Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Clear Realization of the Glorious Bhagavan is a ritual manual detailing a complex visualization and meditative practice centered on a wrathful deity and the Vajravārāhī cycle. The text guides the practitioner through the construction of a sacred space, beginning with the four brahmā abodes and the establishment of a vajra-fence and canopy. It prescribes a detailed somatic and cosmic mapping, where specific deities and syllables are situated within the mind, speech, and body wheels (cakras), and further associates the thirty-seven factors of awakening with specific yoginīs. The work commits the reader to a rigorous system of deity yoga that integrates mantra recitation, mudrā, and the identification of physical body parts with sacred geography and deities. Ultimately, the text moves from external visualization to an internal, non-analytical contemplation of the nature of mind, suggesting that the realization of the inconceivable is the source of form and insight.
Provenance
About this text
Offering homage to the glorious Vajrasattva, the Śrībhagavadabhisamaya is a work of classical Tibetan Buddhism that guides the lord of yogins through a sequence of meditative visualizations. Attributed to the Indian author Lūhipāda, the text was translated into Tibetan by Śraddhākaravarman and zhu chen gyi lo tsa ba dge slong rin chen bzang po. It is preserved in the Tengyur, volume ཝ, where it spans fourteen pages and is situated within the collection of the Śaṃvara and Related Tantras. The work enacts a ritual process beginning with meditation on the four brahmā abodes and the generation of divine pride, identifying the five aggregates with deities such as Vairocana and Vajrasūrya. It further prescribes the establishment of a mantra in the eastern direction and the visualization of a sacred environment featuring a crossed vajra ground, a vajra fence, and a vajra canopy, alongside the manifestation of specific syllables and colored maṇḍalas. A scholar or serious reader consults this text today to examine these detailed instructions for somatic and cosmic mapping, including the use of mantras and the transformation of syllables into complex ritual geometries.
Sanskrit title
Śrībhagavadabhisamaya
Indian author
Lūhipāda
Tibetan translators
zhu chen gyi lo tsa ba dge slong rin chen bzang po, Śraddhākaravarman
Cite thisAnuvāda, “The Clear Realization of the Glorious Bhagavan” (Toh 1427), machine draft, 2026.https://naxiai.com/tibetan/works/toh1427
Summary & commentary
Significance
This text is significant as an example of the highly specialized tantric synthesis of somatic mapping and Buddhist psychology, specifically the mapping of the thirty-seven factors of awakening onto a deity mandala. For the modern reader, it illustrates the intersection of geography, linguistics, and anatomy in Indo-Tibetan ritual technology.
Structure
Passages
Section
Description
1-4
Ritual Preparation and Mandala Construction
Instructions on preliminary meditations, the establishment of the vajra-fence, and the visualization of the blue wind maṇḍala and its surrounding terrifying creatures.
5-8
Deity Visualization and Iconography
Detailed description of the central deity's appearance, attributes, and the arrangement of deities within the wheels of mind, speech, and body.
9-16
Somatic Mapping and Mantra
The association of the thirty-seven factors of awakening with deities, the mapping of specific locations and deities onto the physical body, and the recitation of various mantras and offerings.
17-19
Ornamentation and Non-dual Contemplation
The use of mantras as bodily ornaments and the final instruction to contemplate the inconceivable nature of mind, concluding with a note on revisions by Paṇḍita Dānaśīla.
Themes
Deity Yoga and Visualization (1-8)
Somatic Mapping (Cakra) (11-13)
Integration of Buddhist Path Factors (9-10)
Non-analytical Meditation (18)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaThe Clear Realization of the Glorious Bhagavan·
In the language of India: Śrībhagavatī-abhisamaya-nāma. In the language of Tibet: dPal bcom ldan ’das mngon par rtogs pa zhes bya ba. Homage to the glorious Vajrasattva.
The lord of yogins should first, for a time, meditate upon the four brahmā abodes. Then, one should generate the divine pride of the five aggregates: the aggregate of form is Vairocana; the aggregate of feeling is Vajrasūrya; the aggregate of perception is Padmanarteśvara; the aggregate of formations is Vajrarāja; the aggregate of consciousness is Vajrasattva; and the nature of all the Tathāgatas is the glorious Heruka.
In the two eyes is Mohavajrā; in the two ears is Dveṣavajrā; in the nose is Mātsaryavajrā; in the mouth is Rāgavajrā; in the sense of touch is Īrṣyāvajrā; and in all the sense bases is Īśvaravajrā. The earth element is Pātālavāsinī; the water element is Māraṇī; the fire element is Ākarṣaṇī; the wind element is Padmanarteśvara; and the space element is Padmajālinī. These are the purifications of the aggregates, elements, and sense bases into deities.
Then, one should visualize the vajra tent: OṂ SUMBHANI SUMBHANI HŪṂ HŪṂ PHAṬ. OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ. OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ. OṂ ĀNAYA HOḤ BHAGAVĀN VAJRA HŪṂ HŪṂ PHAṬ.
The mantra should be firmly established in the eastern direction and so forth. Above is a lattice of arrows. The ground is blessed as being of the nature of a crossed vajra (viśvavajra) from the syllable hūṃ; from the radiance of its light, a vajra fence and a vajra canopy arise.
Oṃ gha gha ghātaya ghātaya sarvaduṣṭān praduṣṭān hūṃ hūṃ phaṭ | kīlaya kīlaya sarvapāpān hūṃ hūṃ phaṭ | hūṃ hūṃ hūṃ vajrakīla vajradhara ājñāpayati sarvavighnān vināyaka kāyavākcitta vajrakīlaya hūṃ phaṭ. This is the mantra for striking with the ritual daggers (kīla).
Oṃ vajramudgara vajrakīla ākoṭaya hūṃ phaṭ. This is the mantra for hammering the ritual daggers.
Then, one should visualize a moon maṇḍala at one’s own heart from the syllable a, and upon it, the syllable hūṃ emitting various rays of light. Through that radiance, one should behold the perfectly enlightened Buddhas, the Guru, and so forth, in the space before one, and prostrate and make offerings. Then, one should take refuge in the Three Jewels.
Then, recite: Oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’haṃ. Furthermore:
"Again, one should contemplate emptiness,
And abide in that as mere mind.
By meditating on bodhicitta,
Within a cognition that is like an optical illusion,
One should recite: Oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ."
Then, having arisen, one should visualize the syllable yaṃ abiding in the manner of the support and the supported, located in the abodes such as Vairambha and so forth. From the complete transformation of that, one should visualize a blue wind maṇḍala in the shape of a bow, marked by banners. Above that, from the complete transformation of the syllable raṃ, there is a red triangular fire maṇḍala marked by flames. Above that, from the complete transformation of the syllable vaṃ, there is a white circular water maṇḍala marked by a vase. Above that, from the complete transformation of the syllable laṃ, there is a yellow square earth maṇḍala marked by a vajra. Above that, from the complete transformation of the syllable suṃ, there is Mount Meru, the king of mountains, four-sided, composed of the four kinds of precious gems, and beautifully adorned with eight peaks. Above that, from the syllable hūṃ, there arises a crossed vajra. Above that, from the syllable paṃ, there arises a multicolored eight-petaled lotus together with its center and filaments. In its center is the union of the āli and kāli. In the center of that, one should visualize the syllable hūṃ, having the nature of Vajrasattva, radiating various rays of light. From its complete transformation, there arises the glorious Heruka, seated upon the sun, together with the maṇḍala wheel and adorned by the eight charnel grounds.
Next, the charnel grounds will be explained. Within the vajra fence, they are to be described in a counter-clockwise direction in all quarters and in the four intermediate directions, such as Īśāna and so forth, four by four: Raudracāṇḍa, Gahvara, and so on.
Pervaded by roaring flames, the terrifying [creatures] are well-situated in a counter-clockwise direction starting from the east and so forth. In the northeast corner is "Ha Ha" laughter. In the southeast corner is a magnificent forest. In the southwest corner is unbearable darkness. In the northwest corner is the sounding of the "kīli kīli" cry. In those charnel grounds of the vajra fence, there are terrifying forms of vetālas and bhūtas, and the howling of jackals. In those eight charnel grounds situated in that order, there are trees, directional guardians, lords of nāgas, and lords of clouds: the śirīṣa, aśvattha, kaṅkela, and cūta trees in the east and so forth; the vaṭa, karañjaka, latājāti, and pāribhadraka. Likewise, [the directional guardians are] Indra, the Lord of Wealth (Kubera), the Lord of Nāgas, Yama, Īśāna, Agni, the Lord of Rākṣasas, and Vāyu. Likewise, [the nāgas are] Vāsuki, Takṣaka, Karkoṭaka, Padma, Mahāpadma, Huluhunda, Kulika, and Śaṅkhapāla. Likewise, [the clouds are] the sounding, the stupefying, the dark, the swirling, the dense, the fierce, the raining, and the full lords of clouds. Having visualized them in that way, [one meditates on] the Blessed One, four-faced, three-eyed, twelve-armed, holding a vajra garland on his forehead, and dwelling in the great Bhairava posture with his right leg extended.
At the time, one should visualize [the deity] treading upon the [four] signs with his feet, embracing Vajravārāhī with two hands that hold a vajra and a bell. With his other two hands, he wears an elephant hide as a garment. His third right hand holds a ḍamaru, the fourth a battle-axe, the fifth a curved knife, and the sixth a raised trident. His third left hand holds a khaṭvāṅga marked with a vajra, the fourth a skull-cup filled with blood, the fifth a vajra-noose, and the sixth the head of Brahmā. He is adorned with a topknot of matted hair and a crown of skulls. He wears a crescent moon and a crown ornament marked with a crossed vajra. His faces are contorted, with bared fangs and a terrifying appearance. He possesses the expressions of the [nine] dramatic sentiments, such as the erotic, and is dark blue in color.
The root face is dark blue-black, the right face is intensely yellow, the back face is the color of a ruby, and the left face is the color of an emerald. He wears a lower garment of tiger skin. He wears a garland of fresh human heads and is adorned with earrings, bracelets, necklaces, a belt, and a crest-jewel. He wears a sacred thread and the six mudrās; these six mudrās are the seals of the six perfections in their state of complete purity. In front of him is the Blessed Lady, red in color, with one face and three eyes, and two hands. Her hair is loose, and she is naked, adorned with a girdle of bone fragments. With her left hand, she embraces [him] while holding a skull-cup filled with the blood of the wicked, the four Māras, and so forth.
To his right, he makes the threatening gesture toward the malevolent ones and holds a vajra. He possesses a great majesty like the fire at the end of an eon, delights in blood, and drips with blood. His two calves are entwined, and he is the embodiment of great bliss and great compassion. The ḍākinīs, Lāmās, Khaṇḍarohās, and Rūpiṇīs accomplish all purposes. In the directions of the lotus, one should visualize the black, green, red, and yellow [deities], each with one face and four arms. In their left hands, they hold a khaṭvāṅga and a skull cup; in their right hands, they hold a ḍamaru and a curved knife. They have three eyes, loose hair, and are naked, standing with the right leg extended. Their fangs are bared, and they are adorned with the five mudrās. In the intermediate directions, one should place the four vessels of bodhicitta and so forth, which are offerings that satisfy the mind through the purification of desire, delusion, and the rest. First is the eight-spoked wheel of the mind, dark blue in color and adorned with a garland of vajras. On its eastern spoke, at Pullīramalaya, are Khaṇḍakapāla and Pracandā. In the north, at Jālandhara, are Mahākaṅkāla and Caṇḍākṣī. In the west, at Oḍḍiyāna, are Kaṅkāla and Prabhāvatī. In the south, at Arbuda, are Vikaṭadaṃṣṭrin and Mahānāsā. In the southeast, at Godāvarī, are Surāvairin and Sthirabuddhi. In the southwest, at Rāmeśvara, are Amitābha and Kharvarī. In the northwest, at Devīkoṭa, are Vajraprabha and Laṅkeśvarī.
In the northeast, at Lāva, are Vajrakāya and Chāyā; these are the deities of the mind wheel. Second is the red eight-spoked wheel of speech, completely encircled by a garland of lotuses. On its eastern spoke, at Kāmarūpa, are Aṅguri and Erāvatī. In the north, at Oḍḍiyāna, are Vajrajāṭāmukuta and Mahābhairavī. In the west, at Triśakuni, are Mahāvīra and Vāyuvegā. In the south, at Kosala, are Vajrahūṃkāra and Madanā. In the southeast, at Kaliṅga, are Subhadra and Śyāmādevī. In the southwest, at Lampāka, are Vajrabhadra and Subhadrā. In the northwest, at Kāñcī, are Mahābhairava and Hayakarṇā. In the northeast, at Himālaya, are Virūpākṣa and Khagānanā; these are the deities of the speech wheel. Third is the white wheel of body, completely encircled by a garland of wheels. On its eastern spoke, at Pretapuri, are Mahābala and Cakravegā. In the north, at Gṛhadevatā, are Ratnavajra and Khaṇḍarohā. In the west, at Saurāṣṭra, are Hayagrīva and Śauṇḍinī. In the south, at Varuṇadvīpa, are Ākāśagarbha and Cakravarmiṇī. In the southeast, at Nagara, are Śrīheruka and Mahāvīrā. In the southwest, at Sindhu, are Padmanarteśvara and Mahābalā. In the northwest, at Maru, are Vairocana and Cakravartinī. In the northeast, at Kulatā, are Vajrasattva and Mahāvīryā.
These are the wheel of the body. The heroes, such as Khaṇḍakapāla and the others, have one face and four arms, three eyes, and bared fangs. They wear crowns adorned with topknots of matted hair, and with their two arms in an embrace, they hold a vajra and a bell. In their left hands they hold a khaṭvāṅga, and in their right hands a ḍamaru. Their bodies are adorned with the five mudrās and so forth, and they stand with the right leg extended.
The goddesses, such as Pracaṇḍā and the others, have two arms and one face. With their hands they embrace [the heroes], and they brandish a threatening gesture and a curved knife toward the malevolent. They have three eyes, fierce forms, and are beautified by their loose, flowing hair. They are supreme in their nakedness, devoted to non-dual union, and wear bracelets, crest-jewels, earrings, necklaces, and the brahminical thread. Their necks are adorned with garlands of heads, and their girdles jingle with sound.
At the gates of the east, north, west, and south are Kākāsyā, Ulūkāsyā, Śvānāsyā, and Sūkarāsyā. In the intermediate directions of the southeast, southwest, northwest, and northeast are Yamadāḍhī, Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani. Just as the assembly of Ḍākinīs and the others is, so too are the divisions of Kākāsyā and the others. Likewise, the goddesses residing in the intermediate directions possess a second, captivating form; they all sit upon seats of hungry ghosts and are devoted to acting for the benefit of sentient beings.
All these heroes and yoginīs have a vajra garland at their foreheads. Furthermore, the thirty-seven factors of awakening should be applied through the yoga of the deities. What are they? Mindfulness of the body is Ḍākinī. Mindfulness of feeling is Lāmā. Mindfulness of phenomena is Khaṇḍarohā. Mindfulness of the mind is Rūpiṇī. The base of miraculous power of aspiration is Pracaṇḍā. The base of miraculous power of diligence is Caṇḍākṣī. The base of miraculous power of investigation is Prabhāvatī. The base of miraculous power of the mind is Mahānāsā. The faculty of faith is Sthirabuddhi. The faculty of diligence is Kharvarī. The faculty of mindfulness is Laṅkeśvarī. The faculty of absorption is Drumacchāyā. The faculty of insight is Airāvatī. The power of faith is Bhīmā. The power of diligence is Vāyuvegā. The power of mindfulness is Śauṇḍinī. The power of absorption is Śyāmādevī. The power of insight is Subhadrā. The branch of awakening of correct absorption is Hayakarṇā. The branch of awakening of correct diligence is Khagānanā. The branch of awakening of correct joy is Cakravegā. The branch of awakening of correct pliancy is Khaṇḍarohā. The branch of awakening of correct concentration is Śauṇḍinī. The branch of awakening of correct equanimity is Cakravarmiṇī. The branch of awakening of correct mindfulness is Mahābalā. The branch of awakening of correct insight is Mahāvīryā. The branch of awakening of correct thought is Kuliśeśvarī. The branch of awakening of correct resolve is Saṃcālinī. The branch of awakening of correct speech is Vajraśṛṅkhalā. The branch of awakening of correct action is Ankuśī. The branch of awakening of correct livelihood is Padmā. The branch of awakening of correct effort is Mahānāsā. The branch of awakening of correct absorption is Vāyuvegā. The branch of awakening of correct insight is Subhadrā. The branch of awakening of correct thought is Śauṇḍinī. The branch of awakening of correct resolve is Cakravarmiṇī. The branch of awakening of correct speech is Mahābalā. The branch of awakening of correct action is Mahāvīryā. The branch of awakening of correct livelihood is Kuliśeśvarī. The branch of awakening of correct effort is Saṃcālinī. The branch of awakening of correct absorption is Vajraśṛṅkhalā. The branch of awakening of correct mindfulness is Ankuśī. The branch of awakening of correct pliancy is Padmā. The branch of awakening of correct joy is Mahānāsā. The branch of awakening of correct diligence is Vāyuvegā. The branch of awakening of correct faith is Subhadrā. The branch of awakening of correct aspiration is Śyāmādevī. The branch of awakening of correct investigation is Bhīmā. The branch of awakening of correct mindfulness is Laṅkeśvarī. The branch of awakening of correct concentration is Sthirabuddhi. The branch of awakening of correct insight is Kharvarī. The branch of awakening of correct power is Airāvatī. The branch of awakening of correct faculty is Śauṇḍinī. The branch of awakening of correct strength is Śyāmādevī. The branch of awakening of correct wisdom is Subhadrā. The branch of awakening of correct absorption is Hayakarṇā. The branch of awakening of correct diligence is Khagānanā. The branch of awakening of correct joy is Cakravegā. The branch of awakening of correct pliancy is Kha�
The branch of awakening of the correct discrimination of phenomena is Ṣaundinī. The branch of awakening of correct mindfulness is Cakravarmiṇī. The branch of awakening of equanimity is Suvīrā. Right view is Mahābalā. Right thought is Cakravartinī. Right speech is Mahāvīryā. Right action is Kākāsyā. Right livelihood is Ulūkāsyā. Right effort is Śvānāsyā. Right mindfulness is Śūkarāsyā. Right absorption is Śrī Heruka. The production of virtuous dharmas not yet arisen is Yamadāḍhī. The preservation of virtuous dharmas already arisen is Yamadūtī. The correct abandonment of non-virtuous dharmas already arisen is Yamadaṃṣṭriṇī. The non-production of non-virtuous dharmas not yet arisen is Yamamathinī.
Furthermore, through the application of the supreme sequence of the body maṇḍala, the ten grounds are completely purified, and the locations and so forth shall be correctly explained: Pūjā-o-a-go-rā, de-mā-kā-o-hṛ-ko-ka-la-kā-hi, pre-gṛ-sau-su-na-si-ma-ku. "Pū" refers to Pūlliramalaya; at the head is Pracaṇḍā. "Jā" refers to Jālandhara; at the crown of the head is Caṇḍākṣī. "O" refers to Oḍḍiyāna; at the right ear is Prajvālī. "A" refers to Arbuda; at the back of the head is Mahānāsā; these are the locations.
Go refers to Godāvarī; she is Sthirabuddhi at the left ear. Rā refers to Rāmeśvara; she is Kharvarī at the center of the eyebrows. De refers to Devīkoṭa; she is Laṅkeśvarī at the eyes. Mā refers to Mālava; she is Drumacchāyā at the shoulders. These are the places of the Mind Cakra and are the Sky-Walkers (khecara).
Kā refers to Kāmarūpa; she is Airāvatī at the two armpits. O refers to Oḍḍiyāna; she is Mahābhairavī at the two breasts. These are the Fields (kṣetra). Dri refers to Triśakuni; she is Vāyuvegā at the navel. Ko refers to Kośala; she is Madirā at the tip of the nose. These are the Near Fields (upakṣetra). Ka refers to Kaliṅga; she is Śyāmādevī at the mouth. La refers to Lampāka; she is Subhadrā at the throat. These are the Candohas. Kā refers to Kāñcī; she is Hayakarṇī at the heart. Hi refers to Himālaya; she is Khagānanā at the groin. These are the Near Candohas. These are the Speech Cakra and are the Earth-Walkers (bhūcara).
Pre refers to Pretapuri; she is Cakravegā at the genitals. Gri refers to Gṛhadevatā; she is Khaṇḍarohā at the anus. These are the Gathering Places (melāpaka). Sau refers to Saurāṣṭra; she is Śauṇḍinī at the two thighs. Su refers to Suvarṇadvīpa; she is Cakravarmiṇī at the two calves. These are the Near Gathering Places (upamelāpaka).
Na refers to Nagara; on the fingers is Śuravīrā. Si refers to Sindhu; on the insteps is Mahābalā, which is a śmaśāna. Ma refers to Maru; on the big toes is Cakravartinī. Ku refers to Kulata; on the two knees is Mahāvīryā, which is a upaśmaśāna. These constitute the kāyacakra, which resides beneath the earth. Furthermore:
Through the divisions of body, speech, and mind,
From the essence of the three syllables,
In the higher realms, the human world, and the subterranean,
In a single instant, the single body is transformed.
I, the yogin, in a mere instant,
In an instant, possess the mudrā.
In every way, in every respect, in an instant,
In an instant, I recite the secret mantra: Oṃ Āḥ Hūṃ.
Oṃ sarvavīrayoginīnāṃ kāyavākcittaṃ vajrasvabhāvātmako ’ham.
Oṃ vajraśuddhaḥ sarvadharmā vajraśuddho ’ham.
Then, having understood the two armors, one should meditate on the wisdom wheel (jñānacakra). By knowing the application of mantra and mudrā, one should swiftly enter the commitment wheel (samayacakra).
Next, the two armors are to be explained: Oṃ Haḥ at the heart; Namaḥ Hiḥ at the head; Svāhā Huḥ at the crown; Vauṣaṭ Heḥ on the two shoulders; Hūṃ Hūṃ Hoḥ on the two eyes; and Phaṭ Phaṭ Haṃ on all the limbs.
First is Vajrasattva; second, Vairocana resides;
Third, Padmanarteśvara resides;
Fourth is the glorious Heruka;
Vajrasūrya and Hayagrīva—
Thus protected by the armor against the malevolent.
OṂ BAṂ is Vajravārāhī. HAṂ YOṂ is Yamī. HRĪṂ MOṂ is Mohanī. HRĪṂ HRĪṂ is Kṣobhaṇī. HŪṂ HŪṂ is Utsāraṇī. PHAṬ PHAṬ is Caṇḍikā; these are the weapons for all the limbs, serving as the weapons for the navel, the heart, and likewise the mouth, the head, and the crown of the head.
Interlocking the index fingers and firmly joining the middle fingers, with the thumbs firmly joined in the form of a vajra, place this at the expanse of the forehead and, by circling and revolving it, perform the circumambulation in all directions. Treading upon the feet and looking upward, utter the sound PHAṂ upward, and summon the heroes and yoginīs residing in the world systems of the ten directions.
OṂ YOGA ŚUDDHAḤ SARVA DHARMĀ YOGA ŚUDDHO ’HAṂ. Then, the heart mudrā should be applied: rotate the right and left hands and enter the supreme bliss of the ḍākinīs. OṂ ŚRĪ VAJRA HE HE RU RU KAṂ HŪṂ HŪṂ PHAṬ VAJRA ḌĀKINĪ JĀLA SAMVARAṂ SVĀHĀ is the heart mantra. OṂ HRĪḤ HA HA HŪṂ HŪṂ PHAṬ is the near-heart mantra. OṂ VAJRA VAIROCANĪYE HŪṂ HŪṂ PHAṬ SVĀHĀ is the heart mantra of the Blessed Lady. OṂ VAJRA SARVA BUDDHA ḌĀKINĪYE VAJRA VARṆANĪYE HŪṂ HŪṂ PHAṬ SVĀHĀ is the near-heart mantra of the Blessed Lady. OṂ KARA KARA HŪṂ HŪṂ PHAṬ. OṂ PRACAṆḌA HŪṂ HŪṂ PHAṬ. OṂ KURU KURU HŪṂ HŪṂ PHAṬ. OṂ CAṆḌĀKṢĪYE HŪṂ HŪṂ PHAṬ. OṂ BANDHA BANDHA HŪṂ HŪṂ PHAṬ. OṂ PRABHĀVATĪYE HŪṂ HŪṂ PHAṬ.
OṂ KHA KHA KHĀHI KHĀHI SARVA YAKṢA RĀKṢASA BHŪTA PRETA PIŚĀCA UNMĀDA APASMĀRA ḌĀKA ḌĀKINYĀDYA IMAṂ BALIṂ GṚHṆANTU SAMAYAṂ RAKṢANTU | MAMA SARVA SIDDHIṂ ME PRAYACCHANTU YATHĀIVAṂ YATHAIṢṬAṂ BHUÑJATHA PIVATHA JIGHRATHA MĀTIKRAMATHA | MAMA SARVA KĀRTAYA SAT SUKHA VIVṚDDHAYE SAHĀYAKĀ BHAVANTU HŪṂ HŪṂ PHAṬ SVĀHĀ |
The teeth and nails are Khaṇḍakapālin. The hair of the head and body are Mahākaṅkāla. The skin and impurities are Kaṅkāla. The flesh is Vikaṭadaṃṣṭrin. The sinews are Surāvairin. The bones are Amitābha. The liver is Vajralola. The heart is Vajrakāya. The eyes are Aṅkurika. The bile is Vajrajāṭin. The lungs are Mahāvīra. The intestines are Vajrahuṃkāra. The mesentery is Subhadra. The stomach is Vajrabhadra. The bladder is Mahābhairava. The hairline is Virūpākṣa. The phlegm is Mahābala. The pus is Ratnavajra. The blood is Hayagrīva. The sweat is Ākāśagarbha. The fat is Śrīvajraheruka. The tears are Padmanarteśvara. The saliva is Vairocana. The mucus is Vajrasattva. These are the purities of the limbs of the heroes.
As for the supreme root mantra of the heroes, one should examine the sacred thread and so forth. One should examine the elements of the body of the twenty-four heroes. The armor mudrās are the six heroes.
By this mudrā, the body is beautified. Whatever is the mantra of Vajravārāhī is the ornament of the neck and throat. With fifty of the hero’s garland of the essence mantra, it is adorned. With the seven syllables of the secret mantra, the ears are adorned with earrings. The ḍākinī of all the buddhas is the supreme wearer of the skin garment. With the mantras of the six yoginīs, the belt is fashioned and fully adorned. The yoginīs of all the cakras are the skull-cups for the drink of mantra. Whatever is the mantra of Vairocana, the head is fully adorned with a skull. Having thus visualized oneself, one is thoroughly protected by the fierce mantra. Having examined the holy life, one should worship with the secret mantra of the eight lines. Having completely abandoned all fears, the yogi should thus visualize himself. The wise one of great capacity practices within the Saṃvara of Cakrasaṃvara. Practicing within the five families, one should discern them as a single family. With a non-conceptual mind, one enjoys the five sensory qualities. Having completely abandoned all doubts, one acts like a lion, the hero. Having visualized the vowels and consonants before oneself, the great yogi rests. One should meditate on the full moon maṇḍala residing at the root of the navel. One should meditate in the center of that, the locus of the supreme syllable. One should meditate on the deity’s body, the possessor of the vajra of body, speech, and mind. That is beyond form; it is the nature of phenomena (dharmatā) without substantiality.
Furthermore, one should contemplate the inconceivable; the nature of mind itself should not be analyzed. If one contemplates that which is inconceivable, from that, form will arise. The khaṭvāṅga is the body of the deity; the sound of the ḍamaru is insight. The Blessed One, the Vajra-holder, is explained as the day; the yoginī is the night. The heroes who have emerged from nirvāṇa are the emanations of the sixth, the mind. The emanation of the pure dharma is shown in the form of Vārāhī. The syllable Śrī is non-dual wisdom; He is the complete abandonment of causes and so forth. Ru is the state of being free from the collection [of aggregates]; Ka is not abiding anywhere at all. The yogin who rests the mind is not [merely] the teaching of nirvāṇa. At the time of transference, the yogin [is led] by the glorious Heruka and the other yogas. Holding various flowers in their hands, with various victory banners and streamers, with the sounds of various musical instruments, and with various offerings of song, they lead [the yogin] to the celestial realm of Khecarī. What is called "death" is a conceptual construction; it leads to the state of Khecarī.
The Glorious Bhagavatābhisamaya composed by the great lord of yogins, Lūyipa, the alms-gatherer and attained-accomplishment master from the land of Bhaṅgala, is hereby complete. It was translated, edited, and finalized by the Kashmiri scholar Śraddhākaravarman and the chief editor-translator, the monk Rinchen Zangpo. Later, it was revised in accordance with an Eastern Indian manuscript by the presence of the glorious great Vajrācārya, the venerable Navakoṭipāda, and the Tibetan translator 'Gos Lhas btsas.