By Traktung Dudjom Lingpa
Own memoirs are usually not unusual in Tibetan Buddhism, yet A transparent reflect offers an strange version: 3 degrees of non secular teachings, conveying outer, internal, and refined facets of knowledge, that supply readers complete entry to the wealthy lifetime of one in all Vajrayana Buddhism’s most dear figures. Dudjom Lingpa (1835–1904) was once a Tibetan visionary and nice Perfection grasp, or tertön, a revealer of non secular treasures referred to as terma hidden within the Earth and within the minds of disciples. Dujdom Lingpa is popular for his revelations on “refining perception” or Nang Jang, and, via dream yoga, trance, and visions, for transmitting the “mindstream” of a couple of enlightened non secular beings, equivalent to Sri Singha, Saraha, Vajradhara, and Manjushri, whose knowledge he acquired and stocks during this ebook.
A transparent reflect reveals what excessive lamas regard as such a lot sacred and intimate: non secular evolution through the lens of an innermost visionary existence. Lingpa recounts every one step of his personal enlightenment process—from studying the right way to meditate to the top tantric practices—as he skilled them. A transparent reflect is a non secular experience that still contains daily meditation recommendation, designed for the lay reader in addition to the extra professional practitioner, during this evocative unique translation.
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Additional info for A Clear Mirror: The Visionary Autobiography of a Tibetan Master
Partly because Mozart and Messiaen use different techniques to bring about comparable juxtapositions of temporalities, the relations to God that relating to each of them constitutes are complementary, but not identical. 33 Pp. 88-92, 99, 107 below. 39 CHAPTER THREE “Et Resurrexit” from Bach’s Mass in B Minor. Meditations on Discontinuous Continuity “Now I know that Christ really has been raised from the dead. ” In 1972 I heard Helmut Rilling conduct Bach’s B Minor Mass. When the “Et resurrexit” movement ended, the remark quoted above crossed my mind.
From 38 Christ’s side, the double temporality of the relation unfolds into the identity of the future-directed summons to accept mercy (in order to overcome the alienation brought on by my falseness to myself) and the present-fullness of the restored relationship. As Tillich might say, the total surrender on my part corresponds to the complete self-giving on Christ’s part. The movement’s various threads come together in the juxtaposition of these temporalities. In terms of the future-directed temporality, sin is being taken with utmost seriousness by both Christ and me.
Consequently, the harmonic contrast is also minimal. Third is Mozart’s handling of the return, which in ABA' movements is usually, though not always, a release of the tension that has been building and a moment when accumulated energy is spent. Mozart avoids that moment: the soprano begins the A' section begins two bars before the orchestra begins its reprise. The outcome of these three features is to minimize the alternation of tension and resolution. Moments when previously built energy would have been spent are continuously covered over, and there are neither climaxes nor moments of rest.