By Hildegard Diemberger, Marilyn Strathern
Within the 15th century, the princess Chokyi Dronma used to be instructed by means of the best non secular masters of her time that she used to be the embodiment of the traditional Indian tantric deity Vajravarahi, identified in Tibetan as Dorje Phagmo, the Thunderbolt girl Pig. After anguish an excellent own tragedy, Chokyi Dronma renounced her royal prestige to turn into a nun, and, in flip, the tantric consort of 3 striking spiritual masters of her period. After her dying, Chokyi Dronma's masters and disciples famous a tender lady as her reincarnation, the 1st in a protracted, robust, and influential lady lineage. at the present time, the 12th Samding Dorje Phagmo leads the Samding monastery and is a excessive executive cadre within the Tibet self sufficient Region.
Hildegard Diemberger builds her e-book round the translation of the 1st biography of Chokyi Dronma recorded through her disciples within the wake of her demise. The account finds a rare phenomenon: even though it have been believed that girls in Tibet weren't allowed to acquire complete ordination corresponding to priests, Chokyi Dronma not just persuaded one of many optimum religious academics of her period to provide her complete ordination but in addition demonstrated orders for different ladies practitioners and have become so respected that she used to be formally famous as one in all critical non secular heirs to her major master.
Diemberger deals a few theoretical arguments concerning the value of reincarnation in Tibetan society and faith, the function of biographies in constructing a lineage, the need for non secular academics to navigate advanced networks of political and monetary patronage, the cultural and social innovation associated with the revival of historic Buddhist civilizations, and the position of girls in Buddhism. 4 introductory, stage-setting chapters precede the biography, and 4 concluding chapters speak about the institution of the reincarnation lineage and the function of the present incarnation below the particularly contradictory communist process.
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Additional resources for When a Woman Becomes a Religious Dynasty: The Samding Dorje Phagmo of Tibet
Although largely based on textual sources, my work is informed by a particular attention to social practices that relate to the texts. I therefore looked at what the Dorje Phagmo means for contemporary Tibetans and for Tibetan women in particular. Janet Gyatso and Hanna Havnevik have pointed out how both the Dorje Phagmo deity and famous religious women of the past such as Khandro Yeshe Tshogyal, Man. dāravā, . and Machig Labdron have had a signiﬁcant impact on the lives of a number of Tibetan women by acting as powerful exemplars: “To have authorizing referents for women is extremely important in the context of Tibet’s entrenched system of tulku (reincarnation) recognition, and outstanding women, both inside Tibet and in exile, still have recourse to these and other ﬁgures in crafting their identity and position” (Gyatso and Havnevik 2005:22).
Lamb 2002:183–185) His description of her long hair recalls the passage in the biography that describes how it was decided that in contrast to the female monastic tradition, she should keep her hair long in the manner practiced by yoginīs. The distinctive monastic robe symbolizes the princess’s full ordination, recalling her unique spiritual attainment and displaying a status that seems to have been normally reserved only for men. Similarly, the prescribed ritual sleeping postures of Chokyi Dronma’s later reincarnations (Dhondup and Tashi Tsering 1979:11–17) evoke a number of passages that describe her nocturnal meditation practice.
From the start of the monastery restoration, he has painstakingly pieced together salvaged manuscripts, ritual items, statues, relics, people, and memories. He even designed a set of mural paintings representing the various Dorje Phagmo reincarnations, based on his own recollections and a few ancient murals that had survived. 1 Nyemo Chekar monastery as it appeared in 1996. Jana Diemberger been his source of inspiration. Thubten Namgyal told us that the sixteenthcentury Bodongpa monastery survived the Cultural Revolution because it had been transformed into a granary, so the mural paintings had been protected from major damage.