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Return to Buddhism, Vajrakilaya, Vajrakilaya - A Complete Guide by Garchen Rinpoche Table of Contents, Kyabje Garchen Rinpoche

“ (VkGarR)

CHAPTER 6

Kīla Consecration Instructions

Composed by Jamgön Kongtrül Lodrö Thaye and drawn from the extensive sadhana, the text Consecration of the Material Kīla Mandala: The Development Stages of the Foremost Prince is endowed with great blessing. It describes the means of sanctifying the implement, which is known in Sanskrit as kīla (Phurba). In general, the term refers to a sharpened stake or peg that can be driven into the ground to secure a tent or to tether an animal. By extension, it also refers to self-arisen or man-made ritual daggers.

The Implement, the Material Kīla

Having cultivated the clear appearance of the Deity through the development stages, the sādhaka then utilizes the kīla of the Four Activities, through which he or she can benefit all beings. On the surface, this kīla of the Four Activities is the kīla of the Foremost Prince, which is created with material substances like metal or wood. This consecrated implement, often referred to as the ”compounded, material kīla,“ is required as an accomplishment-support for the practice of Vajrakīla.

Different sorts of created kīlas — the materials and ways of fashioning them, the types of beings who should create them, the various colors, sizes, shapes, and markings necessary for different activities, and so forth — are extensively detailed in the Vajrakīla literature. These diverse attributes of the material kīla symbolize the inner qualities of the Deity's Mind and the outer activities through which he benefits sentient ones.

In addition, the texts explain in depth the appropriate means of consecrating the different kinds of implements — the requisite substances, meditations, visualizations, and retaining mantras for the approach and accomplishment of each type. Each kīla of the Four Activities is said to require certain causes and to have eleven characteristics. Although it is not possible for me to elaborate on all of these details here, it is good if practitioners have a general appreciation of the scope of this practice. Thus, I would like to give a brief introduction to the kīlas of the Four Activities.

The Pacifying Kīla

First is the pacifying kīla, which should be fashioned from the basic material of silver, white sandalwood, or other white wood. It is eight fingerbreadths in height. Below the handle, it is shaped like a peg, round at the top and tapering to a point. It must be consecrated over a long period of time through recitation of peaceful mantras and visualization of white light rays emanating from and gathering back into the assembly of peaceful Deities within it. When a master plants this sort of kīla in a place where the inhabitants are experiencing great hardships, it pacifies all discordant factors, the eight or sixteen great perils, and the sufferings of sentient ones.

The Enriching Kīla

The enriching kīla should be made from gold or yellow woods like barberry and should be six fingerbreadths in height. Below the handle, it is shaped similar to an obelisk — square at the top, with a four-edged blade tapering to a point. Its consecration involves visualizing enriching Deities, such as those of the Ratna family, within it and imagining the shining forth and gathering back of light rays for extended periods. This visualization must be accompanied by the appropriate mantras. Through these means, the kīla becomes endowed with the ability to enrich life, merit, wealth, power, experience, realization, wisdom, qualities, and the like.

[[Kīla]]s of the [[Four Activities]]

The Magnetizing Kīla

As for magnetizing kīlas, they should be crafted from copper, red sandalwood, acacia wood, or other red-colored materials. Ten fingerbreadths in height, they have a half-moon-shaped blade that tapers to a point. One should visualize divine assemblies of magnetizing families therein. Through the emanating and gathering back of red light rays, the kīla becomes empowered to magnetize the minds of those who have heavy misdeeds and obscurations — prideful, arrogant, deluded ones, and the like — binding them to that which is virtuous.

When mindful awareness has become stable through engaging magnetizing practices, it will be able to exert control over afflictions. As it is said, “When self-appearances have been brought under control, others' appearances will be overpowered.”[1] Control of self-appearances means subduing one's inner afflictions. Overpowering others' appearances means that because of the force of one's love, others will naturally have faith in one. Magnetizing activities should be understood in this way.

The Destructive Kīla

Finally, the destructive kīla is made of iron, black hardwood, poisonous wood, or the wood of a thorny tree. According to some sources, it should be eight fingerbreadths in height. Others say it should be twelve. Below the handle, its blade is triangular, with three edges that taper to a sharp point. It should be consecrated through visualization, recitation, and the samādhi of approach and accomplishment appropriate to destructive activities.

It is said that the destructive kīla is suitable for use on those enemies in whom the ten grounds are complete — those who destroy the Buddhas' Teachings, plunder the comfort and ease of sentient ones, demean the status of the Three Jewels, fail to reciprocate the kindness of parents, and so forth. Since such beings claim the Dharma is without benefit and pay no heed to karmic causality, they cannot be subdued by peaceful means. Therefore, only destructive methods can benefit beings with such great delusion. Although their embodied forms are liberated by the kīla, their consciousnesses are ultimately the Buddha nature and cannot be killed. Thus, through being liberated, obstructors are blessed to attain the ground of the Buddhas or else to take rebirth as Bodhisattvas.

Although it is taught that material kīlas are made from different substances that accord with the Four Activities, it is not necessary for practitioners to think, “I need one of each!” One can accomplish all activities through the use of a single kīla alone. The four material kīlas fashioned from the four different substances are merely outer symbols of the Four Activities. Of course, people create each of these different kinds of kīlas, but one must understand that they are not required for the actual practice. Since the entire mandala is complete within a single kīla, it is best for sādhakas to use one kīla as a support for recollection, samaya, and respect.

Although this introduction to the compounded, material kīlas of the Four Activities is only a small fraction of what is taught in the Tantras, I offer it in the spirit of an auspicious connection. In spite of its brevity, Consecration of the Material Kīla Mandala is endowed with the complete qualities of more extensive consecration texts.

Aspects of the Implement According to the Tantras

With regard to foremost princes, it is said that there are four distinct categories, which emerge as the four extremes: Some are princes, but not foremost. Some are foremost, but not princes. Some are neither foremost nor princes. Some are both foremost and princes.

Further, it is said that there are three ways of accomplishing the wisdom Deities, ḍākiṇīs, kiṁkāras, and the like. Accomplishing the wisdom Deities involves accomplishing (1) the hundred and eight Kīlas, (2) the two Kīla family lines, and (3) the sole hero Kīla, that is, the principal heruka alone, without consort or retinue. The ḍākiṇīs and kiṁkāras are the mandala inhabitants who carry out diverse activities. All of these divine beings are accomplished by outer, inner, and secret means. The outer accomplishment refers to the ritual methods of practicing the great accomplishment retreat. The inner accomplishment is one's own practice in personal retreat. wThe secret accomplishment occurs through the view, which is the main point of the secret accomplishment text we are practicing.

As for the development stages of the compounded, material kīla, it is said that there are eight mandalas. First, the mandala of the development stages is the body. Second, the mandala of the seed syllable is speech. Third, the mandala of the knot is the mind. Fourth are the four mandalas, in which the ḍākiṇīs of four types are gathered. Fifth is the slaughtering mandala. The last three mandalas are those of destructive methods — the tail end of the Four Activities, which eliminate enemies' force and splendor through various methods. Among these, the sixth is the mandala of suppression, whereby enemies and obstructors are thoroughly oppressed. S[[eventh]] is burning in fire. Finally, the eighth is the casting or hurling of malign repelling tormas, which will be described in the teachings on Liberation in the Gaṇacakra. All of these different mandalas are subsumed within the compounded material kīla.

Consecrating the Implement

The implement, the kīla who is the Foremost Prince, is endowed with all the attributes of the principal Deity. Complete within him is the entire mandala of beings who engage the activities to liberate sentient ones from samsara. As such, the material kīla of signs is the substantial basis on which the Four Activities can be accomplished and the eight common siddhis achieved. One should honor the material kīla in the same ways one would respect the actual Deity. To regard him as merely an object made of wood or metal is a sign of the mind's ignorance that needs to be purified. The main point of the kīla consecration is to establish the mandala of the Foremost Prince in purity, so that the implement is not perceived as an ordinary object.

A kīla that has been properly consecrated in our tradition will bear red and blue cloths with a small pouch of mustard seeds knotted around the upper neck of the implement. The cloths symbolize emptiness and compassion and ideally should be cut into points so that the ends of the cloths fall to the tip of the kīla. The mustard seeds are Nirmāṇakāyas that bear the blessings of Vajrapāṇi and symbolize the subjugation of obstructive forces and hindrances. The cloths and the charmed substances are like garments and ornaments for the Foremost Prince and are a means of honoring him.

After the cloths and substances have been affixed to new kīlas and the initial consecration completed, the implements can then be placed inside the material mandala to be consecrated over the course of the retreat and returned to their owners at the end. However, since the text Consecration of the Material Kīla Mandala has now been well translated, the ritual can be performed by practitioners daily during the secret accomplishment. In this case, new implements should be adorned, blessed, and returned to their owners at the outset of the retreat. Through practicing the ritual each day and meditating on the meaning of the text, one can learn how to consecrate the implement for oneself without depending on a master to do so.

Those who do not have a material kīla may simply visualize the stages of consecration or may use a māla as a support. Although there are many different types of blessing-supports, one of the most precious among them is the māla. All the Deities of the mandala are truly complete within it. The guru bead is like the principal Deity, while the smaller beads on the strand represent the Deities in his or her retinue. If one imagines each Mantra recitation as an offering to the mandala Deities, those divine beings will become one's companions, since they delight in the mantra.

In addition, a coiled māla placed on one's altar or practice table is a suitable support for Making Offerings and meditating on the mandala of the Deity. When one wears a māla, it should not be worn outside of one's clothing but should always be kept next to the skin so that it is not separated from the warmth of one's body. Since it symbolizes the presence of the entire mandala on the body, the māla is a most excellent protection. Because of these great qualities, the māla may be used as a support instead of a kīla when requesting blessing-Empowerment.

Meaning of the Words of the Text

As for the actual practice, regardless of whether a māla, a kīla, or another support is used, it is initially consecrated in three stages, each of which requires its own mantra, substance, and meditation. As one recites the first mantra, one imagines that the tip of the implement is tempered by the smoke of black frankincense. Thus, it becomes like an extremely sharp weapon carried into battle.

Next, with the MAGUTALA mantra, one pelts the kīla with charmed mustard seeds, imagining that the body is covered in an armor whose very particles are tiny wrathful ones. Because each round seed is naturally marked with a single line, it looks like a head with a mouth whose lips are wrathfully pursed. Thus, each mustard seed is like a tiny wrathful one capable of driving out obstructive forces.

Finally, one imagines that by reciting the RAKTA mantra and smearing the implement with blood, the weapon is empowered to accomplish with a mere touch whatever activity is required. Then, after returning the kīla to its stand, one should visualize according to the words of the text, which do not require explanation.

At this juncture, the actual consecration of the implement happens concurrently with the development stages of the Foremost Prince. The father-mother Buddha couples of the five families are present in the fingers of the right and left hands of oneself as Vajrakīla. Through their union, their red and white Bodhicitta mingle, giving [[rise to rays of multicolored light. As the implement is picked up and held between the hollows of one's palms, it is pervaded by these light rays.

If it is difficult to visualize in this way, one can use the material mandala as a visualization support. In this case, one should imagine that the blessings of the entire divine assembly — inseparable from the three mandalas — appear in the form of light rays that emanate from the principal Deity dwelling together with his retinue. So, as one performs the consecration, all the Deities inside the material mandala radiate rays of light that enter the implement in one's hands.

In either case, the light rays instantaneously melt the physical substance of the material kīla. At this juncture, it is no longer ordinary metal or wood. Rather, it manifests as the divine seed syllable HŪ, the embryo of the Buddhas. From the appearance of the HŪ, there is the secret manifestation of the Foremost Prince as the Deity. This is the first of the three perceptions, which is described with the following words:

From the HŪ'S [[transformation]] appears a [[blue]]-[[black]] [[wrath]]ful with [[one]] face, [[two]] arms, and [[three]] [[eye]]s, [[holding]] a [[kīla]] in his [[right]] [[hand]] and ankus in the [[left]]. His [[lower]] [[body]] is a [[sky]]-iron [[kīla]] with sharp, [[tempered]] triangular tip. Like metal drawn out of a smith's embers, he emits sparks of [[fire]].

Here, the text indicates that the upper portion of the kīla appears as the torso of a blue-black wrathful one with one face and two arms. However, it is not necessary or even practical to visualize him in this way. Rather, one should understand the HŪ to transform into the implement itself, with three faces like the principal Deity, but no torso. This is the outer manifestation of the Foremost Prince as the implement, the second perception.

The kīla, whose upper half represents wisdom and whose lower blades symbolize skillful means, is utterly pervaded by divine beings. It is said that the mandala of the Deity is complete within the material kīla, who is the Foremost Prince. Below his three-faced head is the handle, which consists of the upper knot, the contracted eight flanks, and the lower knot. Inside the upper knot, in the center and the four directions, dwell the couples of the five families of victorious ones, who are the nature of the five wisdoms. The contracted eight flanks symbolize the eight emancipations. These are the eight stages of becoming freed from samsara, beginning with emancipation from grosser to progressively subtler states.[2] In the four directions of the lower knot are the four female gatekeepers, who symbolize the Four Immeasurables.

According to another explanation, the mandala described in the development stages is present within the material kīla. Thus, the implement's handle is like the conjoined, eight-spoked domes of the outer mandala, wherein the ten wrathful couples abide. This is described as follows:

In his upper [[knot]] is Hūkāra; in the contracted [[eight]] flanks, the [[eight]] [[wrath]]fuls; and in the [[lower]] [[knot]], [[Mahā]]bala. These [[ten]] [[wrath]]ful couples each have falcon [[type]]s. In the [[lower]] [[knot]]'s [[four]] facets are [[four]] gatekeeping maids. Beneath the [[water]] [[dragon]] are [[four]] kiṁkāra [[men]]. The [[twelve]] [[Kīla]] [[guard]] maids [[manifest]] in the [[three]] [[blade]]s.

In this configuration, the wrathful father and mother Hūkāra appear with their animal-headed emanations above in the kīla's upper knot. Eight of the ten wrathful ones with their consorts and emanations abide in the eight cardinal and intermediate directions of the contracted eight flanks. Below, the wrathful Mahābala couple with emanations inhabit the center of the lower knot. Thus, the ten wrathful couples of the inner mandala and the falcon types — their emanated zasö servants with animal heads — fill the implement's handle. In the four superficial sides of the lower knot are the four female gatekeepers.

Below the handle is the head of the makara, who symbolizes holding all sentient ones with compassion. Its mouth opens onto the three-sided blade ornamented with three pairs of entwined snakes. The three blades are symbolic of establishing all beings of the three planes — above, below, and upon the earth — in the status of the Three Kāyas. The six snakes represent the six transcendent perfections, which subdue the hatred of those to be tamed. Within the blade dwell the twelve Kīla protectresses. Since each of these parts of the implement houses countless Deities, to meditate on the material kīla alone is of inconceivable benefit. This is the inner manifestation of the Foremost Prince as the Immeasurable Palace, the third perception.

The [[Kīla]] as [[Implement]] and [[Immeasurable Palace]]

Just as the sphere of the outer mandala is mirrored within the handle of the implement, the yogi who is practicing the inner fire of candalī can also imagine the mandala sphere mirrored within his or her navel. This can be understood in the following way: When the abdominal muscles are contracted, the entire body is held firm and upright. If the spine is the inner support of the body, the contracted musculature of the abdomen is the outer support. This parallels the contracted eight flanks of the kīla's handle. This contracted core is the basis of the bellows breathing. Instead of expanding the belly toward the front like a rounded pot as is often taught, one should bind it, so that the breath is forced downward into a constricted point. Then, binding the lower doors, one draws the wind energies upward. Simultaneously pressing down on the upper winds, one draws the upper and lower together, like the two domed halves of a spherical amulet. Having bound the winds on all quarters, there is no alternative but for them to feed the flame at the navel. In this way, the eight-ribbed sphere of the outer mandala is mirrored within the sealed amulet of candalī. The eight wrathful ones in the eight sides, with above and below making ten, are all present in this tiny mandala.

Since the entire mandala is complete within the ritual dagger, it is the same as the main torma. Even a kīla as tiny as that held by the thumb-joint-sized sattva in the Deity's heart is the dwelling place of all the Deities. Such material kīlas can be worn on the body as representations of the Deity himself. When wearing them, one should give rise to the divine pride of being Vajrakīla. The material kīla may also be placed on one's altar as a protection for the home.

Each aspect of the implement can be explained in terms of outer sign, inner meaning, and secret symbol mentioned earlier. For example, the outer sign that is the three blades of the kīla symbolizes wisdom-rigpa, which is free of all faults and endowed with all qualities. The inner meaning is the transformation of the three poisons into the Buddhas' Three Kāyas. The mind endowed with the empty essence is the dharmakāya. The clear nature is the Saṁbhogakāya. The compassion that pervades everywhere like space is the Nirmāṇakāya. Finally, the secret symbol is the convergence of the three blades into a single point. The tip of the kīla symbolizes all the myriad qualities subsumed within the singular mind.

The visualization of the implement concludes with the following words:

In every pore of myself and the Foremost Prince are tiny blue-black wrathfuls the size of barley grains. With gaping mouths, bared fangs, one face, and two arms, they wield diverse weapons. As Kīlaya's sound is resoundingly proclaimed, they fill us without interstice.

Thus, not only are the forms of Vajraku[[māra and the Foremost Prince armored with adamantine tiny wrathfuls, they are also densely packed with them.

Now that the implement has been fully consecrated, arising as the Foremost Prince, the sādhakas supplicate the wisdom Deities and take the Empowerments of body, speech, and mind using the kīla as a support. Since the written meaning is explicit, one should meditate according to the words of the text.

Following that is a textual note, which contains a few key points:

Then, having the [[three]] [[perception]]s of the [[Foremost]] [[Prince]] him[[self]] as the [[Immeasurable Palace]], the [[Deity]], and the [[implement]], [[one]] should [[place]] him in the seat of É, [[imagining]] that his [[blade]] has been planted between the [[light]] and [[dark]] portions of [[enemies]]' and obstructors' [[heart]]s.

Throughout the secret accomplishment retreat, one should maintain the three perceptions of the kīla as the Immeasurable Palace, the Deity, and the implement. These three perceptions explained earlier are distinctive features of Vajrakīla Practice.

Here, the text mentions placing the kīla back into its triangular stand — “the seat of É.” However, when performing the actual ritual, one continues holding the implement at this juncture. Later, when one does return the kīla to his seat, one should imagine that his three-edged blade slides between the heart muscle, “the dark portion,” and its surrounding fat, “the light portion,” of obstructors' hearts. The red muscle symbolizes samsara, and the white fat Nirvana. As the kīla is planted between the two, it severs dualistic grasping at samsara and Nirvana. In this way, it performs the activity of the kīla of primordial awareness-rigpa.

Some years ago, I designed a kīla stand in the shape of the mandala of a blazing blue-black triangle, which signifies the source of dharmas. Its three inner planes are marked with the syllables OṀ ĀḤ HŪ. On its six outer panels are the syllables of the six classes of wayfarers, whose sufferings have all been caused by the six afflictions. When performing the kīla consecration, one should imagine that all sentient beings, along with their afflictions and ill-being, are gathered into their respective syllables, A NRI SU TRI PRE DUḤ, which then dissolve into the OṀ ĀḤ HŪ. The visualization in the text continues with the following words:

The [[light]] [[arisen]] from the [[seed]]s of the [[three]] [[mandala]]s' [[three]] [[vajra]]s [[pervade]]s the [[Three Realm]]s, [[bestowing]] the [[Empowerment]] of every [[sentient one]]'s [[life]] [[force]] as primordial [[awareness]]. The [[six]] [[realm]]s' [[being]]s, the [[affliction]]s' [[dwelling]] [[place]]s, have been cleansed, turning into the [[six]] [[seed]]s: A NRI SU TRI PRE DUḤ. Those [[six]] also melt into [[light]], [[transform]]ing into OṀ ĀḤ HŪ.

Having gathered back, the light merges into the three places of myself and the Foremost Prince, bringing the Three Realms and three planes under our control. OṀ ĀḤ HŪ.

Visualizing the OṀ seed syllable of vajra body, the ĀḤ of vajra speech, and the HŪ of vajra mind in the three places of every divine being in the three mandalas, one imagines that rays of light emanate from them, pervading everywhere. When the light rays make contact with sentient beings, their ordinary life force — consciousness — is transformed into awareness. Thus, those beings change into the seed syllables of their respective realms: a for gods, NRI for humans, SU for demigods, TRI for animals, PRE for pretas, and DUḤ for hell denizens. These six then transform into OṀ ĀḤ HŪ, whose light returns and subsides into the three places of the heruka and the Foremost Prince. Thus, all beings of the desire, form, and Formless Realms below, upon, and above the earth are magnetized.

The [[Foremost]] [[Prince]] in [[Kīla]] Stand

The transformations above have the same meaning as the protection mantra visualization in the Yamāntaka Practice Manual, which reads,

From the HŪ [[letter]]s at the [[heart]]s of the entire [[divine]] [[assembly]], multicolored [[light]] rays and hosts of [[working]] envoys — [[first]], [[second]], and [[third]] [[emanation]]s and [[male]] and [[female]] [[wrath]]fuls — un[[fathom]]ably issue forth. The [[life]] [[force]] and [[life]] span essences of everyone to be [[protect]]ed, others and [[myself]], are in the [[form]] of NRI [[syllable]]s, which have been stolen away by all the [[eight]] [[class]]es' [[gods]] and [[demon]]s.

…Turning into forms of HŪ, the NRI syllables — those stolen life force essences — penetrate the hearts of everyone to be protected, others and myself.[3]

In actuality, that which causes the life force and life span essences to be stolen away in the first place are the six afflictions. Appearing in the aspect of NRI syllables, the precious life essences are carried off and hidden by negative emotions like aversion and jealousy themselves. The life essences are recovered only after the NRI syllables have been transformed into the seed syllable HŪ. Thus, they merge back into the hearts of those who are to be protected, restoring their well-being.

Although the Vajrakīla and Yamāntaka examples above use different words as means of expression, their inner meaning is the same. So it is with all the Buddhas' teachings. As it says in The King of Samādhis Sutra,

Whichever Sutras I've explained

in thousands of worldly realms —

though their words differ, their meaning is one.

If even a single word has been fully contemplated,

every one of them will become contemplation.[4]

At this juncture, the kīla is returned to his seat with the words SAPAŚVARI SAMAYA JAḤ HŪ VA HOḤ. Finally, the kīla consecration concludes with the Empowerment of the five wisdoms, which the sādhakas request through the following supplication:

HŪ. Means, your conduct for beings' purpose, is

love and compassion that rightly tame.

Now grant siddhis and Empowerment to

make Buddha activities complete!

Since the meaning is self-explanatory, one should simply meditate according to the words of the text. Then, as one recites the syllables OṀ HŪ TRĀṀ HRĪḤ ĀḤ, MŪṀ LĀṀ MĀṀ PĀṀ TĀṀ, the Empowerment-blessing of the fathers and mothers of the five families is bestowed. Although the syllables differ slightly from those in the Practice Manual, the accompanying meaning, mudrās, and visualization are exactly the same as those described in the Empowerment section of the Practice Manual.

” (VkGarR)

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