Dzogchen view and practice.

It is crucial to have a grounded understanding of the four noble truths in order to appreciate the Dzogchen view and practice. The four noble truths teach us to:

Understand the human predicament.
Let go of the arising of attachment, aversion and ignorance.
Actualize the state of cessation.
Practice the path.

In the first turning of the wheel of dharma, the Buddha did not go into great detail on the third noble truth of actualizing or beholding the state of cessation. In the first turning, the Buddha described the state of cessation as what it was free from, namely attachment, aversion and ignorance. He did not go into depth about the actual experience of that state.

In the second turning of the wheel of dharma he made it more clear by introducing the five features of emptiness, but even this is a more conceptual and elaborate way of understanding and recognizing the truth of cessation. By understanding the relative and ultimate truth, we can better understand the nature of the mind and gain clarity about the resultant state of the nature of our own mind.

In the third turning, the Buddha explicitly described the truth of cessation, introducing the tathagatagarbha or buddha heart. By understanding our primordial state as originally pure and ever-present, the resultant state is not something newly acquired but instead something that we come to recognize or reawaken. It is as though we have lost something for a long time, only to find it and at that same moment experience complete resolution and certainty.

The third turning of the wheel of dharma and the teachings on the tathagata-garbha opened the door to the Vajrayana, including practices like Buddhist tantra, Mahamudra and Dzogchen. Tantra introduced the buddha heart as something to purify and transform. It is only in Mahamudra and Dzogchen that we find the completely unelaborate introduction to the nature of the mind itself as the basis of the path. While Mahamudra and Dzogchen are similar in many aspects, they do have critical differences in terms of method of introduction and differences in working with the resultant state of awareness.

Dzogchen, or the Great Perfection, is a direct introduction to our primordial state of authentic presence, our intrinsic awareness or rigpa in Tibetan. However, being introduced to rigpa is not enough, we must engage in the practice of Dzogchen in order to actualize the resultant state of awareness. Garab Dorje introduces the Dzogchen path in this Three Statements that Strike the Vital Point:

One is introduced directly to one's true nature,
Be decisive about this unique state,
Continue directly with confidence in liberation.

The teacher directly introduces the student to their intrinsic awareness, or rigpa, which is the primordial state of authentic presence. There are many methods and teachings which can introduce rigpa, my own teacher Younge Khachab Rinpoche wrote a short mind treasure entitled Drop of Secret Nectar which introduces the primordial state of rigpa. When one has recognized rigpa in their own experience, they can study Longchenpa's Way of Abiding to gain a deeper understanding of that state as the four samayas of Dzogchen.

After one has been introduced to rigpa and recognized that primordial state of being, you need to be decisive about this unique state. This can only be resolved through the practice of meditation, in which you work with and resolve all that appears and exists. As you learn to work with the unceasing display of the primordial state, you move through the practices of trekchod to come to a decisive experience of one's own nature as the unborn awakened mind, or ultimate bodhicitta. Longchenpa's masterpiece on coming to the decisive experience of awakened mind can be found in the first nine chapters of the Choying Dzod, the Treasury of the Basic Space of Phenomena. 

Having come to a decisive experience of rigpa, our own primordial state of authentic presence, one perfects the practice of trekchod and the practice of thogal naturally unfolds as one continues with confidence in liberation. Much can be said about the practice of thogal, and of course their are books to read, but by the time you get to this state in your practice you recognize that you already have all the teachings you need. You have been decisive after all, haven't you?


The easiest part of Dzogchen is the introduction. You can get introduced to your own awareness as the primordial state of being. You can be introduced to the result, the truth of cessation, directly, in your own experience. Many do, and then they leave it at that. Off to the next thing. Just like meeting a person and then later forgetting their name, the introduction itself it not enough.

The hardest part of Dzogchen is to be decisive about this unique state. That second point of Garab Dorje's.  Padmasambhava, the "Guru Rinpoche" who brought the Vajrayana to Tibet, spent twelve years contemplating Dzogchen in the charnel grounds of India after he was introduced to his primordial state by Shri Singha. Twelve years for one of the greatest Dzogchen masters. If you want to practice Dzogchen, much less realize the natural Great Perfection, you need to meditate. Demand clarity in your practice. Demand confidence in your realization. Be decisive. Then you continue with confidence in liberation, which connects back to the fourth noble truth. Practice the path.

An important aside: it is probably going to help if you have a good teacher and some supporting companions on this journey. You know where to find us.

A single thread over a lifetime.

There’s a thread you follow.
It goes among things that change.
But it doesn’t change.
People wonder about what you are pursuing.
You have to explain about the thread.
But it is hard for others to see.
While you hold it you can’t get lost.
Tragedies happen; people get hurt or die;
and you suffer and get old.
Nothing you do can stop time’s unfolding.
You don’t ever let go of the thread.
~William Stafford, The Way It Is

There is a thread in life that moves through you and in you. We notice it most when we are fully present and embodied, in moments of fullness and joy. This thread is to be the person we are called to be in the world, the person we see in ourselves inwardly, but don't manifest outwardly. 

There is an ancient notion that each of us has an innate genius that is waiting to be recognized and expressed. The Buddha called this innate genius, which is the nature of our own mind, the tathagatagarbha, or buddha heart. 

When we are introduced to this idea of innate genius or our buddha heart, it comes with exalted images and big ideas. We'll be buddhas after all, then we can really do something meaningful and important. Our buddha heart encased in the shroud of self is forever held back and limited. We sense this notion of opening up to something greater, but get caught up in our own self-limiting talk and fear. Hold on to what we know, or open up. That is the tension that we always carry. 

Sensing this innate genius present in us, we have feelings of uniqueness and yearn for authentic ways to express ourselves and to be in the world. This thread of insight into our true nature runs through our whole life, but it takes a lifetime to work through. This thread is always unfolding, and yet we always feel tied up.

In the moments where we recognize our innate buddha heart, we experience freedom and complete openness to the world around us. In that space, we recognize the tremendous responsibility we have and know that the hardest work to accomplish is not outside ourselves, but working through the practice of trying to carry that presence and responsiveness into every area of our life.

In the beginning, we struggle because we can't seem to grab this thread that is our own innate genius or buddha heart. Once we do grab it, we struggle with how to carry that into our life.

Setting the angel free.

I saw the angel in the marble and carved until I set him free.

Michelangelo

Michelangelo, perhaps the greatest sculptor of all time, saw the result at the very beginning. The final form may not have been readily apparent and certainly was not fully evident, but there was no doubt that the angel was present in the marble. Michelangelo's practice was simple to remove layer after layer of obscuration, to remove the rough edges and distortion until the angel was set free. 

We might think that this quote is simply referring to a hard chunk of marble, but it is quite profound as it applies to our own practice and awakening. The angel represents our own inner genius, our inherent buddha heart. Maitreya uses a similar analogy from the Uttaratantra:

Suppose an image filled with molten gold inside

but consisting of clay on the outside,

were seen by someone who knows about this gold,

who would then remove the outer covering to purify the inner gold?

After we are introduced to our own buddha heart, introduced to its presence and nature, what choice do we have to remain idle? Who would waste such a precious opportunity and resource?

Having recognized our naturally abiding buddha heart (Skt. tathagatagarbha), the practice is simply to remove layer after layer of negative emotions, perceptual bias and confusion. We refine the rough edges of our intentions and actions. We chisel and carve out habitual tendencies and neurosis. 

The result of our work is that our naturally present buddha heart is made fully evident. Just as when the clouds dissipate in the sky to reveal the qualities of the sun, so too, once we eliminate the obscuring factors of our own inner genius then we can enjoy the qualities and activity of the naturally present result. 

The artist's practice is the set the angel free, to reveal our naturally abiding buddha heart to the world.

But then what? 

That is not the end of the road. The story doesn't simply end there. 

The artist must share her art. 

Art interacts with the world. It is experienced, impacts others, shapes the time and place. Art shifts postures, influences what people value and affects what they choose to engage in. 

Art shapes culture. 

The artist who does their work and brings it out into the world shapes the community of values. It is possible to step out into the world and share generosity, kindness and compassion. Equanimity, insight and selflessness can gain a foothold in our communities. There can be recognized value in chipping away the rough edges. Our communities can recognize the potential of everyone, identifying their inner genius and capacity to refine and reveal their own inner angel. Most of all we can start respecting and appreciating the work and the process. 

We can value the practice of the artist. 

The artist is committed to the practice of revealing the naturally abiding inner genius within. Art not shared is not art at all, so the artist moves into the world where their art interacts with people and the environment. As that art interacts with the world, it shapes values and what we believe to be possible and true. 

Art shapes culture, and it is possible to shape a culture of awakening. A culture that is eager to do the work, eager to show up, ready to be present, and that knows this is what we do here.

The artist always knows, this is what we are here to do.

Where does one go?

The tathagata-garbha. The Buddha heart.

The Buddha taught that all beings are Buddhas, but that this is obscured by temporary defilements and obscurations. Just as a treasure buried under the earth, or a precious statue wrapped in a dirty cloth, once the obscuring factors are removed the treasure can be enjoyed in all its splendor.

But what is this Buddha heart and how can we come to experience it?

The Buddha taught many different vehicles by which we can actualize and realize this Buddha heart. The Mahayana sutras describe the tathagata-garbha as a seed or potential, which we can cultivate and nourish until it becomes manifest and bears fruit. The Vajrayana, or resultant vehicle, describes the tathagata-garbha as being fully manifest since beginningless time, but obscured and unrecognized. The Vajrayana employs various skillful means to try to purify and remove these obscurations. Within the Vajrayana vehicle, the highest understanding of the tathagata-garbha is understood within the Dzogchen tradition.

Dzogchen, or the Great Perfection, describes the tathagata-garbha as being timelessly liberated. There is nothing to change, manipulate or improve. The true nature of reality is perfect just as it is, there is nothing to purify, nothing to cultivate, nothing to attain. Failing to recognize this true nature, we wander in and out of various mental states. Recognizing this, one is primordially free.

Where does one go when they have actualized the tathagata-garbha?

Tathagata is a name for the Buddha, which means 'One who has thus gone', 'Beyond coming and going' or "One who has gone to the true nature'. Garbha means heart, essence or womb. So one who has actualized the tathagata-garbha is the 'heart of one who has gone beyond', or the 'heart of one who has gone to the true nature'.

The tathagata-garbha is beyond mind. It is not the coming and goings of our mind. It is not an idea or a projection of what should be. It is not a belief or a philosophy. It is not 'in your head'. Awakening isn't in your head- its embodied, manifest.

The practitioner of Dzogchen is introduced directly to awareness beyond mind. The are introduced to the timelessly liberated natural state of being. Once introduced to this unique state, the practitioner clarifies doubt and uncertainty about this unique state, until they have truly gone beyond to the true nature. Then, they can continue with confidence in liberation. As Garab Dorje wrote in his Three Words that Strike the Essential Point: 

One is introduced directly to one's true nature,
Be decisive about this unique state,
Continue directly with confidence in liberation.

Or as Garab Dorje also states:

Mind's nature is and always has been Buddha,
it is neither born nor ceases, like space.
When you realize the authentic meaning of the equality of all things,
To remain in that state without effort is meditation.


 

Buddha heart.

Noble child, all beings, though they find themselves with all sorts of afflictions,
Have a tathagata-garbha that is eternally unsullied, 

and that is replete with virtues no different from my own.

Tathagatagarbha Sutra

All beings are natural Buddhas, concealed in a shell of afflictions.  When that shell is broken, their buddhahood is revealed. 

What is the shell?  It is our negative emotions, our bias and distorted lens. It is our habitual tendencies and conditioned actions. It is our innate self-grasping and fixation on identity, self and other, better and worse, pure and impure.

It's a thick shell.

The shell is adventitious, without a single iota of permanence. Yet we continuously reinforce it, wrapping ourselves up layer after layer. We don't choose the shell, because the shell is based on confusion. Confusion perpetuates itself in an endless cycle of becoming.

The escape is to recognize the tathagata-garbha directly.  Tathagata means one who has gone to suchness, the direct realization of the nature of the mind.  Garbha means heart, womb, essence or nature.  We often see tathagata-garbha translated as buddhanature or essence of enlightenment, but we could also translate it as buddha heart, or the womb of those thus gone. This buddha heart is the nature of our own mind, eternally unsullied and replete with all the virtues of a Buddha.  

We can recognize our own buddha heart, and when we do the shell loosens and the qualities of buddhahood become naturally present.

Once beings’ minds have thoroughly matured,
However, whenever, and for whomever,
There can be action that ensures benefit,
It manifests at just that time and in just that way.

Ornament of Clear Realization

There are emanations through artistry, through conscious rebirth, 

and as expressions of sublime enlightenment.
The nirmanakaya of buddhahood

is the supreme skillful means of total freedom.  

Ornament of the Sutras