Chogyal Namkhai Norbu Rinpoche Webcast

Chogyal Namkhai Norbu Rinpoche

Tsegyalgar East retreat - June 7th -12th 2013

"Khordas Rangdrol" from Dra Thalgyur.

Open Webcast - GMT -4

7th June 5-7pm. Teaching "Khordas Rangdrol"

8th June 10-12am. Teaching "Khordas Rangdrol"

8th June 4,30-pm. Ganas Puja for New Moon and singing and dancing Tibetan Songs and Dances..

9th June 10-12am. Teaching "Khordas Rangdrol"

10th June 10-12am. Teaching "Khordas Rangdrol"

11th June 10-12am. Teaching "Khordas Rangdrol"

11th June 4,30-pm. Ganas Puja for the end of retreatxand singing and dancing Tibetan Songs and Dances..

12th June 10-12am. Advices and tridlungs

In the Webcast Site http://www.shangshunginstitute.net/webcast

 You will find updated SCHEDULE and informations.   

Vajra and Bell

The general meaning Vajra and Bell is also the union of method and wisdom. The bell represents wisdom and emptiness, while the vajra represents the method. By using them together, we practice method and wisdom as one. Method becomes the cause to achieve our future Rupakaya. The wisdom becomes the cause to achieve our future Dharmakaya. Achieving these two kayas is our goal, because this is what will lead us to enlightenment for the benefit of all sentient beings. The bell and vajra are also part of our samaya substances.

When you ring the bell, always also hold the vajra in your hand. They are almost never used separately. Normally we ring the bell during all offerings (ARGHAM, PADYAM, PUSHPE, DHUPE, etc). Sometimes we also ring the bell during recitation of the Vajrasattva mantra, but at that time it is done to remind us the essence of emptiness. All the phenomena are empty and the sound of the bell reminds us of that.

The bell is used at the level of your heart. The reason for this is that the extremely subtle mind, or the mind of clear light, is located there inside the central channel.

Symbolism

The vajra is made up of several parts. In the center is a sphere which represents Sunyata, the primordial nature of the universe, the underlying unity of all things. Emerging from the sphere are two eight petals lotus flowers.  One represents the phenomenal world (or in Buddhist terms Samsara); the other represents the noumenal world (or Nirvana). This is one of the fundamental dichotomies which are perceived by the unenlightened. The physical manifestation of the vajra, also called dorje in this context, is the male organ.

Arranged equally around the mouth of the lotus are two, four, or eight creatures which are called makaras. These are mythological half-fish, half-crocodile creatures made up of two or more animals, often representing the union of opposites, (or a harmonization of qualities that transcend our usual experience). From the mouths of the makaras come tongues which come together in a point.

The five pronged vajra (with four makaras, plus a central prong) is the most commonly seen vajra. There is an elaborate system of correspondences between the five elements of the noumenal side of the vajra, and the phenomenal side. One important correspondence is between the five "poisons" with the five wisdoms. The five poisons are the mental states that obscure the original purity of a being's mind, while the five wisdoms are the five most important aspects of the enlightened mind. Each of the five wisdoms is also associated with a Buddha figure

THE VARJA (Dorje)

The Vajra is the quintessential symbol of Vajrayana Buddhism, which derives its name from the vajra itself.

The Sanskrit term vajra means 'the hard or mighty one,’ and its Tibetan equivalent dorje means an  indestructible hardness and brilliance like the diamond, which cannot be cut or broken. The vajra essentially symbolizes the impenetrable, immovable, immutable, indivisible, and indestructible state of enlightenment or Buddhahood

Vajras may have nine, five or three spokes. The spokes of a peaceful vajra meet at the tip whereas those of wrathful vajra are slightly splayed at the end. When paired with a bell their length can vary from four finger widths to twenty-eight finger widths.

The upper sets of spokes of a five spoked vajra symbolize the five wisdoms, which are

·         The Mirror like Wisdom--that which reflects all sense perceptions--is purified when one attains enlightenment and realizes mirror-like wisdom.

·         The wisdom of equality arises after all the feelings of pleasantness; unpleasantness and indifference have been purified.

·         The wisdom of individual analysis arises when the factor of discrimination, which distinguishes one object from another, is purified. It enables one to benefit each sentient being according to his or her needs and disposition.

·         The wisdom of accomplishing activity arises when the basic ability to perform acts according to particular circumstances is purified.

·         The wisdom of the sphere of reality arises when consciousness is purified and becomes the mind that is the seed of the wisdom truth body of Buddha.

The five lower spokes symbolize the five mothers.

In the case of the nine spooked vajra, the upper spokes symbolize the Buddha’s of the five families and the four mothers, one between each of the Buddha’s. The lower spokes represent the five wisdoms and the four immeasurable wishes of love, compassion, equanimity and joy.

The Sea-monster’s mouth from which each spoke emerges represents freedom from cyclic existence. Of the two lotuses at the hub of the vajra, the upper one symbolizes the eight Bodhisattvas and the lower one, the eight goddesses. Paired with a bell the vajra represents method or compassion.

 THE BELL (Dri bul)

A bell can be eight, twelve, sixteen, eighteen or twenty two finger-widths in height. Its base must be round, above which is a vase surrounded by the face of the goddess Prajnaparamita. Above these are a lotus, a moon disc and finally a vajra. The hollow of the bell symbolizes the wisdom cognizing emptiness. The clapper represents the sound of emptiness. The eight lotus petals are the four mothers and four goddesses, and the vase represents the vase containing the nectar of accomplishment.

Paired with the vajra, the bell represents wisdom, and as wisdom and method are an undivided unity so the vajra and bell are never parted or employed separately. The vajra represents the compassion of the Buddha, the masculine principle; and the bell represents wisdom, the female principle. To achieve enlightenment, those two principles must be combined. The bell is visualized as the Buddha's body, the vajra is visualized as his mind, and the sound of the bell is visualized as Buddha's speech in teaching of the dharma.

Buddhist Prayer Mala

In old Tibet, nearly everyone carried or wore prayer beads of wood, shell, amber, semiprecious, or precious stones. The materials differed according to the owner's taste and wealth, and depended too on the devotee's sect and the deity worshiped. The most highly prized beads were made from the bones of a lama.

In old Tibetan rosaries, three beads of different sizes and materials were used to divide the full rosary of 108 round or disk beads into four groups of twenty-seven each. At the point where the two ends of the string came together, three large retaining beads were included to indicate the completion of a round or circuit of prayer. These last beads symbolize the triad of Buddha, the doctrine, and the community. Attached to the main string were usually two strands of ten smaller beads. Known as the "number keepers" or counters, these act like a miniature abacus, keeping track of the number of times the user recites his prayers or mantra. The counter strings generally terminate with two small pendants, called the djore and drilbu. The djore (a representative of the conventionalized thunderbolt of Indra) is the single circuit string, while the drilbu (a tiny bell) marks every ten repetitions. In addition to these conventions, it is common to find personal odds and ends, such as tweezers or keys, attached to the rosaries.

http://en.wikipedia.org/wiki/Buddhist_prayer_beads

Prayer Flag of Tibet

The Indian Sutras, written on cloth in India, were transmitted to other regions of the world.[2] These sutras, written on banners, were the origin of prayer flags.[2] Legend ascribes the origin of the prayer flag to the Shakyamuni Buddha, whose prayers were written on battle flags used by thedevas against their adversaries, the asuras.[3] The legend may have given the Indian bhikku a reason for carrying the heavenly banner as a way of signifying his commitment to ahimsa.[4] This knowledge was carried into Tibet by 800 CE, and the actual flags were introduced no later than 1040 CE, where they were further modified.[4] 

The Indian monk Atisha (980 – 1054 CE) introduced the Indian practice of printing on cloth prayer flags to Tibet and Nepal.[3]

During the Cultural Revolution, prayer flags were discouraged but not entirely eliminated. Many traditional designs may have been lost. Currently, different styles of prayer flags can be seen all across the Tibetan region.

Tibet Flag

Introduction

"The Tibetan national flag is intimately connected with the authentic history and royal lineages of Tibet which are thousands of years old. Furthermore, in the Tibetan Royal year 820 or in the seventh century of the Christian era, at the time of the Tibetan religious King Song-tzan Gampo the Great extensive land of Tibet was divided into large and small districts known as "gö-kyi tong-de" and "yung-g'i mi-de". From these large and small districts, an army of 2,860,000 men was chosen and stationed along the borders of Tibet, and the subjects thus lived in safety. The bravery and heroism of the Tibetan people at that time in conquering and ruling even the adjacent empire of China is well-known in world history.

"At that time, it is recorded that the regiment of Yö-ru tö had a military flag with a pair of snow-lions facing each other; that Yä-ru mä had a snow-lion with a bright upper border; that of Tzang Ru-iao, had a snow-lion standing upright, springing towards the sky; and the flag of ü-ru tö had a white flame against a red background, and so forth. In this way. the regiments of each area had its own individual military standard. Continuing with that tradition up to the beginning of the twentieth century, various regiments within the Tibetan army have had military flags with either a pair of snow-lions facing each other, or a snow-lion springing upwards and so forth.

"In the latter part of this period, during the rule of His Holiness the Great Thirteenth Dalai Lama, this eminent spiritual and temporal ruler of Tibet enacted many modifications in administrative policies in accordance with international customs. Based on the formats of previous Tibetan military flags, His Holiness improved upon them and designed the present, modern national flag. With an official proclamation, He declared that this would be the uniform, standard flag to be adopted by all Tibetan military defence establishments. Since the time of that proclamation, all Tibetan regiments have likewise adopted this flag as their standard.

"The colour scheme of the Tibetan national flag gives a clear indication of all aspects of Tibet in its symbolism such as the geographic features of the religious. snowy land of Tibet, the customs and traditions of Tibetan society, the political administration of the Tibetan government and so forth.

"History attests to the fact that Tibet is one of the most ancient nations of the world. Therefore, in all the three regions of Tibet, irrespective of caste and creed, this national flag inherited from our ancestors is universally accepted as a common, peerless treasure and even today still continues to be highly respected and esteemed as in the past."

Quoted from "Tibetan National Flag" © Copyright 1980 Library of Tibetan Works and Archives.

An Explanation of the Symbolism of the National Flag of Tibet

In the centre stands a magnificent thickly snow clad mountain, which represents the great nation of Tibet, widely known as the Land Surrounded by Snow Mountains.

Across the dark blue sky six red bands spread representing the original ancestors of the Tibetan people: the six tribes called Se, Mu, Dong, Tong, Dru and Ra which in turn gave the [twelve] descendants. The combination of six red bands (for the tribes) and six dark blue bands for the sky represents the incessant enactment of the virtuous deeds of protection of the spiritual teachings and secular life by the black and red guardian protector deities with which Tibet has had connection for a very long time.

At the tip of the snow mountain, the sun with its rays brilliantly shining in all directions represents the equal enjoyment of freedom, spiritual and material happiness and prosperity by all beings in the land of Tibet.

On the slopes of the mountain there proudly stand a pair of snow lions blazing with the manes of fearlessness, which represent the country's victorious accomplishment of a unified spiritual and secular life.

The beautiful and radiant three coloured jewel held aloft represents the ever-present reverence respectfully held by the Tibetan people towards the Three Supreme Jewels (the Buddhist objects of refuge: Buddha, Dharma and Sangha).

The two coloured swirling jewel held between the two lions represents the peoples' guarding and cherishing the self discipline of correct ethical behaviour, principally represented by the practices of the ten exalted virtues and the 16 humane modes of conduct.

Lastly, the surrounding border of yellow adorning the perimeter represents the spread and flourishing in all directions and times of the purified gold like teachings of the Buddha.