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Types of Spiritual Songs

Historic black-and-white portrait of Khenpo Shenga, a Tibetan Buddhist scholar and teacher, seated in traditional monastic robes. He faces the camera with a calm, serious expression. The aged photograph has visible creases, stains, and other signs of wear.

Generally speaking, there are many kinds of spiritual song.


There are songs of spontaneously arisen herukas, which gladden the heroes and ḍākinīs. There are the dohās of the siddhas, which directly reveal the wisdom of realisation. There are songs of calling the guru from afar, which stir the guru’s mindstream when devotion and compassion effortlessly arise.


There are yogins’ songs of experience, which freely express whatever arises once experience has truly taken hold. There are joyful songs of realisation, which emerge when the power of experience and realisation comes forth. There are songs of mastery over appearances, which arise when one knows no fear whatsoever.


There are songs of a mind at ease, carefree and open, born of practice carried through without regret. There are contrived songs in which intellectual understanding and experience become intermingled. There are songs of the equality of saṃsāra and nirvāṇa, which arise upon realising all things to be equal.


And there are many other kinds besides these.


Among them, yours is a fine yogin’s song of experience. I rejoice in it.


May virtue abound!


COLOPHON

None

BIBLIOGRAPHY


Gzhan phan chos kyi snang ba. 2004. mGur dbyangs kyi rnam grangs bstan pa. In gSung 'bum/ gzhan phan chos kyi snang ba. rDzong sar khams byeʼi slob gling, vol. 6, pp. 369–370. BDRC W1PD2074

Abstract

Khenpo Shenga offers a lively overview of the many forms a spiritual song can take, from songs of devotion and realisation to spontaneous expressions of meditative experience and much more besides. At its heart, the passage shows how such songs arise directly from the changing inner life of the practitioner.

LISTEN TO AUDIO

00:00 / 00:27

TRADITION

Nyingma

Sakya

HISTORICAL PERIOD

19th Century

20th Century

TRANSLATOR

Tib Shelf

STUDENTS

Dilgo Khyentse Tashi Peljor

Khenpo Ngawang Pelzang

Rinchen Dorje

thub bstan

The Ninth Gangkar Lama, Karma Shedrub Chokyi Sengge

chos grags, gser kha

ngag dbang mkhyen brtse nor bu

Ngawang Norbu

ye shes rgya mtsho

nor dbyangs

a paN chos dpal

chos 'phel kun dga'

thub bstan byang chub

zla gzhung

khri tsho rin chen

dam chos

ba thur mkhan chen thub dga'

gzhan phan legs grub

blo bzang bstan 'dzin

bstan pa rin chen

bstan 'dzin rgyal mtshan

pad+ma tshe ring

rnam rgyal dpal bzang

nyag rong gu ru

lug ru

cab ra mkhan chen

sgrub rgyud rin po che

Gyurme Wosel

'gyur med 'od gsal

Pema Tsewang Gyatso

Wozer Taye

Konchok Yeshe Wozer

pad+ma rnam rgyal

blo gros rgyal mtshan


tshe dbang rig 'dzin

'jigs med blo gros

Yonten Gonpo

Pema Vajra

rwa hor chos grags

Pema Tekchok Loden

nor bu bstan 'dzin

thub bstan chos 'phel

Tubten Nyendrak

Chime Yeshe

Kunzang Pelden

mu ra sprul sku 04 pad+ma nor bu

The Second Dzongsar Khyentse, Jamyang Khyentse Chokyi Lodro

bsod nams mgon po

khams gsum zil gnon dgyes pa rdo rje

tshul khrims bzang po

The Eleventh Tai Situ, Pema Wangchok Gyelpo

pad+ma tshe dbang

'jam dbyangs chos kyi rgyal mtshan

The Sixty-Fifth Ngor Khenchen, Dampa Rinpoche Ngawang Lodro Zhenpen Nyingpo

kun dga' bstan pa'i rgyal mtshan

chos kyi seng ge

dpal ldan chos kyi grags pa

pad+ma 'phrin las snying po

The Fourth Lingla, Tubten Trinle Gyatso

The First Dzogchen Kongtrul, Konchok Tenpai Gyeltsen

The Fifth Zimwok, Jampa Kunga Tenzin

Druk Khenpo Ngawang Yonten Gyatso

Chokyi Wozer


The Third Dezhung, Kunga Tenpai Nyima

Jigme Tsewang Dudul

The First Dzigar Kongtrul, Lodro Rabpel

Jamyang Khyentse Chokyi Wangchuk

Ngawang Nyima

Ga Lama Gendun Zangpo

Drayab Tubten Zangpo

AUTHOR

Khenpo Shenga

Types of Spiritual Songs

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