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The Aro gTér is a lineage within the Nyingma tradition of Tibetan Buddhism. It has several rare characteristics. The terma on which it is based teaches all Buddhist topics from point of view of Dzogchen, and so is characterized by uncommon simplicity. The lineage is entirely non-monastic (Ngagpa), and so emphasizes householder practice and non-celibate ordination. All of its contemporary teachers are ethnically non-Tibetan.

Teachings and practice

The Aro gTér has several distinctive characteristics: it treats all Buddhist subjects from point of view of Dzogchen; as a consequence its practices are simpler than the elaborate sadhanas typical of Tantric Buddhism; and it includes practices of semde and longde as well as the more common men-ngag-de.

Pervasive Dzogchen approach

Dzogchen is the most important yana in Aro. The lower yanas (Sutrayana and Tantrayana) are re-presented in Dzogchen terms, and take on its characteristic style of simplicity, clarity, and expansiveness. Enlightenment needs only to be recognized, and is not produced by artificial means. Aro is therefore primarily concerned with bringing meditative awareness into ordinary life, rather than with elaborate, intellectualized, and time-consuming liturgical chanting. For Dzogchen, the ultimate practice is "living the view," i. e. experiencing and acting in the world as non-dual.

The Heart Sutra and the Sutra of the Owl-Headed Dakini

As in Dzogchen generally, understanding of the relationships between form, emptiness, and non-duality is central to Aro. Unusually, Aro takes the Heart Sutra (conventionally part of Mahayana rather than Dzogchen) as the central text on this topic. The Heart Sutra's statement that "form is emptiness and emptiness is form" is regarded as the essence of the matter.

Within the Aro gTér, the Sutra of the Owl-Headed Dakini (Wylie: 'ug gdong snying thig mkha' 'gro mdo; Sanskrit: Ulukha-mukha Dakini Upadesha Sutra) treats the major topics of Sutrayana from point of view of Dzogchen. It includes unusual presentations of the Four Noble Truths and Eightfold Path, and of the Five Precepts. The Five Precepts are said to have inner meanings at the level of Dzogchen, as follows:

Essential Tantric practice

Dzogchen practices are typically much simpler than those of Tantra. Aro describes its Tantric practices as "essential," meaning that they lack the typical complexities of Tantra (elaborate mandala visualizations, extensive sadhana texts, and lengthy rituals). This is viewed as a reflection of the simple style of the Indian Mahasiddhas in the earliest days of Tantra.

In terms of the two Inner Tantras not counting Dzogchen, Aro is concerned primarily with Anuyoga, emphasizing tsa lung and completion practice rather than with Mahayoga, which emphasizes ritual performance and generation practice. As in the Anuyoga style generally, yidams are practiced without a textual sadhana, but simply by self-arising with mantra. The practice of lhatong, from the semde ngöndro (see below), is also viewed as encompassing Tantra, so that accomplishing lhatong has the same value as accomplishing Tantric sadhana.

Vajrayana and the arts

Vajrayana and art are closely connected in Tibetan Buddhist history. Vajrayana teachers such as Chögyam Trungpa, bringing Buddhism to the West, emphasized art as Buddhist practice. In keeping with this tradition, Aro gTér teachers present art and appreciation as correlated aspects of Buddhist practice. Artistic creativity is taught as an integrative method for opening the sense fields to a richer appreciation of life: "Usually we would not associate the idea of emptiness with the idea of creativity. Usually we think there has to be some sort of 'something' there, upon which creativity feeds."

Aro teaches art and Tantra in terms of each other; "every Tantrika is an artist of some kind because we have sense fields, we have senses, and appreciating the sense fields makes you an artist."

The Aro apprenticeship program encourages artistic, creative endeavor. Apprentice crafts include:

• creating ritual items such as kanglings
• creating or restoring Tantric musical instruments such as chöd drums and bells
• sewing and embroidery work as in the creation of wall appliqués and chöd drum tails
• weaving nam’kha

"Tantric Buddhism employs what is called ‘symbolic activity’ to engage with our emotional and perceptual aspects. Symbolic activity includes such things as ceremony or ceremonial craftwork, artwork, music and dance."

In 2009, New York Arts Magazine published an interview by Tchera Niyego with Ngak’chang Rinpoche under the title ‘Speaking with the Ravens.’ In the article Ngak’chang Rinpoche talks about the special relationship between Vajrayana and art, and the connection between the meditative state and creativity.

Ngak’chang Rinpoche teaches a style of thangka painting unconstrained by celibate ethics. Aro apprentices specialising in thangka painting or calligraphy attend an annual thangka painting school in Wales.

The Aro gTér also emphasizes Yang (Wylie: dByangs) or Dzogchen Gardang (Wylie: rDzogs chen sGar gDangs) "yogic song," a mainly Dzogchen practice. Yogic songs are short texts (such as mantras) set to melodies, and sung repeatedly. The practice of yogic song in the Aro gTér is to 'find presence of awareness in the dimension of sound' and differs to liturgical chant (Wylie: dön pa) common in other Tibetan Buddhist lineages.

Emotions and Trekchöd

Aro teaches the Dzogchen system of the five elemental neuroses (territoriality, aggression, neediness, anxiety, and depression) and five corresponding wisdoms (generosity, clarity, compassionate appreciation, accomplishment, and unboundedness). It teaches both Tantric methods of transforming the neuroses into wisdoms and the Dzogchen trekchöd method of liberating neuroses into their natural condition.

Semde

Dzogchen encompasses three "series," or approaches: semde, longde, and men-ngag-de . Historically all three were important, but in recent centuries men-ngag-de has largely displaced the other two, as it is considered more advanced. Men-ngag-de is also, however, the least approachable in its own terms, and typically therefore Dzogchen has been made available only to those who have mastered Tantra. Aro includes material in all three series.

According to Ngakpa Chogyam and Khandro Dechen semde, the series of the nature of mind, is the most approachable series, because it contains a ngöndro or "preparation" consisting of four meditation practices that bring the student to level of experience required to practice Dzogchen proper. These are shi-nè, lhatong, nyi-mèd, and lhundrüp. Shi-nè ("calm abiding") is the meditation practice that leads to the experience of emptiness, and corresponds to Sutrayana. Lhatong ("further vision") leads to the experience of form arising from emptiness, and corresponds to Tantrayana. Nyi-mèd ("non-duality") produces the recognition of the sameness of emptiness and form. Lhundrüp ("spontaneity") is the experience of enlightenment itself. Together these may be summarized as "spacious appreciation of the sense fields."

Longde and sKu-mNyé

Longde, the Series of Space, is concerned primarily with the experience of the tsa lung system or "energetic body." It contains various systems of physical exercises that produce unusual sensations in which the practitioner may find rigpa. Aro sKu-mNyé is one such.

Aro sKu-mNyé is a set of 111 exercises divided into six series, the movements of the lion, the vulture, the tiger, the eagle, the garuda, and the dragon. They range from simple and gentle to vigorous and extremely difficult. They disorient the conceptual mind and galvanize the body's subtle energies, in order to give access to non-ordinary experience. The system is also taught as a general exercise regimen to non-Buddhists, and for other non-religious benefits, rather as hatha yoga is.

Romance as Buddhist practice

One of the Tantric samaya (vows) is for men always to regard women as the embodiment of wisdom and never to disparage them. Aro, with a predominance of female practitioners, makes the symmetry explicit: women vow to regard men as the embodiment of compassion and never to disparage them. The Aro Tantra of the Mirror that Reflects the Sun and Moon of the Khandros and Pawos discusses the consequences of this Tantric vow from point of view of men-ngag-de. It describes perceptual practices that are possible only within the context of romantic relationship.

Realms of rebirth as mind-states

The Aro gTér teaches the six realms of rebirth as states of mind, rather than physical places.

The name "Aro gTér"

Aro means "taste of the primordial A" in Tibetan; this letter has special significance as a seed syllable in Vajrayana Buddhism. gTér is a spelling of terma (Wylie: gter ma). The Aro gTér is not known to have any connection with the much earlier Aro system of Dzogchen semde promulgated by Aro Yeshé Jungné.

Lineage history

According to the terma, Aro has antecedents in a "Mother Essence Lineage" of female tertöns stretching back to Yeshe Tsogyal, in the early days of Buddhism in Tibet, and forward to Kyungchen Aro Lingma (1886-1923), who discovered it. Aro Lingma, also sometimes called Jetsunma Khandro Yeshé Réma, is said to have transmitted the lineage to her only son, named Aro Yeshe (1915-1951).

One of the present Aro gTér lineage holders, Ngak'chang Rinpoche, was recognized as the tulku of Aro Yeshe by Dilgo Khyentse Rinpoche, and as the incarnation of Aro Yeshe's predecessor, 'a-Shul Pema Legden, by Khordong gTerchen Tulku Chhi'med Rig'dzin Rinpoche.

In the 1970s, Ngak'chang Rinpoche (who writes as Ngakpa Chögyam) studied with Chhi'med Rig'dzin Rinpoche,

Dudjom Rinpoche, Dilgo Khyentse Rinpoche,Kunzang Dorje Rinpoche, Khamtrül Yeshé Dorje Rinpoche and Konchog Rinpoche. Ngak'chang Rinpoche has written of his experiences of these times in his 2011 book Wisdom Eccentrics. Ngak'chang Rinpoche was the subject of an early neuroscience study of meditation, demonstrating the ability to retain relaxed alpha brain rhythm while performing arithmetic.

Aro in the contemporary West

The current Aro lineage holders, Ngak'chang Rinpoche and Khandro Déchen, are ethnically non-Tibetan. Other Lamas of the lineage were also Western-born, and teach in the United States and various European countries. The lineage's primary legal organization, given the name Sang-ngak-chö-dzong by Dudjom Rinpoche, is located in Britain.

In Tibet, Aro was a non-monastic lineage, practiced by lay people and by holders of Ngak'phang (non-monastic, non-celibate) ordination. Its modern structure reflects continuing commitment to these two groups. The Aro gTér emphasizes family life and the formulation of traditional teachings in a new way to suit Western culture.

Aro strongly upholds the centrality of the Lama-student relationship in Vajrayana. Aro Lamas typically teach as married couples.

Apprenticeship

An article by Ngakpa Chgöyam in a Buddhist journal article describes the evolution of the Aro "apprenticeship" program, an institutional form not found in Tibet. It was designed to make extensive interaction with Lamas possible for people with families – more than is typically possible either in Tibet or with Tibetan Lamas in the West.

Apprenticeship is an intermediate stage between typical householder religious adherence and ordination. For serious students, it provides the frequent personal guidance from Lamas that is generally unavailable to non-ordained people. On the other hand, it does not require Tantric samaya or the Ngak'phang commitments.

To ensure that close relationships with Lamas remain possible, Aro adopted limits on the number of students any Lama teaches. It has a "lateral" mode of growth, "with a greater number of teachers, rather than one teacher with an unwieldy number of students."

References

1. ^ Simmer-Brown 2001, p. 346.
2. ^ Kapoor 2001, pp. 445–449.
3. Chögyam 1988, p. 113.
4. Chögyam & Déchen 2009a, p. 154.
5. Chögyam & Déchen 2009b, p. 48.
6. Pamo 2007.
7. Dri’mèd 2009, p. xvi.
8. Chögyam 1995.
9. Trungpa 1996.
10. Ngak'chang Rinpoche 1997, p. 20-24.
11. Dorje 1994, p. 6-10.
12. ^ Niyego 2009, p. 20-24.
13. Chögyam 1995, p. 32.
14. ^ Chögyam 1994, p. 32. sfn error: multiple targets (2×): CITEREFChögyam1994 (help)
15. Chögyam & Déchen, Khandro 2002, p. 32.
16. Chapman 2013.
17. Dorje 1994, p. 6 - 10.
18. Nam'gyal & She-zer 2007, p. 32-35.
19. Nam'gyal & She-zer 2007, p. 32.
20. ^ Chögyam 1994. sfn error: multiple targets (2×): CITEREFChögyam1994 (help)
21. ^ Ngak'chang Rinpoche 1998. sfn error: multiple targets (2×): CITEREFNgak'chang_Rinpoche1998 (help)
22. Pamo 2008.
23. Chögyam & Déchen 2003.
24. Tongden 1990, pp. 188–196.
25. Chögyam & Déchen, Khandro 2002, p. Appendix ii..
26. Ngak'chang Rinpoche 2015, pp. 134–139.
27. Déchen 2009.
28. Ray 2001.
29. Ngakpa Rinpoche & Déchen, Khandro 1996, pp. 14–18.
30. Chögyam & Déchen 2009b.
31. Zhiming 2007, pp. 453–485.
32. Déchen 2008.
33. ^ Rawlinson 1998, pp. 207. Cite error: The named reference "FOOTNOTERawlinson1998207" was defined multiple times with different content (see the help page).
34. ^ Cousens 2010, p. 196.
35. Smith 2003, p. 390-391.
36. ^ Gyaltsen Rinpoche 1995, pp. xi–xvii.
37. Chhi’-mèd Rig’dzin Rinpoche 2003.
38. Ngakchang Yeshe Dorje Rinpoche 1991.
39. Chögyam 2011.
40. Fontana 1999, p. 26.
41. Chögyam & Déchen 2003, p. 308.
42. Dorje 2001.

Sources

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• Chapman, David (2013), "The Radiant Gift. David Chapman (Aro apprentice) shares some reflections on their construction and on mortality.", Sacred Hoop Magazine, 20 (79)
• Chhi’-mèd Rig’dzin Rinpoche, Kyabjé Khordong gTérchen Tulku (2003), "Foreword", in Chögyam, Ngakpa; Déchen, Khandro (eds.), Spectrum of Ecstasy: The Five Wisdom Emotions According to Vajrayana Buddhism, Shambhala Publications, ISBN 978-1-59030-061-9
• Chögyam, Ngakpa (1988), Journey into Vastness: A Handbook of Tibetan Meditation Techniques, Element Books, ISBN 978-1852300173
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• Chögyam, Ngakpa (1994), "The mother essence lineage", Gassho, 1 (5), retrieved 2009-05-18
• Chögyam, Ngakpa (1995), Wearing the Body of Visions, Aro Books, ISBN 978-0-9653948-1-9

• Chögyam, Ngakpa; Déchen, Khandro (2002), Roaring Silence: Discovering the Mind of Dzogchen, Shambhala Publications, ISBN 978-1-57062-944-0

• Chögyam, Ngakpa; Déchen, Khandro (2003), Spectrum of Ecstasy: The Five Wisdom Emotions According to Vajrayana Buddhism, Shambhala Publications, ISBN 978-1-59030-061-9
• Chögyam, Ngakpa; Déchen, Khandro (2009a), E-Mailing the Lamas From Afar, Ramsey, NJ: Aro Books Inc., ISBN 978-0965394857
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• Déchen, Khandro (2008), rDzogs Chen: the importance of Sem-dé, archived from the original on 21 January 2008, retrieved 2008-01-22 {{citation}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)

• Déchen, Khandro (2009), moving being, Pauline Williams (illustrator), Penarth, Vale of Glamorgan: Aro Books worldwide, ISBN 978-1-898185-05-5
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• Dri’mèd, Ngakma Zér-mé (2009), "Editor's Preface", in Chögyam, Ngakpa; Déchen, Khandro (eds.), E-Mailing the Lamas From Afar, Ramsey, NJ: Aro Books Inc., ISBN 978-0965394857
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• Ngak'chang Rinpoche (1998), "'Dimension of sound.' Words, songs and spells of power, the use of the voice in the tantric traditions of Tibet." (PDF), Sacred Hoop Magazine, 05 (20)
• Ngak'chang Rinpoche (2015), "An Afterword", in Bridgewater, Peter (ed.), Mindfulness & the Journey of Bereavement: Restoring Hope after a Death, Lewes, East Sussex, UK: Leaping Hare Press, ISBN 978-1-78240-102-5
• Ngak'chang Rinpoche (Autumn 1997), "'Wearing the Body of Visions - Peaceful, joyful and wrathful Yidams. The spiritual life of Tibet is full of the strangest beings. Here we look at what all these images mean, and how they help us reach an enlightened state.'" (PDF), Sacred Hoop Magazine, 05 (18): 20 to 24{{citation}}: CS1 maint: date and year (link)
• Ngak'chang Rinpoche (1998), "'Dimension of sound.' Words, songs and spells of power, the use of the voice in the tantric traditions of Tibet." (PDF), Sacred Hoop Magazine, 05 (20)
• Ngakpa Rinpoche; Déchen, Khandro (Spring 1996), "Tantric Psychology: Honey on the Razor's Edge", Kindred Spirit, 3 (10), Foxhole, Dartington, Totnes, Devon, TQ9 6EB, England: Kindred Spirit, ISSN 0955-7067{{citation}}: CS1 maint: date and year (link) CS1 maint: location (link)
• Niyego, Tchera (Summer 2009), "Speaking With the Ravens", NY Arts Magazine, New York, NY{{citation}}: CS1 maint: date and year (link)
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• Pamo, Ngala Nor'dzinurl (2008), Yogic song, retrieved 2008-01-22
• Rawlinson, Andrew (1998), Book of Enlightened Masters: Western Teachers in Eastern Traditions, Chicago: Open Court, p. 207, ISBN 0-8126-9310-8
• Ray, Reginald A. (2001), Secret of the Vajra World: The Tantric Buddhism of Tibet, Shambhala Publications, ISBN 978-1-57062-917-4
• Simmer-Brown, Judith (2001), Dakini's Warm Breath: The Feminine Principle in Tibetan Buddhism, Boston, Massachusetts: Shambhala Publications, ISBN 1-57062-720-7
• Smith, Kidder (October 2003), "Roaring Silence: Discovering the mind of Dzogchen", Religious Studies Review, 29 (4){{citation}}: CS1 maint: date and year (link)
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• Trungpa, Chogyam (1996), Dharma Art, University of Virginia: Shambhala, ISBN 978-1570621369
• Tongden , Ven. Ngakpa Chogyam Ogyen (1990), "The Intrinsic Spaciousness of Being: Working with Colours and Elements in Tantric Psychology", in Crook, John; Fontana, David (eds.), Space in Mind: East-West Psychology and Contemporary Buddhism (Based on a paper presented at a conference on "Eastern Approaches to Self and Mind" sponsored by the British Psychological Society , Cardiff, 1986.), Element Books, ISBN 978-1852301545
• Zhiming, Dennis Tay (2007), "Investigating the universality of primary metaphors: A perspective from Buddhism" (PDF), Linguagem em (Dis)curso, 7 (3), ISSN 1518-7632

External links

• Aro web site
• Aro Ling Buddhist Centre
• Aro Books

• Articles with peacock terms from December 2014
• Tibetan Buddhism
• Nyingma
• Dzogchen
• Ngagpa