Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Glorious Bouquet of Jewels is a technical commentary by Śrīprajñā designed for practitioners of the yoga tantras. The text functions as an exegetical guide that clarifies the relationship between the generation stage and the completion stage, specifically defining yoga as the former and yoginī as the latter. The author employs a philological and symbolic method, breaking down seed syllables (such as the form of E) and complex terms (such as māyā and bhaga) to reveal their underlying tantric meanings. The work commits the reader to a rigorous study of the subtle body, including the function of channels (nāḍī) and the movement of bodhicitta, while integrating these physical processes with the realization of the four wisdoms. By analyzing the nature of bliss and the role of the guru's oral instructions, the text argues that the ultimate goal is the destruction of grasping and the attainment of a non-dual state of natural wisdom.
Provenance
About this text
A commentary intended for the benefit of yogins and yoginīs seeking the meaning of the words "Thus have I heard," the Śrīratnamañjarīnāmaṭīkā belongs to the Non-dual Tantra collection. The work is attributed to the Indian author Śrīgupta, though the opening of the translation identifies the individual clarifying the text as Śrīprajñā. The text passed into the Tibetan language through the efforts of Śrīgupta, appearing in the classical Tibetan period. It is preserved in volume ཇ of the Tengyur, where it extends over eleven pages under the title dpal rin po che snye ma zhes bya ba'i rgya cher 'grel pa. The work enacts a clarification of the generation stage produced by reasoning, arguing that yoga is defined by the generation stage while yoginī represents the nature of the completion stage. It further provides a symbolic analysis of seed syllables, associating the form of E with earth and the support for the vessel of the precious Buddha, and the form of Vaṃ with water and the vessel itself. A scholar or serious reader consults this text today to examine these specific definitions of the stages of practice and the elemental characteristics attributed to the seed syllables.
Cite thisAnuvāda, “An Extensive Commentary called “The Glorious Bouquet of Jewels”” (Toh 1217), machine draft, 2026.https://naxiai.com/tibetan/works/toh1217
Summary & commentary
Significance
This work is significant for its detailed mapping of the subtle body and its integration of linguistic analysis with meditative practice. It provides insight into how late Indo-Tibetan tantric scholars systematized the transition from visualization to the actualization of bliss-wisdom.
Structure
Passages
Section
Description
1-2
Introductory and Preliminary Matters
Homage and the establishment of the author's intent and the excellence of the compiler and tantra.
3-7
Definitions of Stage and Symbolism
Distinction between generation and completion stages, analysis of seed syllables, and the nature of māyā and bliss.
8-11
The Nature of the Blessed One and Wisdom
Exegesis on the term bhaga, the status of Vajradhara, and the application of insight (prajñā).
12-16
Subtle Body and Completion Stage
Discussion of the Lamp of Suchness, the role of channels, the movement of joy in the throat and heart, and the essence of the method.
In the language of India: Śrīratnamañjarīnāmaṭīkā. In the language of Tibet: The Extensive Commentary Entitled The Glorious Jewel Cluster. Homage to the glorious dharmadhātu!
Having prostrated at the feet of the glorious Ratnavajra, I, Śrīprajñā, shall clarify this [text] for the sake of the yogins and yoginīs who seek the meaning of the words "Thus have I heard" and so forth.
Although it is not the proper way to clarify such a great secret, nevertheless, at the request of my own supreme disciple born in the land of Tibet, I have composed this.
"Thus have I heard at one time: the Blessed One, the Tathāgata, the Great Hero of the vajra body, speech, and mind of all [Buddhas], was dwelling in the bhaga of wisdom, surrounded by the lords of heroes and heroines." This is the summary.
From that, first, the excellence of the engagement of the branches of the meaning—the speaker, the subject to be spoken, the connection, the purpose, and the ultimate purpose—is definitively explained. Why? Because by this, the meaning of the tantra is clearly understood.
First is the excellence of the master. The master is so called because he is the nature of the cause for the arising of all things, just as a seed is. Second is the excellence of the place, because a seed also requires four conditions. Third is the excellence of the retinue, because the four also require water and so forth. Fourth is the excellence of the time, because water and so forth also require a place.
Fifth, the excellence of the compiler: because even for a temporary [teaching], an agent is required. Sixth, the excellence of the tantra: because here, the agent is also included within the completion of all [aspects], for the sake of the half-assembly. In this way, it is the generation stage produced by reasoning. In that regard, it is completed through the sequence of the meaning of the expression and so forth. Therefore:
From the Śrī Jñānatilaka Tantra, the King of Tantras, which is the essence of the generation and completion stages, the Supreme Lord himself spoke thus. Now, the six excellences of the meaning, such as the expression and so forth, will be explained. That which is the excellence of the tantra is the expression. That which is the excellence of the compiler and the excellence of the time are the two to be expressed. That which is the excellence of the retinue is the connection. That which is the excellence of the place is the purpose. That which is the excellence of the master is the purpose of the purpose. Now, the sequence of the words will be clearly explained as they are: "Thus [it was said]" refers to the tantra; "I have heard" refers to the compiler; "at one time" refers to the time; "the Blessed One, the Vajra Body, Speech, and Mind of all Tathāgatas" refers to the master, the Great Vajradhara; "surrounded by great heroes and heroines" refers to the retinue; "dwelling in the bhaga of wisdom" refers to the place. Now, regarding the four syllables E-Vaṃ-Mā-Yā, first the meaning will be explained according to the sequence of the Yoga Tantra.
Yoga is defined by the generation stage; yoginī is the nature of the completion stage. Therefore, it is appropriate to explain yoga first. The form of E is earth; it is the form of the support for the vessel of the precious Buddha. Because its characteristic is roughness, it is solid. The form of Vaṃ is water; it is the non-other vessel of the precious Buddha. Because its characteristic is moisture, it is smooth. That which is called Ma is fire; it is the precious bodhicitta itself. Because its characteristic is heat, it is extremely luminous. The form of Ya is wind; it is the form of the moon of the perfectly awakened bodhicitta. Because its characteristic is movement, the meaning is that it is like a cloud.
Now, the empowerment of the goddesses, together with their forms, is explained in relation to the four syllables that are the nature of the great elements. The form of E is the nature of the action mudrā, Buddhalocanā; she acts as the method of union, the cause for the arising of all bliss. The form of Vaṃ is the nature of the dharma mudrā, Māmakī; she cools the heat of the fire of external desire arising from the method of union, or else she brings about pacification. The form of Ma is the nature of the samaya mudrā, Pāṇḍaravāsinī; it is for the sake of experiencing all joys and all moments. The form of Ya is the nature of the mahāmudrā, Tārā; it is for the sake of clarifying the marvelous great bliss that is free from all conceptual elaborations.
Alternatively, the intention is that it is because they are all-pervasive. Now, the sequence of the abodes together with the Brahmā abodes will be explained. Those called love, compassion, joy, and equanimity are the four Brahmā abodes. Alternatively, the term "Brahmā" refers to bodhicitta. Because one dwells [in them], they are "abodes." Therefore, they are the Brahmā abodes. In that context, the "abodes" are the four wheels: the emanation, the dharma, the enjoyment, and the great bliss wheels. Regarding this, the intention is as follows: those four syllables—E, VAṂ, MA, and YĀ—reside in the abodes of emanation and so forth, in the form of goddesses whose nature is bodhicitta. Furthermore, that form in the aspect of a deity is the nature of the non-duality of insight and method; this is the intention of "union through the upper and lower." The form in the aspect of the syllable E, which is in the lower abode, is insight. The form in the aspect of the syllable VAṂ, which is in the upper abode, is method. The intention by which the union of the upper and lower is explained is that they are of the nature of the support and the supported. When the form in the aspect of the syllable E, which is insight, exists as the support, at that time there is a place of rest for the method. Through the method resting, the method is generated and remains. Regarding generation, one correctly understands completion. If it were not so, from where else would it come? Why? Because the nature of completion is the very essence of the dharmakāya, like space. Since that has no support for generation, it is not known [as such].
The connection is that just as one cannot find pearls and the like in the darkness without a lamp, so it is here. Now, the meaning of the term māyā is explained: mā refers to the saṃbhogakāya. The mā aspect is the bodhicitta, the nature of light, which is the accomplishment of great bliss. The yā aspect is the characteristic of the natural wind; the meaning is that it is pressed down and rendered immovable. Because it is immovable, it is fully expanded by the taste of the moment of universal joy; therefore, it is the saṃbhogakāya. Alternatively, because it is the nature of the single taste of all phenomena, it is called the saṃbhogakāya.
Alternatively, the mā aspect is the prāṇa (life-force), and the yā aspect is the upaprāṇa (subsidiary life-force). Through their union, they are equal. That which is equal is free from coming and going. That which is the prāṇa emerges from the heart in the form of the "increase of appearance" (ālokābhāsa) for the purpose of experiencing the enjoyment of great bliss, for a duration of ten thousand eight hundred [breaths]—up to half of the eight watches, which consist of thirty-two external and internal ghaṭikās, sixty-four daṇḍas, and eight watches.
The "half-attainment of appearance" (ālokopalabdha) emerges from the center of the navel and rises upward. Through their emergence, that which is the great bliss in an instant, the appearance of great light in the heart of the lotus—that is the meaning of māyā. Now, the meaning of the term śruta (hearing) is explained: śruta means "complete." What is it? It is the nirmāṇakāya.
The meaning of that very perfection from which [it arises] is explained: when the nature of the light of accomplished great bliss is fully ripened in the form of the moon, at that time of full ripening, it is perfected by arising from the water like a fish, having entered into the interior of wind and fire, and being endowed with the major and minor marks. Alternatively, that which is heard is none other than perfection. What is its own meaning? It is the attainment of illumination regarding all phenomena. "Illumination" refers to the view of ultimate liberation. "Attainment" means taking that up for oneself; alternatively, it means "grasping."
Now, regarding the phrase "Thus have I heard," the nature is explained through the meaning of the six applications: the form of E is the consciousness of phenomena, because it is the support for all phenomena. Alternatively, it is the path. The form of Vaṃ is the consciousness of the support; it is the ground of rest for those who have attained and those who have not. Alternatively, it is the cause. The meaning of "not arising" is that the cause is found here. The form of Ma is the consciousness of primordial wisdom (jñāna); it grants refuge in the bliss of attainment and so forth. Alternatively, it brings about a gathering. The form of Ya is the consciousness of differentiation; it makes distinctions within the hidden. Alternatively, it does not allow those who wish to go [elsewhere]. The form of Śro is the consciousness of the limit; it is the renown of the life-force existing in the countless worlds. Alternatively, it is that which pervades. Its form is the consciousness of appearance.
It clarifies the wisdom of bliss that was previously unclear, or else it means "to abandon." Now, the meaning of "at one time" is explained: the word "time" refers to a state. Alternatively, it refers to the time of full maturation. Furthermore, if divided into two here, there is the "excellent time" and the "inferior time." The excellent time is the arrival of the two pulses of the nose; the inferior time is the departure in the same manner. Through the excellent time, one obtains the desired result; through the inferior time, one does not. Alternatively, "time" is when the two joys arise in equilibrium. Alternatively, it is the joining of the two jewels. Alternatively, it is holding [the vital essence] at the root of the navel within the neck of the jewel by means of the guru’s oral instructions. By merely holding that, the closing of the seats of the moon and sun is the meaning of "one." Alternatively, that which is free from going and coming is "one." Alternatively, that which is free from renown is "one." Alternatively, that which is free from attachment—those having become one like butter within butter—that is the meaning of the expression "at one time." At that very moment, the Blessed One, the Tathāgata, dwells in the bhaga of wisdom as the vajra body, speech, and mind of all the Tathāgatas. He is the Blessed One because he has destroyed the net of afflictions such as attachment. Alternatively, he is the Blessed One because he possesses qualities such as sovereignty. Alternatively, he is the Blessed One because he has destroyed the darkness of cyclic existence.
Alternatively, he is the Blessed One because he ferries across the ocean of existence, which is pervaded by the crocodiles of afflictions such as deep-seated attachment. Alternatively, he is the Blessed One because he dwells in the bhaga of emptiness. While dwelling there, because he perceives the inseparability of the moving and the non-moving, he is "All." Because he has gone in such a way that no one has ever gone before, he is called the "Tathāgata." Alternatively, by the term "Tathāgata," the body, speech, and mind of Vairocana and the others are the vajra. The vajra is characterized by natural bliss. Because it is characterized by bliss, it is indestructible. Alternatively, by the term "All," the aggregates and so forth born from the great elements go just as they came before; that is the meaning of "Tathāgata." Among those, that which is the body has transcended the characteristics of a body. Because it is not defiled by the obscurations of affliction, there is no aging and so forth in the body. Since that does not exist, the existence of a body is also non-existent. Just like the moon in water, because it has the characteristic of the moon in water, it is the vajra. That, too, is the nature of the dharmadhātu. The dharmadhātu is the expanse of phenomena. The word "dharma" refers to body, speech, and mind. The word "expanse" (dhātu) refers to the seed arising from the mind, or alternatively, to space. That itself is the Perfection of Wisdom (Prajñāpāramitā). Her bhaga is emptiness.
Furthermore, it is extremely deep, profound, immeasurable, and inconceivable. Alternatively, it is called bhaga because it has destroyed the basis for grasping at nirvāṇa. Who is it that dwells therein? It is the Blessed One, the Great Vajradhara, the embodiment of the body, speech, and mind of all the Tathāgatas.
Now, from the words "Thus have I heard" up to "dwelt," the nature of the places, such as the pīṭhas and upapīṭhas, is explained according to its actual mode of being. Why is this? Because the Blessed One, the Great Vajradhara, dwells in the form of E-vaṃ; therefore, the meaning of the pīṭhas, upapīṭhas, and so forth, must be definitively explained.
Some, such as the venerable Candrakīrti and others, claim: "There is no compassion for sentient beings [in this text]. If there were, why would the meaning of 'Thus have I heard' and so forth not have been correctly explained? That which is explained here abandons the sequence of the tantra itself. If the meaning of the pīṭhas and so forth were not explained in the Guhyasamāja, then did the Blessed One not explain them in the Mahāsamāja?" Thinking thus, they speak in that manner.
If the Guhyasamāja were not explained, then did the Blessed One not explain it in the Mahāsamāja? If one has seen the tantra, then what is the characteristic of "great learning"? One of little learning should not compose commentaries and the like. What is the use of speaking so much? I shall explain the meaning there according to the sequence explained by the Blessed One. The "place" (pīṭha) is so called because it is the support for all things, or because it provides a dwelling for those who have arrived. "By me" (mayā) is the "near place" (upapīṭha), because it causes those who dwell there to increase or because it brings them to full maturity.
"Having heard" (śruta) refers to the cause for the arising of all fields, or because it brings them to completion. "At one time" (ekasmin samaye) refers to the fact that all proximate fields are fully expanded by all branches, or because of their pervasiveness. "All Tathāgatas" refers to the aspiration, the support, the increase, the emergence, and the expansion of the branches, or because of the view. "Body" (kāya) refers to the proximate aspiration, because it performs the formation of the apprehended object, or because it purifies. "Speech" (vāc) refers to the assembly, because it applies itself to all phenomena, or because it clarifies the distinctions. "Mind" (citta) refers to the proximate assembly, because it is not distant from any entity, just as water is within the petals of a lotus, or because it exists within all things, just as fire is within wood and the like. "Vajra" refers to the charnel ground (śmaśāna), because it renders all entities non-existent, or because it destroys them. "Great Hero" (mahāvīra) refers to the proximate charnel ground, because the sprout of another entity arises through the power of prior habitual tendencies in the process of destruction, or because it clarifies its own characteristic. "Mistress of Heroines" (vīreśvarī) refers to the distant [field], because she pervades all phenomena with the view of wisdom, or because she brings them to realization. "Surrounded" (parivṛta) refers to the proximate distant [field], because it causes one to correctly recollect the entities pervaded by the view of wisdom.
Alternatively, it is for the sake of experience. "Insight" (prajñā) refers to the application (prayoga), because it practices that which is not other than all wisdom (jñāna), or because it is analytical. "Bhaga" refers to the near-application (upaprayoga), because it causes the wisdom of analysis to truly not perceive characteristics, or because it brings about equanimity (upekṣā). "Abides" (viharati) refers to the path (mārga), because of the cessation and liberation regarding all phenomena, or because it purifies. "The Blessed One" (bhagavān) refers to the near-path (upamārga), because of the mastery over the fourteen in a single instant, or it has the meaning of "attainment."
Now, the meaning of the sequence of the Yoginī Tantra is explained: because yoga and yoginī are non-dual. Yoga is method (upāya); yoginī is insight (prajñā). Through the union of the non-duality of insight and method, great wisdom (mahājñāna) is attained. The form of "E" is the nature of the introduction (nidāna), the form of wisdom, because it generates all bliss. The form of "Vaṃ" is the nature of the elements, the form of wisdom, because it satisfies the bliss of the drops (bindu). The form of "Ma" is the manner; because it expands bliss, it is the essence of wisdom, the nature of the abode. The form of "Yā" is the mere manner; because it acts as the internal tactile sensation of bliss, it is the characteristic of the wisdom of emptiness (śūnyatā).
Thus, regarding the specific distinctions of the ground of natural wisdom, it is taught here in this Tantra of the Lamp of Suchness (Tattvāloka) for the sake of the glorious self. Now, the four wisdoms are explained in terms of their own essence by way of the channels (nāḍī). In order to provide a dwelling for the joys of the past, future, and present, or alternatively, because all channels abide in the fundamental support of the channels, and from that fundamental support, all bliss and so forth are obtained.
The form of E is the life-force (prāṇa), the characteristic of the body; because it is the form that clarifies the body, it consists of the four, such as speech. The form of Vaṃ is the rasanā, the characteristic of speech; although speech does not clearly exercise mastery over all tastes, it produces the appearance of clarity. The form of Ma is the avadhūtī, the nature of the mind; because it holds the essence that arises from all bliss and taste, or alternatively, because it is for the sake of feeling (vedanā). The form of Yā is the non-conceptual nature of mental factors; because it is the clarity of the support and so forth, it is called the "distinctive essence," or alternatively, it means "because it brings about freedom from conceptual elaboration (prapañca)."
Now, the abiding of the four syllables characterized by the channels is explained. The form of E is the three-petaled lotus within the eight-petaled [lotus], characterized by various aspects. The form of Vaṃ is the navel within that, characterized by ripening. The form of Ma is the fierce caṇḍālī with the face of a bird, shaped like a hunchback, located within the navel and characterized by destruction.
The term "in the form of Yā" refers to the characteristic of the form, the curved ring known as anjaka. Regarding this, the intended meaning is as follows: that which is in the form of a curved ring—anjaka—in the center of the three places, is the meaning of "bodhicitta," the nature of the non-duality of the conventional and the ultimate. Now, the meaning of hearing and so forth, categorized into the sixteen joys, is explained clearly: because the term "Evaṃ" refers to the field of bliss, the phrase "I heard" is the connection. Therefore, the way in which the meaning of hearing and so forth is clarified by the meaning of joy and so forth is the correspondence of cause and effect. "Hearing" refers to the bliss of the moon, characterized by desire, because it joins one to bliss. "One" refers to the supreme renown of trembling, because the bodhicitta residing in the upper place moves intensely downward through the mere act of union. "Time" refers to the time of experiencing the touch of one's own place, the Great Seal (mahāmudrā), which is the very nature of the movement, because it subsequently moves upward. The term "Great Seal" is my intention for the non-conceptual. "All" refers to the three wisdoms, which, though a single characteristic of joy, are for the sake of destruction, enjoyment, and mastery. "Tathāgata" refers to the differentiation of the nature of expansion, because it performs the empowerments and so forth, and differentiates the cessation of pride through the moments and flavors and so forth.
Regarding the term "Body" (kāya): it arises from the action mudrā (karmamudrā) as the essence of the joy of the spear. The meaning is that by the power of one's own investigation into bliss, it is completely relinquished, thereby rendering it without characteristics.
Regarding the term "Speech" (vāc): having experienced the bliss arising from the samaya mudrā as the supreme joy (paramānanda) of the renowned elements, one thoroughly meditates upon it as "artificial." This is because it produces a bliss that is newly arisen and beyond comparison.
Regarding the term "Mind" (citta): there are many who claim that the essence of supreme joy is the essence of cessation (viramānanda). Although such a claim is not the system of the pith instructions, I shall write it here as the basis of this treatise for the sake of fortunate sentient beings. If this supreme joy did not exist, how could one find the natural joy (sahajānanda) from that joy of cessation? The so-called "joy of cessation" is the attainment of a state devoid of life, a destruction of the very substance of joy. How could the wick of a lamp whose oil is exhausted ever find the object of its desire for long? The joy of cessation is just like that. Because it is non-existent, it is the solitary darkness of cessation. In darkness, who is able to find even the most subtle of things? Therefore, the lamp of supreme joy is necessary. It is my purpose to find the subtle reality of natural joy. I shall explain the meaning of the pith instructions on how to find it: first, through the application of the inner heat (caṇḍālī) of the churning and the churning-vessel, one should experience joy at the root of the vajra.
From the root text: The supreme joy at the throat, and the joy that ceases at the heart from the throat, belong to the generation stage. In the completion stage, as soon as great bliss arrives at the location of the heart, whatever is held there through the guru’s oral instructions is "supreme joy." Moving slightly upward is "natural joy." I consider that if it were otherwise, natural joy would not be attained.
Regarding the term "Vajra": it is because its nature is the essence of a blazing vajra, an essence of light free from all conceptual elaborations such as the hands and colors of the coemergent [deity]. "Great Hero" refers to the Great Hero, the bodhicitta, which is explained by the term "bindu" (drop) because it is free from melting and ceasing. The "Mistress of the Great Hero" is the primary nature of intoxication, because she internalizes all bliss and so forth. "Completely surrounded" means that all the limbs characterized by the joy of cessation are free from cessation.
In this regard, the intention is as follows: the joy characterized by the sign of cessation is like the day; when the night has passed, it becomes day. The meaning is that all the limbs of the day are endowed with light, and the supreme joy is seen as beautiful. "Bhūmi" (ground) refers to the nature of the wisdom Oṃ-dhā, the vessel of the precious Buddha, because it is the foundation for all tastes, tactile sensations, and so forth. Alternatively, the intention is that it is "resting."
Bhaga refers to the destruction of the objects of the final enjoyment, which is the essence of the method; or, it is because of the savoring of the supramundane. Viharati (abides) means that he abides by his own characteristic, because he does not perceive external attachment and so forth. Just as a person falling asleep perceives nothing at all, so too is the Blessed One (Bhagavān), who is the joy of the nature. This is because he is the essence of space, or because he is intended to be all-pervasive.
This is the supreme great secret, the heart essence of the meaning of all tantras, the supreme guru, and the ocean of the nectar of wisdom. By my stainless explanation, may whoever finds the virtue of the supreme fruit be liberated from the bonds of existence. For the sake of my own recollection, to cause wonder in the wise, and for the sake of the joy of students, I have composed this Ratnāvalī (Jewel Cluster).
This concludes the extensive commentary entitled The Glorious Jewel Cluster, composed in the presence of the great Indian master Śrī Gupta. It was composed and finalized by his own presence.
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Bhaga is the destruction of the objects of the final enjoyment, which is the essence of the method; or, it is because of the savoring of the supramundane. Viharati (abides) means that he abides by his own characteristic, because he does not perceive external attachment and so forth. Just as a person falling asleep perceives nothing at all, so too is the Blessed One (Bhagavān), who is the joy of the nature. This is because he is the essence of space, or because he is intended to be all-pervasive.
This is the supreme great secret, the heart essence of the meaning of all tantras, the supreme guru, and the ocean of the nectar of wisdom. By my stainless explanation, may whoever finds the virtue of the supreme fruit be liberated from the bonds of existence. For the sake of my own recollection, to cause wonder in the wise, and for the sake of the joy of students, I have composed this Ratnāvalī (Jewel Cluster).
This concludes the extensive commentary entitled The Glorious Jewel Cluster, composed in the presence of the great Indian master Śrī Gupta. It was composed and finalized by his own presence.