10 Buddhas – Intro

The Ten Archetypal Buddhas of the Mandala – Part 4: Integration and Positive Emotion

This article is the fourth of fifteen articles inspired by the ‘Inspiration-Prayer for Deliverance from the Dangerous Pathway of the Bardo’, in which I shall be aiming to show meditators how each one of the ten deities of the Dharmadhātu Mandala can be felt in the fields of the body as profound suprapersonal sources of somatic healing and wisdom. Those who read the whole series of articles – and it is intended that these articles should be read in sequence – will be able to incorporate these reflections into their meditation practice in a systematic way. The first article in the series can be found here; and brief summaries of all the articles can be found here.

I offer these reflections without any claim to the authority of any particular tradition, or school of thought. I am adding my own personal and idiosyncratic commentary to the other commentaries that are available on the Five Wisdoms, and on the archetypal Buddhas of the Dharmadhātu Mandala, only because I believe passionately in the preciousness of this information. I cannot help feeling that there should be much more engagement with this knowledge than is evidenced on the Internet – much more discussion, reflection, contemplation and meditative self-enquiry which takes this primordial mandala as the integrated whole that it is. I sincerely hope that the thoughts that I am sharing will be supportive of this work, and supportive of those who share my love of the mandala wisdom.

In this article, I make reference to the five-fold ‘System of Practice’, that has been used, within the Triratna Buddhist Community, as a framework for thinking about the dimensions of meditation practice and the Dharma life more generally. Sangharakshita’s model originally identified Integration, Positive Emotion, Spiritual Death (i.e. Insight), and Spiritual Rebirth, as four key stages. To these four, a fifth component – Receptivity – was later added – usually as a third ‘stage’. While I am in complete agreement regarding the importance of receptivity and the need for its inclusion in the model, but I do not agree with the addition of it as an additional stage. In my own experience Receptivity is integral to the foundational Integration stage – and therefore to all the subsequent stages. The placement of Receptivity third in a series of five stages, does however reflect the reality that meditators generally come to an appreciation of the importance of Receptivity after they have been engaged with the goals of Integration and Positive Emotion for some time. It certainly fits my experience that a reframing of meditation through an emphasis on Receptivity is necessary for the sort of deepening of practice that is necessary for the emergence of the subsequent stages of Spiritual Death (Insight) and Spiritual Rebirth (Bodhicitta).

I need to acknowledge, and indeed emphasise, that where I have suggested, in these articles, that Receptivity should be given greater primacy, and have proposed that five of the ten deities can be considered to embody Receptivity are particularly supportive of the initial ‘Integration’ phase (and that the other five are more ‘expansive’ can strongly support us during the subsequent ‘Positive Emotion’ stage), this is an observation from my own explorations, and certainly goes beyond the standard interpretation of Sangharakshita’s model. I do not however, believe my suggestions are in conflict with Sangharakshita’s emphasis. I prefer to think of my ideas as a respectful engagement with his; as building on the foundation that his work has given us; as affirming the value of his original four-fold model; and as a tentative contribution to the process by which the Triratna meditation practice model is being forged in the furnace of experience.

In this article, I hope I can begin to tentatively explore how the kleshas and Wisdom energies, that I spoke about in the last article in this series (here), are located in the fields of the body, and on how we can begin to ‘hold the tension’ between those opposite groups of energies – as they appear as polarities within our bodily-felt experience in meditation practice. Each quadrant of the mandala points to an opposition between an egoic manifestation on one side, and a mysterious transcendent aspect on the other – which we can think of an aspect of our true nature as embodied Consciousness. We need to hold the tension between these opposites. By being careful not to deny the reality of either pole, while paying special attention to the ever-present somatic resonance of the transcendent reality, we begin to heal, and move towards our goal. Mandalas are complex multi-dimensional images of the many and various inherent oppositions within the psyche – which are the obstacles to our integration. Each quadrant of the mandala therefore describes a tension to be held – a polarity to be reconciled – and each axis of the mandala describes a tension to be held and reconciled also.

The Dharmadhātu Mandala as a Ten-Fold Meditation Cycle

I prefer to meditate on the ten archetypal Buddhas, not only as five apparent ‘couples’ as in the ‘Inspiration-Prayer’ – with one male-female pair representing each of the Five Wisdoms – or as five female Buddhas and five male Buddhas. Rather, I meditate first on what I have come to think of as the five ‘receptive’ deities (three female Buddhas and two male ones), and then on the five ‘expansive’ deities (three male Buddhas and two female ones). The two diagrams below, show these two groups of five deities – each with the ‘Dharmic Principles’ that I find useful for identifying the aspect of the Five Wisdoms that they personify, represent, or embody.

In the course of the articles in this series, I shall be explaining the words that I have chosen for the ‘Dharmic Principles’ and expanding upon them. There are two of these ‘Dharmic Principles’ for each Wisdom – one for each of the ten archetypal Buddhas in the mandala. The eight ‘Dharmic principles’ that are shown in the four quadrants of the two mandala are either brahmavihāras (Equanimity, Appreciative Joy, Loving Kindness, and Compassion), or are closely related Dharmic principles, which I call Qualia (Being, Embodiment, Uncaused Happiness, and Life Energy). While the Five Wisdoms are usually defined as the aspects of wisdom that arise as the emptiness of each of the skandhas is recognised, I, like many others, regard the brahmavihāras as an equally important way in to an understanding of them – and absolutely key to our bodily-felt experience of the Wisdoms in meditation. In previous articles on this website, I have already written quite extensively on each of the brahmavihāras and their related Qualia, but will be systematically examining each one of these Dharmic principles as we progress in this series of articles.

June 15, 2020

The Ten Archetypal Buddhas of the Mandala – Part 3: Resting as Consciousness

This article is the third of fifteen articles inspired by the central five verses of the ‘Inspiration-Prayer for Deliverance from the Dangerous Pathway of the Bardo’, in which I shall be aiming to show meditators how each one of the ten deities of the Dharmadhātu Mandala can be felt in the fields of the body as profound suprapersonal sources of somatic healing and wisdom. Those who read the whole series of articles – and it is intended that these articles should be read in sequence – will be able to incorporate these reflections into their meditation practice in a systematic way. The first article in the series can be found here; brief summaries of all the articles can be found here; and you can read the five verses here.

In the five central verses of the ‘Inspiration-Prayer for Deliverance from the Dangerous Pathway of the Bardo’ (you can read those verses here), we are shown the five ‘light-paths’ that lead us from ignorance to wisdom – from identification with the skandhas, and with the self-illusion, to a recognition of the ’emptiness’ of the skandhas and to the realisation of the five Wisdoms. In order to begin to explore each skandha / Wisdom light-path, I shall be describing each of the five kleshas and five Realms; and each of the five Wisdoms, and the five ‘Buddha couples’ that correspond to them.

The Vijñāna Skandha, the Klesha of Spiritual Ignorance (avidyā), and the Deva Realms

When, through spiritual ignorance, I wander in samsara,
on the luminous light-path of the dharmadhātu wisdom,
may Blessed Vairocana go before me,
and White Tara behind me.

We need to start in the centre of the mandala, with the central skandha / Wisdom light-path, which is the white light-path of the ’empty’ vijñāna skandha, which is Consciousness. In conventional egoic perception, we identify with the vijñāna skandha and personalise it – we take Consciousness to be personal. It could be said that this ignorance of the suprapersonal nature of Consciousness is the foundational klesha – the ‘spiritual ignorance’ from which all the other kleshas inevitably follow. To release this personalisation of Consciousness, and the egoic self-view idea that springs from it, is the beginning of Wisdom. When we are truly mindful, and learn to ‘rest as Consciousness’ in meditation, we are resting in the recognition that Consciousness is in fact an objective and collective reality. By ‘seeing through’ our habitual personalisation of Consciousness we begin to recognise that personal self-hood is just an illusion that we have created – an illusion that we will inevitably continue to create, and will move in an out of, until we are fully realised.

In the Buddhist texts there are two words used for this spiritual ignorance. These are moha and avidyā, and both are sometimes used in the ‘five kleshas‘ list. While the term moha is also taken to mean delusion, confusion, and dullness, or unconsciousness in general, the term avidyā is preferable, in my view, because it generally refers more specifically to the spiritual ignorance of personalising Consciousness, and to the egoic belief in a separate self.

It is clarifying to remember that the klesha of ‘spiritual ignorance’ is the deep rooted habit of egoic personalisation that is the distinguishing characteristic of the Deva Realms – and is the reason for the devas’ bondage to conditioned existence, despite their ability to dwell in ultra-refined and extremely ‘positive’ mental states. When we are talking in the context of the five-fold mandala model of mind, which crystalised during the Mahayana period of Indian Buddhism, and became the underlying structure for the Vajrayana teachings of Tibetan Buddhism, it is also helpful to think of this klesha as the ‘spiritual ignorance’ that is the opposite of the Dharmadhātu Wisdom. In other words, avidyā is that ignorance which is our failure to recognise the ’emptiness’, or non-personal nature of Consciousness – the ’emptiness’ of the vijñāna skandha. So avidyā is the klesha that leads us, when we are in the ‘intermediate state’ – the bardo between lives – to be drawn toward rebirth in the Deva Realms, rather than toward recognition of our true nature as the white light of the Dharmadhātu Wisdom, which shines from the figures of Vairocana and White Tara (originally Ākāshadhātvishvari).

May 15, 2020

The Ten Archetypal Buddhas of the Mandala – Part 2: Ten Dharmic Principles

This article is the second of fifteen articles inspired by the ‘Inspiration-Prayer for Deliverance from the Dangerous Pathway of the Bardo’, in which I shall be aiming to show meditators how each one of the ten deities of the Dharmadhātu Mandala can be felt in the fields of the body as profound suprapersonal sources of somatic healing and wisdom. Those who read the whole series of articles – and it is intended that these articles should be read in sequence – will be able to incorporate these reflections into their meditation practice in a systematic way. The first article in the series can be found here; brief summaries of all the articles can be found here; and you can read the five verses here.

Padmasambhava – The Second Buddha

I have a great love of the Bardo Thodol, or ‘Tibetan Book of the Dead’. It contains powerful truths about the nature of mind. I regard Padmasambhava, it’s author, as the second Buddha, as the Tibetan Buddhists do. I see the Bardo Thodol as a wonderful distillation of many of the essential elements of the Mahayana phase of Buddhism, at a crucial time when its Vajrayana phase was being born. While I love early Buddhism and the historical Buddha, my belief is that, if we are seeking radical transformation and self-realisation in this lifetime, our approach to meditation and insight practice benefits enormously from the incorporation of the key Mahayana and Vajrayana insights that can be found in the Bardo Thodol.

An important thing to understand about the Bardo Thodol is that we do not have to believe in it as a literal description of how rebirth takes place, to find it nevertheless, to be of the utmost value. The profound wisdom that it contains is in the form of an archetypal psychology. It speaks to us, in the language of imagery and symbolism, of things that can only be pointed to, and felt as a resonance in the fields of the body – not known objectively and conceptually.

The fact that the Bardo Thodol came to be called the ‘Tibetan Book of the Dead’ is probably unfortunate. That was the name, given to it by early Western students of Tibetan Buddhism, of the collection of Padmasambhava’s teachings that includes verses to be read over the corpse after a person has died. It is nothing like the ‘Egyptian Book of the Dead’ with which comparison was made at that time. Bardo, or more correctly the two words bar do, are Tibetan for ‘intermediate state’; and Thodol, is also actually two Tibetan words – thos, which is Tibetan for ‘hearing’ as well as ‘philosophical studies’, and grol, which means ‘liberation’. Hence a better translation of Bardo Thodol would be Liberation Through Hearing in the Intermediate State.

Padmasambhava, the ‘Lotus Born’ – also called Guru Rinpoche. This image will post to social media if you choose to share this article.

To understand the great value and importance to the Bardo Thodol, we need to understand that a bardo is more than just an intermediate state between lives – i.e. when we have died and are in the process of being reincarnated. Rather, a bardo is any moment of transition, any moment of choice – indeed any moment of Consciousness. To be truly conscious is to recognise that every moment of every life situation is a bardo – a moment of freedom and potentiality in which profound transformation is possible.

April 15, 2020

The Ten Archetypal Buddhas of the Mandala – Part 1: Three Yānas / Three Myths

This article is the first of fifteen articles inspired by the central five verses of the ‘Inspiration-Prayer for Deliverance from the Dangerous Pathway of the Bardo’, in which I shall be aiming to show meditators how each one of the ten deities of the Dharmadhātu Mandala can be felt in the fields of the body as profound suprapersonal sources of somatic healing and wisdom. Those who read the whole series of articles – and it is intended that these articles should be read in sequence – will be able to incorporate these reflections into their meditation practice in a systematic way. Brief summaries of all the articles can be found here and you can read the five verses here.

As I begin this new series of articles, I would like to express gratitude to Dharmachari Subhuti, a member of the Triratna Buddhist Order. It was Subhuti who set me on the five-fold light-path of the Five Wisdoms, when I attended a seminar on the Bardo Thodol with him in the1980s. Having said that, I should however make it very clear, that the perspective that I am presenting here is entirely my own, and is not intended to reflect any current consensus of thinking that may exist within the Triratna Buddhist Order. All I am doing here is sharing the fruits of my own enquiry – and hoping that this may stimulate others to engage in their own.

I also need to thank Subhuti for the central idea in this introductory article – the notion that the three yānas, the three phases of development of the Buddhist tradition, are like three ‘myths’, or defining frames of reference, within Buddhism – an idea which comes from a talk that he gave in 2003 (and later published online here in 2004). Once again however, I need to make it clear that I have reframed this conceptualisation somewhat, and elaborated it in my own way.

Three Ways of Relating to the Archetypal Buddhas

There is a foundational conceptual framework, which I would like to share as we embark on this exploration of the Dharmadhātu Mandala – the great Five Wisdoms mandala of Mahayāna and Vajrayāna Buddhism, with its five pairs of Buddhas. This is the three-fold conceptual framework of the three yānas. While most Buddhists will be aware of the three yānas – the three great historical phases of the development of the Buddhist tradition: Hinayāna; Mahayāna; and Vajrayāna – it is less common to see these three yānas associated with the three stages of our progressively deepening engagement with the archetypal Buddhas. This however, is a conceptualisation that I find very useful, and I would like to share it at the outset, because it not only guides us in our evolving relationship with the mandala deities; it also guides us in our deepening familiarity with mind and Consciousness, as we progress in our meditation practice.

Essentially there are three ways of relating to the mandala deities. Firstly, we can think of them as personifications of the various extremely positive characteristics of Enlightenment – as personifications of the various aspects of Enlightenment, which we aspire to, and would like to cultivate in ourselves. This perspective, we can say, is an expression of the attitudes of striving and idealism that we associate with early Buddhism – with the stage that the later Mahayāna (the Greater Vehicle) came to call the Hinayāna (the Lesser Vehicle). I do not really like this pejorative and somewhat disdainful characterisation – especially as the spirit of the Mahayāna and Vajrayāna phases are clearly discernible in the Pali records of the Buddha’s life and teachings. The term Hinayāna does however, allow us to make an important distinction. It denotes a set of more limited cultural attitudes and psychological frames of reference in which the later elements of Buddhist tradition (i.e, the Mahayāna and Vajrayāna elements) although they are present in a germinal form, are not yet so fully explored and articulated.

In the second, Mahayāna, phase, we can think of the archetypal Buddhas as existing objectively ‘out there’ in the universe – in a very real but non-material world beyond this material one in which we exist. The popular Mahayāna world-view of many ethnic Buddhists in the east, appears to see the archetypal Buddhas in a personalising way – as if they are divine persons. The more accurate and more sophisticated understanding within Mahayāna tradition however, sees them as ’empty’ and non-personal. In the terminology of modern psychology, we can say that the Buddhist deities exist as archetypes within the collective psyche. Although we encounter them subjectively and inwardly, the more we familiarise ourselves with them, the more we naturally come to think of them as objectively existing archetypal realities. When we say that they are archetypal, we mean that they are beyond the egoic mind but at the same time are not separate from us at all. Indeed they are personifications of our most essential nature.

Through the Buddha’s invitation to recognise that all things are insubstantial and ’empty’, we come full circle. The idealisation of the Hinayāna and the projection of the Mahayāna are resolved as we recognise that all things are ‘appearances’. The Vajrayāna perspective, deeply rooted as it is in the recognition of Emptiness (shunyatā), acknowledges that while these archetypes appear as objectively existing beings ‘out there’ in an objectively existing imaginal realm, they also show us, in the language of imagery and symbolism – in the language of archetypes – of a profound universal psychology. Indeed, as I am hoping to outline in the course of this series of articles, the mandala arrangement of archetypal Buddhas that we find in Tibetan Vajrayāna Buddhism describes the way Consciousness (the ’empty’ vijñāna skandha) unfolds into four cognitive-perceptual functions, whose relationship with each other has a mandala structure. Further to this, the mandala deities lead us into the mystery of how those archetypal energies find somatic embodiment in us as bodily-felt experience.

Just as the Mahayāna perspective is a natural extension of the Hinayana one, so the Vajrayāna is a natural extension of the Mahayāna view. I shall be trying to characterise it in more detail below, but very briefly we can think of the Vajrayāna as a perspective that sees the archetypal Buddhas as personifications of energies of Enlightenment that already exist in some way, embodied within ourselves – albeit obscured by the energies of the egoic mind. The Vajrayāna is concerned above all with deep transformation, and with the energetic and bodily-felt processes by which we come to know our true nature – the Buddha within – and begin to recognise that the play of the Transcendental is ever-present, and indeed immanently present, in Consciousness, and in this world.

The Three Yānas as Aspects of the Bodhisattva Archetype

So, the Buddhist tradition presents three somewhat different perspectives on meditation practice and on the spiritual life – and there is great value in taking the Buddhist tradition in its totality, and therefore developing the ability to move easily between these three perspectives, understanding the way they fit together into a whole. It is also important for us to be fully cognisant of which conceptual perspective we are thinking from, or thinking within, at any one time – and to recognise that each of those perspectives lacks comprehensiveness and objectivity when taken on its own.

March 15, 2020