The Gyalwang Karmapa led Guru Yoga Puja (Phakshi Ladrup) for Kunzig Shamar Rinpoche’s Mahaparinirvana.
June 13,2014. Gyuto Monastery, Dharamsala.
June 13,2014. Gyuto Monastery, Dharamsala.
(Please click for a full size zoom version of the letter).
Statement by His Holiness the 17th Gyalwang Karmapa Ogyen Trinley Dorje on the Passing of Kunzig Shamar Rinpoche, Mipham Chokyi Lodro
Until the 10th Shamarpa, the omniscient Shamarpas have been great masters respected throughout Tibet and were wise, compassionate, and powerful masters known as the “Victorious Lord of Dance” who were the life force of the Karma Kamtsang teachings. Despite a ban on the Shamarpas’ enthronement since 1792 for almost a hundred and seventy years, His Holiness the 16th Gyalwang Karmapa, in view of historical significance and for the benefit of Buddhadharma and all beings, sought consent from His Holiness the 14th Dalai Lama and enthroned his nephew as the Shamarpa, taking him under his wing for the guidance of his body, speech and mind.
However, as the folk saying goes, one may have enough merit to have a cow but not enough to get its milk. Similarly, after the Parinirvana of the Read the rest of this article
8 June 2014, Berlin
The final public activity of the Gyalwang Karmapa’s historic first trip to Europe was an encounter with young people from around the world. His Holiness is the youngest religious world leader today and fittingly, the organizers had created a program where young people were able to ask him questions directly about concerns that they had living in today’s world.
Tickets were free of charge but admission was limited to people 29 years of age and younger. The audience ranged from toddlers who were accompanied by their parents to young adults. As the hall filled up, a music video of the rap song Karmapa Khyenno played on the screens, and young volunteers draped the stage with hand-drawn flags that were created by children and sent from all over the world. Everything from handprints to aspiration prayers were displayed on the flags.
His Holiness entered the stage lightly and settled himself in an armchair. The Karmapa reached out to the audience and described himself as a “strange kind of young guy.” He explained that although he was in his twenties, he had assumed responsibilities so young in life and had such varied experiences Read the rest of this article
June 8, 2014, The Estrel Convention Center
The stage has been transformed into a radiant platform, the setting for an impressive throne of gilded, carved wood and an elegant pavilion whose four corners are marked with slender columns and brocade victory banners. Its fluted, double roofs are decorated with a frieze of Dharma wheels and banners; beneath them is the space of the main altar that holds a large Karmapa Pakshi torma flanked by two offering vases. On a brocade-covered table in front are the seven offering bowls and smaller tormas. A Japanese shoji screen is set up in front to shield His Holiness as he makes his preparations for the empowerment. Floating above this area, suspended from the ceiling is a stunning painting of Karma Pakshi, a vajra in his right hand and a dagger in the left, surrounded by the main deities of this practice, including Dorje Pakmo, Hayagriva, Rechungpa, and Mahakala. Copies of a Karma Pakshi thangka had been available for days before the initiation so people could become familiar with it.
After finishing the preparation, the Karmapa left briefly as the shrine was rearranged. He then returned to begin the empowerment and soon Read the rest of this article
Estrel Convention Center,Berlin
7th June, 2014
The programme this evening included a reflection on developing inner peace by His Holiness the 17th Karmapa and three performances from very different musical genres.
The evening began with a performance of four pieces by the celebrated Chinese dissident, Liao Yiwu. He spent four years in prison, where he was tortured and physically abused. He was finally able to escape to the West in 2011 and now lives in Berlin.
Liao used a combination of vocals, bamboo flute, wooden abacus and metal bowl-shaped temple bells to improvise. The first and last pieces were interpretations of the 17th Karmapa’s ‘Sweet Melody of Joyful Aspiration’, a long poem which His Holiness composed during his escape from Tibet to India. The first piece was a wordless composition called ‘The Song of Hope’. Liao combined the chanting and howling of ‘Ho’ associated with Chinese religious ritual, while strumming the beads of a wooden abacus, which he held like a guitar, and was accompanied by Marcus Hagerman on the cello. The second piece, called ‘The Seesaw of Breathing’ began with a melodious solo on the bamboo Read the rest of this article