am van Schaik examines the magic spells attributed to Padmasambhava in a grimoire compiled by Bari Lotsawa (1040-1112). The grimoire compiled by Bari Lotsawa (1040-1112), known for short as the Ba ri be'u 'bum, is one of the earliest and most influential of its kind. The grimoire contains hundreds of brief rituals, some of which are attributed to Indian and Tibetan figures. Alongside obscure, and perhaps non-Buddhist names such as Shivaratna, the most often cited source for these spells is Padmasambhava. This is perhaps surprising in a work by a founding figure of one of the 'new' (gsar ma) schools, although it predates the work of Nyangral Nyima Ozer and others which consolidated Padmasambhava's role in the Nyingma terma tradition. In this talk I will make a preliminary investigation of the spells attributed to Padmasambhava in the Ba ri be'u 'bum, drawing out his characterisation in the grimoire as a preeminent sorcerer and role model for Tibetan users of magical rituals.

Ben Bogin sketches a cultural history of Padmasambhava's 'Copper-Colored Mountain'. Following his sojourn in Tibet, Padmasambhava is said to have departed for the Glorious Copper-Colored Mountain (zangs mdog dpal ri), a site that he transformed into a tantric Buddhist paradise where he resides to the present day. In this talk Ben Bogin sketches a cultural history of the Copper-Colored Mountain through narratives of Padmasambhava’s journey there in the Chronicles (bka’thang) of his life, biographical accounts of travels there by treasure-revealers (gter ston) spanning from the thirteenth to the twentieth century, prayers of aspiration for rebirth there, and visual representations of the mountain and the Palace of Lotus Light at its summit.

Paul Thomas presents evidence that Indian Tantric Śaivism exerted a direct influence on Tibetan Dzogchen in the 11th and 12th centuries. As Paul Thomas argues in his recent PhD dissertation, it is probable that Indian Tantric Śaivism exerted a direct influence upon Tibetan rDzogs chen in the eleventh and twelfth centuries. In this talk he discusses two related elements of this crossover: peculiar tripartite lineage schemes, and revelation and transmission in particular cremation ground settings. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Cathy Cantwell traces the tradition of Padmasambhava in the form of Amitāyus from Guru Chowang in the 14th century. Many Nyingma tantric longevity practices are Padma-centric, e.g. the ’Chi med srog thig favoured in the Dudjom tradition, or the Padma tshe’i snying thig of the Khyentse tradition. These complex multi-layered cycles include many elements traceable to early sources, such as the Aparimitāyur-jñāna dhāraṇī widely attested in Imperial times, or Amitāyus longevity practices from the Ancient Tantra Collection (NGB). One NGB tantra, the Pooling Elixir Tantra of Immortal Lifespan (bdud rtsi 'khyil ba 'chi med tshe'i rgyud) contributed much to later Nyingma longevity practices, although not the Padma-centric vision. However, subsequent Nyingma longevity cycles are often presented in relation to the Great Guru’s accomplishment of the Vidyādhara level of deathless life (’chi med tshe’i rig ’dzin). Often the entire practice is conceived as a Guru Rinpoche cycle, with Padmasambhava and his consort Mandārava exemplifying the attainment of immortality at Māratika and appearing as Amitāyus and consort. The coalescing of Padma-centric practices no doubt has a complex history. Rather than attempt a survey, I dip into some early materials to demonstrate this orientation, with specific focus on the O rgyan Tshe dpag med traditions of Gu ru Chos dbang (1212-1270) and Ratna Gling pa (1403-1479). Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Dan Hirshberg describes the origins of the famous 'Eight Names' of Padmasambhava, and also of his fierce form as 'Guru Dragpo'. Padmasambhava earns only scattered mentions among imperial-era sources, and yet in later centuries he becomes the protagonist of a vibrant biographical tradition that would forever establish him as the catalyst for the adoption of Buddhism in Tibet. One key mode of elaborating him and his activities was through the introduction and delimitation of eight “names” (mtshan), each of which eventually becomes distinguished episodically, liturgically, and iconographically. Among them, the tiger-riding Dorjé Drolö (Rdo rje gro lod) emerged as a synthesis of tantric Buddhism, earlier devotionalism to Padmasambhava as the Fierce Guru (Gu ru drag po), and indigenous Himalayan religions. By analyzing Padmasambhava’s apotheosis through his names, this presentation seeks to shed light on the syncretism that contributed to a distinctly Tibetan Buddhism in the renaissance period. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/