Property:Gloss-def
From Buddha-Nature
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Mystic formula or spell, deriving its power from traditional association with a particular divinity or a desired result. It is rendered effective by means of repetitive recitation (japa) combined with medita- tion (dhyāna). +
The basic meaning is seal or sign, especially a hand-sign, which is the literal interpretation of the Tibetan term phyag-rgya. The related meaning 'symbol', presumably reached by way of 'symbolic gesture', has led to this word being used in a variety of special meanings, which seem at first to take one far from the basic meaning. As everything goes in fours (I. i. 30), there are four Mudrā:<br> karmamudrā 'Rite Symbol'<br> samayamudrā 'Convention Symbol'<br> dharmamudrā 'Truth Symbol'<br> mahāmudrā 'Great Symbol'<br> The karmamudrā refers to the feminine partner, normally known as the Prajñā ('Wisdom'), who plays an essential part in the second and third consecrations (see abhiṣeka). The term mudrā itself is commonly used as a synonym for Prajñā in this special sense (see Index).<br> The samayamudrā refers to the use of conventional symbolic forms in meditation, e.g. concentration upon Heruka. See samaya below.<br> The dharmamudrā refers to realization of the Absolute itself (dkar- madhātu).<br> The mahāmudrā is identical with the Joy Innate and is the final goal of the tantric yogin's practice. As such, it is one of the names given to their whole school.<br> This set of four is not referred to explicitly in the Hevajra-tantra, where the only terms in use are mudrā in the sense of feminine partner1 and mahāmudrā, which is used not only to refer to the final goal, but also in the sense of partner, for she is identified with the central vein, Avadhūtī, the blazing Candāll who is Nairātmyā (II. iv. 40-47).<br> In the Advayavajrasaṃgraha (pp. 32 ff.) there is a short work on the Four Mudrā, of which the correct title is Caturmudrāniscaya2 and the author in fact the Mahāsiddha Nāgārjuna, who was master of Advaya- vajra (alias Maitṛpa). The mudrā are discussed there in the order: karmamudrā—dharmamudrā—mahāmudrā—samayamudrā; the first three are conceived of as definite grades of realization, but the last seems to be added without any integral connexion with the others. In his own short work on the subject (Caturmudropadeéa, Narthang Tenjur, vol. xlvii, pp. 220b-224a) Maitṛpa sets the four symbols side by side with the four joys:<br> karmamudrā ānanda<br> dharmamudrā paramānanda<br> mahāmudrā sahajānanda<br> samayamudrā viramānanda<br> Maitṛpa's argument for placing the Joy Innate third has been given briefly on p. 35. If this comes third, then the mahāmudrā must also be placed third. One suspects here an artificial scheme, for it is associated with no improved interpretation of them as a coherent set.
Meaning literally 'causing to be', this is one of the words which I have translated as 'meditation' (compare dhyāna). It means 'meditation' in the special sense of mental production or thought-creation, corres- ponding with the emanative process of meditation discussed below (see utpattikrama). One may observe that 'being' (bhava) and 'meditation' (bhāvanā) are in essence identical. The first, which just 'is', is normally regarded in a falsified condition by ordinary men as a result of original accidental defilement (āgantukamald). The second is a deliberate pro- duction of 'being' in an idealized form, of which the maṇḍala is the complete expression, and by means of this deliberate production the true nature of 'being' itself is spontaneously realized. +
Joy which is fourfold.<br> (Just) Joy ānanda<br> Perfect Joy paramānanda<br> Joy of Cessation viramānanda<br> Joy Innate sahajānanda<br> These joys are related fundamentally with sexual experience, envisaged as fourfold because 'everything goes in fours' (I. i. 30). Joy is the contact of lotus and vajra; perfect joy is the desire for yet more; the joy of cessation comes from the destruction of passion and the joy innate is a transcending experience sprung from the preceding joy (I. viii. 32-33 and K's commentary, vol. II, p. 127).<br> The four joys are experienced at four successive moments (ksana, q.v.), with which they are in a sense identical. Their relationship with the four consecrations (abhiṣeka, q.v.) is more complex. The Master-Consecra- tion bestows them in anticipation; the Secret Consecration involves their actual experience by the master and their essence, still unrealized, is transferred to the pupil; in the Consecration of Knowledge of Prajñā the pupil experiences them directly. His experience leads to the Fourth Consecration, which is identical with the Joy Innate. Schematically, however, the four joys are placed parallel with the consecrations and it is explicitly stated (see K, vol. II, p. 132) that the first joy is experienced in the first consecration, the second in the second and so on. This would seem to be the esoteric interpretation arising from mystic experience (see samvara, p. 138,). Concerning the possible variation in the order of the last two joys see p. 35. +
Derived from the root dhyai, 'to think or ponder', it is the general word for 'meditation'. Compare the special sense of bhāvanā, q.v. The Tibetan translation bsam-gtan means literally 'mind-composure'.<br> +
These two terms refer cosmologically to the manifestation (utpāda) and reabsorption (pralaya) of phenomenal existence, and thus to the special technique of meditation which imitates this twofold process, thus identifying microscosm and macrocosm. By thought-creation (bhāvanā, q.v.) the yogin produces an idealized form of existence, symbolized by the divinities of the maṇḍala. This is the utpattikrama, 'Process of Emanation'. He conceives of 1 It might also be called a mahāyoga-tantra; see Roerich, Blue Annals, p. 753. himself as the centre of the process, and drawing the forms into his own heart, realizes his essential identity with the central all-comprehending divinity. This is the utpannakrama, 'Process of Realization,. For refe- rences see the Index.<br> +
the lotus. Every Buddha is iconographically depicted sitting upon a sun and moon resting upon the lotus, representative of the Dharmadhatu or Free Space. Prajnaparamita, the body of scriptures prepared by the Madhyamika school of meditation and metaphysics. It is the Goddess who is identical with every woman and Emptiness. It is the Perfection of Penetrating Insight. +
the ritual instrument shaped like a thunderbolt which represents the masculine principle and the awareness which cannot be thrown off balance no matter what physical or mental apparition arises to disturb it. The Vajra is indestructible and immutable. Often these ritual instruments fall from the skies and are found already shaped lying upon the ground at propitious times. +
the Emptiness which takes Form in order to instruct and bring the highest bliss to the Guru. She rarely takes human form but is in constant attendance upon the yogin. +
at once the all-pervasive realm of the unborn and the incarnate form who is inseparable from that realm. In the Tantras this double meaning is implied. The Guru only manifests in human form if disciples, ignorant of the source of all knowledge and compassion, exist to reify him. +
the philosophical cum psychological material which the Buddha Sakyamuni left with his devotees and which became part of the Buddhist Canon. It is presented in a rigid and highly categorized system which is coherent and virtually all inclusive. However, the Buddha Sakyamuni did not encourage this kind of speculative preoccupation while the mind remained contaminated by unresolved passionate problems. +
a yogin who has mastered the power of the Mind and either uses it to further his own selfish ends or utilizes it for the benefit of mankind. The most powerful of all siddhas is the Buddha. +
a layman who has taken the eight vows of restraint from self-indulgent immorality. +
accomplished yogins who manifest in the various forms of Guru Rimpoche. Having removed all trace of dualistic thought, all presuppositions and bias, all habitual reaction patterns and thought of self, they are the holders of spontaneous awareness and thus remain united with the Guru. +
a vehicle which the aspirant uses to travel along the path. The Hinayana, the lesser vehicle, is characterized as safe, sure and slow; the Mahayana, dedicated to service, is quicker and open to a wider range of personalities; and the Vajrayana, the fastest but most dangerous vehicle, is open to all. +
both the written scripture which teaches the Tantrika the way and the Way itself with which the Tantrika then identifies. Tantra is the thread upon which every experience is strung, but itself remains invisible implicit Voidness. +
the guardian at the gates of the Mandala. The unity of the Mandala is only attained through transcendent awareness. What remains are separate and unique forms. They are beings who have not seen the reality of their own nature and stand outside the walls of communication with the Guru. +
a symbolic representation in stone of the unity of the relative and ultimate nature of reality. Its base is a dome which is topped by symbols of the Guru's awakening. +
the Yana, or vehicle, using the science of vibration to illuminate the path. Vibration includes the entire range of feeling between the motionless centre and the tumultuous periphery, only a fraction of which can be perceived by the ear. +
a linear projection of the vision of unity which includes every element of mind. It is also a means to induce that same unity by the meditation upon the significance of its parts and their relationships. +
