Tag: Meditation

A Han Chinese Scholar’s Quest for the True Tibetan Dharma

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The Extraordinary Journey of Losang Phuntsok Rinpoche

Losang Phuntsok Geshe, known by his Chinese name Xing Suzhi, was born in 1916 in Nanjing into a family deeply rooted in the Buddhist tradition. His spiritual journey began early; he embraced Buddhism at the age of nine and, by sixteen, had enrolled in the Sino-Tibetan Buddhist Institute in Chongqing, Sichuan. Here, he studied Tibetan, laying the foundation for his future studies in Tibet. That same year, he became the secretary to Master Taixu, one of the most prominent modern Buddhist scholars, who bestowed upon him the Dharma name Bison.

During his time at the Sino-Tibetan Buddhist Institute, Losang Phuntsok studied under Master Taixu and Master Fazun. His studies were deep and rigorous, focusing on key scriptures such as the Śūraṅgama Sūtra and Cheng Weishi Lun. He also diligently organized and recorded Master Taixu’s lectures. Both Master Taixu and Master Fazun held Tibetan esoteric Buddhism in high regard, especially the Amrita Dharma, a teaching said to have been revealed by the Buddha himself. This Dharma, they believed, was immensely powerful and rare, capable of revealing the true nature of reality, bestowing the six spiritual powers, and leading to liberation from the cycle of life and death. The Amrita blessing was also said to grant longevity, health, and the accumulation of merit and wisdom.

Inspired by these teachings, Losang Phuntsok embarked on a journey to Tibet in 1937, determined to seek the highest Vajrayana teachings, including the elusive Amrita Dharma. His journey was fraught with challenges, but he was resolute in his quest. He sought out eminent monks and scholars across the Kham and Tibetan regions, studying over 300 different Sakya teachings. His goal was to become a modern-day Tang Sanzang, the legendary monk who brought Buddhist teachings from India to China, and to bring the esoteric teachings of Tibet back to his homeland.

After seven years of intense study and practice, Losang Phuntsok Rinpoche achieved a historic milestone. In the first month of 1945, he passed the ten-thousand-person debate examination hosted by the Regent of Tibet at Drepung Monastery in Lhasa, becoming the first Han Chinese to obtain the highest degree in Tibetan Buddhism, the Lharampa Geshe. This degree, equivalent to a doctorate in Buddhist studies, is highly respected within Tibetan Buddhism and is recognized by both the government and the people.

Losang Phuntsok Rinpoche spent many years in Tibet, receiving over 600 empowerments and learning from many great masters. However, the Amrita Dharma, the teaching he had long sought, remained elusive. Many masters told him that this profound teaching was extremely difficult to find and that it might take many years for a great holy being to appear who could transmit it. Despite this, Losang Phuntsok Rinpoche remained undeterred. Over the decades, he traveled to Hong Kong, the United States, and other places around the world, translating and lecturing on scriptures, teaching disciples, and continuing his search for enlightened masters. He once served as the President of the American Vajrayana Buddhist Association.

In 1997, after years of searching, Losang Phuntsok Rinpoche’s efforts bore fruit. He formally became a disciple of H.H.  Dorje Chang Buddha III in Chengdu, recognizing Him as his root guru. H.H.  Dorje Chang Buddha III performed empowerments and transmitted teachings to him, manifesting the mandalas of the deities each time He transmitted a Dharma. Losang Phuntsok Rinpoche witnessed these sacred phenomena firsthand, which deeply moved him.

During an interview in Chengdu, he expressed his profound realization: “I have been practicing Buddhism for 60 years and have met over a hundred so-called great masters of Tibetan Buddhism. I also spent a long time with Chinese Buddhist masters like Master Taixu. I have received more than 600 empowerments from great masters like Fazun, but none of these empowerments have had the impact and blessing power on me like the ones I received today. The teachings and empowerments from the Master (H.H.  Dorje Chang Buddha III) are so effective that I can’t help but think: my 60 years of Buddhist practice are not as valuable as this one day. Sixty years have passed in vain, not as meaningful as today!”

In June 2000, during an extraordinarily auspicious moment that occurs only once in countless eons, Losang Phuntsok Rinpoche, the only living Han Chinese Lharampa Geshe celebrated worldwide and the President of the American Vajrayana Buddhist Association, participated in a highly significant Dharma assembly. He attended this event along with other world-renowned high monks and elders, including Elder Master Wuming, the President of the World Buddhist Sangha Council, and Elder Master Yizhao, the Dharma heir of the Venerable Xu Yun. This Dharma assembly was personally presided over by H.H.  Dorje Chang Buddha III, the highest Buddhist leader in the world today.

During the event, Losang Phuntsok Rinpoche not only witnessed the sacred phenomenon of the Amrita descending but also personally tasted the Amrita. He felt an unparalleled sense of comfort throughout his entire body. Deeply moved and excited, he expressed that at the age of 85, after spending more than a decade in Tibet and having taken many great masters as teachers, he had never been able to receive the Amrita. He never expected that his wish would finally be fulfilled upon meeting H.H.  Dorje Chang Buddha III. He personally witnessed two rays of red light entering the bowl and transforming into Amrita, fulfilling a wish that had eluded him during his many years of seeking in Tibet.

In February 2001, at the request of his Buddhist disciples, Losang Phuntsok Rinpoche once again taught the Lamrim (Stages of the Path to Enlightenment) by the great master Tsongkhapa of the Gelug school of Tibetan Buddhism and organized his lecture notes for future publication. When he completed the translation of the Lamrim and submitted it to H.H.  Dorje Chang Buddha III for review, H.H.  Dorje Chang Buddha III performed a Dharma practice on the spot, inviting the Dharma-protecting Bodhisattvas to the mandala. Losang Phuntsok Rinpoche personally requested guidance from the Dharma protectors, who responded that it would indeed be best for H.H.  Dorje Chang Buddha III to revise the text. Losang Phuntsok Rinpoche remarked that Dorje Chang Buddha III’s Dharma practice was so powerful that the Dharma-protecting Bodhisattvas appeared immediately, allowing him to seek their guidance directly with his own eyes. He acknowledged that no one else in the world possesses such remarkable spiritual realization.

The photo above shows Losang Phuntsok Geshe in Chengdu, Sichuan, taking refuge in H.H.Dorje Chang Buddha III as his master. The photo below shows H.H.Dorje Chang Buddha III performing an empowerment for Losang Phuntsok Geshe in the United States.
Master QinDing taking refuge in H.H.Dorje Chang Buddha III as his master

Great monks and virtuous masters do not wish to let their lives pass in vain. They understand the rarity of human life, the difficulty of pursuing the Dharma, and the challenge of attaining the path to liberation. For these great monks and virtuous masters, the Dharma is not merely empty Buddhist theory or superficial titles of lineage. They deeply understand that whoever can truly demonstrate supreme realization, manifesting responses across the three realms, mastering both the exoteric and esoteric teachings, and thoroughly comprehending the Five Vidyas, represents the true Dharma of the Tathagata. Therefore, they willingly bow down and take refuge in the true incarnation of the primordial Buddha, Vajradhara H.H. Dorje Chang Buddha III.

Link:https://peacelilysite.com/2024/08/09/a-han-chinese-scholars-quest-for-the-true-tibetan-dharma/

Source: https://www.sohu.com/a/680523900_121687414

The Green Tara Perfect Practice Ritual and Thangka: A Marvel of Compassion and Artistry

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The Revered Practice of Green Tara: A Journey Through Time

Avalokiteshvara Bodhisattva, from beginningless eons, has been tirelessly saving countless sentient beings with his immense compassionate power. Despite his boundless efforts, he felt a sense of inadequacy. Thus, from the power of samadhi born of great compassion, he formed an immense compassionate force. This force, combined with the great compassionate power of Buddhas from the ten directions, resulted in a drop of green tear flowing from his eye, transforming into the infinitely majestic green female Bodhisattva, known as Green Tara. Due to this origin, Tara’s power to save is boundless and infinite.

Green Tara is revered as the Great Compassionate One and the Holy Savior Mother Buddha. The practice of the Green Tara ritual has a rich history that originated in India and later spread to China, Tibet, Japan, and beyond. The sacred roots of this practice trace back to Green Tara herself, who was initially the ancient Buddha Pravartaka and an incarnation of Avalokiteshvara Bodhisattva.

Chanting the Green Tara mantra even once, with focused contemplation of Tara’s sacred image, brings immense merit. Such merit is equivalent to chanting the names of seventy-two billion Buddhas and Bodhisattvas as numerous as the sands of the Ganges. Both the exoteric and esoteric traditions have extensive practices based on this ritual, and many practitioners have achieved great success and benefit from it.

Over time, the original texts and mandalas related to this profound practice have suffered from omissions and distortions in their transmission. For the past two hundred years, these deviations have increasingly moved away from the authentic regulations. In recent decades, the practice has nearly completely lost its true essence. Furthermore, the representations of Green Tara have deteriorated in form, lacking the dignity of the authentic appearance. This includes discrepancies in hand mudras, attire, and overall sacred depiction, resulting in a significant loss for the Buddhist community.

The Green Tara Perfect Practice Ritual and Thangka by H.H. Dorje Chang Buddha III

In response to these issues, H.H. Dorje Chang Buddha III transmitted the “Green Tara Perfect Practice Ritual” and personally supervised the creation of the Green Tara mandala thangka.

This three-dimensional thangka is not only lightweight and portable, making it easy to carry, but also presents the mandala clearly and vividly, ensuring that it remains etched in memory. Additionally, it possesses several extraordinary merits:

  1. Authenticity and Compliance: The Green Tara mandala presented in the thangka fully complies with the regulations of the “Green Tara Perfect Practice Ritual.” This ensures that the practice remains true to its original form.
  2. Historical and Miraculous Significance: Tara had already attained Buddhahood countless eons ago, her divine power is illustrious, and her sacred deeds are well-documented. Today, in the “Tara Hall” in Nethang, Tibet, the sacred statue of Tara once spoke to Atisha, instructing him, further propagating her holy name and Dharma power across China and Tibet. During the creation of this three-dimensional thangka, many miraculous occurrences were witnessed. For example, the sacred image of Tara, originally looking straight ahead, appeared differently in subsequent photographs taken from the same angle: one showed her looking up at the sky, while the other depicted her looking down at sentient beings. This clearly demonstrates Avalokiteshvara Bodhisattva’s extraordinary vow power: above, he shares the same compassionate force with all Buddhas and Bodhisattvas; below, he joins in compassionate aspiration with all sentient beings in the six realms. Additionally, when viewed from different angles, the main deity of Green Tara always faces the observer, and the seed syllables in the sky behind her follow her movement, appearing above her head. Furthermore, the colorful clouds, initially close to the sun and moon, seem to remain stationary while the sun and moon move vividly between the clouds from different perspectives.
  3. Majestic and Unmatched Representation: The sacred image of Green Tara in the thangka is exceptionally majestic and perfect, unrivaled in both China and Tibet throughout history. The twenty Taras, each with different postures, exhibit supreme Dharma power, arranged behind the main deity, appearing and disappearing miraculously. Notably, standing in different positions reveals the Great Brahma Deva, the primary protector, initially as one, then suddenly as two, and then back to one again, a phenomenon unprecedented in history! Meanwhile, the Four Great Heavenly Kings and the Eight Dragon Kings remain unchanged. Additionally, Indra, the Four Great Heavenly Kings, and the retinue of the Eight Dragon Kings, wielding their divine weapons and instruments, surround and protect Tara with unmatched divine transformation. Visualizing this thangka makes the practice highly effective and rapidly fruitful.

Validation and Praise

Upon the completion of the “Green Tara Perfect Mandala Thangka,” Buddha Master specifically instructed disciples to bring all existing Green Tara statues of various materials from around the world to the Vajra Dharma Circle for public verification. They were to determine which one is the most orthodox and perfect thangka. The Vajra marbles immediately entered the mandala thangka, confirming that the Buddhas and Dharma protectors of the ten directions unanimously endorsed it.

Many of the seven classes of Buddhist disciples, upon practicing with this three-dimensional thangka, experienced unprecedented and unique realms. High monks, living Buddhas, and even Dharma Kings from around the world have all respectfully praised and recommended this rare and precious sacred image. In truth, among all the existing Green Tara images, none can compare to the perfection and majesty of this mandala thangka. Its blessing power is extraordinarily miraculous; a single glance imprints it deeply in the mind, leaving a lasting impression.

The Green Tara Perfect Practice Ritual and its accompanying thangka, as transmitted and supervised by H.H. Dorje Chang Buddha III, represent a revival of the authentic practice of Green Tara. This thangka not only restores the true essence of the practice but also enhances the spiritual experience for practitioners worldwide, offering unparalleled blessings and merits.

Link:https://peacelilysite.com/2024/08/01/the-green-tara-perfect-practice-ritual-and-thangka-a-marvel-of-compassion-and-artistry/

Source: https://www.brxuefo.com/5970.html , https://www.brxuefo.com/6849.html

The Venerable Tsemang’s Speech at the 2024 Dharma Ceremony in Honor of the Holy Birthday of Namo Dorje Chang Buddha III

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The speech given by the Venerable Rambo Tsemang at the 2024 Dharma ceremony in honor of the holy birthday of Namo Dorje Chang Buddha III on June 15, 2024, is published below.

Namo Dorje Chang Buddha III!

Namo Shakyamuni Buddha, Lord of Buddhism in the Saha World!

Namo Yuhua Shouzhi Wang Holy Mother the Great Mahasattva!

Namo all Buddhas in the ten directions, Vajra Beings, Bodhisattvas, Sky-goers, and Dharma Protectors!

Today, Buddhist disciples from all over the world have once again gathered here to commemorate the Holy Birthday and infinite merit of Namo Dorje Chang Buddha III. We want to express our gratitude to Namo Dorje Chang Buddha III for bringing to humanity His magnificent, unprecedented, and unsurpassed Buddha Dharma and accomplishment in the Five Vidyas.

I will summarize the questions that some of you have raised recently and share my personal thoughts for your reference.

First: Cultivation is the foundation for all Buddhists to attain liberation

Throughout the time that Namo Dorje Chang Buddha III propagated Dharma to save living beings, His Holiness the Buddha continuously reminded Buddhist disciples that cultivation is of utmost importance, and it is the only foundation for attaining liberation. In many audio recordings of expounded Dharmas, Namo Dorje Chang Buddha III taught many aspects of cultivation and emphasized that Buddhist disciples must practice cultivation at all times. Therefore, we must always remember the teachings of Namo Dorje Chang Buddha III by respectfully listening to the audio recordings of the Dharmas of His Holiness Dorje Chang Buddha III and reading the “Namo Dorje Chang Buddha III Complete Sutra Collection.” That is how we may learn correct knowledge and views and apply them in our own cultivation practice. This is very important for all Buddhist disciples. We must always remember that it is by practicing cultivation that we may accumulate good fortune and merit, stay away from dark karma, receive initiation to the highest Dharmas, and ultimately attain liberation from transmigration and cyclical birth and death. We must not pay lip service to practicing cultivation. Cultivation must be applied to every thought, word, and deed.

Some people tend to sway or regress from their cultivation whenever they encounter setbacks, but they should not be like that. We should know that during our transmigration since beginningless time, we have done so many bad deeds and taken on so much dark karma. All of our suffering and adversities are the effects of bad causes that we planted. By understanding this, we then understand that both good times and bad times are opportunities for us to practice our own cultivation. As our respected ancient elders said, “We do not evade bad retributions and face them with ease. We must be cautious with our every word and deed to plant good causes.”

Second: Actively Promote the “Namo Dorje Chang Buddha III Complete Sutra Collection”

Ever since Buddha Shakyamuni established Buddhism in our sahā world, the Sutras of the World Honored Buddha have enabled innumerable Buddhist disciples to attain liberation and accomplishment. The “Namo Dorje Chang Buddha III Complete Sutra Collection” is, once again, a collection of Dharmas expounded by a Buddha in this world. This Collection will certainly enable many more Buddhist disciples to attain liberation. Namo Buddha Shakyamuni’s Sutras have been the guidance that we have followed for more than 2,000 years. Upon that foundation, Namo Dorje Chang Buddha III used simple language to teach us the quintessence of Buddha Dharma, and the essentials for attaining liberation and accomplishment. Therefore, the “Namo Dorje Chang Buddha III Complete Sutra Collection” is and will be the fundamental guide for all Buddhist cultivators in the sahā world to attain liberation.

Since we have received this supreme Dharma treasure, the “Namo Dorje Chang Buddha III Complete Sutra Collection,” we should apply the four limitless states of mind and Bodhicitta to enable more people to learn the Sutra Collection. Namo Dorje Chang Buddha III taught us that we will accumulate the most abundant merit by propagating Dharma to benefit living beings and that more merit we have, the sooner we can attain Buddhahood. The best method to propagate Dharma now is to actively promote the “Namo Dorje Chang Buddha III Complete Sutra Collection.” This is the quickest way for us to accumulate merit.

Think about this: In the Diamond Sutra, Buddha Shakyamuni told Subhuti that if someone were to grasp just the four-line gatha of the Dharma and make it known and explain it in detail to living beings, this person’s merit would far exceed someone who were to fill the billion worlds of this universe with the seven jewels in almsgiving.

The four-line gatha is only about emptiness and Dharmakaya. The “Namo Dorje Chang Buddha III Complete Sutra Collection” comprises the truth about Dharmakāya, Saṃbhogakāya and Nirmāṇakāya, and how to attain realization states of the Three Bodies. Therefore, by promoting the “Namo Dorje Chang Buddha III Complete Sutra Collection,” not only will you enable others to understand the truth contained in the four-line gatha; you may even enable them to achieve abidance in the realization states described in that four-line gatha and become a holy person. Then your merit will increase even more. That’s why whenever you introduce one person to study the “Namo Dorje Chang Buddha III Complete Sutra Collection,” you will gain an increment of merit.

However, we must be clear that explaining the four-line gatha to others or promoting the Namo Dorje Chang Buddha III Complete Sutra Collection doesn’t mean that we as ordinary people would then quote Dharma out of context or randomly explain Dharma to others. In doing so, we would end up in the hell realm. We should guide living beings to study the Sutras and respectfully listen to the audio recordings of the Dharmas themselves, so that they can learn directly from His Holiness the Buddha. In this way, we can also increase our merit without incurring any sins.

Third: Make Effort to Protect the Dharma

There are many different ways to protect the Dharma, such as protecting organizations that propagate true Tathagata Dharma or supporting Buddhist cultivators who have correct knowledge and views and who practice in accordance with the Dharma. What I want to talk about here is how to protect the Dharma on the Internet.

In the current Internet era, Buddhist disciples make use of the Internet to propagate Buddha Dharma. However, evil demons also make use of the Internet to slander true Buddha Dharma. Therefore, if any one of us sees any evil deeds of slandering the Buddha or the Dharma, we must rebut those slander with correct knowledge and views.

There are two things that we must not misunderstand about protecting the Dharma.

First, it is seriously wrong to think that rebutting others is getting yourself tied up in matters of right and wrong. It is only with correct knowledge and views that you may understand Buddha Dharma, but some people understand Dharma incorrectly due to their incorrect knowledge and views. We must be very clear about this without any confusion: If a Buddhist disciple cannot differentiate between correct and incorrect knowledge and views, how can they properly understand the Dharma? If they cannot understand the Dharma, how can they attain accomplishment? Getting involved in matters of right and wrong usually refers to personal arguments about who’s right and who’s wrong as a result of attachments to self and to worldly phenomena. This is not the same as defending the correct meaning of the Dharma. The meaning of Dharma must be made clear.

Second: It is wrong to think, “I don’t want to do the work of protecting the Dharma, but I will make effort to practice forbearance and cultivate my conduct.” Actually, protecting the Dharma is an important aspect of cultivation. If you don’t protect Buddha Dharma, you are essentially a fake Buddhist who is not cultivating yourself. Therefore, it will be impossible for you to attain accomplishment. When cultivating ourselves, if anyone points out our shortcomings or wrongdoings, we should thank them, reflect upon ourselves, and do better in our cultivation. For whatever reasons, if someone insults us or attacks us, we should ignore those distractions and focus on cultivating ourselves with forbearance. But if the attacks are targeted toward the Buddha and Buddha Dharma, we must step up and fearlessly protect the Buddha and Buddha Dharma. Even if we don’t have enough abilities on our own, we can work with other Buddhists and discuss how to protect the Dharma together. If we don’t even protect the Buddha, if we don’t protect the integrity and benefit of Buddha Dharma, will Buddhas and Bodhisattvas receive us in the Buddha Lands? Will Dharma Protecting Bodhisattvas and deities help us?

All in all, if we want to attain liberation and accomplishment, we must cultivate ourselves. To cultivate ourselves, we must abide by the precepts, promote the “Namo Dorje Chang Buddha III Complete Sutra Collection,” and protect the Dharma. By doing these three things well, we can quickly eliminate our dark karma, accumulate merit, receive Buddha Dharma, and be liberated from transmigration forever! Throughout Buddhist history, all holy people who attained holy accomplishments were precept-abiding. They all propagated Dharma to benefit living beings. They all protected the Dharma. That’s how respected ancient elders attained accomplishment. These are also the things that we must do to attain accomplishment.

Here, I wish that all congregants and living beings fulfill their good wishes, have good fortune and wisdom, and attain accomplishment and liberation! I wish that the countries that you live in be prosperous and powerful, and that all people enjoy happiness. May there be peace in the world and the circumstances of all living beings be auspicious.

Finally, let us once again pay obeisance:

Namo Dorje Chang Buddha III!

Namo Shakyamuni Buddha, Lord of Buddhism in the Saha World!

Namo Yuhua Shouzhi Wang Holy Mother the Great Mahasattva!

Namo all Buddhas in the ten directions, Vajra Beings, Bodhisattvas, Sky-goers, and Dharma Protectors!

Link：https://peacelilysite.com/2024/07/16/the-venerable-tsemangs-speech-at-the-2024-dharma-ceremony-in-honor-of-the-holy-birthday-of-namo-dorje-chang-buddha-iii/

Source: https://www.wbahq.org/hq-announcements/a20240614/?fbclid=IwZXh0bgNhZW0CMTEAAR3S5bLrQRnl9bEBaeZv8BKQQUUSEhO2yYxjM3CA0pcsEuRP55Fty0j7FnU_aem_hrsVKsqIjNdZ5fe0TGYolw

Listening to the Dharma

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Listening to the Dharma

There are these five rewards in listening to the Dharma. Which five?

Firstly, one hears what one has not heard before. By listening to the teachings, individuals are exposed to new insights and wisdom that they had not previously encountered, enriching their understanding and broadening their perspective.

Secondly, one clarifies what one has heard before. The act of listening allows individuals to deepen their comprehension and gain clarity on teachings they may have heard previously but did not fully understand. This repetition and elaboration help solidify their grasp of the concepts.

Thirdly, one gets rid of doubt. The Dharma provides answers and explanations that resolve uncertainties and questions in the listener’s mind. Through the teachings, one finds reassurance and a clearer path forward, dispelling confusion and hesitation.

Fourthly, one’s views are made straight. Listening to the Dharma helps align one’s thoughts and beliefs with the truth. It corrects misconceptions and guides the listener toward right understanding, ensuring that their views are in harmony with the teachings.

Lastly, one’s mind grows serene. The wisdom imparted through the Dharma brings peace and tranquility to the mind. As one absorbs and reflects on the teachings, the agitation and restlessness of the mind diminish, leading to a state of calm and serenity.

These are the five rewards in listening to the Dharma. Each reward contributes to the listener’s spiritual growth and well-being, making the practice of attentive listening profoundly beneficial.

Link: https://wisdomtea.org/2024/07/11/listening-to-the-dharma/

Ten Paths to Happiness

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Mahāratnakūṭa: 30. The Maiden Sumati

The “Ten Paths to Happiness” sutra, where an eight-year-old girl named Sumati asks Buddha ten profound questions. These questions explore essential aspects of human life and happiness, and Buddha provides insightful answers. This sutra is significant as it presents complex philosophical ideas in an accessible manner through the dialogue between Buddha and a child.

Thus have I heard. At one time, the Buddha was in the city of Rājagṛha, on the mountain of Gṛdhrakūṭa, along with a great assembly of bhikṣus, twelve hundred and fifty people in all. The bodhisattva-mahāsattvas there numbered ten thousand in all.

At that time in the city of Rājagṛha, there was a laywoman named Sumati, who was in her eighth year. Her appearance and features were upright, colorful, and beautiful, appearing so nice that those who saw her were happy. Already, she had approached and made offerings before innumerable buddhas of the past, planting good roots. When that maiden went to the place of the Tathāgata, she bowed her head at the feet of the Buddha, and then circled around him three full times to the right. Kneeling with palms joined, she spoke a gāthā:

Anuttarā Samyaksaṃbodhi
Is a lamp for the entire world!
Of the practices of a bodhisattva,
I wish you would hear my questions!

The Buddha said to Sumati, “You may now ask questions as you like, and the answers will cut through your net of doubts.” At that time, Sumati went before the Buddha and spoke a gāthā to inquire:

How can one attain upright features
And a body of wealth and nobility?
Moreover, what causes and conditions
Make kinship difficult to destroy?

How may one perceive oneself
Receiving birth by transformation,
Arising from a thousand-petaled lotus flower,
And giving reverence to the bhagavāns face-to-face?

How is one able to attain realization
Of supreme and sovereign superknowledge,
And go off to innumerable lands
To pay homage to the buddhas?

How can one attain blamelessness,
So that others will have belief,
Purely removing obstacles to the Dharma
And forever departing from the deeds of Māra?

How is one able, at the end of life,
To attain perception of the buddhas,
Hear the speech of the pure Dharma,
And not be subject to suffering?

Great compassionate supremely honored one,
I merely wish you would speak of these for me!

At that time, the Buddha spoke to the maiden Sumati, saying, “Excellent, excellent! It is good that you are able to ask about such profound matters. Now listen carefully, listen carefully and well mindfully, and I will tell you.” Sumati then spoke, saying, “Just so, Bhagavān. We are joyfully wishing to hear it.”

The Buddha told Sumati, “A bodhisattva who accomplishes four dharmas receives an upright body. What are these four? [1] The first is not giving rise to a mind of hatred for bad friends. [2] The second is to abide in great kindness. [3] The third is to have profound delight in the correct Dharma. [4] The fourth is to create images of the Buddha.”

“Moreover, Sumati, a bodhisattva who accomplishes four dharmas will attain a body that is rich and noble. What are these four? [1] The first is that you should give timely gifts. [2] The second is to do so without a mind of disdain for others. [3] The third is to do so with happiness. [4] The fourth is to do so without expecting any reward.”

“Moreover, Sumati, a bodhisattva who accomplishes four dharmas will attain birth by transformation before the buddhas, seated upon a lotus flower. What are these four? [1] The first is to give flowers, fruit, and fine powdered incense as offerings to the Tathāgata and to the stūpas. [2] The second is not to tell lies or harm others. [3] The third is to make images of the Tathāgata placed within a lotus flower. [4] The fourth is to give rise to profound and pure faith in the bodhi of the buddhas.”

“Moreover, Sumati, a bodhisattva who accomplishes four dharmas may travel from one buddha-land to another buddha-land. What are these four? [1] The first is to not perceive others’ cultivation of goodness as obstruction or annoyance. [2] The second is to never hinder others when they are expounding the Dharma. [3] The third is to burn lamps and make offerings to the stūpas of the Tathāgata. [4] The fourth is to constantly strive to cultivate the dhyānas.”

“Moreover, Sumati, a bodhisattva accomplishes four dharmas for the station of blamelessness in the world. What are these four? [1] The first is to draw near to virtuous friends without a mind of flattery. [2] The second is to not have a mind of jealousy regarding others’ excellence in the Dharma. [3] The third is to always be happy when others receive honors and recognition. [4] The fourth is to not vainly criticize the practices of a bodhisattva.”

“Moreover, Sumati, a bodhisattva accomplishes four dharmas for his speech to be believed by others. What are these four? [1] The first is develop speech and cultivation always in unison. [2] The second is to not do evil things to virtuous friends. [3] The third is to not find faults in the Dharma one has heard. [4] The fourth is to not give rise to a mind of evil for one who speaks the Dharma.”

“Moreover, Sumati, a bodhisattva accomplishes four dharmas for being able to leave obstacles to the Dharma and quickly attain purity. What are these four? [1] The first is to accept the Threefold Discipline with profound conviction. [2] The second is that one does not give rise to slander for extremely profound sūtras. [3] The third is to perceive the newly-developed intention of a bodhisattva as the arising of the mind of omniscience. [4] The fourth is regarding sentient beings with great kindness and equanimity.”

“Moreover, Sumati, a bodhisattva accomplishes four dharmas for being apart from māras. What are these four? [1] The first is to fully know the equality of the nature of dharmas. [2] The second is to give rise to determination. [3] The third is to constantly strive to be mindful of the Buddha. [4] The fourth is to transfer over all good roots.”

“Moreover, Sumati, a bodhisattva accomplishes four dharmas so that at the end of life, the buddhas manifest before him. What are these four? [1] The first is to fulfill the wishes of others by giving what they are seeking. [2] The second is giving rise to profound faith and understanding of good dharmas. [3] The third is to give adornments to the bodhisattvas. [4] The fourth is to diligently make offerings to the Triple Gem.”

At that time, the maiden Sumati heard what the Buddha had spoken, and said, “Bhagavān, as the Buddha has spoken of the practices of a bodhisattva, so will I practice them! Bhagavān, among these forty practices, if there is one that is lacking or uncultivated, then this will be conflicting with the Buddha’s teachings and deceiving the Tathāgata.”

At that time, Venerable Mahāmaudgalyāyana spoke to Sumati, saying, “The practice of a bodhisattva is extremely difficult to carry out. You are now developing this extraordinary great aspiration. How will you attain accomplish mastery over this vow?”

Sumati replied, “Venerable, if my great aspiration is true and not void, able to bring these practices to complete fulfillment, then may the three thousand great thousand-worlds shake in six directions, and the heavens rain wondrous flowers, and may the drum of heaven sound of its own accord!” When this had been spoken, flowers fell from the sky like rain, and the drum of heaven sounded of its own accord, and the three thousand great thousand-worlds shook in six directions.

At this time, Sumati again addressed Maudgalyāyana, “From my true words, in a future era I will attain buddhahood, just as Śākyamuni, the Tathāgata. In my land there will be no deeds of Māra, and not even the words for evil destinies, or for women. If what I say is not fabrication, then may the bodies of those in the great assembly all take on a hue of gold!” After speaking this, the assembly took on a hue of gold. At that time, Venerable Mahāmaudgalyāyana then arose from his seat, bared his right shoulder, and bowed with his head at the Buddha’s feet. He spoke saying, “Bhagavān, from these things I have developed the mind of a bodhisattva and even that of the assembly of bodhisattva-mahāsattvas!”

At that time, Dharma Prince Mañjuśrī spoke to Sumati, saying, “In what dharma do you abide to make this sincere aspiration?” Sumati replied, saying, “Mañjuśrī, it is not proper to ask this. Why? This is because in the Dharma Realm there is nothing which abides.” He also asked, “Then what is Bodhi?” She answered, “The non-differentiation of dharmas is what is called Bodhi.” He also asked, “Then what is it that is called a bodhisattva?” She answered, “A bodhisattva is one who is aware that all dharmas are equal to the manifestation of empty space.” He also asked, “What is it that is called the practice of Bodhi?” She answered, “The practice of Bodhi is like a mirage, or like the echo of a valley.” He also asked, “With what underlying meaning do you say such things?” She answered, “In this I do not perceive even the slightest thing which may be underlying or manifest.”

He also asked, “If it is as you say, then all ordinary people would have Bodhi.” She answered, “You speak of Bodhi as being different from an ordinary person? You should not have this view. Why? These are all of the same characteristic of the Dharma Realm, to be neither grasped nor abandoned, with nothing to accomplish or destroy.” He again asked, “How many beings are able to fully understand your meaning?”

She answered, “Their number is like the number of illusory minds and mental functions. The illusion of sentient beings is already able to understand my meaning.” Mañjuśrī said, “Illusions are without basis, so how can there be such minds and mental dharmas?” She answered, “The Dharma Realm is also such, neither existing nor non-existing, and for the Tathāgata is it also such as this.”

At that time, Mañjuśrī addressed the Buddha, saying, “Bhagavān, this Sumati is extraordinary, even able to accomplish such dharma-patience!” The Buddha said, “Thusly, thusly! What she has spoken is sincere and true. In such a way, this maiden has long since developed the mind of Bodhi, throughout the past thirty eons, even developing the destiny of my supreme Bodhi, causing such abiding in the patience of the non-arising of dharmas.”

Link:https://peacelilysite.com/2024/07/12/ten-paths-to-happiness/

https://lapislazulitexts.com/tripitaka/T0310-LL-30-sumati/ Translated from Taishō Tripiṭaka volume 11, number 310.

The Spiritual Journey of Superstar Jacky Cheung and the Masterpiece “Rare Supreme Chant”

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Hong Kong’s superstar Jacky Cheung has achieved numerous successes in the entertainment industry and is widely recognized as a superstar. However, few people know about his dedication to studying Buddhism. Jacky Cheung’s master is H.H.  Dorje Chang Buddha III, an internationally acclaimed master in arts, philosophy, and culture. He was awarded the International Master of Arts and Culture by the World Cultural Conference, comprising experts from 48 countries and regions. Additionally, the Chinese government built a grand museum in his honor in Dayi County, Sichuan, highlighting his unique achievements and contributions.

Around 1995, at the earnest request of many disciples, including Jacky Cheung, H.H.  Dorje Chang Buddha III composed a unique masterpiece called “Rare Supreme Chant.” The lyrics, composition, singing, and chanting were all personally handled by the master.

The song’s melody is rich, and its sound changes are exquisite, ranging from powerful and resonant to gentle and intricate. It includes lion’s roars, sacred chants, deep contemplations, and even modern rock and rap elements. The singing techniques transcend traditional vocal resonance, harmonizing with the cosmic realm. This “Rare Supreme Chant” not only broadens the listener’s auditory experience, allowing them to hear various sounds, but also elevates the mind, nurtures moral strength, and purifies body and soul through the blessings of H.H.  Dorje Chang Buddha III’s voice.

According to those who provided musical accompaniment for H.H.  Dorje Chang Buddha III, his lyrics and melodies are filled with ancient charm and profound knowledge. His voice is versatile and spontaneous, making it difficult to complement with our limited cultural and musical expertise. While they believe his unaccompanied voice is superior, they fear that without accompaniment, the music might be too challenging for listeners to appreciate, thus missing the compassionate intention behind its creation. Despite these challenges, they made an effort to provide accompaniment, hoping listeners would understand and appreciate the master’s work. Listeners are encouraged to attentively enjoy and experience the profound benefits of the music.

The Great Bright Six Syllable Mantra is a very popular Buddhist song, with many audiotapes and CDs distributed worldwide. However, His Holiness’s rendition of the Great Bright Six Syllable Mantra is entirely different from all others I have heard. It is in a powerful vajra style, and at the end of the song, His Holiness uses the lion’s roar voice, with a bursting energy that seems to penetrate the universe and awaken all living beings.

The great bright six syllable mantra

The song “Guo Ping Chang” describes the scenery and feelings of His Holiness passing through Ping Chang (a place in Sichuan).

The sound of the flute sends me across Pingqiang, The boat docks at Wuyou, filled with lantern-lit halls. The spring breeze warmly welcomes visitors, Mist colors the dusk, but the mountains remain evergreen.

This song was sung in an opera style. It has four lines of lyrics, which the Buddha sang using four different Peking Opera styles. This fully demonstrates the Buddha’s profound vocal skills, leaving listeners deeply moved and with a lasting impression.

Passing through PingQiang

H.H.  Dorje Chang Buddha III, has even composed a unique masterpiece, in modern rock and rap style, the energetic and festive song “Chinese Dragon,” showcasing the dragon’s cultural significance. This song demonstrates the Buddha’s ability to effortlessly and masterfully handle any musical form.

Chinese Dragon

The Prajnaparamita Heart Sutra is a very important Buddhist scripture. The Buddha composed an elegant and beautiful yet powerful melody for this sutra. His voice is rich and clear, strong yet gentle, as if bringing the compassionate love of the Buddhas and Bodhisattvas to every sentient being.

The Prajnaparamita Heart Sutra

#DorjeChangBuddhaIII#HHDorjeChangBuddhaIII#Poetry#Vocal #Buddha #Buddhism #buddhist #Music#BuddhaDharma#MasterofOrientalArt#DistinguishedInternationalMaster

Link：https://peacelilysite.com/2024/07/11/the-spiritual-journey-of-superstar-jacky-cheung-and-the-masterpiece-rare-supreme-chant/

Renowned Buddhist Scholar Jeffrey Hopkins, Professor Emeritus at the University of Virginia, Has Died

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Photo courtesy Christof Spitz

Jeffrey Hopkins, a brilliant scholar, author, teacher, and translator who founded one of the largest Tibetan Buddhist Studies programs in the West, died on July 1 in Vancouver, Canada. He was 83.

For more than three decades, beginning in 1973, Hopkins was a leading light at the University of Virginia. He directed UVA’s Center for South Asian Studies for twelve years and taught Tibetan Buddhist studies and Tibetan language for thirty-two years, but his signature achievement was the Tibetan Buddhist studies doctoral program he established in 1975, which became the largest in North America. Among its graduates are some of the most esteemed academics in the field today, including Anne C. Klein of Rice University, Donald Lopez of the University of Michigan, Georges Dreyfus of Williams College, and Bryan Cuevas of Florida State University. Hopkins’s program, by placing Tibetan Buddhism (rather than Indian, Chinese, or Japanese Buddhism) at its center and bringing prominent Tibetan masters from India to Charlottesville to teach the classic texts of that tradition, “changed the way Buddhism is taught in the American academy,” Donald Lopez says.

Hopkins’s singular force was evident from the moment he arrived at UVA in 1973. Lopez, a senior when Hopkins joined the faculty, remembers: 

Despite being a newly arrived assistant professor, he immediately gained a large following among the “Be Here Now” crowd. By the second semester, students were walking around campus wearing buttons that said, “Buddha’s Slogan: Dependent Arising.” In a men’s room on campus one day I noticed something written on a urinal. Assuming it said “R. Mutt” [as Marcel Duchamp had signed his urinal artwork, “The Fountain”], I went closer and saw that it was four words stamped in red letters: “DOES NOT INHERENTLY EXIST.” Inspired by such visions, I wrote my senior thesis, master’s thesis, and doctoral dissertation under Hopkins’s direction.

Convinced that scholars of Tibet must be able to both read classical Tibetan and speak modern Tibetan, Hopkins established the first Tibetan language program at UVA and coauthored a comprehensive language course, Fluent Tibetan: A Proficiency Oriented Learning System. He also compiled a 900-page Tibetan-Sanskrit-English dictionary of Buddhist terms that is posted online. 

During his career, Hopkins also held visiting professorships at the University of Hawaii and the University of British Columbia. After he retired from UVA, he focused on translating. He was the founder and president of the UMA (Union of the Modern and Ancient) Institute for Tibetan Studies and from 2011 directed its Great Books Translation Project, set up to make Tibetan texts freely available. 

Hopkins was also a peace and human rights activist and published The Art of Peace, edited from talks at a conference of Nobel laureates he organized in 1998 for UVA and the Institute for Asian Democracy, a Washington, D.C.-based non-profit that promoted self-governance in Asia, particularly in Burma. Hopkins was president of the institute from 1994 to 2000.

One of the most respected Tibetologists of his generation, Hopkins authored, edited, or translated more than fifty books. His extensive published work includes scholarly books on emptiness and tantra, as well as translations of works by such famed figures as Nagarjuna, Chandrakirti, and Tsongkhapa. His first and most influential work was his massive 1973 doctoral dissertation, Meditation on Emptiness, which provided the first detailed presentation of the Geluk synthesis of philosophy and practice. After circulating widely as a bound Xerox copy, it was published by Wisdom Publications in 1983. A fortieth-anniversary edition will be published next year. Much of Hopkins’s work was devoted to the Geluk founder Tsongkhapa, translating major sections of his massive exposition on tantra, Stages of the Path of Mantra. Later he turned to Tsongkhapa’s most beloved work among Geluk scholars, Essence of Eloquence, a text recited from memory by the monks of Ganden Monastery at his funeral in 1419. Although Tsongkhapa’s text is rather brief, Hopkins devoted three large volumes to it: Emptiness in the Mind-Only School, Reflections on Reality: The Three Natures and Non-Natures in the Mind-Only School, and Absorption in No External World. 

In 1979, Hopkins was instrumental in arranging His Holiness the Dalai Lama’s first visit to the United States and served as his chief translator from 1979 to 1989 on tours of the US, Canada, Europe, Southeast Asia, and Australia. Hopkins translated and edited His Holiness’s teachings for sixteen books, including The Dalai Lama at Harvard, along with titles aimed at a general audience, such as Kindness, Clarity and Insight; How to See Yourself As You Really Are; How to Practice: The Way to a Meaningful Life, Mind of Clear Light, Mind of Clear Life: Advice on Living Well and Dying Consciously; How to Be Compassionate; and How to Expand Love: Widening the Circle of Loving Relationships. 

Hopkins collaborated with the tulkus Lati Rinpoche and Denma Locho Rinpoche on Meditative States in Tibetan Buddhism, based on a text by the Geluk master Panchen Sonam Drakpa. With the Nyingma lama Khetsun Sangpo he published Tantric Practice in Nyingma, a translation of a famous work by Patrul Rinpoche that would later be translated as Words of My Perfect Teacher.

Born Paul Jeffrey Hopkins in 1940, he grew up in Barrington, Rhode Island. A rebellious youth, he was a member of what he later described as a “suburban gang . . . disgusted by the aims that were being presented to us: merely making money and so forth.” Hopkins was then sent to Pomfret, a prep school in Connecticut, where he thrived. During his freshman year at Harvard, he read Thoreau’s Walden and retreated to the woods of Vermont, where he lived in a one-room cabin, wrote poetry, and “began finding my own integrity,” he later told an interviewer. Further inspired by Herman Melville’s Typee and W. Somerset Maugham’s The Moon and Sixpence, he hopped a freighter to Tahiti. It was during this period that Hopkins began meditating—in a fashion. 

Hopkins returned to Harvard after a year and a half, then between his junior and senior years, took off again. While floating down a river in Oklahoma, he saw a dead man propped up on a bank. It was a turning point. “I suddenly realized that his last perception in this lifetime would be no fuller than any of his other perceptions,” he recalled. “I began to recognize the ultimate futility of external activities and to turn my attention inward, to a light within. When I returned to Harvard in the fall of 1962, it was as if a coffin had been opened. I had been living my life in a coffin and had not recognized the presence of the sky.”

During Christmas vacation from college that year, a classmate drove Hopkins to Freewood Acres, New Jersey, to meet Geshe Wangyal,  a Kalmyk Mongolian Tibetan Buddhist who had established a monastery there in 1958. In 1963, after graduating magna cum laude from Harvard—an English major, Hopkins won the Leverett House Poetry Prize for his translation of the Anglo-Saxon poem “The Wanderer”—Hopkins spent seven years studying with Geshe Wangyal in New Jersey. After a false start in graduate school at the University of Pennsylvania, he enrolled in the doctoral program at the University of Wisconsin-Madison. 

Later, Hopkins called his time in the Buddhist Studies program at Wisconsin as “thrilling in many ways and . . . certainly a crucial choice for my career.” At Hopkins’s urging, Richard Robinson, the head of the Buddhist Studies program, hired Geshe Lhundup Sopa, a Geluk scholar who had been living at the Kalmyk monastery in New Jersey. He was instrumental in the hiring of renowned tantric master Kensur Ngawang Lekden, former abbot of the Tantric College of Lower Lhasa. Anne Klein, then a master’s candidate at Wisconsin, recalls that Hopkins, with Robinson, “founded Tibet House on a farm outside Madison, where Kensur, Jeffrey, and grad students could live, learn Tibetan, and share kitchen duties. Jeffrey served ice cream on small, flat plates, which, as Kensur demonstrated with delight, meant you could lick them clean.” Hopkins read with Kensur daily, Klein remembers, material that formed his dissertation, Meditation on Emptiness.

Throughout his career, Hopkins’s interest in Buddhist studies was broad, encompassing South Asia, Tibet, and East Asia. He was the recipient of three Fulbright fellowships and made twelve trips to India and five to Tibet for research.

As a translator, Hopkins had an approach unusual among his peers at the time: working closely with Tibetan scholars and regarding them not as “native informants” but as collaborative partners. “I thought it was . . . extremely important to treat every Tibetan scholar fairly, to give them credit for their part in producing any book,” he said. “If I couldn’t understand the text without somebody informing me of its meaning, then that person has played an equal role in its translation even if they don’t know English.” 

In 1991, Hopkins suffered a debilitating, near-fatal case of Lyme disease that temporarily left him partially paralyzed with noticeable mental gaps. He recovered, but “I had to reconstruct my mind,” he later told Tibetan Buddhist nun Robina Courtin. “In any field, I had to consciously make a logical connection, and then once the connection had been made, that area was reopened.” What saved him, he ventured, was a habit formed in his years at the monastery in New Jersey: repeating the intelligence mantra of Manjushri, bodhisattva of wisdom, aimed at enhancing mental acuity: Om ah ra pa tsa na dhih. “I overheard Geshe Wangyal tell one Mongolian boy who was having trouble memorizing it, ‘Then do dhih dhih dhih . . . endlessly,’ ” he recalled. 

Link:https://peacelilysite.com/2024/07/05/renowned-buddhist-scholar-jeffrey-hopkins-professor-emeritus-at-the-university-of-virginia-has-died/

Source: https://tricycle.org/article/jeffrey-hopkins-obituary/, By Joan Duncan Oliver
 JUL 02, 2024

“An Amazing, Wondrous Moment”: Tibetan-born Musician and Artist Dechen Shak-Dagsay’s emaho

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By Raymond Lam January 19, 2022

Dechen Shak-Dagsay is a Swiss-Tibetan musician and author. Over the past few decades, she has built a career in music by combining the Tibetan mantra transmissions passed down by her father, Ven. Dagsay Rinpoche, with innovative melodies and contemporary instrumental productions. She has also engaged in collaborative projects with other spirituality-inspired musicians. Having lived in Switzerland for most of her life, Dechen is one of the most prominent contemporary Tibetan singers in Europe today, and has also become globally recognized through various music awards, and for having performed songs from her albums Jewel and Day Tomorrow at Carnegie Hall in New York. Dechen is also the founder of the Dewa Che charity organization, which engages in social projects in Tibet.

Dechen’s newest album, emaho – The Story of Arya Tara, released in October 2021, is about the enlightened activity of the Vajrayana goddess Tara and contains a musical rendition of the “21 Praises of Tara.” BDG recently had a chance to speak with Dechen about her latest project.

BDG: You’ve sung about Tara on various albums before, but this new album is devoted specifically to her story. What do you find inspiring about this female buddha?

Dechen Shak-Dagsay: I have had a wish for many years now to share the extraordinary story of Goddess Arya Tara, the gentle-yet-indomitable princess who became a female buddha. The mythic story goes back many eons in ancient India, where she was called Princess Jhana-Chandra, which means Wisdom-Moon. In Tibetan, her name is Yischi Dawa, and it touches me profoundly that, out of a deep sense of compassion, she would not even eat breakfast before she had liberated hundreds of thousands of beings from samsara each day. She was a faithful disciple of her teacher Buddha Dundubhisvara, and her entire community admired her.

One day, the monks urged her to make an aspiration (vyakarana) to be reborn as a man in her next life in order to attain full enlightenment. The princess laughed at this sexist exhortation and replied: “There is no male, there is no female. To discriminate between male and female is the mind of a small being. There are neither men nor women, nor a self, nor beings.” She vowed to return again and again in a female form in order to help all beings from suffering and to reach enlightenment in female form. Therefore, her teacher, Dundubhisvara, gave her the name Tara, which means “Swift Liberator.”

Tara’s story reminds us every day that we are all equally beautiful beings blessed with great inner qualities, such as love, compassion, kindness, and clarity. These qualities are just waiting to be rediscovered and nurtured.

BDG: Your album emaho captures a profound thought: “What an amazing, wondrous moment when the mind awakens.” How does the music create a mood and ambience in which the listener can realize this moment for themselves?

DSD: Emaho is indeed not an ordinary word. It is found in ancient Tibetan spiritual texts and is an exclamation of joy and amazement when the obscured mind awakens and experiences the pure, clear, and bright shining light of the true nature of our mind.

Personally, I find that each of the eight pieces hold beautiful emaho moments for the listeners. As with all my previous albums, I received the texts for this exalted goddess from my dear father, Ven. Dagsay Rinpoche. It is a great blessing that Rinpoche gave me the transmissions for these beautiful “21 Praises of Tara,” which are practiced in all Tibetan traditions. I also had the privilege of working with Swiss producer Helge van Dyk, who also composed and produced the music of my two previous albums, Jewel and Day Tomorrow.

I said to Helge that I wished to represent the four enlightening activities of Tara in four musical pieces. I cannot thank Helge enough for creating the most sublime music to present the four skillful enlightening activities of Tara: the pacifying, enriching, magnetizing, and wrathful aspects.

When you listen to emaho – The Story of Arya Tara, my hope is that you will enter the wonderful, unique space and landscape of Tara’s buddha-field, and perceive her different fields of activities through the following musical compositions.

“emaho – an Amazing One” – “The Wisdom of Tara” – Tara’s
magnetizing activities. Audio courtesy of VANDYKMUSIC
“emaho – an Amazing One” –
Tara’s enriching activities. Audio courtesy of VANDYKMUSIC
“emaho – an Amazing One” – “Magic Pulse” (of Prayer
Drumming) – Tara’s wrathful activities. Audio courtesy of VANDYKMUSIC

BDG: How do you think the spirit of emaho can help heal our fractured and hurting world, which is now immersed in COVID-19 and a range of other immense crises?

DSD: We generally believe in the great healing power of the Buddha’s teachings, especially when the world is going through a difficult time. We are still in a worldwide pandemic, and we constantly face threats of natural calamities and other crises.

The whole world has faced unprecedented challenges over the last two years, and we are still trying to find solutions for how to handle them. From a worldly point of view, these problems are simply devastating and are creating immense suffering for everyone. But from a Buddhist view, such challenges are exactly what we call “precious moments” for our minds to awaken and to encourage a total reset in our interior world and inner being. We call these moments precious because they allow us to open our hearts to the Buddha’s teachings, such as the Three Marks of Existence. Recalling them always has an instant healing effect on me:

• Impermanence (Skt: anitya): Nothing stays the same, everything is constantly changing.

• Whatever we experience is marked with some kind of suffering. As long as we identify ourselves with a sense of solid self, we will always suffer (dukkha).

• Everything around us and even our own person is empty of a self (anatman).

Dechen Shak-Dagsay. Image courtesy of VANDYKMUSIC

Together with Helge and other musicians, we created emaho in the hope that it will be a small contribution to helping us all through these troubled times together.

We hope to be able to bring calm and peace into people’s hearts. We will not be able to get rid of COVID-19, or the economic, social, and political fallout it has caused, but the music that carries the blessings of Arya Tara, the Swift Liberator, will help us all to overcome our fears, sadness, frustration, and pain to create some space in our hearts and to rebalance our minds. It is within this calm space that we will be able to tap into our innate beauty and strength. We all need this to transform our pain and negative thoughts, and to calmly face and embrace the difficult times ahead of us; to fully become aware of our own inner qualities.

The release of the new double album was followed by the release of my new book, Mantras, Musik & Magic Moments, in December 2021, in which I write about the healing aspects of the old Tibetan mantras, and why I chose music as a tool to reach people’s hearts. I also talk about how Tibetan healing symbols have carried sacred power for centuries. I began making mantra music about two decades ago, and I hope followers will enjoy this new perspective I am offering through my work.

BDG: Your music has been received very well worldwide and your profile has also been rising in Asia. Do you present your music as non-denominational and embracing of all Buddhist traditions, even while it expresses your Tibetan heritage?

DSD: Although I am very rooted in Tibetan or Vajrayana Buddhism, I embrace all Buddhist traditions. My dear father Dagsay Rinpoche, who lives in Chengdu, always reminded us that the essence of the Buddha’s teachings is non-violence and cultivating love and compassion for all beings. All Buddhist traditions, including the Tibetan heritage, are following this beautiful path. It is my wish to one day come to Asia to meet all my Asian friends and to perform my music in Asia together with the Jewel Ensemble.

In my third piece on disc two, called “Peace of Mind,” I sing a “Praise to the 21 Taras” in Chinese and in Tibetan. It is my deep wish to create a wonderful space of peace, respect, and reconciliation.

BDG: You’ve come together with various artists to create a fusion of music. These artists also tend to have a spiritual flavor to their work. How do you decide to work with an artist? How do you identify a potential collaboration?

DSD: Thank you for sensing what I see as a very special energy to our music. I am very thankful to Helge, who has a distinct talent in finding the right artists for a special collaboration that requires not only technical musical skills, but also an open heart that is fully inspired to play soulful music with us. He has carefully selected outstanding musicians to form the Jewel Ensemble, with whom we have played many concerts all around the world. I feel very privileged to have the following members of the Jewel Ensemble, as well as an extended ensemble that we shared the stage with when playing the Call for Peace concerts with the renowned Zurich Chamber Orchestra (ZKO).

I would like to take this opportunity to thank my Jewel Ensemble musicians and guest musicians from around the world for their beautiful contributions on emaho. It has been such an honor to work with all these outstanding artists, who committed their heartful work to this album.* I would like to thank BDG for opening the door to the story of Arya Tara. I would be very happy if this music finds its way across Asia, and I would like to thank all my musicians, my producer Helge, and my dear father Dagsay Rinpoche for letting me create such precious music. I hope it will help to remind people all around the world of their own inner strength and beauty.

Link:https://peacelilysite.com/2024/06/09/an-amazing-wondrous-moment-tibetan-born-musician-and-artist-dechen-shak-dagsays-emaho/

Source: https://www.buddhistdoor.net/features/an-amazing-wondrous-moment-tibetan-born-musician-and-artist-dechen-shak-dagsays-emaho/

Twelve years of Thangka Art: Apprenticeship, Personal Practice, and Evolution

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By Dakini As Art, Tiffani Gyatso

A commonly held view is that the body houses the soul—but have you ever thought that the soul could live elsewhere? I have experienced that feeling. Although my body was born in 1981 to my German mother in Brazil, where I grew up, 18 years later I had an “encounter” with my soul’s home in Mongolia. For almost a year, my family and I traveled east by motorhome from Germany and right across Russia. Reaching the border between Russia and western Mongolia, it took days just to receive permission to cross. Stuck in the middle of nowhere, we feared we might never make it! Finally a drunken general provided the necessary authorization and we drove freely onwards into Mongolia, sometimes without a visible road in front of us.

Beneath the expansive blue sky that crowned the arid landscape, my happy tears fell like rain. Those tears nourished a hungry artistic seed within me that desired to grow in the direction of the sunshine; to follow a path to spiritual liberation through art. I believed in such a path and it made sense to me, but until then I hadn’t known how to go about following it. Once in Mongolia, however, I was introduced by a monk at Gandantegchinlen Monastery in Ulaanbaatar to the sacred art of thangka painting, which depicts the various Buddhas, spirits, enlightened beings, and spiritual worlds of Tibetan Buddhism. I had been seeking an artistic discipline of some kind that would guide me to the divine, and this was it! 

One of the paintings by Tiffani at Lama Padma Samten’s temple in Brazil

Nevertheless, it was a long road before I was accepted three years later as the first Western student at the Norbulingka Institute, founded by His Holiness the Dalai Lama, near Dharamsala in northern India. I have traveled all my life—even living for a few months with an aborigine community in the Australian outback, and spending a couple of years on a sailboat on the Brazilian coast during my teens—but India was beyond anything I could have imagined. I was sick for the first three months I spent there, during which time the school was unsure whether to accept me or not. Even my mother urged me to go home. But something inside me was unmoved by all these “tests.” I felt that if I went back, my soul would abandon my body.

I was finally accepted as a student at the Norbulingka Institute in September 2003. All the wise and holy artists I had expected to meet turned out to be mostly teenagers eager to meet a girl—a blond girl—in the studio at last. Gen-la, the master, was initially somewhat reticent, and we didn’t even share a common language. He gestured towards a Buddha face made up of many symmetrical lines and then pointed to a blank sheet of paper, so I sat on the floor near him and started to sketch. The first word I learned in Tibetan from Gen-la was “again!”—do it again! And so I did, for weeks, the same drawing over and over again until Gen-la would give me my next project. 

Painting class at the Norbulingka Institute, 2005

My apprenticeship during the three years I spent there was very slow and painstaking. It was essentially this atmosphere that molded my predisposition to understand that painting a thangka is a spiritual practice in itself; the thangka is there for you to give your time and attention to, and to house your soul. It is a sacred art with a unique function. If you do not have that understanding in the very depth of your being, you will soon abandon the training. Some do not even consider thangka painting to be art, but a practice involving paint that has the same aim as any other Buddhist practice. It was a year before Gen-la even called me by my name; until then he just called me “intchi bhumo,” or “foreign girl.” And it was more than a year before I actually even touched paint, and then only because one of my classmates hid me behind a big canvas and started to teach me himself. Gen-la was actually proud of my boldness when he found out, and finally guided me on my first proper painting. Those were precious times; I was truly happy despite the difficulties I experienced, and my certainty of being on the right track never wavered.

In 2006 I returned to Brazil to discover that I was pregnant. In October that year, a little boy of Tibetan-Brazilian-German heritage was born. His father came over and we lived together for a few years until he moved to the United States to join a larger Tibetan community. Back in Brazil I was fearful that I would have to stop painting—I was 24 with a baby and no money, and all I knew how to do was paint. Afraid that such worries would make me lose my path, I continued to paint my thangkas, my son held close to my body.

When my son was only a few months old, I was contacted by a Brazilian lama—Lama Padma Samten, a disciple of Chagdud Tulku Rinpoche, who had already established a huge sangha. He had heard about me through a mutual friend and sent my son and me tickets to visit his new temple in the south of Brazil. When I finally arrived I was amazed by the size of the temple, which was built to accommodate 300. As I stood there sleep-deprived and perfumed with milk and diapers, he asked me if I would paint the interior walls. I was astonished—but I agreed!

For a month I stood gazing at those terrifyingly huge white walls in fear. I really had no idea how to start! I could not call anyone in India because of the language barrier, and the materials available in Brazil for painting murals wouldn’t be the same as those I was familiar with. So I began slowly, as Gen-la had taught me. First, I met with a local artist to learn more about the proper materials. I learned about the specific deities and mandalas that Lama Samten wished to incorporate. The members of his sangha were very supportive, and many came to help. Those who could give more of their time I trained to paint. Those who couldn’t paint, I asked to massage our aching shoulders, play some instrument or other, give yoga lessons, or even bake a cake for our tea breaks. I felt that everyone should be included. The project took five challenging years to complete, all guided by Lama Samten’s blessings.

As mentioned earlier, those tears in Mongolia had fed the artist within, and now the artist was awake. I soon had the feeling that thangka painting was a “safe zone” for me as the work is all done according to rules that, if followed, offer some guarantee of success. So, in a way, I felt that thangkas had given me discipline and now, only now, was I ready to risk expressing myself. So I began to take more seriously the opportunity to try a more intuitive kind of painting, especially when my personal life was a mess. I was allowed to explode on the canvas, I was allowed to make mistakes . . . I needed to be able to be wrong yet acceptable. 

Accumulating a body of art pieces during my free time while painting the temple, with some trepidation I presented my work to Tibet House in New York. I was relieved when they accepted my work and agreed to produce my first show, in 2012—a solo exhibition titled Mystic Nostalgia, in which I sought to express that longing for a lost “home.” Not necessarily a real place; the work is more about our inner landscape . . . a mystic longing. My second exhibition will open at Tibet House on 23 October this year.

Since completing my work at the temple at the end of 2012, I have focused on holding thangka workshops, producing thangkas to order, and taking part in workshops and retreats to teach the intuitive process of self-expression through paint, movement, and writing. I believe the key is maintaining the approach of an apprentice—the beginner’s mind. I feel that I’m learning each time I teach, each time I listen to people, each time I encounter another culture or eat a different food. I learned the benefits of discipline and following rules from the thangka tradition, and when I walk into the unknown with my wild self that sometimes wants its own way, I continue to learn.

Tradition provides us with the roots and structure through which we express ourselves like a hundred branches growing in the air, catching the breeze with their lush leaves. Nourish discipline as much as you nourish your freedom and you’ll soon discover that they are one.

Tiffani Gyatso is a traditional Buddhist thangka painter and a member of the Dakini As Art Collective. To learn more about Tiffani, her work, and Dakini As Art, please visit Dakini As Art.

Link:https://peacelilysite.com/2024/06/07/twelve-years-of-thangka-art-apprenticeship-personal-practice-and-evolution/

 #SpiritualPractice #ThangkaPainting #TibetanBuddhism #Vajrayanabuddhism

Source: https://www.buddhistdoor.net/features/twelve-years-of-thangka-art-apprenticeship-personal-practice-and-evolution/

The Monkey Trap: A Lesson in Letting Go

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African indigenous hunters have a unique method for catching monkeys.

First, they find a hole just big enough for a monkey’s hand. They place food that monkeys like inside the hole. When a monkey passes by and sees the food, it reaches in to grab it. With its hand full of food, the monkey’s hand gets stuck in the hole. Most monkeys won’t let go of the food and instead try to pull it out from different angles.

When the hunters arrive, the monkey is still struggling and trapped, making it easy for the hunters to catch it.

Many people’s anxiety and suffering stem from holding on to too many things and being unwilling to let go, which prevents them from truly obtaining what they need.

In reality, letting go appropriately allows us to broaden our horizons, take time to adjust ourselves, and better engage in our current work.

The Young Man and the Zen Master: A Lesson in Detachment

Once upon a time, a young man visited a Zen temple to seek guidance from an old Zen master. On his way, he witnessed an interesting sight and decided to test the master. Upon arriving at the temple, he and the master chatted over tea. Suddenly, the young man asked, “What does ‘going round and round’ mean?”

“It’s because the rope hasn’t been cut,” the Zen master replied casually.

The young man was stunned and amazed. He said, “Master, I am surprised that you knew! Today, on my way here, I saw a cow tied to a tree. The cow wanted to go far to graze, but because the rope was through its nose, it kept going round and round, twisting itself without being able to break free. It was quite amusing. I thought that since you hadn’t seen it, you wouldn’t be able to answer. But you answered correctly right away.”

Photo: http://his.newdu.com/m/view.php?aid=358718

The Zen master laughed and said, “You asked about an event, and I answered with a principle. You asked about a cow tied by a rope and unable to break free; I answered about the mind being entangled by worldly matters and unable to find liberation. One principle can explain many situations.

“A kite, no matter how high it flies, cannot soar into the vast sky because it is tethered by a string. Similarly, what often binds us in life, preventing us from being free? A single win or loss can exhaust us; a gain or loss can cause us great anguish; an exam can keep us tossing and turning; a relationship can tie us in knots.

“For power and money, we run around in circles; for fame and desire, we are constantly entangled. Fame is a rope, desire is a rope, profit is a rope; the attachments and temptations of the world are all ropes. So the Zen master said, ‘All beings are like that cow, bound by many ropes of worries and sufferings, unable to achieve liberation throughout life and death.'”

The Wisdom of Living in the Present

A young monk once asked an old monk, “Master, what did you do when you were young?”

The master replied, “I chopped wood, fetched water, and cooked.”

The young monk asked, “And what do you do now that you’ve attained enlightenment?”

The master said, “I still fetch water, chop wood, and cook.”

The young monk, puzzled, asked, “What’s the difference? It seems like you haven’t made any progress in your entire life.”

The old monk explained, “You’re wrong. There is progress. When I was young, I would think about fetching water while chopping wood, and think about cooking while fetching water. Now that I am enlightened, when I chop wood, I chop wood; when I fetch water, I fetch water; and when I cook, I cook.”

Reflecting on myself, I often feel that I need to do something else while eating to avoid “wasting time.” So, I like to chat with others, watch TV, or think about other things while eating. No wonder I sometimes feel like “I don’t even know what I just ate.”

Enjoying the time spent eating and treating each bite with attention, I savor the sweetness of the rice, the freshness of the vegetables, and the richness of the soup. The world on my taste buds is indeed wonderful, bringing much joy to everyday life.

While walking, I now instinctively let my phone rest and focus on walking, feeling my feet propel my body, enjoying the natural comfort of the breeze, smelling the flowers, hearing the birds, and seeing the colorful flowers, green leaves, and various passersby. The scenery is infinitely beautiful, something I rarely appreciated before. Missing out and becoming numb was inevitable.

This series of practices has gradually cultivated the quality of “focus” in me. I increasingly embrace the concept of “living in the moment.” Of course, I know this is just the beginning; focus is a lifelong practice.

Link: https://peacelilysite.com/2024/05/30/the-monkey-trap-a-lesson-in-letting-go/

Source: https://gospelexpress.id/2023/01/20/%E6%9D%BE%E6%89%8B%E6%94%BE%E4%B8%8B/, http://his.newdu.com/m/view.php?aid=358718， https://www.sohu.com/a/240312612_761892