Homage To The Headless Divine Lady
(By Tsem Rinpoche)
An ordinary person couldn’t ever survive if their head was severed. The body would just go lifeless. In this extreme symbolism, Vajra Yogini shows that by cutting off the ego, samsara goes lifeless. This rare form of Vajra Yogini expressed that divine life can be achieved even if the head is severed (ego).
Homage to the Divine Lady,
Whom out of compassion,
emanates in myriads of forms
in this degenerate age to subdue our various minds.
Using the energy of desire, She attracts us to Her form,
then brings us to full liberation.
慈悲化现种种微妙相
末法世中降伏繁杂心
善用欲望摄见佛母身
而后令得圆满解脱境
故我顶礼至尊圣佛母
愿我世世不离无头母
May we never be seperated from the Noble Headless Lady.
Tsem Rinpoche
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A sacred image of the rare form of Vajrayogini known as Ucheyma, the Buddha that shows us the path to eradicate the ego. For this and many other high-resolution images of the enlightened beings to download for free visit: https://bit.ly/2oxb4qU
Ucheyma (Severed Headed Vajrayogini) (Main figure)
(Top to bottom): H.H. the 7th Panchen Lama, Ucheyma (Severed Headed Vajrayogini), Vajra Varnani (green assistant), Vajra Vairocani (yellow assistant), Dorje Shugden and Citipati.
The central deity is known as Chinnamasta or Dorje Neljorma Ucheyma. Both Chinnamasta (Sanskrit) and Ucheyma (Tibetan) literally mean, ‘She Whose Head is Severed’. The meaning behind her form is to show practitioners that they need to completely remove the grasping and self-identification with the “I” or the ego. Generally, the identity of the self is strongly associated with our face more than any other part of our body. We usually recognise a person when we look at a person’s face. Hence, our self-identification or ego is strongly associated with our face. To show us that this self-identification needs to be overcome on the spiritual path to enlightenment, Vajrayogini uses her ritual chopper to decapitate herself. This is symbolic of her practice eradicating the ego.
The Severed Headed Vajrayogini, as she is also known, removes all afflictive mental constructs by removing the root cause – the identification of the self, the ego. We are either attached to or averse to people and circumstances because we have an ego to please, gratify and protect. But in the grander scheme of things, this self-identification with the ‘I’ is illusory and does not really exist. Therefore, Vajrayogini reveals this ultimate truth through the dramatic decapitation of her head and at the same time is still able to live and function. She is able to live due to her direct perception of emptiness and egolessness.
Contrary to what some people might think, the eradication of the self does not destroy individualism, our personality or make us into a mindless person. In fact, the eradication of the ego makes us become a vibrant and compassionate person, someone that has greater awareness of the suffering of others. In other words, we become much warmer, kinder, forgiving, tolerant, conscientious, generous, contemplative and we are become a joy to be with. The cutting of the ego or the ‘I’ brings us towards awakening our true self, the Buddha nature within.
The Severed Headed Vajrayogini has two dakini attendants. From the trunk of her neck, there are three severed blood vessels spurting three jets of blood that flow into the mouths of her own decapitated head that she carries in her left hand and into the mouths of her two attendants. Tsem Rinpoche explained that the three jets of blood represent that her practice purifies the three psychic poisons of ignorance, hatred and desire. In turn, this leads to the attainment of the three bodies of a Buddha – the emanation body, the enjoyment body and the truth body. In other words, the severance of the ego via her tantric path leads to the purification of all delusions and ultimately, the attainment of Buddhahood itself.
The 7th Panchen Lama, Palden Tenpai Nyima is featured floating above because of his compilation of sadhanas from the ancient Sadhanamala texts. This includes a particular sadhana or collection of prayers, visualisation and mantra focused on Ucheyma. Incidentally, Dorje Shugden in many of his previous lives was a lineage master of the Vajrayogini tantras as well. These previous lives include the likes of the Mahasiddha Naropa and Tsarchen Losel Gyatso. The Lord and Lady of the Charnel Ground, known as Citipati, are one of the main protectors of the Vajrayogini Tantra.
Last of all, the ascetic meditator engaging in his devotional practices towards Ucheyma in the cemetery represents the ideal environment for tantric practice because such environments invoke deep renunciation towards worldly affairs and attachments. All Buddhist traditions advocate meditating on the bones of the deceased because it reminds us of our mortality and hence, we develop revulsion towards the transient nature of worldly or ordinary existence.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Ucheyma (Severed Headed Vajrayogini) (Main figure)
(Top to bottom): Maitri Kacho (Flying Vajrayogini), Maitri Kacho (One-Leg Up Vajrayogini), Naro Kacho, Sukhasiddhi, Ucheyma (Severed Headed Vajrayogini), Vajra Varnani (green assistant), Vajra Vairocani (yellow assistant), Citipati, Vajravarahi and Dorje Shugden.
The central deity is known as Severed Headed Vajrayogini, Chinnamasta or Dorje Neljorma Ucheyma. Both Chinnamasta (Sanskrit) and Ucheyma (Tibetan) literally mean, ‘She Whose Head is Severed’. The meaning behind her form is to show practitioners that they need to completely remove the grasping and self-identification with the “I” or the ego. Generally, the identity of the self is strongly associated with our face more than any other part of our body. We usually recognise a person when we look at a person’s face. Hence, our self-identification or ego is strongly associated with our face. To show us that this self-identification needs to be overcome on the spiritual path to enlightenment, Vajrayogini uses her ritual chopper to decapitate herself. This is symbolic of her practice eradicating the ego.
The Severed Headed Vajrayogini removes all afflictive mental constructs by removing the root cause – the identification of the self, the ego. We are either attached to or averse to people and circumstances because we have an ego to please, gratify and protect. But in the grander scheme of things, this self-identification with the ‘I’ is illusory and does not really exist. Therefore, Vajrayogini reveals this ultimate truth through the dramatic decapitation of her head and at the same time is still able to live and function. She is able to live due to her direct perception of emptiness and egolessness.
Contrary to what some people might think, the eradication of the self does not destroy individualism, our personality or make us into a mindless person. In fact, the eradication of the ego makes us become a vibrant and compassionate person, someone that has greater awareness of the suffering of others. In other words, we become much warmer, kinder, forgiving, tolerant, conscientious, generous, contemplative and we are become a joy to be with. The cutting of the ego or the ‘I’ brings us towards awakening our true self, the Buddha nature within.
The Severed Headed Vajrayogini has two dakini attendants. From the trunk of her neck, there are three severed blood vessels spurting three jets of blood that flow into the mouths of her own decapitated head that she carries in her left hand and into the mouths of her two attendants. Tsem Rinpoche explained that the three jets of blood represent that her practice purifies the three psychic poisons of ignorance, hatred and desire. In turn, this leads to the attainment of the three bodies of a Buddha – the emanation body, the enjoyment body and the truth body. In other words, the severance of the ego via her tantric path leads to the purification of all delusions and ultimately, the attainment of Buddhahood itself.
Severed Headed Vajrayogini is surrounded by some of her other forms, including Naro Kacho, two forms of Maitri Kacho, Sukhasiddhi and Vajravarahi. These forms of Vajrayogini are more commonly practised compared to Severed Headed Vajrayogini and are prevalent in most Tibetan Buddhist lineages. Though they may look different, all forms are indivisible from her true nature and all her practices can lead practitioners to enlightenment. Naro Kacho arose from a vision beheld by the Mahasiddha Naropa, Maitri Kacho from a vision beheld by Maitripa, and Indra Kacho from a vision beheld by Indrabodhi. The Lord and Lady of the Charnel Ground, known as Citipati, are one of the main protectors of the Vajrayogini Tantra.
Last of all, Dorje Shugden is a protector with special affinity with Vajrayogini practitioners because he arose from an incarnation lineage that includes Naropa and Tsarchen Losel Gyatso who practised and proliferated her Tantra.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Vajrayogini (Main figure)
(Top to bottom): Naropa, Vajradharma, Hero Vajradharma, Naro Kacho, Maitri Kacho (Flying Vajrayogini), Dorje Shugden and Vajravarahi.
Vajrayogini is a female tantric Buddha and she has many forms that are derived from various lineages. She mainly embodies the fully enlightened female (shakti) aspect of a Buddha. She belongs to the Mother Tantra classification, which refers to her practice concentrating on the wisdom aspect of the path to Buddhahood. She is also the principal dakini, the compassionate female guides and nurturers of tantric meditation who lead practitioners to enlightenment. In the thangka, the main figure in the middle is Naro Kechari as she arose from the pure vision of the Mahasiddha Naropa.
In Anuttara (Highest) Yoga Tantra, principal dakinis normally appear in union with a male consort and this can be seen in the cases of deities such as Guhyasamaja, Hevajra, and Kalachakra. In the case of Vajrayogini, she is the principal female Buddha of the Chakrasamvara Tantra and therefore, she is normally in union with Heruka Chakrasamvara. Furthermore, Vajrayogini is also considered a Vajradakini, who are yidams or meditational deities in their own right. Their practices have evolved from the main practices of their consorts, simplifying the otherwise complicated original practice by reducing it to a single-deity meditation without sacrificing the main benefits and features of the original. Hence, Vajradakini practices such as Vajrayogini and Nairatmya are derived from the original Chakrasamvara Tantra and Hevajra Tantra respectively.
In essence, Vajrayogini is known as “Sarvabuddha-dakini” or the Dakini Who is the Essence of all Buddhas. Her mantra is known as the King of All Mantras as it has the most powerful ability to bless us with spiritual attainments even without any visualisation or meditation. There are 11 Yogas in the generation stage of her practice and a few which have the power of transforming ordinary actions like sleeping, waking and ordinary daily tasks into a collection of merits. Ultimately, her Tantra offers salvation for ordinary practitioners at death with her special promise of guiding practitioners towards Kechara, or the Paradise of the Dakinis, in which we can continue deep practices to become a Buddha without fear, obstacles and interruptions.
Within Vajrayogini practice, soliciting the blessings of the lama and the lineage master are of paramount importance in order for our practice to bear results. Hence, the lama is visualised as the red Vajradharma with arms crossed at the heart, holding the vajra and bell. The lineage masters are visualised as Hero Vajradharma, holding a damaru and skullcup while cradling a khatvanga. Aside from the main Naro Kechari form, Vajrayogini also appears in the form of Maitri Kechari, who is known as Flying Vajrayogini, and arose from the vision of Maitripa. Another common form is known as Indra Kechari, or Vajravarahi, who arose from the vision of Indrabodhi.
Last of all, Dorje Shugden is a Dharma protector with a special affinity with Vajrayogini practitioners. This is because he himself arose from an incarnation lineage that includes the likes of Naropa, the progenitor of Naro Kechari practice, and Tsarchen Losel Gyatso who had practised and proliferated her Tantra and is listed as one the lineage masters invoked upon every day by Vajrayogini practitioners.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Original illustration and text posted by Eric D Hatchell as a reply to H.E. Tsem Tulku Rinpoche’s facebook post on Vajrayogini here: http://bit.ly/VYogini0001
The Dākiṇī with the Essence of all Buddhas, Vajrayoginī
Her practice includes methods to end the otherwise repetitive states of Bardo and rebirth, by transforming the process into a journey, which may lead to full enlightenment. In preparation for which, Vajrayoginī further offers the omnipresent ability to reconstruct the nature of the most, mundane everyday experiences, such that they may reveal higher destinations, via the spiritual paths she may choose to reveal. [1] Vajrayoginī being defined as, “The Dākiṇī who is the Essence of all Buddhas”, [2] is amplified by scholar Miranda Shaw when she implied that this deity is no less than, the supreme nature of the very Tantric pantheon. No male Buddha, including her divine consort, Heruka-Cakrasaṃvara, further advances her in metaphysical implications. [3]
Vajrayoginī’s sādhanā originates from India circa 10/12th C, [4] when summoned as Heruka-Cakrasaṃvara’s Yab-Yum consort [5], with later forms including Vajrayoginī as “Solitary Hero”, she may be visualized with the deep red complexion of a 16-year-old female, whose stance is nude amidst a blazing fire of pristine awareness and most exalted wisdom. Her head is adorned with a crown of five skulls and upon her forehead, the third eye of wisdom is set vertically (represented here by an auspicious jewel). She drapes a necklace of fifty dried human skulls and is depicted with her traditional vajra-handled knife in her right hand; with a blood filled kapala in her left, she drinks with upturned head while looking above, toward the pure realm of Khechara. This seemingly gruesome gesture is actually symbolic of her clear light in great joy, known as “mahasukha” (the great bliss), [6] [7] thus the blood she drinks may be offered to us all as if a fine wine.
Resting on the left shoulder is a Katvanga staff as she stands tall with her two feet, trampling the bodies of red Kalaratri and black Bhairava (with heads bending backward), representing the embodiment of illusion and ego-awareness. The composition, all of which rests above a sun disc and multicolored lotus pedestal, she is rendered here after a thankga of Naropa Tradition (passed down from a special teaching of the Indian Mahasiddha Naropa). Vajrayoginī herself may be classified as the personification of “Wisdom” or “Mother” and her practice originates with the Chakrasamvara Cycle of Tantras, which is one of the five principal tantric practices of the Sakya School, although found in one form or another, she is included in all schools of Tibetan Buddhism. [8]
Vajrayoginī also appears in versions from the Kagyu school of Tibetan Buddhism, with one popular system having the practitioner visualize themselves as Vajrayoginī, as such, their guru taking the form of Milarepa. [9] Thus depicted above the central deity here we see Milarepa on our right, with his great Guru Marpa left (whose guru was Naropa himself, and other great Indian masters). [10]
Vajrayoginī is a simplified, single most form of the female Buddha, who is otherwise a collection of alternate forms. From her sādhanās she is visualized in English terms as “Vajra Sow”, “Wrathful Lady”, “Fierce Black One”, and other such similar manifestations of female energy found in numerous iconographic renderings and traditions. Each feature of Vajrayoginī’s visualization conveys important spiritual concept. For example, her three eyes indicate her ability to see all (past, present and future); her red-colored body symbolizes the blazing of her ”inner fire”, and the curved knife she wields, demonstrates the power to sever the delusions and obstacles of her followers and of all living beings. [11]
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Wordmarque Design and Photography
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References:
[1] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996, p.xii.
[2] “The Berzin Archives.” Bonding Practices for Mother Tantra. Accessed February 18, 2016. http://www.berzinarchives.com/…/bonding_prac_mother_tantra_….
[3] Shaw, Miranda Eberle. Buddhist Goddesses of India. Princeton: Princeton University Press, 2006, p. 8.
[4] English, Elizabeth. Vajrayoginī: Her Visualizations, Rituals & Forms: A Study of the Cult of Vajrayoginī in India. Boston: Wisdom Publications, 2002.
[5] “Vajrasattva (Buddhist Deity) – White (with Consort).” Vajrasattva (Buddhist Deity). Accessed February 18, 2016. http://www.himalayanart.org/items/77598.
[6] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996 p. 123-127.
[7] Glenn H. Mullin
[8] “Item: Vajrayogini (Buddhist Deity) – (Naropa Tradition).” Vajrayogini (Buddhist Deity). Accessed February 18, 2016. http://www.himalayanart.org/items/290.
[9] English, Elizabeth. Vajrayoginī: Her Visualizations, Rituals & Forms: A Study of the Cult of Vajrayoginī in India. Boston: Wisdom Publications, 2002, p. xxiii.
[10] Drinking the Mountain Stream: Songs of Tibet’s Beloved Saint, Milarepa … by Mi-la-ras-pa, Rinpoche Lama Kunga, Brian Cutillo, p.305.
[11] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996, p.123-127.
The current form of Naro Kacho Vajra Yogini appeared to the Indian Mahasiddha Naropa after he meditated intensely on her practice inside a cave. He beheld her glorious form in a vision. This unique form became known as Naropa’s Vajra Yogini or Naro Kacho, as it had never existed before. Later, in Tibet, His Holiness Kyabje Pabongka Rinpoche also had visions of Vajra Yogini. His vision differed slightly from the vision of her that Naropa beheld. In the original Naro Kacho form, Vajra Yogini looks towards her pure land named Kechara. However in Kyabje Pabongka Rinpoche’s vision, she looked straight at him, symbolic of the deity empowering him to bestow her practice to many people in order to benefit them. The practice of Vajra Yogini belongs to the Highest Yoga Tantra classification that leads to tremendous inner transformation and can even grant enlightenment within just one lifetime.
Video of Tsem Rinpoche’s shrine taken July 16, 2018. Very beautiful, well done and meticulous.
https://www.youtube.com/watch?v=LPAfpMoN2bA
Video of Tsem Rinpoche’s shrine taken July 16, 2018.
Very beautiful, well done and meticulous.
https://video.tsemtulku.com/chat-videos/chat-1531752637.mp4
Vajra Yogini has many different forms and in each of these forms, the positioning of her sacred body, the various implements she holds and the expressions on her face have profound meaning into various aspects of enlightenment. The implements she holds, the expressions on her face, and her body symbolise specific aspects of enlightenment that suit people during a particular time and place according to their karma. So, therefore, Vajra Yogini’s pose, forms and emanations change over time in order to suit different karmically-connected practitioners. It will keep changing because enlightenment is fluid, compassionate and skilful. To gaze upon Vajra Yogini is to look at a complete ‘roadmap’ to enlightenment as every aspect of her body is a manifestation of enlightenment. Therefore to have her form, picture, painting or statue is very blessed. We should make offerings to her daily diligently.
After the great Mahasiddha Naropa had served his guru the Mahasiddha Tilopa for 12 years, Tilopa conferred the Vajra Varahi (another form of Vajra Yogini) initiation with full instructions unto Naropa. Then, Naropa diligently meditated on Vajra Varahi and had a vision of her, and when she appeared to him directly, she appeared in the form of Vajra Yogini. Normally, when he engaged in the Vajra Yogini (Vajravarahi) practice, she was in the form of facing him directly, holding a skull cup and a curved flaying knife in front of her heart. One leg was up and one leg was down as in a dancing pose. That was the form of Vajra Yogini that he had meditated on to gain the highest attainments.
After he had meditated on Vajra Varahi and gained visions of her, she appeared to him in a different form, with her face looking up at Kechara Paradise instead of facing him directly. Her left hand holding the skullcup was thrust in the air and her right hand holding the curved flaying knife, also known as a cemetery knife was facing down at sentient beings or samsara to help beings cut their bonds to suffering. Her left leg was bent, and her right extended while standing in a pose of looking towards Kechara Paradise like she is about to take off there. This form signifies she will take you there and out of suffering. That form of Vajra Yogini became special and that was called Naro Kacho or the Vajra Yogini of Naropa. This Naropa’s Vajra Yogini was initiated to the Nepalese Pamtingpa brothers and they meditated diligently and this tradition of Naropa’s Vajra Yogini just became prevalent and took off from there. Naropa started initiating his other disciples as well into this special form of Vajra Yogini and she became known as Naropa’s Vajra Yogini till this day and it is considered a highly blessed lineage. That is the lineage we have now and most prevalent.
She is looking up because this Naropa’s Vajra Yogini is indicating she will lead her practitioners to her Kechara Paradise within one lifetime if you are diligent in her practice. Realizing enlightenment is harder for people in today’s world and needs more time during Kaliyuga degenerate period, she leads you to her paradise where you can practice undisturbed to Buddha-hood.
In this brilliant artwork, what you see is the Mahasiddha Naropa having a direct vision of Vajra Yogini. It’s the first time she has appeared to Naropa in this form. This form is associated with Naropa. Prior to Naropa, this form of Vajra Yogini did not exist. She in this vision is initiating him into this form (Naro Kacho) of herself indicating this form will be most efficacious now according to our karmic period. In the background, you will see a cave with a light in it because when Naropa used to meditate in that cave, it is said that from his body would emit a light and people could see it from afar. You can also see animals surrounding Vajra Yogini, they can feel her compassion and her great blessings and they are at peace around her.
Vajra Yogini brings peace, love, compassion, wisdom and freedom to everyone who practices her incredibly powerful tantra. Therefore, this artwork is a very beautiful representation of the time when Naropa had a vision of Vajra Yogini in this form for the first time and it is now known as Naropa’s Vajra Yogini. This artwork was offered to me as a gift from a very talented artist. I deeply appreciate this piece of visual spirituality very much.
Tsem Rinpoche
To download for your shrine, please click here: https://www.tsemrinpoche.com/?p=62528
From Tsem Rinpoche: Every person who has Maha-anuttaratantra empowerments (Eg. Heruka, Guhyasamaja, Yamantaka, Vajra Yogini, Chittamani-Tara, Kalacakra, Hevajra, Gyalwa Gyatso Chenresig, etc) should keep a copy of this on their shrine or prayer book. These are all the ritual items tantric practitioner must keep by commitment. If it is in picture form, it is alright also.
This particular form of Vajrayogini reminds of the story of Mekhala and Kanakhala, the 2 sisters who were unhappy in marriage. They eventually became attained after practicing for 12 years after they conferred the Vajravarahi practice by their guru, Krishnacharya. He happened to pass by with his dakas and dakinis, and heard their story. He was impressed that they had decided to stay in their unhappy marriage. After, 12 years of practicing, they left in search of their guru. They unhesitatingly chopped off their to offer to him when asked why they had not brought offerings if they consider him their guru. He knew their level of attainments and when they proved their love and faith in him, he rejoined their head back. They had no more fear or ego, which accounts for how they can just decapitate themselves and offer up their heads with their torso dancing in happiness.
So, it is with this form of Vajrayogini, that one is reminded that fear and ego are to be left behind. Due to the graphic nature of the iconography, one is drawn and yet repelled by it at first sight. As with any teachings in Vajrayana, we have to learn to not be drawn to likes or dislikes, beautiful and ugly, desirable or repulsive. It is only upon leaving this behind that we can have calmness and peace of mind for higher teachings.
Thank you, Rinpoche for this teaching.
“Cutting off the ego, samsara goes lifeless ” whoever get the initiation to practice Vajrayogini is very fortunate . If practiced correctly it lead to Buddhahood in this very lifetime. We have been in the samsara circle for so many lifetime , it is so blessed when we be able to understand the dharma and practise throughly to attain enlightenment . With folded hand , thank you Rimpoche to share us precious dharma teachings and continue turning the dharma wheel.
I was very attracted to this particular painting of Vajrayogini prior to knowing the symbolism of Vajrayogini’s headless form. I have also always wanted a high res image of this painting and print a copy for myself. Maybe because it appears morbid and I have always been attracted to morbid imageries for some unknown reasons.
To my surprise and delight, I found this original painting during a pre-loved sale. Such joy to own such a rare form of Vajrayogini.
Knowing the symbolism helped me look at this painting in a different light and each time I am able to contemplate the body should not be the object of refuge but instead focus on the development of our minds to a higher state of consciousness by cutting our egos.
Thank you Rinpoche for sharing this piece of information.
This is a beautiful pic of Mother Vajrayogini . In the Hindu Tantric tradition is called Chinnamasta or Chinnamunda and she is One of The Dasa Maha Vidhyas. There are 4 major Tantra schools originating from Ancient India. 1.) Kashmira Tantra 2.) Vamga Tantra 3.)Buddha Tantra 4.) Kerala Tantra . within the HIndu schools of Tantra SHE has a very very very special and a extreemly utmost secret place, in sanskrit these secret forms and worship are called GUHYA and there are very Highly Enlightened and attain forms are collectively called DASA MAHA VIDHYAS ( Ten Supreme Knowledge)which consist of 10 Godesses and within this MAHAVIDHYAS in Hindu tantra this particular form is One of the secretly revered and extreemely secret which can only be revealed by a GURU SISHYA (Guru diciple) relationship.
http://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Bengali_Chinnamasta.jpg/220px-Bengali_Chinnamasta.jpg
Homage to Vajra Yogini…
May we able to purified our negative karma by the preliminary practices or doing more Dharma works sincerely to getting closer to Varja Yogini…
Some symbolisms can convey the message so strongly. Vajrayogini iconography certainly convey messages in such a swift manner. Makes so much sense when the head of samsara is removed, samsara cannot survive anymore. There is also a form of Vajrayogini giving birth, giving birth Buddhas I can’t seem to find a picture for that right now.
Its amazing how this lady could survive without her head. Rinpoche is right is saying that nobody else has the capability of doing this. And i never knew that Vajra Yogini had different forms. I always thought there was only one form. But a least know i know this form which symbolises the cutting of ego.
谢谢仁波切的开示与教诲， 学佛法就是要我们放下所有的执着和自大，要有大慈大悲的菩提心。还有密续修持法最重要的是对上师的依止心，尤其是续修金刚瑜伽母的法门。
Thank you for Rinpoche ‘s sharing. Wishing that one day i can received Varjayogini practice .
When I first saw Vajrayogini, I was bemused by her. Hmm, is she really a Buddha, boldly displaying her nakedness wt dracula teeth and bowl of blood?? Yet she is captivatingly beautiful! As I learnt more of her, the more I understand….Vajrayogini is the very essence of realization and using her very body to capture our attention before converting our attention to the teachings of dharma. How fitting for this sensory space age. I pay homage to the lovely and bold red lady, whom I hope to receive her practise one day.
感恩仁波切的开示与教诲
仁波切总是非常用心与善巧的给予我们许多接触佛法，听闻佛法与参与佛法的方法，并常常给予我们许多强大的佛法种子，深深地种在我们的心里，让我们结下善因，但使能迈向更高的密续修持法，直达证悟
然而尊贵的上师已经给予了我们方向，方法，与佛法，那么我们自己本身就应该好好的学习与实践佛法，我们常祈求上师常转法轮，然而倘若我们没有进入佛法修行的动力与想面对佛法法轮的话，那么我们所祈求上师常转法轮又是为了什么呢？倘若我们没有把佛法正真的运用与实践在我们自己的生活上，一些最基本的修心八颂，上师五十颂都无法做到，那么我们还能祈求上师给予我们什么法呢？因为倘若我们最基本的都无法完成，是无法迈向更高的密续修持法，如金刚瑜伽母的法门
感恩仁波切您的开示与教诲，我们会好好学习的
祈愿您长驻在世，常转法轮
Vajrayogini’s headless form is extremely beautiful! She shows that we can still survive by cutting of our ego and Samsara and instead we will live happier. The artist for this image was amazing 😀
I like this form of Vajrayogini very much.
Although my initial motivation when i join Kechara is not because of Vajrayogini, but this form of Vajrayogini really can remind me to let go off my ego.
Thanks Rinpoche for the sharing.
Namaskar Sir,
I would like to say in Hinduism Chinnmasta (the above deity)is worshipped by the initiated under the guidance of the Guru , in order to annihilate the earthly bonds of attachments. She is a Mahavidya, therefore she is not to be worshipped by any one.
慈悲化现种种微妙相
末法世中降伏繁杂心
善用欲望摄见佛母身
而后令得圆满解脱境
故我顶礼至尊圣佛母
愿我世世不离无头母
I like this picture a lot. I especially like this sentence “In this extreme symbolism, Vajra Yogini shows that by cutting off the ego, samsara goes lifeless.”
Does it mean that the key to ultimate liberation is the cutting off of ego? And what does the sword means? Does it represent wisdom? We can cut off our ego if we have wisdom. And do the three streams of blood represent three poisons? If we cut off our ego, we can be free from three poisons too.
Whatever it is, theory is just theory. The cutting off of ego needs true practice and realization. To me, it needs a lot of courage and pure faith. For every step we move, just like cutting off our own head, we can never do this if we think too much. The only way to achieve that is to strongly believe and just do it.
when I first saw Vajra Yogini I was too a little afraid. And she always seem so far away in terms of practice. But the more I learn about her, the more I feel comfort just by looking at her image. I hope one day to be able to do her practice.
Iconography, symbolism and many forms of the Buddhas and Deities in Tibetan Buddhist art is fascinating and brings teaching to the viewer on a new level. Before i started reading on Vajrayogini in the prayer card and the Kechara Prayer book, i couldnt understand what it was about. Slowly after reading a number of postings on this blog which included the teachings of Pabongka Rinpoche, i began to understand and appreciate very much Vajrayogini. Through KSA’s classes, i have also learnt more and making use of those lessons when i pray or read. This painting by Margaret is exquisite in interpretation and shows another form of Vajrayogini. Thank you Rinpoche for your infinite kindness and wisdom in encouraging Margaret and setting up KSA and other departments.
with folded hands
janice
Dearest Tsem,
I am a very unreliable person to my beloved and my teachers (whoever that may be at the time, I don’t know, but I always loved being with you, I know that)
Shall I cancel my foolish and expensive travel plans and disappoint my beloved. No matter what I do, my decision is wrong and I will create Karma for myself out of my ignorance.
Could you please give me some advice? I mean I regulary did the Vadjra Yoghini tea offering very often since you offered it to us, as well as the Setrap meditation, which has been a great blessing, too.
Devoted and confused regards, Knut.
Margaret is exceptionally talented. I can only imagine that it is all thanks to Rinpoche that Margaret found the artist in her. Behold look what she can create for the world to see, learn and enjoy. Spirituality through the arts comprise of many levels, I guess.
Symbolism plays a critical role in Tibetan Buddhism art. So much of the teachings are communicated through every line, curve and icons. It never fails to amaze me how they manage to put so much valuable information in a single picture. This is more like painting a thousand dharma discourses, not just a thousand words.
Seeing this painting again I am also reminded of my own childhood. I used to have a few Barbie dolls. Strange thing is that I always enjoyed ripping their heads off, not so much of playing dress up and etc.
And my idea of beauty is women with Ginger-coloured hair or what we call “Red heads”. I used to think that they were the most beautiful women in the world. Funny how we have certain inclinations towards certain things in life, even as a child. Perhaps this is what Rinpoche means by imprints from our past lives.
It is wonderful that Kechara has its own resident artists who can bring spiritualism to another level, or even Buddhist art for that matter. It is certainly very different from the norm – yet again.
Kecharians certainly find such interesting ways to deliver the Dharma to the mass audience.
I like the symbolism very much. The cutting of the head is immediately associated with death. And although I understand Rinpoche’s explanation, the thought of literally cutting off my head still generates some irrational fear in me.
In some bizarre twisted logic, i think that fear of cutting off the head is mirrored by fear of letting go of ego. Perhaps if one was egoless, then death would not matter at all.
I appreciate the symbolism of Headless Vajrayogini more now, as I see her still walking around and even drinking her own blood from her severed neck.
Margaret painted this for Rinpoche – She’s very talented and more of her paintings can be seen here
http://blog.tsemtulku.com/tsem-tulku-rinpoche/2010/07/margarets-fantastic-paintings.html
I love vajrayogini she make me see the truth in my life everyday
Before I knew HER, I was afraid of HER
For SHE reflected all that was DARK and SINISTER in me
When I began to learn about HER
I began to learn more about myself
SHE unlocks my desires and flaws
To transform me, to cure me
SHE turns darkness into light,
Despair into Hope,
Defeat into Courage,
When I finally surrendered to HER
SHE embraced me and brought me HOME.
Vajrayogini is one super cool Goddess!