Shantarakshita's The Ornament of the Middle Way is among the most important Mahayana Buddhist philosophical treatises to emerge on the Indian subcontinent. In many respects, it represents the culmination of more than 1300 years of philosophical dialogue and inquiry since the time of the historical Buddha Shakyamuni. Shantarakshita set forth the foundation of a syncretic approach to contemporary ideas by synthesizing the three major trends in Indian Buddhist thought at the time (the Madhyamaka thought of Nagarjuna, the Yogachara thought of Asanga, and the logical and epistemological thought of Dharmakirti) into one consistent and coherent system. Shantarakshitas's text is considered to be the quintessential exposition or root text of the school of Buddhist philosophical thought known in Tibet as Yogachara-Svatantrika-Madhyamaka. In addition to examining his ideas in their Indian context, this study examines the way Shantarakshita's ideas have been understood by and have been an influence on Tibetan Buddhist traditions. Specifically, Blumenthal examines the way scholars from the Geluk School of Tibetan Buddhism have interpreted, represented, and incorporated Santaraksita's ideas into their own philosophical project. This is the first book-length study of the Madyamaka thought of Shantarakshita in any Western language. It includes a new translation of Shantarakshita's treatise, extensive extracts from his autocommentary, and the first complete translation of the primary Geluk commentary on Shantarakshita's treatise.

In the Madhyamakalankara, Shantarakshita synthesized the views of Madhyamaka and Yogachara, the two great streams of Mahayana Buddhism. This was the last great philosophical development of Buddhist India. In his brilliant and searching commentary, Mipham re-presented Shantarakshita to a world that had largely forgotten him, defending his position and showing how it should be understood in relation to the teaching of Chandrakirti. To do this, he subtly reassessed the Svatantrika-Prasangika distinction, thereby clarifying and rehabilitating Yogachara-Madhyamaka as a bridge whereby the highest philosophical view on the sutra level flows naturally into the view of tantra. Mipham’s commentary has with reason been described as one of the most profound examinations of Madhyamaka ever written.

An adventure into the heart of Buddhist wisdom through the Madhyamika—or Middle Way—teachings This book includes a verse translation of the Madhyamakavatara by the renowned seventh-century Indian master Chandrakirti, an extremely influential text of Mahayana Buddhism, followed by an exhaustive logical explanation of its meaning by the modern Tibetan master Jamgön Mipham, composed approximately twelve centuries later. Chandrakirti's work is an introduction to the Madhyamika teachings of Nagarjuna, which are themselves a systematization of the Prajnaparamita, or “Perfection of Wisdom” literature, the sutras on the crucial but elusive concept of emptiness. Chandrakirti's work has been accepted throughout Tibetan Buddhism as the highest expression of the Buddhist view on the sutra level. With Jamgön Mipham's commentary, it is a definitive presentation of the wisdom of emptiness, a central theme of Buddhist teachings. This book is a core study text for both academic students and practitioners of Mahayana and Vajrayana Buddhism.

In his Ornament of the Middle Way, the great Indian master Shantarakshita reveals how the mind can be led to increasingly profound insight and experience.

The Buddhist saint N=ag=arjuna, who lived in South India in approximately the second century CE, is undoubtedly the most important, influential, and widely studied Mah=ay=ana Buddhist philosopher. His many works include texts addressed to lay audiences, letters of advice to kings, and a set of penetrating metaphysical and epistemological treatises. His greatest philosophical work, the Mūlamadhyamikak=arik=a--read and studied by philosophers in all major Buddhist schools of Tibet, China, Japan, and Korea--is one of the most influential works in the history of Indian philosophy. Now, in The Fundamental Wisdom of the Middle Way, Jay L. Garfield provides a clear and eminently readable translation of N=ag=arjuna's seminal work, offering those with little or no prior knowledge of Buddhist philosophy a view into the profound logic of the Mūlamadhyamikak=arik=a. Garfield presents a superb translation of the Tibetan text of Mūlamadhyamikak=arik=a in its entirety, and a commentary reflecting the Tibetan tradition through which N=ag=arjuna's philosophical influence has largely been transmitted. Illuminating the systematic character of N=ag=arjuna's reasoning, Garfield shows how N=ag=arjuna develops his doctrine that all phenomena are empty of inherent existence, that is, than nothing exists substantially or independently. Despite lacking any essence, he argues, phenomena nonetheless exist conventionally, and that indeed conventional existence and ultimate emptiness are in fact the same thing. This represents the radical understanding of the Buddhist doctrine of the two truths, or two levels of reality. He offers a verse-by-verse commentary that explains N=ag=arjuna's positions and arguments in the language of Western metaphysics and epistemology, and connects N=ag=arjuna's concerns to those of Western philosophers such as Sextus, Hume, and Wittgenstein. An accessible translation of the foundational text for all Mah=ay=ana Buddhism, The Fundamental Wisdom of the Middle Way offers insight to all those interested in the nature of reality.

The premiere volume of Thupten Jinpa's thirty-two-volume Library of Tibetan Classics series, inaugurated to coincide with the Dalai Lama's conferral of the initiation rite of Kalacakra in Toronto in April 2004. The Kalacakra, or "wheel of time," tantra likely entered Indian Mahayana Buddhism around the tenth century. In expounding the root tantra, the Indian master Pundarika, one of the legendary Kalki kings of the land of Shambhala, wrote his influential Stainless Light.Ornament of Stainless Light is an authoritative Tibetan exposition of this important text, composed in the fifteenth century by Khedrup Norsang Gyatso, tutor to the Second Dalai Lama. One of the central projects of Kalacakra literature is a detailed correlation between the human body and the external universe. In working out this complex correspondence, the Kalacakra texts present an amazingly detailed theory of cosmology and astronomy, especially about the movements of the various celestial bodies. The Kalacakra tantra is also a highly complex system of Buddhist theory and practice that employs vital bodily energies, deep meditative mental states, and a penetrative focus on subtle points within the body's key energy conduits known as channels. Ornament of Stainless Light addresses all these topics, elaborating on the external universe, the inner world of the individual, the Kalacakra initiation rites, and the tantric stages of generation and completion, all in a highly readable English translation.

This is a completely new translation of Nagarjuna's major work, the Mulamadhyamakakarika, accompanied by a detailed annotation of each of the verses. The annotation identifies the metaphysical theories of the scholastics criticized by Nagarjuna, and traces the source material and the arguments utilized in his refutation back to the early discourses of the Buddha. The Introduction presents a completely new hypothesisthe nature of the treatise. The work is a grand commentary on the Buddha's "Discourse to Katyayana" (Kaccayanaqotta-sutta). The concluding part of the Introduction compares the teachings of the Buddha and Nagarjuna in regard to epistemology, ontology, ethics and philosophy of language indicating how the latter was making a determined attempt to reconstruct the Buddha's teachings in a very faithful manner, avoiding the substantialist metaphysics of the scholastics. The book shows that Nagarjuna's ideas are neither original nor are they an advancement from the early Buddhist period. Nagarjuna is not a Mahayanist.