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MATTHEW WILLIAM KING the subtle body of the practitioner—such as the chakras (Skr. chakra), winds (Skr. prana), channels (Skr. nadi), and drops (Skr. bindu)—arise as the principal and retinue deities, while the purified aggregates (Skr. skandha) are generated as the mandala palace. By manipulating these purified winds and drops using imagination, especially by consciously moving them up and down the central channel (Skr. avadhüti) through different chakra centers, the yogin generates varieties of bliss (Skr. sukha). She or he then endeavors to use the subtlest of those blissful mental states to meditate single pointedly on the empty nature of reality. Of interest in the following, I believe, is not only that the stone, dirt, wood, felt, and metal of the monastery and its surroundings are so transformed. It is that in these verses even the living inhabitants of that environment are flattened to already perfected roles. One of those roles is playing the part of a deity in the body mandala. Additionally, the inhabitants are also described as already fully formed subjects of Qing-Géluk sovereignty. Thus, all living beings in the landscape thus displayed and portend the enduring, even unending, stability of lay subjugation to Géluk monastic ritualism and monastic institutions tied inextricably to Khalkha Mongol subjugation to Qing imperial sovereignty. A PRAISE TO THE SACRED PLACE OF DREPUNG TRASHI TSEPEL Linc'® [388] OM! May there be auspiciousness! The environment and beings of this land were enclosed Within a great vajra fence by Mafjusri Bhairava, The single father of all the Victors (and) Renowned Ralo Dorjé,'’ wrathful and powerful, Who grinds armies of evil forces into dust. Great, glorious Drépung, an ocean of scripture and reasoning, Which arrived like a glorious crown ornament (in this land as) Példen Drépung Trashi Tsépel Ling, [This monastery] became the heart of the essential drop of the earth” here in this region. (At) the self-arisen dharmodaya”! earth foundation. In the center of the temple [like a] white lotus flower with petals, Is an assembly hall in the aspect of the tightening anthers (of a flower). This displays” the central channel together with the eight secondary channels. Tib. ‘bras spungs bkra shis tshe ‘phel gling. Tib. mthu stobs dbang phyug rje btsun rwa lo tsa ba. Tib. nor ‘dzin. Lit. “wealth bearer,” term for the earth in this realm. Skr. dharmodaya; Tib. chos ‘byung (chos kyi ‘byung gnas). The author seems to use bzhin and (as in this line) mtshon interchangeably to mean something like “exhibit,” “show,” “display,” and so forth. Wary of the Protestant biases that often inhabit the use of 142
