๐ฟ "For beings who are strong in their devoted faith
I am swifter in compassion than all other Buddhas.
Until the three worlds of samsara are all void of beings,
Padmasambhava’s compassion will not be exhausted." ๐ฟ
๐ฑ Guru Padmasambhava ๐ฑ
[From: "White lotus: An explanation of the Seven-line prayer to Guru Padmasambhava"
By Jamgรถn Mipham]
๐Om Ah Hung Vajra Guru Padma Siddhi Hung ๐
๐ชท๐น๐ฎ๐๐๐๐ฎ๐น๐ชท
[Photo of Guru and his 8 great manifestations]
๐๐๐จ๐ฉ๐ฅ๐ ๐๐๐ฅ๐ฅ๐๐ ๐ข๐ญ ๐๐ก๐ข๐ง๐ ๐ค๐ก๐๐ซ-๐ฅ๐๐ฎ๐ซ๐ข ๐ฐ๐ก๐๐ง ๐๐๐ฆ๐๐ซ๐ฎ๐ฉ ๐๐จ๐ง๐ ๐ค๐ก๐๐ซ ๐ฐ๐๐ฌ ๐ฎ๐ง๐๐๐ซ ๐๐๐ฌ๐ก๐ข๐ ๐๐ง๐ . ๐๐ฎ๐ ๐ญ๐จ ๐ข๐ญ๐ฌ ๐ฉ๐จ๐ฉ๐ฎ๐ฅ๐๐ซ๐ข๐ญ๐ฒ ๐ฌ๐ฉ๐ซ๐๐๐๐ข๐ง๐ ๐๐๐ซ ๐๐ง๐ ๐ฐ๐ข๐๐, ๐ข๐ญ ๐ข๐ฌ ๐ฌ๐ญ๐ข๐ฅ๐ฅ ๐ซ๐๐๐๐ซ๐ซ๐๐ ๐ญ๐จ ๐๐ฌ ๐๐ก๐ข๐ง๐ ๐ค๐ก๐๐ซ-๐ฅ๐๐ฎ๐ซ๐ข ๐ญ๐จ๐๐๐ฒ.
Most of us think of Shingkhar Lauri as if it are one village, one community. In olden days when Samdrup Jongkhar was under Tashigang dzongkhang, the place was called Shingkhar-lauri.
Now, Shingkhar is under Merak Gewog, Tashigang whereas Lauri is under Lauri Gewog in Samdrup Jongkhar. Except for one hut, there is no settlement in Shingkhar. It is in fact a pasture for herders of Merak and Sakteng. There used to be a settlement once but people have moved back to Merak and Sakteng. The immediate village next to Shingkhar is Khashiteng. Almost two days away on foot from Merak, there are about 12 households. The first village in the picture is Khashiteng. The next village that you see is Phaju Gonpa. A stream separates these two villages. Phaju Gonpa is under Lauri Gewog. Lauri Gewog centre is located at a beautiful place called Jompa, but Lauri village is further below.
Lauri is corrupted form of Lawa ri, a pool of blue sheep (Lawa). A lama known as Lam Jarepa, who along with Aum Jomo is said to have led the people of Merak and Sakteng from Tshona in Tibet, once saw a blue sheep drinking from a pool of water. Hence the name Lawa ri.
Lauri Primary School is one of the first schools in the country.
Lauri is a very huge Gewog. A variety of cereals grow. The river is endowed with a unique species of fish. Various species of orchids grow all over. It is spiritually a very vibrant community with many temples, practitioners and monastic centers.
Ref: https://somkinga.wordpress.com/
๐ง๐ต๐ฒ ๐๐ฟ๐ถ๐ฒ๐ณ ๐๐ฎ๐ฐ๐ ๐๐ฏ๐ผ๐๐ ๐๐๐ป๐ด๐๐ฎ๐บ ๐๐ฎ ๐๐ฟ๐๐ป๐ด๐ฝ๐ฎ
๐พ๐๐ ๐๐๐ ๐ซ๐๐๐๐๐๐ ๐ฑ๐ ๐ซ๐๐๐๐๐๐?
๐๐จ๐ญ ๐๐ฏ๐๐ง ๐ญ๐ก๐ ๐ง๐๐ฆ๐ ๐จ๐ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ข๐ฌ ๐ค๐ง๐จ๐ฐ๐ง, ๐๐จ๐ซ๐ ๐๐ญ ๐๐๐จ๐ฎ๐ญ ๐ก๐ข๐ฌ ๐ฅ๐ข๐๐ ๐๐ง๐ ๐๐๐ฆ๐ข๐ฅ๐ฒ. ๐๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐ ๐ฐ๐ก๐จ ๐ก๐๐ ๐ฌ๐จ๐ฆ๐ ๐ค๐ง๐จ๐ฐ๐ฅ๐๐๐ ๐ ๐๐๐จ๐ฎ๐ญ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐๐ซ๐ ๐ฅ๐จ๐ง๐ ๐๐๐๐, ๐๐ง๐ ๐ฌ๐๐๐ฅ๐ฒ ๐ญ๐ก๐จ๐ฌ๐ ๐ก๐ข๐ฌ๐ญ๐จ๐ซ๐ข๐๐ฌ ๐๐ซ๐ ๐๐๐ฒ๐จ๐ง๐ ๐ซ๐๐ญ๐ซ๐ข๐๐ฏ๐๐ฅ. ๐๐ก๐ ๐ฉ๐๐ซ๐ฌ๐๐ง๐ญ ๐๐๐๐จ๐ฎ๐ง๐ญ ๐จ๐ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ก๐๐ฌ ๐๐๐๐ง ๐๐๐ซ๐ข๐ฏ๐๐ ๐๐ซ๐จ๐ฆ ๐ฐ๐ก๐๐ญ๐๐ฏ๐๐ซ ๐ญ๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐ ๐๐จ๐ฎ๐ฅ๐ ๐ซ๐๐๐จ๐ฎ๐ง๐ญ.
๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ฐ๐๐ฌ ๐๐ซ๐จ๐ฆ ๐๐ก๐๐ง๐ ๐ฆ๐. ๐๐ก๐ข๐ฌ ๐๐๐๐ญ ๐๐๐ง ๐๐ ๐๐ฎ๐ญ๐ก๐๐ง๐ญ๐ข๐๐๐ญ๐๐ ๐๐ซ๐จ๐ฆ ๐ญ๐ก๐ ๐ฌ๐ญ๐จ๐ซ๐ฒ ๐๐๐ญ๐ฐ๐๐๐ง ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐๐ง๐ ๐๐ฆ๐ง๐ข๐ฌ๐๐ข๐๐ง๐ญ ๐๐ก๐๐๐ซ๐ฎ๐ฉ ๐๐ข๐ ๐ฆ๐ ๐๐ฎ๐ง๐๐ซ๐๐ฅ ๐ญ๐ก๐ ๐๐จ๐ฎ๐ง๐๐๐ซ ๐จ๐ ๐๐จ๐ง๐ ๐ฅ๐ ๐๐จ๐ง๐ฉ๐. ๐๐ฌ ๐ฉ๐๐ซ ๐๐๐ง๐ ๐๐๐ก๐๐ง ๐๐ ๐ฒ๐๐ง ๐๐ฌ๐ฎ๐ค๐ฅ๐ ๐๐จ๐ง๐๐ฌ๐ญ๐๐ซ๐ฒ (2016), ๐๐ก๐๐ง๐ ๐ฆ๐ ๐๐๐ฆ๐ ๐ฒ๐๐๐ฅ ๐ฐ๐๐ฌ ๐ญ๐ก๐ ๐ง๐๐ฆ๐ ๐จ๐ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ฐ๐ก๐จ ๐ก๐๐ ๐ญ๐ก๐ ๐ฉ๐จ๐ฐ๐๐ซ ๐ญ๐จ ๐ซ๐ฎ๐ฅ๐ ๐ญ๐ก๐ ๐๐๐ฌ๐ญ ๐๐ง๐ ๐ฌ๐จ๐ฎ๐ญ๐ก ๐๐๐ฌ๐ญ๐๐ซ๐ง ๐ฉ๐ซ๐จ๐ฏ๐ข๐ง๐๐ ๐๐ญ ๐ญ๐ก๐๐ญ ๐ญ๐ข๐ฆ๐. ๐๐ง ๐ซ๐๐ช๐ฎ๐๐ฌ๐ญ ๐๐ฒ ๐ญ๐ก๐ ๐๐จ๐ซ๐ฆ๐๐ซ ๐ญ๐จ ๐ฉ๐ซ๐จ๐ญ๐๐๐ญ ๐๐ซ๐จ๐ฆ ๐จ๐ง๐ ๐๐ซ๐ข๐ญ๐ข๐ฌ๐ก ๐ข๐ง๐ฏ๐๐ฌ๐ข๐จ๐ง ๐๐ซ๐จ๐ฆ ๐ญ๐ก๐ ๐ฌ๐จ๐ฎ๐ญ๐ก, ๐๐ข๐ ๐ฆ๐ ๐๐ฎ๐ง๐๐ซ๐๐ฅ ๐ฉ๐ซ๐๐ฉ๐๐ซ๐๐ ๐ฌ๐๐๐ก๐๐ง๐ ๐จ๐ ๐๐๐ฃ๐ซ๐ ๐๐ข๐ฅ๐๐ฒ๐ (๐ซ๐๐๐๐ ๐ท๐๐๐๐๐) ๐๐๐๐จ๐ซ๐๐ข๐ง๐ ๐ญ๐จ ๐๐๐ง๐ญ๐ซ๐ข๐ ๐ญ๐ซ๐๐๐ข๐ญ๐ข๐จ๐ง ๐๐จ๐ซ ๐ฌ๐๐ฏ๐๐ง ๐๐๐ฒ๐ฌ ๐๐ง๐ ๐๐ข๐ ๐ญ๐ก๐ ๐๐จ๐ซ๐ฃ๐๐ ๐ญ๐จ๐ฐ๐๐ซ๐๐ฌ ๐ญ๐ก๐ ๐๐ข๐ซ๐๐๐ญ๐ข๐จ๐ง ๐จ๐ ๐ข๐ง๐ฏ๐๐ฌ๐ข๐จ๐ง. ๐๐ก๐๐ญ ๐ง๐ข๐ ๐ก๐ญ ๐ ๐ก๐ฎ๐ ๐ ๐ฌ๐๐ซ๐ฉ๐๐ง๐ญ ๐๐ฉ๐ฉ๐๐๐ซ๐๐ ๐๐ง๐ ๐๐๐ฌ๐ญ๐ซ๐จ๐ฒ๐๐ ๐๐ฅ๐ฆ๐จ๐ฌ๐ญ ๐๐ฅ๐ฅ ๐ญ๐ก๐ ๐ข๐ง๐ฏ๐๐๐๐ซ๐ฌ.
๐๐ ๐ฅ๐ข๐ฏ๐๐ ๐ฐ๐ข๐ญ๐ก ๐ก๐ข๐ฌ ๐ฐ๐ข๐๐, ๐ญ๐ฐ๐จ ๐ฌ๐จ๐ง๐ฌ, ๐ฌ๐ข๐ฌ๐ญ๐๐ซ ๐๐ง๐ ๐ ๐ฆ๐๐ข๐ ๐๐๐ฅ๐ฅ๐๐ ๐๐ ๐๐๐ฆ. ๐๐ญ ๐ฌ๐๐๐ฆ๐ฌ ๐ญ๐ก๐๐ญ ๐ญ๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐ ๐๐๐๐ซ๐๐ฌ๐ฌ๐๐ ๐ก๐ข๐ฆ ๐๐ฌ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐, ๐ง๐จ๐ญ ๐๐ฒ ๐ก๐ข๐ฌ ๐๐๐ญ๐ฎ๐๐ฅ ๐ง๐๐ฆ๐. ๐๐ ๐ฐ๐๐ฌ ๐๐ฉ๐ฉ๐จ๐ข๐ง๐ญ๐๐ ๐๐ฒ ๐๐ซ๐จ๐ง๐ ๐ฌ๐ ๐๐๐ง๐ฅ๐จ๐ฉ ๐ญ๐จ ๐๐จ๐ฅ๐ฅ๐๐๐ญ ๐ญ๐๐ฑ๐๐ฌ ๐๐ซ๐จ๐ฆ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐๐ง๐ ๐๐ฎ๐๐ซ ๐๐ซ๐๐๐ฌ; ๐ฌ๐จ ๐ก๐ ๐ฐ๐๐ฌ ๐ซ๐๐ฌ๐ฉ๐๐๐ญ๐๐ ๐๐ฌ ๐ฆ๐ฎ๐๐ก ๐๐ฌ ๐ก๐ ๐ฐ๐๐ฌ ๐๐๐๐ซ๐๐. ๐๐๐ฑ๐๐ฌ ๐๐จ๐ฅ๐ฅ๐๐๐ญ๐๐ ๐ฐ๐๐ซ๐ ๐๐๐ฉ๐จ๐ฌ๐ข๐ญ๐๐ ๐๐ข๐ญ๐ก๐๐ซ ๐๐ข๐ซ๐๐๐ญ๐ฅ๐ฒ ๐ญ๐จ ๐๐ซ๐จ๐ง๐ ๐ฌ๐ ๐๐๐ง๐ฅ๐จ๐ฉ ๐จ๐ซ ๐๐ก๐จ๐ง๐ ๐๐ซ ๐๐ณ๐จ๐ง๐ ๐ฉ๐จ๐ง.
๐๐ก๐๐ซ๐ ๐๐ซ๐ ๐๐จ๐ฅ๐ค ๐ฌ๐จ๐ง๐ ๐ฌ ๐๐๐๐ข๐๐๐ญ๐๐ ๐ญ๐จ ๐ก๐ข๐ฆ ๐๐ง๐ ๐ญ๐ก๐๐ฒ ๐๐ซ๐ ๐ฐ๐ข๐๐๐ฅ๐ฒ ๐ฌ๐ฎ๐ง๐ ๐๐ฏ๐๐ง ๐ญ๐จ๐๐๐ฒ, ๐ฅ๐ข๐ค๐ '๐ท๐๐ ๐ช๐๐ ๐ท๐๐ ๐ต๐๐...๐ซ๐๐๐๐๐๐ ๐ฑ๐๐ ๐๐๐๐ ๐๐ ๐บ๐๐๐ ๐บ๐๐๐'. ๐๐ก๐๐ซ๐ ๐ข๐ฌ ๐ง๐จ ๐จ๐ซ๐๐ฅ ๐ข๐ง๐๐จ๐ซ๐ฆ๐๐ญ๐ข๐จ๐ง ๐จ๐ง ๐ฐ๐ก๐จ ๐ฉ๐ซ๐๐๐๐๐๐ ๐ก๐ข๐ฆ ๐๐ฌ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐; ๐๐ฎ๐ญ ๐๐๐ซ๐ญ๐๐ข๐ง๐ฅ๐ฒ ๐ง๐จ ๐จ๐ง๐ ๐ฌ๐ฎ๐๐๐๐๐๐๐ ๐ก๐ข๐ฆ ๐๐๐ญ๐๐ซ ๐ก๐ข๐ฌ ๐๐ซ๐ฎ๐ญ๐๐ฅ ๐๐๐๐ญ๐ก.
๐ป๐๐ ๐ซ๐๐๐๐ ๐๐ ๐ฑ๐ ๐ซ๐๐๐๐๐๐
๐๐ง๐ ๐๐๐๐จ๐ฎ๐ง๐ญ ๐ก๐๐ฌ ๐ข๐ญ ๐ญ๐ก๐๐ญ ๐ญ๐ก๐๐ซ๐ ๐ฐ๐๐ฌ ๐ ๐ซ๐ข๐ฌ๐ข๐ง๐ ๐ฉ๐จ๐ฐ๐๐ซ ๐จ๐ ๐จ๐ง๐ ๐ฆ๐๐ง ๐ง๐๐ฆ๐๐ ๐๐๐ฅ ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ ๐ฐ๐ก๐จ ๐๐ซ๐ซ๐ข๐ฏ๐๐ ๐๐ญ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ ๐ฐ๐ข๐ญ๐ก ๐ฅ๐๐ซ๐ ๐ ๐๐จ๐ซ๐๐ ๐๐ง๐ ๐๐ฎ๐ข๐ฅ๐ญ ๐ ๐ ๐ข๐ ๐๐ง๐ญ๐ข๐ ๐๐๐ฌ๐ญ๐ฅ๐ ๐๐ญ ๐ญ๐ก๐ ๐๐๐ฌ๐ ๐จ๐ ๐๐ก๐ ๐๐๐ง๐ ๐๐จ๐ซ ๐ข๐ง ๐๐๐ฆ๐๐ ๐๐ญ๐ก๐ฌ๐๐ฅ. ๐๐ก๐ ๐ข๐ง๐ฌ๐ญ๐ข๐ฅ๐ฅ๐๐ ๐ ๐ฌ๐๐ง๐ฌ๐ ๐จ๐ ๐๐๐๐ซ ๐๐ง๐ ๐ซ๐๐ฌ๐ฉ๐๐๐ญ ๐๐ฆ๐จ๐ง๐ ๐ฌ๐ญ ๐ญ๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐. ๐๐จ๐ซ๐๐จ๐ฏ๐๐ซ, ๐ก๐ข๐ฌ ๐ฌ๐ก๐๐ซ๐ฉ ๐ข๐ง๐ญ๐๐ฅ๐ฅ๐ข๐ ๐๐ง๐๐ ๐ฐ๐จ๐ง ๐จ๐ฏ๐๐ซ ๐ญ๐ก๐ ๐ฅ๐๐๐๐ข๐ง๐ ๐๐ข๐ ๐ฎ๐ซ๐๐ฌ ๐๐ง๐ ๐ญ๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐ ๐จ๐ ๐๐ฎ๐ง๐ ๐ฌ๐๐ฆ. ๐๐ก๐ข๐ฌ ๐ข๐ง๐ฌ๐ญ๐ข๐ฅ๐ฅ๐๐ ๐ ๐ฌ๐๐ง๐ฌ๐ ๐จ๐ ๐๐๐๐ซ ๐๐ง๐ ๐ซ๐๐ฌ๐ฉ๐๐๐ญ ๐๐ฆ๐จ๐ง๐ . ๐๐ก๐ข๐ฌ ๐๐ฏ๐๐ง๐ญ ๐ง๐๐ญ๐ฎ๐ซ๐๐ฅ๐ฅ๐ฒ ๐ฆ๐๐๐ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐๐ง๐ฏ๐ข๐จ๐ฎ๐ฌ ๐จ๐ ๐ก๐ข๐ฆ. ๐๐๐ญ๐๐ซ, ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐๐๐ฆ๐ ๐ญ๐จ ๐ค๐ง๐จ๐ฐ ๐ญ๐ก๐๐ญ ๐๐๐ฅ ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ ๐ฐ๐๐ง๐ญ๐๐ ๐ญ๐จ ๐ฆ๐๐ซ๐ซ๐ฒ ๐ก๐ข๐ฌ ๐ฌ๐ข๐ฌ๐ญ๐๐ซ. ๐๐ก๐ ๐๐จ๐ซ๐ฆ๐๐ซ ๐๐ฉ๐ฉ๐ซ๐จ๐๐๐ก๐๐ ๐ก๐ข๐ฆ ๐๐ง๐ ๐ญ๐ก๐ ๐ฆ๐๐ซ๐ซ๐ข๐๐ ๐ ๐ฐ๐๐ฌ ๐๐๐๐จ๐ซ๐๐ข๐ง๐ ๐ฅ๐ฒ ๐๐ซ๐ซ๐๐ง๐ ๐๐. ๐๐ฎ๐ญ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ฅ๐ข๐๐ ๐ญ๐ก๐๐ญ ๐ก๐ข๐ฌ ๐ฆ๐๐ข๐ ๐ฌ๐๐ซ๐ฏ๐๐ง๐ญ, ๐๐ ๐๐๐ฆ ๐ฐ๐๐ฌ ๐ก๐ข๐ฌ ๐ฌ๐ข๐ฌ๐ญ๐๐ซ ๐๐ง๐ ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ ๐ฆ๐๐ซ๐ซ๐ข๐๐ ๐๐ ๐๐๐ฆ. ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ ๐ข๐ฏ๐ ๐ก๐ข๐ฆ ๐ ๐ฉ๐ฅ๐จ๐ญ ๐จ๐ ๐ฅ๐๐ง๐ ๐ข๐ง ๐๐ก๐๐ง๐ ๐ฆ๐ ๐๐ฌ ๐ฉ๐ซ๐๐ฌ๐๐ง๐ญ. ๐๐ก๐ ๐๐๐ญ๐ฎ๐๐ฅ ๐ข๐ง๐ญ๐๐ง๐ญ๐ข๐จ๐ง ๐จ๐ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ฐ๐๐ฌ ๐ญ๐จ ๐ค๐ง๐จ๐ฐ ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ'๐ฌ ๐ฐ๐๐๐ค๐ง๐๐ฌ๐ฌ ๐๐ง๐ ๐ญ๐ก๐๐ง ๐ญ๐จ ๐จ๐ฏ๐๐ซ๐๐จ๐ฆ๐ ๐ก๐ข๐ฆ.
๐๐ฅ๐จ๐ฐ๐ฅ๐ฒ, ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ ๐๐๐ฆ๐ ๐ญ๐จ ๐ค๐ง๐จ๐ฐ ๐ก๐ข๐ฌ ๐ฐ๐ข๐๐'๐ฌ ๐ข๐๐๐ง๐ญ๐ข๐ญ๐ฒ ๐๐๐๐จ๐ซ๐ ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐๐จ๐ฎ๐ฅ๐ ๐๐๐ก๐ข๐๐ฏ๐ ๐ก๐ข๐ฌ ๐ฉ๐ฅ๐๐ง. ๐๐ ๐ญ๐จ๐จ๐ค ๐ญ๐ก๐ข๐ฌ ๐๐ฌ ๐ข๐ง๐ฌ๐ฎ๐ฅ๐ญ, ๐๐ง๐ ๐ญ๐ก๐ ๐๐ข๐ ๐ก๐ญ ๐๐ง๐ฌ๐ฎ๐๐ ๐๐๐ญ๐ฐ๐๐๐ง ๐ญ๐ก๐ ๐ญ๐ฐ๐จ ๐ข๐ง ๐ฐ๐ก๐ข๐๐ก ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐ ๐ฐ๐๐ฌ ๐๐ซ๐ฎ๐ญ๐๐ฅ๐ฅ๐ฒ ๐ค๐ข๐ฅ๐ฅ๐๐.
๐๐ง ๐ '๐ซ๐๐'(๐๐๐๐ ๐๐ ๐๐๐๐๐๐), ๐๐ ๐๐ซ๐ฎ๐ง๐ ๐ฉ๐'๐ฌ ๐ฐ๐ข๐๐ ๐๐จ๐ฅ๐ฅ๐๐๐ญ๐๐ ๐๐ฅ๐จ๐จ๐ ๐จ๐ ๐ก๐ข๐ฌ ๐ก๐ฎ๐ฌ๐๐๐ง๐, ๐ฆ๐ข๐ฑ๐๐ ๐ข๐ญ ๐ฐ๐ข๐ญ๐ก ๐ฐ๐๐ญ๐๐ซ ๐๐ง๐ ๐ฌ๐ฉ๐ฅ๐๐ฌ๐ก๐๐ ๐ข๐ญ ๐จ๐ฏ๐๐ซ ๐ญ๐ก๐ ๐ฅ๐๐ง๐ ๐ ๐ข๐ฏ๐๐ง ๐ญ๐จ ๐๐ก๐จ๐ง๐ ๐ฅ๐๐ฒ ๐๐ฒ ๐ก๐๐ซ ๐๐๐๐๐๐ฌ๐๐ ๐ก๐ฎ๐ฌ๐๐๐ง๐. ๐๐ก๐ ๐๐ฎ๐ซ๐ฌ๐๐ ๐ญ๐ก๐ ๐ฅ๐๐ง๐ ๐ฐ๐ข๐ญ๐ก ๐๐ฑ๐ญ๐ซ๐๐ฆ๐ ๐๐ง๐ ๐๐ซ ๐๐ง๐ ๐ก๐๐ญ๐ซ๐๐. ๐๐ก๐ ๐ฉ๐ซ๐๐ฒ๐๐ ๐ญ๐ก๐๐ญ ๐ก๐๐ง๐๐๐๐จ๐ซ๐ญ๐ก ๐ญ๐ก๐ข๐ฌ ๐ฉ๐๐ซ๐ญ๐ข๐๐ฎ๐ฅ๐๐ซ ๐ฅ๐๐ง๐ ๐ฌ๐ก๐จ๐ฎ๐ฅ๐ ๐ง๐จ๐ญ ๐ฒ๐ข๐๐ฅ๐ ๐๐ง๐ฒ ๐ก๐๐ซ๐ฏ๐๐ฌ๐ญ ๐๐ง๐ ๐ญ๐ก๐๐ญ ๐๐ง๐ฒ ๐๐๐ฆ๐ข๐ฅ๐ฒ ๐ญ๐ซ๐ฒ๐ข๐ง๐ ๐ญ๐จ ๐๐ฎ๐ฅ๐ญ๐ข๐ฏ๐๐ญ๐ ๐ข๐ญ ๐ฌ๐ก๐จ๐ฎ๐ฅ๐ ๐ฆ๐๐๐ญ ๐ญ๐ก๐ ๐๐๐ญ๐ ๐จ๐ ๐ก๐๐ซ ๐ก๐ฎ๐ฌ๐๐๐ง๐. ๐๐จ๐๐๐ฒ, ๐ญ๐ก๐ ๐ฉ๐๐จ๐ฉ๐ฅ๐ ๐จ๐ ๐๐ก๐๐ง๐ ๐ฆ๐ ๐๐๐ฅ๐ฅ ๐ญ๐ก๐ข๐ฌ ๐ฅ๐๐ง๐ ๐๐ฌ ๐ฆ๐จ๐ง๐๐ง๐ ๐ฌ๐, ๐ฆ๐๐๐ง๐ข๐ง๐ ๐ญ๐ก๐ ๐๐จ๐ซ๐ฌ๐๐ค๐๐ง ๐ฅ๐๐ง๐.
๐น๐๐๐๐๐๐๐๐๐: ๐๐๐๐ง๐๐ ๐ท๐๐๐ ๐ฟโ๐๐๐๐ข๐
I, Dudjom Jigdrel Yeshe Dorje, was born in the year of the wooden dragon of the fifteenth rabjung cycle (1904). My birthplace was the hidden land of Pemakรถ, and my father was Jampel Norbu Wangyal of the royal line of Kanam.
When I was only three years old, I was recognized by the disciples of the great tertรถn Dudjom Lingpa as the emanation of their master. They took me for their own, and thus Iof their master. They took me for their own, and thus I entered the door of Dharma. “Reading and writing are the roots of knowledge,” my teacher said, and he made me study hard. At the same time, I had to memorize rituals, prayers, and so forth.
I received instructions on the proper conduct of body, speech, and mind. I also studied history, spiritual tales, and the preliminary practices, and thanks to this, my intelligence developed a little.
As the years went by, I was compassionately guided according to my ability by learned and accomplished lamas. I studied all the basic sciences such as grammar, spelling, poetry, astrology, and medicine, as well as the Dharma texts and commentaries of Madhyamika, Prajnaparamita, the Five Doctrines of Maitreya, the Bodhicharyavatara, the Three Vows, and so forth. In particular, I revered the maturing and liberating tantras, their commentaries, and the profound instructions of the oral and treasure teachings of the Nyingma tradition.
These ranged from the thirteen great activities of a vajra master to the rituals of the various practice traditions, making and decorating tormas, dancing, drawing mandalas, chanting, and music. Without overlooking anything, I trained most diligently in all the practical details of the vidyadhara lineage.
Beginning with the accumulations and trainings of the preliminaries up to the main practice, namely the approach and accomplishment sections of the creation stage, followed by the perfection stage practices, I persevered as much as I could, making up all the necessary numbers in the recitation.
However, I was led astray due to the fact that I have the unfortunate title of lama. I became a slave to the distracting activities that are said to be for the benefit of the doctrine andactivities that are said to be for the benefit of the doctrine and beings, and for that reason, I got about as much sign of accomplishment as feathers on a tortoise!
Whatever nectar of Dharma I received, most of it I explained and propagated as much as I could to others, according to their nature. And though not deserving to be numbered among the learned, yet so as not to disappoint those who requested me, and also in the hope that I might be of some service to the doctrine, I wrote and compiled more than twenty volumes. These include, for example: The History of the Nyingma School, A General Survey of Nyingma Teachings, A History of Tibet, a word-for-word commentary on the Three Vows, and instructions and guidelines for many cycles of practice. It is said that the result of receiving teaching is the ability to compose—so I wrote all these works without expectation and trepidation.
Thanks to the kindness of my great and holy teachers, the eyes of my pure perception were not blinded and I never accumulated the evil karma of abandoning the Dharma, of having wrong views and denigrating the teachings of others, or of criticizing anyone at all. I am continually training myself in the wholesome attitude of avoiding all duplicity. But as I do not have the slightest doubt that I belong among the followers of the compassionate Buddha, albeit in the lowest ranks, I do occasionally have a slight feeling of pride. Which goes to show that I can’t even tell the difference between right and wrong!
This is a short life story of myself, an old tantrika.
~ Dudjom Rinpoche, Counsels From My Heart: https://amzn.to/3gbwCYq
1900, Kalimpong.
The Kazi at Kalimpong.
'The day after our arrival we were informed that the Kazi, or headman, had come to pay us a visit. He was invited into the room where we were sitting, and shook hands in orthodox fashion when presented to us. He was a Bhutanese and of most handsome appearance. Tall, good-looking, with high aquiline nose and clear, dark complexion ; dressed in a long garment of rich claret coloured silk, with a turban-shaped hat of black felt, and English patent leather boots that creaked with every step in a most imposing manner.
The Kazi preferred a request that we would take his photograph. It was easy to see that our friend was not without a sufficiently good opinion of his personal appearance. He would like to be taken seated on his pony in state and dressed for the occasion. We agreed to do our best, provided he would wear native costume entirely, eschewing English boots.
He was quite willing, and the next day turned up at the Manse at the appointed hour. Smarter than ever in another silk robe striped in various colours, long boots, and handsome inlaid sword and Tibetan fire pouch ; seated on a fidgety grey pony, gorgeously caparisoned with scarlet trappings, and led by a smart syce; followed by an equally grand attendant carrying the pan box, he looked and felt a very superior person indeed, and I was delighted at the opportunity of seeing and photographing the Kazi of Kalimpong thus dressed in gala array.'
Lepcha land, or, Six weeks in the Sikhim Himalayas by Florence Donaldson. 1900.
University of Toronto.
Here are some photos of Wangdue Phodrang Dzong captured during the night.
Following are the images of various Dzongs in Bhutan, tracing Charles Bell's 1910 tour of Bhutan and the treaty (Treaty of Punakha) signed between British India and Bhutan.
These images were from Bells Album 5- Bhutan| National Museum Liverpool.
View of Punakha.
Illustration from the magazine 'The Illustrated London News' volume XLVIII, April 28th 1866.
#Royal Geographical Society Via Getty Images.
THE LEGEND OF NYALA DUEM
BY TSHERING TOBGAY
As you travel from Wangduephodrang to Trongsa, right after crossing the Jarukhashor Choeten at Chendebji, you will come across a big forest called Nyalalum. It is believed that, long ago, a malevolent demoness known as Nyala Duem made this forest her dwelling. She was the eldest of the seven siblings.
One demoness dwelled at Tergang, another on the way from Trongsa to Jakar Dzong, another roamed Takrinang which lies between Phobjikha and Athang, the next dwelled in Thurmangja, and the other one set up her residence at Chuser Lungpa between Rukubji and Chendebji. The sixth sibling dwelled at Dzongkha Lungpa below Trongsa Dzong and the seventh sibling, a demon named Gup Lakdum, dwelled below Tshangkha.
Nyala Duem was the most malevolent of the seven siblings and she could display various magical illusions. Sometimes, she transformed herself in broad daylight and harmed people. At times, she would transform into various animals. At other times, she would take the form of a human and pretend to help people at work. Occasionally, she she would turn into things.
Among many such accounts, Tashi Delek will run a series on verbal narratives passed down from generations.
AN EPISODE: GARP LUNGI KHORLO
Long ago, during the fortunate kalpa (eon), human beings, local deities and dharma protectors interacted and travelled together. It was the time when famous local deities like Ap Chundu of Haa, Ap Geynyen of Thimphu, and Ap Muktsen of Trongsa were known to father children with local women.
Among the followers of Ap Muktsen, the three brothers - Geypung Norbu, Gyetsel Rigpa and Garp Lungi Khorlo - made names for themselves and grew widely famous. Fearing rebellion from the three brothers if not brought under control, Trongsa Penlop Zhidhar (Druk Dhendup took them as novices under his command.
Since the three of them were stronger, more intelligent and forceful by nature, it was not long before no one in the ranks of the attendants could look them in the eye. The Trongsa Penlop thought that his authority could be challenged if each of them was not tamed tactfully. He decided to discipline Garp Lungi Khorlo, whose name means the wheel of wind, first.
He made the three heroes bet among themselves – Geypung Norbu would rub down an iron hammer into an axe in one day, Gyetsel Rigpa was tasked to stitch a costume for mask dance out of a sack of silk shreds in one day, and Garp Lungi Khorlo was to walk from Trongsa to Punakha and back in one day. The Trongsa Penlop promised to honour them with promotion if they succeeded in their tasks.
As ordered, Garp Lungi Khorlo made it back to Trongsa from Punakha before dinner was over at Trongsa Dzong. He noticed that his two friends had not completed their tasks. Although the penlop praised him, he was not rewarded anything substantial.
The Trongsa Penlop promised them promotion again and gave them the same tasks for the second time. Hoping for a promotion, Garp Lungi Khorlo undertook the epic journey once again and reported back to Trongsa Dzong a little while after dinner. Again he noticed that his two brothers were yet to complete their tasks. Apart from some compliments and praises, he was not given any special reward this time either.
The Trongsa Penlop called them for the third time and laid the same conditions as before. If Garp Lungi Khorlo came first again, he would be promoted and rewarded handsomely. Garp Lungi Khorlo accepted the order but he did not have high hope about the promises.
The Trongsa Penlop made him walk from Trongsa to Punakha and back because he knew about the grave threat Nyala Duem posed to travellers’ lives. He was intentionally sending Garp Lungi Khorlo hoping that the malevolent Nyala Duem would harm his life.
As he set off on his journey for the third time, Garp Lungi Khorlo did not feel high about it. Moreover, he was unenthusiastic and walked half-heartedly. When he reached Nyalalum, he called out to Nyala Duem and said, “Nyala Duem! I hear that you are evil and malicious. If you can, why don’t you eat me today?” Saying thus, he continued on his way to Punakha.
Late in the afternoon, when it was time for Garp Lungi Khorlo to return, Nyala Duem recollected what he said to her in the morning and awaited him. Nyala Duem had seen Garp Lungi Khorlo walking sullenly since morning. The Trongsa Penlop’s words and actions did not match so he was disappointed by how he was treated. Nyala Duem had sensed that his spirits were low, and she knew that it was time for Garp Lungi Khorlo’s end.
Without Garp Lungi Khorlo knowing about it, Nyala Duem had eliminated his life force. She transformed herself into a nomad girl wearing a black yak wool kira and a traditional bamboo hat. She filled his brain in a wooden milk container and waited for him at Gangla Pokto. Garp Lungi Khorlo was tired, thirsty and hungry. When he saw the girl, he sat down beside her to rest his weary bones.
When she asked him where he was coming from, he told her that he was returning from Punakha. She said he must be thirsty and offered him the milk. Thus, Garp Lungi Khorlo drank his own brain.
He was walking towards Trongsa crossing hills and vales when he saw a girl who looked similar to the one who had given him milk and a man washing entrails. The man looked middle-aged and wore a gho woven out of black yak wool. Half of his face was black and the other half, white. Garp Lungi Khorlo was confused to see the same girl whom he had left behind a while ago was now with the man whose face was half black and half white. He felt a chill run down his spine. When he asked them what they were doing, they told him that they were washing the entrails of an ox. He felt his heart sink as he realized that ox was his birth sign.
Thus, Garp Lungi Khorlo’s soul, his life-force, was impaired and he couldn’t walk as fast as he usually did. He walked as if he was in a trance and did not even have the ability to talk. Meanwhile, at Trongsa, Geypung Norbu had turned the iron hammer into an axe and Gyetsel Rigpa had completed making a mask dance costume out of pieces of silk. But Garp Lungi Khorlo was yet to return. The two brothers began to worry that some mishap might have befallen their brother. Shortly before dusk, they saw a headless Garp Lungi Kholo approaching the dzong.
Fearing some kind of injury to their brother, they went to meet him and enquired if he had encountered any misfortune on the way. When Garp Lungi Kholo narrated the whole story, they concluded that it was one of Nyala Duem’s magical tricks.
Owing to these provocative incidences, Garp Lungi Khorlo fell ill and died after a few days.
The following is an oral account of what happened to Garp Lungi Khorlo’s two brothers after his death.
Although they emerged winners after Garp Lungi Khorlo’s death, leave alone promotions and rewards, the Trongsa Penlop did not even praise them for their efforts. Although the Trongsa Penlop used many tactful means to tame them, the right opportunity never came and they were left alone for the time being.
One day, the Trongsa Penlop announced that the two heroes should fight an arm wrestling match. People from all walks of life flocked at the Trongsa Dzong to witness the match. The two brothers were reluctant to fight each other. Although the two brothers did not want to compete against each other, high officials of the dzong and people from all over the country had already gathered at the site.
The adage ‘A man’s demise is etched in his own ego’ proved to be true for the two brothers. Geytsel Rigpa held Gyepung Norbu’s arm and was asked to move. No matter how violently Geypung Norbu shook, Gyetsel Rigpa held on tightly. Geypung Norbu then swung Gyetshel Rigpa with all his strength and hurled him across the Trongsa Bridge. The latter was still holding onto the former’s arm when he landed on the other side.
“I won! You could not hold on,” shouted Geypung Norbu from across the bridge. “Yes, I lost, my brother. But see if you still have your arm with you,” Gyetsel Rigpa shouted back. When Geypung Norbu checked, his arm was not there.
Though Geypung Norbu was still intimidating, now with his brother dead and himself living with only one arm, there was nothing substantial he could do. Thus, his life too slowly slipped away
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TSHERING TOBGAY is a Researcher/Translator/Assistant Editor with KMT Publishing house. He has published over forty children’s books. He has a Bachelor’s Degree in Information Technology, but he has turned his hobby of writing and love for researching into his profession.
Dametsi temple - Mongar
Drametse Lhakhang or Monastery is one of the principal spiritual centres of Peling Tradition. It is located in Drametse, Mongar. Drametse was blessed by the birth of three successive incarnation of Zhabdrung Ngawang Namgyal – Zhabdrung Jigme Drakpa, Zhabdrung Jigme Norbu and Zhabdrung Jigme Chogyal. The temple is located at around 19 Kms from the highway of Mongar and Tashigang. Drametse literally means “peak without enemy” which is a state of freedom from the webs of conception attainable Dzogchen teaching and practices of Peling Terchoe revealed by great Master Terton Pema Lingpa. The monastery was founded in 1511 by Ani Chhoeten Zangmo, the yogni and also the granddaughter of Terton Pema Lingpa. The monasteries comprise of main chapel with the statue of Guru Rinpoche in the center, Kudung stupa of Ani Chhoeten Zangmo and Statue of Pema Lingpa. In the middle floor, the chapel is dedicated to protector deity Palden Lhamo and Tandrin, the Hayagriva. And on the top floor, the chapel houses Goenkhang Chenmo with statue of three local deities Pekar, Drametse and Tsong Tsoma and Tsheringma Lhakhang. The main important relic of the Drametse Monastery is the physical remains of the Ani Chhoeten Zangmo, Kapala of Dakini with the self arisen syllables Om Ah Hung. It is said that the Kapala was brought to Bhutan from Samye Monastery, Tibet after it was rediscovered by Terton Pema Lingpa during one of his visit to Lhasa.
Kapala was believed to be hidden at present Samye monastery by the Guru Rimpoche and his religious consort Khandro Yeshi Tshogyal after completion of construction of Samye Monastery in 769AD. It was kept in Treasure box of Tamshing Lhuendrup Choeling until Ani Chhoeten Zangmo attained the age of sixteen. She received the sacred object as a share of inheritance. She fled Bumthang to Drametse to escape a proposal of marriage from the son of feudal lord known as Choskhor Deb Kunthub. The monastery also houses rare collection of manuscripts, the Thangka, important murals and religious sculptures. The monastery is known for its origin of the Drametse Nga Cham, one of the famous and popular mask dances in Bhutan. The mask dance was listed in Masterpiece of Oral and Intangible Heritage by UNESCO in 2005.
The major event of the monastery is the three days annual Kangso Chhenmo, the festival of Vajra Dances and rituals. It is held on 10 th Bhutanese months. The festival is annually attended by the people of various gewogs and districts and tourists. The attraction of the festival is the sacred treasure Vajra dance reveled by the Terton Pema Lingpa, Pema Lingpa Thongdol, Drametse Nga Chum, and other ten types of important mask dances. The monastery was severly damaged by the earthquake on 21 September 2009. The earthquake caused a scale of profound damage to cultural heritage unprecedented in Bhutan. The stability of main temple and building around are severely affected by the earthquake.The current abbot of Drametse Monastery is His Eminence Sungtruel Rinpoche, the 11 reincarnation of Pema Lingpa. At present more than 80 monks reside and are educated in the monastery
PC : Carissa Nimah
Bhakha Tulku Rinpoche is the tenth incarnation of the Bhakha Tulku line, and a primary holder of the lineage of Rigdzin Pema Lingpa. He is also the incarnation of Tertรถn Dorje Lingpa, and an emanation of the eighth century scholar and translator, Vairotsana. Bhakha Tulku Rinpoche was recognized by Jamyang Khyentse Chรถkyi Lodrรถ [1], His Holiness the Sixteenth Karmapa and Dudjom Rinpoche.
The Bhakha monastery is in the Powo region of south-eastern Tibet, but the line has many ties with Bhutan as well, as Pema Lingpa is one of the most revered figures in the Tibetan Buddhist tradition in Bhutan. Rinpoche's seat in Bhutan is the Tamshing Gonpa in the Bumthang Valley. He studied at Mindroling in Tibet, and later at the school for young tulkus in Dalhousie, India. He has received many teachings from great masters including Dilgo Khyentse Rinpoche and Dodrupchen Rinpoche.
Bhakha Tulku Rinpoche holds many lineages, including the thirteen cycles of Pema Lingpa termas, which he received from both Dudjom Rinpoche and Tamshing Lama Phuntsok, Bhutan’s main holder of the Pema Lingpa lineage. He also holds the Dzogchen lineage of the Namchรถ tradition, the Longchen Nyingtik and the Chetsรผn Nyingtik. He received Dudjom Tersar, Rinchen Terdzรถ and many other teachings from Dudjom Rinpoche, whom he served for a number of years. He has also served and received transmissions from Penor Rinpoche and Chatral Rinpoche.
He has taught in India, Nepal, Bhutan, Tibet, Taiwan and the United States, and is the founder of the Vairotsana Foundation in the US.
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