Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a ritualized procedure for the realization of the Lord of the Great Wisdom Ḍakas. The text guides the practitioner through a sequence of meditative stages designed to transform ordinary perception into a purified state. It begins with the identification of the five aggregates with the five Buddha families and the establishment of emptiness through specific mantras. The practitioner is then instructed to construct a complex mental mandala, featuring a celestial palace surrounded by charnel grounds and populated by a retinue of Ḍākinīs such as Vajrajālinī and Vajraśikharā. The central deity is visualized as a four-faced, eight-armed figure treading upon the Māras. The ritual culminates in the manipulation of internal nectars and the offering of tormas, committing the reader to a disciplined practice of visualization and mantra recitation to achieve the non-dual state of the unborn sky and subtle light.
Provenance
About this text
A sādhanā for the realization of the Glorious Great Lord of Wisdom Ḍākinīs, the Śrīmahājñānaḍākeśvarasādhanopāyikā belongs to the tradition of the Non-dual Tantra. The work is attributed to the Indian author Sambhogavajra. It entered the Tibetan corpus through the efforts of the translators Prajñāgupta and zhu chen gyi lo tsa ba dge slong rin chen rgyal mtshan, appearing in the classical Tibetan language. The version preserved in volume ཏ of the Tengyur extends over nine pages. The work enacts a ritualized procedure for transforming ordinary perception into a purified state, guiding the practitioner through meditative stages that begin with the identification of the five aggregates with the five Buddha families and the establishment of refuge. It further directs the practitioner to construct a mental mandala featuring a celestial palace and a retinue of Ḍākinīs, centering on a four-faced, eight-armed deity treading upon the Māras. Scholars and serious readers consult this text today to examine its disciplined sequence of visualization, the manipulation of internal nectars, and the offering of tormas intended to achieve a non-dual state.
Sanskrit title
Śrīmahājñānaḍākeśvarasādhanopāyikā
Indian author
Sambhogavajra
Tibetan translators
Prajñāgupta, zhu chen gyi lo tsa ba dge slong rin chen rgyal mtshan
Cite thisAnuvāda, “A Sādhana of the Lord of the Great Wisdom Ḍakas” (Toh 1334), machine draft, 2026.https://naxiai.com/tibetan/works/toh1334
Summary & commentary
Significance
The work is significant as a representative example of Vajrayāna deity yoga, illustrating the synthesis of emptiness and form. It demonstrates the tradition's use of transgressive imagery, such as charnel grounds and severed heads, to dismantle conventional attachments and realize the purity of all phenomena.
Structure
Passages
Section
Description
1-4
Preliminary Rites
Includes homage, the identification of the aggregates with the Buddha families, refuge, and the establishment of emptiness.
5-6
Mandala Construction
Instructions for visualizing the palace, its architectural details, and the surrounding charnel grounds.
7-8
Visualization of the Retinue
The emanation of various Ḍākinīs and their specific attributes and positions within the mandala.
9-10
Visualization of the Central Deity
Detailed description of the Lord of the Great Wisdom Ḍakas' physical form and the internal process of purifying nectars.
11-12
Offerings and Conclusion
The performance of mudrās, torma offerings, and the final dissolution into the nature of subtle light.
Themes
Transformation of the Aggregates (2)
Emptiness and Pure Perception (4, 12)
Deity Yoga and Visualization (5-10)
Ritual Offerings (3, 11)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana of the Lord of the Great Wisdom Ḍakas·
In the language of India: Śrīmahājñānaḍākeśvarasādhananopika. In the language of Tibet: dPal chen po ye shes mkha' 'gro'i dbang phyug gi sgrub pa'i thabs (The Sādhana of the Glorious Great Lord of Wisdom Ḍākinīs). Homage to the glorious Vajraḍākinī!
Homage to the one who dwells in both cyclic existence and nirvāṇa, who is free from both cyclic existence and nirvāṇa, and who is liberated from both dwelling and freedom—the inexpressible.
Homage to the presence of the Guru, by whose kindness the glorious Lord of the Tilaka Tantra, the great sovereign of all tantras, is easily attained.
For the sake of the accomplishment of fortunate ones, I shall explain a concise sādhana of the generation stage of this king of tantras.
In a place surrounded by stainless water, possessing a soft meadow and trees with flowers and fruit, one should please Heruka while dwelling there.
First, the Lord of Yogins should meditate in this way: at the root of the navel is the syllable YAṂ; from YAṂ comes the maṇḍala of wind. Above that is the syllable RAṂ; from RAṂ comes the maṇḍala of fire. Through the complete transformation of these two, one should correctly meditate on a blazing fire. That fire burns the entire body, which is of the nature of conceptual thought. One should meditate on the form of the melting into light, together with the nectar of the wheel of bliss. By means of that which arises uninterruptedly, the burnt body is restored. One should view the nature of all things as being like a rainbow. The nature of the aggregate of form—
It pervades all wandering beings; because it is delusion, I am the Buddha Vairocana. Feeling likewise pervades all; because it is pride, I am Ratnasambhava. Perception also pervades beings; because it is attachment, I am Amitābha. Formations pervade beings; because it is envy, I am Amoghasiddhi. Consciousness pervades all beings; because it is hatred, I am Akṣobhya. Thus, in the form of all the Tathāgatas, the glorious Heruka dwells as my very self. The eye, ear, nose, tongue, body, and likewise the mind, each possessing its own natural radiance, are the pure faculties of insight. Earth, water, fire, and wind are the elements of Māmakī and the others. The yoginī Sugataratnā should be known as the element of space. One should analyze these as being the essence of them all. By the very nature of all these phenomena, they are selfless and unborn. Through delusion, they are like an optical illusion, a mirage, or the moon in water. By meditating on the accumulations of awakening, one abides firmly in mind-only. Then, in the sky of one’s own heart, one should meditate on a moon maṇḍala. In the center of that, the seed-syllable of the mind emits five-colored rays of light. Through that radiance, in the space before one, appears a great golden lotus, blazing with light, possessing a hundred thousand petals and a central hub. Upon the petals are the Buddhas and Bodhisattvas, supreme holders of the Dharma-mudrā. In the center is Vajrasattva, the very essence of the Jñānasattva.
Having seen [the field of merit] pervading space,
One should make offerings and go for refuge:
"I take refuge in the Three Jewels.
I confess each and every misdeed.
I rejoice in the virtue of all beings.
I hold the awakening of the Buddhas in my mind.
In the Buddha, the Dharma, and the Supreme Assembly,
I go for refuge until awakening is attained.
For the sake of accomplishing the welfare of myself and others,
I generate the supreme mind of awakening.
Having generated the supreme bodhicitta,
I invite all sentient beings as guests.
For the benefit of all wandering beings,
In order that I may attain Buddhahood,
I shall practice the conduct of supreme joy."
Then, one should meditate on the Brahma-abodes,
Such as loving-kindness and the rest.
Seeing them with a heart of affection,
Like a mother toward her only child,
And likewise toward all sentient beings,
That mental state is loving-kindness.
Thinking, "By what means can I
Rescue these beings from the fire of suffering?"
To have such a thought
Is taught to be compassion.
Having rescued them from the fire of suffering,
One's own mind becomes joyful;
Thinking, "I have benefited sentient beings,"
That is explained as joy.
Toward sentient beings who are difficult to tame,
One should not give rise to aversion,
Nor should one be indifferent,
Because they are included among sentient beings.
Otherwise, one's aspirations
Will undoubtedly become meaningless.
A mind that maintains equanimity toward faults
Is the supreme equanimity.
Through that, the accumulation of merit
Will truly increase.
For the purpose of increasing the accumulation of wisdom, emptiness is the very nature. The three—past, future, and present saṃsāra—are empty, devoid of intrinsic nature, just like space. Oṃ svabhāva śuddhāḥ sarvadharmāḥ svabhāva śuddho ’haṃ. Oṃ svabhāva śūnyatā sarvadharmāḥ svabhāva śūnyatā haṃ. Oṃ śūnyatā jñāna vajra svabhāva ātmako ’haṃ. By that, the accumulation of wisdom will truly increase. Through the perfection of the two accumulations, awakening will be attained without doubt. Then, from PAṂ, a red lotus with eight petals appears. In the center of its hub, from RAṂ, is a sun maṇḍala. Upon that is the seed syllable HŪṂ, radiating five-colored light rays. Through its complete transformation, in an instant, one becomes the King of the Three. Black in color and greatly terrifying, more fierce and fearsome than the fire at the end of an aeon, he has four faces, four arms, and four legs. With his legs, he tramples the four Māras. Each face is endowed with three eyes. With his two primary hands, he rolls a kīla for the Māras; the others hold a sword and a staff. Such a King of Wrathful Deities, I myself shall meditate upon. Since I am Suṃbha himself, there is no need for armor. Oṃ suṃbha ni suṃbha hūṃ hūṃ phaṭ. Oṃ gṛhṇa gṛhṇa hūṃ hūṃ phaṭ. Oṃ gṛhṇāpaya gṛhṇāpaya hūṃ hūṃ phaṭ. Oṃ ānaya ho bhagavān vajra vidyārāja hūṃ hūṃ phaṭ.
With a finger snap toward the east and so forth, one should cast the mantra in the form of sumbha. From the HŪṂ at the base of the crossed vajra, light rays are emitted. By the illumination of that light, the walls and the canopy are formed, consisting of blazing vajra flames. Above is a lattice of arrows.
OṂ GHĀ GHĀ GHĀTAYA GHĀTAYA SARVA DUṢṬĀṂ PHAṬ | KĪLAYA KĪLAYA SARVA PĀPAṂ PHAṬ | HŪṂ HŪṂ VAJRA KĪLAYA VAJRA DHĀRĀJÑĀPAYATI KĀYA VĀKA CITTA VAJRA KĪLAYA HŪṂ PHAṬ | VAJRA MUṄGARA VAJRA KĪLAYA ĀKOṬAYA HŪṂ PHAṬ |
Through the application of such a ritual, one should visualize a vajra tent. In its center, in a state of equipoise, is the shape of the bhaga of the dharmadhātu. Within that, one should meditate on the four wheels of wind and so forth.
From the syllable YAṂ arises wind, a maṇḍala in the shape of a bow, black in color and marked with a banner, which one should meditate upon within the dharmadhātu.
From the syllable RAṂ arises fire, a triangular maṇḍala red in color and possessing tongues of flame, which one should meditate upon above the wind maṇḍala.
From the syllable VAṂ arises water, a maṇḍala in the shape of a circle, white in color and marked with a vase, which one should meditate upon above the fire.
From the syllable LAṂ arises earth, a maṇḍala in the shape of a square, yellow in color and marked with a vajra, which one should meditate upon above the water.
From the complete transformation of these four wheels, the celestial palace (vimāna) is thoroughly manifested. It is square with four doors.
Adorned with the four portals,
With lattices, half-lattices, and hanging tassels,
And ornaments such as the jewels of the five sensory qualities.
Outside of that are the charnel grounds;
In the eight specific directions and intermediate points,
The fierce and violent are those that are burnt,
The shaped ones are those that are not burnt,
The dense thickets are those that have become fragmented,
The blazing ones are those that have not become fragmented.
The "Terrible" is explained as the fearsome,
The "Ha-ha Laughter" is mounted upon the spear-tip,
The "Jingling" is the obstructer.
Pātali, Pāṇḍali,
Sāla, Śirīṣa,
Udumbara, Nyagrodha,
Aśvattha, and Nagakesara trees—
In each charnel ground is one such tree,
Governed by heroes and the like.
Crows, cats, owls,
Tigers, dogs, vultures, and pigs—
These eight, with the faces of flesh-eaters,
Dwell upon the trees.
Crows, wolves, owls,
Heroes, dogs, rākṣasas,
Pigs, and zombies—
Each resides beneath its respective [tree].
Such charnel grounds
Perfectly surround the celestial mansion.
In the center of an eight-petaled multicolored lotus,
One should meditate.
Within the hub is the mudrā,
A triangle like a kunda flower,
From the sun, moon, vowels, and consonants,
Having the nature of Vajrasattva,
Endowed with one's own awareness,
One meditates in the center of the mudrā.
From the palace of supreme joy,
Where great bliss arises,
Vajravetālī emanates;
She is from the first corpse.
From the arising of the second corpse,
From the emanation of Vajrajālinī, the flavor of the third arises. From the emanation of Vajraśikharā, the flavor of the fourth arises. From the emanation of Vajravartulā, she is naked and with loosened hair; she should be known to be at the eastern gate and so forth. Black, red, yellow, and white, with three eyes and four arms, she holds a makara, a fish, a lion, and a garuḍa in her right hands. A kapāla and a khaṭvāṅga are held in the left hands of the Lāsyā [deity]. The other two [hands] draw a vajra bow and arrow to the back of the ear. All of them wear the five mudrās and are adorned with various ornaments. Abiding on the seat of a corpse, they act for the benefit of sentient beings.
Alternatively, through the union of insight and method, from the palace of the ocean of great bliss, Vajramekhalā emanates; she arises from the flavor of the fifth. From the arising of the flavor of the sixth, Vajrapītalā emanates. From the arising of the flavor of the seventh, Vajravāḍavā emanates. From the arising of the flavor of the eighth, Vajrādityā emanates. They abide in the four intermediate directions, the place that pleases the Blessed One. The drum, the flute, the lute, the clay drum, the small clay drum, the cymbals, the tambura, and the karatō—know that these have two hands each. In the second form is Mahābhayā.
Alternatively, through the union of insight and method, from the great lotus within bliss, Vajrasubhagā emanates. She arises from the first joy.
From the arising of the second joy, Vajrasāgarā emanated. From the arising of the third joy, Vajrahastinī emanated. Black, yellow, and red, they abide in the corners of the mudrā. They hold saffron, camphor, and musk, which fill their lotus vessels, in their right hands; the khaṭvāṅga is in the left. Above their heads is the triangular mudrā, with the tips of two fingers pointing downward. They abide in the posture of the left leg extended, bestowing the siddhi of the mudrā.
Furthermore, through the union of wisdom and method, joy arises by its very nature. Possessing their own consorts, the sunlight of their nature melts. Then, for the sake of others through aspiration, the goddesses request the yoginī: "Arise, Protector, well-pleased with great bliss! Make me, Vajrasukhā, joyful! O Protector, without you I am like a corpse. Through the nectar of your compassion, bring me to life! O Protector, you whose nature is emptiness, make me, Vajrasāgarā, joyful! Open the lotus and sport! O Protector, you are not of the nature of emptiness! A-la-la-la, well-pleased Protector! Make me, Vajrahastinī, joyful! If you do not speak for me, the Buddhas will not appear."
In response to this song, soṃ and hūṃ melt into light and emanate. From that, a vajra and curved knife completely transform, and from that, the Great Glorious One, the Great Wisdom Ḍākinī, embraced by the goddess Sukheśvarī, arises with fierce compassion for the benefit of all sentient beings.
His body color is like the black of a cloud. He has four faces and eight arms. Each face has three eyes. One leg is raised upward, treading upon the four Māras and their consorts. He wears a necklace of fresh severed heads. He dwells upon a sun disk possessing various lights. His head is adorned by the hero Akṣobhya. His limbs are adorned with the six mudrās. His head is adorned with a garland of skulls. His topknot is marked by a crescent moon. His lower body is wrapped in the skin of Yama. He possesses the nine dramatic sentiments.
He has faces that are black, yellow, red, and green, arranged in a counter-clockwise direction. In the right arms that embrace [the consort], he holds a vajra. In the left, he holds a bell. In the right, he holds a sun disk, an arrow, and a kapāla filled with blood. In the left, he holds a moon disk, a bow, and a khaṭvāṅga marked with a vajra. He is equal to the consort, the Lady of Excellent Joy. Alternatively, he may have only two arms. He has one face and three eyes, adorned with various ornaments. In his hands, he holds a curved knife and a vessel. He is firmly embraced by her two calves. He is the supreme form, arising from his own light, endowed with all the marks. His hair is loose and his eyes are long. His lower body is covered by a belt. Just as the yoginīs at the gates and so forth, they dwell in the extended and other postures. Likewise, one should understand through meditation those dwelling in the corners of the triangle. One should meditate upon such a wisdom wheel together with oneself. Then, in the center of the lotus vessel, the foundation of great bliss—
The supreme deity of the five nectars, the self of all Tathāgatas, should cause that nectar to melt by the heat of the fire-light at the navel. By the seed syllable of the wisdom of the three vajras, it is whitened, purified, and made to blaze. Through the blessing of the mantra, it is placed upon the petal of one’s own tongue. By means of the outer and inner application, the body should be satisfied by it. OṂ YOGA AMṚTA ŚUDDHAḤ SARVA DHARMA YOGA AMṚTA ŚUDDHO ’HAṂ. Then, for the sake of accomplishing everything, one should recite the heart mantra of the Protector: OṂ MAHĀ KRODHEŚVARĀYA JAYA VAJE JATTAṬṬA HĀSA MAHĀ KAPĀLĀGNE BHAYA HŪṂ HŪṂ PHAṬ SVĀHĀ. That is the heart mantra of the Blessed One. OṂ VAJRA ṬIJUGRA HRĪṂ HRĪṂ PHAṬ. This is the near-heart mantra. OṂ SORATA SAMAYEŚVARĪ HŪṂ HŪṂ PHAṬ. This is the mantra of the Blessed Lady. OṂ KLĪṂ VLĪṂ JLĪṂ PHAṬ SVĀHĀ. This is the near-heart mantra. At the beginning is OṂ and at the end PHAṬ; in between, the name is to be inserted. This is to be remembered as the offering mantra for all the goddesses of the retinue. Then, endowed with mantra and mudrā, the torma should be offered. Having formed two vajra fists, the backs are joined. The little fingers are in the manner of a sheep’s chain, and the two index fingers are slightly hooked. All the yoginīs and all the ḍākinīs, come here! Take this torma of meat, fish, and so forth, and protect the samaya. Be my companions in all matters. Grant your protection for the sake of those who have faith in this sādhana.
OṂ ĀḤ HŪṂ PHAṬ SVĀHĀ. Placing the triangular mudrā upon it, one should diligently offer the torma. Once all those stages of activity are complete, one should purify them and so forth. For the sake of consecrating the four joys, the four faces are beautiful. Because the three wisdoms are pure, each face has three eyes. Since existence and nirvāṇa are one, one leg is raised upward. By the path of the six perfections, the body is adorned with the six mudrās. Through the great conduct of Brahmā, the lower body is wrapped in the skin of Yama. Being the nature of great loving-kindness, he is thus like the color of a cloud. Because of non-dual insight and method, he possesses the vajra and bell. In order to threaten all Māras, he fully draws the bow and arrow. Appearance and the increase of appearance—of these, I am the master. Therefore, he holds the moon and sun in his hands in a playful manner. Without conceptualizing existence or non-existence, he therefore holds the skull-cup of the head. Since all phenomena are the essence of emptiness, he holds the khaṭvāṅga. He is the nature of Mahāmudrā. Adorned with a topknot by the crescent moon, and because his essence is like space, he is crowned by Akṣobhya. Because of great compassion, he has a fierce purpose; therefore, he has a truly terrifying appearance. To mock the non-Buddhists, he is adorned with bones and so forth. Because he cannot be harmed by any Māras, he dwells upon the Māras. Because he has abandoned attachment and so forth—
Therefore, sport within the charnel ground. Since all these are known to be pure, now one should rest. In the sky of one’s own heart, within a lotus, meditate on a stainless, full moon. In its center, the mere manner of it is the supreme form, the unborn sky, possessing the nature of subtle light, the waveless self-awareness. By merely meditating on that very reality, one will swiftly attain accomplishment. If one desires the great accomplishment, one should not entertain doubt regarding it. Whatever is not found within the tantras is not my own fabrication. By whatever merit is gained from composing this, may all sentient beings attain it. The Sādhana of the Glorious Jñānaḍākinī, composed by the great master Bhogavajra, is complete. It was translated, edited, and finalized by the Indian abbot Prajñāśrīgupṭa and the chief editor-translator, the monk Rinchen Gyaltsen.