Introduction

The Kagyu Teachings in The Treasury of Precious Instructions

In his extensive Catalog of The Treasury of Precious Instructions, for each of the eight practice lineages, Jamgön Kongtrul provides (1) a short history, (2) a description of its teachings, (3) a list of the texts he chose to represent the tradition, and (4) the transmissions of the texts that he received. What follows is a translation of the first two sections and the topical headings he used in his list of texts. The transmissions of the texts will be given, as applicable, in the short introductions to each text.

Excerpts from Jamgön Kongtrul’s Catalog

A History of the Marpa Kagyu

The glorious, great Tilopa received, from specific mahāsiddhas, the instructions transmitted from the noble Nāgārjuna, Ḍombipa, Lūyipa, and Sukhasiddhi, and he thus became a master of their entrusted transmissions.* That is the long transmission.† By practicing for a long time and training in the realizations of the path, he became a great lord of siddhas. He was directly guided by Vajradhara and Vajrayoginī, and the treasury of the four classes of tantras was bestowed upon him. The great paṇḍita Nāropa served him, undergoing twelve great austerities, at the conclusion of which, on the basis of simply symbols and words, he comprehended deeply the true state in its entirety and became accomplished.

Marpa Chökyi Lodrö of Lhodrak traveled to India three or four times. He received the sūtras and tantras in their entirety from many scholarsiddhas, Nāropa and Maitrīpa being the foremost among them. In particular, if his earlier and later journeys are added together, he studied with Nāropa for sixteen years and seven months. Through the combination of his listening, reflection, and meditation, Marpa came to dwell in a state of attainment. During his last journey, Nāropa had departed for [the practice of yogic] conduct. Nevertheless, enduring great hardships, Marpa searched for and supplicated Nāropa, finally actually meeting him in Puṣpahari in the North. He spent seven months with Nāropa and received the complete Aural Transmission of Cakrasaṃvara, male and female consorts. {412} In Tibet, the principal disciples upon whom Marpa bestowed his profound dharma were known as the four great pillars. Among them, Mai Tsönpo, Ngok Chödor, and Tsurtön received the entrusted transmission of the explanatory tradition, and Jetsun Milarepa received the entrusted transmission of the practice tradition.

Among the many disciples of Milarepa, such as the seven who went to the celestial realms and the eight repa brothers, the foremost were his [two] heart sons. From the moonlike Rechung Dorje Drakpa came the Rechung Kagyu and a few instructions, such as those on Amitāyus and Caṇḍa, that spread throughout the Snowy Land [Tibet]. The great, unequaled sunlike Gampopa, who was lauded by the Victor’s prophecies and was like the Buddha appearing in the world, had an inconceivable number of disciples whom he matured and liberated. His main lineage holders were the following:

1. Barompa Darma Wangchuk, from whom came the Barom Kagyu.

2. Pakdru Dorje Gyalpo, from whom came the Pakdru Kagyu.

3. The glorious Dusum Khyenpa, from whom came the Karma Kagyu.

4. Zhang Tsalpa Tsöndru Drakpa, a disciple of [Gampopa’s] nephew, Gompo Tsultrim Nyingpo, from whom came the Tsalpa Kagyu.

Those are renowned as the four senior Kagyu traditions. At the main seat of Dakpo, the succession following the three Dakpo uncle and nephews* is the Dakpo Kagyu, making a fifth.

Among the five hundred disciples of Pakmo Drupa who were renowned as “[worthy of ] parasol-bearers,” from the foremost came what are famed as the eight junior Kagyu traditions, or the “eight in the four pairs”:

1. Khyopa Jikten Sumgön, from whom came the Drikung Kagyu.

2. Tangpa Tashi Palwa, from whom came the Taklung Kagyu.

3. Drogön Gyaltsa Kuön, from whom came the Tropu Kagyu.

4. Lingre Pema Dorje, from whom came the Lingre Kagyu.

5. Marpa Rinchen Lodrö, from whom came the Martsang Kagyu.

6. Yelpa Yeshe Tsekpa, from whom came the Yelpa Kagyu.

7. Gyalwa Yazangpa, the student of Zarawa Yeshe Senge, from whom came the Yazang Kagyu.

8. Nyipu Gyergom Chökyi Senge, from whom came the Shuksep Kagyu. {412}

Each has its own monastic seat, dharma lineage, and vast activities. Notably, from Götsangpa Gönpo Dorje—who was a close disciple of Lingje Repa’s heart son, Drogön Tsangpa Gyare—came the Upper Drukpa, which is famed as being like the stars in the sky. His lineage of disciples included Gyalwa Yang Gönpa, Latö Sherap Gönpo, and Barawa Gyaltsen Zangpo, from whom came subsidiary Kagyu schools. From Lore Darma Wangchuk came the Lower Drukpa, which is famed as being like the soil of the earth. From the nine successive throne-holders with the name Senge came the unbroken Middle Drukpa Kagyu.

Due to the special intention and aspiration prayers of the exalted Dusum Khyenpa, the close disciples and inconceivable activities of each of his reincarnations (who are said to take birth intentionally) coalesce in the main Kamtsang Kagyu. There are also two branches: from Drung Mase Lodrö Rinchen—who was installed by the exalted fifth Karmapa, Dezhin Shekpa, as the master of the Three Cycles of Gems of the Aural Transmission— came the Zurmang Kagyu; and from the scholar-siddha Karma Chakme— who was a personal disciple of the sixth Shamarpa, Garwang Chökyi Wangchuk—came the Nedo Kagyu.

Among those, currently only the Karma Kagyu (one of the four senior Kagyu schools) and the Drukpa, Drikung, and Taklung (of the eight junior schools) stand on their own. With the others, in a few cases [the transmissions of ] some of their less significant maturating [abhiṣekas] and liberating [instructions] have continued simply in the sense of not disappearing, but they do not appear to have a strong [presence].

A Description of the Kagyu Teachings

The Kagyu teachings are ocean-like instructions, primarily connected to the *niruttarayoga tantras, which [have been transmitted by] mahāsiddhas who were founders of the chariots, [or individual schools,] that hold the Kagyu teachings of the master Marpa Lotsāwa in the traditions of the exalted Nāropa and Maitrīpa. Although they are limitless and, as such, defy description, if we condense them into their primary meditation topics, they are twofold: the six dharmas of Nāropa (the path of method) and mahāmudrā (the path of liberation). Those two are subsumed within the three major vajra points, which are stated in the Concise Illumination of the Five Processes and the Later Model Texts:

There are the abiding state of entities, the path

and the process that gives rise to the result.

Among the abiding state of ground entities, the process for traversing the path, and the way to actualize the result, the abiding state is twofold: the abiding state of the body entity and the abiding state of the mind entity. Each of those has three aspects: coarse, subtle, and very subtle. Those are the bases for purification.

The path is twofold: that of maturation and that of liberation. It begins with the maturation of our mindstreams through the bestowal of abhiṣekas corresponding to our capacities as recipients, highest, intermediate, or basic. The means of liberation are twofold: the generation and perfection processes. {429} As beginners, we practice these in alternation and then, when we have familiarization, we practice them simultaneously.

The perfection process is also twofold: the path of method and the path of liberation. By practicing means of purification that correspond to bases of purification and in keeping with our particular fortunes and diligence, either in this life or in the bardo, we will actually attain the results: the common siddhis (such as the ten signs, the eight excellent qualities, and the four activities) and the uncommon siddhis (the seven branches, the eight types of might, the four kāyas, and the five wisdoms).

The path of method: the six dharmas. The profound swift path—that which is based on methods (such as bliss) and actualizes the wisdom of mahāmudrā (which is what arises from methods)—and the practices for those of sharp faculties possessing diligence are found in the tradition of the glorious Nārotapa [Nāropa]. These are the condensed vital points, the intended meaning, of the five classes of tantras—specifically, the Saṃvara, Hevajra, Mahāmāyā, Catuṣpīṭha, and Guhyasamāja, which are the primary supporting bases— and they are also found generally throughout the Kālacakra system. Truly Valid Words says:

[The second process is taught through eight:]

caṇḍālī, karmamudrā,

illusions, dreams, luminosity,

bardo, transference, and entering a body.

Caṇḍālī is considered the root of the path, karmamudrā is the enhancement of the path, illusory forms are the life-force pole of the path, dreams are the assessment of progress on the path, luminosity is the heart of the path, transference is the escort on the path, and entering a body* is known as the extender of the path. Among those, caṇḍālī, illusory forms, dreams, and luminosity are regarded as the four root dharmas and are the profound path that actualizes unification beyond training in a single lifetime. For those of lesser fortune who are unable to actualize the result in this life through those methods, the instructions for the bardo and transference are presented. Thus, there are six dharmas. Karmamudrā and entering a body are the branches of enhancement and extending the path, respectively, and therefore are not enumerated.

This is the exegesis of the exalted Gampopa and is unanimously presented by those of the Dakpo Kagyu. {430} Jetsun Marpa condensed these into the four facets of dharma for awakening. Ngok, father and sons, consider the heart of the six dharmas to be mixing and transference. Jetsun Milarepa taught an introduction to the eight bardos. Tepupa [Tipupa] presented four pairs (that is, eight elements). Rechungpa presented the threefold cycle of mixing or the ninefold cycle of mixing and transference. There are many such divisions and summaries. Nevertheless, the meaning is contained in the previous explanations.

The path of liberation: mahāmudrā. The traditions of this precious lineage present two [approaches to mahāmudrā]. One is that which accords with the Sūtra tradition: resting in equipoise using the instructions for nonattention (amanasikāra, yid la mi byed pa), as the subjective aspect, with the object being luminosity, free from elaborations. The Mantra tradition is bliss-emptiness mahāmudrā, connate unification (lhan cig skyes sbyor), distinguished by being the wisdom arising from abhiṣeka and by [its methods for] penetrating the vital points of the vajra body. The latter is as described above. The former is primarily derived from the tradition of the master Maitrīpa.

In terms of its essence, [mahāmudrā] is nondual, profound and clear wisdom that pervades all of saṃsāra and nirvāṇa. If we look at the etymology of the term “mahāmudrā,” [this wisdom] is a “mudrā” since none of the phenomena of saṃsāra, nirvāṇa, and the path are ever beyond it, and it is “mahā” because there is no higher dharma. That is a summary in keeping with the ground.

When classified, there is mahāmudrā of the ground, of the path, and of the result. First, in terms of the ground, this is a “mudrā” because, since the actual abiding state arises as either liberation and confusion due to either being realized or not realized, none of the phenomena of saṃsāra or nirvāṇa are ever beyond it. It is “mahā” because there is no other “dharmakāya” to be sought. Second, in terms of the path, this is a “mudrā” because when we practice, having received the pointing out through our gurus’ instructions, all our cognitions and objects of knowledge are never anything other than its radiance. It is “mahā” because there is no other wisdom of a buddha to be sought. Third, in terms of the result, this is a “mudrā” because, once the path purifies adventitious stains and what is present as the ground becomes fully manifest, the displays of kāyas and wisdoms are nothing other than its essence. {431} It is “mahā” because it is the consummate state.

The connate state (sahaja, lhan cig skyes pa) is twofold: natural connateness and the connateness of melting bliss. Among those, here, we unite with actual connateness, taking as our path unimpeded appearance-awareness in a direct nonconceptual way, without thoughts that cling to it as “this.” This is not just a meditation on the inferential concept of not finding anything as the result of analysis. Thus it is so named. The exalted Gampopa says:

Mind, thoughts, and the dharmakāya,

from the first, are connate.

The instructions [that show us how] to unite them as one

are therefore called “connate union.”

As for the way that path is practiced, Tilopa states:

Kye ho. This is reflexively aware wisdom.

Beyond words and speech, it’s not the province of mentation.

I, Tilo, have nothing to teach.

Know that it reveals itself.

Once we recognize the abiding state, the view related to ground, we cultivate the path using what are renowned as the six dharmas of Tilopa:

Don’t reflect, don’t think, don’t analyze.

Don’t meditate, don’t speculate—rest naturally settled.

This practice comes down to exactly the same thing that is taught in Maitrīpa’s Dharma Cycle on Amanasikāra (Nonattention). In addition to that, the exalted Gampopa relied on the Second Armor of Mahāmudrā of the Great Lord [Atiśa] and the process of instructions in the Kadam tradition. These include a fourfold preliminary practice to develop meditation in those for whom it has not already developed, a threefold pointing-out instruction to take what has developed as the path, and the means to enhance that and give rise to excellent qualities, which guide practitioners without examining whether they are of higher or lower abilities. If practitioners improve their mindstreams by constantly sustaining [their practice of ] the instructions, even those of lower abilities can become of the highest abilities. These are unsurpassed instructions that [enable practitioners] to be skilled in the methods of becoming free in and of themselves.

Of Gampopa’s followers, the glorious Pakmo Drupa and Drikung Jikten Sumgön, father and son, emphasized the instructions on fivefold [mahāmudrā].* The glorious Karmapa matured and liberated [his disciples] using the instructions of the four vital points, the chakra of dharmatā, and the instructions on pointing out the three kāyas.† {432} Within the glorious Drukpa Kagyu, the Upper Drukpa has their eight great instructions‡ and the Lower Drukpa has the fivefold ability.§ The main Kagyupas guide disciples through the path of the six cycles.¶ As those illustrate, each of the limitless four senior and eight junior Kagyu traditions and their specific branches has vast ways of establishing disciples in states of attainment. Thus, [they inspire] complete confidence.

Marpa Kagyu Volumes

The texts in the four Marpa Kagyu volumes are organized under the following headings:

Volume 7

I. The cycle of root texts and commentaries

A. The shared Mahāmudrā Cycle

B. The unshared Six Dharmas Cycle

II. The instructions

A. The abhiṣekas for maturation

B. The actual instruction texts for liberation

1. The texts in the Dharma Cycles of the Root Aural Transmissions11

a. The extensive Rechung Aural Transmission

Volume 8

a. The extensive Rechung Aural Transmission (continued)

b. The intermediate Ngamdzong Aural Transmission

c. The abbreviated Dakpo Aural Transmission

d. The instructions of Rechungpa: The Ninefold Dharma Cycle of the Formless Ḍākinīs

e. The esoteric instructions of the Aural Transmission Four Scrolls, bestowed on Tsurtön by Marpa

2. The texts of the individual Kagyu traditions

a. The tradition of the main Dakpo seat

b. Tsalpa Kagyu

Volume 9

2. The texts of the individual Kagyu traditions (continued)

c. Karma Kaṃtsang

d. Zurmang Kagyu

e. Nedo Kagyu

f. Pakdru Kagyu

g. Drikung Kagyu

Volume 10

2. The texts of the individual Kagyu traditions (continued)

h. Taklung Kagyu

i. Tropu Kagyu

j. Lingre [Drukpa] Kagyu

[k. Yelpa Kagyu]12

[III. Ancillary texts]

[A. Guvru puja]

[B. Dharma Protector Cycle]

Volume Seven

As the headings listed above indicate, this volume of The Treasury of Precious Instructions, being the first of the four Marpa Kagyu volumes, contains the works chosen as root texts and the beginning of the instruction section. The root texts are divided into those related to mahāmudrā and those relevant to the six dharmas. The texts on mahāmudrā include one tantra and a sampling of works by Saraha, Tilopa, Nāropa, Maitrīpa, Marpa, Milarepa, and Gampopa, with one text by each author except for Saraha, who is considered the author of two (on the second authorship attribution, see the introduction to that text). The root texts for the six dharmas are one text by Vajradhara, three texts by Tilopa, two by Nāropa, and one by Milarepa.

The section on instructions starts with the texts for maturing practitioners, that is, the abhiṣekas and, in some instances, their related sadhanas. (The additions and reorganization of this section is discussed in the introduction to these texts.) Its second part—the instructions that liberate practitioners—spans the remainder of this volume and the next three Marpa Kagyu volumes. It begins with texts for the Root Aural Transmissions, which Jamgön Kongtrul presents in five sets according to transmission lineages. The first three are named after the three students to whom Milarepa imparted the Saṃvara Aural Transmission instructions: Rechungpa, Ngamdzong Tönpa, and Gampopa.* The last two are the Ninefold Dharma Cycle of the Formless Ḍākinīs received by Rechungpa and the Four Scrolls, which Marpa taught to Tsur-tön.

This volume contains the first six texts of the Rechung Aural Transmission; its remaining eight are in the next volume.

Collections

Jamgön Kongtrul created what may be a unique anthology for the Marpa Kagyu in these four volumes of The Treasury of Precious Instructions. The uniqueness is the sampling of root texts for the tradition and the representation of pan-Kagyu texts. Other Kagyu collections have focused on one person’s writing, one Kagyu subschool, or a single genre of texts. Since its time, other similarly curated anthologies have been, and are being, published but none attempting to sample all Kagyu subschools.*

The following collections are relevant to this volume of The Treasury of Precious Instructions. (Undoubtedly there are more collections that will be located, new ones are being assembled, and others may have been overlooked.)

A Mahāmudrā Collection

Indian Mahāmudrā Texts was assembled by the seventh Karmapa, Chödrak Gyatso (1454–1506). This collection begins with the first text found in this volume (The Unsullied State) and contains seven others included here: the Dohā for the People and Treasury of Dohās by Saraha, Ganges Mahāmudrā by Tilopa, Summary Verses on Mahāmudrā by Nāropa, Ten Stanzas on Suchness by Maitrīpa, and Vajra Verses by Vajradhara. In his Catalog, Jamgön Kongtrul mentions this collection after the list of texts chosen for the mahāmudrā section:

Although there are approximately two volumes of the Indian

Mahāmudrā Collection—primarily the Seven Siddhi Texts—for

which the reading transmissions exist, here I have selected a few

representatives that are connected to this lineage.

▶ Indian Mahāmudrā Texts. Phyag rgya chen po’i rgya gzhung,

2 vols. mDo khams sde dge: dPal spungs dgon pa, n. d. BDRC W3CN636. Also Indian and Tibetan Texts of Mahāmudrā, the Definitive Meaning. Nges don phyag chen rgya gzhung dang bod gzhung, vols. 1–6. Khreng tu’u: Si khron dpe skrun tshogs pa, 2009. BDRC W1KG12589. And Indian Mahāmudrā Texts. Phyag chen rgya gzhung, 1 vol. Bir: D. Tsondu Senghe, 1985. Reproduced from a cursive (dbu med) manuscript from Drikung Thel. It also contains texts associated with the Cakrasaṃvara Aural Transmission. BDRC W21554.

Cakrasaṃvara Aural Transmission Collections

The following list provides a general overview of the major collections where Cakrasaṃvara Aural Transmission texts are found and is primarily related to the Rechung Aural Transmission.

▶ Collection compiled by Tsangnyön Heruka (1452–1507).

Although never printed in its entirety (and no complete copy is known to be extant), there is a catalog (dkar chag) written by Tsangnyön Heruka’s student Götsang Repa.* An incomplete edition is found in the Saṃvara Ḍākinī Aural Transmission. bDe mchog mkha’ ’gro snyan rgyud (Ras chung snyan rgyud), 2 vols. Leh: Smanrtsis Shesrig spendzod, 1971. Reproduced from sixteenth and seventeenth century manuscripts belonging to Dookpa Thoosay Rimpoche. BDRC W30124.

• ▶ Collection compiled by Jangchup Zangpo (sixteenth century).

Saṃvara Ḍākinī Aural Transmission. bDe mchog mkha’ ’gro snyan rgyud (Ras chung snyan rgyud), 2 vols. New Delhi: n.a., 1973. Reproduced from a manuscript in the library of Apho Rinpoche. BDRC W24891.

A Precious Treasure: A Catalog of the Saṃvara Ḍākinī Aural Transmission. bDe mchog mkha’ ’gro’i snyan brgyud kyi dkar chag rin po che’i gter. In the Saṃvara Ḍākinī Aural Transmission and Biography of the Victor’s Son Mitra. bDe mchog mkha’ ’gro’i snyan brgyud dang rgyal sras mi tra’i rnam thar, 13–24. Tezu, Arunachal Pradesh: Tibetan Nyingmapa Monastery, 1974. BDRC W30534. Sernesi, in “Aural Transmission of Saṃvara” (197 and 197n31), says this lists fifty-one texts grouped in “three main sections: 1) the cycle of necessary fundamental guidance (nyer mkho dmar khrid bkol ba’i skor); 2) the actual Aural Transmission (snyan brgyud dngos kyi skor); 3) the necessary auxiliary teachings and appendixes (cha lag kha skong nyer mkho’i skor).”

• ▶ Collection compiled by the third Drukchen, Jamyang Drakpa

(1478–1523). The New Rechung Aural Transmission. Ras chung snyan rgyud gsar ma, 2 vols. Palampur, H.P.: Sungrab Nyamso Gyunphel Parkhang, 1985. Reproduced from a manuscript collection from Drugu Chogyal monastery in Kham. BDRC W1KG1812.

• ▶ Composed by the third Drukchen, Jamyang Drakpa. Saṃvara Aural

Transmission Texts. bDe mchog snyan rgyud kyi yig cha. Reproduced from an incomplete set of the collection from the library of Hemis Monastery in Ladakh. Darjeeling: Chopal Lama, 1985. BDRC W1KG12633.

• ▶ Collection compiled by the fourth Drukchen Pema Karpo (1527–

1592). Old Writings on the Ḍākinī Aural Transmission. mKha’ ’gro snyan brgyud kyi yig rnying, 2 vols. Darjeeling: Kargyud Sungrab Nyamso Khang, 1982. Reproduced from a Bhutanese manuscript collection belonging to Dookchen Thoosay Rinpoche. BDRC W21141.

• ▶ Collection compiled by Pema Karpo. The Three Cycles of Gems of

the Saṃvara Aural Transmission. bDe mchog snyan brgyud nor bu skor gsum, 2 vols. Palampur: Sungrab Nyamso Gyunphel Parkhang, 1985. Reproduced from a Bhutanese manuscript collection. BDRC W23155.

• ▶ Saṃvara Ḍākinī Aural Transmission and a Biography of the Victor’s

Son Mitra. bDe mchog mkha’ ’gro’i snyan brgyud dang rgyal sras mi tra’i rnam thar, 1 vol. Tezu, A.P.: Tibetan Nyingmapa Monastery, 1974. Reproduced from the library of Riwoche Jedrun of Pemako. BDRC W30534. Cycle of the Ngamdzong Aural Transmission. Ngam rdzong snyan rgyud kyi skor, 1 vol. Bir: D. Tsondu Senghe, 1985. Reproduced from manuscript in the library of Yudra Rinpoche. BDRC W23167.

• ▶ Various Texts of the Saṃvara Ḍākinī Aural Transmission. bDe

mchog mkha’ ’gro snyan rgyud sogs kyi chos tshan thor bu sna tshogs, 5 vols. N.a.: n.a., n.d. Scanned from the collection of texts preserved at Shechen monastery, made available by Changling Rinpoche. BDRC W1KG12707. ▶ In the Drukpa Kagyu Great Treasury of Dharma. ’Brug lugs chos mdzod chen mo. In various volumes, including 46, 48, 53, 58, 59, 60–63, 67, 81, and 83. Kathmandu: Drukpa Kagyu Heritage Project, 200?. BDRC W23779. ▶ In the Drikung Kagyu Great Treasury of Dharma. ’Bri gung bka’ brgyud chos mdzod chen mo. Rechung Aural Transmission, vols. 58–62; Nyan Dzong Aural Transmission, vols. 63–64; and two texts associated with Dakpo Aural Transmission, vol. 13.15 Lhasa: ’Bri gung mthil dgon, 2004. BDRC W00JW501203. ▶ Rechung Aural Transmission Collection. Ras chung snyan brgyud skor, 19 vols. Beijing: Krung go’i bod rig pa’i dpe skrun khang, 2011. BDRC W1AC375.

Note to Readers

Some of the texts in this volume are famous and widely known in translation, such as Tilopa’s Ganges Mahāmudrā. Their content is suitable and inspiring for many levels of Buddhist practitioners. The six dharma texts describe practices that require years of prior training and careful guidance. The texts in the abhiṣeka section are for lineage holders authorized and qualified to give those abhiṣekas. It goes without saying that such individuals will have completed the requisite preliminaries and main meditation trainings, as well as have the necessary personal qualities to serve as teachers for others. The Kagyu traditions stress the importance of proper preparation, oral instructions, and appropriate timing for more advanced meditation practices, and simply having texts available in English should not be viewed as an opportunity to undertake such practices on one’s own on the basis of these texts. The translation style and level of annotation for this volume reflects the anticipated readership. Commentarial annotation (as opposed to technical annotation) has been provided for certain texts, either to show the reasons for the translation or to provide clarification from less known commentaries. In the short textual introductions, provided for most of the individual texts, more attention was given to less well-known ones, particularly those of the Rechung Aural Transmission. Readers seeking more general information or comprehensive biographical accounts will find some suggested sources in the endnotes. It is my hope that sharing these texts belonging to the early period of the Marpa Kagyu tradition will connect us more with the generations of meditation practitioners who have experienced and passed on not just the words but also the spirit: the experiences and realizations of naked mind-itself, ordinary mind, mahāmudrā.

Acknowledgments

First and foremost, my deep thanks to Eric Colombel and the Tsadra Foundation for the opportunity to translate this Treasury of Precious Instructions volume—it’s been an illuminating experience and hopefully the translation will be so for others. I am most grateful to Ringu Tulku Rinpoche for his commitment to the translation of The Treasury of Precious Instructions, for the many hours he gave to answering my numerous questions, and the expertise of his replies. I am also very grateful to Ācārya Lama Tenpa Gyaltsen for his help and expertise. A special thanks to Sangyes Nyenpa Rinpoche, Khenpo Karma Ösung of Bechen monastery, and Sean Price for help locating missing text; and to Tsunmo Kheychok Palmo for similar assistance. I am indebted, directly and indirectly, to the help I received from Lama Tratop, Yeshe Gyamtso (Peter O’Hearn), Karl Brunnhölzl, Sarah Harding, Stephen Gethin, Klaus Mathes, Peter Roberts, Fabrizio Torricelli, Cécile Ducher, Marta Sernesi, and the work of many other translators and scholars. I would like to especially thank the Nalanda Translation Committee for their lovely translation of Marpa’s song of his dream of Saraha and their pioneering translations of the Karma Kagyu Cakrasaṃvara and Vajrayoginī sādhanas. Many thanks to Gloria Jones and Clark Johnson for providing recordings of Thrangu Rinpoche’s teachings on the Dohā for the People and to Jann Ronis of the Buddhist Digital Resource Center for digital editions of key volumes. Special thanks to the Tsadra Foundation for all the support everyone gives to our translation work: to Drupgyu (Tony) Chapman and Christiane Buchet; to Marcus Perman, Jeremi Plazas, Greg Forgues, Darren Beil (the Tsadra Digital Research team), and to Sean Price (Tsadra Tibetan Publications) for aid and expertise. A big thank you to Nikko Odiseos of Shambhala Publications for his commitment to this series and to Anna Wolcott Johnson for her kind and meticulous editorial skills, which endured throughout this long book. Also many thanks to the rest of the Shambhala team who worked on this project: Lora Zorian, Kate White, Emily Wichland, L. S. Summer, Tucker Foley, Michael Henton, and Johnnie Dina. And finally, my deep gratitude to all the book collectors, preservers, and publishers, those living and those gone before: without your efforts and vision we would be much poorer.