Category Archives: The Lankavatarian Book of the Dead

Sans Sound: Bardo 3, Dhammasota

Posted on October 15, 2012 by Vajragoni

One of the most moving stories in the Bible is found in the Book of 1 Kings. It revolves around the time when Elijah the prophet was feeling down and out. He begged that the Lord’s strength would come and help him to regain his religious fervor. Naturally, he imagined that this would be manifested to him in some strong and extroverted fashion—some earth-shattering portrayal on the part of God. Yet what was revealed to him was something totally unexpected. First there came along a strong wind—like a tornado bearing down on him; but God was not in the wind. Next there came a terrifying earthquake and Elijah was rattled in his bones; but God was not in the earthquake. Then he was suddenly engulfed in a vast ring of scorching-fire; but God was not in the fire. Lastly there came upon him a gentle and soothing breeze; inwardly he sensed the deathless voice of God himself comforting his weariness. This lovely pericope describes what is considered, through many Spiritual-Contemplative disciplines, as experiencing the Absolute Godhead AS IT IS—devoid of any overbearing anthropocentric or naturally (within nature herself) based attributes that feebly attempt to describe and/or define this completely Transcendent Exposure. This is truly reflective of the Parato ghosa, or the great and magnificent deathless sound not seen nor heard through conventional apparati, but truly experienced as emanating from the Very Sacred Heart of Suchness Itself. read more

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The Undiscovered Country: Bardo 3, Yathabhutam

Posted on October 12, 2012 by Vajragoni

One of my favorite short stories is HG Wells’ “The Country of the Blind”, first published circa 1904. In a nutshell, an explorer discovers a hidden “mystical” valley wherein all the inhabitants lack the faculty of sight. Sensing that in the land of the blind the “one-eyed man is king”, he tries to convert them into the ways of cognitive “seeing”; they just scoff at him although later he falls in love with a lovely blind young woman, yet when he also tries to encourage her to understand what it means to be able to “see”, she tells him that he’s just using a very vivid imagination. Later, he agrees to become blinded so that he can marry her, but decides to flee the Country of the Blind (in the original 1904 version) becoming lost in a mountainous terrain and eventually succumbing to the elements. Quite a striking metaphor for assessing one’s journey through all the “Bardo” stages, as one naturally succumbs at the end of the journey to the skandhic elements. One thinks one sees and knows what the journey is all about but is actually quite “blind” to the True Reality (Paramartha) behind what animates the volatile journey in the first place. The Lanka states that Mind simply becomes lost and blinded to the apparent reality behind its own animations; like the man in Wells’ short story, the faculty of the imagination rules the roost in samsara. He trusted exclusively in his Skandhic faculty of proper cognition yet his young blind lover saw right through this fallacy. Like the aging and blind poet, John Milton, the young woman saw and realized more behind apparent reality with the supramundane eyes of spiritual and transcendent awareness and insight—an “inner” faculty of which *Milton wrote in “Paradise Lost”, “There Plant Eyes”. He was referring to seeing Reality AS IT IS—Yathabhutam. If one goes groping around in the Country of the Blind (Samsara) one will never see the light of day at the end of the tunnel. Success in navigating the turbulent waters of the Bardo and transcending avidya (blinding ignorance) depends on utilizing the proper Buddhagnosis—or the right compass that leads one to the Luminous Other Shore of the Dharmakaya. The Word is the compass. Under this Right Direction the country of the blind becomes supplanted with the Undiscovered Country of the Unborn. The Country of Yathabhutam. read more

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The Choicest Wine: Bardo 3, The Ariyan Mind

Posted on October 11, 2012 by Vajragoni

Before undertaking a breakdown of the Ten Stages of Mind Development it is best to posit their impact in Light of the Unborn. Above all, of course, the Lankavatarian Book of the Dead is a Lankavatarian interpretation; all references to the Bardo and Mind Development throughout this singular-series are indicative of this position. As was highlighted in our series on the Lanka, the Lankavatara Sutra was primarily written for advanced, or MahaBodhisattvas. This does not diminish its impact on general readership; yet its underlying structure and import is intended for those who have tasted the choicest wine of the Mahayana and are thereby referred to as arya-jnana—or those whose spiritual thirst has been assuaged through Noble Wisdom and Gnosis. The lesser-able, or those still developing spiritually in the lower bhumis are traditionally referred to as the prthagjana—or those enraptured with ordinariness. The Lankavatarian’s sole occupation is the development of this Ariyan Mind—or that Mind instilled with the self-realization of Noble Wisdom; it is this Ariyan Mind that is referenced in the forthcoming Ten Stages of Mind Development. It cannot be overemphasized enough that these Stages are of the choicest vintage and are developed As Such. read more

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An Occurrence at Owl Creek Bridge: Bardo 3, Prelude to the Ten Stages of Mind Development

Posted on October 11, 2012 by Vajragoni

An Occurrence at Owl Creek Bridge is a famous story by Ambrose Bierce. It was wonderfully adapted for film in the early 1960’s by Robert Enrico as part of a trilogy of short films. It appeared as an episode for the Twilight Zone series by Rod Serling. This story is a vivid and apt image for the samsaric journey. The skandhic-mind is forever groping, running, trying in vain to escape from the final outcome of what awaits all sentient beings in samsaric realms—but the end is always the same. Along the way there are momentary glimpses of freedom, yet viewed exclusively through skandhic-lens these efforts will always be in vain. Quite a fool’s paradise indeed; a marvelous metaphor here as we begin to explore quite a different avenue of transcending the mind games that plague us all. It is a masterful film; the brilliant black and white cinematography lends itself wonderfully for this particular season of the year and serves our purposes well. Unfortunately, the video of the film is no longer available on YouTube. read more

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Mystery Tour Revisited: Bardo 3, Deep Samadhi Intro

Posted on October 10, 2012 by Vajragoni

I was amazed and so pleased that the Beatles film, Magical Mystery Tour, has now been fully digitized and released anew. For years since its inception, way back in 1967, there have only been some bootleg copies circulating around with such a low quality that it was barely watchable. It’s interesting how the arrival of this Mystery Tour DVD in tomorrow’s mail synchronistically coincides with what this Bardo series will be focusing on next—the Deep Samadhi section of Bardo 3. As our study of the Lanka back in Jan-Feb articulated, all the phenomenal gibberish that flows out of the obstructed Mind is nothing more than projections filtered through the Five Skandhas. As the commentary shared at the time: read more

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Our Lady of the Void: Bardo 3, Yin Zen

Posted on October 8, 2012 by 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, no-thing 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. The following is a Tozen Teaching that articulates the very nature behind this Dark-Yin Zen Principle. read more

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Turn, Turn, Turn: Bardo 3, Vairocana

Posted on October 6, 2012 by 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. read more

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The Primordial Dragon: Bardo 3, Amoghasiddhi

Posted on October 5, 2012 by 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 like manner from a raging rain storm. The Lanka-Buddha is also depicted as Amoghasiddhi and Naga-like in stature: read more

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The Land of the Setting Sun: Bardo 3, Amitabha

Posted on October 4, 2012 by 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 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. read more

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High Noon: Bardo 3, Ratnasambhava

Posted on October 3, 2012 by 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 Bodhi-Pearl 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 Self-Realizations 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. read more

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