Wylie:Do ha mdzad ces bya ba phyag rgya chen po'i man ngag
The Treasury of Dohās, the second dohā text in this collection, is also probably by Saraha. The author is referred to in the colophon as Śavari (or Śabari), whom some take to be Śavaripa, Saraha’s student and Maitrīpa’s guru.* However, the colophons of the editions of this text found in the Tengyur, the Indian Mahāmudrā Collection, and the Eightfold Treasury of Dohās volume of the Tsibri Parma Collection state that the author is Saraha, and that attribution has been followed here.† We don’t know the circumstances of this song, who it was first sung to, but we do know that it was translated into Tibetan by Vairocanarakṣita, a teacher of Lama Zhang (himself a student of Gampopa and Gomtsul, as well as the initiator of the Tsalpa Kagyu tradition).[1]
The Treasury of Dohās contains instructions on mahāmudrā, which follow a common theme of ground, path, and result, with path being expressed in terms of view, meditation, and conduct. The Tsibri Parma Collection edition includes annotations that are a topical outline, which have been inserted into the translation in square brackets to aid readers.
Transmission lineage received by Jamgön Kongtrul. Śavaripa to Maitrīpa, Indian Vajrapāṇi, Drangti Lodrö Wang, Tsangyang Dakbar, Pukzung Kyap, Tsang Jungser, Chetön Dode Senge, Chöku Özer, Upa Sangye Bum, Lotsāwa Chokden, Baktön Zhönu Tsultrim, Yung Tönpa, Lama Sönam Zangpo, Lama Tsultrim Gönpo, Jangsem Sönam Gyaltsen, Khenchen Sönam Zangpo, Gośrī Paljor Döndrup, the seventh Gyalwang Karmapa, Chödrak Gyatso, the mahāsiddha Sangye Nyenpa, the eighth lord Mikyö Dorje, Karma Lekshe Drayang, Gelong Dorje Chö, Chetsang Karma Tenkyong, the exalted Könchok Tenzin, Jamgön Sungrap Gyatso, the omniscient Tenpai Nyinje, Gyalwang Dudul Dorje, the glorious Pawo Tsuklak Chökyi Gyatso, and Jamgön Kongtrul.[2]
- Translator's notes
- The Tengyur, Indian Mahāmudrā Collection, and TsRP colophons read rgya gar gyi mkhan po shrī bai ro tsa na rak+Shi ras rang ’gyur du mdzad pa’o. For information on this translator, see Schaeffer, “The Religious Career of Vairocanavajra: A Twelfth-Century Indian Buddhist Master from Dakṣiṇa Kośala.” Elizabeth (talk) 15:15, 24 November 2017 (EST)
- Notes on authorship
- The colophons of this text that are found in the Tengyur, the Indian Mahāmudrā Collection, and the Eight Dohā volume (vol. 4) of the rTsibs ri’i par ma collection state that the author is Saraha (do ha mdzod ces bya ba phyag rgya chen po’i man ngag dpal ri khrod pa chen po sa ra ha’i zhal snag nas mdzad rdzogs so). There are instances of Saraha being referred to in Tibetan as ri khrod pa chen po, ri khrod dbang phyug, or shavara (a transliteration of the Sanskrit shabara), which has possibly led to or contributed to mistakenly considering this text to have been authored by Saraha’s student Shavarī (also known as Sabara). Elizabeth (talk) 15:15, 24 November 2017 (EST)
- Other notes
- Genre from Richard Barron's Catalog
- Instruction manual
- Genre from dkar chag
- gzhung rtsa 'grel
- BDRC Link
- VolumeI1CZ3969
- BDRC Content Information
- No note on contents
Information about Unicode Tibetan and the digitization of this text
As the only available unicode Tibetan text at the time, Nitartha International's version of the Paro Edition of the gdams ngag mdzod is provided here. However, note that it has not been thoroughly edited and that there may also be mistakes introduced through the conversion process. Eventually we will provide a fully edited version of the entire Shechen Edition, entered and edited multiple times by Pulahari Monastery in Nepal, but as of fall 2017 that project has not been finished. Note that the folio numbers that appear throughout were added by Nitartha Input Center at the time of input.
Provided by Nitartha International Document Input Center. Many thanks to Lama Tenam and Gerry Wiener for help with fonts and conversion.
