（译文请往下阅读）

(By Tsem Rinpoche)

His Holiness Kyabje Pabongka Rinpoche was one of the most famous, sought-after and extremely powerful teachers of recent times in Tibet. Pabongka Rinpoche comes from a long line of incarnations stemming back to the tutors of the emperors of China, such as his incarnation as Changkya Rolpe Dorje. As Pabongka Tulku, this attained master is counted as the third of his incarnation lineage but prior to his name and recognition as Pabongka Tulku, He has had innumerable incarnations.

When Pabongka Rinpoche taught in Tibet, thousands would come from all over the region to attend his teachings as he was famous for giving heartfelt and penetrative teachings. Unlike many teachers who would teach from scholarly knowledge, Pabongka Rinpoche taught from deep experiential insights from his meditations. This means Pabongka Rinpoche meditated and practised based on the texts, and received signs, attainments and indications through his practice. Then, from these qualities, he taught extensively and his teachings touched people very deeply.

Many great lamas such as His Holiness Kyabje Trijang Rinpoche, His Holiness the Dalai Lama, His Holiness Kyabje Zong Rinpoche and His Holiness Ling Rinpoche have remarked decisively that Pabongka Rinpoche was a great Lamrim lama, a great lama of Lojong teachings and a great lama who had become one with Heruka. When we say that he had become one with Heruka, it means that Pabongka Rinpoche’s mind has become one with the yidam (meditational deity) Heruka. Heruka and Pabongka Rinpoche have melded into one or they have become inseparable. Therefore, this lama is a very special being who has accomplished high realisations through the Heruka tantra in order to become fully attained. Pabongka Rinpoche’s incarnation still lives amongst us now.

This group of pictures shows the retreat place of the previous Pabongka Rinpoche in Tibet. It is where he meditated and it is very well-kept even until now in the Lhasa vicinity. You can see Pabongka Rinpoche’s altar and his personal Vajrayogini statue which he worshipped very strongly. During his retreats, a third eye of Heruka appeared spontaneously in the cave. People offered to have the eye painted with gold and to highlight this special occurrence. In his cave, a natural water spring also appeared while he was meditating. If you listen carefully, the dripping sound it makes is the sound of Vajrayogini’s mantra. Vajrayogini and Heruka are one and inseparable; Vajrayogini is the condensed form of Heruka’s practice and Heruka is the extended form of Vajrayogini’s practice. They are represented as male and female Buddhas but actually they are one.

There are many features in this cave which, whenever we have a chance, make it a good pilgrimage spot to visit, to do retreats, to make offerings at and to make connections to this great lama. If we are in Tibet, we should definitely be in the line to visit Pabongka Rinpoche’s cave and make offerings so that we may be blessed by His Holiness Pabongka Rinpoche, Heruka and Vajrayogini.

Tsem Rinpoche

帕绷喀闭关地

至尊帕绷喀仁波切是西藏近代万人敬仰,追学求法的其中一位殊胜的大德喇嘛。帕绷喀仁波切的转世传承可追溯到清朝皇帝的上师章嘉大师诺必多杰的转世。目前的帕绷喀仁波切是第三世的帕绷喀仁波切。仁波切的前世有很多转世。

帕绷喀仁波切在西藏传法时，前来领受佛语的听众可达千万人。仁波切所开示的佛法非常精彩，其开示内容摄动人心。仁波切的佛法开示与其他上师不同, 仁波切的佛理教导是由自己体悟而讲解, 而不只是直译经典的内容。 这表示帕绷喀仁波切把所学习的佛法再进一步的深入思维和禅观, 从其禅观体悟佛法的真谛。仁波切讲解的佛法与所用的方式深深的触动人们的心。

佛教界许多高僧喇嘛如至尊赤江仁波切、尊者达赖喇嘛、至尊宋仁波切和至尊林仁波切经常在他们的开示以及文集里说帕绷喀仁波切是一位资深的菩提道次第广论和修心法门的大师。同时他们也认为帕绷喀仁波切和胜乐金刚本尊已无二无别。这也意味帕绷喀仁波切的心识和本尊胜乐金刚已经合为一体的意思。仁波切的成就是藉由胜乐金刚密续法门的修持而得成就。帕绷喀仁波切的转世目前也在世间人群里化现。

这些照片是帕绷喀仁波切在西藏拉萨闭关修行的山洞。这座位于拉萨范围内的山洞里的闭关室保存的非常完好。山洞里有仁波切本身内设佛坛和供奉很久的金刚瑜伽佛母像。仁波切闭关修行的时候，胜乐金刚的第三眼从山洞里自然现生。信徒们就用天然矿物颜料涂上颜色再以纯金为颜料供养胜乐金刚。仁波切闭关修行时，山洞里也自然涌出泉水。如果我们仔细的聆听水滴声, 会听到金刚瑜伽佛母心咒的咒音。

金刚瑜伽佛母的法门是胜乐金刚密续的简缩所修成, 而胜乐金刚密续是金刚瑜伽佛母的广修法门, 所以两者是无二无别的。胜乐金刚化现的双身像(佛父佛母的男女之分)，但实际上是一如无二的。

这个山洞里也有很多的特征。我们如果有机会, 应该前往这个帕绷喀闭关山洞朝圣、做供养或闭关与帕绷喀仁波切结下良好善缘。同时也领受帕绷喀仁波切，胜乐金刚和金刚瑜伽佛母的加持。

詹杜固仁波切

His Holiness Pabongka Rinpoche’s hermitage in reference from Sera Monastery. 帕绷喀闭关地与色拉寺

Map to Pabongka Rinpoche’s hermitage from Jokhang, Lhasa. 从大昭寺去帕绷喀闭关地图

Outside Pabongka Hermitage, Lhasa. 帕绷喀的外观，拉萨

Outside Pabongka Hermitage, Lhasa. 帕绷喀的外观，拉萨

Pabongka Rinpoche’s relic stupa. 帕绷喀大师舍利塔

The entrance to Pabongka Rinpoche’s cave. 帕绷喀大师闭关山洞的入口

The interior of Pabongka Rinpoche’s cave. 帕绷喀大师闭关山洞里的内部

Offerings inside Pabongka Rinpoche’s retreat cave. 帕绷喀大师闭关山洞里佛坛上丰盛供品

Heruka’s eye in Pabongka Rinpoche’s retreat cave. 帕绷喀大师闭关山洞里的胜乐金刚眼

Heruka’s eye in Pabongka Rinpoche’s retreat cave.
帕绷喀大师闭关山洞里的胜乐金刚眼

Heruka’s eye in Pabongka Rinpoche’s retreat cave.
帕绷喀大师闭关山洞里的胜乐金刚眼

The natural water spring in the cave.
帕绷喀大师山洞里天然形成的泉水

Water dripping inside Pabongka Rinpoche’s cave which resounds Vajrayogini’s mantra. Pilgrims go there to take water for blessings. 帕绷喀大师山洞里水泉里的水滴声

Pabongka Rinpoche’s Vajrayogini statue inside his retreat cave. 帕绷喀大师闭关山洞里供奉的金刚瑜伽佛母

Images courtesy of 大耗子‧诺布

Addendum

Takten Hermitage

‘Takten’ means ‘revealed sign’. The site was given the name when Pabongka Rinpoche was travelling, searching for a retreat site north of Sera Monastery. When he arrived at the site a crow spoke to him. This was the ‘sign’ that ‘revealed’ to him that this was the site where he should remain in retreat.

This a holy pilgrimage site because it was here that Pabongka Rinpoche went into retreat and gained high spiritual realisations. On this site is a cave with a building constructed at the cave entrance. Many self-arisen holy images emerged on this site, the most important of all being the eye of Heruka Chakrasamvara. Takten hermitage has a very strong association with the deities Heruka Chakrasamvara and also Vajrayogini. In fact, there is a natural spring inside the cave which is said to be blessed by Vajrayogini and the water is said to have tremendous healing properties.

Takten Hermitage

Garu Nunnery

Takten Hermitage is not the only site that has such self-arisen images of Heruka’s eye. One of the oldest nunneries in the Lhasa area is Garu Nunnery. Located around two hours by foot away from Sera Monastery, it faces Lhasa and has stunning long-distance views of the Potala Palace and the city of Lhasa. The name of the nunnery comes from the word ‘dance’ as the nunnery was built on the spot where the Indian master Padampa Sangye saw dakinis dancing.

The resident nuns associate the surrounding landscape, and in particular the mountains with different deities:

• The peak northwest of the hermitage is called the Palace of Cakrasamvara;
• Three rock outcroppings just north of the nunnery are called the Three Protectors;
• A flat cliff-face on a mountain northwest of the site is called the Mirror of Vajrabhairava;
• Another peak northeast of the nunnery is identified as the Soul-Mountain of Manjushri.

About one kilometre south of the monastery is a small shrine that contains a self-arisen image of the eye of Heruka Chakrasamvara.

The front façade of Garu Nunnery

Tashi Choling Hermitage

Tashi Choling literally means ‘The Auspicious Place of Dharma’ and this important hermitage and pilgrimage site is nestled on a mountain slope about three kilometers northwest from Sera Monastery. This hermitage lies in between two other important hermitages, Takten Hermitage slightly less than half a kilometer to the east and Pabongka Hermitage about half a kilometer to the west. Naturally, all three hermitages are intimately connected with Kyabje Pabongka Dechen Nyingpo.

According to oral tradition, the Tashi Choling site dates back to the time of the Tibetan Buddhist king, Songtsen Gampo in the 7th century CE. At that time, the hermitage was known as Dukyur Gon. In another source, Tashi Choling was the place where the Mongolian ruler of Tibet, Lhazang Khan placed the monks of his own private ritual college during the winter months. Eventually, the monks of Lhazang’s ritual college were absorbed into Sera Tantric College and with it, the ownership of Tashi Choling. In the 20th century, Kyabje Pabongka Rinpoche entered deep retreat at Takten Hermitage and he would eventually become extremely famous. Hence, Sera Tantric College would offer him Tashi Choling and in return, Pabongka Rinpoche agreed to enter Sera Tantric College. Ever since, Pabongka Rinpoche became associated with Sera Tantric College and Sera Mey College.

The hermitage was built following a design of a multi-tiered structure along the terraced slope of the southern face of the mountain. There is an open courtyard enclosed by a wall on the lowest level of the hermitage. Heading uphill to the next level, one would encounter the various buildings. According to existing records, the following are a list of buildings that correspond from the lowest to the highest level:

• Monk quarters (occupying 2 floors today) and a kitchen;
• The main temple (occupies two floors today but used to occupy four floors);
• The former residence of Pabongka Rinpoche along with his private chapels;
• The temple of Dorje Shugden.

The monk quarters and main temple still exist to this day but when compared to old photos and eyewitness accounts, it is just a fraction of its original size. Unfortunately, the private residence of Pabongka Rinpoche and the Dorje Shugden temple are still in ruins and have not been restored. Some say that this is due to the unresolved issue with Dorje Shugden.

A view of the ruins of the Dorje Shugden temple. Below it is the main temple of Tashi Choling.

Before 1959, the main icon on the altar of Tashi Choling’s temple was the statue of Maitreya called Miwang Jampa or Maitreya, Lord of Men. There used to be statues of the Sixteen Arhats (Neten Chudrug) and an old statue of Heruka Cakrasamvara (Demchog). All statues in the hermitage today are new except for an old statue of Heruka on the northwestern corner of the temple, which is unlikely to have been originally from Tashi Choling. The main icon on the altar today is Lama Tsongkhapa and his two heart sons. There are two statues of the Buddha on the left and on the right; there are life-sized statues of Kyabje Trijang Rinpoche, Pabongka Rinpoche and Jetsun Lama Ngawang Namdrol, the original founder of the hermitage. Along the eastern wall to the right of these statues is a line of funerary stupas of these three lamas.

The Blessing of Heruka’s Eye

When a practitioner gains realisations through his or her practices, the environment where they meditated in becomes imbued with their energy and the blessings of the deity. Those who are sensitive will be able to connect with these energies in the same way they might sense violent, depressed or lost energies in places where people have suffered traumatic deaths. Hence if a place can become imbued with violent energies as a result of unpleasant events, a place can also become imbued with positive, blessing energies as a result of spiritual activities.

And in the same way a space can become imbued with the energies of a practitioner and the blessings of a deity, self-arising images can appear as a representation of the attainments of the practitioner who meditated there. In this case, the self-arising eye of Heruka Cakramsavara (Demchog Gyi Chen Rangjung) represents the attainments of Pabongka Rinpoche. Heruka Chakrasamvara has four faces, each with three eyes. The third eye, turned on its side, is known as the wisdom eye. Thus the self-arising eye of Heruka represents Pabongka Rinpoche’s realisation of the highest wisdom: shunyata, or the emptiness of inherent existence.

The eye of Heruka arose because Pabongka Rinpoche derived his great realisation via his practice of Heruka during retreat. Making offerings to the eye is considered acceptable as doing so will be the same as making offerings to the deity. The eye reflects the presence of the deity and their energies, as well as the great practice of the meditator who engaged in retreats in that environment.

The eye symbolises the presence of Heruka’s energy in the hermitage. In fact, Heruka has four moods or energies, each represented by one of Heruka’s four faces – peaceful, wrathful, desirous and increase. The main face expresses the mood of wrath and in this mood, it is said that Heruka need only glare at the spirits to dispel all negativities, energies and malevolent spirits. Hence, for those who see or wear the eye of Heruka, they will be blessed and protected by Lord Heruka Chakrasamvara from all negative spirits and energies. The eye of Heruka can thus be worn as a part of a pendant, hung in one’s car, in one’s house or even on our beloved pets. When offered onto our statues, the eye of Heruka introduces Heruka’s energy to our altar.

Kyabje Pabongka Rinpoche is associated with many sites around Sera Monastery. It was in Takten (Tagden) Hermitage that he engaged in retreat; Pabongka Hermitage where he lived; and Garu Nunnery where he is venerated as a lineage guru. Each of these sites associated with Kyabje Pabongka Rinpoche have self-arisen images of Heruka’s eye.

Pabongka Hermitage

Pabongka Hermitage is also known to have the image of a self-arisen eye of Heruka. The hermitage (also known as Maru Castle) has a history of over 1,300 years and is said to be possibly older than the Jokhang Temple in Lhasa, which houses what is said to be the most important image of Lord Buddha, the Jowo Rinpoche statue. It is located around nine kilometers away from Sera Monastery.

There are two different stories that relate to the founding of Pabongka Hermitage:

(i) The first version refers to a time when the Jokhang Temple was to be built to house the Jowo Rinpoche statue brought to Tibet by the Nepalese queen of the Tibetan King, Songtsen Gampo. King Songtsen Gampo ordered for the site that was then a swamp to be filled with dirt carried on the backs of goats.

However, whatever that was constructed on the site during the day was destroyed mysteriously during the night and so something had to be done. The King’s Nepalese queen consulted her co-wife, King Songtsen Gampo’s Chinese queen who performed an astrological divination and determined that an earth spirit called Ser Maha, a golden turtle who lived in the northern mountains of the Lhasa Valley, was the cause of the problem. King Songtsen Gampo’s Chinese queen recommended that a fortress was to be built at the site atop the huge turtle-boulder and that if that was done, Ser Maha, the spirit beneath it would be subdued thus removing the obstacles that were impeding the building of the Jokhang temple.

The king constructed a nine storey fortress made of bricks bonded with molten metal right on top of the turtle shaped boulder, Ser Maha. Each of the fortress’s four directions was bolted down by powerful and magically blessed chains. The king and his two wives then meditated in this fortress for three years to subjugate Ser Maha. In another version of the story, the king and his two queens entered into a meditation retreat in a nearby cave instead of the fortress he built and on the third day of the retreat, they had visions of the Three Protectors (Chenresig, Manjushri, and Vajrapani) who promised to help the king bring Buddhism into Tibet. The Three Protectors then dissolved into the rock and the figures of the three deities emerged spontaneously on the rock face.

Today the three self-arisen images remain and can be found on the main altar of the Temple of the Three Protectors in the southern part of Pabongka Hermitage.

In an alternative tradition, the king meditated not in the fortress but in a cave within the huge boulder that has been preserved to this day. Whilst King Songtsen Gampo was meditating in this cave, he had a vision of the Goddess Palden Lhamo who swore an oath to be the protector of the site and of Buddhism.

In addition, Pabongka Hermitage is believed to be where King Songtsen Gampo and his court invented Tibet’s first legal code: the set of “sixteen rules of purity for the populace” that was then propagated all over the empire.

(ii) The second version of the origins of Pabongka Hermitage speaks of a time when the Jokhang Temple was already built. One day when King Songtsen Gampo was inspecting the Lhasa Valley from the rooftop of his White Palace, the king and his ministers witnessed “a large dark shape” amongst the trees on the side of Chakrasamvara Mountain located north of Lhasa. The following day, they went to the site to investigate and saw that the dark shape was in fact a giant rock shaped like a turtle. King Songtsen Gampo then thought that “Thonmi [Sambhota] is about to return from India, and I should build him a palace that can serve as the headquarters from which he can spread the new written language. This place [Pabongka Hermitage] is a beautiful place and the turtle is a wondrous thing. I will build Thonmi’s palace here”.

King Songtsen Gampo personally designed the palace and when the foundation of the palace was completed, the king poured molten metal into it so that the turtle-rock and the nine-storey palace would permanently be fused as one.

It was here that Thonmi Sambhota taught the first written Tibetan language to the king and his ministers and then to others who in turn spread this treasure throughout Tibet. It is said that before Thonmi Sambhota began teaching the Tibetan people the written language he created, he wrote the six-syllable mantra (om mani padme hum) for the sake of good luck. In another account, Thonmi had traced out the six letters of the mantra onto the rock and the letters had magically emerged on the rock face. This rock remains today and can be seen in the Temple of the Three Protectors at Pabongka Hermitage.

The self-arisen eye of Heruka at Pabongka Hermitage

The Landscape of Pabongka Hermitage

There is another related story to the turtle narrative that states that there are in fact two turtles – one female turtle on the lower side of the hill where King Songtsen Gampo built his palace, and a male turtle further up the hill northeast of the king’s palace.

Folklore speaks of how the male turtle attempted to slide down the hill to unite sexually with the female turtle and had this event come to pass, an apocalyptic destruction of the universe by the elements (fire, water, etc.) would ensue, and therefore all attempts had to be taken to prevent this disaster.

As prevention both the female and male turtles were fixed in their respective positions by Buddhist markers. The female turtle was kept in place by King Songtsen Gampo’s temple, which is said to have a mythic pole that runs through the temple and pierces into the female turtle riveting it in its place. The male turtle is fixed in its place by a stupa built on top of it that magically prevents it from sliding down hill to the female turtle.

In addition, a series of stupas were built to form a powerful barrier between the female and male turtles. Based on one account, a total of one hundred and eight stupas, each containing one bead from Lama Tsongkhapa’s rosary, were built in between the female and male turtles to form a second line of defence.

The myth of the female and male turtles mating leading to the destruction of the universe could have been an invention created by monks living within the confines of Pabongka Hermitage as a reminder that for those who have taken monk vows, sex represents an end to their vows leading to destruction.

In addition, the turtles were in fact symbolic of the practice of worshipping local deities and indigenous gods who dominated the religious landscape of Lhasa prior to the spread of Buddhism in Tibet. The coupling of these geo-spirits was to indicate the regeneration of these primitive beliefs and likewise the Buddhist monuments that kept the female and male turtles apart were meta-physical representations of the power of the Buddha’s teachings over pre-Buddhist rituals and practices.

A view of Pabongka Hermitage from the south

The Later History of Pabongka Hermitage

It is commonly accepted that Pabongka Hermitage was designed to be a fortress but later converted into a religious centre. As Buddhism gained acceptance in Tibet and people began to be ordained as Buddhist monks, Pabongka Hermitage became the monastic home for the first seven Tibetan monks during the time of the Tibetan King Trisong Detsen. This makes Pabongka Hermitage one of Tibet’s oldest Buddhist monasteries.

During the reign of King Langdarma, he embarked on a campaign to dismantle monastic Buddhism and began to destroy the nine-storey palace, one floor at a time. But Langdarma only managed to destroy four storeys before the Protector Goddess Palden Lhamo appeared to stop him. During the Cultural Revolution, another two storeys were destroyed which explains why today the palace is a three-storey building.

Little is known about what happened to the Hermitage from the later period of King Langdarma’s reign. However from around the eleventh century, the site was re-established as a Kadampa temple by one of the greatest masters of the tradition, Potowa Rinchen Sel who lived in what was then known as the ‘cave of the Tenth Day’. It was in Pabongka Hermitage where Potowa transmitted much of the Kadampa tradition’s teachings to one of his eight close disciples, Geshe Drakarwa who restored Pabongka Hermitage to it former monastic splendour and re-established it as a site for Buddhist learning. Geshe Drakarwa rebuilt two storeys of the building that were previously destroyed and by the time Geshe Drakarwa passed away at the age of eighty, Pabongka Hermitage was residence to over three hundred monks.

For around two hundred years after that, the site continued as a growing Kadampa centre as successive Kadampa masters and throne holders developed what Potowa Rinchen Sel began. Many of the stupas built around that period remains on site till this day. A small clay tablet repository (tsakhang), located to the east of the Temple of the Three Protectors, believed to have been built during the Kadampa period as countermeasure to demonic forces, remains as well.

However, after the time of the seventh Kadampa abbot, the hermitage witnessed a series of decline and revivals under various masters and schools from the Sakya patriarch, Chogyal Pakpa Lodro Gyaltsen (1235 – 1280) to the Pakmo Drupa supremacy, to becoming a thriving Gelugpa institution under the Gelugpa Master Panchen Delek Nyima (16th century). Je Tsongkhapa who founded the Gelugpa School went into retreat for a brief period in the hermitage. In the year 1619, Pabongka Hermitage came under the patronage of the great Gelugpa Master Khonton Peljor Lhundrup (1561 – 1637) who was one of the teachers of the Great Fifth Dalai Lama who built a three-storey palace at the site. It was the Fifth Dalai Lama who began the tradition according to which all successive Dalai Lamas visited the hermitage at least once in their lives.

Pabongka Hermitage remained in Gelugpa hands until 1959 when it was forcibly closed. It was not until the 1980s that Sera Monastery formally applied for permission to rebuild the site and began restoring Pabongka Hermitage. Today Pabongka Hermitage is owned by Sera monks who also manage its upkeep.

Additional Information:

Important Rituals at Pabongka Hermitage

• The six-day (three sets of two-day fast) Avalokiteshvara fasting rituals (nyungney) during Losar celebrations.
• 16-day (eight sets of two-day fast) Avalokiteshvara fasting rituals during the fourth Tibetan month. This attracts many people (especially the elderly) from Lhasa and the surrounding area.
• The rituals and other events associated with the Sixth-Month Fourth-Day pilgrimage. Pabongka Hermitage is the starting point for the Sixth-Month Fourth-Day Sera Mountain Circumambulation Circuit pilgrimage.

Location

• Eight kilometers northwest of downtown Lhasa, above the fields of the Lhasa suburb Nyang bran.
• Southern slope of Mount Parasol, located northwest of Sera which is about an hour’s walk away.
• East of the hermitage is a cemetery in use even to this day. The cemetery is identified as one of the cemeteries in Heruka’s mandala. Before 1959, only fully ordained monks (gelongs) could be brought here for a ‘sky burial’; today, the bodies of lay people are also dispatched here.

Holy Images

The location is considered very sacred for many reasons:

• Metaphysically, it is sacred by its very nature as part of the body of the deity Heruka Chakrasamvara. There are 28 sites around the world associated with Heruka. Pabongka Hermitage is one of the Four Principal Sites called Debikoti.
• The sacred connection with Heruka is also shown through the self-arisen image of Heruka’s eye at Pabongka Hermitage.
• Various self-arisen images and rock formations have also been discovered in the mountains behind the hermitage. They are said to date to the time that Songtsen Gampo and his two queens lived there. One famous rock formation resembles a white conch shell.
• On the main altar inside the Temple of the Three Protectors are three stone self-arisen images of the Three Protectors (Avalokiteshvara, Manjushri, Vajrapani). And to the left of the main altar is a 1000-Armed Avalokiteshvara statue, said to grow in size every time nyungney is performed here.
• Inside the main temple at Pabongka Hermitage there is a small stone self-arisen statue of a Buddha, said to have appeared when Songtsen Gampo was gestating in his mother’s womb. The statue took its final form as the king was born. Some have identified this statue as Avalokiteshvara; others have identified it as Shakyamuni in kingly form, Amitayus or Amitabha. The statue faces the cemetery and it is said to grant powa (mind transference) for any deceased person brought to the cemetery.
• Songtsen Gampo’s cave chapel – along the north wall is a self-arisen image of Palden Lhamo whom Songtsen Gampo had a vision of while in retreat to pacify obstacles related to building the Jokhang.
• Next to Tsongkhapa’s meditation hut is a small chapel with a self-arisen stone image of Medicine Buddha.

The small self-arisen stone statue of the Buddha is kept in the main temple building to the right of Pabongka Hermitage.

Buildings in the Compound

Temple of Three Protectors – the building was built in the late 1980s. Before 1959, only a small shrine to the Three Protectors existed here.

• In 2004 – during renovations, new murals of the 80 Deeds of Tsongkhapa were painted here.
• Main altar – at the centre are three stone self-arisen images of the Three Protectors. To the left is a 1000-Armed Avalokiteshvara statue, said to grow in size every time nyungney is performed here.
• On the right side of the temple is a famous mani stone that was self-arisen on the rock Thonmi Sambhota used to trace the letters as the first example of Tibetan writing.

The Boulder House – lies northwest of the main entrance. Originally known as Maru Castle, and sits atop Female Turtle Boulder (the largest boulder on the side).

• Reportedly first structure to be built at the hermitage, dating to the time of Songtsen Gampo.
• Unclear if this is the original temple, contains the remnants of the original temple or if it was completely destroyed before and had to be rebuilt to its present state.
• First floor – vestibule with stairs going to the second floor.
• Second floor – three chapels. A small one houses statues of important figures of the monastery’s history. A large assembly hall provided a gathering and meeting place for about 100 monks. This is the room with the stone statue that self-arose when Songtsen Gampo was gestating in his mother’s womb. Behind this main hall is a small Protector deity chapel.
• Third floor – private rooms of the lama.
• Below the whole temple – going into the Female Turtle Boulder is the cave chapel where Songtsen Gampo stayed in retreat to pacify negative forces interfering with the construction of the Jokhang. The mortar throne in the middle of the room is said to be Songtsen Gampo’s actual meditation seat. Along the north wall of this cave chapel is a self-arisen image of Palden Lhamo whom Songtsen Gampo had a vision of while in retreat.

Tsongkhapa’s meditation hut – lies north of the Pabongka Hermitage’s main temple. Tsongkhapa is said to have stayed here when he took the one-day Mahayana precepts. Next to the hut is a small chapel with a self-arisen stone image of Medicine Buddha.

Series of Stupas – north of Tsongkhapa’s meditation hut. Said to date to the time the hermitage was a Kadampa monastery.

The Temple of the Five Visions – north of the series of stupas. Contains two chapels:

• Small chapel to the Eight Medicine Buddhas;
• Large chapel to Tsongkhapa – contains clay statues of Tsongkhapa and his heart sons, and the five forms of Tsongkhapa as he appeared in visions to Khedrup Je.

Male Turtle Boulder – northeast of the Temple of the Five Visions. Before 1959, there was a stupa on top of this boulder; today, there is a small structure.

The ruins of Lhaptsun Labrang – east of Male Turtle Boulder, and formerly the headquarters and estate of Lhaptsun Rinpoche.

Above are the significant structures. The remaining structures are those for utility purposes e.g. kitchen and monastic accommodation, or minor structures and shrines.
Source: Jose Ignacio Cabezon, The Hermitages of Sera. The Tibetan And Himalayan Digital Library. 2006.

There is a famous story of how Heruka actually appeared to Pabongka when he visited Cimburi in Tibet, where there is an image of Heruka. This is where the Blood drinker’s mountains are and this name refers to Heruka – Drinker of Blood. Apparently, Pabongka went to this place three times during his lifetime. When he first went there, this image spoke to him, opened its mouth and a tremendous amount of nectar came out. Pabongka collected the nectar from the mouth of Heruka while in the presence of sixty or seventy people. This nectar was then made into nectar pills. The Gelugpa’s current nectar pills originate from there. It is also stated that this very same cave in Cimburi where Pabongka received the nectar from the Heruka image was the place where Heruka promised him the following: “From now on, for the next seven generations, whoever practices my teaching, I will protect and help.”

The Contents of the Eleven-Volume Lhasa Edition of Phabongkha’s Collected Works, Together with the Contents of the Twelfth Volume as Found in the Potala Collection

His Holiness Kyabje Pabongka Rinpoche has eleven volumes of writings that are highly sought after and very much used till the present day. Very few works by teachers in Tibet become classics within their lifetime, but Pabongka Rinpoche’s writings did become classics.

For the sake of brevity, the titles listed below follow those given in the contents pages at the beginning of each volume in the set (phabong kha. khyab bdag rdo rje ‘chang pha bong kha pa dpal bzang po’I gsung ‘bum (11 vols.). Lhasa: s.n., 199-.) and those listed by the TBRC [W3834]. As Vol. 11 is a single work, the full title of the text is given.

Preference has been given for the TBRC’s listing as it is easily accessible and often more extensive, especially as Vol. 10, for example, has no printed listing of contents. Any important discrepancies between the order and contents of the TBRC’s listings and those of the contents pages of the Lhasa edition volumes, as well as the catalogue to the Potala edition are noted in square brackets.

In several cases the bibliographical titles have been expanded, usually by incorporating sections of the full headings as presented on the title pages of the individual works, with the additions in question also enclosed in square brackets. The contents of the twelfth volume are also listed following the presentation given in the catalogue to the Potala’s edition.

Two-Armed Heruka. Click on image to enlarge or click here for more beautiful thangkas.

Mahasiddha Krsnacharya, Heruka Chakrasamvara and Dorje Shugden. Click for high-resolution image or click here for more high resolution Buddha images.

Vol. 1 (ka)

Contents of Phabongkhapa’s Collected Works, Vol. Ka
pha bong ka pa’i gsung ‘bum pod kha pa’i dkar chag/

1. A Compilation of Only Initiations Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las dbang rkyang gi skor phyogs gcig tu bkod pa/
2. A Compilation of Combined Initiations and Instructions Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las dbang khrid sbrag ma’i skor phyogs gcig tu bkod pa/
3. A Compilation of Various Oral Transmissions and Instructions Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las lung khrid sna tshogs skor phyogs gcig tu bkod pa/
4. A Compilation of Only Oral Transmissions Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las lung rkyang gi skor phyogs gcig tu bkod pa/

Vol. 2 (kha)

Contents of Phabongkhapa’s Collected Works, Vol. Kha
pha bong kha pa’i gsung ‘bum pod kha pa’i dkar chag/

1. A Compilation of Permission Initiations Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las rjes gnang skor phyogs gcig tu bkod pa/
2. A Compilation of Text-collections Drawn from Phabongkha’s Records of Received Teachings
   pha bong kha pa’i gsan yig las be’u bum skor phyogs gcig tu bkod pa/
3. The Method for Practicing the Yoga of the Guru Pūjā with Cakrasaṃvara: A Ritual Arranged for Convenient Recitation
   bla ma mchod pa ‘khor lo sdom pa dang ‘brel ba’i rnal ‘byor nyams su len tshul gyi cho ga nag ‘gros su bkod pa/
4. The Method for Practicing the Guru Pūjā with Bhairava: A Recitation Ritual Arranged for Convenient Recitation
   bla ma mchod pa ‘jigs byed dang ‘brel bar nyams su len tshul gyi ‘don chog nag ‘gros su bkod pa/
5. A Festival of Emanations: A Skillful Ritual Arrangement for the Extensive Way of Taking the Four Initiations According to the Hearing Lineage
   snyan brgyud dbang bzhi rgyas pa len tshul gyi chog sgrigs thabs mkhas ‘phrul gyi dga’ ston/
6. The Image of the Everlasting Vajra: The Way of Offering a Longlife Accomplishment Ritual Through the Guru Pūjā: Indivisible Bliss and Emptiness, Combined with the Long-life Practice of the Drubgyal Tradition
   bla ma mchod pa bde stong dbyer med ma dang grub rgyal lugs kyi tshe sgrub sbrags ma’i sgo nas brtan bzhugs ‘bul tshul rtag brtan rdo rje’i re khA/
7. A Compilation of Guru Yoga Texts [such as the Treasury of All Desired Blessings-Guru Yoga, and Others]
   bla ma’i rnal ‘byor [byin rlabs ‘dod dgu’i gter mdzod sogs bla ma’i rnal ‘byor gyi rim pa] phyogs gcig tu bsgrigs pa/
8. A Compilation of Lineage Guru Supplication Texts and so forth.
   bla brgyud gsol ‘debs sogs kyi skor phyogs gcig tu bsgrigs pa/
9. The Storehouse of Precious Treasure: The Way of Practicing the Yoga of Ganden Lhagyama According to the Precious Oral Pith Instructions of the Hearing Lineage
   dga’ ldan lha brgya ma’i rnal ‘byor nyams su len tshul snyan brgyud zhal shes man ngag rin chen gter gyi bang mdzod/
10. The Ganden Lhagyama Guru Yoga, [Drawn from the Pith Instructions of the Ganden Hearing Lineage].
    [dge ldan snyan brgyud kyi man ngag las byung ba’i] bla ma’i rnal ‘byor dga’ ldan lha brgya ma/
11. The Staircase for the Fortunate to Travel to Tuṣita: An Instruction Manual for the Recitation-ritual of Consciousness-transference Based on the Ganden Lhagyama
    dga’ ldan lha brgya ma’i ‘pho khrid ‘don chog skal bzang dga’ ldan bgrod pa’i them skas/
12. Fruits of the Wish-fulfilling Divine Tree Which Give Rise to the Two Accomplishments: Notes on Experiential Instructions on The Way to Rely on a Spiritual Guide
    bshes gnyen bsten tshul myong khrid zin bris grub gnyis ‘dod ‘jo’i dpag bsam yongs ‘du’i snye ma/
13. Notes on the Graduated Stages of the Tantric Path [Taken During a Transmission from the Venerable Lama Chone Pandita]
    [rje btsun bla ma co ne paN+Di ta rin po che’i zhal snga nas/] sngags rim chen mo’i [bshad lung nos skabs kyi gsung] zin bris/
14. An Amazing Feast of Nectar: Notes of Guidance for Drubde Gegye Thegchog Ling
    sgrub sde dge rgyas theg mchog gling gi bca’ yig ngo mtshar bdud rtsi’I dga’ ston/

Vol. 3 (ga)

Contents of Phabongkhapa’s Collected Works, Vol. Ga
pha bong kha pa’i gsung ‘bum pod ga pa’i dkar chag/

1. A Collection of Notes on Both the Guhyasamāja Generation Stage Ocean of Accomplishment and the Completion Stage Lamp that Illuminates the Five Stages, Arranged Together
   gsang ‘dus bskyed rim dngos grub rgya mtsho dang rdzogs rim rim lnga gsal sgron gnyis kyi zin tho ‘ga’ zhig phyogs gcig tu bkod pa/
2. The Supreme Festival: A Condensed Sādhana of the Ārya Tradition of Guhyasamāja
   ‘dus pa ‘phags lugs kyi sgrub thabs mdor bsdus mchog gi dga’ ston/
3. Victory Over Māra: The Sādhana of Solitary Hero Bhairava, Conveniently Arranged for Recitation
   ‘jigs byed dpa’ bo gcig pa’i sgrub thabs bdud las rnam rgyal gyi ngag ‘don nag ‘gros su bkod pa/
4. The Way to Practice the Succinctly Condensed Self-generation of the Terrifying Solitary Hero
   ‘jigs mdzad dpa’ bo gcig pa’i bdag bskyed cung bsdus te nyams su len tshul/
5. The Extremely Condensed Sādhana of Solitary Hero Bhairava Together with an Extremely Condensed Self-entry
   ‘jigs byed dpa’ bo gcig pa’i sgrub thabs shin tu bsdus dang bdag ‘jug shin tu bsdus pa/
   [This work is not listed in the Potala edition’s catalogue]
6. The Method for Engaging in the Approximation Retreat of Serviceability of Solitary Hero Bhairava, [Uncommon] Notes on the Great Retreat of the Solitary Hero [by Amdo Deyang Rinpoche], and Notes on The Wrathful Distribution of the Sixty-Four Torma Offerings
   ‘jigs byed dpa’ bo gcig pa’i las rung gi bsnyen pa bya tshul dang / dpa’ gcig gi bsnyen chen zin tho [thun mong ma yin pa a mdo bde yangs rin po ches mdzad pa]/ drug cu ma drag bsngos kyi zin tho bcas/
7. Compiled Notes from the Transmission of the Cakrasaṃvara Tantra’s Total Illumination of the Hidden Meaning and the Generation Stage of Kālacakra
   ‘khor lo sdom pa’i rgyud ‘grel sbas don kun gsal gyi bshad lung dang / dus ‘khor gyi bskyed rim phyag zin thor bu bcas/
8. The Swift Path to Great Bliss: The Lineage Prayer of the Ghaṇṭapāda Tradition of Cakrasaṃvara and Thoroughly Increasing Great Bliss: The Sādhanā of the Ghaṇṭapāda Tradition of the [Bhagavān] Cakrasaṃvara [Body Mandala]
   dril bu lugs kyi ‘khor lo sdom pa’i bla brgyud gsol ‘debs bde chen nye lam dang/ [dril bu zhabs lugs kyi bcom ldan ‘das] ‘khor lo sdom pa’i lus dkyil gyi mngon rtogs bde chen rab ‘phel/
9. The Continuous Rain of Camphor that Compassionately Cleanses the Stains of Downfalls: The Vase Generation of the [Bhagavān] Cakrasaṃvara Body Mandala [in the Tradition of Mahāsiddha Ghaṇṭapāda] and the Brief Self-entry
   [grub chen dril bu zhabs lugs bcom ldan ‘das] ‘khor lo sdom pa’i lus dkyil gyi bum bskyed dang bdag ‘jug mdor bsdus nyes ltung dri ma ‘khrud pa’I thugs rje’i ga pur char rgyun/
10. A Compiled Ritual for the Great Approximation Retreat Based on the Cakrasaṃvara Body Mandala, Arranged for Oral Recitation.
    ‘khor lo sdom pa lus dkyil gyi gzhi bsnyen chen mo’i bsnyen sgrub sbrags ma’i cho ga bklag chog tu bkod pa/
11. The Festival of Highest Virtue: The Method for Engaging in the Oral Recitation Ritual of External Offerings in Dependence on the [Bhagavān] Cakrasaṃvara Body Mandala [in the Tradition of Mahāsiddha Ghaṇṭapāda]
    [grub chen dril bu zhabs lugs bcom ldan ‘das] ‘khor lo sdom pa lus dkyil la brten pa’i phyi rol mchod pa bya tshul gyi ‘don chog bsod nams mchog gi dga’ ston/
12. Offering Clouds of the Vajra Body: A Tea Offering of Cakrasaṃvara
    ‘khor lo sdom pa’i ja mchod rdo rje’i lus kyi mchod sprin/
13. [Drop of Essential Nectar of the Hearing Lineage: The Pith Instructions for the Way to Practice the White Long-life Deity Cakrasaṃvara,] a Long-life Accomplishment Ritual Sealed in Secrecy.
    [sbyor bde mchog tshe lha dkar po dang sbrags ten nyams su len tshul gyi man ngag snyan brgyud bdud rtsi’i thig le/] tshe sgrub bka’ rgya/
14. The Good Vase of Immortal Nectar: The Way of Performing a Long-life Offering Ritual to a Great Being Based on the White Longlife Deity Cakrasaṃvara, Combined Together with the Repellence of the Dakinis
    bde mchog tshe lha dkar po’i sgo nas [yul khyad par can la] zhabs brtan ‘bul tshul mkha’ ‘gro bsun bzlog [dang bcas pa ‘chi med bdud rtsi’i bum bzang/]
15. The Hook Which Summons Attainments: The Gaṇacakra Offering of the White Long-life Deity Cakrasaṃvara
    bde mchog tshe lha dkar po’i tshogs mchod dngos grub ‘gugs pa’i lcags kyu/
16. Garland of Cittamani: The Pith Instructions for the Yogas of the Two Stages of Khadiravani Tārā
    seng ldeng nags kyi sgrol ma’i lam rim pa gnyis kyi rnal ‘byor nyams len gyi man ngag tsit+ta ma Ni’i do shal/
17. Offering of the ‘Explanatory’ Torma on the Occasion of Teachings on the Two Stages of Guhyasamāja, Vajrabhairava and Cakrasaṃvara, Together with the Unmistaken Offering of the Illusory Body
    gsang bde ‘jigs gsum gyi rim gnyis bka’ khrid skabs ‘grel gtor ‘bul tsul skor dang / sgyu lus mchod pa sogs kyi phyag bzhes ‘khrul med/

Vol. 4 (nga)

Contents of Phabongkhapa’s Collected Works, Vol. Nga
pha bong kha pa’i gsung ‘bum pod nga pa’i dkar chag

1. Swift Path to Great Bliss: The Uncommon Sādhanā of [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod kyi sgrub thabs thun min bde chen nye lam/
2. The Way for Meditating on an Abbreviated Version of the Swift Path to Great Bliss sādhanā of [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod kyi sgrub thabs bde chen nye lam las bsdus te bsgom tshul/
3. Festival of Great Bliss: The Mandala Ritual of Queen [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i dkyi ‘khor gyi cho ga bde chen dga’ ston/
4. A Staircase for the Fortunate to Travel to Kechara: The Practice of the Approximation, Accomplishment and Activities of Queen [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i bsnyen sgrub las gsum gyi lag len skal bzang mkha’ spyod bgrod pa’i them skas/
5. The Messenger Invoking the Hundred Blessings of the Vajra: The Ritual Text to be Recited as a Preliminary to the [Vajrayoginī] Naro Kechari Approximation Retreat Together with Notes on the Ritual Practiced During the Approximation and the Way to Practice the Long, Middling and Brief “Tenth-day” Offerings
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod ma’i bsnyen pa’i sngon ‘gro’I ‘don cha bklag chog zur du bkol ba rdo rje’i byin brgya ‘beb pa’i pho nya dang/ bsnyen pa ‘dug skabs kyi phyag len dang cho ga’i zin tho/ tshes bcu rgyas ‘bring bsdus pa bya tshul/
6. Fulfilling the Wish for Attainments: The Peaceful Burning Offering of Queen [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i sgo nas zhi ba’i sbyin sreg bya tshul dngos grub ‘dod ‘jo/
7. Swift Invocation of Attainments: The Way of Relying on and Practicing the Invocation of the Worldly God Agni to the Hearth in Dependence on Vajrayoginī Naro Kechari
   rdo rje rnal ‘byor ma nA ro mkha’ spyod ma la brten nas ‘jig rten pa’i me lha thab tu ‘gugs pa’i bsnyen pa bya tshul dngos grub myur ‘gugs/
8. Offerings and Gifts Pleasing the Rishis: The Way of Practicing the Tenth-part Burning Offering in Relation to the Approximation Retreat for the Invocation of the Worldly God Agni to the Hearth, in Dependence on Vajrayoginī Naro Kechari
   rdo rje rnal ‘byor ma nA ro mkha’ spyod dbang mo’i sgo nas ‘jig rten pa’I me lha thab tu ‘gugs pa’i bsnyen pa’i bcu cha’i sbyin sreg bya tshul drang srong dgyes pa’i mchod sbyin/
9. [The Point of Entry to Kechara Pure Land:] A Recitation Text for the Sindhura Ritual, or Approximation and Accomplishment of Queen [Vajrayoginī] Naro Kechari
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo la brten pa’i sin+d+hU ra’i sgrub pa’am bsnyen sgrub sbrags ma’i ‘don sgrigs [mkha’ spyod zhing gi ‘jug ngos/]
10. The Meaningful Magical Lasso: The Tenth-part Burning Offering of the [Vajrayoginī] Naro Kechari Approximation Retreat
    [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i bsnyen pa’i bcu cha chen mo’i sbyin sreg don yon ‘phrul gyi zhags pa/
11. The Uncommon Golden Dharma: The Pith Instructions for Journeying to Kechara
    mkha’ spyod bgrod pa’i man ngag gser chos thun min zhal shes chig brgyudma/
12. Festival of Uncontaminated Joy: The Short Gaṇacakra Offering of Queen [Vajrayoginī] Naro Kechari
    [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i tshogs mchod mdor bsdus zag med dgyes rgu’i dga’ ston/
13. The Magical Ritual of Skillful Means: The Way of Performing the Sesame Seed Burning Offering of Vajrayoginī which Purifies All Negativities Without Remainder and The Cloud of Offerings of Virtuous Skillful Means-Food Offering
    rdo rje rnal ‘byor ma’i sgo nas til gyi sbyin sreg bya tshul sdig ltung lhag med spyod pa’i thabs mkhas ‘phrul gyi cho ga dang/ zas mchod thabs mkhas bsod nams mchod sprin/
14. The Iron Hook of Compassion: The Transference of the Solitary Mother, Together with the Way of Performing the Hand Offering
    yum rkyang gi ‘pho ba myur ‘dren thugs rje’i lcags kyu dang/ lag mchod bya tshul/
15. The Painted Mandala Initiation Ritual of the Eleven-Faced Avalokiteśvara of the Palmo Tradition [Arranged in a Straightforward Manner, which is Similar to the Mandala-rite of the Supreme Victor, The Great Seventh [Dalai Lama]]
    thugs rje chen po bcu gcig zhal dpal mo lugs kyi ras bris kyi dkyil ‘khor du dbang bskur ba’i cho ga [rgyal mchog bdun pa chen po’i dkyil chog ltar nag ‘gros su bkod pa/]
16. Some Notes on Madhyamaka and on Transmissions of the Mahāyānasūtrālamkāra and Madhyamakāvatāra
    mdo rgyan sbyar ba’i bshad lung dang dbu ma la ‘jug pa/ dbu ma’i brjed byang nyung ngu/
17. Notes on The Essence of True Eloquence
    drang nges legs bshad snying po’i zin bris/
18. Fragmentary notes on Bodhisattvacaryāvatāra
    byang chub sems dpa’i spyod pa la ‘jug pa zhes bya ba bka’ mchan thor bu/
19. Bodhisattvacaryāvatāra Outline
    spyod ‘jug sa bcad/
20. Bodhisattvacaryāvatāra Notes
    spyod ‘jug zin bris/

Vol. 5 (ca)

Contents of Phabongkhapa’s Collected Works, Vol. Cha
pha bong kha pa’i gsung ‘bum pod ca pa’i dkar chag/

1. Recollective Notes on the Four Interwoven Annotations of the Lamrim Chenmo
   lam rim chen mo mchan bu bzhi sbrags kyi skor dran gso’i bsnyel byang/
2. [Chariot of the Mahāyāna:] The Way of Practicing the Jorchoepreliminaries of the Stages of the Path to Enlightenment
   byang chub lam gyi rim pa’i sngon ‘gro sbyor chos nyams su len tshul [theg mchog ‘phrul gyi shing rta/]
3. The Excellent Path of the Victors: A Compiled Jorchoe Recitation for the Central Tibetan Lineage’s Extensive Commentarial Tradition of the Essential Lamrim Instructions of the The Sacred Words of Mañjuśrī
   lam rim dmar khrid ‘jam dpal zhal lung gi khrid rgyun rgyas pa dbus brgyud lugs kyi sbyor chos kyi ngag ‘don khrigs chags su bkod pa rgyal ba’I lam bzang/
4. On Outlines from an Experiential Commentary on the Stages of the Path to Enlightenment’s Essential Instructions- the Easy Path and Swith Path
   [byang chub lam gyi rim pa’i dmar khrid bde myur gyi thog nas nyams khrid stsal skabs kyi] sa bcad skor/
5. Pith Instructions Pointing Out the Way to Train According to an Important Experiential Stages of the Path Commentary, Taught in Everyday Language.
   lam rim myong khrid gnad du bkar te skyong tshul gyi man ngag phal tshig dmar rjen lag len mdzub btsugs kyi tshul du bkod pa/
6. Advice Spoken to Kongpo Tre Rabchog Tulku Rinpoche
   kong po bkras rab mchog sprul rin po che la stsal ba/
   [This work is included together with previous title [5.5] and is not listed separately in the contents of the actual printed volume, or in the catalogue to the Potala edition.]
7. Heart Spoon: Practice Instructions to Bear in Mind [Drawn From] Experiences of the Long Path
   shul ring lam gyi myong ba lag len dmar bcang snying gi thur ma/
8. Regarding Advice Presented in the Form of Songs of Realization, such as All Countless Objects of Refuge and so forth
   rab ‘byams skyabs kun ma sogs nyams mgur bslab bya’i skor/
9. The Root Text of the Seven Points of Mind Training
   blo sbyong don bdun pa’i rtsa ba/
10. [The Common Jewel of the Ganden Practice Lineage:] Enhancing the Experience of Method and Wisdom by the Practice of Dedicating the Collection of the Illusory Body
    sgyu lus tshogs su bsngo ba thabs shes nyams kyi bogs ‘don [dga’ ldan sgrub brgyud spyi nor/]
11. The Emanated Chariot: The Way to Practice the Generosity of Offering the One Hundred Tormas [Which Carries to the Jewel of the Three Bodies]
    gtor ma brgya rtsa gtong tshul [sku gsum nor bu ‘dren pa’i] mchod sbyin’phrul gyi shing rta/
12. 12. A Textual Collection of Notes by Various Disciples on the Nectar of Dagpo Lama Rinpoche’s Speech, which had been Forgotten and Scattered
    dwags po bla ma rin po che’i gsung gi bdud rtsi bsnyel thor gnang ba sogs phyag zin thor bu sna tshogs phyogs gcig tu bsgrigs pa/
13. Brief Notes on Pramāṇa
    tshad ma’i bsnyel byang mdor bsdus/

Vol. 6 (cha)

Contents of Phabongkhapa’s Collected Works, Vol. Cha
pha bong kha pa’i gsung ‘bum pod cha pa’i dkar chag/

1. A Guide for those Travelling to the Supreme Field: The Profound Instruction for those Travelling to Shambhala in Dependence on White Mañjuśrī
   ‘jam dbyangs dkar po la brten nas sham+ba+ha lar bgrod pa’i gdams pa zab mo zhing mchog bgrod pa’i sa mkhan/
2. A Collection Regarding the Sādhanas of the Highest Deities
   lhag lha’i sgrub thabs skor phyogs bsgrigs/
3. The Way of Practicing the Long-life Accomplishment Ritual of SitaTārā Cintācakra for the Sake of Oneself and Others
   sgrol dkar yid bzhin ‘khor lo’i sgo nas rang gzhan gyi tshe sgrub bya tshul/
4. Festival of the Nectar of Immortality: Praises and Requests to SitaTārā Cintācakra
   sgrol dkar yid bzhin ‘khor lo’i bstod gsol ‘chi med bdud rtsi’i dga’ ston/
5. Chone Pandita’s Sita-Tārā Long-Life-Commentary, the Collected Activity- sādhanā of White Mañjuśrī and Sarasvatī, Together with Lecture Notes
   co ne paN+Di ta’i sgrol dkar tshe khrid dang / ‘jam dkar/ dbyangs can ma rnams kyi sgrub thabs las tshogs bcas pa’i gsung bshad zin bris/
6. On Sealed Teachings
   gsung bka’ rgya ma’i skor/
7. Some Scattered Teachings Compiled Together
   gsung thor bu ba ‘ga’ zhig phyogs gcig tu bkod pa/
8. A Compilation of Various Questions and Answers on Sutra and Tantra
   mdo sngags skor gyi dris lan sna tshogs phyogs gcig tu bsgrigs pa/
9. The Permission Initiations of the Dharma-cycle of Mañjuśrī, and so forth, Arranged Together
   ‘jam dbyangs chos skor sogs kyi rjes gnang bca’ sgrigs skor/
10. [Festival of the Victory Over the Three Worlds:] The Nine-floored Iron House Torma Ritual Victory Over the Three Worlds, Arranged for Convenient Recitation
    lcags mkhar zur dgu pa’i gtor chog srid gsum rnam rgyal gyi ‘don cha nag ‘gros su bkod pa [srid gsum rnam rgyal dga’ ston/]
11. [The Machine of Sky-Iron:] A Supplement to Festival of the Victory Over the Three Worlds, which is the Nine-floored Iron House Torma Ritual, Victory Over the Three Worlds, Arranged for Convenient Recitation
    lcags mkhar zur dgu pa’i gtor chog srid gsum rnam rgyal gyi chog sgrigs srid gsum rnam rgyal dga’ ston gyi zur rgyan [gnam lcags ‘phrul ‘khor/]
12. The Inescapable Dark Belly of Yama: A Subjugation Ritual for Ghosts and Demons, in Dependence on Solitary Hero Bhairava
    ‘jigs byed dpa’ bo gcig pa’i sgo nas sgab ‘dre’am sgrub sri mnan pa’i cho ga thar med gshin rje’i lto khung/
13. A Brief Subjugation of Demons Which Can Be Modified for Use in Relation to Any Meditational Deity or Dharma Protector Based on the Practice of the Subjugation Ritual for Ghosts- The Inescapable Dark Belly of Yama, in Dependence on Solitary Hero Bhairava,
    ‘jigs byed dpa’ bo gcig pa’i sgo nas sgab ‘dre mnan chog thar med gshin rje’i lto khung gi bca’ gshom gyi lag len dang /yi dam chos skyong gang la’ang sbyar du rung ba’i sri mnan mdor bsdus/

Vol. 7 (ja)

Contents of Phabongkhapa’s Collected Works, Vol. Ja
pha bong kha pa’i gsung ‘bum pod ja pa’i dkar chag/

1. The Sun that Enlarges the Lotus of the Three Types of Faith: An Explanation on the Way of Offering the Mandala
   maN+Dal bshad pa ‘bul tshul dad gsum pad+mo rgyas pa’i nyin byed/
2. A Collection of Long-life Prayers and Swift-return Supplications to Incarnation Lineages
   zhabs brtan dang myur byon ‘khrungs rabs gsol ‘debs kyi rim pa rnams phyogs gcig tu bsdebs pa/
3. [The Melodious Sound of Conviction,] The Roar of Good Faith: An Incarnation Lineage Supplication
   ‘khrungs rabs gsol ‘debs skal bzang dad pa’i nga ro [yid ches bden dbyangs/]
4. The Melodious Drum Victorious Over the Terrifyingly Laughter of the Lord of Death: A Long-life Prayer Supplication to Tagtra
   stag brag gi brtan bzhugs gsol ‘debs ‘jigs mdzad bzhad pa’i gad rgyangs ‘chi bdag g.yul las rgyal ba’i rnga dbyangs/
5. A Heart Jewel of Offering Clouds of Good Fortune Pleasing the Local Protectors: The Permission Initiation Ritual of the Glorious Four-Faced Protector of Seventeen Expressions
   dpal mgon gdong bzhi pa rnam ‘gyur bcu bdun gyi rjes gnang gi cho ga zhing skyong dgyes pa’i mchod sprin skal bzang snying nor/
6. The Increasing and Auspicious [Akṣara Garland]: A Ritual of the Glorious Four-Faced Protector of Seventeen Expressions, Together with the Entrustment
   dpal mgon gdong bzhi pa rnam ‘gyur bcu bdun mngag gtad dang bcas pa’i cho ga spel legs [ak+Sha ra’i phreng ba]/
   [This work is included together with previous title [7.5] and is not listed separately in the contents of the actual printed volume, or in the catalogue to the Potala edition.]
7. The Rain of Treasure Fulfilling All Needs and Wants: The Yellow Increasing Ritual of the Glorious Four-Faced Protector in Dependence on the Nine Deities, the Quintessential Instruction to Fulfill all Desires
   dpal mgon gdong bzhi pa’i ser po rgyas byed lha dgu la brten pa’i ‘dod dgu dbang du bya ba’i man ngag dgos ‘dod dbyig gi char ‘bab/
8. Summer Thunder: A Supplement to The Rain of Treasure Fulfilling All Needs and Wants: The Increasing Ritual of the Glorious Four-Faced Protector with a Yellow [Expression] in Dependence on the Nine Deities, the Quintessential Instruction to Fulfill all Desires
   dpal mgon gdong bzhi pa’i [rnam ‘gyur] ser po rgyas byed lha dgu la brten pa’i ‘dod dgu dbang du bya ba’i man ngag dgos ‘dod dbyig gi char ‘bab kyi lhan thabs dbyar gyi rnga gsang
9. A New Fulfillment Ritual of Glorious Four-Faced Protector Based on that Written by Sakyapa Ngawang Khyenrab, with Exceptional Changes
   dpal mgon zhal bzhi pa’i bskang gsar sa skya pa ngag dbang mkhyen rab kyis mdzad par dmigs bsal bsgyur ba gnang pa/
10. Exhortations to Entreat Various Protectors of the Teachings: Serkyem, Gaṇacakra Offerings and so forth, as well as the Cycle of the Wealth Deity
    bstan srung khag gi ‘phrin bskul gser skyems tshogs mchod sogs dang nor lha’i skor/
11. [The Chariot of the Jewel of Faith Drawing Together a Precious Mass of Blessings:] The Life Entrustment of Shugden Possessing the Seal of Secrecy and Notes on How to Draw the Life-energy Cakra
    shugs ldan srog gtad bka’ rgya can dang srog ‘khor bri tshul gyi zin bris/ [byin rlabs rin chen phung po ‘dren ba yi/ /yid ches nor bu’i shing rta/]
12. A Supplement on How to Practice the Preliminaries for the Lifeentrustment of Shugden
    shugs ldan srog gtad kyi sngon ‘gro’i mtshams sbyor kha skong/
13. The Victory Banner Thoroughly Victorious in All Directions: A Presentation of the Approach, Accomplishment and Activities of Shugden, Fulfilling all Needs and Wants
    shugs ldan gyi bsnyen sgrub las gsum gyi rnam gzhag dgos ‘dod yid bzhin re skong phyogs las rnam par rgyal ba’i rgyal mtshan/
14. The Melodious Drum Victorious in All Directions: The Extensive Uncommon Fulfillment Ritual of the Five Manifest Families of Gyalchen Dorje Shugden
    rgyal chen rdo rje shugs ldan rigs lnga rtsal gyi sger bskang rgyas pa phyogs las rnam par rgyal ba’i rnga dbyangs/
15. Swift Summoning of the Deeds of the Four Activities: The Middling Fulfillment Ritual of Gyalchen Dorje Shugden
    rgyal chen rdo rje shugs ldan rtsal gyi bskang chog ‘bring po las bzhi’I ‘phrin las myur ‘gugs/
16. On [the Way to Perform the Swift Summoning of AuspiciousnessIncense Offering to Cakrasaṃvara’s Assembly of Mandala Deities and Other] Incense Offerings
    [dpal ‘khor lo sdom pa’i dkyil ‘khor gyi lha tshogs rnams la bsangs mchod ‘bul tshul bde chen phywa g.yang myur ‘gugs sogs] bsangs mchod kyi skor/

Vol. 8 (nya)

Contents of Phabongkhapa’s Collected Works, Vol. Nya
pha bong kha pa’i gsung ‘bum pod nya pa’i dkar chag/

1. A Necklace of Increasing, Beautiful Fresh Flowers: A Compilation of Official Correspondences
   chab shog gi rim pa rnams phyogs gcig tu bkod pa spel legs me tog gsar pa’I do shal/
2. A Compilation of Requests, Dedications, Supplications, Aspirational Prayers of Printing Colophons and Introductions, Such as Those of [the Contents of the Dharma-cycle of Cakrasaṃvara, The Heart-Jewel of the Dakinis of the Three Places and So Forth]
   [‘khor lo sdom pa’i chos skor gyi dkar chag gnas gsum mkha’ ‘gro’i snying nor sogs] spar byang smon tshig dang/ dbu brjod / ‘dod gsol bsngo smon gyi skor rnams phyogs gcig tu bkod pa/
3. Notes on the Experiential Instructions on [the Consciousness transference of] a Single Day [from a Fully-Ripening Profound Commentary on the Profound Path of the Guru Pūjā, the Uncommon Guru Yoga of the Ganden Hearing Lineage]
   [dga’ ldan snyan brgyud kyi bla ma’i rnal ‘byor thun mong min pa zab lam bla ma mchod pa’i zab khrid smin rgyas su nos skabs ‘pho ba] zhag gcig ma’I nyams khrid brjed byang/
4. “The Swift Path for Travelling to Tuṣita Pure Land:” Teaching Notes Taken During a Profound Commentary on the Ganden Lhagyama Guru Yoga [of the Segyu Tradition]
   [sras rgyud lugs kyi] bla ma’i rnal ‘byor dga’ ldan lha brgya’i zab khrid gnang skabs kyi gsung bshad zin bris dga’ ldan zhing du bgrod pa’i myur lam/
5. Entryway to the Ocean of Great Bliss: Notes on the First Stage of the Ghaṇṭapāda Cakrasaṃvara Body Mandala
   ‘khor lo sdom pa dril bu lus dkyil gyi rim pa dang po’i zin bris bde chen rgya mtsho’i ‘jug ngogs/
   [Note that the catalogue of the Potala edition as well as the numbering of the popular Lhasa-edition gives this text as work six of the volume]
6. Opening the Door to the Good Path: Teaching Notes Taken During a Profound Commentary on the Principal Paths
   lam gtso’i zab khrid bstsal skabs kyi gsung bshad zin bris lam bzang sgo ‘byed/
   [Note that the catalogue of the Potala edition as well as the numbering of the popular Lhasa-edition gives this text as work five of the volume]
7. The Key of Secrets: Notes on the Principle Paths
   lam gtso’i zin bris gsang ba’i lde mig/
   [This work is included together with the previous title and is not listed separately in the contents of the actual printed volume or in the catalogue to the Potala edition.]
8. The Outline of the Essential Instructions of the Generation and Completion Stages of the Ghaṇṭapāda Cakrasaṃvara Body Mandala
   ‘khor lo sdom pa dril bu lus dkyil gyi bskyed rdzogs gnyis kyi dmar khrid sa bcad/
9. Explanatory Notes on the Root Mantras of Cakrasaṃvara Father and Mother
   ‘khor lo sdom pa yab yum gyi rtsa sngags kyi mchan ‘grel/
10. [The Nectar of the Great Bliss-Guru, Droplets of Jamphel Nyingpo’s Blessings:] Notes on the Prayer to Meet with the Teachings of Tsongkhapa the Great
    tsong kha pa chen po’i bstan pa dang mjal ba’i smon lam gyi zin bris [bde chen bla ma’i gsung gi bdud rtsi ‘jam dpal snying po’i byin rlabs kyi zegs ma/]

Vol. 9 (ta)

Contents of Phabongkhapa’s Collected Works, Vol. Ta
pha bong kha pa’i gsung ‘bum pod ta pa’i dkar chag/

1. Verses for Intervals in the Contents of the Kangyur- Volume One.
   bka’ ‘gyur dkar chag gi bar skabs tshigs bcad stod cha
2. Verses for Intervals in the Contents of the Kangyur- Volume Two.
   bka’ ‘gyur dkar chag gi bar skabs tshigs bcad smad cha
3. Brief Notes from a Commentary Given on the Six Session Guru Yoga, the Twenty Stanzas on the Vows, the Fifty Verses on the Guru and the Root Downfalls Constituting a Gross Contravention
   thun drug bla ma’i rnal ‘byor dang /sdom pa nyi shu pa/ bla ma lnga bcu pa/ sngags kyi rtsa ltung sbom po bcas kyi bshad khrid gnang ba’i zin tho mdor bsdus/
4. [The Essence of the Vast and Profound: A Concise Compilation of] Notes Taken During a Combined Commentary on Tsongkhapa’s Shorter Stages of the Path to Enlightenment and the Essential Instructions of the Swift Path
   rje’i lam rim chung ngu dang / myur lam dmar khrid sbrags ma’i gsung bshad stsal skabs kyi zin bris [mdo tsam du bkod pa zab rgyas snying po]
5. Easy to Understand Instructions on the Sequential Performance of the Rite of Generating the Mind of Bodhicitta, as Given on One Occasion at Tashilhunpo
   bkras lhun du sems bskyed mchod pa gnang skabs gzhan kyi gzigs bde’I phyag bzhes ‘gros bkod du bstsal ba/
6. Notes Marking Out Whatever Discrepancies Were Found in Various Wordings of the Manuscript Made from the New Printing Boards of the Great Stages of the Path
   lam rim chen mo par gzhi gsar bskrun gyi ma dpe’i tshig sna mi mthun pa byung ba gang rnyed rnams brjed thor btab pa/

Vol. 10 (tha)

1. The Moon-Vine Increasing the Milk-Lake of Faith: The Biography of Dagpo Bamchoe Lama Lobsang Jamphel Lhundrub Gyatso
   dwags po bam chos bla ma blo bzang ‘jam dpal lhun grub rgya mtsho’i rnam thar dad pa’i ‘o mtsho ‘phel byed zla ba’i ‘khri shing/
2. Compilation of Notes on Experiential Instructions on The Sacred Words of Mañjuśrī Stages of the Path, According to The Abridged Commentarial Tradition of the Southern Lineage, Received from the Unequalled Dagpo Lama, Lord of the Dharma
   dwags po bla ma mnyam med chos kyi rje las lam rim ‘jam dpal zhal lung gi khrid rgyun bsdus pa lho brgyud du grags pa’i nyams ‘khrid gsan skabs sogs kyi bsnyel byang phyogs bsdebs
3. A Collection of [Kyabdag Dorjechang Phabongkha’s] Minor Compositions and Instructions
   [khyab bdag rdo rje ‘chang pha bong kha pa’i] bka’ rtsom dang phyag bzhes phran tshegs skor phyogs su bkod pa/
   [The catalogue to the Potala edition lists the third work of the volume as: “The Mirror of the View: Notes Taken During an Explanation of the Profound Commentary on The Hero Entering Into Battle – Transference of Consciousness ‘pho ba dpa’ bo g.yul ‘jug gi zab khrid gnang ba’i gsung bshad zin bris lta ba’i me long/”]
4. [An Ornament Embellishing Arising Wisdom:] An Explanation of the Layout of the Vairocana-Abhisaṃbodhi
   rnam snang mngon byang gi thig ‘grel [sher ‘byung dgongs rgyan/]
   [The catalogue to the Potala edition lists the fourth work of the volume as: “Abbreviated Rites to Protect Harvests from Rain, Frost, Hail, Disease, Drought and So Forth lo tog gi rim ‘gro dang/ char ‘bebs/ sad ser btsa’ than sogs srung thabs mdor bsdus/“]
5. [The Heart Essence of the Dakinis of the Three Places: Extremely Secret] Notes on the Profound Commentary of the Two Stages of Queen [Vajrayoginī] Naro Kechari.
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod dbang mo’i lam rim pa gnyis kyi zab khrid zin bris [shin tu gsang ba gnas gsum mkha’ ‘gro’i snying bcud/]
6. The Clear Essence of the Profound Path of Great Bliss: An Accessory to The Heart Essence of the Dakinis of the Three Places: Notes on [Vajrayoginī] Naro Kechari’s Two Stages
   [rdo rje rnal ‘byor ma] nA ro mkha’ spyod ma’i rim gnyis zin bris gnas gsum mkha’ ‘gro’i snying bcud kyi zur rgyan bde chen zab lam snying po gsal ba/
7. The Way to Perform the Increasing Burning Offering at the End of the Great Tenth-part Burning Offering of Vajrayoginī
   rdo rje rnal ‘byor ma’i bcu cha chen mo’i sbyin sreg gi mjug tu rgyas pa’I sbyin sreg bya tshul/
8. The Way to Perform the Long-life Accomplishment Ritual [Related] to Sita-Tārā [Cintācakra]
   sgrol dkar [yid bzhin ‘khor lo’i sgo nas] tshe sgrub bya tshul/
   [The catalogue to the Potala edition lists the eighth work of the volume as: “The Way To Perform the Gaṇacakra [of Vajrayoginī] de’i tshogs ‘bul tshul la“]

Vol. 11 (da)

1. [Profound and Completely Unmistaken Pith Instructions for Delivering Liberation in Your Hand:] Notes on Experiential Instructions on the Stages of the Path to Enlightenment, [the Heart-Elixir of the Unequalled Dharma King,] the Essence of Nectar, Instructions that Assemble the Elixir of all the Teachings
   [rnam grol lag bcangs su gtod pa’i man ngag zab mo tshang la ma nor ba mtshungs med chos kyi rgyal po’i thugs bcud] byang chub lam gyi rim pa’i nyams khrid kyi zin bris gsung rab kun gyi bcud bsdus gdams ngag bdud rtsi’i snying po/

Vol. 12 (na), Present Only in the Potala Collection

1. The Beautiful Ornament of the Oceans: The Biography of the Yogi Wangchuk Yabje Dorjechang Lobsang Sangye Palzangpo, Holder of the Great Unsurpassable Secret Teachings
   gsang chen bla na med pa’i bstan pa’i gdung ‘tshob rnal ‘byor dbang phyug yab rje rdo rje ‘chang blo bzang sangs rgyas dpal bzang po’i rnam thar rgya mtsho’i mdzas rgyan/
2. A Collection of The Lord of Refuge, Kyabdag Dorjechang Phabongkha’s Minor Compositions and Instructions
   khyab bdag rdo rje ‘chang pha bong kha pa’i bka’ rtsom dang phyag bzhes phran tshegs skor phyogs su bkod pa/
3. An Ornament Embellishing Arising Wisdom: An Explanation of the Make-up of the Vairocana-Abhisaṃbodhi
   rnam snang mngon byang gi thig ‘brel sher ‘byung dgongs rgyan/
4. Notes Taken During a Profound Commentary on the Foundation of All Good Qualities, the Abbreviated Essence of the Stages of the Path to Enlightenment
   byang chub lam gyi rim pa’i snying po bsdus pa yon tan gzhi gyur ma’i zab khrid gnang skabs kyi brjed byang/
5. The Way to Perform the Amending Burning Offering for the Approximation Retreat of Serviceability of the Glorious Solitary Hero Vajrabhairava
   dpal rdo rje ‘jigs byed dpa’ bo cig pa’i las rung gi bsnyen pa’i kha skong sbyin sreg bya tshul/
6. The Preliminary Practice Text for the Solitary Hero Vajrabhairava Approximation Retreat, Arranged for Convenient Recitation
   de’i bsnyen pa’i sngon ‘gro’i ‘don cha nag ‘gros su bkod pa/
7. Notes for Ocean of Attainments: The Burning Offering for Solitary Hero Vajrabhairava
   de’i sbyin sreg dngos grub rgya mtsho’i zin bris/
8. The Hook Which Summons Attainments: The Self-Entry of the Solitary Hero
   dpa’ bo gcig pa’i bdag ‘jug dngos grub ‘gugs pa’i lcags kyu/]

From: Joona Repo, “Phabongkha Dechen Nyingpo: His Collected Works and the Guru-Deity-Protector Triad”, Revue d’Etudes Tibétaines, no. 33, October 2015, pp-43-62.

Kyabje Pabongka Rinpoche’s Sungbum

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Pabongka Rinpoche’s Sungbum Volume 1 (click on the image to download in PDF form)	Pabongka Rinpoche’s Sungbum Volume 2 (click on the image to download in PDF form)	Pabongka Rinpoche’s Sungbum Volume 3 (click on the image to download in PDF form)
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Pabongka Rinpoche’s Sungbum Volume 7 (click on the image to download in PDF form)	Pabongka Rinpoche’s Sungbum Volume 8 (click on the image to download in PDF form)	Pabongka Rinpoche’s Sungbum Volume 9 (click on the image to download in PDF form)
Pabongka Rinpoche’s Sungbum Volume 10 (click on the image to download in PDF form)	Pabongka Rinpoche’s Sungbum Volume 11 (click on the image to download in PDF form)

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• Incomparable Kyabje Pabongka Rinpoche
• Did you know this about Pabongka Rinpoche?
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