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The Biographies of Rechungpa: The Evolution of a Tibetan ...

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<strong>The</strong> biographies <strong>of</strong> <strong>Rechungpa</strong> 58<br />

house in ruins and his dead mother’s bones inside. Disillusioned with the world, he gives<br />

away the property and lives in the mountains. Living on a diet <strong>of</strong> nettles, he becomes<br />

skeletal and green. <strong>The</strong> Life <strong>of</strong> Milarepa skips ahead at this point from autobiographical<br />

narrative to a third-person account <strong>of</strong> the end <strong>of</strong> Milarepa’s life. In a much-quoted<br />

conversation that takes place not long before his death, Milarepa rebukes some <strong>of</strong> his<br />

pupils for believing that he is an emanation <strong>of</strong> a buddha, saying that this view constitutes<br />

slander against the vajrayāna, implying that it could not bring an ordinary being to<br />

buddhahood in one lifetime. Milarepa’s death and the astonishing miraculous events that<br />

accompany it, including his coming back to life on the cremation pyre, demonstrate that<br />

he has indeed become a buddha.<br />

<strong>The</strong> life <strong>of</strong> Tsangnyön Heruka<br />

<strong>The</strong> works <strong>of</strong> Tsangnyön and his followers are crucial in the history <strong>of</strong> Kagyu<br />

biographies. <strong>The</strong>se biographies, which were particularly focussed on early mendicant<br />

practitioners such as Milarepa, <strong>Rechungpa</strong>, Tilopa, Nāropa, Marpa, Götsangpa and<br />

Lorepa, eclipsed earlier versions and became a dominant influence over later generations.<br />

<strong>The</strong>re are three biographies <strong>of</strong> Tsangnyön written by his pupils. Two are by authors <strong>of</strong><br />

biographies <strong>of</strong> <strong>Rechungpa</strong>: Lhatsun Rinchen Namgyal 11 and Götsang Repa. 12 A third is<br />

by Rabjam Ngödrup Palbar (Rab-‘byams dNgos-grub dPal-‘bar)—which at present exists<br />

as only one known copy in the collection <strong>of</strong> E.Gene Smith, 13 but in a part <strong>of</strong> his<br />

collection that is in storage in Europe and to which he has been unable to gain access. 14<br />

Tsangnyön Heruka was born in 1452. He became ordained as a child in his seventh year<br />

and his monastic name was Sangye Gyaltsen (Sangs-rgyas rGyal-mtshan). 15 In his<br />

eighteenth year, according to Götsang Repa (i.e. in approximately 1466), but in his<br />

fourteenth, according to Lhatsun Rinchen Namgyal (i.e. 1470, though Tinchen Namgyal<br />

does seem to err by making events about three or four years too early), Tsangnyön fled<br />

from his monastery to go on pilgrimage. En route, he met Shara Rabjampa Sangye (Shara<br />

Rab-‘byams-pa Sangs-rgyas), who was a holder <strong>of</strong> the <strong>Rechungpa</strong> lineages. 16 Shara<br />

Rabjampa Sangye had received an union <strong>of</strong> all <strong>Rechungpa</strong> lineages from his teacher,<br />

Ngawang Drakpa (Ngag-dbang Grags-pa) (1418–96), who was the holder <strong>of</strong> the Talung<br />

Kagyu lineage at Talung monastery and had given Shara the instruction to spread these<br />

teachings. 17 <strong>The</strong>refore, though Tsangnyön Heruka is usually associated with<br />

the Drukpa Kagyu, the origins <strong>of</strong> his lineage lie in the Talung Kagyu, which has<br />

maintained a transmission <strong>of</strong> these teachings to the present day. Tsangnyön became his<br />

pupil and was swiftly able to generate heat and wear only cotton. 18 Shara gave<br />

Tsangnyön the name Chökyi Drakpa (Chos-kyi Grags-pa). According to Lhatsun,<br />

Tsangnyön served as Shara’s consort’s attendant for six months, 19 which is usually an<br />

euphemism for sexual practices, which are central to the <strong>Rechungpa</strong> transmission. For<br />

example, one <strong>of</strong> the few texts said to have been written by <strong>Rechungpa</strong> is entitled <strong>The</strong> List<br />

<strong>of</strong> the Pr<strong>of</strong>ound Instructions from ‘<strong>The</strong> Lower Entrance <strong>of</strong> the Glorious

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