TIBETAN, LION'S ROAR, HOP-GAR, LAMA KUNG-FU

  總持門金剛獅子吼

            Simhanada 

    Mukti-Dharma 拳

                Lion's Roar! Fighting Principles

                                

                                                

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                       Background:

The Lion's Roar! Martial Art has many aspects, as a Fighting Art these include the Mukti-Dharma (Han: Kune-Faht, Japanese: Kempo) the 'Way', the 'Law' or 'Transmission' of the Fist;  Mukti = Fist Dharma = Law, teaching or transmission.  Note too that Mukti मुक्ति also translates as 解脫  'loosing, release, deliverance, liberation, setting free,... emancipation; escape from bonds and the obtaining of freedom, freedom from transmigration, from karma, from illusion, from suffering; it denotes Nirvāna and also the freedom obtained in Dhyāna (meditation) It is to escape from Samsara: 輪廻 輪轉     

In non-Martial Tantric practices, the Chinese often separate the Character translation for Fist:  away from that of Mukti: मुक्ति , 解脫 which is to set aside the 'martial' altogether. Non-Tantric-Buddhist disciplines such as Shaolin, have retained the original Indian understanding of the significance of the Fist.

In the Tantric tradition, the Buddha's Dharma was in-part given with an open hand Hasta, as he declared on his deathbed. However, a secret part of the Dharma was withheld and given only to selected disciples - this was the 'closed hand' (Mukti/Mushti) which was to be symbolic of the Tantric Buddha-Dharma.

Over time, the Indian Simhanada Vajramukti - the Lion's Roar! Diamond Thunderbolt Fist martial art, which had been a Hindu Dharma, was incorporated into Buddhism, as indeed were many other aspects of the Sanatana Dharma.  These inclusions changed somewhat, but not completely, so the transmission of the Buddha-Dharma contains much Hinduism within it, just as Christianity contains much of the Judaic tradition within its teachings.

The Lion's Roar! which became the symbol of the achievement of Dharma within Buddhism, therefore brings much of Sanatana (Hindu) Dharma too; and this syncretism is to be found in abundance within the Lion's Roar! Indo-Tibetan Vajramukti Martial Art.

This 'Martial Sect' is properly known in characters Chinese as:

金剛獅子吼   Gam-Gong Si-Ji-Hao Mun: The Diamond Thunderbolt Lion's Roar! Sect  

Otherwise as: 獅子吼"Si-Ji-Hao Mun"

Or simply as:  道門"The gate of the Way, or of truth".

Note that the first 'Fist-Form' in the Simhanada Vajramukti Sangha, translates as:

金剛獅子吼   it is deceptively simple, containing only the 8-"Seed-Fists" emerging from a central point to radiate in 8 directions, a Mandala   in the shape of an 8-petaled Lotus Flower 蓮華 with the salutations covering upwards and downwards, adding up to the "10 Directions".  The message is that despite its Seed-Like  simplicity, the whole manifest, Rupa (Form) of the Art grows from this Fist-Set.       

The Tantric Fist (Mushti) is part of the Siddi 'Crazy-Wisdom' tradition, which utilizes any path or method for the achievement of Dharma.  The martial art itself is therefore a Yana (vehcile) which has both means and ends.  The end: the goal; is to Roar The Lion's Roar! as confirmation of the Arhat and Bodhisattva ideals.  The means is a Martial esoteric Tantra, that uses the Mukti (closed hand) as entrainment of the Siddi-Path.

There is no paradox here as the Siddi-Guru embraces what many other Buddhists would reject, including 'Martial' Arts.

   Summary Of The Martial Aspects:

The first step in this martial-art is to accept the precepts, See Link: Precepts of The Lions Roar Martial Art    ONLY when this has been done, should the practitioner consider themselves appropriate to study the Tantric methods, under the guidance of their Root-Guru.

Many people, influenced by some of the more superficial acquisitions of traditional Chinese martial arts - in the West, imagine that learning 'Forms', especially the surface structures and sequences of movements in Forms, is to possess the Art.  Nothing could be further from the truth. 

    This is the appropriate order of  BASIC learning:

1. Precepts of the Lion's Roar! Vajramukti Sangha. 

2. The Guru-Disciple-Sangha relationship, and the Guru-Kulani (The Lineage Guru's) in succession: Om Simhanada Guru Vajramukti Hum.

3. Learn the Kaya's, Resha's and Sakti's (see link: Simhanada Tantra Kaya Sakti) thru SEED training (see links: Chune-Choi The Raja-Bija of Lion's Roar,  The 8 Ruling Seed Fists , The 3 Jeweled Fist in Sanskrit and the Tantric Guna's (see below) as applied fighting Principles of the Art.

4. Basic Tantric Empowerments (see links:  The Bardo Warriors,  8-Seed Fists Ruling Deities , Chogyam Trungpa , The Chod Ritual,  Guru Padmasambhava, Mudra Signs and Seals , The Lotus Palms and, the personal guidance of the Root-Guru, which includes a directed study of sources from this website and other confidential instructions in required Mantra, Yantra and Yidam meditations. 

5. Mukti-Yoga: The Yoga of The Fist - Han equivalent is 'San-Sau' applications, the linking of 1-4 above into applied Martial Tantra-Yoga.

6. The Nata-Mukti-Yoga - The beginning of 'Form' training, as Tantric Empowered Yana's (vehicles) with their applications fully developed and understood and with the Nama & Rupa properly developed. This includes the Tantric Deities and Guardians and the specifics of empowerment, and the appropriate mental training.

7. The Yantra-Nata Mukti-Yoga - Specific Yantra Forms, (advanced) with their associated mental and Yidam (deity/guardian) training.

8. Commitment to on-going refinement and development of higher skills after the above basics have been mastered.

               The Tantric Guna's: 金剛

In Indo-Tibetan Tantric Martial Arts, the principles ( Han: 四王金剛 ) of combat are known by the Sanskrit term Guna's meaning: qualities, or principles, 宗極 these deriving from the Hindu understanding of Guna,  rather than the later Buddhist representation of ORDINARY Guna's (note however that Buddha Guna's 佛塵 have the special qualities associated with the Tantric Martial Guna's, and so apply here as a designation.). Specifically, they refer to the Guna  of  Sattva. In the context of the Lion's Roar! Martial Art, there are four, the: Catu-Sattva-Guna, which are said to be as the Four-Noble Truth's are in Buddhism, they are the first thing (about combat) to be accepted, just as the Four-Noble Truth's in non-martial Buddhism are the first thing to be accepted in order to receive the Dharma

The Catu-Guna instantiate in the Bardo times and spaces, the Bardo-Field is their world, and he who Masters the Bardo, Masters the Lion's Roar! as Tantric Martial Art*

They have direct correlations in the Han-Chinese lineages of Lion's Roar! where they are known individualy as:

1. Chune,  (Penetrate) 穿

2. Jeet,   (Intercept)   截

3. Sim,   (Evade)       閃

4. Chon  (Destroy)   殘 

1. 穿Chune - Sanskrit: Chindatti 'To Penetrate': the Buddha's principle of 'Penetration To The Truth'.  Chune, also translates as to weave, as in to weave a thread.  Tantra in Sanskrit means 'weave' and written transmission of Tantra is called 'Sutra' (thread).   Chune is therefore TANTRA itself. Chune is THE Seed ACTION and THE Seed PRINCIPLE in the Lion's Roar! Martial Art. Related directly to the Tibetan Chod ritual as Bardo-Chod: the Guna of Chindatti is to penetrate right thru the opponent, right thru his occupied physical space, and, right thru his subtle-body space. This is achieved by action in the Bardo (Sanskrit: Antarala) - the in-between points within time and space, the gaps that exist in the flow of thought and action. Chune in Han-Chinese theory is linked to Chune-Ging - which in Sanskrit is the Vajra-Kaya-Sakti - the Diamond-Body Power.  The Deity Indra Sanskrit: इन्द्र

Chinese: 因陀羅is the Yidam of the Thunderbolt strike, so Chune/Chindatti is to strike with whole mind-body power, as a thunderbolt, right thru the opponent in an unstop-able way. Indra is the Deva-Raja (Ruling deity/yidam) of the Chindatti-Guna

2. Jeet - Sanskrit: Chinte (note the similarity in pronounciation) - to intercept before the opponents action is fully formed, to arrest them at the peri-moment of fulfillment (in the Bardo).  This stop-hit principle not only finds the target within change and transition - and thereby not fully formed, it prevents the opponent from reacting before being overwhelmed, as their intended action is dissolved.  This is to induce a spatial-temporal Bardo-lag in the opponent, and to exploit it. Chinte as Guna defines operation within the Bardo spaces. Lord Vishnu 韋紐天as Master of the Antarala (Bardo) is the Deity/Yidam Deva-Raja of the Chinte-Guna. 

3. Sim: Sanskrit: Avarana That which veils, conceals, or surrounds the real nature of beings or things. 'To evade, draw-out, to deceive': Moksha. The opponent may be drawn into a Bardo state thru such means, by directing them into inappropriate action. All forms of evasion and drawing as conventionally understood could fit this Guna, provided, that the overall management of the conflict is with intention to control the Bardo Field. The Deity/Yidam Maya 摩耶('Illusion' and 'Confusion') - an aspect of Kali 歌利 is the Deva-Raja of the Avarana-Guna. See Link: Sim Fighting Principle

4. Chon: Sanskrit: Vadhati 'Ruthlessness-Destruction', the goal of annihilation of the opponent or the 'attack' of the opponent - which is a moral issue for Buddhists that needs to be understood. There are grounds in Buddhism for ultimate force, should this be necessary according to Dharma, and there are grounds for ruthless destruction of an 'attack' within the Bardo, such 'destruction' removes the threat from the opponent by negation of the action against us - in such a way that gives a Karmic opportunity for the opponent to grasp the consequences of his actions. Kali 歌利'The Destroyer' is the Deva-Raja of Vadhati-Guna.

In extreme circumstances, extreme 'destruction' is warranted, and the Lion's Roar! Martial Yana gives the ability to fulfill this - according to Dharma. 

* Note that Lord Vishnu is 'Master' of the Antarala's, and that in Sanatana Dharma, Buddha is an Avatar of Vishnu.  Therefore, to Master The Bardo Spaces in Tantric Martial Arts, is to be as Lord Vishnu, and therefore to be as Buddha - to realize the Buddha-Nature within oneself.  The Goal of Lion's Roar! Tantric Martial Arts is the attainment of Bodhicitta.

   Yidam & Dharmapalas Training:

As well as the usual Tantric methods involving the Yidam or 'Tutelary' Deity, and Dharmapalas (Guardian) meditations, the Lion's Roar! Tantric martial art extends this thru specially developed martial applications of the Yidam method. A very basic approximation to this is the Western hypnotic method of 'perfect practice' used in Sports Science. In the Lion's Roar! Tantra however, it is much more involved on a personal level and careful guidance from the Root Guru is necessary to ensure that no potential psychological harm follows from mis-practice of the Yidam Martial Tantra.  This method is so powerful that it can only be transmitted on a one-to-one basis under strict supervision and thru the safeguards built in to the Tantric method. Actual combat applications are developed and refined by this means, as well as great increases in fundamental skills, and the development of those aspects of non-martial Tantra usually associated with the Yidam and Guardian training.  

Each aspect of the Lion's Roar! Martial Tantra, has associated 'deities' connected with it (see relevant pages on site map).  In Tantric tradition - these are NOT seen as externally real or independent to the practitioner, but as organized representational structures, - aspects of Bodhicitta (enlightened mind) that naturally take on these 'forms' - Archetypes as Carl Gustav Jung referred to them, or Representation-Collectives as the French Anthropologist Claude Levy'-Bruhl called them. 

They are accepted within Lion's Roar! Tantra as necessary mediating symbols thru which to work with what stands behind or beyond, something which for the moment remains metaphysical and essentially inexperience-able until Bodhicitta is realized by the individual practitioner. 

Nevertheless, they are very power systems for working the Magnum-Opus of Martial Tantra, and indeed an essential part of the entire process.

             Totem Consciousness:

This a key part of the Lion's Roar! Martial Tantra. As well as the use of the usual Yidam deities, and Guardians in Tantra, the Lion's Roar engages deep-structure emotions and instincts as raw fuel to power both the physical and mental aspects of their training, and spiritual development (see link: Chogyam Trungpa  In Martial Tantra, this is achieved thru 'mediating' symbols (see above) in this case however, they take the 'form' (Rupa) of two animals, the Ape and the Crane. 

The Ape and Crane in Lion's Roar! Martial Tantra, form a sacred pair, the Yab-Yum (also in Tantra as the male-female: Yogi-Yogini) Father-Mother dyad of Tibetan Tantra, the union of which leads to a transcendent position - the actual Lion's Roar! itself.  The 'Ape' is essentially masculine and the Crane essentially feminine. Tantra abhors polarities, but, acknowledges the energy that comes from their collision (as in an alchemical process of transmutation) - and that is precisely the intent in working the 'polarity' of the Ape and Crane Divisions of the Lion's Roar Martial Art.

The Ape, has the characteristics of both a fundamental primate, and a human-ape theriomorph (mix).  Its Citta (Mind) in Tantra allows access to evolutionary 'lower' emotions without the impediment of 'higher' (human) consciousness, with its repressions and neurotic dissociations. It has the potential to quite literally Go Ape.  The raw aggression and rage of an Ape-Totem (symbol) consciousness, is extremely powerful and can literally possess an individuals psyche. This increases strength and power, thru the induced raw mental-physical state, and, also thru the entrained Sakti's and Kaya's (see above).  The Tantric Martial Artists seeks to establish connection with this raw Ape power, and, at the peri-moment of being overwhelmed by it, partition consciousness so that the rage-state is devolved, and within the Bardo space thus created within the psyche, a Tantric state of detached transcendence and enlightened goal-directedness ensues. 

This is a state almost impossible to understand without direct experience of it.  Many people who have experience of the more basic meditation states common in the West, will find this very difficult to grasp or to accept. This is because people naturally settle with their own level of experience and its hard to make sense of something directly outside of it, or indeed, beyond it. This is why Tantra is 'secret', it is too dangerous to open up on anything other than a descriptive level (as here) - which, confines any potential harm to mere misunderstanding of the process. 

The Man-Ape theriomorph is represented culturally in the Hanuman Hindu Deity, and in the Creation Myth of the Tibetan people, the 'Ape-Father'.  See Link: Simhanada Tantra Kaya Sakti and other related pages on this site. (Note: Tibetan "Ape" now either a Tibetan Macaque monkey, or a Hanuman Langur - possibly a Gibbon via Nepal and/or China).

The Crane has characteristics associated culturally with male representations of the feminine within their own psyche, i.e. with the imago of the feminine within the masculine mind.  This need not have anything to do at all with the feminine in any literal sense, but simply with those aspects of the masculine that take symbolic feminine form. In the Tantric Lion's Roar! Martial art, the Crane is seen as an embodiment of the Guardian Kali but see also: The Ape and Crane Divisions

As with the Ape theriomorph, the Crane has what Tantra calls 'Wrathful and Peaceful Forms'.  The 'Peaceful' Ape is typified by many aspects of Haruman, with his trickster qualities describing the cross-modal areas between the peaceful and wrathful poles.  Similarly, the Crane has both elements, but it has an easier transcendent quality, due to the projections  of Bodhicitta that collect around its imago. 

The Wrathful Crane is best described as a total 'bitch' - in the symbolic-pejorative sense, it is 'aloof', 'imperious', 'spiteful', even 'malicious' as a combat state-of-consciousness (note descriptions of the Kaya's, Sakti's and Guna's for appropriate context).  

The peaceful Crane is distant but not overtly aggressive, and emphasizes efficient and highly developed Rupa (Form).  Form degrades under pressure, especially under the pressure of combat.  the higher the developed start-point, the lesser will be the inevitable degradation under stress.  The Crane teaches finesse, and, the ability to maintain form under pressure - something which 'informed' Western opinion regards as impossible.  This is where Tantric training comes into its own, Tantric Martial Artists train so that they apply their art as they practice it. Realism in form and function are entrained, but, without losing essence and connection to the 'style'. Most non-Tantric traditional martial arts degrade so badly under pressure that they lose all recognizeable structure, and so their 'function' fails too. 

The Transcendent aspects of the Crane theriomorph, draw on the innate potentials for higher consciousness, but, without the much more raw fuel of the Ape, this 'higher' fuel cannot spark.  Both are required, and in the end both must be transcended.

        Simhanada Mukti-Dharma:

The Lion's Roar Dharma of the Fist, is therefore an application of Tantra to the combat arts.  This involves progressive and integrated mental, physical and spiritual training.  The mental training is difficult, and potentially dangerous, as powerful emotions and instincts from outside the control of normal consciousness are actively sought and engaged.

The whole breadth of the Tantric Siddi Tradition is involved, with the actual combat application being 'processed' thru a specific method of applying the Guna's to the structure of both the human form and the psyche.  The exact details of this are not within the scope of this page, but are transmitted with the Simhanada Dharma as part of the progression of Sangha disciples.

Sanskrit & Chinese Translations

of 師子吼 : 獅子吼 "Lion's Roar"

("Si") A host, army; a leader, preceptor, teacher, model; tr. of upādhyāya, an 'under-teacher', generally interpreted as a Buddhist monk.

"Si" as in Si-Fu

子 "Ji" as in Seed, or Son (note the Buddha's Son's and Seeds, in relation to Lion's Roar! Tantric Buddhist Martial Arts symbolism.

師子 ("Si-Ji") Simha, a lion; also 獅子 Buddha, likened to the lion, the king of animals, in respect of his fearlessness.

師子乳 Lion's milk, like bodhi -enlightenment, which is able to annihilate countless ages of the karma of affliction, just as one drop of lion's milk can disintegrate an ocean of ordinary milk.

金毛獅子 The lion with golden hair on which Bodhisattva Majuśrī (Wenshu) rides; also a previous incarnation of the Buddha.

師子光 Simharaśmi. 'A learned opponent of the Yogācāra school who lived about A. D. 630.' Eitel.

師子吼 ("Si-Ji-Hao") also: 獅子吼: Simhanāda. The lion's roar, a term designating authoritative or powerful preaching. As the lion's roar makes all animals tremble, subdues elephants, arrests birds in their light and fishes in the water, so Buddha's preaching overthrows all other religions, subdues devils, conquers heretics, and arrests the misery of life.

佛吼 Buddha's nāda, or roar, Buddha's preaching compared to a lion's roar

師子國 Simhala, Ceylon, the kingdom reputed to be founded by Simha, first an Indian merchant, later king of the country, who overcame the 'demons' of Ceylon and conquered the island.

師子座 (or 師子牀) Simhāsana. A lion throne, or couch. A Buddha throne, or seat; wherever the Buddha sits, even the bare ground; a royal throne.

師子奮迅 The lion aroused to anger, i.e. the Buddha's power of arousing awe.

師子尊者 師子比丘 Āryasimha, or Simha-bhiku. The 23rd or 24th patriarch, brahman by birth; a native of Central India; laboured in Kashmir, where he died a martyr A.D. 259.

師子王 Simhanadraja: The lion king, The Buddha.

師子相 Simdhadhvaja; 'lion-flag,' a Buddha south-east of our universe, fourth son of Mahābhija.

師子冑 or 師子鎧 Harivarman, to whom the 成實論 Satyasiddhi-śāstra is ascribed.

師子身中蟲 Just as no animal eats a dead lion, but it is destroyed by worms produced within itself, so no outside force can destroy Buddhism, only evil monks within it can destroy it.

師子遊戲三昧 The joyous Samādhi which is likened to the play of the lion with his prey. When a Buddha enters this degree of Samādhi he causes the earth to tremble, and the purgatories to give up their inmates.

師子音 Simhaghoma; 'lion's voice,' a Buddha south-east of our universe, third son of Mahābhija

師子音 "Guru with a Lion's voice" also 師子吼 or 獅子吼 as "Guru Lion's Roar" BOTH names for Padmasambhava - the Lotus Born (called Guru Rinpoche) the Patriarch of Tantric Buddhism to Tibet.

                    Om Simhanada

Vajramukti Sangha Hum

 

 

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