Aaa

short then just the one time making this offering and in one time they are gone in.

[...] ...that is symbolic of when one attains the enlightenment and one of the auspicious signs of Buddha's body is there is this light connection between the fingers. There is the web, webs also are quite high and connected with light. So that symbolizes that these fingers are more close to another. The Buddha's

auspicious sign of the hand is the web is rather high, but then it is not like a duck, you know with ornaments he wears, for example like a ring, then again it is quite deep. The offering deities they are in different colors, although the details are too difficult to visualize one should take these first two groups, the two types of water. The offering deities are white color and very beautiful, transcending completely the beauty of the human world, all in celestial form with extreme agreeable form. So these offering goddesses endow the beauty transcending the human beauty and they are very beautiful form and not too heavy not to skinny, sort of slim with a slim waist and with the breasts all full, not sort of fluffy hanging down, but they are raised and full

and also straight and broad shoulder and also very beautiful hips and then the beautiful face and all these qualities, youthful, not old form, but youthful form about 16 years. Half of their hair is made into a very beautiful knot on their head and the other half falling down gracefully falling down on the back loose. All crowned with precious full crown, as well as they are adorned with various other precious ornaments, the earrings, necklace, and so on, clad in very beautifully fine silken garments, upper and lower garments. The nose is not crooked or too big or too small, but it is right size and very fine and the lips are also very fresh and red like the cherry. The eyes are like the petal of the Upala flower, with that sort of shape and all the white

and dark parts are all very distinct and very clear. So one should try, in short one should visualize as beautiful as one can and the details would be too much to explain, altogether there are 64 beautiful qualities on their body. One can offer these different objects separate individually first sending the group for the water OM SARVAGATA DATA ARGHAM then (this was too fast for me to understand) then they come back and then the next like that, individually all, one can send all of them together, so when we recite the mantra together OM SARVAGATA DATA then ARGHAM, PADYUM, PUSHPE, DHUPE, ALOKE, GANDHE, NAIVIDYA, SHABDA then all these offering goddesses go out together and make all the offerings and at the end they come back together. This rule of process

is to be applied each time whenever these offerings come. So through setting the material offerings as best as one can, as clean as one can, through this we accumulate merit. Then at the same time we create more offerings from one’s mind and offer them. From that also we accumulate very much merit. Then doing the beautiful gesture or the mudra of the hands, that is also another type of offering and also helps us to accumulate merit. We apply our understanding, our realization of the shunyata on all the objects in this offering process, as Rinpoche explained this morning, then that is also called 11 offering of the practice 11 that also is very beneficial. Whenever we offer something our mind should be free from avarice, sort of miserliness, attached to these offerings, that is one obstacle. Secondly we should not have any hope for reward. May I offer these then I wish something for return. That must be, those two are obstacles of offering. Also when you offer material offerings we should do it with a mind free of avarice and free of doubt. One should not hope for any ordinary fruit from such an offering, like to get a better rebirth in the samsara and to become rich or to become wealthy in the future and so on. 21

These are all obstacles. So if our mind is free from all these kind of hindrances and if we make the offering in the proper way, then the offering is a

very great way to accumulate a great amount of merit. So the mudra for argham is like this, that means you are presenting this water, bringing that water and for padyam then you on this hand then you open the right hand. That means you are pouring the water over the feet of the deity, with the flower. Then for the flower, gesture for the flower is pushpe like this, that means you are throwing flower. Then comes dupe. Dupe is fragrance incense. Actually the smell is offered two times here as a perfume and the difference is the first smell comes from burning and the second is just to put on the body, so it must be offered separately. So dupe is kind of smell which comes through burning. So the gesture of dupe is like this. That means that you are throwing the

powder, the incense powder into the incense pot which is made from very beautiful jewels and so on, where there is a fire. In that you are pouring so the gesture is like this. These offering goddesses here, they all have four arms. The two hands are holding the pot where they must burn it and the two other hands are putting the incense in it. The gesture for the lamp or the light is like this. So these two thumbs symbolize sun and moon symbolize precious jewels, radiant jewels and light flames and so on. So gesture is made like this. Again that is to for perfume, that is to rub the perfume on the chest of the deity. In the two lower hands are holding the actual container and the two upper hands take perfume from there and then rubbing it, that is why the

gesture is like this. For food, nividae, the gesture is like this. Like for example if somebody gives something and we take it like this, but the two index fingers are slightly bent, so it is like this. So that is offering various tastes from the skull, from upholding in the skull this amritas and giving it to the deity. Shapta gesture is like this. Actually shapta consists of various musical instruments that string instruments and also drums and also the trumpets and flutes and so on, now all different kinds of instruments. So to as a sign a symbol was like playing, beating the drums or playing the cymbals or like that, gesture is made in this way. After these eight offerings then follows the offering of the five sense objects. So the first for form and a

very beautiful mirror is offered, a mirror which is double sided and in that mirror appears the whole universe, the whole world appearing in that mirror and such mirror is shown to the deity which is framed in a very beautiful precious golden and jeweled decorations with a handle. So that is offered. So the gesture is like this. So that is the mirror and that is holding from the handles. That is form. Sort of RUPA. The mantra is RUPA. After that, once again SHAPTA like for the music, the gesture is saying, the mantra is saying that is for sound. Then comes smell and that is GANDE the same as perfume, like the rubbing gesture. For taste again the same gesture is made like the one for the food, except the mantra is different. The mantra instead of NIVIDAE it is

RASSA. Then for tactile sensation a very beautiful garment is put on the deity, a shawl is put on the deity and the gesture is like this, that means you place on the deity, PARSHA. Those are the outer offerings and then there is the inner offering. Inner offerings are complete in the offering goddesses themselves. For example, a beautiful appearance of the form is the offering of the form. They are singing a very melodious chant, melodious singing is an offering of the sound. The natural fragrance, the smell coming from the body of these offering deities and from the smell, the fragrance of the Upala flower for example, coming from the mouth of the deity, offering deity, that is the offering of the smell, inner offering of the smell. Also when the deity engages in the art of loving, art of love with these offering deities and in the art of kissing and so on, then it gives the very great, very pleasant and very blissful taste, very blissful sensation of the taste. So that is the offering of the taste, inner offering of the taste. Then the touch of their body, just a touch is already so blissful that one can attain the highest bliss even just by a touch. So these offering deities have such qualities which is the inner offering of the tactile sensation. So those are the inner offerings which are all complete on the body of the offering deities. When one makes these mudras ones arms should not be raised too high, too much, so one will end up doing like this. One should keep the two hands at the level of your chest. So

this would be enough for an explanation concerning the offering. In the actual text in the sadhana there is only outer offerings mentioned, inner offerings, secret offerings, and other levels of offering are not mentioned there, but it is contained in there. After that comes the praise and prostrations. Praise and prostrations go together. One prostrates to these deities, to the guru, by praising the qualities. So they go together. So the praise is rather long in this sadhana and it would be too long to explain all the meaning. Je Rinpoche will just recite it and maybe some points he will mention.

PRAISE

So in the prostration and the praise then one is praising all the qualities, secret qualities of the guru which means all the aggregates and the sense organs and so on. All the parts of the gurus are of the Dhyana Buddhas and their consorts and their guardians and so on, 32 deities of the Guhyasamaja. After this follows the confession. So we confess, very deeply and sincerely, as like if we have taken, as sincere as if we have taken some poisonous food, like that with great regret and repentance to confess all the unwholesome actions we have accumulated in our bodies, speech and mind, in front of the guru.

This line begins with the Kunshe, the One, so this refers to one’s self. Kunshe torme, torme means "beginningless" so that shows the time of accumulation of this karma, one hasn't started committing these just yesterday or day before, but we have been doing those nonsense a very long time' from beginningless time. Then simensual and so on, so that shows the place of the samsara. Since beginningless time we have accumulated all this karma where? In this place, the place of the samsara, in going through the six realms of the samsara. So why we have accumulated or for what reason we have accumulated. As it says CHOU DUN KU DU that means out of distorted conceptions such as ignorance, attachment and the hatred, etc. all the various types of mental distortions. Out

of these, by the force of these delusions I have done them. KUN dorke nyopa nyopa means "contaminated", so completely contaminated by those distortions, by the distortions. These distortions have distorted or disturbed completely ones mental state, contaminated one’s mind, and actions of body, speech and mind. Tuje chen that in front of the, under the attention of the great Great Compassionate One, so referring to the guru, the deity. "In front of your attention, under your attention I will confess them, I repent of them." Then CHOGA SHEN DE SHABA JE that means in which way one would confess. Then CHOGA SHEN is as it is commented or as it should be done according to the rules, according to the way. So according to the proper right or proper way means the proper way

of confessing or purifying the karma is by using the 4 antidotes, by using the forces of antidotes and so therefore, one is saying I will confess them all through the 4 opponent forces. So these 4 opponent forces must be complete in our mind in order to purify something. If the 4 forces are not complete, the karma cannot be purified. So first, the first opponent force is called Teng dop that means the power of the force of basis. The basis of purification, on what basis is one purified the karma is on the basis of taking refuge and the generation of 22

Bodhichitta. So this is called the force of, sometimes the force of dependence also the force of the basis, or the force of the support. For example if we slip on the ground, if we fall on the ground, the ground is the basis and the only way to get up is again with the same support, with the same basis of the

ground by, with the support of the ground one must get up. There is no way otherwise. So in the same way when we accumulate unwholesome actions the one type or category of unwholesome actions we have accumulated them, we have committed them on the basis or on the ground of the Triple Gem, something in connection with the Triple Gem, in connection with the guru, the Buddha, the Dharma or Sangha something like that in relation with the Triple Gem we have accumulated a lot of negative karmas. Most other unwholesome actions we have committed, they are in relation with the sentient beings the heaviest, for

example, is like killing. When you kill someone it is done in relation with the sentient being, killing a sentient being. And the same way with stealing, it is also related directly with the sentient beings; stealing something of somebody. Also commit adultery or something, that is also done in relation with the sentient beings, as an object. Also if one tells a lie, we do it either in connection with the Triple Gem or in connection with the sentient being, to cheat, to try to cheat either one of them, the sentient beings or gurus. Also the gossiping or creating disharmony that also must be done between the

sentient beings. Also it is use of foolish speech, nonsense speech, with which we spend very much time, which wastes one’s own time and the time of other beings. It is also done in relation with the sentient beings. Covetousness, the great greed that we have towards the possessions of others. That is also something to do with the other sentient beings. Then the ill will or the harmful thought, negative thought, such as to harm someone, to kill, to beat, to scold or anything like that, that is also we accumulate either in connection with the Triple Gem or in connection with the sentient beings. Then wrong view, perverted view such as one completely rejecting the existence of the law of cause and effect, existence of the Four Noble Truths, existence of Liberation, anything like this, this kind of wrong view, then we can commit them in relation with the Triple Gem or sentient beings. If one rejects completely the Four Noble Truths or Law of Cause and Effect, it is a direct, like a disrespect or it is a wrong view about the Dharma, so it is a disrespect, it is an unwholesome action accumulated in relation to the Dharma. So those unwholesome karma accumulated with the Triple Gem should be

purified by taking refuge in the Triple Gem. Those accumulated in relation to the sentient beings can be purified by generating Bodhichitta towards the sentient beings. So this is something necessary now and any time in the practice of Dharma. So taking refuge and generating Bodhichitta is the first force, the force of the support. Then comes the next which is called the force of repentance. So that is one of the main forces in purification. One should have a very deep sincere repentance. If one has a real sincere and deep repentance towards what one has done in the past, then that karmic imprint can be

purified. If the force of the repentance is very strong, then the next force can automatically come. That is the force of determination not to indulge in the same thing again, because if someone has a very sincere repentance, like if somebody has taken some poisonous food and suffers very much, then he surely will have a very strong repentance for the mistake he has done. At the same time he is fully determined, has decided never to again to eat that food. So therefore, this repentance is very necessary. Then the force of determination, that is not to commit again in the same mistake. Then the force of

application of the remedy. So that is then whatever to apply the direct antidote, the practice of recitation and so on, in order to clean away, purify the obstacle. So if someone has a very sincere repentance toward the karma, then any practice of Dharma, if it is prostrating or offering mandala or reciting mantras or meditating on developing Bodhichitta or meditating on Shunyata, whatever ones practice, everything then becomes a very effective cause of purification of the karma. So that is the meaning of "I will confess or purify them according to the way". "To the way" means the 4 opponent forces. So in

the next verse we are generating a very sincere rejoice towards all the virtuous qualities of the Fully Enlightened Ones of the Bodhisattvas and other Aryas. "Other Aryas" means arhats, sharvakayas, and prateyakas as well as even ordinary sentient beings, all the virtuous qualities of all beings, sincerely rejoiced without jealousy.

At the end CHENZU ZHINGZEN WA, that means "I will dedicate them all for the attainment of enlightenment". That means that we dedicate all the merit that we accumulate through other practice, all for the one goal, that is to attain enlightenment for the benefit of sentient beings. That is the dedication. So that completes the 7 limb puja. So then follows EGALA TAMI LATA... (I couldn't make out the rest of this-too fast)

So then this next verse in the four lines contains the actual refuge, refuge to the Buddha. So during the recitation of those three verses, then one is taking refuge in the Buddha, the Dharma and Sangha, it is the same by praising the qualities of those Triple Gem. In the fourth line, one generates the Bodhichitta and in each line it explains the qualities of Bodhichitta, how Bodhichitta is developed through the great compassion and love and taking the

responsibility of the welfare of sentient beings upon one’s self and so on. Such a Bodhichitta which is complete, which is fully developed and we are generating that for the enlightenment. So in the next verse, then we are taking a vow to sincerely engage in the practice of the Dharma to fulfill the goal. So as it says the giving, etc. and also the ten white virtues and so on. So that means giving etc. means all the paramitas as well as the full collection and the ten virtues and so on, all these conducts of the Bodhisattva in order to fulfill the goal for all sentient beings I will accomplish

them. I will accomplish all these practices, all these conducts of the Bodhisattva. So this is like taking vow. After that was SANGI CHANGACHUNBAK CHUN from there, begins the taking the tantric vow. So here one is not taking a new tantric vow, but we are generating this, we are remembering these vows once again here. This is also a kind of offering. It's considered as offering, the offering of the practice. We are making the offering of the practice to the guru. This taking vow and taking all these samayas, then this is a way to please the guru. It is a proper attitude to please the guru, so therefore, this

is also included in the offering, the offering of the practice. After this tantric vow, then we say SO CHEN AVENUS CHEBARU, that means "the field of the merit departed to their natural abode". So this completes the guru yoga. So the invited guests or the guru mandala is departed to the natural abode. There are three ways of departure of the field of merit. One way is the field of merit absorbing into one’s self. Another way is leaving it just the way it was and later when we make the whole environment empty, just before creating the mandala, then that moment this field of merit also becomes empty. The third

way is to let it depart with the natural abode. So the first method is generally applied to the Chakrasambharva practice and the second method is applied to the Yamantaka and the third one is applied to this practice, that is the field of merit at this 23

moment departs to the natural abode, so it goes away. So here we need to know very precisely, a precise knowledge of our birth, death and bardo. It is very helpful, very important in this practice. So generally in the samsara, we always go through these three processes, these three stages. It is like the hands of the clock, it goes over the numbers, it goes around and around, there is no end. So like that we go through these stages of birth, death and bardo

endlessly. So in the samsara, whatever karma we create unwholesome or wholesome karma, it always gives fruit within the samsara, unless one has a pure renunciation, one directs ones thoughts and actions toward liberation. Then all the samsaric actions, virtues and non-virtues, they all end of giving of fruit within the samsara. So these karmas which are the direct cause of rebirth in the samsara itself is not independent. So there is no power; karma has no self power, not independent power. It is naturally rises, it is created because of the mental distortions, because of the delusions. Since the delusions are there, the karma has no power to not to be created. It is automatically created by the cause. So the origin of the whole process is the ignorance, the inborn, this ignorance which grasps very strongly to the independent, in the inherently existing self or ego. So that is the root of all the trouble, the

process and on the basis, when we have this grasping to the self, to inherent existing self, then it naturally one develops this very strong mental delusion or this attitude of cherishing the self so much or holding it something very precious, defending it and helping, try to defend it and help it by all means. So this self-cherishing attitude, naturally comes and when we have that, and we have it very strong, then other distortions has to come, such as attachment to one’s self, attachment to one’s own side and hatred, it is all based on this self-cherishing attitude, to help one’s self and to defend one’s self from the harms, from the danger, so we reduce the hatred against other sentient beings, then other mental distortions. When such all these kind of distortions in the mind have taken place and have arisen, then karma has no power to stop, so they are naturally produced. So therefore, the root of all

the samsara or rebirth cycle is ignorance which is the grasping for the self. So in the Paramitayana, in order to completely uproot this ignorance then one puts all ones effort in the realization of the shunyata, on the meditation of shunyata which holds completely the opposite view of the ignorance. Ignorance, because ignorance grasps for the self-existence, for the independent or inherent existence of our self, then the wisdom which realizes shunyata tries to realize just the opposite, the non-existence of that, such as self. In the skillful methods of tantra, instead of practicing something which opposes completely to the ignorance and the root of the suffering, instead one practices something, one practices a process of meditation which corresponds to the process of rebirth, to the process of the rebirth in the samsara, the birth, the death and the bardo; something which is not completely opposing but

which corresponds to it. So in the practice of tantra, then in the practice of Annutara tantra then one should meditate on the process of, similar process-of death, bardo and rebirth, transforming them, by transforming them into the generation of Dharmakaya, Sambogakaya and Nirmanakaya. They are called the "Three Transformations", transforming death into Dharmakaya state, and bardo into Sambogakaya, and rebirth into Nirmanakaya. So in order to transform these things, first we must know properly, recognize properly the death and bardo and so on. So now we should, Je Rinpoche will now explain this first about the death, on the basis of a person, a human being, with the 5 elements. So for a practitioner of tantra then one must have a body with what is called "the body with the 5 elements". That is the body like ours, who is born from a mother and not something which has miraculously taken place or something like

that, but born from a mother, which consists of 4 elements plus the nadis and the contents of the nadis, so there are 5 elements. So when such a being, such a human being, when he reached the end of his life and is going to die, then first all these elements of the earth, water, fire, air and wind and the consciousness gradually will dissolve. When like now, when the 4 elements are in balance and when they are in a harmonious state, then we remain healthy, we are in a healthy state. When something goes wrong in them, then when they become unbalanced and disharmonious, then we suffer from sickness of different kinds. During the process of dissolution it starts from the earth, water, fire, wind and consciousness. Also the five aggregates that form the feelings, the volition, perception, and volition and consciousness. Actually there is a very detailed explanation about all these aggregates and also how, all the qualities of the body how they dissolve, but that would be too much, too complicated, too much confusing. So the essence is that the first thing which disintegrates is the power of the earth element. This stage is called "The earth dissolves into the water". But actually, the earth doesn't dissolve into the water, there is no such thing, but it is called that way because the water follows next and the earth is in fact losing its power, its power to support. So at that moment there is an external sign and an inner sign. The external sign can be observed from outside, so that is the dying person then has no more, cannot support his own body, cannot for example stand up or sit up, has no control. He experiences as if he is sinking into something or falling into something. So usually often people ask to help to rise or to pull and that is only an inner experience, not falling into anything. That is a

sign. The inner, the mental experience which occurs in the mind, exclusively in the mind of the dying person at that moment is that he perceives a kind of atmosphere filled with mirage, like all just moving, like light waves in mirage. So the mirage can be seen on the dessert when there is a very hot sun. Some people and animals often mistake a mirage into a real water when they are really dying of thirst and suffer disappointments. The dying person at that moment doesn't perceive this kind of experience of mirage, not visually, he can't see any more visually, but inwardly in his mind is going on. Then also at the same time the person loses, his mind loses this capability. Like nowadays when we are living, one mind can remember lots of activities, what one must do, lots of objects. So this kind of activity of the mind will disappear. After that then comes the water element which looses its power to support the

consciousness and next the heat element becomes more evident. At this moment then all the moist in the body, in the eyes, the mouth and the body they start to dry up. This causes then shrinking of the face and so on. As the natural sign of the coming of the fire and at that moment the dying person, in his mind he experiences an atmosphere filled with smoke, lots of violent (violet ?) smoke coming up, moving, but atmosphere filled with the smoke. And then in the next stage then that heat element dissolves into the wind. So at that moment then all the warmth of the body starts to fade away. Also the person cannot feel any more, heat and cold and so on, and the inner experimental experience is an atmosphere filled with little moving fire sparks. As soon as the fire element starts to dissolve into the consciousness and the outer breath, the respiration stops. At that moment then this moving fire sparks and atmosphere

stops to move and he experiences an atmosphere with dim light, with a very stable dim light. So here is actually the end of the respiration, the outwardly is like really dead, but inwardly the dying person is still continues, is still some more few stages of experience. The first experience is an atmosphere filled with very whitish light like at dawn or something like that. So the consciousness has, at this moment, has reached a very fine and subtle level so all the gross level of consciousness has already stopped functioning, so no more this concept of object, various object ones family and all the relatives friends, everything is 24

finished. The only thing what is functioning and this experience is that consciousness which experiences this kind of atmosphere. So first, whitish light like at dawn then that changes into slightly reddish light, just before the sunrise, like that. That is called the reddish experience. So this whitish

experience is called the "Whitish Appearance" and the "Reddish Increase", then comes a stage where no more lights, no more any lights, just goes completely dark. This is called the "Darkish Close Attainment" stage. So first part there is sort of a darkish experience and after then person goes completely unconscious, no more any object, just goes completely unconscious. So then one after abiding in that state for awhile, then one will awake. The mind will awake once again. Then one experiences a very clear and very empty experience, clear and empty, like in the autumn when there is no clouds and no rain and so on, then early in the morning, after midnight, early in the morning if you look up in the sky there is a very empty feeling, very clear, completely clear and empty feeling. So something similar to that, mentally not visually, mentally, empty and clear appearance. So that clear experience is just like

when a meditator experiences realizes shunyata or has a similar experience. They are the same, but an ordinary person cannot recognize it. The experience comes, occurs and it just passes and comes and goes without any recognizing what is really going on. So if someone is already well trained during the life and has practiced the stage of generation in his life correctly well, that when he reaches that stage of emptiness then there is a possibility to immediately recognize this experience, to apply his realization of shunyata into this experience. So this experience is something which occurs to everybody when they die. At the last stage, then this clear empty experience is apprehended. But like ourselves, in our lives in the past, we have gone through many times through such experience, so this experience, Clear Light, is called the "Mother Clear Light" or the "Basic Clear Light". Then a practitioner of tantra in the stage of generation meditating, very intensively meditating, on the stages of dissolution and although one is not dying, but is meditating of these processes of dissolution and through meditation, one goes through all these stages of dissolution similar to what occurs at the time of death. Then there is the chance again that this similar "Clear Light" experience is apprehended and that Clear Light so this kind of Clear Light experience which occurs as a result of one’s tantric meditation in the stage of generation, that is called the "Son Clear Light", the Mother or Child Clear Light. Such a practitioner, if he dies before accomplishing the goal, then that practitioner will definitely recognize when the Clear Light actually occurs. If that person has accomplished the stage of generation and have reached a state of completion up to a level of what is called "solitude of the mind" and then if

he has to die, if he dies, then he has a possibility to integrate the "Mother Clear Light" and the "Child Clear Light". Through this integration of the Clear Light then that person has no more future samsaric rebirth, even there is no ordinary bardo state, because he can transform the bardo into the Illusory Body. Even if one cannot accomplish the stage of generation or completion, but if one practices the meditation properly, and acquaint one’s mind with the practice of meditation and with this kind of stage of dissolution, process of dissolution, then at the time of death when these things really take place, one will be conscious of these stages and will be able to recognize, "Now I am in that stage and the next stage will be this', and like that, one will be conscious of the experiences. In such a way if we can die, if we die in such a way with control over these experiences, then all the normal

confusions and fears which arise at the bardo stage will be cleared away, then one will have the chance to choose ones future rebirth. But for a very ordinary person who has no knowledge of this, then still these experiences occur and they just come and go. So after first the Clear Light state occurs and after some time it goes away and immediately the next moment the bardo body already came into existence. So Je Rinpoche would like to stop here for this evening. So tomorrow the bardo and rebirth will be explained.

We have completed up to the Sog Chen, the Field of Merit and at the end of all the pujas, the Field of Merit has already departed. Now we should clear the

Protection Mandala or the Protection Fence and for that first we should meditate on shunyata with the following mantra: OM SOBAWA SHUDA SARWA DHARMA SOBAWA SHUDA HUM. OM SOBAWA SHUDA SOBAWA means entity, the nature, SHUDA means pure or completely void, and SOBAWA SHUDA SARWA DHARMA SARWA means all, DHARMA means existence. So ALL EXISTENCE FREE OR VOID OF OWN ENTITY or SELF ENTITY. At that point we are meditating by integrating our mind with the voidness, with the Universal Voidness, that is the nature of all phenomena, our mind becomes completely emerged in the complete voidness of every phenomena. So shunyata is generally sort of divided into the so called Three Doors of Liberation". That means the voidness and the signless and desireless. The reason why they are called "The Three Doors to Liberation" is because without entering or without realizing these three aspects of the shunyata, there is no way

to attain liberation from samsara. There, is no any other way to attain liberation from the samsara nirvana state without going through the way of shunyata, the realization of shunyata. Although shunyata, the actual shunyata cannot be divided into many, but this division, this three division, so called Three Doors of Liberation is divided not not a division of the nature of the shunyata, the nature of shunyata is always one, but depending on the basis of the shunyata such as the shunyata of cause and fruit and the nature, and the shunyata of subject, object and action so this way they are divided, according to the basis. It is the Prasangika's view, Nagarjuna's view, that they assert these Three Doors of Liberation which is an uncommon or exclusive view, not an ordinary one. According to Prasangika or Nagarjuna's view then these three voidness are established in this way. For example; on the basis of

the vase, then that vase is free of completely void or empty of its inherent existence. So that is the negation of inherent existence on the basis of the vase is called the voidness, "nature of voidness", the First Door of Liberation. So this of the vase is, now the second voidness, that is the Signless on the basis of the vase is that the vase is produced by a cause definitely, but not produced by an inherently existing cause. So that vase is free or it is completely void of production of inherent cause. So that aspect of that vase is called Signless. Also that vase produces its own fruit, its own future moments, produces its fruit but it can never produce an inherently existing fruit. So therefore, that vase is completely void or free of the function to produce an inherently existing fruit. That aspect of the vase is called "Desireless". It is also shunyata.

So Je Rinpoche was explaining in some detail, some philosophical discussions between the four schools of Buddhism concerning these three Doors of Liberation. Prasangika asserts that only extraordinary Three Doors of Liberation, exclusively, with just this extraordinary Three Doors of Liberation, while the Satantra they assert two types, the extraordinary and ordinary; also the Theravadins and the two other schools of Vivashkra and Sutra only assert the ordinary, the ordinary Three Doors of Liberation which is applied to the Four Noble 25

Truths; while the egolessness and also the impermanence and these qualities, the 16 qualities of the Four Noble Truths and they accept that as the basis of the Three Doors of Liberation. However, in the Prasangika it is applied exclusively to this void shunyata nature, the shunyata aspect. That is the non-

inherent existent nature of the thing itself and also the thing also has the aspect that it is not produced by an inherent existing cause. Also the thing itself holds the aspect that it cannot produce an inherently existing fruit. So that is Signless and Desireless. Why it is called Signless is in general a sign or there are two types of signs, a sign which produces and a sign which gives birth and a sign which gives the standing or knowledge and sign which gives knowledge is like reasoning; like perfect reasoning, fruit of perfect reasoning then one gets through perfect reasoning then one gets understanding, certain understanding through for example, inference, valid inference through reasoning and so on and sign which gives birth that is the actual cause of whatever the object is. So that is why they are called Signless and Desireless is because desire is applied to the future to the fruit, because desire is when we we are always desiring something to happen this, to get this and that. It is always in the future, some fruit or goal that we are seeking which is

also free of inherent existence, therefore it is called desire. So when we recite in the prayer where it says "all dharma, the nature and the cause and the fruit of all dharma or all phenomena are void of inherent existence. At that time we should meditate on these three aspects of every phenomena. So Je Rinpoche said that shunyata, this ultimate nature of every phenomena is one of the most subtle points, the most difficult, most profound and subtle points. So therefore, it is not an easy thing for everyone to realize that very subtle point. That is why there are so many different views have developed, different assertions, philosophical assertions have realized through which has actually also differentiated or divided these four schools of Buddhism; The Visnavadins and the Madyimika, within Madyimika also there is Lasandra, Prasangika, and Vivishaka Sukantricka. Each one holds different views and different divisions about this. However, the most profound and the view which is free from error which is the perfect view about shunyata is the Prasangika's view.

So therefore, when we practice here in the tantra, the meditation on these aspects of shunyata, we should take the Prasangika's view of the shunyata and apply it in here. Actually, to understand it is very helpful to have some understanding about all those different views about shunyata, different views, philosophical views, that all will contribute very much for our correct understanding and why Prasangika's view is the subtlest and is the most correct, then we will come to understand. However there is no time now to go through these different views and details. However, in the future if you can learn something about those different views it will contribute very much also in our practice of meditation. At the beginning of this meditation, a very special emphasis is given on this meditation on shunyata. It comes before anything else. Because it means that this transforms our whole view about what we are going to meditate. So we must carry this view throughout the whole meditation. If we first meditate on shunyata at the beginning, and afterwards when we

create the mandala and so on, if we again hold them as inherently existing as our usual view of the phenomena, then they do not become a real antidote for the ignorance. The nature of shunyata, there is no difference; the shunyata of the paramitayana and shunyata of the taratantra. There is no difference. The kind of shunyata which we must realize, for example in Lam Rim meditation and the shunyata which we must realize here, it is exactly the same. There is no higher or lower shunyatas. The tantra is superior to the Paramitayana, not because there is a difference in the shunyata that we must realize, but in the methods of this realization of the shunyata. For example, the changing of the ordinary views; for example the change, the complete transformation of ordinary appearance. In tantra we transform in the ordinary appearance already now in advance, we transform them already into the Buddhas and in the form of Buddhas and so on which is something that will be actualized in the future. But we already take it in advance, so that is the difference. That makes a

difference, great difference. Although shunyata is a very difficult thing, a very difficult subject, one must really learn first about it very correctly and then apply the meditations and so it is not easy. However, as soon as we begin the practice of tantric meditation, one is obliged to meditate on shunyata, there is no other way. Without the shunyata meditation, the tantric meditation, has no meaning. To realize the shunyata which means that the voidness of inherent existence of the phenomena is of course it is a most important thing to realize, and even if we cannot really realize now, but to make an effort in that direction, try to analyze, that is indispensable for the practice of tantra. According to the view of Prasangika here, all these different terms applied to the shunyata is all synonyms; such as free of true existence, inherent existence, or selflessness and egolessness, all these different terms that I use are all synonyms, they all means shunyata. These different terms have different reasons and sudden different implications.

However the meaning is always the shunyata. So usually to our mind, all the appearances, phenomena appearances, they appear to our mind, our present mind as if they exist independently by themselves, objectively from their own side, inherently existent. That is how we apprehend everything normally. So this kind of view that we have or this grasping that we have, apprehension that we have in our mind of these phenomena is called the "grasping for the true existence" or "ignorance". First before realizing shunyata it is important for us first how we what is that view how we really apprehend this phenomena and how we grasp without understanding that, if we sort of meditate on shunyata and if we come to the conclusion that there exists nothing any more. Then we have completely fallen into the extreme of nihilism. For example, there are certain views which say that things are neither existent nor non existent. But this sounds very interesting, but it doesn't have much sense, because if something is not existing, is not existent, then automatically is non-existent. So

this kind of thing, no existence nor non-existence is only a terminology game. Because even if one meditates, one thinks, on the for example on the non-existence the opposite of existence, if we meditate on that and non-existent is identical. There is one can't apprehend those two in a different way. Even if, for example in the conversation or even in our own narrow thinking or conversation, if someone asks "Is there such and such", you say, "there is not" or it doesn't exist or is non-existent means the same, it doesn't have any other, we can't understand it any differently. In the same way non-existence for example the opposite of existence, no opposite of non-existence and existence is again identical and we cannot understand it any differently. So in the text, in the sutras and so on where it says "The Middle Way" everything is on the middle way, free from the extreme of existence and non-existence. It doesn't mean that they are neither existing nor non existing. It means that they are not inherently existing phenomena. They do not exist inherently.

Although they are not existing inherently, they are not completely non-existent. They still exist. The meaning is there. It doesn't mean literally that they are neither existent nor non-existent. It has a meaning there. For example, usually when we think of ourself, when we apprehend ourself, our own personal self or ego, then we always hold it, apprehend it as independent as sort of inherently existing in us. So actually, Je Rinpoche says that what we are doing now is just like somebody in the last minute, somebody who is going to a meeting or something, then at the last meeting, just before 26

the arrival of the guests, just running here and there for shopping. Because the understanding of shunyata is something which we must have already long before very well established in our mind, then begin the tantric meditation. That is how it should be, but so it is not really the right time to explain,

to establish shunyata right from the beginning. However it is necessary to understand correctly. For the practice of tantra, then from the beginning we should have a good preparation in our mind about understanding of the shunyata by studying, really by going through a good study about it and analysis about it. In addition to that sort of certainty about the shunyata then also we should have the preparation or certainty in our mind of renunciation and Bodhichitta, based on refuge, a firm refuge and proper understanding of the Bodhichitta. That is also a necessary preparation for the practice of tantra. So if we have these things already ready in our mind, as soon as one begins the practice of the meditation, or for example if one recites alone or in a big group, a chant leader begins the SANGHA CHO NAJ SOG KE CHO NAM LA immediately then there are very correct and very sincere very pure refuge immediately come in our mind, since we have it already. Because at that moment if we have to think Oh what is refuge, what are the objects of refuge, and what are

their qualities and so on", then all the other people have already finished their prayer and we are still uncertain about SAND GYE CHO DAN TSOG KYI CHOG NAM LA

JANG CHUM BAR DU GAD NI KYAB SU CHI is only two lines, doesn't take a very long time to say, so if we have it already ready in our mind, then immediately we can, the proper thought arises immediately when taking refuge, and DAG GI JIN SOG GYI PE SO NAM KYI DRO LA PAN CHIR SANG GYE DRUB PAR SHOG these two lines of Bodhichitta and we have it already sort of, if we already meditated and have certainty that immediately the Bodhichitta can be generated.

Otherwise if we have to begin at that moment to think about or arrive at all these stages of Bodhichitta and are also confused about them, it is too late.

In the same way when we said it is void, the phenomena everything is void and so on, begins OM SOBA A SHUDA this mantra, if we have to analyze right from the beginning what shunyata is and what the self is, then what the non-existence of the self is, if we have to apply all these analysis there, that will confuse the whole thing. So we should before the practice we should acquaint our mind very well with all these things what we must develop during the process and also about all these, first one must make a good study of all the visualization, the process of visualization what one must visualize and their meanings and so on in advance, then when the right moment comes then one can visualize them one after another without confusion. It is like if we are all going to make tea, if you really know your kitchen very well and where things are then you can go straight take the tea and boil the water, add the sugar milk and whatever and without too much hassle. If we are ignorant about our kitchen and don't know where things are then we go there and look here and look there and even don't know how to work with this stove then we do some mistakes there and it breaks down off, then we don't know where the tea is or where

the milk is and we have to go out to drive and get milk and sugar and all this and then sometimes put the wrong thing in, salt instead of sugar and so on, then it is going to be a catastrophe. Then we spend the whole day like this for a cup of tea. So in the same way if we usually, if we acquaint our mind well with all the stages of the path and meditate about that, analyze about these and develop a really good knowledge, correct understanding and certainty about these and have them all ready, then whenever one begins a prayer or meditation, then we can generate the right thing at the right moment without any difficulty.

...So Je Rinpoche says that he has not much time now again to explain the shunyata in great detail. However, out of all the practices, the shunyata right understanding of the shunyata and the Bodhichitta, motivation of Bodhichitta, are the two principal essential points which we must have it completely clear

in our mind for any practice of tantric meditation. After completing all these preparatory practices, the Guru Yoga and all that for the accumulation of merit, now when we say OM SOBAWA SHUDA SARWA DHARMA SOBAWA SHUDA HUM, then all phenomena, their nature, their cause and signness, their cause their fruit and all are completely void of become completely void when we read this and at that moment, immediately then shunyata must come in our mind. So as soon as we remember or we meditate or remember the shunyata, the void nature of every phenomena, at the same time also these ordinary appearances must dissolve, at the same time the ordinary appearances, the phenomena appearances completely dissolve in your mind and so everything becomes totally empty. At this moment then we our mind which is in the subject, our mind which in the very blissful state and the object, the shunyata, the void aspect of all phenomena completely merge into one. So they become inseparably one, this subject and object become one without duality. So later when we create all the protection mandalas and guardians and such and all these must come from that unity of the void and bliss. Everything comes from that very essence. So out of this void

and bliss state then in the total emptiness appears the letter PAM, This bliss and void state of mind itself taking the shape of a very large letter PAM in yellow color. So this PAM dissolves into the light and it transforms into a very large lotus with eight petals. This lotus is called the variegated lotus. That means its petals have different colors; so the four directional petals are red then 2 greens and 1 yellow and a black. Although it is not very precise, doesn't appear very precise to your mind, you should think this lotus is there. On top of this lotus appears the letter AH, which is also a red color, and that dissolves into light and forms a large sun disc, glowing radiant glowing sun disc. Then right in the center on top of the disc, sun disc appears the letter BRUN in yellow color. That transforms into yellow wheel with 10 spokes. So this wheel is a wheel of weapon so it is without a rim, it is just 8 spokes like a weapon coming out, then one spoke down and one spoke up the center. Je Rinpoche will explain. The spokes of these, 8 spokes around are like the blade of a sword, like Je Rinpoche has just make with the paper. Then one going upward to the top from the center and one down, so all together

ten. It's empty inside, hollow inside and sort of slightly these spokes near the center it gets sort of narrow, round and narrow. All the spokes come to the center and the center is quite round quite large and this center is attached to these two spokes up and down. The one on the top is quite long and it is also empty inside. The lower spoke is touching on the right on the center of this sun disc. So there this wheel is standing and we should think that this is a very large wheel, that it can hold the whole earth in, at least the district, otherwise then after we will have complication to put everything inside. So although in the text it says "the wheel which is turning 27

speedily clockwise, but it is not yet turning. First we visualize the wheel and the turning will come later. So all the spokes and the spokes are blades very sharp on both sides and later when it turns then also sparks or flames come from the end of the blade. So this is called "protection wheel". We will

visualize the "protecting deities" or ten mahacroadas, ten guardians on the spokes. As it says in the text, then it turns and produces fire and it makes by it turning very speedily and producing fire, then it creates like a circle of fire all around it. Then in the center which is now empty inside, right in the center we should visualize a lotus and moon disc. So it is right in the center, in the space; not falling down, not raising up, but right in the center in the space, not, untouched to any part of the wheel. Then same lotus seat also will form on top of these blades. On the top and middle of this lotus, not inside but outside on the top, not completely touching the blades, little bit in the space over these blades a lotus, not with moon disc but with sun disc. The one in the center is the moon disc, but all others are sun discs. Also one more lotus and sun disc right inside, right on top, and one at the bottom of the lower spoke, those two are inside. So all together there are eleven seats. In the center is lotus with moon disc and eight lotus and sun disks on top of those 8 external blades, spokes, and the seat above there should be slightly in front of the center seat. It is very high up there, but slightly in

front. If we would look from the central seat. The one at the bottom, it is slightly on the back side of the central seat. Plus the seat right in the middle there are eleven seats altogether. So all those seats they are not completely touching the wheels, they are a little space from the wheel, because if they completely stick to the blades, then when the blades later will turn, then they would also have to turn very speedily. In the same way the one on top and the bottom also they are not completely in space, not completely touching the interior of the spoke. So now on top of this central seat is moon disc, then we take the form of White Vajradhara. All the deities in this Guhyasamaja Vajratantra, they are always three faces and six arms. So except for one or two deities which will come later which will form inside the body with one face and two arms, the rest of the deities in the mandala they are always three faces and six arms. So this White Vajradhara is sitting in vajra asana on the moon disc. The central face is white and the right face is black and the left red, six arms embracing with a consort who is also in the identical form, also identical implements holding in their arms, that is the right, the

vajra wheel and lotus and the left a bell, the jewel and sword. So the consort is not the vajra touch because the deity is not yet in Guhyasamaja but in Vajradhara, so the name of the consort is DORJE JORJU VAJRA DHATU, VAJRA DHATUSHARA. The consort is also with the same number of faces with the same_ color, and holding the same implements in her hand. The first two arms of the yub is in the embracing gesture, so going around embracing under the arms of the consort and then at the back of the consort, embracing with this gesture. The first two arms of the consort are embracing the yub from the neck and again making the same gesture at the back of the head. So you should acquaint your mind with this by looking at the Tankhas or statues and so on. That will then be easier to keep in your mind if somebody explains, if Je Rinpoche explains these details after we forget them again. So both are sitting in the midst of light, in an aura of light all around, not only from the side but completely like in the tent of the light which is coming from the body of the two deities. So in the life of Mahacroadas, sit in the middle of fire coming from the pores of the body and like that the deities are sitting in an aura of

light, and both are adorned with eight precious ornaments and the celestial garments. So now in the center of our chest as Vajradhara, a lotus and moon disc. On top of this seat then the Janasattva body or the inner body in a red color, one face and two arms, holding bell and vajra, quite small. This figure is quite small, fitting inside right in the center of our chest and also this deity is embracing with a consort in the identical form also with one face and two arms. Again in his chest, in the chest of this small deity, again still a tiny moon disc with a blue vajra standing, a tiny blue vajra standing on top of it. Inside the center of this vajra a letter, very tiny little letter HUM, blue. So that is the triple body of the deity, our triple body. That is the external form which is called Samayasattva, then internal form which is called Janasattva and the innermost body which is called Dhyanasattva. In addition to that then as usual, there is an OM in the head and AH in the neck and HUM in the chest. So this HUM in the chest, one can make it, because there is a tiny HUM inside innermost, so sometimes this is sufficient, we can take it as sufficient also for the other HUM or if we like we can

visualize a second HUM, a larger HUM in front of the Janasattva, in front of this middle body. When we have visualized these triple bodies clearly then the yub and the consort engage in the union, blissful union. So when the deity enters in the union, then the rays of light emanate from that tiny HUM inside. So these rays of light fills the whole space and reaches all the Buddha fields throughout the universe and invite the ten qualities of Buddha mind, the ten aspects of Buddha mind in the form of ten Mahacroadas. So from everywhere these rays of light are inviting these croadas, guardians, with Akshobya and the ten croadas. Akshobya and the ten croadas are invited from every direction. So these invited deities, Akshobya surrounded by the ten croadas, they enter through the mouth of ourself in front of Vajradhara. So they enter through the mouth and they gradually dissolve into the light and transform into the stream of light and blissful nectar, the fruit of bliss which goes through the central channel and through the secret vajra or secret organ of the yub then reach in the secret lotus, the secret organ of the consort. So these drops fall into the consorts' lotus. Then this drop of fluid then divides into ten

parts in the lotus. So eleven, it divides into eleven drops, again they are the positions like those croadas which we will visualize, like the seat of the croadas, one in the center then all around. So the central drop in the lotus, the central drop is blue color. That is for Akshobya and we should consider the front side, that is our own side is the East, then all these other drops, if one can visualize them precisely, this color of those Mahacroadas that is good, but even if we cannot make the precision, one just thinks that they are in their respective color, that is sufficient. So if one can, then we should visualize these drops in the respective color of the croadas. So the one in the East is black, the South is white, on the West is red and one on the North is green. And are those which are on the center directions are their own respective colors. So when we will know the croadas color, then we can visualize those drops after. Those then eleven drops in the lotus, then they after they change into HUM in the long HUM, ten HUM. So these drops transform into these eleven HUMs. The long HUM means long tone HUM, it doesn't mean that we visualize that they are long in their size, but it is the, along the two HUMs there

is a short tone and long tone and long tone HUM. Then they again, these HUMs are endowed with the same colors of the deities, the croadas. So now these HUMs transform into the deity, the first the center Akshobya and the rest into ten Mahacroadas. The central Akshobya is in black color and he is not a very wrathful form, it's more of a semi wrathful or slightly peaceful form. It's embracing with the consort of Vajra Touch, embracing with Vajra Touch, and the croadas are without consort. All the croadas are standing up, so they are all holding their respective implements in their hand and all very impressive and very powerful looking and very wrathful and with all the hairs raising up into space and so on. So the complete croada of the mandala is formed within the lotus of the consort with Akshobya in the center, then eight 28

croadas around it, then one croada up and one croada below. So the Akshobya is in the center, has three faces, black in the center, then white and red,

with six arms holding those implements, the vajrawheel and lotus in the right and bell, jewel and sword in the left. So what we are holding and what the Akshobya, the middle Akshobya is holding, which is in the womb of the consort is same. We take that Akshobya upward through the secret organ, vajra of one’s self up to the chest, up to the heart center, our heart center. So the Akshobya with the consort, then we take it, reverse we take it back up to our heart center. And at the same time we recite the name of the Vajradrik. The Akshobya comes up to the heart center when we say Vajradrik. At that time we are sort of calling him, like giving an order. Then as soon as we say Vajradrik, then it comes out, it suddenly goes out from the chest from our chest and immediately starts to multiply, one, two, three, four and thirty two, hundred, like that into countless forms filling the whole world. So these countless forms of Akshobya go out in all the worlds and go to all sentient beings, help sentient beings, through various, performing various deeds of the Buddha, such as turning the wheel of dharma, teaching, giving initiations, giving instructions, teaching tantras, etc. through various means they help the sentient beings and establish all sentient beings to the state of Akshobya. In particular it subdues the hatred aspect of the obstacle of all sentient beings, since the Akshobya is the Vajrahatred. Helps to establish all sentient beings to the state of Akshobya. Then all these manifestations, they all reabsorb into one Akshobya. This created, this one Akshobya emerged with all the Akshobyas in the natural abodes of the Buddha. After that this Akshobya returns to you and sits in front of us. It comes in front of us, then it turns backward so that it is in the same position like ourself. Then it is absorbed into one’s self. So when this Akshobya enters into our body, then it changes our body into Akshobya. Now we change our color completely from white into dark and consort from white into dark blue. As we remember, the Akshobya was sitting on the lotus and moon disc. No the Vajradhara was sitting on the moon disc. Now this moon disc changes into sun. Then we are also name changes from the White Vajradhara into the Dark Akshobya, Vajrahatred. So Vajradhara was in the peaceful form and this Akshobya, although it is not in a very wrathful form like those croadas, however is in a semi wrathful aspect. It has a special wrathfulness and passionate form, aspect, and showing slightly the teeth, with slightly pointed teeth. Now the implements in the hands are same except the vajra, this time is vajra with nine prongs instead of five prongs.

Usually sometimes we can take the five pronged vajra itself as a nine pronged because counting the center prong as one, and then it makes nine prongs on it. Four below four on top and the center one is nine. But here in Guhyasamaja the nine prong doesn't mean that. Nine prongs up and nine prongs down. So the right hands are holding vajra with nine prongs and a wheel and lotus, and the left, a bell, jewel and sword. So we should think now we have transformed into Akshobya with these few changes in appearance. The hair, all the hair of the yub is made into a knot on the head, and the consort's is half in a knot and half loose. The body is very magnificent, very beautiful body, adorned with the 112 auspicious signs of Buddha's body. So the consort who was DORJE

VIDISUHARE before now changed into Vajratouch with a dark blue color, and adorned again in eight precious ornaments. Now the light which is slightly more agitated, the light is not peaceful light, completely peaceful like before. It is reddish light, but not really fire, but slightly moving, slightly flickering rays of light. Still sitting in complete union with the consort, because still those other croadas are still unchanged, still in the womb of the consort. And inner bodies the Gyanasattva and the Dhyanasattva the red deity and the little HUM those are there like before. So now we must take all these Mahacroadas, one after another, in a similar process like before, we take it back and up to the heart center, and from there we send out. If one already has a very clear visualization of these croadas, then here we don't need to recite all the details of the croadas forms. Simply one says Avenadati, the

name of these croadas, and then send out. But since we are still unprecise, unclear about their form, so here we lead one by one all the details of each croadas. So the first croada which will go to the East. So these croadas they are with the three faces and six arms, except their colors are different, implements are different and they are crowned, all the [laudraphan] is different, all those on the East are with Vairocana and South are Ratnasambhava and on the West are with Amitaba and the North are with Amoghisiddhi. So before we take them in, first we concentrate on the first croada, that is Yamandati. So he is with a dark blue form and the blackful color. The center face is black and the right white and the left red, with six arms holding the stick and wheel and vajra, and a lasso. So the left, the first is in the terrifying gesture holding a lasso at the chest, and then a bell and an ax. Then we take in

backward, up to the heart then we recite his name Yamandati. Then as soon as you recite Yamandati, call its name, then it goes out from ones chest and sits there on that cushion on the Eastern, the blade. Then comes Sherapati which is in white form, that is Prajadati and the central face is white, the right black and the left red. The first hand is holding vajra, the second a stick with white color with a vajra top in the second right hand, and sword. The first left hand is in terrifying gesture holding a lasso at the chest, then a bell and an ax. Then Phemadati comes in, up to our chest, then when you say Phemadati comes in up to then it goes out and sits on the Southern spoke. Then Phemadati which is in red color with the crown of Amitaba, with the red and black and white faces, first right hand is holding a lotus and a sword and this rice chopper, a stick; the first left hand is holding a bell and a very

graceful gesture and touching the bell here on the left side of the abdomen here, then an ax and a lasso and collar. With the Phamadati send out and settle on the West spoke. Then Bhemadati which is black with Ammogasiddhi on the crown, although it has a completely black body but its central face is dark blue. Then white on the right and red on the left, then the right hands are holding crossed vajra and wheel and stick to chop the rice a pestle. Then the first left hand is holding a lasso with a terrifying gesture at the chest, then a bell and an ax. We call him up into the chest. Then with Bhemadati we send him out, settle down on the Northern spoke. Then Attila with Vairocana crown black also, black face in the center and then white and red. The first hand is holding a sword then vajra and wheel. The first left hand is in terrifying gesture without any symbol, without anything. Then an ax and a lasso. We take

him out through the chest, and say Attila then go out, goes out and it settled down on the Southeast spoke. Then the next is Kamaraza that is a blue, blue color, with Ratnasambhava on the crown, and the black and white and red faces. The first two hands the right and left are in the hungkara gesture. So this gesture is the terrifying gesture and then the little fingers are crossed and the index fingers are raised. The second right hand holds vajra and sword then the left the lasso and hook. So this croada has duty to summon the interfering forces and this kind of work, so therefore when we visualize him in two hands, then he usually holds a hook and a lasso. And we again take him up to the chest, then with Takaraza then we send him out and he settles down on the Southwest seat. After and Nilidanda then the Nilidanda, has turned into Nilidanda with Amitaba on top, blue color, with 29

Amitaba on the crown, with a blue, white and red faces. So his name is Nilidanda, that means "Blue Stick" so his first hand is holding a blue stick with a vajra on top and then the second a vajra and wheel. The first left is in terrifying gesture holding a lasso at the chest, then a lotus and Phemadati and ax. We take him up again to the chest and with a Nilidanda we send him out to settle down on the Northeast spoke no Northwest spoke. Then Mahabhala is taken in with a blue color with a blue, white and red face. The first right hand is holding a stick, black stick with vajra on the top then a vajra and wheel. The first left hand is the terrifying gesture with a lasso at the chest, then a trident and an ax. And we take him up again and with the Mahabhala we send him out and he settles down on the Northeast seat. Then next come Oshneshchakravati a blue color with Akshobya crown. The first two left and right hands are in the gesture of, on the head like this, then the rest, the right hands are holding a vajra and lotus, and so in the left the terrifying gesture and sword. Then we take him up again with Oshneshchakravati we send him out and it goes up and settles down on that seat up there facing to us or facing to one’s self, so that means facing West side. Then the next is Sumbaranza with Akshobya crown, blue, white and red faces, no, with black, white and red faces, holding vajra, wheel and wish fulfilling gem, the first left holding a lasso in the terrifying gesture at the chest, then a lotus and sword. We take him up and with Sumbaranza we send him out. It descends to the lower seat. So this is slightly on the back side and it stands there facing the same like ourself, to the East. The ten croadas are now complete. As soon as ten croadas are settled on their places, then the wheel starts to turn, and it starts to turn more and more speedily and fire sparks and flames start to come from the blades. So except for Akshobya in the center, all those croadas they are all in extreme wrathful form with mouth wide open with very long cheeks and very powerful heavy body and also all the red hairs raising up into space, all with also raising eyebrows and mustache, beard and so on. All with three eyes, each face with three eyes wide open and all faces are very

wrathful. From the end of the eyebrows and from the hairs are flames coming, also with wrathful wrinkles on their face like wrinkles made above the nose and so on. Also they are filling the whole space by the sound of their wrathful laughter. Also the expression of the faces are constantly changing, one from another, showing their fierce faces moving and also with a big belly. So very heavy body, their belly sort of hanging down on their thighs and also very thick in limbs, the arms and so on. They are all adorned with precious jewel ornaments and snakes, not bone ornaments, and the crown there is also a

snake also in the earrings are snakes, also the necklace of precious jewel ornaments and the snake, anklets and bracelets are also snakes, with tiger skin skirt and the belt is also snake, with a shawl, a silken shawl on the upper body, upper part of the body. All these snakes are the ten great nagas, lord and nagas in their respective color. So from the pours of their body flames come out, fire comes out and they sit in the middle of the fire. So Akshobya when we send out it immediately multiplies and then performs various deeds of the Buddhas. The Mahacroada is not yet, they are still there standing and then their work comes later. So that is all for this morning.

Now we are in the form of Akshobya right in the center of the, in the center of the wheel with the ten Mahacroadas around and above and below us. So now the central Akshobya has given the order to the Sumbaranza which is at the bottom of the wheel to start the activities of the croadas. So the central

Akshobya looks or stares at the Sumbaranza. So by this gaze at the Sumbaranza, then Sumbaranza sends a second form, instead of leaving completely from its own seat, it sends a second form which comes in front of us, in front of Akshobya, asking for his duty. So when we recite the following mantra OM SUMANTRI SUGANA SUGANA HUM etc., at that moment we are giving, the form of Akshobya is giving the order to the Sumbara. Sumbara Sumbara HUM means calling Sumbara, and GEHANA GEHANA GEHANA BYUA at this moment we are telling him to go and summon all the interfering forces. So catch them and bring them here, that is an order! So that Sumbaranza holds the vajra in his first right hand. So this vajra then changes into a vajrahook. So the Sumbaranza then uses this vajrahook in every direction and in the left hand he already has a lasso. So with these two weapons he brings all the interfering forces. All the interfering forces,

namely the ten worldly interfering guardians. So they are caught from their heart and brought back. As Je Rinpoche explained the other day that for the worldly guardians of these directional guardians, there is one kind which is beyond the ordinary level and that there is one wholesome type which is, wholesome worldly guardian, and then unwholesome ones. The wholesome ones we have already made offerings and so on. Now the unwholesome interfering fifteen guardians are brought back by Sumbaranza and they are distributed to the Mahacroadas. So when these interfering ten guardians are sort of entrusted or given to the croadas, then in front on the ground in front of the croadas then appears what is called "hungkung" like a prison, triangle shaped and in that all these interfering forces will be they will put the interfering forces in there. So there are in front of each of the Mahacroadas there is one such

triangle shaped prison so eight of them around, then one in the East direction, that is for the upper one and for the Western direction, that is for the lower croada. So altogether there are ten prisons in which all the guardians, these worldly interfering guardians will be put, the ten guardians, principal guardians. So these ten principal interfering gods are put in those prisons and then there is a work for the croada in the Northern direction who is called the Benindati. So Benindati and Amitidakundalini are two different names of the same person. So this croada, the Benindati sends ten manifestations of his own. So his manifestation, the upper part of his body is the actual body of the croada, with blue body and with blue, white and red faces and six arms, and the right hands are holding the double vajra, wheel and lotus and in the left the lasso, the bell and ax. So upper part of the body is exactly as croada.

Below the waist is no legs and so on. Instead it is a weapon, vajradagger. So this hits right on the crown of the head of each of the worldly guardians and it will go straight through the center of the bodies, this dagger the vajrakila. Then when this hits on the head of these guardians, then that Sumbaranza who had a hook before, this hook changes into vajrahammer. This vajra dagger is a very powerful and flames are coming from the top. Then this Sumbaranza hits with the vajrahammer on the top of these daggers, first starting from the East one time first the directional these daggers then from the Southeast then the semidirectional daggers, then one above and one below. So while this visualization we should recite the mantra Gate, gate and so on, this mantra we must recite and at that time the Sumbaranza is hammering on all those daggers. So this mantra can be recited ten times or three times or one time. If

one recites one time then during that recitation that one recitation, that work is complete, it's done. If one recites three times, then during first recitation Sumbaraza hammers on those four directional daggers and then second time to the other directions and the third time on top and the bottom, that is three recitations. So if one recites ten times, this mantra, then one mantra during each mantra, then this hammering work is done on each of these daggers. So this act of the Sumbaranza nails all these interfering forces completely on 30

the ground, so they become motionless, so they cannot move any more. Just like if one nails an insect or something on a board, then it goes right through

the insect and then it goes into the board and the insects wouldn't be any more move. Something like that. These interfering forces will live, they don't die. We should not think that while the dagger goes into the body we should not think it gives a great pain and suffering to these interferences. Rather as it goes into them it gives them experience of great bliss, more and more.

...principal like the ten laws or the principal, the interference, they are now controlled in this way and the rest of the interferences are the little interferences, they are completely burned away by the flames of the wheel, of the spokes. So they are completely destroyed. So like this these spokes, the

weapon spokes of the wheel turns violently producing a circle of fire all around also these daggers burning and so on. So it is a very so that no interference can at all pass by. However, still we must this is called the extraordinary protection ground, protection fence. Now we must create the ordinary protections. So we recite three times TURGI HUM ZA. When we recite this TURGI HUM ZA the first time, outside this giant mandala this wheel, outside there appears a vajra fence, a fence of various solid metal fence all around of vajra nature. Second time TURGI HUM ZA then outside that yard, that fence, then a protection of water element appears all around. It is like a big ocean all around. And third TURGI HUM ZA then a fire mandala or fire fence appears outside the water. At fourth TURGI HUM ZA then outside of the fire there appears a fence of air or wind, very powerful strong wind. So this iron

fence, called the vajra fence is not only fence but also from the top of the fence it also forms into like a canopy. So it forms like a canopy or like a dome on top made of the same material that is solid and indestructible, and then under this canopy just straight above the fence also appears vajra ceiling. Below on the ground appears letter HUM and this HUM changes into a vajra ground, indestructible vajra ground. So this ground, this ground this fence and they all become one solid piece. So the vajra ground reaches right to the bottom of the vajra fence and from the top of the vajra fence and it’s called vajra canopy or vajra tent above it and just below the tent there is this ceiling. So inside this tent then no one can go, it's empty. This fire fence also should be visualized a whole wrapping of a fire, all around, covering the whole this vajra protection. Outside the vajra protection this fire

covers the whole thing from top to bottom, everywhere, so it is like a big ball of fire. Also within that fire there are many weapons, powerful weapons being shot inside so these arrows and spears and all kinds of weapons like that, they are shooting through the fire, so that nobody can pass through. No space is left empty where someone can pass through the fire. These weapons are shooting from every direction. So that is the protection mandala, complete protection mandala. We should meditate on this, we should visualize this protection mandala as very large, as large and spacy as one can, and one should meditate as precisely as one can. This is very helpful, it also helps us very much to protect from various interferences. So after this then the blessing of the deities where one should visualize the white OM on the moon disc and red AH on the red lotus, and a blue HUM on the sun disc. They appear on the

three places the crown of the head, neck and the heart. All the deities and the croadas and and every deities in the mandala. Now we again reach the point to where one must meditate on the shunyata and turn everything void. So one should recite this verse which says that there is no reality, no meditator, no meditation, no object of meditation, and so on. This is a verse from the root tantra of the Guhyasamaja we should recite this. So here we meditate on the subject, object and the action everything void of inherent existence. Thus we meditate on shunyata. So before the creation of the mandala we meditated on shunyata, at that time we meditated on the shunyata of the cause, nature and fruit and here is the subject, object and action. So which again it is the three goals of liberation. And with this meditation of shunyata, then even this protection mandala and all these appearances dissolve again into emptiness

we should think. So we meditate on shunyata and all the appearance starting from the wind mandala, then the fire mandala, the wind mandala dissolves into the fire mandala and the water into the vajraground, and so on. That is also into the wheels and that also into the Akshobya and that Akshobya also dissolves completely stage by stage and dissolves and becomes totally empty, and meditate on shunyata. Then we may wonder, "Why that's quite silly because we have created all these with such a great problem and now we have just began to destroy them and so maybe now is a good chance for an interference to attack, to take revenge". If one meditates on shunyata one’s mind remains in shunyata, no interference can strike back. So in the protection, there are various types of protections, protection fence, all these kinds of protections. But the ultimate protection, the most powerful protection, is the

meditation on shunyata. So at the end of this also the meditation on shunyata at the beginning and end of every meditation, so one who is meditating on shunyata can never be defeated or harmed by any interference. In Tibet, in the past in Tibet there was a cave where a very powerful evil spirit, ghost or evil spirit dwelt. Once a monk went for pilgrimage and spent the night in that cave, he couldn't find other place to sleep. So that evil spirit took that as a very good opportunity to harm this monk, but that monk was meditating all the time, meditating on shunyata. So after the evil spirit challenged the monk, the monk was a very good meditator. He meditated on shunyata and he just threw his vajra like this, and it hit one of the eyes of the spirit. The evil spirit, each time when the monk was meditating on shunyata, the evil spirit could not see, could not find the monk anywhere. When he awakes from the

meditation on shunyata, then he becomes again visible, he could see; like this, on and off like that, until he received that vajra on his eye. Then another story again some pilgrim spent the night in a cave. There also lived a very powerful evil spirit and when they received this pilgrim monk there, then they went to some other spirits to make a plot to kill to destroy this person. So when the two spirits reached the cave and the monk has already disappeared. Because the monk already entered into meditation by absorption of the shunyata. So therefore, they couldn't find him anywhere although he was still in that cave. The two spirits looked for the monk and "He used to be here a minute ago, was here, but where did he disappear", and they looked around in the cave. So one of these spirits is one who has already a lesson from one of the pilgrims and he said, "That kind of person is very dangerous, that one who shows

and disappears and shows and disappears is a very dangerous kind". So he took his comrade and went away. So although all these protections have already dissolved, but we shouldn't worry about interference if we meditate on the shunyata properly. So like in the process of taking rebirth first if we are going to take rebirth as a human being, then we must have a place to take that rebirth and a place or world or place to take that rebirth. So in the same way first of all here we are now going to create, we are going to create again the vajra ground and then all the mandala and mansion and so on. While we are in the state of shunyata and our mind in union of shunyata, bliss and voidness, and that itself then creates that state of mind creates instantly again vajra ground, vajra fence, vajra canopy and the ceiling and also fire outside and all these environment is instantly created. So what is left out is this extraordinary protection, this wheel of weapons as well as this 31

water mandala and then this wind. Those three things are left out. Otherwise again the same thing comes into existence. In an instant, then vajra ground,

very very broad, very large, very vast and vajra fence and vajra tent and the ceiling and outside of that, then the whole wheel of fire, everything is again appeared. Now inside this very broad vajra fence appears a very broad and very large and broad white triangle with three points. So something like that, this white triangle the lower end is touching the ground, then it is empty inside, standing up like this example. There are three different ways of

visualizing this triangle. One way of visualizing it is like this; counting the three points, two on the top and one at the bottom, sort of like three points this way and sort of makes a slightly longish sort of thing instead of making a completely triangle like this, it is like a long thing, flat thing. So there are two ways of visualizing them, either both are correct, and both are significant and these three points symbolize the three doors of liberation, the three shunyata, and its outer color is white and interior is red. That symbolized bliss and voidness. So that means everything what is generated within that triangle, all has this essence of bliss and void and when we will visualize the inside there, when we will visualize the divine mansion, the mansion will start about half of the triangle and from there we will construct the mansion and the highest peak, the top, the roof of the

mansion will come just equal to the top of the triangle, opening of the triangle. That is one way of visualizing the triangle in that way, as Rinpoche has shown. Then visualizing the mansion inside, something like a bridge, because when the point instead of like a pyramid upside down, if one visualizes like three pointed like a tube, then inside there to visualize the mansion it would then be like building a bridge inside. This is considered as incorrect way

of visualizing. So we should put that aside. So that is the correct way of visualizing the triangle, so the lower point is touching the ground and it's very broad, very very broad, very spacious and there is very much space inside. Then about half of this triangle then we should visualize a lotus seat, also very broad filling this whole interior of the triangle. So the lotus has something similar to this. The petals, then the pistil and the stamen, they

all similar to that, but the actual lotus flower which grows in the pond, in the lake, has a very different, is quite different shaped than an ordinary flower. We should look at it. The central part is very solid, the central part is very solid, sort of yellow round, yellow solid thing like in the middle. In India in many lakes you can find the real lotus flower. So there are usually eight petals or sixteen petals or like that and the most central part is

the stamen, a solid yellow thing, which is flat with little things on top and is a solid piece. I think people also eat that. There is something inside. Then all around the stamen there are the pistils, something straining, slightly different yellow color. Then the petals. So that is the kind of lotus which is visualized in here, much broader. So we should visualize this lotus and so on according to the size, according to our need, because later on it depends

very much how large one is going to visualize one’s own body. If one is going to visualize one’s body as ordinary human size, then we would need according to that we need a house which is big enough to fit us and to have also space for other deities and so on. So according to that we should visualize this size of the lotus. So our arm span, if we visualize a normal size of human body then it is four hand foot, that is which equals one arm span, that is

called in the text is given one size of the door in the mandala, and so for that if we are going to visualize our body about that size, then this central part of the lotus would be about eight doors, so eight arm spans large, straight from one end to the other end. So then because on top of this lotus we will visualize a cross vajra. So the central part of the cross vajra, from one end to the other end, is 12 doors or 12 arm spans, and the prong has three,

each side three arm spans. So there is, then we adding a little more space so it is about 20 doors we need in the center. The petals about half arm span, length of half an arm span. Sixty such petals, 64 or 32 whichever one suits one’s mind. So from the beginning to have a complete a precise number of petals is rather difficult to visualize, so if one just thinks that there are a lot of petals, that is sufficient. Generally for this kind of practice one should

receive the teachings as many times as possible. So because one time receiving a teaching one should not, this is not completely reliable, because the Master can also make some mistakes and translator can make lots of mistakes. Then of course the disciple, when we hear we can mishear something, or misinterpret something, misunderstand somethings, so therefore it is not really sufficient to be taken completely seriously. So once there was a monk who

was quite innocent, not very intelligent but full of devotion, very faithful and also very hard worker. He went to receive some teachings from a guru who had no hair on his head, who was bald. So he asked for a guru yoga meditation, so devoted to the guru and the guru told him, "You visualize me on your head and then the streams of light coming from my body and purifying yourself'. You meditate on that. So actually Lama taught that if you visualize me on your

head, the Lama on his head, but he misunderstood and he took it to visualize himself on the head of the guru. So when he went back to his room and he started meditating, tried to seat himself on the head of the guru, since guru has no hair and a very smooth head, so he had a problem slipping over and falling down. Then he worked for a very long time and after he got really sort of fed up with the practice, then he went to the guru and said, ' ' I tried

my best, but since you are so bald, then it is quite impossible for me to sit there". And Lama didn't want to shock him or disappoint him so he didn't say he was wrong, completely wrong. He said, "That's very good you have well done, but if you have faced such a difficulty, since because of my being bald, if you find it really uncomfortable to your mind, now instead of that you visualize me on your head". So he did that and then it worded very well and not only that, he has attained a very great accomplishment from this and was very successful. So we should visualize the lotus according to size of our body, for ordinary human body, about the size of our own body. Then we need about 20 arm spans for the lotus and we should visualize all these petals endowed with five colors, white, yellow, red, green and blue. Then again these colors are repeating, these petals. So there are many different colors, multiple colors.

The central part should be visualized green and the pistils around the central part are all yellow. Right in the center of the lotus we are going to build the mansion which is again 20 arm spans. It has 20 arm spans in length, square sort of foundation. So the wall we are going to build there is 20 arm span and the height is five arm span. So this foundation we shouldn't sort of think that we are, like this is a stage, like a foundation a square one right at

the center. So we shouldn't worry about many trucks coming and bringing bricks in and cementing them and so on. This process is not necessary. You just visualize them in your mind, so instantly they form such a steady one. A blue, a solid piece square sort of stage right in the center of the lotus. The width is 12 arm spans. The lotus is 20, this foundation is 12, and the height is 5 arm spans. So this is the foundation for the mandala and at the same

time this is the center of the vajra, blue crossvajra. So from each side, the head of the vajra, the prongs of the vajra are coming out. About half of the prongs of the vajra are coming out of these walls, out of the wall. So these prongs have three arm spans in length coming out of this stage.

The prongs of the vajra reach just the end of the pistil. Then on each side there are two stairs going up from the ground of the lotus, from the center of the lotus, two stairs going up between the prongs of the vajra, from each side. So the vajra is sort of coming out of the stage. So there are 16 steps to

this stairs. So on this ground now, on top of this the mandala must be built so the actual mansion of the mandala, the mansion is 8, the width is 8 arm spans; from inside, from one end to the other end of the wall is 8 arm spans or the 8 door size. The width of the wall itself it is one quarter of the door size, so that is one hand foot. The height of these walls are 13 arm spans. So the way how the mansion is made, there are four gates on each side. So first

from this corner is a wall and then when it reaches to the entrance, then the wall goes out in front, the walls come like that and then it goes like this to sort of a doorway, corridor. This corridor isn't very long and then again it goes the wall comes like that and goes like this and again it goes out, about one arm span. Then again it goes in front about one half arm span. So it is like when from inside the mandala, beginning from Rinpoche's side so the

wall and then there is the wall of the corridor which is one arm span, then again it goes that way to the right, then one arm span then again it comes in front half arm span. The same from the other side and just at the end of the corridor is the actual door, door of the entrance to the mansion. So therefore, there is a little outside the corridor, foyer. So the same thing in each direction. In each direction there is the door and this little

corridor, then there is the, first there is the entrance, then is the little corridor then there comes the door and then the wall that goes like that which forms the outside a little stage. So outside there, on top of that space there, there is what is called thubub. Thubub, that is how do you call this when old, the Greek or Roman house they have this thing in front the pillars. There are two pillars. On each there are two pillars here and two pillars there,

and they are coming out of a vase. There is a big vase and then out of the vase is coming this pillar on two sides, two pillars here and two pillars there which supports that thing on top, this portico thing. This portico has a particular shape like that and so the pillars are together with the vase is five arm spans in height. So these two pillars here are connected by a beam and also on the other side. Then there are two beams from these two pillars, from

the other two pillars which have in between with 16 arm spans. So on top of these, now these, this front of these beams, these long beams there are two stages which are called seranum, made of gold, a little sort of support. Then on top of this square, this piece made of gold then there is a sherbu which is slightly longer than this one, not completely square which is blue in color, it is called sherbu. Then on top of that there is the precious called

Rinpoche. So this is red piece which is slightly longer than the other. On top of that is sthumi which is severone. So that is a black color which has like a design of a horse shoe. On top of that are two little pillars, just one and a half hand foot is that height. On top of that comes the veranda which is slightly longer and on top of that again two little pillars. So on top of that then comes another sherbu which then goes from one end to the other end

which connects the whole thing. So that is a long sherbu. On top of that is a Rinpoche which is put on top of sherbu. They are a different color, they are same length and they all have 18 hand foot and they are all, then there is sthumi with, again that thing with a horseshoe on it, but this time is a very long one, the same length, also with 18 hand foot. So there are three, like three stages. Then on top of that is a dayup which is slightly shorter, only 10

hand foot, right in the middle. In the center of that on top there is the wheel of dharma and the two deers. So all these forms, zig zag sort of form from outside, first there is coming out, then a little bit goes in, little bit goes in, then two little pillars then it starts to come out again, then go in. Then with this wheel and the deers on top. Altogether when it is all completed it looks very beautiful from outside. So the pillars are, the long pillars

which support the whole thing has five arm spans so it is high enough so when someone goes and comes there is still some space left above. One doesn't bump into it. Then all around this thing above the door there are many ornaments, decorations, banners like these and then also many precious ornaments are hanging from there which make it very very beautiful to look at from outside. So the wall of the mansion is one hand foot but within there there are five

layers with five different colors. So from outside the first layer is white, then inside that is yellow, then inside that is red, then green, then blue. So altogether then the width is one hand foot, a quarter of a door size. So from outside if one looks outside there is a white wall, but actually it is something quite transparent, so you can also see the other colors through. If you look from inside it is bluish because of the first layer from inside is

blue. Blue, green, red, yellow and white. From outside, white, yellow, red, green and blue. Now outside the wall just all around the wall, what is called nambu that is a little stage which is joined to the wall, a stage which is two hand foot height and two hand foot where someone can take rest or can just sit there on that stage, it's a little stage which goes all around the, except for the doors, it goes all around the wall. Also the height is two hand foot

and the width also. So as the corridor wall is one arm span or four hand foots, but from the outside it is two arm spans this corridor, the width of the corridor is two hand foot. It is because that wall has one hand foot, so there are two wall comes. There is the inner wall and then there is an outer wall so the space left in between from outside is only two hand foot for the corridor. So this little stage which goes around the wall it starts right from

outside of the corridor, it connects to the corridor from outside, the wall of the corridor from outside. From one corridor to the other corridor, then like this in each direction on each corner it goes around the corner. That little stage is nambu is in red color. So on that stage there are the offering goddesses standing there and making offerings and dancing and so on which can be seen very clearly from inside because the wall is transparent. So actually

when one should learn this mandala thing should be taught while one builds a three dimensional mandala. The three dimensional mandala, while we are building, then one learns it, one learns very correctly. But there is no time now to build the mandala and everything. However, this would give some rough idea about how the mandala is and if one wishes then one should look a three dimensional mandala, those who might have seen it in Dharmsala in the Library

and made one, also in tantric colleges. However, Je Rinpoche said they are done quite simple and so it is quite important for a practitioner of tantra to learn about the details of the mandala and how they are made. So the wall is thirteen hand foot high and plus, then on top of that there is one hand foot sherbu on top of the wall. Pagu has one hand foot on top of the wall. So this Pagu which has one hand foot in height is right on top. It goes all around on

top of the wall, but it comes out a little bit, is a bit larger than the wall so it comes out a little bit from the wall. So this Pagu in the red color and from outside on that many golden decorations are placed on this red rim. On top of that Pagu then there are what is called four bells, four golden bells, so again like a golden frame, very flat and very thin gold layer is put on, four layers of the gold is put on and these are supported by beams, some beams

going in between them so that there are some holes left, like a ventilation. So the wall has thirteen hand foot, Pagu has one hand foot, and all these gold bells altogether have two hand foot in height. So then now for the ceiling, there are the beams for the ceiling so this is not put on top of the highest gold belt rather it is through the top the highest gold belt. So there are four principal beams, two going this way and two going that way, so forms are crossed 33

like that right in the center and that makes a square thing right in the center of mandala. Now these beams are supported by eight pillars inside the mansion. So just from the wall inside, now we must be on the floor on the inside of the mandala. From the center to the wall is half way and there is again

a very sort of wall which a very low one which has only one hand foot in height that is a circle right in the center of the floor. On top of that little wall or that stage then all the pillars stand on that thing, so two pillars in each direction. That supports the beams in the ceiling and the square thing right in the middle of these beams crossing of beams, is empty, is uncovered. So the ceiling comes like that from all directions and right in the center it is empty and so then there is a little sort of roof, again four pillars put on that which has beams all around and that supports the highest roof, the golden roof, like that. Then that roof, that golden roof, is again supported by many beams inside, two major beams coming out like that, then there is a flat piece, then there are many other narrow beams from everywhere, then on top of that then there is the golden roof as we see there and then all around

the roof there are many ornaments hanging, decorations ornaments, hanging from all sides so it is very beautiful thing to see. So Rinpoche explains some details of the size of all these details, however the numbers are not so important, so what we should think is, create from your mind a mansion like that roughly of this shape and as beautiful as one can. So the ceiling also has the color of the different directions, the Eastern direction is white, South is yellow, West is red and North is green. Also the floors are also divided like that by the same colors of each direction. Right in the center of the floor where the deity should sit there is a stage, there is a round stage. That is something special for the Guhyasamaja, this white stage which is a round one, right in the center of the floor. So on that stage, on that stage there is the lotus and the sun disc and the deity will sit there. So this round stage is

a special thing for the Guhyasamaja and that is not just the one solid piece, but it is like a little temple inside, there is also a little temple so there is also like little windows and so on, very beautifully made. It is like a room inside and also very jeweled ornaments that made from jewels and so on. This is necessary because otherwise there is no place for Sumbaranza, Sumbaranza, after Sumbaranza who always sits underground so really has to stay under the floor. So therefore a place is necessary for him under the deity, a special place a special room. Then also in Guhyasamaja there is another thing, there again four pillars right in the center, no eight pillars right in the center, fine pillars going right inside, goes up under the roof in the center of the roof. Then on top of these pillars there is a little canopy which is round and it has again four beams in that circle, that circular roof in there.

That is to hang this canopy, this decoration canopy where it should be hanged afterwards. Also above there is the place for Ushnishachakravati, the one who sits on top. So now in the, around that thing, that round stage which supports these pillars so there are nine places including the center. On the East is the place of Vairocana, then South is for Ratnasambava, West for Amitaba, the North for Ammogishiddi. Then those in between them are the places for the consorts. Outside of that circle then there is another circle and with all the goddesses of sense objects, form, sound, smell, tactile and all those, then eight vase, amrita vase, and outside of that eight vase then at each gate inside there are two Bodhisattvas at the side of each gate. So the eight Bodhisattvas, all the Bodhisattvas, Avalokitishvara, Manjushri, etc. those Bodhisattvas they are standing on the side of each gates, inside the mandala

inside the mansion. Inside the corridor in each four corridors there is a place for the croadas. Then the four corners of the mansion are four more croadas. In the same order, they are sitting in the same order like we had visualized them before, their places are the same. So that is, so this completes all the places for the 32 deities of the Guhyasamaja mandala, the main figure in the center and then the four Buddhas in the four directions and their four consorts and in between them then the four sense goddesses and then there are the eight Bodhisattvas and eight croadas and then one croada up there and one croada below, 32 deities all complete. So this is just explanation, it is not a real process of visualization. That will come later. Je Rinpoche is just giving a general explanation about this mandala. So in the actual process of meditation we have visualized first this triangle thing, then the lotus and in

the center of the lotus the double vajra. We shouldn't visualize straight away the vajra. First one must visualize the mandalas of different elements. So for creating these mandalas of the elements then first letter on that lotus is HUM YAMO HUM, these three letters appear, HUM and YAM and HUM. YAM in the center. After that, that YAM changes into a bow shaped air mandala, very large, fitting in the center of the lotus. So this half of a circle, the shape is half of a circle facing in front. This HUM changes into a Vajra which will stand on the two edges of this wind mandala. Then on top of that, on top of this mandala, then appears HUM, RAM and HUM. RAM red. So the RAM changes into fire mandala, triangle shaped, one point is facing the front, the two others the back. That HUM changes into, those two HUMs change into two vajras standing on the two points of the triangle. On top of this mandala then there is a HUM,

again HUM and BAM and HUM. So that wide BAM changes into the water mandala which is a circular water mandala, white. Again the two HUMs change into two vajras standing on two edges of this mandala, water mandala. On top of that again HUM and LAM yellow and HO. This yellow LAM changes into an earth mandala which is square solid piece. The HUM again stands, the two HUMs stand on the two edges of this piece. So there are four mandalas, a stack of four mandalas.

So, in fact, these four mandalas are of the nature of the four consorts. That is Jenma, then Mamake, and Kerkama, and Dolma, there are four consorts of the four Dhyana Buddhas. The essence of those four consorts are actually the four boundless mind; that is, the boundless love, the boundless compassion, the

boundless joy and boundless equanimity. So now we understand that there is the triangle shape outside, triangle mandala outside, then inside there is the lotus and right in the center of the lotus then these mandala, wind, fire, water and earth are sort of stacked on top of the other, so it comes up quite high. After that all these four mandalas of the four elements, they will change into one. That changes into the form of this double vajra. So those elements have taken their shape of the cross vajra as Je Rinpoche explained in detail before. In the center of this cross vajra we should visualize a letter DRUM, white in color, very big one. This DRUM is sending out rays of light, it says "A cloud of light is emanating from it which holds the essence of the Buddha. Then that DRUM changes its form completely into the mansion. This DRUM changes form then the whole mansion appears at once, simultaneously

every part appeared all complete. So this divine mansion is, transcends all the beauty of mansions of humans and of gods. It is very beautiful in appearance, very radiant full of light and color and at the same time made of all precious substances and also holds the essence of Buddha's wisdom. Now after the mandala is ready, then in the center on that round stage, then appears a lotus and sun disc. Also all the seats of those Mahacroadas, those which are in the four corridors and also the four corners and one on top and on bottom, under the seat of the deity, their cushions are also lotus and sun disc. 34

All the other deities on the Eastern direction, such as Vairocana and the consorts and so on all those deities are with lotus and moon disc. Then on the South for Mamake, this consort Mamake, has a vajra seat. All the rest of the deities on the Southern direction, except for Mamake, they all have a cushion

make of precious jewels. Those on the, deities on the West they all sit on red lotus. Those on the North, deities on the North are sitting on a cross vajra, double vajra. So there are 32 deities, but there are 31 cushions. Because the central figure of Guhyasamaja and the consort are sitting on the one cushion, sharing the same cushion. Je Rinpoche forgot completely about the pause in the middle, the break in the middle. So it is time for a long break. So actually all these should be explained in detail and important to understand, but it cannot be done at one time. One of the obstacles, Je Rinpoche says one of the, the number one obstacle is Tibetan language. So the texts are most of them in Tibetan, so if you can read Tibetan it would be much easier for you and especially with this Guhyasamaja sadhana is not translated in English, so it is difficult. However, maybe sometime this will be translated in English, so that will help. Also you should later learn about these mandalas, with some teacher actually guiding through a mandala and actually demonstrating how it is made and so. Then it could help very much. In India there are a lot of monks who know about this quite well. Even in Je Rinpoche's monastery, even the

very young monks they have already learned about these and so it is not very difficult to find this kind of knowledge. So although we have still many difficulties and obstacles and also there isn't much time for everybody to practice Dharma, there are other engagements, other commitments and activities and so on. However, one should try to learn and practice as much as one can and specially give much emphasis to make great effort to develop Bodhichitta and the right kind of renunciation and understanding of Shunyata. These are the principals of the Path. So one must give great importance to these because without these foundations, even if one engages in some advanced practice, complicated practice of tantra, it is only complicated practice, besides that, there is no much benefit. But it doesn't mean that we should completely forget about the tantra and tantric practices, one should still on the basis of

developing the Bodhichitta and understanding of Shunyata, one should also try the practice of tantra, particularly in the state of generation it is very beneficial. It leaves very great imprint although one cannot begin immediately all the practice in the stage of completion. But the state of generation is very important, it is an indispensable foundation for the completion too. Therefore, in this way if you make effort, then a very positive fruit will be obtained. For example now, the lake over here is frozen and is hard, is solid ground and by thinking this is very solid ground, if we start to build a nice house and very good house on it, after some weeks or some months then you will end up at the bottom of the lake. So in the same way if the refuge and generation of Bodhichitta and the understanding of Shunyata and renunciation, if these are these remain very superficial and unsteady, then even though we

try to build a very fantastic building of tantra on it, it will not be very fruitful, it will not be able to stand very long. So it says that "Without the practice, training of the mind to the common path, if one tries this high practice it is like riding an untamed bull". So without this development through the stages of Lam Rim, the common path or practice of Bodhichitta and this foundation, if one tries advanced practice it is just like like riding a very wild elephant, or a child on a very wild horse. It is quite certain that that child would fall down after a few, how do you say that the horse will jump, the horse is not used to the mount, so therefore in a minute the child will be on the ground. A person who is well trained, who is powerful and who is well trained in riding wild horses then can ride the horse and although how much the horse jumps around the person will not fall down. So without any sign of these developments, without caring at all about the practice of developing Bodhichitta and these necessary foundations, if one practices tantra, that will be a direct cause for the rebirth into the hell realm. And with the development of Bodhichitta if one takes the practice of tantra and that is most speedy course to lead to the fully enlightenment state. So -- that's all for today.

So the mandala has been explained roughly yesterday. Inside the mansion there are 31 seats. So there are 32 deities and 31 cushions which means the central deity and the consort are embracing, so they are on one cushion and therefore there is one cushion less. Now first we must generate what is called

hangmurkaha. That means "deity of special visualizations", "special generation of the deity". So that is instant generation of the deity. So this special generation or special attention that means as soon as one thinks of them, these 32 deities including one’s self, they appear instantly on the seat. The way they appear is like on the television screen, then the different things for advertisement, they appear instantly out of a letter or out of like that. These are very good things for visualization. So this special generation or hangmurkaha means "special attention" "special intention" visualization. This means that as soon as one thinks of them then they appear instantly on their seats. After they have appeared then we should now take a very good close like a review, make a review of all these deities, starting from one’s self in blue body with three faces, blue, white and red faces, six arms, the vajra wheel,

lotus and the bell, jewel and the sword just like before. On top of that circle, that sort of stage on lotus and sun disc then we instantly become this form. So the central figure, our central figure one should visualize slightly larger than the other deities. The others a little lower than the central one. So in every mandala the front side of ourself, where we are facing, that is always considered as the Eastern direction. Although it doesn't correspond to the actual directions, external directions, always the front side of one’s self is East in the mandala. There are certain places where one must count the external directions, one must do in accordance with external directions, such as when we are sleeping, then one should not, one’s head should not be directed towards the South or also in the fire puja then there is kusha grass put in the different directions, these kind of directions is the normal

direction now, the external directions, not the visualized ones. So in meditation in the mandala where you are facing is always East. So we should first look at one’s self in the blue form of Vajradhara and embracing with a consort Vajratouch. Vajratouch is also with three faces and six arms, with the same implements holding in the hands. The vajra wheel and lotus and bell, jewel and so on like the deity. Then from there we move to the deity in front of us, that is Vairocana, white, black and red faces and on the South direction there is Ratnasambhava with yellow body. On the back side that is the West there is red Amitaba. North is Ammogisiddhi green. So these five figures, principal figures are called the five Tatagathas. All with three faces and six arms. The Southeast goddess, Jama, white goddess. On the Southwest is Mamake, blue. Northwest is Kirkarmo, red body. Northeast is Tara, green body. That is the inner circle, the inner circle around the deity. Now from there we should move to the second circle. Southeast there is Sudorjeme, that is the vajra of form, goddess of Vajraform, white body. On the Southwest there is Vajrasound yellow color. Northwest there is a Vajrasmell, red color. Northeast there is a Vajrataste, green body. So all these four goddesses of the inner circle and four goddesses of the outer circle which are all not sitting 35

on the directions, but on the semi directions, they are called the eight goddesses, all with three faces and six arms. Now in the East, on the two sides of the Eastern door, inside there is, Maitraya and Chittigharba, white body, Bodhisattvas two Bodhisattvas. So if you are coming in on the right side, on the

right side is Maitraya and on the left side is Chittigharba. On the two sides of the South door there is Vajrapani and Akashagarba with a yellow body. In the Western gate there is Avalokitishvara and Manjushri with red body. Then in the North on the two sides of the Northern gate there is Samantrabadra and Discomveni, the two, green. So although they are all fully enlightened Buddhas, but they are in appearance like Bodhisattvas, so they are called the eight sattvas. So they are the five Tatagathas and eight goddesses, and eight Bodhisattvas. So these deities such as the Bodhisattvas they are not complete, sort of leaning against the wall, they are quite near the wall, but still some space behind them. Now inside the corridors and in the center of the corridor there is Yamandati, croada Yamandata, dark body. South there is Dipanjadati, white body. West there is Pamadati, red. In the North there is Begndati with

blue body and black face. Now on the Southeast that's the corner, Southeast corner on the inside, corner of the mansion there is Achilla, black color. Southwest corner there is Turgranda, also black color. In Northwest there is Dinilananda a blue color. Northeast there is Mahabala, black also. Then now the Ushnishachakravati, this one croada is above the deity just under the canopy there is a little place for, reserved for itself and is blue color. Then under the central deity inside that little room there is Sumbaranza which is a blue color. So all these ten croadas are very wrathful, very powerful looking form. They are all standing up and right leg is stretched and left is like bent. All the other deities inside the mandala they are all sitting in vajra asana and all peaceful form. The central figure, the Vajradhara or Akshobya, is in vajra asana, cross legged vajra asana position, and the consort is in padmasana, the lotus position. All the peaceful deities are clad in jeweled ornaments and celestial silken garments. All the croadas are adorned with precious ornaments as well as the snake ornaments. On the upper body there is the silken shawl and lower part is clad in tiger skin. So these are the deities for the instant generation of special visualization. So these specially visualized deities they are called, afterwards they all must come in our body and the actual places within our body, but before that since they are already generated in the form of the Buddhas, they must perform the deeds of the Buddhas, the activities of the Buddha. So when all these deities have been generated, then we should send rays of light from our chest and call back all the sentient beings in the universe. So there are various ways of these sentient beings entering into the mandala. Here we should visualize them entering

into the mandala from every direction, they come through the wall without any obstruction, they just come in and all sentient beings are settled down inside the mandala. Then from the blissful union of the deity, the central figure with consort, then rays of light spread out. So these rays of light coming from the blissful union of the deity with the consort touch all sentient beings there, and by the touch of these rays then all their sufferings and cause of sufferings, impurities are completely cleaned and they all obtain this highest undefiled state of bliss physically and mentally. They all become Vajrasattvas, and after becoming Vajrasattvas they all take leave and go out again through the walls and so on, in every direction, and reside in the Buddha fields. By this then, one should generate a very sincere, very happy state, very rejoiceful state of mind, by the accomplishment that one has made

helping the sentient beings and establishing them to a state of Buddhahood. At this time we have not accomplished really the stage of generation, we are trying, we are trying to practice the stage of generation. Without trying or without practicing the stage of generation there is no way to accomplish it. When we actually accomplish the stage of generation, then all the deities as we generate they actually come into existence as we create and they become vivid and can be seen and sort of tangible, they become real. So when we attain the accomplishment of the stage of generation, all the deities become very clear, very vivid and tangible, but still it is not a real actualization of the deities, and also we cannot help the sentient beings in the real effective way. So the actualization of the deity, that is the Buddhahood, that is the Enlightenment, fully Enlightenment. That comes later, but already in the stage of generation they become these deities as you visualize them, they become more and more vivid and real and so that's what we are now trying to achieve. In the stage of completion, then we begin to create still a more advanced and still much more subtle and advanced forms of the deities. So although at the moment it is only our visualization, it exists only in our imagination, no other people can see, it exists in your mind; however, we shouldn't think that this kind of thing has no use or it has no effect at all use for sentient beings. Even trying to visualize a little bit of such a part, a little part of such a mandala is already a very powerful cause for accumulation of merit. So after completing this work for the sentient beings or this activity of Buddha, helping sentient beings, then all these deities created, instantly created deities then should come in our body. So for that then we in the form of Akshobya from the HUM in our chest, rays of light send out red color, rays of light, it says "hook like rays". It doesn't necessarily mean visualize them like in a shape like a hook at the end, but it means that it has power to hook someone or to catch or to draw back. So therefore, these rays of light touch all the deities inside the mandala and it attracts these deities inside our body, starting from Vairocana up to the Sumbaranza, they all come in our body, enter in our body and they settle down in our different parts of the body. So there are only 32 deities, no 31 deities which you can actually take in, because Akshobya is actually one’s self, you cannot take in Akshobya from outside, so that make it 31. And we shouldn't think that some completely separate individuals have entered out body, and so one feels sort of uncomfortable with many people inside. We should think that these Buddhas, in fact, they are of

the nature of our parts, such as our senses and sense organs and elements and so on, these are the deities, and so they integrate, they become one with our parts. So the five aggregates, the form, feeling, perception, volition and consciousness. So the consciousness aggregate is one’s self, is Akshobya, that is the principal nature. So therefore, these four Tatagathas they come in and they become one with our other aggregates, consciousness is one’s self and then the Vairocana settles in our head and Amitaba in our throat and Ratsambavha in our heart and the Ammoghisiddhi at the root of our secret organ.

...they are, all the essence of our aggregates and they are sort of integrated with our aggregates, but they don't lost their form, they still remain in their distinct and very clear form of the deities. So it is more comfortable if you, before they enter they sort of diminish, decrease in size and then a

little one about the size of one's thumb then enters our body and dwell in these different spots. So then the four goddesses, consorts of the Tatagathas, they enter and they start from here Kerkarmo in the navel and Mamake in the heart and no the Chima in the navel, correction, and Mamake in the heart and Kerkarmo in the neck and Tara in the head. If this text is someday translated, then you can read them very clear. However Je Rinpoche now will give just a brief explanation of them. This completes the 5 aggregates and the four elements that is the earth, water, fire and wind. But these four elements does not mean those 36

external elements like external water and fire and so on. So it means the solidity aspect of our body is the earth, and the liquid aspect that is the water, and the heat aspect that is the fire, and all the levels of energy or the wind or the energy, there are many levels up to the gross level of the breath. These are all the wind element in us. So these four goddesses are integrated with these four elements. So then the organs, the senses are the Kenshe, to that means the visual the eye, nose, and ear and tongue and body and the mind, then all the muscles and veins and nervous system which is all one, then all the joints, there are 360 major and minor joints. So there are 8 parts. So although it would be difficult to visualize or to think by one all these different elements and so on in your meditation. However, Rinpoche has explained it because we need to know these deities, how these deities correspond to our own parts. Then there are 5 sense objects, form, sound, etc. So the ones consort which is Vajratouch, then those other four goddesses, the Vajraform, Vajrasound, and so on, those five goddesses are the five sense objects. So then there are limbs, ten limbs, that means two arms, two hands. So usually there are five, we usually say five limbs, two arms, two legs, and the head. But here there are more because the two hands and two shoulders and a mouth and the secret organ and the two knees and the crown of the head, and the two heels. So these 10 limbs of our body become the 10 croadas. So the Sumbaranza is of the nature of the two heels, but there is one Sumbaranza and two heels. Before they enter, before Sumbaranza enters the Sumbaranza becomes two and so one, so they enter into the two heels and they stay there. So in the recitation of the sadhana it goes very smoothly. So it says the Vairocana in the head, it is all there mentioned in the sadhana, so to help our visualization. So with Vairocana in the head and Amitaba in the neck. So there is a

little correction Ratsambhava is not in the heart, but rather in the navel. The heart is the place for Akshobya, but there is no Akshobya yet, so therefore, Ratsambhava in the navel. Savranevaranagambeni, that is one of the Bodhisattva is in the sexual organ. So we should visualize them all inside the body, not something like a statue, but like a living deity inside our body. Then again in the navel there is Nircharochema goddess, one of the first...

Then in the heart there is Mamake, then in the neck there is Kurkarma, then Tara in the head. So Rinpoche says that in the sex there is, this is also a place for the Savranevaranagambeni which will come after. First the correction is I think the Ammogasiddhi, that is the Ammogasiddhi who comes first, not

the Bodhisattva. So this completes the five Buddhas, Tatagathas, and the consorts. Now comes the turn of the Bodhisattvas, so first Chittagharba. The Chittagharba also transforms into two, two bodies, and they settle in our visual organ, in the two eyes, two Chittagharbas. In the two ears there are the two Vajrapanis also in two. One Ahkashgharba in the inside of the nose and Lokitishvara, Avilokitishvara at the root of the tongue, and Manjushri in the heart and in the secret organ Savanievarana becomes in the Bodhisattva, and Maitraya on the top of the head. And Samabatra (or some of the batra) multiply 360 forms and they dwell in all our joints in the body. Now comes the Mahacroadas. So Yamandati in the right hand. You can visualize them right inside the palm or in the first joint of the index finger. In the left Ranjadati, left hand. And Iagiva or Pamadati in the mouth, that is again in the same place as

the Vajeataste goddess that is placed at the root of the tongue, the Hiagiva is also at the root of the tongue, where Avalokitishvara was. In the secret vajra there is Amitakundalini. Amitakundalini or Begnindati is the same. Achala in the right shoulder and Turkiraza in the left shoulder, Nelidanda in the right knee, Mahabala in the left knee, and in the crown of the head Ushnishachakravati, one who lived there on top of the mandala is now in the crown of the head. In the two heels Sumbaranza, two Sumbaranzas. So they are all complete, now all the deities are all complete. So these deities are integrated with the 32 parts of our, or qualities or parts of our body and mind. So these deities visualizing them in the different locations in our body is not very easy to visualize right from the beginning, but as one practices and acquaints one’s mind they are not that difficult, but this is one of the important

parts of the sadhana. So as Je Rinpoche has explained before the stages of dissolution at the time of death, and these various experiences, the mirage, the smoke, the spark and the dim light and then the reddish, the whitish and the reddish and the darkish and the clear light, those stages have been explained. So now we should, these deities in our body they now will begin to dissolve gradually, not all simultaneously, but by little group by group. At this stage then we should, this corresponds exactly to that process of dissolution at the time of the death and so we should in the meditation think we are going through the process and also experience those inner signs. So when we begin the recitation which is DAG YUR MY from my own body and then it begins the process of dissolution. So first the deities which dissolve Vairocana, so the first group which dissolve those deities of the form nature, everything to do

with the form, the earth element and so on, so Vairocana and Locana, or Chaima, then also the Bodhisattva Chittigharba who are two in the eyes and also the Vajraform, the goddess Vajraform, are also in the eyes and out of the Bodhisattva Maitraya which is in the crown of the head and Yamandati the croada in the right hand and also the Atilla in the right shoulder. So these deities, these first group of deities they dissolve, and they become empty in our body. At that time we should think that now the earth element of the solidity and the form aggregate as completely dissolved. When these seven deities dissolve, then one again gives very clear view of Shunyata so the mind, our mind which is in a state of great bliss, that is something which should be maintained all through, so that very blissful state of mind is completely absorbed into Shunyata, into emptiness. By dissolving all these deities of these parts of

ourselves, then we should think that our mind experiences this mirage like atmosphere. Now next move is Ratnasambhava in the navel, Mamake in the neck in the heart, the two Vajrapanis in the two ears, also the two Vajrasound goddesses also in the ears, then Turkiranza in the left hand, so Trukiranza in the right hand and no Pranidati in the right hand and Turkiranza in the right shoulder, no in the left hand and the left shoulder. So Ratnasambhava, Mamake, Pranjadati, and Turkiranza, this group dissolves into light and is empty again. So when these six deities dissolve, then again one’s mind is even more deeply, each time deeper and deeper absorbed into the emptiness, into the shunyata, and by this the state of bliss also increases each time. So that is the stage where water elements are dissolved into the fire so smoke like experience occurs in the mind. We should at this time think actually that we are going

through these forces of dissolution and the water element is now completely dissolved and it is smoke like experience occurring in your mind. The mind remains in a state of complete calmness and emptiness and blissful. Now next move is Amitaba in the throat, also the goddess Kirkarmo in the neck, and Akashagharba in the nose and Vajrasmell goddess which is also in the nose and Hayagava or Panidati in the mouth, and the Nelidanda in the right knee. So these five deities dissolve into light and become empty. This dissolving deities again cause the mind absorbing more deeply into shunyata, the emptiness becomes even more clear and also bliss also increased and one experiences that spark like atmosphere. One 37

should think that the fire element has dissolved into the wind. Now next goes Ammogasiddhi in the sex. So Ammogasiddhi in the sex and Tara in the head, Avalokitishvara in the root of the tongue. Also the Vajrataste goddess also in the same place, and Bodhisattva Savanevaranagambeni which is at the end of the organ, the secret organ, and also in the same place there is a Vajra ¬ so also one's consort which is on ones lap, that also dissolves through the secret organ, and by this then she also dissolves into light, so Vajratouch, that is Vajratouch. Then Begnindati or Amritakundalini is the same croada which is also in the sexual organ and also Mahabala in the left knee and all the Samantravajras in our joints. So all this big group of deities dissolves into light and becomes empty. At this moment we should think that this experience of very stable sort of dim light of the moving fire spots stops and then

the atmosphere is filled with a very dim, very dim and calm light.. Now comes Ushnishchakravati on the crown of the head. So that Ushnishchakravati dissolves into light. So when Ushnishchakravati dissolves, then we should think that our mind and also the experience of bliss and absorption into shunyata, this apprehension of emptiness becomes very very deep, the mind becomes very very subtle, much more subtle than those four previous stages. Then one experiences a whitish light. Next croada is Sumbaranza, so the two Sumbaranzas in our two heels dissolves in light and becomes empty. So by this then one experiences in that sort of whitish, very calm whitish light changes into an atmosphere or like a very clear space filled with some kind of dim reddish light. After that now there remains only Manjushri in the heart and Manjushri dissolves into clear light. As soon as Manjushri dissolves into the clear light then this experience of the reddish light and completely turned off, then there is like a black- out. So this stage is in two parts, first part remains conscious of this black out experience and the second part one becomes completely unconscious, without any object. So this is like a preparation this practice of, this meditation. We are training ourselves, combining this process of the death with the process of this meditation and so by this if one accomplishes this practice, if one makes a good progress in this practice, then there is the possibility after to change the process when it actually occurs. We are all subject to that sooner or later, so when it actually occurs, then instead of letting it sort of uncontrolled in the usual way, we completely change the whole process and then instead of normal death and intermediate and so on, we change it into a real path, path leading to the

enlightenment, changing the death into the Dharmakaya. So after that darkish and unconscious state of experience, then we again awake, consciousness again awakes and then one experiences a special, a very special object that is complete emptiness of everything and very clear, mind is very clear and very empty without any color, form, anything like that. That is the actual death and that is called the Clear Light, Basic Clear Light, or the Mother Clear Light State. So therefore, now all the deities inside the body have already dissolved up to the Manjushri, it is all finished. Now what remains is one’s own body of Akshobya, so that also dissolves completely and then this Clear Light experience is perceived. Now there are no more deities left. What is still left there are the seats, the seats of the deities are still there empty, because the deities have already left and disappeared, now only the empty seats are

there. So one’s own place is also empty. So at that moment then our consciousness has reached to the subtlest level or in other words the subtlest level of consciousness now becomes manifest and so this experience this total emptiness with no any phenomena appearance or fabrication is completely void and empty and also very clear. Not sort of dull state of mind, but very awakened and clear state of mind and very empty experience, also very blissful. Mind is in a very blissful state. We should then think that now you have reached the Dharmakaya, the actual Dharmakaya state of Guhyasamaja.

An example of this Clear Light is something like when there is no moonlight, no sunlight, but darkness complete darkness, like in the night. After midnight

in autumn when there are no clouds and the sky is completely clear, then a little after midnight if one looks up in the sky, then it has a special aspect. So it is completely without any, unchanged by any light or anything like this, but it is very empty and very clear, so something like that. All our usual thoughts and gross, the function activities of the consciousness have already stopped long ago, now this kind of activity is no more there and so the consciousness has become very fine and very subtle and it is in that absorption of the Clear Light. So the gross levels of the consciousness are already dissolved and the subtle levels have already dissolved and now the most subtle like the inherent mind, inborn mind is now awake and functioning. So although in our meditation the mind is still in the gross level and the subtle mind has not manifested, but we should imagine it, we should think that all these have dissolved and the mind is in it very subtle level. This way we should train our mind, then when we make progress in the practice of tantra, gradually it while we are still living not really dying, but in meditation this kind of process of dissolution can take place. So the three principles of the stage of generation are the three transformations, that is transforming the death into Dharmakaya, the Bardo into Sambogakaya, and birth into Nirmanakaya. This practice, this part of the dissolving of the deities and so on and dissolving ourself, that is the first stage the first transformation, death into Dharmakaya. In the stage of completion, this practice is in the stage of generation is a preparation to the stage of completion. Actually, in the stage of completion where one really gains the full capability, the power of the mind to transform, in reality to transform these three, the death, bardo and birth.

...instead of death occurring, one attains the Dharmakaya of the Buddha. In place of the bardo, one attains the Sambogakaya of the Buddha. In place of the birth which is without freedom and conditioned by karmic cause and so on, one attains Nirmanakaya of the Buddhahood. So the actual transformation takes place in the stage of completion; but for that one must train one’s mind and completely and also go through the training to change the view and so on, of the stage of generation. Without this, the kind of transformation in the stage of completion can never happen. So at this state the mind perceives only one object; that is this total emptiness. So that the appearance, the only appearance to the mind is that complete emptiness of every phenomena and we should also understand and the mind should understand this is not just sort of emptiness like space, but it is the ultimate nature, the shunyata of the phenomena.

So the appearance is total emptiness, understanding is shunyata, and the experience is great bliss, the highest state of bliss. So the mind must have these three qualities or the aspects that apprehension of the total emptiness and of the understanding of the shunyata and the experience of the great bliss. That mind which has these three qualities, we should think that is the Dharmakaya which we must obtain. So this is called the state of transforming that into Dharmakaya, that is the most, one of the principal essential practices in this sadhana. Without this, although one recites and so on, it just, the real essence or the real meaning is lost. So a short break. 38

Now after this Dharmakaya transformation, then follows the Samboghakaya, generation of the Samboghakaya. Generally there are three ways of generation of Samboghakaya. The five stages which is called Winjungnyke and then generation of the three stages, four stages and three stages, Dorje Sheke, and then three stages. All these for the Guhyasamaja, Yamantaka, Chakrasambharva, Vajrayogini and so on for these tantra are all according to the first, according to the five process of generation, that is the most elaborated. So this five process is called the five process of full accomplishment. So that full accomplishment refers to full accomplishment of the five guanas or five wisdoms of the Buddha.

So Je Rinpoche has just explained that is not need to be translated, now all these five stages of accomplishment which are in other tantras like Yamantaka and so on, they are complete in all of them, but there is a slight difference, some are more easy and some are more complicated because they are taught for the disposition of different sentient beings. However, they are complete in all of them and this one is one of the most elaborated one, this tantra, so it

will follow afterwards the process of the accomplishments. So now we are now in the state of that total emptiness, the Dharmakaya. The seat, the sun disc is still there. So now HUM appears, ones blissful state of mind takes the form of the HUM which changes into another sun disc. So this would be now sort of a double sun disc. So on top of that sun disk appears OM the letter OM which changes into a moon disc on top of it. Out of the moon appears the letter AH which changes into a lotus with 8 petals. On top of the lotus there is OM AH HUM one on top of the other, OM then AH, then HUM. So then they all dissolve into one so then the sun, the moon, the lotus and the letters they all transform altogether into a large moon disc. So from this rays of light go out and

touches all the world, every place, the mountains, the forest, the ocean, everywhere, it touches every world and it dissolves all of them into light. Together with the worlds then also the rays of light transform, also the sentient beings have dissolved into light, into the rays of light, and they are all absorbed back into that moon disc, the large moon. So when we recite the mantra DHARMADHATU SOBAWA AMOGO HUM, so at that moment then everything has dissolved into that moon. Now that moon is one’s self; that is one’s body. So all the phenomena, they are all imputed by one’s mind and projected or imputed by mind, and there is nothing which exists from their own side. Therefore, the seed or the essence origin of all the phenomena, that is the mind

and the energy, it is energy which is with the mind, mind and energy. The subtle mind is subtle energy. So that is the nature of every phenomena. So we should think that this moon has this essence of the energy and the mind. So then out of this moon disc appears a letter OM. Then AH, then HUM. So OM AH, HUM. OM white, AH red, and HUM blue, one on top of the other on the moon disc. So from these three letters, three colors, rays of light go out. So these rays of light invite all the Buddhas from every direction, all the Buddhas included in the five families, they are all invited. They are all absorbed into the three letters. After the absorption of the Buddhas into these three letters, then the letters change into vajra with tiny OM AH HUM inside the center

of the vajra. So now we have become vajra. First we were a moon, now we have become a vajra, and we recite VAJRA AMOGO HUM that means "I am of the nature of the vajra". The moon still remains and now on top of the moon is vajra. First we are on the moon, now we are vajra. So the origin or the seat of that sun disc is still there, so on top of that there is this moon now and vajra, which is our body. Now this dorje with tiny letters inside, they all change. Then we become the primordial Buddha or the first Buddha, that is Vajrasattva, Vajradhara, white body, three faces and six arms, holding the same except for the difference of the color, but holding the same implements in his hands, adorned with ornaments, garlands, and like as usual, without a consort. The

reason why this first Buddha, or the first body, Buddha body, is Vajradhara is visualized in white color is that in the actual attainment of the Buddha body, in the stage of completion, end of stage of completion, when we attain what is called the perfect illusory body, so this perfect illusory body is caused by the subtle energy which is the mount or which is always a companion with the subtle consciousness That subtle energy's natural color is whitish, so therefore when the illusory body is produced by this, in the future when the illusory body is produced by this subtle cause, this subtle energy, so since it's natural color is white the first illusory body is always white. So corresponding to that we are already visualizing the first body of ourself as

the Samboghakaya the white Vajradhara. So this white Vajradhara we have become now is equivalent of ordinary Bardo or intermediate being. In our normal process then we go through the process of dissolution, we reach the basic Clear Light state and remain there for some time without any control, just remain there for some time, then the consciousness lightly sort of moves, agitates, then immediately at the same moment then the Clear Light experience ends and the consciousness already has departed from this broken complete relation with this existence and immediately it is, the Bardo body has formed. The Bardo body is not like our body, gross physical body, but it is made of energy, like dream body, and usually the Bardo being, as soon as one is in the Bardo state, in the usual case then Bardo is it is the common experience of Bardo that it is a very lonely experience. One feels very lonely in the Bardo, very lonely and uncontrolled, without any freedom to move or to leave or to stay, one is constantly sort of running about, wandering about, sort of pushed about by the force of ones karma and reaches everywhere. Then, depending on the cause, the karmic cause one has accumulated sometimes one encounters very frightening and very confusing experiences and appearances come to the mind and then suffer very much until one finds ones future rebirth. So now here we are sort of purifying that state and changing it into the Samboghakaya state. So here actually, Bardo being must be explained in detail. However, there is

not very much time. One can read a little bit about it in the beginning of the Vajraturge books. But the most accurate explanation about the Bardo is found in the sutra, especially in the sutra which Buddha taught to his disciple Nanda which is called "The entering into the womb of the Mother", the sutra is called. There the very precise and accurate explanation of Bardo is given. So anyway, these Bardo sentient beings and out of attachment they return to their own home and family whatsoever. Of course the family members and so on being unable to see them, so they are ignored. So that hurts their mind very much and they suffer very greatly from this ignorance of the people. So now in place of, in a normal Bardo, then going through all the experiences of

confusion and running about, always keeping busy and encountering frightful experiences. In place of that by purifying that then here this Vajradhara, Vajradhara Samboghakaya Vajradhara form has to now perform various activities of the Buddha. So now we are in the body of this white Vajradhara and now all the Buddhas in ten directions in the form of Akshobya, they enter in blissful union with the consorts. So the Buddhas in Akshobya form absorb into blissful union and by this blissful union then countless forms of Akshobya are produced and they gather above us, above the mandala in the space, filling the whole space. So these Akshobya Buddhas that are gathered in the 39

space, they bless all the sentient beings in the samsara, and they purify through the rays of light and fluid of amrita coming from their body and completely washes away all the impurities of the sentient beings, and the sentient beings attain a high state of bliss without any fault. Then these Akshobya Buddhas then after completing this work to help the sentient beings, they all gather just above our body. They all merge into one body of Akshobya and that is just straight above our body. So now like normally, the consciousness of the Bardo being enters into the womb of the Mother. Like that, we as

Vajradhara, white Vajradhara, must enter into the body of the Akshobya. So one is raised from ones seat and entered into, absorbed into the Akshobya or one doesn't need to jump up from ones seat. So this time instead of the Akshobya entering into our body, we enter into Akshobya's body. When we take rebirth, parents do not enter the Bardo, the Bardo enters into the parents. It is symbolic of that. So this is like a purification of the Bardo going through the various activities, that is confusions or experiences and then trying to enter into the Mother. So when we are in the state of Samboghakaya in that white Vajradhara, the Samboghakaya form. The Samboghakaya is like extraordinary form of the Buddha which cannot be seen, cannot be perceived by ordinary sentient beings, only Bodhisattvas of certain level can see it, but ordinary sentient beings have not the possibility to have contact with it. But now when we enter into the Akshobya then we are taking the Nirmanakaya birth and we are becoming visible and apparent to all the sentient beings, even to the lowest one. So here we need to know how the process of taking rebirth for an ordinary human be ng. So usually Bardo beings go through this experience of confusion and disappointment and sadness and also sometimes in tantra some frightful experiences like burned into a fire or sometimes buried under the earth or sometimes drowned if the water and like that, many experiences, sometimes chased by other beings and so on, various experiences like that. If a person is a good

meditator, then when he encountered this kind of experience he can remember that one is in Bardo state and one is in fact encountered with illusions of the Bardo and this is very helpful. So one thing which Je Rinpoche has forgotten to explain before is when ourself, in the form of Samboghakaya Vajradhara, enters into the Akshobya body, becomes one with the Akshobya body, then we come down and sit on the cushion. Then we have transformed from the Samboghakaya body into Nirmanakaya Vajradhara or Vajrasattva. Now we endow blue body; a blue body with three faces and with all The respective arms and things in them. So it is very necessary, very important for us to know exactly what happens at the basic death and Bardo and so on, because it is quite difficult to

accomplish the whole path in this lifetime, since our life is rather short and the practices are many. So therefore, although we cannot accomplish the goal, the final goal in this life, however, if we know all these processes we must go through, then it is very helpful for us to be prepared for the right moment and right situation. First we go through that total empty experience, then next moment we are in Bardo stage, and the Bardo stage is just like when one is in a dream. This body is also like a dream body, like mental body. The Bardo being is like a little feather in a big storm and wind. It just moves about like completely crazy and it doesn't need to make any effort to reach someplace. Wherever one thinks, where one intents, there one reaches, instantly

one is there. So it goes through many things, mountains, walls, nothing can stop. So like in a dream, then many Bardo beings they do not really realize that one has actually died and is in a Bardo state, so one thinks one is still living in an ordinary way with all the old acquaintances. So therefore, one goes back to one’s house and tries to do everything as usual and since there is no response, no reaction, nothing, no fruit, no response, then that gives a great suffering and a feeling of disappointment in the mind of the being. If we know these from now well and prepare for it, then actually when we face the situation, one will realize, one will be able to realize where we are and what we have become and then apply the remedies, the helps to like even taking refuge in the Triple Gem at that moment and practicing mindfulness of the Triple Gem, mindfulness of the guru and so on at that moment, it helps very much. Those Bardos with fortunate karma who is going to take a fortunate rebirth as a human being or in higher forms, like gods and so on, then the Bardo body is also radiant, more radiant, like golden or very white or golden body, very radiant and also it is going through light. There is always light for the Bardo.

If those bardos who are going to take rebirth in the unfortunate realms like hell, pretas, animals and so on, their bodies are the color like a river, like

water, also sometimes like a burned piece of wood. Also such beings also experience, feels like it is walking on the knees or walking upside down, that is how the being himself feels. A person who is prepared if he faces this kind of experience, some inauspicious signs like that occurs, immediately realizes that this is not a very good sign. So immediately then one can seek the help or pray to the Triple Gem or pray to the gurus and so on, so there is still a possibility to reverse the destiny. Also sometimes the faces like one is buried completely under like a landslide or like an avalanche coming over us and completely buried and very frightful. Sometimes drowned carried away by very violent river like a flood coming and completely carried away. Sometimes one

reaches a place that is completely on fire like a forest on fire or big house on fire like that, and one is caught in it and then again experienced very paranoid and very frightful experience. Sometimes one is completely carried away, blown away, like a big storm like a tornado, hurricane like that, one is completely carried away and experiences great fear. So if the person is prepared at that moment, then one realizes that it is all illusion, "I am a bardo being which cannot be harmed by water, fire, and this kind of thing. I am not a physical body and I shouldn't be frightened. This is only an illusion of my own mind. So one, instead of being worried about this, one concentrates and one meditates or one prays and this way one can change the process again.

Sometimes one faces a very frightful, encounters a frightful being like a monster or like that, very large with a very frightening appearance or very frightening animals or frightening monsters like that chasing one’s self and throwing things at you and so on, again very scared. If one develops a good acquaintance with this kind of practice while we are still living, so when at the end of our life when these process of dissolution start to take place, then one will recognize this and then one instead of being frightened or being confused, then immediately one generates the motivation to really go through these stages very with a full control of the mind and also without forgetting ones practices and ones meditations and so on and also to use the last of the

Clear Light experience, to use it as an opportunity to realize Shunyata. Although we cannot realize shunyata, one may realize depending on one’s practice, may not realize. However, try to sort of intend to do that. If one has such a power of the mind then everything as one goes through these stages, then one will be, one can still remain very conscious and fully controlled and also Clear Light stage can be integrated with the practice of meditation which is a very useful opportunity, for the mind is very subtle and there are many possibilities there. Also as one leaves this life, if one has a good power of the mind one can, of course if someone is very 40

advanced then there is no more Bardo coming, but if not, but still if one goes from this world from this life with the full intention to remain fully conscious and controlled during the following stages, during the intermediate stage Bardo stage, then by the power of this motivation, then as soon as one

is in Bardo one would know where one is and what has happened to one’s self and then one can immediately make use of that stage too and meditate on Bodhichitta, meditate on his personal deity or take refuge or meditate on ones guru, or whatever necessary, then there is no danger of any kind. So therefore, the Bodhichitta development and acquainting one’s mind with the Bodhichitta is very essential. It is something which is helpful which we need always in this life, in Bardo stage, up to the fully enlightenment, we need always Bodhichitta. This foundation must be there all the time and so especially at the time of need, Bodhichitta is the best help. If one dies and one’s mind is in a state of Bodhichitta so that is the best way. Also if one can die in a state of mind fully devoted and mindful of the guru, ones guru, that is also one of the best. So then if the being is going to take rebirth as a human being, then the Bardo being is led by its karmic instinct karmic force, led to his future parents and it sees the parents in their sexual union and one is sort of attracted, one is sort of led there out of attached mind and if the child is going to take rebirth as a male then it is more drawn towards

the mother and if the child is going to take birth as a female, more close or drawn or attracted to the father. In this way, depending on the kind of attachment the being has, then one reaches ones parents. So the Bardo life ends with great attachment and disappointment and by this then the Bardo life ends and the consciousness immediately simultaneously the consciousness has already entered in the cells of the parents. Then there is no, all the senses and organs have not yet developed but still the consciousness, the mind consciousness is there and already the body consciousness has already developed,

although the body is very little it is only like a drop, but still it is a physical body and so that body consciousness already has developed. So then it goes though, various energies developing within the body and which helps to develop week by week the body and starting from the drop of cells and then after five weeks then it has already become quite gross. So like that then going through the stages of development when in the womb of the Mother and when the days are all complete, the months are all complete, then we again come out of the Mother and become visible, we then become visible object to other

people. So from the first moment the consciousness entering into the cells of the parents, although the body is very little, just a bit of liquid, however it is already a human being. A human being has all started. Therefore this kind of, out of ignorance then the people who makes abortion and like that, who destroy that little body, although it is tiny but still it is a being, it is a destruction of a human being. Those beings with the fortunate karma, those bardos of fortunate karma, who take a good rebirth as a human being or otherwise, then when bardo life ends and when they actually take a rebirth, they experience more pleasant, more pleasant and agreeable experience like one is sort of standing up sometimes or sometimes one is entering into a very beautiful mansion or sometimes one is sort of climbing up a stair. This kind of experience one gets before such a rebirth. Those human beings although have a karmic seed for taking rebirth as a human being, but with very little stock of merit, then when they enter in the womb of the Mother the bardo being experiences as he was being chased by something or running away from rain or something like that and escaping and hiding, like finding a hiding place and

this way it enters in. Those with very fortunate karma and good stock of merit and also with power of himself, then he can choose his future rebirth, choose the parents, the right place, the parents then out of free will then entering into the Mother. So since we are all subject to death and no one of us who has any guarantee, not only we all must die, but we also are not very far from it, most of us. Here in this group, the oldest is Rinpoche. Then all of us we are all near Je Rinpoche or some of are coming nearer and nearer to Je Rinpoche. So therefore we are not very far from the end so we must always keep

that in mind and try to practice dharma as serious as one can. If one can practice some dharma in this life then the imprint, it always definitely leaves a very good imprint in us which will be very useful and very helpful in the future. So that's all for this morning.

After becoming the Nirmanakaya Vajrasattva now we should visualize the body mandala. Now the mansion, house or the mansion is still there which we have created before, as well the seats of the deities are still there. Now one’s self in the form of Vajrasattva, the front, the back and the two sides of the body then is integrated with the mansion. So that doesn't mean that our body will fall into pieces or taken apart, but our body remains as it is and from

the front, from the back and the two sides of the body a second emanation, second form goes out and integrate in the walls. So the four corners of the four walls have become part of our body, they have become integrated with our body. Then the nose, the mouth, and the urinary organ and anus, these four passages or four doors, again a second emanation they go out and absorbed into the four doors, four gates of the mandala. At this point we should also think that our body contains now a pure energy, not the kind of energy gross energy as we ordinary energy we have, which causes all the agitation of the mind which gives rise to all the various conceptions, but these have already been purified of going through the transformation. Now we have only the pure energy. So then the five energies which we have inside in ourself which are the supports for the five wisdoms of the Buddha, the mirror like wisdom, the

wisdom of equality, discriminating wisdom and wisdom of action and the Dharmadhatu wisdom or the dharma sphere wisdom. All these five wisdoms each of these five wisdoms has a particular energy to support it. This wisdom energy which has five colors, they dissolve, they absorb into the walls. As Je Rinpoche has explained yesterday, these walls have five layers, five layers with five colors. Starting from the outside the white, yellow, red, green and_ blue and they each layer is about four fingers wide. So these five energies with the five colors going out of the body second form of the five energies going out of leaving the body and absorbing into these five layers of the wall, and it transforms that wall into also part of our body. Then the consciousness of the tasting, the tongue consciousness absorbs into the pugoo which is the thing on top of the wall. Then all the intestines of our body absorbs into these

precious garlands or ornaments, ornamentation hanging on this pugoo, then the muscles and the veins of the body they absorb into the little details of that garland. Then the white seminal fluid is absorbed into also part of this ornament which has some mirror which is all around, is transformed into those. Not mirror but crescent, moon crescent. There are many moon crescents, it Then the visual consciousness is absorbed into the mirrors. The smelling consciousness is absorbed into the flower garlands around the house. The tongue absorbs into the bell handing around the corners of the building. These are decorations around the house outside, and the bodily organ absorbs into the layap, how do you call this thing to dust with the little handle and then this sort of tail, like duster, there are many dusters, beautiful white dusters. So these are all a part of these decorations. First there are these garlands going like that, then inside these garlands there are some little 41

ornamentations hanging down like this in these curves inside. At the end of these sort of fringes which is hanging there are some forms of moon crescent and bells hanging at the end and little mirror and things. Now the ear consciousness and the body consciousness, they are absorbed into those banners and

things which are standing on top of the gateway, that thing, that special little roof at the outside of each gate which we received yesterday. Those banners and things which are put on top of the each gate, those two consciousnesses are absorbed into them. Then the legs, the two legs so now two legs, two thighs and two arms and upper arms and lower arms, the eight pieces absorbed a second form of these absorbed into the eight pillars So these eight pillars are not the ones which are inside the mansion, but they are outside as the wall goes like that, through the corridor and comes out and then goes like this, at the end of each wall there is a pillar so those pillars. So these limbs, a second emanation of these limbs, are absorbed into those pillars and those pillars become a part of ourself. So as we remember, the inside the mandala there is the inner circle of deities and there is outer circle, and there just there also those eight vases. There are eight vases, red vases filled with amrita. So our abdomen, a second emanation of our abdomen is absorbed into those vases. Inside each corner of the building there is a special ornament which is a crescent moon and then a jewel and a vajra top. Also outside of each corner that is on that stage where those goddesses were standing, at each corner there is again the same ornament, the moon crescent, the jewel and the vajra. Also they are in each of that the wall goes like that and the corridor then it goes like that. So from outside if you go around, if you

circumambulate around, then there are two corners where the corridor is, there are two corners there and there are also such ornaments. The hearing sense organ, the ear organ, emanates second forms and absorbs into those crescents and vajras. Ones aggregates, the five aggregates are absorbed into those five paths on the floor of the mansion as well as on the ceiling, they are in five colors, starting from the East they are white, yellow, red and green center and blue. The five aggregates are absorbed into those. Then the secret organ, then navel, heart and the nose absorbed into those four tubo, we call that thing, that kind of special decoration on the outside of each gate which is supported on pillars, remember that rather complicated thing? It is absorbed into those. Our visual organ, the eyes are absorbed into those on top of the tubo there is a decoration, the wheel and the two deers. So there are four wheels so our visual organs are absorbed into those wheels. The mental consciousness, our mind is absorbed into those deers, eight deers. The inner organ, smelling organ is then absorbed into a banner which is on there, on those four places. Our mental organ is absorbed into the lotus on which the deity is sitting. So this way our body, from the part of our body, a second emanation is absorbed into those different objects in the mandala. Thus the mandala has become a part of ourself, has become a part of our body, so it becomes a "body mandala". So previously the mansion was something which was created by your

mind and it just existed, but it was not really a part of the body. So now here, through the absorption of these parts of our body into them, then the mansion although it has the shape of the house and so on, it is still a part of our body. Now that is the creation of "body mandala" outside one’s body in the mansion.

Now after this we must visualize the body mandala within the body, so again all the five aggregates, the four elements and so on all the 32 parts of ourself, our body must be transformed into the deities. Therefore first we visualize an OM in our head, a white OM which is of the nature of the form aggregate. So we visualize the boundary of that is from the crown of the head up to the forehead where the hair ends. That OM changes into a Vairocana as