Rinpoche said, actually, if you do it in the form of the Dede, you'd have to meditate standing up, so it'd be a little uncomfortable. He said, better to sit down. So actually, don't put your hands in the form of the Dede. You visualize it to be such. but you're sitting actually in meditation itself. this mantra rosary that much light rays issue out. And what this does actually is it makes your own body appear in the form like of a ball of light. So instead of one's own body, that one's own body here, it's in the shape for like the, just like a transparent ball of light rays, which actually is purifying you of all your sins and obscurations, purifying your mind.

[01:07]

And that this actually then is known as the ground to be purified. So this is actually the process of purification itself. So the first part we have is purification, and then out of purification, then there's the transformation. So we cannot transform ourself without purification first, so this is the purification aspect. Then after that, then we have the transformation. Then at the time of transformation, arising out of this, like this ball of light, that this completely now transforms that you appear in the form of Vajrayogini yourself. So underneath of you, oneself in the form of Vajrayogini, underneath is an eight-petaled lotus, and on top of that is a sun disk. On top of the sun disk, there are two demons. One is Bhairava. Actually, one is the red color raktri, which is under your right foot, and then on your left foot is black Bhairava. And on top of those two, it forms up in the form of Vajrayogini. So, the eight-petaled lotus, which is under us, actually, this axis is like the...

[02:11]

mattress or the throne upon which we're standing. So this itself actually represents that the one who's standing on top of this, though he's within this world of existence, this meditator or the practitioner is not this enlightened being, in other words, is not stained by the faults of worldly existence. It means actually just that the lotus itself grows out of this mud which is very dirty and then rises up out of the water and appears very beautiful and is not touched by the mud. So in the same way, any enlightened being, though they appear in this world in order to help sentient beings, that they're not affected, that they're not stained or dirtied by the mud of this world of existence. So this lotus represents that itself. And then On top of that, we have the sun disk. And the sun disk itself represents the yellow disk lying flat on top of the lotus. And this represents actually that once enlightenment thought, or once working perception beings, that this thought and this activity is increasing greater and greater.

[03:14]

And then on top of that, we have .. Yeah, yeah, yeah. So under the right foot is the red kala ratri who is lying on his back. And Vajrayogini's right foot is pressing down, or your foot, your informed Vajrayogini is pressing down on the heart of this red kala ratri. And the heart region itself represents desire. So pressing down on this defilement or the affliction of desire means it's conquering. It's affliction of desire. And under the left foot is a black Bhairava. He's lying on his stomach or on his chest. And the head is completely turned backwards so that the back of his head touches his back.

[04:17]

And then right on his forehead, Vajrayogini's left foot is pressing down. So the forehead itself represents jealousy, and the middle of the body, or the middle of the back, or the heart, there represents hatred. So by pressing down on the forehead, which itself is pressing down on the middle of the back, means that the one in the form of Vajrayogini is conquering or destroying jealousy and also hatred. Vajrayogini. It actually represents the method itself. The outstretched right foot represents the continental activity of methods. So the method, active true method, we can destroy desire. And the left foot represents wisdom, and through wisdom we are able to destroy or overcome hatred or jealousy, like this. So the two legs themselves, or two feet themselves, represent method and wisdom, a combination of method and wisdom, which is possessed by the deity.

[05:24]

And then... oneself appears in the form of Vajra being, whose body is very bright, very brilliant red in color, and this red color itself represents desire to help sentient beings. Actually, of the deity, any country deity, and all the objects that they hold, that they hold in their hands, or wear, all these actually have a ground to be purified, and they themselves are a method of purification. And then, so they have this ground to be purified as a method of purification, the result of purification of being with divine form. So any object or any symbol of a deity is really a symbol of purification itself. It's an act of purifying something, some impurity which we have, and it itself is a method for purifying those things. So that, for example, here, the body being red in color, of Vajragini, very bright red, brilliant, shows actually that this redness represents itself, the desire to help sentient beings out of their suffering. In Vajragini's right hand, There is a curved knife which is held down.

[06:29]

Actually, the right hand is outstretched to the right side, and held in their hand is this curved knife. It's like a crescent knife or a crescent moon. It's laid just like a crescent moon, and it's held by a half-padra. And this knife itself represents the cutting away of all the thoughts of samsara, means that pride and miseries, jealousy, different types of defilements. And it's pointed down because all these thoughts are contained within this world of existence. So pointed down towards sentient beings or pointed down to this world of existence and cutting the thoughts of all the thoughts which create harm for us and all sentient beings. then in her left hand she holds a skull cup which is held up actually her left hand is sort of bent upwards and held high up on the left side and the skull cup itself represents the transcendental wisdom or the idea of emptiness it's filled with uh actually in form it's filled with blood but the blood itself represents nectar of transcendental wisdom and it uh from The skull, actually, her face is looking up towards it, and then the nectar is flowing down continuously from the skull cup into her mouth.

[07:36]

So this shows, actually, that the one who's drinking this nectar is never separated from the bliss of transcendental wisdom. She's always possessed of this realization or this experience. And that the face is turned upwards represents actually that she's looking towards her own Buddha realm of kachare or kachara, which shows actually she's gaining the attainments of that Buddha realm. And it's turned to the left also because the left represents the wisdom of transcendental knowledge. So she possesses all of these together. The two hands themselves actually represent that she possesses the two truths of the relative, the relative truth and the ultimate truth. Then on her left shoulder is a katanga staff. And the staff itself represents that she's never separated from the method or the enlightened aspect of method itself.

[08:43]

In other words, she's never separated from the father which is here, cakrasambhara. So to represent cakrasambhara, the katanga step is held on her left shoulder. And also this represents that she herself is wisdom, and she's not separated from method also, the enlightened form of method, which is here in the form of the katanga step. And the katanga step, the bottom of it is tilted downwards and rises up into the length of her own body, the length of the step and the length of her body are the same. And at the base of this katanga step, there's a small Vajra at the bottom of the staff itself. And this itself represents that in the celestial mansion of Chakrasambhata, that we'll have a celestial mansion. And outside of this will be the eight cemeteries. And outside of that will be the protection chakra. Actually, just like what we had during the time of the Hivadra consecration, if you remember, when we entered the mandala of Hivadra, there is the outer protection chakra. And then... Inside of this, there's eight cemeteries. Inside the eight cemeteries, in the center is the Celestial Mansion.

[09:44]

Inside of that is the deity. So here also, that little half-bodger at the bottom of the staff itself represents the Protection Tucker itself. And then the staff which goes up is an octagonal staff. It has eight little sides to it. It's not round. It's octagonal. And these eight sides represent the eight cemeteries themselves. And then on the upper part of the... stack there's a double vajra and the double vajra or the cross vajra there represents the base of the celestial mansion like underneath any celestial mansion there'll be a huge double vajra which fills the ground underneath of that so this double vajra there represents the ground upon which the celestial mansion is placed and then on top of this double vajra there's a vase on the stack and this vase itself represents the celestial mansion the celestial mansion itself then On top of this vase, there are three skulls placed. According to the sadhana, it says that there are three dry skulls. The Rinpoche says it's best to visualize them in the form of the bottom one being dry, the second one being a wet, dripping, severed head, and the third one being a head which is slightly rotten, is starting to decompose.

[10:58]

And that these three actually represent the three kayas, or the dharmakaya, sambhogakaya, and nirmanakaya. Dharmakaya represents the ultimate form of emptiness or emptiness and bliss, so that emptiness by itself is dry. There's no activity per se, so it's shown actually in the form of a dry skull. On top of that is a wet skull or a wet severed head, which represents activities of compassion here. the form of Sambhogakaya itself, working for sentient beings like this. And slightly above that, we have this ratan skull, which means that they come into this world to help us. I don't know if that means this is a rotten world, but the head is slightly rotten, so that actually the form of Nirmanakaya is coming into this world to work for sentient beings. So these three skulls themselves then represent the three aspects of enlightenment. or the dharmakaya, simbhogakaya, nirmanakaya.

[11:59]

Then, on top of that, there's a full vajra, a complete vajra. And this vajra has five prams. The center pram itself represents chakra-sambhara. The four prams going around it represent the four mother concerts. And actually, in total, the entire vajra represents the various deities of the chakra-sambhara mandala. And then, on top of that, there's a small drum. And tied with the drum is a bell. And then, instead of having a clapper from the bell, there's three... streamers which come out. And these three, the Dhamma, the bell, and the streamers represent the body, voice, and mind of the deity. So that in this way, actually, the entire mandala of Chakra Sambhara is completely contained within the visualization of Vajradini having that pratyunga step on her left shoulder. Also, actually, these three of the Dhamma, the bell, and the The three streamers also represent the three great secrets of body, voice, and mind, or in other words, the body, voice, and mind of the deities themselves.

[13:00]

Then to show that she's Vajragini, as enlightened being, completely devoid of any conceptualizations or not bound up in the concepts of this world of existence, that she's free of all grasping, her black hair goes straight down behind her, right down to her waist, and it's not knotted or curled up in any form. It's completely straight and hanging free, which shows, actually, or represents that she's completely free of any grasping towards concepts, or not tied up in any concepts in this world of existence. The vajra, which is on top of this kapama staff, to make it a bit clearer, It's a five-pronged vajra. The center of the vajra and the main prong running through it represents Chakrasambhara with his own concert. that the four upper prongs, which go around it, are known as the four essence goddesses.

[14:03]

Actually, this is sort of the inner part of the mandala of Chakrasambhara, of the 62 daily Chakrasambhara mandala. And then below, there's four prongs. And these represent actually each of the four doors. There's a protecting goddess, actually with a different type of animal head or something, who are acting as the guardians of the celestial mansion. So these are represented by the four prongs. on the bottom part of the vatra. So to represent that Rajivini possesses the five transcendental wisdoms or knowledges of the five Buddhas, five Buddha races, she wears a crown of five skulls. And here, actually, what you visualize is not an actual skull itself, but actually a flat piece of bone from a skull and about the size of a five finger widths high. so there's a flat piece of bone actually five of these and on on those are drawn shapes of skulls you know drawing of the skull and these are tied together by little strings or like a strand of gold the jewels that ties all these five together so these five then represent themselves the five transcendental wisdom part what erases then on top of her head uh is the

[15:20]

Then she possesses five ornaments of bone. On top of the head is a wheel made out of bone, which has eight spokes. And then from this, actually, there's little loops, 32 loops, as we mentioned at the time of describing this Vajrasattva, like 32 represented, 32 veint of the Mahasukra chakra. Then from her neck, actually, she wears a garland of dyed skulls, and these are held together, tied together by the string of the hair of skulls. These themselves actually represent their siddha number hanging down. They represent what is known as the purity of the vowels and consonants, or the letters, which are within our body, which we explained earlier one time. The body possesses natural letters within it, the veins and shaped letters. Actually, here, known as alikale, or in other words, the vowels and consonants of the Sanskrit alphabet, just representing these different letters we have naturally within the body.

[16:23]

And these letters within the body, when they're purified at this point, we have a certain realization due to being able to purify them. So to show that these veins and letters within the body are pure, outside she wears this necklace of fifty dry skulls. and also from her earring or from her ears and earrings which are like loops small loops and inside that in relation to another loop and from her neck she has a a necklace which comes down with three bone pieces one towards the front and then one on either side and then stranded together with a little like strands three strands of bones uh to a necklace and then on her ankles, and then brace, wrist, and upper arms. There's bracelets and anklets. Also, again, like a small piece of bone with the drawing of the goddess, and then held together with strands of bones.

[17:24]

Then at the hip, is like a belt, again, with either three or five pieces of flat bone held together by two strands of bone, like bone beads. And from that hang down tassels and also little, like, circlets or ringlets of bone shapes. And there's 64 in number to represent the 64-vein petal nirvana chakra navel. The 16 at the throat, actually, there's 16 little loops or ringlets, which represent the 16-vein petal sacral chakra at the throat. and then because she is a female deity represents wisdom herself that the breast ornament is not needed whereas like the male uh deities will wear this in order to represent the aspect of transcendental wisdom or the fifth of the panramitas but she doesn't wear this because she herself already represents that and in many cases actually sometimes it's not even a bone what actually it is uh is it made it's like a crushed bone and the powder from that that it's drawn around the chest and on the back, like this wheel and the ornaments coming together.

[18:28]

But even here, in this case, neither in bone nor in counter form is it there, because she herself, by her own nature, represents wisdom, so that this ornament is not needed. Then her right foot is completely stretched out. The knee is not bent at all. The right foot is stretched out in this form, which presses down onto this red-colored chakra, colored artery. But the right foot stretched out in this way represents compassion for sentient beings, represents this aspect of great compassion. And that she's never free or always maintains this compassion for sentient beings. The left leg is bent inwards. So in other words, if the knee is bent in and it presses down on this black Bhairava, and the left leg being bent in represents that she is free from any grasping of the self. She is free or actually possesses the wisdom which does not cling to grasping of a self-person or the self-phenomenon of things in this world. And then she appears as very youthful, actually say 16 years of age, and this 16 years of age represents actually 16 joys through the arising of the four joys, if you remember the Kivaja Initiation,

[19:45]

But these four actually also divide into four subgroups. So the four joys arising from the descent or the realization of transcendental wisdom, that this is known actually in a subdivision, greater gravitation to 16 joys. So the 16-year-old appearance represents that she possesses these 16 joys itself. And then on top of her head is the master of her race, which is the Buddha, Vajruchana, in the form of Peruka, Vajruchana, whose body is white in color, one face and two hands, right hand holding a wheel, left hand holding a wheel, handled dull, which are crossed over his heart. He's standing upright. His feet are in the same position as Vajruchana. He needs the right ones stretched out, the left ones bent inwards. Actually, there's two ways in order to receive the master of your race, the master of the race of the deity. One is actually that it appears along with the deity at the time. of the appearance of the deity itself. On another occasion, it's actually when you first create yourself in the form of the deity, then invoke the deities of consecration, and then after the water overflows at the top of your head, then the master of the race appears.

[20:53]

So it's actually two different ways to receive this master of the race. And here, actually, it's said that it appears simultaneously along with the deity. And this is known. It's given the example that it's just when there's two different heirs to the throne, heirs to the throne who's going to become king. One is born with that right, right from the very beginning, and one is later given the right and is anointed and then given the power of the kingdom. Others, actually, when they have the power right from the very beginning, they possess all the wealth and they possess the power or the right of the kingdom. Then right from birth itself, that they're appointed or anointed as the king from the very beginning with that power. Others actually, they wait for some time, and then this rite and authority is given to them later, and then they become like the king. So in the same way, actually, in this tantric method, we can receive the Master of Array's rite from the very beginning, or we can receive it through the ritual of consecration. Actually, this form of Vajrayogini, then, is really known as the combination of all the various deities within the... Actually, the combination of all the Buddhas, all the enlightened beings, and especially of all the deities within the various mandalas of chakras and vadas, such as the 37-deity mandala of chakras and vadas, or the other mandalas of chakras and vadas.

[22:18]

So in this way, really, she's the essence with the combination of all the various deities. And especially it says that the mantra of Vajrayogini has a very great blessing because the mantra itself, the first part of the mantra where it says, Sarvabuddha-dakinye, which means actually that she is the dakinye of all the Buddhas, or all the Buddhas' dakinyes combined into one. This essence, this essence form of Vajrayogini, is really like the essence, the combination of all the mantras, of all the Buddhas, of all Chakratambadhar, And in this way, the mantra itself has a very great blessing. And just by reciting that one mantra of Vajrayogini, it's like reciting the mantras of all the Buddhas, all the deities of chakras and vada, or the different mandalas of chakras and vada. So anyway, in this way, this completes the sixth part of the yoga of creating oneself in the form of deity. The seventh one, the seventh yoga is the yoga purification of living beings, of all living beings in this world. And again, there's two aspects which are needed. First is purification and then transformation. So first, in order to purify sentient beings, now you are in the form of Vajrayogini.

[23:24]

that within your own heart there's the moon disc, in the center of which is the letter Bum, surrounded by the mantra rosary. And that from this letter Bum and mantra rosary, many light rays issue out of various different colors, go out to all the realms of existence to touch all the sentient beings, purifying them of their sins and obscurations. And due to this purification through this light rays touching them, that all their bodies are completely transformed into little balls of light, just as you were in the beginning. This is the act of purification. Then arising out of that ball of light, each one of them appears in the form of Vajrughini, just as yourself, standing on top of a double triangle, moon disk, or sun disk rather, and then in the form of Vajrughini. So each one of them is in this form, complete with all the hand objects and ornaments, just as yourself, in the same way. So in this way, actually, through this method of visualization, that we purify them first, and then having purified, then that they're transformed. And the reason that we can transform and purify and transform all these sentient beings is because all sentient beings, this world of existence itself, which we can visualize as a celestial mansion of Vajrayogini, like a huge double triangle, and within all this is all these beings in the form of Vajrayogini, because all these things of this world, the inanimate world, is nothing but a creation of our own mind.

[24:43]

And since it's a creation of our own mind, all the beings in this world are nothing but our own mind, Since we can purify our mind, we can purify the sentient beings outside of us. So this is the method which gives us this. Also, according to the Vajrayana teachings, not only that, but within our own body we have various veins, vein letters, and also elements, airs running through. And these veins and elements which run through that, when they're impure, due to the impurities of these lanes and elements within our body, that outside of us there appears this world of existence and also the various beings in this world. And due to our impurity of our own lanes and elements, that when we become accustomed to this impure vision, that we claim and we believe these outer visions to be real. But through a tantric method, Vajrayana method, when we can purify our own veins and elements through the various practices, then when these veins and elements are purified, and also all the sentient beings outside of us are purified also. So it's through this conflict or yogi practice of purifying our veins and elements or the inner parts of the body

[25:50]

that we're able to purify this outside world. So, again, this is related to the veins and elements, the veins and elements relate to our own mind. Through our own inner purification or transformation, we transform everything outside of us. So it's because of that that we have the power and the right to, the power to transform all the different things of this world. So, next is the... 8th yoga practice, which is known as yoga of receiving the blessings of the heroes and heroines. So, generally, in other sadhanas, what we do is create ourself in the form of the deity, and then we invoke the transcendental wisdom aspect of the deity. So, in other words, another form of the deity comes from the sky in front of us, emerges into light and absorbs into our body so that we receive the mind blessing or the transcendental knowledge aspect of the deity. Here, actually, in the Vajrayogini practice, this is different, actually. It's known here, actually, it's receiving the blessings of the heroes and heroines or the veras and dakinis like this, and that...

[26:57]

they are summoned to you by what is known as the flaming mudra or the body mudra. And the method for doing this, actually, is to put the two thumbs downward, touching together, and then the index fingers to hook together, the middle fingers to touch, and actually the rest of the fingers to flare up like a flame. Go like that. Yeah, wait. So the two thumbs that touch together below, the two index fingers hook, and then the other fingers rise up, flare out above. So this is known as the clinging mudra or the body mudra. And with this then, you hold it in front of your face, your forehead, and you turn it in a counterclockwise direction. Could these mudras be photographed later?

[27:58]

Sure. So starting from your left and going right in a counter-clockwise direction that you rotate this. This actually, if you're in the form of the deity for yourself, you do it in a counter-clockwise direction. If you're doing it for a front creation, to show that it would be in a counter-clockwise direction for them, you would do it in a clockwise direction for a front creation. But for yourself, as the self-creation of the deity, You do it in a counterclockwise direction. So starting from your left and going to the right. And then as you turn this, as you rotate your fingers in this manner, your eyes are looking upwards. And then in a very long way, you recite the word pain. This is actually invoking. And actually the three syllables of it, the K, A, and UN at the end, these three should be very distinctly So you rotate this mudra two times in front of you, say the word pain in a drawn-out way, and actually in a very clear and drawn-out way, which means itself, the mantra here means that it's a pledge of the dakinis, that they will come when this word is called.

[29:13]

It's like a summoning or threatening syllable. They've made a promise that whenever they hear this sound that they will come. or otherwise their head will be cracked. So they must come at that time on that pledge. So in order to do this then, along with this mudra, and also along with this reciting theme, that you think that from this letter BAM in your heart, light raises you out. Here, the light rays are red in color, red in color of summoning. The light rays are in the form of little hooks, and hooks means to bring in control. Sorry, red is the color of subduing, bringing under your control. Then they're in the shapes of little hooks. It's light rays in the form of little hooks, and hooks have the meaning of summoning or bringing towards you. They rise out from this letter bum in your heart, rise out and exit through the spot between your two eyebrows. The light rays go out there, and they summon all the... Here, actually, they're summoning the three messengers, what is known as the three messengers.

[30:17]

And with this, actually, they scoop up the nectar from that huge skull. And first they offer it to the rupuru. And then with the words, as it's an effect there, to the mouth of the root receptor, who's of great kindness, omapola. And as you offer, actually, you put your ring finger here, your left hand, and it gives you a ring offering to the rupuru. And he recited seven times. And this is recited seven times here in order to make an auspicious connection, condition the auspicious connection in the future through the blessing to the guru that he will gain what is known as the seven branches of union it's actually just a title of a name or a title or a name of a result which is known as the seven branches of union which refers to actually the different aspects of the three bodies of enlightenment of receiving or taking three bodies of enlightenment so because there are seven aspects of seven branches of what in the akanisha also it summons the uh place born nirmanakaya vajrayogini so all those vajrayoginis who are residing

[31:23]

uh... in the pinnacle of the leaders of the opinions that you can use doctors in the twenty four and thirty two holy shines and also it books all the uh... much of what what you think so everyone that you've created reform about you can get to the marker or the visualization so these three which are known as a free messengers simultaneously risen Sambhogakaya Vajrayogini, Nirmanakaya Vajrayoginis in the 24 and 32 shrines, and then also the mantra-born Vajrayoginis in these three, which are the essence, and in other words, a combination of all the Vajrayoginis. These are invoked to you. And then they come back, they all merge together in the form of one Vajrayogini and this enters into the tops of your head and merges with your own Levitt bomb in your heart so that you receive here in this form the transcendental wisdom aspect of the deity in the form of these three messengers. Then at the time that they are absorbed into you, There's also a mudra you can do, and it's a bit complicated. So Ramuji is saying, actually maybe we'll show it afterwards a little bit easier.

[32:27]

If you cannot do the long mudra, this actually is also found in Hidvaja. If you cannot do that, you just sort of bring the fingers, the forefingers, index fingers, toward yourself. uh sort of crossing towards yourself and then at the end just you cross the right hand on top of the left and place it over your your chest and actually this is just the idea that they are absorbed into you i think it will show though after being easier i'm trying to do it this time So just simply, actually, it's sort of like they're absorbing yourself. So the right forefinger sort of comes across to your left shoulder, and the left one comes across to the right shoulder. So you just, with the words ja, hum, bam, ho, you just do that a few times and then cross them over your chest. And just think at that time that these vittas or heroes and heroines are completely absorbed into your own body or your own mind. And then after that, You do what is known as the lotus round mudra, which ends with the embracing mudra.

[33:34]

The lotus round mudra is actually just in front of you. You're moving like the right hand is turned, palm downward, left hand turned upwards, and then you rotate like this. And this is known as the lotus round mudra. You do this a few times with the with the mantra om yoga shuddha sarva dharma yoga shuddha hum it's in the text and at the end you cross again you bring the hands over and cross over on your chest right and a couple left so as you're saying this mantra you do first the lotus round mudra and then cross arms over your chest and this itself actually just represents that the two hands cross together with this mudra represents the combination of method and wisdom completely joined together. So in other words, that I and myself am this meditator and I possess this combination or non-duality of transcendental wisdom, of great bliss, or the method of method and wisdom.

[34:35]

So that just as actually within the ultimate truth, within the transcendental knowledge of great bliss, that there is combined together, there is found this method and wisdom found there non-dually merged together. So also, I, the meditator, am just as pure as that. And also, all things in this world, all dharmas or all phenomena of this world are also pure. So it represents this aspect of purity of oneself in all things in this world, just by doing this, reciting that mantra and crossing your hands in this mudra of the embracing mudra. . After receiving this technical wisdom blessing or the invoking of the heroes and heroines to be absorbed into yourself, then actually within your body at different places you visualize different letters in the body which represent different deities, actually different goddesses and female deities.

[35:39]

And these actually act as armor to protect you. Actually, in other sadhanas, for example, here in this practice, in this sadhana, we don't have that. Actually, instead, we have the different letters in different parts of the body. Each of these places, actually, there's a moon disc, and the moon isn't lying flat. Actually, it's standing up. So it's like a halo sort of idea. And right on top of that, like drawn into that, like the reflection in a mirror, are these letters. So just at the navel itself, we have the letters. which are om-bam, which are red in color. These are actually in the sadhana, in Vajraparahi. These are red in color, and they represent the Vajraparahi. And at the heart, in the center of the body, at the heart, is ham-yam, which are blue in color and represent the yama, actually a female being in the yama. It says at the mouth is white trim-mum. The mouth actually means just right in the center of the tongue, the fat part of the tongue right in the center there, this little moon disk written on there are white letters, trim-mum. And these represent the deity Mohanu.

[36:42]

Then at the forehead, so just right within the forehead itself, inside, on the Mundus are letters Shrim Shrim, yellow in color, representing Shobhani. And at the very top of the head, very top, within this, on the Mundus are letters Hum Hum, which are green in color and represent the deity Bhairavi. And then it says at the great joints, which means at the two wrists, at the two shoulders, the two ankles, and then also on two hips, or in other words, either side of the hip. Each of those pegs has a moon disk, and on each of those places are the two letters pet, pet. Each peg has the same letters, and these are sort of like grayish or smoky color. And actually, usually in other sadhanas, what happens is that first you create yourself in the form of the deity, and then you put these letters omah, omah, your forehead, throat, and heart. and then you invoke the transcendental wisdom, knowledge, and deity. Here, according to this teaching, especially according to the Lumdre teaching, actually in Lumdre, the special teaching of Lumdre, there's actually two forms.

[37:44]

One is called the common form, and one is called the uncommon or special form, known as Lumdre Lopse, the more esoteric form of Lumdre. And in there, which is followed here in this teaching, it says actually that instead of invoking the transcendental knowledge aspect of the deity after having put on these three syllables as protection. But what happens, according to this teaching, is that first you create yourself in the form of the deity, the touch aspect of the deity, and then when you invoke the transcendental knowledge aspect of the deity, when this is absorbed into you, also simultaneously do these letters appear on your body. and they said actually the purpose of this is that when the transcendental knowledge aspect of the deity is invoked into you that these letters stay there and it's just like the pledge aspect and the transcendental knowledge aspect with these letters they're sort of like nailing together two pieces of wood that are really stuck together held together so here also the pledge aspect of the deity and the continental knowledge aspect, that they're held together, they rise together in this form, that they're never separated.

[38:46]

In other words, that these deities represent it, and the form of these letters are always there with you, protecting you from this time until you gain enlightenment itself. So it's sort of a special practice according to this teaching, or according to this esoteric form of the Landre teaching. I've been there once, and it's been fun. This actually completes the part up to the eighth yoga of receiving the blessings of the heroes and heroines. The ninth yoga is actually the yoga of recitation of the mantra, which will be taught tomorrow. Actually, it's not taught today. And actually, after doing that, within the sadhana, there's some sort of minor process of completion practices. Actually, the Vajrayana is divided into two parts, here known as the process of creation and process of completion. The two, creating oneself in the form of a deity, doing these various practices which we've described so far, are known as the process of creation, some process of creation practices.

[39:55]

And along with that also there's a whole other teaching in the Vajrayana known as the process of completion practice which deals with air meditations and feet meditations. And actually there's a whole section which is taught in this teaching and will be taught later. But today also there is a short process of completion practice which is taught along with this. Actually what you do in the sadhana is after receiving the blessings in this way that you do the mantra recitation. And then after that, then there's the three very short process of completion practices. The first one is known as the mental recitation of the mantra. When you recite the mantra generally, it's known as the vocal recitation, which is the main type of practice of recitation of the mantra. But here also there's a thing which is known as the mental recitation of the mantra, which is also taught, and this is combined together with the process of completion practice. So in order to do this, after having recited the mantra in an ordinary way, then seated in a proper meditative position with your either right hand or left hand, doesn't matter, holding this middle finger, holding this small index finger down by the thumb and holding the upper, the middle finger and the index finger in the form of a Hepa Vajra or five prong Vajra gesture to either right or left, then to you.

[41:19]

Yeah, no, no, it didn't. . [...] So blocking the right nostril first that you draw air within the left in a very leisurely way fill up your lungs and then first you force the air out first slowly and then forcefully and then slowly again. So you bring the air in and then force out like that very strongly until finally all the air is completely out and then you block the left nostril and you do the same thing. You bring the air in through the right, and then out again, first slowly, then very forcefully, as you heard, and then slowly.

[42:29]

And then you bring in through both, and then force all the air out again, first slowly, then forcefully and slowly. And actually what you want to do is get all the air out completely, Because any residual air, any of this leftover air in the lungs, it's called impure air, and actually this creates disease or unbalance in the body. And when you can get all this out of you, especially when you're going to do air or breathing medications, it's important to get this out so you don't cause any disease or imbalance of the body's elements. And generally speaking, residual airs which are staying within the body create obstacles for yourself. So the first part, actually, the purification of the air is to get all these out. And then once you've forced all the air out, then first you bring in a little of the lower air, meaning actually that you open your anus a little bit and draw in just a small bit of air, which is known as the lower air. And then you've already forced all the air out from the top. So then sort of bending your head down and then draw in air up with you. It's sort of like scooping air up. It's like scooping some earth.

[43:33]

But you bring the air in, the upper air, And as it comes into you, as you bring the air down, that you take a little spittle, you swallow a little spittle with that without making any noise, any sound. And then you bring the air down into like a pot shape, in other words. And then you bring the lower air up again more and then cover or form a cover for this. So like in other words that you have like a pot or like a, what's called, this is called the vase retention of breath. So it becomes like a vase, the main part of the vase, like the belly of the vase or something. very round so actually the lower air that comes up first is like the foot and then you bring the the top of the vase there then cover it with the top so it comes very firm and you hold this down uh along with this visualization when you're drawing the air in that this at your heart is a letter bump on top of this uh mantra rosary uh actually in your heart there's a double triangle, as the Moon goes down, the Spital goes down, you also think actually that this whole visualization goes down with it, down right through the center of the body.

[44:41]

If you want to create great bliss in the body, you visualize that it goes down to the level of the sacred organ. If you want to create non-conceptualization within the mind, you bring it down to the level of the navel, and it goes down with that. And then, holding that within this body's retention of breath, actually in other words, holding that visualization at the navel of this mantra rosary, within that body's retention of breath, then you recite it, not with your mouth. You should look at the words, in other words, the letters of the mantra, and you recite the mantra sometimes, as long as you can hold the breath without hurting yourself. I mean, it's actually very bad to hold the breath too long until it hurts. When it gets very strong, or very... I mean, for as long as you are, as long as you can hold it comfortably, then you let the air out very softly, very gently, So holding the breath at that point for as long as you can in a comfortable manner, then you look at the syllables and letters of the mantra, and you recite that as many times as you can while you're holding your breath. So like this.

[45:42]

And this is known as the mental recitation. So you do that as long as you can, as you feel. And then, next after that, releasing the air very gently. Then at the navel, we have the double triangles. And then the double triangles, they have like six little wings, like smaller triangles at the edges, at the tips. I mean, as they form. So the one in front and the one behind are empty. There's nothing in them. And the ones on the two right sides and the two left sides, they have small little bliss whirls. It means like a little red dot. Sort of like the shape of a flat little disc, red in color. And these are spinning very quickly to the left. So if you wish, again, you take the vase retention of breath. You don't have to do the purification of air. Just again, you bring up the lower air and bring in the upper air and then again the lower air. And holding that vase retention of breath, then you watch the four blissful oils turning very quickly to the left. And you don't want to hold the breath at that time also. You don't have to. You just visualize the blissful oils turning.

[46:43]

After that, you just think that this, the mantra, religion, letter bomb, everything just dissolves into emptiness. It's not there anymore. And then you visualize it from the secret organ right to the top of the head, from the central vein, the central abhidhuti vein, which is about the size of your index, your middle finger, about the width of that. And then at the lower part, at the lower end of this central vein, there's a small little bliss swirl, like a little dot, which is red in color, representing bliss. At the top of the abhidhuti vein, very top, there's another bliss swirl, which is white in color, and both of these are turning counterclockwise. Then, directing your mind to this blue swirl at the bottom, this white blue swirl, I'm sorry, the red blue swirl at the bottom, it starts to spin, I mean, spinning very quickly to the left, and then it starts rising up through the central vein, and it rises up to the level of the heart, right in the center of the body. And as it rises up through the central vein, turning quickly to the left, then all your visions and all your experience within your mind appears in the form of bliss itself.

[47:48]

Then, when it reaches the level of the heart, then you direct your mind to the bliss world, the white bliss world at the top of the head. As this starts to descend through the avatthi vein, turning quickly to the left, all of your visions and your mind are placed in a state of emptiness. And this one comes down, and then the two bliss worlds, the red one on the bottom, the white one on top, just made together the heart, and finally they merge into one blissful world, which is like pinkish in color, and it's spinning very, very quickly through the camera clockwise through the dark. It spins so fast until finally it just vanishes into the state of emptiness. And then at that point, you rest your mind. So you're doing this visualization again, if you wish, along with the Vajra retention of breath. If you don't want to do the Vajra retention, you can just do the visualization of this happening like that. So this is actually the smartest, it's a short or sort of like a supplementary procedure of completion practice, the longer and more extensive one, or there is a longer and more extensive one, which will be given in a couple of days.

[48:50]

And there's also this practice is also there. this process of concentration practice, the short one, then it is taught that you should do what is known as the Vajrayana concentration meditation practice, or samatha practice, at this point. And the method of doing a samatha practice, or concentration meditation, is to concentrate on two points. One is the general concentration practice, and one is also the particular concentration meditation practice. The first form is just to think, actually, to create this pride of being the deity, that I am Vajrayogini, being body red in color, one face, three eyes, two hands, two legs, and just to examine all the parts of the body, just very critically, generally, how you are, what you are like as being Vajrayogini, and then create a very strong feeling and affinity to yourself, an identity to yourself of being the deity, and then just hold this thought again and again, and really meditate upon this,

[49:56]

that you are so-and-so, I mean that you are Vajrayogini, just as Devi is, and just really identify with it very strongly. Then after that is known as the particular concentration meditation, and this is actually that we start with the central I itself. It won't develop in the form of Vajrayogini. Vajrayogini is not like your own flesh and body, or flesh and blood form, but rather Devi, whose body is the nature of light itself. It appears that it's a as if of the nature of light, but also three-dimensional. And this body, which clearly appears, which you see very clearly, that first of all, place all your concentration to the central eye, which actually is like taking the left eye of yourself and turning it up, so it's just the same shape of your left eye comes straight up in the middle of the forehead, so that the eyebrow is also there on the right side. And in the center of this eye, the pupil and the iris is very black, and the scaria, or the grayish, the whitish part around this is also a bit whitish, grayish white, and then at the edges there's a slightly reddish tinge around the edges of the eye.

[50:59]

So you visualize that very carefully, and then you just maintain a concentration that a patient factors. Just concentrate on that central eye, just thinking that the iris is black, surrounded by white. The edge is there, it's tinged by red. Think that, and then you just concentrate on that alone. Just keep your mind on that as a concentration practice, as a samatha practice, that you're just merging your mind with this concentration of that. And when you have a visualization of that central eye, then you move to your right eye and then left eye, so that first you visualize each one very carefully, very separately. First the central eye, then the right eye, then the left eye. And after you visualize that very carefully, and you can do these for long periods, actually. I mean, it can be long sessions of concentration. Then you go to the nose, which is directly straight, a bit reddish in color, and also the inside is slightly reddish, like a reflective red color. And after that, you come to the lips or the mouth. The mouth is slightly open, as if you were saying the word E, like that. The sound is coming out, so the lips will be slightly open.

[52:03]

And then the 40... There's 40 very straight, very white teeth are visible. And also that the incisor teeth are slightly longer than the other teeth, just a little bit, come out a little bit longer. And if this is open up, and then within the mouth, it's reddish in color. Then the lips are also very reddish. So you visualize or concentrate on that at that point. And after that, you move down to concentrate on the neck. And here, actually, at the neck, you should visualize three lines going across the neck. So the upper two are a bit longer and the third one a bit shorter. And then you concentrate on the two arms, the right arm going down, the left arm being held up, the right leg being stretched out, the left leg being bent in, and that the upper part of the Vajrayogini's body is sort of like medium in shape, not fat, not thin, not firm, that the waist of the Vajrayogini's body becomes very narrow or quite thin, and then from there it flares out a bit sort of stout or a bit fattish toward the bottom, or the waist and legs go out. And first, then, you concentrate on each part of the body very carefully, very firmly, like this.

[53:09]

And here, actually, without any hand ornaments, I mean, you don't concentrate on the hand like the correct knife or the skull cup or the jewel ornament, but you concentrate just on the different parts of the body itself, each one individually. And you should do this very carefully with a very strong mind, and you should do it for very short periods, so that you really hold the mind very tightly, for example, to the central eye. Hold it very tightly, very strongly, And if you have a very clear visualization, even then, you don't hold it too long. Once you have a clear visualization and it's very strong, then you let it go. Because if you hold it for too long, then your mind starts grabbing other ideas and it takes it away. So it'll disturb your visualization again. So at this point, actually, just you visualize the eye, and if you get a clear visualization, it's fine, let it go, and then do it again and again. And if your visualization of the central eye remains firm, then you go to another part, go to the right eye, and then the left eye, and each time, When you have a clear visualization, keep it clear. And when it's really clear and strong, then let it go. Let your mind wander off for a little bit.

[54:10]

Look at something else. Let your eyes relax. Let your mind relax. And again, bring it back to that central eye or whatever part you're visualizing or meditating on. And do it this way. If you have a very disturbed meditation and you cannot get a clear visualization, try very strongly. And then if you cannot get it, again, just let the mind relax. Don't force the mind. Don't fight your mind. And then once it's relaxed, then again bring it back to the point of concentration. It's actually very important that by the end of the meditation that you're still happy with yourself, that you fight with yourself and create great happiness. It means actually you end your meditation session on bad terms with your own meditation with yourself, and then you don't have any wish to meditate anymore, you don't have any wish to sit down and think of yourself as a deity, and this will create a dislike for meditation. So it's very necessary that when you're and the meditation, you're always happy with yourself, you're on good terms with your mind, you're on good terms with your meditation, you're still on friendly terms with it. So for that reason, actually, that even when the visualization's clear, you don't hold it too long, because you distract yourself, and if it's unclear, you don't become discouraged, and you just try to visualize, go to different parts of the body, visualizing each one separately, and then just remain happy with yourself no matter what, trying to gain that conceptualization or...

[55:32]

distracting thoughts during your meditation. So then at this point, for the meditation, you should do this concentration meditation after having gone through the entire sadhana and recited the mantra, done these short forms of process of completion practices, these air practices, then at that point you do the concentration meditation. Then after that, then complete the sadhana with the meditation practice. So, a few things. One, there's always a lot of announcements, so to make it easy today, they're all on the board, so you can just read them. All the things we said yesterday also, and all the other announcements, instead of repeating them today, you can read them there. concerning all the various aspects. And then, of course, we'll be reminding you of different things. Tomorrow, this session, again, starts at 1 o'clock.

[56:36]

What will happen, actually, during the session tomorrow is that there's ordinary teaching that will continue with today's teaching, such as the Yoga of Mantra recitation and other parts. And also tomorrow, what is given is known as the Bodhi Mandala concerning deities within your own body, the very special teaching. For that, actually, only three people at a time can hear the teachings. So what we'll do, actually, is everyone will come together at one, and we'll have the major part of the teaching done together. And then at one point, as we'll say, everyone will go out or we'll arrange something. And then three people at a time will come in and receive the teaching. And after that, then everyone again will gather together. It takes quite a short time. It's only a couple of minutes or so, or a couple of minutes for each group of three to receive it. Then at the end of all that, then everyone will come together again and we'll complete the session. So tomorrow is Sunday, so it's quite simple. On Wednesday night, Wednesday is a bit of a complicated day because that day there is a special teaching which is known as the Extraordinary Uncommon Meditation Beyond Thought.

[57:38]

And when that teaching is given, only two ears can hear it at one time. So it means one person, two ears. So because only one person can hear it at one time, Each time it takes about five minutes to give it, so it's a bit complicated, and if everyone just comes at 7.30, we won't be out until 1 or so. So, what room of trade requests is for those who are not working that day, any time from the afternoon onwards, and maybe what we'll do is put up a sheet so you can sign up when you really come, that you just come for some short time during the day. and you come in and then whenever you're there, the Rinpoche will give you this teaching, this transmission of this extraordinary, uncommon meditation that I've taught. So all those who are not working or can sneak off from work or whatever you can do, come here in the afternoon at some time and the Rinpoche will be giving that. For those who absolutely cannot get off at work, please come as early as you can after work, like six o'clock, and then because it's only one person at a time, the Rinpoche will give this recitation for about five minutes for each person. However, after that, at 7.30, as a normal time, everyone must come together again because Rinpoche is only going to give it to them when he gives it to each person.

[58:48]

And we're going to have one whole group session. We're going to explain it very carefully what that teaching was. That makes sense. Actually, I mean, if we tried to translate each time, it would take a very, very long time. It wouldn't finish in one day. So this is the method, but everyone must come together again at 7.30, and then we'll have the group session explaining that. So Wednesday is a complicated day, so to make it very easy for yourselves and for everyone, that this thing about the three processes of completion practices starts on page 25, the second paragraph on page 25, and it goes on to the bottom of page 26. Actually, on page 24 starts actually the yoga of recitation, which means the mantra recitation. But the vocal recitation will be taught tomorrow. It wasn't taught today. But the mental recitation was taught today. So on page 24, when it starts, the ninth practice of the yoga of recitation, the first part actually is taught tomorrow.

[59:49]

But the second part of that, on the bottom where it says the mental recitation, so all of that, 25 recitations. And then on page 26, the other process of completion practices are also described here for your use. And then after that, it's called the Yoga of the Meditation Beyond Thought. That will be taught tomorrow also, later on. And then the part about... the practice of, or this concentration meditation, there's some, it is written actually here, it's written out on page 36, so you can see that. Page 36, actually it's the whole page, you can just see that. It's underlined that the first process of creation, so this describes actually this concentration meditation practice, so you can read that over also, and that covers the last part. So we have pages 17 to 24, and then the last part of page 25 and 26, and then on page 36. So Rinpoche also had the drawing of the mantra rosary, so that everyone can look at it.

[61:03]

But he said, don't look at the back. We've got some advertising. I have a couple of questions. Would it be possible to get from you, in the written form, the Tibetan various media mantras like BAM and so on for these organizations? And that could be then maybe copied and distributed. And number two, when you visualize various creatives in your body, would it be useful to visualize them first and then transport it to either become a letter and then in the body, or you will simply visualize the letters?

[61:51]

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