Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text provides a ritual procedure for the creation and offering of torma cakes dedicated to elemental spirits. The work functions as a liturgical manual, beginning with a formal invocation of Hevajra and Vajrasattva to establish the spiritual authority of the rite. It details a visualization process wherein the practitioner projects light rays from a seed syllable at the heart of a central deity to summon various classes of beings, including gods from the form, formless, and desire realms, as well as directional protectors. The ritual concludes with a series of mantras in Sanskrit and a hybrid liturgical language, which serve as formal invitations and requests for the summoned entities to consume the offerings. By following this protocol, the reader commits to a specific tantric methodology of gathering and appeasing diverse spiritual entities through a combination of visualization and sonic invocation.
Provenance
About this text
A ritual for the offering of torma to all spirits, the Sarvabhūtabali is a work of the Non-dual Tantra tradition. It is attributed to the Indian author Durjayacandra. The text passed into the Tibetan language through the work of the translators Gayādhara and lo tsa ba ’brog mi shakya ye shes, and it is preserved in the Tengyur, volume ཉ, where it extends over three pages. Written in classical Tibetan as the 'byung po thams cad kyi gtor ma, the work enacts a protective rite designed to shield sentient beings from obstacles and misleading guides. It begins with homage to Hevajra and Vajrasattva, followed by a visualization in which the practitioner projects light rays from a heart seed syllable to gather deities from the form, formless, and desire realms, as well as directional protectors, nāgas, and beings of the lower realms. The procedure employs specific mantras to invite these guests and request that they partake in the offerings. A scholar or serious reader consults this text today to examine the specific tantric methodology of gathering and appeasing diverse spiritual entities through the integration of visualization and liturgical invocation.
Cite thisAnuvāda, “Torma Cakes for All Elemental Spirits” (Toh 1241), machine draft, 2026.https://naxiai.com/tibetan/works/toh1241
Summary & commentary
Significance
The work is significant as it demonstrates the integration of Indian tantric elements with Tibetan ritual practice, specifically the use of torma as a medium for interacting with local and cosmic spirits. It illustrates the Buddhist approach to incorporating non-Buddhist deities into a hierarchical system of protection and offering.
Structure
Passages
Section
Description
1
Invocation and Intent
Homage to Hevajra and Vajrasattva and the statement of purpose for composing the offering.
2
Visualization and Summoning
Description of the deity's posture and the projection of light rays to gather gods and protectors from various realms.
3
Liturgical Mantras
The specific mantras used to invite the guests and request that they partake in the torma offerings.
Themes
Ritual Offering (1-3)
Visualization (2)
Summoning of Deities (2-3)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Baliṃ sarvabhūta. In the language of Tibet: ’Byung po thams cad kyi gtor ma (The Torma Offering for All Spirits). Homage to the glorious Hevajra!
Having paid homage to Vajrasattva, who has entered the certainty of E-Vaṃ, I shall compose this torma offering in order to protect sentient beings from obstacles, misleading guides, and the like.
The yogi who possesses the yoga of Hevajra should perform the following meditation: Within the source of phenomena (dharmodaya), there is an eight-petaled lotus in three tiers, white, black, and red, marked with Oṃ Āḥ Hūṃ. Upon these, one should visualize the eight great gods, the eight guardians of the directions, and the eight great nāgas, each in the color of their respective lotus petals.
In the east, visualize Maheśvara; in the south, contemplate Indra; in the west, visualize Brahmā; and in the north, Viṣṇu. In the southeast, visualize Kāmeśvara; in the southwest, the lord of the direction; in the northwest, Bhṛṅgirīti; and in the northeast, the youth Kārtika.
On the eastern petal, visualize Śakra; in the south, place Yama; on the western petal, Varuṇa; and likewise, in the north, place Yakṣa. In the southeast corner is Agni; in the southwest, Rākṣasa; in the northwest corner, Vāyu; and in the northeast, the lord of spirits (bhūta).
Then there are the nāgas: Karkoṭaka, Śaṅkhapāla, Ananta, and Vāsuki; likewise Takṣaka, Kulika, Mahāpadma, and Supadma. All of them have one face and two arms, holding a vajra and a bell in their hands. They are embraced by consorts of their own color.
He sits upon the seat with his right leg extended. From the seed syllable at his heart, light rays are projected like hooks, gathering the gods of the form and formless realms into the eight [goddesses]. The gods and humans of the desire realm are gathered into the eight directional protectors. The three lower realms and the asuras are to be gathered into the eight great nāgas. In order to invite the maṇḍala residing in its natural abode, Gaurī performs the summoning, Caurī binds with a noose, Vetālī binds with iron shackles, and Ghaṇṭā [intoxicates] the voracious eater. From the yogin’s heart, light rays are projected like hooks, summoning the Victorious Ones of the ten directions along with their heirs. They are worshipped with outer, inner, and secret offerings. At the conclusion of the empowerment, they are crowned by the lords of their respective families. The eight great gods are crowned by Śiva, the eight directional protectors by Vajrapāṇi, and the eight nāgas by Naṭeśvara. Then, the torma is prepared according to the ritual. Upon a maṇḍala of wind and fire, one visualizes a lotus vessel arising from the syllable A. Within it are the syllables BHRŪṂ, ĀṂ, JRĪṂ, KHAṂ, and HŪṂ, arising from GO, KU, DA, HA, and NA. One visualizes the five Buddhas and the five sentient beings in the center of the moon and sun. In the center of the sun, one visualizes a HŪṂ, which becomes a vajra; through its blazing and radiation, the nectar is thoroughly accomplished. By meditating on this nature of water, one offers it, consecrated with OṂ ĀḤ HŪṂ. The mantra for offering the torma is as follows: OṂ INDA JAMA JALA JAKKA BHŪTA VAHNI VĀYU RAKKA CANDRA SUJJJA.
MĀDA PĀṂPA TALA PĀTĀLE AṢṬA SAPTA SVĀHĀ. This is the invitation to the guests of the torma. IDAṂ VILAM BHUÑJA JIMGA PHULLA DHŪPAM MĀṂSA PIGHAṂ. This is the request to partake. AMBHA SAPPA KAJJA SĀDA KHĀNTI KHUṆI PEṬA GĀDA. This is the request. OṂ AKĀRO MUKHAṂ SARVA DHARMĀṆĀM ĀDYANUTPANNATVĀT OṂ ĀḤ HŪṂ PHAṬ SVĀHĀ. This is the consecration. Then, having pleased them, one should recite the hundred-syllable mantra for requesting them to depart: OṂ VAJRA SATVA SAMAYA MANUPĀLAYA VAJRA SATVA TVENOPATIṢṬHA DṚḌHO ME BHAVA SUTOṢYO ME BHAVA ANURAKTO ME BHAVA SUPOṢYO ME BHAVA SARVA SIDDHIṂ ME PRAYACCHA SARVA KARMASU CA ME CITTAM ŚREYAḤ KURU HŪṂ HA HA HA HA HOḤ BHAGAVĀN SARVA TATHĀGATA VAJRA MĀ ME MUÑCA VAJRIBHAVA MAHĀ SAMAYA SATVA ĀḤ MUḤ. If one gives this torma and makes offerings, all the bhūtas will act for the benefit of the yogin. At that time, there will be untroubled happiness, the deities will be pleased, and the retinue will be well-served. If one gives this torma to the assembly of bhūtas, it will bring about power, wrathful activities, the destruction of enemy hosts, expulsion, summoning, pacification, happiness, and enrichment. The ritual for the torma of all bhūtas composed by the master Durjayacandra is complete. Translated by the Indian abbot Gayadhara and the translator-monk Śākya Yeshe.