TENGA TULKU RITUAL INSTRUMENTS (3/3) Introduction Whilst listening to the Dharma teachings we must have the motivation

of thinking that all beings must achieve enlightenment and it is for this purpose that I am listening to the teachings. Rinpoches wishing prayer is praying to his root guru so that there is benefit to our achieving Bodhichitta. Rinpoche has explained so far is that the Buddhas achievement of enlightenment and after this his teaching of the three stages of the Dharma, turning the Dharma wheel three times, and then after that he taught the Resultiyana of the Vajrayana. Then he gave an explanation of our present practice of the Vajrayana, the basic symbolic mandala, and if one is practicing in an elaborate way, the use of the tormas and the instruments which is the jalings and cymbals and drums etc. He also explained the particular times for the practice and the particular individual who does the practice. Vajrayana Practice In practicing the Vajrayana, there are two stages to it, the development stage and completion stage. In the practice of the development stage, there are three aspects, there is the clear appearance of the deity, secondly there is very stable of pride or confidence of being the deity and thirdly the pure mindfulness. Hand Symbols In the pure mindfulness one is aware of or remembers the hand symbols, all the symbolic things that are held in the hand of the deities. The deities hold vajras, bell, sword, hammer and all sorts of different things. If one looks at ourselves, ordinary people, if one is an artist one has to have his brush and paints; if one is a carpenter one has to have a saw, hammer and chisel. In order to do ones work one has to have these particular tools. First one has to obtain them and then to use them. The symbols in the hands of the deities appear as the quality of the deity or appear naturally as the manifestation of their activities which help beings, so they are not like the tools we have which we have to obtain and use with effort. The Three Roots In the Vajrayana there is the three roots, the gurus, the yidam deities, the dharma protectors and guardians and the dakas and dakinis. So in the practice of Vajrayana there are these three roots. The reason for these is that the gurus are the root of blessing. So first one needs the blessing in order to practice so it is necessary to practice the mandala of the guru. Then the yidams are the root of siddhi, so after one obtains the blessing one needs to gain the supreme and the ordinary siddhis and one has to practice the yidam deity. The essence is the guru and the appearance is the yidam deity. By practicing in this way one will obtain the supreme and the ordinary siddhis. Some might think that one can gain all the siddhis by practicing the gurus, but you also need to practice the yidam deity because this is a special means or method as taught by the Buddhas eg. Dorje Phamo. One imagines oneself as Dorje Phamo and the three nadis and the four chakras and the way that the prana moves and the bindu etc. So this is a special method taught by the Buddha which is why it is called the root of siddhi, the root of accomplishment. Through the chakra of accomplishment, through the naval, desire and attachment is made into the path and is called the tummo. Through the heart chakra ignorance and stupidity is made into the path and this is called the clear light clarity. The simboga chakra at the throat, anger is 1

made into the path and this is the dream practice. At the chakra at the crown of the head, pride and envy is made into the path and this is the illusory body practice. In this way the nadis and chakras are purified and the four kayas are manifested. So this is why the yidam deities are called root of siddhi, root of accomplishment. The root of activity is the dharma protectors and the dakas and dakinis. There are two kinds of activity, that of benefiting oneself and benefiting others. When one is benefiting oneself one is removing all obstacles and one is able to completely fulfill ones dharma practice and bring it to conclusion. For benefiting others there are four types of activity, there is the pacifying or eliminating illness or suffering of beings which is the peaceful activity. Then there is the increasing activity which increases their life span and merit. Then there is the powerful activity which brings all of the three realms of samsara into ones power. Then there is the wrathful activity that destroys the bad karma and obscurations. For practicing the guru there are the pujas given by the Buddha in which one does the Shakyamuni Buddha practices. Also there is all the Guru Rinpoche pujas, the guru practices. In the beginning when the dharma did not exist in Tibet it was called the Border Land of Darkness. Guru Rinpoche was brought to Tibet by King Trisong Detsen and afterwards the dharma was established and spread with the bringing of many translators from India. Therefore it is due to the kindness of Guru Rinpoche that the dharma was established in Tibet. It is also a great kindness for us that the dharma has spread to Europe and America. Many teachers and lamas come and give their instructions so that we can practice the dharma and gain signs of accomplishment. As it is Tibetan Buddhism that we are practising, as first established by Guru Rinpoche in Tibet, for us his kindness is exactly the same. When one is practising Guru Rinpoche, one imagines that in his right hand he holds a five pronged vajra. In his left hand, inside a kapala filled with amrita, there is a vase of deathless amrita. If one has to explain the vajra in detail it is the same as the explanation given earlier. In brief, the centre of the vajra is the dharmadhatu and the eight upper petals are the eight boddhisattvas and the eight lower petals are the eight female boddhisattvas, and the five upper prongs are the five buddhas and the five lower prongs are the five buddha consorts. The vajra is the union of emptiness and appearance and the ultimate wisdom of emptiness and appearance. The Buddhas mind essence is the dharmakaya and its natural clarity has the appearance of the sambogakaya and manifestations to benefit beings which has all the qualities of the dharmakaya. So the vajra can be the symbol of the indivisibility of emptiness and clarity and the ultimate wisdom of this. So all the peaceful and wrathful deities are all the same and arise from the mind of the Buddha. It is said that all the deities are one in the expanse of ultimate wisdom. So all the peaceful and wrathful deities are identical appearing from the natural power of the dharmakaya, the mind of the Buddha. Guru Rinpoche holds a vajra, Dorje Sempa holds a vajra, Koldemchuk holds a vajra. So the meanings of the vajra these deities hold are exactly the same. One may wonder what is the purpose of manifesting all this great number of deities if they are all in essence the same. Why so many? The reason is the Buddhas mastery of skillful means that he has knowledge of all these skillful methods which he taught with compassion because of all the different interests of beings. Some beings like peaceful deities, some like wrathful deities, some like deities with one face and two arms, some like deities with three faces and six arms etc. So in Guru Rinpoches left hand he holds a skull bowl filled with amrita and this is the symbol of the dharmakaya becoming completely manifest. In this skull bowl is the vase of deathless life. This is the symbol that Guru Rinpoche, in the Marataka cave in Nepal, with Mandurava, in practicing the Amitayus that they directly met or had a vision of Buddha Amitayus and gained the accomplishment of deathless life. So the skull bowl and the amrita is a symbol of that. 2

For all other deities holding the kapala, the meaning is the same for them all. The vase of deathless life is something particular for Guru Rinpoche. In the crook of his left arm is a khatvanga. If it is a female deity then the khatvanga is a heruka or male consort in a secret form. For Guru Rinpoche it is the female consort Mandarava in a secret form. If it is Dorje Pama then the khatvanga has a vajra handle and a vajra top, whereas for Guru Rinpoche the khatvanga has three points to it. The five pronged vajra is a symbol of the five kayas and five jinanas. The three points of blades at the point of Guru Rinpoches khatvanga is the symbol of being able to destroy the three mind poisons of all beings. Below those blades there are a skull, and a old head and a fresh head. The meaning of these three heads is the symbol of the dharmakaya becoming completely manifest in his mind. The old head is the symbol of the symbogakaya becoming manifest in all beings, and the fresh head is the symbol of the nirmanakaya benefiting beings. Below that there is a vase filled with amrita which is the symbol that Guru Rinpoche has gained all the qualities of realisation and elimination. So this is a vase filled with the amrita symbolising his qualitues. Below that is the multi coloured double vajra which is a symbol of the four kinds of activities, the peaceful, increasing, powerful and wrathful activities by which he can benefit beings. Tied onto this khatvanga are white ribbons that blow in the wind. Tied onto the ribbons are a tiny damaru, a tiny bell, a sun and a crescent moon etc. This is a symbol of doing whatever helps and teaching the dharma through the hinayana and the mahayana and the vajrayana. These ribbons symbolise helping to develop beings in these different ways. One can imagine that the staff or stem of the khatvanga is round or eight sided. If it is round then this is the symbol that all phenomena are one in the dharmadatu. The eight sided one is the eight aspects of samadhi in the meditation of emptiness. At the bottom of the khatvanga is a five pronged vajra which is a symbol of the five kayas being manifest in Guru Rinpoche. The meaning of the khatvanga for all the deities is the same. When one does the practise of the Marpa Guru Yoga, one imagines that Marpa has both his hands in the earth touching mudra. This mudra is called the mudra of doing the maras. When the Buddha was about to achieve buddhahood, the maras and disruptive spirits came to try and prevent this and came to attack him by throwing arrows and spears at him. The Buddha rested in the state of great love of samadhi so all these maras were unable to harm him. The maras asked him why they couldnt harm him. He said that for three countless kalpas he had gathered the accumulations of merit and so now is the time for the result of the achievement of buddhahood. The principle mara, the Lord of Great Joy, said that through making many offerings I took this rebirth at the height of existence as Mara the Lord of Great Joy and so everybody knows about the offerings I made, but there is no-one who knows about your accumulations of merit for three countless kalpas so what you say is not true. I am the one who is correct, you are wrong so I am victorious. The Buddhi, sitting in samadhi, said that I have this great earth as my witness and he touched the ground with his right hand and the goddess of earth appeared out of the ground down to her waist as his witness. When this happened the maras became very depressed because they were defeated, so this is why this mudra is called subduing the maras. Marpa has both his hands in the mudra of touching the ground. This is also the symbol of saying that I am completely victorious and have defeated in battle all my ego clinging and kleshas. 3

In the Milarepa Guru Yoga, Milarepa holds a skull bowl in his left hand and his right hand is held up supporting his ear. If you imagine that he has his hand behind his ear this means he cant hear very well. If you imagine that his hand is pressed against his ear this means he has pain in his ear. Milarepa practiced for 12 years, 12 months and 12 days and 12 times, which means 12 hours. So he practiced this length of time in these different caves. He just had nettle soup to eat and his body became very weakened which is why he is supporting his head with his hand, his knee is up and his arm rests on his knee and his head on his hand resting. There are also images of Milarepa not showing himself resting or his body being weakened, and his hand is down over his right knee. He holds the kapala in his left hand which symbolised the dharmakaya becoming manifest. The meaning of the syllable ka does not exist anywhere and that the mind does not exist and doesnt not exist. So this denies the existence and the non existence. The syllable pa means unborn and birthless, meaning that in the beginning the mind is not born and in the middle it does not stay or exist anywhere and at the end it does not cease. So this mind is beyond the four extremes. The syllable la means beyond the intellect and that the essence of the mind is beyond the four extremes. It is not born, does not exist and does not cease. So therefore that with the thinking mind trying to analyze and examine it one is unable to do that, it is beyond the examining mind. One cannot explain the characteristics or colour of the dharmakaya. It is beyond speech and words. It is beyond thought. Therefore the kapala means that this dharmakaya which is beyond the four extremes, beyond birth, beyond remaining, beyond ceasing and which is beyond being an object of examination or investigation by the mind. This dharmakaya has become completely manifest and the kapala is the symbol for that and is the same for all the deities. Following that practice, one practices the Gampopa Yoga. Gampopas hands are in the mudra of meditation, resting in equanimity, the mudra symbol of samadhi. For example, in the song, Gampopa is described as being someone who has attained the samadhi of the tenth bumi. Therefore this is symbolised by Gampopa sitting with his hands in the mudra of meditation. The great masters in the four traditions of Tibetan Buddhism. In the Sakyupa you have Satcha Kungya Ninpo and Sakyu Pandita. In the Ningmapa you have Lung Chempa and Jigme Limpa. In the Kagyupa you have Mitchu Dorje and the 16 th Karmapa Rikpa Dorje. In the inner divisions of the Kagyupa, eg. the Drupa Kagyu you have Pema Karpo, and the Galupa you have Tsong Kapa, and all these masters of the four traditions have on the right a sword, and on the left a text, a volume. The sword which is held on the right is the symbol that all beings are wandering in samsara and are suffering due to the basis or ground of ignorance. The sword cuts through this ignorance to liberate beings. That symbolises the most perfect accomplishment of the benefit of others. The volume held on the left symbolises all the meaning which is taught by the Buddha in the dharma and that they have gained all the qualities of realisation and elimination. So it is the most perfect accomplishment of benefit for oneself. One can understand that this meaning is the same for all the other deities that hold the sword, like Manjurishi. Karma Pakshi holds in his right hand a vajra and in the left a phurba. Holding the vajra symbolises the ultimate wisdom being completely manifest. The phurba handle has a top square with four faces. There is a square on the top and a square at the bottom with the handle placed to hold the phurba inbetween. The square at the top is the symbol of the dharmakaya. The middle section is the symbol of the sambogakaya and the bottom square is 4

the ninamakaya. The blade of the phurba which has three edges is the symbol of being able to destroy the three kleshas of all beings, ignorance, attachment and anger. There are many different types of Guru Yogas and these different gurus hold all sorts of different things in their hands. Some of these objects held by the gurus symbolise the qualities of their mind and their activities which benefits beings. Following the practice of the gurus, one practices the yidams. For example, the first teachings spread in Tibet came from the Ningmapa, secondly from the Sakyupa, thirdly the Kagyupa and fourthly the Galukpa. The Galukpa is later in time because at the time of the third Karmapa, Rinchen Dorje went to China at the time when the Sung Kapa was born. When the Sung Kapa was two or three he was brought to him to receive refuge. Rinchen Dorje gave the prophesy that this boy would become a great being. On this basis, the Galukpa appeared much later. The Ningmapa yidams are practised by the Kagyupa, the Sakupa and the Galukpa. They are practiced in all the traditions, but they are the root yidams of the Ningmapa. They are called the Kajay, the eight herukas and the Purba and Gondu teachings. In this Kajay you have the union of the tathagatas. Then you have the complete secret. For the Gondu practices you have a great number of those like Sonje Limpa called the Lama Gondu. These very vast or elaborate practices exist. There are many practices of Purba called the Purba kama. These Terma Purbas are many and the Karma Purba was passed through the verbal teachings by Guru Rinpoche. In the Kagyupa one practices these Purbas. In Rumtek practiced every year in the fourth month very elaborate dances are performed. Ones principal yidams from ones own lineage or tradition have to come from the principal or root guru from that lineage. For example, in the Ningmapa, the yidams are taught by Lungchempa. There is the Ningtink of Vimilaya mitra which he taught to Variachana and then concealed as a terma in the temple of Urisha. Then this treasure was brought out and passed onto Lung Chempa. There is the Dakini Ningtik taught by Guru Rinpoche to King Trisong Detchen and concealed as a treasure, a terma and later discovered and passed onto Lung Chempa. Then Lung Chempa himself composed three ningtiks, the kandro yangtik, lama yangtik and sangmo yangtik. These are contained within sangmo yangtik or deep yangtik. Here the principal yidam is the Palchen Dukpa. Any questions? What does the accomplishment of deathless life mean? Guru Rinpoche had this vision of Amitayas and this means that he gained the accomplishment of deathless life. This means that if one wants to live in this world for thousands of years then one can do that. If one wants to go straight to the pure realms then one can do that. One has complete power over ones life span.