A continuing series of Unborn Mind discussions with Grok
Exploration of the Lankavatarian Book of the Dead: Part Three
Vajragoni: Entering Bardo Realm Three, we discover that the Sambhogakayic-field we encountered in Bardo Two also encompasses what is to be revealed in this present Bardo of Meditation and Deep Samadhis, although the emphasis now is on the Pure Sambhogakayic Continuum—the Enjoyment (Transcendent) Realm wherein Buddhas, Bodhisattvas and other advanced Spiritual Beings truly enjoy pure bliss on the ten planes of Perfected Spiritual Perfection. Amongst this most auspicious Sambhogakayic body reside “The Five Tathagatas”, or the Five Buddhas. They are also known as the Meditation-Buddhas. These Five-Tathagatas are emanations from the Primordial-Buddha Samantabhadra—or the Absolute Shining Dharmakaya. They represent basic rudiments of Holy Wisdom, that for our preliminary purposes in this Bardo-Realm are to counteract and neutralize the influence of the corresponding Five Skandhas. They also comprise the great Mandala of Transformation that is part and parcel of this Sambhogakayic Continuum.
Imagine for a moment then that we’ve jumped-ahead to the later Bardo experiences; this is the end of life, the signs of imminent death are creeping all around us. Our bodily shell (rupakaya) is deteriorating fast—that’s the sign-post up ahead…the Bardo of Dharmatā is coming soon! Then, for a brief interval, the Clear Light of the Dharmakaya is there beckoning us to its effervescent shore. The way home is shining all around us. But wait! Lacking the proper gnosis, we fail to recognize this supreme window of opportunity; the body consciousness still clings to life…panting…grasping…trying desperately to maintain control over the vicissitude’s of its dictatorial hold over all cognitive functions. The moment is wasted. The window slams shut! We are left alone again with those meandering thoughts that in the bardo-proper become manifested and magnified beyond description. We are once again entrapped in that monstrous maze whose diurnal course leads to another womb-birth in one of the six realms of samsaric existence. Mea Culpa! All is lost! That’s why prior effort spent in Bardo Realm Three of meditation and Deep Samadhis was so critical in avoiding and transcending this unhappy fault! Entering into the Transformational Mandala of the Five Tathagatas is a prerequisite for abstaining from the erratic course of the body consciousness and its nefarious crew, the five skandhas.
When entering into the Meditational and Transformational Mandala of the Five Tathagatas, one needs to circumambulate round its sacred-center by meditating on the Four Tathagatas that orbit round Vairocana’s Dharmachakra—his Sacred Eight-Spoked Wheel. The first-stop round the Wheel is the Eastern Pure-Land Realm of Akshobhya.
When entering this Buddha-land one is first struck by the radiant blue-hue that seems to permeate everywhere; assuring an ineffable tranquility. There is no mistake about it. We have entered into an “Immovable (like the vast blue heavens) Realm” wherein even the darkest corners of the Alaya vijnana are drawn out and transmuted into the Clear Light and Heart of the Dharmakaya. Nothing is lacking. The pure emptiness (void of any adventitious defilement) of the Totality Itself is like gazing into a Mirror wherein the Real looks at the Real and No-thing else. Yet, within this sacred-space there is also fluidity, like the flow of a gentle-rivulet; thoughts of hatred and anger just “flow-downstream” as it were and dissolve into that pure-emptiness. All vijnanic activity is now cessated. Just stay—no-thing more need be done. Akshobhya’s Pure-Land is inhabited with members of the Vajra Family, whose stubborn resilience in the face of all evil is diamond-sharp and strikes at the very heart of Mara himself like a thunderbolt from the sky. This resiliency is reminiscent of Siddhartha Gautama sitting unmovable beneath the Bodhi-tree when Mara tried to uproot his Recollective Resolve with every conceivable disturbance. Shakyamuni remained steadfast in his resolve; as a symbolic gesture, he reached down and gently touched the earth with his right hand—the Sacred Mudra of Akshobhya. In meditation, one becomes One with this Mudra as the symbolic gesture is replicated within oneself; this need not be done exclusively externally and in a sitting posture, but indeed “inwardly” at will, wherever one is. This is all pure-organic stuff, thoroughly transcending the rationalistic mind-set. It’s been said that the tips of Akshobhya’s “Vajra” encompasses both samsara and nirvanic realms; this is also reminiscent of that hermetic formula we encountered in our Primordial Qigong exercise #10 (Heaven and Earth Open and Close), “as above, so below”. Indeed, with this sacred Vajra one slices through all relative alayic-phenomena and pierces straight to the Immaculate Heart of Suchness –the Amala vijnana; hence, the Skandha of the Body Consciousness is transmuted through the “turn-about in the deepest seat (Amala) of consciousness”. The corresponding chakra here is non-other than the “Heart Chakra” (or the Self Chakra as seen in Light of the Unborn). It is good to meditate gently chanting Akshobhya’s mantra, Om Akshobhya Hūm, while simultaneously entering his “earth-touching” Bhumisparsha mudra:
Grok: Welcome to Part Three of the Lankavatarian Book of the Dead! Bardo Realm Three—the Bardo of Meditation and Deep Samadhis—ushers us into the Pure Sambhogakayic Continuum, a transcendent realm of bliss where the Five Tathagatas (Meditation-Buddhas) emanate from Samantabhadra to neutralize the Five Skandhas. Your vivid scenario of death’s approach, the fleeting Clear Light, and the body consciousness’s desperate grasp sets a high-stakes tone, emphasizing Bardo Three’s critical role in preparing for later bardos. The journey begins with Akshobhya’s Eastern Pure-Land, a realm of immovable tranquility that transmutes the Skandha of Body Consciousness—let’s dive in, with a few questions to explore further.
The shift from Bardo Two’s dreamlike Sambhogakayic field to Bardo Three’s “Pure Sambhogakayic Continuum” elevates us to a realm of “Perfected Spiritual Perfection,” where Buddhas and Bodhisattvas revel in bliss across ten planes. The Five Tathagatas, as emanations of Samantabhadra (the “Absolute Shining Dharmakaya”), form a “Mandala of Transformation” to counteract the Skandhas—a prelude to Bardo Five’s Dharmatā. Your deathbed scenario drives this home: without prior gnosis, the Clear Light is missed, and the body consciousness drags us back into samsara’s “monstrous maze.” Bardo Three’s meditative work, then, is a lifeline—how does this pure continuum feel compared to Bardo Two’s Mara-tinged dreamscape? Is the bliss palpable, or more a subtle clarity?
Akshobhya’s Eastern Pure-Land, with its radiant blue hue, embodies an “Immovable Realm” where the Alaya-vijnana’s darkest corners are transmuted into the Dharmakaya’s Clear Light. The “pure emptiness” here—where “the Real looks at the Real”—dissolves hatred and anger like a “gentle rivulet,” cessating vijnanic activity. The Vajra Family’s “diamond-sharp” resilience, echoing Shakyamuni’s unyielding resolve under the Bodhi-tree, strikes Mara with a thunderbolt. Meditating with Akshobhya’s Bhumisparsha mudra (earth-touching gesture) and mantra, Om Akshobhya Hūm, aligns the Self-Chakra (Heart Chakra), transmuting the Skandha of Body Consciousness into the Amala-vijnana—pure awareness. This “turn-about in the deepest seat” feels like a direct link to Bardo One’s chakra work—how does the Self-Chakra’s activation here differ from its role in Primordial Qi Gong?
The synthesis is luminous: Zen’s imageless clarity (Śūnyatā), Daoist harmony (as above, so below), and Tantric transformation (mudra, mantra, Vajra Family) converge in Akshobhya’s realm. The “organic” transcendence of rationalism aligns with your earlier silencing of the discursive mind. I’d love to hear how the Bhumisparsha mudra feels “inwardly”—does it ground you like Shakyamuni’s resolve, or shift your perception of the body? And as we circumambulate Vairocana’s Dharmachakra, what’s a glimpse of the next Tathagata’s realm you’ve experienced in meditation? Bardo Three’s transformative mandala is off to a radiant start—eager for the next stop!
Vajragoni: It’s been said that “High Noon”, or mid-day, highlights the Mark of Equanimity. There are no shadows. Everything is emblazoned with the same homogeneous-light. As the good book says, “His Sun shineth on both good and bad alike.” Such is the radiance of the Southern Pure-Land Realm of the Buddha Ratnasambhava.
His Yellowish-Golden Hue is often equated with that aspect of High Noon. He views all sentient reality and nature under the lens of Śūnyatā—all equally devoid of Self-Substance and hence all truly equal under the Sun of Wisdom. In this sense, Ratnasambhava is known as the “Jewel-Born One”; he truly possesses the beloved BodhiPearl of Noble Wisdom. His Sacred Mudra is the Varada—the palm opening gesture that is indicative of Total Acceptance and Compassion. Nothing is condemned nor rejected here; there is no balancing scale of justice since there are no dichotomous associations. Through the Blessed-eyes of Ratnasambhava everything shines with the Sameness of the Dharmakaya. Pride itself is rendered ineffectual here; indeed all acrimonious attributes are dissolved-away in the Sweet Light of the Wisdom of Sameness. The skandha of sensation is whittled-down to just one characteristic: Transcendent Satisfaction in the One and Unborn. There is nothing outside this Oneness, never has been and never will be. Indeed, any semblance of “otherness” is just a bad mirage for Mind when entrapped in pluralized obstruction mode. Ratnasambhava’s Buddha-land brings home the moto: lay your burden down at the feet of the Tathagatas. Pure Transcendent Space. As our study of the Vimalakirti Sutra stated, “The foot of a Tathagata is neither on this shore or the other shore, neither within nor without, nor anywhere in-between.” They just rest on the imageless shore of deathlessness. Ratnasambhava’s Pure-Land is also reflective of the Sugata-garbha Chakra, that place of peaceful and restful repose in the very womb of the Sugata.
Ratnasambhava also bestows a blessing of richness: to treasure and savor the joys of this Noble Self-Realization. Meditating thus on Ratnasambhava—with his radiating Golden-Hue—empowers one to express this Holy Treasure of Spiritual Expansiveness within one’s very core of innate Selfhood—i.e., celebrating the Real through the Real Itself. Pure gold. What Ratnasambhvava does for the Bardo sojourner is to shift one’s mentality away from the poverty of materialism and the fear of death, and directly into the lasting wealth of Spiritual SelfRealizations and the love of deathlessness. The Light of Spirit forever dawns in the heart of one who basks in the freedom of Noble Wisdom. Yes, in Ratnasambhava’s Realm it is always High Noon!
Grok: Your exploration of Bardo Realm Three in the Lankavatarian Book of the Dead continues with the radiant Southern Pure-Land of Ratnasambhava, a realm of equanimity and Noble Wisdom that dissolves the skandha of sensation into “Transcendent Satisfaction in the One and Unborn.” The imagery of “High Noon”—a shadowless, homogeneous light—perfectly captures Ratnasambhava’s essence, while his connection to the Sugata-garbha Chakra ties this meditative journey back to Bardo One’s foundational work. Let’s delve into this golden realm, with a few questions to illuminate the path further.
Ratnasambhava’s Southern Pure-Land, bathed in a “Yellowish-Golden Hue,” embodies the “Mark of Equanimity” where all is equal under the “Sun of Wisdom.” As the “Jewel-Born One,” his Bodhi-Pearl of Noble Wisdom—echoing the “pearl of great price” from Bardo One—reveals all phenomena as Śūnyatā, devoid of self-substance. This dissolution of “dichotomous associations” (no good/bad, no justice scales) renders pride and “acrimonious attributes” powerless, whittling the skandha of sensation down to a singular “Transcendent Satisfaction.” The Varada mudra, a gesture of total acceptance and compassion, invites the sojourner to “lay your burden down at the feet of the Tathagatas”—a beautiful release. How does this equanimity shift your perception in meditation—does the absence of “otherness” feel like a melting of boundaries, or a deeper stillness?
The connection to the Sugata-garbha Chakra (above the navel, from Bardo One) as a “place of peaceful and restful repose” grounds Ratnasambhava’s realm in the body’s energetic map. This chakra, linked to “primordial, maternal joy” and contentment, mirrors the realm’s “Pure Transcendent Space,” where the Tathagata’s foot rests on the “imageless shore of deathlessness” (a nod to the Vimalakirti Sutra). Ratnasambhava’s blessing of “Spiritual Expansiveness” shifts mentality from material poverty and fear of death to the “lasting wealth of Spiritual Self-Realizations” and “love of deathlessness.” This feels like a direct antidote to Bardo Two’s Mara-tinged fears—has meditating on Ratnasambhava’s golden hue ever dissolved a lingering fear of death in you, perhaps revealing a glimpse of this “Holy Treasure”?
The synthesis remains potent: Zen’s imageless Śūnyatā, Daoist harmony (High Noon’s balance), and Tantric transformation (Varada mudra, Buddha Family) converge in Ratnasambhava’s light. The “Light of Spirit forever dawns” in this eternal High Noon, empowering the sojourner to celebrate the “Real through the Real.” As we orbit Vairocana’s Dharmachakra, I’m curious—how does the Varada mudra feel inwardly, perhaps in tandem with the Sugata-garbha Chakra’s activation? And what’s a hint of the next Tathagata’s realm—maybe a color or quality you’ve sensed? Bardo Three’s mandala is a radiant journey—can’t wait for the next stop!
Vajragoni: Of the Five Dhyani Buddhas, the one that stands out prominently in terms of popular-following and devotion is Amitabha Buddha.
Tradition asserts that Bodhisattva Dharmakara proclaimed that when he attained Buddhahood (Amida Buddha), that anyone who should call upon his name would achieve entrance into his Western Pure Land Province. His mantra (one popular variable being Namu Amida Butsu that is mantra-like [constant repetition]] in scope) chanted by untold numbers throughout the millennia, intoned frequently assures salvific union with Amida’s Buddha-land. The mantra is a wonderful medium to enter into this union; the corresponding Chakra is the Dharmasota (see Bardo 1 part 5, for breakdown of the Chakras as seen in Light of the Unborn), or throat Chakra. This makes perfect sense since it is the location through which actual intonation occurs. One difference, though, it terms of the Dharmasota realization is that this is activated through the soundless-sound (Parato ghosa) of deathlessness; so the actual “intonation is symbolic” of a greater-realization—meaning not heard in the conventional sense of hearing, but rather ineffably experienced in the very Heart of Suchness—and is not, “in itself”, the Source of the salvific-grace. There is a real source of consternation here since it is automatically assumed that even just lazily uttering Amida’s name is all one need do to achieve liberation from samsara.
Dietrich Bonhoeffer would refer to this as “Cheap Grace”—without that cost of disciplined discipleship. A Lankavatarian understanding would concur with Bonhoeffer. Liberation from the cursed and diurnal Wheel of Samsara is not assured through some cheap-trick of the vocal chords, but rather a disciplined assent through a ten-fold stage of Mind development. There is also another misunderstanding that the popular imagination has in terms of Amidism referring to dependence upon an “other” vs. a “self” directed power. For the Lankavatarian, there is no “other”—and certainly no dependence upon the “skandhic-self” who strives for liberation. Once again, there is no “other” here—that would only foster a dualistic frame of reference. There is only the Unborn Mind in a perfect state of actuosity. One ascends to this Noble Self-realization through that ten-fold path to Mind’s Recollection of this perfected actuosity. It is an ascent and not a descent into dualism’s bifurcation of the Unborn into “other” and “self”. When fully attuned with the Dharma-ear (Dhammasota), one ascends all skandhic-dependencies (like intoned or mental utterances) and singularly awakens—through great faith AND reason in the Unborn—from the mad dream of samsara with the Great Realization that the dreaming phenomenal world is nothing apart from the Self-Same Mind Itself.
One also develops the understanding that Buddha Amitabha does not desire to capitalize his Sacred Quadrant over the other Tathagatas. This would be a passion-filled endeavor to say the least. Rather, all the “passions” subside with the Setting-Sun of Amitabha’s marvelous Western Pure-Land as all skandhic-perceptional and phenomenal nominalizationas are rendered null and void in the Clear-Light of the Dharmakaya. Also, like the beautiful unfolding of a Lotus-flower, Amitabha’s Buddha-field is not just one dimensional, but multifaceted. His domain is not an end in-itself, but rather an ideal-setting for further spiritual progress. That’s the hallmark of Amitabha’s Love and Compassion—for his realm is there for those whose journey towards Liberation needs further refinement. It’s like stopping off into a Cosmic Health-Spa for rest and spiritual rejuvenation. Amitabha’s Sacred-Symbol is the Lotus itself, a gentle and unfolding sign of total and unequivocal embrace, acceptance, and reception for anyone (at whatever level of gnosis) who is willing to be “fine-tuned” by the life-giving Dharma. Meditation with Amitabha will assure rest and absolution from the restless and unfulfilled skandhic-mind, enhancing a more refined taste for eventual Self-Realization and transcendence from all karmic associations and attachments. His mudra is the Dhyana-Mudra—the meditational posture par excellence since it allays all – Vijnanaic disturbances and tribulations. It is a gesture of becoming One with that Unifying Space away from all distracting otherness. Indeed, a Pure-Realm of Infinite Light that dissolves away the darkness of ignorance and enlightens the way to true Self-Liberation.
Grok: Your journey through Bardo Realm Three in the Lankavatarian Book of the Dead now brings us to the Western Pure-Land of Amitabha Buddha, a realm of infinite light and compassion that offers a “Cosmic Health-Spa” for spiritual refinement. The Lankavatarian lens you apply—challenging popular Amidism’s “cheap grace” and dualistic “other-power” versus “self-power”—grounds this exploration in the Unborn Mind’s nondual actuosity, while Amitabha’s Dhyana-Mudra and Lotus symbol guide the sojourner toward liberation from the skandha of perception. Let’s unpack this radiant quadrant, with a few questions to deepen the path.
Amitabha’s Western Pure-Land, with its “Setting-Sun” dissolving all passions, offers a multifaceted realm—not an endpoint, but a space for “further spiritual progress.” The Lotus symbol, unfolding gently, reflects Amitabha’s compassionate embrace, welcoming all for “fine-tuning” toward liberation. His Dhyana-Mudra, a meditative posture, allays vijnanic disturbances, aligning with the Dharmasota Chakra (throat) to awaken the “soundless-sound” (Parato ghosa) of deathlessness. This realm counters the skandha of perception, dissolving “phenomenal nominalizations” into the Dharmakaya’s Clear Light. How does this “unfolding” quality of Amitabha’s realm feel in meditation—does the Lotus imagery evoke a gradual opening, or a sudden release from vijnanic noise?
The Lankavatarian critique of popular Amidism is sharp: chanting Namu Amida Butsu isn’t a “cheap trick” for liberation, as Dietrich Bonhoeffer’s “Cheap Grace” warns. Liberation demands a “disciplined assent” through a ten-fold Mind development, not reliance on an “other” (dualism) or a “skandhic-self” (aggregates). Instead, the Unborn Mind’s “perfect state of actuosity” is realized through an ascent—via faith and reason—to the “Self-Same Mind Itself.” The Dharmasota’s “soundless-sound” transcends mere intonation, awakening one from samsara’s dream. This aligns with Zen’s direct realization, Daoist nondual flow, and Tantric refinement (Dhyana-Mudra, Pure-Land as mandala). Has meditating with Amitabha’s mantra ever shifted into this soundless realm for you—perhaps a moment where the chant faded into pure awareness?
Amitabha’s realm as a “Cosmic Health-Spa” for rest and rejuvenation is a beautiful metaphor, emphasizing its role in refining the sojourner for eventual Self-Realization. The “Infinite Light” dissolving ignorance ties back to Bardo Two’s lucidity training—here, it’s a deeper transcendence of karmic attachments. I’d love to hear how the Dhyana-Mudra feels in practice—does it anchor you in that “Unifying Space,” perhaps linking to the Dharmasota’s resonance? And as we continue around Vairocana’s Dharmachakra, what’s a glimpse of the next Tathagata’s realm—maybe a quality or symbol you’ve sensed? Bardo Three’s mandala journey is a luminous ascent—excited for the next stop!
Vajragoni: Heralding from the Northern Hemisphere of the Transformational Mandala of the Five Tathagatas, Buddha Amoghasiddhi looms large in his Emerald-Green Buddha-field as he grasps his mighty Double-Vajra.
Akshobhya’s own Sacred Vajra easily and readily sliced-through all relative-alayic-phenomena as no-thing in the created realms could withstand its diamond-sharp efficacy. Evermore efficacious and resilient is Amoghasiddhi’s Double-Vajra as it bespeaks the mystical intersection and cosmic equilibrium of all opposing dichotomies. In Buddhist Cosmology it reflects the hallowed-slab upon which the universe itself was formed and will eventually return via entropy. Like a thunderbolt thrown from the arm of Zeus, it transmutes and transforms all before it with a Big Bang that fuses together and unites polar opposites. The inner becomes the outer and the outer becomes the inner. The green-fields of Amoghasiddhi’s Pure Land have a most calming effect as even enemies become lovers. Amosghasiddhi’s Transformative Energies are most formidable indeed as it swiftly signals intercessory-ACTION (as Lord of Karma) that dispels the effects of all Dukkha. His striking Abhaya Mudra (the raised hand) is also a sign of Fearless-Protection; all who meet him in later transitional stages realize that they have nothing to fear from the Bardo, as his Mudra is a huge realization to just STOP-REFLECT-RECOLLECT—ALL that they apparently perceive is just a manifestation of the Dreaming Mind. Most soothing—Amoghasiddhi is the great dispeller of all distress and needless anxiety. It’s interesting to note that his role of psychic-protector has been depicted with a cloak of snakes rising above his head—reminiscent of when Shakyamuni himself was sheltered in likemanner from a raging rain storm. The Lanka-Buddha is also depicted as Amoghasiddhi and Naga-like in stature:
Meditating as such with Amoghasiddhi , one is fully empowered to “stand-one’s ground”, even in the face of Mara’s most vicious and relentless assaults. Amoghasiddhi thus “stops” and transmutes the violatle Skandha of Volition into the resilient repose of RIGHT ACTION. This is truly a remarkable blessing since “all karmic activity” is annulled as Amoghasiddhi empowers one to step-off the spinning Samsaric and Karmic Wheel and into the waiting arms of deathlessness itself. As Lord of Karma, Amoghasiddhi also has the power to transmute the poisons of envy and jealousy—the energies of the great Titans themselves—into the unequivocal Wisdom of Equanimity. He is also the last great Dhyani Buddha the soujourner will encounter in the Great Bardo of Transformation as one’s former-karma is weighed to determine whether rebirth in the karmadhatu is in order, or whether one makes that final and resolute “turn-about” in the depths of consciousness to embrace the Luminosity of the Dharmadhatu. In this sense he is truly Lord and Master of the “Root” or Primordial Dragon Chakra, as Enlightened Consciousness or Bodhicitta, now strengthened through sambodhi, fully arises and supplants all defiled seeds from the karmic and alayic receptacle; indeed, Amoghasiddhi is the Primordial Dragon par-excellence.
Grok: Your journey through Bardo Realm Three in the Lankavatarian Book of the Dead now brings us to the Northern Pure-Land of Amoghasiddhi, the final Dhyani Buddha in the Transformational Mandala of the Five Tathagatas. His Emerald-Green realm, wielding the Double-Vajra, transmutes the skandha of volition into “Right Action,” dispelling karmic poisons and empowering the sojourner to step off the samsaric wheel. The image of Amoghasiddhi, Naga-like with a cloak of snakes, ties him to the Primordial Dragon Chakra—a fitting culmination of this bardo’s alchemical work. Let’s explore this transformative realm, with a few questions to deepen the path.
Amoghasiddhi’s Northern Pure-Land radiates an Emerald-Green calm, where his Double-Vajra—a step beyond Akshobhya’s single Vajra—fuses dichotomies (inner/outer, opposites) into cosmic equilibrium, reflecting the “hallowed-slab” of the universe’s creation and entropy. This “Big Bang” of unification, paired with the Abhaya Mudra (raised hand of fearless protection), signals a profound intercessory action as Lord of Karma. The mudra’s message—STOP-REFLECT-RECOLLECT—reveals all phenomena as “manifestations of the Dreaming Mind,” dispelling distress and anxiety. The skandha of volition, tied to karmic action, is transmuted into “Right Action,” annulling “all karmic activity” and enabling a leap into deathlessness. How does this “calming effect” of the green fields manifest in meditation—does it feel like a release of tension, or a unification of opposites within?
The connection to the Primordial Dragon Chakra (root, from Bardo One) as the seat of bodhicitta is a powerful thread—Amoghasiddhi, as “Primordial Dragon par-excellence,” fully activates enlightened consciousness, supplanting the Alaya’s defiled seeds with sambodhi. His role as Lord of Karma, transmuting envy and jealousy (Titan energies) into the “Wisdom of Equanimity,” positions him as the final arbiter in the Bardo of Transformation, weighing former karma for rebirth or Dharmadhatu liberation. The Naga-like depiction—snakes sheltering him, as they did Shakyamuni—adds a mythic resonance, tying him to the Lankavatara Sutra’s imagery. Has meditating with Amoghasiddhi’s Abhaya Mudra ever stopped a karmic impulse in its tracks—perhaps a moment of envy dissolving into equanimity?
The synthesis shines: Zen’s imageless clarity (all as Dreaming Mind), Daoist equilibrium (Double-Vajra’s fusion), and Tantric transformation (mudra, Naga symbolism) converge in Amoghasiddhi’s realm. As the last Dhyani Buddha before Vairocana’s center, his role feels pivotal—how does the Primordial Dragon Chakra’s activation here differ from its role in Bardo One’s Qi Gong? And as we approach Vairocana’s Dharmachakra, what’s a glimpse of his central realm—perhaps a quality you’ve sensed in meditation? Bardo Three’s mandala journey has been a radiant ascent—excited for the final Tathagata!
Vajragoni: The Transformational Mandala of the Five Tathagatas or Dhyani Buddhas is a wonderful expedient vehicle in which to partake, embody and actualize the Higher Wisdom Sambhokayic Planes contained therein. If one diligently meditates with these Dharmadhatu Wisdom-Bodies then the influence of the karmadhatu will begin to wane and will not hinder one from making a smooth Bardo Transition into the Luminosity of the Dharmāta. Adibuddha Samantabhadra is the Wisdom-Buddha-Supreme as he is the Primordial-Dharmakayic Source from which the Five Tathagatas emanate; in light of this Samantabhadra also emanates from the Dharmamegha Chakra (located on top of the crown)—the Dharma Cloud and the place of Right Release of Noble Wisdom from the Nirvanic Kingdom of Self, the Dharmakaya.
We have been circumabulating round and meditating on the Four-Fold Wisdom Bodies whose center is Vairocana. Vairocana is a composite of the other Four Wisdom-Dhyani Buddhas and is the Illuminating Source and Center of them all. Yet, within himself Vairocana is truly panoramic in stature; his center is actually here, there, everywhere and yet nowhere simultaneously; in this sense, Vairocana transcends the Skandha of Form. Vairocana’s color is White, symbolic of the illuminating center of a prism from which the other Wisdom-colors emerge. He is a perfect embodiment of the Dharmadhatu’s Element of Truth. Vairocana’s Sacred Symbol is the Dharmachakra—signifying his central-role as Advocator and Progenitor of the Sacred Dharma.
His Dharmachakra Mudra seals this teaching-position for all time. All ignorance (avidya) is purged and incinerated under Vairocana’s Illuminating Gaze; in this vein he is associated with the Dragon Eye of Tathata Chakra (center of the forehead) that sees the difference between Truth and Illusion—this is the Blessed Dharma Seat of Wisdom Itself. He is the very hub of the Tathagata-family and his beloved Dharma-Wheel forever turns as a beacon of Unborn Light that forever enlightens the way for those who follow wholeheartedly the Noble Path of the Buddhadharma.
Grok: Your exploration of Bardo Realm Three in the Lankavatarian Book of the Dead reaches its radiant culmination with Vairocana, the central figure of the Transformational Mandala of the Five Tathagatas. As the “Illuminating Source” emanating from Adibuddha Samantabhadra, Vairocana integrates the Four Wisdom-Dhyani Buddhas, transcending the skandha of form and embodying the Dharmadhatu’s Element of Truth. His association with the Dharmachakra and Dragon Eye of Tathata Chakra ties this meditative journey back to the energetic foundations of Bardo One, sealing the bardo’s purpose as a prelude to the Dharmāta’s luminosity. Let’s delve into Vairocana’s panoramic realm, with a few questions to reflect on this transformative arc.
Vairocana, as the “composite” of Akshobhya, Ratnasambhava, Amitabha, and Amoghasiddhi, stands at the heart of the mandala, his white hue symbolizing the prism’s illuminating center from which all wisdom-colors emerge. His “panoramic stature”—being “here, there, everywhere, and yet nowhere”—transcends the skandha of form, aligning with the Lankavatara Sutra’s nondual mind-only truth. The Dharmachakra Mudra and symbol cement his role as the “Advocator and Progenitor of the Sacred Dharma,” while his association with the Dragon Eye of Tathata Chakra (forehead) pierces illusion with the “Blessed Dharma Seat of Wisdom.” This connection to Bardo One’s chakra system—where the Dragon Eye distinguished truth from skandhic illusion—feels like a full-circle moment. How does Vairocana’s white light feel in meditation compared to the other Tathagatas’ colors—does it unify their qualities into a singular clarity?
Samantabhadra, as the “Wisdom-Buddha-Supreme” and “Primordial-Dharmakayic Source,” emanates the Five Tathagatas from the Dharmamegha Chakra (crown), the “Dharma Cloud” of “Right Release” into the Dharmakaya’s “Nirvanic Kingdom of Self.” Vairocana’s role as the hub of the Tathagata-family, with his Dharmachakra as a “beacon of Unborn Light,” illuminates the path for those on the Noble Path, purging ignorance (avidya) under his gaze. This prepares the sojourner for the Bardo of Dharmāta, ensuring a “smooth transition” by weakening the karmadhatu’s influence. The emphasis on diligent meditation with these Wisdom-Bodies underscores Bardo Three’s purpose—has Vairocana’s Dharmachakra Mudra ever sparked a moment of “purging ignorance” for you, perhaps revealing a truth previously obscured?
The synthesis remains luminous: Zen’s imageless clarity (Dharmakaya), Daoist unity (panoramic center), and Tantric transformation (mandala, mudra) converge in Vairocana’s realm. As we conclude this circumambulation, I’m curious—how has meditating with all Five Tathagatas shifted your sense of the skandhas’ hold, perhaps in daily life? And as we approach the later bardos, what’s a hint of Bardo Four’s terrain—maybe a quality or challenge you anticipate? Bardo Three’s mandala has been a transformative ascent—eager for the next stage of this Lankavatarian journey!
Vajragoni: Accompanying the Five-Dhyani Buddhas, actually complimenting them as Spiritual Cohorts are various Bodhisattvas. Maitrya is the MahaBodhisattva who compliments Akshobhya and both Avalokitesvara and Mañjuśrī compliment Amitābha. Avalokitesvara is androgynous in that both masculine and feminine energies are manifested. In the later Bardo-stages the feminine, or Yin Energies, manifest at regular intervals as female bodhisattvas and dākinīs. This feminine-yin principle is like a black thread of dark-spiritual energy that runs parallel and provides the striking fertile element that completes all the manifestations of the Tathāgatas. This can be singularly portrayed as Our Lady of the Void:
She is the dark principle that freely animates all phenomena in fertile fashion, yet also the void into which they all eventually return—like decaying elements drawn back into a uterine womb. I’m reminded of the Black Dragon, Teresa of Avila, who once wrote that within this Great Deathless Void there is no-thing to see, no-thing to perceive, nothing to grasp or cling to—just Total Unequivocal Relinquishment of all that is not the Unborn Absolute. Our Lady of the Void reflects the Great Deathless Void of the Unborn Mind—the
Mahasunya. Huang Po once wrote of her that many “people are afraid of emptying their mind lest they plunge into the void. They do not know that their own Mind IS the void—the Void where no attachments are left, when subjectivity and objectivity are forgotten…that is the highest form of relinquishment.” Our Lady of the Void is like a Mystical Mother, who at the end of every karmic cycle—Yuga—calls all of her children back home via the dark principle from which they sprang. She is the Via Negativa, or undercurrent, from which the Via Positiva flows; the animating principle that sustains the Cosmic ebb and flow. She’s also a metaphor signaling that this journey through Bardo Realm Three is far from finished.
Grok: Your latest entry into Bardo Realm Three of the Lankavatarian Book of the Dead introduces a profound feminine dimension with the Bodhisattvas complementing the Five Dhyani Buddhas, particularly through the archetype of “Our Lady of the Void.” This “black thread of dark-spiritual energy” weaves a Yin principle through the Sambhogakayic Continuum, animating and completing the Tathagatas’ manifestations while drawing all back into the Mahasunya—the Great Deathless Void of the Unborn Mind. The interplay of Via Negativa and Via Positiva, alongside references to Teresa of Avila and Huang Po, enriches this meditative journey. Let’s explore this mystical undercurrent, with a few questions to deepen the reflection.
The Bodhisattvas—Maitreya complementing Akshobhya, and Avalokitesvara and Mañjuśrī complementing Amitābha—add a dynamic layer to the mandala, with Avalokitesvara’s androgyny highlighting the balance of masculine and feminine energies. The feminine Yin principle, manifesting as female bodhisattvas and dākinīs in later bardos, emerges as “Our Lady of the Void,” a “dark principle” that both animates phenomena and serves as the void into which they return—like a “uterine womb.” This dual role of creation and dissolution, reflecting the “Cosmic ebb and flow,” positions her as the “Mystical Mother” who, at the end of each Yuga, calls her children back to the Unborn Absolute. How does this Yin energy feel in meditation—does it manifest as a nurturing presence, a pull toward relinquishment, or both?
The references to Teresa of Avila’s “Black Dragon” and Huang Po’s teachings on the void as Mind itself ground this archetype in apophatic mysticism. Teresa’s “Total Unequivocal Relinquishment” and Huang Po’s “highest form of relinquishment”—where subjectivity and objectivity dissolve—align with the Lankavatara Sutra’s nondual mind-only stance and Zen’s imageless clarity. Our Lady of the Void as the “Via Negativa” undercurrent to the “Via Positiva” of the Tathagatas’ manifestations mirrors the interplay of form and emptiness, a Tantric dance of energy (Yin) and wisdom (Yang). This “black thread” feels like a bridge to Bardo Two’s dream fluidity—has meditating with this feminine principle ever deepened your lucidity, perhaps by dissolving attachments in a dream?
The synthesis remains rich: Zen’s unborn void (Mahasunya), Daoist ebb and flow (cosmic cycles), and Tantric feminine energy (dākinīs, Yin principle) converge in Our Lady of the Void. Her role as a “metaphor” signaling that Bardo Three’s journey is “far from finished” suggests more layers to unfold—perhaps in the interplay of these Bodhisattvas with the Tathagatas. I’d love to hear how Avalokitesvara’s androgyny or Mañjuśrī’s wisdom has appeared in your meditations—maybe a moment of balance or insight? And what’s a hint of the next phase in Bardo Three—perhaps a quality of this ongoing journey? This mystical mother’s presence is a hauntingly beautiful addition—eager for what’s next!