#kalacakra

[de-salva]

KALACAKRA - Arapaho's Circle Dance

Alb. "Crawling To Lhasa" (1972)

[talonabraxas]

Kalachakra Yab-Yum Thangka

The Kalacakra Tantric tradition is based on the concept of time (kala) and cycles (chakra). Kalachakra philosophy is traditionally visually represented both as a three dimensional Mandala and a Tantric deity of Vajrayana Buddhism. Dorje Sempa Yab Yum mandala Thangka

[thetibethouse]

Kalacakra Mandala

pro_change

[nokhgondes]

Waktu, geraknya tak mudah kupahami.

Dia membawaku pada pertemuan,

Demikian pula pada perpisahan.

Sang Kala berkelana, aku melacak jejak-jejaknya.

Tak ada yang sama, semua bergerak ikut irama.

Tak ada yang baka, semua benar-benar fana adanya.

Mangsa, akankah ia memangsa semua?

Wanci, berulangkah kembali?

Kalacakra, membaca waktu, mengenal waktu, memahami waktu, menata waktu, menjalankan waktu, merayakan waktu.

Sekalipun fana.

.

.

.

Tumasik, Radite Palguna Wuku Tambir Mangsa Kasadha 2024 AD

[turisiancom]

TURISIAN.com – Saat Sobat Turisian liburan di Kabupaten Purworejo, Jawa Tengah, jangan lewatkan mampir ke Museum Tosan Aji. Tempat wisata edukasi dan budaya ini menyimpan ribuan koleksi pusaka. Di Museum Tosan Aji ini Sobat Turisian bisa melihat-lihat sejumlah koleksi berupa pusaka. Hal ini sesuai dengan nama museum. Kata “Tosan” adalah senjata yang terbuat dari bahan besi, logam, atau baja. Sementara kata “Aji” merupakan sesuatu yang berharga, bertuah, atau memiliki kharisma. Sehingga mendapat tempat yang terhormat. Semisal senjata zaman dahulu yang berpamor atau memiliki hiasan yang terdapat pada bilahnya. Kalau digabung, Tosan Aji memiliki makna senjata zaman dahulu yang terbuat dari besi, logam, atau baja, serta memiliki nilai dan tuah. Dapat pula menyebutnya sebagai hasil budaya bangsa pada masa perundagian. Peninggalan sejak nenek moyang ini menjadi satu identitas budaya bangsa sampai sekarang. Biasanya, Tosan Aji merujuk pada keris, pedang, tombak, kujang/kudi, cundrik, rencong, granggang, badik, mandau, hingga clurit. Pada masa dahulu, Tosan Aji berguna untuk berbagai hal. Misalnya sebagai senjata bela diri atau fungsi yang lain seperti estetis, religius, sosial, hingga simbolik. Koleksi Museum Tosan Aji Purworejo Di museum ini, Sobat Turisian bisa menengok banyak koleksi keris dan alat senjata lainnya. Adapun koleksi lainnya cagar budaya berupa prasasti, yoni, lingga, hingga menhir. Sejumlah koleksi ini berada di ruangan yang terpisah. Khusus bilah Tosan Aji berada di gedung sisi utara, sedangkan di sisi selatan berisi kumpulan cagar budaya. Begitu Sobat Turisian masuk ke museum ini, di gedung sisi utara, bisa langsung mendapat suguhan dengan display pembuatan Tosan Aji. Lengkap dengan alat, bahan, hingga contoh keris yang sudah jadi. Kemudian ada juga instrumen alat musik tradisonal gamelan yang ternyata bukan sembarang gamelan. Gamelan di museum ini merupakan hadiah dari Sultan Pakubuwono VI kepada Bupati pertama Purworejo, Tjokro Nagoro. Usia gamelan tersebut lebih dari tiga abad atau tepatnya sekitar 380 tahun. Baca juga: 4 Pusat Kerajinan Tangan di Jateng dan Jogja dengan Harga Miring Lanjut ke ruang display utamanya, Museum Tosan Aji memiliki beberapa ruangan dengan kategori sesuai masa dan asalnya. Mulai dari Tosan Aji peninggalan Kerajaan Mataram, Mapahit, hingga Padjajaran. Tak heran, bila sejumlah tosan aji di museum ini berusia ratusan tahun. Bahkan ada yang berusia 800 tahun dan berasal Kerajaan Padjajaran, sekitar abad 12-13. Selain itu, di tempat ini pun Sobat Turisian juga bisa menengok pedang katana berasal dari Jepang dan berusia 500 tahun. Konon, hanya orang yang memiliki tenaga dan mampu mengendalikan, pedang ini bisa menjadi ikat pinggang. Masih ada koleksi lainnya, yaitu berupa tombak, pedang, dan lainnya. Di sini, ada satu tombak bernama Upastinatah Kalacakra dari Kerajaan Majapahit. Tombak tersebut merupakan pemberian Menteri Dalam Negeri Indonesia periode 1983-1988, Soepardjo Rustam. Ia jugalah yang memprakarsai pendirian Museum Tosan Aji. Kalau ditotal, museum ini memiliki 1.100 lebih bilah Tosan Aji. Namun tak semua koleksi dipajang. Terdapat waktu tertentu di mana bilah tersebut untuk menyimpannya dan mengganti bilah dengan lainnya. Lokasi Museum Tosan Aji Purworejo Destinasi museum ini berada di Jalan Mayjen Sutoyo No. 70, Kecamatan Purworejo. Terletak tak jauh dari Alun-Alun Purworejo dan menjadi satu destinasi wisata andalan. Sebagai informasi, Museum Tosan Aji semula berlokasi di Pendopo Kawedenan, Kutoarjo sekitar tahun 1987. Baru 14 tahun kemudian atau tepatnya 10 Juni 2001, lokasinya berpindah ke Purworejo. Menempati bangunan bekas pengadilan pada masa Belanda. Alasan pemindahannya untuk mewujudkan lokasi terpadu bangunan bersejarah di sekitar Alun-Alun Kota Purworejo. Semisal Masjid Agung Darul Muttaqin yang terkenal Bedug Pendowonya yang terbesar di Indonesia. Baca juga: Asyik Banget Naik Lokomotif Uap Klasik di Museum Ambarawa Semarang Sobat

Turisian yang ingin masuk ke Museum Tosan Aji tak perlu merogoh kocek terlalu dalam untuk mendapat ilmu pengetahuan, sejarah, hingga menengok koleksi. Kalian hanya perlu membayar Rp1.000 sebagai tiket masuk. Juga bisa mendapat pendampingaan dari pihak museum agar mendapatkan informasi lebih banyak. Museum ini buka setiap hari dan tutup hanya pada pada hari libur nasional. Jam bukanya, setiap Senin hingga Kamis, mulai pukul 08.00 WIB hingga pukul 16.00 WIB. Sementara hari Jumat, buka pukul 07.00 WIB sampai 15.00 WIB, dan pada Sabtu-Minggu buka mulai pukul 07.00 WIB hingga pukul 12.00 WIB.*

[laikaflash]

30 Day Song Challenge - Day 2

A song you like with a number in the title:

Raga No. 11 by Kalacakra (the C is pronounced like “TCH”).

Krautrock this early in the challenge? Then you don’t know me. (Okay, this band described themselves as “mantric acid folk”. So sue me.) This is one of my favorites from Crawling to Lhasa.

Link to the beginning is here.

[paintgroove]

Paint Groove playlist #67 “Mind Stroll”

Apple Music version

1. The Moondogs - Kalacakra

2. Brown Rice - Don Cherry

3. Man Dressed in Red - Road

4. If Not This Time - Fifty Foot Hose

5. Fragment March of Green - Ultimate Spinach

Spotify version

1. Brown Rice - Don Cherry

2. Man Dressed in Red - Road

3. If Not This Time - Fifty Foot Hose

4. Fragment March of Green - Ultimate Spinach

5. Moondog Monologue - Moondog

[religion-is-a-mental-illness]

“Buddhist Perceptions of Islam: the Barbarian Tayin

The Kalacakra literature uniformly refers to Muslims as mlecchas - barbarians, and Islam is called the mleccha-dharma, the barbarian religion. In brahmanical usage the Sanskrit word mleccha commonly denotes any foreigner who does not follow Indian customs, but the Kalacakra texts seem to apply it only to Muslims.” [..]

“A Buddhist Appraisal of Islam

We may summarize the Kalacakra tantra's perception of Islamic beliefs and practices as follows: from the Buddhist point of view Islam is demonic and perverse, a perfect anti-religion which is the antithesis of Buddhism (daitya-dharma; asura-dharma; atyantadharma; adharma). Islam's theology of an omnipotent Creator who consigns men to heaven or hell based on their pleasing or displeasing him is classed with the lowest of Indian ideologies. The Islamic belief that ar-Rahman makes his followers cut off their foreskins in order to enter heaven is viewed as exotic and bizarre.

The Kalacakra tantra represents Islam as a religion of violence (himsa-dharma) that advocates savage behavior (raudra-karman). It understands the consecration in the name of Allah of animals to be slaughtered as an animal sacrifice to the barbarian god, who is a merciless deity of death (mara-devata), a god of darkness comparable to Rahu, the demon who devours the sun and the moon. The texts exhibit concern about the destructive raids of Tayin cavalry on the Buddhist and non-Buddhist temples of India.”

-- John Newman, “Islam in the Kālacakra Tantra”, Journal of the International Association of Buddhist Studies, Volume 21, Number 2, 1998.

[de-salva]

KALACAKRA - Tante Olga (part 1)

Alb. "Crawling To Lhasa" (1972)

KALACAKRA - Tante Olga (part 2)

[talonabraxas]

Kalachakra Yab-Yum Thangka The Kalacakra Tantric tradition is based on the concept of time (kala) and cycles (chakra). Kalachakra philosophy is traditionally visually represented both as a three dimensional Mandala and a Tantric deity of Vajrayana Buddhism.

[pusakadunia]

Batu Mustika Cakra Birawa Bertuah

Batu Mustika Cakra Birawa Bertuah

Batu Mustika Cakra Birawa Bertuah PUSAKADUNIA.COM – Batu Mustika Cakra Birawa Bertuah memiliki khasiat manfaat Insya Allah untuk mendatangkan bala bantuan ribuan khodam. Selain itu mendatangkan bantuan banyak khodam untuk perlindungan hidup, ditakuti dan disegani banyak khodam dan orang, mempunyai banyak pengikut khodam, membangkitkan banyak khodam pendamping. Keterangan Batu Mustika Cakra Birawa…

[mantrapiece]

The Kalachakra means "Wheel of Time" in Sanskrit. The Kalachakra is an elaborate explanation of the creation of all matter. It aims to explain that humans are not separate from the universe. But both the universe and human. It is a detailed map of the the inner world (the entire universe) and the outer world (the shell of the universe). And if fully understood and used in the practice of meditation can bring supreme happiness. . 925 Sterling silver Kalachakra cuff-bracelet. . Website link is in the bio. @mantrapiece . #mantrapiece #kalachakra #kalachakramandala #kalachakratemple #kalachakrathangka #tibetanbuddhism #vajrayana #vajrayanabuddhism #vajrayāna #vajrayanabuddhist #vajrayanaart #budismovajrayana #tantra #tantrayoga #tantrayana #tantralife #tantrameditation #mahayana #mahayanabuddhism #sanskrit #buddhahood #wheeloftime #shaivism #vaishnavism #samkhya #madhyamaka #cosmology #kalacakra #anuttara #anuttarayoga (at Los Angeles, California) https://www.instagram.com/p/Ce1tq_kv_4B/?igshid=NGJjMDIxMWI=

[sanathanadharmasblog]

The Fifteen Nityas(Series of NITYAS)🌘🌙🌖🌕🌒🌓

The Nityas or Eternities of Lalita represent the fifteen lunar days or tithis of the waxing Moon. Each has her own yantra, mantra, tantra and prayogas or ritual applications. The full circle of the Nityas also represents the 21,600 breaths a human being takes in a full day and night. As such, the Nityas are the Kalachakra, or Wheel of Time.🌹🌺🌷🌺🌷🌹

The 15 Nityas are modifications of Lalita as red goddess with her three gunas and her five elements of aether, air, fire, water and earth. As the moon remains itself, though appearing differently according to phase, so too does Lalita. Each Nitya has her own vidya (that is mantra), yantra and group of energies (Shaktis). Their names appear in the first chapter of Vamakeshvara Tantra. Gopinath Kaviraj, a renowned scholar of tantra in the first half of this century, describes the Kalachakra and the Nityas succinctly in the introduction to the Sanskrit edition of Yogini Hridaya.

"What the Bhavanopanishad says implies that the Human Body is to be conceived as the Sri Cakra, being the expression of one's own self. (Svatma). This means that while on the one hand the Body is to be regarded as non-different from the atma, the entire cosmic system associated with the body should also be viewed in the same light. This outer system in its manifestation rests on Time (kala), Space (deha) and a combination of the two. The exponents of the School hold that the well known fifteen Kalas of the Moon, representing the 15 lunar tithis, are to be regarded as identical with the fifteen Nityas (Kameshvari to Citra). The sixteenth Kala called Sadakhya should be viewed as one with Lalita or the Supreme Deity Herself. In other words, one has to feel that what appears in Kalacakra is nothing but an expression of what exists eternally as Nityas in the supreme Sri Cakra itself. The tithicakra or the wheel of time is constantly revolving and the Sri Cakra is within it and not without. It should also be remembered that from the standpoint of an esoteric yogin the tithis are in the last analysis to be identified with the 21600 shvasas supposed to be the average number of breaths per day of a normal human being."

Hence Lalita or Tripurasundari is the 16th day or full moon, with her 15 digits. Each of the Nityas has a certain number of arms, the totality of arms (= rays) of the whole circle being 108. Because any unit of time is taken as a microcosm or parallel of any other valid unit, each of the fifteen Nityas thus has 1,440 breaths (see Bhavanopanishad). This identity between space, time, Tripurasundari and the individual is elaborated at great length and with considerable sophistication by the author of the Tantraraja.

According to that text, the Nityas are the vowels of the Sanskrit alphabet and are identical with both time and space. For example, if the number of tattvas or consonants (36) are multiplied by the 16 Nityas the number of letters is 576. The multiples of this number provide the number of years in the different Yugas. So the circle of the matrikas and the Nityas is identical with the sidereal zodiac as well as mantra.

This theme is further elaborated in the 28th chapter of the same tantra, where Shiva says that in the centre of the world is the Meru, outside of this being the seven oceans and beyond this the Kalachakra or wheel of time which moves in a clockwise direction by the power of Iccha (Will) Shakti. The circle is divided by 12 spokes and the planets or grahas are within this. Lalita, says the tantra, is in the Meru, while 14 Nityas from Kameshvari to Jvalamalini reside in the seven islands and seven oceans. Chitra, who is the 16th Nitya, occupies supreme Space or Paramavyoma.

In the Dakshinamurti Samhita, the Nityas are identified with kalas or parts of the different stages of deep sleep, dreaming, waking, and full consciousness or Turiya. Here it is said that the Nityas, including Lalita, are the 16 parts of the continuum of consciousness, while the 17th Kala is beyond all of this. 🌷🌺🌹 Each of the Nityas has the respective vowel letter associated with her mantra vidya.According to the Tantraraja, the 15 Nityas are limbs or rays of Lalita, who is herself pure consciousness without additions. Varahi and Kurukulla bear the relationship of father and mother respectively. The Nityas themselves can be meditated upon and worshipped in different forms and colours for the attainment of different ends. In daily worship (puja) of the Nityas, each has her own nyasa and ritual sequence and they are to receive puja on the lunar days associated with them. The vidya mantras of the different Nityas below are prefaced by Aim Hrim Shrim bija mantras and suffixed with Shri Padukam Pujayami Tarpayami Namah, that is Hail. I worship and libate the auspicious lotus feet [of the appropriate Nitya].🌹🌺🌷🌷🌺🌹🌷🌺🌹🌷🌺 1. KAMESHVARI NITYA🌓🌒🌕🌖🌙🌘🌓🌒🌕🌖🌙🌙🌘

The first Nitya in the cycle is Kameshvari, a name which means Lady of Desire. Her vidya (mantra) according to the Tantrarajatantra, is Aim Hrim Shrim Am Aim Sa Ka La Hrim Nityaklinne Madadrave Sauh Am Kameshvari Nitya Shri Padukam Pujayami Tarpayami Namah.

The same tantra gives her dhyana or meditation image as red like 10 million dawn suns, having a diadem of rubies, wearing throat ornaments, necklaces, waistchains and rings. She is red, has six arms and three eyes, and bears a crescent Moon, smiling softly. She holds a bow of sugar cane, flowering arrows, noose, goad, and a nectar-filled begemmed cup, showing the mudra of bestowing boons. The five arrows of desire (Kama) in the five petals are Longing, Maddening, Kindling, Enchanting and Wasting. These five Kamas are five forms of Kamadeva, Lalita as Krishna, who are Kamaraja (Hrim), Manmatha (Klim), Kandarpa (Aim), Makara (Blum) and Manobhava (Strim) with the colours yellow, white, red, purple and blue. Each of the Kamadevas has two eyes and two arms, the hands holding sugar cane bow and flowering arrows, the very form of the five elements.🌺🌷🌹

[southasianhandicraftdotcom]

Guru, Buddha, Bodhisattvas, Istadevata, Dakinis, Dharmapalas & Dikpalas

Gurus In vajrayana Buddhism, Guru are of paramount importance. In fact, it is due to Gurus starting from the time of Buddha Shakyamuni right upto present time, that the entire lineage of dharma teachings being preserved and practised. In theravada tradtion shakyamuni Buddha is also called Shasta I.e Guru of all devas and Men. But in the Vajrayana tradition, Gurus like Padmasambhava, Tilopa, Naropa, Marpa, Milarepa, Tsong Khapa, Virupa and Many others are also considered to be the representatives of the enlightenment which Buddha Shakyamuni realized. Later on in Vajrayana tradition also the images of the gurus were used to visualize to actualize the mind of Buddha. Some gurus are also considered to be the emanated bodies I.e reincarnated Nirmanakaya of some Buddha and Bodhisattva like Amitabha, Manjushree, or Avalokiteshvara.

Buddha In Vajrayana tradition, all the Buddhas are called gurus. However especially five transcendental Buddhas (skt. Pancabuddha) who represents the essence of five primordial defilements such as lust, hatred, delusion, pride, and jealosy are mainly dealt here. When one realizes the essence of these five delusions one achieves five wisdom, Essence of lust is symbolized by Buddha Amitabha and is known as discriminating Buddhas. Essence of delusion (skt. Moha) is symbolized by Buddha Vairocana and is known as all pervasive wisdom. Essence of anger is symbolized by buddha Akshobhaya and is called Mirror like wisdom. Essence of pride is symbolized by Buddha Amoghsiddhi and is known as all accomplishing wisdom. Thus primordial purity of these five defilements which obscure our mind is represented by pancabuddha.

These five Buddhas are not the subdivision of Buddha Shakyamuni nor do they have consorts and children of their own as some Buddhist scholars understand. These forms of Pancabuddha are in fact the metaphorical ways of expression of non-dual wisdom and skill in means. As previously mentioned they are sambhogakaya Buddhas and can perform ceaseless activity for the benefit of all sentient beings.

Bodhisattvas In Mahayana Buddhist tradition Bodhisattvas are said to be of two kinds. One is Adi- Karmika Bodhisattvas who is beginner, who has not realized perfect enlightenment and still a learner. Firstly he or she develops enlightenment thought for the benefits of sentient beings and wishes for perfect enlightenment. Secondly there is a Bodhisattva who realizes emptiness face to face and attains the first Bodhisattva level. He is gradually progresses till the tenth Bodhisattva level through the practice of six perfection and Mahamudra.

Some of then even after attaining the level if Buddhahood, yet emanate forms and act like Bodhisattvas. As for example, Buddha like Avalokiteshvara, Manjushree, Vajrapani and some other high ranking Bodhisattvas emanate numerous forms to tame the sentient beings in the manner of beginner Bodhisattvas. Shakyamuni Buddha himself took three incalculable aeons to complete his career as Bodhisattva. Those who have attained first level up to the tenth level of Bodhisattva have enormous power to benefit others.

Eight high ranking bodhisattvas who are no less than Shakyamuni Buddha himself in wisdom, compassion, and powers, have been dealt with in the subsequent chapters. It is to be noted that Bodhisattvas can be a male or female. All female divinities of genre Tara and protrectress deities are Bodhisattvas who work for the benefit of sentient beings as male counterparts do.

Istadevata (Yida, Deities) In vajrayana Buddhist tradition Istadevata (Yidam) is called mind bound deities. Because the nature of these deities is the same as the nature of mind. The practitioners in Vajrayana Buddhism visualize Istadevatas such as Hevajra, Cakrasamvara, Kalacakra and others during developing stages of meditation (Skt. Utpattikrama) as their Samatha and Vipassana practice. They are originated from the seed syllables which appear from non-dual state of mind, free of thought constructs or state of emptiness. They are not mere imaginations. They are the visualized forms of enlightened minds. They are all Sambhogakaya Buddha forms emanated from a true mind. These deities have however, nonreal existence as such. But they are the emanated forms of enlightened mind.

Practitioners who have affinity to these deities in one form or the other can develop their realization very quickly with these practices since these deities represent emotional inclination of the practitioners. Some practitioner like to have Avalokiteshvara the other may opt for Arya Tara. Some practitioner aggressive nature rather prefer wrathful deities to meditate or to identifies with. In all the Tantric Buddhist tradition these deities are visualized clearly with different colours, forms, faces, hands with different ornaments.

Dakinis In tantric Buddhist tradition the practitioner takes refuge in Triple Gems which referred as the outer refuge. The objects of the inner refuge are said to be Gurus, Istadevas and Dakinis. Dakinis are obviously representatives of Sangha in the inner refuge. They are peaceful as well as wrathful. They wear bone ornaments. Some are in dancing posture. Some are even nude. These dakinis generally travel through empty space hence also called sky goers. They help the practitioners by eliminating obstacles and by guiding to realisation of the path to enlightenment. They are able to grant eight powers (skt. Astasiddhi) to all devoted practitioners. Some Dakini are animal faced like Simhavaktra (Lion-faced), Vajravarahi (sow-faced), Sardulamukha (tiger-faced) and many others. Vajrayogini is said to be Sarva-Buddha Dakini who confers Buddhahood to the practitioners. These Buddha Dakinis are said to be the representatives of wisdom or Prajnaparamita.

Dharmapalas (Protectors of Doctrine) As the name suggests Dharmapalas are the divinities who help to protect the Buddha dharma from degeneration an they also act as defenders of Buddha’s doctrines. They are in general wrathful in appearance to terrify the sinners. In Nepal, Mahakala is considered to be the great wrathful Dharmapala whose image is installed in most of the Buddhist viharas and temples.

Actually, all divinities of direction starting from Yamantaka are Dharmapalas. These protector deities are also called lord of Knowledge (sky. Vidyadhara) indicating their status of high Bodhisattva level.

Dikpalas (The Deities of Direction) Dikpalas or Lokpalas are the deities who correspond to deities found in Hindu tantric tradition. All the eight mother goddesses starting from Camunda, Brahmayani, Kaumari, Indrayani, Varahi, etc. are considered as protectress of the dharma in Buddhist tradition whereas in Hindu tradition whereas in Hindu tradition they are ultimate principle to be actualized.

In Buddhist tradition the deities of direction include deities like Yama, Varuna, Indra, Vayu, Agni and others who have taken the oath to protect the practitioners and sasana of the Buddha’s Doctrines. In Gunakarandavyuha sutra it is even said that Bodhisattva Avalokiteshvara emanated these Lokpalas to defend the Buddha sasana.

Vajrayana Buddhism incorporates almost all the hindu deities as protectors of the dharma to eliminate obstacles on the path to enlightenment. The involvement of Hindu deities is not only limited to Vajrayana tradition but also in Theravada tradition in Sri Lanka where they use Indra the king of Devas as protector of Dharma.

[samma-sambodhi]

- GUIDING MEDITATORS ON THE PATH: TRANQUILLITY - . [USING THE BREATH'S INWARD RETENTION and Not Using the breath] (pt.2 of?) . The Kalacakra elucidates further: — Drawing in fully the air through the nostrils with the mouth closed, One stirs the life breath forcefully and blends it with the descending energy, Which is like pure lightning. By continuously mastering this unification Through the "sun" and "moon" [the two arteries], One harmonizes these energies with the "fire" [of Chandali] In the mystical center [solar plexus] And achieves the harmonious flavor [of all things]. This will eliminate hunger and thirst And will even bring the gift of immortality.— . It is necessary to know the significance of the fourfold exercises. . Naropa comments: —There are four [breathing exercises]: Drawing in, saturating, diffusing, and darting, like an arrow. Without knowing these four, Meditators run the risk of the practice deteriorating.— . The treatises contain no detailed instructions on the relevant breathing exercises. As part of sustaining the concentration, one breathes to diffuse the system in the body and retain the air so as to seek a nondiscriminating tranquility. . How should one do this? Following the harnessing of the breath and the purging of the body of foul air one forms the body postures and then remains fixedly in the gazing position as before. One gently inhales the air fully through the nostrils, without swishing, hissing, or panting, and then retains it by relaxing the chest and pressing [the air] down briefly into the abdomen as long as no discomfort is felt. The moment one feels discomfort and the pressure to exhale, one releases the air gently without hissing or any noise. During all these exercises of drawing in, retaining, and releasing air one maintains undistracted mindfulness. . Especially during the retention of the breath one maintains the stream of nondiscriminating state silently and vividiy. . #Buddha #Buddhism #Buddhist #Dharma #meditation #meditator #wisdom #Knowledge #awakening #Spiritual #Consciousness #namaste #yogalife #chakra #kundalini #tibet #om #namaste #positvevibes #goodvibrations #prana #alchemy #Enlightenment #power #monday https://www.instagram.com/p/BwATe8QncCG/?utm_source=ig_tumblr_share&igshid=1qgziriphmvq1

[bardo1129]

#tibet #kalacakra #deity #1700s #amwriting #screenwriting #tvwriting #painting #songwriting #nycgratitude #freecaleo (at New York, New York)