Dakini's Warm Breath: The Feminine Principle in Tibetan by Judith Simmer-Brown

By Judith Simmer-Brown

The first logo of the female in Tibetan Buddhism is the dakini, or "sky-dancer," a semi-wrathful spirit-woman who manifests in visions, desires, and meditation reviews. Western students and interpreters of the dakini, stimulated via Jungian psychology and feminist goddess theology, have formed a latest critique of Tibetan Buddhism within which the dakini is visible as a mental "shadow," a female savior, or an objectified made from patriarchal fable. in response to Judith Simmer-Brown—who writes from the viewpoint of an skilled practitioner of Tibetan Buddhism—such interpretations are insufficient.

In the religious trip of the meditator, Simmer-Brown demonstrates, the dakini symbolizes degrees of non-public consciousness: the sacredness of the physique, either male and female; the profound assembly aspect of physique and brain in meditation; the visionary realm of formality perform; and the empty, spacious traits of brain itself. while the meditator encounters the dakini, residing religious event is activated in a nonconceptual demeanour through her direct gaze, her radiant physique, and her compassionate revelation of truth. Grounded within the author's own stumble upon with the dakini, this detailed learn will attract either female and male religious seekers attracted to goddess worship, women's spirituality, and the tantric culture.

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Additional resources for Dakini's Warm Breath: The Feminine Principle in Tibetan Buddhism

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Sometimes the action of essential love is just being-not action but inaction. In fact, the most important and useful action of love is simply its presence. Essential love acts by its mere presence, but in a subtle and invisible way. There is no overt physical movement or expression necessary. T h e presence of essence, in any of its various aspects, is its primary action. We will leave to another occasion the topic of how essence acts and will content ourselves here with a quoted passage, part of what is called the "Sarmoun Recital," about the knowledge and presence of essence.

Action might certainly result and very often does, but it is not necessary for the experience. When essential love is present, then it is our nature. We are present. It is the presence of a certain facet or aspect of essence. If there is a need for action, it will be taken. If there is no need, no action will result. Love, here, is being. It is Being. Sometimes the action of essential love is just being-not action but inaction. In fact, the most important and useful action of love is simply its presence.

He did the same with alchemy, using its images and ignoring the substance of its teaching. ) However, Jung was closer than the usual visionary is to the essential experience because his images more closely reflect essence. T h e closer a person is to the essential presence, the more powerfully his images are influenced by it. When the person is directly in contact with essence, then the images become a more accurate reflection of it. When the imagination is grounded in the embodied experience of essence, the particular mentality has a less distorting effect on the images.

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