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Vajra Yogini appears as the leader of Salvation Army Band, and she plays the tambourine as she marches through the streets. She is followed by devotees playing drums and trombones, and the world shakes to the drum beats. She throws off her uniform, and marches to the graveyard dressed in red veils and bone ornaments. She takes a staff with a skull on its top and hits the ground. The earth opens and rivers of life and death flow in the moonlight.

She says,

The Buddhism which focuses on dissolution is found in the Nirmanakaya (material world). The Buddhism of creation is a specialization of the Sambhogakaya. Beyond both is the clear light of the Void, the Dharmakaya which is the source of both. All flows from it and returns to it.

Dependent origination is a circle, but radiant emanations of creation Buddhas shine in all directions. The vajra orients the seeker in time and space showing directions, thus the image which is the theme for these writings. It teaches inner travel to the yogi and yogini, and I am the travel agent giving out tickets and keys to the vehicles that permit travel.

The universe is more than suffering leading to annihilation of the self. It was created for beauty as well as pain, though the bhava [or deep emotion] of tragedy is a powerful one. Rebirth and redeath are part of the horizontal axis of experience.

The vertical axis is transcendence of time and space, and entrance into the worlds of the spirit. There are more than six worlds, indeed there are millions upon millions. But the six [classical Buddhist realms] have a special gravity to them, that binds the soul that lacks a Yidam or guide. It is no wonder that people wish to escape.

The infinite worlds are not black and white. They have more colors than skies full of rainbows. Grim and austere yogis reject the colors and beauty, and their world becomes a place of shadows. But those who seek to understand creation instead of rejecting it can learn the ways of the deities in filling the worlds with forms.

I can be understood as form or formlessness. I can appear through traditional iconography, or I can create new and interesting bodies and roles. Traditional imagery is safe and boring, and people who use it can find the gates [to mandalas or paradises] and use the mantric keys. But new forms bring me alive. I am filled with enthusiasm and creativity, and more inclined to bless worshipers with new knowledge. I dive into the storehouse of cosmic form, and who knows what I will come up with next?

Through interaction with human beings, I dive into cultural memory and wear forms of history and humor and irony. They are masks which express emotion, and images that dance on the stars.

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Introduction | Methodology - Participant/Observer | The Bodhi Tree Sadhanas | Vajra Dakini Discussion | Vajra Dakini Commentary | Vajra Dakini Sadhanas | Vajra Yogini Commentary | Maitreya Sadhanas | Green Tara Commentaries and Sadhanas | Vajradhara Speaks About Yidams | Lost Sadhanas Conclusion