Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Drop of Clear Realization of the Glorious Hevajra is a technical manual for the practice of Hevajra yoga, designed to guide the practitioner through the transition from conceptual understanding to direct realization. The text integrates ritual precision with internal meditative processes, committing the reader to a rigorous system of visualization and somatic manipulation. It begins with the establishment of a sacred environment through outer and secret offerings, followed by the generation of the deity's form from seed syllables and the purity of emptiness. The work details the complex iconography of Hevajra and his retinue, the role of the wisdom consort, and the use of inner heat (caṇḍālī) to achieve coemergent bliss. By prescribing specific mantras, mudrās, and the use of ritual implements like the rosary for different activities (pacifying, enriching, magnetizing, and subjugating), the text aims to transform the practitioner's ordinary continuum into the nature of a Buddha, effectively collapsing the distinction between the yogi and the deity.
Provenance
About this text
Dedicated to the Blessed One, Glorious Hevajra, the Śrīhevajrābhisamayatilaka is a work of the Non-dual Tantra tradition. The Indian author is Śākyarakṣita. It entered the Tibetan language through the work of the translators dpal ldan byang chub rtse mo and shakya’i btsun pa skyob pa dpal bzang po, and is preserved in the Tengyur, volume ཏ, where it extends over 51 pages. In the classical Tibetan tradition, it is known as the dpal kye rdo rje'i mngon par rtogs pa'i thig le. The work enacts a system of ritual offerings and meditative visualization, beginning with prostrations to the blue, crown-marked Lord of Siddhas. It prescribes the generation of outer, secret, and suchness offerings from a seed syllable at the heart, including divine flowers, incense, and emanated goddesses such as Gaurī. By asserting that these offerings are emanations from the continuum of the yogi, the text guides the practitioner toward the nature of great bliss. A scholar or serious reader consults this work today to examine the specific technicalities of these emanations and the mental bodies used to achieve a state of unimpeded realization within the Hevajra tradition.
Sanskrit title
Śrīhevajrābhisamayatilaka
Indian author
Śākyarakṣita
Tibetan translators
dpal ldan byang chub rtse mo, shakya’i btsun pa skyob pa dpal bzang po
Cite thisAnuvāda, “The Drop of Clear Realization of the Glorious Hevajra” (Toh 1277), machine draft, 2026.https://naxiai.com/tibetan/works/toh1277
Summary & commentary
Significance
This work is significant as a representative of the Hevajra tradition's emphasis on the union of bliss and emptiness. For the modern reader, it provides a detailed look at the intersection of linguistic elements (vowels and consonants) and the construction of a visualized cosmos in Vajrayana Buddhism.
Structure
Passages
Section
Description
1-11
Preliminary Rites and Generation
Includes homage, offerings, refuge, and the detailed visualization of Hevajra's form and attributes arising from seed syllables.
12-23
Initiation and Meditative States
Discusses the request for empowerment and the internal experience of luminosity and innate bliss.
29-40
Ritual Practice and Mantra
Covers the recitation of vowels and consonants for specific outcomes and the purification of afflictions.
46-59
Deity Iconography and Maṇḍala
Describes the forms of the three-faced Hevajra and the placement of various deities and nāgas within the maṇḍala.
60-67
Ritual Offerings and Implements
Details the consumption of torma, the use of the hundred-syllable mantra, and the specific materials and usage of the rosary for different activities.
Themes
Transformation of the Continuum (3-11, 23)
The Union of Bliss and Emptiness (4, 5, 18, 66)
Linguistic and Syllabic Construction of Reality (6, 7, 10, 29, 35)
Ritual Efficacy and Activity (29, 64, 66, 67)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaThe Drop of Clear Realization of the Glorious Hevajra·
In the language of India: Śrīhevajrābhisamayatilakanāma. In the language of Tibet: Dpal kye rdo rje’i mngon par rtogs pa’i thig le zhes bya ba (The Drop of the Clear Realization of Glorious Hevajra). Homage to the Blessed One, Glorious Hevajra.
To the Lord of Siddhas, blue in color, who utterly dispels darkness, whose crown is marked by a crossed vajra, who dances in the center of the rounded chest of the lifeless prostrate [corpse], who devours, and who, together with the consort born from his crown, bestows his hands and possesses the six mudrās; to you, the Hero who wears a garland of heads, whose terrifying expression and orange-red hair shake the three worlds, I bow.
Here, having first obtained empowerment through the ritual, one who is devoted to the guru, possesses a pure livelihood, and has no doubt regarding the words of truth, should thoroughly purify the mouth with the five nectars and so forth. In a certain place conducive to the mind, such as a charnel ground, the yogi sits upon a comfortable seat marked with a crossed vajra. Having protected the site with the mantra: Oṃ rakṣa rakṣa hūṃ hūṃ hūṃ phaṭ svāhā, he should clearly visualize a blue syllable hūṃ resting upon a sun mandala arising from a red raṃ within his own heart. Then, with five-colored light rays from that [syllable], he illuminates the interior and, emerging from each of the pores of his skin, invites the Blessed One, the Hero who shakes all three worlds, in the form to be described, together with the venerable guru.
Having prostrated to those residing in the sky before one, one should make offerings with the outer, secret, and suchness offerings that emerge from the seed syllable at the heart. Among these, the outer offering consists of the five sensory offerings, such as divine flowers and incense. The secret offering consists of the goddesses, such as Gaurī, who are emanated from that very seed syllable, making offerings with their respective samaya substances. In this regard, in the eastern, southern, western, and northern directions of the Blessed One, are Gaurī, Caurī, Vetālī, and Ghasmarī, who are black, madder-red, yellow, and green in color, and who hold in skull-cups the bodhicitta, self-arisen flowers, vajra-water, and medicinal herbs. In the intermediate directions of Ishāna and Agni, there are Pukkasī and Śavarī, who are blue and white in color and hold mercury in skull-cups. Regarding the statement in the Hevajra Tantra (the Two-Part Tantra) that "Pukkasī has a vajra in her hand," this is explained as being the "great vajra-flesh" itself. In the direction of Nairṛti is Caṇḍālī, who is dark blue like the sky and holds a resonant hand-drum (ḍamaru). These are the offerings of Gaurī and the others, which constitute the secret offering. Some explain that the hand-drum of Caṇḍālī constitutes the outer offering. In the direction of Vāyu is Ḍombī, who is multicolored and embraces with her own body; she is also joined with Nairātmyā, embracing her by the neck.
To cause one to possess the nature of great bliss is the offering of suchness. Furthermore, it is said here: "The Sovereign who is worshipped by great bliss is the goddess born within; she is one, and not another goddess." Thus, all are emanations from the continuum of the yogi. Because they are differentiated from one's own continuum, they possess a mental body that is unimpeded, and thus they definitely abide in a single body, just like those in the intermediate state; such is the pith instruction.
Some maintain that after the essential Nairātmyā has been removed, Ḍombī embraces the neck of the Principal Deity, and by worshipping with the suchness that is the nature of great bliss, she performs the offering. However, this is not correct, because they are differentiated separately according to the mode of activity and its correspondence, as it is stated in the Tantra: "Embracing the body with Ḍombī, one is impassioned by great desire."
Following that, one should perform the seven-limbed practice, which is the unsurpassed method: confessing one's own misdeeds, rejoicing in the merit of others, requesting the Perfect Buddhas to turn the wheel of Dharma, beseeching the Tathāgatas who intend to pass into nirvāṇa to remain in saṃsāra, and mentally rising to prostrate and so forth.
I take refuge in the Buddha, the glorious Heruka Vajra, who is the nature of all three realms and the source of great bliss; in the Dharma, which is the natural form of the mantras, mudrās, maṇḍalas, and so forth taught by him; and in the Saṅgha, the assembly of yogins dwelling in his circle, until I reach the essence of awakening.
I shall generate the mind of awakening, which is the nature of great bliss—the perfect realization of emptiness endowed with the supreme of all aspects and the absence of marks—acting as the cause for accomplishing the welfare of all sentient beings. I shall abide forever in the Vajrayāna, the path to unsurpassed awakening. I shall offer myself to the glorious Heruka and the assembly of Vajra Consorts.
Having thus performed the taking of refuge and so forth, up to the offering of one's own being, one should meditate on love, which desires to unite all sentient beings with the great bliss of suchness, just like an only child; on compassion, characterized by the desire to liberate all defenseless beings who are submerged in the ocean of conceptualization; on joy, characterized by the desire never to be separated from the enjoyments and so forth born of virtue; and on equanimity, characterized by entering into the equality of self and others, having abandoned all anger toward everyone along with its tendencies, and desiring to benefit others.
To generate the yogi’s equipment of merit and increase the equipment of wisdom, one should first recite the meaning of "Oṃ svabhāva-śuddhāḥ sarva-dharmāḥ svabhāva-śuddho ’haṃ" and make it manifest, then meditate on all phenomena as emptiness according to the guru’s pith instructions. As for the manner of dissolution, there are two ways.
Regarding the first: the dissolution is the instantaneous entry of the entire retinue and the Blessed One into clear light. The second is as follows: the Blessed One, together with all the offering goddesses, dissolves into the seed syllable at one’s own heart; that into the sun disk; the sun disk into the vowel ū of the syllable hūṃ; the ū into the letter ha; the ha into its head-stroke; the head-stroke into the crescent moon; the crescent moon into the drop (bindu); and the drop into the nāda. Finally, having meditated that even the meditator is reduced to a mere hundred-thousandth part of the tip of a hair, one makes the meaning of "Oṃ śūnyatā-jñāna-vajra-svabhāvātmako ’haṃ" manifest. Immediately upon this, even the conceptualization of the aforementioned conduct should be abandoned. This is the Blessed Lady Prajñāpāramitā, the nature of which is the non-apprehensibility of all phenomena. Then, through the power of the activity of previous aspirations, one arises from the absorption of emptiness—which is the conceptualization of space—from the natural clear light.
Regarding the sequence of its arising: in the sky, one should meditate on a sun maṇḍala arising from the syllable RA, upon which is a three-pointed viśvavajra produced from the complete transformation of the syllable HŪṂ, radiating five-colored light rays. These rays, like the fire at the end of an eon, radiate from all sides, reducing all misdeeds to ashes. Above this, one should generate a blazing vajra fence as wide as desired, and upon it, a vajra canopy. Below that, a vajra awning, and beneath that, a ground of vajra nature, visualized as extending everywhere to the very limits of the earth’s surface. These, the vajra fence and so forth, are for the purpose of destroying obstructing spirits (vighna); they should be understood as being of the nature of the purified mundane consciousness.
Then, within the vajra canopy, there is the great source of phenomena (dharmadhātu), the nature of the Vajra-Holder, which is triangular due to the complete purity of body, speech, and mind. Having abandoned all obscurations, it is white like the autumn moon and possesses the identity of the three bodies (kāya). This source of phenomena is narrow at the bottom and wide at the top, and is white in color. Within it, in the center of the eight charnel grounds—which represent the purification of the eight consciousnesses—is a multicolored lotus with various petals, born from the syllable PAṂ. At its center, because she is Nairātmyā herself, and due to the purity of the dharmadhātu, is the heart of a reclining corpse. Upon a reddish-yellow sun maṇḍala, which obscures the splendor of the three realms of existence and brings benefit through its own garland of light, is the seat.
From the complete transformation of two sets of vowels (āli) arises the moon, the essence of method, which is the nature of the mirror-like wisdom (ādarśa-jñāna). Above that, from the complete transformation of two sets of consonants (kāli) together with ḍa, ḍha, da, dha, ya, ra, and la, arises the sun, the nature of insight (prajñā), which is the nature of the wisdom of equality (samatā-jñāna). Just as the three worlds are majestic, the person previously visualized from insight also abides; one should contemplate this as the great bliss of union.
Then, one should contemplate the two blue seed-syllables AṂ and HŪṂ, the essence of insight and method, which have entered the center of the union of the mother and father, the sun and moon. From their complete transformation, one should meditate on those very two seed-syllables, situated upon the moon and sun at the hubs of a curved knife (kartṛkā) and a vajra, as the nature of the wisdom of individual discernment (pratyavekṣaṇā-jñāna). Having performed the benefit of beings with a web of light rays, all the Tathāgatas enter into that very [seed-syllable] in an invisible manner; one should contemplate all of them becoming one as the all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna).
From the complete transformation of the moon, sun, seed-syllables, and symbols, one arises as the essence of the wisdom of the utterly pure dharmadhātu, the glorious protector who moves all three worlds, with a body of great love and utter purity, blue in color. Some say the body is black because the conceptualizations of the affliction of hatred have been destroyed. He is wrathful in order to subdue the malevolent, and has one face due to the purity of non-dual wisdom.
With a face transformed by the total destruction of wrong views, he has fangs bared and a terrifying appearance as he utterly subdues the four Māras. Binding and crushing the Māras, he laughs fiercely. With the complete purity of body, speech, and mind, he has three eyes, or alternatively, he is pure in seeing the three paths of all aspects. Being endowed with compassion, he is red. Because he tames the malevolent, his orange-red hair is bristling upward. Because he cares for all varieties of beings, he wears a crown marked with a crossed vajra. Some say this is the discernment of the lack of intrinsic nature. Because the five families are pure, there are five hero skulls at the hairline. Because the two accumulations are pure, he has two arms. Because he is skilled in splitting the mountain of ignorance, and because he meditates on the equal taste of the five wisdoms, he holds a blue five-pronged vajra. With the left hand, he embraces the Wisdom Consort from the left; because he is pure of the blood of the four Māras and pure of the taste of great bliss and compassion, he holds a skull cup marked with a vajra, filled with blood. Because the two truths are pure, he has two legs. He stands in a dancing posture with half-lotus position, the tip of his right leg placed upon the left thigh, because the bodhicitta that is the means has ascended. He stands upon a corpse lying on a multicolored lotus, with the sun at the heart, because the three realms are pure in being non-apprehending and luminous, and because the bodhicitta that is the means has ascended.
Having abandoned all-encompassing anger and being purified by the accumulation of great compassion, he stands upon a seat that captivates the mind, with the tip of the big toe of his left foot. Through the complete purity of the three bodies—the Dharma, Enjoyment, and Emanation bodies—he possesses three frowning brows. Through the purity of the fifty letters of the āli and kāli, his body is adorned with a garland of fifty fresh human heads strung on wet intestines. Through the purity of Akṣobhya, Amitābha, Ratnasambhava, Vairocana, and Amoghasiddhi, he bears the five mudrās known as the wheel, earrings, necklace, bracelets, and belt, all made of human bone. Through the purity of Vajrasattva, he bears the sixth mudrā, the ash produced from the nature of bone, which symbolizes the bodhicitta pervading all limbs. Others say that the body is smeared with ash because the impermanence of migratory beings has been incinerated. Through the purity of the non-conceptual Brahmā, he wears a human hair yajñopavīta (sacred thread). Through the purity of passion and the other afflictions, he wears a lower garment of tiger skin. From the syllable Oṃ is born the blue Nairātmyā, who, with her right hand, holds a curved knife (kartṛ) that cuts through the conceptualizations of existence and non-existence; with her other hand, she holds a skull-cup (kapāla) filled with the dust of the nature of great bliss and great compassion. She has one face and bears the five mudrās.
Through the purity of emptiness, he possesses a garland of fifty dry heads, the nature of which is the fifty vowels. His forehead is adorned with five skulls, and his orange-red hair swirls upward in a mass. He has three red, round eyes and a face with bared fangs. Through the yoga of perfect union with the goddess Śilā (She of the Loose Girdle), he is endowed with the power of great non-dual bliss that pervades his entire body, causing his body hair to stand on end. Some proclaim: "He is embraced by the Ḍombī."
By nature, he suppresses the three realms of existence, and because his physical enjoyments are flourishing and he possesses the sublime moods of play and grace, he is "the Graceful." Because he suppresses the three worlds, he is "the Hero." Because he wears ornaments such as a garland of human heads and because he suppresses [the world], he is "the Ugly." The radiance of playful sport that follows grace is "the Laughing." Because he sports and plays with the Mother amidst the extremely fierce solar maṇḍala that initiates the destruction of the eon, he is "the Fierce." Because his body terrifies all gods and asuras, he is "the Terrifying." Because he is free from the signs of all conceptualization and is the very nature of great bliss, having emanated the entirety of his supreme emanations accomplished through former aspirations, the arising of the perfect welfare of beings exactly as it is, is "Great Compassion."
Transcending the world and possessing a supreme body is "awe-inspiring," meaning marvelous. Because the aggregates of afflictions such as attachment are pacified, and because it is a treasure from the beginningless, it becomes "peaceful." Regarding the internal purity of the Blessed One: flesh is Pukkasī; blood is Śavarī; semen is Caṇḍālī; marrow and fat are Ḍombī; the seven layers of skin are the seven branches of awakening; and the bones are the four truths.
Likewise, the yogi, possessing the pride of the samaya-being, visualizes the syllable HŪṂ upon a sun disk situated within the hub of a vajra born from the HŪṂ residing on the sun disk within the heart of the Blessed One. In the heart of the Blessed Lady, he visualizes the syllable ĀṂ on a moon disk, born from the seed-syllable ĀṂ, situated on the handle of a curved knife. From the radiation and reabsorption of their light rays, he diligently invites the wisdom-being into the path in front and causes him to sit before him. Preceded by the offering of water for the feet by goddesses such as Gaurī, who emanate from the light rays of the seed-syllable at the heart, he makes perfect offerings and praises. With the syllable JAḤ, he invites; with the syllable HŪṂ, he causes the wisdom-being to enter the samaya-being like water into water for the purpose of blessing; with the syllable BAṂ, he binds; and with the syllable HOḤ, he brings him under control. Then, without interruption, he invites all the Buddhas with the light rays of the seed-syllable at the heart in the form of hooks.
As before, the eight mātṛs make manifest offerings and pay homage. Then, Bodhivajra says to the Buddha:
"Just as the great offering was bestowed,
So too, for the sake of my protection,
O Vajra of Space, bestow it upon me now!"
Abhiṣiñcantu māṃ sarvatathāgata.
Then those Buddhas, in the form of Herukas, bestow the great vajra initiation, which arises from the abode of the three secrets of all Buddhas and is venerated by the inhabitants of the three realms. They utter: Oṃ sarvatathāgata-abhiṣeka-samaya-śriye hūṃ.
With the vases containing the five nectars, which are the nature of the five Tathāgatas, they cause all stains and obscurations residing in him to be exhausted. He is then consecrated with the waters of wisdom, which are without attachment and without further connection.
At the very moment of the initiation, a rain of saffron, flowers, and so forth falls, and the sound of great drums resounds. Rūpavajrā and the others make offerings, and Locanā and the others offer praise with the vajra songs to be explained. One should meditate on the excess water of the initiation as the lord of one’s own family. From that, through the purity of the life-force that has arisen, one should generate Akṣobhya upon the crowns of the Blessed One and the Blessed Lady.
Then, with Oṃ sarvatathāgata-abhiṣeka-vajra-svabhāva-ātmako ’haṃ, the initiation should be made especially firm.
Then, without interruption, one should don the armor upon the sense faculties. In that regard, in the eyes is the white one, identical to the one named Mohavajrī; in the ears is the black one, identical to the one named Nairātmyā, who is Dveṣavajrī; in the nostrils is the yellow one, identical to the one named Antar-guhyā, who is Mātsaryavajrī; in the mouth is the red one, identical to the inner Vārīyoginī, who is Rāgavajrī; in the body is the green one, identical to the one known as Vajraḍākinī, who is Īrṣyāvajrī; and in the mind is the black one, identical to the one named Nairātmyā, who is Nairātmyayoginī.
These should also be visualized as arising from the seed syllables Āṃ, Āṃ, Īṃ, Iṃ, Ūṃ, and Uṃ respectively; each having one face and three eyes, holding a curved knife and a skull-cup in their right and left hands, and seated upon a moon disc resting on a corpse. Furthermore, at the crown, throat, and heart, one should visualize the white, red, and black-colored goddesses arising from the syllables Oṃ, Āḥ, and Hūṃ—namely, Khecarī, Bhūcarī, and Nairātmyā, who have emerged from the three worlds. Some say they arise from the seed syllables Oṃ, Āṃ, and Āṃ. Their forms are like those of Mohavajrī and the others.
Likewise, according to the sequence of Saroruha-vajra, one should visualize the wisdom-being (jñānasattva) entering, the empowerment being conferred, and then clearly perceive the sequence of the armor. In the Abhisamaya of the venerable Lūyipa, the sequence is: the wisdom-being enters immediately after the armor, and then the empowerment is conferred.
Likewise, it is also written in the Sādhana of the Two-Armed Hevajra following the intention of Śāntipa. Regarding the description of the empowerment after reciting the armor (kavaca) without interruption until the insertion of the wisdom maṇḍala into the treasury of purity: this does not accord with the assertions of the two [masters] who have attained realization.
Immediately following that, in front [of the practitioner], from a blue syllable jaṃ arises a wind maṇḍala in the shape of a bow, marked by fluttering banners at its two ends. Above that, from a red syllable raṃ arises a triangular fire maṇḍala, marked at its three corners by the syllable repha (ra). Above that, resting on a tripod of three skulls, is a skull-cup (kapāla)—a lotus vessel—arisen from a red syllable a.
In its center, from the complete transformation of bhrūṃ, āṃ, jrīṃ, khaṃ, and hūṃ, arise the five lamps and the five nectars (amṛta) in the nature of go, ku, da, ha, na, bi, ra, śu, ma, and mu, consecrated by their respective seed syllables. Above that, having visualized a white syllable oṃ, from the syllable āṃ that pervades its form, a moon maṇḍala arises. Above that again, one should visualize a white vajra arisen from a white syllable hūṃ, marked by its seed syllable.
Then, the fire fanned by the wind melts the entire vajra circle and the vajra itself. From the melting of these four sets of five, the nectar is prepared within that very vessel, and one should contemplate it until it is completely full. Above that, having visualized the three syllables oṃ āḥ hūṃ, [one should proceed].
Its light rays, in the form of a whirling firebrand, invite the nectar residing in the three realms of existence and the wisdom nectar of all the tathāgatas. Having caused these to enter into that very [substance], they become of one taste. Visualize it as stainless, like the light of the autumn moon, endowed with divine fragrance and flavor. Then, visualize at the tip of one’s own tongue a vajra the size of a barley grain, arisen from a white hūṃ. With its light rays like a whirling firebrand, the Blessed One tastes that nectar and offers it into the mouth of the Blessed Lady. Reciting: oṃ sarvatathāgatasvadavajrasvabhāvātmako ’haṃ, the Blessed One is pleased.
Then, the goddesses of form, such as Rūpavajrā and the others, who have emerged from the seed-syllable in the heart, perform an uninterrupted offering with mirrors, lutes, scent conchs, vessels of flavor, various garments, and the dharmodaya in their hands. Reciting: oṃ sarvatathāgatapūjāvajrasvabhāvātmako ’haṃ, and with Locanā and the others, one should offer praise with this vajra song:
"You are completely surrounded by a host of yoginīs.
You have attained the supreme state of your own mind.
You adorn all beings, both moving and unmoving.
With a compassionate heart, you awaken sentient beings.
With a mind that accomplishes the vajra of illusory elaboration,
Glorious Heruka is pleased by your vajra mind."
Then recite: oṃ sarvatathāgatastutivajrasvabhāvātmako ’haṃ.
Thereafter, one should perform the mudrā that is the nature of the four cakras. In that regard, at the navel, below which is situated the emanation cakra, which is red or multicolored, with sixty-four lotus petals and radiating rays of light, the heart mantra is the black syllable AṂ, which is blessed and faces upward. At the heart is the dharma cakra, white and with eight lotus petals. In its center is the blue seed-syllable HŪṂ. On the petals in the directions such as the east, there are the seed-syllables BHRŪṂ, ĀṂ, JRĪṂ, and KHAṂ, corresponding to Vairocana and the others. On the petals in the intermediate directions such as the northeast, there are the seed-syllables E, VAṂ, MA, and YA, which are the seeds of Locanā and the others; these face downward. At the throat is the enjoyment cakra, a red lotus with sixteen petals. At its anthers is the red syllable AṂ, surrounded by the vowels and consonants; these face upward. At the crown is the great bliss cakra, a lotus with thirty-two petals. In the center is the white syllable HAṂ, blessed and facing downward. The letters of all these reside upon a moon disc. Then, the masses of light rays from those four cakras are projected into space, and having performed the benefit of beings, they are reabsorbed back into those very cakras. Following that, in order to make [the body] consist of the five families, one should place the syllables OṂ, HŪṂ, SVĀ, ĀḤ, and HĀ upon the crown, heart, navel, secret place, and the pair of thighs of the Blessed Lady, respectively.
From the complete transformation, one should visualize Vairocana, Akṣobhya, Ratnasambhava, Amitābha, and Amoghasiddhi. From the complete transformation of the syllable HŪṂ, one should visualize a lotus and a vajra, with the anthers and the jewel perfected by the syllables ĀḤ and OṂ. Then, with the mantra: OṂ PADMA SUKHADHĀRA MAHĀRĀGA SUKHANDACATURĀNANDA BHAGAVIŚVA HŪṂ HŪṂ HŪṂ KARYAṂ KURUṢVA ME; and OṂ VAJRA MAHĀDVEṢA CATURĀNANDADĀYAKA KHAGAMUKHA EKARĀSONĀTHA HŪṂ HŪṂ HŪṂ KARYAṂ KURUṢVA ME, one should consecrate the lotus and the vajra. In order to attain the wisdom of non-leaking great bliss, one should visualize yellow syllables HŪṂ and PHAṬ within the channels of the lotus and the vajra. Then, reciting the three syllables of SĪ, one should express passion with: OṂ SARVATATHĀGATA ANURĀGAṆA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. Furthermore, one should keep in mind all aspects, such as the attainment of the action seal (karmamudrā) within the samaya and the accomplishment of the components of the five families. Moreover, the yogi who is conceited regarding impure bliss should accomplish that. Then, at the time of the wisdom-knowledge empowerment (prajñājñānābhiṣeka), through the various characteristics of superior realization and so forth according to the oral instructions of the sublime guru, and by the power of training in the attainment of the action seal—such as joy and so forth—in that very same way, at the end of their gradual arising:
The sequence is as follows: abiding in the luminosity (ābhāsvara), which is free from the net of all conceptual constructions (kalpa), the fourth [joy], the innate bliss (sahaja-sukha) that dwells momentarily in all gateways, and which is not characterized by the stains of partiality. Alternatively, the sequence for this is: the three worlds are the charnel ground; the charnel ground is the lotus seat; the lotus is the corpse; the corpse is the sun; the sun is the Blessed Lady (Bhagavatī); the Blessed Lady, through passion, melts into the Blessed One; the Blessed One is the sun at the heart; the sun is the vajra; the vajra is that which abides at its hub; the sun is the letter ū of the syllable hūṃ, the essence of Amoghasiddhi; the letter ū is the letter ha, the nature of Amitābha; the letter ha is the head of the one renowned as Ratnasambhava; the head is the crescent moon, the nature of Vairocana; the moon is the drop (bindu), the nature of Vajrasattva; and the drop should be made to abide in the nāda, the identity of Akṣobhya. Some state that the drop is the nature of Akṣobhya and the nāda is the nature of Vajrasattva. Those with superior intelligence, however, should discard even the nāda by contemplating it as a mere fraction of a hundred-thousandth of the tip of a hair. That very [state] is the supreme emptiness (śūnyatā) of existence and non-existence and so forth, clear and luminous like a cloudless sky; one should view it exactly as it was previously established through the power of one's aspirations (praṇidhāna). Likewise, one should engage in the activity of arising again and again.
Then, just as the wind of the breath that has entered a mirror spreads everywhere, the yogi should repeatedly enter the limit of reality (bhūtakoti). This sequence is the yoga that directly realizes the nature of the indivisibility of the two truths, the nature of the non-dual resultant Vajradhara. This is the method for entering the luminosity (prabhāsvara) through meditation on suchness (tattva) together with insight (prajñā). In dependence upon meditation without insight, there is the khaṭvāṅga of pure insight itself. For it is said: "Insight is the goddess khaṭvāṅga-form." Therefore, the arising of the coemergent through the yoga of inner heat (caṇḍālī) and so forth is the entry into luminosity.
In that regard, first, as for the yoga of inner heat: while the form of the deity is clear, one should focus on the syllable Aṃ at the navel wheel, or, as a cause for stabilizing the mind, having fully gathered the two descending life-winds and inserted them into the avadhūtī, the fierce fire ignited by the wind below the navel—having the form of a very subtle line—is drawn upward. By the blazing of the Blessed Lady Caṇḍālī, who is named the supreme Nairātmyā, the five Tathāgatas residing in the heart wheel and the four goddesses such as Locanā are burned. This continues until one touches the "mind-conqueror" (manojaya) residing in the crown wheel. Likewise, when the blazing occurs and the Blessed One, the "Hare-holder" (śaśadhara), descends, at that time the caṇḍālī is made to blaze swiftly.
That [inner heat] blazes intensely, and the "hare-marked" [moon] drips very swiftly; having become one with the inner heat (caṇḍālī) while focusing on the navel maṇḍala, the mind becomes firmly fixed. As the bodhicitta drips and is gathered in the emanation wheel (nirmāṇacakra) and the others, through the stages of supreme joy, it reaches the crown and proceeds uninterruptedly to the end of the lotus and the vajra-jewel. There, the inseparability of emptiness and compassion gradually increases, thoroughly purified by the light of the inner heat fire. It pervades the thirty-two channels of the wheel of great bliss (mahāsukhacakra), and from there, it completely pervades the entire body as far as the seventy-two thousand other channels. Through the power of the great bliss of the "separation from joy" (viramānanda), in which the inner sun and moon—the essence of insight (prajñā) and method (upāya)—move in union, all aggregates, elements, and so forth, along with the māras, are directly realized and fully transformed. This is the yoga of inner heat, which abides in the clear light (prabhāsvara). This is the dharmamudrā. This is the application of the "spring drop" (vasantatilaka). In this context, "spring" is the Blessed One, the moon; its "drop" is the Blessed Lady, the inner heat. Their "application" is this very union. By the yogi who constantly practices and firmly guards the inner heat, the innate (sahaja) inner heat, which is the cause of supreme great bliss, is made manifest.
Thus, the yogi who abides in the vajra-like absorption (vajropamasamādhi) as neither dual nor non-dual especially realizes the accomplishment of the Great Seal (mahāmudrā). Regarding the term "yoginī," some proclaim it to be the realization of the Great Secret. Her path is to be clarified through the stages of the ten bhūmis by means of the wisdom seal (jñānamudrā) or the dharma seal (dharmamudrā), and is subsequently taught as the Vajra Holder (vajradhara).
In some contexts, through the enjoyment and application of the action seal (karmamudrā)—one who has arisen from the vajra and other families and possesses the power to attain wisdom—for one month or so, the nature of great bliss and compassion expands infinitely and is not subject to cessation. Having directly realized the absorption of emptiness of the coemergent great bliss endowed with the seven limbs, one enters the supreme state. This is the body of the Great Vajra Holder who, even during the intervals between sessions, perfectly performs the welfare of beings, adorned with the braids and ornaments of the collection of qualities, and bestows [realization] in a single month.
Alternatively, having practiced the conduct of the consort (vidyāvrata) for six or seven months and having transformed oneself into the form of the deity, when the consciousness of the preeminent yoga is able to continuously face the yoga of suchness (tattva)—just as day and night are joined by a blazing light—at that time, possessing the yoga of Hevajra together with the seal, one engages in the coemergent for its practice.
In the morning and during the intervals between sessions, one should apply the effort of meditative absorption. The stages of yoga consist of the three realms of existence, all of which are of a single nature, equally and unequally liberated into a single essence, sealed by the vajra-mudrā. By the power of the great bliss of equal taste, one abides constantly day and night, like the appearance and the further expansion of appearance. Then, at the end of the stage of "Great Joy," when the dawn breaks, one directly realizes the suchness of the fourth joy; at that time, the practitioner will achieve the supreme siddhi.
As it is said in the Explanatory Tantra of the Guhyasamāja:
"The object of accomplishment and the means of accomplishment are joined;
Through relying upon which, clarity arises.
The union of the vajra and the lotus
Is described as the 'near-accomplishment.'
Perfectly endowed with the syllables HŪṂ and PHAṬ,
It is thoroughly described as the 'moving accomplishment.'
The nature of one's own peaceful bliss
Is described as the 'great accomplishment.'"
Thus, by means of these four branches of method, this is asserted to be the sequence for directly realizing the state of the glorious Great Vajradhara and the Great Vajradhāriṇī—the method of the Dharma of all Buddhas and the Dharma to be relied upon. If one enters into meditative equipoise with an action-mudrā, because of that one-pointedness, the fierce inner fire (caṇḍālī) blazes intensely as before. Through the power of the innate [bliss] from melting the "hare-marked one" (the moon), this yoga is called the yoga of the action-caṇḍālī, and it is accompanied by insight.
Regarding the absence of a wisdom consort, this refers to all meditations on the form of the deity or internal meditations. Through the constant blazing of the inner heat (caṇḍālī), the coemergent (sahaja) arises. Even at the time of initiation, the blazing that occurs from entering into union with an external consort is this inner heat; just as before, its arising from the arising of the coemergent is asserted as the yoga of the action inner heat (karmacaṇḍālī). However, it is said that the coemergent does not follow after the beauty of her face. Therefore, this yoga of the action inner heat is certainly not [dependent] on the face.
Nevertheless, some say that once again, as before, through mastery over the winds and familiarity, one does not attain the mastery of prāṇāyāma, but rather the great bliss arising from the blazing of that inner heat through retention in the maṇḍala of the navel—the immeasurable path of the winds—is taught as the yoga of the action inner heat. If one wishes to stabilize the mind through the yoga of the drops (bindu) and cause the manifestation of all accomplishments to expand, then at that time, one should visualize the four syllables, such as the syllable Aṃ, in the hollows of the channels of the cakras, such as the navel. By the wind residing in the secret cakra perfectly stimulating the fire, the syllable Aṃ, which is the nature of the inner heat, blazes. Through the light rays of that blazing, the three syllables, such as Hūṃ, are completely melted. One should meditate on the form of the drop, which is of the nature of coemergent joy, inseparable from the syllable Oṃ.
When the meditation is fully perfected, one should perform the radiation. From that, one should visualize that very subtle [essence] as lines of light rays blazing and remaining as if in a single, unified blaze. Through its light, it becomes filled with melted nectar and transforms into a radiating drop (bindu). That too becomes lines of white light rays; then, one should visualize until the mind has reached that drop, or until the signs of attaining stability are clearly perceived. Its clear perception and stability consist of seeing the appearance of various lamps radiating from the lines of light rays, and seeing everything like an āmalaka fruit in the palm of one's hand. This is the yoga of the drop (bindu-yoga), known as the "expansion of the appearance of all absorptions" (samādhi).
Alternatively, from the mass of light rays of the mantra at the heart, the Tathāgatas who have been emanated should be summoned and placed within the hūṃ syllable in the form of a drop. This should be done for as long as one desires. Following that, through the stages of the path of radiation, [the light] reaches the culmination of the vajra of body, speech, and mind. The appearance of its light rays is gathered back in the manner of the inhalation of breath and swiftly inserted into the seed-drop, which is the maṇḍala of the Blessed One as previously described. In the meditation on the wheel, the wheel of the maṇḍala should be inserted. Again, by the manner of radiation, light rays are emitted, illuminating the world.
The Tathāgatas, who have merged with that very [essence] and are performing the benefit of beings, are also drawn into the heart by way of the inhalation of the breath; one should meditate upon them for as long as desired. This is the yoga of the supreme drop (paramabindu-yoga).
Alternatively, the light rays of the absorption-being (samādhisattva) enter the avadhūtī, melting the bodhicitta residing in the wheel of great bliss (mahāsukha-cakra). One should contemplate that [bodhicitta] as abiding in the form of subtle particles within the drop of the syllable HŪṂ at the heart, which has emerged from that very [melting]. This is the yoga of the drop of others.
Following that, the meditation on the subtle yoga (sūkṣma-yoga) is the method for causing the mind to abide in the supreme. In that same way, the syllables such as AṂ and so forth melt and become of one taste. Through the nature of the coemergent (sahaja), the drop of bodhicitta, the size of a mustard seed, is clearly perfected as the body of the Blessed One.
In dependence upon meditating on the maṇḍala circle, the maṇḍala circle is at the tip of the vajra-jewel. One should meditate on it as dripping from there and abiding in the lotus, or else abiding at the tip of the nose. Having seen the signs of stable abiding as they have been taught, one should meditate on the maṇḍala of that Blessed One or emanate the maṇḍala. This is the subtle yoga.
Having meditated on that very [drop] in the form of the deity, one should [meditate] by means of the yogas of uninterrupted recitation.
Through the yoga of another, one should enter, arise from, and meditate upon the clear light as much as possible. When weariness arises, one should perform the ritual of mantra recitation by this method, or otherwise, the syllables of the mantra should be uttered. In that regard, the rays of light emerging from the mouth of Prajñā enter one’s own mouth, emerge through the vajra path, and enter the lotus of the goddess. Once again, they enter one’s own mouth from the mouth of the goddess; thus, one should cause the stream of mantra to enter without interruption. This is described in the Sādhana of Saroruha as "recitation by the swing."
Alternatively, with the pride of the equality of all phenomena, the mantra garland enters one’s own mouth, goes through the vajra path into the lotus, and emerges through the path of the avadhūtī. It is emanated from the mouth of the Blessed Lady and enters the gateway of one’s own mouth; meditating on it circling in that very manner, one should recite. This is described as "recitation by the swing" with relaxed and peaceful syllables.
The distinction is that when the mantra enters the mouth of the Blessed Lady and returns to one’s own mouth, the syllables are firm and harsh; this is "wrathful recitation." Because the essence mantra and so forth are uttered with supreme ferocity, it is called wrathful recitation.
Alternatively, one should visualize the mantra syllable garland residing in a circle around the syllable HŪṂ located at the heart. Visualizing it as a garland of lamps, one should focus on its rapid rotation. Having abandoned improper conceptualizations, one should recite. OṂ TRAILOKYĀKṢEPA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ.
This is the root mantra of the Blessed One. Furthermore, the three hūṃ syllables are to be visualized as short, as stated in the Hevajra Tantra in Two Sections and its commentary. Then, having offered the torma as will be explained and made aspirations, one should remain in whatever way is comfortable. During the intervals between sessions, one should arise from the form of the Blessed One and perform the insertion of the wisdom-being (jñānasattva) and so forth. At the midnight session, having performed everything, one should go to sleep with the firm conviction that sleep is of the nature of clear light (ābhāsvara). At the dawn session, one is awakened by the four goddesses, Locanā and the others, with vajra songs; then all activities such as arising should be performed.
Then, the mantra for moving the city is: oṃ a ka ca ṭa ta pa ya śa svāhā. The oral instruction for this is as follows: having visualized oneself in the form of Hevajra together with Prajñā, one should imagine an eight-petaled red lotus at his heart. On the petals in the directions such as the east, one should place the syllables a ka ca ṭa in clockwise order; on the intermediate petals such as the northeast, one should place ta pa ya śa. In the center of the pericarp, place svā in the east, oṃ in the center, and hā in the west. All of these are red in color and rest upon sun mandalas. Their light rays, in the form of hooks, emerge from the pores of the skin; having summoned the object of accomplishment and placed them beneath the feet of the practitioner, one should recite the mantra while thinking, "I shall bring these very ones under my power."
By reciting [the mantra] one hundred thousand times, the city will be moved. For the purpose of the practice of subjugation, one should first perform the preliminary service by reciting it one hundred thousand times according to the stated sequence. Then, having performed a gaṇacakra in a charnel ground, the practitioner who desires to kill the intended victim should seize a corpse. Then, having gone to a certain place, one should place the head toward the east and lie on a high pillow. Having touched the skull, which is filled with māmakī, to the soles of the feet, one should recite it once. When rising later, one should drink all of that and, having entered all the sites of the gaṇacakra, recite it ten thousand times once again. The yogi who is without doubt regarding Hevajra should purify everything in every way. Then, according to the sequence of Kālacakra, the recitation of the vowels and consonants (āli-kāli) should be performed. Since the vowels and consonants are implicitly obtained through the sounds of a-ka-ca-ṭa-ta-pa-ya-śa, they should be recited as follows: Oṃ a ā, i ī, ṛ ṝ, u ū, ḷ ḹ, aṃ aḥ, e ai, ar ār, o au, al āl, ha hā, ya yā, ra rā, va vā, la lā. This is the recitation of the vowels during the inhalation of the breath according to the sequence of emanation. Ka kā, kha khā, ga gā, gha ghā, ṅa ṅā, ca cā, cha chā, ja jā, jha jhā, ña ñā, ṭa ṭā, ṭha ṭhā, ḍa ḍā, ḍha ḍhā, ṇa ṇā, ta tā, tha thā, da dā, dha dhā, na nā, pa pā, pha phā, ba bā, bha bhā, ma mā, ya yā, ra rā, la lā, va vā, śa śā, ṣa ṣā, sa sā, ha hā, kṣa kṣā, svāhā. This is the recitation of the consonants as the wind exits.
By reciting the āli-kāli (vowels and consonants) one hundred thousand times, the mantrin who generates the three worlds should make [the visualization] the size of a single [atom] and then again the size of a single [atom]; this bestows summoning, protection, and enrichment. This sequence is also seen in the Śrī-Vajragarbha-prakaraṇa.
Then, the pith instruction for subjugation is as follows: quickly visualize oneself in the form of Heruka together with Prajñā, upon a beautiful heap of red lotuses. At the heart, upon the filaments of a sixteen-petaled red lotus, one should clearly visualize the syllables Aṃ and Hūṃ—the essence of the perfectly condensed āli-kāli—which are intensely attached to the qualities of the Buddha. From these, masses of extremely red and charming rays of light radiate forth, illuminating the world of beings. By means of these, the body, speech, and mind of others are summoned and then dissolved into the bindu (drop) of those very syllables Aṃ and Hūṃ.
Then, through their complete transformation, they take the form of the "mind-disturbing" bee Kuruvinda, their minds intoxicated by drinking the honey of supreme compassion. One should contemplate the form of Nairātmyā and Heruka by means of the sound of the extremely long Hūṃ syllable uttered by that [bee]. In the hearts of those two, one should generate subtle Aṃ and Hūṃ syllables within bindus the size of a mustard seed, dyed like the color of vermilion. Then, that mind-disturber mounts the chariot of the exhaled breath.
Emerging from the nostrils, it purifies and seizes the body, speech, and mind of sentient beings, then mounts the incoming breath and enters the filaments of the heart lotus through that very path. Thereafter, the body, speech, and mind thus summoned should be dissolved into one’s own body, speech, and mind through meditative absorption (samādhi). One should meditate in this way again and again, cultivating it until the visualization becomes clear.
Subsequently, one should visualize an eight-petaled red lotus located at the heart of the object of practice, male or female. That "mind-disturbing bee" (manmatha) should be summoned by that [lotus] and made to enter the heart lotus—the nature of the body, speech, and mind—through the nostrils of the object. Then, that mind-disturber, having turned oneself orange-red with the pollen of the flower that is the nature of the object’s body, having drunk the honey of the nature of their speech, and having consumed the flower of their mind, is then summoned by the wind of the practitioner’s breath. It is expelled from the object’s nostrils and inserted into the heart lotus of the practitioner’s own nostrils. One should imagine that it shakes the pollen of the flower of the object’s body, and vomits forth the honey of their speech and the flower of their mind. In this manner, one should repeatedly meditate with intense passion. At the conclusion of the meditation, one should recite the mantra interspersed with the name of the object. By these means, one attains the branch of the vidyā that intoxicates with joy.
To bring oneself under control, one should first perform ablutions and then meditate. If one perceives faults in human desires, they will instead become invisible faults; therefore, one should first meditate by thoroughly analyzing the objects that are sublime and those that are not. This is the stage of the "Bee" (Bhṛṅga) who subdues the mind. Regarding the rituals of fire offerings and so forth for activities such as pacification, they are well understood by following the tantras and other sources, so they are not written here.
The sādhana of the two-armed Hevajra, who delights in charnel grounds, is as follows: once again, having performed everything as before, one should visualize a blue syllable HRĪḤ upon a moon at the heart, from which arises a vajra. Within the hub of that vajra, one visualizes a syllable HRĪḤ resting on a moon. From the total transformation of all these, one should meditate on the Blessed One himself in the form previously described. He stands in a dancing posture upon a half-moon on a corpse, wearing a garment of human skin; the rest is as before. The mantra to be recited is: Śrī heruka vajrasamaya hrīḥ sarvadustān mudrāprabhañjaka hūṃ phaṭ. This was also spoken by the Blessed One in the Saṃpuṭatilaka Tantra. Thus, the sādhana of the Blessed One alone—concise and clear, and distinct from the version with the consort—has been explained. A more detailed and clear version of this is found within the Vajrapañjara, where the source of phenomena (dharmodaya) is triangular, purified as body, speech, and mind.
Because all obscurations have been abandoned, it is white like the autumn moon. Because the three bodies are of a single ground and the nature of the vajra, and because it is the great source of phenomena, one should meditate on it as being narrow at the bottom and wide at the top. Within that, in the center of the eight charnel grounds, is a blue syllable hrīḥ resting upon the union of a moon and sun; from this, one should visualize a blue syllable hrīḥ resting on a moon within the hub of a vajra—this is the extensive version.
Inside the beautiful source of phenomena (dharmodaya), upon a multicolored lotus, is the center of a multicolored vajra perimeter. From the syllables yaṃ, raṃ, vaṃ, and laṃ, there arise the four great elements of the nature of wind, fire, water, and earth, colored blue, red, white, and yellow respectively. These are shaped like a bow, with their two ends marked by banners, the triangular [fire] marked by the syllable repha, the circular [water] marked by a vase, and the square [earth] marked at its four corners by three-pronged vajras. From the complete transformation of these, there arises the palace of Vairocana together with Prajñā, the essence which perfectly encompasses the buddha-fields. It is a multi-storied mansion of various precious gems, a celestial palace (vimāna) square in shape, the nature of which is the non-duality of the Tathāgatas and ordinary beings. Its four doors in the east and other directions are the purification of the applications of mindfulness, the correct abandonments, the bases of miraculous power, and the faculties. The doors themselves are the very means of awakening.
The eight pillars at the eight doorways are the purity of the eight branches of the noble path; the secondary pillars are the qualities of all the buddhas. Because the burden of the welfare of others has already been taken up through the purity of the four correct discernments, there are four beams upon the pillars. Through the purity of the four absorptions—Śūraṅgama, Gaganagañja, Vimalamudrā, and Siṃhavikrīḍita—there are four stable and beautiful pedestals.
Through the purity of the dhāraṇīs of patience, phenomena, meaning, and mantra, or through the purity of the momentary distinctions of the characteristics of the acceptance of the knowledge of phenomena, the knowledge of phenomena, the acceptance of the subsequent knowledge, and the subsequent knowledge regarding each of the truths, there are two goddesses on each side of the main doorways, arranged in clockwise order. These sixteen goddesses are: Vīṇā, Vaṃśā, Murajā, Mṛdaṅgā, Mālā, Lāsyā, Gītā, Nṛtyā, Puṣpā, Dhūpā, Dīpā, Gandhā, Ādarśā, Rasā, Sparśā, and Dharmā.
These sixteen goddesses are yellow, red, white, smoke-colored, yellow, red, pale red, multicolored, white, black, golden, yellow, white, red, green, and white in color. They possess forms corresponding to their respective names and are born from their respective initial syllables.
Moistened by compassion and vast, the accumulations of merit and wisdom are completely filled with nectar; thus, there are eight vases filled with nectar. Through the power of intention, the twelve branches of the sublime Dharma—renowned as the sūtras, geya, vyākaraṇa, gāthā, udāna, nidāna, avadāna, itivṛttaka, jātaka, vaipulya, adbhutadharma, and upadeśa—are the pure sounds of the Dharma that pervade all beings, appearing as banners moved by the wind and endowed with the sound of bells. Through the purity of pacifying the universal torment of cyclic existence by applying oneself accordingly, or through the purity of abandoning all conceptual constructions, there are parasols. Through the purity of accomplishing the perfect welfare of others by means of various jewels and so forth that are the result of merit, there are excellent vases and wish-fulfilling trees. Through the purity of the supramundane path of meditation that overcomes the root afflictions, there are necklaces. Through the purity of the mundane path of meditation that clears away the afflictions, there are half-necklaces. Through the purity of bodhicitta, there is the moon. Through the purity of the wisdom of primordial awareness (jñāna), there is the sun. Through the purity of the primordial awareness of the Tathāgata’s path, there are fly-whisks. Through the purity of the perfect flowers of the branches of awakening, there are flower garlands. Through the purity of the mirror-like primordial awareness, there is the mirror.
Thus, it is also stated in the Sarvarahasya-tantra:
"The necklace is explained as that which definitively destroys all afflictions (kleśa). The necklace that snatches away afflictions cuts and utterly destroys them. That which thoroughly destroys and clears them away is the application of the two accumulations. That which snatches away half of the afflictions is called the 'half-necklace.' The unsurpassed bodhicitta, naturally luminous and utterly pure, which acts for the benefit of all sentient beings, is called the 'moon maṇḍala.' The nature of insight and wisdom, in which the vajra-like samādhi has arisen, the great splendor of the world of liberation, is to be called the 'sun maṇḍala.' The wisdom of samādhi that is definitively liberated from the two types of conceptualization is the wisdom of the path. The distinction of the wisdom of the path is correctly explained as the 'fly-whisk.' Likewise, the seven branches of awakening are the garland of flower clusters."
Furthermore, the teaching of the Dharma to those with subtle, coarse, or intermediate intellects, and to those free from certainty, is protected by the purity of being without need for protection; thus, there is the red bakuli garland of being without protection. The teaching of the Dharma that is supremely white and transcendent is the kramaśīrṣa (staircase). The four archways are the purity of the four concentrations (dhyāna). The Dharma wheel is the purity of cutting through the discordant factors of teaching the Dharma. Its spokes are the eight purities: on one side, suffering, origin, cessation, the path, the conventional, the ultimate, the mundane, and the supramundane.
According to another system, there are twelve aspects: "Suffering is to be known; it has been known; it is not to be known again." "The origin is to be abandoned; it has been abandoned; it is not to be abandoned again." "Cessation is to be realized; it has been realized; it is not to be realized again." "The path is to be cultivated; it has been cultivated; it is not to be cultivated again." Thus, the Wheel of Dharma is turned in twelve aspects, which is the complete purity and the purity of the twelve links of dependent origination.
Through the grace of relying upon the completely pure and authoritative Dharma spoken by the Blessed One, the wild beasts and female deer of the evil non-Buddhists follow the Dharma and faith, becoming pure in their application to the path. Regarding the "Wheel of Dharma," they are pure in their application, and thus the wild beasts and female deer possess throats that are free from fear. Through pure conscientiousness, there are canopies, garments, garlands, and so forth. Because there is no binding from any side, the Wheel of Dharma of the vajra method of all the perfectly awakened Buddhas is perfectly turned, and thus there is a vajra garland. Through the purity of the vision of authentic wisdom, there are blazing rays of light. Through the purity of Vairocana and the others, there are the colors of the earth and so forth; the rest are not written here as they are already well known.
Having thus meditated upon the multi-storied palace, one should meditate upon oneself as the Blessed One in its center, following the sequence of the variegated lotus and so forth, as previously described.
The three syllables OṂ ĀḤ HŪṂ, which are the nature of the body, speech, and mind, are enclosed within two red HOḤ syllables. Together with the intermediate state being known as Samantānanda, they enter the mouth of the Blessed One, pass through the vajra path, and enter the lotus of the goddess. They melt within her womb. The Blessed One, too, finally melts together with his consort through great passion, and abides in the nature of great bliss in the form of bodhicitta, like liquid mercury.
Then, without interruption, the yoginīs such as Pukkasī, who are the nature of great love and so forth, feel intense longing in their hearts, thinking, "We are without a protector!" They exclaim:
"O Venerable One, arise with a compassionate mind!
Pukkasī, protect me!
Abandon this very nature of emptiness,
And grant me the union of great bliss!
Without you, I shall die;
O Hevajra, please arise!
Abandon this very nature of emptiness,
And grant the attainment of the fruit to Śavarī!
O Lord of Joy, guest of the world,
Have you entered into emptiness?
Without you, I do not know the directions;
The Caṇḍālī is about to melt away!
I know your heart;
Caṇḍālī, my mind has lost its composure.
Do not let the stream of compassion be severed;
O Master of Miracles, please arise!"
Thus, those who possess the vajra songs perfectly entreat him. Stirred by his former aspirations, he awakens at the mere sound of the vajra songs, or arises like waking from a dream.
Then, in the petals of the directions such as the east, in their respective order, are Brahmā, Indra, Upendra, and Rudra; and in the petals of the intermediate directions such as the northeast, are Yama, Kubera, Rākṣasa, and Vemacitrin. In the hearts of these, upon moons, and in the center of the union of moon and sun, according to the ritual, are the eight drops of bodhicitta emanated from the Blessed One. From the eight syllables Gaṃ, Caṃ, Vaṃ, Ghaṃ, Paṃ, Śaṃ, Laṃ, and Ḍaṃ, which arise from these drops, there appear the curved knife, the hand-drum, the tortoise, the snake, the lion, the monk, the wheel, and the vajra. Upon these, one visualizes the non-dual syllables that always abide upon the moon. Then, through the stage of awakening from the source of the five elements, all of these completely transform into the eight yoginīs, Gaurī and the rest, possessing the colors as described. They are the nature of the aggregates of form, feeling, perception, and formations, and the elements of earth, water, fire, and air. They have one face, three round, red eyes, and two arms. In their right hands, they hold the curved knife, the hand-drum, the tortoise, the snake, the lion, the monk, the wheel, and the vajra. These are the manifestations of the purification of the conceptualizations of entities and so forth, and of the purification of speech, envy, hatred, pride, bodhicitta, and ignorance, as well as the primordial wisdoms.
In the left [hands] are a rohita fish, a pig, a skull-cup, a yogi’s alms bowl, a battle-axe, a mendicant’s staff, a plow, and a threatening gesture. These sever avarice, delusion, emptiness, the collection of attachments, and so forth; they restore mindfulness of these [qualities], uproot obstacles, and are the miraculous manifestation of the pure nature of the single dharma. One should meditate on [the deity] dwelling in the half-lotus dance posture upon moons at the hearts of Brahmā and the others, holding the five mudrās, adorned with a garland of fresh heads, with a distorted face, and orange hair bristling upward, clad in the directions as her garment.
At the hearts of all [the deities], one should visualize their respective seed-syllables resting upon moons, which are themselves situated upon their respective hand-symbols. Having performed the activity preceded by the radiation and reabsorption [of light] through these conditions, one then summons the wisdom wheel (jñānacakra) projected by the Gaurī who has been drawn forth by the light rays of the seed-syllable at the heart, with: oṃ gaurī ākarṣaya jaḥ. One causes entry with the Caurī: oṃ caurī praveśaya hūṃ. One binds with the Vetālī: oṃ vetālī bandhaya vaṃ. One subjugates with the Ghasmarī: oṃ ghasmarī toṣaya hoḥ. Then, at the conclusion of the empowerment, Akṣobhya, Vairocana, Ratnasambhava, and Amitābha [are placed] upon Gaurī and the others who reside on the petals of the directions.
Regarding Pukkasī and the others, their purification as the mudrās of Akṣobhya and the rest follows the same sequence as Gaurī and the others, just as in the Hevajra Tantra (the Two-Part Tantra). Then, the armor and all other rites are exactly as before. As for the tasting of the nectar (amṛta): according to the ritual, one’s own consort offers it to the Blessed One himself, while the retinue of Gaurī and the others taste it through the application of the vajra tongue. Furthermore, the palace here is according to the Hevajra Tantra. The empowerment is Akṣobhya, the tasting of nectar is Amitābha, the praise is Ratnasambhava, the offering is Amoghasiddhi, and the passion is Vajrasattva; these should be constantly visualized. These are to be described as the six branches of accomplishment. These should also be observed in the three maṇḍalas that will be explained. As for the dissolution into clear light: the three worlds simultaneously dissolve into the charnel grounds, the charnel grounds into the palace, and Gaurī and the others into the pores of the Blessed One in their respective directions. The remainder is as before. Then, the mantras for Nairātmyā and the others are as follows: OṂ AṂ SVĀHĀ is the heart mantra of Nairātmyā. OṂ LĪṂ SVĀHĀ is for Gaurī. OṂ EṂ SVĀHĀ is for Caurī. OṂ AIṂ SVĀHĀ is for Vetālī. OṂ OṂ SVĀHĀ is for Ghasmarī, the mantra for all activities.
Oṃ āṃ svāhā. This is for Pukkasī. Oṃ riṃ svāhā. This is for Śavarī. Oṃ lṛṃ svāhā. This is for Ḍombī.
Here, when one wishes to perform the samaya recitation, at that time, from the seed syllable at the heart, one recites the essence mantra and the near-essence mantra that will be explained. As they are recited, the assembly of deities of the maṇḍala is perfectly emanated. Having performed the benefit of sentient beings, they are drawn back together with the mantra in the manner of a rosary. At the time of the inhalation of the breath, they should be made to enter that very seed syllable at the heart. When the recitation of the individual mantras of the deities is fully completed, they should be emanated and reabsorbed one by one; this is the samaya recitation.
Furthermore, as it is stated in the Hevajra Tantra (the Two-Part Tantra): "The practitioner of the observance performs the rites of paralyzing and so forth through the yoga of Vajrā, Gaurī, Vāri, Vajraḍākinī, Nairātmyā, Khacāriṇī, and Bhūcāriṇī." Therefore, here too, in accordance with the pith instructions on the inseparable union with the Guru, the extensive ritual applications shall be written. From the seed syllable Aṃ, one visualizes yellow Vajrā, who holds a skull-cup and a khaṭvāṅga in her left hands, and a vajra and a curved knife in her right hands. At her heart, one meditates on the yellow seed syllable Hūṃ. Then, having first performed one hundred thousand preliminary recitations of "Oṃ hūṃ svāhā," one should perform the fire offering (homa) according to the ritual procedure using the mantra together with the insertion phrases that will be explained.
Furthermore, at the conclusion of this rite, in two unbaked clay bowls, one should write the vidyā mantra: Oṃ hūṃ vajre [name] stambhaya hūṃ svāhā, upon a circular water maṇḍala marked with a vase and a crossed vajra (viśvavajra) drawn with yellow orpiment. Fill one bowl with charnel ground ash and seal it with the other bowl. On top of this, draw a maṇḍala of Mahendra marked with vajras in the cardinal directions and bury it underground. Then, remaining in a meditative absorption (samādhi) while pressing down with the left foot if the target is a woman, or the right foot if the target is a man, recite the mantra at the end. One thousand recitations will paralyze the target.
Visualize a white Gaurī, complete from the seed syllable Iṃ, the color of saffron, holding a noose, a khaṭvāṅga, a hook, and a vajra, with a red seed syllable Aṃ at her heart. Having performed one hundred thousand preliminary recitations of Oṃ aṃ svāhā, perform the fire offering (homa) according to the ritual procedure using the mantra with its insertion words. At the conclusion of this rite, visualize the target as red with disheveled hair, pressed down, their throat bound with a noose, their birth-place pierced by a hook and dragged in, and falling beneath one's feet. Then, visualize fire blazing and fiercely burning from the red syllable Aṃ at their birth-place. For a male target, visualize it in the same way at the heart. Reciting Oṃ aṃ gaurī amukīṃ me vaśamānaya svāhā will certainly bring them under one's control.
Visualize a blue Varuṇī born from the seed syllable Iṃ, holding a skull-cup, a hammer, a vajra, and...
Holding the threatening gesture, one should visualize a blue syllable khaṃ situated upon a sun disk at the heart and recite oṃ khaṃ svāhā one hundred thousand times. Then, one should perform the fire offering (homa) with the mantra including the insertion words as appropriate. At the conclusion of this rite, one should visualize the object of the action with disheveled hair, being suppressed, situated in the wind, mounted upon a blue female camel, facing south, and being struck with a hammer by a wrathful deity. Reciting oṃ khaṃ pāriyoginī amukaṃ uccāṭaya khaṃ hūṃ hūṃ hūṃ phaṭ svāhā, one will cause [the enemy] to be driven away within seven nights.
Visualizing the Vajra-Ḍākinī born from the syllable u, who is like water, and a blue syllable jhrīṃ situated upon a sun disk at her heart, one should recite oṃ jhrīṃ svāhā one hundred thousand times. One should then perform the fire offering with the mantra including the insertion words in accordance with the specific action. At the conclusion of this rite, one should visualize the objects of the action mounted upon horses and buffaloes, engaging in mutual conflict. Reciting oṃ jhrīṃ vajraḍākinī [name] and [name] vidveṣaṃ kuru svāhā jhrīṃ hūṃ hūṃ hūṃ phaṭ svāhā, one will cause them to become hostile.
Visualizing the blue Nairātmyā born from the seed-syllable aṃ, who has a distorted form and holds a skull-cup, a khaṭvāṅga, a vajra, and a curved knife, and a blue syllable buṃ at her heart, one should recite oṃ buṃ svāhā one hundred thousand times. One should then perform the fire offering according to the ritual with the mantra including the insertion words. At the conclusion of this rite:
In the skull of a Brahmin, one should draw a six-spoked wheel using poison, kētsé (mustard seeds), and the blood of a threatening gesture. On the spokes, place the syllable HŪṂ, and in the center, write: OṂ BŪṂ NĪRA ĀTMĀMUKA JĀRAYA PHUṂ HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ, or else write the mantra augmented with the words for "all harms." Having written this, recite it and heat it over embers of chaff; this will cause the victim to be afflicted by fever.
Visualize the Sky-Farer (Khachöma) born from the syllable AṂ, white in color, with a red HŪṂ seed-syllable at her heart. Recite OṂ HŪṂ SVĀHĀ one hundred thousand times, and perform the fire offering (homa) according to the ritual using the mantra augmented with the words of the specific purpose. For this activity, visualize the object of the rite blazing atop a wind and fire maṇḍala. From the light rays of the seed-syllable at one's own heart, an iron hook emerges from the left nostril, enters the right nostril of the object, pierces their heart and birth canal, exits through the left nostril, and enters the seed-syllable at one's own heart through the right nostril. Summon them by means of the breath, reciting: OṂ HŪṂ KHECARĪ AMUKĪM ĀKARṢAYA HŪṂ SVĀHĀ. By reciting this, they are summoned.
Visualize the Earth-Farer (Sachöma) born from the syllable AṂ, similar to Nairātmyā, with a blue GHŪḤ at her heart. Perform one hundred thousand approach recitations of AṂ GHŪḤ SVĀHĀ, and perform the fire offering as before using the mantra augmented with the words of the specific purpose. For this activity, visualize a blazing vajra born from the syllable GHŪḤ.
One should visualize [the deity] piercing the lower gate of the victim to the level of the waist. By reciting: Oṃ ghuḥ bhucari amukaṃ māraya ghuḥ hūṃ phaṭ svāhā, one effects the killing. Regarding the sequence of mantras taught in the Tantra, here [the deities] Bhūcari and Khecarī transcend the sequence. These seven, beginning with Vajrī, also abide in the dancing posture upon the sun and the corpse; they have four arms, are adorned with the five mudrās, and have red hair bristling upward.
Then, the heart mantras of Vajrī and the others are as follows: Oṃ āṃ svāhā, Oṃ iṃ svāhā, Oṃ īṃ svāhā, Oṃ uṃ svāhā, Oṃ ūṃ svāhā, Oṃ ṛṃ svāhā, Oṃ ṝṃ svāhā. Since the condensed form becomes clear by depending on the extensive one, this sādhana of the maṇḍala is described for the two-armed [form] alone. Likewise, one should understand the four-armed and others as well. The distinction between these is that Jvalā-jvalā is four-armed because she is the one who has definitively conquered the four Māras. With her two primary hands, right and left, she holds a vajra and a skull-cup filled with the blood of Māra. With her two remaining hands, she embraces Vajravārāhī, who is identical to Nairātmyā. The rest is as before. Her mantra is: Oṃ jvala jvala bhyo hūṃ hūṃ hūṃ phaṭ svāhā. Here too, the three hūṃ syllables are explained as short. Kiṭi kiṭi vajra refers to emptiness (śūnyatā), the absence of marks (animitta), and the absence of aspiration (apraṇihita).
Through the purity of the three channels, he has three faces: the central face is black, the right is white, and the left is red. Through the purity of the six perfections, he has six arms. With the primary right hand he holds a vajra, and with the left a trident that destroys the afflictions of the three realms of existence. With the other [right hand] he holds a curved knife, and with the remaining [left hand] he holds a bell, which is the purity of the perfection of wisdom. With the two remaining hands, he embraces Vajraśṛṅkhalā, who is similar to Nairātmyā, abiding as before. It is taught that the retinue is present for all [deities]. The mantra for this is: OṂ KITI KITI VAJRA HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ. The three HŪṂ syllables are said to be long. Piṭu-vajra is born again from the HŪṂ syllable, arising from a HŪṂ syllable situated upon a sun disk within a skull cup. Through the purity of the eight liberations, he has eight faces. His central face is black, the right is white, and the left is red and extremely terrifying. The upper face is smoke-colored and baring its fangs. The remaining faces are the color of bees, and each has three eyes. Through the purity of the sixteen emptinesses, he has sixteen arms. In the skull cups in the palms of his eight right hands, from top to bottom in sequence, are an elephant, a horse, a donkey, an ox, a camel, a human, a śarabha, and a bhaga—these being the purity of destroying the diseases of phlegm, wind, insanity, consumption, leprosy, elephantiasis, liver, and spleen.
Likewise, in the skull cups held in the left hands, because they bestow the accomplishments of the lords (īśvara)—such as the clarity of pacification and so forth—upon all sentient beings, they are the pure forms of Earth, Water, Wind, Fire, Moon, Sun, Yama, and the Lord of Wealth (Vaiśravaṇa). With his two primary hands, he embraces Nairātmyā. With four feet, he is the purity of the four means of gathering. For the sake of completely subduing the aggregates, the afflictions, the Māra of the Son of the Gods, and the Māra of Death, he stands with two feet in the half-lotus dance posture upon the sun disks at the hearts of Brahmā, Viṣṇu, Śakra, and Maheśvara, while the other two feet perform the dance in the posture of the right leg extended. Thus say some. The ritual of the retinue is as before. Regarding the dissolution into clear light: through this division, the eight yoginīs, Gaurī and the rest, are dissolved into the eight faces, and the seven faces are absorbed into the primary face. The fourteen hands, together with their implements, are absorbed into the two primary hands, and the two feet into the two primary feet. The dissolution of the variegated lotus and so forth is as before, being the same as the others. Its heart mantra is: oṃ devapicu vajra hūṃ hūṃ hūṃ phaṭ svāhā. Here, the three hūṃ syllables are said to be long. oṃ vajrakartari hevajrāya hūṃ hūṃ hūṃ phaṭ svāhā. This is the near-heart mantra, and it is said to be the near-heart mantra for all of these. oṃ aṣṭānanāya piṅgordhvakeśavartmane.
Catuḥpañcāśannetrāya ṣoḍaśabhujāya kṛṣṇajīmūtavapuṣe kapālamālānekadhāriṇe ādhmātakrūracittāya ardhendudaṃṣṭriṇe māraya māraya kāraya kāraya garjaya garjaya tarjaya tarjaya śoṣaya śoṣaya saptasāgarān bandha bandha nāgāṣṭakān gṛhṇa gṛhṇa śatrūn hā hā hi hī hu hū he hai ho hau haṃ haḥ phaṭ svāhā. This is the garland mantra. Furthermore, it is said here that although there is only a distinction in the superior mind regarding the central Piṭhu-Vajra, the four Vajras are definitely perceived. Regarding the uninterrupted sequence: from Bhrūṃ arises a vast yellow vajra-pavilion. In the center of a ten-spoked wheel, purified by the ten cognitions—the cognitions of suffering, origin, cessation, the path, exhaustion, non-arising, phenomena, subsequent realization, the conventional, and the knowledge of full birth—one visualizes a blue syllable Hūṃ situated in the center of a union of a moon and sun upon a variegated lotus and sun, atop a variegated vajra. Then, through the sequence of awakening from the source of the five, from the total transformation of all that, there appears the blue Indra-colored [deity], with one face, wearing a jewel crown, holding a vajra and bell in his two hands, embracing his natural consort, and with his left leg extended, treading upon Bhairava and Kālarātri.
Having visualized oneself as Vajra-Hūṃkāra, adorned with variegated garments and ornaments, one emanates the ten wrathful deities through the yoga of the vajra and skull-cup. In the spokes of the east and so forth, in successive order, are Yamāntaka, Prajñāntaka, Padmāntaka, and Vighnāntaka. They are black, white, red, and blue in color, respectively, and hold a vajra hammer, a white staff, a red lotus, and a crossed vajra. They are dwarfish with large bellies, wrathful, and adorned with the eight great nāgas. Their orange-red hair is bristling upward, and they have three round, red eyes. They wear crowns of Vairocana, Ratnasambhava, Amitābha, and Akṣobhya, and they wear tiger-skin lower garments.
In the spokes of the southeast and so forth are Takkirāja, Nīladaṇḍa, Mahābala, and Acala. They are intensely black and hold an iron hook, a staff, a trident, and a sword. Here, Takkirāja and Acala are adorned with fine garments, jewels, and the like, and are graceful, wearing jewel crowns. Nīladaṇḍa and Mahābala have distorted faces like those of Yamāntaka. In the lower spoke is black Sumbharāja, holding a pestle and wearing a jewel crown marked by Akṣobhya.
On the upper spoke is the yellow Uṣṇīṣa holding a wheel, adorned with a jewel crown marked by Vairocana. The four [wrathful kings] such as Kāmarāja and the others wear crowns of Akṣobhya. These ten wrathful deities should be visualized as standing upon variegated lotuses and sun disks with their left legs extended, holding nāga-nooses with the threatening mudrā of their clenched left hands at the level of their hearts.
Having thus meditated upon the protection wheel, one should visualize in its center the transformation of Vajra-Hūṃkāra into the source of phenomena (dharmodayā) in the form previously described. Following the sequence taught elsewhere, one should also visualize the four Hevajras, including the variegated lotus, the variegated vajra, and the multi-storied palace.
When the yoga of the generation stage within these maṇḍala circles is practiced continuously and without interruption, becoming clearer and clearer through the power of that yoga, then, by means of the signs of the reflected image, one will become free from conceptual elaboration and all-pervasive clarity, just like an illusion and so forth. As it is said in the Two-Part Tantra:
"Through the yoga of the generation stage,
The practitioner meditates on elaboration.
Having made elaboration like a dream,
Elaboration itself is made non-elaborative.
Just as an illusion, a dream,
And just as the intermediate state,
Through the yoga of constant familiarization..."
The maṇḍala itself is likewise asserted to be so. Therefore, it is the immediate mastery of the ten bhūmis, the essence of the two truths as one, the great Vajradhara, the stage known as "Subduer of Māras." Furthermore, for the sake of increasing the yogin’s equipment of merit through other meditations and for the purpose of pacifying obstacles, one should worship the Blessed One with whatever offerings are available.
The ritual for that worship shall be described: a mantrin endowed with the yoga of Hevajra should, at the time of dawn, perform the cleaning and so forth of the site as appropriate. Touching the parts of the ground with the hand, one consecrates the site with the mantra: oṃ rakṣa rakṣa hūṃ hūṃ hūṃ svāhā. There, one should smear it with the five nectars, fragrant scents, and so forth, and with the conviction that it is that very ground, one should recite: "The place and near-place, the field and near-field, the grove and near-grove, the assembly and near-assembly, the drinking place and near-drinking place, the charnel ground and near-charnel ground." Having made a square maṇḍala, one consecrates the perimeter with: oṃ vajrarekhe hūṃ. With: oṃ surekhe sarvatathāgatādhiṣṭhantu svāhā, one should place a single flower in the center of the maṇḍala. Then, with light rays from the seed-syllable at the heart, one invites the Blessed One, the progenitor of the three worlds, surrounded by the eight heroines and goddesses. To him, one first offers the incomparable water for the feet and so forth.
Flowers and so forth, born from the syllable HŪṂ and consecrated by the three syllables, are offered. First, offer a single flower to the Blessed One with: OṂ ĀḤ HŪṂ HEVAJRAYA VAJRAPUṢPE HŪṂ SVĀHĀ. Afterwards, offer with the heart and near-heart mantras. Having made the offering with: OṂ ĀḤ NĪRĀTMĀYE VAJRAPUṢPE AṂ HŪṂ SVĀHĀ, one should then offer with the mantras: OṂ A Ā I Ī U Ū Ṛ Ṝ Ḷ Ḹ E AI O AU AṂ SVĀHĀ; and OṂ AṂ HŪṂ SVĀHĀ.
On the crowns of both, offer: OṂ ĀḤ AKṢOBHYĀYA VAJRAPUṢPE HŪṂ HŪṂ SVĀHĀ. On the petals in the directions of the east and so forth: OṂ ĀḤ GAURYE VAJRAPUṢPE GAṂ HŪṂ SVĀHĀ; and OṂ GAURĪ HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ. With these, one should offer to Gaurī. In that manner, one should offer especially to Caurī and the others, interspersing their respective seed syllables with the three syllables. Afterwards, having offered with the word of invocation together with the syllable OṂ, one should offer with the syllables HŪṂ HŪṂ HŪṂ PHAṬ ending in SVĀHĀ.
Likewise, in place of PUṢPE, one should offer by inserting the respective names such as DHŪPE and so forth. Then, offer by joining the palms in a gesture of flowers with: OṂ SARVA TATHĀGATA SUCALITA NAMITĀIRE NAMĀMI BHAGAVANTAM ŚRĪ HERUKA NĀTHAṂ JAḤ HŪṂ VAṂ HOḤ PRATĪCCHĀMAṂ KUSUMAÑJALINĀ THAḤ HO. Thus, one should bow.
OṂ SARVA-TATHĀGATA-PŪJA-MEGHA-PRAVASARA-SAMUHE SPARAHĪM GA-GANA-KHAṂ HŪṂ SAMANTA SVĀHĀ. This is the blessing of the offerings. Then:
I bow to you, Hevajra, whose body is the nature of miraculous manifestation, the inseparability of emptiness and compassion, and the total subduer of the illusions of Māra.
Having prostrated with these words, one should perform the confession of misdeeds and so forth as much as possible. Then, make this aspiration:
May I be born into a noble family, possess the samaya, be free from madness, and teach Hevajra. May I be devoted to the guru and endowed with compassion in birth after birth.
May I hold the vajra and ring the bell with my hands, recite the profound Dharma, and partake of the consort’s fluid as equal food in birth after birth.
Having made this aspiration, then, in order to compensate for any omissions or additions in the ritual, recite the hundred-syllable mantra:
OṂ VAJRA-SATTVA SAMAYA-MANUPĀLAYA | VAJRA-SATTVA TVENOPATIṢṬHA | DṚḌHO ME BHAVA | SUTOṢYO ME BHAVA | ANURAKTO ME BHAVA | SUPOṢYO ME BHAVA | SARVA-SIDDHIṂ ME PRAYACCHA | SARVA-KARMĀSU CA ME CITTAM ŚREYAḤ KURU HŪṂ HA HA HA HA HOḤ | BHAGAVĀN SARVA-TATHĀGATA-VAJRA-MĀM AMUÑCA VAJRĪ-BHAVA MAHĀ-SAMAYA-SATTVA ĀḤ.
And:
OṂ, you have accomplished the welfare of all sentient beings; please grant the appropriate accomplishments. Having departed to the realm of the Buddhas, please return once again. OṂ VAJRA MUḤ. Thus, request them to depart.
In this same manner, the procedure should be applied equally to the mandalas of the four-armed, six-armed, and sixteen-armed [Hevajra].
First, having made offerings with the three syllables, one should make offerings with their respective mantras. For Vajravārāhī, one should also offer with Nairātmyā. For the sixteen-armed [Heruka], one should also make offerings with the eight-line offering mantra:
Oṃ aṣṭānanāya hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ piṅgorḍhvakeśapāṭmane hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ caturviṃśatinetraya hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ ṣoḍaśabhujāya hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ kṛṣṇajīmūtavapuṣe hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ kapālamālānekadhāriṇe hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ ādhmātakrūracittāya hūṃ hūṃ hūṃ phaṭ svāhā |
Oṃ ardhendudaṃṣṭriṇe hūṃ hūṃ hūṃ phaṭ svāhā |
Having made offerings with these mantras, one should perform the aspiration prayers and so forth as before, and then request the deities to depart. Next, the procedure for the meal should be explained. Regarding the feast circle (gaṇacakra), first, for the food, soup, and so forth, one should sprinkle the alcohol—which has been transformed into nectar according to the ritual—with the ring finger of the left hand. Then, either by inviting the wisdom circle (jñānacakra) with light rays from the seed syllable at the heart in the center of the source of phenomena (dharmodaya), or by [the light] radiating from the seed syllable at the heart, one should offer the food by appending the names of the food substances to the previously mentioned mantras. Afterwards, having requested the deities to depart and slightly purified the mouth with the samaya substances, one should offer the torma (bali) according to the ritual procedure to be explained.
Through the fire of the hearth at the navel, the food is melted and descends. It is then satisfied by dissolving into the samayasattva and samādhisattva residing at the heart, or into the syllable Aṃ surrounded by a garland of flames residing on the anthers of the navel lotus. This is the ritual of the inner homa of the internal self, which does not depend on external substances.
Then, at the end, one should offer the remaining torma with the mantra: Oṃ ucchiṣṭa vajra adhiṣṭha imaṃ baliṃ gṛhṇa gṛhṇa hūṃ hūṃ hūṃ phaṭ, and discard the food.
Furthermore, the inner homa that does not depend on external substances is as follows: as before, it is ignited by the winds. All the darkness and obscurations of conceptual thought are burned in the hearth of the navel maṇḍala by the extremely fierce caṇḍālī. One should perform the homa with the food of bodhicitta. This is the nature of wisdom and method, and it becomes filled with the intense blazing of the sun and moon in a state of equal taste (samarasa). This second [type of homa] is the unsurpassed homa that constitutes the worldly state of higher rebirth; it is attained through moment-by-moment cultivation.
Now, the torma offering shall be described. To the right, one should place perfumes, flowers, and so forth. In front, in a vessel such as a śakaṭa or bhāra, one should place fish, jambūḍīka fruits, and other excellent foods, along with three handfuls of water. Having also arranged whatever samaya substances are available, one should view them as before and transform them into amṛta through the sequence of the ritual for tasting amṛta.
One should visualize an eight-petaled red lotus situated above each of the three openings of the white, red, and black sources of phenomena (dharmodaya) of the three suchnesses (tattva). Then, from the seed syllable at the heart, Gaurī is emanated and summoned with: oṃ gaurī indra-ādīn saparivārān ākarṣaya jaḥ. With oṃ caurī indra-ādīn saparivārān praveśaya hūṃ, Caurī causes them to enter the lotuses. With oṃ vetālī indra-ādīn saparivārān bandhaya vaṃ, Vetālī emanates and binds them. With oṃ ghasmarī indra-ādīn saparivārān vaśīkuru hoḥ, Ghasmarī brings them under control.
Then, on the petals of the lotus situated in the central source of phenomena: first, in the east, is Indra, white, with a thousand eyes, two hands holding a vajra and making the threatening gesture (tarjanī), riding a white elephant, the son of Airāvata. On the southern petal is Yama, black, two hands holding a staff and making the threatening gesture, riding a buffalo. On the western petal is Varuṇa, white, riding a makara, possessing seven serpent hoods, holding a noose and a conch. On the northern petal is Kubera, yellow, with a stout body, dwelling in a treasure, holding a bījapūra fruit and a mongoose. All of them are adorned with jewel ornaments and jewel crowns; Yama has a sun-disc seat and sun-like radiance. In the northeast petal is Maheśvara, white, with three eyes, possessing a crown of matted hair, holding a trident and a skull-cup mudrā, and wearing a lower garment of tiger skin.
He is mounted upon a bull, embraces Gaurī, and possesses a moon seat and radiance. In the southeast petal is the Fire God (Agni), intensely red, with a protruding belly, mounted upon a goat, with orange-brown eyebrows and matted hair, holding a rosary and a water-pot (kamaṇḍalu) in his hands, and possessing a sun seat and radiance. In the southwest petal is the Lord of Rākṣasas, blue, mounted upon a corpse, with orange-brown hair bristling upward and arched eyebrows; some say he holds a curved knife (kartṛka) and a skull-cup (kapāla), while others say he holds a sword and a shield. In the southwest petal is the Wind God (Vāyu), blue, holding a fan, mounted upon a deer, wearing a jewel crown, possessing a moon seat and radiance, and adorned with jewel ornaments. In the pericarp is the Earth Goddess (Pṛthivī), yellow, adorned with jewel garments and ornaments, holding a vase in her left hand and a hand gesture signifying a prior vow in her right, possessing a moon seat and moonlight, and remaining surrounded by pretas and darkness. Above, on the eastern petal of the lotus of the source of phenomena (dharmodaya), is the Moon, white, seated upon a lily-chariot drawn by white horses, holding a lily marked with a moon in his two hands, and possessing a moon seat and radiance. In the south is the Sun, holding a lotus marked with a sun, seated upon a chariot drawn by green horses, and possessing his own seat and radiance. In the western and other petals, and the intermediate directions such as the northeast, are, in sequence, the red Mars (Bhauma) mounted upon a goat and holding a short spear.
Some say that he holds a curved knife in his right hand and a human head in the manner of devouring it with his left. The [planet] Mercury is green, holding a bow and arrow, and rests upon a lotus. Jupiter is yellow, holding a rosary and a water flask; some say he holds a jeweled pātra and a rosary. He rides upon a frog. Venus is white, holding a rosary and a water flask, and rests upon a lotus. Saturn is black, holding a rosary and a staff, and rides upon a tortoise. Rāhu is dark red, seated upon a chariot with the sun and moon as his seat; his hair and beard are tawny and blazing, and he has four fangs that utterly destroy. He holds the sun and moon in his hands. In that same place is Ketu, smoke-colored, holding a sword and a nāga-noose; some say he holds the fruit of the acchavṛtti and a kaṭitra. In the pericarp is Brahmā, yellow, with four full faces and four arms. His right hands hold a rosary and display the gesture of fearlessness; his left hands hold a triple-staff and a water flask. He rides upon a swan, has matted hair, and wears the sacrificial thread. He is surrounded by Brahmā, the Yāma and Tuṣita gods and so forth, the Brahmakāyika, and the Brahmapurohita gods and so forth; one should visualize all the gods residing there. In the lower source of phenomena (dharmodaya), upon the lotus petals in the east and so forth, are, in sequence, the nāgas Karkoṭaka, Śaṅkhapāla, Ananta, and Vāsuki, who are green, yellow, blue, and white respectively.
On the petals in the intermediate directions, such as the northeast, one should place Takṣaka, Kulika, Mahāpadma, and Padma, who are red, variegated, white, and white respectively; some say that Vāsuki is red, Takṣaka is red, and Kulika is yellow. These [nāgas] possess seven hoods, and on the pericarp is Śeṣa, who is white. All of them have the upper half of their bodies as humans, wearing jeweled crowns and all the ornaments, and they remain surrounding Śeṣa, equipped with armor and holding swords. One should visualize the asuras and the sentient beings of the hells [in the same manner].
Those residing on the central, upper, and lower lotuses have completely abandoned their own [nāga] forms and are born from the syllables HŪṂ, OṂ, and ĀḤ, which are the nature of Mind, Body, and Speech. They are black, white, and red in color, with one face and two hands, holding a vajra and a bell, and embracing their natural consorts. They stand in the ālīḍha posture. Upon them, the Buddhas in the form of Herukas confer empowerment, and one should visualize them as being sealed by Akṣobhya, Vairocana, and Amitābha. Then, having blessed the eyes and so forth with Mohavajrī and the others, one should immediately offer the water for the face to them in front with the conch-vessel mudrā, reciting the mantra: OṂ PRĀVARASATKĀRĀRGHYAṂ PRATĪCCHA SVĀHĀ. Then, with the conch-vessel mudrā, one should offer the water for the feet at their feet. Then: INDA JAMA JALA JAKKA BHŪTA VAHNI...
VAU, RAKṢA, CANDRA, SUJJA, MĀDA, PAPPHA, TALĀPĀTĀLI, AṬṬASAPPHA SVĀHĀ. Having summoned them with this, and while assuming a graceful posture and sounding the bell, one should eat and consume the food of the torma—which has been transformed into nectar as before—by means of the vajra-yoga of one’s own tongue, thinking, "They too experience it in that very same way."
Then, having made it into an offering of food with: IDAṂ BALIṂ, BHUÑJA, JIGHRA, PHULLA, DHŪPPA, MĀṂSA, PIṄGA, AMBA, SAPPHA, KAJJA, SĀDA, KHANTI, KHUṆE, PHEḌAGĀDA, one should ring the bell at the three places and satisfy them with: OṂ AKĀRO MUKHAṂ SARVADHARMĀṆĀM ĀDYANUTPANNATVĀT OṂ ĀḤ HŪṂ PHAṬ SVĀHĀ.
Then, sounding the bell, one should offer the song:
KOḶLĀ IREṬṬI ABOLĀ, MUMMUṆIRE KAKKOLĀ, GHANE KṚPIṬA HOVĀJJAI, KĀRUṆE KI Ā I NAROLĀ, TAHIṂ BALA KHAJJAI, GEḌHAṂ MA ṆĀ PIJJAI, HALE KĀLIÑJARA PAṆI Ā I, DUṆḌURA VĀJJAI Ā I, CA U
SA MA KACCHURĀ SIHĀLA, KĀP-PURA LĀ I Ā I, MALA INDHANA SALIÑJA, TAHIṂ BHARUKHA Ā I Ā I, PHREṂ KHANA KHAṬAKA RANTE, ŚUDDHA AŚUDDHA ṆAMUṆI Ā I, NI RAṂŚU AṄGE CAḌĀVI, TAHIṂ JASARĀVAPAṆI Ā I, MALA AJE KUNDURUPĀṬA Ā I, ḌIṆḌIMA TAHIṂ ṆA VAJJAI Ā I.
Afterwards, having offered the cleansing torma and made perfect offerings with: OṂ ĀḤ VAJRA PUṢPE HŪṂ SVĀHĀ, and likewise with incense and so forth, one should [offer] without making any distinctions oneself.
In order to purify any deficiencies or excesses in the ritual, one should recite the hundred-syllable mantra as before and request the deities to depart.
Next, the torma offering is described in an uninterrupted sequence. By the light rays from the syllable HŪṂ at the heart of the form of Hevajra, the deities of the maṇḍala residing within the vast celestial palace inside the source of phenomena (dharmodaya) at the center of the protection wheel, along with the ten wrathful deities, and the Indra and other world-protectors with their retinues and immeasurable sentient beings residing in the directions outside the protection wheel, are summoned. These are then dissolved into clear light and once again visualized in the form of Heruka together with Prajñā, and so forth. The offering of food and other services is performed as before.
First, the torma is purified. The Blessed One is offered food with the mantra: OṂ TRAILOKYĀKṢEPA IMAṂ BALIṂ GṚHṆA GṚHṆA AMUKASYA RAKṢAṂ ŚĀNTIṂ RAKṢĀṂ CA KURU HŪṂ HŪṂ HŪṂ PHAṬ SVĀHĀ.
With OṂ JVALA VAJRA and so forth, the samaya is bestowed upon each individually, and they should be offered food with their respective mantras. One should summon them with OṂ ĀNĪRĀTMYĀ and so forth, and then recite their seed syllables: AMUKASYA ŚĀNTIṂ RAKṢĀṂ CA KURU HŪṂ SVĀHĀ. With OṂ HŪṂ, one offers to Nairātmyā and the others.
NAMAḤ SAMANTA BUDDHEBHYO / NAMO VAJRAMUṄGARA HASTĀYA CAṆḌAMAṆḌALĀKṢEPĀKĀRĀYA HŪṂ PHAṬ / NAMAḤ SAMANTA BUDDHEBHYO / MAHĀDAṆḌADHARA VIVIDHASURĀSURA...
Thus, with the ten mantras spoken in the Vajrapañjara by the ḍākinīs, one should offer to the directions such as the east and the intermediate directions such as the northeast in a clockwise manner, as well as to the ten wrathful deities such as Yamāntaka above and below. With the mantras beginning with oṃ indra jama jala, one should likewise offer to Indra and the others as before. Contemplating that by tasting the nectar as before, they too attain supreme great bliss and thereby fulfill the practitioner’s aspirations, one should then make aspiration prayers and so forth, and request them to depart as before. This is the second torma ritual of the generation stage.
In the generation stage, by tasting the mere flavor of the food through the fluid that moves in accordance with wisdom and method, one makes offerings to those who are the essence of wisdom and method, and likewise to the deities such as Indra and the lords of the maṇḍala as one desires, using a torma that is inseparable from the flavor of primordial wisdom (jñāna). This is the torma ritual.
Regarding the statement that by reciting mantras with a standard rosary that has been purified according to the ritual, accomplishments (siddhi) will be swiftly granted, the ritual for that shall be briefly described. The eyes are the natural knowledge of the manner of having exceptional devotion toward the deity. To clarify that, it is called the "thread" (sūtra), specifically akṣasūtra. Because it is the thread of the syllables and because it counts them, it is called akṣasūtra.
This is the rosary. By the phrase "not expressed from i," the repha is separated. Regarding that, for pacifying activities, one uses round, beautifully fashioned beads made of pearl, crystal, bone, and so forth; for enriching activities, silver and the like; for magnetizing activities, red sandalwood, coral, and so forth; and for wrathful activities, rudrākṣa, lung-tang, buffalo bone, and so forth. Regarding the seed-syllable activities of the child, the Khasarpaṇa-tilaka states they are for all activities, while the Hevajra Tantra (Two-Part Tantra) says:
"Recitation with crystal is for paralyzing;
With niraṃśu [bone] is for hatred;
With horse bone is for expelling;
With brahmin bone is for summoning;
With elephant bone is for bringing down rain."
Regarding the number of beads: one hundred beads are for pacifying; one hundred and eight for enriching; twenty-five for magnetizing; and sixty for wrathful activities and all enriching activities. As stated in the Mañjuśrī Tantra:
"One hundred and eight, or twenty-five,
Fifty, and likewise the intermediate;
Rosaries of those measurements
The beneficial mantra-practitioner should string on a cord.
Eight thousand [beads] should be made likewise;
The rosaries should be the size of a thumb.
Thus, these four types of rosaries
The mantra-practitioner should string here."
Regarding that, the cords made by a young maiden represent the eight Bodhisattvas, such as Padmapāṇi and others, purified as the eight directions and intermediate directions. In the center is the single [bead] representing Vajrasattva, the nature of the perfectly complete Buddha, purified as the center.
Having wound the thread of the nine qualities, the beads are gradually strung upon it. At the two ends of the thread, knots are tied, and upon them are the beads: the dharmakāya itself, consisting of the power of universal reliance, the fearlessnesses, and so forth. Above that, the other beads are the dharmadhātu, suchness. Then, the beads should be infused with the colors of the actions corresponding to pacification and so forth, using sandalwood and other substances. By reciting the mantras of Hevajra and others, they are purified with the five nectars and the five lamps. Quickly, one should meditate on the fingers of the right hand as being the nature of a five-pronged vajra and consecrate them with a sun arising from the syllable A. On the fingers of the left hand, clearly visualized as the petals of a lotus, is the moon marked by the deer, arising from the complete transformation of the first vowel; with that, they are consecrated. In the center of those, which are the nature of wisdom and method respectively, one holds the rosary and should meditate on it as the essence of the desired deity in the form of Hevajra without interruption, or as all the beads being that deity.
Akṣarūpāraṇyatu asohi amantavisarugani asamkha alisijja itatu visarū oṃ pade pade mahājñāna sarvabuddhamahambhave ta hūṃ hūṃ hūṃ hoḥ hoḥ hoḥ ā svāhā.
Having consecrated it with this, one should also consecrate it by reciting the mantra one hundred and eight times. This is the ritual for the consecration.
Following that, with the firm conviction that emptiness and compassion are inseparable, one should perform the activities of pacifying, enriching, magnetizing, and subjugating with the right hand. Depending on the specific rite, one should place the rosary on the index, middle, ring, or little finger. Visualizing the tip of the thumb as the essence of a vajra hook, one should recite the mantra while drawing in the deity with the intention of summoning it; this will bring swift accomplishment.
As it is said: "By relying on the samayas, practicing yoga, and reciting mantras and so forth, one will swiftly attain the fruit." Thus, some of the samayas should be explained: one must not abandon compassion for sentient beings; one must not speak of others' lack of perfect discipline; one must not perform rites of subjugation; one must completely abandon fear, discouragement, anger, and the like; one must not proclaim one's own virtues for the sake of gain, honor, and so forth; one must not create mudrās, maṇḍalas, or mantras through mere conceptualization; and one should hold the various mantras and deities taught by the Sugatas to be inseparable. Furthermore, in whatever place one receives the Dharma and rituals from the guru, buddhas, bodhisattvas, and so forth, one should maintain the conviction that what is to be eaten and what is not to be eaten, and so forth, are naturally and utterly pure.
One should habituate oneself to engaging in the protection of those who harm the world, and in drawing in those who engage in evil conduct so that they may attain the innermost interior of the self. One should abandon the objects of perception for those who harbor doubts regarding the identity of the meditator as the self of the yogin and yoginī. One should habituate oneself to the signs, and just as the five gathered sensory qualities are to be utilized through the purity of the five Tathāgatas, one should not torment women, and especially one should not speak harsh words to the consort who is the dhāraṇī-mudrā. One should not step over symbolic forms or food offerings, and one should abandon the company of thieves. On the eighth or fourteenth day of the dark fortnight, one should make pills from the five nectars and five lamps, dry them in the shade, place them in a skull-cup vessel joined together, and having transformed them into nectar, one should utilize them daily. One should strive to abandon the fourteen root downfalls and the eight gross downfalls, which are so well known that they are not written here. These and many other marvelous distinctions of samaya, as taught by the Blessed One in the tantras, have also been elaborated upon by the accomplished masters. Having understood it thus, one should not step over them, nor should one speak of the samaya. In the Hevajra Tantra (the Two-Part Tantra) and other tantras, having seen its many various methods, the various clear realizations, and—
I have also exerted myself in other means of accomplishment. At the request of the guru, who is like my own life and unsurpassed, and by the slight urging of the disciples who seek the goal, I have composed this. To explain even a little of the Sage’s intention, though I am like a mere reflection, would be a base practice; it would lead to downfalls and rebirth in the hells. By whatever virtue I have gathered through composing this Abhisamayatilaka, may I and the world quickly become vessels for the yoga of glorious Hevajra.
This Abhisamayatilaka of glorious Hevajra, composed by the renowned scholar and elder Śākya Rakṣita, is complete.
It was translated by the Śākya monk Kyobpa Palsangpo, who has gained a slight illumination of the mind regarding the methods of grammar through the kindness of the glorious Jangchup Tsemo, the sovereign of scripture and reasoning and crown jewel of the bilingual translators.
From churning the precious source of the King of Tantras, this jewel of the two stages with white light has emerged. In order to cause the lily grove of disciples in the land of Tibet to flourish, Kyobpa Palsangpo translated this. By the pure white virtue arising from this translation, may all beings become Vajradharas.
Since I have not consulted a Paṇḍita and a second Sanskrit manuscript was not found, whatever errors may exist, may the learned forgive them, and may they correct and discard the faulty parts.