Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a comprehensive ritual manual for the practice of Hevajra yoga, aimed at achieving the state of a Buddha-guru. The text guides the practitioner through a sequence of meditative visualizations and ritual actions, beginning with the establishment of non-conceptual bliss and the purification of habitual tendencies. It commits the reader to a rigorous process of internalizing the deity's form, which involves visualizing a complex celestial palace, the central deity Hevajra in union with Nairātmyā, and a surrounding assembly of yoginīs and Dhyani Buddhas. The practice integrates the visualization of subtle body energetics—specifically the four wheels and five-colored light rays—with the recitation of mantras and the making of non-conceptual offerings. By dissolving the distinction between the practitioner and the deity, the text seeks to transform ordinary consciousness into the mirror-like wisdom of the primordial seed-syllable, ultimately facilitating the attainment of the fruit of enlightenment through the union of emptiness and great bliss.
Provenance
About this text
A ritual manual for the practice of Hevajra yoga, the Hevajrasādhana (Tibetan: dgyes pa'i rdo rje'i sgrub pa'i thabs) originates from the Indian tradition and is attributed to the author Anaṅgavajra. The work was translated into classical Tibetan by Samantabhadra and Tsültrim Gyalwa. It is preserved in the Tengyur, volume ཏ, where it comprises 17 pages and is situated within the Non-dual Tantra collection. The text enacts a sequence of meditative visualizations and ritual actions designed to achieve the state of a Buddha-guru. It guides the practitioner through the establishment of non-conceptual bliss and the purification of habitual tendencies, requiring the internalization of the deity's form. This process involves visualizing a celestial palace, the central deity Hevajra in union with Nairātmyā, and an assembly of yoginīs and Dhyani Buddhas. Furthermore, the practice integrates the visualization of subtle body energetics—specifically the four wheels and five-colored light rays—with mantra recitation and non-conceptual offerings. A scholar or serious reader consults this work today to examine how the dissolution of the distinction between practitioner and deity is used to transform ordinary consciousness.
The work is significant as it exemplifies the complex iconographic and somatic systems of Anuttarayoga Tantra, specifically the Hevajra tradition. It demonstrates the integration of deity yoga with subtle body physiology and the philosophical commitment to the non-duality of bliss and emptiness.
Structure
Passages
Section
Description
1-6
Preliminary Meditations and Purifications
Initial focus on non-conceptual bliss, the establishment of the sun maṇḍala, confession of misdeeds, and the cultivation of great love for sentient beings.
7-13
Visualization of the Maṇḍala and Deities
Construction of the celestial palace and the detailed visualization of Hevajra and Nairātmyā, including their physical attributes, implements, and the surrounding assembly of goddesses.
14-15
Somatic and Energetic Practices
Meditation on the four wheels (emanation, dharma, enjoyment, and great bliss) and the placement of the five Dhyani Buddhas on the thighs.
16-19
Ritual Offerings and Invocation
Detailed visualization of the gate goddesses, the invitation of the wisdom maṇḍala, and the performance of non-conceptual offerings.
20-23
Dissolution and Advanced Forms
The process of dissolving the visualization into the primordial seed-syllable and instructions for meditating on alternative forms of the deity.
Themes
Non-conceptuality and Emptiness (1, 5, 18, 22)
Deity Yoga and Visualization (2, 9, 11, 12, 16)
Subtle Body Energetics (14, 15, 20)
Ritual Offering and Mantra (6, 17, 18, 23)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Hevajrasādhanam. In the language of Tibet: dGyes pa'i rdo rje'i sgrub pa'i thabs (The Sādhana of the Glorious Hevajra). Homage to Mañjuśrī Kumārabhūta.
The glorious Hevajra, the single non-conceptual body of the supreme state of bliss; the nature of all things, both stable and moving, without exception, arising from merit and wisdom; the lord of the maṇḍala of ḍākinīs, whose stains are cleared away and who is expanded by all joys—to him, bowing with all things, I shall explain his sādhana, clear and extensive.
The scriptural systems of the sublime guru are extremely difficult to find; having heard them, I bow at his lotus feet and [compose this] also for the sake of my own recollection.
Thus, having become weary of the great and terrifying abyss of saṃsāra, which is so fierce and difficult to cross, one should look upon the realm of sentient beings and, with a mind imbued with the flavor of supreme compassion, possess the means to liberate those wandering in the ocean of saṃsāra. Having abandoned faults such as disparaging the guru, and possessing qualities such as generosity, one should be a yogi who has conquered the senses, who has been taught the samayas of the five nectars and so forth, and who has received empowerment and the authentic authorization in the maṇḍala spoken of in the glorious Hevajra.
In a certain place agreeable to the mind, such as a charnel ground, having purified a portion of the earth with the excellence of the sun, moon, water, fragrance, and medicinal herbs, and having risen at dawn, one should first meditate on the corpse, the nature of the dharmadhātu.
Having established that in the heart, one should meditate on the supreme state. Sitting in the vajra posture and binding the hands with the concentration mudrā, one should meditate on a line at one’s own heart. From that, a sun maṇḍala arises; therein, from the syllable HŪṂ, there is the very nature of insight and method, black in color and most terrifying, the vajra arisen from HŪṂ. Abiding in the center of the vajra’s hub, one should correctly meditate on the reality of HŪṂ. Beholding the transformation of the syllable HŪṂ, one should meditate on the self-nature of hatred. The great black one born from the vajra, with a complexion like a blue lotus, is the form of one’s own deity; according to the pith instructions, there are three aspects. Among these three, the yogi should meditate according to their inclination. The single hero of great luster should be meditated upon through faith alone.
Then, having placed the innate seed-syllable upon the sun at the heart, one should behold the Blessed One—the form to be meditated upon—along with his retinue, invited by its light into the space in front. From the seed-syllable at the heart, the eight goddesses, Gaurī and the rest, emerge like the stainless autumn sky, holding various types of offerings in their hands. Beneath the graceful [deity], they perform the outer offerings in sequence with their various distinctions. Among them, Gaurī holds the sign of a deer; Caurī is the sun; Vetālī is water; Ghasmarī is strength; Pukkasī is fragrance; and Śavarī is taste.
Caṇḍālī is the sixth small drum. Ḍombinī demonstrates the manner of embracing. Then, in the presence of the Blessed One himself, one should perform the confession of misdeeds and so forth, which are produced by the habitual tendencies of beginningless time. I shall confess all misdeeds: those I have committed, those I have caused others to commit, and those I have rejoiced in. I rejoice in all the roots of virtue of all the Buddhas and Bodhisattvas, as well as those of ordinary beings, without exception. Whatever roots of virtue I have performed, even in the slightest degree, I shall dedicate them all toward unsurpassed, perfectly complete awakening. Thus, until I reach the seat of awakening, I take refuge in the Buddha, the Vajra, who is the nature of all things, characterized by great bliss and the aspect of joy. I take refuge in the Dharma, which is the nature of the generation and completion stages taught by him. I take refuge in the Saṅgha, the assembly of ḍākinīs dwelling in his mandala. Thinking, "Having become the essence of Heruka, I shall provide these sentient beings submerged in the waters of the ocean of saṃsāra with the boat of the teachings of the Vajrayāna, and by means of the perfect grasp, I shall establish them in the nature of the supreme joy that is like an illusion and non-dual," one should generate the mind of awakening.
Regarding the practice of the unsurpassed Hevajra yoga for the sake of accomplishing the state of a Buddha-guru, one should think: "I shall rely upon this supreme method, for there is no other second to it." Then, one should meditate on great love, characterized by affection for all sentient beings as if they were an only child; great compassion, characterized by the desire to protect them from suffering and the causes of suffering; great joy, characterized by the engagement of great delight toward all sentient beings; and equanimity, characterized by impartiality toward all conceptual objects.
Then, one should reflect: "All phenomena are merely conceptual constructs of the mind." These various appearances that manifest as the objects of mental apprehension are the delusion of the mind itself; just as one is deluded by grief and so forth, there is no apprehended object existing apart from the mind. Since there is no apprehended object, the apprehending mind also does not exist. Therefore, one should realize that these diverse appearances are the nature of the mind. Having demonstrated this very point, one should recite the mantra that condenses the heart essence of the suchness of all things without exception, and thereby dismantle ordinary appearances: oṃ śūnyatā-jñāna-vajra-svabhāv-ātmako ’haṃ. Then, one should directly realize the meaning of the mantra.
One should view all beings as being without intrinsic nature, like objects perceived in a dream, characterized by the absence of all conceptual forms, like the center of an autumn sky free from stains. This very state is the Blessed One, the Lady Nairātmyā.
In accordance with the concordant cause of my aspirations and recollections, I shall meditate on the nature of the pure worldly maṇḍala of the condensed wheel. In front, upon a seat of a multicolored lotus, one should visualize the syllable HŪṂ arising from the syllable RAṂ upon a sun maṇḍala. From that arises a multicolored vajra, black in color, terrifying, five-colored, and three-pointed. In its center, upon that sun, one should place the syllable HŪṂ.
From that arises the wrathful deity, with a lower trident, as difficult to endure as the fire at the end of an aeon. With the threatening gesture (tarjanī) and the left fist at the heart, he threatens the maṇḍala of Māra. In his right hand he holds a blazing vajra; his face is filled with the syllable HŪṂ. The hero wears a tiger skin and is adorned with the five mudrās. Greatly fierce and black in color, he is terrifying and most fearsome. Wearing a garland of dripping heads, he emanates the terrifying Bhairava. His orange-red hair stands upright; his tongue flickers and he performs a dance. He is perfectly endowed with three eyes and slightly bared fangs.
In all directions and intermediate points, one should emanate hosts of wrathful deities. With this secret mantra, the yogi skilled in awareness should strike the boundaries with ritual daggers (kīla).
Recite "Oṃ rakṣa rakṣa hūṃ hūṃ hūṃ phaṭ svāhā" as many times as desired. Within that, the light rays of the sun and the crossed vajra (viśvavajra) become one, like the tips of the flames of the fire at the end of an eon, and radiate out to the cardinal and intermediate directions, thereby binding the boundary. One should visualize a vajra fence, a vajra canopy above, and below, from the total transformation of that, a ground of vajra nature extending down to the seventh underworld. In the center of that, from the total transformation of the syllable HŪṂ, arises the source of phenomena (dharmodaya). It has the appearance of the autumnal moon, is the essence of the Great Vajradhara, and from it emerges a mass of light rays of various great wonders. It is narrow at the bottom and wide at the top, triangular in shape, and within its empty interior rests a multi-colored lotus and a crossed vajra. At its center, one should visualize the four great elements as the essence of the four maṇḍalas, in the form of the four goddesses, Pukkasī and the others, stacked one above the other. First, from YAṂ arises a blue wind maṇḍala shaped like a half-moon, marked by two banners fluttering at its tips. From RAṂ arises a red triangular fire maṇḍala, narrow at its apex, marked by a garland of red light. Above that, from VAṂ arises a white circular water maṇḍala, marked by a vase. Above that, from LAṂ arises a yellow square earth maṇḍala, marked at its corners by three-pointed vajras.
Upon that, consciousness is to be examined as being like an illusion. At the hub of the crossed vajra, from the complete transformation of the four great elements, one should meditate on a celestial palace adorned with various jewels, the nature of the Great Vairocana, which is the purity of the thirty-seven factors of awakening in brief. It is a buddha-field, infinite and boundless, displaying the world-system as being like an illusion, and is completely surrounded by charnel grounds. It is four-cornered, beautified by eight pillars, and made beautiful by four door-surrounds. It is adorned with four archways, lattices and half-lattices, mirrors, flower garlands, canopies, and yak-tail whisks. It is decorated with vajra lines and beautified by the radiation of a host of buddhas. From the doors in the directions at the tips of the lovely, swaying banners, the sound of bells resounds. It is delightful, being perfectly arrayed with the five sensory qualities. In its center is a multicolored eight-petaled lotus with a filament. Likewise, in the cardinal and intermediate directions, upon the filaments of their respective seats, are Brahmā, Indra, Upendra, and Rudra; likewise Yama, Yakṣa, Nairṛti, and Vemacitrin; and extensively, Gaurī and the others. In the south, west, north, and in the center, the four Māras are to be placed in their respective forms and colors. In the hearts of all those Māras is a sun mandala.
The obstructing spirits, terrified, strive solely to seek refuge. In that regard, on the central petal, there is a moon maṇḍala in the nature of the mirror-like wisdom, which symbolizes the thirty-two marks of a great being, formed by doubling the vowels beginning with a in both forward and reverse order. Above that is a sun maṇḍala in the nature of the wisdom of equality, which symbolizes the eighty minor marks, formed by doubling the consonants beginning with ka—excluding kṣa—along with ḍha, ḍa, bha, ya, ra, la, and va, in both forward and reverse order. In the center of that are the seed syllables hūṃ and aṃ. From the complete transformation of these, one should visualize the essence of the two seed syllables situated upon one’s own seat as a crossed vajra, a curved knife, and a skull cup, in the nature of the discerning wisdom. From the light rays emanating from these, a host of supreme sages in the form of ḍākinīs gaze upon immeasurable world systems; having established the sentient beings belonging to those realms in the state of a perfectly awakened buddha, they return and merge into one, which is the nature of the all-accomplishing wisdom.
Then, the Blessed One, the Great Vajradhara, who is the complete transformation of the sun, moon, hand-symbols, and seed-syllables, is the causal basis characterized by the hands, faces, colors, and shapes that will be explained, and is fully accomplished from the atoms of the peerless assembly. One should meditate on such a Nairātmyā embracing his body, whose nature is the utterly pure dharmadhātu. Such are the five aspects of manifest awakening.
From the mass of light rays emerging from his heart, the entire assembly of Tathāgatas is brought to perfection in the form of Heruka; having been invited and absorbed, they melt. From the eight seed-syllables such as gaṃ and so forth, the ḍākinīs such as Gaurī and the rest are emanated and should be recollected. Then, in the sky, one should visualize the subtle maṇḍala of the gandharva-being, red in color and completely encircled by two garlands of red ho syllables. Having invited and absorbed it into the heart with light, one should arrange it in its proper place according to the guru’s oral instructions.
Then, the Vajra-holder, together with his consort, melts through great passion and becomes like a stainless autumn moon; having thus melted, one should abide in the culmination of great bliss. Then, the four goddesses such as Pukkasī and the rest approach in a most passionate manner and, sitting in their respective directions, awaken the mind of the Blessed One with vajra songs.
Arise, O heart of compassion, Pukkasī! Protect me! Abandon this very nature of emptiness and grant me the union of great bliss. If you do not remain, I shall perish; therefore, Hevajra, arise! Abandon this very nature of emptiness and grant the attainment of the fruit to Śavarī. Having invited me, the Lord of the World, as a guest, do you remain in emptiness? Not knowing the direction without you, Caṇḍālī, I offer this prayer. I know your heart; arise, O master of magical illusions! Ḍombī, I am naked; do not let your compassion be interrupted!
Thus it is said. Then, like waking from a dream, the two seed syllables arise from the contraction of the melted moon in the form of a song. From the complete transformation of those, the two hand-symbols arise. In their center, upon the sun and moon, are those very two seed syllables; they should be viewed as the nature of the wisdom of omniscience. From that, through the yoga of perfectly emanating and perfectly reabsorbing the Tathāgatas in the form of Ḍākinīs, one should infer that all of them depend upon the innate nature of the mind, which is like an illusion and like a dream. Then, from the complete transformation of the moon, sun, hand-symbols, and seed syllables, one should meditate on the form of Heruka in union with Nairātmyā.
His feet rest upon the ground, and he threatens the gods and asuras. His eyes are red, round, and rolling.
Wrathful and seductive, with matted locks, he has four feet, eight faces, and is adorned with sixteen arms. He tramples equally upon the four Māras: the aggregates, the afflictions, the Lord of Death, and the son of the gods. He performs the dance in the half-lotus posture, wearing a garland of fifty dripping heads. He dwells in a state of extreme terror and dread. At the crown of his head, he holds a crossed vajra, blazing with light like the fire at the end of an eon. From his mouths he proclaims the sound "HŪṂ," and his body is smeared with the dust of ashes. His central face and body are like the clouds at the end of an eon or like sapphire; his right and left faces have the color of the moon and the light of the sun, respectively. The upper face is smoke-colored, distorted, and like a bee; the remaining four faces are likewise. All faces have bared fangs and are beautified by three eyes. Above the forehead, he is adorned with five skull fragments. His eyebrows quiver, and his orange-red hair stands erect. Naked, he possesses the nine dramatic expressions and is fully adorned with the five mudrās: the wheel, earrings, necklace, bracelets, and belt. He is the very nature of consumption, asthma, insanity, consumption, leprosy, itching, dropsy, and scabies. In the eight skull-cups of his right hands, one should know the sequence of the elephant, horse, donkey, ox, camel, human, lion, and cat. In the eight skull-cups of his left hands are earth, water, fire, wind, the moon, the sun, Yama, and Kubera.
The goddess Nairātmyā is adorned with two arms. Her left hand is occupied with a skull-cup filled with the blood of the four Māras. In her right, she brandishes a curved knife that severs the afflictions. She is naked and black in color, embracing the neck of the Blessed One. Adorned with three eyes, she stands in the posture with the right leg extended. She is decorated with the five mudrās, and a garland of dry skulls beautifies her forehead. A garland of bloodless heads adorns the accomplished ḍākinīs.
Then, one should visualize the syllable HŪṂ on the sun disk residing in the lotus of the Blessed One’s heart. Then, one should visualize the syllable AṂ on the moon disk residing in the lotus of the Blessed Lady’s heart. From the seed-syllables A, Ā, I, Ī, U, and Ū, born from the moon disks at the hearts of the eye, ear, nose, tongue, body, and mind, as well as the life-force, there arise curved knives as signs. Through the complete transformation of the union of the moon and sun, one should meditate on the white, black, yellow, red, and green ḍākinīs, Vajrī and the others. Delusion, hatred, malice, desire, and envy are the nature of the ḍākinī Nairātmyā; one should meditate on her abiding in the dance of the half-maṇḍala, holding a curved knife and a skull-cup. These five ḍākinīs, Vajrī and the others, are in their respective order: form, feeling, perception, [and so forth].
One should contemplate the aggregates of formations and consciousness. Likewise, regarding delusion, hatred, pride, divisive speech, desire, envy, and objects such as form, there are Gaurī, Caurī, Vetālī, Ghasmarī, Bhūcarī, and Khecarī. Regarding earth, water, fire, wind, and space, there are Pukkasī, Śavarī, Caṇḍālī, and Ḍombinī. Regarding body, speech, and mind, upon the moon maṇḍala at the heart of the one who has gone to the sinful, there are the yoginīs Gaurī, Raudrī, Śyāmā, Bhūcarī, Khecarī, and Nairātmyā, who abide in their complete perfection just like Vajrā and the others.
Flesh is known as Pukkasī;
Blood is designated as Śavarī;
Caṇḍālī is taught to be the semen;
Ḍombī is the purity of marrow and fat—
These are the purities of the deities.
Now, other purities will be explained:
The skin is the seven branches of awakening;
The bones are the four truths of the noble ones.
The eyes are red with compassion;
The limbs are black with a mind of loving-kindness.
Through the four means of gathering,
One should remember the four legs.
The eight faces are the eight liberations;
The hands are the sixteen emptinesses.
The proportions are the five Buddhas;
He is the subduer of fierce and malicious ones.
The eyes are the three pure vajras;
Through the mind of reliance, accomplishment is attained.
Sixty-four, eighty-six...
The thirty-two-petaled lotus, the emanation, dharma, enjoyment, and great bliss wheels, should be meditated upon in sequence at the navel, heart, throat, and head. The five-colored light rays—white, black, red, and blue—are likewise [visualized]. With the syllables OṂ, HŪṂ, AṂ, and HAṂ as appropriate, facing upward and downward, they are presented in pairs through the purity of wisdom and method.
Then, by the mass of primordial light rays from the seed-syllable at one’s own heart, the assembly of supreme Victorious Ones dwelling in the three realms established from the beginning is invited and requested to remain in the sky. Having made perfect offerings with the distinctions of outer, inner, and secret offerings, one supplicates with: "OṂ ABHIṢIÑCATU MĀṂ SARVA TATHĀGATA." Those Tathāgatas, having assumed the form of Heruka, should confer empowerment by holding five vases—the nature of the five nectars and the nature of the five Tathāgatas—in their lotus hands. Immediately upon the conferral of empowerment, they are placed at the crown of the head as the lords of the enlightened mind. A rain of flowers and a rain of saffron will also fall, and the sound of drums will resound. Rūpavajrā and the others will also make offerings, and Buddhalocanā and the others will also offer praise.
Following that, by meditating on the conferral of empowerment through self-awareness abiding at the heart, one attains the eyes and so forth. For the purpose of further increasing the accumulations, one should be blessed by the five families. The sequence for this is as follows: the head, the heart, the navel, and the secret place.
On the thighs, one should meditate on the bodies of Vairocana, Akṣobhya, Ratnasambhava, Amitābha, and Amoghasiddhi, perfected from the five seed-syllables Oṃ Hūṃ Svā Āḥ Hā, and composed of subtle particles of their respective natures. From the seed-syllables Hūṃ and Ā, an eight-petalled lotus emerges; upon its filaments, the yogin’s vajra-jewel arises from Hūṃ and Oṃ. These two are consecrated by the two mantras as appropriate:
Oṃ padma sukha dhara mahā rāga sukha dhara catur ānanda bhaga viśva hūṃ hūṃ hūṃ kuryaṃ kuruṣva me | catur ānandadaya ka kha ga mukhe karasonātha hūṃ hūṃ hūṃ kuryaṃ kuruṣva me.
Together with these, one should initiate the joy; this is the absorption known as the "Initial Yoga." Following that, the hook of light from the seed-syllable at one’s own heart invites the maṇḍala of Heruka, which is then absorbed into oneself and melted. Having become like melted moon, it falls into the lotus and is generated. From one’s own seed-syllable and hand-symbols, the Lord of the Maṇḍala and the assembly of ḍākinīs, such as Gaurī and the rest, are generated and emanated by the extraction mantras: Hūṃ Aṃ Gaṃ Caṃ Vaṃ Bhaṃ Phaṃ Śaṃ Laṃ Ḍaṃ. Then, the Blessed Lord, together with the Blessed Lady, should be absorbed into one’s own self, characterized by the hands, faces, and body colors as previously described. Gaurī is black in color.
In the right and the other [left] hands, she holds a curved knife and a rohita fish; she should be visualized on a sun-disc seat at the eastern gate. Likewise, Caurī is the color of madder, holding a small drum and a pig, on the southern seat. Likewise, Vetālī is the color of refined gold, holding a tortoise and a lotus vessel, on the seat at the western gate. Likewise, Ghasmarī is the color of a marakata gem, holding a snake and a yogic vessel, on the northern seat. Likewise, Pukkasī is the color of an indranīla gem, holding a lion and a battle-axe, on the seat in the northeast corner. Likewise, Śavarī is the color of the full moon, holding a monk and a mendicant’s staff, on the seat in the southeast corner. Likewise, Caṇḍālī is dark blue like the sky, holding a wheel and a plowshare, on the seat in the southwest corner. Likewise, Ḍombinī is of variegated color, holding a vajra and making the threatening gesture; she should be visualized abiding on the seat in the northwest corner.
All the Vajrayoginīs abide in the dancing posture of the half-lotus, adorned with the five mudrās. Their orange-red hair stands upright; their three eyes are red and round. Adorned with a garland of bloodless human heads, they are naked, bestowing supreme bliss upon the Lord. Having thus beheld the completely perfected maṇḍala, through the application of the blessing of the mudrās, one should attain the undiminished primordial wisdom.
Within the aperture, Saroruha-vajra says, one should visualize a yellow phaṭ. Then, with the hook of light from the seed syllable at one’s own heart, the wisdom maṇḍala is invited. Looking toward the eastern gate, one offers the water for the feet and so forth, and recites: oṃ vajra gaurī ākarṣaya jaḥ, oṃ vajra caurī praveśaya hūṃ, oṃ vajra vetālī bandha vaṃ, oṃ vajra ghasmarī toṣaya hoḥ. By means of these, one should visualize that the samaya and wisdom maṇḍalas have become one through the acts of inviting, entering, binding, and pleasing. Then, with the light rays from the seed syllable at the heart, the assembly of supreme Victorious Ones is invited and offered to, and one should make the supplication for the conferral of empowerment. Immediately upon their conferring the empowerment, the Victorious Ones who confer the name empowerment will abide upon the head. In that regard:
With the seals of Akṣobhya, Ratnasambhava,
Vajradharma, and the rest,
Gaurī, Caurī, Vetālī, and Ghasmarī,
And the four goddesses Pukkasī and so forth,
These Buddhas are arranged in their respective order.
Then, from the gateway of the light rays of the seed syllable at one’s own heart, the ḍākinīs emerge, holding various types of offerings in their hands. One should offer the nature of all substances, views, and virtues without exception as being like an illusion, as well as other extraordinary outer offerings, the essence of which is the maṇḍala circle that embodies the three realms.
Offering
One should make authentic offerings without forming a conceptual distinction between the offerer and the object of offering. One should also offer praise, knowing that all sounds are like an echo in a city of illusions.
"Surrounded by the assembly of yoginīs, you shall attain the supreme mind. By that, you purify the stable and moving worlds. With a compassionate heart, you rouse sentient beings. As an illusory emanation, you bring down the vajra. Glorious Heruka Vajra, look upon me with your heart!"
Then, in front, from the syllable yaṃ arises a wind maṇḍala marked by a victory banner. Above that, from the syllable raṃ arises a blazing fire maṇḍala. Above that is a lotus vessel arising from the syllable aṃ. In its center are the five nectars and the five clarifiers, marked by the seed syllables of the five Tathāgatas. By igniting, circling, and purifying them of stains, they become like crystal. Above that, from the syllable hūṃ, arises the vajra light blessed by all the Tathāgatas, which melts [the contents]. Blessed by oṃ, its light rays summon the wisdom nectar of all the Tathāgatas, which is made of one taste with it. Blessed by the three suchnesses, it becomes the nature of incomparable ripening in terms of flavor, potency, and maturation. From the syllable hūṃ arises the tongue, the heart, and...
One should satisfy the maṇḍala arranged upon the sun and meditate on the principal deity abiding in the midst of the ḍākinīs; this is also done by that very [method]. This is the absorption known as the "Supreme Sovereign of the Maṇḍala."
Now, one should sequentially emanate the sovereigns of the maṇḍala of the assembly of ḍākinīs, such as Gaurī and the rest, into the ten directions. Having stabilized them as appropriate, one should view the entire maṇḍala—whose activities have been performed and whose functions have been accomplished—as non-conceptual and of the nature of bliss.
Following that, first, at the emanation wheel, is the syllable AṂ, black in color and radiant. Through its complete transformation, light rays blaze forth like the flame of a lamp and emerge from the pores of the skin. Having caused the assembly of goddesses, Gaurī and the rest, to appear, one should meditate on the emanation and reabsorption of the maṇḍala and its sovereign, Mahākāla, whose body is like crushed black collyrium.
By this very sequence, one should meditate on the six limbs: second, red; third, yellow; fourth, green; fifth, blue; and sixth, white. Subsequently, "even at the end of the joy-free [joy], it is likewise." This means that the eight ḍākinīs, Gaurī and the rest, abide in their respective eight faces and should be established as the innate seed-syllables in their own hearts. Then, one should visualize the Blessed Lady Nairātmyā abiding in the heart of the Blessed One.
Then, the Blessed One also emanates a mass of light rays from the four wheels, whereby he himself becomes the nature of light. One should then enter the primordial seed-syllable residing upon the sun at his heart. The sun dissolves into the seed-syllable, and the seed-syllable becomes a drop (bindu). One should meditate on the three wheels together with the drop as having the nature of great bliss, appearing in the form of a mass of white light rays. Gradually, as they melt into one's own self, they should be rendered non-referential. This is what is meant by the statement: "The primordial essence of the nature of mind becomes of one taste with the aspect of great bliss."
If one becomes weary of meditation, one should perform mantra recitation. Visualizing oneself and the form of the wheel, one should mentally inscribe and visualize the syllables of the mantra—either the mantra oṃ devapicu vajra hūṃ hūṃ hūṃ phaṭ svāhā or the root mantra arising from the tantra—upon the sun at the heart, arranged in the form of a maṇḍala with the heads of the letters facing upward and blazing intensely; this is the vajra-recitation.
Alternatively, one may perform the wrathful recitation, cultivating the intense conviction that the eight faces and the ḍākinīs, such as Gaurī and the others, are uttering the mantra from their mouths. This is the summary of the recitation.
If one becomes weary of recitation, one should make aspiration prayers:
"May I be born into a noble family, possessing the samaya,
Free from pride, and become a holder of Hevajra.
May I be devoted to the guru and endowed with compassion,
And may this continue in birth after birth.
May my hands ring the vajra and bell..."
"May I be born and born again, reciting the profound Dharma and eating the queen’s fluid together." Thus it is said. Alternatively, as before, having perfectly made offerings to the maṇḍala of one’s own chosen deity, one should visualize a vast and expansive celestial palace arising from the innate seed-syllable at one’s heart, and meditate on being included within the assembly of ḍākinīs, thereby maintaining the divine pride of the deity. Rising in mind, one should engage in activities.
During the other two sessions as well, one should sit in a place agreeable to the mind and, as before, visualize the celestial palace. In its center, one should manifest oneself in the form of the eight-faced Nairātmyā, and by reciting the three suchnesses, clearly visualize the assembly of ḍākinīs arising from their respective activities and arrange them in their proper places. One should meditate on the entire maṇḍala circle as being of the nature of great bliss, and perform offerings, praises, and so forth. At the time of sleep, one should actualize the yoga ending with the "separation from joy" and then fall asleep. At the time of waking, one should imagine arising through being exhorted by songs from the four goddesses, Pukkasī and the others. Having arisen, one should remain in that very state. One should do this every day until the attainment of perfect awakening; this is the meditative absorption called "Supreme Sovereign of Activities."
If one has devotion to the sixteen-armed form, one should meditate on the six-armed or four-armed form within that same celestial palace.
In that regard, the seed syllable, hand symbols, and so forth of the Blessed One himself are the six perfections. Through the purity of emptiness, the absence of marks, and the absence of wishes, he has three faces. The central and root face is like a blue lotus; the left is red; and the right is like the light of the moon. He has three eyes and sits in the half-lotus posture. In his first right hand is a vajra; in the second is a curved knife. In his first left hand is a trident; in the second is a bell. With his remaining hands, he embraces Vajra-Latā in union, and as the embodiment of the three realms, he tramples upon a corpse. Vajra-Latā is blue in color and adorned with various ornaments just like Nairātmyā. One should meditate on her with her two hands holding a curved knife and a skull-cup, embracing the neck of her own lord in the primordial state.
Likewise, through the purity of having definitively conquered the Māras, he has four arms and is like a blue lotus. He has three eyes, tramples a corpse, and stands in the dance of the half-lotus posture. In his first right hand is a vajra. In his first left hand is a human skull-cup filled with the blood of gods and asuras. With his remaining hands, he embraces Vajravārāhī. The Blessed Lady is blue in color, holding a curved knife and a skull-cup in her right and other hands. The hand symbols and the wheel of these causal Vajradharas are also like those of the result; the distinction is the moon seat.
One should meditate on the moonlight. Although the six-armed and four-armed forms do not have eight faces, the hosts of ḍākinīs should be inserted into the pores of their respective directions. Oṃ kiti kiti vajra hūṃ hūṃ hūṃ phaṭ svāhā—this is for the six-armed form. Oṃ jvala jvala bhyo hūṃ hūṃ hūṃ phaṭ svāhā—this is for the four-armed form. The remainder should be understood as before.
The glorious Anaṅgavajra, having attained inconceivable wisdom and received the authentic authorization, has written this; it is not out of pride. Whatever errors I have committed in writing this, may the wise who possess pure minds, like the stainless light of autumn, and the yogis, please forgive them. Through whatever merit I have gathered from composing this Heruka Sādhana, may the entire world without exception reach the far shore of omniscient wisdom.
This Sādhana of the Glorious Hevajra, composed by the glorious yogin Anaṅgavajra, is complete. It was translated, edited, and finalized by the Indian abbot Samantabhadra and the translator-monk Tsultrim Gyalwa.