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{{Tibetan Buddhism}}
{{Tibetan Buddhism}}
'''Nārodākinī''' ([[Sanskrit]], {{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 [[History of Buddhism in India|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>
'''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]].


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.
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.


Nārodākinī carries a mystical [[Khaṭvāńga|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 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>


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 the [[Sakya]] school 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>
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>


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

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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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