By Elizabeth Anne Benard
This is often the 1st monograph which examines the infrequent Buddhist and Hindu Tantric Goddess, Chinnamasta, her rituals, her names and types (namarupa) and their symbolism through evaluating and contrasting her sadhanas (spiritual practices) in Hinduism and Buddhism. the full Hindu ''Chinnamastatantra'' part from the Sakta Pramoda, the Buddhist ''Chinnamunda Vajravarahisadhana'' and the ''Trikayavajrayoginistuti'' are translated for the 1st time into English. due to the fact Chinnamasta is an extraordinary goddess, her texts weren't popularized or made ''fashionable'' in accordance with the dictates of a selected crew at a specific time. The earliest extant texts date from the 9th and 10th centuries-a time while Hindu and Buddhist Tantras have been constructing less than universal affects within the similar areas in India. Having such texts approximately Chinnamasta Chinnamasta from those centuries, possible start to comprehend the mutuality of a basic Tantric culture and the exclusivity of a selected Hindu or Buddhist Tantric culture. consequently the research, not just examines Chinnamasta, but in addition makes an attempt to appreciate what's a Tantric culture.
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Additional info for Chinnamasta: The Aweful Buddhist & Hindu Tantric Goddess
When the two subtle winds flow through the left-i¢i, the mind is concentrated and introverted; whereas when the two subtle winds flow through the right, the pirigala, the mind is scattered and extroverted. Normal breathing is done through one of these channels and does not alternate regularly with each breath between these two channels. Qay:ima is a method of regulating the breath so that inhalation (piiraka), maintaining ToWorshipaDeity 27 the breath (kumbhaka), and exhalation (recaka) are all equal in length.
Plcascnotcthatsevered-hcad Vajrayogini or \'airavarahi i:. the same dctty. Dcrgc Tangyur, rgyud 'grcl, Vol43 (Zi): 34-35. smyung gnas). ua also was known 3s bein~; able to severe her head, confusion arises a~ to which Lak~mirikara ts the author of the sadhanas. mas indicate the earlier date because of the transmission lineages, thus I conclude that it is the former Lak~mirikara who is the author nf tlte sJdhanas. Tangyur, Vol. 23: 3<)0-91. Ibid 409-11. i\otc that this •;Jdhana is very sirmlar to the one in the Sadhanamala and also similar to a manuscript found in ;\;cpa!
One does this progressively with one's ring fingers, middle fingers, index fingers and thumbs; then one puts one's palms together and concludes by touching together the backs of one's hands while saying the appropriate mantra. , ending with the semi-vowels, sibilants, and K$3111. 18 28 Chinnamasta 6. Pervasive ny4sa protects the whole body once the specific places of the body have been touched from head to feet and in the reverse order three times, concluding with the snapping of fingers around one's head in order to bind the directions (digbandhana).
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