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'Attainment' in the sense of 'Perfection' when referring to the highest religious striving; in the sense of 'Success' when referring to meaner objectives (see Index, rites).
Attainment;attainment;siddhi;'Attainment' in the sense of 'Perfection' when referring to the highest religious striving;in the sense of 'Success' when referring to meaner objectives (see Index, rites).
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Literally 'wheel' or 'circle', cakra refers pre-eminently to the circle of divine forms of which the maṇḍala consists. Hence it may mean 'manifested being', viz. 'existence' in relation with the 'point' (bindu), where all manifestation is absorbed. Cakra is also used in a technical sense to refer to the 'psychic centres' within the yogin's body, envisaged as lotuses with radiating petals (see K, vol. II, p. 107). In the literal sense of 'wheel', it is the symbol of the Buddha-Family of Vairocana.
cakra;Literally 'wheel' or 'circle', cakra refers pre-eminently to the circle of divine forms of which the maṇḍala consists. Hence it may mean 'manifested being', viz. 'existence' in relation with the 'point' (bindu), where all manifestation is absorbed. Cakra is also used in a technical sense to refer to the 'psychic centres' within the yogin's body, envisaged as lotuses with radiating petals (see K, vol. II, p. 107). In the literal sense of 'wheel', it is the symbol of the Buddha-Family of Vairocana.
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Meaning literally 'purification,, this word refers to the process, whereby the various divinities symbolize the macrocosm and microcosm under their several aspects, thus identifying them with aspects of buddha- hood. Thus the Five Yoginīs (diagram VIII, p. 129) 'symbolize' on one side the five evils and on the other the five aspects of wisdom. This active symbolizing (viśuddhi) represents the intended effect of any 'con- ventional' or 'sacramental' form (samaya, q.v.). For references see the Index, purification.
viśuddhi;Meaning literally 'purification,, this word refers to the process, whereby the various divinities symbolize the macrocosm and microcosm under their several aspects, thus identifying them with aspects of buddha- hood. Thus the Five Yoginīs (diagram VIII, p. 129) 'symbolize' on one side the five evils and on the other the five aspects of wisdom. This active symbolizing (viśuddhi) represents the intended effect of any 'con- ventional' or 'sacramental' form (samaya, q.v.). For references see the Index, purification.
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'Means', one of the two supreme coefficients of final enlightenment, of which Wisdom (prajñā, q.v.) is the other. For references to this pair, Wisdom and Means, see the Index. The Means par excellence is Hevajra/ Heruka, with whom the yogin must identify himself (see pp. 32-33, śl. I. x. 30, II. iv. 78). In the rite of union the feminine partner is prajñā and the yogin himself is upāya (I. x. 7).
Means;means;upāya;'Means', one of the two supreme coefficients of final enlightenment, of which Wisdom (prajñā, q.v.) is the other. For references to this pair, Wisdom and Means, see the Index. The Means par excellence is Hevajra/ Heruka, with whom the yogin must identify himself (see pp. 32-33, śl. I. x. 30, II. iv. 78). In the rite of union the feminine partner is prajñā and the yogin himself is upāya (I. x. 7).
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From the literal meaning of 'position', this word is applied specifically to authoritative position' and then to the 'power' pertaining to such a position. It'can therefore mean the power which belongs naturally to divine forms and in this sense it comes near to the Christian conception of 'grace'. It can also refer to the power which is experienced spontaneously in meditation or achieved through the recitation of mantras. In that it may be transmitted by a man of sanctity to his disciples, it may also be translated as 'blessing'. Abhiseka is essentially a ritual empowerment. Adhisthāna refers to innate or spontaneous power and always with the connotation of active expression; in the sense of 'grace' or 'blessing' it becomes, however, a form of empowerment. For its use in various contexts see 'empowerment' in the Index. The Tibetan translation is byin-rlabs, literally 'power-wave'. Byin means 'power' in the special sense of its inherent splendour (i.e. majesty). Byin-rlabs is also used to translate Sanskrit prabhāva (power, lustre, splendour), which thereby becomes implicitly a synonym for adhisthāna. Byin-rlabs is often written as byin-gyis (b)rlabs-pay as though (b)rlabs were the perfect root of a verb: rlob-pa perf. brlabs fut. brlab imp. rlobs In fact the imperative form byin-gyis rlobs appears quite regularly in ritual texts and elsewhere. This verb scarcely occurs, it seems, apart from byin, but it is given both as rlob-pa and with the reduplicated form rlob-rlob-pa, meaning 'to billow', in the brDa-dag miñ-tshig gsal-ba of dGe-bŚes Chos-kyi Grags-pa (Ko-hsi ch'ū cha: Tsang-wėn tz'ũ-tien), Peking 1957, p. 846.
adhiṣṭhāna;From the literal meaning of 'position', this word is applied specifically to authoritative position' and then to the 'power' pertaining to such a position. It'can therefore mean the power which belongs naturally to divine forms and in this sense it comes near to the Christian conception of 'grace'. It can also refer to the power which is experienced spontaneously in meditation or achieved through the recitation of mantras. In that it may be transmitted by a man of sanctity to his disciples, it may also be translated as 'blessing'. Abhiseka is essentially a ritual empowerment. Adhisthāna refers to innate or spontaneous power and always with the connotation of active expression;in the sense of 'grace' or 'blessing' it becomes, however, a form of empowerment. For its use in various contexts see 'empowerment' in the Index. The Tibetan translation is byin-rlabs, literally 'power-wave'. Byin means 'power' in the special sense of its inherent splendour (i.e. majesty). Byin-rlabs is also used to translate Sanskrit prabhāva (power, lustre, splendour), which thereby becomes implicitly a synonym for adhisthāna. Byin-rlabs is often written as byin-gyis (b)rlabs-pay as though (b)rlabs were the perfect root of a verb: rlob-pa perf. brlabs fut. brlab imp. rlobs In fact the imperative form byin-gyis rlobs appears quite regularly in ritual texts and elsewhere. This verb scarcely occurs, it seems, apart from byin, but it is given both as rlob-pa and with the reduplicated form rlob-rlob-pa, meaning 'to billow', in the brDa-dag miñ-tshig gsal-ba of dGe-bŚes Chos-kyi Grags-pa (Ko-hsi ch'ū cha: Tsang-wėn tz'ũ-tien), Peking 1957, p. 846.
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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: karmamudrā 'Rite Symbol' samayamudrā 'Convention Symbol' dharmamudrā 'Truth Symbol' mahāmudrā 'Great Symbol' 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). The samayamudrā refers to the use of conventional symbolic forms in meditation, e.g. concentration upon Heruka. See samaya below. The dharmamudrā refers to realization of the Absolute itself (dkar- madhātu). 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. 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). 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: karmamudrā ānanda dharmamudrā paramānanda mahāmudrā sahajānanda samayamudrā viramānanda 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.
mudrā;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: karmamudrā 'Rite Symbol' samayamudrā 'Convention Symbol' dharmamudrā 'Truth Symbol' mahāmudrā 'Great Symbol' 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). The samayamudrā refers to the use of conventional symbolic forms in meditation, e.g. concentration upon Heruka. See samaya below. The dharmamudrā refers to realization of the Absolute itself (dkar- madhātu). 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. 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). 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: karmamudrā ānanda dharmamudrā paramānanda mahāmudrā sahajānanda samayamudrā viramānanda 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.
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Repetitive recitation of set formulas (mantra), which has the effect of directing the mind one-pointedly upon the divine form, with which the particular formula is traditionally related. Beads are normally em- ployed for counting.
japa;Repetitive recitation of set formulas (mantra), which has the effect of directing the mind one-pointedly upon the divine form, with which the particular formula is traditionally related. Beads are normally em- ployed for counting.
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Meaning literally a 'drop' or a 'point', bindu refers pre-eminently to the point at the centre of the maṇḍala, where all 'thought-creation' (bhāvanā) is absorbed. Hence it represents the Void (śūnyatā) or the 'Moon', which is the bodhicitta in its absolute aspect. Through identifica- tion of terminology it may also mean the bodhicitta in its relative aspect; thus it may be known as the white bindu, being paired with 'blood', which by analogy is called the red bindu. The Tibetan term thzg-le (also used to translate Sanskrit tilaka) is the usual word for semen. It occurs glossed with bodhicitta on pp. 94 fn. and 95 fn.
bindu;Meaning literally a 'drop' or a 'point', bindu refers pre-eminently to the point at the centre of the maṇḍala, where all 'thought-creation' (bhāvanā) is absorbed. Hence it represents the Void (śūnyatā) or the 'Moon', which is the bodhicitta in its absolute aspect. Through identifica- tion of terminology it may also mean the bodhicitta in its relative aspect;thus it may be known as the white bindu, being paired with 'blood', which by analogy is called the red bindu. The Tibetan term thzg-le (also used to translate Sanskrit tilaka) is the usual word for semen. It occurs glossed with bodhicitta on pp. 94 fn. and 95 fn.
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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'.
dhyāna;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'.
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Internal or esoteric, in contrast with bāhya, external or exoteric. Thus the contents of the Hevajra-tantra can often be interpreted in two ways. E.g. the places of pilgrimage (I. vii) refer exoterically to actual sites, but esoterically they are identified within the body of the meditat- ing yogin. Thus the commentaries often give double interpretations, e.g. vol. I, pp. 71-72 fns., 86 fn., vol. II, pp. 103-4, no, 121-2. Be- sides adhyātmika and bāhya, certain other terms are used: aksarārtha, 'literal meaning' in contrast with sampradāyārtha, 'traditional meaning'; neyārthāy 'expected meaning' in contrast with nītārtha 'real meaning'. In the case of our texts neyārtha means in effect 'literal meaning' and nītārtha 'figurative meaning', thus reversing the normal meaning of these two terms. See Egerton, BHS Dictionary, p. 310.
adhyātmika;Internal or esoteric, in contrast with bāhya, external or exoteric. Thus the contents of the Hevajra-tantra can often be interpreted in two ways. E.g. the places of pilgrimage (I. vii) refer exoterically to actual sites, but esoterically they are identified within the body of the meditat- ing yogin. Thus the commentaries often give double interpretations, e.g. vol. I, pp. 71-72 fns., 86 fn., vol. II, pp. 103-4, no, 121-2. Be- sides adhyātmika and bāhya, certain other terms are used: aksarārtha, 'literal meaning' in contrast with sampradāyārtha, 'traditional meaning';neyārthāy 'expected meaning' in contrast with nītārtha 'real meaning'. In the case of our texts neyārtha means in effect 'literal meaning' and nītārtha 'figurative meaning', thus reversing the normal meaning of these two terms. See Egerton, BHS Dictionary, p. 310.
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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.
bhāvanā;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.
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This is the one item for which it is scarcely practicable to give index- references, for the whole of the Hevajra-tantra is concerned with yoga, both in the sense of 'union' and that of the schemes, rites and practices, which should produce realization of that union. This tantra teaches the supreme type of yoga (anuttarayoga), which is the final identification and unifying of the macrocosm in the body of the yogin. The main technical terms used have their equivalents in the Hathayoga tradition (see P. C. Bagchi, 'Some Technical Terms of the Tantras', Calcutta Oriental Journal, vol. i, no. 2, Nov. 1933, pp. 75-88). Given a more limited meaning, yoga refers to union with one's chosen divinity; one may note in this respect the terms samāhitayoga, 'concentrated yoga', and nirantara- yoga, 'continuous yoga' (p. 89 fn.). This is, however, but one of the means which will lead to the supreme yoga.
yoga;This is the one item for which it is scarcely practicable to give index- references, for the whole of the Hevajra-tantra is concerned with yoga, both in the sense of 'union' and that of the schemes, rites and practices, which should produce realization of that union. This tantra teaches the supreme type of yoga (anuttarayoga), which is the final identification and unifying of the macrocosm in the body of the yogin. The main technical terms used have their equivalents in the Hathayoga tradition (see P. C. Bagchi, 'Some Technical Terms of the Tantras', Calcutta Oriental Journal, vol. i, no. 2, Nov. 1933, pp. 75-88). Given a more limited meaning, yoga refers to union with one's chosen divinity;one may note in this respect the terms samāhitayoga, 'concentrated yoga', and nirantara- yoga, 'continuous yoga' (p. 89 fn.). This is, however, but one of the means which will lead to the supreme yoga.
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'Spell' in the special sense of the formula (mantra), which is the verbal expression of a divinity. Like 'speech' (vāk) it is considered as the feminine aspect and thus becomes one of the names for the feminine partner (see Buddhist Himalaya, pp. 288, 289). It is used in the Hevajra- tantra exclusively in the sense of 'feminine partner', i.e. as a synonym for prajñā.
vidyā;'Spell' in the special sense of the formula (mantra), which is the verbal expression of a divinity. Like 'speech' (vāk) it is considered as the feminine aspect and thus becomes one of the names for the feminine partner (see Buddhist Himalaya, pp. 288, 289). It is used in the Hevajra- tantra exclusively in the sense of 'feminine partner', i.e. as a synonym for prajñā.
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Joy which is fourfold. (Just) Joy ānanda Perfect Joy paramānanda Joy of Cessation viramānanda Joy Innate sahajānanda 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). 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.
ānanda;Joy which is fourfold. (Just) Joy ānanda Perfect Joy paramānanda Joy of Cessation viramānanda Joy Innate sahajānanda 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). 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.
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Moment. There are four moments, marking the stages of the four joys: Variety vicitra Development vipāka Consummation vimarda Blank vilaksana My use of 'consummation' for vimarda represents an interpretation and not a translation. Vimarda, which actually means 'rubbing' is regularly glossed by ālocana, łreflection', viz. the reflection that bliss has been experienced oneself (see pp. 35 and 95).
Moment;moment;kṣaṇa;Moment. There are four moments, marking the stages of the four joys: Variety vicitra Development vipāka Consummation vimarda Blank vilaksana My use of 'consummation' for vimarda represents an interpretation and not a translation. Vimarda, which actually means 'rubbing' is regularly glossed by ālocana, łreflection', viz. the reflection that bliss has been experienced oneself (see pp. 35 and 95).
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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).
mantra;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).
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This curious term, of which I have so far found no adequate definition, refers in Buddhist tantric tradition to a type of yoginī, with which word it is all but synonomous. It is commonly related with the Sanskrit verbal root dī 'to fly', and represents that 'perfection which acts throughout the whole of space' (K, vol. II, p. 142). The Tibetan transla- tion mkhaḥ-ḥgro-ma means lshe who goes in the sky'. The ḍākinīs par excellence are the five yoginīs who are identified with the five Buddhas and represent the unity of existence (samvara). See diagram VIII, p. 130. On the other hand, theyoginſs of flesh and blood, with whom the yogins come together at places of pilgrimage, may also be referred to as ḍākinīs. However, their divine, rather mystic, aspect tends to predominate, especially in later Tibetan tradition. In Hindu tantric tradition they appear as the attendants of Kālī, the Great Goddess, and their flesh-eating propensities relate them closely with the ritual feasts of tantric yogins (see Index, 'feasting'). They belong to the lowest stratum of tantric practice, but are purified in interpretation and elevated as supreme symbols.
ḍākinī;This curious term, of which I have so far found no adequate definition, refers in Buddhist tantric tradition to a type of yoginī, with which word it is all but synonomous. It is commonly related with the Sanskrit verbal root dī 'to fly', and represents that 'perfection which acts throughout the whole of space' (K, vol. II, p. 142). The Tibetan transla- tion mkhaḥ-ḥgro-ma means lshe who goes in the sky'. The ḍākinīs par excellence are the five yoginīs who are identified with the five Buddhas and represent the unity of existence (samvara). See diagram VIII, p. 130. On the other hand, theyoginſs of flesh and blood, with whom the yogins come together at places of pilgrimage, may also be referred to as ḍākinīs. However, their divine, rather mystic, aspect tends to predominate, especially in later Tibetan tradition. In Hindu tantric tradition they appear as the attendants of Kālī, the Great Goddess, and their flesh-eating propensities relate them closely with the ritual feasts of tantric yogins (see Index, 'feasting'). They belong to the lowest stratum of tantric practice, but are purified in interpretation and elevated as supreme symbols.
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The basic meaning is that of 'coming togethe* in the literal sense of 'concurrence'. In tantric practice it refers to the 'concurrence' of absolute being and phenomenal forms, by means of which the practiser may experience that which by its very nature he would otherwise have no means of experiencing. The maṇḍala and the different forms of the divinities are means of just such a kind. In this sense we may translate samaya as 'conventional form', observing that 'con-vention' has also the literal meaning of 'coming together'. Samaya also refers to types of ritual food. The meaning is still the same, but it has seemed suitable to use the term 'sacrament' in these contexts. The samaya is always the outward sign of an inner hidden power. The Tibetan term dam-tshig means primarily 'pledge' or 'guarantee', which is precisely the function of the 'sacrament'.
samaya;The basic meaning is that of 'coming togethe* in the literal sense of 'concurrence'. In tantric practice it refers to the 'concurrence' of absolute being and phenomenal forms, by means of which the practiser may experience that which by its very nature he would otherwise have no means of experiencing. The maṇḍala and the different forms of the divinities are means of just such a kind. In this sense we may translate samaya as 'conventional form', observing that 'con-vention' has also the literal meaning of 'coming together'. Samaya also refers to types of ritual food. The meaning is still the same, but it has seemed suitable to use the term 'sacrament' in these contexts. The samaya is always the outward sign of an inner hidden power. The Tibetan term dam-tshig means primarily 'pledge' or 'guarantee', which is precisely the function of the 'sacrament'.
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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.
utpattikrama and utpanna- or sampannakrama
utpattikrama and utpanna- or sampannakrama;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.
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Wisdom, one of the two supreme coefficients of final enlighten- ment, of which Means (upāya, q.v.) is the other. In Buddhist tantras the feminine partner is properly known as prajñā, and this is the usual meaning of the term throughout the Hevajra-tantra. The Hindu term sakti is never used and would be quite inappropriate (see p. 44). Other terms in use are mudrā (q.v.), vidyā (q.v.) and yoginĩ, which however, has the more general meaning of any feminine practiser.
Wisdom;wisdom;prajñā;Wisdom, one of the two supreme coefficients of final enlighten- ment, of which Means (upāya, q.v.) is the other. In Buddhist tantras the feminine partner is properly known as prajñā, and this is the usual meaning of the term throughout the Hevajra-tantra. The Hindu term sakti is never used and would be quite inappropriate (see p. 44). Other terms in use are mudrā (q.v.), vidyā (q.v.) and yoginĩ, which however, has the more general meaning of any feminine practiser.
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Evocation, viz. the envisaging and calling forth of a divinity normally by means of repetitive recitation (japa) of the appropriate formula (mantra) and by meditation (dhyāna) upon his formal representa- tion. Thus a written sādhana of a divinity usually provides a full description of his form and attributes together with his special formula.
Evocation;evocation;sādhana;Evocation, viz. the envisaging and calling forth of a divinity normally by means of repetitive recitation (japa) of the appropriate formula (mantra) and by meditation (dhyāna) upon his formal representa- tion. Thus a written sādhana of a divinity usually provides a full description of his form and attributes together with his special formula.
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Sphere of divinity, mystic circle, idealized representation of existence. It may be produced mentally (see bhāvanā and utpattikrama), marked out temporarily on the ground, or painted in permanent form.
maṇḍala;Sphere of divinity, mystic circle, idealized representation of existence. It may be produced mentally (see bhāvanā and utpattikrama), marked out temporarily on the ground, or painted in permanent form.
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Literally a (purificatory) sprinkling, the basic sense seems to come close to that of 'baptism'. It has acquired, however, the wider sense of any kind of initiation rite. In the earlier tantric period (as typified by the Mañjuśrīmūlakalpa and the Sarvatathāgatatattvasaṃgraha) it refers primarily to initiation into the mystic significance of the maṇḍala. Since there is explicit analogy with the rite of royal consecration, for which the term abhiṣeka is also used, 'consecration' seems to be the most suitable general translation. But the idea of a purificatory sprinkling is never lost. 'As externally one washes away exterior dirt with water, so one sprinkles water for the washing away of ignorance; it is thus called a sprinkling' (Advayavajrasaṃgraha, p. 36). In accordance with the general theory of the Buddhist tantric yogins, for whom everything goes in fours {Hevajra-tantra, I. i. 30), there are four consecrations : 1. Master-Consecration. 2. Secret Consecration. 3. Consecration in Knowledge of Prajñā. 4. Fourth Consecration. The first consecration may also be known as the Jar-Consecration (kalaśābhiṣeka), for it consists of six subsidiary consecrations, in all of which the ritual jar (kalaśa) is used. These six consecrations are those of Water, Crown, Vajra, Beli, Name, and Master.1 It is presumably because the Master-Consecration completes the set of six, that this name is also given to the whole set. The main set of four, with which the Hevajra-tantra is primarily concerned (see Index, consecrations), is interrelated with other sets of four, especially the four Moments (kṣaṇa), the four Joys (ānanda) and the four Mudrā. Externally they are related with the four classes of tantras and symbolized by the smile, gaze, embrace, and union (II. iii. n and 54). This set of four gestures is presumably related with the actual meeting of yogins and yoginīs at places of pilgrimage (see L vii). Concerning the internal interrelations I quote K(vol. II, p. 107, 1. 24ff.): ' "Consecration is said to be fourfold for the benefit of living beings. One is sprinkled, that is to say cleansed and the consecrations are distin- guished as four." Thus it is said (in our text, II. iii. 10) "the Master, the Secret, the Prajñā and then the Fourth thus", &c. In this yoginī- tantra the Master-Consecration is given, in order that (the initiate) may progress far from evil dharmas. It is his "bond" (samvara). The essential nature of the Master-Consecration is a conferment by means of the Karmamudrā and contains in essence the four Moments and the four Joys. Some say that one can receive the Master-Consecration by the mere receiving of the non-retrogression Consecration (avaivartikābhi- seka1), which is common to the kriyātantras and all the others; one is then worthy, they say, for exposition and initiation in the yoga-tantrasy yoginī-tantras and so on. What an idea is this ? In the first place then one is consecrated with the Master-Consecration in the Hevajra-tantra or some other yoginī-tantra, so that one may be worthy of the initiation, reflection and meditation (which follow). Then in accordance with one's knowledge the Master, the Secret, the Prajñā and the Fourth are charac- terized momentarily and so known. 'In the case of those of weak sensibility, who have received the Master- Consecration, when once their zealous application has been established, they should be given instruction in meditation with the Karmamudrā. Thus under the aspect of the Process of Realization (nispannakrama2) with the Gem (maṇi = tip of the vajra) set in the Secret (= lotus) they experience in accordance with their master's instructions the four Joys which have the nature of four Moments; this experience is the Secret Consecration because it cannot be explained to yogins in terms of diffuse mental concepts. 'Now in the consecration of those of medium sensibility instruction is given in meditation (bhāvanā) on the Samayamudrā. Even thus is Prajñā (Wisdom), for she is the highest knowledge, the knowledge that all the elements (dharmas) are nothing but one's own thought (citta- mātra). For conferring this the consecration is the Consecration of the Knowledge of Prajñā. In the unity of the three veins, which represent the three kinds of consciousness, imaginary (kalpita), contingent (para- tantra) and absolute (parinispanna), one marks the four Moments by means of the Gem and in accordance with one's master's instructions. Because of the external mudrā (= feminine partner) it is properly known as the Knowledge of Prajñā. 'When this consecration has been given, instruction is given to those of strong sensibility in the Dharmamudrā, the mental concentration (samādhi) in which all appears as illusion. And so (it is said: II. iii. io) "then the Fourth thus". It is "thus-ness" (tathatā), the climax of being (bhūtakoti), the elemental sphere (dharmadhātu) and similar names with- out any difference of meaning. The consecration by which its nature is 1 See Hevajrasekaprakriyā, p. 43; correct avaivarnika to read avaivartika, amending translation accordingly. 2 See Glossary below, p. 139, utpattikrama. seen or realized, its "thus-ness", is indicated by the word "thus". "Then" means that it is given immediately after the Consecration in the Knowledge of Prajñā. So this perfection is experienced with the external mudrā and by one's master's instruction, yet by a process of yoga which has no object of experience (anāłambanayogena); it is characterized by the absence of discrimination with regard to definite places of origin. This is the Fourth Consecration.' See also D's interpretation (translated p. 95 fn.), where the stages are related progressively with the four buddhakāya and with personality as expressed in the formula, Body, Speech, and Mind. The Tibetan term dbañ-bskur-ba means literally 'bestowal of power'.
abhiṣeka;Literally a (purificatory) sprinkling, the basic sense seems to come close to that of 'baptism'. It has acquired, however, the wider sense of any kind of initiation rite. In the earlier tantric period (as typified by the Mañjuśrīmūlakalpa and the Sarvatathāgatatattvasaṃgraha) it refers primarily to initiation into the mystic significance of the maṇḍala. Since there is explicit analogy with the rite of royal consecration, for which the term abhiṣeka is also used, 'consecration' seems to be the most suitable general translation. But the idea of a purificatory sprinkling is never lost. 'As externally one washes away exterior dirt with water, so one sprinkles water for the washing away of ignorance;it is thus called a sprinkling' (Advayavajrasaṃgraha, p. 36). In accordance with the general theory of the Buddhist tantric yogins, for whom everything goes in fours {Hevajra-tantra, I. i. 30), there are four consecrations : 1. Master-Consecration. 2. Secret Consecration. 3. Consecration in Knowledge of Prajñā. 4. Fourth Consecration. The first consecration may also be known as the Jar-Consecration (kalaśābhiṣeka), for it consists of six subsidiary consecrations, in all of which the ritual jar (kalaśa) is used. These six consecrations are those of Water, Crown, Vajra, Beli, Name, and Master.1 It is presumably because the Master-Consecration completes the set of six, that this name is also given to the whole set. The main set of four, with which the Hevajra-tantra is primarily concerned (see Index, consecrations), is interrelated with other sets of four, especially the four Moments (kṣaṇa), the four Joys (ānanda) and the four Mudrā. Externally they are related with the four classes of tantras and symbolized by the smile, gaze, embrace, and union (II. iii. n and 54). This set of four gestures is presumably related with the actual meeting of yogins and yoginīs at places of pilgrimage (see L vii). Concerning the internal interrelations I quote K(vol. II, p. 107, 1. 24ff.): ' "Consecration is said to be fourfold for the benefit of living beings. One is sprinkled, that is to say cleansed and the consecrations are distin- guished as four." Thus it is said (in our text, II. iii. 10) "the Master, the Secret, the Prajñā and then the Fourth thus", &c. In this yoginī- tantra the Master-Consecration is given, in order that (the initiate) may progress far from evil dharmas. It is his "bond" (samvara). The essential nature of the Master-Consecration is a conferment by means of the Karmamudrā and contains in essence the four Moments and the four Joys. Some say that one can receive the Master-Consecration by the mere receiving of the non-retrogression Consecration (avaivartikābhi- seka1), which is common to the kriyātantras and all the others;one is then worthy, they say, for exposition and initiation in the yoga-tantrasy yoginī-tantras and so on. What an idea is this ? In the first place then one is consecrated with the Master-Consecration in the Hevajra-tantra or some other yoginī-tantra, so that one may be worthy of the initiation, reflection and meditation (which follow). Then in accordance with one's knowledge the Master, the Secret, the Prajñā and the Fourth are charac- terized momentarily and so known. 'In the case of those of weak sensibility, who have received the Master- Consecration, when once their zealous application has been established, they should be given instruction in meditation with the Karmamudrā. Thus under the aspect of the Process of Realization (nispannakrama2) with the Gem (maṇi = tip of the vajra) set in the Secret (= lotus) they experience in accordance with their master's instructions the four Joys which have the nature of four Moments;this experience is the Secret Consecration because it cannot be explained to yogins in terms of diffuse mental concepts. 'Now in the consecration of those of medium sensibility instruction is given in meditation (bhāvanā) on the Samayamudrā. Even thus is Prajñā (Wisdom), for she is the highest knowledge, the knowledge that all the elements (dharmas) are nothing but one's own thought (citta- mātra). For conferring this the consecration is the Consecration of the Knowledge of Prajñā. In the unity of the three veins, which represent the three kinds of consciousness, imaginary (kalpita), contingent (para- tantra) and absolute (parinispanna), one marks the four Moments by means of the Gem and in accordance with one's master's instructions. Because of the external mudrā (= feminine partner) it is properly known as the Knowledge of Prajñā. 'When this consecration has been given, instruction is given to those of strong sensibility in the Dharmamudrā, the mental concentration (samādhi) in which all appears as illusion. And so (it is said: II. iii. io) "then the Fourth thus". It is "thus-ness" (tathatā), the climax of being (bhūtakoti), the elemental sphere (dharmadhātu) and similar names with- out any difference of meaning. The consecration by which its nature is 1 See Hevajrasekaprakriyā, p. 43;correct avaivarnika to read avaivartika, amending translation accordingly. 2 See Glossary below, p. 139, utpattikrama. seen or realized, its "thus-ness", is indicated by the word "thus". "Then" means that it is given immediately after the Consecration in the Knowledge of Prajñā. So this perfection is experienced with the external mudrā and by one's master's instruction, yet by a process of yoga which has no object of experience (anāłambanayogena);it is characterized by the absence of discrimination with regard to definite places of origin. This is the Fourth Consecration.' See also D's interpretation (translated p. 95 fn.), where the stages are related progressively with the four buddhakāya and with personality as expressed in the formula, Body, Speech, and Mind. The Tibetan term dbañ-bskur-ba means literally 'bestowal of power'.
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In early (Vedic) times the vajra was the divine weapon of Indra, god of the sky and lord of thunder and storm. In this context the obvious translation is 'thunderbolt,. The Tibetans use the term rdo-rje, literally 'lord of stones,. It symbolizes pre-eminently whatever is be- lieved to be indestructible; thus it also.has the meaning of 'diamond'. In the tantras vajra indicates the absolute nature of whatever it may be referred to. Thus Vajrasattva means 'Absolute Being,, viz. supreme buddha-being. Vajraganthā means 'bell of the absolute', viz. the bell used in the rite of supreme realization. Everything associated with this intention assumes vajra-nature and the word is scattered freely through- out the texts. As an epithet I have used 'adamantine'. Vajradhātu, 'adamantine sphere' is the Absolute itself, personified as the Supreme Buddha Vajrasattva, 'Adamantine Being'. Also in use is the adjective vajrin, used in our text either of Hevajra himself or by the pupil addres- sing his master (vajraguru or vajrācārya). See vajrin in the Index. The concealed meaning of vajra is male organ; as such it pairs with 'lotus' (padma).
vajra;In early (Vedic) times the vajra was the divine weapon of Indra, god of the sky and lord of thunder and storm. In this context the obvious translation is 'thunderbolt,. The Tibetans use the term rdo-rje, literally 'lord of stones,. It symbolizes pre-eminently whatever is be- lieved to be indestructible;thus it also.has the meaning of 'diamond'. In the tantras vajra indicates the absolute nature of whatever it may be referred to. Thus Vajrasattva means 'Absolute Being,, viz. supreme buddha-being. Vajraganthā means 'bell of the absolute', viz. the bell used in the rite of supreme realization. Everything associated with this intention assumes vajra-nature and the word is scattered freely through- out the texts. As an epithet I have used 'adamantine'. Vajradhātu, 'adamantine sphere' is the Absolute itself, personified as the Supreme Buddha Vajrasattva, 'Adamantine Being'. Also in use is the adjective vajrin, used in our text either of Hevajra himself or by the pupil addres- sing his master (vajraguru or vajrācārya). See vajrin in the Index. The concealed meaning of vajra is male organ;as such it pairs with 'lotus' (padma).
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Literally the 'warp' of woven fabric, the term tantra refers to a clearly definable type of ritual text common to both Hindu and Buddhist tradition, concerned with the evoking of divinities and the gaining of various kinds of siddhi by means of mantra, dhyāna, mudrā and maṇḍala. K glosses the term with prabandha, 'connected discourse' and defines our work under three aspects: as a hetu-tantra ('cause-tantra'), members of the vajra-family being the cause; as a phala-tantra ('result-tantra'), the perfected form of Hevajra being the result; as an upāya-tantra ('means-tantra'), the way which it teaches being the means (vol. II, p. 105). The Hevajra-tantra is in fact a yoginī-tantra as distinguished from a yoga-tantra (see p. İ32 above, also Buddhist Himalaya, p. 203). According to another mode of grouping, it is classed as an anuttarayoga- tantra, a 'tantra of supreme yoga', for it is the means to the highest form of siddhi.1 Five classes of tantras are mentioned by K: kriyā, caryā, yoga, yogottara and yoganiruttara (vol. II, p. 156), but the number was traditionally fixed at four (for everything goes in fours) and it was in four such groups that the Tibetans later arranged their impressive collection. As grades they are associated, probably quite artificially, with the four consecrations (abhiṣeka) and typified by the four gestures of the 'smile', &c. kriyā-tantra Master Consecration smile caryā-tantra Secret Consecration gaze yoga-tantra Knowledge of Prajñā embrace anuttarayoga-tantra Fourth Consecration union 'In some kriyā-tantras the smile indicates the impassioning of the Wis- dom and Means of the divinities, by which symbolizing (visuddhi, q.v.) the Master Consecration is indicated; in some caryā-tantras the mutual gaze indicates their impassioning, by which symbolizing the Secret Consecration is indicated; in some yoga-tantras the embrace indicates their impassioning, by which symbolizing the Consecration in Know- ledge of Prajñā is indicated; in some anuttarayoga-tantras the union indicates their impassioning, by which symbolizing the Fourth Con- secration is indicated' (K, vol. II, p. 142). K also refers to the universally authoritative nature (sarvādhikāritvam) of this Hevajra-tantra which is authoritative in that it is yoginĩ-niruttara in kind (loc. cit.). It is suitable for women as well as men of all three grades: weak, medium, and strong sensibility (vol. II, p. 126). See the references to these grades under abhiṣeka.
tantra;Literally the 'warp' of woven fabric, the term tantra refers to a clearly definable type of ritual text common to both Hindu and Buddhist tradition, concerned with the evoking of divinities and the gaining of various kinds of siddhi by means of mantra, dhyāna, mudrā and maṇḍala. K glosses the term with prabandha, 'connected discourse' and defines our work under three aspects: as a hetu-tantra ('cause-tantra'), members of the vajra-family being the cause;as a phala-tantra ('result-tantra'), the perfected form of Hevajra being the result;as an upāya-tantra ('means-tantra'), the way which it teaches being the means (vol. II, p. 105). The Hevajra-tantra is in fact a yoginī-tantra as distinguished from a yoga-tantra (see p. İ32 above, also Buddhist Himalaya, p. 203). According to another mode of grouping, it is classed as an anuttarayoga- tantra, a 'tantra of supreme yoga', for it is the means to the highest form of siddhi.1 Five classes of tantras are mentioned by K: kriyā, caryā, yoga, yogottara and yoganiruttara (vol. II, p. 156), but the number was traditionally fixed at four (for everything goes in fours) and it was in four such groups that the Tibetans later arranged their impressive collection. As grades they are associated, probably quite artificially, with the four consecrations (abhiṣeka) and typified by the four gestures of the 'smile', &c. kriyā-tantra Master Consecration smile caryā-tantra Secret Consecration gaze yoga-tantra Knowledge of Prajñā embrace anuttarayoga-tantra Fourth Consecration union 'In some kriyā-tantras the smile indicates the impassioning of the Wis- dom and Means of the divinities, by which symbolizing (visuddhi, q.v.) the Master Consecration is indicated;in some caryā-tantras the mutual gaze indicates their impassioning, by which symbolizing the Secret Consecration is indicated;in some yoga-tantras the embrace indicates their impassioning, by which symbolizing the Consecration in Know- ledge of Prajñā is indicated;in some anuttarayoga-tantras the union indicates their impassioning, by which symbolizing the Fourth Con- secration is indicated' (K, vol. II, p. 142). K also refers to the universally authoritative nature (sarvādhikāritvam) of this Hevajra-tantra which is authoritative in that it is yoginĩ-niruttara in kind (loc. cit.). It is suitable for women as well as men of all three grades: weak, medium, and strong sensibility (vol. II, p. 126). See the references to these grades under abhiṣeka.
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'Bond' or 'Union', translated by Tibetan sdom-pa, which has the same meaning. It may be used in the sense of religious observation (I. vi. 24 and II. iii. 29), but more commonly in that of mystic union. Thus the Innate is described as the 'single union of all forms' (I. x. 41) and Vajrasattva, supreme buddha-being, as the 'single union of all elements' (II. x. 1). Samvara has a special technical use in the sense of the union within theyogin's body, the 'internal maṇḍala' (see I. i. 21 ff. and II. iv. 48 ff.). Here it can refer to the union of macrocosm and microcosm as well as to the union of the two coefficients (represented by the two outer veins) in the central vein of the body, which is also the centre and union of all phenomenal forms. This unity is conceived of as a consuming by cosmic fire and this consuming is the consummation of the yogin's practice, his reintegration with the Innate, the supreme buddha-being. One may note in this respect the Tibetan translation of Saṃvara (= Śaṃvara, a form of Heruka) as 'Supreme Bliss' (bde- mchog).
sdom pa;Bond,Union;bond,union;saṃvara;'Bond' or 'Union', translated by Tibetan sdom-pa, which has the same meaning. It may be used in the sense of religious observation (I. vi. 24 and II. iii. 29), but more commonly in that of mystic union. Thus the Innate is described as the 'single union of all forms' (I. x. 41) and Vajrasattva, supreme buddha-being, as the 'single union of all elements' (II. x. 1). Samvara has a special technical use in the sense of the union within theyogin's body, the 'internal maṇḍala' (see I. i. 21 ff. and II. iv. 48 ff.). Here it can refer to the union of macrocosm and microcosm as well as to the union of the two coefficients (represented by the two outer veins) in the central vein of the body, which is also the centre and union of all phenomenal forms. This unity is conceived of as a consuming by cosmic fire and this consuming is the consummation of the yogin's practice, his reintegration with the Innate, the supreme buddha-being. One may note in this respect the Tibetan translation of Saṃvara (= Śaṃvara, a form of Heruka) as 'Supreme Bliss' (bde- mchog).
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'Holder of the Vajra'. Vajradhṛk is the name by which the master addresses the pupil during the rite (see Index). Vajradhara is used in the Hevajra-tantra (II. iv. 31; vi. 3) referring to masters, who belong to the tradition. It is already established in the Sarvatathāgatatattvasaṃgraha as the title of supreme buddhahood and is in general use by the Buddhist tantric yogins (84 siddhas). Our commentators refer to the Supreme Buddha both as Vajrasattva and Vajradhara. Akṣobhya, the Buddha 'Imperturbable', as head of the vajra-family, is also Vajrasattva in essence and so may be considered Supreme Buddha by his family, to which those of the tradition of Hevajra belong.
Holder of the Vajra;holder of the vajra;Vajradhara and Vajradhṛk;'Holder of the Vajra'. Vajradhṛk is the name by which the master addresses the pupil during the rite (see Index). Vajradhara is used in the Hevajra-tantra (II. iv. 31;vi. 3) referring to masters, who belong to the tradition. It is already established in the Sarvatathāgatatattvasaṃgraha as the title of supreme buddhahood and is in general use by the Buddhist tantric yogins (84 siddhas). Our commentators refer to the Supreme Buddha both as Vajrasattva and Vajradhara. Akṣobhya, the Buddha 'Imperturbable', as head of the vajra-family, is also Vajrasattva in essence and so may be considered Supreme Buddha by his family, to which those of the tradition of Hevajra belong.
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