Dispeller of Obstacles PDF

DISPELLER
4 OBSTACLES
The Heart Practice of
Padmasambhava
PADMASAMBHAVA
CHOKGYUR LINGPA
TULKU URGYEN RINPOCHE
ORGYEN TOPGYAL RINPOCHE
LAMA PUTSI
Translated by Erik Pema Kunsang

D ISPELLER OF OBSTACLES
The Heart Practice of Padmasambhava

R angjung Y eshe B ooks ♦ w w w .r a n g j u n g .c o m
padm asam bhava ♦ Treasuresfrom Juniper Ridge ♦ Advice from the Lotus-Born ♦
DaJîni Teachings
p adm asam bhava a n d ja m g o n k o n g t r u l ♦ The Light o f Wisdom, Vol. i, Vol. 2,
Vol. 3, Vol. 4, & Vol. 5
pa d m a sa m b h a v a , c h o k g y u r l in g p a , t u l k u u rg y e n r in p o c h e ,
o rg y en topg yal r in p o c h e , and lam a pu tsi pe m a tashi ♦
Dispeller o f Obstacles
y e sh e ts o g y a l ♦ TheLotus-Born
dakpo ta sh i n am g y al ♦ Clarifying the Natural State
ts e le n a tso k ra n g d ro l ♦ Mirror o f Mindfulness ♦ Empowerment ♦
Heart Lamp
c h o k g y u r lin g p a ♦ Ocean o f Amrita ♦ The Great Gate ♦ Skillful Grace ♦
Great Accomplishment
t r a k t u n g d u d jo m lin g p a ♦ A Clear Mirror
ja m g o n m ip h a m rin p o c h e ♦ Gateway to Knowledge, Vol. 1, Vol. 2,
Vol. 3, & Vol. 4
♦ Blazing Splendor ♦ Rainbow Painting ♦
t u l k u u rg y e n rin p o c h e
As It Is, Vol. 1 & Vol. 2 ♦ Vajra Speech ♦ Repeating the Words o f the Buddha
ad eu rin p o c h e ♦ Freedom in Bondage
k h e n c h e n th r a n g u rin p o c h e ♦ K ing o f Samadhi
c h o k y i n y im a rin p o c h e ♦ Present Fresh Wakefulness
tu l k u th o n d u p ♦ Enlightened Living
o rg y en to b g y a l rin p o c h e ♦ L ife & Teachings o f Chokgyur Lingpa
d z ig a r k o n g tr u l rin p o c h e ♦ Uncommon Happiness
ts o k n y i rin p o c h e ♦ Fearless Simplicity ♦ Carefree Dignity
d z o g c h e n t r i l o g y c o m p ile d by m a r c ia b in d e r s c h m id t ♦ Dzogchen Primer ♦
Dzogchen Essentials ♦ Quintessential Dzogchen
e rik pem a k u n san g ♦ Wellsprings o f the Great Perfection ♦ A Tibetan Buddhist
Companion ♦ The Rangjung Yeshe Tibetan-English Dictionary o f Buddhist
Culture & Perfect Clarity
m a rc ia d e c h e n w an g m o ♦ Confessions o f a Gypsy Yogini
c o m p ila tio n ♦ Precious Songs o f Enlightenment
DISPELLER OF
OBSTACLES
The Heart Practice of Padmasambhava
Padmasambhava
Chogyur Lingpa
Jamyang Khyentse W angpo
Jamgon Kongtriil Rinpoche
Tersey Tulku
Karmey Khenpo Rinchen Dargye
D ilgo Khyentse Rinpoche
Tulku Urgyen Rinpoche
Orgyen Topgyal Rinpoche
Lama Putsi Pema Tashi
Translated by Erik Pema Kunsang

Compiled and edited by Marcia Schmidt
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Publication data: ISBN 978-962-7341-96-6 (pbk)
Dispeller of Obstacles, T he Heart Practice of Padmasambhava

Padmasambhava, Chokgyur Lingpa, Jamyang Khyentse Wangpo,
Jamgon Kongtriil Rinpoche,
Tulku Urgyen Rinpoche, Orgyen Topgyal Rinpoche,
Karmey Khenpo Rinchen Dargye,
Tersey Tulku & Lama Putsi Pema Tashi
Translated from the Tibetan, based on the teachings of

Kyabje Tulku Urgyen Rinpoche by
Erik Pema Kunsang (Erik Hein Schmidt)
Edited and compiled by Marcia Dechen W angmo [Marcia Binder Schmidt]
Photos courtesy of Graham Sunstein

Cover photo courtesy of Chris Zvitkovits
FIR ST E D IT IO N
CONTENTS
Preface vn
Introductions
T h e H e a rt o f P ad m asam b hav a, Jam gon K ongtriil R inpoche
A S h o rt In tro d u ctio n to the Barchey K iinsel Cycle,
K yabje D ilgo K hyentse R inpoche xm
P ad m asam b h av a, T u lk u U rgyen R inpoche xv
R em oving Obstacles, O rg y en Topgyal Rinpoche xxi
A p p lic a tio n
T h e Quintessence o f W isdo m O penness,
Yeshe Z ang tal— F o u rth C h ap ter o f Sheldam
Nyingjang, P ad m asam b hav a i
N otes on A rra n g e m e n t o f the L itu rg y for the
D etailed Practice o f Tukdrub Barchey Kiinsel,
Jam yang K hyentse W a n g p o 9
A Seed o f the G reat Sal Tree, Jam gon K ongtriil R inpoche 13
The Practice M anual fo r the Recitation o f Approach
and Accomplishment, D zapkyi Koljang— term a
root text, P adm asam bh ava 22
Q uestions on D zapkyi K oljang, L am a Putsi P em a Tashi 61
T h e S h o rt N otes for P erfo rm in g the A pproach,
A ccom plishm ent, and Activities, C h o k g y u r L ingpa 73
Key Points o f Practice, T u lk u U rgyen R inpoche 81
Teachings on Trinley N yingpo, O rgyen Topgyal Rinpoche 89
N otes on C om pleting the Recitation w ithin
T hirty-five Days, Jam y ang K hyentse W ang p o 151
C ondensed Teachings on the Trinley N yingpo
T h irty -F iv e -D a y R etreat, L am a Putsi P em a Tashi 155
T h e B indu o f T ru e M eaning, K arm ey
K h en p o Rinchen D argye 199
Source M aterial 207
Additional Tibetan and English Texts, Audios,

Videos, and Photos 211
Appendices
T h e Supplication to the Lineage o f Tu^drub
Barchey Kunsel, Jam gon K o n g tru l Rinpoche 213
T h e Concise M anual for Daily Practice according
to Lam ey Tufylrub Barchey Kunsel, P adm asam b h av a
Sphere o f Refined G old, short excerpt, Jam gon
K o n gtru l Rinpoche 218
T h e Concise Quintessence, teaching on
em p ow erm ent, Tersey T u lk u 223
Notes 243
CONTENTS
PREFACE
Marcia Dechen Wangmo
T h is book, Dispeller o f Obstacles, The H eart Practice o f Padmasambhava, is

the first in a new series presented by R angjung Yeshe Publications. T his
series will offer videos, audios, photos, and com mentaries as supports for
the practices o f the T h re e Roots. T h e T h ree Roots are the inner practices of
tantra connected w ith sadhanas for the lama, yidam, and dakini. As is often
said, “T h e lam a is the source o f blessings, the yidam the source o f accom
plishm ent, and the dakinis and protectors are the source o f activity.”
A p p aren t differences, such as g end er or peaceful versus w rath fu l
m odes, Hdo n o t ultim ately define these three, because in essence they are
identical— the display o f the empty, cognizant, aw ake nature, rigpa.
H ow ever, d ue to ou r varying dispositions as sentient beings n eeding to
be tam ed, they m anifest in m yriad ways to accom plish the u tm ost benefit.
T h e qualities o f each deity are the fully perfected qualities o f our bud-
d h a nature; we u n d erta k e this deity trainin g in o rder to connect w ith and
accom plish th at nature. T h u s, w e should practice w hichever deity moves
us m ost profoundly.
As T u lk u U rgy en R inpoche said, “T ru e blessings are the oral instruc
tions on how to become enlightened in a single lifetime, w hich you can
receive fro m a qualified m aster.” In a practical way, we can experience
this ourselves, since ou r g u ru is the source o f guidance, inspiration, and
stren gth for the V ajrayana path. H e or she is the m ost vital, m eaningful
person in o u r lives, dispelling hindrances so w e m ay progress in this tr a
dition. L iving in this degenerate age, we m u st seriously study w hatever
we intend to practice. T h ese sacred texts, o u r teachers’ w ords, and our
ow n intellect and experience need to harm on ize, in o rd er to clear away
any m isconceptions and doubts. T h e gift o f teachings th at we receive and
apply expands o ur ordinary way o f seeing reality and breaks do w n our
norm al, conditioned concepts.
H a v in g a direct bond w ith a qualified, living teacher is o u r sole m eans
o f being in troduced to the n atu re o f our m inds an d being able to recog
nize and train in it. In the m o m e n t o f love for o u r g u ru , we experience a
gap, an opening free o f m en tal constructs an d internal gossip. T h is space
offers the possibility to come into direct contact w ith the n a tu re o f ou r
m in d, tru e awareness. T h e N y in g m a and Kagyii traditions especially
em phasize devotion and consider it indispensable. T h is is an o th er reason
w hy g u ru practice is so exalted, because we reach en lig htenm en t.by sta
bilizing the m o m en tary recognition o f o u r m in d s n atu re and by contin
ually m ain tain in g th at recognition. W ith o u t this, altho ug h the path m ay
be a very enjoyable one, it will definitely be quite long.
G u ru practice, offers an infusion o f direct insight, w hereby each step
brings us closer to accom plishing o u r teacher’s m in d , as o u r teacher is no
different fro m the p rim ary figure in any T h re e Roots practice. T h e T u \-
drub Barchey K unsel cycle o f teachings presented here serves as an ex am
ple an d fram ew o rk , alth ou g h any o th er g u r u practice will suffice. W hile
the specifics relate to this cycle o f teachings, w hich I have chosen because
I have the m ost fam iliarity an d precious m aterial for it, the principles
outlined are universal and applicable to all g u ru practices. Such topics
include developm ent an d com pletion stages, w ith guidance on the three
sam adhis; the fourfold stakes o f recitation; the four recitation intents; and
feasts, as well as advice for stru ctu rin g a retreat. As w ith g u r u practices,
all sadhanas follow the same basic form at; only the liturgies differ. T h u s,
I have tried to offer teachings a n d advice th a t are general to all sadhana
practices.
T h is cycle o f Tu^drub Barchey K unsel is a vast an d p ro fo u n d terma,
“h id d e n treasure,” a revelation w ith a rich history th a t unfolds th ro u g h
o u t the book. T h is presentation is special, because it contains n o t only
the root text an d classical com m entaries by the tenons, “h id d e n treasure
revealers,” C h o k g y u r L ingpa an d Jam yang K hyentse W an g po , b u t also
explanations by m o d ern-day masters, such as T u lk u U rg yen an d O rgyen
Topgyal Rinpoches.
T h is extensive cycle contains teachings and practices th at encompass
the prelim inaries up to an d inclu d in g the G re at Perfection. M oreover, the
m ain sadhanas come in varying lengths, ran g in g from a few pages u p to a
few h u n d re d pages, and the subsidiary sadhanas consist o f separate prac
tices for each o f the m ain deities. L in k in g to a fresh term a has the pow er
to im bue us w ith hot, juicy blessings th at invigorate o u r being an d g en er
ate p ro fo un d devotion and joy.
G ra titu d e goes to all the people w ho have helped to m ak e this book
V III D IS P E L L E R O F OBSTACLES
a reality. It has been a journey involving a living, breath in g m a n d ala of
D h a rm a friends an d teachers, m ag netized by the inexhaustible, incon
ceivable love for P ad m asam bhava. W ith joy, it is offered to all receptive
and fo rtun ate beings, so we m ay all become inseparable from the Lotus
M aster an d reun ite in the sublim e m an d ala o f Sangdol{ Palru In p articu
lar, th an k s go to E rik P em a K u n san g for the p rim ary translation, Zack
Beer for the secondary translation, G ra h a m Sunstein for photos and
research, A n ne P aniagu a for editing and copyediting, M ary an n Lipaj for
the cover design, Joan O lson for the book design, and L ynn S chroeder
and M ichael Yockey for proofreading.
O nce again, w e are greatly indebted to Richard G ere and the G ere
F o u n d atio n and to its u n d a u n te d director, Mollie R odriguez, w ho con
tinue to believe in ou r w o rk an d su pp ort it w ith graciousness.
T h is book was joyfully com pleted at the sacred place o f P a d m a sa m
bhava, the A su ra Cave in P h arp h in g , N epal, on the ten th day o f the
tw elfth lu n a r m o n th in the year o f the W ater Snake (2.9.2014) by M arcia
D echen W ang m o . May it be auspicious and m ay all countless beings b en
efit.
D I S P E L L E R O F OBSTACLES IX
T u k d ru b Barchey K ünsel G u ru
THE HEART OF PADMASAMBHAVA
Jamgon Kongtriil Rinpoche
All the secret paths w hereby a person o f sharp faculties can attain the
g reat state o f unity w ithin a single lifetime are included w ithin two types:
the m eans for dispelling the obstacles and the m eans for attain in g the
siddhis. By the pow er o f the form er, the latter is easily accom plished. To
practice both o f them based on the blessed path o f g u ru sadhana is the
pro fo un d m eaning o f all secrets. T h e cycle o f L am ey T u \d ru b Barchey
K unsel is the intent o f the root tantra, M agical N e t o f the Vidyadhara
G urus.
T h is term a cycle is an extract o f the heart o f P ad m a k ara, the k no w er
o f the three times, and it is the single u niq ue treasure concealed u n d er the
earth in Tibet. It is like the great treasury o f the universal m onarch, filled
com pletely and unm istakenly w ith all the m eans for accom plishing the
suprem e and com m on siddhis.
In term s o f the sections o f tan tra, this p rofound path is based on the
G reat K in g o f Tantras, the Peaceful and W rathful M anifestations o f the
M agical N e t o f the Vidyadhara Gurus, w hich is the root o f blessings belong
ing to the category o f the E ight Sections o f the M agical N et. D ue to the cer
tainty o f oral instructions, there is no conflict in that it also belongs to the
category o f L otus Speech,- a m o n g the E ight Teachings o f Sadhana Sections.
In short, it is like the extracted essence o f the m ean in g o f all stages
o f developm ent and com pletion as well as the activity applications o f the
tan tra and sadhana sections.
XI
(top) C h o k g y u r L ingpa, (above left) Jam yang K hyentse W an gp o,
(above right) Jam gon K ongtriil, the first
A SHORT IN T R O D U C TIO N TO
THE BARCH EY KÜNSEL CYCLE
Kyabje Dilgo Khyentse Rinpoche
T h e Barchey K unsel is die h ea rt essence o f the accom plished m aster P ad-

m asam bhava, w h o perceives the three times in their entirety. It is the
quintessence o f one billion h ea rt sadhanas o f the g uru, the m ost u n iqu e
term a, b uried in the land o f Tibet. It is also the first o f the Four Cycles o f
G uru Sadhana. T h is G urus H eart Practice T hat Dispels A ll Obstacles con
tains in completeness all the p ro fo u n d key points o f the view, m editation,
and conduct o f the three in n er yoga tantras. It m anifested from the secret
treasury o f the great w isdom , the vast realization o f the Second B u d dh a
o f U d diyana, as the self-existing, n atu ral vajra sounds in perfect, m elodi
ous tones.
Its expressions, w hich are unm odified by the intellect o f ordinary
people; its w ords, w hich are w ith o u t delusion; and its m eaning, w hich
is u nm istaken , are exclusively d ue to the kindness o f the three pow erful
kno w led ge holders, Khyentse, K ongtriil, and C hokling, the great beings
o f the three families, w h o incarnated as masters to compile and propagate
an ocean o f secret teachings. It is exclusively th ro u g h their kindness that
this teaching was established in w riting, as the splendor o f u n en d in g w el
fare an d happiness for the disciples in the L a n d o f Snow, and propagated
to flourish everywhere.
T h is pure and perfect teaching, w hich effortlessly bestows, in accor
dance w ith one’s wishes, the all-encom passing suprem e and com m on
siddhis, tem porarily and ultimately, was an unp reced en ted diffusion o f
the gem stones o f the profou nd m eaning, opening u p the treasury o f the
universal m onarch.
X III
P ad m asam bh ava
PADMASAMBHAVA
In o u r ow n present w orld age, one thousand B uddhas will appear. E ach

one will be accom panied by an em anatio n o f G u ru Rinpoche to carry out
the B u d d h a ’s activities. In the present age o f B u d d h a S hak yam un i, all
the B u d d h a ’s activity appeared in one em anation in the form o f P adm a-
sam bhava, the L otus-B orn O ne. H e was b orn from a lotus flower in the
m id dle o f a lake. In his life story, he recounts, “I appeared from a lotus
flower, w ith o u t a father, w ith o u t a m o th er.” In this way, he was sponta
neously born, b u t there was an o th er reason for this as well. As a m ira cu
lously bo rn h u m a n being, he was endow ed w ith great m iraculous powers
to subdue n o t only h u m a n beings b u t also spirits and other classes o f n o n
hum ans.
P ad m asam bh ava lived for a very long time. A fter his birth, he contin
ued living in India for about one thousand years. A fterw ard , he arrived
in T ib e t and rem ained there for fifty-five years. A t the end o f his stay in
Tibet, he dep arted for a place called G u n g ta n g on the b o rd er o f N epal,
accom panied by his tw enty-five chief disciples as well as the k in g of
Tibet. A t th a t site, m o u n ted u po n a fabulous horse called M ahabhala, he
flew o ff into the sky escorted by dakinis o f the four classes. H is co m p an
ions, w ho w ere left behind, w atched his im age g row sm aller an d smaller
as he slowly disappeared.
A ccording to the story, he m ade his first descent in Bodhgaya, w here
he rem ained for some time. Later, he w ent on to his ow n pure land called
Sangdo\ P alri, the G lorious C opper-C olored M ountain. G eographically,
this place is situated som ew here out in the ocean, southw est o f Bodhgaya.
It is a type o f subcontinent, w hich is inhabited by rafyshasas, “cannibal
spirits,” on the low er levels. A ccording to a prediction given by B ud d ha
S h akyam uni, at a certain period in history, w h en the average life span o f
h u m a n beings will be tw enty years, these cannibal spirits will invade the
k n o w n w orld, subjug ating a n d destroying all h u m a n beings. In this way,
m a n k in d w ould be in great danger. H ow ever, the B u d d h a also predicted
xv
that G u ru Rinpoche w ould go to this land and conquer all these raksha-
sas. H e did just this to fulfill the prediction.
T h e m ain m o u n tain in the center o f the island is copper colored and
descends deep below the ocean into the realm o f the nagas. Its su m m it
pierces the skies, even to the heights o f the brahma-loka in the realm o f
form. O n the very peak o f this m o u n tain , a miraculously m anifested bu d -
dhafield exists, created by G u ru Rinpoche. T h e re are three levels: Above
is the dharm a\aya level, w here the m ain aspect o f G u ru R inpoche appears
as Am itayus; on the m iddle level dwells A valokiteshvara; an d at the
g ro u n d level dwells G u ru Rinpoche him self in the fam iliar form . H e is
su rro u n d e d by the eight manifestations.
A p p earin g in this w orld, G u ru R inpoche is the body em an atio n o f
B u d d h a A m itabha, the speech em anatio n o f A valokiteshvara, and the
m in d em anation o f B u d d h a Shakyam uni. Before m anifesting in o ur
w orld, he first appeared in the sambhogaiâya realm as the five families
o f T o tre n g T sai, then as the eight and twelve em anations, an d so forth,
until fifty m anifestations h ad appeared. Finally, countless differen t m a n i
festations o f G u ru Rinpoche appeared.
Before P adm asam bh ava left T ibet, he m ade m any predictions, hid
m any teachings to be revealed in the future, and blessed his close disciples
to be inseparable from him . In this way, they w ould reincarnate in the
future, reveal the h id d e n teachings, and be as pow erful as G u ru R inpoche
himself, endow ed w ith great m iraculous pow ers, such as flying th ro u g h
the sky, freely traversing solid m atter, and un im p ed edly exp o u n d in g all
the sutras and treatises as well as the m ean in g o f the tantras.
In particular, he prophesied the com ing o f 108 great ter tons, “hid d en
treasure revealers.” W o rld history fluctuates, causing particular difficul
ties to arise at different times. H av in g foreknow ledge o f these historic
intervals, G u ru Rinpoche designed special practices th at specific tertons
w ould reveal at the ap prop riate times, in order to aid h u m a n beings. T h e
tertons discovering these term as, “hid d e n treasures,” w ould th e n give a
totally fresh, up-to -date teaching m e an t for th a t specific tim e and situa
tion.
Just as we prefer to have fresh food p repared in a way th a t will not
m ak e us sick because it’s rotten, in the same way, the te rm a teachings
revealed w ith the “short lineage” are endow ed w ith a very special quality.
By virtue o f having a short lineage, the teachings have n ot been in ter
ru pted by any d am age or samaya breakage. T h ey have no t been in ter
xvi D IS P E L L E R O F OBSTACLES
polated by anyone else, but have come directly from G u ru Rinpoche by
m eans o f the revelation o f one o f his disciples appearing as a present-day
incarnation, w ho th en spreads the teachings to people for their im m ed i
ate practice.
T h e Lam ey T u \drub Barchey K ünsel belongs to this class o f teachings.
T h is cycle o f teachings is based on g u ru sadhana. W h e n I received the
lineage o f the Rinchen Terdzo from the previous incarnation o f Jam gon
K ongtriil, the one im m ediately follow ing Jam gon K o ngtriil L o dro
T haye, one day he told me,
“D u rin g m y lifetime, I have perform ed the drubchen (the “one-w eek
sa d h an a” on Barchey K ünsel) three times. Every single tim e there was
some very special m iraculous sign.
“T h e first tim e we p erfo rm ed the drubchen, the m ain torma on the
shrine started to leak nectar, n o t just a little bit, b ut enough th at it over
flowed the shrine and d renched the floor all the way out to the m ain
entryway. People w ere tasting it and saying it h ad a very special flavor
th a t was sweet yet strong and potent, incom parable w ith an ythin g else
in this w orld. T h e second tim e I perfo rm ed the dru bch en, the \apala,
the “skull cu p ” containing amrita, started to boil, and it continued to boil
th ro u g h o u t the rest o f the drubchen. T h e th ird tim e I perform ed the
d rubchen, we w ere prep arin g mendrub, “sacred m edicine,” at the same
time. T h e fragrance issuing from the ferm entation o f the m e n d ru b was
very rem arkable, unlik e an y th in g people h ad ever smelled in this w orld.
T h e scent o f it spread as far as T h ra n g u R inpoche s m onastery, a dis
tance o f four day s w alk. People from that m onastery asked w here the
fragrance cam e from . In m y w hole life, I have never w itnessed signs as
am az in g as the ones d u rin g those three tim es.” T h is could also be due to
the com bination o f the p ro fo u nd term a teaching an d such an extrem ely
great master.
W h e n great masters are practicing a fresh term a, in the b eginning
there are always great blessings, because the “vapor from the d ak in is’
b rea th ” has n o t yet had tim e to evaporate from the term a. In this way,
te rm a teachings w ith a short lineage have a particularly g reat blessing
and effect for those w ho practice them.
T h e re are four versions o f the p rim ary g u ru sadhana o f the Barchey
Künsel: the extensive version, the Trinley Gyepa\ the m ed iu m -sized edi
tion, the Trinley D ringpo; the condensed m e d iu m -le n g th version, w hich
is like its essence, the Trinley N yingpo; and the extremely short Concise
D IS P E L L E R O F OBSTACLES X V II
D aily Practice. T h a t doesn’t m ean som ething is lacking or lost w h en
being condensed— it becomes even m ore precious, just as b u tter is the
essential extract o f milk.
In the m an dala circle o f this practice, G u ru R inpoche is su rro u n d e d
by twelve em anations o f h im self th at are inseparable from twelve differ
ent yidams. T h e inseparability o f the yidam and g u ru aspects is called the
“twelve m anifestations.” Additionally, above G u ru R inpoche’s head is
A m itayus, representing d h arm akay a. Beneath A m itayus is Avalokitesh-
vara, representing sam bhogakaya. G u ru Rinpoche is the nirm anaâya
representation. In the four cardinal and interm ediate directions, four and
eight em anations appear respectively— twelve em anations altogether. A t
the four gates, in the four directions, are the four gatekeepers. T h ese are
the deities included w ithin this m andala.
It is said that the tantric scriptures o f M ahayoga are included w ithin
the scriptures o f A n u Yoga; an d the scriptures o f A n u Yoga are included
w ith in the oral instructions o f A ti Yoga. All o f these are included w ithin
the sadhana scriptures, w hich are included w ithin your ow n application.
In this particular context, all the different classes o f deities are e m b o d
ied w ithin the twelve m anifestations o f G u ru Rinpoche, such as the eight
herukas, the mamos, the peaceful and w rath fu l deities, Y am antaka, as
well as Kilaya and G ongdii. T hese indispensable yidam s in the N y in g m a
tradition are called Ka, Gong, and Phur> w hich represent K abgye (E ight
H eruka Sadhanas), G ongdii (L am a G ongdii, m in d em b o d im e n t o f the
gurus), and P h u rb a (Vajra Kilaya).
In the Tuhdrub Barchey Künsel, these twelve m anifestations co rre
spond to various em anations o f G u ru Rinpoche. Gyalwey D u n g d z in is
P ad m a Gyalpo. Mawey Senge is M anjushri. K yechok T siilzan g is Jam -
bhala. D ük yi Shechen is D o rje P hurba. D z a m lin g G yenchok is V ishud-
dha H e ru k a . P em a Jungney is U rgyen D o rje C hang. K yepar P hakpey
R igdzin is G u ru Rinpoche tam ing the dakas, dakinis, and spirits. D zu triil
T uchen is D orje Drollô. D orje D rak tsal is G u ru D ra k p o and P em a
H eru k a. K alden D ren d zey is all eight herukas together, especially Pal-
chen H e ru k a . Raksha T ô tre n g is Vajrapani. D echen G yalpo is G ongdii
and C hakrasam vara.
In the past, w hen G u ru R inpoche did the practices o f Kabgye,
G ongdii, P h u rb a, and all the other yidams, he and the yidam s becam e
inseparable. T h u s the blessings becam e greater, the accom plishm ents
becam e swifter, and the practice becam e superior to any other. T h is
X V III D IS P E L L E R O F OBSTACLES
is w hy the blessings are g reater and the accom plishm ent sw ifter in the
Barchey K unsel th an in the other term as o f C h o k g y u r L ingpa. F o r this
practice, no obstacles can arise. T h e oral instructions o f the great terton
h im self say th a t if a practitioner can perfect the prelim inary practices
according to the Barchey K unsel, no obstacles will arise for th a t practi
tioner. T h is is the prom ise th a t was passed d o w n to my ow n teacher.
W h a t was the actual m o m e n t o f discovering this term a? C h o k
g yur L ing pa and Jam yang K hyentse w ent to a place called D a-N ying
Khala R ong-G o. Betw een the cliffs an d the place w here the term a was
u n ea rth ed is the great T san g p o River (B rahm aputra). T h e cliff overlook
ing the site is extrem ely steep.
C h o k g y u r L in gp a an d Jam y ang K hyentse, w ith their large en to u
rages, arrived on the precipice overlooking the T sang po River. C h o k
g y u r L in g pa pointed to the opposite shore and said, “O n the other side,
at the w hite rocks, there is a term a th a t I m u st take out.” H is attendants
said, “Yes, b u t it will take at least a day to w alk there. F irst you have to
climb all the way d o w n this cliff, find a place to ford the river, and then
w alk back up to the actual site on the other shore. T h a t m u st be at least
a d a y s h ik e .” C h o k g y u r L in gp a said, “N o, no, no! It w o n ’t take long at
all. T h e re is one very easy way to reach there.” Saying this, he unfolded
his shaw l an d using it as “w ings,” he simply flew th ro u g h the air to the
o th er side o f the river. L a n d in g there, he took the te rm a out. R eturnin g,
he simply w alked across the w ater itself and climbed up on the opposite
shore. All the people w ho w itnessed this w ere utterly am azed and felt he
truly possessed m iraculous powers. T ertons are people like this.
G u ru R inpoche practice is extrem ely im p ortan t, because G u ru Rin-
poche, the L otus-B orn O ne, is n o t just a legendary figure from some old
story o f the past. H e is an actual person w h o continuously carries out
spontaneous activities, not only by sending em anations of h im self into
this w orld as tertons, so there is always a fresh, u nim p aired teaching that
people can practice, b u t also because G u ru R in po ches spiritual influence
and blessings are unceasing. I f we can practice this sadhana, it will be
very beneficial.
I t’s best, o f course, if we can do the actual practice in an intense way,
according to the three versions o f the sadhana, b u t next best is to p erfo rm
the even shorter version— just one and a h a lf pages in length— called
the Concise D aily Practice M anual, or G yungyi Koljang. I f we d o n ’t find
tim e to do even this, we should at least say the six-line supplication to
D IS P E L L E R O F OBSTACLES X IX
G u ru Rinpoche that starts o u t D iisum satigye, G uru R inpoche, m e an in g
B uddhas o f the three times, G u ru Rinpoche, an d so forth. E ach day, we
should also say at least one m ala o f the V ajra G u ru m an tra. T h is will
be extrem ely beneficial for o u r ow n developm ent, because G u r u R in
poche, being miraculously born, is totally u n h a rm e d by gods, dem ons,
or hum ans. Moreover, he m anifested in such a way as to be the resplen
d en t subjugator o f appearance and existence, m e an in g o f all w orlds an d
beings. T h erefo re, the practice o f G u ru Rinpoche and the recitation o f his
m a n tra dispel all obstacles an d accom plish all harm on io us circumstances.
xx D IS P E L L E R O F OBSTACLES
REMOVING OBSTACLES
L am ey T u \d ru b Barchey K iinsel is the m ost p rofou n d te rm a o f the u n i

versal m onarchs, C h o k g y u r D ech en L in gp a an d Jam yang K hyentse
W angpo. T h e re are m any different sections o f this teaching: the m ain
p art an d the secondary teachings associated w ith this cycle. As it is said,
“F irst, you need to hear the history in o rd er to b rin g about confidence
in the teachings. N ex t, you receive em p o w e rm en t in o rder to ripen your
m ind stream . T h e n you receive the instructions and follow th e m in o rder
to achieve liberation.” In accordance w ith this quotation, I will first tell a
little bit ab ou t the history o f these teachings, in o rd er for everyone to gain
confidence an d tru st in their authenticity. In the land o f the Aryas, in
India, there w ere no dissimilarities in term s o f the different sets o f teach
ings. W h e n the teachings w ere later b ro u g h t to T ibet, distinctions arose
betw een the N y in g m a , the old school, an d the Sarm a, the n ew school.
T h e Tufytrub Barchey K iinsel is p a rt o f the N y in g m a teachings.
W ith in the N y in g m a tradition, there are three sets o f teachings: the
long lineage o f the oral instructions o f the K a m a ,th t short lineage o f the
p ro fo u n d term a, and the extrem ely short lineage o f pu re visions. T u \drub
Barchey K iinsel belongs to the p ro fo u n d teachings o f term a. T h e re are dif
feren t k inds o f term as: earth treasures, m in d treasures, treasures revealed
th ro u g h rem em brance, an d treasures revealed th ro u g h a rediscovered
term a. T h is is an earth term a, w hich C h o k g y u r L in g p a discovered as a
yellow scroll in D a-N yin g Khala Rong-G o, w h en he was twenty-five-years
old. Jam yan g K hyentse W an g p o also revealed these teachings as a m in d
term a, called Tubdrub D esheJ^Dupa, w h ich he considered to be alm ost the
same in term s o f both w ords an d m e anin g as the earth term a o f Tubplrub
Barchey Kxmsel; so he th en decided to b rin g those tw o term as together.
T h ese teachings originally cam e abo u t as follows: T h e precious m as
ter P ad m asam b hav a was residing at Samye in C entral Tibet, invited by
the D h a rm a K in g T risong Deiitsen. O n e day, in the turquoise-covered
ch am ber o f one o f the temples, P adm asam b h ava sat w ith nine o f his
XXI
closest disciples: the king; his three sons (the three princes); the consort
appointed by the vajra com m and , the d ak ini Yeshe Tsogyal; the great
m aster Vairotsana, whose realization was equal to th at o f P ad m asam -
bhava himself; the m o n k N a m k h a i N yingpo; and the N g ak p a s D orje
D u d jo m an d N u b ch e n Sang-gye Yeshe. Together, they supplicated him
m any times, offered a m andala, an d m ade other offerings. W h o le h e a rt
edly and earnestly, they asked these questions: “W h e n th ere are h in
drances and obstacles for enlig h ten m en t, at this tim e and in futu re times,
w h at are the m ethods to dispel these obstacles? W h e n the h indrances are
cleared, ho w does one reach attain m en t? W h a t are the ways for th a t to
h ap p e n ? ”
T h e Precious M aster replied: “R ight now, at present an d in future
generations, there will be countless varieties o f obstacles for en lig h ten
m e n t and attain m en t on the path. T h e one single m eth od th a t suffices
for clearing away all obstacles and hindrances is to call upon your g u ru —
from the core o f your heart. T h a t itself will rem ove every type o f obsta
cle. O nce hindrances are cleared away, attain m en t is reached, rig ht at that
m o m en t.” In short, it’s exceedingly im p o rta n t to supplicate y ou r g uru.
T h is could be one o f the m ost im p o rta n t sentences P ad m asam b h av a
has said. It is found in the first volum e o f Barchey Kixnsel an d in the text
called Sheldam Nyingjang, the essence m an ual o f all instructions. It says to
call u po n the g u ru , o n es personal g uru, w ho shows the path to enlig h ten
m ent. O n e ’s personal g u ru m ay have every virtue equal to all b u dd has o f
the three times; still, in term s o f kindness, o ne’s personal g u r u is k in d e r
th an all other buddhas. D u e to the pow er o f incredible aspirations and
m erit m ade by a b u d d h a in the past, ano th er b u d d h a manifests, a w a k e n
ing to true and com plete en lig h ten m en t and teaching the 84,000 sections
o f the D h arm a . In ou r aeon, the B u d d h a S h aky am u ni has done so, b ut
we did no t have the fortune to m eet him an d receive his teachings.
F o r us, our individual root g u ru is the person w h o shows w h a t to
adopt, w h at to avoid, and h o w to follow a true path. H a v in g a root g u ru
is the same as a blind person g etting an eye operation an d th en being able
to see. T herefo re, the person w h o shows us the path in an authentic way,
the m aster w ho teaches the D h a rm a , is ou r personal root g u ru , o u r p ri
m ary teacher. T h a t kindness has no equal. To appreciate th at w ith respect
and tru st from the core o f o n e’s heart, from the m a rro w o f o n e’s bones,
is exactly w h at is needed. W ith o u t th at tru st and devotion, the plan t o f
progress in the D h a rm a is, one can say, rotten from the root.
X X II D IS P E L L E R O F OBSTACLES
T h ese days, m any teachers give us teachings, em pow erm ents, and
advice. I ts fine to have m any teachers, and it shows earnestness and sin
cerity in finding an d u n d ersta n d in g the D h arm a . H ow ever, w e need to
have one particu lar person w h o opens up and clarifies the path, saying
that is the way to go. W e need to have a personal teacher and to kn ow
w ho th a t is. T h is is n o t a sim ple m atter. It takes a lot o f com bined m erit
an d noble wishes from many, m any lifetimes to be able to connect w ith
one person and have th at tru st an d devotion. W e sh o u ld n ’t th in k it’s easy.
W h e n you look at the life stories o f past m asters, often you see that
after h aving done a lot practice, yidam practice for example, he or she
may have h ad a vision o f the w isdom deity, w ho m akes a prediction th a t
such-and-such person is their root guru . M eeting such a person trans
form s one’s experience completely, and th a t is one o f the sure signs o f
having found the personal root guru.
F o r exam ple, in the N y in g m a tradition, P ra h ev a jra’s root g u ru was
Vajrasattva, an d M a n ju sh rim itra ’s root g u ru was P rahevajra, an d so
forth. E ach o f these had very clear indications pointing to his or her
prim ary master. So this is ho w w e have one after the other in an u n b ro
k en lineage. In the K agyii lineage, we have lists o f masters: V ajradhara,
T ilopa, N aro p a, M arpa, M ilarepa, and so forth. W e can cou n t them , one
after the other; they are called the G olden Rosary o f the K agyii masters.
W h e n you read their biographies, you will u nd erstand . F o r example,
N a ro p a was already a great, learned master, a pandita, w h en he h ad a
vision o f a d akini w ho told h im he m u st m eet T ilopa, in o rd er to attain
the su prem e siddhi o f M a h am u d ra. N aro p a set out to find him , and after
finding Tilopa, he was forced to u n d erg o m any very difficult trials. A t
the end, he attained realization o f the sup rem e accom plishm ent o f M aha
m u d ra. In all o f these biographies you see th a t the K agyii lineage m asters
found one o u tstan d in g person w ho was their unique, personal master.
Read their biographies, th in k about them , an d gain some u n d ersta n d in g
o f this point.
A ccording to the tantras, there are four different kinds o f gurus: the
g u ru from w h o m one receives em p ow erm en t, the g u ru w ho explains
the m ean in g o f the tantras, the g u ru w ho gives oral transm ission, an d
so forth. T h ese are counted in different ways, according to the degree or
p rofundity o f kindness, w h eth e r it’s a triple, double, or singular kindness.
B ut the root g u ru w ho introduces us to the view o f M a h a m u d ra or D zo-
gchen, b ring ing us face-to-face w ith our m in d ’s n atu re— no t only p o int
D IS P E L L E R O F OBSTACLES X X I 11
ing out the state o f pure k no w in g, b u t also infusing o u r being completely
w ith the blessings to realize an d recognize the tru e state o f M a h a m u d ra
or D zog chen — that is called the extraordinary root gu ru . T h a t kindness
is inconceivably great. W h e n som eone w ho is completely ca ug ht w ith in
the w eb o f em otions, ignorance, and k a rm a is show n, in one instant, the
aw ak en ed state o f all b uddhas, w hich can halt and end samsara, ho w can
there be any greater kindness given? I f we have stayed in a d a rk d u n g eo n
for countless aeons, and then a person comes and switches on the light,
dispelling all the darkness in a single m om en t, how am azing! In essence,
w e are b ro u g h t face-to-face w ith our ow n nature, the d h a rm a k a y a n atu re
o f all buddhas. W h a t g reater kindness could there possibly be? I f one has
a root g u ru like that, great! I f one doesn’t, m ak e sure to get one, because
w ith o u t such a gu ru , there is no way to be enlightened.
A ccording to the sutras, the g u ru is a spiritual friend or guide, w ho
shows us w h at to do and w h a t no t to do, so we can progress. B u t accord
ing to the M antrayana or V ajrayana, em p o w e rm en t is the entrance door
to practicing the tantras. O f the four em po w erm en ts, the m ost im p o rta n t
is the fourth, w hich em pow ers us so the play o f pure k n o w in g ripens.
W ith o u t having a g u ru to p oint this out, so w e can recognize this basic
n atu re, there is no way to practice Vajrayana.
H e re in this text, P ad m asam b hav a says, “W h e n a person w ants to
practice the D h a rm a in an authentic and true way, he or she needs to
follow a g u ru. W h e n follow ing a g u ru , trust, real tru st from the core o f
o ne’s heart, from the m a rro w o f one’s bones, is o f utm o st im portance; o th
erwise, the root of D h a rm a practice has ro tted.” W h a t does it m ean for a
root to be rotten? It m eans so m ething is w rong, like w h en the seed o f
a flower or plant becomes spoiled, p reventing grow th. N o petals, leaves,
or plant will come out o f it. T h e T h re e Precious Ones are present as the
root g u ru , so w ith o u t a root g u ru som ething really im p o rta n t is missing.
Moreover, the g u ru is the root o f blessings, so w ith o u t a g u ru an d devo
tion to a gu ru , there will be no blessings and no inspiration. W h e th e r
we have tru st or not depends up o n our m ind; b u t w ith o u t hav in g a true
object o f trust, a person we have properly identified an d in w h o m we
place ou r trust, there is absolutely no way to attain enlightenm ent.
T h e lam a is the root o f blessings, the yidam is the root o f accom plish
m ents, and the dakinis and d h a rm a protectors are the roots o f activities.
T hose are the T h re e Roots. A ctually the T h re e Roots are all gathered
into the lama. T h e title o f this practice refers to the lama, indicating that
X X IV D IS P E L L E R O F OBSTACLES
this is a practice to accom plish the lama. I f we are able to m erge our m ind
w ith the w isdom m in d o f the lam a, then we are accom plishing the lama,
G u ru Rinpoche. I f we are actually able to accom plish the indivisibility o f
o u r o w n m in d w ith the w isdo m m in d o f the lama, then we are accom
plishing G u ru Rinpoche. I f not, w e are no t accom plishing the lama.
I f one has already fo un d a g enuine master, then P ad m a sam b h av a’s
advice to supplicate o ne’s g u r u becomes relevant. T h e precious m aster
P ad m asam b h av a appeared in T ib e t and ta u g h t his prim ary twenty-five
disciples. H e em po w ered th e m to appear at various intervals in the
future, m anifesting, for exam ple, as the one h u n d re d m ajo r treasure-re-
vealers. B u t u n d ersta n d th a t all o f th em are indivisible from P a d m a sa m
bhava; they are the magical w eb, the play o f his w isdom m in d , w ith o u t
exception.
P ad m asam b h av a is B u dd ha, and B u d d h a is d h arm ak aya. D h ar-
m ak aya perm eates, or is present as, the n atu re o f m in d o f every single
b eing in a constant, spontaneously present, and all-pervasive way. T h u s,
firm ly resolve th a t your personal root g u ru is indivisible fro m the P re
cious M aster P ad m asam b h ava. Y our personal root g u ru is none other
th a n the d h arm a k ay a o f all buddhas. H av in g u nderstood this, call upon
P adm asam b h av a from the core o f your h ea rt w ith com plete surrender.
H e says th ere is no deeper advice th a n supplication. T h is is the intent
o f all sutras an d tantras. You can supplicate in m any ways, b u t the con
densed essence o f all supplication is calling up o n your root guru. To
clear away all hindrances a n d gain every accom plishm ent, there is one
su prem e m eth o d, w hich is calling up on your root g uru. P ad m asam b hav a
has personally said there is no deeper advice th an that.
T h e re are m any obstacles an d blockages as well as m ethods to over
com e them . All m istaken experiences are a hindrance, b u t once you
u n d ersta n d th a t every thou gh t-state is your ow n display, there is no h in
drance whatsoever. I f you d o n ’t u n d ersta n d this, there are m any obsta
cles. F o r a person w ho w ants to practice the D h a rm a in an authentic way,
it is possible to diagnose exactly w h a t’s w ro n g — the outer hindrances,
the im balances o f the four elem ents, the im balances in this illusory body
and in the subtle channels an d energies, and the hindrances created by
fixating on duality and deluded thinking. Just being overcom e by obsta
cles an d leaving it like th at is absolutely no t all right. W e need to iden
tify exactly w h a t’s w rong, and P ad m asam b hav a, w ho is omniscient, m ade
categories for all the obstacles an d hindrances.
D IS P E L L E R O F OBSTACLES XXV
N ow , let’s get back to the rest o f the history o f this cycle, the Tu^drub
Barchey K unsel. A fter listening to G u ru R inp och es advice for over
com ing obstacles, heartfelt supplication to the g u ru , his three m ain stu
dents, K ing Trisong Deiitsen, Yeshe Tsogyal, and Prince M u ru b Tseypo,
reflected on his words. T h ey cam e to realize A valokiteshvara is the m ain
deity associated w ith T ibet and G u ru Rinpoche is the ch ief lam a associ
ated karm ically w ith Tibet. As for themselves, they had no o th er refuge,
no other lam a than G u ru Rinpoche. T h ey asked h im to give an actual
m eans o f accom plishm ent, a way to be able to really elim inate obstacles.
G u ru Rinpoche agreed. Placing his left h and on the head o f Yeshe T so g
yal, his righ t h an d on the head o f K in g T risong Deiitsen, an d his fore
h ead on the forehead o f Prince M u ru b Tseypo, he b ro u g h t forth from the
vast expanse o f his d h arm a k ay a w isdom m in d the prayer called Sampa
L hiindrub.
T h e n they told G u ru Rinpoche this was an extrao rd inary prayer that
all his students w ould recite, b u t they still requested him to give an actual
sadhana, an application, to elim inate obstacles. G u ru Rinpoche agreed,
an d he m anifested the Tu^drub Barchey K unsel m andala. P ad m a sam -
bhava is the m ain deity, as the n irm a n ak a y a N angsi Zilnon. A bove h im
is the sam bhogakaya Avalokiteshvara, and above h im is the d h arm a k ay a
A m itab h a or A m itayus, together w ith the twelve m anifestations o f G u ru
Rinpoche, the four gate keepers, an d the dakas and dakinis in union.
G u ru R inpoche displayed the m an d ala and gave this teaching, com plete
w ith the root tantra, as well as the sadhanas and the different texts for
accom plishing the activities th ro u g h this teaching.
L ater these teachings w ere tran sm itted to his disciples, w h o prac
ticed th em and, in this way, rem oved all obstacles and attained accom
plishm ent. Yeshe Tsogyal w rote d ow n the teachings. Tw elve years after
G u ru Rinpoche left T ibet, she h id this term a in the cave o f D a-N yin g
Khala Rong-G o, according to G u ru R in po ch es prophecy. K in g T risong
D eiitsen’s m iddle son, M u ru b Tseypo, m ade very deep and noble wishes,
w hich, com bined w ith G u ru R inpoche’s blessings, enabled him to appear
as C h o k g y u r D echen L ing p a an d reveal this term a. H e k ep t this term a
secret for eight years, just practicing it himself. A t the same tim e, K in g
T risong Deiitsen incarnated as the great m aster Jam yang K hyentse
W angpo. T h ese tw o together b ro u g h t forth this term a treasure o f incred
ible blessing and swift results, k n o w n as L am ey T u \drub Barchey K u n
sel. W ith the help o f Jam gon K ongtriil, an incarnation o f the translator
xxvi D IS P E L L E R O F OBSTACLES
Vairotsana, these teachings w ere spread th ro u g h o u t T ib e t an d are now
present up to this day.
L am ey T u\d ru b Barchey K unsel is the g u r u ’s h ea rt practice th a t clears
away all hindrances, thus actualizing the siddhis. To com bine every
thing in essence an d clear h indrances and obstacles, supplicate the root
guru. O u te r hindrances, caused by the eight or sixteen types o f threats,
can be rem oved by calling up on the root gu ru . All the h indrances inside
the subtle channels and energies, w hich result from m istaken use o f the
stru ctu red channels, the m o ving energies, an d the blissful essences, can
be cleared away by calling u po n one’s root g uru. D efilem ents can also be
cleansed by supplicating o ne’s root g u ru . O n a secret level, deluded th in k
ing, the m u ltitu d e o f different thoughts th a t well up, can be purified as
well by calling u p o n one’s root g uru.
T h is is a short explanation that hits the point. In o rd er to apply this
deep m eth o d , one needs to be a person o f h igh er capacity, som eone w ho
has identified an d has tru st in a root g u ru — n ot just lip service, p lati
tudes, or other superficial form s o f trust, bu t a deep willingness from the
core o f one’s hea rt to see the root g u ru as the B u d d h a in person. H a v
ing this trust, one is able to feel com plete devotion and surrender, seeing
w hatever the g u ru does as perfect and w hatever he or she says as excel
lent. I f one is th a t k in d o f disciple, able to call upo n the root g u ru o u t o f
deep yearning and devotion, w ith or w ith o u t w ords, fro m the basic seed
o f o ne’s m in d , completely su rre n d erin g from the core o f one’s being to
the root g u ru — th a t is enough. But if one isn’t, and one needs m ore o f
a detailed way o f going about rem oving obstacles, th e n one should su p
plicate the four additional deities in this cycle, A rya T ara, A chala, M ew a
T sekp a, and D orje Bechon, to clear away outer, inner, secret, and in ner
m ost obstacles. F o r each o f these deities, there is an em p o w erm en t, a sad-
hana, pith instructions on h o w to practice, activities to carry out, and so
forth— m any details.
D IS P E L L E R O F OBSTACLES X X V II
(clockwise from top left): D orje Bechon, M iyowa, M ew a T sek p a , T ara
THE QUINTESSENCE OF
W IS D O M OPENNESS »
Padmasambhava
Em erging fro m samadhi, PadmaJâra taught this root yoga,

the source o f all mandalas: !
H av in g obtained the sup rem e freedom s an d riches, and being

weary o f im perm anence,!
W ith intense renunciation, endeavor in accepting and rejecting
w h at concerns cause an d effect J
T h ose possessing faith and com passion,!
W h o wish to attain the sup rem e and co m m o n siddhis in this very
life,!
Should ripen their being th ro u g h e m p o w e rm en t and, w ith totally
pure samaya,!
T ak e refuge, the root o f the path,!
As well as g enerate the tw ofold bodhichitta, the essence o f the
path.!
All evil deeds an d obscurations, the conditions opposing
experiences and realization!
O f Vajrayana, the ultim ate p art o f the path,!
S hould be purified th ro u g h the profou nd practice o f V ajrasattva.!
In o rd er to perfect the positive conditions, the accum ulation o f
m e rit and w isdom ,!
O ffer the m andalas o f the ocean-like realms o f the three kayas.!
In particular, apply the key points o f the essence o f all the paths,!
T h e g u ru yoga o f devotion:!
A m id an ocean o f offering clouds in the sky before me,!
U p o n the lion thron e and layered lotus, sun, and m oon,!
Is O rgyen T o tre n g T sai, the em b o d im en t o f all objects o f refuge.!
H e has one face an d tw o arm s and is w rathfully sm iling an d
glow ing w ith resplendent light.!
H e w ears the lotus crow n, secret dress, gow n, D h a rm a robes, and
brocade cloak.*
H o ld in g a vajra in his rig h t h an d an d a skull w ith a vase in his left,*
H e em braces the secret m u d ra in the h id d en fo rm o f a khatvanga.®
W ith his tw o feet in the reveling posture, he is w ith in a sphere o f
five-colored rainbow light.*
H e sends out cloud banks o f the all-encom passing T h re e Roots.®
All that appears and exists is the essence o f the glorious guru.*
P erform the external practice in the m a n n er o f supplication*

A n d the inn er practice in the m a n n e r o f recitation.*
A fterw ard, receive the four em p ow erm en ts and dissolve G u ru
Rinpoche into yourself.®
In the lum inous state o f you r m in d inseparable fro m the guru,*
E xperience one-pointedly the secret, ultim ate guru.*
T h ro u g h the practice o f the great emptiness, the space o f suchness,*

W h e re all the relative and ultim ate dharmas*
A re the great suprem e d h arm a k ay a o f the inseparable tw o truths,*
You will realize death as the n atu ral state o f luminosity.®
T h ro u g h the practice o f the all-illum inating samadhi,*
In the illusory m a n n er o f nonconceptual compassion, *
T o w ard unrealized sentient beings pervading space,*
T h e bardo will appear as the forms o f the deities o f the Magical
Net.®
Particularly, in o rd er to purify the process o f ta kin g birth,*

Practice the developm ent stage, w hich ends clinging to o rdin ary
experience:®
Visualize as perfected in instantaneous recollection in o rd er to

purify m iraculous birth,®
A n d visualize th ro u g h the em anation and absorption o f the seed
syllable in o rd er to purify b irth by warmth.®
Visualize the seed syllable, attributes, and bodily fo rm in o rd er to
purify w om b birth,*
A n d visualize the cause an d effect h e ru k a in o rder to purify egg
birth.*
In all cases, visualize the m an d ala o f the base and the based,®
A n d the faces, arm s, and attributes in total completeness.®
D IS P E L L E R O F OBSTACLES
First, in ord er to train gradually in this,*
Visualize yourself in the fo rm o f the single mudra«
W ith vivid features, like a rainbow.*
A t best, reg ard it as the n atu ral great absolute;«
As the next best, envision the distinct general and specific features;*
A t least, p lan t the stake o f u n ch an gin g concentration.*
Place an im age w ith all the characteristics before you«
A n d focus your m in d, eyes, and prana one-pointedly u p on it.*
W h e n a vivid presence appears, ab andon the defects o f drowsiness
and agitation,«
Rest in the state w h ere the form o f the deity is the unity o f
appearance and emptiness,*
A n d the experience will arise, in w hich the turbulence o f thoughts
has subsided.s
Som etim es rest, brin g in g consciousness to its natu ral stated

Som etim es transform the expression o f your concentration into
m any different things.«
In each session, bring the clear appearance o f the deity to
perfection.*
In each session, plan t the g reat stake o f the essence m antra.*
In each session, rest in the same taste o f the deity and your mind.*
In each session, accom plish the magical display o f em anating and
absorbing rays o f light.*
A t all times, keep the prid e o f being inseparable from the deity.*
Since the path illustrates the unity o f g ro u n d and fruition,«
Practice the total purity th a t stops the clinging to ordinary
experience.*
In betw een sessions, m e n d the samayas w ith feast gatherings and
tormas.«
B ring all th a t appears an d exists onto the paths
As the essence o f the magical deity, m antra, and great wisdom.«
I f you practice one-pointedly in this way,«

T h e experiences o f m ovem ent, attainm en t, habituation, steadiness,
and perfection will arise,«
A n d you will actually m eet w ith the form possessing the threefold
vividness.«
D IS P E L L E R O F OBSTACLES 3
You will accom plish the tr u th o f speech and a changeless m ind .!
N ext, fix your m in d on the entire m an d ala circle,!

A n d w h en you have gradually attained its vivid presence,!
E m an ate groups o f b u d d h a families filling the sky.!
T h ro u g h the sam adhi o f the Magical N et!

O f the V idyadhara pow er-w ielders, and appearance an d existence
as m anifest grou nd ,!
A n d by m eans o f g ro up practice in an assembly,!
T h e highest siddhi will be accom plished.!
W ith the perfect place, tim e, teacher, retinue, and articles,!
Correctly perfo rm the “rite o f the la n d ”!
A n d practice the sadhanas o f outer, inner, and secret retreat.!
E rect the sign m and ala as the sup p ort for concentration,!
A vivid and com plete im age ad orned w ith ornam ents.!
V isualize yourself and the w hole retinue, the self-existing m an d ala
deities,
As inseparable m eans and know ledge.!
By the light rays o f A pproach and F u ll A pproach,!

Purify the outer w orld into the Lotus N e t Realm .!
By the em anation and absorption o f the light rays o f
A ccom plishm ent,!
T ran sfo rm all the inner inhabitants into the form s o f the Magical
N e t o f the V idyadharas.!
Purify your being by the G re at A ccom plishm ent.!
T h e n , th ro u g h the vivid presence o f the deity form s an d the rays o f
the m a n tra,!
A n d th ro u g h the sam adhi o f bliss an d em ptiness an d the practices
o f u n itin g and freeing,!
W h e n com pleting six, twelve, or eighteen m onths,!
As the outer signs, you will actually have a vision o f the deity,!
T h e m and ala will em it light, an d the nectar in the vase will boil.!
T h e skull cup will trem ble, and the b u tter lam p will ignite by
itself.!
As the in ner signs, your body, speech, and m in d will be blissful;
y our p ran a and aw areness will be clear;!
A n d your perception o f all the dh arm as o f fixation and grasping
will be illusory.*
As the secret signs, your m in d will be changeless in one-pointed
samadhi,*
A n d the assembly o f deities will be perfected w ithin you.*
Since at this tim e you will have realized the sup rem e siddhi,«
You can display various m iracles o f the one taste o f appearances
an d mind.»
E ven w ith o u t chang ing your body, your m in d will initially
accomplish*
T h e V id yad hara o f F ull M atu ratio n in the fo rm o f a deity.*
You will attain the m astery o f life, the vajra body,«
A n d by m eans o f the su prem e family o f the great m u d ra o f the five
aspects,s
You will perfect the ten bhu m is and realize the great regency,*
T h e V idyadhara o f Spontaneous Accomplishment.®
T h e in ten t o f recitation, the auxiliary o f the developm ent stage,®

H as four visualizations o f A pp ro ach an d A ccomplishment.*
First, u po n the m o o n in you r h ea rt center,*
W ith in the center o f the five-pronged golden vajra,«
Is t h e l e t t e r h rih u p o n a m o o n , g l o w i n g lik e a flam e.*
T h e m a n tra g arland su rro u n d in g it«
Is self-resounding and revolves continuously.*
To fix your m in d on this, like the m oon w ith a garlan d o f stars,«
Is called the in ten t o f A p proach invok in g the m in d o f the deity.*
T h e m a n tra g arland em an a tin g from there em erges th ro u g h your

m o uth s
A n d enters th ro u g h the m o u th o f the w isdom being before you.*
Passing th ro u g h the bodily form and the navel lotus,*
It enters your navel and revolves as before.«
L ig h t rays an d essences g ath er in your h eart bindu.*
Im agine th at the w isdom o f great bliss is stabilized«
A n d th a t all the siddhis are mastered.«
T h is concentration, like the wheel o f a firebrand,*
Is the in ten t o f the F u ll A p p ro ach to the deity.*
T h is can also be exchanged w ith the form o f the consort, your ow n
radiance,«
O r w ith any o f the different em anation visualizations«
In o rd er to invoke the su rro u n d in g assembly o f deities.«
By the light rays em an atin g from the mantra,«

O ffering clouds m ake offerings to the noble ones an d gather the
blessings back into you.*
T h e obscurations are purified, the accum ulations are perfected, and
you have obtained the em p ow erm en ts an d siddhis.*
As they em anate again, the k arm as and disturbing em otions o f the
beings o f the three realm s are purified.*
E m a n a tin g and absorbing, like the emissaries o f the king,«
Is the intent o f m astering the A ccom plishm ent o f siddhis.*
A t this time, the outer w orld is the vajra realm o f A kanishtha.*

A ppearances are deities, an d all the anim ate and in anim ate sounds
are mantras.*
T h o u g h ts are the display o f n o n d u al wisdom.«
D u rin g this, reciting in the great state o f appearance and existence
as m anifest ground,*
T h is practice, like a beehive b ro k en open,«
Is the in ten t o f the G reat A ccom plishm ent o f siddhis.«
You should apply these four intents o f vajra recitation*

Chiefly to the practices o f the single form , the elaborate form,*
T h e group, and the gathering.*
T h e next practice should be entered w h en the vivid presence o f the
fo rm er is perfected.«
H ow ever, th ro u g h the in ten t o f these instructions o f m ine, Self-

Born Lotus,*
T h e way o f practicing the recitation intents o f A p p ro ach an d
A ccomplishment,«
C om bined into one in a single sitting session,«
H as been tau g h t in order to swiftly produce blessings an d signs.«
T h ro u g h the internal way o f profo un d h u n g recitation,*

C linging to the appearances o f the developm ent stage stops and the
pow er o f aw areness increases.*
T h ro u g h the secret and m ost p ro fou nd m e th o d o f the p ran a
recitation o f great bliss,*
S am adhi is stabilized an d pliancy is attained.*
As to the ultim ate practice o f dissolution into luminosity,*

By H ung hung hung, the w orld and its inhabitants, along w ith
your body,s
G radually dissolve into the seed syllable, the letter h r ih J
T h is again dissolves into the innate state o f nonconceptual

luminosity.*
W h e re the past has ceased and the fu tu re has n o t yet arisen,»

In the u n im p ed ed state o f present wakefulness,*
Rest in the m a n n er o f m in d looking into mind.*
N o m a tte r w h a t thoughts m ay arise at this time,*
T h ey are all the display o f the single m in d essence.*
As the n atu re o f space is unchanging,*
You will realize the all-pervasive m in d essence to be changeless.*
T h is is the G re at Perfection, the ultim ate o f all vehicles,*
T h e unexcelled m ean in g o f the self-existing M ind Section J
W ho ever practices this ultim ate yoga*

W ill have limitless secret signs and virtues.«
T h e great p ow er o f experience and realization will gradually be
perfected,s
A n d they will attain the w isdom o f the Ever-Excellent Padma.*
By t h e n u t t e r i n g P h a t p h a t p h a t ,*
Perceive yourself an d the w orld w ith its inhabitants as the m an dala
circled
W ith in the state o f the unity o f the d evelopm ent and completion,*
F u rth e r increase the tw o accum ulations o f m e rit and wisdom.*
T h is essence o f the ocean o f tantras and oral instructions*

Is com plete an d concise an d has im m ense blessings J
It is easy to practice and is the path to en lig htenm en t in one
lifetime.«
It contains the key points in the in ten t o f the M agical N e t o f the
Vidyadharas»
A n d o f the D irect Vision o f the Ever-Excellent M ind Essence,«
W h ich I have gathered as the vital blood in m y h eart J
I, the great Self-Born P ad m a, have ta u g h t it“
F o r the benefit o f the present king, his sons, and my disciples*
A n d for the benefit o f qualified beings in the future.®
F u tu re generations, do no t let this nectar dissipate, b u t collect this

essence®
A n d accomplish the su prem e and co m m o n siddhis!*
My children, practice continuously!«
Practitioners o f know ledg e m antras, never be ap a rt from
developm ent and recitation!®
Yogis, b rin g your realization to encompass d h arm ad hatu!*
Samaya, seal, seal, seal.
H a v in g expounded this m ost affectionate instruction, p o urin g o u t fro m

the treasury o f his realization, he entered the all-m agn etizin g s a m a d h iJ
This was the fo u rth chapter fro m the W ish-F ulfilling Essence M anual
o f O ral Instructions, on the Quintessence o f Wisdom Openness, the root
samadhi, which is the source o f all mandalas. s
8 D IS P E L L E R O F OBSTACLES
NOTES O N ARRANGEMENT
OF THE LITURGY FOR THE
DETAILED PRACTICE OF THE
APPROACH, ACCOMPLISHMENT,
A N D ACTIVITIES OF
TUKDRUB BARCHEY KUNSEL
Jamyang Khyentse Wangpo
Some people w ishing to engage in extensive practice o f the approach,

accom plishm ent, and activities o f Tukdrub may not have initially found
tim e to complete the preliminaries in the usual allotm ent o f time, such as
one year. In th at case, chant 10,000 o f refuge, as m uch as you can o f arous
ing bodhichitta, 10,000 o f the H u n d re d Syllables, and 10,000 o f either the
long or short m andala offering. It is excellent if you can do 10,000 prostra
tions com bined w ith the same nu m b e r o f the short supplication of the outer
practice o f g u ru yoga. I f you can, also recite about 1,000 o f Barchey Lamsel.
C h a n t four times 100,000 o f the Vajra G u ru m a n tra for the inner practice.
A t the end o f the session, do the secret practice o f sustaining the realization.
A fter hav ing fully com pleted all the prelim inaries in this way, arrang e
th cam rita, ra \ta , torm a, and the seven enjoym ents for the recitation prac
tice o f the m ain part. In the d a w n session— from am o n g the fo ur ses
sions— do the full prelim inaries an d recitation o f the m ain part, according
to the liturgy o f the M edium Practice M anual, the Trinley D ringpo. D o the
Extensive Practice M anual, the Trinley Gyepa, in the late m o rn in g session;
the M edium Practice M anual in the afternoon session; and the Extensive
Practice M anual at the end o f th a t session, follow ing it th ro u g h the feast
d o w n to the verses o f auspiciousness. It is permissible to om it the invoc
ation, covenant, Tenma offerings, and the horse dance every day, b ut defi
nitely p erfo rm them on the te n th day and so forth. Before the feast, or
otherw ise before the residual offering, also do the petition offering to the
Five Tseringma Sisters, the teaching guardians, up to the praises, as well as
9
the to rm a offering to K h a ra \ K hyung Tsünma, the treasure gu ard ian . I f
you d o n 't do the m e n d in g prayers, m e n d in g o f dish arm o n y rituals, or the
Tenma petition on a daily basis, p erform th em on special days, such as the
tenth. In particular, m ak e extensive m e n d in g prayers on the eighth.
In the evening session, p erfo rm the M edium Practice M anual. W h e th e r
you are follow ing the M edium Practice M anual or the Concise D aily Prac
tice M anual, open up the recitation m ansion saying, B h ru n g v is h v a
v is h u d d h e h r ih h u n g p h a t ja h at the end o f the praises.

A t the point o f récitation-invocation in the Extensive Practice M anual,
invoke w ith the w ords, “Boundless L ig h t and your assembly o f deities,
m anifest from d h a r m a d h a tu .. . ” C h a n t the elaborate visualization for
recitation. F o r the M edium Practice M anual, just follow the text; for the
o ther two, com bine it w ith them .
W h e n concluding a session at the tim e o f doing the life recitation,
do as m u c h as you can o f the Seven Syllables, Vajra G u ru , an d T ô tre n g
T sai m an tras as well as the H arin isa m an tra, follow ing the M edium Prac
tice M anual; also chant the Vowels and Consonants and the Essence o f
C ausation m antras. As indicated by this, w hen d oing the Seven Syllables
and so forth, simply m aintain the continuity o f the preceding an d follow
ing recitations.
I f you follow the Extensive Practice M anual, say, “W isd o m deities, I
invite you, please c o me . . Ma k e the praises saying, “O m . W isd o m o f the
Bliss-Gone Recite th tB archey L am sel supplication and confess faults w ith
“O m . E n tire assembly o f vidyadhara m an d ala deities... ” Saying, O m
a h h u n g s v a h a ..., toss the flower o f aw areness and dissolve the w isdom
beings in fro nt into you; then stabilize th a t w ith the H u n d re d Syllables.
Saying, “H u n g . In u n b o rn em ptiness... ”, p erfo rm the dissolution and
em ergence d o w n to the verses o f auspiciousness.
I f you follow the M edium Practice M anual, proceed th ro u g h the V ow
els and Consonants and Essence o f Causation m antras as above. M ake
the T h o u sa n d -P o in t offering, saying, “G ath e rin g o f w isdom d e itie s ...”
A t the end o f the Barchey Lam sel supplication, confess faults w ith the
H u n d re d Syllables. Saying, Jah h u n g bam h o h , im agine th a t the w isdom
beings in front dissolve into you, stabilize w ith the H u n d re d Syllables,
dissolve w ith the triple hung, and continue th ro u g h to the utterance o f
auspiciousness in the general way.
In this order, ch ant eleven times 100,000 o f the A m ara n i m a n tra; for a
tw o -m o n th duration, chant four times 100,000. Recite ten, seven, or four
times ioo,ooo for the Seven Syllables, according to w h at is possible, as in
the general m anner. Be sure to do a full twelve times 100,000 o f the Vajra
G u ru m a n tra as well as the am e n d in g num ber.
Follow in g that, if you can integrate the accom plishm ent, the detailed
way is to do this according to the system o f the G reat A ccom plishm ent
liturgy. I f you cannot do that, p erfo rm the elaborate plan tin g o f the poles
o f the g reat kings an d engage in the accom plishm ent. I f you have to inter
ru p t in the m iddle, it will be fine at this po in t to do the accom plishm ent
practice in an abbreviated m anner, along w ith the activity applications.
T h u s, com bining this w ith the key points for visualization according to
the M edium Practice M anual, recite four times 100,000 T o tre n g T sai m a n
tras and 10,000 H arin isa m antras.
It is good if you can p erfo rm the fire ritual o f am en d m e n t; if not,
chan t the H u n d re d Syllables at the end o f the session for a few days. F in
ish retreat after p erfo rm in g 100 ganacha^ras, m e n d in g and confession
prayers to the dh arm apalas, an d thanksgiving offerings.
I f you are engaging in the accom plishm ent practice, get the details
elsewhere. It is fine to p lan t the poles o f the great kings at the tim e o f the
prelim inaries; otherw ise, follow the general system.
It is best if you can begin the recitation practice in the afternoon
d u rin g the w an in g m oo n w ith auspicious astrology; plant the poles o f the
great kings at th at time. W h e n finishing, elaborately p erform the ritual
for receiving the siddhis at the end o f the d aw n session on a day w ith
auspicious astrology d u rin g the w axing m oon; th en come out as the sun
is rising.
You can learn abo u t w h at to avoid, adopt, and so forth w hile in retreat
from the general recitation m anuals.
T h is was com posed by K hyentse W angpo. May it be virtuous.
D IS P E L L E R O F OBSTACLES II
(top) K ing T risong D eutsen; (above) V airochana
A SEED OF THE GREAT SAL TREE
A Concise Composition o f N otes on the Approach and

Accom plishm ent for Lamey Tukdrub Barchey Kiinsel,
T h e G uru’s Heart Practice, Dispeller o f All Obstacles
Jamgon Kongtnil
The thought o f you dispels all obstacles

A nd when supplicated, you bestow the tw o siddhis.
Lord Guru, em bodim ent o f all buddhas,
Accept m e throughout all m y lives.
I w ill now, in accord w ith m y m asters words,

Compose an application o f the Approach and Accom plishm ent
For this unique buried treasure,
The wondrous essence o f one-billion guru sadhanas.
Generally, for the basic descriptions o f ho w to practice this, take the third
chapter ta u g h t in the Sheldam N yingjang as the basis an d apply it, follow
ing your teacher’s oral advice in the extensive, m e d iu m , or concise ver
sion {Trinley Nyingpo), w hichever is appropriate, and in accordance v/ith
the situation, in term s o f place, tim e, and type o f person.
W h e th e r you begin the practice o f developm ent or com pletion, first
p erfo rm the general prelim inaries o f the fourfold m in d train in g an d the
fo u r special prelim inaries.
F o r the m ain part, according to the specifications o f T erchen C h ok -
g yu r L ingpa, take Sheldam N yingjang as the basis and first practice
d h a rm a k a y a A m itayus, followed by sam bhogakaya G re at C om passion
ate O ne, com bined w ith the L otus M agical N et. A fter that, practice the
n irm a n ak a y a aspect com bined w ith the extensive or m e d iu m version,
w hichever is suitable, and com plete the set n u m b ers o f individual recita
tions for approach and accom plishm ent. F o llow ing that, it is necessary
to p erfo rm successively the specific approach recitations, by com bining
l3
the twelve manifestations w ith Trinley Nyingpo, and to com plete the four
activities and the four ancillary practices as well as the practice o f the
teaching guardians.
A ccording to the directions o f the om niscient master, P a d m a Osel
D o -N g a k L ing pa (Jam yang K hyentse W angpo): P erfo rm the single
m u d ra according to the G yungyi K oljang, the Concise D aily Practice M a n
ual, as the beginning o f the m ain p art for the approach; p erfo rm the con
densed outer m and ala o f Trinley Nyingpo, the Yoga o f Essential Activity, for
the full approach; do the Trinley D ringpo, the M edium Practice M anual,
for the accom plishm ent; and p erfo rm Trinley Gyepa, the Extensive Prac
tice M anual, together w ith D zapkyi Koljang, the Recitation M anual, and
so forth in a detailed way for the great accom plishm ent. T h e sam adhis
(concentrations) and visualizations for recitation o f these should con
form w ith the th ird chapter o f the root text (Sheldam Nyingjang). H av in g
properly p erform ed the four aspects o f approach an d accom plishm ent, he
ta u g h t th at one should th en perfo rm the “specific practices,” such as those
for d harm ak aya, sam bhogakaya, and so forth, w hichever are suitable.
T h e re is no difference betw een follow ing either o f these tw o sets o f
directions, since they are both lords o f these p rofou n d teachings. N e v
ertheless, in harm o n y w ith the m ethods o f both great treasure masters,
I will structure w h at they have ta u g h t on the way o f p e rfo rm in g the
approach and accom plishm ent recitations, by m eans o f only the Leyjang,
Practice M anual, (Trinley D ringpo) . I will describe it in a way th a t is easy
to apply and in conform ity w ith the present day’s general practitioners o f
n u m b e r recitations. T h is stru ctu re has tw o parts: the extensive an d the
concise ways.
T he E x t e n siv e W ay
It is essential to first have com pleted the m in d training o f the general p re
liminaries, such as the difficult-to-find freedom s an d riches, an d so forth.
I f you have n o t practiced them , they can be linked to the special prelim i
naries in this follow ing way:
T rain your m in d in the difficult-to-find freedoms and riches, thinking,
“I will engage myself in taking refuge, the basis o f all means for utilizing
these freedoms and riches!” W ith this thought, visualize the objects o f ref
uge. T h e chief figure is your ow n m aster as N angsi Zilnon, the glorious
subjugator o f all that appears and exists, surrounded by the masters of the
lineage. Before him are the yidams. To his right is the nirm anakaya B ud
dha. Behind him is the D harm a. To his left is the Sangha. All aro un d him
you im agine the dakinis, d h a rm a protectors, and wealth gods.
W hile u n d ersta n d in g the general way o f ta k in g refuge an d so forth,
take refuge 100,000 times together w ith the a m en d in g num ber. It will be
m ost excellent if you can m a k e 100,000 prostrations, either at this point or
at the tim e o f the follow ing Seven Branches.
A fter that, inspire yourself w ith the th o u g h t o f im perm anence,
thin kin g, “In this short life, w h en the time o f death lies uncertain, I will
develop the tw o kinds o f bodhichitta, the essence o f all m eans for u ti
lizing the freedom s and riches. I will m o u n t the steed o f the aw akened
h ea rt and possess the confidence o f m oving th ro u g h increasing levels o f
happiness!” C arried along by this thought, recite 100,000 each for the
aspiration, the gath erin g o f accum ulation, and the application. T h is is
the extensive way o f developing bodhichitta. T h e m e d iu m way is to do
a suitable n um ber, such as 10,000 o f each. T h e short way is to do 10,000
or such o f just the bodhichitta o f aspiration, since the application is essen
tially included w ith in that.
N o m a tte r w here one m ay take rebirth after dying, o n es experience
has the n atu re o f suffering, the root o f w hich lies in the tru th o f origin,
w hich consists o f k a rm a and d istu rbing em otions. W h ile u n d ersta n d in g
th at red ucing this suffering depends on p urifying your misdeeds and fail
ings, w hich are prod u ced by the distu rb ing em otions, be sure to com plete
100,000 H u n d re d Syllable m a n tras as well as the a m en d in g num ber, in
accordance w ith w h a t is ta u g h t about the m ed itation and recitation o f
Vajrasattva. Also, recite the Six Syllables as m u ch as you can.
F ollow ing that, reflect on the way in w hich the results o f actions
ripen. W ith the intention to quickly create an im m ense accum ulation o f
virtue, visualize the field o f accum ulation, as at the tim e o f ta k in g refuge,
an d com plete 100,000 o f the extensive m an d ala offerings; alternately, per
fo rm 10,000 o f the extensive offering and a full 100,000 o f the short offer
ing ta u g h t in the context o f the T ara practice: “O m ah hung. T h e three
realms, w orlds, and b e in g s.. . ” u ntil “ R a t n a m a n d a l a p u j a h o h . ”
N ext, consider the benefits o f liberation, k n o w in g that the ultim ate
path o f obtaining it depends on receiving the m aster’s blessings. So, while
in ten t on engaging in the g u ru yoga o f devotion, first visualize the sup
p o rt for practicing in the external way o f supplication and com plete a
D IS P E L L E R O F OBSTACLES J5
num ber, such as 10,000 or 1,000 o f the supplication Barchey Lamsel, Clear
ing Obstacles on the Path, and a full 100,000 o f the short D usum Sangye
supplication. In addition, at the begin ning o f the session, co un t a suitable
n u m b e r o f Barchey Lamsel, such as tw enty-one or seven times, followed
by the short supplication. F o r practicing in the inner way o f approach,
recite the V ajra G u ru m a n tra — at best 10,000,000 times, or next best
twelve times 100,000, or at least four times 100,000. F o r the in nerm ost
practice o f sustaining the w isdom m ind, rest for a long tim e in com po
sure at the end o f all sessions.
F u rth e rm o re , from ta k in g refuge up until the g u ru yoga, m a k e the
specific practice you are doing the m ain p art o f the session an d com plete
one full set o f prelim inaries in each session. T h e Seed o f Suprem e E n ligh t
enment, com posed by the L o rd G u ru K hyentse Rinpoche, clarifies the
way to ch ant these practices.
I f you are interested in d oing a short set o f prelim inaries for a p ro
g ra m o f approach and accom plishm ent recitations, it is initially good if
you can do a corresponding n u m b e r o f prostrations together w ith tak ing
refuge 10,000 times. F o r the bodhisattva resolve, do as m an y as you can.
P erform 10,000 o f the H u n d re d Syllables and 10,000 o f either the long or
short m an d ala offerings, w hichever is suitable. F o r the outer practice o f
the g u ru yoga, com plete 10,000 o f the sho rt supplications and, if you can,
about 1,000 o f the Barchey L am sel as well. F o r the inner practice, do four
times 100,000 o f V ajra G u ru an d p erfo rm the in nerm ost practice o f sus
taining the w isdom m in d at the end o f all sessions.
H av in g com pleted all the prelim inaries in an excellent way, prepare
the approach o f the m ain part, by a rran g in g representations o f G u ru Rin-
poche’s body, speech, and m in d in fro nt o f you, using w h atever you have.
Place before that the Shining Jew el Torma, w ith am rita on its rig ht and
rak ta on its left sides. Set o u t the seven enjoym ents in fro nt o f the torm a.
To the righ t o f the am rita, place the to rm a o f the teaching g u ard ian ,
Tseringma, u p on the central bulb o f a w hite to rm a w ith four petals, w ith
one pellet in each o f the four directions. T h e w hite to rm a is su rro u n d e d
by pills in the interm ediate spaces an d has a w hite staff. To the left o f the
rakta, place the to rm a o f the treasure gu ard ian , K h a ra \ K hyung Tsiinma,
a trian gu lar red to rm a w ith ornam ents, su rro u n d e d by pellets.
Also arrang e the \a rtor (white torm a); g e\to r (obstructor’s torma);
feast articles; torm as for the covenant, the Tenmas\ and so fo rth — all that
is needed for the Practice M anuals.
Begin w ith the aftern oo n session on an auspicious date. O n the occa
sion o f an approach and accom plishm ent recitation, you should chiefly
p erfo rm the M edium Practice M anual and the Concise D aily Practice M an-
ual\ p e rfo rm the Extensive Practice M anual w h en doing a drubchen. H ere,
begin w ith the supplications, such as the Seven Lines, and perform the
Trinley D ringpo, the M edium Practice M anual.
W h e n th ro w in g the g ek to r outside, plan t th e poles and d ra w the
b ou n d ary lines o f protection. P erfo rm the p relim inary phases and the
m a in p a rt from the visualization o f the deities up th ro u g h the praises.
O p en up the recitation m ansion and do the invocation for the recitation.
A t the end o f com pleting a certain set o f recitations, repeat the offerings
an d praises. C h a n t the supplication Barchey Lam sel. A pologize for faults,
receive the em p o w erm ents, and dissolve the recitation m ansion. P erfo rm
either the extensive or short to rm a offering for the gu ard ian s Tseringma
a n d K h a ra \ K hyung Tsiinm a. O ffer a feast together w ith the m ending.
K eep the residual offering (Ihagma) “im prisoned,” w ith o u t sending it
out, until you finish the approach-accom plishm ent recitation. You may
also w ait until you finish retreat to .p erform the covenant an d give the
Tenma torm as. A t the end, m a k e a thanksgiving w ith offerings, praises,
an d apology for faults. R equest the feast guests to rem ain perpetually in
the shrine objects. P erfo rm the dissolution and em ergence o f the m and ala
o f self-visualization. D o the dedication, aspiration, and utterance o f aus
piciousness.
D u rin g the evening session, p erfo rm refuge, bodhichitta, and the
Seven Branches. Visualize the protection circle as done earlier; if not pos
sible, do the Trinley Nyingpo, w hich will suffice. A t the poin t o f expelling
the obstructors, instead o f saying, “T ak e this to rm a ,” say, “D o n ’t rem ain
in this place.” A t the end o f the praises, open the recitation m ansion and
so forth, as before. W h e n finishing the session, m a k e offerings and recite
the praises, supplication, and apology for faults. Dissolve the recitation
m ansion and p erfo rm the dissolution and em ergence o f the self-visual
ization. M ake dedication, aspiration, and utterance o f auspiciousness.
T h ereafter, engage in the yoga o f sleep.
A t daw n, p erfo rm the yoga o f w ak in g up, the blessing o f your voice,
an d so forth; do the Trinley N yingpo. P erfo rm the Trinley D ringpo in both
the m o rn in g and afternoon sessions. F o r the evening session, it is m ore
convenient to just do the Trinley N yingpo, yet it is permissible to arran g e
this session according to your ow n liking. M ake the to rm a offering to the
teaching guardians each day w ith o u t a break. As for the feast offering,
it is permissible to do it only on auspicious days, such as the te n th and so
forth, if you cannot m ak e it daily.
W h e n beginning and finishing the retreat, it is im p o rta n t to include
pro fo un d and extensive m en d in g and apology chants.
W h e n p erfo rm in g the sadhana in this fashion, start w ith the d h ar-
m akaya recitation, Boundless Life; the set n u m b e r for this recitation is
eleven times 100,000. P rio r to com pleting this num ber, m a k e th a t alone
the principal recitation in the m a in p art o f your session. A t the end o f the
session, recite about 100 o f each o f all the others.
A fter com pleting the specified n u m b e r o f recitations o f the first m a n
tra, continue to recite it about 100 times at the beginning o f each session.
F o r the m ain p art o f the session, recite ten or seven times 100,000 o f the
Seven Syllables o f sam bhogakaya.
H av in g com pleted the sam bhogakaya recitation, recite som e o f both
d h arm a k ay a and sam bhogakaya at the beginning o f each session. In the
m ain part, recite the essence o f n irm anakaya, the Vajra G u ru m a n tra, at
best forty-eight times 100,000; if you cannot, m ake sure to com plete a full
twelve times 100,000.
F ollow ing this, for the com bined practice, recite four times 100,000 o f
T o tre n g Tsai. A t this point, it is very im p o rta n t to chant it seven or tw en
ty-one times at the beginning o f the session, applying w hichever tu n e you
know.
After that, for reciting the activity application, it is taught that one
should recite one-tenth as m uch as the approach recitation; so recite a little
m ore than 10,000. C om pleting this recitation along w ith the extras for each
m an tra is the extensive way o f reciting based on the Practice M anuals.
T he C o n c is e W ay
I f you w ish to establish a connection w ith this practice w ith in a m o n th ’s

time, use one day for reciting the prelim inaries, refuge, bodhichitta, and
the Seven Branches; one day for Vajrasattva; one day for the m and ala
offering; one day for supplication; and one day for the recitation o f the
inner practice o f the g u ru yoga.
H av in g com pleted these five days, use Trinley D ringpo o n the first
and last days o f the m ain practice. F o r the principal part, based on Trin-
Ley N yingpo, use seven days for reciting A m a ra n i an d seven days for the
Seven Syllables. Recite four tim es 100,000 o f the V ajra G u ru m an tra. Use
three days for reciting T o tre n g T sai m a n tra and about one day for the
activity application. T h is way will also be right.
W h e th e r you practice in the extensive or short way, com plete the
set n u m b ers o f recitations and, w h en d raw in g close to finishing retreat,
recite as m any o f the H u n d re d Syllables as you can at the end o f each
session. T h e evening before the final m o rn ing , change the offerings for
n ew ones and elaborately arran g e w hatever feast articles you have. A t the
d a w n session the next m o rn in g, follow the root text o f the Practice M an
ual (Trinley Dringpo) an d recite as m u c h as you can. M ake offerings and
praises, Barchey Lam sel supplications, an d apologies for faults in a m ore
extensive way.
A t the break o f daw n , invoke the siddhis w ith the lines from Trinley
Gyepa, the E xtensive Practice M anual. T ouch the to rm a visualized as the
deities to your three places, do the visualization for receiving the siddhis,
an d enjoy some o f the torm a. Receive the em p ow erm en ts an d dissolve
the recitation mansion. A fter that, perform 100 feast and m e n d in g chants
as a thanksgiving. I f you cannot do this, still m a k e an elaborate feast
offering, w ith a m e n d in g apology.
Place all the residual offerings gathered earlier outside. M ake a torm a
offering to the teaching guardians, invoke their heart-samaya, give the cov
enant and Tenma offerings, and complete it w ith the horse dance. T h e n
m ak e a thanksgiving, offerings, praises, apologies for faults, and so forth,
as before. M ake elaborate dedications and aspirations in the extraordinary
M ahayana way and utterances o f auspiciousness in the general way.
I f you m e n d the n u m b e r o f recitations w ith a fire offering, do the pac
ifying fire offerings in a n u m b e r equal to one-tenth o f the approach rec
itations. I f you cannot do that, you should be sure to com plete one-tenth
o f the set n u m b e r o f each o f the recitations from the earlier occasions o f
doin g the approach.
T h e visualization for recitation described in the M edium Practice
M anual (Trinley D ringpo) is only like a seed. T h e details should be done
according to the D zapkyi K oljang, the Recitation M anual. In o th er w ords,
p erfo rm both d h arm a k ay a an d sam bhogakaya recitations as clearly
described in the root text. F o r the nirm anak aya, first visualize a m oon
disc in your h ea rt center, u po n w hich there is a five-pronged golden
vajra. In its center, up on a m oo n disc, is the rad ian t w hite letter h rih .
D IS P E L L E R O F OBSTACLES l9
A ro u n d it, the w hite, self-resounding garland o f the V ajra G u ru m a n tra
circles u n in terru p ted ly in a clockwise direction. To focus your m in d on
that, like the m o o n w ith a g arlan d o f stars, is the in ten t o f the approach,
inv o king the m in d o f the deity.
A second m antra garland then streams forth uninterruptedly from the
first one, com ing out through your m outh. It enters into the m o u th o f the
w isdom being in front o f you. It passes through the bodily figure an d comes
o u t through the navel. E ntering your ow n navel, it circles around your heart
center as before. T h e clear essence o f light rays gathers within the bindu o f
your heart and hereby stabilizes the wisdom o f great bliss and brings mas
tery over the two kinds o f siddhis. To im agine this, like the wheel o f a fire
brand, is the intent o f the close approach o f oneself to the deity.
Boundless rays o f light th e n stream forth from the m a n tra circle.
T h e y perm eate all the infinite b u d d h a realms, becom ing cloud banks o f
outer, inner, and secret offerings to please the T h re e Roots, the victorious
ones, and their offspring. All the blessings o f their three secrets are th en
gath ered back. T h ey dissolve into you, p urifying the tw o obscurations;
p erfecting the tw o accum ulations; and bestow ing all the em p ow erm en ts,
blessings, and siddhis. A gain rays o f light stream forth. T h ey touch all the
sentient beings o f the three realms, p urifying their obscurations o f k a rm a
an d distu rb in g em otions along w ith their habitual tendencies. Im ag in in g
this, like sending ou t the k in g ’s emissaries, is the intent o f m asterin g the
accom plishm ent o f siddhis.
A t the conclusion, the ou ter vessel-like w o rld is the vajra realm o f
A kan ish tha; all that appears as the inn er content-like beings are m a n -
dala deities; all anim ate voices an d inan im ate sounds are the spontaneous
tones o f m antras; and all th in k in g is the play o f the g rea t self-existing
w akefulness. T h u s, to recite w ith in the continuity o f appearance and
existence, as being the great m anifest g ro u n d , k n o w n as the yoga th at is
like a bee hive b reakin g open, is the in ten t o f the great accom plishm ent,
the actualization o f the siddhis.
A ccording to the tantric system, these four described aspects o f recitation

intent are chiefly applied to the single m u d ra form , the elaborate m u d ra
form , an d the accom plishm ent o f the g ro up gathering. It has been tau g h t
th a t one gradually engages in each o f them after achieving the vivid pres
ence o f sam adhi in the previous one. H ow ever, here I have described the
intent o f the oral instructions o f G u ru Rinpoche, w hich is to com bine the
fourfold recitation in ten t o f approach and accom plishm ent into one sin
gle sitting, since th at is ta u g h t to be the p ro fo u nd key point for the quick
occurrence o f the signs o f blessings and siddhis.
In this way, you can fully com plete the recitations for approach
an d accom plishm ent. T h e way o f benefiting others, by accepting them
th ro u g h the elaborate, m e d iu m , or condensed em p ow erm ents, is clarified
elsewhere.
T h e way o f accom plishm ent in a g rou p assembly, according to the
Siddhi Vase Practice, a treasure revealed at B lazing L ig h t R o c \ in upper
G o, is described in an appendix to the practice discussed here. So, instead
o f p erfo rm in g that, if you com bine it w ith the R oot H eart Practice and so
forth, the analogy will be like p u ttin g a g o ats head on a sheep.
F u rth e rm o re , you can learn the key points o f the developm ent stage,
w h a t to avoid or ad op t d u rin g retreat practice, from the ru d im en tary
scriptures an d from the general presentations o f approach and accom
plishm ent. H e re I have not elaborated on these for fear o f involving too
m an y details.
A lthough this vajra verse supplication had appeared in the past,

Its sadhana has form erly not been widely know n.
H aving new ly appeared by the pow er o f it being the right time,
It is com plete and concise, a treasure teaching that exceeds all
others.
I wrote this in order to show the direction fo r the practice o f all

fo rtu n a te ones,
Who, after discerning the reason, have acquired confident trust.
A n d so, m ay the correct practice o f the m eaning o f the text
expanded here
B e like the sun spreading light everywhere.
A lth o u g h I could have expanded u p on this in great detail, due to fully

possessing the excellent fo rtun e o f the ripening an d liberating in struc
tions fro m both o f the tw o great treasure masters, the lords o f this p ro
fo un d teaching, I, P ad m a G a rw a n g L o d ro T haye, m erely aim in g to w rite
a convenient practice for beginners, com posed this at the practice place o f
the th ird D evikpti, the T sari-L ik e Jewel Rock.
May virtuous goodness increase.
D I S P E L L E R O F OBSTACLES 21
THE PRACTICE MANUAL FOR THE
RECITATION OF APPROACH A N D
ACCOMPLISHMENTS
According to T h e G urus Heart Practice,

Dispeller o f All Obstacles®
Dzapkyi Koljang
The Practice M anual fo r the Recitation o f Approach and Accom plishm ent, the
D z a p k y i K olja ng , a n d th e te x t Opening o f the Mansion o f Recitation (dza
pra bhang dbye ba)> also called G zhi Bstod, are like skeletons o f the prac
tice th a t are interw oven at ap prop riate places. A dditionally, verses from
the Barchey Lam sel are inserted as a supplication and an offering prayer.
Som etim es merely one line an d the etcetera sign reference these. In the
past, the practitioner was expected to k n o w m ost o f these verses by h ea rt
or at least be capable o f flipping back and forth very quickly betw een the
tw o p rim ary parts. F o r the sake o f ease, for both us m o d e rn -d ay yogis
and the reader, I have com bined th em all together in the way they are
chanted. It helps to get a clearer idea o f the m eaning, even th o u g h it falls
short o f strict purity.
Please excuse any breaches.
— Marcia D echen W angmo
22
I, Padma Tôtreng,*
A m the em bodim ent o f the ocean o f the Three Roots. «
L i\e the infinite mandala circles, «
W hich arise fro m and dissolve b a c \ into space, «
I m anifest mantras, mudras, s
A n d various hinds o f inconceivable activities, *
In every possible way, fo r those who need to be tamed. *
The m eaning and words o f the wisdom essence, *
O f the especially profound tantra sections, =
K now n as Vidyadhara Mayajala,*
Are unfailing and have sw ift blessings*
For helping the devoted to accomplish siddhiJ
H aving resolved this essence o f the most profound heart practice, ®
Through ascertaining the oral instructions, S
I now teach the m agical w heel o f the visualizations fo r reciting=
T he Approach, Accom plishm ent, and Activities*
O f the inner practice o /B arch e y Kiinsel,«
For the benefit o f the qualified \in g and m y present disciples, *
As w ell as fo r those o f fu tu re generations. «
Samaya. *
To accomplish this, first there is the threefold approach, «

B enefiting s e lf and other separately and m utually. *
First, chiefly fo r the benefit o f self*
There is the gathering o f the blessings and siddhis«
A nd the practice o f vidyadhara life, *
B y means o f the Lord o f the Family. *
Spin the m agical w heel o f visualization in this way:*
H ung H r i h !=
L ord o f the Family, A m itayus, m anifest from space.»

U tte rin g the sounds o f recitation, I invoke you.=
F ro m the core o f your heart-sam aya, please come!«
W ith ap p a ren t an d em pty bodily forms, you fill the billionfold
universe.«
W ith reso u nd in g and em pty m a n tra tones o f speech, you roar like
thunder.^
W ith the aw are and em pty space o f m in d , you rest in the state o f
luminosity.*
All the deities, delighting in the dance o f bliss,*
Invoke the m an tras w ith effortless vajra songs.«
T h e liberating life force o f w isdom endow s your mind»
U ntil attaining clarity, I will endeavor in visualization and
recitation.*
U ntil I reach perfection, please d o n ’t forsake your intentions!«
D o not forget me; the tim e for your great heart-sam aya has come!«
O n this very seat, let m e perfect the fourfold A pp roach an d
Accomplishment,«
A nd m ak e m e realize the lord o f the mandala.®
F ro m the h rih in the h ea rt center o f L o rd A m itayus, the lord o f

the family above my head,*
Rays o f light radiate th ro u g h o u t the ten directions,®
R estoring m y life and vitality, w hich have been cut, d am ag ed, or
dw in dled away.*
Externally, the essences o f the universe’s elem ents o f earth, w ater,
fire, and wind,*
Internally, the life, m erit, and pow er o f its inhabitants, the beings o f
the three realms,*
A n d innerm ostly, the w isdom qualities o f know ledge, compassion,
and ability«
O f all the victorious ones an d their sons,«
A re all su m m on ed back in the form o f five-colored nectar,»
W h ich enters the vase he holds in his hand, w here it m elts and
boils.«
Passing d o w n th ro u g h the top o f m y head, it fills my entire body.«
T h e four obscurations are purified, the em p o w erm ents an d siddhis
are obtained,«
A n d the vajra life o f im m o rtal great bliss is accom plished.*
T hinking this, recite:
O m a m a r a n i d z iw a n t iy e so has
At times, mahe offerings and praises'A
O fferin g P rayer
A ssem bly o f w isdom deities, I invite you. Please corned

I offer you outer, inner, an d secret offerings.s
I praise your body, speech, m in d , qualities, and activities.«
I confess careless transgressions and errors.«
M aha a m r i t a b a l i n g t a r a k t a k h a h i s
T h us, play music and, after each cycle of one-thousand m antras, repeat
the offerings and praises.
W ith your palm s joined, say:
H r i h !*
F ro m the am azing, excellent, ab u n d a n t realm o f G re at Bliss,«
Perfectly arrang ed, im m easurable palace,*
All b u d d has o f the three tim es,*
T h e essence o f the dharm akaya,*
T h e vividness o f all w isdom appearances,
T h e lord o f all the victorious ones, Amitayus,*
M aster an d lady, son and q u ee n ,*
W ith all o f your assembled retinues,*
W ith your compassion, bestow your blessings u po n m e J
W ith your love, guide m e and others on the path.*
W ith your realization, g ra n t m e the siddhis.*
W ith your pow ers, dispel m y obstacles and those o f others.*
Clear the outer obstacles externally.«
Clear the in ner obstacles internally.*
C lear the secret obstacles into spaced
Respectfully, I bow d o w n and take refuge in you.«
O m a m a r a n i d z iw a n t iy e so h a *
B y that reflection,
Supplicate in this way.
d is p e l l e r o f o bsta cles
25
Recite fo u r or tw elve times one hundred thousand®
To m eet the deity in actuality, ®
H ear his voice, and fin d attainm ent in sam adhi. *
Or when these occur in vivid visions, s
Or when, finally, in dreams, the sun and moon rise, «
Recognize the signs o f accomplishment o f body, speech, and m ind. *
To d rin \ nectar, to have crops ripen, *
To see a great river overflow, and so forth, *
These are omens that you w ill accomplish im m ortality. °
A t that time, you should receive the siddhis. *
Samaya. *
By means o f the noble Tamer o f Beings, °

For the benefit o f others, envisage these steps o f concentration, *
W hich shake the six realms fro m their depths:«
H ung H r i h !«
T am er o f Beings, G re a t Com passionate O ne, m anifest fro m space.*

U tte rin g the sounds o f recitation, I invoke you.*
F ro m the core o f your heart-sam aya, please come!*
W ith ap p a ren t and em pty bodily form s, you fill the billionfold
universe.*
W ith resounding an d em pty m a n tra tones o f speech, you roar like
thunder.®
W ith the aw are and em pty space o f m ind, you rest in the state o f
luminosity.«
All the deities, deligh ting in the dance o f bliss,*
Invoke the m antras w ith effortless vajra songs.®
T h e liberating life force o f w isdom endow s your mind.*
U n til attain in g clarity, I will endeavor in visualization and
recitation.®
U ntil I reach perfection, please d o n ’t forsake your intentions!®
D o not forget me; the tim e for your great heart-sam aya has come!®
O n this very seat, let m e perfect the fourfold A pp roach and
Accomplishment,*
A n d m a k e m e realize the lord o f the m andala.*
In the h eart center o f the noble T am er o f Beings, up on a lotus and

moon,*
T h e brilliant w hite letter h rih glows w ith light,*
A d o rn e d by the Six Syllable m a n tra on the six petals su rro u n d in g
it.*
By the pow er o f invoking w ith the vajra-m elody recitation, the six
realm s are purified:*
F ro m hung , the essence o f the m irro r-lik e wisdom,*

D eep blue rays o f light stream forth to the hell realms,*
P urifying the m isery o f heat and cold resulting from aggression.«
T h e w orld and its inhabitants become the noble V ajra Realm.®
O m m a n i pem e h u n g h r ih ®
F ro m m e , th e essence o f t h e w isdom o f e q u a l i t y , *
Yellow rays o f light stream forth to the realm oipretas,*
P u rifying the m isery o f h u n g e r and thirst resulting from greed.®
T h e w orld and its inhabitants become the noble R atna Realm.*
Om m a n i pem e hu n g h r ih ®
F ro m pad, the essence o f d h a rm a d h a tu wisdom,*

W h ite rays o f light stream forth to the realm o f animals,*
P u rifying the misery o f stupidity and m uteness resulting from
ignorance.*
T h e w orld and its inhabitants become the noble Sugata Realm .*
F ro m n i, the essence o f d iscrim inatin g wisdom,*

Red rays o f light stream forth to the realm o f h u m a n beings,®
P u rifying the misery o f bustle and poverty resulting from desire.*
T h e w orld and its inhabitants become the noble L otus Realm.®
Om m a n i pem e h u n g h r ih ®
F ro m ma, the essence o f the all-accom plishing wisdom,®

G reen rays o f light stream forth to the w orld oiasuras,*
P u rifying the misery o f fighting and strife resulting from envy.®
T h e w orld and its inhabitants become the noble K arm a Realm.*
Om m a n i pem e h u n g h r ih *
d is pe l l e r o f obstacles 27
F ro m om , the essence o f the w isdom o f lum inosity,“
Brilliant w hite rays o f light stream forth to the w orld o f the gods,s
P u rifying the misery o f tran sm ig ration and falling resulting from
arro gan ce.“
T h e w orld an d its inhabitants become the noble A ll-E m b od ying
R ealm .“
F ro m h r ih , the essence o f undiv id ed wisdom,®

Boundless rays o f light radiate, filling all o f space,*
P urifying the karm as, kleshas, and sufferings o f beings equal to the
sky in number.*
T h u s everything becomes the noble realm o f the T am er o f Beings.*
All sights are the form s o f the G re at C om passionate One;*

All sounds are the song o f the Six Syllable m a n tra p
All thoughts are the continuity o f indivisible em ptiness and
compassion.*
T h e activity o f shaking samsara from its depths is perfected.“
O m m a n i pem e h u n g h r ih *
Offering Prayer
Assembly o f w isdom deities, I invite you. Please cornels

I offer you outer, inner, an d secret offerings.*
I praise your body, speech, m ind, qualities, and activities.*
I confess careless transgressions and errors.*
M a h a a m r it a b a l in g t a r a k ta k h a h i *
H r i h !*
F ro m the M o u n t P otala B uddhafield in the eastern direction,*

T h e great aw akened palace,*
All b ud dh as o f the three times,*
T h e essence o f the sam bhokakaya*
G lorious L otus D ance Master,®
L o rd A valokiteshvara, protector o f beings,*
T h e bodhisattvas an d bodhisattm as o f the good kalpa,*
d is pe l l e r o f obstacles
A n d the retinu e o f all the vidyadharas,*
W ith your compassion, bestow your blessings u pon me.®
W ith your love, guide m e an d others on the path.*
W ith your pow ers, dispel m y obstacles an d those o f others.®
C lear the outer obstacles externally.*
Clear the in n e r obstacles internally.*
C lear the secret obstacles into space.*
Respectfully, I bow d o w n and take refuge in you.®
Through practicing one-pointedly in this way,*

B y ten m illion you w ill accomplish all the activities*
A t that time, the signs o f accom plishm ent w ill be, *
In actuality, in vision, or in dreams, though w ithout fixation, *
To m eet the N oble One, ®
To fe e l effortlessly altruistic and compassionate, *
To dream that pus, blood, and filth pour down,*
To take a bath and p u t on w hite garm ents*
To fly through the sky and travel upon w ater*
To deliver m any beings fro m dreadful places, and so forth.*
These and other signs o f virtue*
Should be know n as omens o f purified obscurations and benefit
fo r others. ®
Sam aya.®
As fo r the recitation fo r s e lf and others w ithout duality, *

B y means o f the m ain fig u re o f the mandala, *
Give rise to all the various visualizations*
O f deity, mantra, and all aspects. ®
H ung H r i h !*
S u prem e C h ie f o f the M andala, G u ru , m anifest from space.*

F ro m the core o f your heart-sam aya, please cornels
W ith ap p a ren t a n d em pty bodily form s, you fill the billionfold
universe.*
W ith resou nd in g and em pty m a n tra tones o f speech, you roar like
thunder.*
W ith the aw are and em pty space o f m in d, you rest in the state o f
luminosity.«
All the deities, delighting in the dance o f bliss,§
Invoke the m an tras w ith effortless vajra songs.*
T h e liberating life force o f w isdom endow s your mind.«
U n til attaining clarity, I will endeavor in visualization and
recitation.«
U ntil I reach perfection, please d o n ’t forsake your intentions!«
D o n ot forget m e; the tim e for your great heart-sam aya has come!*
O n this very seat, let m e perfect the fourfold A p proach and
Accomplishment,«
A n d m ak e m e realize the lord o f the m andala.«
In my h eart center, as the G u ru E m b od ying All Families,*

W ith in the central sphere o f a five-pronged golden vajra,*
Is the w hite letter h r ih , the spiritual life force, u po n a m oo n disc.«
S u rro u n d in g it, the rad ia n t w hite m a n tra chain revolves
clockwise.*
T h e strings o f five-colored rays o f light radiate immensely,*
M ak in g offerings to the victorious ones and their sons ab id in g in all
realm s o f the ten directions,«
A n d g ath erin g back the blessings and siddhis o f body, speech, and
m ind, *
R adiating again, they fill the universe and all inhabitants o f the
three realms,*
T h u s purifying the clinging to ordinary experience together w ith
its continuation.«
In the external w orld, as the realm o f the L otus N e t ,5
All beings m anifest as the form s o f the G u ru E m b o d y in g All
Families.*
T h e resounding yet em pty sound o f the vajra m a n tra fills all o f
space.«
Self-liberated thoughts are the a d o rn m e n t o f the space o f
luminosity.«
Self and others w ith o u t duality, like the m oon in w ater or like
rainbows,s
A re perfected in the single m and ala o f appearance an d existence as
m anifest ground.*
Recite w ithin the state o f indivisible space and awareness:*
O m ah h u n g b e n z a g u r u p e m a s id d h i h u n g *
Offering Prayer
A ssem bly o f w isdom deities, I invite you. Please cornels
I confess careless transgressions and terrors.«
M a h a a m r it a b a l in g t a r a k t a k h a h i *
H ung H r i h !*
F ro m the G lorious B uddhafield o f C h a m a ra to the southwest,*

T h e palace o f lotus light,*
All the b u ddh as o f the three times,*
T h e essence o f the nirm anakaya,*
G lorious L otus-B o rn Buddha,«
S ubjugator o f appearance and existence, T o tre n g Tsai,«
Yidam s, dakas, and dakinis,*
S u rro u n d ed by an ocean o f d h a rm a protectors,«
W ith your com passion, bestow your blessings upon me.*
W ith your realization, g ra n t me the siddhis.*
C lear the outer obstacles externally.®
C lear the inner obstacles internally.«
C lear the secret obstacles into space.*
Respectfully, I bow dow n an d take refuge in you.*
Om a h h u n g b e n z a g u r u p e m a sid d h i h u n g *
W ith OM at the beginning and hung at the end, *

The ten vajra syllables in between*
Are the root mantra em bodying all the vidyadharas. «
B y reciting them tw elve hundred thousand times, you w ill attain
siddhi*
A t that time, the signs o f accom plishm ent w ill be, *
In actuality, in vision, or in dreams, though w ithout fixation, °
To m eet him face-to-face or hear his voice, to fe e l great bliss blaze forth,
D I S P E L L E R O F OBSTACLES
To attain powers, to have experience and realization increase, *
To witness da\as and dafynis gather, °
To hear the sounds o f song and dance, m usic and chanting, *
To behold a rain o f flow ers fa ll, to be enveloped in exquisite fragrance, ®
To have the great resplendence o f wisdom descend, and so fo r th *
These are explained as the omens o f blessing and siddhi. °
Sam ayaS
The yogi who has already mastered the Approach*

Should practice the general and specific Accom plishm ent. *
First, in the outer way, practice the Accomplishment*
O f a ll the mandala figures:*
H ung H r i h !*
D ivinities o f V id yadh ara G u rus, m anifest from space.*

W ith ap p a ren t and em pty bodily forms, you fill the billionfold
universe.*
W ith resou nd in g an d em pty m a n tra tones o f speech, you ro ar like
thunder.®
W ith the aw are an d em pty space o f m in d, you rest in th e state o f
luminosity.®
All the deities, d eligh tin g in the dance o f bliss,®
T h e liberating life force o f w isdom endow s your mind.®
U n til attaining clarity, I w ill endeavor in visualization an d
recitation.*
U ntil I reach perfection, please d o n 't forsake your intentions!*
D o no t forget m e; the tim e for your great heart-sam aya has c o m e !®
O n this very seat, let m e perfect the fourfold A pp ro ach an d
Accom plishm ent,*
A n d m a k e m e realize the lord o f the mandala.®
F ro m m yself and the entire assembly o f m a n d ala deities,®

Body replicas stream forth, filling the sky.®
T h ey perform vajra dances an d proclaim the trem end ou s sounds o f
m antra.*
T h e ir m inds are the blissful experience o f changeless luminosity.*
O fferin g clouds o f qualities g ath er th ro u g h o u t all realm s o f the ten
directions,«
Pleasing all the victorious ones an d their sons w ith unconditioned
bliss .3
T h e limitless activities o f deeds to tam e beings®
C om pletely purify the tw o obscurations o f all beings o f the three
realms.®
By receiving e m p o w erm en ts fro m the nectar o f bodhichitta,®
Everyone m anifests in the form s o f the deities o f the T h re e Roots .3
T h ese w isdom m a n d ala deities o f indivisible appearance and
em ptiness 3
A re p resent as the groups o f the infinite w eb o f m agical creations .3
O m AH H U N G BENZA GURU PE M A TÔTRENG TSAL BENZA SAMAYA DZA
SIDDHI PALA H U N G AH*
In the inner way, perform the profound h u n g practice:*
F ivefold hung syllables from the letter hung in the heart centers 3
O f m yself and all the m a n d ala figures 3
R oar their th u n d e ro u s self-sound,®
P erv ad in g the entire phen om enal w o rld .3
T h e y m a k e offerings to the victorious ones, gather back siddhis ,3
A n d purify all beings’ k arm a s and hjeshas,3
Especially th e ir clinging to ordinary experience.®
T h e m a in figure an d the entire retinue sing the song o f h u n g .3
T h ro u g h this vajra m elody ,3
T h e experience o f the w isdom o f g reat bliss blazes fo rth ,3
A n d the su prem e em p o w e rm en t o f aw areness expression is
attained.®
Im agining this, chant:*
H ung hung hung hung hung 3

For the innermost, perform the prana and great bliss recitation*
A ssum ing the body posture, expel the stale breath.3
L in kin g HUNG to the exhalation, inhalation, and retention, ®
R ecite one-pointedly w itho ut distraction. ®
T h e m a n tra chain em erges fro m the spiritual life force,®
T h e essence o f great bliss, s
It enters th ro u g h the m o u th o f the self-radiant consort«
A n d appears blissfully from the lotus.®
Passing th ro u g h the p athw ay o f the vajra jewel,*
It circles, like a spinning firebrand,®
M ak in g the experience o f w isdom blaze forth.®
In this blissful state, p lan t the stake o f u ndistracted concentration.
O fferin g P rayer
Assembly o f w isdom deities, I invite you. Please come!*

I offer you outer, inner, an d secret offerings.®
I praise your body, speech, m in d , qualities, and activities.*
I confess careless transgressions an d errors.®
M a h a a m r it a b a u n g t a ra k ta k h a h i*
OM AH H U N G BENZA GURU PE M A SIDDHI H U N G *
D h arm a k ay a A m itab ha, I supplicate y o u !*1

S am bhogakaya G re at C om passionate O ne, I supplicate you!*
N irm a n a k a y a P a d m a k a ra , I supplicate you!*
My G u ru , w o nd erful n irm anakaya,s
You w ere born in the lan d o f India, w here you studied an d
contem plated.s
Journeying in person to T ibet, you tam ed the dem onic forces*
Residing in the land o f O rgyen, accom plishing the benefit o f
beings.*
W ith your compassion, bestow your blessings upon me.®
C lear the o uter obstacles externally.®
C lear the in ner obstacles internally.*
Respectfully, I bow d o w n an d take refuge in you.®
O m AH H U N G BENZA GURU PE M A TOTRENG TSAL BENZA SAMAYA DZA
SIDDHI PHALA H U N G AH*
I Barchey Lamsel, verse i
Betw een sessions, practice according to the outer way'A
Perform the mudras and dance movements*
A n d sing the songs o f chanting and recitation. *
B y exerting yourself in this way fo r three weeks, ®
The great resplendence o f body w ill descend into your body, *
M ajestic brilliance w ill g lo w forth, and great bliss w ill daw n.®
Through receiving the em pow erm ent o f speech in your speech, °
You w ill possess powers and accomplish the words o f truth.*
Through perfecting the pow er o f m in d in your m ind, °
You w ill become proficient in subtle samadhis.*
B y merely directing oneself to the favorable coincidence, *
The yogi observing these signs*
W ill accomplish a ll the stages o f the activities. *
Samaya.*
As to the specific individual accomplishments'*

W ith the pride o f the ch ie f vidyadhara, *
Who is you rself inseparable fro m the three kayas, «-
A pply the key points fo r each*
O f the m agical wheels o f the particular visualizations*
A n d envision the various displays ofsam adhi*
W ithin the M agical N e t o f Wisdom, *
W hich is one m anifesting in the fo rm o f many. «
H ung H r i h !*
V id yad hara Gyalwey D ungtsob, m anifest from space.*

U tte rin g the sounds o f recitation, I invoke you.®
F ro m the core o f your heart-sam aya, please come!®
W ith ap p a ren t an d em pty bodily forms, you fill th e billionfold
universe.*
W ith reso un ding an d em pty m a n tra tones o f speech, you ro ar li
thunder.*
W ith the aw are and em pty space o f m in d , you rest in the state c
luminosity.*
All the deities, delig htin g in the dance o f bliss,®
Inv oke the m an tras w ith effortless vajra songs.*
U n til attain ing clarity, I will endeavor in visualization and
recitation.®
U n til I reach perfection, please d o n ’t forsake your intentions!«
D o n o t forget me; the tim e for your great heart-sam aya has cornels
O n this very seat, let m e perfect the fourfold A p proach an d
Accomplishment,«
A n d m ake m e realize the lord o f the m andala.s
H u n g Js
In the eastern direction o f the m andala, u pon a lotus seat,«

In the h ea rt center o f V idy adhara G yalw ey Dungtsob«
Is the letter h r ih up on a m o on disc, encircled by the m a n tra chain.*
T h e radiating light gathers all the perfections o f existence and
peace«
In the form s o f the auspicious signs and substances o f the seven
royal attributes*
A n d o f spheres o f five-colored rainbow light.*
By dissolving into me, a brilliant, vast splendor blazes forth,«
A n d I become the great lord o f all o f sam sara an d nirvana.*
O m a h h u n g b e n z a g u r u p e m a r a d z a a n r i t r i d z a d z a sarva
SIDDHI PHALA H U N G *
Offering Prayer
Assembly o f w isdom deities, I invite you. Please come!«
I offer you outer, inner, and secret offerings.«
M a HA AMRITA BALINGTA RAKTA K H A H I*
W h e n seeing the w on der o f bodily form s ,*2

Y our rig h t h an d m akes the m u d ra o f the sword,«
A n d your left h an d m akes the su m m o n in g m udra,*
W ith gaping m o uth, bared fangs, an d u p w a rd gaze.*
G yalw ey D u n g d z in , L o rd o f Beings,*
W ith your compassion, bestow your blessings u p o n me.*
W ith your love, guide m e an d others on the path.«
W ith your realization, g ra n t m e the siddhis.«
2 Barchey Lamsel, verse 2
W ith your pow ers, dispel m y obstacles and those o f others.«
Clear the outer obstacles externally.*
C lear the inn er obstacles internally.*
Clear the secret obstacles into space.«
Respectfully, I bow do w n and take refuge in you.*
O m a h h u n g b e n z a g u r u p e m a r a d z a a n r i t r i d z a d z a sarva
SIDDHI PHALA H U N G *
H ung H r i h I*
V idyadhara M awey Senge, m anifest from spaced

W ith ap p aren t an d em pty bodily forms, you fill the billionfold
universe.*
W ith reso un ding an d em pty m a n tra tones o f speech, you roar like
thunder.«
W ith the aw are and em pty space o f m ind , you rest in the state o f
luminosity.«
All the deities, delig htin g in the dance o f bliss,*
Invoke the m antras w ith effortless vajra songs.*
U ntil attain in g clarity, I will endeavor in visualization and
recitation.«
D o n ot forget m e; the tim e for your great heart-sam aya has cornels
O n this very seat, let m e perfect the fourfold A pproach and
A ccom plishm ent,*
H u n g !«
In the sou th ern direction o f the m andala, u po n a lotus seat,*

In the h eart center o f V idy adh ara M awey Senge,s
Is the letter h r ih upo n a m oon disc, encircled by the m a n tra chain.«
T h e radiating light clears aw ay the darkness o f ignorance in all
beings.*
T h e w isdom o f all the victorious ones and their sons,*
A n d the intelligence o f the noble shravaâs a n d pratyeJâbuddhas,
and o f o rd in ary beings,*
Is gathered back in the form o f light and dissolves into me.*
T h e illum ination o f kn ow ledg e and w isdom is fully bloom ed .«
O m a h h u n g b e n z a g u r u p e m a p r a j n a j n a n a sa rv a s i d d h i h u n g «
Offering Prayer
I praise your body, speech, m ind , qualities, and activities.«
I confess careless transgressions and errors.«
M a h a a m r it a b a l in g ta r a k t a k h a h i «
W h e n bestow ing the precious, sacred teachings ,«3

Your rad ia n t body is endow ed w ith a lum inous complexion.®
Your rig h t h an d holds the scriptures o f the Tripitaka,«
A n d your left h an d holds the volum es o f Kilaya.®
You com p rehen d all the p ro fo u n d teachings.®
P an d ita o f Yanglesho,«
W ith your compassion, bestow y our blessings upon me.®
W ith your love, guide m e and others on the path.®
W ith your realization, g ra n t m e the siddhis.®
W ith your pow ers, dispel m y obstacles and those o f others.«
C lear the outer obstacles externally.«
Clear the inner obstacles internally.®
Clear the secret obstacles into space.«
Respectfully, I bow d o w n and take refuge in you.®
O m a h h u n g b e n z a g u r u p e m a p r a j n a j n a n a sarva s i d d h i h u n g «
H ung H r i h !®
V idyadhara Padm asam bhava, m anifest from space.®

U tte rin g the sounds o f recitation, I invoke you.®
W ith ap p aren t and em pty bodily forms, you fill the billionfold
universe.®
W ith resounding and em pty m a n tra tones o f speech, you roar like
thunder.«
luminosity.®
All the deities, delighting in the dance o f bliss,«
Invo ke the m a n tras w ith effortless vajra songs.«
recitation.*
D o no t forget m e; th e tim e for your great heart-sam aya has come!«
A ccom plishm ent,*
H ung !*
In the w estern direction o f the m and ala, u po n a lotus seat,*
In the h ea rt center o f V idy adh ara P adm asam bhava,*
Is the letter h rih upo n a m o on disc, encircled by the m a n tra chain.*
T h e rad ia tin g light dispels all degenerations o f the w orld an d its
inhabitants.*
A n im m ense rain o f desirable things show ers d o w n from the cloud
o f wisdom.*
T h e splendor and w ealth o f existence and peace is vastly increased.*
By all the essences and elixirs dissolving into me,*
I attain the siddhi o f ho ldin g the sky treasury.*
O m ah h u n g b e n z a g u r u p e m a s a m b h a w a sarva s id d h i h u n g *
O fferin g Prayer
Assem bly o f w isdom deities, I invite you. Please come!*

W h e n b in din g the vow holders u n d er o ath ,*4

A t the beautiful an d im m aculate suprem e place*
O n the bo rderline o f Ind ia an d Tibet,*
You bestow ed your blessing at the m o m en t o f arrival,*
A t th a t m o u n tain endow ed w ith enveloping fragrance,*
W h e re even in w inter, lotus flowers bloom«
A n d a spring o f en ligh tenm en t, w ith nectar-like w ater flow sJ
In this suprem e and blissful place,«
K yechok T siilzang, dressed in the robes o f the D harm a,*
Your rig h t h an d ho lding a nine-spoked vajra,s
A n d your left h an d ho ld in g a jewelled casket*
Filled w ith rak ta nectar,«
You b ou nd u n d er oath the dakinis an d vow holders.«
Seeing the yidam face-to-face, you accom plished the siddhis.«
W ith your compassion, bestow your blessings upo n me.*
W ith your pow ers, dispel m y obstacles an d those o f others.*
C lear the ou ter obstacles externally.*
Clear the inner obstacles internally.*
Respectfully, I bow d o w n and take refuge in you.*
O m a h h u n g b e n z a g u r u p e m a s a m b h a w a sarva s i d d h i h u n g «
H ung H r ih !*
V idyadhara D iikyi Shechen, m anifest from spaced
U tte rin g the sounds o f recitation, I invoke you.«
F ro m the core o f your hekrt-sam aya, please co rn ed
W ith ap p aren t an d em pty bodily form s, you fill the billionfold
universe.*
W ith resou nd in g a nd em pty m a n tra tones o f speech, you roar like
thunder, s
luminosity.«
All the deities, deligh ting in the dance o f bliss,«
U ntil attain in g clarity, I will endeavor in visualization an d
recitation.*
U ntil I reach perfection, please d o n ’t forsake your intentions!*
D o n o t forget me; the tim e for your great heart-sam aya has cornels
O n this very seat, let m e perfect the fourfold A pproach an d
Accom plishm ent,*
A n d m a k e m e realize the lo rd o f the mandala.®
H u n g !®
In the n o rth e rn direction o f the m andala, u po n a lotus seat,*

In the h e a rt center o f V id yad hara D iikyi Shechen,*
Is the letter hung up on a sun disc, encircled by the m a n tra chain.
T h e rad iatin g light fills the three-tho usan dfo ld universe,®
As a rain o f vajras, Kilayas, and w eapons show ers d ow n w ith a
g reat th ro n g a nd flash.*
It liberates the aw areness o f the hordes o f maras into the
dharm adh atu .*
H a v in g reduced their bodies to dust,®
It is absorbed back, dissolving into m e an d blazing forth as an
im m ense, majestic brilliance.*
O M AH H U N G BENZA GURU P E M A K IL I K IL IY A SARVA B IG H A NEN BAM
H U N G PE*
Offering Prayer
Assem bly o f w isdom deities, I invite you. Please come!®
I praise your body, speech, m ind , qualities, an d activities.*
I confess careless transgressions an d errors.*
W h e n establishing the doctrine o f the victorious ones ,*5

You p erfo rm ed the sadhana in the Slate M ou ntain Forest,®
T h ro w in g your recitation dagger into the sk y s expanse.*
W ith the vajra m u d ra , you cau gh t and rolled it.*
As you w ielded it, you flung it into the S andalw ood Forest.*
T h e fire blazed an d dried u p its lake.*
Instantly, you b u rn ed aw ay the w hole land o f the tirthi\as, *
A n d you crushed the d ark yahshas to dust.*
M atchless D iikyi Shechen,*
W ith your com passion, bestow your blessings u pon m e .*
W ith your realization, g ra n t m e the siddhis J
W ith your powers, dispel m y obstacles and those o f others.*
C lear the o uter obstacles externally, s
C lear the in ner obstacles internally.«
O m a h h u n g b e n z a g u r u p e m a k i l i k i l i y a sarva b i g h a n e n b a m
H U N G PE«
H ung H r i h !*
V idyadhara D za m lin g G yenchok, m anifest from space J

W ith ap paren t and em pty bodily forms, you fill the billionfold
universe.*
W ith resou nd in g a nd em pty m a n tra tones o f speech, you ro ar like
thunder, s
luminosity.®
All the deities, d elighting in the dance o f bliss,*
U ntil attaining clarity, I will endeavor in visualization an d
recitation.«
U ntil I reach perfection, please d o n ’t forsake your intentions!*
D o not forget me; the tim e for your great heart-sam aya has come!
A ccom plishm ent,s
A n d m a k e m e realize the lord o f the mandala.«
H u n g !*
In the eastern direction, u p o n the glow ing spoke o f the jewel,«

In the h ea rt center o f V idy adh ara D z a m lin g G yenchok,s
Is the letter h u n g upo n a sun disc, encircled by the m a n tra chain.*
As the vajra sparks, the radiating rays o f lights
D estroy the drefypas and purify the fixation on a real phen om en al
realm.*
By gath erin g back, the light dissolves into m e, an d in blessing me,
Self-cognizance is perfected into the m in d o f M ahaguru.«
T h e five poisons are self-liberated, and m astery over the w isdom s is
attain ed.*
O m ru lu ru lu h u n g jo hung*
O ffering P rayer
Assem bly o f w isdom deities, I invite you. Please cornels
I offer you outer, inner, an d secret offerings.s
I praise your body, speech, m ind , qualities, and activities.*
I confess careless transgressions and errors.®
M a HA AMRIT A BALINGTA RAKTA K H A H I*
W h e n you subjugated the rakshasas ,*6

As a young boy in n irm a n ak a y a attire,*
You displayed a w onderous form o f goodness,®
W ith m agnificent color, even teeth, and beautiful, golden hair.*
L ike a youth o f sixteen years,*
W e arin g all kinds o f jewel ornaments,*
Your rig h t h an d grips a bro nze phurba,*
S ubjug ating m aras and rakshasas.*
Your left h an d holds a teak phuirba,*
G ra n tin g protection to your devoted sons and daughters.®
W e arin g an iron p h u rb a aro u n d your neck,*
You are indivisible from the yidam deity.*
D z a m lin g G yenchok, n o n d u al nirmanakaya,^
W ith your com passion, bestow your blessings u po n me.*
C lear the o uter obstacles externally.®
Clear the inn er obstacles internally.*
Clear the secret obstacles into space.*
Respectfully, I bow do w n an d take refuge in you.*
Om ru lu ru lu h u n g jo h u n g h u n g *
H ung H r i h !®
V id yadh ara P em a Jungney, m anifest from space.®

W ith ap p a ren t and em pty bodily form s, you fill the billionfold
universe.*
W ith reso un ding an d em pty m a n tra tones o f speech, you ro ar like
thunder.®
luminosity.®
All the deities, d eligh ting in the dance o f bliss,*
U n til attain in g clarity, I will endeavor in visualization an d
recitation.*
U n til I reach perfection, please d o n ’t forsake your intentions!*
D o n o t forget me; the tim e for your great heart-sam aya has come!®
O n this very seat, let m e perfect the fourfold A pp ro ach an d
A ccom plishm ent,*
A n d m ak e m e realize the lord o f the m andala.*
H u n g !*
In the southern direction, u po n the g low ing spoke o f th e jewel,*

In the hea rt center o f V idyadhara P em a Jungney,*
Is the letter h r ih up on a m oon disc, encircled by the m a n tra chain.*
T h e rad iatin g light rays, reveling in bliss and emptiness,*
M ake offerings to all th tjin a s and purify the tw o obscurations o f
beings.*
F ro m the three places o f all beings app earing and existing as the
T h re e Roots deities,*
Bodily forms, m a n tra chains, and attributes fall like rain.*
By dissolving into m e, the w isdom s are increased.*
O m ah h u n g benza g u ru pem a totreng tsal benza sam aya dza
siddhi phala h u n g ah*
O ffering P rayer
I praise your body, speech, m ind, qualities, an d activities.®
M a h a a m r it a b a l in g ta r a k t a k h a h i *
W h e n you decided to go to D reyul, land o f p h an to m s ,*7
A fiery inferno spreading up on the valley’s earth*
Became a lake the w id th o f an arro w shot.*
T h ere, on a lotus blossom, you appeared, cool and refreshed.*
W ith in th e lotus, you displayed your realization*
A n d w on the nam e o f P adm asam bh ava, L otus Born.«
You appeared as the perfect B ud dh a in person.*
O W o n d ro u s N irm an a k ay a , such as this,®
W ith y our compassion, bestow your blessings up on m e.“
W ith your love, g uide m e an d others on the path.*
Clear the outer obstacles externally.*
Clear the inn er obstacles internally.*
Clear the secret obstacles into space.*
Respectfully, I bow d o w n an d take refuge in you.«
O m ah h u n g b e n z a g u r u p e m a t o t r e n g tsa l b e n z a sa m ay a dza
S I D D H I P H A L A H U N G AH®
H ung H r i h !*
V id yadh ara K hy epar P h ak p a, m anifest from space.*

W ith a p p a ren t and em pty bodily form s, you fill the billionfold
universe.*
W ith reso und ing and em pty m a n tra tones o f speech, you ro ar like
thunder.*
W ith the aw are an d em pty space o f m in d, you rest in the state of
luminosity.*
All the deities, delighting in the dance o f bliss,«
Invoke the m antras w ith effortless vajra songs.«
U n til attain in g clarity, I will endeavor in visualization and
recitation.*
D o n o t forget me; the tim e for your g reat heart-sam aya has come!*
Accomplishment,®
A nd m ake m e realize th e lord o f the m a n d a la J
H ung !s
In the w estern direction, upon the glow ing spoke o f the jew el,*
In the h eart center o f V idyadhara K hy epar Phakpa,®
Is the letter h rih upo n a m oon disc, encircled by the m a n tra chain.*
T h e light rays radiate into the ten directions w ith boundless
resplendence,s
In vo king the m inds o f the gurus, yidam s, and dakinis.®
T h e hosts o f d h a rm a protectors and gu ardians are enjoined to act,®
A n d the arm ies o f elem ental forces o f the p henom enal w orld are
subdued and destroyed.®
By g ath erin g back and dissolving into me, pow er and stren gth
blaze forth.*
O m ah h u n g b e n z a m a h a g u r u sarva s id d h i h u n g *
O ffering P rayer
I offer you outer, inner, and secret offerings.*
I praise your body, speech, m ind , qualities, and activities.®
M a h a a m r it a b a l in g t a r a k t a k h a h i ®
W h e n you shone as the sun o f T ib e t ,*8

G lorious guide o f devoted beings,®
You displayed all form s necessary to tam e beings according to their
needs.*
A t the K h ala Pass in Tsang,®
You bou nd the dralha genyen u n d e r oath.®
In the valley o f T saw e Tsasho,*
You b ou nd tw enty-one arro g an t genyen o f the gods u n d e r oath.®
In M angyul at Jamtrin,®
You bestow ed siddhis on the four bhikshus.*
O suprem e K hy epar P h a k p a Rigdzin,®
W ith your compassion, bestow your blessings u pon m e .*
W ith your realization, g ra n t m e the siddhis.s
W ith your pow ers, dispel m y obstacles an d those o f others.«
C lear the o uter obstacles externally, s
C lear the in n er obstacles internally.«
C lear th e secret obstacles into space.«
Respectfully, I bow d o w n an d take refuge in you.«
O m a h h u n g b e n z a m a h a g u r u sarva s id d h i h u n g s
H ung H r i h Is
V id yadh ara D zu triil T uchen , m anifest from spaceJ

W ith ap p a ren t an d em pty bodily form s, you fill the billionfold
universe.s
W ith resou nd in g a nd em pty m a n tra tones o f speech, you roar like
thu nd er, s
luminosity.^
All the deities, d elighting in the dance o f bliss,«
Invoke the m a n tras w ith effortless vajra songs.«
T h e liberating life force o f w isdo m endow s your mind.«
recitation.«
D o no t forget me; the tim e for your g reat h eart-sam aya has cornels
A ccom plishm ent,s
A n d m a k e m e realize the lord o f the m andala.s
H ung !*
In the n o rth e rn direction, up on the g low ing spoke o f the jewel,s
In the h ea rt center o f V idy adh ara D zu triil Tuchen,«
Is the letter hung u p o n a sun disc, encircled by the m a n tra chain.s
L ig h t rays and a mass o f fire spread in the ten directions.s
T h e sound o f h u n g roars th ro u g h o u t the three worlds.*
T h e hordes o f sam aya corruptors and elem ental forces are reduced
to dust,«
A n d all obstacle-dem ons are liberated into the space o f p rim o rd ial
purity.«
By g ath erin g back and dissolving into me, the p ow er o f aw areness
is increased.«
O m a h h u n g b e n z a g u r u d o r je d ro w o lo lo k a sarv a sid d h i hung®
O ffering Prayer
I offer you outer, inner, and secret offerings.®
I praise your body, speech, m in d, qualities, and activities, s
I confess careless transgressions and errors.s
M a h a a m r i t a b a l i n g t a r a k t a k h ah i®
O n the glorious plain o f P alm o tan g ,*9

You bou nd the tw elve Tenma goddesses u n d e r oath.s
U p on the K hala Pass in C entral Tibet,®
You bo un d the Fleshless W h ite G lacier u n d e r oath.s
Before D am sh o L habiii N ying,s
You bound T h a n g la Yarshyii u n d e r o a th J
A t the very su m m it o f Hepori,®
You bou nd all the devas and rakshasas u n d e r o a th J
O f these great gods and dem ons,s
Some offered the core o f th eir life force,®
Some un d erto o k to g u a rd the teachings,*
A nd some took the pledge to be your servants.®
M ighty D zu triil Tuchen,®
W ith your com passion, bestow your blessings up o n me.*
W ith your love, guide m e and others on the path.®
W ith your realization, g ra n t m e the siddhis.®
W ith your powers, dispel my obstacles and those o f o thers.*
C lear the outer obstacles externally.*
C lear the in ner obstacles internally.®
Clear the secret obstacles into spaced
O m ah h u n g b e n z a g u r u d o r j e d r o w o l o l o k a sa rva s i d d h i h u n g *
H ung H r i h !®
V idyadhara D orje D raktsal, m anifest from space.*

W ith a p p a ren t an d em pty bodily form s, you fill the billionfold
universe.*
W ith resou nding an d em p ty m a n tra tones o f speech, you ro ar like
thunder.*
W ith the aw are an d em pty space o f m in d , you rest in the state o f
luminosity.*
All the deities, delig htin g in the dance o f bliss,*
Invoke the m a n tras w ith effordess vajra songs.«
U ntil attain in g clarity, I will endeavor in visualization and
recitation.*
U n til I reach perfection, please d o n ’t forsake your intentions!*
D o no t forget me; the tim e for your g reat heart-sam aya has cornels
A ccom plishm ent,«
A n d m a k e m e realize the lord o f the m a n d a la J
H ung !*
In the southeastern direction, up on the g low ing spoke o f the jewel,*
In the h ea rt center o f V idy adh ara D orje Draktsal,*
Is the letter hung u p on a sun disc, encircled by the m a n tra chain,*
F ro m w h ich light rays, flames, iron scorpions,*
A n d n u m ero u s w ra th fu l yaksha kings blaze fo rth like a storm.*
T h e h au gh ty rahulas, nagas, an d gyalpos are b o u n d u n d er oath,*
A n d the gongpo spirits w ho ru in T ib et and K h a m are reduced to
dust.*
By g ath erin g back and dissolving into me, m y greatness an d m ig h t
becom e matchless.*
O m a h h u n g a r t s i k n i r t s i k n a m o b h a g a w a t e h u n g H U N G PE A
H U N G H U N G PE«
O fferin g Prayer
Assem bly o f w isdom deities, I invite you. Please cornel*

I offer you outer, inner, an d secret offerings.«
I confess careless transgressions an d errors.«
M a h a a m r i t a BALINGTA RAKTA K H A H IS
W h e n you established the doctrine o f the sacred D h a r m a ,*10

L ike hoisting a ban ner o f victory,®
Samye was spontaneously accom plished, w ith o u t being erected,®
A n d you fulfilled the wishes o f the king.®
You w ere endow ed w ith the nam es o f three great beings— *
O ne was Padm akara,*
O ne was P adm asam bhava,*
A n d one was L ak e-B o rn V a jra J
D o rje D ra k p o Tsai, we invoke you by your secret n a m e J
W ith your compassion, bestow your blessings up on m e J
W ith your love, g uide m e an d others on the path.®
W ith your realization, g ra n t m e the sid d h isJ
C lear the outer obstacles externally.®
C lear the inner obstacles internally.*
O m a h h u n g a r t s ik n ir t s ik n a m o b h a g a w a t e h u n g h u n g p e A
H U N G H U N G PE®
H ung H r i h !*
V idyadhara K alden D rendsey, m anifest from space.*

F ro m the core o f your heart-sam aya, please come!®
W ith ap p a ren t an d em pty bodily forms, you fill the billionfold
universe.s
W ith resounding and em pty m a n tra tones o f speech, you roar like
thunder.*
W ith the aw are an d em pty space o f m in d, you rest in the state o f
luminosity.*
All the deities, delighting in the dance o f bliss,®
T h e liberating life force o f w isdom endow s your m in d .*
U ntil attaining clarity, I will endeavor in visualization an d
recitation.s
10 Barchey Lamsel, verse io
D o n o t forget me; the tim e for your g reat heart-sam aya has come!*
A ccom plishm ent,«
A n d m a k e m e realize the lord o f the m a n d a la J
H u n g Js
In the southw estern direction, up on the glow ing spoke o f the

jew el,*
In the h ea rt center o f V idy adh ara K alden D rendze,*
Is the letter h u n g up o n a sun disc, encircled by the m a n tra chain,«
F ro m w h ich light rays o f g reat bliss*
A n d the ad a m a n tin e m a n tra sound o f resoun din g em ptiness
pervade all realms.*
T h e four activities, the eight m ajor accomplishments,*
A n d all siddhis, such as th e kayas an d wisdoms,«
G ath e r back an d dissolve into m e, so I become the natu re o f the
G re at G lorious One.«
O m BENZA K ROD H A M A H A SH RI H E R U K A H U N G PE*
Offering Prayer
I praise your body, speech, m ind , qualities, and activities.«
I confess careless transgressions an d errors.«
A t Sam ye C h im p h u , w h en practicing sad hana ,*11

You repelled negative conditions and g ran ted siddhis.«
You established the k in g an d m inisters on the p ath to liberation*
A n d caused the Bon doctrine, negativity in m anifest form, to wane.*
You show ed the precious, im m aculate dharm akaya.*
K ald en D re n d z e you w ho takes the destined ones to buddhahood,*
W ith your com passion, bestow your blessings u pon me.*
W ith your love, guide m e an d others on the path.«
W ith your realization, g ra n t m e the sid d h isJ
i :c Barchey Lamsel\ verse 11
W ith your powers, dispel m y obstacles an d those o f o th e rs .3
C lear the outer obstacles externally .3
Clear the inn er obstacles internally .3
C lear the secret obstacles into space .3
O m benza k ro d h a m aha sh ri h e ru k a h u n g pe3
H ung H r i h !«
V idyadhara R aksha T o tre n g , m anifest fro m space .3

U tte rin g the sounds o f recitation, I invoke you .3
F ro m the core o f your heart-sam aya, please co m e !3
universe.«
W ith resou nd in g a nd em pty m a n tra tones o f speech, you ro ar like
thunder.«
W ith the aw are an d em pty space o f m in d , you rest in the state o f
luminosity.®
All the deities, deligh ting in the dance o f bliss ,3
Invoke the m an tras w ith effortless vajra songs .3
T h e liberating life force o f w isdom endow s your m in d .3
U ntil attain ing clarity, I will endeavor in visualization an d
recitation.«
U n til I reach perfection, please d o n ’t forsake your in ten tio n s !3
D o no t forget m e; the tim e for your g reat heart-sam aya has come!«
O n this very seat, let m e perfect the fourfold A pp roach an d
Accomplishment,«
A n d m a k e m e realize the lord o f the mandala.«
H u n g !3
In the n o rth w estern direction, u p o n the glow ing spoke o f the
jewel,«
In the h ea rt center o f V idy adhara R aksha Totreng,«
Is the letter hung u p o n a sun disc, encircled by the m a n tra c h a in .3
L ig h t rays, a mass o f fire, garuda spark s ,3
E m anations, and re-em anations radiate to fill the w o rld .3
T h e eight classes o f drekpas o f the three realm s are enjoined to
service .3
T h e hosts o f samaya violators and elem ental forces are reduced to
d u st .3
E very th in g is the play o f aw areness, the u n im p ed ed state o f
p rim o rd ial purity, s
By g ath erin g back an d dissolving into m e, m y p ow er and streng th
becom e matchless.«
O m b e n z a t s e n d a s a r v a d u s h t e n H U N G PE«
Offering Prayer
A ssem bly o f w isdom deities, I invite you. Please come!«
I praise y our body, speech, m in d , qualities, and activities.*
W h e n you left for the lan d o f O rg y e n *12

T o subjugate th e rakshasas,*
Y our great qualities surpassed all h u m a n beings,*
A n d your actions w ere w o n d erfu l an d am azing.*
M ighty one w ith pow er and miracles,«
W ith your com passion, bestow your blessings u po n m e j
W ith y our love, guide m e an d others on the path.*
W ith your pow ers, dispel m y obstacles an d those o f others.*
C lear the outer obstacles externally.«
C lear the in ner obstacles internally.«
Respectfully, I bow d o w n an d take refuge in you.*
Om b e n z a t s e n d a sarva d u s h t e n h u n g p e *
H ung H r i h !*
V idyadhara P ad m av ajra, m anifest from spaced

universe.*
W ith resou nd in g an d em pty m a n tra tones o f speech, you roar like
thunder.*
lum inosity .5
All the deities, delighting in the dance o f bliss ,5
Invoke the m an tras w ith effortless vajra songs.«
U ntil attaining clarity, I will endeavor in visualization and
recitation.«
U ntil I reach perfection, please d o n ’t forsake your in ten tio n s !5
D o n ot forget m e; the tim e for your great heart-sam aya has c o m e !5
A ccom plishm ent ,5
A n d m ak e m e realize the lord o f the m a n d a la .5
H ung! 5
In the no rtheastern direction, u p o n the g low ing spoke o f the
jewel,«
In the h eart center o f V idyadhara P ad m a v ajra ,5
Is the letter h rih up on a m oon disc, encircled by the m a n tra
g a rla n d .5
T h e light rays o f g reat bliss rad iatin g from it 5
Dissolve into m e and the w hole assembly o f m an d ala deities .5
T h e experience o f bliss an d em ptiness blazes forth, an d w e unite
w ith the self-radiant consort .5
T h e sounds and light rays o f the bliss o f u n io n 5
Invite the b ud dh as an d th eir sons, w ho enter m y m o u th ,5
Pass th ro u g h m y bodily form , and m elt into, light in m y h eart
center .5
A gain this blesses my being and flows into the space o f the consort,«
Becom ing self-replicated sons p erfo rm ing the deeds o f the
buddhas.«
G ath e rin g back, they dissolve into m e and the su prem e siddhi is
a ttain ed .5
O m a h h u n g m ah a g u ru pem a benza d h u n g a ghaye nam a so h a 5
Offering Prayer
Assembly o f w isdom deities, I invite you. Please co m e !5

I offer you outer, inner, and secret offerings.«
I praise your body, speech, m ind , qualities, and activities.*
I confess careless transgressions and erro rs.5
M a h a a m r it a b a l in g t a ra k t a k h a h i *
Possessing enlightened body, speech, and m in d , you are the

G lorious G u id e o f Beings ,«13
H a v in g disgarded all obscurations, you perceive the th ree realms
vividly.*
H a v in g achieved the sup rem e siddhi, the su prem e body o f great
bliss,'*
You surely dispel the obstacles to attain in g enlightenm ent.«
W ith y our com passion, bestow y our blessings u pon m e j
W ith y our love, guide m e and others on the path.«
W ith your pow ers, dispel m y obstacles an d those o f others.«
C lear the o uter obstacles externally.«
C lear the inn er obstacles internally.*
Respectfully, I bow d o w n and take refuge in you .*
O m ah h u n g m a h a guru pem a benza dhunga ghaye nam a soha*
For the recitation intent o f a ll o f these, *

Place mantra garlands in the heart centers o f both*
Yourself the samaya mandala, *
A n d the deities o f the wisdom mandala in fro n t. *
The light radiating fro m you invokes the ones visualized in fro n t, *
T he light radiating and absorbing fro m them, *
Accomplishes the siddhis, as explained. «
A t the end, they dissolve into your heart center, *
W hen you practice this kind o f yoga fu lly, *
W ith a clear visualization, *
You w ill directly perceive the mandala circle, *
H ear the sounds o f the vajra mantras, *
A n d achieve the signs o f yogic discipline. *
A t least, there is no doubt that in dreams*
You w ill get all the signs described above«
A n d receive the indications*
O f accomplishing all the various activities, *
As to the number, recite fo u r hundred thousand*
O f whichever activity m antra you chiefly focu s on*
In general, you should verbally recite it one-tenth*
As m uch as the root mantra. «
Samaya. *
W hen you have invoked the heart-samayas through Approach, *

A n d are endowed w ith the capacity *
O f achieving whichever siddhis you m ay desire through
Accomplishment, *
You should achieve them through the stages o f the fo u r activity
applications. «
First, when practicing the pacifying activity, «

Face east at dawn. *
In the sattva posture recite the chanting tu n e*
In a gentle, quiet, and relaxed way. *
For the visualization o f the em anation-absorption o f the samadhi,
Together w ith a peaceful and clear fra m e o f mind, im agine that:*
F ro m m yself and all the m a n d ala deities in front,«

N ectar-lik e light rays stream forth*
In vo k in g the m inds o f the V ajra D a k a and Dakini.«
T h e w hite rays o f light rad ia tin g fro m them«
P erm eate the entire billionfold w orld system.*
Sickness, evil forces, m isdeeds, veils, an d curses,*
T h e eight and sixteen fears, an d so forth,*
All discordant factors, are com pletely pacified.*
By g ath erin g back and dissolving into me,«
All the pacifying activities are accomplished.*
Attach this at the end o f the root m antra:«
H a benza dak ini ra benza g in g k a ra om sh antim k u r u soha*

A t times, em anate and absorb bodily form s, *
M antra garlands, and attributes. *
Thus, by exerting yourself in the specifics fo r single sessions, «
W ithin a certain num ber o f weeks and days, *
In actuality, disharmony is pacified*
A n d you achieve the true speech that benefits others. °
In dreams, you bathe and wear new clothes, *
A n d you go beyondfearful places, and so fo rth , *
These are taug ht to be the signs o f having accomplished the pacifying
activity, *
Samaya. *
W hen practicing the activity o f increasing favorable conditions, «

Face south at sunrise. «
In the reveling posture, recite the chanting tu n e«
In a melodious, slow, and dignified way.*
Together w ith a m agnificent and awe-inspiring fra m e o f mind, imagine
that:*
F ro m m yself an d all the m a n d ala deities in front,«

L ig h t rays stream forth, like a rising sun,*
In v o k in g the m inds o f the R atna D a k a and D akini.*
T h e yellow rays o f light radiatin g from them,*
P erm ea te the entire billionfold w o rld system.«
Life span, m erit, splendor, an d wealth,*
S trength, fame, w isdom , goodness, and so forth,*
A ll favorable conditions, are fully increased.*
By g ath erin g back an d dissolving into me,*
All the increasing activities are accomplished.*
R l R A TN A D A K I N I TSA R A TN A G I N G K A R A D R O O M P U S H T I M K U R U O M *
In actuality, favorable conditions are increased*

A nd food, wealth, and enjoym ents are effortlessly gathered.*
In dreams, plants and trees spring up, rivers swell, *
M any people gather, and so fo rth . *
These are taught to be the signs o f having accomplished the increasing
activity. *
Samaya. *
W hen practicing the activity o f m agnetizing desirable things, *

Face west in the evening. «
In the lotus posture, recite the chanting tune*
In a m anner that is passionate and attached.*
Together w ith a yearning and wishing fra m e o f mind, im agine that:*
F ro m m yself and all th e m an d ala deities in front,*
Rays o f light, the n atu re o f passion, stream forth«
In vo k in g the m inds o f the P ad m a D a k a and Dakini.«
T h e red rays o f light radiating from them«
Pow erful gods, h um an s, and yakshas,*
Food, w ealth, enjoym ents, dom inion, an d so forth,*
All desirable things, are b ro u g h t u n d er control.*
By g athering back an d dissolving into me,*
All the m agn etizing activities are accomplished.*
N i pem a dak in i hri pem a g in g k a ra h rih w ash am k u r u ho*
In actuality, food, wealth, and wom en are gathered,*
A n d you are able to change the perception o f others effortlessly.*
In dreams, you ride on the sun and moon, *
Drinf^ up an ocean, traverse the fo u r continents, and so fo rth . *
These are taught to be the signs o f having accomplished the m agnetizing
activity. *
Samaya. *
W hen practicing the w rathful activity o f annihilating, *

Face north at dus\. *
In the fierce posture, recite the chanting tune, *
L ike the showering o f a great hailstorm .*
Together w ith a ferocious and violent fra m e o f mind, im agine that:*
F ro m m yself an d all the m an d ala deities in front,*

Violent, spark in g rays o f light stream forth«
In vo k in g the m inds o f th e K a rm a D a k a an d Dakini.*
T h e d a rk blue rays o f lig h t radiating fro m them*
T h e ten objects to be liberated an d the seven transgressors,«
T h e sam aya violators, elem ental forces, evil spirits, obstructors, an d
so forth,*
All vicious spirits, are annihilated.*
By g ath erin g back an d dissolving into me,*
All the w ra th fu l activities are accomplished.«
S a KARM A D A K IN I YA K ARM A GINGKARA H U N G MARAYA PE«
In actuality, the enemies o f the doctrine pass away*
A n d omens appear indicating the haughty spirits are subdued. *
In dreams, lakes dry up, rocks crumble, *
You k ill vicious animals, and so fo rth . *
These are taught to be the signs o f having accomplished the w rathful
activity. *
Samaya. *
Then, fo r the supreme activity application, *

The practice o f the group gathering, *
Practice correctly, °°
According to the elaborate sadhana section o f the Kadii.s
H aving com pleted the fo u r aspects o f Approach and Accomplishment,
A t dusk, invoke the m inds o f the deities. *
A t m idnight, receive the siddhi o f liberating*
A t dawn, take union onto the path.*
B y means o f such yogas, *
You w ill attain the fo u r vidyadhara levels in this lifetim e. *
E ma, this wonderful and amazing path*

Is the journey taken by the jin a s o f the three times. *
Samaya. Seal. Seal. Seal.*
For the specific individual practices*

C f each o f the tw elve pow er-w ielding vidyadharas, *
Place him in the position o f the c h ief figure*
A n d place the c h ief fig u re in his position.*
Follow the order o f the activities to any suitable extent, *
A n d condense Approach and Accom plishm ent into one. °
B y m aintaining the yogas, practice this path*
For quickly achieving whichever siddhi you desire. *
Samaya. Seal. Seal. Seal.*
T he entire Lamey Tukdrub,*

L ikp the essence o f m y heart-blood, *
Is m y innerm ost heart practice.*
I, Padma, have now completely taught*
This most profound intent o f visualizations*
To the k}ng, father, and son*
And, lovingly considering the fu tu re suffering*
O f the destitute Tibetan people, =
Tsogyal, com m it this to w riting 5
A n d conceal it as a precious essence o f earth. *
M any signs w ill indicate when the tim e fo r its disciples has com e*
Everywhere throughout India, Nepal, and Tibet*
O uter and inner fig h tin g and strife w ill occur repeatedly.*
There w ill be a sudden outbreak o f plague fo r hum an beings and
cattle. *
T he assemblies o f the great beings upholding the doctrine*
W ill fa ll subject to sudden obstacles,*
Or w ith their minds influenced by dem onic forces, *
They w ill behave in all binds o f improper ways. »
A t that time, this profound instruction»
W ill benefit a ll central countries in general*
A n d Tibet in particular. =
It w ill then greatly extend the duration o f the teachings o f the Buddha. *
Thus, he spoke. •
I, Tsogyal, wrote down exactly w hat he had spoken and concealed it as
a secret, supreme treasure. « Samaya. Seal, seal, seal. *
This is a genuine secret o f the profound treasures o f the em anation o f Prince

D am dzin, the undisputed and tim ely incarnated great treasure-revealer
Orgyen Dechen Lingpa.
QUESTIONS O N D ZAP KYI KOLJANG
s t u d e n t : A re the seed syllables in the deities’ h ea rt centers the sam e color
as their bodies?
lama : H ere, w e are talk in g ab o u t the tw elve m anifestations. T h e seed

syllables in their h eart centers always correspond to their body colors.
T h e peaceful m anifestations always have a h r ih , an d the w ra th fu l ones
all have a hung . In the case o f th e peaceful deities, the seed syllable h r ih
stands on a m oon disc. In the case o f the w ra th fu l ones, the seed syllable
hung always stands on a sun disc.
student: Is D echen G yalpo w ra th fu l or peaceful?
lama : D echen G yalpo is sem i-peaceful and sem i-w rathful. H e has a h r ih
in his h e a rt center.
student: R eg ard in g G yalw ey D u n g d z in , w h at does brilliant splendor

m ean?
lama : T h is phrase has so m eth in g to do w ith being dignified. You can see
th a t pow erful people have some special bearing or brilliance ab ou t them .
A beggar doesn’t have that. Usually, this phrase is used to describe deities
w h o engage in m a g n etizin g activity or taking -charg e activity. W h e n cer
tain people speak, o ther people always say, “Yes, yes, all rig h t” to w h a t
ever they say. It is this k in d o f quality.
In this case, the deity is called G yalw ey D u n g d z in , b u t as one o f the
eig ht aspects o f G u ru Rinpoche, he is called P em a G yalpo. E ven tho ug h
h e is w h ite here, a strong red h u e shines forth fro m w ithin. T h a t light
takes control over all o f sam sara and nirvana, m a g n etizin g or g ath erin g
back all the splendor o f sam sara, w hich is m erit, longevity, power, an d so
forth. It also gathers back the om niscient w isdom an d all the enlightened
qualities o f nirvana. W e should im agine th a t all o f these app ear in the
fo rm o f the eight auspicious articles and em blem s, the seven royal pos
61
sessions, an d bindus o f five-colored rainbow light. All this dissolves into
you. T h ro u g h this, your d em eano r o f pow er and dignity blazes forth tre
m endously. E very th in g is perfected. T h e m a n tra says padm a raja, w hich
refers to P em a Gyalpo.
stu d e n t: Please give a b rief explanation o f each o f the tw elve m anifesta

tions.
la m a : Since this is prim arily a g u ru sadhana, all the deities are the dis
play o f the w isdom o f the g u r u ’s m ind. T h e re is no variation in quality,
such as one being superior or inferior— th e re ’s no difference w hatsoever.
M any d ifferent form s ap pear because sentient beings have m an y d ifferent
tho ug hts an d em otions occur th ro u g h the expression or display o f dualis-
tic m ind. In the same way, all the various form s o f deities, yidam s, dakas,
dakinis, and so forth are the n atu ral expressions o f the state o f rigpa.
T h e re are also m any aspects and form s d ue to the differen t inclina
tions an d karm ic links o f sentient beings. E ven th o u g h there is no differ
ence in quality, still there is a difference in the speed o f accom plishm ent,
dep en d in g u p o n the individual. F o r exam ple, w h en you th ro w the flow er
o f aw areness into the m a n d ala d u rin g an em p o w erm en t, it is said that
if you practice the deity up o n w h ich the flow er lands, accom plishm ent
will be sw ifter th an practicing any o f the other deities. T h is deity is n o t
superior, b u t it is m ore suitable to you. In one story, w hen G u ru Rin-
poche was giving the em p o w e rm en t o f K abgye, T risong D e u ts e n ’s flow er
fell in the center o f the m an d ala o f C h em ch o k H e ru k a . H e th en p rac
ticed that deity primarily. T h is is w hy there are so m any deities. G yalw ey
D u n g d z in is m ore ap propriate for m a g n etizin g activity. I f you w a n t to
accom plish suprem e w isdom and know ledge, you should focus m o re on
M awey Senge. K yechok T su lz a n g is approp riate for increasing w ealth.
E ach deity has its specific purpose. T h ey are no t in any way inferior to or
different from G u ru Rinpoche himself. T h ey are all exactly the same b u t
in a different form .
stu d e n t: R egard in g K yechok T siilzang, w h a t do essential extract an d shy

treasury m ean?
la m a : T h e first w ords, essential extract, m ean the “p u re essence” th a t is

extracted. W h e n you steep tea leaves, you keep the d rin k containing
the p ure essence and th ro w away the leaves. T h ey are n o t th e essence.
In the sam e way, here the p u re essences o f all o f sam sara an d n irvana
62 D I S P E L L E R O F OBSTACLES
are extracted, like tea from tea leaves. T h is represents the splendor,
w ealth, an d so forth th a t dissolves into you, ren d e rin g you the o w ner o f
the sky treasury. T h e sky treasury is inexhaustible, just like Bodhisattva
S a m a n ta b h a d ra ’s boundless, inexhaustible offerings, w hich are like an
infinite cloud b an k spread th ro u g h o u t the sky. T h e sky is both infinitely
im m ense and im m aterial. So, sky treasury m eans both “inexhaustible” and
“very vast” at the same time.
student: R eg arding D ü k y i Shechen, w h at doeis shik-shikyom -yom m ean?
lam a : S h i\-sh i\y o m -y o m indicates th a t the rain o f daggers and vajras fills
u p the entire billionfold universe, just like a g reat snowfall, a b lizzard o f
snowflakes.
student: R eg ardin g D za m lin g G yenchog, w h a t does drekpa m ean?
lama : A drekpa is an ind ep end en t, en terprising evil spirit. T h e re are d if

feren t spirits called tsen, gyalpo, and so forth, w ho are not obeying the
co m m an d o f G u ru Rinpoche. T h e y are, in fact, eager to steal the life
force o f sentient beings an d som etim es create obstacles for their life span.
student: R eg arding D z a m lin g G yenchog, w h at does Self-cognizance is

perfected into the m in d o f the M ahaguru m ean?
lama O nce all these drek pas have been cut d o w n and term in ated and the
:
clinging to all th a t appears and exists as being real has been purified, then
everything th a t was previously em an ated retu rn s back and dissolves into
you. By being blessed in this way, your m in d is perfected into being the
m in d o f G u ru Rinpoche. W h a t does this m ean? It m eans the five poisons
have been self-liberated, and you have achieved m astery over w isdom .
A m o n g the d ifferent yidam s, this form o f G u ru R inpoche is the same as
Y angdak (Vishuddha) H e ru k a .
student: R eg ardin g P em a Jun gn e w h a t does reveling in bliss and em pti

ness m ean?
lama : R eveling here m eans the “indivisibility o f bliss and em ptiness.”

T h e y are indivisible.
student: R eg ardin g P em a Jungne, w h at does W hat appears and exists as

the Three-Roots deities m ean?
lam a : N angsi, or appearance and existence, is an abbreviation o f appearance,
w hich is the “vessel o f the w o rld ,” an d existence, w hich is the “contents,
or sentient beings,” w ith in this container. F ro m the very beginning, the
w orld an d beings are actually the T h re e Roots. T h e w orld is a p u re b u d-
dhafield, and all sentient beings in their p u re fo rm are the deities o f the
T h re e Roots. W h e n w e receive the vase em p o w erm en t, th e sam aya is to
reg ard all th a t appears an d exists as the all-encom passing purity, a pu re
land w ith deities.
F ro m the three places o f all beings, w ho appear as deities, a show er o f
attributes rains do w n u po n you an d increases the w isdom . T h e w ord play
here, or display, is the same as w h en we w atch a movie. E v ery th in g th at
appears on the m ovie screen is a “m agical display.” All k in ds o f things
occur, b u t they are all illusory. In this case, the display is the “indivisibility
o f bliss and em ptiness.”
Display can also m ean “enjoying” or “en jo ym en t,” such as the five
sense pleasures. T h e eye faculty enjoys or partakes in visual forms. T h e
ear faculty enjoys sound. I t s the sam e way w ith the other sense faculties.
In some rem ote dialects, display is also the honorific form o f the verb “to
beat.”
student: R eg ard in g K h y ep a r P h a k p a R igdzin, a re. jungpos and drekpas

the same?
lama: Yes, they are the same.
student: R eg arding D zu ltriil T uchen, w h a t does the pow er o f awareness is

increased m ean?
lama: It m eans the quality o f experience an d realization blazes forth;

here, it literally m eans “to grow, expand, or increase.” It's like a baby
chick, w hich doesn't look like m uch; you can easily step on it. B ut w h en
it grow s up, it becomes a m agnificent rooster, w ith beautiful feathers
an d so forth. Also, w h en the pow er o f rigpa expands an d strengthens,
the pow er o f experience an d realization blazes forth. T h a t is the m e a n
ing here. In the beginning, w h en you have no t recognized the state o f
rigpa, this d oesn't happen. B u t once you recognize an d train in rigpa, its
streng th enlarges and expands.
student: R eg ardin g R igd zin D orje D raktsal, w h o or w h a t is a Yaksha

W rathful K ing?
lama: D o rje D ra k tsa l has five arm o r deities on his body: Y am an tak a
is in th e forehead; H ayagriva is in the throat; V ajrapani is in the heart;
T ro m a N a g m o is in the navel; an d the fifth, T rogyal Y aksha Mebar, is
in the secret place. T h is is how G u ru D ra k p o looks. T ro m a N a g m o is a
black fo rm o f V ajra Yogini. W h e n he sends ou t these deities, they clean
up the w hole w orld com pletely and subjugate all the differen t kinds o f
tro u b le m ak e r spirits. H is n am e is Trogyal Y aksha Mebar. M ebar m eans
“b lazing w ith intense heat.” It is like a flame th a t im m ediately obliterates
a tiny insect th a t flies to w ard it. In the same way, these em anations, espe
cially the fifth, T rogyal Y aksha Mebar, fill up the w o rld and com pletely
destroy all th a t needs to be destroyed. G u ru D ra k p o is the fo rm G u ru
R inpoche assum ed w h en he subjugated all the drekp as a n d local spirits o f
T ib et an d b o u n d th em Under oath. All form s o f G u ru D ra k p o have these
five deities in their five places.
student: A re the activities o f D o rje D rolo an d D orje D rak tsal th e same?
lama: Yes. T h e practice w e have here is the unified m a n d ala o f the entire
cycle o f the Barchey Kunsel, in w h ich all the deities are present tog eth er in
a single m an dala. B ut each o f th e twelve m anifestations has its ow n in d i
vidual practice w ith its ow n sadhana, fro m beg in ning to end. T h ese cor
respond to the separate chapters w ithin the Sheldam N yingjang scriptures.
F o r exam ple, the first o f the tw elve m anifestations, G yalw ey D u n g d z in ,
w ho gathers or takes control over the entire threefold existence, is sur
ro u n d ed by the fo ur dakinis o f the four families, w h o travel to the realms
o f the gods, the nagas, the h u m a n beings, an d so forth, g ath erin g back
all the w ealth and enjoym ents. T h ey hold different im p lem en ts in their
hands.
T h e E ight Sadhana Teachings, the D rubpa K abgye, has a m an d ala o f
nine deities w ith C hem ch o k H e r u k a in the center an d Y am antaka, H a y
agriva, A m rita k u n d ali, an d V ajra Kilaya in the four directions. In the
four interm ediate directions, it has the M amo, the D ra-nga^, an d the R ig -
dzin as the n in th .14 All together, they are called the Palgu, or the N in e
G lorious Ones. T h ey are practiced together in a single m an dala, yet they
can also be practiced individually. F o r exam ple, if you do Y am an taka
alone, it is called the “individual practice fro m the E ight Sadhana Teach
ings .” You can also practice H ay ag riva or V ajra Kilaya alone. In the same
14 O nly eight are listed here.
way here, in the m an dala o f Barchey K unsel, the deities are practiced as a
grou p in one m andala, b u t if you focus on one specific activity, you can
just practice a single deity. F o r example, K yechog can be practiced in
o rd er to increase w ealth. T h is m eans visualizing a fo rm th a t G u ru Rin-
poche has deliberately tak en in o rd er to accom plish a specific purpose.
student: R egarding K alden D rendzey, w h at does adam antine mantra

sound o f resounding emptiness m ean?
lama: E very th ing one sees is the unity o f appearance an d em ptiness.

E verythin g one hears is audible yet empty. W h a te v er one think s or feels
is the unity o f aw areness an d emptiness. T h is is h ow things really are.
T h e vajra m a n tra resounds th ro u g h o u t all w orlds. O u r n o rm al voice
is n o t necessarily the vajra m antra. It is just ordin ary speech. B ut still, it
is em pty yet resounding. T h is m eans that w hatever is h eard , w hatever
resounds, is em pty o f self-nature and possesses no substantial entity. T h is
is the m ean in g o f indivisibly audible yet empty.
student: R egard in g K ald en D rendzey, w h at are the eig ht m ajo r accom

plishm ents?
lama: T h e re is a list o f eight, b u t there are actually just tw o types, the

eight general siddhis and the eight suprem e siddhis. In the Exposition o f
the Three Levels o f Precepts, D om sum N am ngey, you can find the list.
.s t u d e n t : R eg arding R aksha T o tren g , w h a t does E verything is the play o f

awareness, the unim peded state o f prim ordial pu rity m ean?
lama: Everything here m eans th a t w hatever occurs w ith in the m in d, such

as the different em otions, thoughts, and so forth, is the expression o f
awareness. It is none other th an p rim o rdial purity, w h ich is the state o f
em ptiness totally devoid o f constructs.
T h e quality o f b u d d h a n atu re is th a t it has always been p u re from
the very beginning. It has always been utterly pure, an d this is called
“p rim ordial purity.” T h e corresponding deity am o ng the eig h t aspects o f
G u ru Rinpoche is Senge D ra d ro k .
student: W h e n you do the practice, do you visualize yo urself as R aksha

T o tre n g w ith ano ther R aksha T o tre n g in fron t o f you?
lama: T h e visualization in fro n t o f you is always the same as your self-vi

sualization. You invoke the fro n t visualization w ith rays o f light, an d
from th e fro n t visualization, the rays are em an ated and reabsorbed,
accom plishing the all-encom passing activities, regardless o f your focus.
student: R eg ard in g the gatekeepers in the east and pacifying activity,

w h a t is the sattva posture 7
lama: (H e demonstrates) T h e knees are n o t to uching the g ro u n d . T h e

vajra posture is B u d d h a S h a k y a m u n i’s pose. W h e n practicing the vajra
leaps am o n g the yogic exercises, one also lands in the vajra posture.
stu d e n t: D o you app en d the H arin isa m a n tra to the en d o f the T o tre n g
T sai m a n tra?
la m a : Yes. In the Trinley N yingpo an d th e Trinley D ringpo, the m a n tras o f

the fo ur dakas and dakinis are said tog eth er as one and ap p en d ed to the
end o f the T o tr e n g T sai m a n tra. B u t h ere in the Trinley Gyepa, w ith the
m a n tras from the D zapbyi Koljang, the m a n tras are said one fam ily at a
tim e. A t the en d o f th e T o tr e n g T sai m a n tra, you w ou ld add: H a benza
D A K IN I RA BENZA G I N G K A R A ...a n d SO f o r t h .
student: A fter th a t it says, som etim es you em anate bodily form s. D oes th a t
refer back to the dakas an d dakinis em an atin g o u t or to G u ru Rinpoche?
la m a : A s w e said before, w h en the text says a t tim es, this m ean s we can
alternate w h at w e th in k o f w h en w e canno t keep everything in m in d
all at once. Som etim es w e im ag in e the rays o f light stream ing o u t and
retu rn in g . Som etim es w e rest in the state w h ere o u r m in d an d the dei
ty’s m in d are indivisible. W e can focus alternately on the bodily form s,
the m a n tra garlands, an d the attributes. You can focus according to your
preference.
student: R eg ard in g the so u th ern gatekeepers an d increasing activity,

w h a t is the reveling posture?
lam a : I t is the playful posture o f the king. W h e n G u ru R inpoche sits

w ith his rig h t leg slighdy extended, h e’s in the reveling posture.
student: R eg arding the w estern gatekeepers an d m a g n etizin g activity,

w h a t tim e is evening?
lama: It is at dusk , w h en it gets d ark . E ach general aspect o f the four

activities— pacifying, increasing, m ag netizing , an d su bjug ating — has its
ow n m e th o d o f application, focus, an d m ost effective tim e o f day and
D I S P E L L E R O F OBSTACLES 6?
direction. T h is is a general teaching for all practices. F o r pacifying activ
ity, face east an d practice at d aw n ; for increasing activity, face south at
sunrise. M ag netizing activity is m ost effective w h en practiced at dusk.
T h e te rm in atin g activity is perfo rm ed at m id n ig h t. A ccording to T ib etan
astrology, the tw enty-four hours o f the day are divided into tw o -h o u r
periods m atch in g the twelve anim als. In this way, there are six periods
o f day and six periods o f night. T h e first period is betw een d aw n and
sunrise, the second period is betw een sunrise an d the h eat o f the sun, the
th ird is m idday, the fo u rth is afternoon, the fifth is late afternoon, and
the sixth is evening. T h e last period, at 6:00 pm or 7:00 pm , is the tim e for
m ag n etizin g activity to be practiced.15
student: A re n ’t d aw n and sunrise synonymous?
translator: D a w n is w h en there is light in the sky, an d sunrise is w h en

you can actually see the sun. T h e re is a list from D haram sala, India,
show ing exactly w h en it’s m o st effective to eat certain T ib e tan m edicines.
It depends on w h en you w ere b orn and w h o you are.
student: T h e text refers to group practice. D oes th a t refer to a G reat

A ccom plishm ent practice (<irubchen)? W h a t is the practice o f the Kadii? I
d o n ’t u n d ersta n d this w hole section o f text beginning w ith ta \e the siddhis
at dawn, term inate at m idnight...
lama: In the Cóncise D aily Practice M anual, the G yiingyi Kóljáng, the
w ords then, fo r the supreme activity, which is the sadhana o f the group g ath
ering refer to p erfo rm in g a drubchen, w h ere m an y yogis an d yoginis
g ath er to practice together.
T h e re are tw o kinds o f yogis and yoginis: those w ho are fully ripened
disciples and those w h o try to im itate fully ripened disciples. A fully rip
ened disciple has un d erg o n e th e training in approach and accom plish
m ent, perfected the recitations, an d reached accom plishm ent in this.
1 5 H e re ’s the list th at breaks up the tw enty-four hours into twelve different peri
ods. DaybreaJ^ is 5 : 0 0 A M —7 : 0 0 A M . Early morning is 7 : 0 0 A M —9 : 0 0 A M . Mid morning is

9 : 0 0 A M —1 1 : o o a m . Noon is i i : o o a m —i : o o p m Early afternoon, is i : o o p m —3 : 0 0 P M . Late
afternoon is 3 : o o p m - 5 : o o p m . Sunset is 5 : 0 0 P M —7 : 0 0 P M . Early evening is 7 : 0 0 P M —9 : 0 0 P M .

Late evening is 9 : 0 0 P M —1 i : o o p m . Midnight is i i : o o p m —i : o o a m . D a r\ o f the night is
i : o o a m - 3 : o o a m . Pre-daum is 3 : o o a m ~ 5 : o o a m . T hese times tell w hen to eat the m ed i
cine, depending upon w hich anim al you are.
W h e n a w hole g rou p o f such people assemble, they can engage in the
sup rem e activity, not just the general activity o f pacifying, increasing, and
so forth.
T h e suprem e activity o f a g ro u p sadhana m irro rs the style o f the
K adii, or the “assem blage o f teachings,” an extensive sadhana. Yarje
O rgy en L in g p a revealed the m ain t e r m a / b u t C h o k g y u r L in gp a also
h ad a version, and you can follow either one. T h e K adii gathers differ
en t teachings tog eth er in a single m andala. To practice this correctly, after
com pleting the four aspects o f approach an d accom plishm ent, invoke
the sam aya o f the deities in the evening and receive the siddhis o f liber
ation at m id nigh t. A t daw n, practice the “path o f u n io n .” A t this point,
just before the conclusion o f the drubchen , accom plished disciples p rac
tice the th ird em p o w e rm en t w ith a consort. T h is only applies to accom
plished disciples, n ot im itators. T h ro u g h this k in d o f yoga and practice,
you will accom plish the four vidy ad hara levels— m atu ratio n , longevity,
M a h am u d ra, an d spontaneous accom plishm ent— in this lifetime.
W h a t is the difference betw een being a “ripened disciple” and an
“im ita to r” o f one? T h e w o rd for im itation m eans “m a sk .” F o r exam ple,
d u rin g a lam a dance, the dancers don the m ask o f a deity and p reten d to
be th a t deity. H ere, even if you are not fully accom plished, you will attain
the four vidy adh ara levels in this lifetime, if you adhere to this practice
perfecdy. T h is is the m ean in g here.
T h e way to en ter V ajrayana is th ro u g h receiving em p ow erm ent.
W h e n receiving em p o w erm en t, we obtain the samayas o f the vidyad-
haras. W h e n receiving the vase, secret, w isdom -know ledge, an d w ord
em po w erm ents, w e receive the em p o w e rm en t precepts o f V ajrayana.
W h a t are those exactly? T hey are none other th an the c o m m itm en t to do
the practices connected w ith the fo ur em pow erm ents.
T h e practice connected w ith the first em p ow erm en t, the vase
em p o w e rm en t, is to train in seeing the w orld— beings, sounds, th o u g h t
activity, an d so fo rth — as a p ure display o f deities, m an tra, and sam adhi.
T o engage in this properly, you train in the practice o f the vase e m p o w
e rm e n t until reaching perfection— until you actually see things as they
already are: the w orld as a p u re buddhafield; all beings as m ale and
fem ale deities, dakas, an d dakinis; all sounds as m an tra; all th o u g h t activ
ity as w isdom . H a v in g trained again an d again in the d evelopm ent stage
u n til you stabilize this view, perceiving this way all the time, you can then
request the secret em po w erm ent.
T h e secret em p o w e rm en t is conferred by m eans o f the bod hichitta o f
the g u ru and consort. O nce you have received the secret em p o w erm en t,
you begin the practices connected w ith the inn er p ath o f V ajrayana,
w hich has three aspects: p reparation, m ain part, an d conclusion. O n e s
body is endow ed w ith the skillful m eans o f using an o th er’s body. T h e
th ird and fo u rth em po w erm ents have the tw o aspects o f “w isdom as
exam ple” an d “w isdom as the m ean in g.” T h e latter refers to “u ltim ate
w isdom ,” no t the symbolic w isdom .
T h e first o f the in ner practices connected to the secret e m p o w e rm en t
is training in the nadis, pranas, an d bindus in ord er to gain mastery. T h e
m ost im p o rta n t is to be able to control the flow o f bindus, especially to
reverse the flow. T h is is a very im p o rta n t point. P rio r to attain in g this
m astery, you do n ot engage in consort practice. Such practice only comes
after you have gained the ability to control the bindus. W h e n you have
achieved this, by m eans o f train in g in the channels, m astering the differ
ent b reathing exercises, an d controlling the bindus, you can th e n request
the th ird em po w erm en t, called the “w isdo m -k no w ledg e e m p o w e rm en t.”
T h is refers to train in g in the w isdom th a t unites bliss an d em ptiness,
w hich is also called “symbolic w isdom .” O nce you accom plish that, you
are given the fo u rth em p o w erm en t, w hich is identical w ith th e th ird
em p o w e rm en t in essence— b u t only in essence. It is the real, or “u ltim ate
w isdom ,” o f the unity o f bliss an d em ptiness, totally free fro m all con
structs an d as vast as space.
T h is is the progressive journey th ro u g h the practices connected w ith
the four em pow erm ents. T h is journey, w hich brings one to the state o f
com plete enlightenm ent, corresponds exactly to the n o rm al S u tra path
o f the five paths and ten bhum is. T h e distance traveled is th e same, b u t
the speed is different. T ak in g the S u tra path is like w alk in g overland,
for exam ple, to Bodhgaya, w hile tak in g the V ajrayana p ath is like flying
there. You cover the same distance, bu t it is m u c h faster. It is said th a t
the V ajrayana path is like an optical illusion, in w hich you instantly tra
verse w h at w ould otherw ise take a trem endously long time. I t’s the same
as looking d o w n at the g ro u n d from an airplane; you can see th a t you are
covering the distance, b u t in a few seconds you have gone very far.
A ccording to M ahayoga, the V ajrayana path is divided into the four
vidyadhara levels. T h e first, the v idyadhara level o f m a tu ratio n , cor
responds to arriving at the “h ea t an d su m m it” aspects o f the P ath o f
loining. T h e second, the v idyadhara level o f longevity, corresponds to
arriv in g at the first b hum i. T h e third, the vidyadhara level o f M aha-
m u d ra , or the “g reat sym bol,” corresponds to the next nine bhum is. T h e
fo urth , the v id yad hara level o f spontaneous perfection, corresponds to the
very end o f the stream o f the ten bhum is.
C on cern in g the first, the v idyadhara level o f m atu ration , the body we
have rig h t n ow is m a tu re because it is a result o f past k arm a. O u r p re
vious k arm ic deeds com pelled o u r consciousness to take the form o f the
h u m a n body w e n o w possess. It is the form o f the ripening, or m a tu ra
tion, o f past k arm a. I f one reaches the vidyadhara level o f m a tu ratio n , it
is said th a t the m in d m atures into the form o f the deity, w hile keeping
the body th a t is the m a tu ra tio n o f karm a. So, w e still look like a h u m a n
being, b u t o u r consciousness has m a tu red into the deity. T herefo re, at the
very m o m e n t o f death, the h u m a n body is left behind, w hile the m ind
becomes the deity. Just as a baby garuda bird, w h en h atch in g from its egg,
is im m ediately able to fly, the practitioner w ho has reached the first vidy
ad h a ra level im m ediately goes to a p u re land in the fo rm o f a deity, at the
tim e o f death.
P rin ce D am z in
THE SHORT NOTES FOR
PERFORMING THE APPROACH,
ACCOMPLISHMENT, A N D
ACTIVITIES
H om age to Guru Rinpoche,

Possessor o f the Threefold Kindness.
Chokgyur Lingpa
H a v in g obtained the suprem e freedom s and riches; being inspired by the

tho ug hts o f im perm anence, weariness, and renunciation; and desiring to
attain b u d d h ah o o d w ithin this lifetime, you should receive the e m p o w
erm en ts an d keep the samayas. T h e n , at the tim e o f an auspicious con
stellation d u rin g the w axing m oon, m ak e as m any general confessions as
you can, sweep your dw elling place, sprinkle cleansing water, an d b u rn
incense. Place on the w estern wall either a painted or sculpted im age o f
U rgy en Rinpoche. U p o n a ledge covered in cloth in fron t o f it, arran ge
am rita, rakta, torm a, and the seven enjoym ents. D ra w a swastika w ith
w h ite chalk u n d e r your seat and attach some o f your m a ste r’s h air above
you. T h u s, m a k e the auspicious coincidence for being able to com plete
the practice, reduce sickness, and increase vitality. I f you have a perfect
practice box, you should also use it; otherw ise, this m uch will do. F u r
therm o re, g ath er the vajra, bell, dam aru, frankincense, m u stard seeds,
tossing grains, poles, an d the p relim inary torm as.
F o llo w in g that, sit d o w n on a com fortable seat, supplicate your
m aster, an d expel th e stale b reath . P re sen t the local lord w ith th e w hite
to rm a. T h e n , in the presence o f the em b o d im e n t o f all th e objects o f
refug e, in the sky before you— y o u r ro o t g u ru inseparable from U rg y e n
R in p o ch e— th in k : “I an d all beings tak e refug e in you. P racticin g this
p ro fo u n d p ath , I will attain the state o f the T rik ay a G u ru w ith in this
73
very lifetim e, for the sake o f m y m o th ers, all sen tient b ein g s!” A ro u sin g
b o d h ic h itta in this way, dissolve the field o f refug e into yourself.
V isualizing yoUrself as red H ay ag riva holding a lotus an d skull cup,
em anate Ram yam k am fro m y our h e a rt center to b u rn , scatter, an d purify
the torm a. Im ag ine th a t fro m dhrung appears a jewel .vessel, w ithin
w hich Om ah hung em anate an ocean o f nectar w ith sense pleasures.
T h e light from your h eart center sum m ons all the obstructors an d pres
ents them w ith a satisfying offering. A fterw a rd , o rd er th e m to disperse
on your com m and. Dispel the rem ain in g ones w ith tiny w ra th fu l ones
h o ld in g skull clubs an d fire lassos. Toss ou t the gektor, scatter ch arm ed
substances, an d b u rn frankincense. Place the pole at your entran ce w ith
Shri H ayagriva in charge an d close the o uter an d in n e r passageways. I f
som eone needs to com e in, include h im or h er in your visualization. T h e n
g ath er back all the tiny w ra th fu l ones to create the protection consisting
o f the vajra foundation, enclosure, dom e, and mass o f fire.
H osts o f T rikay a G u ru deities arrive like a sw irling b lizza rd an d dis
solve into you, your d w elling place, articles, an d surro un ding s. H ereb y
your body becomes the enlightened body, your speech the enlightened
speech, your m in d the enlightened m ind, your dw elling place a p u re
realm an d celestial palace, your com panions m ale an d fem ale deities, an d
your food an d d rin k w isdom nectar. W h ile no t conceptualizing th e offer
ing articles, you are perceiving th eir essence as w isdom nectar. T h e y take
the form , nonetheless, o f a to rm a em an atin g the five sense pleasures; a
skull cup filled w ith nectar, w hich condenses the extracts o f sam sara and
nirvana; an d a skull cup filled w ith rakta, w hich is the n a tu re o f bliss.
M oreover, im agine th a t offering goddesses m ultiply to fill th e sky. T hese
w ere the prelim inary steps.
F o r the m ain part, m ed itate on the yoga o f all p h en o m en a being g reat
em ptiness. W ith in the state o f the yoga o f the m agic-like com passion for
all the sentient beings w ho have no t realized this em ptiness, your aw a re
ness, the un io n o f em ptiness an d compassion, takes the fo rm o f a w hite
h r ih . Rays o f light radiate fro m the letter h r ih , purifying the w orld and
beings. As the light rays g ath er back, the d a rk blue source o f d harm as
appears, as w ide as space. W ith in it, there also appears the green vajra
cross o f w ind, the w hite circle o f water, the yellow square o f earth, M o u n t
M eru w ith its sides reflecting these respective colors, and the blazing tri
angle o f fire. A t the center o f all this, su rro u n d e d by the eight g reat char
nel g ro un ds and situated u p o n the anthers o f a thousand-petaled lotus,
lies a p u re land replete w ith perfect features.
W ith in it, there is a vajra cross w ith twelve spokes reflecting the
respective directional colors: those po in tin g east are blue, and so forth. Its
h u b is a w hite square o f precious substance, u po n w hich rests the palace.
T h e palace has five layers o f walls, in one o f tw o arrangem ents. In the
first configuration, the palace’s interior, m ade entirely o f w hite crystal, is
su rro u n d e d by an other layer o f walls, m ade respectively o f sapphire in
the east, gold in the south, ruby in the west, and em erald in the north.
T h is a rra n g e m e n t progresses clockwise, w ith each additional ring o f
walls m a in ta in in g this color orientation and sequence. In the second con
stellation, progressing fro m in nerm ost outw ard , the five layers o f walls
are respectively m ade o f crystal, em erald, ruby, gold, an d sapphire.
A red “platform o f delights” ado rn ed w ith offering goddesses runs
along the base o f the walls. A yellow frieze and a w hite ledge supported
by posts w ith h an g in g rain spouts runs along the top o f the walls. G olden
scarves and lattices h an g over the gaps. G olden vases sup porting parasols,
pennants, victory banners, flags, and tail fans rest u po n the ledge. D eco
rative peacock feathers and silken stream ers h an g d o w nw ard . A t each o f
the fou r entrances, there is an eightfold architrave supported by four pil
lars. A bove these, there are th irteen d h a rm a wheels topped by a parasol
and flanked by deer.
Inside, the galleries su rro u n d in g the w hite square have the colors o f
their respective directions, blue to the east, and so on. Below the ledge b ut
above the golden beam , there are eight pillars sup po rtin g a circular beam
th a t holds tw enty-eigh t rafters m a rk e d w ith the attributes o f the family.
Above the circular beam, there is another fivefold wall, a frieze, and a ledge
similar to the wall below. T h e beams on this level have a checkered pattern
and support sixteen rafters covered w ith jeweled planks, which have three
tiers a nd are in the shape o f a stupa. A lotus atop a set o f posts supports th ir
teen golden rings th at ru n up along a life-pillar, consisting o f an unch ang
ing vajra inserted w ithin a cross. A t the pinnacle, lattices encircle a golden
parasol. T h e lotus ro of is adorned w ith shining jewels. T h e transparent
palace shines w ith rays o f light, an d its proportions are unfathom able.
Inside this, there is a flat eight-sided jewel m ade o f sapphire w ith
shining jewels on its sides an d lattice-w ork decorations. O n top o f it,
there is a four-petalled lotus m a d e o f various gem s, on the center o f w hich
is a seat consisting o f a lion throne, lotus, sun, an d m oon. L otuses w ith
m oo n seats a d o rn the four sides o f the principal lotus. U p o n the jewel
itself, there are the follow ing directional seats: to the east, a lotus an d sun
seat; to the south an d west, lotuses w ith m o on seats; to the n o rth an d in
the in term ed iate directions, seats w ith lotuses, suns, an d h aug hty spirits
{dre/tfas); an d to the northeast, a three-layered lotus, sun, an d m o on seat.
T h e four gates have lotuses w ith sun seats. In this way, the five elem ents
have the n atu re o f the five consorts, w hile the celestial palace has the
n atu re o f the five w isdom s. T h e thirty-seven factors o f en lig h te n m en t are
all present w ith in these details.
R eg ardin g the visualization o f the deities w ho inh ab it the m an dala,
the p rim ary text depicts the three m ain figures clearly. A t the top o f the
lotus tree g ro w in g behind the G u ru , you should visualize the tw o L ords
o f the F am ily as described in the Practice M anual. A t this point, the su r
ro u n d in g figures are m erely a “felt visualization.” I f you w a n t to u n d e r
stand the details, consult either the Extensive or M edium Practice M anual.
G yalw ey D u n g d z in can either be stan ding or seated, as you prefer. T h e
inner m anifestations all have differing accoutrem ents. G yalw ey D u n g
d zin is P em a Gyalpo; m oreover, oth er m anuals, such as the Gujang,
describe him as having a k in g ’s attire an d a cro w n inlaid w ith w hite
skulls and jewels. M awey Senge has a yellow pan dita h a t an d a jewelled
top knot. K yechok T siilza n g has a red lotus crow n w ith five folds inlaid
w ith shining jewels. D iikyi Shechen has a blue lotus cro w n w ith folds
ado rned w ith five dry skulls, an d so on. In this way, they have m any
different accoutrem ents. H ow ever, here you should visualize accord
ing to the Extensive Practice M anual. T h is assembly o f deities is pure,
as the n atu re o f your ow n aggregates, elem ents, an d sense factors; it is
the m agical net, u n itin g m eans and know ledge. A ll o f the deities have
Om ah hung in their three places, as they are inseparable fro m the body,
speech, and m in d o f the victorious ones. H av in g prim ordially perfected
the em po w erm ents o f the five w isdom s, the crow ns o f th e ir heads are
m a rk e d w ith the five seed syllables. T h e m a in figure, G u ru Rinpoche,
has an ushnisha w ith a tiara o f five gem s on the crow n o f his head.
T h e rays o f light stream ing forth from the h r ih in your h ea rt cen
ter invite the m a n d ala o f the su ppo rt an d the supported, or simply the
supported deities. D o w hichever is convenient, b u t dissolve it indivisibly
w ith the sam aya m andala.
F ro m the h ea rt center o f the m ain figure, a version o f you as the \a r-
m a-sattva em erges, w ith one face, tw o arm s, divine dress, an d sublim e
o rn am en ts— all in a variety o f desirable colors. F ro m its hea rt center and
palm s, offering goddesses w ith the seven enjoym ents, am rita, rakta, and
to rm a em anate an d m a k e offerings. Im agine that the deities d rin k the
rak ta w ith o u t any rem ainder, thus em p ty in g samsara. Receive the siddhis
w ith the rem ain in g nectar an d dissolve the offering goddesses into the
deity, w hich th en in tu rn dissolves into you, in a process o f creation and
retu rn .
F o r the secret offering, d elight all the sugatas w ith the bodhichitta
th a t comes fro m u n io n w ith the co rresponding consorts. P erfo rm the
u n io n and liberation by liberating deluded samsaric thoughts into lu m i
nosity. F o r the “thatness” offering, allow the spontaneously present w is
do m to rest in the space o f p rim o rd ial purity.
M ake praises by em an a tin g n u m erou s beings, such as V ajra V arahi
and the rest o f the five dakinis, as well as B rahm a, S hakra, an d the u n i
versal m onarchs, w ho th en m a k e praises w ith m elodious songs and music
before dissolving back into you.
In the context o f the approach recitation, the recitation m ansion is not
divided. You visualize yourself in the form o f the g uru. In the h eart cen
ter o f both L ords o f the Family, there is a syllable h rih — w hite and red
respectively— u po n a m oon disc. Rays o f light radiate from these, g ath er
ing the nectar o f longevity into the vase, w hich then overflows and pours
d o w n onto the crow n o f your head, w ith o u t having to pass th ro u g h the
body o f A valokiteshvara.
A t the tim e o f the accom plishm ent practice, offering clouds em anate
from the light rays o f your body, pleasing the victorious ones th ro u g h
ou t the directions and times, w hile bodily form s filling space em it light
rays th a t purify beings’ obscurations. D o this w hile linking h u n g to the
b re a th ’s com ing, going, and rem aining. As a beginner train in g in the tri
ple h ung, this is sufficient— you do not need to visualize either a co u n t
less a m o u n t o f hungs or the shape o f the hung. T h e four classes o f dakas
perfo rm the activities w ith the rays o f light from bodily form s resem bling
themselves.
P erfo rm the visualization for the recitation offering as above. N o
m a tte r w hich o f the six recitations you focus on, recite and m ed itate a
little on all the others. Or, as is ta u g h t in the other m anuals, at the tim e o f
benefiting oneself, practice only A m itayus and apply the same to the o th
ers in their context. T h is is also com pletely in accordance w ith scripture.
F o r daily recitation, you should carry o u t th e recitation and m editatio n o f
each o f the six parts in full. In th a t context, as it is taught:
Every session, b rin g o u t the d eity s vivid appearance in fullness.

Every session, p lant the g reat stake o f the essence m an tra.
Every session, rest in the one taste o f your m in d an d the deity.
E very session, practice the m agical displays o f projecting and
absorbing light rays.
A lways take pride in being no different from the deity. A fter th at, if
you are doing the feast offering as a concluding activity, neatly arran g e
feast torm as, m eat, an d wine. S p rinkle th em w ith clean w ate r an d purify
th em w ith R am yam k a m . F ro m the state o f em ptiness, the five m eats
and the five nectars m elt w ithin the bhandha vessel, as you su m m o n and
dissolve the w isdom nectar o f the three syllables into the sam aya nectar.
Visualize as w h en opening u p the recitation m ansion; if you have not
already opened it, invite the field o f accum ulation. T h e goddesses o f sense
pleasures offer the first p a rt o f the feast. M ake m e n d in g an d apologies
w ith the nectar o f the second part. F o r the last part, even if you d o n ’t p e r
form the visualization for liberation, proffer to the m o u th the flesh and
blood— the essence o f enem ies and obstructors— w ith o u t any rem ainder.
M ake offerings to the body m andala, by enjoying the feast, w hile you
visualize yourself as the deity. T h e n , the bodhichitta o f H ayagriva and
consort on your tongue— as Om ah hung — dissolves into the residuals,
cleansing im purities and consecrating them w ith w isdom nectar. M agn e
tize all the guests for the residuals an d im agine th a t they p arta k e o f it and
fulfill the activities.
I f you are not perform ing the feast, let the w orld and beings m elt into
light at the end o f the recitation-praises and dissolve into the m andala,
w hich in tu rn dissolves into the h r ih in your h eart center. T h e n rest evenly
w itho ut holding even th at in m ind. A t th at point, rest in sham atha— totally
em pty and w ithout any th in k in g whatsoever, letting everything be as it is.
W henever thoughts arise, let them be free, naturally subsiding and dissolv
ing, just as raindrops fall on a lake. M editate like that for some time. W h e n
this leads to em pty w akefulness daw n ing w ith ou t fixation— free from
there being someone observing som ething— th at is the lum inous view o f
C u ttin g T h ro u g h , the realization o f the M ind Section.
T h e n em erge as the deity again, vividly present in the form o f the
G u ru , w hile visualizing Om ah hung in your three places an d “do nn in g
the arm o r.” In daily activities, regard appearances as being form s o f dei
ties, sounds h eard as being m antras, and thoughts as being enlightened
m ind.
T h in k : “May the result o f these virtues ripen rig h t n ow to pacify
adversities an d g ath er favorable conditions, so we m ay be liberated into
the space o f lum inosity th ro u g h this very practice!” By the lines o f auspi
ciousness o f the T h re e Roots, aspire to accom plishing the benefit o f your
self an d others.
A t the tim e o f receiving the siddhis, set o ut the Drangye to rm a and
skull cup w ith fine w ine and sprinkle th em w ith nectar. A t the tim e o f
the d a w n session, you may either open up the recitation m ansion, or visu
alize the field o f accum ulation in fron t o f you. In either case, let the rays
o f light rad iatin g from the deities’ three places dissolve into your ow n
three places. You thereby obtain the siddhis o f body, speech, and m ind.
T h e n , once m ore, light rays strike the articles, transform ing them into
nectar. By p a rta k in g o f them , you obtain the suprem e and com m on sid
dhis. Finally, let the assembly o f deities dissolve into you; thereby gener
ate the pride o f being the n o n d u al lord o f the m andala. A t the end o f the
verse for invoking the siddhis, w hich begins w ith In the essence mandala,
awakened mind, it is sufficient to just chan t the G u ru D eva m a n tra and
the verse th a t begins w ith M y nadis and d hatus are fille d w ith the essence
o f nectar. A fter that, p erfo rm the dissolution, em ergence, utterance o f
auspiciousness, and aspirations. G ath e r the placards from the poles and
com e u n h u rrie d ly out o f retreat. Leave all the practice articles in a rem ote
place.
Beyond this, you can see the details o f the celestial place and the
elaborate teachings on the purification, ripening and perfection o f thé
developm ent stage, and so fo rth in the m an ual o f L am a M awey Senge,
com posed by K arm ey K henp o and w ritten d o w n exactly as I taught. T h e
vital points for Trinley Nyingpo, w hich I have here stated in brief, w ere
w ritten at the request o f N angtsey L am a Rinpoche K u n g a G hôw ang;
R anyag Gyalsey Palden; the Bon lam a T rigyalw a Y ungd ru ng ; the Geshe
o f Ô n d zo n g ; the spiritual teachers o f the Sakya and K agyü m onasteries
o f N y in d z o n g an d T ridu; the m ore than one h u n d re d m antriâs o f D ri-
chu N yinsip, such as Palkhyim ; as well as the h u n d red s o f non-sectar
ian Sakya, G elug, K agyü, and Bon practitioners w ho have received the
DISPELLER OF OBSTACLES 79
em po w erm en ts and read in g transm issions o f th e N e w T reasures an d
w ho have practiced recitation for years in retreat. T h is w as p rep ared as a
celebration in response to the recent insistent requests o f lamas, khenpos,
an d m asters o f S h end zong by U rg yen C h o k g y u r D ech en L in g p a d u rin g
breaks in m editatio n at T rid u E w a m Chogar, w hile w an d e rin g th ro u g h
rem ote places in U an d T san g. It was com posed on an auspicious day in
one single sitting. T h e scribes w ere the retreat teacher Chogyal, w h o has
m astered the five sciences, an d T sag a n g L otsaw a R inchen N am gy al. May
the virtue o f com posing this create th e cause for all w h o en co un ter it to
attain b u d d h ah o o d in their very lifetime. M angalam .
80 DISPELLER OF OBSTACLES
KEY POINTS OF PRACTICE
C o n cern in g the q uestion o f exactly how to practice, w hen beginning,

one cannot perfect the develo pm ent stage practice w ith o u t first h av
ing recognized aw areness, rigpa. T h e developm ent stage springs out
o f the sam adh i o f suchness, w h ich m eans k n o w in g the n atu ra l state as
it is. W ith o u t this sam adhi, the practitioner thinks, “T h is is em ptiness!”
and unavoidably fabricates it. I t is better to rest in th e state th e g u ru has
pointed out; th a t is the g enuine suchness, the tru e an d real aw areness
itself. In this way, one rem ains in the continuity o f the practice. O th e r
wise, one practices a fake develo pm ent stage. I f w e th in k , “All the sen
tient beings equal to th e en d o f space are in n atu re em pty an d egoless,
m ahashunyatal” we are m entally fabricating em ptiness. I f we think,
“P oo r sentient beings w ho do n o t realize this em ptiness!” w e are fabricat
in g com passion. T hese tw o tho ugh ts are artificial versions o f the sam adhi
o f suchness an d the sam adhi o f illum ination, lacking recognition o f on e’s
m in d essence. T h is is the develo pm ent stage th a t m ost people practice.
W h e n one recognizes awareness, however, one should rest w ithout
th in k in g it is “em pty” or “n ot em pty.” T h a t is the recognition o f prim ordi-
ally pure, roodess, self-existing w akefulness— genuine suchness. W h en that
happens, one spontaneously thinks, “Ah! Poor ones!” Just as w ater is w et
and fire is hot, the natu ral expression o f awareness is the flam e-like heat o f
compassion. T his awareness has unfabricated compassion as its nature; one
spontaneously thinks, “Alas! Poor sentient beings, w ho do not realize the
b u d d h a m ind as it is!” T h a t is compassion, the sam adhi o f illum ination.
A ll developm ent stage practice is em braced by em ptiness and com pas
sion. In the S u tra teachings, em ptiness is prajna (know ledge) and com pas
sion is upaya (means). In the M a n tra teachings, the sam adhi o f suchness is
em ptiness an d the sam adh i o f illu m ination is com passion. R ig h t now, as
a beginner, these tw o ap pear to be false, b u t w h en really resting in aw a re
ness, in em ptiness, th e expression o f this aw areness spontaneously arises
as com passion. T hese are the first tw o sam adhis.
81
W ith in the unity o f these tw o sam adhis, em ptiness an d com passion,
one m ust im agine the seed syllable. T h e spiritual life force or vital syl
lable o f the deity, a w hite h r ih in the case o f G u ru R inpoche in the T u \-
drub Barchey K iinsel practice, should be visualized like the m oo n or a star
app earing in the expanse o f space. T h is syllable th en em anates the letter e
for the m an d ala o f space, th e n yam , bam, a n d so forth for the g rad u a l lay
ers o f the elem ents o f earth , w ater, fire, and w ind. U p on these, one visu
alizes the letter sum becom ing M o u n t S u m eru on w hich the letter bhrum
becomes the celestial palace. So, these all appear one after th e other.
To reiterate: first o f all, from the space o f d h arm a k ay a comes sam b-
hogakaya as the expression o f com passion, then the n irm a n ak a y a as the
seed sam adhi. T h e n irm an ak ay a is the em anation o f em ptiness and co m
passion; the letter is the m e an in g o f n irm anakaya. O n this basis, every
th in g arises as develop m en t stage, and w e visualize the external palace,
w ith the internal inhabitants o f deities.
F irst, the celestial palace arises w ith the lotus and m o o n seat inside.
W h e n th a t is com plete, the w hite h r ih syllable descends from the seed
sam adhi. In some traditions, the syllable first becomes a h an d em blem
an d then a bodily form . T h e h an d em blem is the m ental sign; the sylla
ble is the verbal sign. N ext, the visualized bodily fo rm appears, w ith the
h an d em blem , the m ental sign, in its h ea rt center. A ro u n d this, the m a n
tra chain, the essence m a n tra, circles.
T h u s, in the Tufydrub Barchey K iinsel practice, having first visualized
the m ain figure, we th en visualize the tw elve em anations, w hich follow
like the rays o f light fro m the sun. A fter this, it is sufficient to rem ain
un m oved from aw areness, w hile practicing the d evelop m en t stage.
I f you have g ro w n accustom ed to aw areness, rem ain in the continuity
o f it, allow ing the projection and dissolution o f thou gh ts to arise as the
developm ent stage, like waves m oving on the surface o f water.
W h e n the m editation m anifests spontaneously w ith in un m o v in g
aw areness, the expression o f aw areness arises as the developm ent stage.
In th a t way, the m e ditation is first class; then, as a m a tte r o f fact, develop
m e n t an d com pletion stages are no t separated. R e m aining in aw areness
as the com pletion stage an d letting the aw areness-expression arise as the
developm ent stage, is the perfection o f the d evelopm ent and com pletion
stages as a unity.
I f this is n o t possible, first cultivate em ptiness, th en com passion, fol
low ed by the visualization o f the seed-syllable sam adhi, w herein em p ti
ness an d com passion are united. T h e n the E yam ram bam , and so forth
are the layers o f the five elem ents, u p o n w hich is the celestial palace. T h e
seed syllable then descends and becomes the deity, an d one visualizes
oneself as the deity. Practice like this, one step after the other.
W h e n one has n o t recognized m in d -n a tu re , the com pletion stage is
scattered and the d evelopm ent stage practice resembles the b u ilding o f a
house. W ith o u t com pletion stage, the practitioner is like a m a n construct
ing a building. T h u s, solely p u rsu in g the developm ent stage, if you are
visualizing w ith attac h m e n t to substance and solidity, you should in the
end m ethodically dissolve the visualization— the palace dissolves into the
deity, the deity dissolves into the seed syllable, and the syllable dissolves
into the nada, an d then into em ptiness. T h in k in g at last, “T h is is u nbo rn
and em p ty !” one com pletes the practice w ith em ptiness. In such a case,
th a t process o f dissolving the visualization is called the com pletion stage.
Actually, first cultivate the developm ent stage, then look at w ho is
m editating. T h e recognition o f the n atu re o f the m ed itator is itself the
com pletion stage. O ne cannot practice a perfect developm ent stage w ith
ou t being introdu ced to aw areness, to rigpa. W h e n one truly recognizes
aw areness, the developm ent stage practices do not interfere w ith aw a re
ness at all. W h a t h a rm can be done to the state o f aw areness? All th in k
ing is em pty, em pty m ovem ent. T h e em ptiness moves. H o w can there be
any h a rm to the em ptiness? It is like a child at play.
A gain, it is quite perm issible to sim ply im agine the five layers o f ele
m ents w ith the celestial palace, spontaneously m anifest. You need not
hold onto w h a t you visualize. Just let go o f the fixation and resolve your
self in the continuity o f com pletion stage. H e re you should resolve, an d I
m ean resolve definitively, in the space o f the th ree kayas.
In the D zo g ch en teachings, we speak o f differentiating the th in k
ing m in d (sem) and aw areness (rigpa), resolving o ne’s body, speech, and
m in d in the space o f the three kayas. In short, this m eans th a t on e’s body,
speech, an d m in d are the th ree vajras; they are resolved to be the essence
o f the th ree vajras. W h e n one und erstand s this m an d ala o f the sponta
neously present n ature, th en all bodily appearances are the m an d ala o f
body, all resoun ding sounds are the m an d ala o f speech, and all th o u g h t
activity is the m a n d ala o f m in d. O ne is n ot reg a rd in g som ething th a t is
n o t an d im aginin g it to be som ething th a t is. T h e absence o f complexity
is body, com plete w ith in aw areness. T h e self-utterance o f prim ordially
pure em ptiness is speech. T h a t is resolving the space o f speech. T h o u g h t
D I S P E L L E R OF OBSTACLES 83
activity as m in d is aw areness, u n ta in te d by defects, em pty o f b o th grasp
ing an d fixation. U n tain ted by ou ter grasping, u n co rru p ted by inner fixa
tion, it is self-contained. T h u s, th o u g h t activity is the vajra m ind.
T o differentiate the th in k in g m in d and aw areness, one m u st arrive
solely in awareness. T h e th in k in g m in d as the expression o f aw areness
should be abandoned. W h e n aw areness is recognized, th en th e th in k in g
m in d is self-abandoned. M ind is changing, an d aw areness is u n ch a n g
ing. In this way, the tw o are differentiated. L ook at the sky, w hich is
unchanging , and the clouds, w h ich are changeable; clouds are like the
th in k in g m in d and the space is like rigpa, aw areness. T h e clouds change
again an d again, b u t space never changes. A w areness is b o th unceasing
an d unchanging.
In this way, the three vajras are com plete and are resolved as vajra
body, vajra speech, an d vajra m ind. T h e vajra body is.u ncom po un ded;
the aw areness is u n com p oun ded. T h a t is the n atu re o f vajra body. It is
n o t a form ation or com pound. T h e vajra speech is the unceasing sound.
T h e vajra m in d is the uno bstructed m en tal activity, aw areness. T h e
obstructed, th in k in g m in d is w h a t ceases. A w areness does n o t cease. T h e
m in d first has one thought; w h en th in k in g o f the next, the first th o u g h t
has ceased. A w areness is unceasing an d unlim ited, beyond the conceptual
m in d o f the three times, un m o v in g in the three times.
E m p ty essence, cog nizant natu re, an d u n lim ited capacity— these
three aspects are extrem ely profound. I f the cognizance an d the e m p ti
ness w ere lim ited, the lim itation w ould result in only cognizance or only
em ptiness. T h a t is not the case; the em ptiness is cognizant, a n d the cogni
zance is empty. M oreover, neith er limits the other, and th a t u n o b stru cted
ness is itself the arising o f the com passionate capacity.
T h e em pty essence is d h arm ak ay a, w hich is unconstructed, like space;
the cognizant n atu re is sam bhogakaya, w hich is intrinsic to space, like
the sun an d the m oon. T h e u n lim ited capacity is like the im age o f the
m oon reflected on w ater. W h e n the m oon is reflected on the surface o f
the water, its im age is n o t obstructed or lim ited. It appears naturally,
except w h en there is no w ater. Likew ise, the n irm a n ak a y a w o rk s for the
benefit o f beings in an expansive and unrestricted way.
All three kayas are contained w ithin aw areness. W h e n one has recog
nized th a t fact, one is said to have resolved it. Really, n o th in g is im possi
ble once you recognize aw areness. H ow ever, un til recognition occurs, you
will always have difficulties, no m a tte r w h a t you do— th e perfect w ill not
com e about, everything will rem ain im perfect or fake, an d the develop
m e n t will also be u n n atu ra l. T herefo re, one need n o t hold on to the culti
vation o f the d evelopm ent stage. To let the aw areness-expression arise as
develop m en t stage an d th en to rem ain w ith in aw areness is enough. O ne
need n o t exam ine the aw areness-expression at all.
O u r present o rdinary cultivation o f the V ajrayana path is a short
path, a m etho d for p urify in g evil deeds, as in M ahayoga an d A n u Yoga.
In A ti Yoga, the developm ent and com pletion stages are called T rek ch o
an d T ogal, and they do n o t need to be produced. T h e developm ent stage
o f A ti Yoga involves no developm ent. All the deities are com plete in the
m in d m a n d ala o f A ti Yoga. O n e cannot say th at deities are nonexistent,
because they do appear in the bardo.
V isualization is sufficient once in the b eginning o f the session. A fter
that, let go and rem ain free fro m an object, free from a m en tal reference
point. V isualize the w hole th in g vividly one tim e and th en rest in the
state o f objectlessness. A lte rn a tin g the practice, so one som etim es keeps
an objective reference and som etim es not, will not cause any h arm , b u t
one doesn’t need to alternate. A lte rn a tin g betw een visualizing an d rest
ing does no h arm , because th o u g h t occurrence is itself the expression o f
rigpa; w h en it arises as the visualization, this is fine.
T h o u g h ts and visualization arise as the expression o f rigpa, w h en one
has attained some stability. L ack in g stability, the expression becomes too
forceful an d the essence seems to get lost in th at state. W h e n the essence
is “ou t o f sight,” n o t recognized, it is a defect th at causes the developm ent
stage to increase discursive thoughts. O n the other h and, w hen recogni
tion o f the essence is stabilized, the expression o f rigpa w ithin the state
o f the essence will appear vividly as the visualization o f the developm ent
stage. T h u s, the uno bstructed expression o f your aw areness arises as the
dev elopm ent state ou t o f the prim ordially pure essence, the self-exist
ing aw areness, w ith o u t m oving aw ay from this state for even an instant.
(Laughs)
In o u r G u ru R inpoche practice, Trinley N yingpo , after visualizing the

deity, you proceed w ith the recitation o f the various m antras. W h e n
reciting, you should try to recognize the essence o f all thoughts as d h ar-
m ak ay a an d be free from distraction.
T h is G u ru R inpoche practice first includes a recitation for A m itayus
as the approach, then for A valokiteshvara as the full approach, then for
G u ru R inpoche as the accom plishm ent, th e n for T o tre n g T sai as the
in ten t o f the g reat accom plishm ent. It ends w ith the H arin isa m an tra,
w hich fulfills the activities an d is the application o f the activities.
In an oth er way, all aspects o f approach an d accom plishm ent can be
com pleted w ith in the recitation o f a single m an tra. T h e first o f the four
is the “m oon w ith a g arlan d o f stars,” w h ere a g arlan d o f stars su rroun ds
the syllable h r ih in G u ru R inpoche’s h ea rt center. T h e n , as the m a n
tra starts to revolve, there is the second in ten t or visualization, w h ich is
called the “firebrand .” T h ese refer to approach and full approach, w hich
are com pleted together in this practice. T h e “m oon w ith th e g arla n d o f
stars” is generally considered the inten t o f the approach, an d the “fire
b ra n d ” is the in ten t o f the full approach. T h ese represent the first tw o o f
the four types o f recitation intents, approach and full approach, w hich are
h ere contained sim ply as approach.
T h e th ird , “the m essenger o f the k in g ,” begins w ith the em anation o f
light rays. U pw ardly, one m akes offerings to the m an d ala o f the victori
ous ones; dow nw ardly, the rays o f light are the generosity, w hich purifies
all the obscurations and negative k arm a s o f sentient beings. T h is ra d ia t
in g u p w ard and d o w n w a rd , w hile m a k in g offerings an d p u rify in g sen
tient beings, is called the in ten t o f “the k in g s m essenger,” an d it belongs
to the th ird aspect o f recitation, the accom plishm ent.
T h e fourth, the great accom plishm ent, includes all four o f approach,
full approach, accom plishm ent, and great accom plishm ent. A t the tim e o f
pursuing the great accom plishm ent, there should be an individual for each
o f the deities in the practice. F o r example, for convocation o f the peaceful
and w rathful deities, one needs a h u n d red people for the h u n d red deities.
T h e n such a practice can truly be called “great accom plishm ent.”
In the practice o f Barchey Kunsel, th e recitation o f the H arin isa m a n
tra fulfills the pacifying, enriching, m ag netizing , an d sub ju gating activi
ties em bodied by the four gate keepers. E ach o f the four types o f activities
has its ow n particular m a n tra for w hatever action one has to com plete.
I f one needs to m agnetize, there is a m a g n etizin g m a n tra; if one needs
to subjugate, there is a su bjugating m an tra. T h ro u g h the su prem e m a n
tra, w hich is the spontaneously accom plished activity, one can accom plish
the suprem e action. In this case, then, there are five activities: pacifying,
enriching, m agn etizing, subjugating, an d the su prem e activity, w hich is
the spontaneously accom plished activity, the sam adhi action o f self-exist
ing w akefulness.
In the Barchey K ünsel sadhana, w hen practicing m a n tra recitation,
one first visualizes the B u d d h a m an dala o f one’s body, then practices the
approach, accom plishm ent, an d application o f the activities sim ultane
ously, like “bees sw arm in g fro m the hive.” O n e ’s body is visualized as the
n atu re o f deity, the deity’s body; all sounds are o f the n atu re o f the deity’s
speech; all th oug hts are o f the n atu re o f the deity’s m ind.
A ccording to the Secret M a n tra tradition o f the N ying m apa, sights
have the n atu re o f body, sounds have the n atu re o f speech, and thoughts
have the n a tu re o f m ind. T h is is called the “triple application o f sights,
sounds, an d aw areness.”
Yeshe Tsogyal
TEACHINGS O N TRINLEY NYINGPO
In tr o d u c tio n
W h e n listening to teachings, studying, an d practicing, even if you are

a seasoned practitioner, you should do so in ord er to bring all sentient
beings to the state o f tru e an d com plete enlightenm ent. Please keep th a t
resolve in your m in d as you read this.
M oreover, if you are studying V ajrayana, th en you should not look
at things in an o rdinary way. Instead, you should see everything that
appears and exists as all-encom passing purity. In other w ords, do not see
the teacher as an ordin ary h u m a n being, b u t as the d h arm a k ay a B uddha,
V ajradh ara, G u ru Rinpoche, or any other B uddha. L ikew ise, you, the
student, should not th in k o f y ourself as m erely being com prised o f the
five aggregates, the five elem ents, sense organs, and so on, b u t rath er as
having the divine n atu re o f deities.
T h a t’s the traditional o pening rem a rk th at a lam a is supposed to
m a k e at the start o f a sadhana teaching. A t the beginning o f T he Way o f
the Bodhisattva, S hantideva states th at he doesn’t have any special virtues
and is n o t very elo quen t or poetic, so he has w ritten in a fran k, straig h t
fo rw ard way. H ere I will try to em ulate his m odel. I have no pretense o f
com posing g rea t poetry or asto und in g you w ith my eloquence, b ut I will
try to explain w h at I know. D o n ’t expect to be shocked or overw helm ed
either. Also, some m asters m ay be able to liberate the stu d e n ts’ m in d -
stream s m erely w ith the sound o f their voices an d the profu ndity o f their
instructions on developm ent an d com pletion stages. I d o u b t there is any
one like this alive anym ore.
I cam e here for the purpose o f teaching, b u t if the teaching is just like
a lecture an d there is no follow up w ith practice afterw ard , then, w hile
you cannot say it’s com pletely pointless, it’s like going to the movies. You
drive over there, pay for a ticket, w atch the m ovie for a couple o f hours,
an d then you go hom e. It was fun. Also, a lot o f people these days go
89
for the show o f it, to see w h a t the la m a’s going to talk about, w h at he
or she is like. T h e n they drive hom e, and th a t was it. It is like going to
last w ee k en d ’s Reggae festival close by, w here ab ou t 12,000 people got
together to be entertained. N o w I am going to try an d m a k e sure th e re ’s
som ething valuable com ing o u t o f this. So w h en w e listen, an d also w h en
it gets recorded an d w ritte n d o w n and som ebody else sees it, th ere should
be som e benefit com ing o u t o f that.
I have been asked to begin w ith developm ent an d com pletion stages.
It is pretty easy to explain, b u t the m a in p oin t is to becom e practiced, to
g ro w used to the m eaning. I t is best if one can com bine developm ent and
com pletion stages together in one sadhana. All the tantras an d scriptures,
headed by the Guhyagarbha Tantra, explain V ajrayana in term s o f devel
o p m e n t and com pletion stages.
In o ur tradition, the scripture, L ig h t o f W isdom 1 (L am rim Yeshe
N yingpo), explains the developm ent stage in g reat detail. Also Jigm ey
L in g p a’s Staircase to Akanishtha Buddhafield and a text by P altriil R in-
poche are both exquisite. W e have m any teachings on th e d evelopm ent
stage, b u t unless you connect the teachings w ith a sadhana, they becom e
disconnected from your practice; it seems like practice is one th in g and
the teachings are totally different. T herefore, you need to connect the
teachings w ith the sad hana practice. O nce you u n d e rsta n d h o w to com
bine all the vital aspects o f the sadhana into a very sim ple form , you can
apply the sam e m odel to any sadhana you m ig h t practice. H e re I will
connect the instructions w ith the sadhana o f P ad m asam b h av a k n o w n as
Tukdrub Trinley N yingpo.
A ccording to the term a tradition o f C h o k g y u r L ingp a and Jam yang
K hyentse, there are four levels o f heart-practice or g u ru sadhanas: the
outer is Barchey K unsel, the in n er is Sampa L h u n d ru b , the secret is Tsohye
N yingtig, and the in nerm ost secret is D orje D rafysal. A ccording to C h o k
g y ur L in g p a’s personal trad itio n, the p rim ary or root practice is the
Gongpa K u n d ii, E m bodim ent o f A ll R ealization; w hile the tw o subsidiary
practices are Barchey K unsel an d Sampa L hundrub.
T h e Trinley N yingpo belongs to Barchey K unsel. T h e ro ot text o f the
Barchey K unsel is a scripture called Sheldam N yingjang, T he Essence M a n
ual o f all Oral Instructions. T h e Barchey K unsel cycle’s stru ctu re is like the
analogy o f a precious vase.
M ost term as explain th a t the qualities, virtues, an d effects o f their
practice are great, b u t as explained in this term a, the benefits o f prac
ticing the Barchey K ünsel are incredible. In the term a text, P adm asam -
bhava states th at anyone w ho hears or practices the teachings o f T u\drub
Barchey K ünsel will im m ediately be free o f any m isfortune and will avoid
rebirth in the low er realms. “W h erev er the Barchey K ünsel is k ep t will be
indivisible from the highest b u d d h a realm k n o w n as V ajra A kan ishtha,
and the dakas an d dakinis will sw arm about, like gath erin g cloud banks.
I f th a t is n o t true, then I, P adm asam bhava, will have lied to fu tu re gener
ations,” he says at the end o f the term a text.
A fter C h o k g y u r L ing pa revealed the Barchey K ünsel term a, he
practiced it in secret for eight years, as I m entioned earlier. D u rin g this
period, he w rote p art o f it d o w n b u t did not pass it on to anyone, includ
ing the m ain holders o f this term a lineage. A fter having realized the
teaching, he first offered it to Jam yang K hyentse W angp o, w ho was the
destined holder o f this lineage. A prediction ab out decoding the dak ini
script said the m o th er and child w ou ld m eet together and establish the
teachings. O nly Jam yang K hyentse W an g p o was able to see all the w rit
ing th a t m anifested from the yellow parchm ent. T h e “m o th e r” refers to
the yellow p arc h m en t script, and the “child” refers to w h at C ho kg yur
L in gpa had w ritten dow n. So only Jam yang K hyentse W angp o saw both
the m o th er and child script. W h a t they decoded is the “gran d c h ild .” It
was said th a t the m o th er and child should then be allow ed to disappear;
therefore, they w ere elim inated.
Jam gon K ongtriil was then given the teachings. D u e to these three
practicing and p ropo gating the Barchey Künsel, it becam e so widely
spread th at alm ost all m asters had received the em po w erm ents and prac
ticed it.
F ro m the original p archm ent, various root texts w ould appear,
includ in g the N yingjang, Yangjang, Yujang, and Güjang. T h e Yangjang
describes w h a t an d how the terto n h im self should practice. T h e N yin g
ja n g is (the Sheldam Nyingjang, the large volum e we have today. A p p ar
ently, there was also a Yujang, w hich m eans a turquoise m anual, and a
G üjang, a m a n u al o f necessities, b u t they seem to have been lost.
Today, we have the sho rt instruction w ritten dow n by C ho k g y u r
L ingpa. As the years pass, personal instructions evaporate; they dis
appear. C h o k g y u r L in g p a s son, W ang ch ok D orje, also received some
personal instructions, b u t he died young an d took those teachings w ith
him . N onetheless, th o u g h C h o k g y u r L in gpa was quite young w hen he
revealed the Barchey K ünsel, he did succeed in m a k in g it extrem ely com
plete. M any im p o rta n t points, subsidiary aspects, an d so fo rth w ere w rit
ten do w n, and the stream o f its practice is still vibrant.
Fortunately, th e lineage for Tu^drub Barchey K unsel is still alive and
active; w e should n o t let it die, b u t keep it v ib ran t th ro u g h practice. Just
h aving texts lying aro u n d is n o t th a t useful; they need to be p u t into p rac
tice. T h is particular text is being practiced here in w estern countries, as
com pared to other places. My com m en tary is backed u p in w ritin g by
the extensive version o f the sadhana, by the com m entaries o f C h o k g y u r
L ingpa, Jam yang K hyentse, K ong triil, an d so forth. It bring s all o f th a t
together, alth o u g h I still h av en 't seen one com m entary th a t puts it all
together into one.
M isinterpretations can lead to doubts, so it is im p o rta n t to clarify the
correct visualization for the develo pm ent stage an d m a k e this available,
not only for the present b u t also for the future. In this way, a lot o f ques
tions com e up, an d if correct teachings are given, recorded, an d w ritte n
d ow n, then there is som eth in g for the future; otherw ise, it ju st vanishes.
O nce the m aster dies, the know ledge is gone, like that. I t is th e sam e w ith
a lot o f other teachings. U nless the teachings are kept, they vanish w ith
the master. T h ese days, w e only have the essence m anual; w e d o n 't have
the quintessence m anual. It an d an other im p o rta n t m a n u al both disap
peared.
F o r d evelopm ent stage, the visualization o f the deity is one o f the
m ore im p o rta n t points. W h e n I explain, I will start w ith the dharm akayas
basic space o f suchness, w hich is the sam adhi o f suchness, an d the other
sam adhis. T herefo re, this com m entary is based on w h a t can be defini
tively k n o w n from the extensive version o f the sadhana, k n o w n as Trinley
Gyepa, an d from the com m entaries by C h o k g y u r L ingpa, Jam y an g K h y
entse, and Jam gon K ongtriil. W h a t we k n o w today is ab o u t this m uch.
A n d even if w e w ere to ru n aro u n d an d try to dig u p things, w e w o u ld n 't
find any m ore th a n w h at exists today. I f you w a n t to m a k e u p lies, you
could, b u t w h a t is straig h tfo rw ard and tru th fu l is ab o u t this m uch. I will
n o t m ak e an y thing up an d have only included w h a t can be auth enticated
in the existing sources.
T it l e
T nnley N yingpo, The Yoga o f Essential Activity, from Lam ey

Tukdrub Barchey Kunsel, T he G uru’s H eart Practice, D ispeller
o f A ll Obstacles
T h e sad hana o f G u ru R inpoche fro m Tu^drub Barchey K unsel exists in

fo u r versions o f varying length— the very extensive; the m e d iu m length;
th e essential, w hich is Trinley N yingpo; and the concise version for daily
practice, the G yungyi K oljang. Trinley N yingpo m eans Essence o f A ctivity.
Just as the essential p a rt o f m ilk is contained in butter, the essential bless
in g o f the elaborate, extensive fo rm o f the sadhana, the Trinley Gyepa, is
condensed in th e Trinley N yin p o .
It is called “essence” (nyingpo) because people now adays are often so
busy they do n o t have tim e to do au thentic practice. T h erefo re, G u ru
R inpoche w as asked to provide so m ething concise yet com plete, w hich
w o uld be easy to do an d convenient to apply. So he condensed the teach
ing in this practice, and th a t’s really appropriate. W h e n I need to p erform
the feast offering w ith m y m o n k s on the te n th or tw enty-fifth day o f the
m o n th , w e just w o u ld n ’t have tim e if we d id n ’t have the “essential” size.
N evertheless, you sh o u ld n ’t th in k th a t Trinley N yingpo is low er quality
just because it is sh o rt an d condensed. O n the contrary, the extensive ver
sion m ay go into m ore detail, b u t n o th in g is left o ut here. It is also m ore
suitable as a daily practice, especially for w esterners. T h is essence practice
is therefore very im p o rtan t.
T h e r e ’s a fam ous saying: “In h arm on y w ith everyone, yet superior to
th em all.” I f one is n o t in tu n e w ith h o w everyone perceives an d u n d e r
stands, th e n one doesn’t really connect. B ut regardless o f being in h a r
m ony w ith everyone, if th ere is n o th in g special at the same tim e, then
w h a t’s th e point? T h e n th e re ’s n o th in g interesting there. T h e Trinley
N yingpo is in h arm o n y w ith all other teachings; yet at the sam e time,
th e re ’s som eth ing extraord inary there. Also, you can com bine the sadha-
n a ’s instructions w ith som e personal advice on how to go abo ut it.
In addition, this practice includes P ad m a sam b h av a’s personal advice
on h o w to p erfo rm all the aspects o f a V ajrayana ritual— w h en and how
to use the d ru m , damaru, an d bell; h o w to create the torm a; an d how to
m ingle developm ent and com pletion stages. T h a t, in itself, is som ething
extraordinary.
A t the beginning o f the Trinley Nyingpo, there is a special seal to au th en
ticate it as a term a by Padm asam bhava. As you know , countries have a
governm ent seal for their im po rtant papers. In the same way, the seal here
signifies the term a o f P adm asam bhava. Trinley Nyingpo is an earth treasure
(sa-ter). T h ere are seven m ajor types o f transm ission, including earth trea
sure (sa-ter), m in d treasure (gong-ter), and pure vision. C ho k g y u r L ingpa
had all seven lines o f transmission. H e was destined’to reveal one h u n
dred different term as, but he only succeeded in revealing thirty-seven o f
them , o f w hich the earth treasures, like the Tu^drub Barchey Kunsel, w ere
the m ore im p ortant ones. T h e re is some debate am ong tertons as to w hich
is the m ost precious, the m ost profound. Jigmey Lingpa, for instance, felt
that the m in d treasure is the m ost special, and he was not too im pressed
by som ething th at h ad been d u g up from the ground. In the context o f the
N y in g ti\ lineage, he said that m ind treasure— m in d (gong) being the state o f
realization— means that the terton s realization was indivisible from P a d
m asam bhava s. T his enables the terton to decode or m anifest the treasure;
therefore, m ind treasure is superior. O n the other h and, the F ifth D alai
L am a’s term as w ere in the form o f revelations. H e claim ed th a t because the
terton receives the term a in person in a pure vision, it is superior. O thers
claim that receiving it from P adm asam bhava’s ow n m o u th into their ow n
ears is superior, m ak in g the hearing lineage the best. But C h o k g y u r L ingpa
felt that the earth treasure was the best, because it could be authenticated.
T h e yellow scrolls w ith the secret w riting o f the dakinis still exist as tangi
ble proof; whereas, anybody can have a vision or inspiration.
T h e w ord lamey is an abbreviation o f lana mepa, w hich literally m eans
“highest” or “unsurpassed” and indicates that this scripture is very special.
M oreover, since the karm ically destined yidam o f T ib e t is
A valokiteshvara an d the karm ically destined g u ru is P ad m asam bh ava,
the w ord lama or guru here refers to G u ru R inpoche, w h ich is ano ther
nam e for P adm asam bhava. W h e n P adm asam b hava cam e to T ibet, his
m ain disciples w ere K in g T risong D eiitsen, the d ak in i Yeshe Tsogyal,
an d the g reat translator V airotsana.
A m o n g his other disciples w ere the tw enty-five disciples, the nine
h ea rt sons, and so forth. T o this very day, m ost o f the g rea t m asters have
been either direct em anations o f G u ru R inpoche’s m in d o r incarnations
blessed th ro u g h his influence. P adm asam b hava h im self said, “I f you
behold m e, it is the sam e as beholdin g all buddhas. I f you realize me, it is
the sam e as realizing all b u d d h as.”
In the N y in g m a tradition, there are tw o m ain stream s o f transm is
sion, the oral lineage an d the treasure lineage, k n o w n respectively as
K am a an d T erm a. T h e T h re e Roots are the g u ru , w ho is the root o f
blessings; the yidam , w ho is the root o f accom plishm ents; an d the dakini,
w ho is the root o f activities. E ach o f these th en has a related sadhana, but
the g u ru sadhana includes th e m all.
G u ru sad hana h ere m eans th a t you should regard your ow n root g u ru
to be indivisible from the m in d o f P adm asam bhava. O n e s g u ru is seen
as the blessings o f G u ru R inpoche, an d this is the real sense o f the w o rd
guru here. T h a t is the m ean in g o f heart practice, th ro u g h w hich w e come
to realize th e m in d o f th e gu ru.
T h e tid e also refers to all obstacles. P ad m asam b h av a’s close disciples
asked if there w ere obstacles on the p ath to enlightenm ent. H e replied,
“Yes th ere are outer, inner, an d in nerm ost obstacles. T h e re are countless
obstacles an d hindrances, an d the one unexcelled w ay to rem ove them all
is by supplicating your g u ru .” As. a m a tte r o f fact, w h en practicing the
D h arm a , any difficult or adverse circum stance is called an obstacle. T h e
m o m e n t you overcom e an obstacle is, in itself, an accom plishm ent. You
can also u n d ersta n d it this way: O u r basic n ature, the b u d d h a nature, or
sugata-essence, is covered by tem porary obscurations. W h e n w e rem ove
or dispel these, the qualities intrinsic to the b u d d h a n atu re becom e evi
dent. T h a t is called accom plishm ent, o r siddhi. As supplicating o n e s g u ru
is the best way to overcom e these obstacles, the g u ru sadhana is an ideal
way to attain accom plishm ent.
P r e pa r a tio n
H om age to the Guru, Tri\aya D eity. *

For the essence o f accom plishing the Trifyaya G uru,*
Sit on a com fortable seat in a secluded place*
A n d practice by means o f preparation, m ain part, and conclusion.*
Sam aya. «
T h e terto n w rote the first sentence, H om age to the Guru, Triâya D eity. It
m eans th a t all the deities o f the three kayas are included in the sadhana
as m anifestations o f P ad m a sam b h av a’s m ind. T h erefo re, by paying h o m
age to the single form o f P adm asam b hava, one is paying ho m age to all
o f them . T h e w ord deity refers to the principal figure in the center, the
tw elve su rro u n d in g m anifestations, and all the deities o f th e three kayas.
T h e specific details on how to practice each o f these deities is explained in
the longer versions.
So to practice, one should Sit on a com fortable seat in a secluded place.
T h is m eans a quiet, rem ote spot free o f daily h u m a n activities, w here
ghosts do n o t roam at night; w here there is no danger, such as from
thieves, bandits, or w ild anim als; and w here the m asters o f the past have
practiced. Ideally, one’s retrea t should be blessed an d pleasant.
A com fortable seat actually m eans a thick, w ide cushion w ith a sw as
tika design, either in chalk or \usha grass, u n d e rn e a th it. T h e re are quite
a few instructions about ho w to properly prepare a seat, b u t the m ost
im p o rta n t point is th at you should sit how ever you ’re m ost com fortable.
I f you need to sit for a long tim e, and you are uncom fortable, you will
n o t be able to rem ain still. It does not say to sit on the bare g ro u n d , a high
throne, chair, or any thing else. It just says sit on a com fortable seat, w h a t
ever is com fortable for you personally. Most texts say you should sit fac
ing west. Since G u ru R inpoche’s p u re land is to the west, then your seat
should face in th a t direction.
O n e ’s practice, then, consists o f prep aratio n, m ain p art, an d conclu
sion. T hese three include all the im p o rta n t aspects o f a sadhana. T h e
p rep aratio n involves a rran g in g the site, shrine, an d so fo rth as well as
reciting the verses for refuge, bodhichitta, protection circle, and so forth
in the sad hana itself. T h e m a in p a rt refers to the actual visualization o f
the developm ent stage, an d the conclusion includes the feast offering,
dedication o f m erit, an d so forth. T h e Trinley Gyepa has seven aspects for
each o f these three sections. T h e specific details for arra n g in g a shrine
are quite elaborate and should be learned from som eone w h o know s how
to do it properly. H ow ever, one im p o rta n t point is to have an im age o f
P adm asam b hava, w hich can be either a sculpture or painting. In fro n t
o f that, you place the three m ain ingredients o f am rita, rak ta , an d torm a;
the ou ter and inner offerings; and the feast articles. I f you are practicing
in a group, you should have various m usical instru m en ts; b u t if you are
alone, th en only a d a m a ru (hand d rum ) and bell are req uired . You will
also need a rosary.
Samaya m eans th a t this practice is n o t m e a n t for people w ho are unsuit-
able.
H a v in g p rep a re d on e’s space and arran g ed the shrine, one sits dow n.
A fter ch an tin g suitable lineage prayers, one begins the sadhana itself,
starting w ith refuge an d bodhichitta:
R efuge and B o d h ic h it t a
N amo«
I and all beings, equ aling the sky in number,»

T ake refuge in those w ho are the suprem e refuge .2
D eveloping the b odh ichitta o f aspiration an d application,*
I will accom plish the level o f the T rikaya G u r u J
T h is verse is chanted three times. Nam o m eans “h om age.” T h e first tw o

lines o f refuge are quite straightforw ard . A t the b eginning o f refuge,
im agine th a t rays o f light em ittin g from your h eart center call u pon G u ru
Rinpoche, as the p rim ary figure, and connect to the other objects o f ref
uge, such as buddh as, bodhisattvas, m asters o f the lineage, an d so forth,
w ho are gathered like cloud banks a ro u n d G u ru Rinpoche. It is also p er
fectly fine to im agine the “single em bodying jew el,” m e an in g the chief
figure, w hile keeping an aw areness o f all the other objects o f refuge g a th
ered, like cloud banks, aro u n d him . T h e n w e chant the m ean in g for that.
T h e visualization for ta k in g refuge is explained in the ngondro teachings,
but, in brief, im agine th a t all sentient beings take refuge together w ith
you at their head.
A ll beings m eans all sentient beings w ith o u t exception, even the likes
o f O sam a Bin L aden. W e all take refuge in the T h re e Jewels on the outer
level; in the T h re e Roots on the inner level; in the channels, essences,
and energies on the secret level; and in the em pty essence, the cognizant
nature, an d the unconfined capacity th at m anifests in the form s o f the
deities, according to the D zog ch en teachings.
To ta \e refuge im plies th a t fro m this m o m en t until w e attain com plete
b u d d h ah o o d , these are the objects o f refuge for us an d all sentient beings.
In V ajrayana, it is im p o rta n t you u n d ersta n d the m ean in g o f w h at
you are chanting. H av in g w itnessed o ur refuge vow, the objects o f refuge
em it rays o f light in all directions. T h is light touches all sentient beings,
rem oving their obscurations an d negativities.
T h e next two. lines encom pass the bodhichitta o f aspiration and appli
cation. T h e aspiration is sim ply the w ish th a t w e m ay resolve to attain
en lig h ten m en t for the benefit o f all sentient beings, as the b u d d h as and
bodhisattvas have done. Application m eans th a t w e will also actually
apply ourselves to doing w hatev er is necessary to attain com plete en ligh t
enm ent. Trikaya G uru refers to the g urus o f the three kayas. T h e d h ar-
m akaya g u ru is A m itayus, the sam bhogakaya g u ru is A valokiteshvara,
and the n irm an ak ay a g u ru is P adm asam bhava.
T h e Trinley Gyepa includes several extra lines for the bodhichitta o f
aspiration and application:
FW
As all the victorious ones and their sons o f the past
A roused th eir m ind s tow ard s the unexcelled suprem e
enlightenm ent,
I too will accom plish b u d d h ah o o d
In o rd er to benefit m y m others, all beings as n u m e ro u s as space is
vast.
A t the end o f this, it is good to com bine your b rea th in g w ith the
bodhichitta attitude. As you inhale, im agine you are in h alin g all the dis
ease and suffering o f others, and th en exhale rainbo w light th a t purifies
them o f any obscurations an d bathes th em in happiness an d joy.
T h e Trinley Gyepa also includes verses for the Seven Branches an d
fo ur im m easurables. T h o u g h they are n o t explicitly m en tio n ed here,
the m e an in g o f the Seven Branches is included later in the sadhana. W e
should, how ever, pause to contem plate the four im m easurables.
By this m erit, m ay all beings possess happiness.

F re ed from their suffering, m ay it ripen up on m e instead.
May they never p art from the happiness devoid o f misery,
A n d m ay they abide in im partiality, the equal n atu re o f all things.
G e K TO R — T H E T o R M A FOR T H E O B ST R U C T O R S
T h e n , all the objects o f refuge, the fie ld o f accum ulation, dissolve into you,
after w hich you transform into the action deity, w ho in this case is the
K in g o f the W ra th fu l O nes, H ayagriva. H e has one face and tw o arm s,
and on the top his head is a horse head. H e has a club in one h an d and a
noose in the other. I f you have a to rm a for the obstructors (gektor), then
you should consecrate it w ith R am yam k h a m . F ro m your h ea rt center,
countless sm all w ra th fu l deities em anate, carrying hooks, nooses, lassos,
bells, chains, an d so forth. T h ey capture any beings that seek to create
obstacles for practitioners. As these obstructors are arrested an d b ro u g h t
before you, you offer th em the to rm a together w ith the m a n tra. A n d then
you say, “F ro m now on u n til all beings attain enligh tenm ent, leave prac
titioners alone; go away, go h o m e.” T h e n say:
H ung H r i h !*
A ll dem ons, obstructors, and evil spritis o f deluded duality*

E njoy this to rm a an d disperse to your o w n places.®
T hose w ho refuse are expelled w ith special w rathful m eans, such as

co m m an d in g them w ith m antras, gestures, an d m u d ras or piercing them
w ith sam adhi. T h is is called “giving the co m m an d .”
T h e existence o f demons, obstructors and evils spirits is d ep e n d en t upon
deluded duality, or the m istak en w ay o f perceiving. As we m ain tain our
ideas, w h ich are dualistic in so m an y ways, then, according to o u r dual-
istic perception, evil forces do appear, and they can appear in an infinite
variety o f ways. Regardless, w e say, “T ak e this to rm a w ith exquisite
shape, smell, taste, texture, potency, an d so forth. M ay it ap pear to you
in w hichever way you prefer. T ak e it and get o u t o f here and d o n ’t m ake
m ore in terru p tio n s for en lig h ten m en t.” T h a t’s called the gektor, the
ob stru ctor’s torm a. I f you d o n ’t have an o bstructo r’s torm a, you just say,
“D o n o t rem ain here. G o to yo ur ow n places.”
T h e w ords and p h rasin g used in the Trinley Gyepa are just am azing:
H ung H r i h !*
W ith in th e prim ordially p u re m an d ala o f all th a t appears an d

exists,^
T h e re are no nam es, such as dualistic fixation, obstructor, or
deceiver.«
Yet, not realizing this, due to the dependency o f m o m en tary
confusion,s
All you dem ons w ho prevent us from attaining en lig h te n m en t,5
T ake this to rm a as p ay m en t for o u r deb ts5
A n d disperse leisurely to your respective dw ellings.5
F o r m e to realize the yoga o f the w isdom fo rm ,5

In o rd er to benefit all beings filling space,5
In clud ing you, w ho is n o t beyond this space,5
A lthou gh distance does n o t exist for an altruistic m in d ,5
D u e to the pow er o f negative karm a, you have no fortune«
To perceive this m andala; therefore, go elsew here for a w hile.5
I f you do n o t leave, the rain o f vajra w eapons5

W ill com pletely reduce your body, speech, and m in d to d u st,5
All the way dow n to your seventh generatio n.5
T herefore, be gone rig h t now.«
By m y co m m and , th a t o f the great an d m ighty S porting S teed,5

By the blessings o f the precious T h re e Jewels,«
By the sam adhis o f the yidam s o f the T h re e Roots,5
By the perfect tru th o f d h a rm a ta ,5
A n d by the unfailing coincidence o f cause an d effect,5
May the hordes o f dem ons w ho disobey this co m m a n d 5
Be destroyed by the ferocious vajra display!5
You can actually attain com plete en lig h ten m en t by just training in
gektor. In short, w hoever receives this to rm a is dispelled far into the dis
tance. It includes the visualization o f the vivid presence o f th e w rath fu l
deity and em anations o f deities in all directions to arrest the evil forces.
T h e n they are being co m m an ded w ith the use o f the dance m ovem ents,
vajras, m antras, m agic substances, b u rn in g incense, an d the state o f
sam adhi. All th a t is included w ithin gektor. As all o f these aspects are
com bined in w h at is called the “auspicious coincidence,” every one o f
them is significant.
T h e im p o rta n t th in g to u n d ersta n d here is th at the obstructor (gei()
is your ow n thoughts, your o w n projections; therefore, the m o m e n t you
io o D I S P E L L E R O F OBSTACLES
sim ply let be in the com posure o f sam adhi, every single type o f obstructor
im m ediately dissolves— they all sim ply vanish.
O nce you have chased a th ie f o ut o f your house, you then lock the
door; similarly, the next tw o lines describe the protection circle followed
by a m antra:
In the n o n d u al w isdom state o f deity, m a n tra, an d dharm akaya,*

T h e bo und ary m a n d ala is n aturally self-perfected.*
H u n g h u n g h u n g vajra rak sh a raksha brhrum *
T h e protection circle is com prised o f a vajra scepter in the center, sur

ro u n d ed by a dom e built o f vajra crosses; the floor also has a huge vajra
cross. A ny spaces in betw een are filled w ith ever-sm aller vajras, until
th e do m e an d floor becom e com pletely im penetrable. T h e do m e is su r
ro u n d e d by flames, w ater, a ro arin g w in d , lightning, an d th u n d e r— in
o th er w ords, the five elem ents. In addition, there are m ale an d fem ale
w ra th fu l deities. O ne faces o u tw a rd and the o th er one faces in w ard , as
explained in the general m eth o d o f the developm ent stage. T h e deities
facing in w ard and o u tw ard prev en t external obstacles from interfering in
the practice an d blessings an d accom plishm ents from slipping away. So
everything has its purpose.
K arm ey K h en p o h ad a skillful h an d and was a very good artist. W h e n
he received the em p o w e rm en t for M aw ey Senge, the L ion o f Speech,
fro m C h o k g y u r L ingpa, he took an oath to com pose or d ra w som ething
w ith divine quality every day. T h ereafter, no m a tte r w here he w ent, he
always had paper and pen. H e lived to an advanced age and m ad e m any
draw in gs, designs, an d paintings. O ver the years, he m ade draw ings and
sketches o f alm ost all the m andalas, and so forth, in the C h o kin g Tersar.
K a rm a K h e n p o ’s d ra w in g o f a protection circle shows w h at it should
look like. I have m an ag ed to secure some o f these draw ings, b u t not that
many. A pparently, there is a m o n k at a m onastery in E astern T ib e t w ho
has m any m ore. H ow ever, I do have a d raw in g o f the protection circle he
m ade.
D IS P E L L E R O F OBSTACLES IO I
T he D o w n p o u r of B lessin g s a n d
C o n se c r a t io n of O ffe r in g s
O m ah h u n g «
H osts o f T rikaya G u ru Deities, m anifest from d h a rm a d h a tu !5

L et resplendence descend on this place and bestow em pow erm ents
and siddhis!«
Please bless this great offering m u d ra o f appearance an d existence
as m anifest g ro u n d 5
To be an ocean-like display o f S am antabhadra!'5
O m ah h u n g vajra g u ru dheva dak in i gyana abeshaya a ah«
H u n g h u n g h u n g om sarva puja m egha ah h u n g 5
Sam aya.5
T h e first tw o lines comprise the dow n pou r o f blessings. F o r this, you visu
alize that light rays stream out from your heart center in all directions, espe
cially to the buddhafields, w here the chief figure o f the m andala resides. In
this case, it w ould be the p ure land o f P adm asam bhava, the G lorious C op
per-Colored M ountain, w here he is seated in the three-kaya palace. T h en ,
from Padm asam bhava and his retinue, a show er o f blessings descends onto
you, your surroundings, the shrine im plem ents, offerings, an d so forth. Just
like w ater drops falling on a huge lake, these blessings dissolve into you
and become indivisible from you. But the real m eaning is th at our incor
rect, im pure way o f seeing things subsides, both externally and internally,
so we see purely and correctly. E ven though we do not perceive things as
being totally pure, they actually are already pure. In the Trinley Gyepa,
there are some very special lines for invocation, w here the w isdom beings,
w ho rem ain in the basic space o f d h arm ad hatu, are invoked to arise and
become indivisible from us, the samaya beings.
H u n g H r ih ! 5
F ro m the land called the no rth w estern C h a m a ra C o n tin en t,5
T h e spontaneously present place o f w ondrous great splendor, 5
F ro m the celestial palace o f lotus light, the G lorious M o u n ta in ,5
O rgyen T o tre n g T sai, em bo dim ent o f all the T h re e Roots,5
T ogether w ith all the sugatas and victorious ones th ro u g h o u t the

directions and tim es,5
A n d your retinues o f vidyadharas, dakas, an d dakinis,«
D o n o t neglect the sam aya o f your fo rm er promise.^
W h e n I invoke your m in d stream w ith the overw helm ing, intense
po w er o f y ea rn in g ,*
W ith your beautiful form s in free-flow ing dance movements,«

W ith the tones o f your voices ro arin g as sounds o f vajra m a n tras,*
A n d w ith your com passion as the lum inous state o f self-existing
wakefulness,«
Please com e here fro m the un m anifest d harm adhatu!«
S how er the great vajra resplendence o f body, speech, and m inds

O n to the outer, inner, an d in n erm ost m an d ala an d sam aya articles.«
Q uickly display w on drou s signs and indications !*
Bestow em p o w e rm en t an d blessings upo n all th e practitioners o f
this suprem e sadhana!*
So even th o u g h there are just tw o sentences here, you still im agine

th a t the sky totally fills up w ith deities, w ho th en dissolve into you, the
shrine offerings, an d so forth. In this way, you, your su rrou ndings, an d so
forth are all blessed.
In o rd e r to aw a k e n to e n lig h te n m e n t, w e n eed to perfect the accu
m u latio n s an d rem o ve any obscurations. T o p erfect the accum u lations,
w e m a k e offerings, b u t offerings n eed to be sanctified first, so th e next
tw o lines are for the consecration o f offerings. Appearance and existence
as m anifest ground refers to th e D zo g c h en view. F ro m th e very b eg in
nin g , all th a t app ears an d exists, th e w o rld an d beings, are in fact form s
o f th e o rig in al g ro u n d , the p rim o rd ia l state. T h a t is the tru e fo rm o f the
deity indivisible fro m the p rim o rd ia l n atu re . T o p u t it sim ply, w h ate v er
you perceive is an expression o f P a d m a sa m b h a v a ’s m in d . E v en m ore
sim ply, w h ate v er you perceive is a projection o f you r ow n m in d . W h a t
ever you perceive, all th a t you experience, is in itself devoid o f any solid
existence, a p a rt fro m y o u r p ro jec tin g ideas, as i f they existed in th e m
selves. But, w h e n you face this reality, th en , th ro u g h the practice, you
w ill realize th a t n o th in g is a p a rt fro m the state o f p rim o rd ia l purity.
As ev ery th in g is a state o f em ptiness to begin w ith , th e re is g re a t flexi
bility. I f em ptiness w ere n o t th e basic state, th e n everything , in c lu d in g
ourselves, w o u ld be fro z en in one state fro m th e b eg inn in g. B ut, in this
state o f em ptiness, you are free to im ag in e an infinite n u m b e r o f offer-
ings. T h e r e w o u ld be no space for you to im agine a n y th in g if it w e re n ’t
em pty to begin w ith.
H e re Samantabhadra m eans “im m easurable display.” A s explained in
the com m entaries on The Way o f the Bodhisattva, each pore o f Bodhisattva
S am a n tab h a d ra’s body em anates a cloud b an k o f offerings th a t fills the
sky w ith exquisite sense pleasures. E ach o f these em its rays o f light, from
w hich ano ther bodhisattva appears. A gain, fro m each pore o f this bodhi-
sattva’s body, offering clouds fill the universe, an d so on, to infinity.
T u lk u U rgyen R inpoche pointed out m ind-essence w ith a sim ple
gesture o f his hand. I f one recognized it an d rem ained for even a few
instants in the state o f rigpa, m any eons o f negative k a rm a w ould be
purified instantly. In the sam e way, the ocean-like display o f S am a n t
ab h ad ra is also an extrem ely effective purification. I f you cannot im agine
an infinite display, try to im agine a large one. E ven w ith o u t all the details,
it is still very beneficial. U ntil w e attain the state w here everything n a tu
rally m anifests ou t o f em ptiness, w e need to use ou r im agination, th o u g h
w e should still m ak e the offering in a state o f com plete equality. T h o u g h
developm ent stage, in this case, is the process o f m ental visualization,
according to the ultim ate m ean in g, w hatever appears and exists is actu
ally the m anifestation o f the g ro u n d itself.
O m a h h u n g v a jra g u r u d h e v a d a k i n i g y a n a a b e s h a y a a a h is the
m a n tra for the d o w n p o u r o f blessings, and H u n g h u n g h u n g o m sarva
p u ja m e g h a a h h u n g is the one for the consecration o f offerings.

In the elaborate sadhana, one separately consecrates each o f the outer,
inner, innerm ost, and secret offerings. O u te r offerings include the rins
ing and d rin k in g w ater, p erfu m e, lam p, food, m usic, an d so forth. T h e
in ner offerings are for the w ra th fu l deities; they include blood, fat, the
five sense organs arran g ed as a flower, and so forth. T h e secret offerings
are the am rita, rak ta, an d torm a. B ut here, all you do is ch a n t Om sarva
pu ja m e g h a a h h u n g , w hich actually includes all outer, inner, an d in n er

m ost offerings, because sarva m eans “all” an d puja m eans “offerings.”
Im agine th at everything is included in one consecration. A t this point,
im agine all seven general offerings— d rin k in g w ater, rin sin g w ater, food,
lam p, perfum e, musical instru m en ts being played, an d flow ers— as well
as the inner offerings. H ow ever, for w ra th fu l deities, they are h u m a n fat,
w hich is used as a lam p, th e flesh as fruit, p erfum e, an d m usic created
w ith thigh bone trum pets, d ru m s m ade from skulls, an d so forth. O n
the in nerm ost level, am rita is m ade out o f the o ne-th ou sand ingredients,
o f w h ich there are eight p rim ary ones; ra k ta is com prised o f a substance
th a t brings an en d to all o f sam saric existence; an d the to rm a em anates
a cloud b an k o f desirable objects. E ven th o u g h you can im agine each o f
these in g reat detail, here you should at least b rin g th em to m in d to a cer
tain degree. T h e seven general offering bowls as well as the am rita, rakta,
an d to rm a on the shrine are the supports for visualization. T h o u g h you
should have these supports, you should also do the visualization.
W h e n w e m a k e the actual offerings later in the sadhana, w e add the
ultim ate offerings o f the u n ion o f liberation an d the offering o f thatness,
em ptiness, an d so forth. H ow ever, w e do n o t need to consecrate them at
this point.
In these offerings, w e are n o t h o ld ing onto concepts o f self an d other,
because w e have already exorcised the dem ons o f dualistic concepts
d u rin g th e gektor. In the Trinley Gyepa, w e say:
W ith in the prim ordially pure m a n d ala o f all th a t appears and

exists,®
T h e re are no nam es, such as dualistic fixation, obstructor, or
deceiver.*
Yet, n o t realizing this, d u e to the dependency o f m o m en tary
confusion,®
A ll you dem ons w ho p rev en t us from attain in g enlightenm ent,*
T ak e this to rm a as pay m en t for our debts*
A n d disperse leisurely to your respective dwellings.*
W e offer th e peaceful deities p u re w ater to d rin k , w hich is in com

plete h arm o n y w ith n o rm al concepts. T h e blood w e offer the w rath fu l
deities to d rin k is vaster th a n the ocean. E ven if you killed everyone in
the w orld, th eir blood w o uld n o t fill the ocean. T h e flesh, organs, and so
forth, all develop from blood; therefore, w h en som ebody gets a cut, we
respond very differently than if som eone is spilling w ater on the g rou n d .
People get very upset at the sight o f blood, and they usually do n o t d rin k
it. T h erefo re, the purpose o f m a k in g an offering o f blood in o ur visual
ization has n o th in g to do w ith killing people an d offering their blood,
b u t rath e r w ith dissolving o u r fixated notions. As for w ra th fu l deities,
w e tu rn it com pletely aroun d. As we m u st offer th em som ething h u m ans
d o n ’t d rin k , w e use blood. Also, w h en h ea rin g th a t blood is offered as a
d rin k , one thinks, “Is it m y blood or som eone else’s blood? I f it is som e
one else’s blood, w o u ld n ’t it be sad for them ? So, I w o uld rath e r offer m y
o w n .” T h is reflects a perceived duality o f self an d other, an d until you
transcend th a t duality, you should definitely continue to offer blood in
your visualization.
It is sim ilar w hen offering rinsing water. F o r the peaceful deities, o f
course, you offer clean w ater to rinse their feet; b u t for a w ra th fu l deity, it
has to be the opposite o f pure, clean water. T h a t is w hy w e offer poison as
rinsing w ater for the w ra th fu l deities’ feet. O n e m ay th en develop dual-
istic concerns, “W o n ’t it h u r t their feet? I f you offer poison to the deity,
w o n ’t their skin fall off, the w hole th in g going to pieces?” W h e n you h ear
the w ord poison, you im m ediately form a strong m ental notion, th in k in g ,
“I t’s bad, it’s horrible, it’s deadly.” H ow ever, you m u st overcom e value
judgem ents such as these, using the m any subtle techniques V ajrayana
em ploys to this end. T h a t is w hy people w h o do n o t k n o w th e tru e m e an
ing and purpose o f the sym bolism often get a com pletely w ro n g im p res
sion o f Vajrayana.
Finally, the w ord samaya m eans all seven aspects o f p rep a ra tio n are
now complete.
T he M a in Part
T h e T h ree S a m a dhis
T ra in in g in the dev elop m en t stage o f the m a in p a rt involves the

extraord inary m etho d o f visualizing th e deity. Beings are b o rn in one o f
four ways— by egg, w om b, heat, or m oisture, or instantaneous app ear
ance (a type o f ethereal rebirth). T h ese four correspond to each individ
ual’s habitual tendencies. T h e particular m etho ds o f visualization found
in the developm ent stage purify the tendencies related to th e four m odes
o f b irth as well as the habitu al tendencies related to passing away. M any
o f the details for visualizing can be fou nd in L ig h t o f Wisdom, Volume I I
(Lam rim Yeshe N yingpo), w hich states:
T h e L am rim Yeshe N yingpo root text says:
M anifesting as the resultant from the causal purifies egg b ir th J

T h e w isdom s o f the fivefold tru e perfection purify w om b birth.s
Being instantly present fro m a m a n tra purifies b irth th ro u g h
warmth.®
T h e deity in com pleteness by m ere recollection purifies m iraculous
birth, s2
T hese fo ur types o f reb irth have four points: the very extensive devel
o p m e n t stage, corresponding to egg birth, for the com plex beginners w ith
dull faculties; the d evelop m en t ritual o f true perfection, corresponding
to w om b birth, for the slightly com plex people w ith m e d iu m faculties;
dev elopm ent th ro u g h just a m a n tra, corresponding to w a rm th an d m ois
tu re b irth, for noncom plex people o f sharp faculties; and developm ent
as instantaneous perfection, corresponding to m iraculous b irth , for the
extrem ely noncom plex people o f the highest faculties. T h u s , there are
four types o f rituals for develo pm ent o f the deity.3
O n e can also begin the visualization according to one o f the m any
styles o f M ahayana, A n u Yoga, or A ti Yoga. My explanation is based on
th e Tukflrub itself an d seems to correspond to the visualization for p u ri
fying the concept o f w om b birth. T h e aspect o f k now ledge (prajna) is o f
p rim o rd ial purity an d the aspect o f m eans {upaya) is o f spontaneous pres
ence. T h e ir indivisible unity m anifests in the fo rm o f the seed syllable,
o u t o f w hich everything appears. A t the sam e tim e, you can also say th at
o u t o f d h arm a k ay a the sam bhogakaya appears, out o f sam bhogakaya the
n irm a n ak a y a appears, an d so forth.
T h e w ords w e have here are: D harm akaya s basic space o f suchness is
the realm o f lum inous wakefulness. Sambhogakaya s unceasing illum ination
is compassionate expression. T h e n this em ptiness an d com passion com bine
into N irm anakaya's seed samadhi, the w hite HRlH. T h e m eth o d o f purifying
is called the “th ree sam adhis,” (the sam adhi o f suchness, the sam adhi o f
the illum ination, an d the sam adhi o f the seed syllable). T h is process p u ri
fies conception based on the m eetin g o f the fa th e rs sperm and the m o th
er's ovum . You could com pare the letter h rih to the consciousness th at
enters the fertilized egg. It is the seed fro m w hich the deity will appear.
T h e seed syllable then develops into the full-fledged form o f the deity
an d takes birth. A n ew b o rn baby is n o t yet fully grow n; it needs to be
n u rtu re d an d to m atu re. S ym bolizing this process, the deity still needs to
be consecrated w ith the three syllables and em pow ered w ith th e five B u d
d h a families, even th o u g h it m anifests fully. H a v in g g ro w n up, the child
can n o w carry o u t the responsibilities o f adulthood, w hich correspond to
D IS P E L L E R O F OBSTACLES IO 7
the various recitation intents. Finally, just as everything begins to disin
tegrate at death, w e dissolve everythin g at the end o f the sadhana. T h e n ,
to sym bolize the n irm a n a k a y a ’s unceasing activity to benefit beings, w e
again ap pear in the fo rm o f the deity.
In other w ords, the develop m en t stage purifies an o rd in ary p erso n s
habitual states o f delusion and ways o f perceiving, fro m th e m o m e n t
o f conception an d b irth until death, w h en everyth in g disintegrates.
T h e practice begins w ith the three sam adhis, goes th ro u g h all the vari
ous parts o f the sadhana, an d ends w ith dissolving an d then re-em erg-
ing. Every single feature totally fits together, not only p u rifying habitual
tendencies, b u t also m a tu rin g a practitioner into the com pletion stage.
M oreover, it does no t finish there. I t extends to the final resu ltan t stage o f
b u d d h ah o o d , w h ere endless, boundless benefit will m anifest for beings.
T h e L ig h t o f Wisdom, Volum e I I also explains this very carefully. So the
develop m en t stage has m any levels o f im pact an d effect.
I f you practice V ajrayana, there is no way to avoid u n d e rsta n d in g the
three-kaya principle. T h e aw ak en ed state o f the B udd ha, w h ich is d h a r
m akaya, expresses itself as sam bhogakaya, in o rd er to influence beings.
O u t o f the sam bhogakaya, the m agical form s o f n irm a n ak a y a are con
jured forth, to provide sentient beings w ith a tangible connection an d to
teach the nine vehicles, in o rd e r to bring th em to en ligh tenm ent. H a v
ing tu rn ed the w heel o f the D h a rm a in boundless ways, w hich are called
the “Inexhaustible A d o rn m e n t W heels o f E n lig h ten ed Body, Speech, and
M in d ,” and so forth, then the n irm a n ak a y a deities dissolve into the sam
bhogakaya, and the sam bhogakaya dissolves into the d h arm a k ay a . T h e
stru ctu re o f the d evelopm ent stage reflects this cycle.
T h e m ain p a rt begins w ith u nfolding the fra m ew o rk o f the three
sam adhis. N ex t, you visualize the support, w hich is the m andala, an d the
sup ported, w hich is the deity. T h ird , you invoke the w isd om beings to
dissolve indivisibly into you, as the sam aya being. T h e n you pay hom age;
m a k e outer, inner, and in nerm o st offerings; and offer praises. Finally, you
train in the vivid presence, w hich is the visualization o f the principal fig
u re o f the m an dala, follow ed by the recitation o f m a n tra. A ll o f this com
prises the general system o f develo pm ent stage, according to M ahayoga.
Ah?
D h arm a k ay a s basic space o f suchness is the realm o f lu m ino us
w akefulness.?
S am b hog ak ay a’s unceasing illum ination is com passionate
expression.*
N irm aria k ay a’s seed sam ad hi is the w hite h r ih .°
F ro m it light radiates, p u rifying the clinging to a real universe w ith

beings J
O n g radually piled elem ents, am id st the vajra protection circle,*
F ro m bhrum comes the jew eled palace w ith perfect qualities.*
T h e first o f the three sam adhis is the sam adhi o f suchness. T h e sylla
ble ah signifies non-arising, no n-d w elling , an d unceasing. T h e M anjushri
N am a Sangirti describes it as the m ost em in en t am o n g all verbal expres
sions, w hile the Guhyagarbha Tantra m entions it as being the basis for all
sounds an d w ords. In this p articu lar context, the syllable ah signifies “let
tin g be” in the state o f d h arm a k ay a , th e aw akened m in d o f all b u dd has,
w h ich is the n atu re o f o u r o w n m in d ’s em ptiness, p rim o rdial purity, or
rigpa; these are all synonym ous a t this point.
T h e first sentence m eans th a t d h arm a k ay a— th e state o f u n co n d i
tioned suchness, the p rim o rd ial purity th a t pervades all o f sam sara and
n irv an a— is end ow ed w ith a spontaneously present, lum in ous w ak e fu l
ness.
T o apply this personally, the ideal is to m ingle y our state o f m in d w ith
th e d h arm a k ay a o f all buddhas. T o do this, w e sim ply d ro p o u r visualiza
tion an d totally relax into the state o f aw areness or em ptiness, naturally,
w ith o u t follow ing after any th o ug hts o f the past, present, o r future. F o r
a sh ort w hile, sim ply let be in naturalness. I f you have already had the
state o f rigpa pointed o ut to you by a m aster, an d you have recognized
it, then this is the occasion to rem a in in the state o f com posure, sustain
in g the continuity o f rigpa, w hich is a w akefulness th a t defies thoughts,
w ords, an d descriptions. B ut if you have n o t h ad the p o intin g o u t in stru c
tion, th en you should do the follow ing: Focus on your faculty o f sight, the
eye consciousness, and simply direct your gaze into the openness o f space
before you. L et your tongue rem a in suspended in your m o u th , n o t touch
in g the u p p e r palate or gum s. R em ain totally disengaged, uninvolved in
either recollecting the past o r p la n n in g the future. Just allow the present
m o m e n t to be, like a d ra w in g on water. T h e n , for a sho rt w hile, you will
experience som e openness, a n a k e d state o f being open and aw ake, and
th a t’s it. H ow ever, if you are n o t able to just let be, then, at least th in k
th a t all p h en o m en a in sam sara an d nirvana, w hatev er appears an d exists,
are, by natu re, em ptiness. T h is em ptiness is n ot a blank void state; it is
endow ed w ith lum inous wakefulness. T h is concept, o f course, m ay not be
d harm akaya, b u t if one does n o t k n o w h ow to recognize th e n atu ra l face
o f dh arm akaya, th en one m u st at least use th o u g h t to loosen one's dualis-
tic concepts.
T h e next sentence, Sam bhogakayas unceasing illum ination is compas
sionate expression, refers to the sam adhi o f illum ination. T h is com pas
sion is nonconceptual an d und irected, em bracing o f all those w ho fail to
u n d ersta n d their basic n atu re o f suchness. It is the n atu ra l expression o f
the d h arm a k ay a o f all budd has, w hich is the sam bhogakaya. So to prac
tice this, let the aw ak en ed state o f the first sam adhi m anifest as a m a g i
cal com passion for all sentient beings w ho fail to recognize this intrinsic
w akefulness.
All beings w ith o u t exception are already the d h arm a k ay a o f all b u d
dhas. T h e ir basic n atu re o f suchness is the sugata-essence, b u t failing to
realize that, they continuously stray into the deluded ways o f experienc
ing. T h a t is the reason for com passion. Since only a b u d d h a, the a w a k
ened state, is com pletely free o f delusion, an d everyone else, you could
say, is subm erged in a d elud ed way o f experiencing, there is reason for
com passion. T h is delusion causes o u r present experience o f sam sara to
em erge. As com passion m anifests from the state o f em ptiness, sam bhoga
kaya appears from d harm ak ay a. T h e unity o f the tw o, the indivisibility
o f em ptiness and com passion, takes the form o f the seed syllable, w hich
is the th ird sam adhi. T h a t syllable, h r ih , corresponds to nirm anak aya.
W h e th e r it is in the shape o f the In d ian or T ib etan syllable, the H r ih
w e visualize is indivisible from o u r ow n m inds. T h e syllable radiates

brilliant rays o f light, sym bolizing th a t o u r b u d d h a n a tu re is naturally
endow ed w ith inconceivable g reat qualities.
In the vast space o f em ptiness, sam bhogakaya's illum in ation takes the
form o f a w hite h r i h . In o ther w ords, im agine th a t in the m idd le o f the
vastness o f space, a brilliant w h ite h r i h em its light in all directions. T h is
is the sam adhi o f the seed syllable, w hich corresponds to nirm an ak ay a.
In short, o u t o f the d h arm a k ay a space o f suchness, com passion m a n
ifests, fulfilling activity th a t assures th e w elfare o f all sentient beings.
T hese three sam adhis are incredibly profound. In the p u re aspect, they
correspond to the d h arm ak ay a, sam bhogakaya, an d n irm a n ak a y a o f
all buddhas. O n the im p u re level, they purify any h ab itual tendencies
related to birth. All M ahayoga sadhanas include train in g in these three
no d is p e l l e r o f obstacles
sam adhis. T h is could all be explained in g rea t detail, b u t it is im p o rta n t
to k n o w h o w to apply it in a practical way, by m eans o f the pith instruc
tions o f a m aster. A ccording to M ahayoga, unless you are able to apply
the teachings, th ere is no fra m ew o rk for the sadhana. O n the o th er hand,
if you do n o t k n o w all the finer details, b u t do practice these three basic
principles, th e n at least the fra m ew o rk for sadhana has unfolded. T his
is an extrem ely vital point. T h is is w hy the Trinley Gyepa has a four-line
verse for each o f the th ree sam adhis. T hese are chanted w ith a very spe
cial slow tu n e th a t allows the practition er to b rin g these three sam adhis to
m in d to the fullest an d actually apply th e m as one goes along.
O m IJ
F ro m the all-pervasive state o f the u tterly p u re d h a r m a d h a tu /
A m an ifo ld display m anifests as occu rring in d ep en d en t
connection.»
F ro m the very m o m e n t it m anifests, it is the p rim o rdial n atu re
beyond concepts.*
T h is is the suchness stated by the L otus King.*
D h a rm a d h a tu jnana vajra svabhava atm a k o h ham»
A h »
T h o u g h everything is the n atu re o f d harm ak ay a, the aw ak en ed
state,s
F o r all beings equal to space, w ho do n o t realize t h i s /
T h e radiance o f the n onconceptual self-expressed great
compassion»
Shines th ro u g h o u t, like the sun in the sky.*
B o d h ic h it t a utpa daya m i »
H ung»
Since all things originate as effects from c a u se s/

In o rd er to free the six kin ds o f beings, in the m a n n e r o f
com passionate e m p tin e ss/
T h e w h ite letter h r ih , brilliant, w ith rays o f li g h t/
A ppears im m utab le w ith in the expanse o f spaced
H r ih sa pharana ph a t sa n g harana h u n g *
E ven th o u g h there is only one sentence for each o f the three sam adhis
in the Trinley N yingpo, as w e chant, w e should allow the m e an in g o f each
D I S P E L L E R O F OBSTACLES III
w o rd to b rin g to m in d the n a tu ra l face o f d h arm ak ay a, the m in d o f all
b uddhas; to the best o f o ur ability, w e should rem ain in this continuity.
T h e n , w ith in the continuity o f d h arm ak ay a, w e allow p rim o rd ial pu rity
to be expressed as com passion. O f course, the best is to have totally spon
taneous, genuine, uncontriv ed com passion; b u t if th a t does n o t happen,
th en one m u st contrive it.
F ro m the h r ih light radiates, pu rifying the clinging to a real universe
w ith beings. T h e light o f the seed syllable purifies the tendency to cling
to things, such as the w orld an d sentient beings, as if they w ere solid and
real. W e m u st dissolve this tendency in o rd er to train in develo pm ent
stage, just as a cup m u st be em pty in o rd er to be filled. I f w e still cling to
o u r notions o f m aterial existence, w e w ill n o t be able to im agine a p u re
land, like Sukhavati, w h ere the scenery is entirely com posed o f insub
stantial gem stones, an d th e palace itself is im m easurable.
T h e details o f the m and ala tem ple are very com plex, b u t according to
the trad ition o f pith instructions, you can sim ply im agine th a t you are in
a m agnificent house, a w o n d erfu l m ansion, m ade o f insubstantial jewels.
D ilgo K hyentse R inpoche said this to a few students, w h en he was in the
W est. So, we try to th in k o f it as being the best possible, the m ost ex qui
site, w hatever we can im agine beyond the ordinary.
T h e w ords On the gradually p iled elements, am idst the vajra protection
circle m ean th a t various types o f seed syllables, like e, yam , ram, lam,
bam , em anate fro m the h r ih an d tu rn into the m andalas o f the elem ents
in d ifferen t colors, shapes, an d so forth. T h is too is very com plicated. A t
this point, just im agine the syllables em erge, an d th a t is good enough.
T h e vajra protection circle is outside o f that, like a hug e dom e.
From bh ru m , comes the jew eled palace w ith perfect qualities. T h e celes
tial palace is situated at the center o f the h uge vajra cross, w hich is on
the floor o f the v ajra protection circle. Its proportions, dim ensions, dec
orations, and so forth are all com plete an d perfect, just as th e M agical
N e t tantras (M ayajala) explain. In -d e p th descriptions can be fou nd in
K arm ey K h en p o ’s D etailed Explanation o f M aw ey Senge4 as w ell as in
the Guhyagarbha Tantra. A n im p o rta n t p oint to rem em ber, how ever, is
th a t the celestial palace is a m anifestation o f the principle deity. In oth er
w ords, the b uilding is none o ther th a n the deity itself, an d fro m every
single little bell, the sound o f th e D h a rm a resounds.
V i s u a l i z i n g P a d m a s a m b h a v a a n d H is R e t i n u e
In its center, u pon a lion th ro n e w ith a lotus, sun, and moon,®

Is m y aw areness as P ad m asam bh av a, the em b o d im en t o f all
sugatas.s
W ith an expression o f peacefully sm iling w ra th , an d a w hite and
red com plexion,s
I w ear the lotus crow n, secret dress, gow n, D h a rm a robes, an d a
brocade cloak.®
My rig h t h a n d holds a vajra an d m y left a skull cup w ith a vase.®
T h e sup rem e consort is em braced in the concealed form o f a
\hatvanga. s
W ith m y feet in the playful, royal posture, I am poised in a sphere
o f five-colored lig h t.§
T h e floor o f the celestial palace is mainly w hite, b u t there is a design on

it, an d it has various levels. T h e light in each o f the four directions is o f a
corresponding hue— red, yellow, green, and w hite. W ater flows in the four
corners o f the m ain floor, and then the inside o f that is raised up above the
rest. T h e re are also various designs m ade o f jewels in diverse colors.
In the center o f the palace, im agine a deep blue platfo rm w ith eight
sides, on w hich th ere is a lotus, sun, and m oon. T h e fully blossom ed lotus
flow er is huge, has fou r petals, an d is either lapis blue or m ulticolored.
In th e center o f the lotus is a raised th ro n e suppo rted by eight lions, tw o
on each side. O n top o f the p latfo rm o f the throne, there is a lotus flow er
w ith both a sun an d a m o on disc. T h e syllable h r ih , w hich is actually ou r
o w n m in d in the state o f rigpa, no w comes to setde on the m ain th ro n e
a n d tu rn s into P adm asam bhava.
.P admasambhava, the em bodim ent o f all sugatas... P ad m asam bh ava, or
G u ru Rinpoche, has w hite skin, b u t it glows w ith a reddish hue. H e is
sm iling peacefully, b u t his gaze is a little w rathful, a bit wild. H is eyes
look directly at those to be tam ed.
T h e lotus crow n is like the ones T u lk u U rg y en R inpoche copied;
C h o k lin g R inpoche has one. It is u n iq u e in th a t the rear flap does not
h a n g dow n. It is described in the Trinley Gyepa as being adorned w ith v u l
ture's feathers, m irror (s), and jew els, and is endow ed w ith sil\strearners. E ven
th o u g h it is often depicted as blue, its base color is actually red, sym bol
D IS P E L L E R O F OBSTACLES “ 3
izing the L otus family, whose activity is m agnetizing. T h e fro n t flaps are
blue an d green, an d there is a v ulture feather at the peak, sym bolizing
the su m m it o f all views. T h e re is also an eye-of-a-peacock feather to sym
bolize th a t the five poisons are autom atically tran sm u ted into the five
wisdom s. T h ese days it is often m ade w ith just a peacock feather an d no
vu lture feather, as if the su m m it o f all views w ere n o t needed. Finally,
according to the traditio n o f C hokling Tersar, there is a tiara o f ribbons
h an g in g d o w n from the crow n.
T h e secret dress is a w hite un d erg arm en t w orn next to the body. O ver
this, Padm asam bhava wears a blue spangled gown; and over that, he wears
the three D h arm a robes. H e also has a m o n k ’s skirt, w hich is un iqu e to the
Tukdrub Barchey Kiinsel. O ver all this, he wears a m aroon colored brocade
cloak tied w ith a tantrilâs belt, w hich is a special kind o f sash.
H e raises a vajra in his r ig h t h a n d an d sup ports a skull w ith a vase o f
longevity in his left. M ost N y in g m a trad itio n s show his h a n d su p p o rted
on his rig h t knee, w h ich is called th e N angsi Z ilnon style, w hereas in
the Tsokye D orje style, he holds the vajra in fro n t o f his chest. In the
G ho\ling Tersar; his h a n d is raised an d m o st likely slightly f o rw a r d /
T h e skull cup is filled w ith th e nectar o f im m ortality , in w h ich the vase
o f longevity rests.
In the N y in g ti\ tradition, P ad m a sam b h av a’s consort is visualized, b u t
here she is in the h idd en fo rm o f a khatvanga. T h e k h atv an g a is the tri
d en t resting in the crook o f his arm , an d it has a pro fo u n d significance.
F o r exam ple, the three prongs sym bolize piercing the three poisonous
em otions to reveal they too have the n atu re o f basic space, an d the three
heads sym bolize the three kayas. T h e garland, silk stream ers, d am aru ,
bells, an d so forth, all em body p rofo und symbols th at can be learned else
w here.
P adm asam b hava sits in the “playful, royal pose,” w hich is n o t full
lotus; instead, one leg is slightly extended, as can be seen in thangkas.
T h is is probably h ow the In d ian kings o f the past sat. H e is also poised
in a sphere o f five-colored light. H e is n o t sitting perfecdy erect, b u t leans
slightly to the right.
As you visualize all o f P ad m a sam b h av a’s details, as described in the
extensive version o f the sadhana, im agine th a t all these details, accesso
ries, and so forth have a divine nature.
T h e re are also four deities to dispel obstacles; they are m agical m a n
ifestations o f the four em blem s. A rya T ara appears from the khatvanga;
the L o rd o f Secrets, D o rje Bechon, springs fo rth from the vajra; A chala
em erges fro m the skull cup; an d M ew a T sek p a arises from the vase o f
longevity.
A bove m y head is the w hite lord, S am bhogakaya A valokiteshvara J

W ith fou r arm s and palm s joined, he holds a crystal rosary an d a
w hite lotus J
A bove his h ead is D h a rm a k a y a A m itay u s .2
Red in color, he holds a nectar-filled life vase in equanim ity. ^
P ad m asam b h av a is the em b o d im e n t o f all the b ud dh as in a sin

gle form . B ehind him , an o th er b ran ch o f the lotus rises above, w h ere it
unfolds a' lotus flower. O n this lotus, A valokiteshvara sits u p o n a lotus
disc. H e is w hite an d has four arm s. T h e first tw o are joined in prayer in
fro n t o f his chest. H e holds a w h ite crystal rosary an d a w hite lotus in the
o th e r tw o. H e w ears a deer skin across his left shoulder.
T h is sam e lotus has an o th er branch, w hich extends up beh ind
A valokiteshvara. D h a rm a k a y a B u d d h a A m itayus sits up on this branch,
w ea rin g the sam bhogakaya attire an d ap pearing like A m itayus B u d
dha. H e is red, has tw o hands in the gesture o f equanim ity, an d holds
th e vase o f longevity. As sam bhogakaya deities, both A valokiteshvara and
A m itayus w ear the sam bhogakaya attire, consisting o f th e eight types o f
jewelry, the silken garm ents, an d so forth. W h e n practicing A m itayus as
a n in d e p en d e n t sadhana according to the Barchey K unsel, visualize him
em b racin g his consort; how ever, here his consort is sim ply a radiance o f
light. T h ese are th e T rikay a G u ru s, the g u ru s o f th e th ree kayas. T h ey
are also called the dh arm ak ay a, sam bhogakaya, and n irm an ak ay a deities.
T h e y are the three p rim ary deities in the m a n d ala o f T u \d rub Barchey
K unsel.
In add itio n to these, there are the tw elve retin ue deities.
A ro u n d , on the anthers o f the four-petaled lotus flower,s

A re, in the east, the w hite G yalw ey D ungdzin,*
In the south, the rad ia n d y w h ite M aw ey Senge,*
In the west, the yellow K yechok Tsiilzang,*
In the n o rth , the d az zlin g lig h t-b ro w n D iikyi Shechen.®
G u ru R inp oches th ro n e is situated up o n an octagon, an d he faces
east. D irectly in fro n t o f h im , on a petal o f the four-petaled lotus beneath
his thro ne, is the w hite G yalw ey D u n g d zin . H e holds a flam ing sw ord
in his rig h t h an d an d a m u d ra shaped like a hook in his left hand. H e is
sem i-w rathful, m ean in g h a lf peaceful and h a lf w rath fu l, an d he w ears
a sk irt m ad e o f tiger skin w ith bone ornam ents. H e is also half-seated,
w hich m eans he is either seated or standing, either o f the tw o. Som e peo
ple claim it m akes a big difference w h eth e r he is sitting d o w n or stan din g
up, b u t actually it does n o t m atter; as P ad m asam b h av a said, “I f you visu
alize m e sitting, fine, visualize m e sitting. I f you visualize m e standing,
fine, visualize m e stand in g.” T h e G ujang states th a t G yalw ey D u n g d z in
is one o f the eight m anifestations called L otus K ing, w ho is th e deity o f
m ag n etizin g activity. In the sadhana specific to G yalw ey D u n g d z in , he
has a retinu e o f four dakinis in the four directions, an d it is said th a t its
practice brings the three realm s u n d e r on e’s control, develops the m a g n e
tizin g and w rath fu l activities o f yogic discipline, an d so fo rth .5
In the south, m ean in g to G u ru R inp oches right, on th e second lotus
.petal is the radiand y w hite M awey Senge. H is tw o h an ds are in the ges
tu re o f expo und in g the D h arm a . W earin g the attire o f a fully o rdained
m o n k , he holds the stems o f tw o lotus flow ers in his hands. T h e flowers
bloom at the level o f his ears an d su p p o rt tw o volum es o f scripture. To
his right, is the Prajnaparamita, condensing all the S utra teachings into a
single volum e. To his left, is a volum e o f K ilaya scripture, for dispelling
all types o f hindrances and achieving all kind s o f siddhis, w hich con
denses all the V ajrayana teachings. H is legs are in the full vajra posture
(com m only k n o w n as full lotus). H e w ears the k in d o f p an d ita h a t th a t
has a peak. T h e G ujang says it should be yellow, w hich D ilgo K hyen-
tse R inpoche confirm ed, w h en I asked him if it sh o u ld n ’t be orange. So
th o u g h it is com m only said th at T so n g k ap a created the yellow hat, it is
probably n o t tru e as there m u st have been a tradition in In d ia for some
panditas to w ear yellow p an d ita hats. N onetheless, beneath the p an d ita
hat, he is w earin g the crow n o f the five B u d d h a families w ith the five
jewels, and so forth, as well as the syllables Om a h h u n g tr a m h r ih ah .
W h e n M aw ey Senge is one o f the retinue deities, as in this case, you do

n o t visualize anyone else aro u n d him ; b u t w h en you practice his o w n sad
hana, he has his ow n retinue o f the four families o f M an jush ri, the four
families o f Sarasvati, and the F o u r G u a rd ia n K ings. M aw ey Senge is the
m anifestation o f intelligence and insight, and his su prem e kno w led ge is
indivisible fro m M a n ju sh ri’s. M aw ey Senge is also indivisible from one o f
the eight m anifestations called L od en Choksey.
B ehind P ad m asam b hava is th e yellow K yechok T sü lz an g , w ho holds
a five-pronged vajra in his rig h t h an d and a small reliquary box in his
left. H e w ears the three D h a rm a robes o f a m o n k an d the orange lotus
crow n, inside o f w hich you should also visualize the crow n o f the five
B u d d h a families. In the G iijang, it says th at together w ith his vajra, he holds
a banner o f victory, w hich spontaneously brings forth all desirable things
an d fulfills all wishes, like a show er o f rain. T h a t is h ow he is described
in the separate sad hana for K yechok T sü lz an g , or L am a N o rlh a, as he is
kn o w n . H e re it only m entions the vajra, but tertons often d o n ’t divulge
every thing — som e things they m en tio n explicitly, others they keep secret.
I am n o t sure w hy he is n o t h o ld ing the victory bann er here, b u t th a t’s
th e way it is. In his o w n sadhana, L am a N o rlh a is su rro u n d e d by his ow n
retinue, th e four families o f Jam bhala, w ho are the w ealth gods o f devas,
h u m a n s, nagas, yakshas, as well as huvera an d m any o th er deities, the
four king s o f th e four directions, an d so forth.
In th e n o rth , m ean in g to P ad m a sam b h av a’s left, is the d az zlin g lig ht
bro w n , D ü k y i Shechen. H e looks sim ilar to P ad m asam bh av a, b u t he is
stan d in g an d does n o t have any ch arn el-g ro u n d attire. H e has a K ilaya
d agg er raised in his rig h t h an d . In his left h an d , he has an action d ag
ger p o in tin g d ow n w ard s. U sually w h en people hold a knife, they point it
aw ay fro m themselves, b u t here it is im p o rta n t th a t the phurba is pointed
at oneself. H is tw o eyes are g az in g heavenw ard, and he is ch an tin g the
syllable hung . H e is in a m ass o f flames, w ith his two legs in the strid in g
stance. In som e old tangkas, he is depicted stand in g on a corpse, b ut I
have n o t foun d any evidence to supp ort this. H e is indivisible from the
yidam V ajra K ilaya (D orje P hu rba), w hich symbolizes th a t G u ru R in-
poche has com pletely perfected activity.
In the in d e p en d e n t sadhana, he is su rro u n d e d by different deities,
in cluding the lion-faced dakinis and the h eru k as o f the eight classes. In
the T u \d ru b Barchey K ünsel, the “low er activities” are connected w ith this
deity; th ere are a lot o f rituals for suppression, annihilation, destruction,
a n d so forth. In th a t sadhana, all you need to do is simply rem ain in the
fo rm o f P adm asam bh av a, w hile in the sky before you is D ü k y i Shechen
together w ith his retinue. T h e re , P ad m a sam b h av a’s lotus crow n is blue
instead o f red, an d it has five skeleton heads on the outside. T h e m a n tra
for D ü k y i Shechen is the sam e as for V ajra Kilaya.
D IS P E L L E R O F OBSTACLES II7
N o w w e m ove on to th e eight deities seated in the points o f the octag
onal platform :
O utside, su rro u n d in g these, are, on the eight-faceted jew el,5

In the east, the blue-colored D za m lin g G y en ch ok,5
In the south, the radiantly clear blue P em a Jungney,«
In the west, the w hite K yepar P akpey R ig dzin ,5
In the n o rth , the d az zlin g red -m aro o n D zu triil T u ch e n .5
D irecdy in fro nt is the blue-colored D za m lin g G yenchok. H e is d ark

blue and w rath ful, w earin g a tw o-layered d a rk blue brocade cloak. O n
top o f the cloak he w ears the ch arn el-g ro u n d attire, w hich includes an
elephant skin on his torso, a tiger skin w rap p ed aro u n d his waist, h u m a n
skin w rapped like a scarf aro u n d his neck, an d a triple bandolier o f
h u m a n heads. H e does n o t w ear a crow n, b u t there are skeleton heads
in his hair. H is braids are tu rn in g u p w ard an d his eyes are glaring. H is
fangs are bared, an d he holds tw o K ilaya daggers raised to the rig h t and
left. H e has an o th er K ilaya dagger tucked into the h u m a n skin he w ears
as a sash aro u n d his waist. L ike P ad m asam bh ava, he is w ea rin g boots,
th oug h he is in a strid ing stance. W ith his feet, he holds d o w n the corpse
o f a dem on. H e is indivisible from the deity Y angdag o r V ish udd ha
H e ru k a .
In the individual sadhana, D z a m lin g G yenchok is su rro u n d e d by a
retinu e o f the eight gaurim a goddesses. Six doctrines connected to this
deity b rin g aw a k en in g th ro u g h m editation practice, such as tum m o (inner
heat), dream yoga, illusory body, bardo, an d phowa. W h e n w e do p how a
according to C h o k g y u r L in g p a s style, w e visualize D z a m lin g G yenchok.
In the south, the radiantly clear P em a Jungney is clear blue, like the
sky. H is h ands are crossed in fro n t o f his chest ho ld in g a vajra and bell.
H is consort is w hite, and she holds a curved knife an d skull cup. H e is
naked except for jewel an d bone ornam ents. Som etim es he is depicted
w earing a tiger skirt, like the T o tre n g T sai form o f P ad m asam b hava,
b u t th at is n o t necessary here. T h e five families o f T o tre n g T sai su rro u n d
him . A ccording to the chapter o f the teachings discussing this fo rm o f
P adm asam bhava, there are six wondrous doctrines that bring aw akening
w ithou t m editation. T hese doctrines— such as liberation th ro u g h seeing,
hearing, touching, or w earing— b rin g en lig h te n m en t w ith o u t one havin g
to do anything w hatsoever. I f you w an t to train in the D zo gchen instru c
tions according to the T u^drub Barchey Kunsel, then you should train in
the instructions connected to P em a Jungney. T h e re is also the root tan-
tra o f the Barchey Kunsel, called the L otus Essence Tantra, w hich gives the
accessory instructions connected to him .
In the west, the w hite K yepar P akpey R ig dzin is w earing the n o r
m al attire o f P ad m asam bh ava, althou gh he is standing. In his rig h t hand,
he holds a vajra pointed at th e sky, w hich symbolizes po intin g out the
rig h t path. H e is holding a kh atv an g a staff in his left hand. In the G iijang,
it says he is G u ru N y im a O zer, w ho is one o f the eight m anifestations.
In his individual sadhana, his retin ue includes the eight d re k p a aspects.
W h e n m a k in g a huge consecration, for events like blessing a piece o f
land or e m b ark in g on a great effort to benefit beings, assum e the identity
o f K yepar R igdzin.
To the n orth, the d az zlin g red -m aro o n D z a m tru l T uchen is none
other th a n D orje D rollo. H e is standing on a tigress’ back an d is w earing
D h a rm a robes. H e holds both a vajra and a Kilaya. In the G iijang, it says
he has a horse’s head sticking u p on the crow n o f his head an d th at m any
scorpions em anate fro m the h a n d hold ing the p hurb a. In the long version
o f the sadhana, it does not say th a t he stands on a tigress; it says he has
m o u n ted a p reg n a n t tigress an d he is eating the hearts o f the dam si spirits.
In his individual sadhana, th e ten w ra th fu l deities su rro u n d him .
H a v in g com pleted the deities in the four m ain directions o f the octa
gon, n o w com e the four in the interm ediate directions.
In the southeast, the red V idyadhara D orje D raktsal,s

In the southw est, the flam ing d ark -b lu e K alden D rendzey*
In the north w est, the m ajestic d a rk -b ro w n R aksha Totreng,®
A n d in the northeast, the radiantly clear-red D echen Gyalpo;«
All perfectly ado rned w ith the app rop riate ornam ents an d objects.*
In the southeast, the red V id y ad h ara D o rje D ra k tsa l is none o th er

th a n the w ra th fu l fo rm o f P ad m a sam b h av a , k n o w n as G u ru D ra k p o .
In his r ig h t h an d , he holds a v ajra an d w ith his left h an d he is h o ld in g
a scorpion by the neck. H e w ears th e eightfold ch a rn e l-g ro u n d attire.
In som e term as, he is a solitary figure, b u t in the Barchey K unsel, he is
in u n io n w ith his consort, V arahi (D orje P alm o), w ho is d a rk blue and
bears a curved k n ife an d sku ll cup. In the in d iv id u al sadhana, D o rje
D ra k tsa l has the five aspects o f the five a rm o r deities s u rro u n d in g him .
D I S P E L L E R O F OBSTACLES II9
T h is y id a m ’s activity is to suppress th e sam aya v io la tin g gongpo spirits.
In the southw est, the flam ing d ark -b lu e K ald en D re n d ze y is h o ld
ing a vajra, w earin g the full tenfold w ra th fu l attire, the ch arn el-g ro u n d
attire, and jewel rings. H is consort is the light-blue S ky-F aced O ne. H e
has one face and tw o arm s. T h is deity is often used in the m a k in g o f the
sacred m edicine k n o w n as m endrub. T h e activity connected to h im is the
suprem e activity. K ald en D ren d zey is C h em ch o k from am o n g the eight
h eruk as ifabgye)\ in fact, in th e individual sadhana, K alden D re n d ze y is
su rro u n d e d by the eight herukas.
In the n orthw est, the m ajestic d a rk -b ro w n R aksha T o tre n g w ears
only the ch arn el-groun d attire. T h o u g h he is a w ra th fu l deity, he does
n o t have w ings or w ear the general w ra th fu l ornam ents. H e holds a vajra
and skull cup an d is em braced by his consort, Blazing L ig h t Blue. In
his individual sadhana, he has a retinue o f te n w ra th fu l deities, just like
V ajra Kilaya. T h e m any low er activities connected to this deity include
subjugating the thirteen types o f sea spirits. In the S utra teachings, the
B ud d h a ta u g h t how to m a k e subjug atin g yantras, b u t probably only
C h o k g y u r L ing pa has the actual sadhana for applying them . I have n o t
seen such sadhanas in any o th e r ter to n ’s collection, an d Jam g on K ongtriil
has stated th a t there a re n ’t any. K arm ey K h en p o w ro te th a t the G iijang
contains m any m ore details, b u t I have yet to find any copies o f this. In
the root text for the Tu^drub, n o th in g else is m entioned.
A n d in the northeast, the radiantly clear-red D echen G yalpo is in
essence P ad m a V ajra as well as C hakrasam v ara. L ik e C h akrasam vara, he
has a consort. T h ey are n ak e d and w ear only bone an d jewel orn am en ts.
H e has three eyes, bears his fangs, and glares w ith w ide-op en eyes. T h e
teachings connected to this deity include th e path o f m eans {upaya). In the
individual sadhana, he is practiced as five families. T h e com pletion stage
practices connected to D echen G yalpo are cho an d D zogchen. T h e D zo -
gchen guidance m an ual connected to Barchey K iinsel is a fusing together
o f instructions from P em a Jungney an d D echen Gyalpo; it covers both
T rek ch o an d Togal.
T he appropriate ornaments and objects is a phrase th a t is fu rth e r
explained in the Trinley Gyepa, w hich you should definitely consult.
A t the four gates are th e four kinds o f dakas and dakinis w ith their
consorts,s
A n d in th e spaces betw een, the T h re e Roots and d h a rm a protectors
are gath ered like cloud banks.»
T hese m agical w isdom form s o f un ited appearance and emptiness«
A re spontaneously present as the essence o f the three vajras«
A n d perfected w ith the su prem e em po w erm en ts o f the five
w isdom families.*
O m ah hung*
O m h u n g tra m h rih ah ab h ik h in ch a hung«
The fo u r hinds ofdakas and dakjnis refers to the dakas o f the four fam
ilies— B ud dh a, R atna, P adm a, an d V ajra— in u n ion w ith their consorts.
T h e y are in the colors o f th eir respective families an d have curved knives,
each w ith'specific orn am ents on the handles— a vajra, jewel, lotus, and
vajra cross. T h e Trinley Gyepa describes them this way:
A t th e fo ur gates, in the center o f lotus flowers w ith sun discs:*

To the east is V ajra D aka; his body is w h ite d
W ith a peaceful expression, he is joined w ith the consort o f his ow n
lig h t.*
To the south is R atna D ak a , w ith the color o f gold.«
In a playful dem eanor, he is joined w ith the consort o f his ow n
light.*
To the w est is P a d m a D ak a; his body is red.*
W ith a passionate expression, he is joined w ith the consort o f his
ow n lig h t.*
To the n o rth is K a rm a D aka; his body is green.*
W ith fierce m ajestic splendor, he is joined w ith th e consort o f his
ow n light.*
All are a d o rn e d w ith silks an d ornam ents o f bones an d jewels.*
T h e y hold skull cup an d curved knife fashioned w ith their
individual insignia.*
W hile stand in g in playful striding stances,«
T h ey are vividly present as the form s th a t spontaneously
accom plish the four activities.*
W h e n you do the fire puja according to the Tukdrub Barchey K u n

sel, these are the four deities at the four gates w ho carry out the activi
ties. T h e re are also in d ep en d en t sadhanas for each o f the four dakas w ith
their dakinis and each sadhana has its o w n m a n tra.
A t this point, w e have visualized the sam aya being, an d th a t is the
basis for inv oking the w isdom being. W e have visualized body, speech,
and m ind , w hich should be com plete, no m a tte r w hich deity it is. T hese
three aspects should be present, vividly b ro u g h t to m ind. W h e n you tu rn
a consecrated tan g k a aro u n d , you see the three syllables Om ah hung
w ritten on the back. N ow , this needs to be perfected w ith the suprem e

em pow erm en ts o f the five w isdom families. T h e crow n o f the five B u d
dh a families symbolizes the three poisonous em otions being naturally
purified into basic space. In o rd er to b rin g this to m in d , w e say the m a n
tra Om ah hu n g , w hich is for vajra body, vajra speech, an d vajra m ind .
Om h u n g tr a m h r ih a h is for the five B u d d h a families. T h e n a b h i\h in -
cha m eans “em p o w e rm en t.” W e im agine w e receive the em p o w e rm en t
for that, w hich is necessary at first. Visualize the sam aya being and then
invoke the w isdom beings to confer this em pow erm ent. T h is is very p ro
found actually.
T h is m eans w e should visualize ourselves as the sam aya being, the
deity. W e should also invoke and invite the w isdom being, definitely,
w ith o u t th in k in g o f one as being superior to the other. C an you th in k
like that? In the low er tan tras like K riya Yoga, for sure one th in k s o f the
deity as being superior to oneself, b u t in M ahayoga, one d oesn’t. T h a t’s a
very significant point, actually. T h e n , w e ’re finished.
U p to this p oint covers th e general visualization o f the principal deity
as well as the deities o f the retinue.
T he T hree P r in c ipl e s of V isu a l iz a t io n
T h e vital essence o f develo pm ent stage is su m m arize d in three principles:

vivid presence, p u re recollection, an d stable pride. Vivid presence m eans
th a t your visualization is as clear an d distinct as the reflection o f the sky
on the surface o f a sm ooth lake. It is sim ply a vivid, insubstantial presence
th a t is m entally visible and n o t m ad e o f any m aterial substance. Vivid
presence also m eans th a t the visualization is n o t vague, b lu rre d , incom
plete, or m ixed up. It is com plete, distinct, and clear.
T he L ig h t o f W isdom, Volum e II, describes the steps o f developm ent
stage in great detail, w hich one can apply in a very expedient, progressive
o rd er until one achieves certain m editative experiences. B ut one practical
app roach is to use a consecrated ta n g k a or copy o f one as a supp ort for
your visualization. Study the painting, then close your eyes an d visual
ize as m u c h as you can rem em ber. T h e n open your eyes and look at the
ta n g k a again. A fter a bit, again close your eyes and visualize the deity to
the best o f your ability. G ro w in g accustom ed like th a t can be q uite help
ful in the beginning, and after a w hile you will n o t need to use the tangka
at all. You will be able to just let all o f it appear naturally in your m in d ’s
eye. A t first, you visualize the deity w ith his retinue in fro n t o f you, b ut
w h e n you have becom e ad ept at the visualization, you im agine yourself
as the central deity su rro u n d e d by your retinue. O v er tim e, your m in d
w ill becom e totally flexible, an d then you can em anate, m ultiply, and so
forth. A n y th in g is possible.
Stable pride is the confidence an d insight th a t the deity is none other
th a n b u d d h a n atu re itself; in o th er w ords, the n a tu re o f this m in d is the
deity. You need to realize th a t there is no other deity apart from that. As
w e are veiled by ignorance, w e do n ot recognize this at first. T h e w hole
pu rpose o f yidam practice is to rem ove this veil. W h e n the veil has been
lifted, w e recognize the fact th a t we ourselves are the deity. A ccording to
M ahayoga, one never thinks o f the deity as better than oneself. T h a t’s a
very im p o rta n t point. I f you th in k you and the deity are at all different
in status or quality, you will be fu rth e r n u rtu rin g your notions o f duality,
an d you will never accom plish the deity.
T h e p ure recollection o f sym bolism involves a lot o f detail, as every
feature o f the deity has a specific m eaning. T h e face, arm s, attributes,
orn am ents, seat, palace, and so forth, are all symbolic. H ow ever, we can
su m m arize all this into one key point: the deity is the state o f aw are-
ness-em ptiness, and all the aspects o f the visualization are the naturally
occurring expression o f em ptiness. N e ith er the deity nor its m andala has
any concrete reality.
I f you are a practitioner o f the highest capacity, then it is best to visu
alize the entire retin ue distinctly and completely. If, however, you have
n o t fully m astered the developm ent stage, then you likely will not be able
to see everything th a t clearly; therefore, it suffices to focus on the m ain
deity. As the retinu e is the expression o f the central figure, it will eventu
ally appear, just as a k in g ’s retin ue autom atically follows him w herever
D IS P E L L E R O F OBSTACLES I23
he goes. T h is is how it is ta u g h t in the stages o f m ed itatio n practice for
the sadhana entitled, Assemblage o f Sugatas according to the E ight H eru \a s
(Kabgye D eshe\ D iipa).
A t the same tim e, w e should train w ith the developm ent an d co m
pletion stages in unity. To do this, w e visualize in term s o f develop m en t
stage, w hile train in g in the com pletion stage. T h is is the m e an in g o f these
m agical wisdom fo rm s o f united appearance and emptiness.
E m p o w e r in g a n d S e a l in g
T h e n w e im agine th a t all the deities, includ in g the deities o f the three

kayas an d the entire retinues, have the three syllables at th eir heart,
th roat, an d forehead, signifying the vajra body, speech, an d m in d o f all
buddhas. T h e w hite om at the crow n o f the head is B u d d h a V airochana
as vajra body; the red ah at the th ro at is A m itab h a as vajra speech, and
the blue hung at the h ea rt is A kshobhya as vajra m in d. In this way, we
see.that all deities have the n atu re o f vajra body, speech, and m ind.
It is also said that one should always com bine deity, m antra, and
m udra; therefore, together w ith the Om ah hung , one m akes the h an d
gestures o f the five, three, and single-pronged vajras at the three places.
A ccording to the Tantra o f the M agical N e t (Mayajala), you should visualize
that the five fingers o f your right h an d have the nature o f the m ale b u d
dhas and those o f your left h and have the nature o f the female buddhas.
T h e n you m ake the m ud ras corresponding to Om h u n g tra m h r ih a h at
the appropriate places aro und your head sym bolizing the five B udd ha fam
ilies. T h e n these eight syllables all em anate light in all directions, inviting
the w isdom beings (jhanasattvas) from their ow n abodes. T h ey then arrive,
confer em pow erm ent, and finally dissolve indivisibly into you.
A ccording to the in ten t o f M ahayoga, all the em p o w e rm en t deities
are in u n ion w ith their respective consorts an d settle in their respective
places, according to w hich B u d d h a family they belong to. T h ey sport in
union, an d the bodhichitta o f m eltin g bliss reverts u p w a rd an d overflows,
tran sfo rm in g into the deity o f th a t particular family. T h is transform s the
five poisonous em otions into the five aspects o f w isdom an d purifies the
habitual tendencies, so th a t the five w isdom s perpetually ad o rn o u r heads
like a crow n. O ne also develops th e assurance th a t from the very begin
ning, the five sense aggregates have the n atu re o f the five m ale B uddhas
and the five elem ents the n atu re o f the five fem ale B uddhas. T h e chief
figure o f the TuJ^drub m an d ala is peaceful in natu re, b u t it is interesting
to no te th a t w hen the central figure is w rathfu l, the five B u d d h a families
dw ell inside the five skulls a d o rn in g his head. I f the m ain deity has m ore
th a n one head, such as C h em ch o k H e ru k a w ho has tw enty-one, then
each head w ou ld have the crow n o f the five Buddhas.
In som e systems, there is no need for em p o w erin g an d sealing. As
th ere are so m any deities an d symbols and m u d ras, one can easily become
confused; therefore, one just focuses on the m ean in g or intent.
In short, these two, sealing an d em pow ering, are very pro fo u n d
aspects an d are also necessary w h en consecrating a statue.
I n v o c a t io n
A fter th e em p o w erin g and the sealing comes the invocation in seven

lines, follow ed by the T o tre n g T sai m antra:
H ung H r ih !®
F ro m the land w hose nam e is th e south w estern contin en t of
Chamara,®
T h e suprem e n irm an ak ay a realm L otus Net,®
T rikaya inseparable, O rgyen T o tre n g T s a l , s
W ith your ocean-like assembly o f infinite T h re e Root deities,*
W h e n I invite you yearningly to this place o f devotion,®
Please com e th ro u g h the p ow er o f your com passionate vow.*
D ispel all obstacles an d bestow the su prem e an d com m on siddhis!*
O m a h h u n g v a jra g u r u p a d m a t o t r e n g t s a l v a jra s a m a y a d z a h
SIDDHI PHALA H U N G AH®
D zah h u n g bam hohs
Sam aya t is h t h a l h a n *
H e re , still im ag in in g th a t you are P adm asam b hava, rays o f red light

stream fo rth fro m the h r ih in your h ea rt center. T h e very tips bend
in w ard s fo rm in g sm all hooks. T h ey extend into all directions, b u t p ri
m arily to the T rik ay a B uddhafield o f P adm asam bh av a at the G lorious
C op per-C olo red M ountain, w here they touch the h ea rt center o f P a d
m asam bhava, A valokiteshvara, A m itayus, and the su rro u n d in g deities.
D IS P E L L E R O F OBSTACLES I25
In this way, the deities’ sam aya is autom atically invoked, and they are
rem in d ed o f the oath they took to always act for the benefit o f beings.
P ad m asam b hava said th a t he w ou ld com e from the G lorious C o p
per-C olored M oun tain an d app ear before anyone w ho chants the Seven
L in e Prayer.
T h e w isdom being never departs fro m the basic space o f d h a rm a d -
h atu , yet it appears in the perception o f those to be influenced. T h e w is
d o m being, since p rim o rd ial tim e, is indivisible from the sam aya being.
In other w ords, w h a t you have just visualized is already saturated w ith
the w isdom being, y et you need to b rin g this to m in d by m eans o f the
invocation. As you sing in a m elodious tun e full o f yearning an d devo
tion, sound the musical in stru m en ts and b u rn incense. T h e n , d ue to the
po w er o f their past vow o f com passion to benefit beings, the w isdom
beings will m anifest w ith all their intrinsic qualities.
M oreover, invoking P adm asam bh ava w ith deep yearning, devotion,
p u re samaya, and com plete sincerity creates the p roper circum stance
for the n atu ral m anifestation o f P adm asam bh ava s aw ak en ed state. T h e
m ost vital elem ent, how ever, is a deep yearning, like a child longing for
his m o th er or a m o th er th in k in g o f h er child. I f one has th at k in d o f
devotion, a com plete surrender, seeking no other refuge, th en th e re is no
d o u b t P adm asam b hava will m anifest.
In principle, as the in n u m erab le w isdom beings arrive, they become
indivisible w ith you, like flames m e rg in g into one or snow flakes falling
on a lake. B ut according to D ilgo K hyentse R inpoche’s com m entary on
Barchey K ünsel, you should im agine th a t the w isdom beings rem a in at a
slight distance for a sh ort w hile.
A t this point, you im agine th a t the goddess K haûm a em anates from
yo ur h ea rt center. W ith the syllable dzah, she invites all the deities to
approach the eastern gate o f the m andala. N ex t, w ith hung , the goddess
w ith the shackles, requests all the deities to com e close, to be indivisible
fro m the sam aya beings. W ith bam , the goddess w ith chains ensures th a t
th e w isdom beings an d the sam aya beings m elt one by one indivisibly
a n d firmly. A n d w ith the fo u rth syllable, hoh , th e goddess w ith the bell
expresses g reat delight an d joy th a t the w isdom beings an d the sam aya
beings have dissolved into each oth er indivisibly. In the Nga^so d ru b -
chen, it is slightly different. T h e first goddess, w ith the hook or the noose,
invites th em to com e closer; th e second, the goddess w ith the shackles,
draw s th em in; the third, w ith the chains, m elts th em indivisibly; and
the fo u rth one enjoys this w ith g rea t delight. In o u r case, it is the form er
exam ple. In the m o re elaborate an d the m e d iu m lengths o f the sadhana,
in requ estin g them to rem ain firmly, one chants lines o f poetry aloud at
this point. H ere, w e just ch an t the fou r syllables and then S a m aya t is h t a
lhen . T h e w hole visualization should be com pressed into these m an tric

syllables. T h e four goddesses invite the w isdom deities, they come closer,
an d th en they dissolve and rem ain firm ly as indivisible from our visual
ization.
In o rd er to avoid bin d in g y o urself in dualistic concepts, please
rem e m b e r th a t it is always im p o rta n t to k n o w the actual m ean in g o f
any visualization. In this case, the sam aya being symbolizes the b u d d h a
natu re, w h ich is already present in every single sentient being as the
n a tu re o f m ind. T h is basic n atu re is and always has been pure; o th e r
wise, it w ould n o t be called deity. T h e realization o f this divine n atu re
or p urity is represented by the indivisibility o f the w isdom and sam aya
beings. T h o u g h w e visualize the sam aya being and invite the w isdom
beings, in fact they are already indivisible. Also, dissolving the w isdom
beings into the sam aya beings does n o t m ean w e are inserting one entity
into another, w here they rem ain as one th in g inside the other; nor does it
m e an w e are creating som ething u n n a tu ra l th a t was n o t already th a t way
fro m the beginning.
T h e four syllables D zah h u n g bam hoh are used in m any differ
en t contexts, such as su m m on in g, invoking, and so forth. T h is is called
“b in d in g w ith the four m u d ra s,” b u t the m ean in g varies according to the
context.
H omage
H ung H r i h !«
W ith o u t arising, ceasing, or changing, you perfect all activities.»

Y our self-existing com passion frees all beings.*
L ik e a w ish-fulfilling jewel, you show er a rain o f sid d h isJ
A ssem bly o f vidyadharas, I pay hom age to you!*
ATI p u h o s
PRATICCHA HO®
D IS P E L L E R O F OBSTACLES I2 7
Ultim ately and actually, the true hom age is simply to let be in equanim ity,
fully aw are that the deity is indivisible from the n atu re o f your ow n m ind.
A ccording to Mahayóga, simply acknow ledging that the samaya and w is
dom beings are indivisible is sufficient for paying hom age. T h e ultim ate
hom age is recognizing th at w hatever appears and exists already has divine
nature and acknow ledging th a t sights, sounds, and awareness are deity,
m antra, and dharm akaya. W hile chanting these four lines, it w ould be
ideal to perform the ultim ate hom age; otherwise, you should visualize the
following: Still im agining yourself as Padm asam bhva, em anate a replica
from your heart center. T h is figure is k n o w n as a k arm a or action deity.
T h e n im agine th at the goddesses at the four gates tu rn tow ard the k arm a
deity and pay hom age by prostrating, w hile saying A ti pu h o . T h e k arm a
deity then prostrates in retu rn and says, P r a t ic c h a h o . A fter that, the
karm a deity dissolves back into your h eart center. T his exchange acknow l
edges that the chief figure and the retinue o f deities are equal.
T he O ffe r in g s
O m ah h u n g *
I present you, as outer offerings, an ocean o f desirable objects

am assed like cloud banks;*
As inner offerings, an inconceivable feast o f am rita, rak ta, an d
torma;*
A nd, as secret offerings, the unity o f bliss an d em ptiness, the basic
space o f wakefulness.«
A ccepting these, please bestow the suprem e an d com m on siddhis!*
O m va jra a r g h a m p a d y a m p u s h p e d h u p e a l o k e g h a n d h e n a iv id y a *
S h a b t a s a r v a p a n c h a r a k t a b a l i n g t a M A H A PUDZA AH H U N GS
T hese w ords are very p ro fo u n d an d could be explained in g reat detail,

b u t here I will just outline the m a in points.
First, in brief, once m ore a k a rm a deity em anates o u t o f your h ea rt
center an d assumes a place in the center o f the celestial palace. T h e n ,
as you form the various offering m ud ras, countless gods an d especially
goddesses appear. T hese gods and goddesses magically conjure fo rth
the outer, inner, an d inn erm ost offerings and present th e m to th e k arm a
deity.
T h e o uter offerings are an inconceivable n u m b e r o f sense pleasures
amassed li\e cloud batiks. T h e in n er offerings are amrita, rafya, and torma.
A m rita is connected to the p a rta k in g o f siddhi, an d rak ta sym bolizes the
em p ty ing o f sam sara. T h e to rm a represents the inexhaustible am o u n t o f
sense pleasures. T h e secret offering is the unity o f bliss and emptiness. F o r
this, you offer fem ale figures to the m ale deities and m ale figures to the
fem ale deities. Finally, as th e state o f p rim o rd ial purity is the “thatness”
offering, sim ply rem ain in the equanim ity o f p rim o rd ial purity.
O n e accom panies each w o rd o f the S an skrit m a n tra w ith its respec
tive h an d m u d ra and visualizes th a t the corresponding offering goddess
m akes an offering to each o f the deities. F o r exam ple, for argham , im ag
ine th a t the goddess ho ld in g the rin sing w ater presents it to each o f the
deities personally an d sim ultaneously. A fter m a k in g her offering, as a
token o f blessing an d accom plishm ent, each goddess dissolves into each
o f the deities as you go along.
D o n o t get caug ht u p in any o rdin ary m u n d a n e concepts d u rin g this;
otherw ise, all the deities will en d up d ro w n in g in the ocean o f rinsing
w ater. As the d rin k in g w ater is like the flow of the River G anges, no
deity could d rin k all o f that. I f you cling to ord in ary concepts, you will
becom e overw helm ed. In fact, the offerings are inconceivable in o rd er to
sh a tte r o n e s o rdinary concepts.
T h e re are both m aterial an d m ental offerings. N o m a tte r how g en
erous you m ig h t be an d how nicely you arran g e them , m aterial offerings
are still lim ited. O n the o ther h an d , m entally created offerings can be
infinite. F o r exam ple, it w ould be h ard for one to arran g e a w hole ocean
o f rin sin g w ater, d rin k in g w ater th a t flows like the River G anges, and
b u tter lam ps th a t shine like the su n and m oo n on o n e s shrine. H ow ever,
m entally, w e are free to im agine these things. T h e m aterials a rran g e d on
th e shrine are a su p p o rt for w h at w e im agine mentally.
I f you have concepts o f clean an d unclean, neat an d messy, then you
should keep the shrine as n eat as possible. I f you have transcended any
concept o f clean an d unclean, n eat and sloppy, then this does n ot really
m atter: Similarly, if you have concepts such as superior an d inferior q u al
ity, large an d small, then you should try your best to offer large am o unts
o f the finest things. A n d as Jam gon K ongtriil says, it is no t en oug h to just
set up m usical instrum ents, you should play them . E ven if you only have
a bell, you should rin g it. P leasant sounds can be reg ard ed as offerings to
th e peaceful deities, w hereas harsher, abrasive sounds can be considered
D IS P E L L E R O F OBSTACLES I2 9
offerings to the w rath fu l deities. In short, you should have all the offer
ings req u ired from rinsing w ater to music.
A rgham is rinsing w ater, padyam d rin k in g w ater, pushpe flowers,
dhupe incense, aloke lam ps, ghandhe scents, n a iv id y a food, an d shabta
sound, sarva p a n c h a is for the am rita, rakta is r a k t a , b a l in g t a is for the

torm a, maha p u ja m eans great or inexhaustible offering, an d ah hung
m eans presented. W h e th e r you practice in a large g ath erin g or alone, you

should play the musical instrum ents for a while. T h e purpose o f this is to
provide a sufficient a m o u n t o f tim e to do the visualization. Y ou should
th in k o f each aspect o f the outer an d in ner offerings an d also b rin g to
m in d the ultim ate offering in com pleteness. T h e n , even if your p ro n u n ci
ation is n o t th a t great, if you are able to bring all o f these aspects to m in d ,
it is still okay.
A t the end, all the offering goddesses an d gods dissolve back into you,
and you rem ain in the state in w hich offerer, offering, an d offered are
indivisible.
T he P ra ises
H ung H r i h !*
F ro m your essence, the lum inous state o f dharm akaya,«

Y our n atu re m anifests as sam bhogakaya’s em pty bliss.«
Y our capacity, the all-tam in g n irm anakaya, accom plishes the
benefit o f beings.*
I prostrate to and praise the w hole assembly o f m a n d ala deities!*
T hese are extrem ely p rofou nd w ords; in fact, no ordin ary poet or scholar
could w rite anything as im pressive.
P raising is based on the sam e principle as flattering som eone, b u t it’s
possible to m ak e a m ore elaborate praise, w here you com bine th ree p rin
ciples o f symbol, m eaning, an d sign. A t this point, in the Trinley Geypa,
the sym bolism o f each o f P ad m a sam b h av a s features is included; but
here, it is simply the ultim ate praise o f essence, n ature, an d capacity.
W h ile chan ting these lines o f praise, im agine th a t all the bu d d h as and
bodhisattvas o f the ten directions an d the three times are strew ing flow
ers th a t gently rain d o w n u p o n the entire su rro u n d in g area. T h e gods
I3° d is pe l l e r o f obstacles
an d the g u ard ia n kings o f the fo u r directions, B rahm a, In d ra , the u n i
versal m onarchs, an d so forth, all join in an d chan t along w ith you. T h e n
again, all these deities dissolve back into your h ea rt center.
M ak in g offerings an d praises is extrem ely effective in perfecting the
accum ulation o f m e rit an d p u rifyin g obscurations. W h e n p erfo rm in g
them , always rem em b er there are tw o aspects o f accum ulation, w ith and
w ith o u t concepts. M aterial offerings an d m entally created ones are both
exam ples o f perfecting the accum ulation w ith concepts. A ck n ow led ging
the natu re, in w hich the offering, the donor, an d the recipient are indivis
ible in n atu re, is perfecting the accum ulation beyond concepts.
R e c it a t io n of M antra
N o w comes the recitation phases.
First there is an invocation:
H u n g h r i h !*
In the essence m a n d ala o f bodhichitta,*

G ath e rin g o f deities reveling in w isdom magic,*
W ith o u t d eparting, rem em b er your vajra samaya«
A n d bestow blessings, em po w erm ents, an d sid d h is! s
In the elaborate version o f the sadhana, one invokes w ith verses for
each o f the deities o f the three kayas, the twelve m anifestations, and the
dakas and dakinis. H e re these are com pressed into these four lines, w hich
act as a general invocation.
Thus, beseech them . Then, w ith one-pointed concentration, say:
L ig h t radiates fro m the h ea rt o f the C ro w n B ud d h a A m itayus

above,*
G ath e rin g the life essence o f sam sara and n irv an a,*
W h ic h dissolves into the vase in his hands.*
T h e flow o f nectar falling fro m this vase*
E n ters m e th ro u g h the gate o f B rah m a an d fills m y body.*
P u rify in g sickness, h arm , m isdeeds, and obscurations,*
D IS P E L L E R O F OBSTACLES *3 *
T h e tw ofold accom plishm ent is achieved.*
O m a m a r a n i jiv a n t iy e svaha*
T hat was gathering the blessing fo r the benefit o f oneself.*
T h is sadhana has three m ain purposes: accom plishing on e’s personal

aim o f g ath erin g the blessings, em pty in g sam sara for the benefit o f o th
ers, and achieving the n o n d u al in ten t o f self and others. T h is verse is
related to the first o f these and deals w ith fulfilling your personal objec
tive o f longevity.
In A m itayu s’ h ea rt center, u p o n a lotus and a m oo n disc, is a red let
ter h r ih su rro u n d e d by the syllables Om a m a r a n i jiv a n t iy e svaha. The
seed syllable h r ih and the encircling m a n tra all radiate five-colored light.
A ll the life force and m e rit th ro u g h o u t sam sara— the five elem ents, the
po ten t essences, and so fo rth — and n irv an a— w isdom ; com passion; the
capacity o f all b u ddh as and bodhisattvas; the essences o f the five elem ents;
the essences o f plants, flowers, trees, and so forth— is all g ath ered back by
the light, just like bees gath er honey into their hive. It all dissolves into
th e life vase held by A m itayus, filling it until it overflows w ith lustrous
w h ite nectar. T h is nectar flows directly into you, as P ad m asam bh av a,
th ro u g h the crow n o f your head. It fills u p your body just like a crys
tal vase filled w ith m ilk, pu rifying all sickness, evil influences, negative
k arm a , an d obscurations, so th a t the tw ofold siddhis are achieved. As you
visualize, ch an t A m itayu s’ m a n tra o f longevity, Om a m a r a n i jiv a n t iy e
svaha. I f you are accum ulating recitations in retreat, follow th e term a

roo t text, w hich says, C hant this m antra 1.2 m illion times.
T h e best sign o f accom plishm ent is to m eet the deity in actual
ity. H e a rin g the sound o f the m a n tra is a sign o f progress in sam adhi.
A n o th er excellent sign is if the nectar on your shrine boils over or your
b u tter lam p ignites by itself. T h e next best is to experience these things in
a vision. T h e th ird best is to d rea m o f the sun an d the m oon, o f ascending
the peak o f a m o un tain , o f a lake overflow ing, o f crops ripening, an d so
forth. All o f these are indications o f accom plishing im m ortality.
L ig h t radiates from the h ea rt o f the N ob le T am er o f Beings*

A n d pervades all the realm s o f the six kin ds o f beings.*
It purifies each o f their distu rb in g emotions«
A n d tu rns th e m into form s o f the G reat C om passionate One.*
132 D IS P E L L E R o f obstacles
O m M A N I PADM E H U N G H R IH *
T hat was the all-pervading activity fo r the benefit o f others.*
To accom plish the second intent, im agine th a t A valokiteshvara is just

above your head as described previously. In his h ea rt center, is a six-pet-
alled lotus flow er w ith a m o o n disc resting on it. In the center o f this is
a w hite letter h r ih , an d on each o f the six petals is one o f the syllables o f
Om m a n i padm e h u n g . In the Trinley Gyepa, one im agines th a t each o f
these six syllables has its o w n distinct color an d radiates light to one o f the
six realm s. T h e beings in each realm are purified o f th eir negative k arm a,
obscurations, an d habitual tendencies. H e re it is all com pressed into just
four lines, an d you im agine th a t the letter h r i h an d th e m a n tra sim u lta
neously purify the six realm s o f sam sara w ith rays o f light and tu rn all
beings into form s o f A valokiteshvara. You should accum ulate one m illion
repetitions o f this m an tra.
T h e signs o f accom plishm ent are having spontaneous com passion and
being able to benefit others in actuality. N e x t best is to d rea m th a t out o f
com passion you guide m any beings to safety.
N e x t is:
In the h e a rt center o f myself,®

T h e g u ru em bodying all families,s
T h e re is a five-spoked golden vajra on a m oo n disc.s
In its center is h r ih , encircled by the m antra.s
L ig h t rad iatin g from it m akes offerings to the noble ones®
A n d gathers the blessings a n d siddhis into me.s
By rad ia tin g again, the universe becomes a p u re lands
A n d the in n er contents, all th e beings contained in it, are form s o f
deities.s
R eso und in g sounds are the tones o f vajra m antras,s
A n d tho ug hts are the lum inou s state o f w akefulness;s
E v ery th in g is the single m a n d ala o f nonduality, s
O m a h h u n g v a jra g u r u p a d m a s id d h i h u n g s
In that way, and w ithout the duality o f se lf and other, °

R ecite in the unity o f developm ent and com pletionJ
Samaya. *
C ontinue to im agine yourself as Padm asam bhava, in the form that u n i
fies appearance and emptiness— as visible yet insubstantial. In your heart
center, there is a lotus and m oo n disc, upon w hich a golden five-pronged
vajra stands upright. In the central sphere o f the vajra is the syllable h r ih
surro und ed by the Vajra G u ru m an tra, Om ah hung benza guru padm a
s id d h i h u n g . T h e m an tra is spelled anti-clockwise but spins in a clockwise

direction. H ere, your ow n bodily form is the samaya being, w hile the vajra
is the w isdom being, and the syllable h r ih is the sam adhi being. T h e h r ih
and the m an tra radiate light in all directions, thus m ak in g offerings and
ho noring all the buddhas and bodhisattvas o f the ten directions and bring
ing back all the blessings, accom plishm ents, compassionate capability, and
so forth. In other words, there is an exchange between the light radiating
out in all directions and light com ing back at the same time, w hich accom
plishes the benefit for oneself. B u t light also radiates th ro u g h o u t the u n i
verse, transform ing the perception o f the w orld into a pure land, the inner
contents o f beings into deities, sounds into m antras, and thoughts into the
lum inous state o f wakefulness. In other words, the recitation o f one sin
gle m a n tra combines all four recitation intents o f approach, full approach,
accom plishm ent, and great accom plishm ent (the analogies for these are:
the m oon w ith a garland o f stars, a revolving firebrand, the emissaries o f
the king, and a beehive breaking open).
T h e r e ’s a very p ro fou nd instruction th a t Paltriil R inpoche clarified,
called the Fourfold Staê o f R ecitation. T h ese four are: the stake o f the
deity, the stake o f the m an tra, the stake o f em an a tin g an d absorbing rays
o f light, an d the stake o f u n ch an g in g sam adhi. O ne can accom plish all o f
th em w hile reciting this one m antra.
A ccording to the oral trad itio n o f the O ld School (N yingm a K am a),
one perform s the recitation o f each o f the four intents individually w ith
one m ala ro u n d for each. H ow ever, according to the trad itio n o f pith
instructions, w hich is the specialty o f P adm asam bhava, they can all be
com bined into one or done alternately. It is quite flexible.
T h e seed syllable encircled by the V ajra G u ru m antra, shining rays o f
light into all directions, corresponds to the approach, w hich is like the m oon
encircled by a garland o f stars. W h e n the m oon rises in the sky, sim ultane
ously you can see all the stars in all directions, vividly and distinctly.
T h e recitation in ten t o f the em issaries o f the k in g is w h en you im ag
ine th at the seed syllable and encircling m a n tra each send o u t countless
rays o f light in the ten directions to all bu d d h as an d buddhafields su r
*34 DISPELLER OF OBSTACLES

ro u n d ed by an infinite n u m b e r o f bodhisattvas. T h e n all these rays o f
ligh t present offerings to their body, speech, and m in d , inv oking their
blessings an d com passion. Finally, the siddhis o f the body, speech, and
m in d o f all b u d d h as are d ra w n to you an d dissolve into your forehead,
th roat, an d h ea rt centers.
T h e great accom plishm ent is like a beehive b reaking open. All the
syllables n ow resound w ith their ow n distinct sounds. T h ey d o n ’t stand
still any longer, b u t begin to spin and revolve, w hile sending o u t even
m o re rays o f light to all th e b u d d h as m ak in g offerings, praises, and so
forth. T h ey extend even further, to any realm w ith sentient beings, dis
pelling an d an n ihilating all obscurations, negative karm a, habitual ten
dencies, an d suffering— an d tran sfo rm in g the six realm s into p ure lands.
All sentient beings becom e m ale an d fem ale deities, their m inds the
aw ak en ed state, an d so forth.
T h e stake o f em anation an d re-absorption, w hich is for all-encom
passing activities, m eans th a t you are free to im agine w hatever you
w ant. W h e n S habkar T so k d ru g R ang dro l stayed in his retreat in A m d o
(N o rth e astern Tibet), some youn g w om en, w ho had been robbed o f all
th e ir possessions, includ in g their food, cam e to him . S h ab kar w anted to
help th e m b u t could no t escort them back to civilization, for he w ould
have had to break his retreat vow. So, he tried som ething else instead.
H e visualized th a t rays o f light em an ated out from his h ea rt center and
touched his benefactors’ hearts, causing the notion, “I m u st go an d see
the g u r u ” to arise in their m inds. O ver the next couple o f days, nu m ero us
people show ed up at his retreat an d safely escorted the w om en hom e. It
really is tru e th a t once you accom plish the developm ent stage, you can
a d a p t your visualization to w hatever is necessary. T h e n there are no
restrictions as to w h at one is or isn’t allow ed to visualize. T h e re is no
lim it to deity, m a n tra, and sam adhi.
W h e n you are do in g a great accom plishm ent practice, a drub ch en , the
recitation is like a revolving firebrand. You visualize ano th er m a n d ala
reflected in fro n t o f you, so you have self-visualization and fro n t visu
alization sim ultaneously. T h e n , w hile reciting the m a n tra, you im agine
th a t each syllable comes from your h eart center, goes ou t o f your m o uth ,
travels th ro u g h space, an d enters the m o u th o f the corresponding deity in
the sky before you. It enters their m o u th , dissolves into the h eart center,
an d th e n comes ou t th ro u g h their navel. It then enters your navel and
goes back up to your heart. T h e m a n tra chain continues circling in this
DISPELLER OF OBSTACLES *35

w ay w ith o u t break. F ro m each o f the syllables o f this h uge chain, rays o f
light stream ou t into all directions, tran sfo rm in g the universe into a pu re
land, sentient beings into m ale an d fem ale deities, an d so forth.
I f you have been introd uced to the state o f rigpa by a m aster and
have recognized it, w ith the ability to rem ain u n w av erin g from the basic
n a tu re o f aw areness d u rin g the sadhana, th en it is perfectly fine, w hile
reciting the m a n tra, to firm ly p la n t the stake o f u n ch a n g in g sam adhi,
rath e r th a n deliberately focusing on conceptual attributes.
To ch ant the m a n tra O m a h h u n g v a jr a g u r u p a d m a s id d h i h u n g has
im m easurable benefits. P ad m asam bh ava him self said, “I f you recite like
this, your state o f m in d will be indivisible from m in e.” You should accu
m u late at least 100,000 for each syllable or 1.2 m illion— b u t it’s best to do
4.5 million.
H aving thus finished the approach recitation, *

N o w comes the recitation o f accom plishm ent and o f great bliss, *
F ro m form s o f m yself and the m an d ala deities,*

Bodies are em anated, filling the universe.*
O u r speech, as songs o f recitation, roars w ith the sound o f
mantras.*
O u r m inds are the changeless state o f luminosity.®
T h e victorious ones th ro u g h o u t all directions and times are pleased
by the offerings,*
A n d the tw ofold purpose o f beings in the three realm s is achieved.*
E v erything is com pletely perfected*
As the inconceivable great m u d ra mandala.*
O m ah h u n g vajra g u ru p ad m a totreng tsal vajra samaya jah siddhi
pala h u n g ah®
Som etim es “m o u n t the h orse” o f m elodious tune,*

Som etim es sing the song o f h u n g ,*
Especially p erfo rm the vajra recitation o f great bliss,®
W h ile joining w ith the breath.*
Samaya.*
H e re m y fo rm refers to the sam aya being, nam ely you as G u r u Rin-

poche, w ho along w ith all the deities o f the m and ala, m anifests c o u n t

less replicas, w hich stream o u t in all directions filling the entire universe.
E ach syllable o f th e respective m a n tras resounds sim ultaneously an d con
tinuously. T h e various seed syllables also em anate light in all directions
a n d resound as well. All th e w hile, n o th in g and no one parts, or even
w avers from , the state o f p rim o rd ial purity, the aw akened state o f all
buddhas. W ith these rays o f light, inexhaustible offerings em anate, pleas
in g the b u d dh as an d bodhisattvas in all directions and p urifying the n eg
ative k arm a , sufferings, obscurations, habitual tendencies, an d so forth, o f
all sentient beings in the three realm s o f sam sara. In this way, the tw ofold
purpose is com pletely achieved an d perfected.
Som etim es chant the T o tre n g T sai m a n tra w ith the tu ne u n iq u e to
the trad itio n o f C h o k g y u r L ingpa. It is said th a t ch antin g w ith a m elody
m ultiplies the effect o f the m a n tra billions o f times. W h a t is m ore, the
special Chokling m elody for the T o tr e n g T sai m a n tra has great qualities,
like b rin g in g o ne’s conceptual m in d to a h alt just by h earing it. I t capti
vates the attentio n an d in terru p ts the flow o f no rm al th in king .
The song o f HUNG is the fivefold hung o f five different colors. T h e
visualization for th a t is explained in the extensive sad hana’s R ecitation
M an ua l.
Fivefold hung syllables from the letter hung in the h ea rt centers*

O f m yself an d all the m a n d ala figures*
R oar their th u n d e ro u s self-sound,*
P erv ad in g the entire p hen om enal world.*
T h ey m a k e offerings to the victorious ones, g ath er back siddhis,*
A n d purify all beings’ k arm a s and kleshas,*
Especially their clinging to o rdinary experience.«
T h e m a in figure and the entire retinu e sing the song o f h u n g *
A n d , th ro u g h this vajra melody,*
T h e experience o f the w isdom o f great bliss blazes forth*
A n d the suprem e em pow erm ent o f awareness-expression is attained.*
Im agining this, chant:*
H ung hung hung hung hung *
C hant hung in sets o f five, w hile com bining the visualization w ith
your breathing. W h ile exhaling, im agine th a t the hungs stream o ut o f

your hea rt center, also in sets o f five, filling and pu rify in g the entire u n i
verse; you th en inhale them along w ith your breath. T h e re is a lot o f
explanation about h ow hung represents the aw ak en ed state o f all the vic
torious ones. Its shape and features have pro fo u n d m eaning; b u t in short,
hung purifies our attachm ent to o rdinary concrete experiences.
T h e m ost p ro fo un d way to perform the vajra recitation o f great bliss is
by unifying y our b reath and m in d w ith the m ental recitation o f the m a n
tra, w hile p erfo rm in g the vase breath.
T h is belongs to the accom plishm ent intent. N e x t comes th e enact
m e n t o f the activities.
N o w comes the activity application.*
T h e light rad iating from m y hearts

Invokes the m inds o f the four families o f dakas*
W hose em anations and re-em anations pervade the universe,*
Spontaneously fulfilling the four activities.®
H arinisa racha hriya chitta h rin g h rin g d z a h sarva siddhi phala
hung*
A t this point, rays o f light em anate from P ad m asam b hav a an d touch

the dakas an d dakinis dw ellin g at the four gates o f the m a n d ala in their
respective colors. T h is compels th em to carry out the four activities o f
pacifying, increasing, m ag netizing , and subjugating. I f one perform s this
m o re elaborately, then the fo ur recitations are separated, correspon ding
to the four times o f day, the fo ur directions, the four types o f focus and
attitude, and so forth.
H e re it just says the H arin isa m a n tra, b u t in o th er places, C h o k -
gy ur L ingp a says th a t for specific purposes, like em po w erm en ts, an d so
forth, it should be ap pend ed to the end o f the T o tre n g T sai m a n tra , om
AH H U N G VAJRA GURU PADMA TOTRENG TSAL VAJRA SAMAYA JA H SIDDHI PALA
hung ah . T h e syllables o f the H arin isa m a n tra are the essence or h ea rt

syllables o f the dakas and dakinis o f the four classes, so it is the m a n tra
th a t attracts all the blessings an d accom plishm ents.
Recite in that way. A pply the change o f concentrations*

A s described in the Sheldam N yingjang. °
Samaya. Seal, seal, seal. *

T h e Sheldam N yin gja ng is th e ro o t text o f Barchey K iinsel. It
exp lains h o w to chan ge th e m a n tr a w ith the visualizatio n, c o rre sp o n d
in g to the tw elve m an ifestatio n s, the d ak as an d d ak in is, an d so fo rth ,
in o rd e r to accom plish a specific need or asp iration. B oth K h yentse
a n d K o n g triil said th a t th e Sheldam N yingja ng is like th e trea su ry o f
a u n iv ersal m o n a rc h , because it gives an a b u n d a n c e o f in stru ctio n s
a n d variou s activity applications. It con tains an in cred ib le n u m b e r o f
teaching s for acco m p lish in g th e su p rem e a n d co m m o n siddhis, casting
spells, m a k in g m edicines, an d so forth. T u lk u U rg y e n R inp och e said
th a t som e o f the recipes described at th e end o f the Sheldam N ying jan g
for p re p a rin g m e d icin e are incredibly effective, m u c h m o re so th a n
n o rm a l m edicin e.
In his com m entary, Jam go n K ongtriil states th a t if you have been
incapable o f practicing perfectly, then you need to m a k e some a m e n d
m ents. To m a k e u p for w h a t you m ay have left ou t o f the visualization,
c h a n t the S ansk rit Vowel m an tra; to m a k e up for any m ispronunciations,
m issed w ords, an d so forth, one chants the S ansk rit C o nson ant m a n
tra; an d to m a k e up for m ental distractions and the like, you rep eat the
H u n d re d Syllable m an tra. You should also repeat the offering an d praise
verses. It is also a trad itio n to include the supplication Barchey L am sel,
Clearing Obstacles fro m the Bath, and various D h a rm a protector offerings
(solhha), especially for the g u ard ia n o f the teaching, Tseringma, and the
g u a rd ia n o f the term a, K hyung Tsunm a. You can also chan t th e N a ra \
K ongsha\, the M ending Apology fo r N ara\, or the shorter Jom ey D onsha\,
tire Apology fo r the Ineffable M eaning.
T he F east O f f e r in g b e t w e e n S e ssio n s
B etw een form al sessions, the m ost em inent way o f perfecting the accu
m u lation o f m e rit is to p erfo rm the feast offering. Feast in T ib e tan is tso\>
w h ich m eans “m any gathered together.” T h is refers to a gath erin g o f
m ale and female participants, all com ing together to perform a feast. It
is also a g ath erin g o f all k inds o f food an d d rin k as offerings. T h e S an
sk rit w o rd is ganachakra. Gana is “g ath erin g ,” in the sense o f feast. Chahra
m eans “w heel;” the T ib e tan w o rd lfhorlo actually m eans “cu ttin g into
pieces,” like a w heel o f w eapons. T h e L ig h t o f Wisdom explains th a t one
gathers the accum ulations o f m e rit and w isdom and cuts to pieces w h a t

ever in terrup ts or prevents the perfection o f the accum ulation o f m e rit
an d w isdom , nam ely all concepts o f duality.
A ccording to the' tantras, a feast has m any requirem ents, o f w hich
food an d d rin k are indispensable. T hese are then heaped on top o f either
a h u m a n or anim al skin. T erd ag L in gp a said th a t p erfo rm in g a feast has
m an y incredible virtues. T hese days, feasts are very pleasant, because
th ere is a lot to eat an d d rin k , often including w ine an d various meats.
In the te rm a text o f the R igdzin D iipa fro m the Longchen N yin g ti\ ;, it
says liqu or and m eat are indispensable ingredients for the feast offering.
P altriil Rinpoche, how ever, said that placing the flesh o f sentient beings
in fro nt o f the w isdom deities is like slaying a child and giving its flesh
to its m other. M any people agree w ith h im and will never include m eat
in the feast offering. Personally, I am happy w h en there is no m eat in
the feast offering. A t the same tim e, the teachings do no t p ro h ib it it, and
often they encourage its inclusion. T h e exact type o f m e at to offer, like
the five m eats and the five nectars, is too com plex an issue to go into here.
R am yam k a m «
T h e seed syllable in the h ea rt center o f m yself visualized as the

deity*
E m anates ram yam k a m , pu rify in g the clinging to offering articles
as being real.*
T h e light from the three syllables transform s th e m into w isdo m
nectar,«
W h ich becomes an offering cloud o f desirable objects filling the
sky.*
O m ah h u n g *
Still visualizing yourself as Padm asam bhava, em anate R am yam k am
from your heart center, ram is the fire th at burns all the m aterial offerings
to ash; yam is the w ind, scattering the ashes into all directions; and finally,
kam is the flood o f w ater rinsing away anything that remains. N ext, visu
alize an enorm ous skull cup the size o f the billionfold universe resting on
a tripod. W ithin this skull cup are offerings o f the five m eats an d nectars.
U n dern eath is w isdom fire being fanned by the w isdom w ind. As the skull
cup heats up, the, offerings m elt together and boil. T h en , from the rising
steam, the three syllables O m ah hung invoke all the blessings o f the body,
speech, and m in d o f all the buddhas. It returns in the form o f the nectar o f

body, speech, and m ind. T hese w isdom qualities become indivisible from
the samaya substance, creating an inexhaustible ocean o f nectar. In this
way, the w isdom and samaya beings are indivisible w ithin this nectar. W e
should im agine this nectar has such a quality th at even a single drop flung
into the air can em anate cloud banks o f desirable objects.
T h e vajra m aster is sitting in the center facing d o w n the row. O n
his rig h t side are the m ale tantrik as and on his left are the fem ale tan tri-
kas. C h ild ren should sit facing th e vajra m aster, an d all the feast articles
should be piled u p in the center.
First, the vajra server consecrates the feast articles, using vajra urine.
I f th a t w ere done in a n o rm al way, no one w ou ld even th in k o f eating
any o f the feast. H ow ever, tran scen ding concepts is one o f the m ost vital
aspects' o f a feast offering. A t the b eginning o f the feast offering, you
should totally transcend such concepts as clean an d unclean, good and
bad, edible and inedible, an d so forth. N ex t, you invite the guests w ith:
H ung hung hung*
O cean-like assembly o f T rikaya Jinas,®

Please m anifest from the u nconstructed state o f luminosity.®
To enable us to accum ulate m e rit a nd purify obscurations,*
Please come, reveling in your w isdom magic.®
V a jr a sa m a y a j a h j a h ^
Rays o f light fro m the h ea rt center o f P ad m asam b hava invite the

guests, w h o are his ow n guru s an d yidam s as well as the dakas, dakinis,
protectors o f the w isdom classes, an d so forth. T h ey all arrive, filling the
im m easurab le palace rig h t up to the ceiling, like cloud banks.
T h e re are three steps to the feast. T h e first is presenting the feast:
O m ah h u n g *
T h e essence o f the feast offering is a cloud ban k o f w isdom nectar*

In the fo rm o f goddesses w ith desirable objects filling the sky.®
M ay this en jo ym en t o f unco nd itioned great bliss®
Please you, assembly o f m a n d ala deities o f the T h re e Roots .*
S arva g a n a c h a k r a p u j a h o h *
H ere, countless offering goddesses m ake offerings to all the assem

bled guests. T h is verse is repeated three times. It pleases the gurus, m ends
DISPELLER OF OBSTACLES I4 I
samayas w ith the yidams, and rem oves grudges o f the d h a rm a protectors;
it also m ends the samayas and purifies the m ale and female practitioners,
an d so forth.
T h e second p a rt o f the feast is the apology and m en ding . In o u r
tradition, we insert the ch an t k n o w n as Kangw a Yushelma, T he Tur
quoise-Covered Tsoghhang Pem a, w ritten by Jam g on K ongtriil. Its w ords
and m ean in g are both exquisite. I requested D ilgo K hyentse R inpoche to
w rite an explanation o f it, b u t he never com pleted it. In fro n t o f all the
guests, we apologize as follows:
H oh*
F o r the misdeeds, veils, faults, and failings created since
beginningless time«
A n d especially for the infractions and violations«
O f the root and branch samayas,«
I apologize and m e n d th e m by offering this feast o f desirable
objects !s
Sam aya sh u d d h e a h «
W e purify breaches o f sam aya m entally; just go ing th ro u g h the

m otions an d repeating the w ords will no t purify anything. T h e best way
to m e n d any breach is w ith the view th a t transcends the notion o f b rea k
ing, and so forth. A t the very least, you should have deep-felt reg ret and
rem orse for any transgressions.
T h e last p art o f the feast is the “deliverance.” T h e L ig h t o f Wisdom
describes the requ ired qualifications o f a vajra m aster for p erfo rm in g a
tru e deliverance. It also details th e seven acts o f transgression, the tenfold
objects th a t qualify som eone to be delivered, the m ethods o f delivering,
a n d so forth. H ere, how ever, the deliverance is su m m arize d in the fol
low ing verse:
H ung«
V ajra G in gk ara, h eart em an ation o f Palchen H eruka,«
S u m m o n and dissolve the dem ons and obstructors o f dualistic
fixation!*
F reein g them into lum inous space, their flesh, blood, an d bones*
I present to the assembly o f the m and ala deities o f the T h re e
Roots.«

S a r v a b i g h a n a n s h a t r u n m a r a y a K H A K H A K H A H I K H A H I*
H a h a h i h i h u n g h u n g p h a t*
T hese days, deliverance is sim ply the portion o f the feast one puts
aside. It is n o w placed in fro n t o f the vajra master, w ho perform s a spe
cific act o f sum m o ning . Visualize th a t the enemies an d obstructors, w hich
are the m anifestation o f ego-clinging, the three poisons, and the five neg
ative em otions, are sum m o n ed and dissolved into a symbolic receptacle
(litigant). T h e ones w ho perfo rm the su m m o n in g are em anations o f the
ch ief figure, w h o in this case is P alchen H e ru k a , w ith his m ale and female
gings. T h e obstructors an d dem ons being su m m o n ed and gathered here
rep resen t the clinging to perceiver and perceived, ego-clinging, and so
forth. T h o se are the dem ons. F o r the deliverance, visualize that the ene
mies an d obstructor dem ons are being stabbed in the h eart o f delusion
w ith th e K ilaya dagger; th eir life force and m e rit dissolve into you. T h e ir
consciousness, delivered into the realm o f d h a rm a d h a tu , dissolves indi-
visibly w ith the aw ak en ed state o f the ch ief figure, and so forth. T h e re
are m any necessary aspects o f this visualization here. T h e rem n a n ts— the
flesh, blood, bones, an d so forth th at rem ain after the spirit has left the
body u p o n deliverance— are offered for the enjoym ent o f all the deities.
T h a t is called the final p a rt o f the feast, the deliverance.
G enerally speaking, the tw o u n iq u e features o f V ajrayana practice are
u n io n an d deliverance, b u t if they are practiced literally, there is som e
th in g terribly w rong. A m ore com plete explanation o f deliverance w ould
include some very horrifying details.
A t the en d o f the deliverance offering, one enjoys the feast in g red i
ents an d articles, as the substance o f siddhi. T h e te rm a root text says this
should be done w ith in the state o f bliss an d em ptiness, m a in ta in in g the
dignity o f th e deity. E njoy in g the feast as a deity in the state o f blissful
em ptiness is very significant. I f th e vajra m aster has a high level o f reali
zation, th en this can be accom panied by vajra song and dance.
H a v in g enjoyed the feast, you m ak e a residual offering w ith o u t
h o ard in g or keep in g an yth in g for later. T h e residual offering is first con
secrated w ith the breath, or actually the vapor fro m the m o u th o f Palchen
H e ru k a , the central figure o f this m andala. In the best case, the vajra
m aster first takes som e o f the food and then spits it o u t again over the
residual offering. T h ese days, how ever, the residual is usually consecrated
w ith the space m u d ra instead, as one chants:

B hyos
Servants o f Palchen, host o f messengers,®
Accept this enjoym ent o f residuals,*
A n d according to your past vows,*
Rem ove all obstacles and increase favorable conditions.*
M ama h r i n g h r i n g b a l i n g t a k h a h i®
T h e re are m any deities and participants w ho have tak en the pledge to

rem a in at the periphery o f the m an d ala and not participate in the central
part. T h ey will not partake o f the m ain offerings b u t only the rem nants,
so the rem n an ts should be carefully placed seventy-tw o steps away. I f you
are staying in retreat, then you save the rem nan ts until the end o f your
retreat, w h en you can p u t them at the app ro priate distance.
A fter this, m a \e offerings and praise, pray fo r siddhis, and apologize fo r

fa u lts. *
By hung dissolve the wisdom mandala into basic space.®
By phat m anifest the deity and continue activities.*
A t the end o f the feast offering, repeat the verses for offering and
praise, followed by the chant k n o w n as N yingpo Jangchub S em . I f the
feast ritual has been conducted over several days, then you should receive
the siddhis, b u t this is n ot necessary for a short, occasional practice. N ext,
apologize for any m istakes you m ay have m ade by ch an tin g the R igdzin
K hyil\hor. I f you have a shrine, you should p erform the TenshuJ^6
T h e n , w hile chantin g the triple hung , you im agine th a t the b u d d h a -
field dissolves into the celestial palace, the celestial palace into the sur
ro u n d in g deities, and the su rro u n d in g deities into the central figure o f
P adm asam bhava. P adm asam bh av a th en slowly dissolves into the seed
syllable in his heart center, th en the seed syllable itself vanishes, at w hich
point you simply rem ain in equanim ity. As you u tter the triple phat, just
like a fish ju m p in g out o f w ater, you re-em erge in the form o f P a d m a
sam bhava, m a rk e d w ith om ah hung at your three places. T h is dissolu
tion an d re-em ergence purifies the habitual tendencies for passing away
and ta k in g rebirth.
16 T hese can all be found in various chants published by Rangjung Yeshe.

Translation and Publications.

C o n c l u sio n
D ed ica tio n o f M e rit a n d A spiratio ns
D edicate the m erit and m a \e aspirations:«
H oh«
By the p o w er o f accom plishing the m a n d ala o f the V idyadhara
Guru,«
May I an d all th e infinite sentient beings w ith o u t exceptions
Spontaneously accom plish the four kinds o f activities«
A n d be liberated into the lu m in ous space o f dharm akaya!«
W h e n chan ting the dedication and aspirations, your attitu de should

be no d ifferen t fro m th a t o f M an ju sh ri or the Bodhisattva S am ant-
abh adra. Ideally, if you k n o w how, you should p erfo rm the u ltim ate
dedication, w hich guarantees th a t any aspirations you m a k e will be
accom plished.
F o r the nex t four lines, im agine th a t all the bu d d h as an d bodhisattvas
scatter flowers. G ods an d goddesses p erfo rm songs, dances, and so forth.
T h e n chan t the verse o f auspiciousness:
May the blessing o f the root an d lineage g u ru s enter m y heart! *

May the yidam s and dakinis accom pany m e like a shadow follows
the body!*
May the d h a rm a protectors an d guard ian s dispel all obstacles!*
May there be the auspiciousness o f attain in g the suprem e an d
com m o n siddhis!*
In between sessions, always increase*

The tw o accum ulations o f m erit and wisdom. *
Especially train in devotion to the guru»
A n d in the unity o f basic space and awarenessJ
Samaya. *
E very k in d o f D h a rm a practice is included in these last four lines. I f

you practice according to these four lines, you will fulfill all your d h arm ic
aims. T h e accum ulations o f m e rit and w isdom include all nine vehicles;

am on g these, the highest vehicle, A ti Yoga, is the m ost sim ple to train
in and the m ost convenient. In an instant, one can aw ak en to com plete
enlightenm ent, fulfilling all o f one’s purposes. In oth er w ords, it is a
teaching on how to attain im m ed iate bu ddh aho od .
Specifically, devotion to the g u ru is indispensable on the p ath o f T u kj
drub Barchey Künsel. Unless you have sincere devotion and confidence
th a t your root g u ru is indivisible from the m in d o f P adm asam bhava. in
person, you will no t truly enter the stream o f blessings. W ith o u t devo
tion, the blessings wither. E xpecting to receive blessings w ith o u t devotion
is fruitless. T h e re is no h igher practice th a n devotion to your g u ru . T h e
proper way to perfo rm any d ru b ch en or feast offering is to com bine it
w ith g u ru devotion, m in gling your m in d w ith the g u r u ’s as basic space
and awareness. T herefore, always keep devotion to the gu ru , an d accom
plishm ent will be guaranteed. T o do this, regard your g u ru as som eone
very special, obey his or her every co m m and , perceive th a t w h atever he
or she does is perfect, and reg ard h im or h er as the em b o d im e n t o f all
objects o f refuge.

C olophon
T h is quintessence o f all the pro fou nd teachings»

Is easy to apply an d sim ple to practice, b rin g in g sw ift blessings.«
It will rem ove obstacles, increase experience and realization,*
A n d perfect the activities o f ta m in g beings.*
Samaya. Seal, seal, seal.«
I, C h o k g y u r D ech en L ingpa, revealed this from beneath the foot o f Pal-

chen H e r u k a at D a-N yin g Khala Rong-G o on the te n th day o f the nin th
m o n th in the year o f the E a rth M onkey (7.11.1848). H av in g k ep t the seal
o f secrecy for eight years, on th e ten th day o f the ten th m o n th at the K ar-
tika C onstellation in the year o f the W ood H a re (19.11.1855), accom pa
nied by perfect conditions o f place and tim ing, I decoded the letters from
the w isdom d ak in is’ secret script, w hich w ere w ritte n d o w n by K hyentse
W ang po , th e joyful servant o f the L otus-B o rn G u ru . May there always be
happiness!
N e a r the N an g c h en to w n o f Shonda, in eastern T ibet, there is a cliff

called D a-N ying Khala R ong-G o, w ith the shape o f Palchen H e ru k a , or
V ajra Kilaya, on it. C h o k g y u r L in g p a revealed the T u\dru b Barchey K iin -
sel from below the large, b ro w n boulder fo rm ing the foot o f th a t figure.
C h o k g y u r L in g p a was b o rn in th e O x year, so he w ould have been about
tw enty-five-years old at the tim e. H e k e p t this term a secret for eight
years; then, in the W ood H a re year, he decoded the dakini script, and
Jam y an g K hyentse W ang po w ro te it dow n. A ro u n d this time, Jam yang
K hyentse had a dream , in w hich he cam e to a vast plain w here h u n d red s
o f thousands o f people w ere b uild in g stairs o f various heights. H e asked,
“W h a t are you d o in g ?” T h ey replied, “W e are bu ilding a staircase for
P ad m a sam b h av a’s arrival.” E ven th o u g h they w ere all extrem ely in d u s
trious, they d id n ’t succeed, and it was said th a t only C h o k g y u r L ingp a
tog ether w ith Jam yang K hyentse and K ongtriil could build a w orkable
staircase. Jam gon K ongtriil said th a t this d ream h ad a special significance
an d m eanin g, an d I feel that the Tu^drub Barchey K unsel can still b ring
g reat benefit.
DISPELLER OF OBSTACLES
C o n c l u d in g R em a r k s
T h e disciple’s job is to train in th e actuality o f the sam adhi o f suchness;

but, to be honest, few people are able to rem ain in sam adhi w hile visual
izing. T h e teacher’s job is to explain it, and I feel I have tried m y best. I
have spelled it o ut as best as one can, an d th e re’s n o t m u c h beyond that,
really. I f you are no t able to train in actuality in the sam adhi o f suchness,
th en train in the second class way, in the resem blance o f it. W h e n th a t is
the case, you have no choice bu t to train conceptually in im agining w h at
it is supposed to be like. A n d im ag in in g is just thin king , right? W h a te v er
appears and exists, all phenom en a, is emptiness. T h a t’s a tho ug ht, right?
So you should do your best to m im ic the trad itio n o f the pith in stru c
tions an d keep your body straight b u t relaxed, your eyes m in g lin g w ith
space, your m in d indivisible from aw areness and em ptiness, your tongue
no t touching the palate, and so forth. T h a t is called the trad itio n o f pith
instruction, given as a way to app ro ach that. H onestly speaking, the real
ity o f this does n o t often h app en d u rin g the visualization practice. But, on
the other h an d, ho w m u ch you fool yourself is u p to you.
T h e n , even if you d o n ’t u n d ersta n d all the symbolism, at least you
are form ing a link. As long as you are trying your best, your practice will
slowly advance, and you will gain confidence both in yourself an d in the
teachings. Y our devotion to the g u ru will become ever m o re pro found.
In the beginning, just tru st th a t you are already there and proceed fro m
th a t point. I f you have trust an d take one step after another, sooner or
later you will reach your destination. N o m a tte r how feeble you are, if
you continue to practice, you will get closer an d closer to the goal. You
m ay n ot reach it this lifetime, b u t at least you will be m oving in the rig h t
direction and forging a link.
O th er people approach sadh ana practice th in k in g they have to be
perfect from the beginning; b u t as w ith m ost things in life, this just isn’t
possible. You m ust start w here you are an d continue to practice, w hile
aim in g tow ards perfection. O n th e other h an d , if you start o u t w ith a
closed m in d , think in g, “W h atev er I am unable to do rig h t n o w is no t
really necessary. It is useless, and I d o n ’t w an t to deal w ith it,” th e n you
will never progress. Som e teachers m ay say, “Just believe it is all there. It
is okay, you d o n ’t really need to try too h a rd .” H ow ever, th a t is definitely
n o t the authentic way, as described in the basic scriptures o f the N yingm a

traditio n, such as the M agical N e t Tantra (.M ayajala). T he Guhyagarbha
Tantra explains very precisely an d exactly w h a t is necessary and w h at
the m easure o f perfection is w h en p erfo rm in g the g ro u p assembly sad-
hana, the elaborate version o f the m an dala, the m ud ras, the m an tras, and
every th in g else.
E very day w e chan t the lineage prayer, K unsang Dorsem, w hich con
tains the nam es o f the g reat m asters o f the lineage, w ho attained accom
p lish m en t by practicing the M agical N e t Tantra. G re a t m asters, like
L on g ch en p a an d R o n g d z o m P andita, spent their entire lives practicing
the M agical N et, an d C h o k g y u r L in g p a ’s term as are in perfect h arm o n y
w ith these original tantras. A t the b eginn in g o f the em p o w erm en t, the
m aster puts on the crow n an d explains th a t this teaching is com bined
w ith the in ten t o f the tantras, auth enticated by the strength o f the n atu re
o f things, an d so forth.
O f course, there can be m any types o f B ud dh ist teachers; some are
good, some are bad; they are people. You should n o t lean exclusively on
one teach ers w ords as being the only thing; th ere is n o th in g th a t special
ab o u t one perso n’s statem ent. E ven if its w ritte n dow n, it’s just som e
bo dy ’s opinion, w h ich doesn’t m a k e it m ore special. O n th e other hand ,
you can consider the tantras themselves, like the M agical N et, as being
really special. You can verify w h a t is correct or incorrect th ro u g h the
original scriptures, w here you authenticate or m easure th e practice, and
th ro u g h y ou r ow n intelligence as well. I f you pay attention to the exact
p urpose o f each d evelopm ent stage aspect, ho w it purifies habitual te n
dencies an d prepares for the com pletion stage an d enlig htenm ent, you
will see the necessity o f each feature. O therw ise, you can place a to rm a
on die shrine, play the d a m a ru an d bell, and say the sounds w ith o u t even
th in k in g about w h at it m eans, like some people do, going th ro u g h the
m otions meaninglessly.
T h e m ost im p o rta n t p oint is to try on e’s best. T h e B u d d h a him self
ta u g h t th a t one should listen to the teachings and instruction, th in k about
w h a t has been tau gh t, clarify it in on e’s ow n m ind , an d th en actually
apply the teachings in o ne’s life.
Som etim es it appears inevitable th a t over tim e traditions will w ane
and people’s practice will becom e superficial. T h a t is ho w it goes. M any
m asters w rite th a t drubchens and m a jo r cerem onies these days are m ere
reflections o f w h at they once were. It is said th a t w hen P ad m asam bh ava
and K in g Jah p erform ed the g an a ch a k ra an d d ru b ch e n rituals, they
DISPELLER OF OBSTACLES I 49
could magically conjure the m a n d ala in m id-air. Just by ch an ting Benza
S am adza, all the w isdom beings w ould appear. But even ou r feeble ver
sions are still better th an n othing, because, really, if the practices disap
peared altogether, w h at w ould be left? Sadly, tim e appears to be ru n n in g
out. T h e great m asters are passing away one after the other, an d all the
great qualities o f purity, goodness, and w isdom seem to be vanishing
w ith them . T h e re are also a lot o f internal disputes nowadays. In fact, the
B u d d h a said th at the D h a rm a can only be ruined from w ith in — no t from
the outside, bu t from disagreem ents am o ng the sangha.
Personally, I w ould prefer if the reflection could at least rem a in for a
little w hile longer. W h e th e r or n o t the teachings rem ain depends up on
people studying a(nd reflecting, no t only on the extensive S u tra teachings,
b u t also on the V ajrayana. Just h a n g in g aro u n d D h a rm a centers an d vis
iting lam as w ith o u t studying, reflecting, and practicing is n o t going to
a m o u n t to m uch.
I w ould like to say one last thing: Please do no t th in k you only need
to practice thirty m inutes or so a day together w ith the occasional retreat.
You should apply yourself 100 percent every m in u te o f every day.
Also d o n ’t divide your time, w here you have special tim e for prac
ticing and the rest o f the tim e you’re no t practicing. T h e w hole tim e is
practice, because then we can brin g the fruition to m aturity. O therw ise,
it’s n o t going to be that fruitful to just practice this m o n th and th a t m o n th
o u t o f the year and totally give up practice the rest o f the time. O f course,
it gives positive im prints, bu t on the ten th and tw enty-fifth days, we
should no t break the special practice. I t’s actually one o f the samayas o f
P adm asam bh ava to never in te rru p t the practice o f the tenth day o f the
lu n a r m o n th and to always keep the vajra an d the skull cup. T h e T u \-
drub Trinley N yingpo is very good to practice on the ten th day.

NOTES O N COMPLETING
THE RECITATION W IT H IN
THIRTY-FIVE DAYS
Based on Trinley N yingpo,

T he Yoga o f the Essential Activity
T h e Short Practice Manual o f Tukdrub
Jamyang Khyentse Wangpo
O m svasti
I f you are to p erfo rm the recitation o f T u\d ru b in a little m ore th an a

m o n th , arran g e in fron t o f you rself any suitable im age o f th e Precious
M aster, either a painted or sculpted one. In fro nt o f that, you should place
the Shining Jew el to rm a w ith am rita on its rig ht an d rak ta on its left.
A rran g e the seven enjoym ents in fro n t o f th a t as well. To the rig h t o f the
am rita, place the to rm a for the teaching g u ard ia n Tseringm a, w hich has
u p o n its central bulb a w hite to rm a w ith four petals, w ith one m orsel on
each o f the four sides o f the bulb. It is su rro u n d e d by pills in the in te rm e
diate spaces and has a w hite staff. T o the left o f the rak ta, place the torm a
o f the treasure g u ard ia n K h a ra \ K h yung Tsiinma, a triang ular red to rm a
w ith ornam ents. T rian g u lar pellets su rro u n d this torm a.
F ollow ing this, at the beg in ning o f the afternoon session, finish as far
as the g u ru yoga, in accordance w ith the liturgy for prelim inaries, the
Seed o f Suprem e E nlightenm ent. C arry ou t the refuge, bodhichitta, and
expulsion o f the obstructors, as contained w ithin the Extensive Practice
M anual, plan tin g the poles at the tim e o f th ro w in g the g ek to r outside.
R e tu rn back inside and proceed w ith the visualization o f the protection
circle an d the rest o f the Seven P relim inary Points.
F or the m ain part, practice u p to the praises, follow ing the Extensive
or Short Practice M anual, w hichever is suitable. T h e n open the recitation
151
m ansion an d recite an app rop riate n u m b e r o f m antras. C h a n t the Barchey
L am sel once. I f you are follow ing the Extensive Practice M anual, m a k e
praises an d dissolve the recitation m ansion according to th a t text. Or, if
you are follow ing the D aily Practice, m a k e short offerings an d praises;
after three repetitions o f the H u n d re d Syllables, dissolve th e fro n t visual
ization into yourself w ith Ja h u n g bam ho. C arry o u t the dissolution w ith
the triple hung and the em ergence w ith the triple p h a t. T h e n ch an t the
dedication, aspiration, and utterance o f auspiciousness.
F o r the evening session, carry o ut the refuge, bodhichitta, an d conse
cration o f offerings, according to the Short Practice M anual. F ollow the
root text o f the Short Practice M anual, as above, and, in the state o f dis
solving w ith the triple hung , begin the yoga o f sleep.
E m erg e from th a t state as the deity the next m o rn in g an d carry ou t
the prelim inaries. Focus on refuge for one day, w hile concluding each ses
sion by reciting some repetitions o f the bodhichitta verses an d the Seven
Branches. Proceed w ith the m ed itation and recitation o f V ajrasattva, an d
so forth, for the sake o f continuity, ideally d oing four sessions a day. T h e n
do one day o f the m editatio n an d recitation o f Vajrasattva.
Since the g u ru yoga here serves as the ou ter m eans o f accom plish
m e n t, em phasize it by d oing it for three days. O n the first day, chiefly
perform m an dala offerings. O n the second day, m a k e the supplications
D usum Sangye an d Barchey Lam sel. O n the th ird day, practice prim arily
the V ajra G u ru recitation and the visualization for receiving e m p o w e r
ments. F o r the sake o f continuity w hile practicing the prelim inaries, con
clude each session w ith the M edium Practice M anual, b eginn in g w ith the
deity visualization and ending w ith dedication, aspiration, an d utterance
o f auspiciousness. H av in g thus finished five days o f prelim inaries, begin
the m ain part.
W h e n carrying ou t the m a in practice, do the prelim inaries once
before the refuge at the beginning o f the first session. In the o th er ses
sions, do the refuge and bodhichitta o f the Short Practice M anual three
times. W h e n expelling the obstructors, change the w ords TaJê this torma
to D o n t remain here. C ontinue up to the consecration o f offerings in the
usual way; then do the deity visualization. A t the end o f the praises, open
up the recitation m ansion. To begin w ith, chiefly recite A m ara n i m a n
tras for seven days; then chiefly recite M ani m an tras for seven days. A fter
that, com plete 400,000 V ajra G u ru m antras, the principal recitation. T h is
is o f u tm o st im portance. T h is seems to req uire approxim ately ten days.
I52 DISPELLER OF OBSTACLES

W h ile com pleting these, it will suffice to do one rosary for each o f the
oth e r m a n tra recitations to m a in ta in continuity.
Finally, take three days for the T o tre n g T sai m a n tra, w hich signifies
accom plism ent. F o r the activity application, recite the ap pend ed H arin isa
m a n tra for ab ou t one day. A t the end o f the session, recite the A li-K ali
an d O m Y ed harm a m an tras three times, in o rd er to am en d the d u p li
cations and omissions o f the m a n tra and to increase the blessings. M ake
offerings an d praises and recite the Barchey Lam sel once an d the H u n
d red Syllables three times.
Dissolve the recitation m ansion w ith the triple hung an d then
re-em erge w ith the triple p h a t . C h a n t the verses for the dedication, aspi
ration, an d u tteran ce o f auspiciousness.
In particular, in your afterno on session after Barchey Lam sel, follow
th e Extensive Practice M anual fro m th e consecration o f the feast articles
th ro u g h the liberation offering. A t th a t point, recite the petition offering
o f Tseringma up to the praise an d th en the petition offering o f K h a ra \
K hyung Tsiinm a. A t the end o f that, chan t any suitable supplications to
O rg y en G u ru R inpoche, such as Barchey Lam sel and Sampa L hundrub.
T h e n ch a n t th e verse for the residuals. H ow ever, as trad ition holds, you
should n o t take the residual to rm a outside before the retreat is finished;
collect it in a container instead. F o llo w ing the ritual for the residuals,
m a k e offerings and praises, repeat the H u n d re d Syllables, dissolve the
recitation m ansion, an d so forth, as above.
T h e Short Practice M anual is sufficient for daily use. O n the tenth day
o f the w ax in g an d w an in g m o o n in the afternoon session, perfo rm the
Extensive Practice M anual, an d so forth. It is excellent if you can chant the
Tseringma m e n d in g prayer, prayers for the m e n d in g o f disharm ony, and
the petition offering to the Tenma goddesses.
F o r the prayer o f m e n d in g disharm o ny related to Tseringma, p u t
am rita in a skull cup m ixed w ith m e n d ru b an d a p rim e serving o f wine.
F o r the petition to the Tenm a, th tserhyem alone will suffice.
Finally, on the day before finishing retreat, if you d o n ’t do the fire
puja, focus on reciting as m u c h as you can— one thousand, for exam ple—
o f the H u n d re d Syllables at the end o f all four sessions, in order to am en d
duplications and omissions o f the m an tra. In the evening on th a t day,
m a k e n ew offerings an d lay o u t an abu ndance o f w hatever feast articles
you have. G ettin g u p earlier the next m o rning, follow the root text o f the
E xtensive or Short Practice M anual, w hichever you find suitable, and com

plete as m u ch recitation as you can. A fter that, do the Barchey L am sel and
m a k e elaborate offerings, praises, and confessions o f faults.
A ccording to th e Extensive Practice M anual, at the tim e o f receiving
the siddhis, instantaneously visualize the to rm a as the deities, touch it to
your three places, and eat a little. Dissolve the recitation m an sio n and so
forth. It is the trad itio n to receive the siddhis at daybreak.
A fter that, follow either the Extensive or Short Practice M anual, as you
find suitable, and perform the feast offering in the m a n n er o f a th a n k s
giving as m uch as you can— for example, one h u n d re d times. I f you do
carry ou t the h u n d red fo ld feast offering, go th ro u g h to the residual offer
ing each tim e, follow ing the Extensive Practice M anual, w hile co ntinu in g
to save the residuals. A t the end, send ou t the residual, according to the
Extensive Practice M anual, an d also send o ut all the residual offerings
gathered earlier. Finally, p erfo rm the invocation, covenant, an d so on,
th ro u g h the verses o f auspiciousness, according to the Extensive Practice
M anual.
T h is m u ch recitation practice is feasible and also sufficient. It seems
like you can com plete it w ithin approxim ately one m o n th and five days.
T h is was com posed by K hyentse W angpo. May it be virtuous.

C O N D E N SE D TEACHINGS O N
THE TRINLEY NYINGPO
THIRTY-FIVE-DAY RETREAT
E d ito r’s note: T h is teaching has been condensed, in o rd er to n o t d u p li

cate m aterial. T h e explanations on the d ifferent aspects o f th e sad hana
have been deleted, as they appear very extensively in O rg yen Topgyal
R inpoche’s com m en tary on the Trinley N yingpo. P oints th a t have a differ
e n t syle o f explanation have been included, as well as all o f the p ertin en t
m aterial relating to the thirty-five-day retreat.
155
P relude
I f you do n o t have tim e to practice the Trinley N yingpo sadh an a in its

m o re elaborate version, k n o w n as the Trinley Gyepa, you can p erfo rm a
sadh ana found in the C h o kin g Tersar, called the T hirty-F ive-D ay Prac
tice, com posed by Jam yang K hyentse W angpo. H e re you can practice
the abbreviated Trinley N yingpo in a m ore extensive way. It is called the
D a-chig zhag-nga, w hich m eans “one m o n th and five days,” d u rin g w hich
you engage in the n gôndro, th e prelim inaries, an d the m a in practice,
itself, in a com plete m anner.
T hese are a few notes on h o w to practice the short version o f the T u \-
drub sadhana, based on the Trinley N yingpo, in w hich you do the recita
tion in a suitable way for one m o n th and five days.
First, place a tan gk a o r statue o f G u ru Rinpoche on the shrin e in fro nt
o f you. H ere, he is called L ob pô n Rinpoche, the “Precious M aster.” In
fro n t o f an d beneath him , as seen from the shrine s point o f view, place
the to rm a called Rinchen B arw a, or Shining Jewel, w hich is th e general
to rm a o f the Tufylrub. To the rig h t o f this torm a, place the am rita, an d to
the left, place the rakta. In the very front, set o u t the seven general offer
ings, such as water, rice, an d so forth. T h is is the sim ple way o f arra n g in g
the shrine.
You should also have a Tseringma to rm a in the center o f the shrine.
T h is to rm a can either be very sim ple or elaborate, w h ere it has fou r low er
levels; either style is fine. T h e sphere o f the to rm a is w hite. It has four
petals an d also small pellets in the four directions o f the sphere as well as
in the in term ediate directions. T h is to rm a symbolizes the five Tseringma
sisters. T h e to rm a should be placed to the rig h t o f the am rita.
T h e other protector is called K h a ra \ K hyung Tsünm a. Tseringma
is called the g u ard ia n o f the teachings (fyasung), w hile K h a ra \ K hyung
Tsünm a is called the g u ard ia n o f the te rm a {tersung). T h e to rm a for
K h a ra \ K hyung Tsünm a should be placed on th e oth er side o f the shrine,
to the left o f the rakta. It is a red crescent-shaped to rm a encircled by pel
lets.
It isn’t w ritten d ow n here, bu t there is som ething else w e should
rem em ber. Since we are do in g this as a retreat, we should d ra w a w h ite
sw astika on the floor u n d e r ou r m editation cushion. O n the ceiling above
o u r head, we should tie a packet o f sacram ents, such as m e n d ru b and

a bit o f h air fro m o u r root g u ru . D o in g this will help us avoid in terfer
ences, such as illness, an d com plete the practice.
I f w e are d oing this practice as a thirty-five-day retreat, w e should
begin d u rin g the w an in g o f the m oon, m e an in g betw een the tw en tieth
an d th irtieth o f the T ib e tan lu n a r calendar. W e should finish the retreat
at th e beginn ing o f the m o n th , betw een the first an d the fifth. T h e first
fifteen days o f the m o n th in the T ib e tan calendar are called the w axing
period, w hile the last fifteen days are called the w an in g period.
Closing th e door, you should begin the retreat in the evening. Begin
the practice by ch a n tin g the supplication to the lineage m asters, first the
general supplications an d th en th e specific ones for Barchey K iinsel. A fter
this, it is good if you can offer the w hite to rm a (\artor) in a general way.
T h e n , begin w ith th e prelim inaries, called the Seed o f Suprem e
E nlightenm ent. S tart fro m the very beginnin g an d go all the w ay th ro u g h ,
in clu ding the g u ru yoga section. I t was com posed by Jam yang K hy en -
tse W a n g p o an d later expanded an d lengthened slightly by Tersey T u lk u ,
th e incarn ation o f the son o f C h o k g y u r L ingpa. Tersey T u lk u was also
T u lk u U rg y e n s uncle. Both versions o f this text, Jam yang K hyentse
W a n g p o ’s and Tersey T u lk u ’s, are fou nd in the C h o kin g Tersar.
P r e l im in a r ie s
W h e n starting retreat, you begin by chantin g the verses o f refuge and

bo dh ich itta u p to an d inclu ding the g u ru yoga verses fou nd in th e Seed
o f Suprem e E nlightenm ent. A fter that, you start again w ith refuge and
bodhichitta, expelling the obstructors, andr,so forth, w hile read in g from
the extensive sadhana, the Trinley Gyepa. I f you do no t have the long sad-
han a, it is okay to ch an t the same sections fro m the Trinley Nyingpo.
T h e r e is a little text o f ap p e n d ed details th a t w e use in conjunction
w ith the Trinley N yingpo. I t’s called the Zurdeb, the Appended Details,
w ritte n by Jam yan g K hyentse W angpo. T h is text has extra lines that
you should insert, at certain points, into the Trinley Nyingpo. As the first
insert explains, visualize y ourself in fro n t o f the refuge assembly, w ith
ligh t rays rad ia tin g from th e h r ih in your h e a rt center th ro u g h o u t the
ten directions, calling u po n the samayas o f all the b uddhas, bodhisattvas,
an d gurus. By saying V a jr a sam ay a j a h , you invite th em to ap p ear in the
sky before you.

A t this time, you im agine the w hite letter h r ih in the center o f your
heart. O f course, you should always th in k o f yourselves as the deity and
keep the prid e o f being the deity. So, you are G u ru R inpoche, an d the
light from your h ea rt invokes the vows m ade in the past by th e gurus,
buddhas, and bodhisattvas. T h erefo re, you should im agine th a t they all
respond, by app earing in the sky before you. I f we just im agine th at all
the b ud dh as and their spiritual sons have arrived an d are in o u r presence,
th en they are actually there. T h e B u d d h a h im self said he will be rig h t in
fro n t o f w hoever thinks o f him .
In tru th , there is no th in g th e b u dd has an d bodhisattvas d o n ’t know .
T herefo re, w henever som eone supplicates them , they k n o w this im m e
diately. It doesn’t m a tte r if you are am ong a g ro u p o f one h u n d re d p eo
ple. W h e n the rays o f light em anate from your heart, the refuge will still
appear before you. M ost o f you have already heard the extensive explana
tion o f ho w to take refuge and so forth, w h en you received teachings on
the prelim inaries. W h e th e r w e are ch antin g from the extensive version
o f the Trinley Gyepa or from the Trinley N yingpo together w ith the Seven
Branches, the visualization stays the same.
T h e m ain difference betw een “outsiders” an d “insiders,” m ean in g
B uddhists an d non-B uddhists, is the act o f tak in g refuge. T h is really
m a rk s the difference, because no n-B uddhists d o n ’t rely on the T h re e
Jewels, w hile B uddhists do. T h e very m o m e n t a few strands o f o u r hair
are clipped, the dividing line is d ra w n betw een being B ud dh ist or not.
A fter refuge comes bodhichitta. T hese are both extrem ely im p o rta n t
com ponents o f any sadhana practice. T h ey are th e foun datio n an d very
basis o f all practice. W e need a firm foundation, just like w h en w e build a
house o f m any stories. W ith o u t a very solid foundation, the house will be
in d ang er o f collapsing. D u rin g the w inter in T ibet, it is possible to con
struct even a very large house on top o f the frozen ice, and it w ill rem ain
firm until spring an d su m m er arrive an d the ice melts. T h e n the w hole
structure will begin to shake an d fall apart. So refuge, especially, is the
very basis o f all B uddhist practice.
A t the conclusion o f ta k in g refuge and fo rm ing the bodhisattva
resolve, w here the text says Ja h h u n g bam h o h , im agine the objects o f
refuge dissolving into you. T h e Thirty-F ive-D ay Practice text m entions
dispelling the obstructors. In o rd er to give the ob stru cto r’s to rm a and
erect the poles, there are various lines to chant in the text.
I f we are in retreat, this is the tim e w hen we erect th e poles in the four

cardinal directions for the Four Guardian K ings. W h e n we set up the poles
o f the fou r kings in the four directions, or sim ply place a single placard at
the doorw ay w ith th e m painted on it, w e have created a dividing line. N o
one crosses this line, either going in or out. W e im agine the four kings are
tru ly present as g uard ians w h o p revent obstacles fro m enterin g and bless
ings from slipping out. I t’s like having a good w atchd og at the front gate.
W e also take the vow or pledge to n ot go outside or let other people come
inside. T hese poles are erected at the outset o f a dru bchen , an d w e do the
sam e for o u r retreat.
T hese days, it is difficult to m a k e a d ru bchen really strict, d ue to the
tim e an d setting. It will no t suit o u r su rro u n d in g env iron m ent, b u t d ru b -
chens perfo rm ed in T ib e t w ere done exactly according to the book. F ro m
the tim e the poles w ere set up, no one could leave the circum scribed area,
an d no one fro m the outside could en ter— w ith o u t exception. N o t even
food or supplies w ere allow ed in or out. Participants in a d ru b ch en w ere
n o t p erm itted to com m unicate w ith anyone outside the m andala. A spe
cially appointed “go-betw een” w o u ld pass on any messages fro m outside
an d convey any responses from w ithin. I f som ething really h ad to be
b ro u g h t in, a special gekjtrey w o uld be prono un ced over it to dispel any
obstructors, an d th en it could be b ro u g h t in.
A t this point, if you k n ew th a t someone w h o you had to m eet w ould
unavoidably arrive later, you w ou ld im agine th a t this person had been
g ran te d entry fro m the very b eginning o f the drubchen, p erm ittin g them
to arrive later. Jam g on K ong triil said, “I f you erect a pole, b u t d o n ’t
respect its significance and just talk to w hoever comes by or just stroll out
w h enever you please, there is no p oint in erecting a pole at all. It is m e a n
ingless. I f you erect a pole to the fo ur kings, you should n ot cross it or let
others fro m outside do so.”
A fter erecting the poles, you retu rn inside, sit dow n, and visualize the
protection circle. T h e n you begin w ith the seven prelim inary points found
in the instructions o f the extensive Trinley Gyepa. I f you are only doing the
Trinley Nyingpo sadhana, you just continue by blessing the offering articles
and bringing dow n the resplendence according to the text.
C ast o ff the obstructors and create the protection circle to dispel dis
harm o n io u s circumstances. C onsecrating the articles and b rin g in g dow n
the resplendence im prove or increase positive conditions.
All sadhanas have three sections— the p reparation, the m ain p art, and
the conclusion. In this case, we have no w finished the p reparation.

M a in Part
A ccording to the com m entary, after having com pleted the seven points o f
the prelim inaries, you proceed w ith the m a in p a rt o f the sadhan a text up
to the praises, w h eth er it is extensive or condensed. Since this is a teach
ing on the condensed version, the m ain p a rt begins w ith ah an d the visu
alization o f the deities. T h e letter ah represents great em ptiness, the state
o f no narising o f all phenom ena. Since the very beginning, all p h en o m en a
are totally free from m ental constructs. By u tterin g the syllable ah , we
just rem ain in the state in w hich things are as they are.
T h e re are a few m ajo r points for the m ain p a rt o f develop m en t stage:
the three sam adhis, the visualization o f the celestial palace, the visualiza
tion o f the deities, and the em p o w e rm en t and consecration.
T he T hree S a m a d h is
In developm ent stage, the three sam adhis are actually the m ost im p o rta n t
aspect. T h ey are the sam adhi o f suchness, the sam adhi o f illum ination,
and the sam adhi o f the seed syllable.
In the Trinley N yingpo, the first line refers to the sam adhi o f suchness:
D h a rm a k a y a s basic space o f suchness is the realm o f lu m inous

w akefu ln essJ
T h e next line refers to the sam adhi o f illum ination:
S am bhogakaya’s unceasing illum ination is com passionate

expression. 5
T h e th ird line refers to the sam ad hi o f the seed syllable:
N irm a n a k a y a ’s seed sam adhi is the w hite h r ih J
It is said that one should erect the fra m ew o rk o f the three sam adhis
in the same way one pitches a tent. T h e three sam adhis are explained in
16 0 DISPELLER OF OBSTACLES
T ib e tan in term s o f w h a t is to be purified, th a t w hich purifies, an d the
outcom e o f purification.
T h e first, the sam adh i o f suchness, purifies the experience o f dying.
A t som e p o in t o r another, w e are g oing to die. T h e experiences th a t occur
w hile w e pass aw ay can be purified by m eans o f train in g in the sam adhi
o f suchness. T h e re are different b ard o states, w hich include the bardos
o f death, d h arm a ta , an d becom ing. T h ese states occur from the m o m e n t
o f leaving the body u p until an d in clud in g the m o m e n t o f ta k in g reb irth
w ith in one o f the six realms. Som e beings rem ain in the b ardo o f becom
ing for a very short p eriod an d some rem ain for a long tim e, b u t gener
ally sp eaking it lasts ab ou t forty-nine days. T ra in in g in the sam ad hi o f
illu m ination purifies the b ardo state. A t some point, w e reconnect w ith a
new life in a w o m b , egg, or such, an d this b irth process is purified by the
sam adh i o f the seed syllable.
T h e outcom e o f the th ree sam adhis is attain in g the three kayas: the
sam ad hi o f suchness leads to realizing the d h arm ak ay a, the sam adhi o f
illu m inatio n leads to realizing th e sam bhogakaya, and the sam adhi o f the
seed syllable leads to realizing the nirm anakaya.
T h e sam adhi o f suchness is necessary as long as w e have som ething
to purify w h en o u r physical body, com posed o f the four elem ents, passes
away. D u rin g the d eath process, th e pow er o f these four elem ents begins
to dissipate: earth dissolves into water, w ater into fire, fire into w ind,
w in d into space, and space into consciousness. A t th a t point, there is a
m o m e n t called the “d h arm a k ay a o f death ,” w hich is lu m in o u s cogni
zance. O rd in a ry people fall unconscious, if they do n o t recognize this
m o m e n t as the basic state o f all things, w hich is em pty an d free o f con
structs. B u t this is the m o m e n t w h en good practitioners rem ain in tu \-
dam, sam ad hi after the body dies.
T h is failure to recognize is exactly w h a t needs to be purified. You
clear it u p by train in g in so m eth in g th a t corresponds to th a t m om en t,
som ething th a t has a m od e sim ilar to the d h arm a k ay a o f death. You
train in the p rid e or self-assurance th a t this state o f co gnizant em ptiness,
totally free o f constructs, is the em ptiness o f all p h en o m en a— both o u t
side an d inside, w hatever appears and exists, all o f sam sara an d nirvana.
T h e sam adhi o f suchness is sim ply resting your m in d free o f concepts for
a while, u ntil you start to th in k again. U n d ersta n d this to be the basic
fra m ew o rk o f the entire sadhana practice. T h e sam ad hi o f suchness also
purifies clinging to the view o f perm anen ce— ta k in g the w orld as solid,

real, and p erm a n en t— w hich is one o f the tw o extrem e views. It purifies
this view and the habitual tendency for ta k in g reb irth in the formless
realms.
In short, by trainin g in the state o f em ptiness free from all constructs,
we purify three things: the death state, the view o f perm anence, and the
habitual tendency for tak in g reb irth in the formless realms. M oreover, we
plant the seed for realizing the state o f dharm akay a.
T h e Secret M a n tra p ath o f V ajrayana has tw o aspects: m eans and
know ledge. M eans is the developm ent stage, w hile knowledge is the com
pletion stage. In the developm ent stage, we visualize the deity an d atten d
to all the other details, such as training in keeping these things in m in d.
T h e com pletion stage involves seeing th at even the deity is devoid o f any
concrete identity w hatsoever; it too is em ptiness, free o f constructs. In this
context, the sam adhi o f suchness is the com pletion stage. It is the m ost
vital point. T h e re is n o th in g m ore crucial th an this.
T h e general B ud dh ist teachings describe suchness as the three gates o f
em ancipation— emptiness, signlessness, and wishlessness— correspo nd
ing to gro u n d , path, and fruition. W e need to train in these to purify the
m o m e n t o f death. H ow ever, m ost people fall unconscious shortly after
dying, w h en the three experiences o f w hiteness, redness, an d black
ness occur. T h is unconscious, oblivious state usually lasts for three days,
altho ug h the length o f tim e is n o t certain. T h e body is still present, b ut
the m in d is in a blank, unconscious state. A fter several days, one a w a k
ens w ith the thou gh t, “W h e re am I? W h a t’s h a p p e n in g ? ” T h in k in g is
reactivated, and the bardo o f becom ing begins. T h is b ardo experience is
purified by the sam adhi o f illum ination, w hich in the tantras is also called
the state o f m agical com passion th a t illum inates everything.
T h e second o f the three sam adhis also acts as a purifier. A fter dying,
w h en the b ardo o f d h arm a ta begins, there is a spectacle o f light rays and
colors. Practitioners w ho have trained in T o gal experience these as dei
ties. Unless you have some train in g in T ogal, the w hole event flickers
past, w ith n o th in g m ore th an a sh im m erin g o f lights an d colors, w hich
are intensely b rig h t and overw helm ing. F o r m ore details, you can read
P ad m asam b h av a’s Liberation through H earing in the Bardo.
A t this time, the soft, cozy lights o f the six realm s also appear, m ore
readily attracting o ne’s attention. T h ese soft-colored lights seduce you
back into the realms o f the six classes o f beings. To purify this experi
ence, train in the sam adhi o f illum ination. H o w do you do this? W ith in

the state o f g rea t em ptiness devoid o f constructs, direct your attention
to w ard all sentient beings, w ho do no t realize their ow n basic n a tu re o f
em ptiness. Filled w ith com passion and loving-kindness, think , “H o w sad
th a t sentient beings have n o t realized this!” L et your com passion be like
the sun em ittin g rays o f light in all directions. It is said, “T h e m o m e n t
o f realizing em ptiness is the sam e m o m en t as m anifesting com passion.”
T h is com passion is the second o f the three sam adhis.
T h e sam adhi o f illum ination purifies the b ardo state, an d it has tw o
aspects: the m ain p art an d the subsequent part. T h e m ain p a rt is simply
to rem ain w ith o u t any concepts in em ptiness, filled w ith the light rays
o f com passion. W h e n we begin to th in k again, the first th o u g h t th a t
should arise is the assurance th a t the purity o f the b ard o state is the sam -
bhogakaya. Besides purify in g the bardo state, this sam adhi also purifies
the habitual tendency to hold the view o f nihilism , as well as the habitual
tendency for ta k in g rebirth am o n g the gods in the form realms. Finally,
this train in g plants the seed for realizing the sam bhogakaya, the form o f
th e deity ad o rn ed w ith the m ajor an d m in o r m a rk s o f excellence. T his
second sam adhi, w hich relates to sam bhogakaya, is also called m agical
com passion.
T h e th ird is the sam adhi o f the seed syllable. H e re the object to be
purified is the m o m e n t before ta k in g rebirth, w h en one is just ab ou t to
en ter one o f the six classes o f sentient beings. T h e seed syllable grow s into
or gives rise to the deity. T h e deity could be an unelaborate form o f a
single figure or an elaborate form w ith m an y faces, n u m erou s arm s, and
so forth. T h e seed syllable produces all o f these. W e should first visualize
the seed syllable, as the n atu ral m anifestation o f no n d u al com passionate
em ptiness, in the m idd le o f space, like a rad ia n t m oon.
T h e seed syllable is the source o f the entire m a n d ala o f deities. A t the
very outset o f the developm ent stage, visualize the seed syllable again
an d again until it becomes clear. W hen ev er the seed syllable is n o t clear,
re tu rn to im agining it until it becomes so. T h is purifies the m ind -energ y
principle, w hich takes rebirth. V isualizing the m ind -energ y principle
in the fo rm o f a seed syllable purifies this tendency for tak in g rebirth. It
also establishes the basis for realizing the nirm an ak aya. T h is explains the
sam adh i o f the seed syllable.
N o m a tte r w h at yidam you practice, you should perfect an additional
set o f three aspects: distinct appearance, stable pride, an d recollection o f
the p u re symbolism.

D istin ct ap pearan ce m eans im ag in in g the com plete fo rm o f P ad -
m asam b h av a, or any o th e r yidam , in c lu d in g the attrib utes, g a rm e n ts,
an d com p lexion ’s h ue, ev e ry th in g d o w n to the black an d w h ite o f th e
eyeballs. E v ery th in g should a p p e ar very distinct, n o t b lu rry or m ixed
together. I f som e detail does n o t ap pear clearly in y o u r m in d , sim ply
tra in in visualizing this repeatedly un til it becom es distinct. Y our visu
alizatio n sho uld n o t be flat an d tw o d im en sio nal, like a p a in tin g , b u t
th ree dim ensional, like a statue. In th e beg in ning , visualize th e a p p e a r
ance as clear an d distinct, yet em pty, like the reflection in a m irr o r or
the m o o n in w ater, It is visible b u t devoid o f self-n ature, like a rainbow ,
tra n sp a re n t an d insubstantial.
N e x t is stable pride. M u n d a n e pride is to th ink , “I ’m great, greater
th a n others. I ’m rich. I k n o w this and that. I ’m special.” T h is is the n o r
m al type o f conceit or pride, b u t th a t is n o t w h at is m e an t here. H e re we
are dealing w ith the p ride o f self-assurance, the confidence th a t o n e’s
sugata-essence is identical w ith th a t o f all the buddhas. O u r b u d d h a
nature, too, is endow ed w ith the qualities o f the fourfold fearlessness, ten
strengths, and so forth. Yet we ourselves are at the stage o f the g ro u n d . In
the case o f the B ud d h a or P ad m asam bh av a, they are at full-fledged real
ization, the state o f fruition. N onetheless, w e should have the assurance
an d p ride th a t our ow n b u d d h a n atu re is, in fact, identical w ith th a t o f
P adm asam bh av a him self in the state o f com plete b u d d h ah o o d . T h a t is
the k in d o f confidence w e need to have.
Lastly, recollecting the p u re symbolism is a m a tte r o f u tm o st im p o r
tance. Recollecting the purity can be applied to any deity, regardless o f
w h eth e r it is peaceful or w rath fu l, tw o -arm ed or six-arm ed. In short,
every single detail m eans som ething, and you should learn this m eaning.
R e tu rn in g to the text, the next line reads:

F ro m it light radiates, purify in g the clinging to a real universe w ith
beings.®
W e have the tendency to th in k things really exist— the vessel an d its

contents, the w orld an d its beings, appearance and existence. So, at this
point, im agine th a t the syllable h r ih sends out a trem en d o u s a m o u n t o f
five-colored light in all directions, totally pu rifying the habitual tendency
o f clinging to the w orld and beings as real and solid. H a v in g rem oved

th a t tendency, rem ain again in th e state o f equanim ity, em ptiness free o f
constructs.
T h e w hole principle o f the developm ent stage is to purify o u r differ
en t types o f habitual tendencies. T h e various aspects o f the developm ent
stage th en becom e a real rem edy to counteract o u r obscurations an d te n
dencies. T h erefo re, these steps o f train in g should som ehow correspond to
the differen t ideas an d tendencies we presently have.
[For teachings on the palace an d the deities, see O T R ’s com m entary.]
A n extrem ely im p o rta n t line o f the text reads: Is m y awareness as Pad-

m asambhava, the em bodim ent o f all sugatas... Stating th a t o ne’s m in d is the
e m b o d im e n t o f all th e sugatas, P ad m asam bh ava, this line appears at the
beg in n in g o f the visualization o f G u ru Rinpoche. T h u s, in o rd er to actu
alize this basic state, w e should visualize our m in d , endow ed w ith the
qualities o f com plete en ligh tenm en t, like the tw ofold k now ledge and so
forth, in the form o f the deity, P ad m asam bh av a. T h is deity is n o t som e
one else to w h o m w e pray for long life, good health, an d business success.
I t’s n o t like that. H ere, you are the deity; the deity is none other th a n you.
In this way, the deity is spontaneously present.
T h e w o rd rigpa here refers to the b u d d h a nature; o n e’s aw areness
or rig pa is the basic elem ent or constituent o f the b u d d h a n ature. T h is
is present in all sentient beings, w ith o u t any exception. T h e aw akened
state o f b u d d h ah o o d , end ow ed w ith the tw ofold kn ow ledge and all the
enligh tened qualities, an d ou r o w n b u d d h a n ature, are n ot different in
any way whatsoever. T h e r e ’s n o t even an atom o f difference. W e should
u n d ersta n d this. T h is b u d d h a n atu re, or sugatagarbha, is present in every
one. W h e n we recognize, trained in, and perfect the tw ofold know ledge,
it fully unfolds, en d o w in g us w ith the capacity to act for the w elfare o f
beings.
B ut in our case, we have n o t recognized the sugata-essence, so the
b u d d h a n a tu re rem ains clouded or enveloped w ithin the tw o obscu
rations. Just like the exam ple o f h olding a m edicine bottle w ith in o ne’s
h an d , the qualities o f e n lig h te n m en t are no t m anifest. H ence, in ou r
presen t state, w e are unable to act for the w elfare o f beings. It is like the
cloud-covered sky, in w hich the sun is unable to shine forth and give
w a rm th , even th o u g h it is present. W h e n the clouds disperse, the sunlight
shines forth. In the sam e way, w h en o u r obscurations are rem oved, we
need n o t invent a new b u d d h a n a tu re as th o u g h it w ere no t already pres
ent. T h e sun does n o t need to be created anew each time.
I ts very im p o rta n t to u n d ersta n d th a t the b u d d h a n atu re w e already
have is exactly the same as the state o f com plete enlightenm ent. T h e only
difference is th a t it is now obscured. H ow ever, these obscurations are not
intrinsic to the b u d d h a n ature, an d they d o n ’t adhere to it. F o r example,
w h en I open m y fist and release the eraser, the h an d doesn’t stick to the
eraser. T h is is w h at is m e an t here. W e have not aband on ed the obscura
tions yet, b u t they are no t intrinsic either.
C om plete en ligh tenm ent is endow ed w ith the tw ofold purity, the
purity o f the p rim ord ial essence and the purity o f h aving rem oved the
tem porary defilements. W e possess the first o f these two; therefore, we
are the b u d dh as o f the prim ordially p u re essence. B ut the real bud dh as
also possess the second purity, the purity o f having rem oved the em o
tional an d cognitive obscurations. O u r n atu re is exactly the sam e as th a t
o f all fully enlightened buddhas, b u t o u r b u d d h a n atu re does n o t fu n c
tion as a fully enlightened b u d d h a, because it is still enveloped by obscu
rations. H ere, temporary m eans “not inn ate.” T h ey can be rem oved. T h is
principle is very im p o rta n t to un derstan d.
In o rd er to rem ove these obscurations, according to the general path
o f M ahayana, we train in the five param itas o f means: generosity, dis
cipline, diligence, patience, an d m ed itation — rem ain in g in m editative
equanim ity. W e also cultivate d iscrim inating know ledge. A ccording
to V ajrayana, w e train in the path o f unifying m eans and know ledge.
T h e developm ent stage is the skillful m eans aspect, an d the com pletion
stage is the know led ge aspect. As we train in these practices, w e g ra d u
ally rem ove the covers, realizing ou r in-born nature. T h is is n o t a new
achievem ent; rather, it’s a realization o f w h a t was present to begin w ith.
H o w can w e k n o w w e have b u d d h a natu re? Evidence proves the
b u d d h a n atu re is definitely present w ithin o u r stream -of-being. W e are
able to feel loving-kindness and com passion for others; we can feel devo
tion, renunciation, and d isenchantm ent w ith samsara; an d we can take
delight in virtuous actions and regret misdeeds. T h ese are only possible
because we possess the sugata-essence. O therw ise, these feelings w ould
n o t arise. T h e scriptures say th a t if this potential w ere not present, we
w ould never feel w eary o f sam sara, n o r w ould w e have the desire to
becom e liberated and fully enlightened.
A m o n g the synonyms for b u d d h a n atu re are potential an d elem ent. A
poisonous snake has the potential to be poisonous; w h en it bites, it can
instantly inject the poison. In the same way, w e possess the potential for,
o r basic elem ent of, en ligh ten m ent, an d th a t is w hy w e can aw a k en to it.
R ig ht now, w e have the basic elem ent o f distu rb in g em otions, because
w e have n o t ab an do ned the em otional obscurations. Since we have this
potential, we can becom e angry, attached, or p ro u d w h en we en co un
ter difficult circumstances. N evertheless, we also have the potential for
enlig htenm ent. I f we rem ove the obscurations, w e can im m ediately real
ize th e aw ak ened state. T h is is like extracting gold from gold ore. T h e
ore possesses the basic elem ent o f gold, so if we sm elt it, the gold will
appear. Similarly, m ilk has the basic com p on en t o f butter, an d if we
c h u rn it, the b u tter will appear. W ater, how ever, does n o t have the poten
tial to yield butter. W e can c h u rn w ater for as long as we w an t, b u t it will
never pro du ce any butter.
B u d d h a n atu re is u n fo rm e d , w h ich m eans it is not created due to
causes an d conditions. It is like space— changeless. I f you praise space,
it d oesn’t feel delighted; if you blam e space, it doesn’t feel sad. O u r basic
n a tu re does n o t im prove w h en we become enlightened, n o r does it
w orsen w h en w e are deluded in samsara. It is u nchanging, because it is
u n fo rm ed.
Som e o f the scholars fro m the N e w Schools object to the idea that
b u d d h ah o o d is spontaneously present an d u n fo rm e d in all sentient
beings. T h e y ask, “W h a t ab ou t an old dog? W h y doesn’t it have the th ir
ty-tw o m a jo r and eighty m in o r m a rk s o f excellence, and w hy doesn’t it
tu r n the w heel o f D h a rm a if it has the com plete p otential?” T h e response
is th a t the b u d d h a natu re, alth o u g h fully perfect and already present in
all beings, is n o t yet effective. It does n ot fulfill its ow n potential, because
it is covered by the tw o obscurations. H ow ever, once sentient beings elim
inate the tw o obscurations, they realize their ow n true, in h eren t n atu re,
w h ich was already there to begin w ith.
W h y are there varying view points concerning our b u d d h a nature?
V iew points vary because the in ten t ta u g h t in the sutras differs. T h e B u d
d h a ta u g h t in d ifferent ways, ad ap tin g the teachings in accordance w ith
d ifferen t people’s capacities. T h erefore, w e hear about the three turn in gs
o f the w heel o f D h a rm a an d the three sets o f teachings. T h e second set o f
teachings is the T u rn in g o f the D h a rm a W heel on the A bsence o f A ttri
butes. In other w ords, it em phasizes th a t all things are em pty o f an entity
or an identity— the em pty essence. By nature, all p h enom en a are devoid
o f a self-nature. T h a t is w h at is chiefly ta u g h t in the second tu rn in g .
People w ho stress the second tu rn in g o f the w heel o f D h a rm a con
sider this the definitive m eaning. T h ey view the teachings on b u d d h a
n atu re as the tem porary, expedient m eaning, w hich eventually leads to
the definitive, ultim ate teachings.
O th er people consider the th ird tu rn in g o f the w heel o f D h a rm a ,
called the T u rn in g o f the D h a rm a W heel on the C om plete U ncovering,
to be the definitive m eaning. T h is em phasizes the cognizant, lum ino us
b u d d h a nature, endow ed w ith the tw ofold w isdom present w ith in all
sentient beings. F ro m th a t p oint o f view, exclusively teaching th a t things
are em pty is the expedient m eaning, no t the final one. T h ey consider the
teachings on b u d d h a n atu re to be the definitive m eaning.
B oth o f these approaches are fine, and both are ways o f u n d e rsta n d
ing the B uddha's intent. T h ey are just m e an t for different types o f peo
ple. T h e d ifferent schools o f philosophy seem to differ on several points,
because they em phasize different sets o f teachings. Som e em phasize the
second tu rn in g o f the w heel o f D h arm a , w hereas others em phasize the
th ird tu rn in g , the final set o f teachings. H ow ever, they are n o t m a k in g
u p any thing on their ow n. T h ey are all follow ing the B ud dh ist teachings.
Kagyii and N y in g m a lineages prim arily follow the view th a t the
sugata-essence, present in all sentient beings, is already endo w ed w ith
the perfectly enlightened qualities in a potential way. U sin g the practices
o f the path as circum stances for rem oving the obscurations allows the
indw elling enlightened qualities to manifest.
T h e Uttaratantra Shastra describes the way in w hich the sugata-es
sence is veiled or obscured. It uses nine analogies to show h o w the suga
ta-essence is obscured in an ordinary person; in som eone on the path , such
as the shravakas, praty ekabu dd has, an d so forth; in candidate bodhisat-
tvas; in bodhisattvas on the first seven im p u re stages, or bhum is; and in
bodhisattvas on the three pure, final bhum is. E ven on the eighth, n in th ,
and ten th bhum is, there is som e degree o f obscuration. A lth o u g h the
bodhisattvas at the end o f the stream o f the ten bhum is are still slightly
obscured, from our point o f view they appear no differen t from the fully
enlightened buddhas, such as M anjush ri an d so forth. T h e o th er eight
sons o f the B ud d h a seem no different, b u t still there is some very, very
subtle cognizant obscuration, w hich m u st be rem oved by m eans o f the
vajra-like sam adhi, in order to realize the E leventh B h um i o f U niversal
Illum ination. T h e re is still this slight difference.

H o w do we rem ove these obscurations, w hich cover the b u d d h a
n ature? W e rem ove them by m eans o f g ath erin g the accum ulations, p u ri
fying obscurations, an d so forth — using all the different trainings along
the path. I ts like h ac k in g aw ay at a thick wall until it becomes th in n er
a n d thinner. Finally, there is n o th in g left, and we realize the originally
p u re essence o f en ligh ten m ent.
In the M ahaparinirvana Sutra, the B ud d h a said, “N ow , it is tim e to
teach the definitive m eaning, the irreversible, ultim ate set o f teachings.
A nyone here w hose m in d cannot accom m odate these teachings, please
d ep a rt and d o n ’t com e back.” H e then sent K ashyapa to sort ou t w ho
should rem ain and w ho should leave. T h ey checked three times to see if
the people w ho rem ain ed could actually accept and grasp the ultim ate set
o f teachings. F o r exam ple, even if it w ere said th a t the father is only ten
years old, w hile the son is one h u n d re d years old, they w ou ld grasp and
accept th a t an d w hatever else the B u d d h a said. T h is occurred w h en the
B u d d h a started to give th e definitive m ean in g, the ultim ate teachings.
W h a t did the B u d d h a teach a t this tim e? In essence, he ta u g h t that
all sentient beings, from the very beginning, possess the qualities o f the
aw akened state, such as the tw ofold suprem e know ledge, the fourfold
fearlessness, the ten strengths, the eighteen u n iq u e qualities, and so forth.
In their stream -of-being, they already possess these qualities. F o r some
people, this k in d o f statem ent is im possible to grasp. It is in com p rehen
sible.
So, w h at does it really m ean? F o r example, w h at does the first aspect
o f the tw ofold know ledge, the w isdom that sees all that exists, refer to?
A scientist, w ho believes only in the existence o f the physical w orld we
see aro un d us, at least accepts th a t there is a physical w orld called planet
E arth. E ven though the E a rth ’s particles are as tiny as the dust motes we
see drifting in the sunlight, a B ud dh a can see how m any particles m ake up
this planet. W ith o u t having to th in k about it, in a single instant, he know s
exactly how m any particles exist in the entire world. In the same way, he
know s how m any particles exist in the whole universe o f worlds. Moreover,
aside from the beings in other realms w hich we, ourselves, cannot perceive,
a B ud d h a know s exactly how m any h u m a n beings, animals, and sea crea
tures there are in o ur w orld, as well as their exact location, not only in this
present m om ent, bu t even from the original time o f confusion u p until
now. H e know s the personal biography o f each living being, one lifetime
after another th rou gh ou t all time, from beginningless lifetimes until now.

F o r example, a B uddha know s w hich parents each sentient being had,
w here he took birth, w h at he did, w here and to w ho m he was reborn after
death, and so forth. A B uddha know s not just the history o f a single being,
but the individual history o f all sentient beings. H e know s the histories not
just consecutively, one after another, but all simultaneously— in the snap
o f a finger. T h is kind o f omniscience is, in fact, present in the m indstream
o f all sentient beings. T h e question is, can we grasp this? T his is how the
omniscient know ledge o f a B u dd ha is.
T h e w isdom know ledge o f the shravakas, pratyekab ud dh as, an d
bodhisattvas is deep, b u t n ot as deep and vast as the B u d d h a ’s know ledge.
It is still lim ited, reaching just so far. T h e B u d d h a s w isdom kno w ledg e
is limitless. F o r example, a shravaka m ig h t possess kn ow ledg e o f every
th in g from here to F rance, w hile a bodhisattva possesses k no w led ge o f
everything betw een here an d A m erica. N evertheless, this k in d o f k n o w l
edge is still limited.
R ig ht now, we d o n ’t k n o w w here w e w ere or w h at w e d id in o u r
past life. W e only k n o w the present life. Yet, at the same tim e, we have
to accept th a t the om niscient know ledge o f the b u dd has is present in
o u r being. Right? I f it seems impossible to accept this, w e w o uld say it
is “incomprehensible*” H ow ever, there is no benefit in m erely possessing
this quality, because it is, at present, completely clouded over by the tw o
obscurations.
T h e B ud d h a gave the follow ing example: O nce there was a very des
titute person w ho possessed absolutely no w ealth whatsoever. H e was
forced to ro am aro u n d begging for his livelihood. N evertheless, u n d e r
the fireplace in his ow n hut, a treasure lay bu ried u n d erg ro u n d , b u t he
was ign o ran t o f this fact. T h e treasure o f precious substances d id no t call
ou t to him and say, “I ’m here u n d e r your house! D ig m e u p !” So, he con
tinued to live in dire poverty, no t k n o w in g th a t if he just d u g into the
earth u n d er his ow n hu t, he w ould be a very rich person.
O ne day, som eone w ith clairvoyant “divine sight” cam e along and
saw the treasure buried u n d e r the fireplace. H e told the poor fellow, “You
d o n ’t have to live like a poor person, begging for your food. Just dig in
the g ro u n d u n d e r your fireplace, and you’ll discover a very precious trea
sure.” T h e beggar started to d ig and first foun d a cache o f silver. T h is
was valuable, o f course, but n o t extrem ely precious. N evertheless, he was
satisfied and th ou gh t, “T h is is w h at has been there all along.” H e b ro u g h t
it u p an d show ed it to the clairvoyant person, asking, “Is this w h a t you

m e a n t? ” T h e clairvoyant person said, “Yes, th a t’s p art o f the treasure, but
n o t the entire treasure. You m u st dig deeper.” T h e fellow d ug for a while
longer an d b ro u g h t up gold. H e show ed it to his friend and said, “L ook
w h a t I found! Is this the tre a su re ? ” T h e friend said, “Yes, th a t’s again
p a rt o f the treasure, b u t no t the w hole thing. G o back and dig further.”
T h e fellow did as he was told and finally uncovered the entire buried
treasure.
In the sam e way, the B u d d h a ’s first teachings show ed us how to arrive
a t the level o f an arhat, by m eans o f the shravaka and p raty e k ab u d d h a
paths, b u t this is no t the final result. H is next teachings show ed how to
reach the bodhisattva levels o f en ligh ten m ent, b u t even these are not
the final result. U ltim ately, the B u d d h a ta u g h t th a t one m u st purify all
the obscurations, in o rd er to arrive at the state o f com plete and perfect
enlig htenm en t, called the E lev en th B hum i o f U niversal Illum ination.
T h is is an analogy ta u g h t by the B ud dh a himself.
F ailin g to recognize ou r o w n b u d d h a n atu re, we rem ain covered
by the tw o obscurations and roam th ro u g h o u t the different states o f
sam sara, u n d erg o in g great m isery and difficulties. F o r example, we expe
rience the h eat and cold o f the hell realms, the h u n g er and th irst o f the
h u n g ry ghost realms, and so fo rth — not k n o w in g a precious treasure has
been p resent w ith in us all the while.
Som etim es w e use ano th er exam ple the B ud dh a gave, th at o f the
w ishfulfilling jewel lying in the filth o f a latrine. N o one know s it is lying
there, even th o u g h it has the capacity to fulfill wishes. C overed w ith dirt,
it is m erely w aitin g for som eone to pick it up and clean it again. First,
w e clean it w ith w ater an d th e n w ith a rou gh cloth. Later, we use a
finer g rad e o f cloth. L ater still, we polish it w ith a very soft cloth, until
absolutely no d irt or im purity rem ains on the surface o f the w ishfulfill
in g jewel. Finally, we can m o u n t it on top o f a victory b an n er an d m ake
offerings to it. W e can then m a k e wishes w ith it, and they will all be ful
filled. T h e w ishfulfilling jewel had this same capacity all along, bu t we
h ad to rem ove the im purities in ord er to actualize its full potential. In
the same way, w ith great perseverance and fortitude, we should u n d e r
tak e the rem oval o f obscurations an d defilem ents th at cover our b u d d h a
nature.
T o reiterate, we should really u n d erstan d and acknow ledge that all o f
us possess this basic awareness, the sugata-essence. W e visualize this basic
aw areness in the form o f the deity. W e sh o u ld n ’t always th in k o f the b u d
dhas as being up there in the enlightened state, w hile w e sentient beings
are d o w n here far, far below, w ith a difference as vast as heaven betw een
us. In n atu re, we are identical w ith the buddhas. In o ur case, this n atu re
is presently veiled by obscurations. N onetheless, these obscurations can
be rem oved, a n d th a t is exactly w h a t w e do w hen we practice a sadhana.
W e visualize ourselves as P ad m asam b h av a in the center o f the celes
tial palace. In the m idd le o f the base w ithin the palace, a square platfo rm
is raised above the gro un d. T h e octagonal jewel is w ith in that. In the
m iddle o f the jewel is a four-petalled lotus. In the m id dle o f the four-pet-
alled lotus is the lion throne, w hich is a platform o f jew eled m aterial su p
po rted by eight lions. O n top o f the lion th ro n e is an o th er lotus, a sun
disc, and a m oon disc. P adm asam bh ava sits upon these. Behind o u r back,
a lotus tree is grow ing. A t the level o f the second story o f the palace, the
tree branches out w ith ano th er lotus ap pearing at the center o f the m idd le
ch am b er above his head, w here A valokiteshvara sits. A t the level o f the
th ird story o f the palace, an o th er lotus appears above A valokiteshvara s
head, w h ere A m itayus sits. T h is is ho w we should im agine it.
[For specific teachings on the tw elve m anifestations, the dakas an d d ak -

inis, e m p o w e rm en t and consecration, invitation, hom age, offerings, and
praises, see O T R ’s com m entary.]
As w e can see in Jam yang K h y en tses explanation, k n o w n as the T hirty-

F ive-D ay Practice, he suggests th a t on the first evening o f a retreat, we
should go th ro u g h the prelim inaries and th e n the sadhana, all the way
d o w n to th e praises. H e says w e can open up the recitation m ansion at
this p oint and then chan t the Barchey Lam sel once. T h e Zurdeb, the Side
Ornament, m entions this:
A t the p o int o f the recitation practice, i f you wish to open the recitation m an
sion after the praises, say:
B h r u n g v ish v a v is h u d d h e h r i h h u n g p h a t j a h ®
F ro m the root m and ala o f myself, s

O pens up a second w isdom mandala,«
R em aining in the sky before m e J
A ro u n d the seed syllables in both our hearts,s

Spin the resou nd in g m a n tra garlands,®
S en ding o ut countless rays o f light J
F ro m oneself, the root m a n d ala visualized as G u ru R inpoche and

the other tw o kayas, a second w isdom m a n d ala separates and appears in
the sky. It is like a reflection in front, w hich rem ains in the sky. In the
h ea rt centers o f both your ow n m a n d ala and the second m a n d ala in front,
the seed-syllable h r ih is su rro u n d e d by a m a n tra garland. Each syllable
resounds w ith its o w n sound. T h ey are w ritten counter-clockw ise bu t
spin clockwise. T h ey are:
O m a h h u n g v a jra g u r u p a d m a s id d h i h u n g
F ro m the visualization in front, infinite rays o f light stream o u t from

the m a n tra syllables in a variety o f colors: w hite, yellow, red, an d green.
W h e n w e arrive at the recitation section, w e will discuss ho w the m an tras
are arran ged. N o w , retu rn in g back to the Trinley N yingpo, you should
begin w ith invoking their sam aya for the recitation.
H u n g H r i h !®
In the essence m a n d ala o f bodhichitta,*

W ith o u t departing, rem e m b e r your vajra samaya®
A n d bestow blessings, em p ow erm ents, and siddhis!*
T he essence m andala o f bodhichitta is the w isdom m a n d ala o f the

aw ak en ed state, rigpa, the b u d d h a n atu re itself. Its n atu ra l expression is
to take th e fo rm o f all the differen t deities, w hich are here described as
the deities reveling in wisdom magic. All o f th em possess the sam aya vow,
w h ich cann ot be transgressed or abandoned. In the past, w h en they w ere
on the path, they took this vow to w o rk endlessly for the benefit o f all
sentient beings. W e rem in d th em o f this fact, saying, remem ber your vajra
samaya, or keep th a t in m in d, an d bestow blessings, empowerments, and sid-
dhis upon me. T h is is the invocation.
[For the recitation, see O T R s com m entary.]

R e c it a t io n — C o n c l u sio n
A t the end o f the recitation, repeat the Vowels and C onsonants m an tra,
the A li Kali, and the Essence o f C ausation m a n tra three tim es each.
O m A AH I IH U U H RI R IH LI L IH E EH O OH ANG AH
K a k h a ga gha nga, T sa ts h a dza dzah nya
T a th a da d h a na, T a th a da d h a na
P a PH A BA BHA M A, Y a RA LA WA
S h a k a sa h a k s h a
O m y e d h a r m a h e t u pra b h a v a h e t u n t e k e n t a th a g a to haya
WADET T E K E N TSAYO NIRODHA EW AM VADI M AH A SHRAMANA SVAHA
Then say the fo u r lines fo r the offering:
O m ah h u n g*
I present you as an outer offering, an ocean o f desirable objects
am assed like cloud banks,*
As an in n er offering, an inconceivable feast o f am rita, rakta, and
torma,*
A n d as a secret offering, the unity o f bliss and em ptiness, the basic
space o f wakefulness.«
A ccepting these, please bestow the suprem e and co m m on siddhis!*
O m v a jra a r g h a m p a d y a m p u s h p e d h u p e a l o k e g h a n d h e n a iv id y a
SHABDA SARVA PANCA RAKTA BALINGTA M AH A PU JA AH H U N G *
Then say the fo u r lines fo r the praises:
H ung H r i h I*
F ro m your essence, the lu m in ou s state o f dharm akaya,*

Your n atu re m anifests as sam bh og ak ayas em pty bliss.*
Y our capacity, the all-tam ing n irm anak ay a, accom plishes the
benefit o f beings.»
I prostrate to and praise the w hole assembly o f m a n d ala deities!*
A fter repeating the praises, ad d in the Barchey Lam sel or D usum

Sangye, w hich is a special supplication to the three kayas, G u ru Rinpoche,

and the twelve m anifestations. Finally, say the H u n d re d Syllable m a n tra
three times.
D isso l v in g a n d E m e r g in g
W h e n doing the Trinley N yingpo according to the thirty-five-day retreat,

at this point, just after the m antras, offerings, an d praises, dissolve the
fro n t visualization by saying Ja h h u n g b a m h o . Im agine th a t the m an d ala
o f the w o rld an d beings dissolves back into you. U tte rin g H ung hung
hung , dissolve the entire m a n d ala im m ediately into light. First, the su r
ro u n d in g figures dissolve into you. T h e n your ow n body dissolves into
the h r ih in the h ea rt center. T h e h r ih slowly dissolves as well. D o not
keep it in m in d any longer. You then rest in the state o f lum inosity for a
w hile. T h a t is the com pletion stage o f dissolution.
By u tterin g phat three times, you again em erge in the form o f the
deity, w ith one face and tw o arm s. Im agine th a t the three syllables O m
ah hung are in your th ree places. T h e n , say the w ords o f dedication and
aspiration.
S e ssio n s a n d B r e a k s D u r in g t h e
T h ir t y - F iv e - D ay R e tr ea t
W e are still on the first day o f retreat an d have com pleted one session.
N ow , we eat d in n e r an d begin the second session, the evening session
called the sd-tun, w hich m eans evening or after d ark . Usually in retreat,
w e do fo ur daily sessions: early m orning , m o rning , afternoon, an d eve
ning.
A fter dinner, d u rin g the second session o f the first day, the evening
session, w e again start o u t w ith refuge an d bodhichitta, blessing the offer
ings, and so forth, according to the short Trinley N yingpo sadhana. W e
follow this, as described above, u p until reciting the m antras. T h e n we
recite as m any m an tras as w e are com fortable w ith — it’s up to you.
W h e n w e dissolve the visualization at the end w ith the triple hung ,
w e go to sleep at exactly th a t point. H ere, this is called practicing the yoga

o f sleeping. In this way, we fall asleep in the state o f luminosity, w hile
practicing the yoga o f luminosity.

W h e n w ak in g up in the m o rn in g , we im m ediately aw a k en w ith
the p ride o f being the deity. In the Barchey K iinsel ng on dro , at the very
m o m e n t o f aw akening, we recite a special ch an t to G u ru R inpoche, w ho
appears in the sky overhead, su rro u n d e d by dakas an d dakinis. T h ey are
so u nd in g bells and dam arus, w hile chan tin g m an tras o f the self-liber
ated lum inosity o f one’s m in d and so forth. W e im m ediately sit u p w ith
the assurance th a t G u ru R inpoche an d all the dakas an d dakinis have
arrived. W e th e n start the n g o n d ro practices.3
In the Sheldam Nyingjang, there is a m a n tra th a t blesses ou r speech to
be the n atu re o f the d h aran i m a n tras o f all the buddhas. It is a sh ort m a n
tra w e can say betw een sessions, yet it is very im p o rta n t.3
I f we arrang e o u r practice to com plete an entire n g o n d ro plus the sad-
h an a itself w ith in a m on th , w e should spend one w hole day o n ta k in g
refuge in four sessions. W e use m ost o f each session for ta k in g refuge;
th en we engage in the bodhichitta or bodhisattva vow w ith its Seven
Branches and four im m easurables. A fter that, we do the entire Trinley
N yingpo at the end o f each session. T h u s, in each session, w e do th e w hole
n g o n d ro an d also the w hole Trinley N yingpo. In the first day, how ever,
w e actually spend the m ajo r p a rt o f the session just on refuge. You can
decide h ow m any o f each practice to com plete daily. H ere, w e engage in
th e prostrations w ith the Seven Branches in the early m o rn in g session,
starting aro u n d 4:00 am , or w henev er it’s convenient.
T h e early m o rn in g session is before breakfast, from w hatever tim e
w e rise un til w e eat breakfast. T h is is called the early m o rn in g session.
T h e practice is the same in all fo u r sessions, and th a t accounts for the first
day o f retreat. W e go to sleep in the way described above. O n the second
m o rn in g , w e w ake up an d repeat the practices done on the first day.
W h e n we start the ng ondro, w e only ch an t refuge three tim es an d the
bodhisattva vows and Seven Branches just a few times. T h e m ajo r p a rt
o f the session is spent on the H u n d re d Syllable m a n tra. A t the end o f the
session, w e go th ro u g h the rest o f the n g o n d ro plus the Trinley Nyingpo,
w hile spending the m ajo r p ortion o f the session on the V ajrasattva m a n
tra. T h e next three sessions follow the same pattern.
N o w w e have spent the first day m ainly on refuge an d bo dhichitta
an d the second day concentrating on the recitation o f the V ajrasattva
m an tra. W e spend the th ird , fourth, an d fifth days focusing on the ngon-
d r o ’s g u ru yoga practice.
O n the th ird day, we concentrate on the m a n d ala offering. O n the

fo u rth day, w e focus on supplicating G u ru Rinpoche, w ith D usum Sangye
an d Barchey Lam sel. O n the fifth day, we chant the V ajra G u ru m a n tra as
p a rt o f the n g on dro . M oreover, w e im agine receiving the em pow erm ents,
using the m ajo r p ortion o f the session on that.
T h is m akes five days altogether. O n the sixth day, the n g o n d ro is
m o re or less finished, so w e just do a very sh ort ng o n d ro in the early
m o rn in g session. D u rin g the oth e r three sessions o f the day, we d o n ’t
need to do the n go nd ro; w e can just focus on the m ain practice, w hich is
the g u ru sadhana itself. N evertheless, just as before, we should do four
sessions, starting in the early m o rn in g and concluding in the evening.
It is only necessary to offer an actual g ek to r in the early m o rn in g ses
sion, n o t in the oth er daily sessions. I f w e w an t to simplify things, and we
d o n ’t w a n t to spend tim e m a k in g ac tu a lg e \ torm as, we can just p u t some
rice on a plate an d ad d a little water. Im ag in in g this to be the to rm a, we
offer it up. T h is is acceptable.
D u rin g the next w eek, we focus on A m itayu s’ A m aran i m an tra. O f
course, w e say a few o f the other m antras, b u t no t very many. T h e n , we
spend the follow ing w eek accum u latin g A valokiteshvara’s M ani m an tra.
A t this tim e, we do just one rosary (108) o f the A m itayus m antra. W h e n
w e reach the V ajra G u ru m a n tra , w e again say just one rosary (108) o f
each o f the first and second previous m antras.
O ver the next ten days, it is very im p o rta n t to do 400,000 o f th e Vajra
G u ru m a n tra, accom plishing this w ithin the ten days. T his, o f course,
depends u p o n your capacity. D u rin g this time, we do just a few o f the
other m antras, such as a single rosary o f each. W e should not stop doing
th e m daily.
T h e above describes the approach. N o w we will talk about the accom
plishm ent. W e should spend th ree days on the T o tre n g T sai m a n tra and
one day on the T o tre n g T sai m a n tra plus the extra H arinisa m a n tra for
th e four families o f dakas and dakinis.
D u rin g each an d every session, at the conclusion o f the m antras, in
ord er to am en d or m a k e up for an y th in g we left out or added an d also to
consecrate, bless, and increase the m a n tr a ’s benefits, we say the Ali Kali,
O m Y edharm a, an d H u n d re d Syllable m an tras three times each. Also
say the offerings, praises, and either the D usum Sangye or Barchey Lam sel
pray er once each.
By u tterin g hung three times, we then dissolve the recitation m ansion
an d the entire visualization. By u tterin g phat three times, we re-em erge

as the deity. W e then dedicate the m erit, m a k e aspirations, an d say the
verse o f auspiciousness. T h is is the same proced ure for each session.
H ow ever, d u rin g the afternoon session, w hich begins at 1:00 or 2:00 p m
and lasts until the late afternoon, after the D usum Sangye or Barchey
Lam sel prayer, we should consecrate the feast offering, according to the
long version o f this sadhana, the Trinley Gyepa, and th e n continue to the
drelwa, the deliverance offering.
D u rin g the retreat, w h en we reach the residual offering (lhagma), we
do no t th ro w it outside. W e have a place w here w e p u t it an d just let it
collect there. D o n ’t th ro w it outside.
O n special days, such as the te n th or tw enty-fifth, it is preferable to do
the Trinley Gyepa s a d h a n a O n a daily basis, it is perfectly all rig h t to use
the Trinley N yingpo.
W e do the offerings, the praises, the D usum Sangye or Barchey Lam sel,
and the H u n d re d Syllable m a n tra three times, and so forth. A fterw ard,
there is the solkha for the d h arm a protectors. T h ere is a very abbreviated
solkha, just three four-line verses, to Tseringma, w hich can be inserted here.
I f you have received m any em po w erm en ts for d h a rm a protectors,
it is enough just to say the Lam a Yidam solkha; how ever, Tseringma is a
special protector for this Barchey K iinsel teaching. T h e te rm a protector is
called K h a ra \ K hyung Tsiinm a.
In term s o f the four sessions o f the day, h aving finished the early
m o rn in g session and breakfast, do the m id -m o rn in g session, fro m 8:00 to
11:00 am , for example. T h e afterno on session runs fro m 1:00 or 2:00 pm
until 5:00 pm , and d u rin g this session we add in the tso \ an d the solkha
to the d h a rm a protectors. T h e solkha is quite short, and it is fine to keep
it b rie f d u rin g rereat. D u rin g the evening session, after d ark , w e do not
m a k e any feast offerings or solkha at all d u rin g o u r retreat. T h e g ek tor
is offered d u rin g the m id -m o rn in g session, no t in th e very early m o rn in g
session.
A lth o u g h the Trinley N yingpo text says the feast offering is done
betw een sessions, noble beings never m a k e any distinction betw een m e d
itation {nyamzhag) and post-m editation (jetob). N yam zhag m eans a “com
posed m ental state,” an d noble beings never stray from th a t state o f m ind.
T herefo re, there is no post-m editation state for such beings. H ow ever,
n o rm al people, like ourselves, first engage in m editation w here w e con
centrate one-pointedly on the practice, as in the case o f the fo ur intents
o f recitation explained earlier. W h e n we stand up from our m ed itation

cushion an d start m oving aro u n d , we enter the post-m editation phase.
D u rin g the breaks, w hich refer to these post-m editation periods, we
engage in different activities. T h is is the tim e to m a k e the feast offerings.
F east O f fe r in g
Actually, here the w o rd fea st (tsob^) literally m eans “g ath erin g or m any
tilings com ing together.” T h e re are four types o f gathering. T h e first is
the g ath erin g o f fo rtun ate m ale an d fem ale practitioners. F ro m the p oint
o f view o f the shrine, the m ale practitioners should sit in the rig h t row,
w hile the females sit in the left row. E veryone gathers together, in this
way, each w ith their m ale or fem ale partners or w hatever. T h is is the
g ath erin g o f the fo rtun ate ones.
T h e second is the g ath erin g o f deities, or all the guests o f b u d d h as and
bodhisattvas, w ho are invited. T h ese are the ones w h o m we call upon to
receive the feast articles.
T h e th ird is the g ath erin g o f the articles, w hich also corresponds to
the gath erin g or accum ulation o f m erit. T h is refers chiefly to m e at and
w ine. O f, course, there are m a n y other ingredients we can include, b ut
w e prim arily offer m e at and w ine. W e d o n ’t use n o rm al w ords for these
tilings in the context o f a feast offering. E ach has its specific term . I f we
offer dog m eat, w e d o n ’t call it “dog m eat,” and so forth. It has its partic
u la r nam e, an d we can find these term s in the Great Explanation o f Feast
Offerings by Jam go n K ongtriil.
T h e last o f the four gatherings is the great gathering, w h ich is the
accum ulation o f w isdom . H e re w e train ourselves to relinquish th e th ree
fold concept o f there being offering articles, the one offering them , and
the ones receiving them .
T h e re is so m ethin g to say abo ut the w ine an d m eat o f the feast offer
ing. T h e sacred m edicine (mendrub) already contains the five m eats and
five nectars, b u t not in a n o rm al way. T h e m ahasiddhas o f the past, in
particu lar P ad m asam bh ava him self, specially consecrated the five m eats
and five nectars. T h erefore, if w e have a feast offering an d we have no
m eat or w ine, we need no t w orry or feel it is incom plete. I f we just sprin
kle o u r oranges an d biscuits w ith the m e n d ru b w ater, then the feast is
com plete w ith the five m eats and five nectars. It is n o t absolutely essential
to have m e at and w ine actually present.

Usually, the five m eats refer to the flesh o f hu m an s, dogs, elephants,
cows, an d horses. T h ey depend up o n the cultural context in w h ich one is
living. In India, in the past, these five anim als w ere never killed for food.
T h erefo re, they w ere n o t con tam inated by having been p u t to d eath for
the sake o f feeding h u m a n beings.
B ud dh ism is a religion th a t advocates n ot h a rm in g oth er living
beings. Since the b u dd has regard all sentient beings as their ow n chil
d ren , we cannot use the flesh o f a sentient being th at has been slaughtered
for food as an offering to the buddhas. O fferin g the flesh o f a slaughtered
child to its o w n m o th er d u rin g a b an q u e t will no t please her, an d she will
n o t w an t to eat it. H ence, the anim al or h u m a n flesh we offer m u st come
from beings w ho have h ad natu ral deaths an d have no t been violently
butchered. In this way, the m eat is considered clean. Yet, if w e live in a
place w here people norm ally eat elephants or horses, then w e can no t use
this m eat. O n the other hand, if w e live in a country w here people do not
eat goats or sheep, we can th en use this k in d o f m eat, as long as the an i
m al has n o t been killed. I f we do n o t have such m eat, it will suffice if w e
just sprinkle the food w ith m e n d ru b .
T h e articles we offer d u rin g a feast depend upo n our individual level
o f realization and m editative powers. W e should enjoy the feast articles in
a way that does not give rise to thoughts o f pure and im pure, clean and
unclean. F o r example, if we have a strong feeling that dog m eat is very foul,
im pure, and terrible to eat, yet pu t it on the shrine and try to enjoy it, it will
spoil our state o f m ind. W e will think everything has become contam inated
and dirty. I f we feel this way, we sho uldn ’t offer such articles.
F u rth e rm o re , w hatever we arran g e as feast articles should be p u re in
the sense th a t we d o n ’t defile th em w ith attitudes o f p ride or miserliness.
F o r exam ple, if we arrange a big, spectacular variety o f offerings an d
th en regard ourselves as very rich and im po rtan t, it is the same as p u ttin g
poison in all the food. O n the other han d, we poison the offerings w ith
stinginess if we just offer a few things w hile th in k in g , “T h e r e ’s no one
here to eat m any offerings, so w hy should I bother to arran g e so m uch.
I’m just th ro w in g m y m oney aw ay!” It’s best to offer a m o d erate a m o u n t
in h arm o ny w ith o u r personal level o f w ealth. T h u s, the offerings d o n ’t
need to be lavish if w e h aven’t m u c h money, and they d o n ’t need to be
m eager if we happ en to be affluent. W h a te v er we arran g e is just a ta n g i
ble sup port for ou r visualized offerings, w h en we m entally increase the

articles infinitely. To spend one h u n d re d rupees w ith im p u re m otivation
is n o t as good as spend in g one ru pee w ith p u re m otivation.
W e can refer to the Trinley N yingpo for the feast offering. F irst th e re’s
R am yam k a m , w h ich represent fire, w ind, and water. T h e n the text says:
T h e seed syllable in the h ea rt center o f m yself visualized as the

deity*
E m anates R a m y a m kam , pu rify ing the clinging to offering articles
as being real.®
T h e light fro m the three syllables transform s them into w isdom
nectar,^
W h ic h becomes an offering cloud o f desirable objects filling the
sky.®
O m ah hungs
V isualized in the form o f the deity, I am filled w ith the vajra p rid e o f
being the deity, G u ru Rinpoche. F ro m the seed syllable in m y h e a rt cen
ter, the w h ite h r ih , the th ree syllables R am yam kam shine forth, p u rify
ing clinging to th e offering o f feast articles, such as oranges or biscuits,
as being real. T h e articles are purified th ro u g h being b u rned by fire,
scattered by w ind, an d flushed aw ay by the w ater. In this way, w e totally
p urify any attac h m e n t to the articles being real an d m aterially substantial.
W h e n we say R am yam k a m , w e should actually im agine w h a t the
three syllables m ean. T o sim ulate the fire aspect, the person stand in g
beside the shrine can first w ave an incense stick or a lit m atch in fro n t o f
the offerings. T o sim ulate w ind , lift the peacock-feather fan ou t o f the
vase an d w ave it over the offerings a few times. To sim ulate w ater, use
the sam e w an d to sprinkle a few drops o f w ater on the offerings.
T h ro u g h the ligh t o f the th ree syllables, O m ah hung, the feast
offerings are transfo rm ed into an ocean o f w isdom nectar, w hich then
becomes a huge cloud b an k o f sense-pleasure offerings, such as beau ti
ful sounds, sights, textures, tastes, an d smells, as well as the eigh t aus
picious articles an d substances, the seven royal possessions, an d so forth.
Together, these offerings fill the entire sky. Im ag in in g this, we say O m ah
hung three times.

A fterw ard, w e invoke the guests. I f w e have already projected a sec
ond reflected recitation m ansion, w e need n ot th in k the guests are arriv

ing from elsewhere. I f not, th en the invocation is im portan t. F irst, we
u tte r the triple hung , and then w e say:
O cean-like assembly o f T rikaya Jinas,*

Please m anifest from the un constructed state o f lum inosity J
To enable us to accum ulate m e rit and purify obscurations,“
Please come, reveling in y our w isdom magic!«
V a JRA sAMAYA JA H JAH*
T h e T rikaya Jinas, victorious ones o f the three kayas— d h arm ak aya,

sam bhogakaya, and n irm an ak ay a— are the b ud dh as an d bodhisattvas,
the T h re e Roots, and so forth, w ho m anifest as an ocean-like g a th e r
ing. You can invoke them , for exam ple, saying, “In essence, you are the
state o f lum inosity, w hich is totally beyond any constructs. H ow ever, in
o rd er for us to gath er the accum ulations and purify the obscurations,
w e request you to please appear as w isdom magic. Please approach this
place.” T h e tw o accum ulations w e gath er are the accum ulation o f m e rit
w ith fo rm and the accum ulation o f w isdom w ith o u t form .
We then im agine that the various deities and beings arrive in the
shy before us. Then w e say, V a jr a sam a ya j a h ja h , which means
“indestructible sacred bond, come com e!” The indestructible
samaya or bond is the vow deities to o \ in fo rm er aeons, pledging
to help guide all sentient beings. We call upon the buddhas and
bodhisattvas, root deities, and so fo rth to remem ber their prom ise
and please come.
T h e re is a special offering called a h u n d red fo ld feast, w hereby one

h u n d re d feast torm as are offered. Usually, a feast offering has four parts:
the pu re portion (phii), the m e n d in g apology (\angshag), the liberation
offering (drelwa), an d the residual offering (lhagma).
I f ten people gather to m a k e a h u n d red fo ld feast, an d we offer each
o f these four aspects once, th a t is the same as offering ten com plete feasts,
because each person counts as one. G oing th ro u g h this procedu re ten
times, w e will have offered the h u n d red fo ld feast. D u rin g the execution
o f each sequence, we offer the p u re p art first, then the m e n d in g apology,
an d then the liberation offering. W e p u t each one on the shrine as we
offer it, chan ting the appropriate verse. W e g ather together the residual

offering and p u t it aside w ith the previous offerings n o t given yet. It is
called the p u re residual.
I f you are alone an d you w a n t to do the h u n d red fo ld feast, you m ust
chant the w hole th in g slowly one h u n d re d times. It takes some tim e to
com plete. Traditionally, if ten people offer a very elaborate version o f
the h u n d red fo ld feast, each tim e they offer it, the practitioners start at
the very beg inning o f the Leyjang (Trinely N yingpo) and go th ro u g h the
tsok. A gain an d again, they’d start from the b eginning o f the Leyjang and
offer ten tsoks d u rin g each ro u n d . Since we w a n t to get th ro u g h the puja
quickly an d d o n ’t have m u ch time, w e just chant the L eyjang once and
offer the feast. But, actually, in accordance w ith the genuine tradition,
each tim e o f offering ten, we w o uld start all over again from the begin
n in g o f the sadhana practice.
N ow , w e com e to the actual offering o f the feast, w hich is the next
fo ur lines, b eginn in g with:
O m ah hungs
T h e essence o f the feast offering is a cloud bank o f w isdom n ectars
In the fo rm o f goddesses w ith desirable objects filling the sky.s

May this en jo ym en t o f unco nd itio ned great bliss*
Please you, assembly o f m a n d ala deities o f the T h re e Roots.s
S arv a g a n a c h a k r a p u ja h o h s
H ere, the very essence o f the feast articles is a cloud o f w isdom nec
ta r th a t takes on the appearance of offering goddesses o f the five fam
ilies, w ho fill the sky an d p resent the offerings o f sense pleasures. W e
say, “May this enjoym ent o f undefiled, unconditioned great bliss please
you, m a n d ala deities o f the T h re e Roots.” A t th a t m om ent, we lift up the
plate, w hile con tem p latin g the m ean in g o f the w ords and presenting the
offering to all the deities, sarva m eans “all,” gana m eans “g ath erin g or
feast,” chakra m eans “wheel or circle,” p u ja m eans “offering,” and ho
m eans “please have.” So together this m eans, “I offer you this entire circle
o f feast (ganachakra).” T h is is th e first p art o f the feast, called the pure
offering (phii), w hich we m o u n t on the largest plate and place on the
shrine, rig h t in fro nt o f the m a n d ala deities.
N ow , we com e to the second p a rt o f the feast, called the tso \ barpa or
\ang-shag, w hich is the m id dle feast section, consisting o f the fulfillm ent
or m e n d in g confession. T hese four lines include both the m e n d in g and

the confession. O f course, there is m o re to recite if w e engage in the lo n
ger, m ore extensive version. F o r exam ple, we can include Jam go n K o ng -
trviFs \angw a called the Turquoise Chamber M ending Chant, T so \-K han g
Pema D rawa.
N ex t, contem plate strong reg ret for all the evil accum ulated since
beginningless samsara. T h e re are tw o types o f evil: spontaneous w ro n g
d o in g an d the w ro n g d o in g o f having violated a vow to be good. D igpa
and dribpa are spontaneous w rongdoing, negative actions, the obscura
tions, an d so forth. Nyepa and tungw a— offenses an d infractions— are the
b rea k in g o f vows. First, this refers to breaches and violations o f the p re
cepts o f individual liberation as well as the refuge an d bodhisattva vows.
In particular, it refers to the infractions, violations, and transgressions o f
the pledges connected w ith ta k in g the four em po w erm ents o f V ajrayana,
w ith th eir im plicit tw enty-eight samayas, fourteen root dow nfalls, eight
severe dow nfalls, and so forth. W e pray th a t we can am en d all these
w ith this feast offering o f sense pleasures. W ith strong regret, w e confess
ou r faults, saying, sam aya, m ean in g “sacred b o n d,” shuddhe m e an in g
“utterly p u re ,” an d ah , m ean in g “m ay it be so.”
T h e portion o f the feast to rm a w e give as the deliverance offering
should be cut from the to rm a before consecrating it w ith R am yam kam
at the outset o f the feast. B ut if you have already consecrated everything,

there is a way aro u n d this. Im agine that the offering goddesses, w h o m
you have visualized, dissolve back into your h eart center; then cut a p o r
tion o f the feast torm a.
F o r the th ird or last p a rt o f the feast offering, called the deliverance
(idrelwa), we first im agine th a t instantaneously we tu rn into the S u p rem e
Steed m anifestation, H ayagriva, the G reat G lorious O ne. F rb m o u r h eart
center, w e em anate countless special beings called gings, w ho track d o w n
the evil spirits, arrest them , and th ru st th em into the vajra m a s te rs pit.
T h e re are different types o f gings: some sum m on, some kill, som e chop,
an d some offer up the dem ons. All o f these em erge fro m H a y a g riv a s
h ea rt center.
T h ese dem ons an d evil spirits, w h o are tracked d ow n, ap p rehend ed ,
an d b ro u g h t back, are the n atu ra l m anifestation o f clinging to duality,
ho ld in g onto subject and object. As long as we have a ttac h m e n t to d u a l
ity, the m anifestation o f this attac h m e n t takes the form o f enm ity, hostile
forces, and so forth. A t the tim e o f capture, the dem ons dissolve into their
effigy, w ho looks like a little m a n lying on his back, inside the pit before

the vajra m aster. T h e vajra m aster takes his p h u rb a, called th z phurba sec-
hog, m e an in g the “su prem e son.” T h e u p p er han dle o f the dagg er is Vajra
Kilaya, w hile the low er p a rt o f his body becomes the three-sided Kilaya,
or dagger, itself. G rasp in g the d agger in his h an d, the vajra m aster dances
the dagger over the effigy, slicing it ap art— first the rig h t leg, th en the left
leg, then the arm s, head, and torso. A t this point, the vajra m aster lifts the
dag ger an d touches its po in t to his o w n h ea rt center, im ag ining th a t the
life force, m erit, fam e, splendor, an d so forth o f the enem y o f the D h a rm a
dissolves into himself.
A gain, the vajra m aster touches the p h u rb a to the effigy an d im ag
ines th a t the consciousness o f the evil spirit takes the form o f the seed-syl-
lable ah , w hite in color. P o in tin g the p h u rb a into the sky, he im agines
th a t the consciousness is projected directly to a pu re land, like a shooting
star soaring u p w ard . F o r your benefit, you have absorbed all the m erit
an d glory o f the enemy, an d for the benefit o f the enemy, his conscious
ness is purified o f all obscurations an d delivered to a pu re buddhafield.
T h e rem nants o f his body, inclu ding the flesh, blood, bones, and so forth,
are liberated into the space o f lum inosity and transform ed into w isdom
nectar. A lth o u g h the form is still flesh and blood, the essence is w isdom
nectar, w hich is th en offered to the m ou th s o f all the m an d ala deities o f
the T h re e Roots. W e should im agine this an d say: sa rv a m e an in g “all,”
b ig h a n a n m e an in g “o bstructors” (gek), shatrun m ean in g the “enem ies,”
maraya m e an in g “delivered or te rm in ated ,” kha kha khai khai m e an
in g “offered u p ,” an d ha ha h i h i hung hung m ean in g the “response o f
the m an d ala deities, w h o are enjoying this w ith great delight.”
A t this point, we should say som ething im p ortant. T h e enem ies that
are m en tio n ed here are the projections o f o u r ow n deluded m inds. As
long as w e m istakenly perpetuate the belief in subject and object— the
objects being w hatever we perceive and the subject being o u r dualis-
tic m in d , w hich perceives som ething as being “o th e r” th a n itself— then
there will always be som eone or som ething ap pearing “out th e re ,” w hich
w e perceive as “h a rm in g ” us. T h is is n o th in g o th er th a n a projection p ro
duced by clinging to duality. T h is projection o f duality is the real enemy,
an d this is w h a t w e su m m o n an d term inate. Unless we u n d ersta n d this,
practicing this k in d o f drelw a can create a lot o f dem erit. W ith o u t the
p ro p er view, we will be training in the accum ulation o f bad karm a.
It is often said there is a fault in p erfo rm in g the drelw a, if one is
unable to p erfo rm it correctly. You will create trem end ou s negative

k a rm a if you cultivate the idea th a t there really is an enem y “o u t there,”
w h o m you should kill to avert his h a rm in g you. It doesn’t m a tte r w h eth er
or n o t w e are really able to kill an enemy; the attitu de alone creates a lot
o f bad k arm a. K illing the enem y is only h a lf o f it—-one can feel confi
d e n t th a t it’s easily possible to destroy on e’s enemy. H ow ever, to guide
th a t consciousness to the pu re lands is, for sure, m u c h m ore difficult. I t’s
better to u n d ersta n d th a t we are killing o u r ow n projections. O therw ise,
this can be an exercise in creating bad karm a.
Before chanting the fo u r lines fo r the deliverance offering, say:
N ri tr i b en za a n g k u sha ja h ja h h u n g ba m h o h s
A t this point, sprinkle the to rm a w ith a little bit o f rakta. T h e r e are

four lines, in tw o parts. T h e first tw o lines apply to the deliverance o f the
dem ons, w hile the next tw o lines apply to actually offering it up.
The mantra also has tw o parts; the first is the deliverance:
S arva b i g h a n a n s h a t r u n m a r a y a *
The second is the offering, or presentation:
K H A K H A K H A I K H A I*
Then the deities reply w ith this expression o f delight and enjoym ent:
H a ha hi hi hung hung phat*
I f w e are d oing an expulsion ritual, w e p u t only h a lf o f th e deliver

ance offering on the to rm a plate and also p u t a piece o f it on top o f the
residual offering, before giving that. O therw ise, we just place th e deliver
ance offering on the shrine nex t to the first part, the phii, and th e second
part, the kang-shag.
H a v in g com pleted the three parts o f the feast— the first p u re part, the
m idd le m ending-confession p art, an d the last deliverance p art— we th en
start to enjoy the feast. T h e m ale and female participants begin to eat a nd
d rin k feast articles.
F irst, offer the articles to the vajra master. I f he is male, first offer
the nectar, w hich is the natu re o f kno w ledg e (prajna). T h e n offer the
food, w hich is the n atu re o f skillful m eans (upaya). I f the vajra m aster is
female, the pro ced ure is reversed: first offer the food and th en the nectar.
T h e perso n p rese n tin g the feast offerings to the tsok participants
sho uld h old the food in the r ig h t h a n d an d the n ec ta r in the left h an d .
W h e n h a n d in g the first p o rtio n o f the offerings to th e vajra m aster, the
d o rje lobpon, you sh ou ld give th e glass o f nectar an d the plate o f edibles
im m ediately. Since th e n ectar rep resents k n o w led g e an d the food re p
resents skillful m eans, the p erso n o fferin g it m u s t cross his or h e r arm s,
so th a t w h e n the vajra m a ste r receives the offerings, they sh ou ld fit into
th e a p p ro p ria te h and s. As m e n tio n e d above, d e p e n d in g u p o n w h e th e r
the do rje lob po n is m ale o r fem ale, he or she takes one or the o th e r o f
th e n ec ta r or edibles first. H e or she receives the offerings by first m a k
in g th e lotus m u d ra . Receiving the articles, th e d o rje lobpon replies, A
LA LA H O H .
W h e n serving the others, give everyone an equal share. O n e person

sh o u ld n ’t have a lot a n d an o th er person a little. B ut if som eone gets sho rt
changed, no one should m e n tio n even a single w ord o f com plaint, such
as, “I go t only a litde an d you got a lot!” or “L ast m o n th we g ot really
nice offerings, b u t this m o n th the offerings are n o t very go od .” T h e re
should be no b ickering or horseplay. I f som eone steps on your toes, you
n e e d n ’t scold th e m w ith a nasty or silly rem a rk . Totally avoid th a t k in d
o f a rg u in g and, o f course, fighting, w hich is o u t o f th e question. Avoid
silly jokes as well. Sim ply enjoy the feast articles.
A fter eating, there is an op po rtu nity for special vajra songs an d vajra
dances to occur. W e d o n ’t have to do this, b u t we should k n o w this is the
tim e for engaging in such activities. A t the end o f this section, in the Trin-
ley Gyepa, there is the vajra song:
E m A K IR I K I I R I I ...
A t this point, it is m en tio n ed th a t w e can read the tantras aloud and

establish their m ean ing, thus explaining them . W h e n doing th e Barchey
K iinsel dru bch en , ad d the sho rt L otus Essence Tantra here. You can also
ad d it to the NgaJ^so dru bchen , b u t there doesn’t seem to be any tim e to
insert it. N o m a tte r w h at p uja you are doing, this is always the po in t at
w h ich such tantras can be inserted and expounded upon.
N o w , w e have com e to the residual offering (ilhagma). W h a te v er is
left on a p erso n’s plate should be gath ered back— one sh o u ld n ’t h old onto

things at this point. T h e residual offering is carried to the shrine for con
secrating.
T h e re are tw o aspects o f the residual: the p ure an d the im p u re resid
ual. T h e clean, or pure, residual was p u t aside some tim e ago, at the
beginn in g o f the feast. T h e unclean residual is w hatever has been g a th
ered from the p articipan ts’ plates, w hich is n ow carried to the altar.
Earlier, the clean residual was placed on a trip od at the foot o f the
shrine. N o w p u t the gathered im p u re residual on a plate on th e g ro u n d
in fro nt o f the tripod. W ith the special one-pointed vajra m u d ra , place a
piece o f the clean residual on top o f the unclean one. N ex t, p u t p a rt o f the
unclean residual on top o f the clean one. T h e n , take all the clean residual
offerings and p o u r them on top o f the unclean ones. A t this point, w e p u t
a piece o f the drelw a on top o f that. Finally, take a small piece from the
paltor to rm a on the shrine. T h is to rm a is called the Legacy o f the Glorious
Ones; add it on top o f the residuals.
T h e residuals are blessed in this p articular way. I f you only place the
p u re on top o f the im pure, it is very auspicious, b u t the activities will n o t
be swiftly accom plished. I f you tak e the im p u re an d place it on top o f the
pure, the activities will be accom plished quickly, b u t no t in an auspicious
way. T h a t’s w hy w e first place the p u re on top o f the im p u re an d th e n the
im p u re on top o f the pure, finally ad d in g it all together. T h is creates bo th
auspiciousness and swiftly accom plished activities.
T h e residual offering is carried to the vajra m aster for consecration.
W h e n given the nectar, a highly realized dorje lobpon will eat some it,
visualize h im self as the G lorious H e r u k a w ith consort, an d th e n spit the
nectar o u t onto the residual offering, as the nectar o f union. H ow ever, if
he or she doesn’t have this k in d o f realization, it is better n o t to do this.
T h e vajra m aster then m akes the p ure space m u d ra, and the shrine m as
ter, the chopon, pours the nectar th ro u g h this, strik in g the residuals. T h e
residual offering is consecrated by the m a n tra O m ah h u n g h a h o h h rih
an d th en retu rn ed to the tripod in fro n t o f the shrine.

I f w e look at the four lines found here for the residual offering, it
seems very condensed, bu t the long version has m any m ore details.
W h e n addressing the atten dants and emissaries o f the G lorious O ne,
m ean in g the G lorious H e ru k a , say:
Servants o f Palchen, host o f m essengers,*

A ccept this enjoym ent o f residuals,*
A n d in accordance w ith your past vows,*
Rem ove all obstacles an d increase favorable conditions.*
Your past vows refers to the tim e when the H ernia liberated Rudra. We then say:
M a m a h r i n g h r i n g b a l i n g t a k h a h i®
M a ma h rin g h rin g refers to the “seed syllables o f the ones w ho

receive the residual,” w hile b a lin g ta m eans the “to rm a ,” an d khahi
m eans “please have.” T h e residual offering is carefully carried outside,

w ith a particu lar m a n n e r o f w alk in g seventy-tw o steps to w ard the so u th
east. I f at all possible, you should do this. W h e n m a k in g this offering,
you should n o t tip the plate aw ay fro m yourself an d d u m p the contents.
R ather, tip the plate to w ard youself, so the contents slip out. T ip p in g the
plate to w ard oneself, at this point, creates the coincidence for increasing
the practitioners’ m e rit an d prosperity.
T h e contents should never be m erely th ro w n away, because this
creates the coincidence for increasing the practitioners’ fighting am ong
themselves. Also, dogs an d beggars should no t eat the residuals, because
this spreads various plagues an d contagious diseases. To m a k e sure this
doesn’t happ en , it is better to place the residuals nicely on a ro o f top or
h ig h ledge, w h ere only the birds in the sky can eat them .
S peech B l e s s in g s
N ow , I will give the special p ith instruction on ho w to bless the voice and
increase the potency o f the m a n tra. T h is very short instruction is from
K hyungpo N aljor, w hich Jam gon K ongtriil has adapted. It should be used
at the beg inning o f any recitation.
First, w e visualize ourselves vividly present in the form o f th e deity,
w hichever deity w e h ap pen to be practicing, such as V ajra K ilaya or Pad-
m asam bhava. W e im agine that on the m iddle o f our tongue is the let
ter ah , w h ich shines w ith rad ia n t w hite light. In an instant, it transform s
into a m o o n disc, w ith ano th er letter ah stan din g on it, su rro u n d e d by
three (concentric) m a n tra garlands.
T h e in n erm o st m a n tra g arland consists of the S anskrit vowels, a ah i
ih u uh , and so forth. T h is w h ite g arlan d is arran g e d counter-clockwise.

O utside this, a red garland o f consonants is arran g e d clockwise. T h e o u t
erm ost m a n tra is the O m Y edh arm a m a n tra, w hich m eans “essence o f
causation.” T h is blue garland is arran g e d counter-clockwise.
T hese three m a n tra garlands symbolize body, speech, an d m ind.
T h ey send out light rays in different colors, w hich invoke all the blessings
o f the T h re e Roots, the T h re e Precious O nes, and so forth. T h e blessings
r e tu rn in the form o f the deities, the seed syllables o f th eir m an tras, and
their attributes, such as vajras, lotuses, and so forth. All o f these dissolve
into your tongue.
A gain, the three m a n tra garlands an d the letter ah radiate rays o f
light, invoking all th e m ahasiddhas, the vidyadharas o f In d ia an d T ibet,
and the rishis w ho have accom plished the pow er o f tru th fu l speech. All
o f their blessings o f pow er gather back and dissolve into the syllable ah ,
w hich then m elts into your tongue. Im agine this an d th en repeat the
vowel m an tra, the consonant m a n tra, an d the O m Y ed harm a m a n tra
seven times each.
B eginning w ith the o u term o st g arland, each m a n tra chain gradually
dissolves into the m o on disc. T h e m o on disc dissolves into the letter ah ,
w hich then becomes a drop o f w hite nectar th a t melts into your tongue.
In this way, we im agine th a t o u r tongue is consecrated, so w e possess the
faculty, or power, o f speech o f the courageous eloquence o f all sugatas.
W h atever we say, even a single w o rd , m ay then have m ajestic splendor
an d benefit all sentient beings.
T h is special instruction, fo und in a text by Jam gon K ongtriil, called
D harm a Practice fo r the Breads (Tüntsam Chocho), is m e an t to be practiced
in-betw een sessions, not d u rin g them . T h is small book includes instru c
tions on how to do various things, such as the b u rn t food offering (zur),
the sm oke offering {sang), and torm as.
K ey P o in t s f o r V is u a l iz a t io n
In the very beginning, it is probably quite difficult to have a clear visual

ization o f all the details o f every aspect sim ultaneously. I f this is the case,
here is some advice. T h e Yangtig Yeshe Sangtal, Quintessence o f Wisdom
Openness, says we can alternate differen t practices in each session, accord
ing to o u r preferences. F o r example:

In each session, p lant the g reat stake o f the essence m a n tr a J
In each session, rest in the sam e taste o f the deity and your m ind,s
W hereby the deity an d your ow n m in d are o f equal taste.®
In each session, b rin g clear appearance o f the deity to the limit,®
M eaning we im agine h ow G u ru R inpoche an d the o th e r deities

appear in m in u te detail.
In each session, p lan t the great stake o f the essence m a n tra, s
F irst p lant the seed syllable in the center, then the su rro u n d in g m a n
tra g arland, an d so forth.
R egarding the recitation, w e should engage in the four intents o f rec
itation: first, like the m oon w ith a garlan d o f stars; next, like a firebrand;
then, like the emissaries o f a king; and finally, like a beehive breakin g
open— similes corresponding to approach, full approach, accom plish
m ent, an d great accom plishm ent.
In som e sessions, we can sim ply rem ain in the u n p ertu rb ed state,
w here w e feel certain th a t the n atu re o f ou r m in d an d the deity’s m in d is
of one taste.
In some sessions, w e can im agine th at rays of light shine out in all
directions, m a k in g offerings to the buddhas, bodhisattvas, an d deities o f
the T h re e Roots, an d re tu rn in g w ith the blessings o f all their qualities.
T h e lig ht then shines out to all sentient beings, rem oving their obscura
tions, negative k arm a, an d habitu al tendencies, and tran sfo rm in g each
and every one o f th em into deities, dakas, an d dakinis. T h u s, everything
we see, hear, an d th in k becomes the display o f prim ord ial w akefulness.
In every session, always keep the prid e o f being indivisible from the
deity.
R e c e iv in g the S id d h is
N o w , w e have com e to the th irty -fo u rth day o f the retreat. Usually, at the
end o f each recitation session, w e say the H u n d re d Syllable m a n tra three
times. B ut on the th irty -fo rth day, the day before com pleting the retreat
(it doesn’t m a tte r if w e are d o ing this as a gro u p practice w ith m any peo
ple or alone), we chant m any extra H u n d re d Syllable m an tras at the con-
DISPELLER OF OBSTACLES I9I

elusion o f each recitation period, as a way to clear up faults. W e also recite
the Barchey L am s el, an d so forth.
I f w e have tim e the next m o rn in g , the thirty-fifth day, we can use the
longer version o f the sadhana practice. I f not, we can use som e parts o f
it. F o r exam ple, the Trinley Gyepa has a special section for receiving the
accom plishm ents {ngodrub len). W e can also sim ply use these four lines
fro m the Trinley N yingpo:
H ung H r i h !°
In the essence m an d ala o f bodhichitta,*

W ith o u t departing, rem em b er your vajra samaya*
A n d bestow blessings, em pow erm ents, an d siddhis!*
W e take blessings fro m the to rm a on the shrine, w hich should be

regarded as the T rikaya D eity w ith the twelve m anifestations, the four
dak as an d dakinis, an d so forth. P rio r to the start o f the retreat, this
to rm a should have been consecrated, just like a statue, w ith the m an tras
o f all these deities inside.
W e take a small piece from the fro n t section an d eat that. W e also
take a little nectar, touch the to rm a to o u r th ree places, an d receive the
accom plishm ents. W e should do this exactly w h en the sun rises over the
ho rizo n, w h en the first rays create a spectacular display in the m o rn in g
sky, w ith circles and so forth. T h is is the exact tim e we should receive the
accom plishm ents.
A fter this, w e can do either the long or short version o f the sadhana,
w hichever is suitable, follow ing it d o w n to the feast section. H ere, it says
it is good if one can do a h u n d red fo ld feast, as described earlier, or the
feast according to the long sadhana, the Trinley Gyepa, all the way d ow n
to the lhagm a.
student: Should w e receive the siddhis (ngodrub len) before w e even s ta rt
the sadh an a itself?
lam a: It is actually up to you, how ever you prefer. B ut there is a tra d i

tion o f doing the sadhana an extra tim e after the receiving the siddhis in
the form o f a thanksgiving, in cluding an elaborate feast offering, an d so
forth. T h is is done after having received the accom plishm ents.

student: W h a t if we prefer to receive the accom plishm ents d u rin g the
practice itself?
lam a : T h e ngodrub len is done at the end o f the recitations. It could be

do ne rig h t before th e feast section. A fter having repeated the m an tras,
the vowels and consonants, the offerings and praises, the Barchey Lamsel,
a n d the H u n d re d Syllables, w e can recite the sadhana verses for receiv
in g the accom plishm ents. A t this point, w e could just continue w ith the
feast, if w e are doing the sho rt version. A ccording to the Trinley Gyepa, if
w e are d o ing an extensive practice, including the h u n d red fo ld feast, we
should go back and start from the b eginning o f the sadhana after receiv
in g the accom plishm ents.
F in ish in g R etreat
T h e sto red -up residual offering, w hich has been k ep t th ro u g h o u t the

w hole retreat, is n o w given aw ay outside for the first time.
student: T h e residual is accum ulated for thirty-five days?
lam a : T h e receivers o f the residual feast offering do n o t have the pow er

to rem ain w ithin the m andala. T h e y m u st rem ain at the periphery. T h e
reason can be traced back to w h en the H e ru k a subjugated R ud ra. A t th at
tim e, som e atten d an ts rem ain ed on the outskirts, n o t w ith in the m ain
m an dala. As a fu tu re prom ise, they w ould always receive the leftovers,
even th o u g h they w ou ld n o t be able to participate in the m ain feast.
It is like invitin g an im p o rta n t m inister to a banquet. H e arrives w ith
m any atten dants, w ho do n o t all sit at the m a in table. Som e sit outside
u n til th e m inister finishes his feast. A fterw a rd , they m ay eat. In the same
way, w e keep the leftovers until the end o f the accom plishm ents an d then
distribute them .
A t this point, if w e are no t doing a feast in a n o rm al session, we go
straig h t to the dissolution^ stage. T h is is the m o m en t o f dissolving the
m andala. I f w e have a m a n d ala m ade o f colored sand or pow der, we
should ch ant four lines th a t are called the “request to tak e leave.” I f we
have a statue or a painted canvas m and ala, w e chant a different four-line
verse, called the “requ est to rem ain perm anently.” W e should always
ch a n t these verses first.
d is p e l l e r o f o bstacles 193
F o r example, at the end o f a long period o f practice, colored sand is
scooped together into a pile an d taken som ew here else. P rio r to this, the
deities m u st be allow ed to d ep art w ith the four-line verse. I f they are rep
resented by a statue or tangka, we ask them to rem ain.
A fterw ard, just as at the end o f each session, w e dissolve the visual
ization o f the m andala by u tterin g H ung hung hu n g . First, the details o f
the m andala m elt into light, w hich the deities absorb. T h e o u ter deities,
above, below, and all aro und , then dissolve into light and m e lt into you.
T h e inner deities consist o f three sattvas— the sam aya being, w h ich is the
form o f G u ru Rinpoche; the w isdom being, w hich is the five-pronged
vajra in the h eart center; and the sam adhi being, w hich is the seed-sylla-
ble h r ih in the center o f the vajra. T h ey dissolve consecutively into one
another.
First, the samaya being, the form o f G u ru R inpoche, dissolves into
the w isdom being, w hich dissolves into the vajra w ith the seed syllable
and m antra. T h e n the vajra and the su rro u n d in g seed syllables dissolve
into the sam adhi being, the h r ih itself. T h e h r ih then slowly dissolves
until no th in g is held in m ind anym ore. A t this point, there is n o th in g to
be m ed itated upon, no m editator, and no act o f m ed itatio n— just e m p ti
ness totally free o f constructs. W e rem ain like this for a w hile, in o rd er to
elim inate the extrem e view o f eternalism or perm anence.
As you know , n o n -B u d d h ist philosophy adheres to either nihilism or
eternalism . W e dissolve the entire m andala for the sake o f destroying one
o f the tw o w ro n g views. T h is is essential.
R epeating hung three times, im agine th at the m anifest circle o f d ei
ties dissolves into the space o f lum inosity. R epeating phat th ree times,
as the Trinley Gyepa describes, we again im agine ourselves in the form
o f G u ru Rinpoche. L ike a fish ju m p in g ou t o f water, this occurs in an
instant. W e are actually quite accustom ed to this procedure already; it is
no t som ething new. W h e n we talk about people we know , th eir app ear
ances im m ediately come to m ind, as soon as w e m entio n th eir nam es. It
is no t a grad ual process. Similarly, w h en a fish leaps out o f w ater, it does
no t m anifest as som ething th a t slowly takes the form o f a fish. It doesn’t
hap pen th a t way at all. You see the fish in its entirety im m ediately. In the
same way, here we instantly regard ourselves as G u ru R inpoche w ith one
face, tw o arm s, and so forth. A t this point, even if it w ere a d ifferen t deity
w ith eighteen arm s and nine heads, w e w ould still just visualize the deity
in a sim ple form , having just one face an d tw o arm s. T h en , we should

sustain the pride o f being the deity in all situations th ro u g h o u t the day.
T h e text says:
O nce m ore, all appearances, including m y ow n, are the n atu re

o f the w isdom endow ed w ith all aspects o f the body, speech,
an d m in d o f the m a n d ala circled
A ll aspects m eans “everything”— m anifest form , sound, smell, taste,

and texture. T h ese are all in cluded w ith in the w isdom m an d ala o f all the
aspects o f body, speech, m ind, qualities, an d activities; there is n o thing
im pure. In this way, you should em erge, w hile m ain tain in g the pride of
being th e deity.
T h e purpose o f this is to destroy the other o f the tw o w ro n g views, the
view o f nihilism . In ord er to destroy this view, you m anifest again. T h e re
is an o th er reason for this phase as well: it form s the coincidence for our
m anifesting o u t o f the state o f d h arm a k ay a in a form -body, for the w el
fare o f all beings.
A t this tim e, w e can also go o ut and take d o w n the poles th a t w ere a
su p p o rt for the Four Guardian Kings. Just as w e did a short chant at the
outset, req uesting th e m to rem ain , w e n ow do a short chant asking them
to depart. I f w e are in a retreat setting, w e need n o t keep the four kings
there. B u t if w e are in a m onastery setting, we can keep the four kings
as represented by a statue, a painting, or such. A t this point, w e m ake a
sho rt offering and praise in fou r lines. W ith B e n z a mu , we ask them to
depart. O nce the poles have been taken dow n, people can com e in and we
can go out.
T he T hree E xcellences
N ow , w e have reached the dedication o f m e rit and the form atio n o f aspi
rations. T h is is the th ird aspect in the context o f the three excellences: the
excellent prep aratio n o f bodhichitta, the excellent m ain p art o f no con
cepts, an d the excellent conclusion o f dedication.
It is extrem ely im p o rta n t th a t these three excellences im bue any prac
tice you do, even the recitation o f one h u n d re d O m m ani padm a h u n g
m antras. In this case, the first excellence is the intention to benefit not just
yourself, b u t also all other sentient beings, by m eans o f the recitation o f

one h u n d re d M ani m antras. T h e second excellence is the nonconceptual
m editation on A valokiteshvara, w ith the seed syllable an d su rro u n d in g
m a n tra g arland , radiating rays o f light to benefit all beings. T h e th ird
excellence is the w ish to share the benefit generated by this w ith all o th
ers. T h is is the excellent conclusion.
T h e re was a g reat m aster w ho lived d u rin g the tim e o f the B uddh a.
A t first, he was a no n-B ud dhist, b u t later B u d d h a S h ak y am u n i converted
him . T h is m aster w rote some praises, an d in one praise, he said, “It is
only in your teachings th a t one dedicates the roots o f virtue for th e b en
efit o f others. N o n -B u d d h ist teachings never advocate this. T h is is yo ur
superior quality.”
H ere, the w ords are very profound:
H ohS
By the pow er o f accom plishing the m an d ala o f the V idyadh ara
G u r u ,2
May I an d all the infinite sentient beings w ith o u t exception^
Spontaneously accom plish the four k inds o f activities*
A n d be liberated into the lum inous space o f dharm akaya!*
A fter the dedication and aspiration verses, w e conclude w ith four

lines for auspiciousness. A t this point, im agine th a t all the b u d d h as an d
bodhisattvas, deities, an d so forth have g athered in the sky in fro n t o f
you. T h ey u tter the w ords o f tru th fu l speech an d scatter a sh ow er o f
M and arava flowers. W hile these blossoms are rain in g dow n, w e u tte r the
four-line verse:
May the blessings o f the root and lineage gu ru s enter m y h e a rt !*

May the yidam s and dakinis accom pany m e like a shadow follows
the body!*
May the d h a rm a protectors and g uardian s dispel all obstacles!«
May there be the auspiciousness o f attain in g the suprem e an d
com m on siddhis!«
T h is m a rk s the conclusion o f practice.

M ore Q u e st io n s o n t h e T h ir t y - F iv e - D ay R etreat
student: I have a hu sb an d an d a child an d I have to w ork , so to do a th ir

ty-five-day retrea t w ould be difficult. W h a t can I do?
lam a : T h a t’s all right. It need n o t be only thirty-five days in length. T h is

is ju st h o w it is prescribed, if you are d o ing the practice as a retreat. N e v
ertheless, you should still use th e sam e proportions, stretching it o u t over
a long er period o f tim e, such as th ree or four m onths. You should still
divide th e practice u p in the sam e proportions, using such-and-such
n u m b e r o f days on the prelim inaries an d such-and-such n u m b e r o f days
on each o f the d ifferent m antras. You just stretch it o u t over a longer
period o f tim e.
student: I f I w ere to try to do this practice as a retreat in m y hom e, I

w o u ld have to com plete a certain n u m b e r o f sessions. H ow ever, in the
evenings, I w ould have to in teract w ith m y child an d m y hu sband,
because they need me. Is this possible, or not?
lama : Yes, th a t is all right. You should engage in each session w ith the
best possible qualities; n o rm al conversation should n o t in te rru p t it. C o m
p ared to repeatin g one th ou sand m a n tras in terru p te d by conversation,
it is far better to say only one h u n d re d m an tras, w h ere w e begin w ith
bodhichitta, refrain fro m o rd in ary speech, an d conclude w ith the vow -
el-consonant m a n tra , because this is really p ure, like a diam on d. E ven
if th e session is very short, at least you w ill have accrued one d iam o n d
for th a t piece o f tim e. W h e n you practice an o th er first-rate session, you
collect an o th er diam on d. You en d up w ith a g rea t accum ulation o f dia
m onds. T h a t’s m u c h better th a n d o in g a lot o f practice th at is n o t really
top quality. You end u p w ith a w hole h an d fu l o f som ething o th er th a n
diam onds. T h e m ost im p o rta n t aspect is the quality o f on e’s practice.
student: D oes one then still start th e retreat by stakin g u p the protector
kings o f the fo ur directions an d so forth?
lam a : T h a t’s n o t necessary. M in d is the m ost im p o rtan t. T h e m in d is

the one in retrea t for th a t d u ratio n o f practice, so th a t’s w h at is essential.
I t’s n o t just a m a tte r o f closing th e door, setting up the boundary, and
so forth. C o n cen tratin g on your practice is m ore valuable th a n setting
DISPELLER OF OBSTACLES I 9?
u p elaborate boundaries, w hile sitting an d th in k in g ab out A m erica and
o th e r places. T h a t w o n ’t help very m uch. T h e physical retreat is m ainly
for beginners, because a beg in n er’s m in d is easily carried aw ay by w h at
it sees an d hears. T herefore, it is im p o rta n t to go som ew here w h ere you
w ill n o t encounter others, will n o t hear conversations, an d will n o t see or
smell things th a t cause you to create a lot o f thoughts. B ut advanced p rac
titioners can rem ain in the m id d le o f to w n an d still be in retreat, because
the en v iro n m en t doesn’t affect them . T h e sense im pressions do n o t h a rm
th e m in any way, and this is w h a t is m e an t by retreat.
C o n c l u sio n
W e receive a reading transm ission (lung) by simply h ea rin g the sounds,

even if w e d o n ’t u n d ersta n d the w ords or their m eaning. H ow ever,
receiving guidance in a text entails step-by-step instructions in the m e a n
in g o f each w ord and sentence. T h is need not be passed on quickly.
R eg arding the instruction text called the Thirty-F ive-D ay Practice
arran g e d by Jam yang K hyentse, it is very good, o f course, if we D h a rm a
practitioners can do a thirty-five-day retreat. O n the other h an d , we
should n o t th in k a retreat setting is the only approach to doing this prac
tice. I f w e th in k this way, w e m ay never get a ro u n d to do in g it. W e can
do this practice rig h t now, even i f we have no tim e to do a retreat.
W e have a m ethod for doing this practice on a daily basis. Beginners
can follow a very short style, w hereby just doing the approach aspect suf
fices. The Concise D aily Practice M anual, N aljor G yiingyi K oljang, is a very
short text, only tw o pages long. I t has a b rief refuge and bodhichitta, the
visualization beginning w ith the three sam adhis, an d just a single m a n
tra, the V ajra G u ru m antra. A fter saying this m a n tra just one h u n d re d
times, very nicely, you then say the Vowels and C onsonants, the Essence
o f Causation, and the H u n d re d Syllable m antras three times each. C o n
clude w ith dedication and aspiration. I f you can just endeavor in this, it’s
fine, because it actually includes the entire m ean in g o f both the long and
short sadhanas o f the Trinley N yingpo in a very concise way. I t’s perfecdy
all right, because these teachings are m ean t to be applied right now, not
just k ep t in m in d as a plan to be carried out some day in the future. W e all
m ak e the m istake o f th in k in g we will have tim e later to do ou r practice.

THE B IN D U OF TRUE MEANING
T he Visualization Stages for

T h e Concise Practice Manual o f Tukdrub
Karmey Khenpo Rinchen Dargye
N a m o g u r u m a h a n id h iy e
F o r the application o f the daily practice o f Lam ey Tu^drub Barchey K iin -

sely The G urus H eart Practice, D ispeller o f A ll Obstacles, first perfo rm the
refuge an d bodhichitta from Trinley N yingpo, The Yoga o f Essential A ctiv
ity, w hile rem e m b e rin g the qualities o f the T h re e Jewels.
T h e n , by u tte rin g hung , rest your m in d in the state o f suchness,
w hich is em pty o f both “perceiver” an d “perceived.”
Space o f emptiness refers to the suchness sam adhi o f g reat em ptiness,
w hich d o w n w ard ly purifies the d eath state, up w ardly perfects the q uali
ties o f dh arm ak ay a, and in betw een ripens one for m ed itatin g on the path
o f em ptiness.
A ll-illum in atin g wisdom refers to the illu m in atin g sam adhi o f m ag
ic-like com passion, w hich d o w n w ard ly purifies the bardo state, u pw ardly
perfects the qualities o f sam bhogakaya, and in betw een ripens one for the
p ath o f such m agic-like com passion.
The seed-samadhi HRIH emanates light refers to the subtle seed syl
lable o f the seed sam adhi, w h ich d o w n w ard ly purifies the b irth state,
u p w ard ly perfects the qualities o f the n irm a n ak a y a o f bud dh ah o o d , and
in betw een ripens one for the p ath o f developm ent stage. T h ese th en are
the three sam adhis o f the m ain part.
A ll appearance and existence is the realm o f Padmajala m eans th a t in
th e m id st o f the perfectly decorated A k an ish th a R ealm o f P adm ajala,
the L otus N et, there is an eight-sided jewel, u po n a w hite crystal square.
U p o n the center o f this is a four-petaled lotus, resting u po n a jewel
I99
throne, sun, an d m oon. U po n this, the syllable h r ih o f the seed sam adhi
is instantaneously transform ed.
In the w ord M ahaguru, maha m eans “g rea t” an d guru m eans “m as
ter.” In the n am e Orgyen Totreng Tsai, Orgyen refers to a sacred place, and
Totreng Tsai is G u ru R inpoche’s secret nam e.
T h e majestic splendor o f his physical form gloriously subjugates
appearance and existence. H is body color is w hite an d red, an d he has a
half-peaceful, half-w rath ful expression.
H is rig h t h an d raises or points a five-pronged vajra into the sky,
directly at the level o f his h eart center. H is left h and, in the m u d ra o f
equanim ity, holds a skull cup (Jâpala), a bliss-sustainer ad orned w ith the
life vase o f im m ortality.
A t his left side, he em braces his suprem e, secret consort in the con
cealed form o f a three-pointed khatvanga, endow ed w ith th ree stacked
heads, a vase, a vajra cross, silk stream ers, and bangles o f d ru m s an d bells.
U p o n his head, he w ears the lotus crow n, w hich liberates th ro u g h
seeing. H e is dressed in the secret w hite dress, a d a rk blue gow n, red and
yellow D h a rm a robes, and a red d ish -b ro w n brocade cloak.
H is rig ht leg is bent and his left extended, b u t even if they are
reversed, there is no conflict. So, in the rig h t or left playful royal posture,
he is majestically poised, seated w ith in a sphere o f five-colored rainb ow
lights.
O n the branch grow ing from the stem o f the lotus behind the bodily
form o f O rgyen Rinpoche, tw o flowers blossom above his head. O n the
lower one, is the m ighty sam bhogakaya lord, A valokiteshvara, brilliant
w hite w ith one face and four arm s, holding a jewel, crystal rosary, and a
w hite lotus. O n the upper flower, sits the lord o f the family, Protector A m i-
tayus, Boundless Life, brilliant red, holding a life vase. Both o f th em w ear
the sam bhogakaya attire and are seated w ith their legs in vajra posture.
T h e m asters o f the six lineages are above; the yidam s, the divinities
o f the tantric sections, are in betw een; an d an ocean o f pledge-h olding
guardian s o f the D h a rm a is below. T h e twelve m anifestations are in the
four m ain an d eight subsidiary directions. In all directions, the T h re e
Roots an d d h a rm a protectors g ath er as an ocean-like cloud bank , w ith o u t
any in term ediate space.
It is m ost im p o rta n t to visualize the three m ain kayas, an d it will suf
fice to merely im agine the retinu e as being present. N onetheless, here is a
b rief description o f their body colors and attributes.

To the east, w h ite G yalw ey D u n g d z in w ears a cro w n o f dry skulls,
bone o rnam en ts, an d a tiger skirt. H is rig h t h an d holds a sw ord an d his
left a hook. S m iling sem i-w rathfully, he is in half-vajra posture.
To the south, w hite M aw ey Senge, w ears a m o n k s dress an d a r e d 17
p a n d ita hat. H is tw o hands are in the m u d ra o f ex p o und ing the D h arm a .
T h e u pper an d low er lotuses su p p o rt books, an d his legs are in crossed
position.
To th e west, yellow K yechok T siilzang w ears a m o n k s dress an d a
red p an d ita hat. H is rig h t h an d holds a vajra and his left a casket; his legs
are in crossed position.
T o the n o rth , lig h t-b ro w n D iikyi Shechen w ears a d a rk blue and
orange lotus crow n an d cloak. H is rig h t h a n d supports his recitation d ag
g er on th e hip, w hile his left h an d stabs the action dagger at the obstruc
tors. H e is in a striding stance, w ith the rig h t leg ben t and the left leg
extended.
O u tside o f them , on th e eight-sided jewel to the east, d ark -b lu e
D z a m lin g G yenchok w ears th e eight charnel g ro u n d orn am ents, such as
th e skull crow n, and a tw o-layered cloak. H is belt supports th e recitation
dagger, w hich he rolls betw een his rig h t and left hands. W ra th fu l and
aw e-inspiring, he is in the strid in g stance, w ith his rig h t leg bent and his
left leg extended.
To the south, blue P em a Jungney holds vajra an d bell in his crossed
arm s. H is consort, the w hite princess, holds a knife an d skull. T h ey have
o rn am e n ts o f silks, jewels, an d bones and are seated w ith their legs in
vajra and lotus postures.
T o the west, b rilliant-w hite K yepar P hak p ey R igdzin w ears a blue
lotus crow n and cloak and red D h a rm a robes. H e holds a vajra in his
rig h t h an d , in th e m a n n e r o f sh ow ing the paths an d stages; in his left, he
is using a k h atv an g a as a staff. H e w ears boots on his feet an d stands in a
w alk in g posture.
To the n o rth , red d ish -m a ro o n D z u triil T uchen w ears a m o n k ’s dress,
a head garland , an d bone ornam ents. H is rig h t h an d holds a vajra and his
left a dagger. Ferociously clenching his teeth, he stands u po n a lotus, sun,
a n d tiger seat, crush in g a m ale an d fem ale ru dra.
To the southeast, d a rk -re d V id yadhara D o rje D ra k p o T sai wears
charnel g ro u n d attire. H is rig h t h a n d holds a vajra and his left an iron
17 Chokgyur Lingpa says yellow pandita hat.

scorpion. H e is in u nion w ith the d ark -b lu e V arahi, h o ld in g knife and
skull. W ith legs in a strid ing stance, he tram ples the m ale gyalpo and
female sin mo.
To the southw est, d ark -b lu e K alden D ren d zey w ears the eightfold
charnel g ro u n d attire and the ten glorious ornam ents. H e holds a vajra
and a skull cup w ith blood, one above the other. H e is un ited w ith his
light-blue consort, N am sh elm a, Sky Faced O ne, w ho holds a knife and
skull cup. W ith his right leg b en t and his left leg extended, he tram ples
d o w n a m ale and fem ale drekpa.
To the northw est, d a rk -m a ro o n R aksha T ó tre n g w ears th e charnel
g ro u n d attire. H e holds a vajra and a skull cup w ith blood an d em braces
T in g - 0 B arm a, B lazing Blue L ight, w ho holds a knife an d skull cup.
W ith his rig h t leg bent and his left leg extended, he tram ples a m ale and
female sam aya co rru p ter (dam si).
To the northeast, brilliant-red D echen G yalpo w ears jewel and bone
ornam ents. H e holds a vajra an d bell in his crossed arm s an d is in union
w ith his red consort, w ho holds a d a m a ru an d skull cup. H is legs are in
the striding stance.
A t the four gates, the four classes o f dakas— w hite, yellow, red, and
green— w ear tiger skirts, bone ornam ents, skull crow ns, an d silk stream
ers. T h ey hold skull cups an d knives w ith vajra, jewel, lotus, an d vajra-
cross handles. S tan ding w ith th eir legs bent and extended, they are in
dan cing postures.
All o f them are prim ordially an d spontaneously present as the n atu re
in w hich samaya beings and w isdom beings are indivisible.
T h e visualization for the recitations follows this. In the h e a rt center
o f A m itayus, the lord o f the family, the syllable h r ih and the m a n tra g ar
land rest u pon a m oon disc, em an a tin g rays o f five-colored ligh t th a t is
prim arily red.
Gathering a ll the life nectar o f samsara and nirvana, the light rays dissolve
into me. U tte rin g this gathers back all your vitality and life energy, w hich
had been cut, degenerated, or dissipated. O utw ardly, this life nectar is the
essence o f the four elem ents o f the w orld; inw ardly, it is the life energy,
m erit, strength, and w ealth o f the beings o f the three realms; an d secredy,
it encompasses the w isdom , know ledge, com passion, an d pow er o f the
victorious ones an d their sons. It sum m ons all outer, inner, and secret
essences in the fo rm o f five-colored nectar. In the context o f th e Concise
D aily Practice M anual, G yüngyi K oljang, you sim ply let it dissolve into

you like falling rain. You do n o t need to m ak e it flow d o w n from the vase
and so forth, as in the m e d iu m and detailed versions.
C o ncern in g the G reat C om passionate O ne, in the h ea rt center o f the
noble an d sup rem e G re at C om passionate T am er o f Beings, the letter
h r ih stands in the m id d le o f a six-petaled lotus, up o n w hich the Six Syl
lables are arranged. T h ey face in w ard an d circle clockwise, starting from
the front. By the m agic o f the nadis an d elem ents, the individual lights,
w hite an d so forth, em an a tin g from these six letters, purify the sufferings
o f th e six kinds o f sentient being, as well as their causes, as follows:
Blue light rays from the m irro r-lik e w isdom o f hung purify the
beings in hell. Yellow light rays from the equ alizin g w isdom o f m e purify
the h u n g ry ghosts. W h ite lig h t rays fro m the d h a rm a d h a tu w isdom o f
pad purify th e anim als. R ed lig h t rays from the discrim inating w isdom o f
ni purify the h u m a n beings. G reen light rays from the all-accom plishing
w isdom o f m a purify the dem igods. W h ite light rays fro m the g reat lu m i
nosity w isdom o f om purify the gods. T h e five-colored rays o f light from
the h r ih , em an a tin g to fill the sky, purify the sufferings o f beings equal to
the sky in num ber.
T h is visualization, an d so forth, is th e detailed version for em ptying
the realm s o f the six classes o f beings; how ever, for this daily practice, the
condensed w ay is sufficient.
T h e actual visualization for th e root recitation follows this. In m y h eart

center as P ad m a k ara, the g u ru in the form th at em bodies all families, a
five-pronged golden vajra stands up o n a full-m oon disc. O n the m oon
disc, in the hollow o f its center, is the spiritual life force, the w hite syl
lable h r ih , su rro u n d e d by the m a n tra garland. W h ite an d rad iant, the
ou tw ard -facin g g arlan d is arran g e d counter-clockw ise, b u t it circles
clockwise. I t em anates rays o f light, w hich m ak e offerings to all the noble
ones an d accom plishes the benefit o f beings.
T h e ou ter vessel, the w orld, is the A k an ish th a Realm o f A ll-E n co m
passing Purity. T h e inn er contents, the beings, are the great m u d ra o f the
body o f deities o f appearance and existence as m anifest ground. In this way,
all perceptions are deities. All reso un din g sounds are the m elodious tones
o f the speech o f m antras. A ll thou ghts are spontaneously purified into the
m in d o f n o n d u al lum inosity. T h is naturally fulfills the four com m on kar-
m as o f pacifying, increasing, m agn etizing, and subjugating, as well as the
all-encom passing activity.

By spontaneously accom plishing the body, speech, and m in d o f the
suprem ely un ch an g in g great bliss, the level o f the Im m o rtal V idyadhara,
w e will attain the indivisibility o f the three kayas w ith in this very life
time.
H av in g uttered this, rest evenly in the continuity o f u ndivided space
and aw areness. Recite the root recitation o f O m ah hung v a jra g u ru
p ad m a sid d h i h u n g as m any tim es as possible.
C o ncern ing the m e an in g o f the m a n tra, the Concise M anual says, The
three syllables are the inseparable three hayas. Externally, om is body, ah is
speech, and hung is m ind. Internally, om is nadi, ah is prana, an d hung
is b indu. Secretly, hung is d h arm ak ay a, ah is sam bhogakaya, an d om is

n irm an akay a. A ccording to the in n erm o st secret o f thatness, hung is the
em pty essence, ah is the lum inous n atu re, and om is the n atu ra l expres
sion o f m anifold compassion.
v a jra g u r u refers to the L o rd o f the Family. Externally, this is G u ru
D o rje T o tre n g Tsai; internally, it is G u ru Vajrasattva; secretly, it is the
unexcelled basic w akefulness; an d m ost secretly, it is the u n ch a n g in g p ri
m ord ial purity.
padm a refers to being m anifest as the m an d ala circle. E xternally, this
is the vidyadhara teacher and retinu e in the realm o f P adm ajala; in ter
nally, it is the b in d u m an d ala o f bodhichitta; secretly, it is th e upaya,
teacher, and retinue o f g reat bliss in the space o f the consort; and, accord
in g to the in n erm ost secret o f thatness, it is the unified m a n d ala o f u n d i
vided space and aw areness.
s id d h i h u n g invokes the siddhis, w hich are the outer accom plishm ent
o f the four karm as, the in n er accom plishm ent o f the eight siddhis, and
th e secret accom plishm ent o f the suprem e siddhi. Externally, they are the
accom plishm ent o f m astery in the developm ent stage; internally, they are
the accom plishm ent o f pliability o f the nadis an d pranas; an d secretly,
they are the accom plishm ent o f giving rise to the special realization o f
o n e’s m in d. A ccording to the in n e rm o st secret o f thatness, they are the
absence o f both a siddhi to be attain ed an d som ebody w ho attains it.
This vajra mantra condensing approach, accomplishment, and activities
into one, fu lfills all the activities. T hese twelve vajra syllables, condensing
approach, accom plishm ent, an d activities into one, fulfill all the activi
ties th a t have n o t been fulfilled. W ith o u t w asting the fulfilled ones, they
b rin g all activities to perfection.

A t the end o f the session, supplicate the guru, who embodies all the fam ilies,
and m ingle your m ind w ith his. Then seal, by dedicating the gathering o f vir
tue and m aking aspirations. W h e n you rely exclusively on w h at is tau g h t
here, supplicate w ith D ilsum Sangye an d so forth an d m a in ta in your
essence. A t the end, in o rd er to clear aw ay th e extrem e o f eternalism , dis
solve the presence as deity w ith hung . In o rd er to clear aw ay the extrem e
o f nihilism , em erge in the un ited fo rm w ith phat. D edicate the g ath erin g
o f virtue, as in the case o f Trinley Nyingpo, an d seal w ith m a k in g pure
aspirations.
L obsang N yim a, the diligent practitioner at Y ardro k G an den, the seat o f

K iin k h y e n P a d m a G arw a n g o f the incarnation lineage o f R echen Pal) or
Sangpo, the chief disciple ho ld in g the oral transm ission o f K iin k h y en
Bodongpa, m a d e a request expressing the need for the visualization
stages o f the Concise D aily Practice o f T u \d ru b Barchey K unsel. In accor
dance w ith this request, this was com m itted to w ritin g by K henp o
K a rm a R atna W an g ch u k , a disciple o f the great treasure revealer, on
th e ten th day o f the M onkey m o n th .in the year o f the F ire Ox, at a tim e
w h e n he was m osdy distracting him self w ith the am using dram as o f high
a n d low people at Rasa T riiln a n g in Lhasa. May it be a cause for the tw o
stages to flourish.

T serin g m a and her Five Sisters
SOURCE MATERIAL
Chokling Tersar
V olum e K A :
This volume introduces the texts revealed by Chokgyur Lingpa on the cycle
known as Lamey Tu\drub Barchey Ktinsel, Dispeller o f Obstacles, The Heart
Practice o f Padmasambhava as well as the related sadhanas, lineage prayers,
and so forth. It also contains commentaries and explanations by other masters
o f the lineage.
KA 3. The Essence Manual o f Oral Instructions (zhal gdams snying byang). The ba
sic terma text o f Lamey Tu^drub Barchey Kunsel, with chapters for historical
background, sadhanas for the gurus of the three kayas and for each of the
twelve manifestations, and so forth, as well as prophesies for the future. This
includes a chapter called The Quintessence o f Wisdom Openness.
V o lu m e G A :
GA 2. Bestowing the Splendor o f Accomplishment (dngos grub dpalster). The lineage

supplication for Lamey Tu\drub Barchey Kunsel. P.i—4.*18
G A 9. The Recitation Manual fo r Approach and Accomplishment (bsnyen sgrub dza
pra hyi bfyol byang). Terma text for the recitation part o f the Extensive Practice
(phrin las rgyaspa). P. 77—96.*
GA 17. Trinley Nyingpo, The Yoga o f Essential Activity {phrin las snying po’i m al
‘byor). The short guru sadhana, according to Lamey Tu\drub Barchey Kunsel.
P. 169-178.*
GA 18. The Concise Manual for Daily Practice (rgyun gyi m al ‘byor bkpl byang).
The concise daily guru sadhana, according to Lamey Tukdrub Barchey Kunsel.
P. 179-182.*
G A 28. The Seed o f the Great Sal Tree (sa la chen p o’i sa bon). Short notes on the
recitation practice o f Trinley Nyingpo, by Jamgon Kongtriil. P. 395—408.
18 Single asterik notes: Available as a booklet from Rangjung Yeshe Translations;

w ww.rangjung.com
207
G A 29. Short Notes on Trinley Nyingpo (bsnyen sgrub las gsum bya b a i yig chung).
Explanation of the Trinley Nyingpo sadhana, by Chokgyur Lingpa. P. 409—420.
GA 30. The Thirty-Five'Day Practice (zla gcig zhag Inga tsam mdzad pa i zin tho).
Explanation on how to practice Trinley Nyingpo in a thirty-five-day retreat, by
Jamyang Khyentse Wangpo. P. 421—430.*
*Sphere o f Refined Gold {bla ma’i thugs sgrub bar chad kun sel las, rig ‘dzin padma
‘b yung gnas kyi rdzogs rim ‘o d gsal rdzogs pa chen p o i khrid yig thig le gser zhun
ces bya ba bzhugs ro). The Guidance Text in the Luminous Great Perfection o f
Rigdzin Pema Jungney according to Lamey Tu\drub Barchey Kiinsel, by Jamgon
Kongtriil.*

ADDITIONAL TIBETAN TEXTS
Chokling Tersar
V olum e G A :
G A 3. The Fivefold Consecration (byin rlabs mam Inga). Consecration o f the puja
articles prior to beginning the sadhana*
G A 5. The Seven Preliminary Points, the Seven Points o f the Main Part, and the Sev
en Concluding Points. The Extensive Practice (phrin las rgyas pa). The extensive
version o f the guru sadhana, according to Lamey Tu^drub Barchey K unsel*
G A 10. Opening o f the Mansion o f Recitation (dza pra \hang dbye ba). Also called
Gzhi Bstod. Arrangement liturgy for the recitation part o f the Extensive Prac
tice (phrin las rgyas pa).*
G A 12. The Turquoise Room (g.yu zhal ma). The brief fulfillment for Lamey T u\-
drub Barchey K unsel*
G A 15. The Medium Practice o f Lamey Tu\drub Barchey Kunsel (phrin las 'bring
po). The medium guru sadhana, according to Lamey Tu\drub Barchey Kunsel *
GA 16. Appendix fo r the Essence Practice (phrin snying zur debs). Appendix to GA
17*
GA 19. The Secret Mantra That Liberates through Hearing o f the Family Lord Va-
jrasattva (rigs bdag rdo rje sems dpa”i gsang sngags thospas grol ba ), plus the L o
tus Essence Tantra together with the Reading Method (pad ma snying p o ‘i rgyud
bhlags thabs dang bcaspa).*
G A 20. The Teaching Protector Sadhana fo r the Five Sisters o f Long Life (bka srung
tshe ring mched Ingai sgrub thabs). The sadhana for Tseringma and her four
sisters, the dharma protectors o f Lamey Tu\drub Barchey Kunsel.*
V olum e N G A :
N G A 6. The Lamentation ofRudra (smre bshags). Confession liturgy.

N G A 7. The Cloud Ban^s o f Nectar (bdud rtsii sprin phung). Offering to the dhar
ma protectors, by Chokgyur Lingpa.
N G A 9. The Cloud B an \ o f Blessings (byin rlabs sprin phung). Supplication to the
ocean-like hosts o f the Three Roots and the dharma protectors, by Jamyang
Khyentse Wangpo.
209
N G A 15. Clearing the Obstacles o f the Path Supplication (gsol ‘debs bar chad lam sel).
The root supplication for Lamey Tu\drub Barchey Kiinsel. *
N G A 16. The Seed o f Supreme Enlightenment if yang chub m choggi sa bon). The
original liturgy for the preliminary practices, by Jamyang Khyentse Wangpo.
N G A 17. The Seed o f Supreme Enlightenment (byang chub mchog gi sa bon).
The expanded liturgy for the preliminary practices o f Lamey Tu^drub Barchey
K iinsel*
N G A 19. The Essential Meaning {don gyi snyingpo). The short commentary on.the
Lotus Essence Tantra.
N G A 21. The Way to Perform the Extensive Preliminary Practices (sngon gro rgyas
pa btang tshul). *
N G A 22. The Great Gate fo r Accomplishing Unexcelled Enlightenment (bla med
byang chub sgrub pa*isgo chen). The extensive commentary on how to perform
the preliminary practices o f Lamey Tulrfirub Barchey Kiinsel, by the second
Chokgyur Lingpa.**19
Volume CA:
CA 6 . The Blooming o f Intelligence {bio gros kha ‘byed). The sadhana, empower
ment ritual, and activity applications o f Mawey Senge, by jamgon Kongtriil.
The Oral Teachings That Gladden the Lahp-Bom Master— A Concise and Clear
Guidance Manual Covering the Complete Two Stages o f Lamey Tuhdrub Barchey
Kiinsel, The Gurus Heart Practice o f Dispelling A ll Obstacles, by Kyabje Dilgo
Khyentse Rinpoche.
19 **Available from Rangjung Yeshe Publications; www.rangjung.com

ADDITIONAL ENGLISH TEXTS
Dzogchen Essentials, The Path That Clarifies Confusion, Rangjung Yeshe Publica
tions, Hong Kong, 2004.
A Practice o f Padmasambhava, Snow Lion Publications, Ithaca, N ew York, 2011.
The Light o f Wisdom, Volume II, Rangjung Yeshe Publications, Hong Kong, 1998.
Vajra Wisdom Deity Practice in Tibetan Buddhism, Snow Lion Publications, Ithaca,
N ew York, 2011.
Trinley Nyingpo Commentaries, Tulku Urgyen Rinpoche, 1984,1989,1995. Chokyi
Nyima Rinpoche, 1990.
Extensive Commentary on the Thirty -Five-Day Practice, Lama Putsi Pema Tashi.
The Ocean ofAmrita, A Vajrayana Mending and Purification Practice**
Precious Songs ofAwakening, Chantsfo r Daily Practice, Feast & Drubchen.
Tukdrub Barchey Kunsel Drubchen Texts. **
The Lotus Essence Tantra, Fundamental Principles o f Buddhist Tantra. Forthcom
ing, Rangjung Yeshe Publications.
Quintessential Dzogchen, Confusion Arising as Wisdom, Rangjung Yeshe Publica
tions, H ong Kong, 2006.
MP3-4 FILES, VIDEOS, A N D PHOTOS
Melodies o f Pure Gold.

Trinley Nyingpo, The Yoga o f Essential Activity, Audio and Video.
The Best o f the Four Dharmas o f Gampopa, by Tulku Urgyen Rinpoche. Video.
Teachings on the entire path o f Vajrayana.
Tangkas and tangka details for the Tu\drub cycle.
All practice booklets and photos as well as audio and video files are available
from links on the Rangjung Yeshe Publications website; www.rangjung.com
For melodious versions o f some o f these chants that can be set to music, contact,
Erik via email, rangjung@gmail.com or marcia@rangjung.com.
211
K h arak K h y u n g T siinm a
APPENDIX I
T h e Supplication to the Lineage o f Tukdrub Barchey Kunsel,

Entitled Bestower o f the Splendor o f Accomplishments
Jamgon Kongtriil
P rotector o f the Blissful Realm , all-pervasive d h arm a k ay a lord,

S h ining w ith thousands o f effulgent m arks, deathless god o f gods,
I supplicate you; dispel the ou ter and inn er obstacles!
Bless me; bestow the sup rem e and com m on siddhis!
L o rd o f Potala, S am bhogakaya V airochana,

M ighty C om passionate O ne, P rotector o f Beings, W h ite L otus
H older,
I supplicate you; dispel the outer and in ner obstacles!
Bless m e; bestow the suprem e and com m on siddhis!
G lorious N irm an a k ay a , L otus Born,

Splendid S ubjugator o f All th at A ppears and Exists, T o tre n g Tsai,
K in g o f Victorious Ones,
I supplicate you; dispel the ou ter and in ner obstacles!
Bless me; bestow the suprem e and com m on siddhis!
Q u een o f W isdom , D ak in i G atherings,

M istress o f Secrets, D hatvishvari T sogyalm a,
I supplicate you; dispel the ou ter and inner obstacles!
Bless m e; bestow the suprem e an d com m on siddhis!
R egent V airotsana, Single Eye o f the W orld,

M anjushrivajra Trisong, fath er an d sons,
I supplicate you; dispel the outer an d inner obstacles!
Bless me; bestow the sup rem e an d com m o n siddhis!
2I3
Incarnation o f D am d z in , L o rd o f O ne H u n d re d T reasures an d
Places,
T am er o f the Beings o f the D ark -A g e , C h o k g y u r D echen L ingpa,
I supplicate you; dispel the outer and in n e r obstacles!
Bless me; bestow the suprem e an d com m on siddhis!
A ll-Pervasive L o rd Jam yang K hyentse W an gpo

A n d Sovereign o f the M andala, L o d ro T hay e,
I supplicate you; dispel the o uter an d inn er obstacles!
Bless me; bestow the suprem e an d co m m o n siddhis!
H eirs to the p rofoun d secret teachings, w ith fo rtu n ate k arm ic

aspirations,
P redicted D harm a-holders, an d m asters o f the lineage,
I supplicate you; dispel the o uter an d inn er obstacles!
Bless me; bestow the suprem e an d com m on siddhis!
Y idam s, dakinis, vow -holders, an d gu ardians o f the treasures and

places,
Magical circle th a t revels in n on d u al w isdom ,
I supplicate you; dispel the o uter an d in n er obstacles!
Bless me; bestow the suprem e an d co m m o n sid d h is!
S uprem e D ivinities o f the T h re e Roots, accept m e until

enlightenm ent,
Pacify the eight fears, four m aras, an d five poisons,
A n d the outer, inner, an d secret obstacles.
L et m e swiftly attain the state o f the T rik ay a G u ru .
This was composed by Padma G arwang Trinley D rodul Tsai, a jo y fu l ser

vant o f Padma, at D e v i\o ti T sa ri-L i\e Jew el R o c \ (Tsandra Rinchen Drab),
the upper retreat ofP alpung, on an auspicious day in the w axing p art o f the
second m onth. The scribe was Karm a Gyurmey, who is endow ed w ith the fo r
tune ofh arm ic aspirations. M ay virtuous goodness increase.

A P P E N D I X II
T h e Concise Manual for Daily Practice

According to Lamey Tukdrub Barchey Kiinsel
Padmasambhava
T he yogin o f true sim plicity, ®

W hen practicing this essential daily yoga, »
Should in solitude gather a ll the articles necessary s
To be a suitable vesselfo r m editation. =
H e should then w ith one-pointed concentrations
E nter the m eaning o f deity, mantra, and wisdom. *
N amo=
I an d all beings equal to the skys

T ake refuge in the ones w ho are the suprem e refuge.*
D eveloping the bodhichitta o f aspiration and application,^
I w ill accom plish the level o f the T rikaya Guru.®
H ung®
F ro m the space o f em ptiness, all-illum inating wisdom ,s

T h e seed-sam adhi h r ih em anates lig h t,=
A n d all appearance an d existence is the Realm o f Padmajala.®
A m id st this w onderfully decorated inconceivable mandala,*
U p o n a jewel throne, lotus, sun, an d moon,*

T h e syllable h r ih transform s, and in an instan t I become
M a h ag u ru O rg yen T o tre n g Tsai,®
T h e glorious subjugator o f appearance and existence, w hite-red
w ith a peaceful-w rathful expression.*
My rig h t h an d raises a five-spoked vajra into the sky,®
2I5
A n d m y left holds in equ an im ity the skull cup w ith life vase.*
In the crook o f m y left arm , I em brace the secret consort concealed
in the form o f a khatvanga.®
I w ear the lotus crow n, secret dress, gow n, D h a rm a robes, an d
brocade cloak.*
W ith tw o feet in the playful, royal posture, I am majestically poised
in a sphere o f rainbow light.®
A bove m y h ead sits the m ighty S am bhogakaya A valokiteshvara*

A n d the L o rd o f the F am ily A mitayus.*
T h e tw elve m anifestations are above, below, and in all directions,*
A n d an ocean o f the T h re e Roots an d d h a rm a protectors gathers
like cloud banks.*
T h is is the spontaneously p resent prim ord ial indivisibility o f
sam aya being an d w isdom being.*
L ig h t rays em anate from the h r ih in the h ea rt center o f the L o rd o f

the Family. £
G ath e rin g all the life nectar o f sam sara an d nirvana, the lig h t rays
dissolve into me.*
T h e N oble T am er o f Beings, th ro u g h his com passionate,
m iraculous manifestation,*
Purifies suffering and its causes for the six kinds o f beings.®
In m y h ea rt center, as the G u ru E m b ody in g A ll Families,®

Is a golden vajra, w ith the letter h r ih in its center,®
E ncircled by the m a n tra chain, w h erefro m rays o f light emanate.®
T h ey m ak e offerings to the noble ones an d accom plish the benefit
o f beings.*
T h e outer vessel is the A k an ish th a Realm o f A ll-E ncom passing

Purity.*
T h e in ner contents are the m u d ra deities o f appearance an d
existence as m anifest ground.*
R esounding sounds are m antras, and tho ugh ts are the space o f
luminosity.*
T h e activities o f the four co m m o n karm as are natu rally fulfilled,*
A n d in the vajra continuity o f u n ch an g in g g rea t bliss,®
T h e suprem e level o f the Im m o rtal T rik aya is attained.*
O m a h h u n g v a jr a g u r u p a d m a s id d h i h u n g ®
216 d is p e l l e r o f obsta cles

The three syllables are the inseparable three kayas. «
V a jr a guru is the fa m ily lord.*
P a d u a is m anifest as the m andala circle. °
SlDDHl HUNG invokes the siddhis. *
This vajra m antra condenses approach, accomplishment, and

activities into one, *
F ulfilling all the activities*
A t the end o f the session, supplicate the guru, *
W ho embodies all the fam ilies, and m ingle your m ind w ith his.*
Then seal, by dedicating the gathering o f virtue and m aking
aspirationsJ
H oi
By the po w er o f accom plishing the m an d ala o f the V idyadhara
G u ru ,i
M ay I and all the infinite sentient beings w ith o u t exception*
Spontaneously accom plish the four kinds o f activities*
A n d be liberated into the lu m ino us space o f dharm akaya.*
M ay the blessings o f the roo t an d lineage g u ru s enter m y heart.«

M ay the yidam s an d dakinis accom pany m e like a shadow follows
the body.*
M ay the d h a rm a protectors an d guard ians clear away all obstacles.*
M ay there be the auspiciousness o f attain in g the suprem e an d
com m on siddhis.i
B y supplicating constantly w ith devotion to the root guru,*

Inseparable fro m the Great M aster Padma, *
A ll obstacles w ill be cleared and the accomplishments attained. °
Samaya, seal, seal, seal.*
T his is the perfect essence o f the profound D harm a treasures o f the incarnated
great treasure revealer Chokgyur Dechen Lingpa.

A P P E N D I X III
S phere of R e f in e d G old
The Guidance Text in the Luminous Great Perfection

of Rigdzin Pema Jungney
According to Lamey Tukdrub Barchey Künsel
Jamgon Kongtriil
N a m o g u r u pa d m a k ara ya
I bow down at the fe e t o f the E ver-Excellent Padma,

Who proclaim s in the spontaneous tones o f dharmata
This effortless great vehicle o f certainty,
The vajra tantra endowed w ith the six liberations.
Here, I shall explain the basic intent

O f the essence o f the ocean o f guiding instructions
T hat leads to the state o f prim ordial liberation
W ithin a single life, through the path o f direct experience.
W h e n giving the gu id in g instructions for the L u m in o u s G re a t P erfec

tion, the pinnacle o f the nine vehicles, the single em in en t p ath traversed
by all the aw akened ones, the m aster w ho gives th em should possess
th e em p ow erm ents and p u re samayas, as well as realization o f T rek ch o
an d Tôgal. T h e disciple to w h o m the explanation is given should have
faith, be diligent an d intelligent, and cu t the ties to this life, thus fulfill
in g the m aster s w ords. T h e place should have a virtuous quality an d be
secluded, free from obstacles to m editation. T h e tim e is sim ply w h en the
auspicious link betw een m aster an d disciple is form ed, or w h en h ea t and
cold are in balance and the w isdom easily manifests. T h e com panion
is som eone w ho has p ure sam aya, p u re perception, an d an affectionate
218
fram e o f m ind. The Tantra o f the Great Self-Arising Awareness instructs on
h o w to engage in teaching, listening, an d training, w h en these favorable
conditions and elem ents are assembled.
T h e actual explanation o f the p ro fo u n d guidance, the instruction that
is to be given, has th ree parts: stating th e realization in w h ich to train,
explaining the practical guidance in h o w to train, an d describing the lib
eration o f havin g trained in such a way.
S t a t in g the R e a l iz a t io n i n w h i c h to T r a in
T he R oot Text ofV ajra Speech declares:
For the ultim ate, supreme com pletion stage, «

The ground space is unconditioned prim ordial purity;*
T he ground m anifestations o f spontaneous presence arise as the
path;*
A n d realizing their indivisibility m atures into the fruition.*
This is the intent o f the L um inous Great Perfection. *
O u t o f the universal g ro u n d , the essence o f w hich is unconditioned

prim o rd ial purity, all o f sam sara an d nirv an a arises as the self-display o f
aw areness, the n a tu re th a t is the g ro u n d s m anifestation, in the form o f
the eight gates o f spontaneous presence. T h u s, as the expressions o f the
capacity stir, the appearances o f the paths o f sam sara an d n irv an a arise in
in num erable ways.
L iberation an d confusion arise separately, due to the difference
betw een realizing and n o t realizing th at this is one's o w n n atu ra l expres
sion. H ow ever, w h en realizing the indivisibility o f the prim ordially pu re
g ro u n d an d the spontaneously presen t g ro u n d m anifestation— due to the
circum stance o f the g u r u s blessings an d th e p ro fo u n d instructions— con
fusion reverses, the space-display is exhausted into d h arm a ta , an d aw are
ness m atures into the fruition en dow ed w ith the tw ofold p urity at the
original state o f liberation. T h is is the in ten t o f the 6.4 m illion tantras o f
the L u m in o u s G re at Perfection condensed into a single point.
DISPELLER OF OBSTACLES 2 I9
E x p l a in in g the A ctual G u id a n c e in H o w to T r a in
T h is has tw o parts: the prelim inaries o f purifying your stream -of-being

an d the m ain p a rt o f applying the practice.
T h e P relim in a ries o f P u rify in g Y o u r S tre a m -o f-B e in g
T h e prelim inaries are o f tw o types: the general an d the specific.
T h e G eneral P relim in a ries
T h e T estam en t states:
Train in impermanence, compassion, and bodhichitta. °
To explain this, the root o f the M ahayana path is the precious tw ofold
bodhichitta. In order to let it arise w ithin your being, you m u st first train
your m in d in understand in g the im perm anence o f the external w orld,
the living beings w ithin it, and your ow n body, w hich will all soon p er
ish. Reflect upon the fact that your support, the h u m a n body endow ed w ith
the freedoms and riches, is difficult to obtain. C ontem plate the fact th at
cause and effect never fail and th at after passing away, you will u ndergo the
intense, extended misery o f sam sara an d the evil states o f existence. W ith
a strong and w holehearted attitude o f revulsion for superficial, futile plea
sures and w ith renunciation o f the whole g ran d eu r o f samsaric existence,
take refuge from today and until attaining enlightenm ent, by completely
surrendering your plans and aims to the T h re e Jewels and T h re e Roots.
G enerate the conventional bodhichitta, w hich has the n atu re o f aspi
ration and application as the cause, an d train your m in d in the u ltim ate
bodhichitta as the effect.
To purify m isdeeds and obscurations, w hich are the adverse conditions
for experience and realization to arise, exert yourself in the visualization
and recitation o f Vajrasattva, w hile completely possessing the four powers.
To increase the tw o accum ulations in com bination, creating the favor
able conditions, offer the outer, inner, and secret m andalas.
T o directly receive the blessings, place special em phasis on the v irtu
ous practice o f g u ru yoga, including the essential supplications, by m eans
o f the intense fervor o f sincere devotion.

I f you w ish to begin w ith th e developm ent stage in h arm o n y w ith the
general tradition o f A n u tta ra , you w o n ’t need to distract yo urself w ith
elaborate details. W h ile possessing the “personal yoga,” use the back
g ro u n d su p p o rt o f the Six Wondrous Teachings or read their essence, the
L otus Essence Tantra. T h e w ritin gs o f the om niscient m aster D o rje Ziji
T sai clarify h o w to practice this.6
A t the very outset, or at this point, you m u st receive the u n iq u e rip
en in g em p o w e rm en t for the tw o stages o f developm ent an d com ple
tion. T h is bestows the blessings for body, speech, an d m in d , as well as
the tw entyfold m anifest perfection, w hich are conferred in the elabo
rate, unelaborate, very unelaborate, and extrem ely unelaborate m anners,
in accordance w ith th e realization o f unifying the pith instructions and
the oral transm ission. O bserve the general an d special samayas, as if they
w ere you r ow n life.
T h e D a ily P ractice
E qualize buddhahood at the fo u r times. *
A practitioner o f the G re a t Perfection should exert h im self in prac

ticing the continuous river o f unceasing d h arm a ta , by m eans o f the vital
points o f possessing the oral instructions on equalizin g b u d d h ah o o d at
the four times.
T o seal appearances in the daytim e, by n o t losing the n atu ra l stabil
ity o f aw areness th ro u g h o u t the m editation arid post-m editation periods,
resolve w hatever arises in you r experience to be the great, u n im p ed ed
state o f realization, w hich is n o n d u al and prim ordially free. W h e n unable
to do so, train in seeing all phen o m en a as illusory. W ith o u t letting your
m in d r u n w ild, lead your perceptions to the space o f p rim o rd ial purity.
T o g ath er the senses n aturally at dusk, assum e the n irm a n ak a y a pos
ture. Focus your attentio n on a four-petaled red lotus flow er in the navel
center w ith in your body’s central channel, w hich is light red, radiant, and
straight. A t the level o f your navel is the a t u n g ,, the n atu re o f heat; at the
crow n o f your head is the w h ite hang, the n atu re o f bliss. Expel the stale
breath an d hold the vase breath; if you cannot, hold the m e d iu m breath.
T h u s focus your attention on the w isdom o f blissful heat generated by the
blazing a n d dripping .
T o allow your consciousness to enter the vase at m id n ig h t, keep the

posture as before. Focus your attentio n on a rad ia n t w hite a am idst a
four-petaled red lotus in the h e a rt center o f the central channel, visual
ized as before. A fter that, visualize an o th er w hite a on the top o f your
head. T h e n , betw een the tw o, visualize tw enty-one very fine w hite a let
ters, like a string. H o ld either th e vase-shaped breath or the soft-breath.
O n th e verge o f falling asleep, visualize th a t all the a letters grad ually dis
solve into the a in the h ea rt center. Im agine this w ith in th e closed lotus
bud, rad ia n t like the flam e o f a b u tter lam p inside a vase. T h u s train in
falling asleep, w hile in ten d in g to recognize your dream s.
To naturally clarify aw areness at daw n, as soon as you aw ak e from
sleep, assum e the d h arm a k ay a posture, direct y our eyes into m idair, and
exhale w ith the ha sound three times. H ence, the lotus in the h e a rt cen
ter opens, and the w hite a shoots o ut th ro u g h the ap ertu re o f B rahm a
an d rem ains vividly in the air abo ut a b ow ’s length above you. F ocus your
atten tion on it and keep your b rea th slightly exhaled. I f your m in d gets
agitated, let it descend back to rem ain w ith in your h ea rt center an d focus
your attention on it, w hile low ering your gaze. I f you feel dull, practice as
above, as it suits your constitution.
D e sc r ib in g t h e L ib e r a t io n of
H a v in g T r a in e d in Such a W ay

A P P E N D I X IV
T he C o n c is e Q u in t e s s e n c e
T h e Abbreviated Essential Em pow erm ent for Lamey

Tukdrub Barchey Kiinsel
Embellished with Additional Notes
Tersey Tulku
Adapted by Tulku Urgyen Rinpoche
Nam o g u ru padm a kara ye
Padmasambhava, single em bodim ent o f the activity o f all the

victorious ones,
R em ain forever as the essence o f self-existing awareness.
In order to consecrate and accept fo rtu n a te followers,
I shall here disclose the essential empowerm ent, condensed to its
vital substance.
T h is has three parts: P reparation, m ain part, an d conclusion.
P r e pa r a t io n
I f you are p e rfo rm in g the general offerings an d feast, based on either the
m e d iu m leng th or condensed version o f the sadhana, and, in particular,
if you are p erfo rm in g the G rand G uru Torma or the vase em p ow erm ent,
an d so fo rth, th e n place a m anji stand upo n the m an d ala m ad e o f painted
canvas or heaps o f grains. H ereu p o n , place the vase o f victory filled w ith
nectar, an im age o f G u ru R inpoche, an d the req u ired articles for the four
em p ow erm en ts o f body, speech, m in d, and the consolidating em p o w er
m e n t o f longevity.
223
Begin w ith the supplications and continue the sadhana u p to the rec
itation, for w hichever version you are using. T h e n open u p the recitation
m ansion o f the fro n t visualization in the location o f the sadhana articles
a n d com plete the recitations.
W h e n consecrating the vase, focus on the vase o f victory, and say:
F ro m th e s y lla b le b h r u m w i t h i n th e v a se , th e c e le s tia l p a la c e
ap p ears, *
F ully com plete w ith all characteristics.®

In its center, the divine assem blage o f vidy ad hara m asters is vividly
present,®
Visible an d yet em pty, like the m o on in water.®
F ro m the seed syllable an d m a n tra g arla n d in m y h ea rt center,®

L ig h t rays shine o u t in the form o f offerings.®
H ereby, the bodhichitta nectar o f union®
C om pletely fills up the vase, s
U ttering this, contem plate the m eaning and ta \e hold o f the dharani cord.
Repeat the above recitation as m uch as you can. Then say:
W ith in the vase o f activity, the w rath fu l, red H ayagriva a p

pears in an instant, ho ld ing a lotus club in the rig h t h an d an d a
lasso o f flames in the left. F ro m his body, nectar particles flow
forth, filling up the vase.
O m h a y a g r iv a h u n g p h a t ®
A fter repeating this, say the Vowels an d C onsonants m a n tra as w ell as

the Essence o f C ausation m a n tra three tim es each.
I f you com bine this w ith the em pow erm ent o f longevity, visualize in this way:
In the five places o f the entire divine assemblage, b oth as

self-visualization an d front-visualization, th e five families o f
A m itayus are vividly present in a single instant. F ro m th eir
bodies, hosts o fgyokm a goddesses stream forth, like d u st m otes
in a beam o f sun light, b rin g in g back all the essences an d vir

tuous attributes o f sam sara, nirvana, an d the path in the form
o f the nectar o f im m o rtal life. T h is nectar dissolves into you
and th e sadhana articles, con ferring the accom plishm ent o f
im m o rtal life and en d o w in g you w ith its power.
Im agining this, w ave the arrow o f longevity and sing:
H ung H r i h !*
V airochana and consort, I invoke your heart-sam aya from the

d h a rm a d h a tu !s
B rin g forth the p ow er o f the hosts o f gyotyna em issaries! *
Collect the vitality, m erit, and splendor o f the buddhas,
bodhisattvas, rishis, an d vidyadharas®
A n d o f m u n d a n e beings endow ed w ith merit!®
Collect the vitality p lu n d e re d by the evil spirits above, below, and
in all d irectio n s!®
Collect the essence o f space an d all the suprem e vitality o f the
B u d d h a family!®
L et it flow togeth er into the auspicious vase o f longevity !*
P erfo rm the activity o f stabilizing our vitality an d life force!®
Bestow the accom plishm ent o f the u n ch an g in g longevity o f the
S ugata family!®
0
O m a m a r a n i jiv a n t iy e sv ah a®
O m BUDDHA AYUR GYANA TSHE B H RU M O M *
H ung H r i h !®
A m itab h a an d consort, I invoke your heart-sam aya from the

dharm adhatu!®
B ring forth the p ow er o f the hosts o f gyofyna emissaries! ®
' Collect the vitality, m erit, and splendor o f the buddhas,
A n d o f m u n d a n e beings endow ed w ith merit!®
B ring back the vitality an d life force plu n d e re d by the naga kings
in the w estern direction!®
Collect the essence o f fire an d all the suprem e vitality o f the Lotus
family!®
L et it flow together into the auspicious vase o f longevity!®
P erfo rm the activity o f stabilizing o u r vitality and life force!®

Bestow the accom plishm ent o f the unceasing longevity o f th e L otus
fam ily!3
O m a m a r a n i jiv a n t iy e svaha3
O m pa d m a ayur gyana t sh e b h r u m h r ih «
H ung H r ih !3
A kshobhya an d consort, I invoke your h eart-sam aya from the
d h a rm a d h a tu !3
B rin g fo rth the po w er o f the hosts o f gyofyna em issaries!3
Collect the vitality, m erit, an d splendor o f the buddhas,
bodhisattvasj rishis, an d vid yadharas3
A n d o f m u n d a n e beings endow ed w ith m e rit!3
B rin g back the vitality and life force plu n d e re d by the g andh arvas
in the eastern direction!«
Collect the essence o f w ater and all the suprem e vitality o f the
V ajra fam ily!3
L e t it flow together into the auspicious vase o f longevity!«
P erfo rm the activity o f stabilizing our vitality an d life force!3
Bestow the accom plishm ent o f the n o n tran sfe rrin g longevity o f the
V ajra fam ily!3
a
O m a m a ra n i jiv a n tiy e sv ah a3
Om v a jra a y u r g y an a ts h e b h ru m hung®
H u n g H r ih !3
R atnasam bhava and consort, I invoke your heart-sam aya fro m the
B rin g fo rth the pow er o f the hosts o f gyofyna em issaries!3
bodhisattvas, rishis, an d vidyadh aras3
B ring back the vitality an d life force p lu n d e re d by the yam as in the
sou th ern direction!«
Collect the essence o f earth an d all the suprem e vitality o f the R atna
family!«
L et it flow together into the auspicious vase o f longevity!3
P erfo rm the activity o f stabilizing o u r vitality and life force!3
Bestow the accom plishm ent o f the effordess longevity o f the R atna
fam ily!3
Om a m a ra n i jiv a n tiy e sv ah a3

O m ratna ayur gyana tsh e b h r u m tra m *
H u n g H r ih !5
A m og hasidd hi an d consort, I invoke your heart-sam aya from the
B rin g forth the p ow er o f the hosts o f gyofyna emissaries!»
bodhisattvas, rishis, an d vidyadh aras5
B ring back the vitality an d life force plu n d e re d by the yakshas in
the n o rth e rn directio n!5
Collect the essence o f w in d an d all the suprem e vitality o f the
K a rm a fam ily!5
L e t it flow together into the auspicious vase o f longevity!5
P erfo rm the activity o f stabilizing o u r vitality and life force!5
Bestow the accom plishm ent o f the u n im p ed ed longevity o f the
K a rm a fam ily!5
o
Om a m a ra n i jiv a n tiy e sv ah a5
a
Om k a rm a a y u r gyana ts h e b h ru m a h 5
H a v in g perfo rm ed this su m m o n in g o f longevity, repeat the offerings

a n d praises, the supplication, and the confession o f faults. A t the end, say:
Om ah h u n g ®
D u e to the incidence o f m a k in g desirable offerings, the deities

in the vase dissolve into the essence o f great bliss an d em pti-
ness, becom ing indivisible from the w ater o f the vase.
Im agine that. Initiate yo urself by th ro w in g the flow er o f awareness.

L et the sam aya beings and w isd om beings becom e indivisible and thus
obtain perm ission.
F o llow ing that, offer torm as to the general and specific protectors an d
continue the feast offering to the deliverance.

M a in Part
C leanse the disciples w hile repeating the verse beginning w ith Jitar
Tampa.
Sanctify and purify the to rm a for the obstructors and continue w ith
sum m oning , allocating, and expelling. T h e n visualize the protection cir
cle, according to the sadhana text. A fter that, say:
By u tterin g this, im agine the protection circle endow ed w ith

vajra foundation, fence, n etw o rk , and dom e blazes w ith w is
d o m flames. It is im m ense, vast, solid, and stable.
C om m unicate the symbolism. Give out and gather b a c\ the flow ers, and then
say:
Listen now ! D evelop the bodhichitta m otivation aim ed at

suprem e enlightenm ent, th in k in g , “I will attain the precious
state o f unexcelled, truly perfected b u d d h ah o o d for the sake
o f m y m others, all sentient beings equal to space. In o rd er to
do that, I will receive the pro fo u n d ripenin g em p o w erm en ts
an d p u t their m ean in g correctly into practice!” Listen, w hile
carefully keeping in m in d the correct behavior w h en receiving
D h a rm a teachings!
This is regarding the teaching you are about to receive:
T h e truly and perfecdy E nlig h ten ed O ne, the Victorious O ne

endo w ed w ith ingenuity in m eans an d boundless com passion,
ta u g h t an inconceivable n u m b e r o f profo un d an d extensive
nectar-like D h a rm a teachings in accordance w ith the inclina
tions o f those to be tam ed. T h ese teachings can be condensed
into the causal and resultant vehicles, as K unje Gyalpo Tantra
states:
There are tw o hinds o f vehicles:

The causal vehicles o f philosophy,
A n d the vajra vehicles o f fru itio n .

T h is p resent teaching belongs to the resultant vajra vehicle o f
Secret M antra, w hich in m an y ways is m ore exalted th a n the
causal teachings.
T h e re w ere n o such w o rd s as O ld or N e w Schools k n o w n in

the noble lan d o f India. H ow ever, here in the L a n d o f Snow y
Ranges, the vajra vehicles are well k n o w n as the O ld School o f
the E arly T ranslations a n d the N e w School o f the L ater T ra n s
lations, reflecting the d ifferen t periods o f translation.
Betw een these tw o schools, the O ld Va j ray ana School o f the

E arly T ranslations is com prised o f the three transm issions o f
K am a, T erm a, an d P u re Vision. T h is present teaching belongs
to th e sh o rt lineage o f T erm a.
A coundess n u m b e r o f te rm a traditions have appeared, such

as the earlier and later ones, b u t the present one is as follows:
K in g T riso ng D eütsen, w h o was M anjush ri in person, had

th ree sons, o f w hich the m iddle prince was M u ru b T sep o Ye-
she Rôlpa T sai, a m aster o f the te n th bhum i. H is incarnation,
authenticated by the triple m eans o f valid k n ow ledge an d ex
tolled unanim ou sly by all sublim e beings, w as the com pletely
indisputable g rea t treasu re revealer and D h a rm a k ing, O r-
gyen C h o k g y u r D ech en L ingpa, w ho discovered an ocean-like
n u m b e r o f p ro fo u n d term as. H is term as w ere link ed w ith the
tan tric scriptures, established by factual reasoning, ad o rn e d
w ith the experience o f th e pith instructions, a n d end ow ed w ith
the e m in en t w a rm th o f w on d ro u s blessings.
C h o k g y u r L in g p a discovered this treasure on the te n th day o f

the w axing m o o n o f th e n in th m o n th in the year o f the m ale
E a rth M onkey, w h en h e was tw enty years o f age. H e revealed
it u n h in d e re d fro m u n d e rn e a th the vajra feet o f the G re a t G lo
rious O n e at D a-N ying K hala R ong-G o, th e sacred place o f the
qualities o f enligh tened body.

K eeping it utterly secret for eight years, he applied it in his
ow n practice. Later, in connection w ith a perfect coincidence
o f tim e and place, the w isdom body o f the glorious D h a rm a
K in g o f U ddiyana and consort bestow ed u po n h im the em
pow erm ents, oral instructions, an d special predictions an d as
surance. F ro m then on, he gradually let the term a o f L am ey
Tukdrub Barchey K iinsel flourish.
T h is te rm a cycle is the extract o f the h ea rt o f P a d m a k a ra , the

k n o w er o f the three times. It is the single u n iq u e treasure con
cealed u n d e r the earth in Tibet. It is like the great treasury
o f the universal m onarch, filled com pletely an d un m istak en ly
w ith all the m eans for accom plishing the sup rem e and com
m on siddhis.
In term s o f the sections o f tantra, this p rofou nd p ath is based on

the G reat K in g o f T antras, The Peaceful and W rathful M anifes
tations o f the M agical N e t o f the Vidyadhara Gurus, w hich is the
root o f blessings belonging to the category o f th e E ight Sections
o f the M agical N et. D u e to the certainty o f oral instructions,
there is no conflict in th a t it also belongs to the category o f
L otus Speech am on g the E ight Teachings o f Sadhana Sections.™
In short, it is like the extracted essential m ean in g o f all stages

o f developm ent and com pletion as w ell as the activity applica
tions o f the Tantra and Sadhana Sections.
Its root is like a vase filled w ith nectar; its detailed exposition
is like the beautiful lid o rnam ent; its additional sadhanas an d
backg rou nd teachings are like the jewel stud ded decorations;
an d its special features are like a m agnificent latticew ork.
T h u s, it is com prised o f fou r g ran d cycles o f teaching.
A m on g these cycles, this is from the root, w hich is like a vase

filled w ith nectar, beginning w ith the perform ance o f the pro
found steps o f the ripening em pow erm ents. A m on g them , there
20 sgrub sde b b f brgyad.

are the elaborate, m edium , and concise versions. F o r this step-
by-step perform ance o f the Abbreviated Essential Em powerm ent,
w ith the four em pow erm ents conferred as one, based on the
torm a, together w ith the consolidating em po w erm ent o f auspi
cious longevity, the duties o f the m aster have been completed.
F o r your share, first im agine the m aster as being the indivis

ibility o f the three kayas, P ad m asam bh ava, the glorious sub
jugator o f all th a t appears and exists. W h ile possessing such
devotion, present a m a n d ala offering as the gift for receiving
the pro fo u n d procedures o f the blessed em pow erm en ts.
H a v in g presented the m an d ala offering in this way, join your

palm s w hile h o ld ing a flow er an d repeat the follow ing suppli
cation three tim es w ith the deepest unshakable devotion:
E m a h o !®
D h a rm a k a y a A m itabha, I supplicate you.®

S am bhogakaya G re at C om passionate O ne, I supplicate you,®
N irm a n a k a y a P a d m a k a ra , I supplicate you.®
G ra n t your blessings o f bestow ing the em pow erm ents u po n me!^
W h e n you m ak e this supplication, listen to the m aster as the

Precious M aster o f U dd iyan a, w ho opens the gate o f w isdom
and com passion an d grants his perm ission in these words:
My G u ru , W o n d erfu l Nirm anakaya,®

You w ere b orn in the lan d o f India, w h ere you studied and
contemplated.®
Journeying in person to T ibet, you tam ed the dem onic forces.*
R esiding in the land o f U ddiyana, you acted for the w elfare o f
beings.®
I shall n ow give you th e sublim e em po w erm ents

O f P ad m a T o tren g , the indivisible three kayas.
DISPELLER OF OBSTACLES 23 I
N ext, in o rd er to g ath er the accum ulations, im agine, in the sky
before you, the m aster inseparable from the Im m o rta l P ad -
m a T o tren g , em an a tin g an ocean-like cloud b an k o f the th ree
kayas. A n infinite n u m b e r o f the T h re e Roots an d gu ard ians o f
the D h a rm a , resplendent an d vividly present, su rro u n d him .
In his presence, form this tho u g h t, “I take refuge an d gen erate
bodhichitta. By m eans o f the Seven Branches, I will g ath er th e
tw o accum ulations!” T h e n repeat the follow ing th ree times:
Nam o5
I an d all beings equal to the sk y 5
T ake refuge in the ones w ho are the suprem e refuge.®
D eveloping the bodhichitta o f aspiration an d application ,5
I will accom plish the level o f the T rikaya G u ru .5
Thus, repeat the refuge and bodhichitta three times.

_ a
O m ah hung h rih 5
I prostrate to V idyadhara P a d m a k a ra 5
A n d to all the objects o f refuge in the ten directions.®
I present you w ith a S am a n tab h a d ra offering cloud, filling th e sky
W ith m aterially and m entally created offerings.®
I confess transgressing an d violating the th ree vows o f individual
liberation,®
T h e bodhisattva trainings, an d the tantric samayas o f the
vidyadharas .5
I rejoice in all the noble an d ordinary beings 5
W h o engage in the conduct o f the sons o f the victorious ones.®
Please tu rn the ap pro priate w heels o f Dhawna®
T o relieve the misery o f the infinite sentient beings.®
W ith o u t passing away, rem ain for the sake o f beings 5
T h ro u g h o u t the coundess m illions o f aeons.®
I dedicate all the virtues gath ered in the th ree times®
So th a t all beings m ay attain the suprem e en lig h te n m en t .5
Thus, chant the Seven Branches.
H a v in g in this way im b ued your stream -of-being yvith the p re

cepts, place your body in the cross-legged posture an d sit w ith

a straigh t back to let th e w isdom being descend, laying the
fou ndation for the em p ow erm en ts. As the key po in t o f speech,
bind the m o v em en t o f the w inds w ith the joining. As th e key
p o in t o f m in d , do n o t let you r attentio n w an d er elsew here, b u t
keep th e follow ing visualization:
O m h a y a g r iv a h u n g p h a t ®
O m s v a b h a v a s h u d d h a s a r v a d h a r m a s v a b h a v a SH U D D H OH HAM®
O u t o f the em pty state, w ith no ord in ary awareness,®

You are the g reat an d m ighty H ayagriva, red in color,®
H o ld in g kn ife an d skull, m ov ing in d an c e d
In your h ea rt center, a sw astika tu rn s anti-clockwise®
W ith V arahi dan cing u p o n it.®
Im agine this an d give rise to devotion,®
T h in k in g th a t the m aster is T o tre n g T sa l in person.®
By the po w er o f such deep longing,®
Red rays o f light shine fo rth from the hung in your h ea rt center®
T o the realm s o f b ud d h as in the ten directions.®
In particular, they touch the h e a rt o f the M aster o f Uddiyana®
O n the G lorious M o u n tain in Chamara.®
In v o k in g the h ea rt sam aya o f th em all,®
T h e m u d ras o f body, speech, an d mind®
S how er d o w n, like rain, into you an d other disciples.®
E n te rin g th ro u g h the pores, they fill your bodies.®
D issolving com pletely into V arahi in the h ea rt center,®
T h ey activate w isdom , an d o verw helm ing bliss blazes forth.®
U ttering this, im agine it and then chant in a melodious tone o f voice, accom
panied by incense and music:
H ung H r ih ®
F ro m the C h a m a ra C o n tin en t to the southwest,®
T h e suprem e n irm a n ak a y a realm , L otus Net,®
T rik ay a G u ru , O rg yen T o tre n g Tsai,®
W ith your ocean-like assembly o f infinite T h re e Root deities,®
Please com e w h en I invite you yearningly to this place o f devotion.®
T h ro u g h the pow er o f y our com passionate vow,®
D ispel all obstacles an d bestow the sup rem e an d com m on siddhis!®

O m a h h u n g v a jr a g u r u p a d m a t o t r e n g t sa l v a jr a s a m a y a j a h
SIDDHI PHALA H U N G AH
G yana AHBHESHAYA ah A H^
C hant this repeatedly to shower down the resplendence. Then gather the
blessings by saying:
H ung hung hung
D issolve indivisibly by saying:
Ja h h u n g b a m h o h
Place the vajra at the crown o f the head or scatter flow ers, w hile saying:
T ISH TH A VAJRA
By u tterin g this, tru st th a t it is stabilized!
A fter the descent an d stabilization o f the w isdom beings, the

m ain p a rt o f conferring the torm a em p o w e rm en t o f blessings
begins.
In general, w e recognize the to rm a as being a m a n d ala at the

tim e o f approach and accom plishm ent, desirable objects at the
tim e o f offering, the deity at the tim e o f em p o w erm en t, an d
accom plishm ent at the tim e o f concluding. H ere, you should
recognize the torm a as being the deity d u rin g this tim e o f e m
po w erm ent. A pply the follow ing visualization:
W h e n seen fro m the outside, this torm a, R adiant Jew el, is a

vast, rad ia n t celestial palace, w ith utterly perfect proportions
and characteristics. W h e n seen fro m w ithin, the to rm a has the
three kayas dw elling in its center, one above the other, w ith the
deities o f the T h re e Roots g athered like cloud banks an d the
d h a rm a protectors and guardians carrying o u t the activities.
T h u s, it is m anifest as th e utterly perfect m an d ala o f palace
an d deities o f the im m ense M agical N e t o f the V idyadharas.

Invite th e m to rem ain at the cro w n o f your head an d bestow
their blessings u po n you.
F ro m the four places o f the chief figure an d his entire retinue,

m a rk e d w ith the syllables O m ah hung and hoh , boundless
rays o f w hite, red, blue, and m ulti-colored light stream forth.
As the light dissolves into your four places, you obtain the four
em p ow erm en ts— outer, inner, secret, and thatness— in this
very seat. T h e four em po w erm ents totally pacify adverse con
ditions, m isdeeds, obscurations, an d obstacles you have accu
m u late d th ro u g h separate and joint activities o f body, speech,
and m in d. T ru st th a t for now you are au th orized to practice
the paths o f the four em pow erm en ts. U ltim ately, you becom e
im bued w ith the fo rtu n e to accom plish the state o f the four
kayas!
C om m unicating that, sing the fo llo w in g w ith a m elodious tone o f voice in

order to invoke the heart-samaya:
H ung H r i h !
Padm asam bhava, the em an ation o f the victorious ones,
C on sidering all the people o f T ib e t w ith kindness,
P rophesied his concealed treasures, representatives o f his body and
speech,
A n d entrusted the realization o f his m in d to the destined disciples.
W h e n co nferrin g the em p o w e rm en t o f the g u ru to protect against

suffering,
Bestow your blessings u p o n all the fo rtu n ate ones!
May the kindness o f the g u ru bestow blessings u p o n you!
May the affection o f the g u ru guide you on the path!
May the realization o f th e g u ru g ra n t you the siddhis!
May the pow ers o f the g u ru dispel your obstacles!
C lear the outer obstacles o f the four elem ents externally!
C lear the inn er obstacles o f the channels an d w inds internally!
C lear the secret obstacles o f dualistic fixation into d h arm a d h atu !
Bestow your protection on the fo rtu n ate disciples!
G ra n t your blessings, em po w erm ents, and siddhis rig h t now!

O m a h h u n g b en za g u ru pem a to tr e n g ts a l b en za sam aya d z ah
S lD D H I PHALA H U N G AH
K aYA VAKA CHITTA SARVA SIDDHI A B H IK H E N TSA O M AH H U N G H R IH
U ttering this, place the torma at your three places. Then say:
In o rd er to recognize the to rm a as being the accom plishm ent

d u rin g the conclusion, tru st th a t by tasting this clear, po ten t
nectar— the to rm a food into w hich the to rm a deities have dis
solved— the n atu re o f the accom plishm ent perm eates all you r
channels an d elem ents, fills your being w ith uncon ditioned
bliss, an d bestows all the suprem e and co m m o n siddhis, w ith
ou t exception.
N ow , in order to receive the consolidating auspicious em pow erm ent o f longev

ity to tam e beings, repeat this supplication three times:
Protector o f Beings, P ad m a Amitayus,*

B uddhas o f the T h re e T im es, L ord s o f L ongevity an d your
Consorts,5
I supplicate you; dispel the obstacles for long life!«
Bestow the em p o w e rm en t o f im m o rtal vajra life! ^
H a v in g m ad e this supplication, su m m on the vitality an d g a th

er back the essences, by im aginin g th a t w ith in your h e a rt cen
ters, in the m iddle o f a vajra cross, am idst a sun an d m o on
sphere, is the letter hung , the su p p o rt for longevity. In its n oo k
is the letter nri m a rk e d w ith the letter a.
Y our devotion to the m aster invokes rays o f light th a t radiate

from his h e a rt center, su m m o n in g the m inds o f all the m an d ala
deities. F ro m the h ea rt centers o f the five families o f A m itayus
and their consorts, visualized in their five places, red beam s o f
light stream fo rth in the form o f hooks an d gyofyna goddesses,
as m an y as dust m otes in sun light. T h e y gath er back all the vi
tality an d life energy you have lost as well as all the essences o f
longevity, m erit, g rand eu r, affluence, w isdom , an d qualities o f
the w orlds and content o f sam sara and nirvana, w ith o u t excep
tion. Dissolving com pletely into you, these light rays confer the

accom plishm ent o f im m o rtal life. D issolving into the articles
o f longevity in front, they im bue these articles w ith the extract
o f the n ectar o f im m ortality!
C om m unicating that, w ave the arrow w ith silken streamers. Then say:
H ung H r ih !*
V airochana and consort, I invoke your h ea rt sam aya ...5
Chant the extensive sum m oning o f longevity, as above; i f you are unable to do
that, say this invocation:
H un g H r i h !®
Five su prem e families, I invoke your heart-sam aya from the
dharm adhatu!®
B ring fo rth the pow er o f the hosts o f gyokm a emissaries!®
Collect the vitality, m erit, and splendor o f the buddhas,
A n d o f m u n d a n e beings endo w ed w ith merit!®
Collect the vitality p lu n d e re d by the g u ardian s o f the ten
directions!®
Collect the essence o f the five elem ents an d all the suprem e vitality
o f the five families!®
L et it flow together into the auspicious vase o f longevity!®
P erfo rm the activity o f stabilizing o u r vitality and life force!®
Bestow the accom plishm ent o f the longevity o f indestructible
immortality!®
O m a m a r a n i jiv a n t iy e svaha®
o
O M BUDDHA AYUR GYANA TSH E B H RU M OM®
o
O m PADMA AYUR GYANA TSHE B H RU M HRIH®
o
O m VAJRA AYUR GYANA TSHE B H RU M HUNG®
o
O m RATNA AYUR GYANA TSHE B H RU M TRAM®
a
O m KARM A AYUR GYANA TSH E B H RU M AH®
A fter this invocation, say:
N ow , for the m a in em p o w erm en t, im agine th a t this vase o f

longevity is the host o f longevity deities o f the T h re e Roots,
seated one above the other in the form o f L o rd A m itayus.

T h e rays o f light shine fo rth from their h ea rt centers, g a th
ering back all your life energy and vitality, w hich have been
cut, dam aged, or dw in dled away, as w ell as the essences o f lo n
gevity o f sam sara an d nirvana. It all enters into the vases in
their hands, boils, an d overflows, so th at this rad ia n t nectar
o f im m ortal life flows d o w n th ro u g h the crow n o f your h ead
and fills your body. T ru st th a t it com pletely purifies the fear o f
untim ely death along w ith its tendencies, and th a t you achieve
all the accom plishm ents o f im m o rtal life an d w isdom , w ith o u t
exception.
Place the vase o f longevity at the crown o f your head and say:
H rih H rih H r i h !®
L o rd A m itayus, you w ho have aband oned both b irth an d d e a th ,*
Fivefold L ords o f Longevity and your Consorts,®
C handali, goddess o f w isdom space,^
V idyadhara P ad m a k ara, you w ho have achieved the body o f
immortality,®
V im alam itra, m aster o f u n ch an g in g life,®
M andarava, m u d ra for accom plishing the path o f longevity,®21
Tsogyal, consort w ho obtained the em p o w e rm en t o f the w isdom o f
great bliss,®
Lhasey Rôlpa T sai, receiver o f the transm ission o f longevity,*
Root G u ru , em bo dim ent o f the entire T riple Refuge,®
Root an d lineage m asters o f the level o f vidyadhara life,®
C onsider this place kindly from your invisible realm®
A nd bestow the accom plishm ents o f im m ortal life an d wisdom!®
O m a m a r a n i jiv a n t iy e sv a h a®
V a j r a g y a n a a y u k h e h u n g b h r u m n r i j a h sarva s id d h i p h a l a
HUNG*
By tak in g the pill o f longevity, the substance o f m eans, in your

rig h t hand, tru st th a t you attain the accom plishm ent o f in
destructible life, the m eans, w hich is the m ost em inently u n
changing great bliss.
21 T h e f o l l o w i n g t h r e e lin e s w e r e c o m p o s e d b y t h e e m a n a t e d g r e a t t r e a s u r e r e v e a le r .
H r ih *
By this w isdom enjoym ent o f im m o rtal life,®

T h e g ath ered n ectar o f all u n ch a n g in g essences,®
May un conditioned bliss increase in your minds®
A n d m ay you forever enjoy the splendor o f longevity !*
O m v a jr a g y a n a a y u k h e b h r u m n r i j a h sa rva s id d h i p h a l a
e
HUNG®
By ta k in g the nectar o f longevity, the substance o f know ledge,

in your left h an d , tru st th a t you attain the accom plishm ent o f
indestructible life, the know ledge, w hich is the m ost em inently
u n ch a n g in g em ptiness.
H r ih ^
All the deathless vidyadharas w ho appeared in the past^
Reached accom plishm ent by m eans o f the nectar-essence o f the
w ine o f longevity.®
By giving it today to you, the fortun ate ones,®
May you achieve the em p o w e rm en t o f unceasing longevity!®
O m v a j r a g y a n a a y u k h e h u n g b h r u m n r i j a h sarv a s id d h a
o
PHALA HUNG®
By receiving this em p o w erm en t, the inside o f your entire body

is filled w ith the nectar o f im m o rtal life. A ll o f this essence
dissolves com pletely into the syllable nri in your h ea rt center,
m a k in g it shine w ith five-colored light. T h e sun an d m oon
sphere becomes free fro m cracks. O n the outside, the spokes o f
a vajra cross are fastened tog ether above, w hile the vajra cross
is tied three times w ith a red d h ara n i cord, securing m astery
over vajra life.
A t the tip o f the vajra spokes, the m ighty H ayagriva appears,

ho lding knife an d skull cup. T ru st th a t he protects against ob
structors an d obstacle-m akers for your life span. Im ag in in g
this, rest evenly in the innate state o f d h arm ata.
H un g H r i h !®
All the life force o f sam sara and n irv ana dissolves into the five
elements,®
Increasing the strength o f flesh, blood, heat, breath, and m in d .s
By sealing the u n ch an g in g essences w ith n r i ,®
May you be en dow ed w ith the vajra life o f immortality.®

O m b h r u m h r ih b h r u m h u n g b h r u m t ra m b h r u m a h b h r u m
o
VAJRA KRODHA HAYA GRIVA RAKSHA RAKSHA BHRUM®
H aving uttered this, scatterflow ers and stabilize, by chanting the D harani
m antra and the Essence o f Causation m antra.
N ow , in o rd er to b rin g fo rth auspiciousness, im agine th a t the

master, the T h re e Roots, an d all the deities o f im m o rtal life
sing vajra songs w ith verses o f auspiciousness an d show er
d o w n a rain o f flowers. Im ag in e th a t the light o f such v irtu
ous goodness pervades an d stabilizes th ro u g h o u t all tim e an d
space.
o
Om®
May the life o f vajra w isdom be accom plished!*
Changeless, indestructible, and p erm eatin g all o f space,®
Infinite qualities and activities surpassing the thought,®
May L o rd P ad m a A m itayus swiftly be attained!®
Also, chant any other suitable version o f lines o f auspiciousness fro m the
extensive or m edium length sadhana, and shower down a rain o f flow ers. Play
melodious m usic fo r a long time.
T h u s, by m eans o f these steps, I have n o w com pleted the b rie f

actions for conferring the em p o w e rm en t o f the m an d ala o f
L am ey T u \d ru b Barchey Künsel, w hich is the extract o f the
h ea rt o f the G lorious D h a rm a K in g o f U d d iy an a and the sin
gle u n iq u e treasure below the earth in Tibet. T h erefo re, w ith
th e firm d eterm in atio n to observe the samayas an d keep the
precepts, w hich you have received and pledged, repeat the fol
low ing three times:
Tso wo jita r %a tsalpa ...

N o w present a mandala offering as the g ift o f thanksgiving fo r the g u ru s
kindness in letting usfu lly receive this profound em pow erm ent.
O nce again, im agine th a t your body, w ealth, and ocean o f

virtues m ultiply into th e m agnificent abu ndance o f the k in g
d o m o f a universal m onarch. R epeat the follow ing w ith the
tho u g h t, “Please accept all this as your enjoym ent, d ow n to the
tiniest d e ta il!”
D eng ney tsam teh ...
N o w dedicate all together the virtuous roots o f having received this em power
m ent,, dedicating it toward the essence o f enlightenm ent:
Sonam d iy i...
Thus seal, by dedicating the virtuous roots tow ard the essence o f enlighten
m ent.
C o n c l u s io n
N o w perform the concluding steps o f the sadhana, fro m enjoying the fea st
through the end.
M ay all who enter w ith this key fo r empowerments,

W hich opens up the door fo r the Secret M antra o f great methods,
H ave their m inds saturated w ith the ripening em pow erm ent
A n d be established in the state o f the fo u r kpyas o f liberation!
H a v in g received the co m m an d to w rite this by m y older brother,

S am ten Gyatso, a m aster w ith a sublim e character, I, Tersey T u lk u , noted
this by m eans o f em bellishing the exact w ords o f the O m n iscient M anju-
vajra, w ith som e necessary additions. May it b ring forth v irtuous good
ness!
DISPELLER OF OBSTACLES 24 I
NOTES
1. Light o f Wisdom, Volume II, tr a n sla te d b y E r ik P e m a K u n s a n g . R a n g ju n g
Y e s h e P u b l i c a t i o n s , H o n g K o n g , 1995, p a g e 3 9 .
2. I b id ., p a g e 1 0 6
3. I b id ., p a g e 4 0 .
4. A Practice o f Padmasambhava,t r a n s l a t e d by D harm achakra T r a n sla tio n
C o m m it t e e , S n o w L io n P u b lic a tio n s , Ith a ca , N e w Y o r k , 2 0 1 1 .
5. F o r t h e m a n t r a s o f e a c h , p l e a s e r e f e r t o The Practice Manual fo r Approach
and Accomplishment, the Dzabkyi Koljang.

6. The Six Wondrous Teachings, b y V i d y a d h a r a P a d m a s a m b h a v a , a r e f o u n d
in V o l. C H A o f th e C h o k lin g T ersa r, p a g e s 2 7 7 - 3 6 1 , in v a r io u s v e r sio n s o f
s a d h a n a a n d a p p lic a tio n s. The Reading Method fo r the Lotus Essence Tantra,

a r r a n g e d b y J a m y a n g K h y e n t s e W a n g p o , i s f o u n d o n p a g e s 1 8 3 —1 9 6 i n V o l .
G A o f t h e C h o k l i n g T e r s a r . I t is a l s o a v a i l a b l e a s a p r a c t i c e b o o k l e t f r o m
R a n g ju n g Y e s h e P u b lic a tio n s .
243
^ ^ ^ p c //e r o f Obstacles is the first in a new series from
Rangjung Yeshe Publications that will offer video, audio, photos,
and commentaries as supports for practice and is the heart essence
o f the accomplished master Padmasambhava and is the quintes
sence o f one billion guru practices and one o f the most unique
treasures buried in the land o f Tibet. This hidden treasure is a
revelation with a rich history that is explained in the book. What
makes this special is, in addition to the root text and classical
commentaries by the treasure revealers themselves, Chokgyur
Lingpa and Jamyang Khyentse Wangpo, there are also explana
tions by modern day masters such as Tulku Urgyen and Orgyen
Topgyal Rinpoches.
This extensive cycle contains teachings and practices for the

preliminaries up to and including Dzogchen. Linking to a fresh
treasure has the power to imbue us with hot and juicy blessings
that invigorate our being and generate devotion and joy. Just as we
prefer to have fresh food, the treasure teachings revealed with the
short lineage are endowed with a very special quality that has not
been interpolated by anyone else, but has come directly from
Padmasambhava by means o f one o f his disciples appearing as a
present-day incarnation. The teaching is then spread to people tor
their immediate practice.
978962734195652495
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DISPELLER

TULKU URGYEN RINPOCHE

ORGYEN TOPGYAL RINPOCHE

Translated by Erik Pema Kunsang

The Heart Practice of Padmasambhava

o rg y en topg yal r in p o c h e , and lam a pu tsi pe m a tashi ♦

Translated by Erik Pema Kunsang

Rangjung Yeshe Publications

Copyright © 2014 Rangjung Yeshe Publications

First paperback edition published in 2014

Printed in the United States of America

Distributed to the book trade by:

Publication data: ISBN 978-962-7341-96-6 (pbk)

Dispeller of Obstacles, T he Heart Practice of Padmasambhava

Translated from the Tibetan, based on the teachings of

Photos courtesy of Graham Sunstein

Source M aterial 207

Additional Tibetan and English Texts, Audios,

Marcia Dechen Wangmo

T h is book, Dispeller o f Obstacles, The H eart Practice o f Padmasambhava, is

Jamgon Kongtriil Rinpoche

Kyabje Dilgo Khyentse Rinpoche

T h e Barchey K unsel is die h ea rt essence o f the accom plished m aster P ad-

Tulku Urgyen Rinpoche

In o u r ow n present w orld age, one thousand B uddhas will appear. E ach

Orgyen Topgyal Rinpoche

L am ey T u \d ru b Barchey K iinsel is the m ost p rofou n d te rm a o f the u n i­

Em erging fro m samadhi, PadmaJ^ara taught this root yoga,

H av in g obtained the sup rem e freedom s an d riches, and being

P erform the external practice in the m a n n er o f supplication*

T h ro u g h the practice o f the great emptiness, the space o f suchness,*

Particularly, in o rd er to purify the process o f ta kin g birth,*

Visualize as perfected in instantaneous recollection in o rd er to

Som etim es rest, brin g in g consciousness to its natu ral stated

I f you practice one-pointedly in this way,«

N ext, fix your m in d on the entire m an d ala circle,!

T h ro u g h the sam adhi o f the Magical N et!

By the light rays o f A pproach and F u ll A pproach,!

T h e in ten t o f recitation, the auxiliary o f the developm ent stage,®

T h e m a n tra g arland em an a tin g from there em erges th ro u g h your

By the light rays em an atin g from the mantra,«

A t this time, the outer w orld is the vajra realm o f A kanishtha.*

You should apply these four intents o f vajra recitation*

H ow ever, th ro u g h the in ten t o f these instructions o f m ine, Self-

T h ro u g h the internal way o f profo un d h u n g recitation,*

As to the ultim ate practice o f dissolution into luminosity,*

T h is again dissolves into the innate state o f nonconceptual

W h e re the past has ceased and the fu tu re has n o t yet arisen,»

W ho ever practices this ultim ate yoga*

T h is essence o f the ocean o f tantras and oral instructions*

F u tu re generations, do no t let this nectar dissipate, b u t collect this

H a v in g expounded this m ost affectionate instruction, p o urin g o u t fro m

Jamyang Khyentse Wangpo

Some people w ishing to engage in extensive practice o f the approach,

v is h u d d h e h r ih h u n g p h a t ja h at the end o f the praises.

A Concise Composition o f N otes on the Approach and

The thought o f you dispels all obstacles

I w ill now, in accord w ith m y m asters words,

I f you w ish to establish a connection w ith this practice w ith in a m o n th ’s

A ccording to the tantric system, these four described aspects o f recitation

A lthough this vajra verse supplication had appeared in the past,

I wrote this in order to show the direction fo r the practice o f all

A lth o u g h I could have expanded u p on this in great detail, due to fully

L am ey T u \d ru b Barchey K iinsel is the m ost p rofou n d te rm a o f the u n i