Dedicated to the 25 Years of Golden Reign of His Majesty Jig1ne Singye Wangchuck

The Fourth Druk Gyalpo

Accession 1972

Coronation 1974

for Peace, Progress and Prosperity in the Kingdom

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NLB 0001

All rights reserved.

Apart from any brief review of this book by any private person or organization, no part of this work may be reproduced, photocopied, translated or transmitted in any form or by any means, without prior written permission from the publisher.

Published by :-National Library of Bhutan, Thimphu. Printed by :- Druk Sherig Press, Thimphu. Funded by :- UNESCO and the Royal Government of Bhutan

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ACKNOWLEDGEMENT

Following persons who have exte1;1ded freely their views and comments whenever required, and also have put much effort in bringing this book into the hands of present and future gzungs-practitioners. Without their help and contributions, the book would not have assumed its present form. 1. Supervision and Direction:

H.E. Lyonpo Dago Tshering, Home Minister and Chairman of the Special Commission for Cultural Affairs.

2. Consultants and Advisors: 1. Yangpe Lopen Kunley, Zhung Dratshang. 2. Lam Pemala, Bumthang Nyimalung Gonpa. 3. Lama Kunzang Wangdi, Bartsham. 4. Sangay Wangchuck, Secretary, Special Commission.

3. Drawings, Illustrations and Paintings: 1. Lopen Ugyen Lhundrup, Chang Zamtok. page 37,39,40. 2. Lama Kunzang Wangdi, Bartsham, page22,85,86. 3. Ugyen Wangchuk, Chensum Drawing Studio, Thimphu. page

23,30,31,32,33,36,49,57,78,81,87,90. 4. Sangay Wangchuck, Secretary, Special Commission. page 58. 5. Tshampa Tashi Tenzin, Motithang, Thimphu. Painted all

illustrations.

4. Computerization: 1. Kunzang Dorje, National Library. 2. Namgyal Rinchen, National Library 3. Ugyen Tenzin, National Library. 4. Daza, National Library.

5. Zung Ngag verified by: 1. Yangpe Lopen Kunley, Zhung Dratshang

6. Research and Text: Khenpo Phuntsok Tashi.

7. Cover Design: 1. Sangay Wangchuk, Secretary, Special Commission. 2. Perna Dorji, Finance Ministry.

IX

INTRODUCTION Obeisance to the Buddha

Who embodies all qualities And accomplishments

It may be appropriate, to start with a citation from the Lalitavistara-siitra: 1 in connection with the composition of a work about the way gzungs--charms and spells--are inserted into the sacred images.

"With the maturation of merits accumulated, All sufferings will easily be removed; An accomplished and meritorious person may thereby Fulfill all his wishes spontaneously!"

So, all the happiness and suffering we experience in this life are lmown to spring from the accumulation of past activities; in other words they are the fruit of the good or bad actions of our former existences.

It is said in the Siitriilaipkara: 2

"The decisive cause of being free of disease, Being endowed with proper contemplation and Proper discrimination in this very life Derive exclusively from the nature of previous actions

in former lives." For instance, it is well-lmown that some people are capable of

accomplishing their wishes and fulfilling their dreams merely by making an effort. Others, although they incessantly and tirelessly attempt to pursue their dreams and hopes, and constantly make the best of efforts, equivalent to even the size of a mountain, always fail in their task. This is very much due to low merit from previous lives.

In particular, the ultimate goal of all Buddhists is to attain the Dharmakaya Body for the sake of oneself and the Nirmagakaya Body two bodies, one must accumulate both heaps of merit and of wisdom during three full incalculable eons.

Only thereafter will one attain the fruits of these bodies. Acarya Nagarjuna has said:

1 Printed from woodblocks of Punakha Sonam Gatshal, 'mOo sOe kha-pa.

2 Acharya Asanga's text, mOo sDe rGyan.

X

"Only after having accomplished the two heaps Of merit and wisdom, can one attain these two bodies .. "3

In what way can one accumulate merit? Firstly, one can actually act meritoriously by just giving a piece of food with a generous mind. Ultimately one may accumulate the greatest merit by realizing instantaneously perfect wisdom. Secondly, one can accumulate merit simply by writing just one syllable of the sacred word of the Buddha or by drawing an image of the Buddha merely the size of a mustard-seed. One can even accumulate merit simply by making an image of Buddha the size of a barley-corn. The merit of these activities is in fact measureless, like the dust-particles of the world. However, among the many ways of accumulating merit, the most exalted and superb way is to make an image and thereafter insert sacred charms and spells into it. As it is said in the rMad du byung ba zbes bya ba 'i cbos kyi rnam grangs kyi mdd: "Making a stupa the size of an olive, placing the central pole inside the size of a needle, and putting up the canopy the size of a juniper leaf, making an image the size of a barley-com and inserting into it relics the size of a mustard-seed: This is the greatest merit one can accumulate."

Even by collecting materials for the making of images and the merit equals the merit accumulated by a yogin who has reached the first stage of direct realization. As it has been said by sTag-gsham Nus-ldan rdo-rje in his Bla ma dgongs 'du~:

"Having generated altruism for the benefit of others, Then collecting materials for images would equal The attainment of the First Stage of a Bodhisattva, And equal attaining one thousand qualities of Merit. When mixing the ingredients for making image, The merit equals the second stage of a Bodhisattva, And it is tantamount to attaining eighty thousand qualities."

According to the text called Zungbuel Gangai Gyuenzang the best gzungs-practitioner is a fully ordained monk who follows the 2536 monastic rules. The second best practitioner is the monk novice who

3 dBuma rinchen phreng-wa

4 Reproduced Tshalpar Kanjur mDo-sDe Sapa, folio 195b. 5 Printed at Delhi in dBu-Med script volume Napa, folio 20a.

6 Vinaya sutra

XI

follows the 36 monastic rules, and finally, the lay priest who has taken the vow of a tantric practitioner. They all, however, must abstain from partaking of meat and any spicy food such as garlic, onion, alcohol, or radish. Finally, the procedure for inserting gzungsspells and charms must also be founded upon the practical experience of age-old tradition.

And then, what kind of relics should be inserted into the images7?

I. Relics of the Dharmakaya. These include terra-cotta and sacred stupa images

II. Relics of the Sacred Word (dharma) these include holy books such as the Five Great Formulae. Only the Five Great Formulae can be inserted adhering to the procedure from top to bottom inside an image.

III. Relics of the bodily remains of an enlightened Saint. These include the bones and physical remains of a Bodhisattva.

IV. Relics of the garment and other personal possessions of the holy person.

V. Relics can be the size of a mustard-seed. These include relics coming from any Bodhisattva

or Buddha of former and present existences.

When making an image, gzungs-charms and spells must be written on the surface of the central pole which is placed inside the image. Reason of inserting the five kinds of relics must be inserted inside an image can be compared to installing consciousness inside a human being. If the images are kept without relics and gzungs-charms, such images may easily tum into residences of harmful forces. It must be recalled that even one single syllable from the Sacred Word of Buddhax or small relics merely the size of a mustard-seed embody the miraculous manifestation and real blessings of the Buddha. If the practitioner is genuinely devoted and has a real perception of Buddha before he inserts relics and charm.s into the image, then there is no additional need for a consecration. It is said that if you offer prayers to such a sacred image, you will be able to fulfill all your wishes spontaneously. According to the great masterAtisa9:

7 Jamgon Lodroe Thaye's Zungbuel Laglen reproduced in 1977at Delhi, volume napa dBu-can, folio 6b.

8 Jamgon Lodroe Thaye's Zungbuel Laglen reproduced in 1977 at Delhi, volume napa folio 26a.

9 Introduction to the Chorten Karchag Norb.u Bedu-raya Doshal by Dungse Thrinley Norbu.

xii

"Images, Books, Stupas and so on, Are all the Miraculous Manifestations and Blessings of the Buddha, They are indispensable. Realizing this and being genuinely devoted Then there is no need for a consecration of the image."

Inserting sacred charms into extremely large immovable images is to be done in accordance with the procedure of the artist and the clay-makers. The suppression of harmful spirits should be done underneath the lion throne, at the very base, conducted by a highly enlightened lama. Over the place at the bottom of the lion throne where the evil spirits now have been suppressed, weapons, such as arrows, bows, guns, spears, wheels, swords, hammers, axes, knives and so on are to be inserted in order to prevent the advent of an eon of war. Above that again, the vases of subterranean spirits are placed, which shall prevent these creatures living in the underworld from causing harm. Wish-granting vases should also be put into the lion throne, inserted there in order to bring about the blessing and prosperity of the soil and in order to ensure good harvest. Above that again, inside the lion throne, bags of grain and corn should be kept in order to prevent an Eon of Famine. Precious objects, such as gold, silver, copper and even iron (but excluding brass, bell-metal and lead) and auspicious foodstuff such as fruit and so on (but excluding defiled nourishment such as meat and spices, garlic, onion, pepper and so on) should also be inserted. Bags of medicine should likewise be kept there in order to prevent the outbreak of diseases. These bags must be stitched together properly before being inserted. As a sign of auspiciousness and good luck, a pot made of precious materials, such as white alloy-metal filled with pure butter, preferably from a red cow, is placed in the middle in order to ensure an unending flow of food and drink in the future.

Thereafter an image or drawing of Ganapati, having one face and twelve arms, and with two legs protruding, should be put on top of this. Above this again, the mal)~iala of the Gods and Goddesses of Wealth should be placed. This completes the preparation of the gzungs throne, whereafter the throne is covered in a proper way by making a concrete foundation. Then the lotus is placed on this gzungs base accompanied by the prayers expressing auspiciousness, as well as dedication prayers and wish-granting prayers. Then a central pole should be erected, standing straight up fiom the cross-legged posture of the image and upwards.

In the next step, the sl7tras and the kriya tantra scriptures are to be inserted into the cross-legged seat of the image.

From the Navel to the Heart of the image the scriptures according to the different deities are to be inserted, for instance the Six-syllable

XIII

formula for A valokitesvara, and the sacred formula dedicated to Guru Padmasambhava and so on.

Inside the Throat of the image, scriptures representing the carya-tantra, yoga,..fantra and anuttara-tantra, the three, are to be inserted, including the sixteen vowels and the thirty-six consonants of the Deva Nagari, inserted there in order to gain the sixty qualities of the Speech of Buddha.

Inside the Head the names of the lineage holders and the relics the size of a mustard-seed must be inserted.

Inside the Crown the five kinds of Hair-lmot Formulas (gtsug tor sde Jnga gzungs) must be inserted.

While the gzungs-practitioner is inserting the charms and spells, he should recite the verses of auspiciousness and prosperity.

In general, the consecration of charms and spells is to be conducted before their installation into the image in accordance with the prescribed rules. When the image is completed, the final consecration also follows. If this is done in a proper and correct way, the merit derived from this act is beneficial not only for this life, but also throughout the coming existences, as has been said in the mDo-sde snying-1je pad dkaJ; the Byan chub se1ns dpa'i sde snod, and the dKon mcbog gi sprin.

As explanied above, the zung tradition basing on the zung texts is practised by Zunglops, Lamas and Rinpoches only. However, this hand book is a manual discussing on zung consecration, insertion of spell and charms to the image and its benifits. The manual of ~uch nature with illustration in accordance to the different stages of zung insertion with zung mantras and four tantaras (zungchen-de-ngas and Gyuedey zhi Ngas). is of first attempt ever broughtout. Therefore, positive comments and suggestions from the readers and practitioners are always welcome for inclusion in the next edition. While compilling this text, Kanjure and its commentaries by many zung practioners are taken as a main source and explained in every foot note.

In writing this book, I was constantly encouraged by H. E. Lyonpo Dago Tshering, the Home Minister and Chairman of the Special Commission for Cultural Affairs. Only because of this support was I able to compose the book, written for the benefit of the gzungs-practitioners all over the world, but also in the hope that the publication of this illustrated book may contribute in keeping this important and unique Buddhist tradition alive.

XIV

Khenpo Phuntshok Tashi National Library

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