Putri-Repung-Retreat-Instructions-Part1.pdf

31 December 2014

Putri Repung - Phurba Retreat July 2012 Instructions and Teachings By

His Holiness Dungse Shenphen Dawa Norbu Rinpoche Part 1 of 2

Introduction The following instructions were given to a small group of students engaging in a three-week closed retreat at Orgyen Chö Dzong, Greenville, New York. The aim was and is to provide students with all the information necessary for the setting up the mandala/shrine, and for making all the appropriate preparations for entering, maintaining and concluding the retreat according to the Nyingmapa tradition in general and the Dudjom Lineage in particular. These particular instructions focus on Vajrakilaya as the central deity, in the cycle of Putri Repung revealed by His Holiness Dudjom Rinpoche. However, the main principles can be transferred to all yidam practices. The purpose is to create the necessary conducive conditions for a successful retreat. These are extremely rare and precious instructions which Dungse Shenphen Dawa Rinpoche has graciously allowed to be shared freely to anyone who is sincerely interested in yidam practice for the benefit of all.

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Rinpoche added to this introduction, “This is given in the hope that you will practice with total sincerity so then it will become very valuable information. However these teachings do require all three of the Wang, Lung and Tri—that is, the empowerment, the oral transmission, and the instructions as to the meaning and explanation about how to undertake the practice—which you have to receive from a qualified teacher or a holder of the lineage.”

Orientation—Things to do and not to do There is to be no showering, face washing, or cutting hair and nails; no brushing teeth; all of this is forbidden. If (Rinpoche emphasizes) a need arises, i.e., you need water, blow a mantra of purification on the water and then you can use it. For example if you need to rinse your mouth or pat your face to cool yourself, bless the water with the purification mantra—then you can use that water to wash. Obviously there is to be no sex and no masturbation—these will create obstacles to understanding union in its true sense. Once in retreat, nothing must go out of the retreat. Moreover, throughout the retreat there must be silence. There should be no indications by mind or body. No sign of any kind is allowed; no notes; no gesturing—no communication is allowed at all. You can let Lama Sonam know if there’s a problem. Assume you’re in a cave. Most of the problems will self-solve by themselves. That is the blessing. With the Dharmapala practice—no meat is being offered during this group retreat, to avoid attracting animals. Generally, of course, on a solitary retreat, meat would be offered daily with rice and whiskey. You can also use tea or wine instead of whiskey. Keep speech speechless. No mobiles, computers, cd players or ipods are to be used during this retreat. Light lamps throughout. Incense is ok to light. The office is out of bounds. Keep to your rooms as far as possible. For the mandala you need all the ritual objects. You get the blessings through the mandala. It is important to have all the ritual objects. These become samaya substance objects which are necessary for you to have. This is when you need the special objects like a terma phurba. A terma phurba is very important for a Kilaya practitioner, although they are very hard to come by these days. This phurba cuts the negative karma of one’s entire family or a curse carried by the family; it removes epilepsy—it turns that which is negative into positive.

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You need a mandala set, bell and dorje, good quality offering bowls and so on. These should be made of precious materials where possible. Avoid plastic or glass. Any metal is acceptable—copper, silver, gold, brass—invest in your altar. You need these items for all your retreats. If you don’t have an item now, try to get it. Improve your materials if you can, upgrade. To have something to offer in gold or silver generates great merit. Don’t think that spending money on wonderful offering materials is wrong. It is not for pride that you are doing this but it is an offering to the Buddha. All these articles are now blessed; negativity has been removed. This is very significant. You need to have these for all your retreats. All these objects are now especially blessed. If you do this retreat properly the blessings will carry over. The blessing cycle of this retreat will continue. You’ll use these items for your daily practice too. The substances will empower themselves—they will help in daily practice.

Etiquette of Practice There should be no moving around—once you are sitting, stay still. Maintain your vajra seat so the heat of the body stays with the seat. Once again, there must be no gesturing with the hands or body. Concentrate on the yidam and recitation. The less you move, the more will be your realization. If you maintain your concentrations and remain immoveable then definitely there will be signs. His Holiness said that you cannot imagine the swiftness of the blessings with this practice. I will tell you how he discovered this cycle, its history and significance later. As you recite the Kilaya mantra, it should be neither too loud nor too soft. It should be a ‘collar length’ recitation. Most importantly it must be clear and crisp with no syllables missing. All fourteen syllables should be pronounced distinctly, and be perfectly correct. I’m not looking for speed. You need a bone, raksha or bodhi mala. If you have bone—it should be from one hundred and eight different human skulls. Never use an animal bone, such as a buffalo mala. You should pick either the floor or the bed to sit on. Don’t shift around. Don’t do any other practices—just concentrate on the Putri Repung sadhana. There should be no other practices except Ngondro, Sang and Dharmapalas. Regarding not washing your teeth, you may object but every cell of the body is going to get liberated. It may be rotten but it still goes to rainbow body. The body will smell of the purity of practice. Foul smell comes from the ordinary level of being. When the mind is engaged in higher levels of awareness, the smell of purity comes. You can use deodorant if necessary, to save myself and your neighbors suffering (Rinpoche laughs) and you can use floss and

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toothpicks. (Rinpoche conceded on this last point following a request). Try not to disturb the germs when in retreat. Do a Phurba Tsok at the beginning and the end of the retreat. That’s the absolute minimum. His Holiness Dudjom Rinpoche recommended doing a Phurba Tsok every day, but we will not be doing so during this retreat. Regarding meals, you can have every type of meat. Avoid garlic, onion and daikon. These will reduce the speed of your recitation and they are toxic. They excite desire. Breakfast and lunch are important. For the evening meal, leave about one-quarter or one-third of your stomach empty. This has a lot of virtue. Both your body and your mind will feel lighter and you’ll have less drowsiness. It will be easier to wake and get up in the morning and it will improve your luminosity. Regarding clarity, your meditation will be better. His Holiness used to say this to all his disciples. With respect to setting up the mandala, we will follow strictly according to the instructions. This is important since it helps to bring the body, speech and mind blessings. The torma represents Kilaya himself. He manifests in an exterior form in this way. The atomic form of the torma—all it’s molecules and atoms are Kilaya. Without a main torma in retreat there will be no accomplishment and no blessings. You need to know what works. Learning the mechanics of what works is like a clock—all manifesting in the intrinsic. You need to know how Kilaya is represented in the atomic form and at the molecular level. You will understand later. You mustn’t think that these are just ritual objects. There is much to be done for the activity of the Phurba. You need to come at least one week ahead for retreat in the future and you should offer an additional week of service to the center. You can read dharma books during the breaks. All other practices are suspended. Do not write about your experiences. Your experience is not permanent. The only thing you may need to write down is the number of your recitations. Whatever arises—any visions or dreams—just leave them be. Don’t be happy that you saw Kilaya or sad if you see the devil. The opposite might happen in the next instant. Don’t count on your experiences. This is hard for us since we are so used to accepting and rejecting. Devotion to your lama is key to this practice. Keep pure samaya to the teacher. Then you will get the blessings. The gugul (an incense gum) is to exorcise the spirits—to get them out. There should be three stacks—the gugul, blessed rice, and mustard seeds. Don’t interrupt the practice for anything. In fact go back a mala if there is an interruption in your winds i.e., if you fart go back a mala; if you burp or sneeze also go back some beads. The five airs turn to syllables. When you fart it Putri  Repung  Teachings  ©  YesheMelong  2014        

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becomes mundane. This is not wisdom wind—rather it is wind passing through shit—which is not the same. If you have to go to the bathroom, you must first conclude the sadhana. Better to time your needs to avoid breaks in sessions. You can put a small amount of Indian camphor in the purification bumpa (not the accomplishment bumpa) to make it stay fresh longer. If the purification bumpa needs cleaning, empty the bumpa water somewhere clean, like a garden. After cleaning and refilling it with water, add bumzey 25. For the dharmapalas, include a few grains of dutsi to the whiskey bottle for the serkyem (and men cup). Avoid letting the bottle become completely empty. Either keep adding new whiskey to the same bottle or pour the whisky from the almost empty bottle into a new bottle of whiskey. By extending this, it will enhance with use and create a continuous flow. When doing the dharmapalas, always open the men and rakta cups and close them at the end of the practice. The men cup also includes a few grains of dutsi, whereas the rakta cup has some rakta powder. Both cups should be filled with whiskey, wine or tea. But it is important to make sure that the men and rakta contents, cups, holders, and spoons are never mixed up. Mark each set to make sure it always stays as the men set or the rakta set. Finally here, don’t pour whiskey in the rakta cup if it is from a bottle containing dutsi. The phurba mandala (that is, the diagram form itself) is just for retreat. Don’t show it to anyone. The eight-spoked yellow chakra wheel goes in the kapala, under the black rice. The arrow should be bamboo with seven knots and a feather. The tip has four points with blades. The arrow symbolizes dzogchen— an arrow with no target—shot only to penetrate wisdom. The five silken ribbons represent the five elements, five wisdoms and the five buddha families. The mirror represents primordial wisdom itself. It’s best to get this from a dakini, ideally sixteen years old.

Altar/Mandala/Shrine Layout Place the long life arrow on the left hand side of the altar (when facing the shrine). In front of the arrow is the long life vase containing dutsi. The main Kilaya torma must be in the center of the shrine and high—raised above the other items. The kapala is on a tripod in front, lower than the torma. Inside the kapala is the eight-spoked yellow wheel (in our case, cut out of paper, but otherwise often painted) on top of which is black rice to fill it and to hold the phurba in its stand, in place.

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On the right of the main torma (facing the altar) is Kilaya’s main dharmapala torma (that is, the 16 protectors). On the right of this you can place the serkyem. The cheddo and the local deity offering can go to the left of the main torma, (again facing the altar). In general, other than the main tormas, (ie the main Kilaya Torma and the 16 protectors beside this) the other tormas can be placed where it is convenient on your shrine. There should be two sets of offering bowls at the front—peaceful on the left; wrathful on the right (facing the shrine). The wrathful represent water of blood, poison, the five senses, incense, the lamp is the fat of humans, the nectar of bile and the samaya breakers. On the ground below the shrine is incense. Draw a swastika using rice grains under your sitting cushion before you begin your retreat. The correct way round to draw it is with the left side starting with a vertical line—the right side starts with a horizontal line. So the arms look like they are turning clockwise. The picture of the Four Great Kings which has been blessed should be placed on the outside of your retreat room door. It can be placed on the door-frame if that works better. To begin the retreat cut a purification pill in half and burn this on a lit charcoal or use a safety-pin and a lighter. One-half is to purify the altar/shrine. The other half is for yourself, your clothes and the rest of your retreat room. After the purification pill is finished, put gugul and mustard seeds on the charcoal and go around the room to purify it with the smoke once more. This retreat will begin around dusk when you’ll open the short Kilaya sadhana. Recite several malas of the mantra and throw the gektor out of the window. Then, do a few more malas of the mantra before doing the Dharmapala practice; then close the sadhana. (Rinpoche gave the lung for the Vajrakilaya tsok and the teachings on Putri Repung discovered at Paro Taktsang by His Holiness Dudjom Rinpoche).

The Schedule 1st Calling the Lama from Afar, i.e., recognizing the Three Kayas and Calling the Names of the Guru. You can use a drum to invoke the deity here. Mingle your mind with the guru’s awakened awareness; unfold your mind within the guru’s mind-space. 2nd The Long Ngondro—in particular reflect on the Four Mind Changes. You can substitute this for the Short Ngondro. Putri  Repung  Teachings  ©  YesheMelong  2014        

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3rd Ri Wo Sang Chö—this isn’t compulsory for all retreats but we will do here. 4rd First session of Kilaya 5th Formless meditation involving movement—stretch your body here. You can do walking meditation and prostrations. You can also do Om Ah Hung, Vajra breathing, and/or Tonglen. Combine the formless and the physical here. 6th Confession, Troma or The 100 syllable mantra. 7th Second session of Kilaya 8th Third session of Kilaya 9th Dharmapalas and Protector practice.

Origins of the Lineage Develop the altruistic mind—that is, you will listen to these teachings in order to benefit infinite sentient beings. When Guru Rinpoche did wrathful practices bringing the dakinis under his power, one of the dakinis prophesized that if he went to Tibet without practicing Kilaya there would be no access for the dharma there. Negative forces needed to be subjugated and placed on the path of the dharma in order to protect the teachings. She told him he needed to go to Nepal, Yanglesho, and practice until the signs came. Then he could proceed to Tibet. Thus as a result of his practice, Vajrakilaya yab yum appeared and transferred his vajra body, speech and mind to him. Before this though, he had to receive empowerment. This he received from Lekyi Wangmo. The lineage line is from Kuntuzangpo to Dorje Chang to Guru Rinpoche. He went deep into the forest to find Dakini Lekyi Wangmo. Once there he saw a woman bearing auspicious signs taking water from a well and he grabbed her and said, “Please give me the teachings of the Phurba.” But she said she was not Dakini Lekyi Wangmo—she explained that she was not the dakini he was looking for—but merely her servant. Rather the dakini he was searching for resided in her heart. Guru Rinpoche asked for directions and she immediately ripped open her chest and revealed the whole mandala of Kilaya for him. At this point he met Dakini Lekyi Wangmo. When he saw her, she transformed him into a Hung and swallowed him whole. Guru Rinpoche stayed inside her for four days and received all the empowerments and rigpa awareness of the Phurba. Following this, he immediately went to practice Kilaya at Yanglesho and quickly became Kilaya himself. Kilaya can be transmitted through hearing or through signs and symbols. The transmission of Kuntuzangpo to Dorje Chang was all symbolic—from Guru Rinpoche to Yeshe Tsogyal it was all through word transmission. These two come together.

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The History of Kilaya Why did Kilaya appear? Kilaya appeared to subjugate Maharudra. Maharudra was considered the father of all evil, like Lucifer in Christianity. There are two views regarding this subjugation—two histories according to two different perceptions. The first is that Maharudra was subjugated by Kilaya yab/yum. The second is that Maharudra was subjugated by Hayagriva yab/yum. There is no difference in effect. Maharudra was in the womb when his mother fell into a coma. People thought she was dead and buried her. Maharudra survived underground by sucking his mother’s flesh and bones until he was born. When he was born he was extremely angry. He was furious at having to survive in such a putrid environment and to be forced to survive by eating his mother and then on top of that, to be born into a cemetery. This is represented in the wrathful ornaments of Kilaya, the elephant, human and tiger skin—ash, blood and grease etc on his face all showing repulsiveness. Maharudra vowed to kill all men and screw all women and create as many offspring as possible. So, his was the first lineage of the demonic clan. They ate human flesh and terrorized the country. No kings could defeat them. Maharudra’s pride got ever greater so the buddhas, Dorje Sempa and others, had a meeting. They decided that it was necessary to liberate him from his negative actions. Kilaya volunteered to go and subjugate Maharudra and his clan. So Kilaya yab/yum entered him through his mouth and came out through his secret center. Maharudra was totally overcome by shock from Kilaya’s horrific, wrathful appearance. Phurba means to strike, annihilate and destroy. The nail is to strike and penetrate. When you practice Kilaya, you need to learn how to subjugate the negative forces. When Guru Rinpoche went to Tibet the first wang he gave to the twenty-five disciples was Kilaya. He said, ‘When you have the signs, go no further.’ When Yeshe Tsogyal went into retreat she got a sign in thirteen days. Her phurba rose up and said, “Who of your enemies do you wish me to subjugate?” She replied, “I have no enemies.” So the phurba said it would go to her birth place, Kharchen and subjugate the enemies there. To this day Kharchen remains a stronghold for Kilaya practice. Another terton master, Zilnön Namka'i Dorje, did a retreat on Kilaya at Paro Taktsang. After twenty-one days all the phurbas in the mandala started to dance, some with the leg turned upwards and the head facing down. One of the disciples asked, "Why is this?" Zilnön Namka'i Dorje said, "When you cut the tree you did not mark the top and the bottom. When you make sog shing, you have to know which is the top and which is the bottom." They had carved the

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head on the wrong end; so naturally some of the phurbas danced upside down. He wasn’t rich. He’d made his phurbas out of wood but he still got accomplishment. Whether metal or wood; upside down or not—so far as the phurba is concerned it was accomplishment of the Putri Repung.

The Revelation of the Putri Repung His Holiness Dudjom Rinpoche did a Kilaya retreat at Paro Taktsang. He wanted to do a month. Then on the thirteenth day the phurbas started to dance in his cave. There were one hundred and eleven metal phurbas. All started to dance and nectar (dutsi) started to pour from the tips of the phurbas overflowing onto the floor. All the people from the village got an opportunity to drink some of this nectar of accomplishment. That evening His Holiness had a dream that Yeshe Tsogyal came to him and said “Your father has sent me something to give you.” He asked, “What is it?” She put her hand in her chuba (Tibetan dress) and pulled out a phurba. When His Holiness saw it he grabbed it and immediately placed it on his head, throat and heart. She said, “You have taken the blessing as it should be taken.” When he took the mind transmission it opened up into space and he saw all his previous incarnations. In particular, he remembered Guru Rinpoche giving instructions and teachings directly to him. Then after taking the blessing of nectar and water, as he was sitting near to an open window, a bird flew in carrying a yellow golden scroll in its beak. The bird dropped it in front of him on the table and flew away. The scroll was in dakini script. When he opened it he saw it contained all the teachings on the Phurba, including the Putri Repung. In fact there was a great deal more than this one cycle. This scroll contained four hundred volumes, but His Holiness saw that no-one would be able to practice all of those teachings and instructions in the future so he did not decipher anything other than the Putri Repung cycle. It was as an auspicious connection (tendrel) that His Holiness took this one volume as revelation. In fact, His Holiness revealed more than Dudjom Lingpa on Kilaya. This New Treasure (tersar) of Putri Repung is a terma of both Dudjom Lingpa and His Holiness—it is a cycle considered to be a revelation for our time. The blessings it carries are extremely swift. So this describes how the terma of Putri Repung was revealed by His Holiness.

The History of this Terma The history of this terma is related to the time when Guru Rinpoche lived in Tibet for one hundred and eleven years propagating the teachings. At the end of his time there, he announced that he had to go to the land of the heretic demons. He asked the king for his leave and the latter escorted him to the border along Putri  Repung  Teachings  ©  YesheMelong  2014        

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with his queen, his daughter and Yeshe Tsogyal. All went with Guru Rinpoche to the last border mountain of Tibet. When they got there Guru Rinpoche thanked the king for offering his facilities and for the development of these for the sake of the dharma in Tibet. In return, as a leaving gesture he said he’d like to offer everyone an empowerment. With that, he snapped his fingers and in the space in the sky before them, Lord Kilaya and his retinue appeared. Guru Rinpoche then asked the queen, “Who would you like to receive the empowerment from, me or the deity?” The queen said that she had never seen such an amazing mandala so she opted for the deity. The princess/daughter said she wasn’t sure and asked Guru Rinpoche to decide for her. Yeshe Tsogyal immediately answered, “Since all the deities arise from the mind of the guru I would like to receive it from you.” Guru Rinpoche then said “Dza, Hung, Phet,” and the whole mandala dissolved into the space of his heart. Because of this tendrel, the queen received nothing, though she would be reborn later as a terton. The Princess had part of the mandala revealed and would receive the rest in the future. Yeshe Tsogyal had the whole mandala revealed to her there and then. In turn, she saw that she would only be able to give it to His Holiness Dudjom Rinpoche in the future—no one else. Guru Rinpoche confirmed that it was so precious it could not be revealed again before this time. Moreover, this transmission from Yeshe Tsogyal to His Holiness was confirmed in the yellow dakini scroll that Dudjom Rinpoche received at Paro Taksang. So His Holiness was prophesized, as was this cycle of teachings, the Putri Repung. This is the background of the practice. As indicated, phurba means to strike and destroy. However, first you must receive empowerment. Without empowerment there is neither blessing nor result. By squeezing sand you will not get butter. Empowerment is necessary to purify gross and subtle obscurations, and to transform one’s body into a body of wisdom. The root of the wang is understanding the inseparability of the lama and the yidam. This is extremely important. If you cannot see this then there can be no realization or blessing. The blessing of Kilaya is devotion to the lama. Buddha said if you see the lama as ordinary you’ll get an ordinary blessing, as a bodhisattva, a bodhisattva blessing, and as a buddha, a buddha blessing. Devotion comes from purification. The ultimate devotion comes from purification, when you let wisdom flow and intellect rest. Devotion is clear mind, knowing what to do and not to do. If you have no devotion, there’ll be no clarity in practice. You need confidence in the lama/yidam. You need to really believe in the sense of devotion that is not just ordinary. There are different kinds of devotion. First there is uncultured devotion is completely natural just like when Milarepa met Marpa. He didn’t have to hear anything from him; it was just spontaneous when he heard the name of his guru. If when you hear the name of your lama your body shudders, this shows that Putri  Repung  Teachings  ©  YesheMelong  2014        

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there is something inborn due to your connection. The best devotion is uncultured. It’s coming from faith and having practiced before in many previous lives. Due to this there will be total trust. There will be a surrendering to the feet of the lama. He can test you however he likes. No matter what he does your faith is unwavering. Whatever he does you see with pure perception. It may sound like blind faith but we are talking about something beyond the intellect, which concerns the gravity of this presence. Here there is nothing to judge. The natural faith which continues to blossom, will bring realization fast because you are already in that field. The second is cultured devotion. So when you see all the teacher’s good qualities, you learn to trust with a sense of intellectual judgment; and then you can take a step beyond this so it goes to devotion. Observance here is important. What he or she says and does are important. Then suddenly you’ll see the result of the practices which have been given to you. The trust keeps building until it becomes total. Third is the devotion of conviction. If you plant rice seeds, what will grow? Not wheat but rice. You begin to understand the law of karma. You come to believe that the teachings of the Buddha can bring you realization and positive development of the mind. In short, no devotion—no realization. Even if the Buddha comes you won’t see him as the Buddha. In the practice of Kilaya as yidam, the yidam is the lama. All this is crucially important. If you have no confidence in this and just visualize then you won’t receive the superior blessings that you’re supposed to receive.

The Four Mind Qualities of Kilaya The first aspect of Kilaya to realize is the Phurba of Compassion. You need to strike at and penetrate all the six realms of sentient beings with the phurba of great, objectless compassion. This involves the complete training of the bodhisattva and includes the thirty-seven aspects of enlightenment. It also relates to the kyerim and dzogrim. Here the phurba needs to strike each of the six realms. It means emptying the six realms and emptying these from your experience. So it is the exhaustion of the six realms from your awareness. This is what needs to be struck. This is practicing both relative and absolute bodhicitta. In particular it relates to post meditation. With this phurba we examine the definition of absolute and relative bodhicitta very carefully; we examine it from the point of view of post meditation. The Ngondro is an essential or key practice of Thugje Phurba. Different levels and

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ways of meditating extend from the kyerim and dzogrim which bring the essence of tathatagarbha to its full potential. You could call it ‘bodhicitta mind’. What is important is to fully activate it. You are exhausting and emptying the conditioning of the entire experience into which you were born. Phurba is the activity of all the buddhas—here the activity is brought into actualization The second quality of Phurba is the Phurba of Substance and Alchemy. Here we are dealing with signs and alchemy. These are important. It concerns understanding the structure of the universe, astrology, and the energy of all that needs to be struck in relation to the enemies, dra, and oath breakers, gek—those that have broken samaya and are obstructing your practice. Though we use the term enemies, in fact we are referring to aspects of your own mind that need to be annihilated. So this refers to extinguishing the duality of negative forces appearing to your own mind. The dra and gek are the manifestations of your own ego. But by respecting that the absolute and the relative are always in union, you should know that it is just arising from your mind. However, holding to relative phenomena creates the existence of these forms. So long as you have pain regarding the relative, then all relative forms exist. When you can drink piss and eat shit, (with pure perception and awareness), you’re reaching a good level of realization. When you subjugate the dra and gek, you need the three satisfactions. You must be satisfied, he or she must be satisfied and the mandala must be satisfied. In other words, there must be evidence when you subjugate negative phenomena. First you are happy that you have done some good and no harm. Second, he/she is happy since they’ve been transferred to a buddha realm. Third, the mandala is happy, that is, all the herukas and dakinis— peaceful and wrathful—are able to liberate that person. However, on the other hand if you attempt to enact subjugation without the three satisfactions taking place, then you have no right to liberate anything at all and you will be creating great negativity for yourself. The third quality of Phurba is the Phurba of Union. This is the phurba that must be struck on the yum’s secret center. This concerns understanding correct union—it arises from this point of view. The seminal essence itself becomes bodhicitta. This enters the secret center and becomes the retinue of the dharmadhatu. This means understanding tsa, lung and thigle. The understanding here contains the whole tsa, lung practice—the entire field of subtle winds, nerves and essences. With this comes the understanding of the three kayas—thirty-two buddha fields at the crown; sixteen buddha fields at the throat; eight buddha fields at the heart; sixty-four buddha fields at the navel; eight buddha fields at the secret center; Half of thirty-two is sixteen; half of sixteen is eight; sixteen times four is sixty-four; Then it goes back to eight. All of these must be activated and practiced. Putri  Repung  Teachings  ©  YesheMelong  2014        

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All of these buddha fields are in fact atoms within the space of purity. It all comes with the visualization of the three channels; uma, roma and kyangma. The three channels represent the three kayas by their colors—blue, red and white. Here what occurs is the understanding of the body and movement of the atoms within. First there is emptiness—the great space of emptiness. The wind is in this emptiness. There’s no form—just wind, one great space within which there is wind. When the wind forms it agitates the formation of the nerves. The subtle nerves interconnect due to the wind. So with the union of the nerves and the winds, then the thigle— that is, the light—is formed. This is the essential drop or bindu. There is a whole revelation on union. Through union you can reach enlightenment. Why? because the bliss here is the bliss in union with emptiness. If you don’t manipulate the bliss and look at it directly, that is the meditation—hence the practice of shiné in union. The whole point of tsa, lung purification is about purifying the habitual patterns. The habits are the worst— they come from the nerves which create the habits. So tsa, lung is primarily to purify the obscuration of habit. (Rinpoche confirmed that all his previous teachings on tsa, lung in the Dakini Cycle and the Tummo teachings apply here). The Fourth Phurba is the Phurba of Rigpa. This is to strike the dharmadhatu. This is a teaching on the nature of mind from the Great Perfection School. It concerns the view, meditation, action and behavior and also progress and fruition. It contains the Togyal teachings. You need to have courage to go there. The Phurba is a vast field. These are the four main ones. You can decide which you want to concentrate on. Technically we should have four phurbas; gold, silver, copper and iron. These four symbolize the ordinary powers—(pacifying; enriching; magnetizing; and subjugating) and the extraordinary powers—(the five kayas). So this is the background. Then according to your affinity, you concentrate on whichever type of phurba you’re most affiliated with at any given time. With respect to recitation, if you recite sixteen bums, you’ll be free from samsara. If you really want this, it isn’t really so much is it? If you recite thirtysix bums, you’ll become a vidyadhara. If you recite one hundred bums, you’ll become Padmasambhava himself! If you practice Phurba, you’ll become a Phurba Khenpo—this will be very good. Once you reach there, there will be no falling back and you’ll secure a firm ground which will be irreversible.

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Wherever you go there will be prosperity and auspiciousness. Also, you’ll have many children in the family!

The Short Putri Repung Sadhana First do the Eight Branch Confession three times. The title, ‘Putri’ means, ‘razor’, thus destroying duality with razor sharpness. ‘Repung’ means touch, penetrate and destroy. This needs to be practiced to eliminate the four obscurations.

The Four Obscurations First, is the obscuration of karma, including the five heinous crimes and all the samaya breakages. Second, is the obscuration of the emotions—the five poisons based on ego. Third, is the obscuration of the intellect—being confused regarding subject, object and their interaction. Fourth, is the obscuration of habit. This arises because we don’t understand the tsa, lung and thigle and within this we don’t understand the nature of bliss. Not understanding here means we try to grasp at the bliss and manipulate it along with the person who appears to be the object of bliss. In short we objectify the bliss. We do not understand the emptiness of the bliss. By not understanding this—instead of understanding and liberating the bliss, we grasp at it. We don’t meditate on it. When it comes and lingers for a moment, we don’t ask, ‘Where does it come from?’   ‘Where does it go?’   —we just want to saturate our nerves until we are completely drunk on it.   Instead we need to watch it—we need to examine the bliss as we do thoughts. The ultimate point of shiné is bliss—shiné will bring bliss, clarity and emptiness. The shiné of union does the same thing. Sometimes the bliss happens in union and you can’t handle it, but when it occurs in meditation you can. The bliss of union is definitely more profound. In the depth of the bliss if you can bring your awareness to this level of bliss then you will not be shattered by anything. Mostly however, when the bliss arises in union you’re completely shattered. You dissolve into phenomena rather than watching it all. You need to bring your awareness to the bliss in union—with Kilaya in union, see the bliss emptiness. Get into that practice. When teachers go into rainbow body, the white ringsels that they leave behind come from the purity of their seminal essence. They’ve turned this into molecules of light. It’s the same for both males and females; both have blood and seminal essence. So by this practice we will remove the four types of demons. The most important demon is ego—the most important death is the death of the ego. This is the main thing.  

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After confession…  

The Hung With this first line, take time with the Hung on its own. As this is a dzogchen sadahana there is no invocation here. The text just goes straight into the Hung— there is no jnanasattva or samayasattva at this stage; nor are there verses for refuge and bodhicitta. Rather from the very start of the practice, you recognize the nature of the luminosity of the mind which is represented by the Hung—this is your rigpa. Don’t just say it and then start the sadhana straight away. First you need to visualize the Hung in the space alone, high and blazing. The mind and awareness must be focused on the blazing blue Hung. If you drop it down and quickly make it turn into Kilaya this isn’t correct. It must descend slowly. This is important. Concentration should not be lost. You should have no concepts now. Don’t think of anything else. It should be total awareness that descends. It’s radiating and absorbing multi-colored light rays, which are totally penetrating the six realms. The Hung is so bright that you cannot look at it directly with the eyes—it is awareness which sees it. If you looked directly at it you’d be blinded. Its brightness is stronger than one hundred thousand suns. The rays of light go to the all the different realms transforming and purifying. There is no space left untouched. The light touches everything and goes everywhere. The lights go to the buddhafields to make offerings—to the six realms to touch, change and transform animate beings and inanimate objects. It transfers the power back to the Hung which gets stronger with the power of compassion, and thus brighter and brighter and more energized.   So stabilize on this. Since the Hung turns into the vajra palace and Kilaya, first the primordial awareness of the Hung itself is crucially important. Try to stabilize this by making the Hung brighter and brighter. This Hung comes from the sky-like mind of the dharmadhatu. It arises from the sky of the dharmadhatu. Then slowly it comes down so the channels—our seminal essence, the thigle; that is, the intrinsic Hung of the body itself,   comes into tune with this ‘outer’   Hung. The landing pad is the uma, the central channel.   So take time with this. The breathing should be slow—in and out. Let the winds settle in your body. With Kilaya, anger will be there. You’ll become impatient and irritable. But the irritableness here is good. When descending keep your eyes open and look down just in front of the tip of the nose. Then the thigle in the central channel will be active. The small thigle inside will want to jump out. It will vibrate. Things are connecting so let the descent of the Hung be smooth and slow, along with the winds of your breathing. Though the Hung is the Hung,

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it is also thigle. In the nirmanakaya, it appears as the Hung. In the dharmakaya it is thigle. So sometimes it appears as a syllable, sometimes as a thigle or molecule of light. It interchanges between these appearances. Put confidence in this Hung. It embodies all the deities. It is the essential heart syllable of all the buddhas. They all have this in their heart. All the deities are present in this syllable. In the Hung, thigle and rigpa are both there. This thigle, Hung or bindu is the essence of Vajrakilaya.   All the different rays of light radiate, touch and re-absorb. Because of the radiation it is purifying the vajra palace that is about to arise. It is blessing the land and preparing the soil. These rays are removing the impurities and blessing the planet. We need a good foundation. Here we are just preparing the foundation. The Hung is the primordial wisdom from within which the five primordial wisdoms manifest. This thigle embodies these five wisdoms. So it means that Kilaya is going to manifest from these five primordial buddha families. It’s a way of saying that Kilaya has been enthroned and empowered by these five buddha families.   We have the five primordial wisdoms in the uma—at the crown, throat, heart, navel and secret center. We also have the tathagatagarba in us. This light touches and prepares the ground, which becomes a charnel ground with the eight great cemeteries. The palace is made of bone, the roof of skulls and the ground of lapis lazuli. In the wrathfulness there is compassion—the inner is peaceful. That’s why when we visualize Dorje Sempa he is white in color indicating that within the wrath, the inner nature of it is peaceful and vice versa; within the peaceful there is also wrath.   In the cemetery—it’s completely awful—the sounds are frightening, with people being chopped up and wailing and blood everywhere. This is all to cut our concepts. We need to be sensitive enough to see through the outer appearance of it and to see its essence.  Thus,  the oceans of blood, the pus and shit—all become an offering to the wrathful buddhas. So within the repulsiveness there is beauty. For example if we see blood—a normal reaction might be to faint, but in essence there is nothing there.    

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Visualization of Kilaya Kilaya has three substances on his face—ash, blood/seminal essence and fat. Ash on his forehead is to show impermanence, as in, when we are burnt this is what we amount to. We are nothing but a compound of dust. The thigle and blood on the cheeks show the essence of awareness. The fats and gristle on the chin, represent the essential nature of our body but fats are burned to create light so this also indicates clarity. The whole visualization of Kilaya is about how to reverse our ordinary mind and make it become extraordinary. The main thing here is to purify our aversions. Kilaya has three heads representing the three kayas. They are wrathful, semiwrathful and almost peaceful. The blue represents abandoning anger. The white represents abandoning ignorance. The red symbolizes abandoning ordinary desire. The five skulled crown on each head shows empowerment by the five buddha families and the five wisdoms. A white snake representing royalty interweaves and binds these. The three eyes on each head are rolling ferociously and looking around in space all the time. They also represent the three times, the three kayas and the three Putri  Repung  Teachings  ©  YesheMelong  2014        

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realms. It is important that the body be visualized as having motion. It is not an inert picture. Each mouth has four fangs to show cutting through the four types of birth. This is exhorting us to be free of the cycles of birth and death. He has a mass of hair—one hundred thousand strands at least. At the root of each, there is a vajra. From his eyebrows, sparks of fire are constantly shooting out.   He has three human head garlands, one with dry heads, one with semi-dry and another totally raw and wet. This again shows the three kayas—the dharmakaya, sambhogakaya and nirmanakaya respectively. His vajra wings are spread out as wisdom and skillful means in perfect union. At the base of each feather is a diamond dorje, indicating indestructibility. There are seven qualities of the dorje including it being indestructible, invincible, firm, fixed, not holding to duality etc. These dorjes lie at the base of the razer sharp feathers of Kilaya’s wings which also all have razor sharp edges. Anything they come in contact with will be cut and sliced up—pulverized into essencelessness.   The six arms represent the Six Paramitas. The four legs represent the Four Noble Truths. Kilaya has three skin dresses, all flayed out with open bodies: an elephant on his back; a human around his midriff; and a tiger skirt. There are five snakes on Kilaya showing that he connects with all the different castes: - white on top of the crown (royalty), black around the neck (untouchables—i.e. no caste showing all sentient beings have the tathagatagarba), yellow (ministers) on the armlets; red (priests) on the anklets and green snakes (ordinary people) all around his body.   Kilaya is in union with his consort, Korlo Gyen Dep Ma. She has five ornaments: A crown, necklace, bracelets, anklets, and a bone bra and girdle around her waist. All these are represented by both royal and bone ornaments, just as they are for Kilaya. Her right leg is stretched out and her left leg is wrapped around the waist of her yab. She is holding an utpala lotus flower in her right hand and a skull cup filled with blood held to her yab’s mouth. The blue Utpala Lotus is extremely rare, it only blooms once in a kalpa, and so it is showing both the rarity of this practice and its purity. Like ordinary lotuses it cannot be contaminated or influenced by anything negative—it will still blossom in that period. It is important to visualize the fire blazing all around from Kilaya’s body, burning all the noxious beings. This is important.  

Kilaya’s Stance - Nine Dances First, in respect of his body, Kilaya appears lustful and flirtatious. He is  

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1) Irresistible and captivating. When one sees his wrathful body, desire arises in the feminine principle. So Kilaya is seducing those with desire to have union with him. 2) Second, he is heroic. This is his warrior aspect. He wrathfully demonstrates his supreme bravery and courage. In this way he leads those with hatred to the path of Dharma. 3) Third, he shows a repulsive appearance through his body. He has ash and blood on his face, live snakes coiled all over him and flayed bodies of elephant, human and tiger, oozing with blood and guts, draped around him. 4) He is terrifying. This is to subdue those with ignorance. In respect to speech, he makes thunderous sounds like: - ‘Hung Hung; Phet Phet; Rul Rul’: With ‘Rul, Rul’ he is bringing those with desire under his control. With ‘Phet Phet,’ he is bringing them to the path of desire. 5) And with ‘Ha, Ha, Ha,’ a deep and captivating resonant laughter he seduces those with desire. ‘Hung, Hung’ is to catch those with hatred. ‘Whir,Whir Dir Dir,’ gets those with ignorance. 6) With these sounds he is fierce and fearsome. 7) In respect of Mind, he is compassion personified; 8) magnificent and intimidating and yet within all this –  9) he rests in perfect equanimity.  

The Four Nails With the recitation, four nails need to be firmly pegged.   The first nail is the clarity of the visualization. Nail the visualization as much as you can. It is not easy. You cannot do it in one shot with Kilaya, or with any deity for that matter. Just get the head first—the eyes, the nose, the ears, the hair—with the white royal snake family holding the crown in place —with a thousand million hairs all curling upwards due to his wrath. See sparks of fire shooting out from his eyebrows and his whole body. With his eyes, check out the white of his eyes, they are ferocious. His nose is big like an African brother’s nose. Don’t forget the ears. Then consider these aspects on all three heads.   Once you get really familiar with his head, then there’s the garuda holding a snake with his hands above his head. He is suppressing the nagas. The main point that the garuda symbolizes here is that he is born with the innate and instant ability to fly. He goes straight from the egg to take his first flight. This is just like uncontrived wisdom. Then when you are confident with the head, move to the middle of the body with your visualization and then to the lower part. Then join all the parts together. Then you will have the full image. If you go section by section it will be clearer and easier. So first nail the clarity of the visualization.   The second nail is in respect of the mantra recitation. Here you should recite all the syllables clearly. They should not be too rushed. Move your mala Putri  Repung  Teachings  ©  YesheMelong  2014        

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clockwise and downwards. Your mala has one hundred and eight beads. Actually it should be one hundred, forty-two for the peaceful deities and fiftyeight for the wrathful. However, eight extra are added to cover mistakes in recitation and for auspiciousness. The guru bead is to show that all the mandalas come from the guru. The fact that the peaceful and wrathful buddhas are held together by one string shows bodhicitta. Only use your mala for recitation, not for anything else. Don’t sit on it or play with it. If you throw it around this is a breakage of samaya. Be respectful and treat it with great care. Your personal mala cannot be lent to anyone. Make sure you know the history of your mala. Hold it in your left hand to your heart. Your mala should be spinning around at your heart level. And in your heart you should visualize the root syllable around which the mantra spins. Visualize the outer and inner spinning together. Don’t recite with your mala on your lap. It’s best to hold it up to your heart.   The third nail is regarding the activity—the radiation and the absorption of light. Later you will have hooks which pull the negative forces in. Right now just visualize the lights going to all the phenomena, radiating touching and then absorbing.   The fourth nail is the most important; it is the view of the great perfection and is the base for the previous three nails. You need to understand that this whole practice has come from the nature of mind. There is nothing to hold on to here. This fourth nail understands that everything is emptiness. It is very important to be completely settled with the realization that there is nothing whatsoever existing in reality. This is rigpa awareness. The fourth nail also refers to objectless compassion. If there is no fourth nail then there would be no first, second and third nail. This is the reason why in the kyerim we always dedicate the merit in the field of the dharmakaya so there is no holding to subject, object or action. If you think,  ‘I’m doing really well,’ it is nonsense in the context of reality, that is, the fourth nail. So the dedication must be totally free of any kind of reference.

The Three Elements   There are three elements that must be developed within this practice. First you must develop pure perception. Second you must get a firm hold on vajra pride with the unshakable conviction that,   ‘I am Kilaya’. This is not ego—it is confidence in knowing what you really are in your full potential. So actually it is not really pride in any ordinary sense at all. Third, you must develop thorough awareness or mindfulness. At all times you should have this awareness that,  ‘I am Kilaya’. All the phenomena are to be seen through the awareness of your

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yidam. Think that all you meet are deities. This is very, very important. This is the advice of Kilaya practice. Whatever thoughts and emotions you have, ride them out—let them go. Lots will come up and the nature of it will become rough due to the nature of the practice. But nonetheless, don’t entertain these, rather, let everything fall into silence and peace. Actually the outer is really just a pretense of wrath. Any emotion, if you really look at it, is peaceful. But when you don’t understand and you entertain it by becoming emotionally involved, well—then you just get caught in emotionality. If you don’t understand that anger itself is in stillness then you will be blown away by it. It is said in the Sutras that anger can destroy a kalpa’s worth of merit, so the consequences are very severe. We are so quick to judge and come to our own conclusions. For example, tears can be a sign of anything—we cannot assume they are due to sorrow. Our eyes interpretation is based on our projection. Therefore don’t judge about anything based on what you see.  

Kilaya’s Nine Ornaments - Elaborated On the whole these ornaments are meant to be repulsive. They are: -   1) The three substances   2) The three skin dresses   3) The three reversing articles  –  royal, bone and snake.  

The Three Substances These show Kilaya has gone beyond the concept of death so they are demonstrating the natural state of awareness. First ash, (on his forehead) is showing the purity that life is transcended. It understands the impermanence of everything by indicating that when the body is burnt, it turns to ash. It’s a sign of transmutation.   Second, he has rakta and seminal essence/thigle on his cheeks and grease/fat on his chin. These substances indicate the union of male and female. On the right side there is rakta and seminal essence, on the left there is just rakta. It is saying, we cannot ignore the seminal essence—it is the essence of good health—the buddhas feast on these substances. When you see how difficult it is to produce pure rakta and thigle—it’s really no easy thing—then you see their value. The best food goes to pure blood. Other less pure food is filtered out. The pure filtered blood goes to the heart. This blood first circulates around the heart, then it gets pumped out to the nerves—first to the bone marrow on the left and right side—then to the little pockets in the bone which further filter it and then it Putri  Repung  Teachings  ©  YesheMelong  2014        

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radiates out to the subtlest nerves feeding the thirty-two buddhas at the crown, the sixteen at the throat, the eight at the heart, the sixty-four at the navel and the eight buddhas at the secret center. In this way, it drops down in union with the blood and the wind. But every drop is not considered thigle. Only some is in the blood and fluid. Only a well-trained yogi knows when it drops. The way the thigle drops—such a yogi knows its dropping or not. It takes a month to produce one pinhead of pure thigle. This thigle is the essence of realization. So when the thigle is wasted, the mamos get furious. With masturbation, it is like throwing the life force away. It brings bad luck, bad health and all bad things.   Thigle refers to seminal essence and light essence. Females have an extra step of purification to go through due to menstruation. It is seen as a lower rebirth because of the difficulty of menstruation. This is an extra weight females have to carry. From the point of view of realization, the feminine principle is superior to the male. Guru Rinpoche made this point clearly. This is the reason the feminine represents wisdom and the male, method. No matter what practice you do, whether it is tummo, vase breathing, channel focus or yoga movements— here all the practices are to purify the thigle. They are all different methods to purify this. In terma medicine you can look at the thigle and diagnose the state of health of the individual, their life force, karma and so on. A high lama can taste thigle and through this see the state of realization. It is the thigle itself, which turns to blessings. Rainbow body is the thigle absorbing all the light. The thigle can dry up if you don’t cremate a realized body. The key point of tsa, lung is how to filter this essence. There is a constant refinement.   Then third, there is fat or grease on his chin. Fat is also oil, which is used for burning butter lamps, which are very meritorious. With the wrathful buddhas, human fat is used for lamps. Fat is formed from the blood, winds and nerves. With these three substances Kilaya is saying, “Understand the true nature of awareness.”  

The Three Skin Dresses First Kilaya has the elephant skin around his neck. This is raw, wet and fresh. Actually, it’s disgusting. The elephant is the king of the jungle and has a long memory. The skin of the elephant refers to his acute memory and his powers. The elephant always takes the shortest route, that is, the short cut. This signifies the directness of Kilaya’s path of practice. There are no detours on this one. Second, around his back he wears a human skin. The human skin represents great magnetic power to draw material and spiritual wealth/ wisdom. Here it shows that the human body is the ground on which to draw wealth and power. Third is the tiger skirt. This demonstrates that Kilaya conquers anger and hatred

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at its root. If you annoy a tiger he’ll remember and get you for this. All three skins are raw and fresh. This is important.

The Three Reversing Articles First are the garlands of skulls with three types of skull; dry, semi-dry and wet/raw. He also has a royal/skull crown. Second are the royal/bone ornaments on the crown and ears, armlets, bracelets and anklets. Third are the snakes showing the different castes of families. The white (royal) snake is on the crown; the black snake (untouchables) is draped around the neck; the yellow (ministers) on the armlets; the red (priests) are on the anklets and the green (ordinary people) are all over. The snakes are alive. This shows the Mahamudra—the great seal. Kilaya subdues the snakes and wears them as jewelry. When you see Kilaya you cannot imagine the repulsiveness and fear induced by the vision he manifests. The smell of death of the animals and humans is tangible and all around. He is draped in dismembered bodies. At the sight of Kilaya even the most frightening negative forces faint away. There is a story of an artist who fainted when a commissioning lama demonstrated to him, through a shared vision, what Kilaya looks like in actuality, even though the artist’s yidam was Kilaya. The Kilaya in the Mindroling Monastary at Dehra Dun in India is said to be the closest replica of Kilaya.   What’s the point of all this? It is important to cut through our concepts of what is clean and dirty—what is acceptable or not. We need to go beyond the mind’s boundaries—to be sensitive but still go beyond the sensitivity.

The Kyerim and Dzogrim—Four Steps Each It’s very simple—just four steps for each stage.   The Kyerim—Creation Stage   First, the Hung syllable descends. Then it manifests the palace. This Hung syllable comes to rest on a multicolored lotus. This lotus is already within the palace. Second, the Hung on the lotus turns into Kilaya and consort with full attributes. Third, is the visualization of the yeshe sempa. Here it is Dorje Sempa himself with all the thirteen adornments of the sambhogakaya.1 He is holding a bell on 1  The

thirteen sambhogakaya adornments are the five silken garments and the eight jewel ornaments. The five silk garments are: (1) patterned silk scarf, (2) five-colored diadem pendants, (3) sleeves for dancing, (4) vest-like upper silk garment, and (5) the lower silk

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his left thigh and a dorje towards his heart, showing wisdom and method in union. Reflect on the nine qualities of the peaceful deity. The nine qualities of a peaceful deity are: - soft, perfectly proportioned, firm, supple, youthful, radiant, attractive, with an intense presence. He has the thirty-two major and eighty minor marks of a buddha’s body. Dorje Sempa means ‘hear me and be liberated’. He is here smiling radiantly. Fourth, you visualize the dorje in the heart of the yeshe sempa with the seed syllable Hung. This dorje can be visualized as whatever material you see as most precious, whether it be diamond, sky-metal or crystal. The idea is preciousness. It sits on a sun, while Dorje Sempa sits on a moon. This is how the kyerim begins.   Second the Dzogrim –  Dissolution Stage Similarly for the dzogrim there are four steps to the dissolution stage. First, the palace and the ground will dissolve into Kilaya. Second, Korlo Gyen Dep Ma dissolves into her yab. Third, Kilaya into Dorje Sempa. Fourth, Dorje Sempa dissolves into the dorje at his heart, which then dissolves into the Hung which in turn dissolves into the nadi/thigle tip and lastly, into the empty space of shunyata.   This is all very simple and clear. Remain in that clear awareness. Don’t rush! This is the true face of the lama and the yidam—it is the emptiness that is the rigpa. Try to stay as long as possible before the ordinary concepts creep in. Then, when they do, see all form as Kilaya, sound as his mantra and thought as none other than Kilaya’s mind. Don’t let the mind fall into ordinary perceptions. Try to maintain the meditation as much as possible.

The Benefits of Accomplishment of Phurba The benefits of accomplishing this practice are that you will have wealth, retinue and your mantra will have power, i.e., your words will have power. In fact there are nine qualities to note: -   1) Having profound understanding not separate from the dharmata.   2) Having great devotion not separate from the lama. 3) Having great samaya not separate from the yidam.   4) Having great loving kindness not separate from one’s brothers and sisters.   5) Having great ability not separate from one’s samaya substances.   6) Having great compassion not separate from sentient beings.   garment. The eight jewel ornaments are: (1) crown jewels, (2) earrings, (3-5) three necklaces which are one short necklace, one longer necklace, and the longest necklace, (6) upper arm ornaments, (7) bracelets, and (8) anklets.

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7) Having great union not separate from the feminine principle.   8) Having great meditation not separate from the profound blessings.   9) Being free of defects not separate from realization.  

The Six Faults There are six faults that appear in this practice. They concern body, speech and mind, samaya, devotion and concentration: -   First, with regard to the body—weak effort in practice is the fault of the body.   Second, the fault of speech is gossiping, talking too much and not doing much practice.   Third, the fault with regard to the mind is having strong anger and weak compassion.   Fourth, is the fault of samaya—having a weak memory and not being dutiful. For example reversing the order of the offerings or omitting offerings.   Fifth is the fault of concentration. The occurrence here is particularly apparent in those who love to drink and who sleep profoundly.   Sixth, is the fault of devotion (or lack of). This fault is apparent where the person is happy to be distracted and sad to practice.   So be aware of these faults. This is the advice of Guru Rinpoche. It comes in all the texts.

The Visualization of Kilaya Continued… The Hung descends, radiating light rays of compassion and absorbing the grasping at the essence of things as real. Here, lift your head forward and stare slightly in front of your nose. All the protectors, all the buddhas and bodhisattvas appear in this syllable. Realize that the Hung is the essence of Kilaya and the embodiment of all the enlightened beings of the universe. The syllable should be blazing with fire and with sparks shooting out from it. This is the dharmata; and with this the dharmadhatu. It is the great perfection—the three kayas. The rays of light are rays of compassion—they arise from emptiness, becoming luminosity, and become compassion. It is the primordial mind, the unity of emptiness and compassion. The Hung descends down and a perfect buddha field manifests, with it, the eight charnel grounds. This is called the Palace of Great Liberation. In the ground of the palace, the first formation is the eight-spoked chakra wheel. Upon this wheel are the moon and the sun discs. On these are the mahadevis and mahadevas, represented by two of the principal deities, i.e. gods. They are under Kilaya’s four feet—one faces up and one down. Here it is saying that Kilaya’s awareness is greater than all the gods’. They are completely subdued. He is also subduing the male and female negative energy. He is saying, in a positive sense, that he has got the gods under his feet Putri  Repung  Teachings  ©  YesheMelong  2014        

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as well as all the male and female negative spirits because he manifests from absolute space. He’s already there anyway.     Then the Hung settles on the lotus, moon and sun and turns into the full manifestation of Kilaya. His right face is white, showing his subjugation of ignorance. His left face is red, showing his subjugation and transformation of desire into desireless great bliss. His central face is blue showing the subjugation and transformation of anger and hatred into sharp, luminous, clarity and mirrorlike wisdom. He is saying,   “I will transmute these ordinary emotions into medicine.”  The opposite of poison is medicine, which here is wisdom.   His four legs represent the Four Noble Truths. His six arms demonstrate the Six Paramitas. The nine and five pronged dorjes in his right hands signify the Nine Yanas and Five Buddha Families/Wisdoms respectively. The ball of fire in his top left hand shows that he is going to burn all noxious beings –   Kilaya is saying, “I’ll purify their impurities.”  The fire is wisdom fire - he’ll burn them all to ashes and turn them into pristine wisdom. The three-pronged trident in his lower left hand shows the three kayas (i.e. the heads on the top of the points); the three points show that Kilaya totally absorbs the three poisons.   His central hands hold a phurba. This phurba is being rolled from left to right and right to left. It means,   “I am always in constant meditation.” There is an element of invincibility here. This phurba that he’s holding is going to pierce, strike, cut, and destroy duality. It is a Mount Meru Phurba indicating the weight of it. It is a manifestation of the universe. Rolling the phurba and stabbing the three realms with it, he is conquering the universe, the six realms and the planets in order to benefit beings.   He’s trampling on the heads of the maharudras. From his mouth roar the sounds,   “Hung Hung; Phet, Phet.”  They are thunderous sounds that conquer phenomena. Nothing can obstruct this sound. All beings hear this sound and are captivated by it. So when you visualize Kilaya, you have to visualize this sound coming from him. The most important utterance of Kilaya is  “Hung, Hung.”  Later in the dzogrim, as the kyerim dissolves, it remains his essence drop of all the appearances – which dissolve gradually with the triple ‘Hung.’   Around his body there are flames of wisdom fire with sparks. This is a display of the kalpa of fire—it is vast and all consuming. His hair curls upwards towards the right and at its root is a vajra. The root of all hair is vajra. These roots are a sign of the power of the dakinis. Each hair represents a family of the dakinis. The whole of samsara can be wrapped up in his hair - so even his hair is wrathful.  

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Kilaya is in union with his consort, Korlo Gyen Dep Ma, who is sky blue and holding a utpala lotus flower behind Kilaya’s head and a kapala filled with blood to his mouth. An utpala lotus grows once a kalpa and when it grows a buddha appears.   Kilaya’s central face is dark blue, representing the dharmadhatu. The color dark blue cannot be changed by other colors, showing the unchanging nature of the dharmadhatu. He is saying, “I’m unchanging throughout the four times.” His consort is a lighter blue, like the deep blue sky, saying,  “According to sentient beings needs I can accommodate change according to whatever they need.”   The color of the deep blue sky is showing the appearance of the sky-like nature of the vast expanse of my mind. Korlo Gyen Dep Ma’s right leg is stretched out and the left wrapped around her yab - clasped around his waist. They are well connected—Kilaya’s dorje is in the lotus of his yum; actually it is in the lotus of the space of awareness. Her five mudra ornaments represent the five wisdoms. For ignorance, desire, anger, pride and jealousy she wears five bone ornaments to purify these. First, her bone crown represents the wisdom of the dharmadhatu, the basic space of phenomena. Second, her bone earrings represent discriminating wisdom. Third, her bone necklaces represents equalizing wisdom. Fourth, her bone bracelets and anklets represent mirror-like wisdom. Fifth, her bone girdle represents all-accomplishing wisdom. So by these five bone ornaments she brings awareness of the five wisdoms. Above their heads is the great lineage garuda. This represents inborn wisdom, which is spontaneously and instantly present. He is also able to subjugate the nagas.   From this whole vision of Kilaya, wisdom fire darts out and surrounds them. At this time you need to consider yourself—the samayasattva, (commitment being) and Kilaya himself,  the jnanasattva (wisdom being) as one—inseparable in one taste. In the heart of the jnanasattva is shining white Vajrasattva. He has the thirteen ornaments of the sambhogakaya. He’s seated on a lotus and moon disc. At the center of Vajrasattva’s heart visualize a deep red (i.e. garnet) tent as a protection of indestructibility—this is Hayagriva—so no negative spirits can get in. In this, there is a five-pronged dorje on a sun (and moon if you wish). The five top spokes of the dorje represent the five male buddhas, the five bottom spokes represent the five female buddhas.   There in the center of the dorje is the Hung seed syllable circled by the root mantra, which is arranged anti-clockwise and spinning clockwise. Don’t try to lift or spin the mantra immediately. You won’t be able to. Just have the mantra radiating and absorbing. After the mind is sure that it recognizes the syllables then gradually it will try to move. Slowly the mantra will start to spin and it will rise half way up the top half of the dorje and spin there. It is like a magnetic coil. Then it will give wisdom sparks. So you may raise it later and then the mantra will really move. First it will move slowly, then it will pick up speed. Then it Putri  Repung  Teachings  ©  YesheMelong  2014        

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will really spin. When it does, then you will be Kilaya. So don’t try to spin it, thinking, ‘It’s spinning.’   It is better to leave it there radiating light from the syllables and absorbing. When it starts to move then the purification is really beginning and all the obscurations of beings are transforming into deities—all the wrathful deities and protectors are being commanded to come. Then all the obstacles in the way will be shattered to dust. Any and every obstacle will be destroyed. It eradicates all obstacles, illnesses and negative planetary influences. You need to have the confidence that you’ve received the wisdom blessings of the body, speech and mind of Kilaya. Recite the mantra in this way.

The meaning of the Mantra   Om –  mind   Vajra –  dorje   Kili Kilaya –  Kilaya   Sarwa –  all/many   Bighanen –  enemy   Bam –  subjugate and overpower   Hung –  destroy   Phet –  disperse   Thus: “Dorje Mind Kilaya—Disperse, Destroy and Subjugate All Enemies”   Recite as much as you can and then come to the dissolution—the four steps noted above in reverse ie, First, the palatial ground into Kilaya; second the consort into her yab; third Kilaya into Dorje Sempa; fourth Dorje Sempa into the dorje which dissolves into the Hung. At the end here the dorje goes into the syllables which dissolve into the dharmadhatu—the Hung—bottom up, so the moon crescent touches the bindu and this dissolves into emptiness. Stay and relax once the bindu has dissolved into space. Say Hung three times. Here you are freeing yourself into space. Then apply pure perception to all the phenomena you see. See all forms as the forms of Kilaya, sounds as his mantra and pure hearing and thoughts as Kilaya’s mind display. Before getting attached to phenomena, cut it with the three ‘Phets’—then utter “Benzar Ka Wa Tsi Raksha Hang” meaning ‘May I be under your protection.’ Finally, dedicate the merit and make aspirations that having accomplished this practice, ‘May I be of benefit to others.’ Please note—these teachings were not recorded, thus this is not a transcript as such, but rather notes taken from the teachings and verified through Dungse Shenphen Dawa Rinpoche’s advice and guidance.

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Copyright ©YesheMelong2014. All rights reserved. If anyone wishes to publish or distribute these teachings they must first receive authorization from His Holiness Dungse Shenphen Dawa Rinpoche.

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