The Sacred Vajrayogini of Ratsag Monastery
The exterior of Ratsag Monastery in Tolung, Tibet. Click on image to enlarge.
(by Tsem Rinpoche and Pastor David Lai)
The Founding of Ratsag Monastery
According to an inscription, Ra Bende Yonten Gyalpo founded Ratsag Monastery in the Yab Valley of Tolung, near Lhasa in the early half of the 11th century. It was built through the generous patronage of the noble Sego family. However, Go Lotsawa and various other Tibetan historians attribute the founding of this monastery to Nanam Dorje Wangchug, a student of the illustrious Lume Tshultrim Sherab (10th Century CE), an important figure associated with the revival of the Vinaya that occurred during this period.
Furthermore, oral accounts from Tibetan pilgrimage guides attribute the founding of the monastery to Ra Lotsawa Dorje Drakpa (1016-1128 CE). Ra Lotsawa is most well known for introducing the Vajrabhairava-Yamantaka Tantras to Tibet and he is included in the incarnation lineage of Dorje Shugden. Oral accounts state that Ratsag Monastery was among the 108 monasteries that Ra Lotsawa purportedly built in order to purify the heavy negative karma of engaging in wrathful activities such as the ritual slaying of a number of important figures, some of whom were Bodhisattvas.
Ra Lotsawa, the great translator and master of magic who brought the Yamantaka Tantras to Tibet and disseminated this set of practices to great effect. He is usually depicted with a fierce, wrathful demeanour. Here, he is clothed in Shanak (black hat) garb, which is worn when special rituals are carried out to obliterate obstacles especially using wrathful means. Click on image to enlarge.
It is said that Ra Lotsawa had no choice but to perform wrathful Yamantaka rituals in order to protect this set of Tantras from the strong opposition of competing lamas. In this manner, he revealed the superiority of Yamantaka’s Tantra. It is believed that the strong and often violent opposition from other high lamas was, in reality, a divine play with the aim of removing the obstacles of doubt in ordinary practitioners and establishing the Yamantaka practice as an authentic Tantric lineage.
When Ra Lotsawa taught the Yamantaka series of tantra to people of his time, the famous and established leading lamas of the time, especially leading teachers from Sakya and Nyingma schools of Buddhism, heavily rejected this practice. They discouraged others from attending the initiations and teachings of Yamanataka by Ra Lotsawa. Khon Shakya Lodro, a member of the Khon family and a famous lama was vehemently against Ra Lotsawa and Yamantaka. These famous and powerful established teachers especially Khon Shakya Lodro and Nyingma lama Langlab Jangchub Dorje claimed among many reasons that Yamantaka had no authentic lineage stemming from India or an Indian teacher, therefore it was a false practice, and that Ra Lotsawa practised black magic, that Yamantaka was a demonic practice leading Tibetans to the hells, that Ra Lotsawa was a false teacher leading many astray with this Yamantaka deity.
They claimed that there was no such yidam (meditational deity) with a buffalo’s head and those were non-Buddhist teachings that would lead people to negative states of rebirth. They even teased Ra Lotsawa, asking him if Yamantaka resembles other buffaloes bathing in the muddy waters as buffaloes do, and wiggling its rear end. Being an extremely famous Sakya teacher, Khon Shakya Lodro was very wealthy and established, had great impact on other teachers and spiritual aspirants, and he was very damaging to Ra Lotsawa’s reputation.
Nevertheless, Ra Lotsawa never conceded and persistently proved Yamantaka’s tantra is Buddhist, powerful, worthwhile, authentic and had the generation and completion stages of advanced tantra practices to bring people to the pinnacle of liberation. The famous Sakya teacher Khon Shakya Lodro even challenged Ra Lotsawa to a magic contest to see whose tantric path was superior. It was said Khon Shakya Lodro lost, thus establishing the superiority of the Yamantaka lineage. Ra Lotsawa never backed down from the heavy criticisms leveled at him from famous teachers. In the end Ra Lotsawa proved Yamantaka’s authenticity and that Yamantaka is the very emanation of Manjushri. As the saying goes, the proof is in the pudding where over time when people investigated, studied and practised Yamantaka’s tantra, they can see the powerful results.
Today, Yamantaka’s practice is widespread and without doubt of its authenticity and power. It is one of the main practices of the Gelugpa school of Buddhism recommended by Lord Tsongkapa himself, and it is also practised in Sakya and Kagyu schools. This is very reminiscent of what is happening to the Dorje Shugden practice today, and as time passes many people can see that He is no other than Manjushri and the practice confers great benefits.
Ratsag is a contraction of Ra Lotsawa’s clan name and the Tibetan expression tsagsutsu, which means “success.” This indicates that Ratsag Monastery was the last of the set of 108 monasteries that Ra Lotsawa pledged to build. His connection to Ra Bende Yonten Gyalpo of the inscription, aside from sharing the same family name, remains unknown. Nevertheless, the occupants of the monastery and the local people all continue to regard Ratsag Monastery as being founded by Ra Lotsawa.
Ratsag Monastery was converted to the Gelug tradition during the 15th Century, and remains within the Gelugpa lineage till today. In the 17th century, Ratsag was placed under the administration of Kyormolung Monastery’s Punkhang College. In 1694, according to monastic records, the monastery had a community of 30 resident monks. Unfortunately, very little was written about the history of the monastery or its sacred objects during the 18th and 19th centuries. During the early half of the 20th Century, the population of the monastery ranged between 40 to 80 monks. During this period, Ratsag was associated with the Gomang College of Drepung Monastery and followed the Gyutö Tantric tradition.
The Personal Vajrayogini Statue of Mahasiddha Naropa
There are many statues within the main prayer hall of the monastery, the largest being the Maitreya statue which is placed alongside a statue of Lama Tsongkhapa. However, the statue of Maitreya is a replica of the original one.
The prayer hall itself is three storeys high, with four large pillars and walls covered with frescos. On the first floor is the Kachö Lhakhang or Kechari chapel. This chapel formerly housed the famous Vajrayogini statue that once belonged to the Mahasiddha Naropa, along with the sacred footprint of the deity. This statue was the main object of refuge at the monastery. Unfortunately, the original statue was smuggled out of the monastery during the Cultural Revolution and was never seen again. Since then, a smaller replica has been made to replace the original one.
It is said that the personal Vajrayogini statue of Mahasiddha Naropa was brought from India to Ratsag Monastery by a Tibetan boy under the instructions of the dakinis. The original Vajrayogini statue is believed to have been saved by H.H. the 10th Panchen Lama during the Cultural Revolution. The current statue enshrined in the monastery is a replica of Naropa’s personal Vajrayogini statue. Click on image to enlarge.
According to Tibetan accounts, the original Vajrayogini statue was the main meditational object of refuge (in Tibetan, Thugdam Gyi Ten or “commitment support”) of the Indian Mahasiddha Naropa (1016-1100 CE). The earliest textual reference to this statue dates from the 14th Century. It was made from metal alloy and stood about one and a half feet high. The statue is widely regarded as sacred because it has the power to “liberate through seeing” or Thongdrol in Tibetan. Liberate through seeing means that the statue of Vajra Yogini is so powerful, it can change the course of the person’s results who is praying to it. Change the course of results for a better outcome.
The text The History of the Statue of Venerable Naro Khechari of Ratsag states that the statue was renowned for its potent power to safeguard crops from icy hail and frost, and also to bring timely rains during the summer months. This made it a popular object of worship for the many farmers and villagers seeking her divine intervention.
It is believed that this is a footprint of Vajrayogini. Out of veneration, the locals have offered gold onto it. Click on image to enlarge.
The History of the Sacred Vajrayogini Statue
The complete history of this Vajrayogini statue, including its role as Naropa’s personal object of veneration and how it was brought to Yab and later to Tibet is told in a historical account entitled The History of the Statue of Venerable Naro Kechari of Ratsag.
It was Ladakh Tagtsang Tulku who compiled this history, and the text was completed with the sponsorship of the Yuthogpa family, who were the traditional owners of the monastic buildings. The famous sacred Vajrayogini statue is also mentioned in several biographies, autobiographies and histories written by a number of authors, such as the history of the Shangpa Kagyu tradition compiled by Taranatha (1575-1634), who noted that it was Naropa’s personal devotional object.
According to the text, the statue is said to have self-arisen during Buddha Shakyamuni’s lifetime. From the precious jewels of gods, men and nagas, the divine craftsman Visvakarma made two famous Buddha statues: the Jowo Rinpoche of the Jokhang Temple and the Jowo Mikyo Dorje of the Ramoche Temple. From the remaining jewels, Vajrayogini self-manifested in the posture of a divine dancer. In her left hand, she holds a skullcup of blood at the level of her heart and with her right hand, she brandishes a kartrika (curved knife).
Another Vajrayogini statue in Ratsag Monastery. Click on image to enlarge.
The gods rejoiced and anointed the statue with divine nectar to the sound of bells and damarus played by dakas and dakinis. The Buddhas rejoiced, the Bodhisattvas recited auspicious verses and the earth shook. Rainbows appeared amidst many auspicious omens. The divine statue also became an object of veneration and offering for the nagas.
Later, the dakinis offered the statue to the Mahasiddha Naropa and it became his principal object of worship. After Naropa ascended to Kechara Paradise, the statue in sorrow moved her limbs into the pose that is now associated with the vision and lineage of Naropa known as Naro Kachö or Naro Khechari. This form of Vajrayogini assumes the lunging stance to the left known as the alidhasana (left leg bent and right leg straight). Her right hand holds the kartrika and her left hand holds a skullcup of blood.
Later, the statue found its way to Tibet with the help of a young nomad boy from Kham by the name of Gyaltsen Zang. Three dakinis manifested from the Mountain of Yab, which is believed to be the mandala of Cakrasamvara. They searched the regions and districts of To Ngari and U-Tsang in Tibet for a suitable person to travel to India in order to look for the statue. They found Gyaltsen Zang to be karmically suitable and they requested him to accomplish this task. However, he was only 10 years old at the time and his parents objected strongly to this proposal.
When he turned 15, he requested again for permission to go to India. This time, his parents did not object to the plan. Despite their concerns about the dangers of travelling to India, they gave him a dre of gold dust and with that, he made his way to Lhasa where he prostrated and made offerings to the two Jowo statues. Then, he went to India in search of the Vajrayogini statue.
Another beautiful statue of Vajrayogini enshrined in Ratsag Monastery. In total, the monastery houses five statues of Vajrayogini. Click on image to enlarge.
In India, the caretakers of the temple knew, by means of dreams, that someone was coming to take the sacred Vajrayogini statue to Tibet. The monks of the temple thought that such a sacred object should not be given away freely and they appointed some yogis to guard the waters near the temple. Others guarded the footpaths surrounding the temple while the remaining monks guarded the vicinity of the temple.
However, Vajrayogini manifested as three acharyas who came to the gate and asked for the statue. In return for the statue, they offered all of the gold dust. Before the monks could reject the offer, the acharyas grabbed the statue and ran off with it. The holy object was given to Gyeltsen Zang who brought it back to Tibet. Along the way, the statue told him the best routes to take according to geomantic descriptions of the path. It also described the location where it would benefit sentient beings the most. In fact, pilgrimage guides and locals alike can recall the descriptions given by the statue.
It is a place near Rasa Trulnang. This is the land of Yab, a very special holy place where the sky is in reality two intersecting Dharmodayas (cosmic womb) and the earth is an eight-petalled lotus. The four mountains that surround the location are considered auspicious according to their geomantic significance. The mountain in front is described as “a curtain of white silk” because it protects the monastery from direct view of anyone approaching from Tolung. The mountain behind is said to be ‘a pile of precious stones’ or rinchen pungpa. The mountains on the right side are believed to be self-arising representations of the Sanskrit consonants, while the mountain peaks on the left are representations of the Sanskrit vowels. From east to west, a stream whose water possesses the “eight qualities” (the eight fine properties of water in Tibet as described by Atisha) flows unobstructedly.
The mountain on which the monastery is built is sacred to Vajrayogini’s consort, Heruka. In the text, the mountain is called the “Palace of Sri Heruka Cakrasamvara” and the actual palace is said to be at the rocky peak that is usually white with ochre stripes and filled with prayer flags left by Tibetan pilgrims. Furthermore, His Holiness Kyabje Ling Rinpoche Thubten Lungtok Namgyal Trinley (1903-1983) was born in the area according to his official biography. This association with Sri Cakrasamvara is the reason why the area is known as Yab which means “father” in Tibetan. It is said that when Gyaltsen Zang arrived in the area, he was welcomed by divine beings. After the statue was enshrined, Gyeltsen Zang stayed behind to develop the site.
Famous Figures who Venerated this Statue of Vajrayogini
Lama Tsongkhapa
Lama Tsongkhapa.
Click on image to enlarge.
Lama Tsongkhapa was a great advocate of the Tantras, especially the Higher Tantras that have the potential to bring one towards Enlightenment in one lifetime. In fact, he wrote more about Tantra than about Sutra.
While he was alive, nobody knew that Lama Tsongkhapa practised Vajrayogini intensely and it was only after he had entered parinirvana that Vajrayogini texts and ritual items were discovered amongst his personal belongings. Only then was it known that Vajrayogini was his secret yidam or meditational deity. In the biography of Lama Tsongkhapa written by his close disciple, Khedrub Je, it is mentioned that Lama Tsongkhapa had visions of Vajrayogini.
It is stated in the same biography that Lama Tsongkhapa had advocated the yellow pandit’s hat for his followers as a result of a vision of Vajrayogini. She said that in the past, the red colour of subjugation was necessary for the pandit’s hat because the activity of subjugation was imperative for Buddhism to spread and to overcome the intense rivalry and competition from non-Buddhists. However, the Buddhadharma had since been successfully established in Tibet, therefore the yellow colour of increase should be used for the pandit’s hat to represent the activity of increase or the flourishing of the Dharma.
At one time, Lama Tsongkhapa travelled from Kyormolung to Gawadong. During the journey, he invited the sacred Vajrayogini statue that used to belong to the great Mahasiddha Naropa to Yabda Lhundrub Rabten, and offered her a crown and earrings, together with aspirational prayers.
His Holiness the Great Fifth Dalai Lama
Many high lamas have made offerings and prayers to the sacred Vajrayogini statue and one of the most famous to do so was the Great Fifth Dalai Lama, Ngawang Lobsang Gyatso (1617-1682) who wrote in his autobiography that he had invited the statue and taken it to Drepung in a grand procession. However, the sacred statue soon demanded to be returned to Ratsag.
A statue of the Great 5th Dalai Lama. Click on image to enlarge.
During this “visit” to Drepung, the Fifth Dalai Lama made offerings to the statue, recited the profound yogas of the generation and completion stages of Vajrayogini’s Tantra and composed a prayer to Vajrayogini. This prayer, named The Chariot for Attaining Kechara is included in his sungbum or collected works.
After that, the sacred statue was brought to the Potala Palace for a week. While en route to the Potala, the statue was apparently defiled and a trusol or ablution ritual had to be performed to purify the defilement. In order to maintain the sanctity of the statue, its custodian then declared that the sacred Vajrayogini statue should not be invited or handled by those with broken samaya, or by butchers. It was also declared that there would be no further embellishments as it was already ornamented by the most sacred offerings from Lama Tsongkhapa and the Great Fifth Dalai Lama.
His Holiness Kyabje Pabongka Rinpoche
Ratsag Monastery uses the Vajrayogini ritual text composed by His Holiness Kyabje Pabongka Rinpoche (1878-1941). This famous lama is considered the most influential Gelug lineage holder of the Vajrayogini Tantra of this period. In fact, Kyabje Pabongka Rinpoche had, at one time, visited Ratsag Monastery with an entourage of incarnate lamas to perform the self-initiation and Ganachakra (tsog) rituals before the sacred statue.
His Holiness Kyabje Pabongka Rinpoche (1878 – 1941). Click to enlarge.
On the whole, Kyabje Pabongka Rinpoche’s Tantric teachings particularly focused on the Cakrasamvara Tantras along with Vajrayogini, whose practice is based on this Tantric system. Although Lama Tsongkhapa did not recommend Vajrayogini during his lifetime openly, her Tantra was practised and proliferated by Gelugpa lineage masters prior to Kyabje Pabongka Rinpoche such as Tagphu Lozang Tenpai Gyaltsen (1714-1762), Tuken Lozang Chokyi Nyima (1737-1802) and Ngulchu Dharmabhadra (1772-1851). In fact, a number of large monasteries in Amdo became centres proliferating the Gelug Vajrayogini lineage during that period in Tibet. The Sakya and Kagyu schools of Buddhism for hundreds of years have relied on Vajrayogini as one of their main meditational practices. This profound tantric system have brought many to higher attainments and enlightenment.
Kyabje Pabongka Rinpoche’s popularity grew exponentially throughout Central Tibet, especially in the wider Lhasa area, and eventually swept through Kham. Today, his lineage is the most widespread within the entire Gelugpa tradition. Thus, owing to his immense popularity, his ritual text on Vajrayogini is still widely used in most Vajrayogini-practising monasteries within the Lhasa region.
At Ratsag Monastery, Kyabje Pabongka Rinpoche’s Vajrayogini ritual text, Festival of Great Bliss is still being performed. Unfortunately, the monastery has only ten resident monks and only one of them has the proper empowerments and training to perform the monastery’s rituals. Therefore, many of these rituals are performed by him alone.
His Holiness Kyabje Trijang Rinpoche
In the autobiography of His Holiness Kyabje Trijang Rinpoche (1901-1981), The Illusory Play, he wrote that he had visited Ratsag Monastery some time in 1943. While at the monastery, he recalled performing three days of self-initiation rituals, offerings and Ganacakra (tsog) before the famous statue of Vajrayogini.
He further wrote that, while the rituals were being performed, the statue “blazed with the splendorous light of blessings.” He also recorded that he made offerings to the resident monastic community and conferred the initiation into the sindhura mandala of Vajrayogini to a gathering of a hundred monks, nuns, and lay followers. During this period, he experienced a number of auspicious dreams.
Other Sacred Objects of Ratsag Monastery
Ra Lotsawa’s Vajrabhairava Statue
According to the oral accounts of resident monks, Ra Lotsawa had engaged in a Vajrabhairava retreat on the very spot where the current Protector chapel of the monastery now stands. It is said that he was inspired to carve a statue of Ekavira (Solitary Hero Vajrabhairava) out of clumps of clay that were each consecrated with the recitation of 100,000 Yamaraja mantras, one of the four mantras of Vajrabhairava.
A statue of Vajrabhairava along with one of Kalarupa are currently enshrined in the monastery’s Protector chapel as the main objects of worship. Unfortunately, the original statue was destroyed during the Cultural Revolution that swept through China. Later, a replica was made and fragments of the original were inserted inside the new statue as a powerful blessing.
The Stupa of Karmic Illness
It is said that while Ra Lotsawa was in the Ratsag area, he had acquired hair from ten million dakinis through his occult powers and he interred these items inside a stupa. He performed this great deed in order to purify the heavy negative karma of sentient beings of the future. Hence, the stupa is known as the ‘Stupa of Karmic Illness’. Unfortunately, it was damaged during the Cultural Revolution.
The stupa has since been restored and repainted with whitewash. Its reputation of being able to heal life-threatening illnesses that cannot be healed with conventional medicine remains intact. Therefore, the stupa continues to receive a stream of pilgrims who come to perform circumambulations and prostrations.
Conclusion
Ratsag Monastery was badly damaged during the Cultural Revolution that swept through the land. Since then, the original stone pillar which was pulled down, has been reconstructed on the left-hand side of the main entrance. The local community also rebuilt the monastery beginning with its chapels and stupa in 1984. Unfortunately, both the Vajrayogini and Vajrabhairava statues are replicas but yet still very blessed for the supplicant. It is worth a visit.
However, the resident monks believe that the original Vajrayogini statue that was brought over from India has not been destroyed. They believe that the statue was saved by the Tenth Panchen Lama, Trinle Lhundrup Chokyi Gyaltsen (1938-1989) at the onset of the Cultural Revolution along with several other important sacred objects, such as the self-arising Guhyasamaja Manjuvajra statue of Reting. They are safe in Tashilunpo Monastery of the Panchen Lama. Nevertheless, the Vajrayogini statue of Ratsag still remains missing to this day and we can only hope that it will re-emerge once again in the future to bless and inspire her practitioners. This monastery has other sacred Vajrayogini statues that are potent with blessings as well as many other blessed objects. Pilgrims can still visit and be blessed. This should inspire us individually like Naropa and Ratsag Monastery to have a Vajrayogini statue in our homes. Consecrate it with mantras, offer precious items to her image and make offerings each day with great devotion. As we do this, our personal Vajrayogini statues will become blessed like Naropa’s. It is interesting and also powerful to know that the great Mahasiddha Naropa had a 18 inch statue of Vajrayogini and worshipped her closely to him. This was Naropa’s personal statue and shows you his great devotion to Vajrayogini and this powerful tantric system of meditation. May we all follow in the enlightenment of Naropa’s practice of Vajrayogini.
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Ratsag Monastery and its Vajrayogini Naro Khecari Statue
Joona Repo (University of Helsinki)
The monastery of Ratsag (ra tshag) is a popular pilgrimage site located in the Yab (yab) Valley in Tolung (stod lung), near Lhasa.[1] The date of the founding of Ratsag Monastery is unclear, but appears to have taken place in the early 11th century. According to Go Lotsawa (‘gos lo tsA ba, 1392-1481), and several other Tibetan historians, the monastery was built in Yab by Nanam Dorje Wangchug (sna nam rdo rje dbang phyug, 976-1060).[2] Nanam Dorje Wangchug was a student of Lume Tshultrim Sherab (klu mes tshul khrims shes rab, b. 10th century), a central figure of the Buddhist revival, and specifically of the revival of the Vinaya, which took place in Tibet during this period. Based on Go Lotsawa’s dating of the Gyal Lhakang (rgyal lha khang) in Phenyul (‘phan yul) to 1012, and his mention that Ratsag was founded before this, Hugh Richardson suggested that the foundation of Ratsag dates to somewhere between 1000 and 1012.[3] Richardson noted, however, that the Ratsag pillar inscription, which he re-translated, makes no mention of Dorje Wangchug and instead states that it was Ra Bende Yontan Gyalpo (rwa ban de yon tan rgyal po) who built a temple (gtsug lag khang) on this site under the patronage of the noble Sego (se ‘go) family.[4] Richardson further notes that even if Bende Yonten Gyalpo simply rebuilt or renovated Ratsag at a later date, this still does not explain the lack of mention on the pillar inscription of Dorje Wangchug, whose name one would certainly expect to appear if indeed he was the original founder.[5]
Apart from identifying Nanam Dorje Wangchug as the founder of the monastery, some contemporary Tibetan pilgrimage guides also attribute its original construction to Ra Lotsawa (rwa lo tsA ba, 1016-1128(?)).[6] According to this variant of the story, Ratsag was one of 108 monasteries that Ra Lotsawa had pledged to build in order to purify karmic defilements accrued through his often violent ritual activities, which involved killing a number of bodhisattvas.[7] This famous translator and teacher specialized in the wrathful practices of the tantric deity Vajrabhairava, which he brought to Tibet from Nepal. According to this narrative the “ra” (rwa) of “Ratsag” refers to Ra Lotsawa’s clan name and “-tsag” (tshag) refers to “tsag su tsu” (tshags su tshud), meaning “efficient” or “successful”- thus signifying Ra Lotsawa’s successful or well-organized completion of the full set of 108 monasteries, and this one in particular, which was the last of the set.[8]
It is unclear if the Ra Bende Yontan Gyalpo mentioned in the pillar inscription has any direct relation to Ra Lotsawa, although they appear to share the same clan name. Despite the early history of the monastery being inconclusive, the site today continues to be closely associated with Ra Lotsawa by the local community. Michael Akester, however, suggests that the association of the temple with Ra Lotsawa may have been exaggerated from the 15th century onward, when the site became home to Gelug (dge lugs) Vajrabhairava practitioners.[9]
According to the resident monks of the monastery, when Ra Lotsawa first arrived and stayed at Ratsag, he engaged in retreat on the location where the current small protector chapel (mgon khang) is located.[10] On this spot he then built a clay statue of Ekavira- Vajrabhairava out of many small pieces of clay (mtheb skyu), each of which was separately blessed with the recitation of 100,000 Yamaraja mantras of the deity.[11] The new statue, together with a statue of the protector Kalarupa, are together currently the principal objects of veneration in the protector chapel. The Vajrabhairava sculpture is a replica of the one destroyed during the Cultural Revolution but contains the remaining fragments of the original, which were placed inside the new work.
Image 1: The Stupa of Karmic Illness, Ratsag (Photograph by Matt Linden, 2015).
During his stay at Ratsag, Ra Lotsawa is said to have interred the hair of ten million dakinis into a stupa (Image 1) for the sake of freeing sentient beings of the future from the negative karmas which cause illnesses.[12] The stupa, known as the Stupa of Karmic Illness (las nad ‘bum pa), was damaged during the Cultural Revolution. It has, however, been renovated and is often repainted with whitewash. As it is said that circumambulation of this stupa has the capacity to heal even very serious illnesses that cannot be cured by medicine, people continue to visit Ratsag to perform circumambulations and prostrations.
Image 2: The entrance to Ratsag Monastery’s assembly hall (Photograph by Matt Linden, 2015).
The largest statue in the monastery is a two-storey high sculpture of Maitreya, flanked by a statue of Tsongkhapa. The Maitreya statue is a reconstruction of the original statue, which was of the same height. It sits inside the main assembly hall (Image 2), which has four pillars, together with walls which still display remains of old murals. The main temple building housing the assembly hall is three storeys high, as it was previously. The first floor contains the assembly hall while on the second floor one finds the Khecari chapel (mkha’ spyod lha khang), its famous Vajrayogini statue (Image 3), as well as an actual footprint (zhabs rjes) of the deity. It is this statue which is, or rather was, the principal object of veneration at Ratsag. Today the original statue, which was lost during the Cultural Revolution, has been replaced by a smaller replica. According to all written Tibetan accounts the original statue used to be the principal meditational object, or more literally “commitment support” (thugs dam gyi rten), of the Indian tantric yogi Naropa (c. 11th century), although the earliest known textual mentions of the statue appear to date from the 14th century.[13] The original metal alloy statue was apparently about one and a half feet high.[14] The statue was so sacred that it was believed to possess the potential to “liberate through seeing” (mthong grol).[15]
Image 3: A replica of the famous Vajrayogini statue at Ratsag Monastery (Photograph by Matt Linden, 2015).
The full traditional narrative surrounding the statue, its role as Naropa’s personal object of devotion, its invitation to Yab, and its journey and stay in Tibet, are all recounted in a brief history entitled The History of the Statue of Venerable Naro Khecari at Ratsag (rwa tshag rje btsun nA ro mkha’ spyod ma’i sku’i chos ‘byung lo rgyus), a translation of which can be found at the end of this article.[16] It is unclear what works this history is based on, although we know it was compiled by one of the Tagtsang (stag tshang) incarnations, whose name is simply given as “Ladakh Tagtsang Tulku” (la dwags stag tshang sprul sku, d.u.). The work was completed with the sponsorship of the Yuthogpa (g.yu thog pa) family, who were the traditional proprietors of the monastery (dgon bdag).
According to this work, the statue self-manifested during the lifetime of Buddha Sakyamuni from the materials used by the god Visvakarma to craft the statues of the two famous Jowo (jo bo) statues of Lhasa- the Jowo Rinpoche (jo bo rin po che) and Jowo Mikyo Dorje (jo bo mi bskyod rdo rje), which are housed, respectively, at the Tsuglagkhang (gtsug lag khang) and Ramoche (ra mo che) temples. Although initially venerated by gods and nagas, the statue eventually became Naropa’s devotional object and after his passing, it manifested the current iconography associated with Vajrayogini Naro Khecari, with one arm extended, holding a curved karttrika knife, and the other holding up a skullcup.
The statue was brought to Tibet by a young Khampa named Gyaltsen Zang (rgyal mtshan bzang). He was urged to do so by dakinis, despite his parents’ concerns of him travelling to India for the statue. Having acquired the statue with the aid of Vajrayogini, Gyaltsen Zang returned to Tibet, with the statue acting as a guide, giving specific instructions on where she wanted to go and a geomantic description of what the place she was heading for was like. The descriptions given in the history are still recounted to pilgrims at the site today in both pilgrimage guides and by locals. According to this history, the four mountains which encircle the monastery all carry an auspicious or geomantic significance. The mountain in front is described as being “a curtain of white silk” (dar dkar gyi yol ba), as it shields the monastery from the view of anyone approaching from Tolung. The mountain behind the monastery is described as “a pile of precious stones” (rin chen spungs pa). The mountain on the right of the monastery is believed to depict self-manifesting representations of the consonants of the Sanskrit alphabet, while the mountain on the left depicts the vowels.
Image 4: Ratsag Monastery, with the Palace of Cakrasamvara in the background (Photograph by Matt Linden, 2015).
The mountain on whose slopes the monastery is built is also commonly believed to be sacred to Vajrayogini’s consort, Cakrasamvara. Indeed the history of the statue states more specifically that the mountain is known as the Palace of Cakrasamvara (dpal ‘khor lo sdom pa’i pho brang). According to the biography of Ling Rinpoche Thubten Lungtok Namgyal Trinle (gling rin po che thub bstan lung rtogs rnam rgyal ‘phrin las, 1903-1983), who was born in the area, the palace specifically refers to a rocky outcrop at the top of the mountain that today is still regularly coloured with whitewash and ochre stripes, and bedecked with prayer flags (Image 4). Ling Rinpoche’s biography notes that it is because of the location being associated with Cakrasamvara that the area is known by the name of “Yab,” i.e. “father” in Tibetan, referring to this male deity.[17]
Upon their arrival at Yab, Gyaltsen Zang and the statue were met by a welcome party of divine beings. After the establishment of the statue at Yab, Gyaltsen Zang also remained behind and helped to develop the site. We are also told of later figures who venerated this famous Vajrayogini statue. The first of these was Tsongkhapa, who offered several ornaments to the statue.[18] The other famous devotee was the Fifth Dalai Lama, Ngawang Lozang Gyatso (ngag dbang blo bzang rgya mtsho, 1617-1682), who invited the statue to Drepung, although it was soon returned as it demanded to go back to Ratsag.[19] He also made offerings to the statue, and composed a prayer for it. The prayer, entitled The Chariot for Attaining Khecara (mkha’ spyod sgrub pa’i shing rta), can be found in his collected works.[20]
Later the statue was invited to the Potala for a week. During this journey the statue was apparently defiled and thus purificatory bathing rituals (khrus gsol) had to be performed. It was decided by the caretaker of the statue that in order to prevent further defilement the statue should not be invited or touched by women, by those with damaged tantric commitments (samaya), or butchers.[21] He also decreed that the statue should not be embellished with further ornaments as it had already been ornamented with the blessed offerings made by Tsongkhapa and the Fifth Dalai Lama. Finally, the history ends with a note stating that the statue has the power to protect crops from frost and hail and bring timely rain.
Apart from this brief record, summaries of the history of the site can be found in pilgrimage guidebooks, which in general appear to have used The History of the Statue of Venerable Naro Khecari at Ratsag as a source for much of their information. The famed Ratsag Vajrayogini statue is mentioned in the biographies, autobiographies and histories of a number of authors, such as the history of the Shangpa Kagyu (shangs pa bka’ brgyud) tradition, compiled by Taranatha (tA ra nA tha, 1575-1634), who notes that it had been Naropa’s personal devotional object.[22] The statue is also briefly mentioned in the autobiography of the Fifth Dalai Lama, in relation to his invitation to the Potala of the statue at the age of 32. Not much information is given, however he writes that:
“… I invited the statue of the Vajra Queen, which was the commitment support of the Venerable Naropa, from Ratsag. I made one hundred offerings (brgya mchod), engaged in the recitation of the profound yogas of the generation and completion stages, recited the Prayer to See the Beautiful Face of Khecara (mkha’ spyod zhal bzang lta ba’i smon lam), and composed a praise and prayer.”[23]
By the 17th century the monastery was subsumed under Kyormolung Monastery’s (skyor mo lung dgon) Punkhang (phun khang) college, and in 1694 had a community of 30 monks.[24] Not much appears to be recorded regarding the history of the monastery or its sacred objects in the 18th and 19th centuries. Estimates of the population of the monastery in the early half of the twentieth century range from 40 to 80 monks.[25] The monastery was converted to the Gelug tradition at some point in the 15th century, and continues to belong to the sect today.[26] Ratsag is associated with the Gomang College (sgo mang grwa tshang) of Drepung (‘bras spungs) and in general follows the Gyuto (rgyud stod) tantric tradition.
Important Gelug scholars and teachers continued to make pilgrimages to the site, well into the 20th century. Trijang Rinpoche Lozang Yeshe Tenzin Gyatso (khri byang rin po che blo bzang ye shes bstan ‘dzin rgya mtsho, 1901-1981) notes in his autobiography that he visited the monastery in 1943. While there he spent three days performing the self-entry (bdag ‘jug) rituals, offerings and ganacakra related to the mandala accomplishment (dkyil ‘khor sgrub) in front of the famous statue of Vajrayogini, which he notes “blazed with the splendorous light of blessings.”[27] He further made offerings to the monastic community and granted the four empowerments into Vajrayogini’s sindhura mandala to about one hundred monks, nuns, and lay followers during which he experienced a number of auspicious dreams.[28]
Today the monastery still uses ritual texts composed by Trijang Rinpoche’s own teacher, Phabongkha Dechen Nyingpo (pha bong kha bde chen snying po, 1878-1941), undoubtedly the most influential Gelug lineage holder of the Vajrayogini cycle in the 20th century. Phabongkha had also visited Ratsag Monastery with a following of thirteen incarnate lamas and performed self-entry and ganacakra tenth-day (tshe bcu) offerings in front of the statue.[29] Phabongkha placed particular emphasis on the Cakrasamvara Tantra as a whole, as well as Vajrayogini, whose practice is drawn from this cycle. Although not one of the main deities prescribed by Tsongkhapa, the originator of the Gelug tradition, the Vajrayogini lineage within the Gelug tradition certainly pre-dates Phabongkha, as is attested by works on the deity by authors such as Tagphu Lozang Tenpai Gyaltsen (stag phu blo bzang bstan pa’i rgyal mtshan, 1714-1762), Tuken Lozang Chokyi Nyima (thu’u bkwan blo bzang chos kyi nyi ma, 1737-1802) and Ngulchu Dharmabhadra (dngul chu d+harma b+ha dra, 1772-1851).[30] Although a number of important monasteries in Amdo had arguably been the principal centers of Gelug Vajrayogini practice in the 18th and 19th centuries, Phabongkha’s lineage grew to become particularly popular in pockets of Central Tibet, especially in the Lhasa region, and eventually in Kham. Today, Phabongkha’s lineage of Vajrayogini is firmly established as the most widespread in the tradition as a whole. Due to the popularity of Phabongkha and his lineage, the ritual works that he composed on Vajrayogini are still in use in many of the monastic sites practicing the deity in the wider Lhasa region as well.
The monthly tenth-day Vajrayogini offering at Ratsag is today performed using Phabongkha’s work Festival of Great Bliss (bde chen dga’ ston).[31] Currently the monastery is home to a small community of less than ten monks, of whom only one has the proper qualifications and necessary empowerments required to execute the full ritual schedule of the monastery, and thus performs many of these alone. Which texts were used at the monastery prior to Phabongkha is unknown, although these may have included the Vajrayogini works of the other Gelug authors mentioned above.
The entire monastery was badly damaged during the Cultural Revolution. The stone pillar, which had been pulled down, remained intact and was re-erected on the left-hand side of the main entrance. Rebuilding of the monastery, its chapels and stupa began in 1984, with the help of the local lay community. Although both of the main statues of Vajrabhairava and Vajrayogini are replicas, the resident monks at the monastery believe that the original Vajrayogini statue brought from India may not have been destroyed. The statue had been collected and saved by the Tenth Panchen Lama, Chokyi Gyaltsen (paN chen chos kyi rgyal mtshan, 1938-1989) at the beginning of the Cultural Revolution (1966-1976), along with several other important sacred objects, such as the Guhyasamaja Manjuvajra of Reting (rwa sgreng).[32] Unfortunately the Vajrayogini, the history of which is presented directly below, was never recovered.[33]
The History of the Statue of Venerable Naro Khecari at Ratsag
Namo Guru
Dharmakaya, Vajradhara, The Pervading Lord of all Families,
Sambhogakaya, Yogini, Mother of the Victors,
Nirmanakaya, Naropa, Son of the Victors,
May those worthy of homage always be victorious!
Here, I will explain a little of the history of the thoroughly renowned statue of the one known as the Supreme Mother of all Victors, the Venerable Vajrayogini, the source of all excellent roots and branches of benefit and happiness.
Our teacher, the incomparable ornament of the Sakyas, first gave birth to the mind of supreme enlightenment, and following that, for three countless aeons he accumulated the [two] collections. Finally in Magadha he attained the state of nirvana, completely perfected buddhahood.
Because of a supplication made by Ananda, the urna between the eyebrows of the Bhagavan radiated light rays inviting the three gods Brahma, Rahula, Sakra and others. Brahma and Rahula crafted the supports of the dharmakaya and sambhogakaya. Then, for the nirmanakaya, Sakra piled up the precious jewels of gods, men and nagas before the artist Visvakarma and after making requests, [Visvakarma] crafted the two twin Jowo [statues], inseparable from the actual nirmanakaya. From the first portion of the construction materials, the statue of the Venerable Vajrayogini self-manifestly emerged in a dancing posture, brandishing a karttrika toward the sky, holding a skull cup of blood at her heart.
The lord of the gods, Sakra, washed the body with nectar, while heroes and dakinis played damarus, bells and jingle bells. Flowers rained down [from the sky] and the buddhas and male and female tathagatas said “Wonderful! Wonderful!” and bestowed initiation. The bodhisattvas spoke auspicious verses, the earth shook, a tent of rainbow light appeared, together with a variety of other amazing omens. [The statue then] became a support for the offerings of the nagas.
Then [later] after being invited by the dakinis, it became the commitment-support (thugs dam rten [i.e. devotional object]) of Naropa. When Naropa passed away to Khecara, [the Vajrayogini] proclaimed that, “If the guru goes to Khecara, then she should go to Tibet.” Furthermore [the statue] conversed with Mahapandita Naropa directly, yet without [actually] speaking.
When Naropa travelled to Khecara, [the Vajrayogini statue] lowered her karttrika to her lower garment in sorrow, [in the gesture of] cutting away all afflictions of conceptualization, and raised her skull of blood to the sky [as a gesture of] offering and of being satisfied by the taste of uncontaminated nectar. Her three eyes looked up toward the guru in pure Khecara, and thus she became known as “Naro Khecari.”
As for the history of how the statue was invited to Tibet:
This mountain of Yab, which is described as being in reality a manifestation of the mandala of Cakrasamvara, gave birth to three dakini nirmanakayas. They searched the three regions of Tö Ngari (stod mnga’ ris skor gsum), and the four districts of U-Tsang (bar dbus gtsang ru bzhi), for someone who could [bring the statue to Tibet], but could not find anyone. In Dokham Me (mdo khams smad) the karmically destined being, the ten-year-old Gyaltsen Zangchawa (rgyal mtshan bzang bya ba) was born.
To him the three dakinis said “Do not stay here, go to India, you must go to accomplish something of great meaning.”
He replied: “How shall I accomplish this?”
[The dakinis said,] “It is time for the Mahapandita Naropa’s commitment-support, the Venerable Vajrayogini, to travel to the Land of Snows for the benefit of sentient beings, and you must go invite her. We will assist you.” They then disappeared.
Not being sure of what happened, he went back home and told his mother and father the story of his experience. They said to him, “You must have had a mistaken vision.”
When he reached the age of fifteen, the Venerable [Vajrayogini]’s compassion aroused him to ask the father and mother, “Can I go to India?”
The father and mother said, “Do not go to India. It is a long journey, the road has great dangers, it is treacherous, it has rivers and so forth. The journey is difficult. Moreover, you should stay and care for your parents. [But] if you will not listen, then go to India. If you don’t listen to us and decide to go in any case, then take this with you.” After saying that they gave him one dre (bre) of gold dust, which he took with him and journeyed to Lhasa.[34] He prostrated in front of the two twin Jowo statues, made offerings, made prayers to avert obstacles, and then went on to India.
The Indians came to know through dreams that someone was coming to invite the Venerable [Vajrayogini] to Tibet. They said [to themselves] that they do indeed have an unequalled holy object, and so some yogis guarded the waters, others guarded the footpaths, and others the vicinity of the temple.
The Venerable [Vajrayogini], however, manifested as three acaryas who asked [the Indians], “What are you doing? We are here to take the Venerable [Vajrayogini], the commitment-support of Jowo Naropa, to Tibet.”
The other acaryas replied, “You, do not talk like that! Due to a bad dream, us Indians have been guarding the temple for three years. [If you wish to take the statue], what could you offer in return?” The three acaryas offered and distributed all of the gold dust and then left, almost as if they had stolen the [statue of the] Venerable [Vajrayogini].
[On the journey back], when the boy [Gyaltsen Zang] got tired [from carrying the statue] on the dangerous roads, it is said that she flew in the sky. When he came from India, between there and their destination of Yab, the statue spoke seven times and left seven footprints, the first footprint being at Palmo Thang (dpal mo thang). Up to this point in the journey [the statue] danced three times during the day and three times during the night, without touching the ground.
At La Tö Tingri Langkor (la stod ding ri glang skor), while offering a vast ganacakra, the gathering asked about the location where [the statue] would benefit sentient beings.
She replied, “There is a place near to the Rasa Trulnang (rasa ‘phrul snang) where the Sakyamuni [statue] dwells. This is the land of Yab where the sky is in reality two intersecting dharmodayas, and the earth, an eight-petalled lotus. The mountain behind is a pile of precious stones and the mountain in front, a covering curtain of white silk. All aspects of the vegetation and forests are manifestations of male and female bodhisattvas. From east to west, a slowly moving stream possessing the eight qualities flows unobstructedly. On the right mountain are the consonants and on the left mountain, self-manifested vowels appear. All males are heroes, and all females are heroines. There, to the lap of the residing Sri Cakrasamvara, is where I, the Vajra Queen, am going.”
They then went to Shu Kunga Rawa (gzhu kun dga’ ra ba). [Gyaltsen Zang] asked if this was the correct place, but was told it was not.
They then went to Tölung Zhorang (stod lung zho rang) and again [Gyaltsen Zang] asked if this was the correct place, but was [again] told it was not.
They then went to Tölung Deng (stod lung dengs) and once again [Gyaltsen Zang] asked if this was the correct place, but was again told it was not, and that it was a place called Yab Chawa (yab bya ba).
Having exhausted their search, they finally arrived, so the place became known as Thelchin Nyak (thal phyin nyag, i.e. “The Low Pass [to which they] Arrived”). Then he asked to where should they now go, and [she] said they have to go upward into the valley. Thus this place became known as Yena (yas sna, i.e. “Upper Tip”).
Then after having travelled upward [into the valley], many sons and daughters of the gods and manifestations of Cakrasamvara descended from Tusita and met them with umbrellas, victory banners, pennants, incense, garlands and so forth, together with music and inconceivable offerings. The place became known as Jelsaga (mjal sa kha, i.e. “Meeting Place”). [Vajrayogini] appointed the daughter of a god as the goddess of place, and she became known as Ama Yul Lhama (a ma yul lha ma). The mandala of Sri Cakrasamvara, was clearly beheld and so the place became known as Selpoi Dengkha (gsal po’i gdengs kha, i.e. “Clearly Appearing Face”).
The [Vajrayogini] flew up like a lion, jumping up into the sky and onto the rock face saying, “With the mother, the Vajra Queen, resting in the lap of the father Cakrasamvara, method and wisdom are inseparable, there is no greater benefit for sentient beings. Henceforth I shall remain here no matter what.” A vast ganacakra was offered. She spoke further and left a footprint.
Then Gyaltsen Zang, acting as the principal attendant, gradually developed the site and expanded the Sangha.
At the time when Tsongkhapa travelled from Kyormolung to Gawadong (dga’ ba gdong), he invited the Venerable Khecari, possessing all good qualities, to Yabda Lhundrub Rabten (yab mda’ lhun grub rab brtan), and offered her a crown and earrings, together with aspirational prayers.[35]
After this the Lord of Victors, the Omniscient Great Fifth [Dalai Lama] was thinking about what to designate as the main devotional object (rten gtso) of Drepung Kungarawa (‘bras spungs kun dga’ ra ba) and invited this Venerable Khecari. After 21 days [at Drepung] the statue said that she would go to Ratsag, to the palace of Cakrasamvara. The Lord of Victors, the Omniscient Great Fifth, then affixed a garland of 100 pearls and corals, a nine-layered garment, and canopies made of fine cloth. Immediately that evening the statue was dispatched with its attendant and two additional caretakers acting as escorts, and arrived at Ratsag before daybreak.
After this the [statue] was invited to the great Potala Palace and it stayed for a week. At that time, on the way back, when the statue’s attendant passed through Shangkhar Dzong (zhang mkhar rdzong) he gave advice saying that the statue had been defiled and that a proper bathing ritual (khrus gsol) had to be immediately performed for the statue. He also said that, “Henceforth women, those with damaged samaya, widows, butchers and so forth should not touch or invite the statue. Because the golden face is the gold of the Jambu River, it is inappropriate to cover it with something else. Although the crown and earrings were affixed by the Great Je Tsongkhapa and have great blessings, as the Khecari is in the manner of displaying sorrow at Naropa’s passing to Khecara, [further] random offerings should not be affixed to the statue, and should be re-distributed. Furthermore, it was adorned with a garment of nine layers, and offered praises, supplications and prayers, the composition of The Chariot for Attaining Khecara, and a great fine offering scarf. At best the caretaker of this [statue] will be a bhikṣu, if not then a sramanera, and if not then it must be one holding the discipline of a renunciate (rab byung tshul khrim can). The statue will protect the whole of the noble [region of] Shun Lhojang (shun lho byang) from frost and hail and cause timely rain to fall.”
Here ends this brief history of this indispensable support of offerings.
Thus the Venerable Vajrayogini, the commitment support of Narotapa, was invited from India and established at the monastery called Ratsag in the excellent land of Yab, with wondrous geomancy; a supreme field of merit for all living beings. As drafts of manuscripts [of this history] written by previous authors had become tattered due to wear and tear over many years, and the texts were in danger of disappearing, out of a wish arising from supreme faith, in order for limitless living beings to find truly meaningful leisure and endowment, our mother-like proprietors, the Yuthogpa family, on a virtuous day of the month of the Wood-Pig year requested a newly edited edition [of this history], which was then made by the one with the name of Ladakh Tagtsang Tulku, one who is known for having previously stayed at Ratsag Hermitage.
The supreme mother of the victors, Prajnaparamita,
Appearing in the form of a beautiful charming lady,
The one renowned as Queen of Khecara,
The commitment support of the non-dual Mahapandita Naropa.Through the staircase of merit created from these carved woodblocks,
Containing the pure seeds of the volumes of the history of
This actual, wondrous and brilliantly splendorous Yogini,
May all beings climb and arrive in the realm of Khecara.
These words of prayer were composed by the one with the name of Mogchog Tulku Yeshe Gyaltsen (smog lcogs sprul sku ye shes rgyal mtshan) at the request of Ratsag Kunyer Drepung Gomangpa Rinchen Chogyal (rwa tshag ‘bras sgo mang pa rin chen chos rgyal).
Footnotes
[1] The name of the monastery is spelled in a variety of ways depending on the source. Spellings include “rwa tsag,” “rwa tshag,” and “ra tshag.”
[2] Roerich, 75.
[3] Richardson, 538.
[4] Ibid., 537-538.
[5] Ibid., 539. For an argument supporting Dorje Wangchug see Akester, 200-201.
[6] chos ‘phel, 99 and bshes gnyen tshul khrims, 239.
[7] The source for this account appears to be Desi Sangye Gyatso’s (sde srid sangs rgyas rgya mtsho, 1653-1705) Yellow Beryl (bai DUrya ser po [bshes gnyen tshul khrims, 239]).
[8] chos ‘phel, 99.
[9] Akester, 200.
[10] Also see chos ‘phel, 99.
[11] Ibid. According to a resident monk this statue was executed in the style of Ra Lotsawa (rwa lugs), although there is no evidence that such a style existed. Akester does not mention the belief that the clay statue was made by Ra Lotsawa, but instead notes a claim that it was made by Tsongkhapa (tsong kha pa, 1357- 1419), although there is no mention of this in Tibetan sources (Akester, 202).
[12] chos ‘phel, 101.
[13] Akester, 200-201.
[14] bshes gnyen tshul khrims, 240.
[15] gong sa skyabs mgon bcu bzhi pa chen po, 4.
[16] la dwags stag tshang sprul sku, 2015(?).
[17] gong sa skyabs mgon bcu bzhi pa chen po, 4. Vajrayogini, on the other hand, is the mother (yum).
[18] Tsongkhapa is known for having made elaborate offerings to several important statues during his life, including the renovation of the Dzingji (‘dzing ji) Maitreya statue in 1395 and the ornamentation of the Lhasa Jowo and other statues of the Jokhang in 1409.
[19] It appears that the statue was invited to Drepung in 1648 (Akester, 202).
[20] See ngag dbang blo bzang rgya mtsho, “phyogs bcu’i bde gshegs byang sems slob mi slob kyi dge ‘dun dang bcas pa’i bstod tshogs dngos grub rgya mtsho’i gter mdzod,” 13-15.
[21] Popular Tibetan culture even today often precludes women from touching certain sacred objects or visiting particular shrines, especially the chapels of protector deities (mgon khang). The touch of people who break their tantric commitments and vows is considered especially defiling. Tibetans also generally believed that butchers, along with blacksmiths and workers from several other trades, were impure and thus were treated as outcasts.
[22] tA ra nA tha, 2008, 283.
[23] ngag dbang blo bzang rgya mtsho. “za hor gyi ban+de ngag dbang blo bzang rgya mtsho’i ‘di snang ‘khrul pa’i rol rtsed rtogs brjod kyi tshul du bkod pa du kU la’i gos bzang las glegs bam dang po,” 216.
[24] Akester, 202-203.
[25] bshes gnyen tshul khrims, 240. According to a current resident, there used to be 80 monks at the monastery.
[26] Akester, 200.
[27] khri byang rin po che blo bzang ye shes bstan ‘dzin rgya mtsho, 226.
[28] Ibid., 226-227.
[29] ldan ma blo bzang rdo rje, 903.
[30] Repo, 27-28.
[31] pha bong kha, “bde chen dga’ ston,” 61-131. Phabongkha’s works on other deities are equally popular. For a full list of the contents of his collected works, including his works on Vajrabhairava and Kalarupa, who are also central deities at Ratsag, see Repo, 43-62. The Kalarupa ritual, Accomplishment of the Four Activities (las bzhi’i ‘phrin las myur ‘grub), noted as not having been included in Phabongkha’s collected works (Repo, 22-23), is in fact included in the compilations in both the Delhi and Lhasa editions (pha bong kha, “las bzhi’i ‘phrin las myur ‘grub,” 274). It is unclear if the text was included in the original edition, a set of which appears to be held in the Potala’s collection. The fact that the colophons of a stand-alone edition of this work note that it was extracted from the collected works and printed as a separate text do not preclude it from having been included within the set.
[32] This story was recounted by a monk from Ratsag. The Guhyasamaja, however, survived and continues to be the main object of devotion at Reting (gzim sprul bstan ‘dzin ye shes, 56).
[33] A synopsis of the history of the Ratsag Yogini can be found in Akester, 200-202.
[34] The dre is a traditional Tibetan measurement of volume.
[35] This site is located at the lower end (mda’) of the valley.
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gzim sprul bstan ‘dzin ye shes. rwa sgreng chos sde chen po’i gnas yig. Lhasa: bod ljongs mi dmangs dpe skrun khang, 2012.
khri byang rin po che blo bzang ye shes bstan ‘dzin rgya mtsho. “dga’ ldan khri chen byang chub chos ‘phel gyi skye gral du rlom pa’i gyi na pa zhig gis rang gi ngag tshul ma bchos lhug par bkod pa ‘khrul snang sgyu ma’i zlos gar,” in yongs rdzogs bstan pa’i mnga’ bdag skyabs rje yongs ‘dzin khri byang rdo rje ‘chang chen po’i gsung ‘bum, vol. 4, s.l. : s.n., d.u.
la dwags stag tshang sprul sku. rwa tshag rje btsun nA ro mkha’ spyod ma’i sku’i chos ‘byung lo rgyus. s.l.: s.n., 2015(?).
ldan ma blo bzang rdo rje. rigs dang dkyil ‘khor rgya mtsho’i khyab bdag he ru kaH dpal ngur smrig gar rol skyabs gcig pha bong kha pa bde chen snying po pal bzang po’i rnam par thar pa don ldan tshangs pa’i dbyangs snyan. Lhasa: par pa dpal ldan, d.u.
ngag dbang blo bzang rgya mtsho. “phyogs bcu’i bde gshegs byang sems slob mi slob kyi dge ‘dun dang bcas pa’i bstod tshogs dngos grub rgya mtsho’i gter mdzod,” in rgyal dbang lnga pa ngag dbang blo bzang rgya mtsho’i gsung ‘bum, vol. 18. Beijing: krung go’i bod rig pa dpe skrun khang, 2009, pp.13-15.
_______________. “za hor gyi ban+de ngag dbang blo bzang rgya mtsho’i ‘di snang ‘khrul pa’i rol rtsed rtogs brjod kyi tshul du bkod pa du kU la’i gos bzang las glegs bam dang po,” in rgyal dbang lnga pa ngag dbang blo bzang rgya mtsho’i gsung ‘bum, vol. 5. Beijing: krung go’i bod rig pa dpe skrun khang, 2009.
pha bong kha bde chen snying po. “drug cu ba’i ‘don bsgrigs ‘khyer bde nag ‘gros su bkod pa las bzhi’i ‘phrin las myur ‘grub,” in khyab bdag rdo rje ‘chang pha bong kha pa dpal bzang po’i gsung ‘bum, vol. 6. Lhasa: s.n., d.u., pp.274-283.
_______________. “rdo rje rnal ‘byor ma nA ro mkha’ spyod dbang mo’i dkyil ‘khor gyi cho ga bde chen dga’ ston,” in khyab bdag rdo rje ‘chang pha bong kha pa dpal bzang po’i gsung ‘bum, vol. 4. Lhasa: s.n., d.u., pp.61-131.
Repo, Joona. “Phabongkha Dechen Nyingpo: His Collected Works and the Guru-Deity-Protector Triad” in Revue d’Etudes Tibétaines, no.33, 2015, pp. 5-72.
Richardson, H.E. “The Inscription at Ra tshag Dgon-pa,” in Bulletin of the School of Oriental and African Studies, University of London, Vol. 58, No. 3, 1995.
Roerich, George N. The Blue Annals: Part One. Calcutta: Royal Asiatic Society of Bengal, 1949.
tA ra nA tha. “rgyal ba’i bstan pa rin po che spyi’i rnam bzhag las ‘phros pa’i dpal ldan shangs pa’i chos skor gyi ‘byung khungs yid kyi mun sel,” in jo nang rje btsun tA ra nA tha’i gsung ‘bum dpe bsdur ma, vol. 34. Beijing: krung go’i bod rig pa dpe skrun khang, 2008, pp.194- 285.
Ratsag Monastery and its Vajrayogini Naro Khecari Statue (click to download PDF)
The Illusory Play: The Autobiography of Kyabje Trijang Dorje Chang (click to download PDF)
For more interesting information:
- Ra Lotsawa the Yamantaka hero
- Ra Lotsāwa Dorje Drakpa
- Langlab Jangchub Dorje
- H.H. Kyabje Pabongka Rinpoche’s Sacred Vajra Yogini
- The Vajra Yogini category on my blog
- Four Sacred Sites of Vajra Yogini in Nepal
- H.H. Kyabje Pabongka Rinpoche’s category on my blog
- Mahasiddha Naropa: The Indomitable Disciple
- Sakya Lopon Sonam Tsemo – The One Who Ascended to Kechara Paradise
- Vajra Yogini Ugra-Tara in Sankhu, Nepal
- Tsarchen Losal Gyatso: Lineage Holder of Vajra Yogini’s Tantra
- Stunning Vajra Yogini Altar
- Shimmering Vajra Yogini from Ms. Wahyu
- Pilgrimage Through India & Nepal
- Starting On Vajra Yogini NOW! | 今天就开始修习金刚瑜伽母
- Power Place: Jog Falls
- Vajra Yogini – The Powerful Divine Red Lady
- Twenty-Four Holy Places & Eight Great Charnel Grounds
- 6 Yogas of Naropa by H.H. Kyabje Zong Rinpoche
- Make Offerings to Vajra Yogini in Kechara Forest Retreat
- Getting Closer to Vajra Yogini
- The Miraculous Vajra Yogini of Ditsa Monastery | 支扎大寺殊胜的那洛空行母
- Kechara Forest Retreat’s Vajra Yogini
- TRANSCRIPT: How Lama Tsongkhapa transforms to Vajra Yogini | 宗喀巴如何转化成金刚瑜伽母
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If you are in the United States, please note that your offerings and contributions are tax deductible. ~ the tsemrinpoche.com blog team
Thank you Pastor David for the interesting sharing. Feeling happy to revisit this post again as it remind me of my pilgrimage there. Fortunate to able to see those sacred statues of Vajra Yogini at Ratsag Monastery. It is so beautiful merely looking tells a thousand words. Located in the Yab Valley in Tolung near to Lhasa,Tibet a far away place from Lhasa. Worth visiting to see the Stupa of Karmic Illness even though destroyed but had since been restored and repainted. Many pilgrims perform circumambulations and prostrations as the story been told that life-threatening illnesses could be healed. In-fact this monastery had a beautiful history behind it. Interesting read.
Thank you for the interesting sharing of the sacred Vajra Yogini statues and the history of the Ratsag Monastery. I am glad to come across this very powerful practice and happy to learn and get connected to this divine Buddha.
In this modern times, we face so very many challenges with illnesses and diseases, this article is so useful and easy to practice. I had a good read on the historical site of this Monastery and blessed to see the beautiful images.
Ratsag Monastery is a popular pilgrimage site located in the Yab Valley in Tolung near to Lhasa, Tibet. Its a beautiful place located with interesting history behind it. It’s the statue of Vajra Yogini that attracted many pilgrims there. This monastery been built to purify the heavy negative karma associated with Ra Lotsawa Dorje Drakpa (1016-1128 CE) by the locals who is well known for introducing the Vajrabhairava-Yamantaka Tantras to Tibet.
Interesting read of Vajra Yogini scared statues and about the history of the monastery. May the original statue of Vajra Yogini will be returned to Ratsag Monastery one day.
I did made a trip last May with friends and saw those beautiful scared statues at the monastery. Merely by looking at it is a blessing.
Thank you Pastor David for this interesting post with the history of the Sacred Vajrayogini Statue been explained.
Starting on Vajra Yogini now. Practicing Vajra Yogini without initiation.
Find out more- https://bit.ly/2JjTTXp
https://video.tsemtulku.com/chat-videos/2019/04/chat-1554237623.mp4
Dear friends around the world,
Many people have asked how to connect with Sacred Diamond Dakini Vajra Yogini without initiation and formal commitments. I have explained how to do so here: https://bit.ly/2JjTTXp
Any form of Vajra Yogini you worship leads to the same benefit. All her forms are just her wisdom manifesting for different karmic propensities at different time periods.
Please be blessed with these beautiful pictures of Ucheyma (Severed Head Vajra Yogini) from my personal shrine. Read more on this sacred form.- https://bit.ly/2QghvhS
May you all be blessed and ascend to Kechara Paradise.
Humbly, Tsem Rinpoche
——————————————————————————
致世界各地的朋友：
人们曾无数次问我：如何在没有受灌顶和誓言的情况下，跟殊胜的金刚空行母——金刚瑜伽母结缘。我已经在此文中跟大家解释：https://bit.ly/2JjTTXp
不管我们供奉以哪种形象示现的金刚瑜伽母，所得的益处是一样的。她以无上智慧，顺应不同时代众生的业力而示现不同形象。
衷心希望我佛坛上的“乌切玛”（断首金刚瑜伽母）像的这些庄严相片能加持你的心续。更多关于这一殊胜法相的资料，可在此阅读：https://bit.ly/2QghvhS
祈愿你获得加持，日后能登克切拉净土。
詹杜固仁波切敬启
https://video.tsemtulku.com/videouploads/comment-1552836809.mp4
Dear friends around the world,
Many people have asked how to connect with Sacred Diamond Dakini Vajra Yogini without initiation and formal commitments. I have explained how to do so here: https://bit.ly/2JjTTXp
Any form of Vajra Yogini you worship leads to the same benefit. All her forms are just her wisdom manifesting for different karmic propensities at different time periods.
Please be blessed with these beautiful pictures of Ucheyma (Severed Head Vajra Yogini) from my personal shrine. Read more on this sacred form.- https://bit.ly/2QghvhS
May you all be blessed and ascend to Kechara Paradise.
Humbly, Tsem Rinpoche
——————————————————————————
致世界各地的朋友：
人们曾无数次问我：如何在没有受灌顶和誓言的情况下，跟殊胜的金刚空行母——金刚瑜伽母结缘。我已经在此文中跟大家解释：https://bit.ly/2JjTTXp
不管我们供奉以哪种形象示现的金刚瑜伽母，所得的益处是一样的。她以无上智慧，顺应不同时代众生的业力而示现不同形象。
衷心希望我佛坛上的“乌切玛”（断首金刚瑜伽母）像的这些庄严相片能加持你的心续。更多关于这一殊胜法相的资料，可在此阅读：https://bit.ly/2QghvhS
祈愿你获得加持，日后能登克切拉净土。
詹杜固仁波切敬启
The Library of Tibetan Works and Archives is in Dharamsala, which is broken into 2 parts. Upper Dharamsala is where the Dalai Lama’s palace is located with his audience room and main prayer hall. It is also the location of the Dialectics School, Gaden Shartse’s guesthouse, restaurants, tourist hotels & main tourist areas.
A short ride down takes you to the lower part of Dharamsala where the Tibetan government is located. It is the location of the Tibetan Parliament in Exile, Nechung monastery, the Library of Tibetan Works and Archives, the Tibetan arts centre…it’s all in one area. And the reason why it’s split into upper and lower Dharamsala is because the area is mountainous.
The Library of Tibetan Works and Archives was established by the Dalai Lama and the Tibetan government to preserve all the ancient texts – both secular and spiritual – of Tibet and in the process, translate them into various languages like English. This book, Overview of Buddhist Tantra, by Panchen Sonam Drakpa was one of the books translated into English. What’s very interesting is that the book very clearly says that Panchen Sonam Drakpa’s previous life is Duldzin Drakpa Gyaltsen, one of the five main disciples of Lama Tsongkhapa. It also says that after that, he was Tulku Drakpa Gyaltsen.
So the book is basically saying that Tulku Drakpa Gyaltsen, Panchen Sonam Drakpa and Duldzin Drakpa Gyaltsen – the three Drakpas – are of the same mindstream.
Now that’s very peculiar because if Tulku Drakpa Gyaltsen’s previous life is Panchen Sonam Drakpa, the renowned composer of 45 volumes of Dharma texts, the abbot of three monasteries AND the 15th Gaden Tripa, the holder of Lama Tsongkhapa’s throne…if that’s the case, how can Panchen Sonam Drakpa take rebirth as Tulku Drakpa Gyaltsen and become an evil spirit and have a negative mind?
Prior to Tulku Drakpa Gyaltsen, he was Panchen Sonam Drakpa and before that, he was Duldzin Drakpa Gyaltsen, a heart disciple of Lama Tsongkhapa. How can a heart disciple of Lama Tsongkhapa reincarnate as the erudite master Panchen Sonam Drakpa, and then die and reincarnate as Tulku Drakpa Gyaltsen…and then Tulku Drakpa Gyaltsen, due to a bad and negative prayer, become the evil spirit Dorje Shugden? How is that possible? Logically, it’s not.
What’s incredible is that all of this was printed by the Library of Tibetan Works and Archives under the Dalai Lama’s guidance. They contradict themselves because on one hand, the Tibetan leaders say Dorje Shugden is an evil spirit. On the other hand they’re printing a book saying that Panchen Sonam Drakpa, whose later incarnation became Dorje Shugden, is of this illustrious mindstream.
So how can the Library of Tibetan Works and Archives, which is under the auspices of His Holiness the Dalai Lama and the Tibetan government, print the translation of a book composed by the previous incarnation of a so-called evil spirit? How can they then say in the book that Panchen Sonam Drakpa’s previous life is Duldzin Drakpa Gyaltsen, and his next life was Tulku Drakpa Gyaltsen?
Prior to the Dorje Shugden ban and controversy, everyone in Tibet knew that Dorje Shugden is Tulku Drakpa Gyaltsen, that Tulku Drakpa Gyaltsen is Panchen Sonam Drakpa, and that Panchen Sonam Drakpa is Duldzin Drakpa Gyaltsen. The three Drakpas, they are one mindstream emanating again and again to benefit other beings.
And as we all know, Tulku Drakpa Gyaltsen became Dorje Shugden so it totally doesn’t make sense to call him an evil spirit, then highlight all of his previous lives as erudite masters, and publish all of this information under their own library. So you can see the contradictions. You can read all of this for yourself in Overview of Buddhist Tantra, which was printed by the Library of Tibetan Works and Archives.
—–
OVERVIEW OF BUDDHIST TANTRA
GENERAL PRESENTATION OF THE CLASSES OF TANTRA,
CAPTIVATING THE MINDS OF THE FORTUNATE ONES
rgyud sde spyi’i rnam par bzhag pa
skal bzang gi yid ‘phrog ces bya ba bzhugs so
BY
PANCHEN SONAM DRAGPA
(Pan-chen bSod-nams grags-pa, 1478-1554)
O Choje Sonam Dragpa Pel! (Chos-rje bSod-nams grags-pa-dpal!)
In the vast expanse of Your bodhi-mind,
The mind that the Buddhas have lauded for as many as
one hundred times,
You have developed “merit” shining like the sun.
Through Your skill in learning, debate and writing,
As illuminating as one hundred thousand sun rays,
You have developed in You a complete knowledge of
the entire sutras and tantras,
Resembling a garden of flowers in full bloom.
The power of Your speech is like the sun;
The fame of your name has reached the three realms of
this world.
O Sonam Dragpa, the teacher of teachers!
I bow down at your feet.
In the vast garden of Your great teachings,
The intelligent young people gather for
The ‘six ultimates’ and the ‘four modes of transmission,’
Just as they are attracted to
The one hundred thousand types of nectar
Dripping from a flower of one hundred petals.
May I be able to experience
The taste of the secret tantra!
Panchen Choje Sonam Dragpa Pel (Panchen Chos-rje bSod-nams grags-pa-dpal), the holder of sutra and Vajrayana teachings, was a master whose outstanding learning and spiritual accomplishments are well known by all the learned ones in Tibet. His first incarnation came in the form of one of the five prestigious disciples of Lord Tsongkhapa (Tsong-kha-pa) and became known as Vinaya Holder (Dulzin) Dragpa Gyaltsen (Gragspa rgyal-mtshan). Then came Panchen Sonam Dragpa Pel (Panchen bSod-nams grags-pa-dpal), the author of the present text. The next was Nagri Tulku Dragpa Gyaltsen (mNga’-ris sPrul-sku Grags-pa rgyal-mtshan). In this way, a line of his incarnations, each with the Dragpa (gragspa) surname, followed successively.
Panchen Sonam Dragpa Pel (Panchen bSod-nams grags-pa-dpal) was born in the 14th century in Tsetang (rTsed-thang) in the Lhoka (Lho-kha) region of Central Tibet. He entered the great seat of learning, Sera Thekchenling (Se-ra theg-chen-gling) monastic university, where he became the personal disciple of spiritual master Donyo Dangden (Dhon-yod dang-ldan) and His Holiness the Second Dalai Lama Gedun Gyatso (dGe-‘dun rgya-mtsho). Under them, he studied the entire teachings of sutra, tantra and their commentaries, and became known for his outstanding learning. He also received from them the empowerments, reading transmissions, guides and instructions of the entire body of spiritual training. On becoming the fully blessed one, the Dalai Lama appointed him the abbot of the Loseling (Blo-gsalgling) college, one of the four colleges of Drepung (‘Bras-dpung)- the most prestigious monastic university in Tibet before 1959, with over 10,000 monks on its register. He continued to be the abbot of this college for the next six years; and after him the tenure for each of his successors in this position was fixed for a period of six years, a rule that is followed even today.
He was then appointed the head of the Gelugpa (dGe-lugs-pa) order, the throne holder of Gaden (dGa’-ldan), thus becoming the 15th regent of Lord Tsongkhapa (Tsong-khapa), the second Buddha. In his eulogy to him, Khedrub Gelek Pelsang (mKhas-grub dGe-legs dpal- bzang) says:
O Lama, the second successor of the Unsubduable One,
The regent of the Lord of Dharma,
You are the one who made the virtuous qualities thrive;
You are the one who ascended to the golden throne uplifted
by the fearless lions.
May Your success thrive forever!
He continued to be the throne holder for the next seven years, during which time he promoted the spread of Lord Tsongkhapa’s (Tsong-kha-pa) precious teachings, the Gelug (dGe-lugs) tradition, across the land in all directions. He also paid special attention to the practice of monastic rules and the learning and meditation of Buddhism in the monasteries such as Sera (Se-ra), Drepung (‘Bras-spungs), Kyomolung (sKyo-mo-lung), Phagmo Chode (Phag-mo chos-sde), Nyeding (Nye-sdings), Ödna (’Od-sna) and Chöde Rinchen (Chos-sde rin-chen) etc. and improved them to a great extent. He taught the Third Dalai Lama Sonam Gyatso (bSod-nams rGya-mtsho) as the latter’s spiritual master. It was from him that the Dalai Lama received the name Sonam (bSod-nams).
His contributions in the literary field are enormous; and, indeed, they are the most valuable of all his contributions. Tsongkhapa (Tsong-kha-pa) has rightly said:
Of all one’s deeds,
The ‘deeds of speech’ are the most valuable.
Panchen Sonam Dragpa Pel (Panchen bSod-nams grags-pa-dpal) was a person with an extraordinary talent for teaching, debate and writing. In his colophon to Bu mey chi don zab don sel wey dron mey (dBu ma’i spyi don zab don gsal ba’i sgron me), he wrote:
In the field of teaching, I am [next to none!] Knowing that
I would outdo them in this field, Arya Asanga and his
brother transmigrated into another realm.
In the field of debate, I am [next to none!] Knowing that
I would find out the areas they had contradicted and
that I would examine them and put forth my arguments,
the logician Dignaga (Digh-naga) and Dharmakirti tactfully
bypassed me.
In the field of writing, I am [next to none!] [In my eyes,]
Arya-sura was just good at spreading the works, which
are like ‘disputes~ between an insect and a field.’
I am the learned man. Peerless in the field of teaching,
debate and writing!
For some this passage might sound utterly nonsensical, but the most learned master of our age, the talented teacher, logician and writer, the late tutor to His Holiness the Dalai Lama, Yongdzin Trijang Dorjechang (Yongs-‘dzin Khri-byang rDorje-‘Chang), said: “Now, some people of our time, who consider themselves learned scholars, think that this is utter nonsense; but they are wrong.”
Panchen Sonam Dragpa Pel (Panchen bSod-nams grags-pa-dpal) wrote over 45 volumes of books dealing with many different subjects, such as the commentaries on the sutras and tantras, the saddhana manuals of the tutelary deities, history, religious history and so forth. Among these, one that is very important for all who wish to learn and meditate on the path-of the practical aspect of Buddhism in general and that of Vajrayana in particular is the Leg shey gyu de chi nam par shagpa kelsang gi yi trod (Legs bshad rgyud sde spyi’i rnam par bzhag pa skal bzang gi yid ‘phrod). In this book, he has explained precisely how the four tantras differ from one another. He has also fully described the stages of the two spontaneous path practices of the Vajrayana tradition, dealing with the ‘six ultimates’ and the ‘four modes of transmission’, thus interpreting without mistake the intention of Adhi-Buddha Vajradhara.
May the reprint of this text, which the Library of Tibetan Works and Archives is publishing herewith, bring peace and happiness in this world!
Prof. Nawang Jinpa
St. Joseph’s College
Darjeeling
January 24 1996
All enlightened beings are worthy of homage and worship. They are the best beings to take refuge in and we should offer them our prayers as we can put our full confidence in them. Of all the Buddhas and Bodhisattvas, I personally find that Manjushri is extremely important. This is because what keeps us in samsara (cyclic rebirth) is our total ignorance and misunderstanding of the reality of existence. What is necessary to penetrate this deep ignorance that keeps us bound in a perpetual state of reincarnation is wisdom. We need many types of wisdom which can be acquired by relying on Manjushri as our yidam (meditational deity). By focusing on his meditation, practice, mantra and path we can gain wisdom in order to have the tool to penetrate the reality of existence. Therefore, Manjushri is an extremely important Buddha for us to focus on and take refuge in.
Tsem Rinpoche
(Photograph: this is the beautiful outdoor Manjushri statue who is in a teaching pose. He is floating above a koi fish pond nestled among lush greenery in Kechara Forest Retreat, Malaysia)
每一位觉者都能成为我们朝拜、膜拜的对象。他们是我们至高、至好的皈依，我们应该向他们做祈请，并且对他们生起全然的信念。在众佛菩萨之中，我个人认为文殊菩萨极为重要。这是因为使我们身陷娑婆（轮回）的是我们自身的无明，以及对实相的曲解。智慧是一种必要，它能穿透我们深不见底的无明，那个使我们受困于无止境投生的无明。我们需要多种智慧，而依止文殊菩萨作为我们的本尊，即能使我们成就多种智慧。透过文殊菩萨的观想、修持法门、心咒及修行道路，我们能成就智慧，拥有了知实相的“器具”。故此，专注于文殊菩萨的修持法门、皈依他，对我们而言都极为重要。
詹杜固仁波切
（相片：这尊户外文殊菩萨像呈转法轮姿。他被茂密的草木环绕，安坐在马来西亚克切拉禅修林的鱼池之上。）
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.
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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.
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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.
I always feel a lot of admiration about Ra Lotsawa, he is so determined to ensure the Yamantaka will be practiced in future generations, he set out and did what he was needed to do. And after establishing Yamantaka as a genuine practice, he built 108 monasteries to purify the karma or killing lineage lamas of different lineages who opposed to the spread of Yamantaka tantra.
This is such an interesting article about Lady Vajrayogini. What grabbed my attention was how Vajrayogini shifted her pose after Naropa ascended to Kechara Paradise. So many magical activities shared that to me shows the world to be karmically purer then. It was funny how the acharyas just ran off with Vajrayogini statue without waiting for agreement on the exchange for gold. And the “Stupa of Karmic Illness”, its like Wow! how blessed. So many can be healed. Now in Kechara Forest Retreat, we too have our Medicine Buddha healing fountain where people are collecting healing water for their loved ones, friends and sick ones. Already people are reporting miracles from this healing fountains. Thank you Rinpoche and Pastor David for such precious information of our lineage.
For more free high resolution images of Vajrayogini, visit: https://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html?nggpage=9
Medicine Buddha puja encourages healing of all levels – physical, mental and emotional healing for those in need.
High resolution file of this thangka is available for download for all dharma practitioners around the world and for those who just want sacred images in their environment. Enjoy, be blessed and share this with others.
Here is the link to free download of this image and many other images: https://www.tsemrinpoche.com/tsem-tulku-rinpoche/downloads/buddha-images.html?nggpage=7
Thank you Rinpoche and Pastor David Lai for writing and sharing the article about the background of Ratsag Monastery, the challenges faced by Ra Lotsawa when he brought in Yamantaka tantric practice into Tibet and most remarkably, the personal Vajra Yogini statue of Mahasiddha Naropa brought from India to Ratsag Monastery by a Tibetan boy through the instructions given by dakinis.
What amazes me the most is the original Vajra Yogini statue, which once belonged to Mahasiddha Naropa, has the sacred power to bless anyone who see and pray to it without performing long prayers and rituals. Further, this Vajra Yogini statue was famous among many farmers and villagers at that time for its effective power to safeguard crops from icy hail and frost, as well as brought in rain at the right time during the summer months. This shows Vajra Yogini is definitely a powerful Buddha that can help the initiated practitioners to gain spiritual results fast and effectively. Some of the great masters who have venerated this self-manifested statue of Vajra Yogini are Lama Tsongkhapa, His Holiness the Great Fifth Dalai Lama, His Holiness Kyabje Pabongka Rinpoche and His Holiness Kyabje Trijang Rinpoche.
Upon reading through the article which reveals the importance of Vajra Yogini practice, we should start to prepare ourselves by building a strong foundation through the preliminary practices as listed from the link below, before we request for the empowerment of Vajra Yogini practice.
https://www.tsemrinpoche.com/tsem-tulku-rinpoche/inspiration-worthy-words/starting-on-vajra-yogini-now.html
Further, we can start to perform tea offering for Vajra Yogini and create the affinity with Vajra Yogini and her practice. Please click on the link below for the full article.
https://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/tea-offering-to-vajrayogini-for-the-1st-time.html
May the original statue of Vajra Yogini will be returned to Ratsag Monastery and continue to bless and protect many people and practitioners as well.
Thank you with folded hands,
kin hoe
Thank you Rinpoche and Pastor David Lai for writing and sharing the article about the background of Ratsag Monastery, the challenges faced by Ra Lotsawa when he brought in Yamantaka tantric practice into Tibet and most remarkably, the personal Vajra Yogini statue of Mahasiddha Naropa brought from India to Ratsag Monastery by a Tibetan boy through the instructions given by dakinis.
What amazes me the most is the original Vajra Yogini statue, which once belonged to Mahasiddha Naropa, has the sacred power to bless anyone who see and pray to it without performing long prayers and rituals. Further, this Vajra Yogini statue was famous among many farmers and villagers at that time for its effective power to safeguard crops from icy hail and frost, as well as brought in rain at the right time during the summer months. This shows Vajra Yogini is definitely a powerful Buddha that can help the initiated practitioners to gain spiritual results fast and effectively. Some of the great masters who have venerated this self-manifested statue of Vajra Yogini are Lama Tsongkhapa, His Holiness the Great Fifth Dalai Lama, His Holiness Kyabje Pabongka Rinpoche and His Holiness Kyabje Trijang Rinpoche.
Upon reading through the article which reveals the importance of Vajra Yogini practice, we should start to prepare ourselves by building a strong foundation through the preliminary practices as listed from the link below, before we request for the empowerment of Vajra Yogini practice.
https://www.tsemrinpoche.com/tsem-tulku-rinpoche/inspiration-worthy-words/starting-on-vajra-yogini-now.html
Further, we can start to perform tea offering for Vajra Yogini and create the affinity with Vajra Yogini and her practice. Please click on the link below for the full article.
https://www.tsemrinpoche.com/tsem-tulku-rinpoche/buddhas-dharma/tea-offering-to-vajrayogini-for-the-1st-time.html
May the original statue of Vajra Yogini will be returned to Ratsag Monastery and continue to bless and protect many people as well as the practitioners.
Thank you with folded hands,
kin hoe
Very interesting article of Ratsag Monastery which I do enjoyed so much. Its gives me a details knowledge of scared statues and about the history of the monastery . May this most sacred statue of Vajrayogini, which had been the object of veneration of many great Buddhist saints and Masters in the past be recovered one day and returned to the Ratsag Monastery. Thank you very much again Rinpoche and Pastor David for this wonderful write up. Hoping for more to come!????
The strong opposition to Yamantaka practice when it was first brought to Tibet is very reminiscent of the current Dorje Shugden issue. The parallels can’t be ignored. Yamantaka is very beneficial but was not seen as such in the beginning. Ra Lotsawa worked incredibly hard to promote the practice for those ready, for it. It now has hundreds of years of authentic practitioners behind it; likewise, Dorje Shugden has hundreds of years of practitioners of every caliber behind it, both practices are authentic, both bring great benefit. One has to think if either practice was not beneficial then why would both have lasted for many centuries to the present day? I do hope the ban on DS will be lifted soon.
Ra Lotsawa the founder of the Ratsag Monastery where the sacred Vajrayogini statue had been installed. Has been deeply admired, respected, venerated. May the original statue be recovered one day, and may it bless everyone who has contact with it!
Very interesting article of Ratsag Monastery which I do enjoyed so much. Its gives me a details knowledge of scared statues and about the history of the monastery . Its great to know that great highly attained Lamas were associated with this Ratsag Monastery as well as those scared statues of Vajrayogini. Interesting note…the scared Vajrayogini statue is said to have self-arisen during Buddha Shakyamuni’s lifetime. Amazing….do wish I can see for myself this scared statue one day .
Thank you Rinpoche and Pastor David Lai for this wonderful sharing.
In a manner similar to what is happening to Dorje Shugden’s practice today, Yamantaka’s practice had met with strong opposition from very powerful masters of the Sakya and Nyima Lineages, when it was first introduced in Tibet. However, Ra Lotsawa worked rigorously to ensure that people saw Yamantaka’s tantra as Buddhist, and a very powerful, authentic practice which was most beneficial and had the generation and completion stages of advanced tantra practices to bring people to the pinnacle of liberation. Today, without question, Yamantaka’s practice is recognized as an integral part of Tibetan Buddhist practice. In the near future may the ban on Dorje Shugden’s practice be lifted and may Dorje Shugden’s blessings and benefits spread and flourish in the 10 directions, bringing the lineage teachings of Lama Tsongkhapa everywhere in the world!
Ra Lotsawa is believed to be the founder of the Ratsag Monastery where a most renown and sacred Vajrayogini statue had been installed. The sacred Vajrayogini statue, that had been the object of devotion of the great Mahasiddha Naropa and was later brought in a powerfully mystical way to the Ratsag Monastery ,has continued to be an object of much veneration and devotion by many , including pilgrims, even though today it has been replaced by a replica of the original statue. This sacred statue continues to bestow tremendous blessings on all its supplicants and is renowned to have the power to “liberate through seeing”. The resident monks of this monastery , however, are convinced that the original statue had not been destroyed in the Cultural Revolution, as is generally thought, but that it had been ‘spirited’ away to safety by the 10th Panchen Lama before the Revolution.
May this most sacred statue of Vajrayogini, which had been the object of veneration of many great Buddhist saints and Masters in the past , be recovered one day and returned to the Ratsag Monastery.
Thank you Rinpoche and Pastor David for this most fascinating post.
Nice short video of a new LED signage reminding us of who we can go to for blessings in case of need: https://www.youtube.com/watch?v=EBwrkaKUoH0
This is my beautiful Bodhgaya Vajra Yogini on my personal altar. May you be blessed by her always. Read about her here https://bit.ly/2AfEK4Q
Tsem Rinpoche
Thank you Tsem Rinpoche and Pastor David for this very interest article on Vajrayogini. It is indeed a very special temple. It is very closely related to Dorje Shugden because 2 of Dorje Shugden’s previous incarnations are connected to this monastery.
First, Mahasiddha Naropa’s sacred personal statue requested to be brought to Tibet (perhaps she knew Vajrayogini practice would not flourish in Nepal so she decided to come to Tibet) and be installed in this specific location. Then the other incarnation of Dorje Shugden Ra Lotsawa built this temple and the healing stupa. After hundreds and hundreds of year, these sacred objects and energy are still here to benefit people.
I don’t think I will ever make it to Tibet. Fortunately, Tsem Rinpoche always shares images and information with us. Somehow, I am still able to connect with these sacred deities.
Thank you Tracy. I really love doing this article just because knowing that the Vajrayogini statue exists makes me feel a little bit closer to the Mahasiddha Naropa and his divine vision of Naro Kechari Vajrayogini. The existence of this great statue just inspires my faith in this tantric path.
As you might know that Vajrayogini is the main practice that Rinpoche had advocated for all of us in according to Kyabje Pabongka Rinpoche’s vision of a swift tantric path for the modern individual. I just love the story of how she was originally in the old pose of Vajravarahi had shifted into the pose of Naro Kechari that we know today. It just fires my imagination, faith and longing for the practice. I hope these would inspire you in the same way or similar.