Buddha-Nature Timeline
From Buddha-Nature
Mahāparinirvāṇasūtra (which Michael Radich dates as early as the 2nd Century) mentions tathāgathagarbha and used the term ātman to describe buddha-nature.
Tathāgatagarbhasūtra (as dated by Michael Zimmermann) and other scriptures later considered as sūtras teaching tathāgathagarbha were circulating and promoted the concept of buddha-nature.
Nāgārjuna wrote Dharmadhātustava and praised the sphere of reality as the basis of saṃsāra and nirvāṇa. He called it 'the element' and 'luminous mind' and claimed emptiness does not negate this nature.
Śrīmālādevīsiṃhanādanirdeśa (which may have been circulating as one of the most influential sūtras on buddha-nature) is said to have been translated into Chinese by Seng Fani. It claims buddha-nature 'is empty of adventitious stains but not empty of its limitless inseparable qualities'.
Mahābherīsūtra (which was translated into Chinese by Guṇabhadra) equates buddha-nature with dharmakāya. Anūnatvāpūrṇatvanirdeśaparivarta (which Jonathan Silk dates at least before the earliest 5th century) mentions how sentient beings, bodhisattvas and buddhas are three phase of the buddha-nature being impure, partially obscured and fully pure.
According to Takasaki, Ratnagotravibhāga, which Central Asian and Tibetan sources attribute to Maitreya and Chinese sources attributed to Sāramati, was composed.
Paramārtha translated the Awakening of Faith attributed to Aśvaghoṣa into Chinese and thereby promoting the concept of Original Enlightenment.
Tanyan wrote the first commentary on the Awakening of Faith, which was followed by some 170 other commentaries written in China, Japan and Korea.
The Great Samye Debate between the Indian gradualists led by the Mādhyamika master Kamalaśīla and Chinese subitist led by Chan monk Mahāyāna.
Yeshe De and others translate major Buddha-Nature sūtras such as the Tathāgatagarbhasūtra and Mahāparinirvāṇasūtra into Tibetan.
Maitrīpa (986-1063) is said to have discovered the texts of Ratnagotravibhāga and Dharmadharmatāvibhāga in a stupa.
Ratnavajra, grandfather of Sajjana may have composed his commentary on the Ultimate Continuum.
Atiśa Dīpaṅkara and Naktso Tsultrim Gyelwa translated the Ratnagotravibhāgauttaratantra or the Ultimate Continuum into Tibetan in Yerpa, Tibet.
Ngok Loden Sherab and Tsen Khawoche depart for Kashmir where they received teachings on works of Maitreya including the Ultimate Continuum from Sajjana.
Tsen Khawoche Drime Sherab, who received teachings on the Ultimate Continuum from Sajjana with the help of Zu Gawai Dorje as translator and returned to Tibet and taught the Ultimate Continuum in Tibet thereby starting the meditative tradition (སྒོམ་ལུགས་) of the Ultimate Continuum..
Ngok Loden Sherab translated the Ultimate Continuum with the help of Sajjana in Anupama town in Kashmir. He also composed his commentaries on the Ultimate Continuum and Sajjana wrote his instructions on the Ultimate Continuum.
Patsab Lotsāwa Nyima Drakpa, who introduced Prāsaṅgika Madhyamaka tradition to Tibet, and Marpa Dopa Chökyi Wangchuk, who is known for the transmission of Cakrasaṃvara to Tibet, translated the Ultimate Continuum. Maria Dopa also composed his commentary.
Chapa Chökyi Senge, the sixth abbot of Sangpu Neutok, composed his summary as well as detailed explanation of the Ultimate Continuum and carried on the philosophical legacy of Ngok Loden Sherab.
Lhodrak Dharma Senge, for whom we do not have much information, composed his commentary on the Ultimate Continuum.
Drogön Chögyal Pakpa wrote his synopsis of the Ultimate Continuum in the palace of Kubilai Khan in China.
Jetsun Drakpa Gyaltsen composed his notes on the Ultimate Continuum entitled the Unmistaken Intent of Maitreya in response to master Thinley Zangpo.
Sakya Paṇḍita Kuenga Gyeltsen critiqued the other theories of Buddha-Nature and presented Buddha-Nature as unchanging sphere of reality in his Distinguishing the Three Vows. He argued the Buddha-nature sūtras teaching innate enlightenment are provisional teachings.
Kyotön Mönlam Tsultrim, the eighth abbot of Nartang, composed many works on Buddha-Nature including his Instructions on the Ultimate Continuum of the Mahāyāna and promoted the meditative tradition from Tsen Khawoche.
Chomden Rikpai Raldri, a learned Kadam scholar or Nartang, wrote his exegesis on the Ultimate Continuum entitled the Flower Ornament and also his history of the five treatises of Maitreya.
Lodrö Tsungme of Sangpu Neutok composed his commentary on the Ultimate Continuum entitled The Precious Lamp That Illuminates the Definitive Meaning of the Mahāyāna Uttaratantra Treatise which is aligned to the interpretation in the meditative tradition.
One Yarlung Lotsāwa, according to Gö Lotsāwa Zhönu Pal, is said to have translated the Ultimate Continuum.
Chomden Rikpai Raldri, the Narthang scholar, composed his Ornamental Flowers: A Commentary on the Mahāyāna Uttaratantra and explained Buddha-Nature to be an emptiness indivisible from awareness.
The third Karmapa Rangjung Dorje composed his Treatise on Pointing Out the Tathāgata Heart, commentary on Dharmadhātustava and other writings related to Buddha-Nature.
Dolpopa Sherab Gyeltsen wrote his tour de force Mountain Doctrine and many other works and he expounded the philosophy of zhentong or 'other-emptiness', in which conventional phenomena are empty of self existence and Buddha-Nature is the ultimate absolute reality endowed will all qualities of the Buddha.
Tanak Rinchen Yeshe, who was a teacher of both Tokme Zangpo and Dolpopa, wrote his Illumination of the Definitive Meaning: A Commentary on the Uttaratantra in Relation to the Sūtras which presents an promo-zhentong interpretation.
Longchenpa Drime Õzer composed his Seven Treasures, Trilogy of Relaxation and Trilogy of Liberation in which he presented Buddha-Nature as empty luminous nature of the mind.
Sazang Mati Paṇchen Lodrö Gyeltsen improves the Tibetan translation of the Ultimate Continuum and writes his long exposition.
Gyalse Tokme Zangpo wrote his commentary on the Ultimate Continuum illuminating the definitive meaning in E temple.
Butön Rinchen Drup wrote his Ornament That Illuminates and Beautifies the Tathāgata Heart and underscored that the Buddha-Nature teachings are expedient provisional teachings and not to be taken literally.
Dhondup Rinchen, the first teacher of Tsongkhapa, composed his commentary on the Ultimate Continuum in which he refutes certain interpretations of Buddha-Nature, which were later adopted by the Geluk tradition.
Lama Dampa Sönam Gyeltsen composed his commentary on the 'Ultimate Continuum entitled Definitive Clarification of the Intent with Gyeltsen Zangpo as scribe. A synopsis containing topical outline was also extracted later. He presents an interpretation different from the position of Sapañ.
Gendun Özer, a Kadampa master who is difficult to date, composed his commentary on the Ultimate Continuum claiming to be different from the wordy commentaries from the past and presenting logical arguments, direct explanation, enumeration, etc. as requested by his students of central Tibet. He uses Ngok’s translation but uses Naktso and Patsap’s translation also.
Rongtön Sheja Kunrik wrote his commentary on and practice manual for the Ultimate Continuum.
Gyaltsap Darma Rinchen, who received teachings on the Ultimate Continuum from both Rendawa and Tsongkhapa, wrote his commentary on the Ultimate Continuum which came to influence subsequent Gelukpa understanding of Buddha-Nature and interpretation of the Ultimate Continuum. The commentary was written at Nenying at the request of Gungru Gyeltsen Zangpo.
The 7th Ganden Tripa Lodrö Tenpa wrote his commentary on the 'Ultimate Continuum following the interpretation of Buddha-Nature by his master Gyaltsap Je.
Shākya Chokden composed his Explanation of Buddhagarbha: An Essence of Sūtra and Tantra highlighting his position that real Buddha-Nature does not exist in sentient beings.
The Karma Kagyu scholar Dumowa Tashi Özer, a student of the 7th Karmapa, wrote his commentary on the Ultimate Continuum integrating the points from the 3rd Karmapa Rangjung Dorje's synopsis.
The eighth Karmapa Mikyö Dorje wrote his The Lamp That Excellently Elucidates the System of the Proponents of the Other-Emptiness Madhyamaka and other works and highlighted the understanding of 'expanse zhentong'.
The itinerant monk scholar Dza Patrul Rinpoche composed his topical outline of the Ultimate Continuum in Zamthang monastery.
Jamgon Kongtrul Lodrö Taye wrote his experiential commentary on the Ultimate Continuum in which he presents the understanding of Other Emptiness.
Khenpo Zhenpen Chokyi Nangwa, also known as Zhenga, composed his interlinear commentary on the Ultimate Continuum as part of the thirteen great treatises, which came to be widely used in shedra curriculum.
Drakar Lobzang Palden Tendzin Nyendrak wrote his commentary on the Ultimate Continuum following Gyaltsap Je's interpretation and also his work on Zhentong on behalf of some monks of Zamtang.
The 69th Je Khenpo Gendun Rinchen composed his commentary on the Ultimate Continuum in Phajoding.
Muge Samten Gyatso composed his commentary on the 'Ultimate Continuum]] as requested by one Lobzang Tashi but the commentary is incomplete due to his illness.
Troru Tsenam completed his commentary on the 'Ultimate Continuum which is based on the transcription of his lectures.
The 7th Drikung Chetsang, Konchog Tenzin Kunsang Thrinle Lhundrup composed his commentary on the Ultimate Continuum entitled Words of Asaṅga.
