require preliminary practice of the generation stage of deity yoga (unlike other tantric systems) nor standard tantric initiation rituals. Instead, for Longchenpa, the practice of Dzogchen merely relies on a pointing out (sems khrid) of the mind's nature in an encounter with a teacher. In his Grub mtha' mdzod, Longchenpa describes how Dzogchen transcends the classic tantric generation and perfection stages which for him are based on effort, mental constructs and fixation. For Longchenpa, Dzogchen relies on simple (spros med) and more natural methods which are based on the recognition of the nature of the mind and the Dzogchen view (Ita ba) of reality. Longchenpa also argues that this Dzogchen method is "superior to that of stress-filled actualization involved in ordinary generation and perfection" (Zab mo yang tig vol. 11, 344.2-6). Longchenpa also critiques tantric perfection stage methods (such as the six yogas of Naropa) which focus on manipulating the winds (vayu) in the channels (nadis) of the subtle body in order to confine them into the central channel. Longchenpa sees these techniques are inferior, because they are strenuous and forceful and may lead to delusory appearances. Longchenpa contrasts these tantric techniques with those of Dzogchen in which "the winds are left to naturally calm down of their own accord, there is no insertion into the central channel." Germano describes Longchenpa's view on this topic as follows:In his Grub mtha' mdzod kLong chen rab 'byams pa also incisively criticizes these normative modernist tantric practices of forcefully inserting the energy winds into the central channel in the attempt to achieve primordial gnosis. He contrasts this to Great Perfection contemplation in which the body's luminous channels are let be, and thus naturally expand outwards from their current presence as a thin thread of light at the body's center, so as to directly permeate one's entire existence and dissolve all energy blockages therein. He retains the emphasis on the body's center and light-experiences, yet undercuts the tone of control and manipulation. Works Longchenpa wrote over 270 works according to Tulku Thondup. Seven treasuries The Seven Treasuries (mdzod bdun), which elucidate the meaning of the Nyingma school's worldview and Dzogchen, are his most influential and famous original treatises. The Seven Treasuries are: The Wish Fulfilling Treasury (Tib. ཡིད་བཞིན་མཛོད་, Yishyin Dzö; Wyl. yid bzhin mdzod, YZD), it has a long prose commentary, the White Lotus (padma dkar po). This text mainly deals with classic Buddhist