A guide to Kriya Tantra Yoga in the Geden tradition of Tibetan Buddhism

A guide to Kriya Tantra Yoga in the Geden tradition of Tibetan Buddhism

by

Tharchin Gedun Lharampa Geshe 

Lam Rim Preliminary practice

Firstly, it should be noted that the Lam Rim practice is considered common to both Sutrayana and Mantrayana. Generally speaking, Vajrayana or Tantrayana practices are included within the broader concept of Lamrim, meaning 'Stages of the Path to Enlightenment', which encompasses both Sutrayana and Mantrayana, according to the Mahayana tradition of Tibetan Buddhism. The root text of the Lamrim is The Lamp for the Path to Enlightenment by Atisha, which incorporates practices from both traditions.

The Sutrayana part of the Lamrim is considered a preliminary practice for the Tantrayana part. Among the four classes of Mantrayana, Kriya Tantra is considered a preliminary to Charya Tantra, which in turn is a preliminary to Yoga Tantra and Anuttara-yoga Tantra. 

Therefore, Je Tsongkhapa's 'Exposition of the Stages of Mantrayana', also known as 'Ngag Rim Chen Mo', is considered the second part of the 'Great Lamrim', or 'Lamrim Chenmo'. In the Gelug school of Tibetan Buddhism, the practical handbook for Sutrayana Lamrim training comprises various versions of Lamrim Jor Chhoe, mainly consisting of the six preparatory Lamrim practices. All schools of Tibetan Buddhism have a similar form of these practices, collectively known as ngondro. 

In Tibetan Buddhism​ ngondro has the common outer preliminaries (which are shared with Sutra) and the uncommon inner preliminaries (which are specific to Tantra/Vajrayana) form two distinct sets of four to five foundational practices​.

The four foundational contemplations turn the mind away from worldly distractions and towards the Dharma.
1. Mindfulness of Precious Human Life recognises the rare opportunity and profound potential of having a human rebirth endowed with the freedom and leisure to practise.
2. Mindfulness of Impermanence and Death involves reflecting on the transient nature of life and the certainty of death, which cuts through procrastination.
3. Mindfulness of karma (cause and effect), which involves understanding that all actions have inevitable ethical consequences and inspire virtuous conduct.
4. Mindfulness of the sufferings of Samsara involves examining the unsatisfactory and cyclic nature of conditioned existence in order to generate deep renunciation.

Uncommon preliminaries (specific to Tantra) are specialised Vajrayana practices that establish the psychological and spiritual foundation necessary for direct Tantric deity yoga.
1. These include taking refuge and performing prostrations to deepen one's commitment to the Three Jewels (Buddha, Dharma and Sangha), as well as physical prostrations to burn off pride.
2. The Realisation of Bodhichitta Generation involves developing the compassionate aspiration to attain awakening solely to liberate all sentient beings.
3. Vajrasattva meditation and mantra recitation involves using visualisation and the 100-syllable mantra to purify deep-seated emotional and mental obscurations.
4. The realisation of mandala offering involves symbolically offering the entire universe in order to accumulate merit and the positive energy necessary for realisation.
5. The realisation of guru yoga involves merging one’s mind with the enlightened qualities of the spiritual mentor (often counted as a fifth core inner practice).

In the latter case, the Vajrasattva practice should be added, along with the recitation of the 100-syllable mantra​. The first four practices can also be performed with Lamrim Jor Choe, otherwise.

Tantrayana 

The term 'Tantra' refers to the mental continuum, which is the nature of Buddha that resides within each and every individual.  This Buddha nature is described in detail in the Uttara Tantra by Arya Asanga and is considered to be the innate luminosity of the mind, the ultimate reality of the mind, the emptiness of the mind, and the wholeness of the mind. 

The term 'Uttaratantra' (Sanskrit: उत्तरतन्त्र; Tibetan: རྒྱུད་བླ་མ, Wylie: rgyud bla ma, pronounced 'Gyü Lama') literally translates as 'the ultimate continuum' and is best known as the title of the Mahayana Buddhist text, the Mahayana Uttaratantra Shastra (also known as the Ratnagotravibhaga), which presents definitive teachings on Buddha nature (gotra or tathagata-garbha).

The text explains that all sentient beings inherently possess the pure potential for enlightenment. Tradition attributes the text's composition to the bodhisattva Maitreya through the master Asanga. The text serves as a vital philosophical bridge between lower sutra teachings and advanced Vajrayana or Mahamudra practices. By defining emptiness as luminous and fully endowed with enlightened qualities, the text safeguards practitioners against nihilism (the belief that nothing exists) and eternalism (the belief in a permanent, static soul).

The essential concept of Buddha nature is its inherent purity. The mind's true nature is naturally pure, perfect and luminous, remaining completely untouched by temporary or changing mental states such as anger or confusion.

There is no reason to have any conceit or contempt towards any sentient being as everyone possesses this equal essence; therefore, there is no valid reason to feel pride over others or self-contempt regarding one's ability to attain awakening. 

Negative emotions and gross mental actions are like removable veils, covering this pure nature temporarily. However, they do not damage or alter the underlying essence of the mind and can be completely cleared away.

In Tibetan Buddhism, 'Tantra' (translated into Tibetan as 'rgyud') literally means 'continuum' or 'thread', referring to the unbroken stream of fundamental mind that connects ordinary, confused existence with full enlightenment. Tibetan tantric practice, which is part of Vajrayana Buddhism, is built upon three aspects of this continuum.
1. The ground continuum refers to the fundamental, pure nature of the mind (Buddha nature), which remains present even when a person is feeling confused or troubled.
2. The path continuum refers to the skilful methods, meditations and rituals used to awaken this pure nature.
3. The result continuum is the final state of complete Buddhahood, which is achieved when the practice is complete. 

Tantra is essentially a path of transformation. It uses energy, using human emotions and desires as fuel for awakening rather than viewing them as enemies. Visualisation is a method used by practitioners to help the mind let go of ordinary, limited self-images by imagining themselves as enlightened deities. Practices include chanting mantras, working with mandalas and moving subtle inner energies through mind-body yoga. Authentic practice requires initiation (wang) and direct instruction from a qualified teacher as well.

Kriya Tantra Deity yoga

That being said, I would now like to introduce some key concepts of the Kriya Tantra Dharma practice as set out in the Ganden School of Tibetan Buddhism. Je Tsongkhapa provides an extensive account of Kriya Tantra practice in his 'Great Exposition of Secret Mantra' (Ngag-rim Chenmo), which requires a solid foundation in the common Lam-rim path of renunciation, bodhichitta, and the realisation of voidness. In preparation for engaging in Kriya Tantra practice, these can be refreshed by reciting and meditating on The Three Principal Aspects of the Path by Tsongkhapa, alongside the six preparatory Lamrim practices (Lam Rim Jor Choe).

The prerequisites for practising Kriya Tantra deity yoga are said to be that you must have received a proper Kriya Tantra empowerment, typically from the Tathagata family, and must maintain the corresponding vows and close bonds. A Kriya Tantra initiation, also known as an 'empowerment' or 'wang', is a sacred Vajrayana Buddhist ritual that formally allows a practitioner to enter a deity's mandala and start practising lower-class action tantra. 

In Kriya Tantra, there are a few key aspects to the initiation. The practitioner views the deity as external and approaches them with the same cleanliness, purity and respect as a devotee would approach a master. This approach is favoured over immediately identifying oneself as being completely non-dual with the deity.

Ripening empowerment typically involves receiving specific empowerments, such as water empowerment, which establishes the potential for the Dharmakaya, and crown empowerment, which establishes the potential for the Rupakaya.

Taking the initiation involves accepting vows to maintain pure motivation, protect Bodhicitta and practise correctly. A qualified Vajrayana master is needed to transmit the lineage and guide you through visualisation practices such as six-deity yoga.

In Kriya Tantra, practitioners promise to uphold five specific tantric vows, or close bonds (dam-tshig), upon receiving initiation.

1. To take constant refuge in the Buddha, the Dharma, and the Sangha.

2. To regard and respect the tantric master as if they were a Buddha.

3. Avoid negative thoughts, criticism or hostility towards fellow practitioners.

4. Engage in the prescribed ritual purifications and maintain outer and inner cleanliness as required by this class of tantra.

5. Finally, they must commit to the daily ritual and meditative practices of the deity.

Kriya tantra places a heavy emphasis on external ritual purity, cleanliness and polite conduct, as well as inner meditative stabilisation. Dam-tshig and samya acts specifically act as spiritual guardrails, creating a clean container for divine yoga practice. Kriya tantra is the first of the four tantric classes. 

Kriya Tantra deities

In this system, deities are organised into three distinct families of Buddha. This Vajrayana Buddhist system, also known as Action Tantra, categorises deities and practices in a specific way.

The three families are the Tathagata or Buddha family, the Lotus family, and the Vajra family. There are many ways of describing these families. When talking about a Buddha family, 'family' is short for 'family trait'. A trait is a characteristic, and here it refers to three aspects of Buddha-nature. 

These groups are based on the primary active qualities and symbolic traits of the spiritual figures, and the deities are viewed as sacred external presences. Great importance is placed on ritual cleanliness and purification when approaching them. 

One way of describing them is to consider the Buddha family as the body, the lotus family as speech, and the vajra family as the mind. These can transform an ordinary body, speech and mind into those of a Buddha.

The most commonly practised Buddha figure in the Tathagata family is Shakyamuni Buddha. This family is associated with the centre, wisdom and peace. This family has the largest number of sub-categories. Its Buddha is Shakyamuni, its lord is Manjushri in texts such as the 'Manjushrimulakalpa', its mother is Marici, and its deities include Ushnisha Vijaya and Sitatapatra.

The lotus family includes Tara and Avalokiteshvara, also known as Chenrezig.  This family is associated with the west, compassion and speech. Figures from the lotus family are associated with various forms of Avalokiteshvara, including Amoghapasha, who symbolises boundless compassion.

The most commonly practised figures in the Vajra family are Akshobhya and Vajrapani. Vajra family figures are associated with wrathful and protective deities, or with specific forms of Vajrapani. They are associated with the east, with method, and with unyielding power. 

Each of these families has a specific mudra, which we apply to five parts of the body: the top of the head, the forehead, both shoulders and the heart. This provides protection against negative forces.

Kriya Tantra Sadhana

The Kriya Tantra practice of generating the deity should be approached based on the six Lam Rim preparatory practices and the realisation of the three principal aspects of the path. This practice has six steps or characteristics.

First, the practitioner washes and performs the mudras in five places. Then, they sit down to meditate. This preliminary cleansing is an external process. 

The six-deity practice in Kriya Tantra is a six-step meditation method in which one imagines oneself as a Buddha figure. 

The actual sadhana begins with a contemplative process to visualise oneself as a Buddha figure rather than one's ordinary self.

1. Meditate on the deity as voidness (emptiness) to establish a foundation for the practice.

Most sadhanas begin with the Sanskrit line 'Om svabhava shuddha sarva dharma svabhava shuddho ham', which acknowledges the emptiness of all phenomena and their dependent arising. From this state of emptiness, you then arise inseparable from the emptiness of the Buddha deity, as the two share the same ultimate Buddha nature.

2. Visualising the deity as letters: Imagine the deity surrounded by the seed syllables of the mantra within a full moon disc at its centre. The deity's or mantra's seed syllable is at the centre of this horizontal, flat, full-moon-shaped cushion and faces outwards. The other syllables of the mantra are arranged around the edge of the disc.  It is important to have a clear visualisation. 

When visualising the practitioner as a Buddha figure, this represents what can be achieved through dedication to a practice inspired by Buddha-nature and a teacher. Therefore, take pride in embodying this aspiration when performing these visualisations of the syllables on the moon disc.

3. The deity as sound involves imagining the subtle sound of the mantra. It also involves the sound of the syllables resonating and emanating light. For example, OM MANI PADME HUM is a Chenrezig practice. Similarly, practitioners take pride in their ability to produce this sound in a pure form, akin to a pure mantra or the pure speech of a Buddha. 

4. The deity as form involves manifesting the actual visual form and bodily attributes of the Buddha-deity, which are then perceived by the faithful as the Buddha-deity's true form. One imagines lights emanating from the moon disc and syllables making offerings to the Buddhas, bodhisattvas and all beings. Then they come back and transform into the form of the Buddha-figure. The various Buddha figures sit on different things, and this varies according to the specific deity practice. 

 Picture the practitioner as the deity in form, as if they were the Buddha-figure itself. When contemplating voidness, you focus on the mind; when contemplating the syllables, you focus on speech. Here, you are dealing with the body in terms of its appearance. 

5. The deity as mudra involves applying specific hand gestures to parts of the body for protection and empowerment. Applying the mudra to the five parts of the body can indicate activity and bring about some form of purification. 

6. The deity as signs engages in the remaining ritual activities of the sadhana, such as making offerings and reciting mantras.

The deity as voidness, the deity as letters or syllables, the deity as sound, the deity as form and the deity as mudras. This is how an individual generates themselves as a Buddha figure, and the rest of the practice includes various prayers and strong wishes. 

To intensify the practice, concentration and breathwork are employed to help practitioners develop single-minded concentration by focusing on visualising the deity while holding their breath using vase breathing and maintaining awareness of voidness.  

Tsongkhapa outlines the stages of advancing mental concentration and samadhi, moving from recitation-based concentration to non-recitation concentration. This involves abiding in flames, sound, and the ultimate voidness. These specific practices are particularly recommended in Charya Tantra deity practices.

Meditative Absorption

When engaging in these practices, it is crucial to maintain an understanding of voidness or emptiness. The practice is characterised by two distinct phases: total absorption and the subsequent realisation. Thus, you maintain an understanding of voidness throughout, implicitly recognising that everything is like an illusion.

The main practice, after you have completed the prayers, offerings, etc., is to maintain a deep awareness of what is called non-dual profound understanding of voidness and clear appearance. This is achieved through stabilising meditation, visualising yourself as a Buddha figure such as Chenrezig or Avalokiteshvara. These figures have one face and four arms. They are seated and hold a jewel in their two middle hands and a rosary in their right hand and a lotus in their left upper arm.  The stabilising visualisation also includes more elaborate practices in a mandala.

In the sadhana practice, once you have made the offerings and said the prayers and generated yourself as the Buddha-figure through the six-deities practice, you can use the Kriya practice to gain a stilled and settled state of mind (shamatha, zhi-gnas). This state is gained through single-minded concentration on visualising yourself as the Buddha figure.

Another technique for stabilising concentration is clear visualisation, which involves visualising oneself as a deity while holding one's breath. This technique is known as 'vase breathing' in Kriya Tantra and involves holding the breath in the belly. This helps to improve concentration. Try holding your breath for a moment: breathe in deeply, then hold it. Observe your state of mind while you do so. You will find that your mind becomes steady and quiet. 

In Kriya Tantra, this method is used to achieve single-minded concentration because breath is connected to energy, which is connected to thought. If you hold your breath, you also hold these energies, making it very difficult to engage in a lot of conceptual or verbal thinking at the same time. This enables you to maintain your visualizations.

Author's note

This guide to Kriya Tantra Yoga in the Geden tradition of Tibetan Buddhism highlights a few key elements to help those interested in the subject. It should be noted that this is a very limited and incomplete description of Kriya Tantra deity yoga practice.

Therefore, those deeply involved in these practices should consult other reliable sources to develop a thorough understanding of the concept.

Om Muni Muni Maha muni Sakya Muni Soha

In the Gelug tradition of Tibetan Buddhism, founded by the great scholar-yogi Je Tsongkhapa (1357–1419), Tantra is structured systematically alongside the Sutra paths. Tsongkhapa’s foundational text on the Vajrayana path is the sNgags rim chen mo (The Great Treatise on the Stages of the Path of Secret Mantra). In this text, he outlines the four classes of tantra used by the Sarma (New Translation) schools, with Kriya Tantra (Action Tantra) serving as the first and foundational class.

While Tsongkhapa’s personal focus and highest realizations came from Anuttarayoga Tantra (Highest Yoga Tantra), his tradition treats Kriya Tantra as a vital, fully realized vehicle for spiritual growth.

1. Definition and ViewDefinition: Kriya Tantra (bya-rgyud) translates literally to "Action Tantra". It is characterized by an emphasis on external actions, such as ritual behavior, physical cleanliness, and precise environmental requirements.

The View: Philosophically, Tsongkhapa maintains that all four tantra classes share the identical ultimate view: the ** Prasangika Madhyamaka realization of emptiness**. What differentiates Kriya Tantra is its unique method of cultivating that view—viewing phenomena relatively as divine forms arising out of emptiness

Relationship to the Deity: In Kriya Tantra, the relationship between the practitioner and the Buddha-figure (deity) is traditionally compared to that of a servant and a master. The deity is viewed as a supreme being external to oneself, acting as a source of blessings, inspiration, and instruction.

2. Key Components of PracticeTsongkhapa’s tradition organizes Kriya Tantra practice into rigorous steps designed to balance mental focus with ritual precision.

External Purification & Behavior: Practitioners adhere strictly to specific guidelines. This includes taking regular ritual baths/ablutions, wearing clean clothing, and maintaining a strict vegetarian diet consisting of the "three white foods" (milk, yogurt, and butter) and the "three sweet foods" (sugar, honey, and molasses).

The Three Lineages/Families: Kriya practices are grouped into three primary Buddha families, each specializing in a specific energy or enlightened aspect:Tathagata (Buddha) Family: Centered around figures like the Medicine Buddha or Vajrasattva, focusing on purification.Lotus (Padma) Family: Centered around figures like Avalokiteshvara (Chenrezig) or Tara, focusing on compassion.Vajra Family: Centered around figures like Vajrapani, focusing on spiritual power and removing obstacles.

3. The Core Meditative StructureIn the sNgags rim chen mo, Tsongkhapa elucidates the meditative steps required to achieve single-minded concentration (shamatha) and insight (vipashyana) using Kriya methods: 

A. The Six-Deity PracticeTo generate the visualization of the deity, practitioners follow a sequence known as the Six Deities: 

Ultimate Deity (Voidness): Meditating on the emptiness of intrinsic existence of both oneself and the deity.Deity of Sound: Visualizing the deity’s mantra resonating from within emptiness.Deity of Letters: Visualizing the seed syllables written or shining in space.Deity of Form: Visualizing the physical, anthropomorphic form of the deity manifesting fully.Deity of Mudra: Utilizing specific, protective hand gestures applied to the body.Deity of Signs: Completing the external actions, such as making physical offerings, praises, and dedications. 

B. The Four Types of Mental Stability (Four Samadhis) Once the deity is visualized, the practitioner develops intense concentration by moving through four stages of focus:

Abiding in Fire: Visualizing oneself inside a mass of blazing wisdom flames while reciting the mantra.

Abiding in Sound: Focusing entirely on the internal, mental sound of the mantra syllables vibrating within the heart area.

Culmination of Sound: Reaching a point of effortless, steady concentration where the concept of the sound and the mind become unified.

Yoga Without Signs: Transcending the physical attributes of the deity and the sounds, resting completely in the non-conceptual realization of Emptiness.

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In Je Tsongkhapa’s masterwork, the Ngagrim Chenmo (The Great Treatise on the Stages of the Path to Enlightenment or Great Treatise on the Stages of Mantra), Kriya Tantra (Action Tantra) serves as the fundamental first class of the fourfold tantric systems.

Tsongkhapa structures the practice of Kriya Tantra by systematically organizing its view, ritual behavior, and specific meditation techniques. According to his explanations, Kriya Tantra is designed for practitioners who lean heavily toward external physical and verbal activities.

1. View and Core Architecture

The Master-Servant Relationship: Tsongkhapa explicitly notes that in Kriya Tantra, the practitioner views the deity as a superior being, akin to a master, while the practitioner acts as the servant. This contrasts with higher tantras where one instantly generates oneself as the deity without this conceptual gap.

The Three Buddha Families: Tsongkhapa condenses all classes of Kriya Tantra deities into three primary families:

Tathagata (Buddha) Family: Headed by figures like Shakyamuni or Manjushri.

Lotus Family: Headed by Avalokiteshvara.

Vajra Family: Headed by Vajrapani.(

Note: The remaining families—Jewel and Karma—are synthesized into these three within Kriya systems). 

2. External Conduct & PurificationBecause 

Kriya means "Action," Tsongkhapa outlines strict parameters for physical discipline to pacify the mind: Ritual Cleanliness: Extensive bathing, cleaning of the meditation environment, and changing into clean clothes before each session.

Dietary Restrictions: Strict avoidance of the "black foods" (meat, garlic, onions, and alcohol).

Rital Boundaries: Correct execution of complex mantras and mudras to bind the ritual space against interfering energies. 

3. The Core Practice: The Six Deities YogaThe meditative heart of Kriya Tantra in the Ngagrim Chenmo is the Six Deities Yoga (lha drug), which details the step-by-step process of meditating on the deity:

Ultimate Deity (Voidness): Meditating on the fundamental nature of reality—emptiness—recognizing that the ultimate mind of the deity and the ultimate mind of the practitioner are non-dual. 

Sound Deity: Meditating on the resonance of the deity’s mantra vibrating in space. 

Letter Deity: Visualizing the written letters/syllables of the mantra standing on a disc (like a moon disc) inside space. 

Form Deity: Visualizing the physical, multi-dimensional attributes, colors, and implements of the deity.

Mudra Deity: Securing the visualization through physical hand mudras and the mental sealing of the deity at specific energy points on the body. 

Sign Deity: Concentrating single-pointedly on the clear appearance of the deity, blending clarity with the realization of emptiness. 

4. Advanced Meditations: With and Without Signs

Tsongkhapa divides the advanced stabilization of Kriya Tantra into two main stages of mental focus:

Meditation with Signs: Focusing on the tangible components of the visualization, utilizing the breath (such as vase breathing to lock energies into the central channel) to stabilize concentration.

Meditation without Signs: Relinquishing the visual aspect of the deity to rest single-pointedly on the ultimate nature of reality (emptiness), which serves as the Kriya equivalent to profound insight (vipaśyanā).

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In Kriya Tantra Deity Yoga as taught by Je Tsongkhapa (the founder of the Gelug school of Tibetan Buddhism), the practice emphasizes external ritual purity, cleanliness, and the structural realization of the deity through a specific framework known as the six deities or six steps of visualization.Unlike Higher Yoga Tantra, where the practitioner visualizes themselves as inseparable from the deity from the outset, Kriya Tantra traditionally approaches the deity with a sense of reverence, often compared to the relationship between a master and a servant.

The Six Deities (Framework of Realization)Je Tsongkhapa outlines the practice of Kriya Deity Yoga through six progressive stages of meditation, which transform ordinary perception into the enlightened body, speech, and mind of the deity.1. Ultimate Deity (Emptiness): Meditating on the ultimate nature of reality. You dissolve ordinary appearances into emptiness (Shunyata), recognizing that both your mind and the deity's mind share the same ultimate, empty nature.2. Sound Deity (Letter): Out of emptiness, the resonant sound of the deity’s seed-syllable (such as AH, MAM, or TAM) arises in space, vibrating with enlightened energy.3. Letter Deity (Form of the Syllable): The sound transforms into a visual aspect. You visualize the seed-syllable manifest as a radiant letter of light standing on a moon or sun disc.4. Form Deity (Physical Appearance): The letter completely transforms into the physical form of the deity, complete with specific colors, hand gestures (mudras), robes, and ornaments.5. Mudra Deity (Sealing): You touch the vital points of the body (heart, crown, throat, etc.) while performing specific hand mudras and reciting mantras to "seal" and stabilize the deity's presence.6. Sign Deity (Concentration): Maintaining clear, single-pointed concentration on the complete form of the deity, sustaining both the vivid appearance of the form and the recollection of its pure, ultimate nature.

Core Pillars of Kriya Tantra Practice

Generation of Self and Front Deity

Depending on the specific lineage and text, Je Tsongkhapa explains that Kriya Tantra utilizes both Self-Generation (visualizing oneself as the deity) and Front-Generation (visualizing the deity in the space in front of you). The blessings are requested from the Front Deity to purify the practitioner, bridging the gap between ordinary self-grasping and divine pride.

Extreme Outer PurityKriya (action) Tantra places immense weight on physical conduct. Je Tsongkhapa stresses that internal realization is supported by:

Strict vegetarianism and avoiding pungent foods (garlic, onions).

Frequent ritual bathing and wearing clean, specific clothing.

Maintaining a pristine, highly organized altar and meditation space.

Divine Pride and Clear Appearance

Practitioners cultivate two essential factors: 

Clear Appearance: Visualizing every detail of the deity with razor-sharp clarity.

Divine Pride: Deconstructing the ordinary, limited ego and replacing it with the confidence of possessing the enlightened qualities of the deity.