Luminous Twilight

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The Notes from the Iron Stupa series made reference to what is described as the Twilight Language:

The Twilight Language (saṃdhyā-bhāṣā) is the Transcendent Expedient through which Gnostic-truths are fashioned and revealed. Through the utilization of mythic-motifs, mantras and mudras, mandalas and chakras, Mind-made journeys into Higher Tathatic–Realms of consciousness are made possible.

This tantric-language is also employed, “signaling the same transitional, [luminal {inclusion mine}] quality that we described in terms of Ḍākiṇī encounters. It must be experienced to be understood.” (ibid, pg.270) Our subsequent blog will fully describe what this luminal-encounter with Ḍākiṇī’s are like—wherein higher-tantric realms are experienced in visionary-fashion by the yogin/yogini. This also holds true in “termatic” encounters as the Ḍākiṇī appears as divine-revealer of mind-treasures that often become manifested as Dharmatic-tools (like the vajra and phurpa)  to be utilized by the yogin in meditation sessions. She also serves in the role as Divine Protectress:

In the terma tradition also, we can see how the protection of the dakinis is important. It is especially in the kind of terma called “entrustment to dakinis” (khandro te-gya) that sky-dancers are central. In this form of terma, Guru Rinpoche’s consort Yeshe Tsogyal received myriad teachings from her guru, remembering them all with perfect recall, one of her most beloved traits. She collected all of these oral instructions and calligraphed them in secret script on yellow scrolls of paper (shok-ser), using her own hair as a brush. She then sealed the scrolls and concealed them in various locations, such as “indestructible rocks, wealth-filled lakes, and immutable chests.” (ibid, pg. 271)

This role as Divine Protectress characteristically represents an inner-mind wisdom which essentially indicates that the “true-mind-treasure” is hidden within the mind as Mind-Terma. This is why the film, Terma: A Mind Film by Vajragoni, is so labeled. The film also reveals the Ḍākiṇī’s role as “purveyor of symbols.” As the double-dojre, or vajra manifests beneath the hollow-tree, it becomes miniaturized as it is held in the palm of Tarynia’s hand:

vajpalm

Before the miniaturization, Tarynia forms a triangle with her hands around the double-dojre that is resting at the base of the tree:

handtriangle

This is a symbolic representation of her role as the “cosmic cervix” that gives birth to all phenomena—yea, she embraces it all in the palm-like cervix (womb) of her hand. The double-dojre also represents “equanimity” as all Yang and Yin elements become balanced within the Cosmic-Womb.

After the symbols are revealed the Ḍākiṇī herself begins to dissolve away, “this is a reminder that the symbols themselves have no inherent existence and that their appearance points to various meanings but the ultimate meaning is always the vast and luminous expanse.” (ibid, pg. 275) In the film this is depicted as Tarynia walking-away and dissolving into Unborn Light:

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