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This famous seminal text of radical Dzogchen provides a profound yet simple poetic statement of how it is to immerse oneself in the matrix of the now and recognize buddha. It is the personal statement of a peerless yogin-adept. Certainly the magic of his poetry impresses us that way and surely this Treasury of the Dharmadhatu, the Choyingdzo, reveals the consummation of Dzogchen. In it we are assured that over and above all the yogas and dhyanas of Hindustan, all the ritual and magic of Tibet and all the quasi religious new-age therapies of the West there exists a simple, timeless manner of being, easy of access, requiring no onerous technique or renunciate lifestyle, that can give us some constant satisfaction in this vale of laughter and tears between birth and dying. With Longchenpa, Dzogchen Ati reaches its most complete revelation; the Choyingdzo is Longchenpa's most revealing statement about the vajra-heart, and Keith Dowman has made a fine translation. The pathless path of Dzogchen comes alive in this poetic exposition of the apex of Tibetan mysticism. The form of language, the translation, the use of poetic invention creates as atmosphere of understanding, as if a mahasiddha were writing in Oxford English with a touch of American slang. This is radical Dzogchen not only in the actual teaching itself, but also in the translation that strikes the flint of idiom to create sparks of wisdom that reveal the whole hologram.

The Khordé Rushen is a crucial element of Dzogchen praxis as both a preliminary and a stand alone supportive practice. The practice is described in three streams: formal, unstructured and social. It includes a psychological appraisal of the method, detailed instruction for practice, and relevant instruction from the Tibetan masters Jigme Lingpa and Jamgon Kongtrul excerpted from their meditation manuals. This book is manual for the Dzogchen retreatant and holds little other value. It belongs to Keith Dowman's Dzogchen Teaching Series.

'Dzogchen: Lama and Lineage' is part of the Dzogchen Teaching Series that provides the basic instruction for Dzogchen praxis and addresses aspects of the Dzogchen view . The requisite Dzogchen preliminary is existential realization of the nature of mind.

DZOGCHEN SAMAYA, primarily, introduces Dzogchen as an indissoluble bond to the nature of mind. At the heart of Dzogchen there is no vow to maintain and no commitment to keep, but the Dzogchen SAMAYA is the crucial pact of inborn union. That unity in the nondual nature of mind, the ineffable nature of the Dzogchen SAMAYA, is the principal subject of this book contained in its short but vital first pages . The second part of the book deals with the tantric samayas, the practical commitments that fine tune the conduct of the Dzogchen yogin or yogini in his spontaneous response to the needs of sentient beings and the planet. Sexuality looms large in that body of response. This is number 4 in the series of Dzogchen teaching manuals. Keith Dowman is a translator and teacher in the Tibetan tradition.

That reality is maya, apparent yet absent, and the recognition of it in that state of natural relaxation is maya yoga. In this renowned atiyoga manual, we find the key to the natural mystical state that Dzogchen, the Great Perfection, constantly evokes.

'Dzogchen Daily Practice', 'Elements of Dzogchen Daily Ritual Practice' provides a description of the elements of Radical Dzogchen daily practice and a liturgy to accompany it. Placed within the context of the Dzogchen View in the introduction and commnetary, however, ritual practice becomes a secondary aspect of radical Dzogchen. The heart of the daily practice is 'simply sitting' identical in both the long and short practices. The long practice includes preliminary, supportive, lubricative, (ngondro), practices and also nontraditional supplementary practices introduced in the West. 'Daily Practice' describes the elements of the ritual meditation embedded in the 24-hour-a-day Dzogchen praxis.

This book provides access to the ancient powerplaces of the Indian subcontinent through pilgrimage or academic study. For most of these places geomancy provided the original locations, and then inhabitants of the subcontinent through Vedic, Upanashadic, Hindu and Buddhist Tantric periods, aware of the environment, sought these pīṭhasthana, as sanctuaries for meditation and yoga. Aimed particularly at Dzogchen yogins and yoginis with a predilection for pilgrimage and retreat, the sources and information are primarily Tantric Buddhist. The Twenty-four Pithas, and alternative powerplaces, listed here alphabetically in the format of a gazetteer, information is provided under the heads of Location, Shiva/Shakta, historical mentions, Buddhist Associations, etc. Occupied by a variety of sadhus down the millenia, the period of Muslim ascendency in India resulted in destruction and loss of a few of the twenty-four. Whatever information discoverable regarding these sites has been brought together here. No other publication dealing with the Twenty-Four Buddhist Pithasthanas is currently available. 80 pages, with an inclusive index.

Dzogchen: Bardo is part of the Dzogchen Teaching Series. It offers instruction in the four bardos from a practical Dzogchen standpoint.

The Dzogchen View encapsulates this essential Dzogchen revelation as the Dzogchen Nonview. The Nonview is the direct instruction on the immediate path of the here and now. This instruction is provided by the tradition under the rubric of recognition of mind's nature, conviction and confidence in release. This instruction comprises the so-called 'three incisive precepts' given here by Dudjom, Mipham and Patrul Rinpoches. Here the heart of Dzogchen is laid bare for those who have the experience necessary to understand it. The Dzogchen View, or rather Dzogchen Nonview precepts induce the magic of Dzogchen nonmeditation. In Dzogchen practice there is nothing but this view revealed here in Keith Dowman's magisterial style. The third in the Dzogchen Teaching Series.

In Tibetan Buddhism, Mahamudra represents a perfected level of meditative realization: it is the inseparable union of wisdom and compassion, of emptiness and skillful means. These eighty-four masters, some historical, some archetypal, accomplished this practice in India where they lived between the eighth and twelfth centuries. Leading unconventional lives, the siddhas include some of the greatest Buddhist teachers; Tilopa, Naropa, and Marpa among them. Through many years of study, Keith Dowman has collected and translated their songs of realization and the legends about them. In consultation with contemporary teachers, he gives a commentary on each of the Great Adepts and culls from available resources what we can know of their history.Dowman's extensive Introduction traces the development of tantra and discusses the key concepts of the Mahamudra. In a lively and illuminating style, he unfolds the deeper understandings of mind that the texts encode. His treatment of the many parallels to contemporary psychology and experience makes a valualbe contribution to our understanding of human nature.

Tám m¿¿i t¿ v¿ ¿¿i s¿ trong tác ph¿m này là nh¿ng v¿ t¿ s¿ c¿a phái ¿¿i th¿ ¿n truy¿n th¿ng, s¿ng trong th¿i k¿ t¿ th¿ k¿ th¿ 8 ¿¿n th¿ k¿ 12. Nh¿ng thi¿n s¿ này ¿ã hình thành và sáng t¿o nh¿ng ph¿¿ng cách thi¿n ¿¿nh ¿¿c thù ¿¿ t¿ tu t¿p và giác ng¿. V¿ sau, các môn ¿¿ c¿a h¿ c¿ng ¿ã thành công khi áp d¿ng nh¿ng ph¿¿ng cách thi¿n ¿¿nh này. Các b¿c thi¿n s¿ ¿¿i th¿ ¿n khi ng¿ ¿¿¿c chân tính thì ¿¿¿c g¿i là ¿¿i thành t¿u gi¿ (Mahasiddha). Tác ph¿m này ¿¿¿c rút t¿a t¿ kinh v¿n Tây T¿ng, g¿i là Truy¿n thuy¿t v¿ tám m¿¿i t¿ v¿ thánh t¿ng (Grub thob brgyad bcu tsa bzhi'i lo rgyus) ¿¿¿c ¿ánh giá r¿t cao vì tính s¿ li¿u và c¿ th¿ c¿a các ph¿¿ng pháp tu t¿p mà nh¿ng ¿¿i thi¿n s¿ này ¿ã áp d¿ng và thành t¿u. Tr¿¿c h¿t, v¿ m¿t l¿ch s¿ có m¿t s¿ m¿u chuy¿n k¿ v¿ các thi¿n s¿ ki¿t xüt và có th¿t trong l¿ch s¿ Ph¿t giáo nh¿ các ngài Nagarjuna, Sahara, Luipa, Virupa... v¿i pháp l¿c, th¿n thông và trí tü xüt chúng c¿a các ngài. Nh¿ng m¿u chuy¿n thú v¿ có tính cách gi¿i trí này l¿i là m¿t ki¿u sách giáo khoa c¿a các dòng tu M¿t tông ¿n ¿¿, ¿¿¿c b¿c th¿y truy¿n l¿i cho các môn ¿¿ t¿ th¿ k¿ này sang th¿ k¿ khác. Th¿ hai, thông qua nh¿ng truy¿n thuy¿t v¿ các ¿¿o s¿ này, chúng ta có th¿ lãnh h¿i các m¿u chuy¿n ¿ó nh¿ nh¿ng phúng d¿ (allegory) mà trong ¿ó các giai thöi (anectote) có nh¿ng nét t¿¿ng ¿¿ng và tính ¿n d¿ dùng làm ph¿¿ng ti¿n khai tâm cho môn ¿¿ thüc các dòng tu m¿t. M¿t s¿ truy¿n thuy¿t ¿¿¿c thu g¿n l¿i ch¿ bao g¿m các chi ti¿t v¿ ti¿u s¿ và các pháp thi¿n ¿¿nh.