The Collective Retreat of Vajrakilaya --

Phur-drub; Rumtek May 16 - 27,1988.

The collective retreat of Vajrakilaya, or Dorje Phurpa in Tibetan, was performed at the Seat of His Holiness the Gyalwang Karmapa during the latter part of May, 1988. This series of spiritual exercises constitute what is known as a 'drub-chhen' in Tibetan. It denotes a collective retreat which may be done in connection with any meditational deity of the Higher Tantras of both the Nyingma and the Sarma traditions. In general, both monks and lay people may participate in it in various capacities. To be successful, a drub-chhen requires a minimum number of participants, but there is no upper limit. Since at the Gyalwang Karmapa's monastery, ordination is specifically enjoined, those who take part in the meditations, rituals, and ceremonies are monks, except with a few exceptions.

The great Master, Guru Padmasambhava, more popularly known as Guru Rinpochhe, has extolled these drub-chhens saying that participation in the core practices for seven days, brings benefits similar to those an individual might derive from seven continuous years of isolated meditations. Moreover, those who participate in such a coliective retreat, may develop one or more positive qualities such as loving-kindness, compassion, calmness of mind, the direct realization of emptiness, and so on. These also, serve as indicators of an individual's journey along the path to spiritual evolution. Those who are not direct participants, but remain as mere spectators, also benefit from being present. The numerous days of practice concentrate blessings and accomplishments into the various ritual objects and substances arranged in and around the mandala. On the final day of the core practices, these blessings and accomplishments are distributed to all present. Thus the Two Ideals, those of Oneself and Others, are subsumed in this retreat.

This particular drub-chhen revolves around the deity known as Dorje Phurpa, or Vajra Kilaya in Sanskrit. It belongs to one of the Eighteen Mahayoga Tantras of the Old Translation School or Nyingma tradition. The Buddha had himself taught the Tantras of Vajrakilaya, and in one of them had said : "The wisdom of all the Buddhas is embodied in this form, manifesting from within innate nature, the Vajra Dharmadhatu, as blazing, wrathful, and all-powerful" In this context, wrath does not imply anger as usually understood. It refers to enlightened compassion which transforms itself into a wrathful form to bring about the complete and thorough disintegration of confused ego. Vajrakilaya is thus the embodiment of the innate wisdom and activity of all the Buddhas.

Transmissions of Vajrakilaya have come from the Buddha down to the present time in their entirety, through a continuous lineage of Adept Masters. Each in their turn have passed on the empowerments, vocal transmissions, commentaries, secret instructions, blessings, and accomplishments, to their disciples. In this way Guru Rinpochhe received the transmissions in their entirety from his Principal Guru Prabhahasti. Guru Rinpochhe then went to Tibet and gave them there in their totality to the Dharma King Thri-song-de'u-tsaen, and the famous lady practitioner Yeshe Tshogyal. Afterwards Guru Padmasambhava and Yeshe Tsthogyal concealed them as treasures in various forms, for rediscovery by worthy disicples in the future.

The spiritual exercises performed in Rumtek during this drub-chhen were discovered from their place of concealment in the earth at Yugyal Namkha-dzoed, in the Nangchhen province of eastern Tibet. While the teachings were being hidden there, Guru Padmasambhava had made aspirational prayers that they be rediscovered by one of his disciples in the future, who would then benefit countless beings through them. Simultaneously Guru Rinpochhe instructed the local spirits to guard the texts closley until the appropriate person arrived at his appointed time to retrieve them.

When Guru Rinpochhe had first given the transmissions of Vajrakilaya, the circle of disciples had included Prince Murab Tsaenpo. After a series of incarnations, he was reborn as the famous nineteenth century Master, Orgyaen Chhog-ghyur De-chhen Ling-pa. Chhogghyur Lingpa went to Yugyal Namkha-dzoed, and retrieved the set known as the "ZAB-PA KOR-DUEN", from their place of concealment. One of these is this Vajrakilaya Sadhana. He then deciphered the code, making the texts available to others. It was expressly stated in these texts that the XIVth. Gyalwang Karmapa Theg-chhog Dorje, was to be the Holder of its Lineage. and that the transmissions should be directly given to him. It was he who subsequently instituted the tradition of this drub-chhen, extant today.

Meditational Dancing, often termed Lama Dancing, forms an integral part of this drub-chhen. These owe their origins to the great rediscoverer himself, who on many an occasion, had visited the heavenly realm of Guru Rinpochhe, known as Zang-dog Pal-ri, the Copper Coloured Mountain, during his meditations. There he heard the chants, their musical accompaniments, as well as the dancing. Recollecting them clearly and completely, he taught them to the residents of Tshurphu Monastery, the seat of the Gyalwang Karmapas in Tibet.

The drub-chhen itself is divided broadly into three sections: the preliminaries, the core practices, and the conclusion. On this occasion, the first section lasted three days; the second, seven; and the last, one. It was ushered in with a fire-puja, performed through the night of May 16 into the early morning hours of the 17th. It employed the activity of invincibility, in which enlightened compassion intensely activated, is used to bring about the disintegration of conflicting emotions and so on -- hindrances to the successful completion of the practice.

The first day was devoted to propitiating the earth goddess and requesting her to grant the area for the retreat. Then the Guardians of the Four Directions were invoked to mark the outer boundaries of the drub-chhen, beyond which its participants are not allowed to venture out. Another active principle, Lae kyi Shin-je, was invoked and requested to guard the entrance of the main temple, with Amrita Kundali at the inner boundary. Strictly, those who were present during the demarcation of these boundaries alone are permitted within.

The following day monks were subdivided into small groups for the morning, each being given its own practice to clear up the environment. In the afternoon the participants were each assigned their seats in the main shrine hall.

On the third day a three dimensional mandala of Vajrakilaya was set up. This may be understood as a configuration of enlightened energy. It had an elaborate sand drawing in multiple colors at its base, the plan of Vajrakilaya's heavenly abode together with its configuration of deities within. Various ritual objects, including some specifically sanctified, were placed upon multiple tiers over and around it. Once the sand mandala was ready, all were assembled for a session and the various offices of the retreat distributed.

H.E. Goshri Gyaltshab Rinpochhe was designated the Lord of the Mandala. Ven. Naendo Kuchhung Rinpochhe was instated as the Vajracharya or the Presiding Meditation Master. The Regents of the Four Buddha Families were: H.E. Sangjae Nyaenpa Rinpochhe, the Vajra Regent; Ven. Behur Gharwang Rinpochhe of Zurmang, the Ratna Regent; Ven. Tenga Rinpochhe, the former Vajracharya of Rumtek, Padma; and Ven.Thubtaen Zangpo, Karma. Another office, that of the Dorje Tshampa, is immediately subordinate to the Karma Regent. During the entire course of the core practices. he was to be seen occasionally going through the aisles clearing away obstacles and removing hindrances. His direct function was to guard the inner boundary, and he conducted parallel meditation sessions in a separate chamber with his own group of monks. This office was performed by Lama Chhoying Dhoendrub, a recent graduate of the retreat center in Rumtek.

One other parallel meditation was performed throughout the core practices. With two other monks Lama Thrinlae Paljor conducted extensive Vajrasattva practices in a corner behind the mandala. Every afternoon, immediately after the lunch break, he would purify the mandala from each direction of any contamination which might have adhered to it arising from faulty meditations, imperfect mantra recitation, or broken covenants or samaya. This would be done using consecrated water in a ritual vase, and a mirror. He would then go down the aisles similarly purifying individual practitioners, starting with H.H.'s throne, cleansing them all of any negativity accumulated intentionally or otherwise.

Once the mandala was set up on this third day, meditations and mantra recitations were performed ceaselessly round the clock with small groups of monks taking turns for the night sessions.

The core practices commenced on the fourth day of the drub-chhen. These are divided into two parts: the former practices, and the latter. Of these, the former practices focus on the accomplishment of enlightenment by individual practitioners, fulfilling the Ideal for Oneself. The latter concerned the utilization of enlightened energies to fulfill the Ideal for Others. In terms of the Four Activities, the former practices utilize the activities of pacification and enrichment; the latter, those of magnetizing and invincibility.

The former practices accomplishing the Ideal for Oneself, entail the pacification of, for both the practitioner, as well as for all sentient beings, sickness, sufferings, conflicting emotions and negative actions. Simultaneously, the longevity, Accummulations of Merit and Wisdom are enhanced for all.

The latter practices covering four days, revolve principally around the accomplishment of the Ideal for Others. Using the activity of magnetizing, both positive and negative forces are brought under control, in the service of the Dispensation. The activity of invincibility utilizes intensified compassion to disintegrate fundamental ignorance and its attendant neuroses of passion, hatred, and stupidity, into the vast expanse of the Dharmadhatu.

As was mentioned before, Meditational Dancing plays an important part in the drub-chhen. This too has replete in it the Two Ideals, the one relating to the practitioner; the other, spectators. Through extensive former practices, a meditational dancer thoroughly identifies with Dorje Phurpa utilizing the usual methods of visualizations mantra recitations, and direct heart contact, so that the deity's Body, Speech, and Mind, become inseparable from one's own. During the dances, the practitioner then puts on a hat and robes, symbolic of his having realized stability in identification with Dorje Phurpa. He also carries in his hands the deity's implements. These accoutrements constitute a holistic representation of Vajrakilaya. Dancing thus with unwavering certainty, the practitioner is able to purify one's own accummulations of negative actions and obscurations, to clear one's subtle energy channels, and harmonize the energies within. In this manner the dancers themselves receive the blessings of the form of Vajrakilaya.

The fulfilment of the Ideal for Others is accomplished simulataneously as the dancers go through their movements. During this period, those who are able to perceive them with faith and certainty that the dancers are none other than Dorje Phurpa, can and do receive his blessings. Their accummulations of negative actions and obscurations are reduced, and obstacles and interferences in their lives removed. Thus, witnessing these meditational dances has a deep effect on the human psyche. It is worth noting here that for centuries these dances were performed in secret by initiates alone. Their performances in public are more recent in origin.

In accordance with the teachings of the Higher Tantras, meditative identification with Vajrakilaya is performed as follows. Initially a meditator is to dissolve one's ordinary perception of oneself and one's world, into the Dharmadhatu. From within this, the meditator is to emerge fully identified with the wisdom deity in all his aspects. and with a firm conviction. One is also to understand that each minute detail of oneself residing inone’s own universe, symbolizes the discontinuity of neurotic ego-patterns, and hence the aspects of enlightenment expressed variously as the Thirty-seven Factors of Enlightenment, such as the Four Mindfulnesses, the Four Complete Abandonments, and so forth.

Having generated this mental image, the practitioner goes on to invoke the wisdom aspect of the deity which is subsequently requested to become inseparable from one. Unwavering in this holistic identification, the meditator offers salutations, makes offerings, submits praises, and then does mantra recitations together with their accompanying meditations. Attaining stability in this, the meditator is then said to encounter Vajrakilaya in his absolute nature. This is none other than the uncontrived nature of the mind, manifest fully as the deity mandala. At this point, one goes beyond the need to visualize the deity.

The mandala itself has two aspects to it, the relative and the absolute, of which the former is further explained in terms of the indicative and the indicated mandata. The first of these depicts a large square mansion, with a portico, two alighting platforms, and an entrance on each side, and so on. It is made of brightly colored pillars, beams, intricate brickwork, and myriad decorations, all made of precious metals and jewels. Also represented within is the great charnel ground of the destruction of the confused ego. This mansion serves as the residence of the deity and his entourage. The identification process is holistic, one in which the practitioners purifies both one's own perception of oneself, as well as that of one's surroundings. That which is being indicated is Vajrakilaya, the wisdom deity, in the fullness of enlightenment. The absolute mandala is that of innate wisdom, the absolute nature of mind.

The climax of the drub-chhen took place on the final day of the core -practices, May 26. The meditation session commenced at 12:30 a.m. After hours of practice at dawn, the mandala which had been consecrated and energized during the preceding six days of intensive practice, was 'opened', and the blessings and accomplishments gathered in its various receptacles, received by all participants, and distributed to those present. For this occasion, a large number of people had converged on to Rumtek the day before. These over, the latter part of the morning was given to rest and recuperation.

At the end of the day, the participants went in procession to a broad area north of the monastery, and overlooking the valley below. There, accompanied by intricate meditations and dances, a 'tor-gyab' was performed, in which many tormas of various sizes were thrown and then sent up in a big blaze. This ceremony forms part of the activity of invincibility in which negative forces and influences from external sources are'averted'. A torma may be understood as a symbolic figure made of cooked dough, of which there are a large number. each with its own specific application.

During the course of the drub-chhen, the Regents along with small groups of monks had performed fire pujas connected with their particular functions The drub-chhen had been led in as mentioned already, with a fire-puja of the activity of invincibility, performed by the Dorje Tshampa. A fire-puja of pacifying activity was performed on the morning of the third day by the Vajra Regent H.E. Sangjae Nyaenpa Rinpochhe. Its dual intent was to atone for the faults in recitations and meditations which might have occured during the first three days of the core practices and to pacify sickness, suffering, and so forth, both for oneself as well as for all others. On the afternoon of the fifth day, the Padma Regent, ven.Tenga Rinpochhe, led a magnetizing fire-puja, with the intent to bring both positive and negative forces under control. On the eleventh day, the closing ceremonies of the retreat were preceded by a fire-puja of the activity of enrichment, performed by the Ratna Regent, ven. Behur Gharwang Rinpochhe. The intent was to enhance the happiness, longevity, merit, and wisdom of all. An integral part of the fast three fire-pujas, was the ceremonial pageant during which the younger monks all brightly dressed would carry a mandala plate with tormas symbolizing the deities to the location of the fire-puja for the presiding Regent.

The enriching fire-puja over, the sand mandala was gathered up and taken in a colourful procession down through the village of Rumtek, to a stream at its entrance. After a ceremony propitiating the resident nagas, water sprites, this sand was poured into their waters. A scramble ensued amongst spectators to collect as much of this 'blessed water' for themselves. Everyone then returned uphill to the monastery compound where the outer and inner boundaries demarcated on the first day were delimited. This was done by making offerings to the various deities, commending them for their vigilance, and requesting them to return to their various abodes.

It was about noon when all this was over. Subsequently everyone reassembled in the shrine hall to chant the Mar-me Moen-lam. This is an extremely moving and profound prayer in which each participant holds a butter lamp in the right hand, while being connected to the entire cricle of practitioners through a long chain of scarves knotted together, which winds its way through the aisles, starting with the first resting on the throne of the Gyalwang Karmapa. This inter-connectedness was also reflected in the chanting, the Vajra Regent leading the prayer, and the congregation repeating line by line after him. It is an extremely emotional event.

The drub-chhen concluded with aspirational prayers for the well-being of the world and the dedication of merit for the sake of all beings. Trashi prayers for auspiciousness, ushered in the welfare and happiness for all.

Throughout the drub-chhen a note of joyous hope was present. On May 4, 1988, the letter of H.H. the late XVIth. Gyalwang Karmapa, relating to his seventeenth incarnation, was said to have been finally opened in Rumtek with the participation of all the Four Seat-Holders and the Trustees of the Dharmachakra Center. For the first time since his passing away into the Dharmadhatu the fall of 1981, His Holiness' throne in the main shrine hall was uncovered, and his ceremonial cloak neatly placed on it, indicating his imminent return.

This paper derives from the teachings given by ven. Tenga Rinpoche to a group of Swiss students commissioned to video-record the entire event. These were translated and subsequently enlarged upon by Lama Shree Narayan Singh. Michele Martin contributed invaluably to its preparation. This was completed by Lama Shree Narayan Singh at his family residence, 'Uddiyana', Dalip Mahal, Munger 811 201, Bihar, India, tel. # 91-6344 2-2291, e-mail lamashree@hotmail.com on the auspicious fourth day of the seventh month of the earth dragon year, Tuesday. Aug. 16, 1988. It has also been published in The Tibet Journal!

Bhavatu Sarva Mangalam!