Depicting Vajravarahi and 5 Deities Tibetan Painting


Depicting Vajravarahi and 5 Deities Tibetan Painting

, 5 Deity principal tutelary deity of the . Vajravarahi is with a fierce expression, slightly and slightly wrathful, she is red in color with one face, three eyes and dark yellow hair flowing upward, at the crown a black boar’s head.

The right-hand holds aloft a curved flaying knife with a gold handle and the left to the heart a white skullcup. At the bend of the left elbow stands an upright staff, ornate with an orange streamer.

Adorned with a tiara of gold and five white skulls, green ribbons and gold and jewel earrings, a garland of fifty fresh heads, a garland of flowers, a bone necklace, girdle, bracelets, and anklets, she wears a long green scarf around the shoulders.

With the right leg raised in a dancing posture, the left presses on a disc atop a prone figure. Above a moon disc and pink seat, she is completely surrounded by the tight curling flames of orange pristine awareness .

Four attendant Yoginis

In the four directions stand the four attendant in the same appearance as Vajra . At the top right is red Khandaroha, to the left yellow Rupini, at the bottom right green , to the left dark blue .

The expansive open foreground is adorned with an display of wishing jewels, red coral, white conch and gold ingots. The tiered earthen diminishes upward into a vast open sky.

At the top center is the 13th Dudul Dorje (1733-1797) with the right hand in the of generosity and the left at the heart holding the stem of a lotus flower.

Wearing the orange and red robes of a , the lower is wrapped with a yellow cloak. The top of the head is adorned with a black vajra crown.

Enveloped in spheres of light and ascending rainbow streams he sits on a cushioned seat indicating his earthly status.

Red Khandaroha

Khandaroha means something in . Being half-male half-female with their two sides being red and yellow. A Dakini is a type of female spirit in and . The term can also be applied to human women with a certain amount of .

Yellow Rupini

Yellow Rupini is the name of the goddess found on the southern petal of the varahyabhyudaya- according to the Varahyayabhyudayatantra.

The central deity of the varahyabhyudaya-mandala is the twelve-armed Vajravarahi, which is modeled upon the twelve-armed Cakrasamvara, thus inhibiting many similar iconographical features.

Blue Dakini

Blue Dakini with Purbha , - The Yogini  Buddhism, , Divine Mother.

Green Lama

The Green Lama is a fictional pulp magazine hero of the 1940s. He is commonly portrayed as a powerful Lama, dressing in green robes with a red.

! Ma-ni pad-me Hum! The first of its kind, the complete adventures of the Green Lama follows the adventures of Buddhist Jethro Dumont and his aides.

Vajravarahi Lineage

This form of Vajravarahi is one of the special practices of the Tradition and arises from the Chakrasamvara cycle of belonging to the (Mother) class of .


Vajradhara is blue in color who is also known as primordial and the Dharmakya Buddha. He is also known as “Bearer of the thunderbolt”.


Tilopa who is also known as is a key figure for the lineage is the Indian Tilopa (988-1069), one of the 84 or highly realized .

Tilopa is often depicted at the top of the (Tib. ) of the Kagyu .

He became the first monk at the of Somapuri in Bengal. It is also said that one day a Dakini (female embodiment of wisdom) came to him in a vision and offered him her .


Naropa was also known as a contemporary of Atisa. Naropa was born in a high-status Brahmin family of Bengal. From an early age showed an independent streak, hoping to follow a career of and meditation.

Succumbing to his parents’ wishes, he agreed to do an arranged marriage with a young Brahmin girl. After 8 years they both married each other and become ordained.

At the age of 28, he entered the famous Buddhist University at where he studied both and Tantra.


life-story is famous in and retold many . The best-known biography, The Life of Milarepa, written by  (1452–1507) in the fifteenth century and drawing from older biographies, is still very popular.

Most of the present-day stories on Milarepa come from this single source, with oral lineage predominating this as well as relics including his bear skinned coat.


Marpa was born as Marpa Chökyi Lodrö, in Lhodrak Chukhyer in the southern part of , to an affluent family, he began studying at a young age but was wild and untamed compared to other children.

Marpa first received instruction for three years at Mangkhar with Drokmi Yeshe and mastered . He decided to travel to to study with renowned Indian Buddhist masters.

Dusum Khyenpa

Dusum Khyenpa was born in eastern Tibet in the year 1110 CE, to a mother named Lhathok Zagang Jam and a father named Dorje Gönpo.

His birthplace lies in Dreshö, a part of Dreho, Kham, ringed by snow-covered mountains. Unlike those who preceded him in the Marpa Kagyu lineage, Dusum Khyenpa was born to a humble family with a greater aptitude for than worldly .

Karma Pakashi

Pkashi was the 2nd Gyalwa Karmapa. He was a child prodigy who had already acquired a broad understanding of and meditation by the age of ten.

The teacher of Karma Parashi was  Pomdrakpa, who had received the full Kagyu transmission from Drogon Rechen, the first Karmapa’s spiritual heir.

Pomdrakpa realized, through certain very clear visions, that the child in his charge was the of Dusum Khyenpa, as indicated in the letter given to Drogon Rechen.

6 Dharmas of Naropa

The Six Dharmas of Naropa, sometimes also referred to simply as the Six are six sets of and practices which originate from the Indian Naropa.

They form the basis of the inner practices of , as practiced in the Kagyü and schools.

Inner heat which is the root of the path. For a dzogrim practitioner, this meditation on inner heat is like the root of the entire path.

The illusory body is the foundation of the path.

Clear light/luminosity which is the heart-essence of the path. Then in order to the strength of, or assess one’s progress in, the practice of clear light, there is the .

For those who are unable to complete the practice of clear light because untimely death occurs, there needs to be one who picks them up.

The practice which comes to ‘collect’ you is the practice of .

Then, finally, the juncture which bridges the gap between past and future lives and provides a connection with the Zangdokpalri heaven of or the pure such as is the .

By applying the Bardo teachings a practitioner whose practice isn’t particularly great can transform their practice and become a great practitioner.

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