Mantra

This dissertation examines Sammā Arahaṃ meditation from its origin in the figure of Phra Mongkhon Thepmuni (Sot Candasaro), the late abbot of Wat Paknam, Thonburi, as well as its transmission to Phra Thep Yan Mongkhon (Sermchai Jayamaṅgalo), the late abbot of Wat Luang Pho Sot Thammakayaram, Ratchaburi, in the context of the history of Theravāda Buddhist meditation practices.

The second chapter of this dissertation analyses Luang Pho Sot Candasaro’s autobiography, his sermons, the teachings of two of his meditation teachers, namely Luang Pho Niam Dhammajoti (Wat Noi, Suphanburi) and Luang Pho Nong Indasuvaṇṇo (Wat Amphawan, Suphanburi), and the meditation traditions of Saṅgharāja Suk Kai Thuean (Wat Ratchasittharam, Thonburi) and Wat Pradusongtham (Ayutthaya). It confirms that Luang Pho Sot has taken and adapted aspects of these teachers’ and traditions’ meditation practices and incorporated them into Sammā Arahaṃ meditation. The second chapter also seeks to clarify further the relationships of Luang Pho Sot’s Sammā Arahaṃ meditation to the so-called borān kammaṭṭhāna tradition such as the meditation manual of King Taksin of Thonburi and other manuals preserved in the anthology, Phuttharangsi Thritsadiyan book of samatha and vipassanā meditation of the four reigns.

The third chapter accounts for the development of various lineages, networks and centres of Sammā Arahaṃ tradition after the death of Luang Pho Sot, with an emphasis on Achan Sermchai and Wat Luang Pho Sot Thammakayaram. The chapter also considers two meditation masters whose teachings and practices were influenced by Luang Pho Sot and Sammā Arahaṃ meditation, namely Luang Pho Ruesi Lingdam, the founder of the Manomayiddhi meditation tradition, and Bhikṣuṇī Voramai Kabilsingh, who practiced and taught Sammā Arahaṃ along with four other meditation systems.

The fourth chapter examines and analyses Achan Sermchai Jayamaṅgalo’s works. The dissertation argues that Achan Sermchai’s works provide a defence of the thought and practice of his tradition, which consists of demonstrating that they conform to Theravāda canonical and commentarial tradition. In his elaboration of Luang Pho Sot’s teachings, Achan Sermchai’s works can also be characterized as an attempt to reinterpret and systematize Sammā Arahaṃ meditation. Moreover, in the fourth chapter, I gather opinions and discussions from different lineages of Sammā Arahaṃ tradition regarding two particular issues: 1) the existence of a prior five-body system in Luang Pho Sot’s teaching; and 2) the practice of offering food to the Buddha in (āyatana) nibbāna. This is to demonstrate that among the various lineages of Sammā Arahaṃ tradition, there are differing interpretations regarding aspects of Sammā Arahaṃ practices. This section also includes my interview with mae chi Wanchai Chukon, founder of the Suan Kaeo Meditation Centre, Ratchaburi, and one of the few living direct pupils of Luang Pho Sot.

This dissertation deals with the Buddhist dhāraṇī, mainly understood as the term selected by Indian Buddhism to assimilate the non-Buddhist notion of mantra. In the Introduction the two major categories of dhāraṇīs are defined, i.e., the ‘formulaic’
and ‘syllabic’ dhāraṇīs. In Chapter 1 the two sources for the emergence of dhāraṇīs are studied: the non-Buddhist source being focused on the non-Vedic, Vedic and Śaiva Tantric factors, and the Buddhist one being focused on several mainstream Buddhist and Mahāyāna factors. It continues with a study on the Dhāraṇī Scriptures’ emergence and their inclusion within Vajrayāna Tantras. Chapter 2 provides a detailed summary
on the traditional definitions of the dhāraṇī term, its synonyms, compound terms, and its pairing with other Dharma qualities. It is followed by a survey on how the dhāraṇī term is defined and classified according to key Indian Mahāyāna Sūtras and Śāstras,
and the Indo-Tibetan and East Asian Vajrayāna traditions. Chapter 3 is focused on the dhāraṇī practice, first dealing with its ethical basis, its non-ritual and ritual approaches, and its mundane and supramundane accomplishments, and then the main dhāraṇī practices are analysed intended for worldly and soteriological purposes. The dissertation closes with five Appendices including a study on a set of early Vedic mantras appearing within the Buddhist dhāraṇīs, an analysis of the ‘formulaic’ and ‘syllabic’ dhāraṇīs, a survey on mantras/dhāraṇīs accepted by several mainstream Buddhist schools, and another one on mantras/dhāraṇīs within Mahāyāna Scriptures,
and finally, a ‘References’ list providing a comprehensive and updated bibliography in several Western languages mainly focused on Buddhist mantras/dhāraṇīs.

Les sémioticiens des cultures marchent sur des œufs. Ils doivent établir le profil, et donc les limites, d’une civilisation ; déterminer et sélectionner des artefacts culturels en tant que textes d’une telle civilisation ; analyser ces textes afin de comprendre s’ils partagent un dénominateur commun en ce qui concerne un objet culturel particulier ; comprendre et décrire les traits structurels d’un tel dénominateur commun afin d’élaborer un schéma typologique qui pourrait ensuite être comparé avec ceux qui se référent à d’autres civilisations, leurs textes, et leurs conceptions et représentations du même objet culturel. En d’autres mots, ils doivent construire une comparaison typologique de déterminations culturelles. Par conséquent, ils courent constamment le risque de déterminer les limites des civilisations de façon arbitraire, en extraire des textes de façon idiosyncratique afin de confirmer les hypothèses initiales et les préjugés du sémioticien dans un cercle vicieux herméneutique et développer des typologies et des comparaisons qui forcent brutalement la complexité de l’histoire dans des schémas structuraux réductifs.
La sémiotique des cultures ne dispose pas encore d’une méthode souhaitable pour comparer des civilisations ; cette méthode doit être fabriquée par bricolage de trois traditions sémiotiques différentes : celle de Lotman (école de Moscou-Tartu) ; celle de Greimas (sémiotique structurale), et celle de Peirce (sémiotique interprétative).
Cette option théorique sera présentée en relation à un cas d’étude et de comparaison spécifique : la sémiotique de la vacuité dans les cultures spirituelles chrétienne, islamique, et tantrique. En comparant des textes visuels (des diagrammes) issus de l’iconographie de l’hésychasme byzantin, de la calligraphie shiite, et des yantras du tantrisme indien, l’intervention essayera de répondre à la question suivante : comment les différentes cultures spirituelles évoquent par l’image l’idée de vacuité ? Est-il possible de dresser, par le biais de la sémiotique, une paradoxale typologie du vide ? Par quelle méthode de comparaison ?

Chanting is a form of rhythmic, repetitive vocalization practiced in a wide range of cultures. It is used in spiritual practice to strengthen community, heal illness, and overcome psychological and emotional difficulties. In many traditions, chanting is used to induce mystical states, an altered state of consciousness characterised by a profound sense of peace. Despite the global prevalence of chanting, its psychological effects are poorly understood. This investigation examined the psychological and contextual factors associated with mystical states during chanting. Data were analyzed from 464 participants across 33 countries who regularly engaged in chanting. Results showed that 60% of participants experienced mystical states during chanting. Absorption, altruism, and religiosity were higher among people who reported mystical states while chanting compared to those who did not report mystical states. There was no difference in mystical experience scores between vocal, silent, grou...

This chapter in the Oxford Handbook of Japanese Philosophy, ed. Bret W. Davis (NYC: Oxford University Press, 2019) explicates the philosophy of the body of sixth-century Buddhist thinker Kūkai. Kūkai brings together what initially seem to be opposing concepts: body and emptiness. He does this in the context of formulating a system of cosmology inseparable from religious practice. We interact with the rest of the cosmos through our body. Kūkai characterizes the cosmos in turn as the body of the Buddha, who personifies the embodiment of the dharma. This cosmic body is comprised of myriad bodies through their interactivities, in which we ourselves partake. The interdependence obtains both horizontally (among microcosmic bodies) and vertically (between macrocosm and microcosm). But this interdependent nature of bodies also means emptiness. All bodies are empty of substantiality. Enlightenment is to realize this emptiness of all. An additional factor is language because Kūkai conceives the body as the linguistic medium for communicating that dharma of emptiness.

The purpose of the panel is to explore a specific aspect of the concept of originality in Indian knowledge systems, literature and the arts. We would like to discuss the relation of innovation and perpetuation of earlier forms and contents of knowledge and aesthetic expressions. Although within the South Asian intellectual traditions this relationship is rarely the topic of explicit reflections, it can be investigated by taking a closer look at the treatment of older materials by later authors. With a view to this, we would like to discuss, for example, the following questions.

The Vedas unfold their mysteries...While this mantra speaks metaphorically, the very next mantra spells this out clearly...How can a sane person address a plant, or call out to a piece of stone to hear what he is saying?.... It is mentioned in the Mahabharata that a yogi, who has acquired supernatural powers...It is this unknown fact which the Vedas acquaint us with...Such a method seeks to reconcile apparently conflicting statements, not discarding even a single Vedic sentence.

visit: https://bit.ly/3sYUqzs

This powerpoint describes some ideas and hypotheses about the relationship of microvita (proposed subatomic living entities released into the universe by the Cosmic Mind, that create life and minds and can help in  spiritual progress) to kiirtan (singing a spiritual mantra) using the siddha mantra (”empowered mantra”) “Baba Nam Kevalam” (meaning “only the name of the Beloved” or “Love is all there is”.) Different suggestions for improving one’s meditation and feelings of spiritual devotion are also presented.

Sanskrit is a unique language. It is based on seed sounds or beeja dhvani. Each sound has its own gunas or qualities or characteristics. For example, the sound 'da' is 'a simple root sound, the primary root', as pointed out by Sri Aurobindo in his essay The Origins of Aryan Speech. From this simple root sound spring multiple lines of 'derivative, secondary or tertiary root-sounds'. He surmised that the root sound 'da' might have given to the ancient Aryan mind an impression of splitting, bursting open, cutting, tearing, crushing, destroying, cheating. And he also discovered that these primary root-sounds of Sanskrit are also shared with Greek, Latin and even Tamil, while retaining their original sense and meaning. This finding may have critical ramifications in our study of phonology.

Recorded in Nirukta 1.15-16, the controversy between Kautsa and Yāska on whether the Vedic mantras are meaningful or not represents a turning point in the traditional interpretation of the Veda. While references to this controversy are often found in literature, a systematic discussion of the whole episode has not to our knowledge been undertaken. This paper offers a detailed analysis of this controversy. We first review previous scholarship and elucidate the structure and rationale of the controversy. Then, we provide an annotated translation in which we propose new solutions to several philological and interpretive issues.

This article will explore the relationship between Tibetan medicine and Tibetan Buddhism by analyzing early Tibetan medical treatises. It will investigate mantras, meditative visualizations, and rituals that were used to prevent and to cure diseases and will study their medical context. Some of the questions addressed will be: Are these techniques employed in the case of special diseases or at particular stages of medical treatment? If so, how firmly are they established in medical texts? Are they just accessary parts and not really "medical," or do they form an integral part of medical expertise in premodern Tibet? This article will thus question our current understanding of Tibetan medicine from an emic textual perspective on healing practices.

Poothalathil yavarkkum peradaravay ennalum, Maharasi endru vazhthuginra mariyamman, Seedharanar thangai, sirappana thalattai, Kadaludan odha ganapathiyum kappome. Mundi mundi vinayagre , mukkannar than magane, Kandarukku mun piranda karpagame munnadavai, Velavarkku mun piranda vinayagare munnadaivai, Vembadiyir pillayare , vikkinare , munnadaivai. Quand je chante cette complainte (Thalathu) spéciale à la soeur de Vishnu qui est le support de tous les êtres dans cette terre et louée comme la reine parmi les femmes, elle est la déesse Mariamman. Menez-moi s'il vous plaît en avant et en avant encore, oh, Dieu qui enlève les obstacles qui est le fils du Dieu au trois yeux (Shiven). Menez-moi s'il vous plaît, vous qui êtes la pierre précieuse qui est née avant le Seigneur Skanda. Menez-moi s'il vous plaît, Vinayaga qui est né avant le Dieu qui porte le Vel (lance). Menez-moi s'il vous plaît Seigneur Ganesha qui est assis sous l'arbre Neem et menez-moi S'il vous plaît vous qui enlevez les obstacles. Pezhai vayithone, peruchali vaganare, Karana maal maruga karpagame mey porule, Cheerana nal muruga, selva ganapathiye, Ottai kombone, umayal thiru magane, Kathai chadai anintha gangadaran magane, Vithaikku vinayagane , vennai undon maruga, Matha kari mugava mayon marukone, Iynthu karathone yanai mugathone, Danthamada varanane thar parane munnadaivai.Nenjir kudi irundu nee enakku munnadavai, Panchanju melladiyal parvathiyal puthirane , Vezha mukathone vinayagare munnadavai, Thazhvila sangaranar sar puthira varumaiya, Munnadakkam pillayarku, kannadakkam ponnale, Kannadakkam ponnale, kar chilambhu muthale, Muthale thandai koncha munnadavai pillayare, Selva ganapathi un padam naan maravene. Lui, qui a une grosse panse. Qui va sur un rat (ou une mangouste), Qui est le neveu du Seigneur Vishnu, Qui est le désir donnant la pierre précieuse, qui est la vérité réelle, Qui est le frère du grand Dieu Muruga. Qui est le Roi des ganas (messager, gardiens). Qui ne possède q'une seul défense. Qui est le fils de la déesse Parvathi. Qui est le fils de celui qui porte Ganga sur sa tête pourvu d'un chignon emmélé. Qui est le premier Dieu qui mène connaissance. Qui est le neveu de celui a mangé le beurre (Krishna-Gôvinda). Qui a le visage d'un éléphant, Qui est le neveu du grand enchanteur.

Questa analisi, iniziata durante i corsi di Analisi della musica elettroacustica ed Esecuzione ed interpretazione della musica elettroacustica, è stata sviluppata a Kürten, durante i Kürten Kurse ad agosto del 2017: un'esperienza che permettono di avvicinarsi a Karlheinz Stockhausen in un modo quasi tangibile. Passeggiare tra "i suoi" alberi, parlare con chi viveva e lavorava con lui, ascoltare la sua musica per dieci giorni, permette di immergersi in un altro mondo, nel suo mondo, e capirlo ancora meglio di come lui ha dettagliatamente descritto in ogni conferenza, libro, intervista, partitura o conversazione.

Diverse motivazioni portano alla scelta di analizzare Mantra, in una prospettiva generale con approfondimento dell'elettronica: la prima su tutte è la suggestione del suo ascolto dal vivo. Mantra è un'opera che attrae per i suoi suoni e la sua struttura; è un'opera che affascina e incuriosisce ininterrottamente; è un'opera che anche dopo 47 anni continua a essere unica.

Traducción del sánscrito al español, presentación y notas ADRIÁN MUÑOZ G. 1 El Kamakala-vilasa es un texto de gran importancia para la tradición tántrica; se trata de un manuscrito citado y aludido tanto por fuentes sánscritas como en trabajos académicos. El texto consta de cincuenta y cinco estrofas escritas en sánscrito pulcro, además de un comentario de nombre Cidvalli, redactado por Natananda. La versión del Kamakala-vilasa editada por John Woodroffe incluye tanto el texto como el comentario; ésta fue mi fuente principal. Una segunda traducción del texto, aunque sin el comentario, puede encontrarse como apéndice en TheArt ofTantra, de Philip Rawson y publicado por Thames and Hudson. Además, en A BriefHistory ofTantra Literature de S. C. Banerji se puede disponer de una paráfrasis del texto casi en su totalidad. Hasta ahora, este texto no ha sido traducido al castellano, al menos no de manera difundida; de ahí que sea recomendable su presentación al mundo de habla hispana.

Living Mantra is an anthropology of mantra-experience among Hindu-tantric practitioners. In ancient Indian doctrine and legends, mantras perceived by rishis (seers) invoke deities and have transformative powers. Adopting a methodology that combines scholarship and practice, Mani Rao discovers a continuing tradition of visionaries (rishis/seers) and revelations in south India's Andhra-Telangana. Both deeply researched and replete with fascinating narratives, the book reformulates the poetics of mantra-practice as it probes practical questions. Can one know if a vision is real or imagined? Is vision visual? Are deity-visions mediated by culture? If mantras are effective, what is the role of devotion? Are mantras language? Living Mantra interrogates not only theoretical questions, but also those a practitioner would ask: how does one choose a deity, for example, or what might bind one to a guru? Rao breaks fresh ground in redirecting attention to the moments that precede systematization and canon-formation, showing how authoritative sources are formed.

This article discusses the process of formulating the Puja Tri Sandhyā— a series of Sanskrit mantras performed three times a day as a daily prayer—which was developed in conjunction with the struggle of Balinese Hinduism for recognition in the context of the modern Indonesian state since the 1950s. It reviews the pre-modern Sanskrit and Old Javanese textual sources from which the Mantra was taken and recompiled in pamphlets and textbooks of Hinduism, and highlights the figures of Hindu intellectuals that played an important role in the composition and the dissemination of this mantra. Having compared the versions of the Mantra contained in early pamphlets published in the 1950s and 1960s and reconstructed its textual genesis, it discusses the role of the Parisada Hindu Dharma Indonesia— the Hindu council in Indonesia—in standardising the mantras and the ritual practices connected with it, and introducing them in teaching curricula.

Prologue

Note: this PDF digital book can be opened in a mobile device also.

This is not a guide-book for studying any occult art. Instead it is a writing that proposes to take up the possibility of there being a real machinery behind the working of so-called mantra, tantra, evil eye, black magic, voodoo etc.  This book does not teach any of the above mentioned arts. 

Yet, it does try to find a pathway or opening by which we can find or enter the supernatural arena from where the supernatural software codes of reality and life is designed and maintained.

It is a writing that tries to discuss a probability that is not connected to material sciences. Instead it proposes to examine the possibility of there being a supernatural software application location wherein reality might be seen in the code view as-well-as the design view. These two views are apart from the real view, which is the physical reality.

The ultimate aim of this book is to propose a pathway via which we can approach the supernatural software location, where all of reality, life, living organisms, brain software &c. are designed and maintained.

This book is not a sudden writing on any impulse of the moment.  I wrote my first book on codes in languages, March of the Evil Empires; English versus the feudal languages, around 1989. The final version of the book was completed around 2000. In the concluding part of that book, I did hint about the possibility of there being something akin to a software background to reality. And that languages are software applications with varied capacities. 

In around the year 2005, I wrote a series of posts in a GB website on the same subject. It was basically a lot of unconnected themes all pointing to the same theme. This I later published as a digital book under the name: Software codes of reality, life and languages.

Then my next major book on the subject came out with the name: Codes of reality! What is language? 

Here again the same theme of connecting the idea of there being a software realm behind reality and that languages have software codes which can directly connect to  the software of reality was elaborated. The focus was on languages being sort of software applications through which physical reality could be influenced.

Still, the theme was going forward only in very brief paces.  A few years ago, I had to write a series of posts for supporting the contentions of Homoeopathy, by basing the ideas from my understandings. That Homoeopathy does work on the principle of a software program rectifying the software of life and human body.  The book title was: The machinery of Homœopathy! 

Recently I happened to read Edgar Thurston’s OMENS AND SUPERSTITIONS OF SOUTHERN INDIA. It was at that time that I pondered upon reworking out the arguments from the perspective of mantra, tantra, black magic, witchcraft etc.

The first thing I did was to create a very readable form of that book. As I went on doing that work, I could get to read the book also.

This present book is being promoted as a Commentary on Omens and Superstitions of Southern India.  However, only the last part of this book really is a sort of commentary. Even in that part, it is not exactly a commentary. I merely quoted some sentences from his book and elaborated upon them as per what I wanted to convey.

Edgar Thurston’s Omens and Superstitions of Southern India is definitely a great book.  My writings do not aim to go against that book. This book of mine does contain a lot of mentions about Thurston’s book.

This book commences by mentioning OMENS AND SUPERSTITIONS OF SOUTHERN INDIA. However, it moves beyond to a wider ambit. It returns to Thurston’s book at the end as a commentary.

However, a mention of Thurston’s book can be felt all along.

I have used a few images from other old public domain books. These images are mainly taken from my own collection from such books. Due to some issues, I do not have the exact record as to where I got some of the images. I believe that such images have been taken from Edgar Thurston’s Castes and Tribes of Southern India.

Before commencing the reading of the book, the reader is further informed that in various locations, the text would seem to be dealing with cultural aspects. However, without clearly mentioning these things, it would difficult to go directly into the effects of supernatural software codes.

DEVERKOVIL
September 10th 2016
VICTORIA INSTITUTIONS

PS: This book can be read inside Telegram. https://t.me/MantraCodes/4. If the link does not work, search inside Telegram for : Software codes of Mantra


Amazon Kindle version of this text can be seen on the last link

The 48 Infinity Energy, an extensive research in reintroducing the effects of energy healing with a Jain panegyric-Bhaktamar stotra-with Sacred Geometry and Cymatics is one synergized system, of its kind. Until now, Bhaktamar stotras, the classical 48 healing mantras, have been proven to have determining effects with sound alone. But sound without geometry loses the visual energy connect and would be incomplete. With the formation of a complete synergized system by adding geometry to the existing effects of sound healing capabilities of Bhaktamar stotras, this research has resurfaced and redefined the performance of its energetics and its effects in healing; for everyone who understands or wills to understand the wonders of sound vibrations with geometry and infinity. A derivation of Jain stotras and Kabbalah sciences combined with myriad facets of energy healing, 48 Infinity Energy is the characterisation of the effects of each verse on the consciousness and the physical realm in the form of the 48 Bhaktamar Infinity Energy cards. The human body, at every moment, is a full statement of being, of existence, constantly creating vibrations that affect everything and everyone around. This is an infinite exchange of energy with the ability to generate intangible dynamisms through countless mediums of resonance. In today's materialistic world, we forget to look inwards for the strength we seek. We know we are conscious beings, but we have little idea of the real potential inherent in our consciousness. It is only when we understand the zeros and infinities, entries and exits, lows and highs, and shapes and sizes of energies in constant play, can we begin to harness and utilize our full power to live as the superhuman beings that we really are. In our day-today life, we are exposed to multiple energy fields. Some affect us positively, some negatively. However, humans today are prone to physical, emotional and spiritual imbalance due to the lifestyles we lead. The energy fields that surround us and that are within us, can be The human body and the infinite energy exchange

forthcoming. “Nīlakaṇṭha Dīkṣita and the Saubhāgyacandrātapa: A Study of the Role of Śrīvidyā
among Prominent Intellectual Families in Early-Modern South India.” In Raffaele Torella, ed. Proceedings of the Fifteenth World Sanskrit Conference, Tantra and Āgama.

This work is a partial but significant update of Maurice Bloomfield’s monumental Vedic Concordance, published in 1906 by Harvard University Press. Altogether, more than 30,000 mantras have been added to the bulk of the original textual material, taken from seven Vedic texts which were not included in Bloomfield’s work or were in need of major revision – namely: Paippalāda Saṃhitā (kāṇḍas 1-15), Jaiminīya Brāhmaṇa, Kaṭha Āraṇyaka, Baudhāyana Śrautasūtra, Mānava Śrautasūtra, Jaiminîya Gṛhyasūtra, and Vārāha Gṛhyasūtra. Of these mantras, more than 8,000 – mostly taken from Paippalāda Saṃhitā and Baudhāyana Śrautasūtra – are new to the Concordance and seemingly unrelated to any mantra already listed in it; while 4,500 more show previously unknown variants with respect to known mantras.

Franceschini, Marco. An Updated Vedic Concordance. Harvard Oriental Series 66 (2 volumes and CD), Cambridge (Mass.)-Milano: Harvard University Press and Mimesis Edizioni. 2007. [ISBN: 978-0-674-03080-0]

I was startled by the appearance in print of this paper. I gave it in 2005 at a conference in Bangalore, and left a draft with the conference organizers. There was talk of a book, but I heard nothing more until the news of publication today.

"This essay was prompted by the question of how Haṭhayoga, literally ‘the Yoga of force’, acquired its name. Many Indian and Western scholars have understood the ‘force’ of Haṭhayoga to refer to the effort required to practice it. Inherent in this understanding is the assumption that Haṭhayoga techniques such as prāṇāyāma (breath control) are strenuous and may even cause pain. Others eschew the notion of force altogether and favor the so-called “esoteric” definition of Haṭhayoga (i.e., the union of the sun (ha) and moon (ṭha) in the body). This essay examines these interpretations in light of definitions of haṭhayoga and the adverbial uses of haṭha (i.e., haṭhāt, haṭhena) in Sanskrit Yoga texts that predate the fifteenth-century Haṭhapradīpikā.

Implicit in the question posed above is the historical question of when the term haṭhayoga arose. There is evidence that it was used in Buddhist tantras, while it remained conspicuously absent from Śaiva tantras until late works such as the Rudrayāmalottaratantra. This is surprising given that the Śaiva tantras are replete with much of the terminology of the Haṭhayoga corpus. In the medieval Vedānta and Yoga literature (written after the eleventh century), haṭhayoga first appeared almost always in conjunction with rājayoga, which, as a system of Yoga, was based more on tantric Yoga rather than Pātañjalayoga. The rivalry between Rāja and Haṭhayoga, which was expressed most vehemently in the second chapter of a text known as the Amanaskayoga (eleventh to twelfth century), was based on the contention that Rājayoga was the superior Yoga because its methods were effortless and most efficacious, whereas Haṭhayoga required exertion and was superfluous. However, the rivalry was reconciled by other medieval Yoga texts, such as the Dattātreyayogaśāstra (twelfth to thirteenth century), into a hierarchy of four Yogas (i.e., Mantra, Laya, Haṭha, and Rājayoga), and a few centuries later Svātmārāma dismantled this hierarchy, in his Haṭhapradīpikā, by melding previous Haṭha and Rājayoga systems together and by asserting that Haṭha and Rājayoga are dependent upon one another. By doing so, he created a complete system of Yoga and called it Haṭhayoga."

This paper provides the first critical edition of the Sanskrit text of the 37th, 51st, 52nd, and 59th chapters of the Abhidhānottara or Abhidhānottarottara-nāma-mahātantrarāja (abbreviated to Abhidhānottara, "the [Tantra] Posterior to the Abhidhāna") 1 and its tentative English translation to show my interpretation of the syntax. 2 The text of its Tibetan translation (translated by Dīpaṃkaraśrījñāna and Rin chen bzang po, revised first by Jñānaśrī and Khyung po chos kyi brtson 'grus, and later by Ānanda and Lo chung) is also provided here as supporting material.

Mantra Ilmu pelet yang paling di cari karena sangat ampuh. Koleksi untuk pemikat wanita dan mencari jodoh. Tanpa puasa pantangan yang mudah ampuh manjur. Manta pelet adalah cara seseorang untuk mendapatkan orang yang dicintainya. Dengan tujuan agar mau menikahi nya, pacaran dengannya atau menjadi kekasihnya. Ilmu pelet banyak di gunakan oleh orang yang kandas hubungan asmara nya.

Phag mo gru pa received instructions from sGam po pa according to which the instructions on Mahamudra are either conferred directly on the disciple or after the disciple had cultivated the sign of warmth through such practices as the yoga of gTum mo. 'Jig rten gsum mgon inherited these instructions and taught that the realization of Mahamudra is produced through guru devotion and, based on that, the purpose of the yogas is to produce and enhance qualities for the sake of others.