Complexion photos on Flickr

Struggling with stubborn acne scars? You’ve likely heard that chemical exfoliation and lasers are your best friend. While that’s true for some people, if you have a darker complexion, relying on those methods can do more harm than good. That’s why radiofrequency microneedling is such a popular treatment these days. By combining two trusted methods, a single treatment is able to address multiple signs of complexion damage without causing more in the process.

What Is Radiofrequency Microneedling?

Let’s break it down, shall we? Microneedling is the use of teeny, tiny needles to create microaggressions in the skin that speed up wound healing, while radiofrequency is a type of high-intensity energy that’s able to penetrate the skin to lead to an improved complexion. When the two are combined, medical esthetician Tamila Deveny says that the cosmetic procedure, which uses “specially insulated needles that deliver high-intensity radio frequency energy into the targeted tissue once the needles have broken through the skin,” stimulates collagen and elastic production to boost new, healthy tissue in the skin, ultimately working to restore your complexion to its flawless, pre-scar appearance.

“In my opinion, it is one of the most effective treatments for anti-aging and to treat scars on the face or body,” she shares.

Benefits of Radiofrequency Microneedling:

•Improves acne or surgery scars (on the face and body)

•Reduces fine lines and wrinkles

•Reduces the appearance of hyperpigmentation

•Reduces the appearance of stretch marks

•Helps with dull or uneven skin tone or texture

•Shrinks enlarged pores

•Helps with loose skin (face and body)

•Reduces cellulite

•Firms upper eyelid skin

•Smooths lines on the upper lip skin

Dystopian Vision by hhschueller

7

"Sometime too hot the eye of heaven shines,

And often is his gold complexion dimmed;

And every fair from fair sometime declines,

By chance, or nature’s changing course, untrimmed."

William Shakespeare, Sonnet 18, 1609

The core function of a dystopian vision is to serve as a critical and cautionary mirror held up to contemporary society. By imagining a future characterized by oppressive societal control, environmental decay, technological misuse, or the loss of fundamental freedoms, dystopian fiction exaggerates current trends and issues to their logical and often horrific extremes. This exaggeration is not just for dramatic effect; it provides a powerful platform for authors to offer sharp social and political commentary. Through this lens, readers are compelled to recognize and critically examine potential dangers in their own world, such as unchecked government power, corporate overreach, growing social inequalities, or the erosion of civil liberties, before they spiral into the fictional nightmare.

A key element of this function is to warn against complacency and authoritarianism. Dystopian narratives typically depict worlds that have gone terribly wrong, often starting with a misguided attempt to achieve a perfect society (a utopia) that ultimately sacrifices individual liberty for perceived collective order or stability. By showing the consequences of a society where independent thought is suppressed, history is rewritten, and surveillance is absolute - as famously seen in works like 1984 or Brave New World - the vision stresses the immense value of vigilance, resistance, and the protection of basic human rights. The struggle of the protagonist, often an ordinary individual who recognizes the flaws in their world, inspires readers to question the status quo and the pronouncements of authority in their own lives.

Ultimately, the dystopian vision acts as a catalyst for reflection and change, tapping into deep-seated anxieties about the future. It forces readers to engage with profound ethical and moral dilemmas regarding the balance between freedom and security, the impact of technology, and the nature of human happiness. While bleak, these stories paradoxically contain a sliver of hope: the existence of the vision itself suggests that the future is not yet fixed. By vividly illustrating the worst-case scenario that could arise from current political, social, or environmental trajectories, the dystopian vision offers an urgent call to action, guiding the audience to actively work toward a more just and sustainable future to prevent the fiction from becoming reality.

India - Tamil Nadu - Kumbakonam - Vishnu by Manfred Sommer

4 1

Vishnu (/ˈvɪʃnuː/; Sanskrit: Viṣṇu) is a popular Hindu deity, the Supreme God of Vaishnavism (one of the three principal denominations of Hinduism) and one of the three supreme deities (Trimurti) of Hinduism. He is also known as Lord Narayana and Lord Hari. As one of the five primary forms of God in the Smarta tradition, He is conceived as "the Preserver or the Protector" within the Trimurti, the Hindu Trinity of the divinity.

In Hindu sacred texts, Vishnu is usually described as having dark complexion of water-filled clouds and as having four arms. He is depicted as a blue being, holding a padma (lotus flower) in the lower left hand, the Kaumodaki gada (mace) in the lower right hand, the Panchajanya shankha (conch) in the upper left hand and the discus weapon Sudarshana Chakra in the upper right hand.

Adherents of Hinduism believe Vishnu's eternal and supreme abode beyond the material universe is called Vaikuntha, which is also known as Paramdhama, the realm of eternal bliss and happiness and the final or highest place for liberated souls who have attained Moksha. Vaikuntha is situated beyond the material universe and hence, cannot be perceived or measured by material science or logic. Vishnu's other abode within the material universe is Ksheera Sagara (the ocean of milk), where he reclines and rests on Ananta Shesha, (the king of the serpent deities, commonly shown with a thousand heads). In almost all Hindu denominations, Vishnu is either worshipped directly or in the form of his ten avatars, the most famous of whom are Rama and Krishna.

The Puranabharati, an ancient text, describes these as the dashavatara, or the ten avatars of Vishnu. Among the ten described, nine have occurred in the past and one will take place in the future as Lord Kalki, at the end of Kali Yuga, (the fourth and final stage in the cycle of yugas that the world goes through). These incarnations take place in all Yugas in cosmic scales; the avatars and their stories show that gods are indeed unimaginable, unthinkable and inconceivable. The Bhagavad Gita mentions their purpose as being to rejuvenate Dharma, to vanquish those negative forces of evil that threaten dharma, and also to display His divine nature in front of all souls.

The Trimurti (three forms) is a concept in Hinduism "in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma the creator, Vishnu the maintainer, preserver or protector and Shiva the destroyer or transformer." These three deities have also been called "the Hindu triad" or the "Great Trinity", all having the same meaning of three in One. They are the different forms or manifestation of One person the Supreme Being or Narayana/Svayam Bhagavan.

Vishnu is also venerated as Mukunda, which means God who is the giver of mukti or moksha (liberation from the cycle of rebirths) to his devotees or the worthy ones who deserve salvation from the material world.

ETYMOLOGY

The traditional explanation of the name Vishnu involves the root viś, meaning "to settle" (cognate with Latin vicus, English -wich "village," Slavic: vas -ves), or also (in the Rigveda) "to enter into, to pervade," glossing the name as "the All-Pervading One". Yaska, an early commentator on the Vedas, in his Nirukta, (etymological interpretation), defines Vishnu as viṣṇur viṣvater vā vyaśnoter vā, "one who enters everywhere". He also writes, atha yad viṣito bhavati tad viṣnurbhavati, "that which is free from fetters and bondages is Vishnu".

Adi Shankara in his commentary on the Sahasranama states derivation from viś, with a meaning "presence everywhere" ("As he pervades everything, vevesti, he is called Vishnu"). Adi Shankara states (regarding Vishnu Purana, 3.1.45): "The Power of the Supreme Being has entered within the universe. The root viś means 'enter into'." Swami Chinmayananda, in his translation of Vishnu Sahasranama further elaborates on that verse: "The root vis means to enter. The entire world of things and beings is pervaded by Him and the Upanishad emphatically insists in its mantra 'whatever that is there is the world of change.' Hence, it means that He is not limited by space, time or substance. Chinmayananda states that, that which pervades everything is Vishnu."

SACRET TEXTS - SHRUTI & SMRITI

Shruti is considered to be solely of divine origin. It is preserved as a whole, instead of verse by verse. It includes the four Vedas (Rigveda, Yajurveda, Samaveda and Atharvaveda) the Brahmanas, the Aranyakas and the Upanishads with commentaries on them.

Smṛti refers to all the knowledge derived and inculcated after Shruti had been received. Smrti is not 'divine' in origin, but was 'remembered' by later Rishis (sages by insight, who were the scribes) by transcendental means and passed down through their followers. It includes the Bhagavata Purana and the Vishnu Purana which are Sattva Puranas. These both declare Vishnu as Para Brahman Supreme Lord who creates unlimited universes and enters each one of them as Lord of Universe.

SHRUTI

VAISHNAVA CANON

The Vaishnava canon presents Vishnu as the supreme being, rather than another name for the Sun God, who also bore the name Suryanarayana and is considered only as a form of Vishnu.

VEDAS

In the Yajur Veda, Taittiriya Aranyaka (10-13-1), Narayana suktam, Lord Narayana is mentioned as the supreme being. The first verse of Narayana Suktam mentions the words "paramam padam", which literally mean "highest post" and may be understood as the "supreme abode for all souls". This is also known as Param Dhama, Paramapadam, or Vaikuntha. Rig Veda 1:22:20a also mentions the same "paramam padam". This special status is not given to any deity in the Vedas apart from Lord Vishnu/Narayana.[citation needed] Narayana is one of the thousand names of Vishnu as mentioned in the Vishnu Sahasranama. It describes Vishnu as the All-Pervading essence of all beings, the master of - and beyond - the past, present and future, one who supports, sustains and governs the Universe and originates and develops all elements within. This illustrates the omnipresent characteristic of Vishnu. Vishnu governs the aspect of preservation and sustenance of the universe, so he is called "Preserver of the universe".

Vishnu is the Supreme God who takes manifest forms or avatars across various ages or periods to save humanity from evil beings, demons or Asuras. According to the extant Hindu texts and traditions, Lord Vishnu is considered to be resident in the direction of the "Makara Rashi" (the "Shravana Nakshatra"), which is about coincident with the Capricorn constellation. In some of the extant Puranas, and Vaishnava traditions, Vishnu's eye is considered to be situated at the infinitely distant Southern Celestial Pole.

Following the defeat of Indra and his displacement as the Lord of Heaven or Swarga, Indra asks Lord Vishnu for help and thus Lord Vishnu takes his incarnations or avatars to Earth to save mankind, thus showing his position as Supreme God to all of creation.

In the Puranas, Indra frequently appears proud and haughty. These bad qualities are temporarily removed when Brahma and/or Shiva give boons to Asuras or Rakshasas such as Hiranyaksha, Hiranyakashipu and Ravana, who are then able to defeat Indra in wars between Devas and Asuras. The received boons often made Asuras virtually indestructible.

Indra has no option but to seek help from Vishnu. Indra prays before Vishnu for protection and the Supreme Lord obliges him by taking avatars and generating himself on Earth in various forms, first as a water-dweller (Matsya, fish), then as an amphibious creature (Kurma avatar or Tortoise), then as a half-man-half-animal (Varaha the pig-faced, human-bodied Lord, and Narasimha the Lord with lion's face and claws and a human body). Later, Vishnu appears as human beings (Vamana the short-heighted person), Parashurama, Rama, Krishna, Buddha and finally as Kalki for performing his task of protecting his devotees from demons and anti-religious entities.

Vishnu's supremacy is attested by his victories over those very powerful entities. It is further attested by the accepted iconography and sculptures of Vishnu in reclining position as producing Brahma emerging from his navel. Brahma the creator is thus created in turn by Vishnu out of his own person. Instead Vishnu takes various avatars to slay or defeat those demons. But it is to be noted that Vishnu also provided boons to Akupresura, a bear faced demon who was destroyed by Lord Shiva.

Vishnu's actions lowered Indra's ranking among Hindu deities and led to the ascendancy of Vishnu.

Few temples are dedicated to the Sun or Suryanarayana, nor indeed Indra, nor does Indra figure largely in the Hindu religion.

Indra is almost completely absent from the deities considered as the chief or most important deity.

RIGVEDA

In the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, whom he helps in killing Vritra and with whom he drinks Soma. His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth, a characteristic he shares with Indra.

The Rig Veda describes Vishnu as younger brother to Indra as Vamana. In Vaishnava canon the 'Vishnu' who is younger brother to Indra is identified as Vamana, Avatar of Vishnu, hence referred to as Vishnu by Vaishnavites. Vishnu is the Supreme God who lives in the highest celestial region, contrasted against those who live in the atmospheric or terrestrial regions. Vishnu is content with mere prayer, unlike almost all of the other gods who receive sacrificial offerings such as Havis, which is given using clarified butter, or Soma. Later foreign translators have view that Vedas place Indra in a superior position to Vishnu's Avatar of Vamana but in fact Vamana helps Indra by restoring his Kingdom.

An alternate translation is provided by Wilson according to Sayana:

When Thy (younger brother) Viṣṇu (Vamana) by (his) strength stepped his three paces, then verily thy beloved horses bore thee. (Rigveda 8:12:27)

Wilson mentions Griffith's possible translation as a footnote. However the following verse from Rigveda renders the above translation by Wilson more probable.

Him whose three places that are filled with sweetness, imperishable, joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures. (Rig veda 1:154:4)

Wilson offers an alternate translation for Rigveda 10:113:2:

Viṣṇu offering the portion of Soma, glorifies by his own vigor that greatness of his. Indra, the lord of heaven, with the associated gods having slain Vritra, became deserving of honour. (Rigveda 10:113:2)

This verse sees Vishnu as one who is glorified by his own strength, while Indra became deserving of honor after having slain Vritra only in association with other gods.

However Vishnu's praise for other gods does not imply worship. Wilson translates:

Viṣṇu, the mighty giver of dwellings praises thee, and Mitra and Varuna; the company of Maruts imitates thee in exhilaration. (Rigveda 8:15:9) (page 280)

The following verses show categorically Vishnu as distinguished from other gods in Rigveda.

He who presents (offering) to Viṣṇu, the ancient, the creator, the recent, the self-born; he who celebrates the great birth of that mighty one; he verily possessed of abundance, attains (the station) that is to be sought (by all). (Rigveda 1:156:2) (page 98)

No being that is or that has been born, divine Viṣṇu, has attained the utmost limit of thy magnitude, by which thou hast upheld the vast and beautiful heaven, and sustained the eastern horizon of Earth.(Rigveda 7:99:2) (page 196)

The divine Viṣṇu, the best of the doers of good deeds, who came to the pious instituter of rite (Indra), to assist (at its celebration), knowing (the desires of the worshiper), and present at the three connected period (of worship), shows favor to the Arya, and admits the author of the ceremony to a share of the sacrifice. (Rigveda 1:156:5) (page 99)

Jan Gonda, the late Indologist, states that Vishnu, although remaining in the background of Indra's exploits, contributes by his presence, or is key to Indra's success. Vishnu is more than a mere companion, equal in rank or power to Indra, or sometime the one who made Indra's success possible.

Descriptions of Vishnu as younger to Indra are found in only the hymns to Indra, but in a kathenotheism religion like that of the Rigveda, each god, for a time, is supreme in the mind of the devotee.

In the Rig Vedic texts, the deity or god referred to as Vishnu is the Sun God, who also bears the name 'Suryanarayana'. By contrast, the 'Vishnu' referred to in 'Vishnu Purana', 'Vishnu Sahasranamam' and 'Purusha Sooktham' is Lord Narayana, the Consort of Lakshmi. Vaishnavites make a further distinction by extolling the qualities of Vishnu by highlighting his differences from other deities such as Shiva,[citation needed] Brahma or Surya.

THREE STEPS

Hymn 7.100 refers to the celebrated 'three steps' of Vishnu (as Trivikrama) by which he strode over the universe and in three places planted his step. The 'Vishnu Suktam' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky). This last place is described as Vishnu's supreme abode in RV 1.22.20:

The princes evermore behold / that loftiest place where Vishnu is / Laid as it were an eye in heaven.(trans. Griffith)

Griffith's "princes" are the sūri, either "inciters" or lords of a sacrifice, or priests charged with pressing the Soma. The verse is quoted as expressing Vishnu's supremacy by Vaishnavites.

Though such solar aspects have been associated with Vishnu by tradition as well as modern-scholarship, he was not just the representation of the sun, as he moves both vertically and horizontally.

In hymns 1.22.17, 1.154.3, 1.154.4 he strides across the earth with three steps, in 6.49.13, 7.100.3 strides across the earth three times and in 1.154.1, 1.155.5,7.29.7 he strides vertically, with the final step in the heavens. The same Veda also says he strode wide and created space in the cosmos for Indra to fight Vritra. By his stride he made dwelling for men possible, the three forming a symbolic representation of the dwelling's all-encompassing nature. This nature and benevolence to men were Vishnu's enduring attributes. As the triple-strider he is known as Trivikrama and as Urukrama, for the strides were wide.

BRAHMANAS

The Brahmanas are commentaries on the Vedas and form part of the Shruti literature. They are concerned with the detail of the proper performance of rituals. In the Rigveda, Shakala Shakha: Aitareya Brahmana Verse 1 declares: agnir vai devānām ava mo viṣṇuḥ paramus, tadantareṇa sarvā anyā devatā - Agni is the lowest or youngest god and Vishnu is the greatest and the highest God.

The Brahmanas assert the supremacy of Lord Vishnu, addressing him as "Gajapati", the one whom all sacrifices are meant to please. Lord Vishnu accepts all sacrifices to the demigods and allots the respective fruits to the performer In one incident, a demonic person performs a sacrifice by abducting the Rishis (sages), who meditate by constantly chanting God's name. The sacrifice is meant to destroy Indra. But the rishis, who worship Indra as a demigod, alter one pronunciation of the Veda Mantra, reversing the purpose of the sacrifice. When the fruit of the sacrifice is given and the demon is on the verge of dying, he calls to Vishnu, whom he addresses as Supreme Godhead and "the father of all living entities including himself".

Aitareya Brahmana 1:1:1 mentions Vishnu as the Supreme God. But in the Vaishnava canon, in different ages, with Vishnu in different avatars, his relationship with the asuras or demons, was always adversarial. The asuras always caused harm, while the sages and devas or celestial beings, did penance and called to Vishnu for protection. Vishnu always obliged by taking an avatar to vanquish the asuras. In the Vaishnava canon, Vishnu never gave or granted any boons to the asuras, distinguishing him from the gods Shiva and Brahma, who did. He is the only God called upon to save good beings by defeating or killing the asuras.

Sayana writes that in Aitareya Brahmana 1:1:1 the declaration agnir vai devānām ava mo viṣṇuḥ paramus,tadantareṇa sarvā anyā devatā does not indicate any hierarchy among gods. Even in Rigveda Samhita, avama and parama are not applied to denote rank and dignity, but only to mark place and locality.

In Rigveda 1:108:9,: yadindrāghnī avamasyāṃ pṛthivyāṃ madhyamasyāṃ paramasyāmuta sthaḥ | i.e., in the lowest place, the middle (place), and the highest (place). Agni, the fire, has, among the gods, the lowest place; for he resides with man on the earth; while the other gods are either in the air, or in the sky. Vishnu occupies the highest place. The words avama and parama are understood as 'First' and 'Last' respectively. To support this claim, Sayana adduces the mantra (1,4. As'val. Sr. S. 4, 2), agnir mukham prathamo devathanam samathanam uttamo vishnur asit, i.e., Agni was the first of the deities assembled, (and) Vishnu the last.

In the Kausitaki Brahmana (7.1) Agni is called Aaradhya (instead of avama), and Visnu parardha(instead of parama),i.e., belonging to the lower and higher halves (or forming the lower and higher halves). The Vishnu Purana gives tremendous importance to the worship of Vishnu and mentions that sacrifices are to begin only with both the lighting of fire or 'Agni', pouring of sacrificial offerings to Vishnu in 'Agni' so that those offerings reach and are accepted by Vishnu. Worship of Vishnu through Yajnas (or Homams) and other rituals, will not achieve the desired result if Agni's role is neglected.

Muller says "Although the gods are sometimes distinctly invoked as the great and the small, the young and the old (Rig veda 1:27:13), this is only an attempt to find the most comprehensive expression for the divine powers, and nowhere is any of the gods represented as the subordinate to others. It would be easy to find, in the numerous hymns of the Veda, passages in which almost every single god is represented as supreme and absolute."

However this notion is not completely correct as per the following verses, which shows Rigveda describe one or more gods as subject to other god(s).

Him whose high law not Varuna nor Indra, not Mitra, Aryaman, nor Rudra breaketh, Nor evil-hearted fiends, here for my welfare him I invoke, God Savitar, with worship. (Rigveda 2.038.09)

I invite to this place, with reverential salutations, for my good, that divine Savita, whose functions neither Indra, nor Varun.a, nor Mitra nor Aryaman nor Rudra nor the enemies (of the gods), impede. (Rigveda 2.038.09)

SMRITI

VISHNU SMRITI

The Vishnu Smṛti, is one of the later books of the Dharmashastra tradition of Hinduism and the only one that focuses on the bhakti tradition and the required daily puja to Vishnu, rather than the means of knowing dharma. It is also known for its handling of the controversial subject of the practice of sati (self-immolation of a widow on her husband's funeral pyre). The text was composed by an individual or group. The author(s) created a collection of the commonly known legal maxims that were attributed to Vishnu into one book, as Indian oral culture began to be recorded more formally.

BHAGAVATA PURANA

Vishnu is the only Bhagavan as declared in the Bhagavata 1:2:11 in the verse: vadanti tat tattva-vidas tattvam yaj jnanam advayam brahmeti paramatmeti bhagavan iti sabdyate, translated as "Learned transcendentalists who know the Absolute Truth call this non-dual substance as Brahman, Paramātma and Bhagavan."

VISHNU PURANA

In the Vishnu Purana (6:5:79) the personality named Parashara Rishi defines six bhagas:

aiśvaryasya samagrasya vīryasya yaśasaḥ śriyaḥ

jñāna-vairāgyayoś caiva ṣannāḥ bhaga itīṇganā

Jiva Gosvami explains the verse in Gopala Champu (Pūrva 15:73) and Bhagavata Sandarbha 46:10:

jñāna-śakti-balaiśvarya-vīrya-tejām.sy aśeṣataḥ

bhagavac-chabda-vācyāni vinā heyair guṇādibhiḥ

"The substantives of the word bhagavat (bhagavat-śabda-vācyāni) are unlimited (aśeṣataḥ) knowledge (jñāna), energies (śakti), strength (bala), opulence (aiśvarya), heroism (vīrya), splendor (tejas), without (vinā) objectionable (heyair) qualities (guṇādibhiḥ)."

SANGAM LITERATURE

Tamil Sangam literature (300BCE to 500CE) mentions mAyOn, or the dark one, as the supreme deity who creates, sustains and destroys the universe. Paripadal 3 describes the glory of Thirumal in the most superlative terms.

Paripadal by kaduvan iLaveyinanAr:

"thIyinuL theRal nI poovinuL naaRRa nI kallinuL maNiyu nI sollinuL vaaymai aRaththinuL anbu nI maRaththinuL mainthu nI vEthaththu maRai nI boothaththu madhalu nI vencudar oLiyu nI thingaLuL aLiyu nI anaiththu nI anaiththinut poruLu nI"

The last line states that Lord Vishnu is the supreme deity who is the inner controller (Antaryamin) of the entire universe. This is one of the Lord's glories, which is first mentioned in Vedas and later propounded by Alwars in Prabhandams and Sri Vaishnavaite Acharyas in various commentaries

The Sri Ranganathaswamy Temple and Vishnu, Lakshmi is mentioned in Tamil works of literature of the Sangam era, including the epic Silapadikaram (book 11, lines 35–40):

āyiram viritteḻu talaiyuṭai aruntiṟaṟ

pāyaṟ paḷḷip palartoḻu tētta viritiraik kāviri viyaṉperu turuttit tiruvamar mārpaṉ kiṭanta vaṇṇamum

On a magnificent cot having a thousand heads spread out, worshipped and praised by many, in an islet surrounded by Kaveri with bellowing waves, is the lying posture of the one who has Lakshmi sitting in his chest.

THEOLOGICAL ATTRIBUTES

The actual number of Vishnu's auspicious qualities is countless, although his six most-important "divine glories" are:

Jnana (Omniscience); defined as the power to know about all beings simultaneously;

Aishvarya (Sovereignty), derived from the word Ishvara which means unchallenged rule over all;

Shakti (Power or Energy), the capacity to make the impossible possible;

Bala (Strength), the capacity to support everything by will and without any fatigue;

Virya (Vigour), the power to retain immateriality as the Supreme Spirit or Being in spite of being the material cause of mutable creations;

Tejas (Splendor), which expresses self-sufficiency and the capacity to overpower everything by spiritual effulgence.

Other important qualities attributed to Vishnu are Gambhirya (inestimatable grandeur), Audarya (generosity), and Karunya (compassion). Natya Shastra lists Vishnu as the presiding deity of the Sṛngara rasa.

The Rigveda says: Vishnu can travel in three strides. The first stride is the Earth. The second stride is the visible sky. The third stride cannot be seen by men and is the heaven where the gods and the righteous dead live. (This feature of three strides also appears in the story of his avatar Vamana/Trivikrama.) The Sanskrit for "to stride" is the root kram; its reduplicated perfect is chakram (guņa grade) or chakra (zero-grade), and in the Rigveda he is called by epithets such as vi-chakra-māņas = "he who has made 3 strides". The Sanskrit word chakra also means "wheel". That may have suggested the idea of Vishnu carrying a chakra.

FIVE FORMS

In Shree Vaishnavism, another school dating from around the 10th century AD, Vishnu assumes five forms:

In the Para Form, Para is the highest form of Vishnu found only in Sri Vaikunta also called Moksha, along with his consort Lakshmi, (and Bhumi Devi and Nila devi, avatars of Lakshmi) and surrounded by liberated souls like Ananta, Garuda, and a host of Muktas (liberated souls).

In the Vyuha form, Vishnu assumes four forms, which exercise different cosmic functions and controls activities of living beings.

In the Vibhava form, Vishnu assumes various manifestations, called Vibhavas, more popularly known as Avataras from time to time, to protect the virtuous, punish evil-doers and re-establish righteousness.

In the Antaryami; "Dwelling within" or "Suksma Vasudeva" form, Vishnu exists within the souls of all living beings and in every substance.

In the Arcavatara or Image manifestation, Vishnu is visible and therefore easily approachable by devotees since Para, Vyuha, Vibhava and Antaryami forms can only be imagined or meditated upon because they are beyond our reach. Such images can be

Revealed by Vishnu, for example, a self-manifested (Swayambhu) icon (murti), e.g. The Mahavishnu Temple at Tirunelli, The Sri Ranganathaswamy Temple at Srirangam, The Tirumala Venkateshwara Temple, etc.; or

Installed by Devas or celestial beings such as such as Guruvayur Temple installed by Vayu; or

Installed by humans, and consecrated according to Vaishnava Agama shastras or scriptures such as Lord Jagannatha of Jagannath Temple (Puri) at Puri.

RELATIONS WITH OTHER DEITIES

SHIVA

The three gods of the Trimurti clan are inseparable and in harmony in view of their common vision and universal good. They are perfectly ideal in all respects.

Both Asuras and Devas played supportive roles in this story by keeping company with Vishnu in his incarnated forms. Hanuman is a vanara who is completely dedicated to Rama. He gives Vishnu company and obeys his command, while playing an important part in Rama's life. He is regarded in Vaishnava canon because it is through blessings that Hanuman is born. Thus, Hanuman, Vishnu's constant companion, with his idol appearing temples of Rama, Krishna and Narasimha, i.e. all of Vishnu's avatars, is considered by Vaishnavas.

Syncretic forces produced stories in which the two deities were shown in cooperative relationships and combined forms. Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara). This dual form, which is also called Harirudra, is mentioned in the Mahabharata.

LAKSHMI

Vishnu's consort is Lakshmi, the goddess of wealth (also known as Maya). The Samvit (the primary intelligence/dark matter) of the universe is Vishnu, while the other five attributes emerge from this samvit and hence Maya or dark energy of the universe is Lakshmee is his ahamata, activity, or Vishnu's Power. This power of God, Maya or Shakti, is personified and has multiple names: Shree, Lakshmi, Maya, Vishnumaya or Mahamaya. She is said to manifest as Kriyashakti, (Creative Activity) and Bhutishakti (Creation). This world requires Vishnu's creativity. He therefore needs Lakshmi to always be with Him. Her various avatars as Lord Vishnu's consorts are Varahavatar (Bhoodevi) or Bhoomi, Ramavatar Seeta, Krishnavatar Rukmini)

SARASWATI & GANGA

According to Brahma Vaivarta Purana, Lord Vishnu had three wives Lakshmi, Saraswati and Ganga. Due to their constant quarrelsome nature among them. Once Ganga tried to be close with Vishnu, this rebuked Saraswati but Lakshmi tried to pacify them but faced a curse rather. As per the curse, Lakshmi to appear as Tulasi. Sarawati cursed Ganga to run as a river in the world and Saraswati was cursed to run as a river in the netherworld. After this, Lord Vishnu transformed and became Brahma and Shiva to pacify Saraswati and Ganga.

GARUDA

Vishnu's mount (Vahana) is Garuda, the eagle. Vishnu is commonly depicted as riding on his shoulders.

ICONOGRAPHY

According to various Puranas, Vishnu is the ultimate omnipresent reality and is shapeless and omnipresent. However, a strict iconography governs his representation, whether in pictures, icons, or idols:

He has four arms and is male: The four arms indicate his all-powerful and all-pervasive nature. His physical existence is represented by the two arms in the front, while the two arms at the back represent his presence in the spiritual world. The Upanishad Gopal Uttartapani describes the four arms.

The Shreevatsa mark is on his chest, symbolizing his consort Lakshmi.

He wears the auspicious "Kaustubha" jewel around his neck and a garland of vaijayanti flowers (Vanamala). Lakshmi dwells in this jewel, on Vishnu's chest.

A crown adorns his head: The crown symbolizes his supreme authority. This crown sometimes includes a peacock feather, borrowing from his Krishna-avatar.

He wears two earrings: The earrings represent inherent opposites in creation — knowledge and ignorance; happiness and unhappiness; pleasure and pain.

He rests on Ananta, the immortal and infinite snake.

Vishnu is always to be depicted holding four attributes:

A conch shell or Shankha, named Panchajanya, is held by the upper left hand. It represents Vishnu's power to create and maintain the universe. Panchajanya represents the five elements or Panchabhoota – water, fire, air, earth and sky or space. It also represents the five airs or Pranas that are within the body and mind. The conch symbolizes that Vishnu is the primeval Divine sound of creation and continuity. It also represented as Om. In the Bhagavad Gita, Krishna avatara states that of sound vibrations, 'He is Om'.

The Chakra, a sharp, spinning, discus-like weapon, named "Sudarshana", is held by the upper right hand. It symbolizes the purified spiritualized mind. The name Sudarshana is derived from two words – Su, which means good, superior, and Darshana, which means vision or sight; together. The Chakra represents destruction of ego in the awakening and realization of the soul's original nature and god, burning away spiritual ignorance and illusion, and developing higher spiritual vision and insight to realize god.

A mace or Gada, named "Kaumodaki", is held by the lower right hand. It symbolizes that Vishnu's divine power is the source of all spiritual, mental and physical strength. It also signifies Vishnu's power to destroy materialistic or demonic tendencies (Anarthas) that prevent people from reaching god. Vishnu's mace is the power of the Divine within us to spiritually purify and uplift us from our materialistic bonds.

A lotus flower or Padma is held by the lower left hand. It represents spiritual liberation, Divine perfection, purity and the unfolding of Spiritual consciousness within the individual. The lotus opening its petals in the light of the Sun is indicative of the expansion and awakening of our long dormant, original spiritual consciousness in the light of god. The lotus symbolizes that god is the power and source from which the universe and the individual soul emerges. It also represents Divine Truth or Satya, the originator of the rules of conduct or Dharma, and Divine Vedic knowledge or Jnana. The lotus also symbolizes that Vishnu is the embodiment of spiritual perfection and purity and that He is the wellspring of these qualities and that the individual soul must seek to awaken these intrinsic Divine qualities from Vishnu by surrendering to and linking with Him.

To this may be added, conventionally, the vanamaala flower garland, Vishnu's bow (Shaarnga/Kodand) and his sword Nandaka. A verse of the Vishnu Sahasranama stotram states;vanamālī gadhī shārngī shanki chakri cha nandaki / shrīmān nārāyaņo vişņo vāsudevo abhirakşatu//; translation: Protect us Oh Lord Narayana who wears the forest garland,who has the mace, conch, sword and the wheel. And who is called Vishnu and the Vasudeva.

In general, Vishnu's body is depicted in one of the following three ways:

Standing on a lotus flower, often with Lakshmi, his consort, beside him on a similar pedestal.

Reclining on the coiled-up thousand-hooded Shesha Naga, with Lakshmi seated at his feet; the assemblage rests on the "Kshira Sagar" (ocean of milk). In this representation, Brahma is depicted as sitting on a lotus that grows out of Vishnu's navel.

Riding on the back of his eagle mount, known as Garuda. Another name for Garuda is "Veda atma"; Soul of the Vedas. The flapping of his wings symbolizes the power of the Divine Truth of Vedic wisdom. Also the eagle represents the soul. Garuda carrying Vishnu symbolizes the soul or jiva atma carrying the Super soul or Param atma within it.

AVATARS

Ten avatars (dashavatara) of Vishnu are the most prominent: Apart from the most prominent incarnations there are believed to more.

The most commonly believed incarnations of Vishnu are:

Matsya, the fish that kills Damanaka to save the vedas and also saves Manu from a great flood that submerges the entire Earth.

Kurma, the turtle that helps the Devas and Asuras churn the ocean for the nectar of immortality.

Varaha, the boar that rescues the Earth and kills Hiranyaksha.

Narasimha, the half-lion half human, who defeats the demon Hiranyakashipu.

Vamana, the dwarf that grows into a giant to save the world from King Bali.

Parashurama, "Rama of the battle axe", a sage who appeared in the Treta Yuga. He killed Kartavirya Arjuna's army and clan and then killed all the kshatriyas 21 times.

Rama, the prince and king of Ayodhya who killed the Demon King Raavan.

Krishna, the eighth avatar of Vishnu, who takes part in the Mahabharata epic. Krishna is worshipped as the Supreme Avatar of Vishnu (Supreme Personality of Godhead) in Gaudiya-Vaishnava philosophy.

Buddha, the ninth avatar of Vishnu.

Kalki, the tenth Avatar of Vishnu and said to be the harbinger of the end Kali Yuga. This avatar of Vishnu is yet to come.

Some versions of the above list include Hayagreeva among the Dashavataras while some include Buddha as ninth avatar of Vishnu. Another 22 avatars are given in Chapter 3, Canto 1 of the Bhagavata Purana, although it states that "the incarnations of the Lord are innumerable, like rivulets flowing from inexhaustible sources of water".

BEYOND HINDUISM

SIKHISM

Guru Granth Sahib of Sikhism mentions Vishnu, one verse goes:

The true Vaishnaav, the devotee of Vishnu, is the one with whom God is thoroughly pleased. He dwells apart from Maya. Performing good deeds, he does not seek rewards. Spotlessly pure is the religion of such a Vaishnaav; he has no desire for the fruits of his labors. He is absorbed in devotional worship and the singing of Kirtan, the songs of the Lords Glory. Within his mind and body, he meditates in remembrance on the Lord of the Universe. He is kind to all creatures. He holds fast to the Naam, and inspires others to chant it. O Nanak, such a Vaishnaav obtains the supreme status.

BUDDHISM

While some Hindus consider Buddha as an incarnation of Vishnu, Buddhists in Sri Lanka venerate Vishnu as the custodian deity of Sri Lanka and protector of Buddhism. Lord Vishnu is also known as upulvan, or uthpala varna, meaning "Blue Lotus coloured". Some postulates that Uthpala varna was a local deity who later merged with Vishnu while another belief is that Uthpala Varna was an early form of Vishnu before he became a supreme deity in Puranic Hinduism. According to Chronicles "Mahawamsa", "Chulawamsa" and folklore in Sri Lanka, Buddha himself handed over the custodianship to Vishnu. Others believe that Buddha entrusted this task to Sakra(Indra) and Sakra delegated this task of custodianship to god Vishnu. In contrary to vedic Hinduism, in assimilation of Hindu god Vishnu into Sinhalese Buddhism, Vishnu becomes a mortal being and a Bodhisattva aspiring Buddhahood. Additionally, Vishnu is considered as the god of home and hearth representing mercy, goodness, order and stability. Many Buddhist and Hindu shrines are dedicated to Vishnu in Sri Lanka. In addition to specific Vishnu "Kovils" or "devalayas", all Buddhist temples necessarily house shrine rooms (Devalayas) closer to the main Buddhist shrine dedicated to Vishnu. John Holt in his groundbreaking study examines the assimilation, transformation, and subordination of the Hindu deity Vishnu within the contexts of Sri Lankan history and Sinhala Buddhist religious culture. He then explores the role and rationale of medieval Sinhala kings in assimilating Visnu into Sinhala Buddhism. According to Holt the veneration of Vishnu in Sri Lanka is evidence of a remarkable ability, over many centuries, to reiterate and reinvent culture as other ethnicities have been absorbed into their own. Though the Vishnu cult in Ceylon was formally endorsed by Kandyan kings in early 1700s, Holt states that vishnu images and shrines are among conspicuous ruins in the medieval capital Polonnaruwa. In Buddhist mythology, when Vishnu failed to traverse the universe in three steps, he was given the title "Ardha Vishnu (Half-Vishnu)" and when Vishnu banished demons from the Vaishali (Vishala)in India, he became "Mulu Vishnu or Whole Vishnu". The extreme significance of god Vishnu in Sinhala society is reflected in recitals of the traditional "Offerings to dwarfs and crossing the door frame (bahirwayanta dola pideem saha uluwahu peneema)" that starts with Sri Vishnu invocation.In the recitals,mentioning of the aspiring Buddhahood of Vishnu which is of prime importance to Buddhists and wishes for him to live five thousand and more years highlight the central role of Vishnu in the psyche of Sri Lankan Buddhists.

OTHERS

James Freeman Clarke, Richard Leviton, James Cowles Prichard, and others have noted the similarities between Vishnu and Ancient Egyptian God Horus.

During an excavation in an abandoned village of Russia in the Volga region, archaeologist Alexander Kozhevin excavated an ancient idol of Vishnu. The idol dates from between the 7th and 10th centuries. In the interview Kozhevin, stated that, "We may consider it incredible, but we have ground to assert that Middle-Volga region was the original land of Ancient Rus. This is a hypothesis, but a hypothesis, which requires thorough research"

THOUSAND NAMES OF VISHNU

Vishnu's many names and followers are collected in the Vishnu Sahasranama, (Vishnu's thousand names) from within the larger work Mahabharata. The character Bheeshma recites the names before Krishna on the battlefield of Kurukshetra, praising him (Vishnu) as the supreme god. These Sahasranama are regarded as the essence of all Vedas by followers of Vaishnavism, who believe sincere chanting of Vishnu Sahasranama results in spiritual well-being and a greater awareness of God.

The names are generally derived from the Anantakalyanagunas (meaning: infinite auspicious attributes).

According to the Siddhartha-samhita there are twenty-four forms of Lord Vishnu. The twenty-four forms are

Vasudeva

Sankarshana

Pradyumna

Anirudha

Keshava

Narayana

Madhava

Govinda

Vishnu

Madhusudana

Trivikrama

Vamana

Sridhara

Hrishikesha

Padmanabha

Damodara

Purushottama

Achyuta

Narasimha

Janardana

Hari

Krishna

Adhokshaja

Upulvan, Uthpala Varna - In Sri Lanka, Vishnu is also referred to as Upulvan ( Blue Lotus Coloured)

WIKIPEDIA

A Scholar Chapter Three..'One Song Rock Star' by charlie gregory

5

Pete set the tone for studies, most week nights he headed out to the university library to do research, he was focused and the example he set, quietly, like an older brother assisted me in learning the skills needed to get passing marks. But all this work, the tension this created, we needed to have a celebration towards the end of the first semester. We were mutually interested in this. There were two winos who hung out at the liquor store on certain days. There was this one fellow whom we looked after we called him Johnny Blue. Blue would have been in his fourties, average stature, dark hair, he may have had some indigenous blood which would explain his darker than most complexion. He would from time to time be silently begging beside the liquor store with his friend Doc Pat. Pat was a very well spoken ‘con’ of a man who looked a lot like my old friend Kenny Goobie, tall, blonde, rakish in a way, very intelligent, much like the proverbial wolf in sheep’s clothing. Doc Pat would tell us he had studied to be a medical Doctor but dropped out halfway through. Pat was in the same age bracket as Blue.

Pete and I decided we needed some alcoholic beverages to give a proper party to which we expected about fifty people to show up from professors, to library staff, fellow students as well as tenants in the building. Mistakenly we had invited Blue and Pat up for an afternoon beer as we prepared for the upcoming nights festivities. A shopping list was made of our necessities, which consisted of the usual party fare, cheese and crackers, chips, nuts, fruit drinks, soda for mix. I had created a centre piece from a block of maroon candle wax found at a local second hand shop. The miniature pieces were sculpted to resemble little mushrooms. It was the time when I was creating the story The Nevers of Ever. The apartment though small would seat fifteen or so, which was fine as we expected the evening to have a revolving number of guests. Time was getting on, we had to get the bottled beer to put in the fridge to chill as well as several bottles of wine and hard liquor. Blue and Pat almost simultaneously volunteered to pick up the booze for us. A precise list was prepared so that they would pick up exactly what we instructed. Pete and I handed over our eighty seven dollars. We watched as the two men put on their dress overcoats and caps then joyfully headed down the aisle of the apartment then down the stairs to the liquor store across the street. We were none the wiser. They never came back. I guess they figured this was the easiest score they’d ever made. We were downcast but at the last moment a friend gave us enough money to buy several bottles of cheap wine to serve at the party. The night went on without any hitches. Music continued to play on the boxy record player. Plenty of folk came and enjoyed themselves. Professor Deck my philosophy lecturer showed up wearing his black cape. Sushil the Asian Studies research assistant from the library sniffed around for a half hour or so. Numerous students from both Pete and my classes as well as neighbours came and went. It was a ‘fast’ night as they say, very sociable in comparison to some other parties I have attended. Missing the fun was my girlfriend of the week a blind girl named Irene. She had no ride to the party as she lived on campus in residence.

Johnny Blue and Doc Pat disappeared from our neighborhood until the following spring. At that time Blue proved to be a big help, more than repaying us for the poor judgment on his part. Prior to the party we had fed him and gave him food and drinks on numerous occasions. We were friends. One Thursday before the Christmas break Mr Herbert came to visit. He would have liked to have stayed on the couch so he could pocket a little Motel Money that the company he worked for Bazaar Novelty covered. I recall Frank Sr. taking a thorough look at Johnny Blue. He immediately got up from his seat and left the apartment. It was the funniest thing, here was Frank Sr. a solid whiskey drinker unable to party with Johnny Blue or share space with Johnny Blue. Maybe Frank Sr. seen something of himself in this figure. I never found out what it was that bugged him so much that he left and got a motel room.

Detroit was a new experience for us. It is a huge city but we never got much further than the downtown core area. We usually took a bus through the tunnel and walked to whatever venue we were attending which was for the sake of live music. Traffic played the city twice and we caught both concerts. The first gig took place at the famous Eastown Theatre, the other Traffic concert took place at the 12,000 seat Cobo Arena at. We were very high for the first show, ripped on something, maybe mescaline that came packaged in a pink gel cap. Sitting up front we were just grooving to the jazzy twists their music took, this was long before mosh pits so you could get right up close and go insane with the tunes, smoking endless pot and hash joints that were being passed around from all directions. As usual the band headed by Dave Mason, Chris Wood, Dave Capaldi, Rick Grech and Steve Winwood provided a most excellent show.

Getting to the Eastown concert required either taking a city bus or walking a mile or so through an area that had been burned out in the American racial riots of the late sixties. We chose to walk. This was quite a sight to see first hand. Three storey brick tenement buildings, streets full of them, row on row all abandoned, empty, burned out, boarded up. At one building on the second floor a group of squatters looked at us and asked somewhat threateningly what we were doing in that part of town, it was all black. Pete and I didn’t know enough to be scared we had never dealt with this back in Canada. When we shouted up we were heading to the concert at the Eastown, it was thumbs up for us. At a large black oriented grocery store we were buying a couple of beers to chug in brown paper bags and American potato chips. We didn’t know that the cashier was robbing us by not giving us the correct exchange for our money which was worth more than American in those days. A big Pro football looking guy chewed the cashier out for taking a run at us. We weren’t far from the theatre the group was playing in so our chances of harm were now reduced. In front of the theatre a bunch of long haired white kids from suburbia were unloading from the family station wagons to take in the show. I couldn’t get over the number of freaks there were in the States, cool people living in a fucked up country! Nobody lived in the downtown except the African Americans and Latinos.

At a Ravi Shankar concert the atmosphere was all posh and civil. This show was held at Cobo Hall the prestigious theatre of Detroit, akin to Massey Hall in Toronto but more modern. The hall was located in the pride of the city the recently rebuilt downtown core. Detroit City Officials had created a mask to impress the tourists, to hide them from the realities of the burned out core of the city. I realized that no white folk lived anywhere near the Downtown core, they had long since moved to the suburbs and only came to town for shows, work or other events at night, they had abandoned the city. Not far from the downtown rebuilt area Pete and I stumbled into a neighbourhood bar for a few warm up beers. The brick building was lit only by the familiar orange neon light that read BAR. Inside the BAR was full of black dudes and dolled up babes on a Saturday night. The costumes these folk were wearing were much different than the getups one would see at clubs in Toronto that we frequented, like Mr.Ds on Yonge Street south of Bloor. Pete and I were duked up in our Ravi Shankar outifits, wicker sports jackets and mad caps. I had a great time checking out the body language of the patrons. One duke was all spruced up with hat and cane and two tone shoes, purple silk neck dickey, gold tooth, pierced earrings he looked at me when I asked for a cigarette, then he reached into his cashmere jacket and pulled out a gold cigarette case full of Kools and offered me one purring, “ever had a Kool?” Ravi Shankar’s show was fantastic, the article I wrote as a review for the school paper The Lance said as much. Here we were in downtown Detroit being entertained by the worlds greatest Sitar player, all part of the re-education process.

To make ends meet I dealt a very little bit of hash and weed, a dime bag here and there, maybe buy an ounce and sell half of it to make ends meet, to get free personal. A pound of very good weed sold for less than $200 dollars, pounds of Afghani hash could be had for $350. You’d meet lots of like minded people this way, I started hanging out at a big three storey house near the school where ten or so great people lived in a commune like setting. On Sunday afternoons I would head over there and have a few puffs. I would sit at the kitchen table and make flow of consciousness drawings, one thing leading to another, it all had great meaning to me and the house dwellers liked my company. One guy who frequented the place was Ray. Later in life he would run for mayor of the city, he didn’t win cause we know only the money people win, never the poor people. Brian was another great guy who hung out at the house, he was studying sociology, he ran the campus pub. There was also this beautiful girl with honey coloured hair, I don’t recall her name, she used to go out with a guy named Gerry a hippie who was friends with Bobby D an old friend from the top end of Mt Dennis who was also going to school in Windsor. This girl was like a flower child. For me there was and still is as much appreciation in seeing a beautiful thing, a flower, a picture, a moment, a girl, whatever, much more meaningful than having this object be it sleeping with them, or owning the object, etc. The unnamed girl, she wore one of those shearling jackets from Nepal. She wore contact lenses, one day I met her on the school grounds, she was stunning, radiant except this day she had these sparkling light blue eyes, like blue diamonds and I couldn’t help myself but to tell her how beautiful her eyes were and where had they been and why did she wear contacts that hid them? She smiled, at my innocence.

Before the winter break, perhaps in the late fall I had an odd occurrence, to this day, I don’t know if it was taking place in real time or in a dream. It was as if I saw my soul, as an animated form. I had turned somehow into a little penguin not a living penguin like a wind up toy, but real, the walk was the similar, jerky as a penguin walk but more like the rolling movement that one of those stubby big ball shaped baby toys make. Regardless this object could move effortlessly cover an area in a second. I think the imagery presented itself during a dream. It had great symbolic importance as my father Alex was in the dream and I had never dreamed of him since his death when I was twelve. His presence came in the form of my third eye. It was as if I was looking in a mirror I could see him or was it the image of him in my own third eye and somehow this was mystic, encouraging as well as satisfying, that he still loved me, the very fact that he was around, that he had visited me all the way in Windsor, that he knew I was there even. It could have been an acid thing although while in school not much of that was going on, but there was tonnes of booze, and I think we often underestimate the powerful effects that liquor can have on various aspects of the psyche.

The most unusual event to happen that year is still unclear. One Saturday morning Pete and I were sleeping in, it was mid morning and as I lay in bed something could be felt in my chest, fluttering around inside my chest between the skin and the breast bones, like a spirit trying to get out, I had a bit of a reaction, a nervousness, I was still half asleep, nothing startling after all it could have been a fibulation, or something like that. The invasion lasted what seemed like a minute or so, when I became aware of it being there it left. In his little closet bedroom at the very same time Pete was having an unusual experience, he had a wet dream, the first of his life and I told him I had a ghost or spirit or something visit me he spoke right up and told me of his experience. I supposed then as I do now that a spirit was trying to enter my body for sexual purposes and found it closed or I had caught it and it flew over to the next closest being to experience an act which it was obviously capable of instigating, partaking of and enjoying. No explanation has ever been forthcoming. What was it?

There seemed to be an incredible Energy around at this time in the late fall of that year, 1971. An amateur contest was to be held at the school Pub on a weekend evening. I assembled a band of musicians, myself the lead singer, there was about six of us in all, Reglindis a country girl studying music was the accompanying vocalist, she was one of my lady/friend interests at the time, there were some other chums from classes, including Thaddeus Hollownia the campus freelance photographer. We were a ballad singing group, at the few gange inspired rehearsals we practiced Dylan's I Shall be Released and the Band's Long Black Veil, two well known hymns of the times with simple lyrics. Practice didn’t matter, the Energy would soar and our performance would be excellent. The school Pub was packed for the well advertised event. Around 10 PM we got our call to go onstage, the promoter took me aside and said “that’s an impressive group of musicians you’ve assembled, why don’t you do two songs Charlie.” With these encouraging words we took the stage and did our first number I Shall be Released to great applause and fanfare, mistakenly for the moment I thought I was the new coming of Elijah in a singers clothing, or something like that. As the next song began the promoter came on the stage and put his arms around me and dragged me from the stage, the crowd protested, we argued, our short set was over, all the players were dejected. I remember walking Reglindis home to her residence a dorm off University Ave., she had drawn a line picture of me earlier and she gave it to me, it was our last date.

More emotionally drained than before I was wandering, half drunk and stoned on hash, and emotion, plenty of emotional upheaval. I was near the school entrance on University Ave. an Anglican priest, a professor invited me back to his home which was in the basement of an Anglican building. A Colombian family prepared me a hamburger, they were so glad to get up and cook me something at midnight, they just smiled, spoke little or no English, just smiled. The priest had other things on his mind, he offered drinks in the lounge area, the building was pretty much vacant, except for us and the Colombian family who were living as refugees in another part of the building. It got later, the priest suggested we share a bed in his bedroom, he offered me another bedroom if I wished, but was keen on us sharing a bed, the offer repulsed me and I took a separate room much to his protestations. I awoke even before the Columbians, I quickly gathered my things, my arse intact and licked my wounds from the lost girlfriend, the concert and the homosexual interlude. I would see the priest/professor from time to time in the school. He made it a point to avoid me. For clarification he was Anglican and there is a possibility he had a title, some standing within his church, perhaps a bishop? We were not strangers to each other as on another occasion a month or so earlier he had taken me to a group meeting with several other local religious leaders the purpose to show to them the religiousness/spiritaulaity of someone like myself, a hippie, he recognized this, cut through the hypocritical stigma that I was using drugs, and he showed me off to his contemporaries much like the way Count had done at U of T a few years earlier. Had I not been raised in such a Homophobic environment I may have seen this as an opportunity to explore the various sexual ideologies available at the time which were present however masked carefully and way back in the closet so as not to upset the status quo.

There was a nice peaceful feeling on the campus. Indeed there would be as all of this learning was giving off great energy and vibes throughout the sequestered village within a village. Such is the case at many schools as they act as a tiny colony, for the most part untouched by the realities of the real world. I wanted to make a change in the way the student funds were being spent, in order to do this I had to get on the school council which oversaw the spending. Each student was tagged with a fee on opening day, supposedly to be used for things that would enhance their social lives, a few savvy student council members controlled the spending, rumours of graft circulated, I wanted some of that decision making and graft, why I was an expert at graft, had learned the skill at Pepsi Cola and with the Mt Dennis Newsweekly and Dyer and Miller Bros. I entered my name in the race for school council president. Why go for the smaller jobs, go for the big one.

Friends from the house encouraged me, it was a good vehicle for the runaway ego, more spotlights, less school work, I really wasn’t concerned with the courses, my marks were about a B- which was OK for me. But so much energy went into the election, I didn’t have any idea what the time commitment of the council members was, how often they met, no idea, I just went for it. To sponsor my humble campaign I wrote some people back in Toronto and asked for donations of around ten or twenty dollars, Don and Carol were fans even back then and they sent a few bucks as did a couple of others, I think I amassed a war chest of about sixty dollars. It was enough, I had fun getting campaign slogans and campaign songs printed onto thick lime green paper and hanging these extensions of my spoken word act up all around the campus, in bars and bookstores, on telephone poles, again I was self promoting while feeding my creative needs. I met a blind girl named Irene, even went up to her apartment in the residences she voted for me, the degree of sensitivity she had was overwhelming. Another more than beautiful woman named Beullah would drop a little scent, she invited me up to her room then changed her mind. She was like me, older in her early twenties, had a child out west that her parents were raising, she would have been way to much for me to handle. I just wanted to be around beautiful things it didn’t matter if I slept with them, making love was as easy as holding hands or looking someone in the face, it still is.

There was an all candidates meeting in the school auditorium off of the cafeteria, a few people turned out fifty or so though it seemed like thousands. The small posters that my $60 war. chest paid for couldn’t be missed as they were printed on an unusual lime green paper, there were words about what I didn’t like and how I would change things, sort of a give the money back to the people platform. Good Night Irene was chosen as the campaign song a recognition to my blind friend Irene. At the meeting I sat defiantly on the podium with the other candidates. One fellow in particular was disgusted with me, I was disrupting his term and he wanted another, in power, he was a Consevative, a skimmer! Yippie Gerry Gagnon won the election, he was the correct choice, he knew how to change the system. I received 54 votes, someone later said all of my friends had voted for me. For an out of town boy to make that many friends so quickly says something. Back to the all candidates meeting, I wasn’t feeling as sharp as usual so I had a silent question period. At the beginning of the gathering all the folk running for office had to give a short platform speech. This went over well then I chose not to answer any questions unless they were sent up to the podium, written down for me to read, nobody sent any questions up, I didn’t make a fool of myself. What was I doing running for office? Had a recent talk by Jean Chartrand a radical Quebec speaker hit some hidden buttons or was I in the throes of another Give Peace a Chance drama? I do know the defeat was more than a shrug of the shoulders, for me any ways, school break was coming up, I needed some rest and a trip to Toronto would cure all that ails ya.

In Toronto it was full on party season, there was some great acid around, it was the Windowpane, the best I’d ever taken, it was so clear, you were always in control, you could make the music take on shapes, control your thoughts, read energy, go where your mind took you, yet in a clean controlled fashion. There was a big change in that my acid partners had moved on in life, gotten married and it wasn’t as much fun tripping alone. We had been kicking that dog, LSD and the others for a few years, it was beginning to wear. The movie A Clockwork Orange was playing, premiering at the big Eglinton theatre located on Eglinton Avenue east of Yonge St. A bunch of us went for the Canadian opening, high on acid. It was and is a Kubrick masterpiece, the movie review was published in the school paper, here I was working while on vacation. At home, on Humber Blvd Alex was destroying lives, still speeding, threatening people, terrorizing the siblings it was very volatile. Emotional destruction. It was all I could do to protect myself from his insanity.

Frankie Herbert had a big party at his folks home on Emmett Avenue. Ollie was there with Moira, Keith and Laura were in town from the Farm, all the rest of the crowd, The Bell brothers Jack and Frank and their wives Yvonne and Debbie, Ruth Hope was Frankies date, Paul Grice and Olympia, Boomer was in town from Canton New York, Billie and Jude, The Count and his girl Anna. I dropped the great acid, as the musical notes poured from the sound system they formed colorful patterns and circled throughout the room, words were turned into waves with motion. Mr and Mrs Herbert were still alive, they would both die in the next few years from cancer, Frank Sr he did the sensible thing, he knew he was dying, he went to a bank and took out a life insured loan, he didn’t leave any debt, he was still teaching us lessons on survival as his time here was ending.

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India - Sikkim - Namchi - Samdruptse Hill - Guru Padmasambhava - 24 by Manfred Sommer

5

Padmasambhava (lit. "Lotus-Born"), also known as Guru Rinpoche, was an 8th century Indian Buddhist master. Although there was a historical Padmasambhava, nothing is known of him apart from helping the construction of the first Buddhist monastery in Tibet at Samye, at the behest of Trisong Detsen, and shortly thereafter leaving Tibet due to court intrigues.

A number of legends have grown around Padmasambhava's life and deeds, and he is widely venerated as a 'second Buddha' across Tibet, Nepal, Bhutan, and the Himalayan states of India.

In Tibetan Buddhism, he is a character of a genera of literature called terma, an emanation of Amitābha that is said to appear to tertöns in visionary encounters and a focus of guru yoga practice, particularly in the Rimé schools. The Nyingma school considers Padmasambhava to be a founder of their tradition.

MYTHOS

SOURCES

Nyangrel Nyima Özer (1136-1204) was the principal architect of the Padmasambhava mythos according to Janet Gyatso. Guru Chöwang (1212–1270) was the next major contributor to the mythos. Padmasambhava's Namtar (biography) is Zanglingma (Jeweled Rosary) revealed by Nyang Ral Nyima Özer and is in the Rinchen Terdzö terma collection.

In the eleventh and twelfth centuries there were several competing terma traditions surrounding Padmasambhava, but also for example Vimalamitra, Songtsän Gampo, and Vairotsana. At the end of the 12th century, there was the "victory of the Padmasambhava cult," in which a much greater role is assigned to the role of Padmasambhava in the introduction of Buddhism to Tibet.

EARLY YEARS

BIRTH

According to tradition, Padmasambhava was incarnated as an eight-year-old child appearing in a lotus blossom floating in Lake Dhanakosha, in the kingdom of Oḍḍiyāna in Ancient India and in modern times identified with the Swat Valley of South Asia present-day Pakistan. His special nature was recognized by the childless local king of Oḍḍiyāna and was chosen to take over the kingdom, but he left Oḍḍiyāna for northern parts of India.

TANTRA

In Rewalsar, known as Tso Pema in Tibetan, he secretly taught tantric teachings to princess Mandarava, the local king's daughter. The king found out and tried to burn him, but it is believed that when the smoke cleared he just sat there, still alive and in meditation. Greatly astonished by this miracle, the king offered Padmasambhava both his kingdom and Mandarava.

Padmasambhava left with Mandarava, and took to Maratika Cave in Nepal to practice secret tantric consort rituals. They had a vision of buddha Amitāyus and achieved what is called the "phowa rainbow body," a very rare type of spiritual realization. Both Padmasambhava and one of his consorts, Mandarava, are still believed to be alive and active in this rainbow body form by their followers. She and Padmasambhava's other main consort, Yeshe Tsogyal, who reputedly hid his numerous termas in Tibet for later discovery, reached Buddhahood. Many thangkas and paintings show Padmasambhava in between them.

TIBET

SUBJECTION OF LOCAL RELIGIONS

According to Sam van Schaik, from the 12th century on a greater role was assigned to Padmasambhava in the introduction of tantric Buddhism into Tibet:According to earlier histories, Padmasambhava had given some tantric teachings to Tibetans before being forced to leave due to the suspicions of the Tibetan court. But from the twelfth century an alternative story, itself a terma discovery, gave Padmasambhava a much greater role in the introduction of Buddhism to Tibet, and in particular credited him with travelling all over the country to convert the local spirits to Buddhism.According to this enlarged story, King Trisong Detsen, the 38th king of the Yarlung dynasty and the first Emperor of Tibet (742–797), invited the Nalanda University abbot Śāntarakṣita (Tibetan Shiwatso) to Tibet. Śāntarakṣita started the building of Samye. Demonical forces hindered the introduction of the Buddhist dharma, and Padmasambhava was invited to Tibet to subdue the demonic forces. The demons were not annihilated, but were obliged to submit to the dharma. This was in accordance with the tantric principle of not eliminating negative forces but redirecting them to fuel the journey toward spiritual awakening. According to tradition, Padmasambhava received the Emperor's wife, identified with the dakini Yeshe Tsogyal, as a consort.

TRANSLATIONS

King Trisong Detsen ordered the translation of all Buddhist Dharma Texts into Tibetan. Padmasambhava, Shantarakṣita, 108 translators, and 25 of Padmasambhava's nearest disciples worked for many years in a gigantic translation-project. The translations from this period formed the base for the large scriptural transmission of Dharma teachings into Tibet. Padmasambhava supervised mainly the translation of Tantra; Shantarakshita concentrated on the Sutra-teachings.

NYINGMA

Padmasambhava introduced the people of Tibet to the practice of Tantric Buddhism.

He is regarded as the founder of the Nyingma tradition. The Nyingma tradition is the oldest of the four major schools of Tibetan Buddhism. The Nyingma tradition actually comprises several distinct lineages that all trace their origins to Padmasambhava.

"Nyingma" literally means "ancient," and is often referred to as "Nga'gyur" " or the "early translation school" because it is founded on the first translations of Buddhist scriptures from Sanskrit into Tibetan, in the eighth century.

Nyingma maintains the earliest tantric teachings. The Nyingmapa incorporates mysticism and local deities shared by the pre-Buddhist Bon religion, which has shamanic elements. The group particularly believes in hidden terma treasures. Traditionally, Nyingmapa practice was advanced orally among a loose network of lay practitioners. Monasteries with celibate monks and nuns, along with the practice of reincarnated spiritual leaders are later adaptations, though Padmasambhava is regarded as the founder of Samye Gompa, the first monastery in the country. In modern times the Nyingma lineage has been centered in Kham in eastern Tibet.

BHUTAN

In Bhutan he is associated with the famous Paro Taktsang or "Tiger's Nest" monastery built on a sheer cliff wall about 500m above the floor of Paro valley. It was built around the Taktsang Senge Samdup (stag tshang seng ge bsam grub) cave where he is said to have meditated in the 8th Century. He flew there from Tibet on the back of Yeshe Tsogyal, whom he transformed into a flying tigress for the purpose of the trip. Later he travelled to Bumthang district to subdue a powerful deity offended by a local king. Padmasambhava's body imprint can be found in the wall of a cave at nearby Kurje Lhakhang temple.

ICONOGRAPHY, MANIFESTATIONS AND ATTRIBUTES

ICONOGRAPHY

GENERAL

- He has one face and two hands.

- He is wrathful and smiling.

- He blazes magnificently with the splendour of the major and minor marks.

HEAD

- On his head he wears a five-petalled lotus hat, which has

- Three points symbolizing the three kayas,

- Five colours symbolizing the five kayas,

- A sun and moon symbolizing skilful means and wisdom,

- A vajra top to symbolize unshakable samadhi,

- A vulture's feather to represent the realization of the highest view.

- His two eyes are wide open in a piercing gaze.

- He has the youthful appearance of an eight-year old child.

SKIN

- His complexion is white with a tinge of red.

DRESS

- On his body he wears a white vajra undergarment. On top of this, in layers, a red robe, a dark blue mantrayana tunic, a red monastic shawl decorated with a golden flower pattern, and a maroon cloak of silk brocade.

- On his body he wears a silk cloak, Dharma robes and gown.

- He is wearing the dark blue gown of a mantra practitioner, the red and yellow shawl of a monk, the maroon cloak of a king, and the red robe and secret white garments of a bodhisattva.

HANDS

- In his right hand, he holds a five-pronged vajra at his heart.

- His left hand rests in the gesture of equanimity,

- In his left hand he holds a skull-cup brimming with nectar, containing the vase of longevity that is also filled with the nectar of deathless wisdom and ornamented on top by a wish-fulfilling tree.

KHATVANGA

The khaṭvāńga is a particular divine attribute of Padmasambhava and intrinsic to his iconographic representation. It is a danda with three severed heads denoting the three kayas (the three bodies of a Buddha, the dharmakaya, sambhogakaya, and nirmanakaya), crowned by a trishula, and dressed with a sash of the Himalayan Rainbow or Five Pure Lights of the Mahabhuta. The iconography is utilized in various Tantric cycles by yogis as symbols to hidden meanings in transmitted practices.

- Cradled in his left arm he holds the three-pointed khatvanga (trident) symbolizing the Princess consort (Mandarava). who arouses the wisdom of bliss and emptiness, concealed as the three-pointed khatvanga trident.

- Its three points represent the essence, nature and compassionate energy (ngowo, rangshyin and tukjé).

- Below these three prongs are three severed heads, dry, fresh and rotten, symbolizing the dharmakaya, sambhogakaya and nirmanakaya.

- Nine iron rings adorning the prongs represent the nine yanas.

- Five-coloured strips of silk symbolize the five wisdoms

- The khatvanga is also adorned with locks of hair from dead and living mamos and dakinis, as a sign that the Master subjugated them all when he practised austerities in the Eight Great Charnel Grounds.

SEAT

- He is seated with his two feet in the royal posture.

SURROUNDING

- All around him, within a lattice of five-coloured light, appear the eight vidyadharas of India, the twenty-five disciples of Tibet, the deities of the three roots, and an ocean of oath-bound protectors

There are further iconographies and meanings in more advanced and secret stages.

EIGHT MANIFESTATIONS

Padmasambhava is said to have taken eight forms or manifestations (Tib. Guru Tsen Gye) representing different aspects of his being, such as wrath or pacification for example. According to Rigpa Shedra the eight principal forms were assumed by Guru Rinpoche at different points in his life. The Eight Manifestations of Padmasambhava belong to the tradition of the Revealed Treasures (Tib.: ter ma).

- Guru Orgyen Dorje Chang (Wylie: gu ru U-rgyan rDo-rje ‘chang, Sanskrit: Guru Uddiyana Vajradhara) The vajra-holder (Skt. Vajradhara), shown dark blue in color in the attire of the Sambhogakaya. Depicted in union with consort.

- Guru Shakya Senge (Wylie: shAkya seng-ge, Skrt: Guru Śākyasimha) of Bodh Gaya, Lion of the Sakyas, who learns the Tantric practices of the eight Vidyadharas. He is shown as a fully ordained Buddhist monk.

- Guru Pema Gyalpo (Wylie: gu ru pad ma rgyal-po, Skrt: Guru Padmarāja) of Uddiyana, the Lotus Prince, king of the Tripitaka (the Three Collections of Scripture). He is shown looking like a young crowned prince or king.

- Guru Pema Jungne (Wylie: pad ma ‘byung-gnas, Skrt: Guru Padmakara) Lotus-arisen, the Saviour who teaches the Dharma to the people. He is shown sitting on a lotus, dressed in the three robes of a monk, under which he wears a blue shirt, pants and heavy Tibetan boots, as protection against the cold. He holds the diamond-scepter of compassionate love in his right hand and the yogi's skull-bowl of clear wisdom in his left. He has a special trident called khatvanga of a wandering Yogi, and wears on his head a Nepalese cloth crown, stylistically designed to remind one of the shape of a lotus flower. Thus he is represented as he must have appeared in Tibet.

- Guru Loden Chokse (Wylie: gu ru blo ldan mchog sred; Skrt: Guru Mativat Vararuci) of Kashmir, the Intelligent Youth, the one who gathers the knowledge of all worlds. He is shown in princely clothes, beating a hand-drum and holding a skull-bowl.

- Guru Nyima Ozer (Wylie: gu ru nyi-ma ‘od-zer, Skrt: Guru Suryabhasa or Sūryaraśmi), the Sunray Yogi, who illuminates the darkness of the mind through the insight of Dzogchen. He is shown as a naked yogi dressed only in a loin-cloth and holding a Khatvanga which points towards the sun.

- Guru Dorje Drolo, (Wylie: gu ru rDo-rje gro-lod, Skrt: Guru Vajra ?) the fierce manifestation of Vajrakilaya (wrathful Vajrasattva) known as "Diamond Guts", the comforter of all, imprinting the elements with Wisdom-Treasure.

- Guru Senge Dradog (Wylie: gu ru seng-ge sgra-sgrogs, Skrt: Guru Simhanāda) of Nalanda University, the Lion of Debate, promulgator of the Dharma throughout the six realms of sentient beings. He is shown in a very fierce form, dark blue and imitative of the powerful Bodhisattva Vajrapani, holding a thunderbolt scepter in one hand and a scorpion in the other.

Padmasambhava's various Sanskrit names are preserved in mantras such as those found in the Yang gsang rig 'dzin youngs rdzogs kyi blama guru mtshan brgyad bye brag du sgrub pa ye shes bdud rtsi'i sbrang char zhe bya ba

ATTRIBUTES

PURE-LAND PARADISE

His Pureland Paradise is Zangdok Palri (the Copper-Coloured Mountain).

SAMANTABHADRA AND SAMANTABHADRI

Padmasambhava said:

My father is the intrinsic awareness, Samantabhadra (Sanskrit; Tib. ཀུན་ཏུ་བཟང་པོ). My mother is the ultimate sphere of reality, Samantabhadri (Sanskrit; Tib. ཀུན་ཏུ་བཟང་མོ). I belong to the caste of non-duality of the sphere of awareness. My name is the Glorious Lotus-Born. I am from the unborn sphere of all phenomena. I act in the way of the Buddhas of the three times.

FIVE WISDOM DAKINS

Padmasambhava had five major female tantric companions, the so-called 'Five Wisdom Dakinis' (Wylie: Ye-shes mKha-'gro lnga) or 'Five Consorts.' In Padmasambhava's biography, they are described as the five women "who had access to the master's heart", and practiced tantric rites which are considered to have exorcised the previous demons of Tibet and converted them into protectors of the country.' They were:

- Mandarava of Zahor, the emanation of Vajravarahi's Body;

- Belwong Kalasiddhi of (north-west) India, the emanation of Vajravarahi's Quality, Belmo Sakya Devi of Nepal;

- the emanation of Vajravarahi's Mind, Yeshe Tsogyal of Tibet;

- the emanation of Vajravarahi's Speech

- and Mangala or Tashi Kyedren of "the Himalayas", the emanation of Vajravarahi's Activity.

PRINCESS SAKYA DEVI FROM NEPAL

On Padmasambhava's consort practice with Princess Sakya Devi from Nepal it is said:

- In a state of intense bliss, Padmasambhava and Sakyadevi realized the infinite reality of the Primordial Buddha Mind, the All-Beneficent Lord (Samantabhadra), whose absolute love is the unimpeded dynamo of existence. Experiencing the succession of the four stages of ecstasy, their mutual state of consciousness increased from height to height. And thus, meditating on Supreme Vajrasattva Heruka as the translucent image of compassionate wrathful (energized) activity, they together acquired the mahamudra of Divinity and attained complete Great Enlightenment.

TEACHINGS AND PRACTICES ASCRIBED TO PADMASAMBHAVA

THE VAJRA GURU MANTRA

The Vajra Guru (Padmasambhava) mantra Om Ah Hum Vajra Guru Padma Siddhi Hum is favoured and held in esteem by sadhakas. Like most Sanskritic mantras in Tibet, the Tibetan pronunciation demonstrates dialectic variation and is generally Om Ah Hung Benza Guru Pema Siddhi Hung. In the Vajrayana traditions, particularly of the Nyingmapa, it is held to be a powerful mantra engendering communion with the Three Vajras of Padmasambhava's mindstream and by his grace, all enlightened beings. In response to Yeshe Tsogyal's request, the Great Master himself explained the meaning of the mantra although there are larger secret meanings too. The 14th century tertön Karma Lingpa has a famous commentary on the mantra.

THE SEVEN LINE PRAYER TO PADMASAMBHAVA

The Seven Line Prayer to Padmasambhava (Guru Rinpoche) is a famous prayer that is recited by many Tibetans daily and is said to contain the most sacred and important teachings of Dzogchen.

Jamgon Ju Mipham Gyatso composed a famous commentary to the Seven Line Prayer called White Lotus. It explains the meanings, which are embedded in many levels and intended to catalyze a process of realization. These hidden teachings are described as ripening and deepening, in time, with study and with contemplation. Tulku Thondup says:

- Enshrining the most sacred prayer to Guru Padmasambhava, White Lotus elucidates its five layers of meaning as revealed by the eminent scholar Ju Mipham. This commentary now makes this treasure, which has been kept secret among the great masters of Tibet for generations, available as a source of blessings and learning for all.

There is also a shorter commentary, freely available, by Tulku Thondup himself. There are many other teachings and Termas and widely practiced tantric cycles incorporating the text as well as brief ones such as Terma Revelation of Guru Chöwang.

TERMAS

Padmasambhava also hid a number of religious treasures (termas) in lakes, caves, fields and forests of the Himalayan region to be found and interpreted by future tertöns or spiritual treasure-finders. According to Tibetan tradition, the Bardo Thodol (commonly referred to as the Tibetan Book of the Dead) was among these hidden treasures, subsequently discovered by a Tibetan terton, Karma Lingpa.

TANTRIC CYCLES

Tantric cycles related to Padmasambhava are not just practiced by the Nyingma, they even gave rise to a new offshoot of Bon which emerged in the 14th century called the New Bön. Prominent figures of the Sarma (new translation) schools such as the Karmapas and Sakya lineage heads have practiced these cycles and taught them. Some of the greatest tertons revealing teachings related to Padmasambhava have been from the Kagyu or Sakya lineages. The hidden lake temple of the Dalai Lamas behind the Potala called Lukhang is dedicated to Dzogchen teachings and has murals depicting the eight manifestations of Padmasambhava. Padmasambhava established Vajrayana Buddhism and the highest forms of Dzogchen (Mengagde) in Tibet and transformed the entire nation.

TWENTY-FIVE MAIN DISCIPLES

Twenty-five Main Disciples of Padmasambhava (Tibetan: རྗེ་འབངས་ཉེར་ལྔ, Wylie: rje 'bangs nyer lnga) -also called the disciples of Chimphu - in various lists these include:

- King Trisong Detsen (Tibetan: ཁྲི་སྲོང་ལྡེའུ་བཏཟན, Wylie: khri srong lde'u btzan)

- Denma Tsémang (Tibetan: ལྡན་མ་རྩེ་མང, Wylie: ldan ma rtse mang)

- Dorje Dudjom of Nanam (Tibetan: རྡོ་རྗེ་བདུད་འཇོམ, Wylie: rdo rje bdud 'joms)

- Khyechung Lotsawa (Tibetan: ཁྱེའུ་ཆུང་ལོ་ཙཱ་བ, Wylie: khye'u chung lo tsā ba)

- Gyalwa Changchub of Lasum (Tibetan: ལ་སུམ་རྒྱལ་བ་བྱང་ཆུབ, Wylie: la sum rgyal ba byang chub)

- Gyalwa Choyang (Tibetan: རྒྱལ་བ་མཆོག་དབྱངས, Wylie: rgyal ba mchog dbyangs)

- Gyalwe Lodro of Dré (Tibetan: རྒྱལ་བའི་བློ་གྲོས, Wylie: rgyal ba'i blo gros)

- Jnanakumara of Nyak (Tibetan: གཉགས་ཛཉའ་ན་ཀུ་མ་ར, Wylie: gnyags dzny' na ku ma ra)

- Kawa Paltsek (Tibetan: སྐ་བ་དཔལ་བརྩེགས, Wylie: ska ba dpal brtsegs)

- Khandro Yeshe Tsogyal, the princess of Karchen (Tibetan: མཁར་ཆེན་བཟའ་མཚོ་རྒྱལ, Wylie: mkhar chen bza' mtsho rgyal)

- Konchog Jungné of Langdro (Tibetan: ལང་གྲོ་དཀོན་མཆོག་འབྱུང་གནས, Wylie: lang gro dkon mchog 'byung gnas)

- Lhapal the Sokpo (Tibetan: སོག་པོ་ལྷ་དཔལ, Wylie: sog po lha dpal)

- Namkhai Nyingpo (Tibetan: ནམ་མཁའི་སྙིང་པོ, Wylie: nam mkha'i snying po)

- Zhang Yeshe De (Tibetan: ཞང་ཡེ་ཤེས་སྡེ, Wylie: zhang ye shes sde)

- Lhalung Pelgyi Dorje (Tibetan: ལྷ་ལུང་དཔལ་གྱི་རྡོ་རྗེ, Wylie: lha lung dpal gyi rdo rje)

- Palgyi Senge (Tibetan: དཔལ་གྱི་སེང་གེ, Wylie: dpal gyi seng ge)

- Palgyi Wangchuk (Tibetan: དཔལ་གྱི་དབང་ཕྱུག, Wylie: dpal gyi dbang phyug)

- Palgyi Wangchuk of Odren (Tibetan: འོ་དྲན་དཔལ་གྱི་དབང་ཕྱུག, Wylie: 'o dran dpal gyi dbang phyug)

- Palgyi Yeshe (Tibetan: དཔལ་གྱི་ཡེ་ཤེས, Wylie: dpal gyi ye shes)

- Rinchen Chok of Ma (Tibetan: རྨ་རིན་ཆེན་མཆོག, Wylie: rma rin chen mchog)

- Sangye Yeshe (Tibetan: སངས་རྒྱས་ཡེ་ཤེས, Wylie: sangs rgyas ye shes)

- Shubu Palgyi Senge (Tibetan: ཤུད་བུ་དཔལ་གྱི་སེང་གེ, Wylie: shud bu dpal gyi seng ge)

- Vairotsana, the great translator (Tibetan: བཻ་རོ་ཙ་ན, Wylie: bai ro tsa na)

- Yeshe Yang (Tibetan: ཡེ་ཤེས་དབྱངས, Wylie: ye shes dbyangs)

- Yudra Nyingpo of Gyalmo (Tibetan: ག་ཡུ་སྒྲ་སྙིང་པོ, Wylie: g.yu sgra snying po)

Also:

- Vimalamitra (Tibetan: དྲུ་མེད་བཤེས་གཉེན, Wylie: dru med bshes gnyen)

- Tingdzin Zangpo (Tibetan: ཏིང་འཛིན་བཟང་པོ, Wylie: ting 'dzin bzang po)

WIKIPEDIA

India - Karnataka - Belur - Chennakeshava Temple - Vishnu - 67d by Manfred Sommer

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