Audio recorded at Tibetan Buddhist Institute, Adelaide. Transcript auto-generated and AI-corrected; may contain errors.
About this talk. In this 121-minute session, Kyabje Rinpoche provides detailed oral transmission and commentary on the tantric generation and completion stage practices of Yamāntaka as presented in Ling Rinpoche’s sādhana outline. He guides students through the visualization of the protection wheel with its ten wrathful protectors, the celestial mansion with all its architectural and symbolic components, and the practice of taking the intermediate state on the path to generate the enjoyment body. Central to this session is mapping the visualization elements—from wind and fire mandalas to the central deity Mañjuśrī arising on moon and sun discs—onto the stages of death, the intermediate state, and the illusory body of the spiritual path. Rinpoche emphasizes symbolic correspondences: the five colors represent the five wisdoms, the eight charnel grounds represent renunciation, and the entire mandala structure embodies the unified wisdom of bliss and emptiness. The teaching includes detailed corrections to the commentary text and explanations of why certain visual elements differ between the causal and resultant forms of the practice. Intended for practitioners who have received Yamāntaka initiation and are engaged with tantric path-based practices.
File metadata (for organising)
File: D5pm.mp3
UUID: 883db934-c975-491b-b1d2-d6b16f932f16
Teacher: Kyabje Rinpoche
Collection: Tantric Grounds and Paths
Recorded at: Tibetan Buddhist Institute, Adelaide
Words: ~5,985
So we can offer Mandala? On page five. So I want you to continue to give the transmission of the three bodies on the path in the context of the long sādhana. So check the long sādhana. We are on page 12.
So this is on page nine, I believe. This page 10. The average generation of the mandalas of the elements. So then on page 10, meditation of the common protection wheel. But she has just read the generation of the mandalas of the elements from yam, ram, bam, and lam.
And he comments that the term forming a solid unit without enter any intervening spaces means that the vajras are totally fused together in the common protection. There’s absolutely no space whatsoever between them. And then continuing in the center of the center from a syllable. Brum here is the root syllable of Vairochana, the Buddha of the perfection of the form aggregate, and all of the celestial palace will be created from Vairochana. And then continuing comes a brilliantly blazing yellow command wheel revolving clockwise.
Instead, this inside the center and slightly above, not touching the spokes, triple seats of multicolored lotus, moon, and sun. On the top of the central one from a hong, so we visualize ourselves as a hong, I arise as the hong transforms into with a dark blue colored body and and crowning my head. I see faces dark blue, white, and red in six arms. With my first two, I embrace a consort who looks similar to myself. With my other two right arm arms, I hold a jewel in a hook, and with my other two left, a lotus and a lasso.
I stand in the pose of the right leg bent and my left leg extended. So continuing with our Sadhana. Rays of light from the hung at my heart with us in union as mother and father. So, actually, if you read the Tibetan, it reads, the union of us as mother and father provoke beams of light from the hung at my heart to hook the 10 wrathful ones. It is more the sequence.
Yeah. And draw them into my mouth where they melt and enter the mother’s lotus womb with the path of my Vajra as 10 drops. These become 10 long vowel hungs, which transform into the 10 wrathful ones. So says, we draw the 10 ones. They enter the mouth of Sumbharaja.
They melt because of the bliss of the union of the mother and the father, Sumbharaja in consort, and enter the mother’s womb, the mother’s lotus, who’s the the male organ in the form of 10 drops. These become 10 long vowel hungs, which transform into the 10 wrathful one within the mother’s womb. And then Repertise says, the commentary or the description, should I say, of the 10 wrathful ones is not in the commentary, so he will give the transmission. And Rinpoche has read from all the way down to dark blue. So he has finished dark blue.
So do you understand the disposition here of this? You have the 10 spokes, four in the four cardinal directions, four in the intermediate directions, the two above. And then you have lotus, sun, and moon discs above each of the spokes. And on each of the lotus, sun, and moon discs, you will have the wrathful one associated with that direction. And then Rinpoche has continued to give the transmission.
He had actually not given the transmission of that blue Takkiraja, so he gave that and gave the oral transmission of the disposition of the remaining six protectors. These are four protectors on the intermediate directions. Takki Rāja in the Southeast, Nidadanda in the Southwest, Mahabala in the Northwest, Achala in the Northeast. And then inside the cone of the uncommon wheel of protection, we visualize yellowish green slightly above and facing Sumbharaja.
Inside the actual cone and below us, dark blue Vajra Patala, again inside the cone and facing the back of Sumbharaja. And then Rinpoche continued the transmission all the way to the middle or the first third of page 12, to fearsome Vajras annihilating all evil ones. Mhmm. And then gives the transmission of the remaining abbreviated mesh method of visualizing these, which corresponds basically to your intermediate. There.
Nice. Mhmm. Mhmm. Mhmm. And then continuing with the transmission on meditating on the intermediate state as a path of the enjoyment body, Rinpoche will read the sādhana and comment from time to time.
Myself standing as Sumbharaja, I transform into Vajrasattva with a white colored body, three faces, white, dark blue, and red in six arms. The first two embracing a consort similar to myself. The first two arms are embracing the consort. The other two right, holding a Vajra and a sword. The other two left, a jewel and a lotus.
So in actuality, four of the five symbols of the five Buddha classes are represented here. Vajrasattva then transforms into a white tetrahedral reality source standing upright with a point on the bottom and a broad face on top. Out of the bottom tip from bam, as Rinpoche explained this morning, comes a variegated lotus in the center of what so Rinpoche said the lotus can have, as he explained this morning, 64, 16, or 64, 32, or 16 petals, all three are appropriate. In the center of which is a hong, which transforms into a crossed Vajra. So says, this is a huge crossed Vajra, which is set horizontally, with white spokes in the East, yellow spokes in the South, red spokes in the West, green spokes in the north, and the central cubic hub blue.
So much as even though the central cubic hub is blue, the faces of the cube should be associated with their respective directions. The eastern face is white, the southern face is yellow, the western face is red, and the northern face is green. In the middle of the hub from a brum, this is a root syllable of Vairochana, which now will generate the celestial mansion, comes a wheel, which is a similar Vairochana marked with brum, which transforms into a white Vairochana with three faces, white, dark, blue, and red, and six arms. The first two embracing a consort similar to himself. The other two right holding a Vajra placed on a wheel and also a sword.
The other two left a jewel and a lotus. He transforms, and the Vairochana transforms into the celestial mansion, which is square and has four doors. It has walls of five. We should translate this as five levels of walls from the outside inwards, which from the outside are successively white, yellow, red, green, and blue. These are associated with the five classes of Buddha, Vairochana, Ratnasambhava, Amitābha, Amoghasiddhi, and Akṣobhya.
On top of the walls is an encircling yellow jeweled molding, beautified with an assortment of gems. So Rinpoche says these represent freezes, which basically go all the way around the inner celestial mansion, and the walls of the celestial mansion from the inside should be seen as blue. Generally speaking, the walls of the celestial mansion on the inside are the same color as the color of the main deity. Here, since Yamāntaka is blue in color, the walls would be blue. If the central deity was white, for instance, then the walls would be white.
Halfway to the center of the mansion are a circular ledge beam marked with a garland of vajras upon which rest the eight pillars that support the four vajra crossbeams. But he says we have inside the celestial mansion four pillars. The two pillars in the east are white and are marked with wheels. The two pillars in the South are yellow and are marked with jewels. The two pillars in the West are red and are marked with lotuses, and the two pillars in the North are green and are marked with swords.
And these support the cross beams. Continuing with our Sadhana, the eight pillars that support the four Vajra cross beams. The top is beautified with a crowning precious gem and Vajra finial. Inside, the celestial mansion is white in the East, yellow in the South, red in the West, and green in the North. The center is blue.
These are the colors of the Buddhas of the four directions in the center. On top of the molding, which mentioned previously, is a quadruple colonnade on the outside face of which are the heads of sea monsters. It might be better to translate colonnade by balustrade. What the says is on top of the frieze or the the yellow molding which goes around, we have then empty spaces which are bedecked with little pillars, and there are four of these, one, two, three, and four, on top of each other. So these are like balustrades.
So then continuing with our Sadhana. Is a quadruple balustrade on the outside face of which are the heads of sea monsters. Between each of their mouths is strung a strand of jewels, hanging from each mouth are strings of gems with a golden bell and a yak tail fan. In such a way, it is beautified. On the outside face, says we are basically now at the level of the roof of the celestial mansion.
On the outside face of the quadruple balustrade above each sea monster’s head is an eave from which hangs a jeweled pendant and on which rests an upright denture. So this can also be translated as a valance. It’s like a long band of the parapet in the shape of half lotus petals. The parapet is beautified with banners, pennants, so forth, so each side of the parapet has its set of banners and pennants. And then around the outside of the wall is a red ledge for the goddess of desirable objects, so we go back down to the base of the celestial mansion.
And you remember that the celestial mansion is square. It has four doors in the four directions. And there is a red ledge, which is approximately one cubit in height and square, which surrounds the celestial mansion, but does not block the doors. For the goddesses of desirable objects, on this encircling the walls of the mansion are found goddesses holding and presenting objects of offering. At the outside corners of the doorway corridors and on the platform outside and inside the four corners of the mansion are arrayed crescent moons with a vajra and jewel on top of each.
Before each of the four doorways is an archway. This is how it’s translated in English. It’s actually in Tibetan the place where one dismounts from a horse. So it’s a covered lintel of a door, as it were, having 11 layers of segments. These are vertical, and these 11 layers lead all the way up to the wheel on top.
11 layers of segments and resting on four pillars. So there are four pillars for each of the gateways, two to the right and two to the left in each of the gateways. On top of each of these archways is a Dharma wheel. So this symbolizes the wheels which were turned by the Buddha, in other words, the cycles of teachings for turning of the law, flanked to the left and right by a male and female buck and doe. The buck and the doe symbolize the outsiders who generated faith, the non-Buddhist who generated faith in the Buddhist teachings when he turned the wheel of the law.
And then we move out of the celestial mansion beyond the Vajra fence, so beyond the common circle of protection. Outside the Vajra fence and the mountain of fires, the mountain of fires after the Vajra fence are the eight charnel grounds or the eight cemeteries, such as the ferocious one with eight trees, such as the Naga Keshara tree. So each of the cemeteries has complete a complete set of attributes. It has its own tree, its own river, its own stupa, its own fire, and so forth. At the base of these are the eight directional protectors, and so forth.
And at the crest of the eight realm protectors, which is a great emanation with an elephant’s trunk. There are the eight lakes of compassion, which live the eight naga, such as a grand jewel. And Rinpoche did not give any details here. So we continue all the way down to their cackling and presence makes the charnel grounds very vivid. So the symbolism of the Vajra Fence is that the Vajra fence symbolizes bodhicitta.
The fire mountain, the mountain of fire symbolizes the correct view, the view of emptiness, and the eight graveyards symbolize renunciation. So the fact that these are placed outside the mandala symbolizes the fact that to engage in this practice, one needs the three principles of the path. So Rinpoche says in these eight cemeteries, there are eight directional protectors. Their main job is to protect the yogis in those graveyards from interferences when they practice. So for instance, when the yogis have their meal, they can relax.
There’s no problem. And then there are 16 directional protectors of which these are a manifestation. And the fact that there are eight charnel grounds symbolizes the eight direct and reverse joys which are generated by the practitioner. So then continuing with our sādhana. Inside the celestial mansion, so we’ve returned to the very center of the celestial mansion surrounded by these charnel grounds.
From a yam comes a black wind mandala with a slight shade of red, on top of which from the first letter r, so number two says this is probably a short r. So the difference between a short R and a long R is that the short R is barely voiced, comes a moon mandala. In the center of it, like a bubble out of water, Rinpoche says you could have seen bubbles, how bubbles arise spontaneously in water with no no previous obvious cause, comes a yellow d, the root syllable of Manjushi, which transforms into a sword marked in the center with a d. Light rays emanate from it, and these light rays strike the 10 directions inviting forth all of the Sugata Buddhas who dissolve into it. Actually, during this visualization, one imagines that countless beams of light emanate from the god of the sword, the d at the hilt of the sword, and they strike the Manjushis in all of the 10 directions and the Manjushis from the East.
So, Rinpoche, I will transit to meet you with Rinpoche just said. Rinpoche said that this morning, we had explained taking death on the path, and in this process, we had placed our mind in meditative equipoise on emptiness. Now at the beginning of this practice of taking the Bardo on the path, this mind which has been placed in meditative emptiness enters or manifests as the white moon disc, and this has a very pre precise meaning. And then we continue with the generation of Mañjuśrī on this basis. So returning to what we were saying, the beams of light strike the Buddhas of the 10 directions, and these return in the form of Mañjuśrī’s from the 10 directions.
So of the 10 directions, the Mañjuśrī’s from the eastern quarter return as white Mañjuśrī’s. Those from the southern quarter return as yellow Mañjuśrī’s. Those from the Western quarter as red Mañjuśrī, and those from the Northern quarter as green Mañjuśrī. They dissolve into it. In other words, they dissolve into the sword with a d at its hilt whereby it transforms and I rise as a wrathful youthful vajra holder youthful manjushri.
I have a yellow colored body with a slightly wrathful expression and so forth. So Rinpoche has finished the presentation of taking the Bardo state on the path to generate the. So we will now continue with your commentary.
Mhmm. So we pass now to page 54 of your commentary. Now as for the symbolic meaning of all of these from the root hand of Guhyasamāja, by the divisions of the body, speech, mind, it remains in the aspect of a triangle. This means that the Dharmadhatu, the reality source, is triangular because it represents the body, speech, and mind of the Buddha. It also symbolizes the three doors of liberation.
Continuing with your commentary, stated the three corners of the reality source symbolize the body, speech, and mind with the three doors of liberation. The white on the outside symbolizes great bliss in the middle of page 54, and the red on the inside symbolizes emptiness. The thin tip with its point symbolizes the extent of one’s knowledge is smaller the stage of a beginner. The white part facing upward symbolizes that knowledge increases continually from the path of accumulation up to the stage of Buddhahood. Being in the appearance of the wisdom ladies, the consort’s place of giving birth symbolizes, you should correct your text, the wisdom of great bliss.
All the supporting and supporting mandala fitting into the reality source symbolize that all things are not beyond, you have to correct your text again, the play of the indivisible wisdom of bliss and emptiness, which is symbolized by the reality source. So continuing with our text, it also symbolizes that the qualities of the path and the result come from meditation on the indivisibility of bliss and emptiness. The multicolored lotus, which is the base underlying the celestial mansion, as Rinpoche explained, although it has grown from mud, is not stained by mud. This symbolizes that although it is produced from taking sensual pleasures as the path, it is not stained by delusions such as desire. When this has 64 petals, as Rinpoche explained, it symbolizes the 64 petal channel wheel of the navel.
When it has 32 petals, it symbolizes the main, crown channel wheel. Furthermore, the vital penetration of the visualization symbolizes the penetration of the vital points of the body. And then the text adds the fact that there are five components to the crossed Vajra, the four Vajras themselves in the hub, represent the five wisdoms of the Buddha. Then continuing, In addition to that, as this wisdom of indivisible bliss and emptiness, which is distinguished by its force, is divided if divided is the five wisdoms, then the five colors of the crossed Vajra, white, yellow, red, green, and blue, symbolize the five wisdoms, as Rinpoche explained. In the case of this crossed Vajra having 12 spokes, it symbolizes the 12 links of dependent origination, ignorance, and so forth.
In the case of it having 20 spokes, then as in, they said form is not the self. The self does not possess form. Form does not have the self. No. Is there a form within the self?
Understand all the aggregates in these four ways. These are accepted as the 20 views of the self or the 20 views of the transitory collection. So now gives a transmission of pages fifty six and fifty seven of your text. We want to read through the the whole of the material, just some of the corrections. So first paragraph of page 56, you have to correct the four legs of miracles of aspiration, perseverance, thought, and samadhi of analysis.
Then your text reads the outer and inner Vajra garland. The Tibetan text reads the outer and inner Vajra garland, because your text only reads the inner Vajra garland, the four gateways. Then we continue the four it’s not the goddesses of the offering ledges. It’s the four offering ledges symbolize the four meditative stabilizations, and then the meditative stabilizations are listed. A bit further down, three lines five lines from the bottom, the offering goddesses standing on the offering ledge, not remaining.
Then on page 57, which is there’s a lot of symbolism here of the graveyards. Furthermore, the corpses remaining abandoned in the charnel grounds symbolize the selflessness of persons, not egolessness. The river symbolize bodhicitta, and we continue downwards, the bottom of the paragraph, by meditating on the symbolisms of such a celestial mansion together with the charnel grounds, generate the pride and a clear appearance of these. And all of the upper and lower parts of the are white in the East, yellow in the South, red in the west, green in the north and blue in the center, and this is as far as has reached. So skipping to page 58, the first paragraph, in the center of the celestial and this is in keeping with the visualization of the sadhana, which has already given the transmission of.
On I think it’s page 13, yes, of your text. And the sentence says the nature of a dark red air mandala from a yam in the nature of the mixture of fire and wind, not still for even an instant. On top of that from the first letter r, so in which you already explained, it’s a short r, appears a moon mandala generating such a celestial match of the four mandalas of the elements together with the seats, symbolizes the vessels such as the mountains and continents where we wanted to take the birth of the bases after purifying that. The times of the path and the result, this symbolizes supporting celestial mansion where those of the unions of learning, the Yuganaddha of learning and of no more learning reside. This becomes a special right to achieve that.
So in doing these visualizations, we place the karmic imprints to attain later on this state.
So from within the outline of the practice of Yamāntaka composed by Ling Rinpoche, with respect to the two modes of meditating on the wheel of protection to protect against interfering conditions, the ordinary and the uncommon wheel of protection. This outline has been completely explained this morning and this afternoon, and we have now reached the following outline. Secondly, with regards to meditating on taking the Bardo body on the path of the Sambhogakāya, there are two divisions, and Rinpoche now will detail these. And to detail these, we return to our commentary. And Rinpoche has read the section on the commentary on page 58.
We will just skip a little bit. In the middle of the of the bottom paragraph, an infinite amount of yellow light emanates in the 10 directions from this in the form all the body of the 10 direction in the aspect of Mañjuśrī. So this in particular explained, these rays of light emanate and then resorb within us in the form of Mañjuśrī. And as the commentary explains, they resorb in the in the form of Mañjuśrī of the color of the requisite direction. And this is explained in our text at the bottom of page 58.
And our text continues, if one cannot do this much, just do the emanation of the causal Vajra Holder, the aspect of Mañjuśrī. And explained this in detail. Now you have to correct your text in the middle of that paragraph. Right hand raising loft, the wisdom saw is a golden half Vajra handle. And and then you continue with the five wisdom blazing at its tip.
We continue. The top knot of his hair is bound both above and below with a ribbon of gold. So says what is meant here is that, hair is bound in several knots, vertically, and, there is a ribbon below and above, each knot, including the upper section, and comprises a set of five knots. You should correct this as opposed to five knots in your text. And then our commentary continues, beautified with eight jewel ornaments.
So I can put you read all this all the way down to, we generate the divine pride. I am the extremely subtle enjoyment body appearing in the aspect of the causal Vajra Holder Mañjuśrī, the ultimate wisdom of the result. This is the practice of taking Bardo on the path to give rise to the Sambhogakāya. And then continuing with our text at the bottom of page 59 From the fourth chapter, this says is from within the seventh chapter of the root tantra of Yamāntaka, visualized on top of a moon disc, which comes from the first vowel r. On top of that, a letter d transforms into, a sun disc coming from a letter r at his heart.
On page 60, from the elaborate sādhana, doesn’t believe this is the elaborate sādhana. He thinks it’s 13 deity Yamāntaka sādhana. In the center of this, a letter r in the Namo, then on top of that is a letter d then a form of Mañjuśrī, then visualize that his heart, a sun disc from a letter r. From the small sādhana, concentrating on the use of Mañjuśrī, he’s adorned with the ornaments of youth with one face in two arms yellow in color, holding a sword in the right hand, and a text in the left. And from meditating on the moon disc in the center of the seat up to meditating on the sun disc at Mañjuśrī’s heart is the intermediate state of the basis.
This is meditated in concordance with the aspect of the two illusory bodies of the path. So says the two illusory bodies here refer to the impure and the pure illusory bodies and the enjoyment body of the result, which is the sambhogakaya. And this is on page 13. It is a commentary of the second paragraph in the middle of page 13. Yeah.
And continuing with our commentary, further furthermore, this d, the sword marked with d, the light emanating from those and inviting and dissolving the Tathagatas and the causal Vajra Holder Mañjuśrī are concordant respectively with the speech mind activities in the body of the intermediate state. So Rinpoche says that the speech of the intermediate state would then be concordant with the d. The mind would be concordant with the sword marked with a d. The activities would be concordant with the light emanating from those and inviting and dissolving the and so forth. We would have correspondences in this way.
And then we continue with the commentary. The sun disc at Mañjuśrī’s heart has no symbolic referent for the basis. There is no factually concordant referent for the basis, but there are explanations of it in conjunction with the path and the result. If applied to the path, the body of Mañjuśrī and the sun disc at Mañjuśrī’s heart respectively symbolize a completely purified body becoming the illusory body and a completely pure pure mind becoming the wisdom of the meaning clear light of the direct understanding of emptiness by the simultaneously born bliss. And then has read the two following paragraphs on line 61.
Meditating on the sun disc of Mañjuśrī’s heart symbolizes the body of unity, which is a pure illusory body adorned with the marks. These are the thirty two eight major marks and the signs, the 80 minor signs. And the meaning clear light is a direct understanding of emptiness by the simultaneously born bliss of the same entity. They are of one nature as the body and mind. This is applied as a result of symbolizes the body becomes the enjoyment body, the which has the seven attributes.
And the mind becomes the truth body of the clear light devoid of obscurations. It also symbolizes the union of no more learning in which these two are the same entities, the body and mind. It was the Yuganaddha of no more learning. Mhmm. Mhmm.
Continuing, the letter often which the sun is generated symbolizes the object emptiness of the absence of inherent existence. The sun which is generated from it symbolizes the subject, so correct your text as well. Wisdom of great bliss. And the illumination of darkness by the rays of the sun symbolizes the illumination of the darkness of the two obstacles, in other words, to, the obstacles of the afflictions and to omniscience, by the wisdom of the clear light of the path as well as the illumination of the two obstacles by the wisdom of the result. And then has read the last paragraph on page 61.
Furthermore, as I have explained earlier, after the clear light of death with the gradual dissolution of the body and so forth. And you might want to correct near attainment to reverse near attainment. And then on page 62, after the actualization of the example in mere meaning clear lights, we read down to when one achieves the reverse black near attainment from the clear light. And continuing by maintaining the continuity of this pure illusory body, one achieves the enjoyment body with the seven qualities simultaneously with the actualization of the clear light of the truth body of the result. Mhmm.
And then the following two paragraphs, here also meditating on the enjoyment body of the causal Vajra holder in this way purifies the intermediate state of the basis, of the base, from within the three, and becomes a ripener of the root of virtue to achieve the illusory body of the intermediate state of the path, the second of the three, When the result enjoy resultant enjoyment body with the seven qualities is achieved, this is also called the path of taking the intermediate state as the path of the enjoyment body. Mhmm. So we now have a difficult paragraph on the bottom of page 62. Furthermore, the state of death in the intermediate state occur uninterruptedly like one end of a scale going down as the other end goes up. And here, although one meditates on emptiness, which is factually concordant, correct your text, with the state of death and one generates the wheel of protection and meditates on the celestial mansion up to the generation of Mañjuśrī, which are factually concordant with the intermediate state, it is not as if any factor is meditated on as occurring between the state of death and the intermediate state.
By visualizing the intermediate state as a place in which one is to take birth and which occurs immediately after the state of death, subsequently, the deity is visualized in accordance with the intermediate state of the one who takes birth in that place. We’re speaking here of the purification of the bardo. Just as a basis of purification, the vessel worlds, in other words, the worlds we are born in, which are the place where the intermediate state being takes birth, are in existence before the intermediate state. It is stated there is no fault here in previously generating the celestial mansion of not being discordant with the basis of purification. So the key here is that the basis of purification and the path of purification must be concordant.
Now the world in which a Bardo being is born actually exists before the Bardo being arises in it, whereas the celestial mansion is created with the Bardo being. There’s a slight discordance here, but it is nothing which is major. It’s not a discordance which enables us to say that there is no factual concordance between the base of purification and the path of purification, let alone the result. So for this reason, we do not say that there is any major discordance. So then there is a doubt here, which is explained on paragraph second paragraph, page 63.
Here, one wonders why there is only one moon seat for the causal Vajra holder, and there were three discs of lotus, moon, and sun for the resultant Vajra holder, and triple stack, in other words, lotus, moon, and sun discs, even on the occasion of the causal Vajra holder in the 13 deity practice. Laos. So this is a doubt, Rinpoche says. Laos. Mhmm.
And then with respect to this doubt, the text here has many mistakes, so you will have to correct systematically from your errata. Even on the occasion of the, page 63, second paragraph, in the 13 deity, for the sake of convenience, all the seats of the principal deity in the retinue are mentioned above as one group. So in the case of 13 deity Yamāntaka, because there are so many deities, the fact that the deities are on three disks of lotus moon and sun is mentioned only one. It’s not mentioned systematically, but they are systematically on three disks. In the solitary here on the occasion of the resultant vajra holder, the triple stacked seats are explicitly mentioned in the words of the Sadhana.
This is now the door the reason for which the author, Trinley Gyatso, thinks that the causal Vajra holder is on a moon disc. I think the reason why there are moon discs in both the occasion of the causal Vajra Holder of solitary hero and of the 13 deity is that that even at the time of the basis, the body of the intermediate state, which is the basis of purification, and at the time of the path, the two illusory bodies, which are the purifiers, are created from the subtle wind mind and the substances of the basis of the primordial lord, which is the enjoyment body at the time of the result of purification, is established from the extremely subtle life sustaining wind. The color of the life sustaining wind is naturally white, and therefore, is made a moon seat. For these reasons as well, to the fact that the moon seat of the cause of Vajra Holder symbolizes the extremely subtle mind. So we have completed at present taking the Bardo body on the path to generate the Sambhogakāya.
And tomorrow, Rinpoche will cover taking the taking rebirth on the path to generate the Nirmāṇakāya. We have ten minutes, so we’ll cover some questions. So the question is, what is the difference between the pure impure and pure illusory bodies? So says, an impure illusory body is an illusory body which is still contaminated by delusions and afflictions, whereas a pure illusory body is not. And, therefore, ordinary beings can have an impure illusory body, whereas pure illusory bodies only exist in the mental continuum or in the continuum of ārya beings.
So the question is, what are the various Yamantakas, which mentioned? There was a difference between them. So generally speaking, there are three broad practices of Yamāntaka. There is the black wrathful one, red Yamāntaka, and Vajrabhairava, the extremely fierce one. And these are all emanations of Mañjuśrī, so they are all similar in that respect.
They were wrathful emanations of Mañjuśrī. The uncommon feature of the practice of Vajrabhairava is that unlike the other practices of Yamāntaka, Vajrabhayrava in Vajrabhairava’s practice, Mañjuśrī is present both at the causal level, at the heart of Vajrabhairava on a on a white moon disc, and at the level of the result is also present on the crown of Vajrabhayrava. And then red Yamāntaka is a practice of power. Black Yamāntaka is a practice of wrath, and Vajrabhayrava is an extremely fierce practice. So the question is, what is the mantra of
Because our text said that more meant more turning the wheel, of the uncommon wheel of protection when you recite the mantra of says he doesn’t have a clue. He says, basically, it’s not the case that when you turn the wheel as the commentary indicates, you have to recite only the mantra of Ushnisha Chakravarti. Each of the 10 wrathful ones has their own mantra, which you would recite in a function of the activities you want to perform while turning the wheel. And to shorten things, the commentary said you should recite the mantra of Ushna Chakravarti, but that’s only if you want to perform its own activities.