Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā, attributed to Avadhūtipa Advayavajra, provides a comprehensive ritual manual for the practice of the deity Hevajra. The text guides the practitioner through a systematic process of visualization and transformation, beginning with preliminary offerings, confession, and the cultivation of bodhicitta. It details the construction of a complex mandala, including the visualization of the central deity Hevajra in union with his consort, the surrounding goddesses, and the four wrathful deities of the directions. The work commits the reader to a rigorous mental discipline involving the transmutation of ordinary perception into a purified state, where the physical body and environment are reimagined as a celestial palace and charnel grounds. By integrating seed-syllables, mantras, and the conceptualization of the four Māras as prostrate, the practitioner aims to achieve the union of method and insight. The process culminates in a ritual homa offering and the realization of the deity's nature as the inseparability of emptiness and compassion.
Provenance
About this text
A ritual manual for the practice of the deity Hevajra, the Hevajranāmasādhana belongs to the Non-dual Tantra collection. The work is attributed to the Indian author Avadhūtipa Advayavajra. Preserved in the classical Tibetan tradition, the text appears in volume ཉ of the Tengyur under the Tibetan title kye rdo rje zhes bya ba'i sgrub pa'i thabs/, where it extends over twenty-seven pages. The work enacts a detailed process of visualization and devotion, beginning with homage to Hevajra—depicted with eight faces, sixteen arms, and twenty-four eyes, embracing Nairātmyā and trampling the four Māras—and continuing through the visualization of the Blessed One emanating and reabsorbing light. It further guides the practitioner through the performance of pure offerings and the confession of sinful actions committed through distorted conceptualization since beginningless saṃsāra. A scholar or serious reader consults this edition today to examine the specific iconographic descriptions of Hevajra and his surrounding goddesses, as well as the prescribed sequence of prostrations and mental purifications required for the sādhanā.
The text is significant as a representative example of Anuttarayoga Tantra, demonstrating the use of deity yoga and the transformation of afflictions into wisdom. For the modern reader, it illustrates the sophisticated intersection of cosmology, psychology, and ritual technology in the Indo-Tibetan tradition.
Structure
Passages
Section
Description
1-5
Preliminaries and Visualization
Initial homage, visualization of Hevajra, offerings, confession, and the cultivation of love and compassion.
6-11
Mandala Construction
Detailed descriptions of the directional deities, the celestial palace, and the eight charnel grounds.
12-18
Deity Yoga and Identification
The process of transforming into Hevajra and visualizing the surrounding goddesses and their seed-syllables.
19-23
Ritual Offerings and Mantras
Visualization of offering substances and the recitation of the root and heart mantras.
24-31
Philosophical and Symbolic Interpretation
Explanations of the symbolic purity of the mandala elements and the union of emptiness and compassion.
32-37
Final Ritual Acts
Descriptions of the deity's ornaments, the invitation of guests, the homa offering, and the concluding colophon.
Themes
Transformation of Perception (12, 21, 25)
The Union of Method and Insight (31)
Symbolic Purification (26, 27, 28, 29, 30)
Mandala Cosmology (8, 9, 10, 11)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Hevajranāmasādhana. In the language of Tibet: The Sādhana of the One Called Hevajra. Homage to Hevajra!
To the one with eight faces and sixteen arms, surrounded by Gaurī and the others born from HŪṂ, who tramples the four Māras with his feet and is embraced from behind by Nairātmyā; to the one possessing twenty-four eyes, wearing a garland of fifty fresh skulls, blue in color and adorned with the five mudrās—to him I prostrate, and I shall explain the sādhana.
First, the yogin should perform the preliminary actions such as washing the face. Having generated the resolve for the benefit of all sentient beings, he should protect the place and so forth with the mantra: OṂ RAKṢA RAKṢA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ. Having entered the maṇḍala as taught in the glorious Hevajra, he should receive the empowerments in their proper sequence. Following the authentic oral instructions, he should obtain the utterly pure and unerring wisdom of suchness, and having attained the signs, he should sit upon a comfortable seat marked with a crossed vajra in a pleasant location such as a charnel ground. He should maintain the samaya of the five nectars and so forth, and, without depending on anything else and with fearless insight, he should cultivate the divine pride of the glorious Hevajra.
Then, at his own heart, upon a lotus, he should visualize a sun maṇḍala arising from the melting of the syllable RAṂ. Upon that, he should visualize a blue syllable HŪṂ. Then, five-colored light rays radiate from the syllable HŪṂ, illuminating the three realms. Having drawn them back again, [he should...]
In the sky before you, visualize the Blessed One with sixteen arms, eight faces, and three eyes, embracing his consort. His yellow hair is swept upward, and he is adorned with the five mudrās. He is surrounded by eight goddesses, and his color and hand-symbols are as described below. Visualize his body in the process of emanating and reabsorbing light.
In front of him is the black Gaurī, holding the moon of bodhicitta in her hand. To the right is the red Caurī, holding the sun known as the "self-arisen flower." Behind him is the yellow Vetālī, holding a vajra-water alms bowl. To the north is the green Ghasmarī, holding secret medicine. In the northeast is the blue Pukkasī, holding various kinds of meat. In the southeast is the white Śavarī, holding wine. In the southwest is the slightly red Caṇḍālī, beating a small drum. In the northwest is the smoke-colored Ḍombinī, embracing his own body.
Having clearly visualized the Blessed One thus surrounded by the yoginīs, subsequently dissolve the light rays back into your own seed-syllable. Again, light rays radiate from your own seed-syllable, and you make offerings to the Blessed One through the distinctions of outer, inner, secret, and suchness offerings. Offering flowers, incense, divine food, the seven precious substances, and so forth, is the outer offering. The eight goddesses offering the five nectars, the five meats, and so forth, is the secret offering. Furthermore, experiencing the bliss of non-duality with Nairātmyā through the instructions of the authentic guru is the offering of suchness.
Having thus performed the utterly pure offering, and having prostrated with devotion through body, speech, and mind, one should perform the confession of misdeeds and so forth in their presence. Whatever sinful actions I have committed through the power of distorted conceptualization since beginningless saṃsāra, as well as those committed by others that I have rejoiced in, or those I have incited others to commit—all these I confess and shall not do again in the future. I rejoice in all the roots of virtue of ordinary beings, gods, hearers, pratyekabuddhas, bodhisattvas, and all the perfectly awakened buddhas. I shall dedicate all merit toward unsurpassed, perfectly complete awakening. Then, I take refuge until I reach the heart of awakening in the Buddha, the glorious Hevajra, whose nature is the great bliss of the three realms; in the Dharma, whose nature is the mantras, mudrās, maṇḍalas, and so forth taught by him; and in the assembly of yoginīs abiding in his maṇḍala circle. For the sake of benefiting all sentient beings, I shall generate the bodhicitta of great bliss, which is emptiness endowed with the supreme of all aspects. I shall rely upon this vajra path of unsurpassed bodhicitta. I shall exhort [the buddhas] to turn the wheel of Dharma and supplicate them not to pass into parinirvāṇa.
Then, one should meditate on great love, the essence of supreme bliss toward all sentient beings as if they were one's only child; great compassion, the desire to liberate all sentient beings who are seen to be without refuge and submerged in an ocean of all conceptualizations that are suffering and the causes of suffering; joy, seeing them never separated from great bliss; and equanimity, characterized by the path that has turned away from the eight worldly dharmas.
In that way, through the insight characterized by the thorough discernment of all unsurpassed phenomena, one should clearly understand that all phenomena are merely born from dependent origination and are primordially unborn by nature. Having known the dharma of the vajra nature of the wisdom of emptiness—which condenses the suchness of the bliss of all things without exception—one should mentally recite the mantra: oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ. By means of the authentic oral instructions of the Guru, one should abide for a moment in the essence of non-abiding, which is without birth and without cessation. That itself is the clear light. It is said: "That is the state of supreme bliss; all phenomena are taught to be that very suchness. That is the Perfection of Insight, the supreme subduer of the Māras." Then, by the power of one's previous paths, one arises from the absorption of the clear light of emptiness.
In the sky, from the syllable raṃ, a sun maṇḍala arises. Upon that, a blue hūṃ melts into light, from which one meditates on the five-colored light rays of a crossed vajra (viśvavajra). One should then emanate as many intensely blazing masses of light rays as desired, similar to the fires of the Avīci hell. One should visualize a vajra fence in the cardinal directions, a vajra canopy above, and a vajra ground below, reaching down to the hells.
Within that, upon a sun maṇḍala, is a crossed vajra. From it, light rays radiate, stabilizing the vajra walls and so forth in the cardinal and intermediate directions. In the center of that, one should visualize a yellow bhrūṃ. From the melting of bhrūṃ, a yellow ten-spoked wheel arises, spinning rapidly and immovable. In its center is a crossed vajra; above that, a crossed lotus; and above that, a sun maṇḍala. Above that, in the center of the union of the moon and sun, one should behold the syllable hūṃ. Through the sequence of the five wisdoms, such as the mirror-like wisdom (ādarśa-jñāna), one should visualize the Blessed One Hūṃkara.
Born from hūṃ, his body is green like an indranīla gem, adorned with various ornaments and a precious crown. He tramples Bhairava and the black Kālarātri. With his two hands holding a vajra and bell, he embraces his consort. One should visualize him standing in the posture of one leg extended and the other tucked. Then, according to the instructions of a genuine master, one should meditate on the ten wrathful deities (krodha) through the yoga of the vajra and skull cup.
In that regard, in the four directions starting from the east, the four—Yamāntaka, Prajñāntaka, Padmāntaka, and Vighnāntaka—are respectively black, white, red, and blue. They hold in their hands a vajra hammer, a white club, a red lotus, and a black vajra. They are stout and short, with protruding bellies, wrathful, and adorned with eight coiled snakes. Their yellow hair is bristling upward, their eyes are red and round, and they are crowned by the four: Vairocana, Akṣobhya, Amitābha, and Amoghasiddhi. They wear lower garments of tiger skin.
Likewise, in the four intermediate directions—south-east, south-west, north-west, and north-east—are Takkirāja, Nīladaṇḍa, Mahābala, and Acala. They are black in color and hold in their hands a hook, a staff, a trident, and a sword. Takkirāja and Acala wear fine garments and are adorned with jewels and the like, and possess jeweled uṣṇīṣas. Nīladaṇḍa and Mahābala are like Yamāntaka, being extremely terrifying. Below is Sumbharāja, holding a black hammer and crowned with jewels. On the upper spoke is the yellow Uṣṇīṣacakravartin, crowned with jewels and holding a yellow wheel.
Vairocana adorns the crown. The five [deities] beginning with Rāgarāja are crowned by Akṣobhya. These are the ten wrathful deities, who stand with legs spread upon sun maṇḍalas atop variegated lotuses, their left hands raised at the heart in the threatening gesture (tarjanī) and holding snake-nooses.
Having thus constructed the protection wheel, one should visualize in its center the great element of space, the source of phenomena (dharmodaya), which arises from the melting of Vajra-Hūṃkāra. It is triangular, the nature of the Great Vajra-Holder, white like the autumnal moon, with a narrow base and a wide opening, its three corners well-defined. In its center is a variegated lotus, and upon that, a great variegated vajra with twelve prongs. One should visualize the three eastern prongs as white, the three southern as yellow, the three western as red, the three northern as green, and the center as blue.
Above that is a blue wind maṇḍala, bow-shaped, arising from the syllable YAṂ and marked by two fluttering banners. Above that is a red triangular fire maṇḍala, arising from the syllable RAṂ and marked by RAṂ. Above that is a white circular water maṇḍala, arising from the syllable VAṂ and marked by VAṂ. Above that is a yellow square earth maṇḍala, arising from the syllable LAṂ and marked at its corners by three-pronged vajras.
In its center is a crossed vajra. Upon it arises a great celestial palace, the nature of Vairocana, a great assembly of utterly pure buddha-fields born from the melting of the four great elements of sentient beings produced through dependent origination. It is a square celestial palace composed of the four kinds of various jewels, with four doors, adorned with eight pillars, four corners, and four archways.
There are goddesses: a yellow goddess playing the lute, a red goddess blowing the flute, a smoke-colored goddess beating the ḍamaru drum, a white goddess beating the great drum, and a yellow goddess holding a garland of flowers. There is a red, haughty goddess; a yellowish-red goddess of song; a multicolored goddess of dance; a white goddess of flowers; a black goddess of incense; a red goddess of lamps; and a yellow goddess of perfumed water. There is the white goddess of form, the red goddess of taste, the green goddess of touch, and the goddess of phenomena. Thus, these sixteen, each marked with a crescent moon and a drop, are formed from their respective seed syllables and abide with their eyes and forms distinct. The palace is adorned by offering goddesses at the base and the sides of the doors, arranged in pairs in successive order, circling to the right. It is beautifully decorated with lattices, half-lattices, parapets, flower garlands, canopies, mirrors, and yak-tail whisks.
One should visualize a delightful celestial mansion adorned with the five sensory qualities, its various moving peaks topped with ringing bells and emitting clear rays of light from vajra garlands that radiate many buddhas, and surrounded by the eight charnel grounds.
In that regard, the great charnel ground in the east is called Caṇḍogra (Fierce and Wrathful). There is a śirīṣa tree, a yellow elephant-headed deity, a yellow Śakra, and a yellow nāga named Vasuki. The cloud is called Ghoṣa (Resounding), and it is blue.
The great charnel ground in the southeast is called Ha-ha-hasita (Laughing Ha-ha). There is a karañja tree, a goat-faced deity, the red fire god Agni, and a green nāga named Mahāpadma. The cloud is called Saṃvarta (Gathering), and it is red in color.
The charnel ground in the south is called Bhīṣaṇa (Terrifying). There is an āmra tree, a buffalo-headed deity, the black Yama, a white lotus, and a yellow cloud called Vivarta (Whirling).
The charnel ground in the southwest is called Bhīma (Fearsome). There is a pāṭala tree, a goat-faced deity, the black Nirṛti, a pale nāga named Ananta, and a yellow cloud called Pūrṇa (Full).
The charnel ground in the west is called Jvālākula (Blazing Mass). There is an aśoka tree, a yellow makara-headed deity, the white Varuṇa, a red nāga named Karkoṭaka, and a white cloud called Ugra (Fierce).
The charnel ground in the northwest is called Andhakārabhīṣaṇa (Dark and Fearsome). There is an arjuna tree, a white rakshasa-faced deity, the pale-blue Vāyu, a multicolored nāga named Kulika, and a green cloud called Varṣa (Raining).
The northern charnel ground is the Terrifying Thicket. There is the Bodhi tree with the faces of gods and humans, and the yellow yakṣa. There, the nāga is the black Takṣaka, and the cloud is the white Mūka. The northeastern charnel ground is called the Forest of Glory. There is the Bodhivṛkṣa tree with the face of a bull, the white Mahādeva, the yellow nāga Śaṅkhapāla, and the cloud of various fierce colors. The great charnel grounds should be visualized as caityas. One should contemplate them in this way. Thus, the eight [deities] such as Śakra have upper bodies; those on the left hold skull cups, and those on the right hold offering cakes. In this way, there are eight great trees. The others are various trees, immeasurable in number. There are crows, owls, white birds, adrida birds, dogs, wolves, female wolves, hawks, female hawks, lions, pigs, tigers, and so forth—fearsome beings. There are all kinds of snakes, glang-sbrul (ox-snakes), and the extremely terrifying dum-bu-bha-ma-gar-hi-bha. There are skeletons, impaling stakes, hanging corpses, headless trunks, skulls, knees, headless bodies, hands, heads, and various other horrors. There are many deities such as the siddhas, and the assembly of yoginīs who are the nature of the samaya. Yakṣas, rākṣasas, and life-taking pretas and so forth dwell there, roaming about. They display various miraculous feats, bringing joy to the self.
This is the great charnel ground of Resounding Great Sound. In its center, upon an eight-petaled red lotus, one should visualize the four terrifying Māras lying prostrate. These are: the Māra of the aggregates, Brahmā; the Māra of afflictions, Viṣṇu; the Māra of the son of the gods, Śakra; and the Māra of the Lord of Death, Maheśvara. One should imagine their hearts being pressed down by sun disks. In the four cardinal directions, starting with the east, are Brahmā and the others being trampled. In the four intermediate directions, starting with the northeast, are Yama, the yakṣa, the asura, and the rākṣasa. Their hearts are pressed down by moon disks. All of these should be visualized after the celestial mansion has been established.
There, from the sixteen vowels doubled, the moon mandala arises, which is the nature of the form of insight and the mirror-like wisdom. Above that, from the thirty-four consonants—thirty-four being the four added to the thirty [consonants] ḍha, ḍa, dha, da, ya, and la—doubled, the sun mandala arises, which is the nature of method and the wisdom of equality. In the center of the union of these two, the syllables HŪṂ and AṂ melt into light, becoming a curved knife and a skull cup joined together and marked by their respective seed syllables; this is the discerning wisdom. Light rays radiate from the two seed syllables, illuminating all the Tathāgatas. These are summoned by those light rays and dissolve back into oneself; the merging of all into one is the all-accomplishing wisdom. Upon that are the moon, the sun, and the seed syllable.
From the complete transformation of the hand-symbols, one arises as the Blessed One, Vajrasattva, with the body color and hand-symbols as they appear below, in the form of glorious Hevajra. One should contemplate oneself as being embraced from behind by Nairātmyā, the nature of the causal Vajradhara, and as the very essence of the dharmadhātu. This is the aspect of awakening through the five wisdoms.
Then, one should consecrate the lotus and the vajra with the mantra: oṃ padma sukha dhāra mahārāga sukhaṃ dadda catūrānanda bhaga viśva hūṃ hūṃ hūṃ kuryāṃ kuruṣva me | oṃ vajra mahādveṣa catūrānandadāyaka khagamukhe kara soṇātha hūṃ hūṃ hūṃ kuryāṃ kuruṣva me. Immediately thereafter, one should engage in passion with the mantra: oṃ sarvatathāgatānurāgaṇa vajrasvabhāvātmako ’haṃ. This concludes the explanation of the first union. Such is the sequence of the action mudrā.
Then, having visualized the seed-syllable hūṃ at the heart of the Blessed One and the seed-syllable aṃ at the heart of the Blessed Lady, light rays radiate from the seed-syllable at the heart, summoning all the Tathāgatas, who dissolve into the seed-syllable at the heart. These melt into light, and upon the seats of Brahmā located in the eastern direction and so forth, moon and sun disks are joined. The drops of bodhicitta melt and radiate outward, and one should visualize the eight seed-syllables gaṃ caṃ vaṃ ghaṃ paṃ śaṃ laṃ ḍaṃ in their proper order. From the complete transformation of these, there appear a curved knife, a hand-drum, a tortoise, a snake, a lion, a monk, a wheel, and [a vajra].
One should visualize the vajras. Above them are the seed-syllables. Through the melting of the moon, sun, hand-symbols, and so forth, from the manifest awakening of the five wisdom beings (jñānasattva) resembling the color blue, one should meditate on Gaurī and the others. In that regard, at the eastern gate, from the syllable Gaṃ is born white Gaurī, black in color, holding a curved knife (kartṛkā) in her right hand and a rohita fish in her left, treading upon Brahmā; she is to be placed as the nature of the aggregate of form (rūpaskandha). At the southern gate, from the syllable Caṃ is born red Caurī, holding a hand-drum (ḍamaru) in her right hand and a pig in her left, treading upon Indra; she is the nature of the aggregate of feeling (vedanāskandha). At the western gate, from the form of the syllable Paṃ is born Vetālī, like refined gold, holding a tortoise in her right hand and a lotus vessel in her left, treading upon Upendra; she is the nature of the aggregate of perception (saṃjñāskandha). At the northern gate, from the form of the syllable Ghaṃ is born green Ghasmarī, holding a snake in her right hand and a skull-cup (kapāla) in her left, treading upon Rudra; she is the nature of the aggregate of formations (saṃskāraskandha). In the northeast corner, from the form of the syllable Paṃ is born blue Pukkasī, holding a lion in her right hand and a battle-axe (paraśu) in her left, treading upon Yama; one should visualize her as the nature of the [earth] element (dhātu). In the southeast corner, from the form of the syllable Śaṃ is born white Śavarī, holding a monk (bhikṣu) in her right hand and a mendicant’s staff (khakkhara) in her left, treading upon Yama; one should visualize her as the nature of the water element. In the southwest, from the form of the syllable Laṃ is born blue Caṇḍālī, holding a wheel (cakra) in her right hand and a skull-cup in her left, treading upon a rākṣasa; one should meditate on her as the nature of the fire element.
In the wind direction, one should meditate on Ḍombinī, born from the syllable Ḍaṃ, multicolored, holding a vajra in her right hand and making the threatening gesture with her left, treading upon Vemacitrin, and having the nature of the wind element. All of them have three round, red eyes, and they abide in a dancing posture with one leg bent. Their yellow hair is swept upward, and they have two legs. They are adorned with the five mudrās, seated upon moon seats, and possess the nine dramatic sentiments. Baring their fangs, they are naked, and one should correctly meditate on them as arising from the radiation of bodhicitta.
Then, the three syllables Oṃ Āḥ Hūṃ, marked by two red Hoḥ syllables at the ends, are seen as unsupported, like a city of gandharvas. Through passion, they enter the mouth of the Blessed One, pass through the path of the vajra, and enter the maṇḍala of the goddesses; one should meditate on them as having such a nature. Following that, the Blessed One, becoming of one taste with great bliss, melts together with his consort, and one should imagine him abiding in the form of his own seed-syllable.
Then, the four goddesses, Pukkasī and the others, realizing they are without their respective protectors, become greatly distressed. With minds of intense longing and a desire to awaken him, they exhort the Blessed One with vajra songs to arise:
"O Venerable One, arise with a mind of compassion!
Protect me, Pukkasī!
Abandon this very nature of emptiness,
And grant me the union of great bliss!
Without you, I shall die."
O Hevajra, arise! Abandoning the very nature of emptiness, please accomplish the fruit of the savari. O Lord of Joy, you who are the guest of the world, do you remain in emptiness? Since I do not know the direction without you, I, Caṇḍālī, make this request. I know your heart; arise, you who possess the power of illusion! I, Ḍombī, have lost my mindfulness; do not let the stream of your compassion be severed!
Thus, exhorted by these songs of suchness, the Blessed One arose like one awakening from a dream. From the melting into nectar, the form of the moon appeared. Upon that, the two seed-syllables transformed into the hand-symbols, marked by Hūṃ and Aṃ. Then, these merged into a single solar maṇḍala. From the form of Aṃ, Nairātmyā entered into union, and from Hūṃ arose the Blessed One, the resultant Hevajra himself. He sits with one leg extended and one tucked in. He is wrathful, threatening the gods and asuras. His head is adorned with five skulls. He resembles a youth of sixteen years. With four feet, he tramples the four Māras. He wears a garland of fifty fresh heads. His crown is pressed down by a black crossed-vajra. Blazing like the light of the sun, he proclaims the sound of Hūṃ from his mouth. His body is smeared with ashes. He has eight faces: the central face is great and black; the right is white, and the next two to the right are black; the left is red, and the next two to the left are black; the upper face is the color of a bee.
Baring his fangs, each face possesses three red eyes, with the fangs slightly bared. He abides in the manner of the nine dramatic sentiments: the graceful, the heroic, the fierce, the wrathful, the laughing, the terrifying, the compassionate, the awesome, and the peaceful. His yellow hair is curled upward, and he is adorned with the six mudrās. He stands in the dancing posture of half-lotus upon a solar maṇḍala. He has sixteen arms; in the eight right hands are an elephant, a horse, a donkey, an ox, a camel, a human, a lion, and a cat—these eight skull-cups containing the elephant and the others in their respective order. One should visualize the earth, water, fire, wind, moon, sun, Yama, and the yakṣa in that manner.
Nairātmyā and the others have two legs and two arms, one face, and are black with three red, round eyes. They wear the five mudrās, are naked, and have yellow hair curled upward. Their heads are adorned with five skulls, and they wear a necklace of fifty dry heads. In their right hands they hold curved knives, and in their left hands skull-cups; they embrace the Blessed One with both arms. One should visualize them tasting the flavor of the Blessed One’s lower lip. Then, at the heart of the Blessed One is a lotus, upon which is a sun, and upon that, a blue HŪṂ. At the heart of Nairātmyā, upon a lotus, is a moon; in its center is a curved knife arising from the syllable A, with a moon upon its handle, and above that, one should visualize the syllable AṂ. At the hearts of the eight yoginīs, there are also lotuses.
Above that is a moon, and upon that is one’s own seed-syllable. From the transformation of that, the hand-symbol arises; upon that, one should again visualize the seed-syllable on a moon. These constitute the absorption of the Supreme King of Maṇḍalas.
Then, having fully accomplished the maṇḍala, those seed-syllables radiate outward, emanating to pervade the expanse of space. Having clarified them, light rays like iron hooks emanate from the seed-syllable at one’s own heart, summoning the wisdom wheel. Abiding in the sky of the eastern direction, the eight faces expel obstructors with the syllable HŪṂ. Having offered the water for the feet and so forth, and having again made offerings and praises, one invokes with JAḤ HŪṂ BAṂ HOḤ. Then, in the proper sequence, Gaurī and the others perform the summoning, entering, binding, and pleasing. One should contemplate that the samaya wheel and the wisdom wheel become one, like water poured into water.
In the eyes is Mohavajrā; in the ears, Dveṣavajrā; in the nose, Mātsaryavajrā; in the mouth, Rāgavajrā; in the body, Īrṣyāvajrā; and in the mind, Nairātmyayoginī. There are also Gaurīvajrā, Kṛṣṇanairātmyā, Pītāntargaurī, Raktavajrāmbhasī, and Śyāmavajraḍākinī. Furthermore, the black one is Nairātmyā. These are the four names beginning with Vajrā. Mohavajrā and the others arise from their respective seed-syllables and purify the sense faculties through their armor.
Then, from the syllables OṂ ĀḤ HŪṂ, the three—body, speech, and mind—are purified as Khecarī, Khecarī, and [the third].
They arise from the three families of Nairātmyā. One should visualize them as having two arms, holding a curved knife and a skull-cup, with three eyes and one face, standing upon a corpse and treading upon a moon. Light rays radiate from the seed syllables at their respective hearts, inviting the Buddhas who then abide in the sky. The eight goddesses make perfect offerings and offer a supplication: "I pray that all the Tathāgatas grant me empowerment." Then, those Buddhas, in the form of Heruka and possessing the nature of the five Tathāgatas, fill a vase with the five nectars and confer the empowerment, saying: "Just as all appearances, as soon as they arise, are purified by water, so too the Tathāgatas perform the empowerment, conferring it with the water of excellent purity." Following the empowerment, a rain of flowers and saffron falls and the sound of drums resounds. By virtue of the empowerment, the crown of each is marked by the lord of their respective family. In this regard, the Blessed One’s head is adorned by Akṣobhya. Thus, Akṣobhya, Vairocana, Ratnasambhava, and Amitābha adorn the heads of Gaurī and the other four, representing hatred, delusion, avarice, and desire. These are the very mudrās of Pukkasī and the others. One recites the mantra: oṃ sarvatathāgatābhiṣekavajrasvabhāvātmako ’haṃ. Then, from a black yaṃ, the wind mandala arises.
Above that, from a red RAṂ, arises a red maṇḍala of fire. Above that are three skull cups. Above those, from a red Ā, arises a skull cup, white on the outside and red on the inside. Inside it, from an Ā, arises a moon maṇḍala. Above that are BHRŪṂ, ĀṂ, JRĪṂ, KHAṂ, and HŪṂ, the nature of the Buddhas of the five families, representing the five nectars and the five meats: KUN, GU, GU, DA, HA, NA. Above that, from the syllable OṂ, arises the essence of the lid, and from an Ā, a moon maṇḍala. Above that, from a HŪṂ, one should visualize a five-pronged vajra marked at its hub with a HŪṂ.
Light rays radiating from the HŪṂ stir the wind-banner, causing the moon and the vajra to melt. The vajra residing within the skull cup also blazes five times, churning all the nectars so that they blaze and melt into that very place, falling therein. The three syllables OṂ ĀḤ HŪṂ draw in the nectars of the three realms, and by dissolving into them, they are blessed by the three syllables and become one. One should meditate that the deities and goddesses of the maṇḍala have vajras the size of a barley grain with hollow tubes arising from their tongues from the HŪṂ. These are the extraction of the essence of the vajra; then, one should imagine that the Blessed One and the others partake of it. Then, as appropriate, it is offered to Nairātmyā and the others. By reciting the mantra OṂ SARVA-TATHĀGATA-AMṚTA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ, all the deities of the maṇḍala are pleased. Light radiates from the seed syllable at one’s own heart, [emanating] Rūpavajrā, Rasavajrā, and Sparśavajrā.
These are Dharmadhātuvajrā, the Mirror, the Lute, the Conch, the Musical Instrument, and Sparśavajrā holding various garments. They hold the source of phenomena (dharmodaya) in their hands. These and others constitute the maṇḍala of various requisites and the offering to oneself. Reciting: oṃ sarvatathāgatapūjāvajrasvabhāvātmako ’haṃ. Then, with Locanā, Māmakī, Pāṇḍaravāsinī, and Tārā, the four, they praise the wheel:
"You are surrounded by a host of yoginīs. You are the accomplishment of the blessing of your own mind. You have mastery over the moving and non-moving world. With the mind of your mind, you liberate sentient beings. You exert yourself without turning back from the inconceivable. Be pleased, glorious Hevajra!"
Thus the yoginīs praise with the vajra song. Recite: oṃ sarvatathāgatastutivajrasvabhāvātmako ’haṃ. The purity of the palace is Vairocana; this is the first limb. The purity of passion is Vajrasattva; this is the second. The purity of empowerment is Akṣobhya; this is the third. The purity of the nature of tasting nectar (amṛta) is Amitābha; this is the fourth. The purity of offering is Amoghasiddhi; this is the fifth. The purity of praise is Ratnasambhava; this is the sixth. By meditating on the six-limbed wheel in this way, one will swiftly attain accomplishment.
By meditating in that way, the signs of accomplishment appear first like the crescent moon obscured by clouds. As one becomes even more familiar with it, they appear like an illusion. Through further familiarity, they appear like a dream. Through extreme familiarity, they appear like the state of being awake after the maturation of sleep. Then, the eight yoginīs, such as Gaurī and the rest, and the principal deity of the maṇḍala, are emanated continuously in the ten directions. Having manifested in the forms of various beings to be trained, such as sentient beings, they perform the welfare of sentient beings. Having performed the purpose of training each according to their needs, they subsequently reabsorb and one should view them as the maṇḍala of great bliss. This is the sequence of the dharma-mudrā. In that way, one should contemplate all the three realms as the form of the maṇḍala.
Knowing that they have emanated from the bodhicitta born of the great bliss of the single taste of method and insight, the eight goddesses, such as Gaurī and the rest, dissolve into one’s own face. Following that, the seven faces dissolve into the root face. Likewise, the fourteen arms, together with the hand implements, dissolve into the two root hands. Likewise, one should contemplate the two legs dissolving into the root legs. In that way, one sees all the three realms, which are the nature of method and insight, become one. Just as the four abodes are sealed by the four cakras, the emanation cakra is situated below the navel, with sixty-four multicolored lotus petals.
At its center is the black seed-syllable OṂ, possessing yellow light and facing upward. At the heart is the white dharma-cakra with eight petals; in its center is a blue form of HŪṂ facing downward, and on its eight petals, one should place BHŪṂ, ĀṂ, JRĪṂ, and KHAṂ in the four cardinal directions. At the throat is the red saṃbhoga-cakra with sixteen lotus petals; in its center is a red form of OṂ facing upward, surrounded by the four syllables OṂ, LAṂ, AṂ, and VAṂ. At the crown is the mahāsukha-cakra, a white lotus with thirty-two petals facing downward; in its center, one should clearly visualize a white form of HAṂ from which nectar flows. Having meditated perfectly upon the cakras, one should emanate masses of light rays that pervade the sky and then cause them to be reabsorbed back into that very place. At such a time, the yogi should recite the mantra in this manner, definitely reciting the mantra syllables. Rays of light, accompanied by [the mantra], emanate from the mouth of the goddess and enter the mouth of the principal deity. Emerging from the vajra path, they enter the lotus; then again from the mouth of the goddess, they enter the mouth of the principal deity. In that sequence, one should recite continuously. According to the distinctions of activities such as pacifying and so forth, one should perform white activities. The mantra for that is: OṂ AṢṬĀNANĀYA PIṄGORŪDHAKESAVARTMANI CATURVIṂŚATINETRĀYA ṢOḌAŚABHŪJĀYA KṚṢṆAJĪMŪTAVAPUṢE KAPĀLAMĀLĀNEKĪDHĀRIṆE ADHŌMUKHAKRŪRACITTĀYA ARDHENDUDAṂṢṬRIṆE OṂ MĀRAYA MĀRAYA KĀRAYA KĀRAYA GARJJAYA GARJJAYA.
*TARJJAYA TARJJAYA | SHOṢAYA SHOṢAYA | SAPTA SĀGARĀN BANDHA BANDHA | NĀGĀṢṬAKĀN | GṚHṆA GṚHṆA | ŚATRŪN | HA HĀ HI HĪ HU HŪ HE HAI HO HAU HAṂ HAḤ PHAṬ SVĀHĀ | This is the root mantra of the Blessed One. OṂ DEVAVICU VAJRA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ | This is the heart mantra. OṂ VAJRAKARTĀRI HEVAJRAYA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ | This is the near-heart mantra. Then, the Nairātmyā, together with the seed-syllable AṂ and the moon, melts and dissolves into the seed-syllable in the heart of the Blessed One. Then, from the emanated seed-syllable, the inner heat (caṇḍālī) is ignited like a blazing lamp; because it is fierce, it is the form of the fierce one. By that, the five Tathāgatas residing in the dharma-cakra are burned, and Locanā and the others are also burned. The HaṂ, which is the form of wisdom residing in the center of the enjoyment-cakra and the great bliss-cakra, which possesses the vowels and consonants, is burned. Having burned it, one holds the bodhicitta, the form of indestructible great bliss; becoming of one taste with the Blessed One, one returns again, and holding the sun and the skull-cup, one should imagine it dissolving into the seed-syllable at the heart. Then, the seed-syllable itself remains as a single entity, the mere luminosity of the nature of the five families. As it is said in the scripture: "Vajrasattva is the bindu; Akṣobhya is also that very thing. The crescent moon is Vairocana; one's own [dot] is Ratnasambhava. Ha is Amitābha."
U is Amoghasiddhi; having known these as the five buddhas, it is said. Then, from the nāda, light like that of a red woman radiates and dissolves into the deity, the form of the nature of envy, the syllable U. Then, Ha, the nature of desire, the form of avarice, dissolves into the crescent moon. Then, the form of delusion dissolves into the drop (bindu). Half of the drop, the form of hatred, dissolves into the drop. That drop dissolves into the mere form of the dharmadhātu. In that way, all phenomena are non-dual, and as the great bliss that abides nowhere—neither eternal, nor annihilated, nor in between—it remains as the mere nāda. Thus, the definition of Mahāmudrā has been explained.
It is as follows: "A is the supreme of all syllables; arising from within, it is unborn. It is beyond verbal expression; it is the great meaning, the sacred syllable." Furthermore, it is said: "Oṃ akāro mukhaṃ sarvadharmāṇām ādyanutpannatvāt." And from the Māyājāla Pañcalakṣa Tantra: "Phenomena are unborn, syllables are without location; they are beyond verbal expression and are not objects of the mind. Thus, the phenomena that have arisen are thoroughly taught. In that way, phenomena are unborn."
Then, by the power of previous paths and in accordance with how the minds of various sentient beings are to be tamed, the sambhogakāya and nirmāṇakāya are emanated from the dharmakāya to act for the benefit of all sentient beings without exception. Furthermore, from the scriptures: "From that empowerment of Mahāmudrā, the great bliss as it is known..."
By the power of that, it is as follows: "The maṇḍala there is not other; just as with illusions and dreams, just as with a city of gandharvas, so too the maṇḍala is vividly clear. Once one has become habituated, it is seen in that way." Thus it was said. In that manner, having understood that all the three realms are the nature of the maṇḍala—arisen from dependent origination like the moon in water—the yogi, free from doubt, does not block the doors of the senses and does not rely on anything, but practices blissfully with the divine pride exactly as it is.
Regarding this, the venerable Nāgārjuna said:
"This is not the three realms, but the celestial palace;
It is not a living being, but the principal of the Victor’s wheel.
It is not objects, not senses, and not the elements and so forth;
It is not form and so on, but the nature of dharmatā.
Then, the maṇḍala deities are also this.
Knowing the various maṇḍala wheels, why would one be deluded?"
This is the explanation of the samaya-mudrā. Therefore, all pure recollections are the purity that abandons all obstacles, such as the vajra fence and so forth. Because all phenomena are pure like space, it is the source of phenomena (dharmodaya). Because phenomena are pure and unstained, it is the variegated lotus. Because all phenomena are without intrinsic nature, the purity of the five non-dual wisdoms is the variegated vajra. Because Vairocana together with his consort is pure, it is the celestial palace. Because the eight collections of consciousness are pure, the various phenomena are indivisible.
Because the Tathāgata and suchness abide without intrinsic nature, the four corners are equal. The purity of the four applications of mindfulness is the eastern gate. The purity of the four correct abandonments is the southern gate. The purity of the four bases of supernatural power is the western gate. The purity of the five faculties is the northern gate. The purity of the four concentrations is the four archways. The purity of the four absorptions is the four friezes. The purity of acceptance regarding the profound Dharma is the sixteen goddesses. The purity of the nine branches of the excellent speech is the bells, banners, and so forth. The purity of the seven branches of awakening is the lattices, half-lattices, suns, and moons. The purity of the ten white yak-tail whisks is the holding of virtue through compassion and the accumulations of merit and wisdom. The purity of the supreme excellence is the eight vases. The purity of the vajra path of all Buddhas and bodhisattvas, unbound in every way, is the black vajra garland. The purity of form and so forth is the infinite and incomparable five sensory qualities. The purity of the expanse of phenomena is the five types of offerings. The purity of a sense of shame and dread of blame is the silk streamers of the gates. The purity of the eightfold noble path is the eight pillars. The purity of all phenomena being without mind is the adornment of the eight charnel grounds.
The complete purity of great desire is the eight-petaled red lotus. At its center, the complete purity of uprooting the suchness of non-dual nature is the seat of the four, Brahmā and the others. To clear away the sinking of all sentient beings into the mire of non-virtue through the darkness of ignorance as they wander in their mental continuums, the complete purity of generating the sprout of bodhicitta is the solar maṇḍala atop Brahmā and the others. The complete purity of the eight worldly dharmas as they are explained is the seats of the deities residing in the eight directions. The complete purity of pacifying the fire of the afflictions of sentient beings is the moon seat. The complete purity of the aggregate of form, great delusion, mirror-like wisdom, form, the perfection of generosity, the view of the transitory collection, and the obscuration of the knowable is Rohitā. The complete purity of the six afflictions is the curved knife. The complete purity of the aggregate of feeling, pride, divisive speech, the wisdom of equality, discipline, the view of grasping at extremes, the obscuration of afflictions, and the complete purity of stains is Caurī. The complete purity of the nine limbs is the small drum. The complete purity of delusion is the pig. The complete purity of the aggregate of perception, great desire, discerning wisdom, wrong view, the obscuration of birth, acceptance, and the complete purity of impurities is Vetālī. The complete purity of envy is the tortoise. The complete purity of emptiness is the skull cup.
The aggregate of formations, envy, the wisdom of accomplishment, the view of holding views as supreme, the obscuration of karma, the perfection of concentration, and the purity of taste are Ghasmarī. The purity of hatred is the snake. The purity of the application of desire is camphor. The earth element, the door of liberation of emptiness, great loving-kindness, and the purity of the perfection of skillful means are Pukkasī. The purity of pride is the lion. The purity of body, speech, and mind is the battle-axe. The water element, the door of liberation of signlessness, great compassion, and the purity of the perfection of aspiration are Śavarī. The purity of bodhicitta is the monk. The purity of unforgetting mindfulness is the censer. The fire element, the door of liberation of wishlessness, great joy, and the purity of the perfection of power are Caṇḍālī. Because it shatters the armor of the afflictions, it is the skull-cup. Because it cuts through ignorance, it is the wheel. The wind element, the door of liberation of the unconditioned, great equanimity, and the purity of the perfection of wisdom are Ḍombinī. Because it is the purity of wisdom, it is the vajra. Because it is the purity of the essence of the single host of Māras, it is the threatening gesture. The aggregate of consciousness, and...
The purification of great hatred, the discipline and ascetic conduct of the wisdom of the dharmadhātu, the perfection of diligence, and the purity of tactile sensation are the glorious Heruka. The purity of the mind of loving-kindness is the black body. The purity of compassion is the red eyes. The purity of Akṣobhya and the purity of body, speech, and mind are the red [color]. The purity of the eight liberations is the eight faces. Among those, the purity of power is the red lotus on the left. The purity of peace is the white [face] on the right. The purity of Akṣobhya, Amitābha, Ratnasambhava, Vairocana, and Amoghasiddhi are the wheel, the earrings, the necklace, the armlets, and the belt. The purity of Vajrasattva is the smearing with ashes. The wrathful [aspect] is for the sake of taming those disciples who are difficult to tame. The inward smile is the tawny hair bristling upward. The realization of the lack of intrinsic nature is the crossed vajra on the crown. Belonging to the five families are the five skulls on the forehead. The sixteen emptinesses are the hands. Method and insight are the skulls of the gods and so forth in the left and right [hands]. Cough, asthma, indigestion, blood disorders, leprosy, smallpox, liver disease, and spleen disease are the purities of the elephant and so forth. This is for the sake of clearing away the coughs and other diseases of all sentient beings.
The eight pure elements, such as earth and so forth, are for the sake of accomplishing all sovereign powers. The pure vowels and consonants are the garland of fifty skulls. The pure four means of gathering are the feet. The pure seven branches of awakening are the skin. The pure four truths are the bones. Flesh is Pukkasī; blood is Śavarī; semen is Caṇḍālī; and the Ḍombī is the marrow and fat. Form, feeling, perception, and formations are the four [consorts] beginning with Gaurī. The pure emanation, enjoyment, and dharma bodies are the three bodies. The pure body of great bliss is the internal mindfulness. The pure non-apprehension of the three realms without exception is the half-lotus posture. The purity of all sides of the door is the big toe of one foot touching the sun. The pure non-existence of all phenomena, the nature of the perfection of insight, and the purification of the faults of self and non-self are the curved knife. The conceptualizations of existence and non-existence are the skull-cup vessel on the head. The purification of the blood of the four Māras is the skull-cup filled with blood. The purity of the five families is the garland of skulls. The essence of existence and nirvāṇa is the hand. The purity of the two truths is the two feet.
The nature of the inseparability of emptiness and compassion is the complete realization and experience of the ultimate tenets, which is definitively taught as the external union of method and insight. The purification of day and night is the purity of method and insight. The purification of the sixty-four dru-gu (units of time), the eight sessions, the sixteen transits, and the thirty-two channels is the logical [order]. Regarding the petals of the four wheels, such as the nirmāṇa-cakra and so forth, the yogi of the Hevajra-samaya who holds the vajra and the curved knife should consecrate the torma for the benefit of all sentient beings.
In that regard, within the triangular source of phenomena (dharmodaya), one should visualize a red eight-petaled lotus adorned [with deities] in the center, above, and below. On the eight petals of the central lotus: on the eastern petal is Indra, the thousand-eyed one, holding a vajra and seated upon a white elephant throne. In the south is Yama, holding a staff and seated upon a black buffalo throne. On the western petal is Varuṇa, white, seated upon a makara throne and holding a noose. On the northern petal is the yellow Yakṣa, seated upon a cat throne and holding a śrīphala fruit. All of them wear jeweled crowns. Yama has a sun throne and sun-like radiance; the remaining [deities] have moon thrones and moon-like radiance. On the petal of Īśāna is the three-eyed Lord of the Earth, with matted hair and a crown, seated upon a bull throne and holding a white trident in his hand.
He wears a garment of tiger skin, is smeared with the dust of ashes, and is adorned with bone ornaments. He is seated upon a moon disc and its light. On the fire petal is the fire god, with a protruding belly, deep orange in color, riding a goat, holding a rosary and a water flask, and wearing a crown of matted locks. He is seated upon a sun disc and its light, and is clad in dharma robes. On the petal of the Nairṛta direction is a rākṣasa with orange-red hair curling upward, holding a curved knife and a skull cup. He is black with arched eyebrows, possesses the light of the sun, and is seated upon its disc. On the wind petal is the wind god, holding a banner, green in color, wearing a jewel crown, and riding a deer. He has the light of the moon and is seated upon its disc. He wears all ornaments. At the center is the earth god, yellow, seated upon an auspicious throne, adorned with all ornaments, holding a vase in his hand, and possessing the light of the moon while seated upon a moon disc. He dwells surrounded by pretas. On the eight petals situated within the upper source of phenomena (dharmodaya), on the eastern petal is the white moon, seated upon a white horse, wearing a jewel crown, holding a kumuda lily in his hand, adorned with all ornaments, and possessing the light of the moon while seated upon a moon disc. On the southern petal is the red sun, four-armed and holding a lotus, riding a green horse, wearing a jewel crown, adorned with all ornaments, and possessing his own light. He symbolizes the full moon and sun, as well as the planets and non-planets: Mars, Mercury, Jupiter, Venus, Saturn, and the red and dark-blue Rāhu.
Yellow, white, black, and smoke-colored light. Each is upon its own seat, with its own insignia and ornaments. In the central hub is Brahmā, four-faced and four-armed, holding three staffs. In the hand of fearlessness, he holds a rosary and a water-pot. He is yellow, mounted upon a swan, with a moon seat and moonlight. He wears a sacred thread, has a stout body, and short matted hair. He is surrounded by the Brahmakāyika gods. In front of him are the Purohitas, Tuṣita, Nirmāṇarati, Akaniṣṭha, and so forth; their respective forms should be stabilized.
Below, upon the eight petals of the lotus situated within the source of phenomena (dharmodaya), in the cardinal and intermediate directions, are the following in order: the green Śaṅkhapāla, the yellow Karkoṭaka, the yellow Ananta, the red Vāsuki, the yellow Takṣaka and Kulika, the yellow Padma, and the white Mahāpadma. These eight wear jeweled crowns, have human faces, are adorned with all ornaments, and possess hoods. They are together with the asuras and hell beings. In the center is a white deity with a human skull and a human hood. All of these are upon the three lotuses. Having summoned them with Gaurī arising from the seed syllable at one's own heart, one places them upon the lotus with Caurī, binds them with iron chains by Vetālī, and brings them under control with Ghasmarī using a bell. Those residing upon the central lotus are of their respective colors, with their respective signs and insignia.
The shapes having completely transformed, they arise from the seed syllables and are crowned by black Akṣobhya. Those situated above assume their respective forms and the nature of form, arising from the syllable Oṃ and being crowned by white Vairocana. Those situated below abandon their respective forms and arise from the syllable Āḥ, being red and crowned by Amitābha. Those residing upon the three lotuses hold a vajra and a bell in their hands; they have one face and are embraced by the limbs of their self-manifesting consorts. One should visualize them standing upon their seats with the right leg extended.
These are to be presented as follows: having offered the water for the face (argha) with the mudrā into the conch bowl in front of them using the mantra Oṃ pravarasatkāra arghaṃ pratīccha svāhā, one should, as before, accomplish the offering cake (bali) as nectar itself through the ritual of tasting nectar. Then, with the mantra Oṃ inda jama jala jakka bhūta vaṇi vā u rakka canda sujja māda vabba tāla vātāle aṇḍa sappha svāhā, one should praise them and ring the bell.
That offering cake is drawn in by the tube of light rays from the vajra-tongue, which is the size of a grain of barley and arises from the syllable Hūṃ. The yogin should eat it and also give it to them to eat. One should also imagine that they draw it in by the tube of the light-ray tongue from the syllable Hūṃ, and then experience bliss accordingly. [Recite:] Idaṃ baliṃ bhuñja jiṃgha phulla dhūpa māṃsa piṅga...
Regarding the phrase ambhaspapakajja sāda khanti khuni pheḍagāda, one should ring the bells at the four gates and the four locations. With the mantra oṃ akāro mukhaṃ sarvadharmāṇām ādyanutpannatvāt oṃ āḥ hūṃ phaṭ svāhā, one should satisfy [the guests].
With the vajra song: kollā iriṭṭhi apolā | mummuṇire kakkolā | ghaṇekṛviṭaho vajje | karuṇeki a aṇarolā | tahi baṃlakhājjai | gāḍheṃ ma enā pijjai | hale kālijja pāṇi a i | dunduravijji a i | ca usamaka cchūrī | sihlā kapuralā i a i | māla indhaṇa sāliṃ ja | tahi bharukhā i a i | phreṃ khaṇa khaṭakariṃta śuddha | aśuddha numuṇi a i | niraṃśuaṃge caḍāvi | tahiṃ jasara pāpāṇi a i | mala aje kunduru baṭā i | ḍiṇḍimi tahiṃ ṇāvajji a i, one should fully complete all the branches of the vajra song.
Afterwards, having offered the prokṣaṇa (sprinkling) and ācamana (sipping water), one should say: oṃ vajrasattva samaya manupālaya | vajrasattva tvenopatiṣṭha dṛḍho me bhava | supoṣyo me bhava | anurakto me bhava | sarvasiddhiṃ me prayaccha | sarvakarmasu ca me cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ | bhagavān sarvatathāgata vajrāmā me muñca vajrībhava | mahāsamayasattva āḥ. Having said this, one should request them to depart with oṃ muḥ. Following that, other things to be consumed and so forth should also be eaten according to this ritual procedure.
Upon the hearth of the belly, the substances to be consumed and so forth are melted in the fire of the sun at the heart. The yogi, in the form of Heruka together with his retinue—the nature of the three bodies—should perform the homa offering with the hand-spoon. Using a vajra-tongue marked by a white HŪṂ and a vajra the size of a grain of rice, the yogi offers the ladle and spoon. All these enter through the gateway of the throat and are ripened by the fire of the belly, becoming amṛta. By that amṛta, the Blessed One and his retinue are thoroughly satisfied. This is the ritual of the inner homa.
To whom this complete purity, purified by the Victorious Ones, is always manifest; who have abandoned the tens of millions of conceptualizations that enumerate others as being primordially without arising or ceasing; who have abandoned truth and falsehood, and are certain in the non-dual way where clarity, existence, and peace are equal—may the qualities of the King, the nature of that wheel, be the foundation.
This very extensive sādhana of the glorious Heruka, the Vajraḍāka, the Lord of Sages, was composed for the sake of the glorious goddess Ratnadevī. Having pledged to explain this as a treasury of complete purity composed through the stages of the branches, may the merit I have gathered by this composition certainly dispel suffering, and may the beings of the three worlds swiftly proceed to the state of Mahāmudrā.
By whatever root of virtue I have obtained through composing this sādhana, may all sentient beings of the three realms attain the three bodies of the Sugatas.