Semde
[2] Semde texts are mostly said to be translations by figures of the early transmission (7th–9th centuries) of Buddhism to Tibet like Śrī Siṅgha, Vairotsana and Vimalamitra.
[4] Semde texts critique tantric practice as being based on effort, and instead promote simple and effortless contemplation of the mind and its emptiness, luminosity, purity and inherent gnosis.
[11] Scholars like Samten Karmay and Karen Liljenberg have also argued that other traditions like tantric Shaivism and Chan Buddhism may have had some influence on this early Dzogchen literature.
"[16] According to the Tibetologist David Germano, early Dzogchen "Semde" texts ignore or deny the validity and relevance of Vajrayana tantric practices and rituals in favor of terse poetic descriptions and direct experience of the awakened mind (bodhicitta).
[8] Germano writes that these early sources "are marked by the absence of presentations of detailed ritual and contemplative technique," and by the lack of the "funerary Buddhism" of the anuttarayogatantras (including any discussion of charnel ground imagery, death motifs, bodily relics, funerary rituals, and bardo teachings) as well as tantric sexual motifs and practices.
[8] Some Semde texts, like the Kunjed Gyalpo, even deny the validity and relevance of key elements of tantric buddhism (such as mandalas, empowerment, stages of practice, etc).
[10] As Liljenberg notes, the Total Space of Vajrasattva (rdo rje sems dpa’ nam mkha' che) calls tantric practice "a childish pursuit" (byis pa'i spyod yul).
[17] Sam van Schaik also writes that "later developments in the Great Perfection brought far more complex doctrines and practices, but the early mind series texts stayed close to one central theme: the immediate presence of the enlightened mind, and the consequent use- lessness of any practice that is aimed at creating, cultivating or uncovering the enlightened state.
[1] The most of important of these are the "Eighteen Great Scriptures" (Lung-chen bco-brgyad), which came be to called "mind series" (sems de) texts at a later date.
[22] Sam van Schaik notes that some of the earliest datable Dzogchen texts are The Meditation on the Awakened Mind by Mañjuśrīmitra (which is listed in a 9th century catalogue called the Denkarma) and various short texts which are quoted by Nubchen Sangye Yeshe's late 9th century Lamp for the Eyes of Contemplation (Samten Migdrön).
[1] Another important source for early Dzogchen Semde ideas is the work of gNyan dPal dbyangs (c. 8-9th century), especially his rDo rje sems dpa’ zhus lan (Vajrasattva Questions and Answers) manuscripts of which have been found in Dunhuang and his sGron ma drug (Six Lamps), which are widely quoted by Nubchen.
[10] These new Dzogchen teachings had begun to appear in the Renaissance period (11th–12th century) and are associated with treasure revealers like Chetsün Sengé Wangchuk and Zhangton Tashi Dorje (1097-1127) who claimed they had discovered texts that had been hidden by figures like Vimalamitra.
[4] Anspal writes that according to Semde texts, accessing and abiding in this pure and perfect awakened mind "fulfills and surpasses all the various practices and methods of other Buddhist approaches.
"[4] Christopher Hatchell explains that for these early Dzogchen texts "all beings and all appearances are themselves the singular enlightened gnosis of the buddha All Good (Samantabhadra, Kuntu Zangpo)".
[5] The Victorious Emergence of the Peak (rTse mo byung rgyal) says that "the diversity [that is] Samantabhadra" is “the principal consciousness, the Basis-of-all” (kun gzhi) which "has never stirred from the expanse of naturally-occurring primordial wisdom" and is "endowed with compassionate energy that completely pervades a thousand realms".
[29] This expansive awareness which is often compared to the vasteness of the sky is called the “Great Self” (bdag nyid chen po) in various Semde texts, including the All-Encompassing Perfection (sPyi chings).
[30] This idea of an innate awakened mind is influenced by the Mahayana Buddhist buddha-nature literature which states that all sentient beings have a pure buddha-matrix or essence (tathāgatagarbha).
[1] Nubchen is also careful to explain that this spontenous wisdom is free of any thoughts, words, or concepts, as well as any sense of existence or non-existence, comparing it to sky-like spaciousness.
Christopher Hatchell writes that Semde works show "a disinterest in specifying any kind of structured practices or concepts" which are used to connect with the ultimate gnosis (rigpa).
[34] Germano writes that the main contemplation in Semde works was a formless "technique free immersion in the bare immediacy of one's own deepest levels of awareness".
[5] Esler notes that this important text attempts to reconcile the diversity of appearances with the deeper non-dual nature of all things, which is equated with Buddha Samantabhadra (All Good).
dmigs med) form of meditation lacks any specific object of focus and instead entails repeatedly training "the ability to rest, “effortlessly,” in a state of awareness (Tib.
"[1] This is confirmed by Nubchen Sangye Yeshe who writes in his commentaries that Dzogchen transcends the use any meditation supports like mudrās, objects of mental focus and mantra repetition.
"[7] In a similar fashion, the Semde text called the bDe ba phra bkod says: There is no practice to be accomplished, [and] no fixation upon any deities.
Two other important texts which are quoted by Nubchen in his Lamp are The Small Hidden Grain (rGum chung) and The Universally Definitive Perfection (rDzogs pa spyi spyod).
[45] For example, an anonymous commentary to Extracting Pure Gold from Ore exists, titled the Byang chub sems bsgom pa don bcu gnyis bstan pa.[49] There is also a collection of Dzogchen songs of realization (dohas) associated with the early translations.
[1] The work of early Nyingma scholars like Rongzom Chökyi Zangpo (1012-1088) and Rogban Sherab (1166–1244) also quote and rely on mostly Semde texts for their explanation of Dzogchen.
