Togal - Practice

Practice

The Dzogchenpa through sadhana engenders stability in abiding in the nature of mind through the discipline of Trekcho and with this as foundation and support, may progress the refinement of Togal. Whilst Trekcho reveals the nature of the Dharmakaya, Togal reveals the Sambhogakaya and Nirmanakaya. The discipline of Togal employs refined 'forms' (Tibetan: གནད, Wylie: gnad) of 'bodily posture' (Sanskrit: asana, mudra and bandha) and 'visual focus' or 'gaze' (Sanskrit: drishti) to incite four specific visionary experiences.

In the following quotation of Pettit (1999: p. 80), 'mantric syllables' are bija, and the 'buddha paradises' are Pure land:

"In the four visions of all-surpassing realization gnosis manifests spontaneously as visions of spheres of light containing mantric syllables and images of buddhas, "vajra chains" (rdo rje lug gu rgyud), and buddha paradises (zhing khams). After these visions reach the limit of diversity and completeness, all appearances recede in the ground of reality (dharmatã, chos nyid), and the perfection of the three buddha bodies is attained ."

In Dzogchen teachings, "dharmakaya" means the Buddha-nature's absence of self-nature, that is, its emptiness of a conceptualizable essence, its cognizance or clarity is the sambhogakaya, and the fact that its capacity is 'suffused with self-existing awareness' is the nirmanakaya.

Thödgal represents more a fruition than a practice itself. Furthermore, there are methods prepared in the event of a psychotic break to bring the practitioner back to sanity.

In contrast to other kinds of tantric practices, there is no intentional visualization; rather, imagery appears spontaneously. Eventually a practitioner has experiences which are viewed as knowing the subtle energies of one's being. These have the qualities of earth, water, fire, air and space (see Classical element). Throughout the retreat, a practitioner is believed to be approaching an experience which is entirely unconditioned.

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