Sky Mind

One of the wonders of Dharma is that the entire path, as a macrocosm,

can be expressed and understood through each microcosm of teaching
within it. Any and every teaching is an exposition of the entire path.
Lama Tharchin Rinpoche said when he came to visit Nga!chang
Rinpoche and "handro D#chen in $ardiff in %&&', that he had now
yogis and yoginis in Tibet who had achieved rea(isation through the
practice of the )even Line *nvocation of +uru Rinpoche a(one. ,e
was teaching on the sub-ect of this practice . the Dor-e Tsigd/n 0rDo
rJe tshig bDun1 . and wanted Nga!chang Rinpoche and "handro
D#chen!s students to understand the great wea(th of teaching
contained within the seven (ines. 2This,3 he said 2contains a(( (eve(s of
teaching within the three c(asses of *nner Tantra.3
4very method or practice ref(ects the essence of the entire path. Any
teaching can be understood on severa( different (eve(s . or can be
viewed from severa( differing perspectives. This may remain invisib(e
to us even after years of study, and then sudden(y, start(ing(y, revea(
itse(f through the inspired teaching of one!s Lama. 5e may sudden(y
rea(ise that our teacher has departed from a (inear presentation and
that the topic has mysterious(y evo(ved into a three6dimensiona(
exposition of another facet of Dharma that seemed previous(y
unre(ated. To experience a teaching in this way is to become aware of
spontaneous (yricism . engaging with the teaching as a subt(e musica(
composition. 5e may catch a g(impse of the (ogica( yet magica(
matrix of subt(ety which emerges from a sing(e princip(e. 5e may
discover the matrix emerging from this sing(e princip(e is functiona(
rather than mysterious, so that the comp(ete path is revea(ed in its
subt(e simp(icity.
7any times * have sat in front of my own Tsawa!i Lamas,
Nga!chang Rinpoche and "handro D#chen, and experienced their
capacity as teachers in this way. * remember once (istening to them
teaching on the sub-ect of the six rea(ms of being. Nga!chang
Rinpoche was discussing the way in which we may experience the
same situation or environment 8uite different(y at particu(ar times in
our (ife. 5e may find a situation he((ish, or (ie a paradise, dependent
on our mood or circumstances. As an examp(e they suggested the
experience of a busy city street as exciting at one time, but frightening
at another, comforting(y busy at one time, but overwhe(ming(y hectic
at another. "handro D#chen continued that we may find the busy
street rich and interesting, g(ittering with the c(arity of ref(ective
surfaces, vivid(y fascinating, e(aborate(y varied in the number of
differing sights and sounds it offered, or spacious(y open. This
expression of five 8ua(ities of perception, refers to the 8ua(ities of the
e(ements of earth, water, fire, air and space respective(y. ,ence the
teaching had expanded to encompass the dance of the e(ements, within
the context of the six rea(ms of cyc(ic existence. *n referring to
perception changing our experience, Nga!chang Rinpoche and
"handro D#chen were a(so referring to arma as perception and
response, and to bardo as the experience of the changing moment.
This versati(ity cou(d appear at first as comp(icated and
overwhe(ming. There is magic and mystery in Dharma but on(y in the
way in which (anguage is a mystery to a newborn. A newborn baby
has the potentia( to fu((y understand (anguage. 5e can reasonab(y
expect that in time infants wi(( master the intricacies and subt(eties of
their native tongue. 9y one year of age, a chi(d can understand many
words spoen to them and spea a few themse(ves. $ontinua( contact
with (anguage gradua((y enab(es the magic and mystery of (anguage to
unfo(d as a (ogica( and straightforward system which can be (earned.
)imi(ar(y there is nothing in Dharma that is beyond human scope. The
princip(es and methods of Dharma do not arise from another wor(d
with which we have no contact. * do not have to trave( to some other
p(ace or deve(op superhuman powers in order to approach the methods
of Dharma and experience their benefits. * a(ready possess a(( * need
to rea(ise my capacity for happiness and freedom from confusion. The
magic of Dharma is the spar(ing openness that * can discover through
engaging with practice. The mystery of Dharma is the subt(e
ad-ustment of view through which * can find (iberation. $omp(ete
re(ease from the constraints of ordinary (imited view is made possib(e
through the ref(ectivity of the Lama.
To give an examp(e of how one!s Lama can offer an a(ternative,
ob-ective view, * recount this story. Opposite the venue for a day of
teachings in :;;<, was a dere(ict schoo( with near(y a(( the windows
smashed. As * verba(ised my disapprova( of the vanda(ism,
Nga!chang Rinpoche 8uiet(y observed that it was pretty si(fu( stone6
throwing that succeeding in smashing the uppermost windows, and
that it must have been a satisfying experience. * was -o(ted into an
awareness of the two viewpoints. * a((owed these two =opposing!
viewpoints to p(ay in my mind, without indu(ging the need to decide
which was the =correct! view. A tantria
%
recognises the naed c(arity
of energy without (imiting it through mora(istic or conventiona(
definitions> of =misdeed! for destroying a bui(ding or of =si((! for the
accuracy of aim. ?a-rayana
:
dances with such ambiguity. * was we((
aware that Nga!chang Rinpoche was not speaing from a (aisse@6fair
attitude concerning vanda(ism . but simp(y offering me the
opportunity to become aware of my nee6-er response to this
particu(ar aspect of (ife circumstances.
The teachings and practices of Dharma introduce us to the nature of
rea(ity, but this introduction is approached from severa( perspectives.
Dharma is a pragmatic system which wors with how we find
ourse(ves to be, and the rea(ity of what we actua((y are. 5e do not
have to be a particu(ar type of person to discover our potentia( to
rea(ise our innate en(ightenment. 5e do not have to arrive at an
extreme(y specific point to embrace Dharma, other than the
reasonab(e6faith which arises having tested the methods of Dharma
and found them to be efficacious. *t may be necessary for some peop(e
to experience the despair of finding that even success in ordinary (ife
does not bring eterna(, ever(asting p(easure . but despair can become a
hindrance, especia((y if we come to associate everyday (ife with
samsara
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. A(( we re8uire is the capacity to be inspired, and the wi(( to
engage in the spiritua( practices to which that inspiration directs us.
Nga!chang Rinpoche pointed out on one occasion that>
2 . . . to be disgusted with samsara is not to be disgusted with (ife.
Disgust for samsara is not predicated upon one!s fai(ure to function in
society and one!s craving to see the sanctuary of a Dharma centre
where one never need be troub(ed again by having to satisfy the
re8uirements of oneAs emp(oyers. Disgust with samsara is simp(y the
now(edge that no matter how wonderfu( we mae our (ives we can
never reach a point at which we can rest in that p(easure. True disgust
for samsara is the suspicion which arises from being competent and
successfu(. 5e have to be ab(e to repeated(y obtain what we desire in
order to rea(ise that fu(fi(ment mere(y comp(etes a cyc(e and (eaves us
needing to instigate another cyc(e. This rea(isation does not
necessari(y guide us toward renunciation in order to cut through the
se(f6defeating cyc(es of samsara. 5e cou(d, with the aid of a Lama,
continue to fo((ow desire . but with the now(edge that the fruit of
desire is empty, and as g(orious on(y as the path toward its
attainment.3
The Dharma of Tibet presents and categorises the teachings in
different ways, which are nown as vehic(es 0theg pa . yana1. A
vehic(e is that which a((ows you to move from one p(ace to another. *t
is a means of trave((ing. The Nyingma Tradition describes nine yanas
of the teachings 0theg pa dGu1. Brom the point of view of D@ogchen
C
,
each vehic(e is a comp(ete path because it has a base 0a p(ace to
begin1, a path 0methods of practice which tae you from the base to
the resu(t1, and a fruit 0the resu(ts of practice1, but in rea(ity the
vehic(es are rare(y practised in iso(ation. Dractitioners embrace aspects
of a(( or many of the vehic(es. The nine vehic(es of the Nyingma
Tradition are> the )hravaayana
E
the Draty#abuddhayana
'
, and the
9odhisattvayana
F
G p(us the six Tantric vehic(es, divided into Outer and
*nner Tantra.
)hravaayana, Draty#abuddhayana and 9odhisattvayana can be
c(assified as )utrayana
H
. The first five Tantras are c(assified as )ecret
7antrayana,
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and the sixth, Atiyoga, is c(assified as D@ogchen.
=?a-rayana! is the term emp(oyed for a(( the six Tantras. "riya Tantra,
Ipa or $arya Tantra, and Joga Tantra are the three Outer Tantras.
7ahayoga, Anuyoga, and Atiyoga are the three *nner Tantras. The
experience of the nine vehic(es re(ates direct(y to the persona( process
of emerging spiritua( awareness from the ear(iest stage of interest, but
this is often obscured by the sense in which they are misunderstood to
be separate(y codified re(igious approaches.
Let me give an examp(e of the process of emerging awareness, in
terms of my own experience. 5hen * first became interested in
9uddhism, * read a great dea(. * was fascinated by the ideas and
methods * studied, but * did (itt(e more than read for a coup(e of years.
* read the words, but did not identify their re(evance in terms of
app(ying them to my own (ife circumstances. This was )hravaayana.
* was hearing or reading about Dharma but on(y engaging with it in an
inte((ectua( or phi(osophica( manner, rather than fee(ing it had
re(evance in my (ife. Then something prompted me to actua((y try out
the methods and receive teachings direct(y from a Lama. Through
experiences of unhappiness and dissatisfaction in my (ife, * was
prompted to move my inte((ectua( interest in 9uddhism to another
stage. * had deve(oped some confidence that Dharma cou(d provide
methods by which * cou(d trave( the path to happiness. *t was my
experience of pain and suffering which prompted my actions. * wanted
to end my pain and suffering, so * began the path of the so(itary
rea(iser . Draty#abuddhayana. * started to practise for my own
benefit, in the hope of improving my situation. ,owever, once *
started to practise with a greater degree of commitment, * began to see
the benefits in my (ife, and the changes in my state of mind.
$onscious of this, * become increasing(y aware that there were many
other beings around me who were a(so finding their experience of (ife
painfu( and unsatisfying. At this point * understood that * cou(d not
disconnect myse(f from others, and that it was not actua((y possib(e to
be tru(y happy when others around me were so obvious(y unhappy. *n
this way * natura((y began to move toward some experience of the
mind of bodhicitta
%;
, and to enter the path of 9odhisattvayana. This
deve(opment in my view made me want to (ive my (ife in a manner
that wou(d do as (itt(e harm to others as possib(e and, hopefu((y, wou(d
benefit them in some way.
The six (eve(s of Tantra can a(so be viewed in terms of how they
ref(ect human psycho(ogica( deve(opment from infancy to adu(thood.
Dharma is a natura( system. *t is not fabricated. The spacious nature of
the mind can be discovered through the methods of Dharma. The
methods themse(ves have spontaneous(y arisen as a response to the
expression of confusion and pain of beings. The practices of Dharma
were not created through someone having had an idea about how to
so(ve a prob(em. They arise as a natura(, rea(ised response. 5hen we
are thirsty we drin . we do not have to fabricate a reason for drining
when we are thirsty> drining is simp(y a natura( response. Dharma
arises through the needs of beings. Dharma ref(ects every nuance of
human experience. Nga!chang Rinpoche said of this>
2Dharma is (imit(ess because dua(istic confusion is (imit(ess. Dharma
is non6dua( response to the confusion of beings. Bor every 8uestion
there is a teaching response. Bor every sty(e of incomprehension there
exists a possibi(ity for a new expression of Dharma. This is why there
is no fina( comprehensive boo of Dharma. Natura((y everything can
be succinct(y expressed . but that which is succinct(y expressed does
not a(ways a((ow the transmission of understanding to everyone. *t is
not the fau(t of Dharma that peop(e do not understand . rather it is the
richness of Dharma as an infinite we(( which a((ows exp(anation to
become exponentia( via the exegesis of a rea(ised 7aster.3
A(though Tantra is advanced view, method, and behaviour, we can
mae ana(ogies with deve(opmenta( psycho(ogy and a(so with the
experience of approaching the spiritua( path. 4verything within
Dharma speas of everything e(se and when Dharma is understood,
then everything e(se begins to spea about Dharma.
The Aro gT#r
%%
speas in terms of three vehic(es> )utra, Tantra, and
D@ogchen rather than the nine yanas c(assification system. This
perspective is common to the D@ogchen teachings in which the Aro
gT#r is based. Brom the perspective of the nine yanas of the Nyingma
tradition, D@ogchen can a(so be understood as the highest of the inner
Tantras, Atiyoga Tantra. Brom the D@ogchen perspective, )utrayana
and ?a-rayana rough(y e8uate with )utra and Tantra, with the most
subt(e of ?a-rayana teachings forming a separate vehic(e as D@ogchen.
5hen approached as a separate vehic(e, D@ogchen a(so has a base, a
path, and a fruit. *ts base, path, and fruit are spontaneity . the natura(,
unfabricated f(ow of the continuum of non6dua( perception. The base
is the experience of non6dua(ity, the path is remaining in the
experience of non6dua(ity, and the fruit is the continuation of the
experience of non6dua(ity. *n D@ogchen symbo( is no (onger
emp(oyed, as it was in Tantra. The Lama introduces the student
direct(y to the experience of the non6dua(ity of emptiness and form
and the practice is to remain there.
Bundamenta( teachings norma((y associated with )utrayana can open
out in great depth and subt(ety in terms of each of the nine yanas. An
examp(e of this can be found in the Ulukhamukha Dakini Upadesha
Sutra 0The Owl-faced Dakinis Heart ssence Sutra1
%:
of the Aro
gT#r, which presents )utra from the perspective of D@ogchen. The
Ow(6faced Daini protects the subt(ety of these teachings from
misinterpretation, through the unfathomab(e simp(icity of its
expression. )he guards the now(edge that Dharma is se(f6defined,
inasmuch as each expression exp(ains and interprets every other
expression in such a way that the nine yanas are disso(ved into
4ayana
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, the so(itary vehic(e of D@ogchen.
*t is important to gain some understanding of the (anguage of Dharma
and a perspective of the differing paths. Once we understand that
teachings can be approached from differing perspectives, and that
these approaches are a(( va(id within their own context, even if they
appear to contradict one another, we can start to grasp the idea of
every teaching arising functiona((y from a sing(e princip(e. 5e can
begin to g(impse the possibi(ity of engaging with the simp(e sing(e
princip(e of 9uddhism, out of which arise a(( the various methods of
practice. 5e can begin to approach the functiona( matrix of 9uddhist
method with confidence.
)o what is the simp(e sing(e essentia( princip(e of 9uddhismK The
essence of 9uddhism is expressed in the statement made in the ,eart
)utra
%C
> =Borm is emptiness, and emptiness is form!. 4very other topic
in 9uddhism is an expansion of this, or a method of approaching this
rea(isation. The entire exp(anation of our experience of our (ives as
unsatisfactory, and of separation from our beginning(ess en(ightened
nature, can be expressed as our compu(sion to sp(it emptiness and
form. Through refusing to re(ax into the rea(ity of =form is emptiness
and emptiness is form!, we create a(( our misery of obduracy, fear,
(one(iness, anxiety, and despair.
5e attempt to sp(it emptiness and form and try to exist on(y in form.
5e hang on to form compu(sive(y, convinced that emptiness is our
enemy. 5hen we do experience emptiness, we attempt to change
things or fi(( the empty space as 8uic(y as possib(e to re6estab(ish
form. 5e be(ieve our security (ies in form, and on(y in form. 5e fee(
that emptiness undermines form and that this is the reason we
experience unhappiness. *f we cou(d -ust get rid of emptiness,
everything wou(d be perfect. 5e associate emptiness with pain and
unhappiness and we constant(y c(ing to form references to try and
avoid unhappy emptiness experiences. This process of separating
emptiness and form is ca((ed dua(ism.
9ut it is not possib(e to become tru(y happy without embracing
emptiness as a friend. *n rea(ity, emptiness and form are indivisib(e,
non6dua(, but we on(y recognise form as desirab(e. 5e do not need to
ac8uaint ourse(ves with form because this is our addiction. 5e now
form as the manifestation of ourse(ves as tangib(e beings who can
experience the perceptions of our sense fie(ds and can thin and
perceive. 5e recognise the form of other beings. 5e interact with the
forms of the ob-ects that mae up our wor(d. 5e define some of these
things as desirab(e, whi(e other things we decide we do not want
around us. Then there are ob-ects and experiences that we never
bother to chec out at a((. *t is no prob(em for us to understand the
rea(m of form, so to begin with we must ac8uaint ourse(ves with
emptiness. The first step to understanding the princip(e of =form is
emptiness and emptiness is form! is to examine what is meant by
emptiness.
5hat exact(y is meant by emptiness and how do * experience itK Let
us (oo at three ways that * can exp(ore the experience of emptiness in
my (ife. * tag everything that * experience through my senses and
cognition, as a reference point . in terms of its abi(ity to sustain the
sense of myse(f as a so(id, permanent, separate, continuous and
defined being. The first way * can (oo at emptiness, is through the
simp(e understanding of (oss> of things ending, of peop(e and things
ceasing to be part of my (ife. * become separated from peop(e and
things that * (ove. Dossessions get (ost or broen and * experience a
sense of emptiness because that reference point no (onger exists within
my sphere of definition. 4xperiences * en-oy come to an end, and
re(ationships change and end. These are a(( situations in which *
experience the emptiness of changing definitions in my (ife.
4mptiness arises when things cease to be important in my (ife. The car
that was once my pride and -oy is now o(d and rusty and * am
en-oying (ooing for its rep(acement. The p(easure of appreciation has
ended with regard to the o(d car . it has disso(ved into emptiness.
)ometimes * experience the emptiness of change as a painfu( (ossG
sometimes * am g(ad of the opportunity to refresh a situation or move
on. 5hatever my response, these situations are times when emptiness
happens in my (ife.
4mptiness is change. 4mptiness is not a(ways a negative thing, but we
tend to associate it with the more painfu( times of our (ife and deve(op
the misunderstanding that emptiness is undesirab(e. *n fact none of the
happy and desirab(e things in our (ife can occur without emptiness.
The baby cannot be born without the end of the pregnancy. The
marriage cannot tae p(ace without the engagement ending. The
scu(pture cannot be created without the form of the c(ay changing. The
picture cannot be painted without the tubes of paint being used up.
The stars cannot be appreciated without the day(ight disso(ving into
night.
The second approach to emptiness is ana(ytica( examination. The
purpose of an ana(ytica( approach is to discover that ob-ects and
situations are empty of inherent existence. *f you are sitting in a chair
to read this boo, you may be resting the boo on your (ap. *magine
you now stand up to go and get a cup of tea. Jour (ap has disappeared.
Jou have not maintained your (ap as you wa( to the itchen. The (ap
was a conceptua( imputation p(aced upon a particu(ar position of your
body, but it does not exist from its own side. *t is empty of inherent
existence. Jou do not somehow have to extract the (ap6ness from your
(egs, and (ay it aside for next time you sit down. 5hat happens if you
cannot remember where you (eft your (ap and you sit downK Things
can start to become a (itt(e incongruous when we (oo at things this
way, and we can g(impse an understanding of how nonsensica( it is in
rea(ity to view form without the possibi(ity of emptiness.
Another examp(e common(y given to indicate the emptiness of
inherent existence, is to tae an ob-ect (ie a tab(e. +enera((y a tab(e
has a top and four (egs. *f * remove the (egs from the top and p(ace
them in a heap on the f(oor, does the tab(e sti(( existK *f * remove two
(egs so that the top s(ants down to the f(oor, cou(d we sti(( define it as
a tab(eK 5hat is re8uired in order for the definition =tab(e! to be
p(aced upon the sum of its partsK This can be a fascinating inte((ectua(
exercise to arrive at an understanding of emptiness. The examp(es that
can be used and ana(ysed in this way are end(ess. *nevitab(y,
ana(ytica( ana(ysis can mae the imputation of an inherent,
unchanging form definition on any ob-ect or situation (oo i((ogica(.
Jet this is the way we re(ate to form. Our re(ationship with form is far
from (ogica(. *t does not ho(d up to even the most superficia( (ogica(
examination.
5e approach form as though it exists so(id(y, permanent(y, separate(y
in its own right, continuous(y and with definition. 5e a(so tae this
approach to what we are as beings. * fee( that there is something about
me that is so(id, that is a(ways with me throughout my (ife, and * fear
its (oss at death. * fee( that * am permanent, that there is something
about me which never changes. * be(ieve * exist as a separate, inherent
persona(ity, independent of others. * fee( that memory confirms my
continuity, as * can remember fee(ing (ie myse(f throughout my
(ifetime. * have a fee(ing of definition> that * am a certain type of
person, with opinions and preferences, and a definite physica( form. *
get upset when a person or situation cha((enges these fee(ings of
definition. * fee( decided(y uncomfortab(e if * am ignored, because this
creates a moment of awareness that for that person in that moment *
do not exist. This can be frightening.
5hen * (oo at photograph a(bums * can see that * have changed
radica((y over the years. * can remember reactions to events in my (ife
and may fee( that * wou(d not react (ie that now. The distress * fe(t at
accidenta((y dropping my favourite teddy out of the window of a
moving bus when * was two years o(d wou(d not be the same if the
(oss occurred in adu(thood. Jet sti(( * have this notion that somewhere,
possib(y in my head, there is a something that has a(ways been there
and wi(( a(ways be there, unchanging and unchangeab(e. 4ven if *
now from science that the tissue of my body has changed comp(ete(y
by every seventh year, and that the functions of my brain are chemica(
and e(ectrica(, * sti(( have the fee(ing of a se(f6existent se(f.
5e c(ing to this idea of an inherent se(f because we fee( it is the on(y
way we can be safe. Borm is our security b(anet. Borm is the territory
* can accumu(ate or the possessions * can consume that wi(( fina((y
mae me happy and secure. Borm is the aggression * can manifest to
protect me from my enemies, or the state of nervous tension that eeps
me a(ert to a(( dangers. Borm is the ignorance in which * can choose to
dwe(( to numb myse(f to the pain * see around me.
The third way that we can discover emptiness is through spiritua(
practice. There are many meditation techni8ues that teach us how to
a((ow the content of mind to sett(e, so that we can experience the
nature of mind without thought. * fee( that * am the chatter that goes
on in my mind. * ideate continua((y. * thin about what -ust happenedG
* thin about what * wish * had saidG * thin about what you -ust saidG *
p(an what * am going to do in the futureG * ana(yse and -udge what *
have done in the pastG * eva(uate the present on past experience,
attempting to categorise it into something fami(iar. 7y conceptua(
mind is a(ways fu(( of the bu@@ and chatter of thought, emotion,
sensation, memory, and * fee( that this is the nature of what * am. *
thin about who * am and what * want. * mae p(ans and practise
conversations. * deve(op an image of the type of person * thin * am
and co((ate my opinions and ideas. * thin that * am the chatter of
mind.
The definition of who * am might become 8uite substantia(. * might
fee( * cannot (eave the house without wearing maeup, or a particu(ar
type of c(othing. * may fee( * have to drive a certain type of car and
have a particu(ar type of -ob. 5hen (ife throws a(( our definitions into
the air and ruth(ess(y re6shuff(es the cards of our circumstances, it can
p(unge us into despair. This can happen through an unp(easant
occurrence such as the (oss of one!s -ob, or it can happen through a
desired event such as winning the (ottery. )udden and radica( change
can produce disorientating and disconcerting experiences of
emptiness.
7editation techni8ues a((ow the chatter of the mind to subside.
I(timate(y this is the on(y way that we can embrace the experience of
emptiness and mae emptiness our friend in anything (ie a contro((ed
manner. Life circumstances bring us face to face with emptiness, but
are un(ie(y to offer a method for us to (earn to savour the experience.
Ana(ytica( thining may provide us with an inte((ectua( understanding
of emptiness, but it (acs the timbre of rea( connection at the (eve( of
fee(ing. 7editation enab(es us to mae contact with emptiness in our
innermost being.
To engage with the experience of emptiness through the practice of
meditation is simp(e and direct. * begin to recognise the chatter of the
mind as superficia(. * discover a deep we(( of sti((ness that exists
behind the chatter. * begin to recognise the ebb and f(ow of conceptua(
mind and the sti(( potentia( of the nature6of6mind.
5e cou(d ca(( these two aspects c(oud mind and )y 7ind. $(oud
mind is the ebb and f(ow of conceptua( mind, and )y 7ind is the sti((
potentia( of the nature6of6mind. $(ouds arise in the sy, f(it across it
and decorate it, but do not (imit or define the vast empty b(ueness of
sy. )y a(ways has the potentia( for c(oud to arise. $(oud is a natura(
aspect of sy, but sy is not (imited by c(oud. )y exists irrespective
of c(oud, but c(oud cannot exist irrespective of sy.
5e cou(d ca(( this wave mind and Ocean 7ind. 5aves arise on the
ocean, f(it across it and decorate it, but do not (imit or define the vast
empty b(ueness of ocean. Ocean a(ways has the potentia( for waves to
arise. 5aves are a natura( aspect of ocean, but ocean is not (imited by
waves. Ocean exists irrespective of waves, but waves cannot exist
irrespective of ocean.
)y 7ind exists without the disturbance of the c(ouds of chatter. )y
7ind is the empty ground of what we are. 5e can discover )y 7ind
through (etting go of the chatter of c(oud mind and dwe((ing in the
space of sy6without6c(ouds, mind6without6chatter. 5e can discover
Ocean 7ind through (etting go of the chatter of wave mind and
dwe((ing in the space of ocean6without6waves, mind6without6chatter.
Then we can begin to fee( comfortab(e with emptiness. 4mptiness can
become (ess threatening and we can start to we(come it into our (ives
and our being. 5e can begin to en-oy the freedom emptiness offers us.
5e can begin to en-oy freedom from the dominion of c(oud
formations. 5e can (et go of the need to surf through every moment of
every day.
Through ordinary experience, inte((ectua( ana(ysis, and meditationa(
discovery, we can (earn to recognise emptiness and to become more
comfortab(e with it. 5e can (earn to fee( (ess panicy when emptiness
occurs in our (ives, and to open ourse(ves to dwe((ing in that space6
without6reference. Once we have discovered something of the nature
of emptiness and have recognised that we habitua((y interpret a((
experience through its form content, we can begin to (oo at the
re(ationship of emptiness and form. 5e can rea(ise that craving form
and fearing emptiness is on(y one particu(ar viewpoint. Through
discovering tran8ui((ity in meditationa( emptiness, we can begin to
wonder at the status of form and emptiness as opposing factors in our
experience of happiness or dissatisfaction. 5e can begin to wonder
about the phrase> =Borm is emptiness and emptiness is form.! 5e can
stare at the statement $henr#@igs added when maing his dec(aration
to )hariputra in the ,eart )utra> 2Borm is not different from
emptiness, emptiness is not different from form. That which seems
(ie emptiness is form, and that which seems (ie form is emptiness.
Jou wi(( not find emptiness apart from formG or form apart from
emptiness.3
5e are addicted to estab(ishing our existence through form because
form maintains the i((usion of inherent se(fness. *t is as if we fee( that
if we do not continua((y chec our existence against form6based
reference points, we might win out of existence. The idea of inherent
se(fness maes us fee( secure. 5e fee( safe with the notion that there
is something unchanging and rea( within us. Jet the basis of this idea
of safety in form is comp(ete(y i((ogica(. 5e now from experience
that everything eventua((y is (ost to us. Things disappear out of my
(ife, they brea, or they cease to exist. *f they do not die . then * wi((.
5e actua((y now that form is inherent(y unre(iab(e. I(timate(y form
ceases to be so(id. *t is impermanent. Nothing exists in comp(ete
iso(ation but on(y dependent(y upon other forms. No form is
continuous and unchanging. Definition is on(y re(ative to that which
defines. 5e c(ing to form as if we be(ieve the form that we are re(ying
upon is bound to be an exception to these ru(es.
*f pressed we can actua((y wor out for ourse(ves that (ife6without6
change wou(d be both undesirab(e and impossib(e. *f * were sudden(y
ab(e to snap my fingers and mae form tota((y independent of
emptiness * shou(d find myse(f in 8uite a pic(e. The food in my gut
wou(d not brea down, but remain so(id and permanent. 9reathing and
circu(ation wou(d cease because the breath in my (ungs cou(d not
change, but wou(d have to be permanent and continuous in the state it
existed at the snap of my fingers. * wou(d sudden(y discover that no6
one cou(d see me or communicate with me, because * had become
entire(y separate and defined, and no (onger connected to others!
definitions and the functioning of their senses. * wou(d find that *
cou(d not move, because the space in which every phenomenon
manifests had become fixed and unab(e to f(ex with the movement and
change of the matter within it. To provide some horrib(y pretty
ana(ogies> (ife6without6emptiness wou(d mean that it was a(ways
winter but never $hristmas 6 the f(owers in our vase wou(d never die .
new (ife in the soi( cou(d not grow and b(ossom . chi(dren wou(d
never grow up and become independent.
* wou(d be fixed in the mood in which * found myse(f at the snap of
my fingers. Those experiencing i((ness wou(d never have the chance
to recover. The tune in your mind wou(d be there forever. Jou wou(d
be doomed to run that ditty over and over for eternity. * cou(d never
(et go of that moment of anger. )uch images are effete, fancifu(, and
grotes8ue by turns but perhaps they afford a g(impse of the ubi8uitous
presence of emptiness in our (ives.
Derhaps we can start to get a fee( for what cou(d be meant by non6
dua(ity. The essence of 9uddhism is the statement made in the ,eart
)utra> =Borm is emptiness, and emptiness is form!, and every other
topic is an expansion and method of approaching this rea(isation.
Brom my perspective, as a practitioner, the on(y way to rea(ise the
princip(e of =form is emptiness and emptiness is form! is to engage in
Dharma. A(though the circumstances of our (ives offer many
opportunities to rea(ise form as emptiness and emptiness as form, we
are not ab(e to tae advantage of these without the methods of
Dharma. A(though our (ives offer many g(impses of the spar(ing6
through of our beginning(ess non6dua( state, we are not ab(e to
recognise them without the perspective of the view of Dharma. The
specific approach of this boo wi(( be an examination of the teaching
on =the four thoughts that turn the mind to practice!. * sha(( exp(ore
how these thoughts offer us a way to engage with Dharma and begin
to discover the rea(isation of =form is emptiness and emptiness is
form.!
Luestioner> *f rea(ity is non6dua( sure(y there must be times when we
experience thisK
Ngama NorAd@in> 5e(( yes . . . that wou(d seem to be (ie(y. )ad(y
however, we are more intent on proving we exist. This is a big
distraction from that possibi(ty. 5hen such moments of c(arity spar(e
through we usua((y run.
L> Droving we existK
NN> Jes. This is samsara . the process of attaching to form as if it
were u(timate(y so(id, permanent, inherent(y separate and se(f existent,
continuous and tota((y defined. And this is how we define ourse(ves as
we((. )amsara is the socia( context of dua(ism . the process * engage
in to avoid experiences of emptiness. * do not want to (ose the good
things in my (ifeG * wish to avoid the things * view as badG and * ignore
things that seem to have nothing to do with my happiness or pain. *n
other words, * try to eep the good things happening, try to stop the
bad things happening and ignore the rest.
L> 9ut what about non6dua( experiencesK
NN> 5e((, since the rea(ity of our existence is that emptiness and form
are undivided, inevitab(y we do experience non6dua(ity in our (ives,
but we tend to interpret it as emptiness and run away from it.
L> 5hy wou(d we interpret it as emptinessK
NN> 9ecause we have no experience of non6dua(ity. 5e are so
oriented toward form that we mistae non6dua(ity for emptiness
because it isn!t tota( form. 5e fi(ter a(( experience through our
dua(istic perspective. 5ithin the f(icer of a moment of non6dua(ity,
we recognise the form 8ua(ity as fami(iar, but view the emptiness
8ua(ity as unfami(iar and frightening. )o we tend to interpret the
co(our of the experience as the scary, unfami(iar aspect of emptiness.
This maes us grasp for the apparent(y more so(id, defined form
aspect with which we fee( comfortab(e. 5e destroy the non6dua(ity of
the experience by running away from the emptiness and grasping at
the form.
L> 9ut rea((y a(( experience is non6dua(K
NN> Jes. 4mptiness and form undivided are ch!", Dharma, =as it is!.
This is the fundamenta( rea(ity we can discover through practice.
,owever, because we are so unfami(iar with and afraid of emptiness,
we actua((y experience moments of non6dua(ity as emptiness and
avoid them by retracting into form. 5e are a(( aware of moments of
potentia( non6dua(ity . we may surprise ourse(ves with a moment of
spontaneous generosity, or an extraordinary fee(ing of c(arity and
awareness about a situation, or fee(ing one!s heart open with a wish to
be ind to another being for no apparent reason, or finding we -ust
now what is needed in a situation and being ab(e to act. These are
moments which, if ana(ysed, do not seem to substantiate our form6
ness, and in fact encompass a sense of our emptiness.
M$hNO$hod 0gcod1. %1 Litera((y Acutting.A A system of practices based on
Dra-naparamita and set down by the *ndian siddha Dhadampa )angye and the
Tibetan fema(e teacher 7achig LabdrNn for the purpose of cutting through
the four 7aras and ego6c(inging. One of the 4ight Dractice Lineages of
9uddhism in Tibet. :1 a tantric system based on Dra-naparamita and
introduced to Tibet by dam pa sangs rg#as in which a(( attachment to oneAs
se(f is re(in8uished. ma gcig lab sgron, an incarnation of #e shes mtsho rg#al,
was a centra( figure in the propagation of this teaching. PRang-ung JesheQ
L> Jes *!ve had moments (ie that and they do fee( good.
NN> 5e(( this is not so surprising, rea((y, as the true nature of rea(ity
is non6dua(ity. There may be other times when we a((ow ourse(ves to
be empty in order to be inspired by something or someone outside of
ourse(ves. Often we have to (et go of the rigidity of our concepts about
the wor(d in order to get a -oe. 7uch humour invo(ves the
-uxtaposition of two ideas, or the recognition of the strange games we
p(ay and identities we adopt. And there are experiences (ie snee@ing
and orgasm.
L> )nee@ing and orgasmR
NN> PLaughsQ These are experiences where one has to a((ow the
moment to be what it is . you have to re(ax and (et go. )uch moments
offer the potentia( of a non6dua( experience. *f we (et go of the process
of checing, -udging, categorising or defining... you can!t be worrying
whether you are (ooing oay or crump(ing the sheets in the bui(d6up
to orgasm . you have to enter into it in a naed and direct manner... no
pun intended P(aughterQ. And there is a(so (aughter . "handro D#chen
once said that if you were (aughing during orgasm and happened to
snee@e, you might we(( surprise yourse(f into a f(eeting moment of
non6dua(ity.
L> *!m sti(( a (itt(e confused about )utrayana and ?a-rayana and how
this fits in with )utra, Tantra and D@ogchen.
NN> This is a comp(ex sub-ect and can tae a (ong time to fu((y
understand. Often peop(e!s first experience of Dharma is )utrayana.
Dharma is presented by a(( four schoo(s of Tibet through the
)utrayana approach. The base of these teachings is an understanding
of the (ac of (asting satisfaction in our (ives and suspicion about the
processes of samsara that we repeat over and over again. The path is
to understand the emptiness of those processes.
L> )o the path of )utrayana is about emptinessK
NN> Jes. 5e aim to cut the activities that compound dissatisfaction
and grasping at form, and encourage practices that open us to
emptiness. The methods we are (ie(y to encounter are practices to
ca(m the mind, to deve(op e8uanimity in our view of ourse(ves and
others, and to open our hearts to the b(ossoming of an attitude of
(oving indness. These practices a(( p(ace us in a more open and
empty position with regard to our usua( re(ationship with our own
thought process and with other beings.
L> And then there is ?a-rayanaK
NN> That!s right. ,ere the emphasis is p(aced different(y. *t is a more
dynamic approach. Our experience of dissatisfaction is not used as the
focus for practice. Rather the 8ua(ity of the way we engage with the
processes of samsara is examined. 5e harness the energy of our
emotions as the path to transform distorted being into en(ightened
manifestation. )utrayana is the path of renouncing attachment to form,
whereas ?a-rayana active(y engages in woring with form.
L> And D@ogchenK
NN> 5hen ta(ing about )utrayana and ?a-rayana, D@ogchen is
inc(uded in ?a-rayana as the highest of the *nner Tantras, Atiyoga
Tantra. ,owever when D@ogchen is viewed as a separate yana, then
we ta( about )utra, Tantra and D@ogchen> the paths of renunciation,
transformation and spontaneous rea(isation.
L> Drevious(y we ta(ed about 9uddhism being a re(igion. *t seems
more obvious that ?a-rayana is re(igious practice, because yidam
%E
6
practice seems to re8uire a (ot of faith
NN> Jes * can see how you cou(d thin that. *t is perhaps not so much
faith as confidence that deve(ops . confidence in the person who is
offering you the symbo(ic method. After this initia( (eap based on
confidence, once we embrace symbo(ic method, we can discover for
ourse(ves that it is efficacious(y practica(. )utrayana cou(d be said to
be more immediate(y approachab(e in that its base is the experience of
dissatisfaction . and yet many peop(e do not find renunciation a path
that can be easi(y reconci(ed with ordinary dai(y (ife. The u(timate
expression of the path of )utrayana is ce(ibate monasticism, so its
practice within ordinary (ife can fee( (ie a compromise. ?a-rayana
re8uires the experientia( base of emptiness, which cou(d be said to be
(ess immediate(y accessib(e. ,owever, emptiness can simp(y be an
openness or devotion to the teacher that enab(es us to receive
transmission and engage with symbo(ic method. As ?a-rayana wors
with how we find ourse(ves . the pattern of our emotions and
persona(ity, and our (ife circumstances . the path of transformation is
extreme(y app(icab(e to ordinary (ife.
L> )o these two paths have 8uite different 8ua(itiesK
NN> They do, and this is what can be so confusing. Deop(e can tend to
assume that one of them must be the =right! path, and that their
apparent contradictions mean that they negate each other. ,owever, if
you can understand the princip(e and function of the different yanas of
Dharma, then there is no need to fee( confusion or doubt. )utrayana
views en(ightenment as a seed that needs to be discovered, nurtured
and a((owed to deve(op. 5hereas ?a-rayana ho(ds the view that a((
beings are beginning(ess(y en(ightened. *t has to be understood that
from the perspective of practice as method . rather than truth . it
doesn!t matter that these paths appear to contradict each other.
L> Nga(a !N6D@in once used the examp(e of peop(e!s g(asses as an
exp(anation of method rather than truth.
NN> Ah yes. That is a good examp(e. The fact that * cou(d not see
c(ear(y through your g(asses and you cou(d not see through mine, does
not nu((ify spectac(es as a method for the correction of sight. Jour
g(asses are a method, not a truth, so it is fine for your prescription to
be different to mine. *t is the same in Dharma. One does not have to
view )utrayana as =wrong! in order to practise ?a-rayana, and vice
versa. Brom the perspective of )utrayana, en(ightenment invo(ves a
(ong -ourney of removing the obstac(es to rea(isation. Brom the
perspective of ?a-rayana, our distortion and negativity are seen as
ref(ections of our en(ightened nature that natura((y spar(es. The
ordinary way in which we manifest in our (ives is seen as a distortion
of our en(ightened nature, and the focus is on transforming the
distorted energy into its en(ightened form.
L> )o en(ightened me wi(( not be so obvious(y different from
unen(ightened meK
NN> Jes. That is it exact(y. The symbo(ic methods of the highest
*nner Tantra offered by the Lama act as a pure mirror to a((ow us to
see ourse(ves as we rea((y are. 5e then continue to be ordinary in an
extraordinary manner. Through cooperating with the raw materia( of
our distortion, ref(ected in the symbo(ic mirror of the practices of
?a-rayana, and through interaction with the Lama, we are transformed
into rea(ised beings.
L> 9ut this transformation may not be apparent to most peop(eK
NN> Luite so. *t is said that 9uddhas see ordinary peop(e as 9uddhas,
whi(e ordinary peop(e see 9uddhas as ordinary peop(e.
The ob-ect of Dharma is to point the practitioner in the direction of
rea(ising the non6dua(ity of emptiness and form. )utrayana says you
have to become comfortab(e with emptiness first. ?a-rayana says you
can approach it through devotion and the empty form of symbo( as
transmitted by your Lama. D@ogchen says you can simp(y enter it
direct(y through the si(fu( means of your Lama. These methods may
appear to contradict one another at times . (ie yours and my
spectac(es . but they are simp(y differing methods. 4ach is as va(id
and va(uab(e as the other.
L> )ometimes it seems that )utric method says that things are bad,
that our bodies are ug(y and impure...
NN> This is a common misunderstanding of )utrayana view.
)utrayana is renouncing form in order to rea(ise emptiness and uses
the (anguage of renunciation. This can appear to be presented as body6
negative, but it is simp(y pointing to the empty nature of body and
attempting to undermine our grasping at that particu(ar form. Jou see,
it is the practitioner who has the prob(em, not the method. The
practitioner distorts the path of the yana through their (ac of
understanding. A(so (anguage itse(f can distort the path . (anguage
conveys Dharma but does not (imit Dharma.
L> Does ?a-rayana have its own (anguage as we((K
NN> Jes it does. ?a-rayana uses the (anguage of transformation. *t is
much more f(orid and co(ourfu( than the (anguage of )utrayana,
because form is embraced and uti(ised as the path. ?a-rayana (anguage
is a(so paradoxica( and ambiguous because ?a-rayana p(ays with the
idea of form as emptiness and emptiness as form. The usefu( thing
about (earning to recognise the (anguage of )utrayana and ?a-rayana,
and understand the approaches of these paths, is that we are then ab(e
to read any boo about Dharma, and attend any teaching without
becoming confused. Once we can understand and recognise the
different views and methods avai(ab(e, we can (et go of wishing them
to be =truth! and en-oy their differing 8ua(ities as method. 5e can
approach the methods of )utrayana and ?a-rayana as a too( box.
L> P(aughsQ A too( boxK
NN> Jes . you emp(oy the method that is suitab(e for the situation. *f
you are caught up in a strong emotion such as anger, that you (ac the
capacity to transform, then it is better to engage the )utrayana method
of renouncing invo(vement with the emotion than to punch someone
on the nose P(aughsQ. This wou(d be so even if you regard yourse(f as
primari(y a ?a-rayana practitioner. 5e can on(y ever begin where we
find ourse(ves. The D@ogchen practitioner spontaneous(y responds in
an appropriate manner that is congruent with a movement towards
rea(isation. The sub-ective definition of the method emp(oyed may be
that it is )utric, Tantric, or D@ogchen. ,owever if it spontaneous and
appropriate, then it is congruent with a D@ogchen approach.
L> $ou(d you p(ease say some more about using the terms =)utra,
Tantra and D@ogchen! rather than =)utrayana and ?a-rayana!K
NN> This is another (ayer that can seem comp(icated. The nine
vehic(es of the Nyingma )choo( can rough(y be described as the three
vehic(es of )utrayana, and the six vehic(es of ?a-rayana . the three
Outer and three *nner Tantras. The highest *nner Tantric vehic(e, Ati
yoga, can a(so be ca((ed D@ogchen. 5hen D@ogchen is viewed as a
path in its own right, we ta( about the three vehic(es of )utra, Tantra,
and D@ogchen, rather than about )utrayana and ?a-rayana. )utra
incorporates a(( teachings and practices of the path of renunciation
with the experience of emptiness as their fruit. Tantra embraces a(( the
teachings and practices that use symbo(ic method as the path of
transformation. D@ogchen inc(udes a(( teachings and practices that
provide an opportunity for direct introduction into the experience of
non6dua(ity.
,inayana, 7ahayana and ?a-rayana are historica(. They are based on
the historica( evo(ution of 9uddhism. )utra, Tantra and D@ogchen are
not the same as this. They are the spontaneous perspective of
D@ogchen.
D@ogchen view a(so has its own =f(avour! and (anguage. *t is direct
and simp(e. The opportunity for rea(isation is either spontaneous(y
rea(ised or it is not.
Now... Ppauses and smi(esQ * hard(y dare te(( you this P(aughsQ but...
each of the vehic(es can ta( about each of the other vehic(es in its
own (anguage. This can become extreme(y e(aborate . and hearing a
teaching on a sub-ect with which you thought you were fami(iar
presented in a tota((y new way cou(d be cha((enging. This is where
there is the danger of fa((ing into -udging teachers and teachings .
27y teacher exp(ains it is (ie this, so what you are saying must be
wrong.3 This is the perspective of someone who has not had the
opportunity to understand the various perspectives and (anguage of
view and method.
L> This is why sometimes D@ogchen teachings appear to be very
different from ways *!ve heard them presented e(sewhereK
NN> Jes, that is it exact(y. Other presentations you heard were not
=wrong!, they were simp(y arising out of a different view and method.
L> )o teachings and practice are presented from the perspective of
D@ogchen in the Aro gT#r LineageK
NN> 7ost(y, yes. *n this (ineage teachings norma((y associated with
the )utric path are found in the Ulukhamukha Sutra. ?iewing them
from the perspective of D@ogchen can provide great insight into these
teachings. Bor examp(e the )utric teaching of the =four thoughts which
turn the mind to practice! can be presented from the perspective of
D@ogchen and is found in the Ulukhamukha Sutra. The semantic
expression of the teachings in the I(uhamuha )utra is fantastica((y
subt(e, but we can continua((y refer to the D@ogchen view.
L> Jou said that any Dharma teaching or practice is actua((y an
exposition of the who(e path. Does this mean that it wou(d be possib(e
to engage with -ust one practice for our who(e (ife and sti(( gain
rea(isationK
NN> Jes indeed . but we might experience boredom. 5e may find we
need the en(ivening effect of song to counterba(ance our tendency to
du((ness and distraction in si(ent sitting. There are mu(tifarious
methods because of the mu(tifarious nature of our distortion. Dharma
is ama@ing(y si(fu(. *t wors with =as we are! so that we can discover
=as it is!.
Footnotes:
%
Tantria . a person who practices tantra.
:
?a-rayana> the diamond path, practice based on the Tantric teachings of
Dadmasambhava. The Nyingma )choo( describes three Outer Tantras and
three *nner Tantras. The path of transformation.
<
)amsara, Tib> horwa 0=hor ba1G (itera((y =going round in circ(es.!
C
rD@ogs pa chen po . 7ahasandhi.
E
,earers . those who (isten but don!t engage in practice. Tib> nyan6thos6pa!i
theg6pa
'
)o(itary rea(isers . those who practice for their own benefit. Tib> rang rgya(6
ba!i theg6pa
F
Those who vow to wor for the rea(isation of a(( beings through deve(oping
active6compassion. Tib> byang6chub sems6dpa!i theg6pa
H
)utrayana> practice based on the )utras of )hayamuni 9uddhaG nown in
the New Trans(ation )choo(s as the ,inayana and 7ahayana. The path of
renunciation.
&
)angwa +y/d6yi Thegpa 0gSang ba rG#ud k#i theg pa1
%;
9odhicitta 0Tib> b#ang chub sems1 . (oving indness, active compassionG
the wish for a(( beings to be happy.
%%
The Aro gT#r is a cyc(e of teachings revea(ed by "hyungchen Aro Lingma
0%HH' 6 %&:<1.
%:
The I(uhamuha Daini Ipadesha )utra or ,eart 4ssence )y6dancer
)utra of the Ow(6faced Drotector, is henceforth referred to as the
I(uhamuha )utra. *n Tibetan this text is entit(ed !ug6dong "handro Nying6
thig Do 0!ug gDong m"ha! !gro sNying thig mDo1
%<
4ayana, the singu(ar vehic(e.
%C
)ansrit> Dra-naparamita )utraG teaching on the ,eart of the Derfection of
5isdom.
%E
Jidam> )ansrit ishtade$aG often referred to as =deity!. The yidam is an
awareness6image that acts as a symbo(ic form of en(ightened6nature for
Tantric practice. Litera((y means =firm mind!. Derived from =yid! and =dam6
tsig!> inte((ect and commitment.