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|title = slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs | |title=slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs | ||
|collection = gdams ngag mdzod | |titletib=སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་ | ||
| | |titleintext=@#/_/slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs bzhugs so//_// | ||
| | |titleintexttib=༄༅། །སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་བཞུགས་སོ༎ ༎ | ||
| | |titletrans=Completing the Whole Path with Caṇḍālī Composed by Ācārya Kṛṣṇācārya | ||
| | |translation=None | ||
| | |collection=gdams ngag mdzod | ||
| | |collectiontib=གདམས་ངག་མཛོད་ | ||
|author=rje btsun grags pa rgyal mtshan | |||
|printer = Jayyed Press, Ballimaran, Delhi-6 | |authortib=རྗེ་བཙུན་གྲགས་པ་རྒྱལ་མཚན་ | ||
|publisher = Shechen Publications | |authorincolophon=shAk+ya'i dge bsnyen theg pa mchog gi rnal 'byor pa grags pa rgyal mtshan | ||
|place = New Delhi | |authorincolophonofficialspelling=rje btsun grags pa rgyal mtshan | ||
|year = 1999 | |associatedpeople=rje btsun grags pa rgyal mtshan; Kṛṣṇācaryā; Jālandharapāda; Gayadhara; Vajrayoginī; Vajraghaṇṭa; Kūrmapāda | ||
| | |lineagedata=Vajrayoginī; Vajraghaṇṭa; Kūrmapāda; Jālandharapāda; Kṛṣṇācaryā; Gayadhara | ||
|volnumber = | |printer=Jayyed Press, Ballimaran, Delhi-6 | ||
| | |publisher=Shechen Publications | ||
|totalpages = 11 | |place=New Delhi | ||
|totalfolios = 6 | |year=1999 | ||
|pagesinvolume = 43-53 | |volwylie=sa skya lam 'bras pod gnyis pa | ||
|beginfolioline = 1a1 | |volnumber=6 | ||
|endfolioline = 6a7 | |VolumeLetterTib=ཆ་ | ||
|linesperpage = 7 | |textnuminvol=005 | ||
| | |totalpages=11 | ||
|totalfolios=6 | |||
|pagesinvolume=43-53 | |||
|beginfolioline=1a1 | |||
|endfolioline=6a7 | |||
|linesperpage=7 | |||
|pechatitleinfo='''Title Page (ཁ་ཤོག་):''' | |||
'''Title Page (ཁ་ཤོག་):''' | |||
:*Line 1: ༄༅། །སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་བཞུགས་སོ༎ ༎ | :*Line 1: ༄༅། །སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་བཞུགས་སོ༎ ༎ | ||
:::@#/_/slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs bzhugs so//_// | :::@#/_/slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs bzhugs so//_// | ||
:*Left side print: | :*Left side print: ཆ་ གཏུམ་ གཅིག་ མོ། | ||
::: cha gtum gcig mo/ | ::: cha gtum gcig mo/ | ||
:*Right side print: 43 | :*Right side print: 43 | ||
| Line 123: | Line 45: | ||
'''Description of pages:''' | '''Description of pages:''' | ||
*'''Side A:''' | *'''Side A:''' | ||
:*གཡོན་: | :*གཡོན་: ཆ་ གཏུམ་མོ། (གྲངས་ཀ་) ལམ་སྐོར་ཕྱི་མ། | ||
::Left: cha gtum mo/ (tibfolio#) lam skor phyi ma/ | ::Left: cha gtum mo/ (tibfolio#) lam skor phyi ma/ | ||
:*གཡས་: (#) གདམས་མཛོད་ས་སྐྱའི་སྐོར། | :*གཡས་: (#) གདམས་མཛོད་ས་སྐྱའི་སྐོར། | ||
| Line 129: | Line 51: | ||
*'''Side B:''' | *'''Side B:''' | ||
:*གཡོན་: | :*གཡོན་: ས་སྐྱའི་སྐོར་ ལམ་སྐོར་ཕྱི་མ་ | ||
::Left: sa skya'i skor lam skor phyi ma | ::Left: sa skya'i skor lam skor phyi ma | ||
:*གཡས་: (#) | :*གཡས་: (#) | ||
::Right: (#) | ::Right: (#) | ||
|partialcolophonwylie=/shrI dzA lan+dha ra chen po'i gdams ngag la brten te/_slob dpon brtul zhugs kyi spyod pa nag po pa'i gtum mos lam yongs su rdzogs pa zhes bya ba'i gdams ngag_bla ma gong ma rnams kyis mdzad pa'i yi ge rnams gab yig lta bur cung zad mi gsal ba rnams gsal bar bya ba'i phyir lan mang du gsol ba 'debs pa'i dor byas nas shAk+ya'i dge bsnyen theg pa mchog gi rnal 'byor pa grags pa rgyal mtshan gyis dpal sa skya'i dben gnas su bris pa yin no/_'di'i brgyud pa ni/_rje btsun rdo rje rnal 'byor ma/_rdo rje dril bu pa/_ru sbal gyi zhabs can/_shrI dzA lan+dha ra ba chen po/_/nag po spyod pa ba/_shrI ga ya d+hA ra nas rje tsun sa skya pa'i bar du rim par brgyud de 'ongs ba yin no/_/sa mAs+ta mi ti// | |||
|partialcolophontib=།ཤྲཱི་ཛཱ་ལནྡྷ་ར་ཆེན་པོའི་གདམས་ངག་ལ་བརྟེན་ཏེ། སློབ་དཔོན་བརྟུལ་ཞུགས་ཀྱི་སྤྱོད་པ་ནག་པོ་པའི་གཏུམ་མོས་ལམ་ཡོངས་སུ་རྫོགས་པ་ཞེས་བྱ་བའི་གདམས་ངག བླ་མ་གོང་མ་རྣམས་ཀྱིས་མཛད་པའི་ཡི་གེ་རྣམས་གབ་ཡིག་ལྟ་བུར་ཅུང་ཟད་མི་གསལ་བ་རྣམས་གསལ་བར་བྱ་བའི་ཕྱིར་ལན་མང་དུ་གསོལ་བ་འདེབས་པའི་དོར་བྱས་ནས་ཤཱཀྱའི་དགེ་བསྙེན་ཐེག་པ་མཆོག་གི་རྣལ་འབྱོར་པ་གྲགས་པ་རྒྱལ་མཚན་གྱིས་དཔལ་ས་སྐྱའི་དབེན་གནས་སུ་བྲིས་པ་ཡིན་ནོ། འདིའི་བརྒྱུད་པ་ནི། རྗེ་བཙུན་རྡོ་རྗེ་རྣལ་འབྱོར་མ། རྡོ་རྗེ་དྲིལ་བུ་པ། རུ་སྦལ་གྱི་ཞབས་ཅན། ཤྲཱི་ཛཱ་ལནྡྷ་ར་བ་ཆེན་པོ། །ནག་པོ་སྤྱོད་པ་བ། ཤྲཱི་ག་ཡ་དྷཱ་ར་ནས་རྗེ་ཙུན་ས་སྐྱ་པའི་བར་དུ་རིམ་པར་བརྒྱུད་དེ་འོངས་བ་ཡིན་ནོ། །ས་མཱསྟ་མི་ཏི༎ | |||
|ringutulkunote=The Inner-Heat (Tummo) Complete Path Written by Lopon Nagpo Chopa. | |||
|chokyigenre=Instruction manual | |||
|dkarchaggenre=grol byed khrid | |||
|keywords=gtum mo lam skor phyi ma; sa skya'i skor lam skor phyi ma | |||
|tbrc=[http://tbrc.org/link?RID=W23605 VolumeI1CZ3968] | |||
|tbrccontents=No note on contents | |||
|hascommentary=Wylie:Nag po pa'i gtum mo lam rdzogs kyi khrid yig bkra shis li khri'i thig le | |||
|volumeTranslator=Person:Smith, Malcolm | |||
|introAuthor=Person:Smith, Malcolm | |||
|translatorintro=Two cycles among the eight ancillary path cycles derive from the | |||
famous Indian proponent of Cakrasaṃvara, Kṛṣṇācārya. These are | |||
''Completing the Whole Path with Caṇḍālī'', found in chapter 4 and the | |||
''Instruction for Straightening the Crooked'', found in chapter 5. The main tradition | |||
of Cakrasaṃvara practiced in the Sakya tradition belongs to a system | |||
of exegesis traced to Naropa, called “the ultimate secret” (gsang mtha’).2 The | |||
ultimate secret tradition of exegesis is exclusive to the Cakrasaṃvara cycles | |||
that were introduced to Tibet by Mal Lotsāwa Lodrö Drakpa (c. eleventh | |||
century to early twelfth century). Four separate cycles are associated with | |||
this tradition: the Cakrasaṃvara systems of the mahāsiddhas Luipa, Ghantapāda, | |||
and Kṛṣṇācārya, and the Vajrayoginī system of Mahāsiddha Naropa. | |||
The latter system is considered one of the “thirteen golden dharmas of Sakya” | |||
and is one of the four primary practices of the Sakya tradition. There are | |||
also numerous commentaries and instructions that the Sakya school associates | |||
with the ultimate secret tradition of Cakrasaṃvara.3 Chapter 4, ''Completing | |||
the Whole Path with Caṇḍālī'', is such an instruction, which distills | |||
Kṛṣṇācārya’s six treatises, the core of his many works, into its most refined | |||
essence. The text is divided into five stages: the stage of tantra, the stage of | |||
mantra, the stage of gnosis, the stage of the secret, and the stage of nonduality. | |||
Amezhap’s Effortless Accomplishment of the Two Benefits explains that | |||
the practitioner of this instruction is to meditate on the Kṛṣṇācārya system | |||
of Cakrasaṃvara.4 | |||
Drakpa Gyaltsen’s text does not provide an account of the life of Kṛṣṇa, | |||
as the account of his career had already been composed by Kunga Nyingpo.5 | |||
Amezhap mentions that there are many siddhas named Kṛṣṇa, but of these, | |||
this is the one known specifically as Kṛṣṇācārya. | |||
Kunga Nyingpo places Kṛṣṇa in Bengal during the reign of Śrīcandra, | |||
930–975 c.e., the longest reigning monarch of the Candra dynasty.6 Kunga | |||
Nyingpo relates that Kṛṣṇācārya was named Karṇapa, either because he was | |||
originally from the southern region of India named Karṇada or because he | |||
had long earlobes. Since Kṛṣṇācārya was dark-skinned, | |||
he was also called Kṛṣṇa. Kṛṣṇa was a pupil of a guru named Jālandhara and gains slight power | |||
based on practicing his guru’s instructions, attracting a large entourage of | |||
yogins and yoginīs. As is the case with many of the stories of mahāsiddhas, | |||
Kṛṣṇa suffered a series of discouraging setbacks after his initial success in | |||
practice, including being refused instruction in tantric conduct by his guru | |||
due to pridefulness. Kṛṣṇa tells Jālandhara that he is leaving for Devīkoṭa in | |||
Bengal. His guru advises against this, observing that Kṛṣṇa will suffer from | |||
obstacles created by the ḍākinīs, but Kṛṣṇa disobeys and leads his entourage | |||
onward to Bengal. | |||
'' | On the way Kṛṣṇa has four encounters. He first encounters a woman suffering | ||
from leprosy. He brags to his entourage that he will cure this woman, | |||
yet fails. A beggar in his entourage succeeds in freeing her from the disease. | |||
As it turns out, these two were emanations of Heruka and Cakrasaṃvara. | |||
After a series of further misadventures—encountering | |||
a plowman with an endless flagon of beer (Heruka), a beautiful maiden running a juice stand | |||
who humiliates him (Vajravārāhī), and a man in a temple reading a copy | |||
of the ''Perfection of Wisdom in Eight Thousand Lines'', which Kṛṣṇa cannot | |||
read—Kṛṣṇa arrives in Bengal. Here he experiences difficulties consecrating | |||
a statue of Lokeśvara at the request of the minister Kuśalanātha, a Buddhist, | |||
and manages to get into trouble with the king, who according to this | |||
account was a devotee of Bhairava and Kālaratri and thus a non-Buddhist. | |||
''' | At this point in the story, Kṛṣṇa again encounters Heruka in the form | ||
of a blue man with Hindu religious markings bearing a skull. The blue | |||
man informs Kṛṣṇa that he is the leader of Kṛṣṇa’s group, to which Kṛṣṇa | |||
haughtily objects. The blue man transforms into Heruka and flies into the | |||
sky, leaving Kṛṣṇa begging to become his student. Heruka predicts that | |||
Kṛṣṇa will not achieve mahāmudrā siddhi during his life, but he will obtain | |||
supreme siddhi in the bardo. This event compels Kṛṣṇa to compose his | |||
famous six treatises, mentioned at the outset of ''Completing the Whole Path | |||
with Caṇḍālī''. He converts Śrīcandra to Buddhism, who then decrees that | |||
his subjects are to be Buddhists. This account also records Kṛṣṇa’s death-bed | |||
request that his body not be burned for seven days.7 On the fifth day, | |||
the king ordered the whole kingdom to gather with the sound of drums. | |||
During the cremation, the body vanishes in the midst of the smoke offering | |||
substances such as parasols, banners, and a rain of flowers; the self-arisen | |||
sounds of many instruments such as ḍamarus, cymbals, and so on, are heard; | |||
and divine scent permeates everywhere. | |||
|tibvol=cha | |||
|notes=This appears to be the famous text by Nag po spyod pa (Kṛṣṇācaryā, alias Kāṇha). Gtum mo lam rdzogs [The Complete Path of Inner Heat]. Is it by Nag po pa or some commentary on that by [[rje btsun grags pa rgyal mtshan]]? [[Ringu Tulku]] [[Contents of the gdams ngag mdzod]], 1999. mentions a similar issue in his outline, [[Dan Martin]]. [[A Catalog of the Gdams-ngag Mdzod]], 1993. p 8, says this text is "by slob dpon brtul zhugs kyi spyod pa, nag po pa, following man ngag of shrî dza lan dha ra pa chen po, transmitted by ga ya dhâ ra." | |||
|topic=Instruction manual | |||
|tibcategory=grol byed khrid | |||
|pechaside1=gtum mo lam skor phyi ma | |||
|pechaside2=sa skya'i skor lam skor phyi ma | |||
|fulltibtext=<span class=TibUni18>[[སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་]]</span> | |||
}} | |||
<onlyinclude> | |||
= Tibetan Text = | |||
{{ {{#show: {{FULLPAGENAME}} |?titletib#}} }} | |||
= Wylie Text = | |||
WYLIE TEXT WILL APPEAR HERE | |||
== Footnotes == | |||
<references/> | |||
</onlyinclude> | |||
<headertabs /> | |||
{{Footer}} | |||
[[Category: Vajrayoginī]][[Category: Vajraghaṇṭa]][[Category: Kūrmapāda]][[Category: Jālandharapāda]][[Category: Kṛṣṇācaryā]][[Category: Gayadhara]][[Category: rje btsun grags pa rgyal mtshan]] {{DRL Tibetan text categories}} [[Category: Gdams ngag mdzod Shechen Printing]] [[Category: Gdams ngag mdzod Catalog]] | [[Category: Vajrayoginī]][[Category: Vajraghaṇṭa]][[Category: Kūrmapāda]][[Category: Jālandharapāda]][[Category: Kṛṣṇācaryā]][[Category: Gayadhara]][[Category: rje btsun grags pa rgyal mtshan]] {{DRL Tibetan text categories}} [[Category: Gdams ngag mdzod Shechen Printing]] [[Category: Gdams ngag mdzod Catalog]] | ||
Latest revision as of 10:25, 5 July 2023
སློབ་དཔོན་ནག་པོ་སྤྱོད་པས་མཛད་པའི་གཏུམ་མོ་ལམ་རྫོགས་
slob dpon nag po spyod pas mdzad pa'i gtum mo lam rdzogs
Completing the Whole Path with Caṇḍālī Composed by Ācārya Kṛṣṇācārya
Two cycles among the eight ancillary path cycles derive from the famous Indian proponent of Cakrasaṃvara, Kṛṣṇācārya. These are Completing the Whole Path with Caṇḍālī, found in chapter 4 and the Instruction for Straightening the Crooked, found in chapter 5. The main tradition of Cakrasaṃvara practiced in the Sakya tradition belongs to a system of exegesis traced to Naropa, called “the ultimate secret” (gsang mtha’).2 The ultimate secret tradition of exegesis is exclusive to the Cakrasaṃvara cycles that were introduced to Tibet by Mal Lotsāwa Lodrö Drakpa (c. eleventh century to early twelfth century). Four separate cycles are associated with this tradition: the Cakrasaṃvara systems of the mahāsiddhas Luipa, Ghantapāda, and Kṛṣṇācārya, and the Vajrayoginī system of Mahāsiddha Naropa. The latter system is considered one of the “thirteen golden dharmas of Sakya” and is one of the four primary practices of the Sakya tradition. There are also numerous commentaries and instructions that the Sakya school associates with the ultimate secret tradition of Cakrasaṃvara.3 Chapter 4, Completing the Whole Path with Caṇḍālī, is such an instruction, which distills Kṛṣṇācārya’s six treatises, the core of his many works, into its most refined essence. The text is divided into five stages: the stage of tantra, the stage of mantra, the stage of gnosis, the stage of the secret, and the stage of nonduality. Amezhap’s Effortless Accomplishment of the Two Benefits explains that the practitioner of this instruction is to meditate on the Kṛṣṇācārya system of Cakrasaṃvara.4
Drakpa Gyaltsen’s text does not provide an account of the life of Kṛṣṇa, as the account of his career had already been composed by Kunga Nyingpo.5 Amezhap mentions that there are many siddhas named Kṛṣṇa, but of these, this is the one known specifically as Kṛṣṇācārya.
Kunga Nyingpo places Kṛṣṇa in Bengal during the reign of Śrīcandra, 930–975 c.e., the longest reigning monarch of the Candra dynasty.6 Kunga Nyingpo relates that Kṛṣṇācārya was named Karṇapa, either because he was originally from the southern region of India named Karṇada or because he had long earlobes. Since Kṛṣṇācārya was dark-skinned, he was also called Kṛṣṇa. Kṛṣṇa was a pupil of a guru named Jālandhara and gains slight power based on practicing his guru’s instructions, attracting a large entourage of yogins and yoginīs. As is the case with many of the stories of mahāsiddhas, Kṛṣṇa suffered a series of discouraging setbacks after his initial success in practice, including being refused instruction in tantric conduct by his guru due to pridefulness. Kṛṣṇa tells Jālandhara that he is leaving for Devīkoṭa in Bengal. His guru advises against this, observing that Kṛṣṇa will suffer from obstacles created by the ḍākinīs, but Kṛṣṇa disobeys and leads his entourage onward to Bengal.
On the way Kṛṣṇa has four encounters. He first encounters a woman suffering from leprosy. He brags to his entourage that he will cure this woman, yet fails. A beggar in his entourage succeeds in freeing her from the disease. As it turns out, these two were emanations of Heruka and Cakrasaṃvara. After a series of further misadventures—encountering a plowman with an endless flagon of beer (Heruka), a beautiful maiden running a juice stand who humiliates him (Vajravārāhī), and a man in a temple reading a copy of the Perfection of Wisdom in Eight Thousand Lines, which Kṛṣṇa cannot read—Kṛṣṇa arrives in Bengal. Here he experiences difficulties consecrating a statue of Lokeśvara at the request of the minister Kuśalanātha, a Buddhist, and manages to get into trouble with the king, who according to this account was a devotee of Bhairava and Kālaratri and thus a non-Buddhist.
At this point in the story, Kṛṣṇa again encounters Heruka in the form of a blue man with Hindu religious markings bearing a skull. The blue man informs Kṛṣṇa that he is the leader of Kṛṣṇa’s group, to which Kṛṣṇa haughtily objects. The blue man transforms into Heruka and flies into the sky, leaving Kṛṣṇa begging to become his student. Heruka predicts that Kṛṣṇa will not achieve mahāmudrā siddhi during his life, but he will obtain supreme siddhi in the bardo. This event compels Kṛṣṇa to compose his famous six treatises, mentioned at the outset of Completing the Whole Path with Caṇḍālī. He converts Śrīcandra to Buddhism, who then decrees that his subjects are to be Buddhists. This account also records Kṛṣṇa’s death-bed request that his body not be burned for seven days.7 On the fifth day, the king ordered the whole kingdom to gather with the sound of drums. During the cremation, the body vanishes in the midst of the smoke offering substances such as parasols, banners, and a rain of flowers; the self-arisen sounds of many instruments such as ḍamarus, cymbals, and so on, are heard; and divine scent permeates everywhere.
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- Translator's notes
- Note from Ringu Tulku
- The Inner-Heat (Tummo) Complete Path Written by Lopon Nagpo Chopa.
- Other notes
- Genre from Richard Barron's Catalog
- Instruction manual
- Genre from dkar chag
- grol byed khrid
- BDRC Link
- VolumeI1CZ3968
- BDRC Content Information
- No note on contents
- Commentary(s) of this Text in the DNZ
- Nag po pa'i gtum mo lam rdzogs kyi khrid yig bkra shis li khri'i thig le
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 Gdams ngag mdzod 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 Person:Namdak, Tenzin and Person:Wiener, G. for help with fonts and conversion.
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