The Collected Works of Chogyam Trungpa: Volume Three: 3 (78 page)

The vajrayana has sometimes been misinterpreted as a highly symbolic system. For example, we often hear that the vajra scepter
symbolizes
skillful means or that the ghanta
symbolizes
wisdom. When it is said that the vajra is a symbol of skillful means or of indestructibility, that is true; but, in the genuine vajrayana sense, it is not simply that the vajra is used to represent or symbolize skillful means because skillful means is too abstract a concept to be dealt with, or be shown, directly. The vajra scepter
is
skillful means; it actually communicates and transmits skillful action directly if one understands the literalness of the vajrayana. For that reason, the shrine of Vajrayogini and all the implements on the shrine are themselves regarded as sacred objects.

The shrine shown in the illustration is an abhisheka shrine; that is, it includes all of the objects that are used in conferring the abhisheka of Vajrayogini. A simplified version of this shrine would be used for the daily practice of the sadhana.

The mandala of Vajrayogini is placed in the center of the shrine. The mandala is traditionally made of colored sand, or sometimes it is painted. A mandala made of heaps of rice is used if neither a painted mandala nor a sand mandala can be made. The mandala and the objects above it, which will be discussed next, are regarded as a particular power spot, or focus, of the shrine for magnetizing the energy and blessings of Vajrayogini, that is, for magnetizing self-existing wakefulness.

In the center of the painted mandala one finds a symbol for the hooked knife which Vajrayogini holds in her right hand. This means that the principal yidam, Vajrayogini herself, stands at the center of the mandala. In the painted mandala, the hooked knife is situated in the middle of two crossed triangles that represent the two sources of dharmas (chöjung), which are the palace and the seat of Vajrayogini. The source of dharmas that is Vajrayogini’s palace is actually a three-faced pyramid (trihedron), but it is represented in the painted mandala in only two dimensions. The apex of the triangle is an infinitesimal dot that points downward; the mouth of the triangle, in which Vajrayogini stands, is vast and spacious.

The source of dharmas arises out of emptiness and has three characteristics: it is unborn, nondwelling, and unceasing. Essentially it is absolute space with a boundary or frame. This represents the coemergent quality of wisdom and confusion arising from the emptiness of space. The source of dharmas is sometimes referred to as a channel for shunyata or as the cosmic cervix. The source of dharmas is an abstract form of coemergence while Vajrayogini is the iconographic or anthropomorphic form of the Coemergent Mother. The shape of the triangle—pointed at the bottom and wide at the top—signifies that every aspect of space can be accommodated at once—microcosm and macrocosm, the most minute situations as well as the most vast.

It is interesting that, in many theistic traditions, the pyramid is a symbol of reaching upward to unite with the godhead. The pinnacle of a pyramid or the apex of a cathedral reaches high into the clouds above. In this case, the source of dharmas reaches down, so that pleasure, pain, freedom, and imprisonment all meet at the lowest of the low points of the pyramid. In the nontheistic tradition of Buddhist tantra, the triangle reaches down and down into the ground of reality; when one reaches all the way down to the apex of the triangle, one discovers water in that ground, which is known as compassion and as amrita.

A Traditional Vajrayogini Shrine.

1. Mandala of Vajrayogini

2. Tsobum vase (2a: Top of tosbum vase)

3. Small vajra with five-colored thread

4. Skull cup

5. Mirror mandala

6. Vajra with white ribbon

7. Conch for oath water

8. Jewel tsakali

9. Crown tsakali

10. Phagmo torma

11. Flower tsakali

12. Vajra with red ribbon

13. Sword tsakali

14. Bell with green ribbon

15. Lebum

16. Hooked knife

17. Joined bell and dorje

18–24. Seven traditional offerings (repeated on each of the four sides):

18. Water

19. Flowers

20. Incense

21. Light

22. Perfumed water

23. Food (torma)

24. Music (symbolized by small conch)

In the four cardinal points of the painted mandala, surrounding the hooked knife in the center, are the symbols of vajra, ratna, padma, and karma. Vajrayogini manifests her basic buddha family quality in the central space of the mandala. However, the energy of Vajrayogini creates a complete mandala that encompasses, or works with, the energies of all of the buddha families. Thus, in the iconography of Vajrayogini, she is surrounded by her retinue: the vajra dakini in the east, the ratna dakini in the south, the padma dakini in the west, and the karma dakini in the north. This is shown in the painted mandala by the symbols of the buddha families in the four cardinal points: the vajra in the east, representing her buddha-vajra quality; the jewel in the south, representing her buddha-ratna quality; the lotus in the west, representing her buddha-padma quality; and the sword in the north, representing her buddha-karma quality. The painted mandala also depicts coils of joy, which symbolize the mahasukha, the great bliss, that Vajrayogini confers.

On top of the mandala on the shrine is placed the chief abhisheka vase, the tsobum. During the first vase abhiseka, as discussed earlier, the practitioners are empowered with water from the tsobum. Above the painted mandala is a tripod on which is placed a skull cup filled with amrita, which is used in conferring the second abhisheka, the secret abhisheka. This transmission dissolves the student’s mind into the mind of the teacher and the lineage. In general, amrita is the principle of intoxicating extreme beliefs, based on the belief in ego, and dissolving the boundary between confusion and sanity so that coemergence can be realized.

On the skull cup is placed the mirror mandala of Vajrayogini—a mirror coated with red sindura dust, in which is inscribed the mandala and mantra of Vajrayogini. The mirror shows that the phenomenal world reflects the wakefulness of Vajrayogini and that her mandala is reflected in the experience of the practitioner. This is the same self-existing message that was discussed earlier. The red sindura dust that covers the mirror represents the cosmic lust and passion of the Coemergent Mother. At this level of practice, passion is no longer regarded as a problem. Freed from grasping, it becomes a force of expansion and communication; it is the expression of “self-luminous compassion” as is said in the
Vajrayogini Sadhana.

Surrounding this arrangement of the painted mandala, the abhisheka vase, the skull cup, and the mirror are objects connected with the five buddha families and used in the transmission of the abhisheka of the vase. Directly in front of the painted mandala, in the east, is placed the five-pointed vajra, the symbol of the vajra family. The symbols of the buddha family—the crossed bell and dorje and the hooked knife—are also placed here, slightly off to one side. In the south (stage right) are placed the crown and the jewel representing the ratna family. In the west (behind the mandala) are placed the nine-pointed vajra and lotus, representing the padma family. In the north (stage left) are the ghanta and the sword, representing the karma family. If the actual objects representing the buddha families are not available, painted cards (tsakali) depicting the objects are placed on the shrine. A second abhisheka vase, the lebum, is placed in the northeast corner of the shrine. The lebum is considered to be the embodiment of the karma dakini. At the beginning of the abhisheka, prior to the abhisheka of the vase, the students drink water from the lebum to purify and cleanse themselves; at various points in the ceremony the vajra master sprinkles the disciples with water from the lebum to signify further purifying and overcoming of psychological obstacles. The conch shell, which holds the oath water of samaya, is placed in the front (east) of the shrine between the vajra family symbols and offering bowls on the edge of the shrine.

In the southern quadrant of the shrine (stage right) are also placed the phagmo tormas, which represent Vajrayogini and her retinue. Torma is a form of bread sculpture made from barley flour, water, alcohol, and other ingredients. The phagmo tormas on the shrine are an important means of making offerings to Vajrayogini, and in doing so, inviting the blessings of the yidam and of the lineage into the environment of practice. The tormas play a central role in the feast offering (ganachakra), a part of the
Vajrayogini Sadhana.
The basic idea of the feast offering is to make an offering of all sense perceptions and experience, transforming what might otherwise be expressions of confusion or indulgence into wakefulness.

On the edges of the shrine box are four sets of offering bowls, seven bowls to a set. The seven offerings are: saffron water, flowers, incense, lamps, food, perfumed water, and musical instruments. The offering of saffron water represents cleansing neurotic tendencies and emotional defilements, or kleshas, of body, speech, and mind. As is said in the sadhana:

In order to cleanse the klesha tendencies of sentient beings

We offer this ablution water for body, speech, and mind.

The offering of flowers represents offerings of pleasing sense perceptions:

Flowers pleasing to the victorious ones of all mandalas Superior, well-formed, celestial varieties.

The offering of incense represents discipline:

The fragrance of discipline is the best supreme incense.

The offering of lamps represents prajna:

Burning the poisonous kleshas and dispelling the darkness of ignorance,

The brilliance of prajna is a glorious torch.

The offering of perfumed water represents kindness:

Pure water mixed with perfume and herbal ingredients is the bathing water of the victorious ones. . . .

May kindness, raining continually from cloudbanks of wisdom, purify the multitude of foul odors.

The offering of food represents amrita:

Though the victorious ones have no hunger,

For the benefit of beings we offer this divine amrita food.

The offering of musical instruments represents the melody of liberation:

The gong and cymbals are the liberating melody of Brahma.

On the wall behind the shrine or on an adjacent wall is a thangka, or painting, of Vajrayogini. The thangka of Vajrayogini is further tribute to her, and it is also on aid to visualization for the practitioner.

LIST OF SOURCES

C
HAPTER
1  What Is the Heart of the Buddha?

Vajradhatu Sun
4, no. 3 (February–March 1981)

C
HAPTER
2  Intellect and Intuition

Previously unpublished

C
HAPTER
3  The Four Foundations of Mindfulness

Garuda IV
(Boulder: Vajradhatu Publications, 1976)

C
HAPTER
4  Devotion

Empowerment
(Boulder: Vajradhatu Publications, 1976)

C
HAPTER
5  Taking Refuge

Garuda V
(Boulder: Vajradhatu Publications, 1977)

C
HAPTER
6  The Bodhisattva Vow

Garuda V
(Boulder: Vajradhatu Publications, 1977)

C
HAPTER
7  Sacred Outlook: The Practice of Vajrayogini

“Sacred Outlook: The Vajrayogini Shrine and Practice,” in Deborah Klimburg-Salter, ed.,
The Silk Route and the Diamond Path: Esoteric Buddhist Art on the Trade Routes of the Trans-Himalayan Region
(Los Angeles: UCLA Art Council Press, 1977)

C
HAPTER
8  Relationship

Maitreya 5: Relationship
(Berkeley: Shambhala Publications, 1974)

C
HAPTER
9  Acknowledging Death

Journal of Contemplative Psychotherapy
3 (Boulder: Naropa Institute, 1982). First published in
Healing,
ed. Olsen and Fossaghe (New York: Human Sciences Press, 1978).

C
HAPTER
10  Alcohol as Medicine or Poison

“Amrita as Poison or Medicine,”
Vajradhatu Sun
2, no. 3 (February–March 1980)