[Auto-generated transcript. Edits may have been applied for clarity.] So welcome, everybody, to the 16th talk in our Padmasambhava, Diana and Tibet seminar.
It's also the final talk for this academic year. Uh, we'll be starting up again next Michaelmas term with the new academic year.
All our talks are published as video podcasts, available from our own web pages at the Wilson College Tibetan and Himalayan Studies cluster,
from the Central University of Oxford podcast pages and from Apple Podcasts and a few other places too.
Also, I think from the Waxhaw website, so please try not to interrupt during the recording.
However, the discussion periods after the talks are not podcasting and are open to the entire audience,
so please don't hesitate to ask questions and join in the discussion then.
So today, it's our very great privilege to welcome one of the most versatile and talented younger scholars in tantric studies,
Doctor Adam Krug, who's joining us from the USA.
Adam, who completed his PhD at the University of California at Santa Barbara in 2018 and is currently an associate translator with 84,000,
translating the words of the Buddha.
He is the author of the Seven Siddhi texts Mahamudra Instructions from the Audio Namaha series, published by wisdom in 2025.
It's a study, an annotated translation of an early practical canon of seven works composed by seven
Indian masters that is recognised in Tibet as a seminal corpus of Indian Mahamudra.
Works. Adam has published a number of scholarly articles and has produced numerous translations through his work,
with 84,000 spanning the textual genres of sutra, dharani, Kriya Tantra, yoga Tantra and Yogini Tantra.
His current work for 84,000 is focussed on the perfection of Wisdom and Mantra sections of the Supreme Primordial Tantra.
Sri Paramahamsa is also currently preparing for publication a study in two parts on the Indian
Jürgen Buddha Guptas transmission of two Tara Yogini tantras to the Tibetan scholar carinata.
So, Adam, many thanks for offering us this thought. And over to you. Okay, great.
Let me share my screen. Okay.
And I do also just quickly want to begin by, um, just acknowledging Bob Thurman,
who passed away recently because he, he was integral to the publication of my book and of course,
integral to so many things in the study of Tibetan, study of Tibetan Buddhism and promotion of Tibetan Buddhism and culture around the world.
So, um, also, thank you so much to the Convenors.
Uh, to Cathy, Robert and Uniao, uh, for inviting me and for giving me a chance to revisit some of the material from,
um, from my book and also my dissertation. You know, there's a challenge in writing a book.
And then actually, this will be my first presentation on this material.
Um, I'll try to keep it short, but I probably have prepared a little bit too much.
So, um, I will try to keep it within reason, I realised.
Well, practising this talk a couple of times after I set everything down that, uh, it is set up almost as kind of like a sic drill style.
Uh, so I'll first start off talking about the Udayana Mahamudra lineage in terms of the dhrupad tune, um, and how they,
how they are considered associated with Udayana, how they constitute a canon of Mahamudra texts,
and what the term how they may be considered part of a lineage.
Um, and I'll contextualise that at first within, uh, the available, uh, material from the text themselves.
So internal text and material that's largely internal to the text themselves.
And then the second part of the talk, uh, will be more about how the group, what they've done are used, um,
and have been used to construct and reconstruct or preserve, uh, institutional identities around the practice of mahamudra in Tibet.
So hopefully I can keep that thread going while I'm speaking and won't get won't veer off in some wild tangent.
Um, I decided to start here at Jinling and Diaporthe um in Nepal because, um,
this is actually where I first met the dhrupad maiden or the authors of the troupe.
What they've done and it's tradition. Uh, but it was I met them unknowingly in October of 2009.
Um, I attended a couple of days of a Kakinada that was being conducted for a month.
The month of, uh, I believe it was like September and October of 2009 to consecrate the lochan that had just been finished.
Um, when I was there, I was really struck by the mural paintings on the inside of this lung, which were at that time the most extensive,
some of the most exquisitely detailed mural paintings I'd ever seen inside of a Tibetan, um, lake.
And I, you know, I would say probably to this day, that remains true.
Um, the murals Uh, inside of the lack of drinking and lying are extremely, uh.
I guess we could call them remake. Um, so they there are depictions of of all four of lineages from all four of the major schools of Tibetan Buddhism,
um, all sorts of practices all over the place and, uh, depictions of triple core practices and all of these things.
Um, and I was struck by a particular section of the Lao Kong, which is located in alcove to just to the left of the main shrine.
Um, and this particular section contains a wall that is entirely, uh, composed of, uh, images of masters of the Indian cities.
The alcove itself is the home of Drew Brown Norbu. Uh reliquary statue uh stupa.
Drukpa and Norbu Rinpoche passed away a couple of years before the Lao Cong was dedicated and
he was considered an important living mahamudra master and siddha in the in the tradition.
So just to the to the left of his stupa.
Um, we have these huge had these huge murals of Mazda's.
So 2009 was my first time seeing them.
I returned in 2015 after the earthquake in April of 2015, which had damaged the lung to the point where it couldn't really be used for public use.
Anyway.
Um, so at this point, when I first encountered these images, uh, my extent of the Kagyu mahamudra tradition was pretty much limited to the standard,
uh, lineage, which would be, you know, the standard Tulipa, Naropa, uh Marpa, Milarepa, Gampo, and so on and so forth.
That transmission lineage.
And then, um, the, uh, the text of, uh, Shabbat and Mitropa and that that kind of line of introduction of Mahamudra into the Kagyu tradition.
Um, I knew absolutely nothing about the Drukpa Day done in 2009.
Um, and, uh, it turns out that while I was there,
I was actually exposed to all of the more sort of robust view of the mahamudra lineage without even knowing.
Um, so here are some photos of the damage of that. The walls inside of Drepung and Ling.
Um, you can see the you can see light through the one on the left.
The centre is a portion of the sido wall where Domi Haruka's, uh, painting has been damaged.
Um, and then on the right is actually actually a picture of, Bhutan, where you can see the damage coming through.
Um, so Japan originally sustained significant damage during the earthquakes.
Um, I, I visited again in September 2015 because the murals stuck with me.
I had this idea of maybe doing a piece on the juxtaposition between the so-called secret traditions and the all too public depiction of major cities.
Uh, in lockdowns like this.
But I also was on the lookout for depictions of authors of the the dhrupad tune, which was my primary focus for my dissertation.
And I thought if there was anywhere that I would find something outside of the ordinary sort of,
uh, siddha lineages or cities that you see depicted almost all over on many,
many different locations, like Satara, for instance, uh, that it would be at Convention, and I was not disappointed when I.
When I returned in 2015, I noticed that they had depictions of some relatively rare masters who are associated with the troupe, but they've done so.
On the left is, uh, put their depiction of Padma Vajra.
Um. Right next to him is a nanga vajra. This panel, uh, to the right of a nanga vajra, has king in Djibouti in the upper left corner.
Who is, uh. I believe this King of Djibouti is understood to be the author of the Guyana CD.
And then there's the Lesser in Djibouti in the lower left corner. Who is, uh, the lineage says.
And that is the author of the Sahaja city. And, um, it's been a long time, so I, I, I'm not quite sure I believe in the lower right hand corner.
She was damaged in the earthquake, but I believe that's Lakshmi Kolkata.
So I'm hoping to go back, uh, in August and see if I can confirm that.
Hopefully the lockdown has been restored in exactly the same way that it was originally laid out in 2009, but we'll see.
And then, of course, on the right is, uh, don't be Haruka. So, um, this is the.
Why am I opening with all of this? Really? There. There are a lot of ways that you can talk about the group, what they've done.
Um, they the collection is important to, you know, multiple different schools of Tibetan Buddhism.
Um, and it's widely recognised as a mahamudra, as a mahamudra, uh, corpus in one of the earliest corpus of instructions on mahamudra.
But, um, out of kind of respect for on the on the one hand for the tradition, uh, and also, uh,
just to acknowledge the fact that this was unknowingly my first exposure to these traditions.
Um, I chose to emphasise these texts as something reflective of the Udayana tradition of mahamudra.
So, um. That association is based.
There is no evidence within the text themselves to support it. So the tripod doon are comprised of these seven different texts.
Um, and we have three of them. Six of the texts survive in Sanskrit witnesses.
And three of those, uh, texts that survive in Sanskrit.
Witnesses can support what we see in their Tibetan translations, which is that the text colophon themselves will refer to Udayana.
Um, and then there is a fourth text as uh, tattva, Odisha, where we get this a reference to Udayana in the title.
So here is I chose one of the more legible examples of a Sanskrit manuscript of the Guayana city.
Um, Andrew Booth's colophon to Guyana city reads.
This concludes the gnosis city of Sapna method from glorious Udayana.
This work was composed by glorious Indra Booty. And then the next example is, uh Lakshmi as advised.
Her colophon reads. This concludes the Sadhana method called the city of non-duality that came from the Great Yoga throne,
which is my translation of Maha Yoga Pitha of glorious Udayana and sprung from the lotus mouth of Sri Lakshmi,
issued forth during the self consecration stage. And that is the essence of all yoga tantras.
And then the third example from a Sanskrit text, uh, that references Udayana is here in Lakshmi.
Sorry. yogini. Does the actor Bhavani, who got the tattva CD, um, this colophon or this section of the colophon anyway,
translates this concludes the city of Ultimate Reality.
For one who has arrived at the state of clarity and overflowing river of Ambrosia, endowed with sublime bliss.
The honey that quickly emerged from the blossom lotus mouth while being consecrated in the vajra like samadhi of the threefold world,
that inexpressible consecration and the truth of the ultimate reality of phenomenon that
emerged because of the genuine interest expressed among the assembly of illustrious yogis.
The great Vajra throne.
Here it's referred to as Maha Vajra Pitha of glorious Udayana, who are crowned with self or sorry, endowed with self arisen gnosis.
Yogini Cheetah's style is extremely florid, uh, you know, extremely verbose.
So it does become a little difficult to translate into English, but, um.
Okay. And then the final example from the text themselves is the title of Dottie Coppola's Thoughtful Asia,
which refers to the texts as the Sri Udayana virgata Gaia maha Gaia tattva Asia.
So we have evidence internal to the text themselves, stating that at least four of the seven are associated with Udayana.
Um, so the next,
next I'm going to move on to evidence from a broader the broader tradition that may possibly identify the dhrupad tune as a Mahamudra corpus.
The best evidence for this.
And it's by no means entirely conclusive, but the best evidence for this is in Bengal's, uh, Subhash Dasan Graha um or in SA excuse me?
In the Subhash Graha, which was first published by Cecil Bendall in his edition in 1905.
Um Ben Dahl's edition unfortunately alerted the world to the presence of this text for all the wrong reasons,
and it has gone understudied, which is very strange for something that, you know, was actually published in 1905.
It has remained understudied, uh, since this publication.
Uh, I noticed when I started to look at the substitution that all seven of the Jupiter Dunes are quoted at length in the text.
And then in addition to that, some of the other texts that Tibetan sources identify as Indian Mahamudra works are also quoted
at length in the Subhash Graha um and the Subhash Graha also quotes from sutra sources.
So that's started to tip me off that maybe the Subhash Graha has something to do with the Mahamudra tradition.
So, um, we're looking at the text a little bit more closely.
There are rare instances where the anonymous author of the subtitle actually expresses things in their own words.
Aside from that, the text is essentially a bunch of quotes from other sources.
In those rare instances, the author uh, on several occasions occasions points the reader toward the topic of mahamudra.
The most obvious of those cases is here in the colophon.
Um, so the colophon to the title says, it has been said, attending to all objects or topics.
This is the term Vicia. Through this process brings about the Mahamudra city.
So one should use this compendium of eloquent statements. This subtitle Graha along with the Guru's verbal instructions to attain awakening.
So my basic argument here is that the Tsubaki test is perhaps an example of a Mahamudra curriculum in text form,
and that its eloquent sayings are drawn from various sources with the goal of discussing the nature and practice of Mahamudra,
and that its colophon is explicitly stating this fact.
So this to me provides at least some basis for saying, if the Drukpa Day done are all quoted at length,
then the subtitle and the subtitle Graha appears to be oriented toward conveying some kind of curriculum for studying and practising mahamudra.
Then that means that there was some textual community behind the substitution that considered the dhrupad tune to be part of its mahamudra canon.
Um, that's about the closest that I can get to Indic evidence from an index source that recognises the entire collection of texts in the Dhrupad,
done as part of a Mahamudra corpus or canon.
Okay, so then the third, third, uh, word in our title is lineage.
This is just a really quick overview of some lineages that are associated with Udayana.
Um, the first one is Tibetan. It is generated just from the Drukpa lineage that's in the treasury of frequent teachings.
But the other three are from, uh, presumably Indic sources.
Could l'Opera Xinjiang via Khorramabad, Asia. Uh survives in Sanskrit and is verifiably Indian origin.
Indra, Sahaja and Lakshmi's commentary on that text survive only in their Tibetan translations.
Um, just a few things to point out in, uh, Indra and Lakshmi Kolkata and lists.
We do find several authors that are associated with, uh, with the Dhrupad titan.
So Padma Batra is in India list obviously in Djibouti and Lakshmi herself.
Um, another thing to point out before moving on from those lists is, uh, Lalita Devi, the original, uh, source in both of these lists.
Uh, she is. So there's this association of Udayana with yogini in the tradition of yogis, uh, in the story of Lalita Davies attainment of of city.
Um, she receives her transmission from this Rishi a swastika, uh, who is an emanation of Vajra pani.
And she, along with 500 of her also female associates, uh, attain awakening.
And this begins the the Udayana lineage in the Sahaja city.
So at the root of this lineage is a female adept who has attained awakening, and 500 disciples of hers who are also women.
Um, there are other women in the list who Sahaja Vajra is a female siddha and then the Brahmin Vadra on this list.
And Lakshmi herself, of course.
Um, so this, this tradition gives us a little bit of an indication of how we have this association of between Udayana and Yogini and,
uh, women practitioners. Another thing to point out here is, uh, Catherine Dalton's work on Vidya Patel's commentary to Buddha biography.
Uh, mentions that Buddha went to Udayana, where he received a teaching on the Ascension via krama uh from Vila Subhadra and Gundry.
Uh. Gundry is another, uh female siddha, and it also says that he may have met Lakshmi herself while he was there.
Uh, Buddha. As dates are relatively known, he's associated.
He's said to have been active in the early ninth century, but lived late eighth early ninth century.
So that gives us some idea of the dates for the middle section of Sparta's lineage.
And it also reinforces this, uh, the idea that this this is also another lineage instruction lineage.
Okay. All right. So I'm going to be wildly over time here.
I'm already seeing um, but I'll just I'll try to quickly talk about the translation and transmission of the group, what they do in Tibet.
I've broke this into three phases. The first two phases are really happening simultaneously.
Um, the first is the finalisation of the early Indian Mahamudra canon in Nepal by the disciples of Mitra and at Via Vajra.
And these are the dhrupad tune, the Ningbo core and the Elamite core.
The second phase, which is again kind of happening at the same time, really are the Tibetan translations of the dhrupad tune.
Um, and then the third is there the inclusion of the dhrupad tune and the Ningbo courtroom and Elamite
literature as part of a core Indian Mahamudra canon in these larger compendia of Indian Mahamudra works,
specifically the seventh Karmapa Collection and the Treasury of Teachings.
Um, one of the. I just feel obligated to share this in this talk because, um, it does help us to trace a little bit more information historically,
uh, within the Blue Annals around this transmission of the Drukpa Day.
Done. Um, but, uh, so there's this identification of the compound dripping.
So the compound dripping has been Mistranslated almost universally as something like the essence of attainment and associated with Sartre's, uh, Doha.
Um, it's been considered a sort of shorthand for Sada Doha.
And that mistranslation is also a there's also a disassociation in Tibetan traditions that makes the same move as well.
Um, what I noticed is that by looking at, you know, numerous different sources, including the Blue Annals,
is that really the droop of drooping refers to drooping, and the dying of drooping refers to the meaningful courtroom.
So these are the two early collections of Indian Mahamudra texts.
Um, so when you see various permutations of that compound, this is primarily what it's referring to.
Uh, so by identifying that, I was able to sort of identify a number of other transmission lineages of the
dhrupad tune and this early momager corpus to Tibet In the Blue Annals itself,
the primary, the primary transmission line, or really story of transmission of the text is through my tripa disciple, Vajra pani.
That transmission most likely happened after the text had been translated.
I think it's probably safe to say that, um, when the Drukpa data were translated, you can see from the list of translators and uh,
and Indian pandits who assisted with the translation that these were done by different groups and different locations.
And I think we can conclude from this list that it's very likely that they weren't understood as a Mahamudra corpus when they were translated.
Um, it's possible that they were, and that we just have the what we have received as the acceptable translations
of these texts happen to come from these different groups of translators.
But I think that what Gulzar was telling us is that the transmission of the dhrupad as a known mahamudra corpus really starts with vajra pani.
Um vajra pani is said to have visited Tibet, uh, to perform the funerary rites, which drove me to um and to give teachings on mahamudra.
And when he gives us teaching on those teachings of Mahamudra,
they are described specifically as the drill bit they do in the Ningbo Court and the LME Championship court.
So Druckman passed away and, uh, roughly 1072, I think those are the later dates, uh, which would place, uh, Vajra Penny's visit.
Well, after, uh, these texts had already been translated.
So I may need to adjust my argument there and just say they were translated first and then about Japan transmitted them.
But, um, I think that, uh, while they were being translated,
it's very possible that they were very popular in Nepal and they were being codified
as a kind of or used even as a kind of mahamudra canon at the same time in Nepal.
So, um, okay, the third phase is there, the incorporation of these texts of the Drukpa Data in two very important extra canonical Kagyu collections.
One of them is Chogyal Gyatso, is in the Indian Mahamudra works, and the second is the Treasury of Drakon.
Kagyu teachings. Um. And when I refer to the Treasury of Draco teachings, I'm really just referring to the early volumes of it.
The, um Chitra is massive.
I think it's over 150 volumes and it contains it's a completely open canon.
They keep adding teachings to it.
So I'm really just talking about what I consider to be the early, probably the first, uh, version of the intrinsic, um,
all of the extant versions of the seventh Karmapa Gyatso Indian Mahamudra works derived from a
19th century telegraph edition that was published at the printing house of Pal Pong Monastery,
and that edition is accompanied by an extensive explanation of its contents that was composed by a couple.
But unfortunately, karma says almost nothing about why the seventh Karmapa compiled this collection and how he compiled it, or anything like this.
He does have a biography of the seventh Karmapa, his life,
but he doesn't really tell us anything about the collection itself and its relationship with seventh Karmapa.
Life. Um,
he does have one mention of the seventh Karmapa relationship to the drowning and how he was committed to preserving the transmission of those texts.
But that's about it. So in order to find out more about this, we have to go into the biographical material on the seventh Karmapa.
Uh, Situ Choki Junior's biography contains a single passage that records an account of Gyatso giving the reading transmission for the Chengjiang.
Um. That passage follows his account of the events that transpired around the Moon Lam Festival in Lhasa in the year 1502.
This was, uh, one of the years where the seventh Karmapa presided over the Moon Lamb Festival in Lhasa,
and he did so because the Rinpoche rulers of Tsang had actually taken over Lhasa and driven out the Pokemon Dru, uh, for a brief period of time.
And, uh, they installed the seventh Karmapa and the fourth Schumacher as the sort of head of the spiritual heads of Lhasa,
and they prohibited the Garlock from participating in the monthlong festival.
So in the. Within this context, we get some mention of Giotto's reading transmission of the Chengjiang.
Um, the passage I'll read for you quickly here.
He says he paid his respects at the cave where venerable do some kempo practice.
He gave an empowerment that included a detailed explanation on the unique and unsurpassed Vajra Garland of the lineage from venerable Rangoon.
I assume that's Rank Dorji, and gave one the 100 subpoenas,
the authorisation for the ocean of Sodom as the authorisation of burial and the empowerment of 100m to situ Tashi Drukpa,
the Tulku Tashi Namgyal and Gertrude Jordan and others.
So just to pause, those are all aside from the lineage, from the text, from Brandon Dorjee.
Those are all Indic texts. They're all Indian practice texts. Um, okay.
So next he gave the reading transmission of the Supreme Path,
the volumes of the Indian Mahamudra works that the victor himself had compiled into a single collection.
Um, so, uh, unfortunately, this is Setu.
John's biography doesn't give us any more real data on why the seventh Karmapa compiled, uh, his chart.
It just mentions that he gives this transmission following the 1502 one lam.
Um. It's possible, however, however, to offer some hypothesis.
Uh, I go into this at length in my book, but I'll try to keep it short here. Um, I essentially,
I believe that this has something to the compilation of the chapter and has something to do with the emergence of the Gaelic in the 15th century,
and that it is much a lot. In the same way that David de Valerio argues that SsangYong Haruka's efforts to
compile the Milarepa biographies and the Kagyu biographies and promote this
movement and everything in this at the same period was a way to organise the Kagyu
around a single kind of identity and push back against the Gaelic in some way.
Um, I think that we see the seventh Karmapa putting together this Chengjiang, uh, for the same reasons,
and I think that he may have been concerned with the, uh, deterioration of Kagyu institutions.
And, uh, the congregation itself was,
was compiled to sort of push back against that and re-establish a firm grounding of Kagyu mahamudra practices in an Indian tradition.
We get some evidence of this? Of the seventh Karmapa actually using the Gaussian.
For this reason, um, in the last quarter of the 15th century.
So Choki Situ Choki Junior's biography records a few instances where the seventh Karmapa founded new meditation schools.
One of those occurs at ditch, in which is a tree quintile,
where the seventh Karmapa was specifically invited to revitalise, uh, the practice lineage there.
So in the account it says, uh, at this point, the teachings containing the profound dharma that's hidden,
that's the hidden meaning of the teachings and the manuscripts no longer remained at Drepung.
And since they had been so wounded and weakened, he saw the need to reinvigorate those teachings.
So we are essentially being told that, uh, when the seventh Karmapa arrived at Drepung to, uh,
try to re-establish Kagyu, uh, Practices there, that they didn't have a good enough library to support those practices.
So my hypothesis is that visits like this and encounters like this were most likely responsible for prompting the compilation of the.
Gotcha. Um, and we get some supporting evidence in, uh, a drinking biography,
the biography of Kunga Rinchen, um, that, uh, the seventh Karmapa was indeed doing just this.
So in the, in the, in the, um, in, um, let me go back here.
Sorry. And, uh, see, to Chuckie Junior's biography,
he discusses that the seventh Karmapa was invited by Wang Rinpoche to reconcile, and he met with him and his three nephews.
The identity of the three nephews is not expressed in the text itself,
but one of them was certainly Kunga Rinchen, who would become the next head of quintile after his father.
So when we switch over to look at some of the, uh, biographical data on Rinchen, um,
we see that in his own biographies and in accounts of his, the teachings that he received, that he did, in fact receive texts.
He received texts that are exactly identical to the Chengjiang.
Um, he also received texts and teachings directly from the seventh Karmapa himself.
And those were teachings of on the single singular intent, uh, lineage from Jiten Golpo.
So that's significant because we have the future head of the Cung lineage,
receiving teachings from the on from the textual lineage of the founder of the Kung school from the Karma Kagyu patriarch.
Right? So if we need any kind of support to this statement that the actual foundational text of the lineage,
we're no longer actually kung till that the the cynic that Rinchen uh presents seems
to corroborate that if he had to receive those texts from the seventh Karmapa.
We also see and this is the passage I've highlighted here, that, uh, Rinchen received,
uh, the Drukpa Day done, and the Duke and the Elamite church were from his uncle,
Wang Rinpoche, who is said in his biographical, uh, works to have received those texts from the seventh Karmapa.
So we essentially get a lineage of transmission of those texts.
Okay. I'm going to skip over this slide about Helping.
So that that's in a very brief kind of overview.
A little history behind the clock. June the 7th Karmapa collection of Indian Mahamudra works.
The, uh, I believe that we can pretty clearly say that the seventh Karmapa, um,
um, provides the blueprint for what we see in the first five volumes of the.
The first volumes of this collection are, uh, they mirror the texts in the Chengjiang, but they also have additional materials.
So the first volumes, um, of the countries that are organised around the three early corpora of the Indian momager canon,
but they incorporate stories of the cities who authored the Drukpa Dadan um, explanatory outlines, and then a handful of supplementary works.
Some of those are additional city texts that are also in the Choctaw Nation, and a couple of them are actually unique to the tree.
The author of the supplementary material provides a short summary of how the Buddha taught the Vajrayana.
He states that the Buddha taught the Vajrayana to 10th level bodhisattvas, who were prohibited from writing it down,
except for one instance in which they were written down and hidden by Japan at a temple to the deacons in Udayana.
He then identifies the dhrupad tune as the teachings of the Udayana mahamudra lineage.
He identifies the seven texts by name, and then states that they were compiled as a single collection and transmitted by their author's disciples.
That is followed by an account of, um, the Gingko core book that states that, uh, Sadhana, Nagarjuna,
and Aria Deva and their disciples are said to have resided in succession at in the south at Srisailam,
which is identified as Low Polje re, followed by the disciples of Sabari and then the latter's disciples.
The disciples of Sabari inaugurated the tradition of referring to the Luke as a collection, so as the Nepal courtroom um.
This effectively provides geographical locations for the authorship,
transmission and compilation of the entire early practical canon of Indian Mahamudra works.
Um, and that's from the point at which they were first written down or first taught in Udayana,
to their eventual transmission to Nepal, which is the location from which they were transmitted to Tibet.
So all of this is outlined in the Dreaming Jutsu. It is the most, hands down, the most comprehensive, uh,
treatment of the from start to finish of the the reason why each siddha wrote each text all the way through how those texts became known as a corpus,
and how they were transmitted to another community at Srisailam.
And then eventually we can fill in the gaps ourselves.
Through my connection with Shawbury. And we know then how they made their way to Nepal and Tibet.
Um, I would also just revise my argument a little bit here and say it is entirely possible and and
probably is the case that the Drukpa Day Doon could have a direct transmission lineage to Nepal.
Um, and there's no reason to assume that. But they don't have to be transmitted to Srisailam first and then to Nepal.
Uh, and there's no reason to assume that both things couldn't have happened as well, so.
Okay, so let me wrap it up here.
Um, taken together, the stories of the Maha Cyrus who composed The Troop of Jordan, the additional city text tax appended to the corpus,
and the summaries and outlines of these texts that constitute the majority of material in this first volume of the Treasury teachings
represent the most comprehensive collection of works to support the study of the Jupiter dune that are preserved in any Tibetan source,
that I am aware of these sources. Stories of the masters who compose the Dhrupad tune.
Breathe life into the texts and give. Make them more accessible.
Make the authors themselves more accessible,
and then the auxiliary text appended to the summaries create a kind of structured curriculum around the actual text themselves that
make the works more accessible and function as a kind of support for memorising internalising and directly studying their contents.
Um other Kagyu Mahamudra curricular and polemical works authored in the 16th and 17th centuries that refer to the Dhrupad tune,
and many in many of them, many of them most notably like Ginza and Dark Watashi Namgyal Moonbeams of Mahamudra, which is extremely famous.
Um. They refer to the group of Deighton,
and they grow out of this tradition that is building upon the kind of resources that the seventh Karmapa made available in its church,
and um um, and they remain central to Kagyu mahamudra curriculum this day.
Um, but they tend to focus on a relatively limited amount of material in their source texts.
And the material that they draw upon from the Drukpa Data, and specifically,
is often presented out of context and selected solely to support the author's own arguments.
Um.
As a result, those sources can provide the reader only a very limited and incomplete picture of what the works in the Drukpa they do and actually say.
This is a very, very different model than what we see in the Treasury of drinking teachings.
The approach to creating the practical canon of Indian Mahamudra texts that we see there, um, is almost entirely devoid of any polemics,
and we find no example of cherry picking verses from sources to support the author's own arguments.
Instead of this more traditional way of designing a curriculum, um,
we have the which really has the effect of limiting the reader's engagement with the source texts.
The Treasury of Frequent Teachings provides context to support and actually encourage the reader's own engagement with those texts.
Um, the chapter summaries that it presents are given in within the same collection, right alongside the actual text from the group of data.
And so they introduce the the author of the text. They tell a story about the siddha who authored it.
And then they have usually a really beautiful introductory verse.
And then, you know, this is followed by the text itself.
And the stories are all about what happened to that author, to cause them to write that text.
So it has a real flow to it, and it's clear that they're encouraging the reader to read everything and read the text themselves.
Right. Um, so the same can be said about the additional texts that are appended to that corpus, to the data.
And, and each one of them kind of gives us a greater context for understanding and engaging with the broader corpus.
So this is and I'll stop here. But this is also one of the main reasons that I've emphasised the idea of the dhrupad as an Udayana Mahamudra lineage.
Um, because the Kagyu seem to have preserved this very rich tradition that points directly toward Udayana as the source of this.
One of the earliest, if not if not the earliest, collection of Mahamudra texts.
And I'll stop there. Thank you. I've gone. I've said enough. Thanks.