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Archive for the ‘Ogyen Tinley Dorje’ Category

Here is a video montage featuring excerpts of a talk by His Holiness, the 17th Gyalwang Karmapa, in which he explained the significance of the tormas created for the 26th Kagyu Monlam (filmed in Bodhgaya, India in 2009). The text below is followed by a link to the transcript of the entire teaching: A Talk on the Relationship Between Masters and Disciples.

Excerpts from “A Talk on the Relationship Between Masters and Disciples:”

“We have expanded a number of the features of the site where we are holding the twenty-sixth Kagyu Monlam, including the main gates and so forth, and I thought it would be good to briefly point out what the tormas represent. The main decorative tormas are those with images of Marpa, Milarepa, and Gampopa on the right, and on the left, those with images of the forebears of the Nyingma school of the early translations, the glorious Sakya lineage, and the Gelukpa order.

The main principle these tormas illustrate is that when we consider the Tibetan Buddhist teachings, there are basically no lineages that are not mixed with the others. When the three Dharma kings Songsten Gampo, Trisong Deutsen, and Tri Ralpachen first established the Dharma in Tibet, the lineage that emerged at that time became known as the “Nyingma school of secret mantra.” Thus the Nyingma was Tibet’s first Buddhist lineage. Later on, during the reign of King Langdarma, the teachings were wiped out of Tibet, and the later propagation of the teachings began. That is the difference between the Nyingma and Sarma vajrayana schools.

Then the oral lineage of the Kadampa masters was passed down from the glorious Atisha, and the Sakya, Kagyu, and Geluk lineages successively appeared. The stages of the teachings of all of these lineages, along with their basic starting points, are the same. The different individual lineages arose out of different lineages of lamas and instructions, but fundamentally there is not even a single lineage that is not mixed with the others. In sum, all Tibetan lineages have been passed down intermingled with the others—all of them share Dharma connections and connections of samaya….”

“Therefore the presence of images of the root and lineage gurus from all of the Tibetan Buddhist lineages here today means that all Tibetan Buddhist lineages are nothing other than the teachings of the Buddha: They are all the same….”

For the entire teaching see link below:

A Talk on the Relationship between Masters and Disciples


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‘When Tibetans think of a place of refuge, they think of India’

via Exclusive! Interview with Karmapa Lama – Rediff.com News.

His Holiness, the 17th Karmapa with the interviewer Claude Arpi

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India Habitat Centre, New Delhi
22nd — 23rd April, 2011

The event was hosted by The Foundation for Universal Responsibility of His Holiness The Dalai Lama, a not for profit, non-sectarian, non-denominational organization established with the Nobel Peace Prize awarded to His Holiness in 1989. Gyalwang Karmapa taught for three sessions exploring themes from Acharya Kamalashila’s text The Middling Stages of Meditation, and answering general questions from the audience.

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Karmapa 900 Logo designed by the 17th Gyalwang Karmapa, Ogyen Trinley Dorje

THE LIVES OF THE KARMAPAS

“In honor of the Karmapa 900 celebration, Khenpo Karthar Rinpoche will be recounting the biographies of the Karmapas throughout the year. Beginning with Dusum Khyenpa, Rinpoche transmits his deep devotion for each of the Karmapa reincarnations as he describes the events of their lives and their remarkable achievements.”

via The Lives of the Karmapas: Teachings by Khenpo Karthar Rinpoche.

Listen to the teachings here:

http://www.karmapa900.org/audio/karmapa_kkr_namtars.html

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Amchok Metok is the name of a particularly beautiful decoration that looks like a flower and is used on the large butter sculptures that grace the shrine during the International Kagyu Monlam. Metok means flower and Amchok perhaps refers to the region of Tibet where this type of flower grew. In this clip, Tibetan Buddhist nun artists introduce themselves and demonstrate a few techniques as they prepare the flower gyens out of wax butter for the Kagyu Monlam shrine. Filmed by Ko Jung-Fa and Cynthia Chao in Bodhgaya, India in 2008-2009.

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The Gakyil gyen is similar to the Amchok Metok gyen. Gakyil means “joy swirl.” Below is a slideshow with more photos of both Amchok Metok and Gakyil.

 

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A special report by Michele Martin

Check out a detailed and very interesting report on this year’s Kagyu Monlam Butter Sculptures by Michele Martin, complete with slide show, photos and diagrams. Enjoy!

http://www.kagyumonlam.org/english/news/Report/Report_20101223_Tormas.html

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While preparations for the first North American Kagyu Monlam were underway, some of the highly-trained torma artist monks and nuns, who had been documented and interviewed by the Torma Film crew in 2008 and 2009, were invited to Karma Triyana Dharmachakra (Woodstock, New York) to make the butter sculptures for the NAKM. One of the Kagyu Monlam umdzes, Sonam Paljor, from Rumtek Monastery, was also invited to KTD to lead the chanting.

As monlam preparations progressed, the lamas and staff at KTD were disappointed to learn that the torma artists were denied visas to enter the U.S. Only the umdze, Sonam Paljor, was able to obtain a visa. The KTD administration, under the direction of Khenpo Karthar Rinpoche, hastily assembled a crew of North American-based torma-makers to prepare the butter sculptures.

Though none of these lamas had taken part in the formal training in India for making the Kagyu Monlam butter sculptures, they were able to view a one-hour video, prepared by the Torma Film crew, detailing the step-by-step process the Tibetan artists had developed to create their magnificent butter sculptures for the International Kagyu Monlam in India.

The torma crew was spearheaded by Tibetan artist, Lama Karma Chopal, currently based in Charlottesville, Virginia; Lama Tashi Dondup from Toronto, Canada; and umdze Sonam Paljor from Sikkim, India. KTD resident teacher Khenpo Urgyen and several lamas from KTD and Karme Ling Retreat Center including Lama Karma Drodul, Lama Tsultrim, Gelongma Lama Lodro Lhamo, Gelongma Karuna Tara, and Yeshe Wangmo rounded out the torma team. KTD cabinet maker, David Fisher, made the gyentras (wooden plaques for mounting the torma ornaments) and Lama Tashi’s student Andrey Hervartin from Toronto assisted the torma team.

Below is a photo gallery of the entire torma-making process at KTD this past week, from the beginning through the completion of the shrine set-up on Sunday.

The tormas consist of ingredients easily found in North America. The dough was made of quick oats and “the three whites and three sweets,” (butter, milk, yogurt, honey, molasses, and sugar).

The wax-butter for the ornaments was made from butter, beeswax, and tempera paint.

(photos by Yeshe Wangmo)

NAKM tormas set up on the KTD shrine.

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His Holiness Karmapa, Ogyen Trinley Dorje, discusses the origins and diversity of torma shapes and colors for the film Torma: The Ancient Art of Tibetan Butter Sculpture. Filmed in Bodhgaya, India, in 2008-09 by cinematographers Ko Jung-Fa and Cynthia Chao.

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Monks and nuns worked hard to prepare the materials necessary for making butter sculptures for the International Kagyu Monlam in Bodhgaya, India. This footage was shot in 2008 by Ko Jung-Fa and Cynthia Chao and depicts the fourth stage in the laborious four-part process of preparing wax butter for sculpting butter tormas.

After the pastry margarine is thoroughly kneaded into the wax butter, oil colors are added to create the color palette.

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