Translations by Adam Pearcey

TranslatorsAdam Pearcey

English (843)

Adam Pearcey

Further Information:

Adam Pearcey is the founder-director of Lotsawa House. He holds a PhD from SOAS, University of London, and a Master's degree from the University of Oxford. His publications include (as translator) His Holiness the Dalai Lama's Mind in Comfort and Ease (Wisdom Publications, 2007), Ga Rabjampa's To Dispel the Misery of the World (Wisdom Publications, 2012), and Beyond the Ordinary Mind: Dzogchen, Rimé, and the Path of Perfect Wisdom (Snow Lion Publications, 2018).

Texts translated into English by Adam Pearcey

Adeu Rinpoche

Alak Zenkar Rinpoche

Based on the writings of Patrul Rinpoche, this brief survey summarises each of the nine successive vehicles leading to enlightenment in terms of their entry point, view, meditation, conduct and results.

A prayer for the swift reincarnation of Tenpai Nyima Rinpoche, a senior Nyingma teacher at Traling Monastery.

Alak Zenkar's brief biography of Jamgön Kongtrul Lodrö Thaye (1813–1899) summarizes the great master's extraordinary education and activity, especially his remarkable literary output, which resulted in the so-called 'Five Great Treasuries' (mdzod chen lnga).

Alak Zenkar summarizes the remarkable life and liberation of Jamyang Khyentse Wangpo (1820–1892), showing how he mastered the so-called 'eight great chariots of the practice lineage' (sgrub brgyud shing rta chen po brgyad) and received the seven special transmissions or 'descents' (bka' babs bdun). Zenkar Rinpoche also briefly summarizes Khyentse Wangpo's collected writings, which are divided into nine main categories.

Alak Zenkar Rinpoche offers a concise account of the extraordinary life and teaching career of Dza Patrul Orgyen Jigme Chökyi Wangpo (1808–1887), one of the most influential Tibetan masters of the nineteenth century. The biography has been reprinted a number of times since it was first published in the 1980s, and is included in most recent editions of Patrul's most famous work, Kun bzang bla ma'i zhal lung.

In this brief account, Zenkar Rinpoche summarizes the education and activity of Shechen Gyaltsab Gyurme Pema Namgyal (1871–1926), and outlines the contents of the thirteen volumes of his collected writings.

Translated from an audio recording. Zenkar Rinpoche explains the various methods and traditions of teaching the Bodhicaryāvatāra, especially that of Dza Patrul Rinpoche (1808–1887) and his followers, who often guided students through the text experientially.

A brief biography of the Gelugpa geshe Drakkar Lobzang Palden Tendzin Nyendrak (blo bzang dpal ldan bstan 'dzin snyan grags, 1866–1929), who famously debated with Ju Mipham (1846–1912), composed his own Dzogchen treatise, and passed on the transmission for a number of major collections including the Kangyur.

This brief introduction to the life and works of Kharlek Tulku Pema Kunzang Rangdrol (1916–1984) was originally written as an introduction to the master's non-sectarian Dharma history.

This brief sketch of Jetsün Tāranātha's life provides details of his education and accomplishments and lists his main students and most important writings.

Zenkar Rinpoche composed this sādhana when he was just fifteen years old at the request of his tutor. Its focus is Mañjuśrī, the embodiment of all the buddhas' wisdom.

Alak Zenkar Rinpoche composed these poetic verses calling for the swift rebirth of his guru, the Fourth Dodrupchen Rinpoche, Tupten Trinlé Palzang (1927–2022), in Hong Kong on 28 January 2022.

Zenkar Rinpoche composed this prayer himself in May 2022 at the request of Tsewang Rigdzin, attendant and secretary to Pewar Rinpoche. Rather than praising the subject's own qualities, as is the custom for such prayers, Zenkar Rinpoche takes the opportunity to highlight what he sees as his own faults.

Amdo Geshe Jampal Rolwé Lodrö



Atiśa Dīpaṃkara


These verses taken from the Vajrapañjara Tantra, which are often recited as part of longer rituals and practices, include lines for taking refuge and generating bodhicitta.

These verses, which appear in the Kangyur, invoke the auspiciousness of the seven successive buddhas (sangs rgyas rabs bdun): 1) Vipaśyin, 2) Śikhin, 3) Viśvabhū, 4) Krakucchandra, 5) Kanakamuni, 6) Kāśyapa, and 7) Śākyamuni. The text is included in the Tantra section of the Derge Kangyur (Toh 821) and the Miscellaneous section of the Tengyur (Toh 4412).

Jamyang Khyentse compiled this prophecy from the words of the Buddha. Before an audience that includes Ānanda and the future Buddha Maitreya, the Buddha tells how this text will appear from a meteorite and be disseminated by Avalokiteśvara. He also describes how a series of terrible events, including widespread disease, famine and warfare, will occur during the degenerate age, unless this text can be widely copied and recited as an antidote to such ills.

This brief invocation of Buddha Amitāyus, featured in the Nyingma Mönlam, combines the famous four-line Praise of Amitāyus with the mantra and passages from The Sūtra of Boundless Life and Wisdom.

Perhaps the most famous of all Mahāyāna sūtras, the Heart Sūtra is so named because it encapsulates the heart or essence of the transcendent perfection of wisdom (prajñāpāramitā).

This edition of the famous Heart Sūtra, complete with additional material, including a section for averting obstacles, is arranged for recitation.

Another popular liturgy taken from the Immaculate Confession Tantra (Dri med bshags rgyud). The version here is taken from that tantra's eleventh chapter.

This short text, which appears twice in the Derge Kangyur (Toh 521 & 981), includes the formula of dependent origination, the so-called ye dharma, said to have been told to Śāriputra as an encapsulation of Buddha Śākyamuni's teachings.

The Ārya caturdharmanirdeśa nāma mahāyāna sūtra (‘Phags pa chos bzhi bstan pa zhes bya ba theg pa chen po’i mdo, Toh 249) is the ultimate source for the doctrine of the four powers (stobs bzhi), a popular feature of Tibetan teachings on confession. In this initial, canonical presentation, however, the four are referred to as 'factors', although two are also called 'powers'. They are: 1) the action of total rejection, 2) the action as remedy, 3) the power of restoration, and 4) the power of support.

The Aparimitāyurjñāna-nāma mahāyāna-sūtra ('phags pa tshe dang ye shes dpag tu med pa zhes bya ba theg pa chen po'i mdo, Toh 674 & 849) is said to bring extraordinary merit and longevity when written out, read aloud, copied, or venerated with offerings.

These commonly cited verses of commitment (dam bca' ba) occur several times in the Precious Treasury of Revelations (rin chen gter mdzod) and are also to be found in the collected writings of Jamyang Khyentse Wangpo, Chokgyur Lingpa and Tertön Sogyal. The translation here is based on the commentary by Ju Mipham (1846–1912).

This confession liturgy, popularly known as Yeshe Kuchokma (ye shes sku mchog ma), is taken from the fourth chapter of the Immaculate Confession Tantra (Dri med bshags rgyud).

These verses from the final, sixteenth chapter of the Immaculate Confession Tantra (Dri med bshags rgyud) make up one of the most popular confessional liturgies in the Nyingma tradition.

These verses, taken from the sūtra On Entering the City of Vaiśālī (Toh 312), are commonly recited on their own for the sake of auspiciousness and thus feature as a stand-alone text that is included in both the Kangyur (Toh 816) and Tengyur (Toh 4406). The version translated here appears in the collected writings of Jamyang Khyentse Chökyi Lodrö (1893–1959).

Butön Rinchen Drup


Chatral Rinpoche

Chögyal Pakpa Lodrö Gyaltsen

Chokgyur Dechen Lingpa

Chökyi Drakpa

Chomden Rigpé Raldri

Dezhung Tulku Ajam

Dilgo Khyentse Rinpoche

Some notes on the history of Dzongsar Monastery, seat of Jamyang Khyentse Wangpo (1820–1892), with emphasis on the sacred objects that the monastery housed during Khyentse Wangpo's time and thereafter.

In this teaching, which was originally intended for participants in a three-year retreat in Chanteloube, in the Dordogne region of France, Dilgo Khyentse Rinpoche discusses the importance of faith, renunciation, compassion, and looking into the nature of mind.

A very simple practice of Orgyen Menla (o rgyan sman bla), Guru Rinpoche as the Buddha of Medicine, consisting of visualization, mantra recitation and dedication of merit.

Dilgo Khyentse Rinpoche composed this moving prayer of lament in the presence of Jamyang Khyentse's sacred remains (sku gdung) at the request of Dzongsar Ngari Tulku (1945–2008) and other disciples.

A letter to a fellow disciple of Jamyang Khyentse Chökyi Lodrö offering essential advice on how to practise the celebrated Nyingtik Saldrön guru yoga, which focuses on Jamyang Khyentse in heruka form.

Dilgo Khyentse Rinpoche wrote this song of "calling the guru from afar" (bla ma rgyang 'bod) to accompany the guru yoga ("A Rang Rig Ma Chö…") he had previously composed.

Khyentse Rinpoche composed this four-line prayer to Khandro Tsering Chödrön, which incorporates the syllables of her name, out of single-pointed devotion.

A detailed description of the two-volume edition of Jamyang Khyentse's miscellaneous writings (gsung thor bu) published in India in the late 1960s. The catalogue has three sections: 1) the greatness of the author, 2) the character of the texts, and 3) a brief account of the publication process.

This prayer of aspiration for training the mind in bodhicitta by exchanging all the world's suffering for genuine happiness is based on Jamgön Kongtrul Lodrö Thaye's longer text, The Gateway to the Ocean of Bodhicitta.

This short prayer based on the life and liberation of Jamyang Khyentse Chökyi Lodrö (1893–1959) was composed by Dilgo Khyentse Rinpoche in the presence of the master's reliquary.

Dilgo Khyentse Rinpoche adapted the words of a long-life prayer he had previously composed in order to create this supplication, which incorporates the name Jamyang Khyentse Chökyi Lodrö into three of its four verses.

Do Dasel Wangmo

Dodrupchen Jigme Tenpe Nyima

The author wrote this short ritual liturgy for consecrating sacred imagery at the request of his brother, Dzamling Wangyal (1868–1907).

A brief explanation of the popular ritual of incense smoke offering—or sang—detailing the visualization and describing the benefits of the practice.

This short commentary on the most famous of all prayers to Guru Padmasambhava offers a simple visualization based on the very words of the Seven Lines.

Answers to a series of questions on the distinction between ordinary mind (sem) and pure awareness (rigpa), the dissolution of dualistic perception, mindfulness in Dzogchen, the phases of dissolution at death, and how to practise Dzogchen meditation.

This short text from Jigme Tenpe Nyima's Dzogchen corpus explains the distinction between the ordinary mind (sem) and pure awareness (rigpa), as well as the ways in which the Great Perfection is superior to other approaches.

This short work, written for an unnamed disciple, contains general advice on how to prepare for the moment of death.

These verses of aspiration to take rebirth in Amitābha's pureland of Sukhāvatī are extracted from the author's longer compilation of practices called The Easy Route to the Supreme Realm (zhing mchog bgrod pa'i bde lam).

A series of aspirations to devote one's life to the Dharma—which, Dodrupchen Rinpoche says, is the only thing of any real value or meaning—to practice it with sincerity, and to accomplish it successfully.

A simple presentation of taking refuge that identifies its objects, essence, literal meaning, subdivisions, and benefits.

A short, scholarly explanation of the four noble truths, or four truths of the noble ones, providing definitions and subdivisions of each truth as well as a response to possible objections.

A discussion of the term for main practice in Tibetan—dngos gzhi which translates literally as 'actual basis'. In response to a question, Jigme Tenpe Nyima clarifies the explanations of the four permutations of 'actual' and 'basis' from Longchenpa's Treasury of the Supreme Vehicle (theg mchog mdzod) and Jigme Lingpa's Yeshe Lama.

Verses in praise of Patrul Rinpoche (1808–1887), which Dodrupchen Jigme Tenpe Nyima wrote for his own personal recitation.

These verses in praise of Rogza Sönam Palge (rog bza' bsod nams dpal dge, 1800–1884) provide a rough sketch of the master's life, including his dates. In fact, this is the only known text that specifies the years of his birth and parinirvāṇa.

In this brief text, Jigme Tenpe Nyima explains the most important reasons for regarding the teacher as a buddha, a central tenet of the Vajrayāna.

On the basis of classical sources, Jigme Tenpe Nyima warns of the dangers of sleep and drowsiness; he also offers some practical suggestions for cutting down on sleep and enhancing diligence.

An explanation of the final words of the great Dzogchen master Orgyen Tendzin Norbu (1841–1900): "I am Guru Padmākara of Oḍḍiyāna, a buddha free from birth and death. Awakening mind is impartial and unbiased, beyond labels of the eight stages, the four pairs."

A candid, somewhat comical description of what it means to take a limited and superficial approach to scholarship, which Jigme Tenpe Nyima tells us is based on his own experience.

Notes on the deeper significance of various features of the vajra and bell, two ritual objects which a mantra practitioner must never be without.

Jigme Tenpe Nyima composed this prayer to the gurus of the Dzogchen lineage at the behest of Khenpo Damchö Özer (d. 1927?), one of the so-called 'four great khenpos of Dodrupchen Monastery'.

A prayer to the various masters of the lineage of Vidyādhara Assembly (rig 'dzin 'dus pa), the inner guru sādhana from the Longchen Nyingtik cycle revealed by Jigme Lingpa.

A very short text on the best conduct and attitude to adopt when practising in meditative retreat.

In twelve points, Jigme Tenpé Nyima offers detailed instructions and clarifications on The Wish-Fulfilling Jewel, the outer guru yoga practice from the Longchen Nyingtik cycle. He describes the realm of Lotus Light and its Copper-Coloured Mountain, highlights Guru Rinpoche's qualities, and stresses the importance of concentration, devotion and inspiration.

In this very short text, Jigme Tenpe Nyima describes the best, middling and inferior ways of using pain and illness as part of the Mahāyāna path.

A fulfilment (bskang ba) practice to accompany the sādhana of Yumka Dechen Gyalmo, the Queen of Great Bliss, from the Longchen Nyingtik cycle.

Dodrupchen Jigme Trinle Özer

Dola Jigme Kalzang

Dongak Chökyi Gyatso

Drikung Kyobpa Jikten Sumgön

Drimé Zhingkyong Gönpo

Dudjom Rinpoche

A brief daily sādhana of Amitāyus, the Buddha of Boundless Life, composed at the request of Jigme-la from the aristocratic Sampho (Samdrup Phodrang) family of Lhasa.

A short daily practice of Lama Sangdü (bla ma gsang ’dus)—the Guru who is the Embodiment of Secrets.

This short daily sādhana of Ucchuṣma (sme brtsegs) includes a simple visualization and mantra recitation. The practice is particularly associated with the purification of tantric commitments, or samaya.

Brief notes written by Kyabje Dudjom Rinpoche himself and incorporated into the recited text of the concise version of the Dudjom Tersar ngöndro.

A short practice for presenting red sur (dmar gsur) or burnt offerings for those who crave flesh and blood, including the various types of spirit and demon who obstruct virtuous practice.

A simple practice of sur (gsur) offering to the four types of guest: those invited out of respect, those invited on account of their qualities, those invited out of compassion, and those to whom we owe karmic debts.

A daily practice of Dorje Gotrab (Vajra Armour) offering protection against sickness, infectious disease and obstacles, which Dudjom Rinpoche adapted from the terma Protective Wheel: Root Sādhana of the Extremely Wrathful Black Hayagriva.

A short prayer to the guru requesting his or her blessings in order to master the practice of recognizing clear light within the dream state.

One of several prayers for the long life of His Holiness the Fourteenth Dalai Lama that Kyabje Dudjom Rinpoche composed.

A short prayer to the three main stūpas of the Kathmandu Valley, i.e., Svayambhū (known to Tibetans as Pakpa Shingkun), Boudha (known to Tibetans as Jarung Khashor) and Namo Buddha.

This well-known devotional prayer invokes the inspiration and blessing of the three-kāya guru in order to perfect the view, meditation and action of Dzogpachenpo.

Dudjom Rinpoche compiled this simple practice of Sojong (healing and purification) related to the three sets of vows—individual liberation (pratimokṣa), bodhisattva and mantra—for the benefit of beginners and those unable to extract the essential points from longer rituals.

A very simple practice focusing on the ḍākinī Yeshe Tsogyal, composed for some of Rinpoche's American students.

This direct instruction on the perfection stage (rdzogs rim) practice for the Dorje Drolö form of Guru Padmasambhava includes the preparatory state of śamatha, and the main part, which is to generate the wisdom of vipaśyanā through view, meditation and action.

In this short text, Kyabje Dudjom Rinpoche explains some important points of conduct to be observed by the saṅgha of monastic practitioners and the saṅgha of vidyādhara yogins. It was written with a view to preserving aspects of tradition in danger of being lost forever.

Dzogchen Pema Rigdzin

Dzong-ngön Pema Tukchok Dorje

Fifth Dalai Lama

Fifth Dodrupchen Rinpoche

Fourteenth Dalai Lama

His Holiness himself identified seventeen of the most paṇḍitas associated with Nālandā Monastery (Nāgārjuna, Āryadeva, Buddhapālita, Bhāvaviveka, Candrakīrti, Śāntideva, Śāntarakṣita, Kamalaśīla, Asaṅga, Vasubandhu, Dignāga, Dharmakīrti, Ārya Vimuktisena, Haribhadra, Guṇaprabha, Śākyaprabha and Atiśa) and commissioned a thangka (scroll painting) depicting them. He then composed this prayer to accompany the image in 2001.

This prayer to Guru Padmasambhava, calling upon him to remember his pledge to come to the aid of Tibet and its people, was composed in 1980 at the request of the cabinet of the Tibetan government-in-exile.

A two-verse aspiration for the swift reincarnation of the Fourth Dodrupchen Rinpoche, Tupten Trinlé Palzangpo (1927–2022).

Composed at the Vajra Seat, Bodhgayā, in January 2005, this is an aspiration for the welfare of the Buddhist teachings and sentient beings in general and for the flourishing of Dharma in Tibet in particular.

At the request of Trulshik Rinpoche (1924–2011) and others, His Holiness composed this prayer for the flourishing of the Buddhist teachings in 1999. It is a non-sectarian (ris med) aspiration extending to all the major and minor traditions of Tibetan Buddhism.

His Holiness composed this lineage prayer for the Vajrakīla practice of Purba Gulkhukma, a revelation of Khenchen Jigme Phuntsok, on 23 July 1990.

Fourteenth Karmapa

Fourth Dodrupchen Rinpoche

Fourth Dodrupchen Rinpoche, Jalü Dorje

Ga Rabjampa Kunga Yeshe

Gampopa Sonam Rinchen

Gatön Ngawang Lekpa

Gatön Ngawang Lekpa composed these verses for the occasion of Dezhung Rinpoche's enthronement at Tharlam Monastery in 1923.

This short light offering prayer (mar me'i smon lam) by Gatön Ngawang Lekpa, which is commonly recited in the Sakya tradition, encourages the practitioner to visualize a lamp that is as vast as the universe and that shines with the light of a billion suns, as the basis for infinite 'offering-clouds'.

In these five verses, Ngawang Lekpa praises the body, speech, mind, qualities and activity of Ga Rabjampa, the great scholar and founder of Tharlam Monastery. The author incorporates the syllables of the master's name, Kunga Yeshe (meaning total joy and wisdom), into every verse.

This four-line prayer for the longevity of Jamyang Khyentse Chökyi Lodrö describes the master’s qualities using the trope of threefold categories.

A three-verse prayer for the longevity of the great Sakya scholar Öntö Khyenrab Chökyi Özer (1889–1959).

Taken from the author's miscellaneous writings, this inspiring prayer to complete the bodhisattva path was composed at the request of Lama Jamyang Gyaltsen (1870–1940).

Geshe Chekhawa Yeshe Dorje

Geshe Langri Thangpa

Getse Mahāpaṇḍita

Gompa Tsultrim Nyingpo

Gönpo Tseten Rinpoche

Götsangpa Gönpo Dorje

Guru Chökyi Wangchuk

Gyalse Shenpen Thaye

Gyalse Tokme Zangpo

Gyarong Khandro

Jamgön Kongtrul Lodrö Thaye

This commentary on the Ārya Mañjuśrī Tantra Garbha, which is said to encapsulate the famous Mañjuśrī Nāma Saṃgīti, appears anonymously in the Treasury of Precious Revelations (rin chen gter mdzod), but is thought to have been written by the editor of that collection, Jamgön Kongtrul.

Drawn from the collection of advice called Ambrosia of the Heart (snying gi bdud rtsi) this brief text offers a very simple guide to practising Mahāmudrā.

This brief explanation of how to meditate on the Mahāmudrā of the innate (lhan skyes phyag chen) on the path of liberation (grol lam) is taken from the Ambrosia of the Heart collection of advice.

Following the master’s passing in 1892, Kongtrul composed four lines of prayer for his swift rebirth as an addendum to a four-line supplication that Khyentse Wangpo himself had written.

Jamgön Kongtrul composed this four-line supplication to himself at the request of a monk named Tsoknyi Dorje.

This five-line supplication to Patrul Orgyen Jigme Chökyi Wangpo (1808–1887) is taken from the prayers section of Jamgön Kongtrul's collected writings.

A supplication to the lineage of Chetsün Nyingtik, the Heart-Essence of Chetsün, which belongs to the category of recollection or reminiscence (rjes dran) among Jamyang Khyentse Wangpo's seven authoritative transmissions.

This supplemented prayer to the lineage of Chetsün Nyingtik, the Heart-Essence of Chetsün, features extra lines, added by Khyentse Chökyi Lodrö, to invoke Jamgön Kongtrul, Adzom Drukpa, Shechen Gyaltsab and Chökyi Lodrö himself.

In this text Jamgön Kongtrul, referring to himself as a "kusāli"—a virtuous beggar—offers instruction on how to sustain an experience of the essential nature of mind in meditation.

Jamgön Kongtrul composed this biographical prayer (rnam thar gsol 'debs) to Jamyang Khyentse Wangpo by extracting verses from a longer prayer to the masters of the Shangpa Kagyü lineage. For this edition, which is found in the Rinchen Terdzö, Jamyang Khyense Chökyi Lodrö composed three additional verses that refer to Khyentse Wangpo's parinirvāṇa and rebirth.

This prayer to Jamgön Kongtrul was composed by the master himself at the request of one of his disciples. It contains references to his life and the qualities he considers important, such as—to adopt the words of the text—the pure perception, with which he upheld all Buddha's teachings impartially.

Jamyang Khyentse Chökyi Lodrö

This lengthy praise to the great polymath and prolific scholar Butön Rinchen Drup (1290–1364), which evidently draws upon his biography, was written in October 1941.

An acrostic poem in praise of Thönmi Sambhoṭa who is credited with inventing the Tibetan writing system and composing the first Tibetan grammatical treatises.

A simple visualization and some additional verses to be recited before and after the famous prayer known as Samantabhadra’s “Aspiration to Good Actions” (bzang spyod smon lam).

A short practice of visualization and mantra recitation focused on the Great Mother (yum chen) Prajñāpāramitā in her golden, four-armed appearance.

A spontaneous song in which Jamyang Khyentse mourns the passing of Tertön Sogyal Lerab Lingpa (1856–1926) and calls upon him to continue his work through a further incarnation.

Jamyang Khyentse must have written this letter to the Dalai Lama in 1954 or 1955 when meetings on the future of Tibet took place in Beijing. The tone of the letter is optimistic, as Khyentse Rinpoche expresses his gratitude to His Holiness for, as he saw it, securing the right to continue practising Dharma without interference or impediment.

A very short practice of giving sur (burnt offerings) to potentially harmful spirits, who have arisen through the conceit of self-grasping, and compelling them to depart.

This brief text, which includes ter marks, is of uncertain origin, but the editors of the latest edition of Jamyang Khyentse Chökyi Lodrö's writings included it on the basis that it is possibly a revelation of his and note that he encouraged his students to recite it during a period of frequent earthquakes.

In this appeal to Hindu worshippers who practise animal sacrifice, Jamyang Khyentse explains the karmic consequences of taking life and questions how compassionate deities could ever sanction such a rite.

Composed to mark Sakya Trichen's enthronement in 1952, this a poetic prayer for the master's longevity and an aspiration for the flourishing of the Sakya teachings.

Composed in 1946, this supplication to Yeshe Tsogyal identifies her as the universal mother and queen of ḍākinīs and calls upon her assistance to transform one's subtle channels, wind-energies and essences and attain the state of deathlessness.

A short supplication of Guru Padmasambhava as the Vajradhara of Oḍḍiyāna (Orgyen Dorje Chang), together with Yeshe Tsogyal and others, written at the behest of a ḍākinī named Lhakar Drolma (possibly to be identified with Lakar Tsering Chödrön).

Jamyang Khyentse composed this prayer at the actual site of the famous Boudha stūpa, known to Tibetans as "Jarung Khashor" (bya rung kha shor), while he was staying in the Kathmandu Valley in 1956/7.

This short prayer, which is addressed directly to the sacred stūpa of Svayambhū (known to Tibetans as Pakpa Shingkun—“Noble All-Trees”) in Nepal, was composed at the site itself, and is part of a series of prayers addressed to the three major stūpas of the Kathmandu Valley.

Jamyang Khyentse composed this simple sādhana of the radiant goddess Mārīcī at the request of the cabinet minister Lukhangpa Tsewang Rabten (1895–1966).

Composed in 1934, this brief devotional song recalls the kindness of Katok Situ Chökyi Gyatso (kaḥ thog si tu chos kyi rgya mtsho, 1880–1925), Jamyang Khyentse's root guru.

A brief song to invoke Jamyang Khyentse's inspiration and blessings as a means to accomplish view, meditation and conduct.

Written for a disciple who was about to travel from Sikkim to Tibet, this brief song encapsulates the message of the intermediate and final turnings of the Wheel of Dharma and explains how to practise the indivisibility of emptiness and compassion.

A brief song of aspiration to perfect the practice of the Great Perfection and realize the three kāyas that are naturally present within the mind.

Composed during the ceremonies that followed the death of Princess Sangay Deki in 1957, this short texts focuses on the ultimate significance of Vajrasattva as the teacher of threefold tantra.

Verses in praise of three sacred sites: Rājgṛha (rgyal po'i khab), the ancient capital of Magadha; Vulture Peak (bya rgod spungs ri), where Buddha taught the Prajñāpāramitā sūtras; and Nālandā (nālendra), site of the famous monastic university.

This spontaneous vajra song makes reference to offering the lamp of wisdom or awareness and employs the terminology of Dzogpachenpo, the Great Perfection.

Written in verse, this short text addresses some of the sectarian attitudes and activity attributed to the controversial Gelugpa teacher Phabongkha Dechen Nyingpo (1878–1941) and his supporters.

An acrostic text extolling the goddess Tārā, which Jamyang Khyentse wrote in 1924 when he was 31 years old (or 32 by Tibetan reckoning).

A simple song of advice addressed to yogins and yoginīs in abecedarian form, meaning that each line begins with the successive letters of the Tibetan alphabet—an effect that is (inadequately) reproduced in the translation.

Verses of crucial advice covering the whole path but especially the practice of Dzogchen, composed at the request of someone named Asé Chatralwa.

Verses of pithy advice for the Sakya khenpo Jamyang Losal Zangpo (1919–1993).

This general advice, written for a student called Karma Chöchok (karma chos mchog), includes the Tibetan syllable ang — indicating insistence or encouragement and translated here as "hey!" — in each of its first four verses.

These verses of advice for Khenpo Jamyang Losal emphasize the importance of recognizing the view and practising guru yoga.

This remarkably concise and pithy instruction on Dzogchen practice and preparation for death was composed for Ane Kalchö of Lakar.

Verses of advice on the path in general and the approach of the Indivisibility of Saṃsāra and Nirvāṇa ('khor 'das dbyer med) in particular.

A verse on resting in the nature of mind, which is said to have been composed for Palpung Situ Pema Wangchok Gyalpo (1886–1952).

In just four verses, Jamyang Khyentse summarizes the instructions on the three sets of vows—pratimokṣa precepts, bodhisattva vows and tantric samayas—and shares the key to Mahāmudrā and Dzogchen.

General advice for a Nyingma lama called Gyalsé Kunnyi (Kunzang Nyima?) belonging to the Nyang (myang) clan.

These pithy verses of advice for an unnamed disciple cover the entire path from the outer preliminaries through to the advanced yogas of the generation and perfection phases.

Written for a disciple named Osam (Orgyen Samdrup? Orgyen Samten?), this short text in verse covers the whole path from the most basic contemplations of the outer preliminaries through to the highest form of meditation.

Concise counsel on every stage of the path, from recognizing the preciousness of a human life onwards, composed for an unnamed disciple.

Simple advice on investigating the origination, presence and departure (byung gnas 'gro gsum) of thoughts and resting without fabrication or contrivance in order to see the essence of mind.

Jamyang Khyentse says he composed this candid song of self-counsel during the first month of a Snake year as he felt by turns joyous and sorrowful.

These few lines of verse, taken from the advice section of Jamyang Khyentse's collected writings, are effectively an aspiration for mastering the Dzogchen practice of Tögal.

An aspiration for the spread of the teachings of the so-called Eight Great Chariots of the Practice Lineage (sgrub brgyud shing rta chen po brgyad): Nyingma, Kadam, Sakya, Marpa Kagyü, Shangpa Kagyü, Kālacakra, Pacification and Severance, and Approach and Accomplishment of the Three Vajras.

One of several texts which Jamyang Khyentse wrote to express his devotion for Dolpopa Sherab Gyaltsen (1292–1361), this prayer of calling the guru from afar opens with a single-line invocation of unusual length.

In this short text, written in verse, Jamyang Khyentse Chökyi Lodrö explains (with characteristic humility) the prerequisites and view, meditation and action of Dzogchen, or the Great Perfection.

In this undated prayer, Jamyang Khyentse calls upon the buddhas and bodhisattvas to help overcomed negative tendencies of body, speech and mind and progress along the path to awakening.

A prayer of confession and aspiration, calling upon all the gurus, buddhas and bodhisattvas. It was written in 1953, during what Jamyang Khyentse himself describes as a bout of sadness.

Jamyang Khyentse wrote this prayer following the untimely passing of Princess Sangay Deki in Sikkim in 1957. The prayer is for the enlightenment of all with whom he was connected, even those who merely heard his name, but especially his devoted followers and disciples.

Extracted from a longer prayer entitled Aspiration Written in Sadness During the Water Snake Year, this is an aspiration to take rebirth in Amitābha's paradise of Sukhāvatī, the Land of Great Bliss.

Jamyang Khyentse composed this short prayer for the spread of the Guhyagarbha Tantra teachings in Darjeeling, 1958, after explaining Lochen Dharmaśrī's commentary to a small group of disciples.

A short prayer for the spread of the tradition of Chokgyur Dechen Lingpa, Jamgön Kongtrul and Jamyang Khyentse Wangpo and for the flourishing of the teachings at Tenchok Gyurme Ling (rten mchog 'gyur med gling), the seat of Chokgyur Lingpa, better known as Neten Monastery.

A prayer for the flourishing of the teachings composed on the occasion of bestowing the name Orgyen Tekchok Ngesang Tupten Pelgye Ling (o rgyan theg mchog nges gsang thub bstan 'phel rgyas gling) on the new temple at Takmo Monastery (stag mo dgon).

Jamyang Khyentse composed this prayer of aspiration after reading the Words of the Buddha during the first month of the Earth Dog year (1958), a period of great turmoil within Tibet.

In this prayer, composed at Bodhgayā, Jamyang Khyentse praises the features of the place Tibetans call the Vajra Seat (rdo je gdan), by comparing it to a celestial realm, and aspires to be reborn there in future.

A brief invocation of the abbots of Ngor, from Kunga Zangpo (1382–1456) through to Könchok Lhundrup (1497–1557), followed by an aspiration to emulate their conduct and realization.

A spontaneous song of joy, composed while on pilgrimage to Nepal in late 1956.

This prayer to Tārā, written in 1936, calls upon her aid to overcome various obstacles, including threats of danger, poverty, depleted vital energy and harmful forces.

Benedictory verses (spar byang smon tshig) for an as yet unidentified text on the Jonang tradition, possibly written by Dodrupchen Jigme Tenpai Nyima (1865–1926).

Verses of aspiration written for the publication of A Brilliant Elucidation of Logical Reasoning (rigs lam rab gsal snang ba), Ju Mipham Namgyal Gyatso's annotation commentary (mchan 'grel) to Dignāga's Pramāṇasamuccaya.

Aspirational verses composed to mark the publication of Dharmakīrti's famous treatise on logic and epistemology, Pramāṇavārttika, or Commentary on Valid Cognition.

These verses of dedication were appended to an edition of Mipham Rinpoche's famous Seven-Line Prayer guru yoga compiled (with addenda) by Tokden Shakya Shri (1853–1919).

These verses of aspiration are appended to the version of The Clarifying Light: A Prophecy of the Future (ma 'ongs lung bstan gsal byed sgron me) that appears in the 12-volume edition of Jamyang Khyentse's collected writings.

Five verses of benediction written for the colophon of Mipham's White Lotus, a detailed explanation of the Seven-Line Prayer to Guru Padmasambhava.

Aspirational verses for the printer's colophon of an edition of the Verse Summary of the Transcendent Perfection of Wisdom (Prajñāpāramitā-sañcayagāthā).

Jamyang Khyentse wrote this guru yoga in 1959, towards the end of his life, inspired by his own faith and devotion for the great Indian master and the Kadampa tradition that he inspired.

A short prayer for the flourishing of the Katok branch of the Nyingma tradition, composed in Katok monastery's great temple in 1934.

A simple visualization and recitation focusing on Amitābha, the Buddha of Boundless Light, which can be performed at night prior to falling asleep.

Khyentse Chökyi Lodrö wrote this to supplement the collected biographies of lineage masters for the Chöd (gcod) practice known as The Whispered Transmission of Thangtong Gyalpo (thang stong snyan brgyud). It was Gyurme Jamyang Tenpel (as well as Katok Situ Chökyi Gyatso) who transmitted the practice to Jamyang Khyentse.

Simple instructions on the practices of Trekchö and Tögal composed at the request of the daughter of Katok Gyalse Kunzang Rinpoche.

A brief ritual of 'turning back the summons' or 'averting the call' ([b]sun ma bzlog pa) of the ḍākinīs in order to lengthen the life of the vajra master and disciples.

A simple practice of purification by means of Vajrasattva and consort, including recitation of the hundred-syllable and shorter, six-syllable mantras.

This guru yoga, which focuses on Guru Dewa Chenpo, was composed in early 1948 at the request of a young Khandro Tsering Chödrön (1929–2011).

Written in 1957, the year that Jamyang Khyentse first arrived, this is a prayer for happiness in Sikkim and the fulfilment of the aspirations and prophecies of great masters of the past concerning the welfare of its people.

This practice of calling the guru from afar invokes the guru in the form of the paṇḍita Vimalamitra.

A heartfelt prayer to Guru Rinpoche, the precious master of Oḍḍiyāna, who is referred to as the embodiment of all the buddhas' aspirations and the sole ally and protector of the Tibetan people.

Verses in praise of the great Sakya teacher Ngawang Lekpa (1867–1941) composed at the request of two of his devoted disciples, Yeshe Nyima and Ngawang Rinchen.

Jamyang Khyentse says that he saw a particularly crucial need for this prayer for the spread of Padmasambhava's tradition, which also incorporates aspirations for the flourishing of the Kadam, Sakya, Kagyü and Gelug schools and the lineages of Chokgyur Dechen Lingpa, Jamyang Khyentse Wangpo, Jamgön Kongtrul Lodrö Thaye, and Ju Mipham Namgyal Gyatso.

In this brief letter, Jamyang Khyentse confirms that Nezhi Tulku is an authentic treasure-revealer and imparts some advice about appropriate conduct.

A short essay concerning the identity and significance of the warrior-deity Gesar, the subject of offering rites (gsol mchod) by prominent figures such as Do Khyentse Yeshe Dorje (1800–1866), Jamyang Khyentse Wangpo (1820–1892) and Mipham Namgyal Gyatso (1846–1912).

A brief sādhana of White Tārā with a special focus on increasing longevity through purifying the potential for untimely death. It was composed for a lama from Dodrup named Tendzin.

Jamyang Khyentse composed these verses in praise of the Buddha of Boundless Life in Gangtok on the first day of the Tibetan year of the Earth Dog (1958).

Almost certainly written in 1958, this brief text in verse summarizes Tsongkhapa Lobzang Drakpa's approach to Prāsaṅgika Madhyamaka based on his interpretation of Candrakīrti's Introduction to the Middle Way (Madhyamakāvatāra).

In this verse panegyric, Khyentse Chökyi Lodrö praises the great Machik Labdrön (ma gcig lab sgron, 1031–1129) and incorporates references to many key terms and concepts from the Chöd ('Cutting') practice for which she is renowned.

A poetic praise of the Buddha's qualities, which Jamyang Khyentse composed at the Mahābodhi Temple, Bodhgaya, in 1956.

A simple daily sādhana of Red Hayagrīva composed at the request of a disciple named Sonam Gyaltsen.

A simple visualization and mantra recitation for the practice of Lama Gongdü revealed by the fourteenth-century tertön Sangye Lingpa (1340–1398).

A simple daily sādhana focused on Yamāntaka, the wrathful manifestation of Mañjuśrī.

This simple sādhana of Vajrakīla, requested by Sogyal Rinpoche, contains, in the words of Dilgo Khyentse Rinpoche's colophon, 'the concentrated blessings of kama and terma'.

A very simple practice focusing on Vajrasattva and consort, transcribed from Jamyang Khyentse's own handwritten notes.

A short daily practice of Yangdak Heruka composed in Lhodrak Kharchu at the request of a young Sogyal Rinpoche (1947–2019).

One of several short songs for the gaṇacakra feast that Jamyang Khyentse composed, this one invokes Guru Padmasambhava and Yeshe Tsogyal.

Composed on the very first day of the Tibetan year of the Water Dragon (26 February 1952), this short prayer invokes the power and truth of the Three Jewels and Three Roots, especially Dorje Drakpo Tsal, in order to overcome invading armies.

This brief text, seemingly written for a thangka artist, describes a painting dedicated to the Kadam tradition, with Jowo Atiśa as the central figure, Dromtönpa and Ngok Lotsāwa to his right and left, and other deities above and below.

This practical instruction in just a few lines covers the path of Dzogchen by highlighting only its most crucial elements.

This long prayer of calling the guru from afar (bla ma rgyang 'bod), which Jamyang Khyentse composed at the request of Khandro Tsering Chödrön (1929–2011), is a heartfelt appeal for the guru's assistance and guidance in turning one's mind towards the Dharma and following the path to awakening for others' sake.

This brief song expressing the quintessence of the view of Lamdré—the inseparability of saṃsāra and nirvāṇa ('khor 'das dbyer med)—was composed in Darjeeling on 11 June 1958.

These behavioural guidelines for Drodung (bro brdung), a branch of Katok Monastery, were co-authored by Drimé Shingkyong Jigme Dechen Dorje (1899–1939?) and Jamyang Khyentse Chökyi Lodrö in 1936.

A simple guru yoga focusing on Jamyang Khyentse Chökyi Lodrö inseparable from Jamyang Khyentse Wangpo, composed at the behest of Khenpo Tsultrim Nyima of Katok Monastery.

Pithy counsel for an unnamed tulku.

Written in 1928 in the presence of an image of Guru Dewa Chenpo at the famous Lotus Crytsal Cave (padma shel phug), above Dzongsar Monastery.

One of several prayers to Tārā by Jamyang Khyentse, this one was written in Darjeeling during the holy month of Saga Dawa in either 1957 or (more likely) 1958.

An arrangement for the empowerments of the eight auspicious symbols, eight auspicious substances and seven emblems of royalty, as part of the Longsal Dorje Nyingpo cycle.

Simple pithy advice covering the entire path, from contemplating the preciousness of human life through to meditation on the Great Perfection.

A simple torma offering which was requested by Khandro Tsering Chödrön (1925–2011) for her daily recitations and composed in the protectors' temple at Sakya Monastery, Tibet.

Jamyang Khyentse says that he spontaneously composed these verses in praise of the great Jetsün Tāranātha (1575–1634) some time during the Water Bird year (1933–1934) after reading the master's writings.

An aspiration to recognise the true nature of each stage of the bardo experience, from the moment of death and accompanying stages of dissolution through to the bardo of becoming, and thereby attain awakening.

A simple instruction based on the so-called Four Dharmas of Gampopa: 1) turning the mind toward the Dharma, 2) making progress along the path, 3) clarifying confusion, and 4) allowing confusion to dawn as wisdom.

Three verses in praise of the Sakya lama Jamyang Gyaltsen (1870–1940), who is known primarily for his efforts to gather and publish the collected writings of Gorampa Sonam Senge (1429–1489).

Jamyang Khyentse composed this prayer of aspiration at the request of his student Yakzewa Gyurme Drakpa at the Mahābodhi temple in Bodhgaya in January 1958.

A list of the kings of Derge (sde dge) and their ancestors from the semi-divine progenitor Gar Namtsa Druk onwards, including numbered generations beginning with Gar Tongtsen, a minister to Songtsen Gampo.

Jamyang Khyentse composed this prayer as part of a series of supplications addressed to the Abbot Śāntarakṣita, Guru Padmasambhava, the Dharma King Tri Songdetsen (mkhan slob chos gsum) as well as the future king of Shambhala, Raudracakrin, all written at the behest of the Sixth Dzogchen Rinpoche and a lama from Dzogchen Monastery called Pema Düdül.

In this short song, composed in 1942, Jamyang Khyentse expresses sadness for his own situation in the age of degeneration and calls out to those he regards as his six main teachers: Jamyang Loter Wangpo (1847–1914), Katok Situ Chökyi Gyatso (1880–1925), Shechen Gyaltsab Gyurme Pema Namgyal (1871–1926), Adzom Drukpa (1842–1924), Dodrupchen Jigme Tenpai Nyima (1865–1926) and Gatön Ngawang Lekpa (1867–1941).

A brief overview of the sacred site of Sengchen Namdrak (seng chen gnam brag), one of the twenty-five major sites of Kham, describing its significance as a location of terma revelation and consequent benefits as a place of pilgrimage.

A guide to Gawa Lung (dga' ba lung), the Valley of Joy, or Dorje Menlung (rdo rje sman lung), the Valley of Vajra Medicine, an ideal place for spiritual practice located in north-western Sikkim.

A simple guru yoga in which Jamyang Khyentse appears in the form of Guru Padmasambhava, written for a disciple called Jigme Trinlé.

Jamyang Khyentse composed this brief guru sādhana, which focuses on the first human Dzogchen master Garab Dorje, in 1953 following what he describes as a dream experience.

This guru sādhana (bla sgrub) focuses on the master logician Dharmakīrti, but the text also makes apparent reference to one of Jamyang Khyentse's main teachers, Khenpo Kunzang Palden (c.1862–1943), who is also known as Kunzang Chödrak, or Samantabhadra Dharmakīrti.

A guru sādhana (bla sgrub) of Dolpopa Sherab Gyaltsen (1292–1361), in which he appears as the embodiment of the Lords of the Three Families— Avalokiteśvara, Mañjuśrī and Vajrapāṇi.

This simple guru yoga focussing on Guru Drakpo with the master Longsal Dorje at his heart is intended as a means to pacify the harm caused by spirits and to cure sickness of the heart; it was composed in 1957.

A guru yoga featuring the great adept and teacher Lochen Chönyi Zangmo, who is here identified with Yeshe Tsogyal and Vajrayoginī.

A short guru yoga of Milarepa composed in 1955 or 1956 at at Tsurphu, the grand monastery of the Karmapas, at the request of Sogyal Tulku (1947–2019).

Jamyang Khyentse composed this guru yoga practice focusing on Marpa Lotsāwa during a visit to the great translator's former residence at Sekhar in Lhodrak.

Composed in 1954 on the basis of a visionary experience, this guru yoga features the great Indian paṇḍita Haribhadra with the Mother Prajñāpāramitā at his heart.

This guru yoga practice, which features Pema Lingpa with Guru Dewachenpo at his crown and Avalokiteśvara in his heart, was composed in 1956 at the sacred lake known as Pema Ling at the request of Yakzé Lama Gyurdrak (d. 1975).

A simple guru yoga based on Buddha Śākyamuni, which Jamyang Khyentse composed at the sacred site of Bodhgaya in December 1957.

This pithy text of advice offered to Ani Pelu of the Lakar family covers the entire path, but with a special focus on Dzogchen meditation, Guru Yoga and preparation for the moment of death.

Notes on a number of topics, including how Buddha Śākyamuni generated bodhicitta and completed the accumulation of merit over three incalculable aeons, the four kāyas, the twelve deeds, and the three councils. The text is undated and has no colophon, but it is possible that Jamyang Khyentse drew upon Zhuchen Tsultrim Rinchen's (1697–1774) catalogue (dkar chag) to the Derge Tengyur or a similar source.

A short 'means of recitation' (bklag thabs), providing additional prayers and practices to be chanted before and after the root text of the Sūtra of Boundless Life and Wisdom (tshe dang ye shes dpag tu med pa’i mdo).

A panegyric on Devāvatāra or Sāṃkāśya, the place where Buddha supposedly returned to earth after spending a rainy season teaching Abhidharma to his mother and others in the deva realm.

Khyentse Chökyi Lodrö praises the great eleventh-century poet and yogi Milarepa, describing him as a ‘crown-jewel’ among the many siddhas, or accomplished adepts, to have appeared in the Land of Snows.

In these verses, Jamyang Khyentse highlights the special qualities of Jigme Lingpa (1730–1798) by describing his superiority to the majority of scholars, adepts and authors.

A short poetic text in praise of Kuśinagara, the scene of Buddha Śākyamuni's final act, passing beyond this world and into parinirvāṇa.

Although entitled a praise of Vārāṇasī, this short poetic work concerns Sarnath or Ṛṣipatana, located approximately 10 kilometres from that ancient city. It was in the deer park of Sarnath that Buddha Śākyamuni first taught, setting in motion the Wheel of Dharma.

Verses in praise of the sacred site of Yangleshö (yang le shod) near the village of Pharping to the south of the Kathmandu Valley, where it is said that Guru Padmasambhava attained the level of a Mahāmudrā vidyādhara.

In this verse text, probably composed in 1958, Jamyang Khyentse playfully marvels at modernity and expresses a sense of wonder upon encountering the vast Indian city of Kolkata (formerly Calcutta) and all its unfamiliar attractions for the first time. The real highlight of the city as he sees it, however, is the chance to view the Buddha's relics, which were housed at the Indian Museum.

A short text in praise of the 'Lords of the Three Families' (rigs gsum mgon po), i.e., Mañjughoṣa, Avalokiteśvara and Vajrapāṇi.

Jamyang Khyentse elaborates on the individual syllables of the main mantra of the forty-two peaceful deities, oṃ āḥ hūṃ hrīḥ bodhicitta mahāsukha jñāna dhātu āḥ, and the main mantra of the fifty-eight wrathful deities, oṃ rulu rulu hūṃ bhyo hūṃ.

A practice for developing wisdom; it is focused on Guru Loden Chokse (blo ldan mchog sred), a form of Guru Padmasambhava, and incorporates two other deities associated with wisdom, the goddess Sarasvatī and the bodhisattva Mañjuśrī.

Jamyang Khyentse wrote these verses in praise of the famed 11th-century Indian paṇḍita Smṛtijñānakīrti in 1958 after an inspiring dream of the master.

In these twenty-one verses, composed in 1952, Jamyang Khyentse extols the qualities of the Buddha's Words and prays that the teachings may endure until the very end of existence.

An invocation of deities associated with magnetizing and enriching for the sake of the teachings in general and the Sakya teachings in particular.

Jamyang Khyentse composed these verses of praise, prayer and aspiration when travelling to India for a second time, in or around January 1958.

Composed in 1949, this song of lament is addressed to Jamyang Khyentse's principal guru, Jamyang Loter Wangpo (1847–1914). The song expresses the author's grief and sadness at his own misfortune for having failed to encounter his master in visions or dreams.

In this brief letter, Jamyang Khyentse expresses his gratitude to Gyarong Khandro for practices performed on his behalf and lists the gifts he is sending her in return.

This song calling upon Guru Padmasambhava to come to the aid of Tibetans was written during the Fire Dog year (1946).

Jamyang Khyentse wrote this lamenting prayer in early 1944 as soon as he heard that his teacher, Khenpo Kunzang Palden, had died just a few days earlier in late December 1943.

Written in 1957, possibly for the daughter of Sonam T. Kazi, this is an eight-line prayer for the longevity and flourishing of the incarnation of Lochen Chönyi Zangmo (1853/1865–1950/1951).

An inscription for an image of the Lords of the Three Families, i.e., Avalokiteśvara, Mañjuśrī and Vajrapāṇi, with prayers for the positive rebirth and wellbeing of someone by the name of Kunga Trinlé.

A four-line prayer composed to consecrate an image of Mañjuśrī.

This thirteen-verse prayer, written in 1934, calls upon the Three Roots to witness a series of aspirations related to the Mahāyāna path, including elements of the Vajrayāna.

Requested by a Paksam Gyatso, this general advice in verse covers the entire path from the preliminaries through to the most advanced meditation and its fruition.

Jamyang Khyentse composed this invocation of Dza Patrul Rinpoche (1808–1887) on an anniversary of the master's parinirvāṇa, which falls on the eighteenth day of the fourth Tibetan month.

Brief surveys, taken from Jamyang Khyentse's personal notebook, of the life of Ngadak Sempa Chenpo Chögyal Puntsok Rigdzin (1592–1656) and the lives of the incarnations of Lhatsün Namkha Jigme (1597–1650)

These notes on the Seven Points of Mind Training appear to derive from the celebrated commentary of Sé Chilbu Chökyi Gyaltsen (1121–1189). Unfortunately the notes do not cover the entire root text and their brevity is suggestive of lecture notes or an aide-memoire.

An appeal for funds, written in 1945, on behalf of the Sakya monastery of Sejo (se 'jo) in Dzakhok as they prepared to perform an elaborate torma repelling rite (gtor bzlog) based on the Eight-Deity Pañjaranātha.

Composed in 1955 when Jamyang Khyentse passed through the area, this is a short verse text in praise of Redreng/Reting, the famous monastery founded by Atiśa's foremost disciple, Dromtönpa Gyalwé Jungné, in 1056–1057.

This lengthy tribute, composed in Sikkim, is an important source of information concerning Khenpo Kunpal's life, even though it seemingly misidentifies his birth year.

An offering to the nāgas, especially Śaṅkhapāla ('Conch Protector'), king of nāgas, with a request for protection of Gangtok and the 'hidden land' of Sikkim.

Notes on one of Jetsün Drakpa Gyaltsen’s (1147–1216) best known songs, which incorporates key points related to both sūtra and mantra, written at the request of Sakya Dagchen Rinpoche (1929–2016).

This warning of the dangers of criticising a guru from whom one has received empowerment—and to whom one therefore has samaya commitments—was written in the wake of opposition to Jamyang Khyentse's decision to take a consort.

In this brief and undated text, Jamyang Khyentse draws upon Jamgön Kongtrul's Treasury of Knowledge and a work by Tulku Sangye Lhawang in order to show the importance of constructing stūpas according to the specified proportions, rather than one's own ideas or preferences.

Among the best-known compositions of Jamyang Khyentse Chökyi Lodrö, this short text in verse provides an introduction to the history and practice of Tibetan Buddhism and concludes with an appeal for nonsectarianism. It was written at the request of the Indian diplomat and author Apa Pant (1912–1992).

An aspiration to be reborn in the eastern pureland of Abhirati (mngon dga'), the realm of Vajra Akṣobhya. The text is included in the Shechen edition of the Rinchen Terdzö as part of Longsal Nyingpo's (1625–1692) Longsal Dorje Nyingpo (klong gsal rdo rje snying po) cycle.

A prayer for the longevity of the Twelfth Tai Situpa, Pema Dönyö Nyinché (b. 1954), written at the behest of the Ninth Sangye Nyenpa Rinpoche (1897–1962).

A brief prayer to accompany offerings to Gesar Norbu Dradül Tsal (‘Foe-Subduing Jewel’) and to request his protection against obstacles and harmful forces.

A devotional invocation of the great Sakya patriarch Kunga Nyingpo (1092–1158) with a request for his blessings and assistance on the path.

Jamyang Khyentse wrote this text in praise of Lhodrak Kharchu as he passed through the sacred place in 1956. The site is associated with Namkhai Nyingpo, who is said to have attained accomplishment here through the practice of Yangdak Heruka.

Jamyang Khyentse drew heavily upon the famous tantra Chanting the Names of Mañjuśrī (Mañjuśrī-nāma-saṅgīti) in order to compose this praise and supplication to the deities of the five families of Mañjuśrī.

An eight-verse poem in praise of Longchen Rabjam (1308–1364) written in January 1954.

This brief paean to the famed scholar Sakya Paṇḍita Kunga Gyaltsen (1182–1251) is the shortest of at least six such texts composed by Jamyang Khyentse.

A two-verse prayer to Jamyang Khyentse Chökyi Lodrö composed by the master himself at the request of Yakzé Tsewang Gyurme.

This two-verse supplication, composed by Jamyang Khyentse himself at the behest of a certain Lama Chödrak, invokes the master's inspiration and blessings as a means to realize the view of the Great Perfection.

A prayer invoking the omniscient Longchen Rabjam and calling upon his assistance to realize the nature of reality and master the practice of the Great Perfection.

A short prayer to inspire the recognition of clear light or luminosity ('od gsal), especially during dream yoga as a preparation for the dawning of luminosity in the bardo or intermediate state.

Jamyang Khyentse composed this brief prayer for his own and Khandro Tsering Chödrön's (1929–2011) longevity at the request of Muksang Rinpoche Pema Kunzang Rangdrol (1916–1984).

Jamyang Khyentse composed this prayer entitled 'Removing Obstacles in the Life of the Ḍākinī' (ḍā ki'i sku tshe'i 'phrang bzlog) for the longevity of his consort Khandro Tsering Chödrön (Āyu Dharma Dīpam) at the request of Parkö Chöpel, a carver of printing blocks at Dzongsar.

A short prayer for the long life of Jigdal Sakya Dagchen Rinpoche (1929–2016), head of the Puntsok Podrang, and his eldest son Mañjuvajra Rinpoche (b. 1953), alias Dhungsey Minzu Sakya.

A five-verse prayer for the swift reincarnation of Jamyang Khyenrab Tayé (1862–1937), a master from whom Jamyang Khyentse received the Kālacakra empowerment and other teachings.

Jamyang Khyentse appears to have composed this aspiration following the death of his mother, Tsultrim Tso—referred to here as Tsultrim Chökyi Drolma. In it, he vows to remain in saṃsāra until she and all other beings, his mothers from earlier lives, attain awakening.

This short prayer to the sacred stūpa at Namo Buddha, which commemorates the Buddha's sacrifice—during one of his previous lives—of his own body to feed a hungry tigress and her cubs, is part of a series of prayers addressed to the three major stūpas of the Kathmandu Valley.

This prayer to Jamyang Gyaltsen occurs twice in the latest version of Jamyang Khyentse Chökyi Lodrö's collected writings. The colophon to this second occurrence provides the circumstances of its composition: when Jamgyal gave the reading transmission for his new 13-volume edition of Gorampa Sonam Senge's writings at the Dragang retreat centre.

Jamyang Khyentse composed these verses of prayer to Amitāyus after completing the recitation for the Iron Tree longevity practice (tshe sgrub lcags sdong ma), which is part of the Northern Treasures.

A short, four-line prayer to Butön Rinchen Drup (1290–1364), which Khyentse Rinpoche composed on the basis of a dream experience.

This prayer to the extraordinary Gyarong Khandro Dechen Wangmo, who was considered to be an emanation of Mandāravā, was written by Jamyang Khyentse at the request of Khandro Tsering Chödrön (1929–2011).

A two-verse invocation of Jamyang Khyentse Chökyi Lodrö composed by the master himself at the request of two disciples.

This prayer, composed at the request of a physician, invokes Jamyang Khyentse as a manifestation of Khyentse Wangpo and requests his inspiration and blessing to realize the true nature of mind.

This three-verse invocation of both Jamyang Khyentse Wangpo and his reincarnation Jamyang Khyentse Chökyi Lodrö was composed by the latter at the request of a woman called Rigdzin Lhamo.

A short supplication to Karse Kongtrul Khyentse Özer (1904–c.1953), who was a reincarnation of Jamgön Kongtrul and son of the Fifteenth Karmapa.

A short, two-verse supplication to the famed Dzogchen master Khenchen Ngawang Palzang (1879–1941) alias Khenpo Ngakchung, from whom Jamyang Khyentse received teachings.

A four-line prayer to invoke the blessings of the three great masters Jamyang Khyentse Wangpo, Jamgön Kongtrul Lodrö Thaye and Chokgyur Dechen Lingpa.

This prayer invokes the great translator Marpa Chökyi Lodrö, together with his wife Dakmema, his physical heir Darma Dodé and his foremost spiritual heir Milarepa. Jamyang Khyentse composed the text while on a visit to the site of Marpa's estate in Lhodrak, most likely in 1956.

A short, three-verse supplication to Jamyang Loter Wangpo (1847–1914), which Jamyang Khyentse composed spontaneously when recalling his guru.

Composed in 1919, when Jamyang Khyentse was just twenty-six years old.

A short prayer to noble Tārā requesting her guidance, protection and assistance on the path to awakening.

A prayer to Sé Pakchok Dorje, the mind emanation of Jamyang Khyentse Wangpo (1820–1892) and one of the six sons of Tokden Śākya Śrī (1853–1919), invoking his inspiration and blessings in order to perfect the path of Dzogchen.

A four-line supplication to Tsarchen Losal Gyatso (1502–1567) composed in 1956.

A short, four-line prayer to Vimalamitra, the great paṇḍita and Dzogchen master.

A prayer to invoke the blessings of the masters of the Kagyü lineage, especially the Karmapa incarnations beginning with Düsum Khyenpa (1110–1193).

A lineage prayer for the Heart-Essence of the Supreme Hayagrīva Emanation (rta mchog rol pa'i snying thig) cycle, received as an aural transmission (snyan brgyud) by Jamyang Khyentse Wangpo.

A prayer to six master scholars from the Sakya tradition: Ngorchen Kunga Zangpo (1382–1456), Dzongpa Kunga Namgyal (1432–1496), Yaktön Sangye Pal (1350–1414), Rongtön Sheja Kunrig (1367–1449), Gorampa Sonam Senge (1429–1489) and Śākya Chokden (1428–1507).

Here Jamyang Khyentse adapts and expands upon A Means of Purifying Negativity through Amitābha ('od pag med kyi sgo nas sdig pa sbyong ba'i thabs) by Chögyal Pakpa Lodrö Gyaltsen (1235–1280), which is contained in the Sakya Kabum (sa skya bka' 'bum).

A guru yoga focusing on the so-called Three Mañjuśrīs of Tibet, i.e., Longchen Rabjam (1308–1364), Sakya Paṇḍita (1182–1251) and Tsongkhapa Lobzang Drakpa (1357–1419). Here, Jamyang Khyentse further identifies Longchen Rabjam with the bodhisattva Vajrapāṇi and Tsongkhapa with the bodhisattva Avalokiteśvara.

A short prayer to Jamyang Loter Wangpo (1847–1914), which Jamyang Khyentse Chökyi Lodrö composed in order to reinvigorate devotion.

Jamyang Khyentse composed this poetic hymn to Sarasvatī while travelling along the Ganges river in the Fire Monkey year (1956).

A concise summary of the history of Sikkim with a special focus on its royal genealogy, possibly notes taken when reading the original 'Bras ljongs rgyal rabs by the ninth Chogyal Thutob Namgyal and Maharani Yeshe Dolma.

This short aspiration was inscribed on the back (verso) of a painted image of Buddha Śākyamuni.

This brief sang (bsang) offering to Jambhala, the deity of wealth, was written for a Vajrayāna master at Dzongsar named Lama Jampal Chöwang.

Jamyang Khyentse composed this guru sādhana focused upon King Songtsen Gampo following a visionary experience he had at the sacred Moon Cave at Drak Yerpa.

Composed in 1958, this simple guru yoga practice of Tsongkhapa Lobzang Drakpa (1357–1419) incorporates the famous Miktsema prayer to the master.

A short four-line prayer to Atiśa composed in October 1956 on the master’s anniversary.

A three-verse lineage prayer for the practice of the Lion-Faced Ḍākinī composed at the request of Trulshik Kunzang Pawo Dorje (1897–1962).

A brief song of prayer to invoke the guru's inspiration and blessings as a means to progress along the path, composed at the behest of Jamyang Chöpel.

A short, three-verse song invoking the nature of the three kāyas as a means to perfect Dzogchen realization.

In this short song on the theme of longevity every line of the original Tibetan begins with the syllable 'chi, which means death or mortality.

This prayer was composed in 1940, following a visionary encounter with the great translator and forefather of the Kagyü tradition and the surge of devotion that this vision inspired.

A spontaneous song or doha expressing confidence in Dzogchen realization, which Jamyang Khyentse tells us he offered to the guru of his own awareness.

Jamyang Khyentse says that he composed this song of invocation and prayer out of sadness. In it, he calls upon the great yogin to help him overcome his failings and turn his mind towards the Dharma.

Verses on Dzogchen, which occurred to Jamyang Khyentse spontaneously while he was at Taktse Podrang (stag rtse pho brang) in Sikkim in 1956.

Jamyang Khyentse says that he was moved to compose this song of sorrow when he had fallen sick and was reflecting on the various ills of the age.

Spontaneously composed verses on the uniqueness and profundity of the Dzogchen approach, which centres on the recognition of mind's intrinsic awareness.

Written at the request of Lhasé Sogyal, the king of Yönru in Lithang, this short text covers the key points of Trekchö, from the foundational prerequisites to the unique Dzogchen preliminary of 'demolishing the house of the ordinary mind' and the main meditation practice of Dzogchen itself.

Supplementary verses for the lineage prayer of Tsarchen Losal Gyatso's instructions from the Lamdré, including two verses composed by Gatön Ngawang Lekpa and two which Jamyang Khyentse Chökyi Lodrö wrote in 1954 while transmitting the Lamdré Lopshé to Sakya Dagchen Rinpoche.

In these addenda to the standard lineage prayer for Longchen Nyingtik (klong chen snying thig), which is known as The Continuous Shower of Blessings, Jamyang Khyentse highlights two versions of the lineage received by Jamyang Khyentse Wangpo: the full transmission from Khenpo Pema Vajra and the transmission of realization from Jigme Gyalwe Nyugu.

Written in Kolkata, a city associated with Kālī, these verses of praise identify the goddess as having "a hundred names and thousand attributes" and as being one with Samantabhadrī, Prajñāpāramitā, Ekajaṭī and many other prominent female deities in the Tibetan Buddhist pantheon.

A comprehensive guide to the Mahāyāna path in the Sakya tradition written at the behest of a lama referred to as Kangyurpa.

This three-verse prayer for the longevity of Jamyang Khyentse Chökyi Lodrö was written at the behest of Dzongsar Ngari Tulku (1945–2008).

This short sādhana of Red Tārā, who is associated with the activity of magnetizing, was composed at the request of Khandro Tsering Chödrön (1929–2011) and her sister Tsering Wangmo of the Lakar family.

This brief practice of Mahākāla and consort was composed in the presence of the sacred Mahākāla image at Sakya Monastery, most likely in 1956, at the request of three close disciples, including the young Sogyal Rinpoche.

A brief prayer to the Nyingtik master Adzom Drukpa Drodül Pawo Dorje (1842–1924), who was one of Jamyang Khyentse's most important Dzogchen teachers.

A prayer to the lineage of Dorje Drolö, from the dharmakāya down to Jamyang Khyentse's own teacher, Shechen Gyaltsab Gyurme Pema Namgyal.

A supplication to the lineage of the healing practice known as The Five-Deity Subjugative Hayagrīva (rta mgrin gnyen po lha lnga), a treasure originally revealed by Rigdzin Chokden Gönpo (1497–1557) and later rediscovered by Jamyang Khyentse Wangpo.

Khyentse Chökyi Lodrö himself composed this prayer to the 'garland' of his own previous incarnations (skye phreng gsol 'debs), from the Buddha Mañjuśrī down to his immediate predecessor, Jamyang Khyentse Wangpo (1820–1892).

A fulfilment practice (bskang ba) for Chimé Pakmé Nyingtik, the 'Heart-Essence of the Sublime Lady of Immortality'; it is included in the most recent edition of the Rinchen Terdzö.

These verses in praise of the great Sakya master Jamyang Loter Wangpo (1847–1914) were composed at the behest of Tsangsar Choktrul Rinpoche.

A prayer to the lineage of Mitrayogin's Amitāyus practice, part of the Heart-Essence of the Mahāsiddha Mitra (grub chen mi tra'i snying thig) cycle, revealed as a pure vision by Jamyang Khyentse Wangpo.

A simple guru yoga based on the form of Avalokiteśvara known as Resting in the Nature of Mind (Semnyi Ngalso).

A short song of advice on the theme of the 'Three Greats', i.e., Great Middle Way (Madhyamaka), Great Seal (Mahāmudrā) and Great Perfection (Dzogpachenpo).

Extensive notes on the Bright Lamp of the Heart Essence (Nyingtik Saldrön) practice preceded by a general discussion of guru yoga and the importance of following a teacher.

This song of devotion, composed on the master's anniversary in 1950, emphasizes the ultimate nature of Longchen Rabjam, according to which he does not exist externally but in the nature of one's own mind.

A lineage supplication for the Red Tāra revealed as a terma by Drikung Tertön Ösel Dorje—a revelation which Jamyang Khyentse helped to compile and which is included among his own collected writings.

A short poetic text in praise of Śrāvastī (mnyan yod), where Buddha Śākyamuni spent many rainy seasons and where, it is said, he defeated rival teachers in a contest of miraculous ability. Jamyang Khyentse composed the work during a visit to the town in 1956.

Jamyang Khyentse composed these eight verses in praise of the great yogi Milarepa on the anniversary of the master's parinirvāṇa in March 1947.

In poetic language, this fifteen-verse tribute recounts the legend of Yeshe Tsogyal's life of liberation, extolling her accomplishments and qualities.

A five-verse prayer for the longevity of Chung Rinpoche, Ngawang Chödrak (1908–1980) of Mindrolling, who was both Jamyang Khyentse's teacher and student.

Jamyang Khyentse composed this seven-verse prayer for the longevity of Dudjom Rinpoche (1904–1987) during the Earth Ox year (1949–1950).

Notes on a single verse from Maitreyanātha's Abhisamayālaṃkāra (IV, 59) which identifies eight types of profundity related to arising, ceasing, suchness, the knowable, knowing, activity, non-duality and skill in means.

Jamyang Khyentse composed these verses in praise of Chokgyur Dechen Lingpa (1829–1870) while at Tsikey Norbu Ling Monastery, in the presence of the stūpa commemorating the great tertön.

A short song of realisation that succinctly describes the ground, path and fruition of Mahāmudrā.

General counsel, including a simple Dzogchen instruction, composed for an unnamed disciple.

This aspiration, written during an unspecified snake year, incorporates the key elements of the Mind Training teachings, such as taking on others' suffering and giving away one's own happiness, and perfecting relative and absolute bodhicitta.

A short prayer for the longevity of the celebrated scholar Öntö Khyenrab Chökyi Özer (1889–1959), who taught at Dzongsar Monastery's scriptural college.

One of two texts in praise of Tsongkhapa Lobzang Drakpa (1357–1419) that Jamyang Khyentse composed, this one dates from early 1959 and follows what he describes as a delusory dream of filling a statue of the master.

Jamyang Khyentse composed this poetic paean to Mañjuśrī, with its long, seventeen-syllable lines, in Gangtok in the summer of 1957.

This prayer is the only known source for key biographical information about Jamyang Khyenrab Tayé (1862–1937), a master from whom Jamyang Khyentse received the Kālacakra empowerment and other teachings.

In this prayer of aspiration, composed in 1955, Jamyang Khyentse calls upon all gurus, yidam deities, ḍākinīs, protectors, wealth deities and other guardians of virtue to come to the aid of Tibet and its people.

This appeal to Mahākāla Pañjaranātha for his assistance in overcoming obstacles during turbulent times and progressing on the Dharma path was composed at Bodhgaya, site of the Buddha's enlightenment.

Jamyang Khyentse composed this prayer as part of a series of supplications addressed to the Dharma King Tri Songdetsen, Guru Padmasambhava, and Abbot Śāntarakṣita (mkhan slob chos gsum) as well as the future king of Shambhala, Raudracakrin, all written at the behest of the Sixth Dzogchen Rinpoche and a lama from Dzogchen Monastery called Pema Düdül.

A simple, unelaborate practice based on the principle that "naked ordinary awareness... is the wisdom mind of the glorious guru."

Verses in praise of the great lord of yogis (rnal 'byor dbang phyug) Virūpa, who is renowned as a mahāsiddha on account of his mastery of tantric practice.

A prayer to the Karmapas from the first incarnation, Düsum Khyenpa (1110–1193), through to the fifteenth, Khakhyab Dorje (1870/71–1921/22).

Composed on Milarepa's anniversary in 1952, this eight-verse prayer lauds the great yogin for his accomplishment of the transcendent perfections (pāramitā) and other qualities.

A devotional song for invoking the inspiration and blessings of Jamyang Khyentse Wangpo, Jamgön Kongtrul Lodrö Thayé and Jamyang Khyentse Chökyi Lodrö himself.

Jamyang Khyentse composed this aspiration, which calls upon the Lamdré lineage gurus and deities of the Hevajra maṇḍala as witnesses, while practising guru yoga as a preliminary to the Hevajra recitation.

Jamyang Khyentse composed this brief prayer to the famed Drukpa Kagyü adept Yangönpa Gyaltsen Pal (1213–1258) following what he describes as a 'minor visionary experience'.

Eleven verses in praise of Mañjuśrī which Jamyang Khyentse composed at the end of the Water Dragon year (i.e., in January 1953), while he was in retreat.

Jamyang Khyentse composed these verses in praise of Mañjuśrī at the request of his master of ceremonies, Lama Chokden, while relaxing in a forest in Darjeeling.

Composed in December 1957 at the request of Tibetans resident in Gangtok, this is one of at least four prayers for His Holiness the Dalai Lama's longevity by Jamyang Khyentse.

Verses in praise of the famous Mādhyamika master Candrakīrti that the author composed in Darjeeling towards the end of his life.

This brief tribute to Red Sarasvatī was composed by moonlight during an evening boat trip on the Ganges.

Jamyang Khyentse says he composed this prayer to the three deities of long life—Tārā, Amitāyus and Vijayā—after completing the recitation of Chimé Pakmé Nyingtik during his thirty-third year, i.e., in or around 1925.

Jamyang Khyentse wrote this guru yoga focusing on Buddha Śākyamuni (including his sambhogakāya form as Vajradhara and dharmakāya as Samantabhadra) in January 1958 at Rajgir (ancient Rājgṛha) following a visionary experience several days earlier at Bodhgayā.

Jamyang Khyentse wrote this prayer upon the death of Gyurme Tsewang Gyatso, who was both his teacher and his father, as a call for his swift rebirth and as an aspiration.

A four-verse prayer for the swift reincarnation of Dampa Rinpoche Ngawang Lodrö Nyingpo (1876–1953), the sixty-fifth great abbot (mkhan chen) of Ngor.

This longer prayer to Jamyang Khyentse's successive rebirths was composed in 1952 for Dongna Tulku, who requested a long version of the prayer known as Beautiful Garland of Uḍumbara Flowers.

Jamyang Khyentse Chökyi Lodrö wrote this shorter long-life prayer for His Holiness the Dalai Lama, in three four-line verses, in the sacred place of Yamalung near Samye (most likely in 1956).

Jamyang Khyentse wrote these behavioural guidelines (bca' yig) for the Sakya monastery of Tupten Tashi Gepel Ling (thub bstan bkra shis dge 'phel gling), also known as Sagang (sa sgang), from his residence at Dzongsar during the Earth Tiger year (1938–1939).

Jamyang Khyentse wrote this verse autobiography at the request of Dilgo Khyentse Rinpoche (1910–1991). Its detailed lists of teachings received, practices accomplished and teachings given later formed the basis of the full biography that Dilgo Khyentse himself wrote.

An outline of the famous prayer by Mipham Namgyal Gyatso (1846–1912), aspiring to realize the ultimate significance of Mañjuśrī according to the Great Perfection.

These nine verses in praise of the great Sakya teacher Ngorchen Kunga Zangpo (1382–1456) include elements of supplication and the aspiration to emulate the master and receive his continued guidance.

Jamyang Khyentse seems to have written this brief guru yoga of his teacher Khenchen Samten Lodrö (1868–1931) while the master was still alive.

A devotional song addressed to Jamyang Khyentse himself which the master composed at Drakmar Keutsang in Chimpu for his student Parkö Chöpel, a carver of woodblocks for printing.

Jamyang Khyentse composed this supplication before the master's reliquary at Dar Drangmoché in 1956.

Jamyang Khyentse composed these verses in praise of Vajrakīla while engaged in intensive meditation upon the deity,

Written in Bodhgayā at a time when Tibet was facing great turmoil and an uncertain future, this is a non-sectarian prayer for the spread of the Buddhist teachings (bstan rgyas smon lam) in all their authentic forms.

One of several short texts of behavourial guidelines (bca' yig) that Jamyang Khyentse composed, this does not appear to be for a specific institution but is applicable to any monastic community.

A prayer for the long life of the Tenth Paṇchen Lama, Trinlé Lhundrup Chökyi Gyaltsen (1938–1989) composed at the behest of Sakya Dagchen Rinpoche (1929–2016).

Verses of general advice on how to practise the path, from the preliminary contemplations through to the more advanced practices of the generation and completion phases, written for an unnamed student.

An invocation of Guru Padmasambhava as the Vajradhara of Oḍḍiyāna (Orgyen Dorje Chang), embodiment of the five kāyas (dharmakāya, sambhogakāya, nirmāṇakāya, svabhāvikakāya and abhisaṃbodhikāya).

Jamyang Khyentse Chökyi Lodrö wrote these detailed instructions on how to practise the short 'single form' daily sādhana of Chimé Pakmé Nyingtik based on teachings he received from Katok Situ Chökyi Gyatso, who, in turn, received them from Jamyang Khyentse Wangpo, the revealer of the practice, himself.

Jamyang Khyentse composed this poetic, devotional invocation of the great Dzogchen master Longchen Rabjam (1308–1364) in 1934.

This, the longer of two prayers for the longevity of Öntö Khyenrab Chökyi Özer (1889–1959) that Jamyang Khyentse composed, is full of praise for the master's erudition and skill as a teacher.

Verses of truth dedicated to the longevity of Tertön Sogyal Lerab Lingpa (1856–1926), from whom Jamyang Khyentse received numerous transmissions in 1920.

This prayer for longevity, which Jamyang Khyentse composed at the request of Sakya Dagchen Rinpoche (1929–2016) incorporates the syllables of the Dalai Lama's full name: Jetsün Ngawang Lobzang Tenzin Gyatso Sisum Wangyur Tsungmé Palzangpo.

Jamyang Khyentse wrote this hymn in praise of the goddess Sarasvatī while he was visiting Palpung Monastery in Eastern Tibet. The text includes her mantra, the recitation of which is said to bring increased intelligence.

A fervent appeal to the great master of Oḍḍiyāna for the fulfilment of all dharmic aspirations, which Jamyang Khyentse says he composed as a means to refresh his own memory.

A prayer for the swift return of the Fifth Dzogchen Rinpoche, Thupten Chökyi Dorje (1872–1935), written at the request of a monk-disciple.

This prayer, which Jamyang Khyentse composed while in Darjeeling, most likely in 1958, invokes various deities and masters associated with all Tibetan lineages in a spirit of nonsectarianism before seeking their assistance in fulfiling a series of aspirations.

A short, two-verse prayer for the swift rebirth of Katok Situ Chökyi Gyatso (1880–1925) composed at the request of Lekshe Jorden, a prominent khenpo at Katok Monastery.

Jamyang Khyentse composed this lament and invocation of his teacher Ngawang Samten Lodrö following the master's passing in 1931.

A simple practice of guru yoga, which features Jamyang Khyentse Wangpo and Jamyang Khyentse Chökyi Lodrö indivisible from Guru Padmasambhava in the form of Orgyen Dorje Chang, the Vajradhara of Oḍḍiyāna, and which includes an aspiration for the stages of the path according to the Great Perfection, or Dzogchen.

Verses in praise of Mañjughoṣa written at the behest of the Third Palpung Öntrul—five verses in praise of the deity's body, speech, mind, qualities and activity, followed by a verse of dedication.

Jamyang Khyentse composed these verses in praise of the famous upāsaka Candragomin when feeling inspired by the master’s life story.

Composed at the behest of Lama Yeshe Lhundrup, this short prayer invokes the blessings of Götsangpa Gönpo Dorje (1189–1258), founder of the Upper Drukpa branch of the Drukpa Kagyü school.

Jamyang Khyentse composed this eleven-verse invocation and prayer for swift rebirth shortly after the passing of the Thirteenth Dalai Lama, which occurred at the end of 1933.

This method of offering butter lamps on a large scale in connection with the Highest Yoga tantra practices of Mañjuśrī is for use on major anniversaries related to the Buddha’s life and other special occasions.

Jamyang Khyentse composed this ten-verse prayer to the famed Sakya scholar Gorampa Sonam Senge following an auspicious dream some time in 1952 or 1953.

A non-sectarian prayer invoking many of the greatest luminaries in Tibetan Buddhist history, from King Trisong Detsen and the twenty-five disciples of Guru Padmasambhava down to Jamyang Khyentse Wangpo and Jamgön Kongtrul.

Jamyang Khyentse composed this prayer as part of a series of supplications addressed to the Dharma King Tri Songdetsen, Guru Padmasambhava, and Abbot Śāntarakṣita (mkhan slob chos gsum) as well as the future king of Shambhala, Raudracakrin, all written at the behest of the Sixth Dzogchen Rinpoche and a lama from Dzogchen Monastery called Pema Düdül.

Jamyang Khyentse wrote this playful text on the real nature of sickness to console Rabchok, a student who had fallen ill.

Tso Pema (mtsho padma) or 'Lotus Lake' in Rewalsar, Northern India is identified with a lake in the ancient kingdom of Zahor, which was created, it is said, when the king and his ministers attempted to burn Guru Padmasambhava and his consort Mandāravā alive. The master transformed his funeral pyre into a lake, where he appeared, unharmed and seated upon a lotus.

Jamyang Khyentse composed this poem in praise of Lumbinī, the site of Buddha's birth and a major place of pilgrimage, during a visit in the late 1950s.

Pithy verses on the philosophy of the Middle Way of Consequence (Prāsaṅgika Madhyamaka), which Jamyang Khyentse composed in 1943.

Jamyang Khyentse composed these verses in praise of the famed Sakya scholar Gorampa Sonam Senge in 1958 following a vivid experience that brought the master clearly to mind.

Jamyang Khyentse composed these verses in November 1925 upon learning of the passing of his teacher Katok Situ Chökyi Gyatso (1880–1925). The text makes it clear that Katok Situ's death occurred in the ninth month of the Wood Ox year.

This short inscription is taken from the back (verso) of a painted image of Buddha Śākyamuni turning the Wheel of Dharma.

Inspired by the speech of Kunzang Dechen Tsomo (1906–1987), Queen Mother of Sikkim, these verses acknowledge the kindness of past dharma patrons and masters and appeal for nonsectarianism and the flourishing of the teachings.

Jamyang Khyentse composed these verses in praise of Longchen Rabjam (1308–1364) during a visit to the master's cave on the slopes of Gangri Tökar.

A very short tsok prayer for the Tsasum Drildrup (Combined Practice of the Three Roots) practice, which was Sangye Lama's treasure rediscovered by Jamyang Khyentse Wangpo.

In four verses, Jamyang Khyentse invokes the auspiciousness of the Three Jewels, Three Roots, Three Kāyas and Three Deities of Long Life.

Six verses in which Jamyang Khyentse invokes a number of enlightened beings, but especially Mārīcī and other female deities, in order to bring about favourable circumstances and wellbeing.

Verses invoking the buddhas' Three Secrets (body, speech and mind), the Three Jewels (Buddha, Dharma and Saṅgha), Three Roots (guru, yidam and ḍākinī), as well as Red Tārā, Vaiśravaṇa and White Tāra, the Sublime Lady of Immortality ('chi med 'phags ma), for the sake of auspiciousness.

A supplication to the successive Trungpa (drung pa) incarnations of Zurmang Monastery, up to and including Jamyang Khyentse's own teacher, Karma Chökyi Nyinché (c. 1879–1938), who was the Tenth Trungpa, and his immediate reincarnation, Chögyam Trungpa (1939–1987).

Composed in 1932, this song of devotion invokes the Dzogchen master Longchen Rabjam (1308–1364) and appeals for his inspiration and blessings as a means to progress along the path.

A simple offering to various deities, especially dharma protectors and local guardians, requesting their protection from bandits and robbers while travelling, composed in 1955.

When Jamyang Khyentse witnessed the devastating effect of frost upon flowers, he considered this a metaphor for impermanence in a broader sense and composed a poignant song of reflection.

Jamyang Khyentse composed these verses in praise of Vajrasattva during a visit to Katok Monastery in Kham.

A short, four-verse prayer for the swift rebirth of Jamyang Loter Wangpo (1847–1914) composed at the request of Ngor Khenchen Jamyang Kunzang Tenpai Gyaltsen.

One of several aspirations for the flourishing of the Nyingma tradition that Jamyang Khyentse composed, this one focuses especially on the Vajrayāna teachings.

A brief incense smoke (bsang) and serkyem offering rite to the protective mountain deity Yarlha Shampo, composed in 1956.

Jamyang Khyentse Wangpo

The longer of two ritual texts by Jamyang Khyentse Wangpo featuring the sixteen arhats, both of which appear in recent editions of the extensive Nyingma Kama (bka' ma shin tu rgyas pa).

A clear and concise commentary on the words of the most famous of praises to Mañjuśrī, Glorious Wisdom's Excellent Qualities (dPal ye shes yon tan bzang po), attributed to the Indian master Ācārya Vajrāyudha/Vajraśastra.

This guide to the stages of visualization for the Longchen Nyingtik preliminary practices (sngon 'gro) is, as Khyentse Wangpo himself puts it, "brief, clear and essential." Some of its instructions differ slightly from those given by Patrul Rinpoche, so that it represents a distinct commentarial tradition.

Jamyang Khyentse composed this prayer for perfecting the Seven Points of Mind Training (blo sbyong don bdun ma) when he was in the presence of the famous Atiśa statue at the Tārā Temple in Nyethang (snye thang). The section headings were added by Dilgo Khyentse Rinpoche.

This famous four-line aspiration for the propagation of the nonsectarian lineage of Jamyang Khyentse Wangpo was composed by the master himself.

Lineage prayer for the Mañjuśrī sādhana based on the Gang gi Lodröma praise attributed to Vajrāyudha, which is included in Compendium of Sādhanas.

A compilation of several well-known prayers, including the Seven-Line Prayer, verses from the Le'u Dünma, and four-line invocations of the masters Nyangral Nyima Özer (1124–1192) and Guru Chökyi Wangchuk (1212–1270), which is included in the Compendium of Sādhanas (sgrub thabs kun btus).

This short maṇḍala liturgy is included within the Compendium of Sādhanas (sgrub thabs kun btus). It features seven heaps representing: 1) Mount Meru; 2-5) the four continents; 6) the sun and 7) the moon.

A simple guide to the practice known as Narak Kong Shak, or The Confession and Fulfilment that Empties the Hells from their Very Depths.

This is a version of A Profound Concentration of Nectar, into which the root text of the Longchen Nyingtik preliminaries has been inserted. The text also includes several prayers that were not included in Jikmé Trinlé Özer’s original version.

This verse and mantra for longevity, intended to supplement the Droltik Gongpa Rangdrol (grol tig dgongs pa rang grol) practice of the peaceful and wrathful deities, are attributed to Jamyang Khyentse Wangpo but preserved within the writings of his successor, Jamyang Khyentse Chökyi Lodrö.

This experiential song (nyams dbyangs) based on 'Parting from the Four Attachments' (zhen pa bzhi bral) was composed in the cave of Rangjung Dorje, where Mañjuśrī is said to have delivered the original teaching to the Sakya patriarch Sachen Kunga Nyingpo (1092–1158).

This brief liturgy for offering the eight auspicious substances (bkra shis rdzas brgyad) and seven emblems of royalty (rgyal srid sna bdun) is often recited as part of consecration and longevity rites.

Khyentse Wangpo composed this three-verse longevity prayer for the Third Dodrupchen Rinpoche (1865–1926) at the same time as he bestowed upon him the name Kunzang Jigme Tenpai Nyima Trinlé Kunkhyab Palzangpo.

Jamyang Khyentse wrote this twelve-line prayer to Patrul Rinpoche during the festival of Chökhor Düchen in 1860. The text identifies Patrul as an emanation of Śāntideva and the early Dzogchen adept Aro Yeshe Jungne, and praises his qualities of renunciation, bodhicitta and wisdom.

Khyentse Wangpo composed this five-verse supplication prayer to Thangtong Gyalpo at the request of the Eighth Sangye Nyentrul Rinpoche by combining and supplementing previous prayers.

This four-line prayer is sometimes used for the accumulation of maṇḍala offerings in the Longchen Nyingtik tradition. Khenpo Ngawang Palzang, for example, recommends accumulating this prayer seventy thousand times (following thirty thousand recitations of the three-kāya maṇḍala from the Longchen Nyingtik).

Supplementary verses to be added to the prayer to the lineage of Parting from the Four Attachments composed by Ngorchen Kunga Zangpo (1382–1456).

Sometimes referred to as the “short Longchen Nyingtik Ngöndro", this popular preliminary (sngon 'gro) liturgy by Jamyang Khyentse is remarkably concise.

The shorter of two ritual texts by Jamyang Khyentse Wangpo featuring the sixteen arhats included in the extensive Nyingma Kama and elaborating on the famous text attributed to Śākyaśrībhadra.

This brief prayer to the lineage of The Vital Essence of the Activity Kīla of Aural Transmission (snyan brgyud phrin las phur pa’i gnad tig) was composed by Jamyang Khyentse Wangpo and supplemented by Dilgo Khyentse Rinpoche.

This popular rite of consecration (rab gnas) includes the standard elements of bathing, drying, and dressing (for which it draws upon the Bodhicaryāvatāra), before inviting the wisdom deities, sealing them within the image, empowerment, opening of the eyes, transformation, offering and praise, and prayers to remain until the very ends of the aeon.

This brief prayer to the buddhas and bodhisattvas, learned and accomplished masters of India, and figures from all Tibetan traditions, reflects the author's famously nonsectarian approach.

A brief text summarizing the five great logical arguments of the Madhyamaka, or Middle Way: 1) the investigation of the cause: the Diamond Splinters; 2) the investigation of the result: refuting existent or non-existent effects; 3) the investigation of both: refuting the four permutations of arising; 4) the investigation of essential identity: ‘neither one nor many’; and 5) the logical argument of Great Interdependence.

Jamyang Loter Wangpo

Jatsön Nyingpo

Jetsün Drakpa Gyaltsen

Jetsün Mingyur Paldrön

Jigme Lingpa

Four sets of concealed instructions (gab byang) related to the practice of Rigdzin Düpa (Vidyādhara Assembly), on 1) the wisdom deity, 2) the mantra, 3) the palanquin (do li) samādhi, and 4) the results of the practice.

Written for the Third Nyidrak Rinpoche, this liturgy takes Śākyaśrībhadra's text as its basis and adds a few verses at the beginning and end.

Jigme Lingpa wrote this prayer for a student who was accumulating prayers before the famous Jowo Rinpoche statue in the Jokhang temple in Lhasa. It is not only a prayer to Śākyamuni Buddha, but also a means to receive the four empowerments: vase, secret, wisdom-knowledge, and the supreme empowerment of great rays of light.

This famous offering prayer composed by Jigme Lingpa includes lines related to every aspect of the gaṇacakra feast yet is short enough to be recited multiple times, such as when accumulating large numbers of feast offerings. In fact, some claim that the tradition of accumulating multiple feast offerings originated with this very prayer.

This popular prayer by the vidyādhara Jigme Lingpa includes aspirations related to every stage of the path, from gaining a precious human rebirth and following a qualified teacher through to accomplishing the most advanced practices of Dzogpachenpo and, thereafter, working for others' benefit.

A brief and simple fasting ritual (smyung gnas) composed for the sake of those unable to comprehend the more complex liturgy of the standard practice in Bhikṣuṇī Lakṣmī’s tradition.

Jigme Lingpa wrote this prayer to the Dzogchen Rinpoches and their previous incarnations at the request of his disciple Jigme Ngotsar (b. 1763).

This guru sādhana of the great translator Vairotsana, accompanied by Ma Rinchen Chok and Nyak Jñānakumāra, employs the distinctive terminology of Dzogchen, the Great Perfection.

A guide to the approach and accomplishment practices for the guru sādhana known as Vidyādhara Assembly (Rigdzin Düpa), belonging to the Longchen Nyingtik cycle revealed by Jigme Lingpa.

This practice of eight branches (prostration, taking refuge, offering real and imagined gifts, confession, rejoicing, generating bodhicitta, offering the body, and dedication of merit) derive from the Tantra System Vajrakīla (rgyud lugs phur pa), which is part of the Nyingma Kama collection, but appear in other texts, especially empowerment rites.

A practice of confession and offering as a means to purify vows and restore commitments related to every level of the path, from the śrāvaka vehicle through to Atiyoga or the Great Perfection. The text was first revealed by Jigme Lingpa in 1760 while he was staying at Samye Chimphu.

This fire offering for Yuma Dechen Gyalmo, the main ḍākinī practice of Longchen Nyingtik, can be adapted to any of the four activities: pacifying, enriching, magnetizing or wrathful subjugation.

The inner guru practice Vidyādhara Assembly (Rigdzin Düpa) features Guru Padmasambhava and Mandāravā at the centre of the maṇḍala, surrounded by the eight vidyādharas, twenty-five disciples and other deities.

The root text of the transference (phowa) practice from the Heart-Essence of the Vast Expanse (Longchen Nyingtik) revelation of Rigdzin Jigme Lingpa.

This revelation, part of the Longchen Nyingtik, describes the pure awareness, or rigpa, that is the "natural state" (gnas lugs) of the mind, and how all the qualities of the path and fruition are complete within it. The text is considered a definitive statement on the topic, eliminating all doubts and need for further clarification.

Jokyab Pema Trinlé Nyingpo

Karma Chakme

Karma Chakme is said to have received this confessional liturgy, which includes a number of mantras, from Yama Dharmarāja (gshin rje chos kyi rgyal po) in a vision.

A brief petition to the earth lords, or spirits of the land (sa bdag), requesting purification for various forms of action that disturb the natural environment.

A simple, eight-line text to accompany the offering of sang, or fragrant incense smoke, to Gesar, the great leonine warrior-king.

This famous commentary on the 'transference of consciousness' ('pho ba; Skt. saṃkrānti/utkrānti) describes the various forms of the practice in general and the specific details of the Namchö (gnam chos) transference in particular. It offers instructions on how to perform the transference both for oneself and others.

Lasel Chenmo, 'The Great Spirit Clearing', is a practice for offering sang (incense smoke) to the nāgas (serpent spirits). It is a terma composed by Padmasambhava and revealed by Karma Chakme. This edition also includes further practices written by Paṇchen Lobzang Chökyi Gyaltsen (1570–1662), Tsasum Terdak Lingpa (1694–1738) and others.

This prayer to Buddha Amitābha, Mañjuśrī the 'Lion of Speech' (smra ba'i seng ge) and the goddess Sarasvatī was composed by Karma Chakmé for his own daily practice. It includes a series of aspirations related to wisdom and intelligence.

A brief sādhana of the Medicine Buddha (Bhaiṣajya Guru) with a special emphasis on pacifying the sickness and mental toxins of all beings.

This extremely concise form of the Mahāmudrā preliminaries includes contemplations on the preciousness of human birth, impermanence, karma and the sufferings of saṃsāra, as well as the practices of taking refuge, generating bodhicitta, Vajrasattva visualization and recitation, maṇḍala offering and guru yoga.

Karma Lingpa

Katok Getse Gyurme Tenpa Gyaltsen

Katok Rigdzin Tsewang Norbu

Katok Situ Chökyi Gyatso

Khenchen Jigme Phuntsok

Written in 1999, this short spontaneous song expresses the joy of living the fortunate life of a Dzogchen yogi.

A short sādhana of Dorje Drolö, one of the wrathful manifestations of Padmasambhava, revealed as a terma at Paro Taktsang, Bhutan, in 1990.

A four-line prayer of aspiration spoken in front of a vast assembly in 1986.

A prayer for the flourishing and spread of the teachings of all the major and minor traditions of Tibetan Buddhism, including the so-called Eight Great Chariots of the Practice Lineage (sgrub brgyud shing rta chen po brgyad), i.e., the Nyingma, Kadam, Sakya, Marpa Kagyü, Shangpa Kagyü, Kālacakra, Pacification and Severance, and Approach and Accomplishment of the Three Vajras.

This aspiration to be cared for by the guru throughout all future lifetimes was composed at Wutai Shan at the request of a disciple named Rigdrol.

This fire offering for the 'Neck-Pouch Dagger’ (Purba Gulkhukma) Cycle arose spontaneously to Khenchen Jigme Phuntsok in 1990 and was written down by His Holiness the Fourteenth Dalai Lama.

A reminder to the Kīla guardians of their past pledges and a request that they carry out activity on the practitioner's behalf. The text was composed in Yangleshö, Nepal, and transcribed by Khenpo Namdrol.

The concluding stages of the Purba Gulkhukma sādhana: offering, praise, receiving the attainments, dissolution, dedication of merit and words of auspiciousness.

Khenchen Jigme Phuntsok composed this confession and fulfilment (bskang bshags) practice for the 'Neck-Pouch Dagger’ (Purba Gulkhukma) while in Namdrolling Monastery in India in 1990.

A short torma offering to the protectors of the 'Neck-Pouch Dagger’ (Purba Gulkhukma) Cycle composed by Khenchen Jigme Phuntsok and transcribed by Khenpo Sodargye.

Khenchen Jigme Phuntsok composed this prayer for the longevity of His Holiness the Fourteenth Dalai Lama on 17 July 1990, shortly after their first meeting.

A short prayer in three stanzas for the longevity of Khandro Tāre Lhamo (1938–2003).

Composed in 1990 at the sacred site of Tso Pema in response to repeated requests from Khenpo Namdrol, who studied with both Penor Rinpoche and Khenchen Jigme Phuntsok.

In this short prayer, written at the insistence of his disciples, Khenchen Jigme Phuntsok lists his own previous incarnations according to a prophecy by Apang Tertön Pawo Chöying Dorje (1895–1945).

The Sādhana of Peaceful Mañjuśrī, which Khenpo Jigme Phuntsok composed spontaneously while in the Cave of Nārāyaṇa at Wutaishan.

This short Vajrasattva sādhana, which incorporates the four powers as a means of purifying negative actions, obscurations and breakages of samaya, was composed spontaneously in April 1997. The translation also includes additional verses for refuge, bodhicitta, dedication and aspiration, as recited in Larung Gar.

A supplication to the lineage for Sādhana of Peaceful Mañjuśrī, a practice which Khenpo Jigme Phuntsok composed spontaneously in a cave at Wutaishan.

Composed spontaneously at the sacred mountain of Wu Tai Shan, this is one of the late Khenchen Jigme Phuntsok's most famous works. In 23 verses, which were written down in just 23 minutes, it encapsulates the entire Buddhist path from basic instructions on how to follow a spiritual teacher through to the advanced meditations of the generation and perfection phases and the pinnacle of all forms of practice, the Great Perfection.

This is the main text of the Purba Gulkhukma cycle of Vajrakīla practice, which Khenchen Jigme Phuntsok revealed at the Asura cave in Yangleshö, Nepal. It includes the empowerment, sādhana and gaṇacakra offering.

Khenchen Jigme Phuntsok sang this doha spontaneously in 1996 at a time when various outer, inner and secret obstacles had been overcome. It stresses the importance of meditating on Dzogchen, cultivating bodhicitta, maintaining ethical discipline, and having a positive basic character.

A spontaneous song of lamentation composed at Tso Pema, India, in 1990 and later transcribed from an audio recording.

Composed in Bodhgayā, this is a bodhisattva's aspiration to emulate the buddhas of the past, such as Śākyamuni, serve the remaining buddhas of this fortunate age, and lead all beings to awakening. The prayer was recorded and transcribed by Khenpo Sodargye.

This devotional prayer to invoke the blessings of the guru is one of Khenchen Jigme Phuntsok's best known compositions. It was written in 1987 at Mount Wutai (Wutai Shan) at the request of an elderly disciple, Lama Rigdön.

This guru yoga, written in 1995, is one of the late Khenchen Jigme Phuntsok's most famous compositions. He later wrote a heart-advice as a supporting instruction for it.

Khenchen Ngawang Palzang

Khenmo Rigdzin Chödrön

Khenpo Gangshar

Khenpo Pema Vajra

An excellent explanation of Buddhism's central teaching, the Four Noble Truths, and how this relates to each of the Three Turnings of the Wheel of Dharma, as well as the Secret Mantra Vajrayāna.

A detailed explanation of how to practice śamatha or 'calm abiding' meditation so as to arrive at perfect stillness and concentration of mind.

In this short instruction in verse, Khenpo Pema Vajra explains the key points of the path in general and of the Great Perfection in particular. His practical advice includes what to do in the intermediate state, or bardo.

A short prayer of aspiration to accompany the offering of a butter lamp (mar me).

This brief biography of Khenpo Pema Vajra describes his early studies at Dzogchen Monastery and his path to becoming a teacher at its famous Śrī Siṃha college. It also details his later career at the nearby hermitage in Peme Thang, 'Lotus Plain', where he taught many of the most influential figures of nineteenth century Kham.

Summarizing the entire text of the Abhisamayālaṃkāra, but with special focus on the first of the eight topics, omniscience, this concise overview serves as a useful introduction to Maitreyanātha's famous guide to the Prajñāpāramitā. Written in 1875 to mark the enthronement of the Fifth Dzogchen Rinpoche.

Khenpo Petse Rinpoche

Khenpo Shenga

Verses in praise of the great Sakya master Jamyang Loter Wangpo (1847–1914), from whom Shenga received a number of major teachings and transmissions.

In this text from his miscellaneous writings, Khenpo Shenga offers advice on visualizing oneself as the tutelary deity, or yidam, and cultivating what is known as vajra pride.

A two-verse aspiration to be reborn in the retinue of Ārya Nāgārjuna, gain perfect understanding of his Middle Way philosophy and teach it to others.

Said to have been composed some time around 1909 or 1910, this poem expresses the author's appreciation for the Sakya teachings and is intended as an encouragement to fellow disciples (of Loter Wangpo) to pursue their study and practice.

Taken from his miscellaneous writings, Khenpo Shenpen Nangwa's text compares the great Dzogchen master Longchen Rabjam to the most celebrated Buddhist saints of India and praises him as the unique embodiment of all the qualities exhibited by Tibet's own learned and accomplished figures.

A song of realization expressing the futility of ordinary, contrived practice from the perspective of naturally perfect, pure awareness.

Shenpen Nangwa offered this brief biography of Ācārya Vasubandhu as an introduction to his annotational commentary (mchan 'grel) on the verses of the Treasury of Abhidharma (Abhidharmakośa).

A prayer of aspiration to understand the nature of reality, just as it is explained in the Madhyamaka teachings, and then, having perfectly realized this view, to teach it to others, and in so doing, emulate great figures from the past like Nāgārjuna and Āryadeva.

Notes on the general preliminary points to be made before commenting upon any of the major Indian treatises, such as what is meant by “In the language of India...” and the four rubrics of subject matter, immediate purpose, connection and ultimate purpose.

This short text, which is untitled in the original Tibetan, briefly discusses the Five Treatises of Maitreya, the writings of Asaṅga, and the fact that the buddha nature, or sugatagarbha, is not empty of its own immaculate qualities.

Verses in praise of the famous Mādhyamika scholar Candrakīrti concluding with the mantra of Mañjuśrī.

A supplication to the great Sakya scholar and patriarch Kunga Gyaltsen (1182–1251) calling upon him to assist beings of the degenerate age, especially practitioners of the Dharma. Shenpen Nangwa composed the text while visiting the Sakya monastery of Lhundrup Teng in Derge, also known as Derge Gonchen.

Having identified the Abhisamayālaṃkāra as one of the five treatises of Maitreyanātha, Khenpo Shenga explains the features of each of the five texts in this collection, before focusing on the Ornament of Realization itself, which he discusses under five rubrics: its author, sources, category, theme, and purpose.

This introduction to the teaching of Candrakīrti's Madhyamakāvatāra explains how the text provides an introduction (avatāra) to the most important Middle Way treatise, namely the Mūlamadhyamakakārikā of Nāgārjuna.

A brief explanation of the three noble principles (of arousing bodhicitta in the beginning, remaining without reference in the middle, and dedicating merit at the end), which are said to be the root of the Mahāyāna path.

A list of the various types of spiritual song (mgur dbyangs) including dohas based on realization, songs of devotion, and expressions of joy and contentment.

Khenpo Tsöndrü

Studied in Nyingma colleges, or shedra (bshad grwa), before the full study of the Abhisamayālaṃkāra, this text covers the following topics: various ways of identifying the founders of the Prajñāpāramitā commentarial tradition, the sūtras which the Abhisamayālaṃkāra explains, the 21 Indian commentaries on the Abhisamayālaṃkāra, and the most important commentarial works studied in the Nyingma tradition.

A prayer for the spread of the teachings of the successive incarnations of Dzogchen Rinpoche Pema Rigdzin (1625–1697) and other figures closely associated with Dzogchen Monastery.

Khenpo wrote this prayer to his root teacher Shechen Kongtrul Pema Drimé Lekpé Lodrö in 1959 in Yolmo, Nepal, shortly after fleeing Tibet.

This commentary, known as The Words of Jigme Chökyi Wangpo, briefly presents the each of the eight principal topics and seventy points of the Abhisamayālaṃkāra, following the explanation of Patrul Rinpoche (whose full name is Orgyen Jigme Chökyi Wangpo). It is thus a useful summary of, and guide to, both the root text and Patrul Rinpoche's own famous 'overview' (spyi don) commentary.

Khenpo Yönten Gönpo

Khyenrab Chökyi Özer

Könchok Tenpe Drönme

Lachung Apo


Lala Sonam Chödrup

Lhatsün Namkha Jigme

Lobzang Chökyi Gyaltsen

Lochen Dharmaśrī

Lodi Gyari Rinpoche

Longchen Rabjam

Essential advice on every stage of the path from beginning to end. As Longchenpa puts it in the text itself: "Even if we were to meet in person, I would have no greater instruction to give you than this. So take it to heart, all the time, and in any situation."

In this profound instruction on the process of dying and the intermediate state, or bardo, the great Longchen Rabjam explains how to see death from a Dzogchen perspective and how to attain liberation either at the moment of death or thereafter in the bardos of dharmatā or becoming.

Longchenpa composed this famous abecedarian poem to express his disgust at the conduct of his classmates from Kham, Eastern Tibet, which had prompted his decision to leave the college of Sangpu Neuthog.

The first chapter of Longchenpa's Finding Comfort and Ease in Meditation (samten ngalso), describing ideal environments and dwelling places for cultivating meditative concentration and insight throughout the year.

The second chapter of Finding Comfort and Ease in Meditation (samten ngalso), describing the qualities and character of an ideal practitioner of meditation in the Great Perfection, or Dzogpachenpo.

This poetic tribute to Sarasvatī, the goddess of eloquence, is taken from Longchenpa's miscellaneous writings.

This prayer invokes the blessings of all the three-kāya gurus, yidam deities, ḍākinīs and dharmapālas to inspire recognition of the ultimate nature of the Great Perfection (Dzogpachenpo), which Longchenpa describes in evocative detail.


Mayum Tsering Wangmo

Menlungpa Mikyö Dorje

Minling Terchen Gyurme Dorje

Minyak Kunzang Sönam

Mipham Rinpoche

A summary of the fuller dhāraṇī which was spoken by Mañjuśrī and is included within the Compendium of Dhāraṇīs (gzungs bsdus), this is a practice for averting obstacles linked to particular moments in time.

Also known as the "instruction that points directly to the very essence of mind in the tradition of ‘the old realized ones’ (rtogs ldan rgan po)", this is a pithy guide to Dzogchen meditation written for 'village yogis' and other practitioners without a background in study. It includes three separate instructions, for: 1) cracking open the egg-shell of ignorance, 2) cutting the web of saṃsāric existence, and 3) remaining in space-like equalness.

This simple sādhana of the deity Acala, the 'Immovable One'—here in his dark blue, genuflecting form—is described as a powerful antidote to obstacles including infectious disease.

This very short yet practical set of instructions, composed in verse, was written at the request of several beginners.

Mipham Rinpoche gave this text in thirty-seven verses to the Third Dodrupchen Jigme Tenpe Nyima as a sealed scroll while they were both at Dzongsar Monastery. Although the precise date is unclear, it seems likely that this was in or around 1886. The text is a mixture of personal, often cryptic advice and prophecy.

In this short text, Mipham Rinpoche succinctly explains what is meant by the self of the individual (pudgalātman; gang zag gi bdag) and the 'self' (or identity) of phenomena (dharmātman; chos kyi bdag), and he describes how to become certain as to the non-existence of them both. The author also highlights the importance of distinguishing between a more superficial, conceptual understanding and a genuine, non-conceptual realization of ultimate reality.

A poem of eight verses praising the bodhisattva Kṣitigarbha (Essence of the Earth), playing on the literal meaning of his name and evoking the earth's qualities as a nurturing support and foundation for growth and development.

A brief, eight-line windhorse invocation focused especially on Gesar and his retinue, which Mipham composed in his hermitage in Rudam in 1903.

A short, four-line prayer to accompany offerings to Gesar.

A simple practice of smoke offering, which Mipham composed at Thrangu hermitage in 1905.

A very short, four-line liturgy for a purificatory smoke offering (mnol bsang) based on the view of the Great Perfection.

This popular practice, which includes a long series of mantras, is said to enhance one's lungta and protect against obstacles. Daily recitation is encouraged.

A short prayer calling upon Gesar to shower down his inspiration and blessings.

In a few lines of verse, Mipham explains the essence of Dzogchen Atiyoga, which is, in turn, the essence of the 84000 approaches of the Dharma.

This short longevity practice involves the visualization of concentrated elixir, which flows from the long-life vase in Amitāyus's lap into the crown of one's head, filling one's body and restoring vitality. Mipham Rinpoche wrote the text in 1892, and it is also included (with some additions) among the writings of Jamyang Khyentse Chökyi Lodrö.

Mipham composed this doha of five four-line verses expressing realization of the supreme yoga towards the end of his life, in 1909.

A popular sur text, for dedicating burnt offerings to spirits and obstacle-makers in order to eliminate adversity, which Mipham composed following a dream.

This section of Gateway to Learning (mKhas 'jug) explains the so-called "Four Great Logical Arguments of the Middle Way" (dbu ma'i gtan tshigs chen po bzhi), which are: 1) investigation of the cause: the Diamond Splinters; 2) investigation of the result: refuting existent or non-existent results; 3) investigation of the essential identity: ‘neither one nor many’; and 4) investigation of all: the Great Interdependence. This translation also includes some comments from Khenpo Nüden's celebrated commentary.

Extracted from Gateway to Learning (mKhas 'jug), this section on the selflessness of the individual (gang zag gi bdag med) explains the absence of any permanent, unitary, independent and all-pervading self, either identical to or distinct from the five aggregates (pañcaskandhā; phung po lnga).

Mipham composed this very short guru yoga focusing on the 11th-century paṇḍita Smṛtijñānakīrti for the practice of a disciple named Karma Wangyal.

A short text in verse that outlines various stages in the cultivation of śamatha, or calm abiding.

A set of common and uncommon preliminary practices, beginning with the four thoughts that turn the mind away from saṃsāra and continuing with taking refuge, generating bodhicitta, maṇḍala offering, Vajrasattva visualization and mantra recitation, and guru yoga.

This praise of Mañjuśrī for increasing the power of one's intelligence consists of fourteen four-line verses—fourteen, says Mipham, being the number of vital essences (dwangs ma) in beings and the world. The text was written in 1906.

Mipham wrote this short text of praise in 1881 during a retreat that was focused upon Mañjuśrī.

In thirty-two verses, Mipham Rinpoche praises the ultimate Mañjuśrī, beyond colour and physical characteristics, the basic space of enlightened mind in which all is equal.

Outlines of the so-called ten royal sūtras or ten sūtras of the king (rgyal po'i mdo bcu), which are said to have been translated upon the advice of Padmasambhava for Emperor Tri Songdetsen's daily recitation.

Mipham Rinpoche boils the practice of Trekchö down to the three crucial points of knowing the essence of mind, sustaining that recognition in meditation and allowing thoughts to subside beyond benefit and harm.

This prayer recalling the accomplishments of Jamgön Mipham Rinpoche, written by the master himself, was later supplemented by additional verses composed by Jamyang Khyentse Chökyi Lodrö at the behest of Khenpo Kunpal (1862–1943).

A prayer to receive the protection of Buddha Akṣobhya in order to overcome anxiety and suffering and to discover the lasting peace and happiness of freedom from fear.

Mipham wrote this four-line prayer to Gesar—the "Great Lion and Foe-Subduing Jewel" (seng chen nor bu dgra 'dul)—in 1896.

One of many four-line prayers to Mañjuśrī that Mipham Rinpoche composed, this one invokes the deity's glorious powers of speech.

A four-line prayer to the famous 11th-century paṇḍita and translator who travelled to eastern Tibet.

Composed in 1892 and appended to The Wheel of Analytical Meditation (dpyad sgom 'khor lo ma), this instruction continues that text's analysis, extending it to all phenomena. Its central message is that the nature of all things, i.e., appearance and emptiness, can only be fully understood through meditation.

Mipham Rinpoche elaborates on the practice that he introduced in The Wheel of Analytical Meditation (dpyad sgom 'khor lo ma) by offering further instruction on contemplating how the five aggregates are multiple, impermanent, painful and devoid of self.

A very brief sādhana of Mārīcī, goddess of the dawn, in the form known as Aśokakāntā-Mārīcī, who is golden and has one face and two hands.

Properly titled Wondrous Talk Brought About by Conversing with a Friend (Grogs dang gtam gleng ba'i rkyen las mtshar gtam), this playful text pokes fun at followers of the Nyingma, Sakya, Kagyü and Gelug (or Gendenpa) schools, in order to highlight potential pitfalls associated with each tradition, while also pointing out the absurdity of sectarian prejudice in general.

Written using the language of the Great Perfection, this prayer, which Mipham wrote in 1886, is an aspiration to realize the nature of mind — indestructible awareness and emptiness — and the true meaning of Mañjuśrī.

A four-line verse to accompany the offering of sang (bsang), or fragrant incense smoke, to Kurukullā and her retinue.

Mipham composed this short, four-line windhorse prayer to Gesar and his retinue in 1905.

A simple guru yoga focusing on the celebrated Nyingma scholar Rongzom Chökyi Zangpo, who is here identified with Mañjuśrī, the embodiment of wisdom.

A short prayer incorporating the four causes of rebirth in Sukhāvatī, namely: 1) visualizing the pure realm, 2) accumulating merit and purifying obscurations, 3) generating bodhicitta, and 4) making prayers of aspiration and dedicating all sources of virtue towards rebirth in Sukhāvatī.

This 72-line liturgy for the practice of yang-guk (g.yang 'gugs), or 'summoning the spirit of abundance (or prosperity)' was composed in 1896.

In this short text, Mipham Rinpoche attempts—by his own admission—to express the inexpressible. Aware of the challenge and the apparent contradiction, he nevertheless offers various descriptions of mind's ineffable essence "for the sake of those fortunate individuals who seek to penetrate the profound meaning of dharmatā."

In this, one of his most popular Dzogchen instructions, Mipham Rinpoche explains how to go beyond the initial stage of the recognition (ngo shes) of the face of rigpa, or pure awareness, to the subsequent stages of perfecting the strength (rtsal rdzogs) and gaining stability (brtan pa thob).

In these six pithy verses, composed in 1896, Mipham explains the relative strengths of each of the four main Tibetan Buddhist Schools—Nyingma (rnying ma), Kagyü (bka' brgyud), Gelug (dge lugs) and Sakya (sa skya)—and appeals to their followers to tolerate and respect one another.

A short text in verse, composed in 1893, which highlights the shortcomings of wild discursive thought and the consequent need for mindfulness (smṛti; dran pa) and vigilance (saṃprajanya; shes bzhin).

Written in 1893/4, this brief versified instruction outlines the key points of Trekchö (khregs chod) practice through an explanation of the four ways of leaving things as they are (cog bzhag bzhi).

Mipham Rinpoche composed this more extensive practice for offering sang, or purificatory incense smoke, to the magnetizing ḍākinī Kurukullā at the request of a doctor named Atsang.

In this short text of practical advice, Mipham Rinpoche defines mental stillness, movement and awareness and explains how understanding the 'secret of the mind' leads to deeper levels of realization.

This general prayer for the long life of the holders of the teachings was composed by Jamgön Mipham Rinpoche in 1888. It is part of the daily liturgy at the Nyingma Monlam Chenmo, or great prayer festival, held every year in Bodhgaya.

This short instruction in verse was written in 1876. It explains the nature of mind, which is 'seen', or realised, in an experience that transcends the duality of seeing and seen.

This short advice in verse explains the perfect equality (mnyam pa nyid) of the dharmadhātu (chos kyi dbyings), the space-like nature of phenomena, which, Mipham says, is a crucial point to understand in both sūtra and tantra. Mipham wrote this text in 1901.

This daily prayer to Gesar includes elements of invocation, offering, and supplication related to the four types of activity—pacifying, enriching, magnetizing and wrathful subjugation.

This invocation and offering rite, popularly known as Söllo Chenmo (gsol lo chen mo), is among Mipham Rinpoche's most famous and celebrated works. Composed in free verse between 1877 and 1880, it invokes Gesar in his peaceful, enriching, magnetizing, wrathful and varied forms and is considered to be so powerful that it is only recited on special occasions when much is at stake.

Mipham wrote this longer practice for offering the flag of windhorse (rlung rta) in 1903. It includes optional verses addressed to Gesar, Hayagrīva, Gaṇapati (tshogs bdag), and Magyal Pomra (rma rgyal spom ra), the protector of the Amnye Machen mountain range.

This practice of guru yoga, which Mipham wrote in 1887, is said to be an especially swift means of receiving Gesar's blessings and signs of accomplishment.

One of Mipham's best known works, this treatise in 104 verses was written in just a single day in 1885. It is structured around the four principles of reasoning (rigs pa bzhi)—of causal efficiency, dependence, nature and establishing a proof—and the four reliances (rton pa bzhi), i.e., Rely not on the individual but the Dharma; Rely not on the words but the meaning; Rely not on the provisional but the definitive meaning; Rely not on ordinary consciousness but wisdom.

This short verse-text sets out to clarify the term "self-awareness" (rang rig; svasaṃvedana), especially as it is used in Dzogchen, and challenges those who reject the notion. Mipham points out that self-awareness is something to be experienced firsthand, not debated or speculated about.

Composed in a single day in 1891, this celebrated verse text offers a practical guide to meditating analytically on the multiplicity, impermanence, suffering nature and selflessness of the aggregates, as an antidote to the mental afflictions (kleśa; nyon mongs).

This poetic offering is one of a series of related 'offering garland' (mchod phreng) texts that Mipham composed, all with titles based on the fabled cintāmaṇi, or wish-granting gem.

Mipham Rinpoche composed this short text at the age of just eighteen. It inspired a commentary by Dilgo Khyentse Rinpoche.

This simple practice of Avalokiteśvara, the Bodhisattva of Compassion, includes a visualisation to accompany the recitation of the six-syllable mantra, oṃ maṇi padme hūṃ, or, optionally, the seven-syllable mantra, oṃ maṇi padme hūṃ hrīḥ.


Namkha Drimed Rinpoche


Ngawang Tenzin Norbu

Ngorchen Kunga Zangpo

Ngulchu Dharmabhadra

Nyala Pema Dündul

This short song from Nyala Pema Dündul explains that whether or not we have realised the truth of the teachings and progressed along the path is apparent in our character and our actions.

In this brief song Nyala Pema Dündul advises his audience how to give up the eight ordinary concerns, or 'worldly dharmas' ('jig rten chos brgyad), i.e., hope for happiness and fear of suffering; hope for fame and fear of insignificance; hope for praise and fear of blame; hope for gain and fear of loss.

Taken from his collected songs (mgur 'bum) this spontaneous poem offers advice on the practice and its fruition, with Nyala Pema Dündul explaining that his view corresponds to Dzogchen, the Great Perfection, his meditation to Mahāmudrā, and his action to the Vinaya.

This profound instruction on phowa, or the transference of consciousness, acknowledges the absolute nature "in which there is nothing to be transferred and no transferrer."

Nyala Pema Dündul composed this prayer to himself at the request of his disciples. It is a plea to receive his inspiration and blessings in order to follow in his footsteps and perfect the practice of Dzogpachenpo.

This poem explains the tell-tale signs for determining whether the common preliminary practices (sngon 'gro) have penetrated the mind of a practitioner.

In this text from his collected songs Nyala Pema Dündul describes the visionary encounter with Avalokiteśvara which first made him aware of the suffering brought about by eating meat and which led to his becoming a vegetarian.

In this poem Nyala Pema Dündul praises the peace of isolated mountain hermitages and retreats, contrasting it not only with the hustle and bustle of towns and villages, but also with the everyday comings and goings of ordinary monasteries.

Although part of the Space-Pervading Self-Liberation (mkha' khyab rang grol) revelation, this confession is virtually identical to the popular Yeshe Kuchokma liturgy that is taken from the Immaculate Confession Tantra (Dri med bshags rgyud).

Nyoshul Khenpo Jamyang Dorje

Nyoshul Lungtok

Orgyen Tobgyal Rinpoche

Paksam Wangpo

Palyul Choktrul Jampal Gyepe Dorje

Pari Lobzang Rabsal

Patrul Rinpoche

This survey of the five paths (lam lnga) and ten stages or bhūmis (sa bcu) explains the practices and qualities associated with each and every phase of the Mahāyāna path, from its initial point of entry through to its eventual culmination with the attainment of enlightenment.

This short work details the phases of dissolution during and immediately following death, and also outlines the crucial points of practice to be born in mind at this critical time.

A concise and simple sādhana focused upon Mañjuśrī, the embodiment of all the buddhas' wisdom.

Patrul Rinpoche provides a topical outline (sa bcad) for the confessional liturgy that forms the final chapter of the Immaculate Confession Tantra (Dri med bshags rgyud).

Written for his close disciple Alak Dongak Gyatso (1824–1902), this text of Patrul Rinpoche offers advice on the purpose and significance of solitude. Brief as it is, the work is of interest not only for its comments on retreat, but also for the clues it holds about Alak Dongak's life, especially as no complete biography has yet come to light and his writings have not survived.

This short work in verse offers advice on the natural self-liberation (rang grol) of thoughts and emotions, which Patrul Rinpoche repeatedly identifies as the key to the view, meditation and conduct of the Great Perfection.

In this succinct account of the difference between ethical and unethical companions, Patrul explains the various ways in which they can influence one's own character for good and ill.

Taking a famous four-line prayer as his basis, Patrul Rinpoche explains the practice of taking refuge in the Buddha, Dharma and Saṅgha, and arousing bodhicitta, in both its relative and ultimate forms.

One of Patrul Rinpoche's better known works, this pithy presentation of the two levels of truth is more than just a guide to what "relative" and "absolute" signify; it is also a practical instruction on how to apply such understanding in meditation.

An untitled five-verse aspiration to perfect view, meditation and action and contribute to the flourishing of the teachings.

This prayer of aspiration covers the entire Buddhist path, but places special emphasis on the cultivation of bodhicitta in its various forms. For to have bodhicitta, says Patrul Rinpoche, is to have "all that's needed to attain enlightenment."

Patrul Rinpoche's explanations in this brief guide to the Longchen Nyingtik preliminary practices mostly follow those given in his classic text, The Words of My Perfect Teacher (Kun bzang bla ma'i zhal lung). Still, this condensed text offers useful reminders of the most important points of the practice, especially the details of the visualizations.

In this practical guide to meditating on the teachings of the Prajñāpāramitā sūtras, as outlined in Maitreya's Abhisamayālaṃkāra, Patrul discusses the attitude and training of a bodhisattva. He repeatedly emphasises the fact that enlightened activity for others' benefit—and not simply realization—is the ultimate goal.

In this series of verses Patrul Rinpoche praises the deity Vajrsattva (rdo rje sems dpa') by describing his unique qualities, forms and functions.

A short supplication in three verses addressed to the Mother Prajñāpāramitā, Krodhakālī, and the great Machik Labdrön.

A short prayer composed while circumambulating stūpas dedicated to the early masters of Katok Monastery.

This prayer to the masters of the lineage of explanation for Bodhicaryāvatāra, from Patrul Rinpoche back through the generations as far as Śāntideva, and before him to Buddha Śākyamuni and Mañjuśrī, is also an aspiration to take the central message of the text to heart.

This brief work on pedagogical theory outlines the qualities and approaches of three different types of teacher (a fully enlightened buddha, arhat and learned paṇḍita), before discussing the science of listening and explaining the purpose of titles.

Sometimes known by its first four syllables as Eko Eko (translated as "Have you heard? Have you heard?") and sometimes as Self-Liberated Wisdom-Mind, this is a comprehensive and popular instruction on Dzogchen meditation. Although the emphasis is on remaining natural and unaltered (machöpa), the text also offers advice on how to integrate and adapt to the various experiences and circumstances a practitioner might face. The style is direct, eloquent and moving.

Only recently discovered, this prayer of dedication by Patrul Rinpoche is to be recited when the construction of a temple is complete. It is not only an aspiration for the new temple to prosper and be of as much benefit as possible, but also a plea to the protective spirits to watch over the temple and guard its contents.

Patrul Rinpoche was renowned for his mastery of, and fondness for, Śāntideva's classic guide to the way of the bodhisattvas, and this is his practical manual for applying its wisdom and meditating on its key themes.

In this short guide to Buddhist and non-Buddhist philosophical tenets, Patrul Rinpoche begins by outlining the tīrthika views of eternalism and nihilism. He then summarizes the views of the śrāvaka schools of Vaibhāṣika and Sautrāntika, as well as the two kinds of pratyekabuddha, the various branches of Cittamātra, and the Svātantrika and Prāsaṅgika strands of Mādhyamika. To conclude, he offers a brief overview of the various levels of secret mantra.

One of the best-known and most popular texts of Patrul Rinpoche's, in which he offers pithy mundane and dharmic counsel (to himself) in sets of three.

This brief guide to explaining Minling Terchen Gyurme Dorje's famous aspiration prayer, known as 'The Secret Vajra Knot' (rdo rje rgya mdud), provides a topical outline of its contents, and, in so doing, reveals the vastness of its vision.

This compilation, which supplements the root text of the transference (phowa) practice from the Heart-Essence of the Vast Expanse (Longchen Nyingtik) with additional prayers, is extracted from Patrul Rinpoche's famous The Words of My Perfect Teacher (kun bzang bla ma'i zhal lung).

Verses in praise of mountain solitude inspired by a recognition of the turbulence and futility of ordinary affairs and interactions, including some aspects of monastic life.

Pema Kunzang Rangdrol

Rago Choktrul Tupten Shedrup Gyatso

Rigdzin Gödem

Rongtön Sheja Künrig

A poetic tribute to three of Tibet's greatest translators, Zhang Yeshé Dé, Chokro Lüi Gyaltsen, and Kawa Paltsek.

This practical synopsis of the Mahāyānottaratantra-śāstra (theg pa chen po rgyud bla ma'i bstan bcos) or Ratnagotravibhāga, Maitreyanātha's classic treatise on buddha nature, was composed in 1447.

A précis of Rongtön's larger text of instructions on the Middle Way entitled The Moon Rays of Crucial Points, which includes advice on the view, meditation and action that facilitate an understanding of Madhyamaka.

In this short work, Rongtön clarifies the teachings on the samādhi (ting nge 'dzin) meditations related to the three gateways to liberation (rnam thar sgo gsum): emptiness, the absence of characteristics and the wishless.

A set of pithy instructions for meditating on fourfold emptiness (stong nyid bzhi sbyor), as outlined in the so-called Heart Sūtra or Heart of the Transcendent Perfection of Wisdom.

A short laudation of Vulture Peak Mountain (bya rgod phung po'i ri bo; Gṛdhrakūta), located in modern Bihar state in India, and renowned as the site at which Buddha taught the Prajñāpāramitā.

A brief explanation of the "three gateways to liberation" (rnam thar sgo gsum) according to the Mahāyāna, i.e., emptiness (śūnyatā; stong pa nyid), absence of characteristics (mtshan ma med pa), and wishlessness (smon pa med pa).

This succinct guide to putting Śāntideva's classic text into practice through meditation, with an emphasis on the cultivation of wisdom (prajñā), was written by Rongtön Sheja Kunrig in 1447.

In this brief series of verses, Rongtön explains the benefits of the six transcendent perfections, or pāramitās, and shows how they incorporate many other aspects and qualities of the Mahāyāna path.

Verses in praise of the lineage of Abhidharma teachers, from the Buddha down to Asaṅga and Vasubandhu, then on to the Indian commentators and the earliest specialists in Tibet.

Sakya Paṇḍita Kunga Gyaltsen

Sakya Trichen



Sera Khandro

A beautifully evocative prayer of aspiration to be reborn in Tārā's pure realm, known as The Land of Turquoise Leaves (g.yu lo bkod).

A prayer to Sera Khandro's successive incarnations including Red Vetala (Rolang Marmo), Shelkar Dorje Tso, Kunga Buma, and Changchub Chödrön.

A simple guru yoga focusing on Sera Khandro as an emanation of Yeshe Tsogyal and invoking her inspiration and blessings to realize the meaning of Dzogchen, the Great Perfection.

This prayer to Sera Khandro's successive incarnations is one of several such texts to be found in her collected writings.

This Dorje Drolö sādhana from Sera Khandro's Dharmatā Ḍākinis' Secret Treasury (chos nyid mkha' 'gro gsang mdzod) cycle includes visualization and mantra recitiation, as well as an additional activity rite.

This guru yoga, which Sera Khandro describes as a visionary experience put it into words, is a supplement to the Dharmatā Ḍākinīs' Secret Treasury (Chönyi Khandrö Sangdzö) cycle. It includes many of the standard elements of a preliminary practice (ngöndro) and is structured around the 'Four Dharmas of Gampopa', i.e., turning the mind towards the Dharma, making progress along the path, clarifying confusion, and allowing confusion to dawn as wisdom.

Seventh Dalai Lama

Shabkar Tsokdruk Rangdrol

In this short song the famous yogi Shabkar Tsokdruk Rangdrol explains the essence of all practices, from the contemplations of the outer preliminaries to the practices of the inner preliminaries, and the main practices of the generation and perfection stages.

The great yogi Shabkar Tsokdruk Rangdrol is, like Milarepa, famous for the songs of realization through which he communicated the teachings. In this song, inspired by the repeated appearance of some beggars at his door, he expresses his compassion for all beings—his very own mothers from previous lives—who are now suffering in saṃsāra's various realms.

This concise set of preliminary practices by Shabkar Tsokdruk Rangdrol includes the outer preliminaries, as well as the inner preliminary practices of taking refuge, arousing bodhicitta, visualisation and recitation of Vajrasattva, maṇḍala offering, and guru yoga.

In this short text to accompany the offering of a butter lamp or candle, the great yogi Shabkar Tsokdruk Rangdrol offers an inspiring visualisation and series of aspirations.

Inspired by a thought of his mother, Shabkar Tsokdruk Rangdrol sang these verses to himself, as a reminder of the importance of recognising all beings as one's mother and remembering their kindness.

Shakya Shri

Shamar Chökyi Wangchuk

Shechen Gyaltsab Gyurme Pema Namgyal

Situ Paṇchen Chökyi Jungne

Tertön Mingyur Dorje

Tertön Sogyal

Tertön Sogyal Lerab Lingpa wrote this prayer to the lineage of Vajrakīla, his yidam deity, during a break while on retreat.

A short guru yoga in which the guru is the embodiment of all lineage masters, especially Samantabhadra, Guru Padmasambhava, Dorje Drolö, Düddul Lingpa, Dudjom Lingpa, Dodrupchen Jigme Tenpe Nyima and Lerab Lingpa himself. The text remained for many years in the possession of Tulku Dorje Dradül (1891–1959), Dudjom Lingpa's youngest son, and was copied by Kyala Khenpo (1893–1957).

This inventory (thems yig) provides key details of the Razor of the Innermost Essence (yang snying spu gri), including a list of all texts in the cycle, and important information for the tertön concerning its revelation.

This terma revelation is a simple sādhana focusing on orange Mañjuśrī as a means to increase intelligence.

In this guru yoga, a mind terma of Tertön Sogyal, the lama is visualized in the form of Dorje Tötreng Tsal. The text was revealed in association with the Nechung Oracle and it remains a daily practice of Nechung Monastery to this day.

This liturgy for the expulsion of obstacles (bzlog pa) takes the ultimate perspective, according to which all forms of negativity are dispelled within the basic space of the dharmadhātu.

Thangtong Gyalpo

Third Karmapa

Tra Gelong Tsultrim Dargye

Trulshik Rinpoche

Tsongkhapa Lobzang Drakpa

Tsultrim Zangpo

Tulku Thondup

Tupten Chöpel


Yangchen Drubpe Dorje

Yangthang Rinpoche

Yukhok Chatralwa Chöying Rangdrol

In this brief text Yukhok Chatralwa explains the common outer and uncommon inner preliminary practices in very simple terms.

This brief explanation of the important Dzogchen notions of clarification (shan 'byed) and transcendental resolution (la blza ba) was composed by Tertön Sogyal and recorded in the collected writings of Yukhok Chatralwa Chöying Rangdrol.

An explanation of The Vajra Verses on the Natural State, a revelation of Jigme Lingpa, which describes the pure awareness that is the natural state of the mind and how all the qualities of the path and fruition are complete within it.

Yukhok Chatralwa records the pithy advice of the Nyarong Lama, i.e., Tertön Sogyal Lerab Lingpa, on the subject of how to remain in solitary retreat.

In these brief notes, Chöying Rangdrol explains what is meant by the 'youthful vase body', and outlines how liberation occurs in the intermediate state (bardo), and how delusion develops should we fail to recognise the nature of bardo appearances.

These notes discuss the ālaya, or 'ground of all', as well as the ālaya-consciousness (ālaya-vijñāna) and other forms of consciousness from a practical, experiential perspective, rather than a scholastic or theoretical point of view. They drew upon the sayings and explanations of such masters as Adzom Drukpa, Tertön Sogyal and Dudjom Lingpa.

This final testament, which succinctly expresses the view, meditation, action and fruition of the Great Perfection, was transmitted to Lama Rigdzin Nyima (b. 1931).