Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Personal Instructions on Nairātmā is a technical manual of Vajrayāna practice focused on the deity Nairātmā. The text provides a detailed system of somatic and mental visualizations designed to transform the practitioner's subtle body into a vessel for enlightenment. It guides the reader through a rigorous process of internal alchemy, involving the manipulation of channels, drops (bindu), and seed-syllables to achieve a state of non-dual bliss and emptiness. The work commits the reader to a precise sequence of meditative stages: from the visualization of the deity's form and the movement of energies within the central channel to the realization of the dharmadhātu. By integrating the yoga of the coemergent consort and the recognition of specific meditative signs, the practitioner aims to dissolve ordinary perception and attain the nature of the Buddha-ground. The text concludes with instructions on the transmission of these secret methods to qualified disciples, emphasizing the exclusivity and subtlety of the practice.
Provenance
About this text
Offering a series of pith instructions on the deity Nairātmyā, the Nairātmakopadeśa is a work of the Non-dual Tantra tradition. The text is attributed to the Indian author Samādhivajra. It was translated into classical Tibetan by Devākaracandra and bod kyi lo tsa ba dpal ser rtsa bsod nams rgyal mtshan, and is preserved in the Tengyur (vol. ཏ), where it extends over eighteen pages. The work enacts a complex system of internal visualization and somatic manipulation. It directs the practitioner to contemplate the subtle body, specifically the lalanā and rasanā channels associated with emptiness and compassion, and the movement of melting streams from the central channel. Central to the practice is the visualization of Nairātmyā, born from the syllable Sugandhe upon a maṇḍala of cooling light rays, situated at the heart of the departed life-force. A scholar or serious reader consults this text today to examine these precise meditative instructions, which involve the coordination of the twelve drops within the latticed windows of the body and the visualization of the vajra caitya, providing a detailed window into the technical requirements of this specific tantric system.
Sanskrit title
Nairātmakopadeśa
Indian author
Samādhivajra
Tibetan translators
Devākaracandra, bod kyi lo tsa ba dpal ser rtsa bsod nams rgyal mtshan
This work is significant as a representative of the 'pith instruction' (man ngag) genre, which prioritizes direct, experiential methodology over theoretical discourse. For the modern reader, it illustrates the complexity of Indo-Tibetan tantric physiology and the specific role of female deities in the realization of emptiness.
Structure
Passages
Section
Description
1-11
Subtle Body and Deity Visualization
Instructions on the channels, the visualization of Nairātmā at the heart, and the movement of drops and syllables through the central channel.
12-17
Meditation on the Wisdom Drop
The fifth chapter detailing the ritual for meditating on the jñāna-bindu and the visualization of vowels and elements.
18-21
Realization and Consort Yoga
Instructions on meditating on Nairātmā as the nature of the primary channels and the ritual for meditating on the coemergent consort.
22-23
Signs of Dissolution and Attainment
Description of the visual signs of meditative dissolution and the attainment of the various kāyas.
24-27
Ritual and Transmission
Instructions on the preparation of ritual vessels and the fifteenth chapter regarding the taking of disciples.
Themes
Subtle Body Physiology (1, 3, 6, 15, 18)
Deity Yoga and Visualization (2, 7, 11, 20)
Non-dual Bliss and Emptiness (13, 19, 20)
Meditative Signs and States (21, 22)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Nairātmyopadeśa-nāma. In the language of Tibet: Bdag med ma’i man ngag ces bya ba (The Pith Instructions on Nairātmyā). Homage to the glorious Vajrasattva!
The left channel, named lalanā, flows with water and is the aspect of emptiness and insight (prajñā). The right channel, named rasanā, flows with blood and is the nature of compassion and substantiality. Abiding in the center is the avadhūtī, which flows with the melted [essence] and is the indivisible, non-dual form. By means of these three channels, may you, the Blessed Lady, protect me! Nairātmyā pervades to the very limits of space. Having prostrated to the glorious Nairātmyā, I shall explain the pith instructions on Nairātmyā for the sake of the state of authentic bliss.
Here, for the sake of recitation and meditation, one whose mind is adorned with the flavor of compassion, who has properly grasped the precious bodhicitta, and who has rendered service to the guru and Nairātmyā as indivisible, should enter a secluded and undisturbed meditation cell. Recite: Oṃ rakṣa rakṣa hūṃ hūṃ hūṃ phaṭ svāhā. This is the utterance of the wrathful mantra that clears obstacles and protects the location and so forth.
Then, sitting upon a distinguished seat and anointing it with the five nectars (amṛta) and so forth as available, one should scatter flowers. Having made offerings of the five types to the Blessed Lady residing in the painted image or other supports, and having thoroughly perfumed the area with incense prepared from potent substances, one should recite the purification mantra and cultivate the conviction that oneself is Nairātmyā.
Following that, one should visualize Nairātmyā, who has gone to the pericarp of a four-petalled emanated chariot-wheel with a seat, situated at the heart of the departed life-force. She is born from the syllable Sugandhe upon a maṇḍala of cooling light rays. Her head is ablaze like a blazing fire, having assumed the radiance of a ruby. She wears a crown of stainless skull-ornaments and has three slightly wrathful, red, moving, and rounded eyes. Her body is adorned with fifty human heads, complete with blood, as a garland, and she is further adorned with the five beautiful mudrās. In her left hands she holds a skull-cup filled with blood and a victory banner; her right hand holds a curved knife, which resembles a cluster of blooming palāśa leaves weighed down by a burden of milk. In the center, she has three folds of skin, is naked, and has a full, well-proportioned hip. She possesses the flavors of the nine dramatic sentiments and is poised in the dance of the half-lotus posture. Dignified and playful, she is in the prime of youth. From her delightful abode, a mass of light rays emerges; she is the embodiment of authentic wisdom arising from the gateway of Dharma. Then, according to the Dharma, one should cause the wisdom-being to enter the samaya-being and visualize the purity of her eyes, body, and so forth. Her wheel is the essence of Vajradhara, the foundation of the heart of bliss. It is red like a mass of sindūra or the glow of dawn, and from the wheel of great bliss, the supreme essence, it flows forth.
From the central channel, a stream of melting descends, taking the form of a vajra caitya. The essences of the sense bases, which are the dependent origination of the limbs, proceed toward the right, left, and downward directions. In the twelve locations that have the appearance of latticed windows, one should meditate on twelve drops—momentary, joyful, and empowered, circular and resembling beads of clear red pearls. One should then meditate on the four locations as the essence of the four doors of liberation, as the nature of the four vajras, in the form of the four syllables, and as the four bodies.
In that regard, the upper location is the form of a vajra jewel, the birthplace of the Body Vajra, like the autumnal moon. The left location is the form of a half-moon, the producer of the sprout of the Speech Vajra, like a ruby. The right location is also the form of a half-moon, the producer of the tender shoot of the Mind Vajra, like sapphire. The central location is the form of the source of phenomena (dharmodaya), the cause for the birth of the Samaya Vajra, like the essence of a noble vajra, possessing five-colored light rays; one should contemplate this as the foundation of all phenomena.
Then, the momentary drops are absorbed into the joy drops. The joy drops are absorbed into the empowerment drops. One should meditate that the empowerment drops enter into the bodies.
Following that, one should contemplate the fourth body entering sequentially from above, dissolving from the central drop like the conjunction of the stars and then merging within, while the mind is placed in meditative equipoise. After that, that very [body] is the form of the dharmadhātu, a drop possessing a garland of radiating light rays, like a rain of nectar. From the dharma-syllable that has entered the drop, it is drawn up by the thread of the nāda; having ascended through the channel of the veins as previously described, the dharma and the drop become of one taste, like water and milk. One should meditate on the supramundane, coemergent perfection, whose form is the indivisibility of emptiness and compassion, revolving like the force of a potter’s spinning wheel. These are the first ritual procedures for meditating on the various drops as one, according to the instructions of Nairātmyā.
Then, the practitioner possessing the previously described characteristics should enter the previously mentioned meditation cell, sit upon a comfortable seat, recite the protection mantra, and perform the offerings to the maṇḍala and so forth. Reciting oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’haṃ, one should cultivate the clear conviction of being Nairātmyā. Then, abiding upon a lotus supported by a chariot-base, one should meditate on the form of Nairātmyā—blue, dark red, or red, whichever is desired—as possessing the characteristics previously described, at the heart of the moon maṇḍala where the vital breath has entered.
One should visualize the blessing of the wisdom, the eyes, the body, and so forth. Then, upon the spokes of the foundation below that, one should meditate on the first supreme heart mantra, whose characteristic is the nature of the space element, resembling vermilion and the adimā flower, on a triangular wheel. One should meditate on the fragment of the head, whose nature is the earth element and is devoid of strength. Within that, one should contemplate a white sphere born from milk, whose nature is the water element. Then, in the center of that, one should contemplate a weapon of the nature of the fire element, flashing like lightning. Upon the fire maṇḍala, one should contemplate the navel, which is the nature of the wind element, a blazing half-moon. Above that, one should view the seed syllable, the essence of the five elements, adorned with a half-moon and a bindu, possessing a mass of joy and luminosity. Then, upon that fire maṇḍala, one should meditate on the three syllables that clearly blaze, demonstrating great passion. Among them, in the upper corner, they are clearly manifest as the mere mind of the emptiness of the ultimate meaning. In the left corner, they produce the fruit of perfect desire. In the right corner, they produce delight. These are the three syllables, which should be understood as established in the etymological terms for the causes of bliss in the preparation, the main part, and the conclusion. Then, by the power of being touched by their light rays, stirred by the wind of great passion, they are like the representation of the woman of desire who is full of longing.
At the door of the house where one has entered, the seed-syllable with a drop (bindu), like an extremely fine thread, having ascended upon the form of the nāda of the rasanā, may proceed like a mātṛ. Furthermore, as it moves in a winding manner, the hollow of the cavity within the throat is the "house"; one should visualize the syllable Haṃ, the essence of Śrī Heruka, located at the tip of the hanging uvula, being touched by Nairātmyā. Then, from the indestructible drop (akṣara-bindu) of the blissful Sukhāvatī where the bliss of that touch has expanded, a rain of stainless, joyful amṛta water descends. Through this empowerment, she is perfectly satiated and filled with joy and supreme delight; intoxicated as if by a spinning wheel, one should meditate on the Bhagavatī as spontaneously accomplished. Furthermore, this should be understood from the pith instructions of the sublime Guru, who is the indivisibility of the three vajras and the nature of the three bodies (kāya), and the indivisibility of method and insight. These are the second ritual for meditating on the ultimate form of the syllables—the five great elements and the three vajras and three bodies—as the nature of Nairātmyā, as they arise from the pith instructions of Nairātmyā.
Then, the yogi should dispel obstructing spirits (vighna) in the same manner. The ritual is as follows: in a secluded house or similar location, sitting on a soft and comfortable seat, one should visualize oneself as Nairātmyā and recite the pure mantra. The base is a triangular viśvavajra with spokes, resembling an aśoka tree, lac, and kusuma flowers; upon its hub is a lotus, and upon its anthers is a moon disc.
There, the lower portion is adorned with a single-pointed vajra, and in the central portion, a viśvavajra is suspended, accompanied by a garland of bells and various garlands at the neck. In the upper portion, one should visualize the khaṭvāṅga standing upright, marked by an excellent five-pointed vajra, which is the essence of Nairātmyā, the nature of the dharmadhātu, arisen from the complete transformation of the seed-syllable. Then, the lower, middle, throat, and upper portions are the essences of the karmamudrā, dharmamudrā, samayamudrā, and mahāmudrā, [symbolized by] Dharmadvāra, Rudra, Jñānasāgara, and Anuttara. These should be meditated upon in the colors of variegated, black, red, and white. Impelled by the karmic winds born from the cessation of the sun and moon, one should meditate on it like a mass of fire blazing intensely at the time of destruction. Then, from the central prong of the vajra above that, it rises like the blazing fire at the time of destruction; one should visualize it as a turbulent mass of burning fire. The assembly of Buddhas and Vidyās residing in the cakras, the body, speech, mind, and wisdom of all the Tathāgatas of the ten directions, are gathered into the three cakras. One should correctly meditate on them as the essence of the sukhacakra, melting down like butter by the blazing fire. Then, the dripping amṛta is held and nourished.
The Buddhas and the assembly of consorts are consumed and enter the state of nirvāṇa, yet their forms remain moistened. Just as a peacock is delighted by the drops of water falling from a mass of clouds, the practitioner is likewise intoxicated with joy. Through the nature of insight, they emanate into the entire expanse of space, and the dancer tormented by the assembly of blissful delights is one whose mind has entered that state. The mantrin should meditate until all desires are spontaneously accomplished. This is the third chapter: the ritual for meditating on the play of the khaṭvāṅga, the essence of supreme insight, according to the instructions of Nairātmyā.
Next, regarding the characteristics of the yoginī as they have been taught, one should perform the protective mantra. In a dwelling free from harm and the like, sitting on a comfortable seat in the vajra posture, one should visualize oneself as Nairātmyā and recite the mantra of total purity. Then, in the center of the emanation wheel (nirmāṇacakra), upon a moon maṇḍala as the basis for the mind where the vital breath has entered, one should clearly visualize Nairātmyā with her previously described characteristics. Below that, upon the foundation, is a kiṃpāka fruit, fully ripened like the parts of a chariot. Within that triangular wheel of fire, one should visualize a four-petaled lotus. Then, upon its petals and pericarp, one should meditate on the bliss-drops (bindu) of the nature of the five ḍākinīs, as subtle as white mustard seeds. On the eastern petal is the bliss-drop of the union of the mirror-like wisdom (ādarśajñāna) and the nature of Vajrī, which is the nature of the Buddha-ground.
On the southern petal is the drop of root bliss, the nature of the wisdom of equality and the nature of the Buddha-ground, which is the nature of Pāṇḍaravāsinī. On the western petal is the drop of discerned bliss, the nature of the wisdom of individual discernment and the nature of the Buddha-ground, which is the identity of Vāriyoginī. On the northern petal is the drop of ultimate bliss, the nature of the wisdom of all-accomplishing action and the nature of the Buddha-ground, which is the nature of Vajraḍākinī. At the anthers is the drop of the supreme ultimate bliss of all phenomena, the nature of the wisdom of the utterly pure dharmadhātu and the nature of the Buddha-ground, which is the nature of Nairātmyā. The mantrin, with the mind in meditative equipoise, should contemplate this for a long time.
Following that, one should visualize that from the central drop, hook-like rays of light—half of the eight stainless ones—are emanated, and having summoned the drops of the directions, they enter the central drop. Then, one should meditate for as long as desired on the principal drop blazing as the nature of ultimate insight, the essence of the five wisdoms. Then, red rays of light emerge like the branches of a wish-fulfilling tree, producing the desired objects and generating bliss like the fire that produces [heat]. Then, one should carry it to the uṣṇīṣa at the tip of the nose and contemplate abiding in bliss for a long time.
Then, its drop, like a spider’s thread, follows the continuous line of the thread arising from itself, proceeding along the path of the stair-rungs. Like a precious wish-fulfilling jewel, it completely fulfills all intentions; like the maṇḍala of the moon, it pervades the entirety of space with a mass of nectar-like light rays. Abiding at the tip of the nose, having the nature of supreme bliss, the identity of the dharmakāya, and the nature of Nairātmyā, the mantrin—free from the stains of conceptualization regarding the blazing, the object of meditation, the meditator, and the act of meditating—should meditate for as long as stability can be maintained. These are the fourth instructions on the ritual for meditating on the drop of supreme bliss from the Nairātmyā-upadeśa.
Then, the mantrin, possessing the empowerments and samayas and endowed with qualities such as compassion, should accumulate the collections. In a favorable location, the mantrin sits upon a seat and, through the ritual of protection and the maṇḍala offering, visualizes himself as Nairātmyā. He generates Nairātmyā upon his emanated spokes as previously described. At her navel, like an opening mandārava flower, is a triangle, the supreme abode of the Lord of Sages. Therein, together with the Consort, he should clearly visualize the primordial supreme nature, the luminous one, the principal of the sixteen parts of the day, like the sun with its seven horses, in union.
From that, the teacher should visualize the initiation, differentiation, and thorough investigation as being like a needle, extremely sharp, like the rays of the sun, subtle, and intensely red. One should imagine that [the light] is released three times in union and enters therein. Then, from that application, one should visualize the Victorious Ones—who are born from the blazing joy—as the ultimate wisdom drops.
Then, from that, the emanated form of the Lord of Gods, Īśvara, who focuses on bliss and acts for the benefit of others, moves and sports with the grace of a female elephant. Like a long, slender probe of a red wish-fulfilling gem, it is like a branch of a sāla tree, beautifully blazing. One should imagine it touching the body of the Blessed One, the headless form of the glorious Hevajra, who embodies all the Tathāgatas gathered in the center of the wheel of great bliss, in the form of Nairātmyā.
Then, moved by joy, they melt through the passion arising from the touch of the reflected image. One should cultivate the desire for joy in the form of the drops that flow and follow in a manner consistent with joy. Furthermore, by tasting the nectar of bliss perfectly arisen from that application, and through the ripening of essence and strength, one should expand and not decline, but rather gather the supreme joy of the excellent assembly.
One should meditate for as long as one is able, focusing the mind on the moving and non-moving [elements] that abide throughout the entirety of space. This is the fifth chapter: the ritual for meditating on the wisdom drop (jñāna-bindu) from the instructions of Nairātmyā.
Then, having sat comfortably in a meditation cell and performed the necessary activities, the practitioner of the yoga of Nairātmyā—possessing the characteristics of a yoginī as previously described—should clearly visualize the syllable Oṃ blazing as the form of Nairātmyā. She is the nature of the emanation wheel (nirmāṇa-cakra) mentioned before, having the nature of the dharmakāya, the essence of insight (prajñā), and the mode of emptiness (śūnyatā); she is the form that embodies the condensed essence of all yoginīs.
Furthermore, one should meditate on the syllable Hūṃ blazing as the essence of Śrī Heruka. It resides in the dharma wheel (dharmacakra), having the form of the condensed kāli, the nature of the saṃbhogakāya, the essence of method (upāya), and the mode of compassion (karuṇā); it is the nature that embodies all the Tathāgatas.
Then, the garland of light rays arising from those two, like female messengers (dūtī), summons the sun-like fulfillment of the desired aims of both. One should meditate on passion (rāga) within that very state. Then, through the passion of union and intense attachment therein, one should meditate for a long time on the precious anthers reaching and abiding at the tip of the indivisible [center].
Following that, through the power of the wind and the application of fire arising from the great brilliance of the seven-horsed chariot of the sun (Āditya) situated in the maṇipūra [cakra], [the drops] are melted.
The yogi should emanate the emptiness of all things—the authentic emptiness of emptiness—and the bodhicitta of indivisible compassion, which, like a wish-fulfilling vase, accomplishes all desired aims according to its own nature. By causing these to appear as a continuous stream of bliss, the practitioner should focus the mind upon that form of the bindu (drop), which has made all appearances and sentient beings without exception into a vessel. This is the sixth ritual, the meditation on the unchanging bindu of the coemergent syllable from the instructions of Nairātmyā.
Then, the yogi of Nairātmyā should mentally generate Nairātmyā upon the previously described emanation wheel (nirmāṇacakra). Furthermore, within the emanation wheel, one should meditate on a lotus with four petals on the inside and ten on the outside. Then, upon its pericarp, one should meditate on the essence of Nairātmyā—the first vowel together with the bindu—which is the nature of the wisdom of the utterly pure Buddha-ground of the consciousness-mind and aversion. Upon the petals, one should meditate on the fourteen vowels, which are the nature of the fourteen yoginīs emanated from that.
In that regard, on the inner eastern petal is the second vowel, the nature of Vajrī, which is the Buddha-ground of form, the eye, and delusion, and is the nature of the mirror-like wisdom. In the south is the third vowel, the nature of Gaurī, which is the Buddha-ground of feeling, the nose, and pride, and is the nature of the wisdom of equality. In the west is the fourth vowel, the essence of Vārīyoginī, which is the Buddha-ground of perception, the tongue, and desire, and is the nature of the wisdom of individual discernment.
In the north is the fifth vowel, the essence of Vajraḍākinī, whose nature is the buddha-bhūmi of All-Accomplishing Action and the formations of envy. In the outer northeast is the sixth vowel, the nature of Pukkasī, whose essence is the three bhūmis beginning with Joy. In the southeast is the seventh vowel, the nature of Śavarī, whose essence is the three bhūmis beginning with Radiant. In the southwest is the eighth vowel, the essence of Caṇḍālī, whose nature is the bhūmis of Far-Gone and Immovable. In the northwest is the ninth vowel, the essence of Ḍombī, whose nature is the bhūmis of Good Intelligence and Cloud of Dharma. On the petals in the east and so forth are the tenth, eleventh, twelfth, and thirteenth vowels, the essence of the four female gatekeepers, whose nature is the four faculties beginning with faith. In the west and the southwest is the fourteenth vowel, the nature of Bhūcarī, whose essence is the faculties of contact, insight, and the [other] faculties. In the northeast and the eastern intermediate direction is the fifteenth vowel, the essence of Khacarī, whose nature is the five powers beginning with dharma and faith. One should visualize these vowels as the descent of a rain of nectar from the clear light. Then, the first vowel is pervaded by a garland of light rays; one should clearly behold the remaining light rays in the form of shooting stars. Then, by the radiation of red solar light, they are seen clearly and dissolve like the stars at dawn; thus one should meditate upon those fourteen vowels.
First, one should visualize the vowel as entering the cavity of the drop, as if terrified by the day. Furthermore, as the drop enters the cavity of the hole and is scorched by the heat of the sun’s rays, one should visualize the long nāda as the excellent vowel. Then, impelled by that nāda, it is struck by the horns of the mantra and the bull, melting like a hanging rope. It is vomited forth like a swan, stirred by the innate wind and cooled as if by the pacification of burning heat. Ultimately, it radiates from the supreme form and pervades all of existence without exception through the stream of great bliss. The practitioner, possessing such a mind, should meditate for as long as they are able. These are the seventh instructions from the Nairātmyā-upadeśa, the ritual for meditating on the application of the letter cha within the drop.
Then, the practitioner who has described the characteristics as they are should perform all the previously mentioned activities. Visualizing oneself as Nairātmyā, at the emanation wheel (nirmāṇacakra), the union of the supreme method and wisdom—the moon and the sun—arises perfectly. Like a flame without wind, it blazes upward, pacifying the entire mass of darkness and incinerating the city of the objects and the senses. It also obstructs the entry of other yoginīs and exhausts the non-trivial conceptualizations. As the supreme mass of the fire of wisdom blazes upon the collection of branches of dry wood, one should view the nature of Nairātmyā as the caṇḍālī (inner heat)—untouchable, fierce, and most fierce.
Furthermore, when the mind becomes attached, one should visualize the wheel of bliss as a swan or a butterfly dwelling in the sky, appearing oily and like a flame of melted butter. Through the craving of looking and the passion of attachment, it melts and dissolves therein. Then, like butter cast into a fire, it blazes intensely; all the torments of sin and afflictions without exception are cleared away. Through this radiation, the great bliss expands, and all apprehensions are pacified like a piercing stake. It becomes non-apprehensible, inconceivable, and inexpressible; one should meditate there for as long as possible. These are the eighth instructions on Caṇḍālī and Pracāṇḍālī from the Nairātmyā-upadeśa.
Then, the mantra practitioner, possessing the empowerments, sits on a comfortable seat in the previously described meditation cell. Having performed the rituals of protection, the maṇḍala, offerings, and so forth, they should visualize their own body as the nature of the earth and the condensed perfections, and as the assembly of the abodes and so on. One should then imagine one's own body as the celestial palace of the Great Liberation, a nature of jewels blazing in various forms. Within that, one should visualize the three channels that perfectly support all the channels as being Nairātmyā. Starting from the throat and situated on the left, the channel that faces downward and goes to the navel wheel, flowing with water, is called the lalanā.
One should cultivate conviction that the nature of the saṃbhogakāya is comprised of the body, the moon, the āli vowels, emptiness, entering the path, the night, setting, and circulating in the north; as well as the dream state, the apprehended, the object of knowledge, the ultimate, the subtle, and the syllable E as the absence of entity.
Starting from the navel and facing upward, one should cultivate conviction that the nature of the nirmāṇakāya—the essence of all—is comprised of the rasanā channel, which flows with blood, circulates from the right, and extends to the throat; as well as speech, the sun, the kāli consonants, compassion, emerging from the path, the daytime, rising, circulating from the south, the waking state, the grasper, the knower, the conventional, the coarse, and the syllable Vaṃ as the entity.
Then, one should cultivate conviction that the nature of the dharmakāya—the non-dual essence of consciousness—is comprised of the avadhūtī channel, which flows from the center facing downward, hanging like a plantain flower, and is like an oily lamp; as well as the essence of all, the indivisibility of emptiness and compassion, and the nature of bodhicitta.
The three channels that have reached the nirmāṇacakra are of a single nature, like a hollow space with three parts, like a joined rim, or like the form of a vajra.
Alternatively, like the Crow-Faced One, one should meditate on Nairātmyā as the nature of the primary channels of body, speech, and mind—unelaborated and unstained like space, the nature of the body of great bliss. Through the power of meditation, one also realizes this directly in the ultimate sense. These are the instructions on the ritual for meditating on the primary channels from the Nairātmyā-upadeśa; this is the ninth.
Then, the mantra practitioner, possessing empowerment, enters the previously described place of concentration and sits upon a comfortable seat. Having performed the rituals of protection, the maṇḍala, and so forth, they should cultivate devotion to Nairātmyā with a mind in meditative equipoise. Then, in the emanated palace that remains continuously, surrounded by her own circle of light, she is tormented by the absence of compassion. Thus, the Great Queen Nairātmyā—who is the nature of the supreme syllable desiring to meet with compassion—is to be meditated upon. Furthermore, in the place where the palace of phenomena remains continuously, she is like the blazing sun. The great king known as the venerable Śrī Heruka, who embraces her like a desire and is the supreme of desires, sends forth messengers of light rays and gazes upon her. Then, having been summoned and carried away by those light-ray messengers, she is found through the joy of passionate attachment and embraced. This attainment is like a poor woman finding a treasure, or like a destitute person eating a special feast, or like one tormented by the heat of summer being consecrated with cool water.
By attaining supreme bliss, one should manifest the ultimate through the power of meditation. These are the tenth instructions from the Nairātmyā-upadeśa: the ritual for meditating on the coemergent consort.
Then, the practitioner possessing the previously described characteristics should sit upon a comfortable seat in the aforementioned place of concentration and perform the rituals of the protection wheel and so forth. Visualizing oneself as Nairātmyā, one should awaken the essence of Nairātmyā—the nature of the Dharmakāya—which resides at the navel coiled like a snake, as if asleep and not yet awakened, by means of the nature of method, the essence of Śrī Heruka, who is the nature of the Sambhogakāya, entering through the path of the nose and being thoroughly pressed by the winds. Then, like a female snake touched by a staff, she rises in the form of a staff and is visualized as fire blazing from the opening of the mouth. Then, one should imagine that she blazes intensely and burns the three worlds. By such power, the nectar-nature of the moon immediately melts, and one should meditate on it being poured in a continuous stream. Then, through the power of meditation, one should manifest the ultimate directly and radiate it throughout all directions of space. These are the eleventh instructions from the Nairātmyā-upadeśa: the ritual for meditating on the wisdom of the winds.
Then, the practitioner, having attained mastery, should enter the place of concentration and perform the rituals for protecting the place, oneself, and the yoga, as well as the ritual for worshipping the maṇḍala.
Reciting "Oṃ prakṛtipariśuddho ’haṃ," one should view all phenomena as naturally pure and selfless. Then, as Nairātmyā’s breasts dissolve within, the two sides of the vajra born from the anthers of one’s own lotus are the bell; with passion and a passionate gaze, one should view whatever [arises] as Ḍombinī. This is the essence of the paths of application, seeing, meditation, special advancement, and culmination, arising from the distinctions of the moments such as the "variegated" and so forth. Embracing Śrī Heruka, who is the nature of the sambhogakāya like a full moon and the nature of all that is coemergent, one should directly realize Nairātmyā as the essence of coemergent insight, the nature of the dharmakāya which is like space. Having realized her, [one should realize her] in all the limbs and minor parts. From that, one should emanate into all things in the ten directions and make all emanations the nature of the self. Having made them the self, one should contemplate them as the nature of mind-only. Having contemplated that, one should become free of conceptualization. Thus, in all meditations, one should meditate according to this ritual. These are the twelfth [chapter], the ritual for meditating on the two coemergents from the pith instructions of Nairātmyā. Then, the mantrin who has accumulated the collections and desires the siddhi of Mahāmudrā should focus on the application of whichever yoga has been taught and stabilize the mind.
When stability is attained, one examines the signs of the mind. When the stream of signs arises spontaneously and appears clearly and directly through the force of joy, that is the state. At that time, even the clear sounds of drums, large drums, small drums, and copper horns do not disturb awareness. There is no sensation from whips, clapping hands, or fists. Even mosquitoes and bees do not cause any harm. At that moment, one should know that the mind has become stable.
Then, the yogi who has attained stability should dwell in a place such as a mountain cave, a riverbank, the shore of the ocean, a charnel ground, a crossroads, a temple of the mātṛkās, an old shrine, or a garden—a place that is conducive, secluded, free from harm, and possesses stainless water, surrounded by groves of trees adorned with clusters of flowers and fruits. There, focusing on the yoga of the yidam, one should accomplish all siddhis.
When the great elements, such as earth and the rest, dissolve into one another in succession, they also indicate the signs. There are five types of signs: likewise, the dissolution of earth produces the sign of the appearance of a mirage. The dissolution of water is the appearance of smoke. The dissolution of fire is the appearance of fireflies. Wind is like a butter lamp. Then, there is the appearance of the clear light, like the center of an autumn sky, without appearance and merely luminous. Regarding this, it is said:
First is like a mirage; the second is the appearance of smoke; the third is like fireflies; the fourth is a blazing lamp; and the fifth is also endowed with clarity, like a cloudless sky. These are the signs of dissolution; the elements are wisdom. Thus it is said.
When a practitioner of mantra has understood this and attained the signs, they should rest in meditative equipoise upon the form of a seed-syllable, the form of a drop (bindu), or the form of a subtle sign. By stabilizing the mind upon the body and its limbs, accomplishment is achieved. In that state, having placed the mind in the fortress of the goddess and traversed the three realms, one will directly perceive forms, whether beautiful or ugly.
In Oḍḍiyāna or Godāvarī, one hears all sounds—whether animate, inanimate, or both—as distinguished by their classification within the three worlds, and one comes to know the source of every sound without exception. In Kośala, one smells all fragrances, whether natural or compounded, as distinguished by their classification such as "sweet" and so forth. In Kaliṅga, one experiences all tastes without exception, as distinguished by their classification such as "sweet" and so forth. In Bodhimaṇḍa, one touches all tactile objects without exception, as distinguished by their classification such as "rough" and so forth.
Likewise, in Triśakuni, one enjoys the emanated consorts of the gods. In Kāñcī, one knows former abodes and the minds of others. In Lampāka, one possesses knowledge of all treatises, as well as the languages of the gods and the languages of mantra. In Rāmeśvara, one causes the sun to rise, set, or remain stationary.
Above that is the moon. Above that are the wheels of the stars. In Polagirī, one sees all the gods and their commands are also accomplished. In Jālandhara, one will see [them] during the three times. Likewise, in the emanation wheel, one attains the nirmāṇakāya; in the dharma wheel, the dharmakāya; in the enjoyment wheel, the saṃbhogakāya; and in the wheel of great bliss, one attains the mahāsukhakāya. By thus finding the four bodies, one will attain the state of the Buddha Vajradhara and Nairātmyā. Through attaining perfect awakening, all obscurations are thoroughly pacified, and one will manifest all dhāraṇīs, the bhūmis, the perfections, and the mundane and supramundane accomplishments. Through the manifestation of these accomplishments, the welfare of others will be brought to completion. These are the thirteenth ritual, the presentation of the benefits of the seed syllables and so forth from the instructions of Nairātmyā.
In order to accomplish the desired aim, one should pacify obstacles. On the fourteenth day of the waning moon, one should worship the Blessed Lady in the form of letters and bindus within the wheel. In front of that, one should smear a maṇḍala with nectar that has been purified, arrange heaps of flowers, and place a supreme vessel in the center.
Upon that, a large, level vessel is covered and, in the center, the form of a wheel with the corners of the eyes of Śaṃkara is prepared. Having purified and applied the powder of amṛta and lamps according to the ritual, one uses a probe made of the three metals to draw a viśvavajra within the source of phenomena (dharmodaya). Then, the practitioner of mantra, following the oral instructions of the guru, should draw the nature of Nairātmyā, together with the syllables and bindus, as a vajra-caitya, facing west.
Next, the wisdom (jñāna) should be introduced into the samaya. One should offer the five substances of worship and the five extraordinary sensory qualities, as well as the supreme lamps, the purified amṛta, and the various foods to be eaten, drunk, licked, and sucked. Furthermore, one should fully worship as much as possible with songs, dances, and special musical performances, as well as circumambulations, prostrations, and praises.
Following that, having worshipped a young maiden or a Vajrayoginī—either a dark-complexioned one or a blue priyaṅgu—according to the ritual, one should partake in the supreme feast and drink the wine. Then, having performed the argha libation and offered the gola and the fee, one should make things equal and say, "Please grant your forbearance," and then depart. The wheel of the Blessed Lady is also dismissed by reciting "Muḥ," and then one should enjoy the feast oneself. These are the fourteen [chapters] on the ritual of external worship from the oral instructions of Nairātmyā.
Then, a disciple endowed with faith and service, having performed the maṇḍala and prostrations, should supplicate the compassionate ācārya many times.
On either of the two dark fortnights, one should take a disciple under one's care. Having properly made offerings to the Blessed Lady according to the ritual as it has been taught, and having performed the yoga of the yidam, one should sit before the disciple. Then, the disciple should perform five mandalas, present a fee, and holding a garland of flowers with palms joined, stand up and imagine the guru seated upon the crown of their head. One should then perform any of the yogas of movement upon the disciple's body. Then, imagining an offering through the supreme recitation of the three suchnesses, one should also thoroughly fumigate with a great lamp and incense. Ringing the bell in conjunction with the sound of the "swaggering" mantra, one should invoke the descent with the swaggering mantra "Oṃ lole lole hūṃ a" until it occurs. Once it has descended, there will gradually or instantaneously arise sensations like being touched by frost, the bristling of body hair, trembling, or the shedding of tears. Alternatively, like being struck by the power of alcohol, one may fall down, and bliss is generated as if attaining supreme nirvāṇa. Then, having raised them and they have become conscious, the disciple should perform a mandala, and the yoga, offerings, mantras, and rituals should be taught in succession. This is not for those who are devoid of faith. Having honored the guru’s command like a stainless flower upon their head, from that point forward, they should serve the Blessed Lady, the guru, and the yoginīs with equal devotion.
These are the fifteenth [chapter], the ritual for taking disciples according to the instructions of Nairātmyā.
By whatever merit has arisen from composing these instructions on Nairātmyā, may all beings swiftly become the Mother of the Victors, Nairātmyā.
The stages of self-consecration, the instructions on Nairātmyā, are complete.
This also emerged from the mouths of the coemergent yoginīs dwelling in the glorious land of Oḍḍiyāna. It is the most secret heart-essence of the supreme mind of all yoginīs. Those who have not cultivated the roots of virtue, who lack faith, and who have not served at the lotus feet of the guru will not obtain it. Its qualities are an infinite foundation; it is like a wish-fulfilling jewel that accomplishes desired aims through genuine conviction; it is like a stream of water that bestows the fruit through reliance; and it is like space, equal in taste. Since it has been passed from ear to ear, I have written this from the instructions of the sublime guru so that I might not forget it. Therefore, I pray for forgiveness from the heroes and yoginīs, and I also pray for forgiveness from those who possess the knowledge of reality.
The master who composed this is the great paṇḍita Śrībhadrakīrti, who was blessed by the glorious Mañjughoṣa, the Stable Wheel (Sthiracakra). He was born from the lotus feet of Śrībhadrakīrti and was born through the kindness of Vajrayoginī, who holds supreme affection for the dust of his feet. This concludes the work composed by the paṇḍita Śrīsamādhivajrapāda.
Translated by the Indian abbot Devākara-candra and the Tibetan translator, the glorious Ser-tsa Sönam Gyaltsen. This most secret method is not the domain of the inferior; therefore, with a stainless intellect, it has been translated for the sake of a few sublime beings. This concludes the pith instructions of Nairātmyā.