Sam van Schaik
Dzogchen, often translated as “the great perfection,” is a tradition of meditation practice and poetic literary expression in Tibetan Buddhism. Though its origins lie in Indic Buddhism, Dzogchen developed a distinct form of practice and literary expression only in Tibet. In general, Dzogchen texts evoke and discuss a state of awareness present in all living beings that transcends dualities and conceptual elaboration.
Common terms for this state of awareness are “mind itself” (sems nyid) and “awareness” (rig pa). Dzogchen literature often states that in the presence of this awareness, religious practice oriented toward enlightenment is dualistic and, therefore, not only unnecessary, but also obstructive. Nevertheless, Dzogchen is usually integrated with other forms of Buddhist practice.
The Dzogchen tradition encompasses a variety of literature and practice; the most common way of categorizing this is a division into three classes, the mind series, the space series, and the instruction series. The mind series contains most of the early Dzogchen literature, and more recent material in the same style. The space series enjoyed only limited popularity, and little is known of it today. The instruction series, by contrast, increased in popularity from its appearance in the 11th century and in time supplanted the mind series and the space series, ultimately becoming the predominant form of Dzogchen.
The practice of Dzogchen requires an authorized teacher and the ritual transmission of key texts, as well as an “introduction” to the nature of the mind given by the teacher to the student. The main scriptural sources of Dzogchen practice are texts held to be translations collected in semicanonical compendia, treatises by Tibetan scholars, and revealed texts known as terma, usually said to have been concealed in the 8th century by the tantric master Padmasambhava.
Dzogchen is a living tradition, taught within all of the main Tibetan Buddhist schools, though it remains closely associated with the Nyingma school. Within the latter, Dzogchen is considered to be the most advanced of Buddhist meditation practices, placed at the top of a ninefold categorization of Buddhist practice, the “nine vehicles.” Known in this context as atiyoga, “the utmost yoga,” it is the highest of the three “inner yogas,” the other two being mahāyoga and anuyoga. Dzogchen is also at the pinnacle of the teachings of Tibet’s Bonpo religion, which shares much of its doctrine with the Nyingma school and has in recent years been formally identified as one of the Buddhist schools of Tibet.
Carol S. Anderson
The Buddhist teaching known in English as the four noble truths is most often understood as the single most important teaching of the historical buddha, Siddhartha Gautama, who taught in northern India during the 5th century
Roger R. Jackson
Mahāmudrā, “the Great Seal,” is a Sanskrit term (Tibetan: phyag rgya chen po) that connotes a wide range of concepts and practices in Indian Mahāyāna and, especially, Tibetan Buddhism, most of them directly or indirectly related to discourse on ultimate reality and the way to know and achieve it. The term first appeared in Indian tantric texts of the 7th or 8th century
The Indian Buddhist philosophers Dignāga (c. 480–540
Along with the buddha and the dharma, the sangha is one of the “three jewels,” the core aspects of Buddhism in which a Buddhist “takes refuge.” The sangha is responsible for taking care of and propagating the dharma, the teachings of the buddha. It can also be considered more broadly as the Buddhist community, which in turn can be thought of as the group of people who either take refuge in the three jewels or follow the teachings of the buddha. Given this, the sangha has generally been conceptualized in two ways. Most often, it refers to the community of men and women who have been ordained as monks and nuns under the auspices of Buddhist disciplinary teachers. At the same time, it can sometimes refer more broadly to the four-fold community of monks, nuns, laymen, and laywomen.
While the sangha may be discussed in the singular, generally speaking it is appropriate to think of sanghas in the plural. In this sense, the term refers not to an ideal community that maintains the teachings of the buddha but rather to the communal and institutional structures through which people define themselves as Buddhist and maintain their Buddhist identities. A particular sangha is revealed by interrogating the linkages (i.e., lineages) between different Buddhists, the kinds of educational structures in place to train adherents, the ways that Buddhists discipline themselves (for example, through the vinaya rules), and the ways in which external governing bodies seek to regulate Buddhist communities.
David B. Gray
The term tantra and the tantric traditions of Hinduism and Buddhism have been subjected to a great deal of misunderstanding in both India and the West. There is a diverse range of attitudes toward the tantric traditions, ranging from their emic understandings as paths to liberation to the relatively widespread associations of the tantric traditions with sorcery and libertine sexuality. Likewise, tantric traditions are also extremely diverse, which has made it difficult to develop a definition broad enough to cover the various tantric traditions without being overly broad. There have also been many attempts to discern the origins of the tantric traditions. While there is very little evidence supporting the hypothesis that any of the tantric traditions existed before the 5th century
An overview of the history of tantric traditions, then, should begin with a survey the development of the Hindu tantric traditions, from the mid-first millennium
Solomon George FitzHerbert
In both eastern Tibet and in Mongolia, the Buddhist cult surrounding the figure of Ling Gesar (Gling ge sar) or Geser Khan in Mongolian versions is an outgrowth of Gesar’s standing as the eponymous hero of an elaborate oral epic tradition. Today, the epic and the Buddhist cult exist side by side in a relationship of symbiosis. Gesar’s sanctification as an enlightened being—as the combined manifestation of the Three Bodhisattva Lords and as an “emissary” or “manifestation” of Padmasambhava—whose tricksterism is enacted on behalf of the forces of goodness, justice, and the White Side in its perennial battle against the forces of evil, injustice, and the Dark Side—is both an outgrowth but also a source of nourishment for the epic tradition as it has continued to adapt and develop up to our own times.
The Gesar/Geser epic, in all the three main regions in which it survives (eastern Tibet and its neighboring regions, the Mongolic regions as far west as Kalmykia, and Ladakh and neighboring regions), is a living and mobile tradition of oral recitation and improvisation. The available textual corpus of this epic is very large, though none of it is very old (the oldest available epic texts in Tibetan are from the 17th century and in Mongolian are from 18th century). Thanks in part to sustained state patronage in the PRC, there are now over 200 published volumes of non-duplicating Gesar epic narrative and song, mostly from eastern Tibet. A lot of this material is of a directly oral provenance. Many modern volumes are the direct transcriptions (with some editing) of the oral repertoires of contemporary bards, some of which have been very lengthy. To take one example, the recorded repertoire of the bard Samdrup (Bsam grub) (1922–2011) was over 3,000 hours long, much of which has now been published. As for literary versions, the authors of Gesar epic texts often make explicit the debt that their tellings owe to oral renditions that they have heard. The mid-18th-century author of the famous Horling Yülgyé (Hor gling g.yul ’gyed), for example, mentions that he based his telling on the oral repertoires of “some twenty bards,” several of whom he cites by name. Due to the heterogeneity and sheer volume of this available textual corpus, it is hard to make categorical assertions about the relationship between Buddhism and the epic tradition, since that relationship varies from version to version. However, some general observations may be offered. In the ritual cult devoted to Gesar that evolved from the epic tradition, matters are somewhat clearer. In the ritual texts devoted to Gesar—which are mostly offering texts—the unruly polyphony of the epic (many bards, many characters, many perspectives) is replaced with a neater integrated vision, in which the hero is praised as a totalizing culture hero and enlightened lord—a hero in every register, both worldly and spiritual, both chivalric and shamanistic.