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THE SIX YOGAS OF NAROPA,Tsongkhapa s commentary entitled A Book of. Three Inspirations A,Treatise on the Stages of Training in the. Profound Path of Naro s Six,Dhartnas commonly referred to as. The Three Inspirations,Translated edited and introduced by. Glenn H Mullin,Table of Contents,Preface 11,Introduction 19.
Tsongkhapa and the Lineage of the Six Yogas 19,The Buddhist Tantric Tradition in India 24. The Legacy of the Six Yogas 29, The Six Yogas Three Bardo States and Nine 33 Blendings. Lama Tsongkhapa s A Book of Three Inspirations 44,Section One of Tsongkhapa s Text 47. The Preliminary Trainings Associated with the General Mahayana 47. The General Tantric Preliminaries 49, The Tantric Preliminaries Unique to the Six Yogas System 51. The Generation Stage Yogas 52,Introduction to the Nature of the Mind 55.
Introduction to the Nature of the Body 58, The Physical Exercises and Meditations upon the Empty Shell Body 60. Section Two of Tsongkhapa s Text 62,The Inner Heat Yoga 63. Karmamudra 69,The Illusory Body Yoga 73,The Bardo Yoga 78. The Clear Light Yoga 81,The Consciousness Transference Yoga 85. The Forceful Projection Yoga 87,Concluding Notes 89.
The Six Yogas of Naropa in English Translation 90, The Seventh Dalai Lama s Prayer to the Six Yogas Lineage 95. Some Historical Lineage Considerations 99,A Parting Perspective on Tsongkhapa the Great 103. A Book of Three Inspirations A Treatise on the Stages of Training in the Profound. Path of Naro s Six Dharmas by Tsongkhapa Lobzang Drakpa. Prologue 109, 1 The preliminary meditations which build the foundations of this path 111. A The preliminaries that are general meditations derived from the common. Mahayana teachings 111, 1 Why it is necessary for training in this tradition to be preceded by training in. the practices of the common Mahayana 111, 2 The actual stages of training the mind in that path 113.
B The preliminaries that belong exclusively to the highest yoga tantra tradition. 1 The general Vajrayana preliminaries 116, a Why it is necessary to receive the complete empowerments 116. b Why it is necessary to observe the tantric precepts 118. 2 The preliminaries emphasized in this Naropa system 119. II Having established the preliminaries how to train in the actual tantric. meditations 121, A The meditations of the generation stage yogas 121. B The meditations of the completion stage yogas 126. 1 The nature of the basis 126,a The nature of the mind 126. b The nature of the body 131, 2 The explanation of the stages of traversing the path 133. a The meditations upon the physical exercises together with the meditation upon. the body as empty 133,i The meditations on the physical exercises 133.
ii The meditations on the body as an empty shell 136. b The stages of meditating upon the actual path 137. i The manner of structuring the path 137,ii The stages of being guided on the path 141. A The essence of the basic principles in the guidelines of the path 141. 1 The essence of the actual path 141, a Arousing the four blisses by means of drawing the vital energies into the central. channel 141, A The inner condition of the meditations on the inner heat doctrine 141. A Meditating upon the inner heat in order to draw the vital energies into the. central channel 141,1 How to meditate on the inner heat yoga 142. a Meditating by means of visualizing the channels 142. b Meditating by means of visualizing mantric syllables 144. c Meditating by means of engaging the vase breathing technique 150. 2 Having meditated in this way how to cause the vital energies to enter abide. and dissolve within the central channel 155, B Having brought in the energies the methods of arousing the four blisses 157.
1 The nature of the signs that arise and the blazing of the inner fire 157. 2 How the bodhimind substances are melted and the four blisses induced 159. 3 The manner of meditating upon the innate wisdom 163. ii The external condition of relying upon a karmamudra 164. 2 Having aroused the four blisses how to engage in the meditations on the. illusory body and clear light doctrines 166, i The general principles of how in reliance upon the inner heat doctrine one. meditates on the remaining stages of the path 166, ii The manner of meditating on the individual paths 171. A How to meditate on the illusory body doctrine 172. 1 How to meditate on all appearances as illusory 172. 2 How to meditate on dream illusions 175, a Learning to retain conscious presence during dreams 176. b Controlling and increasing dreams 181, c Overcoming fear and training in the illusory nature of dreams 182. d Meditating upon suchness in dreams 183, 3 How to meditate on the illusory nature of the bardo experience 184.
a The underlying philosophy of the bardo experience 184. b The stages of the bardo yoga practice 190, i The types of beings who can practice in the bardo 190. ii The nature of the training 192,B How to meditate upon the clear light yogas 198. 1 How to meditate upon the clear light during the waking period 198. 2 How to meditate upon the clear light during sleep 200. 2 The branches of that path which include the practices of consciousness. transference and forceful projection 208,a Consciousness transference 209. b Forceful projection to a new residence 215, J The vessels who are able to accomplish forceful projection 215. ii The purpose of the practice 216,iii The manner of effecting the projection 216.
B The methods and activities for enhancing the path 219. III The manner of actualizing the results 221,Epilogue 223. Appendix I Vajrasattva Meditation and Mantra Recitation 227. Appendix II Establishing Blessing Powers by Meditating upon Guru Yoga 233. Glossary Sanskrit and Tibetan Names and Terms 239,Bibliography 269. Dedicated to the late Italian monk Stephano Piovella and the late. British monk Kevin Rigby both very dear friends on the path to. enlightenment and both of whom made great efforts to fulfill the. visions of the buddhas and bodhisattvas May they pick up in. future incarnations from where they left off in this and catch the. wave of meritorious energies everywhere surging since time. without beginning, Anyone who has read more than a few books on Tibetan Buddhism will have. encountered a reference to the Naro Choe Druk Tib na ro i chos drug a phrase. that renders literally as Naro s Six Dharmas but is more often encountered in. English translation as the Six Yogas of Naropa These six inner heat illusory. body clear light consciousness transference forceful projection and the bardo. yoga represent one of the most popular Tibetan Buddhist presentations of yogic. technology to come from India to the Land of Snows. The Tibetan word choe Tib chos in the expression Naro Choe Druk is a. translation of the Sanskrit term dharma which means doctrine teaching. instruction or yogic training Druk means six Thus the system can be called. Six Dharmas Six Doctrines or Six Yogas I generally use the Six Yogas of. Naropa or simply the Six Yogas because these are the forms best known to. Western readers Occasionally I resort to the more literal Naro s Six Dharmas. although whenever I do so I enclose the phrase in quotation marks in order to. indicate that I am honoring the Tibetan form of the name Naro Choe Druk. Tibetan literature randomly refers to the illustrious Indian Buddhist master. after whom this tradition is named as Naro Naropa and Naropada born 1016. Naropa was a disciple of the Indian mahasiddha Tilopa b 988 The lineages. that Naropa gave to his Tibetan lay disciple Marpa Lotsawa lit Marpa. Translator b 1012 especially that of the Six Yogas came to pervade thousands. of monasteries and hermitages throughout Central Asia regardless of sect This. is certainly true within all the Sarmai Choeluk or New Schools such as the. Kadampa Kargyupa Sakyapa Jonangpa and Gelukpa In addition the Six Yogas. have also gradually become absorbed into most of the Nyingma Choeluk or. Older Schools, The treatise on the system written by Tsongkhapa the Great 1357 1419 A. Book of Three Inspirations A Treatise on the Stages of Training in the Profound. Path of Naro s Six Dharmas is regarded as one of the finest on the subject to. come out of the Land of Snows Lama Tsongkhapa was the forefather of the. Gelukpa school Tib dGe lugs lit Order of Excellence which quickly swept. across Central Asia and became the largest single school of tantric Buddhism He. was also the guru of the First Dalai Lama b 1391 His treatise has served as the. fundamental guide to the system of the Six Yogas of Naropa as practiced in the. more than three thousand Gelukpa monasteries nunneries and hermitages. across Central Asia over the past five and ahalf centuries. The Gelukpa lineage came down over the generations to the present day The. principal transmission holder when I arrived in India in 1972 was Kyabjey. Trijang Rinpochey the Junior Tutor of His Holiness the Dalai Lama He in turn. passed it to numerous disciples, I was in Dharamsala in 1973 when Kyabjey Rinpochey delivered his last.
transmission on Naropa s Six Yogas At the time I was studying Tibetan. language philosophy and meditation at the Buddhist Studies Program initiated. by H H the Dalai Lama as part of the activities of his recently established. Library of Tibetan Works and Archives in Dharamsala A few months into the. program it was announced that the Junior Tutor to His Holiness the very. venerable and very elderly Kyabjey Trijang Rinpochey would be giving a. teaching in the museum room the largest space in the building The subject. would be the Six Yogas of Naropa and the recipients would be a large group of. Tibetan yogis hermits monks and nuns We Westerners couldn t attend but if. we liked we could sit in an adjoining room and listen through the sound system. The Dalai Lama s Junior Tutor was considered to be one of the greatest living. masters to come out of Tibet and was regarded as a living buddha by the. Tibetan community News of his discourse had travelled throughout the refugee. communities of India and Nepal and great lamas began to roll into town from. all directions One monk who was pointed out to me was said to have spent. more than forty years in meditation in the mountains There were dozens of. others with twenty or more years of solitary retreat under their belts. Rinpochey spoke six hours a day for many many days using the text of Lama. Tsongkhapa as his focus One day one of the yogis coming out of the room at the. end of a session looked at me and said Really what a buddha he is. When this great lama passed away a few years later the Tibetan spiritual. community mourned the loss of one of the last of the supergreats to come out of. Tibet When I think back twenty two years ago to the faces in the front couple of. rows at that teaching many of them have today come to rank among the. foremost lamas in the Gelukpa school, Essentially there are two main ways to teach Tsongkhapa s A Book of Three. Inspirations by means of a shey tri Tib bshad khrid or explanatory. discourse and by means of a nyam tri Tib nyams khrid or experiential. discourse The former is what is most often received first Usually this kind of. teaching is given by a senior lama at a large public gathering and entails a. word for word reading and explanation of the text The discourse of Kyabjey. Trijang Rinpochey belongs to this latter category as does the teaching I received. from His Holiness the Dalai Lama in 1990, Those who have attended a public teaching of the text and want to pursue the. training will arrange to receive the second type of teaching the experiential. discourse which is given more privately Here all philosophical and historical. discussions are set aside and the focus instead is placed on the actual yogic and. meditative applications This was the teaching style in Gelukpa practice. hermitages the resident teacher would impart a few pages of the text and the. disciples would then meditate for a few weeks or months on the material that. had been covered Only when the teacher felt that the desired inner experiences. had been generated would he teach the next section of the text Most. practitioners receiving an experiential teaching of the text from their personal. lama would already have received the explanatory teaching together with the. appropriate empowerments from a senior lineage lama. Tsongkhapa s treatise was published in English in an edition riddled with. hundreds of errors by Dr C A Muses and Garma C C Chang in 1961 Esoteric. Teachings of the Tibetan Tantras Falcon Wing s Press 1961 Because the. treatise itself is of considerable importance the editorial staff at Snow Lion. Publications felt it imperative that a more accurate rendition be prepared They. approached me with the request to accept responsibility for the project. To prepare the first draft I listened through the tapes of a reading of. Tsongkhapa s text given by His Holiness the Dalai Lama in Dharamsala in 1990. which I had had the good fortune to attend Although this was a wonderful. teaching it was of limited value for translation purposes as it was not a word. for word commentary Tib tshig khrid but rather was a meaning. commentary Tib don khrid Therefore I undertook a private reading of the. text with Geshey Lobzang Tenpa of Ganden Shartsey Monastery who at the time. was residing at Kopan Monastery in the Kathmandu Valley Nepal Later one of. my root gurus Ven Doboom Tulku kindly made time in his busy schedule to. fly up from Delhi to Kathmandu in order to help me check my translation and. we were able to complete two thirds of the work up to the end of the section. introducing the general principles of the illusory body and clear light doctrines. A few weeks later I had the good fortune of meeting up with another dear lama. friend Ven Ngawang Pendey of Drepung Loseling Monastery and he consented. to help me check over the remaining third of the manuscript. In addition with Ngawang Pendey I read through several other treatises on. the Six Yogas system including the shorter of the two texts on Naro s Six. Dharmas found in Tsongkhapa the Great s Collected Works Tib gSung bum. this is his Mikrim Tib dMigs rim or Stages of Meditation which I plan to. include in a forthcoming collection of readings on the Six Yogas of Naropa With. Ngawang Pendey I also read through several short commentaries on. Tsongkhapa s A Book of Three Inspirations including those by Gyalwa Wensapa. b 1505 Ngulchu Dharmabhadra b 1772 and Jey Sherab Gyatso b 1803 I. have drawn extensively from these in the introduction and notes Later I re. checked several sections of these various works with Geshey Lobzang Tenzin. also of Drepung Loseling Finally some months later when I was back in Canada. I had the honor of meeting up with another very dear lama friend Zasep Tulku. Rinpochey of Sera Jey Monastery and at his Ganden Choling Meditation Center. in Toronto checked through a number of passages regarding which I still had. points of doubt including the Epilogue and the section dealing with the physical. exercises which is written in a rather cryptic form. The actual work of translation began quite auspiciously in Lhasa where I was. leading a group from the Tampa Art Museum Florida on pilgrimage to the holy. places of Tibet The bulk of the writing took place in my home away from. home Room 405 of the Snow Lion Guest House Chettrapati Kathmandu with. its window looking up at the holy Swayambu Stupa For me setting is important. to the task of setting pen to paper Although the Kathmandu Valley has become. somewhat chaotic and polluted over the past decade due to the tremendous. influx of mountain villagers the aura of sacredness emanating from its many. holy Buddhist sites still shines with great strength Preparation of the final. manuscript was done at the country cottage of a New York friend Ms Lulu. Hamlin who over the years has greatly encouraged and supported my Dharma. activities Prof Alex Wayman of Columbia University kindly offered guidance on. technical matters and Jimmy Apple of the University of Wisconsin generously. helped in tracing down the many scriptural quotations that ornament. Tsongkhapa s treatise Over the year that the writing took place a number of. other friends also helped with various details of the work in this regard I would. especially like to thank Conrad Richter Michael Robillard Pierre Robillard. Atisha Mullin Hilary Shearman Heidi Strong Tina Teno Athena Tara and. Debby Spencer Finally the staff at Snow Lion Sidney Piburn Susan Kyser and. Jeff Cox offered much valuable advice and support, Fifteen years ago in a conversation with a very dear spiritual friend Lama. Zopa Rinpochey of Kopan Monastery Nepal the topic of translating tantric. scriptures for open publication came up I replied that I was somewhat hesitant. to work with tantric material because of the self professed secret nature of the. tradition Rinpochey laughed and replied When we came out of Tibet we all. thought of the words of tantra as secret But actually they are really self secret. You should translate and publish tantric texts It could benefit people Those. without a connection won t buy the book or even if they do they won t be able. to understand the meaning, I remember once when I was living in Dharamsala a friend s father came to. visit He picked up a book from the table opened it at random and began to. read it aloud The chapter was on the topic of the logic of emptiness After a. page or so he looked up a somewhat stunned expression on his face and said. You know there was not a single word on that page that I didn t know But I. don t have a clue what the thing as a whole is talking about. On the other hand when one approaches self secret literature in its own. environment allowing it to speak in its own words and to use its own metaphors. and illustrations a sense of the profound integrity of the language soon begins. Throughout the text the names of the Tibetan masters who are quoted or. referred to are spelled simply as they sound in English i e Jey Sherab Gyatso. rather than rJe shes rab rgya mtsho For the specialist these are given in their. transliterated forms in the glossary In the main body of the text I do not use. diacritical marks on Sanskrit names and terms as these are distracting to the. general reader but again they can be found in the glossary. As is standard practice with classical Tibetan authors Tsongkhapa quotes all. Indian texts from their translated versions preserved in the Tibetan canons and. gives the titles only in abbreviated Tibetan forms Hence he will refer to the Shri. samputa tantra raja tika amnaya manjari simply as Manngak Nyema Tib Man. ngag snye ma which in Sanskrit would become Amnaya manjari Similarly. Tibetan textual titles appear only in condensed forms I have followed a policy of. giving all titles in English translation wherever this seems practical followed at. their first occurrence by the abbreviated Sanskrit or Tibetan forms in. parentheses Again here diacritics are not put on the Sanskrit but all texts are. listed in the bibliography with fuller forms of both the Sanskrit and Tibetan. titles of the Indian works, I have done my best to insure that the translation is error free but.
Tsongkhapa s text is profound and no doubt some hazy readings have found. their way into the fabric of my work Here I can only echo the sentiment. expressed by Tsongkhapa in a closing verse of A Book of Three Inspirations in. which he addresses the subject of his concern with any errors that he himself. may have brought into his composition, The essence of the profound teachings is hard to perceive And ordinary. beings cannot easily penetrate them Hence I request the dakas and. dakinis To be patient with any faults of my treatise. As Tsongkhapa states again and again in A Book of Three Inspirations an. understanding of the context of the Six Yogas and thus an appreciation of its. profundity is greatly facilitated by an understanding of the Guhyasamaja Tantra. system known as the Five Stages Skt Pancha krama Unfortunately none of. Tsongkhapa s quintessential Guhyasamaja material has yet been translated This. is the next big step in the transmission of the Gelukpa tantric system. The tradition of Naro s Six Dharmas has fascinated and delighted Central. Asians for almost a thousand years now As Tibetan Buddhist studies continue to. mature in the West it will undoubtedly also receive considerable attention here. If this work can make a small contribution to the understanding of this. extraordinary legacy my purpose in undertaking the project will have been. Glenn H Mullin,Snow Lion Guest House,Chetrapatti Kathmandu Nepal.

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