Padmasambhava. Image credit: himalayanart.org. Click on image to enlarge.

b.early 8th cent. – d.late 8th cent.

Tradition: Nyingma རྙིང་མ།
Geography: Traditional Tibetan Divisions
Historical Period: 8^th Century ༨ དུས་རབས།
Institution: Samye བསམ་ཡས།; Maratika མཱ་ར་ཏི་ཀ།; Tso Pema མཚོ་པད་མ།; Sani Gonpa ས་ནི་དགོན་པ།
Name Variants: Guru Rinpoche གུ་རུ་རིན་པོ་ཆེ།; Padmasambhava པདྨ་འབྱུང་གནས།

Despite the many layers of legend that have accreted around Padmasambhava, scholars generally agree that a renowned Indian tantric master by that name did visit and teach in Tibet in the late eighth century. Our earliest evidence for his activities comes from several tenth-century manuscripts found in the so-called “library cave” of Dunhuang. Pelliot tibétain 44 is a small booklet devoted to the tantric deity Vajrakila. It describes the master’s time in India and Nepal prior to his trip to Tibet. According to this account, he gathered the texts and performed the rites for The Hundred Thousand [Verse] Tantra of Vajrakila (phur bu’i ‘bum sde) at the Asura cave in Yanglesho (yang le shod), Nepal. During this same period, he is also said to have tamed four troublesome Se (bse) goddesses and bestowed upon them new Buddhist names. On gaining accomplishment in the practices of Vajrakila, the master then performed a series of miracles, including the magical diversion of a stream for irrigation purposes.

Pelliot tibétain 307 is a scroll containing several texts on the seven mothers (ma bdun), a set of seven goddesses native to the Tibetan landscape. The framing narrative for the rites found therein tells how, in accordance with the Buddhas’ earlier subjugation of Rudra, Padmasambhava and the Tibetan Lang Pelgyi Sengge (rlang dpal gyis seng ge, 8th century) tamed the seven mothers and bestowed on them oaths and new names as protectors of Secret Mantra. Now led by Dorje Kundrakma (rdo rje kun grags ma), formerly named Kongla Demo (rkong la de mo), the Buddhist mothers are finally supplicated for their assistance.

Also possibly significant is the Dunhuang manuscript IOL Tib J 644, which contains a text on the nine vehicles (theg pa dgu). In its discussion of the Kriya tantras, there appear a number of narrative threads that are found woven into certain later biographical accounts of Padmasambhava’s activities. Thus, for example, the ideal Kriya-tantra practitioner meditates in an Asura cave, attains a vision of his deity, reveals a new stream, and so on. Such details suggest that the biographies of this master were woven from historical fact as well as traditional memes and narrative themes.

Another depiction of Padmasambhava. Image credit: himalayanart.org. Click on image to enlarge.

In addition to the above-mentioned biographical snippets, the Dunhuang archive also contains a lengthy commentary titled the Lotus Garland Synopsis (padma ‘phreng gi don bsdus pa), a commentary on the Mahayoga tantra known as the Noose of Methods (thabs kyi zhags pa). Both the commentary and its tantra are preserved in later canonical collections, but only in the Dunhuang version are their connections to Padmasambhava so clearly spelled out; only there do several interlinear notes appear to suggest that the commentary was written by none other than Padmasambhava. Some scholars, it should be observed, have proposed that these notes might be interpreted to mean that the eighth-century master wrote the tantra itself, but a more straightforward interpretation would suggest the commentary.

Another text that many scholars have suggested may have been written by the historical Padmasambhava is the Garland of Views: A Pith Instruction (man ngag lta ba’i ‘phreng ba), and still others are also possible, such as his supposed commentary to the Vajravidarana-dharani (Toh. 2679). Taken together, these writings provide some sense of the historical master’s eighth-century interests. We can at least say that he appears to have been deeply involved in the Buddhist tantras, including those of the Mahayoga class and in particular, perhaps, those relating to the deity Vajrakila.

During the later dissemination of Buddhism in Tibet (phyi dar), Tibetan literature exhibits an ever-increasing interest in Padmasambhava. The Testament of Wa/Ba (dba’/sba bzhed), parts of which may date from the tenth or eleventh centuries, is an early history of the imperial period that includes a brief narrative of the eighth-century master’s visit to Tibet. Here we see many of the details that would become so well known in later years: The monk Santaraksita suggests to King Trisong Detsen (khri srong lde brtsan, c. 742-800) that he invite Padmasambhava to assist with the founding of Samye (bsam yas), Tibet’s first Buddhist monastery. On his arrival, the master offers a series of prophecies and tames Tibet’s local spirits who are resisting the introduction of Buddhism. The Testament of Wa also has the master overseeing several irrigation projects in the area around Samye. Such details have led some scholars to suggest that irrigation, and the spirit taming that would have entailed, may have been an area of particular expertise for the master. In the end, however, these same irrigation activities run him afoul of the king and his ministers, and he is soon forced to leave the country. On his way out, Padmasambhava pauses at the border to make a final prophecy, predicting trouble for Tibet and its Buddhists because of his not having been able to complete his activities.

Many of these themes are picked up and developed in subsequent biographies. Particularly influential was the Copper Palace (zangs gling ma), a treasure revelation discovered by Nyangrel Nyima Ozer (nyang ral nyi ma ‘od zer, 1124-1192). This was the first complete hagiographical account of Padmasambhava’s life. Many of its narratives were also incorporated into Nyangrel’s history, the Flower Nectar: The Essence of Honey (chos ‘byung me tog snying po sbrag rtsi’i bcud) and then further expanded in the famous Pema Chronicles (padma bka’ thang), another revealed hagiography discovered by the fourteenth-century treasure revealer Orgyen Lingpa (o rgyan gling pa, b. 1323). By the time of this figure, the legends of Padmasambhava were well established in Tibet, his role within the Nyingma tradition’s treasure tradition clearly predominant.

A thangka of Padmasambhava holding upraised in his right hand, a blue vaidurya ‘terma’ treasure casket. Image credit: himalayanart.org. Click on image to enlarge.

According to these legends, Padmasambhava was born amidst miraculous circumstances and grew up a prince in Oddiyana, in northwestern India. As a youth, the prince turns to tantric practice, and before long, the local people force his father, the king, to send him into exile. Padmasambhava then travels around India, receiving teachings and practicing in sacred charnel grounds. Eventually he arrives in Yanglesho, where he gathers the texts of Vajrakila, ends a drought by defeating some troublesome local spirits, and gains realization. While in Nepal, he receives King Trisong Detsen’s invitation and proceeds to Tibet, where he battles a now much-expanded series of local Tibetan spirits, helps to establish Samye, and leaves while pronouncing many ominous prophecies regarding the future of Buddhism in Tibet.

Of particular note in these later accounts are the master’s involvements with the princess Yeshe Tsogyel (ye shes mtsho rgyal), as well as his concealment of various treasures for discovery by later reincarnations of his twenty-five principal disciples (rje ‘bangs nyer lnga). Scores of Padmasambhava biographies have been produced as treasure texts, each adding new material to his rich biographical tradition. And because place is so often central to the revelation of treasure, countless religious sites that the eighth-century master is believed to have visited are scattered across today’s Tibetan Plateau.

In the later treasure traditions, e.g. that of Guru Chowang (gu ru chos dbang, 1212-1270), Padmasambhava is depicted as having eight manifestations (gu ru mtshan brgyad), each of which reflect a different aspect of the master’s miraculous activities: Shakya Sengge (shAkya seng ge), Padmasambhava, Nyima Ozer (nyi ma ‘od zer), Sengge Dradrok (seng ge sgra sgrog), Dorje Drolo (rdo rje gro lod), Tsokye Dorje (mtsho skyes rdo rje), Pema Gyelpo (padma rgyal po), and Loden Chokse (blo ldan mchog sras). These eight manifestations are frequently depicted in art both individually and as a group, and some, such as Dorje Drolo, have developed into popular deities with liturgical traditions of their own.

Through these means, Padmasambhava has become central to the treasure traditions of the Nyingma School. This is quite unlike the traditions witnessed prior to the fourteenth century, when Vimalamitra and other masters often served as the original teachers of revealed treasure, and, of course, within the treasures of the Bon religion. Whereas early Bon texts tend to depict the master negatively, as an enemy of their traditions, later writings of the New Bon (bon gsar) sometimes claim him as one of their own, adding Bon interpretations of his birth, episodes in Zhangzhung, and so on to their renditions of the master’s biography.

Teachers

• gsal ba’i rgyan གསལ་བའི་རྒྱན།
• bde ba gsal mdzad བདེ་བ་གསལ་མཛད།
• dpal gyi seng ge དཔལ་གྱི་སེང་གེ།

Students

• Lang Pelgyi Sengge རླངས་དཔལ་གྱི་སེངྒེ། b.early 8th cent. – d.late 8th cent.
• bai ro tsa na བཻ་རོ་ཙ་ན།
• Nubchen Sanggye Yeshe གནུབས་ཆེན་སངས་རྒྱས་ཡེ་ཤེས། b.844?
• g.yu sgra snying po གཡུ་སྒྲ་སྙིང་པོ།
• Gyelwa Chokyang རྒྱལ་བ་མཆོག་དབྱངས། b.early 8th cent. – d.mid 8th cent.
• Ma Rinchen Chok རྨ་རིན་ཆེན་མཆོག། b.early 8th cent. – d.late 8th cent.
• Sokpo Pelgyi Yeshe སོག་པོ་དཔལ་གྱི་ཡེ་ཤེས། b.early 8th cent. – d.late 8th cent.
• Nyak Jñanakumara གཉགས་ཛཉཱ་ན་ཀུ་མཱ་ར། b.early 8th cent. – d.late 8th cent.
• Yeshe Tsogyel ཡེ་ཤེས་མཚོ་རྒྱལ། b.early 8th cent. – d.mid 8th cent.
• Trisong Detsen ཁྲི་སྲོང་ལྡེ་བཙན། b.742 – d.796
• Odren Pelgyi Wangchuk འོ་བྲན་དཔལ་གྱི་དབང་ཕྱུག། b.early 8th cent. – d.mid 8th cent.
• Khyeuchung Lotsawa ཁྱེའུ་ཆུང་ལོ་ཙཱ་བ། b.early 8th cent. – d.late 8th cent.
• Gyelwai Lodro རྒྱལ་བའི་བློ་གྲོས། b.early 9th cent. – d.late 9th cent.
• Nanam Yeshe De སྣ་ནམ་ཡེ་ཤེས་སྡེ། b.mid 8th cent. – d.early 9th cent.
• Namkhai Nyingpo ནམ་མཁའི་སྙིང་པོ། b.early 8th cent. – d.mid 8th cent.
• Kharchen Pelgyi Wangchuk མཁར་ཆེན་དཔལ་གྱི་དབང་ཕྱུག། b.early 8th cent. – d.mid 8th cent.
• Yeshe Yang ཡེ་ཤེས་དབྱངས། d.862
• Denma Tsemang ལྡན་མ་རྩེ་མང། b.mid 8th cent. – d.early 9th cent.
• Kawa Peltsek སྐ་བ་དཔལ་བརྩེགས། b.early 8th cent. – d.late 8th cent.
• Pelgyi Sengge དཔལ་གྱི་སེངྒེ། b.8th cent. – d.9th cent.
• Lhalung Pelgyi Dorje ལྷ་ལུང་དཔལ་གྱི་རྡོ་རྗེ། b.early 9th cent. – d.mid 9th cent.
• Langdro Konchok Jungne ལང་གྲོ་དཀོན་མཆོག་འབྱུང་གནས། b.early 8th cent. – d.late 8th cent.
• Lasum Gyelwa Jangchub ལ་གསུམ་རྒྱལ་བ་བྱང་ཆུབ། b.early 8th cent. – d.late 8th cent.

Images

This 19th century painting depicts the central figure of Do Khyentse Yeshe Dorje with previous Nyingma masters above. Image credit: HimalayanArt.org

This sixteenth century painting shows the Drigung founder, Jikten Gonpo, with two men who stood at the beginning of the two main incarnation lines at monastery, the Drigung Chetsang and the Drigung Chungtsang. Image credit: HimalayanArt.org

Karma Kagyu Field of Accumulation painting with the Fifteenth Karmapa, Kakyab Dorje, as the last lineage holder at the time of the composition’s creation. Image credit: HimalayanArt.org

Wangdu Nyinpo was the Twenty-ninth Sakya Tridzin. This painting gives visual representation to his previous incarnations, which include Padmasambhava, and some of his disciples. Image credit: HimalayanArt.org

The style of this painting is known as tshal thang, a red background with fine gold lines forming the shapes of the subject deities. Only the eyes are filled with white and black pigments. Image credit: HimalayanArt.org

An early image of Padmasambhava with Nyangrel Nyima Ozer and masters of various traditions, including Padampa Sanggye. Image credit: HimalayanArt.org

This eighteenth century painting features Padmasambhava surrounded by his consorts Yeshe Tsogyel and Mandarava. Below are Santaraksita and Trisong Detsen. Image credit: HimalayanArt.org

A nineteenth century painting of Padmasambhava as Pema Jungne depicts his disciple Sokpo Pelgyi Yeshe in the lower left corner. Image credit: HimalayanArt.org

This Nyingma painting of Padmasambhava as Sengge Dradok shows Yeshe Tsogyel in the lower right corner. Image credit: HimalayanArt.org

Nyingma painting of Padmasambhava in wrathful form with masters of Mindroling and Shechen. Image credit: HimalayanArt.org

This late eighteenth or early twentieth century Drigung Kagyu painting of Padmasambhava and the Drigung Kagyu refuge field is associated with a terma tradition of Rinchen Puntsok. Drigung Monastery is pictured along the bottom of the painting along with Terdrom on the left edge. A nearby treasure site is shown adjacent to Terdrom. Image credit: HimalayanArt.org

This 18th century painting depicts Padmasambhava as a monk surrounded by several disciples and Jigme Lingpa above his head. Samye, one of Tibet’s first monasteries, is also pictured. The piece is based on a set of paintings from Bhutan; it was commissioned by the Fourth Druk Desi, Gyalse Tendzin Rabgye. Image credit: HimalayanArt.org

An 18th century painting of Rigdzin Kunzang Sherab, the founder of Pelyul monastery, surrounded by deities and Nyingma masters. Image credit: HimalayanArt.org

Mid-20th century painting of Machik Labdron and the Chod refuge field displaying teachers and deities. Image credit: HimalayanArt.org

Bibliography

• Bischoff, F. A. 1978. “Padmasambhava est-il un personnage historique?” In Proceedings of the Csoma de Koros Symposium, pp. 27-33. Louis Ligeti, ed. Budapest: Akademiai Kiado.
• Bischoff, F. A., and Charles Hartman. 1971. “Padmasambhava’s Invention of the Phur-bu: Ms. Pelliot Tibetain 44.” In Etudes tibetaines dediees a la memoire de Marcelle Lalou, pp. 11-27. Paris: Adrien Maisonneuve.
• Blondeau, A.M. 1980. “Analysis of the biographies of Padmasambhava according to Tibetan tradition: classification of sources.” In Tibetan Studies in Honour of Hugh Richardson, pp. 45-52. Michael Aris and Aung San Suu Kyi, eds. Warminster: Aris and Philips.
• Cantwell, Cathy and Robert Mayer. 2012. A Noble Noose of Methods: The Lotus Garland Synopsis: A Mahāyoga Tantra and its Commentary. Vienna: Verlag der Österreichischen Akademie der Wissenschaften.
• Cantwell, Cathy and Robert Mayer. 2013. “Representations of Padmasambhava in Early Post-Imperial Tibet.” In Tibet after Empire: Culture, Society and Religion between 850-1000, pp. 19-50. Lumbini, Nepal: Lumbini International Research Institute.
• Dalton, Jacob. 2004. “The Early Development of the Padmasambhava Legend in Tibet: A Study of IOL Tib J 644 and Pelliot tibétain 307.” Journal of the American Oriental Society, vol. 124, no. 4, pp. 759-772.
• Hirshberg, Daniel A. 2012. Delivering the Lotus-Born: Historiography in the Tibetan Renaissance. Harvard University: Unpublished PhD thesis.
• Karmay, Samten. 1988. The Great Perfection. Leiden: Brill, pp. 137-138.
• Tsogyal, Yeshe. 1999. The Lotus-Born: The Life Story of Padmasambhava. Translated by Erik Pema Kunsang. Boston: Shambala Publications.
• Tsogyal, Yeshe. 1978. The Life and Liberation of Padmasambhava. Translated into French by Gustav-Charles Toussaint; translated into English by Kenneth Douglas and Gwendolyn Bays. Berkeley: Dharma Publishing.
• Wangdu, Pasang and Hildegard Diemberger. 2000. dBa’ bzhed: The Royal Narrative concerning the bringing of the Buddha’s Doctrine to Tibet. Vienna: Verlag der Österrichischen Akademie der Wissenschaften.
• Zangpo, Ngawang. 2002. Guru Rinpoché: His Life and Times. Ithaca, NY: Snow Lion Publications.

Source: Jacob Dalton, “Padmasambhava,” Treasury of Lives, accessed July 10, 2018, http://treasuryoflives.org/biographies/view/Padmasambhava/7442.

Jacob Dalton is Assistant Professor of Tibetan Buddhist Studies at the University of California, Berkeley.

Published June 2014
Updated June 2015

Disclaimer: All rights are reserved by the author. The article is reproduced here for educational purposes only.

Source: https://treasuryoflives.org/biographies/view/Padmasambhava/TBRC_P4956. Click to enlarge.

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