Dza patrul rinpoche biography of martin
Brief Biography of Patrul Rinpoche
Brief Biography of Patrul Rinpoche
1887)
by Alak Zenkar Rinpoche
Dza Palge Tulku or Dzogchen Patrul Rinpoche was born in the Earth Dragon year of
the fourteenth calendrical cycle in Getse Dzachukha, in the nomadic area of
northern Kham, to a family with the name of Gyaltok. He was recognized by
Dodrupchen Jigme Trinle Özer as the incarnation of Palge Samten Phuntsok and was
given the name Orgyen Jigme Chökyi Wangpo.
At an early age, he learned to read and write without any difficulty. He took
ordination with Khen Sherab Zangpo. With Dola Jigme Kalzang, Jigme Ngotsar,
Gyalse Shenpen Thaye and other teachers, he studied the Trilogy of Finding Comfort
and Ease, The Way of the Bodhisattva, Secret Essence Tantra and many other works
related to sūtra and tantra, as well as the ordinary sciences. From Shechen Öntrul
Thutob Namgyal, he received the reading transmission for the Translated Word of the
Buddha (Kangyur) and teachings on Sanskrit grammar. He received the transmissions
for the Kangyur and Tengyur in their entirety, together with the excellent writings
of the omniscient father and son1 of the Nyingma tradition, as well as the works of
Sakya Paṇḍita, Lord Tsongkhapa, and many other great masters of the old and new
translation schools, and by studying and reflecting on them with diligence and
persistence and without any sectarian bias, he attained a perfect level of scholarship.
Not only did he receive instruction on the Longchen Nyingtik preliminaries some The Byang-Gter and Other Phur-Pa Traditions - Reflections On Martin J. Boord Franz Xaver Erhard Life Writing, 2020 Writing). 1 Both events addressed issues of literary theory and cross-cultural influences, as well as questions of identity construction, power relationships, and gender conceptions as they emerge from the analysis of indigenous forms of biographical writing. As literary theorists know well, any definition of life writing-as a practice, theory, and genre-is tentative at best, as the term eludes clear taxonomic classification, encompassing a wide range of textual products about lives or part of lives. This is even truer in the case of Tibet, where the Western concept of literature-broadly conceived as an ensemble of written materials of various content and/or form-struggles to find a proper equivalent in the indigenous language. The remarks made so far should not lead to the hasty assumption that the absence of a 'pure' Tibetan concept of literature would de facto preclude any attempt to formulate an effective taxonomy of literary genres. Although the words used in the Tibetan language to indicate a classification-such as rik (rigs, 'type'), de (sde, 'class') or nampa (rnam pa, 'form')-are not systematically used in reference to an abstract notion of a literary category, it is nevertheless evident that some of the issues related to genre theory were not unknown to Tibetan scholars of the past. 2 Indian typologies, developed in the context of Buddhist doctrine, were in fact adopted-and adapted-by indigenous scholars in their efforts to translate and organise the dharma; throughout the centuries, other native forms of categorisation emerged, addressing literature as a whole, beyond the confines of Buddhist tenets and scholarship (see . By merely glancing at their vast literary corpus, Tibetans appear to .
twenty-five times from Jigme Gyalwe Nyugu, he completed the required practices
the same number of times. 2 In addition, he received instruction on tsa-lung practice
and Dzogchen, and studied many of the cycles of practice found in the canonical
scriptures (kama) of the Nyingma school. Do Khyentse Yeshe Dorje introduced him
directly to the pure awareness of rigpa while exhibiting wild and eccentric
behaviour. He trained for a long time in the Longchen Nyingtik tsa-lung practices,
and he received immense Copyright:
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