Painting Dzambala and Vajrayogini
(By Tsem Rinpoche)
As a child and teenager, I use to spend hundreds of hours painting the Buddhas, mountains, caves, forests and meditators in forests… I loved painting them. I connected with them and felt their presence so strongly in my mind, I had to paint them… I use to listen to Simon & Garfunkel or the Beatles while I painted. I always thought I was born too late. I wanted to be a flower child of the 60’s, and have a cause to work towards and be spiritual like the flower children… I use to draw pictures of Buddhas of all sizes to give people to wear or keep as protection. I knew in my mind, having a Buddha was the greatest protection… no one told me, I just believed… I just knew..
Well it’s been 30 years since I painted my last picture. The last time was when I painted a picture of Buddha Vajradhara and it won the painting contest throughout Freehold Township High School in my High school days in New Jersey. There was a contest throughout the whole school and I won first place to my surprise… many in the school never saw a Buddha nevermind Vajradhara Buddha!! My large painting of Vajradhara was displayed for weeks at the front of the school office for all to see. I was happy as I knew it would bless everyone who saw Vajradhara. Everyone thought it was nice, but they kept asking me who was the Blue man or why is the Buddha blue… hehehe. Imagine a poster size painting of Vajradhara hanging in the middle of a high school with hundreds of kids and staff in middle of a small town in New Jersey??? Hehehe…
Girlie Ooi is a long time and devoted student of mine of over 10 years. She has been single-handedly taking care of her infirmed/aged mom and aunt for over 20 years. She takes care of their every need and it was very beautiful to me. Recently after serving her mother and aunt devotedly for years, the two old ladies passed away peacefully. Girlie was heartbroken. But I wanted Girlie to know she did all that she could and went beyond the call of duty, love and expectation. Thank you Girlie… I like when people care and take care of others very much. I never had the chance to care for my parents or grandparents… too bad for me….
I called Dato’ Ruby to arrange a special lunch at Kechara Oasis’ new branch (lots of private rooms) and invite close friends and relations of Girlie. I wanted to celebrate Girlie’s love, devotion and dedication towards her mother and aunt. Her sacrifice done with love… I wanted to say thank you to Girlie for being such a good daughter and niece. I felt someone had to thank her.
I racked my brains thinking what special gift I can offer her on this special occasion. I had Henry show me all the Dzambala statues in all of our Kechara Paradise outlets. Wonderful staff like Albert sent text pictures of the Dzambalas they had in the outlets which are beautiful, but I decided to paint a Dzambala instead. I am untrained as an artist and never studied for it. I just paint. My paintings are not great, but it’s from my heart.
So the evening before the special lunch I started painting… I had Joy and James helping me with cleaning brushes and mixing paints etc.. and I started around 1 am and completed the next morning around 7 am…I did a prayer to consecrate the painting and had Joy and James go and frame it in time for the lunch. They did a great framing job. It was presented to Girlie and I was told she likes it…
After the Dzambala I decided to paint some abstract Vajra Yoginis and Taras. I did around 7 pieces I think… it was late… At the corner of the painting I composed some thoughts and insights also… and had them framed. They were displayed in Kechara… I don’t know what I want to do with them yet?? Still thinking…
Tsem Rinpoche
Starting at 1 Am….was excited to start and was glad to have something special for Girlie…
I also painted abstract Vajra Yoginis after completing Dzambala early in the morning…..
A message with each Vajra Yogini abstract as I did several at a time…..
The Special Lunch for Girlie
An appreciation lunch for Girlie Ooi from me at Kechara Oasis
Ms Girlie Ooi, a long time student of mine, has spent most of the past 20+ years taking care of her sick and infirmed aunt and mother. She has sacrificed her own personal space, pursuits, her wishes, and aspirations to take care of these old ladies whom she loves dearly. Recently both the mother and the aunt had passed away comfortably and not alone because of Girlie’s hard work and dedication. I wanted to celebrate Girlie’s immense humanity and taking on her responsibility for decades so well. So I had arranged this special lunch for her with family and friends. I wanted to tell Girlie how much I appreciate what she has done. I send my prayers, my love and my deep respects to her. Tsem Rinpoche
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Rinpoche’s painting Dzambala and Vajrayogini not bad at all. Rinpoche can paints well , all I can say …looks amazing.
Beautiful paintings of Dzambala for Girlie Ooi a long time student of Rinpoche . She is such a nice and kind hearted lady who has been taking care of her infirmed aged mom and aunt for over 20 years. Not easy after all , I can understand taking care of them is hard if they do not have basic nursing training.
A special lunch at Kechara Oasis’ were arranged by Rinpoche for what she had done . Glad for her and on top on that she did received the art painting from Rinpoche.
Thank you Rinpoche for this sharing even its an old post.
Rinpoche is really creative and artistic!? Simply cool and lovely to see Rinpoche paint so many Buddha arts. How wonderful it would be if Rinpoche continues to paint and benefit more people!????????
A sacred image of the rare form of Vajrayogini known as Ucheyma, the Buddha that shows us the path to eradicate the ego. For this and many other high-resolution images of the enlightened beings to download for free visit: https://bit.ly/2oxb4qU
Ucheyma (Severed Headed Vajrayogini) (Main figure)
(Top to bottom): H.H. the 7th Panchen Lama, Ucheyma (Severed Headed Vajrayogini), Vajra Varnani (green assistant), Vajra Vairocani (yellow assistant), Dorje Shugden and Citipati.
The central deity is known as Chinnamasta or Dorje Neljorma Ucheyma. Both Chinnamasta (Sanskrit) and Ucheyma (Tibetan) literally mean, ‘She Whose Head is Severed’. The meaning behind her form is to show practitioners that they need to completely remove the grasping and self-identification with the “I” or the ego. Generally, the identity of the self is strongly associated with our face more than any other part of our body. We usually recognise a person when we look at a person’s face. Hence, our self-identification or ego is strongly associated with our face. To show us that this self-identification needs to be overcome on the spiritual path to enlightenment, Vajrayogini uses her ritual chopper to decapitate herself. This is symbolic of her practice eradicating the ego.
The Severed Headed Vajrayogini, as she is also known, removes all afflictive mental constructs by removing the root cause – the identification of the self, the ego. We are either attached to or averse to people and circumstances because we have an ego to please, gratify and protect. But in the grander scheme of things, this self-identification with the ‘I’ is illusory and does not really exist. Therefore, Vajrayogini reveals this ultimate truth through the dramatic decapitation of her head and at the same time is still able to live and function. She is able to live due to her direct perception of emptiness and egolessness.
Contrary to what some people might think, the eradication of the self does not destroy individualism, our personality or make us into a mindless person. In fact, the eradication of the ego makes us become a vibrant and compassionate person, someone that has greater awareness of the suffering of others. In other words, we become much warmer, kinder, forgiving, tolerant, conscientious, generous, contemplative and we are become a joy to be with. The cutting of the ego or the ‘I’ brings us towards awakening our true self, the Buddha nature within.
The Severed Headed Vajrayogini has two dakini attendants. From the trunk of her neck, there are three severed blood vessels spurting three jets of blood that flow into the mouths of her own decapitated head that she carries in her left hand and into the mouths of her two attendants. Tsem Rinpoche explained that the three jets of blood represent that her practice purifies the three psychic poisons of ignorance, hatred and desire. In turn, this leads to the attainment of the three bodies of a Buddha – the emanation body, the enjoyment body and the truth body. In other words, the severance of the ego via her tantric path leads to the purification of all delusions and ultimately, the attainment of Buddhahood itself.
The 7th Panchen Lama, Palden Tenpai Nyima is featured floating above because of his compilation of sadhanas from the ancient Sadhanamala texts. This includes a particular sadhana or collection of prayers, visualisation and mantra focused on Ucheyma. Incidentally, Dorje Shugden in many of his previous lives was a lineage master of the Vajrayogini tantras as well. These previous lives include the likes of the Mahasiddha Naropa and Tsarchen Losel Gyatso. The Lord and Lady of the Charnel Ground, known as Citipati, are one of the main protectors of the Vajrayogini Tantra.
Last of all, the ascetic meditator engaging in his devotional practices towards Ucheyma in the cemetery represents the ideal environment for tantric practice because such environments invoke deep renunciation towards worldly affairs and attachments. All Buddhist traditions advocate meditating on the bones of the deceased because it reminds us of our mortality and hence, we develop revulsion towards the transient nature of worldly or ordinary existence.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Ucheyma (Severed Headed Vajrayogini) (Main figure)
(Top to bottom): Maitri Kacho (Flying Vajrayogini), Maitri Kacho (One-Leg Up Vajrayogini), Naro Kacho, Sukhasiddhi, Ucheyma (Severed Headed Vajrayogini), Vajra Varnani (green assistant), Vajra Vairocani (yellow assistant), Citipati, Vajravarahi and Dorje Shugden.
The central deity is known as Severed Headed Vajrayogini, Chinnamasta or Dorje Neljorma Ucheyma. Both Chinnamasta (Sanskrit) and Ucheyma (Tibetan) literally mean, ‘She Whose Head is Severed’. The meaning behind her form is to show practitioners that they need to completely remove the grasping and self-identification with the “I” or the ego. Generally, the identity of the self is strongly associated with our face more than any other part of our body. We usually recognise a person when we look at a person’s face. Hence, our self-identification or ego is strongly associated with our face. To show us that this self-identification needs to be overcome on the spiritual path to enlightenment, Vajrayogini uses her ritual chopper to decapitate herself. This is symbolic of her practice eradicating the ego.
The Severed Headed Vajrayogini removes all afflictive mental constructs by removing the root cause – the identification of the self, the ego. We are either attached to or averse to people and circumstances because we have an ego to please, gratify and protect. But in the grander scheme of things, this self-identification with the ‘I’ is illusory and does not really exist. Therefore, Vajrayogini reveals this ultimate truth through the dramatic decapitation of her head and at the same time is still able to live and function. She is able to live due to her direct perception of emptiness and egolessness.
Contrary to what some people might think, the eradication of the self does not destroy individualism, our personality or make us into a mindless person. In fact, the eradication of the ego makes us become a vibrant and compassionate person, someone that has greater awareness of the suffering of others. In other words, we become much warmer, kinder, forgiving, tolerant, conscientious, generous, contemplative and we are become a joy to be with. The cutting of the ego or the ‘I’ brings us towards awakening our true self, the Buddha nature within.
The Severed Headed Vajrayogini has two dakini attendants. From the trunk of her neck, there are three severed blood vessels spurting three jets of blood that flow into the mouths of her own decapitated head that she carries in her left hand and into the mouths of her two attendants. Tsem Rinpoche explained that the three jets of blood represent that her practice purifies the three psychic poisons of ignorance, hatred and desire. In turn, this leads to the attainment of the three bodies of a Buddha – the emanation body, the enjoyment body and the truth body. In other words, the severance of the ego via her tantric path leads to the purification of all delusions and ultimately, the attainment of Buddhahood itself.
Severed Headed Vajrayogini is surrounded by some of her other forms, including Naro Kacho, two forms of Maitri Kacho, Sukhasiddhi and Vajravarahi. These forms of Vajrayogini are more commonly practised compared to Severed Headed Vajrayogini and are prevalent in most Tibetan Buddhist lineages. Though they may look different, all forms are indivisible from her true nature and all her practices can lead practitioners to enlightenment. Naro Kacho arose from a vision beheld by the Mahasiddha Naropa, Maitri Kacho from a vision beheld by Maitripa, and Indra Kacho from a vision beheld by Indrabodhi. The Lord and Lady of the Charnel Ground, known as Citipati, are one of the main protectors of the Vajrayogini Tantra.
Last of all, Dorje Shugden is a protector with special affinity with Vajrayogini practitioners because he arose from an incarnation lineage that includes Naropa and Tsarchen Losel Gyatso who practised and proliferated her Tantra.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Vajrayogini (Main figure)
(Top to bottom): Naropa, Vajradharma, Hero Vajradharma, Naro Kacho, Maitri Kacho (Flying Vajrayogini), Dorje Shugden and Vajravarahi.
Vajrayogini is a female tantric Buddha and she has many forms that are derived from various lineages. She mainly embodies the fully enlightened female (shakti) aspect of a Buddha. She belongs to the Mother Tantra classification, which refers to her practice concentrating on the wisdom aspect of the path to Buddhahood. She is also the principal dakini, the compassionate female guides and nurturers of tantric meditation who lead practitioners to enlightenment. In the thangka, the main figure in the middle is Naro Kechari as she arose from the pure vision of the Mahasiddha Naropa.
In Anuttara (Highest) Yoga Tantra, principal dakinis normally appear in union with a male consort and this can be seen in the cases of deities such as Guhyasamaja, Hevajra, and Kalachakra. In the case of Vajrayogini, she is the principal female Buddha of the Chakrasamvara Tantra and therefore, she is normally in union with Heruka Chakrasamvara. Furthermore, Vajrayogini is also considered a Vajradakini, who are yidams or meditational deities in their own right. Their practices have evolved from the main practices of their consorts, simplifying the otherwise complicated original practice by reducing it to a single-deity meditation without sacrificing the main benefits and features of the original. Hence, Vajradakini practices such as Vajrayogini and Nairatmya are derived from the original Chakrasamvara Tantra and Hevajra Tantra respectively.
In essence, Vajrayogini is known as “Sarvabuddha-dakini” or the Dakini Who is the Essence of all Buddhas. Her mantra is known as the King of All Mantras as it has the most powerful ability to bless us with spiritual attainments even without any visualisation or meditation. There are 11 Yogas in the generation stage of her practice and a few which have the power of transforming ordinary actions like sleeping, waking and ordinary daily tasks into a collection of merits. Ultimately, her Tantra offers salvation for ordinary practitioners at death with her special promise of guiding practitioners towards Kechara, or the Paradise of the Dakinis, in which we can continue deep practices to become a Buddha without fear, obstacles and interruptions.
Within Vajrayogini practice, soliciting the blessings of the lama and the lineage master are of paramount importance in order for our practice to bear results. Hence, the lama is visualised as the red Vajradharma with arms crossed at the heart, holding the vajra and bell. The lineage masters are visualised as Hero Vajradharma, holding a damaru and skullcup while cradling a khatvanga. Aside from the main Naro Kechari form, Vajrayogini also appears in the form of Maitri Kechari, who is known as Flying Vajrayogini, and arose from the vision of Maitripa. Another common form is known as Indra Kechari, or Vajravarahi, who arose from the vision of Indrabodhi.
Last of all, Dorje Shugden is a Dharma protector with a special affinity with Vajrayogini practitioners. This is because he himself arose from an incarnation lineage that includes the likes of Naropa, the progenitor of Naro Kechari practice, and Tsarchen Losel Gyatso who had practised and proliferated her Tantra and is listed as one the lineage masters invoked upon every day by Vajrayogini practitioners.
More free downloads: https://bit.ly/2oxb4qU
Read more about Vajrayogini: https://bit.ly/2iVLCuG
Original illustration and text posted by Eric D Hatchell as a reply to H.E. Tsem Tulku Rinpoche’s facebook post on Vajrayogini here: http://bit.ly/VYogini0001
The Dākiṇī with the Essence of all Buddhas, Vajrayoginī
Her practice includes methods to end the otherwise repetitive states of Bardo and rebirth, by transforming the process into a journey, which may lead to full enlightenment. In preparation for which, Vajrayoginī further offers the omnipresent ability to reconstruct the nature of the most, mundane everyday experiences, such that they may reveal higher destinations, via the spiritual paths she may choose to reveal. [1] Vajrayoginī being defined as, “The Dākiṇī who is the Essence of all Buddhas”, [2] is amplified by scholar Miranda Shaw when she implied that this deity is no less than, the supreme nature of the very Tantric pantheon. No male Buddha, including her divine consort, Heruka-Cakrasaṃvara, further advances her in metaphysical implications. [3]
Vajrayoginī’s sādhanā originates from India circa 10/12th C, [4] when summoned as Heruka-Cakrasaṃvara’s Yab-Yum consort [5], with later forms including Vajrayoginī as “Solitary Hero”, she may be visualized with the deep red complexion of a 16-year-old female, whose stance is nude amidst a blazing fire of pristine awareness and most exalted wisdom. Her head is adorned with a crown of five skulls and upon her forehead, the third eye of wisdom is set vertically (represented here by an auspicious jewel). She drapes a necklace of fifty dried human skulls and is depicted with her traditional vajra-handled knife in her right hand; with a blood filled kapala in her left, she drinks with upturned head while looking above, toward the pure realm of Khechara. This seemingly gruesome gesture is actually symbolic of her clear light in great joy, known as “mahasukha” (the great bliss), [6] [7] thus the blood she drinks may be offered to us all as if a fine wine.
Resting on the left shoulder is a Katvanga staff as she stands tall with her two feet, trampling the bodies of red Kalaratri and black Bhairava (with heads bending backward), representing the embodiment of illusion and ego-awareness. The composition, all of which rests above a sun disc and multicolored lotus pedestal, she is rendered here after a thankga of Naropa Tradition (passed down from a special teaching of the Indian Mahasiddha Naropa). Vajrayoginī herself may be classified as the personification of “Wisdom” or “Mother” and her practice originates with the Chakrasamvara Cycle of Tantras, which is one of the five principal tantric practices of the Sakya School, although found in one form or another, she is included in all schools of Tibetan Buddhism. [8]
Vajrayoginī also appears in versions from the Kagyu school of Tibetan Buddhism, with one popular system having the practitioner visualize themselves as Vajrayoginī, as such, their guru taking the form of Milarepa. [9] Thus depicted above the central deity here we see Milarepa on our right, with his great Guru Marpa left (whose guru was Naropa himself, and other great Indian masters). [10]
Vajrayoginī is a simplified, single most form of the female Buddha, who is otherwise a collection of alternate forms. From her sādhanās she is visualized in English terms as “Vajra Sow”, “Wrathful Lady”, “Fierce Black One”, and other such similar manifestations of female energy found in numerous iconographic renderings and traditions. Each feature of Vajrayoginī’s visualization conveys important spiritual concept. For example, her three eyes indicate her ability to see all (past, present and future); her red-colored body symbolizes the blazing of her ”inner fire”, and the curved knife she wields, demonstrates the power to sever the delusions and obstacles of her followers and of all living beings. [11]
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Wordmarque Design and Photography
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References:
[1] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996, p.xii.
[2] “The Berzin Archives.” Bonding Practices for Mother Tantra. Accessed February 18, 2016. http://www.berzinarchives.com/…/bonding_prac_mother_tantra_….
[3] Shaw, Miranda Eberle. Buddhist Goddesses of India. Princeton: Princeton University Press, 2006, p. 8.
[4] English, Elizabeth. Vajrayoginī: Her Visualizations, Rituals & Forms: A Study of the Cult of Vajrayoginī in India. Boston: Wisdom Publications, 2002.
[5] “Vajrasattva (Buddhist Deity) – White (with Consort).” Vajrasattva (Buddhist Deity). Accessed February 18, 2016. http://www.himalayanart.org/items/77598.
[6] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996 p. 123-127.
[7] Glenn H. Mullin
[8] “Item: Vajrayogini (Buddhist Deity) – (Naropa Tradition).” Vajrayogini (Buddhist Deity). Accessed February 18, 2016. http://www.himalayanart.org/items/290.
[9] English, Elizabeth. Vajrayoginī: Her Visualizations, Rituals & Forms: A Study of the Cult of Vajrayoginī in India. Boston: Wisdom Publications, 2002, p. xxiii.
[10] Drinking the Mountain Stream: Songs of Tibet’s Beloved Saint, Milarepa … by Mi-la-ras-pa, Rinpoche Lama Kunga, Brian Cutillo, p.305.
[11] Gyatso, Kelsang. Guide to Dakini Land: The Highest Yoga Tantra Practice of Buddha Vajrayogini. London: Tharpa, 1996, p.123-127.
The current form of Naro Kacho Vajra Yogini appeared to the Indian Mahasiddha Naropa after he meditated intensely on her practice inside a cave. He beheld her glorious form in a vision. This unique form became known as Naropa’s Vajra Yogini or Naro Kacho, as it had never existed before. Later, in Tibet, His Holiness Kyabje Pabongka Rinpoche also had visions of Vajra Yogini. His vision differed slightly from the vision of her that Naropa beheld. In the original Naro Kacho form, Vajra Yogini looks towards her pure land named Kechara. However in Kyabje Pabongka Rinpoche’s vision, she looked straight at him, symbolic of the deity empowering him to bestow her practice to many people in order to benefit them. The practice of Vajra Yogini belongs to the Highest Yoga Tantra classification that leads to tremendous inner transformation and can even grant enlightenment within just one lifetime.
Video of Tsem Rinpoche’s shrine taken July 16, 2018. Very beautiful, well done and meticulous.
https://www.youtube.com/watch?v=LPAfpMoN2bA
Video of Tsem Rinpoche’s shrine taken July 16, 2018.
Very beautiful, well done and meticulous.
https://video.tsemtulku.com/chat-videos/chat-1531752637.mp4
Vajra Yogini has many different forms and in each of these forms, the positioning of her sacred body, the various implements she holds and the expressions on her face have profound meaning into various aspects of enlightenment. The implements she holds, the expressions on her face, and her body symbolise specific aspects of enlightenment that suit people during a particular time and place according to their karma. So, therefore, Vajra Yogini’s pose, forms and emanations change over time in order to suit different karmically-connected practitioners. It will keep changing because enlightenment is fluid, compassionate and skilful. To gaze upon Vajra Yogini is to look at a complete ‘roadmap’ to enlightenment as every aspect of her body is a manifestation of enlightenment. Therefore to have her form, picture, painting or statue is very blessed. We should make offerings to her daily diligently.
After the great Mahasiddha Naropa had served his guru the Mahasiddha Tilopa for 12 years, Tilopa conferred the Vajra Varahi (another form of Vajra Yogini) initiation with full instructions unto Naropa. Then, Naropa diligently meditated on Vajra Varahi and had a vision of her, and when she appeared to him directly, she appeared in the form of Vajra Yogini. Normally, when he engaged in the Vajra Yogini (Vajravarahi) practice, she was in the form of facing him directly, holding a skull cup and a curved flaying knife in front of her heart. One leg was up and one leg was down as in a dancing pose. That was the form of Vajra Yogini that he had meditated on to gain the highest attainments.
After he had meditated on Vajra Varahi and gained visions of her, she appeared to him in a different form, with her face looking up at Kechara Paradise instead of facing him directly. Her left hand holding the skullcup was thrust in the air and her right hand holding the curved flaying knife, also known as a cemetery knife was facing down at sentient beings or samsara to help beings cut their bonds to suffering. Her left leg was bent, and her right extended while standing in a pose of looking towards Kechara Paradise like she is about to take off there. This form signifies she will take you there and out of suffering. That form of Vajra Yogini became special and that was called Naro Kacho or the Vajra Yogini of Naropa. This Naropa’s Vajra Yogini was initiated to the Nepalese Pamtingpa brothers and they meditated diligently and this tradition of Naropa’s Vajra Yogini just became prevalent and took off from there. Naropa started initiating his other disciples as well into this special form of Vajra Yogini and she became known as Naropa’s Vajra Yogini till this day and it is considered a highly blessed lineage. That is the lineage we have now and most prevalent.
She is looking up because this Naropa’s Vajra Yogini is indicating she will lead her practitioners to her Kechara Paradise within one lifetime if you are diligent in her practice. Realizing enlightenment is harder for people in today’s world and needs more time during Kaliyuga degenerate period, she leads you to her paradise where you can practice undisturbed to Buddha-hood.
In this brilliant artwork, what you see is the Mahasiddha Naropa having a direct vision of Vajra Yogini. It’s the first time she has appeared to Naropa in this form. This form is associated with Naropa. Prior to Naropa, this form of Vajra Yogini did not exist. She in this vision is initiating him into this form (Naro Kacho) of herself indicating this form will be most efficacious now according to our karmic period. In the background, you will see a cave with a light in it because when Naropa used to meditate in that cave, it is said that from his body would emit a light and people could see it from afar. You can also see animals surrounding Vajra Yogini, they can feel her compassion and her great blessings and they are at peace around her.
Vajra Yogini brings peace, love, compassion, wisdom and freedom to everyone who practices her incredibly powerful tantra. Therefore, this artwork is a very beautiful representation of the time when Naropa had a vision of Vajra Yogini in this form for the first time and it is now known as Naropa’s Vajra Yogini. This artwork was offered to me as a gift from a very talented artist. I deeply appreciate this piece of visual spirituality very much.
Tsem Rinpoche
To download for your shrine, please click here: https://www.tsemrinpoche.com/?p=62528
From Tsem Rinpoche: Every person who has Maha-anuttaratantra empowerments (Eg. Heruka, Guhyasamaja, Yamantaka, Vajra Yogini, Chittamani-Tara, Kalacakra, Hevajra, Gyalwa Gyatso Chenresig, etc) should keep a copy of this on their shrine or prayer book. These are all the ritual items tantric practitioner must keep by commitment. If it is in picture form, it is alright also.
Wow..so wonderful to have a painting …Dzambala painted by our Guru.
Specially for Ms Girlie Ooi .Rejoice for her .Not easy taking care of her sick aunt and mother ,i could imagine that as i have been taking care of sick patients before.She is an example to us …we should show our love,caring and kindness to our parents and to all that needs our help .
Thanks Rinpoche for the sharing.
Thanks Rinpoche for the sharing.
What a wonderful Dzambala painting!!!
I know Girlie from Kechara Paradise SS2 and she is very helpful.
Hope that the Dzambala will bless Girlie and wish her dharma practice smooth.
It is truly rare to come across someone like Girlie with a strong sense of filial piety and devotion to single handedly care for not 1 but 2 aged/infirmed elders. It must have been a long difficult road with much blood, sweat and tears. My hats off to you, Girlie! It is even more rare to have someone appreciating the caregiver of the old and invalid and I am happy for you, Girlie that our precious Guru showed his appreciation with the lovely painting and lunch.
[…] months back, I painted a Dzambala for my long time student Girlie Ooi. It was a special gift for all of her hard work and devotion […]
[…] I did some paintings of Vajra Yogini. Do you like: https://www.tsemrinpoche.com/tsem-tulku-rinpoche/students-friends/painting-dzambala-and-vajrayogini.h… Fantastic Artwork on Vajra Yogini: […]
Wow! Rinpoche’s painting of Dzambala is truly amazing. I have never seen anyone paint as well as Rinpoche. The only person who I can say is comparable is Leonardo Da Vinci. I am saying this as someone who never really appreciated art. Rinpoche’s passion is amazing and when one sees the painting, one can feel how much compassion was put into and can feel the blessings enter the body.
I met with Girlie when I bought my mum to visit KP. I spoke to Girlie a few times later, and I could feel she speaks with concern when talking to others. 🙂 Didn’t know that she has such filial dedications to both her mum and aunt. Glad to have met her! 🙂
Dearest Rinpoche
Thank you very much for sharing his painting of Dzamala and you make it seems so easy. Girlie herself is a Dzambala to me. She gentle soft spoken and always makes me very comfortable being with her and always allows me to massage her and I enjoy doing that too. I never forget her kindness render to me when I am in at Kechara and I look forward to seeing everyone at Kechara next month. Thank you Rinpoche for making all these possible for us. With Much Love and Respect.
Girlie looks fierce on the outside but inside she is kind. I wish her all the best in her practice. I also hope Rinpoche will continue painting. I like the abstract paintings a lot.
Like the other Dharma brothers and sisters, i rejoice in Sister Girlie’s effort. In this age where selfishness permeates the mind of many; especially young people who learn from selfish adults and corrupt leaders, Sister Girlie not only proves that there is still hope, but she is a great example. She is a living example of the spirit of the ’24 Tales of Fillial Piety’ of the Chinese classics ~ a true “jee-cap-see how” daughter and niece!May all be inspired to be grateful to our elders; make sacrifices for the good of others. “kam-sia, kam-sia” Sister Girlie, for blazing the path.
Thank you Rinpoche for an inspirational blog post of an amazing person. What’s great is that I know Girlie and have seen from time to time she takes her aunt and mum out for dinners in SS2. What a loyal and inspirational person she is! How fortunate that she has met the Dharma and so her great service to her mother and aunt can be dedicated. Over the years, I noticed how Dzambala, her practice have opened her up and made her a much lighter person. She has automatically become a joy to be with wherever she go.
To Girlie, I rejoice and I admire your endeavour, patient and sacrifice you have made to take care your mom and aunt till passing. You have shown us that we should show our love and kindness to our parents in their living years and not when they have departed. Thank you, Girlie.
Taking good care of her mom and aunt single handedly while working for dharma is really amazing. As people get older, they tend to be sensitve and at times worried about their remaining life i.e. would the children abandon them, etc. Taking care of elderly people means that one has to take care not only the physical well being of the person but also their mental state. The situaton is even more stressful should the person who takes care of the elderly family members is not financially viable. Yet ms girlie ooi is able to do so for 20 years and contribute to dharma at the same time. She is truly my hero. I rejoice for her receiving the sacred Dzambala painting from Rinpoche. My parents are already in their 70s and 60s and their physical and mental health would become vulnerable as the days go by and im I’m the only person in the world as I’m the only son in the family. I hope that i’ll have the courage and strength to live the life as good as ms. Girlie. She is my hero.
Even though Rinpoche has not painted for almost 30 years yet Rinpoche has not lost the artistic skill and can still draw and paint so well. I was one of the fortunate one who was able to celebrate this special occasion with Girlie in Kechara Oasis and I must say that the painting of Dzambala is beautiful…a painting that comes from the heart.
Dear Rinpoche,beautiful work for a beautiful cause.Many blessings always!!
Dearest Rinpoche, I’ve always admire people who can draw. Their talent applied effortlessly without trying hard to make it look good. Was fortunate enough to see Rinpoche’s painting in person at Kechara Oasis when it was presented to Girlie. My daughter loves to draw, cut, design and everything else that has colors… So proud of her…
Am happy to be able to celebrate Rinpoche’s love for Girlie at Kechara Oasis Viva Home (food was superb) with family and friends. Thank you Rinpoche.
Thank you.
Dear Rinpoche,
Seeing Rinpoche painting Dzambala and Vajrayogini so effortlessly and gracefully, reminds me of how I used to struggle during the many painting retreats I was assinged to.
But I am truely grateful to Rinpoche for opening up this little artistic seed in me, which as it has proved to have brought much happiness, peace, scerenity and stability in my life.
Painting buddhas and deities can be very adictive, as in my case. I can paint without feeling tired and yarning for sleep. I am very tempted to pick up my paint brushes again and I think I will…..
Girlie Ooi is surely a very fortunate student to have received this one and only one Dzambala painting from Rinpoche.And indeed she does well deserve it. The esscence of Dzambala practice is actually teaching us to be generous, and Girlie has indeed generously scarficed all these years taking care of her mother and her auntie, without complaints. I salute to her!