Archive for the ‘Fellows’ Writings’ Category

Pha Dampa Sangye and the Alphabet Goddess

A preliminary study of the sources of the Zhije tradition

Sarah Harding

Dampa Sangye

Dampa Sangye on www.HimalayanArt.org

Presented by Sarah Harding at the 2016 meeting of the International Association of Tibetan Studies (IATS) in Bergen, Norway:

I did not master all of Indian tantra or positively connect the lovely Mātkā alphabet goddess with Dampa Sangye, except for circumstantial evidence. Even the 25 texts in volume 13 of the Treasury of Precious Instructions (gDam ngag mdzod) that I have been tasked to translate for the Tsadra Foundation remain at the end of this long road. But with much snooping I have tried to examine some of the sources of the Zhije (Zhi byed) tradition, particularly the two “tantras,” and their influence in the actual rituals and practices of the tradition.

First a very brief background of this complex tradition, called Zhije or “Pacification,” that traces back to the South Indian Dampa Sangye. I will call him by his most commonly used name, but you may be more familiar with Pha Dampa Sangye, used by most western scholars. The anecdotal story of the “father” appellation of pha can be found in Machik’s Complete Explanation, where mother Lapdrön’s son decides that he is like a father to him, and thus the balance of Ma-chik and Pha-Dampa, probably lending itself also to the popular and unsupported belief that he was Machik’s consort. Dampa’s Indian names were Kamalaśrī and Kamalaśīla, which Tibetans took to be the same person as Shantarakśita’s famous disciple of the 8th century. And he was also identified with the Chinese Cha’an patriarch Bodhidharma (5th–6th centuries), giving him a lifespan of over 500 years.

Also in the realm of legend is the story of his reanimation of a corpse of a dark-skinned Indian siddha (Dampa Nagchug) who had reanimated and run off in Dampa’s beautiful body after Dampa had entered the corpse of a dead elephant to remove it from a village, leaving him stuck with what was considered an unattractive form, and gaining him the name of Black Dampa or Indian Dampa. His visits to Tibet numbered anywhere from three to seven, with five being the most common. Jamgön Kongtrul’s summary from the Treasury of Knowledge reports the exact starting and ending locations of all five journeys, which is affirming.[1] However, he may have “sojourned” there only three times. Kongtrul also states:

On all those occasions [Dampa Sangye] would intuit the exact character and faculties of each individual and liberate them through a few appropriate instructions. Thus there is no single primary source or systematic tradition that one could ascribe to them all. Nevertheless, [we could say] that he principally based himself in the source texts Ālikāli Great River Tantra, Mahāmudrā Symbol Tantra, and others. The methods he used, consistent with his own life example, were the three [levels of] vows as the support, ascetic exertion (dka’ thub kyi srang) as the path, and activities for the welfare of others as the fruition. Multitudes of beings possessed of the [right] karma—as numerous as the stars in the sky— were liberated in the state of buddha.

Kongtrul’s understanding here of the great variety of teachings associated with Dampa as skillful pedagogy I find more felicitous than the views of one western scholar who derided it for lacking a cohesive system.[2]

Nevertheless, what remains of a wide-ranging tradition makes it difficult to summarize. The bare minimum is the breakdown of teachings into three main lineages (brgyud) or transmissions (bka’ babs): early, middle, and later, with some other miscellaneous lineages. “The first of these is when Dampa explained to the Kashmiri Jñānaguhya the Cycles of Three Lamps of Pacification.”[3] These can be found in the Tengyur under the name Kamalaśīla. They are described as containing, respectively, the teachings of the vinaya, abhidharma, and sūtra, but also, mysteriously, “the semantic meaning of the fifty-five” sounds,” which is not at all evident in those texts. Also in the Tengyur, incidentally, are Dampa’s collections of dohās from the Indian mahāsiddhas, which had a huge influence in Tibet.[4]

The Middle Transmission is divided into three, known as the Ma, So, and Kam systems, based on the principle recipient’s place names. In summary, he gave rMa Chos kyi Shes rab the teachings of awakening mind, the discourses, scattered teachings, and oral instructions. The second system conferred to So chung dGe ‘dun bar was the instructions of the fifty-four male and female adepts, called “Instructions on the Naked Perception of Awareness.” And the third system given to Kam Ye shes rgyal mtshan is called “the Guide to the Essential Meaning of the Perfection of Wisdom.” Lochen Dharmaśrī, in his commentary, mentions that originally this system would have been the preliminaries to the Kam system practice, suggesting that there was once a more cohesive system in the past. But, he says, “now, the lineages of the guides other than this one have not lasted except as reading transmissions.”[5] This may be true for other doctrines as well. One can easily see that the very preliminary nature of the teachings that remain from this system could hardly touch the perfection of wisdom doctrine.

The Last Transmission is considered the main teaching of Zhije and was transmitted to the Bodhisttava Kunga (Byang chub sems dpa’ Kun dga’), who was acknowledged by Dampa as his primary disciple. Dharmaśri describes:

 

From the instructions to the four direction yogins in the last transmission, which is the main teaching of Pacification, this is the system of Guru Bodhisattva Kunga. The teaching consists of instructions on the perfection of wisdom that are consistent with Secret Mantra. The root is conferred to the mindstream and the essential meaning is introduced. After you are adorned with methods of numerous, great interdependent connections, all the Buddhist teachings are practiced at one time on one seat. This is the esoteric instruction called the Practice Cycle of the Immaculate Drop. [6]

 

Within this transmission, there are three guides: “The White Guide concentrates solely on mind training on the path, the Red Guide [concerns] the practice of five or three paths, and the Black Guide produces realization of the types of letters.”[7] It is interesting that only the Red Guide is elaborated in the literature. It contains an unusual instruction of a five-fold spiritual path: mind training, austerities, subsequent cognition, equalizing taste, and non-action. They are equated with the five Mahāyāna paths, but bear so little resemblance to the normative explanations that the correlation may be ex post facto. Indeed, Kongtrul affirms that “This path did not occur previously in India and Tibet, but is the special teaching of Dampa Rinpoche.”[8] I will return to the intriguing Black Guide later.

What peaked my curiosity occurred during the conferral by Sangye Nyenpa Rinpoche of the relevant transmissions of the tradition from Kongtrul’s Treasury of Precious Instructions in Kathmandu, November 2014. Large portions of the empowerment involved the Sanskrit alphabet, with master and recipients repeating it again and again—forwards, backwards, by columns, by rows, every fifth letter, just the vowels, just the consonants, and other seemingly random combinations. The monks at Benchen Gonpa were incredibly adept in getting it all up on the big screens as fast as the Rinpoche could read.

Nothing in the Zhije histories had alerted me to this pervasive use of syllabary. Except—and how did I miss the one obvious hint everywhere alluded to—that the source text of Zhije is something called Ālikāli Inconceivable Secret Great River Tantra, where āli-kāli refers to the vowels and consonants of Sanskrit! The other source mentioned, called Mahāmudrā Symbol Tantra, has been previously misidentified by me and everyone else. That was easy to do, since there are dozens of texts with similar titles—nine just in the first volume of the Zhije collection from the recently printed 13 Dingri Langkor Volumes. However, based on positive identification of quotations attributed to “Mahāmudrā Symbol” in other Zhije texts, I have located it in the collected works of Bodong Chokle Namgyal, volume 92, and in no other place. The full title is Mahāmudrā Symbol Tantra, the Secret in the Hearts of All Ḍākinīs.[9] I will mainly be looking for the influences of those two tantras in the Zhije praxis .

I had little success locating another two of sources of the four named by Gö Lotsawa in the Deb gter ngon po (p. 1134): a general sutra called Total River Play (Chu klung mngon par rol pa’i mdo)[10]; a particular sutra which is Heart of Wisdom; a general tantra called Illuminating the Pitaka (sde snod gsal byed); and the particular tantra called Great River Tantra (chu klung chen po).

Some interesting remarks in Jamgön Kongtrul’s Record of Teachings Received[11] (gSan yig, p. 769) would be worth pursuing:

In the general table of contents of Pacification, [it states that] from the five great dharma series that came from the precious Lamps, in the third one—Stainless, along with the Subtle Drop (dri med phra tig dang bcas pa)—there is a series of six dharmas of experience. Of those, the sixth is about the result of maturation concerning the outer, inner, and secret instructions of ālikāli. The outer [instruction] contains the three [subjects] of divination, astrology, and auspicious connections. Of those, the latter is mainly from the old books: the history of ālikāli. The root of the outer cycle is the vajra diamond substance (pha lam rdzas kyi rdo rje), the root of ālikāli; the auspicious connections of ālikāli (“known as the eighty white auspiciously connected substances”) along with the outer, inner, secret, and suchness; the instructions of the aural lineage of ālikāli; and the cycle of mantras from the five cycles of auspicious connection (“the connection of mantras [for] raining hail”).

Those will prove to be very interesting if ever located. To return to the two tantra sources that I did examine: In discussion of whether the teachings that were passed to Kunga in the last transmission should be considered as sutra or tantra, Gö Lotsawa in the Deb gter ngon po concludes that they are sutra “because it is like the explanation of the doors of the 42-syllable dhāraṇī in the Perfection of Wisdom sutra itself.[12] (But Kongtrul disagrees, holding the middle transmission as sutra and the last as mantra[13]).

In the Perfection of Wisdom in Eighteen Thousand Lines, we find the 42-syllable a ra pa cha na alphabet, so-called because it is first five syllables of the Kharoṣṭhi script of Ghandāra[14] and possibly the earliest use of dhāraṇī. Each syllable or phoneme is used to indicate a phrase beginning with that syllable that embodies an idea relevant to the perfection of wisdom, and hence the designation of dhāraṇī as a door or entrance:

And again, Subhuti, the dhāraṇī-doors are the great vehicle of the Bodhisattva, the great being. Which are they? The sameness of all letters and syllables, the sameness of all spoken words, the syllable-doors, the syllable-entrances. What then are the syllable-doors, the syllable entrances?

The syllable A is a door to the insight that all dharmas are unproduced from the very beginning (ādy-anutpannatvād). RA is a door to the insight that all dharmas are without dirt (rajas).[15]

And so forth, through that alphabet. Thus it could be seen as a mnemonic device, to help in memorizing the alphabet itself and those concepts. My favorite example using instead the Sanskrit alphabet in a similar way is in the old Lalitavistara Sutra (Ch. 10), where the bodhisattva Śākyamuni attends his first day of school. Here’s what happened:

Through the bodhisattva’s power, the schoolmaster taught the children:

When he said the letter a, out came the statement: ”Every composite phenomenon is impermanent (anityaḥ sarvasaṁskāraḥ). When he said the letter ā, out came the statement: “Beneficial to self and others” (ātmaparahita). When he said the letter i, out came the statement: “The vast development of the senses (indriyavaipulya).[16]

And so forth. In this way, “32,000 children gave rise to thoughts aimed at unexcelled, perfect and complete awakening.”

We are, of course, all familiar with this technique in English:

A you’re adorable, B you’re so beautiful, C you’re so cute and full of charm.

Or, from the 18th century:

A was an apple-pie; B bit it, C cut it, D dealt it…(and so on).

By the way, the title of that one—which could rival any Sanskrit or Tibetan title—is: “The Tragical Death of A, Apple Pye Who was Cut in Pieces and Eaten by Twenty-Five Gentlemen with whom All Little People Ought to be Very Well Acquainted.” Compare that to the 32,000 children who engendered bodhichitta.

Alphabet practices are found in tantras, such as the early Mahāvairocana Tantra[17] with its placement of the alphabet around the letter a which “itself abides as the inherent nature of the array of various forms. It also reveals by its own nature that all phenomena are unborn..” etc. And the ritual of the mantra of the hundred letters based on the letter aṃ “the hundred-door essence” rather than a. The mnemonic correspondence seems not be a factor here, where each syllable has taken on its own inherent profound meaning and correspondences that don’t indicate a Sanskrit word. Rather, that sound is itself an entryway into an absolute truth. Unfortunately, those inherent syllable meanings vary widely from text to text and page to page.

Later tantras show alphabet and syllable usages as well, such as Chakrasaṃvara with its placement of letters on the practitioner cum deity and the encrypted use of the alphabet in a “mantra puzzle” to discover the secret essence mantras.[18] Now, of course, it is no big surprise to find a lot of mantras in the Secret Mantra vehicle. I don’t intend to try to explain the tremendous power that was invested in sounds and letters. Mostly, however, mantras are words that carry lexical meaning, and my interest here is in the non-lexical syllables.

The two source tantras of Zhije are chock full of sounds, syllables, dhāraṇī, and mantra. The Ālikāli Tantra is presented in 24 chapters in the form of questions and answers between Vajrapāṇi and the Buddha. The 24th chapter and an interlinear note reveal that Dampa Sangye reconstituted three somewhat disparate sections of this “tantra” that were previously divided according to the following story: After the Buddha entrusts the tantra to various protectors he departs for Kushinigar.

Then the assembly went off to the king’s palace and divided the tantra into three parts. The first in eight chapters were written on leaves of a wishfulfilling tree, then encased it in a precious crystal vase. The gods summoned it and it rests inside a gandhola on the peak of Supreme Mountain. The middle section of eight chapters was written on the inner bark of a wishfulfilling tree and encased in a precious silver amulet box. The demigods and yakṣas summoned it and it rests in a copper house of blazing weapons midway up Supreme Mountain. The last section of eight chapters was written on blue water silk and encased in a golden box. The nāgas summoned it and it rests in the storehouse of the nāga at the base of Supreme Mountain. Later these three treasure teachings that were divided were brought together into one and written on the skin of a demoness (srin mo) and put into the skin bag of a white lioness. It rests in the endless knot of the secret treasury in the charnel ground of glorious Uḍḍiyāna.

The tantra may have been composed by Dampa himself, which is especially suggested by the use of the term “treasure teachings” (gter bka’). Yet it is consistent with other tantras in its contents. It answers such questions as “What is the Book” (glegs bam): the codex or volume that is used to confer the empowerments of Zhije, rather than the usual mandala or vase. The Buddha answers in verses such as:

In the teaching of the victorious sugatas of the three times

the sounds of great earth, water, fire, wind, and space,

[as] plants, forests, earth, stone, mountains, cliffs,

and all sentient beings, are saying the sounds of the teaching. (Ch. 4, p. 25)

And answering “What is the essence?”:

All phenomena are Ālikāli.

If the wise do not know that fact

they are obscured as to meaning and enter the path of the womb.

One must know that method and wisdom are not two.

And: “If all phenomena are ālikāli, what is the essence?”

Essence is wisdom in the shape of the letter a.

Intrinsic nature unimpeded appearing in the form of oṃ.

The characteristic is nonduality, the perception door of dhāraṇī.

 

From the perception door of wisdom a and oṃ

the emanation of unimpeded methods arise as kāli.

The guru of this emanated fifty

turns infinite unimaginable dharma wheels.

Repeating aloud the meaning of text, you retain it.

The drawing is the ālikāli of form.

Then the ālikāli of amazing substance

and the ālikāli of realized meaning

and the ālikāli of illustrative words

and the ālikāli of concordant examples.

These five I have explained as the secret essence. (Ch. 5, p.27)

 

Then the Buddha goes on to explain each of those. In chapter 6, first the Buddha pronounces the Sanskrit alphabet straight through and then other buddhas intone the various sets of letters from it:

Then tathāgatas in the east say ka ca ṭa ta pa ya śa / i ī ṛi;

tathāgatas in the south say kha cha ṭha tha pha ra ṣa / e ai ṛī;

tathāgatas in the west say ga ja ḍa da ba kṣa / a ā / aṃ aḥ /

tathāgatas in the north say nga ña ṇa na ma va ha / ḷi u ū /

tathāgatas in between say gha jha ḍha dha bha la sa / lī o au /

tathāgatas above say gu ru hya bad at / e vaṃ ma ya /

tathāgatas below say sa ca na si ka ra / maṃ kha la vo / (p. 32)

 

And in Chapter 7 we find:

The root of all phenomena is one’s own mind.

The nature of mind is power from concepts

Concepts depend on channels and winds.

The entity of channels and winds abides in the form of letters.

Therefore all phenomena are the clear form of letters.

The fifty come from a.

It is explained as the seed of all phenomena. (p.35)

In response to this question of the letters’ essence, the Buddha says, “I am the essence,” but continues with correspondences such as: ka kha ga nga are wind letters, blue, are ten, abiding in the lungs and so forth for each set. Other sets of syllables purify the afflictions, and so on endlessly, back and forth between non-lexical phonemes and regular lexical mantras that bestow power and efficacy. All this is interspersed with explanations of practices that are indeed reflected in the Zhije corpus.

Now the Mahāmudrā Symbol Tantra, the Secret in the Hearts of All Ḍākinīs contains in its 21 chapters similar teachings but in quite a different manner. For one thing, it is spoken not by the Buddha or Vajradhara, but the Bhagavatī, mistress of the realm, surrounded by goddesses and ḍākinīs. She appears but doesn’t, and says “a a a” without saying anything. And the interlocutor is none other than a certain “Kamalaśrī,” (Dampa Sangye) who relates the story in first person. The Sanskrit alphabet makes its first appearance in chapter three “from the vajra Body, Speech, and Mind of the emanated goddess.” This gives rise to the yab-yum in union and the mantras of empowerment, producing a stream of bodhicitta that matures all beings. Many mantras ensue, some familiar from the Ālikāli Tantra, as well as the distinctive five-fold path of Zhije. Three whole chapters (7–9) are given over to the explanation of the suchness of letters (yi ge’i de kho na nyid). And there is also an apparent “mantra puzzle” here, but I just can’t figure it out! It is tenuous to identify the mantras with those in the Ālikāli Tantra since the Tibetan phonetics for the Sanskrit of this text in particular seem quite corrupt. But, alas, this is a problem with most Tibetan phonetic reproductions where Devanāgarī is unavailable. And if the Sanskrit syllables really are doors to the vast absolute truth, this is extremely worrisome if not disastrous for the Tibetan practices based on alphabet and mantra!

The last chapter and the colophon, however, are surprisingly clear, giving an exact date, writing medium, and location. Spoken in a Pig Year, this would be 1107, if Dampa did die in 1117.[19] The tantra was “given to the ḍākinī herself where it remains as the secret treasure of the heart.” The colophon mentions Dampa’s monastery of Dingri Langkor by name, and that it was translated by “the Indian Khenpo Kamalaśrī and Tibetan translator Zhwa ma Ton pa seng ge gyal po,” who was known as Zhama Lotsāwa, Dampa’s regular translator.

Though these two tantras may well be apocryphal, the material in both is generally concordant with Buddhist tantra, yet specific to the Zhije practices. However, the specificity involves the doctrines that appear in the practice and commentarial tradition, particularly the five-fold path mentioned above, and not particularly in the syllable or mantra usage. Why is that? I propose that over time the magic of sound was less compelling to Tibetans than it had been to Indian tantrikas, and may have also generated some anxiety due to the problems of transliteration and pronunciation. The many lineages of Zhije have therefore privileged meditations such as mahāmudrā or tantric visualizations. Indicative of this, when Jamyang Khyentse Wangpo was extracting “the essence” of the Ālikāli Tantra for inclusion in Kongtrul’s Treasury of Precious Instructions, he chose only three chapters[20] which had minimal mantra and no non-lexical syllabary.

Or, when later commentators present the teachings that were passed to Bodhisattva Kunga, they expound only on the Red Guide, and yet the Black Guide (nag khrid) is where the alphabet teachings are found. Have those been lost? I have so far only found a few scraps regarding this practice, and then in a seemingly negative light. For example, in a question and answer session with Bodhisattva Kunga in one text, a disciple asks about the Black Guide and the stains that will arise from it. The short and remarkable answer is:

What the Black Guide does is illuminate (gsal ‘debs) the letters of forgetfulness tokens (brjed rdo’i yi ge) as imprints on white paper, as it’s called. [When] the instructions of the hearing (“earhole”; snyan khungs) lineage (rgyud for brgyud) have been written down as letter drawings (ris su song) it is a shame (lod). It is like the king degenerating into a commoner. [21]

The possible downfalls of the practice are numerous, including getting hung up on the letters because, of course, “there are no letters for the genuine meaning.” And “Fixating on the excellence of understanding the progression of words (tshig ‘dros), [one] does not look elsewhere, and that is a stain.” And so forth.

However, in the story of the lineage holder rGyal ba ten ne, the Black Guide was divided and granted to him in four separate cycles: the transmission (bka’ babs); the Stainless (dri med); the aural lineage (snyan brgyud); and the dohas of mahāmudrā.[22] If that’s generally the case, then in fact the Black Guide is all over the place and so pervasive that I missed it.

In conclusion, it has been very challenging to find the syllable practice in what’s left of the Zhije tradition, except in the empowerment conferral itself. No wonder it was a surprise as I was mumbling my way through coded phonemes of the empowerment.

POSTSCRIPT

After delivering this paper at the IATS conference in Bergen, an attendee very graciously offered some information of the kind I was desperately seeking in my research. It particularly concerned an observed and still current Vedic ritual in which the meanings to be conveyed to disciples are disallowed as script in any form other than alphabetic syllables for the purpose of recollection. I was referred to the work of William Sax at U. of Heidelberg and also of Frits Staal, in books such as his Ritual and Mantras: Words Without Meaning, and Discovering the Vedas Origins, Mantras, Rituals, and Insights. A paragraph from a review of the latter by Annette van der Hoek illustrates how very illuminating this information would have been:

“Part three explains, in quite some linguistic detail, that the syntactic structure of a mantra is, interestingly, often closer to birdsong than it is to natural language. this is demonstrated, for instance, in the use of sheer indefinite repetition – a,a,a,a,a –which is not a part of our everyday sentence construction and in the use of sequences – bha, bhu, bhi, bho – that again natural language wouldn’t feature except for maybe in a child’s play with words.”[23]

 

NOTES

[1] “He came to Tibet five times. The first time he journeyed to Tsari via Drintang-la. He set foot in all areas of Do-Kham, predicting the spread of the doctrine there. The second time he came from Kasmir and arrived in Ngari, where he accepted as disciples Zhangzhung Lingkawa and Bönpo Trotsang Druklha. On the third visit he came from Nepal to Tsang and gave instructions to Yarlung Mara Serpo and Kyotön Sönam Lama [Machik’s guru]. On the fourth he arrived at Nyal [near Arunashal Pradesh border] via Sha-uk Tak and purified the obscurations of his mother (yum). In Central Tibet he benefited Ma [Chökyi Sherab], So [-chung Gendun Bar], and Kam [Yeshe Gyaltsen]. On the fifth visit he first went to China, where he stayed for twelve years before returning to Dingri [until his death 1117—20 yrs).”

[2] Ronald M. Davidson, Tibetan Renaissance, p. 248: “The curiosity of Zhiché is not its multiple lineages but the fact that there seems go be no core teaching associated with the term Zhiché…”

[3] Zhi byed sgron ma skor gsum, here listed as sPyod pa’i sgron ma, Lam gyi sgron ma, and Thugs kyi sgron ma. But nine cycles (Zhi byed sgron ma skor dgu’i chos skor) are mentioned and listed in RHPS (488) and in BA (905-6) and even by Kongtrul himself in TOK 1:541. These can all be found in the Tengyur (Toh. 2315-2330), where they are attributed to Kamalaśila.

[4] See Kurtis Schaeffer’s Dreaming the Great Brahmin.

[5] Minling Lochen Dharmaśrī (1654–1717), Distilled Elixir: A Unified Collection of the Guidebooks of the Early, Middle, and Later Pacification. Zhi byed snga phyi bar gsum gyi khrid yig rnams phyogs gcig tu bsebs pa bdud rtsi’i nying khu by in DNZ vol. 13 (pa), p. 348.

[6] Dharmaśrī, Distilled Elixir, DNZ vol. 13 (pa), p. 352.

[7] Ibid. p. 354; and Jamgön Kongtrul, Treasury of Knowledge, Book Eight, Part Four Esoteric Instructions, trans. Sarah Harding, p.270.

[8] Kongtrul, ibid., p. 273.

[9] mKha’ ‘gro ma thams cad kyi thugs kyi gsang ba phyag chen brda’i rgyud in Bo dong Phyogs las rnam rgyal, De nyid ‘dus pa, the Collected Works published as Encyclopedia Tibetica, vol. 92, pp. 111–160.

[10] Possible Chu klung sna tshogs rol pa’i mdo, the Nānānadū sutra or Chu klung ba tsha’i mdo/Mūlanadī brought by Tönmi Sambhoṭa?

[11] Tashi Chöpel (bKra shis chos ’phel). Record of Teachings Received. ’Jam mgon kong sprul yon tan rgya mtshos dam pa’i chos rin po che mdo sngags rig gnas dang bcas pa ji ltar thos shing de dag gang las brgyud pa’i yi ge dgos ’dod kun ’byung nor bu’i bang mdzod. Beijing: Mi rigs dpe skrun khang, 2008

[12] Gö Lotsāwa: p 1134: shes rab kyi pha rol tu phyin pa’i mdo nyid nas yi ge bzhi bcu rtsa gnyis kyi gzung kyi sgo bshad pa dang ‘gra ba’i phyir ro/

[13] “The middle transmission is the definitive meaning according mainly to the sutras. The last is for the most part in accordance with the mantra.” (Kongtrul, Treasury of Knowledge, vol. 3, p.542, my translation.)

[14] Richard Solomon, “New Evidence for a Gāndhārī Origin of the Arapacana Syllabary,” Journal of the American Oriental Society, Vol. 110, No. 2, 1990; Jan Nattier, A Few Good Men, 2003, pp. 291–2, note 549. See also Jayarava, Visible Mantra: Visualizing and Writing Buddhist Mantras, 2011.

[15] Edward Conze’s translation in The Large Sutra on Perfect Wisdom, p. 160.

[16] 84,000 online translation, “The Play in Full” accessed 05/30/16 http://read.84000.co/browser/released/UT22084/046/UT22084-046-001.pdf

[17] See Stephen Hodge, (trans.) The Mahā-Vairocana-abhisaṃbodhi Tantra with Buddhaguhya’s Commentary, pp. 216-232. (ch. 10). Said to be revealed around 640 CE.

[18] David Gray, The Cakrasaṃvara Tantra, p. 133.

[19] The Tshig mdzod chen mo (pp. 3218–19) states that “some say” Pha Dampa Sangs rgyas died in the fire fowl year of 1117. But it also gives his departure date to China as 1101 and returned to Dingri in 1113 for the last time. Most accounts agree that he spent 12 years in China. That would only give him four years at Dingri until his supposed death, with no intervening Pig Year, which wouldn’t be until 1119. The dating remains to be clarified.

[20] Chapters 10 on the five paths, 17 on the empowerment and pledges, and 23 on view, meditation, conduct, and results. From his colophon: Jamyang Khyentse Wangpo, Essence of Precious Segments of the Inconceivable Secret Tantra Section, the Source Text of the Holy Dharma Pacification of Suffering. Dam chos sdug bsngal zhi byed kyi gzhung gsang ba bsam gyis mi khyab pa’i rgyud sde’i dum bu rin po che’i snying po. DNZ, vol. 13, p. 15.

[21] bDud rtsi zhun ma’i gdams pa, DV, ga, p. 97. Nag khrid bgyi ba brjed rdo’i yi ge’i gsal ‘debs / dkar shog la btabs pa la zer ba yin te / snyan khungs [b]rgyud pa’i gdams ngag yi ge’i ris su son bas lod de / rgyal po rmangs su babs pa lta bu yin / rgyal po rmangs (dmangs) su babs pa lta bu yin / Much thanks to Khenchen Thrangu Rinpoche for clarifying this passage. Personal interview, 06/04/16.

[22] Zhi byed bdud rtsi’i thigs pa’i gzhung yan lag lnga’i sgo nas rgyas par bshad pa, DV, vol. ga, p. 778.

[23] “‘Meaningless’ mantras and birdsong?: discovering the Vedas” The Newsletter, No. 53, Spring 2010: iias.asia/sites/default/files/IIAS_NL53_35.pdf

 

Wulstan Fletcher John Canti
Tsadra Foundation would like to congratulate two of its long-time Fellows on having been selected to receive the 2016 Khyentse Foundation Fellowship Award. Wulstan Fletcher and John Canti, who are also founding members of the Padmakara Translation Group, have been selected for this honor in recognition of their “service to the Buddhadharma.”

Wulstan, John, and the Padmakara Translation Group are well known for their translation work in both English and French. From the essential Words of My Perfect Teacher, to the advanced philosophical Adornment of the Middle Way, they have provided thousands of seekers and students with access to key Tibetan Buddhist teachings. We congratulate them on their many accomplishments!

One of the objectives of Tsadra Foundation has been to bring recognition and appreciation to senior translators and practitioners of Tibetan Buddhism, and to the role they are playing in making these extraordinary teachings available to a wider western audience. Wulstan, John, and other members of Padmakara have been supported by Tsadra Foundation for over 15 years in order that they be able to dedicate themselves fully to their practice and translation of the Dharma. The result of such focused dedication is evident in the outstanding quality and accuracy, recognized by all, of the Padmakara Translation Group’s publications. Currently Wulstan is continuing his translation activities supported by Tsadra Foundation while John is now dedicating most of his time to the 84,000 translation project.

We rejoice in the recent increase of support for translators and their work as more organizations recognize the importance of their roles in the transmission of Buddhism in the West. We hope, that other organizations and groups will likewise honor and financially support the work of all of these individuals, be they independent or a part of organized translation groups, from academia or from the Buddhist practice community.

Here is a short list of some of Padmakara’s work accomplished as Tsadra Foundation Fellows:

    1. A Garland of Views: A Guide to View, Meditation, and Result in the Nine Vehicles by Padmasambhava and Jamgon Mipham.
    2. Treasury of Precious Qualities, Book 1, Jigme Lingpa, commentary by Longchen Yeshe Dorje,   Kangyur Rinpoche
    3. Treasury of Precious Qualities, Book 2 Vajrayana and the Great Perfection, Jigme Lingpa, commentary by Longchen Yeshe Dorje, Kangyur Rinpoche 
    4. Counsels from My Heart, Dudjom Rinpoche
    5. Introduction to the Middle Way, Chandrakirti, commentary by Jamgön Mipham
    6. The Adornment of the Middle Way, Shantarakshita, commentary by Jamgön Mipham
    7. Nectar of Manjushri’s Speech: A Detailed Commentary on Shantideva’s “Way of the Bodhisattva,” Kunzang Pelden

For more information on Tsadra Foundation and its Translation and Publication Programs, please visit our website:    http://www.tsadra.org

Did Machik Lapdrön Really Teach Chöd? A Survey of the Early Sources
by Sarah Harding

This provocative title is a result of a persistent question in the back of my mind for several years while I was researching and translating the early gcod texts from Jamgön Kongtrul’s Treasury of Precious Instructions (gDams ngag rin chen gter mdzod), the next ambitious project of the Tsadra Foundation. As I patiently went through the marvelous teachings in each text, I kept wondering when I would find the actual instructions on gCod (“chöd”), or “Severance,” that I was so familiar with from translating Machik’s Complete Explanation and from my own three-year retreat practice. The following is a short survey of these texts and my findings therein, which suggest that there is no clear attribution of the body-offering practice, and certainly not in the elaborate form that we find today.

gCod is primarily known, now quite famously, as a visualization practice in which one separates one’s consciousness from the physical body, and then turns around to cut up the remaining corpse and prepare it for distribution to gods, demons, and spirits of all kinds. The ritual offering may involve going to specific places where such spirits might be found, such as isolated, frightening, or haunted places. It is immediately obvious that several terrifying psychological experiences are invoked: fear of the unseen spirit world, of wilderness, and of the maiming and dismemberment of one’s body. It is thus widely recognized as a practice of “facing your fears” and overcoming them.

gCod was developed, also famously, by the woman Machik Lapdrön in the late eleventh century, during the time in Tibet when many other lineages were forming. Although technically gcod is known as a subsidiary of the zhi byed or Pacification teachings of Dampa Sangye, clearly Machik is the single mother of this baby. In the records of Machik’s brief encounters with Dampa Sangye, and in the only Indian gcod source text (gzhung) by Āryadeva the Brahmin, there is little about this specific practice. It therefore seems to be solely a result of Machik’s own realizations, and so is famous as an original Buddhist teaching indigenous to Tibet that uniquely spread to India in a reverse trajectory from all other doctrines.

The realization that gave birth to Machik’s gcod is said to have occurred during her recitation of a prājñāpāramitā text, which she regularly performed as part of her job as a household chaplain. Specifically, it was while reading “the chapter on māra.” Many suggestions have been offered as to which section that would be, but in any case none of them throw light on the subject. The fact that it is mentioned at all, however, is very provocative. Māra, of course, is the antithesis of Buddha, and has been personified perhaps in the same way as enlightenment is personified as a buddha. Māra represents obstruction of the spiritual path or spiritual death (from Skt. mṛ-, “to die”) in all its forms. Besides the Buddha’s antagonist, a variety of māras were eventually classified into two sets of four, but there are many more examples in the texts I have translated here. It is tempting to imagine Machik’s inspiration as a profound encounter with the dark side, eventually resulting in the overcoming of that duality through the integration of the prājñāpāramitā teachings.

There is no shortage of reference to māras throughout the texts on gcod and their sources, and no question that the primary goal of these teachings is to deal with them, whether conceived of as demons or adverse circumstances or ego or as ultimate evil and ignorance. Simply put, the term used to describe that process is “chöd.” But it comes in two homonymic interchangeable spellings: gcod, which means “to cut” or “sever” and spyod, which means “behavior” or “action.” I have seen either used in alternate editions of the same text. Spyod and spyod yul instantly conjure up the bodhisattva’s conduct in the prājñāpāramitā literature, as in the recurring phrase:  “In this way one should train in performing the activity of the profound perfection of wisdom.” gCod as severance also has its Buddhist antecedents. The classic definition in gcod source material comes from Āryadeva’s Grand Poem, Esoteric Instructions on the Perfection of Wisdom:

Since it severs the root of mind itself,

and severs the five toxic emotions,

extremes of view, meditational formations,

conduct anxiety, and hopes and fears;

since it severs all inflation,

it is called “severance” by semantic explanation.

It is clear that the specific practice of cutting up the body is not alluded to in this definition, as well as all others that I encountered. In fact, it may just be an unfortunate parallel of usage that the process of resolution and integration of problems uses the same term as does the ordinary function of an axe or kitchen knife, or dragon glass, for that matter. We can think of the common term thag gcod pa (“decide, put an end to, determine, handle, deal with, treat”) to get more of a sense of this term, recalling also the interchangeability with spyod pa as “conduct and behavior.” What to do when things get tough? Act with determination.

Similarly, the term yul (“object”) in the longer name for this practice bdud kyi gcod yul (“the devil/evil that is the object to sever”) is used in the most abstract way and is attested in the Abidharma by Kongtrul and others. Consider the first verse in Machik Lapdrön’s source text, the bKa’ tshom chen mo (“Great Bundle”):

The root devilry is one’s own mind.

The devil lays hold through clinging and attachment

in the cognition of whatever objects appear.

Grasping mind as an object is corruption.

Or again, from the same text, referring to a more refined state of practice:

The conceit of a view free of elaboration,

the conceit of a meditation in equipoise,

the conceit of conduct without thoughts,

all conceits on the path of practice,

if engaged in as objects for even a moment,

obstruct the path and are the devil’s work.

The vast majority of the instructions in these early texts are on the practice and theory of prājñāpāramitā, as clearly indicated by their titles. These instructions are often reminiscent of mahāmudrā, and in fact later took on the epithet Severance Mahāmudrā (gcod yul phyag rgya chen po). For instance, from Machik’s Great Bundle:

Everything is self-occurring mind,

so a meditator does not meditate.

Whatever self-arising sensations occur,

rest serene, clear, and radiant.

Even the earliest source text by Āryadeva the Brahmin employs such mahāmudrā signature phrases as “clear light,” (‘od gsal) and “mental non-engagement” (yid la mi byed pa), while the commentary on those passages cites scripture such as Maitreya’s Highest Continuum and other sources usually associated with the third turning. There is constant reiteration of this basic instruction to rest relaxed without doing anything. One of the more famous sayings attributed to Machik, often used as a reference to the gcod practice, is not particularly giving an instruction to sever and offer the body, but is more of a straightforward prājñāpāramitā or mahāmudrā instruction:

Rest the body in the way of a corpse.

Rest in the way of being ownerless.

Rest the mind in the way of the sky.

As a candle unmoved by the wind,

rest in the way of clarity with no thought.

As an ocean unmoved by the wind,

rest in a way serenely limpid.

So where are the references to the practice of casting out the body as food that has made this practice so sensational? A quick survey of the ten early texts (two source texts plus Machik’s eight) making up 134 folia, turns up sixteen references to the catch phrase “separating the mind from the body,” all but one of which merely give mention to the term. This in itself, however, does not constitute the body-offering practice per se. Separating out the consciousness and “blending it with space” (byings rig bsre ba or ‘dre pa) or the much later nomenclature “opening the door to the sky” (nam mkha’ sgo byed) became signature gcod practices. Jamgön Kongtrul asserts that this is the main practice and relegates the body offering to post-meditation (rjes thob) or a branch (yan lag). The number of references to the actual body dismemberment is very rare, and, as I will suggest, limited to the texts of dubious origin. I will briefly survey the texts in the order they are found in the Treasury.

The verse text by Āryadeva the Brahmin, Esoteric Instructions on the Perfection of Wisdom, which is the only source text said to be of Indian origin, mentions the body offering only once, in the context of a classic graded path suitable for the three kinds of individuals:

Those with superior meditative experience

rest in the nondual meaning of it all.

The average practitioners focus on that and meditate.

The inferior offer their body aggregate as food.

The Great Bundle is taken as the earliest and most basic text attributed to Machik. As the story goes, she responded to three Indian inquisitors with an explanation of this composition and proved to them that that her teachings were indeed Buddha Word (hence bka’ in the title). It contains only one reference to a body offering:

Awareness carries the corpse of one’s body;

cast it out in an unattached way

in haunted grounds and other frightful places.

The third text classified as a source text by Jamgön Kongtrul is called Heart Essence of Profound Meaning.” That name came to indicate a whole cycle of teachings, but this source text is signed (not here, but in another edition) by Jamyang Gönpo (b. 1208?). In most records of the lineage, his name appears right after that of Machik’s son Gyalwa Döndrup, making him the earliest commentator on Machik’s teachings that I have yet encountered, nearly a century earlier than the third Karmapa (1284-1339), who is often given that credit. In this text, again, there is only one passage indicating the body-offering practice:

Free the mind of self-fixation by relinquishing the body aggregate as food.

Scatter the master of self-fixation by separating body and mind.

Liberate fear on its own ground by inspecting the fearful one.

Tossing away fixation on the body as self, obstacles will arise as glory.

We then come to an interesting text in the Treasury attributed to Machik called Precious Treasure Trove to Enhance the Original Source, A Hair’s Tip of Wisdom: A Source Text of Severance, Esoteric Instructions on the Perfection of Wisdom. It is evident that this is not a text by Machik, but a commentary on what may have been her teachings, which can be reconstructed by extracting the quoted segments. Using a methodology of searching citations in other gcod histories, specifically a huge auto commentary on the aforementioned Heart Essence by Jamyang Gönpo and Jamgön Kongtrul’s Treasury of Knowledge, I have determined that when something called kha thor (“scattered”) is referenced, it is in fact the quoted segments of this text (with one exception that I could not find there). This was an exciting discovery and solved a long standing mystery, and also corroborated my analysis of this text as a commentary, although it doesn’t solve its authorship. That being said, however, there is not a single mention of casting out the body as food. The entire commentary, including the words apparently spoken by Machik, concern the perfection of wisdom.

Then there are two or three or more “bundles” attributed to Machik. Another Bundle (Yang tshom) is in verse form of a dialogue with her son Gyalwa Döndrup. The longer title is Another Bundle of Twenty-Five Instructions as Answers to Questions, although not surprisingly there are actually twenty-eight questions in this version. Tacked on to that and unmentioned in any source or catalogue is a set of eighteen more questions with very cryptic verse answers, called Vajra Play (rDo rje rol pa). Then from an altogether different collection of ancient gcod texts found at Limi monastery in Nepal, there is a text called, again, “Bundle of Precepts” (bKa’ tshom). The colophon titles it “Thirty-five Questions and Answers on the Bundle of Precepts, the Quintessence of the Mother’s Super Secret Heart-Mind.” While this text bears no resemblance to Machik’s Great Bundle of Precepts (bKa’ tshom chen mo), it is strikingly similar to Another Bundle. Of the thirty-five questions (and this time the number is correct!), twenty-six of them appear in Another Bundle. There is some suggestion in the colophon that this bundle may have been gathered by, again, Jamyang Gönpo. What all of this indicates to me is that there were more than one set of notes circulating as records of Machik’s dialogues, and that Jamgön Kongtrul ended up with this particular set for his Treasury, while his contemporary, Kamnyön Dharma Senge, apparently had access to another one, judging from the citations found in his Religious History of Pacification and Severance.

To return to my point, there are but two brief mentions in Another Bundle concerning body offerings. The first is in a list of things to explain the term “unbearable” in response to the question “What is the meaning of “trampling upon the unbearable?” (mi phod brdzi ba), a phrase describing Severance. It says, “casting out the body to demons is unbearable (‘dre la lus skyur mi phod). The second instance is in response to the question “What should one do when sick?” and the answer is: “Chop up your body and offer it as feast.” (lus po gtubs la tshogs su ‘bul. Note the use of gtubs rather than gcod).

One last bundle is called The Essential Bundle (Nying tshom). Although it is attributed to Machik, it appears to be a summary of the other bundles, with a structural outline, scriptural citations, and even quotes from Machik, respectfully referred to as “Lady Mother” (ma jo mo). This assessment is further supported by the fact that it seems never to be cited in texts such as The Treasury of Knowledge, and is not mentioned in Kongtrul’s Record of Teachings Received, nor in Kunga Namgyal’s short list of ten Indian dharmas. In any case, again there are only two references here: (1) if afraid:Immediately hand over the body to those gods and demons without concern” and (2) “Those of inferior scope give over the body to the dangerous obstructers and rest in non-action within the state of mental non-recollection.”

Finally we have another set of three texts that I’ve called “Appendices” (Le lag), attributed to Machik. Here they are neatly divided into The Eight Common Appendices, The Eight Uncommon Appendices, and The Eight Special Appendices. However, in other supporting material when quotations are extracted from the “Appendices,” it is inevitably from the first set only, The Common Appendices. Moreover, in the aforementioned set of gcod texts from Limi monastery, there are just two sets of appendices, called “The Thirteen Appendices” and “The Eight Appendices.” The latter corresponds loosely to the Eight Common Appendices in the Treasury. The Thirteen correspond neither to the Uncommon nor Special Appendices. I therefore only feel comfortable confirming the Common Appendices (of the three sets) as part of original teachings by Machik.

The Eight Common Appendices mention the body offering practice twice: once simply stating, “The body is a corpse, cast it out as food” (lus ni ro yin gzan du bskyur), and then again reiterating the threefold gradation of practice:

[Recite] “unspeakable, unthinkable, inexpressible,”

or else rest in the separation of body and awareness,

or else cast out the body as food

and rest within the state of evenness.

The Eight Uncommon Appendices is a very interesting text, albeit of doubtful origin. The eight sections are less arbitrary and present a progressive analysis of important elements in the practice. They are: (1) the meaning of the name, (2) the vital points, (3) practices applied to faculties, (4) clearing away obstructions, (5) deviations, (6) containing inattention (7) how to practice when sick, and (8) enhancement. The biggest surprise in this text is in the seventh appendix, which concerns various healing ceremonies, the nature of which is not found in any of the other texts, and involves such items as leper brains and widow’s underwear. However there is a basic principle here, that of dealing with the most difficult circumstances by facing them directly and employing a kind of “like heals like” practice. Thus substances normally considered unclean may be used to cure disease resulting from contamination. Or, as in modern homeopathy theory, the text offers a prescription to “pacify the heat of feverish illness in fire and resolve cold illness in water.” In some ways this could be taken as the essence of gcod practice, though it might be more difficult to identify Buddhist elements here. Of the five references to giving away the body, whether one’s own or the patient’s, two of them are in this section. For example: “To treat sriu, take [the affected] to a haunted place and completely give over the flesh and blood to the harm doers. The mind will be blessed in emptiness.”

The last text of all those attributed to Machik Lapdrön is The Eight Special Appendices, and if the attribution is true, then this is where my theory falls apart. But of course I am somewhat skeptical. Stylistically it is very different from the ancient source texts, being comprised of eight sections outlining a progressive practice from beginning to end, much like a practice manual (khrid yig). The eight main headings are (1) the entry: going for refuge and arousing the aspiration, (2) the blessing: separating body and mind, (3) the meditation: without recollecting, mentally doing nothing, (4) the practice: casting out the body as food, (5) the view: not straying into the devils’ sphere of influence, (6) pacifying incidental obstacles of body and mind, (7) the sacred oaths of severance, and (8) the results of practice. The first four of these have further subcategories that contain not only descriptions, but also actual liturgy to be recited in the practice. And as the contents make clear, there is a whole section devoted to casting out the body as food, though not in the specific detail found in later works, such as Kongtrul’s Garden of Delight. In any case, this is the only text in the group where one can recognize the implementation of the practice of gcod as we have come to know it. And after the seemingly shamanic-type healing described in The Uncommon Appendices, it brings it all back into the Buddhist context with statements such as:

Casting out the body as food is the perfection of generosity, giving it away for the sake of sentient beings is morality, giving it away without hatred is patience, giving it away again and again is diligence, giving it away without distraction is meditative stability, and resting afterwards in the abiding nature of emptiness is the perfection of wisdom.

The refuge visualization includes not only Machik herself but also her son Gyalwa Döndrup and grandson or grandnephew Tönyön Samdrup, which would seem to indicate that it is at least second if not third generation after Machik herself. More research needs to be done and hopefully more will come to light as I continue with the translations in the volumes on Severance and Pacification in The Treasury of Precious Instructions.

The question I proposed: “Is there enough material here to warrant attributing the body offering practice to Machik?” has led to much speculation. I would have to say that so far I have not seen much evidence linking Machik with the culinary detail of the spectacular charnel ground practices we call “Chöd.” Yet this is not much different than any investigation of the sources of a full-blown tradition. Did Virupa teach lam ‘bras? Did Niguma teach Six Yogas? The ḍākinī’s warm breath cools down and the trail is lost, leaving us chilling in a nice cool spot. Buddhist and non-Buddhist elements mix and mingle and we drink, hoping for a good brew to warm us.

Did Machik Lapdrön Really Teach Chöd? A Survey of the Early Sources
Presented by Sarah Harding at AAR 2013, Baltimore, MD

Attached here is a listing of early gcod texts from the gdams ngag mdzod – Sarah Harding

Oct 26, 2012

Dear friends,

We are delighted to announce that the final volume of the ten-volume Treasury of Knowledge Series has now been published. This brings to completion a project begun by the previous Kyabje Kalu Rinpoche and his students over 25 years ago, and is – to quote Roger Jackson in his article to appear in Buddhadharma – “a signal event in the transmission of Buddhism to the West”.

We would like to take a moment to acknowledge not only the translators who completed this work, but also the great number of individuals who participated in the early translation efforts in Bodhgaya and Sonada, India, in the early years, the many Rinpoches and Khenpos who offered their encouragement and assistance throughout the translation process, and those who offered sponsorship in first difficult years.

Tsadra Foundation was established in 2000 and very quickly decided this was a project worthy of its support. Collaborating with Bokar Tulku Rinpoche (who had taken over responsibility for the project from the previous Kalu Rinpoche) and with Snow Lion Publications we were able to provide stable financial and logistical support to move the project ahead.

Today we see the fruit of all these years of effort, dedication and commitment. We invite you all to take a moment and join us in celebrating this extraordinary accomplishment. Attached below you will find Roger Jackson’s full article that will appear in the Winter 2012 Edition of Buddhadharma: The Buddhist Practitioner’s Quarterly.

Sincerely,

Eric Colombel

and the Directors of Tsadra Foundation

Treasury of Knowledge Review by Roger Jackson

 

 

 

 

The Review article by Roger Jackson

from Buddhadharma: The Buddhist Practitioner’s Quarterly, Winter 2012 edition.

Dr. Art Engle gave a presentation on his work at the recent Tsadra Foundation Fellows and Grantees Conference entitled “Observations on Asanga’s Bodhisattvabhūmi.” During his talk he discussed the translation of rigs pa as “application” instead of “reason” in the context of “The Four Applications” (Wyl: rigs pa bzhi; Tib: རིགས་པ་བཞི་ ; Skt: catasro yuktayaḥ). Here he provides us with his notes, translations, and the associated text citations:

 

The Four Applications

[Note: The following passage is an excerpt from Ārya Asaṅga’s The Listener’s Stage (S: Śrāvakabhūmiḥ, T: Nyan thos kyi sa). It forms part of a larger discussion on what are referred to as thirteen “requisites” (S: sambhāraḥ, T: tshogs) for attaining freedom from attachment. The two activities of listening to and reflecting upon the true Dharma taken together represent the tenth of these qualities. Asaṅga’s description of the four applications (S: catasro yuktayaḥ, T: rigs pa bzhi) appears in his explanation of the second of two methods for engaging in the practice of reflection. It is here that we find Asaṅga stating that the term yukti is synonymous with yoga (T: sbyor ba) and upāya (T: thabs), any of which could be rendered in this context as an “application,” a “means,” or an “expedient.” It is for this reason that I have translated the term as “application,” rather than the more commonly seen rendering “reason.” The Sanskrit of the text that appears below is not well edited and contains a number of corruptions; nevertheless, it is helpful in the effort of attempting to render an accurate English translation. Another important primary source for the four applications is a passage that appears in Chapter Ten of the Saṃdhinirmocana Sūtra.]

 

cintanā katamā | yathāpīhaikatyas tān eva yathā śrutān dharmān ekākī rahogataḥ | ṣaḍ acintyāni sthānāni tad yathā, (1) ātmacintāṁ, (2) sattvacintāṁ, (3) lokacintāṁ, (4) satvā(ttvā)nāṁ karmavipākacintāṁ, (5) dhyāyināṁ dhyāyiviṣayaṁ (6) buddhānāṁ buddhaviṣayaṁ varjayitvā (viśodhayitvā ?) svalakṣaṇataḥ | sāmānyalakṣaṇataś ca cintayati |

SEMS PA GANG ZHE NA, ‘DI LTAR ‘DI NA LA LA GCIG PU DBEN PAR SONG STE, BSAM GYIS MI KHYAB PA’I GNAS DRUG PO ‘DI LTA STE, BDAG LA SEMS PA DANG, SEMS CAN LA SEMS PA DANG, ‘JIG RTEN PA LA SEMS PA DANG, SEMS CAN RNAMS KYI LAS KYI RNAM PAR SMIN PA LA SEMS PA DANG, BSAM GTAN PA RNAMS KYI BSAM GTAN GYI YUL DANG, SANGS RGYAS RNAMS KYI SANGS RGYAS KYI YUL RNAM PAR SBYANGS NAS, JI LTAR THOS PA’I CHOS DE DAG NYID RANG GI MTSAN NYID DANG, SPYI’I MTSAN NYID KYI SGO NAS SEMS PAR BYED PA YIN NO, ,

What is reflection (S: cintanā, T: sems pa)?
It is [described] as follows: Here a person goes alone to a solitary place and, after having cultivated the six inconceivable topics—that is, reflection upon the self, reflection upon beings, reflection upon the world, reflection upon the ripening of beings’ deeds, the objects of meditation that pertain to those who practice meditation, and the objects of a Buddha that are possessed by Buddhas—he [or she] reflects upon the individual and general characteristics of those teachings [that have been heard] in the same manner that he [or she] heard them.

 

sā punaḥ cintā dvividhā gaṇanākārāsahagaṇanāyogena dharmeṇa | tulanākārama(rā), yuktyā guṇadoṣaparīkṣaṇākārā [ca][|] sa cet skandhapratisaṁyuktāṁ deśanāṁ cintayati | sa ced anyatamānyatamāṁ pūrvvaniviṣṭāṁ deśanāṁ cintayaty ābhyāṁ cintayati |

SEMS PA DE YANG RNAM PA GNYIS TE, BGRANG BA’I RNAM PAS CHOS RNAMS LA BGRANG BA’I TSUL GYIS SEMS PAR BYED PA DANG, GZHAL BA’I RNAM PAS RIG PAS YON TAN DANG SKYON NYE BAR BRTAG PA’I TSUL GYIS SEMS PAR BYED PA YIN NO, ,GAL TE PHUNG PO DANG LDAN PA BSTAN PA LA SEMS PAR BYED DAM, GAL TE DE LAS GZHAN PA SNGAR BSTAN PA GANG YANG RUNG BA BSTAN PA LA SEMS PAR BYED NA YANG RNAM PA DE GNYIS KYIS SEMS PAR BYED PA YIN TE,

Moreover, this reflection is of two types: (1) [reflection] upon teachings using a method that is a form of counting and (2) [reflection upon teaching] by means of a form of deliberation that consists of examining the good and bad qualities [of a particular topic]. If [someone] reflects upon a teaching that relates to the aggregates, or reflects upon any other teaching that was previously given, he [or she] reflects upon it using [either of] these two [methods].

Read the rest of this entry »

The Challenge of translation – Faithful yes, but not a slave

 

While no one disputes that a translation must be truthful, the definition of truthfulness and the ways in which translators have striven to achieve it have varied over the centuries. Word-for-word translation has given way to translation of meaning with the translated text reading as naturally in the TL as the original did in the SL. Reconciling truthfulness and beauty is one of the most important challenges faced by translators.

 

*****

 

Much has been said and written about the notion of faithfulness (or fidelity) in translation, even the sexist comment that a translation is like a woman : if is faithful it is not beautiful and if it is beautiful it is not faithful, as if being both faithful and beautiful were mutually exclusive

Obviously, like everything else, “faithfulness” depends on how you define it – a principle of loyalty or honesty or a matter of exactness and accuracy ; or  both ; or much more that that ) – and also it depends on what you relate it to – word or meaning ; the source language or the target language ; the source text or the target text ; the author or the reader.

Faithfulness will also depend on the different choices you make and the strategies you use in different translating situations (oral or written), with different texts (literary or technical ; philosophy, poetry, logics, etc…). And accordingly, it raises different types of difficulties. Usually technical translators are envious of literary translators because they do not have technical problems to solve, and literary translators are envious of technical translators because they only have technical questions to deal with. We Dharma translators, are not envious of anybody else, because we have both : the technical problems and all the rest…

Without getting into theoretical issues about linguistic theories in translation, I would like to relate this notion of faithfulness to my personal experience as a Dharma translator and  specially to one model of translation strategy developed by Lederer (2001) at the ESIT school of translators in Paris that I find interesting and useful.  So, as this exploration of the extent of faithfulness,  has mainly given me the opportunity to reconsider my ideas about translation and my involvement in translating Dharma I am afraid that apart from being a very self-centered talk, the rest might be very familiar to you and overrun.

 

*****

 

 

In the early eighties, when the director of a FPMT center in France asked me to translate orally, from English to French, the teachings of the resident gueshé on Shiné and Lhaktong, I thought he was pulling my leg. First, I did not know who Shiné and Lhaktong were and did not think that just knowing a foreign language suddenly qualified someone to be a translator or worse an interpreter. On top of that How can you translate something you do not understand ? The reason that apparently made me a translator was that I understood English and had a degree in linguistics from a Canadian university. But speaking a language and translating a Buddhist senior monk talk about meditation and philosophy are for me two different things : in one case, you think you know what you are talking about, while in the other you know you don’t.

But curiosity and temptation were stronger than I thought, so I finally went up to meet Gueshé la in his room and find out more about the subject.

After hearing all my excuses about my incompetence, Gueshé La just smiled at me and said : ” Oh don’t be so shy just say the same thing in your own language ! ”

Saying the same thing in my own language ! That was exactly what I thought I could not do, as my knowledge of the thing itself was rather a non-thing and definitely not functional.

 

But as you cannot resist a wise and compassionate person, a few days later, after some more encouragement by Gueshé la, convincing me that there was not any body else around who could do it, I was sitting on the hot cushion, scared as a newborn lamb, trying to convey as faithfully as I could, that is almost word by word, whatever Gueshé la was saying. Sorry, whatever the English translator was saying, as I did not know Tibetan then. This was my first experience of translating Dharma : translating a Tibetan translator translating the words of a Tibetan scholar speaking about a subject I knew nothing about. This is how Dharma teachings were introduced in France when at this time when there were no direct Tibetan-French translators available. Taking any one who came close to accomplishing the function of a merely labeled translator. In that case ME.

Everybody knows the famous expression (traduttore, traditore) : that interpreters are traitors.  And in that case we were two traitors. Although some might argue that two traitors are probably better than just one, as betraying the traitor could be one step closer to truth !?! Anyway, we both joined our efforts as best we could, trying to translate every word like a dictionary would. Isn’t a dictionary the best tool for translating ? This is when I proudly started to consider myself as being just a tool at the service of Dharma and others. A Dharma translating machine so to speak.
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“As for the Blessing of Vajravārāhī, Marpa Lhodrakpa does not have it.” WTF?

by Sarah Harding

In the beginning, my work translating the Pakmo Namshe[1] by the 2nd Pawo Rinpoche Tsuklak Trengwa (dPa’ bo gtsug lag Phreng ba, 1504-1566) presented several surprises. I had always believed that this was a commentary about the secret practice of Vajravārāhı based on the sādhana by the Sixth Karmapa Tongwa Dönden (mThong ba don ldan, 1416-1453) that we had all practiced in three-year retreat. I had certainly used it as such. But as soon as I came across the actual words of the sādhana within the text, it was clearly not that. Tsuklak Trengwa gives the title of the sādhana as simply dPal rdo rje rnal ‘byor ma’i gsang ba’i grub thab, or Srı Vajrayoginı Guhya Sādhana, authored by Nāropa and translated by Marpa. Well that’s easy, I thought, because there’s a three-folia verse text in the Peking Tengyur by Nāropa, or rather Mahā Nāḍapāda, with just that Sanskrit name.[2] Great—only that was not it. Then I actually opened and looked at every single text attributed to Nāropa in the Tengyur, and could not find a match. Then for weeks there were random feverish searches on TBRC under every conceivable word, like “yoginī,” “secret,” “vajra,” “pig,” and so on. Finally one fine day brought up the Miscellaneous Works (gsung thor bu) of the First Karmapa, Dusum Khyenpa (Dus gsum mkhyen pa, 1110-1193), and there I found it among several other secret Vajrayoginī practices, 29 folios and with no author, under the title dPal rdo rje rnal ‘byor ma’i gsang bsgrub [rdo?] rje btsun mo lhan skyes.[3] That was what I call a researcher’s moment of glory. It’s been all down hill from there.

The second big surprise was the nature of the text. I was looking forward to translating Pakmo Namshe because I understood it to be a practice commentary. Pawo Tsuklak Trengwa even says, “It is this sādhana exactly as presented by the bhagavatī herself that will be expounded here.” But after the first fifty pages I realized that it’s really a rebuttal, a giant polemic in defense of Kagyu practices. I’ve since found that many if not most Kagyu commentaries on Vajrayoginī written during this period, the 15th-16th centuries, are similarly on the defensive. At first I thought that if I could make it through the history section, just fourteen folios, then finally there would be the Dharma. But that naiveté was again shattered when a few pages into the so-called “actual instructions,” even in the section on the location in which to practice, (Mountain peaks and charnel grounds/ Lone tree trunks and empty caves/ Hermitages and isolated places,… ) the narrative bends around to start sections with that red warning flag of “mkhas pa kha chig gis,” and somehow launches into another tirade. The one most shocking for me was the quote early on that is the title of this paper, “As for the blessing of Vajravārāhı, Marpa Lhodrakpa does not have it.” I mean, what? There’s been great controversy about mahāmudrā and maybe some suspicious creative innovations by lineage masters, such as evidenced by the accusations leveled at Gampopa. But Marpa? And he doesn’t even have the blessing? As I figure it, we’re screwed. So I decided to jump right in to the fray and try to figure out what’s going on here. Truly it is a can of worms, and I barely got the lid off. In order to make some use of the considerable time and energy that I already spent on Pakmo Namshe, although my work on it has now been set aside, I will present excerpts primarily from my translation of that, and some from other researches, especially Sakya Paṇḍita, Gorampa, Padma Karpo, Tashi Namgyal, and Lowo Khenchen. I’ll also make available a polished translation of the history section. What follows is basically a travelogue of my confusions, or my ‘khrul pa’i thob yig.

Separating the issues
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Prajñāpāramitā, Indian “gzhan stong pas,” and the beginning of Tibetan gzhan stong

In the Tibetan Buddhist tradition, there is an ongoing debate about whether the gzhan stong system was “invented” by Tibetans, in particular by Dol po pa, or whether there are Indian precursors of that view. I will discuss evidence for a number of typical gzhan stong positions in several Indian texts and early Tibetan works before Dol po pa.

The “Maitreya Chapter” in the prajñāpāramitā sūtras
What the Tibetan tradition commonly calls “The Chapter Requested by Maitreya” is found in chapter 83 of the Aṣṭadāśāsāhasrikāprajñāpāramitāsūtra, chapter 72 of the Pañcaviṃśatisāhasrikāprajñāpāramitāsūtra, and the revised version of the latter. Certain parts of this chapter differ in their diction from the prajñāpāramitā sūtras in that all phenomena are divided into three aspects, such as “imaginary form (parikalpitaṃ rūpaṃ),” “conceived form (vikalpitaṃ rūpaṃ),” and “dharmatā-form (dharmatārūpaṃ).” These three types of phenomena and their descriptions match the three natures (parikalpita, paratantra, and pariniṣpanna). Therefore, many scholars regard the “Maitreya Chapter” as a later addition.
In general, there are two models for the relationship between the three natures. The common model (1) in Indian Yogācāra texts is that pariniṣpanna is described as paratantra’s being empty of parikalpita. Model (2), found in most of the texts discussed below and virtually all Tibetan works on gzhan stong, means that pariniṣpanna itself is empty of both paratantra and parikalpita. In Tibetan gzhan stong texts, the contrast between these two models is usually highlighted as representing one of the major differences between the views of sems tsam and gzhan stong.

In the “Maitreya Chapter,” the Buddha uses model (1), but says that both imaginary form (mere conventional designations such as “form”) and conceived form (the conditioned entities to which these designations are applied) do not exist ultimately, while only the dharmadhātu exists ultimately. When the latter is directly observed through nonconceptual wisdom, those entities are not observed. When they are observed, it is only through conception (vikalpa). This description is quite a standard explanation of the three natures as also found in the Saṃdhinirmocanasūtra (Chapters VI and VII) and many Yogācāra texts.
The “Maitreya Chapter” also offers a distinction between these three kinds of form in terms of their being ultimately real or unreal, saying that imaginary form is nonsubstantial, conceived form is substantial (by virtue of conception’s substantiality, but not because it exists independently), and dharmatā-form is neither substantial nor nonsubstantial, but is the ultimate.

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The mysterious Niguma was an Indian woman from Kashmir who probably lived in the 11th century. Not only are the dates uncertain, but so too is almost everything about her. I will explore what there is to know and not to know about Niguma. What does stand firmly as testimony to her existence is her legacy of teachings, which form the very core of the Shangpa Kagyu lineage, one of the “Eight Great Chariots of the Practice Lineages” that were later identified as the main conduits through which experiential Buddhism spread from India to Tibet.[1]

 Who was this phantasmic lady Niguma? I will include here the brief biography found in the Golden Rosary of Shangpa Biographies, but other than that one finds only hints and guesses from other sources. For instance, here is a typical description from the great Tibetan master Taranatha:[2]

 The Dakini Niguma’s place of birth was the Kashmiri city called “Incomparable.” Her father was the brahman Santivarman (Tib.: Zhi ba’i go cha). Her mother was Shrımati (dPal gyi blo gros ma). Her real name was Srıjñ›na (dPal gyi ye shes). She had previously gathered the accumulations [of merit and wisdom] for three incalculable eons. Thus, in this life [as Niguma], based on the teachings of the instructions by the adept Lavapa and some others, she manifested the signs of progress in the secret mantra vajray›na, and attained the body of union. So her body became a rainbow-like form. She had the ability to really hear teachings from the great Vajradhara. Having become a great bodhisattva, her emanations pervaded everywhere and accomplished the welfare of beings.

The elusiveness of Niguma is typical of the lore of the dakini, the very embodiment of liminal spiritual experience.  Additionally the difficulty of pinpointing historical information may well be due to the lack of ancient sources from India, and the lack of concern about such mundane matters by the Tibetan masters who encountered her in dreams and visions and maybe in person. After all, when confronted with the blazing apparition of the resplendent and daunting dark dakini bestowing critical cryptic advice, a background check would be rendered irrelevant. Indian Buddhist hagiographies are virtually unknown, whether of men or women.[3] In Tibet, where hagiography became a prolific genre in its own right, those of women were extremely rare, for all the usual reasons. It is in the experiences of those heroes who encountered the dakini that one finds the most information, and which are invested with the value of spiritual meaning. In the Golden Rosary of Shangpa Biographies, Niguma’s life story consists of only six folia, half of which is a supplication prayer to her, while that of her disciple Khyungpo Naljor, called a “mere mention” (zur tsam), is 43 folia, and those of brother Naropa, Taranatha, Tangtong Gyalpo and so forth where Niguma is mentioned are much longer than that. Even more distressing, I have discovered that half of the remaining half of Niguma’s life story, the part that concerns her birthplace, appears to be directly lifted from a biography of Naropa![4] Perhaps she is just an adornment on the lives of great saints, a figment of mens’ imaginations.

            That, of course, is something one has to wonder and worry about in nearly all of the more ancient writings about dakinis. The idealized image of a female messenger, awesome keeper of the great mysteries to be revealed only to the deserving spiritual virtuoso, is packed with power and intrigue for both male and female practitioners. Though unique in its particulars to Himalayan Buddhism, it is found in reminiscent forms throughout the cultures and religions of the world. The mystery of the dakini herself will not be revealed because she is the very definition of mystery, and were she discovered by other than mystics, it would not be she.

But what of the actual woman behind the image? In the case of a reportedly historical woman such as Niguma, we should be able to find at least some hint of a subjective story, something to convince us that she is more than the object or projection of the practitioner’s realization. And more than the “other” of the male “self.” We seek her as the subject of her own story.

 Niguma’s Home

Niguma’s life does present us with a few crumbs. First of all, her birthplace is known to be in Kashmir, a hub of Buddhist activity, particularly of the tantric type, and probably in close quarters with the Shaivite tradition and other forms of esoteric Hinduism. The specific town, or perhaps monastery, is called Peme (dpe med) in Tibetan, meaning “without comparison,” translating Anupama.[5] But we find in her biography that this is not a real town, exactly, but one that has been created by an illusionist. The first hard fact is already shaky. The story first mentions the creation myth, as it were, of Kashmir itself, a land that was once under water. According to Niguma’s biography, it was the time of the previous buddha, Kashyapa, though in other versions the story centers around Buddha Shakyamuni’s time and his disciple nanda.[6] In any case, a disciple wished to build a temple in the area of Kashmir and stealthily negotiated with the subterranean beings, or naga, who were tricked into upmerging and forking over a large area of land. It reports that the residents were amazed, though in the same story in Naropa’s biography it is the n›ga themselves who were amazed. In any case, the amazed ones commission an illusionist to create a city, which he does based on the “blueprint” of the great celestial city of the gods called Sudarshana. But this talented architect-magician died before he could dissolve the city, and so it remained. This, then, is Niguma’s home town: a divinely inspired illusion.

 Family and Friends

Niguma’s family relationships are similarly slippery, particularly when it comes to her connection with Naropa (956-1040),[7] her contemporary and a great adept whose teachings on the six dharmas learned from Tilopa spread widely in Tibet. The names of her parents given above by T›ran›tha are indeed the same as those of N›ropa in his biography in the Kagyu Golden Rosary by Lhatsun Rinchen Namgyal and are similar in other biographies.[8] Those same biographies tell the story of those parents’ first child, Shrıjñ›na, and how they had to perform special supplications for a male child after her birth. We also have the name of N›ropa’s wife, Vimala or Vimaladıpı (Dri med pa or Dri med sgron ma), with whom he parted to pursue his spiritual career. N›ropa is sometimes said to be from Bengal in the east, but there is little evidence for this theory and most authors locate his birthplace in Kashmir, along with Niguma.[9] There is even some evidence that Naropa’s well-known hermitage of Pushpahari, or Pullahari, commonly identified as being on a hillock west of Bodhgaya, may have been in Kashmir.[10] In Niguma’s biography it simply mentions that he was also in the area. Despite any misinformed discrepancies, it would seem to be quite clear that Niguma and Naropa were sister and brother. Yet scholars, mostly western, have insisted on suggesting that Niguma was his consort, perhaps his sister too, in a sort of tantalizing tantric gossip. Alas it may be the great translator Herbert Guenther who started the trend. In his introduction to The Life and Teaching of Naropa he makes a most puzzling allusion:[11]

 [Naropa’s] wife seems to have gone by her caste name Ni-gu-ma, and according to the widely practiced habit of calling a female with whom one has had any relation ‘sister’ she became known as ‘the sister of Nāropa.’

 Guenther cites The Blue Annals and the Collected Works of bLo bzang chos-kyi nyi -ma, an eighteenth century Gelukpa scholar known as Thu’u kvan Lama, as the sources where “Ni-gu-ma is stated to have been the wife of Naropa.” However, both sources state nothing so definitive. The Blue Annals, which devotes most of a chapter to the accounts of Niguma and her lineage, mentions her only as Naropa’s sister,[12] using the Tibetan word lcam mo, a combination of lcam (an honorific) and sring mo (“sister”). The second source similarly says only that she is Niguma’s lcam,[13] as do all other sources in Tibetan that I have seen. A supplication to Niguma in the practice of the white and red Khecharı dakinis uses the unambiguous term sring mo, calling her “the single sister of the awareness-holder.”[14] Admittedly the word lcam mo can be used as mistress or wife, particularly as the senior of several wives,[15] but given this bivalent meaning plus the fact that we have the identical parents’ names and the name of Naropa’s real wife, why on earth would one choose to translate it as “wife”? Even the translator Roerich does not do so in the Blue Annals, and comments elsewhere that “in the ancient language lcam means always ‘sister’.”[16] It does seem to be that tired old need to attribute a woman’s worth to her mate that plagues the annals of history, coupled with the scholarly penchant for repeating the confident pronouncements of former scholars.

Another possible source of confusion pertains to a supposed meeting between Naropa’s Tibetan disciple Marpa and Niguma. In the Introduction to the translation of Tsangnyön Heruka’s biography of Marpa called The Life of Marpa the Translator, the following information is offered, repeating the relationship in an even stranger way:

 After attaining his first realization of mahāmudrā under Maitrıpa, Marpa returned to Nāropa. This time, Nāropa sent Marpa to receive teachings from Niguma, Wisdom (Jnāna) Dākinī Adorned with Bone ornaments. She was Nāropa’s wife before he renounced worldly life to enter the dharma, and later she became his student and consort. Finally, she became a great teacher herself and her lineage of teachings was taken to Tibet (though not by Marpa) and continues to this present day. Unfortunately, our story here does not tell us very much about their meeting (xliii).

 The Tibetan text  reveals that Marpa was indeed sent on two separate occasions, first by Naropa and later by Shantibhadra, to meet a certain dakini called simply by her the metonym “Adorned with Bone Ornaments”.[17] Nowhere does it mention Niguma specifically by name in this or other biographies of Marpa. It is true that in later eulogies Niguma is described as wearing bone ornaments, but I believe this could be considered a regular wardrobe for dakinis, whose options were generally confined to charnel grounds. Better evidence of their identity than similar attire would be that both Marpa’s dakini and Khyungpo Naljor’s Niguma can sometimes both be found in the same great cemetery of Sosadvıpa (Tib. Sosaling), said to be just to the west of Bodhgaya and the vacation spot of many a great master, including Padmasambhava. It was also, however, a famous dakini gathering spot. In Marpa’s biography he finds the bone-deckeddakini on two occasions: once he receives the empowerment and instructions in the Four Seats Tantra from her, and a second time he receives a prophecy about meeting N›ropa (after he had already passed away).[18] Given the widespread prevalence, even requirement, of dakini encounters on the spiritual path of yogis, this account gives us nothing to cling to. Moreover, there is no account wherein Niguma receives any teachings from Naropa, though the similarity of content might lead one to believe otherwise. But how do we know that it was not the other way around—that Naropa did not receive teachings from his big sister?

 Teachers

Niguma’s teacher was, famously, the Buddha Vajradhara. The only piece of specific information about Niguma’s human teachers that I have from my sources is her connection with a certain Lavapa, according to two accounts by Taranatha. However Lavapa is not mentioned by name in Niguma’s Life Story, where it says only that “she directly saw the truth of the nature of phenomena just by hearing some instructive advice from a few adept masters.” The only two named masters in the Life Story are Naropa and Ratnavajra, and then only as cohabitants in Kashmir.[19] Again, the commonly-held belief that Niguma received the six dharmas from Naropa seems to be unsubstantiated. In fact, the Blue Annals, following a similar statement in Khyungpo Naljor’s biography, quotes Niguma saying that “these six doctrines are known only to myself and Lavapa.”[20]

But it is difficult to identify this Lavapa. Taranatha provides some nice anecdotal stories of an acarya Lavapa in The Seven Instruction Lineages and discusses him again in his History.[21] He is also mentioned by Naropa’s guru, Tilopa, as one of his four human teachers and the one from whom he received dream yoga, or lucid clarity, depending on the account.[22] Some sources identify him with Kambhalapada, one of the eighty-four great adepts (mahasiddhas) of Indian Buddhism, although Taranatha does not seem to make this identity. In any case, the Lav›pa who was Tilopa’s teacher would have likely been too early to be Niguma’s teacher, and he is also associated with the conversion activities in the west of India.[23] So we are still left with a lack of information on his “Lavapa of the East,” other than that he is lesser (i.e. younger), or later. Here is another version by Taranatha, with its veiled jab at this unidentified Lavapa:[24]

 She listened for a bit to instructions from Lavapa of the East, and after meditating for seven days together with the master himself, she became a dakini of timeless awareness with a rainbow body. She manifested the realization of the eighth level. It is said that Lav›pa of the East [did not gain the full rainbow body because he] left behind a palm-sized portion of the crown of his head. This Lavapa is the lesser. The name Nigu accords with the Indian language, which is Nigupta, and it is said to mean “truly secret” or “truly hidden.” In fact, it is the code-language of the dakinis of timeless awareness.

 Code Language

The symbolic or code-language of the dakinis (mkha’ ‘gro’i brda’ skad) is itself “truly hidden.” Masters of meditation decipher these communications in moments of inspiration, but by the time we hear what they might be, they have already been translated and carry all the perils of that craft, including possible fraud. We can see a few indecipherable graphics called dakinicode-letters” (mkha’ ‘gro brda’ yig) in treasure texts, but even this is only a subcategory of the mystery code-language itself. In his commentary on the treasure text Lamrim Yeshe Nyingpo, the great nineteenth century master Jamgön Kongtrul explains:[25]

 A person endowed with the karmic continuation and destiny will, by means of a profound coincidence of place, time, and aspiration, be able to decode the symbolic meaning of these treasure letters that are nirmanak›yas, the vajra forms endowed with all eminent aspects, and establish them correctly in writing.

 Perhaps the dakini code-language is beyond verbal communication, with its necessarily dualistic and designatory nature. But then why call it “language”? Symbolic communication is specifically distinguished from non-verbal transmission in the Nyingma tripartite transmissions of dzogchen teachings, where the symbolic linage of the awareness-holders (rig ‘dzin brda’i brgyud pa) falls neatly between the non-verbal lineage of the buddhas’ ‘thought’ or intention, and the aural lineage of ordinary people. Janet Gyatso suggests that the dakini, in keeping with her playful character, is “working within language to subvert it, drawing attention to its own (dualistic) structures while never retreating outside its realm.”[26] And certainly the esoteric teachings of the tantras themselves in their written form are known to be coded. After all, the common name for those teachings is “secret mantra” (gsang sngags). The dakini code-language is a secret within that secret, and seems to be reserved for the most profound and spontaneous experiences of only very gifted practitioners.

Taranatha makes no attempt to tell us what the name “Niguma” really means in that language, leaving it rather to the initiated to find out.

            In a similar way it is difficult to precisely identify Niguma’s other attributes that recur in most sources, although they are reported as quantifiable facts. She had high-level realization, placing her in the “pure” (dag pa) or non-dissipating (zag med) levels, she attained the so-called rainbow body, and most famously, she could receive teachings directly from Vajradhara. What do these qualities actually mean, other than ways to impress us? I explore these lofty attributes in my forthcoming book on Niguma

 As much as I have searched for this dakini named Niguma and hoped to find her as an actual person and the subject of her own story, it may have been in vain. The more I dig, the more elusive she becomes. No doubt I am looking in all the wrong places, in old books and dusty corners. Still, I hope that this might be more than another case of the female as a vehicle of meaning for men, or that, as one post-Buddhist feminist puts it, “the place of the male as subject is unconsciously protected, whilst creating a notion of fluidity around the concept of the female body.”[27] I might have to admit, however, that she is primarily an important event in the lives of the men who saw her, rather than a historically locatable person. These, in any case, are really the only sources of information. Her own story, if it ever existed, is not to be found other than the few details that I have explored here.


[1] The so-called Eight Great Chariots of the Practice Lineages (sgrub brgyud shing rta chen po brgyad) is a system of identifying the streams of esoteric instructions (man ngag) that came into Tibet from India. Based on an initial listing by Prajñ›raŸmi (1517-1584), it was developed primarily by the great Tibetan savant Jamgön Kongtrul Lodrö Tayé (1813-1900) as a doxographical tool in his great efforts to preserve the histories and teachings of all those lineages by collecting and printing them in the large compendiums known as his Five Great Treasuries. He enumerates these eight chariots as (1) Nyingma, (2) Kadam, (3) Lamdré, (4) Marpa Kagyu, (5) Shangpa Kagyu, (6) Zhijé and its branch of Chöd, (7) Dorjé Naljor Druk (or Jordruk), and (8) Dorjé Sumgyi Nyendrup. See Kongtrul, The Treasury of Knowledge: Esoteric Instructions.

[2] Clearing up Darkness of the Mind, TCW, 17:459 (f. 22a1-4). T›ran›tha (1575-1635) gives his full name as Kunga Nyingpo Tashi Gyaltsen Palzangpo (Kun dga’ snying po bkra shis rgyal mtshan dpal bzang po). He used the Sanskrit translation of his title Drolwai Gonpo (sGrol ba’i mgon po) as his name to show his close connection with the Indian tradition, as he studied directly with Indian teachers in Tibet. T›ran›tha was an incredible realized master, historian, and philosopher, whose prolific writings encompass nearly every aspect of knowledge in Tibet, with his collected works numbering twenty-three volumes. He is thought of particularly in connection with the Jonang school, as his most common epithet Jonang T›ran›tha or Jonang Jetsun clearly indicates, but his influence is much broader. 

[3] Janet Gyatso, Apparitions of the Self: “Even Indian Buddhist hagiographical narratives are scarce and are limited to idealized renderings of the life of the Buddha and a few other works” (115).

[4] The Life Story of the Supreme Learned N›ro Pa˚chen (mKhas mchog n› ro pa˚ chen gyi rnam thar) by Sangye Bum, in the Rwalung Kagyu Golden Rosary, vol. 1: 87-129.

[5] Advaitavadini Kaul mentions a monastery in the town of Anupamapur› (grong khyer dpe med) in connection with Gunakarasribhadra (Buddhist Savants of Kashmir: Their Contributions Abroad, 49).

[6] See, for example, the recounting of this tale by Bu-ston, translated by Obermiller in The History of Buddhism in India and Tibet, 89-91. One of a group of nanda’s disciples called Madhy›ntika is prophesied by nanda to be the future settler of Kashmir, “the place suitable for mystic absorption and the best resting-place.” In fulfillment of that prophecy, the events of the story unfold more or less as related here. In terms of the drastic environmental change in the geography of Kashmir that resulted, the time of the previous Buddha might be more appropriate. See also note 65??

[7] N›ropa’s dates are given as fire-dragon to iron-dragon year, which would be 956-1040. Atısha’s departure for Tibet is reliably dated to 1040, and he brought relics from the cremation of N›ropa with him. The stÒpa in which they are enshrined still survives in Nethang Dolma Lhakang temple, founded by Atısha. According to Peter Roberts’s introduction to Mah›mudr› and Related Instructions, the common erroneous dates of 1016-110 (such as in Guenther, The Life and Teaching of N›ropa ) was the result of taking literally an episode in Tsangnyön Heruka’s version of the life of Marpa in which he visits N›ropa. However it turns out that the visit and Naropa’s song are derived from one of Tsangnyön’s visions and are without historical basis.

[8] See Guenther, The Life and Teaching of N›ropa (16), with the following information: born into the Shakya clan, brahman caste, his father named Zhi ba ho cha (Shantivarman) and mother dPal gyi blo gros (Srimati) who was the daughter of the great king sKal lden grags pa. They had only one daughter, the princess dPal gyi ye shes (Srıjñ›na). N›ropa’s wife was Dri med pa (Vimala) whose mother was the Brahmini Nigu. (Note that the Sanskrit names are reconstructions from the Tibetan.) These names accord with those given in the biography by Karmapa Rangjung Dorje (1284-1339). However in The Life Story of the Supreme Learned N›ro Pa˚chen by Sangye Bum, the father’s name is given as the brahmin dGe ba bzang po, and his mother’s name as the brahmini dPal gyi ye shes (89-90; f. 2a6-b1), which in other places is actually the daughter’s name.

[9] The earliest biographies of N›ropa, such as that of Gampopa (1079-1153) and Lama Zhang (1123-1193), do not name a specific birthplace other than simply “the west.” All accounts of Naropa include the story of a ˜›kinı appearing to him and telling him to “go east” to find his guru Tilopa, which really only makes sense if he is somewhere in the west. In The Life Story of the Supreme Learned N›ro Pa˚chen, which claims to have compared five different biographies, Sangye Bum gives his birthplace as the “land of Moslems” (kha che’i yul), almost universally interpreted to mean Kashmir (88). (Recall that Moslems gained control of Kashmir in the 14th century). In case this is not clear, Karmapa Rangjung Dorje (1284-1339) specifies “ka smi ra”, transcribing the Indian “Kashmir” as nearly as is possible in Tibetan in his version of the life story (f. 26a2). Kachö Wangpo (1350-1405) is even more specific, saying: “In the east of India, the town of Jammu (‘Dzam bu) in Srinagar (Sri na ga ra), a district of Bha ga la.” Srinagar and Jammu are easily identified in the south-eastern part of the Kashmir valley, but “bhagala” is not so clear. The biography by Lhatsun Rinchen Namgyal (1473-1557), which was translated by Herbert Guenther in The Life and Teaching of N›ropa, is a verbatim copy of Kachö Wangpo’s, a very common practice in Tibetan literature where plagiarism is truly the highest form of flattery. Dorje Dze-ö ‘s biography of Naropa, translated by Khenpo Könchog Gyaltsen in The Great Kagyu Masters, has the same information. It seems that it is only in the inexplicable identification of the Tibetan transliteration “Bha-ga-la” as “Bengal” in these two translations (despite the obvious reference to Srinigar and Jammu) that N›ropa has been widely viewed in the western world as Bengali.  But later Tibetan authors such as T›ran›tha have upheld Kashmir as his birthplace. One last twist to this research is that Sangye Bum’s description of “the land of Moslems”, identical to the one in Niguma’s life story, adds that it is also called “Kosala”! (89; f. 2a6) This ancient kingdom where the Buddha Shakyamuni spent most of his teaching life is nowhere near Kashmir or Bengal, but somewhere in the middle. This seems to come out of nowhere and I have no explanation for it. On Naropa’s birthplace see also Templeman, The Seven Instruction Lineages, 46 and 115, n.157.

[10] For example, in his translation of the Blue Annals, George Roerich notes that modern Tibetan pilgrims believe the location of Pullahari to be in Kashmir near Srinagar (400). And more interestingly, the colophon to Tilopa’s Esoteric Instructions on the Six Yogas (Chos drug gi man ngag) states that it was translated by N›ropa and Marpa in Pu˝hpahari in the place of the Moslems (kha che’i gnas), again referring to Kashmir (Toh. 2330, f. 271a2-3).

[11] Guenther, “Introduction”, The Life and Teaching of N›ropa, xi-xii.

[12]N› ro pa’i lcam mo“, Gö Lots›wa, 2:854 and again on 855 (Roerich, 2:730).

[13] Th’u’ Kvan Lama, Collected Works of bLo bzang chos-kyi nyi-ma, vol. Kha, f.3a1.

[14] Increasing Enlightened Activity: the Feast offering and Concluding Rites of Red and White Kecharı in the Shangpa Tradition (Shangs lugs mkh’a spyod dkar dmar gnyis kyi tshogs mchod dang rjes chog phrin las yar ‘phel), ST, 3:300 (f. 2b5-6).

[15] BD 1:765.

[16] Roerich, BA, 390.

[17] rus pa’i rgyan can. The actual description is “the ˜›kinı of timeless awareness with whom it is meaningful to be connected [and who] has bone ornaments” (ye shes kyi mkha’ ‘gro ma ‘brel tshad don ldan rus pa’i rgyan dang ldan pa) (Tsangnyön Heruka, 38). Fun fact: Tsangnyön Heruka was also called “Adorned with Bone Ornaments” (gTshang smyon he ru ka Rus pa’i rgyan can).

[18] Nalanda Translation Committee, The Life of Marpa the Translator, 32 and 80, respectively. The Four Seats Tantra (Catu¯pı˛ha; gDan bzhi) is a mother tantra of highest yoga tantra. In Sangye Bum’s Biography of Marpa in the Rwalung Kagyu Golden Rosary (a collection of biographies of the Middle Drukpa masters in Rwalung), Marpa receives this from ‘Phags pa rang byung (1:136). Khyungpo Naljor did not receive this tantra from Niguma either; it did not seem to be in her repertoire.

[19] grong khyer der che ba’i pa˚˜ita n›ro ta pa dang/ rin chen rdo rje gnyis bzhugs so (ST, 1:40; f. 2b4).

[20] The Blue Annals (Deb ster ngon po) by Gö Lots›wa Zhonnu Pal (1392-1481): “chos drug gi gdams pa ‘di rnams shes pa nga dang lwa ba pa ma gtogs med “(vol. 2:856). In the translation, Roerich inserts Kambalap›da as another name for Lav›pa, though this identity is not certain in this case. The statement in Khyungpo Naljor’s life story is in Shangpa texts, vol.1:92 (f.17b4).

[21] Templeman, The Seven Instruction Lineages, 33-36; and T›ran›tha’s History of Buddhism in India, 241-245. The supplementary notes in the back of the latter (408) reveal that the translators also identify him with Kambhala, as in the Blue Annals, although the author Gö Lots›wa did not make that identity explicit.

[22] Esoteric Instructions, 137; TOK, 1:526. He is also mentioned often in the various biographies of Tilopa, including Marpa’s biography of Tilopa, The Life of the Mah›siddha Tilopa, page 5 in the Tibetan transliteration. By some accounts, it was lucid clarity that Tilopa received from Lav›pa, and T›ran›tha would seem to corroborate, although there are many versions. For a discussion of this see ibid., 69-70, note 31.

[23] Templeman, T›ran›tha’s Life of K¸˝˚›c›rya/K›˚ha, 82.

[24] A Supplement to the History of the Lineages, DZ vol. 18:102-103 (ff. 2b6-3a3). For a brief and confusing discussion of Lav›pa’s identities and dates, see T›ran›tha,The Origin of Tara Tantra, 60, n. 173. Also see some stories about this siddha in Dudjom RInpoche’sThe Nyingma School of Tibetan Buddhism 1:485-487. Here he is identified with IndrabhÒti the Younger, son of King Ja, as his teacher, whereas T›ran›tha associates with IndrabhÒti the middle. In fact much of this confusion may arise from the multiple IndrabhÒtis.

[25] Padmasambhava/Jamgön Kongtrül, The Light of Wisdom: Vol. I, 37. Translation by Erik Pema Kunsang.

[26] Gyatso, Apparitions of the Self, 251.

[27] Campbell, Traveler in Space, 139.

Om arapacana dhîh

Discussion on the Intermediate State
in the Mahâvibhâsha

Translated from the Chinese version by Xuanzang
Apidamo da pibosha lun, T 1545, vol. 27, p. 356-64
玄奘譯阿毘達磨大毘婆沙論卷第六十九-七十
結蘊第二中有情納息第三之七-八

– Why have the venerable ones included a discussion about the intermediate state 中有 in this varga (納息 category) ?
– In order to put an end to heresies and manifest the right view. Indeed, some, like the Vibhâjyavâdins 分別論者, maintain that birth in the three worlds does not imply any intermediate state. Others explain that it is sure that birth in the Worlds of Desire and Form imply an intermediate state : such is the view of the Logicians ( ? 應理論者).
– What, then, are the criteria of the Vibhâjyavâdins allowing them to assert the non-existence of the intermediate state ?
– They refer to textual evidence 至教量 by quoting a sûtra 契經 which says that one who has committed one of the five actions « with immediate retribution » 五無間業 will for sure be immediately reborn in hell. This immediate rebirth in hell is a clear proof of the non-existence of any intermediate state. A gâthâ 伽他 says :
« You who are reborn today, you quit your lofty position
And utterly decline to approach Yamarâja 琰魔王.
You’d like to go forwards but have no provisions 資量,
And if you want to rest in between, you’ll find no place to stop over. »
This « no place to stop in between » 中間無所止處 allows them to ascertain the non-existence of this intermediate state.
Answering to our objections, they also prove 說過難證 this non-existence saying : as there is no gap between a form and its reflection 影光中無間隙, in the same way there is no gap between death and rebirth. How do you, Logicians, they say, prove the existence of an intermediate state with valid criteria ?
– We use a valid cognition derived from an authoritative text which says that « the one who enters its mother’s womb must have a direct experience of three things : 1) the mother’s body must be in time and fit 時調適 ; 2) father and mother must unite ; and 3) the gandharva 健達縛 must appear right in front of them. » So, what gandharva could it be if not a being in the intermediate state ? Who or what could make this experience once the previous aggregates are destroyed ? A being in the intermediate state is thus referred to as the gandharva.
Moreover, since texts mention « parinirvâna in between » 中般涅槃, if there is no intermediate state, how is such a parinirvâna possible ?
Another text reads : « When this body is destroyed and the next is not yet born, a mental sentient being, stopped by desire, engages in appropriation. » 意成有情依止於愛而設施取。
If the Bhagavân spoke thus, we can be definitely sure that there must be an intermediate state. If it were not the case, what would this « mental sentient being » refer to ?
Moreover, their denial can be countered by other evidences, for instance : if an individual dies here [in Jambudvîpa] to be reborn in the Northern Continent of Uttarakuru, etc. 北俱盧等, and if there is nothing like an intermediate state, there will be an interruption between the destruction of its present body and the birth in the next one. In that case, the next body would exist unpreceded and this one would be nothing in spite of its existence – thus goes the nature of things 法亦應爾. What basically does not exist would exist and the existing would return to nothingness. But as such defect is impossible, we have another evidence of the necessary existence of the intermediate state.

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