Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Distinguishing the Suchness of Hevajra is a technical manual of correspondences that maps external symbolic elements and internal physiological markers onto metaphysical and tantric categories. The text operates through a system of identification, equating the sixteen emptinesses with the sixteen hands of the deity and assigning specific animals, such as the elephant and horse, to the natures of delusion and hatred, respectively. It further bridges the gap between ritual substances and the subtle body, identifying intoxicants and blood with the sun, moon, and central channels. The work concludes by categorizing various feminine entities or yoginis into specific groups, such as Vajrā and Varuṇayoginī. By presenting these equivalencies, the text commits the reader to a non-dual understanding of the body and the deity, where physiological processes and ritual symbols are seen as manifestations of the same underlying suchness.
Provenance
About this text
An analysis of the suchness of Hevajra, this work belongs to the classical Tibetan tradition. The record does not name an author. It was translated into Tibetan by dge slong shAkya ye shes and is preserved in the Tengyur, volume ཇ, as part of the Non-dual Tantra collection, where it extends over five pages. The work enacts a system of correspondences, mapping external symbolic elements and internal physiological markers onto metaphysical and tantric categories. It equates the sixteen emptinesses with the sixteen hands of the deity and assigns specific animals to the natures of delusion and hatred, while identifying ritual substances like intoxicants and blood with the sun, moon, and central channels. By presenting these equivalencies, the text commits the reader to a non-dual understanding of the body and the deity, where physiological processes and ritual symbols are seen as manifestations of the same essence. A scholar or serious reader consults this text today to examine how the subtle body and ritual symbolism are integrated within the Non-dual Tantra framework.
Cite thisAnuvāda, “Distinguishing the Suchness of Hevajra” (Toh 1211), machine draft, 2026.https://naxiai.com/tibetan/works/toh1211
Summary & commentary
Significance
This work is significant for its illustration of the 'correspondence' method central to Anuttarayoga Tantra, where the physical body is reimagined as a mandala. For the modern reader, it provides a primary example of how Tibetan Buddhist systems systematize the relationship between affect, anatomy, and deity yoga.
Structure
Passages
Section
Description
1-2
Symbolic Correspondences
Equates the sixteen emptinesses with the deity's hands and links animals to specific mental afflictions.
3-4
Subtle Body and Ritual Substances
Maps ritual substances like blood and intoxicants to the sun, moon, and the channel system of the heart and other organs.
5
Classification of Yoginis
Groups various feminine figures and names into specific categories of Vajrayoginis.
Themes
Non-dual correspondences (1-3)
Subtle body anatomy (3-4)
Tantric taxonomy of deities (5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
The Analysis of the Suchness of Hevajra
From the Analysis of the Suchness of Hevajra, it is said:
Likewise, the sixteen emptinesses are renowned as the sixteen hands. Since the elephant is the nature of delusion, the elephant is called Vairocana. Since the horse is the nature of hatred, the horse is called Akṣobhya. Since the donkey is the nature of pride, the donkey is called Ratnasambhava. Since the ox is the nature of desire, the ox is called Padmanātha. Since the camel is the nature of jealousy, the camel is Amoghasiddhi himself.
Regarding karma, afflictions, and suffering, humans, śarabhas, and cats arise as the eight emptinesses; they truly abide as the eight skull-cups.
From the Analysis of the Suchness of Hevajra:
Because the three vajras are indivisible, they are renowned as the Indivisible One (Abhedyā). Through the differentiation of the tips of hairs and so forth, that very [channel] is born as subtle. Because it is the essence of a barren woman’s son, that very [channel] is proclaimed as Form (Rūpā). Because it arises from the body, it is renowned as the Compassionate One (Karuṇā). That which turns to the left is called the Left One (Vāmā). When it is a circular goddess, it is called the Short One (Hrasvā). When it is born from a tortoise, it is explicitly called the Tortoise-Born (Kūrmajā). That in which existence truly abides is called the Meditative One (Dhyānā). The cool is the channel of the Cool-Giver (Śītadā), and the hot is the Life-Giver (Āyurdā). By nature, it is devoid of tripata.
In that regard, the one called khyangma is proclaimed to be the essence of the lack of intrinsic nature. Because it bestows all flavors, it is thoroughly renowned as romama. When it has the form of the moon, the wise proclaim it as tshadma. When it has the form of the darkness of fear, it also arises as the color black. Through the application of an equanimous mind, it is explicitly called spyima. When it bestows all causes, it is renowned as rgyun sbyin ma. Because of the suffering of being separated from the application of causes, it is proclaimed as sbyor bral ma. Because it is dear in the manner of a kinsman, it is known as sdug gum. Because it accomplishes the desires of the mind, it is thoroughly called grub ma. By the nature of the fire element, it is definitively called ’tshod ma. By the nature of the water element, it is likewise called yid bzang ma. The goddess who dwells in the activity of caṇḍālī is likewise proclaimed as gtum mo. Because she is youthful and mobile, the youthful one is called ’dral ma. Through these distinctions of the channels, these goddesses are thoroughly renowned. As correctly stated in the Vajraḍāka:
Starting from the throat, the left channel has the body of the saṃbhogakāya. Resting within the navel, its mouth flows downward with intoxication. That which is the upper channel from the navel likewise flows upward with its mouth. Resting within the throat, it is renowned for flowing with blood.
Here, the intoxicant is explained as the moon, and blood is said to be the sun. These two, the moon and the sun, are renowned as the two channels. Thus it is said. From the Samputa:
The lotus situated within the heart has eight petals and a central core. The channel that enters into its center has the nature of a lamp, resembling a katala flower; it is elongated and its opening faces downward. Within that, the Hero is the size of a mustard seed; the indestructible seed-syllable HŪṂ is like its heart-essence, dripping and moving to and fro. This dwells throughout the entire body. In the form of a non-substantial image, it is renowned as "short." At the heart, the form of HŪṂ dwells with the two mātṛs (mothers). At the throat, in the form of OṂ, it dwells with the three mātṛs and Puluta. At the forehead, this form of HAṂ is the sound, the drop, and the indestructible; in the form of Vajrasattva, it sports here as it pleases.
On four of the petals, it dwells in the four directions. The channels of the four elements are like the nature of a lamp. Abhedā (the Indivisible) dwells at the crown; she is said to flow with the teeth and nails. At the top of the crown is Sūkṣmarūpā (Subtle Form); she is said to flow with the hair and body hair. In the right ear is Lalanā (the Compassionate); she flows with the skin and impurities. On the back side is Vāmanā (the Short One); she is said to flow with the flesh. In the left ear is Hrasvā (the Short One); she is said to flow with the tendons. In the middle of the eyebrows is Kūrmanā (Born of the Tortoise).
The Bone Garland flows in the eyes; it is said to flow to the kidneys. The Empowerment Lady is at the base of the arms; it is said to flow to the heart. The Faulty is the one with faults; the Eye-Flowing flows in the armpits. The Great Entry, called the Entry, flows to the bile in the breasts. The Mātṛ flows to the lungs at the navel. The Night flows to the tip of the nose; it is the very flow of the intestinal chain. The Cool-Giver flows to the mouth; it is the flow of the lateral tendons. The Hot flows to the throat; it is the flow to the belly.
The three known as Lalanā, Rasanā, and Avadhūtī have already been explained above. The Descending flows to the feces at the heart. The Joyful is the face of the Joyful; the Embracing reaches the inner limit of the joints. The Highly Formed is at the genitals; it is said to flow to the phlegm. The Urine flows to the path of feces; it is said to flow to the pus. The Cause-Giver is in the thighs; it is said to flow to the blood. The Separation is in the calves; it is said to flow to the dust. The Beautiful is in the toes of the feet; it is said to flow to the fat. The Accomplishing is on the back of the feet; it is said to flow to the tears. The Cooking flows to the saliva in the big toes. The Good-Minded is in the two knees; it is the flow of the flesh and mucus.
The anthers of the heart lotus, according to the sequence of the directional petals, are Trivalī, Dala, Gṛhī, Caṇḍālī, and Māradālinī. Lalanā, Rasanā, and Avadhūtī—these three are the Nairātmyayoginī.
Indivisible,
Mā and Sūkṣmarūpā are explained by the Victor as Vajrā.
Karuṇā and Vāmanā—these two are said to be Gaurī herself.
Hrasvā and Kūrmajā are called Varuṇayoginī.
Dhyānā and Īśānā are explained as Vajraḍākinī.
Doṣavatī and Mahāpraveśā—these two are said to be Pukkasī.
Mātṛ and Rātri are renowned as Śavarī.
Śītaladā and Uṣṇā are also called Caṇḍālī.
Nimnā and Harṣānanā—these two are said to be Ḍombī.
Atirūpā and Sāmānyā—these two are the gatekeepers of Gaurī.
Māyādā and Viyogā were spoken of by the Sage as Caurī.
Sundarī and Siddhā are explicitly called Vetālī.
Pācikā and Sumati should be remembered as Ghasmarī.
Trivṛttā and Kāmā—these two are said to be Bhūcarī.
Gṛhiṇī, Caṇḍā, and Māradāriṇī—these three channels are the Ḍākinīs of the Sky-farers (Khecarī).
All are subsumed within these fifteen who are asserted to be Ḍākinīs.
This concludes the section on the wheels of the channels from the Hevajra-tattvavibhaṅga, the Hevajra-uttaratantra-saṃpuṭa, and the Vajraḍāka, translated by the monk Śākya Ye-shes.