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as the place where the offerings are arranged, be neatly put together and uniform.
They should not be crooked or messy simply because we are keen not to over-exert
ourselves and therefore disregard whatever instructions we have heard.
Furthermore, no matter what we are doing, we must co-ordinate the actions of our
body, speech and mind, or we will never accomplish much of any value. If we are
content simply to recite the words of the practice without any thought of what we
are doing, as if our heads were wooden masks with paper tongues fluttering inside
them, we will only tire ourselves out to very little effect. In fact, there is no practice
at all which is to be done only by recitation without the need for visualization. Here
too, the practice is based on generation-stage (kyerim) and visualization.
In brief, we begin by reciting the verses of refuge and bodhicitta, taking refuge in the
Three Jewels with stable faith and trust, and generating the bodhicitta of aspiration,
which is the motivation of wishing that all sentient beings, ourselves and all others,
attain perfect awakening. If these two are not done as a preliminary, the practice will
be like shooting an arrow without first focusing on the target, and so we must begin
with refuge and bodhicitta. Then, unless we visualize ourselves in the form of the
yidam deity, whichever one it might be, we will not be able to bless the offering
substances, so we must visualize ourselves as the yidam. From the syllable H in
our heart appears a dark red syllable RA which burns the substances of the sang
offering. From the syllable YA comes wind which scatters them, and from KHA
comes water which cleanses them. With this, they are purified within the emptiness
of the absolute space of great primordial purity, the dharmadhtu beyond any
conceptualization.
Then, once again visualizing ourselves as the yidam deity, from our heart emanates a
white O ornamented with circles (tikl) of light to become the precious vessel, deep
and vast in size, spreading out to fill the whole universe. Inside, white O syllables,
representing the essence of the enlightened body of all the buddhas, red
syllables, the essence of their enlightened speech, and dark blue H syllables, the
essence of their enlightened mind, rain down from the absolute sphere. Having been
blessed, the sang offerings, which in essence are emptiness and the immaculate
wisdom nectar which liberates upon taste, take on different forms in the perception
of the various guests. They appear as forms to stimulate the sense of vision, sounds
to stimulate the sense of hearing, fragrances to stimulate the sense of smell, flavours
to stimulate the sense of taste and tactile sensations to stimulate the sense of touch,
as well as all kinds of other riches and enjoyments, all of them complete, with
nothing whatsoever lackinga vast treasure that is inexhaustible, just like the
offering clouds of the noble bodhisattva Samantabhadra. Through the mantra and the
mudr of the treasury of space they are increased and multiplied. Then from the
H syllable at our heartthe heart of the yidam deitycome boundless rays of
light, and, we consider that the Three Jewels, who are the guests invited out of
respect, the protectors who are the guests invited on account of their qualities, the
2
beings of the six classes who are the guests invited out of compassion, and the
obstacle-making guests to whom we owe karmic debt all manifest in physical forms
out of the absolute space of the dharmadhtu, like bubbles suddenly appearing in
water or lightning flashing in the sky. At the same time as we recite the lines for
inviting the guests, we consider that they appear there before us in a single instant,
directly perceptible to our own senses, and we request that they take their places.
Since the visualizations for the practices of offering water tormas, sur and offering
the body are almost identical, they can be understood by applying reasoning.
Although I am not sure of this meaning in my own mind,
I have remained true to the oral lineage of masters who are beyond compare,
Without displaying any scholarly pride or introducing ideas of my own.
Thus, in response to repeated requests from my Dharma friend,
I have composed this brief guide to the visualization for the practice of sang.
If I have made any errors, I confess them now before the hosts of wisdom deities.
Through this merit, for myself and othersall who see this
May all obstacles to our accomplishing enlightenment be thoroughly pacified,
And may all our wishes that accord with the Dharma be fulfilled without any
hindrance,
And may all be auspicious so that we accomplish our own and others well-being, just as
we desire!
When the monk Acho, who has made meaningful the freedoms and advantages, and has
visited several times all the great sacred places throughout Jambudvpa, requested this
again and again, saying that he needed a brief guide to the visualization for the
practice of sang, I, the beggar of Dome called Ten, wrote this in an isolated hermitage
on the slopes of Dorje Drak.
Virtue! Virtue! Virtue!
| Translated by Adam Pearcey, Rigpa Translations, 2006. Many thanks to Tulku Thondup Rinpoche for
his gracious clarifications.
This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.
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