Guhyagarbha Tantra (with Commentary)

by Gyurme Dorje | 1987 | 304,894 words

The English translation of the Guhyagarbha Tantra, including Longchenpa's commentary from the 14th century. The whole work is presented as a critical investigation into the Nyingma School of Tibetan Buddhism, of which the Guhyagarbhatantra is it's principle text. It contains twenty-two chapters teaching the essence and practice of Mahayoga, which s...

Chapter 1 - The Introductory Scene

Thus, at the time of this explanation, [1] the Tathāgata, genuinely perfect Buddha and transcendent lord, was endowed with great rapture which is the Identity of the indestructible body, speech and mind of all the Tathāgatas of the ten directions and four times. This is the nature in which all of them without exception, none excepted and omitting none at all, are Indivisible, without distinction or difference. [2]

In the abode of Akaniṣṭha, without extremes or centre, on the radiant wheel of pristine cognitions that is the limitless ground, there is his celestial palace, blazing forth with Jewels of pristine cognition, completely uninterrupted throughout the ten directions of space, fashioned as a square because it is vast in measureless enlightened attributes, and adorned with projecting bays of precious gems which are the superior pristine cognition. Its spire is the pristine cognition central to all, in which all maṇḍalas of the buddhas of the ten directions and four times without exception are not distinct from one another and are of a single essence. This inconceivable pristine cognition is extraordinary in its different details of shape, colour and so forth, which form the precious gems of pristine cognition.

The palace is superior and immeasurable in extent, [3] its garlands which are diverse gemstones of pristine cognition, its silken hangings. the ornaments of its frieze, and diverse forms, diverse sounds, diverse scents, diverse savours, and diverse objects of contact which intermingle in the ten directions are naturally present. Bedecked in inconceivable ornaments which radiate without obscuration, it has embrasured gates, entered through the fourfold approach to liberation, and it has tiered pediments representing the eight kinds of liberation. These are indeed contained within (the celestial palace), without outer and inner (distinctions) in all respects.

Therein, [4] on a lion throne of fearlessness, an elephant throne of power, a horse throne of miraculous abilities, a peacock throne of power, and a bird throne of unimpeded nature, on seats of precious gems endowed with solar and lunar disks of natural inner radiance, and with untainted lotuses, [5] is the buddha-body without front or rear. in all directions his visage radiates penetratingly, and he is endowed with the major and minor marks. In every Inconceivable (world-system) he appears universally as diverse buddha-body, speech and mind. His two legs of skillful means and discriminative awareness assume the posture of the ascetic discipline of equanimity. His hands, which are the six pristine cognitions, are endowed with blazing hand-implements or seals of precious pristine cognition; and he has three heads, which are the inconceivable buddha-body, speech and mind. [6]

The Transcendent Lord was present as such in (the form of) the Tathāgata who is king of consciousness, the Tathāgata who is king of form, the Tathāgata who is king of feeling, the Tathāgata who is king of perception, and the Tathāgata who is king of habitual tendencies. All these too were resplendent in their (respective) colours—dark blue, white, yellow, scarlet, and green. [7] Also present was the genuine queen who is the expanse of apparition, the one who is the expense of solidity, the one who is the expanse of liquidity, the one who is the expanse of warmth, and the one who is the expanse of mobility. Without duality in respect of the host of such queens, they entirely and Infinitely pervaded the expanse of reality. Filling it, just as, for example, a pod of sesame seeds, they were pervasively present. [8]

Then there was the great bodhisattva of indestructible sight, the great bodhisattva of indestructible hearing, the great bodhisattva of Indestructible scent, the great bodhisattva of indestructible savour, [9] the assembled host of the queen who is seen, the one who is heard, the one who is scented, and the one who is savoured. [10] There was the great bodhisattva of indestructible eyes, the great bodhisattva of indestructible ears, the great bodhisattva of indestructible nose, and the great bodhisattva of indestructible tongue, [11] the assembled host of the queen of time past, the one of time present, the one of time future, and the one of time unpredictable. [12]

There was the great subjugator of indestructible contact. the great subjugator of the indestructible subject of contact. the great subjugator of the indestructible object of contact, and the great subjugator of the indestructible consciousness of contact. [13] There was the queen who is not eternal. the one who is not transient, the one who is selfless, and the one who is signless. The assembly (in maṇḍalas) such as this is inexpressible, and present without duality. [14]

Then this secret description of these secret maṇḍalas, in which a a the Tathāgatas and the assembled host of their queens are without duality, emerged from the indestructible Buddha-body, speech, mind, attributes and activities: [15]

E, Ema, Emaho!
Holding sway over the very expanse of the real.
The maṇḍala of pristine cognition has a disposition of spirituality. [16]
This self-manifesting nature, radiant in its images
Of contemplation and its pure magical display, [17]
Is a wish-fulfilling gem or enlightened attribute
Of buddha-body, speech, mind, attributes and activities.
Where there is nothing to be dispelled.
It itself is the abode of supreme indestructible reality.
The inexhaustible wheel of adornment.

—Such were the secret words of indestructible reality which emerged. [18] This completes the first chapter from the Tantra of the Secret Nucleus Definitive With Respect To The Real, entitled the Introductory Scene. [19]

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