The Gyalwang Drukpa's Statement on Forceful Conversion of Drukpa Monasteries (The Annual Drukpa council)

10th September 2014
Over the last few days I have been receiving disturbing information from Tibet regarding the forced conversion of Drukpa Lineage monasteries in the Mount Kailash region by the Karma Kagyu Lineage. My followers in Tibet tell me that nearly all of the historic Drukpa Lineage monasteries in Mount Kailash region are being forcibly occupied by the Karma Kagyu Lineage, using money, coercion and certain Chinese support. Monks of the Drukpa Lineage looking after the monasteries, are suddenly exiled from their spiritual homes by the Karma Kagyu monks.
Historically the Drukpa Lineage and the Karma Kagyu Lineage of Tibetan Buddhism have shared a deep and close spiritual bond. The Gyalwang Drukpas and Gyalwa Karmapas were known as Gyalwa Kar-Druk Yab-sey or “spiritual father and son” because whoever was elder would give spiritual guidance to the younger one. This close bond continued till the time of His Holiness the 16th Karmapa.
More than 15 years ago, Dri-ra Phug monastery, the seat of Gyalwa Gotsangpa who was the most illustrious disciple of the 1st Gyalwang Drukpa Tsangpa Gyare, was forcibly taken over by monks of the Karma Kagyu, saying that they were instructed to do so by His Holiness Karmapa Ugyen Thinley Dorjee. I did not believe then that His Holiness Karmapa Ugyen Thinley Dorjee would have given such an instruction because he was just a child at that time. Even today the name “His Holiness Karmapa Ugyen Thinley Dorjee” is being used to forcibly take over and convert the Drukpa Lineage monasteries to the Karma Kagyu. Historic pictures, images and art of Drukpa Lineage Lamas are being defaced and removed by the Karma Kagyu in an attempt to rewrite history. Despite what I have been informed, I still do not believe that His Holiness Karmapa Ugyen Thinley Dorjee would give instructions to forcibly take over Drukpa Lineage monasteries and convert them to Karma Kagyu.
However, it is definite that some high Lama of the Karma Kagyu with certain Chinese connections is misappropriating the name of Karmapa. Therefore, for the sake of religious and humanitarian harmony, I urge His Holiness Karmapa Ugyen Thinley Dorjee, as head of the Karma Kagyu, to instruct his followers in Tibet and elsewhere to refrain from taking over and forcefully converting Drukpa Lineage monasteries, and to issue a statement so that those within his lineage who have been using his name to conduct such oppression to leave forcibly occupied Drukpa Lineage monasteries and return those sacred heritage of all kinds, taken forcibly, to the Drukpa Lineage.
The Gyalwang Drukpa


Webcast Announcement: Gyalwang Karmapa's Teaching - "The Art of Happiness"

His Holiness the Gyalwang Karmapa will give a teaching on Geshe Langri Thangpa’s Eight Verses of Training of the Mind and also confer Medicine Buddha Empowerment.

Live translation in English and Chinese.

Indian Time

Teaching at the Foundation
for Universal Responsibility
November 22Teaching Session 1                  10:30 - 12:00 IST
Teaching Session 215:30 - 17:00 IST

November 23Teaching Session 3                  10:30 - 12:00 IST
Medicine Buddha Empowerment15:30 - 17:00 IST




From Vajradhara to the root guru,
You represent the lineages of actuality, displaying buddhahood in human form.
I pray to You from my heart that my mind stream's
Karma and afflictions may become pure and that experience and realization may dawn.

Even though I do not fathom the thoughts of holy beings of the past, 
Without vying with the ordinary appearances of our days,
But rather through following those past ones with devotion, in my mind stream,
I have found some understanding and experience through the guru's kindness.


I understand that the view—the realization of emptiness—
Exists in the mind streams of noble hearers and solitary realizers, 
While the view of the mahayana is superior through bodhicitta. 
Even if you are able for a thousand reasons
To cut through the root of samsara, if you lack bodhicitta,
Since you do not have the superior intention, the stains of latent tendencies
Will not become pure, since there is no remedy.

I understand that, without having generated this mind, 
Meditation on emptiness is unable to realize emptiness directly. 
The direct realization of emptiness is the ground of a Buddha, 
Upon which [all] knowable objects are of one taste.
Therefore, I understand that you progress through the paths and grounds 
According to the order of generating the mind of emptiness of the mahayana.

I understand that, since the Buddha's intention cannot be expressed 
On the path of letters, all statements of samsara and nirvana
Being ‘existent’ or ‘nonexistent’ are mere conventionalities.
If meditation must be beyond mind and needs to drop mental engagement,
It is not suitable to give explanations about whether there is a view or not,
Because the view and meditation of the mahayana are not internally contradictory.
In the tradition of Mahamudra, view and meditation are mere labels,
But there is no presentation of a philosophical system that establishes view and meditation.

Likewise, the lineage from the great Patsab Lotsawa
To Tusum Khyenpa that accords with the intention of mother [prajnaparamita],
As commented on by Nagarjuna, is the Madhyamaka view 
That was clearly explained by honorable Mikyo [Dorje].
It is declared to be the great Madhyamaka free from claims.
[To say on the one hand that] the qualities of a Buddha are 
inconceivable for minds on this shore
And that, without analysis, these qualities are described by following his words,
While saying [on the other hand] that wisdom exists and that it is the perfect [nature], is 
not contradictory.
However, I understand that if such is held at the end of analyzing
For the ultimate through reasoning, the ultimate has become an object for the mind,
Thus being [in itself nothing but] a portion of the cognitive obscurations.
Hence, the following words by the dharma lord from Takpo are the remedy for this.
He says: ‘Throw the views of *intellectual+ understanding behind you 
And destroy the foundation of meditative experiences!’

From among the mahayana's two philosophical systems, Madhyamaka and [Mere] 
The philosophical system of Madhyamaka is the tradition of the noble father [Nagarjuna] 
and his son.
It summarizes all that is to be known through a threefold presentation: 
On *the level of+ no analysis and mere convention, by saying that ‘all of
samsara and nirvana exists,’

Adopting positive [actions] and rejecting negative ones are outlined in precise detail.
This is asserted as worldly seeming reality.
The analysis of conventions through the conventional mind
Means to understand, through the five great [Madhyamaka] reasonings, 
That all phenomena of samsara and nirvana are not really established, 
Are primordially unborn, and empty of reality.
I understand that this is the ultimate reality that is presented as a convention:

It is [just] the counterpart that depends on and is the reverse of the seeming.
As for the purpose of this [ultimate reality], since the root of samsara 
Is the clinging to a self, it serves as the remedy for that.

If this is perfectly analyzed through a reasoning consciousness that analyzes for the 
According to the scriptures of the profound sutras and tantras, 
[The masters] speak of eight as well as a hundred extremes, 
Such as existence, nonexistence, being, and not being. 
Therefore, as for final actuality, no claims are entertained
And it is determined to be free from extremes and beyond being an object of mind.

When the wisdom of Buddhas resembles space,
How should the minds of naive beings who just see what is right in front of them analyze it?
Thus, no analysis, analysis, and perfect analysis
Represent the stages of the seeming, the ultimate, and the freedom from extremes.

It is not held [here] that the basic nature is directly perceived, But its discordant factors and 
flawed [views about it] are crushed. I have arrived at certainty in my mind
That this Madhyamaka system with its threefold presentation
Is the approach of Nagarjuna, Candrakirti, and honorable Mikyo [Dorje].
Secondly, [the system of] Asanga and his brother who follow the final wheel [of dharma]
Is known as ‘False Aspectarian Mere Mentalism’ in the land of the noble ones
And as ‘Shentong Madhyamaka’ in Tibet. The meaning of these two names is the same.
This is the completely pure system that,
Through mainly teaching the luminous aspect of the mind,
Holds that the result—kayas and wisdoms—exist on their own accord. As for its necessity, it 
is asserted that it is taught in order to
Relinquish any arising of fear of emptiness and to awaken those with indefinite disposition.

When commenting on its meaning, honorable Rangjung [Dorje] says 
That it is one with the system of Candrakirti.
Others assert that the ultimate is existent and really established 
And that emptiness is really established.

As for the mahayana's sutra portion, both the middle and the final wheel [of dharma]
Have the purport of the Sugata heart, the unity of emptiness and luminosity.
The middle [wheel] explains this by mainly teaching emptiness, 
While the final [wheel] elucidates it by mainly teaching luminosity. 
I understand that, in actuality, these are not contradictory.

As for the way in which the view of the mantra[yana] is superior, 
The Sugata heart is said to be the unity of emptiness and luminosity. 
This is clearly stated in The Aspiration Prayer of Mahamudra:
‘The basis of purification is mind as such, the unity of emptiness and luminosity...’

The dharma lord from Takpo declares: ‘Some Madhyamikas *say that Madhyamaka] accords 
with the mantra [yana]
Due to the aspect of emptiness, but that it does not entail luminosity and bliss.
Some Mere Mentalists [claim that Mere Mentalism] accords with the mantra [yana]

Due to the aspect of luminosity, but that it does not entail emptiness and bliss.
The [actual] reason, why the view of the mantra[yana] is superior 
Is that it is the unity of bliss and emptiness as well as luminosity and emptiness.’
Therefore, I understand Shentong Madhyamaka well.

In the Kalacakra system, it is said that the emptiness 
Endowed with the supreme of all aspects is superior to [the one in] the sutras.
This is asserted to be the same essential point as the [above], the unity of the two realities.
By using the example of mirror divination for what appears Due to the difference in the 
profound essential point of means,
It also speaks of ‘the seeming that has the form of emptiness’ 
Or ‘emptiness that has the form of the seeming.’

Therefore, except for the difference in terms of which topic is mainly taught
And the superiority in means, the essence [of the mantrayana] 
Is always in accord with the view of Madhyamaka.
As it is said in [Nagarjunas] collection of reasonings: 
“For whom emptiness is possible,
Everything is possible.
For whom emptiness is not possible, 
Nothing is possible”.

The great commentary on the Kalacakra states
That the [yanas of] the paramitas and of mantra have the same view,
But, as for meditation, the former of the two systems does space-meditation,
Whereas the latter engages in shelterless meditation.

The Mother declares, ‘Meditating on prajnaparamita
Means to meditate on space.
Also those who wish to meditate on shelterlessness
Should train in and meditate on prajnaparamita.’
Hence, these [two] are in full accord.

This is just a brief summary of the way to understand the view 
That I offer here in front of the root guru.
Any stains of lacking understanding and wrong thoughts that I might have I confess and 
repent right before his eyes in this very moment 
And ask him to forgive me through his great compassion.


Secondly, as for meditation, there is a great variety of meditative systems 
That set their teaching priorities [according to] people's capacities and their individual 
However, as far as the meditation of Mahamudra is concerned, 
It is not asserted as being something different from the view.
Therefore, once you have understood through the view what the points of going astray into 
hundreds of extremes are,
Assume the essential points of the body and [look at] mind as such in stillness and 
No matter whether it is still or moves, just be aware with mindfulness. 
Apart from that, do not entertain hopes, fears, or desires and so on, 
But leave [mind in its] uncontrived, naturally settled, intrinsic state.

If you can [leave it this way], there is some slight knowing of your own face [at this point] 
that is to be left still.
It is nothing but this, which for the time being, is merely labeled with the name 
Nevertheless, lower meditative equipoises
Become higher subsequent attainments, so that, from the path of accumulation
Up through the supreme worldly dharma of the path of preparation, 
There is a progression. [However, any attempts at] thus gauging any one [of its phases]
I understand as setting foot on small-minded people's paths of going astray.

Since all [paths] above the supreme worldly dharma are beyond the world,
In the nature of their meditative equipoises,
There is no difference, but in terms of the progressive arising of qualities 
And the difference in purifying the cognitive obscurations, 
they become gradually more superior.

Hence, from the path of seeing up through the path of no more learning, 
That is, from the ten bodhisattva grounds all the way up to the Buddha ground,
This is the progression as my mind understands it.
I understand that, up through the supreme dharma, what is to be purified are the afflictive 
While what is to be purified from the path of seeing onward are the cognitive obscurations.

Taking the view of being empty of reality [that results from] the analysis of 
To be final and then wanting to meditate [in this way] is the system of others.
In our system, the remedy for clinging to identities is being empty of reality,
Which is praised as letting go of all phenomena as illusions during subsequent attainment.
What familiarizes with the view free from reference points and free from claims
Is nothing but sheer mindfulness, which is labeled ‘meditation.’ 
Thus, I understand that view and meditation are inseparable.


In the sutras and tantras, many different things have been said 
In specific contexts about what is called ‘conduct.’
However, [the main point is that] it must be embraced solely by a mind Free from clinging 
or aversion to a purpose and full of virtue and altruism,
Since all views, meditations, and conducts are the same 
In being means to purify the stains of mind as such—
These stains being attachment, hatred, and dullness.

As for the mantra[yana] speaking about bringing afflictions onto the path,
I understand that this is not a matter of increasing the afflictions in your mind,
But to add the wood of the afflictions to the fire of wisdom.
Through this, the wood of the afflictions is consumed, while the fire of 
wisdom grows bigger.
For persons of highest [faculties] who are skillful in means, 
This will be of great benefit, but not for fools.

My own mind stream being devoid of realization, this explanation Is surely as inappropriate 
as a blind person talking about colors. 
However, [I share only] a little bit of just what I understood
About view, meditation, and conduct as it dwells in my own mind.

If these steps of it being transferred into the domain of letters
Are good explanations, I dedicate them so that they, through their virtues,
May become causes for the teaching of the Takpo lineage to spread. 
For now, that’s it for the task set out before me.


Hereafter, [I would just like to add that] the omniscient great one from Jonang,
Who is called lord Taranatha,
Is the honorable one who is like a second mighty sage, 
Incomparable as to the basic nature of the view of actual reality.

The treasury that voices his profound intended meaning 
[Speaks about] ordinary Madhyamaka and Great Madhyamaka:
Ordinary Madhyamikas are known as those [who propound] self-emptiness.
They are those in both India and Tibet who maintain the lack of a nature, 
That is, [masters] such as Ruddhapalita who propound consequences and so on.

This Great Madhyamaka which is known as other-emptiness 
Is called ‘Yogacara-Madhyamaka’ or ‘Vijnapti-Madhyamaka.’ 
The protector lord Maitreya, noble Asanga,
The supreme pandita Vasubandhu, the honorable protector Nagarjuna, 
Other scholars and siddhas in India and Tibet, in particular
Honorable Rangjung [Dorje], who is endowed with the eye of wisdom, 
Have all praised this view of other-emptiness as supreme.

The basis of samsara, all phenomena, are without any reality. 
Nondual from the expanse, self-aware wisdom is luminosity. 
It is ultimate reality, the unconditioned nature of phenomena, 
The truely established Sugata heart.
May this very actuality, the essence of the definitive meaning of the final wheel [of dharma] 
and such,
Spread its luminous radiance henceforth just as the progression of the whispered lineage 

These words were put forth by the lord Dudul Dorje
In order to please the supreme Tulku
On a virtuous day. They were written down
By the scribe named Bomra Sonam. May it be virtuous!

Translated by Karl Brunnholzl

From the book "Heart Advice of Karmapa "


Gyalwang Karmapa's Teaching - The Art of Happiness

The Art of Happiness

 November 22-23
10:30am to 3:30pm
 Stein Auditorium in the India Habitat Centre in New Delhi


Thongdrol: Liberation Through Seeing - The Feature Film

by David Cherniack

A visually stunning, feature length, theatrical documentary on the magical Tibetan sacred art form that was developed by the Karmapas.

His Holiness Ogyen Trinley Dorje, the 17th Karmapa. For letters of support for the film please click on the Link

This theatrical documentary has the active support and guidance of His Holiness Ogyen Trinley Dorje, the 17th Karmapa.The Karmapa is the traditional leader of the Karma Kagyu, one of the major branches of Tibetan Buddhism. The first Karmapa was the original Tibetan master to intentionally take rebirth.

The film is being made by experienced professionals: a producer/director who has made more than 60 documentaries, a Visual Effects producer who has won two Oscars, and talented cinematographers.

Filming in ultra high definition 4k has been underway since the January shoot in Bodhgaya that is featured in the preview video. For a more extensive, much better resolution version of the preview please download at https://www.dropbox.com/s/ny3pqmwcbqm5tyf/Preview.mp4?dl=1

We're in need of additional funds to continue production. We have already shot material costing $200,000, raised through private donation. The money we are raising on KickStarter will enable us to shoot an important sequence in the Himalayas before weather makes it impossible in October. The film's planned budget is $2,000,000 with extensive visual effects sequences. The remainder of the funding will be raised through private donations in the Fall and Winter.

Please keep in mind that films like this are not funded by broadcasters anymore, even in countries that have a long tradition of support for the documentary form. (If there was a contest or cooking, or better yet, a contest AND cooking, somehow involved, it might be looked upon more favorably by broadcasters). As it is what it is, we have to depend on people like you who want to watch a film like this and are willing to contribute what they can. 

(To make a U.S. tax deductible donation to the film contact us directly for information about our 501C3)
ABOUT THE PROJECT      Thongdrol is a Tibetan word that means liberation though seeing. Something is seen that liberates. On a basic level it can be anything that turns the person seeing toward the spiritual path. On an advanced level it can be the instantaneous act of seeing the world through liberated eyes...the non-deluded eyes of the fully awakened.

A thangka of Choying Dorje, the 10th Karmapa, who was himself a brilliant artist.
Tibetan thangkas are a primary form of thongdrol. Though their subjects widely differ they all represent a sacred vision of Totality. Some venerate the lives of great masters. Others display wrathful deities as meditation objects that represent aspects of the enlightened being. All turn the mind toward the spiritual.  The Karma Gadri style of thangka painting is exquisitely detailed, with beautiful natural pigments.  It is named after the Great Encampment of the Karmapas where it emerged. For hundreds of years the Karmapas traveled and taught throughout Central Asia and China in a huge mobile monastery of tents. The style of painting that emerged in the Encampment added the natural world as an integral part of the thangka's sacred vision. Karma Gadri thangkas resonate with environmental awareness. A timely film on the subject is in keeping with his His Holiness, the 17th Karmapa, Ogyen Trinley Dorje's teaching that respecting the environment is a sacred human responsibility.
The film is being shot using the latest digital cinema production equipment at 5k+ resolutions. This will portray all the stunning detail in Karma Gadri thangkas and allow us to create exceptionally fine cinematography of the natural world, allowing the film to function as a kind of thongdrol itself, a contemplation of the spiritual through seeing spectacular images and image making, of landscapes and rituals that plant seeds in the mind of the viewer. It will use extensive visual effects sequences to reconstruct episodes from the history of the Karmapas and the Golden Rosary lineage and their development of the Karma Gadri style. Through CGI animation, it will take us on a journey into the visual universe of the thangkas, exploring their symbols and illuminating the magical lives of the extraordinary yogis who created them.
THE PROJECT STATUS       The film is now about 25% shot.
Principal photography which has been completed:
  • In January, 2014 at the Kagyu Monlam festival in Bodhgaya, India, including spectacular aerial footage during the Procession around the Mahabodhi Temple where the historical Buddha was enlightened.
  • In India with His Holiness Ogyen Trinley Dorje on the historical development and spiritual and ecological significance of the Karma Gadri style of thangka art. This includes a sequence of His Holiness as he does a brush drawing while talking about painting as meditation.
  • The principal interview with His Eminence the 12th Kenting Tai Situ Rinpoche on the history of the Karma Gadri style and the role played by one of his predecessors: Situ Panchen, the 8th Situ Rinpoche who was revered as a polymath and a brilliant artist. His Eminence talks eloquently about the act of painting while demonstrating his technique on a Karma Gadri thangka.
  • In England, India, and Tibet with Terris Temple and Leslie Nguyen Temple who took three years of their lives to re-create a 35 meter appliqué thangka (goku) at Tsurphu Monastery, the Karmapas historical seat. The original was destroyed during the Cultural Revolution.
  • In Sweden with Thomas Dalarud, a Gega Lama trained thangka painter, who does brilliant natural landscape photography inspired by his Karma Gadri training.
Principal photography remaining:
  • In India
    As one of the many visual effects scenes we will reconstruct the Great Encampment in Ladakh and shoot historical sequences.
  • USA
    We will film in New York at the Rubin Museum: their collection of Karma Gadri thangkas; an interview with Karl Debrezceny; the pre-emininent scholar on the 10th Karmapa, and a teaching tour of elementary school students as they learn about thangka art and its significance.
  • Canada
    in Halifax with Ann Shaftel  who is a world renowned authority on thangka restoration and preservation. Thangkas were created to be rolled for portability. Although their construction was well suited for this, over many decades and centuries they become particularily susceptible to wear and tear. Karma Gadri thangkas have their own unique issues because their landscaped backgrounds tend to be applied with thinner layers of paint. With the support of the 17th Karmapa, Ann has initiated a campaign to preserve the treasures held in monasteries, nunneries, private collections, and museums. 
  • China and Tibet.
    • Principal photography in China will include various historical locations between Nanjing and the Western part of the T.A.R. with stunning aerials shot from drone-coptors.
    • We will also film at Palpung Monastery in Sichuan, the seat established by the 8th Tai Situpa where he revived and enhanced the Karma Gadri style. Kenting TaI Situ Rinpoche has given permission to film the magnificent works of art created by Situ Panchen, the 8th Situ Rinpoche, that are rarely, if ever, displayed.
    • We also have plans to obtain ultra high resolution visuals of the rare thangkas locked away in the vaults of another famous monastery of the Karma Kargu tradition.
  • Visual Effects
    • 15-20 minutes of the 90-105 minute film will be high production-value visual effects sequences. Using CGI the film will create animated incidents from the lives of the previous Karmapas, all done within a 'Karma Gadri' style.
    • A significant feature of the methods used will be that we have motion captured the 17th Karmapa's facial expressions. We will use them to animate 3D models of his previous incarnations.
    • The film will also use CGI to compress the highly complex and lengthy process of creating a thangka, beginning with the intricate sacred geometries that underlay the work and contribute to its spiritual impact (thongdrol) as the work is viewed.
The Project Personnel
  • His Holiness Ogyen Trinley Dorje, the 17th Karmapa is the advisor and authority on the contents of the film. http://kagyuoffice.org/
  • David Cherniack, the writer, director and executive producer, is a distinguished Canadian filmmaker with a long filmography of more than 60 documentaries on spiritual subjects for broadcasters, including six documentaries which feature His Holiness the Dalai Lama.  http://AllinOneFilms.com

  •  Terris Temple, executive producer, presented the original idea for the film to His Holiness, the 17th Karmapa. He has been a thangka painter in the Karma Gadri tradition since the late 1960s.  He was a long-time student of the 16th Gyalwang Karmapa, and the 17th Karmapa has known him and his wife, painter Leslie Nguyen Temple, since he was a child at Tsurphu Monastery in Tibet, where they reconstructed the 40 meter Karma Gadri gö-ku between 1992 and 1997. In 2006-2007 they reconstructed the Norbu Drabche and are presently working on drawings for the Tsechur Drabche.  His web site http://tibetcolor.com/ 

  • Scott Ross, producer supervising CGI/Visual Effects, has won two Oscars from three nominations, (TITANIC, WHAT DREAMS MAY COME and THE CURIOUS CASE OF BENJAMIN BUTTON). Scott ran Industrial Light and Magic for George Lucas in the 1980's and in the 90's he started Digital Domain with James Cameron.
  • Zsolt Ekho Farkas, CGI artist. His web site is http://mediadigital.hu/ekho/
  • Kris Belchevski, cinematographer and RED camera guru.
  • Mark Mackay, cinematographer and guru of a rare sort.
  • As well, there are the wonderful volunteers: Trisha Lotzer, intrepid legal advisor, Garrett Staab who works on this Kickstarter campaign, Shining Guo, who has done translation for us into Chinese.

Risks and challengesLearn about accountability on Kickstarter

The people behind this film are committed to seeing it through to its completion. As the producer/director I have made over 60 documentaries for broadcast, six of them with His Holiness, the Dalai Lama. The producer overseeing the Visual Effects component ran Industrial Light and Magic for George Lucas and started Digital Domain with James Cameron to do Titanic and other Hollywood films, one of which, What Dreams May Come, won an Oscar for Visual Effects.



Happy Mid-Autumn Festival!

Sometimes I think that while I am living on this earth, if by living this life I can bring some actual benefit to the beings of this world and all those who are connected with me, that would be wonderful, that would be best. Even if that does not happen, I will continue to lead this life. I am living for the benefit of the beings in the world, so that there will be one more person in this world with love and concern for them.

~ 17th Gyalwang Karmapa's Teachings: The Fivefold Mahamudra / 2007.12.20


Art by Thangka artist Terris Temple with calligraphy by His Holiness the 17th Karmapa

Title: Matter of Heart
Artist: Terris Temple
Calligraphy by 17th Karmapa 
Chocolate Tiger butterflies and anthuriums

Title: Flying Over
Artist: Terris Temple
Calligraphy by 17th Karmapa 
The Hwa Mae and anthurium flowers, Hawaii inspired.

Title:  Mynhas on the Run - A morning flight of Mynha Birds.
Artist: Terris Temple
Calligraphy by 17th Karmapa at 14 years of age.

Title: Phoenix
Artist: Terris Temple
Calligraphy by The 17th Karmapa at age 10. 
Phoenix in a Hawaiian Garden

Title: Chocolate Tigers With Ginger
Artist: Terris Temple
Calligraphy by 17th Karmapa at 14 years of age.

Title: Going Somewhere
Artist: Terris Temple
Calligraphy by 17th Karmapa at 14 years of age.

Title: Koa Rain
Artist: Terris Temple
Calligraphy by 17th Karmapa 
Hawaiian Endangered Species Collection

Title: Acacia Rain
Artist: Terris Temple
Calligraphy by 17th Karmapa 
2 pair of Hawaiian creeper below, 2 adults native birds and child on top