Vajrayana Buddhism In Tibet

1. We look through the mind and we gaze within awareness…becoming aware of awareness is the path of gazing (whether eyes or open or closed)…we can gaze into awareness and we are immediately the field, the field of being. If we look and look for awareness with our mind only blankness arises, a blank state. Sunyata, primordial knowingness is not blankness, it is not blanking out. As we become aware of awareness we enter the gaze, we become the place of the gaze…this gazing from within awareness opens the multidimensionalness….the different dimensions of the field manifest within the gaze, within us. The gaze is both within us and beyond us. Within the gaze, there is neither simple inside nor simple outside. The gaze is place...a vast place beyond inside and outside.

Источник: https://www.lotsawahouse.org/tibetan-masters/mipham/satirical-advice-four-schools . Перевод с тибетского на английский: Adam Pearcey, Rigpa Translations, 2005, с бесценной помощью Khenpo Dorje. Перевод с английского: Игорь Калиберда.

This article focuses on a specific iconography of the dGe lugs pa school. This iconography is known by the name of tshogs zhing (a spiritual field for the accumulation of merits), here analyzed in its 18 th century form. The images described here are an essential tool for the religious practice prescribed by the dgGe lugs pa's bla ma mchod pa tantric literature. As an esoteric literature, the bla ma mchod pa is based on an "essential instruction" (man ngag) which gathers teachings on the main tantras of the so called niruttara classes. This paper will discuss the oldest iconography of the bla ma mchod pa tshogs zhing, directly related to the root text of the first Paṇ chen Bla ma Blo bzang Chos kyi rgyal mtshan (1567-1662). Among the many images of tshogs zhing I have analyzed 1-almost identical in the representation of this specific subject-I present here a xylograph (Fig. 2) and a thang ka (Fig. 1). The xylograph, realized in the style of the 18 th century's woodblocks of sNar thang, 2 is an uncatalogued item of the Tucci Tibetan Collection (IsIAO Library, Rome). The thang ka is property of a Tibetan private citizen living now in Bodhgaya, in the Indian state of Bihar. 3 Within the dGe lugs pa order, the bla ma mchod pa literature stems from essential tantric and esoteric instructions (man ngag) related to the guru devotion liturgies and practices prescribed by guruyoga literature. 4 In order to receive these particular man 1 Research has been done in the dGe lugs pa monasteries of Ladakh, McLeod Ganj and the Kathmandu Valley. Further sources of comparison were several catalogues on Tibetan art (see below) and the web site www.himalayanart.org. As primary sources, I also studied and translated two texts, Sangs rgyas ye shes's Bla ma mchod pa'i cho ga dngos grub kun 'byung, and Ye shes rgyal mtshan's Bla ma lha'i rnal 'byor gyi khrid dmigs kyi bsdus don snyan rgyud gter mdzod 'byed pa'i lde mig (see the bibliography for complete references). 2 A monastery located 15 km west of Shigatse, in gTsang (Central Tibet), which is famous as a printery. 3 I wish to thank the former President of IsIAO, the late Professor Gherardo Gnoli, and Mr. Thinlay Nepali for allowing me to study and show the xylograph and the thang ka presented here. 4 Bla ma mchod pa translates the Sanskrit term gurupūjā. Concerning the meaning of mchod pa, see Makransky 1996.

The first-ever biography with selected writings of one of the greatest Indian Buddhist masters in history.

Few figures in the history of Buddhism in Tibet have had as far-reaching and profound an influence as the Indian scholar and adept Atiśa Dīpaṃkara (982–1054). Originally from Bengal, Atiśa was a tantric Buddhist master during Vajrayana Buddhism’s flowering in India and traveled extensively, eventually spending the remaining twelve years of his life revitalizing Buddhism in Tibet. Revered by all the schools of Tibetan Buddhism, Atiśa and his students founded what came to be known as the Kadam school, whose teachings have influenced countless Buddhist masters. These teachings, cherished by all major traditions, are preserved by the Geluk in particular, the school of the Dalai Lamas.
     
Although Atiśa was an influential practitioner and scholar of Tantra, he is best known for introducing many of the core Mahayana teachings that are widely practiced throughout the Tibetan Buddhist world, including the Stages of the Path to Awakening and Mind Training (lojong), as well as having contributed to highly influential commentaries on Madhyamaka that synthesize various schools of thought. This succinct biography of Atiśa’s life, together with a collection of translations, represents for the first time the full range of Atiśa’s contribution to Buddhism. As the most comprehensive work available on this essential Buddhist figure, this book is an indispensable resource for scholars and Buddhist practitioners alike.

https://www.tibshelf.org/theguidebooktothehiddenlandofpemoko
The Guidebook to the Hidden Land of Pemoko is a revealed treasure text included in the Jatson Nyinpo’s Embodiment of the Precious Ones, the Konchok Chidu. It is a prediction text about the future degenerate times and purportedly the first guidebook to the hidden land of Pemoko.

In Nepal this spring, I spent a pleasant hour on a guesthouse rooftop in conversation with Dan Hirshberg, a Harvard PhD candidate. Dan has been studying the earliest biographies of Nyang ral, the great Nyingma master of the 12th century. Based on his reading of these biographies, Dan is developing the theory that the very earliest Buddhist termas (gter ma), the revealed 'treasure texts' for which the Nyingma school is so famous, could sometimes be based on the simple concrete recovery of actual old manuscripts. By contrast, Dan remarked, subsequent terma discovery depends more heavily on the more complex mystical processes of 'remembering' a teaching from a past life with which all students of terma are familiar. Unfortunately there was not time for me to hear at length how Dan himself sought to support his hypothesis, but I was able to briefly tell him that we had already found some possibly supporting evidence. Last year, Cathy Cantwell established that a substantial component text from one of the most important early terma collections, Nyang ral's famous Deshek Dupa (bde gshegs 'dus pa), corresponds exactly to the Dunhuang manuscript IOL TibJ 331.III.[1] While the Dunhuang version is anonymous, Nyang ral claimed the original author of his terma was Vimalamitra, a famous Indian scholar traditionally associated with the Dzogchen teachings and held to have come to Tibet in the late 8th century, at the time of Padmasambhava and Emperor Trisongdetsen.

Tekst analizuje zjawisko
lungu
, czyli ustnego przekazu tekstów w buddyjskiej tradycji
Tybetu. Analizowana jest kulturotwórcza rola wymienionego rytuału, który ma stanowić
gwarancję przekazu żywego doświadczenia filozoficznego i duchowego, mającego swe
źródło w nauczaniu Buddy.

The penba hu is a vessel of unique appearance first produced in the 17th century. Much of its origins are shrouded in mystery and this thesis aims to uncover its various functions and significance as a ritual object. Originally cast from metal, silver and gilt copper penba hu from the Tibetan plateaus have been found. The vessel likely found its way to the Qing Empire as a diplomatic gift and was reproduced during the Qianlong reign in its altered porcelain form. The role of the penba hu in ablution rituals changed when the porcelain penba hu was produced without an aspergil, however, it is still used for initiation rituals. Here, the lama prays to a particular deity, inviting it into the penba hu. This act of calling the deity is assisted by the makara, which facilitates the channelling of the gods. Pairing of penba hu is noted to apply to both porcelain and metal variants. Coloured pairs of porcelain penba hu support this theory and textual evidence points to the pairs serving different functions within the initiation ritual. The kendi is also used in conjunction with the penba hu in rituals within the Yonghegong temple. It is difficult to determine the material of the penba hu from the evidence available. Conflicting with the idea of the two vessels functioning together is the hypothesis that the kendi is a preceding version of the kendi. Studying the change over time in rituals involving the Avalokitesvara deity suggests that the introduction of the penba hu phased out the use of the kendi. The importance of the penba hu is highlighted by initiation rituals using the vajra and its appearance in thangka, resting next to other critical ritual objects. Extensive use of the penba hu with these objects points to its significance in Tibetan Buddhist rituals. Based on the gathered evidence, it is conceivable to argue that it is as important is as the vajra.  Knowledge of the origins and functions of the vessel is still far from complete and this thesis aims to be a catalyst for more research to be conducted on this subject matter.

This paper establishes the epoch (dhruva/dhruvaka) of the Kālacakra laghukaraṇa, the handbook on astronomy contained in the Śrī Kālacakra—the Kālacakra laghutantra—and its commentary, the Vimalaprabhā. It also demonstrates that these foundational texts of the Kālacakra tantra tradition reached completion between 1025 and ca. 1040 CE (pp. 342-43). In addition, evidence is provided supporting Turrell V. Wylie's dating of Nāropāda's death to ca. 1040 CE (p. 347, n. 10).

How to read a text and how to hear a text. How to open words and syllables so that knowledge arises within your own body, within your inner awareness. When you are located in mind alone, when you are located in conceptualness and concrete mind alone, you will be locked in and contained. William Reich described concrete minds as living machines. Concreteness can be described as rigidity, a mode of tense cognitive activity. Strangely enough, concreteness with its compulsiveness, its drivenness can distort the sense of presence and the sense of reality. The concrete mind in its literalness struggles to find the right solution. The literal view can be narrow, highly vigilant and stimulus−stimulation bound. The concrete mind struggles to find the right solution relentlessly. Of course whatever the solution, it never is enough. One becomes stuck in the stimulus of the word and stuck in the signification of the word. The nexus between the signifier and signified is without space and is densely bound.

Adamantine songs (vajragīti) are poems that express the spiritual experiences and realizations of the great adepts (mahāsiddhas) of South Asian Buddhist tantric traditions. While the songs' outer form emerged from folk literary and musical traditions, their content is firmly rooted in Buddhist philosophies of emptiness (śūnyatā). Despite the importance of yogic songs in Indian and Tibetan Buddhist traditions, there has been relatively little Western scholarship on the literary genre or on individual poet-yogis. Lara Braitstein's study, translation, and Tibetan critical edition of Saraha's adamantine songs are therefore a welcome addition to the research field.

An analysis based on "Harmonizing the Statements on Empowerment by the Accomplished Masters Nāropa and Maitrīpa" (Mkhas grub nā ro mai tri dbang gi bzhed pa mthun par grub pa) by the Tibetan master of the Kagyü (Bka’ brgyud) School Shamar Chökyi Drakpa Yeshé (Zhwa dmar 04 chos kyi grags pa ye shes, 1453–1524)

Beginning in the seventeenth century, the Smārta intellectual community of South India entered into an unprecedented alliance with Śaṅkarācārya monastic institutions and their corresponding esoteric lineage, the Śrīvidyā school of Śākta tantrism. Among the prominent intellectuals of this period, Nīlakaṇṭha Dīkṣita, grand-nephew of the renowned polymath
Appayya Dīkṣita, and a number of his associates began to cultivate devotional relationships with a particular lineage of Śaṅkarācārya ascetics. Through initiation under these preceptors, Nīlakaṇṭha and his colleagues cultivated a
sophisticated knowledge of Śrīvidyā ritual and theology, composing treatises on the subject, which to date have remained unexamined by scholarly literature. By examining two of these works in detail in the present essay—the Ambāstavavyākhyā of Ardhanārīśvara Dīkṣita and the Śaṅkarābhyudaya of Rājacūḍāmaṇi Dīkṣita —I argue that Śrīvidyā esotericism served as a vehicle through which Sanskrit intellectuals actively contested and transformed public
modes of sectarian affiliation and socio-religious community integration in the South Indian Smārta community. In particular, I demonstrate that this intellectual community reinvented the legacy of two icons of Sanskrit cultural history—Śaṅkarācārya and Kālidāsa—whom they recast as paradigms of both
Sanskritic aesthetic virtue and esoteric Śākta devotionalism.

Introduction, translation & edition of Ch. 7 of the Black Pillar, root text of the Bon Phurpa tantras. Examining its indigenous deity binary, Hawks and Wolves, we consider Bon influence on Tibetan Buddhist Heruka iconography. Pages 153-170 of "From Bhakti to Bon. Festschrift for Per Kværne", ed. Charles Ramble and Hanna Havnevik. The Institute for Comparative Religion in Human Culture/ Novus Forlag, Oslo 2015.

This article defends and develops the categorization of Buddhist ethics as moral phenomenology. It first examines the use of the term in Western philosophical settings and compares it to how the term is employed in Buddhist settings. After concluding that Western ethical comportment and Buddhist moral phenomenology are commensurate terms, it explores how moral phenomenology has been understood in Buddhist contexts and considers the evidence scholars have used to make this interpretation. The article then looks to the Tibetan Buddhist tradition for further evidence of a moral phenomenological approach to Buddhist ethics and analyzes further proof of this interpretation. Finally, issues that emerge from a moral phenomenological approach to ethics are addressed from a Tibetan Buddhist perspective to strengthen this interpretation and offer moral phenomenology as a viable alternative ethical system.

Review (in Revue d’Etudes Tibétaines, no. 32, April 2015, pp. 177–183), of the volume edited by Supawan Pui Lamsam and Kesang Choden Tashi Wangchuck, with contributions by Tulku Thondup, Dungchen Sangay Dorji, Lopen Kunzang Tengye, Pema Wangdi, Chotiwat Punnopatham, Chongmas Rajabhandarak, Tanika Pook Panyara- chun. Zangdok Palri Series, Volume 1. Gatshel Publishing, Bang- kok. First Edition 2012, Second Edition, 2013. ISBN 978-616-91289-0- 8 i-xv, 376pp. Large format, 29cm x 37cm. Preface by Ashi Kesang Choden Tashi Wangchuck.

We have two ways of knowing. Our mind knows forms, things, both subtle and gross. Faces, hands, buildings, trees, math formulas, mind knows subject and the mind knows otherness. The mind knows dualities, the mind knows me and you, us and them, and this and that. Mind knows time, mind knows the past, the present and the sense of the future. The mind knows things and entities, the mind knows beings, infinite numbers of beings and things. The mind knows difference. The mind thinks conceptually, feels affectively, imagines through imagery, the mind has sense and the mind has memory. The mind knows dualistically.

Starting with an attempted explanation of the profusion of deities in the Vajrayana pantheon, this paper looks minutely at the iconographies of a select Pala era Tara-s across various media with Panofsky's three-level iconographic analysis model.

Love and Liberation – Autobiographical Writings of the Tibetan Buddhist Visionary Sera Khandro is an impressive study on the autobiography of the early twentieth century treasure revealer (Tib. gter ston) and tantric adept Sera Khandro Dewe Dorje (Tib. se ra mkha' 'gro bde ba'i rdo rje) (also called Künzang Dekyong Chönyi Wangmo, Tib. se ra mkha' 'gro kun bzang bde skyong dbang mo, (1892–1940).

In the Gudyargarbha tantra there is this most wonderful verse. Appearances, sounds, and thoughts are the diety, mantra and the state of dharmakaya. What this wonderful language brings forward into our awareness is the amazing understanding that self liberation is the direct experiencing of the appearing of appearances.

Is the Bhavacakra a map of the mind? In a cross cultural approach we offer the interpretation of this Tibetan Buddhist painting in the light of Dzogchen psychology and modern neurosciences... The premise on which the psychological reading of the bhavacakra are based was aptly expressed by the H.H. the XIVth Dalai Lama: “Being malleable, mind is able to change... Samsara is the cycle of existences, nirvana its over- coming... both are mental states. Samsara is a deviation from mindful understanding, a distorted vision of reality that subjects the mind to mental afflictions, while nirvana is a state of inner freedom, released from every conceptual and emotional obstacle.”

I'm available for presentations, conferences, teachings, speeches in english, french and italian, related to Bhavacakra as a map of the mind and its implications for mindfulness practices. [email protected]

In Indian and Tibetan forms of Buddhism “pointing-out instructions” (ngo sprod) generally signifies an introduction to the nature of mind by a spiritual teacher to a qualified disciple. Pointing-out instructions are associated with tantric Buddhist lineages of meditation and yogic practice in a number of Indo-Tibetan traditions. In Nyingma lineages pointing-out instructions are connected to varied Great Perfection (rdzogs chen) traditions where one confronts the natural state (gnas lugs ngo sprod). Kagyü and other Tibetan Buddhist traditions of the new sects (gsar ma) associate pointing-out instructions with the practice of mahāmudrā. It is often claimed that the influence of Gampopa Sönam Rinchen’s (1079-1153) mahāmudrā teachings in Tibet was such that, as one erudite scholar has even suggested, “all Kagyü reflections on mahāmudrā is really but a series of footnotes to Gampopa.” Following this mode of thought, most modern scholarly sources have ignored the possibility of Kadampa influence on Gampopa and the varied Kagyü meditation manuals that came after him. This article clearly demonstrates that Atiśa Dīpaṃkaraśrījñāna (982-1054) and his early Kadampa followers significantly influenced Gampopa and subsequent Kagyü traditions in their structuring of mahāmudrā meditation manuals.  The systematized and structured “not-specifically-tantric-practice” type of pointing-out instructions of mahāmudrā are intimately related to Atiśa’s Stages of the Path, its commentaries, and the teachings found in the Pointing-Out Instructions in Sets of Five presented and translated in this article for the first time in English.

A person's own inner most awareness and the movements within their awareness field bring forth their direct personal experience of their cosmological archetypal field of awareness. This spontaneous event is given to us within the archetypal realm of awareness. The archetypal dimension manifests itself as us, and reveals itself to us through our experience of its self-manifestation.

Timeless awareness is the essence of Dzogchen. Time experienced within timeless awareness is also an expression of the essence of Dzogchen. Dzogchen is an ancient form of Tibetan mystic humanism. Dzogchen makes the essential distinction between mind and awareness. A person can be located in mind alone and locked in time. As a person shifts from being located in mind alone (mindfulness) and goes beyond mind alone (mindfulness), one becomes aware of their own awareness. As we focus our awareness on our own innermost awareness, vast dimensions of awareness begin to open and self-reveal its nature to us. Awareness is a multidimensional experience and this awareness is infinite in its horizons. The innate qualities of awareness are spaciousness or openness or emptiness. Another quality of our awareness is luminous radiance and still another is awareness as energy. Awareness is alive and is both vast stillness and unceasing movement. The Union of Mind and Awareness When a person is able to experience the union of their mind and their awareness, then the person has a simultaneous experience of being in time and in timeless awareness. The mind is the place of thinking, feeling, sensation, memory and imagination and the mind is the mode of knowing singularity and difference in the world. This is the realm of ordinary knowingness and this is the realm of duality. Our mind is the realm of time. This time bound knowing is the knowing of you and I, us and them, this or that in time and place.

In the summer of 2013 at the Tibetan Center in Poolesville, Maryland the great Lama YangThang Rinpoche gave instruction on the practice of the great compassion, or as he described the practice, as being the practice of Absolute Compassion. The instruction was to extend the light of awareness into the world and into the cosmos. Extending the light of awareness into the present moment of a person, extending the light of awareness into the past time of the person and extending the light of awareness into the future time of the person. This truly is the great practice of the great compassion and everyone can practice this extension of the light of awareness. This very proactive praxis brings forth the light within us and fills us with the light of the field of awareness. It is great to practice this vast practice. Of course it takes a boldness of intention and passion of heart. Extending the light of our innermost awareness into the present of those we love, and into the past of those we love, and then extending the light into their future of those we love is self-liberating. The light of awareness illuminates experience, metabolizes experience, opens us into un-bound awareness, undoes fixated-ness, and brings forth luminous intensity. The light of awareness is pure potentiality. The same practice can be used with those whom we hate or dislike or whom disgust us. This practice of extending the light of awareness deepens our own experience of becoming aware of awareness. As we practice extending the light of awareness, awareness itself completely opens up for us and deepens our experience in depth and breath. In time we begin to experience the true secret of this praxis. Timeless awareness begins to be experienced by us and sustained by us. Timeless awareness is the

The life of Do Khyentse Yeshe Dorje (mdo mkhyen brtse ye shes rdo rje, 1800-1866) and his adventures are chronicled in articles, book entries, and short stories. For their own intents and purposes, they solely focus on his life-i.e. he is the protagonist in his personal story. He is the treasure revealer (gter ston), the madman (smyon pa), and an incarnation of Jigme Lingpa ('jigs med gling pa, 1730-1798). There is no reason why those compositions would not address him specifically, but we know that a personal lineage and a lineage of revealed treasure (gter ma) teachings usually does not end with the revealer. The progenitor commonly entrusts the teachings to another person or passes on the teachings to people if the right conditions are met for such an event. This is what happened for Do Khyentse Yeshe Dorje as he entrusted and passed on his teachings, even through his family line.

Attualmente il manoscritto tibetano dell'Amṛtasiddhi è considerato la più antica fonte dell'haṭha-yoga; in realtà, la tradizione buddhista dello yoga fisico risale a un'epoca precedente quella di Virūpa. Non è stato rinvenuto nessun documento sanscrito che la attesti, ma fino all’occupazione cinese era praticata segretamente. Essa ha una fonte scritta composta dal maestro tibetano Pagor Vairocana (sec. VIII-IX), la quale fissa in versi l'insegnamento trasmesso da Hūṃkāra e Padmasambhava.

The category of the Eight Principal Tantric Medicines (sman rtsa brgyad) is ubiquitous in tantric sources, such as the regular medicinal cordial offerings (sman mchod) found in many tantric sādhanas. These substances form some of the key ingredients to be included in medicinal accomplishment (sman sgrub) practices, when sacred medicinal pills are compounded and consecrated in the course of a Major Practice Session (sgrub chen), conducted over a number of days. The category is referred to in early sources, such as in the works of the forefathers of the Nyingma school, the twelfth century Nyang ral Nyima özer (nyang ral nyi ma 'od zer) and the thirteenth century Guru Chöwang (gu ru chos dbang). In the revelations of the national saint of Bhutan, Pema Lingpa (padma gling pa, 1450-1521), we find a short pithy text relating to this classification: "A Key to the Eight Principal and Thousand Varieties of Medicines" (rtsa brgyad yan lag stong gi lde mig), which reiterates a revelation of the earlier Ratna Lingpa (ratna gling pa, 1403-1479). This article explores the text, and the themes which live on in later works and contemporary practice.

It was close to midnight and I was soaking in an oval-shaped pool filled with bubbling hot water fed by an underground thermal spring. Sitting beside me was Mary, a sinewy Vietnamese woman in her twenties and her partner, a stocky American man who looked about twice her age. He called himself Premananda, a moniker given to him by a Hindu priest in the holy city of Varanasi. We were perched at the edge of a sheer cliff from where we had a bird's eye view of the pounding surf crashing against the big rocks below. The moonlight shimmered on the ripples fanning out from the waters' edge.

This study explores the philosophical, canonical and doxographical contributions of one of Tibet’s greatest thinkers, Klong chen rab ’byams pa (1308–1363), or Longchenpa, particularly as presented in his detailed overview of Buddhist tenet-systems, the Grub mtha’ mdzod (The Precious Treasury of Spiritual Systems). While the bulk of the previous scholarship on this scholar has focused almost exclusively on his writings on the tantric modality of Atiyoga (or rDzogs chen), this study addresses Klong chen pa’s endeavors to integrate that school of thought with the other Buddhist vehicles (Sūtrayāna and Mantrayāna) by means of parallel techniques and a polysemic hermeneutic. Furthermore, it questions a number of critiques brought against rDzogs chen. By locating Klong chen pa biographically and textually in relation to the other seminal figures of 14th-century central Tibet (e.g., Bu ston, O rgyan gling pa, Dol po pa), this study shows the precise nature of his wide-ranging contributions to canonical construction within the rNying ma tradition of Tibet and the particularities involved with his interpretation of Buddhism’s two-reality theory (relative and ultimate) in relation to the Svātantrika and Prāsaṅgika schools of Madhyamaka philosophy. In the process, it provides context for understanding Klong chen pa as a complex figure, with both scholarly and practical soteriological concerns, and his engagement with the most critical debates of his time.  Keywords: Dzogchen, tantra, Vajrayana, Tibet, Longchenpa, doxography

Mahāmudrā (translated as Great Seal) is an important and
polysemous concept in the history of Indian and Tibetan forms of
Buddhism. The term and its associated practices gain great
significance in esoteric forms of Indian Buddhism from the ninth
century onward. In Tibet, the theory and practice of Mahāmudrā,
although known to most forms of Tibetan Buddhism, came to be
predominantly practiced among bKa’ brgyud (hereafter, Kagyu)
affiliated lineages. Modern and traditional understanding of the
history and practice of Mahāmudrā is based on Kagyu practice
manuals, histories, and ritual liturgical works. In these materials,
Mahāmudrā is primarily associated with Indian figures such as
Saraha, Tilopa (10th c.), and Nāropa (d. 1042), and Tibetan
Buddhist figures such as Mar pa lo tså ba chos kyi blo gros (1012–
97 CE), Milarepa (mi la ras pa, 1040–1123 CE), and Gampopa
(sgam po pa bsod nams rin chen, 1079–1153 CE). This paper
examines the Mahāmudrā teachings of Atiśa Dīpaṃkaraśrījñāna
(982-1054 CE) and his early bKa’ gdams pa (hereafter, Kadampa)
followers based on previously unstudied canonical documents and
manuscripts recently published in Tibet.

In recent decades the relationship between tantric traditions of Buddhism and Śaivism has been the subject of sustained scholarly enquiry. This article looks at a specific aspect of this relationship, that between Buddhist and Śaiva traditions of practitioners of physical yoga, which came to be categorised in Sanskrit texts as haṭhayoga. Taking as its starting point the recent identification as Buddhist of the c.11th-century Amṛtasiddhi, which is the earliest text to teach any of the methods of haṭhayoga and whose teachings are found in many subsequent non-Buddhist works, the article draws on a range of textual and material sources to identify the Konkan site of Kadri as a key location for the transition from Buddhist to Nāth Śaiva haṭhayoga traditions, and proposes that this transition may provide a model for how Buddhist teachings survived elsewhere in India after Buddhism's demise there as a formal religion.

The Amaraughaprabodha is a Sanskrit Śaiva yoga text attributed by its colophons to Gorakṣanātha. It was published by Kalyani Devi Mallik in 1954 and has been discussed in various secondary sources. Most notably, Christian Bouy (1994, pp. 18-19) identified this work as a source text for the Haṭhapradīpikā of Svātmārāma (mid-fifteenth century). This article presents new manuscript evidence for a shorter recension of the Amaraughaprabodha than the one published by Mallik. Comparing the differences between the short and long recensions reveals that the structure of the shorter one is more cohesive and closer to the original design of the work. The close relationship of the Amaraughaprabodha's short recension with an eleventh-century Vajrayāna work on yoga called the Amṛtasiddhi provides unique insights into how early teachings on Haṭhayoga were formulated. Although the practice of the physical techniques is largely the same in both texts, the author of the Amaraughaprabodha removed or obscured Vajrayāna terminology, added Śaiva metaphysics and framed Haṭhayoga as subordinate to a Śaiva yoga known as Rājayoga. This article proposes that the Amaraughaprabodha's short recension is probably the earliest known work to combine Haṭha- with Rājayoga, on the basis of this recension's close relationship with the Amṛtasiddhi, its rudimentary nature and the likelihood that Svātmārāma used it, and not the long recension, for composing the Haṭhapradīpikā.