A DAILY PRACTICE OF SINGLE

SYMBOL SHAKING OUT

THE NARAK PITS CALLED

“THE CORE OF THE VERY

PROFOUND”

FROMTHE COLLECTED WORKS OF DUDJOMRINPOCHE, JIGDREL YESHE DORJE

BY TONY DUFF

PADMA KARPO TRANSLATION COMMITTEE

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A DAILY PRACTICE OF SINGLE

SYMBOL SHAKING OUT

THE NARAK PITS CALLED

“THE CORE OF THE VERY

PROFOUND”

FROMTHE COLLECTED WORKS OF DUDJOMRINPOCHE, JIGDREL YESHE DORJE

BY LOTSAWA TONY DUFF

PADMA KARPO TRANSLATION COMMITTEE

This book is intended for free public distribution,however, the content is copyrighted. For enquiriesregarding permission to reproduce this book or anyportion of it, or to obtain further books, please write tothe given address or contact the author via internet ande-mail.

Copyright © 2008 Tony Duff. All rights reserved. Noportion of this book may be reproduced in any form orby any means, electronic or mechanical, includingphotography, recording, or by any information storageor retrieval system or technologies now known or laterdeveloped, without permission in writing from thepublisher.

First edition 14th June 2005

Palatino typeface with diacritical marksDesigned and created by Tony Duff

Produced, Printed, and Published byPadma Karpo Translation CommitteeP.O. Box 4957KathmanduNEPAL

Web-site and e-mail contact through:http://www.pktc.org/pktcOr search Padma Karpo Translation Committee on theweb.

TABLE OF CONTENTS

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

A DAILY PRACTICE OF SINGLE SYMBOL SHAKING OUT

THE NARAK PITS CALLED “THE CORE OF THE VERY

PROFOUND” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

TIBETAN TEXTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

iii

INTRODUCTION

In November and December of 2004, at Shechen Monastery,Bauddha, Kathmandu, Nepal, Thrulzhig Rinpoche bestowedthe empowerments of the Nyingma Kama collection com-piled by Terdag Lingpa. At his command, Rabjam Rinpochebestowed the reading transmission of the collection.

During the empowerments, Thrulzhig Rinpoche observedthat a regular practice of one of the yidams in the collection,the practice of Shaking Out the Narak Pits, would serve tomaintain the continuity of the energy of the empowermentsfor the entire set of deities of the collection. Accordingly,a highly condensed liturgy for the practice, written by theprevious Dudjom Rinpoche, Jigdrel Yeshe Dorje, was se-lected by Thrulzhig Rinpoche and copies were handed outto the assembly. Tulku Padma Wangyal observed to theWestern students that it would be good if it were translated.

We have put the translation together in a nice book, withcopious notes to help those who are not familiar with theterminology of these kinds of practices. The liturgy itself

v

vi INTRODUCTION

is fairly clear, so not much is added in terms of how to dothe practice.

This practice could be used by anyone who has had the base“Shaking Out the Narak Pits” empowerment, not only thepeople who were at The empowerments with ThrulzhigRinpoche.

This e-book has a binding offset built in so that it can easilybe printed and bound as a book for your library.

The text in Tibetan script has been included for those needingit.

Lotsawa Tony Duff,Swayambunath,Nepal,14th June 2005

A REGULAR PRACTICE OF THE SINGLE

SYMBOL1

SHAKING OUT THE NARAK2 PITS3

CALLED

“THE CORE OF THE VERY PROFOUND”

OṂ SVASTI

There are three parts to this most condensed form of the yoga ofthe single symbol Shaking Out the Narak Pits: opening; main part;and conclusion.

1. Opening1.a. Refuge

In the space before me is guru Vajrasatva4, the embodimentof all places of refuge.

Think that5.

NAMO6

I and the six migrator sentient beings7

1

2 SHAKING OUT THE NARAK PITS

Take refuge until enlightenmentIn the guru whose form embodying the sugatas8

Is the nature of the Three Jewels.

That is the fictional9 going for refuge. At the end, the guru dis-solves into me and I rest equipoised10 in a state not referencing11

the three-fold sphere12; that is the superlative13 one.

1.b. Arousing the Mind14

Myself and the infinite sentient beingsPrimordially are buddha yetControlled by concepts we cycle around;I arouse the mind for supreme enlightenment15 from that.

That is the fictional arousing of mind concerned with the aim ofothers. Resting the mind one-pointedly in the state divorced fromthe comings and goings referenced through birth, cessation, anddwelling16 involved in that arousing of mind is the superlative one.

2. Main Part2.a. Meditation on the Deity

OṂ MAHĀŚHŪNYATĀ JÑĀNA VAJRA SVABHĀVA ĀTMAKO ’HAṂ17

Like this18, all apparent phenomena are unreferenced andfree from elaboration19. For sentient beings not realizing thatto be so, compassion not grasping but seeing them as illusorystreams out across all of space. The unification of emptinessand compassion20, self-knowing rigpa, appears clearly as awhite letter A, with a nature of bliss, luminosity, and empti-ness21. Its sound of HŪṂ22 radiates out filling space producinga vajra base over which a tent of massed wisdom fire billowsout infinitely, filling every direction; this is the indestructibleprotection circle. Within it a magnificent blaze of wisdom,the immeasurable mansion with all the characteristics, is

SHAKING OUT THE NARAK PITS 3

perfectly complete. At its centre, supported by eight lions,is a precious throne and on a seat of lotus, sun, and moonone's own mindness23 becomes evident as a white A. Thattransforms into a blue HŪṂ, clear and brilliant. Light raysemanate24 from it; they accomplish the buddha deeds. Theyare gathered back again and that transforms into a blue,five-pointed vajra. Light rays emanate from it; everythingof upaya25 in the world systems is gathered back with themand they dissolve into it. It transforms and I become thebhagavat26 glorious Vajrasatva with deep blue body, one face,and two arms. With peaceful and beaming countenance, hesports himself in the mood of samadhi. He blazes with themarks and signs27. His right hand holding a vajra at his heartand the left with ghaṇṭa28 resting at the hip embrace theconsort. His long hair is bound up into a topknot29 and twolegs are fully crossed30.

A MŪṂ separates off from his heart centre31, light rays ema-nate and gather from it, and it transforms into a ghaṇṭa. Lightrays emanate from it, gather everything of prajñā in the worldsystems, and dissolve back into it. It transforms into theconsort Vajradhātvīśhvarī, blue, and sitting to the left sideof his lap. Her right hand holding a ghaṇṭa embraces herconsort, her left hand holds a vajra at her heart centre, andher legs are wrapped around him in yogic disciplineposture32.

Both are bedecked with the thirteen peaceful ornaments anddeveloped with the nine peaceful moods. They radiate lightrays in each of the six colours and sit in the midst of a vastspace filled with tens of millions of these rays in each of thesix colours. At the heart centre of both male and female isa jñānasattva33 just like them but with ornaments and sceptresleft aside. At each of their heart centres is a moon on which

4 SHAKING OUT THE NARAK PITS

blue HŪṂ and MŪṂ letters permanently appear34. The lightrays arising from the letters invite every one of the conquer-ors of the ten directions and four times35 with their sons inthe form of Vajrasatva, male with consort. Like water putinto water, they mix inseparably with my body. Again, lightrays emanate from the HŪṂ at the heart centre and that invitesthe devas of empowerment in the form of the five families,male with consort, with Akṣhobhya as the chief. The maleand female deities of the five families engage in sexual union,joining as one. The heat of their passion melts streams of thefive wisdoms which descend onto five places on the head,performing the empowerment; the liquid fills the whole body,the five afflictions are purified, and the five aggregates be-come the places of the buddhas of the five families. Theexcess fluid runs out at the crown of the head and they arecrowned with the emanated forms in full dress of the fivefamilies with Akṣhobhya as the chief.

Think that.

Once again at the crown on a moon is a white OṂ, at thethroat on a lotus, a red ĀḤ, and at the heart on a sun, a blueHŪṂ. Light rays emanate from the three, inviting the deityassemblies of the three vajras36, filling space with them. Theydissolve into their respective letters making the letters insepa-rable with the three vajras of all tathāgatas. Each letter trans-forms: at the crown, the white enlightened body vajra turnsinto a wheel; at the throat, the red enlightened speech vajraturns into a lotus; at the heart centre, the blue enlightenedmind vajra turns into a vajra-holder. Thus it is sealed.

Think that.

Once again light rays from the heart centre's HŪṂ spreadthroughout space, rousing the conquerors with their sons

SHAKING OUT THE NARAK PITS 5

of the ten directions and four times, and they mix inseparablywith me.

Think that. Recite it again and again. That is, perform the yoga ofadding in the jñānasatvas; then there is the training in holding themind one-pointedly on the clear appearance of the deity's form and,sometimes, in the appearance of the deity's form of bliss-emptinessproduced from the practice called melting bliss. And as well as that,there is nurturing it through the generation of certainty of completepurity of one’s own mind seen as the special deity's body which isthe inseparability of the two truths.

2.a. Recitation of the Mantra

Around the heart centre's HŪṂ letter the white mantra garlandof the hundred letters rotates clockwise37. The light raysemanating from it invoke the commitment of the conquerorsand their sons. The sounds of the mantra and rays of lightof compassionate activity emanate from the mouth of myselfand every one of the tathāgatas pervading space, illuminatingthe entirety of the three realms. They purify karma and afflic-tions in their entirety. They shake out the pits of the naraksand so on—the bad migrations—and liberate every sentientbeing into the buddha fields.

The light rays gather and dissolve back again into the mantragarland. Sights, sounds, and movement, these three, awakenas the sphere38 of deity, mantra, and luminosity.

Direct your mind towards that. Do not do less than twenty-onerecitations of the one hundred letters39.

3. Conclusion3.a. Absorption and Arising

6 SHAKING OUT THE NARAK PITS

3.a.1 Absorption of the Session

Every appearance of the containers and their contents40 meltsinto light and dissolves into me; that dissolves into the jñāna-sattva; that into the samadhisattva's HŪṂ; the HŪṂ dissolvesupwards and finally into the nāda; then I remain equipoisedin the state without discursive thought, in spontaneous pres-ence, like space.

Rest equipoised in that.

3.a.2 Arising from the Session

Once again I become the form of Vajrasatva, apparent yet emp-ty, like an illusion. My crown is marked with an OṂ; throatwith an ĀḤ; and heart centre with a HŪṂ letter. The body iscoated with vajra armour like molten metal poured over itso the three doors are inseparable with the three vajras.

Think that and have the pride of it. Live all activities as the body,speech, and mind of the deity.

3.b Dedication

By this merit may I quicklyAccomplish Vajrasatva thenPlace41 each and every migratorAt that level.

Thus dedicate. Embellish it with other auspiciousness expressionsas fitting.

This written instruction for the root “Shaking out the Pits”, anextract of the essential meaning, was composed by Jigdrel YesheDorje at the urging of Sonam Chokyi Gyaltsen, the Chinese man-tra-reciter. May there be goodness and virtue.

SHAKING OUT THE NARAK PITS 7

Translated and verified by Lotsawa Tony Duff and V. Turner of Pad-ma Karpo Translation Committee at the request of Tulku PadmaWangyal on November 27th, 2004, Shechen Monastery, Kathmandu,Nepal.

1. The single symbol version of any yidam practice means aversion in which the yidam appears by itself at the centre ofthe mandala without any other devas or devis. Single symbolyidam does not refer to whether there is a consort or not; it canbe either with or without consort. This practice is with consort.

2. Narak is the Sanskrit for “hell”. The Tibetans kept the San-skrit word so we have too.

3. Tib. narak dong sprugs. This has been translated in variousways. It actually means to take hold of a long, deep cylinder,for example like a deep pit, and shake it so strongly that thecontents slop out. The shaking is continued until the pit, etc.,is emptied. In this case, it means shaking up the naraks, i.e.,the hells, until they are shaken empty.

4. Tib. rdo rje sems dpa’; Skt. vajrasatva: This is the more correctspelling, despite the almost ubiquitous appearance in Englishtranslations as Vajrasattva. The previous Dilgo KhyentseRinpoche verified this.

5. Say it and mentally produce it.

ENDNOTES

9

10 ENDNOTES

6. Namo is a Sanskrit term meaning “Homage!”. Literally fromthe root “namas”, to bow down.

7. Sentient beings as a whole who migrate about through thesix different places of migration: the hells, pretas, animals,humans, asuras, and gods.

8. Tib. bde bar gshegs pa; literally, the ones gone to bliss: thisis a synonym for the buddhas.

9. Tib. kun rdzob. The buddha taught that all of the realitiesexperienced by beings could be summed up into just two. Thefirst is the reality of beings who have a dualistic mind. Thereality that they create for themselves is a fiction made up fromtheir own obscured mental processes. Thus, the buddha calledthis “a reality which is nothing but a production of obscura-tion”. The Tibetans translated it as “nothing but fictional truth”. Strangely, it has been mistranslated for years in Western litera-ture where it has been called “relative truth”. The other realityis the reality of beings who are spiritually advanced to the pointof having directly perceived emptiness. The reality that theyexperience is factual and is thus superior to the kind of realitythat the obscured beings create and live within. Therefore, thebuddha called it “superior fact truth”. The Tibetans translatedit exactly according to the Sanskrit. Strangely again, Westerntranslations have distorted the meaning for many years, callingit “absolute truth”. I have simply called it “superlative” truthhere as a step towards a better translation than “absolute”.

Now, having explained that, there are two types of takingrefuge and similarly two types of arousing the mind of bodhi-citta: the first deals with the fictional reality of sentient beings

10

ENDNOTSS 11

and the second with the superlative level of reality. The verseshere arouse the first kind and then the instructions followingthem tell you how to practice the second kind.

10. Tib. mnyam bzhag. There are many different terms inTibetan for the placement of the mind in meditation and otherconcentrated states. Unfortunately, these widely variegatedterms have often been translated with just one or two Englishwords, thereby losing the precise meanings presented in theTibetan. This term is the standard term for placing your mindundistractedly and one-pointedly on the subject of the medita-tion. It is also sometimes used to refer to the resting of mindin an uncontrived state, beyond any object of focus and beyondany conceptual elaboration. It is a very practical term, not adry philosophical term.

11. Tib. dmigs pa. Referencing is a specific term that meansthe use of rational mind to know something. Rational mindalways has a conceptual reference that it relates to, a conceptualimage of the actual thing. When you see the term “referencing”it tells you that dualistic perception is involved.

12. Tib. ’khor gsum. The three parts of any action which arethe agent, action, and object acted on. Dualistic mind seesactions in terms of these three but in the superlative level oftruth, they do not exist.

13. Tib. don dam. See footnote 9 for explanation.

14. Tib. sems bskyed. This is a specific term found throughoutGreat Vehicle literature. It means “arousing the mind of en-lightenment” i.e., the arousing of bodhicitta. However, the text

11

12 ENDNOTES

does not say “arousing bodhicitta”. As with many other thingshere, we have translated this according to what is actually said. In the end, this helps the students have a much better under-standing of the literature and its meaning.

15. The mind for supreme enlightenment is bodhicitta, a mindwhich is directed not merely at the lesser enlightenment of thearhats but at the supreme enlightenment of a complete buddhafor the sake of all beings.

16. “Birth, cessation, and dwelling” as a phrase simply pointsto the operation of dualistic mind.

17. OṂ the great emptiness-wisdom, the vajra nature, that iswhat I am.

18. “Like this” means “per the meaning of the mantra justrecited”.

19. Elaboration is the process whereby rational mind, i.e.,dualistic mind, is engaged in internal discussions about somephenomenon. Again, when you see the term “elaboration”,it tells you that dualistic mind is involved. Concentration ofyour mind in the lack of elaboration mentioned here is the firstof the three samādhis used in the creation of the visualizationof a deity, the suchness samādhi.

20. The words of the text here are the words of the mantra putinto effect. First there is emptiness, that is not any emptinessbut the great emptiness that includes luminosity, i.e., wisdom. Those two unified are the vajra nature. All phenomena areempty. The luminosity has compassion. The two unified arethe self-knowing rigpa which is the basis for the rest of the

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ENDNOTSS 13

visualization.

21.Concentration of your mind on the seed-syllable which isthe union of emptiness and compassion is the second of thethree samādhis in the creation of the visualization of a deity,the cause samādhi. Concentration of your mind on the appear-ance of the deity’s mandala, the development of which immedi-ately follows, is the third of the three samādhis, the total-ap-pearance samādhi.

There are four main ways of visualizing a deity in buddhisttantra. The method used in this liturgy is the one called “TheThree Rituals”. The Illuminator Tibetan-English Dictionary ex-plains them as follows.: The first step is the visualization of theseat. The second is the visualization, on the seat, of the sceptreof the deity marked with the seed syllable of the deity. Thethird is that the sceptre gives rise to the complete form of thedeity. with all of its sceptres and marks. In the old translationsystem, these are further equated with enlightened body as aconcentration, enlightened speech as the seed syllable, andenlightened body as the final completion. These are ritualsassociated with each of the three aspects, hence the name.

22.The A letter gives off the sound of HŪṂ.

23. Skt. cittatā, Tib. sems nyid. Mindness means mind itself,what mind really is without all the extras that come when duali-zing ignorance and the apparatus it produces is laid over thetop of it. The term moreover, is a path term used to indicatewhat the practitioner works with on the journey. It indicatesthe practitioner’s experience of the mind itself as the practitioner

13

14 ENDNOTES

goes on the journey.

24. Tib. ‘phro ‘du. “Emanating and gathering” refers to a two-fold process that forms one of the key parts of deity practice. Emanating is the process of sending out and gathering is theprocess of gathering back in. Usually there is a syllable thatdoes the emanating and gathering and usually it sends out lightrays. These light rays perform one of several functions and thenare gathered back. Most commonly there are two functions.The first is emanating light rays that make offerings to thebuddhas and in doing so, pick up their blessings which are thengathered back into the syllable that emanated them in the firstplace. The potency picked up is then used usually to performa transformation of the syllable, etc. The second is emanatinglight rays that perform the deeds of a buddha, liberating sen-tient beings; in this case, the light rays are simply gathered backafter fulfilling their function.

25. The great vehicle sums up all of the path to enlightenmentinto two things: upāya and prajñā. Upāya means the methodor means by which something is done. Prajñā refers to theinsight into reality which keeps the upāyas in contact withreality and prevents them from being merely deluded methods. Prajñā is not “wisdom” but a specific kind of sharpness of mind;the sharpness of mind can be directed to worldly things, includ-ing negative ones, and to spiritual things, too. In this first step,all of the upāya things are gathered from the world systemsand brought back. In a subsequent step, all of the prajñā thingsare gathered and brought back.

26. Bhagavat, in terms of Indian languages means “fortunate

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ENDNOTSS 15

person”, a spiritually advanced person. The Tibetan translationof the term adds much meaning that is not in the original andtranslating it slavishly into English becomes too much. It isin fact similar to referring to someone in English as a holyperson, holy because they are well developed on the spiritualpath.

27. The thirty-two marks and eighty illustrative signs of abuddha.

28. Bell. (Tib. dril bu) There are several words for bell in San-skrit. This one refers specifically to the classic bell-shaped kindof bell.

29. The phrase in Tibetan refers to long, highly-groomed hairthat is bound up into a series of three buns on top of the head. The buns are held in place with pins and rings. The systemcomes from ancient Indian culture. It does not refer to thematted coils of hair that yogins are known to wear.

30. Commonly called full lotus posture.

31.It peels off from the HŪṂ letter and goes out into the spacein front of the male.

32. This is a slightly unusual posture. The male holds a ghaṇṭain the left hand near the left hip and holds a vajra in the righthand at the heart. The female holds a vajra in the left hand nearthe left hip and holds a ghaṇṭa in the right hand at the heart.. The male deity’s legs crossed up in full lotus posture producesa lap; the female consort sits to the left of that lap, mainly onthe left thigh. Her legs are in what is called yogic disciplineasāna, meaning that both legs are loosely arranged. Note that

15

16 ENDNOTES

they are not in sexual union.

33. Development stage practices generally use a system in whichthere are two forms of a deity: samayasattva and jñānasattva. The samayasattva or samaya being is the initial visualizationof the deity. Theoretically, it should be a wisdom representationbut this is a practice and the practitioners have not perfectedthe ability to make an image in wisdom yet. So, to help thepractitioner to make it a true representation of wisdom, wisdomforms of the deity are invoked, brought down onto the samayabeing, and unified with it. These are the jñānasattvas or wisdombeings. In the old translation tantras of the Nyingma system,there is additionally, sometimes, a third form of the deity, whichis included in the visualization as a way of improving thestrength of the samādhi; that is the samādhisattva or samādhibeing. All three are used in this practice. The samādhisattvasin this practice is the seed syllable letter at the heart centre ofeach of the jñānasattvas.

34.Both male and female deities have a jñānasattva at the heartcentre. The jñānasattvas are just like the main deities, male andfemale, but they do not hold the sceptres of vajra and ghantaand are unadorned, not wearing any of the eight jewelledornaments or five silk garments that comprise the thirteenpeaceful ornaments of a saṃbhogakāya deity. The jñānasattvaof the male has a blue HŪṂ letter at its heart and the jñānasattvaof the female has a blue MŪṂ letter at its heart. These lettersare the samādhisattvas referred to later on in the liturgy..

35. The ten directions refer to the four cardinal directions, fourintermediate directions, and the two directions above and

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ENDNOTSS 17

below. In ancient India, referring to the ten directions meantthe same thing as saying “everywhere” in English. The fourtimes are the three concept-based times of past, present, andfuture, plus the fourth non-concept-based time, called timelesstime.

36. “The three vajras” refers to body, speech, and mind ofenlightened beings. On the path, a practitioner has partiallypurified versions of these and they are called the three secrets.When enlightenment has been attained, these three are not onlyfully actualized, but are irreversible, unchangeable, and hence,they are not merely the three secrets but are now the threevajras.

37. The mantra garland appears around the HŪṂ letter at theheart centre of the male, not around the MŪṂ letter at the heartcentre of the female. The HŪṂ letter that it appears around isthe samādhisattva mentioned earlier, which is the HŪṂ letterat the heart centre of the jñānasattva, The mantra, correctlywritten according to Sanskrit, is as follows: OṂ VAJRASATVA

SAMAYAM/ ANUPALAYA / VAJRASATVA TVENOPATIṢHṬHA/ DṚḌHO

ME BHAVA / SUTOṢHYO ME BHAVA / SUPOṢHYO ME BHAVA /ANURAKTO ME BHAVA / SARVASIDDHI MEM PRAYACCHA / SARVA

KARMA SUCA ME/ CITTAṂ SHREYAM KURU HŪṂ / HA HA HA HA

HOḤ / BHAGAVAN SARVATATHĀGATA VAJRA MĀ ME MUÑCA /VAJRĪ BHAVA MAHĀSAMAYASATVA ĀḤ /

38. Here the term sphere actually translates the Sanskritmaṇḍala and conveys the sense of a self-contained world,operating on its own principles.

39. Despite the widespread popularity of calling it “the hundred

17

18 ENDNOTES

syllables”, the actual Tibetan term says hundred letters (Tib.yi ge); there is another word in Tibetan (’bru) that means sylla-ble.

40. The containers are the places in which beings live and thecontents are the beings who live there. The term is used invarious ways; it can refer only to samsaric worlds and beingsor can refer to all things of samsara and nirvana. Here it meansall places and beings.

41. This prayer is often translated as “lead ...” but the imageand the words, too, of the prayer are the idea of taking allmigrators and setting them up, arranging all of them, at thelevel one has realized for oneself, in this case, Vajrasatva.

18

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Tony Duff has spent a lifetime pursuing the Buddha’steaching and transmitting it to others. In the early1970's, during his post-graduate studies in molecularbiology, he went to Asia and met the Buddhistteachings of various South-east Asian countries. He

met Tibetan Buddhism in Nepal and has followed it since. After histrip he abandoned worldly life and was the first monk ordained in hishome country of Australia. Together with several others, he foundedthe monastery called Chenrezig Institute for Wisdom Culture wherehe studied and practised the Gelugpa teachings for several yearsunder the guidance of Lama Yeshe, Lama Zopa, Geshe Lodan, andZasep Tulku. After that, he offered back his ordination and left for theUSA to study the Kagyu teachings with the incomparable ChogyamTrungpa Rinpoche. Tony was very active in the community and wentthrough all possible levels of training that were available during histwelve year stay. He was also a core member of the Nalanda Trans-lation Committee. After Chogyam Trungpa died, Tony went to live inNepal where he worked as the personal translator for TsoknyiRinpoche and also translated for several other well-known teachers.He also founded and directed the largest Tibetan text preservationproject in Asia, the Drukpa Kagyu Heritage Project, which he oversawfor eight years. He also established the Padma Karpo TranslationCommittee which has produced many fine translations and mademany resources for translators such as the highly acclaimedIlluminator Tibetan-English Dictionary. After the year 2000, Tonyfocussed primarily on obtaining Dzogchen teachings from the bestteachers available, especially within Tibet, and translating andteaching them. He has received much approval from many teachersand has been given the titles “lotsawa” and “lama” and been stronglyencouraged by them to teach Westerners. One way he does that is byproducing these fine translations.

PADMA KARPO TRANSLATION COMMITTEEP.O. Box 4957KathmanduNepalhttp://www.pktc.org/pktc