Mandarava : Brief Introduction
Mandarava, also known as Princess Mandarava, holds a significant place in Tibetan Buddhist iconography and lore as the wife of Padmasambhava, the legendary Indian tantric master who helped establish Buddhism in Tibet. Here's an overview of Mandarava's iconography:
Appearance: Mandarava is typically depicted as a youthful and beautiful figure, often adorned with elegant clothing and jewelry that symbolize her royal lineage. She is shown with a serene expression, embodying grace and wisdom.
Attributes: In her iconography, Mandarava may be portrayed holding various symbolic objects. One common attribute is the lotus (padma), which signifies purity and enlightenment. This connection to the lotus aligns her with the symbolism often associated with Padmasambhava (literally, "Lotus-Born").
Posture and Gestures: Mandarava is often depicted in a relaxed and meditative posture, sometimes seated on a lotus throne alongside Padmasambhava. Her hand gestures (mudras) can convey specific meanings such as teaching, meditation, or bestowing blessings.
Crown and Attire: As a princess, Mandarava's attire may include a crown or elaborate headdress, symbolizing her royal status. The attire is typically richly adorned but also reflects the simplicity and purity inherent to spiritual figures in Tibetan Buddhism.
Symbolism: Mandarava's iconography is rich in symbolism, representing her role as a consort and spiritual partner to Padmasambhava. Their union symbolizes the harmonization of wisdom and skillful means in tantric practice.
Lotus Symbolism: The lotus theme is central to Mandarava's iconography. It signifies purity and the potential for spiritual growth despite being rooted in muddy waters. This symbolism aligns with the transformative path of Buddhist practice.
Role in Practice: Mandarava is revered in Tibetan Buddhism as a realized yogini and a source of inspiration for practitioners, particularly in the context of tantric teachings. Her story with Padmasambhava exemplifies the transformative power of spiritual partnership and the path of enlightenment.
In Tibetan Buddhist art and practice, Mandarava's depiction alongside Padmasambhava highlights the importance of wisdom, compassion, and the transformative nature of spiritual partnership on the path to enlightenment.
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Yeshe Tsogyal : Brief Introduction
Yeshe Tsogyal, also known as Princess Yeshe Tsogyal, is another prominent figure in Tibetan Buddhism, particularly revered as one of the most important female disciples of Padmasambhava. Here's an overview of Yeshe Tsogyal's iconography and significance:
Appearance: Yeshe Tsogyal is depicted in Tibetan Buddhist iconography as a beautiful and enlightened figure, often portrayed with a serene expression that conveys wisdom and compassion. She may be depicted with various attributes and symbols that represent her spiritual attainments.
Attire and Symbols: Yeshe Tsogyal is typically depicted wearing traditional Tibetan robes or garments, often adorned with jewelry symbolizing her royal lineage and spiritual stature. She may hold symbolic objects such as a vajra (thunderbolt) or a skull cup, representing her mastery over wisdom and compassion.
Posture and Gestures: In artistic representations, Yeshe Tsogyal is often depicted in a meditative posture, indicating her deep spiritual realization. Her hand gestures (mudras) can convey specific meanings related to teaching, meditation, or the bestowal of blessings.
Lotus Connection: Similar to other Buddhist figures, Yeshe Tsogyal is often associated with the lotus, symbolizing purity and spiritual awakening. This symbolism reflects her journey from worldly existence to enlightenment.
Role and Significance: Yeshe Tsogyal is highly regarded in Tibetan Buddhism for her pivotal role in preserving and disseminating Padmasambhava's teachings. She is considered a key figure in the development of Vajrayana Buddhism in Tibet and is revered as a realized yogini and spiritual master in her own right.
Spiritual Accomplishments: Yeshe Tsogyal's life story is filled with accounts of her spiritual accomplishments, including her mastery of meditation, mantra recitation, and visionary experiences. She is often celebrated as an embodiment of wisdom and devotion.
Partner to Padmasambhava: Yeshe Tsogyal is particularly known for her close relationship with Padmasambhava, who entrusted her with profound teachings and empowerments. Their partnership exemplifies the profound connection between master and disciple in Vajrayana Buddhism.
Legacy and Influence: Yeshe Tsogyal's legacy continues to inspire practitioners, especially women, within Tibetan Buddhism. She is revered as a role model for devotion, perseverance, and spiritual realization, embodying the ideal of the enlightened feminine principle (dakini).
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Full Fire Gold Plating
This Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated is finished with full gold plating. also known as mercury gold plating or fire gold plating. This traditional technique involves the application of a genuine layer of gold onto the Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated. Referred to as mercury gold plating, it is considered the correct and authentic form of gold plating in Nepal. Despite being more expensive than electroplating, this traditional mercury gold plating is gaining popularity again in Nepal. People are drawn to its authenticity, longevity, and the unmatched beauty it brings to the Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated. The resurgence of interest in this traditional form of gold plating reflects a growing appreciation for the craftsmanship and cultural heritage of Nepal
Mercury gold plating is a time-honored process where a real layer of gold is carefully applied to the Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated. Skilled artisans expertly handle the amalgamation of gold with mercury, ensuring precise application and stunning results. This method not only imparts a rich and lustrous appearance to the Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated but also enhances its durability, allowing the gold plating to last for an extended period.
Detailed Description of Mercury Gilding
The process of Fire Gold plating is both time-consuming and intricate, requiring skilled artisans to carefully apply the gold layer using specialized tools and techniques. Despite the labor-intensive nature of the process, the end result is a stunning work of art that is sure to impress anyone who sees it.
Source wikipedia
Fire-gilding or Wash-gilding is a process by which an amalgam of gold is applied to metallic surfaces, the mercury being subsequently volatilized, leaving a film of gold or an amalgam containing 13 to 16% mercury. In the preparation of the amalgam, the gold must first be reduced to thin plates or grains, which are heated red-hot, and thrown into previously heated mercury, until it begins to smoke. When the mixture is stirred with an iron rod, the gold is totally absorbed. The proportion of mercury to gold is generally six or eight to one. When the amalgam is cold, it is squeezed through chamois leather to separate the superfluous mercury; the gold, with about twice its weight of mercury, remains behind, forming a yellowish silvery mass with the consistency of butter.
When the metal to be gilded is wrought or chased, it ought to be covered with mercury before the amalgam is applied, that this may be more easily spread; but when the surface of the metal is plain, the amalgam may be applied to it directly. When no such preparation is applied, the surface to be gilded is simply bitten and cleaned with nitric acid. A deposit of mercury is obtained on a metallic surface using quicksilver water, a solution of mercury(II) nitrate, the nitric acid attacking the metal to which it is applied, and thus leaving a film of free metallic mercury.
The amalgam is equally spread over the prepared surface of the metal, the mercury is then sublimed by heat just sufficient for that purpose; for, if it is too great, part of the gold may be driven off, or it may run together and leave some of the surface of the metal bare. When the mercury has evaporated, which is known by the surface having entirely become of a dull yellow color, the metal must undergo other operations, by which the fine gold color is given to it. First, the gilded surface is rubbed with a scratch brush of brass wire, until its surface is smooth.
It is then covered with gilding wax and again exposed to fire until the wax is burnt off. Gilding wax is composed of beeswax mixed with some of the following substances: red ochre, verdigris, copper scales, alum, vitriol, and borax. By this operation, the color of the gilding is heightened, and the effect seems to be produced by a perfect dissipation of some mercury remaining after the former operation. The gilt surface is then covered over with potassium nitrate, alum, or other salts, ground together, and mixed into a paste with water or weak ammonia. The piece of metal thus covered is exposed to heat, and then quenched in water.
By this method, its color is further improved and brought nearer to that of gold, probably by removing any particles of copper that may have been on the gilt surface. This process, when skillfully carried out, produces gilding of great solidity and beauty, but owing to the exposure of the workmen to mercurial fumes, it is very unhealthy. There is also much loss of mercury to the atmosphere, which brings extremely serious environmental concerns as well.
This method of gilding metallic objects was formerly widespread but fell into disuse as the dangers of mercury toxicity became known. Since fire-gilding requires that the mercury be volatilized to drive off the mercury and leave the gold behind on the surface, it is extremely dangerous. Breathing the fumes generated by this process can quickly result in serious health problems, such as neurological damage and endocrine disorders since inhalation is a very efficient route for mercuric compounds to enter the body. This process has generally been supplanted by the electroplating of gold over a nickel substrate, which is more economical and less dangerous
Fire Gold Plating In Nepal
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Gold Painted Face
The face of Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated is painted with gold to enhance its significant features, particularly the eyes, and lips. This detailed painting is essential as it brings forth the crucial attributes of the expression of eyes and lips that metal carving alone cannot capture.
Moreover, the painted face serves as a symbolic and sacred ritual in Buddhism, preparing the statue for consecration and practice. The act of painting the face with gold in Buddhism holds deep meaning. It represents the intention to bring life and expression to the statue, imbuing it with a sense of vitality and presence. The application of gold on the face showcases the devotion and craftsmanship of the artisans, ensuring that every detail is carefully attended to honor the sacred essence of the Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated.
Protecting the Face In the process of painting the face, a special variation of gold is utilized. This variation is transformed into a powder form that can be applied as paint. The gold used is believed to be 100% pure, enhancing the reverence and spiritual significance associated with this practice.
As the face is painted it is highly recommended that the face of the statue is to be greatly taken care of as it requires a very professional and skilled face artist to repair the face of dirt and damages. Commonly to protect it from damage, the statue with painted face is placed under a glass box and it is always covered with a cotton face mask if it has to be moved
Video of Face Painting
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Lost-Wax System
This Gurus & Jambhala of Padmasambhava [19 Inch] And His Wifes, Mandarava [15 Inch] And Yeshe Tsogya [15 Inch], Buddhist Handmade Statue, Face Painted And Gold Plated is made by the process of the Lost Wax system. This is a very complicated, time consuming and historic process of making metal sculptures.Which is why it is sometimes called Precision Casting as well. Hence the sculptures made by this process are comparatively expensive. There are many new, advanced and less time consuming methods of casting metal sculptures available as well. But due to the benefits provided by the traditional lost wax system in quality control and customization, we prefer the Loss wax system over Ceramic molding, or sand casting to make our Gurus & Jambhala.
Below we have tried to illustrate the process of making a loss wax system statue:
The method of metal casting in which a molten metal is poured into a mold that has been created by means of a wax model. Once the mold is made, the wax model is melted and drained away. Bronze statues come to life differently than marble statues. Instead of carving a block or marble, the bronze artist uses the lost-wax technique to make a series of molds, and then pours melted bronze into the final mold to create the sculpture. This method has been around since 4500 BCE.
There are few important steps in lost wax casting process :
Step 1: Sculpting ( It all starts in the studio with an idea, Then figuring out how to realize the vision in clay.)
Step 2: Mold Making.
Step 3: Wax Pouring.
Step 5: Wax Spruing.
Step 6: Shell Dipping.
Step 7: Bronze Pouring.
Interestingly enough Loss wax process is also called Investment casting because after layers have been formed and dried, the wax is melted out of the ceramic tree by using steam (120°C) in an autoclave. This is why it is called "lost wax casting". The majority of the molten wax which can then be regenerated and is reusable.
Before Making statue :At work room making the wax models.
Softening a piece of wax over a brazier.
Relaxing after softening the wax The working environment with works in progress.
Working the face of an Ekajata wax model.
Working the face of wax model.Using a modeling tool to form the face of Ekajata.
Deatail of wax model
The design for Ekajata compared to the Tibetan book on which it was based.Statues Maker Are master in buddhism .
Detail of A partially finished Candamaharoshana (Acala) wax figure made in the Tibetan style.
A finished wax image of Mahakala.
Anthor Finished Wax Model of Shakyamuni Buddha
One of the modelers working in the room shows the Pehar image on which he is working.
The artist showed how the goat , which had been completed earlier, fits under the image. ,
Tej Jyoti Shakya and his wife, Nani Maya Shakya Covering the wax model in a mixture of clay and dung
Pressing the mixture of clay and dung around the wax image.
The board with the clay and dung mixture ready for use.
Model Pieces drying after the initial (dipped) thin layer of fine clay.
Clay-covered model pieces drying in the sun.
Molds waiting to be put into the burnout furnace
The same molds, seen in the previous image, in the burnout furnace
The double row of refractory bricks used to support the heated molds during casting.
The melting furnace and a pile of coke used for melting the metals. Laying the bed of coke in the melting furnace.
The first ignition of the coke.
Checking the coke bed.
The electric blower used to force air into the melting furnace
Beginning to fill the crucibles with scrap copper.
Preparing the bed of burning coke to receive the crucibles
Sorting various metals used in the alloys.
Weighing precious metals that are used in the alloys
Weighing copper from Singapore to achieve a correct alloy.
Different sizes of crucibles and various types of metals to be cast in this melt.
Placing the crucibles in the bed of coke filled with metal are in place.
After the crucibles are in place, more coke is piled around them.
The crucibles are covered with scrap metal to hold in the heat.
The electric fan is then connected.Soon a very hot flame is produced.
The entire furnace temperature goes up to about 1800 -1900 degrees.
Setting up molds in between the refractory bricks to receive the molten metal. Handling the molds with asbestos gloves and bracing them with fragments of bricks.
Pouring the molten metal into the base of a mold
Another view of the artists pouring the molten metal.Detailed view showing the molten metal being poured into the sprues.
Preparing to lift and pour molten metal from one of the larger crucibles.
Cooling a mold containing the recently poured metal.
Beginning to break away the clay mold from the metal casting. The mold breaks away revealing the metal image inside
The first metal image from the day's work.
Examining the image for flaws
Two auras (prabhamandalas), one that cast perfectly and one (in front) that only partially filled.
Opening more molds
Researchers mark specific metal images for future identification.
Cleaning the details of the image with a metal tool.
Sawing off the sprues from Aura image. The sprue metal will be reused in future castings.
Two auras that worked perfectly. The one on the right has been cut off of the sprues, while the one on the left still has the sprues attached.
The finishing specialist begins the finishing process with a set of tools, including a small hammer. to give more detail
The entire surface of the image will be gently hammered to a final, almost polished finish.
The finisher's tools and the work in progress
Finishing work on an image of the Buddha.
Hammering the chest of an image that is being held against the work block
A Buddha image hammered and chased to the final, detailed finish.
Cleaning in a very mild acid bath. The image and prabhamandala are placed in a final acidic bath to make sure the surface is absolutely clean.
Drying the image with a blow torch.
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Brief Introduction :
Padmasambhava was a historical teacher who is said to have converted Tibet to Buddhism. He was a renowned scholar, meditator, and magician, and his mantra suggests his rich and diverse nature. Padmasambhava Means The Lotus-Born, was a sage guru from Oddiysna who is said to have transmitted Vajrayana Buddhism to Bhutan and Tibet and neighboring countries in the 8th century. In those lands, he is better known as Guru Rinpoche ("Precious Guru") or Lopon Rinpoche, or, Padum in Tibet, where followers of the Nyingma school regard him as the second Buddha. He said: "My father is the intrinsic awareness, Samantabhadra. My mother is the ultimate sphere of reality, Samantabhadri. I belong to the caste of non-duality in the sphere of awareness. My name is the Glorious Lotus-Born. I am from the unborn sphere of all phenomena. I consume concepts of duality as my diet. I act in the way of the Buddhas of the three times."
Iconography :
The khatvanga, a danda with three severed heads denoting the three kayas (the three bodies of a Buddha: the dharmakaya, sambhogakaya, and nirmanakaya), crowned by a trishula and dressed with a sash of the Himalayan Rainbow or Five Pure Lights of the Mahabhuta is a particular divine attribute of Padmasambhava and intrinsic to his iconographic representation.
His two eyes are wide open in a piercing gaze. On his body he wears a white vajra undergarment and, on top of this, in layers, a red robe, a dark blue mantrayana tunic, a red monastic shawl decorated with a golden flower pattern, and a maroon cloak of silk brocade. He has one face and two hands.
In his right hand, he holds a five-pronged vajra at his heart; and in his left, which rests in the gesture of equanimity, he holds a skull-cup in the centre of which is a vase of longevity filled with the nectar of deathless wisdom. Cradled in his left arm is a three-pointed khatvanga representing the consort Mandarava. On his head, he wears a five-petalled lotus hat. Wrathful and smiling, he blazes magnificently with the splendour of the major and minor marks. He is seated with his two feet in the royal posture.
Life Story :
According to tradition, Padmasambhava was incarnated as an eight-year-old child appearing in a lotus blossom floating in Lake Dhanakosha, in the kingdom of Oḍḍiyāna, traditionally identified with the Swat Valley of South Asia in present-day Pakistan. His special nature was recognized by the childless local king of Oḍḍiyāna and was chosen to take over the kingdom but he left Oḍḍiyāna for Northern parts of India. In Rewalsar, known as Tso Pema in Tibetan, he secretly taught tantric teachings to Mandarava who was the local king's daughter. The king found out and tried to burn him but it is believed when the smoke cleared he was intact and in meditation. The king offered Padmasambhava his kingdom and Mandarava. He left with Mandarava and later in Maratika cave in Nepal, after practicing secret tantric consort rituals, Amitayus appeared and they both achieved immortal bodies in the form of the living rainbow body of the Great Transference which is completely different and much rarer than a dead body dissolving into light or the more usual rainbow body of a living yet mortal human as sometimes still achieved by Dzogchen practitioners of Padmasambhava's terma. So both Padmasambhava and Mandarava are still believed to be alive and active in Phowa Chenpo form by their followers. She and Padmasambhava's other main consort, Yeshe Tsogyal who was responsible for hiding his numerous terma later in Tibet became fully enlightened. Many thangkas and paintings show Padmasambhava in between them.
His fame became known to Trisong Detsen, the 38th king of the Yarlung dynasty, and the first Emperor of Tibet (742â797), whose kingdom was beset by evil mountain deities. The king invited Padmasambhava to Tibet where he used his tantric powers to subdue the evil deities he encountered along the way, eventually receiving the Emperor's wife, identified with the dakini Yeshe Tsogyal, as a consort. This was in accordance with the tantric principle of not eliminating negative forces but redirecting them to fuel the journey toward spiritual awakening. In Tibet he founded the first monastery in the country, Samye Gompa, initiated the first monks, and introduced the people to the practice of Tantric Buddhism.
Padmasambhava had five major female tantric companions, the so-called 'Five Wisdom Dakinis' (Wylie: Ye-shes mKha-'gro lnga) or 'Five Consorts.' In Padmasambhava's biography - they are described as the five women "who had access to the master's heart", and practiced tantric rites which are considered to have exorcised the previous demons of Tibet and converted them into protectors of the country.' They were: Mandarava of Zahor - the emanation of Vajravarahi's Body; Belwong Kalasiddhi of (North-West) India - the emanation of Vajravarahi's Quality, Belmo Sakya Devi of Nepal; the emanation of Vajravarahi's Mind, Yeshe Tsogyal of Tibet; the emanation of Vajravarahi's Speech and Mangala or Tashi Kyedren of "the Himalayas" - the emanation of Vajravarahi's Activity.
In Bhutan he is associated with the famous Paro Taktsang or "Tiger's Nest" monastery built on a sheer cliff wall about 500m above the floor of Paro valley. It was built around the Taktsang Senge Samdup (stag tshang seng ge bsam grub) cave where he is said to have meditated in the 8th Century. He flew there from Tibet on the back of Yeshe Tsogyal, whom he transformed into a flying tigress for the purpose of the trip. Later he travelled to Bumthang district to subdue a powerful deity offended by a local king. Padmasambhava's body imprint can be found in the wall of a cave at nearby Kurje Lhakhang temple.
Padmasambhava also hid a number of religious treasures (termas) in lakes, caves, fields and forests of the Himalayan region to be found and interpreted by future tertöns or spiritual treasure-finders. According to Tibetan tradition, the Bardo Thodol (commonly referred to as the Tibetan Book of the Dead) was among these hidden treasures, subsequently discovered by a Tibetan terton, Karma Lingpa.
Tantric cycles related to Padmasambhava are not just practiced by the Nyingma, they even gave rise to a new offshoot of Bön which emerged in the 14th century called the New Bön. Prominent figures of the Sarma (new translation) schools such as the Karmapas and Sakya lineage heads have practiced these cycles and taught them. Some of the greatest tertons revealing teachings related to Padmasambhava have been from the Kagyu or Sakya lineages. The hidden lake temple of the Dalai Lamas behind the Potala called Lukhang is dedicated to Dzogchen teachings and has murals depicting the eight manifestations of Padmasambhava. Padmasambhava established Vajrayana Buddhism and the highest forms of Dzogchen (Mengagde) in Tibet and transformed the entire nation.
On Padmasambhava's consort practice with Princess Sakya Devi from Nepal it is said: "In a state of intense bliss, Padmasambhava and Sakyadevi realized the infinite reality of the Primordial Buddha Mind, the All-Beneficent Lord (Samantabhadra), whose absolute love is the unimpeded dynamo of existence. Experiencing the succession of the four stages of ecstasy, their mutual state of consciousness increased from height to height. And thus, meditating on Supreme Vajrasattva Heruka as the translucent image of compassionate wrathful (energized) activity, they together acquired the mahamudra of Divinity and attained complete Great Enlightenmen
The Eight Manifestations :
Padmasambhava is said to have taken eight forms or manifestations representing different aspects of his being - wrath, pacification, According to Rigpa Shedra the eight principal forms were assumed by Guru Rinpoche at different points in his life.The Eight Manifestations of Padmasambhava belong to the tradition of the Revealed Treasures
Guru Orgyen Dorje Chang The vajra-holder , shown dark blue in color in the attire of the Sambhogakaya. Depicted in union with consort.
Guru Shakya Senge of Bodh Gaya, Lion of the Sakyas, who learns the Tantric practices of the eight Vidyadharas. He is shown as a fully ordained Buddhist monk.
Guru Pema Gyalpo of Uddiyana, the Lotus Prince, king of the Tripitaka . He is shown looking like a young crowned prince or king.
Guru Pema Jungne Lotus-arisen, the Saviour who teaches the Dharma to the people. He is shown sitting on a lotus, dressed in the three robes of a monk, under which he wears a blue
shirt, pants and heavy Tibetan boots, as protection against the cold. He holds the diamond-scepter of compassionate love in his right hand and the yogi's skull-bowl of clear wisdom in his left. He has a special trident called khatvanga of a wandering Yogi, and wears on his head a Nepalese cloth crown, stylistically designed to remind one of the shape of a lotus flower. Thus he is represented as he must have appeared in Tibet.
Guru Loden Chokse of Kashmir, the Intelligent Youth, the one who gathers the knowledge of all worlds. He is shown in princely clothes, beating a hand-drum and holding a skull-bowl.
Guru Nyima Ozer , the Sunray Yogi, who illuminates the darkness of the mind through the insight of Dzogchen. He is shown as a naked yogi dressed only in a loin-cloth and holding a Khatvanga which points towards the sun.
Guru Dorje Drolo, the fierce manifestation of Vajrakilaya (wrathful Vajrasattva) known as "Diamond Guts", the comforter of all, imprinting the elements with Wisdom-Treasure.
Guru Senge Dradog of Nalanda University, the Lion of Debate, promulgator of the Dharma throughout the six realms of sentient beings. He is shown in a very fierce form, dark blue and imitative of the powerful Bodhisattva Vajrapani, holding a thunderbolt scepter in one hand and a scorpion in the other.
Mantra of Padmasambhava
Oṃ Āḥ Hūṃ Vajra Guru Padma Siddhi Hūṃ
(Om Ah Hum Vajra Guru Padma Siddhi Hum)
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