Maybe its the dark magnetism of impending all hallows' eve, but I'm feeling a mischievous urge to rile up all the ghouls and goblins of unapologetic dogmatism and have them stare in unison — — into The Crystal Mirror. That is, The Crystal Mirror of Philosophical Systems by Thuken Losang Chökyi Nyima (1737-1802). Fortunately, this classical Tibetan polemical text is now available to the English reading world due to the clear translation of Geshe Lhundup Sopa and the lucid editing of Roger Jackson under the umbrella of The Library of Tibetan Classics series (Wisdom Publications, '09).^[1]

Dakini Niguma

Commentators on earlier posts have asked or made reference to relationships between the Shangpa lineage and the Jonangpa.^[1] In response, I thought to sketch some of the overlapping threads among Shangpas and Jonangpas in order to draw a few historical connections.

The Shangpa lineage, as Tibetologist Matthew Kapstein has described, is like "some vine that adorns a whole forest without being able to stand by itself" so much so that it "may strike one who follows its twists and turns as being virtually an omnipresent element in Tibetan Buddhism."^[2] Being so, its fairly safe to say that transmissions from the Shangpa lineage have penetrated each of the mainstream Sarma (or "New School") traditions of Buddhism in Tibet while no institutionalized representation of the contemporary Shangpa tradition is known to survive in Tibet today. With striking parallels, transmissions associated with the Jonangpa are also like an unbroken vine complexly intertwined within many of today's mainstream traditions. However, despite the (still) common conception that the Jonangpa no longer endure as a living tradition, they maintain an institutional presence in contemporary Tibet.

Over the summer, I was browsing through a Tibetan book shop and I happened upon the recently reproduced collected works of Rongton Shakya Gyaltsen (1367-1449). As I opened the first volume to look at the table of contents, my eyes were drawn to the title, A Praise to the Great Omniscient Dolpopa Sherab Gyaltsen.^[1]

Rongton was a fascinating figure whose writings have not received much attention by western scholars to date. He was the founder of Nalendra Monastery located north of Lhasa, the seat of the Nalendrapa sub-order of the Sakya tradition. Among his numerous teachers were Sonam Zangpo (1341-1433), a disciple of three of Dolpopa’s main student's, Chogle Namgyal (1306-1386), Nyawon Kunga Pal (1285-1379), and Sazang Mati Panchen (1294-1376). Rongton was also a main teacher of Shakya Chokden (1428-1507), one of the most prominent zhentong exponents of the Sakya tradition. He was a teacher of Zhonu Pal (1392-1481), the author of the Blue Annals, and a teacher of the 7th Karmapa, Chodrak Gyatso (1454-1506).^[2]

Without jumping the gun (as we continue to set the text), I thought to write a post with the hope to help contextualize a forthcoming publication in the Tibetan language on the essential zhentong works by the Jonang master from Dzamthang, Ngawang Tsoknyi Gyatso (1880-1940).^[1]

Zhentong — the contemplative view that the ultimate nature of reality is empty of all extraneous superficial characteristics while profusely full of the qualities that define enlightenment — has become a hallmark of the Jonang tradition of Tibetan Buddhism. From its early articulation by Tibetan forefathers of the Jonangpa in the eleventh century, up to Dolpopa Sherab Gyaltsen’s (1292-1361) formal codification, and on through later authors such as Tāranātha (1575-1635), zhentong philosophical thinking has revealed itself to be complex, nuanced, and manifold.

Kalachakra Mandala

One of my favorite themes in tantric Buddhism is the mandala. The replicated symmetry of a perfected space and the implicit dialogue between the deity and the various facets of its environment have always fascinated me.

Recently, I had a chance to look closely at one specific mandala of the Kālachakra, one that is unlike the typical depiction.^[1] This particular mandala was commissioned by Lhachok Sengé (1468-1535) from Ngor Evam Choden Monastery, and is one of the famous Ngor Mandalas associated with the Sakya tradition of Tibetan Buddhism.^[2] I understand that Ngor Monastery was pretty much demolished during the Cultural Revolution and that the stupa that was known for its mandalas is no longer a place of rich artistic value. However, as we see through this mandala and other examples, the artistic tradition of Ngor was not in a vacuum but in fact was in exchange with many of its neighbors in Central Tibet, including the Jonangpas just a few valleys away.

There is an intriguing and somewhat mystifying narrative that has been popularized about the Tibetan Jonang master Tāranātha (1575-1635). This narrative suggests an account of Tāranāha's life story in which he traveled to Mongolia from his seat at Takten Damchö Ling Monastery in Central Tibet during the latter part of his life and that while there, he established several monasteries before finally passing away in Ulan Bator, the capital city in the republic of the Mongols.

This narrative on Tāranāha's travels and death in Mongolia has become so popular and widely accepted as factual that it is often the standard account given on the web and is commonly found in publications.^[1] Yet considering its regular appearance in English language sources, it became apparent to me a few years ago while in conversation with a Jonang lama in Amdo about the life of Tāranāha that this narrative was mostly unknown to contemporary Jonangpas in Tibet. So where did this narrative originate? Why? And what other narratives about the final days and death of Tāranāha do we find in Jonang sources?

The following post is titled, A Brief Sketch of the Life of Buddhagupta-nātha. By Thomas Roth, a contributing author to the Jonangpa blog.

Buddhagupta

Jonang Jetsun Rinpoche, better known as Jonang Tāranātha (1575-1635), is well known for the many histories that he authored. Especially his famous History of Buddhism in India, The Seven Instruction Lineages and the Origin of the Tārā-Tantras, as well as his Kālacakra and Vajrabhairava histories, give us a fairly good idea of the development of many siddha lineages in India and their continuation onto Tibetan soil. The source for many of these accounts was an Indian master whom Tāranātha met around the year 1594 near Narthang in Central Tibet, while he himself stayed in a hermitage called “Mahābodhi.” That master was none other than the Mahāsiddha Buddhagupta-nātha, who was a disciple of the very famous Mahāsiddha Shanti-Gupta. Shanti-Gupta’s biography is added as an appendix to Tāranātha’s Seven Instruction Lineages, whereas his biography of Buddhagupta-nātha appears as a separate text.^[1]

Jamgon Kongtrul

One of the most fascinating figures in Tibetan history, Jamgon Kongtrul Lodrö Thayé (1813-1899) is also one of the most studied Tibetan masters. In addition to several articles on his life and works, numerous volumes of his writings and compendiums have now been translated into English and other European languages, including his autobiography, A Gem of Many Colors.^[1] Though his works are well known and he is often considered a reviver of Tibetan traditions including the Jonang, his connections with Jonangpa masters have not been made explicit. In order to reveal some of these connections, I recently started to sift through his record of received transmissions (gsan yig), and I thought to jot a few notes here.^[2]

Are there Geluk zhentongpas? This is a question that I've been asking for some time. Fortunately, a set of rare texts that were recently recovered from Tibet may shed some light on this. Made available in late 2007, there are four published books by two authors of the Geluk tradition that deserve particular attention. These manuscripts were collected from library archives in Tibet and reproduced via computer input as part of the longer Mes po'i shul bzhag series published by China’s Tibetology Publishing House (Beijing, 2007). This set of works includes the three volume Collected Works of Gungru Gyaltsen Zangpo (1383-1450), and one volume from the writings of Kunkhyen Lodrö Rinchen Sengé (15th cent.).^[1]

The following post is titled, "A Description of the Various Aspects of Tārā as Contained in Jonang Tāranātha’s Ocean of Yidam Deities, the 100 Deities of Narthang and the Vajrāvalī of Abhayākara-Gupta." This is the 2nd in a 2 part series. By Thomas Roth, a contributing author to the Jonangpa blog.

There are at least four traditions of describing the 21 Tārās.^[1] Those of Sūrya-Gupta (7th/8th cent.), Atīśa Dipaṃkara (982-1054), Longchen Rabjampa (1308-1363), and Terchen Chokgyur Lingpa (1829-1870). The latter three traditions are very similar in so far as the individual Tārās are described as varying only slightly in body color and the emblems shown on the lotus flowers they hold. Otherwise their appearances are very similar. Apart from some minor differences among these three traditions, the Tārās appear much the same.