Kulayarāja Tantra

[1] The Kunjed Gyalpo is the main tantra of the early Great Perfection tradition during the "Era of Fragmentation" (9th–10th centuries) period.

In Tibetan (rendered phonetically) it is Chö Tamched Dzogpa Chenpo Changchub Kyi Sem Kunjed Gyalpo.

He further states: Thus the expression sarvadharma mahasandhi signifies that all existence is perfect, complete in all the aspects that we deem good or bad, of both transmigration in samsara and of the liberation of nirvana.

In fact, the term "perfect" denotes that everything is included in it, but this should not be understood in the sense that all defects and negativities have been eliminated and only the positive kept.

Thus all phenomena arise from the state of consciousness in the same way that reflections appear on the surface of a mirror: hence it is called Kunjed Gyalpo, "the all-creating king.

"[8] According to Norbu and Clemente, the text contains 84 chapters divided into three main sections, Longchenpa divided these into the sections shown below:[9] According to the Tibetologist David Germano, the Kunjed Gyalpo "is the main canonical work of the Great Perfection as it emerges from the "dark period" (850 to 1000 C. E.) into the light of the economic and religious transformations of the eleventh century.

While the dark period was marked by economic depression, political decentralization, and a paucity of historical records, it was thus also apparently the site of these non-institutionalized developments of early Vajrayana movements that resulted in the gradual articulation of a self-conscious Great Perfection movement in Tibet, as well as the more graphically tantric Mahayoga systems.

[16] Samantabhadra also states that "the characteristic of the self-originated pristine awareness is indestructibility...the three aspects of my nature are to be known as follows: (1) unborn, (2), without termination, and (3) the source for the wonder of ceaseless creation ... My own-being [svabhava, essence] is the sole reality.

"[23] Also, according to Norbu, even though the meditations of the lower vehicles remain at the dualistic level, "by means of these methods we can gradually attain the state beyond dualism.

"[26] According to Namkhai Norbu, these ten classic points of tantra are absent in Dzogchen because "they are ways of correcting or altering the true nature of the individual, but in reality there is nothing to change or to improve, all that is necessary is to discover the real condition and to remain relaxed in that state.

[28] Likewise, samaya (tantric commitments or vows) in Dzogchen does not refer to any particular rules one has to observe, rather it is "when, in daily life, one remains in the natural state, abiding in awareness and presence.

"[29] As noted by Sam van Schaik, in the Kunjed Gyalpo "one finds a rejection of the elaborate imagery and practices" of the Mahayoga (Anuttarayoga) tantras.

[30] Namkhai Norbu explains how Dzogchen, being its own vehicle, does not rely on the means of the path of transformation (i.e. tantra, Vajrayana): The fundamental point of the practice of Dzogchen, called tregchod or "release of tension," is to relax in the state of contemplation, while the way to remain in this state is called chogshag, "leaving as it is."

This refers to not adopting any specific posture (just relaxing), not to visualize a deity, recite mantras or practice breath exercises, and not to focus the mind on anything in particular.

[33] Longchenpa (Wylie: kLong chen rab 'byams pa, 1308–1364) wrote a commentary on this tantra entitled: The Jewel Ship: A Guide to the Meaning of the Supreme Ordering Principle in the Universe, the State of Pure and Total Presence (byang chub kyi sems kun byed rgyal po'i don khrid rin chen sgru bo).

The contemplation, conduct and fruit sections begin with relaxing in the seven point lotus posture, but are in fact in their entirety "technique-free" yet highly experiential scripts for working with one's own psyche.

As strategies for dealing with obstacles to one's meditative practice, kLong chen rab 'byams pa advocates traditional Buddhist techniques such as supplicating one's Master, trusting in pure vision, cultivating love and compassion, and training one's mind to be constantly aware of karmic consequences of one's actions as well as impermanence.

While other solutions are again more cognitive in nature, he offers specific advice for feelings of drowsiness and distraction towards objects—"stick to a cool room with a high seat, exert yourself and do physical exercises."

The beginning level of such practice involves the achievement of a calm, collected state of mind, which, however, is periodically interrupted by the movement of thought (sems gnas thog nas 'phro).

The intermediate level of familiarization with such contemplation is reached when one begins to gain the ability to find such calm amidst the movement of thought ('phro thog na gnas).

The advanced level is when calmness and thoughts manifest with-out any duality or fissure (gnas 'phro gnyis med du shar ba).

Kuntuzangpo (Samantabhadra), also known as the Kunjed Gyalpo
Tibetan Thanka depicting Samantabhadra and various Buddhas and deities, 19th century, Giumet Museum .