Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a ritualized system for the visualization and invocation of the Five Ḍākas within the context of the Vajra Cage of Ḍākinīs Tantra. The text guides the practitioner through a complex process of mental construction, beginning with the realization of emptiness and the visualization of seed syllables and geometric mandalas. It details the specific iconographic attributes, colors, and placements of various deities, including Yamāntaka, Hayagrīva, and various Ḍākinīs such as Khecarī and Bhūcarī. The work commits the reader to a rigorous meditative discipline involving the alignment of body, speech, and mind with the deity's nature, the recitation of specific mantras, and the performance of offerings. By mapping internal physiological states and external cosmic realms to specific deities and syllables, the text aims to transform the practitioner's perception of reality into a purified, divine environment, concluding with the formal dismissal of the deities to ensure the ritual's completion.
Provenance
About this text
A ritual manual for the visualization and invocation of the Five Ḍākas, the Ḍākinīvajrapañjarapañcaḍākasādhana belongs to the classical Tibetan tradition. The work is attributed to the Indian author Durjayacandra. It was translated into Tibetan by Līlāvajra (II) and bod kyi lo tsa bsod nams rgyal mtshan, and is preserved in the Tengyur (vol. ཏ) within the Non-dual Tantra collection, where it extends over twelve pages. The work enacts a meditative process that begins with the analysis of saṃsāra and the realization of all things as reflections. It guides the practitioner through the visualization of seed syllables, such as ra pha and hūṃ, and the construction of a mandala featuring a crossed vajra, a fence, and a canopy. The practitioner is directed to visualize the Dharma wheel of the Uṣṇīṣa Cakravartin and specific deities including the sapphire-colored Yamāntaka, the moon-rayed Aparājita, the red Lotus Wrathful One, and the black Amṛtakuṇḍalī. A scholar or serious reader consults this text today to examine the precise iconographic attributes and the ritualized system of mental construction used to align the practitioner with these deities.
Sanskrit title
Ḍākinīvajrapañjarapañcaḍākasādhana
Indian author
Durjayacandra
Tibetan translators
Līlāvajra (II), bod kyi lo tsa bsod nams rgyal mtshan
Cite thisAnuvāda, “A Sādhana of the Five Ḍākas in the Vajra Cage of Ḍākinīs Tantra” (Toh 1321), machine draft, 2026.https://naxiai.com/tibetan/works/toh1321
Summary & commentary
Significance
The work is significant for its detailed integration of anatomical and cosmological mappings with tantric deity yoga. It illustrates the intersection of ritual art, mantra, and the conceptualization of the 'vajra cage' as a protective and transformative space. For the modern reader, it serves as a primary example of the complexity of Indo-Tibetan ritual technology.
Structure
Passages
Section
Description
1-5
Preliminary Visualizations
Initial homage, meditation on emptiness, and the construction of the central mandala elements including the viśvavajra and seed syllables.
6-10
Deity Iconography and Mandala Layout
Detailed descriptions of the Ḍākas and Ḍākinīs, their colors, positions in the mandala, and specific physical attributes and hand symbols.
11-13
Ritual Practice and Mantras
Instructions on the syllables of body, speech, and mind, and the recitation of specific mantras for the Heruka and other deities.
14-15
Physiological and Cosmological Correspondences
Mapping of deities to internal organs, diseases, and various celestial realms and heavens.
16
Conclusion
The final mantra used to request the deities to depart and to grant siddhi.
Themes
Deity Yoga and Visualization (2-10)
Mantra and Sacred Sound (2, 11, 13, 16)
Cosmological and Anatomical Mapping (14-15)
Emptiness and Illusory Nature (2, 12)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana of the Five Ḍākas in the Vajra Cage of Ḍākinīs Tantra·
In the language of India: Ḍākinīvajrapañjara-pañcaḍākasādhana-nāma. In the language of Tibet: mKha' 'gro ma rdo rje gur gyi mkha' 'gro rnam pa lnga'i sgrub pa'i thabs zhes bya ba (The Sādhana of the Five Ḍākinīs of the Vajrapañjara Ḍākinī). Homage to the glorious Vajrasattva!
This saṃsāra is like the mass of branches of a great tree; these are the afflictions, primarily hatred, which conquer the births of the six classes of beings. I perpetually bow to the Blessed One, the Enemy of Time, Vajrasattva, who abides in difficult-to-conquer diligence and assumes the fivefold body.
Without severing the desires of all beings without exception, and for the sake of certain entry into awakening, I shall draw the wheels endowed with the five [deities]. These are also the cause for possessing merit. In a place where water and fruit are easily found, or in a cave, or wherever it may be, sitting upon a soft seat, the mantra practitioner should meditate on the Victorious One under the power of others.
That which is to be contemplated by the mind: HŪṂ, OṂ, TRAṂ, YA, KHAṂ—these should be visualized upon their respective seats at the heart. One should make offerings to the Guru and Vajra [deities] and perform the sevenfold purification. One should confess misdeeds or vow to refrain from them. One rejoices in the merit of the Buddhas and Bodhisattvas and should dedicate it. One should rely perfectly upon the Three Jewels, generate the mind of awakening, and then, relying upon the path, having meditated upon the four Brahmā-vihāras, one should meditate on the manifold emptiness. By analyzing whether things are true or false, [one realizes emptiness].
Through analysis, they are unobservable; therefore, one should meditate on all things as being like reflections. Oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. In front, one should visualize a sun arising from the syllable ra pha. Upon that sun, from the syllable hūṃ, arises a crossed vajra (viśvavajra). With that very vajra, one should also bind the fence and the canopy.
In the center of the expanse of space, one should meditate on a crossed vajra. There, from the syllable hūṃ, one should contemplate the protection wheel (rakṣācakra). Rotating and utterly immovable, it is like the fire at the time of destruction. From the application of ten hūṃ syllables, the ten wrathful deities (krodha) are to be placed in sequence.
In the east, one should visualize Yamāntaka; in the south, Prajñāntaka; in the west, Padmāntaka, the Lord of Waters; and in the north, Amṛtakuṇḍalin. In the northeast is Takkirāja; in the southeast is Nīladaṇḍa; in the southwest, one should visualize Acala; and in the northwest, Mahābala. Above, one should visualize Uṣṇīṣa; and below, one should visualize Sumbharāja.
All of them have one face and two arms. They are fierce vajra wrathful deities. With fists at their hearts and the threatening gesture (tarjanī), their right hands brandish their respective weapons: Yamāntaka holds a hammer; Prajñāntaka, an iron club; Padmāntaka, a vajra; Amṛtakuṇḍalin, a vajra; Takkirāja, a hook; Nīladaṇḍa, a staff named after himself; Mahābala, a trident (triśūla); Acala, a vajra; and Sumbharāja, a club.
One should visualize the Dharma wheel of the Uṣṇīṣa Cakravartin. The pestle is that of Vajrapātāla. Standing with the left leg extended, one should meditate on Yamāntaka, whose color is like sapphire. The one called Aparājita is like the rays of the moon. The Lotus Wrathful One is great red; Amṛtakuṇḍalī is black. The great black Wrathful One of the intermediate directions holds Vajradhara at his crown. Yamāntaka is Vairocana himself; Vajrasattva is on the staff. The one called Padma is Lokanetra; Amṛtakuṇḍalī is the Sattva. In the center of the wheel of wrathful deities, one should visualize the Victor over Māra. Having visualized a lotus below, one should meditate on the ten wrathful deities. By entering a hundred leagues, one should visualize the expulsion of obstructors. In the center of the space element, one should meditate on the wind maṇḍala. In the center of the wind maṇḍala, one should meditate on the fire maṇḍala. In the center of the fire maṇḍala, the practitioner should visualize water. Upon that, one should visualize the maṇḍala of Mahendra. Upon the Mahendra maṇḍala, one should visualize oneself as the syllable BŪṂ, the five Buddhas, at the five locations. The Vajra-holder and the Constant One; the third is Vajrasūrya; the fourth is Rāgavajra; the fifth is the King Hayagrīva. The Buddha maṇḍala is circular.
Like the half-moon of the Vajra-holder, like a lotus of the Dharma-vajra, like the sun and the wish-fulfilling jewel, it is called the glorious Hayagrīva. Its [maṇḍala] is triangular in every respect. The Vajra-holder’s is three cubits; the Buddha’s maṇḍala is four cubits; the Illuminator’s is five cubits; Padmanarteśvara’s is six; and the maṇḍala of the King of Hayagrīva is seven cubits in measure. By means of the eighth part itself, it is renowned as the gateway of the wheel. The perimeter and the divine plinth should be measured according to the size of the gateway. By half the measure of the gateway, the sides and the base are formed. The offering plinth should be made in the same way. The lattice, the half-lattice, and the plinth should be placed two parts away from the Brahma-thread; they should be made in the sixth part. Likewise, having discarded the measure of the gateway, they are thoroughly conceived as nine parts. The maṇḍala of the Buddha Protector is shown with the east facing east. In the south is the Buddha Āditya; in the west is Vajrarāga; in the north is the King of Horses; and Vajrasattva is in the center. In the east is the great white [color]; in the south, it is like gold; in the west, it should be known as red; and to its north is green. It is square with four gateways, adorned with four archways. In the corners of all [the sections], and at the corners of the gateways and the gateway-enclosures, they are embellished with vajras and jewels. In the center is a white and red lotus, the seat of Vajrasattva, through the union of the vowels and consonants.
Having clearly observed one’s own seed-syllable, one should visualize it in the form of a wheel. The qualities of all the Buddhas are to be inserted into that form of the vowels (āli). As for the limbs of the goddess’s form, one should visualize a moon within a triangle. By means of the form of the stars, the consonants (kāli) and so forth are to be thoroughly inserted. In the center of the moon-maṇḍala is the second moon of awakening. One should meditate on the vajra arising from HŪṂ, a garland of white light rays. Thus, in their respective determinations, the five hand-symbols are divided into five. For Vajrasattva, it is the indivisible [vajra]; for Vairocana, the Dharma-wheel; for Ratnarāja, the jewel; for Padmabhadra, the red lotus; and for Amoghasiddhi, the sword of insight, which is the nature of sharp insight. Arising perfectly in the form of a bodhisattva, one should meditate on the Lord of the Maṇḍala. With the mudrās of the ḍākinīs and so forth, and the light of the moon and the light of the jewel, one is perfectly embraced by Māmakī and the others, in the very center of the five maṇḍalas. Bearing the name of the manner of great passion, one enters into meditative absorption (samādhi). Having entered one’s own body, one should contemplate the eight seed-syllables of the Lord of all the Tathāgatas: Prāṇa, Apāna, Samāna, Udāna, Vyāna, Nāga, Kūrma, Kṛkara, Devadatta, and Dhanañjaya. These dissolve individually into the Buddha-wheel. From the first letters of their names, Gaṃ, Caṃ, and so forth, the goddesses arise from the syllables within the Vajra-ḍākinī maṇḍala: Gaurī, Caurī, Vetālī, and Ghasmarī.
Just as Za-phod and Sbo-mo, likewise Ri-khrod and Gtum-mo are the Ḍombī. In the maṇḍala of Vajra Nityā, there are Kṣepaṇī, Pāśinī, Mṛdaṅgī, and Aṅkuśinī, along with Puṣpā and the others in the intermediate directions. In the maṇḍala of Vajrasūrya, there are Sūryahastā, Dīpā, Ratnatārā, and Vidyutpāṇī, along with Lāsyā and the others in the intermediate directions. In the maṇḍala of Padma Dharmodayā, Śṛṅkhalā, and Āliṅginī, there are Vaṃśī and the others in the cardinal directions, through the application of their respective forms. In the maṇḍala of Hayarāja, there are Vajrārgalā, Vajrakuñcikā, Vajradvārapālī, and Vajravastradhāriṇī; likewise, in the intermediate directions, there are Locanā and the others. Just as in the condensed maṇḍala, the gatekeepers are to be placed at the gates: Aṅkuśī, Pāśī, Śṛṅkhalā, and likewise Vajrāveśā. All those Vajraḍākinīs abide with their left legs extended. With the left hand held at the heart in the threatening gesture (tarjanī), they stand upon a corpse, moon, or sun. In the direction of the Akṣobhya maṇḍala, Gaurī holds a hook and the threatening gesture; Caurī holds a vajra and a noose; Vetālī holds a vajra and a chain; and Ghasmarī holds a vajra and a bell. White, yellow, red, and green—otherwise, when under the empowerment of the Buddhas, the sequence is reversed from one. The goddesses such as Pukkasī and the others shall have their symbols and colors explained. The bodhicitta, the vase, Mount Meru, the fire pit, and the great victory banner: black, white, and like the sky.
In the maṇḍala of the wrathful Akṣobhya, the flower is white, and the incense is smoke-colored. The lamp is yellow light, the unguent is red, and the lāsyā goddess is likewise. The nāga goddess is yellow, the nartī is green, the hāsya goddess is red, and the flute is yellow. The lute is white and red, the drum-holder is green, and the clay drum is white; each is joined with its own hand-symbol. The red syllable HOḤ, together with rays of light, and the three syllables in the center of the two, are also entered into the fragrance. Through the process of melting, one recollects. Then the goddesses of the intermediate directions exhort the Principal Deity with this song:
"You are the protector of the Vajra of Hatred, with a pure mind; you have perfectly adorned the divine body with the utterly pure Dharma. O Pukkasī, look upon me quickly and abandon emptiness!
You are the protector of the Vajra of Delusion, with a pure body; you have perfectly adorned the divine body with the Dharma of reflections. O Śavarī, O Protector, look upon me quickly and abandon emptiness! O Guide, for the sake of the world, please take birth!
You are the protector of the Vajra of Desire, with a pure speech; you have perfectly adorned the divine body with supreme individual discernment. O Caṇḍālī, look upon me quickly and abandon emptiness! O Guide, for the sake of the world, please take birth!
You are the protector of all Buddhas, the form body; you have adorned yourself with the equality of all through the accomplishment of activities. O Ḍombī, look upon me quickly and abandon emptiness!"
The Guide, for the sake of the world, took birth. The goddesses of the intermediate directions, such as Pukkasī and the others, residing in their respective abodes, exhorted him with their own songs of flowers and so forth. Thus, the other principal goddesses were also exhorted. Having been awakened, by the power of recollecting their former aspirations, one should visualize them arising from the syllables HŪṂ and MAṂ.
The powerful Citta-Ḍākinī has eight faces and four legs, adorned with sixteen arms. She is terrifying like a sapphire, possessing a form that is both graceful and wrathful. She stands in the dance posture of half-lotus (ardhaparyaṅka) and is fully adorned with bone ornaments. Her first face is black, the next two are white and red, and the central face at the crown is bared in a frown; the remaining faces are like bees. She tramples the four Māras equally and holds a black vajra at her crown.
In the eight skull-cups of her right hands, one should know the sequence to be an elephant, horse, donkey, ox, camel, human, lion, and cat. In the eight skull-cups of her left hands are earth, water, fire, wind, the sun, the moon, Yama (the Ender), and Vaiśravaṇa (the Giver of Wealth). She holds a curved knife and a skull-cup as her hand-symbols and is in non-dual union with Māmakī. From the syllables AṂ and LAṂ, she is white at the nape of her neck, with two faces that are black and red. She sits perfectly upon a moon seat, embraced around the neck by Buddhalocanā. The four legs and so forth are common [to all], while the eight faces and so forth are not explicitly taught here. The specific features include the wheel at the crown and so forth.
The hand symbols are also described: he holds the wheel of Dharma at his crown, terrifying and causing terror. On the right sides of the neck are the peacock, buffalo, makara, king of fish, tortoise, the supreme nāga, swan, and rabbit. On the eight left skull-cups are the lizard, the great cloud-force, the collyrium-like, the mouse, yak, fragrant, and sarasa crane. From the syllables traṃ and taṃ, he is named Ratnarāja; he should be meditated upon as yellow in color, with black faces on the right and left, and a red jewel held at the crown. The karaṇḍa and wheel, the parrot and cakora, the sparrow, hawk, hor-mo, and ol-ba bird, and the mountain thrush are on the right sides of the jewel. The balin (strength-causer), Śaṅkhapāla, Kulika, Padma, Mahāpadma, Takṣaka, and Vāsuki are on the left sides. Like refined, highly purified gold, he is embraced around the neck by Tārā. Arising from the syllables aṃ and paṃ, he is red; one should meditate on Hayagrīva. The right face is black, the left is like the stainless moonlight. He holds a red lotus at the crown and is in non-dual union with Pāṇḍaravāsinī. The bear, vulture, rhinoceros, gayal, tiger, monkey, makara, and jackal are on the right sides of Vajradharma. The crow, owl, yellow crane, sarasa, and likewise the ra, the deer, pig, and skull-cups always reside on the left sides. Arising from the syllables taṃ and khaṃ, he is green; one should remember the King of Horses, Hayamukha.
Holding a white sword upon the crown, she is embraced around the neck by Tārā. The right face is black, and the left is like the stainless moonlight. The planets Mercury, Jupiter, Ketu, Rāhu, Mars, the Sun, Saturn, the Moon, and the Skulls are on the right sides of the King of Horses. Indra, Brahmā, and likewise Rudra, Kāmadeva, and the Skull-Bearer, the Naked One, and Vemacitrin, and the one called Balin are on the left. The goddesses are said to have two hands; they hold a curved knife and a skull-cup. At the heart of all of them, the wisdom-being should be placed. Through the union with the wisdom-being, the awakening of a Buddha is thoroughly accomplished. Arising from the attachment to the syllables of one’s own mantra, the signs, and the mudrās, the samaya-being is at the heart; this is designated as the application of the approach. Oṃ dharmadhātu-svabhāva-ātmako ’ham. Within one’s own mandala, the wisdom-wheel, one should summon with the hook and so forth, and meditate upon the entry, binding, and pleasing. One should place Mohavajrā in the eyes, Dveṣavajrā in the two ears, Mātsaryavajrā in the nose, Rāgavajrā in the speech, and likewise Īrṣyāvajrā in the body. In the mind is Nairātmyayoginī; she has two hands and one face. The consorts of various forms have two hands, a curved knife, and a head, and they abide perfectly above the departed life-force. There are the two, the Sky-Wanderers and the Earth-Wanderers, as well as those who abide beneath the feet. In the mind, speech, and body—
Recall the syllables of body, speech, and mind: oṃ khecarī vajrasvabhāvātmako ’haṃ. Likewise: bhūcarī vajrasvabhāvātmako ’haṃ. Likewise: pātālavāsini svabhāvātmako ’haṃ. The three Vajra Ladies of body, speech, and mind, together with the five such as Vajrā and the eight vidyās—these are renowned as the empowerment of the ḍākinīs. Endowed with the five ḍākinīs, they are filled with the five samayas. With the eight vidyās and the vases, the five ḍākinīs are empowered. On the fourth, the crown, one meditates on the five Buddhas holding a wheel, a jewel, a lotus, and a sword. On the crown of the Mind ḍākinī, one meditates on the five Buddhas. All the maṇḍalas of those [deities] follow the sequence of the vajra maṇḍala. On the crowns of the Mind, the Constant, the Jewel, and the Immeasurable Goddesses, they are held. oṃ sarvatathāgatābhiṣekasvabhāvātmako ’haṃ. From the moving and blazing skull, the five seed-syllables of the hook arise. On the tongue is a vajra the size of a barley grain; this is the tasting of the vajra-amṛta. oṃ sarvatathāgatāmṛtasvādavajrasvabhāvātmako ’haṃ. From wisdom, the eight various offerings are definitely emanated; the goddesses make offerings to the wheel, and to the Lord, the identity of the wheel. oṃ sarvatathāgatapūjāvajrasvabhāvātmako ’haṃ. You are completely surrounded by yoginīs; you have attained the supreme through your own mind. You accomplish all the moving and non-moving world.
With a mind of compassion, you awaken sentient beings; through illusory emanations, you accomplish the welfare of others. The glorious Heruka is the joyful mind. Oṃ sarvatathāgatastuti-vajrasvabhāvātmako ’haṃ.
The celestial mansion is Vairocana; empowerment is Akṣobhya, the Tathāgata; the tasting of nectar is Amitābha; the praise is the glorious Ratnasambhava; and the offering is said to be Amoghasiddhi. Passion is Vajrasattva. The yogi who meditates on the six limbs achieves self-consecration. Prior to accomplishment, the signs should be clearly indicated in their proper sequence: first, an appearance like a cloud; second, like smoke; third, the form of fireflies; fourth, a clear lamp; and fifth, a constant appearance like a cloudless sky.
Subsequently, there is the illusory form, which is momentary like a dream. Having entered the interior of the heart, the moon is the indestructible within the lunar form, surrounded by various rays of light. From that, one should meditate on the vajra. Having meditated on Nairātmyā-ḍākinī with the vajra, one should invoke her through the ritual. At the tip of the ḍākinī’s nose, one should meditate on the form of white mustard seeds. All beings, the three realms of the moving and the non-moving, are thus meditated upon by the mind. This is the complete achievement of self-consecration.
With rudrākṣa, conch, rhinoceros horn, bodhivṛkṣa, lotus fruit, pearls, and the like, or coral, one possessing meditative concentration should recite the mantra: Oṃ dhara dhara dhāraya dhāraya.
MARDHA MARDHA | VAJRA DHṚK PHAṬ SVĀHĀ | OṂ SĀ SVĀ TA | EHI EHI JINA JIK PHAṬ SVĀHĀ | OṂ VAJRA SŪRYA TAMAḤ VITA MA NA SAMAYA STVAṂ AHAṂ | RATNA DHṚK PHAṬ SVĀHĀ | OṂ VAJRA DHARMĀ SAMAYA STVAṂ HULU HULU ĀROLIKA PHAṬ SVĀHĀ | OṂ PHU PHU PHU HI HI PRAJÑĀ DHṚK PHAṬ SVĀHĀ.
When the yogi becomes weary of meditative concentration, at that time, one should recollect purity. Through compassion, the eyes are red; the purity of the eyes is the three vajras. The faces are the eight liberations; the hands are the sixteen emptinesses. By the four means of gathering, the four feet are described. By the mudrās, the five buddhas are present; the wrathful deities subdue the malevolent. By the four truths, the bones are completely transformed. The aggregate of form becomes Vajrā; feeling becomes Guhyagaurī. Perception is likewise Vāriṇī; formations are Vajraḍākinī. Consciousness itself is Nairātmyā. In the ultimate sense, the aggregates do not exist. As for the transformation into the six sense bases: Hatred-Vajra is Vajrā; Water is Rasavajrā. Envy-Vajra is Mohavajrā; Vajra is Vajraḍākinī. Avarice is Guhyagaurī; the mind is Nairātmyayoginī. Earth is said to be Pukkasī; the water element is Śavarī. Fire is known as Caṇḍālī; wind is renowned as Ḍombī. Form is always explained as Gaurī; sound is renowned as Caurī. The aspect of smell is Ghasmarī; taste is the form of Ghasmarī.
Touch is said to be Bhūcari; the element of phenomena is Khecarī. The lungs, breath, and likewise insanity, internal tumors, leprosy, and eczema, as well as the nature of the liver and spleen, are renowned as the elephant and so forth. The loss of eyelashes, toothache, bile, blood, and likewise wind, the discharge of phlegm, cracking of the body, edema, and tumors are the peacock and so forth. Elephantiasis, fat disorders, swelling of the testicles, enlargement of the intestines, and carbuncles, diarrhea, fever, and severe cracking, are renowned as the kāraṇḍa and so forth. Apasmāra, the penis becoming like iron, urinary retention, and gravel in the urine, diseases of the bowels, tumors, and diseases of the feathers, jaundice, and thirst, and so forth. Wind, bile, indigestion, edema, blurred vision, and a mouth full of saliva, pain in half the body, throat tumors, and the increase of wind are the Mercury and so forth. The remaining hosts of yoginīs should be visualized in a condensed form. They accomplish desired aims and pacify obstacles, bringing about peace and virtue. One should correctly summon them with mantra and mudrā. For the sake of the gods and others, one should offer a torma. In the center of the space element, one should meditate on an eight-petaled lotus. One should visualize Indra on the eastern petal; Yama is to be placed in the south. Varuṇa is on the western petal; one should place Yakṣa in the north. In the southeast is the Great Consumer of Offerings (Agni); likewise, the Guardian of the Southwest (Nairṛti). In the northwest, one should visualize the One Without Abode (Vāyu); in the northeast is the Lord of Spirits (Bhūteśa). The Moon, the Sun, Brahmā, and the host of gods, as well as the supreme knowledge of Brahmā.
The Brahmapurohita [heaven] itself, the abodes of Tuṣita and Yāma, those who have become Great Kings, the abode of Paranirmita-vaśavartin, those who are the gods of Nirmāṇarati, those who dwell in the Pure Abodes, those who perfectly dwell in Sukhāvatī, those who dwell in the abode of Akaniṣṭha, the world of Ābhāsvara, and those who dwell in the Heaven of the Thirty-Three—all these are to be visualized above, having entered within the source of phenomena (dharmodaya).
Vāsuki, Śaṅkhapāla, and likewise Ananta, Takṣaka, Kulika, Padma, and Padmabhadra—all the asuras and hells are below the source of phenomena.
From the syllable OṂ arise the gods such as Brahmā; from the syllable HŪṂ, the non-attached ones and so forth; from the syllable A, Vāsuki and the others. They have one face and two arms. The gods above are great white; Indra and the others are similar in being black; Vāsuki and the others are great red. They are endowed with consorts similar to themselves, their two hands joined with vajra and bell, and they stand upon seats with the right leg extended. Brahmā and the others are to be marked with the mudrā of permanence; Śatakratu and the others with the vajra; Vāsuki and the others with the Lord of Dance (Nṛtyeśvara). All are born from the three families.
With Gaurī, one performs the summoning; with Caurī, the binding with a noose; with Vetālī, the binding with iron shackles; and with Ghasmarī, the subjugation with a bell. Then, offer the drinking water and the water for the face, and present them with this mantra: OṂ ĀḤ HŪṂ. Afterwards, the water for sipping is to be given.
One should request the deities to depart with this mantra:
Oṃ vajrasattva samaya manupālaya | vajrasattva tvenopatiṣṭha | dṛḍho me bhava | sutoṣyo me bhava | supoṣyo me bhava | anurakto me bhava | hṛdayam me adhiṣṭhāya sarvasiddhiṃ me prayaccha | sarvakarmasu ca me cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ bhagavān sarvatathāgata vajra mā me muñca vajrī bhava mahāsamayasattva āḥ muḥ.
Through the merit obtained from creating the assembly of the twenty-two deities and the five ḍākinīs who are the principal ones of the five maṇḍalas, may all beings be established as the five ḍākinīs.
By the words of Durjayacandra, the oceans of the five types of maṇḍalas have been adorned; the great waves have been subdued, and the objects of delusion have been rendered non-existent.
The Sādhana of the Five Ḍākinīs as adorned by Durjayacandra is hereby complete.
The Indian abbot Līlavajra and the Tibetan translator Sönam Gyaltsen, in order to clarify the sublime Dharma, have translated this well for the benefit of themselves and others.