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{{Tibetan Buddhism}}
<!-- Deleted image removed: [[Image:Narodakini150.jpg|right|thumb|180px|Nārodākinī ([[Patan, Lalitpur|Patan]], [[Nepal]]<ref>Vajrayogini Temple, Lonely Planet Nepal by Bradley Mayhew, Joe Bindloss, and Stan Armington (2006) p.214</ref>), last decade of 20th century, Paubhā, detail. Pigment and gold on cloth. 16.4x13.25in.(19.4x33.65cm). Miranda Shaw private collection. Nārodākinī's red body and rippling hair are illumined by her aureole of [[yogic]] fire and adorned with gleaming bone ornaments. Nārodākinī' raises her brimming skull bowl, ever imbibing the promordial bliss that pulses at the heart of reality.<ref>Buddhist Goddesses of India by Miranda Shaw (2006)</ref>]] -->
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'''Nāroḍākinī''' ([[Sanskrit]], {{langx|bo|Naro Khachö}} {{bo|w=nā ro mkha' spyod}}<ref>A Saint in Seattle: The Life of the Tibetan Mystic Dezhung Rinpoche by David P. Jackson (2004)</ref>) is a deity in [[Vajrayana|Vajrayana Buddhism]]<ref>The World of Tibetan Buddhism: An Overview of Its Philosophy and Practice by Dalai Lama (1995) p.113</ref> similar to [[Vajrayogini]]<ref>Vajrayogini: Her Visualizations, Rituals, and Forms (Studies in Indian and Tibetan Buddhism) by Elizabeth English (2002)</ref><ref>Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini by Kelsang Gyatso (1996)</ref> (red, striding, bearing a [[vajra]]) who no longer appears {{Citation Needed|date=May 2023}} in the active pantheon {{According to whom|date=May 2023}} despite her importance in late [[History of Buddhism in India|Indian Buddhism]].


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In the ''Sādhanamālā'', she is said to be a transformation or emanation of Vajrayogini.<ref>{{Cite web|url=http://www.yoniversum.nl/dakini/sarvbuddhak.html|title = Sarvabuddha Dakini}}</ref> Nārodākinī is readily recognizable by her lunging posture and [[kapala]]. Her head is uptilted, poised to imbibe the blood that overflows her [[kapala]], and her right hand brandishes a curved [[kartika (knife)|kartika]]. Nārodākinī's physical attributes are interpreted with reference to long-standing Buddhist principles as well as distinctively tantric concepts. For example, her freely flowing hair is, in the Indic setting, a mark of a [[yogi]]c practitioner, especially one who cultivates [[tummo]],<ref>The Encyclopedia of Tibetan Symbols and Motifs by [[Robert Beer]] (1999) p.23</ref> whereas Buddhist exegetes interpret the unbound tresses as a sign that her mind, free from grasping, is a flowing stream of nonconceptuality.<ref>Buddhist Wisdom: The Diamond Sutra and The Heart Sutra by Edward Conze, John F. Thornton, Susan Varenne, and Judith Simmer-Brown (2001)</ref><ref>Mahamudra: The Moonlight -- Quintessence of Mind and Meditation by Dakpo Tashi Namgyal, The Dalai Lama, and Lobsang P. Lhalungpa (2006) p.88</ref><ref>Mind at Ease: Self-Liberation through Mahamudra Meditation by Traleg Kyabgon (2004) p.18</ref><ref>Essence of Buddhism (Shambhala Dragon Editions) by Traleg Kyabgon (2001) p.146</ref> Her crown of five skulls represents her transformation of the five aspects of selfhood into the five transcendental insights of a [[Buddhahood|Buddha]]. Her [[Mundamala|garland of fifty severed heads]] symbolizes her purification of the fifty primary units of [[language]] and [[thought]]. Her bone ornaments represent five of the six perfections of a [[bodhisattva]]. Her body itself represents the sixth perfection, [[wisdom in Buddhism|wisdom]], which all female deities implicitly personify.
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'''Nārodākinī''' ([[Sanksrit]], {{lang-bo|Naro Khachö}} {{bo|w=nā ro mkha' spyod}}<ref>A Saint in Seattle: The Life of the Tibetan Mystic Dezhung Rinpoche by David P. Jackson (2004)</ref>) is a deity in [[Vajrayana|Vajrayana Buddhism]]<ref>The World of Tibetan Buddhism: An Overview of Its Philosophy and Practice by Dalai Lama (1995) p.113</ref> similar to [[Vajrayogini]]<ref>Vajrayogini: Her Visualizations, Rituals, and Forms (Studies in Indian and Tibetan Buddhism) by Elizabeth English (2002)</ref><ref>Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini by Kelsang Gyatso (1996)</ref> (red, striding, bearing a [[vajra]]) who no longer appears in the active [[Pantheon (gods)|pantheon]], despite its importance in late [[Indian Buddhism]]. In the ''Sādhanamālā'' she is said to be a transformation or emanation of Vajrayogini.<ref>[http://www.yoniversum.nl/dakini/sarvbuddhak.html]</ref>


⚫
Nārodākinī carries a mystical [[khaṭvāṅga]]<ref>The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer (1999) p.110</ref><ref>The Tibetan Book of the Dead (Mystical Classics of the World) by [[Robert Thurman]] and [[Huston Smith]] (1993) p.163</ref>), supported by her left arm or balanced across her left shoulder. The staff indicates that she is not [[celibacy|celibate]] and has integrated<ref>Dancing in the Flames by Marion Woodman (1997) p.43</ref> [[eroticism]] into her spiritual path, mastering the art of transmuting pleasure into transcendent bliss.<ref>Introduction to Tantra : The Transformation of Desire by Lama Yeshe, Jonathan Landaw, and Philip Glass (2001)</ref>
⚫
Nārodākinī is readily recognizable by her lunging posture and [[kapala]]. Her head is uptilted, poised to imbibe the blood that overflows her skull bowl, and her right hand brandishes a curved [[kartika (knife)|kartika]]. Nārodākinī's physical attributes are interpreted with reference to long-standing Buddhist principles as well as distinctively tantric concepts. For example, her freely flowing hair is, in the Indic setting, a mark of a [[yogi]]c practitioner, especially one who cultivates [[tummo]],<ref>The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer (1999) p.23</ref> whereas Buddhist exegetes interpret the unbound tresses as a sign that her mind, free from grasping, is a flowing stream of nonconceptuality.<ref>Buddhist Wisdom: The Diamond Sutra and The Heart Sutra by Edward Conze, John F. Thornton, Susan Varenne, and Judith Simmer-Brown (2001)</ref><ref>Mahamudra: The Moonlight -- Quintessence of Mind and Meditation by Dakpo Tashi Namgyal, The Dalai Lama, and Lobsang P. Lhalungpa (2006) p.88</ref><ref>Mind at Ease: Self-Liberation through Mahamudra Meditation by Traleg Kyabgon (2004) p.18</ref><ref>Essence of Buddhism (Shambhala Dragon Editions) by Traleg Kyabgon (2001) p.146</ref> Her crown of five skulls represents her transformation of the five aspects of selfhood into the five transcendental insights of a [[Buddhahood|Buddha]]. Her garland of fifty severed heads symbolizes her purification of the fifty primary units of [[language]] and [[thought]]. Her bone ornaments represent five of the six perfections of a [[bodhisattva]]. Her body itself represents the sixth perfection, [[wisdom in Buddhism|wisdom]], which all female deities implicitly personify.


⚫
She manifested herself in an initiatory vision to the great Indian [[mahasiddha]] and teacher [[Naropa]], (956-1040) who received teachings from her. She is patroness of the [[Sakya (Tibetan Buddhist school)|Sakya]] school and an acolyte of [[Vajravārāhī]]. She is a ''sarvabuddhaḍākinī'', having access to all the Buddhas and thus is more powerful. This form of Vajrayogini is the preeminent form of yogini in the [[Cakrasaṃvara Tantra|Cakrasaṃvara]] and Vajravārāhī tantras.<ref>[http://www.exoticindiaart.com/product/TK58/ Sarvabuddhadakini (Naro Dakini): The First Feminist]</ref>
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Nārodākinī carries a mystical [[khatvanga]]<ref>The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer (1999) p.110</ref><ref>The Tibetan Book of the Dead (Mystical Classics of the World) by [[Robert Thurman]] and [[Huston Smith]] (1993) p.163</ref>), supported by her left arm or balanced across her left shoulder. The staff indicates that she is not [[celibate]] and has integrated<ref>Dancing in the Flames by Marion Woodman (1997) p.43</ref> [[eroticism]] into her spiritual path, mastering the art of transmuting pleasure into transcendent bliss.<ref>Introduction to Tantra : The Transformation of Desire by Lama Yeshe, Jonathan Landaw, and Philip Glass (2001)</ref>

⚫
She manifested herself in an initiatory vision to the great Indian Teacher and [[Mahasiddha]] [[Naropa]], (A.D. 956-1040) who received teachings from her, and his disciples began calling her Naro Dakini or Vajrayogini Naro Kha Chod or Naro Sky Goer. Moreover she is patroness of Sakya sect and an acolyte of the [[Dakini]] [[Vajravarahi]]. She is a Sarvabuddhadakini having access to all the Buddhas and thus is more powerful. This form of Vajrayogini or Dakini is the preeminent form of Yogini in the Chakrasamvara and Vajravarahi Tantras.<ref>[http://www.exoticindiaart.com/product/TK58/ Sarvabuddhadakini (Naro Dakini): The First Feminist]</ref>


==See also==
==See also==
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[[Category:Dakinis]]
[[Category:Dakinis]]
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[[Category:Yidams]]
[[Category:Female buddhas and supernatural beings]]
[[Category:Female buddhas and supernatural beings]]
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[[Category:Vajrayana deities]]

Latest revision as of 00:57, 30 October 2024

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Nāroḍākinī (Sanskrit, Standard Tibetan: Naro Khachö Wylie: nā ro mkha' spyod[1]) is a deity in Vajrayana Buddhism[2] similar to Vajrayogini[3][4] (red, striding, bearing a vajra) who no longer appears [citation needed] in the active pantheon [according to whom?] despite her importance in late Indian Buddhism.

In the Sādhanamālā, she is said to be a transformation or emanation of Vajrayogini.[5] Nārodākinī is readily recognizable by her lunging posture and kapala. Her head is uptilted, poised to imbibe the blood that overflows her kapala, and her right hand brandishes a curved kartika. Nārodākinī's physical attributes are interpreted with reference to long-standing Buddhist principles as well as distinctively tantric concepts. For example, her freely flowing hair is, in the Indic setting, a mark of a yogic practitioner, especially one who cultivates tummo,[6] whereas Buddhist exegetes interpret the unbound tresses as a sign that her mind, free from grasping, is a flowing stream of nonconceptuality.[7][8][9][10] Her crown of five skulls represents her transformation of the five aspects of selfhood into the five transcendental insights of a Buddha. Her garland of fifty severed heads symbolizes her purification of the fifty primary units of language and thought. Her bone ornaments represent five of the six perfections of a bodhisattva. Her body itself represents the sixth perfection, wisdom, which all female deities implicitly personify.

Nārodākinī carries a mystical khaṭvāṅga[11][12]), supported by her left arm or balanced across her left shoulder. The staff indicates that she is not celibate and has integrated[13] eroticism into her spiritual path, mastering the art of transmuting pleasure into transcendent bliss.[14]

She manifested herself in an initiatory vision to the great Indian mahasiddha and teacher Naropa, (956-1040) who received teachings from her. She is patroness of the Sakya school and an acolyte of Vajravārāhī. She is a sarvabuddhaḍākinī, having access to all the Buddhas and thus is more powerful. This form of Vajrayogini is the preeminent form of yogini in the Cakrasaṃvara and Vajravārāhī tantras.[15]

See also

[edit]

References

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  1. ^ A Saint in Seattle: The Life of the Tibetan Mystic Dezhung Rinpoche by David P. Jackson (2004)
  2. ^ The World of Tibetan Buddhism: An Overview of Its Philosophy and Practice by Dalai Lama (1995) p.113
  3. ^ Vajrayogini: Her Visualizations, Rituals, and Forms (Studies in Indian and Tibetan Buddhism) by Elizabeth English (2002)
  4. ^ Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini by Kelsang Gyatso (1996)
  5. ^ "Sarvabuddha Dakini".
  6. ^ The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer (1999) p.23
  7. ^ Buddhist Wisdom: The Diamond Sutra and The Heart Sutra by Edward Conze, John F. Thornton, Susan Varenne, and Judith Simmer-Brown (2001)
  8. ^ Mahamudra: The Moonlight -- Quintessence of Mind and Meditation by Dakpo Tashi Namgyal, The Dalai Lama, and Lobsang P. Lhalungpa (2006) p.88
  9. ^ Mind at Ease: Self-Liberation through Mahamudra Meditation by Traleg Kyabgon (2004) p.18
  10. ^ Essence of Buddhism (Shambhala Dragon Editions) by Traleg Kyabgon (2001) p.146
  11. ^ The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer (1999) p.110
  12. ^ The Tibetan Book of the Dead (Mystical Classics of the World) by Robert Thurman and Huston Smith (1993) p.163
  13. ^ Dancing in the Flames by Marion Woodman (1997) p.43
  14. ^ Introduction to Tantra : The Transformation of Desire by Lama Yeshe, Jonathan Landaw, and Philip Glass (2001)
  15. ^ Sarvabuddhadakini (Naro Dakini): The First Feminist
[edit]
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