The Metaphysical View of Death and Life After Death Part 8

In the Chonyid one has to exercise Vairagya and Viveka, or detachment and discrimination--detachment as to what is seen, and discrimination as to what is real and unreal in the unfolding panorama. One has to overcome one's attraction to the images of beauty in this first Chonyid stage as well as to overcome one's repulsion to wrathful and awesome images in the following Chonyid phase. One has to embrace every appearance as a reflection of one's own pure primordial nature. Forms should be seen as illusory, their inner essence, however, should be realized as the essence of Reality. Tsele Rangorol explains it in this way:

"The key point in the Bardo of dharmata is simply to rest in awareness, no matter what happens, and to be able to embrace everything with the mindfulness of awareness-wisdom, without losing the continuity of that awareness." (1993:7)

Aside from psychic images that one perceives in the Chonyid, one may also see coloured-lights, either bright and dazzling or dull. The bright coloured-lights originate from the five "Dhyani Buddhas" of the spiritual planes, whereas the dull coloured-lights emanate from the 6 lower realms of becoming. Like the psychic images that one may see in the Chonyid, the coloured-lights are also a manifestation of one's mind. Their appearance may continue all the way through Sidpa bardo. In the following we list the realms with their associated coloured-lights together with the Dhyani Buddhas and their corresponding colour rays:

[Note: The table may be seen as originally published at our website]

Generally speaking, one has to distance oneself and not be attracted to the dull lights as they lead one to a rebirth in a lower world. Conversely, bright coloured-lights lead us to a more fortunate rebirth in the spiritual worlds. When encountered, therefore, one has to abide in the dazzling coloured-lights and allow them to guide one to a higher state. Detlef Lauf in the Secret Doctrines of the Book of the Dead, tells us what would occur if we were to be attracted to dull lights:

"If thou art frightened by the pure radiances of Wisdom and attracted by the impure lights of the 6 lokas, then thou will assume a body in any of the 6 Lokas and suffer sangsaric miseries . . ." (1989:125)


Chonyid Bardo, Second Stage

This stage is a continuation of the previous stage. Should the awareness-principle still be unliberated from the bardo in the previous experience, this stage dawns to reflect the darker side of one's psyche for immediate reaction--or response. When the images of one's spiritual aspect exhausts itself from one's psyche, what remains are the negative side with images called by Tibetan teachings "the 58 wrathful deities." Like the images of the peaceful deities, these wrathful images are mere illusions, thoughtforms, hallucinations, or mirages. They are simply projections of one's negative thoughts, feelings and karmic stains. It is therefore imperative that the soul grasp the true nature of these images and not be repulsed, frightened or alarmed by them. Nothing can hurt one's primordial nature, one's Divine Self--"the Real cannot be threatened"--and this is a lesson that one has to learn even now while incarnated in the physical form. A calm abiding in one's pure awareness without any dualistic thought of "I" and "thou" or any sense of separation should be cultivated and maintained. There should only be a feeling of unity, of oneness, of integration with All That Is, which is one's Divine Self. Understandably, such an awareness may not come automatically while one is facing terrifying images. It is for this reason that there should be a reasonable amount of spiritual practice while one is still yet alive on the physical plane. Referring to the images perceived in the bardo and a possible emancipation through right understanding and awareness as well as the result of wrong apprehension, Detlef Lauf comments:

"If all the temptations of deceptive visionary images, which are continually referred to in the texts [Bardo Thodol] as hostile forms of the intellect, can be recognized as empty creations of one's mind and can be immediately penetrated, one will attain liberation. These images dissolve away and the awareness reaches the peaceful and imageless release of nirvana. Every fleeing from these fearsome and terrifying bardo images and every feeling of being seduced by certain colours and visionary apparitions is a step into the ambivalence of the feelings of hatred and desire and is attachment to the opposites of divine consciousness. It is therefore a step back into ignorance, for the antagonistic forces of desire and aversion prevent salvation and unity of awareness in the state of liberation." (1989:69)

One of the reasons that one slips into this bardo from the former stage is that the anxiety, and the terror engendered by the fear of the unknown, and augmented by the appearance of holy images which often stimulates guilt feelings, causes the awareness-principle to evoke the negative side of its subconscious content, thus resulting in the appearance of wrathful images. What one experiences in the bardo is the direct result of one's karma and the nature of one's psyche, whether it be spiritual or carnal. The images of peaceful or terrifying deities, or other frightening forms are there to purify the awareness of ignorance and to offer an opportunity for the awareness-principle to grasp their inner nature. Should the soul react negatively to these images, it passes on to the next bardo. A positive response offers release. One's negative reaction is due to one's karma and lack of spiritual unfoldment.

Should one fail to gain liberation in the Chikai or in the former stage of Chonyid because of one's negative karma and negative mental and emotional traits, there is still hope to liberate oneself at this stage; not from samsara, however, but from rebirth in one of the lower planes of the six worlds. Liberation at this stage also emancipates the awareness-principle from having to undergo the "Judgment" in Sidpa bardo. A soul gains liberation, totally or partially, at whatever stage his karma allows. As said before, preparation beforehand through spiritual practices is an indispensable task to be undertaken by those seeking a better soul-life. Chokyi Nyima, the author of The Bardo Guidebook, advises this succinctly:

"The Buddhas very kindly gave many teachings and methods of practicing, but all these different systems converge at one point: right now, while you are alive, get used to the non-conceptual wakefulness called luminous dharmata, the state free from concepts, beyond a meditation of mental fabrication . . . Accustom yourself to non-conceptual wakefulness now so at the time of death you will not have to go through the remaining bardos [Chonyid and Sidpa] to a new rebirth. Resting in non-conceptual wakefulness is enough to cover all aspects of practice . . . " (1991:137)

In Chonyid bardo one's psychic senses are enhanced, and one acquires a certain degree of clairvoyance. The pilgrim of the bardo is somewhat aware at this stage of the surroundings related to its physical form and its newly-terminated incarnated life. The soul may hear and see its relatives and friends grieving and lamenting, but they do not perceive the astral form of its awareness-principle. The awareness-principle may or may not realize at this stage that it has permanently severed connections with its physical form. The incapability of offering comfort and solace to beloved ones at this point frustrates the soul. Bombarded by frightening sounds and coloured-lights likewise make this an exhausting period for the soul.


Sidpa Bardo, First Stage

Here, in Sidpa bardo, the lights, sounds, and images assume a sight more ghastly than the previous bardo. The psychic motion within one's consciousness is intensified to the utmost degree and it projects out with a centrifugal force all of one's inner negative qualities that takes on forms that corresponds to those qualities. It is in this bardo that one's negative karmic deeds play strongly upon one's conscience. In Sidpa, the feelings of guilt, of hatreds, greed, anger and other egoic expressions seemingly assume terrifying phantasms--demon-like, to torture one's consciousness of all of the misqualifications of one's personal energy. As the peaceful deities are said to emanate from the heart-center, so the terrifying images that one experiences in the bardo are said to emanate from the head-centers. One's main objective and natural inclination at this state as in previous ones, is to escape, to flee from these frightening, awesome and gruesome images. This is a mistake of the dualistic mind, however, that requires a reiterated warning: all that is experienced in the bardo are mental projections, and are, therefore, unreal. The bardo experience is subjective and is but a mental journey with an alchemical purpose. To acknowledge mental projections as real and to be deluded by them causes the awareness-principle to further entrap itself in the snare of Maya. This is spiritual death to the consciousness which is referred to by the Piscean Master when he advised his disciples to "let the dead bury the dead."

Should one by any chance, however slim, attain a partial liberation in the Sidpa, one obtains the Nirmanakaya--a pure emanation of the Dharmakaya, the Monad. Eventhough with this attainment, the awareness-principle is still subjected to the wheel of birth and rebirth. However, the next birth may be in more fortunate circumstances and surroundings, conducive to spiritual growth, unfoldment and awakening.

We should reiterate here that the Bardo, not being a place or a realm, but an inner experience, is different for every soul making its transition. Every form, image, figure, or symbol making an appearance on the screen of consciousness simply reflects one's own subconscious content. They are one's personal conscious and subconscious fantasy assuming a virtual reality. All of the forms that appear corresponds to one's sublime or carnal thoughts, feelings, passions and impulses. One's habitual pattern of thoughts and feelings are the most potent in expressing themselves in the bardo. The average soul may succumb in a negative way to these protean forms and changing scenes, the spiritually inclined would, however, transform these images into more pleasant ones with the power of thought. Recognizing the underlying reality of the bardo forms, one may go through it quickly. Amidst the dark thought-forms of Sidpa bardo, there still lurks the Clear Light of the Void. Therefore, reaching out to the greatest light perceivable hidden in and around the monstrous forms one may discover a "saviour" that leads one away from experiencing the Judgment in the latter half of the Sidpa bardo.

At every stage masterful beings watch intently the souls experiencing the bardo--to give subtle aid when necessary, or when a plea for help is made. The nature of that aid is dependent upon the soul's own personal karma. Such saviours when recognized amidst the psychedelic and surrealistic images will free one from further doings in the bardo.

Sidpa bardo is often called the "bardo of becoming," because at this stage it is almost certain that one would be reborn in one of the 6 realms, in one of the phenomenal world of change. In Sidpa the awareness-principle is made aware through certain signs and indications that it is deceased. With such an awareness it may desire to be quickly reborn; it does so by seeking the lights emanating from the human realm--as though drawn to it. These lights play upon the psychic senses, swirling and twirling together as though a human couple were in the act of copulation. Other lights from the other lower realms also play about in one's vision. The light that the soul is attracted to and merges with determines the realm of its rebirth. This may occur before or after the judgment--normally after.


Sidpa Bardo, Second Stage

One now comes to the Judgment with which almost all religions teach. After undergoing the previous bardos without being released from it, the soul, the awareness-principle, hallucinates a judgment scene. In this judgment, all of the actors--the judge, the prosecutor, the defender, the scribe and others--are all aspects of one's being participating in a drama that directs the attention of the soul to all of its misdeeds in thought, words, and action--whether of omission or commission--in the physical life that it had just passed. It is a period of soul-review, reflection, introspection and self-examination. Regarding this soul-review, Helena Blavatsky, the co-founder of the Theosophical Society remarks:

"At the solemn moment of death every man, even when death is sudden, sees the whole of his past life marshalled before him, in its minutest details. For one short instant the person becomes one with the individual and all knowing Ego. But this instant is enough to show him the whole chain of causes which have been at work during his life. He sees and now understands himself as he is, unadorned by flattery or self-deception. He reads his life, remaining as a spectator looking down into the arena he is quitting; he feels and knows the justice of all the sufferings that has overtaken him." (cf Cosmos in Man 1983:180)

In this judgment one's past life is relived and viewed as though one were watching a movie. One is enforced here to realize the significance of one's misdeeds and made aware of one's error. Every misdeed the soul has to account for, and motives are scrutinized by one's conscience represented by Dharmaraja, the Judge, literally, "king of the law." This is the event where the saying "God is not mocked," is seen explicitly. All of the persons that the soul had harmed or done wrong in any way, seemingly appear to accuse the soul of its violation of truth and righteousness. Their sufferings and pain are somewhat felt by the soul being judged, that it may acquire an understanding of the effect of its evil actions. One's reaction here may determine one's "placement" in the subtle realms, whether it be in one of the hell regions or in purgatory. Should the soul be filled with remorse and shame, acknowledge its error, sincerely repent and ask forgiveness, it may be granted a reprieve and sent to the purgatorial worlds; otherwise, if it is filled with hate and anger for God and man and hardens its heart, it would be isolated in hell where it has illusory visions of being tortured by demons, or even literally feel the effects of the flames. This punishment in reality is self-imposed, for none condemns the soul but its own self. The low vibrations that it generates with its negative feelings simply anchors it down to the mire of the astral worlds.

The results of one's judgment are recorded in the seed-atoms and in the subconsciousness of the soul, and this has a great influence upon its subsequent lives in the physical plane; and while still imprinted fresh in its mind in the subtle realms, it provides food for thought and consideration which may evolve into a conscience of a higher standard. In the judgment of Sidpa the soul sees itself for what it really is and not what it believes itself to be or what others believe itself to be.

Copyright © 2006 Luxamore

The Metaphysical View of Death and Life After Death Part 7

Dissolution of the physical form causes a release of the awareness-principle from the body and expands the consciousness to enfold a higher state. The absorption of the four elements are spiritually related to the activities of their subtle counterpart personified as goddesses:

1) Buddhalocana - Earth

2) Mamaki - Water

3) Pandaravasini - Fire

4) Samayatara - Air

After the absorption of the elements, what is called the "Three Paths" commences. Whereas the above is known as the "gross dissolution," the Three Paths is known as the "subtle dissolution." The Three Paths is associated with inner processes called by lamas the stages of "appearance," "increase" and "attainment." They are associated with the three "tigle," or "bindu." The tigles are described as being the essences of one's parents and possessing certain colours related to the male and female seed. The male tigle is white in colour and resides at the top of the head. It represents "skillful means." It is also related to the nirmanakaya--one of the three bodies often referred to in Mahayana Buddhism. The female tigle is red in colour and has its abode at the base of the spine. It represents "wisdom," and is related to the sambhogakaya. The third tigle is a neutral essence, it is a combination of both male-female tigles when they meet in the heart; it results in the black tigle. This tigle is related to the dharmakaya. The movements of the three tigles in the physical body result in the stages of one's realization of "emptiness," or the Clear Light of the Void, which in the average person goes unrecognized. During the death process the white tigle descends into the heart center followed by the ascent of the red tigle into the same locality. These are the stages of "appearance" and "increase." The stage of "attainment" or the "black path" occurs when both male and female bindus meet in the heart center to form the black tigle and give rise to the actual moment of death. The appearance of the Clear Light follows at that precise moment. In the black stage the average person usually falls unconscious, the Buddhist initiate of such teachings as Dzogchen or Mahamudra, however, is able to maintain awareness and recognize the Clear Light as it appears. Concerning the nature and movements of the tigles, Chokyi Nyima Rinpoche in the Bardo Guidebook comments:

"Whiteness or appearance is due to the descent of the white element, obtained from one's father at the moment of conception. At that time there is a white shimmering light like moonshine. The outer sign is similar to the moon descending or rising. The inner sign is that one's consciousness feels hazy like a mirage. This should be acknowledged as the experience of the whiteness.

"The experience of redness involving the ascent of the red element obtained from one's mother at conception is like sunshine in a place filled with dust so that the sun appears very red. The outer sign is a red sun either rising or setting. The inner sign is scintillating sparks that appear and disappear like fireflies. The experience of blackness is like the darkness of the night sky. At this point one's consciousness alternates between being clear and hazy." (1991:92-93)

The phenomena of the three tigles should be considered symbolic. They represent psychological processes that purifies, as much as possible, the psyche from emotional and mental stains. Our primordial nature is the Clear Light of the Void, in Christian terms this corresponds to one's "Father" in heaven or Nur Illahi, as muslims would call it.. This shining divine spark within is clouded by negative emotional and mental qualities, recognized my muslim mystics as the "hijab" or veil. Once freed from those negative toxins of the psyche, one's true nature may be easily apperceived. The "movements" of the tigles facilitates this process. In the Bardo Guidebook the author refers to the psychological cessation of thoughts related to sensual desire, anger and delusions and in connection with the stages of the three tigles:

"During the white experience the thirty-three thought states caused by anger cease. During the red experience the forty thought states caused by passions cease. When the two essences meet, the seven thought states caused by stupidity cease." (1991:12)

And once freed from the above negative, deluded thoughts of anger, passion and stupidity, what remains is the Clear Light of the Dharmakaya--one's divine nature.

When the dying's last expiration is about to cease, lamas make it a practice to turn the pilgrim's dying body over to the right side. This they call the "Lying Posture of the Lion." The carotid arteries of the left and right side of the throat are pressed simultaneously. By such a practice it is hoped that the "awareness-principle" would emerge from the crown chakra. By pressing the arteries the remaining life-force in the body no longer re-circulates within the physical system--it is forced out through the crown portal. Pressure on the arteries prevents the soul, or awareness-principle from falling unconscious, or into the death-swoon. It also triggers the experience of the Clear Light of the first phase of the Bardo and the hoped-for recognition of it. Incidentally, it is likewise believed that the arterial pressure stimulates kundalini, or the serpent-force lying at the base of the spine, just as the death-hormone is believed to by Chaney. This occult writer also believes that kundalini is an active cause of the appearances of the bardos. Kundalini as it rises to the dying brain via sushumna, or the subtle spinal nerve, is believed by lamas to be an important factor in manifesting the Clear Light of the Void. The pressure on the carotid arteries is maintained for about six minutes after the last breath--the time that it takes for the Clear Light to dawn. We are also advised by Bardo teachings not to touch a corpse for at least an hour after death, for, it is said, that the awareness-principle is attracted to the area being touched. This would only cause the mind of the soul to be distracted and to wander away from the important bardo experiences.

Although soul-emergence out of the crown chakra is the desire of every well-informed Tibetan, the incarnated soul may also exit, according to Lamas, through any of the other eight different openings of the body, the route of which, it is said, determines the place of abode of one's awareness-principle in the after-life. Below we give the nine portals of exit and their associated realms:

Anus - Hell realm

Genital - Animal realm

Mouth - Hungry ghost realm

Nose - Human realm

Navel - Desire-gods realm

Ears - Asura/Titan realm

Eyes - Form realms of the gods

Top of head - Formless realms of the gods

Crown of head - Devachan

We shall now consider the three bardos, or the three phases of the Bardo--the Chikai, Chonyid, and Sidpa. Below we give the bardo-phases and stages, and the approximate number of days that the soul may linger in them:

1) Chikai Bardo, first stage - First to third day

2) Chikai Bardo, second stage - Third to fourth day

3) Chonyid Bardo, first stage - Fourth to eleventh day

4) Chonyid Bardo, second stage - Eleventh to nineteenth day

5) Sidpa Bardo, first stage - Nineteenth to fortieth day

6) Sidpa Bardo, second stage - Fortieth to forty-ninth day

It should be noted that not all of these bardos may be experienced by the one undergoing transition. Liberation and illumination may occur in the first or second phase making the undergoing of the succeeding stages unnecessary; it all depends upon the purity, the spirituality, and the karma of the dying pilgrim. Each succeeding stage makes it more improbable that liberation be gained; however, with the correct faith, humility, knowledge, attitude, behaviour, and awareness, the grace of the Cosmos may pour upon the one experiencing the bardo and offer attainment of the long sought-for salvation. Our understanding, awareness and reactions in the Bardo determines whether we attain enlightenment or prolong our existence in samsara.

Chikai Bardo, First Stage

In this first stage of the bardo the Clear Light of the Void dawns upon the consciousness or awareness-principle. In Vajrayana teachings this Clear Light is none other than the dharmakaya, the highest principle within the microcosmic being of man. In Theosophy, this is the Monad; or the "I AM Presence," as some esoteric schools of thought would call it; or "Yechidah" in the Qaballa, the oral tradition of Judaism.

The Clear Light is like a mirror that reflects our Divine Self, our true Buddha nature. This Clear Light is said to be resplendent and scintillating, of a brightness that surpasses a thousand suns. Recognizing, being aware, and merging with one's true nature confers upon one a new spiritual status. The experience expands one's consciousness, not unlike the "Cosmic Consciousness" of Richard M. Bucke. Fundamentally, the Clear Light is experienced when one abides in one's true primordial nature in stillness without being moved by thoughts or emotions. This usually occurs in a deep state of meditation. Experiencing the Clear Light in full awareness liberates oneself from samsara, from Maya, and the dualistic state of mind and conception. The Clear Light and liberation implies a non-dual state, a non-thought-formation, and an abidance in one's Divine nature.

According to Vajrayana teachings, the Chikai stage is the first opportunity given to us to be free from the world of birth and rebirth, of the cycle of reincarnation with its concomitant sufferings and pain. Our main problem here is maintaining consciousness while undergoing the process of soul-release and recognizing the Clear Light when it appears. Most people pass through this stage unconsciously, in a state of slumber. Various factors causes the awareness-principle to fall into a stupor and not recognize its true nature as represented by the Clear Light. Impurity of thoughts and emotions, guilt, unforgivingness, attachment to the world of form and possessions, ignorance of the bardo states and its liberating potential, karmic stains, and the influence of drugs are just some of the many causes that prevents the soul from achieving salvation in the Clear Light. Earlyne Chaney in her book, "The Mysteries of Death & Dying" comments on why the Light may not be seen:

"If there is darkness within the consciousness, it is reflected on the mirror of your mind and the mirror cannot then reflect the radiance of the Clear Light itself. At this moment when the Clear Light dawns, the mind is like a mirror and only when it is cleared of karmic obstacles can the mind reflect the ultimate light of reality. This is why it is so difficult for most of us to imagine that we may merge with the Clear Light, because the mind must be completely cleared of all karmic darkness." (1989:70)

In order to prepare oneself for the Clear Light experience, we are advised by lamas to meditate daily, and to undergo certain purifying, detoxifying processes--mental, emotional, physical and spiritual--that clears the skandhas, the aggregates of the lower constitution of the microcosm, from all psycho-physical dross that hangs like a veil over the Clear Light preventing its shimmering brilliance from emerging and contacting the soul-in-transition. The more karmic stains in the skandhas, the less we see of the Clear Light. Purifying practices such as the Heruka Vajrasattva sadhana, for instance, are often resorted to, to clear one's mental and emotional continuum of karmic stains. The necessity for purity in one's nature in order to see the Clear Light is also to be found in Christian teachings where it is said that only the pure shall see "God." Surat An-Nur of the Quran alludes poetically to the Clear Light, to Nur Illahi and how it is perceived.

Basically, one has to be detached from the five skhandas (essence of form, sensation, volition, consciousness, and deluded perception) in order to recognize the Clear Light and its transformative qualities. It takes a perfectly detached mind and a pure awareness, free from karmic stains to merge with the high energies of the Divine flame of the Clear Light of the Void. Only then is one free from all mortal states and is born into a realm beyond the laws of change, of becoming. Immortality is attained in such a manner. Bokar Rinpoche, in the book Death & the Art of Dying tells us the significance of the consummation of one's mergence with the Clear Light:

"Recognizing this fundamental Clear Light means `becoming' Buddha in the absolute body at the moment of death! It is said that it also means `being liberated as a Buddha in the first Bardo.' When awakening is attained, the bardo no longer continues." (1993:19-20)


Chikai Bardo, Second Stage

While the first stage of Chikai occurs in the swoon state approaching death, this second stage occurs after clinical death--usually half an hour after the occurrence. From the occult point of view, it occurs after the heart seed-atom departs from the physical body and the severance of the sutratma. The duration of this stage is a little longer than the previous one. In this stage the Clear Light seemingly reduces its intensity to some degree. It actually does so because of the obscurations of one's ignorance and karma. Although the Clear Light may not be recognized in the primary stage, there is still a chance for the awareness-principle, when awakened from its stupor or dream-like state to take notice of the Clear Light in this secondary phase of the Chikai. This is usually done with the assistance of the presiding guide, the Reciter of the "death manual," or the Bardo Thodol. The bardo ritual also helps awaken the deceased person to recognize the fact that it had passed through the portal of death and that it should now pay attention to the subsequent psychological phenomena. In the Tibetan Book of the Dead, the awareness-principle in the Chikai stage is advised to recognize its own primordial Self:

"O nobly-born, when the body and mind were separating, thou must have experienced a glimpse of the Pure Truth, subtly, sparkling, bright, dazzling, glorious, and radiantly awesome, in appearance like a mirage moving across a landscape in spring-time in one continuous stream of vibrations. Be not daunted thereby, nor terrified, nor awed. This is the radiance of thine own true nature. Recognize it." (1975:104)

Like the first stage, liberation is also offered here as a gift of the Divine Intelligence; it is, however, an incomplete liberation, not as totally or as fully as the liberation of the first stage. To ensure the attainment of liberation, as said before, it is necessary to practice meditation every day where a glimpse of the Clear Light may be seen and experienced in an altered-state of awareness in order to aid us to recognize its full power in the Chikai. Experience of the Clear Light in the meditative state help us to experience it in the Chikai state. Spiritual exercises such as visualizing one's physical body and aura surrounded with white light assists us greatly to recognize the Clear Light when it emerges from the depth of our being. Recollection of teachings pertaining to the bardo also increases considerably the chances that the soul would realize the Clear Light and to know the manner of correct approach toward the following bardos. The marifat or gnostic techniques of Islamic and Hindu mystics allows the practitioner to evoke the presence of the Clear Light, as does the techniques of Dzogchen.

The intensity of the Clear Light that appears to one's consciousness is dependent upon the quality of light within one's own consciousness. An impure consciousness taints the Clear Light of the Void. Normally, the average person would not experience or recognize the Clear Light of the Chikai stage; and those who experience violent deaths go through the first stages of the bardos very quickly, likewise without recognizing the Clear Light.

While experiencing the Chikai stage, it is possible for the awareness-principle to be distracted from the Clear Light by loud physical noises, or the lamenting of relatives and friends. It is for this reason that the room of the dying one should be free from any conditions that may disturb its mental focus.

Should one successfully recognize the Clear Light, one should merge into it, or absorb its radiance. This will lead one to the Buddhic or higher worlds. Otherwise, if unsuccessful in recognizing and merging with the Clear Light, one would simply fall into slumber and awaken to the subsequent bardos. It is to be noted that in this Secondary Light of the Chikai that the deceased may often catch a glimpse of awaiting relatives and friends on the Otherside, or see their presiding deity or guru, or even hear heavenly music. This phenomena is substantiated in Near-Death Experiences as recorded by doctors and researchers of the paranormal.


Chonyid Bardo, First Stage

As the awareness-principle sink deeper into the depths of the bardo--because of lack of spiritual attainment--the Clear Light of the Void lessens its shining brilliance, or to be more accurate, heavier veils enshroud it. In the previous Chikai stage, the Clear Light was a manifestation of the dharmakaya. In this Chonyid stage, the Bardo of Dharmata, the Light filters through the sambogakaya, which may be interpreted to mean the causal body. In terms of psychology, this sambogakaya may correspond to the superconsciousness, whereas the former corresponds to Cosmic Consciousness. One's consciousness at this stage sees the refracted Clear Light of the sambogakaya as coloured rays which are moulded according to the nature of the spiritual side of our psychic contents. What one sees in the Chonyid are, basically, hallucinations.

In this phase and stage one's mental and subconscious contents of a spiritual nature are projected externally onto the sambogakaya lights as psychic images. These images may take the form of gods, devas, masters, or angels--anything that reflects our spiritual conscious state. Teachings of Tibetan Buddhism refer to this stage as the appearance of the "42 peaceful deities," or the appearance of karmic illusions of a spiritual nature. It is said that these peaceful deities emanate from the heart center. The spiritual forms of these deities usually appear in the guise of the being that we often pray to and seek spiritual refuge. It is, however, important to realize that all forms that appear in the Chonyid and Sidpa are mental creations, and are, therefore, unreal. Concerning the nature of these deities, Tsele Rangorol in The Mirror of Mindfulness says that,

". . . the deities are an expression of one's spontaneously present wakefulness; they are automatically there, inherent in one's nature." (1993:10)

Visions within this and the following bardos are reflections of our habitual thought patterns. The spiritual inclined will see spiritual images at this stage, while the mind with habitual carnal thoughts would probably bypass this bardo stage as it would have done so with the previous Chikai stage and go onto the next to see visions of its based thoughts. The primary aim in this and in the following stages is to realize the "emptiness" of these images, and to grasp their real essence as being that of the Clear Light. In this manner we transform our consciousness by realizing the true basis of these visions and integrating them into our own being. Failure to do so simply results in a rebirth in one of the lower six realms. Not recognizing the psychic images as one's own thoughtforms in this bardo and in the next results in a continued existence in samsara.

Copyright © 2006 Luxamore

The Metaphysical View of Death and Life After Death Part 6

One of our personal experiences with our deceased friend with whom we related previously would substantiate this principle as described by Swedenborg:

We once decided to visit our friend in the heavenly regions. We had some joyful news that we wanted to convey to her--news that she was waiting to hear while she was alive in the physical. Not knowing where she was or able to directly manifest before her, we were escorted by a guide to a lovely garden with a Greek temple in the midst of it. The garden was empty, or so it seemed. But while adjusting our sight, people appeared everywhere. They did not notice us, however. It was as though we did not exist in their eyes. Our escort went into the building and moments later our friend came out all beaming with joy. "I've been waiting for you," she said. Then she looked more closely at me and commented jocularly, "you are so bright, I could faint." After conveying to her our message we bade farewell. As we were leaving, we noticed that no one was yet aware of our presence; however, a dark-skinned man who was sitting on a bench reached out and touched me to, perhaps, reassure himself of my presence and reality. We smiled at each other.

After a lengthy stay in the astral or lower mental heavens, and when one is about ready to reincarnate through karmic necessity or choice, one first goes to the causal realms for a brief sojourn. Not all souls experience this; however, some incarnate directly from whatever realm they may be. In the causal world the soul experiences bliss and peace, and a real rest as a reward for a soul-mission well done. One of the purposes of this stay in the causal realms is the transference of the positive qualities acquired by the soul and recorded in the seed-atoms, to the causal body where it is stored as one's "treasure in heaven." The positive deeds and virtues of the soul adorn the causal body with a greater glory than its former condition. Every incarnation offers a form of nourishment to the causal body when its incarnated life ends. This causal body is called in Masonry "the temple not made with hands." Other traditions call it "the Chalice." When the soul is prepared to reincarnate for new soul-experiences, it seeks out the appropriate parents, time and place to be reborn in the physical world. This seeking is done with the help of spiritual guides.

Reincarnation is a law for those not having transcended ignorance and earthly desire. Although some religions do not openly teach reincarnation, the concept or precept does appear in some form in their holy scripture.

Although not exhaustive, the above information is sufficient enough to offer us some idea of the occult knowledge available concerning the after death state that is based on personal experiences of psychics and mystics. In order to know more in a convincing way, one would have to study and master the art of soul-travel. Only in this manner, through personal experience, will we satisfy our thirst for a greater knowledge of God's many dimensions, the Cosmic laws, and the purposes of life.


The Tibetan Tradition

Tibetan Buddhism declares that men are enchained to a world of suffering and pain, of illusion and ignorance. This they call samsara. Samsara refers generally to the condition of the six worlds, but more specifically it refers to the physical plane. To be liberated from samsara one had to awaken to one's true Reality and the Reality of the Cosmos called in Mahayana and Vajrayana literature, the "Clear Light of the Void," "Sunyata," "Dharmakaya," etc. Tibetan Buddhism, or Vajrayana, declares that there are various ways of liberating oneself. One may be liberated--if prepared beforehand through arduous spiritual work--through initiation by a spiritual master where the Clear Light of one's true primordial nature is introduced; or one may be liberated through samadhi or meditation where the Clear Light dawns in the consciousness; liberation may also be achieved through recognizing and merging with the Clear Light during transition in the first phase of the bardo.

Techniques have been formed by lamas and applied at the onset of transition to assist the dying to achieve Liberation. These techniques are called:

1) Liberation Through Taste, where consecrated pills are placed in the mouth to assist the soul to sustain consciousness throughout the bardo so that it would recognize the Clear Light when it dawns.

2) Liberation Through Contact, where the ashes of burnt talismans are rubbed on the heart for the same purpose as the above.

3) Liberation Through Listening, this is by far the most common practice. In this method, a manual-ritual such as the Bardo Thodol is read to the dying to remind the person of what it had previously learnt of the bardo and the way of approaching it.


The Bardo Thodol

The "Bardo Thodol," or the Tibetan Book of the Dead, as Christianized by Evans-Wentz, deals with the phases of the bardo that the soul would undergo and what it should do in order to liberate itself from samsara. It provides a unique psychology of the death process and the attitudes that the soul should assume in order to escape rebirth in the lower realms. Recognition of the Clear Light in the first bardo phase is stressed in the manual, because it is the only means for the soul to save itself from experiencing the subsequent phases of the bardo, which from the viewpoint of Tibetan metaphysics, lead to rebirth and a prolonged stay in the samsaric worlds. Thus, the Clear Light that dawns in the first phase of the bardo offers a chance for the soul to redeem and free itself from the shackles of samsara. This Clear Light is the grace of God that offers death-bed salvation--salvation from one's so-called "sins," or liberation from karma.

In Tibet there are many manuals composed as guides for the dying or the newly departed soul. The Bardo Thodol is one of the most well-known among them in the Western world. It is said to have been written down in the 8th century by the Precious Guru, Padmasambhava. The teachings and doctrines of the Bardo Thodol as an oral tradition, however, are much older. It is believed that Bon, the indigenous religion of Tibet, transmitted much knowledge to Tibetan Buddhism concerning the death process.

Unlike the Christian forms of prayers of burial-rituals recited on behalf of the newly-departed (and also the living), the Bardo Thodol is more of an instruction manual read to the dying by a spiritual guide, that it may understand the psychological processes that it would undergo through transition. It is of especial value to those who practice and follow Buddhistic doctrines, or teachings similar to it because of certain inherent concepts. The underlying doctrine of Tibetan Buddhism is that man, a slave to samsara--the wheel of birth and rebirth, or reincarnation--is able to liberate himself through being aware of his primordial nature represented by the Clear Light which appears in the early stages of the bardo. Recitation of texts such as the Bardo Thodol reminds the departing soul, the "awareness-principle," what it had previously learnt of the bardo and its liberating potential while still alive in the physical plane.

Although dissociated from the physical body, the awareness-principle still retains its sensory faculties. In the disembodied state its psychic senses are acute and enhanced and is able to register and perceive physical surroundings--to listen to the bardo-guidance and instructions as given by the spiritual guide or lama, for instance. In the death process, as the physical senses grow dull the psychic senses grow more keen.

The recitation of the bardo text to the departed may last for a total of 49 days. This is done at first in the presence of the corpse but later a representation of it. The 49 days is supposed to be the maximum length of days the soul would spend in the bardo. This given figure is probably symbolic, representing as it does the number 7 squared. The number 7 is the mathematical and geometrical principle in which our solar system is based. We have many indications of the number seven as creative manifestations, for instance, the seven colours of the light spectrum, and the seven notes in an octave. Forty-nine days of the bardo may also refer to soul-progression and evolution within the 49 realms of the cosmic physical plane. In Indonesia, 40 days is referred to as the period it takes for the soul to complete its wandering in the borderland between the physical and higher worlds before settling in its destined home in the subtle spheres. In other traditions, three days and three nights after transition are considered to be of some importance to the soul. For instance, the Hadhokht Nask, one of the scriptures of Zoroastrianism, declares that the soul remains near its body for such a period. This 3-day lingering is probably based on the occult fact that sometimes the sutratma may still be connected to the body after the pronouncement of "death," meaning that the so-called corpse is actually in a comatose state and that revival may occur.

Being symbolic, in reality the 40 or 49 days may take just a few moments or several days. Should the spiritual guide be unable to attend to the dying for reasons of physical distance, an effigy is usually made to represent the one undergoing transition with personal effects surrounding it to attract by magnetic attunement the awareness-principle of the dying pilgrim. The instructions of the Bardo Thodol may thus telepathically be heard by the dying soul.

It is well worth quoting the fundamental doctrines of the Bardo Thodol as summed-up by Evans-Wentz in the Tibetan Book of the Dead, as this will help us understand the bardo as well as give us some insight into Buddhistic beliefs:

"1) That all possible conditions, or states, or realms of sangsaric existence, heavens, hells, and worlds, are entirely dependent upon phenomena, or in other worlds, are naught but phenomena.

"2) That all phenomena are transitory, are unreal, and non-existent save in the sangsaric mind perceiving them.

"3) That in reality there are no such beings anywhere as gods, or demons, or spirits, or sentient creatures--all alike being phenomena dependent upon a cause;

"4) That this cause is a yearning or thirsting after sensations, after the unstable sangsaric existence;

"5) That so long as this cause is not overcome by Enlightenment, death follows birth and birth death unceasingly--even as the wise Socrates believed.

"6) That the after-death existence is but a continuation, under changed conditions, of the phenomena-born existence of the human world--both states alike being karmic.

"7) That the nature of the existence intervening between death and rebirth in this or any other world is determined by antecedent actions;

"8) That, psychologically speaking, it is a prolonged dream-like state, in what may be called the fourth dimension of space, filled with hallucinatory visions directly resultant from the mental-content of the percipient, happy and heaven-like if the karma be good, miserable and hell-like if the karma be bad;

"9) That, unless Enlightenment be won, rebirth in the human world, directly from the Bardo-world or from any other world or from any paradise or hell to which karma has led, is inevitable.

"10) That Enlightenment results from realizing the unreality of sangsara, of existence;

"11) That such realizing is possible in the human world, or at the important moment of death in the human world, or during the whole of the after-death or Bardo-state, or in certain of the non-human realm;

"12) That training in yoga, i.e. in control of the training process so as to be able to concentrate the mind in an effort to reach Right Knowledge, is essential.

"13) That such training can best be had under a human guru, or teacher.

"14) That the Greatest of Gurus known to mankind in this cycle of time is Gautama the Buddha.

"15) That this doctrine is not unique, but is the same doctrine which has been proclaimed in the human world for the gaining of salvation, for the Deliverance from the Cycle of Rebirth and Death, for the Crossing of the Ocean of Sangsara, for the Realization of Nirvana, since immemorial time, by a long and illustrious dynasty of Buddhas, who were Gautama's Predecessors.

"16) That lesser spiritually enlightened beings, Bodhisattvas and gurus, in this world or in other worlds, though still not freed from the Net of illusion, can nevertheless, bestow divine grace and power upon the sishya [student] who is less advanced upon the Path than themselves.

"17) That the Goal is and can only be Emancipation from Sangsara.

"18) That such Emancipation comes from the Realization of Nirvana.

"19) That Nirvana is non-sangsaric, being beyond all paradises, heavens, hells, and worlds.

"20) That it is the ending of Sorrow.

"21) That it is Reality" (1975:66-68)

Man, in general, is ignorant of his divinity. His mind and consciousness are veiled by the false light of Maya. Maya is the way we perceive and interpret Reality. It translates in our consciousness cosmic vibrations into forms, colours and sensations--a world of appearance. We perceive not what is, but what we believe to be. Maya produces a deceiving state of duality, of object and subject. All appearances in the mind and consciousness as a product of Maya are illusory and unreal. The mind, not understanding the nature of Maya, is indeed the slayer of the Real, as stated by Helena Blavatsky. This ignorance of Reality causes man's prolonged stay in samsara. Recognition of the Clear Light, of Reality, of the Unity of Being, releases man from his spiritual bondage. Tibetan Buddhism believe that the six worlds are transitory and that rebirth into any one of them is undesirable and should be avoided. Man's loftiest aspiration should be directed to the awakening to Reality as the highest religious goal, and this illumination naturally terminates the ceaseless rounds of birth and rebirth in the samsaric worlds. In Christian terms, this is the attainment of salvation where the true follower of Christian principles is made into a pillar in the kingdom of heaven and "goes no more out."

Tibetan Buddhism is not the only religion that possesses manuals to be read to the dying. To the Hindus, the Garuda Purana fulfills the same purpose. Ancient Egyptians, too, had their death-manuals such as the one translated by Wallis Budge, the Book of the Dead, or "The Coming Forth From Day," to give its original title. This title suggests the acquaintance of the ancient Egyptians with the Clear Light of the bardo. In this manual, taken from hieroglyphical murals painted in tombs, says that death is followed by the soul's entry into the "clear light of day." Experience of the bardo is universal and fundamental to the human psyche, therefore, manuals such as the Bardo Thodol or the Book of the Dead that possesses keys to spiritual portals, are relevant to human psychological and spiritual integration. The relevance of such texts are not to be confined to its place of origin in time or in space. Adaptations may be made for western society with its world-wide influence. The phenomenon of the Clear Light with its inherent nature of spiritual grace is for all human beings regardless of race, sex or creed. In one sense, this Clear Light may be seen as the "comforter" promised by the Piscean Master to his followers.

The Bardos and Tibetan Practices Related to Dying

Before continuing, it is appropriate that we define here the word "bardo." Bardo is often translated as "intermediate state," an interval, or a period between two conditions, planes, or states of consciousness in the samsaric worlds. Basically, it refers to the following four states:

1) Between two states of consciousness

2) Transitional state

3) Uncertain state

4) Twilight state

Tibetan teachings refer to these 4 states as the psychological nature of the following six bardos:

1) Bardo of Life (Kye Ne Bardo)

2) Bardo of Dreams (Milam Bardo)

3) Bardo of Meditation (Samten Bardo)

4) Bardo of the Transition Process (Chikai Bardo)

5) Bardo of State After Death (Chonyid Bardo)

6) Bardo of Rebirth into Samsara (Sidpa Bardo)

The word Bardo, as is commonly used and understood, refers to the general framework of the death process. In this section we will be considering the nature of the last three bardos listed above. But before we do, however, it would be interesting to note certain practices related to the art of dying and the psycho-somatic processes of dying as occultly observed by spiritual practitioners of Lamaism throughout the centuries.

Physiologically speaking, when one undergoes a natural death the physical senses fail one by one. First the sense of vision blurs, then the sense of hearing is impaired, next the sense of smell fails; this is followed by the deterioration of the sense of taste and touch. There is also a feeling or sensation of pressure, followed by coldness, heat, and a sense of being blown to bits. Dissolution of the senses and its varied sensations are symbolically described in Tibetan Buddhism as the merging of the elements one into the other until it sinks into the primal substance. This is the process of Thimrim. To describe the illustrative process above in symbolical detail:

First, "earth sinks into water;" second, "water sinks into fire;" third, "fire sinks into air;" fourth, "air sinks into space."

As for the external signs of the approach of death that may be observed by an outsider, they may include sagging facial muscles, coldness in the extremities, blueness beneath the nails, difficulty in breathing, and glazed eyes.

This merging of the elements are accompanied by internal and external phenomena or signs which the dying is taught to recognize. Tulku Urgyen Rinpoche explains certain inner signs as cited in the Bardo Guidebook:

"First the earth element starts to disintegrate. One feels very heavy. That's when people say `Please lift me up, raise me up. I feel like I'm sinking.' When the water element dissolves then one feels very cold and says, `Please warm me up. It's too cold in here.' When the fire element dissolves one feels very thirsty and wants water, one's lips are drying up. When the wind element dissolves one feels as if one is floating at the brink of an abyss, not anchored anywhere. When consciousness dissolves into space it means that everything grows very big and completely ungrounded. The outer breath has stopped but the inner breathing is still taking place." (1991:93)

Copyright © 2006 Luxamore