TOPICS

SEE ALSO

AUTH

BOOKS

IN CHAPTERS TITLE

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT

1.07_-_A_Song_of_Longing_for_Tara,_the_Infallible

PRIMARY CLASS

Deity

God

Yoga

SIMILAR TITLES

Deity Yoga

TERMS STARTING WITH

deity yoga. See DEVATĀYOGA.

deity yoga


TERMS ANYWHERE

anujNA. (T. rjes gnang). In Sanskrit, "authorization"; referring to a ritual less elaborate than the ABHIsEKA (consecration) rite, which imparts the authorization to perform certain practices within a particular cycle of tantric instructions, including deity yoga (DEVATAYOGA) and MANTRA recitation, but excluding the activities of teaching and bestowing consecrations authorized by the final part of the abhiseka, the ACARYA (teacher) consecration.

deity yoga. See DEVATĀYOGA.

deity yoga

devamāna. (T. lha'i nga rgyal). In Sanskrit, lit. "divine pride"; a term that appears in tantric literature in connection with the practice of deity yoga (DEVATĀYOGA). In general, pride (MĀNA) is regarded as a negative mental state, one of the root afflictions (MuLAKLEsA), and therefore an affliction to be abandoned. However, in one of the inversions typical of the tantric context, although one should abandon ordinary pride, one should cultivate pride in oneself as being a deity, that is, in this case, as being a buddha. It is by imagining oneself to have the mind, body, abode, and resources of a buddha now that one is said to proceed quickly to the state of true buddhahood via the tantric path. Therefore, one should imagine oneself as having already achieved the goal that one is in fact seeking.

devatāyoga. (T. lha'i rnal 'byor). In Sanskrit, "deity yoga"; tantric practice in which a deity (often a buddha or bodhisattva) is visualized in the presence of the practitioner, the deity is propitiated through offerings, prayers, and the recitation of MANTRA, and is then requested to bestow SIDDHIs. Two types are sometimes enumerated: one in which the deity is visualized in front of the practitioner and another in which the practitioner imagines himself or herself to be the deity. According to TSONG KHA PA, the practice of this latter type of deity yoga is the distinguishing characteristic of the VAJRAYĀNA, differentiating it from the PĀRAMITĀYĀNA. He argues that both forms of deity yoga are to be found in all classes of tantra: KRIYĀ, CARYĀ, YOGA, and ANUTTARAYOGA. Devatāyoga is a central feature of the two stages of anuttarayoga tantra (UTPATTIKRAMA and NIsPANNAKRAMA); in the former "generation" stage, guided by a SĀDHANA, the tāntrika visualizes a MAndALA, with its central and surrounding deities. Through meditation on ANĀTMAN (nonself) or suNYATĀ (emptiness), the practitioner imagines himself or herself to be the central deity of the mandala. In certain forms of practice, the practitioner will also imagine the entire mandala and its deities as residing within the practitioner's body. When the practitioner has developed the ability to visualize the mandala and its deities in minute detail, one moves to the second "completion" stage (nispannakrama), in which the complex of NĀdIs (channels) and CAKRAs (wheels) of the human body are utilized to achieve buddhahood.

mandala. (T. dkyil 'khor; C. mantuluo; J. mandara; K. mandara 曼荼羅). In Sanskrit, lit. "circle"; a polysemous term, best known for its usage in tantric Buddhism as a type of "circular diagram." Employed widely throughout South, East, and Central Asia, mandala are highly flexible in form, function, and meaning. The core concept of mandala originates from the Sanskrit meaning "circle," where a boundary is demarcated and increasing significance is accorded to areas closer to the center; the Tibetan translation (dkyil 'khor) "center periphery" emphasizes this general scheme. In certain contexts, mandalas can have the broad sense of referring to circular objects ("mandala of the moon") or a complete collection of constituent parts ("mandala of the universe"). This latter denotation is found in Tibetan Buddhism, where a symbolic representation of the universe is offered to buddhas and bodhisattvas as a means of accumulating merit, especially as a preliminary practice (SNGON 'GRO). Mandalas may have begun as a simple circle drawn on the ground as part of a ritual ceremony, especially for consecration, initiation, or protection. In its developed forms, a mandala is viewed as the residential palace for a primary deity-located at the center-surrounded by an assembly of attendant deities. This portrayal may be considered either a symbolic representation or the actual residence; it may be mentally imagined or physically constructed. The latter constitutes a significant and highly developed contribution to the sacred arts of many Asian cultures. Mandalas are often depicted two dimensionally by a pattern of basic geometric shapes and are most commonly depicted in paint or colored powders. These are thought of almost as architectural floor plans, schematic representations viewed from above of elaborate three-dimensional structures, mapping an ideal cosmos where every element has a symbolic meaning dependent upon the ritual context. Mandalas are occasionally fashioned in three dimensions from bronze or wood, with statues of deities situated in the appropriate locations. When used in a private setting, such as in the Buddhist visualization meditation of deity yoga (DEVATĀYOGA), the practitioner imagines the entire universe as purified and transformed into the transcendent mandala-often identifying himself or herself with the form of the main deity at the center. In other practices, the mandala is visualized within the body, populated by deities at specific locations. In public rituals, including tantric initiations and consecration ceremonies, a central mandala can be used as a common basis for the participation of many individuals, who are said to enter the mandala. The mandala is also understood as a special locus of divine power, worthy of ritual worship and which may confer "blessings" upon devotees. Religious monuments (BOROBUDUR in Java), institutions (BSAM YAS monastery in Tibet), and even geographical locations (WUTAISHAN in China) are often understood as mandalas. Mandalas have also entered the popular vocabulary of the West. Swiss psychologist Carl Jung developed theories of cognition incorporating mandalas as an analytical model. The fourteenth DALAI LAMA has used the KĀLACAKRA mandala as a means of spreading a message of peace throughout the world. See also KONGoKAI; TAIZoKAI.

Sngags rim chen mo. (Ngak rim chenmo). In Tibetan, "Great Exposition of the Stages of MANTRA," an extensive theoretical work on the classes and stages of TANTRA, written by the DGE LUGS savant TSONG KHA PA BLO BZANG GRAGS PA. The work is regarded as the tantric companion to his most famous work, the LAM RIM CHEN MO, or "Great Exposition of the Stages of the Path." The work begins with an influential discussion of what distinguishes the MAHĀYĀNA from the HĪNAYĀNA, and within Mahāyāna, what distinguishes the perfection vehicle (PĀRAMITĀYĀNA, phar phyin theg pa) from the mantra vehicle (MANTRAYĀNA, sngags kyi theg pa), with Tsong kha pa arguing that the practice of "deity yoga" (DEVATĀYOGA, lha'i rnal 'byor) is the distinguishing feature of tantric practice. The text then goes on to set forth the principal practices of each of the four major divisions of tantras according to Dge lugs: KRIYĀTANTRA, CARYĀTANTRA, YOGATANTRA, and ANUTTARAYOGATANTRA, with the greater part of the text devoted to the last of these divisions, regarded as essential for the achievement of buddhahood.

utpattikrama. (T. bskyed rim; C. shengqi cidi; J. shokishidai; K. saenggi ch'aje 生起次第). In Sanskrit, "stage of generation" or the "creation stage," one of the two major phases (along with the NIsPANNAKRAMA or the "stage of completion") of ANUTTARAYOGATANTRA practice. The term encompasses a wide range of practices that commence after one has received initiation (ABHIsEKA), generally involving the practice of the SĀDHANA of a particular deity with the aim of the "generation" or transformation of the body, environment, enjoyments, and activities of the practitioner into the body, environment, enjoyments, and activities of a buddha. This is done through the practice of deity yoga (DEVATĀYOGA), in which the meditator visualizes himself or herself as a buddha and the environment as a MAndALA. In the RNYING MA sect of Tibetan Buddhism, MAHĀYOGA generally corresponds to the utpattikrama.

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1:highest yoga tantra meditations, with their ritualized deity-yoga visualizations. ~ Thupten Jinpa,

2:the practice of tantra involves a combination of emptiness-yoga — through which all ordinary conceptions of one-self are dissolved — and deity-yoga — in which one cultivates the enlightened identity of a particular meditational deity. ~ Lama Thubten Yeshe,

3:My current way of teaching mindfulness is, in part, informed by this early Shingon training. I have people observe self in terms of inner mental images, mental talk, and emotional body sensation, the three sensory elements used in the Vajrayana deity yoga practice. I’ve created a hybrid approach. What I have people observe is derived from the Japanese Vajrayana paradigm: self = mental image + mental talk + body. But how I have people observe is derived from mindfulness, which has its origin in Southeast Asian Theravada practice. ~ Shinzen Young,

1.07 - A Song of Longing for Tara, the Infallible, #How to Free Your Mind - Tara the Liberator, #Thubten Chodron, #unset   His Holinesss Deity Yoga and Tantra in Tibet.   If you have already received tantric vows, aspire to keep them purely,

Wikipedia - Deity Yoga

Wikipedia - Deity yoga

https://religion.wikia.org/wiki/Tantra_techniques_(Vajrayana)#Deity_yoga

https://religion.wikia.org/wiki/Tantra_techniques_(Vajrayana)#Visualisation_in_deity_yoga

https://religion.wikia.org/wiki/Vajrayana#Deity_yoga