the four maras; • frightening, like the fire at the end of the kalpa. The three in the middle are the moods of speech: • laughing, with love for beings; • insulting and angry, with great passion [for beings]; • fearsome, in a wrathful mood. The last three are the moods of mental disposition: • compassionate, which is love for beings; 3



• •

peaceful, the abandonment of anger; wonderful, a feeling of wonderment, goodness, excellence.11

The upper part of his body is covered by the hide of a great elephant,12 the lower part by a tiger skin. His right foot is extended on the breast of Kalaratri; his left leg is bent on the back of the head of Bhairava. Embracing him is the mother, Vajravarahi, red in color, naked. Blood drips from her body, the bhaga (vagina/vulva), and so forth. She is sixteen years old, youthful, her face is joined with that of the father. She is marked behind her right ear with a black sow’s head. She has three eyes, and her hair flows down her back loosely. She wears a tiara of five dry skulls, a garland of fifty-one skulls, and a belt made of pieces of skull bone. Below, she wears a skirt of tinkling bells. In her right hand she holds [a hooked knife with] a five-pronged vajra [handle], and in her left, a skullcup filled with blood. Her two legs embrace the waist of the father, increasing the experience of great bliss;13 her naked body is held aloft like a planet in the sky. The five stainless lights radiate, dazzling like the blazing fire at the end of a kalpa.14 (Recollection of pure meaning) The pure meaning of the circle of protection: The mountain of flames is the purification of stupidity, the net of arrows is the purification of anger, and the tent and canopy are the purification of desire. The pure meaning of the seat: The lotus is unstained by the faults of samsara.15 The sun is the ripening of the shoots of bodhicitta. Kalaratri and Bhairava are clinging to the sense of “I” and “mine.”16 The pure meaning of the essence of the father and mother deities: Clarity in the mind is great bliss, which is method, the father. The fact that the mind is emptiness is the emptiness wisdom of the mother. The inseparability of the two, the co-emergent father and mother, is their integration.17 Regarding the pure meaning of the name of the father: SHRI HE HE LA RU RU TI RAK. (FN: the play of the glorious blood drinker.) SHRI means the glorious one of all samsara and nirvana. HE means the vajra body, the purification of stupidity into the play of nondual bliss and emptiness,18 the skullcup. RU is the vajra speech, the purification of desire into blood. KA (“kapala”) stands for the vajra mind, the purification of anger into the integration of method and wisdom, the inseparability of the container and its contents, the skullcup and blood.19 (FN: The essence of all the meanings of Heruka is consolidated in the sound of the word “kapala” (skullcup). The pure meaning of actualizing the realization of the deity:

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The dark blue color is the indication of the changeless nature of the dharmadhatu. Because it is the indication that wisdom is the non-duality of profundity and clarity, the deity has one face. The two arms are the indication of bliss and emptiness, the two. The two legs are the two truths (relative and absolute). The [slightly] red eyes are compassion. The four [bare] fangs are victory over the four maras. The upswept hair, bound in a topknot, is freedom from worldly activities. The pure meaning of the implements and ornaments: Holding the vajra in the right hand and the bell in the left is the abandonment of the view of nihilism and eternalism. The jewel in the crown is the fulfillment of the wishes of those to be tamed. The crescent moon clears away the agonizing heat of the conflictive emotions. The double vajra is the accomplishment of the purpose of beings through the four activities. The dry skulls are the five wisdoms. The vajras that make up his tiara are the entrance of the mind into the Dharmata.20 The silk scarf is the five families. Its three furls are the three bodies of the Buddha.21 Because they indicate the six paramitas, there are six types of bone ornaments.22 The tiger skin shamtab is victory over the activities of the four maras. The garland of skulls (and also the elephant hide) indicates the taming of beings to be tamed. Abiding in a mass of flames indicates the burning of the two obscurations. The pure meaning of the name of the Mother: Vajra is emptiness. Varahi is great bliss.23 The color red is passionate love for beings. The hand implement—the vajra chopper or hooked knife—is conquering conceptuality.24 The blood in the skullcup is passion. The two legs embracing the father are the inseparability of method and wisdom. The pure meaning of the channels and elements: The three channels are the three bodies of the Buddha.25 The twenty-four channels are the twenty-four dakinis. The white and red elements are the father and mother herukas. The twenty-four elements are the twenty-four dakas, and so forth.26 The pure meaning of day and night: The intrinsic nature of the sun is the mother, wisdom. The intrinsic nature of the moon is the father, supreme method. The father and mother together are the continual inseparability of the two. The pure meaning of the aggregates, elements, and so forth:

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Form and so forth—the five aggregates—are the five [buddha] families (five dhyani buddhas), Vairocana and so forth. The earth and so forth—the four elements—are Locana and so forth, the four mothers.27 The eyes and so forth—the six inner senses—are Kshitigarbha and so forth, the six bodhisattvas.28 Form and so forth—the outer elements—are Rupavajri and so forth, the six female bodhisattvas. The limbs29 are the wrathful males and females [deities]. The complete samadhi, which from primordial time fully accomplishes the purification of outer, inner, and other, is the glorious Vajra Heruka.30 (The practice:) Established in his forehead is a white syllable OM on a moon, in the throat is a red syllable AH on a lotus, in the heart is a dark blue syllable HUNG in the center of a double vajra. To elaborate on this: In the heart of the Bhagavan are the white syllables OM and HA. In the head are the yellow syllables NA, MA, and HI. At the crown of the head are the red syllables SVA, HA, and HU. On the two shoulders are the black syllables BO, SHAT, and HE. In the two eyes are the orange syllables HUNG, HUNG, and HO. In all the limbs are the green syllables PHAT, PHAT, and HANG. These are the six [armor] dakas31 of the father. In the navel of the mother are the red syllables OM and BAM. In the heart are the blue syllables HANG and YONG. In the mouth are the white syllables HRING and MONG. In the head are the yellow syllables HRING and HRING. In the crown of the head are the green syllables HUNG and HUNG. All the limbs are marked with the grey32 syllables PHAT and PHAT. These are the six female armor dakinis [of the mother]. Then invite the wisdom beings by making a pleasing request to come and assemble using the three methods: mudra, mantra, and visualization. Perform the blazing mudra, circling it from the left to the point [in front of] the mideyebrow. Direct the sound of exhortation—PHEM! PHEM!—to the right. Light from the HUNG in the heart invites the glorious Bhagavan Chakrasamvara, together with a host of lamas, yidams, dakinis, buddhas, and bodhisattvas into the sky in front [of oneself]. OM VAJRA VINA HUNG HUNG PHAT.

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Recite the mantra in this way: first the syllables OM VAJRA and then HUNG HUNG PHAT joining this with VANGSHA, MRIDANGA, MURAJA, HASYA, LASYA, GITA, NIRTYA, PUSHPA, DHUPA, DIPA, GANDHA, and so forth.33 Then: OM RUPAVAJRI HUNG HUNG PHAT. In the same way, substitute

RASA, SPARSHA, DHARMADHATU.34

Offering Then, the offering goddesses: 1 Vina (Tib. Piwangma), the blue goddess of the lute. 2. Vangsha (Tib. Lingwuma), the yellow goddess of the flute. 3. Mridanga (Tib. Ngachenma), the red goddess of the double-sided drum. 4. Muraja (Tib. Dzangama), the green goddess of the clay drum. 5. Hasya (Tib. Shadpama), the red goddess of laughter. 6. Lasya (Tib. Gegpama), the blue goddess of grace. 7. Gita (Tib. Luma), the yellow goddess of song. 8. Nirtya (Tib. Garma), the green goddess of dance. 9. Pushpa (Tib. Metogma), the white goddess of flowers. 10. Dhupa (Tib. Dugpöma), the blue goddess of incense. 11. Dipa (Tib. Marmema), the red goddess of lamps. 12. Gandha (Tib. Drichabma), the green goddess of scented water. 13. The white Rupavajri (Tib. Zug Dorjema), holding a mirror and ting shag. 14. The red Rasavajri (Tib. Ro Dorjema), holding a jeweled tray. 15. The white35 Sparshavajri (Tib. Reg Dorjema), holding clothing. 16. The white Dharmadhatuvajri (Tib. Choying Dorje), holding up a source of dharma. The sixteen offering goddesses make the offerings. (FN: Recite this together with mudras.) Inviting the wisdom being JA—reciting this, Chagkyuma, the white deity of love, who holds an iron hook aloft, issues the invitation from her heart. HUNG—reciting this, Nyingjechagpama, the yellow deity of the noose of compassion, enters. BAM—reciting this, Chagdrogma, the red deity of the iron hook of joy, binds in nonduality. HO—reciting this, Drilbuma, the green deity of the bell of equanimity, pleases.36 Thus, the wisdom being and the commitment being become inseparable. Empowerment Again, light emanates from the syllable HUNG, inviting the empowerment deities of the five families, together with their retinue.

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Recite OM VAJRA VINA and so forth (the sixteen offering goddesses), or OM VAJRA PUSHPAM PRATISHTHA SVAHA, substituting DHUPAM, ALOKHAM, GANDHA, NEVEDYAM (the five outer offerings) in the same way.37 “All the tathagatas: please bestow the actualizing empowerment on me.” Having prayed in this way, the empowerment deities hold precious vases filled with wisdom nectar. OM SARVA TATHAGATA ABHISHEKATA SAMAYA SHRIYE HUNG. [Oneself] having said this, they bestow the empowerment. The wisdom nectar fills one’s body, purifying the stains (FN: of all sentient beings). Nectar overflows, becoming two crowns—Akshobhya (FN: the seal of the fruition of cause) on the head of the father, and Vairocana (FN: the seal of the fruition of cause) on the head of the mother. The empowerment deities dissolve into oneself.38 To elaborate on this, one makes offerings in accordance with outer, inner, secret, and suchness offerings. If one abbreviates, the sixteen offering goddesses are the completion of these offerings. (FN: It is taught in this way.) Praise To elaborate regarding the praises, one praises the two with the “Eight Verses Praising the Father and Mother.” If one abbreviates: Glorious Heruka, great Heroe, Completely pure Vajra Lord, Compassionate toward those of great passion, I bow to that Vajravarahi. Thus it is said. Or: Greatly terrifying, with bared fangs, Ornamented with the flower garland of mantra, Voraciously eating great meat, Praises and prostrations to the glorious blood-drinker! Glorious Vajradakini, The Dakini who turns the wheel, The five wisdoms and three bodies personified, Praises and prostrations to the protector of beings! (FN: Regarding line three, others incorrectly identify this as body, speech, and mind.)39 Recite this with the stable pride of the deity. OM SARVA VIRA YOGINI KAYA VAKA CHITTAM VAJRA SVABHAVA ATMA KO HANG.

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(FN: All the dakas and dakinis are pure in the self-nature of vajra body, speech, and mind.) This stable pride in the conviction that oneself is Chakrasamvara is extremely important. If one remains inseparable from this conviction, all the movements and activities of the body, the words and expressions of speech, and memories and thoughts in the mind become the experience of the body, speech, and mind of the deity. The essential point is one’s inseparability from the deity. If it is not present, it would be difficult to accomplish this through the generation stage practice, which is mainly taught as the clear visualization of the deity’s form.40 There is blessing in having faith in whichever [practice] is appropriate, “Trengma Padma Garwang” (Padma Narteshvara) or the “Gsung rdo rje’i rigs kyi lha.” If one does the meditation of Padma Narteshvara: from the syllable HRI above a lotussun seat arises Padma Narteshvara (Lotus Lord of Dance), red in color, with one face and four arms. The first right hand holds a lotus; the second, a damaru; the first left hand holds a bell; the second, a skullcup. He has a khatvanga in the crook of his left arm. He wears a garland of wet or dried skulls, and is ornamented with the six mudras. He wears a tiger skin [on the lower part of his body] and sits with his right leg extended. OM PADMA NARTESHVARA HUNG HUNG PHAT. Recite this [mantra] twenty-one times, and so forth, with the conviction that one has become the complete form of the deity, as one counts recitations on one’s mala. In the center of a sun in the heart of the father, is a syllable HUNG, and in the center of a sun in the heart of the mother is a syllable BAM. Then the root mantra (FN: the eight verses), the essence mantra (FN: the twenty-two syllable mantra), and the quintessence mantra (FN: the seven syllable mantra) are arranged. (FN: The root mantra, and so forth, of the mother are arranged around the seed syllable similarly to the father.) When one’s mantra recitation stabilizes, the winds of conceptuality, the co-emergent mantra garland, and wind go out through the left nostril together, entering the right nostril of sentient beings of the three realms, abiding as the deity. From the HUNG, the mantra garland [in the heart] of sentient beings emerges from their left nostril, entering one’s right nostril, dissolving into the HUNG in one’s heart. Recite the mantra with the visualization of circulation. Alternatively, from the HUNG in the heart the mantra garland emerges from one’s mouth, entering the mouth of the mother. From the lotus [of the mother], it enters the vajra [of the father].41 Recitation with this visualization of circulation is the profound recitation of compassion. It has been taught as is stated here. One should know other mantra recitations, such as that of the root mantra of the father and mother.

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The essence mantra of the father: OM SHRI VAJRA HE HE RU RU KAM HUNG HUNG PHAT (FN: glorious vajra blood drinker) DAKINI JALA SAMBARAM SVAHA. (FN: binding the net of dakinis.) The quintessence mantra [of the father]: OM HRI HA HA HUNG HUNG PHAT. The essence mantra of the mother: OM VAJRA VAIROCANIYE HUNG HUNG PHAT. (FN: Vajra Vairocani.) The quintessence mantra [of the mother]: OM SARVA BUDDHA DAKINIYE (FN: dakini of all the buddhas) VAJRA VARNANIYE (FN: dakini of the vajra family) HUNG HUNG PHAT. (FN: The colors of the mantra garlands of the father and mother are the same as their bodies.) Regarding this, the numbers of recitations are: • for the root mantra, one hundred thousand; • for the essence mantra, six hundred thousand; • for the quintessence mantra, seven hundred thousand. It is taught that one should recite the mantra one hundred thousand times for each syllable in the mantra. Nevertheless, it is primarily necessary to recite the essence mantras of the father and mother. It is taught that the root mantra is connected with body, the essence mantra with speech, the quintessence mantra with mind, and the seed syllables with wisdom. This is because the body is the clear visualization of the deity’s form, the mind is connected with meditation itself—samadhi—, and speech is connected only with the essence mantra. In a previous time, the time of perfection, it was appropriate to recite this mantra one hundred thousand times. In the time when the lifespan of beings was reduced by a third, it was recited two hundred thousand times. When the life span was reduced by half, it was done three hundred thousand times. In the time of conflict (FN: the time of Buddha Shakyamuni) this mantra is recited four hundred thousand times. This is taught to be the recitation. The path of mantra is taught to bring greater fruition, more quickly in the present age of defilement than in the four periods of time previously described. It was taught there is no need to recite large numbers of mantras. Based on this, one should accomplish the practice requirements in the state that is not separate from the samadhi of the three vajras,42 reciting mantra free of the six faults, such as reciting too fast, or too slow, and so forth.43 Moreover, the meditation on the yidam deity is the essence of the path of liberation. If this is not done, one could perform the activity of method, such as generosity and so forth—the five paramitas—, for three limitless eons. But until one can remain inseparable from realization and, through this realization the clinging to the ordinary aggregates, elements, and senses is actualized as the wisdom realizing emptiness, one will not achieve buddhahood.44

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On this path, because the thought of one’s own form is immediately conceived of as the radiance of the deity’s form, attachment to one’s ordinary body, appearances, and reputation is reversed. With the arising of the play of body, speech, mind, qualities, and activities of the yidam deity, outer and inner obstacles do not arise. By offering all desirable qualities and enjoyments to the Buddha, countless merit is perfected. All the ordinary and supreme siddhis are quickly accomplished. From the Vajra Mala (Dor preng): Through the practice of the deity in secret mantra, The achievement of all siddhis is accomplished. Thus it is said. Mahasiddha Drilbupa said: For those who keep their vows, [have] devotion to the lama, And diligence in the practice of meditation, All siddhis arise. Long life, the abundance of enjoyments, glory, mastery, splendid dignity, and activities are accomplished. One becomes learned in all the treatises, And becomes a great orator, who conquers mistaken views. One quickly attains the state of the great Vajradhara himself. Thus it is said. From a gur, a vajra song: Through the yoga of pride in oneself as the Buddha, It does not take a long time to become the Buddha himself.45

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This section on Chakrasamvara is part of Dharmakirti’s treatise shallung or oral transmission on the fivefold mahamudra. This treatise has been translated into English as Oral Instructions of Drigung Vajradhara Dharmakirti: Advice on the Practice of the Fivefold Mahamudra by Lama Karma Jinpa Zangpo with the aid of Dubpon Thinley Ningpo and Ani K. Trinlay Chödron and was reviewed by Pema Tsewang Shastri from Wisdom Publications. In the subsequent endnotes these people will be referred to as the “Maryland’s translation team.” Whenever an endnote is sourced to “Eds.,” it means the editors of the present “long version,” which includes Lama Chamspa’s lecture notes among other sources. According to Lama Chamspa, his lectures are based on a longer version of Dharmakirti’s, thus Lama Chamspa offers some details and clarifications that are missing in the treatise translated by the Maryland team—the shorter version. 2 This is a reference to the fourth empowerment, which must include the instructions that point out the nature of mind. [Maryland’s translation team.] 3 Light fills our body as Heruka and radiates through our pores out of our body and throughout space. [Lama Chamspa.] 4 The outer container or pot (Tib. snot) becomes the mandala palace, which corresponds to the outer world. The pot’s contents (Tib. chut) become the dakas and dakinis, which correspond to the inner beings or the beings living in the world. Pot and contents are always together (“snot-chut”); this is, the world and its beings are always together. [Lama Chamspa.] 5 The “head” of a letter is the [horizontal] line at the top. [Maryland’s translation team.] 6 The lda tse is the small circle and squiggle (or the small semi-circle only? [Eds.]) above the main letter. [Maryland’s translation team.] 7 The nada is a very tiny particle. [Maryland’s translation team.] 8 These are the Sanskrit consonants. [Maryland’s translation team.] 9 According to Lati Rinpoche (Gelugpa), one set of 40 consonants starts from the east, stands clockwise and faces inward (making a semicircle on the right). On the other side, another set of 40 consonants starts from the east, stands counterclockwise, and faces outward (making a semicircle on the left). These two sets of consonants form a circle, with the two KA next to each other [in the east].” [Bks. (Sadhana, Tsog and Oral Commentary of the Generation Stage Practice of Heruka Body Mandala According to the System of Mahasiddha Ghantapa, by Lati Rinpoche, p.146.)] 10 These are the Sanskrit vowels. [Maryland’s translation team.] 11 Each translator seems to render these nine moods in a different way. Thus Khenchen Konchog Gyaltsen Rinpoche in his translation of Kunga Rinchen’s commentary of the fivefold mahamudra translates the nine moods as: graceful, heroic, ugly, laughing, fierce, frightening, compassionate, frightful, and peaceful (The Garland of Mahamudra Practices by Khenpo Konchog Gyaltsen and Katherine Rogers). Other translations are: coquet, dauntless, repulsive, laughing, dreadful, aweinspiring, tender, majestic, peaceful (The Life and Teachings of Naropa by Herbert Guenther); robust, heroic, ugly, savage, terrible, awe-inspiring, compassionate, dignified, serene (Tucci); arrogant, courageous, rough, humorous, forceful, wrathful, compassionate, powerful, serene (Tsongkhapa); symmetrical, heroic, stern, energetic, severe, awe-inspiring, compassionate, serious, peaceful (Tantrik Texts by Arthur Avalon); and so forth. [Eds.] 12 He wears the elephant skin behind him and across the crook of his arms, like a long scarf. [Lama Chamspa.] 13 She is in a very particular body posture called “creating-great-bliss posture.” [Lama Chamspa.] 14 See The Garland of Mahamudra Practices by Khenpo Konchog Gyaltsen and Katherine Rogers, translators, pp. 50-51 for further details on the Drikung Kagyu Chakrasamvara’s 5-step developing stage. 15 The lotus is unstained because it does not stick to the mud from which it emerged. Similarly, Chakrasamvara does not have any samsaric defilement in his mind. If the petals of the lotus seat bend upward it means that the deity is peaceful. If they bend downward, it means that the deity is wrathful. 1

[Lama Chamspa.] 16 Therefore, that Chakrasamvara is trampling on the bodies of Bhairava (an emanation of Shiva) and Kalaratri (an emanation of Uma, Shiva’s consort) means that Chakrasamvara purifies the dualistic thoughts of “I” and “mine.” [Lama Chamspa.] 17 Method and wisdom are inseparable, because our mind’s true nature is clear light and emptiness always together. This is why we visualize father and mother (yab and yum) arising simultaneously and remaining together. [Lama Chamspa.] 18 Bliss and emptiness are inseparable. [Lama Chamspa.] 19 The container (skullcup) and its content (nectar) should never be separated. The outer world and the inner beings are always together (“snot-chut”). [Lama Chamspa.] 20 This is, the mind that absolutely understands the dharmakaya. [Lama Chamspa.] 21 Or it means that body, speech, and mind are inseparable. [Lama Chamspa.] 22 This indicates that Chakrasamvara has completed the six perfections. [Lama Chamspa.] 23 Therefore two names for Vajravarahi are: Dorje Stonying (“vajra emptiness”) and Phagmo Dechen (“great bliss sow”). [Lama Chamspa.] 24 The hooked knife cuts off the emotional thoughts. [Lama Chamspa.] 25 The three bodies of the Buddha are body, speech, and mind. [Lama Chamspa.] 26 “And so forth”: Inside the HANG and the fire [of tummo] is the karmar (i.e. the white (“kar” for karpo=white) bindu and the red (“mar” for marpo=red) bindu. Their inseparability represents the inseparability of Heruka yab/yum or of the male and female principles (yab, male=white bindu; yum, female=red bindu). [Lama Chamspa.] 27 See endnotes to Chakrasamvara sadhana. [Eds.] 28 See endnotes to Chakrasamvara sadhana. [Eds.] 29 The joints of the limbs. [Lama Chamspa.] 30 Tantric pride is to recognize that since beginningless time our nature has been pure: “I am Heruka.” [Lama Chamspa.] 31 Tib. pawo=heroe. In essence they are the six dhyani buddhas (see endnotes to Chakrasamvara sadhana). [Lama Chamspa.] 32 Smoky color. They can also be dark blue. [Lama Chamspa.] 33 OM VAJRA VINA HUNG HUNG PHAT OM VAJRA VANGSHA HUNG HUNG PHAT OM VAJRA MRIDANGA HUNG HUNG PHAT OM VAJRA MURAJA HUNG HUNG PHAT OM VAJRA HASYA HUNG HUNG PHAT OM VAJRA LASYA HUNG HUNG PHAT OM VAJRA GITA HUNG HUNG PHAT OM VAJRA NIRTYA HUNG HUNG PHAT OM VAJRA PUSHPA HUNG HUNG PHAT OM VAJRA DHUPA HUNG HUNG PHAT OM VAJRA DIPA HUNG HUNG PHAT OM VAJRA GANDHA HUNG HUNG PHAT These are the special outer offerings used for the Chakrasamvara practice. [Maryland’s translation team.] 34 OM RUPA VAJRI HUNG HUNG PHAT OM RASA VAJRI HUNG HUNG PHAT OM SPARSHA VAJRI HUNG HUNG PHAT OM DHARMADHATU VAJRI HUNG HUNG PHAT 35

Generally she is represented as being green in color. (See also the endnotes to the Chakrasamvara long sadhana.) [Eds.]

In brief: JA=wisdom being is invited; HUNG=wisdom being enters; BAM=wisdom being becomes inseparable; HO=wisdom being is pleased. (For more details, see the endnotes to the Chakrasamvara long sadhana.) [Eds.] 37 OM VAJRA PUSHPAM PRATISHTHA SVAHA OM VAJRA DHUPAM PRATISHTHA SVAHA OM VAJRA ALOKAM PRATISHTHA SVAHA OM VAJRA GANDHA PRATISHTHA SVAHA OM VAJRA NEVEDYAM PRATISHTHA SVAHA 38 The cause is method (Chakrasamvara) and wisdom (Vajravarahi). The fruit is the five tathagatas. The seal of the fruition of cause is when both cause and fruit become the same. In other words, the seal of the fruition of cause is when the crown of the tathagata is formed in the yidam yab/yum and then the crown tathagatas dissolve in the yidam yab/yum. [Lama Chamspa.] 39 The correct reference is to nirmanakaya, sambhogakaya, and dharmakaya. [Maryland’s translation team.] 40 Without tantric pride your visualizations cannot become clear. [Lama Chamspa.] 41 According to Lama Chamspa, it is better not to do the latter circulation during your first yidam retreat. After you have finished the yidam retreat, if you have been successful in your visualization, there will be no sentient being other than Chakrasamvara and Vajravarahi for you. Only then you would be qualified to do the yab/yum circulation. This circulation is especially beneficial for young people with a strong [sexual] desire. 42 The three vajras are the deity, mantra, and samadhi. [Maryland’s translation team.] As you are reciting you should be aware of your body as the yidam, your speech as the clearly enunciated mantra, and your mind as the clear concentration of samadhi. [Lama Chamspa.] 43 The six faults of mantra recitation are: repeating the mantra too fast, too slow, too loudly, with no sound, missing syllables, and with incorrect pronunciation. [Maryland’s translation team.] Reciting too fast might make the practitioner start laughing and too slow might make him or her drowsy. All syllables of the mantra must be pronounced clearly; you should not skip any words but be able to hear them all as you are saying the mantra. [Lama Chamspa.] 44 If you practice only method (six perfections) or only wisdom, [without the union of both as in yidam retreat,] it could take you eons to progress and there is little or no chance to get enlightenment. Yidam practice is the best way to “separate” (destabilize?) the ego and then attain enlightenment. [Lama Chamspa.] 45 Some rules of and reflections about the yidam retreat: *need to relax if feeling tired or if not having a good feeling when reciting the mantra; *if not feeling devotion, stop reciting; *should not recite in a position other than the lotus position, or while doing other things; *finish the end of the mala before drinking; then wash again your mouth, recite ali-kali, and only then resume the recitation; *if the visualization is not clear, do not recite the mantra; train yourself by holding the visualization for a small number of mala bead counts first, and if you succeed, keep increasing the number of counts that you can do in a row; *each mala bead is like a mandala deity; *sadhana and recitation are the method; dissolution stage is the wisdom; *mantra recitation is the blessing, it has strong power; speech (object) holds our mind; developing stage plus mantra is a good object for our mind (to support it); *we need accumulation of merit to succeed in the developing stage (this is the reason for the first part in the morning session and for the third or last section—the ganachakra—in the last session of the evening; *everything in the sadhana, with the exception of the developing stage, is a method to increase merit; 36

*dissolution stage is only mind, not mantra; *having your thoughts not so much focused on things outside your room is a very good sign of progress; *train the mind for: not talking, not looking at others outside the retreat area, not listening to outer sounds, not letting others outside of the retreat area see you; (more retreat instructions in the endnotes to the Chakrasamvara sadhana).

Dharmakirti's Commentary on Chakrasamvara

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