Capítulo 5: Instalación solar
5.3 Descripción de componentes
This transmission of Shangs was not associated to Jo nang tradition until the sixteenth century. To be more specifically, it was at the time of Kun dga' grol mchog (1507-1565/66). Therefore, I think it is rather difficult to mark this lineage as the Jo nang transmission.359 Born in the Shangs area, Tshul khrims mgon po (14th century) was also affiliated with the Khyung family. Being benefited from gTsang ma Shangs ston, Tshul khrims mgon po further went to a Jo nang pa, Tshul khrims dpal, to take ordination vows. However, this transmission was not converged with Jo nang tradition at this point. One minor, but noteworthy point is that Tshul khrims mgon po transmitted a teaching mKha' spyod dkar mo’i 'pho ba (Transferring the Consciousness to the White Celestial Realm) to Ras chen Sangs rgyas seng ge (14th century). The title of this 'pho ba teaching suggests the associated celestial realm. As for Ras chen, he was said to be reborn at bDe ba can of the western direction. This is a hint to suggest that during this period there was already a tendency to classify 'pho ba with certain divine lands. The prominent figure Kun dga' grol mchog is regarded to be the lineage holder of both Jo nang and Shangs pa traditions. Kun dga' grol mchog was not only granted from Legs pa rgyal mtshan (15th century) but had also congregated other scattered Shangs pa teachings. In conjunction with the direct instructions he received from Ni gu ma, he was believed to mingle twenty five complete versions of Shangs pa transmissions. Kong sprul categorised the lineage of Kun dga' grol mchog as a “very direct transmission” (shin du nye brgyud).360 Kun dga' grol mchog bestowed these teachings widely to lamas of Sa skya, rNying ma and dGe lugs traditions.361 And it was his Jo nang pa successor, T@ran@tha who composed and commented on the influential teaching Ni gu chos drug.
359 It is traditionally believed that the forefather of Jo nang was Yu mo Mi bskyod rdo rje in the eleventh
century. Afterwards, Thugs rje brtson 'grus (1243-1313) erected the Jo nang monastery at Phun tshogs gling of Jo mo, at the west of gZhis ka rtse. The seat of abbots continue as: Yon tan rgya mtsho (1260-1327), Shes rab rgyal mtshan (1292-1361), Blo gros dpal bzang (1299-1353/54), Phyogs las rnam rgyal (1306-1386), Kun dga' blo gros (14th century), dKon mchog bzang po (14th century), Nam mkha'
chos skyong (15th century), Kun dga' grol mchog (1507-1565/66). See Bod rgya tshig mdzod chen mo
(1993: 878). As for the remarkable philosophy of gzhan stong and its propagator Shes rab rgyal mtshan, see The Buddha from Dolpo, Stearns (1999).
360 See Shes bya kun khyab, p.529. See also Gyatso (1981: 187). 361 See Ming mdzod, p.610.
'Pho ba Teachings in the “Jo nang” Transmission
Contrast to Thang stong rgyal po’s short commentary on 'pho ba, T@ran@tha has conveyed more extensive explanations of this issue. There are two representative texts: the Practice Manual – Zab lam Ni gu chos drug gi khrid yig zab don thang mar brdal ba zhes bya ba bklags chog ma 362 (abbreviated as Ni gu chos drug bklags chog ma) and its appendix– Zab lam ni gu chos drug gi gzhung khrid ma mo’i lhan thabs kha skong 363 (abbreviated as Ni gu chos drug kha skong). According to T@ran@tha, the technique of
'pho ba is not utilised merely at the moment of death but continues to function in the period of bar do. Four kinds of 'pho ba are categorised in the Ni gu chos drug bklags chog ma. The first grade is called the transference of the nature of dharmak@ya (chos sku de bzhin nyid kyi 'pho ba).364 It says that if the practitioner can recognise the illumination arising at the moment of death, then he could liberate himself into
dharmak@ya. Otherwise, the following exercises of visualisation should be applied. The second grade of teaching is the practice transference of union with deity (zung 'jug yi dam gyi 'pho ba). The yogi is taught to envision himself as a god and a deity emerging on the top of his crown with the distance of one arrow. The suggested deity is Cakrasa~vara or Hevajra. Next he should imagine the avadhïtƒ in white, penetrating at the secret place365 with a close end, and the upper part of the channel reaches the cranial aperture with an open mouth. Then imagine a white syllable Aë appears at the navel and a blue Hï~ exists at the lower part of the channel. The white Aë and blue Hï~
symbolise consciousness and the nature of breath respectively. Thus the yogi should gently exhale the stale breath and contemplate on syllables Aë and Hï~. After that, exhale breath by strong force as long as possible either from the mouth or the nose. Consequently, the Hï~ moves and brings up the syllable Aë in the channel by the energy of breath. Both syllables constantly go up and depart from the cranial aperture. Eventually they dissolve into the deity’s heart. At this stage, the yogi is supposed to maintain his mind in the state of non-thought for a while. To end this practice, the syllables Aë and Hï~ should descend to their original places. The envisioned deity then
362 The Liturgy of Extensive Profound Meaning of the Instruction of the Profound Doctrine Ni gu chos
drug. See gDams ngag mdzod, vol.12: 86-92.
363 The Amplificated Appendix of the Textual Instruction of the Profound Doctrine Ni gu chos drug. Ibid,
pp.120-23.
364 See gDams ngag mdzod, vol.12: 86.
365 In tantric practice, the three main channels are believed to congregate at the five cakra-s in the body,
i.e. the cakra at the crown, throat, heart, navel and genitalia. The secret place is referred to the lowest cakra. See Aris (1992: 33).
turns into light. In the end, the light radiating from the blue Hï~ blocks the cranial aperture at the crown. In this way, the yogi continues this exercise daily until the signs of success occur.366
The third grade of teaching is the transference of lama’s blessings (byin rlabs bla ma’i 'pho ba). Except for two variations, the principal method is the same as before. The first difference is to focus on the yogi’s own guru, instead of contemplating on a particular deity. In addition, the envisioned two syllables are replaced by a yellowish white bindu
that exists at the navel. In general, this method extremely relies on the mercy of one’s guru and therefore, the sincere supplication and strong devotion are needed.367
The fourth grade of teaching is called the unerring transference to the celestial realm
('chug med mkha' sbyod kyi 'pho ba). This particular practice is said to be very unique and can only be taught in secret. Therefore, no further information in regard to this practice is indicated. Yet the teaching of unerring transference is actually accessible in the appendix text Ni gu chos drug kha skong.368 The image described in the Ni gu chos
drug kha skong is indeed quite sophisticated. Based on the appendix text I will summarise the essential points below.
It is said that the sign of yantra emerges on the yogi’s crown.369 Both triangles are circulating and radiating peacefully. Vajrayoginƒ in red appears from the middle of the yantra. She has a vajra on her right hand that points to the sky. A skull filled with blood is held on her left that is placed at the heart. She resides on the seat of the lotus and the sun complete with ornaments and countless retinue. Next, the yogi should imagine a syllable Ram that symbolises the nature of fire arising from the conjunction point of his crossed legs and the secret place. The fire is blazing and gradually melts the whole body, which then transforms into wisdom amþta and fills the skull cup on Vajrayoginƒ’s hand. She and all of her retinue drink the amþta and become satisfied and happy. Afterwards, the yogi’s body becomes Heruka. The following visions in regard to the avadhïtƒ and two syllables Aë and Hï~ are the same as before. Subsequently, the mixing syllables enter Vajrayoginƒ’s bottom and reach at her heart. The yogi’s mind and Vajrayoginƒ dissolve to emptiness one by one and then remain in the state of equanimity. The yogi’s mind becomes indivisible with the blessing of Vajrayoginƒ. The unity reforms to the
366 Ibid, pp.86-87. 367 Ibid, pp.87-88.
368 See Ni gu chos drug kha skong in gDams ngag mdzod, vol.12: 120-122.
369 That is a form shaped by two layer triangles; one points upward and the other downward. I will come
stream of amþta and flows down through the crown to the body of the yogi, the manifested Heruka.
Gradually the stream of amþta fills the chakra of the crown, the throat, the heart and the navel. In this way, four types of empowerments (dbang) are complete.370 Furthermore, all of the yogi’s channels overflowed with bodhicitta that make him enjoy the incredible bliss. At the time of having a break, the yogi should imagine Vajrayoginƒ and the yantra melting into light and then dissolving into him. The syllable Bam turns upside down and flies up to block the crown with flaming brightness.
In the manual text, the Ni gu chos drug bklags chog ma, there is a further instruction on mediation. In this passage a three dimensional triangle is depicted. The syllable Aë is said to exist in the centre of it. Detailed guidances are then given to elucidate how the syllable can possibly jump up. The downwardly pointed triangle is likely to help the exercise of the breath circulation (rlung bum ba can). In fact, if we compare T@ran@tha’s teaching to Sukhasiddhƒ’s, it is clear that the fundamental structure taught by Sukhasiddhƒ was elaborated in T@ran@tha’s teachings. It seems to indicate that the 'pho ba teachings in the Shangs pa tradition has expanded from the navel yoga of Sukhasiddhƒ.