04.11.

2016 The Chimé Phakmé Nyingtik Torma

 
THE CHIMÉ PHAKMÉ NYINGTIK TORMA
Lerab Ling, 21 July 2015

Towards the end of the annual Chimé Phakmé Nyingtik drupchen in Lerab Ling in 2015, Rinpoche
explained a meditation that is speciퟌ�c to this practice. Over the years, he said, he had given all the

instructions necessary for us to practise the Chimé Phakmé Nyingtik, except one very important one:
the torma meditation.

There’s a part of the Chimé Phakmé Nyingtik that I haven’t yet

explained, and as it’s one of the most important. I’ll explain it
today, then tomorrow you can practise it. It’s best I talk about it
now because I won’t be coming here next year and don’t know

when I’ll be back.

Generally speaking, sadhana practices involve three

visualizations: self-visualization, front-visualization and vase-
visualization. Practices in the Nyingma terma tradition were
written with practitioners of the highest capacity in mind, which
is why front- and self-visualization are practised together and

only one mandala is visualized. The vase-visualization was also

written for the most capable practitioners, and that’s why the
Click to enlarge
entire mandala of Chimé Phakmé Nyingtik is instantly visualized
inside the vase. Less capable practitioners who are not at that level, should follow a text that
leads them step-by-step through the self-visualization of the deity, followed by the front-

visualization of the deity, and then the vase-visualization. But as Guru Rinpoche’s termas were
intended for the best kind of practitioner, we meditate on the self-visualization and front-
visualization together. And having done so, with the recitation of a mantra, the front- and self-
visualizations separate like one candle lighting another and in an instant two mandalas are
visualized. If you practise essentially, the vase-visualization should also appear instantly. This
is true for all such practices.

A unique characteristic of the Chimé Phakmé Nyingtik is that the entire mandala is also
visualized in the torma. Most Tibetan lamas don't know about this, but the Drupchen Manual[1]
says,

If you have the ‘essence of immortality’, which is the torma support for this practice, you should
add the deity generation practice called the Heart Essence of Complete Immortality in order to
visualize the torma as the deities. This is how the ‘venerable master’ used to practise...

The Heart Essence of Complete Immortality is a terma that was revealed by Chokgyur Lingpa, and
when Jamyang Khyentse Wangpo (the ‘venerable master’) practised the Chimé Phakmé
Nyingtik, he would add the generation of the deity from the Heart of Essence of Complete
Immortality[2] to the practice. This approach is a special feature of this teaching.

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What it means is that, at this point, we must meditate on the deities in the torma. So how do

we do it?

We recite the lines:

HUNG HRIH

Spontaneously, out of basic space, arises the great stupa of immortality...

These verses tell us how to meditate on the entire mandala of deities in the torma. Right now, I
don’t think anyone here is meditating on the torma as the entire mandala, apart perhaps from
Chokling Rinpoche (http://www.rigpawiki.org/index.php?title=Neten_Chokling_Rinpoche) and
the monks.

Anyway, “Out of basic space...”: here, ‘basic space’ means the great simplicity free from
elaboration, and the great stupa of immortality arises naturally from this space to bene뼛t
sentient beings. It’s like the stupa of Ushnisha Vijaya.

So vast it pervades the dharmadhatu, the expanse of space...

This stupa is so vast that like space, it 뼛lls the dharmadhatu and that’s how you should
meditate on it. It’s also like the palaces we describe when we practise the Narak Kong Shak
(http://www.rigpawiki.org/index.php?title=Narak_Kong_Shak), “without inside and outside”.
This is the ‘expanse’, which is as vast as the dharmadhatu itself...

In which stands the torma, made of the spontaneously present 뼛ve essences
(http://www.rigpawiki.org/index.php?title=Five_essences).

The 뼛ve essences are spontaneously present and therefore not made or produced by anyone.

Now for the shape of the torma.

On the 뼛rm base – where the 뼛ve mothers appear as 뼛ve steps...

The 뼛ve mothers (http://www.rigpawiki.org/index.php?title=Five_mothers) are the 뼛ve

elements: space, wind, 뼛re, water and earth. They are represented on the torma by 뼛ve circular
steps. The 뼛rst step is blue, which is space. The next step is green, which appears in your
visualization as a crossed vajra and represents the wind element. The wind element (the green
step) stands on and is supported by the empty expanse of space (the blue step). Above the
crossed vajra in your visualization is a red triangle, the mandala of 뼛re, which appears as the
red step on the torma. The next step is white, representing the white water mandala, and it

appears in your visualization as a white disc. Above that is the yellow step, the earth mandala,
which appears in your visualization as a yellow square. All these elements, the 뼛ve mothers,
form the ‘뼛rm base’ which can only be altered by the kind of 뼛re that blazes at the end of a
kalpa.

Above these 뼛ve circular steps are four square steps. The top of each square is divided into four
triangles, which mark the four directions with four colours. Each colour represents the
accomplishment of one of the enlightened activities of pacifying, enriching, magnetising or
subjugating. In your visualization, gods and goddesses stand on these steps emanating the 뼛ve
kinds of sensory stimulant (http://www.rigpawiki.org/index.php?
title=Five_o󿡋erings_of_the_뼛ve_kinds_of_sensory_stimulant).

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On the 뼛rm base – where the 뼛ve mothers appear as 뼛ve steps –
Are self-arising tiklés containing the sixteen awareness-consorts
Who emanate o󿡋ering clouds of abundant sensual delights.

The text about how to make this torma[3] explains that eighty norbus – called ‘tikle’ – are
placed on the circular steps to represent the eighty minor marks
(http://www.rigpawiki.org/index.php?title=Eighty_minor_marks_of_a_buddha), and that the
square steps are ornamented with thirty-two norbus to represent the thirty-two major marks
(http://www.rigpawiki.org/index.php?title=Thirty-two_major_marks_of_a_buddha). Each of
these spherical norbus contains hundreds of thousands of o󿡋ering goddesses ( the ‘sixteen
awareness-consorts (http://www.rigpawiki.org/index.php?title=Sixteen_o󿡋ering_goddesses)’
described in the Nyingtik[4]). Four goddesses appear on each step, one in each of the four
directions, emanating cloud-like o󿡋erings of all the sensory stimulants.

Above the square steps:

The lotus possessing billions of petals...

The anthers appear in yellow on the torma, above the lotus petals.

Bears hundreds of thousands of tilkés containing cities of immortals

And vidyadharas with power over life.

The tiklés contain hundreds of thousands of cities of immortals 뼛lled with deities, goddesses
and vidyadharas. Each city doesn’t contain just a few immortal vidyadharas, but millions and
millions, all of whom have attained power over life (http://www.rigpawiki.org/index.php?
title=Vidyadhara_with_power_over_life), just like Guru Rinpoche and Vimalamitra. This is
what you should meditate on.

The natural radiance of the 뼛ve families appears as the excellent mansion of complete
victory,

Beautifully adorned with the 뼛ve precious ornaments.

Above the tiklés is the excellent mansion of complete victory, the nature of which is the 뼛ve
Buddha families (http://www.rigpawiki.org/index.php?title=Five_buddha_families). It is
adorned with many precious ornaments, represented on the torma by tiklés, swastikas
(http://www.rigpawiki.org/index.php?title=Swastika) and coils of joy
(http://www.rigpawiki.org/index.php?title=Coil_of_joy).

Here reside the attending four swift goddesses of longevity,

Various deities reside in this mansion, starting with the 'four swift goddesses of longevity' at
the four doors.

And the goddess of power, Chandali the destroyer.

Inside is the magnetizing deity Chandali, the destroyer, known as ‘Mother of Life, Chandali’,
who completely destroys all obstacles to life. She holds a long-life arrow in her right hand and
an ‘excellent vase’ in her left. She is inside the mansion, and so she should be visualized inside
the mansion.

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Actualize all this in your practice.

Above the mansion:

The excellent vase of dharmakaya that ful뼛lls all needs,

Is rich with blazing, everlasting dagams[5],
Adorned with tiklés and the 뼛ve insignia (http://www.rigpawiki.org/index.php?
title=Five_hand_implements) swathed with nets.
From a wish-granting tree’s foliage and blooming utpala 䡹�owers
Rain down the excellent fruit of the desired accomplishments.

What is the signi뼛cance? The vase gives us all the blessings and accomplishments, everything
we need, and sensual stimulants fall like rain.

Above the vase:

In the adorned eight-faceted wish-ful뼛lling jewel,

The dagams with an opening to the sky, are Hayagriva and consort Varahi;
The crowning sun and moon ornaments blaze with wisdom 뼛re.

The ‘dagams’ are the eight segments that make up the eight-faceted jewel, and at the top of
this jewel is a hole that opens into the sky. The deities you visualize inside the jewel are
Hayagriva and Vajravarahi.

And then above that:

On the precious knot of eternity, the radiant net,

Abide the sixteen peaceful and wrathful lords and ladies of longevity.

The ‘the precious knot of eternity (http://www.rigpawiki.org/index.php?

title=Eight_auspicious_symbols), the radiant net’ is inside the eight-faceted jewel, with
sixteen peaceful and wrathful ‘lords of life’ in union. The sixteen are: the 뼛ve buddhas
(http://www.rigpawiki.org/index.php?title=Buddhas_of_the_뼛ve_families) in union with the
뼛ve female buddhas (http://www.rigpawiki.org/index.php?title=Five_female_buddhas); the

뼛ve wrathful ones in union with the 뼛ve wrathful female buddhas
(http://www.rigpawiki.org/index.php?
title=Five_wrathful_herukas_and_their_뼛ve_consorts); and also the six munis
(http://www.rigpawiki.org/index.php?title=Six_Munis). Above them is a locket made from the
semi-spherical sun and moon. And above that is a crossed vajra.

Top and bottom clasped by the crossed vajra, bound by the chain of syllables,
The locket unites skilful means and wisdom. In its expanse
Is the invincible, indestructible blazing vajra of the ten strengths.

The upper part of the locket is the moon, which represents skilful means; and the lower part is
wisdom, represented by the sun. Together they represent the union of skilful means and
wisdom. Half of the ‘indestructible blazing vajra’ is inside the locket and half we can see is
outside the locket, above the semi-spherical moon. The qualities of ‘vajra’ include invincibility
and indestructibility; and ‘vajra’ has the ten strengths.

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In the upper prongs are Oddiyana Amitayus

With consort Mandarava and a retinue of vidyadharas.

The deities are inside the upper prongs of the vajra.

In the lower prongs, the sovereign of longevity, Ushnisha Vijaya.

In the hub, in tiklés of the 뼛ve essences,
Are the 뼛ve kings and 뼛ve queens of immortality
Manifesting in kayas arising naturally and primordially from basic space.

In the middle of the vajra (in the hub) visualize 뼛ve spheres of light in 뼛ve di󿡋erent colours;
these are the 뼛ve essences (http://www.rigpawiki.org/index.php?title=Five_essences). Inside
the tiklés visualize male and female buddhas of the 뼛ve families, who arise naturally and
primordially, from basic space.

In the space around the torma, inside the large and small tiklés,
Lamas, yidams, buddhas, bodhisattvas,
Dakas, dakinis, dharma protectors and swift goddesses,
All emanate rays of light and regather it.

Any empty space left in and around the torma is 뼛lled, from bottom to top, with large and
small tiklés containing deities.

Appear like dust motes in rays of sunlight, in a complete mandala that pervades space.

These tiklés are like motes of dust in shafts of light and pervade the whole of space – they are
everywhere. The deities “all emanate rays of light and regather it” which is what deities do.

In a great mandala of these sixty thousand buddhas.

The text says there are 60,000 buddhas in the torma, but the number of deities isn’t limited to
just 60,000. Actually, there are billions and billions of buddhas, of wisdom ‘kayas’, in this
mandala – an inconceivable number:

In hundreds of thousands, millions, billions and so on

Of inconceivable buddha뼛elds, appear kayas, wisdoms,
Qualities and activities, limitless, beyond measure.

The samayasattvas and jñanasattvas are primordially inseparable.

The samayasattvas, jñanasattvas and deities inside the torma are primordially inseparable –
they are the same.

A perfect ornament of Samantabhadra’s cloud-like o󿡋erings.

There are four ways of relating to the torma, including the torma as the deity or mandala, and
the torma as clouds of o󿡋erings[6], and so on. Here, as described in the text, you consider this
torma to be like a cloud of o󿡋erings, and also the deities and so on.

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Having done the self-, front- and vase visualizations, you do the torma visualization. The
addition of the torma visualization is a special feature of this practice. At this point actualize
the visualization, recite the text and repeat the mantra. The explanation of this torma is more
than 뼛fteen pages long[7] and includes a line drawing of the torma that details its proportions
and is set out just like a diagram of a stupa. There are also instructions about how to 뼛ll this
special torma with rolls of mantras (zung) for each of the deities we’ve mentioned.

On top of the torma is a green horse’s head, Hayagriva, to eliminate all obstacles. Above the
horse’s head is the lamp of wisdom in the form of a sun and moon. The 䡹�ame of wisdom blazes
from the lamp of wisdom to dispel the darkness of ignorance. There’s a vertical white line on
the horse’s forehead; and the middle of its forelock should be red.

This torma is the main practice support for the Chime Phakmé Nyingtik and is placed on the
shrine. The visualization of the deities is accompanied by the usual emanation and regathering

of rays of light.

On the last day of the drupchen, we receive siddhis from the supports of the enlightened body,

speech, mind, qualities and activities, and the last we receive are from this torma.

If I didn’t tell you this, you wouldn’t know, right? I didn't know any of it either, until someone

told me. In 1980, Dilgo Khyentse Rinpoche did a six-month Chimé Phakmé Nyingtik retreat at
Phuntsok Ling (https://en.wikipedia.org/wiki/Phuntsholing) in Bhutan and asked me to make a

Chimé Phakmé Nyingtik torma. I already knew how to make tormas and I also knew that to
make a speci뼛c torma all you do is copy an example. But on that occasion, he told me which

deities relate to the di󿡋erent parts of the torma. That’s when I received this meditation
instruction from him.

The best kyerim practitioners can probably visualize one thousand buddhas in each grain of
wheat used to make the torma – at least, that’s what people say. But let’s be clear about this:

for myself, I really I don’t know. All we can do is try our best to bring these details to mind –
‘meditating’ on them might be a bit diঞ�cult, but we can at least think about this visualization.

We may not be able to actualize “Hundreds of thousands, millions, billions and so on,” of
deities, but we can evoke a sense of them. When Dilgo Khyentse Rinpoche gave me the

instruction on torma, I asked, “Can we really meditate like that?”

“Yes, of course!” he replied.

So that’s that. I’ve explained the Chimé Phakmé Nyingtik torma, you’ve all seen it, and you’ve
recited this part of the text.

[1] The drupchen manual for the Chimé Phakmé Nyingtik was written by Jamyang Khyentse

Chokyi Lodro.
Jamyang Khyentse Chokyi Lodro. “Treasure Trove of Wisdom, the Framework Liturgy for the

Great Accomplishment Ritual of the Mind Treasure of the ‘Heart Essence of Deathless Arya
Tara’.” Translated by Steve Cline and Sonam Phuntso. Steve Cline, 2008.

Jamyang Khyentse Chokyi Lodro. “dgongs gter ‘chi med ‘phags ma’i snying thig gi sgrub khog
ye shes gter mdzod.” In “jam dbyangs chos kyi blo gros ris med bstan pa'i rgyal mtshan dpal

bzang po’i gsung ’bum", Computer Input, 5:451–511. Bir, H.P., India: Khyentse Labrang, 2012.

[2] Chokgyur Lingpa. The Collected Discovered Teachings (gter Ma) of Gter Chen Mchog Gyur Gling Pa /

Gter Chen Mchog Gyur Bde Chen Gling Pa’i Zab Gter Chos Skor. Gnas-brtan dgon-pa. 39 vols. Paro:
Lama Pema Tashi, 1982, vol. 31, p.377-379.

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[3] Karma Rinchen Dargyé. “yongs rdzogs ‘chi med snying thig dang ‘phags ma’i snying tig gi

gtor ma’i pra khrid ’chi med ‘dod pa “jo ba”i dga’ ston ldeb.” In The Treasury of Revelations and
Teachings of gter chen mchog “gyur bde chen gling pa, 31 (ki):385–403. Bir: Lama Pema Tashi, 1985.

[4] Rinpoche is probably referring to the Lute of the Gandharvas

(http://www.rigpawiki.org/index.php?title=The_Lute_of_the_Gandharvas), an o󿡋ering prayer from

the Longchen Nyingtik cycle that features each of the sixteen o󿡋ering goddesses in some detail.

[5] Dagams here refers to the half-spheres that 뼛ll the vase.

[6] See Shechen Gyaltsap IV, and Kunkyen Tenpe Nyima. Vajra Wisdom: Deity Practice in Tibetan

Buddhism. Translated by Dharmachakra Translation Committee. Boston: Snow Lion, 2013, p.18:
The Key of the Crucial Instructions of the Eight Sadhana teaches:

In terms of practice, torma can be understood in four di󿡋erent ways:

The great balimta torma can be understood

As o󿡋ering, as the deity, as armies, and as magical weapons.

[7] See note 1.

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