诸佛正法贤圣僧 直至菩提我皈依 我以所修诸善根 为利有情愿成佛 |
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第二世：经中预言咒师那波肖斑－黑行者 多罗那他尊者，有十三世奇异本生，此为第二世。 《时轮根本摄续后续》说：“手持天杖、骨饰、长腰鼗、酒器，得到了“那波”之名。” 如此所预言的阿舍黎黑行者，降生于南印度桥萨罗国所的距孟加拉国不远的欧茹布夏地方的婆罗门家族。从小聪颖，通晓声学、工巧、医方等学问。由于宿缘醒悟，亲见许多智慧瑜伽母。此后，来到拥有五百多班智达、佛法兴盛的那烂陀寺受五戒，居住多年，圆满闻习三藏、四续部，成就了各种密咒、禅定。打坐修定时，诸多瑜伽母呈现于其周围，赐他威力，大得殊胜成果。 然后按照瑜伽母授记，抵达北印度城市杂兰达拉纳谒见了居住在这里的成就师杂兰达热巴，礼敬祈求摄受，杂兰达热巴观察与他有缘，传授灌顶教诫。通过实修，有一次他毫无困难地穿墙而过，据说他还能透钻石山。在修炼禅定或其他法时，清楚地看见胜乐金刚坛场，诸位本尊的问答消除了他疑虑。当他赞颂或唱金刚歌时，即地动山摇、或降临吉祥花雨、或震天撼地、或五光四射。当时，他考虑到是否到了入行的时间时，被空行本尊制止，再次修炼时，虽然没有很好地修成、但刀、银水、宝库、丸等许多共同成就显前。当他以自力成就之时，再考虑是否入行时，没有得到杂兰达热巴上师的许可，而是奉命到哲达拉日 (北印度一地名)地方从空行噶哇桑姆的手中迎来了《怛特罗和合明点》，对空行母稍作了伺察，未能得到殊胜技能。此后，杂兰达热巴派遣他带着骨饰去邬伏那请求空行母加持，空行母加持后捎给杂兰达热巴结印，黑行者向喇嘛献骨饰之前，结印已经毁坏而未得到好的，但因为是大持明咒师，上师和空行授赐，摄授各类弟子，给与各种成就，有三十五名瑜伽弟子和三十七名瑜伽母弟子。 经过修行，黑行者那波肖斑的心智已开，原本心中不明白的地方，霍然开朗。此时，那波肖斑有了能轻易使人生而死或死而复生；能把人立时送到远方和从远处把人摄到面前；令世界万物消失、抓捕恶鬼等殊观成就。此后，其师杂兰达热巴赐赏了瑜伽母加持过的骨饰，并鼓励说：“现在你做明戒之行，但不要到德布廓扎地区，其余八大寒林和其他一切地方都要踏行。” 根据教导，阿舍黎黑行者去行境时，未拿伞盖而顶有七圈法伞而转，未敲七鼗鼓而鼓自鸣响；有时足未融地而行；有时，有时乘骑老虎，身上佩带骷髅头盖骨串成的项圈。有时，伞盖和七鼗鼓各增至数百，诸随从也以神通来往，以这样的方式去寒林和各大境，广做利益众生事业，逐步抵达德布廓扎地方。在这里由于魔女、外道空行哇呼日念咒、做怒视法，使阿舍梨患病死亡。那波肖斑遇害圆寂，天降花雨，地动山摇。身体各个部位变化出许多幻象，然后化为一束光，升上天空。他修成殊胜中阴界成就后，又以大神通为了调伏徒众，显示了许多身相。 On of the Eighty-four Mahasiddhas
咒师那波肖斑 Indian Adept (siddha) - Kanhapa Kanhapa 又译作 嘎那巴、那波（决）巴、讫里瑟拏卡利、堪哈巴尊者 黑行者 师杂兰达热巴 像翱游虚空的大鹏鸟，神定气闲、顺缘相应等自在的教诲流入内心而安乐。
The Mahasiddha Kanhapa (Krsnacarya), The Dark Siddha Zealously practice generosity and moral conduct, Born in the town of Somapuri Kanhapa, also known as Krsnacarya, was the son of a scribe. He took ordination in the great monastic academy of Somapuri, built by King Dharmapala. He was initiated into the mandala of the Deity Hevajra by his Guru Jalandhara. Kanhapa practiced his sadhana for twelve years and was rewarded by a vision of Hevajra with his retinue while the earth trembled beneath him. This experience inflated his pride, but a Dakini appeared and warned him against any idea that this vision was anything but a preliminary sign on the path, assuring him that he had not yet realized ultimate truth. Kanhapa continued his solitary practice, but one day, wishing to test himself, he placed his foot upon a rock and left his footprint in it. The Dakini appeared again, entreating him to return to his meditation seat. Again, sometime later, he awoke from his samadhi and found himself floating in space one cubit from the ground, and again the Dakini appeared, warning him of pride of achievement and pointing to his meditation seat. Finally it happened that he rose up with seven canopies floating above his head and seven damaru skull-drums spontaneously sounding in the sky around him. "I have reached my goal," he told his disciples. "We will go to the barbarian island of Lankapuri to convert the inhabitants." He set out for the city of Lankapuri on the island of Sri Lanka with a retinue of three thousand disciples. At the shore of the sea dividing the island from the mainland, wishing to impress his disciples and also the people of Sri Lanka, he left his attendants and began the crossing walking on the water. "Even my Guru lacks this gift!" he thought to himself - and he sank into the sea. The current washed him ashore, and he found himself looking up at his Guru, Jalandhara, who was floating in the sky above him. "Where are you going, Kanhapa?" asked his Guru. "What's the matter?" "I was going to the barbarian island of Sri Lanka to save the people from the pitfalls of samsara, " Kanhapa replied meekly. "But on the way it occurred to me that my power was superior to yours, and the result was that I lost the power I had, and I sank into the sea." "You do no one any good like that," Jalandhara commented. "You should go to my country of Pataliputra, where the beneficent King Dharmapala reigns, and there look for a pupil of mine who is a weaver. Obey him implicitly, and you will attain the ultimate truth, which you have not yet understood." Kanhapa set out and, obeying his Guru, he found that his powers were restored. The canopies and damarus re-appeared in the sky, and he could walk upon water and leave footprints in rock. When he arrived at Pataliputra he left his three thousand disciples outside the city and went in search of the weaver. Walking down the main street of the town where the weavers had their shops, one by one he broke the threads of their looms with his gaze. As each began to retie his threads manually he knew he had to look further for his teacher. At the end of the street, on the outskirts of town, however, he found a weaver whose thread spontaneously re-wound itself, and he knew that he need look no further. Prostrating before this man, and circumambulating him, Kanhapa then besought him to teach the ultimate truth. "Do you promise to obey me in all things?" inquired the weaver. "I do," Kanhapa responded. Then they walked together to the cremation ground, where they found a fresh corpse. "Can you cat the flesh of the corpse?" the weaver asked. Kanhapa knelt down, took out his knife, and began to sever a piece of flesh. "Not like that!" said the weaver with contempt, "Like this!" And he transformed himself into a wolf, leapt upon the corpse, and began to tear at it ravenously. Once more a human being he said, "You can only eat human flesh when you can transform yourself in that way." Then continuing his instruction, he defecated and offered one oi the three pieces of his feces to his pupil. "Eat it!" he ordered. "People will ridicule me if I do it," Kanhapa protested. "I shan't do it!" Then the weaver ate one piece, the celestial gods ate another, and the third was carried off by the naga serpents to the nether world After they had arrived back in the city the weaver bought five penny worth of food and alcohol. "Now call your disciples and we'll celebrate a communal ganacakra feast," he ordered. Kanhapa did as he was told thinking, "There's not enough food there for even one man. How is he going to feed us all?" When the communicants were assembled the weaver blessed the offerings and filled the bowls with rice, sweetmeats and every kind of delicacy. The feast lasted for seven days, and still the offerings had not all been consumed. "There is no end to this," Kanhapa eventually thought in disgust. "I am going," and he threw away his left overs as an offering to the hungry ghosts, called to his disciples, and walked off. The weaver shouted after them: Ah, you miserable children! Kanhapa did not want to listen. He walked on, and travelled to the land of Bhadhokora, which was four hundred and fifty miles east of Somapuri. He stopped, finally, on the outskirts of the city, where he saw a young girl sitting beneath a lichee tree laden with fruit. "Give me some fruit," he said to the girl. "I will not," she replied. The yogin was not to be denied, and he plucked the fruit from the tree with his powerful gaze. The girl sent each fruit back to the tree with an equally powerful look. Kanhapa was suddenly angry, and he cursed the girl with a maledictory mantra so that she fell writhing on the ground, bleeding from her limbs. An indignant crowd gathered, "Buddhists are supposed to be kind," they muttered, "but this yogin is a killer!" Kanhapa recollected himself when he heard these words, and feeling compassion for the girl he removed the curse. But he was now vulnerable to the curse that she called down upon him, and he fell down vomiting and excreting blood in an acute state of mortal anguish. He called the Dakini Bhande to him, and asked her to go to Sri Parvata Mountain in the south to bring the herbs that could cure him. The Dakini departed, covering the six months’ journey to Sri Parvata in seven days. She soon found the herbs required and turned back to Bengal. On the last day of the return journey she passed an old crone weeping by the wayside, and failing to recognize the seductress who had cursed her master, she stopped to ask the cause of her distress. "Isn't the death of the Lord Kanhapa sufficient cause to weep?" moaned the crone. In despair Bhande threw the vital medicine away, only to find Kanhapa still critically ill, awaiting his cure. When he asked for the herbs she could only stammer her tale of deception. Kanhapa had seven days to teach his disciples before finally leaving his karmically-matured body for the Dakini's Paradise. He taught them the sadhana called The Severed-headed Vajra Varahi. After her master's death the Dakini Bhande sought the girl whose malediction had caused it. She searched the heavens above, the netherworld below, and the human world in between. Eventually she found her hiding in a sambhila tree. She dragged her out of it and cursed her with a spell from which she never recovered. Sadhana Kanhapa's story is the only legend that can be described as a cautionary tale. The other siddhas who failed to attain the ultimate mahamudra-siddhi - Goraksa, Caurangi, Khadgapa, among others - were treated very kindly by the narrator, but Mahapa, who performed a Hevajra sadhana and was recognized by the people as a Buddhist yogin, was heavily censured. He refused to listen to his Dakini advisor; he committed the cardinal sin of disobeying his Guru, the weaver; he was conceited and hasty; he was governed by anger and pride: he came to a nasty end. The weaver attributed his failings to his incomplete meditation; he had not united insight and skillful means. In practical terms, although he may have attained prolonged periods of insight into emptiness in the controlled situation of trance, during his application of skillful means in an uncontrolled situation, when impediments such as inflated discursive thought and strong emotion arose, he lacked the perception of emptiness that would dissolve these obstacles. Thus, when he was provoked by the Dakini under the lichee tree, instead of donning a wrathful mask while maintaining the inner equilibrium and detachment that accompanies an understanding of all phenomena as empty colored space, he was overcome by anger, and his belated contrition, which he could have reserved for a meditation of atonement, led to his death. Insight and skillful means are said to be like the wings of a bird; with only one wing, a bird cannot fly. As to emotion, so to thought; if his arrogant thoughts dissolved immediately they arose due to his perception of their emptiness, he would not have fallen. If he had been able to experience the sensual feast of the ganacakra as emptiness, his appetite would have been limitless. If he had really eradicated his conditioned prejudice and preconceptions and gained the awareness of sameness, he could have eaten his Guru's excrement. If he had been free of a sense of ego, he could have transformed himself into a wolf and eaten human flesh. Kanhapa exemplifies the common phenomenon of the meditator who experiences the highest heavens in his meditative trance, who may have realized the emptiness of all things, and can even arise from his meditation seat and remain in samddhi; but when called upon to act, the realization achieved in meditation vanishes. Likewise, when conditions are favorable he can demonstrate siddhi and fulfill his vow to assist all sentient beings, but when the ultimate insight is necessary to dissolve obstacles, due to vestiges of belief in "self' it is not available. Only siddhas have constant realization of the ultimate reality and live their daily lives with insight and skillful means united. Three Dakinis feature in this legend; every Dakinis has the potential to function as a guide or assistant to liberation. The first Dakinis, who Kanhapa chose eventually to ignore, may have been a human embodiment or a sambhogakaya emanation. The Dakini under the fruit tree was a mundane Dakinis whose positive potential Kanhapa never discovered because she touched his ego, provoking him to compete and, fatally attached, he stirred in her a wrath that soon killed him. Clearly it is very difficult to penetrate to the emptiness of a mundane Dakini when she shows the heavy and black side of her ambiguous nature; but if that is achieved she becomes a most loyal ally, guide and savioress. The third Dakinis, Bhande (or Bandhe), is his trustworthy friend who performed superhuman feats out of her devotion ~o him. Her name could mean "Buddhist Nun" (bandhd) or "Skull" (Mandha), which would associate her with the kapalikas. Kanhapa had a male disciple called Bhandepada (32), but it was a Bhadrapda (24) who sought the murderous Bahuri, found her in a tree in Devikotta and slew her, according to Taranatha. Only in this legend are the practices of flesh-eating, dung-eating and (by implication) a literally performed ganacakra-puja mentioned. In these so-called left-handed (vamacara) practices there is an element of William Blake's "The road of excess leads to the palace of wisdom," but more than that, it is in the basest impurity, in depravity and the lowest forms of life, and in tamasic food and drink, in the outcaste whore, the kapalika ascetic, excrement, corpses, alcohol, drugs, fish and meat, that the ultimate truth becomes accessible. Finding purity in impurity through the experience of the one taste of all things, the ultimate sameness of all phenomena, which is emptiness, is realized. At the heart of depravity and corruption is the seed of innocence, unconditioned mind, which turns the wheel full circle and unites polarities. The seed grows into the flower of liberated bodhisattvic activities like a lotus growing out of the slime of a lake bottom: no slime, no lotus. The image of the lotus is basic and ubiquitous in tantric sadhana. The stereotype of the flesh-eating, copulating, dung-eating tantrika is the kapalika ascetic, who consciously seeks the bottom of the pit of samsara to find his way to nirvana. The great poet and singer Kanhapa sings of the perfected kapalika in some of his many caryapada songs, and even identifies himself as a kapalika. His Guru Jalandhara was acknowledged as one of their great Gurus, but it is unlikely that Kanhapa himself actually took the Great Vow (mahavrata) and performed gross kapalika rites. Although he sings, "0 Dombi, I shall keep company with thee, and it is for this purpose that I have become a Kapali without aversion.... I am the Kapali and thou art the Dombi. For thee I have put on a garland of bones . . ." he also sings the subtle metaphysical equations of the sahajiyas, and one is tempted to think that the Kapali (or kapalika) is for him a state of mind, and that he never practiced the literal interpretation. He sings of an uncompromising non-dual reality in which there is only empty space, and, simply by recognizing that, mahamudra-siddhi is attained. He rejects the intellectual approach, mantra and visualization, brahmin ritual, the kapalika’s attachment to tantric appearances and conventions, and he sings of the real kapalika as the ideal sahaja-siddha who has shaken off all prejudices and partiality, all preconceptions and doctrine, and realized "the ultimate principle of emptiness that arises spontaneously with every movement of the mind." Historiography Kanhapa is also a founder of nath lineages. Compared to others of the Five Naths he is not of primary importance, but the nath tradition is rich in anecdote concerning him. His status is defined by a story of Gorakhnath and Minanath giving a feast at which each selects his own dish. Kanhapa chose cooked snakes and scorpions and was hooted from the feast. It is said that he was the son of the fisherman Kinwar, who caught Minapa's leviathan. The Kanipa, one of the twelve main panths, recognize him as adi-guru, as also the Augars, who perform twelve years of sadhana before initiation and lastly the Sepala, lesser, snake-charming yogins. It is as if he was patron-saint of the second-class naths. But he maintained a close relationship with Ja1andhara, his Guru, whom he rescued from inhumation. "The Black One," "The Dark One," are names referring to skin color, not to moral quality. They are epithets given to dark-skinned aboriginals (adivasis), or nick-names given to a yogin of any caste. origin with a dark complexion. Different languages and dialects produced different forms of the name: Krsna, Kanhapa, Kahnapa, Kahnupa, Kanupa, Kanapa, Kanipa, etc., all translated into Tibetan as Nag po pa. Compounded with acarya (pandita or adept), Krsnacarya, Krsnacarin, Krsnacari, may become just Caryapa; in Tibetan the Nag po spyod pa pa becomes simply sPyod pa pa. Since Tantra was a path that appealed to the outcaste tribals there must have been many Krsnas down the centuries. But apart from the nath siddha mentioned above, we are concerned principally with the two Kamacaryas of the tenth century who were probably Guru and disciple, and who are confounded in our legend. Jalandhara was the Guru of the Father, Son and nath Kanhapas. The Father-Guru was an acarya, and it is likely that this Krsnacarya was responsible for most of the hundred and fifty works under this name, or variants, found in the Tenjur. It is uncertain whether the Father or the Son composed and sung the caryapada songs. The Son, who may have been the nath, could have sung "I am a Kapali free from aversion." But certainly the Son is associated with dance and small ritual drums known as damarus. Taranatha tells the story of the Son practicing the Samvara-tantra at Nalanda being induced by a goddess to go to Kamarupa in Assam to gain the power of wealth (vasu-siddhi). In Kamarupa he found a chest containing an ornamented damaru, and the moment he picked it up his feet left the ground in dance. Whenever he played loudly five hundred siddha yogins and yoginis appeared and danced with him. This Kanhapa was an adept in the mother-tantra, and chronologically he was a contemporary of the nath founders. But was there another mahasiddha Kanha of this period? In Nepal a Lord Krsna taught Dza-Ham, and a brahmin Krsna taught Marpa Dopa. A later Krsna, also called Balin (Balinacarya), a disciple of Naropa, taught the Tibetans the Guhyasamaja-tantra. As Father and Son Kanhapa are confounded in the Tibetan lineages it is almost impossible to relate the many disciples to their respective Gurus. Mekhala and Kanakhala (66 and 67), Kantali (69), Bhadrapa (24), and Kapalapa (72) received Hevajra initiation from a Kanhapa. Kugalibhadra and Vijayapada with their contemporary Guhyapada (Bhadrapa, who also received Kalacakra from a Krsna) were links in Kanhapa's Samvara lineage. Bhandepa (32) received the Guhyasamaja. Mahipa and Dharmapa (36 and 37) were also Kanhapa's disciples; and Tilopa (22) received Luipa's Samvara method from a Mahapa. Carpati (64) and Kapalapa (72) were affiliated with the naths, but the most renowned disciples of the nath Kanhapa were Gopicand and Bhatrnath, who even Taranatha acknowledges.
Kanha of the East Kanha of the East, 7th/8th century (Tibetan: nag po pa shar chog pa): principal student of Virupa and lineage teacher of the Margapala teachings preserved in the Sakya School. Kanha, Black One, an Indian yogi of the 7th/8th century was responsible along with other Indian teachers, earlier and later, for the propagation of Tantric Buddhism to the Himalayas and Tibet. Originally a practitioner of the Shaiva religion of Hinduism, he was converted by the famous teacher Virupa of the equally famous Nalanda University, destroyed the year that Oxford University of England was founded in 1096. Exhibiting the appearance of an accomplished ascetic (Sanskrit: mahasiddha) with long hair in twisted locks piled atop the head, large looped earlobes, crossed necklaces and bangles, he gazes upwards with the right hand raised in a symbolic gesture. Relaxed and confident, seated in a leisurely attitude resting against the left arm in support, a meditation band facilitating a variety of yogic postures holds the right knee in place. The name Kanha, translated into Tibetan, is inscribed clearly along the front of the rounded cushion seat. This subject belongs to a larger set of sculpture numbering more than twenty portraying all of the teachers in a particular teaching lineage, the Margapala - Path Together with the Result - extending from India to Tibet down to the 15th century when this sculpture was created. There are many Indian teachers known as the 'Black One' and all of them have been confused and conflated by Western scholars of the past. The basis for this identification as Kanha of the Margapala lineage is made on the specific characteristics of his appearance, the Tibetan inscription, and knowing of three other sculpture the same size and style, and identified to the same Margapala lineage - specifically the yogi Virupa, Damarupa and Drogmi Lotsawa - belonging to a private collection, the Ackland Art Museum at the University of North Carolina, Chapel Hill, and the Essen Collection, Museum of Culture, Basil. The whereabouts of the remaining figures from the set are currently unknown. Jeff Watt 2-2004 [revised 3-2006]
Virupa and Kanha (T: nal jor wang chug bir wa pa. Nag po pa shar chog pa): This painting, number two in the series, belongs to a larger set of paintings depicting the lineage of teachers for the Path together with the Result (S. margapala) teachings of mahasiddha Virupa.
The set of paintings was commissioned between 1419 and 1430 by Ngorchen Kunga Zangpo as part of the funerary services for his teacher Buddhashri who passed away in 1419. Directly above the two central figures are three deities, from the (viewers) left is Samputa Nairatmya with one face and four hands, Shri Hevajra, and Nairatmya with two hands. The twenty-one figures along the top and side registers follow the list of the Eighty-four mahasiddhas according to the Vajrasana system of the 11th century. The next three paintings in the greater set would contain the remaining sixty-three siddhas. In the top register beginning at the (viewers) left are Nagarjuna, Aryadeva, Luipa, Padmavajra, Saraha, Saroruhavajra, Virupa and Dombi Heruka. Descending on the (viewers) left side are Busuku (Shantideva), Ghantapa, Jnanapada, Indrabhuti, Kotalipa and Lawapa. Below those mahasiddhas is the deity Akshobhya Hevajra of the Hevajra Tantra. Descending on the right side are Jalandhara, Kukkuripa, Krishnacharya, Naropa, Tantrapa, Chandragomi and Kantopa. Along the bottom are white Gauri, yellow Chauri, red Vetali, green Ghashmari, blue Pukkashi, white Shavari, blue Chandali and green Dombini. At the bottom center a small inscription in gold identifies the Tibetan Buddhist teacher Buddhashri as the person the set of paintings were created to honour. Below that on the right and left sides are the four-line prayers for Virupa and Kanha. "Knowing all that is most secret, "With the profound advice (See Sonam Tsemo and Dragpa Gyaltsen from the same set: MFA Boston). Jeff Watt 12-2005
参考：咕噜嘎那巴（纳波杰巴）传 参考：咕噜嘎拉巴传 参考：杂兰达热巴
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