ILLUSTRATIONS ................................................. xix
I. WORSHIP: OFFERINGS, PRAISES, AND PRAYER ..................... 1
II. APPLICATION: PROTECTION AND ATTACK ........................ 227
III.ACQUISITION: INITIATION AND RITUAL SERVICE ................ 361
NOTES ......................................................... 469
BIBLIOGRAPHY .................................................. 503
INDEX ......................................................... 521
Illustrations
Figures
1. White Таrа. From a wood-block print by Roger
Williams .............................................. Frontis-
piece
2. Songtsen gampo with Tr'itsün (left) and Wen-ch'eng
kung-chu (right); note the national costumes. From
an iconographic sketch by Tendzin yongdü ..................... 5
3. Green Таrа. From an iconographic sketch by Tendzin yongdii ... 9
4. Sketch map of K'am, according to Ch'öje jats'o .............. 16
5. The type of Heruka: Cakrasamvara and Vajravarahi. From
an iconographic sketch by Tendzin yongdü .................... 41
6. The type of fierce patron: Yamantaka in the "ancient"
form of Quicksilver, the black poison-faced. From an
iconographic sketch by Tendzin yongdü ....................... 44
7. The type of dakini: Vajravarahi, the diamond sow. From
an iconographic sketch by Tendzin yongdü .................... 45
8. The "ancient" dakini Lion-faced, the guardian of hidden
texts. From an iconographic sketch by Tendzin yongdii ....... 46
9. The type of Mahakala: the Four-handed Lord. From an
iconographic sketch by Tendzin yongdü ....................... 49
10.The "ancient" protectors: Ekajata, guardian of mantras.
From an iconographic sketch by Tendzin yongdü ............... 50
11.The "ancient" protectors: Za. From an iconographic
sketch by Tendzin yongdü .................................... 51
12.The "ancient" protectors: Damchen Doje legpa, the oath-
bound excellent diamond. From an iconographic sketch by
Tendzin yongdü .............................................. 52
13.The type of Glorious Goddess: Magic Weapon Army. From
an iconographic sketch by Tendzin yongdü .................... 53
14.The mantras and the gestures that (1) summon, (2) absorb,
(3) bind, and (4) dissolve the knowledge being ............. 102
15.The outer offerings ........................................ 147
16.The precious gems of sovereignty ........................... 152
17.The signs of good fortune .................................. 155
18.The secret offerings ....................................... 160
19.The secret offerings, continued ............................ 161
20.The mandala gesture ........................................ 168
21.The tormas for the Four Mandala ritual ..................... 174
22.Palms joined in reverence .................................. 178
23.The diamond-lady-of-the-mind gesture ....................... 179
24.The bell and vajra ......................................... 183
25.The flying-bird gesture .................................... 218
26.The torma gesture .......................................... 220
27.The asking-to-depart gesture ............................... 224
28.Drawing the hearth ......................................... 266
29.Ladles for liquids (top) and solids (bottom) ............... 267
30.A protection against gossip and slander: a figure whose
lips are locked ............................................ 285
31.A protection to bind malevolent spirits .................... 293
32.A peaceful lu and a fierce lu. From a sketch by Tendzin
yongdü ..................................................... 296
33.A lsen. From a sketch by Tendzin yongdü .................... 297
34.Mach'en pomra, a mountain deity. From a sketch
by Tendzin yongdü .......................................... 298
35.Kurukulla, goddess of subjugation. From an iconographic
sketch by Tendzin yongdü ................................... 301
36.The lingam effigy in its iron house-the black triangular
box-surrounded by the weapons of its destruction;
the syllabes NR TRI on its body cast the demons
"down into form" to be "liberated". From a Tibetan
woodblock print ............................................ 311
37.The tormas for the thread-cross ritual ..................... 325
38.A proof sheet pulled from a zen par, a wooden mold for
making small substitutes. The block is carved in
intaglio, hence the peculiar appearance of the paper
print ...................................................... 326
39.P'otong and molong offered as substitutes .................. 328
40.The full-blown-lotus-flower gesture ........................ 338
41.The six gestures that generate the substitutes ............. 347
42.White Таrа. From an iconographic sketch by Tendzin
yongdü ..................................................... 364
43.A metal initiation torma (left) and a flask of life
(right) .................................................... 376
44.The working flask (left) and the chief flask (right) ....... 409
45.Solitary contemplation: a yogin in meditative posture,
shoulders thrown back, elbows turned in, and arms
locked on the thighs. From a Tibetan wood-block print ...... 459
Plates
(Following page 260)
1. Coating the food tormas with butter.
2. Setting up the altar for the Four Mandala Offering.
3. Offering up the mandala to Тага.
4. Wayside shrine in Dalhousie, Himachal Pradesh.
5. The Lady of the Goring Yak.
6. The burnt offering.
7. A complex thread-cross used in the large annual
evocation of the Four-handed Lord.
8. Winding the five-colored threads on the frame
of the thread-cross.
9. Putting butter flowers on the torma.
10.The portrait molded of barley flour, in deep relief.
11.Four-tiered Mount Meru and the excellent house.
12.Planting shrubbery on the surrounding iron mountains.
13.The portrait complete with house, servants, livestock,
and property.
14.The entire structure tied around with thread and set
on the altar facing the assembly.
15.Carrying the thread-cross down the mountain.
16.The multitude tormas.
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