The Royal Tantra on the Brilliant Diffusion of Majestic Space With Tibetan Text Translated by Christopher Wilkinson The painting on the cover represents the Himalayan blue sheep, or bharal, which is mentioned in the Tantra. It was painted by Tsering Kelsang, a master artist currently has a studio at DoDrupchen Rinpoche's monastery in Sikkim. Tsering Kelsang graduated from the art school at the Tibetan Homes Foundation (VTC) in Mussoorie, India, where he studied under Mr. Ngawang, Mr. Dorjee Tsaktsa, Mr. Rigzin. Rigzin.
Tsering Kelsang has been greatly inspired by the work of Mr. Pema Namdrol Thia. If you are interested in commissioning a Thangka, he may be reached at +918927773342 or on Facebook at: https://www.facebook.com/tsering.kelsang.7 No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the author. The only exception is by a reviewer, who may quote excerpts in a review. Published by Christopher Wilkinson Cambridge, MA, USA Copyright 2016 Christopher Wilkinson All rights reserved. ISBN : 1534877886 ISBN-13 : 978-1534877887 DEDICATION For all the teachers and students of the Great Perfection.
Also Translated By Christopher Wilkinson Great Perfection Series: The Secret Tantras of the Fish Wheel and the Nine Spaces: Two Ancient Scriptures of the Great Perfection Ten Early Tantras of the Great Perfection: A Basket of Diamonds The Gods and the Demons Are Not Two: A Tantra of the Great Perfection The Tantra of Great Bliss: The Guhyagarbha Transmission of Vajrasattvas Magnificent Sky Secret Sky: The Ancient Tantras on Vajrasattvas Magnificent Sky The Great Tantra of Vajrasattva: Equal to the End of the Sky Beyond Secret: The Upadesha of Vairochana on the Practice of the Great Perfection Secret Wisdom: Three Root Tantras of the Great Perfection Sakya Kongma Series: Sakya Panditas Poetic Wisdom Jetsun Dragpa Gyaltsan: The Hermit King Admission at Dharmas Gate by Sonam Tsemo An Overview of Tantra and Related Works Chogyal Phagpa: The Emperors Guru Advice to Kublai Khan: Letters by the Tibetan Monk Chogyal Phagpa To Kublai Khan and his Court At The Court of Kublai Khan: Writings of the Tibetan Monk Chogyal Phagpa CONTENTS
Acknowledgments | i |
Introduction | iii |
The Royal Tantra on the Brilliant Diffusion of Majestic Space | |
| The Basic Scene | |
| No Origins or Applications | |
| The Unfathomable Intent | |
| Teaching the Heart-Essence of Our Intent | |
| The Supreme Inspiration | |
| Teaching That Awareness Has No Object | |
| A View that Has No Limitations | |
| Teaching That Awareness Has No Divisions | |
| Teaching the Mandala | |
| Setting the Measure of Our Practice | |
| Cutting Through Exaggerations from Within | |
| The Two Accumulations Are Perfected in Ourselves | |
| Teaching That The Bodhicitta Has No Basic Root | |
| Teaching The Significance of Equanimity | |
| The Non-Conceptual Is Not To Be Meditated On | |
| Teaching That There Is No Going To Or Coming From This Dominion | |
| The Self-Liberation of the Vehicles | |
| Untying the Knots | |
| The Secret Great Bliss | |
| Teaching That the Awareness Is a Golden Vase | |
| Revealing Our Field of Practice | |
| Making Our Ideas Real | |
| Unpolluted Perfection | |
| The Meaning Does Not Move | |
| The Secret Liberation of the Sky | |
| Revealing the Three Embodiments to Myself | |
| Refuting Cause and Result and Recognizing the Three Embodiments | |
| Teaching the Way That We Are Gathered into this Dominion | |
| There Is No Break In the Continuum | |
| Teaching Dhyna Meditation | |
| Teaching That the Unborn Cuts Through to the One | |
| Teaching That the Characteristics of the Bodhicitta Have No Birth or Ending | |
| Our Own Power of Awareness | |
| The Occurrence of Miracles | |
| Decisive Contemplation | |
| Teaching That We Have Received the Empowerment from the Beginning | |
| Teaching the Specifics on Empowerment | |
| Samaya Are Not to Be Numbered or Protected | |
| Teachings on Touching and Meeting with the Three Embodiments | |
| There Are No Applications for the Six Collections | |
| The Supreme Practice | |
| Teaching the Transmission than which There Is No Higher | |
| Recognition of the Five Embodiments and the Five Greatnesses | |
| Everything Is Perfection Without End | |
| Teaching That there is One Characteristic | |
| The Misunderstanding of the Great Perfection | |
| Presenting the Entourage with Advice | |
| The Entourage Rejoices in the Teacher | |
The Tibetan Text | |
About the Translator | |
ACKNOWLEDGMENTS First and foremost, I wish to thank my root teacher Dezhung Rinpoche for constantly bringing out the best in me and encouraging me to pursue a comprehension of every branch of Buddhist learning. It was he who introduced me to Dilgo Kyentse Rinpoche, and through his recommendations enabled me to receive full empowerments, transmissions, and permissions in the areas of Mah, Anu, and Ati Yogas. With the highest regard I wish to thank Dilgo Kyentse Rinpoche, Khetsun Zangpo Rinpoche, Nyoshul Khen Rinpoche, and Khenpo Palden Sherab for their kind instruction and encouragement in my effort to translate the literature of the rDzogs chen. There are many individuals, too many to name here, that have helped me over the years to become a qualified translator, in many ways. At this time I want to remember the kindness of Ngawang Kunga Trinlay Sakyapa, Jigdral Dagchen Sakya Rinpoche, Dhongthog Rinpoche, H.H. Karmapa Rangjung Rigpay Dorje, Kalu Rinpoche, Chogyam Trungpa Rinpoche, Geshe Ngawang Nornang, Carl Potter, David Ruegg, Turrell Wylie, Gene Smith, Karen Lang, Richard Solomon, Jack Hawley, David Jackson, Cyrus Stearns, Herbert Guenther, Eva Neumeier-Dargyay, Leslie Kawamura, Robert Thurman, Paul Nietupski, Lou Lancaster, David Snellgrove, Jean-Luc Achard, Steve Landsberg, Tsultrim Alione, Carolyn Klein, Rob Mayer, Jonathan Silk, David White, Mark Tatz, Steve Goodman, and Kennard Lipman.
I want to make special thanks to Marcos Gonzalez Pardo for proofing the manuscript and to Robert J. Barnhart for his generous support. I also want to offer a very special thank you to Tsering Kelsang, who painted the wonderful image of the blue sheep in the mountains for the cover of this book. The many people who have contributed to my understanding and ability to do this work cannot be counted. I wish to thank everyone that has taken a kind interest in these translations, however slight, for your part in making this work a reality. .
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