By Heidi I. Köppl
Esoteric Tibetan Buddhist scriptures educate practitioners to imagine themselves as deities living inside of a mandala. via doing so, they assert, the practitioner will finally develop into the deity itself. yet are sentient beings instrinsically natural, or does visualization perform lead them to natural? during this eleventh-century observation, the well known Nyingma (Ancient institution) student Rongzom Chokyi Zangpo units out his research of the character of purity. This penetrating learn, directed in the direction of students and severe practitioners, includes Koppl's English-language translation of Rongzom's unique textual content and her explication of his perspectives. Koppl's incisive research deals an outline of Rongzom's occupation and works and provides specified realization to his critique of Madhyamaka philosophy. a few of Rongzom's ways, Koppl indicates, are unconventional even in a Nyingma context.
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Additional resources for Establishing Appearances as Divine: Rongzom Chokyi Zangpo on Reasoning, Madhyamaka, and Purity
114. sixty two there was debate approximately even if the 3 larger tantras (Mahā, Anu, and Ati) have been set forth as person automobiles within the early levels of Buddhism in Tibet. even though, Sam van Schaik has discovered transparent symptoms in Tunhuang files that the time period “nine slow cars” (theg pa rim pa dgu) was once in use very early (see van Schaik (2002): 235-236). additionally, the Garland of perspectives as Oral directions explains the various methods to enlightenment through 9 different types, of which the 1st six have the identify “vehicle” (theg pa, yāna) hooked up, whereas the final 3 are in simple terms referred to as “ways” (tshul ). Rongzom in his observation at the Guhyagarbha Tantra truly identifies those 9 different types defined within the Garland of perspectives as Oral directions as 9 cars (theg pa dgu): theg pa ni rnam pa dgur bstan pa yang yod de/ guy ngag lta ba’i phreng ba las gsungs pa ltar/ mtshan nyid sde gsum dang/ phyi rgyud sde gsum dang/ nang rgyud sde gsum mo/ (Collected Works of Rongzom, vol. 1, 47). Karmay, while discussing Sapaṇ’s feedback of the 9 automobiles (theg pa dgu), states that, “His [Sa paṇ’s] rivalry isn't easily philosophical pedantry because it may appear. It has the echo of culture long ago the place Atiyoga was once no longer thought of to be a theg pa. ” Karmay helps this with reasons present in Tunhuang files in addition to within the Garland of perspectives as Oral directions and Rongzom’s observation to the Garland of perspectives as Oral directions, the place the authors (including Rongzom) have kept away from utilizing the time period “vehicle” (theg pa) for the 140 determine ing seem anc es as divin e final 3 of the 9 autos (theg pa dgu) (Karmay (1988): 148). in spite of the fact that, we needs to as regards to the above mentioned passage from his observation to the Guhyagarbha Tantra be aware that Rongzom had no reservation in regards to classifying all of the six periods of Tantra, set forth within the Garland of perspectives as Oral directions, as a different motor vehicle (theg pa). sixty three Sapaṇ could have been the 1st critic of the nine-vehicle (theg pa dgu) approach, calling Yoga, Mahāyoga, Anuyoga, and Atiyoga mere degrees of meditative absorptions (samādhi) and objecting to them being termed yānas. He relatively gadgets to the category of Atiyoga as a motor vehicle (theg pa) because it is knowledge (ye shes) (see Karmay (1988): 147 and Sakya Pandita (2002): 132-133). whilst explaining the connotations of the time period “vehicle” (theg pa) within the context of the Guhyagarbha, Rongzom feedback that “vehicle” (theg pa) the following refers either to the brain that realizes equality and to the scriptures that educate it: ’dir ni mnyam pa nyid rtogs pa’i blo dang/ de ston pa’i gzhung gi tshig gnyis ka los angeles theg pa’i sgrar bshad do// (Collected Works of Rongzom, vol. 1, 46). Dudjom addresses Sapaṇ’s critique, pertaining to Sapaṇ’s statement that “Atiyoga isn't a vehicle,” as an announcement that calls for interpretation (dgongs pa can) (see Dudjom (1991): 907-908). Mipham’s Survey of the Guhyagarbha Tantra takes up Sapaṇ’s critique intimately (see Mipham: 2000).