Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a comprehensive ritual manual for the practice of the deity Cakrasaṃvara, specifically the version titled The Precious Crown Jewel. The text functions as a guided meditation and liturgical sequence, committing the practitioner to a rigorous path of visualization and mantra recitation. It begins by establishing the necessary spiritual prerequisites, such as the realization of emptiness and the cultivation of compassion. The ritual architecture moves from the external visualization of a jeweled palace and the eight charnel grounds to the internal manifestation of the practitioner as Heruka. The text integrates complex elements of the mandala, including the placement of deities, the use of seed syllables, and the performance of offerings and empowerments. By combining the generation stage—characterized by detailed imagery of the deity's form and environment—with the completion stage and wrathful recitations, the work aims to lead the practitioner toward the realm of Khecarī and the ultimate state of a Vajradhara.
Provenance
About this text
A ritual manual for the practice of the deity Cakrasaṃvara, the Bhagavacchrīcakraśamvarasyasādhanaratnacūḍamaṇīnāma is attributed to the Indian author Kambalapāda. The work entered the Tibetan tradition through the efforts of the translators Sumatikīrti and Mar pa chos kyi dbang phyug, appearing in the classical Tibetan language. It is preserved in the Tengyur, volume ཝ, where it is situated within the collection of the Śaṃvara and Related Tantras and spans sixteen pages. The text enacts a detailed liturgical sequence, beginning with the requirement that a yogi cultivate compassion, generosity, and a realization of phenomena as illusion-like before pleasing the guru. It guides the practitioner through the visualization of a multi-storied jeweled palace surrounded by eight charnel grounds, where the guru is visualized as Vajrasattva upon a golden lotus. Scholars and serious readers consult this work to examine the specific requirements for entering the maṇḍala and the precise imagery used in the generation stage of the practice, including the invocation of the Glorious Vajraḍākinī and the ritualized positioning of the deity within the sacred landscape.
Cite thisAnuvāda, “A Sādhana of the Bhagavan, the Glorious Cakrasaṃvara called “The Precious Crown Jewel”” (Toh 1443), machine draft, 2026.https://naxiai.com/tibetan/works/toh1443
Summary & commentary
Significance
This work is significant as it exemplifies the highly structured nature of Anuttarayoga Tantra, where precise visualization and mantra use are seen as essential for rapid enlightenment. For the modern reader, it illustrates the intersection of Buddhist philosophy on emptiness with the elaborate symbolic language of the tantric tradition.
Structure
Passages
Section
Description
1-3
Prerequisites and Initial Visualization
Establishment of the practitioner's qualifications and the initial visualization of the palace and the Guru.
4-14
Deity Manifestation and Mandalas
Detailed descriptions of the concordant deities, the manifestation of Heruka, the construction of the vajra fence, and the layout of the mandala including Mount Meru and Kālarātri.
15-17
Ritual Offerings and Empowerment
Instructions for summoning deities, requesting empowerment from the Tathāgatas, and the use of nectar and seed syllables.
18-22
Mantra Recitation and Completion
Guidelines for wrathful recitation, specific mantra sequences, and the transition to the completion stage and the realm of Khecarī.
In the language of India: Bhagavān-śrī-cakrasaṃvarasya-sādhana-ratna-cūḍāmaṇi-nāma. In the language of Tibet: Bcom ldan 'das dpal 'khor lo bde mchog gi sgrub thabs rin po che gtsug gi nor bu zhes bya ba (The Jewel Crest-Jewel: A Sādhana of the Blessed One, Glorious Cakrasaṃvara). Homage to the Blessed One, the Glorious Vajraḍākinī!
Vajrayoginī, who dances upon a seat of hungry ghosts, with four faces of beryl, ruby, gold, and emerald, and three eyes; with one face like a broken coral, two hands holding a skull-cup of blood and a hand-drum (ḍamaru); her two legs entwined in union, her faces joined. To her body, with her two primary hands, she embraces [the consort] with a bell, vajra, and so forth; with her final two hands, she holds the raw hide of a pale-grey elephant and a human skin spread out in a swirling expanse of blood. With her remaining left hands, she holds in succession a beautiful mendicant’s staff, a skull-cup filled with blood, a vajra-noose, and the head of the Great Brahmā, all brilliantly blazing with light rays. Likewise, with her right hands, she holds a ten-spoked wheel, a trident, an iron hook, and a hand-drum. May the Great King Śrī Heruka, the Blessed One Cakrasaṃvara, through his power, grant perpetual victory to all beings!
I prostrate with devotion to the glorious Guru, the Venerable One, and thereafter to the Blessed Illusion-like One, and to the Vajraḍākinī who is like the moon in water and so forth. At the request of the great Guru and the devoted, learned disciple, I shall clearly explain this sādhana, which swiftly causes joy to flourish.
In this regard, first, a yogi who has thoroughly understood all phenomena to be like an illusion and like space through faith, learning, and so forth; who possesses compassion; who has cultivated generosity, loving-kindness, and the like; who is untainted by the eight worldly concerns; and who has preceded the practice by properly pleasing the venerable guru—should enter the maṇḍala according to the ritual procedures taught in the Śrī Cakrasaṃvara Tantra. Having received the empowerments in sequence, and having obtained the subsequent instructions and the samayas, they should possess a mind that perceives the guru and the chosen deity as inseparable. Endowed with the proper conduct and ascetic observances, they should sit properly upon a crossed-vajra seat in a place conducive to the mind, such as a charnel ground. Having purified the mouth and so forth by reciting the three syllables over a nectar pill, they should maintain a firm intention, thinking: "For the sake of the benefit and happiness of all sentient beings, I shall become the glorious Vajra Heruka himself."
Then, one should visualize at one's own heart a sun maṇḍala arising from the syllable RAṂ, upon which is the seed syllable of one's chosen deity, radiating five-colored rays of light in all directions. Through the appearance of those light rays, one should pervade the interior of one's body down to the tips of the pores, and thereby cultivate the divine pride of having become the essence of the chosen deity. From that, a mass of light rays radiates from the pores of the skin, emanating and reabsorbing the maṇḍala of the glorious Cakrasaṃvara—whether of the six families or whichever is desired—consisting of the fourteen deities of the maṇḍala.
Visualize clearly a multi-storied palace composed of various precious gems, surrounded by the eight charnel grounds. In the eastern charnel ground, in front of Indra, upon a lion throne adorned with various jewels, the Guru sits in a majestic posture like Vajrasattva upon a blossoming golden lotus, adorned with all ornaments.
Then, emanating your own body into many diverse forms, recite: "I prostrate to the Guru, the Great Vajradhara. I prostrate to the assembly of deities of the Blessed One, glorious Cakrasaṃvara. I prostrate to all the Buddhas and Bodhisattvas. In order that all sentient beings may attain perfect awakening, I offer these bodies."
Then, from the seed syllable at your heart, emanate the sixteen offering goddesses such as Vīṇā and the four such as Mātaṅgī, and present them with outer, inner, and secret offerings.
The lute, flute, clay drum, and great drum goddesses are blue, yellow, red, and green. Their first two hands hold their respective symbols, and their final two hands hold vajras and bells. The laughing, charming, singing, and dancing goddesses are pale red, blue, yellow, and green. Their first two hands hold their respective symbols, and their left final hands hold skull-cups and khaṭvāṅgas, while their right hands hold hand-drums. The flower, incense, lamp, and perfume goddesses are white, dark blue, red, and pale yellow. Their two left hands hold skull-cups and khaṭvāṅgas, and their first right hands hold [their respective offerings].
The Self-Names
The second, the concordant [deities], hold the hand-drum (ḍamaru). The goddesses of Form, Taste, Touch, and Phenomena are white, red, green, and red respectively; their left and right [hands] and the rest are the same as above. The first of the right hands holds the symbol corresponding to their own name. All have one face and four arms, and are graceful. They are youthful, playful, and haughty, adorned with jewel ornaments and beautifully arrayed in silks. Reciting their own immeasurable mantras, they are the lords of the Protectors and so forth.
OṂ ĀḤ VAJRA VĪṆE HŪṂ | OṂ ĀḤ VAJRA VAṂSE HŪṂ | OṂ ĀḤ VAJRA MURAJE HŪṂ | OṂ ĀḤ VAJRA MUKUNDĪ HŪṂ | OṂ ĀḤ VAJRA HĀSYE HŪṂ | OṂ ĀḤ VAJRA LĀSYE HŪṂ | OṂ ĀḤ VAJRA GĪTYE HŪṂ | OṂ ĀḤ VAJRA NIRTYE HŪṂ | OṂ ĀḤ VAJRA PUṢPE HŪṂ | OṂ ĀḤ VAJRA DHŪPE HŪṂ | OṂ ĀḤ VAJRA DĪPE HŪṂ | OṂ ĀḤ VAJRA GANDHE HŪṂ | OṂ ĀḤ VAJRA ĀDARŚE HŪṂ | OṂ ĀḤ VAJRA RĀSYE HŪṂ | OṂ ĀḤ VAJRA SPARŚE HŪṂ | OṂ ĀḤ VAJRA DHARME HŪṂ.
Mātangī, Ḍombī, Rājaputrī, and Pukkasī possess their respective faces and so forth as explained below. Adorned with bone ornaments and holding skull-cups filled with nectar, they make offerings to the Leader and his retinue without verbal expression. By the Venerable One entering into union with the mudrā, one should also perform the offering of suchness, which is the joy of supreme, sublime, and great bliss.
Then, in their presence, one should perform the confession of misdeeds and so forth as follows: "I confess all my misdeeds individually in the presence of the Guru, the Buddhas, and all the Bodhisattvas, and I shall refrain from them henceforth."
I rejoice in all the virtues of the buddhas, bodhisattvas, and noble ordinary beings. I dedicate all my virtues toward unsurpassed, perfect, and complete awakening. Until I reach awakening, I take refuge in the Buddha, the glorious Cakrasaṃvara, the essence of all the Tathāgatas. I take refuge in the Dharma, the essence of the secret mantras, mudrās, and so forth, taught by him. I take refuge in the Saṅgha, the assembly of yoginīs who abide in his maṇḍala circle. In order to clear away all the obscurations of all sentient beings, I exhort all the buddhas, as far as the limits of space, to turn the wheel of Dharma. I pray that the Victorious Ones who intend to pass into nirvāṇa remain for as many eons as there are atoms in a buddha-field for the sake of the benefit and happiness of all wandering beings. For the sake of establishing all sentient beings in benefit, happiness, and the supreme, ultimate nirvāṇa of buddha-awakening, I generate the mind set on unsurpassed, perfect, and complete awakening. I shall rely upon the Vajrayāna until I reach unsurpassed awakening. Thinking that they have bestowed their blessings, recite:
Oṃ vajrasattva samayam anupālaya | vajrasattvas te 'nupatiṣṭhatu | dṛḍho me bhava | sutoṣyo me bhava | supoṣyo me bhava | anurakto me bhava | sarvasiddhim me prayaccha | sarvakarmasu ca me cittaṃ śreyaḥ kuru hūṃ |
HA HA HA HA HOḤ. BHAGAVĀN SARVA-TATHĀGATA VAJRA MĀM AMUÑCA VAJRĪ BHAVA MAHĀSAMAYASATTVA ĀḤ. Thus one should recite. Then, one should contemplate that the object of offering, the act of offering, and the offerer are indivisible and have become unmanifest.
Then, one should meditate on the four immeasurables: loving-kindness in the form of bringing all sentient beings to the bliss of the deities; compassion in the form of wishing them to be free from suffering and the causes of suffering; joy in the form of wishing them never to be separated from divine bliss for as long as saṃsāra lasts; and equanimity in the form of establishing them on the path that serves as the antidote to the afflictions and secondary afflictions.
Then, having ascertained that all phenomena are without intrinsic nature, being merely unreal conceptualizations like an illusion, one recites: OṂ SVABHĀVA ŚUDDHAḤ SARVA DHARMĀḤ SVABHĀVA ŚUDDHO ’HAṂ.
By the seed syllable, the stable and the moving are purified. By the drop and the mantra, there is no apprehension. OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. All phenomena are without any fixed abiding, naturally luminous, and without appearance, like the stainless sky at midday in autumn.
Then, from the nature of emptiness, the syllable E completely transforms into the form of the source of phenomena (dharmodaya), white like the autumnal moon, the essence of the Great Vajradhara. It emerges as a mass of various and wondrous rays of light, narrow at the top and wide at the bottom, triangular in shape, and empty within.
In the center of that, one should manifest in the form of Heruka, having the nature of the syllable HŪṂ, with one face and two arms. To the east, one should perform the reverse and the natural order, snapping the fingers of the left hand while reciting the mantra lines: OṂ SUMBHANI SUMBHA HŪṂ HŪṂ PHAṬ; OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ; OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ; OṂ ĀNAYA HO BHAGAVĀN VAJRA HŪṂ HŪṂ PHAṬ. As each line of the mantra is recited, that respective mantra—blazing red and in large characters—radiates from the mouth toward each respective direction. From each of those mantras, one should emanate goddesses such as Kākāsyā, who have one face and two arms, are red in color and intensely blazing, stand in the sun-disc seat with their right legs extended, are adorned with the five mudrās, are extremely fierce and coarse in form, and hold in their left hands tridents from the navel down that are identical to themselves, while their right hands hold hammers. These should be emanated toward their respective directions. One should imagine that they drive the obstructing spirits (vighna) very far away. Then, one should visualize a square, blazing vajra fence formed from those mantras, extending as far as the practitioner desires, and consecrate it with the mantra: OṂ VAJRA PRĀKĀRA HŪṂ BAṂ HŪṂ. Then, from the vajra fence, masses of intensely blazing light rays radiate out, and in the center, one should visualize a crossed vajra (viśvavajra) formed from the syllable HŪṂ. Having made the ground of the nature of that crossed vajra, one should consecrate it with: OṂ MEDINI VAJRIBHAVA VAJRA BANDHA HŪṂ.
Likewise, light radiates from the earth and the wall. From the wall, a canopy is formed. From the canopy, one should visualize a lattice of arrows pervading the exterior above and on all sides. These are consecrated by reciting: oṃ vajrapañjara hūṃ vaṃ hūṃ, oṃ vajravidāraṇa hūṃ khaṃ hūṃ, and oṃ vajrasara jāla trāṃ saṃ trāṃ.
Outside, the eight [goddesses] such as Kākāsyā are seated facing outward. In front of them, one visualizes eight black hūṃ syllables. From the complete transformation of these, one first visualizes eight rims meeting one another. Then, by the mass of blazing light rays from Kākāsyā and the others, the obstructors are cast into a pit. Even those obstructors who flee from the far side of the pit are drawn in by the blazing light rays in the form of iron hooks and forced into the pit.
To the goddesses such as Kākāsyā who are seated near the pit, one—assuming the wrathful gaze of the deity—recites: oṃ ghaḥ ghaḥ ghātaya ghātaya sarvadustān hūṃ hūṃ phaṭ | kīlaya kīlaya sarvapāpaṃ hūṃ hūṃ phaṭ | hūṃ hūṃ hūṃ vajrakīlaya vajradhara ājñāpayati sarvavighnān kāyavākcitta vajrakīlaya hūṃ phaṭ. By issuing the command, "Drive in the stakes!" the stakes are driven into the crowns of the obstructors' heads. Then, reciting oṃ vajramudgara vajrakīlaya ākoṭaya hūṃ phaṭ, one strikes the stakes with a vajra hammer. By thus striking the obstructors with the stakes, the obstructors are made to experience bliss.
The Crow-Faced Goddess and the others transform into a mass of blazing light rays that dissolve into the net of arrows. Immediately upon their dissolution, they radiate back out in the manner of water splashing against water. Visualize that this forms a circular vajra fence and consecrate it with the mantra: oṃ vajraprākāra hūṃ. Likewise, light radiates from that, forming a lotus fence, and from that, a wheel fence. Then, visualize blazing vajra fire pervading the top and all sides, swirling counter-clockwise and burning. Consecrate these with their respective mantras: oṃ padmaprākāra hūṃ, oṃ cakraprākāra hūṃ, and oṃ vajrajvālānalārka hūṃ hūṃ hūṃ. Then, visualize yourself instantly becoming invisible.
In that place, which cannot be harmed even by a thousand Brahmās, one should visualize the maṇḍala of the support and the supported as being like an illusion. From the syllable yaṃ, the wind maṇḍala arises, appearing like a bow. One should visualize it as turbulent with blue light rays and marked by banners. Above that, from the syllable raṃ, the fire maṇḍala arises, red in color, triangular, marked by garlands of flames, and turbulent with red light rays. Above that, from the syllable vaṃ, the water maṇḍala arises, circular and white, marked by a vase, and turbulent with garlands of white light rays. Above that, from the syllable laṃ, the earth maṇḍala arises, yellow, square, marked by vajras, and turbulent with yellow light rays. Above that, from the syllable suṃ...
Mount Meru is of the nature of the four jewels, beautiful with four corners and eight peaks. It is the supreme of the supreme, of excellent majesty. Upon that, from the syllable paṃ, arises a great lotus with various eight petals, blazing with rays of light. Upon that, from the syllable hūṃ, arises a crossed vajra: white, yellow, red, green, and blue at the east, south, west, north, and center, with three prongs, blazing and intensely blazing with various rays of light. Upon its pedestal, from the white syllable bhrūṃ, arises a multi-storied palace, the essence of which is the complete gathering of all the utterly pure buddha-fields, the palace of great liberation, of the nature of Vairocana. It is composed of various precious gems, square with four doors, and beautifully adorned with four archways. It is graced by eight pillars, perfectly endowed with five walls, and surrounded by four pedestals. There, the offering goddesses stand in graceful poses, making offerings. It is beautified by necklaces, half-necklaces, silks, flowers, suns, moons, mirrors, fly-whisks, vajra cords, and canopies. From its light, oceans of buddhas radiate forth. Banners with fluttering tips and bells ring out from the gates in every direction. It is completely surrounded by the eight charnel grounds and a vajra fence blazing with great light. In its center is a fully blossomed lotus with various petals. At its hub, upon the heart of the stacked Great Terrifier and Kālarātri, is a sun maṇḍala. On the petals in the cardinal directions, there are moon seats upon the hearts of corpses. In the four intermediate directions, upon moons, are four skull cups filled with nectar atop vases.
In the intermediate directions and at the gates as well, at the heart of the corpse is a moon seat. Then, at the heart of Kālarātri is a sun maṇḍala. From the sixteen vowels, doubled, the moon maṇḍala arises, the essence of the mirror-like wisdom. Above that, from the thirty-four consonants—thirty-four consonants including the thirty-four such as ka and so forth, plus the four added ones, ḍa, ḍha, da, dha, ya, and la—doubled, the sun maṇḍala arises, the wisdom of equality. There, from the transformation of the syllable HŪṂ, which is like quicksilver, a white five-pronged vajra blazes intensely, marked at its hub by the syllable HŪṂ; this is the wisdom of individual discernment. From that, infinite Tathāgatas and hosts of yoginīs appear, and by radiating forth, they accomplish the welfare of all beings without exception. Through the application of gathering them back, they are absorbed into the seed syllable, and their becoming one is the all-accomplishing wisdom. Then, from that, one arises as the principal deity together with one’s consort and the maṇḍala circle; this is the essence of the utterly pure expanse of reality (dharmadhātu). It is as follows: Blue, with a fierce expression, he strikes fear even into the fearful. With fangs bared, with a half-moon upon his crown, adorned with locks of hair and a crossed vajra, draped in a garland of skulls, complete with all ornaments, he subdues all who are hostile. Seated in the half-lotus posture upon a sun maṇḍala seat, he has become desire, delusion, and envy.
Kālarātri is suppressed beneath. She has three eyes, four faces, and four necks. Like the sky, they are blue, yellow, and red; the upper face is green. She is non-dual in bliss with Vārāhī. She is in union with the bell and vajra, and holds a mendicant’s staff, a vessel, a noose, a head, a dharma wheel, a trident, a vajra hook, and a small drum. She wears an elephant hide garment amidst swirling waves of blood. In her two hands she holds dharma robes; she brandishes two human-skin cloths. She is youthful and haughty, possessing the thirty-two major marks and adorned with the eighty minor signs. She is endowed with the nine dramatic moods and wears a tiger-skin garment. She is beautifully adorned with the six mudrās, wearing a great necklace of heads and holding a white parasol above. Vārāhī is red in color and naked, with three eyes and loose hair. She is graceful, with full and firm breasts, and all her ornaments are blazing. In her left hand she holds a skull-bowl, and in her right a small drum that proclaims the sound of the dharma. Her two calves are joined in embrace, the great bliss of joy through compassion. At the heart, she is the transformation of insight. Upon a variegated lotus, sun, and vajra is the syllable HŪṂ. Following that, at the head, throat, and heart, upon moon and sun disks, visualize white, red, and blue OṂ ĀḤ HŪṂ radiating light. Then, within the emanation wheel at the navel, [visualize] the eight...
Externally, at the center of a fifty-six-petaled wheel of various colors, is the syllable AṂ of various colors, with its head pointing upward. At the heart is the dharma-cakra, eight-petaled and blue in color; at its center is the syllable HŪṂ, blue in color, with its head pointing downward. At the throat is the enjoyment-cakra, with four petals in the center and twelve on the outside, red in color; at its center is the syllable OṂ, red in color, with its head pointing upward. At the crown is the great bliss-cakra, thirty-two-petaled and blue in color; at its center is the syllable HAṂ, white in color, with its head pointing downward. One should meditate on all these cakras together with their syllables, extremely radiant with light.
On the petals in the east and so forth: Mātaṅgī and Ḍombinī, Rājakī and Pukkasī, yellow, blue, red, and smoke-colored. They hold a mendicant’s staff, an alms bowl, a small drum, and a curved knife. Baḍukī, Sahacarī, Bhūdhicarī, and Śavarī, pale, red, green, and white. They hold a skull-cup, a mendicant’s staff, a curved knife, and a small drum. In clockwise and counter-clockwise order, they possess the expressions of laughter, peace, compassion, charm, ferocity, and ugliness, as well as the moods of the fierce and wrathful. At the four gates, the wrathful goddesses are to be placed: Heruka’s Radiance, Vajra Caṇḍālī, Vajra Rākṣasī, and Vajra Bhairavī. They are fierce, subduing the difficult to tame, and devouring all; ash-colored, green, red, and blue, they are fierce and terrifying.
In the prime of youth, with full breasts, she holds an alms bowl, a khaṭvāṅga, and a mendicant’s staff in her left hands; a dharma wheel and a small hand-drum in her right hands. Upon her shoulders rests the dharma robe. All of them have one face and four arms, and are completely adorned with every ornament. They stand upon a moon maṇḍala on a corpse in a dancing posture with one leg bent. With loose hair and naked, they wear the five ornaments. The Bhagavatī Vajrayoginī is the very essence of method and insight, great compassion and emptiness, an indivisible identity.
The twelve ascetic practices (dhūta-guṇa) are: being a beggar for alms, wearing the three dharma robes, not accepting food later, staying in a sitting posture, eating at a single sitting, not using a roof-cover, staying at the foot of a tree, staying in a remote place, staying in a charnel ground, wearing rags from a dust heap, wearing felt, and staying wherever one happens to be. These are the yoginīs.
The twelve branches of the excellent speech are: the sūtra class, the melodic verses, the prophecies, the verses, the intentional utterances, the introductory narratives, the parables, the historical accounts, the birth stories, the extensive teachings, the marvelous events, and the established instructions. These too are the very essence of the yoginīs.
Then, by the light rays of the syllable HŪṂ, the wisdom beings (jñānasattva) who are identical to the commitment maṇḍala (samaya-cakra), the Tathāgatas who confer empowerment, and the goddesses who perform the outer and secret offerings are invited. Having expelled the obstructing spirits (vighna) who arrived together with them by uttering "HŪṂ," the offering water arises from the light rays of the seed syllable at the heart.
Offer with "Oṃ arghaṃ pratīccha svāhā." Then, with "Jaḥ hūṃ baṃ hoḥ," perform the summoning, entering, binding, and pleasing. Then, having made the supplication, "I pray that all the Tathāgatas confer empowerment upon me," the Tathāgatas hold precious vases filled with the liquid of the five nectars. Reciting "Oṃ sarva tathāgata abhiṣeka samaya śriye hūṃ," they confer the empowerment. From the remaining water, the head is to be sealed by the Lord of the Family. In that regard, Vajrasattva is upon the head of the Blessed One, Akṣobhya is upon Vajrayoginī, and for the four beginning with Mātangī, they are respectively Vairocana, Amoghasiddhi, Amitābha, and Ratnasambhava. For the four beginning with Badhikī, they are Vairocana, Ratneśa, Amitābha, and Amoghasiddhi. For the Herukas and so forth, as well as for the Mātangīs and so forth, they are the same as the four beginning with Vairocana. Then, one should perform the perfect offerings with the lute goddesses and so forth, and the Mātangīs and so forth, who are exceedingly beautiful and captivating. Then, after those goddesses have offered excellent praise, one should imagine that those goddesses depart instantly to their respective abodes. Following that, from the syllable Hūṃ, visualize a white secret vajra; from Vyā, a red jewel with its aperture blocked by a yellow Vyā; and from Ā, a red three-petaled mudrā lotus with a white anther and its aperture blocked by a yellow Dhyaṃ. Then, having also arranged the heart mantra and so forth at the navel and other locations:
With the mantra oṃ śrī mahāsukha vajra he he ru ru kaṃ āḥ hūṃ hūṃ phaṭ svāhā, one should please oneself and the members of the maṇḍala with the sublime bliss of coemergent joy (sahaja-ananda). Regarding the external activities of supreme joy, one should perform these consecrations of the lotus and the vajra.
In front, from the syllable yaṃ, arises a wind maṇḍala, blue in appearance like a bow, with banners at both ends. Above that, from the syllable raṃ, arises a triangular fire maṇḍala, marked by blazing red. Above that, from the syllable a, arises a single-petaled lotus vessel, red within. Inside it, starting from the east to the center, are the syllables oṃ khaṃ āṃ trāṃ hūṃ, white, green, red, yellow, and blue, from which arise the secret medicine, the great meat, the bodhicitta, the self-arisen flower, and the vajra water, each marked by those very syllables. In the directions of fire, the nairṛtya, wind, and īśāna are lāṃ māṃ pāṃ tāṃ, white, blue, red, and green. These are the lamps of the cow, dog, elephant, and horse, consecrated by those very seed-syllables.
Then, the wind ignites the fire, causing everything to melt and appear blazing red like a sun maṇḍala. Upon that, a white syllable hūṃ completely transforms into a white khaṭvāṅga with its head pointing downward. As it falls into that, which is the nature of bodhicitta, one should visualize that nectar becoming extremely white and cool in appearance.
Then, by reciting the vowels and consonants preceded by OṂ and followed by HŪṂ HŪṂ PHAṬ, one should visualize those very letters, in various colors, resting upon the nectar. Once again, visualize those same letters as the three syllables OṂ ĀḤ HŪṂ, white, red, and blue in color, positioned one above the other. From them, immeasurable masses of light rays radiate, summoning the wisdom nectar from the seed-syllables in the hearts of all the Tathāgatas throughout the reaches of space in the ten directions. This nectar is gathered into the three syllables, and as the three syllables themselves dissolve into the nectar in succession, one should visualize them as the supreme nectar of a single flavor. Having blessed it three times with the three syllables, one should visualize that on the tongues of the Blessed One and the Yoginīs, a white three-pronged vajra the size of a grain of barley arises from the syllable HŪṂ. Through its light, the nectar is drawn in through the [vajra] aperture; by partaking of it, they are seen to be supremely satisfied.
It is said, "By performing the recitation of the vidyā-mantra, accomplishment will be attained." Therefore, one should perform the recitation. This consists of the vajra-recitation and the secret mantra syllables to be recited. Visualize that these emerge from the seed-syllable at one's own heart, exit through the tip of one's own vajra, and enter the bhaga of the mudrā. Then, visualize that they enter the mouth of the goddess and pass into one's own mouth, entering one's own seed-syllable. One should also meditate that all the faces and all the Yoginīs are likewise reciting the mantra.
One should also perform the wrathful recitation. By means of this sequence, one should perform the recitation with the mind in meditative equipoise, free from the faults of recitation, for as long as one does not become weary. In that regard, the mantras for the recitation are as follows:
Oṃ śrī vajra he he ru ru kaṃ hūṃ hūṃ phaṭ ḍākinī jvalasambhara svāhā. Oṃ hrīḥ ha ha hūṃ hūṃ phaṭ. These are the heart and near-heart mantras of the deity.
Oṃ sarva buddha ḍākinīye vajra varṇanīye hūṃ hūṃ phaṭ svāhā. Oṃ vajra vairocanīye hūṃ hūṃ phaṭ svāhā. These are the heart and near-heart mantras of the goddesses.
Oṃ mātaṅgī hūṃ hūṃ phaṭ. Oṃ ḍombinī hūṃ hūṃ phaṭ. Oṃ rājakī hūṃ hūṃ phaṭ. Oṃ pukkasi hūṃ hūṃ phaṭ. Oṃ baḍhakī hūṃ hūṃ phaṭ. Oṃ saha carī hūṃ hūṃ phaṭ. Oṃ budhi carī hūṃ hūṃ phaṭ. Oṃ śavarī hūṃ hūṃ phaṭ. Oṃ heruka bha hūṃ hūṃ phaṭ. Oṃ vajra caṇḍālī hūṃ hūṃ phaṭ. Oṃ vajra rakṣasī hūṃ hūṃ phaṭ. Oṃ vajra bhairavī hūṃ hūṃ phaṭ. These are the mantras of the heroes.
Oṃ namo bhagavate vīreśāya mahākālpāgni-saṃnibhāya jaṭāmakuṭotkaṭāya daṃṣṭrākarālograbhīṣaṇamukhāya sahasrabhujabhāsurāya paraśupāśodyataśūla-khaṭvāṅgadhāriṇe vyāghrājīnāmbaradhārāya mahādhūmrāndhakāravapuṣāya kara kara kuru kuru bandha bandha trāsaya trāsaya kṣobhaya kṣobhaya hrīṃ hrīṃ hraḥ hraḥ pheṃ pheṃ phaṭ phaṭ daha daha paca paca bhakṣa bhakṣa.
vasa rudhirāntramālāvalagne | gṛhṇa gṛhṇa saptapātālagatabhujaga sarvaṃ vartaya vartaya | ākaḍḍhya ākaḍḍhya hrīṃ hrīṃ | jñauṃ jñauṃ | kṣmāṃ kṣmāṃ | hāṃ hāṃ | hīṃ hīṃ | hūṃ hūṃ | kili kili | sili sili | hili hili | dhili dhili | hūṃ hūṃ phaṭ | This is the garland mantra.
oṃ śrīcittadaṅkadhṛk a khaṃ hūṃ hūṃ phaṭ | ḍākinījālasaṃvara svāhā | oṃ śrīvākadaṅkārulika ḍākinījālasaṃvara hūṃ hūṃ phaṭ | oṃ śrīkāyadaṅkinījālasaṃvara rulu bhrūṃ hūṃ hūṃ phaṭ svāhā | oṃ śrīratnadaṅkaya oṃ āḥ hūṃ ḍākinījālasaṃvara hūṃ hūṃ phaṭ svāhā | oṃ śrīkarmadaṅ a khaṃ hūṃ ḍākinījālasaṃvara hūṃ hūṃ phaṭ svāhā | These are the mantras of the five principal deities.
When one becomes weary of the recitation, the light from the seed syllable illuminates the Lord of Insight, the deities of the wheel, and the multi-storied palace. Having made them appear, they are gradually absorbed into light. From the complete transformation of that hūṃ, I myself appear with one face and two hands, standing in the posture with the right leg extended. Youthful and graceful, endowed with the [major] marks, possessing the six mudrās, and holding a bell and a vajra. Then, perform the dedication, the aspiration prayers, and the recitation of the hundred-syllable mantra. Abiding in the divine pride of the deity, during the midday and afternoon sessions, sit on a comfortable seat in a meditation cell. Having transformed oneself into light and then into the syllable hūṃ, from its complete transformation, [one arises as] the Blessed One Cakrasaṃvara.
The maṇḍala wheel consists of fourteen deities, formed from a multi-storied palace of precious jewels, surrounded by the eight charnel grounds. Having clearly visualized this, one should perform all the rituals, such as the conferral of empowerment. During the final session, one should practice all the previously taught rituals; following the recitation, through the light rays of the syllable HŪṂ, everything is transformed into light and absorbed into oneself. Then, oneself and Vārāhī also become light and are absorbed into the wisdom male and female deities at the heart. These, in turn, are absorbed into the HŪṂ together with the sun at the heart. The sun, the vowel Ū, the consonant HA, the crescent moon, the drop (bindu), and the nāda are successively absorbed until the nāda is also rendered non-apprehensible, and then one sleeps.
At the time of dawn, one should imagine being awakened by the song of Vajrayoginī, and perform all the rituals just as on the previous day.
The blue HŪṂ arises from the vajra; the Cakrasaṃvara of the Mind Wheel is the lord of empowerment, sealed by Akṣobhya. The others are as before.
The red OṂ arises from the lotus; the Cakrasaṃvara of the Speech Wheel is red with a blue left face, holding a lotus. The lord of empowerment is the light-seal; the others are as before.
The white OṂ arises from the wheel; the Cakrasaṃvara of the Body Wheel is white with a blue right face, holding a wheel. The lord of empowerment is the sign-seal; the others are as before.
The yellow TRĀṂ arises from the jewel; the Cakrasaṃvara of the Qualities Wheel is yellow with a blue right face, holding a jewel. The lord of empowerment is the jewel-seal; the others are as before.
The green KHAṂ arises from the crossed vajra; the Cakrasaṃvara of the Activity Wheel is green with a blue upper face, holding a crossed vajra.
The empowerment, the self, the purpose, and the other [elements] are as before. Thus, by meditating continuously with devotion, once the mind has become stable, one should meditate on the absorption of the completion stage. In the Great Yoga, at the place of rest: having visualized the vowels and consonants in front, one should meditate on the complete maṇḍala of the moon abiding in the center of the navel. In the center of that, one should meditate on the abode of the sublime syllable. One should meditate on the deity’s form, possessing the vajras of body, speech, and mind. That is beyond form; one should not meditate on it as the nature of mind alone. Even that which is to be thought of as "not to be thought of" is not indicated as the nature of mind. By thinking of that which is not to be thought of, the form will be attained. First, the appearance is like a deer’s thirst; the second sign is of a smoky nature; the third is like fireflies; the fourth is clear like a blazing lamp; the fifth sign, without conceptualization, appears like a cloudless sky. Having attained such signs, the Mahāmudrā is attained. Śrī is non-dual wisdom; He is emptiness of causes and so forth; Ru is freedom from conceptualization; Ka is not abiding anywhere. For the yogi whose mind has found rest, nirvāṇa is not shown. When yogis pass away, the glorious Herukas, the glorious Yoginīs, and others, holding various flowers in their hands, with various victory banners and streamers, with various sounds of music, and with various offerings of song—[they welcome them].
It leads one to the realm of Khecarī. This so-called "death" is a conceptual construction. Through whatever virtue has been gained from thus clarifying the sādhana of the venerable Heruka, may all wandering beings become Vajradharas.
The Sādhana of the Blessed One, Śrī Cakrasaṃvara, entitled "The Jewel on the Crown," composed by the great master Lavapa, is hereby complete.
It was translated, edited, and finalized by the great Indian paṇḍita Sumatikīrti and the great Tibetan translator Marpa Chökyi Wangchuk.