Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Personal Instructions on the Three Stages (Trikramopadeśa) is a technical manual on the manipulation of subtle body energies to achieve non-dual awareness. The text instructs the practitioner in the precise coordination of the wind and sleep channels to ignite the caṇḍālī, providing specific corrective measures for managing the resulting intensity of bliss. By shifting the focus of the mind to specific points within the body, the yogi aims to stabilize these sensations and transition into the secret stage. This process culminates in the physical experience of lightness and the perception of five specific signs, such as mirage-like appearances. Ultimately, the text commits the reader to a practice of indivisibility, where the inner mind and outer objects are perceived as a single unity. The work functions as a guide for navigating the physiological and psychological markers of advanced tantric meditation, offering solutions for somatic disturbances like tingling or shivering caused by the movement of the pervasive wind.
Provenance
About this text
A guide to the three stages of pith instructions, the Trikramopadeśa is attributed to the Indian author Ḍombi Heruka. Preserved in the classical Tibetan tradition under the title man ngag rim pa gsum pa, the work is found within the Non-dual Tantra collection of the Tengyur, specifically in volume ཏ, where it extends over four pages. The text enacts a technical process of subtle body manipulation, directing the yogi to join the wind and sleep channels to ignite the caṇḍālī. It provides precise instructions for managing the resulting intensity of bliss by shifting the mind's focus to specific points, a process intended to incinerate conceptualizations and lead the practitioner to the culmination of the secret stage. Through these methods, the body is said to become as light as a cotton petal, allowing for the direct perception of five signs, including mirage-like appearances. A scholar or serious reader consults this work today to understand the specific physiological and psychological markers of a practice that seeks the indivisibility of the inner mind and all outer objects, ultimately aiming for the attainment of the five superknowledges.
Cite thisAnuvāda, “Personal Instructions on the Three Stages” (Toh 1266), machine draft, 2026.https://naxiai.com/tibetan/works/toh1266
Summary & commentary
Significance
This work is significant for its detailed mapping of the somatic experiences associated with the completion stage of tantric practice. It provides a window into the precise physiological requirements—such as channel manipulation and wind control—that the tradition deems necessary for realizing non-duality.
Structure
Passages
Section
Description
1
Preliminary Energy Manipulation
Instructions on joining channels and igniting the caṇḍālī.
2
Management of Bliss
Techniques for focusing the mind to handle unbearable levels of bliss.
3
The Secret Stage
Description of the physical signs of success and the realization of indivisibility.
4
Correcting Somatic Disturbances
Addressing the effects of the pervasive wind on the body's joints and sensations.
Themes
Subtle Body Physiology (1, 4)
Regulation of Bliss (2, 4)
Non-duality and Indivisibility (3)
Meditative Signs (3)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Trikramopadeśa-nāma. In the language of Tibet: Man ngag rim pa gsum pa zhes bya ba (The Three Stages of Pith Instructions). Homage to the glorious Hevajra.
First, the yogi should join the "wind" and "sleep" channels and ignite the caṇḍālī intensely but briefly. By doing so, the conceptualizations of the Tathāgatas, Locanā, and the others are incinerated. By incinerating and igniting in this manner again and again, if one experiences jumping and trembling regardless of what external object one focuses upon or looks at, the stage of mantra has been perfected. At that point, one should cease the meditation, bring down the great bliss, hold the vital wind in the center of the jewel, and focus the mind one-pointedly and intensely, directing it again and again.
If, while focusing in that way, one feels as though the jewel is about to burst and cannot bear it, one should repeatedly direct the mind to the bliss at the waist of the vajra. If, while focusing there, one cannot bear the bliss, one should direct the mind to the bliss at the base. If, while focusing there, one still cannot bear it, one should direct the mind to the bliss at the navel.
If, while focusing there, one still cannot bear it, one should then direct the mind to a point one-quarter of the way upward. If, while focusing there, one still cannot bear it, one should direct the mind to the bliss within another quarter upward. If, while focusing there, one still cannot bear it, one should direct the mind to the bliss at another quarter.
If, while focusing there, one still cannot bear the bliss, one should direct the mind to the bliss at the heart. If, while focusing there, one cannot bear the bliss and feels as though the heart is trembling and shaking, one should again direct the mind to the bliss at a point one-quarter of the way upward.
Having focused in that way, if the bliss is still unbearable, focus the mind on the bliss at a point one-quarter of the way up. If, having focused in that way, the bliss is still unbearable, focus the mind on the bliss at a point one-quarter of the way up. If, having focused in that way, it is still unbearable, focus the mind on the bliss at a point one-quarter of the way up. If, having focused in that way, the bliss is still unbearable, focus the mind on the bliss at the throat. When focusing in that way, if the bliss is unbearable and one again focuses the mind on the bliss at a point one-quarter of the way up, and if, having focused in that way, one feels it is unbearable, one should again focus the mind on the bliss at a point one-quarter of the way up. If, having focused in that way, one feels it is unbearable, one should again focus the mind on the bliss at a point one-quarter of the way up. If, having focused in that way, one feels it is unbearable, one should focus the mind on the bliss at the space between the eyebrows. When focusing in that way, if one becomes insane, falls down, or feels as though one is going mad no matter what object one focuses on or looks at, then the stages of primordial wisdom (jñāna) have reached their culmination; at that point, one should conclude the session and apply the secret stage. There, too, one should restrain the breath at the nostrils. Since all phenomena are subsumed within the internal mind and mental factors, one should meditate without conceptualizing external objects and without focusing on whatever thoughts or sensations arise within the internal mind.
By meditating in that way, the body becomes as light as a cotton petal, and one will directly perceive the five signs, such as the mirage-like appearance and so forth. This is the culmination of the secret stage. Therefore, one should meditate on the inner mind and all outer objects as indivisible, non-dual, and unobservable.
By meditating in that way, if the five superknowledges (pañcābhijñā) arise in succession, one attains great bliss (mahāsukha). If the lower body feels as if it is slipping away and one feels unable to bear the weight, and if there is a piercing pain in the shoulders, this is because the downward-clearing wind (apāna-vāyu) has been seized and has become excessively expanded. To pacify this, focus the mind on the bliss at the brow.
When focusing in that way, if there is pain in the bridge of the nose, pain in the eye sockets, pain in the crown of the head, or if the ears ache and make a humming sound, this is because the upward-moving wind (udāna-vāyu) has been seized and has become excessively expanded. To pacify this, focus the mind on the bliss at the navel.
When focusing the mind in that way, if there is a piercing pain in the navel and a sensation of bloating, this is because the fire-accompanying wind (samāna-vāyu) has been seized and has become expanded. To pacify this, focus the mind on the bliss at the throat.
If the lips feel numb and one feels as if the voice is choking, this is because the wind residing in the faculty of the tongue has been seized and has become excessively expanded. To pacify this, focus the mind on the bliss at the heart.
When focusing in that way, if the heart feels as if it is being twisted and shaken, this is because the wind-residing wind has been seized and has become expanded. To pacify this, focus the mind on the bliss at the center of the jewel (maṇi).
When, after focusing in that way, all the joints of the body ache and feel as if they are tingling, and a shivering sensation arises throughout the entire body, this is the expansion caused by the pervasive wind (vyāna-vāyu) being seized. To pacify that, meditate on bliss as being without intrinsic nature.
When meditating in that way, if you feel a desire to laugh or a desire to utter loud, clamorous sounds, this is the extreme expansion where bliss is expanding. At that time, exert yourself even more and meditate without apprehending bliss.
When meditating in that way, if you become extremely intoxicated, lose mindfulness, and are deluded, this is a state where calm abiding (śamatha) is predominant. To eliminate that, meditate on all internal phenomena as an illusion (māyā).
When meditating in that way, if the mind becomes agitated and scatters, meditate on the illusion as being unapprehendable. By meditating repeatedly in this balanced manner, a clarity free from conceptual thought will arise, and you will attain great bliss (mahāsukha).
While meditating in the manner described above, if ḍākinīs come to test your experience, you should employ the signs (saṃketa). If you do not recognize them, meditate without conceptual thought. By meditating in that way, you will be blessed by the ḍākinīs.
May all beings possess the meaningful secret mantra and attain awakening in this very life.
The Instructional Sequence in Three Stages, composed by the great master Ḍombi Heruka, is hereby complete.