"Saraha's spontaneous songs, or dohas, contain the special instructions of a guru, whose qualities of realization can then directly enter the heart of devoted disciples. These songs represent the rare perfection of the Buddhist art of expressing the inexpressible, and they can trigger a mind-to-mind transmission that some take to have the power of directly pointing out the true nature of mind. Saraha's dohas are quoted fairly often in Indic materials, which points to the fact that he was indeed an influential authority. The dohas are the most distinctive literary expression of a class of tantric Buddhist masters called siddhas, hailed by tradition as beings of exceptional spiritual realization. Essentially, these are gnomic verses; composed not just in the doha meter proper using a kind of literary Middle Indic called Apabhramsa, they also purportedly convey a high degree of mystical insight and were transmitted in collections. The "text" (already a tricky term) of Saraha's Spontaneous Songs has not yet been available in full, nor has it been stabilized to any degree of satisfaction. The discovery of two hitherto-overlooked manuscripts has helped to fill in the gaps. In fact, the present volume is the first in over six decades to bring to light new original material"--

The first volume in over six decades to bring to light new original material on Saraha’s Treasury of Spontaneous Songs (Dohakosa). “Completely abandon thought and no-thought, and abide in the natural way of a small child.” —Saraha To find liberation and realize the true nature of reality, the Indian Buddhist master Saraha says we must leave behind any conceptual assessment of reality, since no model of it has ever been known to withstand critical analysis. Saraha’s spontaneous songs, or dohas, represent the Buddhist art of expressing the inexpressible. The most important collection of Saraha’s songs is the Dohakosagiti, better known in Tibet as the Songs for the People, and the Tibetan Mahamudra tradition, especially within the Kagyü school, has done the most to preserve the lineage of Saraha’s instructions to the present day. But Saraha was also widely cited in Indian sources starting around the eleventh century, and one Indic commentary, by the Newar scholar Advayavajra, still exists in Sanskrit. In addition, we have independent root texts of Saraha’s songs in the vernacular Apabhramsa in which they were recorded. These Indian texts, together with their Tibetan translations, are here presented in masterful new critical editions along with the Tibetan translation of the commentary no longer extant in Sanskrit by Moksakaragupta. Finally, both commentaries are rendered in elegant English, and the authors offer a brisk, comprehensive introduction. Saraha’s Spontaneous Songs provides the reader with everything needed for a serious study of one of the most important works in the Indian Buddhist canon.

The life and works of the mysterious Indian yogin, Saraha, who has inspired Buddhist practitioners for over a thousand years. Saraha, “the Archer,” was a mysterious but influential tenth-century Indian Buddhist tantric adept who expressed his spiritual realization in mystic songs (dohās) that are enlightening, shocking, and confounding by turns. Saraha’s poetic verses made the esoteric ideas and practices of Vajrayāna accessible to a wide audience on the Indian subcontinent and served as a basis for the exposition, in Tibet, of mahāmudrā, the great-seal meditation on the nature of mind that permeates every tradition of Buddhism on the Tibetan plateau. This is the first book to attempt a thorough treatment of the context, life, works, poetics, and teachings of Saraha. It features a search for the “historical” Saraha through evidence provided by our knowledge of the medieval Indian context in which he likely lived, the biographical legends that grew up around him in Tibet, and the works attributed to him in Indic and Tibetan text collections; a consideration of the various guises in which Saraha appears in his writings (as poet, social and religious critic, radical gnostic thinker, and more); an overview of Saraha’s poetic and religious legacy in South Asia and beyond; and complete or partial translations, from Tibetan, of over two dozen works attributed to Saraha. These include nearly all his spiritual songs, from his well-known Dohā Trilogy to obscure but important expositions of mahāmudrā, as well as several previously untranslated works.

For over a thousand years, monks, nuns, canons, friars, and others under religious vows stood at the pinnacle of Western European society. For their ascetic sacrifices, their learning, piety, and expertise, they were accorded positions of power and influence, and a wide range of legal, financial and social privileges. As such they present an important opportunity to consider the nature and dynamics of an "elite" in medieval culture. Using medieval religious life as their interpretive lens, the essays of this volume seek to uncover the essential markers of elite status. They explore how those under vows claimed and manifested elite status in complex spiritual, temporal, and social combinations. They explore the workings of elite status from day to day, across region and locale - who earned recognition and how, whether through specific achievements or the deployment of specific capacities; who recognized, conferred, or helped maintain elite status, how and why; how elite status could be redefined, contested or rejected. The essays also seek to understand how medieval European religious elites compared to those found in other cultures and settings, from Syria and South Asia to the early modern transatlantic world.

The great Buddhist scholars Santaraksita (725 - 88 CE.) and his disciple Kamalasila were among the most influential thinkers in classical India. They debated ideas not only within the Buddhist tradition but also with exegetes of other Indian religions, and they both traveled to Tibet during Buddhism's infancy there. Their views, however, have been notoriously hard to classify. The present volume examines Santaraksita's Tattvasamgraha and Kamalasila's extensive commentary on it, works that cover all conceivable problems in Buddhist thought and portray Buddhism as a supremely rational faith. One hotly debated topic of their time was omniscience - whether it is possible and whether a rational person may justifiably claim it as a quality of the Buddha. Santaraksita and Kamalasila affirm both claims, but in their argumentation they employ divergent rhetorical strategies in different passages, advancing what appear to be contradictory positions. McClintock's investigation of the complex strategies these authors use in defense of omniscience sheds light on the rhetorical nature of their enterprise, one that shadows their own personal views as they advance the arguments they deem most effective to convince the audiences at hand.

Maitrīpa (986–1063) is one of the greatest and most influential Indian yogis of Vajrayāna Buddhism. The legacy of his thought and meditation instructions have had a profound impact on Buddhism in India and Tibet, and several important contemporary practice lineages continue to rely on his teachings. Early in his life, Maitrīpa gained renown as a monk and scholar, but it was only after he left his monastery and wandered throughout India as a yogi that he had a direct experience of nonconceptual realization. Once Maitrīpa awakened to this nondual nature of reality, he was able to harmonize the scholastic teachings of Buddhist philosophy with esoteric meditation instructions. This is reflected in his writings that are renowned for evoking a meditative state in those who have trained appropriately. He eventually became the teacher of many well-known accomplished masters, including Padampa Sangyé and the translator Marpa, who brought his teachings to Tibet. Drawing on Maitrīpa’s autobiographical writings and literary work, this book is the first comprehensive portrait of the life and teachings of this influential Buddhist master. Klaus-Dieter Mathes also offers the first complete English translation of his teachings on nonconceptual realization, which is the foundation of Mahāmudrā meditation.

The third volume in a historic six-volume series containing many of the first English translations of the classic mahamudra literature compiled by the Seventh Karmapa. Sounds of Innate Freedom: The Indian Texts of Mahamudra are historic volumes containing many of the first English translations of the classic mahamudra literature. The texts and songs in these volumes constitute the large compendium called The Indian Texts of the Mahamudra of Definitive Meaning, compiled by the Seventh Karmapa Chötra Gyatso (1456–1539). Translated, introduced, and annotated by Karl Brunnhölzl, acclaimed senior teacher at the Nalandabodhi community of Dzogchen Ponlop Rinpoche, the collection offers a brilliant window into the richness of the vast ocean of Indian mahamudra texts cherished in all Tibetan lineages, particularly in the Kagyu tradition, giving us a clear view of the sources of one of the world’s great contemplative traditions. This third volume contains twenty-four texts, the bulk of which are dohas by Saraha and commentaries on them, as well as works by other renowned Indian Buddhist mahasiddhas such as Naropa, Krsna, and Sakyasribhadra. The extensive commentaries brilliantly unravel enigmas and bring clarity to the songs they comment on as well as to many other songs of realization in the series. These expressive songs of the inexpressible offer readers a feast of profound and powerful pith instructions uttered by numerous male and female mahasiddhas, yogis, and dakinis, often in the context of ritual ganacakras and initially kept in their secret treasury. Displaying a vast range of themes, styles, and metaphors, they all point to the single true nature of the mind—mahamudra—in inspiring ways and from different angles, using a dazzling array of skillful means to penetrate the sole vital point of buddhahood being found nowhere but within our own mind. Reading and singing these songs of mystical wonder, bliss, and ecstatic freedom and contemplating their meaning will open doors to spiritual experience for us today just as it has for countless practitioners in the past.

This commentary on Guhyasamaja tantra is the seminal guide to deity yoga and tantric visualization for the Geluk school of Tibetan Buddhism. Ocean of Attainments was composed by Khedrup Jé Gelek Palsang (1385–1438), one of Tsongkhapa Losang Drakpa’s most prominent disciples. Its subject is the creation stage, a quintessential Buddhist tantric meditation that together with the completion stage comprises the path of unexcelled tantra. The Guhyasamaja Tantra, referred to as the “king of all tantras,” is revered in Tibet, especially by the Geluk school, for its hermeneutic methods, which are in turn applied to other tantras. In the creation stage, meditators visualize themselves as buddhas at the center of the celestial mandala, surrounded in all directions by male and female bodhisattvas and enlightened beings. Since the core of the practice is visualization, this meditation—perhaps more than other meditations—presumes the creative power of the mind. Visualizations form the basis not only of the creation stage and deity yoga but of all tantric practices and rituals, since tantric practice takes place not in mundane existence but in the illusion-like purity of the enlightened view. While the previously published Essence of the Ocean of Attainments is a concise exposition on the practice of the Guhyasamaja sadhana, Ocean of Attainments is much more detailed, providing extensive scriptural citations, clear explanation of the body mandala, arguments on points of contention, reference to other tantric systems, and critiques of misinterpretations. Complemented by the extensive and clear introduction, this volume is a vital contribution to the growing body of scholarship on Guhyasamaja and on Buddhist tantra in general.

Beginning with a brief account of Saraha's life from what little is known of it, the book surveys his major work, his trilogy of songs: the People, King and Queen Doha. The scarcity of indigenous Indian source material necessitates constant reference to the rich Tibetan tradition, in particular the nDzogs-chen/sNyingthig teaching.