Three songs by Lelung Zhepe Dorje combining affectionate humour, the unconventional spirituality of the mad yogin and playful reflections on the meaning of his name.

A concise secret sādhana of Zhepe Dorje centred on self-visualisation, forceful yogic practice, and the recognition of all appearances as the display of mind.

Composed in 1718 amid violent political and religious upheaval in Tibet, this deeply personal song captures the young Lelung Zhepe Dorje’s disenchantment with worldly life, devotion, longing for hidden lands, and urgent yearning for freedom.

A playful song mocking the “great meditator” whose liberation is already “right under your nose,” yet remains obscured by distraction, worldly concerns and habit.

A song remembered from a dream in which Marpa Lotsāwa and other gurus discuss the Dharma, pointing to the innate state beyond conceptual thought.

A brief and vivid account of the different kinds of spiritual songs and the experiences from which they arise.

This song points to the paradox that mind cannot find its own nature by searching for it, since seeker and sought are not separate.

A short Dzogchen song of realization by Śākya Śrī, in which the master points to the natural liberation of all experience within the expanse of dharmatā.

A spontaneous karmamudra song by the yogin Śākya Śrī, uniting longing for his consort Namkha Dronma with direct recognition of rigpa.

Song of the Dharma Dance draws on the imagery of Tibetan ritual cham dance to guide an assembly of vajra siblings through successive Dzogchen contemplative instructions toward the recognition of great awareness-emptiness.

A mgur of direct “pointing out” in which Sera Khandro dismantles every support of the path, revealing the already-complete unity of emptiness and luminosity.

These five aphoristic couplets by Nyagla Pema Dundul use vivid images of natural impossibility to show that pride, confusion, and distraction obstruct liberation, emphasising that knowledge must be integrated into lived experience.