Tārāyogīni Tantra & Practice
Submitted by Michael R. Sheehy on Thu, 2008-10-16 11:37
This post is titled, The Transmission of the Tantra and Practices of Tārāyogīni (Sgrol ma rnal 'byor ma): A Little-Known Jonang Specialty. By Thomas Roth, a contributing author to the Jonangpa blog.
Tarayogini
The Jonang tradition was and is well-known for holding and continuing to propagate several unique transmissions, such as various strands of Kālachakra transmissions and various traditions of its six-limbed vajrayoga; the Mahāsṃavāra Kālachakra, the view of emptiness based upon the insights and explications of Dolpopa Sherab Gyaltsen (1292-1361) known as zhentong (gzhan stong) and others.
Among these unique transmissions is one that is almost completely unknown outside of the Jonang tradition, and apparently not very widely practiced within it either, despite the fact that it seemingly was of rather great importance to the great Tāranātha (1575-1635) and that the great 19th century Rimé master Jamgon Kongtrul (1813-1899) regarded it highly, and he wrote about it and practiced it himself.
Admittedly, Jamgon Kongtrul was not a Jonangpa, but he was at the very heart of the non-sectarian Rimé movement and as such very interested in the Jonang tradition.
In his personal practice of the six-limbed vajrayoga of the Kālachakra, he followed the instructions of Dolpopa and Tāranātha to the letter, and he was a major propagator of the zhentong view in 19th century Eastern Tibet.
Whenever commemorating great masters of the past with offering rituals etc., Tāranātha was honored with three days of ceremonies, an honor that Kongtrul accorded no other master.
Kongtrul also was an important teacher to the great Jonang master Bamda Thubten Gelek Gyatso (1844-1904).
This particular transmission has found its way into the Kamtshang Kagyu school via Kathog Rigdzin Tsewang Norbu (1698-1755), and the 8th Tai Situ Chökyi Jungne (1700-1774), and has eventually become part of one of Kongtrul's famous "Five Treasuries."
But apart from the ongoing transmission of its empowerments and practice texts, there seems to be precious little practice going on of this unique cycle of teachings, at least within the Kagyu schools that is.
The subject at hand is the transmission of a very special practice of Tārā, along with its own tantra, practice manuals and secret oral instructions.
This particular form of Tārā is known under the name of Tārāyogīni or "Drolma Naljorma" in Tibetan.
It is probably one of the last unique traditions that made its appearance in Tibet via India, only centuries after all else was already well established there.
Tārāyogīni is a very wrathful form of Tārā that appears eight-armed and in a 25 deity maṇḍala, including herself.
Her tantra etc. were introduced into Tibet by none other but the great Indian mahāsiddha Buddhaguptanātha, who was probably one of the last known Indian siddhas of his kind.1
He journeyed to Tibet in his mid-seventies and met there with the not yet twenty year old young Tāranātha. They met around the year 1594 near Narthang in Central Tibet.[2] Relating his encounters with Buddhaguptanātha, Tāranātha later wrote in his biography of the siddha,
Among the items requested that previously had never made their appearance in the Land of Snows, there was the empowerment of Tārāyogīni, the oral instructions on her generation and perfection process meditations, together with the blessings and a commentary on her tantra.3
A passage contained in one of Tāranātha's secret autobiographies tells us of the importance that this transmission was to have for himself,
The night before the Tārāyogīni empowerment was given ...
I dreamed of my skin becoming the parchment upon which to write down the instructions, my ribs became the quills and my blood became the ink.
My bones and sinews became the materials with which to bind the volumes.[4]
The Dzamthang edition of Tāranātha's Collected Works contains no less than seven texts devoted to Tārāyogīni exclusively.
The root and subsequent tantras, a summary of the meaning of those tantras, the maṇḍala ritual practice, a ritual text for self-empowerment, an even more elaborate maṇḍala ritual that also serves as an empowerment text and an instruction manual.[5]
When looking at the two tantras of Tārāyogīni, the root tantra and the subsequent tantra, both translated from the Sanskrit into Tibetan by Tāranātha and included in his Collected Works, one can't help to think that these must have been among the materials that Dromton Gyalwe Junge (1005-1064) asked Jowo Jé Palden Atisha (982-1054) not to teach in Tibet, at least not publicly. And also Tāranātha himself seems to have passed this material on to only a few of his students.
Nowadays only those who actually passed on these teachings are known to us.
At least one of Tāranātha's two regents, Gyaltsab Kunga Rinchen Gyamtso, received it from Tāranātha himself and passed it on to Khedrub Lodrö Namgyal (1618-1683) who received it both from the Gyaltsab and Tāranātha.
As a matter of fact, the Tārāyogīni empowerment must have been among the last few things that Tāranātha gave.
In the history of the Jonangpa by Khenpo Lodrö Drakpa (1920-1975), we read how Lodrö Namgyal received it from Tāranātha himself, who placed his vajra and bell upon Lodrö Namgyal's head and stressed the importance of thoroughly practicing these teachings.[6]
Tāranātha then passed away on the 28th day of the same month.[7]
Lodrö Namgyal later passed the transmission on to his nephew Ngawang Thinle (1657-1723), who passed it on to the great yogin Kunzang Wangpo.
Kunzang Wangpo was known as a mahāsiddha and famous for the many solitary retreats that he undertook.
Among others, he passed the Jonangpa transmissions, those of Tārāyogīni among them, on to the famous Nyingmapa master Kathog Rigdzin Tsewang Norbu (1698-1755). Tsewang Norbu, since childhood, was very devoted to both Dolpopa and Tāranātha.
He himself says so in his versified autobiography.[8]
That fact seems easily explained when we read in Khenpo Lodro Draka's Jonang history, that Kunsang Wangpo recognized Tsewang Norbu as an incarnation of Sazang Mati Panchen Lodrö Gyaltsen (1294-1376), one of Dolpopa Sherab Gyaltsen's main students.
Tsewang Norbu apparently passed the Jonang transmissions on to various masters, among them the 13th Karmapa Dudul Dorje (1733-1797), the 10th Shamar Mipham Chodrub Gyamtso (1742-1792), and the 7th Gyalwang Drugpa Thrinle Shingta (1718-1766).
However, the most important among the various Kagyu masters who received these transmissions from Tsewang Norbu, was the 8th Tai Situ Chökyi Jungne. He and Tsewang Norbu had met for the first time around 1720 and had quickly become close friends.
As we read both in Khenpo Lodrö Drakpa's Jonang history as well as in Situ's own diaries, the two met again in 1748 in Nepal.[9]
It is there that Tsewang Norbu passed the transmission of the Tārāyogīni on to Situ and also impressed upon him the importance of upholding the zhentong tradition of Dolpopa in the clearest terms.
Situ later became one of the most important promulgators of that tradition in Eastern Tibet.
The 10th Shamar Mipham Chödrub Gyamtso passed the Tārāyogīni transmission on to the 9th Tai Situ Pema Ninje (1775-1853), who transmitted it to Jamgon Kongtrul.
Kongtrul also received the entire works of Tāranātha from a master whom he calls "the saintly lama Dorlob Ösal Gyurme" (18th/19th cent.) who was a student of Tsabtsa Tulku Karma Ratna (18th cent.) of Surmang monastery.
He in turn was a student of Surmang's Belo Tshewang Kunkyab (18th cent.) who was one of the 8th Tai Situ's main students.[10]
Jamgon Kongtrul practised Tāranātha's Tārāyogīni materials and eventually composed a briefer text more suitable for daily practice on her, as well as an offering ritual, based upon Tāranātha's two rather elaborate maṇḍala rituals.
He also composed a very elaborate empowerment ritual for Tārāyogīni, all of which is included in his so-called "Gyachen Kadzö", one of Kongtrul's famous "Five Treasuries".[11]
Some of these materials are also found in Jamyang Khyentse Wangpo's (1820-1892) and Jamyang Loter Wangpo's (1847-1914) "Drubthab Kuntus", an extensive collection of sadhanas of the eight practice lineages of Tibet.[12]
From there onwards, this particular transmission lineage of Tārāyogīni continues within the Kamtshang Kagyu school via the 15th Karmapa Kakhyab Dorje (1871-1922), the 11th Tai Situ Pema Wangchog Gyalpo (1886-1952), the 2nd Jamgon Kongtrul Palden Khyentse Öser (1904-1953), the 16th Karmapa Rangjung Rigpe Dorje (1924-1981) to my own teacher, the Ven. Dorje Lobpon Tenga Rinpoche (b. 1932).[13]
Of course there must be parallel transmission lineages for Tārāyogīni among the Jonang masters of Amdo, at least since the time of Khedrub Lodrö Namgyal if not earlier, but I haven't been able to research them yet.
The little I have managed to find out so far is that the practice is indeed continued within the framework of Jonangpa practice in Amdo, but until now I haven't met anyone particularly knowledgeable about it.
One proof of its continuation among the Jonangpas of Amdo, for instance, is the description of how to draw the maṇḍala of Tārāyogīni in a work on maṇḍala construction and drawing by Tsoknyi Gyatso (1880-1940), a prominent student of Bamda Gelek's.[14]{C}
The khenpos and lamas in the two small Jonang monasteries in exile, one in Shimla and one in Kathmandu, all know of the practice but unfortunately only know very little about it.
Without having been in Amdo yet to research things "on site" so to speak, I can only assume that the ongoing practice of Tārāyogīni may be the specialty of the one or other Dratsang in several Jonang monasteries, probably performed as a Drubchö for several days once a year.
Thomas Roth Sherab Drime, Kathmandu, Nepal
Tārāyogīni is of the Anuttarayoga Tantra or "Unexcelled Yoga Tantra" class. It falls in the category of the "highest" or most refined set of tantric practice cycles. This is very unusual for a form of Tārā (or any bodhisattva).
Endnotes:
1. Tāranātha. Sgrol ma’i rgyud kyi byung khungs gsal bar byed pa’i lo rgyus gser gyi phreng ba.
In Rje btsun tA ra nA tha'i Gsun 'bum, ‘Dzam thang, 12, 523-570. And the Bka’ babs bdun ldan gyi brgyud pa’i rnam thar ngo mtshar rmad du byung ba rin po che’i khungs lta bu’i gtam.
In Rje btsun tA ra nA tha'i Gsung 'bum, ‘Dzam thang, 17, 5-161.
The transmission lineage until then came through:
Jñānaḍākinī,
Telopa,
Narotapa,
Dombipa,
Kusalipa,
Asitaghana,
Jñānamitra and
Shantigupta to
Buddhaguptanātha.
In the Sgrol ma’i rgyud kyi byung khungs, Tāranātha relates the story how Telopa traveled to Oddiyana and received the empowerments for the Tārā tantra etc. from Tārā herself. Therefore I assume “Jñānaḍākinī” to refer to Tārā.
2. Tāranātha. Grub chen bud+dha gup+ta’i rnam thar rje btsun nyid kyi zhal lung las gzhan du rang rtog gi dri mas ma sbags pa’i yi ge yang dag pa. In Rje btsun tA ra nA tha'i Gsung ‘bum, ‘Dzam thang, 17, 311-316. Tāranātha relates how Buddhaguptanātha first visited various places in Tibet such as Samye and Lhasa etc., and they then met while Tāranātha stayed in the hermitage of Mahābodhi (bden gnas byang chub chen po).
3. Tāranātha. Grub chen bud+dha gup+ta’i rnam thar rje btsun nyid kyi zhal lung las gzhan du rang rtog gi dri mas ma sbags pa’i yi ge yang dag pa. In Rje btsun tA ra nA tha'i Gsung ‘bum, ‘Dzam thang, 17, 313.
4. Tāranātha. Gsang ba’i rnam thar. In Rje btsun tA ra nA tha'i Gsung ‘bum, ‘Dzam thang, 1, 708.
5. These are (1) ‘Phrin las thams cad ‘byung ba’i sgrol ma ‘dus pa don dam pa zhes bya ba rnal ‘byor ma’i rgyud kyi rgyal po; (2) ‘Phrin las thams cad ‘byung ba ‘dus pa don dam pa las phyi ma’i rgyud kyi rgyal po; (3) Sgrol ma ‘byung ba’i rgyud kyi bsdus don gsal ba’i sgron me; (4) Sgrol ma rnal ‘byor ma’i dkyil ‘khor gyi sgrub thabs ye shes ‘bar ba; (5) Bcom ldan ‘das ma sgrol ma rnal ‘byor ma’i bdag ‘jug gzhan la phan pa; (6) Rje btsun sgrol ma rnal ‘byor ma’i dkyil ‘khor gyi cho ga gzhan la phan pa zhes bya ba rgya gar mkhas pa’i zhal gyi gdams pa phyin ci ma log pa’i yi ge yang dag pa; (7) Sgrol ma rnal ‘byor ma’i ‘khrid yig bde chen myur gter all in Rje btsun tA ra nA tha'i Gsum 'bum, 'Dzam thang, 12.
6. Ngag dbang Blo gros grags pa. Dpal ldan jo nang pa’i chos ‘byung rgyal ba’i chos tshul gsal byed zla ba’i sgron me. In Blo gros grags pa'i Gsung ‘bum, ‘Dzam thang, 1, 140.
Although the text itself reads “rnal ‘byor ma’i dbang skur zhu skabs ... ,” it was the opinion of Khenpo Chonang (Shimla) that this refers to “sgrol ma rnal ‘byor ma”. He recalled his own teacher, Ngawang Yonten Zangpo having said so.
7. Ngag dbang Blo gros grags pa. Dpal ldan jo nang pa’i chos ‘byung rgyal ba’i chos tshul gsal byed zla ba’i sgron me. In Blo gros grags pa'i Gsung ‘bum, ‘Dzam thang, 1, 140.
8. Brag dkar rta so sprul sku chos kyi dbang phyug. Dpal rig ‘dzin chen po rdo rje tshe dbang nor bu’i zhabs kyis rnam par thar pa’i cha shas brjod pa ngo mtshar dad pa’i rol mtsho. In Ka thog rig ‘dzin tshe dbang nor bu’i Bka’ ‘bum, 1, 111-2.
9. Ngag dbang Blo gros grags pa. Jo nang chos ‘byung rgyal ba’i chos tshul gsal byed zla ba sgron me’i lhan thabs. Krun go’i bod kyi shes rig dpe skrun khang, 1992, 539. And Ta'i si tu. Ta’i si tur ‘bod pa karma bstan pa’i nyin byed kyi rang tshul drangs por brjod pa dri bral shel gyi me long ldeb. In Ta’i si tu pa kun mkhyen chos kyi ‘byung gnas bstan pa’i nyin byed kyi bka’ ‘bum, 14, 263.
10. ‘Jam mgon Kong sprul blo gros mtha’ yas. Phyogs med ris med kyi bstan pa la ‘dun shing dge sbyong gi gzugs brnyan ‘chang ba blo gros mtha’ yas kyi sde’i ‘byung ba brjod pa nor bu sna tshogs mdog can. In Rgya chen bka’ mdzod, 16, 150.
11. ‘Jam mgon Kong sprul blo gros mtha’ yas. Sgrol ma rnal ‘byor ma’i rgyun khyer dam tshig nges pa’i thig le. In Rgya chen bka’ mdzod, 6, 109-119. And Sgrol ma rnal ‘byor ma’i mchod chog mdor bsdus bde chen rol mo. In Rgya chen bka’ mdzod, 6, 121-140. And Bcom ldan ‘das ma sgrol ma rnal ‘byor ma’i rtsa ba’i dbang bskur gyi cho ga bklags chog tu bkod pa utpal ljon shing. In Rgya chen bka’ mdzod, 6, 141-283. And Dam tshig sgrol ma rnal ‘byor ma’i rig pa gtad pa’i cho ga ye shes sgo ‘byed. In Rgya chen bka’ mdzod, 6, 285-295.
12. ‘Jam mgon Kong sprul blo gros mtha’ yas. Sgrub thabs kun btus, 4, 575-589.
13. This information is based on oral communications from Ven. Tenga Rinpoche.
14. Tshog gnyis rgya mtsho. Dkyil chog rgya mtsho’i thig tshon gsal byed legs bshad nyi ma’i ‘od zer. ‘Dzam thang, 95.
