Deity yoga

The fundamental practice of Vajrayana and Tibetan tantra is deity yoga (devatayoga), meditation on a chosen deity or "cherished divinity" (Skt. Iṣṭa-devatā, Tib. yidam), which involves the recitation of mantras, prayers and visualization of the deity, the associated mandala of the deity's Buddha field, along with consorts and attendant Buddhas and bodhisattvas. According to the Tibetan scholar Tsongkhapa, deity yoga is what separates Tantra from Sutra practice.
In the Unsurpassed Yoga Tantras, the most widespread tantric form in Indo-Tibetan Buddhism, this method is divided into two stages, generation (utpatti-krama) and completion (nispanna-krama). In the generation stage, one dissolves one's reality into emptiness and meditates on the deity-mandala, resulting in identification with this divine reality. During deity visualization, the deity is to be imagined as not solid or tangible, as "empty yet apparent", with the character of a mirage or a rainbow.
This visualization is to be combined with "divine pride", which is "the thought that one is oneself the deity being visualized." Divine pride is different from common pride because it is based on compassion for others and an understanding of emptiness. The divine image along with the illusory body is then dissolved into luminous emptiness. This dissolution into emptiness is then followed by the visualization of the deity and the yogi's re-emergence as the deity. This practice is repeated over a number of daily sessions. The practitioner proceeds to the completion state after completing a requisite number of mantra repetitions, either defined in the text or given by the empowering lama.
Following mastery of the "generation stage," one practices the "perfection" or "completion" stage. The Indian commentator Buddhaguhya (c. 700 CE), in his commentary on the Mahavairocana Tantra, outlines the "perfection stage" practices. The Tibetologist David Germano outlines two main types of completion practice: a formless and image-less contemplation on the ultimate empty nature of the mind and various yogas that make use of the subtle body to produce energetic sensations of bliss and warmth.
The subtle body yogas systems like the Six Dharmas of Naropa and the Six Yogas of Kalachakra make use of energetic schemas of human psycho-physiology composed of "energy channels" (Skt. nadi, Tib. rtsa), "winds" or currents (Skt. vayu, Tib. rlung), "drops" or charged particles (Skt. bindu, Tib. thig le) and chakras ("wheels"). These subtle energies are seen as "mounts" for consciousness, the physical component of awareness. They are engaged by various means such as pranayama (breath control) to produce blissful experiences that are then applied to the realization of ultimate reality.
Other methods which are associated with the completion stage in Tibetan Buddhism include dream yoga (which relies on lucid dreaming), practices associated with the bardo (the interim state between death and rebirth), transference of consciousness (phowa) and chöd, in which the yogi ceremonially offers their body to be eaten by all beings in a ritual feast.
Representations of the deity, such as statues (murti), paintings (thangka), or mandala, are often employed as an aid to visualization, in deity yoga. The use of visual aids, particularly microcosmic/macrocosmic diagrams, known as "mandalas", is another unique feature of Buddhist Tantra. Mandalas are symbolic depictions of the sacred space of the awakened Buddhas and Bodhisattvas as well as of the inner workings of the human person. The macrocosmic symbolism of the mandala then, also represents the forces of the human body. The explanatory tantra of the Guhyasamaja tantra, the Vajramala, states: "The body becomes a palace, the hallowed basis of all the Buddhas."
All ritual in Vajrayana practice can be seen as aiding in this process of visualization and identification. The practitioner can use various hand implements such as a vajra, bell, hand-drum (damaru) or a ritual dagger (phurba), but also ritual hand gestures (mudras) can be made, special chanting techniques can be used, and in elaborate offering rituals or initiations, many more ritual implements and tools are used, each with an elaborate symbolic meaning to create a special environment for practice. Vajrayana has thus become a major inspiration in traditional Tibetan art.
Deity yoga is the central practice of Buddhist Tantra. In the three lower or "outer" tantras (Action, Performance and Yoga), Deity yoga practice is often divided into "the yoga with signs," and "the yoga without signs."
Deity yoga engages creative visualization as a skillful means of personal transformation through which the practitioner (sadhaka) visualizes a chosen deity (yidam) as part of a mandala or refuge tree in order transform their experience of the appearance aspect of reality. As the 14th Dalai Lama says, "In brief, the body of a Buddha is attained through meditating on it."
Here, "signs" or "supports" refers to ritual acts, visualized images, mantras, and mudras. There are two main forms of deity yoga visualization: front and self generation.
"Front-generation" is when the deity is visualized in the space in front of oneself. First, the deity's residence may be visualized and then the deity is invited to come, which is imagined as appearing in front of the meditator. Sometimes the deity is imagined as just a moon disk, or the seed syllable of the deity, at other times, the full form of the deity may be visualized. Then the yogi takes refuge, generates bodhicitta, offers prayers, praises, and offerings like water and food (real or imagined), confesses their misdeeds, takes vows and so forth. Then one may meditate by reciting mantras (while focusing on visualized letters at the deity's heart). Mudras (hand seals) may also be included. One may also cultivate the four immeasurables. One also meditates on the emptiness of the deity's form. This approach is considered less advanced and thus it is safer. Front generation as a main practice is more common in the lower tantras.
"Self-generation" is the practice in which one imagines oneself as the deity. This is held to be more advanced and accompanied by a degree of spiritual risk. To practice this, one must first meditate on emptiness and establish the view realizing emptiness (or at least a similitude of emptiness). Then one imagines the deity arising (often out of bright seed syllables resting on a moon disc or a lotus) and repeats the deity's mantra (which can be done orally or mentally). During deity yoga, one may also perform various mudras (hand seals) depending on the type of sadhana (practice) one is doing. Whatever the case, the initial goal in generation stage practice is the clear appearance of the visualization in a non-artificial, natural way.
In more advanced practices, the deity often appears together with their mandala (which includes numerous other deities in it) and the practitioner visualizes themselves (and their actions and thoughts) as the deity and their environment as the mandala. In some sadhanas, one also visualizes one's body as the mandala, filled with deities.
Front and self generation are often actually combined with each other in a single practice. For example, one may first perform front visualization, and then self visualization. Then one may have the front visualized deity merge with oneself as deity.
To improve one's visualization, one may systematically focus on each part of the deity (face, hand, etc.) and correct their appearance. Another method is that of stabilizing the mind by holding the breath and making an effort to focus on the image. Then one relaxes on the exhale. One may take breaks from the visualization by just reciting mantra.
Regarding the recitation of mantra during the visualization process, there are many ways it can be done, such as:
In Yoga Tantra and Unsurpassed Yoga Tantra, there is also the practice of cultivating calm abiding by focusing on a subtle object, such as a tiny vajra the size of a sesame seed placed at some point in the body, such as the tip of the nose.
The ultimate purpose of deity yoga is to bring the yogi to the realization that they and the deity are in essence the same (i.e. empty), i.e. that they are non-dual (advaya). This is done through repeated practice which leads to familiarization with the form, deeds and thoughts of a Buddha. Tsongkhapa states:
According to Tsongkhapa, throughout the various stages of visualization one is to maintain the cognition of emptiness and "one trains in causing everything to appear as like illusions." During the meditation, the deity is to be imagined as not solid or tangible, as "empty yet apparent," with the character of a mirage or a rainbow. This method undermines habitual grasping to a solid and fixed reality (i.e. to inherent existence, svabhava), enabling the practitioner to purify spiritual obscurations (klesha).
In the generation stage, the practitioner may visualize the "Four Purities," which is unique to tantric yoga:
According to the 14th Dalai Lama, there are two main factors in deity yoga practice:
According to Daniel Cozort, divine pride is "the thought that one is oneself the deity being visualized." According to John Powers, the difference between divine pride and defiled pride is that divine pride is based on an understanding of the emptiness of all things and also on compassion. Since "all appearances are viewed as manifestations of the luminous and empty nature of mind, and so the divine pride of deity yoga does not lead to attachment, greed, and other afflictions."
According to Gyatrul Rinpoche, the point of this practice is to "understand your buddha nature, which is the very essence of your being" and is "intrinsically present" in all beings. The fact that the deity is a reflection of qualities already inherent in the practitioner is what makes this practice different from mere deluded or wishful thinking.
Once one has the ability to rest in the vivid appearance of the deity, one may practice the yoga without signs. This is the final meditative concentration of deity yoga in the lower tantras (Action, Performance and Yoga tantra). Though the main focus is on emptiness, one still maintains the deity visualization (except in the direct cognition of emptiness). This yoga is a union of calm abiding and special insight focused on the empty nature of the images and sounds. It is a meditative stabilization which realizes the emptiness of body and mind. Its object is the emptiness of persons and phenomena as it applies to the deity's body and the pure Buddha bodies, vajras, mantra letters, and lotuses of the mandala.
According to the 14th Dalai Lama, "although the sounds and so forth may appear, the mind is ascertaining or realizing only emptiness. This is the union of the two truths in Mantra—one consciousness appearing in the form of divine body or speech and simultaneously realizing emptiness."
According to the Indian master Buddhaguhya, there are three techniques which may be used to settle the mind on emptiness in the yoga without signs:
The generation stage or creation phase (Tib. bskyed rim; Skt. utpatti-krama), also known as "the phase of imagination" and "the yoga of fabrications" is the first phase of tantric deity yoga in the Unsurpassed Yoga Tantra of the later schools of Tibetan Buddhism. It also equates to the Mahayoga of the Nyingma school. Kongtrül states that this phase is associated with the body and the birth process (while the Completion phase is associated with the mind and with dissolution at death).
The Nyingma scholar Ju Mipham defines the generation stage as follows: "accessing the purity and equality of appearance and existence through conceptual creations and training in accord with the view that ascertains the meaning of the natural continuum of the ground."
Kongtrül explains the main goal of generation stage practice as purification:
There are three bases of purification: birth, death, and the intermediate state. Generation Stage is a visualisation practice utilising "all the senses and the totality of the meditator's body, speech, and mind...[to develop]... confidence in the reality of the deity's world." The meditator's identification with the deity allows them to develop clear appearance, divine pride and the conviction that what appears is illusory and empty. This is done in order to abandon fixation on ordinary thoughts and appearances as well as the false apprehension of things as being inherently real. In this sense, it is similar to deity yoga as practiced in the lower tantras.
One of the main differences between deity yoga in Unsurpassed Yoga Tantra and in the lower tantras is the fierce and sexual appearances of the deities used in Unsurpassed Yoga Tantra. It is also common for these deities to be depicted in sexual union. Thus, Longchenpa categorically states: "No matter how many deities are involved, if they are not in union, it is outer tantra. If they are in union, it is inner tantra." Powerful imagery which uses death, violence and charnel ground motifs is also common. Thus, Longchenpa distinguishes between the pure environments and ritual tools that are visualized in outer tantra (such as celestial palaces and precious jewels), and impure inner tantra environments and tools (such as charnel grounds, skull cups, and ritual knives). Unsurpassed Yoga Tantra also makes use of a subtle body psycho-physiology that is not found in the lower tantras.
The practice of deity yoga relies on the development of meditative absorption (dhyana). Mipham states that "the meaning ascertained by the view of great purity and equality can only be applied correctly to one's own being once the strength of meditative absorption has been perfected. For this reason, meditative absorption is extremely important. It is the primary cause for accomplishing activity and spiritual attainments, both of which require awareness and stability." According to Mipham, the progression of the practice of calm abiding (samatha) based on deity yoga can be measured in the same way it is measured in sutra teachings (that is, through the nine ways of resting the mind and so on).
There are various systems of practice based on different tantras. Kongtrül outlines various three branch yoga frameworks (from the Vajramālā Tantra, Mahamaya, etc), various four branch frameworks (which can be found in tantras like the Net of Magical Manifestation and the Guhyasamaja), a six branch framework, an eight branch framework and a twelve branch framework (Kalacakra).
An example of one of these contemplative sequences is that of the Vajramālā Tantra (Vajra Garland), which is as follows:
Regarding the actual practice of yoga, there are some preliminary practices which are sometimes performed before sitting to meditate, such as giving sacrificial food offerings to appease non-human obstructive beings, visualizing a circle of protection to ward off adverse conditions, and meditating on bodhicitta (through practices such as the Seven Branch Prayer) as well as meditating on pristine awareness/emptiness which is commonly done using the mantra om svabhava shuddhah sarva dharmah svabhava shuddho ham.
As to the main practice of generating the image of the deity, Mipham writes that "one begins by resting one's attention on a focal support, such as a buddha statue placed before oneself." Eventually the mind will be able to create the image of the deity without a support. There are numerous ways used to mentally visualize a deity, their residence, seat, and retinue of accompanying deities. These include the sudden appearance of the image, generating the mandala residence first and then having the deity populate it, having the deity arise from a seed syllable or from the recitation of their mantra, and more elaborate generations with various symbols such as a moon, vajra, or sword.
Some of these methods can be elaborate, for example, Kongtrül describes one method called "creation by means of the five actual awakenings" as follows:
Kongtrül says that most generation stage sadhanas include meditating using "three beings":
According to Kongtrül "the placement of the three beings may be done for all the deities or for only the main deities."
Completing the generation stage contemplation can include different elements, including "the drawing in of the pristine-awareness mandala, conferral of initiation, sealing of different types, and nectar-tasting, offering, and praise." To draw in the pristine-awareness mandala, one imagines light radiating from the syllable at the heart which invites the mandala of deities to merge with the pledge being. This helps develop the pride that oneself and all deities are of the same nature. The initiation is performed by propitiating the deities and imagining that they bestow an initiation through pouring water and so on which has a cleansing effect.
According to Kongtrül, whenever one trains in the generation phase, one must see everything that arises as a relative and empty appearance, devoid of inherent nature, and one must also see them all as illusions. The goal of this contemplation phase is to reach a pristine awareness in which the appearance of the deity is blissful and beyond all conceptual elaborations and manifests as "the essence of bliss and emptiness." At the end of the meditation session, the visualized environment and deities dissolves into oneself, and one dissolves into luminous clarity. Then one re-emerges in "the illusion-like form of the deity."
Mipham states that there are three main principles of generation stage practice: (1) clear appearance, (2) divine pride, and (3) the recollection of purity.
There are various instructions for informal contemplation, i.e. the post-meditation period when the yogi is not involved in formal sadhana practice. Kongtrül outlines eight of these:
Ju Mipham explains post-meditation training as follows:
The completion stage (rdzogs rim, also "perfection" or "fulfillment" stage), also known as "the yoga of the natural state," is the second stage of Unsurpassed Yoga Tantra. According to Kongtrül the Sanskrit equivalent to rdzogs is niṣpanna, "meaning the ultimately true, or the natural state. 'Completion' therefore denotes what is ultimately true, the natural state, or the nature of things."
Jamgön Kongtrül writes that the main characteristic of Completion Stage practice is non-conceptual great bliss arising from the melting of the vital essences (bindus) in the subtle body which allows the yogi to realize the true nature of reality, bodhicitta. Bodhicitta is here defined as the inseparability of emptiness and compassion (understood as the pristine awareness of unchanging great bliss). This yoga, which focuses on directing the vital winds into the central channel is also termed the "vajra yoga of the union of method and wisdom."
Ju Mipham meanwhile, writes that in the completion stage (also known as the "path of the innate" or "path of direct perception"), "the profound methodical pith instructions actualize the tantra of the ground, the great purity and equality that dwells within as the maṇḍala of spontaneous presence."
Before practicing the completion stage, most masters agree that one should first gain stability in the generation phase, having developed clear appearance of the images and firm divine pride. This is because, as Kongtrül writes "the creation-phase contemplations, once a special connection has developed act as ripening agents for the arising of the realization of the completion phase."
There are different aspects of Completion practice. Kongtrül states that all Completion Stage practice can be included in two aspects: "the causal phase of completion and the resultant phase." Kongtrül's analysis also divides the completion stage into the path of method (thabs lam) or the path of liberation ('grol lam). Mipham makes a similar distinction between "(1) the path with characteristics, which is based on keeping an object in mind and applying physical and verbal effort and (2) the path without characteristics, which is effortless."
The Tibetologist David Germano also outlines two main types of completion stage practice: The first type is a formless contemplation on the ultimate empty nature of the mind, without using any visual images. The second type refers to various meditations using features of the subtle body to produce energetic bodily sensations of bliss and inner warmth. In the path of method, one engages in various yogas associated with the subtle body.
The embodied energetic practices associated with the completion stage make use of a tantric schema of human psycho-physiology composed of "energy channels" (Skt. nadi, Tib. rtsa), "winds" or vital currents (vāyu, rlung), and "energetic drops" or charged particles (bindu, thig le) which are said to converge at certain places along the central channel called chakras (lit. "wheels"). The subtle body energies are seen as "mounts" for consciousness, the physical component of awareness and are engaged in order to generate the 'great bliss' (bde-mchog; maha-sukha) which is used to attain enlightenment.
According to Mipham all practices of the completion stage can be included in two categories:
Kongtrül states that there are three main elements that are common to all completion stage systems:
Kongtrül explains the central Completion Stage practice of causing the winds to enter the central channel (which he terms "self-blessing") as follows:
One of the most widespread methods for causing the winds to enter the central channel is tummo (caṇḍālī, inner heat, literally "fierce woman"). This practice is done in many different ways and applied to numerous other practices. The basic method involves somekind of visualization that symbolizes heat or fire (the red vital essence, i.e. bindu) at the chakra below the navel as well as breathing techniques such as vase-shaped holding of the breath (bum pa can, kumbhaka). This ignites the inner heat, which moves up the central channel and melts the white vital essence (bindu, thigle) located in the head. This white vital essence drips down the central channel, filling the body with bliss.
Inner fire practice is the foundation of the other completion yogas, such as yogic sexual union (karmamudrā), luminosity (clear light) yoga, illusory body yoga, dream yoga, and phowa (transference of consciousness). The practice of these yogas may also be supplemented with various physical exercises, called trul khor.
Alexander Berzin explains (from the Gelug perspective) how the vital wind practices lead to the other yogas:
Luminosity or 'clear light' (Tibetan od gsal, Sanskrit prabhāsvara) refers to the radiant nature of mind, also described as the primordially pure ground, which may be experienced through meditation, through inner heat yoga, during great bliss, in sleep and during the dying process. To reach this, a yogi trains to access this luminous mind experience through various methods, which then give rise to various signs (such as the visions of a mirage, smoke, flickering lights like fireflies, etc.).
Illusory body practice is a series of meditations which allow one to recognize the illusory nature of the body and also of all phenomena since as Kongtrul states "each and every phenomenon of existence and liberation is the body of illusion." The actual practice of this includes contemplating the illusory nature of things by way of the various teachings of the Buddha and the various examples or similes (such a mirage, a rainbow, a reflection, a dream and so on). It also includes the unique tantric practice of meditating on the "pure illusory body," i.e. the form of the deity's body and their mandala seen as an illusory display. After stabilizing these two, one practices the "hidden" illusory body, which pairs the practice of the winds and channels and the corresponding bliss and luminous clarity, with the illusory body contemplation.
Karmamudrā ("action seal," Tib. las-kyi phyag-rgya) also called "the mandala circle," is a yoga which entails sexual union with either a physical or a visualized consort. The tantras describe this as including full penetration (using euphemisms such as vajra and lotus for the penis and the vagina). For example, the Vajra Rosary Tantra chapter 14, verse 8 states: "The vajra and lotus joining is known as the supreme yoga."
This practice is found in most of the major Unsurpassed Yoga Tantras and in numerous systems like the Six Yogas of Naropa, Lamdre, and Anuyoga. In this practice, one first causes the winds to enter into the central channel as practiced in tummo and then joins in union with a consort (actual or imaged). This causes the vital winds to enter, dwell and dissolve in the central channel simultaneously, causing great bliss and the "four joys" which allows one to access pristine awareness. All Tibetan traditions agree that qualified lay practitioners (including former monks) can use physical consorts as the Indian mahasiddhas ("great adepts") did. For example, Atisa wrote that "those (consecrations) on which the householder may rely include everything taught in the tantras." There are different stances on whether current monks can engage in the practice. The Buddhist scholar Tripitakamala felt the overall goal of Buddhahood overrides concerns for monastic vows.
Other completion practices like dream yoga entails mastering lucid dreaming and practicing meditation in one's dreams. Meanwhile, phowa (transference of consciousness) and bardo yogas are yogas done during one's death and help yogis navigate the dying process.
There many systems of completion stage practices, drawn from numerous tantric texts and commentaries. For example, Jamgön Kongtrül in his Treasury of Knowledge (Book 8, Part 3) outlines the systems of two "father" tantras, the Guhyasamāja and Yamari, and seven "mother" tantras: the Kalachakra, Hevajra, Cakrasaṃvara, Chatuhpitha, Mahamaya, Buddhakapala, and Tara Yogini. Other completion stage systems, such as the Six Dharmas of Naropa and the Six Dharmas of Niguma are not tied to a specific tantric scripture and instead rely on oral traditions which draw on numerous tantras. There are also various completion stage practices in the Nyingma tradition, which are somewhat different to those of the Sarma schools and are found in the Anuyoga and Dzogchen literature.
One example of an influential father tantra system is that of the Guhyasamāja (Gathering of Secrets). This is often presented in five sequential stages of practice (derived from the Arya Nagarjuna tradition):
An example of an influential mother tantra completion phase system is that of the Cakrasaṃvara Tantra ("The binding of the chakras"), which Kongtrül calls "the very heart of the mother tantras." There are different practiced traditions of this tantra.
Ghantapa's (a.k.a. Vajraghantapa) Five Stages of Cakrasaṃvara has the following yogic phases
Kongtrül and Mipham divide the Nyingma completion stage into the path of method (thabs lam) or the path of liberation ('grol lam). In Nyingma, path of method practices are known as the “upper door” (steng sgo) practice of inner heat and the "lower door" (’og sgo) of practice with a consort (as stated in the Oceanic Magical Manifestation Tantra). The goal of these yogas is to manifest the pristine awareness that is the union of emptiness and bliss.
Kongtrül outlines the Nyingma Completion Stage "path of methods" as follows:
The path of liberation may refer to extraordinary cases when a person recognizes their true nature immediately during tantric initiation (as was the case with king Indrabhuti). The path of liberation also refers to contemplative methods for directly recognizing the nature of mind without the use of the methods like inner heat and so forth. According to Kongtrül, in Nyingma Anuyoga, there are three approaches to this, "the minds of analysis, the meaning, and letters." Analysis refers to using logical reasoning to establish the nature of things, "meaning" refers to contemplating the true nature of reality, without using thoughts or symbols and "letters" refers to meditation using a seed syllable or mantra.
Mipham states that the emphasis of the path of liberation is "exceptional study, contemplation, and meditation, which lead to a decisive insight into the spontaneously perfected great maṇḍala, in which all phenomena are primordially enlightened as self-occurring wisdom." There are two ways of accomplishing this according to Mipham:
Mahāmudrā ("Great Seal") and Dzogchen ("Great Perfection") are terms which are sometimes used to refer to the pinnacle of completion stage practice, and the state one is aiming for during completion practice.
Mahāmudrā can thus refer to a yogic stage practiced after one has mastered subtly body yogas. According to Kongtrül, this is a stage in which the yogi "remains in a state of even contemplation of the bliss-emptiness pristine awareness alone." This causes the winds to gather leading to a special bliss of the melted vital essence. Another method refers to directing the vital essence into the central channel and discursive thought into luminous clarity, which leads to "the nondual pristine awareness dimension of awakening."
In Tibetan Buddhism, Mahāmudrā and Dzogchen are also sometimes considered to transcend the two stages and to be a separate path or vehicle (yana) in and of themselves. In this sense, these yogas are said to be direct methods for accessing the very nature of reality, which is variously termed "the nature of mind," Dharmakaya or "the Great Seal" in the Mahāmudrā lineages, or the "basis" (gzhi) in Dzogchen lineages.
In Nyingma, Dzogchen is a separate vehicle (the Atiyoga vehicle) and it is seen as a superior method to the tantric practice of the two stages. Mipham states that this path does not use methods which require effort, such as the subtle energy practices,
After being introduced to the ultimate by one's master, one then trains according to this understanding. Continued training, through constantly resting in that state without contrivance, stabilizes one's experience of the ultimate over time. In practice however, Dzogchen practice is often also paired with the two stages of tantric yoga.
Similarly, in the Kagyu schools, Mahāmudrā is also sometimes seen as a separate path (known as the vehicle of self-liberation, or Sahajayana). However, it is usually practiced together as part of the tantric yogas (for example, in the "Fivefold Mahāmudrā" method).
In Sakya, Mahāmudrā is the culmination and the goal of the practice of the two stages. It is not a separate vehicle.