Tag: Tibet

The Power Of The Holy Vajra Needle

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My name is Guang-Fen Fu. Since I was young, I have been physically weak and often ill. When I became an adult, my mother told me, “Daughter! You have had a weak constitution since you were young. Go and learn medicine. This will be good for your health, and you will not become weary through exerting too much physical strength.”

        In 1958, I began following a teacher to learn traditional Chinese medicine. Because my illnesses resulted from the power of karma accumulated through many lifetimes and eons, my illnesses did not decrease as my knowledge of medicine and my experience in practicing medicine grew. Disease constantly followed me wherever I went.

        In 1978 and the following few years, I suffered from a gastric ulcer in which most of my stomach hemorrhaged. During that time, I also discharged blood when going to the bathroom and vomited blood. In 1981, I had no choice but to undergo surgery to cut out most of my stomach. My health was even worse after the surgery. My food intake lessened, my face became pale, I spoke without any vigor, my spirit was weak, my movements were slow, and I often could not go to work.

        As a result of the care and assistance given to me by a friend, in 1987, I met my respected Buddha Master, H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata. When His Holiness learned of my suffering from illness and my strained financial circumstances, His Holiness showed immense compassion and concern. His Holiness treated me with the holy vajra needle. H.H. Buddha Master asked me to show His Holiness the acupuncture point on my foot called Zu San Li. My respected Buddha Master then squatted down and applied that needle to me. After the needle was applied, my respected Buddha Master then said, “Pay attention! I will now apply my dharma power.”

        When my respected Buddha Master put his hands into a mudra before me, I immediately began to feel numbness, swelling, and pain. My whole body emitted heat, and I was slightly perspiring. When my respected Buddha Master heard me repeatedly scream in pain, His Holiness released his hands from that mudra. I instantly felt that the numbness, swelling, and pain I had just experienced had disappeared. The only thing I felt was a relaxed and comfortable feeling that my body had never before experienced. My respected Buddha Master then said, “This needle was used to open your energy channels and chakras. You are too anemic.”

        I had not yet become a Buddhist or learned Buddhism at that time. My respected Buddha Master treated me and all other living beings as his own family members, equally lending them a helping hand out of great compassion. In 1988, I knew that I wanted to convert to and learn Buddhism in order to leave suffering, attain happiness, and walk the path leading to accomplishment in the dharma and liberation from the cycle of reincarnation.

        After following H.H. Buddha Master, my health has improved day by day; my complexion is ruddy, my spirit is clear, my voice is resonant, and I walk with vigor. I gradually understood just how magnificent H.H. Buddha Master is. I also came to comprehend the realness of Buddha Dharma gradually. Those who see me now say, “You have totally changed in the last two years. You don’t look so frail as you did before.” What they found most difficult to believe is that I returned from my trip to the plateaus of Tibet and Qinghai, which are places that lack oxygen without any adverse health effects.

        Because I received H.H. Buddha Master’s teachings and empowerment, I advanced in the area of medicine. I took a countywide test and was the first to receive a certificate of qualification as a traditional Chinese medicine doctor. I took provincial and municipal tests and obtained certificates qualifying me as a “doctor-in-charge” who practices traditional Chinese medicine. The hospital put a sign up for me that read “expert outpatient service.” My patients have increased day by day. I have cured patients near and far of their difficult and complicated illnesses. As a result, I have a bit of fame in the local area where I live. Everything that I have is due to the teachings and empowerment that the Buddha Master bestowed upon me after I began learning Buddhism. The kindness and grace H.H. Buddha Master conferred upon me are as enormous as a mountain. Each and every bit of his kindness and grace is indelibly etched in my heart.

        I remember one day around the year 1989. Zi-Fang Liu, a disciple of my respected Buddha Master, went to the home of my respected Buddha Master in the Nanxin District of Xindu. She beseeched my respected Buddha Master to save her. She said that her illness had lasted many years, was acutely painful, and was about to collapse. She had been to all of the major hospitals in China and had spent a lot of money, all to no avail. I saw that her complexion was unnaturally dark and that her whole body was rigid. She constantly complained about her unbearable pain.

        Then, she suddenly fell to the ground and did not get up. She looked ghastly pale. My respected Buddha Master immediately treated her with the holy vajra needle in order to empower her. Because she was in a state of shock, she did not have any reaction when the needle was applied. After a short while, Sister Liu regained consciousness, stood up, and stated she was no longer in pain.

        Every time I saw the wonders of my respected Buddha Master’s holy vajra needle, I had an even greater desire to learn how to apply that holy needle. One day I said to my respected Buddha Master, “Respected Buddha Master, teach me how to apply that amazing needle so that I may cure more patients.” My respected Buddha Master said in a soft voice, “Guang-Fen, your powers are insufficient. Let’s put that matter aside for the time being.” One time I saw Hsi Jao Ken Ten Rinpoche, who is from Taiwan, also ask my respected Buddha Master to teach him how to apply that amazing needle. My respected Buddha Master replied, “Your powers are insufficient. Let’s put that matter aside for the time being.”

        I later learned that the source of the effectiveness of the holy vajra needle is my respected Buddha Master’s state of realization and virtue and the power of his merit. With a holy mind of enlightenment and great compassion, His Holiness assists living beings with physical illnesses, psychological illnesses, and living beings suffering due to the power of karma. Furthermore, His Holiness constantly and compassionately empowers living beings through his teachings, thereby enabling them to extricate themselves from suffering and find the key to curing and preventing disease.

        I have followed H.H. Buddha Master for more than ten years. I, Guang-Fen, have evolved from a person who did not understand anything about learning Buddhism and self-cultivation to a Buddhist disciple striving to integrate wisdom, compassion, and skillful means and a person striving to be selfless. Based upon empowerment from my respected Master’s practice and from the lineage of great masters throughout generations, a type of merit of the fruit of Buddhahood exerts its influence, causing Buddhist disciples to walk the path toward liberation and accomplishment in the dharma. With the incomparable kindness and empowerment of my respected Buddha Master, Buddhist disciples give rise to bodhicitta and strive to enlighten themselves and others. The compassion, care, and protection my respected Buddha Master bestows upon his disciples and all living beings cannot be described in words. To know what I am saying, you have to experience it yourself.

        I sincerely feel that the kindness and grace shown to me by my Buddha Master are difficult to repay. All I can do is resolve to be a disciple of the Buddha in all my future lives and devoutly and respectfully turn to and rely upon the eternal Buddha Master. Only a Buddha Master can lead Buddhist disciples out of the bitter sea of reincarnation and lead them toward liberation, accomplishment in the dharma, ending of the cycle of birth and death, becoming a Buddha, saving other living beings, undertaking the cause of the Buddhas and Bodhisattvas, and repaying the kindness of the Buddhas.

        This year I have passed sixty-five years of age. What I have written above is my own true personal experience. I have not lied. If what I wrote above contains lies, I am willing to descend into the Avici Hell (hell of uninterrupted suffering). If what I wrote above is true, I offer the merit of this writing to my magnificent Buddha Master, who is like my father and mother. I also dedicate such merit to all of my vajra Brothers and Sisters so that they attain enlightenment soon and to all sentient beings on the six paths of reincarnation. Amitabha!

Written and respectfully submitted by a Buddhist disciple,
Guang-Fen Fu

April 16, 2006

(This is a complete translation of the Chinese text that was initially written and signed by Guang-Fen Fu.)

Mastering Emotions: The Path to Inner Peace

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In ancient Tibet, there was a man named Aediba. Whenever he found himself angry or in the midst of an argument, he had a peculiar habit. He would immediately run home and circle his house and land three times before sitting down by the fields to catch his breath. As the years passed, Aediba worked tirelessly, and his house and land expanded significantly. But regardless of how large his property grew, he continued his practice—whenever he got upset, he would run three laps around it.

By the time Aediba had grown old, his property stretched far and wide. One day, after yet another argument, he grabbed his walking stick and, with great effort, completed his customary three laps. When he finally sat down to rest, the sun had already set. Concerned, his grandson approached him and said, “Grandpa, you’re too old to keep doing this. No one around here owns more land than you. You don’t need to run around your property anymore when you’re angry. Can you tell me why you’ve done this your whole life?”

Aediba smiled and replied, “When I was young, every time I got angry, I would run around my house and land. As I ran, I’d think to myself, ‘My house is so small, my land is so little—what right do I have to be angry or argue with anyone?’ That thought always calmed me down, and I would pour all my energy into working harder. Now, even though my house is large and my land vast, I walk around it and think, ‘I have so much—why should I waste my time quarreling with others?’ And once again, my anger fades.”

Just as every rose has its thorns, every person has traits that may frustrate us. The key to happiness is not trying to remove these “thorns,” but learning how to live with them, avoiding getting hurt.

This simple yet profound story teaches us a vital lesson about managing emotions. With family, there’s no need to argue to prove who’s right or wrong. Winning or losing a debate doesn’t matter—home is not a battlefield. We need to make sure our own thorns don’t harm those we love.

When interacting with others, especially those who may not see the world as we do, it’s wise to avoid unnecessary arguments. Not engaging in debates over who’s right shows maturity and emotional intelligence. In fact, most arguments are futile. The real strength lies in holding back, demonstrating grace, and knowing when to step away. Spiritual teachings from ancient times remind us, “When you open your mouth, your energy scatters; when your mind stirs, your internal strength cools.” Engaging in constant disputes not only wastes time but drains our energy.

On Mount Emei, there lived an old monk named Yongtong, who was over 100 years old. Someone once asked him, “Master, what is the secret to happiness?” Yongtong calmly replied, “Never argue.” The person asking wasn’t satisfied with this simple answer and said, “Master, I don’t quite agree with your idea that this is the secret.” Yongtong smiled and said, “Yes, you’re absolutely right…”

Life is full of challenges and difficulties, and none of us can avoid them. However, if we let every problem cause frustration or every small setback lead to anger, life will be full of turmoil. Truly strong individuals know how to control their emotions, step back, and manage problems calmly. Mastering our emotions isn’t about avoiding conflict entirely, but about learning to navigate it with wisdom and grace—leading to a life of peace and fulfillment.

Link:https://peacelilysite.com/2024/10/11/mastering-emotions-the-path-to-inner-peace/

H.H. Dodrupchen Rinpoche: The Pillar of Longchen Nyingthig Dharma and Compassionate Wisdom

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THE WORLD’S SOLE HOLDER OF THE HIGHEST RAINBOW BODY ACCOMPLISHMENT DHARMA: H.H. DHARMA KING DODRUPCHEN

H.H. Dodrupchen Rinpoche stands as the supreme leader and sole lineage holder of the complete Great Perfection Longchen Nyingthig Dharma across the world. Every Longchen Nyingthig lineage practiced in the major monasteries worldwide traces its origins to the initiations and teachings of H.H. Great Dharma King Dodrupchen. Without his guidance, the highest esoteric dharma, Longchen Nyingthig Great Perfection, would not exist.

The Longchen Nyingthig transmissions of the Nyingma tradition, including those practiced in renowned monasteries like Kathok and Dzogchen, all flow from the empowerment of H.H. Dodrupchen Rinpoche.

The title “Dodrupchen” translates to “the great accomplished one from the Dokham Valley,” a name rooted in the legacy of the First Dodrupchen Rinpoche, who was born in the Upper Dokham Valley of the Golok region in eastern Tibet. When the First Dodrupchen Rinpoche met the great master Jigme Lingpa, he received the complete transmissions of the “Buddha’s Words” and the “Treasured Teachings.” Jigme Lingpa also recognized him as the sole root lineage holder of Longchen Nyingthig. Remarkably, when Dodrupchen Jigme Trinle Ozer, the reincarnation of Jigme Lingpa, encountered Dodrupchen Rinpoche, he saw him as Guru Padmasambhava. Over generations, the Dodrupchen Rinpoches have demonstrated profound wisdom and miraculous abilities, while also tirelessly transmitting Longchen Nyingthig teachings to those with the right karmic connections, nurturing many accomplished masters.

The Fourth Dodrupchen Rinpoche, Thubten Thrinle Lhawang Sangpo, was born in 1927 in the Tse village of the Serta Valley, Golok. Even before his birth, auspicious signs appeared, such as rainbows gracing the skies above his village almost daily and the protector deity Rahula being seen atop his rooftop nightly. A rare flower bloomed on his rooftop, similar to those cherished by the Third Dodrupchen during his retreat, even though it had never been seen in the region. His mother experienced miraculous phenomena throughout her pregnancy, such as the unborn child momentarily disappearing and a mysterious light accompanying her, enabling her to see in the dark without any need for illumination.

After Rinpoche was born, many miraculous events occurred. On one occasion, a Mani stone fell from a rock and struck Rinpoche, shattering many of his bones. However, just a few hours later, all signs of injury miraculously disappeared. Sometimes, young Rinpoche would be on the ground one moment, and in the blink of an eye, he would be on the rooftop or a mountain rock wall. Before the monks from Dodrupchen Monastery came to visit and identify the reincarnated lama, Rinpoche’s parents were unaware of their visit. Yet, Rinpoche told his parents, “Guests are coming today,” and joyfully began to sing.

When the search team presented items previously used by the previous Dodrupchen, such as books and prayer beads, mixed with items from other people, Rinpoche accurately selected his past life’s belongings, saying, “These are mine.” The Fifth Dzogchen Rinpoche personally recognized the young boy as the Fourth Dodrupchen Rinpoche.

As Rinpoche grew older, he rarely displayed miraculous powers, except in rare circumstances. Despite not needing to purify his mind or accumulate merit like ordinary practitioners, he sought teachings from various human masters and completed many years of retreat to set a true example of practice for all beings. By age fifteen, Rinpoche had already mastered mandala painting, calligraphy, pottery, architecture, and numerous other skills, as well as profound teachings like the supreme methods of seed syllables and karmic selection. Throughout his life, he interacted with others with unwavering peace, humility, and simplicity, without any pretense. His compassionate actions, in every moment and place, served as a guiding light for all beings.

The Fourth Dodrupchen Rinpoche’s status was elevated above many great Dharma kings, and his disciples spanned across all major lineages, many of whom became renowned masters, celebrated worldwide. Among them are illustrious lineage holders such as the Seventh Dzogchen Rinpoche, Sogyal Rinpoche, Rinchen Nyingma Rinpoche, H.H. Jigme Phuntsok Rinpoche, and H.H. Togdan Rinpoche, among others.

In December 2006, after reading A Treasury of True Buddha-Dharma, H.H. Dodrupchen Rinpoche was deeply moved by the accomplishments of H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu. In response, he promptly wrote a congratulatory letter, stating that the accomplishments of H.H. Dorje Chang Buddha III are miraculous and clearly demonstrate the absolute truth of Buddha-dharma.

Link: https://peacelilysite.com/2024/08/29/h-h-dodrupchen-rinpoche-the-pillar-of-longchen-nyingthig-dharma-and-compassionate-wisdom/

#DorjeChangBuddhaIII #HHDorjeChangBuddhaIII  #MasterWanKoYee #Buddha #HuaZangSi #InternationalBuddhismSanghaAssociation #IBSA #DodrupchenRinpoche #Nyingmatradition #LongchenNyingthig

The Potala Palace: Jewel of the Roof of the World

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Located in the Tibet Autonomous Region of China, the Potala Palace is known as the “Jewel of the Roof of the World.” It stands as a symbol of China, Lhasa, and the Qinghai-Tibet Plateau. This palace, the highest and most majestic in the world, houses an incredibly rich collection of cultural relics and artifacts, preserving the unique heritage of the Snowy Plateau. The palace is renowned for its architectural layout, civil engineering, metal smelting, painting, and carving, showcasing the extraordinary skills of Tibetan artisans and the architectural achievements of the Tibetan people, as well as contributions from Han, Mongolian, and Manchu craftsmen. In December 1994, the Potala Palace was inscribed on the World Heritage List.

The magnificent Potala Palace stands at an altitude of 3,700 meters, covering a total area of 360,000 square meters, with a total building area of 130,000 square meters. The main building is 117 meters high, appearing to have 13 floors from the outside, while actually containing 9 levels internally. The complex includes palaces, stupas, Buddhist halls, scripture halls, monks’ quarters, and courtyards.

The Potala Palace’s main structure is divided into the White Palace and the Red Palace. Built into the mountainside, the complex features overlapping buildings, imposing halls, and a grand, sturdy granite structure. The white balustrades made of smooth bema grass, the resplendent golden roofs, and the large gilded bottles, stupas, and red banners create a striking decorative effect. The vivid contrast of red, white, and yellow, along with the intricate interlocking architecture, highlights the enchanting characteristics of ancient Tibetan buildings.

Historical records indicate that the Potala Palace was first constructed in the 7th century during the reign of Songtsen Gampo of the Tubo Kingdom, making it 1,300 years old. In the early 7th century, after moving the capital to Lhasa, Songtsen Gampo built three nine-story buildings with a total of one thousand rooms on Red Hill to welcome Princess Wencheng of the Tang Dynasty. The palace was named Potala Palace. The three walls surrounding Red Hill and a silver and copper bridge connecting the palaces of Songtsen Gampo and Princess Wencheng were part of the original structure. Outside the east gate of the Potala Palace was Songtsen Gampo’s horse-racing track.

When Princess Wencheng traveled to Tibet, she brought with her a large collection of books and documents, greatly promoting the development of Tibetan culture. It is said that there were more than 300 types of books on astronomy and calendrical calculations alone. The Tibetan calendar, still in use today, was created by absorbing and learning from the Han calendar, combined with the characteristics of Tibetan-inhabited areas and the experiences of the Tibetan people’s production labor. Classic works representing the excellent traditional culture of China, such as “Liezi,” “Shangshu,” “Strategies of the Warring States,” and “The Book of Questions Between Confucius and Xiang Tuo,” were also introduced to Tibet.

Ingenious Design and Construction

The design and construction of the Potala Palace take into account the patterns of sunlight in the plateau region. The foundation walls are broad and sturdy, featuring a network of tunnels and ventilation openings beneath them. Inside, the palace employs pillars, brackets, wooden struts, beams, and rafters to form its framework. The floors and roofs are made from a hard soil called “Arga.” Skylights are installed in the ceilings of each main hall and bedroom to facilitate lighting and air circulation. The pillars and beams inside the palace are adorned with various carvings, and the colorful murals on the walls cover an area of more than 2,500 square meters.

The Red Palace’s Enchanting Halls

The Red Palace, situated in the central position of the Potala Palace, is distinguished by its red outer walls and mandala layout. The Hall of the Dharma King (Qujiejiebu) and the Hall of the Sage (Pabalakang) within the Red Palace are said to be structures remaining from the Tubo period. The Hall of the Dharma King is located in the middle of the Potala Palace, directly above the peak of Marpori Mountain. It is believed that this hall was once the meditation retreat of Songtsen Gampo and now houses statues of Songtsen Gampo, Princess Chizun, Princess Wencheng, and other ministers. The Hall of the Sage enshrines Songtsen Gampo’s principal deity, a naturally formed sandalwood statue of Avalokiteshvara. The rooftop platform of the Red Palace is adorned with the golden roofs of various stupa halls, all single-eaved hip-and-gable structures supported by wooden brackets and covered with gilded copper tiles.

Songtsen Gampo and Princess Wencheng (Image source: Potala Palace official website)
White Palace

A Masterpiece of Tibetan Architecture

The Potala Palace is a masterpiece of ancient Chinese architecture and an outstanding representative of Tibetan architecture. Its architectural artistry is the most remarkable example among the thousands of Tibetan Buddhist temples and palaces, unmatched anywhere in the world. At the pinnacle of the palace stand three gilded pagodas, one large and two small, shining brightly and dazzling the eyes. The parapet around the rooftop is constructed from a deep purple-red shrub, decorated with various gold ornaments. The roof is adorned with large gilded finials and red prayer flags, reflecting a strong Tibetan style.

A Fusion of Artistic Traditions

The sculptural art within the Potala Palace combines techniques from Han, Indian, and Nepalese Buddhist art. The palace houses a vast collection of treasures, including heavy-colored clay sculptures, wood carvings, stone carvings, and a significant number of metal statues made from gold, silver, copper, and iron. These works of art range in size from over ten meters tall to just a few centimeters.

Thangka Paintings and Cultural Treasures

“Thangka,” a Tibetan transliteration, refers to scroll paintings mounted on colorful silk brocade, depicting religious figures, historical events, and doctrines, as well as subjects like Tibetan astronomy, calendrical calculations, and traditional medicine. The Potala Palace preserves nearly ten thousand thangkas, some of which are several tens of meters long.

The palace also houses numerous religious and artistically significant artifacts, including Tibetan carpets, prayer cushions, prayer flags, canopies, and embroidered satin hangings.

Thangka of a stupa inscribed with the calligraphy of Emperor Qianlong. (Image source: Potala Palace official website)

Gilded bronze openwork incense burner with handle from the Potala Palace. (Image source: Potala Palace official website)

A National Treasure and World Heritage Site

The Potala Palace preserves a vast number of statues, murals, scriptures, and other cultural relics, making it a treasure trove of national art and culture. It is listed as a national cultural relic protection unit and a UNESCO World Heritage Site, reflecting its immense cultural and historical significance.

Explore the Potala Palace and immerse yourself in the rich tapestry of Tibetan history, art, and culture. Its breathtaking architecture and priceless artifacts offer a unique glimpse into the soul of Tibet, making it a must-visit destination for anyone seeking to understand the heritage of the Roof of the World.

Link:https://peacelilysite.com/2024/08/01/the-potala-palace-jewel-of-the-roof-of-the-world/

Source: https://www.brxuefo.com/2862.html,

Discover the Beauty of Qinghai This Summer

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Entering summer, the northwest is like a fairyland, and as the gateway to this paradise, Qinghai is so breathtaking that one forgets the passage of time. Snow-capped mountains, lakes, grasslands, deserts, Yadan landforms, temples, prayer flags…

Countless unique landscapes make Qinghai a place worth exploring in depth. Here, you can easily encounter breathtaking scenery: lakes, flower fields, deserts, and starry skies, along with six vibrant colors: blue skies, green lakes, white mountains, golden deserts, green grasslands, and yellow rapeseed flowers. Walking on this vast land, the vitality and colors continually surprise you. Qinghai is a place you’ll fall in love with and never want to leave. In July, Qinghai Lake is romantic and poetic, with vast fields of rapeseed flowers along the lakeshore, blue water blending with the sky, and smoke rising from small wooden houses by the shore, resembling a pastoral landscape painting.

Qinghai Lake or Ch’inghai Lake, also known as Lake Koko Nor, is the largest lake in China (the size of Rhode Island or three Greater Londons). Located in the northeast of the Tibetan Plateau, this huge alkaline salt lake is usually No. 1 on “Most Beautiful Lakes in China” lists.

Spectacular Sunrise of Qinghai Lake

Erlangjian Scenic Area

Fairy Bay Area – The Sea of Flowers

Fairy Bay Area is a wet land located in the northern coast of Qinghai Lake. There are two legends about how Fairy Bay Area got its name. In one old legend, the queen of the west area fell in love with the King of Central Plains. The queen always served a feast for the king in Qinghai Lake with pretty fairies singing and dancing for them. Another ancient poem showed that the Queen of the west had been waiting for the king of Central Plains in Qinghai Lake for thousands of years but he never kept his appointment. The sad queen left for Heaven, but she ordered the fairies to guard Qinghai Lake. Later, these fairies masqueraded as swans living in Fairy Bay Happily. Might be attracted by these beautiful swans, a dozen of other birds also prefer Fairy Bay as a habitat.

Apart from various birds, different kind of flowers blooms here from every June to October. Just like a carpet waved by fairies, Fairy Bay presents on white, yellow, orange, pink, red etc., really deserving its name of Flowers’ Ocean. Because of the magic legends and amazing landscape, local people regard it as sacred ground and several solemn rituals are held here. So, you can feel a strong cultural fragrance.

Sand island in the lake

Great Scenery in the Biking Trip

There’s a Tibetan folk custom that Buddhists should walk around the lake in the Year of Goat, circle the mountains in the Year of Horse, and circle the forest in the Year of Monkey. Some believe it’s a decree left by Buddha. Qinghai Lake is a sacred lake for Buddhist pilgrimages. Especially in Horse years of the 12-year cycle, many Buddhists will take a kora around the Qinghai Lake which is believed to be helpful to lead a safe and happy life. By traveling to Qinghai Lake you can get close to the devoted Tibetans and appreciate Tibetan culture. When the weather is warm in the summer months, there are ethnic festivals of the Tibetans and Muslims. Nowadays, there are still lots of minority tribes and herdsman families living beside the Lake. You can feel the strong nomadic ethnic culture there.

Buddhist Pilgrims Worshiping Qinghai Lake

Besides Qinghai Lake, there are many lakes in Qinghai, such as Chaka Salt lake, ChaErHan Salt lake, etc.

Qinghai has many mountains, 3,600 mountain peaks, clustered together, resemble giant petals in full bloom, tracing graceful arcs across the sky. Up close, they resemble ancient castles, pyramids, animal shapes, and cylindrical pillars. Being there feels like entering a maze, making it difficult to distinguish directions.

In July and August, large fields of rapeseed flowers bloom beneath Zhuo’er Mountain. Standing at the top of the mountain, the view is incredibly expansive and unobstructed. As far as the eye can see, the earth is covered with a golden-yellow carpet.

This summer, embark on a pilgrimage to Qinghai.

On this vibrant land, there exists a power, ancient and resolute, with the solemn sound of bells echoing in all directions, suppressing all disturbances. The 400-year-old Kumbum（or Ta’er Monastery ) is one of the most important temples of the Gelug sect of Tibetan Buddhism. Entering the incense-filled Ta’er Monastery, one begins to feel detached from the mundane world. Devout followers, serene temples, and vivid Buddha statues all convey the weight of faith. The monastery’s buildings are grand, blending Han palace and Tibetan flat-top styles. With over 4,500 rooms, it forms a unique architectural complex that integrates Han and Tibetan craftsmanship.

The most captivating event is the annual “Shai Da Fo” or “Shai Da Thangka,” also known as the “Buddha Exhibition Festival.” This involves displaying a large Buddha image outdoors to prevent mold and insect damage, and more importantly, as a special way for monks and followers to pay homage to the Buddha. The image is actually a special type of large Thangka, a rare treasure among scroll paintings. The best time to unfold the Buddha image is at dawn when the first rays of sunlight hit the earth, hence the name “Shai Fo,” which means “Sun Buddha.”

Held twice a year during the lunar fourth and sixth months, the festival commemorates the birth, enlightenment, and nirvana of Shakyamuni, the emergence of Maitreya, and the birth and nirvana of Tsongkhapa. By displaying the Buddha image, followers can gaze upon it, receive its blessings, and protect it from damage. Ta’er Monastery has four large embroidered Buddha images: “Lion’s Roar,” “Shakyamuni,” “Tsongkhapa,” and “Vajrasattva,” with only one displayed each time on the monastery’s hillside. The ceremony is grand, attracting many spectators and creating a spectacular scene.

Link:https://peacelilysite.com/2024/07/15/discover-the-beauty-of-qinghai-this-summer/

Source: https://www.chinahighlights.com/xining/attraction/qinghai-lake.htm, https://www.chinadiscovery.com/qinghai/xining/qinghai-lake.html, photos from https://fashion.sina.cn/l/ds/2022-07-06/detail-imizmscv0155077.d.html

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/

Master Milarepa Manifested the True Meaning of Emptiness in Heart Sutra

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Milarepa was the most famous disciple of the Kagyu lineage patriarch, Great Master Marpa, in Tibetan Buddhism. Renowned for his ascetic practices, Milarepa was celebrated as a prominent yogi, master of tantra, ascetic monk, and poet.

Milarepa was born in 1052 in Gongtang, Tibet, with the secular name Milarepa Tönpa. His family was very wealthy. However, at the age of seven, his father passed away due to illness, and the family’s estate was seized by his uncle and aunt, plunging them into poverty. Milarepa, his mother, and his three-year-old sister were treated as slaves by his relatives, going from being wealthy to destitute beggars, subjected to the cold stares of former friends and relatives.

This turn of events filled his mother with resentment. When Milarepa grew older, she sent him to learn sorcery for revenge. After mastering his skills, at his uncle’s wedding feast, Milarepa used sorcery to cause the house to collapse, killing 35 people, including his enemies. Later, he also summoned hailstorms that destroyed the crops of his uncle and the entire village. However, instead of finding satisfaction in revenge, Milarepa felt deep remorse for his actions, experiencing sleepless nights filled with regret. Eventually, he vowed to seek liberation through studying Buddhist teachings.

Later on, guided by others, Milarepa sought out Marpa as his teacher. To test Milarepa’s resolve to repent and to help him cleanse his negative karma, Marpa intentionally subjected him to various forms of arduous labor as a form of “torture.”

Marpa Lotsawa repeatedly instructed Milarepa to build houses on different mountains, and all the building materials—stones and wood—had to be carried by Milarepa himself. Then, intentionally, when the houses were nearly completed, Marpa would order them to be demolished, and all the materials had to be carried back to their original places. Due to the prolonged carrying of stones, Milarepa’s back was rubbed raw, covered with scars that would heal and then be rubbed raw again.

The arduous labor caused Milarepa immense suffering, but due to his intense desire for teachings, he continued to obey his teacher’s orders with gritted teeth. During this time, whenever Milarepa sought teachings, he would often be scolded by his master, which left him feeling hopeless. Yet, it was in this seemingly painful torment that Milarepa’s karmic obstacles were gradually purified.

About six years later, Milarepa finally received teachings from his master and, following his instructions, began to meditate in a mountain cave. Having learned the technique of “Tummo Concentration” from his master, Milarepa could withstand the cold wearing only a single piece of cloth in winter. Hence, people called him “Milarepa,” meaning “the one from the Mila family who wears a cloth garment.” After nine years of austere meditation in a mountain cave, Milarepa finally attained enlightenment. He became a highly acclaimed practitioner of actual realization in the snowy plateau of Tibet.

At that time, there was a venerable master who had been lecturing on scriptures and teachings in a temple for many years. Upon hearing the revered name of Milarepa, this master was unimpressed and insisted on inviting Milarepa to come for a debate.

Milarepa said, “Let’s not debate yet. Do you understand what emptiness is?” The master immediately began eloquently explaining various theories of emptiness. At that moment, Milarepa pointed to a pillar in the temple and sighed, “All that you are saying is theoretical. Tell me, is this pillar empty or substantial?” The master replied, “The pillar is substantial; how could it be empty?” Milarepa responded, “You say it’s substantial, but I say it’s empty.” With that, he used his hand to gesture through the pillar as if the pillar didn’t exist at all. The master was astonished.

Milarepa then pointed to the empty space and asked the master, “Is this empty space substantial or empty?” The master quickly answered, “It’s empty.” However, Milarepa countered, “I say it’s substantial,” and proceeded to walk into the empty space to demonstrate. He confidently walked step by step as if on solid ground, moving around in the empty space effortlessly.

The master was at a loss for words, feeling deeply ashamed of his arrogance and ignorance.

This encounter helps us understand that theoretical discussions or worldly-wise understandings of emptiness are entirely different from the realized emptiness of the enlightened beings. There is a fundamental distinction. Whether one can demonstrate the realm of “form is emptiness, emptiness is form” signifies the difference between the sacred and the mundane. Milarepa, revered as a great saint who realized emptiness, established the profound wisdom of “form is emptiness, emptiness is form” based on actual realization of the unity of appearance and emptiness.

The Venerable Milarepa has long departed this world, and we are unable to personally receive his teachings. However, we are incredibly fortunate to have witnessed the emanation of the primordial Buddha – Dorje Chang Buddha III, who descended to this saha world, bringing forth the correct and unbiased true Dharma for all sentient beings.

H.H. Dorje Chang Buddha III expounded the Dharma with profound clarity and precision. “The Supreme and Unsurpassable Mahamudra of Liberation” and “The Absolute Truth Through the Heart Sutra” represent the first appearance of such excellent treasures of Buddhist scriptures, the supreme essence classics, in thousands of years of Buddhist history.

“The Absolute Truth Through the Heart Sutra” elucidates the teachings based on the phrases and principles of the Heart Sutra, as expounded by H.H. Dorje Chang Buddha III. It clarifies the relationship between mind, Buddha, and sentient beings, explaining the definitions of the impermanent and non-impermanent nature of life, the universe, and sentient beings, as well as the truth of form, dwelling, decay, and emptiness. What is a Buddha? What is the connection between sentient beings and Buddhas? What does liberation from birth and death entail?

The Buddha Dharma spoken by H.H. Dorje Chang Buddha III is presented in the most direct, accessible language, elucidating the profound truths of the Buddha Dharma for everyone to understand. During the inaugural empowerment ceremony for “The Absolute Truth Through the Heart Sutra,” Buddhas manifested in the empty sky and bestowed three-colored nectar, confirming that this teaching is the true Dharma spoken by the Tathagata. Those who sincerely practice “The Supreme and Unsurpassable Mahamudra of Liberation” and thoroughly understand “The Absolute Truth Through the Heart Sutra” can truly embark on the swift path to liberation and accomplishment.

Link:https://peacelilysite.com/2024/04/19/master-milarepa-manifested-the-true-meaning-of-emptiness-in-heart-sutra/

Source: https://www.jinbodhi.org/cn/67702

Iron Man of Bhutan

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Great Bodhisattva H.E. Tangtong Gyalpo

H.E. Tangtong Gyalpo , the iron man of Bhutan, the Leonardo da Vinci of the Himalayas, the king of empty fields, artisan, engineer, composer, poet, soldier, merchant and more. He is a repertoire matched only by his own achievements. He is none other than H.E. Tangtong Gyalpo, the great wandering scholar and accomplished yogi saint- and all the above.

Perhaps the most enigmatic of Buddhist saints,H.E. Tangtong Gyalpo is the most renowned as the builders of iron bridges. In his many visits to Bhutan he built 8 iron bridges and 2 temples, the Dumtseg lhakhang in Paro and the Tachog Lhakhang . These are the top places to visit in Bhutan

Dumtsek Lhakhang at Paro

If any imminent personage has fired the imagination of later day chronicles, scholars and devotees, none can compare to that of H.E. Tangtong Gyalpo. From the scandalously rogue antics of Drukpa Kuenley, the divine madman, to the menacingly airborne Milarepa, the legacy of Thang Tong Gyalpo is solid iron, literally so.

Personality

H.E. Tangtong Gyalpo is most revered and remembered for the numerous iron bridges that he built, accomplishments that begat him the more popular title  Chazampa(iron bridges). For his eccentricity and unconventional behavior he was called Lungton Nyonpa, the madman of an empty village. What was generally accepted was that he was Drubthob, the realized and accomplished one. He was so, in every sense of the word.

Iron Bridge at Tacgogang Lhakhang Built by H.E. Tangtong Gyalpo

His Birth

A popular and interesting but apocryphal legend has it that H.E. Tangtong Gyalpo was born as an old man. His parents, fearing that they had given birth to a freak abandoned him in the fields. He was then brought up by the wild animals and hence his name Tangtong Gyalpo. It translates as King of the open fields.

The more accurate accounts are that he grew up a child prodigy who has mastered the scriptures and the arts at a young age. In this context the name has been interpreted as the one with incomparable excellence in meditation. He is also known for steadfast and immobile from the plains (thang) of concentration. The name is also explained as indicative of his vast and supreme views on the nature of emptiness. 

His Reincarnation

His life is one of progression. The avatars as manifold as the names and their interpretations. He is at once a militia conscript who rose rapidly through the ranks to become a commander. He has captured several forts by way of nonviolent strategy. In his youth, he was a very successful merchant who gave up his wealth and profits to a local ruler to save the lives of several unknown people from execution. 

It is hardly surprising from this incident that he was considered an active emanation of Chenrezig, the bodhisattva of compassion. Additionally, several of his sadhanas such as Avalokiteshvara sadhana ‘For The benefit of All Beings Pervading Space” was composed by him after he received the transmission of this practice directly from Chenrizig. Chenrizig Nyungnye was also said to be a practice that he did throughout his life.

His Youth

H.E. Tangtong Gyalpo lived for a time in Lhasa, at the court of  the Deb Desi and was under the patronage of the daughter of the Desi. 

The princess commissioned several major works of sculpture and paintings; most notable among them the exquisite gold sculpture of Milarepa. He also crafted several life-sized statues of Chenrezig, Tsepame and Drolma from conch shell, coral and turquoise that were destroyed in 1959.

chenrezig
Chenrezig

H.E. Tangtong Gyalpo’s creativity and ingenuity were not limited to art but even extended to developing numerous medicines and treatments including some longevity pills. Perhaps through strange coincidence, the Chakpori hilltop where H.E. Tangtong Gyalpo lived near Lhasa later became the site for the first formal Tibetan medicinal institute built in the 17th century.

His Inspiration

H.E. Tangtong Gyalpo’s engineering feats, particularly with regard to bridge building, were reportedly inspired after he was refused passage on a ferry because of his ferocious and unkempt outward appearance. He was thrown unceremoniously into the water only to emerge with an insatiable zest for building bridges and ferry points. 

Tachogang village , connected by iron bridge
Tachogang Village , Connected By iron Bridge

The new found vocation was intended to inter-link remote and inaccessible villages and propagate the Buddhist faith. His early attempts suffered many set backs, the primary one being the lack of funds. This did not deter or faze H.E. Tangtong Gyalpo and he is said to have come up with an innovative idea to compose and organize performances of the first ever Tibetan Opera, the Achi Lhamo to finance his passion. 

Acheivement

Both bridge building and the opera were great successes. H.E. Tangtong Gyalpo went on to build something like 58 iron bridges and an equal number of wooden bridges, and over hundred ferry crossings all over the Himalayas including 8 iron bridges in Bhutan. None of the bridges are known to be standing. However, parts and pieces of iron still stand the taste of time at the national museum in Paro and at Duksum near Trashiyangtse, in eastern Bhutan. 

National Museum in Paro
National Museum in Paro

The Achi Lhamo opera, with the starting troupe of seven sisters who worked on the saint’s bridges, is still performed and enjoyed hugely to these days during the new year celebration and on festive occasions. 

Achi Lhamo Opera Still Prevalent in Bhutan
Achi Lhamo Opera Composed by H.E. Tangtong Gyalpo Still Prevalent in Bhutan

Places he visited

H.E. Tangtong Gyalpo traveled widely and is said to have visited SIkkim, Ladakh, Assam, Arunachal Pradesh and Bhutan in search of iron ore. He is a celebrated figure in this region and his exploits and compositions live on in the local folk songs and lore. He is also credited with composing many of the work songs sung in the villages of the region, including in Bhutan. Numerous stories and songs also extol his miracles and his enlightened activities and one song tells of him using the yeti as his porter. 

Living Temple of Thang Tong Gyalpo in Bhutan

H.E. Tangtong Gyalpo’s passage in Bhutan stands enshrined in the temples of Tachoggang and Dumtse in Paro that he built.

Dumtseg Lhakhang Paro

The biography of Lochen Gyurmey Dechen narrates that the blacksmith of Paro once manufactured seven thousand chain links for H.E. Tangtong Gyalpo. These he took to Tibet in 1400 carrier loads. During his frequent and long sojourns to bhutan he took a consort Drubthob Zangmo, the aunt of Great Terton Pema Lingpa from whom he had several sons whose descendants live on at the Tachogang monastery. 

The Depictions of H.E. Tangtong Gyalpo

Depictions of H.E. Tangtong Gyalpo are easily identifiable given his unusual appearances as in the manner of Maha siddhas. He has the signature iron chain link held in his right hand. The saint’s body complexion is dark reddish- brown, described in some cases as having the hue of “wet liver”.

Thangtong Gyalpo

He is said to belong to the descendent of the famed and legendary king Gesar. Seated on an antelope skin in the relaxed posture, he holds a  tsebum or vase of long life in his left hand which rests on his lap in the dhyani mudra. The saint’s tsebum links him to tsepame, the bodhisattva of infinite life. He had also discovered the sacred dharani  as a terma hidden by Guru Rinpoche. Special H.E. Tangtong Gyalpo drupchens of long life are still very popular..

His Countenance

H.E. Tangtong Gyalpo is depicted with his hair in a turban-like knot. He sports a long beard and long logs up to his shoulders which may be either black or white depending on whether he is depicted as an old man or in his prime. His image in Dumtse Lhakhang near the entrance is perhaps the youngest depiction. 

Thangtong Gyalpo

Clothed  in a white garment in this particular and unusual depiction, he maintains a goatee, short hair and holds his hand in the bhumisparsa mudra. The iron chain links are not held in the hands as usual but lie at the edge of the throne, barely discernible under the folds of his garments. In contrast, the huge main statue of the saint in the ZIlukha Drubthob nunnery above the Tashichho Dzong shows him at a ripped old age with long white flowing locks and beard. A pot belly and perhaps a gentler expression on his face. Numerous slate carvings of the saint holding his iron chain and vase are found in the Dzong and monasteries all around Bhutan. In many of these slate carvings the face is embellished with gold paint. 

H.E. Tangtong Gyalpo was also famous throughout Tibet for his great strength and engineering skills. He is a great Bodhisattva known and respected by one and all in Tibet. H.E. Tangtong Gyalpo was the supreme leader of four esoteric sects within India, Bhutan, Sikkim, Mongolia, and Eastern Tibet. He possessed teachings from many dharma lineages, the most remarkable of which were the lineage to extend one’s life and the lineage to bring in wealth and change one’s fortune. H.E. Tangtong Gyalpo was a great terton, or discoverer of hidden teachings called terma, who both revealed and concealed terma for future generations. His main practice was that of Chenrezig. A young incarnation of this great master is currently living in Bhutan.

In year 2005, H.H. Dorje Chang Buddha III accepted H.E. Tangtong Gyalpo as one of his disciples who is on the level of a great venerable one and performed an initiation for him, at HuaZangSi Temple in San Francisco.

He later learned that the book A Treasury of True Buddha-Dharma about the H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata was about to be published. He thereupon organized many rinpoches to practice the Kuan Yin Dharma one billion times as an offering to His Holiness Dorje Chang Buddha III. He also sent his written congratulations stating that His Holiness is the master of Buddhas, the magnificence of His Holiness is supreme and that in this world no other holy being in history can compare with His Holiness.

Iron Man of Bhutan

Link:https://peacelilysite.com/2024/04/12/iron-man-of-bhutan/

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Source: https://www.bhutaninbound.com/blog/2022/06/11/thang-tong-gyalpo-iron-man-of-bhutan/#:~:text=Thang%20Tong%20Gyalpo%20is%20most,title%20Chazampa(iron%20bridges).

Brief Introduction to Great Bodhisattva H.E. Tangtong Gyalpo Bodhisattva

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A Great Disciple of H.H. Dorje Chang Buddha III

H.E. Tangtong Gyalpo is a greatly accomplished person within Tibetan esoteric Buddhism who attained the rainbow body. He is a great Bodhisattva known and respected by one and all in Tibet.

He is also an extremely holy person who has made huge contributions to the Tibetan people. It was this great Bodhisattva who was the father of medicine, ferryboats, bridges, and operas in Tibet. He has brought to the living beings of Tibet limitless blessings. To this day, Tibetan temples and families continue to worship H.E. Tangtong Gyalpo Bodhisattva.


The first Tangtong Gyalpo left the household life to become a monk when he was very young. He studied the sutras and treatises and became good at debating the sutras. Although he possessed the Five Vidyas, he remained modest, simple, and down-to-earth. In order to provide a model of self-cultivation, H.E. Tangtong Gyalpo followed and learned under many people of great virtue.

He also engaged in solitary, quiet cultivation for a long period of time at the Eri Temple. Later, he received teachings directly from Dakini Niguma and became a person greatly accomplished in the dharma. People praised H.E. Tangtong Gyalpo with the following words: “In the vast realm of emptiness, there is a yogi who intensively studies emptiness and who is like the King of Fearlessness. His name is Tangtong Gyalpo.” He has also been respectfully called Zhibai Wangxiu Tangtong Gyalpo, which means the accomplished, free and unhindered Tangtong Gyalpo!

During a certain year in history, there was a serious drought and famine in Tibet. H.E. Tangtong Gyalpo conducted a Dharma Assembly in front of the Sakyamuni Buddha statue in the Jo-khan Temple in Lhasa. At that Dharma Assembly, he wrote “A Prayer to Eliminate Famine.” Many people then saw Kuan Yin Bodhisattva in the sky disseminating various grains. The famine ended not long after that.


There was another time when war and chaos occurred in the Muya district of Kham in Tibet, causing people to leave their homes and wander about. H.E. Tangtong Gyalpo made a vow and wrote “A Prayer to End War and Chaos.” People in that area very soon after that ended their mutual hatred and instead treated one another in a peaceful, friendly, and loving manner. There was another year when a pestilence broke out in a large area covering a religious site of the Sakya sect, causing countless deaths. The chanting of mantras and the offering of sacrifices could not end the pestilence. Thus, H.E. Tangtong Gyalpo again practiced dharma and wrote “A Prayer to End the Disaster of Illness.” As a
result, the pestilence disappeared forthwith. In previous times in Tibet, it was very difficult for people to cross rivers. The river waters mercilessly took away people’s lives as they attempted to cross the rivers. Thus, H.E. Tangtong Gyalpo made improvements to ferryboats and began building bridges. In that lifetime, he built fifty iron-chain bridges, sixty wooden bridges, and many temples. One of those temples was the Tangge Lakong (the Tangtong Gyalpo Temple), which was the first temple in the Derge region. With respect to medicine, H.E.Tangtong Gyalpo established the Medicine King Temple at Jiabori in Lhasa, invented a white pill that cured all kinds of internal medical diseases, and invented a red pill that cured epidemic diseases. Thus, he became the founder of Tibetan medicine. That white pill and red pill are used in Tibetan medicine even to this very day to relieve the sufferings of living beings.

This 600 year old bridge crosses the Paro Chhu (Paro River) and was traditionally restored in 2005 after being washed away during a 1969 flood. The bridge was originally built by the legendary Thangtong Gyalpo
Dungtse Lhakhang, a temple in form of a chörten near Paro in Bhutan was built by Thangtong Gyalpo. The roof construction is made of iron.


H.E. Tangtong Gyalpo Bodhisattva also wrote many Tibetan operas and established the Ache Lhamo opera troupe, the members of which acted out Tibetan historical stories through song and dance and pioneered Tibetan operas. The Achi Lhamo opera, with the starting troupe of seven sisters who worked on the saint’s bridges, is still performed and enjoyed hugely to these days during the new year celebration and on festive occasions. 

Achi Lhamo Opera Composed by Thang Tong Gyalpo Still Prevalent in Bhutan

H.E. Tangtong Gyalpo was the supreme leader of four esoteric sects within India, Bhutan, Sikkim, Mongolia, and Eastern Tibet. He possessed teachings from many dharma lineages, the most remarkable of which were the lineage to extend one’s life and the lineage to bring in wealth and change one’s fortune.
Everyone in Tibet, no matter what sect he or she belonged to, believed in and practiced such lineages and scriptures. Countless disciples of H.E. Tangtong Gyalpo became accomplished in the dharma under his teachings and attained great supernatural powers, wisdom and great compassion. More than one hundred disciples of his attained the rainbow body or the transformation rainbow body. All Tibetan people know that H.E. Tangtong Gyalpo is truly a great patriarch of Tibetan esoteric Buddhism and a great Bodhisattva. Later, each time H.E. Tangtong Gyalpo incarnated into this world. He was a great patriarch who spread the dharma, liberated living beings, and pervasively benefited people.

Thang Tong Gyalpo Present Reincarnation


H.E. the sixteenth Tangtong Gyalpo Bodhisattva (Thangtrul Rinpoche) took birth in Bhutan. His physical appearance resembles that of Guru Padmasambhava. Even when he sleeps, his eyes remain open. He saw H.H. Wan Ko Yeshe Norbu (Dorje Chang Buddha III) during a Dharma Assembly that took place in 2005 at Hua Zang Si in San Francisco, U.S.A. In a supernatural state of samadhi, he instantly saw that H.H. Dorje Chang Buddha, the highest ancient Buddha in the dharma realm, had already come to this world again. He at once formally acknowledged H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu as his master. H.H. Dorje Chang Buddha III asked him, “Did you follow and learn dharma under Guru Padmasambhava? Why have you come here?”H.E. Tangtong Gyalpo answered
that he had received teachings directly from Guru Padmasambhava and from H.H. Sakya Trizin who is the nirmanakaya of Manjushri Bodhisattva. He also said that he had come to request the highest dharma in order to save living beings. H.H. Dorje Chang Buddha III immediately snapped His fingers, and a dharma bowl manifested awesome power. H.H. Dorje Chang Buddha III then accepted H.E. Tangtong Gyalpo as one of his disciples who is on the level of a great venerable one and performed an initiation for him. H.E. Tangtong Gyalpo took that dharma bowl back to his home country.


He later learned that the book A Treasury of True Buddha-Dharma about the H.H. Dorje Chang Buddha III Wan Ko Yeshe Norbu Holiest Tathagata was about to be published. He thereupon organized many rinpoches to practice the Kuan Yin Dharma one billion times as an offering to His Holiness Dorje Chang Buddha III. He also sent his written congratulations stating that His Holiness is the master of Buddhas, the magnificence of His Holiness is supreme and that in this world no other holy being in history can compare with His Holiness.

H.H. Dorje Chang Buddha III accepted H.E. Tangtong Gyalpo as his disciple at Hua Zang Si temple San Francisco

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Link:https://peacelilysite.com/2024/03/22/brief-introduction-to-great-bodhisattva-h-e-tangtong-gyalpo-bodhisattva/

Source: https://www.rigpawiki.org/index.php?title=Thangtong_Gyalpo, https://www.nwrafting.com/international/thangtong-gyalpo-tachog-lhakhang, https://www.bhutaninbound.com/blog/2022/06/11/thang-tong-gyalpo-iron-man-of-bhutan/