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green tara

Mantra to Green Tara
greentara_l
OM TARE TUTTARE TURE SOHA
(chant one mala – 108 times a day)

The Green Tara mantra can be recited to remove obstacles, fears and worries. Tara works swiftly to assist you!

Chant one mala of this mantra each morning and each night.
Turn to Mother Tara when you feel a need of comfort; when you feel depressed or when you want some project to succeed.  This mantra will lift your spirits instantly.

The high lamas tell us that no one ever attained Enlightenment without the help of Mother Tara  and when you chant her  mantra, doing so with pure motivation and intense devotion transforms the mantra into powerful wish fulfilling prayers.

You can also recite each of the mantras to the 21 TARAs three times to invoke the assistance of the 21 powerful emanations of Mother TARA. Doing so will alleviate all your fears of loss, poverty, sickness, court cases, black magic and help you weather the storms of your life. Mother Tara answers prayers swiftly. Thus she is known as the Swift Liberator ! You can visualise the image of mother tara before you, as you recite.

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zhambhala



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Powerful Practice For Wealth - Water Ritual of the White Dzambhala
whitedzambalaThere is a powerful Buddhist ritual that addresses the popular aspiration to get rich. The practice involves offering a light stream of water over the head of the Dzambhala symbolized by its image. The White Dzambhala is a wealth granting aspect of the Compassionate Buddha and in this form sits on a turquoise dragon, surrounded by four dakinis each signifying a Buddhist cosmic family and a compass direction.

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Mudra for 8 Outer Offerings
mudra_8offering_sVisual guide on how to perform Mudra for 8 Outer Offerings.
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Taking Refuge Prayer
refugeThis is a very important first step which should precede chanting of any mantras. Taking refuge instantly places. You under the protection of the Buddhas & Bodhisattvas of the ten directions.
NAMO GURUBYA,
NAMO BUDDHAYA,
NAMO DHARMAYA,
NAMO SANGHAYA

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How to Make Prostrations
prostrations_sA visual guide on how to make prostrations.
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adopt a book to help out. YOur contribution is appreciated. Thanks

Logo Home History Library of Tibetan Texts World Peace Ceremony Yeshe De 130 Production Steps to Recreate a Tibetan Book Get Involved Creating Positive Karma Distribution Preservation Message from Tarthang Tulku Volunteering Publicity Links Contact Sitemap History‎ > ‎ 130 Production Steps to Recreate a Tibetan Book 1. Lama of TNMC Tarthang Rinpoche develops plans to support studies in the Tibetan shedras in exile and in Tib. Support for Shedras Head et. 2. Review of Resources As plans develop, texts in the Yeshe De libraries are reviewed to determine which titles are available. 3. Editorial Selection Based on the over-all plan, Rinpoche selects specific titles for each year's text production schedule. 4. Acquisitions Required texts that are not in Yeshe De libraries are located in other libraries and monasteries around the world. 5. New Texts Received New texts from libraries and monasteries arrive as Xerox, film, fiche, or computerized scans, and texts are catalogued. Stages of Production 6. Review of New Texts New texts are printed out for review by Rinpoche to determine what will be included in production. 7. Text Organization Rinpoche organizes text titles to create groups of preliminary volumes to consider for production. 8. Production Projections Short range and long range projections are made in terms of the required time, money, equipment, and staffing.Printing Presses at Dharma Publishing 9. Computerizing Information on texts, authors, folios, and subject matter is compiled in computer format. 10. Review of Materials Inventories of existing materials are prepared and materials required for new volumes are calculated. 11. Purchasing Plans Plans for large materials purchases are prepared, verifying prices, price breaks, manufacture, and delivery times. 12. Preparing Budgets Budgets for materials and monthly cash flow requirements are determined and reworked monthly. 13. Planning Funding Funding in specific amounts from our sister organizations is requested and monthly pledges agreed upon. 14. Regular Financial Verifying and paying of invoices on regular monthly basis; categorizing all income and expenses. 15. Organizing Inputting Lists of texts to be input are organized. Inputting stays one year or more ahead of production if possible. 16. Inputting Sources Source volumes from Yeshe De libraries or new acquisitions are located and marked for Xeroxing. 17. Xeroxing Texts Selected texts are reproduced by laser xerography, using filters and enlargements to enhance readability. 18. Program Installing Custom-designed programs for inputting and typesetting in Tibetan require 5 years to develop and ongoing maintenance. 19. Setting Up Inputting Xeroxes of each text are organized into a job made up of 50-folio files. Record keeping is established for each job. 20. Daily Inputting A small team of inputters plans the work, usually at the rate of 50 folios or more per day per person. 21. File Checking Each 50-folio file is run through a series of checking programs to locate and correct common typing errors. 22. File Compare After each file is input twice the two inputs are compared to locate differences that show typing or reading errors. 23. Corrected Proofs Differences are checked to the original and corrections entered. Proofs are printed and corrections are rechecked. 24. Organizing Proofs Proofs for each text are boxed, labeled and shelved. Reports from checking programs are included. 25. Proofreading Each text is assigned to a proofreader who corrects thirty different types of mistakes. Queries are marked for further checking. 26. Correction Input 1 Corrections marked by the proofreader are input into the file. Uncertain corrections are marked for rechecking. 27. Proof Printing Corrected proofs are printed out again, with revised notations for date and stage of production. 28. Correction Check Each correction is located on both sets of proofs and checked. Corrections are made and pages reprinted. 29. Proofreading 2 A second round of proofreading makes additional corrections. Shads are checked and corrected. 30. Correction Input 2 Corrections are input into the file again, and a series of checking programs for grammar and spelling are run. 31. Proof Printing Another corrected proof is printed out and newest corrections are checked. Correction cycles may repeat as needed. 32. Queries Checked Queries from inputting, file compare, and proofreading are checked by Rinpoche, who may consult various editions. 33. Final Review Rinpoche reviews the final proofs and composes verses for the publisher colophon for each large text. 34. Assembling Volumes Rinpoche assembles and orders a series of completed texts into a volume for production.Volunteers printing the Tibetan Books 35. Volume Design Rinpoche decides design of the volume: large pothi for Sutra, smaller pothi for Shastra, or western. 36. Tibetan Style Step 1 Pothi-style books are created with a custom designed computer program that fits lines of type into borders. 37. Tibetan Style Step 2 The title page designed by Rinpoche is created with Tibetan script and scanned images of lantsa script to fit the opening page. 38. Tibetan Style Step 3 Art boxes are added to page two and three following traditional pothi style. Captions are composed and added to the program. 39. Tibetan Style Step 4 Running heads are composed and folio numbers are added to each page. 40. Tibetan Style Step 5 The remaining text pages are designed with a five-line format using smaller type and less line space. 41. Tibetan Style Step 6 After text files are put into the program, each page is checked to find and move short syllables left at beginnings and ends of pages. 42. Tibetan Style Step 7 Extra spacing is added around chapters, sections, final prayers, and colophons. sBrul shads might be added as well. 43. Tibetan Style Step 8 A stupa is added to the final page and the end of text is adjusted to fit around the stupa image. 44. Tibetan Style Step 9 Final pages are printed out and checked by eye for good spacing between shads and short syllables. 45. Tibetan Style Step 10 Final pages are reviewed by Rinpoche before sending to the press for printing. New corrections may be added at this stage. 46. Western Style Step 1 To create western pages, additional page-making programs are required, which staff learns to use. 47. Western Style Step 2 Tibetan files are formatted with extra spacing to mark out main topics and with centered lines to mark out verses and quotations. 48. Western Style Step 3 Special formatting is needed for sa-bcad, outlines, and indices to show topics and each one's page number. 49. Western Style Step 4 Formatting is checked for accuracy, to align type nicely on each page. Small words are moved from beginning and ends of pages 50. Western Style Step 5 A dKar-chag Table of Contents is added to list chapters of a text or a series of texts in the volume. 51. Western Style Step 6 Front matter pages are created including volume title page that indicates the category to which the texts belong. 52. Western Style Step 7 Final prayers, colophon, and stupa with a caption are added at the end of the text in the final pages of the volume. 53. Western Style Step 8 Opening pages for each text in a volume are created with 2-color ornamental borders ready to add line drawings. 54. Western Style Step 9 Final pages are printed out and checked for a variety of errors. Rinpoche reviews the completed volumes 55. Line Art Selection Rinpoche selects art depicting authors or lineage holders and composes a caption for each drawing. 56. Line Drawings Line drawings of Buddhas, Bodhisattvas, Arhats, Deities, and masters are prepared under Rinpoche's direction. 57. Art Organization Line drawings are organized according to type of image and chronology of masters and archived for ease of access. 58. Thanka Selection Rinpoche chooses a thanka for each volume suitable to the content, and composes a Tibetan caption. 59. Kanjur Thankas Kanjur volumes may include additional thankas to introduce individual texts. 60. Thanka Organization Selected thankas are organized by volume for large Kanjur collections such as Ratnakuta or Prajnaparamita Sutras.Assembling the recreated Tibetan books. 61. Scanning Art Selected line drawings are scanned, enhanced, and cropped to fit in the text art boxes depending on volume style. 62. Thanka Scanning Thankas are scanned, optimizing and adjusting the color, and then cropped to fit in text art boxes depending on volume style. Scanned images are print and checking the printing Buddhas, Bodhisattvas, and lineage holders to open each Sutra and Shastra volume. requirements. 64. Stupa Art Stupas for the final page of each large text are chosen from a large collection of drawings created under the supervision of Rinpoche. 65. Ornamental Folio Rinpoche designs a special folio with images 63. Thanka Proofs Edit in color for verification of organization 66. Inside Cover Design Rinpoche creates ornamental art and lantsa script for the inside front pothi cover, and a stupa and dedication verse for the back. 67. Pothi Cover Design To ornament the pothi volume cover, Rinpoche creates a design which is gold-stamped onto red boards. 68. Western Cover Design Rinpoche creates new Western style volume cover designs with book spine type announcing titles and authors. 69. Cover Typesetting Composing the type and art to fit the cover exactly requires many hours of computer time. 70. Cover Dies Cover type and art is sent to die manufacturer to create magnesium dies used to stamp covers for pothi and western volumes. 71. Lantsa Preparation A large collection of Sanskrit letters in lantsa script has been created by Yeshe De Project over many years. 72. Lantsa Scanning Selected text titles are composed in lantsa script and scanned. Images are added to title pages. 73. Printing Proofs After all art and lantsa are added to the volume, final proofs are printed out and checked before sending to press. 74. Dongtar For pothi-style volumes, Rinpoche creates a table of contents card that is attached to the finished volume. Text titles are typeset to fit the card. 75. Plating Techniques Until 2003, we used pyrofax plating for black and white text, and camera and conventional film to prepare color images. 76. Pyrofax Imposition Using pyrofax method, folios of the final proof are pasted up on boards and art and lantsa are added to the hard copy. 77. Pyrofax Plating Final copy is registered to copy board and photographed with pyro film. Image is transferred from film to transmat to plate. 78. Computer-to-Plate Since 2003, we have been using CTP technology to make plates directly from computer files without film. 79. Equipment Purchase Detailed research was required to obtain suitable CTP equipment. Machine set-up required many months to accommodate our complex book design. 80. Compatible Systems Typesetting computers and new plating computers are set up to guarantee compatibility between systems 81. Files for Press Computer files of text ready to print are sent by disk or electronically to the plating department. 82. Final Files Check Plating department checks the text files to be sure all pages are in order and all scans in place. 83. Imposition Guide A guide is created to show where to place folios on the large sheet of paper that will be printed and folded into signatures. 84. Imposition Check Computer program assists in placing folios in order for each plate. Operator checks the sequence. 85. CTP Plating The image of folios laid out on each sheet is sent electronically to the plate-making machine that burns the image into metal plate. 86. Washing Plate After the plate is burned, it is washed, dried, and checked carefully. Final proofs are on hand to go with the plate to the press. 87. Planning Print Runs Rinpoche decides how many copies of each volume to print. Sutras and most shastras are 8,000 to distribute widely to all schools. 88. Printing Department For 2006, we purchased another press so that three presses are now working 24 hours a day and a fourth runs part-time. 89. Printing Shastras A two-color Heidelberg press prints the shastra commentaries on lightweight 40-pound text paper using black ink. 90. Printing Sutras A Heidelberg perfecting press prints the larger format Kanjur Sutra texts on 40-pound paper using custom copper ink. 91. Western Volumes Western volumes are printed on the perfector presses and also on the two-color presses. 92. Printing Color Four-color work, including the thanka folios for the Kanjur and the dongtar table of contents cards, are usually printed on the two-color press. 93. Printing Step 1 The plate is set into the press and attached to the plate cylinder via the plate clamp carefully by hand 94. Printing Step 2 Stacks of paper are set up to feed into the press at the rate of 8,000 per hour.Printing Tibetan books 95. Printing Step 3 Ink is adjusted for color and density and smoothness of paper feeding is tested by running make ready sheets. 96. Printing Step 4 When set-up is complete, 8,000 copies of the sheet are printed from the plate in succession. 97. Printing Step 5 The printed plate is removed by hand and the next plate is attached to the plate cylinder. 98. Printing Step 6 For color printing, adjustments are made to the flow of four fountains of ink to obtain the desired colors. 99. Printing Step 7 Perfector press prints both sides of the sheet in a single pass and so doubles the output of a given length of printing time. 100. Printing Step 8 Printed sheets are stacked onto skids to dry. Unperfected sheets run through the press a second time to print the other side. 101. Printing Step 9 Skids of stacked paper printed on both sides are now ready to fold. 102. Folder Purchase An additional folder was purchased for 2006 so that Tibetan style and western style books could be folded at the same time. 103. Folding Text Printed sheets are run through two-stage folders to create 16-page, 24-page, or 32-page signatures. 104. Small Folder Western volume thankas printed in small signatures of 4 pages are folded on a much smaller folder. 105. Trucking Several times each week 10-11 skids of printed text are trucked 100 miles from printing facility to bindery facility.Trucks carrying materials and reprinted Tibetan books. 106. Loading & Unloading fork-lifting the skids into and out of the truck before and after its run takes several hours for each load. 107. Warehousing The 20 or more skids of paper printed weekly need constant rearrangement to keep the press and bindery clear for work. 108. Collating Text Signatures are set by hand into the pockets of an automated collator that gathers them together into large batches. 109. Marrying Text Batches of signatures that make up each volume are then married together to complete the book. 110. Check Books Married books are checked to be sure all the signatures are in the proper order. 111. Cutting Books Married texts are then fed through the automated cutter that trims the signatures on all four sides. 112. Edge-dyeing Books Batches of books are inserted into a rack with cut edges exposed so red dye can be applied with sponges. 113. Shastra Covers Covers for Shastras are printed on cardstock in red, peach, and gold ink and the sheets cut into individual covers. 114. Covers for Sutras Kanjur Sutra covers are produced by laminating two matte boards of different colors together with hot glue. 115. Gold-Stamping The front cover design is foil stamped using a custom made die and a ten-ton stamper. 121. Boxing Sets Sets of collated books are inserted into sturdy cardboard boxes with labels specially prepared for Indian customs.Boxing the Tibetan books for distribution. 122. Loading Container Boxes of books are strapped to skids that are loaded into 20-foot or 40- foot long shipping containers to truck to the port. 123. Shipping Months in advance we negotiate with shipping companies to get the best possible price for our shipment to India. 124. Coordinating Following up on the final stages of production in the bindery to loading containers in time to get on the ship takes hours every day. 125. Documentation When containers are loaded, paperwork is carefully prepared and verified so that books are allowed through Indian customs. 126. Distribution Plan Rinpoche creates an overall plan for book distribution to monasteries and individuals depending on the types of texts prepared. 127. Customs Plan Research in customs regulations over fifteen years has made it possible to bring large amounts of books into India. 128. Travel arrangements Tickets and travel plans are made for the Yeshe De staff that attended the Monlam to distribute the books. 129. Registration Once at Bodh Gaya, our team makes announcements and signs up monasteries and centers to receiveMonks distributing recreated Tibetan books.books. 130. Distributing Books Hundreds of skids are organized in rows to facilitate actual distribution of boxes of books to more than 3300 centers

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Merlin's Magic ~ Chakra Meditation Music (1996) Easy CD-DA / Ape & Cue ~ 207 Mb, No Log | Cover included New Age / Meditative / Healing Label: Inner Worlds Music ~ Source: My CD “ Chakra Meditation Music is a set of lush melodies designed to tap into the chakras of the human body. Using over 20 acoustic instruments, field recordings and layering techniques, Merlin's Magic has crafted an overtone masterpiece. He uses the natural sonorities of the instruments - including singing bowls - to create the overtone. The music surrounds deep listeners with warmth and love. The huge atmospheres are perfect for - well - meditation, relaxation and any healing art associated with music or sounds. This CD will appeal to fans of Jonathan Goldman, Jorge Alfano, Anugama and Deuter... All Music ” Song List: 01. Introduction 02. Root Chakra 03. Sacral Chakra 04. Sloar Plexus Chakra 05. Heart Chakra 06. Throat Chakra 07. Brow ~ Or Third Eye - Chakra 08. Crown Chakra 09. Sounds into Silence part 1 part 2 ~ part 3

Link: http://rapidshare.com/files/240542106/Yungchen_Lhamo_-_Tibet__Tibet.rar.html

Yungchen Lhamo - Tibet, Tibet | Sacred Yungchen Lhamo - Tibet, Tibet MP3 | CBR 256 Kbps | 103 Mb 1996 | Language: Tibetan |Genre: World, Ethnic Tracks 1. Om Mani Padme Hung 2. Lama Dorje Chang 3. Ari-Lo 4. Refuge Prayer 5. Par Panee Dawa Shar 6. Lhasa Pumo 7. Dorje Den 8. Dradul Nyenken 9. Om Mani Padme Hung II 10. Ga Pai Pa Yul Chola Yungchen's first release on Peter Gabriel's Real World Records label is fittingly called Tibet, Tibet. Lyrically, the songs on this album emote with the fresh cadence and gripping honesty of spiritual offerings. For example, "Lama Dorje Chang" beseeches the Dalai Lama to bless the world with his enlightened mind. "Ari-lo," a song Yungchen learned from her grandmother as a little girl, tells of entering an ominous foreign land, and gradually with courage learning to make a home there. The final track describes the strife besetting Tibet, the bravery of its people and the confidence that the Dalai Lama will one day preside over his people on Tibetan land again. The song features a full orchestra, courtesy of digital composition software. "You can't see the people," giggles Yungchen. "It's an invisible orchestra. They fell from the sky." The New York Daily News wrote of the album: "Once you've heard her stunning record, Tibet, Tibet, on Peter Gabriel's Real World label, or seen her in concert, the power that her voice and melodies have to still an agitated mind becomes obvious." RS Link: http://rapidshare.com/files/240542106/Yungchen_Lhamo_-_Tibet__Tibet.rar.html

tsongkhapa by tsem tulku rinpoche

I respect him alot and I like to share with you about  him and kecharians work.
For the sake of world peace.

TRANSCRIPT: TSONGKHAPA explained

Apr 4, 2010 | Views: 1,224

TSONGKHAPA explained by Tsem Rinpoche (1 of 2)

Making a Lama Tsongkhapa iconography is very powerful.  You can call him Lama Tsongkhapa, Tsongkhapa or Je Rinpoche.  Lama means one without fault. Nothing evil, or negative in them, so therefore you call Him Lama Tsongkhapa.
Tsong is onion; the place that Lama Tsongkhapa was born in Amdo was a place filled with a lot of onions. They grew a lot of onions, so they call Him the Man of the land of the Onions and He is a Buddhist Monk. He is very gentle, He is very very soft, and an emanation of Manjushri.  And during His life, He did twelve great deeds, just like the Buddha. But out of all the deeds that He has done, the one that stood out most is, His incredible dharma teachings and the Lamrim’s works that he has made.
He has written so much in the corpus of Dharma and Buddhism.  He is the greatest Scholar from then till now.  He has many Masters in Tibet but many of them didn’t write. Many wrote short sadhanas and prayers.  But actual philosophical words of debates, and thinking and changing the mind and transformation on Tantra, on Sutra, Lama Tsongkhapa was unexcelled for writing them.  And His writings today, are being used by all the Monasteries, the Tantric monasteries, and are used by monks and lay people.  Even His sadhanas and prayers are still being used.  His meditation for different deities and practices are still being used.  Even some of the tunes that He developed for chanting to the Buddhas are still being used.  And on top of that His clothes, the way a monk should dress has been adopted by all four sects of Buddhism.  Because before Lama Tsongkhapa, monks didn’t have a set way of dressing. Even His hat, etc, everything was developed by Lama Tsongkhapa.  So He is not a normal person.  He is definitely a holy Enlightened Being.
Therefore, Lama Tsongkhapa is very important. You have to be very careful in drawing His iconography.  He always sits in the meditation posture.  What does the meditation posture represent?  It represents that He has become enlightened.  But He has become enlightened by study, understanding, doing retreat and meditation.  So he became a Buddha by meditation.  So it symbolizes the importance of meditation for him during his life and us if we want to achieve higher goals.  So it doesn’t really mean that we need to sit like this doing meditation.  What it means is when we see Lama Tsongkhapa’s body, it reminds us that we must do practice.  We must do meditation.  That is a total reminder when we look at him.  When we see His legs crossed like that, you must meditate, you must do your sadhanas, you must practice.  You must put effort into your spiritual development, you must.  And then you can reach the enlightened state.  That is what is represented by His legs crossing.
Then His hands are in a dharmacakra mudra.  That‘s an international spelling of CAKRA.  Some people put a ‘C-H’, but that’s not accepted, it’s more ‘C-A-K-R-A’, Dharmacakra.  Dharmacakra literally means the wheel of dharma or turning the wheel of dharma.  Why?  If you look at Lama Tsongkhapa’s hand, this hand is in front of the heart, (Rinpoche using His right hand) expounding the dharma.  Alright, the fingers are not together, when you draw, when you make statues, it’s not stiff, it’s soft (Rinpoche showing the correct hand gesture) teaching the dharma.  And it’s where?  Not touching the heart but in front of the heart, right.  Very important, not touching the heart, but right in front, and this point where we actually touch the fingernail and the thumb is in front of the heart.  So you can make the statues or your thangkas nicer, very delicately and very beautifully.  Then His other hand beautifully drapes right in front.  This hand not like that, that is impossible for a human body, it’s slightly down like this.  But in artwork, you make it up a little bit because it is more beautiful.  Alright, so in artwork, in statues you won’t make it like that, you make it like that (Rinpoche showing the correct hand gesture).  So, what is it?  This is the mudra.  Mudra means hand gesture.  This mudra in front of Lama Tsongkhapa represents what?  His greatest activity on this earth, just like Lord Buddha, was teaching the dharma.
He taught and taught and taught by speech, also by writing books, and Lama Tsongkhapa himself had many scribes.  It was impossible for him to write everything.  He had efficient, quick, fast, hardworking scribes who actually wrote down everything he said and went back and see if it’s accurate.  So that’s how His books got printed.  So it’s very very important for Lamas to have writers and to have people who can write, who will do it accurately, who will put their energy into it and will complete it. And also Lama Tsongkhapa didn’t run around looking for printers and sponsors.  His students took over that, His students went to talk to people, please sponsor this teaching, it will be very beneficial and they found the sponsors where they got the paper and they printed it out.  They went to the printers, they got it sent, they got it done and in Tibet, printers are very complicated because unlike now, it’s all computer and all that.  They take wood blocks, they have to take certain types of wood, straighten it out, make it very smooth, turn it around and commission a person to carve each word.  So, if the text has 300 pages, that’s 300 wood blocks.  And if one word was wrong in a wood block, they have to change the whole thing.  So do you think Lama Tsongkhapa hung out at the wood block place waiting for his text to be printed?  No. He didn’t do all that, He just gave His teachings.  That’s why he was able to get a lot out because he had efficient people around Him, He did. So He was able to do what he can do, teach.
So His teachings are still alive today, by those voluminous works, and along with that, what’s written later by many great masters are based on Lama Tsongkhapa’s written works and teachings.  And on top of that the greatest figures in our country, eg His Holiness the Dalai Lama, the Panchen Lama, all these great Lamas, their first incarnations were all students of Lama Tsongkhapa Himself.  All.  So His Holiness is the 14th right now. when He dies, 15th, dies 16th, previous life 13th , previous life 12th.  The first Dalai Lama was the direct disciple of Lama Tsongkhapa himself.  And like that, in Tibet, you have many many great Dharma teachers who have many incarnations and their incarnations are direct students of Lama Tsongkhapa himself.  Direct, coming back again and again.  Incredible.
The greatest work of a Lama is not to do rituals. The greatest work of a Lama, the best activity of a Lama is not to perform miracles or to do death ceremonies or weddings or you know, travel, or wear nice clothes, or build temples.  The best activity of a Lama or Rinpoche, a teacher, is teaching.  That’s the best activity, the only activity.  Why?  They are here specifically to teach, to expound and to give you the dharma.  Certain teachers are quite realized.  Certain teachers have many lifetimes of learning and experience.  So when they teach it doesn’t come from one life.  It comes from many lifetimes that they experience.  That’s why the teachings are profound and deep although subject simple, they teach in such a profound way.  Why?  It’s not something that they practice for one or two years.  Anybody in this life who takes good photography, good writing, it didn’t come from one or two years, it came from years of experience, the hardship and difficulties.  Similarly something simple like that takes years of hardship and difficulties.  Of course teaching the dharma that will transform other people’s mind, and their life and their future and their destiny is extremely profound.



TSONGKHAPA explained by Tsem Rinpoche (2 of 2)

So, many Lamas in Tibet are quite realized.  Realized in what sense?  Their knowledge comes from many many lifetimes of thought, contemplation, meditation. So when they speak it actually comes from a very distinct past and it has an effect on us.  Why?  It is something that they have perfected.
Therefore in Tibetan tradition, the best purpose of a Lama is to teach.  If your Lama can teach and you create the facility for your Lama to teach and you create everything easy for your Lama to teach and there is no burden for your Lama in any way, just to teach and you will allow your Lama to do what he is supposed to do and you will receive the benefits of teachings, practice and results.
If the Lama has to do everything but teach or cannot teach because he has to do everything, then you do not use your Lama in a correct way.  So therefore, Lama Tsongkhapa shows that.  Why?  Teachers’ purposes, Gurus’ purposes is to teach.  How is it most important?  It is only by teaching and expounding the dharma, can we gain knowledge and realization.  Without realization and knowledge there is no dharma.  You can build temples, you can build statues, you can do pujas, you can put light, incense and flowers, and you can put pupe, dupe, aloke, gyande, newidye, food and all that, on a tray and you go like that (Rinpoche demonstrating how we do our offerings) in front of the Buddhas and you ring the bell, nothing happens. Why?  Anybody can do that.  You can teach a monkey to do that.  Tibetans do that.  Even a monkey can come with a tray, go like that  in front of the Buddha and then rings a bell, nothing happens.  What is dharma? What is puja? Puja means clear problems, clear obstacles by listening to the dharma and practicing the dharma.
So the most important part of a Lama is to teach, most important.  When a Lama cannot teach and you interrupt him with all kinds of stupid silly things and excuses and not doing work and breaking promises and not fulfilling them, if the Lamas is overwhelmed by that, and they cannot teach, his energy is drained, your purpose is not fulfilled, his incarnation is wasted.  We say in Tibetan chud, is wasted.  Some Lamas actually die early, they are gone, because they cannot do what they’re here to do.  Many cases like that. Many many cases.  One of my Gurus, Drikung Rinpoche, the same thing happened.  He told, his previous life just died off.  For several years, he remained completely silent.  He was so unhappy with his students and having to repeat things and all the time disappointing him.  He remain completely silent for seven years, he never talked.  And at the end of seven years of silence, he went into meditation and passed away.  He told me himself. So what happens is when you don’t let your Lama teach, and you make him do everything else, you waste him and you waste yourself and you waste the opportunities.
While everybody has something good they can do, if we don’t do what we can do or learn to do something good, then how?  Time, everything is wasted.  That’s why in a family unit, everybody in the family has a job to make things work in the household.  So when you do that in the household it works.  If you lay it on one person, that one person could be a bread winner, cannot go and win the bread.  Very very simple.
So the function of a Lama, the highest function, the only function, and the real function, the real job of a Lama is to turn the wheel of the dharma and that is so important that’s why Lama Tsongkhapa shows his hand gesture.  Out of all the gestures a Buddha can have, he shows his hand gesture like this meaning the highest job is teaching the dharma.  And only by dharma can I bring you happiness, only by dharma can I change your life.  Only by dharma can I bring you benefit.  Only by dharma.  So that is the highest and most important, therefore his hands are in this gesture, Dharmacakra.  Then in Lama Tsongkhapa’s right hand, he holds a stem.  The stem is a green sprout and clear, not thick like a rope, thin and clear. It has to balance up the body and opens up on the right into a beautiful lotus flower.  The lotus flower opens up and is pink and it has a lotus bed on moon disc. On top of that is a sword.  Why is there a sword?  There’s a sword because the sword cuts.  Cuts what?  Cuts objects, trees, people, things, wood, paper, it cuts.
So why does Lama Tsongkhapa holds a sword on a lotus on his right side?  Because by listening and learning the dharma, it cut through our suffering.  We can cut through our unhappiness.  We can cut through our mind.  We can cut through our difficulties and problems.  And why is the sword on a lotus?  The sword is on a lotus because a lotus represents compassion, love.  Love and compassion, motivates this sword meaning this sword cannot harm you.  It cannot damage you but it can cut away things that damage you.  Why?  Because it’s motivated by compassion.
Then, on the left you have another stem on the lotus and on the top of the lotus is a dharma book. The dharma book is in a Tibetan form.  Tibetan dharma books looks like this (Rinpoche showing dharma book) and is sitting on a lotus on the left and on top of that it has jewels.  It has beautiful jewels, you see there, there is a blue jewel. It has jewels on top of the dharma book.  Why?  A jewel in Buddhism doesn’t represent diamond or sapphire.  We called it yid bzhin nor bu. ‘wish fulfilling jewel’.  Why is it a ‘wish fulfilling jewel’?  Because the dharma or the dharma book or the learning of the dharma, understanding of the dharma is symbolising you have a jewel.  What does the jewel do for you?  It removes your poverty, your problems, your difficulties.  So when you learn the dharma it removes your poverty and difficulties like a ‘wish fulfilling jewel’.  Therefore the best jewel in the world is not money, not things.  The best jewel in the world is having knowledge.  This knowledge does not come from a bad source, it comes from Buddha.  So therefore, this jewel, this Buddha knowledge, the dharma is represented by the book.  Why?  We get  knowledge from a book.  And if we have dharma knowledge, it is the same as a jewel.  Why?  Jewels, a lady will take away poverty and difficulties from financial problems.  Dharma jewel takes away something also.
Therefore, when Lama Tsongkhapa has a book on a lotus here, (Rinpoche pointing to his left side) what does it represents?  When you pray to Lama Tsongkhapa, when you meditate to Lama Tsongkhapa, when you make offerings or puja to Lama Tsongkhapa, if you do Lama Tsongkhapa’s mantra, what happens?  Your knowledge will increase, your wisdom will increase, your memory will increase, your ability to speak will increase, your words will increase, the power of your speech will increase, conversation will increase, writing, science, learning, arts, drawing, music.  Anything relating to music, art, writing, conversation, debate.  Anything relating to learning and memory and comprehension, understanding can be achieved by praying diligently to Lama Tsongkhapa.
So if you wish to learn, you wish to have a very sharp mind,  if you want to the mind to be clear and aware and quick and fast, then you do puja and prayer to Lama Tsongkhapa as your main Buddha.  If Lama Tsongkhapa is your main Buddha, many part of the mind will be converted.  Much much better.  So when Lama Tsongkhapa holds a dharma book, it represents what?  It represents that you pray, you meditate, focus, chant and you make Him your Buddha and you do puja to him and you give yourself to Lama Tsongkhapa.  Everything having to do with learning, understanding, clarity, awareness, quickness, sharpness, intelligence, debating, talking, art, music, science, will increase.  Why?  He is a Buddha of wisdom and knowledge, understanding, perfection of mind.



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mantras thanks to tsem tulku rinpoche

hopefully this will help people who believe OM AH RA BA TSA NA DHI HUNG mantras Amitayus OM AMARANI ZEWONG DEYEE SOHA Avalokiteshvara / Chenrezig / Kuan Yin OM MANI PEME HUNG Black Manjushri Dukkar / Sitatapatra OM SITA TA PA TREY HUM PHET Dzambala OM DZAMBALA DZALENDRAYE SOHA Green Tara OM TARE TUTTARE TURE SOHA Guru Rinpoche OM AH HUNG BENZA GURU PEMA SIDDHI HUNG Hayagriva HRI PEMA DATRI HAYAGRIVA HULU HULU HUNG PHET Heart Sutra TAYATHA OM GATEY GATEY PARAGATEY PARASAMGATEY BODHI SOHA Kalarupa OM KALARUPA HUNG PHET 4-faced Mahakala OM MAHAKALA KALA BIKALA RATRITA DOMBINI CANDALI RAKSHISI SINGHALI DEVI BHYO HUNG PHET 6-armed Mahakala OM BENZA NARA TRIM TRIM HUNG HUNG PHET PHET SOHA Manjushri OM AH RA BA TSA NA DHI Maitreya OM MAITREYA MAM SOHA Marici OM MARITSE MAM SOHA Medicine Buddha TAYATHA OM BEKANZE BEKANZE MAHA BEKANZE BEKANZE RANDZA SAMUGATHE SOHA Norgyuma / Basudarini OM BASUDARINI NAKETRA SOHA Palden Lhamo JO RAMO JO RAMO JO JO RAMO TUNJO KALA RACHENMO RAMO AJA DAJA TUNJO RULU RULU HUNG JO HUNG Saraswati OM SARASIDDHI HRING HRING Sengdongma AH KHA SAMA RANZA SHANDA RASA MARAYA PHET Setrap OM MAHA YAKCHA TSA SOHA Shakyamuni TAYATHA OM MUNI MUNI MAHA MUNI SHAKYAMUNI YE SOHA Sosodrolma OM MANI DARI BENZINI MAHA PARTI SARI HUNG HUNG PHET PHET SOHA Je Tsongkhapa Migtsema (5-line Prayer) MIG-MEY TZE-WEY TER-CHEN CHENREZIG DRI-MEY KHYEN-PI WANG-PO JAMPAL YANG DU-PUNG MA-LU JOM-DZEY SANG-WEY DAG GANG-CHEN KE-PEY TSUG-GYEN TSONGKHAPA LO-SANG TRAG-PEY SHAB-LA SOL-WA DEB Je Tsongkhapa Migtsema (4-line Prayer) MIG-MEY TZE-WEY TER-CHEN CHENREZIG DRI-MEY KHYEN-PI WANG-PO JAMPAL YANG GANG-CHEN KE-PEY TSUG-GYEN TSONGKHAPA LO-SANG TRAG-PEY SHAB-LA SOL-WA DEB Je Tsongkhapa Migtsema (9-line Prayer) NGO-DRUB KUN-JUNG THUB-WANG DORJE-CHANG MIG-MEY TZE-WAY TER-CHEN CHENREZIG DRI-MEY KHYEN-PI WANG-PO JAMPAL-YANG DU-PUNG MA-LU JOM-DZEY SANG-WEY-DAG GANG-CHENG KE-PEY TSUG-GYEN LO-SANG-DRAG KYAB-SUM KUN-DU LA-MA SANG-GYA-LA GO-SUM GU-PAI GO-NA SOL-WA-DEB RANG-ZHAN MIN-CHING DROL-WAR JIN-GYI-LOB CHOG-DANG THUN-MONG NGO-DRUB TSAL-DU-SOL Je Tsongkhapa Heart Mantra OM AH GURU BENZA DHARA SUMATI KIRTI SIDDHI HUNG HUNG Je Tsongkhapa Long Life Migtsema MIG-MEY TZE-WEY TER-CHEN CHENREZIG DRI-MEY KHYEN-PI WANG-PO JAMPAL YANG DU-MEY CHI-WA JOONGSEY ZEPAKMAY DU-PUNG MA-LU JOM-DZEY SANG-WEY DAG GANG-CHEN KE-PEY TSUG-GYEN TSONGKHAPA LO-SANG TRAG-PEY SHAB-LA SOL-WA DEB Je Tsongkhapa Long Life Mantra OM AH GURU SUMATI KIRTI APARAMEDA AYU JANA SIDDHI HUNG HUNG Trakpo Sumtril OM BENZAPANI HAYAGRIVA GARUDA HUM PHET Usnivijaya / Namgyalma OM DROOM SOHA Vaisravana / Namtose OM VAISHRAVANA YE SOHA Vajrapani OM BENZAPANI HUNG Vajrasattva OM BENZASATTO HUNG Vajrasattva 100-syllable mantra OM BENZASATTO SAMAYA MANU PALAYA / BENZASATTO TENO PATITA / DIDRO MAY BHAWA / SUTO KAYO MAY BHAWA / SUPO KAYO MAY BHAWA / ANU RAKTO MAY BHAWA / SARWA SIDDHI ME PAR YATSA / SARWA KARMA SUT TSA ME / TISHTAM SHRIYAM KURU HUM / HA HA HA HA HO / BHAGAWAN SARWA TATAGATA / BENZA MA MAY MUN TSA / BENZA BHAWA MAHA SAMAYA SATTO / AH HUM PHET White Tara OM TARE TUTTARE TURE MAMA AYUH PUNYA JANA PUTRIM KURUYE SOHA

VAJRAYOGINI



How Lama Tsongkhapa transforms to Vajrayogini 

(Transcribed from a teaching given in Tsem Ladrang Kuala Lumpur,)
How Lama Tsongkhapa transforms to Vajrayogini
If you condense Buddha’s teachings step by step, they become the Three Principle Paths. We can develop the Three Principle Paths and gain mastery over our rebirth. You know why? So you don’t ever have to worry about yourself again and I don’t have to worry about you. You gain mastery. You can.
Therefore, the best anyone can do if not enlightenment for now is to gain mastery over taking rebirth coupled with developing the Three Principle Paths. They go hand in hand by the way. Where you want to take rebirth can be determined by yourself if you practice the sacred Vajrayogini Tantra thoroughly.
Start now before you are awarded the Vajrayogini empowerments. Start now! How? By holding your commitments and your vows – your refuge vows primarily and your commitments. Whatever you promise your Guru and your Dharma brothers and sisters to do, you do it. If you break it, you don’t create the causes to get Vajrayogini. One has to lead to another.

Be honorable and have integrity meaning that whatever you say you are going to do, do it. Whatever work or practice you have been assigned, do it diligently and happily. This applies to every Dharma student around the world not just here by the way. This is going to be seen by everyone.

Develop contemplations on the good qualities of one’s Lama again and again. Always contemplate how your Lama has changed your life, how you were before you met your Lama, how you gain purpose after your Lama, and basically how many examples the Lama has shown you. If you contemplate on that over and over again, it’s very powerful. Do you know why? Because when you receive Vajrayogini’s empowerment, you might even see your Lama as Vajrayogini. But if you always think negative thoughts and contemplate negative thoughts with your Lama, you will just see him as an ordinary person. You can still get the initiation but it is not as effective.

So by contemplating on your Lama and thinking about his good qualities and what he has done for you in your life until tears come down your eyes, always until it is spontaneous, you prepare yourself to receive Vajrayogini, from Vajrayogini. Never give up. Never give up. I quit, I can’t, I don’t want to, bye bye… never give up. If you give up on something small like this, how are you going to do Vajrayogini’s practice? That’s even more intense.

 So if you don’t give up now, when you get to see Vajrayogini, you are not going to give up. If you don’t give up Vajrayogini, you will gain Her paths. You will gain Her attainments.
Practice the Eight Verses of Thought Transformation, listen to the teachings. I have got it on YouTube. Listen to the teachings that I have given. Listen to it again and again and again and practice it. Why? If you develop the Eight Verses of Thought Transformation in your mind, when you see Vajrayogini, you will be very ready for Her practice. You see, these things I am giving you now are preliminaries, it’s just a foundation before you to get Vajrayogini. 

You don’t get Vajrayogini and then you practice this. You got to practice this before Vajrayogini, before Yamantaka, before Heruka, before Guhyasamaja, before Kalachakra. People go and get Kalachakra, Vajrayogini and then they practice this and that’s why they quit, they fall, they don’t do their sadhanas, they stop, they get lazy because they didn’t practice. That’s why I am very against Lamas giving you initiations publicly, openly. They just come and give initiations and go. I am sorry, no disrespect intended to my gurus or anyone but they leave a group of people who don’t know what they got.


Make it a point to get along with everyone as much as possible and be forgiving. Very practical. Study Lamrim. Study the Wheel of Sharp Weapons. Study the Bodhisattvacharyavatara by Shantideva, and Lojong. Lojong is mind transformation teachings, Geshe Chekawa’s mind transformation.
The Fifty Verses of Guru Devotion by Asvagosha – you should study that. You should encourage other people to study that and know it well. Do you know how you can tell you know it well? When you start controlling yourself in the presence of your teacher. 


When you control yourself in the presence of your teacher, you can control yourself in the presence of his assistants and you can control yourself in the presence of his entourage, then his students and then everybody else you meet. It’s a gradual process. If you can’t even control yourself and roll your eyes in the presence of your teacher, you definitely will roll your eyes in front of everybody else. That’s not a Vajrayogini practitioner. That’s someone who when they receive Vajrayogini, they will kill the lineage. You know what? People look and say ‘oh I don’t want to practice, look”. That’s how you kill a lineage.


And then commit to one’s practice that is light and easy everyday. You should do Tsongkhapa’s Guru Yoga and Mitsegma daily. Setrap already told us that remember? We should do this every single day. So if new people come, old people come, lazy people come, and they ask, “what can I do every single day? What practice, what meditation?” ‘Lama Tsongkhapa Guru Yoga and listen to the teachings Rinpoche gave, it is very good. Listen to it, practice it’. So that’s the meditation they should do everyday if they have obstacles and add Setrap to it, that’s it. They don’t need to do anything else.

Then later, Lama Tsongkhapa will transform. Lama Tsongkhapa’s hat will turn black, turn into hair. Lama Tsongkhapa’s face will turn into three eyes and fierce with fangs. Lama Tsongkhapa’s complete attainment over the four maras, will turn into the four fangs of Vajrayogini, two lower, two upper.
Lama Tsongkhapa’s complete clairvoyance and omniscience over the 3 realms will transform into the 3rd eye of Vajrayogini and Lama Tsongkhapa’s complete subjugation of His desire and attachment will transform His body from white to red. And Lama Tsongkhapa’s complete overwhelming overcoming of renunciation will turn into the knife of Vajrayogini.

Then Lama Tsongkhapa having attained great bliss and great happiness – a happiness that cannot be moved, that is not controlled by karma, situation, environment and geography, that symbol of Him attaining great bliss and great happiness of a Buddha, unchanging – will turn into a skull cup filled with intestines and blood.
Then Lama Tsongkhapa wishing to give you a higher path, controlling your winds and your energies and channels, will transform into his left arm which, instead of the Dharmachakra mudra, will go up into the sky and point to Vajrayogini.

Then Lama Tsongkhapa’s extreme compassion and bodhicitta and great love for you and great compassion and love and his vow not to give up on sentient beings will transform his face. Instead of looking at you, his face will look up to Kechara Heaven.

Then Lama Tsongkhapa’s extreme wish to nurture sentient beings to teach them the Dharma, to emanate, to take on the Rupakaya form, the Nirmanakaya form, to take on Tulku forms, to emanate, to teach, to turn the Wheel of Dharma, that great love and need and want to help you, will turn into the two breasts of Vajrayogini. Because the ladies’ breasts are why we are all here, and we’re healthy. Because they are filled with vitamins and nutrients. Like that, Vajrayogini’s breasts are filled with emptiness, bodhicitta and dharma. And when you suckle on her breasts, symbolically, you will become a Buddha.

And then, Lama Tsongkhapa shows you abandonment of the 8 worldly dharmas – he doesn’t want fame or praise or he doesn’t want compliments. He doesn’t want any of the 8 worldly dharmas. His complete abandonment of the 8 worldly dharmas will turn into the secret vajra, the secret “vajra lotus” of Vajrayogini, exposed. What ladies run around with their privates exposed, but Vajrayogini does. Because Vajrayogini’s privates exposed means something much more.


So Lama Tsongkhapa’s intense wish to free you of the 8 worldly dharmas of attachments will appear in the form of a beautiful lotus full and thick and exposed.
Then Lama Tsongkhapa’s complete destruction of ignorance and hatred, manifests in the form of black Bhairava, facing down and his red beautiful feet stepping on it.
And Lama Tsongkhapa’s ability to transform your desire into the path of the dharma, into the path of enlightenment is transformed into the consort of Bhairava – red, facing up and Lama Tsongkhapa is stepping on that.

Then Lama Tsongkhapa’s ability to not be affected by maras, weapons, anything negative, anything evil, thoughts, bad karma, obstructions, spirits, nagas, gods, his inability to be harmed by them, because he is enlightened, will be symbolized and manifested in the form of tumultuous fire, emanating from every pore of his red body surrounding him.

And then Lama Tsongkapa is unified with every single Buddha in existence, past and present. And these Buddhas manifest in the form of the King of the Tantras, Heruka. Heruka takes on the form of a katangka and then Lama Tsongkapa holds the katangka at the crook of his shoulders, looking up. And this katangka represents the hero, Heruka Chakrasamvara. And Chakrasamvara is the emanation of all the Buddhas and Bodhisattvas and Deities in the Ten Directions. And Lama Tsongkhapa embraces these Buddhas, meaning Lama Tsongkhapa and Vajrayogini are one.

And then Lama Tsongkhapa extols you, requests you and teaches you and invites you to practice the Six Paramitas of giving, effort, wisdom, asceticism, renunciation, etc etc. He extols you and invites you to practice this. And this invitation and his accomplishments of the Six Paramitas manifest into the six ornaments on Vajrayogini. So, in fact when you are looking at Vajrayogini, you are looking at Lama Tsongkhapa. When you are looking at Lama Tsongkhapa, you are looking at Vajrayogini. Hence, I tell everybody in Kechara House to practice Lama Tsongkhapa and in the future, it will lead to Vajrayogini.
Now, I gave you a vivid description of how Lama Tsongkhapa will transform into Vajrayogini. So later when you practice Vajrayogini, you say ‘but you told me one yidam, there are two, Tsongkhapa and Vajrayogini. No, it’s one. It’s always been one. It’s never been two. Never.


How does Lama Tsongkhapa’s yellow hat transform into Vajrayogini’s hair? Very simple. The meaning is the same. Lama Tsongkhapa’s yellow golden hat and the point of it represents He has reached the highest in existence. He manifests into Vajrayogini’s hair because Vajrayogini’s hair is straight and blue-black, (or sometimes orange) and not touched meaning She is free of any attachment, any entanglements of samsara. A person who is free from entanglements of samsara is a Buddha. So the point of the hat and the non-entangled hair of Vajrayogini has the same meaning. That’s why I have said a thousand times if you look at a Buddha’s body, if you know the dharma you can see the dharma in their body. If you know their body and you know the dharma their body is a ‘road-map’ to dharma, very clear.

So therefore, the gentle Tibetan monk who became a Buddha in His lifetime, the King of the Three Realms was predicted by Sakyamuni, who built Gaden, Sera Jepung, Tashi Lhunpo, Amdo, Bothalla, who has spawned great masters and teachers like Trijang Rinpoche, Khensur Rinpoche, Dalai Lama, manifests Himself later for you in a tantric path to control your winds and rebirth. His whole body gradually transform inside a gentle monk from Tibet into a fierce red lady for the Kali Yuga.

So therefore, you should do what? – Lama Tsongkhapa’s practice every single day and well, and that will lead to Vajrayogini. So people say, ‘well I don’t have a Vajrayogini mantra, I don’t have initiation, how can I start?’ I just told you. Does everybody understand? Is that very clear? Is it eloquent? Does it give you a good imagery in your mind? David has memorized everything, he will go back and write it so he doesn’t forget and he will blog it. So will Paris.

Then follow your teacher loyally and all the way, it says on my post. It is not for Kechara House and for me alone. That’s for every student out there in the world because if you don’t follow your teacher loyally, you jump from one center to another center, from one Lama to another Lama. Because in Gaden there are very simple and ordinary Geshes that we receive teachings from. They don’t sit on thrones. When they go to teachings, they sit on the floor with other normal monks, but we see them and the Lama on the throne as one. Be loyal.

Then the next step after that is when you have done all that I have mentioned, then you do the Guru Yoga, Vajrasattva, mandala, prostration, water offerings, 35 Confessional Buddhas. I wrote that on my post, on my blog. So what you do is, you set a beautiful Vajrayogini shrine, as big as possible, as beautiful as possible. And you know what? If you are going to be cheap skate about it, you will be cheap skate on your own attainments and your own enlightenment. 

It will be the best thing for you to set up a beautiful Vajrayogini shrine, spend all your money on making it beautiful and making offerings to Her and then you drop dead next week. That’s the best thing you did before you drop dead. If you save all your money and you set up nothing, you can’t take it with you and you didn’t collect any merits either. Set up the most Vajrayogini beautiful shrine. Take your time, do it well. Plan for it. If your budget allows you to have the most beautiful shrine and if it is this big, that’s beautiful. If your budget allows to be that big, that’s beautiful. And if you know someone else who doesn’t have the budget and they are sincere, sponsor it for them. You should find every opportunity to sponsor Vajrayogini’s statue, hundreds and thousands to people as much as possible.

Sponsor one Vajrayogini for every year of your birth, that would be beautiful and someone will worship it. Someone. Well, if your budget is this small, you sponsor whatever tsatsas for every year of your life. Then while you are sponsoring it, maybe you hit the jackpot, you can sponsor bigger ones. What else have you been sponsoring? You have been sponsoring everything, bringing your children, yourself and everybody into samsara deeper and deeper. All the sponsorship you have done in the past with your kids and everybody, if you didn’t meet the dharma, you just sponsor them to go to the three lower realms. Think about it. You should do that.

And when you set up this beautiful altar to Vajrayogini, do the five preliminary practice focused on Her. But she is not Vajrasattva. Do you need a Vajrasattva? No, you don’t need a Vajrasattva statue, She is Vajrasattva. Then you do the ‘35 Confessional Buddhas’. But I am doing ‘35 Confessional Buddhas’, that’s not Vajrayogini. If you do the ‘35 Confessional Buddhas’ it purifies your karma and you are focusing on Vajrayogini. So when you focus on Vajrayogini, when you purify your karma, you will become Vajrayogini. That’s your purpose to achieve Her practice. You have to understand.\


So what people should do is, they should set up a shrine for Her and do everything that I have said here to focus on Her. So when they read the Lamrim at home, when they read the 50 Verses of Guru Devotion, when they read the Wheel of Sharp Weapons, they sit in front of her, make prostrations, offerings and read in front of Her as if it is Her practice. The 50 Verses, the Wheel of Sharp Weapons and Lamrim, mind transformation – the Eight Verses of Mind Transformation, all are Vajrayogini’s teachings. They are Vajrayogini in the form of word. They are.

How can you be devoted towards your Lama and not be associated with Vajrayogini? How can the Wheel of Sharp Weapons, realizing the effects of karma, not being Vajrayogini? Of course they are, people think mistakenly, that Vajrayogini’s practice must be Her mantra, Her sadhana, Her ritual, then it is Vajrayogini. No.
So I am spreading Vajrayogini’s practice without getting empowerment. Do you know why? So none of you break your vows. I am helping you. I am helping you connect to Vajrayogini without breaking your vows. Why am I doing that? Because I think She is the best yidam in the whole world. The end. You might think, you said ‘oh you are biased’. I am. Pabongka said it. My guru said it. Lama Yeshe said it. So if I am biased, I have got good support behind me. I didn’t wake up one day and say ‘oh you know what, Vajrayogini is the best yidam’. Vajrayogini is very easy. All of Yamantaka right hand – 16 arms. When you condensed into one meaning it is Vajrayogini’s right arm. All of Yamantaka’s 16 left arms, when you condensed the meaning and what they are holding is condensed into Vajrayogini’s left arm. And I can give you an explanation. It’s all there.

Yamantaka has 16 faces, sorry 9-faces. Vajrayogini with the one-face has the complete meaning of all 9-faces of Yamantaka. Yamantaka with these 16 legs and what He is stepping on and the meaning is condensed into Vajrayogini’s two legs. Oh, definitely. I gave you a beautiful explanation of what her legs are, why they are bend, why they are straight for one.
But not today you know why? For a very simple reason: you guys don’t have Vajrayogini’s initiation. And then I know some people think but that’s not our fault. Yes it is.


Vajrayogini practise

Considered to be the secret form of Vajrayogini, Lion-faced Dakini also has a relationship to Troma and the practice of chöd. She is appropriate for clearing obstacles of the most pervasive and malignant kind, and cutting through the “three poisons” of mind.

This ancient practice has been important in Tibetan Buddhism since the time of Guru Rinpoche. PeGyal Lingpa recieved this revelation directly from Padmasambhava, appearing in a red-black form, instead of the more common dark blue manifestation. This indicates that this is the inner form of the yidam, allied to the Pema family. Sengdongma is particularly focused on pacifying the destructive inlufence of the Mamos, the forces of distrubed “yin” or feminine demonic energies. The wanton destruction of the environment and degredation of human culture greatly stirs up and enrages these elemental force. They retaliate with disease, epidemics, weather disturbances and calamaties on a major scale. This practice is one of the great antidotes for this critical time of the “five degenerations.” As wrathful dakini, she is also one of the Phramenma, a group of female deities from the Bardo Thödol, or ‘Tibetan Book of the Dead’.

History

At the time of Buddha Amitabha, many aeons even before Shakyamuni Buddha, there was a demon called Garab Wangchuk whose daughter was a lion-faced demoness called Tramen Sengdongma. She delighted in taking the lives of countless beings, and by harming practitioners she increased the negative forces in the world and undermined the Amitabha Buddha’s doctrine.

All the buddhas gathered together and concluded that to tame her they would need to manifest an identical-looking being. The enlightened beings’ collective wisdom arose in the form of a wisdom being – the Lion-faced Dakini, empowered by all the buddhas of the ten directions with their power and compassion to tame the demoness.

The Dakini became far more powerful than the demoness, who then began to lose her strength. While the Dakini was in a deep samadhi of taming the maras, countless dakinis emanated from her and subdued all the demons. Tramen Sengdongma, now pacified, took an oath to serve the dharma and became a protector. Iconography Simhamukha is iconographically represented as a wrathful deity who is usually depicted as a dark blue, or maroon, coloured lion-faced female and is associated with the direction East.

As Simhavaktra, an alternate form of Simhamukha, she is also an attendant of the Dharmapala Palden Lhamo, in which case she is depicted as carrying both a kapala, or skullcap, and a kartika, or ritual knife. Snarling and roaring with a gaping large mouth on a white lion face, Simhamukha stands fierce and menacing with two hands, dark blue in color, with protruding fangs, curled tongue, two large round eyes and dark green flowing hair.

The right hand holds aloft a curved flaying knife with a gold vajra handle. The left clutches to the heart a white skullcup filled with blood. Adorned with a crown of five skulls, bone necklace and gold ornaments she wears a green silk scarf and a barely discernable tiger skin skirt.

In a dancing posture with the left leg extended and the right drawn up she stands atop a red corpse seat, sun disc and a pink lotus surrounded by a circle of flame and smoke. With a body black in colour, the face is that of a white lion, with three round yellow eyes, blazing fiercely with a gaping mouth, a yellow beard, eyebrows and hair flowing upward.

The right hand holds upraised a curved knife to the sky, left a skullcup of blood to the heart, carrying a khatvanga staff tipped with a trident in the bend of the elbow supported against the shoulder. Adorned with a tiara of five skulls, red scarf, elephant skin, bone ornaments, a long snake and fifty freshly severed heads as a necklace, she wears a tiger skin skirt. Standing on the left leg with the right drawn up, trampling on a double triangle symbol, corpse, sun and multi-coloured lotus seat, Simhamukha in a mood of great fierceness dwells in the middle of a blazing fire of pristine awareness.

In the Sarma (new) Schools the dakini Simhamukha is a tutelary deity arising out of the Cakrasamvara cycle of Tantras and belongs to the anuttarayoga ‘wisdom’ classification. The Sarma tradition Simhamukha is unrelated to the deity of the same name and appearance in the Nyingma ‘Terma’ (treasure) traditions. In that tradition, of the many forms of Padmasambhava, she is regarded as the secret form of Guru Rinpoche.

In the sadhana for Vajra Dakini Simhamukha, written by Jamgon Kongtrul, the goddess is described as follows: “The color of her body is a dark azure, like the dark color of the gathering storm clouds. And she is exceedingly wrathful. She has a single face and two arms. Her lion’s face is white in color and turns slightly to the right.

The expression on her face is fierce and wrathful. From her three red eyes come flashes of lightning and her lion’s roar is like thunder. The hair of her head is long and black and made of iron. From this mass of hair that is billowing about everywhere (as if in a storm) is projected miniature phurpas like live sparks. With her right hand she flourished a five-pronged vajra in the sky and with her left hand she holds before her heart a kapala skull-cup filled with blood.

She has a khatvanga staff cradled in the crook of her left arm. She girds her loins with a skirt made of a tiger skin and, as a mantle, she wears the hide of an elephant and a flayed human skin. In all respects, she is garbed in the eight-fold attire of the cremation ground. She adorns herself with a long garland of dried and freshly severed human heads, as well as with necklaces of human bone. She is adorned with various kinds of fearful apparitions and at her navel is the sun and moon.

Her two legs are extended and drawn up in the dance position of ardhaparyanka, while she stands amidst the blazing masses of the flames of wisdom. At her forehead is the white syllable OM, at her throat is the red syllable AH, and at her throat is the blue syllable HUM. Then from the syllable HUM in her heart center there emanate rays of light, and from the great violently burning cremation ground in the land of Uddiyana, which is in the western direction, is invoked the Jnana Dakini Simhamukha, who is surrounded by retinues of hundreds of thousands of dreadful Matrika goddesses, together with the ocean-like hosts of guardian spirits who are her attendants.”

Practice In the time of the 100-year lifespans, Buddha Shakyamuni appeared in the world and turned the wheel of dharma in many places such as Varanasi, Bodhgaya, Vulture’s Peak, and the charnel ground of Lanka, teaching on many levels including Vajrayana.

He said that at that time it was as if the sun were in the center of the sky, and there was no darkness anywhere, but when the sun went down then the darkness of ignorance would arise. But the Lord Buddha continued that there would be a method to dispel this ignorance, and so Vajrapani requested that Lord Buddha teach this method.

Shakyamuni Buddha rested in the samadhi of taming the maras, and then taught the whole cycle of the Lion-faced Dakini. He taught in many different ways, and these transmissions were concealed by Vajrapani as treasures after he received them. Apart from its mantra recitation, Sengdongma practice contains the element of “dokpa” or reversal of negativity.

Accompanied by the clapping of hands (bringing earth and heaven together), negative conditions, sickness and misfortunes of all kind are turned away and averted, so that they never manifest or disturb the tantric practitioner’s health, wellness or spiritual progress.

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