Difference between revisions of "Tantric Symbols"
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===INTRODUCTION=== | ===INTRODUCTION=== | ||
− | For the untrained, especially the [[symbolism]] in [[tantra]] can be extremely confusing. However, it should be noted that in {{Wiki|modern}} {{Wiki|psychology}}, {{Wiki|Freud}} and {{Wiki|Jung}} have clarified many aspects of the sub-consciousness in terms of [[symbolism]]. In [[Buddhism]], something like sub-consciousness is an impossibility by [[definition]] - an [[awareness]] without [[consciousness]] does not make [[sense]], but there are certainly areas of our [[mind]] we are only barely {{Wiki|aware}} of. In order to access these more hidden and {{Wiki|subtle}} aspects of our [[mind]], [[symbols]] can be very effective in [[mind]] [[transformation]]. | + | For the untrained, especially the [[symbolism]] in [[tantra]] can be extremely confusing. However, it should be noted that in {{Wiki|modern}} {{Wiki|psychology}}, {{Wiki|Freud}} and {{Wiki|Jung}} have clarified many aspects of the sub-consciousness in terms of [[symbolism]]. In [[Buddhism]], something like sub-consciousness is an impossibility by [[definition]] - an [[awareness]] without [[consciousness]] does not make [[sense]], but there |
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+ | are certainly areas of our [[mind]] we are only barely {{Wiki|aware}} of. In order to access these more hidden and {{Wiki|subtle}} aspects of our [[mind]], [[symbols]] can be very effective in [[mind]] [[transformation]]. | ||
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As Jean Shinoda Bolen writes in The [[Tao]] of {{Wiki|Psychology}}: | As Jean Shinoda Bolen writes in The [[Tao]] of {{Wiki|Psychology}}: | ||
− | : "{{Wiki|Jung}} describes {{Wiki|archetypes}} as 'patterns of instinctual {{Wiki|behaviour}}'. ... One [[definition]] of {{Wiki|archetypes}} that {{Wiki|Jung}} uses refers to '[[primordial]] images', or {{Wiki|archetypal}} figures that become activated and then clothed with personally derived [[emotional]] coloration. This occurs when an [[emotional]] [or [[spiritual]] | + | |
+ | : "{{Wiki|Jung}} describes {{Wiki|archetypes}} as 'patterns of instinctual {{Wiki|behaviour}}'. ... One [[definition]] of {{Wiki|archetypes}} that {{Wiki|Jung}} uses refers to '[[primordial]] images', or {{Wiki|archetypal}} figures that become activated and then clothed with personally derived | ||
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+ | [[emotional]] coloration. This occurs when an [[emotional]] [or [[spiritual]]) situation develops that corresponds to a particular {{Wiki|archetype}}. .. For example the '[[Wise Old Man]]', the '[[Divine]] Child', 'All-Giving Mother', '[[Patriarchal]] Father', 'Temptress' or 'Trickster' - all are | ||
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+ | [[symbolic]], recurring figures in [[dreams]], {{Wiki|literature}} and [[religions]]. When the {{Wiki|archetypal}} level of the [[collective unconscious]] is touched in a situation, there is [[emotional]] intensity as well as a tendency for [[symbolic]] expression. Then the usual everyday level of [[experience]] becomes altered; there is more '[[magic]]' in the [[air]]. One can become 'inspired' or be on a 'crusade'." | ||
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The very last [[word]] of this quote is important in the entire {{Wiki|concept}} of [[tantra]]; it can be efficient in enhancing [[spiritual]] progress, but if used unskilful, it can lead to madness like personal 'crusades' and '{{Wiki|holy}} [[wars]]'. This presents another good [[reason]] for the [[traditional]] secrecy of [[tantric practice]] and reliance on a true [[spiritual master]]. | The very last [[word]] of this quote is important in the entire {{Wiki|concept}} of [[tantra]]; it can be efficient in enhancing [[spiritual]] progress, but if used unskilful, it can lead to madness like personal 'crusades' and '{{Wiki|holy}} [[wars]]'. This presents another good [[reason]] for the [[traditional]] secrecy of [[tantric practice]] and reliance on a true [[spiritual master]]. | ||
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Another important aspect is the fact that the [[Buddha]] clearly explained that "meaningless [[ritual]]" should not be practised. So by [[definition]], one could say that [[ritual]] in [[Buddhism]] must be filled with ([[symbolic]]) meaning. | Another important aspect is the fact that the [[Buddha]] clearly explained that "meaningless [[ritual]]" should not be practised. So by [[definition]], one could say that [[ritual]] in [[Buddhism]] must be filled with ([[symbolic]]) meaning. | ||
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Most of below [[symbols]] are taken from the [[Tibetan traditions]], as they can be considered to have preserved the most complete set of [[tantric teachings]]. | Most of below [[symbols]] are taken from the [[Tibetan traditions]], as they can be considered to have preserved the most complete set of [[tantric teachings]]. | ||
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===THE [[VAJRA]] === | ===THE [[VAJRA]] === | ||
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[[File:Faith Buddhism Vajra.png|thumb|250px|]] | [[File:Faith Buddhism Vajra.png|thumb|250px|]] | ||
The [[Vajra]] is a very important [[symbol]] in [[Buddhist tantra]]. In fact, the [[Tantra]] teachings are even referred to as the [[Vajrayana]] or Vajra-vehicle. The [[vajra]] is probably a derivation of a weapon and a {{Wiki|sceptre}}, and may have its origins in the [[trident]] and a {{Wiki|mendicants}}' [[staff]], and symbolises being [[indestructible]], therefore sometimes compared to a [[diamond]]. | The [[Vajra]] is a very important [[symbol]] in [[Buddhist tantra]]. In fact, the [[Tantra]] teachings are even referred to as the [[Vajrayana]] or Vajra-vehicle. The [[vajra]] is probably a derivation of a weapon and a {{Wiki|sceptre}}, and may have its origins in the [[trident]] and a {{Wiki|mendicants}}' [[staff]], and symbolises being [[indestructible]], therefore sometimes compared to a [[diamond]]. | ||
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To give an [[impression]] of the vast [[symbolic]] meaning of many [[objects]] used in [[Tibetan Buddhist]] [[tantra]], below is a summary excerpt from the {{Wiki|excellent}} [[book]] "The [[Encyclopedia of Tibetan Symbols and Motifs]]" by Robert Beer. | To give an [[impression]] of the vast [[symbolic]] meaning of many [[objects]] used in [[Tibetan Buddhist]] [[tantra]], below is a summary excerpt from the {{Wiki|excellent}} [[book]] "The [[Encyclopedia of Tibetan Symbols and Motifs]]" by Robert Beer. | ||
− | "At the centre of the [[vajra]] is a flattened [[sphere]] representing the [[dharmata]] as the '[[sphere of actual reality]]'. This [[sphere]] is sealed within by the {{Wiki|syllable}} [[HUM]], whose three component {{Wiki|sounds}} represent freedom from [[karma]] ([[Hetu]]), freedom from [[conceptual thought]] (Uha) and the groundlessness of all [[dharmas]] (M). On either side of the central hub are three rings [which] symbolise the spontaneous [[bliss]] of [[Buddha nature]] as [[emptiness]], signlessness and effortlessness. [[Emerging]] from the three rings on either side are two [[eight-petalled lotuses]]. The sixteen petals represent the sixteen modes of [[emptiness]]. The upper [[lotus]] petals also represent the [[eight bodhisattvas]], and the [[eight lower petals]], the eight {{Wiki|female}} [[consorts]]. Above the [[lotus]] bases are another series of three pearl-like rings, which collectively represents the [[six perfections]] of [[patience]], [[generosity]], [[discipline]], [[effort]], [[meditation]] and [[wisdom]]. A [[full moon]] disc crowns each of the [[lotuses]], symbolising the full realisation of [[absolute]] and [[relative bodhicitta]] [[Emerging]] from the [[moon]] discs are five tapering prongs, forming a spherical cluster or cross. The four [outer] curved prongs curve inwards to the central prong, symbolising that the [[four aggregates]] of [[form]], [[feeling]], [[perception]] and [[motivation]] depend upon the [[fifth aggregate]] of [[consciousness]]. The five upper prongs of the [[vajra]] represent the [[Five Buddhas]] ([[Akshobhya]], [[Vairochana]], [[Ratnasambhava]], [[Amitabha]] and [[Amogasiddhi]]), and the {{Wiki|unity}} of their [[five wisdoms]], [[attributes]] and qualities. The five lower prongs represent the {{Wiki|female}} [[consorts]] of the [[Five Buddhas]] ([[Mamaki]], [[Lochana]], [[Vajradhatvishvari]], [[Pandara]] and [[Tara]]) and the {{Wiki|unity}} of their qualities and [[attributes]]. The [[Five Buddhas]] and their [[consorts]] symbolise the elimination of the [[five aggregates of personality]]. The ten prongs together symbolise the [[ten perfections]] (the six mentioned above plus [[skilful means]], [[aspiration]], inner strength, and [[pure awareness]]); the '[[ten grounds]]' or progressive levels of realisation of a [[bodhisattva]]; and the [[ten directions]]. Each of the outer prongs arise from the heads of [[Makaras]] (sea monster). The four [[Makaras]] symbolise the [[four immeasurables]] ([[compassion]], [[love]], [[sympathetic joy]] and [[equanimity]]); the [[four doors]] of [[liberation]] ([[emptiness]], signlessness, wishlessness and lack of composition); the conquest of the [[four Maras]] ([[emotional defilements]], [[passion]], [[death]], [[divine pride]] and [[lust]]); the [[four activities]] or [[karmas]]; the four [[purified]] [[elements]] ([[air]], [[fire]], [[water]], [[earth]]); and the [[four joys]] ([[joy]], supreme [[joy]], the [[joy]] of [[cessation]] and innate [[joy]]). | + | |
+ | "At the centre of the [[vajra]] is a flattened [[sphere]] representing the [[dharmata]] as the '[[sphere of actual reality]]'. This [[sphere]] is sealed within by the {{Wiki|syllable}} [[HUM]], whose three component {{Wiki|sounds}} represent freedom from [[karma]] ([[Hetu]]), freedom from [[conceptual thought]] (Uha) and the groundlessness of all [[dharmas]] (M). On either side of the central hub are three rings [which] symbolise the spontaneous | ||
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+ | [[bliss]] of [[Buddha nature]] as [[emptiness]], signlessness and effortlessness. [[Emerging]] from the three rings on either side are two [[eight-petalled lotuses]]. The sixteen petals represent the sixteen modes of [[emptiness]]. The upper [[lotus]] petals also represent the [[eight bodhisattvas]], and the [[eight lower petals]], the eight {{Wiki|female}} [[consorts]]. Above the [[lotus]] bases are another series of three pearl-like | ||
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+ | rings, which collectively represents the [[six perfections]] of [[patience]], [[generosity]], [[discipline]], [[effort]], [[meditation]] and [[wisdom]]. A [[full moon]] disc crowns each of the [[lotuses]], symbolising the full realisation of [[absolute]] and [[relative bodhicitta]] [[Emerging]] from the [[moon]] discs are five tapering prongs, forming a spherical cluster or cross. The four [outer] curved prongs curve inwards to the central prong, | ||
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+ | symbolising that the [[four aggregates]] of [[form]], [[feeling]], [[perception]] and [[motivation]] depend upon the [[fifth aggregate]] of [[consciousness]]. The five upper prongs of the [[vajra]] represent the [[Five Buddhas]] ([[Akshobhya]], [[Vairochana]], [[Ratnasambhava]], [[Amitabha]] and [[Amogasiddhi]]), and the {{Wiki|unity}} of their [[five wisdoms]], [[attributes]] and qualities. The five lower prongs represent the {{Wiki|female}} | ||
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+ | [[consorts]] of the [[Five Buddhas]] ([[Mamaki]], [[Lochana]], [[Vajradhatvishvari]], [[Pandara]] and [[Tara]]) and the {{Wiki|unity}} of their qualities and [[attributes]]. The [[Five Buddhas]] and their [[consorts]] symbolise the elimination of the [[five aggregates of personality]]. The ten prongs together symbolise the [[ten perfections]] (the six mentioned above plus [[skilful means]], [[aspiration]], inner strength, and [[pure awareness]]); the | ||
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+ | '[[ten grounds]]' or progressive levels of realisation of a [[bodhisattva]]; and the [[ten directions]]. Each of the outer prongs arise from the heads of [[Makaras]] (sea monster). The four [[Makaras]] symbolise the [[four immeasurables]] ([[compassion]], [[love]], [[sympathetic joy]] and [[equanimity]]); | ||
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+ | the [[four doors]] of [[liberation]] ([[emptiness]], signlessness, wishlessness and lack of composition); the conquest of the [[four Maras]] ([[emotional defilements]], [[passion]], [[death]], [[divine pride]] and [[lust]]); the [[four activities]] or [[karmas]]; the four [[purified]] [[elements]] ([[air]], [[fire]], [[water]], [[earth]]); and the [[four joys]] ([[joy]], supreme [[joy]], the [[joy]] of [[cessation]] and innate [[joy]]). | ||
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The tips at the end of the central prong may be shaped like a tapering pyramid or four-faceted [[jewel]], which represents [[Mount Meru]] as the axial centre of both the outer [[macrocosm]] and inner [[microcosm]]. The twin faces of the symmetrical [[vajra]] represent the {{Wiki|unity}} of [[relative]] and [[absolute truth]]." | The tips at the end of the central prong may be shaped like a tapering pyramid or four-faceted [[jewel]], which represents [[Mount Meru]] as the axial centre of both the outer [[macrocosm]] and inner [[microcosm]]. The twin faces of the symmetrical [[vajra]] represent the {{Wiki|unity}} of [[relative]] and [[absolute truth]]." | ||
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The above describes the most common version of the [[five-pronged vajra]]. There are also the one-pronged, three-pronged and nine-pronged [[vajra]], the [[double vajra]] (see left) etc., each with their [[own]] extensive [[symbolism]].... | The above describes the most common version of the [[five-pronged vajra]]. There are also the one-pronged, three-pronged and nine-pronged [[vajra]], the [[double vajra]] (see left) etc., each with their [[own]] extensive [[symbolism]].... | ||
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===THE BELL=== | ===THE BELL=== | ||
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[[File:Bell and vajra2232.jpg|thumb|250px|]] | [[File:Bell and vajra2232.jpg|thumb|250px|]] | ||
In [[tantric rituals]], the [[Vajra]] is normally held in the right hand, and the [[Bell]] in the left. In this combination, the [[Vajra]] symbolises method, [[bliss]] and {{Wiki|male}} aspects, and the [[Bell]] symbolises [[wisdom]], [[emptiness]], the {{Wiki|female}} aspect. The [[bell]] as a whole symbolises the [[sound]] of the [[Dharma]] and is often used in [[tantric rituals]] to offer [[sound]]. | In [[tantric rituals]], the [[Vajra]] is normally held in the right hand, and the [[Bell]] in the left. In this combination, the [[Vajra]] symbolises method, [[bliss]] and {{Wiki|male}} aspects, and the [[Bell]] symbolises [[wisdom]], [[emptiness]], the {{Wiki|female}} aspect. The [[bell]] as a whole symbolises the [[sound]] of the [[Dharma]] and is often used in [[tantric rituals]] to offer [[sound]]. | ||
− | The [[Bell]] is [[traditionally]] topped by a half-vajra (the 5 spokes are the [[five forms]] of [[mystical]] [[wisdom]]), and below is the face of | + | |
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+ | The [[Bell]] is [[traditionally]] topped by a half-vajra (the 5 spokes are the [[five forms]] of [[mystical]] [[wisdom]]), and below is the face of [[Vairocana]] - the [[incarnation]] of [[universal truth]] ([[Dharma]]). On the shoulder of the [[bell]] are 8 [[lotus]] petals with {{Wiki|syllables}} in them; the [[lotus]] leaves represent the 8 great [[Bodhisattvas]] and the {{Wiki|syllables}} are their [[consorts]]. As you may suspect by now, each and every detail of the [[bell]] has an elaborate [[symbolic]] meaning. The whole of the [[bell]] can even symbolise a complete [[mandala]]. | ||
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Whenever one holds these [[objects]], one should try to remember these [[symbolic]] meanings and gradually familiarise the [[mind]] with the [[idea]]; this is the main [[idea]] behind [[meditation]]. | Whenever one holds these [[objects]], one should try to remember these [[symbolic]] meanings and gradually familiarise the [[mind]] with the [[idea]]; this is the main [[idea]] behind [[meditation]]. | ||
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===SOME OTHER TANTRIC IMPLEMENTS === | ===SOME OTHER TANTRIC IMPLEMENTS === | ||
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====[[Mala]]==== | ====[[Mala]]==== | ||
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[[File:mala.jpg|thumb|left|250px|]] | [[File:mala.jpg|thumb|left|250px|]] | ||
− | An implement carried around by most [[Tibetans]] is the [[Mala]] or a rosary of [[prayer beads]]. These are not unlike the [[Christian]] rosary, or the beads used in {{Wiki|Islam}} and [[Hinduism]]. They are used to focus ones' [[mind]] on the [[recitation of mantras]], and to count them as part of a practice. | + | An implement carried around by most [[Tibetans]] is the [[Mala]] or a rosary of [[prayer beads]]. These are not unlike the [[Christian]] rosary, or the [[beads]] used in {{Wiki|Islam}} and [[Hinduism]]. They are used to focus ones' [[mind]] on the [[recitation of mantras]], and to count them as part of a practice. |
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+ | The story of the [[beads]]' origin is as follows: “[[Sakyamuni]], the [[founder of Buddhism]], paid a visit to [[king]] Vaidunya…Sakya directed him to thread [[108]] [[seeds]] of the [[Bodhi tree]] on a string, and while passing them between his fingers to repeat… ‘Hail to the [[Buddha]], the law, and the congregation’… (2,000) times a day (Dubin)” (from [http://www.uwec.edu/greider/BMRB/culture/student.work/serfleel/ this page] not all the info here is correct though). | ||
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− | + | There are for example practices for which one is required to recite 100,000 [[mantras]]; obviously a simple counter is needed to keep track of this huge number. The [[Tibetan]] [[mala]] usually has at least [[108]] [[beads]] - this number probably originates to the [[108]] names for [[Hindu deities]] (incidentally, the same number is used in {{Wiki|Islam}} to refer to [[God]]). See also an [[interesting]] [[Hindu]] [http://www.rudraksha-ratna.com/articledt.php?art_id=107 article on the number of 108]. | |
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[[Tibetans]] often attach strings to their [[malas]] which have little sliding rings on them, these are to keep count of the number of [[malas]]; in such a way one can count up to 10,000 or even more on one [[mala]]. | [[Tibetans]] often attach strings to their [[malas]] which have little sliding rings on them, these are to keep count of the number of [[malas]]; in such a way one can count up to 10,000 or even more on one [[mala]]. | ||
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(The [[word]] 'rosary,' which has obvious similarities to the [[mala]], is said to have come from '[[japa mala]].' When {{Wiki|Roman}} explorers came into [[India]] and encountered the [[mala]], they heard 'jap [[mala]]' instead of '[[japa mala]].' 'Jap' means 'rose,' and the [[mala]] was carried back to the {{Wiki|Roman Empire}} as 'rosarium,' and into English as 'rosary.') | (The [[word]] 'rosary,' which has obvious similarities to the [[mala]], is said to have come from '[[japa mala]].' When {{Wiki|Roman}} explorers came into [[India]] and encountered the [[mala]], they heard 'jap [[mala]]' instead of '[[japa mala]].' 'Jap' means 'rose,' and the [[mala]] was carried back to the {{Wiki|Roman Empire}} as 'rosarium,' and into English as 'rosary.') | ||
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See here for an [http://www.snowlionpub.com/pages/N64_4.php interesting page on the Mala]. And [http://www.snowlionpub.com/pages/N64_5.php What Not to Do with a Mala]. You can even [http://www.lightwatcher.com/ebooks/mmm.pdf download a Mala Manual here] in PDF format. | See here for an [http://www.snowlionpub.com/pages/N64_4.php interesting page on the Mala]. And [http://www.snowlionpub.com/pages/N64_5.php What Not to Do with a Mala]. You can even [http://www.lightwatcher.com/ebooks/mmm.pdf download a Mala Manual here] in PDF format. | ||
Some [http://www.jewelgarland.com/ exceptional malas] are made by a [[friend]] of mine. | Some [http://www.jewelgarland.com/ exceptional malas] are made by a [[friend]] of mine. | ||
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====[[Kapala]]==== | ====[[Kapala]]==== | ||
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[[File:Kapala_skull_cup.jpg|thumb|250px|]] | [[File:Kapala_skull_cup.jpg|thumb|250px|]] | ||
A very special [[object]] within [[Tibetan]] [[tantric practice]] is the [[Kapala]] or [[skullcup]]. The [[skullcup]] is related to [[detachment]] and [[transformation]] of the [[world]] we [[experience]]. | A very special [[object]] within [[Tibetan]] [[tantric practice]] is the [[Kapala]] or [[skullcup]]. The [[skullcup]] is related to [[detachment]] and [[transformation]] of the [[world]] we [[experience]]. | ||
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====[[Dhamaru]]==== | ====[[Dhamaru]]==== | ||
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[[File:Damaru.jpg|thumb|250px|]] | [[File:Damaru.jpg|thumb|250px|]] | ||
− | Often used in [[Tibet]] are the small handdrum ([[dhamaru]]) and the larger Chod-drum (see right). These are double [[drums]] with strings that holds small 'beads'. When one rotates the [[drum]] back and forth, the beads [[tap]] on the [[drum]]. | + | Often used in [[Tibet]] are the small handdrum ([[dhamaru]]) and the larger Chod-drum (see right). These are double [[drums]] with strings that holds small '[[beads]]'. When one rotates the [[drum]] back and forth, the [[beads]] [[tap]] on the [[drum]]. |
{{clear}} | {{clear}} | ||
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====Swords==== | ====Swords==== | ||
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[[File:Manjushri-Möek.JPG|thumb|250px|]] | [[File:Manjushri-Möek.JPG|thumb|250px|]] | ||
Swords, like the one of [[Buddha]] [[Manjushri]], symbolise the ability to cut through [[delusions]] or [[obstacles]], and as such they represent [[wisdom]], [[knowledge]], or the [[protection]] given by [[Buddhist doctrine]]. On the image at the left, it stands on the text of the [[Heart Sutra]], a crucial [[teaching]] on [[emptiness]] in the [[Mahayana tradition]], cutting through [[ignorance]]. | Swords, like the one of [[Buddha]] [[Manjushri]], symbolise the ability to cut through [[delusions]] or [[obstacles]], and as such they represent [[wisdom]], [[knowledge]], or the [[protection]] given by [[Buddhist doctrine]]. On the image at the left, it stands on the text of the [[Heart Sutra]], a crucial [[teaching]] on [[emptiness]] in the [[Mahayana tradition]], cutting through [[ignorance]]. | ||
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====[[Kartika]] ==== | ====[[Kartika]] ==== | ||
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[[File:Artika.jpg|thumb|250px|]] | [[File:Artika.jpg|thumb|250px|]] | ||
The [[Kartika]] (Skt.) or [[curved knife]] symbolises the cutting of [[conventional wisdom]] by the [[Wikipedia:Absolute (philosophy)|ultimate]] [[insight]] into [[emptiness]]. Is is usually {{Wiki|present}} as a pair, together with the [[skullcup]], filled with [[wisdom]] [[nectar]]. On a more simple level, the [[skull]] is a reminder of (our) [[impermanence]]. Between the knife and the handle is a makara-head, a [[mythical]] monster. | The [[Kartika]] (Skt.) or [[curved knife]] symbolises the cutting of [[conventional wisdom]] by the [[Wikipedia:Absolute (philosophy)|ultimate]] [[insight]] into [[emptiness]]. Is is usually {{Wiki|present}} as a pair, together with the [[skullcup]], filled with [[wisdom]] [[nectar]]. On a more simple level, the [[skull]] is a reminder of (our) [[impermanence]]. Between the knife and the handle is a makara-head, a [[mythical]] monster. | ||
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====[[Khatvanga]] ==== | ====[[Khatvanga]] ==== | ||
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[[File:Katwanga0.gif|thumb|250px|]] | [[File:Katwanga0.gif|thumb|250px|]] | ||
..The [[Khatvanga]] (Skt.) could be called a [[magic]] wand or {{Wiki|magicians}}' stick and represents the '[[magic powers]]' or [[siddhis]] (Skt.) of an accomplished [[tantric practitioner]]. | ..The [[Khatvanga]] (Skt.) could be called a [[magic]] wand or {{Wiki|magicians}}' stick and represents the '[[magic powers]]' or [[siddhis]] (Skt.) of an accomplished [[tantric practitioner]]. | ||
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− | : "The shaft of the [[khatvangha]] has eight sides which represent the [[Noble Eightfold path]] (the [[fourth Noble Truth]]) and the eight classes of [[protectors]]. At the end of the shaft is a [[dorje]] representing {{Wiki|totality}} and completion. Along the shaft of the [[khatvangha]] are [[crossed dorjes]], a gTérbum and three heads. The [[crossed dorjes]] are [[symbolic]] of the indestructibility of [[beginningless]] [[wisdom mind]]. The gTérbum is [[symbolic]] of [[wealth]] and enrichment. The three heads – one freshly severed, one rotting and one a [[skull]] – are the [[symbols]] of the [[three spheres]] of being, [[chö-ku]], [[long-ku]] and [[trül-ku]] | + | |
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+ | : "The shaft of the [[khatvangha]] has eight sides which represent the [[Noble Eightfold path]] (the [[fourth Noble Truth]]) and the eight classes of [[protectors]]. At the end of the shaft is a [[dorje]] representing {{Wiki|totality}} and completion. Along the shaft of the [[khatvangha]] are [[crossed dorjes]], a gTérbum and three heads. The [[crossed dorjes]] are [[symbolic]] of the indestructibility of [[beginningless]] [[wisdom mind]]. The gTérbum | ||
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+ | is [[symbolic]] of [[wealth]] and enrichment. The three heads – one freshly severed, one rotting and one a [[skull]] – are the [[symbols]] of the [[three spheres]] of being, [[chö-ku]], [[long-ku]] and [[trül-ku]] ([[Nirmanakaya]], the middle one represents the [[Sambhogakaya]], and the top one is a | ||
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+ | [[skull]], representing the [[Dharmakaya]]) which are unified by the shaft of the [[khatvangha]] demonstrating their {{Wiki|inseparability}}. Streamers of the colours of the [[five elements]] hang from the [[khatvangha]], as well as a [[bell]] and [[dorje]] which [[represent emptiness]] and [[form]]. At the top of the [[khatvangha]] are the three prongs which pierce the fabric of [[attraction]], [[aversion]] and [[indifference]]. Hanging from the prongs | ||
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+ | are two pairs of rings. These signify the four [[philosophical]] extremes that are denied by [[Dharma]]: [[eternalism and nihilism]], {{Wiki|monism}} and [[dualism]]. Finally the [[khatvangha]] is surmounted by [[wisdom fire]] – the [[fire]] that burns self-protection, {{Wiki|justification}} and referentiality." | ||
The top of the kathvanga can be formed by a [[vajra]] or a [[trident]] (often depicted with flames around it) | The top of the kathvanga can be formed by a [[vajra]] or a [[trident]] (often depicted with flames around it) | ||
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====[[Ankusa]] - hook ==== | ====[[Ankusa]] - hook ==== | ||
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[[File:Ankusa.jpg|thumb|250px|]] | [[File:Ankusa.jpg|thumb|250px|]] | ||
The hook ([[ankusa]] in Skt.) is a tool which was originally used to ride [[elephants]]. In [[Buddhism]], it is considered a hook with which one can draw [[people]] in [[doubt]] to the teachings. | The hook ([[ankusa]] in Skt.) is a tool which was originally used to ride [[elephants]]. In [[Buddhism]], it is considered a hook with which one can draw [[people]] in [[doubt]] to the teachings. | ||
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====[[Phurba]] ==== | ====[[Phurba]] ==== | ||
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[[File:Xe37.jpg|thumb|250px|]] | [[File:Xe37.jpg|thumb|250px|]] | ||
− | A [[wrathful]] implement like the [[Phurba]] (Tib.) or [[ritual dagger]] is used to subdue and subsequently enlist negative, uncontrolled forces in a [[wrathful]] manner. The cutting end has three sides, rather than a normal [[dagger]]. Above the cutting end is a makara-head (a [[mythical]] monster)and at the top is the handle, made of three heads of [[wrathful protectors]]. [[Phurbas]] refer to the [[Buddhist]] theme of [[self-control]], and to the [[tantric]] [[transformation]] of negative [[powers]] on the [[path to enlightenment]]. | + | A [[wrathful]] implement like the [[Phurba]] (Tib.) or [[ritual dagger]] is used to subdue and subsequently enlist negative, uncontrolled forces in a [[wrathful]] manner. The cutting end has three sides, rather than a normal [[dagger]]. Above the cutting end is a makara-head (a [[mythical]] monster)and |
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+ | at the top is the handle, made of three heads of [[wrathful protectors]]. [[Phurbas]] refer to the [[Buddhist]] theme of [[self-control]], and to the [[tantric]] [[transformation]] of negative [[powers]] on the [[path to enlightenment]]. | ||
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====[[Bumpa]] ==== | ====[[Bumpa]] ==== | ||
The [[Tibetan]] [[Bumpa]] is a [[ritual vase]] which represents the palace of the [[deities]]. It is used as a vessel of [[purification]], to bestow [[blessings]] and confer [[empowerments]]. There are also [[Treasure]] Vases, which contain special {{Wiki|substances}} and are [[Wikipedia:burial|buried]] or hidden for various purposes. | The [[Tibetan]] [[Bumpa]] is a [[ritual vase]] which represents the palace of the [[deities]]. It is used as a vessel of [[purification]], to bestow [[blessings]] and confer [[empowerments]]. There are also [[Treasure]] Vases, which contain special {{Wiki|substances}} and are [[Wikipedia:burial|buried]] or hidden for various purposes. | ||
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====Mallets or Hammers==== | ====Mallets or Hammers==== | ||
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Mallets or Hammers (Skt. [[mudgara]]) and a Club (Skt. [[gada]]) symbolise crushing strength or power. | Mallets or Hammers (Skt. [[mudgara]]) and a Club (Skt. [[gada]]) symbolise crushing strength or power. | ||
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====[[Bow]] and Arrow ==== | ====[[Bow]] and Arrow ==== | ||
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[[Bow]] and Arrow refer to single pointed [[concentration]] to achieve the goal of [[liberation]]. | [[Bow]] and Arrow refer to single pointed [[concentration]] to achieve the goal of [[liberation]]. | ||
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====The [[Trident]] ==== | ====The [[Trident]] ==== | ||
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The [[Trident]] is a piercing weapon, its, three points also carrying connotations of the power of the [[three jewels]]. | The [[Trident]] is a piercing weapon, its, three points also carrying connotations of the power of the [[three jewels]]. | ||
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====Arrow with ribbons ==== | ====Arrow with ribbons ==== | ||
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An Arrow with ribbons around it can [[symbolize]] longevity and [[prosperity]]. | An Arrow with ribbons around it can [[symbolize]] longevity and [[prosperity]]. | ||
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====Lasso ==== | ====Lasso ==== | ||
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The Lasso relates to the constraint of negative forces. | The Lasso relates to the constraint of negative forces. | ||
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====A [[Trident]] ==== | ====A [[Trident]] ==== | ||
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A [[Trident]] [[symbolizes]] the [[attainment]] of the [[three Kayas]] (or [[Buddha bodies]]). | A [[Trident]] [[symbolizes]] the [[attainment]] of the [[three Kayas]] (or [[Buddha bodies]]). | ||
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To make the [[tantric]] [[experience]] complete, [[actions]] of one's [[body, speech and mind]] are to be [[transformed]]. A typical example of the [[actions]] of the [[body]] is the practice of [[mudras]]. These are movements and positions of the hands which have profound [[symbolic]] meaning. One uses [[mudras]] to symbolise for example the various [[offerings]], but they also convey general meanings like e.g. [[teaching]] or [[meditation]]. | To make the [[tantric]] [[experience]] complete, [[actions]] of one's [[body, speech and mind]] are to be [[transformed]]. A typical example of the [[actions]] of the [[body]] is the practice of [[mudras]]. These are movements and positions of the hands which have profound [[symbolic]] meaning. One uses [[mudras]] to symbolise for example the various [[offerings]], but they also convey general meanings like e.g. [[teaching]] or [[meditation]]. | ||
[[File:Maitreya_project_statue.jpg|left|thumb|250px|]] | [[File:Maitreya_project_statue.jpg|left|thumb|250px|]] | ||
− | The image on the left is a virtual image of the planned [[Maitreya]] statue in [[Bodhgaya]]. It happens to be an unconventional [[posture]] to depict [[Maitreya]]: his right hand on the knee {{Wiki|signifies}} giving [[refuge]] and [[loving]] [[compassion]] to all [[beings]]; the left hand at his [[heart]] is in the [[teaching]] ([[Dharmachakra]]) [[mudra]]: the thumb and index finger are pressed together to symbolise the united practice of [[method and wisdom]], and the three remaining fingers are raised to symbolise the [[Three Jewels]] of [[Refuge]] - [[Buddha]], [[Dharma]] and [[Sangha]]. To the right is an image of the [[teaching mudra]] when performed with both hands | + | |
+ | The image on the left is a virtual image of the planned [[Maitreya]] statue in [[Bodhgaya]]. It happens to be an unconventional [[posture]] to depict [[Maitreya]]: his right hand on the knee {{Wiki|signifies}} giving [[refuge]] and [[loving]] [[compassion]] to all [[beings]]; the left hand at his | ||
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+ | [[heart]] is in the [[teaching]] ([[Dharmachakra]]) [[mudra]]: the thumb and index finger are pressed together to symbolise the united practice of [[method and wisdom]], and the three remaining fingers are raised to symbolise the [[Three Jewels]] of [[Refuge]] - [[Buddha]], [[Dharma]] and [[Sangha]]. To the right is an image of the [[teaching mudra]] when performed with both hands | ||
[[File:Buddha_thanka.jpg|thumb|250px|]] | [[File:Buddha_thanka.jpg|thumb|250px|]] | ||
− | The image on the right represents a [[traditional]] depiction of [[Shakyamuni Buddha]], just after his [[enlightenment]]. His right hand touches the [[earth]] to symbolise it has witnessed his [[enlightenment]] ([[bhumisparsha mudra]]), and his left hand is in the [[meditation mudra]]. Sometimes the [[meditation mudra]] is performed with both hands on top of each other in the lap as the image below shows. | + | |
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+ | The image on the right represents a [[traditional]] depiction of [[Shakyamuni Buddha]], just after his [[enlightenment]]. His right hand touches the [[earth]] to symbolise it has witnessed his [[enlightenment]] ([[bhumisparsha mudra]]), and his left hand is in the [[meditation mudra]]. Sometimes the | ||
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+ | [[meditation mudra]] is performed with both hands on top of each other in the lap as the image below shows. | ||
[[File:Dhyana.gif|thumb|centre|250px|]] | [[File:Dhyana.gif|thumb|centre|250px|]] | ||
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===MANDALAS - SACRED CIRCLES === | ===MANDALAS - SACRED CIRCLES === | ||
− | In [[Tibetan Buddhism]], [[Mandalas]] come in two varieties; it can represent the [[universe]] (see the image left), as it is used in the [[Mandala Offering]] [[Ritual]], where one [[symbolically]] offers the entire [[universe]]. For this, several rings can be placed on top of each other filled with {{Wiki|rice}} and [[precious]] [[objects]] (see right). During the [[offering]] one recites [[mandala offering]] [[prayers]]. In the center of the [[mandala]] is [[Mount Meru]], the central axis in the [[Buddhist]] (and [[Jain]]) [[cosmos]]. | + | In [[Tibetan Buddhism]], [[Mandalas]] come in two varieties; it can represent the [[universe]] (see the image left), as it is used in the [[Mandala Offering]] [[Ritual]], where one [[symbolically]] offers the entire [[universe]]. For this, several rings can be placed on top of each other filled with |
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+ | {{Wiki|rice}} and [[precious]] [[objects]] (see right). During the [[offering]] one recites [[mandala offering]] [[prayers]]. In the center of the [[mandala]] is [[Mount Meru]], the central axis in the [[Buddhist]] (and [[Jain]]) [[cosmos]]. | ||
The best-known [[mandalas]] are part of the [[world]] of [[Tantra]]; they represent the "{{Wiki|3D}} Palace" of a specific meditation-Buddha or [[deity]]. In the [[Tibetan tradition]], they come as [[thangkas]] ([[scroll-paintings]]), wall paintings, sand-drawings and {{Wiki|3D}} models of e.g. [[wood]] or metal. | The best-known [[mandalas]] are part of the [[world]] of [[Tantra]]; they represent the "{{Wiki|3D}} Palace" of a specific meditation-Buddha or [[deity]]. In the [[Tibetan tradition]], they come as [[thangkas]] ([[scroll-paintings]]), wall paintings, sand-drawings and {{Wiki|3D}} models of e.g. [[wood]] or metal. | ||
A [[mandala]] can be "read" and studied like a text and most important, be used for [[tantric meditation]]. The {{Wiki|purpose}} of a [[mandala]] is to acquaint the [[student]] with the [[tantra]], and thus allowing the [[student]] to identify with the [[deity]] and its [[sacred]] surroundings as the [[mandala]]. (See also [[Tantra]].) | A [[mandala]] can be "read" and studied like a text and most important, be used for [[tantric meditation]]. The {{Wiki|purpose}} of a [[mandala]] is to acquaint the [[student]] with the [[tantra]], and thus allowing the [[student]] to identify with the [[deity]] and its [[sacred]] surroundings as the [[mandala]]. (See also [[Tantra]].) | ||
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[[File:Kalachakra_sand_mandala.jpg|thumb|left|250px|]] | [[File:Kalachakra_sand_mandala.jpg|thumb|left|250px|]] | ||
The [[mandala]] of [[Kalachakra]] like the one on the left, symbolises the entire [[universe]] in terms of {{Wiki|planets}} and time cycles, as well as aspects of our [[body]] and [[mind]], and even the practice. [[Deities]] and other images within the [[mandala]] represent for example the [[sense organs]], the [[elements]] and [[mental]] aspects, all in a [[purified state]]. Every implement held by each [[deity]] has again its [[own]] meaning. | The [[mandala]] of [[Kalachakra]] like the one on the left, symbolises the entire [[universe]] in terms of {{Wiki|planets}} and time cycles, as well as aspects of our [[body]] and [[mind]], and even the practice. [[Deities]] and other images within the [[mandala]] represent for example the [[sense organs]], the [[elements]] and [[mental]] aspects, all in a [[purified state]]. Every implement held by each [[deity]] has again its [[own]] meaning. | ||
[[File:3D_zhikro_mandala.gif|thumb|250px|]] | [[File:3D_zhikro_mandala.gif|thumb|250px|]] | ||
− | A [[sand mandala]] represents a full 3 dimensional palace, often with more than one storey. For example, the image on the right is from an actual {{Wiki|3D}} [[mandala]] of Zhi-Khro (the [[six bardos]]) with 2 stories. These [[mandalas]] are used in many ways; as a focal point of intense [[meditation]], in the practice of actually making one, and in their destruction (like sand [[mandalas]] after an [[initiation]] is completed) to teach [[impermanence]]. In the practice of [[Kalachakra]], one strives at [[visualising]] the complete [[mandala]], [[including]] its hundreds of [[deities]] in {{Wiki|perfect}} detail within the size of a tiny drop. This should give an [[idea]] of the level of [[concentration]] required for [[transforming]] oneself into a [[Buddha]].... Creating a [[Kalachakra mandala]] of some 2 meters {{Wiki|diameter}}, [[traditionally]] takes 6 days, employing as many as 16 [[monks]]. | + | |
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+ | A [[sand mandala]] represents a full 3 dimensional palace, often with more than one storey. For example, the image on the right is from an actual {{Wiki|3D}} [[mandala]] of Zhi-Khro (the [[six bardos]]) with 2 stories. These [[mandalas]] are used in many ways; as a focal point of intense | ||
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+ | [[meditation]], in the practice of actually making one, and in their destruction (like sand [[mandalas]] after an [[initiation]] is completed) to teach [[impermanence]]. In the practice of [[Kalachakra]], one strives at [[visualising]] the complete [[mandala]], [[including]] its hundreds of [[deities]] | ||
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+ | in {{Wiki|perfect}} detail within the size of a tiny drop. This should give an [[idea]] of the level of [[concentration]] required for [[transforming]] oneself into a [[Buddha]].... Creating a [[Kalachakra mandala]] of some 2 meters {{Wiki|diameter}}, [[traditionally]] takes 6 days, employing as many as 16 [[monks]]. | ||
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For a nice description of the [[Chenresig mandala]], see this [http://www.loselmaitribuddhist.org/losel_maitri_web_012.htm description by ven. Tenzin Deshek.] | For a nice description of the [[Chenresig mandala]], see this [http://www.loselmaitribuddhist.org/losel_maitri_web_012.htm description by ven. Tenzin Deshek.] | ||
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===[[OFFERING]] RITUALS === | ===[[OFFERING]] RITUALS === | ||
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[[Offering rituals]] come in many different [[forms]], from placing [[offering cakes]] (Tib. [[torma]]) on an [[altar]], to [[blessings]] of [[sacred]] [[objects]] (Tib. [[rabne]]), [[dance]] [[rituals]], [[feast-offerings]] (Tib. [[tsog]]) and fire-pujas, to [[name]] but a few. | [[Offering rituals]] come in many different [[forms]], from placing [[offering cakes]] (Tib. [[torma]]) on an [[altar]], to [[blessings]] of [[sacred]] [[objects]] (Tib. [[rabne]]), [[dance]] [[rituals]], [[feast-offerings]] (Tib. [[tsog]]) and fire-pujas, to [[name]] but a few. | ||
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− | ''' | + | '''[[Offering Cakes]] or [[Tormas]]''' (Tib.) contain several {{Wiki|substances}} with their [[own]] [[symbolic]] meaning. In [[India]], this [[offering]] [[traditionally]] contained three sweet {{Wiki|substances}}: {{Wiki|molasses}}, [[honey]] and sugar and three white {{Wiki|substances}}: curd, butter and milk. In [[Tibet]], these would be mixed with [[tsampa]] or parched {{Wiki|barley}} flour to make an [[offering]] cake. For specific |
− | '''[[Fire]] [[Pujas]]''' can be as simple as in the [[Vajra Daka]] practice , or can be very elaborate, like for purifying mistakes at the completion of a long [[tantric retreat]]. [[Fire]] [[pujas]] are also held to bless the ground before the construction of [[temples]] or [[stupas]]. [[Fire offerings]] can be of different types: [[peaceful]] to overcome [[obstacles]] and [[defilements]] (like usually after a [[retreat]]); increasing [[to expand]] [[wealth]], [[wisdom]] and [[merit]] and to gain longevity, controlling to subdue harmful forces; forceful to banish negative forces. | + | practices, grains, [[alcohol]], meat, or [[medicine]] may be added. Adding five types of grains is believed to overcome {{Wiki|poverty}} and famine, while the 6 {{Wiki|medicinal}} aromatics are [[thought]] to overcome {{Wiki|illness}} and epidemics. [[Tormas]] can have many different shapes, again |
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+ | related to their specific {{Wiki|purpose}}. For example, typical stepped, pyramid shaped [[tormas]] are specific to [[wrathful deities]] with wavy outer lines representing smoke and flames. The {{Wiki|colour}} of these sometimes match the {{Wiki|colour}} of the attending [[deity]]. Cakes for [[peaceful | ||
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+ | deities]] often contain round shapes. The [[tormas]] are [[traditionally]] decorated with sculptures made of butter and colorants. For some occasions, a cross of coloured threads, believed to have been introduced by [[Guru Rinpoche]], is added to the [[torma]]. Two wooden sticks are [[bound]] together in the shape of a cross on which coloured threads are woven to create a cobweb-like {{Wiki|structure}}. | ||
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+ | [[Tormas]] can be vary from a simple small clump, to very large and complicated, [[measuring]] up to a few meters in size. They can be used as devices to which all the [[evil]] and [[sickness]] of an {{Wiki|individual}} or a {{Wiki|community}} are transferred and thereby eliminated. Every year in many of | ||
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+ | the [[temples]], [[monasteries]] and [[dzongs]] the [[ritual]] of "casting away the [[torma]]" is performed on the twenty-ninth day of the last month of the year, in some places accompanied by dances. In this way, negativities of the {{Wiki|past}} year can be ended. | ||
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+ | '''Feast [[Offerings]]:''' [[Tsog]] (Tib.) or [[Ganacakra]] (Skt.) are regarded as an indispensable means for conferring [[accomplishment]] and pacifying [[obstacles]] on the [[spiritual path]]. There are three aspects to the [[feast-offering]]: the [[gathering]] of [[fortunate]] practitioners in the | ||
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+ | feast; the outer, inner and secret sacraments of the [[ritual]] which are [[offered]] and consumed during the feast; and [[Buddhas]] - whether actual or [[visualised]] - who receive the [[offerings]] and bring the [[ritual]] to its successful conclusion. The overall {{Wiki|purpose}} is to distribute [[merit]] and [[wisdom]] in the context of a specific [[tantric ritual]]. | ||
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+ | '''[[Fire]] [[Pujas]]''' can be as simple as in the [[Vajra Daka]] practice , or can be very elaborate, like for purifying mistakes at the completion of a long [[tantric retreat]]. [[Fire]] [[pujas]] are also held to bless the ground before the construction of [[temples]] or [[stupas]]. [[Fire offerings]] | ||
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+ | can be of different types: [[peaceful]] to overcome [[obstacles]] and [[defilements]] (like usually after a [[retreat]]); increasing [[to expand]] [[wealth]], [[wisdom]] and [[merit]] and to gain longevity, controlling to subdue harmful forces; forceful to banish negative forces. | ||
===SOME OTHER RITUALS === | ===SOME OTHER RITUALS === | ||
− | [[Consecration]]. Upon completion of a [[temple]] or an image for [[meditation]], [[people]] invite [[lamas]] to perform a [[consecration]] {{Wiki|ceremony}} on [[an auspicious day]] fixed by an [[astrologer]]. The main {{Wiki|purpose}} of the [[consecration]] [[ritual]] is to invite the [[wisdom beings]] from their [[pure]] [[Buddha-fields]] through the power of the practitioner's [[meditation]], the [[potency]] of the [[ritual]] and the [[devotion]] of the hosts. The [[wisdom beings]] are invited, merge into the [[object]] being [[consecrated]], and their presence is sealed by the procedures of the [[ritual]] until the [[object]] is damaged. Thus the [[object]] is blessed and becomes [[sacred]]. A similar [[ritual]], a deconsecration or [[transformation]] [[ritual]], is performed when a [[consecrated]] image has to be repaired or renovated. | + | |
+ | [[Consecration]]. Upon completion of a [[temple]] or an image for [[meditation]], [[people]] invite [[lamas]] to perform a [[consecration]] {{Wiki|ceremony}} on [[an auspicious day]] fixed by an [[astrologer]]. The main {{Wiki|purpose}} of the [[consecration]] [[ritual]] is to invite the | ||
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+ | [[wisdom beings]] from their [[pure]] [[Buddha-fields]] through the power of the practitioner's [[meditation]], the [[potency]] of the [[ritual]] and the [[devotion]] of the hosts. The [[wisdom beings]] are invited, merge into the [[object]] being [[consecrated]], and their presence is sealed by the | ||
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+ | procedures of the [[ritual]] until the [[object]] is damaged. Thus the [[object]] is blessed and becomes [[sacred]]. A similar [[ritual]], a deconsecration or [[transformation]] [[ritual]], is performed when a [[consecrated]] image has to be repaired or renovated. | ||
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A very [[interesting]] observation by [[Sakya Pandita]] in his [[book]] The Right Practice of Different [[Views]] ([[Domsum]] Rabgye): | A very [[interesting]] observation by [[Sakya Pandita]] in his [[book]] The Right Practice of Different [[Views]] ([[Domsum]] Rabgye): | ||
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: "[[Consecration]] of images is not [[taught]] in the [[Sutras]]. However, if [[blessing]] {{Wiki|ceremonies}} and [[offering rituals]] on [[auspicious]] occasions, such as those performed for a [[king]] at his enthronement are [[consecration]] [[rituals]], then one may say that [[consecration]] [[rituals]] are [[taught]] therein." | : "[[Consecration]] of images is not [[taught]] in the [[Sutras]]. However, if [[blessing]] {{Wiki|ceremonies}} and [[offering rituals]] on [[auspicious]] occasions, such as those performed for a [[king]] at his enthronement are [[consecration]] [[rituals]], then one may say that [[consecration]] [[rituals]] are [[taught]] therein." | ||
− | '''[[Sacred]] Dances''' are carried out by [[monks]] for various purposes; from [[rituals]] to remove [[obstacles]] prior to the creation of a [[sand mandala]] ("protecting and consecrating the site", in which interfering forces are summoned to {{Wiki|protect}} the [[mandala]] site) to [[offering]] dances and acting out the [[life]] stories of famous [[Buddhist]] [[saints]]. Several [[monasteries]] are famed for their annual [[sacred]] dances. | + | |
+ | '''[[Sacred]] Dances''' are carried out by [[monks]] for various purposes; from [[rituals]] to remove [[obstacles]] prior to the creation of a [[sand mandala]] ("protecting and consecrating the site", in which interfering forces are summoned to {{Wiki|protect}} the [[mandala]] site) to [[offering]] | ||
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+ | dances and acting out the [[life]] stories of famous [[Buddhist]] [[saints]]. Several [[monasteries]] are famed for their annual [[sacred]] dances. | ||
[[His Holiness the Dalai Lama]] is known however to have warned for making these {{Wiki|festivals}} too [[worldly]]; they are intended to be [[spiritual practices]], and should not be reduced to simple {{Wiki|entertainment}}. | [[His Holiness the Dalai Lama]] is known however to have warned for making these {{Wiki|festivals}} too [[worldly]]; they are intended to be [[spiritual practices]], and should not be reduced to simple {{Wiki|entertainment}}. | ||
===SYMBOLISM OF SOME DEITIES === | ===SYMBOLISM OF SOME DEITIES === | ||
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[[File:Ratna_s.jpg|thumb|centre|300px|]] | [[File:Ratna_s.jpg|thumb|centre|300px|]] | ||
In most of the [[mandalas]] of [[tantric]] Buddhaforms, the [[5 Dhyani Buddhas]] are mentioned; some of the [[symbolism]] related to them are found on the [[5 Dhyani Buddha]] page. | In most of the [[mandalas]] of [[tantric]] Buddhaforms, the [[5 Dhyani Buddhas]] are mentioned; some of the [[symbolism]] related to them are found on the [[5 Dhyani Buddha]] page. | ||
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Each image of a [[tantric deity]], [[including]] [[Shakyamuni Buddha]] himself is filled with [[symbolism]] related to their specific qualities, see for example [[Meditation]] on 1000-arm [[Chenresig]]. | Each image of a [[tantric deity]], [[including]] [[Shakyamuni Buddha]] himself is filled with [[symbolism]] related to their specific qualities, see for example [[Meditation]] on 1000-arm [[Chenresig]]. | ||
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For extensive details on [[Kalachakra]]: do visit the [http://kalachakranet.org/ International Kalachakra Network website]. | For extensive details on [[Kalachakra]]: do visit the [http://kalachakranet.org/ International Kalachakra Network website]. | ||
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In [[Tibetan Buddhist monasteries]], one can often also find very aggressive-looking images, they are called the [[Protectors]] or Guardians. Many - but not all - of them are [[manifestations]] of fully [[enlightened]] [[Buddhas]], but they appear in this [[wrathful form]] to 'wake up' the [[meditator]] and for example direct this powerful [[energy]] towards ones [[own]] problematic [[emotions]] like [[anger]], [[attachment]] and [[ignorance]]. | In [[Tibetan Buddhist monasteries]], one can often also find very aggressive-looking images, they are called the [[Protectors]] or Guardians. Many - but not all - of them are [[manifestations]] of fully [[enlightened]] [[Buddhas]], but they appear in this [[wrathful form]] to 'wake up' the [[meditator]] and for example direct this powerful [[energy]] towards ones [[own]] problematic [[emotions]] like [[anger]], [[attachment]] and [[ignorance]]. | ||
From [[The Crystal and the Way of Light]]: [[Sutra]], [[Tantra]] and [[Dzogchen]], Teachings of [[Chogyal Namkhai Norbu]], compiled and edited by John Shane: | From [[The Crystal and the Way of Light]]: [[Sutra]], [[Tantra]] and [[Dzogchen]], Teachings of [[Chogyal Namkhai Norbu]], compiled and edited by John Shane: | ||
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: "Guardians of the teachings | : "Guardians of the teachings | ||
− | :: There are eight [[principal]] classes of Guardians each with many subdivisions. Some are highly [[realized beings]], others not [[realized]] at all. Every place - every continent, country, city, mountain, [[river]], lake or {{Wiki|forest}} - has its particular dominant [[energy]], or Guardian, as have every year, hour and even minute: these are not highly evolved energies. The various teachings all have energies which have special relationships with them: these are more [[realized]] Guardians. These energies are iconographically portrayed as they were [[perceived]] when they [[manifested]] to [[masters]] who had [[contact]] with them, and their awesome power is represented by their terrifyingly ferocious [[forms]], their many arms and heads, and their ornaments of the [[charnel ground]]. As with all the figures in [[tantric]] [[iconography]], it is not correct to interpret the figures of the guardians as merely [[symbolic]], as some [[Western]] writers have been tempted to do. Though the iconographic [[forms]] have been shaped by the [[perceptions]] and {{Wiki|culture}} of those who saw the original [[manifestation]] and by the [[development]] of [[tradition]], actual [[beings]] are represented." | + | |
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+ | :: There are eight [[principal]] classes of Guardians each with many subdivisions. Some are highly [[realized beings]], others not [[realized]] at all. Every place - every continent, country, city, mountain, [[river]], lake or {{Wiki|forest}} - has its particular dominant [[energy]], or Guardian, as | ||
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+ | have every year, hour and even minute: these are not highly evolved energies. The various teachings all have energies which have special relationships with them: these are more [[realized]] Guardians. These energies are iconographically portrayed as they were [[perceived]] when they [[manifested]] to | ||
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+ | [[masters]] who had [[contact]] with them, and their awesome power is represented by their terrifyingly ferocious [[forms]], their many arms and heads, and their ornaments of the [[charnel ground]]. As with all the figures in [[tantric]] [[iconography]], it is not correct to interpret the figures of the | ||
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+ | guardians as merely [[symbolic]], as some [[Western]] writers have been tempted to do. Though the iconographic [[forms]] have been shaped by the [[perceptions]] and {{Wiki|culture}} of those who saw the original [[manifestation]] and by the [[development]] of [[tradition]], actual [[beings]] are represented." | ||
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===VARIOUS OTHER SYMBOLS=== | ===VARIOUS OTHER SYMBOLS=== | ||
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The {{Wiki|scorpion}} refers to negative or [[harmful action]] (also menace or threat). It refers to [[transformation]], simply said, 'if the {{Wiki|scorpion}} can be [[transformed]] then anyone, and anything can be [[transformed]].' Everyone and everything—is nothing other than the [[energy]] of the [[non-dual]] [[state]] - and therefore the power of every facet of [[existence]] can be harnessed through [[pure vision]] as a means of [[attainment]] and [[compassionate]] [[activity]]. | The {{Wiki|scorpion}} refers to negative or [[harmful action]] (also menace or threat). It refers to [[transformation]], simply said, 'if the {{Wiki|scorpion}} can be [[transformed]] then anyone, and anything can be [[transformed]].' Everyone and everything—is nothing other than the [[energy]] of the [[non-dual]] [[state]] - and therefore the power of every facet of [[existence]] can be harnessed through [[pure vision]] as a means of [[attainment]] and [[compassionate]] [[activity]]. |
Latest revision as of 16:27, 5 January 2024
INTRODUCTION
For the untrained, especially the symbolism in tantra can be extremely confusing. However, it should be noted that in modern psychology, Freud and Jung have clarified many aspects of the sub-consciousness in terms of symbolism. In Buddhism, something like sub-consciousness is an impossibility by definition - an awareness without consciousness does not make sense, but there
are certainly areas of our mind we are only barely aware of. In order to access these more hidden and subtle aspects of our mind, symbols can be very effective in mind transformation.
As Jean Shinoda Bolen writes in The Tao of Psychology:
- "Jung describes archetypes as 'patterns of instinctual behaviour'. ... One definition of archetypes that Jung uses refers to 'primordial images', or archetypal figures that become activated and then clothed with personally derived
emotional coloration. This occurs when an emotional [or spiritual) situation develops that corresponds to a particular archetype. .. For example the 'Wise Old Man', the 'Divine Child', 'All-Giving Mother', 'Patriarchal Father', 'Temptress' or 'Trickster' - all are
symbolic, recurring figures in dreams, literature and religions. When the archetypal level of the collective unconscious is touched in a situation, there is emotional intensity as well as a tendency for symbolic expression. Then the usual everyday level of experience becomes altered; there is more 'magic' in the air. One can become 'inspired' or be on a 'crusade'."
The very last word of this quote is important in the entire concept of tantra; it can be efficient in enhancing spiritual progress, but if used unskilful, it can lead to madness like personal 'crusades' and 'holy wars'. This presents another good reason for the traditional secrecy of tantric practice and reliance on a true spiritual master.
Another important aspect is the fact that the Buddha clearly explained that "meaningless ritual" should not be practised. So by definition, one could say that ritual in Buddhism must be filled with (symbolic) meaning.
Most of below symbols are taken from the Tibetan traditions, as they can be considered to have preserved the most complete set of tantric teachings.
THE VAJRA
The Vajra is a very important symbol in Buddhist tantra. In fact, the Tantra teachings are even referred to as the Vajrayana or Vajra-vehicle. The vajra is probably a derivation of a weapon and a sceptre, and may have its origins in the trident and a mendicants' staff, and symbolises being indestructible, therefore sometimes compared to a diamond.
To give an impression of the vast symbolic meaning of many objects used in Tibetan Buddhist tantra, below is a summary excerpt from the excellent book "The Encyclopedia of Tibetan Symbols and Motifs" by Robert Beer.
"At the centre of the vajra is a flattened sphere representing the dharmata as the 'sphere of actual reality'. This sphere is sealed within by the syllable HUM, whose three component sounds represent freedom from karma (Hetu), freedom from conceptual thought (Uha) and the groundlessness of all dharmas (M). On either side of the central hub are three rings [which] symbolise the spontaneous
bliss of Buddha nature as emptiness, signlessness and effortlessness. Emerging from the three rings on either side are two eight-petalled lotuses. The sixteen petals represent the sixteen modes of emptiness. The upper lotus petals also represent the eight bodhisattvas, and the eight lower petals, the eight female consorts. Above the lotus bases are another series of three pearl-like
rings, which collectively represents the six perfections of patience, generosity, discipline, effort, meditation and wisdom. A full moon disc crowns each of the lotuses, symbolising the full realisation of absolute and relative bodhicitta Emerging from the moon discs are five tapering prongs, forming a spherical cluster or cross. The four [outer] curved prongs curve inwards to the central prong,
symbolising that the four aggregates of form, feeling, perception and motivation depend upon the fifth aggregate of consciousness. The five upper prongs of the vajra represent the Five Buddhas (Akshobhya, Vairochana, Ratnasambhava, Amitabha and Amogasiddhi), and the unity of their five wisdoms, attributes and qualities. The five lower prongs represent the female
consorts of the Five Buddhas (Mamaki, Lochana, Vajradhatvishvari, Pandara and Tara) and the unity of their qualities and attributes. The Five Buddhas and their consorts symbolise the elimination of the five aggregates of personality. The ten prongs together symbolise the ten perfections (the six mentioned above plus skilful means, aspiration, inner strength, and pure awareness); the
'ten grounds' or progressive levels of realisation of a bodhisattva; and the ten directions. Each of the outer prongs arise from the heads of Makaras (sea monster). The four Makaras symbolise the four immeasurables (compassion, love, sympathetic joy and equanimity);
the four doors of liberation (emptiness, signlessness, wishlessness and lack of composition); the conquest of the four Maras (emotional defilements, passion, death, divine pride and lust); the four activities or karmas; the four purified elements (air, fire, water, earth); and the four joys (joy, supreme joy, the joy of cessation and innate joy).
The tips at the end of the central prong may be shaped like a tapering pyramid or four-faceted jewel, which represents Mount Meru as the axial centre of both the outer macrocosm and inner microcosm. The twin faces of the symmetrical vajra represent the unity of relative and absolute truth."
The above describes the most common version of the five-pronged vajra. There are also the one-pronged, three-pronged and nine-pronged vajra, the double vajra (see left) etc., each with their own extensive symbolism....
THE BELL
In tantric rituals, the Vajra is normally held in the right hand, and the Bell in the left. In this combination, the Vajra symbolises method, bliss and male aspects, and the Bell symbolises wisdom, emptiness, the female aspect. The bell as a whole symbolises the sound of the Dharma and is often used in tantric rituals to offer sound.
The Bell is traditionally topped by a half-vajra (the 5 spokes are the five forms of mystical wisdom), and below is the face of Vairocana - the incarnation of universal truth (Dharma). On the shoulder of the bell are 8 lotus petals with syllables in them; the lotus leaves represent the 8 great Bodhisattvas and the syllables are their consorts. As you may suspect by now, each and every detail of the bell has an elaborate symbolic meaning. The whole of the bell can even symbolise a complete mandala.
Whenever one holds these objects, one should try to remember these symbolic meanings and gradually familiarise the mind with the idea; this is the main idea behind meditation.
SOME OTHER TANTRIC IMPLEMENTS
Mala
An implement carried around by most Tibetans is the Mala or a rosary of prayer beads. These are not unlike the Christian rosary, or the beads used in Islam and Hinduism. They are used to focus ones' mind on the recitation of mantras, and to count them as part of a practice.
The story of the beads' origin is as follows: “Sakyamuni, the founder of Buddhism, paid a visit to king Vaidunya…Sakya directed him to thread 108 seeds of the Bodhi tree on a string, and while passing them between his fingers to repeat… ‘Hail to the Buddha, the law, and the congregation’… (2,000) times a day (Dubin)” (from this page not all the info here is correct though).
There are for example practices for which one is required to recite 100,000 mantras; obviously a simple counter is needed to keep track of this huge number. The Tibetan mala usually has at least 108 beads - this number probably originates to the 108 names for Hindu deities (incidentally, the same number is used in Islam to refer to God). See also an interesting Hindu article on the number of 108.
Tibetans often attach strings to their malas which have little sliding rings on them, these are to keep count of the number of malas; in such a way one can count up to 10,000 or even more on one mala.
(The word 'rosary,' which has obvious similarities to the mala, is said to have come from 'japa mala.' When Roman explorers came into India and encountered the mala, they heard 'jap mala' instead of 'japa mala.' 'Jap' means 'rose,' and the mala was carried back to the Roman Empire as 'rosarium,' and into English as 'rosary.')
See here for an interesting page on the Mala. And What Not to Do with a Mala. You can even download a Mala Manual here in PDF format.
Some exceptional malas are made by a friend of mine.
Kapala
A very special object within Tibetan tantric practice is the Kapala or skullcup. The skullcup is related to detachment and transformation of the world we experience.
Dhamaru
Often used in Tibet are the small handdrum (dhamaru) and the larger Chod-drum (see right). These are double drums with strings that holds small 'beads'. When one rotates the drum back and forth, the beads tap on the drum.
Swords
Swords, like the one of Buddha Manjushri, symbolise the ability to cut through delusions or obstacles, and as such they represent wisdom, knowledge, or the protection given by Buddhist doctrine. On the image at the left, it stands on the text of the Heart Sutra, a crucial teaching on emptiness in the Mahayana tradition, cutting through ignorance.
Kartika
The Kartika (Skt.) or curved knife symbolises the cutting of conventional wisdom by the ultimate insight into emptiness. Is is usually present as a pair, together with the skullcup, filled with wisdom nectar. On a more simple level, the skull is a reminder of (our) impermanence. Between the knife and the handle is a makara-head, a mythical monster.
Khatvanga
..The Khatvanga (Skt.) could be called a magic wand or magicians' stick and represents the 'magic powers' or siddhis (Skt.) of an accomplished tantric practitioner.
- "The shaft of the khatvangha has eight sides which represent the Noble Eightfold path (the fourth Noble Truth) and the eight classes of protectors. At the end of the shaft is a dorje representing totality and completion. Along the shaft of the khatvangha are crossed dorjes, a gTérbum and three heads. The crossed dorjes are symbolic of the indestructibility of beginningless wisdom mind. The gTérbum
is symbolic of wealth and enrichment. The three heads – one freshly severed, one rotting and one a skull – are the symbols of the three spheres of being, chö-ku, long-ku and trül-ku (Nirmanakaya, the middle one represents the Sambhogakaya, and the top one is a
skull, representing the Dharmakaya) which are unified by the shaft of the khatvangha demonstrating their inseparability. Streamers of the colours of the five elements hang from the khatvangha, as well as a bell and dorje which represent emptiness and form. At the top of the khatvangha are the three prongs which pierce the fabric of attraction, aversion and indifference. Hanging from the prongs
are two pairs of rings. These signify the four philosophical extremes that are denied by Dharma: eternalism and nihilism, monism and dualism. Finally the khatvangha is surmounted by wisdom fire – the fire that burns self-protection, justification and referentiality."
The top of the kathvanga can be formed by a vajra or a trident (often depicted with flames around it)
Ankusa - hook
The hook (ankusa in Skt.) is a tool which was originally used to ride elephants. In Buddhism, it is considered a hook with which one can draw people in doubt to the teachings.
Phurba
A wrathful implement like the Phurba (Tib.) or ritual dagger is used to subdue and subsequently enlist negative, uncontrolled forces in a wrathful manner. The cutting end has three sides, rather than a normal dagger. Above the cutting end is a makara-head (a mythical monster)and
at the top is the handle, made of three heads of wrathful protectors. Phurbas refer to the Buddhist theme of self-control, and to the tantric transformation of negative powers on the path to enlightenment.
Bumpa
The Tibetan Bumpa is a ritual vase which represents the palace of the deities. It is used as a vessel of purification, to bestow blessings and confer empowerments. There are also Treasure Vases, which contain special substances and are buried or hidden for various purposes.
Mallets or Hammers
Mallets or Hammers (Skt. mudgara) and a Club (Skt. gada) symbolise crushing strength or power.
Bow and Arrow
Bow and Arrow refer to single pointed concentration to achieve the goal of liberation.
The Trident
The Trident is a piercing weapon, its, three points also carrying connotations of the power of the three jewels.
Arrow with ribbons
An Arrow with ribbons around it can symbolize longevity and prosperity.
Lasso
The Lasso relates to the constraint of negative forces.
A Trident
A Trident symbolizes the attainment of the three Kayas (or Buddha bodies).
MUDRAS - SACRED GESTURES
To make the tantric experience complete, actions of one's body, speech and mind are to be transformed. A typical example of the actions of the body is the practice of mudras. These are movements and positions of the hands which have profound symbolic meaning. One uses mudras to symbolise for example the various offerings, but they also convey general meanings like e.g. teaching or meditation.
The image on the left is a virtual image of the planned Maitreya statue in Bodhgaya. It happens to be an unconventional posture to depict Maitreya: his right hand on the knee signifies giving refuge and loving compassion to all beings; the left hand at his
heart is in the teaching (Dharmachakra) mudra: the thumb and index finger are pressed together to symbolise the united practice of method and wisdom, and the three remaining fingers are raised to symbolise the Three Jewels of Refuge - Buddha, Dharma and Sangha. To the right is an image of the teaching mudra when performed with both hands
The image on the right represents a traditional depiction of Shakyamuni Buddha, just after his enlightenment. His right hand touches the earth to symbolise it has witnessed his enlightenment (bhumisparsha mudra), and his left hand is in the meditation mudra. Sometimes the
meditation mudra is performed with both hands on top of each other in the lap as the image below shows.
MANDALAS - SACRED CIRCLES
In Tibetan Buddhism, Mandalas come in two varieties; it can represent the universe (see the image left), as it is used in the Mandala Offering Ritual, where one symbolically offers the entire universe. For this, several rings can be placed on top of each other filled with
rice and precious objects (see right). During the offering one recites mandala offering prayers. In the center of the mandala is Mount Meru, the central axis in the Buddhist (and Jain) cosmos.
The best-known mandalas are part of the world of Tantra; they represent the "3D Palace" of a specific meditation-Buddha or deity. In the Tibetan tradition, they come as thangkas (scroll-paintings), wall paintings, sand-drawings and 3D models of e.g. wood or metal.
A mandala can be "read" and studied like a text and most important, be used for tantric meditation. The purpose of a mandala is to acquaint the student with the tantra, and thus allowing the student to identify with the deity and its sacred surroundings as the mandala. (See also Tantra.)
The mandala of Kalachakra like the one on the left, symbolises the entire universe in terms of planets and time cycles, as well as aspects of our body and mind, and even the practice. Deities and other images within the mandala represent for example the sense organs, the elements and mental aspects, all in a purified state. Every implement held by each deity has again its own meaning.
A sand mandala represents a full 3 dimensional palace, often with more than one storey. For example, the image on the right is from an actual 3D mandala of Zhi-Khro (the six bardos) with 2 stories. These mandalas are used in many ways; as a focal point of intense
meditation, in the practice of actually making one, and in their destruction (like sand mandalas after an initiation is completed) to teach impermanence. In the practice of Kalachakra, one strives at visualising the complete mandala, including its hundreds of deities
in perfect detail within the size of a tiny drop. This should give an idea of the level of concentration required for transforming oneself into a Buddha.... Creating a Kalachakra mandala of some 2 meters diameter, traditionally takes 6 days, employing as many as 16 monks.
For a nice description of the Chenresig mandala, see this description by ven. Tenzin Deshek.
OFFERING RITUALS
Offering rituals come in many different forms, from placing offering cakes (Tib. torma) on an altar, to blessings of sacred objects (Tib. rabne), dance rituals, feast-offerings (Tib. tsog) and fire-pujas, to name but a few.
Offering Cakes or Tormas (Tib.) contain several substances with their own symbolic meaning. In India, this offering traditionally contained three sweet substances: molasses, honey and sugar and three white substances: curd, butter and milk. In Tibet, these would be mixed with tsampa or parched barley flour to make an offering cake. For specific
practices, grains, alcohol, meat, or medicine may be added. Adding five types of grains is believed to overcome poverty and famine, while the 6 medicinal aromatics are thought to overcome illness and epidemics. Tormas can have many different shapes, again
related to their specific purpose. For example, typical stepped, pyramid shaped tormas are specific to wrathful deities with wavy outer lines representing smoke and flames. The colour of these sometimes match the colour of the attending deity. Cakes for [[peaceful
deities]] often contain round shapes. The tormas are traditionally decorated with sculptures made of butter and colorants. For some occasions, a cross of coloured threads, believed to have been introduced by Guru Rinpoche, is added to the torma. Two wooden sticks are bound together in the shape of a cross on which coloured threads are woven to create a cobweb-like structure.
Tormas can be vary from a simple small clump, to very large and complicated, measuring up to a few meters in size. They can be used as devices to which all the evil and sickness of an individual or a community are transferred and thereby eliminated. Every year in many of
the temples, monasteries and dzongs the ritual of "casting away the torma" is performed on the twenty-ninth day of the last month of the year, in some places accompanied by dances. In this way, negativities of the past year can be ended.
Feast Offerings: Tsog (Tib.) or Ganacakra (Skt.) are regarded as an indispensable means for conferring accomplishment and pacifying obstacles on the spiritual path. There are three aspects to the feast-offering: the gathering of fortunate practitioners in the
feast; the outer, inner and secret sacraments of the ritual which are offered and consumed during the feast; and Buddhas - whether actual or visualised - who receive the offerings and bring the ritual to its successful conclusion. The overall purpose is to distribute merit and wisdom in the context of a specific tantric ritual.
Fire Pujas can be as simple as in the Vajra Daka practice , or can be very elaborate, like for purifying mistakes at the completion of a long tantric retreat. Fire pujas are also held to bless the ground before the construction of temples or stupas. Fire offerings
can be of different types: peaceful to overcome obstacles and defilements (like usually after a retreat); increasing to expand wealth, wisdom and merit and to gain longevity, controlling to subdue harmful forces; forceful to banish negative forces.
SOME OTHER RITUALS
Consecration. Upon completion of a temple or an image for meditation, people invite lamas to perform a consecration ceremony on an auspicious day fixed by an astrologer. The main purpose of the consecration ritual is to invite the
wisdom beings from their pure Buddha-fields through the power of the practitioner's meditation, the potency of the ritual and the devotion of the hosts. The wisdom beings are invited, merge into the object being consecrated, and their presence is sealed by the
procedures of the ritual until the object is damaged. Thus the object is blessed and becomes sacred. A similar ritual, a deconsecration or transformation ritual, is performed when a consecrated image has to be repaired or renovated.
A very interesting observation by Sakya Pandita in his book The Right Practice of Different Views (Domsum Rabgye):
- "Consecration of images is not taught in the Sutras. However, if blessing ceremonies and offering rituals on auspicious occasions, such as those performed for a king at his enthronement are consecration rituals, then one may say that consecration rituals are taught therein."
Sacred Dances are carried out by monks for various purposes; from rituals to remove obstacles prior to the creation of a sand mandala ("protecting and consecrating the site", in which interfering forces are summoned to protect the mandala site) to offering
dances and acting out the life stories of famous Buddhist saints. Several monasteries are famed for their annual sacred dances.
His Holiness the Dalai Lama is known however to have warned for making these festivals too worldly; they are intended to be spiritual practices, and should not be reduced to simple entertainment.
SYMBOLISM OF SOME DEITIES
In most of the mandalas of tantric Buddhaforms, the 5 Dhyani Buddhas are mentioned; some of the symbolism related to them are found on the 5 Dhyani Buddha page.
Each image of a tantric deity, including Shakyamuni Buddha himself is filled with symbolism related to their specific qualities, see for example Meditation on 1000-arm Chenresig.
For extensive details on Kalachakra: do visit the International Kalachakra Network website.
In Tibetan Buddhist monasteries, one can often also find very aggressive-looking images, they are called the Protectors or Guardians. Many - but not all - of them are manifestations of fully enlightened Buddhas, but they appear in this wrathful form to 'wake up' the meditator and for example direct this powerful energy towards ones own problematic emotions like anger, attachment and ignorance.
From The Crystal and the Way of Light: Sutra, Tantra and Dzogchen, Teachings of Chogyal Namkhai Norbu, compiled and edited by John Shane:
- "Guardians of the teachings
have every year, hour and even minute: these are not highly evolved energies. The various teachings all have energies which have special relationships with them: these are more realized Guardians. These energies are iconographically portrayed as they were perceived when they manifested to
masters who had contact with them, and their awesome power is represented by their terrifyingly ferocious forms, their many arms and heads, and their ornaments of the charnel ground. As with all the figures in tantric iconography, it is not correct to interpret the figures of the
guardians as merely symbolic, as some Western writers have been tempted to do. Though the iconographic forms have been shaped by the perceptions and culture of those who saw the original manifestation and by the development of tradition, actual beings are represented."
VARIOUS OTHER SYMBOLS
The scorpion refers to negative or harmful action (also menace or threat). It refers to transformation, simply said, 'if the scorpion can be transformed then anyone, and anything can be transformed.' Everyone and everything—is nothing other than the energy of the non-dual state - and therefore the power of every facet of existence can be harnessed through pure vision as a means of attainment and compassionate activity.