The Dakini Principle: What Is A Dakini and What Can She Do For You? ( Extensive Reading. )
Dakini is a Sanskrit term, Khandro is its Tibetan equivalent, it means "Sky-Goer". Dakinis are portrayed in female form and their male counterparts are known as Dakas. There are two types of dakinis â€“ the Wisdom Dakini and the worldly dakini. Worldly dakinis are the ones still trapped in the cyclic existence and are found in the human and well as the celestial realms. They can take a beautiful or a demonic form. For example, the originally evil five Tseringma sisters were tamed by Guru Padmasambhava into Dharma protectors. A female practitioner who has attained some insights but not yet fully liberated from samsara is also considered to be a worldly dakini.
Wisdom Dakinis are the enlightened ones, such as Vajra Yogini, Tara and Samantabhadri. They are also portrayed as female consorts of the male Buddhas and Bodhisattvas.
Dakini is a source of refuge. Besides taking refuge in the Three Jewels (Buddha, Dharma and Sangha), we also take refuge in the Three Roots (Guru, Yidam and Dakini): Guru as the root of blessings because he or she will guide us to attain enlightenment; Yidam as the root of accomplishment because through the skilful method of practicing on an Yidam or tutelary deity, one will realise the nature of his or her own mind; Dakini as the root of all enlightened activities since Dakini represents primordial wisdom.
Dakini is associated with spaciousness, therefore has the ability to give birth to limitless prospects of enlightened activities which can be grouped into four: pacifying, enriching, magnetising and destroying. Dakini also embodies the union of emptiness and wisdom. There is nothing more than this.
Many people associate the principles of Dakini with physical beauty or physical attractions of a woman, however this is not the ultimate meaning. A Dakini has the ability to move freely in the space, a space which is beyond thoughts and beyond fabrications. This is the state of awareness which is under control, stable and yet free. Everyone has the ability and the potentials to realise the Wisdom Dakini principles or nature within oneself.
Although dakini figures appear in Hinduism and in the Bön tradition, dakinis are particularly prevalent in Vajrayana Buddhism and have been particularly conceived in Tibetan Buddhism where the dakini, generally of volatile or wrathful temperament, act somewhat as a muse (or inspirational thoughtform) for spiritual practice. Dakinis are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.
Dakinis, being associated with energy in all its functions, are linked with the revelation of the Anuttara Yoga Tantras or Higher Tantras, which represent the path of transformation, whereby the energy of negative emotions or kleshas, called poisons, are transformed into the luminous energy of enlightened awareness (jnana) yielding rigpa.
When considered as a stage on the Vajrayana Path, the dakini is the final stages: the first is the guru, which corresponds to the initial realization of the true condition of reality, as this is introduced by the guru in the empowerment, if the disciple obtains what the Inner Tantras call peyi yeshe. The second is the devata, which corresponds to the meditation insofar as the devata is the method we use for developing the state discovered in the initial realization of the true condition of reality. The third stage is the dakini insofar as the dakini is the source of the activities based on the realization of the guru and the meditation of the devata. In Dzogchen these three correspond to tawa, gompa and chöpa: the first is the direct Vision of the true nature of reality rather than an intellectual view of reality, as is the case with the term in other vehicles; the second is the continuity of this vision in sessions of meditation; and the third is the continuity of this vision in the everyday activities. As a tantric practice, imperfections are utilised to make the vision uninterrupted. As the Base, the dakinis are the energies of life; as the Path, they are the activities of advanced practitioners; as the Fruit, they are the actionless activities of realized Masters.
According to tradition, a Dakini gave a black hat to the third Karmapa, Rangjung Dorje (1284–1339), when he was three years old. The Black Crown became the emblem of the oldest reincarnating Tibetan lineage.
In Hinduism the term Dakini has often negative associations. From the ninth through at least the thirteenth centuries, there was an active cult of dakinis, usually called yoginis in India today. The dakinis are the guardians of the deeper mysteries of the self, and it is through them that the secrets of inner transformation are opened. The Ranipur-Jharial Temple in Orissa, India, contains stone carvings of sixty-four dakinis, ancient symbolic representations of the female principles of intuitive wisdom. At least nine yogini temples have been discovered so far. There is a distinction among the terms goddess, shakti, yogini and dakini, shakini though in general conversation it is blurred and the terms are used interchangeably. A dakini is a Tantric priestess of ancient India who "carried the souls of the dead to the sky" They are timeless, inorganic, immortal, non-human beings who have co-existed since the very beginning with the Spiritual Energy.
In Japanese Buddhism
Dakini-ten in Japan (She always appears in the form to have ridden on white fox.) 1783
During the decline of the Heian period, the Dakini image was mixed together with images of foxes and half-naked women, acquiring the names Dakini-ten (Dakini-deity, ?), Shinko?-bosatsu (Central Fox Queen-Bodhisattva, ??), and Kiko-tenn? (Noble Fox-heavenly Queen, ?). In the Middle Ages the Emperor would chant before an image of the fox Dakini-ten during his enthronement ceremony, and both shogun and emperor would pay honors to Dakini-ten whenever they saw it. Although Dakini-ten was said to be a powerful Buddhist deity, the images and stories surrounding it in Japan in both medieval and modern times are entirely drawn from local kitsune mythology, having no parallels in China or India. The modern folk belief, often printed in Japanese books about religion, is that the fox image was a substitute for the Indian jackal, but the jackal is not associated with Dakini anywhere. It was a common belief at the time that ceasing to pay respects to Dakini-ten would cause the immediate ruin of the regime. Likewise, in the Genpei J?suiki it is claimed that Taira no Kiyomori met a kitsune on the road and that his subsequent performance of Dakini-ten rites caused him to rise from an unimportant clan leader to the ruler of the entire nation.
In early modern times the Dakini rite devolved into various spells called Dakini-ten, Izuna, and Akiba. People who felt wronged in their village could go to a corrupt yamabushi who practiced black magic, and get him to trap a kitsune and cause it to possess a third party. Reports of possession became especially common in the Edo and Meiji periods.
Eight Bodhisattva Dakinis
The Bardo Thödol speaks of eight female Bodhisattvas appearing in groups of two during the 2nd to 5th days of the bardo.
The deities in question, listed according to their appearance, have the following names:
Lasya, who rules the human sense of vision and draws all eyes toward her by performing dance and mudra (1). Thus she is seen as the divine archetype of the female temptress, displaying the physical beauty, dignity, majesty and seductiveness of the feminine principle.
Pushpa (Skt., puspa, "flower"), the Goddess of flowers and the natural environment as well as the Bodhisattva of vision and sight.
Mala, the Bodhisattva of adornments, necklaces and garlands
Dhupa, the Goddess of air, smell and scent who carries and burns wonderful incense
Gita, the Bodhisattva of singing and chanting
Aloka, who carries the torch of boundless white light
Gandha, Goddess of feelings carrying an essence made of herbs, representing sensory perception
Naivedya or Nartya, who offers the nourishment of meditation that is necessary for skillful action
These eight goddesses are associated with the eight male Bodhisattvas, with who they are frequently shown in sexual union, more precisely in the yab-yum position.
The fierce aspects of the eight deities are known as Eight Phramenma.
Dakini loosely translates as "sky-dancer" or "walker in space" from Sanskrit. The dakini represents complete freedom. As a female Buddha she symbolises enlightened energy.
A Dakini is a Tantric priestess of ancient India who "carried the souls of the dead to the sky". This Buddhist figure is particularly upheld in Tibetan Buddhism. The dakini is a female being of generally volatile temperament, who acts as a muse for spiritual practice. Dakinis can be likened to elves, angels, or other such supernatural beings, and are symbolically representative of testing one's awareness and adherence to Buddhist tantric sadhana.
According to legend, members of the Indian royal castes and the wealthy nobility brought their deceased to the far North to visit the Shrine of the Dakini (located at the foothills of the Himalaya). Other legends mention a Tibetan myth which says dakini first appeared in a remote area "pure of man".
Dakini are timeless, inorganic, immortal, non-human beings who have co-existed since the very beginning with the Spiritual Energy. In some New Age belief systems, they are angelic. This New Age paradigm differs from that of the Judeo-Christian by not insisting on angels being bona fide servants of God.
Moreover, an angel is the Western equivalent of a dakini. The behavior of dakini has always been revelatory and mysterious; they respond to the state of spiritual energy within individuals. Love is their usual domain - one explanation for dakini or angels supposedly living in the sky or heaven. Manifestations of dakini in human form occur because they supposedly can assume any form. Most often they appear as a human female. By convention, a male of this type is called a 'daka'.
In Tibetan Buddhism and other schools closely related to Yogacara and Vajrayana practises, a dakini is considered a supernatural being who tests a practitioner's abilities and commitments. Many stories of the Mahasiddhas in Tibet contain passages where a dakini will come to perturb the would-be Mahasiddha.
When the dakini's test has been fulfilled and passed, the practitioner is often then recognised as a Mahasiddha, and often is elevated into the Paradise of the Dakinis, a place of enlightened bliss. It should be noted that while dakinis are often depicted as beautiful and naked, they are not sexual symbols, but rather natural ones. There are instances where a dakini has come to test a practitioner's control over their sexual desires, but the dakini itself is not a being of passion. Tantric sex may involve a "helper" dakini - a human female trained in Tantra Yoga - or an "actual" dakini. Both increase the level of erotic pleasure for the sexual participants by helping them focus on a non-physical state of spiritual joy and the physical pleasure of sex at the same time.
Iconographic representations tend to show the dakini as a young, naked figure in a dancing posture, often holding a skull cup filled with menstrual blood or the elixir of life in one hand, and a curved knife in the other. She may wear a garland of human skulls, with a trident staff leaning against her shoulder. Her hair is usually wild and hanging down her back, and her face often wrathful in expression, as she dances on top of a corpse, which represents her complete mastery over ego and ignorance. Practitioners often claim to hear the clacking of her bone adornments as the dakinis indulge in their vigorous movement. Indeed these unrestrained damsels appear to revel in freedom of every kind.
There is a connection between Dakini goddess energies and all of creational feminine dieties.
Some people believe the Dakini language is linked to that of Atlantis - the trilling of the high priestesses in the language of Vril.
Dakini is the Goddess of Life's Turning Points. Distillations of archetypal emanations, the Dakinis represent those essence principles within the self which are capable of transformation to a higher octave. Dakinis are 'sky dancers,' heavenly angels devoted to the truth (dharma), woman consorts of and partners with the god-creators of India and Tibet. Dakini serves as instigator, inspirer, messenger, even trickster, pushing the tantrika (aspirant) across the barriers to enlightenment.
Dakini's wrathful aspect is depicted by the mala of skulls. Her peaceful aspect is depicted by the lotus frond. Like Hindu goddess Kali, her role is to transmute suffering. Her left hand holds high the lamp of liberation. Dakini represent the sky being a womb symbol connoting emptiness, creativity, potentiality. They are objects of desire and also carriers of the cosmic energies that continually fertilize our human sphere. Dakinis bring us pleasure and spirituality. They provoke the enervating lust that brings life into being. They are poetic and cosmic souls, put here to tempt us to spirituality.
It is said that the Dakinis have the power to instantly entrap mere mortals with their gaze. The mirror of your mind is the mysterious home of the Dakini - your right brain - your feminine side. The secret Dakinis guard the deeper mysteries of the self. Representing upsurging inspiration and non-conceptual understanding, Dakinis invite you to cut free of all limitations. They are unconventional, unexpected, spontaneous, dancing in great bliss, at one with divine truth. In the eastern tradition, a cycle of 64 Dakinis/Yoginis represents a complete cosmogram for the transformation of the self, embodying the total energy cycle of creation as depicted by the dance of Gnosis, the wisdom and energy of the divine feminine. In representing this complete cycle we have the opportunity of evoking not only the Goddess, but of manifesting the totality of the Great Goddess herself.
Yogini/Dakini temples flourished in India around the 9th through the 12th centuries. Erected in remote places, especially on hilltops, the temples were circular enclosures open to the sky. Around the inner circumference were 64 niches which housed exquisite stone carvings representing various aspects of the Goddess energy, creating a circular mandala around a central image of Shiva, symbol of Cosmic Consciousness and the one-pointedness of yogic discipline.
They are usually depicted as dancing which indicates they actively participate in the world or in the spiritual world,or in the spiritual in both Nirvana and samsara.Dakini represent manisfestation of energy in female form.The movement of energy and space indicates Shunyata. The Dakinis are much associated with the revelation of higher tantras. which represent the path of transformation.The Dakinis grant karma,siddhis or magical powers that are of a more worldly purpose.They manifest in visions,dreams and meditationed experiences.
Herukas in tantric union with their five dakinis. Their purpose is to annihilate the five principal failings of human behavior (ignorance, hatred, pride, passion, and envy) while the five dakinis enlighten the five elemental realms (earth, water, fire, air, ether). All of them have three heads, six arms, and four legs and are adorned with crowns of skulls and skull-necklaces. They are usually depicted in paintings with wings of the garuda bird, a mythical bird that symbolizes the power to overcome evil.
1. Buddha-Heruka - appears in the center with his smoky-white dakini Krodhesvari. This wrathful Heruka is an emanation of Buddha Vairocana, manifesting himself in a terrifying flaming form. In his right hands he carries a long-handled axe, a flaming sword, and the wheel of the teachings; in his left, a kapala, a ploughshare, and a bell.
2. Vajra- Heruka (dark blue ) – appears in the east with his dakini Vajra-Krodhesvari
3. Ratna-Heruka (yellow) –appears in the south with his dakini Ratna-Krodhesvari
4. Padma-Heruka (red) – appears in the west his dakini Padma-Krodhesvari
5. Karma-Heruka (green) – appears in the north with his dakini Karma-KrodhesVari
In general, the Buddhist term “Dakini” can be taken to mean goddess. In the Tibetan language this Sanskrit term is translated as Khandroma (mkha’-‘gro-ma) meaning “she who traverses the sky” or “she who moves in space.” Dakinis are active manifestations of energy. Therefore, they are usually depicted as dancing, this also indicating that they actively participate in the world, or in the spiritual perspective, in both Samsara and Nirvana. In the Tantric Buddhist tradition of Tibet, Dakinis basically represent manifestations of energy in female form, the movement of energy in space. In this context, the sky or space indicates Shunyata, the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations. And the movements of their dance signify the movements of thoughts and the energy spontaneously emerging from the nature of mind. Being linked to energy in all its functions, the Dakinis are much associated with the revelation of the Anuttara Tantras or Higher Tantras, which represent the path of transformation. What is transformed here is energy. This method is quite reminiscent of alchemy, the transmutation of base metal into pure precious gold. In this case, the energy of the negative emotions or kleshas, called poisons, are transformed into the luminous energy of enlightened awareness or gnosis (jnana).
One Buddhist Dakini originating from the country of Uddiyana is the goddess Kurukulla. The name Kurukulla is translated into Tibetan as Rigjyedma (rig-byed-ma), “she who is the cause knowledge.” She is associated with a king of Uddiyana named Indrabhuti. But there were at least three Indrabhutis and this is most likely the second one. Moreover, there exists a sadhana text attributed to him for the red Kurukulla in her eight-armed form.  But whether she had eight arms or four arms, she is generally known as the Uddiyana Kurukulla. Most modern scholars believe this indicates that Kurukulla was originally a tribal goddess, much like the Hindu goddess Durga had been in India, who later, because of her popularity, became associated with the Buddhist great goddess Tara. For this reason, Kurukulla is often called the Red Tara (sgrol-ma dmar-po) or Tarodbhava Kurukulla, “the Kurukulla who arises from Tara.”
Generally they are called sky travellers - sounds like space travel in this modern age is not something new.
Kurukulla, the "Enchantress"
A diety exists in Hindu and Buddhist Tantra who is often invoked in works of subjugation, enchantment and magnetising people to you. Her name is Kurukulla (pronounced "Koo-roo-koo-lay" according to Jason Miller). In Buddhism she is an aspect of Tara who is often called the "Red Tara" and is considered the heart of Tara herself. In Hindu Tantra she is said to contain the energies and presence of the Mahavidyas Tara, Tripura Sundari (in her maiden form as "Bala Tripura Sundari") and Matangi. She is the combined energy of these three goddesses. Many Tantriks also believe that she is an aspect of the Mahavidya Chinnamasta. The *Lalita Sahasranama Stotram* mentions her name as one of the many names of the goddess Lalita Tripurasundari and in the Sri Vidya Tradition she is associated with the energies of the Full Moon. The Tantraraja Tantra gives a theory of 15 Lalita Nityas which are energy rays of the goddess Lalita connected with the lunar phases and Tara Kurukulla is said to be the mother of these energies. In the Shaktisamgana Tantra she is the fourth Nitya and a mantra is given for her.
"Kuru means "harsh sound," and kulla means "family." Her name derives from her place of residence, Kurukulla Mountain. She was originally an Indian tribal deity, and was also assimilated into the Hindu religion as well. She is a voluptuous sixteen year old girl who is often depicted as having red skin and two pairs of arms. She carries a bow and arrow similar to Cupid's and wears a necklace made from the fifty severed heads of the fifty negative emotions she vanquished. And she is always dancing."
Kurukulla is also popular with those who are seeking a job as she can make you stand out during an interview process and create conditions wherein you are likely to get hired or promoted.
[ "The goddess is usually shown in her usual four-armed form, dancing in ardhaparyankasana and adorned with crown of skulls, necklace of severed human heads, and the bone ornaments. Her upper left hand bears her standard attributes of the drawn bow and arrow, with the bow in her left, or wisdom hand. The right hand counterpart of method is shown pulling back the bowstring. Her one right hand holds a summoning arrow or hook and flower noose or string in her left hand. Iconographically the bow and arrow are key symbolic implements referencing the goddess's subjugating qualities. When shown preparing to shoot, they are understood to be combining wisdom and method to aim the power of that union straight into the enemy's heart. The arrow serves to transfix false views, while the bow shows mastery over the three realms. When bow and arrow are adorned with or created from flowers, as found in Kurukulla's standard iconography, it alludes to the destruction of Kamadeva, the Hindu god of passion, who after shooting arrows at the meditating figure of Shiva was burnt to ashes by his wrath-filled gaze." ]
[ Quoted from: http://lkcie2.blogspot.com/ ]
I first learned of Kurukulla years ago in India from a Tibetan Buddhist Tantrika of the Sakya lineage who had made an altar to her in her home. She told me about Kurukulla and explained that she had worked with her for over 30 years and had been blessed and protected by her through these years. She was in her late sixties but was very charming and I would even dare to go so far as to say she was alittle "sexy". She had something about her that was captivating and a youthful appearance and demeanor despite her elderly years. I enjoyed her company immensely and we would have wonderful conversations over tea. Sometimes I would even forget I was speaking to an old lady and it felt like I was spending time with a high school sweetheart. Nothing untoward happened between us, but she had truly captivated me with her presence.
Years later I read some references to Kurukulla in some Hindu Tantras wherein I learned that she was also a Hindu goddess. At the time I was not as interested in the arts of enchantment, feeling to myself that women were probably more suited to exploring those arts. Later on I learned that there were just as many men as women who practiced these arts and they were in high demand by those who were seekers in Tantra. There were several Tantrik sadhana texts specifically dedicated to her, and some Buddhist masters specialized in her practices and empowerments. A couple of years back or so I read a wonderful article by Vajranatha (John Myrdhin Reynolds) which explained about the Tantrik magical traditions surrounding Kurukulla and I was captivated by it. You can find the article on this site: http://vajranatha.com/teaching/Kurukulla.htm
I also learned from Jason Miller's book *The Sorceror's Secrets* of a simple method to work with her and I started doing so at the time. I have found Kurukulla to be a very useful goddess in many respects. She has helped me to perform all types of workings involving enchantment and subjugation. I have learned that not only can she create passion she can also help you subjugate it so you can control your emotions and lusts. She is not only a goddess of passion but can also guide you to enlightenment and liberation. Afew months back I received her empowerment from a Buddhist Lama to work with her as well as guidance from my Guru about her practice in Hindu Tantra. Recently a ritual text called the *Arya Tara Kurukulla Kalpa* was translated by the 84,000 project which is working on translating many Tantrik texts. I have been awaiting this translation for some time as this ritual manual gives many of the magical practices of Kurukulla. You can find it on this site:
Kurukulle, Archetype of Compassionate Activity
Falling in Love with the Dharma
Where can I go between the pleasure and the pain of it – between sentiment and horror-shock, indifference and anxiety? When I see you suffer, should I suffer? Would that help? Or would it help if I felt nothing, and just got on with life?
No, and no; but then what would help? If I also vibrate with what you feel, I know it helps, but still it hurts. Can anything be done about pain - beyond having sympathy, or maybe living differently?
I don’t think so, unfortunately. But understanding this does change the space where the great mass of dissatisfaction happens. Suddenly there isn’t anything to stop me giving whatever I have, and that’s all anyone can ever do.
Suffering is in everything. No experience, no deed is ever totally satisfactory. What we all need is a creative response to all this suffering – our own, and others’. We can all be overwhelmed by it. Being overwhelmed by suffering is generally very far from being an insight experience. Yet it could induce transformative insight if we could be overwhelmed in a different way – as was Avalokitesvara who fell apart like Humpty Dumpty when he saw how impossible it is to save all beings from suffering. Yet from the shattered remains arose a thousand arms tooled, equipped with wisdom eyes, and ready to go into action.
Kurukulle is another archetypal image that represents insight springing from great compassion. Like the whole great gang of Bodhisattva forms, like Avalokitesvara, Vajrapani and Manjusri, she is a pop cartoon image, carrying a powerful message about how we could all be if we were enlightened. On a mega scale, Kurukulle embodies positive response to suffering. She is a dancer. She dances wild in a cremation ground, wearing bones. She is young and gorgeous and draws all beings to her irresistible allure. In Tantric Buddhism there are four ritual forms: the yellow prospering or maturing rite, the white pacifying and calming rite, the black destroying rite, and the red rite of fascination. Kurukulle is about the fourth of these. She is red, very red and her beauty hypnotises and magnetises all beings. She holds flowery weapons, especially a flowery bow with which she fires love arrows into all beings’ hearts, causing them to fall in love with Dharma.
Yes, this is another Buddhist fantasy. Yet it represents a truth: the life of full awareness is profoundly joyful, and suffering can be overcome! You really can dance in the midst of death and darkness! These fantastic images represent a spirit we can partake of if we take them into our hearts. We can meditate upon them. They represent the innate Buddha nature that can be brought to life in us.
The question for us, of course, is how we can even approach such an extraordinary place. We need to fall apart and be put back together differently.
The two main avenues of practice, roughly covering 'falling apart' and 'total renewal' are that of wisdom and that of compassion. The path of Wisdom explores non-self. You see that ‘self’ is a fantasy based on a fundamental misreading of experience. Our experience of self is there all the time as normal. Even a Buddha has one, but he or she doesn’t think it has some kind of special existence. Non-Buddhas like us take it very seriously indeed – as something fixed, real and so important that our whole life is geared around it. But self is just one frame of the movie of our lives. It is just a snapshot reading, a bundle of ephemeral memories, wants and fears happening at the moment. And the view that it is fixed (as me, mine, myself) is the root condition for all our worst suffering. By that I mean all the suffering we add on to the circumstances we cannot avoid. It is usually the worst suffering by far.
Wisdom practice sees this in meditation and lets it go. Wisdom can be there in action too: try giving up a few preferences and being less me, me, me – it is liberating. Well, it is liberating if one does it clean and straightforwardly. It is not if one does it out of duty or to please the group. That is just me, me, me in another form.
Five Wisdom Dakinis
The designation Wisdom Dakinis refers to five major Dakinis who appear in the Bardo Thödol during the first five days in the bardo, one on each successive day and each in inseparable union with one of the five Sambhogakaya Buddhas. Just who appears in union with who varies in different accounts.
Sometimes, with the Tibetan ye-shes translated as 'awareness' rather than 'wisdom', these goddesses are called Awareness Dakinis. They are regarded as emanations of Vajravarahi, who in turn is an aspect of the Vajrayogini.
On a human level, these dakinis are believed to have manifested as the five women who practiced the teachings together with Padmasambhava, including the most secret exercises. Erroneously and unfortunately, both these major goddesses and their human incarnations are often reduced in importance by simply calling them the Five Consorts.
The Buddha-Dakini Akashadhatvishvari appears on the 1st day at the Center, in union with Vairocana. Her color is white and her element ether; she represents the Wisdom of Universal Law. (or with either Ratnasambhava or Akshobhya).
The Vajra-Dakini Locana appears on the 2nd day in the East, in union with Aksobhya. Her color is blue and her element water; she represents the Wisdom of the Mirror. (or with Vairocana in the East).
The Ratna-Dakini Mamaki appears on the 3rd day in the South, in union with Ratnasambhava. Her color is yellow and her element earth; she represents the Wisdom of Equality. (or with Akshobhya in the Center).
The Padma-Dakini Pandaravasini [Pandara] appears on the 4th day in the West, in union with Amitabha. Her color is red and her element fire; she represents the Wisdom of Distinction & Discernment.
The Karma-Dakini Samayatara [Samaya Tara] appears on the 5th day in the North, in union with Amoghasiddhi. Her color is green and her element air; she represents the Wisdom of Action & Accomplishment.
More interesting trivia (in point form)[/b[/color]]
1. Generic Sanskrit name for a type/group of female deities the number of which is said to be 100.000 myriad's. They appear in both Hindu and Buddhist myths, iconography and scriptures; usually sky-clad - i.e. bare.
2. In popular Indian folklore, a dakini are regarded as semi-divine beings and is often seen as a malignant spirit, demoness or witch-like hag.
3. In Buddhist Ladakh, dakinis enjoy a much better reputation than in India. Here, for example, 500.000 of them are invited to a celebration of marriage in order to bestow their blessings and good fortune on the young couple; a custom still alive today.
4. In some cases, Dakini is the personal name of an individual goddess, as in the case of an attendant of Chinnamasta, as well as in case of the goddess ruling the Muladhara Chakra.
5. In Vajrayana, it is a designation for the wrathful and semi-wrathful female deities among the yidam. Although most of the translated literature uses the Sanskrit term - even in Tibetan texts - the Tibetan khadroma (khandro) is much more woman-positive; indicating these deities/women as females who move on the highest level of reality. Their nudity is said to symbolize the diamond-like clarity of the truth they unveil. In the Bardo Thödol, a dakini is defined as the feminine energy principle, associated with knowledge and intelligence, which may be either destructive or creative.
6. In yet other instances, dakini is used as an honorary title for an enlightened woman, a living incarnation of a goddess; and for female initiates practicing ritual sexuality. These "Female Buddhas", as research has shown, have been very instrumental in defining and spreading the Vajrayana teachings, although the credit for this has often gone to male practitioners and/or masters.
7. In Tibet, Dakini is also a personal name.
We must certainly not be misled by those authors who simply call a dakini an 'emanation' or 'consort' of Buddha So-and-so. Although Buddhist Tantra ascribes a less energetic dynamism to the female pole than does Indian Tantra, the dakinis are certainly equal - if not superior - to the male deities. In the context of the Tantric teaching that enlightenment, wisdom and liberation are achieved through a fusion of method and goal, it is the goal that is seen as the female aspect (the dakini) and the method/path as the male (see Inner Tantras).
Sometimes a Wisdom Dakini appears in the realm of visionary enjoyment (sambhogakaya) to initiate a yogin at the propitious moment. If his capacity for creative imagination is sufficiently developed he sees her in a vision before him, otherwise he may hear a voice or simply see her and hear her in his mind's eye - the result is the same. Sometimes the Dakini is embodied; the mundane or worldly Dakini often appears as a whore or a dancing girl to the itinerant yogin - in Tibet and Nepal, and perhaps India, drinking establishments and brothels were identical, and the hostess would be the madam.
This identification of woman with the Dakini shows the thorough-going non-duality of Tantra - every woman was the Dakini; even though she may lack experiential recognition of it and never have heard the name, still she is the tantrika's Dakini: even without beauty and intelligence, every woman is an immaculate, entrancing Dakini, the embodiment of wisdom.
For one siddha the Dakini was his mother, and for another she was a young girl. The Dakini Guru is clearly most capable of empowering a yogin to practice the fulfillment mode of meditation by uniting with him as insight to his skillful means, and this happens frequently.
All references: http://www.dorjeshugden.com/forum/index.php?topic=2149.0
WHAT IS IT THAT I DO?
I am a Dakini. A Dakini is a tantrically trained priestess. My session incorporates massage with elements of traditional tantric practice. Using both deep pressure, similar to Swedish, and extremely light touch, I channel all sensual energies to be free flowing and constant. I incorporate aromatherapy, sensory objects, tantra tools, hot oils, tantric yoga, tantric meditation and body treatments to free up any repressed or blocked sexual energy and re-route it to be free flowing and full so that one may achieve heightened sensations by engaging ALL of their senses and as a result receive longer or multiple orgasms. This can only be accomplished once the chakras are free flowing and relaxed.
The differences of these processes for men and women are this: most men have comprised a sexual blueprint that engages themselves to become aroused simply by visual means only, rarely tapping into the multiple of ways of prolonging the arousal stage. Most women are unaware of the multiple ways to which a man's body is capable of receiving pleasure besides the obvious. To many men and women, the body and all of its sensual components are still mysteries. We, as a westernized culture, are not taught properly how to use it, and in most cases are actually repressed and discouraged from exploring it. We have our preferred blueprint to sexuality and are frustrated when things do not continue to thrive beyond our stage. This is what tantra can do for you: it can teach you how to re-program your sexual blueprint and allow you to fully become the sensual being you were meant to be. It is a blend of sacred sexuality, the Kama Sutra teachings, modern psychology, and eastern philosophy. By becoming MULTI ORGASMATIC, you can have increased energy and stamina . Tantra is a divine practice. You must treat yourself as a divine person. There are plenty of informative articles you may read about on this web site regarding the specifics of what Tantra and the sensual arts are, but you can only learn them beyond a certain realm by sharing it directly with someone. I hope that upon reading through this web site, you will feel inspired to want to move to the next step and actually try Tantra with me! It is a beautiful art form and I am happy to be called your goddess.....
A BEAUTIFUL GIFT BELOW:
You’ve been on my mind for a long, long time.
You. And me. Us.
Is there an “us”, or am I alone here?
My feelings for you are getting increasingly stronger. Yet strongly, I’ve kept them hidden away, unable to trust. But now, now I have faith. There is no turning back, there is only you and me, for ever. I can’t keep it inside any longer. It’s time.
I love you.
My dear friend. There is nothing compared to your beauty. The way you smile, the way your eyes meet the world, meet life. Your laughter. Your body. Your entire being. There is something remarkable about you. Something unique. Unlike anyone I’ve ever met, or ever will meet. You shine. You simply shine.
I love you when you get up in the morning. When you can’t sleep at night. I love you when you haven’t yet had your coffee; I love you when you’re a grumpy old fart; I love your temper. I love the stormy winds. And I love your calm.
When you don’t see me seeing you.
I love your scars and your story. I fall and I fall for you, for your way of getting up again and again. And yet again.
It is rough, I know it is. I don’t take you for granted. Life does sometimes feel like a battle. Being human is not always a graceful dance, and still your very steps are the ones bringing you to where you are today. Full of experience, of value. I love you for who you are.
You are the one I love! When you overachieve to prove your self-worth—I love you.
When you’re filled with shame and you try to hide it—I love you.
When you’re beaten down and have nothing left to give, least of all to yourself—I love you.
When you hit all your chords and break through the box you thought you were in—I love you.
When you go to bed after an ordinary, unsensational day—I love you.
It’s time, and it most likely always was. It was just me. I tend to forget what matters. I looked at everything else as important, and I started running, and I ran and ran and ran. But I never won. And now, when nothing is left to loose, nothing is neither left to win.
There is only you and me. There is no turning back.