Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Commentary on Intentional Language (Samādhivākyapañjikā) is a technical manual designed to decode a cryptic system of 'intentional language' used in Vajrayāna practice. The text functions as a gloss, translating seemingly mundane or nonsensical terms and seed syllables into specific meditative instructions, anatomical markers, and ontological realizations. It argues that the path to liberation involves the precise manipulation of internal winds, the dissolution of consciousness into specific cakras, and the unification of the masculine and feminine principles. By mapping syllables and coded words to the subtle body—such as the crown, navel, and the source of phenomena—the text commits the reader to a rigorous internal yoga. The goal is the transformation of the practitioner's conceptual construction into a non-dual state of bliss and emptiness, ultimately achieving the union of the two secrets through the identification of the self with the nature of the deity.
Provenance
About this text
A commentary on the intentional language, the Saṃdhibhāṣāṭīkā (Tibetan: dgongs pa'i skad kyi 'grel pa) originates from the tradition of the Non-dual Tantra. The work is attributed to the Indian author Nāgārjuna. It was translated into classical Tibetan by Mañjughoṣa and the Tibetan lo tsa ba ’bro dge slong shes rab grags, a translation preserved in volume ཇ of the Tengyur, where it extends over ten pages. The text enacts a decoding of cryptic terminology and seed syllables, mapping them to the subtle body and meditative practice. It provides technical explanations regarding the movement of winds, the nature of the four cakras—including the crown and the kakkola of the action seal—and the various joys associated with insight, such as supreme, innate, and cessation joy. By translating terms like Bola and Kakkola into consciousness and secret insight, the work guides the practitioner in the application of yoga to sever the bonds of conceptual construction. A scholar or serious reader consults this text today to understand the precise mapping of 'intentional language' onto the internal physiological and ontological markers required for the transformation of consciousness into a non-dual state.
Sanskrit title
Saṃdhibhāṣāṭīkā
Indian author
Nāgārjuna
Tibetan translators
Mañjughoṣa, bod kyi lo tsa ba ’bro dge slong shes rab grags
This work is significant for its illustration of the 'twilight language' (sandhyā-bhāṣā) characteristic of the tantric tradition, where secret terminology prevents the misuse of instructions by the uninitiated. For the modern reader, it provides a primary example of how Indo-Tibetan Buddhism integrates linguistics, somatic mapping, and deity yoga to facilitate spiritual transformation.
Structure
Passages
Section
Description
1
Introduction and Homage
Opening prostrations to Vajrasattva and the Vajra-ḍākinīs.
2-12
Decoding Somatic and Symbolic Terms
A series of definitions mapping coded terms, seed syllables, and letters to the subtle body, meditative states, and deities.
13
Colophon
Details regarding the translation at Yerpa by Mañjughoṣa and Sherab Drak.
In the language of India: Samādhivākyapañjikā. In the language of Tibet: Dgons pa’i skad kyi ’grel pa (Commentary on the Intentional Language). Homage to the glorious Vajrasattva!
I prostrate constantly to as many Vajra-ḍākinīs as there are, who sever the bonds of conceptual construction and engage thoroughly in the activities of the world.
The explanation shall be given through seven types of symbolic enumerations. In that regard, "liquor" (madya) is the nectar of space (amṛta); it should be drunk without interruption. "Strength" (bala) is the wind (vāyu); the "eating" of that is intended to mean "cessation."
Mālayaja is the elements, the sense faculties, and consciousnesses abiding perfectly as one; it is intended to mean "innate joy" (sahajānanda). Kheṭa is the movement of the wind; it should be meditated upon without being grasped by means of the four yogas; this is the meaning of "releasing."
Ro is the body’s mechanical wheel, Amitābha; one should place it there in assembly. Niraṃśu is the conviction that "these very bones of mine are my ornaments." Prokṣaṇaṃ is the entry of the wind; it is to be performed by the subsequent cessation of activities such as filling and so forth.
Kṛpīṭa is the indestructible sound (anāhatadhvani); it is to be struck and equalized by the cessation of the vital breath and effort (prāṇāyāma). Dunduru is conceptual construction (kalpa); it is said to be non-different from that. Kāliñjara is the nature of non-conceptuality.
Furthermore, the intention is that since the winds are entering, one should not suppress them. Padmabhañjanam refers to the four cakras: either the crown or the emanation cakra, or else the kakkola of the action seal (karmamudrā). The crown being filled with wine is established by its very nature; therefore, "drinking" is established by its continuity. The four cakras are the padmabhañjana. The four cakras are the lotus vessels; the emanation alone is the permanent. Regarding the other phenomena, it is Akṣobhya; and regarding enjoyment, it is Amitābha. Great bliss is the amṛta of bodhicitta. By this sequence, one should abide in the thought, "I am a wine-drinker," and cultivate such conviction in oneself. Alternatively, the wine arising from the kakkola of the action seal is to be taken with the tongue. Tripita is that very concentration which is to be consumed by yogins. Mālatīndhanam is the consumption of that which is analyzed as the four elements. Caturjāta is Vairocana, and by that the body is anointed. Musk is Akṣobhya; sihlaka is Ratnasambhava; and karpūra is Amitābha; thus, yogins are anointed by these essential natures. Śālīñja is Amoghasiddhi, and that too is present. Kunduru is the union of the sense faculties and consciousness, and these too are present.
Bola is consciousness or the external vajra. Kakkola is the secret lotus or, externally, secret insight (prajñā); through these, one should practice yoga. This is one way of explaining it.
Regarding the joys in relation to insight: śa is the ultimate paramānanda (supreme joy) arising from the contact of the lips of insight. Ā is the sahajānanda (innate joy), and ga is the viramānanda (joy of cessation) through the emission of the bodhicitta. Ro is the body in which the bodhicitta of both has been completely relinquished. The bone ornaments are the non-conceptual, unobscured, and utterly pure consciousness. Āgama is the following after the prajñāpāramitā. The ḍamaru is the sound of the vajra and lotus. Abhavya (unfortunate) refers to the two seeds, and bhavya (fortunate) refers to the vajra. Asparśa is the space element of the lotus. The skull cup is the secret of insight. Bhakṣya (food) is the śukra (semen) therein. Śāka (vegetable) is the self-arisen flower. Vitreṣṭha (excrement) is the great fragrance of insight. Mūtra (urine) is the urine that follows insight. Svayambhū is the jewel of insight. Kapūra is the śukra of both. Mahāmāṃsa (great meat) is the pressing of the vajra and kakkola. The union of the two organs is the application of yoga. The vajra is the jewel, and the kakkola is the navel. This is the second way of explaining it.
Madhu (wine) is suchness (tathatā). Bala (strength) is pride or arrogance. Vīrya is the bodhicitta. Rasa is the śukra. Māṃsa is the vajra. Śoṇita is the kakkola. Lavaṇa is the śukra. Kṣāra is the vajra. Amṛta is the kakkola. Kṣaudra is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the kakkola. Mṛta is the śukra. Mṛta is the vajra. Mṛta is the
Mālayajaṃ is the non-apprehension of all bhūtas. Kheṭamaḥ is to be intent upon that path. Śukra is to have devotion to selflessness. Niraṃśu is to contemplate oneself as being by nature like the stainless light of the autumn sky. Prokṣuṇaṃ is to practice and have devotion to uninterrupted compassion. Kṛpītra is to incite the bhūtas. Duṃdhura is the realization of suchness (tathatā). Kāliñjara is the apprehension of non-conceptual suchness. Ḍiṇḍimi is the oneness of the dharmakāya and the mahāsukhakāya. Padmabhañjanaṃ is space. Tripita is the meditation on suchness. Mālatīndhaṃ is the experience of great bliss (mahāsukha). Catuḥsamaṃ is the equality of the four elements. Kastūrī is to be contemplated as the nature of Akṣobhya. Sihla is the arising of the light of the wisdom of that concentration. Kappūra is to reveal the rays of the moon. Kunduru is to conceptually analyze insight and its identity as method. Bola is the wisdom of inseparable emptiness. Kakkola is the source of phenomena (dharmodaya), called the perfection of wisdom (prajñāpāramitā). This is the third explanation.
As for la, it means "exists." As for ṅa, it means "discipline." As for ya, it means "wind." Where? In the brahmarandhra, called ma, the bindu of the following vowel.
Am is the sound, the sound of mantra. It exists in the middle of these two. Da and la are called "subduing the winds," which is the very code of the yoginī. La is the crown of the head, and a is the Lord (Īśvara), the drop (bindu) of bodhicitta in that very place. La means that one should dissolve into that very place by means of the sound of mantra. By this, through the word nan, one will attain nirvāṇa. Ga is the throat, and ta is that which is to be expelled. I has the meaning of "gone," which is the meaning of "nirvāṇa." Pa is that which is to be accomplished, and va means "by you." A is the great bliss of the abode of Akaniṣṭha, and sa is the yogin. Whoever acts in that way, by the word thi, they abide. A is obscuration, and va means "destroyed"—this is the meaning of "by whom." Ṇa is a word for cessation; although it is attachment, it means how it becomes non-attachment. Because that object does not exist, one becomes free from obscuration. A is apprehension; ga is in space; ta is the burning by the fire of wisdom; and i is the loss of movement. Da is the ḍākinī, and ma is the ḍākinī of the mudrā; the bliss of these two is the very manner of being applied inseparably.
Having perfected the meditation on these as the self, one should recite the sound of the mantra oṃ hūṃ from the throat, enter it through the Brahma-aperture at the crown of the head, and cause it to dissolve—up to that point. Ka refers to the agent. A refers to the impure; bha refers to saṃsāra; pa is consciousness through analytical investigation; and ya is that which the yogi should apply with diligence through this sequence. Bha refers to delusion; pa refers to consciousness; and ya is that which the yogi should apply with diligence through this sequence. A refers to ignorance; bha refers to delusion; va refers to the truth of mere cognition (vijñaptimātra); and ya is that which the yogi should apply with diligence through this sequence. A refers to the Blessed Lady Nairātmyā; bha refers to the Blessed One, the aspect of existence; va refers to mere cognition; and ya is that which the yogi should apply with diligence through this sequence. Bha refers to the elements; va refers to the nature of cognition; and ya is that which the yogi should apply with diligence through this sequence. A refers to the letter A, which is a-la-la-la. Sa refers to all. Va refers to the source of phenomena (dharmodaya). Sha refers to that which relies upon it. Ra is so called because it is the abode of bliss. Therefore, the Blessed Lady relies upon the Blessed One. Ka refers to that by which.
Pā means to protect, and la means a place; thus it is called the "source of phenomena" (dharmodaya), in which these transmigrating beings are particularly gathered. Bha means the sun. Ka means the moon; therefore, the Blessed One (Bhagavān) is the sun, and the Blessed One’s consort is the moon. These two syllables should be joined, marked by their respective seed-syllables. Ta means the sound to be uttered. Pa means to separate and differentiate; both should be pronounced, and after one has dissolved, the second should be articulated. Ya means either by being tight or by being loose. Yaṃ is categorized as the sound of wind; it should be introduced into the Brahma-aperture and made to dissolve. Ja means water, and na means to drink through the gateway of the channels, for the purpose of pacifying exhaustion. Ga refers to the qualities of the Vajra-holder. U means that the yogi has certainly become thus. Tha is thanu, meaning to become equal to Amitābha and to become like that. Ma is the mudrā. U is the method (upāya), and tā is protection; it is the protection of bliss within the method that produces bliss. Sva is the mind. Ya is the wind. Bha is by way of differentiation. U is becoming pacified; it means to have approached nirvāṇa. Sva is the mind.
Ya is wind, and bhu is the body; these three have become thoroughly pacified. Sa is bliss, and bha is distinction. Ya is endowed with exertion, meaning there is no other distinction. One should not conceptualize it as a distinction from nirvāṇa. Bha is becoming, and through u and these [letters], it has become thoroughly pacified. Sa is supreme bliss. U is the arising of bliss. Kri is that which has become sequential through the dissolution of familiarity. Ka is beyond parts, meaning partless. Immediately following that, ra is the rising light of the wisdom of the sun. Ma is wind, and ha is the destruction [of it], the dissolution. A is the support of the mental wind. La is the mind. A is the object of the mind, which is the mere drop (bindu). Sa is the drop. Ma is the jewel, which is the vajra; there, the letter ha is completely transformed. Furthermore, that jewel is joined by the letter ha, and that which abides there is the bodhicitta. A is the lotus. Ma is the jewel of its center. That which becomes there is their fluid. Through these, the mere drop is one's own intrinsic awareness. Sa is all-pervasive. Ta is the petals of the four cakras.
The syllable va refers to the navel, the seed-syllable of the four cakras: the sounds of the four syllables oṃ āḥ hūṃ oṃ are to be dissolved. The syllable e refers to the dharmodaya (source of phenomena) in the nirmāṇacakra (emanation wheel); it is its bindu. The syllable da refers to being tamed by this application. Furthermore, the syllable ra is the seed-syllable of fire. Alternatively, it is the other. The syllable ya is yaṃ, or the seed-syllable of the four yogas. The syllable oṃ is oṃ or the seed-syllable of Brahmā. The syllable ga is the seed-syllable of Gaurī and the others: the fourteen syllables gaṃ caṃ vaṃ ghaṃ paṃ saṃ laṃ ḍaṃ aṃ ā and so forth are the seed-syllables. If the yogi contemplates in this way through this application, he will attain his own desires through the grace of Vajratārā. The syllable va is this supreme wisdom. The syllable ja is by sentient beings. The syllable ra is the protection of sentient beings by this very [wisdom]. The syllable ga is by whom. The syllable ka is that which. The syllable ja is how. The syllable oṃ is oṃ-li or o-li. Just as oṃ-li—by the sound of o-li, it is called the "correct sequence," and in the correct sequence, it is "attained in the correct sequence," which is the supreme gathering. The syllable la is dissolution, in the lotus, the vajra, and the kunduru. The lotus is the emanation, and [the mind] dissolves there. The vajra is the tip, and [the mind] dissolves there; one should contemplate it as a subtle white mustard-seed bindu.
Kunduruṇam means going and coming; it is the dissolution therein and the activity of the mind being placed [there] and moving. Furthermore, the three ka syllables definitively indicate the body, speech, and mind. Their unity is the melting of the bodhicitta. Moreover, by the letter o, it is the dissolution into whatever has become the vajra-gate. This is the fourth explanatory enumeration.
Chang is meditation; shes-rab (insight) is the drink. Stobs (strength) is the power of that insight. Malayajaṃ is the unification of the samayasattva and the jñānasattva. Kheṭaḥ is the radiation of light rays from one’s own seed-syllable. Vreṣṭyaṇam is the re-absorption of one’s own seed-syllable. Śrava svā is relying upon Nairātmyā. Niraṃśu refers to the bone ornaments such as the garland of skulls. Kṛpiṭa is the symbolic code of mantra. Duṃdhura is ordinary pride. Kālañjiraṃ is the cultivation of divine pride. Ḍiṇḍimaṃ is the aperture at the edge of the dharmodaya of the Blessed Lady. Padmabhañjanam refers to the sixteen skulls of the Blessed One, or the single skull of the Blessed Lady, or the bhaga itself. Tripitagaraṃ is the union of the practice of perfect integration, or the seminal fluid of the Blessed Lady. Mālatindhanam is the definitive perception of the Lord of the Maṇḍala and the maṇḍala deities as distinct. Zhi-mnyam (Four Equalities) is the chamber fully established from the equality of the four elements. Gla-tshil (musk) is that which has become melted. Sihlini is the seed-syllable Aṃ of the Blessed Lady.
Kapāra is the seed syllable Hūṃ of the Blessed One. Salijaṃ is the completion of the forms of both as before. Guṇḍuru is the fourth, the union of the two secrets of the ḍāka and ḍākinī. Bola is the sealing by the Tathāgatas, such as Akṣobhya and the rest. By this sequence, the Blessed One emanated the nirmāṇakāya that protects the great bliss of the support of beings, which is called Sukhāvatī (the Blissful) and is indicated by the term kaṅkālā. This is the fifth explanation.
Chang (alcohol) is intoxication by ignorance; btung ba (drinking) is its destruction. Sha (meat) is the pride of ordinary arrogance; that too is to be eaten and chewed. Bsdus pa (gathering) is the assembly with the holy ones. ’Gro ba (going) is the activity of the higher realms. Ro (corpse) is the activity of realizing the dharma of Nairātmyā. Bone ornaments are making the body a mere lattice of bone through ascetic conduct. ’Ong ba (coming) is not depending on objects. Rdzu chuṅ (small drum) is to be convinced that these beings are like echoes. Skal min (unfortunate) refers to the ten non-virtues; skal ldan (fortunate) refers to virtue. Reg min (untouchable) is the concentration on emptiness. Kapāla is the sustaining of the two bodies, meaning the protection of dharma and bliss. Bza’ ba (eating) is serving the guru with devotion. Tshod ma (vegetables) is the complete ripening of one’s own mind through the aspects of the one and the many. Dri chen (excrement) is Vairocana. Gci ba (urine) is Akṣobhya. Rang byung (self-arisen) is Ratnasambhava. Kapāra is Amitābha.
Great flesh is Amoghasiddhi. One should cultivate the conviction that the entity in which these have become one is the very nature of that [deity], and thus these should be entered into union. The consumption of nectar is also precisely this. The union of the two organs should be applied as "the organs are merely the mind." The vajra is the cutting of the aspect of the essence of all obscurations through emptiness. The lotus is the thorough observation of the four cakras. "I am by nature the emanation" means the thorough observation of the emanation. "I am by nature the dharma" means the thorough observation of the dharma. "I am by nature the complete enjoyment" means the thorough observation of the complete enjoyment. "I am by nature great bliss" means that because great bliss is the thorough observation, it is the thorough observation of the four cakras. "By this thorough observation, yogins should abide" is the sixth mode of explanation; that explained in the source text is the seventh mode of explanation.
The seventh mode of intentional explanation is:
Bestowing speech through the seven branches,
Like a string of pearls upon the throat,
Supreme beings should apply the meaning.
Regarding the teaching of the ḍākinīs' intention,
Any scholar who, out of pride,
Is deluded and disparages it—
The ḍākinīs, the ḍākinīs, and the Vajra ḍākinīs
Will disparage him.
The chapter on the seven modes of explanation, composed by the master Ārya Nāgārjuna, is complete. The teaching of the ḍākinīs' intention, as explained by the learned ones, is finished. Any who, through delusion and pride, disparage it will be disparaged by the ḍākinīs, the ḍākinīs, and the Vajra ḍākinīs. This concludes the chapter on the seven modes of explanation composed by the master Ārya Nāgārjuna.