Uhhuu

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sGron-ma drug text, "The Six Lamps," in the subsequent volume of this series. The passages quoted here are explaining matters from the standpoint of Thodgal.

(28) Ye-shes tshon gang snang-med bon kyi sku/ gshen-lha dkar-po bdag-med kun gyi gzhi! ngo-bo nyid gyi rig-pa zhes su grags..... rang Ia rang shar-ba. Symbollically, the inner light of Awareness is depicted as the wisdom deity Shen-lha (gshen-lha), who is of a miniature size (tshon gang) and is white in colour (dkar-po). He is the embodiment of primordial awareness (ye-shes). He is the unmanifest or invisible Dharmakaya (snang-med bon kyi sku), but as the basis of everything he is insubstantial and without a self (bdag-med kun gyi gzhi).

(29) rGyas-par ngo-sprad-do. This direct introduction is called extensive because it not only involves oral explanations and examples, but meditation exercises that give rise to personal experiences that allow one to understand the Natural State.

(30) At the most primary and elementary level of experience, that is, when one awakens again into awareness in the Bardo after death, the inherent energy or potentiality (rtsal) of the nature of Mind suddenly reappears as the three great or total manifestations (snang gsum chen-po) of the sounds, the lights, and the rays (sgra 'od zer gsum). On how they arise to Awareness or Rigpa with the onset of the Bardo experience after resting in the state of Shunyata, see Reynolds, The Path of the Clear Light, ibid.

(31) De !tar rig-pa'i ye-shes de'i mdangs dang rtsal las/ sgra 'od zer gsum rang-snang du rna 'gag-par shari byed-pa'i bdag rkyen med­ par ...

(32) Rig-pa'i gsal-cha sgrib g.yog med-pa'i mdangs las], ['ad rig-pa'i rang 'ad gzha' tshon lta-bu shari rig-pa'i stong-cha rtsa bra! chen­ po'i nus-pa las/ sgra rig-pa'i rang sgra brag-cha !ta-bu shar. Here translucency (mdangs) refers to a mode of the manifestation of energy (rtsal).

(33) Rig-pa'i rang mdangs 'ad lnga dang 'brel-ba'i 'char gzhi las/ sangs­ rgyas kyi 'gyur-med sku'i rnam sprul thams-cad! sems-can bzhi bsdus kyi rnam-sprul thams-cad 'char.... rig-pa'i sgra dang 'brel-ba'i 'char gzh..... sems-can ngag gi sgra skad thams-cad 'char/ rig-pa zer dang 'brel-ba'i 'char gzhi Ia! sangs­ rgyas thugs kyi mkhyen ye-shes kyi rnam-sprul thams-cad dang/ sems-can gyi dran-pa yid kyi rtog tshogs thams-cad 'char-baJ..... .

Notes to tr1e Translatior1s

1219

[bu rig-pa'i ye-shes la sus kyang ma byung/ rang-snang du shar-ba 'i snang-ba chen-po gsum gyi byas.

(34) sNang-ba'i

yul.

Cho- 'phrul,

apparitional

display,

magical

apparition, hologram.

(35) 'Khor 'das skyon yon, the defects of Samsara and the virtues of Nirvana. Lus ngag yid refer to the body, speech, and mind of ordinary deluded sentient beings, whereas sku gsung thugs refer to the Body, Speech, and Mind of enlightened beings

(36) rLung sems kyi sbyor-bas rig-pa'i dwangs snyigs phyed-pa'i rjes la. The blending or uniting of the vital winds (rlung) and the mind (sems) or consciousness refers to the practice in Tantra of creating the illusion body (sgy u-lus).

(3 7) rGya-mtsho gyen bskyod la sags kyi !us gnad gong !tar gcun de! lta-ltangs smin 'tshams kyi gsa! !a 'byed

0 0 0 0 0 0

yid kyi rang sgra

rgyun chags su grags gzungs la/ dran-pa rig-pa'i rang zer nyi zer !ta-bu la thu-re gnad! yid-ches des/ shes skyes-pa dang ngo-sprad de.

(38) Rig-pa'i ye-shes las rang mdangs su shar-ba'i sgra 'od zer gsum-po 'di! sgros btags ma yin-par/ rig-pa'i ye-shes kyi ngang Ia ma 'gags­ par rang snang du shar-ba yin.

(39) 'Gyu-ba'i yid ni sgra las btu!/ dran-pa'i zer Ia sbyangs/ rtsal gsum zer Ia sbyangs-pa.

(40) Rig-pa'i rang sgraoo ... rig-pa'i rang 'od..oooo rig-pa'i rang zer/ stong­ pa'i rang zer nyi zer tshul! gdod-ma gshis kyi gnas-lugs yin. (41) Ngo-bo rgyud thog nas rang-bzhin zung-'brei! mtshan-nyid tha­

dad mi mnga'-bar gnas.

(42) Kunzhi or the Base (gzhi) represents the Mother, whereas the heart or essence (sny ing-po) represents the Son, which is Rigpa, or intrinsic awareness, and the apparitional display s (cho-'phrul) represent the visible manifestations. These are known as the Mother, the Son, and the Potentiality of Energy in the mind­ stream of the individual respectively. According to LTN, they are never separate, nor do they come together, but are unconditioned and naturally united from the very beginning ('du bral med-par gnas-tshul).

(43) That is to say, according to LTN, how one can practice. (44) Lhod-pa gsum byas-pa'i rjes Ia/ ngang Ia ngang gis ltas-pa'i dus sui ma kun-gzhi stong-nyid rtsa-bral du sang-nge-ba 'di bon-nyid! bu rig-pa rang-gsa! rjen-pa ro ye-re-ba? rtsal cho-'phrul rang-byung

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rang-shar...... gdod nas sku gsum gyi bdag-nyid chen-par 'bra! med rang chas su gnas.

(45) sTong gsa! kun-gzhi mkha' klong bon gyi dbyings/ ye-shes chen-po gang rang-byung bon gyi sku.

(46) Tsi-ta'i klong na rang rig bon gyi sku! rtsa'i lam Ia rang-bzhin rdzogs-pa'i sku! sgron-ma'i sgo Ia rang shar sprul-pa'i sku. (4 7) bSam dran gyi shes-pa nyi zer !tar/ rna 'gags-pa ji snyed cig shar

ste/ rang gi yul la sems-par byed-pas/ bsam-pa Ia yul de'i don ji !tar bar dran/ dran-pa'i don de nyams su myong-bar byed-pas.

(48) Shes rig rgyal-po rtog-med kyang/ bsam dran sna-tshogs 'char-ba'i gzhi... rig-pa'i rtsal las blo tu shar.

(49) gNad gsum gyis rig-pa gcun-pa'i rjes Ia/ !hod gyis !hod Ia bzhag/ de Ia cer-re Ita ste/ gcun-mkhan dang lhod-mkhan 'jogs-mkhan gyi bsam-pa de Ia cer-re Ita ste.

(50) Ma brtags na mi gsal-ba'i dran-pa thu-re 'bring-nge-ba de gnyis­ ka bsam dran gyi shes rig ces bya ste.....snga bsam phyi mno'i rtog spyod thams-cad de yis byed-pa yin te. De nyid ka, that state itself.

(51) Rig-pa'i rtsal las blo tu shari bsam-pa'i blo/ dran zhing rig-pas dran zhes bya-ba/ yul la spyod-pas sems zhes bya.

(52) rTog-med gyi rig-pa nam-mkha' lta-bu'i ngang nas. Here in this context, ngang indicates the Natural State.

(53) Because, in the beginning, one examines the secondary causes that originated and are produced (de dang-po byung-ba dang bskyed rkyen Ia brtags-pas), it is free of a base and a root, or source (gzhi rtsa dang bra!). In the middle, because one examines their essence initially, they are without shape and colour, that is, one sees that they have neither shape nor colour. At the end, they are purified into self-purification as the state of the Nature of Mind (sems-nyid gyi ngang du rang sangs su sangs). According to LTN, one looks where they arise at the beginning, where they stay in the middle, and where they go in the end. Destroyed into self-destruction (rang rlog du rlog), lost into self-loss (rang star du stor), and liberated into self- liberation (rang grol du grol). These empty movements ('gyu stung) become like gentle breezes in the atmosphere. And it arises as gnosis which is self-originated and without thoughts (rtog-med rang-byung gi ye-shes su shar-ba yin).

Notes to the Translat1ons

l221

(54) rTog-med ye-shes gzhi dran rtog sna-tshogs rtsal rjes su 'breng-ba 'khrul-lugs/ skyon tu lta-ba gal-sa/ rang sar glod-pa thabsj...... gnyis su med rtogs-pa. According to LTN, that is the method. (55) rTog-med dbyings su bsam dran sna-tshogs zad! blo 'das dbyings su blo byas lam sna zad! phyogs-med dbyings su phyogs 'dzin grub­ mtha' zad. What one does is let them liberate of themselves- that is the method, according to LTN. (56) According to LTN, one should just leave them there without following after them and therefore there will remain no traces left behind, just a bird leaves no traces behind when flying through the sky.

(57) rTog-med 'ad-gsa! chen-po'i ngang las. (58) sKyon du lta-ba gal-sa/ rang sar lhod-pa thabs! gnyis su med-pa rtogs-pa. (59) Dug lnga dngos-por grub na!dug lnga spyod-pa spyod-pa'i mchog. According to LTN, this is the supreme practice.

(60) Zhe-sdang rtsal nyid na sdang-ba med-pa'i mthar phyin. (61) Rang kha-ma Ia spyad-pa'i skabs su tshogs drug spyod-mkhan gyi shes-pa Ia hrig-ge Ita ste. According to LTN, at that time, when one is in the normal way, look back at the senses and just observe.

(62) rTsa bra! gyi ngos nasi stong Ia shar stong nam-mkha'i gzha'-tshon !ta-bu shar gyis grol! grot kyis shar-ba'i tshogs drug gi snang-ba sna-tshogs 'di. (63) If they are understood and recognized, they arise as the Nirmanakaya Buddhas, abiding in the realms of the Nirmanakaya. But if one does not understand this and fails to recognize them, then they arise variously as the six realms of rebirth (rigs drug).

(64) Rig-pa dmar thag-bcad-pas 'khrul sgrib ka nas dag/ blo dmar thag­ bcad-pas ye-shes rtsal du shar. (65) gZhi rtsa med-pa'i bon 'di Ia/ gang !tar btang de !tar snang. All of existence is rootless, baseless, and insubstantial; it is like this, according to LTN.

(66) Seng-ge rang gzugs Ia 'khrul-pa !tar. In the Gnostic myth, the demiurge (demiourgos) laldabaoth has a lion's head and gazes at his reflection in the waters of matter and chaos below. (67) Rigpa is wrapped up and enveloped in a net of delusions.

(68) Dran rig blo'i shes-pa yul rmongs/ rang-snang sgyu-mar ma shes gzhan snang bden-par mthong. According to LTN, how does one not know their true nature? These three are like illusions.

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(69) Because one does not recognize the Natural State and falls into duality due to the operations of the functional mind (yid), it is called the co-emergent ignorance or the spontaneously born ignorance (lhan-skyes rna rig-pa).

(70) Rig-pa'i ye-shes rndog bsgyur/ 'gyu byed cher g.yos/ rang-snang sgra 'od zer gsurn nges-pa-can rags-par bzung-pas. The movements of energy become more and more powerful. Because the sounds, the lights, and the rays, which are self-manifestations, are apprehended and grasped at coarsely, whereupon they appear more and more gross and substantial, according to LTN. Thus, they arise in an uncertain manner (nges-pa-can) as subject and object.

(71) 'Gyu-ba'i yid 'phros/ yul shes ngos rna zin-par yod-pa las/ g.yo­ ba'i rlung gis bskul-bas. They become more and more powerful, more and more gross and coarse. The winds blow and the visions become like clouds disturbed by these winds. The visions become more and more like a network, becoming visible, even appearantly solid- according to LTN. The model for this process of evolution is the meteorological phenomena of the winds and the clouds obscuring the sky. At the beginning, the sky was clear and open and free of clouds, but then the winds arose and gradually the clouds appeared to fill the sky with clouds. The clouds are one's discursive thoughts.

(72) The five lights which are visible and manifest arise more densely as colours. They arise as five, namely, as subtle lights that are white and green and red and blue and yellow. In turn, they become visible as colours, and then subsequently as solid matter, that is, the elements space, air, fire, water, and earth respectively- according to LTN. And that is called the ignorance that conceptualizes everything (kun brtags gyi rna rig-pa).

(73) Ma rig dbang gis shes-pa yul la 'gyus/ shes-pa yul la 'gyus-pas so rna zin/ so rna zin-pas snang-ba'i yul gsurn 'khrugs.

(74) De Ia brten-pa'i don lnga chags. The five internal organs (don lnga) are the heart, the spleen, the lungs, the liver, and the kidneys.

(75) 'Khrul tshul rgyas-par rten-'brel gyi 'khor-lo ngo-sprad-par bya. This is found in the text entitled the 'Khor-lo bzhi brdag. For the translation, see Reynolds, The Path of the Clear Light, ibid.

(76) They go down and circulate stage by stage from human to animal and upward again.

Notes to H1e Translat!ons

1223

(77) gZhan nyon-mongs-pa phra-ba nas je rags Ia 'khrul-pa !tar. This is how things evolved in terms of delusion. But how can this process to be reversed? The karmic traces as visions become progressively more powerful. One's body and mind are like a dream and one experiences karmic visions as they are real. But when one reverses this process (ru log), one then becomes a body of light ('od Ius). But when anger becomes increasingly powerful, it generates the intellect and the Rupadhatu. When sex desire becomes increasingly powerful, it generates the physical body and the dimensions of the Kamadhatu. Thus, with evolution, the kleshas or passions progressively become more and more coarse. But one can reverse this downward evolution and return back to the source. When one cuts the root of the passions, which is ignorance, then one will liberate- according to LTN.

(78) Ma 'khrul-ba !tar yar grol-bal gnad cig 'khor-ba Ia byang-ba'i thog­ ma yod-pasl grol-ba'i tha-ma yodl de dag kun kho-bos gnad cig tu 'dod-do. (79) bLo'i 'dzin-pa rna zhugs-par. (80) gZhi dang rig-pa bdag zhal mjal-bas..... sems-nyid kun tu bzang­ po'i rgyal-sa tshur zin. Thereupon all will be liberated naturally. By way of this method, one perceives the basic Awareness, whereupon the Son goes to the Mother. The sounds, the lights, and the rays represent the energy (rtsal) of the Nature of Mind, and this contrasts with limited consciousness in terms of the thought process (blo'i shes-pa).

(81) Rig-pa gcer-bu rjen gyis shar...... sgrub-med shugs Ia 'char. (82) gZhi'i ngo-bor grol-ba'i rang mdangsl dag snang nus-pa'i rtsal las snang-ba'i rang 'ad lnga shari de las bdag gi klong lnga shari de las bdag med-pa'i klong lnga shar. Here in outline is presented the unfolding or evolution of the realms of pure vision on the side of Nirvana.

(83) rGyas-par rtogs tshul rten-'brei 'khor-lo Ia ngo-sprad. That is, it follows the rTen- 'brei 'khor-lo section of the 'Khor-lo bzhi brdag. (84) Yon-tan de dag kyang gdod nas rna bu rtsal gsum gyi don ji Ita-bar rig cing rtogs-pa yil lam gyi byed-pa Ia rna ltos-parl kun tu bzang­ po sangs-rgyas-pa ste. (85) gDod nas rtogs-pa'i shugs las byung. (86) Da-lta yang de dang tshul mthun-par lam las sbyangs-pasl mthar mngon du gyurl sangs-rgyas-pa 'di ni lam grot snags-rgyas-pa'o.

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5. Notes to the Translation of the Explanation of the

Meditation Practice (1) Kun tu bzang-po khyab··gdal 'gro-ba'i 'dren/ rang-rig mngon du gyur Ia phyag-'tshal-lo.

(2) Lam nyams su blangs-pa 'od-gsal bsgom-pa'i 'od-gsal, that is to say, Thodgal practice. (3) Rig-pa rkyang 'ded nus-pa'i gang-zag gis/ gong du gdams-pa'i dmar­ khrid phyag-len ngo-sprad las sags rdzogs-par thob.

(4) Lar thabs-lam dang khrid tshul dang bogs 'don lam-khyer ngo­ sprod las sags

mang du gsungs kyang/ gal-che shos kho-rang Ia

thug-pas/ rig-pa sgrib-med 'od-gsal chen-po'i don Ia.

(5) Len tshul nil bla-ma bcud-ldan dang/ gdams-pa zab-mo'i dgongs­ pa longs-pas bsgom shes-pa dang/ brtson-'grus drag-pas dar tsam yang btang-snyoms su mi Ius-par brtson-par bsgom-pa dang/ lo zla zhag grangs ci song yang/ nyams-myong rgyud Ia rna shar bar Ia/ sran-nus-pa(s) yun ring du bsgom-pa dang/ dus dang rnam-pa kun tu/ gang gis kyang bar rna chad-pal 'di nyid Ia rkyang ded byed cing bar-chad med-par sgom-pa.

(6) Kun-gzhi ngos-bzung rig-pa dmar thag-bcad. (7) sMos-pa'i phyogs su las byas nasi ngal-ba med-par kun kyang 'grub.

(8) gNas-lugs theg-chen gyi don nyams su len-par byed-pa Ia. (9) 'Khrul-'khor rtsa-rlung dang dmigs. (10) bsGom-pa nyams kyi gegs Ia mang yang. (11) !Ta-ba Ia.... lnga'i gal-sa tu rna shor-bar bya. (12) gSungs rab, "the supreme scripture ," refers to the Khams-chen, the Bonpo version of the Prajnaparamita in sixteen volumes. (13) rTsal gyi(s) sbyangs thabs bstan-pa nil 'gyu-ba gser gyi nya-mo de! mun-khang 'ad kyi rgya Ia bzung/ kun gsa! rig-pa'i me-long de! snang gsa! nam-mkha'i mthongs su bstan/ dran-pa sems kyi mdung-mo de! snang-ba 'ad kyi phab Ia gtad! de'i tshe gzugs-sku'i sa-bon mthong/ mkha' Ia skar tshogs shar-ba 'dra.

(14) Dang-po dus su 'byung-ba lnga'i rtags gong !tar Ia. (15) 'Od dang zer dang/ za 'og gi snam-bu kha phye-ba'am/ gzha' tshon shar-ba'am/ dkyil-'khor 'bris-pa Ita-bur grangs med-pa/ bsam gyis mi khyab-pa/ phyar-ba'am/ re-lde'am goms-pa dang yul 'gru'am/ nam-mkha' bar-snang gang-ba 'char tel zhing-khams kyi gzhi yin-

Notes to the Translations

1225

no/ de dag gi nang du gzugs-sku'i sa-bon/ thig-le skar tshogs bkram­ pa !tar 'char te. (16) gZer-bu las/ snang-ba'i 'od lnga zhing-khams dkyil-'khor gzhi! thig-le gur-khang rigs lnga'i gzhal-yas khang! lhag-mthong sku las sna-tshogs gzugs-sku shar. (17) 'Od-gsal gyi snang-ba grangs med-par shar-ba rnams gyi nang du! she! mdog rig-pa'i thig-le sran-ma tsam dang/ de bas che-ba dang/ rkyang-pa dang/ gnyis 'brei gsum 'brei dang mang-po sbrel­ ba dang/ gyen Ia 'brel-ba/ 'phred la 'brel-ba la sags dang/ rig-pa'i snying-po thugs-rje'i nyag-thag zhes bya na/ dar dkar nyag-thag !ta-bu la/ lu-gu rgyud gyi thig-le/ 'phel-ba !ta-bu rgyud-pa dang/ ma brgyus-pa rkyang-pa nyag-thag gis sbrel-ba dang/ thig-le dang ma 'brei nyag-thag rkyang-pa las sags du mar snang-ba la. (18) 'Byung lnga thams-cad gnad du ma 'chun-pas. (19) dNgul-chu 'thor dril bzhin du! g.yo 'gul 'thor dril dang bcas-par snang. (20) De la goms shing 'dris-pa yis/ goms-pa'i khyad-par rnam lnga 'byung/ dang-po sang-ba 'phel-bar 'gyur/ dngul-chu 'thor dril bzhin du mthong. (21) Rig-pa'i zer dang thugs-rje'i nyag-thag nil dang-po ri gzar kha nas chu 'babs 'dra. (22) Shes-pa gsal la mi 'phro-ba! dangs seng-nge-ba gnas-pa'i nyams. (23) sNang-ba mched-pa'i tshul Ia/ phyogs thams-cad 'od-gsal gyi snang-ba 'char/ de dag gi nang du she! mdog rig-pa'i thig-le yang kha-yar 'char/ 'byung-ba lnga-ka gnad du 'chun-pas/ shas-che 'od lnga gur-khang gi thig-le re re mu-khyud lnga lnga !dan-pal gsal la dwangs-pa/ bkra Ia gsal-ba. (24) De nas snang-ba mched-par 'gyur/ mkha' Ia nyi zla !hag !tar mthong/ rig-pa 'od kyi gur-khang mthong. (25) Phyi nang thams-cad rang grol chen-po khrol gyis song/ g.yo-med rang gsa! chen-po'i ngang Ia mi 'da'-bar. (26) De ni sems (nyid)-pa'i ngang sgom sleb-pa yin. (27) Nang nas mchog gi 'od-gsal cung-zad mngon du 'char. (28) Thig-le Ingar gyes-pa dang de Ia 'ad gyen 'greng rtsibs shar. (29) Thams-cad che chung bsam gyis m khyab-pa mang nyung snang yul gang-ba 'byung. (30) gSum-pa bya khra gzan tshul Ita-bur 'gyur. (31) De nas snang-ba rgyas-par 'gyur/ rigs lnga rdzogs-sku'i dkyil-'khor mthong.

The Practice of Dzogchen in the Zhang-Zhung Tradition of Tibet

(32) Gong gi spros-bral rang grol gnas-cha mthug-po dang bcas-pa de nyid! ci zhig gcig Ia rig-pa gzhi med! ye stong rtsa bra! chen-po gcig tu har gyis song nasi phyi nang yul shes 'khor 'das ci byung ci shar thams-cad! kho'i du ro-gcig-pa zhig 'byung-bas/ de Ia du-ma ro­ gcig bsgom zhes bya ste. (33) Sangs-rgyas gyi dgongs-pa Ia phyed sleb tsam yin/ ngang bsgom

zad sar skyol nasi klong bsgom 'go tshugs-pa yin. (34) mChog gi 'od-gsal du gyur te/snags-rgyas kyi sku dnag zhing-khams

rang Ia !hun-grub du yod-pa. (35) Dregs-pa lha klu dri-za gcan lnga las sogs-pa/ thul-ba rtags gyi

gdan Ia. (36) De nas snang-ba rdzogs-par 'gyur/ !hun-grub phyag-rgya'i dkyil­

'khor mthong/ snang-ba 'od kyi zhing-khams mthong/ cho- 'phrul g. yo 'gul med-par mthong. (3 7) bZhi-pa ru-sbal 'khor gzhong du tshud-pa 'dra. (38) De nyid ci zhig Ia bsgom bya bsgom byed kyi blo rtsol thams-cad

sems su grol nasi bsgom-med yengs-med kyi ngang Ia rig-pa rgyun chags su gnas/ de las mi ,da'-bar ,byung ste/ de'i dus su bios ched du bsgom mi dgos/ ngang gis cung tsam dran dgos-pa/ de Ia bsgom­ med yengs-med kyi bsgom-pa. (39) mThar thug rtogs-pa'i klong bsgom yang rgyud Ia nges-par shari

mngon du legs-par ma gyur tsam gyi skabs-so. (40) De !tar shar-ba'i zhing-khams thig-le 'od zer lha-sku las sags/ rang­

snang dag-pa'i 'char tshul la/ spros bcas dngos mtshan-can thams­ cad kyang I stong-nyid rtsa-bral kun-gzhi spros-med kyi klong du mal gyis thim/ 'ubs gyis bsdus nas rtsol bcas spros-pa'i mtshams thams-cad khrol gyis grol ste/ sgra 'od zer gsum lha-sku ye-shes gyi snang-ba thams-cad sems su 'dus shing. (41) Zer ni rig-pa'i rang zer tel stong-pa'i gzugs brnyan chu zla'i tshul!

sgra ni rig-pa'i rang sgra ste/ stong-pa'i rang sgra brag-cha'i tshul! 'od ni rig-pa'i rang 'od tel stong-pa'i rang 'od ni 'ja'-tshon tshul. (42) Bye-ma snyed kyi bder-gshegs mthong-ba nil rmi-lam sbrang-rtsi

'thung kyang/ sad-pa'i yul phyogs-med! mi gnas mi mthong stong­ pa phyogs dang bra!/ bstan dka' lkug-pa'i rmi-lam 'dra. (43) !Nga'i 'byung-ba bzhi zad-pa'i nam-mkha' 'dra. (44) Gong gi sanag-ba 'i 'char tshul de dag thams-cad dang/ sgra 'od zer gsum las sogs-pa'i rang-snang Ia shar-ba thams-cad! ma Ia bu thim gyi tshul du kun-gzhi klong du thim nasi rang yal du yal/ rang grot du grol! rang chad du chad! rang shar du shar-bas/ zad-pa'i mthar

thug ste/ 'khrul tshul dang gnod gcig tu go ste/ 'byung-ba'i phug dang grol-ba'i mtha' 'diIa thug.

(45) bsGom-med yens-med dran-pa yi thag-pa cung tsam dang bcas-pa de nyid.

(46) Ci zhigIa dran-pa'i thag chad! bsgom-pa'i brtod phur than nasi ci byas thams-cad rtsol-bral gyi ngang las mi 'da'/ ci 'char thams-cad ye-shes su 'char/ bsgom ma bsgoms Ia khyad-par med! gnyid ma gnyidIa khyad med! bzhag na stod! gtang na 'gro/ dgos dus slebs! rang dbang rang gyis bsgyur/ dgra dang bu ru mnyam/ gser dang bong-ba ru mnyam/ yarIa mi rei marIa mi dogs-pa nil rtogs-pa'i klong bsgom mngon du gyur tel bco lnga'i zla-ba !tar goms-pa mthar skyol! kun tu bzang-po'i rang sa zin-pa yin-no.

(47) sNang-ba sgra 'ad zer gsum gyi brdzun phugs legs-par bear na/ sems su thug gis btugs nasi 'khrul-pa'i phugs chod-pa dang 'bras­ bu rdzogs-pa'i snags-rgyas bya-ba.

(48) gZhi thog tu 'khrul-ba'i phugs legs-par bead-pas/ phyin chad mi 'khrul-pa dang/ rig-pa Ia dag dri-med ngo-bo nyid don Ia byung thebs rtsal rdzogs/ shugs than lhag-ma ma Ius thag chad/ mngon du gyur-pas de'i ngang las ma g.yos-pas bon-sku.

(49) De'i ngang las zag bcas kyi phung-po/ zag-med du grol-bas. (50) De'i byung khungs khams dang skye-mched rtsa dang yan-lag/ tshogs brgyad sgo lnga las sags kyi 'char tshul.

(51) De-dag gi 'gro-ba gang Ia gang 'dul du 'dren-pa'i thabs lam sna­ tshogs su sprul nas 'gro-ba'i donIa g.yel-ba med-par/ ngang ngam shugs las byung ni sprul-sku.

(52) De tsam na las sgrib sbyong-ba dang/ sa lam skye-ba dang/ bskal­ pa du-mar 'bud mi dgos-par/ drang-dan rgyu 'bras kyi rnam-bzhag thams-cad rdzun du btang nasiIus phyag-rgya'i 'di steng du btsan­ thabs kyi sangs-rgyas da-lta nyid du thob-pa ste.

(53) sNang-ba'i rdzun phugs sems su zad! gzugs-sku'i dmar thag sems su bead! 'khrul-pa'i phugs chad 'khrul mi srid! sku gsum da-lta mngon du gyur/ rgyu 'bras las dbang rdzun-po-che/ 'di ni sangs­ rgyas btsan-thabs yin.

(54) sKyes-bu'i dbugs 'bring tshad skar brgyaIa! 'od-gsal kyi thun tshad gcig tu byas-pa'i/ thun tshad khri phrag bco brgyad Ia! dbang-po 'bring gcig gi rkyen gzhan gyis bar ma chad-par nyams su blangs na/ mthar thug-pai snang-ba yan-chad rdzogs-par 'char. Note:

That is, in 166 days or about five and a half months. (55) sNang-bai 'char tshul lnga'i thad sor dpe ris bzhin du ngo-sprod.

The Practice of Dzogchen in the Zhang-Zhung Trad1t1on of T1bet

(56) De-dag lam gyi rim-pa dang sbyar-ba Ia shing-rta'i srol 'dra! sngon gyi rgyal 'phags dam-pa rnams kyi tshul du Ia bgrod-par byas.

(57) Bon spyod dgu'i rim-pas sdig sgrib sbyangs. (58) mTshan bcas dang bcas mtshan med kyi gdams-pa gnyis nil ngo-bo nyid kyi don Ia gsa/ snang bskyed cing/ gnas-lugs kyi don Ia sbyor­ bas sbyor lam dang mthun.

(59) De nas spyi dang bye-brag gi 'ad-gsa/ gdams-pa nil rig-pai ye-shes ji /tar mngon du stan-pas mthong lam dang mthun Ia/ de nas bogs 'don gyi gdams-pa nil ngo-bo nyid kyi don shar-ba Ia! goms zhing 'dris-pa byed-pas/ bsgom lam dang mthun. According to LTN, these instructions regarding the development (of the visions) refer to Tsalung (rtsa rlung) and visualization practices.

(60) De yang skye-ba dang bskal-pa du-ma'i brtsol-ba lam ltos-par/ thabs lam gnad kyis skye-ba gcig gam skad-cig gis rang sa zin-par byed cing/ lam bgrod-med cig chad! 'khrul-pa spang med rang grail 'bras-bu sku gsum /hun-grub du stan tel lam na nye-lam der rdzogs-pas.

(61) rGyu 'bras las dbang rdzun-po-che/ 'di ni sangs-rgyas btsan thabs yrn.

(62) Nyams rtogs dang sbyar na/ thun bsgom gyi dus su rig-pa'i ye-shes don gyi tshul du gam-pas/ tshogs lam dang mthun Ia! sgom dus su gsa/ snang-can du 'byung-bas/ sbyor lam dnag mthun/ ngang bsgom gyi 'go shar-ba nil rang mtshan gsar du rtogs-pas/ mthong lam dang mthun/ de yang ngang gis goms shing mthar than-par byed-pa nil bsgom lam dang mthun/ klong du gyur-pa ni mthar phyin-pa'i 'bras-bu'o. ( 63) Phyi 'ad-gsa/ mthong snang 'char tshul/ nang dge-sbyor gyi nyams­

myong skye tshul/ bar du rdzu-'phrul gyi gsa/ snang/ phyi nang thams-cad zung- 'brei 'jug-pa gcig tu sngar bzhin rim-par !tar 'char Ia.

( 64) Thod-rgal-ba Ia thabs lam sna-tshogs nas sleb dgos/ de yang gdams­ pa blo dang bstun nas 'debs-pa ni shin tu yang gnad che'o.

6. Notes to the Explanation of the Conduct (1) Kun tu bzang-po khyab bdal 'gro-ba 'dren/ rang-rig mngon du gyur Ia phyag 'tshal-lo.

(2) mNyam rjes bsres.

One integrates

(bsres-pa)

the

state

of

contemplation (mnyam-bzhag), being in the condition of Rigpa

or intrinsic awareness, with normal, everyday experience after the session of meditation practice, known as the subsequent realization (rjes thob).

(3) bsKor-ba lha-phyag phyag-rgya 'khrul-'khar rnarns. (4) Rig stang 'ad-gsa! chen-po'i klong/ rang rig-pa'i ye-shes rjen-par gsal-ba'i ngang nasi shugs 'byung du spyod-par bya. (5) Lus kyi bya-ba sna-tshogs byar-rned kyi rtsal du shar. Byar-rned means non-action.

(6) Dran-pa'i rtsis bzung. (7) Rig stong 'ad-gsa! chen-poi klong na/ rang-byung ye-shes rjen-par gsal-ba'i ngang nas 'gag-par spyod! brjad-rned kyi rtsal do shar. (8) Rang rig ye-shes rjen-par gsal-Ba'i ngang nasi rna 'gag rned du spyod...... rtog rned kyi rtsal du shar. (9) Phyi nang rned-par khyab bdal! snang tshad skui rol-pa/ grags tshad gsung gi rol-pa/ dran tshad thugs kyi rol-pa/ byung tshad yon-tan gyi rol-pa/ byas tshad phrin-las kyi rol-pa. (1 0) Shes-rab stong-pa nyid kyi ngang nas bya-bar rna bkag-pa thabs kyi rang-bzhin du 'char-ba zhig dgos te. (11) sTong-nyid 'ad-gsa! chen-po'i nganag nasi gzugs rnthong stong rtsa bra! chen-po nges rned sgyu-rna Ita-bur rtsal sbyangs te. (12) Ci yang rna yin-pas cir yang bya ru rned-pa/ kha-dog gsal-ba dbang­ po'i yul! kha-dog cir gsa! serns kyi dbyings. (13) Tshar stang rjes rned chen-par rtsal sbyang. (14) Myang stong rtsa bra! chen-par rbad rbad bcud Ia nyarns Ia nyarns su blang. (15) Reg stang rang-grol du rtsal sbyang nyarns su blang ste. (16) Rang rig-pa'i ye-shes las rtsal drug yul drug du shar nasi bya byed sna-tshags su byed-pa 'di nil sprul-sku rang Ia shar-ba yin-pas. (17) The scripture of Lachen Dranpa Namkha (bla-chen gyi gsung), the ancient prince of Zhang-zhung who was a famous master of Dzogchen.

(18) sPyod cing lta-ba'i tshe/ lta-rnkhan dang spyad-rnkhan gyi shes-pa ched du ngos-bzung/ rang rig-pa'i ye-shes rjen-pargsal-ba'i ngang nasi rna 'gag-par Ita zhing rtag dpyad gyi rtsol-ba rni bya/ 'dres-pa tsarn gyis rni chag ste/ shar-ba tsarn gyis rni chag ste/ gnyis-rned du ro snyarns-pa zhig dgos-sa. (19) rTag tshags kyi nga-ba Ia Ita/ khungs bear gzhi rtsa bead! 'gyed-pas zhe khrel gdab.

(20) Rang-'byung ye-shes gzhi! nyon-mongs dug lnga rtsal/ rjes su 'breng-ba 'khrul lugs/ skyon du lta-ba gal-sa/ rang sar glod-pa thabs! klong du grol-ba lam/ gnyis su med-pa rtogs-pa mngon du gyur-pa 'bras-bu.

(21) 'Gal rkyen mi thun-pa thams-cad spang/ thabs phar-phyin bcu Ia sags sems-dpa'i spyod tshul thams-cad dang du blangs te.

(22) Bogs 'don rtsal sbyong lam du khyer-ba! brtul-shugs kyi spyod-pa gnad du bstun.

(23) 'Dar len med-par spyod! rtsis gdab med-pa spyod-pa. (24) bSe rag g. yang du 'gug bar-chad dngos-grub tu len. (25) Nyams rtogs mthar phyin-pa'i dus su. (26) bDer-gshegs nyid du bdag rtogs na/ kun kyang bder-gshegs spyadpa ste/ dpag gi(s) dpog-par mi 'gyur-ro. (27) bDe sdug so-mtshams yin.

(28) Lus sems tha-ma bral-bai dus/ bde sdug gnyis kyi so-mtshams su. (29) Nang du mtsher-pa sa'i khams nyams/ phyi ru Ius kyi reg-bya mi 'tshor.

(30) 'Byung-ba'i khams nyams-par go-bar byas. (31) bLa-ma rjes su dran-par bya ste/ spyi-gtsug tu bsgon zhing mas-gus drag-po bya/ de nas yi-dam rjes su dran-par bya ste/ rang Ius yi­ dam du sgom Ia 'dzab bsnyen gsang-mtshan ma brjed-par bya/ de nas bar-do rjes su dran-par bya ste.

(32) De nas bar-do rjes su dran-par bya ste/ de !tar shar-ba'i yul snang 'di nil bar-do'i snang-ba nges-med sgyu-ma !ta-bu yin snyom du bsam/ de nas gdams-ngag rjes su dran-par bya ste/ rtsa bra! gyi don Ia rang-rig tsen-ne bzhag.

(33) See John Myrdhin Reynolds, Selections from the Bonpo Book of the Dead, Bonpo Translation Project (privaely printed), San Diego and Copenhagen 1997. (34) Nang du lte-ba sa'i 'khor-lo zhig nas nus-pa chu Ia thim-pa'i rtags sui phyi ru Ius kyi stabs 'char/ Ius lji sa Ia byin-pa snyam byed! rang snang Ia sa'i dwangs-ma ser-pa zhig shar te.

(35) sNang-ba thams-cad ser lam-lam 'byung. (36) Sems ni kun-gzhir thim ste dbugs chad Ius sems bra!. (37) See Reynolds, Selections from the Bonpo Book of the Dead, ibid. (38) Rig-pa dri-med 'od-gsal chen-po'i ngang Ia zhog cig/ rang-snang Ia shar-ba'i 'ad ser-po/ rang mdangs sgyu-ma Ita-bur shes-par gyis shig/ 'ad snang de 'dra-ba bon-nyid 'od-gsal gyi bar-dar 'byung-bas. (39) 'Dre gdon gyis mnan-pa Ita-bu.

(40) De'i tshe bon-sku rig-pa'i dbu-ma'i lamIa phyung/ sgron-ma'i sgo nas than te.

(41) Rig-pa sprin-bral mkha' Ia nyi-ma shar-ba /ta-bu! de Ia khyad-par gnad kyi gdams-pa gdab.

(42) 'Od kyi bag rgya bkral-ba'i bag rgya A Ia 'dus. (43) Hrig gis tshangs-sgor 'phang. (44) Rig-pa sems kyi mi-bo del dran-pa yid kyi rta zhon. (45) Thogs-med rlung gis gshog-pas bskyod! dbu-ma byang-chub lamIa gshegs/ spyi-gtsug bde-ba'i gsang sgor byon/ rig-pa'i rgyal-po gcer­ bu shari rnam-rtog blo yi g.yang lugs bud! rang-byung ye-shes

bdag zhal mthong/ rna rig 'khrul-pa'i mun-pa sangs.

(46) De dus kyi shes rig del sangs-rgyas rang chas sku gsum gsun /hun­ grub! rang-rig mngon gyur shar tshad ye-shes snang tshad sems­ nyid mngon du gyur nas yod cing.

(47) De'i dus su rang-snang Ia shar tshad bden-med sgyu-ma /ta-bu! de dag thams-cad sems kyi rang-bzhin sems-nyid ni de'i dus kyi rig­ pa rtsa-bral chen-po del bon-sku rang chas sui gdod nas gnas-par ngo-sprad-pas/ yid-ches thag-chod de! skye sgo chad-par the-tshom med.

(48) Rab rang shar rang grol/ 'bring lha-sku ye-shes/ tha-ma Ia yang bern rig bral-bai rang sgra rang 'od rang zer du ngo-sprad-do.

(49) gZung 'dzin rnam-rtog klong du thim/ de tshe rig-pa gcer-bu gnas/ rang-'byung ye-shes sgrib g.yogs med.

(50) Lus sems bra/ rna dag gi tshe. (51) Len gcig sgrib-med rang gsa/ dag-pa zang-thal gcer-bu rjen-par gnas-so.

(52) De tshul ni kun-gzhi rig-pa'i rgyal-po pho mo'i mig g.yas g.yon nas bud de! mdzod-spur dar-cig gnas/ rtags su de'i tshe ngo bzhin dang khyad-par du mdzad-spu'i bkrag mdangs nyams-pa'o.

(53) Ngo-shes tsam gyis skad-cig-maIa rna bu 'phrod!Ius ngag yid gsum gyi rgya gsum ral! sku gsung thugs kyi rtsal gsum rdzogs.

(54) gNad gsum 'dzoms-pas grol tel da-lta ngo-sprad-pai don Ia goms/ 'chi-khar yang yang gsal-gdab! bag-chags legs-par 'dris su bcug­ pa.

(55) De'i tshe sems ni drod dang 'grogs tel 'chi-khai bsam stabs kyis gong !tar.

(56) Gal-te de las rna grol na/ rna kun-gzhi'i klong du bu rig-pa thim/ dran rig de'i bag la zha/ rtsal sgra 'od zer gsum gyi tshur-bcad! rang-rig 'od kyi rgyar btums tel kun-gzhi 'thug-po bsam dran snang

gang yang med-pa'i ngang Ia/ zhag gsum dros bzhi'am lnga bdun Ia sags su gnas-so/ (57) Lus sems bra! rna thag gi tshe gnas-pa gzhi'i dus su/ rna grot na/ de nas bon-nyid 'od-gsal kyi bar-do zhes bya myos-pa sangs-pa'am/ gnyid sad-pa !ta-bu rig-pa sngar-bas gsal-ba! rkyen gyis bsgyur sla­ ba zhig 'byung/ de nas rang Ius bag-chags rang gzugs kyi snang-ba 'od kyi tsi-ta'i ngang las/ ye-shes tshon-gang-ba shar tel de'i byed­ pas rig-pa sad! bsam dran g.yos-pas/ snang-ba'i 'od rgya ral nasi bum-pa'I mar-me byung-ba !tar/ shes-pa'i 'od-gsal mngon du 'char te. (58) Rig-pa'i rang zer za-'og snan-bu kha phye-a'am nyi zer mtshon rtse Ita-bu. (59) sGra ni dngos-med klong na ldir/ rang-'byung rgyun med 'brug sgra'i tshul! zer ni cho-'phrul nges-med stan/ za-'og snan-bu kha phye 'dra. (60) Dwangs-ma rim gyis 'char. (61) Usually in Western publications, this term is translated as "the five wisdoms." But as explained previously, ye-shes means a non­ dual primal awareness that is present before the functional mind (yid, manas) comes into operation, as well as the distinction of subject and object, whereas "wisdom" (shes-rab) is a dualistic, albeit higher intellectual function. Ye-shes, or ye nas shes-pa, prior awareness, translates Skt. jnana, cognate with the Greek gnosis. Here these five are correlated with the Five Deities or Five Dhyana Buddhas, which bare different names than they do in the Buddhist system, and with the five Bodies of the Buddha.

(62) 'Dir gdams-pa Ia sbyong stabs che-ba rnams nil snang-ba gsum shar-ba sngar dris kyi mi dang 'phrad-pa /tar/ slar rkyen bskul gsa! gdab! rang chad Ia song ste/ 'dir snang-ba zad sar rna skyol! rgyas­ pai nyams shar tsam rnams kyang! der rdzogs-par shar ngo-shes nyams su blangs-pas mthar thug-par grol tel goms zhing 'dris-pa gang-zag Ia/ sku dang dkyi/-'khor rdzogs-par 'char. (63) mNgon-shes rjes dran gyi(s) snang-ba rnam gsum sun-mar 'char. (64) De dus kyi snang-ba gsum rang 'char mi 'char tel sgra 'od zer gsum rang snang sgyu-ma !tar shar-bas/ zhen chags sngangs mi skye-bar lha sku ye-shes sam rang snang sgyu-ma !tar du go-bas/ de dag mi bslu-bar grol-ba'o. (65) Rang-mdangs su shes-pas nges-par grol.

(66) sNang-bas bdag zhal bdag gis mthong! rang-rig bdag zhal bdag tu mjal! ma rig 'khrul-pa rang shar sangs. (67) Phyi-ma sum char 'char Ia skye sgo kun nyu! cing gang Ia yang 'jug sa 'tshol. (68) Ye-shes kyi spyan dang bar-do nang rigs min-pa sus kyang mi mthong Ia. (69) Bon-nyid 'od-gsal snang-ba Ia! rtogs-pa'i shes-rab ma skyes-pas/ sngar gyi ye-shes bag Ia zha/ sngon gyi bag-chags snang-ba shar. (70) sNgon 'byung srid-pai sha gzugs-can/ dbang-po kun tshang thogs­ med rgyu! las kyi rdzu-'phrul shugs dang /dan/ rigs mthun lha mig dag-pas mthong/ Ius dang 'dug sa tshol-bar byed. (71) Ma bu 'phrod nas sans-rgyas kyi dbyings-gral 'dzin. (72) De-dag gi rjes su ma 'brengs-pas rang chad La 'gro. (72) Des na da-lta ngo-bo 'char tshul la goms shing dad mas ser yod-pa. The Essence (ngo-bo) means the Natural State of the Nature of Mind (sems-nyid gnas-lugs).

(74) gDams-ngag dran nas nyams su blangs La rtsal sbyangs-pas/ gnad ldog-med lam 'chug-med 'bras-bu rtsol-med. (75) Yo gal med-pa thig-le'i lam ces dang/ gnas bzang rgyud nas myur du thar. (76) De'i tshe ye-shes tshon-gang dang 'od tshon-gang gi 'char gzhi Ia! rang Ius 'od sku 'dam gang mdun rgyab mtshams steng 'og med­ par snang-ngo/ phyogs bcu'i nam-mkha' La/ gzhal-yas thig-le gur­ khang grangs med-par 'char tel de La yang gur-khang lnga Ingar shar-ba'i dbus/ sku lnga lnga shar ste tshom-bu dang gral thabs kyi tshul du snang-ngo. (77) De'i tshe mngon-shes drug dang rjes-dran drug shar nasi rgyas-par sgron-ma /tar ram/ yang zhag lnga lnga Ia 'od re re shar tel rig-pa 'ad khyim 'khor-lo La 'dris sam/ de lha sku ye-shes su shari de-rang snang du chad-pas sangs-rgyas-so. (78) Sangs-rgyas kyi rang sa zin tel skye-med kyi dbyings-gral skad-cig La 'dzin/ sbyangs-pa chung-ba rnams kyang ngo-shes don don go­ bas/ de-dag gi rjes su mi 'breng rang khar mi 'char-bas/ rang dbang gyi skye-ba blangs te. Do not let them escape freely into their own condition is literally, not escape into their own face (rang khar mi'chor).

(79) Grub-mtha'i sgor zhugs.

(80) rNam-shes rten-med da-bur 'khyams-pa'i dus sui dge-ba-can Ia dag-pa'i snang-ba 'char/ sdig-pa-can Ia rna dag-pa'i snang-ba 'char. (81) sNang-ba Ia spyi-gtsug rang bab byed-pa. (82) Ma dag-pa'ilus blang-ba. (83) 'Bras-bu rang dbang gyi bde 'gro'am/ 'gro don las dag-pa'i skye gnas su byon-pa rnams mtshungs /dan-no. (84) Zangs Ia gser bzo dang 'dra. (85) bKa' lung thams-cad kyi do ya min-no/ de yang gang-zag lam-pa thams-cad kyi do ya min-no. 7. Notes to the Translation of the Explanation of the Fruit (1) Kun tu bzang-po khyab bdal 'gro-ba 'dren/ rang-rig mngon du gyur Ia phyag- 'tshal-lo. (2) In the title of the text, "the Guiding Explanation for coming to an intensely Clear and Definitive Decision regarding the Trikaya, where one remains in one's own Original Condition, which represents the Fruit" ('bras-bu rang sa bzung-ba sku-gsum dmar thag-bcad-pa'i khrid). The term dmar, literally "red," i.e., "blood," acts as an intensifier for thag-bcad-pa, literally, "to cut the rope," but in this context, "to come to a definitive decision." The term khrid represents an explanation that gives guidance for proceeding along the path, from 'khrid-pa, "to lead, conduct, guide." "To remain in one's own original condition, which represents the Fruit" ('bras-bu rang sa bzung-ba) indicates that the Dzogchen teachings belong to the Phalayana or Fruitional Vehicle, where one realizes the Fruit, or the ultimate goal of Buddhahood, by way of practicing the Fruit as the Path. The Fruit, that is to say, the Trikaya (sku gsum) has been present all along as the Base (gzhi), which is one's original condition (rang sa) to which one returns by way of the practice of vision or Thodgal.

(3) The crystal ball (she! sgong) illustrates that primal awareness is all-penetrating and naked ( ye-shes zang-thal gcer-bu, ), that is, it can become aware of anything and is devoid of conceptual constructions of reality, and the sky (nam-mkha') illustrates that primal awareness equally encompasses everything (ye-shes spyi­ blugs su mtshon).

(4) De nas nang du kha gyu ste rig-pa'i ngo-bo gcer-re Ita. Gazing into empty space with wide-open eyes (cer-re Ita) and with a mind freed from discursive thoughts, one comes to see the light of one's own naked awareness (rig-pa rjen-pa). Thus, in order to practice Thodgal, one must first realize Thekchod, or the state of contemplation. Otherwise, one will only come to see one's own conceptual constructions of reality that represent one's impure karmic vision.

(5) Rang gsa/ du ye-re gsal-ba bzhin du! kun-gzhi rig-pa ni sgran-me'i sga Ia gang gis kyang smag sgrib dang bra/ nasi rang gsa/ du ye-re gsal­ ba yin. Self-awareness (rang rig) is inherently clear and luminous (rang gsa!). Like the flame of a lamp, it not only illuminates the space of the dark room and all the objects contained therein, but it equally illuminates itself.

(6) gDad nas 'od gsa/ chen-par /hag gis 'char/ kun-gzhi ni sgran-me'i sga Ia gang gis kyang rna byas/ gdod nas rang- 'byung 'ad-gsa/ chen­ par /hun gyis grub. (7) Kun-gzhi ni sgran-me'i sgo Ia/ gsal la 'dzin-med du hrig-ger shar. (8) She/ sgang ni phyi nang thyams-cad sgrib-med zang-thal gcer-bu ru sang-nge gnas/ kun-gzhi ni sgron-me'i sga Ia/ sgrib g.yags kyi gas dang bra/ tel zang-thal du gcer-re (ce-re) shar. (9) Kun-gzhi ni sgron-me'i sga Ia/ phyi nang med-par ye-shes chen-pa spyi-blugs su khyab-pa'a. (10) Yul dang rig-pa zung- 'brei Ia mtshan-pa'i dpe/ chu she/ nyi-ma mar-me 'ad kyi tshul. (11) Rig-pa chu dang 'dra/ sgra 'ad zer gsum gyi snang-ba chu 'ad dang 'dra ste/ rang- 'byung du shar-bar ngo-sprod. (12) Rig-pa nyi-ma dang 'dra Ia/ snang-ba gsum'ad kyi tshul-la. (13) Rig-pa mer-me dang 'dra Ia/ snang-ba gsum 'ad kyi tshul du shes­ par bya'a. (14) Srid-pa'i sgron-ma nyin snang mtshams su gtad Ia gnan cing/ ka-ra 'khyor 'jug gi lag-len dang bstun Ia. (15) Nang dbang-pa'i sgron-ma ar Ia gtad-pa Ia/ mi bskyad-pagnyis kyis sgron-ma'i sgo mnan te. (16) rLung zin dang-po dgang-ba'i dus su 'ad zer sna-tshags su 'char­ bas/ rang 'od rang zer dungo-sprad! dbugs thung gzhil-ba'i dus su cung-zad klad-pas/ 'od lnga gzha'-tshon /tar shar-bas rang 'ad du ngo-sprad-da! tha-ma glod-pa'i dus su ar Ia gtad-par/ sngar gyi ngang Ia bltas-pas/ 'od zer gyi snang-ba rang gral du 'gro-bas/ rig­ pa'i rang rtsal du ngo-sprad-pa'a.

(17) gSang-ba rig-pa'i sgron-ma gnas Ia dbab-pa Ia! Ius gnad lta-stangs rlung sbyor las sags-pal bskor ka yar zhig bsgom du bcugs tel rig sprin dang ser-bu med-pa'i bar-snang Ia gtad-pas/ dwangs snyigs phyed gsa! mdangs than-pas/ 'ad gsa! gyi snang-ba du-ma 'char tel rang snang sggyu-ma !tar ngo-sprad-par bya'o.

(18) Brag dang grog-po las sags-par khus gdab ste/ de'i stong sgra byed med rang shar du byung-ba Ia ngo-sprad-pa. (19) Mi bskyod gnyis kyi gsang sgor mnan tel rig-pa'i rang sgra rgyun chags su grags-pa Ia yid Ia yid gtad cing rang shar du ngo-sprad­ do. (20) gNas kun-gzhi byang-chub kyi sems-nyid khyab bdal chen-pol phyogs ris med-pa (re) dogs-pa med-pa/ di ni bon-nyid kyi dbyings yin Ia! gnas de na rang-rig ka-dag chen-par bzhugs-pa nil bon-sku yin tel bon-sku'i zhing-khams rang chas dang/ gtan du 'grogs kyang zhal ma 'tsho. (21) Yang gnas snying mchong gur smugt-po she! gyi kha-bad-can/ snang gsa! 'ad kyi gzhal-yas 'di nil 'og-min ('da-ba) 'gran-zla med­ pa'i zhing-khams yin Ia/ gnas de Ia rig-pa'i ye-shes Ia rtsal sgra 'ad zer gsum !hun gyis grub nasi 'khor 'das thams-cad !hun-grub tu rdzogs-pa 'di nil longs-spyod rdzogs-pa'i sku yin-pas. (22) Yang gnas gsum rtsa'i 'khor-lo rnam-pa drug/ yi-ge 'khor-lo rdzogs­ pa'i zhing-khams yin/ gnas de na rig-pa'i ye-shes Ia rtsal drug yul drug las sags kyi cho-'phrul sna-tshogs su shar-ba 'di nil sprul-pa'i sku yin-pas/ sprul-sku'i zhing-khams dang bcas-pa rang snang Ia gnas kyang ma rtogs-pas/ rigs drug gi snang-ba shar-ro. (23) sNying Ia rang-rig khong shar deu yod-pa nil bon-sku rang chas/ rig-pa'i rang rtsal rtsa'i lam Ia ma Ius-par rdzogs-pas/ rdzogs-sku rang shari mig gi sgo Ia sems kyi cho-'phrul ma Ius-par shar-bas/ sprul-sku rang shar du ngo-sprad-pa. (24) Tsi-ta'i klong na rang-rig bon kyi sku! rtsa'i lam Ia rang-bzhin rdzogs-pa'I sku! sgron-ma'i sgo Ia rang shar sprul-pa'i sku. (25) Yang rig-pa'i ye-shes gdod nas ka-dag rtsa bra! du yod ni bon-sku! Ius sems 'brel-ba'i stabs las/ lha sku rigs stabs ye-shes kun 'byung­ bas rdzogs-sku! sgo gsum gyi bya byed sna-tshogs su spyod! sprul­ sku ste. (26) Rang rig-pa'i ye-shes ka-dag bon gyi sku! Ius sems 'brel-ba longs­ spyod rdzogs-pa'i sku! bya byed sdna-tshogs cir yang sprul-pa'i sku.

(27) Khong nas rang-'byung ye sangs-rgyas-par gnas/ sbubs nas !hun­ grub rdzogs sangs-rgyas-par gnas/ mthong Ia sgrib-med mngon sangs-rgyas-par gnas. (28) Yang sams-nyid ngo-bo stong-pa ni bon-sku rang chas/rnam-pa gsal-ba ni rdzogs-sku rang chas/ cho-'phrul sna-tshogs su 'char-ba ni sprul-sku rang chas yin tel stong-pa snang gsa! Ia sku gsum ngo­ sprad gsungs. (29) Yang phyi nang gsang-ba yin 'char tshul! thams-cad ngo-bo nyid du 'dug-pas bon-sku! rang-bzhin 'gag-med du gnas-pas rdzogs-sku/ cho- 'phrul nges-med du 'char-bas sprul-sku. (30) Yang rang gi rnam-rtog 'phra rags thams-cad stong-cha ni bon-sku! gsal-cha ni rdzogs-sku/ cho-'hrul cha ni sprul-pa'i sku ste. (31) gZhi hem rig 'brel-ba 'di sku gsum rang chas su gnas-pa de gzhi'i sku gsum Ia! de ci !tar nyams su blangs-pa Ia lam gyi skabs su rgyud Ia shar-ba de lam gyi sku gsum/ de Ia byung thebs rtsal rdzogs shugs than/ klong du gyur-pas 'bras-bu'i sku gsum mngon du byung-ba ste. (32) bDag Ius zag-pa'i mtshan-ma snang-yor gdos-bcas grol nasi zag­ med mchog gi sku Ia/ mtshan dang dpe-byad rgyan gdan khri/ zhing-khams dang bcas-pa rdzogs-pa'i sku mngon gyur Ia/ thugs­ nyid spros-bral blo 'das zab-mo'i ngang las/ btang bra! med-par bzhugs-pa nil bon-sku mngon gyur Ia. (33) rTsal sgra 'ad zer gsum phung-po khams dang skye-mched! rtsa dang yan-lag sems dang sems 'byung thams-cad! phyi nang gsang gsum lha tshogs su shar cing. (34) sPyri rtsal sgra 'ad zer gsum/ rang-snang rig-pa'i ngo-bor grot zhing. (35) Khyad-par 'ad dkar-po grol-ba'i snying-po /tar gsal-ba nil 'khrul­ med thugs kyi lha kun-snang khyab-pa/ stong-nyid ye-shes rgyud Ia gsal-ba/ sku-mdog dkar-po/ dbus phyogs de-bzhin nyid kyi rigs 'dzin-pa/ phyag-mtshan 'khor-lo/ bon-sku bder chen ngang Ia gnas­ pa'i phyag mnyan-bzhag 'byung-ba nam-mkha'i klong Ia dbang bskur-bas/ yum nam-mkha'i lha-mo/ zhe-sdang zil gyis gnon las seng-ge'i gdan/ byams-pa chen-po'i stabs dang !dan-pas/ tsha grang dmyal-ba'i sdub-bsngal 'jams shing don mtshad-pa'o. (36) De bzhin 'od ser-po las 'gyur-med sku yi lha gsal-ba rang- 'byung/ me-long ye-shes rgyud Ia gsal-ba/ sku-mdog ser-po/ shar phyogs g.yung-drung gi rigs 'dzin/ phyag-mtshan gser gyi chags-shing ngam g.yung-drung/ longs-spyod rdzogs-pa'i sku'i brda ru ngo-mtshar

The Pract1ce of Dzogchen in the Zhang-Zhung Tradition of Tibet

gyi phyag-rgya thugs-kar bkrol-bas/ 'byung-ba sa'i klong Ia dbang bskur-ba! yum sa yi lha-mo/ gti-mug zil gyis gnon-pa'i glang-chen gyi gdan/ ye-shes chen-po'i stabs dang !dan-pas/ gten lkugs byol­ song gi don mdzad-pa'o. (3 7) brDa thabs thams-cad rgyas-par ngo-sprad. (38) Phyi !tar gshen-lha rgod-gsas gar-gsas gsas-rje gnam-gsas lnga'am/ nang !tar kun-snang las sags lnga'o/ gsang-ba !tar gtso-mchog khro­ gsas rngam-gsas dbal-gsas gtum-gsas. These represent the outer, inner, and secret aspects of the same deities.

(39) These eight male Bodhisattvas (ye-gshen brgyad) and eight female Bodhisttvas (ye-sangs brgyad) correspond to the eight aggregates of consciousness (tshogs brgyad) and the eight objects of these conscwusnesses.

(40) rGyu drug gi 'dzin rtog las 'dul-ba'i gshen drug. Thus, altogether this makes a total of fourty-five peaceful deities. In addition, there are further hosts of deities, performing the functions of increasing prosperity in the outer aspect, causing pacification in the inner aspect, and performing wrathful activites of subjugation in the secret aspect: Phyi !tar na rgyas-pa'i lha tshogs brgya rtsa brgyad!

nang !tar na zhi-ba'i lha tshogs zhe lnga/ gsang-ba !tar na khro-bo khro-mo'i lha tshogs brgyad cu rtsa drug las sags kyang. (41) The interlaced network of illusions (sgyu-'phrul draw-ba) refers to the cycle of Peaceful and Wrathful Deities (zhi khro lha tshogs) as found, for example, in the Tibetan Book of the Dead (bar-grol thos-grol). The principal Bonpo source for this cycle is the Tantra known as the Khro-bo dbang-chen. The chief deity in the cycle is Tsochok Khagying (gtso-mchog mkha'-'gying), corresponding to Chemchok Heruka in the Nyingmapa tradition.

(42) De ltar-ba'i lha tshogs Ia! yab yum du 'byung-ba! thabs shes gsa! stong las sags zung 'brei du gnas-pa'i don/ gTso 'khor du byung-ba nil sems dang sems 'byung gi grol stabs kyi khyad-par dang/ phyi nang gsang gsum du shar-ba ni. (43) Las bzhi'i thabs kyis 'gro-ba 'dren-pa/ sku gsung thugs kyi yon-tan dang ldan-pa nil sku gsum gyi bdag-nyid du ye nas bzhugs-pa'i don dang. The four magical activites are pacifying (zhi-ba'i phrin­ las), increasing or enriching (rgyas-pa'i phrin-las), enchanting or magnetizing (dbang gi phrin-las), and fierce or wrathful actions (drag-po'i phrin-las).

Notes to the Translations

(44) See Reynolds, Selections from the Bonpo Book of the Dead, ibid. See Shardza Rinpoche, mTshan snang ar-gtad gdams-pa 'od-gsal 'khor-yug, "T he Horizon of the Clear Light, being the Instructions for Fixation on the Visions that appear in the Darkess (of the Dark Retreat)," pp. 371-415, in rDzogs-pa chen-po sku gsum rang shar gyi khrid gdams skor, New Delhi 1974. See the transcript of Lopon Tenzin Namdak's commentary in Reynolds, The Instructions of

Shardza Rinpoche for the Practice of Vision and the Dark Retreat, Bonpo Translation Project, Amsterdam 1992. (45) Ye-shes kyis mkhyen tshul nil ye-shes Ia rang-'byung rig-pa'i ye­ shes de nyid mngon du gyur/ de Ia byung thebs rtsal rdzogs shugs thon-pa'i 'char tshul las/ stong-nyid mnyam-nyid bya-ba nan-tan sor-rtog me-long ye-shes dang lnga ste/ don-dam ci lta-ba mkhyen­ pa dang kun-rdzob ci snyed-pa mkhyen-pa/ ye-shes de yi byed-pas shes bya'i gnas-lugs sil-bur gzigs-pa'i ye-shes brgyal khri bzhi stong ste. (46) De yang sems-can gyi dus kyi rtog tshogs gnas grol-ba Ia shar dang/ ting-nge 'dzin gyi sgo 'bum phrag mtha'-yas-pa thugs Ia gsal-ba nil rgyu'i dus kyi bsam dran sna-tshogs grol-ba Ia shari 'od zer gyi 'phro 'du. (47) Thugs-rje che-ba/ thabs Ia mkhas-pa/ thams-cad mkhyen-pa gsum gyis. (48) Nga ni nyi bzhin kun Ia snyoms-pa Ia/ chu bzhin rgyun mi 'chad. (49) Shes-bya'i gnas-lugs mi mkhyen-pa. . ... mkhyen-pa'i ye-shes gcig gis nil shes-bya'i gnas-lugs gsal-bar stan. (50) Gang-zag las dang skal-pa dang ldan-pa. (51) mKha'- 'gro bka' skyong rnams kyis bka' chad-pas gcod-par byed­ do. (52) Lag-len go-rim.

Part TWO Translation of the Seven-fold Cycle of the Clear Light

I translated the present text on the dark retreat practice according to the

Zhang-zhung Nyan-gyud shortly before meeting

Lopon Tenzin Namdak in person for the first time at Tsegyalgar in Conway, Massachusetts, in the spring of 1989. Over the course of two afternoons, the Lopon was kind enough to answer my questions regarding the translation of this text and to give certain instruction in terms of the practice. Subsequently, at Bischofshofen in Austria, the Lopon gave further instructions pertaining to the dark retreat, this time those according to Shardza Rinpoche. However, the dark retreat described by Shardza Rinpoche was according to the cycle of the bsGrags-pa skor gsum, rather than the Zhang-zhung Nyan-gyud. I also transcribed the Lopon's oral commentary on that text and published it separately in the Bonpo Translation Project as The Instructions of Shardza Rinpoche

for the Practice of Vision and the Dark Retreat

(Amsterdam 1992).

Futhermore, the Shardza text relies much more heavily on the Tantric practices of visualization than the text we have here, where matters are kept much more simple and direct, as suits Dzogchen generally. For this reason, the practitioner will find the dark retreat from the Zhang-zhung Nyan-gyud a bit easier and simpler. My thanks are extended first of all to the Lopon for transmitting and explaining these dark retreat texts. And secondly I would like to thank all those involved in organizing the retreats at Conway and Bischofshoven. It is the hope of the translator that all who may enter into this retreat shall find the light in the darkness. San Diego July 1997

Second Preface

Due to the vicissitudes of Samsara, it has taken me sometime to bring into print this translation of the Seven-fold Cycle of the Clear light. In the meantime, a number of Western practitioners have made a dark retreat for various lengths of time, and even the full forty-nine days, at Triten Norbutse Monastery in Nepal and also elsewhere, following the methods outlined in this text. It continues to be the translator's hope that the work presented here will provide both inspiration and practical help to practitioners of the Dharma who in the future choose to embark upon the dark retreat. MU-TSUG SMAR-RO!

John Mydhin Reynolds San Diego September 2000

The text presented in translation here outlines the practice of the forty-nine day.dark retreat according the Bonpo system of Dzogchen known as the Zhang-zhung Nyan-gyud, the Oral Transmission from the country of Zhang-zhung (zhang-zhung snyan-rgyud). The text used for the translation is found in the sNyan-rgyud nam-mkha' 'phrul

mdzog drang nges skor dang Zhang-zhung snyan-rgyud skor, Tibetan Bonpo Monastic Centre, New Delhi 1972 (ff. 714-722). Here the title in Tibetan reads rDzogs-pa chen-po zhang-zhung snyan-brgyud las

gcig brgyud 'od-gsal bdun skor zhes bya-ba bzhugs-so. The meaning of this title will be discussed below in the Commentary to the translation. The text belongs to the cycle of Dzogchen teachings from Zhang­ zhung in Northern Tibet, which, as the title snyan-rgyud suggests, was originally an oral teaching transmitted in private from master to disciple. However, according to the Zhang-zhung tradition, the Dzogchen precepts were first written down in the eighth century by Gyerpung Nangzher Lodpo in the Zhang-zhung language, but mainly in the tenth century by Kundul Orgom (Kun-'dul 'or-sgom) and Yangton Chenpo Sherab Gyaltsan (Yang-ston chen-po Shes-rab rgyal­ mtshan). A practice manual for these practices, which included the dark retreat (mun-mtshams), was composed sometime in the twelth century by Druchen Gyalwa Yungdrung (Bru-chen rgyal-ba g.yung­ drung) and entitled the sNyan-rgyud rgyal-ba phyag-khrid. At a later time, the present text was included with that collection as a kind of

appendix, although, according to Lopon Tenzin Namdak, it was not composed by Druchen himself, but by some other author. As is also the case with the vision practice of the Clear Light ('od­ gsal), elsewhere known in the Buddhist tradition of the Nyingmapa school of Tibet as Thodgal (thod-rgal), the principle in dark retreat practice is not visualization (dmigs-pa), the transforming of impure karmic vision into pure vision as is done in Tantric sadhana, but simply the practice of vision as such. This is because visualization is something created by the mind. With visualization, the discursive mind is still operating, still thinking, whereas although in terms of vision (snang-ba), the senses continue to be open and operating, in the condition known as clarity (gsal-ba), but the usual mental processes of thinking, perceiving, and conceiving have all been suspended or transcended because one has entered into the state of contemplation. With the practice of Dzogchen, one finds oneself beyond the mind in the state of contemplation (mnyam-bzhag, ting-nge 'dzin), where the practitioner has entered into and remains in the Natural State of the Nature of Mind (sems-nyid gnas-lugs). The condition of the Nature of Mind is called Rigpa or intrinsic awareness and may be compared to the innate capacity of the mirror to reflect whatever may be set before it. In this case, metaphorically speaking, the practitioner, while in the state of contemplation, abides in the condition of the mirror rather than that of the reflections. This state of contemplation is elsewhere in the Nyingmapa tradition called Trekchod (khregs­ chod), the releasing (chod) of all tensions and rigidities (khregs-pa), for which reason Dzogchen is also known as lhod-pa chen-po, the state of total relaxation. Indeed, during the course of the dark retreat one comes to relax totally. However, the terms Trekchod and Thodgal do not actually occur in the texts belonging to the Zhang-zhung Nyan­ gyud cycle, even though this cycle of Dzogchen teachings from Zhang­ zhung is classified as Upadesha (man-ngag gi sde) among the three classes of Dzogchen teachings. In general, among all the spiritual paths to enlightenment, Dzogchen represents the Path of Self-Liberation (grol lam) in contrast to the methods of Sutra and Tantra. Therefore, the principal practice (dngos-gzhi) in Dzogchen is always that of contemplation, or simply remaining in the Natural State. As said above, contemplation is a state that transcends and lies beyond the mind (sems) and its manifold operations and reality-creating processes. In Dzogchen,

a clear distinction is made between, on the one hand, mind (sems) and the thought process (blo), which are conditioned by karma and circumstances, and which exist in time and, on the other hand, the Nature of Mind which is timeless and unconditioned. The latter is the source and matrix of the former, like a mother and her many children, and both are present in one's everyday experience, although the Nature of Mind and its capacity for Rigpa, or illumination or awareness, normally goes unnoticed, just as when the presence of the sun in the sky is concealed by a thick layer of clouds. Nevertheless, the sun is present there all of time in the sky for, otherwise, the world would be in total darkness. The practice of contemplation contrasts with the methodology of the Tantras that represents the Path of Transformation (sgyur lam) where, by way of visualization practice during long retreats, the impure karmic vision of Samsara is purified and transformed into the pure vision of Nirvana with its mandalas (dkyil-'khor) and meditation deities (yi-dam lha). But according to the view of Dzogchen, there is no need to transform anything because everything that manifests, or appears to vision, or arises into consciousness, is complete and perfect just as it is. It represents spontaneous self-perfection just as it is because it is a manifestation of the inherent energy of the Nature of Mind. On the one hand, the Nature of Mind represents Shunyata, the state of emptiness, what is called primordial purity (ka-dag), but on the other hand, at the same time, it is pregnant with an inexhaustible supply of creative energy (rtsal). This represents a pure potentiality for the visible manifestation of all possible forms, all possible universes and all possible lifetimes. This principle is called spontaneous perfection (!hun-grub). It seems paradoxical that the void, an apparent nothing, is, at the same time, a source of inexhaustible energy that is inherent in it. But such is the case. Shunyata (stong-pa nyid), in terms of the Dzogchen teachings, is not mere nothing or absence. Whatever comes into manifestation within consciousness, whether impure or pure, whether the visions of Samsara or of Nirvana, is in fact a manifestation of the innate inexhaustible energy of the Nature of Mind (sems kyi snang-ba). When one speaks of the Nature of Mind, this does not refer to some substance such as a mind-stuff, or an isolated atomic entity called a self (bdag). When one looks into oneself and observes the arising, the abiding, and the dissolving of thoughts, one does not discover any such entity. What is found there within oneself

is an unceasing flow and flux like that of a river, a veritable stream of consciousness. And all of the contents of consciousness, whatever phenomena may occur or arise in this stream of consciousness, are conditioned,

impermanent, insubstantial, that is, lacking in any

inherent existence. Their nature is empty. So one may characterize the Nature of Mind as the state of Shunyata, or emptiness. But as said, this "emptiness" is not a mere absence or nothingness because the manifestations of phenomena are constantly and continuously arising out of it, just as waves continuously arise out of the sea. They represent the continuous and unobstructed manifestations of the inherent energy (rang rtsal) of the Nature of Mind. But this does not mean that the Nature of Mind in its Natural State merely remains blank and devoid of thoughts. The goal of Dzogchen is not just a condition of being without thoughts (mi rtog-pa). That is simply an experience (ny ams) and it is not what is meant by Rigpa, or intrinsic awareness. The Nature of Mind is not only emptiness, which is primordial purity (ka-dag), but it is equally characterized by a luminous clarity (gsal-ba) and intrinsic awareness (rig-pa). In terms of this Primordial State that is the Base, these two, emptiness and clarity, have been inseparable from the very beginning (y e nas gsa! stong dbyer-med) and never otherwise. These two sides or aspects of a single non-dual reality are only distinguished for purposes of discourse and human understanding. Moreover, the Nature of Mind of the individual is not inert or passive like a lump of clay, but dy namic and creative; it is natural for thoughts and appearances to arise continuously and incessantly from out of the infinite pure potentiality of the Nature of the Mind. Furthermore, this process of continuous manifestation is unobstructed and unceasing (rna 'gag-pa). And by entering into a prolonged dark retreat, entering into a sensory deprivation experience and temporarily suspending the normal operations of the mind, one comes to experience this in a very direct way and, furthermore, one comes to understand this in an experiential rather than a theoretical way. For this reasnn, in the

Phyag-khrid of Druchen, the practice of the dark retreat is presented before the practices of the sky and the sunlight. However, one must first become proficient and somewhat stable in the practice of contemplation through fixation on the white letter "/'\' and by other appropriate means known as Semdzin (sems-'dzin), or fixating the mind. If one is not stable in contemplation first, the dark retreat will

be of little use, of little more use than watching television in a dark room, or engaging in daydream fantasies. When one enters into the dark retreat, a condition of nearly total sensory deprivation, at least in terms of vision, and when there is no interference from the functional mind or Manas (yid) that creates thoughts and conceptions, and when the obscurations due to karma have been sufficiently purified, like clearing away the clouds in the sky, then the visions that spontaneously arise will be expressions of purity. That is to say, they are pure visions rather than impure karmic visions. But in order for this to occur, one must enter into a condition of total relaxation of body, energy, and mind and find oneself in a alert state of contemplation that is beyond the mind. How do these visions arise in the total darkness that is the medium for their manifestation? Dzogchen texts speak of four or six lamps (sgron-ma drug) that describe this process. Generally, lamps represent sources of light, but here "lamp" is a metaphor. The light spoken of here is not so much ordinary physical light, such as may come an electric bulb, but a metaphysical light - the light of awareness that illuminates our world. The source for this light of awareness known as Rigpa is, metaphorically speaking, the physical heart (tsi-ta) of the individual. This inner light (nang 'od), the light of awareness, resides in the hollow space inside the heart, which is said to resemble a maroon­ colored carnelian stone decorated with white crystals of fat. Then connecting the physical heart to the eyeballs is a hollow translucent channel called kati, or the smooth white nerve ('jam dkar rtsa), that rises up from the heart and proceeding into the brain it divides into two and enters into the eyeballs. This inner light of awareness proceeds from the hollow space in the heart, moving upward through the kati channel, to the two eyes which are like lenses to focus this light. The two eyes are the gateways for the emergence into outer space of this inner light of awareness. Thus, this light and the images that appear in this light, are actually something internal, residing in the interior space of the heart, but here they manifest in the empty space in front of oneself. The light from the lamp of the heart is projected upward through the hollow translucent kati channel and out through the lenses of the two eyes into the space in front, much like one is watching a cinema show. This process may be compared to a magic lantern or a cinema projector. However, here the medium for the manifestation of the images is not a flat two-dimension screen on a wall in the cinema

theatre, but they are projected into empty space as three-dimensional images. In other words, these visions experienced in the dark retreat are holographic images. And for this reason, even in a retreat in total darkness, the visions arise in the empty space in front of the eyes of the practitioner. But this is not like a torch or flashlight suddenly illuminating the objects in a dark room. The objects that appear are not really outside oneself. They are holographic projections, structures of light, projections of what exist inside oneself, within one's own unconsciousness psyche. In the dark retreat one is totally alone, alone in a dark room with one's own mind. Therefore, sufficient preparation before hand is required, particularly the practice of contemplation. The prolonged dark retreat is not something to be jumped into prematurely. Entering into a dark retreat is entering into an intense sensory deprivation experience for more than a month. So, it is only natural that visions will arise in the darkness. This may not occur at first because the mind is still tense and active, functioning discursively in its usual mode of operation. When visions do arise they are more likely to be worldly and of a karmic nature. But with the regular practice of contemplation, both previously as preparation, and then in the dark retreat itself as the principal practice, gradually the mind will relax its tensions until its usual and habitual functions fall into abeyance. This allows material from below the surface of consciousness, normally suppressed or forgotten, to emerge and be projected out into the space of the dark retreat room as visions. At first these visions will be most definitely the products of the individual's impure karmic vision. Therefore, it is of crucial importance that one remain firmly settled in contemplation, or the Natural State. When visions do come, they should not be judged as good or bad, beautiful or ugly, high or low; one must remain without any attachment (zhen-pa med-pa) with regard to them and not elaborate them in terms of thoughts. They are just what they are and one lets them be. Furthermore, the dark retreat in terms of Dzogchen is not an exercise in dream interpretation, nor even vision interpretation. Interpretation entails elaboration by means of thoughts. The discursive mind is functioning and one is no longer in the Natural State, or contemplation. As soon as one starts thinking, one has lost the Natural State, which is simply a matter of being present and aware without deliberate thought or judgment. When the intellect intervenes and

one begins to analyze and interpret and evaluate the visions, one will become distracted and fall out of the Natural State. The point is not to assign this or that meaning or interpretation to a vision, but just to it be in a state of awareness and presence, like a mirror reflecting images. Interpretation is a secondary process, occurring at the level of the operations of the mind. But here in the dark retreat one simply lets the visions present themselves and nothing more. The visions arise and dissolve again spontaneously without interference from the mind or thought processes. Like the nature of the mirror remaining unaffected by whatever reflections may appear in it, so, in the same way, the practitioner in the dark retreat is unaffected by whatever visions arise in the darkness and simply remains in the Natural State. But if one pursues and follows after these visions, one is no longer remaining in the Natural State and one will come to spoil one's dark retreat. The process of realization is like pressing sesame seeds. The oil comes naturally. If one remains in contemplation in total darkness, without thinking about or judging the visions that arise, they will continue to come naturally and spontaneously without effort. These visions arise out of the Natural State of the Nature of Mind and they will dissolve again into it. It does not matter whether these visions are beautiful or ugly, they are just visions, visible expressions of energy. They arise out of the Natural State; they are illusions like mirages seen on the horizon; they are just visible manifestations of the energy of the Nature of Mind (sems ky i snang-ba). One discovers that this is true of the visions that occur in the dark retreat. And it is not difficult to understand that the same is true of the visions that one experiences every night in the dream state. Dreams are equally illusions and manifestations of energy. But then one needs to go further and discover that this is true as well of one's normal visions of reality experienced in everyday life. These visions of our everyday concrete reality, experienced in our waking state of consciousness, equally arise out of the Nature of Mind and dissolve again into the Nature of Mind. Just as one wakes up in the morning and realizes that one has been dreaming, so when one dies, one wakes up from the extended dream we call our everyday reality. Reality consists of vision; it appears to be stable, firm, real, solid, opaque, and substantial. It appears to be really out there, but it is only vision. It is only space and light. This is what the mind actually senses, actually knows, not abstractions like things and substances that we think are real and

enduring. But the dark retreat, indeed, vision practice in general, as well as dream practice, can dissolve this habit of thought. This is the point of vision practice - to breakdown our conventional notions of what constitutes reality and to take us beyond our limitations. Even though they are seemingly real and solid and opaque, these visions in everyday life are empty appearances lacking any inherent existence. They are like rainbows in the sky. The methods of philosophical analysis of Madhyamaka found in the Sutra system reveals that their nature is Shunyata. But here matters are only considered on the emptiness side (stong-cha). Madhyamaka philosophy of the Sutra system does not take into consideration spontaneous perfection (!hun­ grub) on the clarity or manifestation side (gsal-cha). Indeed, in the perspective of Dzogchen, the Nature of Mind is empty and lacking any inherent existence, yet this Shunyata is not a mere nothingness. Shunyata is pregnant with all possibilities; there is the potentiality for all possible visions to manifest out of it spontaneously. Therefore, Dzogchen goes beyond the discourse of Madhyamaka, asserting that the Natural State of the Nature of Mind is both Shunyata or primordial purity (ka-dag), and energy continuously manifesting in spontaneous perfection (!hun-grub). In the dark retreat one comes to understand that inseparability experientially. What is the source of this inexhaustible energy? These visions arise spontaneously just as oil comes forth when one presses mustard seeds. But if one squeezes sand, no oil will come forth. Although initially no oil is visible, when the mustard seeds are pressed, this oil manifests as spontaneously perfected. So when one practices contemplation, all possible visions, even all possible universes and all possible lifetimes, may arise as visions out of the Natural State. These visions are spontaneously produced and effortlessly perfected because the Nature of Mind, in and of itself, is outside the temporal and the causal sequence, even though it represents the matrix and context of time and causality. All events and all lifetimes, from the infinite past and equally of the infinite future, exist simultaneously in the Nature of Mind. Because it is the Primordial Base (ye gzhi), all events or visions of Samsara and Nirvana unfold out of this single Nature of Mind of the individual. Just as the mirror has the capacity to reflect the image of whatever is set before it, so the Nature of the Mind has the capacity to be aware of whatever manifestation may arise. But the Nature of Mind is not simply a mirror that reflects; equally it is the source of the

energy that comes into visible manifestation. So it is also like a crystal placed in the sunlight, refracting this light and producing the rainbows seen on the wall. But the Nature of Mind is more than a crystal. Its light does not come from some outside source like the sun; its light is internal. But in saying it is like a mirror or like a crystal, or again like the sky or like the sun, we are employing examples (dpe) and none of them are perfect. However, they can contribute to understanding the real meaning of the Nature of Mind. Generally speaking, the visions may be classified as of two kinds, the pure and the impure. Impure visions arise from the individual's past karma and give rise to the karmic visions of the various destinies of rebirth in Samsara. It is within this labyrinth of Samsaric vision that we habitually find ourselves. These visions are called impure because they are engendered by ignorance or a lack of understanding and awareness and because they are mixed up with the kleshas, or negative emotions, tied up with the notion of an ego. Pure visions, on the contrary, arise out of understanding and awareness and are free of the pollutions and distortions of the kleshas. They are the archetypal images of the Buddhas and the Buddha realms arising in the recognition of the Clear Light. These pure visions (dag snang), which are spontaneous manifestations of enlightened awareness also called Thodgal visions, must be distinguished from impure karmic visions (rna dag las snang) that cloud consciousness and which arise from memories and karmic traces. These latter are Samsaric and conditioned in nature. Practicing in the dark retreat with total darkness, or with the empty open spaces of the sky free of clouds, or with the light of the rays of the sun in the early morning shortly after sun rise, only represent the secondary causes for the development of these Thodgal visions, or visions of the Clear Light. The actual cause of the Natural State is the practice of contemplation. In addition to total darkness, the practitioner may use other supports, which are secondary causes such as sunlight, moonlight, lamp light and so on. But this should only be done in a safe and comfortable fashion, never looking directly into the source of the light, especially in the case of the sun. Rather, one should look one cubit below or to the side of the orb of the sun and never when the sun becomes bright later in the morning. One should also look a little below the moon or to the side. And, in the same way, look to the side of a candle or the flame of a butter lamp.

Why does one spend seven weeks or forty-nine days in a retreat in total darkness? Just

as

does dream practice, vision practice in the dark retreat serves as a preparation for the Bardo experience after death. Just as one experiences sensory deprivation in the dark retreat and during sleep, even though one remains encased within the physical body, when the senses are withdrawn from their external objects and the Manas, or discursive mind (yid), ceases temporarily to function in its normal fashion, the contents of the unconscious psyche rise to consciousness as visions. This occurs in dreams and it occurs also after death in the Bardo of Existence. But these visions are karmic and do not represent enlightened awareness. During the process of dying, known as the Chikhai Bardo, when the external breathing has ceased and one is pronounced dead, one's Namshe or consciousness (rnam-shes), finds itself deprived of the physical body. Nevertheless, consciousness continues and this consciousness finds itself in a subtle or mind-made body, where the mind and the senses are still operative. For some days the deceased consciousness sees and knows what is going on around it and what is being done to its corpse. But after three or four days when the internal breathing ceases, that is to say, the circulation of psychic energy, then the subtle body that is the vehicle for consciousness, as well as the personality begin to disintegrate. Then the second death approaches, the moment of true psychic death or dissolution of consciousness. One experiences the white dawn and the red dawn and finally the moment of eclipse or total black-out when dualistic consciousness is dissolved and extinguished. Then there subsists only the state of Shunyata. This is called the Bardo of Emptiness and it represents the culmination of the process of dying. At this moment, one experiences a total sensory deprivation because neither the senses nor the mind are functioning. One finds oneself in a condition of total and complete nakedness with neither a mind nor a body. One is simply suspended in space. One is simply Shunyata itself. All the clouds have vanished from the sky. This allows the space and the clarity for the manifestation of one's own Buddha nature, one's Nature of Mind. What manifests in this state of Shunyata is the Clear Light. This is like seeing one's face in the mirror. This Clear Light is one's own intrinsic awareness, or Rigpa, which represents the inherent quality of the Natural State of the Nature of Mind. Just at this moment, the border or Boundary (so-mtshams) between dying and the onset of the Bardo experience, the moment when the Clear Light

manifests in emptiness, one has the maximal opportunity to attain enlightenment and liberation from Samsara. If one recognizes the Clear Light and understands that it is the manifestation of one's own Nature of Mind, one becomes liberated. If not, then a spontaneously born ignorance arises that is dualistic in its operation, giving rise to the dichotomy of subject and object. One does not intuitively understand that this Clear Light is oneself, but one comes to feel it is something out there in space separate from oneself. Then the mind comes once more into operation at a subtle level and the archetypal images of the Peaceful and Wrathful Deities spontaneously manifest within the chaos of colors forming in this Clear Light. Still, if one has done meditation practice as preparation during one's previous lifetime, one will have the opportunity to recognize these pure visions as manifestations of one's Nature of Mind and one may liberate at this point. If not, these images become more active and energetic and appear as the Wrathful Deities. Still, even at this time, one may recognize their nature and liberate. But if the individual has not been prepared by previous meditation practice, these visions in the Clear Light flash by in less than an instant, like a flash of lightening seen on the distant horizon in the middle of the night. The Clear Light having faded, the gross discursive mind comes back into operation and memories re-awaken. One finds oneself again inhabiting a mind-made body in which the subtle senses are fully operational. But instead of finding oneself in the material conditions that once surrounded one's corpse, one discovers oneself wandering in a visionary symbolic landscape where one's own past karma rises up before one in visual manifestations much as in dreams. Having departed from the Bardo of the Clear Light of Reality, one finds oneself in the Bardo of Existence, the process leading to rebirth. Lacking understanding and the presence of awareness, one becomes distracted by these visions, thinking them to be real, and one wanders lost in this expanding holographic landscape. This landscape develops, proliferates, and transforms as one's memories and karmic traces germinate and re-awaken. Literally, one becomes lost in a labyrinth of the visions of one's own karma. Then propelled by the winds of karma, like a dried leaf blown about in the empty streets by the autumn winds, one is driven relentlessly toward a new rebirth within Samsara. However, time in the Bardo is not the same as time experienced in the waking state of consciousness; it is more similar to time experienced

in dream. But the duration of the Bardo experience is symbolically forty-nine days. For a particular individual, the Bardo may last for only a moment, or it may last for centuries, or even millennia, before that stream of consciousness again takes up embodiment. It all depends on one's individual karma. But seven and forty-nine are ultimately related to the Old Babylonian and to the Hermetic and Gnostic systems of symbolism, not only to the seven days of creation, but to the septenary phases of the ascent of the soul into the heavens and the descent of the soul into reincarnation on earth. In the Gnostic perspective, the soul must journey in its descent through the seven planetary spheres, acquiring as a vestment within each sphere a specific passion, or vice, or klesha. In the case of the Tibetan Books of the Dead, this acquiring of vestments and the encounter with the seven Archons or deities embodying these passions and, who rule the seven planetary spheres above the earth, are presented as the sequential manifestations of the Wrathful Deities. For this reason, a practitioner often receives an initiation into the mysteries or practices of the Zhi-khro, or the Peaceful and Wrathful Deities, before engaging in the forty-nine day dark retreat. However, in the case of this dark retreat from the Zhang­ zhung tradition, matters are expounded much more simply from the Dzogchen point of view without recourse to the complexities of Tantric practice.

Outline of the Text "T he Seven-fold Cycle of the Clear Light", from the Single Transmission Oral Tradition of Zhang-zhung for the Great Perfection Teachings [rDzogs-pa chen-po zhang-zhung snyan-brgyud gcig rgyud 'od-gsal bdun bskor].

PART ONE: T he Yoga of the Psychic Channals and the Vital Winds T he instructions (in general) concerning the essential points for the yoga of the psychic channels and vital winds [rtsa-rlung], according to the Oral Transmission Lineage from Zhang-zhung for the Great Perfection Teachings which belongs to the Secret Mantra system [gsang-sngags zab-mo rdzogs-chen snyan rgyud kyi rtsa rlung gnad kyi gdams-pa 'di rnams] are presented below:

I. The Basic Body Posture for Training the Psychic Channels The essential points for the basic body position and the yantra exercises for training the psychic channels [[[rtsa 'dul]] gyi bca' gzhi 'khrul-'khor gyi gnad] are as follows: A. Balancing the Body and the Mind in Equipoise First, there is the balancing of the body and the mind in equipoise [Ius sems mnyam-par bzhag-pa]: Al. The Body Posture possessing Five Aspects Putting the body in the mudra or posture possessing the five aspects [Ius cha-lugs lnga !dan gyi phyag-rgya bca'], which are as follows: (1) The legs are held in a cross-legged position [zhabs skyil-krung bca'], (2) The hands are kept in the samadhi mudra, the gesture of equipoise [[[phyag]] mnyam-gzhag], (3) The spinal column is held straight like an arrow [sgal-tshigs mda' !tar bsrang], (4) The neck is pulled back like an iron hook [mgrin-pa lcags-kyu !tar bkugs], and (5) The shoulders are hunched like the wings of a vulture that soars in the sky [dpung-pa rgod (bya) gshogs lding-ba]. Furthermore, the tongue floats and does not touch the palate [!jags ya­ rkang Ia rna reg rtsam]. Moreover, there is a space between the teeth of the mouth like one is subtly sounding the letter "N.' [kha so bar-du yi-ge A phra-mo mthar tsam bya]. A2. Visualizing the Psychic Channels The essential point of the channels that are visualized [bskyed-pa rtsa'i gnad], namely, one clearly visualizes the three psychic channels: (1) The right channel is white, (2) The left channel is red, and (3) The central channel is azure colored.

B. Expelling the Stale Air Second, there is the training the breath and the mind so that they function properly [dung sems gcun Ia bor-ba].

II. Securing the Boundaries Then there are the essential points of the bodily position and the yantra exercises that secure the boundaries, thereby dispelling disturbances [mtshams-bcad bca' gzhi 'khrul-'khor gyi goad]. Herein there is (1)

The balancing of the body and the mind in equipoise [Ius sems mnyam-par bzhag-pa],

(2) The training the breath and the mind so that they function properly [dung dang sems gcun Ia bor-ba], and

(3) The training of the psychic channals and integrating this with the breathing [[[rtsa 'dul]] dung shrugs], and so on - these are all accomplished as described above [[[gong]] !tar].

A. The Posture of the Wrathful Deity First, there is the essential point of the body that represents the posture [[[bca'-ba]] Ius kyi goad], namely, one assumes the essential point of the body which represents the haughty posture of a wrathful deity [khro­ bo'i 'gying stabs gyi Ius goad bca').

B. The Visualizing of the Three Psychic Channels Second, there is the essential point of the psychic channels that are to be visualized [bskyed-pa rtsa yi goad], namely, one clearly visualizes the three channels as described previously [[[rtsa gsum]] gong !tar gsal­ gdab].

C. The Breathing Third, there is the essential point of the breath that is to be held [bzung-ba dung gi goad], namely, one expels the stale air nine times by way of a cleansing [rlung-ro sangs kyis 'bud].

D. The Visualization of the Bindus and Syllables Fourth, there is the essential point of the bindus (droplets of light) that are to be meditated upon [[[bsgom-pa]] thig-le'i gnad], in terms of the visualization described.

III. The Perfection Process [ rdzogs-rim] Colophon T his little text, which is concerned with securing the boundaries against disturbances in terms of the Clear Light practice, was explained by the author [[[bdag]] khrid 'od-gsal gyi mtshams-bcad yig chung].

PART TWO: The Practices for the Seven Weeks Here is contained "(T he Practices in particular for) the Psychic Channals, the Vital Winds, and the Yantra Exercises for the Clear Light," according to the Oral Transmission from Zhang-zhung [zhang­ zhung snyan-rgyud rtsa rlung 'khrul-'khor 'od-gsal bzhugs-so].

Introduction Here are the essential points concerning the psychic channels, the vital winds, and the yantra exercises (or the positions and the movements of the body) [[[rtsa rlung]] 'khrul-'khor gnad 'di] for developing the visualizations in accordance with the root text of the Oral Transmission [[[snyan-rgyud]] rtsa-ba'i dmigs-pa], connected with the visualizations from the Seven-fold Cycle of the Clear Light ['od-gsal bdun skor dmigs-pa], (that is to say, there is one particular visualization for the beginning of each meditation session during each of the seven weeks spent inside the dark retreat).

I. The First Week As for the first week, with respect to the essential points of the basic posture and the yantra exercises known as "the dust specks in the sun light" [nyi rdul-ma'i bca' gzhi 'khrul-'khor gyi gnad], these are as follows:

(1) The balancing of the body and mind in eqmpotse [Ius sems mnyam-par bzhag-pa], (2) The training of the breath so that it functions properly [[[rlung]] gcun Ia bor-ba], and (3) The training of the channals by way of the nine breathings [[[rlung]] rtsa 'dul dgu phrug]. These are in agreement with what was described above [[[gong]] ltar mthun]. (4) The essential point of the body that is the position assumed [bca'­ ba Ius kyi gnad]. (5) The essential point of the channels to be visualized [bskyed-pa rtsa'i gnad]. (6) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi gnad]. (7) The essential point of the bindus on which one meditates [bsgom­ pa thig-le'i gnad]. II. The Second Week As for the second week, the basic posture is known as "the rays of the sun" [[[bdun]] gnyis-pa nyi zer-ma'i bca' gzhi]. There are the following considerations: ( 1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi gnad], (2) The essential point of the channels that are to be visualized [bskyed-pa rtsa'i gnad], and (3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi gnad]. These three are the same as above. (4) The essential point of the hindus on which one meditates [bsgom­ pa thig-le'i gnad]. This visualization is different from the above.

III. The Third Week As for the third week, the essential points for the basic position and the yantra exercises of the right white channel and the left red channel [[[bdun]] gsum-pa rtsa g.yas dkar g.yon dmar gyi 'khrul-'khor bca' gzhi'i gnad] are as follows:

(1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi gnad], (2) The essential point of the channels that are to be visualized [bskyed-pa rtsa'i gnad], and (3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi gnad]. These three are the same as above. (4) The essential point of the bindus on which one meditates [bsgom­ pa thig-le'i gnad]. This visualization is different from the above.

IV. The Fourth Week As for the fourth week, the essential points concerning the yantra exercises of the basic position of one's own azure-colored central channel [[[bdun]] bzhi-pa Ia dbus mthing rang gi bca' gzhi 'khrul-'khor gyi gnad] are as follows: (1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi gnad], (2) The essential point of the channels that are to be visualized [bskyed-pa rtsa'i gnad], and (3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi gnad]. These three are the same as above. (4) The essential point of the bindus on which one meditates [bsgom­ pa thig-le'i gnad]. This visualization is different from the above.

V. The Fifth Week As for the fifth week, the essential points for the basic position and the yantra exercises that are like the rainbow [[[bdun]] lnga-pa Ia gzha'­ tshon-ma'i bca' gzhi 'khrul-'khor gyi gnad] are as follows: (1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi gnad], (2) The essential point of the channels that are to be visualized [bskyed-pa rtsa'i gnad]., and (3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi gnad]. These three are the same as above.

The Seven-fold Cycle of the Clear Light (4) The essential point of the hindus on which one meditates [bsgom­ pa thig-le'i goad]. This visualization is different from the above.

VI. The Sixth Week As for the sixth week, the essential points for the basic position and the yantra exercises where the HUM abides, the A emanates, and the

OM integrates [[[bdun]] drug-pa Ia gnas-pa HUM spros-pa A bsdu-ba OM 'khrul-'khor gyi bca' gzhi'i goad] are as follows: ( 1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi goad]. This is the same as above.

(2) The essential point of the channals that are to be visualized [bskyed-pa rtsa'i goad]. This visualization is different from the above.

(3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi goad]. This is the same as above.

(4) The essential point of the hindus on which one meditates [bsgom­ pa thig-le'i goad]. This visualization is different from the above.

VII. The Seventh and Final Week As for the final week, the essential points for the basic position and the yantra exercise where the HUM abides, the OM emanates, and the A integrates [[[bdun]] tha-ma Ia gnas-pa HUM spros-pa OM bsdu-ba A yi bca' gzhi 'khrul-'khor gyi goad] are as follows:

( 1) The essential point of the body that is the position assumed [bca'­ ba Ius kyi goad]. This is the same as above.

(2) The essential point of the channels that are to be visualized [bskyed-pa rtsa'i goad]. The visualization is the same as the sixth week.

(3) The essential point of the breath that is to be held [[[gzung-ba]] rlung gi goad]. This is the same as above.

(4) The essential point of the hindus on which one meditates [bsgom­ pa thig-le'i goad]. This visualization is different from the above.

Introduction

Conclusion Here there are three further methods: 1.

The general method [[[spyi]] khyab] where one keeps the same

2.

The equal parts in harmony [cha mthun], and

3.

The reverse order [go !dog] where the positions are performed in

position,

the reverse order.

Colophon

Here is contained "T he Seven-fold Cycle of the Clear Light", from the Single Transmission Oral Tradition of Zhang-zhung for the Great Perfection Teachings (rDzogs-pa chen-po zhang-zhung snyan-brgyud gcig rgyud 'od-gsal bdun bskor). Emaho! Homage to the Body of the Primordial Teacher! [1]

PART ONE: The Yoga of the Psychic Channels and the Vital Winds Here are presented the instructions concerning the essential points of the yoga of the psychic channels and vital winds according to the Oral Transmission Lineage from Zhang-zhung for the Great Perfection Teachings that belong to the Secret Mantra system: [2] (From the beginning) the Sugatas, the Siddhas, and the Gurus transmitted them successively from master to disciple like a necklace of pearls; and having practiced them themselves, they all obtained the realization (of the Rainbow Body of Light). However, for the benefit of those individuals belonging to future generations, I (the author) have set these instructions down in writing . T he preliminaries have already been elucidated previously. [3]

I. The Basic Body Posture for Training the Psychic Channels Now, according to the clear exposition of the yoga of the psychic channels and the vital winds (known as Tsa-lung), one should practice as follows: In terms of the essential points of the yantra exercise that represents the basic body position for training the channels, first there is the balancing of the body and the mind in equipoise, and second there is the training of the body and the mind so that they function properly. [4]

A. Balancing the Body and the Mind in Equipoise As for the balancing of the body and the mind

equipoise, one

proceeds as follows: [5] The Body Posture possessing Five Aspects One places the body in the mudra (or posture) possessing five aspects, namely, 1.

The legs are held in a cross-legged position,

2.

The hands are kept in the samadhi-mudra, the gesture of eqmpmse,

3.

The spinal column is held straight like an arrow,

4.

The neck is pulled back like an iron hook, and

5.

The shoulders are hunched like the wings of a vulture that soars (in the sky) .

Furthermore, the tongue (floats and) does not touch the palate. Moreover, there is a space between the teeth in the mouth like one is subtly sounding the letter /'\'. [ 6] Visualizing the Psychic Channels In terms of the essential point of the psychic channels that are to be visualized: One clearly visualizes the three principal channels (in the center of the body). The right channel is white, the left chaiitlel is red, and the central channel is azure-colored. As for this large channel (in the middle), at the lower extremity of the spinal column it is penetrated (by the two side channels) like the feet (or lower parts) of the Tibetan letter CHA . At the upper extremity, having already opened into the three folds of fat (on the surface of) the heart, at the crown of the head

this central channel opens its mouth like the spang-rgyan flower. [7] (Above the heart) the right and the left channels go back to the spine and then they are thrust upward from inside the junction of the spine and the skull; and they pass inside the skull casing over the top of the brain membrane (of the cerebrum) until they come to clearly extrude at the two nostrils of the nose. [8] Furthermore, these two channels remain just like very fine silk threads, whereas the central channel is visualized to open wide at its upper end just like a bamboo walking cane. The right and the left channels are (visualized to be) very straight in the manner of reed arrows. The right channel is crystal (white) like the color of a kangkari crystal and the left channel is vermilion like the color of powdered coral. The central channel, or Nye-lo u-dpal , [9] is a clear azure like the color of the bright sky. Thus, one should visualize these three in this way. B. Expelling the Stale Air As for the training the breath and the mind so that they function properly: (First, at the beginning of a session of practice), the stale air should be expelled nine times in order to remove it (from the lungs). In addition, within a single session of practice, at the beginning one remains for a short time in awareness and then in order to train the psychic channels, one proceeds to purify nine times the three channels on the right, on the left, and in the center respectively. [10] II. Securing the Boundaries As for the essential points of the yantra exercise represents the body position that secures the boundaries (thereby dispelling disturbances): (1) There is the balancing of the body and mind in equipoise, (2) The training the breathing and the mind so that they function properly, and (3) The training of the psychic channels and their integration with the breathing, and so on These are all accomplished as described above. [11]

A. The Posture of the Wrathful Deity

Then, in terms of the essential point of the body that is the posture assumed, one assumes the essential point of the body that is the haughty posture of a wrathful deity. [12] B. The Visualizing of the Three Psychic Channels

In terms of the essential point of the channels that are to be visualized, one clearly visualizes the three channels as described previously. [12] C. The Breathing

Again, in terms of the essential point of the breath that is to be held, one expels the stale air nine times by way of a cleansing. [14] D. The Visualization of the Bindus and Syllables

And finally, in terms of the essential point of the hindus (droplets of light) that are to be meditated upon, because on utters aloud the syllable BSWO, from unmanifest space there is emanated a sparkling effulgence of primal awareness consisting of (a multitude of) dark red BSWO syllables. They enter into the crown of one's head and are transmitted downward inside the azure-colored central channel. Then, in the middle of the heart center, they merge into a oneness without any duality with the essence of one's own intrinsic awareness, or Rigpa. Whereupon one's own being is transformed into an active wrathful deity, whose body color is dark red and who possesses a single face and two arms. He has an appearance that is heroic, enraged, and brilliant. Because one utters aloud the syllable BSWO, from the BSWO syllable that abides as the Base (in the heart center), there is emanated a sparkling effulgence of dark red BSWO syllables that come to fill to overflowing the interior of the azure-colored central channel. [15) Again, because one utters BSWO aloud, and because one holds the breath just a little for the right channel, from the BSWO syllables in the azure-colored central channel, countless numbers of BSWO syllables are emanated which come to fill to overflowing the interior of the white right channel. Then, when the breath is exhaled from the right channel, a sparkling effulgence of primal awareness consisting of dark red BSWO syllables come to fill to overflowing the entire dark retreat house, as well as the entire sky, the atmosphere, and the earth's surface.

Again, because one utters aloud the syllable BSWO, and because one holds the breath a little bit for the left channel, there having been emanated countless numbers (of BSWO syllables) from the BSWO syllables in the white right channel, they come to fill to overflowing the interior of the red left channel And when one exhales the breath from the left channel, there is emanated a sparkling effulgence of primal awareness consisting of dark red BSWO syllables that come to fill to overflowing everywhere in the front and back of the trunk of one's body, in one's skandhas (aggregates), dhatus (elements), and ayatanas (sense fields), in the psychic channels that abide therein, and even in the hair pores of the body. And because of that, no Bhutas, or restless spirits,. that are obstructers, and no wrong guides can cause any disturbances. One fixates one's awareness upon that, and one meditates (on the visualization) while adding seven times a little breath on top of that already held. Then one exhales and the process is complete. [16]

III. Dissolving the Visualization As for the Perfection Process: Those external BSWO syllables, having melted into light, are then re-absorbed into the BSWO syllables in the white right channel and into the red left channel. Then these BSWO syllables in the right and left channels, having melted into light, are absorbed into the BSWO syllables in the azure-colored central channel. Then these BSWO syllables in the azure-colored central channel, having themselves melted into light, are absorbed into the BSWO syllable that abides as the Base (in the heart center) . Thereupon the wrathful deity itself and the BSWO syllable that abides as the Base (in the heart center) become affixed with the seal of non-conceptuality, like the rainbow dissolving into the sky. [17] This little text concerning securing the boundaries against disturbances in terms of the Clear Light practice (in the dark retreat) that has been explained by me is hereby completed. [18]

PART TW O: The Practices for the Seven Weeks Here is contained "(The Practices of) the Psychic Channels, the Vital Winds, and the Body Positions for the Clear Light," according to the Oral Transmission from Zhang-zhung (Zhang-zhung snyan-rgyud rtsa rlung 'khrul-'khor 'od-gsal bzhugs-so).

Emaho! Homage to the divine form of the Primordial Teacher! Homage to the Gurus of the Lineage! [19]

Introduction As for the essential points concerning the psychic channels, the vital winds, and the body positions for developing the visualizations in accordance with the root text of the Oral Tradition, these instructions, which are similar to the moist blood found inside the heart, consist of the visualizations for the seven-fold cycle of the Clear Light, (that is, one particular visualization for each of the seven weeks spent inside the dark retreat). These instructions were transmitted only from one individual to another individual by the Siddhas of the past, and these precepts, which were not subsequently taught to a second individual, were kept sealed. However, for the benefit of future generations, I (the author) have arranged them in writing the clear explanations, together with an index (or outline). [20] Now, with respect to the sevenfold cycle of visualizations relating to the Clear Light practice (in the forty-nine day dark retreat), (there is one particular visualization to be performed at the beginning of each session for each of the seven weeks). [21]

The First Week As for the first week, there are seven essential points connected with the basic body posture and the movements known as "the dust specks in the sun light". [22] These are as follows: (1) The balancing of the body and the mind in equipoise, (2) The training of the breath so that it functions properly, and

(3) The training of the channels by way of the nine breathings. These are in agreement with (what has been described) above. (4)

Then, in terms of the essential point of the body that is the position to be assumed, the body assumes the mudra or posture which displays the five natural aspects (as described above). The breath is retained by means of a large (kumbhaka) and the ocean (the stomach) is pulled back against the Meru mountain (the spine). The tongue is held imprisoned by the palate (without touching it) and the eyes are rolled upward (as high as possible).

(5) In terms of the essential point of the channels that are to be visualized, the three psychic channels are clearly visualized as described above. (6) The essential point of the breath is holding it and one purifies it by expelling the stale air nine times as a cleansing (as described previously). (7) The essential point of the bindus (or tiny spheres of light} upon which one is to meditate is that the essence which is a bindu (tiny luminous sphere of energy) comprised of subtle vital energy (vayu) and mind (chitta} at the nostrils of the nose is clear and bright like a beam of sun light, that is similar to an arrow, coming through a small hole (in a totally dark room). One meditates on these two bindus (at the nostrils) as being a clear blue and green. [23] One fixates the awareness upon them, and the breath, which is held a little bit, is transmitted inside the right and left channels. These (bindus) merge into a very bright and clear maroon (bindu) at the lower extremity of the azure-colored central channel where the three channels unite and thereafter it goes straight upward through the azure-colored central channel and is expelled outside by way of being ejected about one full digit above the crown of the head. Then it descends gently downward and comes to reside in the middle of the heart center, filling it to overflowing. One fixates the awareness on that (while holding the breath} and continues to meditate while exhaling and inhaling the breath seven times. Thus the cycle is completed. Then again, the bindus are integrated into immateriality by way of thinking that they dissolve into the empty space of the sky. One expels the stale air for purification and affixes the seal of non-conceptuality (thereby remaining in the Natural State and one proceeds with the principal practice of the dark retreat}. [24]

The Second Week In terms of the second week, (there is the yantra exercise of) the basic posture known as "the rays of the sun". Everything else, the essential point of the body that is the yantra, the visualizations of the channels, and the breathing are similar to the above. [25]

But with respect to the essential points of the bindus upon which one is to meditate, (there is a different visualization). In the right nostril there is a yellowish white bindu and in the left nostril an orange-colored bindu. Both of them are just the size of grains that are Chinese peas and they emanate rays of light of five kinds like the rainbow. When one inhales, they traverse down inside the right and left channels, and from the lower extremity of the azure-colored central channel, the bindus ascend upward, like ping-pong balls being juggled, until they are expelled at the crown of the head for a distance of about one full finger width or digit. They descend gently and come to reside in the middle of the heart side by side or one on top of the other. One fixates awareness upon them and does so while holding the breath and adding (a little air on top of this holding) for seven times. When (this seven-fold cycle of inhaling, holding, adding more breath, and exhaling) is completed, if there should occur any dullness or fogginess, the bindus should be dissolved into the brain at the skull casing. But if the proliferating (of thoughts) or agitation should occur, they (the bindus) should be dissolved into the middle of the heart. If there exist no (problems with) proliferation, agitation, dullness, or fogginess, one should think that they are dissolved into their own place at the two nostrils. One then expels the stale air by way of purification and affixes the seal of non-conceptuality (thereby remaining in the Natural State). [26]

The Third Week With respect to the third week, the essential point is the yantra exercise of the basic body position for the right white channel and the left red channel. The essential point of the body position that is assumed is in agreement with the foregoing. [27] Then, with reference to the essential points of the channels that are to be visualized (this visualization being different from the preceding two weeks), at the lower extremity, like the feet of the Tibetan letter CHA, the three channels penetrate into each other at the great column of the spine. At the upper extremity, having opened into the three folds of fat around the heart, then the three channels (go back to the spinal column, up through the neck), and come to extrude through the hole at the crown of the head like wheat stubble cut at harvest time.

In terms of the essential points of the breath that is to be held, one expels the stale air nine times by way of a purification (as described previously). Then, with respect to the essential points of the bindus upon which one is to meditate: One meditates that on top of the right white channel (above the crown of the head) is seated the Lord who is the king of the sky, Khayi Gyalpo Kuntu Zangpo, who embodies the essence of the moon, and on top of the left red channel is his Consort, Nangma Kokyi Gyalmo, who is the essence of the sun. (They both are the size of grains) and are like the rainbow. Furthermore, the Lord gazes at his Lady to the left out of the corner of his eye and the Lady gazes at her Lord to the right out of the corner of her eye. These two are visualized as bodies of light and they express (in visible manifestation) love and wisdom. Rays of light emanate upward from them (into the heavens) where they invoke a multitude of deities who dwell in the dimension of space, who are similar to this Lord and Lady; (whereupon these deities descend like rain) and are absorbed into non-duality (with the deities visualized on the crown of the head). One fixates awareness upon that, and because one holds the breath a little after inhaling, the heat of the breath comes to strike the Lord and Lady deities. Instantly they melt into light and become white and red bindus having the size of grains that are like Chinese peas. These two emanate rays of light of five kinds like the rainbow. They then descend inside the right and left channels and thereafter they ascend up the central channel, going upward like ping-pong balls being juggled until they are expelled outside at the crown of the head for about one finger width. Then they descend gently and one meditates on them residing in the middle of the heart, either side by side, or one on top of the other. One fixates the awareness on them and one holds the breath and adds (a little air on top) for some seven times. When this cycle is completed, on those occasions when either dullness or fogginess arises, (the bindus) should be dissolved at the mouth (the upper end) of the azure-colored central channel. On the occasion of proliferation or agitation, one should meditate on the middle of the heart. If neither of these (problems) arise, one should think that (the bindus) are dissolved into their own places at the mouths of the right and left channels. [28]

The Fourth Week With reference to the fourth week, the essential point is the yantra exercise of the basic position of one's own central channel. The essential point of the body, the channels, and the breathing are as before. [29] Then, in terms of the essential points of the bindus upon which one is to meditate: One meditates that on a petal at the right side of (the mouth of) the azure-colored central channel (above the crown of the head) is seated the Lord Khayi Gyalpo and on the left is the Lady Nangma Kokyi Gyalmo as before. One fixates the awareness upon them, and when one inhales and holds the breath a little, the heat and vapor of the breath come to strike the Lord and Lady deities. Instantly they melt into light and become white and red bindus having the size of grains that are like Chinese peas. These two emanate rays of light of five kinds like the rainbow. They then descend inside the azure­ colored central channel and from the juncture of the three channels, they ascend up the right and left channels until they are expelled outward at the crown of the head for about one finger width. Then they descend gently and one meditates on them staying in the middle of the heart, either side by side or one on top of the other. One fixates the awareness on that and one holds the breath and adds (air on top) for some seven times. When the cycle is completed, on the occasions when either dullness or fogginess arise, (the bindus) should be dissolved at the mouths of the right and left channels. On the occasions of proliferation or agitation, they are dissolved into the middle of the heart. If neither of these problems come forth, one should think that (the bindus) are dissolved into their own places at the mouth of the azure-colored central channel. One then expels the stale air by way of purification and affixes the seal of non-conceptuality (remaining thereafter in the Natural State). [30]

The Fifth Week With respect to the fifth week, the essential point is the yantra exercise of the basic position that is like the rainbow. The essential point of the body posture, the channels, and the breathing are like that of the rays of the sun (of the second week above). [31]

Then, with reference to the essential point of the bindus upon which one is to meditate: At the two nostrils there are two bindus having the essence of subtle energy and mind. They are vibrant and sparkling like the sun surrounded by rainbows and they are the size of grains that are like Chinese peas. These two emanate rays of light of five kinds like the rainbow. They then transit inside the right and left channels and (after reaching the bottom) these two bindus move upward inside the azure-colored central channel, like ping-pong balls being juggled, ascending until they are expelled outside at the crown of the head for about one finger width. Then they descend gently and the remain in the middle of the heart, either side by side or one on top of the other in the manner of a gau amulet. One fixates the awareness on that and one holds the breath and (adds a little air on top) for some seven times . When the cycle is completed, on the occasions when proliferation or agitation arise, one meditates on the middle of the heart. On the occasions when either dullness or fogginess arise, one should meditate on the mouths of the right and left channels If neither of these problems come forth, one should think that (the bindus) dissolve in a self-occurring fashion at the top of the azure-colored central channel. One then expels the stale air by way of a purification and affixes the seal of non-conceptuality (thus remaining in the Natural State). [32]

The Sixth Week In terms of the sixth week, the essential point is the yantra exercise of the basic position where the HUM abides, the A emanates, and the OM integrates. The essential point of the body posture that is to be assumed is the same as above. The essential point of the channels that are to be visualized is that (the two side channels) are clearly visualized as being curved like a noose (so that they terminate at the nostrils of the nose). The essential point of breathing is the same as above. [33] Then as for the essential point of the bindus upon which one is to meditate: In the middle of the heart there is an azure-colored HUM syllable, which represents the essence of one's own intrinsic awareness (or Rigpa). It is the size of a thumb joint and it emanates rays of light of five kinds like the rainbow. Because one holds the breath a little bit, that HUM syllable, in the manner of being blown by the wind, flies upward inside the azure-

colored central channel and is expelled outward above the crown of the head about one finger width. Thereafter it gently descends and at the juncture of the three channels (at the bottom), one thinks that it is transformed into two white A syllables that emanate rays of light of five kinds like the rainbow. Thereupon they transit inside the two side channels on the right and left and arrive at the two gateways of the nose. One expels the stale air (forcefully) by way of a purification and one meditates that the interior of the entire dark retreat house, as well as the sky, the atmosphere, and the earth's surface, becomes filled with sparkling A syllables that are like rainbows. One fixates awareness on that. One holds the breath a little, whereupon these A syllables are absorbed one into the other and then are transformed into the two white A syllables at the two nostrils. These A syllables melt into light and one meditates that they transform into two orange-colored OM syllables that emanate rays of light of five kinds like the rainbow. These transit inside the right and left channels and one meditates that they become (a blue) HUM syllable at the lower extremity of the azure-colored central channel. This (syllable) proceeds upward and is expelled at the crown of the head for about one finger width. Then it descends gently where it comes to rest aligned in the middle of the heart and abides there brilliantly (radiating light). One fixates awareness upon that. Then for seven times one holds the breath and adds a little air on top of that. When that (cycle) is completed, the HUM syllable is absorbed into the middle of the heart. One expels the stale air by way of a purification and affixes the seal of non-conceptuality (thereby remaining in the Natural State). [34]

The Seventh and Final Week With respect to the final week, the essential point is the yantra exercise of the basic position where the HUM abides, the OM emanates, and the A integrates. The essential points of the body posture, the channels, and the breathing are the same as above. [35] As for the essential point of the hindus upon which one is to meditate: In the middle of the heart there is an azure-colored HUM syllable, which represents the essence of (one's own) intrinsic awareness (or Rigpa). It is the size of a thumb joint and it emanates rays of light of five kinds like rainbows. One fixates awareness upon that.

Because one holds the breath a little bit (after inhaling), that HUM syllable, in the manner of being blown by the wind, flies upward inside the azure-colored central channel and is expelled outward above the crown of the head about one finger width. Thereafter it gently descends and at the juncture of the three channels (at the bottom), one thinks that it is transformed into two red OM syllables that emanate rays of light of five kinds like the rainbow. Thereupon they transit inside the two side channels on the right and left and arrive at the two gateways of the nose. One expels the stale air (forcefully) by way of purification and one meditates that the interior of the entire dark retreat house, as well as the sky, the atmosphere, and the earth's surface, becomes filled with sparkling OM syllables that are like rainbows. One fixates awareness on that. One holds the breath a little, whereupon these OM syllables are absorbed one into the other and then are transformed into two white A syllables, which emanate rays of light like rainbows at the two nostrils. (These A syllables) transit inside the right and left channels and they become (single a blue) HUM syllable at the juncture of the three channels. This (HUM syllable) proceeds upward and is expelled at the crown of the head for about one finger width. Then it descends gently where it comes to rest, abiding in the middle of the heart as brilliantly (radiating light). One fixates awareness upon that. Then for seven times one holds the breath and adds a little air on top (of each holding). When that cycle is completed, the HUM syllable is absorbed into the middle of the heart. One expels the stale air by way of a purification and affixes the seal of non-conceptuality (thereby remaining in the Natural State). [36]

Conclusion Here there exist three methods to be considered: 1.

The general method (where one keeps the same position used for each week at the conclusion),

The equal parts in agreement (where the retreat has been broken in the middle), and

The reverse order (where the positions and exercises for each week are done in the reverse order).

These are the Upadeshas and one should request the oral instructions (from the master at the appropriate time). [37]

1. The General Method for each Session The five-fold posture and the clear visualization of the three channels are in agreement with the above. One has (previously) expelled the stale air nine times by way of a purification. As for the essential point of the hindus upon which one is to meditate: (one visualizes that) on top of an orange-colored solar disc seat, which is in the brain, is an orange-colored HRI syllable. And on top of a yellowish white moon disc seat, which is the membrane above the brain, is a yellowish white HRI syllable. Both of them emanate rays of light of five kinds like rainbows. These two HRI syllables that signify Means and Wisdom (respectively), are stacked high (one above the other). They abide there as sheer presence. One fixates one's awareness upon them while holding the breath and adding (a little air on top of this) for seven times. When this cycle is completed, these two HRI syllables are absorbed into their respective seats of the sun and moon and they in turn are dissolved into oneself. One expels the stale air by way of a purification and affixes the seal of non-conceptuality (thereby remaining in the Natural State). That is the general method (for any session) during the Seven-fold Cycle of the Clear Light. [38] Now, with regard to the principal practice of the seven-fold cycle of the Clear Light, this has been elucidated elsewhere, where it is said that the visualization (of the white letter A in the heart) is expelled into the sky (and dissolves into space, whereupon one rests in the Natural State). [39] And in terms of purifying oneself in general, one fixates on the visualization (of the white letter A) in the heart center. One meditates, holding the breath and adding (a little air on top of that) for seven times (during the principal practice). [40] According to the oral explanation (concerning the principal practice in general), each of these visualizations for the Clear Light practice are presented here as visualizations that are indeed beyond conception (that is, not a matter of discursive thought). And with respect to each of these visualizations that are beyond conception, the

body remains in equipoise and the three channels are clearly visualized. Then one expels the stale air. [41] As for the meditation (during each session): In the middle of the heart, one meditates on a white A syllable of light, possessing five colors. Furthermore, inside the right and left channels, there are two green YAM syllables. And moreover, one meditates that at the crown of the head there is a (white) wheel of light (like a moon disc). Because one (inhales and) holds the breath a little bit, it transits inside the right and left channels and because the breath strikes the two YAM syllables there, instantly these syllables become green lights, two green hindus just about the size of grains that are like Chinese peas. They descend and at the juncture of the three channels, they coalesce into one. (The green light or hindu) ascends upward inside the central channel and is absorbed into the A syllable in the middle of the heart. At that, one proceeds (repeatedly) holding the breath and expelling the stale air for a single session. One fixates awareness on that (white syllable A) and meditates while holding the breath and adding air on top seven times. [42] As for the Perfection Process (at the conclusion of a single session or a week of practice): The A syllable goes upward from inside the central channel, and having been expelled from the crown of the head, it is absorbed into the wheel of light. The wheel of light is dissolved into space, and one settles into the clarity and emptiness of intrinsic awareness without grasping at anything whatsoever. In these terms, the above represents the stages of the general practice. [43] 2. The Equal Parts in Agreement

As for the equal parts (where the retreat has been interrupted in the middle for some reason and then resumed), one proceeds with the same mudras from the top to the bottom (that is, with the positions and the exercises in the same order as given above). Having held the breath during the four sessions, one follows these in succession during the day and the evening. [44] 3. The Reverse Order

As for the reverse order [45] (where one doubles the time one spends in the dark retreat), one proceeds upward (from the last exercise of

the final day to the first exercise) "the dust specks in the sunlight," following in succession the days and nights. These represent the cycle of visualizations according to the scripture. SAMAYA gya gya gya! Virtue! ITI. [46]

The Practice of the Dark Retreat According to Lopon Tenzin Namdak, there exist two principal reasons for making a dark retreat (mun-mtshams). The first is to stabilize being in the Natural State and the second is to develop visions. That is to say, there is one kind of dark retreat that is meant for Trekchod (khregs-chod) alone, the practice of contemplation, and the second for Thodgal practice (thod-rgal) that entails the development of vision. A retreat for this first purpose may be of any length of time, but, in terms of the second purpose, the shortest retreat is traditionally forty-nine days. The dark retreat may also serve as a preparation for the Bardo, or after-death experience, and the Bardo is said to endure similarly for forty-nine days. The Dzogchen cycle of the bsGrags-pa skor gsum also has a forty-nine day dark retreat, and in addition, one for seven years. The dark retreat described by Shardza Rinpoche in his sKu­

gsum rang-shar is elaborated according to the system of the bsGrags-pa skor gsum. However, here we are exclusively concerned with the dark retreat connected with the Zhang-zhung Nyan-gyud cycle of practice. Again, according to the Lopon, the present text is anonymous and was added as an appendix to the basic text of the rGyal-ba phyag-khrid of Druchen Gyalwa Yungdrung (Bru-chen rGyal-ba g.yung-drung, 12th cen.), probably sometime afterwards. Nevertheless, it represents

his oral teaching on the matter, even though it was written down later. One may note that the term phyag-khrid itself means an explanation that derives from the personal experience of an accomplished master. The dark retreat we have here is compared to a limb growing out from the trunk of the Zhang-zhung snyan-rgyud and the author furthermore informs us that it is especially connected with the gZer-bu nyi-shu rtsa gcig, or "Twenty-one Little Nails," the root text of the fourth section of this cycle, the teachings that are exceedingly secret (yang gsang). This cycle pertains to the fruits of the practice of Thodgal. Although this term Thodgal is not found in the texts of this cycle, the practice is described in some detail where it is called 'od-gsal or the practice of the Clear Light. In terms of vision practice, there are three systems or methodologies where the practitioner gazes either into sunlight, or into empty space, or into total darkness. The sunlight, the empty space, or the total darkness are merely secondary causes serving as supports (rten) for the manifesting of the Thodgal visions. The visions themselves arise from out of the pure potentiality of the Natural State of the Nature of Mind of the individual. Traditionally, these teachings regarding Thodgal practice in both the Bonpo and the Nyingmapa schools have been kept strictly secret. However, the guardian deity Sidpai Gyalmo (Srid-pa'i rgyal-mo) appeared in a vision to the former abbot, Yongdzin Sangye Tenzin, of the Bonpo monastery at Dolanji in India and prophesied that if the Dzogchen teachings were not given out to those who are sincerely interested, they would be entirely lost within a generation. It is, therefore, with the specific permission of the Goddess and under her patronage that the Dzogchen teachings from Zhang-zhung are now disseminated to a wider audience than was the case in the past.

The Title of the Text In the title, rDzogs-pa chen-po zhang-zhung snyan-rgyud refers to the cycle of teachings, namely, "the Dzogchen teachings from the Oral Transmission of Zhang-zhung." Single transmission (gc .; rgyud) indicates that originally a master transmitted the Dzogchen precepts to

single disciple only, although this procedure is no longer the case.

'Od-gsal bdun bskor is the actual title of the text. Clear Light ('ad­ gsa!) refers to Thodgal, or vision practice, in this case within a dark retreat, and the seven-fold cycle (bdun bskor) refers to the cycle of

Commentary One: Beg1nn1ng the Dark Retreat

seven weeks spent in total darkness, each week having its own special preliminary purification practice. The principal practice, however is that of the Clear Light or Thodgal vision practice while remaining in the state of contemplation or Trekchod.

The Rushan Exercises In the commentary to the principal practices in the rGyal-ba phyag­

khrid, it is explained how to build a dark retreat house (mun-khang). Then, in terms of the preparations as the Lopon informs us, one should consult the appropriate section of the Zhang-zhung Nyan­

gyud for the Rushan exercises ('khor 'das ru-shan dbye-ba). There are six of these exercises, with the addition of the Bardo practice. One engages in these exercises during a retreat of forty-nine days. In order to realize the conditions of the hells, and so on, one employs mantras and visualizations in the Tantric style of practice, as well as visualizing the emanations of the six Dulshen ('dul gshen drug). They were originally emanations of Tonpa Shenrab projected into the six destinies of rebirth. There exist outer, inner, and secret Rushan exercises. The practice described here in the text represents an inner Rushan. These exercises serve as preparation for Thodgal and for the dark retreat, both of which are principal practices of Dzogchen. It is said that is necessary to perform these Rushan exercises before one can engage in Thodgal practice in order to release the pent up energies of one's negative accumulations of karma.

Practicing Fixation But crucial to the practice of the dark retreat is developing beforehand the ability to relax and enter into the state of Rigpa or contemplation. Therefore, one must first practice fixation on the white Tibetan letter

A as the means to develop this capacity. This practice is described in the commentary on the principal practices (dngos-gzhi) in the rGyal­

ba phyag-khrid. [1] A white letter A is painted on the dark background of a card that is affixed to the end of a stick. This stick is then thrust into the ground at a comfortable distance in front of oneself. Preparing a comfortable seat, one stares fixedly with half closed eyes at this white letter A, focusing on it as a skilled archer would fixate on his target while holding his bow and arrow. This focused attention leaves no space for distracting thoughts to arise. Then one relaxes one's

The Seven fold Cycle of the Clear Light

attention a bit. If distracting thoughts then arise, one does not pursue them or try to suppress them, but merely fixates more acutely on the target, the white letter A. Through practicing fixation regularly in meditation sessions, one discovers a calm state that opens up between thoughts, like the clouds parting in the sky so that the clear blue heavens beyond might be seen. Gradually one becomes able to remain in this calm state undisturbed by thoughts for longer and longer periods. Nevertheless, thoughts continue to arise occasionally and this is only natural because thoughts represent manifestations of the inherent energy (rang rtsal) of the Nature of Mind. Thus one becomes aware of not only the calm state (gnas-pa), but also of the movements of thoughts ('gyu-ba). However, these two are only experiences (nyams). The principle to be discovered here is the presence of awareness (rig-pa), whether there is a state of calm or the movement of thoughts. Remaining in this pure presence without distraction is what is meant by contemplation (ting­ nge 'dzin). One must first know how to rest and remain in Rigpa, or contemplatio, before one can gain any value from the dark retreat. Otherwise the dark retreat, as a sensory depravation experience, will only give rise to hallucinations or impure karmic visions. Such visions do not represent Thodgal.

Posture and Breathing Although the text speaks here of rtsa rlung gnad kyi gdams-pa., that is, the instructions regarding the essential points of the psychic channels (rtsa) and vital winds, or psychic energies (rlung), the reference is not to the Tantric yoga practices (rtsa rlung thig-le'i rnal-'byor) belonging to the Perfection Process (rdzogs-rim), but only to the postures and breathing related to Thodgal practice. This dark retreat practice pertains to Dzogchen, the path of self-liberation (grol lam), rather than to the methods of Tantra, the path of transformation (sgyur lam). Consequently, the visualizations here are much simpler and related to the preliminary purification of the psychic channels, not to the principal practice of contemplation. There is no visualization (dmigs-pa) done here in the state of contemplation; there is only vision (snang-ba), that is to say, whatever may spontaneously arise to awareness in the space before one while sitting in the total darkness

Comrner1tarv Or1e: Begwmrr1g the Dark Retreat

of the retreat. Contemplation is a state beyond the mind, whereas visualization represents a deliberate activity of the mind. According to the clear exposition regarding the channels and the vital winds (rtsa rlung zhal-shes) presented in the text, the essential points of the yantra exercises ('khrul-'khor) that represent the basic body position for training the psychic channels [2] are two-fold:

(1) The balancing of the body and the mind in equipoise (Ius sems mnyam-par bzhag-pa) and (2)

The training of the breath and the mind so that they function properly (rlung sems gcun Ia bor-ba). The first point refers to the five-fold body position or mudra [3] described in the text. The second point refers to the breathing exercises for purification. By harmonizing the physical body, one harmonizes and balances the psychic energies, and by harmonizing these energies, one calms and harmonizes the mind or flow of thoughts. When one has completed the preliminaries

(sngon-'gro) as

represented by the Rushan exercises, then one begins the training in Tsa-lung (rtsa-rlung), the yoga of the channels and energies. In order to harmonize and balance the body, one must first assume the proper sitting position. One sits down in the usual way upon a comfortable seat in the five-fold posture, with the spine straight, the neck bent, the shoulders up, the tongue floating, but not touching the palate, and so on. The mouth is not closed, but neither is it wide open. Rather, it is like sounding "Ah......

In terms of the mudra, or gesture of the hands, the left hand is placed over the right hand resting on the lap. The thumbs press down at the base of the ring fingers. This action seals the klesha-nadi, or psychic channel for the impure energies, that runs from the tip of the ring finger to the heart. Sealing this channel prevents access to one's consciousness by evil spirits and their negative provocations (gdon). By sitting in the five-fold posture as described, one balances the body and harmonizes the flow of one's energies. Thus, distracting thoughts tend not to arise. One may also use a meditation belt (sgom thag) for additional support. And as preparation for the sessions of practice, one recites the preliminary prayers every morning, such as the Guru Yoga and Invocation for Tapihritsa. [4]

The Seven-fold Cycle of the Clear Light

Visualization of the Psychic Channels The essential points of the psychic channels that are to be visualized (bskyed-pa rtsa'i gnad) refer to how and where one visualizes these psychic channels. In the Buddhist system, the three principal channels are known as Rasana (ro-ma) on the right, Lalana (rkyang-ma) on the left, and Avadhuti (dbu-ma) in the center. In the Hindu system, they are called Pingala, Ida, and Sushumna respectively. The Avadhuti is visualized in the precise center of the body, not in the spinal column, but in front of it. The psychic channels (rtsa, Skt. nadi) represent potential pathways for the movements of psychic energy; they are subtle structures, not gross physical anatomy. Therefore, by visualizing or imagining them (dmigs-pa) one makes them actual and moves one's vital winds (rlung, Skt. vayu) through them. Thus, there exist in the Tantras, both Buddhist and Bonpo, a number of different systems for visualizing the three principal psychic channels. What visualization system the practitioner employs depends on how and where one is moving these psychic energies or vital winds. One visualizes the central channel as dark azure in color [5] in the middle of the body, beginning at the secret center, some four fingers widths below the navel, and extending to the aperture or opening at the crown of the head. This channel is the size of a hollow bamboo cane. Parallel to it on both sides are two smaller channels. The right­ hand channel is white in color, and the left channel is red in color. They symbolize the white lunar masculine energy and the red solar feminine energy respectively, as in the Tantra system. These channels and colors are the reverse in women. These two side channels enter into the central channel at the Kunda, or juncture of the three channels (rtsa gsum 'dus mdor), below the navel. This junction resembles the Tibetan letter CHA. These three channels extend upward to the physical heart and then curve behind it and go to the spine and up through the neck. They join again at the Ag-tse, or joint of the spine and skull. Previously running in parallel to the central channel, they now go inside the skull case (klad phor) and arch over the membrane of the brain (klad sprin). These two side channels, which are very thin like fine silk threads, then turn down to the nostrils of the nose where they terminate. Inside the skull, the central channel widens a bit as its approaches the aperture so that it comes to resemble a horn or a flower. Thus, it has been compared to the blue flower called spangs-

Commentary One Beginning the Dark Retreat

rgyan (Gentiana stipitala Edjew.) which blooms in autumn. The mouth or upper extremity of the central channel extends out through the aperture at the crown of the skull. This is known as the aperture of Brahma (tshangs-pa'i bu-ga, Skt. brahmarandhra).

Expelling the Stale Air The training of the breathing and the mind so that they function properly [ 6] refers to the breathing exercises done at the beginning of each session of practice (thun), commencing with the nine breathings for purification. [7] In general, purification by way of breathing is known as Tsa-dul (rtsa 'dul), the taming or training of the breath. For men, using the left hand, one closes the right nostril with one's ring finger and inhales the fresh clean air through the left nostril and the left channel while visualizing that one is absorbing into oneself luminous light blue wisdom air (y e-shes ky i rlung). And one holds the breath a little. Then closing the left nostril with the thumb and opening the right nostril, one blows the stale polluted air (rlung-ro) out the right nostril and the right hand channel. One visualizes this stale air that is being expelled as light bluish-gray smoke, which represents the polluted residues of the negative emotion of anger. Thereupon one changes nostrils and does just the opposite. Closing the left nostril with the thumb of the left hand, one inhales the wisdom air through the right nostril and holds the breath a little. Then opening the left nostril and closing the right nostril with the ring finger, one exhales the stale air while visualizing it to be light red in color representing the polluted residues of the negative emotion of desire. Thereby each side is purified in this way alternatively three times. Women should proceed in exactly the opposite fashion, first purify ing desire and then anger. Then one inhales the clean luminous wisdom air through both nostrils simultaneously and, in the same way, proceeds to expel the stale polluted air, visualizing it as smoke of a dirty brown color representing the polluted residues of the negative emotion of confusion. This negative emotion, or klesha, is actually a mixture of the two principal passions, anger and desire, and is characterized by ignorance, confusion, indecision, and bewilderment. In each case, the inhalation is done slowly and gently, whereas the blowing out of the disturbances is done a bit more forcefully.

The Seven-fold Cycle of the Clear Light

Men begin by cleansing the right channel, whereas women begin by cleansing the left channel, because these two side channels are the reverse in men and women due to tantric polarity. The white lunar channel, where the residues of anger accumulate, is on the right side in men and on the left side in women, whereas the red solar channel, where the residues of desire accumulate, is on the left side in men and on the right side in women. One does this three times: closing the right nostril, inhaling through the left nostril, then exhaling through the right nostril. Thus one expels the negative energy of anger that has four characteristics: 1. 2.

Anger (zhe-sdang, Skt. dvesha), Wind diseases, that is, diseases due to lack of vitality or imbalance in the Vayu, or wind humor (rlung gi nad),

The color of light blue, and

Disturbances coming from male spirits (pho gdon). Next one closes the left nostril, inhales through the right nostril,

then expels the stale air, exhaling through the left nostril. One does this three times. Thereby one expels the negative energy of desire, which also has four characteristics: 1. 2.

Desire ('dod-chags, Skt. raga), Diseases due to imbalance in Pitha, or the bile humor (mkhris-pa'i nad),

The color of light red, and

Disturbances coming from female spirits (mo gdon). Finally one inhales and exhales three times through both nostrils.

Here the fresh wisdom air goes into the central channel and the stale air is forcefully expelled. The negative energy of confusion also has four characteristics: 1.

Confusion or bewilderment (gti-mug, Skt. moha),

Diseases due to an imbalance in Kapha, or the phlegm humor

The smoky color, and

Disturbances due to the Nagas (klu gdon).

(bad-kan gyi nad),

Commentary One Beg1nn1ng the Dark Retreat

Securing the Boundaries Generally, when beginning the dark retreat, one enters into the dark retreat house in the afternoon or in the evening. Then it is sealed so that no light can enter and all the proper precautions should have been taken beforehand to insure proper circulation of air within the room. One prepares a comfortable seat and assumes the five-fold position of the body. This represents the balancing of the body and mind in equipoise (Ius sems mnyam-par bzhag-pa). Then one performs the nine breathings for purification, which represent the training of the breathing and the mind, so that they function properly (rlung sems gcun Ia bor-ba) and the training of the channels integrated with the breathing (rtsa 'dul rlung sbrugs). These are accomplished as described above. In this way one's body, energy, and mind become balanced and harmonized. However, at the beginning of the retreat, one performs the practice known as securing the boundaries (mtshams bcad-pa). The essential points of this y antra exercise is the body position that secures the boundaries [8] thereby preventing disturbances and negative provocations (gdon) from outside, such as those caused by Bhutas, or restless spirits ('by ung-po). Then, in terms of the essential point of the body that is the posture to be assumed (bca'-ba Ius ky i gnad), one assumes the confident and haughty position of a Krodha, or wrathful deity (khro-bo), inclining the head to the left side a little, while visualizing oneself as this. [9] The wrathful deity, whether male or female, is dark red in color, having one face and two arms. In terms of the essential point of the channels that are to be visualized (bskyed­ pa rtsa y i gnad), as described above one clearly visualizes the three channels inside the body of the wrathful deity. And in terms of the essential point of the breathing that is to be held (bzung-ba rlung gi gnad), one expels the stale air nine times as the means for cleansing oneself. [10] This is done as described previously. Finally, in terms of the essential point of the bindus (or tiny spheres of light) that are to be meditated upon (bsgom-pa thig-le'i gnad), that is to say, the actual meditation practice, one proceeds as follows. Before visualizing oneself as the wrathful deity, first one focuses on the luminous dark red BSWO sy llable in one's heart center that abides as the Base (gzhi gnas BSWO). Then one utters aloud the sy llable BSWO! very forcefully (pronounced SWO.....!). This sound goes out

The Seven-fold Cycle of the Clear Light

into unmanifest space, becoming millions of luminous dark red BSWO syllables that appear in space and fill the entire dark retreat room. These mantric syllables terrify and frighten away all disturbances and negativities in the immediate environment about oneself. Then, like a magnet attracting iron filings, these millions of tiny luminous syllables, which are like spheres of light (thig-le), come together and enter the crown of one's head. Descending through the central channel, they enter into one's heart center where they are absorbed into one's own Rigpa, or intrinsic awareness, that has the aspect of the original dark red BSWO syllable. They merge into oneness without duality with the essence of one's own intrinsic awareness in the center of one's heart. Thus, they are integrated into one's Natural State, whereupon the practitioner instantly transforms and manifests one's being as a dark red luminous wrathful deity. This deity's appearence is heroic, enraged, and brilliant. [11] While visualizing oneself in that divine form as the wrathful deity, again one sounds BSWO! aloud. From the BSWO syllable in one's heart center emanate countless numbers of dark red BSWO syllables, like hindus, or tiny spheres of light (thig-le), that come to fill one's central channel to overflowing. They are all luminous and shining. Again one sounds aloud BSWO! Inhaling a little breath in though the right nostril, having closed the left nostril with one's thumb using the left hand, one sees the breath go down to the bottom and hitting the BSWO syllables, the numbers of syllables increase so that the right white channel becomes filled to overflowing with luminous dark red BSWO syllables. Holding the breath for a little bit, then one exhales through the right nostril. Having kept the left nostril closed, the BSWO syllables increase in numbers and going out the right nostril, they come to fill the room with dark red BSWO syllables, so that the entire dark retreat house is aglow and filled with them. Again one sounds BSWO! Inhaling a little air through the left nostril, having closed the right one with the ring finger of one's left hand, one sees the breath go down to the bottom, to the junction with the central channel where it strikes the BSWO syllables, whereupon these syllables increase in numbers and come to fill the left red channel to overflowing while holding the breath for a little bit. When one exhales though the left nostril while keeping the right nostril closed, the glowing syllables come to fill everywhere the exterior of one's body. Indeed, one's whole body, both front and back, becomes covered with

Commentary One Beginning the Dark Retreat

luminous dark red BSWO syllables. Thus, one is filled everywhere with these BSWO syllables, both the inside and the outside of one's body. They even fill all of one's hair pores. Because everywhere is filled with dark red glowing BSWO syllables, there is no space left in the retreat house for disturbances to arise due to the activities of Bhutas or elemental spirits who are wrong guides and obstructers. [12] As was described above, men begin the exercise by inhaling through the right nostril while closing the left nostril with the thumb of the left hand, whereas women do the opposite: first inhaling through the left nostril while closing the right nostril with the ring finger. In both cases, the breath is seen to descend inside the respective side channel until it reaches the bottom where the three channels converge. As one begins to exhale, the respective side channel fills from the bottom upward with luminous and sparkling dark red BSWO syllables, which are then expelled from the corresponding nostril and come to fill the entire room. The second time they come to cover the entire exterior of one's body like donning a suit of armor. Then sounding BSWO! once again, one begins inhaling through both nostrils. One inhales as much air as one can and holds it (goon) as long as one can. Then one breathes in a bit more to add more air on top of that (rlung bzhur). In that way, one can hold even the breath even longer. When doing this, one fixates on one's body being filled to overflowing with these luminous BSWO syllables. When one cannot hold the breath any longer, one exhales, expelling the stale air. Again one inhales, holds, adds more air, and exhales. This focuses and increases protective energy within one's body. The cycle is repeated seven times. [13] One continues to visualize and focus on the BSWO syllables. Filling the entire space of the dark retreat room, as well as covering the entire exterior of one's body, with these luminous dark red syllables, allows no space for obstructions or disturbances to manifest. This exercise represents a kind of protection. In terms of the symbolism of the BSWO syllable, according to the Lopon, in ancient times it was used to summon the gods and spirits, where one shouted BSWO BSWO LO! meaning "Glorious! Victorious!" Furthermore, this symbol mystically represents the Trikaya, that is to say, the letter "B" symbolizes the Dharmakaya, the letter "S" the Sambhogakaya, and the letter "0" the Nirmanakaya. Because in the old language the word bso meant "goat,", one needs to add the wazur or "W" to make the distinction here. The letters "BSO"

The Seven fold Cycle of the Clear Light

also signify the three transcendental functions of the Body, the Speech, and the Mind, that is to say, the consonants "BS" are the Body, the vowel indication or naro "0" is Speech, and the wazur "W" is Mind. This mantric syllable visualized in the heart center is known as "the BSWO that abides as the Base" (gzhi gnas kyi BSWO). It arises from the Natural State of the Nature of Mind (sems-nyid gnas-lugs) and the vast multitude of dark red miniature BSWO syllables emanate, multiply, and increase from the larger principal syllable held in the heart center.

Dissolving the Visualization Then, at the conclusion, there comes the Dzogrim, or Perfection Process, for the visualization of securing the boundaries (mtshams­ bcad gy i rdzogs-rim). All of the BSWO syllables that fill external space coagulate into one another and melt into light. [14] The syllables covering one's body re-enter through the left channel, while the external syllables in the room re-enter through the right channel. All of them congregate in the central channel where they merge into the principal BSWO syllable in the heart center that represents one's Natural State or Base. [15] Finally, one then visualizes the wrathful deity dissolving into space like a rainbow slowly fading into the sky, so that the entire deity is absorbed into the Natural State. Thereafter, only the principal BSWO syllable in the heart center remains and then the syllable itself dissolves slowly into the space of the Natural State, so that no visualization at all remains. One breathes normally as everything dissolves. And for a moment one remains in this state of contemplation (mnyam-bzhag); this is known as affixing the seal of non-conceptuality. [16] Everything has dissolved and one remains in the Natural State as long as one can. This is the practice of securing the boundaries. This process of securing the boundaries represents a preliminary practice and one does it only once when one first goes into the dark retreat. On the contrary, one does the nine breathings for purification at the beginning of each session of practice (thun). Generally, one does four sessions of practice a day while in retreat, namely, early morning, mid morning, mid afternoon, and evening before retiring to sleep.

Commentary Two: The Practices for the Seven Weeks

Title and Homage Part Two is actually a separate text concerned with the particular visualization practices for each of the seven weeks of the forty-nine day dark retreat according to the Zhang-zhung snyan-rgyud. T his text is entitled, "(T he Practices of) the Channels, the Vital Winds, and the Positions for the Clear Light practice, according to the Oral Tradition from Zhang-zhung" (Zhang-zhung snyan-rgyud rtsa rlung 'khrul­ 'khor 'od-gsal bzhugs-so). E-ma-ho means "how wonderful!" There are two homages that open the text: "Homage to the divine form of the Primordial Teacher" (ye-nyid ston-pa'i sku Ia phyag 'tshal-lo), who is none other than the Primordial Buddha Kuntu Zangpo, the ultimate source for all of the Dzogchen teachings, and "Homage to the Gurus of the Lineage" (brgyud-pa'i bla-ma rnams Ia phyag 'tshal-lo), meaning the Mahasiddhas who attained realization of the Rainbow Body and liberation from Samsara through the practicing of Dzogchen in the past.

The Seven-fold Cycle of the Clear Light

Introduction The subject matter found in this second text represents the essential points (gnad) concerning the psychic channels, the vital winds, and the yantra exercise movements [1] linked to the visualizations done in accordance with the root text of the Oral Tradition. [2] These instructions are said to be very rare and precious and so they are compared to the moist blood found inside the heart itself. [3] Here are presented descriptions of the visualizations done at the beginning of each session of practice according to the Seven-fold Cycle of the Clear Light practice ('od-gsal bdun skor dmigs-pa), that is to say, there is one particular visualization for each of the seven weeks spent inside the dark retreat. These visualizations represent a kind of preliminary performed initially in order to purify the stale air (rlung-ro) lodged in one's lungs, as well as in one's psychic energies. This stale air in the channels contains pollutants or the residues and traces left behind by the various negative emotions experienced during the day. The breathings for purification are performed nine times. Then the practice session proper (thun) begins with the exercises described below and the principal practice that follows the completion of these exercises is simply to remain relaxed in the state of contemplation (mnyam­ bzhag). As said before, in the Zhang-zhung snyan-rgyud the term thod­ rgal, referring to the practice of vision, does not actually occur in

the text, but instead the word 'od-gsal, literally "clear light," is used, and this may be translated as "the Practice of the Clear Light". In this context, the Clear Light refers to the visions that spontaneously emerge from the Natural State when practicing with sunlight, or empty space, or total darkness as the support while in the state of contemplation. However, in this case, the text is only concerned with the dark retreat (mun mtshams). As explained in the commentary on the Principal Practices (dngos-gzhi) found in the Phyag-khrid, after having been directly introduced to the Natural State and gaining some stability in contemplation through practicing fixation, one enters into the dark retreat in order to facilitate the developing of visions. The word bdun skor means the seven-fold cycle or the cycle (skor) of seven weeks (bdun) into which the forty-nine day dark retreat is divided. Thus, the dark retreat symbolically endures for the same period of time as the Bardo experience after death and so the practice may also

Commentary Two The Practices for trle Seven Weeks

serve as a preparation for death and what occurs afterwards in the continuum of consciousness. These instructions were originally transmitted only from one individual to another individual by the Siddhas of the past, that is, from a realized master to just a single disciple, and the oral precepts (bka') were not subsequently taught to a second individual. Rather, they were sealed and kept secret. [4] However, now that historical circumstances have changed, these teachings have become more public. Consequently, the anonymous author has arranged in writing these clear explanations drawn from oral tradition, together with an index or outline, for the benefit of future generations of practitioners. [5] I. The First Week Generally the practitioner does four sessions (thun bzhi) each day while in the dark retreat house. First one assumes the five-fold position of the body described previously and performs the nine breathings for purification. Then one proceeds to balance and harmonize one's psychic energies or vital winds by way of a different visualization process for each of the seven weeks. With reference to the first week, there are seven essential points (gnad) that are concerned with the basic posture (bca' gzhi) and the yantra movement exercises ('khrul-'khor). The visualization exercise that accompanies them is known as "the dust specks in the sunlight" (nyi rdul-ma' bca' gzhi). [6] These considerations are as follows: (1) The balancing of the body and mind in equipoise (Ius sems mnyam-par bzhag-pa), (2) The training of the breath so that it functions properly (rlung gcun Ia bor-ba), (3) The training of the channels by way of the nine breathings (rlung rtsa 'dul dgu phrug), (4) The essential point of the body which is the position assumed (bca'-ba Ius kyi gnad), (5) The essential point of the channels that are visualized (bskyed-pa rtsa'i gnad), (6) The essential point of the breath which is held (gzung-ba rlung gi gnad), and

The Seven- fold Cycle of the Clear Light

The essential point of the bindus on which one meditates (bsgom­ pa thig-le'i gnad).

The first three are in agreement with what was described above in Part One. The remaining five points are considered below. In terms of the essential point of the body that is the position assumed, one assumes the mudra (phyag-rgya) or posture of the body, that displays the five natural aspects described above. [7] But here the breath is fixated by way of a large holding of the breath. [8] The retention of the breath is known as kumbhaka or vase-shaped breathing (bum-can), because of the shape of the belly when filled with air. Special esoteric terms and phrases associated with yoga are employed in order to conceal the real meaning from the uninitiated. For example, "the ocean" (rgya-mtsho) indicates the stomach, which is pulled back against "the Meru mountain" (ri-rab), the latter indicating the spinal column (rgya-mtsho ri-rab Ia bear). The tongue floats in the mouth, but does not touch the palate. [9] "The great planets", indicating the eyeballs, are averted upward as high as possible. [10] The essential point of the three channels are clearly visualized as described above. [ 11] The essential point of the breath is the retaining of it in kumbhaka, or vase-shaped breathing. One purifies the breath by way of expelling the stale air (rlung-ro) nine times in order to cleanse it, [12] but only at the beginning of each practice session. The essential point of the bindus on which one meditates (bsgom­ pa thig-le'i gnad) is the actual visualization done at the beginning of each session after assuming the meditation position and purifying oneself by way of the nine breathings. As said, this visualization changes with each week in the dark retreat. At the beginning of each week, the Lama returns to the dark retreat house and presents the new visualization exercise to the practitioner. One visualizes at the nostrils two bindus (thig-le), or tiny spheres of radiant light, about the size of Chinese peas, being blue-green in color and very clear. They are composed of vital wind,