We see the world when these letters within the body are purified through yogic practice, that we see the vision, the pure vision of enlightenment or the enlightened forms about us. So that these 50 skulls which he wears represent that inside the body there are these 50 letters which are in the purified state, so that one sees the world with the pure vision. And also it says that he is adorned with six ornaments of bone. The six ornaments of bone, first of all, Yes, I do. What do you do for a living? Do you drink alcohol? Yes, I do. What do you do for a living? [...] What So, on top of your head actually, which is about, if you start from the level of the eyebrows, about 12 finger widths back going up, there's actually a double badger which is standing upright.

[01:10]

Actually, this I forgot a long time back. But anyway, it's up there, just in front of the neck of the upper face. And this actually is a double vajra, which is turned up. The bottom part, again, is like the double vajra on the skull cup. The bottom part is white, and then yellow, red, and green. So it's standing upright. And then just under that, actually underneath the head itself, or on top of the head but lying flat, is a wheel made out of bones. And this is actually the first of the six bone ornaments. So it's a wheel with 30 with spokes on it. And then from the edge of the spokes, little tassels hang down made out of bones. So sort of curve around the wheel. So on top of your head. sort of underneath where the double bodger is, lying flat, is a wheel, circular, with little tassels made out of bones also coming around it. And actually there's 32 tassels that come around like this. And then in between the tassels and the wheel and everything, all the yellow hair is coming out, or coming upwards.

[02:15]

So the 32 tassels of this head ornament represent actually the top of the head. according to the Vajrayana teachings, within the top of the head there is a 32-vein-petaled chakra, or a chakra made of veins, and there's 32 veins, and this actually, with the 32 loops of the head ornament there, represent that this is the purity of this chakra, which is within one's own head. The next ornament, actually, is the dhivajra. Each of the faces has earrings. These are actually also made out of bones, and they're sort of like circular in shape. And then hanging, there's another one interlaced with it. So it's sort of like there's two circular bones that come down. So the first one comes out of the ear, and then another one hangs down from that. So like there's two sort of circles, circles of bone on each ear. And this is the ear ornament. Then around the neck,

[03:17]

There is another bone ornament. So around the neck, actually, there's another bone ornament. Here, actually, it's like a flat piece of bone, not very wide, on which actually there's like offering goddesses which are drawn. And there's three of these which hang down, so that one towards the front and one on each side. And then in between those three, and then going around the back, there's It's like taking a rosary of little bones and they tie these together, so actually coming across, holding these together. It's like if you take a rosary, these little beads, and then you string them together from one of these flat pieces of bone to the other one, and then to the other one here, and then the strings come back behind and tie together.

[04:18]

And then hanging down from this necklace, there are 16 little loops or tassels of bones. And these 16 tassels of bones then represent that within the neck, actually, at the throat, there is the 16-vein-petaled Sambhoga Chakra. The veins of that chakra there at the neck are symbolized here by these outward 16 tassels, and also that they're in their pure state. Then, after that, there's around the wrist, and also the upper arms, and then also the ankles, there are bracelets and anklets, which again are sort of like little flat pieces of bone, and then with strings of bone tying them together around the arms and ankles. Next, at the breast itself, at the chest, there's, in the center of the chest, there's a a wheel of eight spokes. Behind also, in the middle of the back, there's another wheel of eight spokes. And then, from that actually, these, what do you say, again, like the string of bones come back to tie that from the front wheel, which is in the middle of the chest, to the back wheel, which is behind, and then tie them together.

[05:38]

So it actually comes down like this, like a string comes down A string of bones come down to the wheel in the middle of the chest. And then also there's one to the back, in the middle of the back. And then from that, actually, these other bones, string of bones, come to tie these together. And from that, actually, also there's little tassels that hang down. And there's eight in number here. And this is to represent that the heart is the eight-veined petal dharma chakra, and that the eight veins of the dharma chakra are in their purified state there, in the middle of the heart chakra. And then, at the waist, there's sort of like an apron of bones also. Again, what you can do is visualize these flat pieces of bone with Offering Goddesses drawn on them. Either you can visualize three to be there, or five. And then from them, again, there's a string of bones that come across to tie them together. And then from that, there are little circles. like circlets of bones, and then tassels come down hanging all these together, sort of like an apron that comes down in front, tied together with 64 little circlets, or I don't know what you call them, ringlets, I guess, ringlets of bones held together by strings, strings of other bones, rosary bones.

[06:57]

And these 64 little ringlets of bone here represent that at the navel is a 64-vein peddled nirmana chakra, and that here, actually, outwardly, these 64 ringlets represent this inner vein chakra at the navel. So actually this then is the six ornaments of bones. The one at the top of the head, the ear ornament is the second, the necklace is third, the anklets and bracelets are the fourth one, the breast ornament is the fifth, and then the apron below is the sixth. This actually is for Hivaja. Other female goddesses such as Vajanarathna and then also the goddesses of Mandala only have five ornaments of bone. The one that they do not possess actually is the breast ornament because actually that one itself represents wisdom. These also can represent like the six perfections and that one represents the perfection of wisdom. So, since the goddesses or any female deity, by her own nature, represents the perfection of wisdom, she does not outwardly have to wear that bone ornament which would also represent that same wisdom.

[08:04]

So, for that reason, the goddesses or Vajranatmani do not wear the sixth or the breast ornament. And the Hivadra, since he represents more of the nature of method or compassion outwardly, then he wears that sixth ornament, the bone, which represents wisdom itself. then after that it says that he has four legs, and the two right legs are stretched downward, so actually they're coming down slightly bent, and the toes are pressing down on the top god, on the black Shiva, right on top of his heart, pressed down on him, and the two left legs come up and are sort of like in a half lotus position, so the toes of the two left legs come up and press down on the thighs of the two right legs, and here again, just like as the shoulders that he has on each side, there's sort of like two hips, so that from each hip, separate hip actually, that one leg comes out on both sides. Next it says actually that, Hivadra, he is possessed of the nine emotions of dancing, grace, fearlessness, and ugliness, laughter, ferocity, and frightfulness, compassion, fury, and peacefulness.

[09:12]

And these actually are known as the nine moods of an enlightened being. Here, actually, the first three representing the body, the second three representing the voice, the third three representing the mind. So three moods of the body, three moods of the voice, and three moods of the mind. So here, when it says, actually, that his body, in other words, has these characteristics of grace, fearlessness, and ugliness, grace means, actually, that it has a very beautiful form. such as possessing the 32 major signs or marks of enlightenment and the 80 minor marks of enlightenment. And this actually represents the visions of ignorance, ignorance itself. And the second of fearlessness represents actually having desire, desire to destroy, for example, desire to destroy the formatas or desire to look upon sentient beings, then ugliness actually just shows a feeling of hate or anger.

[10:21]

So in other words, actually, these three moods of the body, or actually all nine, for example, body, voice and mind, represent the afflictions or defilements of desire and hatred and ignorance, that they are purified or transformed by the enlightened being, so that the three defilements of the body are here seen to be transformed through his possessing those moods of grace, fearlessness and ugliness, so that grace, representing ignorance, fearlessness representing desire and hatred, or ugliness representing hatred. Then the next three, for the voice, laughter, ferocity and pridefulness, the laughter, like he laughs at the world of existence, again representing ignorance of the world. Ferocity, like for example from his voice comes the words home and for frightfulness or hatred, again showing such words as pet or violent expressions or violent explanations.

[11:26]

So again, showing the three moods of the voice to also show transformation or overcoming of desire and hatred and ignorance. And then finally we have compassion, fury and peacefulness. For the mind means compassion for sentient beings, looking upon sentient beings with this idea of desire. fury to destroy the evil of the world. So in other words, the mind which has this idea of hatred in it, and then peacefulness, showing ignorance or the ignorance of the world to overcome this or transform this. So in total then, these nine moods represent the three aspects of body, voice, and mind in conjunction with the three defilements and overcoming these or transforming these. So this is known then as the nine moods of dancing. Dancing is showing actually the activities or the play of the defilements, the play of transforming them into wisdom or transforming them into enlightened nature. Then it says, in his lap, so in union with Hivadra, standing with him, in union, is the mother consort, Bhajanairatmiya, who is of the nature of wisdom itself, nairatmiya, meaning actually emptiness or selflessness.

[12:38]

So she also here is blue in color, dark blue in color, again, blueness representing the unchangeability, unchanging quality of the ultimate truth. And she has one face, two hands and three eyes, the one face representing that in the ultimate truth that all dharmas are of the same nature of emptiness, that they are of the same nature of having one taste or one reality to all of them. one aspect only the two hands represent that she possesses uh... totally uh... the two truths the relative truth and the ultimate truth are possessed within her own mind stream uh... the three eyes uh... just as with Hivaja represent uh... the three types of suchness or the purity of the deity's body deity's mantra and also transcendental wisdom uh... her yellow hair twists upwards uh... signifies actually that all the qualities of enlightenment are increasing, they're going upwards, they're increasing, spreading, always growing and never decreasing or degenerating.

[13:41]

Then it says in her right hand she holds a curved knife, a curved knife representing that all the defilements of like desire, hatred, ignorance, jealousy, miserliness, all these afflictions or defilements are completely destroyed or cut off by the symbol of this curved knife. And this is held up on the father's right shoulder, and then the left, or actually the father's left shoulder, and then the right hand, which embraces the father, or Hivadra, holds a skull cup. And the skull cup here actually is filled with nectar, which represents here that this is the nature of the bliss of transcendental wisdom, so that she's possessed of this nature, or this bliss of ultimate enlightenment. and then it says actually she has a necklace of fifty skulls and five ornaments of bone so the five ornaments of bone around the head is the same as with his Vajra and then also the fifty skulls here actually, Vajra as we said, possesses a necklace of fifty fresh heads, Vajra Narottami here, fifty dry skulls they have the same meaning of representing the

[14:49]

purity of the 50 letters within the body within the veins of the body and the reason actually that one is wet and one is dry and the wetness shows actually that Hivadra's nature is working for sentient beings through the method through compassion so working for sentient beings doing these activities it's a bit wet or messy like that that kind of idea that there's a a flow to it, whereas Vajranairatmiya, hers actually, the skulls are dry, which represents emptiness itself, that she is of the nature of wisdom as opposed to compassion, so that the activity is a decrease in activity, it's just a maintenance of this idea of emptiness or wisdom itself. Then it says her left leg is outstretched, so her left leg is down, also on top of the maras, the four maras under the feet. And the right leg comes up and embraces the father consort. so that she's in union with him and then it says both are standing in the midst of burning flames of transcendental wisdom so that from their body issue forth these very bright flames of of transcendent wisdom of knowledge which again comes out to burn away or destroy all the defilements and afflicting and all afflictions her feet there also represent actually the combination of method and wisdom that she possesses these

[16:11]

and there it says that for the eyes it's moha-vajra like this actually this means for the eyes of both the hi-vajra and also vajra-naradnya then also for the ears dvesha-vajra and for the nose matare-vajra like this these actually are the forms of small little goddesses who appear within these different organs of the body so that within the eyes there's this white moha-vajra who actually here is of the nature of, representing the Buddha Vāruchana. At the ears is Blutveśa-vājra, who's representing, or the nature of Akshobhya-vājra. At the nose is Jala-matsarī-vājra, who's the nature of Ratana-sambhava. At the mouth is the red Rāga-vājra, the nature of Amitābha. At the body, or for the body, which means actually at the forehead itself, is the green Hirṣya-vājra, representing the Buddha Amogha-siddhi. For the mind, which is in the heart, or at the center of the body, is the black Narottamya Yogini, who again represents Akshobhya. Then at the top of the head, so higher up on the head itself, is the white Kayavaja, representing the Buddha, Bhairavacana.

[17:18]

At the throat is the red Bhagavaja, representing Amitabha. And then at the heart is the blue, or black, Cittavaja, again representing Buddha Akshobhya. So here, actually, it means that these organs of the body are the nature of the five Buddha races themselves, or the five Buddhas. Sometimes, in some sadhanas, we'll see these be male, sometimes female. Here, according to this teaching, they're seen as little goddesses. What you can do, then, at these various places, like within the eyes and the nose and in the middle of the tongue and the forehead, throat and heart, is to visualize, like the reflection in a mirror, of a small little image of one goddess standing there. And here, actually, not only that, but actually within the eyes and nose, there are certain veins which form there, according to Vajrayana teachings. And when these veins are formed there, actually, due to the vein being there, we have the potential, or actually the actualization of seeing different forms in this world. And when there's these little veins in the ear, that we hear different sounds of the world, or when there's a vein in the nose that we hear or we smell the odors of the world.

[18:23]

So that without these veins, actually, the senses wouldn't be functioning. So here, actually, it is that these veins themselves take the shape of these goddesses, according to this teaching, and that these then are actually found within the body, physically found within the body. But if you wish, you can just sort of visualize them to be like a reflection that you would see in a mirror. and the purpose of these actually is that uh... what we want to do according to the Vajrayana teaching is to transform this entire world that we see from the impure uh... vision that we have of the world into the pure vision so when the veins are in their impure state within like the eyes or ears then we only have we see forms or hear sounds but when they're transformed were purified into being the deities here, like the Mahavajra and Dvesavajra and Matsaryavajra, then actually all the visions and appearances and sense, sensual contact, contact with the senses, actually are transformed into the divine forms.

[19:24]

And this is possible because these deities naturally reside within those veins in their pure state. So what this does then is that the purpose of this is that eventually it's to transform our impure vision, impure sense output into the purity of the enlightened forms. Temporarily what it does is if we know that these deities are within the senses, that it helps us to block obstacles to our path. That instead of like, you know, seeing ordinary forms and being attached to forms or sounds, that we realize actually this is actually the functioning of deities themselves. So that this acts as a protection, like a real protection for our own body, our own sense perceptions. So it has both these functions and Yes, actually, within this small goddess within the heart, Chittivadra, inside of her heart, you should visualize a small blue letter, HUM. And from this letter, HUM, many light rays issue out, and these light rays issue out to invoke all the Buddhas and Bodhisattvas who dwell in the various ten directions, and who here now actually appear in the form of Hivadra,

[20:38]

in union with the consort Vajra Narotmaya, and all these return then to reabsorb into oneself. So when you recite the mantra Om Vajra Samaja, you visualize the light rays going out to invoke all these Buddhas of the ten directions in the form of Vajra with consort, and with the words, Jau Hum Bhaum Ho, that they all return to one, and are absorbed into one's own body so that one's self and these visualized forms of the enlightened beings, their blessings in other words, are absorbed into one's self and then one becomes non-dually merged together with them. uh... what happens here actually according to the sadhana that the first creation of yourself in the form of the deity this visible aspect is known as the pledge aspect of the deity or the samaya aspect of the deity and then when you invoke this transcendental wisdom of the deity or you invoke all the buddhas and bodhisattvas this is known actually as the transcendental wisdom aspect of the deity or the jnana aspect of enlightenment, so that when these two are merged together, the pledge aspect and the transcendental wisdom aspect, then one's body and mind are completely purified in the state of the enlightened being.

[21:45]

And this is the purpose, actually, of doing this invocation and this invoking, and also merging together of the transcendental wisdom aspect, or the mental or the mind aspect of enlightenment, as well as the physical or body aspect of enlightenment. Next, in order to receive the consecration of the five buddha races, again that you visualize from that home in the heart of Chitravatra, who's inside of your own heart, light raises you out to invoke the five buddhas of the consecration, and here actually it's it's actually a very complicated visualization but you just think actually in the space and sky in front of you about slightly above the eye level about three feet in front and above you there arises actually or there comes due to your invoking them through the mantra om vajra samaja invoking these five buddha races so it means actually in the center of the buddha akshobhya in front the buddha vairocana to the right the main buddha's right

[22:53]

Ratnasambhava, behind Amitabha, and on the left side, Amoghasiddhi. And all these here actually have their own separate colors, being blue and white, yellow, red, and green. But they're in the shape of Hivadra, or in the form of Hivadra, having eight faces, sixteen arms, and four legs. And also in union with their own concert. Then around them, actually, on the same level, there's four mother concerts. Actually, these would be in the center in the four main petals of a lotus. And the four intermediate petals would be four goddesses. Below them, actually, there are eight bodhisattvas and then six offering goddesses and ten wrathful deities all combined together. So actually this is just a very huge shrine of all the, what is known as the three seats of enlightenment, the three seats of enlightened beings being in front of you, being the five Buddha races, the four mother consorts, the bodhisattvas, the eight bodhisattvas, the six offering goddesses and the ten wrathful ones, all there in order to bestow the consecration upon you.

[23:59]

and then when you recite the words, Om Abhisensa Tumum, you're asking for the consecration and then with the words, Om Bhadrabhava Abhisensa Hum that you can just think that the main Hibhadra or the Akshobhya Hibhadra in the center holds the vases in all 16 hands and all these 16 hands holding the vases pour water down onto you in order to bestow upon you consecration. And this water enters right into the top of your head and fills your body from that top going downwards. And as the water fills downwards and fills you, along with that, the goddesses or the consorts around begin to sing Vajra songs in praise. The bodhisattvas recite different verses of auspiciousness. The wrathful ones send out emanations to drive away, or recite mantras to send away all obstacles. Then the offering goddesses also make offerings to you of incense and other things. Then as the water fills down one's body, when it reaches down to the level of the eyebrows, one receives here the vasa consecration, as it reaches the throat, the secret consecration, as it reaches the heart, the third consecration of the wisdom of transcendental knowledge.

[25:11]

And as it fills the entire body, you should think that all of your obscurations afflictions, defilements, and sinful actions which have been accumulated are completely purified. Having been purified like this, the water overflows at the top of the head, so it comes out the top, and then the water itself, in a sense, transforms into the master of your own race, which is the Buddha Akshobhya. And if you can, you should visualize Akshobhya here to be also in the form of He Bhadra. In other words, blue in color, eight faces, sixteen arms, and four legs. standing with Mother Consort. If you cannot, then you can just visualize Akshobhya to the blue in color, one face and two hands, holding a vajra and bell crossed over his heart, with his right leg down, left leg up in the half lotus position, playing with Mother Consort. So whichever way you can visualize, it's okay. And actually, he appears just on top of your head, slightly behind the double vajra, which is upright, But as Rumtje was saying, if it becomes a bit complicated, because it's a bit crowded up there on top of the head, that you can visualize him on top of the upper head.

[26:16]

Though, properly done, it would just be on the main head, just behind the double badre there. At time, actually, you should think that though you now appear in the form of Hivadra, the disappearance of the deity is really of the nature of emptiness. It's only like the reflection in a mirror, that you can see it, it appears, but it has no true nature of its own, so that you do not become attached to this form of being Hivadra, that you understand that it is of the nature of emptiness. And at this time, it's very important that you create a very great pride, though, of being the deity, that you think, actually, that really at this time, I am the real Hivadra, who has attained level enlightenment, the real Vajradhara stage. And even if you're not able to completely visualize this in a proper way, it's very important at least to create a very strong conception or thought of really being the deity, of having this pride of being someone, an enlightened being who has gained this stage of full and perfect enlightenment, who has reached this thirteenth level.

[27:20]

and think this very strongly, that I am Hivadra, I have gained this stage of enlightenment, I am with this form, with eight faces, sixteen arms and four legs. And then at that same time, though, remember that the deity which appears is really of the nature of light, it's of the nature of an appearance in a mirror, by its true nature, though it appears, it is of the nature of emptiness itself. And then with that very strong pride of being the deity, then you form your link with the deity himself, with creating yourself in the form of this pure vision of the deity. So after that actually is the recitation of the mantra. First, actually, there's a mantra in order to bless the rosary. So if you have a new rosary, you can take it between your hands and recite this mantra 100 times and then blow on it at the end. If you have an old rosary you've been using many times, then just before the session just recite the mantra three times and blow on it. And this mantra is given in other scriptures, which represents actually that by reciting this mantra before doing others or for the rosary, that increases the power or the

[28:30]

the efficacy of one's mantra recitation, and increases the strength and power of it itself. Then, for the purpose of the mantra recitation itself, you should visualize that within the heart of the mother concert, in the center of her body, is the letter Aung, and from that, actually, the mantra rosary, or the syllables of the mantra, start issuing out. So coming out from the top of that letter, each of the letters, so of the mantra Aum Ajahna Naya, each one being sideways, the head at the top of the letter being towards the right, the bottom of the letter being towards the left, comes out, and then one on top of another, and they start to issue out from the top of the letter ang, and rise up through her body, and as they, it's like then a string or a rosary, just like the rosary one after another, so the syllables are one after another, and they're coming out of the letter ang, and then rising up from her body, just like a string, or a string of rosaries coming out, and then it comes out and exits through the uh... mouth of the mother and enters into the father's mouth and then descends through his body and then merges into the letter hum in his heart uh... into the top of that letter and then it issues out from the bottom of the letter hum descends through his body then exits through the secret passage of the father enters into the mother and then again reabsorbs into the letter ang in her heart and then again issues out so there's a continual uh... circling of the mantra rosary between the father and mother uh... consorts

[29:55]

or father and mother consort. The syllables of the mantra should be visualized to be blue in color. Generally, you should visualize that the light rays which issue out from them are white in color. And this actually is for the purpose of accomplishing the peaceful activities of purification and other peaceful activities. However, if you wish, you can also visualize the light rays coming out to be different colors to accomplish different activities, such as yellow in order to accomplish activities of increasing red for power and then black for violence, or blue for violence either. So either way, actually, you can visualize these different colors. But basically, the common visualization is for the light rays to be white in color, to issue out and completely fill one's body, and then to issue out throughout the whole three realms of existence. And then you should continue to see this Montreux rosary, circling between the father and mother in a continuous cycle or circle.

[30:58]

And in this way, actually, that one sees that the circling of the mantra rosary between them has the meaning of the merging together of bliss and emptiness, or of the ultimate truth of the combination and non-duality of the bliss of transcendental wisdom and the knowledge of transcendental wisdom together. And then you should recite this then as many times as possible. If one maintains at the time of visualization, reciting the mantra, this nature of the mind to be the combination of clarity and emptiness, then actually it's the best method of reciting the mantra, maintaining this proper view of the clarity of the nature of mind to be clarity and emptiness. And if you can maintain this type of visualization and also this conception, or this thought, then one's results will come very quickly. Sometimes when one is not able to maintain the proper view, and one recites this mantra specifically, sometimes one can

[32:01]

feel a bit uncomfortable, for example, once hips or inner elements of the body become a little unbalanced. So if that arises, actually, what you should do then is to reverse the flow of the mantra rosary, instead of starting from the top of the letter ang in the mother's heart, and issuing out from there, that you should do it in a reverse way, that it starts by issuing through the bottom part of the letter ang in the mother's heart, and then issues out from her secret organ first, and then rises into the father, and then circles in this way, so that you reverse this, and that this will bring the body, if there's any uneasiness in the body or discomfort in the body, into a proper balance. Maintaining this visualization of oneself as a bhajra with a consort, and the circling of the mantra rosary with the white rays of light issuing out, that one recites this long mantra of Hibadra the first one uh... as many times as you can so if you can recite it on a daily basis like twenty one or thirty three times or even less whatever you can recite, seven or eleven recite as many times as you can and the first mantra there, the long one is of Hibadra and the second and third, the Aum Deva Pitsubhadra mantra and then the third one, the Aum Deva Karttri these are all mantras of Hibadra himself

[33:20]

And the fourth one, Oma Am Hum Vetsvaha, is the mantra of the mother consort of Vajra Aratmaya. So that the main mantra, the first one, and then this last one, that you should recite an equal number of times whenever you're doing the sadhana. And the middle two, you can recite as many times as you can. You can do the same number, or if you do it a lesser number, it's okay. Either way, it's all right. After reciting this as many times as you can, then there's a prayer that you take the rosary in your hand, clasp it together between your two palms, and then you recite the words, May all living beings and myself be blessed with the body, voice, mind, qualities, and deeds of all the Sukhatas, all the Buddhas. May we be blessed to attain quickly Hivajra stage, the quintessence, the essence of Mahamudra's highest perfection, the result of highest enlightenment. At that time, I'm sorry, I forgot one thing. In between that, if you wish, you may recite the Vajrasattva mantra three times, just as a purification of any mistakes you've made in the recitation of mantra, but it's not absolutely necessary.

[34:24]

Then, reciting this prayer with the rosary in your hand, You actually think that Hivadra is in the sky in front of you, Hivadra being the guru, and that all this mantra recitation, this meditation that you've offered to the guru, and having offered to the guru as Hivadra, that he bestow upon yourself and all sentient beings all the attainments of enlightenment and also all the common or ordinary worldly attainments, that everything be given to you and you think actually this is absorbed then into the rosary that you have in your hand and you put this on top of your head just as a blessing as if the Guru is giving you a blessing with your rosary through the power of your recitation. After that, then you visualize that yourself is a Hivaja, that from the letter Hum in the heart, so in the heart of this Chitra Vajra, in the middle of your heart, many light rays issue out. And as these light rays issue out, it causes all the world of existence, here it says, the three realms of existence, so in other words, the three The world of existence is divided into three parts, that all these worlds of existence completely is dissolved into light, whether it be the animate or inanimate.

[35:32]

All the living beings of this world, as well as all the inanimate objects of this world, completely are dissolved into light, and these return to absorb into yourself in the concert of Arjuna. Narottamya. Then the mother herself also dissolves into a blue light and is absorbed into you as Hivaja. Then all the extra faces, all the seven extra faces, all are absorbed into light, are absorbed into the main central face, the principal face. The sixteen arms dissolve into the two principal arms, or hands, and the four legs are absorbed into just the two main legs. So in this way, at the end of the sadhana, you appear or remain in the form of Heruka, meaning body, bone, color, one face, two hands, three eyes, and that wherever you are then, I mean, when you arise from the meditation, that you are in the form of the deity, in the simplified form of Heruka at all times, and then in order to protect yourself while you're in this form and while you go off and do your daily activities, and also, again, as a sign that you're transforming your own senses into the stages of enlightenment, then again you visualize that for the eyes it's Mohavajra, for the ears, Dveshavajra, for the nose, Matsadhevajra,

[36:41]

for the mouth vajra, like this, that these deities again are maintained with one as a protection shield. And then after that you recite the mantra, Aum Sarva Tathagata Kaya Vakcitta Vajra Svabhava Avalokoham, which means that one's own nature is of the body, voice, and mind of all the enlightened beings. Your own body, voice, and mind and that of all the Buddhas are the same. And in conclusion to that, then you recite the dedication of merit, which arises, I mean, all the merit which you obtain through doing the meditation, you get dedicated for the sake of sentient beings. And on this page four, these are just dedication prayers. Actually, The purpose of doing sadhana also is in order to purify the various aspects of one's existence. So, for example, when you create yourself in the form of the deity, this creation or this birth of being the deity, of producing the deity, is a form of purifying birth into this world of yourself and all sentient beings, that we have this ordinary impure vision of being born into this world or other sentient beings being born into the world.

[37:49]

So this is actually to be purified and it's purified here by this method of the practice of meditating yourself or creating yourself in the form of a deity. So this is actually for the purpose then of purifying this impure vision of birth or creation into the pure enlightened aspect of creating the deity. that when you're born into this world, you do various different activities, and these are actually impure activities of your own body, voice and mind. So here also, at the time of having created yourself in the form of the deity and then reciting the mantra, doing these type of activities, that this is for the purpose of purifying these impure activities that we have during our life, this life or past lives or whatever. So this impure ground of the activities that we perform in this world, are purified by this method of purification of reciting the mantra and doing the activities of this deity having been born there or produced as a deity then at the end when we dissolve the mandala or dissolve the deity into the state of emptiness or into that simple form of Heruka this actually is for the purpose of purification of death of oneself and others in this world of existence so that when we die actually from life to death or one lifetime to another that actually we're going through this

[39:01]

process again and again. And this is actually due to our own impure vision of ourself in the world of existence. So the method for purifying this idea of death that we're always experiencing, one lifetime after another, is through this practice of the meditation of dissolving the world into the divine form of the deity. So actually it's very important that we can transform this impure vision we have of birth in the world, even passing through the bardo state, passing through death, the stage of death, all these things that we're experiencing again and again, that we're able to purify these through the practice of meditation, and this practice of meditation then transforms this impure vision of birth, death, living, into a divine manifestation of yourself as the enlightened being, being born as the enlightened being, passing into the state of nirvana of the deity, and passing through the activities of divine action, or enlightened action, In a very brief form, when one practices the meditation, even if one is not able to visualize each of these parts in a very clear way, Rinpoche says just in a very brief way, that when you're doing the refuge to start off, for example, that even you cannot visualize the refuge tree in front of you, that you think very strongly that really in the sky in front of you, just in front of you somewhere, deity resides in the form of the guru and the triple gem, and then have very strong and deep faith from your own heart, that when you're reciting the refuge,

[40:30]

at that time just really think of your faith in the triple gem and the guru in the triple gem to really be there and have that proper intention from that point of view at the time of reciting the creation of enlightenment thought and also the four limitless meditations at the time it's very important to think that what you are doing is really for the sake of all sentient beings that you are going to practice meditation and it's for the sake of benefiting sentient beings that you're doing this so that when you have that thought and that intention at that time even if your meditation is not strong or not proper or unclear, still with that thought in mind, it brings great benefit to your practice and to your spiritual path. Then at the time of creating yourself as a deity, reciting the mantra, even if your meditation or your visualization again is not very clear, still at that time, If you just maintain the thought, this pride that I am such an enlightened being, I have gained the stage of Vajradhara, the stage of thirteenth level of enlightenment, that I am really a fully and perfectly enlightened being who appears, but whose nature is of the nature of emptiness, that it's not a physical form as we grasp onto in this impure vision, but this fully enlightened being is of the nature of emptiness itself.

[41:42]

And just if you remember that, even during the time of recitation of mantra or creating yourself as a deity, then this will bring, again, great benefit to your practice. And at the end of the practice, it's very necessary to dedicate the merit that you have done an act of virtue, that you are doing something to gain the spiritual path and result, and that this must be dedicated for the sake of all sentient beings, so that you dedicate the merit that you've given, that has arisen through this practice, for the sake of others, And this really transforms your practice from a small practice into something really great and very vast and wonderful, and it increases your merit and increases your practice and helps in many ways. So that in this way, even if you cannot do the entire meditation in a very pure form, at least if you have these thoughts at the time of doing refuge, enlightenment thought, the creation of the deity, and then also dedication and merit, with these simple facets in mind, then really it will be of great benefit, and you will be able to make progress in your path in this way.

[42:46]

So Rinpoche would like to end teaching with that, and he'll dedicate the merit arising from this teaching tonight. And since it is getting late, as you said, if anyone has any small questions, short questions that you may ask, he's afraid actually people have to go very far. And again, actually, as Rinpoche said the other day, if people have questions about the practice or things they want to do with the practice, like retreats or other things, then at any time, he is here every day. I mean, call, you can make an appointment, or just make sure he's here and then make an appointment and come down. And he'll be happy to entertain any questions you have or doubts you have and clarify anything you have on in your mind. between the higher, meditation on the higher deity and lower deity, and that both are actually creation of yourself in the form of the deity, and that the basis of this really is the mind which understands or has the proper view of the non-differentiation or the merging together of clarity and emptiness, that this applies to all the deities, no matter of which tantra they belong to, because

[43:58]

The nature of all these deities in your own mind is this clarity and emptiness of mind. So from that point of view, really, there is no difference. Some of the difference, actually, is that, for example, at the time of doing the meditation on a higher deity, the Anuttara Tantra, Yoga Tantra, that when you invoke the transcendental wisdom, knowledge aspect of the deity into yourself, At the end of the sadhana, it remains with you, whereas in lower tantras, mostly actually the transcendental knowledge, wisdom aspect of the deity will be sent back to its own natural residing place, so that this will be a distinction, even though the nature of the deities are the same. also uh... in higher tantras usually or we say in lower tantras there's a question of uh... maintaining different types of purity about the way you uh... methods for washing also uh... eating vegetarian food and things like this whereas with the higher tantras there is not uh... it's a question actually or a distinction of the types of doubts that you can overcome within your own mind that there's supposed to be a greater force within the higher tantra to uh...

[45:14]

not see any doubts or confusion among the things of this world. Whereas in lower tantras, there is more of a doubt like this, and there is more emphasis on the manner or behavior we maintain. OM ETA NANAYA PINGA LODHO KESHA VATAMANE SATUR NINGSHATE NETAYA KHONDASHA PUNJAYA KIRINA ZMUTHA WAPUKE KAPALA MALANE KA TARE ME A TAMATA TRURA CHITAYA ADENDHO NANGKHATENE OM MARAYA MARAYA

[46:15]

Garaya, Garaya, Garjaya, Garjaya, Tarjaya, Tarjaya, Shokaya, Shokaya, Sapta Sakharin, Menda Menda, Nage Takin, Girhana, Girhana, Shatun, Ha Ha, Hi Hi, Ho Ho, Hi Hi, Ho Ho, Hang Ha, Pe So Wa, OM DEWA PUTU BANJARA HUNG HUNG HUNG KHE SOHA OM BANJARA KATHARE HEM BANJARAYA HUNG HUNG HUNG KHE SOHA HUNG AH HUNG HUNG KHE SOHA Sometimes, actually, in the Hevajra mantra, the long one, where it says, in the middle part, where it says, om maraya maraya, some places, actually, there's no om, and some places there are.

[47:17]

So there's two different traditions. So either one is okay. Here, actually, according to the text that we use, there is the letter om there. When she called it, telling out, turn the kanai, I understood that. Yeah. Nice. Nice. uh... also actually the mantra itself uh... has a meaning of uh... actually just describes the body of the devadras as he has eight faces has sixteen arms and four legs his fangs and the fang teeth come out he has yellow hair like this is actually the meaning and also part of the meaning actually is that he's destroying uh... this is destroying the defilements destroying selfish thinking destroying uh... thoughts of uh... living uh... attachment to the world, and of doing activities for the sake of sentient beings.

[48:18]

Actually, all this is included within the meaning of the mantra there. And the one in the book is of Hidvajra himself. Actually here, because it's the combination of method and wisdom, it is seen to be in two forms, or to have two shapes, one of bhivāja and one of vajra-nārātmāya. But actually the visualization arises from one's own mind, so it really is just one self, to have those two together in combination.

[49:19]

So what actually it is, is that one self is two, together. If you have faith and great devotion and no doubts, then there's no fault. If you have a lot of doubts and a lot of confusion, that will create trouble for yourself.

[49:48]

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