Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text is a ritual manual, or sādhana, designed to guide a practitioner through the visualization and invocation of a two-armed form of the deity Hevajra. The work functions as a prescriptive guide for a meditative process, beginning with the physical preparation of a secluded space and the use of sandalwood water. It then moves into a complex sequence of mental constructions, requiring the yogi to visualize a vajra tent, a red lotus, and a corpse, upon which the seed syllables of the moon and sun are transformed into a mandala. The text commits the reader to a precise iconographic reconstruction of the central deity and his consorts—including Pukkasī, Śavarī, Caṇḍālī, and Ḍombinī—detailing their specific attributes, such as the khaṭvāṅga, skull-cup, and tiger skins. By following these instructions, the practitioner aims to embody the deity's form and attributes within a structured sacred space.
Provenance
About this text
A ritual manual for the visualization and invocation of the two-armed Hevajra, the Hevajradvipāṇisādhana originates from the Indian tradition and is attributed to the author Alalavajra. Preserved in the classical Tibetan tradition under the title kye rdo rje phyag gnyis pa'i sgrub thabs, the work is found within the Non-dual Tantra collection of the Tengyur, specifically in volume ཉ, where it extends over four pages. The work enacts a prescriptive meditative process, beginning with the physical preparation of a secluded space through the sprinkling of sandalwood water. It then guides the yogi through a sequence of mental constructions, including the visualization of a vajra tent, a red lotus, and a corpse, upon which seed syllables are transformed into a mandala. This process culminates in the iconographic reconstruction of the central deity and consorts—Pukkasī, Śavarī, Caṇḍālī, and Ḍombinī—detailing their specific attributes and colors. A scholar or serious reader consults this text today to examine the precise requirements for embodying the deity's form and attributes within a structured ritual framework.
Cite thisAnuvāda, “A Sādhana of Hevajra with Two Arms” (Toh 1235), machine draft, 2026.https://naxiai.com/tibetan/works/toh1235
Summary & commentary
Significance
The work is significant as it provides a specific, two-armed variation of Hevajra practice, which differs from the more common multi-armed forms found in the Anuttarayoga Tantra tradition. For the modern reader, it illustrates the intersection of somatic preparation, seed-syllable visualization, and the use of cemetery-related imagery (corpses) to achieve spiritual transformation.
Structure
Passages
Section
Description
1-2
Preliminary Preparations
Instructions for selecting a location, purifying the space with sandalwood water, and initiating the visualization of the vajra tent and seed syllables.
3
Mandala and Consort Visualization
Detailed placement and attributes of the four female deities (Pukkasī, Śavarī, Caṇḍālī, and Ḍombinī) within the mandala.
4-5
Deity Iconography
Description of the physical characteristics and ritual implements of the central deity and the accompanying figures.
Themes
Ritual Space and Purification (1-2)
Vajrayana Iconography (3-4)
Tantric Visualization (2-4)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Hevajradvibhujasādhanopikā. In the language of Tibet: The Sādhana of the Two-Armed Hevajra. Homage to the glorious Hevajra.
First, the yogi, in a secluded and pleasing location, should sprinkle sandalwood water and the like in all directions. Sitting upon a comfortable seat, he should then visualize an eight-petaled lotus at his heart. In its center is a sun maṇḍala, and in the center of that, he should visualize a single syllable HŪṂ. Light radiates from it, and he should visualize the gurus, buddhas, bodhisattvas, and Herukas in the sky before him. Then, he should make outer and inner offerings. Following that, he should confess his misdeeds, take refuge in the Three Jewels, rejoice in merit, dedicate the roots of virtue, generate the mind of awakening (bodhicitta), offer his body, and rely upon the path. Then, he should meditate on love, compassion, joy, and equanimity.
Then, the yogi should contemplate all phenomena as empty: OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. Then, in front of him, from RAṂ comes a sun maṇḍala. Upon that, from HŪṂ comes a crossed vajra. At the hub of the vajra, he should visualize a sun maṇḍala. From the light of the HŪṂ above that, Yamarāja and the other deities radiate forth, and he should visualize them expelling all obstructing spirits (vighnas). He should then visualize them dissolving back into the HŪṂ. From the complete perfection of that seed syllable, there arise the vajra ground, the vajra fence, and the vajra canopy.
Oṃ rakṣa rakṣa hūṃ hūṃ hūṃ. Then, visualize a vajra tent. Likewise, from paṃ, visualize a red eight-petaled lotus. Upon that, a corpse. At the heart of the corpse, visualize the āli and kāli [vowels and consonants] fully transformed into the maṇḍalas of the moon and sun. In the center of that is the seed syllable hūṃ. From that hūṃ, a vajra arises. Visualize a hūṃ residing in the center of the hub of the vajra. Then, light radiates out in the form of the eight goddesses, performs the benefit of all sentient beings, and is reabsorbed back into that very [place]. With the seed syllable and hand symbols fully perfected, one should visualize oneself as the Blessed One, the glorious Heruka. He has one face and two arms, possesses the luster of a black cloud, and is laughing, wrathful, and sixteen years of age. In his left hand, he holds a khaṭvāṅga marked with a vajra and a kapāla; in his right, he holds a vajra, striking fear. He stands in a dancing posture, adorned with the five mudrās: the wheel, earrings, necklace, bracelets, and girdle. The five [families of] Buddhas are the pure [ornaments]; the five are the authentic mudrās. Residing upon the corpse, he is radiant. His tawny hair curls upward. He is crowned with the protector Akṣobhya and wears a garland of human heads. The protector of the cemetery’s contemplation is surrounded by the eight goddesses. On the eastern petal is Gaurī, holding a skull-cup in her hand. In the south is the goddess Caurī, who holds the sun in her hand. In the west is the goddess Vetālī, holding a skull-cup of water in her hand. In the north, one should know Ghasmarī.
She holds the amṛta of medicine. In the northeast is Pukkasī, who dwells holding a vajra in her hand. In the southeast is Śavarī, who holds a vessel of flavors in her hand. Caṇḍālī dwells in the southwest, purifying the sound of the hand-drum. Ḍombinī dwells in the northwest; the act of embracing is the supreme joy. All are black in color, with hair the color of fire, pale-yellow and swirling upward. Possessing a corpse, they have three eyes and are perfectly endowed with the five mudrās. They dwell in a dancing posture. In the left hand, they hold a khaṭvāṅga; they have one face and two arms. They are perfectly endowed with garlands of light. Then, at the heart upon a lotus, one should meditate on the wisdom-being (jñānasattva). He is the liberator from all afflictions (kleśa). The Protector is the commitment-being (samayasattva), and the wisdom-being is similar to him. To be visualized in his heart is the lake-born vajra arising from the syllable HŪṂ. One should visualize the syllable HŪṂ at the hub of the vajra. From the HŪṂ, light radiates, and the wisdom-beings are summoned. Then, all should be summoned. To those summoned by the mantra-practitioner, one should offer water and argha. With joy, one should worship the Protector. One should summon with the syllable JAḤ, enter with the syllable HŪṂ, bind with the syllable BAṂ, and delight with the syllable HOḤ. In the two eyes is Mohavajrā; in the ears is Dveṣavajrā; in the two nostrils is Mātsaryavajrā; on the tongue is Rāgavajrā; the body is Īrṣyāvajrā; and the mind is Nairātmyayoginī. All are black in color, and in their right hands they hold curved knives (kartṛ).
In the left hand, he holds a khaṭvāṅga and a skull-cup. All [the deities] have three eyes. Their tawny hair is coiled upward. They stand upon corpses on lotuses. They are perfectly adorned with the five mudrās. Their lower bodies are wrapped in tiger skins. The yogin should visualize them. They possess the vajra body, speech, and mind. Body, speech, and likewise mind: OṂ ĀḤ VAṂ HŪṂ are the mantras. The sky-farers, the earth-dwellers, and those of the underworld—Gaurī and the others, the Vajra-delusion goddesses—one should understand their hand symbols. From the heart of the wisdom-being, light rays radiate from the seed syllable, and the Tathāgatas are summoned. To them, offerings are presented. Then, a request is made to the Protectors for empowerment: OṂ ABHIṢIÑCATU MĀṂ SARVA TATHĀGATA. One should imagine that they confer empowerment upon oneself. The wise one should imagine the five Tathāgatas, Akṣobhya and the rest, as their own crown ornaments. Akṣobhya is the protector and Gaurī; Caurī is likewise Vairocana. Then, with Ratnasambhava, Ghasmarī is Amitābha. Akṣobhya is Pukkasī; likewise, Vairocana is Śavarī. Ratnasambhava is Caṇḍālī; Amitābha is Ḍombī. One should imagine these upon their heads. Upon the crown of all of them, the principal deities should be visualized. Offerings, praises, and the consumption of nectar should be visualized. OṂ TRAILOKYĀKṢEPA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ. The Sādhana of the glorious two-armed Heruka, composed by the master Vajrālaṃkāra, is complete.