1974 Seminary Hinayana-Mahayana
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Karma Dorgyal Tenzin Namgyal Rinpoche. Namgyal Rinpoche's dedication to the liberation of all that live, along with his interest in all dharmas or formations of the world was as tireless as it was vast. He was unique in his ability to bridge traditional Buddhism and Western paths of enlightenment, and to communicate Awakening in ordinary terms according to each individual's interests and capacities. His love of travel and over 40 years of teaching finally took a toll. Long-standing health problems caught up with him on October 22, when he passed away at one of his favourite places, a small private cottage on a lake in Switzerland.
She completed a B. A degree at the U. While there she published four books, three of which were of Rinpoche's discourses. In , she received ordination from the 16th Karmapa. Upon returning to Canada after a 3-year intensive retreat in the Costa Rican rain forest, she attended and taught at the Dharma Centre's Seminary and Academy.
کتاب های Chogyam Trungpa
At Rinpoche's request, she established Bodhi Publishing and continues to publish his dicourses. She has also organised and participated in several rafting trips and other types of explorations of discovery and growth. Karma Chime teaches at other centres and groups in Canada and abroad.
He was born in in Toronto and he started practicing meditation at the age of In the following year he began formally studying the Dharma and Buddhist meditation with his first teachers Ven. He spent the next ten years, between University studies and summer work, travelling, studying with Namgyal Rinpoche and being in meditation retreats.
He was instructed by Namgyal Rinpoche to begin teaching Abhidhamma in By Namgyal Rinpoche, in he was given novice ordination which he held for a number of years. He has also studied with many other outstanding teachers from Eastern traditions, including H. Chogye Trinchen Rinpoche in Lama Webber's background, training and interests are diverse.
Trungpa, himself an artist and poet, had from the outset given his sanction and provided generous accommodation for us to teach writing and poetics under the auspices of a contemplative school. A college founded on the principles of non-competitiveness and non-aggression was welcome ground for both seasoned old-dog poets and aspiring ones, a group consistently marginalized in society, who needed a haven for work and study. Thus we were committed to working outside the academic mainstream.
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- کتاب های Chogyam Trungpa.
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Would you prefer to go to a professor in religious studies to study dharma, or gravitate toward an authentic guru who was active in the practice him- or herself? A cautious mutual suspicion developed which at first seemed merely a question of language and style. The poets dressed funny, their talk was salty, hyperbolic, witty. The Trungpa Buddhists were dressing up in suits and ties, looked stiff and humorless and used insufferable, vapid buzzwords all the time.
They were perceived as clones. But they smoked dope, wore their hair long, and were solipsistic, self-involved, politically active. I remember how issues would arise over the effectiveness of demonstrating at the nearby Rocky Flats plutonium plant. The projections got stranger and stranger and led to further breaches of friendship and general mistrust all around. Is your ego supposed to be thoroughly maligned and insulted? Do teachers abuse their power? And Trungpa and other spiritual teachers, in spite of their profound teaching, were no exception.
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Some of the Eastern teachers were slow to comprehend that they were, as males, perpetuating an exploitative pattern, even in the name of compassion and egolessness. That they were repeating the same victimization and authoritative paradigms that exist in a predominantly patriarchal, consumeristic, theistic Western culture.
It was hard to stomach at times. One spoke out. One had to separate out the real psychological truths of the teachings, get beyond the habitual patterns of ignorant sexist conditioning.
Again, imagination was needed. I felt that a poetics school would be a good antidote to the conservative underpinnings of the Tibetan-style enlightened monarchy, and the American Protestant work ethic, which basically mistrusts art. Yet, I wondered, were there unalterable rules to being Buddhist just as there were unspoken rules about being an artist? Who cooked up the vows, anyway? How could an artist—and a female one at that—get into such matters deeply?
Were art and dharma really at odds? Where had the misconception intervened? I queried some friends on these matters of art versus dharma. One artist said he had originally had more of a conflict between the notion of dharma and Freudian theory than between dharma and poetry. Then he realized that the welldeveloped ego in the Freudian sense had the strength to recognize its insubstantiality, its egolessness in the Buddhist sense. Poet Diane di Prima spoke emphatically of her sense of the imagination in her poetry and her early relationship to the Zen teacher Suzuki Roshi.
This is what I do. When I first began sitting zazen I realized I was clearing my mind. By practicing deeply, the images start to flow.
My teacher never contradicted this. Meditation is a rest from the art work. Dogen has described zazen as falling asleep in the arms of your mother. You have to check that person out thoroughly, go with your gut feeling. There are some good teachers around. Milarepa, Hakuin Zenji, to name a few. No, but. I remember William Burroughs abandoning his typewriter but refusing to give up his pen and paper when he went on a meditative retreat of his own design, it must be said.
Yet syncretic Hindu-Buddhist-Balinese Bali is one of the most artistic and spiritually integrated cultures still extant on the face of the earth. Art is so integrated into everyday life, each gesture of dance and gamelan so refined that one is indeed inside it. There is no neurotic separation, no pious sentimentality separating the mundane and the sacred. Humans there make art to perpetuate the balance of the world and after working in rice paddies during the day become gods and goddesses psychologically as they perform at night.
The artists are not named or credited in the ritual performances.
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There is communal effort to these events. There is little aggression and violence in this culture. People are extremely dignified, open, generous. Both, both. And yet in this culture, when you sit you sit. When you make art you make art. When you write you write. Writers are involved in the practice of writing.