DAKINI DAY OFFERING: Making the invisible female roots and flowers visible, full-colour Kagyu female-inclusive lineage thangka artwork

“A solitary body is not solitude. Being [mentally] solitary, away from the mental references and concepts: this is the supreme solitude. Even though you were settled in a meditative trance for twelve years , you cannot sever this crude reference, the concept of radishes, so what good will come of going to the mountains?”
—-Radish-Curry Cook woman to Indian Mahasiddha, Saraha

“Now you must meditate continuously on the very essence of suchness and the nature of phenomena and mind. To do this you must find some kind of activity to engage in. Previously you were a king, so you have some vestige of class arrogance and this must be destroyed.”
—Female teacher Mātaṅgī’s instruction to Tilopa to act as a servant for a low-caste prostitute

“[When] evil is exhausted, false words are not spoken: there would be no cause. There are no ‘demons’; Ḍākinī is the truth!”
—Tilopa to the Ḍākinī teacher

“It is only when we see other women, in whatever religion or society, verbally and visually represented in images, praises and supplications on par with the men that we might see real progress, respect and acknowledgement for those women, and women in general.” –Adele Tomlin (2023)

Introduction

Today, for Ḍākinī Day, am delighted to publish for the first time in the history of Tibetan Buddhist heritage and art, a Kagyu lineage, female-inclusive full-colour artwork thangka.

This is the full colour version of the Kagyu fore-fathers and -mothers lineage that I first envisioned, commissioned and created over three years ago, during COVID lockdown, and wrote about here: HEARING ‘HER-STORY’ (III): ENVISIONING AND CREATING THE FEMALE LINEAGE TREE. Making the invisible roots and flowers of the lineage tree visible, original artwork visually portraying the Kagyu (March 2023). I have included detailed descriptions of the figures in the thangka below here too.  The drawing (based on my instructions and research) was completed by a local Tibetan thangka artist in India (who asked to remain anonymous) and was unable to finish it. So I then requested a professional digital art designer (an admirer/reader of my work who agreed to do it for a small dana fee), to replicate the drawing digitally and colour it in a traditional way so that people can download it, print it on full-size canvas, A4 or A3 and use it for practice.  For those who would like to download the medium size version, 31MB, see here. For the full-size canvas print version ( 300MB), download here. It is not exactly as I envisioned it, but a close approximation for sure! I would have had a more fiery Vajravarahi, for example. Nonetheless, the purpose is accomplished.

 This is the first time the female lineage holders, teachers and consorts of the main Kagyu forefathers have been depicted visually in a traditional Tibetan thangka format.  The reason behind this commission was the observation that in almost all the Kagyu (and in other major lineages) refuge tree diagrams and images, very few, if any depicted important female teachers and partners in the lives of the men depicted. It is only really in the Nyingma tradition perhaps with famous women such as Yeshe Tsogyel, Mandarava and some of the important treasure-revealers that women have been visually represented.   Despite the 17^th Karmapa’s ground-breaking (and unparalleled) activities for nuns and female practitioners in the Kagyu, the visual depictions remain the same.  

Yet, as I spoke about in my paper, Going Back to the Female Roots of Vajrayana, at the 4^th Vajrayana ‘Modernity in Buddhism’ (October 2022) conference in Bhutan, within Indian Buddhism, laywomen as gurus, lineage holders and students were a fundamental part of the very ‘roots’ of secret mantra/Vajrayana practice and initiations. This talk was subsequently censored and unpublished (without any reason given when requested) by the Bhutanese organisers, for a re-recorded video of my presentation, see here. However, this visual depiction clearly shows that the roots of Secret Mantra Vajrayana are non-monastic. In fact, they were told (or forced) to leave the monasteries if they wanted to practice it. Je Atisha also said that due to vows of celibacy, monastics cannot (and should not) take the second and third empowerments that involve visualisation in union with a consort.

I previously wrote about the ‘orientalist’ ‘male gaze’ depiction of ‘dakinis/yoginis’, in relation to the drawings contained in Miranda Shaw’s interesting book Passionate Enlightenment and have tried to address that in this depiction. The Tibetan artist depicted them in traditional style, without ‘Barbie-doll’ type features, and requested he make the women of a similar size to the men in the depiction (they are often depicted as much smaller). Also darker skin for the Indian yoginis in particular, many of whom were from poor lower caste backgrounds.

The commission was also intended as a gift for the 17th Gyalwang Karmapa and the Kagyu lineages in general (which is why I did not include the Karmapa in it). As the 17th Karmapa recently taught, see video clip here, the Kagyu tradition covers any tradition that has the lineage of the words of the Buddha. However, it has come to specifically mean the lineages that flowed from the Kagyu forefathers, of Tilopa, Naropa, Marpa, Milarepa and Rechungpa down to Gampopa and his students. This new artwork places the female teachers and consorts (of the male forefathers) in a more visible position, thus re-balancing the androcentric, patriarchal bias in depictions of the Kagyu lineage and of Vajrayana/Secret Mantra Buddha Dharma. Dedicated to flourishing of female practitioners, teachers and lineage holders of the Kagyu lineages and of Vajrayāna Buddhism in general. Special thanks to a kind and generous sponsor G, who supported the completion of this artwork in its full colour format.

Music? Karma Kagyu lineage prayer chanted by 17th Gyalwang Karmapa,  Going Back to My Roots by Odyssey,  Invisible by Alison Moyet, 3 Libras by A Perfect Circle, “You don’t see me at all….” And Reflection by Lea Salonga: “When will my reflection show, who I am inside….”

Adele Tomlin, 27th September 2024. Copyright.

 

The Kagyu fore-fathers and mothers: a new, original Vajrayāna Buddhist artwork

Vajradhara (Dorje Chang)

Indian Mahasiddha, Tilopa (988-1069) and female teacher, Mātaṅgī and other consorts/teachers

 The great Indian yogi mahasiddha, Tilopa had several female teachers. Becoming weary of a life of luxury, he became a monk at the temple of Somapuri in Bengal.  After that, it was said that Tilopa was expelled by monks from the monastery. However, Thrangu Rinpoche (2002: 11) explains that Tilopa was actually told by a Ḍākinī (Karpo Sangmo) to leave the monastery and ‘act like a madman’ [1].

There was also his female teacher (Nagārjuna’s female disciple) Mātaṅgī, who insisted Tilopa work in a brothel as the servant of a low caste Indian prostitute, for twelve years to reduce his pride and arrogance.  It is said that Tilopa met Mātaṅgī, when he sought to find Nagārjuna again and discovered that he had already passed away. Tilopa received Guhyasamaja teachings on illusory body from Mātaṅgī, Mahamudra and Chakrasamvara teachings on clear light from Lalapa, Hevajra teachings on tummo from Dakini Samantabhadri, and Chakrasamvara teachings from Nagpopa.  Tilopa himself stated his teachers were: Cāryapa, Nāgārjuna, Lavapa and “Sukkhasiddhī.” Except for the ḍākinī identified as Sukkhasiddhī, who is often referred to as Kalpabhadrī (skal pa bzang mo), these four are the ones generally recognized as Tilopa’s human masters.

For more original research on Tilopa and his female teachers, see the website section on Tilopa research here, including my visit to Tilopa’s cave in India, and the article:  DAKINI IS TRUTH! Tilopa’s Overlooked Female Teachers and Entering ‘Unconventional Conduct’ (Tul-zhug) .

Indian Mahasiddha, Nāropa (1016-1100) and yogini consort/sister Niguma

The Indian Mahasiddha, Nāropa was a student of Tilopa, who was famously made to wait several years serving Tilopa like a slave before Tilopa would give him any Vajrayana teachings. Tilopa suggested that Nāropa jump off the roof they were both on one day if he was a worthy student, which Nāropa immediately did. Proving to himself and Tilopa that he had full confidence in him as a Vajrayana qualified master.

Nāropa also had female teachers and consorts. According to Nāropa’s biographies one day, while he was studying, a Ḍākinī appeared to Naropa and asked if he understood the words of the Dharma, the Buddha’s teachings. He replied that he did and when she seemed happy with his response, he added that he also understood their meaning. At this point the dakini burst into tears, stating that he was a great scholar, but also a liar, as the only one who understood the teachings was her brother, Tīlopa.  There is also a story that Tīlopa asked Nāropa to give him his consort, which Nāropa immediately did.

In the new artwork, Nāropa is depicted with Niguma, who is a similar size to him.  It is said in some sources that Niguma was his consort (although some say she was his sister). For more on Niguma’s six yogas, see here[2].

Indian Mahasiddha, Saraha (the arrow-maker)

Although the 8th Century Indian yogi Mahasiddha, Saraha is not always depicted in traditional Kagyu thangkas, he is an important lineage holder to the Vajrayana and to Kagyu in general.  Much of Saraha’s teaching was given as spiritual song (doha), in verse. Teaching through doha was thereafter preserved as a sacred method of instruction through subsequent generations of the Kagyu lineage. Saraha is also said to be a past incarnation of the Gyalwang Karmapas.

Saraha is depicted here with two of his main consorts/teachers, Dakhenma and the ‘radish-curry’ woman, see: UNSUNG HEROINES, MOTHERS OF MAHĀMUDRĀ AND SOURCE OF SARAHA’S SONGS : Re-telling the (her)stories of the symbolic ‘arrow-maker’ Dakhenma, and the ‘radish-curry’ cook gurus of siddha, Saraha (June 2021).

The Kagyu deities: Hevajra, Chakrasamvara and Vajravarahi

Although the Kagyu lineage are holders of more deities than these three depicted here, these are considered to be three of the main ones. See details below from left to right (ladies first! ha ha).

Vajrayoginī /Varahi

One of the main deity pratices of the Karma Kagyu in particular, is that of Vajravarahi, who (unlike Vajrayogini) is depicted with a sow’s head. See research and translations on Vajrayoginī here.

Chakrasamvara

A deity renowned and practised to this day within all the various major and minor Kagyu lineages, that came direct from the Indian mahasiddhas, is the magnificent Sri Chakrasamvara with consort, Vajrayogini. For research and translations on Chakrasamvara, see here.

Hevajra

The deity, Hevajra is in particular is associated with Marpa the Translator, who received it directly from Nāropa, and who passed it down to his student, Ngog the Translator, see, for example: HEVAJRA, MARPA LOTSAWA AND THE ‘GOLDEN TEACHINGS’ OF KAGYU TANTRA: Marpa the Translator and student Ngog, the Seven Ngog Mandalas, the Hevajra mandala, and Jamgon Kongtrul’s preservation of them in ‘Treasury of Kagyu Mantras’. For research and translations on Hevajra, see here.

Marpa the Translator saraha(1012–1097), Wife Dagmema and several consorts/students

Although, much is known about the famous Tibetan layperson translator, Marpa Lotsawa, not so much is written or spoken about his wife, Dagmema, who features as Marpa’s wife and confidante of Milarepa when Marpa was treating him ‘badly’, see article: HEARING HER-STORY(II): DAGMEMA. Marpa’s Wife and Milarepa’s confidante, friend and teacher, her life, textual sources, visual depictions and new translation of Praise to Marpa by 17th Karmapa. Dagmema is said to have given Milarepa teachings on the Vajrayana ‘method’ of Vajravarahi:

“Marpa said, ”Great Magician [Milarepa], show me your back.” When he had finished examining it carefully, he said, ”My Master Nāropa underwent twenty-four mortiflcations, twelve great and twelve minor trials, all of which surpass yours. As for me, without a thought for my life or my wealth, I gave both to my Master Nāropa. So, if you seek the teaching, be humble and continue the work on the tower.” Dagmema said to Milarepa, ”the lama will not give you the teaching now, but in the end he will surely give it to you. Meanwhile, I will instruct you.” Then, she gave him the method for meditating on Vajravarahi.”   –from Tsangnyon Heruka’s Life of Milarepa

For original research and translations on Marpa the Translator, see website section here.

Tseringma and Five Sisters and Sekhar Tower, Tibet

At the bottom left of the artwork is Milarepa, the renowned student of Marpa, and master siddha in his own right, pictured with one of his important female teachers, Tseringma and his main female students above him. The karmamudra consort role of Tseringma and her sisters with Milarepa, is documented in one of his songs:

“Having sung this song of realization, from that time forth, the ladies acted as the Jetsun’s karmamudra and were his benefactors for provisions of food and drink. Through the offering of their three gates, they fulfilled their sacred bond and pleased him . Generally, Tashi Tseringma, Zulema of the medicinal pasture of Lachi Snow Mountain, the menmo of Lingpa Rock, the lake menmo of the Nepal Road, and the local goddess of the Yolmo Snow Mountain, these five, acted as karmamudra for the Jetsun. The most superior of these was Tashi Tseringma.”

Also depicted here is the Sekhar Tower, the building Milarepa painstakingly built, and re-built several times on Marpa’s instruction. For an article about Kagyu treasures said to have been hidden by Marpa and his student in the Sekhar Tower, see: A ‘Kagyu Treasure’ Tradition? Marpa’s Fifteen ‘Hidden Scrolls’ from Sekhar (August 2020).

Je Milarepa and female students, Saley-O, Rechungma and others

Milarepa had several female consorts and students, here he is seated with some of his main female students, inclucding Saley O. For more on Milarepa’s main female students, see my recent article about Saley O: HEARING ‘HER-STORY’(I): MILAREPA’S FEMALE (NYA-MA) STUDENTS AND SONGS OF SALEY O. Male-centred Buddhist history, Milarepa’s main female disciples, and the songs and story of Tibetan woman, Saley O (March 2023).

Rechungpa and Rechungma

For more about Rechungma, her life and songs and connection to Milarepa and Rechungpa, see this article and translation about her song The Fifteen Realisations.  Rechungma and her four sisters all became disciples of Milarepa from a young age. The story of their meeting Milarepa is in Tsangnyon Heruka’s .One Hundred Thousand Songs of Milarepa:

“When she had sung this, the Jetsun was very pleased and decided that Rechungma was a qualified yogini, fit to be a companion in conduct. He gave her all of the key instructions without any left out. Then Milarepa said to Rechungpa, “You are very good at teaching female disciples, so you should look after her.” Then he gave her over to Rechungpa, who took her for a while as his samaya companion.

After that, she went to meditate in the island of Semodo in Precious Sky Lake*15 in the north, where she practiced in complete silence for eight years. By the end of this period, she actualized the ten signs of practice, the eight qualities, and the abandonments and realization of the paths and bhumis. In this life, she went to the pure land of the dakinis.” (Stagg: 2016)

The Dharma Protectors: Remati (Rangjung Gyalmo) and Black-Cloaked Māhakāla (Tib: Bernagchen)

In the bottom right corner of the artwork, are the two main Kagyu protectors, in particular of the Karmapas and Karma Kagyu, Black-Cloaked Māhakāla (Tib: Bernagchen) and the female protector, Remati (Rangjung Gyalmo). Here they are drawn separately, but as the Karmapa’s protectors they are often depicted riding the same horse together, with Remati facing forwards in union with Māhakāla.

 

Endnotes

[1] “The Ḍākinī transformed herself into the mandala of Chakrasamvara in the sky in front of him, giving Tilopa the pith instructions of the creation and completion stages of practice. …..With these two pith instructions, Tilopa attained a degree of realization and the Ḍākinī said, “Now throw out your bhikshu ordination and go about acting like a madman, practicing in secret so that nobody knows what you are doing,” and then she vanished into the sky. This Ḍākinī who bestowed these instructions and empowerments on Tilopa was called Karpo Sangmo………This part of Tilopa’s biography corrects the notion that people can accomplish enlightenment by themselves and that they don’t need a teacher. Tilopa took a Ḍākinī as a teacher. That is why Marpa in his commentary on this part of Tilopa’s life wrote, “He received the blessing from the great Ḍākinī, Karpo Sangmo, and she gave him the four empowerments.”

[2] Scholars also state that Nāropa was in fact the author of the written tantra of Kālacakra. For more research on Nāropa:  New translation of Nāropā’s Innate Vajrayogini for Beginners’ and ‘Eight Praises to Vajravārāhī‘, catalogue of Drigung Kagyu Vajrayogini texts and lineage, and new sadhana text by Drupon Rinchen Dorje Rinpoche (June 2022)