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Tibetan Buddhist Power Objects  

James Duncan Gentry

As Tibetans began to import Buddhist scriptures and translate them into the Tibetan language in the 8th and 9th centuries, they also imported items like relics, reliquaries, statues, paintings, amulets, and other material objects believed to embody and transmit power through their physical connections with buddhas, bodhisattvas, and saints of the past. Guided by scriptural pronouncements, as these resonated with indigenous sensibilities Tibetans came to hold that sensory interactions with Buddhist power objects would enable unmediated access to the powerful sources of the Buddhist tradition for a range of pragmatic and transcendent goals. Such encounters were held to be so efficacious that they were sometimes promoted as viable complements or substitutes for the study and cultivation of Buddhist doctrine. As Tibetans integrated Buddhism into Tibetan culture they began crafting their own Buddhist power objects. These became so ubiquitous and diverse in Tibetan Buddhist societies that there is no single Tibetan term that directly corresponds with the category of “power objects” to encapsulate their full range. Patterned after Indian prototypes, Tibetans developed their own terms and rubrics for these kinds of objects. They also adapted them to include a wider spectrum of items and advanced theories of their power and efficacy that extend beyond their Indian Buddhist counterparts. On this account, controversies sometimes erupted among Tibetan ecclesiastical scholars over the purported nature and potency of such things. The prominent role given to Buddhist power objects in Tibet entailed they would serve as touchstones for the formation of Tibetan Buddhist communities, institutions, and states. Yet, sustained discussion of these kinds of objects has only been sporadic among traditional Tibetan exegetes and modern academic scholars of Tibetan Buddhism.

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Guardian and Protector Deities in Tibetan Buddhism  

Cameron Bailey

Dharma protectors are a critical and indispensable aspect of Tibetan Buddhism, but the full theological, psychological, political, and literary significance of this special class of deity and their cults is still relatively poorly understood and understudied in Western scholarship. Dharma protectors, who in their typically distinctively wrathful appearances embody and transmute negative emotion and terrifying existential realities, constitute a kind of spiritual or daemonic sangha that in their most immediate function is meant to act as an apotropic ward against any and all threats to the human Buddhist community. Further, these beings are often invoked and employed as something like “familiar” or servitor spirits for a range of purposes by Buddhist religious specialists. While there are hundreds if not thousands of different protector deities in the shifting, kaleidoscopic “polytheon” of Tibetan Buddhism, there are a relative few main deities around which Tibetans have historically and continually produced a large body of art, ritual, and narrative literature. The most soteriologically and cosmologically significant protector deities, and consequently often the most popular, are usually figures directly borrowed from Indian Buddhism, such as Mahākāla, a wrathful Buddhist form of the Hindu god Śiva, or they are adaptations of Indian deities, such as the great goddess Śrī Devī and the astrological demon Rāhula. These more “Indian” deities tend to be regarded in Tibetan Buddhism as fully enlightened and are distinguished from native Tibetan deities who are more typically seen as unenlightened or more recently enlightened protectors. The Tibetan mythology of these deities usually takes the form of a conversion narrative, describing how they were born and the events leading up to their becoming (under often quite violent circumstances) guardians of the Buddhist teachings. These Tibetan Buddhist myths, which have largely been neglected by Western scholars, imitate the structures and themes of Indian Buddhist and non-Buddhist Jātaka, Purāṇic, Māravijaya, and Avadāna literary genres, but also often transvalue and subvert them. Thus the “biographies” of these protector deities represent the dark tantric inversions of normative Buddhist hagiography.

Article

Mipam  

Douglas S. Duckworth

Mipam (or “Mipham”; ’Ju mi pham rgya mtsho, 1846–1912) was one of the most influential figures in the Tibetan Buddhist world in the last 500 years. In his writings, he integrates aspects of the Buddhist epistemological tradition with a view of tantra and associates the view of the Great Perfection (rdzogs chen) with Prāsaṅgika-Madhyamaka. The Great Perfection is for the Nyingma (rnying ma) tradition its highest esoteric teachings, and Prāsaṅgika-Madhyamaka is the philosophy commonly accepted in Tibet as the highest exoteric view. Buddhist epistemology, as a system that delineates the means of reliable knowledge, in particular plays an important role in both esoteric (e.g., sutra) and exoteric (e.g., tantra) domains by outlining the authentic means of knowing reality. By integrating the esoteric teachings of Nyingma tantra with Buddhist epistemology and Prāsaṅgika-Madhyamaka, Mipam affirms the Nyingma not only as a tradition of tantric exegesis and ritual practice, but also as grounded within the rigorous intellectual traditions of Buddhist exoteric philosophy. Mipam systematized the Nyingma tradition’s view of the Great Perfection within his writings on the Buddhist literature that had become the predominant topic of study in the curriculum of monastic education. Central to Mipam’s writing is the prominent place of reasoned inquiry as a means to arrive at the view of the Great Perfection. This is a feature that distinguishes the character of his works and is a significant contribution to Nyingma philosophy. Indeed, the interplay of reason and the transcendence of reason is a central theme in his writings. His skill in engaging the Great Perfection within a rational, dialectical exchange underscores that the Great Perfection is not naive anti-intellectualism, but involves a subtly profound view that, at least in Mipam’s presentation, incorporates reason and transcends it. In his writings on Madhyamaka and other works, Mipam developed a platform for Nyingma monastic education by formulating a systematic presentation drawn from an interpretative framework based on the Great Perfection. This was his unique contribution to the Nyingma, but not all in the Nyingma tradition were ready or willing to adopt his interpretation. It did not take long, however, for this interpretative framework, forged for the Nyingma monastic colleges, to dominate the curriculum in these colleges in Tibet, India, and Nepal. His works continue to be widely studied in such institutions up to the present day.

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Debate in the Tibetan Tradition  

Jonathan Samuels

“Debate” (Tibetan: rtsod pa), in the present context, refers to a uniquely Tibetan method of structured analysis and discourse conducted between two (or more) parties on matters pertaining to religion. The practice is extremely technical and has traditionally been the province of monks. It has medieval roots, and it references logical principles derived from the Indian Buddhist pramāṇa system. Debate is also closely aligned with the tradition of commentarial writing, in which the evaluation and critiquing of earlier interpretations of Indian-origin Buddhist works has long been standard. A custom among Tibetan religious writers has been to deal with “rival” interpretations in a truculent fashion, redolent of an actual confrontation. There is also much in the dialectical approach, analytical process, and language that can best be described as shared between the literary and oral spheres (with frequent crossover and borrowing). But debate is primarily to be understood as a face-to-face practice, distinct from what is represented in the written medium, and only truly comprehensible in terms of the institutional context of its performance. Furthermore, while inspired by Indian scholastic traditions, this kind of argumentation is peculiarly Tibetan in its formulation. The practice of debate is especially associated with the largest school of Tibetan Buddhism, the Geluk (dGe lugs). In the school’s major scholastic centers, which were, for a number of centuries, the largest monasteries in the world, debate was employed as the primary tool of education, with those trained in the scholastic tradition, including its most prominent figures, such as various Dalai Lamas and Panchen Lamas, having been required to master it. Academic understanding of debate relies heavily on analysis of the so-called Collected Topics (bsDus grwa) works, primer materials, chiefly composed of sample debates, from which students (and academics) learn about the logical principles, basic taxonomies, and informal “rules” that structure debate.

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Tantra and the Tantric Traditions of Hinduism and Buddhism  

David B. Gray

The term tantra and the tantric traditions of Hinduism and Buddhism have been subjected to a great deal of misunderstanding in both India and the West. There is a diverse range of attitudes toward the tantric traditions, ranging from their emic understandings as paths to liberation to the relatively widespread associations of the tantric traditions with sorcery and libertine sexuality. Likewise, tantric traditions are also extremely diverse, which has made it difficult to develop a definition broad enough to cover the various tantric traditions without being overly broad. There have also been many attempts to discern the origins of the tantric traditions. While there is very little evidence supporting the hypothesis that any of the tantric traditions existed before the 5th century ce, there have been attempts to trace back these traditions much earlier, to the time of the Buddha or the ancient Hindu sages, or even back to the Indus Valley civilization. In overviewing various attempts to date these traditions, it appears that the first tantric traditions to emerge in a distinct form almost certainly first emerged in a Hindu context around the mid-first millennium ce. An overview of the history of tantric traditions, then, should begin with a survey the development of the Hindu tantric traditions, from the mid-first millennium ce up to the colonial period, when tantric traditions in South Asia generally entered a period of decline, followed by a renaissance in the 20th century. The historical appearance of Buddhist tantric traditions occurs a few centuries later, during the 7th century. Buddhist tantric traditions were strongly influenced at their inception by preexisting Śaiva Hindu traditions, but they also drew on a growing body of ritual and magical practices that had been developing for several centuries, since at least the 5th century ce, in Mahāyāna Buddhist circles. The spread of tantric traditions quickly followed their development in India. They were disseminated to Nepal; Central, East, and Southeast Asia; and also, much later, to the West. Tantric Hindu and Buddhist traditions were also a significant influence on a number of other religious traditions, including Jainism, Sikhism, the Bön tradition of Tibet, Daoism, and the Shintō tradition of Japan.

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Pilgrimage in Buddhist Tibet  

Paul B. Donnelly

The English word “pilgrimage” has been used to translate the Tibetan nekor or nejel, which means to circumambulate or to meet a sacred place, respectively. “Tibet” here refers not only to the modern Tibetan Autonomous Region but also to what has been called “Ethnographic Tibet.” This area includes the three provinces of Utsang, Kham, and Amdo, but also regions outside the modern political borders of China, such as Ladakh, Zangskar, Bhutan, Dolpo, and Mustang. The people across these regions share a common written language, largely similar social institutions and values, and a shared sense of historical connection. Though lesser known in the West than the doctrinal and meditative traditions of Tibet, pilgrimage has always been central to the religious lives of the people of the Tibetan cultural regions. In fact, while doctrine and meditation have been the purview of the elite monastic scholarly minority, pilgrimage has been far more pervasive and practiced by laypeople as well as the monastics for purposes both worldly and soteriological. Though religious elites or even ordinary Tibetans may describe pilgrimages in sophisticated Buddhist doctrinal terms, what they actually do is often as rooted in indigenous Tibetan conceptions of place and sacred power as it is in Buddhism. The concept of sacred place preceded the introduction of Buddhism into Tibet, and sacred places have remained important to both adherents of the Bön religion and of Buddhism. Pilgrimage to holy mountains, lakes, caves, and “hidden lands” was, and remains, central to Bön practice. This fact is consistent with the Bönpos’ self-identification as the preservers of the indigenous religion of Tibet. Buddhists in Tibet visited and venerated these powerful places, either overwriting their pre-Buddhist understandings with Buddhist ones or allowing the autochthonous powers respect alongside Buddhist practice. One well-known myth describes the Buddhist taming of Tibet in terms of Buddhist masters subduing and pinning down a demoness identified with the land of Tibet itself. Once tamed, mountains, lakes, caves, and hidden lands became understood in terms of tantric Buddhist doctrine and practice. After the conquest of Tibet by the People’s Republic of China (PRC) in 1950, pilgrimage became difficult for many Tibetans. This remained the case until the liberalizations of the PRC in Tibet in the mid-1980s. This shift allowed Tibetans to resume the practice of pilgrimage and opened Tibet to Western scholars interested in the practice. Since the mid-1990s, scholarship on Tibetan pilgrimage has flourished, and some scholars have turned their attention to pilgrimage in the ethnographically Tibetan regions in Northern India.

Article

Tibetan Demonology  

Christopher Bell

Tibetans engage with a panoply of divinities and spirits in their daily lives and ritual activities. The word “demon” does not capture the sheer breadth and diversity of these beings because there is a rich assortment of distinct spirit types that cause illnesses, guard against calamities, or possess human mediums to provide clairvoyant advice. While comprehensiveness is impossible, a representative demonology is valuable by offering a foundation for further exploration. Most Tibetan spirits are capricious or overtly pernicious and require oracles, diviners, tantrikas, and other religious specialists to ward off or harness their power. The gods and spirits of Tibet also fit loosely into ontological categories along a larger spectrum that includes enlightened beings, transcendent deities, worldly gods, and fierce demons. The boundaries between these categories are often porous, especially when it comes to aligning certain spirits with buddhas, bodhisattvas, or wrathful deities of the land. For Buddhism and Bön, the two major religious traditions of Tibet, there are specific protector deities with robust mythologies and liturgical corpora that are frequently propitiated and revered in order to maintain these religions both materially and spiritually. Interacting with such divinities often takes the form of oracular ceremonies or image consecrations and offerings. The practices may vary dramatically between spiritual lineages and regions, but the overall concept is rooted in interacting with these powerful forces to effect social, communal, and individual change. In Tibet, spirits are potentially dangerous, but they also offer diverse opportunities for personal advancement and religious enrichment.

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Theos Bernard, the “White Lama”  

Paul G. Hackett

Theos Bernard was an early pioneer of yoga in the United States and only the third American to reach the capital of Tibet, Lhasa, but the first to do so as a religious pilgrim. Although born in Los Angeles, California, Bernard was raised and educated in Tombstone, Arizona. In the late 1930s, Bernard embarked upon a journey to India and Tibet and, while there, explored the yogic traditions of India and participated in some of the highest religious rituals in Tibet, all while documenting his experiences on paper, in photographs, and on film. Upon returning to New York in 1937, Bernard wrote and published several books purporting to chronicle his experiences in India and Tibet and setting forth the fundamental principles of Indian and Tibetan philosophies as he understood them. During the years that followed, Bernard attempted to establish a Tibetan research center in Santa Barbara, California, together with the Tibetan monk and scholar Gendün Chöpel. His efforts having been thwarted by the events of World War II, in 1942, Bernard instead entered Columbia University to pursue a PhD in philosophy. Completed less than a year later, his dissertation, “Hatha Yoga: The Report of a Personal Experience,” was an ethnographic report of his studies in India that was subsequently published, and which served to introduce the practices of yoga to a new American generation. Bernard went on to found the short-lived Tibetan Text Society in Santa Barbara, California, prior to returning to the Indian subcontinent in 1946 in search of additional resources. Finding his entry to Tibet blocked by the British government in India, he bided his time until Indian independence. In August 1947, he launched a different expedition into the western Himalayas—to Spiti, Lahoul, and Ladakh—five days after the Partition of India. He was never seen again.

Article

Dzogchen  

Sam van Schaik

Dzogchen, often translated as “the great perfection,” is a tradition of meditation practice and poetic literary expression in Tibetan Buddhism. Though its origins lie in Indic Buddhism, Dzogchen developed a distinct form of practice and literary expression only in Tibet. In general, Dzogchen texts evoke and discuss a state of awareness present in all living beings that transcends dualities and conceptual elaboration. Common terms for this state of awareness are “mind itself” (sems nyid) and “awareness” (rig pa). Dzogchen literature often states that in the presence of this awareness, religious practice oriented toward enlightenment is dualistic and, therefore, not only unnecessary, but also obstructive. Nevertheless, Dzogchen is usually integrated with other forms of Buddhist practice. The Dzogchen tradition encompasses a variety of literature and practice; the most common way of categorizing this is a division into three classes, the mind series, the space series, and the instruction series. The mind series contains most of the early Dzogchen literature, and more recent material in the same style. The space series enjoyed only limited popularity, and little is known of it today. The instruction series, by contrast, increased in popularity from its appearance in the 11th century and in time supplanted the mind series and the space series, ultimately becoming the predominant form of Dzogchen. The practice of Dzogchen requires an authorized teacher and the ritual transmission of key texts, as well as an “introduction” to the nature of the mind given by the teacher to the student. The main scriptural sources of Dzogchen practice are texts held to be translations collected in semicanonical compendia, treatises by Tibetan scholars, and revealed texts known as terma, usually said to have been concealed in the 8th century by the tantric master Padmasambhava. Dzogchen is a living tradition, taught within all of the main Tibetan Buddhist schools, though it remains closely associated with the Nyingma school. Within the latter, Dzogchen is considered to be the most advanced of Buddhist meditation practices, placed at the top of a ninefold categorization of Buddhist practice, the “nine vehicles.” Known in this context as atiyoga, “the utmost yoga,” it is the highest of the three “inner yogas,” the other two being mahāyoga and anuyoga. Dzogchen is also at the pinnacle of the teachings of Tibet’s Bonpo religion, which shares much of its doctrine with the Nyingma school and has in recent years been formally identified as one of the Buddhist schools of Tibet.

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The Vajrakīla Tantras  

Martin Boord

Belonging to an esoteric corpus of Buddhist texts known as the teachings of secret mantra (Skt. guhyamantra), the tantras of Vajrakīla have been carefully guarded through the centuries and handed down from teacher to disciple under a strictly ethical code of conduct. Although the texts themselves often seem to advocate a violent and unrestrained lifestyle, under the skillful guidance of a suitably qualified guru, who must be seen by the disciple as none other than the Buddha himself, one who seriously engages in the systematic practice of their profound series of meditations becomes quickly and thoroughly purified in body, speech, and mind. The wrathful deity Vajrakīla is described in all the tantras that bear his name as the manifestation of heroic power for the overthrow of Māra. During times of peace he manifests as Vajrasattva, and his mind abides in tranquility. During times of activity he manifests as “Vajra of Total Destruction” (Skt. *Ativināśanavajra) and, when manifesting as a bodhisattva, he is Vajrapāṇi, “the One with a Vajra in his Hand.” With regard to his name “Vajrakīla”: vajra as a prefix is found everywhere within the Buddhist tantras. Originally meaning “the hard or mighty one” and referring in particular to the thunderbolt as a weapon of Indra, it subsequently became so intimately associated with the development of tantric ideas in Buddhism that the entire system of practice came to be known as the Vajrayāna or Vajra Vehicle. Indeed, as a symbol within the Buddhist tantras it is as pregnant with meaning as the very texts themselves. Characterized as abhedya, “unbreakable,” and acchedya, “indivisible,” the term may be said to represent nothing less than the full enlightenment of the samyaksaṃbuddha, who himself came to be referred to as Vajradhara, “Holder of the Vajra.” The Sanskrit word kīla means “nail,” “peg,” or “spike,” and thus Vajrakīla may be taken to mean “the unassailable spike” or, on a higher level, “(He who is) the nail of supreme enlightenment.” Introduced to Tibet during the 8th century ce, the Buddhist tantras of Vajrakīla were received with great enthusiasm and quickly became established as a vital element in the religious life of the Tibetan empire. Said to encompass every aspect of the ground, path, and goal, the Vajrakīla tantras present a coherent and complete system of spiritual practice that culminates in the attainment of perfect liberation from the round of rebirth. The roots of Kīla mythology, however, may lie buried deep within the pre-Buddhist religion of ancient India where, in the Ṛgveda, the story is told of the god Indra who slew the demon Vṛtra. It is said that, at that time, Indra stabilized the earth and propped up the heavens with a kīla and thus, at the outset, we have clearly discernible indications of a path along which a simple wooden stake might travel so as eventually to become deified as a terrifying god of awesome power, one by whom all demons are vanquished and enlightenment realized for the benefit of the world.

Article

Nechung: A Tibetan Buddhist Oracle  

Christopher Bell

The Tibetan Buddhist monastery of Nechung (Gnas chung) is home to a powerful protector deity and historically housed the human oracle he would possess to give prophetic advice. Located on the outskirts of the Tibetan capital of Lhasa and downhill from the famous Geluk (Dge lugs) monastery of Drepung (’Bras spungs), Nechung has existed since at least the 16th century and had close ties to the lineage of the Dalai Lamas since the second incarnation. It is the Nechung Oracle, possessed by the deity Pehar (Pe har) or his ministerial emanation Dorjé Drakden (Rdo rje grags ldan), that the Dalai Lama has consulted on matters of state for centuries and continues to do so as part of his government-in-exile. This deity is likewise important for having once been the guardian of Tibet’s first Buddhist monastery, Samyé (Bsam yas). However, it was under the auspices of the Fifth Dalai Lama in the 17th century that Nechung Monastery was renovated and greatly expanded, and the Nechung Oracle took on the mantle of Tibet’s head state oracle. Nechung’s narrative and liturgical pedigree nonetheless extends back even to the 12th century and includes Nyingma (Rnying ma) and Sakya (Sa skya) influences that have allowed it to maintain an especially ecumenical character. As the institutional setting for rich mythic and ritual activity for nearly 500 years, Nechung is an important site for understanding Tibetan oracular practices, the Dalai Lama’s administration, and Tibet’s vibrant religious heritage.

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Homa: Tantric Fire Ritual  

Richard K. Payne

The homa is a votive offering involving the construction of a fire in a hearth-altar, and the immolation of offerings in the fire. The altar is homologized with a mandala, and as with other ritual uses of mandalas, the deity evoked in the course of the ritual is located at the mandala’s center, and in this case identified with the fire itself. As a tantric ritual, the practitioner is also ritually identified with both the deity and the fire, and the offerings made into the fire are the spiritual obstacles that impede the practitioner from full awakening. Tantric homas are generally categorized according to different functions or goals, such as protection, subduing adversaries, and so on. As a form of individual practice conducive to awakening, the practitioner’s own inherent wisdom is identified with the fire, and just as the offerings are transformed and purified, the practitioner’s own spiritual obstacles are as well. Ritualized activities of maintaining and making fire are some of the most ancient forms of social coordination, which is essential to the development of the human species. Such ritualization would seem to be the basis for fire cults, forms of which are known throughout the world’s religions. In the scope of Indo-European religions, similarities of practice and symbolism provide a shared background to the homa per se. More directly, there appear to be both Vedic and Indo-Iranian traditions of ritual praxis that converge in the tantric homa. The homa is found in all of the Indic tantric traditions: Buddhist, Śaiva, and Jain. Once established as part of tantric practice, the homa was spread throughout Central, East, and Southeast Asia, particularly in its Buddhist form. This transmission of ritual practice engaged local traditions wherever it spread. Tibetan tantric traditions developed an extensive literature of homa rituals, and from there the practice also influenced Mongolian fire rituals as well. In China, interaction between tantric Buddhism and Daoism led to the creation of a homa devoted to the Northern Dipper, a figure unknown in Indian sources of Buddhist tantra. Two similar examples are found in Japan. The Shintō traditions of Yuiitsu (or Yoshida) and Miwa modified the tantric Buddhist form for the worship of a selection of Shintō deities. Similarly, the tradition of mountain asceticism, Shugendō, also adopted the homa and adapted it to its purposes. As a result of the repression of Buddhism in the third quarter of the nineteenth century, the Shintō forms are no longer extant, though in the present many Shintō shrines perform rituals of various kinds in which fire plays an important role. In contrast, the Shugendō homa, sometimes as a prelude to fire-walking, remains an active part of Japanese religion into the present day. The tantric homa has been interpreted in a variety of ways, reflecting the multifaceted character of fire itself. There are two important strains of interpretation. One is the yogic interiorization of ritual found in post-Vedic Indian religion, more as a form of esoteric physiology than as a psychologized understanding of visualization. While closely related to yogic interiorization of ritual, the sexual symbolisms that are attached to all aspects of the fire rituals constitute a second strain of interpretation. These symbolic associations are important for their role in understanding tantric notions of ritual efficacy, which require greater nuance of understanding than can be attained by simply categorizing such practices as magic.

Article

The Bön Tradition of Dzogchen  

Jean-Luc Achard

Dzogchen (“Great Perfection”) is a philosophical and yogic tradition largely developed within the Bönpo tradition of Tibetan Buddhism. Its first datable sources surface on the religious scene of Tibet sometime around the late 10th to the early 11th century with the discoveries of Treasure text (gter ma) that are supposed to have been hidden during the 8th century and earlier, as well as with the seminal composition of texts and commentaries that are based on these Treasures. Some of its teachings are also presented as having been transmitted orally from archaic, undatable times through an uninterrupted lineage of masters. Groups of lay Bönpo practitioners, later followed by monastics of the same tradition, started to gather around the discoverers and authors of these works, thus creating the first postdynastic religious communities of Bön dispersed throughout Tibet. Deeply enriched by the integration of a vast amount of traditional Buddhist literature, the Bön tradition absorbed teachings from all other Tibetan Buddhist lineages. The core of these teachings is made up of profoundly secret instructions said to enable practitioners to reach the state of total Buddhahood in a single lifetime. The quintessence of these teachings focuses upon yogic techniques centered on the contemplation of light sources, such as the sun, the moon, or a butter lamp. Particular methods are also applied in a completely dark room in which special visualizations are combined with yogic devices that lead to visionary experiences which are unique throughout Buddhist teachings. These practices based on colored visions produce various signs manifesting at the end of the practitioner’s life such as the famed Rainbow Body (‘ja’ lus).

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Marpa Lotsawa Chökyi Lodrö  

Cécile Ducher

Marpa Lotsawa Chökyi Lodrö (Mar pa chos kyi blo gros, 1000?–1085?) is one of the most famous intrepid translators of the 11th century, who traveled from Tibet to India and brought back to his homeland many of the Buddhist teachings that would decline in India over the following centuries. Marpa is the Tibetan founder of the Kagyü school, one of the main religious orders of Tibetan Buddhism. He was the disciple of some of the greatest luminaries of India such as Nāropa (d. 1040) and Maitrīpa (986–1063), and the master of the yogin and poet Milarepa (1028?–1111?). Marpa lived during the period of the second spread of Buddhism in Tibet, a period of cultural renaissance that followed the collapse of the Tibetan Empire in the 9th and 10th centuries. At that time, many Tibetans traveled south to Nepal and India in order to receive, practice, and translate the various Buddhist traditions, sutra and tantra, that were blossoming in India. Marpa specialized in Highest Yoga tantras (Sanskrit niruttaratantras) and transmitted in Tibet cycles associated with the tantras of Hevajra, Guhyasamāja, Cakrasaṃvara, Mahāmāyā, and Catuṣpīṭha. He is well known for the potency of his key instructions related to the perfection phase of these tantras, known as the Six Doctrines of Nāropa (nā ro chos drug). With the success of his disciples’ practice, the Six Doctrines of Nāropa and Mahāmudrā became central teachings in all subdivisions of the Kagyü lineage. Marpa’s life is mostly known through a long biography composed in the early 16th century by Tsangnyön Heruka (Gtsang smyon he ru ka, 1452–1507), but there are many other biographies written before and after that date. Despite basic inconsistencies in the narratives, it can be concluded that Marpa first left home at twelve. He went to study with Drokmi Lotsawa (’Brog mi lo tsā ba, 992–1074) in Tibet, and then continued on toward Nepal and India, where he spent about twenty years in total, making several journeys in Tibet, Nepal, and India. In India, he mostly traveled off the beaten track and lived the life of an Indian yogin, far from the main institutions of the time. Although he met famous masters such as Nāropa and Maitrīpa, he attended on them in jungles, mountains, and charnel grounds, and mostly traveled alone, sometimes accompanied by his friends, the Tibetan Nyö (gnyos) Lotsawa or the Newari Paiṇḍapa. During his first journey to India (in the 1020s and early 1030s), he received all the transmissions for which he became famous in Tibet, and he deepened his understanding during a second journey in the late 1040s. At that time, he is said to have visited most of his teachers again, and to have had visions of Nāropa, who was then either dead or considered to be engaged in tantric practice. In Tibet, he settled in the southern region of Lhodrak, where he became an important landowner and tantric master. Although he often traveled elsewhere in Tibet in the earlier part of his life in order to accumulate gold and disciples, in the later part he mostly stayed in his estate of Drowolung, where his disciples came to meet him. As a lay practitioner, he had children, but his family lineage did not continue after his death. His religious lineage continued with Milarepa, who transmitted the “lineage of practice” (Tibetan sgrub brgyud), which further flowed through Gampopa and all the Kagyü sub-lineages. Ngok Chödor (Rngog chos rdor) and Tsurtön Wangngé (Mtshur ston dbang nge) were other important disciples who held Marpa’s “lineage of exegesis” (bshad brgyud), especially with regard to the Hevajra and Guhyasamāja traditions, respectively.

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Buddhist Art and Architecture in Tibet  

Erberto Lo Bue

Tibetan Buddhists view images primarily as religious supports and secondarily as works of art. Buddhist images are aimed at improving one’s karma by earning merit in view of future existences, at removing obstacles, and at creating wellbeing. Their commissioning may be occasioned by various circumstances, including illness and death, besides the need for a specific religious practice. Since they are primarily expressions of faith, their age has a limited importance and their originality hardly any: a religious image is valued less for its rarity and aesthetic value than for its apotropaic virtues and for its particular connection with a holy place or master. Hence the application of Western post-Medieval aesthetic criteria to the appreciation of Tibetan art ought to be complemented by an appreciation of the specific religious meaning of an image, the interpretation of its particular symbolism, and the aim of its client within the specific cultural and historical context in which it was produced. This article is preceded by a historical introduction sketching the development of Buddhist art and architecture in Tibet from the 7th to the present century, mentioning the role played by foreign artists, mostly Newars from the Nepal Valley, and dwelling on particularly significant monuments, such as the monastery of Sàmye (8th century) and the Great Stupa of Gyantsé (15th century), representing the two highest moments in the history of Tibetan religious art and architecture, the Pòtala being basically a fortified palace. The first section, on Tibetan Buddhist art, deals with iconography and iconometry as well as materials and techniques, contrasting the prevalent approach to the subject by collectors, and even art historians, with that of Buddhist masters and devotees, pointing out the importance of the consecration of images, without which the latter remain worthless from a religious point of view. The second section, on Tibetan Buddhist architecture, deals with the construction of religious buildings, their materials, their religious functions and their symbolism. Although stupas are referred to throughout the article, they are dealt especially in this section. Sanskrit terms, whether in phonetic transcription or in transliteration, prevail in the first section because the relevant terminology is largely the Tibetan translation of Indian Buddhist terms, Tibetan terms in phonetic transcription and transliteration prevail in the second section, except in the part dealing with the stupa.

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Tri Songdétsen  

Brandon Dotson

Emperor Tri Songdétsen (Khri Srong lde brtsan; 742–c.800 ce) is one of the most fascinating figures in Tibet’s religious and political history. He played a central role in shaping the character of early Tibetan Buddhism by patronizing and protecting it as an official religion of the Tibetan Empire (c. 608–866). After proclaiming his official patronage of Buddhism in c. 779, Tri Songdétsen oversaw the consecration of Samyé (Bsam yas) Monastery and made provisions for the official sponsorship of a nascent Sangha. From this point onward, Buddhism became an irrevocable component of Tibetan culture and spread its roots at both elite and popular levels. The basic contours of Tri Songdétsen’s life and work may be gleaned from contemporary administrative records and from the king’s own inscribed pillar edicts and their accompanying paper documents. These describe how he was enthroned as a fourteen-year-old boy after his father was assassinated in the course of a revolt. They also give Tri Songdétsen’s reasons for officCially supporting Buddhism, and mention some of the opposition that he faced. As accounts of the concerted introduction of Buddhism to Tibet, Tri Songdétsen’s edicts constitute a clear forerunner to later Tibetan “histories of the Dharma” (chos ’byung) that would become a standard medium for Tibet’s Heilsgeschichte from the 11th century to the 21st. In this way, Tri Songdétsen also played a key role in the genesis of Tibet’s unique form of Buddhist historiography. Ironically, the very historiographical traditions that Tri Songdétsen inaugurated in Tibet would in subsequent centuries come to express an ambivalent attitude toward the emperor’s central role in the establishment of Buddhism. Although he was lionized shortly after his death and in the century that followed, in Buddhist histories and hagiographies from the 12th century onward, Tri Songdétsen is eclipsed by the figure of the yogin Padmasambhava, who is credited as the real agent in the conversion of Tibet. Within this new narrative, the king is somewhat ineffectual in his commitment to Buddhism, such that his failure to follow Padmasambhava’s instructions eventually accounts for Padmasambhava’s departure from Tibet and for all sorts of future calamities that befall Tibet, its monarchy, and its people. The subordination of Tri Songdétsen to Padmasambhava is part of a larger movement by which kings receded from Tibetans’ devotional emphasis and from their daily lives, and by which the figure of the lama ascended to cultural paramountcy. In particular, it reflects a shift in devotional emphasis across the 11th to 13th centuries from the cult of Emperor Songtsen Gampo (Srong rtsan sgam po; c. 605–649), who was viewed as an emanation of Tibet’s protector bodhisattva, Avalokiteśvara, to that of the yogin Padmasambhava, revered as an emanation of the Buddha Amitābha. Tri Songdétsen became a supporting player in Padmasambhava’s hagiography and cult, as one of his twenty-five disciples, and was also refigured as an emanation of the bodhisattva Mañjusrī. It is in this guise that Tri Songdétsen is remembered within Tibetan cultural memory and within Tibetan Buddhism more generally from the 12th century to the 21st.