Niguma, Lady of Illusion

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SARAH HARDING

NIGUMA, LADY OF ILLUSION

THE TSADRA FOUNDATION SERIES

published by Snow Lion Publications

Tsadra Foundation is a U.S.-based nonprofit organization that was founded in :z.ooo in order to support the activities of advanced Western students of Tibetan Buddhism, specifically those with significant contemplative experience. Taking its inspiration from the nineteenth-century nonsectarian Tibetan scholar and meditation master Jamgon Kongrriil Lodro Taye, Tsadra Foundation is named after his hermitage in eastern Tibet, Tsadra Rinchen Drak. The Foundation's various program areas reflect his values of excellence in both scholarship and contemplative practice, and the recognition of their mutual complementarity. This publication is part of Tsadra Foundation's Translation Program, which aims to make authentic and authoritative texts from the Tibetan traditions available in English. The Foundation is honored to present the work of its fellows and grantees, individuals of confirmed contemplative and intellectual integrity; however, their views do not necessarily reflect those of the Foundation. ~

Tsadra Foundation is delighted to ally with Snow Lion Publications in making these important texts available in the English language.

NIGUMA, LADY OF ILLUSION Sarah Harding

SNOW LION PUBLICATIONS ITHACA, NEW YORK

Snow Lion Publications P.O. Box 6483 Ithaca, New York 14851 USA (6o7) 2.73-8519 www.snowlionpub.com Copyright© 2.010 Tsadra Foundation

All rights reserved. No portion of this book may be reproduced by any means without prior written permission from the publisher. Printed in USA on acid-free recycled paper. ISBN-10: 1-55939-361-0 ISBN-13: 978(55939-361-4

Library ofCongress Cataloging-in-Publication Data Harding, Sarah, 19SINiguma,lady of illusion I Sarah Harding. p. em. - (The Tsadra Foundation series) Includes tranSlations from Tibetan. Includes bibliographical references and index. ISBN-13: 978-I-55939·361-+ (alk. paper) ISBN-10: I·SS939·361-0 (alk. paper) 1. Niguma, 1oth/nth cent. 2.. Sa.lis-pa (Sect)-Doctrines. I. Niguma. 10th/nth cent. Works. English. 2.010. II. Tide. BQ7950.N557H37 2.010 2.94-3'92.3-dc2.2. 2.0H>OIS861 Designed and typeset by Gopa & Ted:r., Inc.

Contents

Prayer to the Gurus of the Shangpa Lineage byTenga Tulku Rinpoche

ix

Preface

xi

Acknowledgments

XV

Technical Notes Introduction Niguma, the I;>ak.ini ofTimeless Awareness

xvii

1 1

Stories ofNiguma

16

The Textual Tradition

22

The Shangpa Tradition

27

1. STAGES

IN THE PATH OF ILLUSION

37

Introduction

37

Stages in the Path ofIllusion

54

Outline of the Commentary

85

Stages in the Path ofIllusion: 1he Commentary

86

2. THE SIX DHARMAS OF NIGUMA

135

Introduction

135

Vajra Lines ofthe Six Dharmas

139

vi ... Niguma, Lady ofIllusion

3. MAHAMUDRA Introduction

Vajra Lines ofthe Amulet Mahamudra Vajra Lines ofthe Amulet Mahamudra (with Notes) Naturally Free Mahamudra

4. THE THREE INTEGRATIONS Introduction

Three Dharmas to Integrate on the Path

S. IMMORTAL AND

INFALLIBLE

Introduction

Glorious Immortal Great Timeless Awareness

6. CHAKRASA.¥VARA Introduction

Mandala Ritual ofGlorious Chakrasa'f(Jvara Swift Accomplishment ofGlorious Chakrasa'f(Jvara 7.

HEVAJRA

Introduction

Mandala Ritual of Glorious Hevajra 8. THE

I43 I43 I4S I47 ISO IS3 IS3 ISS I6I I6I I63 I67 I67 I70 I73 I77 I77 I78

l;>AKiNi'S PERSONAL INSTRUCTIONS:

FIVE SHORT TEXTS ON YOGIC TECHNIQ..UES

Introduction

Esoteric Instructions on Opening the Channel Meditation on Channels, Prar;,a, and Such Meditation on Inner Heat in the Path ofMethods Yoga ofMeditation in the Path ofMethods Channel Chakras ofOnes Body

I83 I83 I8S I86 187 I89 I91

Contents " vii

9. NIGUMAS ASPIRATION

PRAYER

Aspiration Prayer ofthe Sealed Word ("Kagyama")

193 193

Appendix x. "The Basis ofEverything" by Khyabje Kalu Rinpoche

199

Appendix 2. The Tibetan Text of Stages in the Path ofillusion and the Commentary

201

Notes

257

Abbreviations

307

Bibliography of Works Cited by the Author

311

Reference Bibliography

319

Index

351

Prayer to the Gurus of the Shangpa Lineage by Tenga Tulku Rinpoche

Vajradhara, Niguma, Sukhasiddhi, Rahula, Vajrasana, great adept Maitripa, And Hidden Yogin Rahula: I supplicate the six sublime gurus. Crown jewel oflearned adepts, sublime Khyungpo Naljor, Mokchokpa and Won ton Kyergangpa, Sangye Nyenton Chokyi Sherab and Sangye Tonpa Tsondru Senge: I supplicate the lineage of seven jewels. Nurtured by the sublime glorious guru In this life and in all future lives, Through the consummate realization of Five Golden Dharmas May I gain the original sovereign state in one lifetime.

Preface

T

HE MYSTERIOUS NIGUMA was an Indian woman from Kashmir who probably lived in the tenth and eleventh centuries. Not only are the dates uncertain, but so too is almost everything about her. I will explore what there is to know and not to know about Niguma in the introduction. What does stand firmly as testimony to her existence, however, is her legacy of teachings, which form the very core of the Shangpa Kagyu lineage, one of the "Eight Great Chariots of the Practice Lineages" that were later identified as the main conduits through which experiential Buddhism spread from India to Tibet.• The collection translated here consists of all of the works that are attributed to Niguma contained in the Tibetan Buddhist "canon," a total of seventeen separate texts, plus the only known biography from the collected texts in the Shangpa tradition. 2 Most of these are only a few pages in length, though their original verses gave rise to a whole body of literature in the Shangpa practice tradition. The exception is her master work, the Stages in the Path ofIllusion (sGyu ma lam gyi rim pa), and its commentary (sGyu ma lam gyi rim pa'i 'grel pa). This is our main focus here, though the other texts will be briefly introduced. Stages in the Path ofIllusion depicts a spiritual journey, beginning with the point of departure, or "ground" -the underlying buddhanature with its inherent potential for awakening. It takes us through the progres_sive journey common to Mahayana Buddhism, but with Niguma's distinctive twist of using the journey's illusory nature as our guide. That it is illusion is not in question. The crucial instruction is in

xii .. Niguma. Lady of!Uusion

the way to engage that insight to gain the goal of the journey, illusory buddhahood. It could be said that Niguma is the mistress of illusion. Not only is her very nature as a historical person obscure in every way and her main and only treatise focused on that subject, but the other teachings for which she is most famous also reverberate with this theme. The two principal areas of practice in the tradition are the yogas based on the Six Dharmas ofNiguma, with an emphasis on the illusory body and dream yogas, and the special Amulet Mahamudra, a practice of doing nothing. This twofold division of teachings represents the two universal approaches in tantric practice: the path of methods or techniques (thabs lam) and the path of liberation (grollam ), which focuses on the cultivation of a superior way of knowing (shes rab). The original verses or "vajra lines" (rdo rje tshig rkang) of these subjects are translated here. In the first category there are also flve very cryptic instructions (zhal gdams) concerning yogic exercises associated with the practice of inner heat (gtum mo), one of the six dharmas. The mahamudra category includes an annotated version of the Amulet Mahamudra and a further instruction entitled Naturally Free Mahamudra. Two other very important source texts ofNiguma in this collection are Three Dharmas to Integrate on the Path (lam khyer gsum), which instruct the practitioner on how to integrate all appearances as the guru, the deity, and illusion in daily life, and Glorious Immortal Great Timeless Awareness, which contains teachings on the immortal and infallible nature of the mind and body.3 Together with the six dharmas and mahamudra, these form four of the famed Five Golden Dharmas of the Glorious Shangpa that make up the core of the tradition, and that will be discussed later. The fifth golden dharma, that of the two Kechari c;l.akinis, was not included in this canonical collection. However, deity visualization practice, known as creation phase (bskyed rim), is represented by the means of accomplishment (grub thabs) and empowerment conferral in the important tantric deity Chakrasarpvara: Swift Accomplishment ofGlorious Chakrastupvara and Mandala Ritual ofChakrasaT(Ivara. 4 Surprisingly, we also flnd another tantric text: the Mandala Ritual ofGlorious Hevajra, 5 a practice that does not currently

Preface .. xiii form part of the core Shangpa tradition. I will provide more context for the Shangpa literary and practice tradition in the introduction. The collection is capped off by the lyrical prayer known popularly as Niguma's Aspiration Prayer ofthe Sealed Word or simply Kagyama (bKa' rgya ma), in which she prays to "become the protector, hope, and reinforcement for all sentient beings equaling space, their every desire and hope, whatever they are, satisfied by me exactly as they wish." I would like to add my own altruistic aspirations, otherwise stranded in the realm of wishful thinking, to be carried by Niguma's powerful blessing so that the work of translating her teachings will help accomplish her profound prayer.

Acknowledgments

I

AM MOST GRATEFUL for help and comments by Acarya Lama Tenpa Gyaltsen in translating the Stages in the Path ofIllusion and its commentary. We studied every word of it together. His knowledge and enthusiasm for the path-system in the mahayana tradition was indispensable. And that's not to even mention the help with Tibetan itself! Khenpo Tsering Gyurme of Surmang Dudtsitil Monastery worked valiantly for many months searching for the quotations, often reading whole sutras by the dozen. I don't think any database will ever replace the Tibetan lamas' training in memorization and reading. Khenpo Tsering also made himself available at the drop of a hat for any questions regarding my research. I thank both of these lamas for their benevolent support. Some friends and colleagues helped by reading the manuscript and offering suggestions: Erin McCarmey for afirstreadingofthe introduction, Anne Blasing for a second, Steven Johnson for detailed crosschecking, and Robert Spellman for one final reading with an eye for style (who knew you were such a grammar nerd?). Lama Drupgyu, my friend and colleague in the three-year retreat and himself once a retreat master, helped to retrieve my long dormant memories of yogic exercises~ We should all be grateful that someone remembers such things. I am also grateful for other friends that are now working under the auspices of the Tsadra Foundation, such as Ngawang Zangpo, Cyrus Stearns, K~l Brunnholzl, and Richard Barron. Thank you for keeping in touch and adding to my knowledge when needed, which was often enough. Thanks go to graduate students Cory Leistikow and Daniel

xvi .. Niguma, Lady ofIllusion

Garbes for help with entering the Tibetan fonts, and to my entire 2008 Tibetan IV class at Naropa University for sharing my translation travails. Certainly I thank Sidney and Jeff at Snow Lion Publications for all of their work, and Michael Wakoff, who had the terrible task of copyediting. Thank you to my good friend, Bhutanese master artist Phurba Namgay, for the Niguma tangkha shown on the cover. Above all, I wish to express my deep gratitude to Eric Colombe!, founder and director ofTsadra Foundation. If not for you ...

Technical Notes

I

N THE TRANSLITERATION of Sanskrit terms, I have deviated from standard practice to bring it slightly more into line with English by replacing s, $. and c with sh, $h, and ch, respectively. In addition, I have dispensed with diacritics altogether for certain Sanskrit terms that have found their way into English dictionaries, such as "samsara," "nirvana," "mandala," and so forth. When the Sanskrit word was retained in the Tibetan translation, I too have retained it rather than translating it into English. The phonetics for Tibetan names, places, and occasionally terms has been rendered in the closest approximation of pronunciation in English without burdening the reader overmuch with subtleties of dialect or bringing even more languages into the mix {except for the indispensable German umlaut: ii). The transliteration scheme developed by Turrell Wylie in "A Standard System ofTibetan Transcription" {I 9 59) can usually be found in parentheses or in endnotes. I consulted many editions ofeach text; the sources are quite ancient, and many errors have certainly found their way in to the copies over the centuries. One could even say that they are riddled with spelling and word mistakes. I chose to translate the version of each word that makes the most sense, taking into consideration context, commentary {written and oral), meaning, and frequency of occurrence. The variances are often noted in the endnotes if they are meaningful or problematic. This is not, however, a critical text study, and every "te" that should be "de"' is not noted. As mentioned in the translations, several of the texts have additional interlinear notes that were added at some earlier time to clarify the original. If these notes were included in the canonical editions, then I included them in the English translation, indicated

xvili • Niguma. L4dy ofIllusion

by using a smaller font. In the case of such notes from other editions besides the canon, I included in the endnotes only those that seemed helpful. Finally, where I needed to add words for clarification or grammatical purposes, they will be found in brackets.

Introduction

NIGUMA, THE ()AKINI OF TIMELESS AWARENESS

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2.45

2.46 " Niguma, Lady ofIllusion

Appendix 2

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