Property:Gloss-def
From Buddha-Nature
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The term ''byang chub'' often refers to enlightenment or buddhahood and is usually short for ''rdzogs pa'i byang chub'' ("complete enlightenment"). The fundamental meaning of ''byang chub'' alone, however, is to perfect, or to master, and it is used to describe the mastery of a particular science such as medicine. In this work ''mngon par byang chub'' is primarily a synonym of fourth-stage clear light and is rendered as "mastery." The same term is found in generation-stage practices when referring to the visualized transformation of the practitioner into the five buddhas by way of seed syllables, and in such instances, I have used enlightenment" to distinguish it from the completion-stage practice and to indicate that such a transformation, although imagined, is a transformation into the forms of enlightened deities. +
Tiny matter-based phenomena that occur naturally within the body, or are "created" through completion-stage meditation, and that are located at particular points in the body. The indestructible drop is always present, located in the heart cakra, and consists of the subtle wind and subtle mind. Other drops are visualized at various "tips" within the body. +
Not listening, like an upturned pot; perverting the message, like a dirty pot; not retaining, like a leaky pot. +
Two dissolution processes beginning from the extremities and proceeding toward the heart; likened to vapor evaporating on a mirror. "Whole" is glossed as being the body;"held" means being held by the emptiness, or clear light, into which the body dissolves. Subsequent dissolution is dissolution in which the outer environment dissolves first, followed by the subsequent dissolution of the body. +
The inner heat or fire generated by the force of the winds entering the central channel from the practice of penetrating the vital points of the cakras. +
In the Kālacakra the completion stage is taught by way of these six yogas and not by way of the five stages. The same six names appear in the ''Guhyasamāja Later Tantra'' but not in the ''Guhyasamāja Root Tantra'' itself. Much discussion, therefore, is given over to the identification of these six and how they are incorporated into the five stages. The six are: individual withdrawal, meditative absorption, prāṇāyāma, apprehending, recollection, and samādhi. +
The main resident and residence mandala of the generation stage. +
Visualized consort. The term ''mudrā'' (seal) refers to the consorts ability to seal the yogi with great bliss. ''See also'' karma consort. +
The ordinary state of existence, whose natural processes of birth, death, and intermediate state are mirrored and used in tantric practice to advance on the path. +
The actualization of clear light before the illusory body has been developed; can be generated from the practice of body isolation onward. ''See also'' actual clear light. +
The six sensory and mental consciousnesses are produced from the inner sources of their corresponding six sensory and mental organs connecting with the outer sources of the six sensory and mental objects. +
Generally, this term refers to the prime function of any consciousness apprehending its own object. The branch of ''apprehending'' is the fourth yoga of six yogas that comprise an alternative categorization of the completion stage. In terms of the five stages, it is a synonym for clear light. ''See also'' six-branch yoga. +
Performed at the beginning of generation-stage sādhana, this practice involves the mental creation of a wheel or circle around the meditator and his or her environment consisting of protective elements such as fire, indestructible vajras, or various wrathful figures. +
These are names given to the arising of the three appearances and the clear light. The empty state (''stong pa''), the very empty state (''shin tu stong pa''), the greatly empty state (''stong pa chen po''), and the all-empty state, or clear light (thams cad stongpa). In some traditions they equate to the four joys. +
Subtle material avenues for wind and for subtle drops of blood and semen within the body. Each cakra has channels branching off from it. The three main channels are the central channel ([''ava'']''dhūtī'') and the left (''lalanā'') and right (''rasanā'') channels on either side of it. Completion-stage practice manipulates the flow of winds in these channels. +
The advanced meditative state of single-pointed focus of the mind. +
Third of the five stages; a form created during completion-stage practices that is composed of the subtle winds and able to separate itself out from the ordinary body. In the aspect of the deity, it is the substantial cause for the resultant form body at the enlightened stage. +
Appearance (''snang ba''), increase (''mched pa'') of appearance, and close-to-attainment (''nyer thob''), or culmination of appearance. During the normal death process, the four elements withdraw, followed by the gradual withdrawal of the mind itself, during which these appearances occur. In tantra this natural process is brought into the path and even initiated through meditative techniques before death occurs. This is done in order to make use of the subtle mind of clear light that dawns after the third appearance. In their aspects of appear ing like the sky at various times, they are known as "appearances". As entities, however, they are mental consciousnesses. They are indicative of their respective sets of intrinsic conceptual minds and accompanying winds. These three appearances recur in reverse order when the mind leaves the clear light and enters the intermediate state. +
Bliss is generated through a number of completion-stage practices, all of which should involve bringing the winds into the central channel. This bliss consciousness is then brought to focus upon emptiness, the ultimate mode of existence of all phenomena. These two become as one, like "water poured into water." This is the union of bliss and emptiness and is one of the key features distinguishing tantra from sutra. +
Along with the four modes these are six "gateways" for the complete understanding of a tantric text that is sealed by these six. The first two are text understood literally and text understood nonliterally. An example of the first is "holding the vajra" understood as the literal hold ing of the five-pronged deity implement. An example of the second would be the same phrase understood as fifth-stage union. Here one text has two "sides" of meaning. The third and fourth refers to text using unrelated lan guage that has to be understood as something else and text that does not do this. The first is for intelligent students, and an example is the phrase from the ''Guhyasamāja Root Tantra'' "young, with wide eyes" referring to the stage of union. The second is for lesser students of tantra and does not use unrelated language. An example would be "engaged in the meditative equipoise of the samādhi of the vajra of no self" which refers to clear light. In these two, one meaning is expressed with two "sides" of text. The fifth is factual or instructional text, such as instructions on how to draw mandalas. The sixth is text exclusive to the tathāgatas that has no literal meaning and is not found in grammar treatises or conventionally known. Examples would be the name Koṭākhya as an epithet of Vajrapāṇi or the special names given to the ten winds in the ''Illusory Samvara Tantra''. These last two are differentiated by the typeof language they use and so depend upon "sides"of both text and meaning. Here the term ''six sides'' refers to six different "gateways" to the understanding of the intended meaning. The above explanation of these six has been translated from Phüntsok's ''Lord of the Stars Excellent Explanation''. +
