What Changes and What Doesn't: An interview with Dzongsar Khyentse Rinpoche

by Kelly Roberts

Dzongsar Khyentse Rinpoche is an outstanding Buddhist teacher and director of The Cup, arguably the first great Tibetan feature film. He’s young, thoroughly modern, and deeply concerned about corruption of the dharma. He challenges Western Buddhists to uphold the unchangable truths of Buddhism while letting go of its cultural trappings. Too often, he says, we do the reverse. Dzongsar Khyentse is interviewed for the Shambhala Sun by his student, Kelly Roberts.

Kelly Roberts: I just wanted to say that your film, The Cup, reminded me so much of you, particularly when the Coca Cola can dissolved into Manjushri.

Dzongsar Khyentse Rinpoche: Really.

Kelly Roberts: In many places in your film, you replace traditional items with modern ones. For instance, the offering bowls on the shrine are replaced by the Coke can and the prayer flags on the roof of the monastery are replaced by a satellite dish. I’m wondering why you did this, because usually you are so worried about Buddhist tradition being corrupted.

Dzongsar Khyentse Rinpoche: This is something that I want to tell my fellow Tibetans and Bhutanese—that modern technology is not a threat to so-called traditional Buddhism. Their society is just beginning to be exposed to the world of the fax, the telephone and the internet. They may feel uncomfortable with change, but the fact is we can no longer go to any place where there is no modern technology.

            We cannot avoid technology—it’s already at the doorstep, if not already inside our house. So instead of allowing these things to influence us, the wise thing to do is make use of their power and speed—to be the influence rather than the influenced. We can use the telephone, the web and television to teach, instead of them teaching us. We can use their power and the speed.
Kelly Roberts: You have compared your film to a modern version of a traditional thangka painting or a Buddhist statue.

Dzongsar Khyentse Rinpoche: Every culture has a different way of telling a story, and I felt that maybe I should just tell a story in a Tibetan way.

Kelly Roberts: Would that be your way of teaching?

Dzongsar Khyentse Rinpoche: No, not at all. Buddhism has a long tradition of using images to represent wisdom and compassion. In its 2,500-year history, we can see that Buddhism has adopted many methods of expressing the dharma—through painting, sculpture, architecture, performing arts. These existed even during the Buddha’s time. The Buddha himself in the Vinaya Sutra discusses how to paint the five realms and the twelve interdependent links as we see in the wheel of life. So there is an old tradition in Buddhism of using images, and film can do that, too. Why not? For me, film can be modern day thangka.

Kelly Roberts: How?

Dzongsar Khyentse Rinpoche: Well, what is a thangka painting? It is an aid for your visualization. In the same way, film can help with visualization, perhaps even more effectively. For example, if you want to show what the hell realms are like, film could do that much better than a single painting.

Kelly Roberts: Don’t you ever worry, though, that with modernization certain aspects of the old tradition will be lost?

Dzongsar Khyentse Rinpoche: As long as the fundamental view of Buddhism is not lost, there is no problem. We may try for sentimental reasons to preserve the traditional aspects as much as possible, but they will eventually change. Don’t forget that the customs and traditions that we are trying to preserve today were once modern and progressive.

Kelly Roberts: In the film, the Abbot writes about his wish that, “Nyima and Palden would continue to uphold the Buddha’s teachings according to these modern times.” What is it you’re trying to say with that?

Dzongsar Khyentse Rinpoche: It doesn’t mean they will change the Buddha’s fundamental view. That should never be changed. I have met people in the West who are excessively attached to the external trappings of Buddhism. There is all this sentimental attachment to Tibetan customs and culture, and the actual Buddhist view is overlooked. In fact, I have heard that in creating a so-called “American Buddhism,” some people are saying, “Okay, maybe the Buddha’s view should be changed, now that Buddhism is in America.” And that’s not good.

            I would prefer that Americans really stick with the Buddha’s view: the emptiness of inherent existence, that everything composite is impermanent, and so on. It doesn’t matter if they leave out Tibetan culture. The really important thing is that they should accept the dharma. They should not worry about trying to design something better suited to Americans. The Buddha was an omniscient being. What he said was good for all sentient beings, and that includes us 2,500 years later. Nothing additional is necessary now.

            I see Westerners wearing chubas and showing off their malas. But I think the more people do that, the more they forget the essence, the actual point of the Buddha’s teaching. It’s amazing to see how eager some people are to adopt what is not essential, and throw out what is essential!
Kelly Roberts: I was a bit surprised that the Abbot would say something like this, since he is so attached to his homeland and its traditions, and doesn’t understand much about the modern ways.
Dzongsar Khyentse Rinpoche: Although many of these older, experienced Tibetan teachers are attached to their homeland and might seem rigid, beneath this rigidity there is an openness. Sometimes it’s quite surprising to see certain lamas incorporating modern ways of life into the ancient Buddhist thinking, especially when you know Tibetans. Tibetans can be so narrow-minded, so racist. They have such a superiority complex. Some of them are like missionaries who go to other countries and demand that the native people learn their culture. But at the same time, teachers like Chögyam Trungpa Rinpoche created within the Tibetan wisdom lineage a space to accommodate Japanese, French, British, American ways of teaching.

Kelly Roberts: You say about the monks in the movie that Buddhism is their philosophy and soccer is their religion. Do you think someone could become enlightened by playing soccer?
Dzongsar Khyentse Rinpoche: You never know. Maybe. Some of the saints of the past, the mahasiddhas, achieved enlightenment by telling lies or playing flutes. So if you meet the right master, and if you have the merit, why not?

Kelly Roberts: Because you’re now in the film world, you seem to have become quite famous and are living a bit in the lap of luxury. Are you getting attached to it?

Dzongsar Khyentse Rinpoche: So much. I’m really going downhill! I’m getting more and more attached to this comfortable life. Even a small sesame seed in my bed bothers me. I used to travel in Indian buses, bumping along the whole night with Hindi film music blaring away, and still manage to do a lot of things the next morning. Nowadays, I might be driving in a limousine, but when things go wrong, I get very irritated. That is why I really think I need to shut myself in retreat far away in India.

            Mind you, many other Rinpoches, from my impure perception, seem to be getting that way, too. They are far too attached to the comfortable life. The life of simplicity seems to be less and less important and a life of distraction seems to be getting more and more popular.

Kelly Roberts: Do you tire of samsara?

Dzongsar Khyentse Rinpoche: No, no, I am very much in love with samsara, not tired at all. Well, perhaps a little, thanks to years and years of being brainwashed when I was younger. The impermanence and futility of samsara does come to mind from time to time. But it only comes for nine seconds, and then it disappears for another nine months.

Kelly Roberts: You have always said that of the eight worldly dharmas, you have the greatest weakness for praise. How have you worked with all the praise you have received since your film came out?

Dzongsar Khyentse Rinpoche: The Buddha said that if you know a trap is a trap, you will not be caught. The Buddha is talking about mindfulness. But mindfulness is something that is foreign to me, so of course I get very much trapped by all the praise and criticism. Having said that, my gurus are very special, and I always say that if I do have a little bit of a spiritual quality, it’s because of my teachers.

            I remember something His Holiness Dilgo Khyentse once told me. I used to be very wild, and sometimes people would report my actions to him in hope that he would scold me and discipline me. But instead, he would tell me who it was who told on me and would make a game of it. He used to say, “Don’t worry. You must remember that whenever there is one person out there who doesn’t like you or who thinks you are crazy, there will be a hundred people who are going to like you. And similarly, whenever there is one person who likes you, you shouldn’t get too excited about it, because there will be a hundred people who can’t stand you.” So liking and disliking are completely irrelevant.

Kelly Roberts: Speaking of being wild, you talked on The Roseanne Show, as well as on NPR, about visiting strip clubs. I don’t know how many people would view that favorably. Why did you go?

Dzongsar Khyentse Rinpoche: I didn’t have any profound reason. But it does show that you shouldn’t come to me if you are looking for inspiration.

Kelly Roberts: Why do you sometimes wear monk’s robes?

Dzongsar Khyentse Rinpoche: In Buddhism, we talk about several different stages of degeneration. There’s one degenerated time that Buddha called tagtsam zinpey du, the time when monastic robes are maintained just as a mark or symbol. That’s where we are now. At least I’m trying to hold on to that symbol.

Kelly Roberts: Do you have any regrets regarding your film?

Dzongsar Khyentse Rinpoche: A lot of regrets, but I think I will take the regrets as stepping stones for my further learning.

Kelly Roberts: It seems that one of your aims in the film was to demystify the Western idea of Tibet and its culture. Why is this so important?

Dzongsar Khyentse Rinpoche: Preconceptions are not so good because they always mislead you.

Kelly Roberts: So you tried to show the ordinary side of monastic life and how that was profound.

Dzongsar Khyentse Rinpoche: Whatever I do, I have no profound motivation. I just wanted to make a film.

Kelly Roberts: But your film contained quite profound teaching.

Dzongsar Khyentse Rinpoche: That depends on the person watching. Not everybody sees it that way. Maybe the success was just an accident.

Kelly Roberts: You talk about your next film being the life of the Buddha.

Dzongsar Khyentse Rinpoche: Only if I get enough money.

Kelly Roberts: Isn’t The Cup making enough money to finance another film?

Dzongsar Khyentse Rinpoche: No, not nearly enough. Not even 10% of what I need to make my next film.

Kelly Roberts: So the life of the Buddha that you want to make is on an epic scale.

Dzongsar Khyentse Rinpoche: Yes.

Kelly Roberts: You must have done at least a hundred interviews by now. Are there any questions which you are surprised were never asked?

Dzongsar Khyentse Rinpoche: I am surprised that no one has ever asked if I’m gay or not.

Kelly Roberts: Are you gay, Rinpoche?

Dzongsar Khyentse Rinpoche: I have a tendency.

Kelly Roberts: If you were going to ask yourself a question, what would it be?

Dzongsar Khyentse Rinpoche: I only have one big fear, that’s all. Not a question.

Kelly Roberts: What is your fear?

Dzongsar Khyentse Rinpoche: As much as I want to be successful, I also have this growing fear that I will become a prisoner of fame.

Kelly Roberts: If you could have anything in the world, Rinpoche, what would make you happiest?

Dzongsar Khyentse Rinpoche: Spiritually, I would be so happy if I could see my twenty past lives and twenty future lives. That would probably give me some renunciation mind. On an ordinary level, I would be very happy if I could get my act together and finish the novels that I am writing.

Kelly Roberts: I hear that you just offered 100,000 butter lamps at the Boudhnath Stupa in Nepal. What makes you happier, doing that or making films?

Dzongsar Khyentse Rinpoche: I can definitely say that I am happier offering the butter lamps.

Kelly Roberts: Thank you, Rinpoche.

Dzongsar Khyentse Rinpoche: You’re welcome.

What Changes and What Doesn't: An interview with Dzongsar Khyentse Rinpoche, Shambhala Sun, November 2000. 

绝配，但永远不会配到一起。

宗萨仁波切七月一日至五日在香港住持护法会供，地点是湾仔的修顿体育馆。详情在此。乡亲们有愿，可去香港赶集。

[转贴而没有提供链接，是故意特意的。如果认真有兴趣，可以问小Ta；虽然是转贴，略编辑了一下]

班长特别提醒：今天阳历6月9日，是藏历四月初六，一直到阳历7月3日，都是藏历四月份。

藏历四月份整个30天，是传统的萨噶月，四月称为吉祥月，四月初八（今年阳历6月11日）是佛陀出生的吉祥日，四月十五（今年阳历6月18日）是佛陀获得正等觉果位的吉祥日，佛陀显现涅盘也是四月十五（今年阳历6月18日）。

 萨噶月十五日即是卫塞节，即月圆日之祭典。又作毗舍佉节、吠舍佉节、卫塞日。此日系卫塞月之月圆日，亦即古印度阴历六月十五日。以此一节日显示佛陀自觉、觉他、觉行圆满之智慧光辉照耀有情；并藉以发扬佛陀慈悲平等之教义，倡导世界和平。故此月是一年中神圣的月份。

 藏传佛教不分派别均特别重视在萨噶月期间行善去恶，并在此萨噶月期间随力依身语意三门而广行善业。在萨噶月期修持各种善业，功德增上1000亿倍！假如做恶事，果报也增上1000亿倍！

请无论如何，多遵守十善戒，尤其是能受八关斋戒一天，两天，或多天。或是行善，念佛，布施，放生。


功课：

（1）思维应行之善业——选择三天(或多天)，守10善戒

包括：

1.1： 身三：不杀死一切生命； 不偷盗（包括抢夺，骗取，偷税等等）；不邪淫

（也请尽量不饮酒）

1.2：语四：不妄语；不挑拨是非，离间他人；不说无意义的闲言碎语，无聊话题；不说伤害他人的恶毒话、脏话、骂人的话，令人伤心或恼怒的话

（也请尽量念佛经和佛咒）

1.3：意四：不起贪婪之念；不起伤害其他生命（人、动物、昆虫等等）的念头；不产生邪见（诽谤佛法、颠倒因果等等）

 （2）在守上述十善戒的同时，可以思维一切业之自性，做到：

知道因、果，（知道什么因，得到什么果，请参见善业与恶业的果报）

知道是自己要必定承受果报

由于以上的思维，就要坚定的发心——即使是很小的善事也决定去做，很小的恶事也要立即停止光发心和明白道理还不够，要时时刻刻防护自心，看到有不好的动机就消除，好的动机就发扬。

此外还要忍受障碍，如果遇到障碍和灾难，要知道自己是在净化业障的果报，要欢喜承受，不要动摇去做坏事

（3）最后每天要配合的行为是，早晨起来要以百字明忏悔，晚上也要观察全天的善恶做好好的忏悔决定不再犯而入睡，白天的一切时间，要谨慎防护自心，并且要对一切事物不执着，了解它们是如幻的，无常的。

觉得终于要开窍了，有点老，有点晚，但对于Ta来说，好过永不开窍。 

这个好并非绝对的好。只有在不开窍造成痛苦，而又不想要这种痛苦时，开窍才是所谓的好。当然开窍和知识或理性上的明白不同，无须多说。

++++
一切的模式，都因为曾经有过某种愿望，而那个（有意识或是无意识的）愿，强大过天下所有的理性认识，驱动某种模式一演再演。

++++
一切的痛苦，都是因为分裂/对立/紧张。而这个分裂/对立/紧张，是有由于有一念与“当下的实相”不相符。这一念，可能是现在即时应景出现的，也可能是无意识沿袭过去的，通常，都有一些“beliefs" 作基础。

每一个belief都可以被重新审查后放弃。

++++
感激那些让Ta投射了强烈的爱恨情仇的人们，都是冤亲债主，也都是恩人。恩重如山是那些深爱过失望过的人，因“爱”的诱惑之强，幻觉之纱更难刺透。

++++
解除魔咒之吻，是一个全然的决定。

++++
昨夜梦里他说，每次想到你，都觉得很悲壮。

和HS，MY， DY聚埃蒙小镇，聊四川之情形，如何能够持续地帮助。 

席间却讲起袁崇焕之死：

“遂于镇抚司绑发西市，寸寸脔割之。割肉一块，京师百姓从刽子手争取生啖之。刽子乱扑，百姓以钱争买其肉，顷刻立尽。开腔出其肠胃，百姓群起抢之，得其一节者，和烧酒生啮，血流齿颊间，犹唾地骂不已。拾得其骨者，以刀斧碎磔之，骨肉俱尽，止剩一首，传视九边。” 　　——明·张岱《石匮书后集》

哈哈。习惯一下。

这首歌，叫"waiting for you"，两年前贴过，还把胡彦斌挖苦了把。回去找了下，却没找到。

今晚那操课老师放了做放松音乐，往事如潮，卷涌过来；还是如烟？

+++
有趣的是，也是同一个操课老师，那时在中国大，这时在奥力。撞倒了那时上过课的instructor, 只是乾坤转了很多度，世界和人，一切都变了，只有操课老师没变。

++++
胡彦斌的，其实还是最喜欢“红颜”，这个也贴过。



饮一杯为谁，笑和泪都是穿肠毒药，好在终有尽头。这一去如果还会轮回，Ta不愿来生做牛马，更不愿与任何人天涯相随。

++++
红颜
  词：林文炫 曲：胡彦斌

     剑煮酒无味
 饮一杯为谁
 你为我送别
 你为我送别
     胭脂香味
     能爱不能给
 天有多长
 地有多远
 你是英雄就注定无泪无悔
 这笑有多危险 是穿肠毒药
 这泪有多么美 只有你知道
 这心里有你活着可笑
 这一世英名我不要
 只求换来红颜一笑
 这一去如果还能轮回
 我愿意来生做牛马
 也要与你天涯相随
 剑煮酒无味
 饮一杯为谁
 你为我送别
 你为我送别
 胭脂香味
 能爱不能给
 天有多长
 地有多远
 你是英雄就注定无泪无悔
 这笑有多危险 是穿肠毒药
 这泪有多么美 只有你知道
 这心里有你活着可笑
 这一世英名我不要
 只求换来红颜一笑
 这一去如果还能轮回
 我愿意来生做牛马
 也要与你天涯相随

雅虎电邮一直上不去。

昨夜还在里面。今天醒来，天堂的大门就关了----如同一起生活了十几年，忽然就反面了。想尽了一切办法，死活不能进去。找遍了，也找不到个帮助的电邮。那帐户里面有所有的联系，信息，有两个账户号，应该给人家汇款的，呵呵。

这个电邮用了十几年了，早就忘记了当初是用什么电邮申请的。即使去重设密码，也不会收得到。唯一可能的，是他们有个有耐心的客户帮助，问各种刁钻问题（除了当初申请时用的电邮地址），某则恐怕是没了。

十几年不离不弃，从来没有兴趣看看别的电邮。十几年的纪录和历史，欠债还钱的方向，所有的联系认，输了很久8427的电邮，等等，都没了。

自从他们搞了Beta，就一直不正常。以前是可以login, 但看不到电邮。这次直接不给进了。

MD，还敢号称是网上第一邮。

++++
也许没了也挺好，少了什么，都得活。

反省一下，昨晚设了一个自动回复，说自己不能经常检查电邮和回复，为接下来出去耍子，做准备---琢磨着别让人家等，自己偶尔看看电邮，挺酷，心无挂碍。没想到立刻就发生了---而且更彻底，完全无法有挂碍。

原本觉得热，想脱个小褂，没想到人家给剥光了。

所以那句话说的不是没道理：be careful about what you wish for, because it might just become true.  In this case, it is true-r than Ta was ready for.

+++
小心自己的念头，不要随随便便。天啊。