TIBETAN, LION'S ROAR, HOP-GAR, LAMA KUNG-FU
The Ape and Crane
Of The Lion's Roar!
The Ape and Crane Divisions of the Lion's Roar! Tantric Martial Art, express the two fundamental Rupa's 色(forms: structures/dynamics) that make up the catalytic aspects of the Art. Catalytic in the sense that it is these Rupa that contain, manifest, express, and ultimately transform the Tantric Bija:子 Guna's: 塵/宗 Kaya's: 身 Sakti's: 力 etc into the Lion's Roar! itself 金剛獅子吼門
They are true catalysts because they themselves do not 'change', they are transcended by the 'third' or transcendent function that arises from their energetic collision. Martial Tantra is Alchemical in its nature and in its goal.
The history of the Lion's Roar! Tantric Martial Art, is the history of the re-interpretation and overwriting of these essential catalysts - as symbols by the various cultures that have acted as host to the Lion's Roar! Martial Art.
The earliest historical record of the Lion's Roar! system places it as Simhanada Vajramushti - The Lion's Roar Thunderbolt-Fist fighting art of the Indo-aryan Vedic God Indra 因陀羅(Hence "Indra's Fist") well back into the second millennium BCE.
This puts an historical originating place for the Art, in the Indus Valley of the North Western Indian Sub-Continent, but archeology suggests that as the culture of the Indo-Aryans pre-dated their arrival in the Indus by many centuries, then the religious and occult practices that created the Lion's Roar! Martial Art, likely go back at least until the pre-Indus Asian Steppes period. This suggests that the Art itself may also originate from the Steppes period of Indo-Aryan culture. .
The Lion 獅as a symbol, is certainly an ancient Indo-Aryan imago for worship, devotion and dedication and the Lion's Roar!獅子吼 is referred to in the Veda's 違陀 as being the Roar of battle of the Indo-Aryan Warrior Caste: the Ksatreya.
By the time that Simhanada Vajramukti had become the dominant martial art of India, and by the time that the Prince Guatama Shakyamuni: called the Lion Of The Shakya's (later the Buddha) had studied it in his youth, the two Totem animals (as they can be meaningfully referred to) had entered into the Art of the Lion's Roar! (Circa 600 BCE).
Guatama was born as a Hindu, and was instructed in the Sanatana Dharma - the 'Eternal Religion' as Hindu's refer to their Faith. In India at that time, the animal symbols of Ape (Monkey) and Crane, both had special significance.
The Ape/Monkey was venerated as Hanuman SEE LINK: Hanuman Monkey God and pages from the Site Map on Tantric Kaya's and Sakti's. Hanuman was a theriomorph, a part man, part monkey, and could stand for those cross-modal aspects of the human psyche that bridged between the 'animal' or spirit world (the collective unconscious) and the potential for future development - Hanuman was a new 'Protoanthropos' (First-Man) - a kind of second 'Adam'. In accordance with his special capacities he was gifted with unusual powers, as all transformative symbols must be.
In the Lion's Roar! (Simhanada) Martial Art, Hanuman stood for the enormous power of instinct and transformative potential that was characteristic of practices later called Tantrism. I say 'later' as in orthodox considerations, Tantrism as a named system is much later than the pre-Buddhist Hindu martial practices such as Simhanada Vajramukti. This is disputed by many sources however, and these point out that the open familiarity with the term Tantra may be historically later, but, the essence and actual practices themselves, existed much earlier, and include those of Simhanada Vajramukti Martial Arts - the Lion's Roar!
The Indian Crane, 印度賢豆鶴 specifically the Sarus Crane 娑羅娑鶴 - 'Sarus' in Sanskrit (and here referring to the Female 女of the Sarus Crane species) had special mystical qualities for the Indo-Aryans and for the Naga's the indigenous, pre-Indo-Aryan population of India: and specific 'attributes' coalesced around its imago.
Sage Bhagwan Valmik, Naga author of the Ramayana that includes versus on the Sacred Sarus Crane
These attributes where purely Tantric in nature and where closely identified with Goddess Kali - who features centrally in Hindu Tantra, and in later Buddhist Tantra as a Dharmapala - a 'Guardian' or Dharma Protector.
娑羅娑The Indian 'Sarus' Crane
Together, Hanuman and Kali - the Ape/Monkey and Crane totem symbols, make up a sacred pair a Yab-Yum or Father-Mother dyad, in the Hindu stage of Simhanada (Lion's Roar!) Martial Arts development.
Their union, their symbolic sexual union, is a mysterium coniuctionis - a 'mystical or chymical wedding' (from Latin Alchemical Texts) out from which comes the transformative and transformed element itself: the Lion's Roar!
In Buddhist Martial Tantra, the Lion's Roar! was the affirmation of the Buddha's Dharma, and the statement of achievement of firstly Arhat-hood (Theravada Vehicle) and later the Bodhisattva (Mahayana Vehicle) stage of development. It (the Lion's Roar!) was therefore meant to be the culmination or goal of Buddha's Dharma.
There was and is a third vehicle however, the Vajrayana - the Tantric 'Yana' held to be the secret closed-hand (Mukti-Fist) transmission of the Buddha, and it is here that the Martial Art named as Lion's Roar! takes on its full Buddhist significance - it IS the embodiment of the Buddha's secret transmission of Dharma..... it IS Tantra.
It was at this time that the Crane totem animal took on a further aspect of some significance to Buddhists: The Buddha, it is said chose his time and place of passing. The grove where he died, he had renamed Jetavanna the 'Grove Of Victory' , prior to that it was called Sulkahavavarsa "The Grove Of the White Crane" 鶴林 鶴樹 . It was said that when he died, the leaves of all of the Sala trees in the grove 'turned white like Crane's wings and their blossoms fell around his resting place". The significance of this is discussed later below.
As a special Martial Tantra in its own right, Simhanada Vajramukti, now transformed by Buddhism from its earlier Hindu form, traveled with Buddhism from India into Tibet, where, this now Buddhistic interpretation, met once again with its earlier Hindu form that had already settled in Tibet, along with the other great Indian Martial Art (that of the Dravidian Peoples of India) Kalari-Pyattu .
Hindusim had little to no success as a religion within Tibet, although it was very successful in neighboring Nepal. Buddhsim itself had great difficulties at first too, neither Theravada nor orthodox Mahayana made much impact on the Tibetan people, who were steeped in their indigenous Bon-Po Shamanistic faith.
Vajrayana Buddhsim, was however to be successful, and along with the more familiar Tantric methods, the Buddhist Tantric Lion's Roar! Martial Art was to 'take root' in Tibetan Culture.
The exact details of this are obscured by the Tibetan's overwriting of the exact cultural processes involved over some centuries of time (See appropriate pages on this website).
As we have said, Hindu Simhanada Vajramukti as a martial at was already in Tibet, along with Kalari-Pyattu, and both had been influences on more domestic Tibetan Arts such as Amaree. However, once Vajrayana Buddhsim had successfully assimilated and transformed Tibetan Bon-Po Shamanism, aspects of Simhanada Vajramukti began to change to suit the now established Tibetan Tantric Buddhsim.
Hanuman, the Hindu Monkey deity, was associated with the 'Founding Father' of the Tibetan Nation and People who in Bon-Po Myth, was an APE (possibly a 'Tibetan' Gibbon 西藏蝯 the Tibetan "Ape" now believed to have been either a Tibetan Macaque monkey, or a Hanuman Langur - or possibly a Gibbon via Nepal and/or China) The Tibetan Buddhist origin myth, holds that the Ape-Father was an emanation of Avalokiteshvara (Chenrezig) 阿婆盧吉低舍羅.
The Mother of the Tibetan Nation and People (in Myth) was an Ogress as a manifestation of the Goddess Tara多羅 - herself an emanation of Kali 歌利王 and as we have seen Kali is associated with the Crane鶴 in Simhanada Vajramaukti 金剛獅子吼解脫 (金剛手)
The 'Tibetan' (Chinese) Gibbon.
The Indo-Tibetan Macaque
Indian Langur or 'Hanuman' Monkey
So, its easy to see how an original 'Hindu' Martial Art, enters Tibet, and is eventually re-culturalised through Tantric Buddhism's incorporation of earlier Tibetan Bon-Po Shamanistic beliefs. By now, the White Crane symbolized for Tibetan Buddhists both their Goddess Tara and the Grove of Victory (formerly the Grove of the Crane: 鶴林 鶴樹 ) where the Buddha passed away. The union between Ape and Ogress could also symbolize the union between Bon-Po Shamanism and the Buddha's Dharma that was uniquely Tibetan Tantra!
This transformation was so simple and so direct, that contact with the previous culture was easily lost sight of, and nearly altogether....
By the time that the Han-Chinese had possession of the Art, the potential for meaning in the relationship between the Ape and Crane Totem animals had changed yet again. For some, the Crane represented Han-China, and the Ape Tibet. An echo of the Indo-Aryan sacred Sarus Crane remains however, in the use in Chinese Buddhism of the White Crane as a symbol of longevity. Kali as 'Mahakala', the Great Wheel (of time) symbolised in Simhanada Vajramuklti by the Sarus Crane, becomes 'long-life' in Chinese Buddhism. Kali is the ruler of time, and hence of longevity. The Yab-Yum sacred dyad as male and female union, also finds expression in Chinese Yin-Yang dualism.
The common Chinese origin myth about the creation of the Lion's Roar! Martial Art has Lama Ah-Dat-Tor, disturbed in his inner meditations, and being distracted into actually seeing a literal, external and physically real battle between a White Crane and an Ape, with the Crane being victorious, blinding the Ape in one eye. (note: that Tibetan Apes and White Cranes do not share a common habitat, so are VERY unlikely to even meet let alone fight).
As discussed elsewhere on this website, this oral narrative tradition is very unlikely to be Tibetan and certainly NOT Indian. TANTRIC meditations, which would have been the obvious and preferred method of a Tantric Siddha Lama-Guru like Ah-Dat-Tor, to utilize in order to create a martial art, would NEVER have been held as being literal or in any way externally real to the meditator. On the contrary, a Tantric Lama Master would know full well that such an internal experience was an aspect of revealed Bodhicitta (enlightened mind). Also, a clear 'victory' by one pole of the Art over another, would not allow transformation into the third aspect - the Lion's Roar! itself, which, would require not 'defeat', in any way at all, but rather an alchemical change.
Han martial arts origin myths DO include stories of literal battles between animals, in fact its a typically Han, and not Indo-Tibetan thing which given the antiquity of the Lion's Roar! Art (thousands of years) BEFORE it reached China, then the common tale of the Crane defeating the Ape is most unlikely to be 'authentic' as such, and more more likely to be an example of 'overwriting' by the Han-Chinese.
The common mis-representation of the Tibetan Gibbon as being a Yeti - as is found in many Chinese lineages, and the easy identification of China with the White Crane, shows how the many centuries of difficult politics between Tibet and China came to take root in the 'local' Han-Chinese and re-culturalized version of the Lion's Roar! Art. In other words, China defeated Tibet, and its national treasure amongst martial arts, was turned into a Chinese system, complete with Chinese style origin mythology. Even Ah-Dat-Tor himself is claimed as ethnically Chinese, rather than Tibetan, which may reflect the ubiquitous habit the Han have of not admitting or accepting any 'foreign' influence over any aspect of their culture, including martial arts.
Further, the Yeti or Snowman is NOT considered as being an Ape, by the Tibetan's themselves, they know the difference and are quite clear that the Ape was the physical form of the 'Father' of the Tibetan Nation and People. The Yeti, they call a Man-Bear, not an Ape, so the Chinese designated 'Great-Ape' (Dai-Yuan: Cantonese) division in Lion's Roar! martial arts does NOT originate from the Yeti - a 'Bear', but rather from a 'Lesser' Ape, the Tibetan Gibbon - itself likely based on the Hindu deity Hanuman - the Ape-Human theriomorph. (see below and LINK: The Yeti Myth in Tibetan Kung-Fu ) However, in many ways, the Chinese version of the origin of the Art, and the symbolic defeat of Tibet by China, and the appropriation of the Art to a Chinese cultural framework, is exactly what did happen, subsequently.
This is exemplified by the evolution of Lion's Roar! into the three familiar branches of Lama-Pai Kung-Fu, Hop-Gar Kung-Fu, and, 'Tibetan' White Crane Kung-Fu.
Once taken overseas to Europe and the United States, the Chinese evolved versions of the Lion's Roar! tradition generally maintained the Ape-Crane Division relationship as established in late 19th Century China.
Some however, have championed a return to the original Indo-Tibetan framework, and the re-application of its incredible Tantra..... the dynamic Vajrayana between Ape and Crane that leads to the TRUE Lion's Roar! itself
Characteristics of the Totem-Animal Divisions in Tantric Lions Roar! Martial Arts:
Ape & Crane as Namarupa:蝯鶴名色
The most important consideration regarding the Totem-Animal Divisions is that they are Tantric Namarupa: 'Names and Forms': vessels within which the Deva-Raja's (Ruling Deities) of Ape and Crane can incarnate into the mind-body of the practitioner.
All aspects of the Lion's Roar! Tantric Martial Art are expressed thru the discrete characteristics of the Totem Animals: Guna's (qualities and principles), Bija's (seeds), Kaya's (bodies), Sakti's (powers), Resha's (lines and planes) Nata's/Rupa's (Forms) Mukti-Yoga (applications) as well as Mantra, Mandala, Prana-yoga and Yantra. Even Yidams and Dharmapalas' are manifested thru the form, motion and function of the Totem Animal Divisions.
Their proper use is a frank 'occult' practice: the invocation of the Kapi Deva-Raja (Ruling Ape Deity: masculine男) and the Saruska Deva-Raja (Ruling Sarus-Crane Deity: feminine女) - both, as the sacred Yab-Yum dyad 男女
The Animal Ruling Deities function to bring in the various Bodhisattva's, Dharmapalas, and Yidam deities that govern the principles, seeds, powers, nata's etc. These are given their expressed form by the Animal Divisions, as essence in relation to container. Without the Totem Animal Divisions, the Lion's Roar! Tantric Martial Art, would have no organizing 'conceptual structure' (Nama)名no higher register of 'Form' (Rupa) 色and therefore, would have no way to express the fundamental principles 宗(Guna's) as Tantra.
Citta 指多質多(Mind) in the Ape & Crane Totem Animal Divisions:
The two totem animal divisions: Ape蝯(Kapi) and Crane鶴(Saruska) have qualities of mind (Citta)指多質多 that are to be 'embodied' in the expression of the Art thru their Rupa 色(Form). This is the whole point of the animal divisions, and within the Tantric Lion's Roar! the only reason for the employment of 'animals' at all, in any capacity.
Many techniques have acquired Han Chinese (animal) designations thru the time the Art was transmitted to non-Tibetan's常西藏in China ( circa 1880 - 1960), but these later additions are inessential and have no direct Tantric金剛meaning or purpose.
Mahayana Buddhism seeks enlightenment thru directly awakening the Bodhicitta (enlightened mind) that the Mahayana Vehicle says is available and open to us all. Vajrayana (Tantric-Buddhism), which is a derivative of the broader Mahayana path, uses many occult and esoteric methods to achieve this especially thru the Siddi/Siddha or 'Crazy Wisdom' tradition - the tradition of the utilization of any means, any method to achieve awakened mind. The Lion's Roar! Martial art is part of this tradition as indeed is the non-martial Lion's Roar! Tibetan Buddhist Tradition, See LINK: Chogyam Trungpa
The 'Alchemy' of Tantric Lion's Roar! Martial Arts, involves the deep instinctive energy represented in manifest form by its 'animal' divisions. In Western terms, this 'energy' is the product of ancient behavior patterns hardwired into the evolutionary older parts of the human brain, the so-called paleo-mammalian and reptilian brains. The human brain has evolved from the inside out, with the oldest parts held in common with all vertebrate species (e.g. fish), then reptiles/amphibian's and the archeo (original/ancient) mammal species.
Instincts of territoriality, aggression and sexuality, where all 'in place' in our direct animal ancestors many millions of years before the human species evolved. Now, the human brain has evolved the neo-mammalian (new mammal) brain, with its highly specialized frontal neo-cortex, the part(s) that make us uniquely and distinctively human. However, the older parts of the brain still function in us as they did in our species remote, non-human ancestors, and the raw energy of instinct is still present in them, and available for utilization, or, in some cases, repression....
So, from the Western perspective, the animal 'states' of mind, represent access programs, entrained thru occult, ritual and physical practice (i.e. the Lion's Roar! martial art). Western psychology warns against the problems of 'State Dependent Memory, Learning and Behavior' (SDMLB) the results of which can become 'state-bound', that is: locked into the entrained conditions that created them, and, as a result, inaccessible from outside of those conditions. In other words, from a martial arts viewpoint, potentially useless.
The solution to SDMLB is proper entrainment, and this is facilitated by tried and tested practices that have arisen, developed and been nurtured thru a 'living' culture. Such a culture is Tantra, and specifically, Lion's Roar! Tantra.
The Tantric perspective is encoded (culturally) and transmitted thru a medium that views the process from a completely different position from that of the scientific West. The advantage Tantra has is twofold: it is empirically validated thru millenia of repeated practice, and in prosaic terms, "it does what it says on the tin".
Returning once again to the Western framework: we have seen that the Ape and Crane Totems access deep-structure parts of the brain, and phylogentic patterns of behavior. In the case of the Ape, these 'present' themselves to consciousness (self-reflexive awareness) as relatively familiar, primate forms of 'mind' and behavior. All higher primates share a very similar brain structure and function - particularly at the instinct levels of description and of expression. Here, the organizing areas of the brain are the paleomamalian - the 'Old Mammal Brain', that all modern and paleohuman species shared with modern apes/monkey's and their ancient common primate ancestors.
Sagittal section of the brain showing the three major divisions according to McLean (McLean 1973: A Triune Concept of Brain and Behavior: University of Toronto Press
The brain communicates its ancient structures and behavior patterns to consciousness thru the medium of symbols. Symbolic 'images' (inner-eye apperceptions) which may become emotionally charged at a pre-conscious level of registry, so that they 'appear' as being ready formed. Further, these symbols carry a broad bandwidth of data, as 'pre-verbal' aspects of inner communication must. 'Must' because these ancient, archetypal imago's where laid down in our genetic heritage millions of years ago, long, long before the evolution of modern humans and their spoken or written language.
Therefore, its important for symbols to carry broad bandwidths of information, that can encapsulate whole situations, including their origination, development (ontogenesis) and intended goal (teleology).
Instincts have intention, purpose and goal directed action as characteristics. they are meant to be carried out with relative un-impediment. Relative, because often instincts themselves will conflict with one-another. This is where archetypal patterns of experience come in, as it is these that represent fully evolved instinctive reactions to typical life-span development situations, and as such arrange the appropriate instinctive release mechanisms: called in Ethology: Innate Release Mechanisms (IRM's).
The impediment of instinct causes neurosis in humans and non-human primates alike. In humans, the capacity for reason is now instinctive in itself, but even here IRM's can override these more recently evolved instincts and access the deep phylogentic past of the species.
The use of 'psychological' Symbols by a martial arts practitioner can act as appropriate IRM's and unfetter the Ape that lives in every man.
Deeper still, in the Reptilian Brain, or as it is known the: R-Complex are structures that we share with our pre-mammalian reptilian ancestors, but also, with the near relatives of the reptiles, the Avians or Birds.
Many people today are aware of the very close relationship between birds and dinosaurs, but perhaps fewer appreciate the closeness that exists between them and humans, thru shared brain structure and common species ancestry.
In the Lion's Roar! martial art, the Reptilian Brain, is accessed thru the Crane totem animal division, something deeper even that that of the Ape.
This may surprise some people, as in traditional Chinese martial arts, the Crane often symbolizes more elevated and 'spiritual' aspects than say the more obviously primitive (from a human perspective) 'ape' or monkey (see further below).
This is due to the complex relationships that exist between 'natural' instinctive symbols, and the more superficial psychological projections that collect around symbolic imago's in the context of specific cultures: for example as may be found in Indian, Tibetan or Chinese culture.
So we arrive at a point where the natural wellspring of instinct and symbol, as mediated thru archetypal patterns of organization and expression, meets local cultural conditions, to produce the manifest cultural form, in this case, the Lion's Roar Tantric Martial Art.
The local cultural form will to some extent determine the expression of the deep archetypal patterns. But, there is often a difference between belief about what is being expressed, and what is actually expressed. If the culture in question is effective in accessing the innate release programs, then the programs themselves take on a great degree of autonomy. That is, they will to large measure, determine the final shape of the culture, rather than the other way around. If the culture is less than fully effective in accessing these programs, then the local cultural conditions will largely determine, the manifest form.
This difference, between the relative strength of local culture and deep innate archetypal patterns is decisive. Where the symbols have become more like signs - that is: consciously shaped and adapted hooks, upon which to drape projections, then we can expect that the 'animals' will become superficial dressing, and not actually have any real or deep effect as vehicles to express true instinct. This has happened in some branches of traditional Chinese martial arts.
In TANTRIC versions of the Lion's Roar! Martial art, there is an appropriate union between instinct and culture to produce a very workable system. Here, the animal divisions are not abstractions, but actual states of mind and body that are required to be engaged with in order to work the Tantric goal of transformation. Transformation here means a transcendent function, whereby the instincts, and, what they stand for as natural symbols - within the psyche are brought together in catalytic relationship, to provide the alchemical reaction leading to their transcendence. This, is the Lion's Roar! the transcendence of polarity, the liberation from opposites, and the achievement of the Arhat and Bodhisattva ideals.
In Tantric Lion's Roar, each 'animal' has a Citta a mind (mind-body state in Western terms) which arranges the animal totems relationship to the expression of the Guna's, Bija's, Kaya's, Resha's, Sakti's and Deva-Raja's. Preconceptions about just how this Citta presents to individual consciousness, are soon passed by direct experience of the power of these states. It is qualitatively very different from the simple 'mimicking' of animal movements - which is something that occurs too frequently in many traditional Chinese arts.
So, the Ape Citta is a kind of rapport state with an evolutionary older aspect of consciousness, that exists outside of our normal 'ego' state, and is focally-located in the paleo-mammalian brain, but encoded in our common primate genetic heritage. The Crane Citta, is likewise a rapport state, but this time it goes deeper still to the reptilian brain - the R-Complex. These states of rapport can lead to frank possession states if appropriate precautions are not built in - and these are built in, thru the culture of martial Tantra.
Martial Tantra utilizes the Ape & Crane to make manifest and to express the full bandwidth of the art, including the activation of the Deva-Raja's, however, the primary Yidam (tutelary or meditatory Tantric 'deity') are the Kapi-Deva-Raja (Ape/Monkey) and Saruska-Deva-Raja (Crane). These are the archetypal 'forms' for the respective animals, and once 'invoked' thru the appropriate Tantric training, they take up relationship to the Tantric aspirants workaday ego-psychology, in such a way that allows an evolution of the archetypal animal form, into specific expressions of same, thru the Tantic Guna's, Bija's, Kaya's, Sakti's, Resha's etc. As they do so, the archetypal animal Yidams also evolve into the appropriate emanations of the more familiar Tantric deities and guardians, such as Kali/Tara/Mahakala etc etc.
Very powerful instincts and emotions collect around the imago (the image-product) of the Ape and Crane totem animals. This provides the conditions for reaction between the Catalytic animal forms, and the fuel of instinct and emotion. The first emotion generated is invariably an 'Ape Rage State' - wild aggression and pure rage, and this often arouses a compensatory fear reaction in the practitioner - suddenly they are aware of immense destructive potential deep within their very being. The Tantric transmission from the Root Guru ensures that this rage-state is safely harnessed and utilized, and that the aspirant moves on to being able to encounter the equally powerful mind-state (Citta) of the Crane. Here again, the initial state is one that seems 'negative' in that it arouses the capacity for great cruelty and even spitefulness in inflicting 'destruction' on opponents.
BOTH of these negative or 'wrathful' forms of the archetypal animal totems, are eventually counter-balanced by their 'peaceful' variants, and then later both wrathful and peaceful are themselves transformed yet again - according to Tantric lineage transmission. It is a process of evolution.
Exactly how this evolution progresses, depends upon the development and commitment of the Tantric aspirant. However, ALL such emanations and manifestations are considered as variations of Bodhicitta (enlightened mind) which is both the ultimate source and the ultimate goal, of Tantric Lion's Roar! Martial Arts.
So, all of the various Citta experienced by the Tantric Martial Artist are in the end illusions of sorts, created (in a Western Sense) by the process of reflexive apperception and in a Hindu sense from the act of perception of Maya (creation: Hindu/ Illusion: Buddhism). Maya, in Hindusim, is a by-product Nama and Rupa - of name and form, and yet paradoxically, nothing 'exists' without Nama and Rupa. The goal is to utilize all these aspects of phenomenal existence (Samsara in the Hindu tradition) in order to obtain fuel for the alchemy of the Lion's Roar! transformative Tantra. The whole method is aimed at engaging with life - in order to transcend it.
The Citta are way-stations on the journey to achieve Bodhicitta.
'Forms' and the Ape/Crane Totem Animals:
The Lion's Roar Tantric empowered Forms': the Nata's and formal Kinetic Rupa's develop progressively from a broad basis in the style, and into the specialized development of each animal totem. The non-Tantric, non-disciple Form's training follows a different path, and is less developed and far less inclusive.
The initial Lion's Roar! Nata's are bandwidth-ed to give basic, sequential kinetic training, in the characteristics of the Art. Then, the individual or uni-polar Totem Animal Nata's are introduced, as 'Lesser' but specialized form's, to accentuate the Rupa of each 'animal'.
Then, there is a Lesser-Combined Nata, that formats the basis for the alchemical integration of the Rupa's, followed by 'Greater', specialized individual animal Nata's, and again by a Greater-Combined Nata.
These may be interspersed between non-animal specific Nata, based on Guardians, Bodhisattva's, or Lineage Yidams etc.
The 'main sequence' Nata's are also supported by shorter 'Yantra' Nata's, based on specific Yantra or Mandala patterns. These are specific to the individual transmission between Root-Guru and Chela (Disciple) and may not be taught outside of that specific one-to-one relationship, so that the Chela's may be taught entirely different Yantra-Nata according to the insights and chosen transmission of their Root-Guru.. Some of the main-frame Nata also follow the Yantra/Manadala pattern.
The Animals and The Seed (Bija) Fists
The the Arts Seed-Fists, may be practiced in either Ape or Crane totem form, but eventually, when all aspects of the system are refined, the catalytic animal Rupa's combine into the a single Lion's Roar! expression of the Seeds.
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