Puja Tune — 02 Tune of Guru Puja

Audio recorded at Buddha House Adelaide. Transcript auto-generated and AI-corrected; may contain errors.

About this talk. In this approximately four-hour teaching on the Guru Puja tune, Lama Zopa Rinpoche provides detailed instruction on how to lead and chant this core practice of the Tibetan Buddhist tradition. He opens by explaining that puja melodies are not arbitrary creations but carry the blessings of enlightened lineage masters and affect the subconscious mind during practice. Rinpoche then walks through the structure and hierarchies of a puja group, explaining the roles of the chanting master, assistant, ritual attendants, and disciplinarian. He teaches specific vocal techniques tied to different tantric college traditions—the Yamāntaka voice originating from the chest for lower tantric college and a throat-based vibration for upper tantric college—and offers practical guidance on selecting skilled chanters and maintaining group cohesion. He demonstrates the two- and three-line melodic patterns that repeat throughout the text and shows how to handle transitions between prayers, especially managing breath and maintaining unbroken vibration. The second half addresses the spiritual architecture of the Guru Puja itself: how it purifies obstacles, accumulates merit through offerings to the guru, engages the entire Lamrim path to enlightenment, and integrates the three highest yoga tantra deities. Rinpoche emphasizes that guru devotion is the foundation of all realization and offers guidance on visualizations, inner offerings, tsog (feast) offerings, and the transformative Mahāyāna thought-reversal practices woven throughout.

File metadata (for organising)

File: 02 Tune of Guru Puja.mp3

UUID: 68a5d3cf-4bea-445c-bfa9-47ff73e20e98

Teacher: Lama Zopa Rinpoche 3

Collection: Puja Tune (Lama Zopa Rinpoche 3)

Recorded at: Buddha House Adelaide

Duration: 240.8 minutes

Words: ~24,018

Which can create the condition for us to every every each individual of us are present here in this room. To actualize the two the accumulation of two two merits, merit of wisdom, merit method, and to actualize all the realization in the stages of the path up to enlightenment, which is also just to bring infinite benefit by by myself alone, you know, be become by myself I’m going to, you know, I’m going to I’m going to learn how to lead the puja, how to be omze, how to be chanting master, or how to be the great respected, you know, including Lama Omze, know, in the Tantric College, such as the Gyume Tantric College, High School Tantric College, no, Higher Tantric College, lower Tantric College, know, there is one of the most respected through the training in various ritual practice, then they become the Lama Omze, one of very high rank through your knowledge in various fields of ritual practices. Including that is for the purpose of preserving Buddhadharma, preserving the valid tradition of Buddha so that the present living human beings and the human beings are going to, you know, which human beings within this era who has karma to participate practicing Buddha Dharma may be able to enjoy all those facilities including the ritual practices.

So that s the whole reason why I am here like that, you know, so I can set up like that. Okay, so the various tune in various different pujas is not simply created by you know, created by a human being who just inspire to make their own different tunes for kind of entertainment. Know, entertainment is not like that. So the various tune in different pujas are the tune that which has the blessing bring effect of the practice which expressing through the word verbally. Then sing the prayer in the tune and that that that tune has a kind of power, kind of, you know, power, the blessing that which can affect your subconscious mind through the practice, through the prayer.

You know? So and so so those tunes those tunes that which which, you know, the various tunes that which you which which you, you know, encounter during various pujas are the tune established or created or the tune, you know, bring into life is by those respected enlightened beings. Could be Buddhas, could be Bodhisattvas, could be Aryan beings, could be great respected enlightened Gurus of our time, the great past Kadampa masters of the Tibet, or great mahasiddhas of the Indian scholars, pandits. And all those practitioners, the tune came into us through their speech is either advice directly received from the Buddhas or either it is the reflection of what you call the rhythm. Call rhythm rhythm.

And the rhythm came into them well during their meditations. During their meditations through the invocations of deities, Buddhas, then you know when they reach to when they when they recite or when they engage in the practice of you know different stages of the prayers which reflect different practices in the stages of the path. Then the rhythms appear into their heart by the guidance of the Buddhas or the deities or by the hearing of the sound of the Buddhas or the deity. They kind of based on that prayer and the Buddha or the deity make a sound, make a rhythm. So then the practitioner, you know, create the tune based on the instruction of the Buddha or the deity and into a, what do you call, in the music you have a lot of up and down, what you call, notes, you know, so create a note.

Then, you know, then like compose into a tune and come into a certain format of different tunes. But the initial composer is actually not a human being. It’s either the Buddha or either the enlightened deities or Buddhas or the deities. But many of today’s tunes that what we are doing such as Guru Puja tunes, Tārā Puja tunes, Medicine Buddha Puja Tunes, Protector Puja Tunes, and many other Puja Tuns come into our life through our enlightened Gurus. And those gurus receive the instruction or reflection during their meditation by connecting to Buddhas and deities.

So therefore the tunes are not just a simple thing. It has amazing effects, amazing reasons, and very important. Even though today’s being like me, I rather prefer rock music than Guru Puja. It’s almost like falling asleep, know. But this is like I’m following my gross mind interest.

I’m not following my subconscious interest. My interest supposed to be my subconscious, my purpose of doing prayer, subconscious interest is supposed to be gain some blessing realization based on the puja, based on the tune. But my gross mind, I want entertainment, some excitement. Many of the Guru Puja tune don’t really excite you. Especially if you don’t understand the meaning of the text, especially you you to recite in Tibetan, and you don’t know what you are reciting, and that the the rhythm is up and down and until, you know, like, you know, you know, like, not finishing, you know, carry on and on.

So feel very boring and might even fall asleep, know, so you see, but still has the greatest benefit because that kind of tune is not simply created by ordinary human beings. So that’s whole reason. So it still has a benefit. But of course if you understand the meaning, then you can reflect into chant of prayer into tune, then of course it’s marvelous. So here today in particular Guru Puja is the tune that what I practice, the tune that what our mother monastery, because normally know centers or individual practitioners we have to refer to kind of like a even a human we refer to our motherland isn’t it?

So even the practice everything we have to actually refer to our mother, we refer to our guru, root guru, then we have to refer to the root guru’s home or the monastery, you know, what kind of tune they use. So we are supposed to use that tune while following that tradition. So mother monastery, the mother of LDC is the Kopan monastery. So Kopan monastery is our Root Guru, Kyabje Lama Zopa Rinpoche, can say as a home, you can say as a mandala, you can say that that is his monastery or whatever, or his pure land, or whatever. So the Kopan Monastery, you know, what I my what I practice is the the tune that what Kopan monastery practice.

What the tune the Kopan monastery practice is the tune that what Lama Zopa Rinpoche practice. The tune that Lama Zopa Rinpoche, the Kopan monastery practice is the tradition of the who composed Liberation in the Palm of Your Hand. You know, most of the teaching, Lama Rinpoche, we in fact refer our lineage to him, through him. So say that Lamrim, Rinpoche, Kerala, gurus, their lineage of this tune is go up to Serkong Rinpoche. Song, I think So Trijang Rinpoche, then the Trijang Rinpoche, his lineage referred to Pabongka Rinpoche.

Pabongka Rinpoche is the root guru, one of the senior tutors of His Holiness the Dalai Lama, you know, one of the root guru of many of these living Kadampa masters of our time, many of our gurus like Kyabje Lama Zopa Rinpoche, like Geshe Lama Konchog, like Lama Yeshe, and many of today’s scholars, many of today’s practitioners, their Guru and Kyabje Pabongka Rinpoche. And Kyabje Pabongka Rinpoche regarded his living embodiment of Heruka. It’s, you know, it’s no doubt. You know? Yeah.

So all this sign in the living body, you have all this sign of Heruka. So it’s regarded embodiment of Heruka, living Heruka. So then his lineage go to his root guru, who composed the liberation of palm of your hand and his root guru is you know that you I think you you met Pabongka Rinpoche’s root guru was Dagpo Rinpoche, one of the previous lives. Again Pabongka Dechen Nyingpo regarded he is also is a living embodiment of. Then his guru, the they write some they write.

So I think is a is better d d a g. So called So Takri Dorje Chang regarded his living embodiment of Yamāntaka, you know, it regarded both solitary and the father mother living Yamāntaka. So all the lineage, then from there to few lineage gurus, that connect to Vajradhāra. So our our Puja tradition is like that. It’s not a simple thing, not just somebody created.

It has an unbelievable, unbroken lineage which hold by the enlightened gurus until our time like that. So this Guru Puja tune is based on the Dechog Lama Chopa, Heruka Lama Chopa’s tune, you know, so which is a reflection of the blessing, reflection of Pabongka Rinpoche. Especially in our time, maybe you can say in our time, the correction of high and low tunes are actually mostly done by Trijang Rinpoche himself. And he seriously trained this Song Rinpoche. Then our gurus, they learn from Song Rinpoche.

Such as own, I say this, Geshe Lama Konchog, he learned, he didn’t learn from Song Rinpoche, but he learned directly from Trijang Rinpoche, Trijang Rinpoche in Tibet. All the various different tunes, including the tunes and the the long, you know, the self initiations. You know, it is unbelievable, very beautiful tunes. You know? Then the extensive Heruka Guru Puja.

Heruka Guru Puja is extensive, you know, all those tunes. So he have learned directly from, what do you call this, himself. Then as for Lama Yeshe, Lama Zopa Rinpoche, he learned from Serkong Lama, Lama Zopa Rinpoche So I got chance to learn when I was when I was young, maybe around the age of eleven, twelve, you know, around that time. I got chance to learn from both Lama Yeshe. And also once a while, he corrects.

Whenever you do Guru Puja, he will correct you, you know. So I didn’t get a chance to learn in a complete set, but attended many Guru Puja with Rinpoche. So Rinpoche, you know, do correct you, so you can also regard that also in a form of learning from him, you know. So it’s like that. So so so so it’s like that.

So now so in the puja, you know, there’s a vajra master. Normally, vajra master don’t do the leading puja. Don’t don’t don’t do the omze. You know? vajra master just rest on the throne and just just enjoy the offerings and, you know, sit there, kind of assume that representing all the Buddhas.

So, anyway, so normally, you know unless like I’ve got no choice so when Vajra Master start to lead the puja it means actually not so good sign. Not really good sign. So so anyway, so then, you know, in in the puja, there’s a kind of a certain rank, you know, vajra master. Then after that, it comes the few few different categories, omze, you know, the chanting master. We don’t call just chanting leader, mean chanting master.

Chanting master. Then there’s a discipliner. Then there’s one discipliner. Then there’s assistant for disciplina. Then Omze, the standing master also got an assistant.

That’s what they they call Uchung. U is Omze the U. Chung is small so Uchung, you know, Uchung. So there’s who always sit next to the Omze, you know, so like that. Then there’s called the ritual attendants, you know, who move around, who is very busy, you know, always go up and down, make sure everything’s perfect, all right.

The vajra master’s table, if something is missing, the ritual attendant will one hundred percent get the huge scolding. So sometimes ritual master, sometimes we might encounter self upgraded ritual masters. So you actually don’t really know what sort of thing is supposed to be on your table. But all the time, ritual attendants are fortunate to have a qualified ritual masters. You know?

So sometimes ritual attendants can be more qualified than the ritual master. Yeah, it happens. You know? So anyway, if anything is missing on the table for different pujas, need different ritual items, then the blame normally don’t go to the ritual master, it will go to the ritual attendant. So whoever going to do the ritual attendant, to learn properly before becoming ritual attendant.

If any extra, it’s not good. If anything left out, also not good. So have to be exact, perfect, something like that, supposed to be. So anyway, I’m just sharing, yeah. Then during Guru Puja, it’s all offering, you know, there’s a certain time that you must stand up, you know, not too early, not too late, you know.

Then there’s an exact time that you have to get up for throwing the leftover food. Such and such. Anyway, so all this has also reasons why it involves so many activities. It all has reasons. So anyway, now today we’re supposed to tsog about Omze ritual, chanting masters.

So when we when we do puja, it’s a totally different kind of atmosphere than you are attending for the classes, normal classes. During puja, have a different atmosphere and during puja, have a different kind of system of sitting and also different system of sitting. So vajra Master would sit facing out or facing from the right to left. Then then after that, the Omze comes. So Omze Omze Omze, whether it’s new Omze, whether it’s a new Chanting Master or Chanting Master always have a certain kind of respect, maybe at least one cushion extra than at least one cushion.

Three cushion is no problem, but at least one cushion. And in the monasteries, the omze not necessarily sit in the front row. They might sit maybe three or four rows behind even, And maybe three or four rows even somewhere in the middle so that the chanting can hear by everybody. The seat is always slightly higher. Wherever the chanting master sits, the next sit must be the assistant chanting master.

And chanting master is the one who should select the assistant chanting master, not by others, not by volunteer. So the chanting master himself say, okay, My tune my my my voice is, like, quite comfortable with you, so you have to assist me to be chanting assistant. This is responsibility of chanting master, not even the vajra master. Nothing to do with the vajra master. You know?

So then then after that, you have to observe. You have to observe who are kind of very good in voice, but not so and very good in voice. The best is to select good voice and good chanting. You know? At least, let’s say, like, like forty people of gathering.

Let’s say good to select maybe at least five. Forty people gathering at least you should select five those who are good in chanting and good in voice. So you should let them sit. Let’s say, the role behind you or role next after your assistant or role behind you, the chanting master. So that will help chanting become very like a lot of vibration and also you know in very high spirit because of the the tunes are always in the voice are very like in very good condition, you know, not not high, low, you know, they all are like quite a quite a very good voice, you know.

But if you select wrong candidate, let’s say good voice, but maybe too loud, then he will spoil everything. Even the master can be so powerful but still will spoil it. So they should have a certain kind of ground rule within themselves and that have to be taken care by the chanting master, not by anybody. So chanting master have to say, okay, you are my assistant. After that, you are called kesang, means like good voice.

The the the name for the the good voice we call in Tibetan, we call kesang. Kesang is the voice. Sang means very, like, good, you know, very, very healthy. But not sweet. Yeah, supposed to be sweet also.

Very good, very good, very you know, there’s no blockage like me. I don’t know, it’s very good, you know. Good pitch. Okay. We use this one.

Good pitch. Okay. So then then after that, let’s say, forty groups doing Puja, then you it’s necessary to select at least two or three. If possible, maybe around even more is better. If not, at least three, four, five.

Those who are very good in chanting, those who remember those who already memorized many chantings, know. Even in case suddenly light go off, then the text then cannot stop the prayer, you know. It’s very inauspicious. It’s not, you you have to continue the chanting. If the, you know, puja starts seven o’clock then light go off until ten thirty then then how are we gonna do?

So we need to have at least a few people that who who don’t even need to refer to the book, who are very good in, you know, prayers. And you need to and those people not necessarily have to have a good voice, but their memory is very good in in in in the prayers. If they are good voice plus, of course, fantastic. So those called dunsang. Dun is recitation.

Sang means like would say, fluence, fluent in in very very fluent in prayers and also dunsang. So those dunsang, have to put behind or after the kesang. Know, the kesang, few kesang. Yeah? So today you learn some Tibetan words.

So now you say omze, kesang, uchung, omze, uchum, once you have these few groups with a good cooperation, how many people come to spoil the prayer also cannot spoil. But it is necessary to educate once a while to the public, you know those participants, that participants the the volume of the the voice should be only seventy percent than the chanting master. Chanting master have to be hundred percent. And the chanting master has to be one hundred percent and the assistant chanting master also has to be one hundred percent but assistant chanting master’s main responsibility is when they switch the one prayer to another prayer or one tune to another tune or when one tune kind of like stop at the time that we stop we cannot just boom, please stop. There’s a certain way to stop.

So the chanting master might not enough the breath to connect the vibration or the rhythms of chanting. So the assistant chanting master had to take the responsibility in particularly that period. Let’s say I take refuge to guru, then after that I take refuge to Buddha. Isn’t it? So my my my my breath is so short, I take refuge to guru.

So like that. And after that, you know, so they I take refuge to guru. So assistant chanting master, I take refuge to guru. I take refuge to Dharma. I take refuge to guru.

I take refuge to Buddha. You know, I take refuge to guru immediately the chanting assistant. Before, say, guru, he already, like, connect guru, then he take refuge to Buddha like that. You know? So anyway, later we will go through the text and we will know.

So anyway, assistant chanting master’s main responsibility is not the during the the the prayer that when chanting master himself can able to handle the prayer. Because if it is too loud, there is a danger of spoiling the system that the Chanting Master himself set for the duration of prayer. At the same time the assistant chanting master have to hundred percent rely on the chanting master, not by himself. Thinking that I also in assistant chanting master, know very well, I’m no different than you, then you just keep carry on chanting. It’s wrong.

The assistant chanting master one ear since you’re sitting beside of the chanting master one ear is totally alert mindful with the chanting master. You If chanting master suddenly stop, you cannot simply carry on. If chanting master try to volume low, you simply cannot just volume up. So there’s some kind of like a mutual communication between them. Not necessarily say that banging each other like that, you know, but there’s some kind of like a communication between each other of understanding when to help him to raise the voice.

Anyway, this is telling us the main responsibility is especially during the in between two different prayers and at the end and at the beginning at the end and when joined the two different prayers in between, the chanting master not in a voice, so then he have to connect if it is necessary. So so normally we give, like, say eighty percent of the loudness of the voice for the assistant chanting master and seventy percent for the public. Oh, sorry. Sorry. Eighty.

Hundred hundred ninety. Let’s say no. I think it’s a hundred percent for the chanting master, ninety percent for the assistant chanting master, eighty percent for the good voice one, then seventy percent to the public. So the public again one ear, always make sure that you are aware of the volume of the chanting master or the tune. To make sure that you are actually hearing the the the rhythms, you know, how the the chanting master chanting.

Then at the same time, you involve your, like, say, your energy to chant and use the tune, you know, So so like so with this cooperation, the prayer chanting become very beautiful. If this is just a group of five people, it will be very beautiful. If this is a group of thousands people, will be very beautiful. Otherwise, one might not know but people from hearing from the door, but including the Buddhas from the from the altar, very funny, you know, yeah, oh, yeah, like that. Then then then there always, you know, there’s a danger of, like, lost into a into a prayer.

It’s good to lost into a prayer. You you enjoy, you feel the blessing, it’s very good. But when you’re referring to the tune rhythms, it’s also kind of mindfulness meditation. So you also have to be careful not to just be yourself alone in your way of tune. One person’s tune can spoil everybody’s of the feel of cooperation in the tune.

So these are the ground of precepts. So so individual have to remember. You know? For the public, individual have to remember. It is it’s good for you, but it’s not kind of rule that, you know, say, oh, if you do this, you’re wrong.

If you don’t do this, you’re right. Nothing pressure there. But it’s it’s once you once you have some kind of mindset, it’s quite nice, quite good. You know? But if you take this as like, wow.

So much rule in Puja. Oh, this and then then then pressure is not right to think that way. So since I have to say, I have no choice. I have to say all this, isn’t it? Since I have to talk about tune, I have to say this, yeah, but cannot feel pressure when you come to Puja.

You just happily, you know? But keep this in mind. It’s quite beneficial. Okay? So now whenever you okay.

One day, every one of you will become chanting master. Maybe you know might lead to lead the pujas. So when you lead the puja, the tune and the voice, strength of voice, there’s various places. For the lower and the tradition of lower country college, the voice should come from the heart here, at the chest, somewhere here, above heart, around the chest. Somewhere somewhere here.

And the voice is regarded called Yamāntaka’s voice. Yama. Yama. The the moment, you know, you engage into a puja’s prayers, you are in a kind of self generational Yamāntaka, and you are voicing out the Yamāntaka’s wrathful voice to subdue the yama. So the the the name of the voice called the the yama’s voice.

So it comes from the chase here. So anyway, it sounds very but once you are trained well, actually, it sounds quite nice also, especially in the corporate corporate, but normally, we don’t do. So even when chanting is like the you know, you have to be beat up like that. I don’t Last time, we were. Right?

So then the upper tantric college, there’s only two two college. We follow the the the kind of tune. Upper tantric college, the voice should come from here. What do call this one? Throat.

Yeah. Throat. The vibration that you have to bring through your this one. So if you have this big, that means that your voice should be quite quite good. Trachea.

Tranchia. Vocal cord. Vocal cord. Okay. So the voice should come from here.

So this one is like, oh. That one, you know, is very, very nice one. Yeah. So, oh. Like like that.

So all the chanting have to come like this. So some Puja is quite nice. You know? After it the texture, the meat the tendons. We tie a string.

Tendons. Put in out. Tendons. Tendons. Put put string.

Tendons. So solo. Take out. Solo. Yeah.

We also do that. But anyway, it’s close to to make I don’t know. So so that is one of the solution. But anyway, I think maybe not so relevant to this time. Then the best place to practice is to practice at the riverside where there’s a waterfall, where there’s a river or where there’s a very strong wind especially for both the the the different tune, but especially for this.

You know? So sometimes it helps when you use your hand like this. So you see in the monasteries, you you use hand like this. You know, once you start, then then it it it just naturally follows. You know?

So then you raise your hand like this. Okay. Now comes the the the lower time you call it. So so you can see immediately the the sound go here. So once you express around here, then there’s a kind of like vibration like thunder like that.

So the the other one is from up there. So anyway, the best place to practice is river or waterfall and where there is strong wind or in the jungle. Is nobody, you know. Like this. So I used to feel very good to practice in toilet.

So, you know, anytime you go in the toilet, go in there, you you just you just be yourself and go here and there, you know, so it’s good. So when you practice this one, you sometimes you might mistaken like practicing oh, oh, oh, so even though the sound component is not right. So you have to bring from here. Big trouble. Okay.

Alright. The person who just. Okay. Sorry. Sorry.

So I think I better clarify this first. Yeah. So for for because in the past, the the both Tantric College are only men’s. So for the ladies, it’s always good to use the lineage of the Namgyal Monastery of the Potala. Namgyal Monastery is from Dalai Lama’s monastery, the Potala lineage.

That one is like, normally we are not trained into this kind of tune, we are actually reusing those common the Namgyal tune. Like, we call rangdra means like your natural voice. Rangdra means your natural voice. Or that is called natural voice. Namjyal monastery, use this one.

The nuns and the ladies, go to use your own natural voice and try to use your lady voice. So I encountered a few times that lady I think they try to make a main voice so it doesn’t sound good you know. So why is it so it is not so so not so nice. So lady should use natural lady voice and very sweet. Very sweet.

Know? So anyway, I’m just just just just saying what how different but we we are we we better use our own natural voice, you know, I think because but those who can, then you can you can use. Yeah. But but when you use these these two different voice, especially the the the upper tantric college lineage, Either you you you kind of like make a rule yourself that make a kind of system to yourself that you only will use when you when you the the starting one starting one words. You know.

Otherwise, you try to use for two, three line, then you there’s no helper around and you’re tired, then you stop in no lines. So you use the starting and the ending. Like, So it’s starting and ending. Two two. So it’s so it’s so it can use anywhere.

So but don’t like, sometimes use this one, sometimes you you know? It’s not so nice. So just studying. If any of the men’s, you like to lead that push up like this after but after you train. So oh, then again, before I go into this, whenever when you lead puja, immediately cannot, like, cannot do like not like that.

No. First, you have to like because a studying kind of way All the time nice to nice to add to this this kind of a studying kind of vibration. Then if you want to make the refuge prayer fast, then you may. You wanna make slow. Like that.

So like this. So, again, I forgot to mention one thing. For the public, we only should recite only after one one after what do call it? You know, that’s four lines, isn’t it? Omze will recite the first line.

The moment Omzhe catch the second line, that’s the time that we public have to catch from there. The Omzhe stop like Dola, Penje, Sanjay, Dobar, Shock, we also have to stop. But Omzhe, the Chanting Master, have to continue a little bit. Starting time If you are repeating from the true repetition, you don’t have to use all like that because you already use at the at the end. You don’t have to use double on the beginning.

So must use for the first time at the beginning, must use for the first time at the at the ending. But if you are repeating three times, the two second repeating, the ending part you need to stretch, but the starting part, you no need to stretch immediately you can recite the prayer. So you just look at me. So the prayer whether you want to recite fast or slow is depend on the first leading chanting master so we have to depend on the chanting master whether he is the one that will control the time who control the prayer so if he is reciting fast we have to follow him if he is reciting slow we also have to follow follow slow So if we if we are using this tune, so then like, oh. So when when I do like this means public together.

Yeah? When I stop means then only the. So the this one, there is a smile, then cannot come. So so again, second noun, you can again use the same big voice or you can still continue to use a normal voice. So it’s again choice because it doesn’t make much awkward if if you are, you know, using this this loud the the the the the upper country college, the tune tradition.

So we do one more on it. So always, like, good to sit like that. Otherwise, the tune don’t don’t really come nice. Sit like that. Yeah.

Every second time, not necessary. Yours is like a strong stretch. Lead only leading only leading first time. Second time, you have to follow the same. The boy made you prepare like that.

So you see just now, like, in between, like, a chalk stuck. So the assistant on the have to make sure that, you know, the public without notice we we have to make sure the public not notice that actually the chanting master chalk. Chalk. Chalk. You know?

So or something happened or solo saliva or whatever. You know? So so the assistant OMJ have to be, like, the full force of mindfulness that make sure that, you know, that the tune is like one person is chanting. Like that. So okay.

So otherwise, in our normal normal way, again, the same way of leading. Oh, like that. Very nice. Oh. So let the Chanting master have his own time or her own time.

You see? So there’s no actually the vibration and no break. So if if if the if the line is too long, cannot handle, assist and OMJ have to have it. Then OMJ have to come back, When come back, naturally, you know, burn them down. When the when the also cannot immediately just stop also.

You have to kind of, make sense that it’s actually I need to rest. So when I’m slowed it down, so it’s just the assistant naturally have to take over. So so the especially in between, you have to connect. There there shouldn’t be a break of vibration. So For the omze, in order to, you know, lead with a full a full energy and vibration of the second prayer, omze must have a kind of rest in between.

Otherwise, the the this you know, that it’s so long to stretch the breath. You see? So the assistant have to help in this between. Normal tune or anything like that. So, anyway, we better go here.

Otherwise, we’ll last until tomorrow morning. Yes. No. No. I have to finish.

I have to wait for the to to yeah. After the so I I do this is, like, all public together. Yeah? This means only. Okay now now now I got it It is not necessary that we must follow, from the second line.

You know, at least we can follow from the half of the half half of the first line. But we we, we how to say? At least half that led the Omze to Chan, you know, two or three is no no there’s no such kind of rule or fix, you know, because the Onge will will kind of, like, like, like, will naturally we will feel that he’s, like actually hand over to all over the public to recite. So you see, it makes sound it makes sense. Is it?

Like that. No. And all like that. Yeah. So it it makes it.

If the if the go, then you can you can catch from the second time or from the second line. But if the Omze. Like that. You see? So so like that. Okay.

So I will just go I will also do a very little, very, very extremely brief ex extremely brief kind of little explanation, little you know, extremely. You know? So let’s say that you can also look at the page five page five, the purpose of doing Guru Puja. So so you see? So Guru Puja, you know, the whole complete practice, you know, divided into few important section important kind of categories.

The first involved the purifying obstacles. Second one involved the creating extensive merit. Third one involved the extensive Guru Devotion practice, Guru Yoga practice. Then after that, the very special qualities of the Guru Puja practice is to engage in the either extensive or at least gleam meditation in Lamrim. So those are the practice which you know contains within the Guru Puja practice.

So here as I stated that first, first we need to do the preliminary practice of purifying obstacles, know obscurations, negative karmas you know, which is contained within the Guru Puja. So there’s a purification when one takes refuge, which is in LC three, that, you know, when we take the refuge also already started the practice of purification. Purification is not only start when we do the Vajrasattva practice or when we do prostration. The moment you start the practice of refuge, it’s engaged in the practice of purification and also engaged in the practice of accumulation of merit. Before going into before going into l c three, as as for the puja, we we start with l c l c two, you know, Lama Chopa LC two.

So the tune when we recite listen. Oh, so you just have to you know, you can also mark yourself on the on the on the book. So then maybe let’s see. I don’t I don’t know. Maybe later we can discuss whether you want to use this the book, you know, carry home.

And whenever you come for Guru Puja, you can use your own this book. It’s possible, you know, if you want to not tune up and down the notes if you want to use, maybe you can use. So this. So whoever wants to become Omze, so you have to focus on particularly when the leading part. Like that.

So this for the four line is a is a two lines tune, you know, so it’s a repetition every after two line. So so once once if you’re not sure as long as, you know, once know how to just lead the leading part for the onze. So like this. So you can you can you can you can look at me. So this one, you don’t even have to refer to the text, know.

This is a general. Public can, you know, start. So it’s a. So after after four line I wanna say after four syllables you call syllables. After four syllables, then the public involved.

So so even like, today, we’re just doing this. It also benefits because next time when you come to Puja, somehow there’s some imprint there. You know? So then slowly, it will be don’t expect that today, you can able to lead all the tune by yourself without you know? So it’s okay.

So so like that. Okay? So I think we have to go like this otherwise. So here, as you too, those of you who have a highest yoga tantra initiation, then you have to it’s most beneficial to arise yourself as a deity, so you have to do the self generation, either Yamāntaka, either Heruka, either Guhyasamāja, or either know, Cittamani Tārā, or any form of a Highest Yoga tantric deities. So through the you know, by the base understanding of emptiness, you know, and with the right motivation of bodhicitta, you know, which is to benefit numberless beings and engage into the extensive purification in the causal stage, means like now, even though we are self generated as a deity, but we are still in the causal stage, we are not yet really become Buddha.

For causal stage, we are in the deity form, isn’t it? So for for this with the emptiness base and with the right bodhicitta motivation, then ones have arise as a deity. And those who don’t have highest yoga tantra initiation are not permitted to arise as a deity. So what you do is you visualize any form of Buddha Śākyamūni, Guru Śākyamūni or your Guru on top of your crown you know, and surrounded by all the ten direction Buddhas, and not facing out, facing in, you know, all are facing all are looking towards you in the form of merit field. There will be a section that where you visualize merit field, but from very beginning, you you you think of your guru, think of Buddha, all in front of you facing towards you, surrounded by entire Buddha’s Bodhisattvas, you know, of the ten directions.

Then in front of them, then you engage into taking a refuge. So then it comes first. So it comes the l c three. So when you when you did the l c three, Okay, so now here this one is a three repetition So if you are going to lead the chanting then you have to take care of this that first two repetitions, you don’t have to stretch. You can immediately connect to the first line like like this.

Like that. So last repetition you have to you have to use this okay There’s a lot of vibrations. Like that. So I will do one time. So it’s it’s the same exactly the same.

Oh, this study. Yes. Yes. Every section. Okay.

Now here, I would. Did I stop? Didn’t stop, isn’t it? So all the voice and coming from here. All from here.

It comes from here. It’s a very strange one. It comes from here also, so it has to come from here. So then you can adjust the rhythm naturally. So Okay.

This part. So usually today as long as we know this part then very good. So you have to connect every single paragraph. You have to connect the the the vibration. So it’s like that.

So very easy. So then so there’s a then after that, you know, it it comes the seven limb. There’s a seven limb practice and which contain the confession in particular, which is, you know, page you know, which is l c thirty eight. And also one can practice Vajrasattva Vajrasattva or Samaya vajra, the confession to the thirty five Buddhas, or any form of the purification practice. So one can also do the four initiations.

The initiate the vast in four initiations, like vase initiation, what do you call the vase initiation? What do you call? Initiation, wisdom initiation. The the second one is what? Second one.

Anybody remember? The four initiation. The first one is vase initiation. Four one. Word initiations.

Vase initiation, secret initiation, word initiation, initiation. Yeah. Yeah. So it’s all in the in the form of practice of purification practice. Yeah?

So, you know, taking before initiations and and also the practice of both common and common, which is in the acid m fifty four. Then after that So then after that, you know, between also involve the the the the taking the the tantric vows. You know, one can purify not only broken a broken, but, you know, by taking by retaking, one can able to, you know, regain, you know, the extra benefit of those vows blessing. So so during the Gurupujya practice, you know, if one even in case one have broken such as the Bodhisattva vows, then, you know, by engaging the Guru Puja practice, one can able to revive. Then the Vadimusha valve, which is much more heavier and a hundred thousand times heavier as mentioned in the text, a hundred thousand times heavier than the the Bodhisattva vows By retaking by doing this Guru Puja practice, one can able to revive all those broken vows.

Then tantric vows, again, much more heavier, hundred thousand times than the Buddhist vows. Similar, one can able to revive those broken vows. So through that, one can able to actualize immense of purification and also, you know, gain immense of merit. So like that. So then so after that, you know, all those practices contained within this from the, you know, page fourteen now.

Page fourteen s c four. Oh, sorry. Page twelve before immeasurable thoughts. So for imaginable thoughts, also has a different tunes, but here, most of time, you know, we can do the, the short form. So that is All the time So you see so the connection, as long as you remember the connection.

That. So now go to page fourteen, s c four. So muscle check. Muscle check. Muscle muscle So s e four is a is a similar So this l c four and l c five, l c six.

Also, can do I mean, there’s a few versions of our tunes, so we can do the short one. So the So if you are doing three times, then you can repeat. Then after that, generating special bodhicitta. So here, this word, you know, recite like instead of, like, breaking up three portions, you have to recite one one one So then after that so after that, then once they arise the solitary or you know, mostly, they arise solitary. But if you are practitioner, you can recite it.

You can arise as, again, as a. You know, before the self generation dissolve into empty, and from the empty, again, arise as a deity. This is in particularly to to make the the to bless the inner offering. So when you recite, So whenever they recite even in a particular puja or many of the other prayers, you will you will see this this verse. When you recite this, you have to recite very slowly, especially, you know, those who understand them can generate the emptiness, you know, know, thing of emptiness meanings meaning on emptiness, then gradually, you know, arise as a self generation of the deity.

So then now comes l c one. So something like that. So this one, if you’re too slow, sometimes the tune not so good. Too fast also not so good. So it’s like you have to be in middle.

So if you have an inner offering, if you have a inner offering so normally, in the in the in the pujas, normally, the inner offering in the in the monastery’s life, only the vajra master or normally the vajra master only does the inner offering, you know, represent everybody. So I but nowadays I see, you know, many places, every everybody they do. So it’s it’s it’s okay. It’s it’s okay. You can bring your own inner offering in front of you and you can do.

I think the West, in many of the centers, I saw people are doing that. But as long as you know exactly how to do, when to do, then you can practice. But if you are not sure, better maybe just be simple. It’s nicer. So if if you have an inner offering, so then you always use left hand.

The inner offering always offered by the left hand. You know? So so it’s a. So, normally, it’s like you you you you dip the ring finger into a the neck of ball. After that, you know, you you just in front of around your forehead.

Like that. So yeah. So, anyway, I think the the symbol, I think I will do, class other time. So, anyway, today, I think, it would take a lot of time. Yeah?

So better don’t do this. So, anyway, just here, so when you, you offer the nectar. So offering nectar like Then after that, you have to use the symbol. So symbol next time, there’s a very clear sign, the symbol sign. So if you have a trumpet, you also use trumpet.

If you have a conch shell, you can use conch shell. Vajan bell, ḍamaru, drum, and, guru puja, we don’t use the big symbol, the the the big one. Normally, we use for protector, there’s a two type of symbol. One is called bup. Boop is a very big We use protector.

That one, normally, we don’t use for Tārā Puja. Don’t use for Guru Puja. Medicine Buddha Puja, we don’t use. Only use for protector Pujas. But then other one is called silnyen silnyen, very flat flat one.

So that one is in fact supposed to use. It’s a need to use, supposed to. All these ritual implements has an individual significance of driving the blessing of the Buddha. It’s kind of the moment you play the symbol, it drives the Buddhas or the deities or in particular related to Guru Puja, then Guru Śākyamūni or the deities drive their attention to us. We are providing ring for them to hook us, providing ring.

Of course the rituals, the prayers are one of the very important things, but ritual implement has a very important role. If one is not complete, also it has some kind of incomplete. That’s why at the end we have to do confession. Is there any incomplete? Then please forgive me.

So all sorts of prayers. So that means you know? So incomplete, then, again, puja I mean, power is, you know, is slower, lesser. So so this this this text so, anyway, I think what do you do, you know, the CD, maybe in the library, maybe in future, maybe get, like, what do call them? The earphone.

You put the CD player, then so anybody want to come and learn without disturbing other, they can, you know, put on the ear earphone. Like we go to the different library and put earphone so so can learn, you know. It was like this is actually is no way we can we can learn the tune, especially the first timers. No way. But still we leave some imprint and normally, kind of like you receive the tradition of the Guru Puja tune.

For that purpose we somehow force ourselves to get together. So do you think we will learn this way? No. You have to continue practice. Otherwise, it’s not easy.

It’s it’s it’s not easy. You know? So what you do is after I did this so even the the the the CD, my first motivation, my my initial motivation is to keep in the library. It’s nothing about CD selling. It’s nothing.

My my initial motivation, I want to I feel it’s so important. The pujas, you know the pujas are so important, it has so much benefit and we are doing the pujas. There’s no, some are like overwhelmed with the music, You know, so many music. There’s Guru Puja CDs, some are like too much music, so you can’t hear properly the tune. Some are the tunes are not really clear.

Some are the chanting together with so many other sanghas, you also can’t hear properly. So I try my best, it’s still not the best, but I try my best to actually chant by myself alone and try to not to use all the symbols, just use bell and vajra so that it’s kind of sound that is must use of symbol, but not necessarily all the chingchang chingchang, you know. You see? So so my my initial purpose is for that. But, you know, it’s due to my karma, it it turned out to be, you know, like, if when fly up to Dushita, when when I went down to the the the vajra, wherever, wherever, so then then then come come come circle here.

So so then after that, it become like cells. So anyway, it it is our karma also. It is our karma. So my initial wish is just record. I even didn’t think of printing, you know, whatever.

So put in the library, people can learn, you know, putting, you know. Because, you know, and those pujas, in fact, you’re putting for sale, I don’t think people will buy, you know. This is like our traditional, you know, FPMT family puja. You know if I want to sell I rather sing you know make a mantra sing song people will show by. Put a lot of music and sing song just play one mantra.

Guru Puja I think I put I think how many days? I think many hours each day or eight, five six hours, you know, just to record and I recorded in a butcher’s room up there, in a butcher’s room. So so the purpose is that hopefully that people will learn from there, you know, and and I also slowly forget, you know, so for not to forget well fresh so that record so that people can my intention is that hopefully people can learn and it’s a kind of complete sequence at least the tunes are not damaged on not not you know and based on that tune if the time is very limited for Puja you can make faster like like this one normally like like that so today is you’re giving only one hour for Guru Puja but you still want to use the tune but the tune the system is still the same the only thing is that you stretch faster and lower. You know? So like that.

So once you you learn one rhythm, after that, you are, like, familiar how to how to manage yourself. You know? It’s just like that. K? So I’m not asking I’m not requesting immediately to do.

So when everybody’s come out ripen, so hopefully one day we have one place where people can but otherwise, it’s very disturbing, you know, so people can just it’s it’s it’s kind of like a part of library. So I can put I I saw some of the library here. You go there and you learn all you you you hear all the music, you know, like that, you know, So it’s you look at your Guru Puja text. Then after that, you practice, you re replay again, again, again in one tune, and then so it’s quite good. Okay.

Then after that, go to l c what’s it? Page sixteen, l c nine. So l c nine to l c fourteen is the same tune. So as long as you know the first two line tune, then it’s same. So that’s a so the leading, like this.

Like that. So it’s it’s it’s it’s a symbol. So, anyway, just do that. So now l c sixteen, page eighteen. So this is it’s it’s it’s a different tune.

So, again, l c sixteen, l c fifteen is the same tune. So now this leading is like this So you see here do so I not enough breath I was unable to connect the next one so assistant have to take care of this one that part. So if if if you know so assistant have to be very mindful. I see. Yeah.

So so so my breath is finishing. Yeah. So then the assistant on the sure. So cannot assist them suddenly. Sure.

Cannot go like that. But the tune supposed to go down. Yeah. So so then the okay now here this this vibration here, all the time, it cannot then it’s like, oh, like, you become your own world and all. Like so this is is not not not is not supposed, but there is a certain time that have to make that.

So I don’t have the the actual the scripture that which actually put all the, what you call, the notes or up and down, you know, when the rhythm, they they have their own note. When you go to learn music, I’m sure something like that, isn’t it? So sudden time, oh, it it need. Sudden time, you have to be flat. All the time.

Then then then also also good. So sometimes in Puja, I also can hear some some are like, oh, and they they they just dissolve into their own okay so so that’s why it’s necessary to to practice carefully so that you can know when have to be vibration vibrate, when have to be flat so that the tune become very good. So the LC seventeen is a mantra now. Oh, again same leading, you see? Every time same.

So when you recite like you know it has always like a like a extra voice out So whenever there’s a simple sign and it’s it’s the best is to use the simple sign when reached to the half of the last last line. I don’t I I I don’t know. Some at the middle. Not too early, not too very last, but around at the middle. Say, So so then now go to s c twenty.

Oh, okay. S c eighteen. So the the prostration. So then here, it involved the three practice. Those who have a high sukkatantra initiation, then one of the very, very important practice, almost like the body practice of the the high school tantric teach practice in particularly to Guhyasamāja and Heruka and Vajrayoginī practitioners.

You know? So the prostration to the guru as a in a sambhogakaya, to the guru as a nimmanakaya, prostration to the guru as a dharmakaya. So the you know, what’s it? Especially the guru in deity and making this puja is even more powerful. So the tune is so anyway, today is about tune.

So so this one is a is a is a fast. There’s a various tune. And I mean, what’s it? It’s a slow and fast tune, but this is like medium is is is is nicer. So you see, this prayer actually is a continuum because of the English kind of, like, you know, put the meaning of what are the prayers.

So that’s why it breaks actually from the l c eighteen to l c twenty two is is a is a one one straight. You cannot have a break in between. It’s a one straight. So it’s not like that. Oh, so this one is don’t see any kind of, like, the preparation.

You don’t see the It’s a kind of like a flat, but it’s like very, very clear, you know, but it has a, you know, like up and down, you know. It’s it’s very nice. So once everybody come together, well, it’s you can fly. You know?

So then I’ll go to so then l c twenty two when you end. So the ending part like Yeah. So everybody. Page twenty two. Before stopping, So they’re always like louder.

Like, they act like very old man. Like that. So it’s like it has a like, has his own kind of character. Has his own character. So is always expressed in this this way.

You know? The So then now it comes the offering the offering the eight offerings. You know? So now from l c twenty three to l c thirty one, again, same tune. One tune.

So, again, it has its its own special tune. So now this one Okay. You say you see the difference now. As long as you we know these two, then all are same. So this the second line, and, you know, I have to pause at the and I have pause at the.

When you lead, or, like, very confident like that. Like that. So, again, it’s a two two words tune. So if you want to do faster, then something like that. So then here, l c thirty, they put, you know, all the different symbols.

So here, normally, only ring the bell and what is it? Ring only bell. Ring only bell. So the actual the bell, the model, all the symbol only ring at the l c thirty one. So l c thirty is only bell.

And also l c thirty l c thirty one have to connect. It’s one one one stretch. So so and I I don’t So so by by then, it’s the actually, the the the voice, the tune is actually much more thinner than before and much more higher than before. So it’s quite bit like kind of screaming. So since already thin, so everybody have to support to continue it.

Otherwise, sudden, then after that, uh-huh. So it doesn’t sound it don’t sound nice. Know? So we have to continue to support, you know, until how thin it goes, how much is the effort that you need to put, continue until end. Or if we know that, oh, I don’t think this group can manage such a high and thin tune.

From very beginning, have to the onze, the chanting master, have to hold back. Always gonna go. And a bit bit bit bit, you know. So so like that. Okay.

So then after the Mandala offering, so Mandala offering, we know. Mandala offering is also very necessary the tune. Because it’s because, you know, if if too slow, also is like, oh, It’s too too slow. You know? It’s like, oh, too slow.

So but when it’s starting time, but then at the on the second word, then you try to make make make fast make slightly faster. So then it’s just nice. So first is like, Like that. Then the at the end of the mandala. So if you are reciting the normal mandala, then and or like that.

So during the mandala, can recite. So here in namachapa you have to use the Heruka Lama Chopa’s the tune I c thirty two So this mandala tune, if you can sing, if you can learn, it’s very beautiful. So while reciting this, then you can visualize, you know, entire, you know, the the visualization of mandala. Know? It’s very good.

Here. So this one, know, the leading part. Once the chanting master lead the wrong, then whoever come and rescue also cannot rescue this tune. So this one is the up to the chanting master have to one chanting master is correct. Even how the other people, you know, go wrong way also is still able to bring back.

It’s very complicated. So it’s like from from very beginning, you know, so let the Chinese master handle at least one line so that it’s easier. Oh. So this very, like, mild, like, The third line? Third line, isn’t it?

Fourth line. Oh, now I miss miss out. Yeah. So here, especially the leading part, and especially on this have to be very, very good. Oh, so this one is, like, totally, you know, different than any of the other term.

And in fact, they show Lam Chopa. The Heruka Lam Chopa tune is very famous from because of this tune. It’s it’s it’s from this one. So this one, after training many, many times, you can really you really feel like you’re flying. You know?

You can feel like that. But, yeah, something like that. As I mentioned earlier, today’s time maybe feel sleepy. Yeah. I don’t know.

Anyway. Oh. Oh. So even there’s a voice there, but it has a way. So so it can be slightly down here.

Okay. Here. Right here. They have to do that. So so you have to have to handle it somewhere here.

I also don’t know. So anyway, so then after this You can also recite that or you can Okay. Now here. Okay. Go to page thirty.

Faster. Faster. L c thirty three. So again here, l c thirty three to l c thirty seven is the same tune. And also, it’s a continuing one.

So here. Something like that Okay. So when it comes to LC34, if you are holding nectar, then you have to hold like this. When yeah. The first nothing.

So it’s inner offering. When the inner offering comes, so this is the practice of the different offering. Inner offering, secret offering, such as offering, offering of the medicine and service. Yeah? So we well, how will you do?

You have to you have to hold like like like this. This is symbolize the tree the the the the skull, you know, the stent. So you you hold like this. Something like that. So so you have to hold in just above your forehead.

The last one. From the second second last, you dip the ring finger in left right left ring finger into the the nectar. K. The last. So something like that.

So so like that. So so Yeah. Which call you actually The the last actually, thirty four, the the last word. The the last what’s it? The purified, transformed, and increased into oceans of nectar.

The the last word, It’s actually, here is a. It’s actually it’s all fine. But in the the translation, I don’t know. It says something else. Like that.

Okay. Then after that, you put down. Then go to the Buddhist vowel. So this one, I don’t know when you will recite. Here is actually, it’s supposed to put is a ordinary word normally in the in the insertion of the tantric name.

You know? So the tantric name is expressed with a respect called so that you need to put your name. So normally, if you you don’t recite the name in the in the public, the especially the chanting master is will not say his name loudly, isn’t it? So we have to say, so in our Puja, I all the time see this here, you know, we have a problem is is ordinary. So normally in the Tantric so I don’t I don’t know why they came here like that.

So then so okay. So the way of recitation this one because it’s like so many letters connect. We don’t know where to stop. Go to Samaya vajra practice. So you can decide the the the the the refuge Vajrasattva.

It’s up to you. If not, otherwise, just do the Vajrasattva practice. So then after that, it comes to l c thirty eight. So here, we have to reflect on, four four opening powers, you know, for purification. So again, this tune is actually supposed to make you feel kind of bit set because of your regret of doing all the negative karma, negative action in the past.

And at the same time, there’s some inspiration that, you know, inspire to to to accumulate merit and with the remembrance of a guru, you know, especially here. Is it confessing in nonvirtual involve the power, then rejoicing in virtue, then slightly like, you know, that you are your heartbeat lifted. You know, when when the tune is the same tune, the the the the the kind of how to say? The effect in your heart, you you you you build up a bit more and more, you know, then then requesting to turn the wheel of dharma, then you are, like, requesting guru to turn the wheel of dharma, then requesting guru to remain. Then when you especially, you know, requesting guru to remain at that time, you know, sometime, like, you you until, you know, getting to tear, you know, like, you know, you remember his kindness, you know.

You know, like like, it’s kind of like come it’s like how to say? You just see guru, like, you know, like, without any choice, you know, he’s just coming in front of you and re re remember naturally all his kindness, then then you are so much inspired, you know, then it’s it’s like so much the strong kind of expression of your gratitude to your guru. Remember me his kindness and inspire you to practice purely, practice hardness, all these things. So then after that, then you can start to offer mandala, you know, because you’re asking a guru to remain or you get in in this program, you can offer mandala for guru to turn the wheel of dharma. Then after that, you you take the mandala down.

Then again, you offer mandala the guru to remain. You know? So this section regarded one of the most powerful guru long life guru puja long life puja for guru. So this section regarded very, very important for for you. Whenever you do guru puja, you’re all the time doing long life puja for your guru.

So the tune supposed to be, you know, like touching until, like, you know, you can change the tear. So like this. So even, like, you know, that the charging muscle also, like, beat before it’s a stretch like that, isn’t it? Mhmm. So it’s kind of so proud like that.

Now it’s like, oh, a little bit like that. Little bit. Yeah. That’s alright. So it’s like, you you can do I also a little bit, know, whatever.

So So here try to have more vibration like that so until you shake the tear out Something like that. So I think when you go to So, yeah, it’s like if you’re a guru, you know, like already already went to Pure Land, for the nirvana, that whatever, you know, So then it’s like, you know, like you like reflect all his kindness about you, know. So especially then you’re kind of like, you know, like your desperate is present in front of you right now. Your guru is still alive, but you are like holding his feet and please don’t leave me alone. Please you have to remain with me, you know.

So so you you all these thoughts come, all the guru devotion, the affection from you to guru, you know, comes here. So then, you know, then the tune become very thin, you know, go up, you know, your spirit also, like, somewhere up there, you know. So it’s like so you have to involve in the tune and and the meaning and everything. So then it make So then after that, dedicate. Then suddenly, like, tune slightly change.

Oh, this is dedication, but here again, you remember the guru’s, you know, kindness of three times, you know, who you are today, you know, bit of, like, merit, bit of fortune, bit of, like, you know, this karma is all due to the kindness of guru in the past, know. Whatever you are today is due to his kindness, you know. What you’re going to be next also due to, know, you know, your enlightenment is due to his kindness, you know. So it’s requesting from sensitive to your heart that may never be separated from my guru for ever lifetime until enlightenment. So like so so here, like, the tune will become very thin.

The voice become very thin because the thinness and the strength of the you know, thinness of the voice kind of like like like kind of like a how to say? All the veins and your heart chakra channels and all the brains or every single corner, you know, it’s like kind of the opening. You know? Make you make you be sensible. You know?

So it’s like push to make you oh, don’t be stubborn. You’re sensible like that. So so yes. Yeah. Yeah.

Then okay. At page forty eight. So during our when you do this mandala offing, do the normal Then after that nine line prayer to. Also part of mandala offing, but here, Go to page fifty four. Until from the from the LC forty three up to LC fifty two is the same same same tune.

So it’s it is very easy. So this one is faster, it’s nicer. Like, you know, faster, nicer. If you slow, then not so nice. Something like that.

So then now go to page fifty six, LC fifty three. So this that have to, you know, on a two to one, two, and have to reset three times. The first two Do the faster one like So when you reset this one have to be have to be more forceful So here, actually the two word have to be one one stretch one stretch one stretch like that. So I have to put one two three four just a four almost like four line like that. One four long line.

Something like that. Then the the long term is so maybe not. So here so again, have to express that, you know, the guru. It doesn’t matter whether guru is enlightened or not enlightened, for your own benefit or for your own enlightenment, just, you know, request guru to see from your heart, you know, look what’s it? You know, you you you see guru in the you know, inseparable from Buddha, deity, dhaka, dhakini.

You know, guru is like oneness with the dhaka, dhakini, buddhas. So with that, then you make a request LC fifty four. So then LC fifty four here especially purify the four obstacles and actualize the four empowerment, the empowerment initiations. So then I regarded one of the very special Guru Yoga practice to receive, you know, immense of benefit. So the tune is like so here this one you see last word so he said the last word have to stretch so the last word have to bring to the beginning of the end the second line Okay.

The last word have to bring to the the first last word have to bring to the beginning of the second line. Okay. So, again, when we recite the mantra, like the om. So the mantra, you have to sound bit louder. When resentment, all have to be like boom, boom, boom, like that.

So so like that. You know, aum, a, guru, vajra. You know? Aum, a, home, a, home, home, a, Then the dedication page sixty. So, again, so every time lead with So something like that.

So then other than to go to the page sixty two, l c fifty five, the the transformation of the offerings. Beautiful. And then for here. Then the symbol or the symbols. The after that go to a l c fifty six.

So here, this mantra is is a is a kind of mantra. So faster is better. Faster is better, but with the force. So the leader. So then it comes to l c fifty eight.

Om. Om. You know? That is so So then the way that this l c sixteen and the way that the chamber door or more so they have to do slowly Then after that then invocation So if this is using for long life puja, life puja there’s some few addition. So next time when you know those lamas that who deserve to have long life puja, Oh, sorry.

I mean, deserves to have a long life puja. Sorry. So if we are offering long life puja, long life puja for another gurus who visit here. So then the the chanting master now, you know, have to have to have to have to do the all the chantings. Yeah?

Because I I I have to I have my jobs standing up here and there. So so so so so like this. So after this invocation, then the Guinness comes. So after this invocation so well, this import by in this invoke but before input this invocation, Dakinis have to be perfect ready, especially the the puja, the assistant, or or especially appointed for the during that time for the Dakinis have to be ready, hidden outside somewhere else in the pure land or wherever, in the kitchen or whatever. So so then so by then, when when we recite this one, the instead of facing to the the vajra master or the guru, you have to face not totally opposite from the guru, but like somewhere like this, you know.

So so this is the vajra master, the kini coming from there, but Om Jai is sitting up, so you have to sit this way. You have to make sure that your eye can see the the kini’s procession at the same time that you’re not totally facing back to the master who you’re offering the, you know, the more like puja. So I have to be like so and assistant Omzai cannot move. It’s still the same. Only the Omzai can can move here and there.

So then invocation time, so the Dakinis had to also ring the bell till the December. So anyway, the the s e sixty one, the invocation is like this. Is that this the one? I think it sounds like not really. This one?

Okay. Thank you. Oh, no. Okay. Evan, can you do?

Can can Yes. Okay. So so that’s it. So then after that so then, yeah, the the the chanting master to show the to to. So that time, the symbol.

Next time, I have to we have to do the don’t know. So you cannot stop the symbol until dakini come to their own position to dance. So then then the the chanting master have to guide the dakini in their process of dancing. So chanting master also need to know how to dance. So then after the soul offering, tsog offering, we have to reset three times.

Yeah. From LC sixty three to LC sixty seven three times. So first two, we reset like this. Faster, the better. So here, I see, you know, project sometimes it’s a break, you know, so it cannot you have to connect faster to the second paragraph.

So then, you look at the l c sixty three. Right? So the first two line first two time, two repetitions, you have to do it. So it’s the dakatakin is not just not just enjoying the the full offering in the in the external form, but they also enjoy the union of great bliss and emptiness. So this is the mudrā, you know, the activation of the the inner inner and secret offering, especially secret offering secret offering.

So this. Oh my god. You know? So it’s like Like I said. So like Okay.

So then go to page sixty six, the month after l c sixty seven. Then after that, the second mantra. The first one is offering seven offerings. Then the second one, make the offering. And then So then after that, the praises in the headline.

So this is the the the song of the dakinis. Was it not a song? Was it the takinis, you know, the the the praises, the dakini praises, which is especially related to Heruka and Vajrayogini practice. So this is very, very, very special, again, you know, so has so much benefit. So the chanting master has a different kind of rhythm.

Like this one. Yeah. Then the if you are using the the gentle master using the symbol then. Once you you leave the om properly, then o comes by the way. You know?

Otherwise, once the om goes wrong, then The drum also have to go together. Yeah. Oh, we also need one drum and one drum drum drum. One one person have to bang the drum. Okay so so then then the last one so it’s already tuned very high so here you have to adjust from very beginning in between you cannot like go down again low tune so it’s very okay so just continue so in between some long long verses you see let’s say one two three four five six seven eight nine number nine ten ten So it’s like, it’s one way, it’s like cutting, you know, one word by one word, but at the same time, it’s like join.

So you know? So we go to the last one. So if everybody can recite together, it’s like really, you know? And this prayer, reciting three times as I mentioned last time, if you recite in front of by by admiring the mountain, you recite three times, the mountain transform into a pure land, Heruka pure land. So you get the benefit of born in being born in Vajrayoginī pure land.

If you see a person in your heart, when the moment you see a person, you you you admire you see, like, a feature very good or, like, sound very good, speech, you know, very good or or wearing very nice dress, immediately, you just in your heart. So today, you to recite. Naturally, the person like, you know, the effect effect that you receive is that you are really meeting vajrayakin directly by yourself, then you get you get that benefit. So this is, like, secretly, you know, those very serious practitioners of Heruka vajrayakin, they they all the time give in their heart. They memorize this and, you know, everywhere they go.

Whatever beautiful thing that you see, you just recite three times. So that’s our offering. So so the ritual attendance by after you know, while reciting this already make a prostration and get ready to talk and have to be right in somewhere in the middle, not up to the vajra master. So the two offering here, if, you know, if the guru if the if the if the vajra master is present in the puja, so you have to offer the to offering to the vajra master. You know?

So if the vajra master is not not in not present in the in the in the in the puja, so then let’s say that that with one of the senior, you know, one of the senior, they have to sit before the chanting master and have to represent the vajra master. The first offering that we will stand up, instead of offering to the throne, empty throne, you have to offer to the vajra Master. This is how it goes, you know. Whether it’s an ordinary person or whether it’s a Lama or whether it’s a monk or whether it’s lay person, whoever represents whoever represent the first line that is regarded as representative of vajra master. So you have to offer the top.

You have to stand not standing in front of the throne, have to stand in front of the person. So like this. And if there’s many, many Lamas and many vajra masters sitting around, so you have to offer to the most senior one. You know, most senior one. And if we are performing the ritual, like this kind of complete ritual implement together, then whoever is, you know, within the lama, maybe maybe maybe one junior one supposed to junior one asked to lead be the bhajan master.

So that means all the ritual item were put in front of the the the whatever the junior one. So so he represent the vajra master even though there’s a senior in before before the person. So you have to that’s all offering you have to offer to this vajra master, not not to the the senior one. So so then if you are drinking soft drinks alone, you are the vajra Master. So instead of offering to the altar first, you have to taste the tsog first.

Then after that then you offer the tsog to the to the to the throne or to the altar or whatever. So something like that. When you do prostration, not only during the pujas, but even in the class or even wherever you go, always go to do prostration from the last, you know, actually it’s even like us, No choice. You know, we are doing from here. Otherwise, we should do we should do prostrations from the last one.

When you do prostrations, have to respect everybody. You know, you cannot simply think that I’m senior or I’m somebody, then, you know, the rest of the people you put back, then you just do from here. prostrations means you are not respect respect to the rest of the people. So the prostration, whenever you come to the puja, always do prostration from the last where if people were sitting, even that Zambhala place there, then you should do prostration and the the the door there is the is the most respectful. You know?

Not not not come here, then your your seat is here, then you just do prostration. That means you’re disrespectful for rest of the people sitting at the behind. Like that. And and those who are ritual assistant, prostration also have to do from the from there. Not not if you are sitting here, then you do prostration.

You immediately go and take the tsog. It’s wrong. You have to do prostration, the last one. Then yep. prostration.

Yeah. Then whenever you you you go and get the soft offering or you need to do any assistance, you know, always, like, it’s a manner. You know? It’s not just simply, like, cross over the table, cross over the tags, cross over the person, and step on the leg, step on the, you know, thigh. Not like that.

You know? So that’s why I always prefer to have some kind of, like, space in between because it’s almost like there’s more space. You cannot even breathe. You know? It’s so so so you know?

If it is in Himalaya, maybe it’s some helpful for bringing some some some heat. But here, it’s too hot already. You know? So it’s good to, like, spacious since we have a big gumba, and not many people attending anyway. So it’s like so better to make very spacious, you know, very spacious.

At least person can want to go to washroom or any activity can go from the front, from the back. You know? Otherwise, sometimes people are very impatient. They’re disturbed so much from the daytime, come to center, step here and there, they get angry. That may spoil the mood.

Yeah. So so like that. But, anyway, if if any of you rush to go back, please feel free to feel free to go. Okay? Because I still have to complete here.

So if any of you have any appointment, please please feel free to leave. So so like that. And the virtual attendance, you know, anyone might appoint as a virtual attendance. So try to walk from the side or try to walk from the middle lane that’s already provided for people to walk. You cannot simply cross here and there.

Ritual attendant have to be somebody who is very patient, somebody who is very respectful, somebody who is like the moment because many of the pujas, the vajra masters not supposed to speak, have to keep in silent, in that kind of being in meditation. So, you know, something like that like that means, you know, you have to be there right there. You know, so in any time, like, you know, like, the moment you look at the eye and you are not ready, you’re confused, then it fail. So so I have to be like that. And so I have to be, like I have to really have to be and be very patient.

You cannot cannot show face upset. You know? You cannot show. Not to the master, also not to the public. The ritual attendant has to be an example of somebody who is like most loyal loyalty person, something like that.

Prostatement, very important. You know? It’s always good to prostrate from the from the last role, you know, for the respect for everybody. You know? It’s it’s very important.

And when you leave, also, you know, like that. Then and when we come to puja, it’s it’s it’s if you are late and by doing three prostrations, you are already kind of respectfully, you are com you you I would say, the incompletion of prayers, participating in the puja will be cleansed by doing three prostrations. So when you’re late, you come to puja, do three prostrations and that is already like you are you are you don’t have to feel bad that you are you are incomplete. You are late. So it’s it’s it’s it’s like that.

And when you when you before you leave, if you’re leaving by in between, do three presentation, then it’s already permitted. You can leave, you know, anytime like that. Right. So then that’s our offering. I remind you again, if any of you need to go back, please feel free.

Okay? So offering. So here, by then already, if you are vajra master, you have to already hold vajra and bell inherently. You know, you you sit like this. You know?

So so so so, normally, the people who offer tsog offerings, first LC sixty eight, the three attendants have to recite the prayer. Three attendants, not the public. Only the three attendants have to stand up and have to have to chant like that. You know? Because the three attendants represent Everybody.

Everybody. So so those who want to do, you can memorize this. Know, but, of course, we will not apply immediately, you know, in a long time future. So if if you can. Only only not even chanting master.

Only the three three people who stand up, they only they have to recite. Yeah. So how do we start? Within three of them, one is holding the the nectar, one is holding the the substance, meat or whatever. Then the person who hold the fork offering has to come like this, center, then the two from this either side by side or at the front of back.

So then when you when you hold the sock, you have to hold the sock above your above your forehead. Not here. Above your forehead. Because as you’re holding a nectar and you’re offering this to your guru, Buddha, whatever. Very respectful.

And you cannot be so straight. Like, you bend a little bit like this. And all the time, I tie a mask whether it’s only three people there, whether it’s only ordinary lama there, doesn’t matter. When do puja, when do practice, there’s no ordinary in certain time, no special Sunday. Always special, always strict, always have to be perfect.

We cannot say, oh, today is only, there’s one visiting Lama, then we have to be very kajang. So, you know, then then they start to bring the gold gold thing out, you know, the diamond thing out or whatever. Then we start to, you know, put it all the artificial. Then there’s not not a good practice. You know?

It’s it’s all just want to show off, you know? There’s more people coming so you want to show off to people. That means the practice fail. As long as the practice, all the time same. Every time.

Even two people there, same. Three people there same. The respect, the manners, the the completion of implement. It’s have to be same, if not even better. Have to be same.

You know? Something like that. So then a chant like this. So here comes the difference, the third line. It’s like that.

So so so so after that, the the the three, the assistant from middle, you have to walk gently, not like rushing, not like oh, you know cannot walk like that, you gently respectfully. So drop one piece drop down. Monastery tomorrow out. Monastery tomorrow out. Tomorrow tomorrow pack backpack and go back home the holiday.

So anyway, it won’t happen in this camp. So so generally come, you know. So because the talk sometimes very big, dangerous, some, you know, like, because talk cannot put over empty, have to make make full, you know, have to make even the small plate or big plate, whatever, but have to be full. You know? It’s like infinite sort of thing, you see?

Is it full? So there’s a danger of dropping. You know? So so they have to be very skillful. So I come in front.

I say, this is vajra master. I have to come here. Then vajra master, very small. Throw him very small, and that’s all over. So I have to be beaten down, like, very respected.

So much respect. No? Oh my god. The thing is the Vagabasana have to do the the mudrā of transformation of the the talk. You know?

And at the same time, they they they have to have to consume the talk through the mudrā of experience of greatness and emptiness. So have to do this. So so if the talk up there, then have to do like that. So have to be somewhere here, you know, like that. But so put here, then your head come here, also no good.

So you have to you have to adjust yourself. You know? So like that. You see? So if you are vajra master, then like this, to hold the three the the third finger.

You know? So bell and glow, vajra at the top on top. So that’s on the on the top like this. So it’s like that, it it doesn’t look nice. So it’s you know, talk is somewhere there if you are you are assuming that it’s on top of the top.

So then this one, the vajra master have to lead the the chanting. Then from the second word, then all the all the public have to recite the piano. So all together the same tune as before so like this. So if you are doing so often at home and you yourself have to do this you know have to do this You know? When when it comes to the second second paragraph, you have to do this on a and if you put the salt on on your table, just so, you know, the the two substance you put on the table then and then do this.

Then after that, at the end, so then that time you have to and Aho masuka. So Aho masuka, taste the nectar first by left hand, dipping the ring finger into the the the nectar that what the the assistant holder. Aho mahasukha. Then the, like, you know, aho masu ka. Then after that left finger, take the the substance, either meat or either cheese or whatever.

Using the ring finger and the thumb, take take a little bit, then taste Taste it like that. Aho masu ka. Like that. You have to do, like, a flexible way. Not not not like that.

No? Aho masu ka. Aho masu ka. So so then here, those who have a high sukkah initiation, the thought offering is a is a one of the commitment. Whether guru have given us the commitment to do Highest Yoga Tantra whether guru, you know, like, verbally give us the commitment during the initiation or not, but it is it is a complementary.

It it is it is a commitment. Have to do at least, ten and twenty fifth. You know? And if this practice can be do every day, it’s, one of the most marvelous practice that are recommended by all the the Buddhists and practitioners for at least ten and twenty fifth. So if you are suppose if you are traveling for a holiday or if you are very busy, if you don’t have nothing, no substance, then if you’re not home not not at home, then if you are in a hotel, so maybe ask, you know, a bit of wine.

Or if not, then at least black tea. If no choice, you know, black tea, then it’s good to carry. If you have a nectar pill, good to carry nectar pill anywhere you go. It’s a must. But if you really don’t have, then at least carry mani pills or money pills.

Then at least put one mani pill into the the wine that you you you ask for. Then if there’s a meat, then you can just ask them with a piece one small piece of meat as a substance. If not, then ask cheese. You know, it’s not cheese. So then put that.

And after that, either you can just just recite three times before. After that, do these two paragraph, l c sixty eight and l c sixty nine. Then you taste the the the top. Also sufficient. Even this cannot manage, you forget to bring the the text, or if you don’t remember, then what you do is and also you you you you happen to be in a desert or or maybe in a in a jungle, you know, like, nothing there.

You have to carry nothing. And today is ten and twenty fifth. You know? Like, why? If you lose the chance of doing the soul offering, why?

Lose big merit. Not not big punishment, but it’s big merit, lose. So why not? So now you have to use left hand. You use your right palm as a as a as a nectar base.

You know? So what you do is left left thumb and the ring finger join. So let’s say the finger touch to the the the middle label, the line like this. I put the BAM like this. Yeah.

So from here, I don’t know how to say from from from the wrist. Okay? First to the first to the left, up, then right then then continuous to the right, then right to down and and make a make a you call what you call? Triangle. Make a triangle.

So like this. Like this. Like this. Like this. After that, then taste.

Not you know, what do call? Take the tsok from this from the center of the BAM. Taste. If if if possible, if you are a practitioner of and then you should say. If you are practitioner of and you have to do this.

So so the mudrā is like this. Two thumb here. So I really don’t know how to describe. So, like, almost like above two wrist, below the two thumb, the two hand, like, you know, then the left hand, Do do do three time. Or if you are just a common highest yoga tantra practitioner, then you just do Omahum, you know, do this three times.

You know? So make a triangle in you know? Like like here, I have a line here. Like, you know, like, you can follow the line like that. You know?

Line like this. Line like that. It’s like a triangle line in your palm. If you have that kind of line, then it’s you can just follow the line, triangle line like this. Om, Om, Om, or like that.

So, otherwise, for a Heruka practitioner, this is this is the mantra for the talk and the nectar tasting. Om ah hum. Om ah hum. Taste. Yeah?

Like like that. Or you also, you can do. Taste one time. Om ah hum. Taste second time and three time.

So so this is most easiest, but it’s complete everything Easiest. Even you don’t have a substance, nothing is already the talk tsog offering is completed. Okay. So that’s song of the spring queen. Song song of the spring queen.

So then l c seventy. So it’s it’s it’s good to do faster. But when recite the the mantra, you know, this where there’s a flower drawing. So this here, the in the expression of the the union of great bliss and emptiness. So, again, you have to do the unification mudrā.

So so this mudrā conjoined with the lotus mudrā normally, when we do any offering pooja offering mudrā, we do this this drama, isn’t it? This one called lotus mudrā. But here, the lotus mudrā is not just at the heart at the neck heart level, but it’s like like, have to cover from the left knee to the right knee. It means whole whole what do call it? Whole left have to cover by the by the lotus mudrā.

So how you do is let’s say. Let’s say like Like this. But here it’s bigger. Okay. Okay.

Here. And look look here. So you hold the vajrayana belt. You should rest on the you shouldn’t rest like this. You should hold up, up, up, down.

Should rest on the knee like this. You know? All the time when you want to raise the vajraya and Bell, you rest on the your your your your you know, like this. Something like that. So okay.

One one two three four. One two, three, four. One, two, three, four. One, two, three, four. So you see, I cover here and cover there and come into the center.

Okay. So it’s like, a very flexible. It’s like like the dakini goddesses. But our body, we do we don’t move body. Body is still, but, you know, like that.

The hand very flexible. And if you use too much like that, also not so nice. Too close enough. So it’s something just around here that the boundary is within the path within the left. And when you do mudrā, shouldn’t come above your heart level.

Have to be between the navel and the heart. For the mudrā, it’s between navel and heart. Okay. So this is same up to page seventy four. Then now blessing the talk.

So this one is the left leftover tsog. So left over talk, after distribute the talk, then then the ritual assistant have to go around and collect the leftover salt. And this is again one of one of very powerful charity practice, you know, making charity to the to the to the living beings. There’s many beings only through their karma, can consume leftover foods. And especially they are waiting there to receive after the practitioner who engage into the practice which is overwhelmed by Bodhicitta, such as the Mahāyāna, the tsog pujas.

So when pujas, there’s many beings who only consume leftover, don’t have a karma to enjoy their first food, They only can consume the leftover. And especially dedicated from the blessing of the Puja, the leftover, they really consume that. So and those of many beings are actually our debtors, Those who owe owe to us, you know, owe to us. Yeah? So it’s it’s it’s so therefore, the ritual attendant will go down.

But when you collect the tsog, you don’t collect from the vajra master. You have to collect from the last one. Collect from the back up to the the vajra master have to be the last. So after collect, you you, you have to go and, because after tasting the the the nectar and the meat from the altar, isn’t it? The leftover, they already put on the on the on the table.

So the the ritual attendant, after collecting all the tsog, bring to the altar there, pour the leftover meat and alcohol onto the substance. Then after that, have to bring to the vajra master. You know, have to bring to the vajra master. Then vajra master will if it is a Heruka practice, then have to, you know, like, pain. You know?

That that that that have to have to place. So, in fact, nectar is supposed to drink. The nectar, we drink and have to blow it. So otherwise, you just use the finger. Spam.

So or otherwise, at least offer, like, blessed by the nectar. Then have to bring to the the the last row. So when you go to bring to the ritual attendant, cannot cannot have to how to say? Backward. After blast, you have to walk backward.

Not not turn backward and and put that. And if it is night, you have to put an incense on the on the tsog, leftover tsog. If it is daytime, then no need to put. You know, after sunset, have to put the the incense stick together. Before sunset, even in the, morning, let’s say, one o’clock or two o’clock if you are doing the tsog, not necessary to put the incense stick.

Before midnight, after sunset, you have to put the joystick. So then l c seventy eight, you have to reset faster. The the must have reset faster. So that time, you know, you have to play the cymbal until until l c, l c eighty two. Then, once the level of offering is taken out, at the same time, the recitation is finished.

So the l c eighty eighty three, and the the must have to, like, recite, like, relaxly. Means I am making a great generosity. You know, you can look at the the translation. So but recite slowly. There’s no particular term.

Then after that comes a prayer. And recite fast. Is is very it’s quite fast. For them, that involves the the whole stages, you know, Lamrim meditation or meditation on the all the Lamrim Lamrim part. Guru devotion, precious human rebirth, then you know?

So after after after guru devotion practice, you reflect on the guru devotion teaching. So, anyway, I think I better don’t go through it. So whole teaching is involved, and from guru devotion up to the enlightenment. So then remember the last year we studied that it part, you know, part to part to higher rebirth, inspired by the renunciation of this very life’s happiness, part to liberation from saṃsāra, but inspired to purify all samsaric sufferings and karma. Then inspire to, you know, liberate to Buddhahood by purifying entire nabalas being samsaric sufferings and karma.

So all these teachings are, you know, within this. Okay. So then, you can also do the eight eight verses of the transformation. So, the root text is here. The commentary, we have we already covered in last year.

Then there’s a three offering. You can look at the the the task translation. And the tune, there’s various tunes. From Myanmar, they have a tune. They have a tune.

Also, they have a tune. So it’s quite complicated tune. Anyway, I also don’t know. So so then after that, then go to page eighty eight, a meditation on taking and giving practice. So this particular five line, you have to recite three times.

So here, then you have to do extensive meditation of, you know, giving entire your merits, you know, wealth, everything first offer to all the guru, Buddhas. Then after they make charity to all the numberless beings, They have to take entire numberless beings suffering onto you, you know, with the remembrance of guru’s kindness and the power, the inspiration that you have received from your guru. So then that time, you you should use the tune. So even if you are in case of reading in English, I mean normally we read this this sector in English. What you do is you recite one time in English or two times in English and the last sector, last repetition may be doing in Tibetan.

So something like that. So then after that, page l c ninety six l c ninety six. So there’s a tune. So like that. So then I’ll go to l c ninety nine.

Same tune, but here in particularly, practice the practice, taking a different practice using the root of the wind, the practice of the channels and wind. Try to visualize the energy traveling through the wind and your dedication of giving of your happiness and merit to the other being, whoever you are giving, and traveling through a wind kind of frequency, and touch the wind or the frequency to the other person, then the other person receive. And again, hook back all the receive back all negativities and sufferings of the other who have pain, again through the practice of the wind, through concentration, through the wind, through the frequency. And through this practice, in fact, you can able to take other suffering and can able to give your happiness to other. It’s so powerful practice, but need a single pointed concentration or a very high level of concentration.

So during the Puja then you know So you take the tune, reflect the meaning and the translation, then it’s like you really can move, you know? The bodhicitta involved there, compassion involved there. It’s like you are like kind of you’re totally overwhelmed with compassion and Bodhicitta and you you are you feel unbearable of like other suffering and taking on to you. It’s unbelievable practice, you see. So from l c ninety five up to l c hundred, it’s the same tune.

Then from the l c hundred and one, the perfection of generosity. So the the the the six perfection, the practice of six perfection. So here, again, each paragraph, you meditate on the practice of six perfection. When the practice of generosity, give generosity of Dharma, including your praying, your singing, you know, tune, everything are you are you are transforming the practice of generosity. Then you emanate yourself as a wish fulfilling jewel.

You know? So the Chenrezig practice, again, we already cover in the last year in the in the teaching. So, you know, there’s immense of the visualization you can do. You take all those teaching here. Same to the morality.

That’s all I know. Then you reflect all the Buddhist vows, tantric vows, you know, all the vows. Then then you you check yourself whether you have preserved the vows or not, properly or not, and how much you benefit the other through the preserving the vows, then rejoice. Then after that, then if any broken samayas are there, try to revive, you know, remember the kindness of the gurus and like that so then the tune is something like that. So here.

So the at the end of the each process, each prayer, then you make a strong wish, prayer that may I able to accomplish the perfection of the generosity practice. Until we become Buddha, sixty percent practice are only in the aspect of practice, not perfection. We are in the practice of six perfection practice, but we are not perfected. So we are on the journey to perfect. We have to pray that we are able to perfect in the practice of the perfection of generosity so that I become Buddha, then I am perfected in the practice of generosity so that I can able to make generosity in a most extensive way, just like the last Buddhas like that.

So from the l c hundred and one up to l c hundred and eight, it’s the same tune. Same tune. So now go to page ninety four l c hundred and nine. So you can also use the same tune from l c hundred and ten hundred and nine also up to up to l c hundred and fourteen. So then after that, the mantra, the mantra, mantra, regarded very powerful, especially for those who have relation problems with your relation.

You can’t inspire your heart towards your guru. Somehow that all the time see all the faults instead of seeing all the qualities. Somehow that even though I received so many teachings, even today I cannot establish the guru disciple relationship with this master. You know, it’s it’s like there’s something is like blocking, you know. So so just to make your karma very clear that either no karma affinity or maybe there’s obscuration obstacles.

So in order to clear that, then you do this mantra, Maitreya Buddha’s Pranidhana Mantra, then one will awaken your heart to be able to commit as a Guru disciple relationship in the most respectable way so that there’s so much benefit there, you see. So then same to in a common, like ordinary relationship, you know, a husband and wife relationship or whatever, or friendship or whatever, or father and children, you know, parent children relationship. If there’s any complication, any difficulties, do this practice. You will be able to clear the karma, then able to bring genuine affectionate to each other. So now go to page page hundred, LC hundred and eighteen.

Page hundred eight page hundred and LC hundred and sixteen. Sorry. So page lc hundred and sixteen and lc hundred and seventeen is again there’s a little little different tune something like that. So then after that, the the verses of auspiciousness also is also similar. So at the end of the the each verses, each each paragraph, then if you have, like, rice or flowers in front of your your your your table, then you you you throw you you offer as a auspicious to offer the substance in the rice like this.

So at the end of the yeah. The last word of the each paragraphs, the auspicious, so so so like that. So you can do, like, one time, three times, four times, you know. So that so you best is just do three times like that. Then ring the bell.

So like, then you continue the prayer. And the omze, have to use a symbol here. Short one. So then continue up to the l c l c hundred and eleven. So then l c hundred and twelve, page hundred and two has, again, slightly different conclusion attune.

Then a very slow one. Symbols. So here, the the symbol, maybe do three round of symbols. You know, I didn’t know maybe about few few half a minute or whatever. So other than then do the dedication.

Then long life prayers, then Lamrim prayers. So Lamrim prayer has a has a one tune. There’s a few tunes, but this is a common tune. Something like that. So then you come to the the very end.

No no ringing bells, no symbols, but, you know, you can use this auspicious rise, you know, through here and there like that. So if it’s a monk, then, normally, when we do the auspicious prayer at the beginning and also during the lamrim prayer, so we normally wear the hat. So if if a lay lay practitioner, maybe there’s no. No. Bring me a cap, a double shock cap.

So maybe no need to wear. Yeah? So next time when we do, like, long leg pujas or anytime, maybe the rest of the monks might be wearing, but if you are doing the leading, then, anyway, they’re not necessary not necessary wear. Yeah. But if you are leading puja, sometimes it’s quite good.

You bring a kind of what is it? The kind of like a shawl. You know? I don’t know whether it sounds like quite weird or I don’t know. But if you wear you wear a kind of shawl and you just put like this, you know, even like with the put like that.

Somehow it’s something like a complete you you know, cover a little bit here like that, you know. So sure, not necessarily have to be maroon, but blue or white or, you know, black or anything. But but otherwise, like, you know, like, leg, everything, and then and all the simple sometimes not really suits. So why not, like, you know? Or maybe you keep a dedicate, you know, like one shawl.

So whoever leader comes so can can wear the same one. One shawl. And don’t don’t wear robes, you know, this I’m not supposed to wear. So so better be clear. So wear the the the normal shawl or something presentable, you know.

And don’t have to be like the ngakpa, the mantra masters, you know. Don’t have to be like that also. Just normal shawl, but just cover, you know, like that during the prayer. Also, the aircon is quite cold, you know. So so like that, you know.

So then when you use a cymbal, it makes it’s slightly better. You know? Like that. So, anyway, so this complete the tune. I don’t know how it work how it went.

I just go through very fast with the with page five. Okay. Go to page six. Sorry. Creating the merit.

To create the necessary condition for the great merit, one need to do mandala offering here. No. To create the necessary condition of great merit. To create the necessary condition for great merit, one need to do mandala offering. This is what you normally advise.

So in the Guru Puja tech, there’s a two places to do this within the Guru Puja. LC fifty thirty two and also after LC forty two, which is page twenty eight and page forty four. Yeah? So so mandala, not necessary if you are doing Guru Puja alone, not necessary that you offer only one time since this is so important for the creation of merit. Since all the great beings advise to do the mandala offering, not necessarily have to just do only one.

At home you can do entire places around there, you just do mandala again and again. But if we are doing in a group in the center, better follow. If the charting master do two, we all do two. If charting master do only one, we all do only one. So try to not to be, you know, there are so many sounds, you know.

So then again, it’s it’s not so, you know, not so nice. So so you can do it at home, in a group better done. You know? So one can offer many mantalas at each of these places, in the above mentioned section. Then there are the four different offerings practices to the guru LC33 and LC37 page thirty.

So this create the four offerings the outer offering, inner offering, secret offering, and suchness offering. It’s unbelievable. Know? So outer offering, remember that when we did the preliminary teaching, we went through the seven limb offerings, including flower offering, mandala offering, All those external offerings, entire universe you can offer, all are outer offerings. The inner offering nectar here, in this cup, it has the substance of five meat and five nectar.

It is immortal and it is the most blissful substance that we can taste in the entire universe. And this inner offering will purify karma. By tasting it, it purifies karma, not just feeding the stomach, but it purifies karma. So inner offering has that much power because it has to bless through the deity yoga practice. It it is not just simply a a liquid there, you see.

So, you know, then inner offering. Then the secret offering. So when you when you chant the praises yourself, if you are the highest yoga tantra practitioner, you dissolve into the the unification of great bliss and emptiness. You know, great bliss and emptiness. You know, the great bliss emptiness with the inspiration of the the unification of great bliss emptiness practice of the dakadakinis.

You know? Then you feel the sense of, you know, entire knowers, entire body, entire every single momentary of your consciousness completely numb. Not a numb, like completely like like completely, you know, like I don’t know. I know. I don’t have a word.

Immerse. Immerse completely like completely vibrate by the the sense of, like, total bliss. Completely bliss. You know? But total mindfulness of the level of inherent existing of even that bliss.

So then you offer immense bliss, offer to your guru, you offer to your deity buddha. So that is the secret offering. Then the, so again here, without engaging into the practice of the secret offering, even you practice entire the common Mahāyāna part, one cannot become a Buddha. One need to engage into the high secret tantric practices. One of the major reasons is to be able to offer or able to practice in the real, in the form of the secret offerings or the practice of unification of great bliss and emptiness.

Or in order to gain the ability to practice the essence of the absorption of Tantra, you know, so because of that. There is such an offering, one self totally overwhelmed with the meditation of emptiness. One self, the soft offering, the object, every single existence dissolves into an understanding of emptiness. So it is one of the most powerful way of creating a merit, extensive merit. So he says, this create the most extensive merit because of the offering is done to the object which whom one has a Dharma connection, you know so you should offer this with not a remembrance of let’s say Tārā or Śākyamūni Buddha but remembrance of your Guru to whom that you have Dharma connection either you have received initiation, have received commentary, you have received oral transmission, you have received vow, you know.

So those, you visualize those Gurus. Seeing those Gurus are no different. Seeing those Gurus is inseparable from Guru Śākyamūni Buddha, You are a deity. Tārā, like that. Not like say Tārā, then they’re seeing Guru is inseparable from them.

Visualize Guru, but Guru who is inseparable from the Buddhas and Deities. So this is the difference. Therefore, Guru is the most powerful object where you can accommodate extensive merit and from which relating the practice you can do extensive purification. The Guru is the most powerful object of creating merit whether that person is actually enlightened or not. So now here, it’s nothing matter of the whether guru is enlightened or not.

It’s matter of your devotion and your guru your guru devotion practice. So what is a guru devotion practice? Seeing Guru in Buddha, seeing Guru in Deity, seeing Guru in Dhaka Dagini, Guru oneness with Buddha, Deity, Dhaka Dagini is the Guru Devotion practice. It’s the Guru Yoga practice. It’s the essence of Guru Devotion, Guru Yoga practice.

Lamrim, there’s hundreds of pages talking about Guru devotion. The essence teaching is able to see Guru inseparable from deity and Buddha. That’s the Guru devotion. And the moment that you don’t have to apply any reason to see your for yourself to see Guru inseparable from Buddha, deity, and that’s the day that you realize the realization of Guru devotion in the Lamrim. So once you have this Guru Devotion realization, rest of the path says that without any effort it will come to you.

Because you create so much merit, it just comes to you. But if you don’t have the Guru Devotion then even you are a higher yogic tantric practitioner, your attitude will become very nasty. Know, you are like, you receive so many initiation, so many tantric teachings, you know, you are you you learn Lamrim so much, but you are your attitude is like like like like very discouraging, like, you know, you know, it’s it’s unbelievable, you know. So it’s because there’s no blessing from guru. Know, you’re kind of like an abandoned guru, you’re kind of disrespectful the spiritual masters, you know.

So it’s one of the heaviest karma that we receive and one of the greatest obstruction for us to gain realization. Anyway, because we don’t have much class, know, we don’t have, know, one week we have only one or two class and many class I do cancel nowadays, know. Many class, luncheon class cancel, Friday class cancel. So this is worthwhile that even we go beyond twelve o’clock. So so there’s a bonus, there’s many classical so anyway, so you see, so guru devotion, you know, in our common, know, today’s time, you know, people all talk about Lama Zopa Rinpoche.

You know, I think within many, many Lamas, Today’s time, he has the most projects, he has the biggest projects, and he is cutting new with all the inspirational projects. But he accomplished, and easily all the conditions are come. And everybody, not because Rinpoche is so good in business, not because Rinpoche has a lot of time to spend with every single sponsors and students. I mean hardly we get a chance to spend time with him, you know. And not because of his, he knows how to sweet talk.

It’s just because of who he is, because he has the merit, because he has the most extensive practice of Guru devotion. His Guru devotion practice is like role model to this time in Tibetan Buddhist communities, know, regarded. It’s unbelievable in the practice of how he do to his Guru. So that’s why whatever he wishes comes into action, comes into life, know. So same thing, in our life, if we wish to gain certain success in our worldly achievement as well as spiritual achievement, the root is guru devotion.

Even you see four, try to purify it, try to purify and try to see qualities, especially those to whom that you have already established guru disciple relationship. And always see the qualities of the Buddha into guru, you know. So once you have that, bodhicitta easy, emptiness easy, tantra easy, everything is easy. Once you stop there, nothing is possible. Oh, I see.

Yeah. Yeah. Mhmm. Actually, enlightened or not. So it’s not a matter whether the guru is enlightened or not.

It’s a matter of your your heart or your practice. And after that, comes to guru devotion. So guru devotion is the cause of receiving blessing in your heart. The blessing blessing you receive in your heart are the cause of your realization of the path to enlightenment, path to enlightenment. Due to which you are able to bring temporary and ultimate happiness.

You know, temporary, holy achievements. Holy achievements. Entire holy achievements, including good business. You know? Even you have a limited wealth, but that wealth can able to sustain entire your life, you know, like that.

Then liberation liberation from saṃsāra. Then the peerless happiness of enlightenment. The enlightenment also. You see? And numberless sentient beings, not only you, but can able to deliver numberless beings also because of Guru Devotion.

The main place that you find Guru Devotion are as follows. The first, the beginning during the refuge visualization also have a Guru Devotion practice. You know? Then the after that the recitation of Namo Gurubhye Namo Buddhaya, the four five lines also Guru devotion practice. You have to you have to try to see Guru instrument from Buddha deity and so forth.

Yeah? You meditate on seeing the guru as a Buddha whether the person is enlightened or not. Then when you do the second visualization of the merit field, again there’s a section LC nine to LC fourteen, the visualization of merit field. In the center surrounded by all the lineage lamas and Buddha’s deities, in the center of there is Guru Śākyamūni Buddha. In the center of Guru Śākyamūni Buddha’s heart is your Guru.

You know, your Guru, like such as like Lama Zopa Rinpoche or His Holiness the Dalai Lama or whatever, you know? Your Guru in the center. Then that is called merit field. Again, that Guru is separate from all the Buddhas. When doing then after that, during the prostrations, LC eighteen and LC twenty two, when offering mandala and at LC thirty two and LC forty two, as well as seven limb offering, LC eighteen, LC forty two, and so forth.

All of this contain guru devotion with the all of this practice contain guru devotion. Not only that, with the body mandala on each of the guru’s body, body mandala here either Guhyasamāja, either Heruka, body mandala, either Yamāntaka, you know. And one of the most extensive body mandala practice is Guhyasamaja and Heruka, you know. So each Guru contains each chakras of the guru, each, you know, the physical body of the guru, place replacement of the deities, different deities yoginis, dhaka dakinis surrounded with all the the the pure lands and who is residing within the pure lands. So entire aspect of the mandala with the body mandala.

Can also visualize the holy body decorated with the Guhyasamaja body mandala in the sambhogakaya form. You can also do that. This is another extremely profound meditation. So body mandala practice regarded one of the most extreme. Commentary on the Lam Chopa, you can only receive after you have received the highest secret tantra initiation.

So it’s not permitted to go detail, can explain at least this much only. Then the the the prostration prayer l c eighteen is going to contain the very profound meditation of looking at the guru as a Buddha and reflecting on the deep extensive kindness extensive kindness. So during the prostration practice, the main focus is try to see Guru in Buddha, then try to remember his kindness and try to please him through the practice what you are doing. And then there is a section on the Guru’s qualities, you know, also mentioning the qualities of the Guru who is kindness for the three times. LC forty three and LC fifty three.

How do LC fifty three? Before before the guru enters into your heart, so this all the, you know, mentioning qualities of the guru and as well as doing the prostration practice, all comes before Guru entering into your heart. Know? So at the end of the Guru Yoga practice that you have to enter Guru into your heart. How to do?

All the merit fields. You know? All the merit the lineage lamas, all the lineage lamas, dakadakinis, buddhas, deities, all surrounding dissolve into Lama Tsongkhapa. Lama Tsongkhapa also dissolve into Guru Śākyamūni Buddha. Guru Śākyamūni Buddha also dissolve into your root guru, you know, whoever it is.

Then that dissolve into a light. That dissolve in from your crown. Come into, go enter into your central heart chakra, go into the indestructible drop which is recited in the heart chakra, which where your consciousness remain. So mix your your your guru’s that that the guru, your your mind become inseparable. The energy, the mind, the person become inseparable, become oneness.

So from that very on, guru, yourself, deity, dakatakini, different. No different. So then in order to remain that always with you, know, the visualization is you open the heart before the Guru come down, you open the heart. The heart become an eight-petalled lotus. Within the in an eight-petalled lotus, there’s a there’s a a there’s there’s your mind which is in the aspect of or whatever, but in the form of light open ended.

So when the Guru’s mind dissolves merge with the deity’s syllable HUM or light then after that the heart, the epitome lotus close. Once the epitome lotus close you tie the heart with the the vajra, the robes of the vajra or mantra tie. Okay? Then on top you seal with the cross vajra like this, like this. So that your your guru deity inseparable will never never will be depart, will be always there until you become Buddha.

So that’s one of the very very important practice. No. No. Dissolving no. Self generation is for the agility, but the distortion is actually you can do.

Is the guru dissolving into your heart. Even without initiation, you can do it all the time, know, like Guru. Because self generate become inseparable from a Guru and the deity is one practice. Without initiation you are not allowed. But dissolve melt into a light then dissolve into your heart and remain in the heart as inseparable.

Even during the Lama Tsongkhapa Guru Yoga practice also you can do it. So it is allowed to do. So these two have to differentiate. Yeah. Yeah.

So so isn’t so what yeah. So quite a very profound looking guru and a and then there is a section on the guru call it quality. So it’s before the guru enter into your heart. So this so then this is another extremely powerful way of reflecting the virtuous qualities according to the lesson. So Mahāyāna tantra.

So the first stanza is the section where the Lamrim meditation is managed on the Guru Devotion as well. So then the special qualities of this practice is where we recite the prayer of the state of the path, the Lamrim (LC eighty four to LC one hundred and fourteen). In order to leave the imprint on our mind of the entire path to enlightenment, Therefore, we need to recite the prayer. Therefore, we need to do the puja. Therefore, we need to do the sequence of the practice in order to leave the imprint.

Live the imprint, then we meditate on the meaning in order to attain the mind in the path. In order for our mind to engage into the path we have to reflect into the meaning. Then the imprint is the fundamental cause of the realization of the path. After having imprint then only the realization is possible. Contemplating the meaning is the actual way of transforming the mind in this way in the way of the path.

So during the puja you are like reflecting the meaning according with the verses. That is the one of the I would say transforming your mind into a path. So one day without any reason or without any kind of like condition just spontaneously that’s the day that you are tempted to all the realizations in the path. Practicing this way the Guru Puja becomes extremely important. It has all the aspects created in enlightenment just as a car has all the parts to make it function.

It enables one to fulfill all the one’s wishes and wish of others. So this is the old tool. Guru Puja is old tool to fulfill all one’s and others’ old wishes. All the ancient yogis like Naropa, you know most famous yogi Naropa, Tilopa and Saraha and the Tibetan yogi like Milarepa and Jowo Je and Tsangpa and the yogis of the other countries like China and Nepal achieved enlightenment in one short lifetime in the manner of you know within a short period of a lifetime within a year within a month within three months like that. They were able to do this because of the strongest practice of Guru Puja.

Because of their practice in Guru Puja was so extensive. Because of that they were able to achieve all those realizations including one lifetime Buddhahood. So devoting to the Guru and cherishing the Guru more than one’s life, and essential practice for those ancient practitioners who actualize Buddhahood because they cherish Guru more than their life. More than their life. They cherish Guru.

They respect, you know, how much devote to Guru is more than their life. It’s because of that. Why they can do that? Because they really see guru is no different than Buddha. They really see guru is inseparate from Buddha.

Why? Because they receive they they actualize that realization in good devotion. The arrangement of the word does not necessarily the arrangement of the word, so here, arrangement of the word not necessarily have to be exactly the same as in the Guru Puja, you know, but the meaning will be the same, and it is the strongest practice of the meaning that brings the result. So you might find many various different Guru Puja texts. Is based on Pänchen Losang Chökyi Gyaltsen’s Guru Puja.

Then there’s an edition by Guru Puja for our own centers then there’s Guru Puja text for Kachoe Yeshe Norbu there’s various Guru Puja texts. There’s many different Guru Yoga texts in Vajrayāna traditions and the minor traditions. This particular text composed by Pänchen Losang Chökyi Gyaltsen, one of the Dalai Lama or the Pänchen Rinpoche is very special. Why? First it is special because it has the prayer of the stages of the path to enlightenment.

Many of the Guru Puja practice again miss the Lamrim Lamrim meditation. So this is very special because this contains the Lamrim meditation whole path. Going through the prayer mindfully lives within a minute the imprint on the mind of the entire part of enlightenment. From the very beginning when you start the Namoguru Bei, already live the entire Lamrim imprint in your heart. You know?

So it has this much power. Including the highest yoga tantra not only the lamrim in the common Mahāyāna part but including the high sukha tantric practice since this imprint is the fundamental cause for realization of the path to enlightenment Guru Puja is very rich in practice very very rich in practice. Second, it is even more special because it contains the specific Mayanic thought transformation instruction LC90 and LC99, page eighty two to ninety. When we practice this specific Mahāyāna thought transformation in day to day life, we utilize whatever suffering or happiness we experience and it does become the cause of happiness of numberless sentient beings. So why again it’s special?

The second reason is this Guru Puja text practice contains the mind training teachings, mind training practice. Because of that whatever experience you experience failure in life, suffering in life, happiness including the opportunity to practice Guru Puja or including that you cannot come to Guru Puja, every single thing whatever act all become a cause to liberate other brings it as a benefit to numberless beings. So whatever you do, wherever you are, whatever situation you are, because of the Guru Puja, everything becomes an unbelievable liberating practice for all numberless beings. This practice of the thought transformation itself becomes the part of achieving the peerless happiness enlightenment. Why?

Because the mind training teaching contains entire Lamrim teaching also. When we practice thought transformation, life becomes very fulfilling and nothing can be distract us. Because of practicing the mind training teaching, life becomes very meaningful. Life will not be shaken by non virtuous friends. Our life will not be shaken by sickness and aging and death.

Including our life, fulfilling our meaning of life will be not even shaken by samsaric suffering or samsaric pleasure or whatever every single thing can transform into a path whether enjoyment happiness or meeting an undesirable condition the mind is stable and happy and continuously develop develop peace When once engaged by doing Guru Puja practice, once engaging in the mind training practice, that mind transforming practice, therefore our mind is all the time peace and happiness and never disturbed. Life becomes satisfying and fruitful of numberless other sentient beings. Therefore our life becomes so meaningful. By utilizing this path to the enlightenment of all appearance in one’s life, all obstacles and enemies become the supporter of one’s happiness, a supporter of one development of the mind and the path. You see?

So by then, create a problem, problem creator, you know, or friends, everybody, you know, you can transform into a condition of our practice for enlightenment. Third, Guru Puja is the most special because it integrates the three deities of the highest yoga tantra here. Gueya Samaja main point of the explanation is how to achieve the illusory body. Gueya Samaja is more effective specially dedicated for the illusory body practice within the Trikaya main point of explanation is the path of clear light you know which is one of the sweetest path that can actualize enlightenment is involved in this practice. Yametaka pacifies all the obstacles and brings the ability of the four activities the activities of the controlling activities of the pacifying activities of the increasing activities of the wrathful activities — Yamāntaka will provide us so therefore we can able to complete entire path.

It is possible to actualize the illusory body and clear light which make it possible in turn to actualize the unification of dharmakaya and the rupakaya therefore we can able to actualize this very body here rupakaya and dharmakaya. In the unification of dharmakaya and rupakaya by practicing one can actualize unification of Rūpakāya and Dharmakāya by practicing Guru Puja means before lifting this body before we cremate before even die using this body as a Nirmana Kaya form Then your heart, the clear light mind transforms into a in omniscient. You are Buddha now. So he’s talking about that. You know before lifting this body you can become Buddha.

Guru Puja has that that effect before lifting this body. So the dharmakaya and the rupakaya, the part of the no more learning, part of no more learning is in the enlightenment, is Buddha part, know, The Buddha realm enlightenment is called the non-learner path. During this guru yoga practice of integrating the three deities is very special. Very rare that the practice integrates these three deities. It’s very rare.

So Guru Puja integrates all these three. Other traditions as well as the Gelug have a practice of the high sukha tantra deities that don’t integrate these three, which can still enable one to achieve enlightenment in brief lifetime, brief life of the degenerate time but practicing the Guru Puja which an integration of the three deities make it much easier to achieve enlightenment within this brief lifetime in the degenerate time. So that doesn’t mean that other highest yoga tantra don’t have the ability to bring enlightenment within one lifetime. But this makes so special is because it makes it so easy and so short, so sweet to actualize. Doing this practice every day with the purification and many infinite sky of merit, bring the mind closer to the path to enlightenment and closer to enlightenment itself, and so much closer to free all sentient beings from the obscuration of suffering and leading them to enlightenment.

Without oneself becoming Buddha, no way one can ever deliberate being into enlightenment. So the purpose of this puja is to enlighten oneself first and bring all numberless beings to enlightenment right after them. Putting the meaning of this into a practice in one’s life makes each day extremely rich and worthwhile. The meaning can be practiced twenty four hours a day. The meaning here the Gurus are advising, especially this I think is means by Kyabje Lama Zopa Rinpoche, can practice twenty four hours.

Means you live a life practicing Guru Puja twenty four hours. It doesn’t mean that you have to read this page twenty four hours means means do deity yoga you know do do deity yoga once you have Highest Yoga Tantra initiation. The moment you wake up, the moment you wake up, you you you arise into a deity. You know? Then every single aspect of your your your your day is is an act of your deity.

You know? Seeing your care and mind, guru, deity, Buddha, inseparable. You know? So so so that’s about it. The meaning can be practiced twenty four hours a day.

During one whole lifetime and one whole life. Just practice this. And day and night. So you see when you go to bed, you know, you go to bed, you go to bed, it’s very nice practice. If your room is too cold and the bed is too hot and feel cold, you visualize sandals.

Very warm, warm. It’s like floating, very warm, then you know mandala, then you put your head on the lap of Guru deity or any of the deity, then you go asleep, you know, without remembering that you are the deity, you are you are the deity. You are completely in the mandala. You are the central deity of the mandala. Very comfortable sleep.

If you feel the bed is too hot, you know, too comfortable, too hot, like too too so much heat, the aircon is too low, then you visualize moon disc. So, you know, like so cooling, you know? It’s it’s when you look at the moon, like, there’s some kind of sense of feeling, something like that. Then then since you are sitting on the moon disc and sun disc, you feel secure. You won’t escape.

Even you are sleeping alone or even you are, you know, like sleeping in the ghost house also and no one will be scared. You are completely, like, you know, surrounded by the the dakadakinis, the mandala in the mandala. So it’s like you can have a very peaceful sleep. The moment you wake up, you are wake up in the in the form of form. So you see, when you wake up in the form, like Buddha, body, physical body, then your heart always live in the dhamma kaya.

When you go to bed, go into a sambhavakaya spirit. So three kayas are involved, the highest level thought. So that means, you know, we can practice day and night. Whatever you do can be a guru puja. So so whatever you do can be guru puja.

Whether you are eating, drinking, working, or going to the toilet including this so is is it including that. Just it’s a act of deity, act of guru, act of Buddha, and act of yourself. Who is guru? Who is deity? Who is Buddha?

Thank you. Sorry for the oldie. Eleven thirty. Sorry. So next, Tārā Puja, no such thing.

Tarapooja, we just go through the tune. Maybe, hopefully, we can finish start seven thirty, finish by eight o’clock. Thank you. Good night.