Editor's note: Since the time John Myrdhin Reynolds made this translation Chgyal Namkhai Norbu gave this transmission publicly one more time in Tashigar Sur, Argentina, March 2013. This manuscript collection of available materials related to practice of Simhamukha Gonter of Ayu Khandro is intended for people who received this transmission or wish to receive it in the future. Editors take no credit for transcribing the Tibetan text nor the translation. Manuscript version v.1.4

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(k k1"8-8E}8m-+0$-1}8m-={$-#+}$-18m-70-*m#i

The Profound Essence of Simhamukha Who is the Queen of the Dakinis.

,-1}-0.-aj-!m-,m-9{i NAMO VAJRA DAKINIYE

I. Preliminaries

A yogin who would practice the sadhana of the Dakini i

And who possesses the initiation and the samaya vows i

(Should construct) a mandala of sindhura powder, i

(Visualized to be) surrounded by flaming volcanos and the rocks of a cremation ground. i

At the center (of this mandala) are the interlaced triangles of a blue-black Dharmodaya, i

And on top of that is a kapala skull cup filled with madana wine. i

A crystal and a mirror are placed upon the support of life.i

Thereupon one should prepare the inner offerings with whatever materials are readily available. i

At the beginning and the end one proceeds as in the general Dakini rites. i

Then, as for the Devayoga, the unification with the Deity, representing the aspect of Enlightenment and which constitutes the principal practice:

i

II. Principal Practice IIA. Visualization of the Principal Deity

fz^-i M1-*:-#=v1-)m$-${-84n,i hum nam tar sum ting ng dzin %}$-&{,-L}-I{-02t,-1}8m-1!:i tong chen dor j tsn m kar

In the Space of the Vajra Queen of the Great Void, which is the Contemplation of the Three Liberations,

\o,-_p-'$-08m-$m-I{-

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Arises the Compassion which is everywhere manifest.

8}+-'$-%}$-#7v#=-&}=-< m-8Ap$i nang tong zuk ch kyi jung

This visible light is the Dharmodaya whose form is empty.

Es-#=v1-1*m$-,#-0' };-18m-+0v=i dru sum ting nak nl m

In the center of these two interlaced blue-black triangles,

8"}:-;}-Pm0=-06m-Pm0=-0%t-Hs#i khor lo tsip zhi tsip chu druk

Are (concentric) circles with four radii and sixteen radii respectively.

W{-0:-.+-(m-:}-#+,-%{$i t war p nyi ro den teng

At their navel on the top of the lotus, solar disc, and a seat which is a human corpse,

+Am$=-:m#-Wv-9m-)m$-84n,-fz^i ying rik gyu yi ting dzin hum

Is the (syllable) HUNG representing the causal contemplation (embodying) Space and Primordial Awareness.

1*m$-,#-:$-8}+-80:-0-,mi ting nak rang bar wa ni

Its radiant dark azure inherent light,

!+-#%m#-9}$=-=v->o:-.-;=i k chik yong su gyur pa l

In an instant completely transforms itself

'$-%}$-[s,-Es0-0v1-.8m-!qi nang tong lhn drup bum p ku

Into the spontaneously realized Vase Body, which is both visible and empty,

9{-

3

Her fangs are exceedingly sharp and Her tongue is extended and coiled.

*:-*m,-0!;-.8m-1{-W:-80:i mar min kel p m tar bar

Her eye-brows blaze like the fires at the end of the kalpa,

:;-.-#},-.}-> {,-`o-8>o:i rel pa ngn po gyen du gyur

While Her blue hair bristles upward.

m-a=i a ra li dang phem gyi dr With the sounds of A-Ra-Li! and PHEM!

=-#=v1-#9}-6m$-&:-0:-Ami sa sum yo zhing dar war ji

She causes the quaking and trembling of the three worlds.

@#-#9=-L}-I{8m-E m-]o#-8@:i chak y dor j dri guk char

With Her right hand She brandishes the vajra-topped drigu,

;=-(},-#7v$-84n,-3+-,=-#%}+i l nyn zung dzin ts n ch

Which severs the roots of subject and object, of karma and passion.

#9},-.=-*}+-.-U$-;}-%,i yn p t pa chang lo chen

With Her left hand She holds a kapala skull cup still possessing its braided hair;

D#-#m=-0!$-0-*v#=-!:-84n,i trak gi kang wa tuk kar dzin

It is filled with blood and She holds it before Her heart.

1&,-#9},-"-2t[-P{-#=v1-0K{,i chen yn kha tvam ts sum ten In the crook of Her left arm She supports a khatvanga staff surmounted by a trident,

0+{-&{,-*0=-+$-8`o-K;-1{+i d chen tap dang du drel m

This represents Her inseparability with Skilful Means and Great Bliss.

={$-#{8m-Y#=-.8m-%}+-#9}#=-#=};i seng g pak p t yok sl

She wears a mantle of lion skin,

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!q-*+-%#-#m-

5

@m-:};-Pm0=-8"}:-0%t-Hs#-_pi chi rl tsip khor chu druk tu

Beyond them, on the sixteen radii (of the next circle) are:

# X-:rm-#},-1}-6m$-+Ap#-8@:i gau ri ngn mo zhing yuk char

The blue Gauri who brandishes a flayed human skin and a club,

2Y-:rm-={:-1}-1+8-#bo-8#{$=i tsau ri ser mo da zhu geng

The yellow Chauri who draws a bow and arrow,

I-+1:-&u-Nm,-W;-13,-8@:i pra mar chu sin gyel tsen char

The red Pramoha who hoists the victory-banner marked with a makara sea monster,

0{-)-;rm-,#-L}-6m$-84n,i b ta li nak do zhing dzin

The black Vetali who carries a vajra and a flayed human skin,

.v!=m-+1:-={:-6m$-`o-8H{,i pukkasi mar ser zhing du dren

The reddish-yellow Pukkasi who pulls on a flayed human skin,

O*-:rm-V$-`o-`o$-+1:-+

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skin,

G}+-#+}$-1:-1}-Wv-1-8H{,i g dong mar mo gyu ma dren

The red vulture-headed Gridhramukha who pulls on some entrails,

!$-#+}$-+1:-[-01-:}-8={:i kang dong mar kya bam ro khyer

The reddish white crane-headed Kankamukha who carries a corpse,

.-#+}$-,#-1}-:;-*}+-84n,i kha dong nak mo rel t dzin

The black raven-headed Khakamukha who holds a skull cup and a sword,

8v#-#+}$-1*m$-,#-L}:-+Ap#-#+{$=i uk dong ting nak dor yuk deng

And the blue-black owl-headed Ulukamukha who brandishes a vajra and a club.

\o,-

7

And in the north is the green snake-headed Vajra Ghat with a bell.

D}-1}8m-&=-Q}#=-#:-%0=-0bo#=i tro m ch dzok gar tap zhuk

Perfectly attired as wrathful goddesses, they stand there in a dance position.

IIc. Conferring Initiation +{-W:-#=;-08m-#,=-#=v1-,i

d tar sel w n sum na

The three locations which are clearly visible (on the five Goddesses)

?f-?r-fz^-#m=-13,-.-+$i om a hum gi tsen pa dang

Are marked by (the syllables) OM, A, HUM; (Whereupon rays of light issue from them),

+0$-[-8"}:-0%=-],-H$=-){i wang lha khor ch chen drang t

And invoke the Deities of Initiation, together with Their retinues.

+0$-0!q:-]m-0}8m-#,=-T-`oi wang kur chi w n nga du

They confer initiation on the five places which are crowns of the heads

D#-8*v$-:m#=-T=-+0v:-Ap#->o:i trak tung rik ng ur juk gyur

And thus (the five Goddesses) are anointed on the head by the five blood-drinking Herukas.

?f-?r\fz^i fz^-?f-F[-Osm\?r\

OM A HUM HUM OM TRAM HRI A

IId. Invocation of the Wisdom Deities

As for the invocation and prayer to them to be seated:i

fz^-Osmi 1m-1$},-+Am$=-,-0bo#=-.-9mi hum hri mi ngn ying na zhuk pa yi

You who dwell in unmanifested Space,

8

9{-

9

L}-I{-J-1{,-&{,-1}-9mi dor j tra men chen mo yi

+< m;-8!}:-[-3~#=-*1=-%+-;i kyil kor lha tsok tam ch la

1m-@+-0L-9m-@#-83;-;}i mi ch da yi chak tsel lo

To all of the hosts of Deities of the Mandala of the great Adamantine Sorceress; Who is self-arisen from uncreated Space, I do homage by means of the four unchanging Symbols. ?-)m-.v->}i I)mc->}i

?f-?r-fz[i

ATI PU HO PRATISHTA HO OM A HUM

A-1{+-1&}#-#m-1&}+-.-,mi ja m chok gi ch pa ni

As for the supreme puja offering which is accomplished withut activity,

+}+-9},-T-9m-cm,-/v$-8J}i d yn nga yi trin pung tro

I emanate cumulous clouds of the five delightful sense qualities

9v;-+0$-#(m=-1{+-1(1-.:-:};i yl wang nyi m nyam par rl

Wherein sense object and sense faculty manifest as integrated and withut duality.

+1-3n#-#=$-08m-1&}+-.-06{=i dam tsik sang w ch pa zh

May this symbolic secret offering be accepted by Them!

? f-0.-=`->-1v-"-=.:m-5v:-0.-?g [-,=-:v.-{-=N-.5-?Lm)-:%-0;`)-1ds-=v"-),-O,-aO-a_p-.v4->}i OM VAJRA SIMHAMUKHA SAPARIVARA VAJRA ARGHAM PADYAM PUSHPE DHUPE ALOKE GHANDHE NAIVIDYA SHAPTA RUPA SHAPTA GHANDHE RASA SPARSHE SARVA PANCA AMRITA RAKTA BALIMTA MAHASUKHA TANA GANA DHARMADHATU PUJA HO

fz[i !q-,m-1m-8>o:-\o,-07$-1}i

hum ku ni mi gyur kn zang mo

Her Body is the unchanging Samantabhadri;

#=v$-,m-1m-8##-3$=-.8m-+A$=i sung ni mi gak tsang p yang

Her Speech is the voice which is pure and unobstructed, like the voice of Brahma;

*v#=-,m-1m-#9}-0=1-0I}+-;=i tuk ni mi yo sam j l

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Her Mind is undistracted by thought and recollection;

={$-#{8m-#+}$-%,-[-1}:-0%}+i seng g dong chen lha mor t

I sing hymns of praise to the Goddess Simhamukha,

&}=-(m+-#%m#-;=-`o-18m-8Js;i ch nyi chik l du m trl

From the single Ultimate Reality, a multiplicity (of diverse forms) emanate;

:m#=-06m-#,=-9v;-J-1{,-+$i rik zhi n yl tra men dang

To these (four) Sorceresses of the sacred sited of the Four Hierarchies,

+0$-1}-(m-co-P-0W+-"}=i wang mo nyi shu tsa gy g

And to the twenty-eight Queens, together with their retinues,

cu;-8"}:-0%=-;-@#-82;-0%}+i trl khor ch la chak tsel t

I do homage and sing hymns of praise.

IIf. Recitation of the Heart Mantra of the Goddess

As for the state of mind which represents profound contemplation:i

9{-

11

blessings received.

1:-8J}=-'}+-0%t+-*1=-%+-^$=i mar tr n ch tam ch jang

Since these (rays) emanate (a second time) downward, all of the material world and its inhabitants are purified.

"1=-#=v1-+#-.-={$-#+}$-18mi kham sum dak pa seng dong m

!q-#=v$-*v#=-< m-:};-.:-Q}#=i ku sung tuk kyi rl par dzok

Verily, the three worlds themselves are purified and the Body, Speech and Mind of Simhamukha become perfectly manifest.

?f-0.-=`->-1v-"-fz^->->{-P}i/@i

OM VAJRA SIMHAMUKHA HUM HA-HE BHYO PHAT

As for the mantrasiddhi attainment, this root mantra service should be recited some four hundred thousand times.

i

IIg. Karmayoga

U:-9$-au0-.8m-##=-J{$-;=i lar yang drup p ngak treng l

Afterwards, form the rosary of mantra of realisation,

8}+-7{:-1#;-1{-W:-8"}:-6m$i zer gel m tar khor zhing

The rays of light revolve like whirling fire-brands

9{-

12

*v#=-,m-0+{-&{,-:}-9m=-B}=i tuk ni d chen ro yi ny

And Mind is the intoxication with the state of Great Bliss.

'$-Nm+-'}+-0%t+-*1=-%+-\o,i nang si n ch tam ch kn

All phenomenal existence, the entire material world and its living inhabitants,

9{-

13

#,1-U#=-5-5-W-0v-8J}=-.-9m=i nam chak tsa tsa ta tr pa yi

Since they emanate (lights) like sparks or meteors (in the sky),

0:-&+-#+}$-0#{#=-A+-/v:-N}+-#)}$-\o,i bar ch dong gek j pur b tong kn

All hindrances, evil spirits obstacles, maledictions, and curses

I{=-;-1{-1&}+-W-0v:-=}$-0:-0=1i j la m ch ta bur song war sam

Are thought of as being cast into a fire sacrifice (and thus being utterly consumed).

/@-9-:-1-=-:-+-

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COLOPHON: At the request of and following the oral instructions of Namkhai Norbu, this text of the sadhana for the Jnana Dakini Simhamukha was translated from Tibetan by Vajranatha (John Myrdhin Reynolds) at the Dzogchen Community of Conway, January 1981. May the Power of the Great Lion-headed Goddess subdue and transform the anger and aggressiveness which festers in the hearts of men, in this year and in all the years to come. SARVA MANGALAM.

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Notes by the Translator: "The Profound Essence of Simhamukha Who is the Queen of the Dakinis". titled in Tibetan the mkha' 'gro'i dbang mo'i seng gdong ma'i zab thig is dgongs gter the or ''mind treasure" of Ayu Khandro ( 1818-1951). The introduction to the text states that the would-be practitioner of this sadhana of the Jnana Dakini Simhamukha seng ge gdong ma, "the Lion-Headed Goddess") should possess the requisite initiation (abhisheka) and samaya vows. The transmission was given by Namkhai Norbu Rinpoche at Merigar and at Conway; he had received it directly from Ayu Khandro herself in eastern Tibet. Ayu Khandro was a direct disciple of the great Jamyang Khyentse Wangpo and of Nyala Pema Dondu, the Master of Changchub Dorje. I. In terms of preparations: Place a kapala or skull cup filled with madana or dark wine on a tripod (called the support of life) and rest on top of it a melong or mirror. Cover the surface of the mirror with red sindhura powder and draw on this two interlaced "triangles of origination" called Dharmodaya chos byung, and at the center of this draw the syllable HUM. Place a crystal either under the tripod or in the center of the interlaced triangles. We then proceed according to the usual practice of the Vajrayogini sadhana, that is to say, recite the Refuge and Bodhichitta (such as the opening verses found in "The Rite"). This constitutes the preliminaries sngon 'gro to the sadhana. We now come to the principal practice dngos gzhi which is he Devayoga lha'i rnal 'byor or unification of the practitioner with the Deity. IIA. The practice proper begins with the three contemplations or three samadhis ting nge 'dzin gsum. We sound and visualize the syllable HUM and from this HUM, dark azure rays of light emanate which dissolve all of our dualistic vision, so that we come to rest in the state of the three Liberations rnam par thar pa'i sgo gsum, that is, the Void ngo bo stong pa nyid, the Signless rgyu mtshan ma med pa, and the Wishless 'bras bu smon pa med pa. Our own physical bodies and our entire material environment are dissolved and there remains only the clear empty sky which is without any characteristics and without any intentions. This is the first contemplation (samadhi) known as the Contemplation of Reality de bzhin nyid ting nge 'dzin. Then the Triangles of Origination of the Dharmodaya, "the source of all phenomena", spontaneously appear as self-perfected in the midst of space. Out of the original primordial state of Sunyata (emptiness or void) arises this luminous manifestation of compassion. This experience represents luminous clarity (gsal ba) and is called the Contemplation which is Everywhere Manifest kun tu snang ba ting nge 'dzin. Above these interlaced Triangles of Origination appears a chakra or circle like a wheel with four radii and outside this another circle with sixteen radii. At the center of the innermost circle, on a white lotus (lunar energy) and a red solar disc (solar energy) lies a prostrate human corpse, the symbol of grasping after an ego bdag 'dzin. Standing on top of the corpse is an upright blue-black HUM syllable, which embodies the essence of one's own mind. This HUM represents the Causal Contemplation rgyu'i ting nge 'dzin. Such a seed-syllable (bija), the seed or germ of compassion, provides the basis for transformation and is itself the symbol of the sound or vibration which moves us to transformation. In Mahayoga, such a seed-syllable is the cause of transformation, but in Anuyoga, it is the symbol of the union of Space dbyings and Primordial Awareness ye shes. According to the method of Anuyoga, it is sufficient to merely sound the HUM and instantly transform into Simhamukha; a long wordy recitation in not necessary. In summary, the Contemplation of Reality corresponds to Emptiness, the Dharmakaya, and the 'chi kha'i bar do; the Contemplation which is Everywhere Manifest

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corresponds to Luminous Clarity, the Sambhogakaya, and the chos nyid bar do; and the Causal Contemplation corresponds to unobstructed Compassion (as energy), the Nirmanakaya, and the srid pa'i bar do. Now the radiant inherent light rang 'od of this seed-syllable, a dark azure in color, instantly transforms into the darkly radiant form of the wrathful Goddess Simhamukha, who is none other than oneself in a purified subtle body. Her form is both visible snang and empty stong like the rainbow and so it is called a spontaneously realized Vase-like Body lhun grub bum pa'i sku. This process of generation of the deity bskyed rim proceeds according to the method of Anuyoga. Then follows the description of the Goddess. Here we perform the recitation and the visualization together. According to Mahayoga, the visualization of the principal deity and the retinue must be very clear, detailed, and precise; but in Anuyoga (the method we are employing here) there is more emphasis on actually feeling the presence of the deity. The body of Simhamukha is blue-black in color like the clear night sky, and this includes Her face; it is not white, as is the case with many thangkas. Her hair and eye-brows are a flaming blue, like the fire which destroys the world at the end of the age or kalpa. On another occasion, the world will be destroyed by a great wind, and the breath from Her nostrils is like that wind. She holds in Her right hand a curved blade or vajra-kartri gri gug surmounted by a vajra emblem which severs the root of dualistic thinking, while She holds in Her left hand a kapala or skull cup filled with blood, signifying Her compassion for all living beings. The skull still has braids of hair attached to it. Simhamukha belongs to the Vajrakula and therefore She has the function of transforming anger and aggressiveness into wisdom or enlightened awareness ye shes. Under Her left arm is a khatvanga staff surmounted by a trident and this signifies Her Yab or male consort. The three severed heads (fresh, decayed, and dried) impaled on this staff signify the Trikaya. The feminine aspect embodied in the Dakini represents Sunyata, while Her male consort, the Heruka, represents Upaya or Skillful Means, His presence being indicated by this staff. IIB. On the four radii of the innermost circle are the four goddesses of Her immediate retinue and who are in actuality aspects of Herself. They represent the other Buddha-families or Hierarchies; in the east is Buddha Simhamukha of the Buddhakula, white in color, signifying the transformation of delusion; in the south is Ratna Simhamukha of the Ratnakula, yellow in color, signifying the transformation of pride; in the west is Padma Simhamukha of the Padmakula, red in color, signifying the transformation of greed; and in the north is Karma Simhamukha of the Karmakula, green in color, signifying the transformation of envy. They are all dancing and resemble in appearance the principal goddess, except for their respective colors and respective emblems on the handles of their curved knives. In the outer circle there are sixteen radii and on them dance sixteen goddesses described in the text. They are all wrathful in manner and appearance; eight of them are animal-headed, eight human-faced. Beyond them are four more animal-headed goddesses who act as guardians (dvarapalas) of the four gates of the Mandala. The iconography of all these goddesses in the retinue are fully described in the kar gling zhi khro and in other texts belonging to the Tibetan Book of the Dead cycle. Amog these sixteen goddesses, the eight wrathful Gauris ke'u ri ma brgyad are the Wisdom Dakinis of the eight types of consciousness rnam ses brgyad ki ye shes mkha' 'gro, while the eight wrathful animal-headed Sorceresses phra men mo brgyad are the goddesses of the objects of consciousness yul gyi phra men brgyad. These two sets of goddesses appear before the deceased on the twelfth and thirteenth days of the

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Bardo experience. Please note that their order here is slightly different than in the Book of the Dead, and also different than in the Guhyagarbha Mandala. (Editor's note) IIC. Now, at the three locations of the five Simhamukha figures in the innermost circle appear the three mystic syllables: at the head is the white syllable OM, at the throat is the red syllable AH, and at the heart is the dark blue syllable HUM. Rays of light issue from them in their respective colors and invoke from out of the infinitude of celestial space the Deities of Initiation (the five Dhyani Buddhas in Their Heruka aspect), together with Their retinues of Bodhisattvas, both male and female. Holding bejewelled vases of initiation, They anoint the heads of the five Simhamukha Goddesses, who are in actuality oneself. The mantras authenticate the experience of initiation. IID. Then we invoke the presence of the Wisdom Beings or Jnanasattvas ye shes pa of the Principal Goddess and Her retinue, and They descend upon and enter into our visualization like snowflakes falling upon the surface of a mountain lake. In this way, the Wisdom Beings become unified with and inseparable with the Symbolic Beings dam tshig pa which we are visualizing. The mantras and mudras seal the presence of these Wisdom Beings in our visualization. IIE. Thereupon offerings and hymns of praise are presented to the Wisdom Beings now inseparably united with the Symbolic Beings projected by our minds. The four unchanging Symbols here refer to the four Symbols brda bzhi in the practice of Longde; by means of practicing them we do homage to the Goddess. IIF. Then we proceed with the mantra recitation and the bestowal of siddhis, the magical and mystical attainments. In the heart center of oneself as Simhamukha is an upright vajra standing on a lotus and a solar disc. At its navel is a blazing blue-black HUM syllable. Around it revolves a rosary of mantra or a mantramala, in this case it is the twelve syllable heart-mantra of Simhamukha: OM VAJRA SIMHAMUKHA HUM HA-HE BHYO PHAT. This mantra revolves faster and faster as we recite it, so that rays of light flash out from its syllables, and penetrating into the farthest reaches of celestial space, they make offerings to all the Buddhas and Bodhisattvas residing there in Their pure realms. These rays return and are absorbed into one's own heart, bearing with them the blessings and inspiration of all the Buddhas. A second time the rays flash out and this time they purify the six destinies of rebirth, transforming them into pure realms of the Dakinis and their inhabitants into Dakinis. We visualize this occurring while reciting the heart-mantra of the Goddess. In this way, by virtue of the requisite number of repetitions of the mantra, we come to attain the mantrasiddhi or the powers realized from mantra practice. At the conclusion of a period of mantra recitation, we may enter into the state of contemplation mnyam bzhag. This may then be followed by the Karmayoga practice given below, where we again visualize ourselves as Simhamukha. IIG. For the activity of Karmayoga (las sbyor) or the acquisition of and the application of magical powers, there is a second mantra recitation. Beyond the blue-black HUM and its mantramala, thereis a second mantramala appearing like a torch or fire-brand being swung about in the night, making a ring of fire. Whereas the above heart-mantra is specific to Simhamukha, the following mantra is the general mantra of the Dakinis:

A KA SA MA RA TSA SHIA DA RA SA MA RA YA PHAT Rays of light come out from this rapidly revolving mantramala and penetrate all of the Dakini realms; making offerings there, they receive the energies of the hearts or mind streams of all

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the Dakas (Viras) and Dakinis dpa' bo mkha' 'gro'i thugs rgyud and then these rays, now pregnant with powert return and are absorbed into one's own heart. Among them there are two kinds of Dakinis, the Jnana Dakinis or Wisdom Goddesses who are enlightened beings and the Karma Dakinis or the worldly goddesses of magic power; the latter are still within the encompassment of Samsara while the former are not. Thus with the reciting and the revolving in our heart centers of this fourteen syllable general mantra of all the Dakinis, we put into action the worldly powers of all of the Dakinis. In addition, as part of the Karmayoga, we visualize the various syllables of this mantra as lying on the corresponding parts of one's body, this constituting a kind of magical armor which totally protects us from psychic attack. Feeling the presence of the mantra, we see sparks of light shoot out from our bodies and the mantramalas within and they, like flashing meteors, totally annihilate all negativities and hostile influences within our immediate environment. Maintaining this awareness, we repeat the mantra backwards, but not more than three times on any one occasion. This is the action of averting bzlog pa where we reverse and send back to their source any hostile influences. For a full effectuation of its power, the mantra should be recited fourteen hundred thousand times, that is to say, a hundred thousand recitations for each syllable of the mantra. The protective mantric syllables are arranged on the body as follows: at the crown of the head is A KA, at the throat is SA MA, at the heart center is RA TSA, at the navel is SHIA DA, at the secret place (the genitals) is RA SA, at the right thigh is MA RA, and at the left thigh is YA PHAT. Ill. At the conclusion of the principal practice, the visualization of the Goddess and Her retinue is dissolved. According to the methods of Yoga Tantra and Mahayoga, gradually the figures in the retinue dissolve into the central deity; She then dissolves into the seed-syllable in Her heart and finally this dissolves into the empty space of the sky. However, according to the methods of Anuyoga and Atiyoga, we simply enter directly into contemplation, the state of primordial intrinsic awareness (rig-pa), for what we have achieved by transformation is actually what already exists; there is nothing to alter or change. According to the usual procedure in the practice of sadhana, after the state of contemplation mnyam bzhag, we enter into the condition of subsequent realization rjes thob and recite the verses of dedication and benediction (such as those found at the conclusion of "The Rite"). The essential instruction or upadesa found in this text was revealed to Ayu Khandro (Dorje Paldan) by the Jnana Dakini Herself and the former practiced it for twenty-three years. Having written it down in the year of the Iron-female Mouse (1900 CE) at her friend's request, it is now protected by the supreme Guardian Ekajati. These notes are based on both literary sources and on the oral instructions of Namkhai Norbu given at Conway. SARVA MANGALAM

AK cover worx3EditordrawingSrus2Ayu Khandro Simhamukha GongterTextSimhamukha DrawingAK umedU1U2U3U4U5U6U7U8

Ekajati Drawing