Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a comprehensive ritual manual for the practice of the deity Cakrasamvara, specifically the version titled Melting Drops of Elixir. The text guides the practitioner through the construction of a complex mental maṇḍala, detailing the visualization of Mount Meru, the central deity in union with Vajravārāhī, and a vast array of accompanying heroes and heroines. It integrates traditional Buddhist soteriology by mapping the thirty-seven factors of awakening—including the four applications of mindfulness and the eightfold path—onto specific deities and bodily locations, thereby transforming psychological cultivation into a ritualized somatic experience. The practitioner is committed to a rigorous process of summoning wisdom wheels, reciting specific seed syllables and mantras for purification, and utilizing an armor mantra for protection. By synthesizing visualization, mantra recitation, and the internal mapping of the body's elements and fluids to divine entities, the text aims to facilitate the attainment of supreme awakening through the realization of great bliss and compassion.
Provenance
About this text
A ritual manual for the practice of the deity Cakrasamvara, the Śrīcakrasaṃvarasādhanaamṛtakṣaranāma is a work of the classical Tibetan period. It is attributed to the Indian author Durjayacandra. The text is preserved in the Tengyur, volume ཞ, where it comprises 26 pages and is situated within the collection of the Śaṃvara and Related Tantras. In the Tibetan tradition, it is known as the dpal 'khor lo sdom pa'i sgrub thabs bdud rtsi 'dzags pa zhes bya ba. The work enacts a complex meditative process beginning with homage to the glorious Heruka and the summoning of the senses through the power of capability. It guides the practitioner in the visualization of a supreme maṇḍala of great joy within the expanse of space, involving offerings to Buddhas and Bodhisattvas and the adoption of the Three Jewels. Central to the practice is the meditation upon Mount Meru, described as the king of mountains composed of seven precious jewels and arising from the syllable Suṃ, surrounded by a consecrated enclosure, lattice, and vajra ground. Scholars and serious readers consult this text to examine the specific ritual instructions for constructing these mental architectures and the subsequent consecration of the sacred space.
Cite thisAnuvāda, “A Sādhana of the Glorious Cakrasamvara called “Melting Drops of Elixir”” (Toh 1462), machine draft, 2026.https://naxiai.com/tibetan/works/toh1462
Summary & commentary
Significance
The work is significant as it demonstrates the sophisticated integration of early Buddhist paths of awakening with the complex deity yoga of the Vajrayāna tradition. For the modern reader, it illustrates how the Tibetan tradition systematized the body as a sacred geography where philosophical concepts are embodied as deities.
Structure
Passages
Section
Description
1-10
Maṇḍala Visualization and Deity Description
Initial homage, visualization of the maṇḍala, Mount Meru, and the detailed physical attributes of the central deity and his consort.
11-19
The Wheels of Deities and Syllables
Detailed mapping of deities to specific bodily locations (throat, heart, secret place) and the assignment of seed syllables to elements and sense bases.
20-27
Integration of the Thirty-Seven Factors of Awakening
A theoretical and ritual mapping of the four mindfulnesses, five faculties, seven awakenings, and eightfold path onto specific deities.
28-35
Purification and Mantra Practice
Rituals involving bodily fluids, the recitation of armor mantras, the summoning of heroes and yoginīs, and final instructions for the mantra master.
Themes
Somatic Mapping (11-13, 26-28, 34-35)
The Thirty-Seven Factors of Awakening (21-27)
Mantra and Seed Syllables (5, 12-15, 29-32)
Deity Yoga and Visualization (2-10, 16-19)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana of the Glorious Cakrasamvara called “Melting Drops of Elixir”·
In the language of India: Śrīcakrasaṃvarasādhanāmṛtavarṣaṇa-nāma. In the language of Tibet: Dpal ’khor lo sdom pa’i sgrub thabs bdud rtsi ’dzag pa zhes bya ba. Homage to the Blessed One, the glorious Heruka!
The supreme elephant of the senses, difficult to restrain, is summoned by the hook of the power of capability. The sprout of Buddhahood itself, the empty drop, radiates like the rays of the moon. I prostrate to the unborn drop, the nature of earth, water, fire, wind, and space, abiding in the center of the lotus appearing in one’s own heart, visualized within the reflection of the moon.
The glorious Cakrasaṃvara, the supreme, is difficult to realize for a long time. He has spoken in a language entirely without connection, where symbols alone are primary, and the arrangement of words and signs are arbitrary. Who can know that profound depth which abides like an ocean? Therefore, having fully understood the later explanation of the root, I have today begun this pure cycle.
The places are taught to be mountains, forests, caves, riverbanks, crossroads, the delightful shores of the great ocean, the foot of a solitary tree, or any pleasant location. Alternatively, in a place that accords with one’s mind, there the yogi should begin the practice; thus the fruit of all desires will be attained.
One should meditate on a sun and a skull-cup abiding in the center of the water-born lotus of the heart. Therein is the supreme view of reality, the nature of the five wisdoms, peaceful, and the supreme nature of various rays of light radiating in all directions. It abides as mind-only itself.
One should accomplish supreme awakening. Within the expanse of space, one should meditate on the supreme maṇḍala of great joy. One should make offerings to the Buddhas and Bodhisattvas, who are as densely packed as a heap of sesame seeds. In order that the sentient beings of the six realms may attain the unsurpassed state, one should take refuge in the Three Jewels there and fully adopt the vow: "For the sake of all sentient beings, may I become the Buddha Heruka." Then, one should meditate on the four divine abodes of Brahmā. Focusing on the perfection of concentration, the mind becomes supreme and unified. One should view all external and internal phenomena as empty: oṃ śūnyatā-jñāna-vajra-svabhāva-ātmako ’haṃ. Consciousness is merely the appearance of individual [objects]; one should analyze it as mind-only. From the depths of the earth down to the limit, one should visualize the maṇḍala of wind, perfectly arisen from the syllable yaṃ. It is blue in color, shaped like a bow, surrounded by a mass of swirling smoke, and marked with banners—this is what one should meditate upon. Above that, from the syllable raṃ, one should visualize the supreme maṇḍala of fire. It is triangular and red in color, a great mass of blazing garlands, equal to ten million suns—this is what one should meditate upon, marked with a vajra. Above that is water itself, circular and garlanded with light rays, identical to frost, marked by a vase born from the syllable vaṃ. Above that, one should meditate on the earth, the supreme arising from the syllable laṃ. It is square, marked with a vajra, and surrounded by a mass of yellow light.
Above that, one should meditate upon the supreme Mount Meru, the king of mountains, whose nature is the seven precious jewels and which is adorned with eight peaks. It arises perfectly from the syllable Suṃ and is completely enveloped in various rays of light. There, one should consecrate the enclosure, the lattice, the vajra ground, the canopy, and the lattice of arrows. Outside of that is the lattice of fire.
Oṃ medinī vajrībhava bandha hūṃ | oṃ vajraprākāra hūṃ vaṃ hūṃ | oṃ vajrapañjara hūṃ yaṃ hūṃ | oṃ vajravitāna hūṃ khaṃ hūṃ | oṃ vajrasarajvālā trāṃ saṃ trāṃ | oṃ vajrajvālānalārka hūṃ hūṃ hūṃ.
The glorious Heruka-cakra has eight spokes and is intensely blazing with light. Here, one should meditate upon Vajrasattva abiding like a reflection of the sun. Then, in both forward and reverse order, one should meditate upon the eight wrathful deities: Vajracanda, Āditya, Agni, Vajroṣṇīṣa, Vajrayakṣa, Amṛtakuṇḍalī, Vajrakāla, and Mahābala, as well as the one called Vajrabhairava. These wrathful deities are to be arranged. They are blue, yellow, red, green, smoke-colored, white, black, and like the color of blood. Terrifying, they wear skulls and bare their fangs. Likewise, they have three faces and six arms. All are beautified with ornaments of human bone. They stand with their right legs extended, seated upon various lotuses and sun disks, treading upon the eight world-protectors. They hold skull-cups and khaṭvāṅgas.
Holding the supreme noose and hook, and the bell and hand-drum in all [hands], he is the sublime bliss of embracing wisdom. With yellow hair bristling upward, his face is contorted, and he is terrifying with bared fangs. Wearing a garment of tiger skin, he strikes fear with ornaments of snakes. From that transformed self, one should meditate on Vajra Hūṃkāra. He is surrounded by fierce, blazing wrathful deities, with contorted faces, bared fangs, and a terrifying appearance, marked everywhere with all the ornaments. Holding a vajra, hook, noose, bell, skull-cup, and khaṭvāṅga, his body is fierce with a garland of heads, and he is bound by a fierce head-girdle. Treading upon all malevolent beings, he is perfectly endowed with wisdom and wears the crown of Vajrasattva. One should meditate on Vajra Hūṃkāra. One should visualize two wrathful deities situated above and below: Uṣṇīṣavajra and Pātālavajra. White and with a light like blue collyrium, they hold skull-cups and khaṭvāṅgas, and in their hands they hold wheels, spears, nooses, hooks, vajras, and bells. Standing in the posture with the right leg extended, one should place the wrathful kīla pegs in these ten directions. Oṃ sumbhani sumbha hūṃ hūṃ phaṭ phaṭ. In the east. Oṃ gṛhṇa gṛhṇa hūṃ hūṃ phaṭ phaṭ. In the north. Oṃ gṛhṇāpaya gṛhṇāpaya hūṃ hūṃ phaṭ phaṭ. In the west. Oṃ ānaya ho bhagavān vajrarāja hūṃ hūṃ phaṭ phaṭ. In the south. By this king of secret mantras, upon the heads of all obstructing spirits—
In the forward and reverse orders, one should arrange the wrathful kīlas. OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀṂ VIGHNĀṂ HŪṂ PHAṬ. OṂ KĪLAYA KĪLAYA SARVA PĀPAṂ HŪṂ PHAṬ. OṂ HŪṂ HŪṂ VAJRAKĪLAYA VAJRADHĀROTAJÑĀPAYATI SARVA VIGHNĀṂ KĀYA VĀKA CITTA VAJRAKĪLAYA KĪLAYA HŪṂ PHAṬ. OṂ VAJRAMUṄGARA VAJRAKĪLA ĀKOṬAYA HŪṂ PHAṬ. With wrathful words, O Vajra of Supreme Intellect, one should subsequently recite this secret mantra: OṂ KHA VAJRA DHṚK VAJRA HŪṂKARA VAJRA HŪṂ PHAṬ. OṂ VAJRA CAṆḌA VAJRA HŪṂ PHAṬ. OṂ VAJRA ANALĀRKA HŪṂ PHAṬ. OṂ VAJRA TIṢṬHA VAJRA HŪṂ PHAṬ. OṂ VAJRA KUṆḌALI VAJRA HŪṂ PHAṬ. OṂ VAJRA YAKṢA VAJRA HŪṂ PHAṬ. OṂ VAJRA KALA VAJRA HŪṂ PHAṬ. OṂ VAJRA MAHĀBALA HŪṂ PHAṬ. OṂ VAJRA VIṢAṆA VAJRA HŪṂ PHAṬ. OṂ VAJROṢṆĪṢA CAKRAVARTI VAJRA HŪṂ PHAṬ. OṂ VAJRA PATALA VAJRA HŪṂ PHAṬ. Thus, through the very nature of pride, one is accomplished; in an instant, one becomes free of obstructors. Blue, yellow, and green are explained as Vajra Hūṃkara. Yellow, black, and green; smoke-colored, yellow, and green; white, yellow, and green; red, yellow, and green; green, yellow, and black—these are the lords of the others. By meditating on Akṣobhya as the crown and the samaya, Vajradhara is pleased. By practicing meditation in this way, if weariness should arise, one should remember the wisdom of emptiness and rest in meditative equipoise with faith.
Oṃ śūnyatājñānavajrasvabhāvātmako ’ham. Oṃ animittajñānavajrasvabhāvātmako ’ham. Oṃ apraṇihitajñānavajrasvabhāvātmako ’ham. Samantabhadra, the self of all, is the completely transformed expanse of space. Within that expanse of space, one should meditate on the syllable Oṃ. From both of those wheels, one should meditate on Vairocana. White, with four arms, embraced by a consort, holding a wheel and a skull-cup in the right and left hands, and likewise a hand-drum and a khaṭvāṅga. That transforms into the celestial mansion together with the wheel. One should meditate on the celestial mansion as being square with four doors, adorned with four archways, beautified by lattices and half-lattices, and decorated with hanging silk streamers and garlands. At all the corners, it is marked with vajras and jewels. One should meditate on the outer maṇḍala. Inside that, within the wheel, are nine squares and sixteen outer ones. In the center of the inner squares is a most beautiful lotus, its hub and filaments well-adorned, with eight petals of various colors. The squares are marked with vajras, and the ground is of various kinds. The wheel is completely surrounded by a garland of lotuses and vajras; the lotus is likewise surrounded by a garland of jewels, radiant with the light of blazing gems. Encircled by a crossed vajra, the samaya wheel is drawn. The outer maṇḍala is completely surrounded by five-colored pretas.
The door corners are marked from the center by the tips of the pillars with half-vajras. Outside, the terrifying charnel grounds are of various supreme colors. They are marked by various trees that provide delight, and are fearsome with dogs and jackals. There are crows, owls, vultures, and hawks, as well as foxes and cilika birds. Skeletons pierced by spears, those hanging, and those half-burnt, are adorned with skulls, jawbones, knees, hands, and heads. There are those making sounds, those with elephant heads, and various kinds of snakes that provide joy. Lions, tigers, wild boars, as well as bears and goats, and the supreme assembly of various heroes and yoginīs are present. They hold skull-cups and khaṭvāṅgas, as well as curved knives and hand-drums. There are yakṣas, vetālas, and rākṣasas—such are the various charnel grounds. There, one should visualize a sun maṇḍala, with the āli and kāli as its own seed-syllables. Suchness, the limit of reality, emptiness, and the dharmadhātu, equality, and individual discernment, the performance of activities, and the meditation on the utterly pure—this yoga is the supreme of the supreme. Together with the self-awareness of Vajrasattva, one should contemplate according to this sequence. White, yellow, and likewise red, green, and the four faces, perfectly embracing the vajra and bell, with a spear, axe, hand-drum, curved knife, skull-cup, and khaṭvāṅga, wearing the skin of Brahmā as a garment, and likewise a noose and the head of Brahmā—adorned with twelve arms.
Seated in the sattvaparyaṅka posture, he is formidable with a crown of skulls, perfectly complete with all ornaments, and adorned with the major and minor marks. At his heart is the wisdom-samaya, wearing the crown of Vajradhara. Just as method is, so is insight; he is adorned with the five mudrās. Through the union of the method of great bliss, the two bodies truly melt. From those light rays, the goddesses arise and exhort him with various songs:
"O Lord, who has attained bliss in the three realms! Ala la la ho! Lord of the Lotus, the Universal Vajra, who emanates the assembly of Victorious Ones of great bliss! Tathāgata, Lord of the ten directions, who has utterly abandoned [dualism]! Ala la la ho! Sixth Lord, the Heart of the Sattva, who sports in union with the consort, the Mistress of the three existences! Ala la la ho! You who abandon and utterly transcend the Lord of Joy, the Victorious Lord whose nature is great bliss! Through this song and this union, the Lotus Yoginī has sung. The Lotus assembly has arisen through the bliss of Vajra union. With this, they exhort the Protector: 'Arise from this state of great bliss and emanate all the Buddhas, the Victorious Ones without exception!'
He has four faces and twelve arms, standing in the posture with the right leg extended. His fangs are bared, his three eyes are wide, and his faces are transformed. He is adorned with a garland of skulls and his body is decorated with the six mudrās. He tramples the heads and breasts of Bhairava and Kālarātri, and wears a lower garment of tiger skin."
Pervaded by the flavor of compassion, she embraces Vajravārāhī. In her two embracing hands, she holds a nine-pronged vajra and a bell with an open mouth. In her other two hands, she wears an elephant hide as a garment. In her third right hand, she holds a spear marked with a vajra. In the fourth is a hook, in the fifth a curved knife, and in the sixth a hand-drum. In her third left hand, she holds a skull-cup filled with marrow. In the manner of holding the sacrificial thread, she carries a khaṭvāṅga, from which various banners hang down. At its top, it is marked by a five-pronged vajra with an open mouth and a bell. In the center, it is marked by a crossed vajra, and at the bottom is a single-pronged vajra. In the fourth [position] is a vajra-noose, in the fifth the head of Brahmā, and in the sixth an axe. Her faces are blue, yellow, red, and green. Her expressions are fierce, laughing, playful, and heroic; her faces are wrathful and her tongues are flickering. In front of her is Vajravārāhī, with four faces, four arms, and three eyes. She is white in color and her girdle is marked with fragments of skulls. The colors of the goddess’s hands correspond to the colors of the Bhagavān’s faces: red, green, yellow, and the radiance of a deep blue face. With her hair loose and naked, she embraces with her left hand a skull-cup filled with the blood of the wicked Māras. With her right hand, she makes the threatening gesture toward all directions, brandishing a curved knife and holding a hand-drum and the head of Brahmā, from whose mouth blood drips.
With her two feet she is perfectly entwined; she is the nature of great bliss and compassion. By means of the application of the hook at the heart, the wisdom wheel should be summoned. Having properly summoned the wisdom wheel, one should perform offerings and praises and then cause it to enter. By this very means, the sequence of the assembly of the abodes is to be arranged; this is the supreme internal application.
In Pullīramalaya, at the crown of the head, are Khaṇḍakapālin and Caṇḍākṣī. In Jālandhara, at the top of the head, are Mahākaṅkāla and Caṇḍanāyikā. In Oḍḍiyāna, at the right ear, are Mahābala and Prabhāvatī. In Arbuda, at the back of the head, are Vikaṭadaṃṣṭrin and Mahānāsā; these are the abodes. In Godāvarī, at the left ear, are Surāvairin and Vīramatī. In Rāmeśvara, in the middle of the eyebrows, are Amitābha and Kharvarī. In Devīkoṭa, at the two eyes, are Vajraprabha and Laṅkeśvarī. In Mālava, at the shoulders, are Vajradeha and Drumacchāyā; these are the near-abodes. These constitute the mind wheel, which moves through the sky.
In Kāmarūpa, at the two armpits, are Aṅkurika and Kāminī. In Oḍra, at the two breasts, are Vajrajaṭila and Mahābhairavā; these are the fields. In Triśakuni, at the navel, are Mahāvīra and Vāyuvegā. In Kośala, at the tip of the nose, are Vajrahūṃkāra and Śauṇḍinī; these are the near-fields. In Kaliṅga, at the mouth, are Subhadra and Śyāmādevī. In Lampāka, at the secret place, are...
At the throat are Vajrabhadra and Subhadrā, the candoha. At the heart is Mahābhairava and Hayakarṇī, in Kāñcī. At the secret place is Virūpākṣa and Khaṇḍarohā in Himālaya; these are the upacandoha, the speech wheel of the earth-dwelling goddesses. At the male organ is Mahābala and Cakravegā in Pretapurī. At the anus is Ratnavajra and Khaṇḍarohā in Gṛhadevatā; these are the melāpaka. At the two thighs is Hayagrīva and Śauṇḍinī in Saurāṣṭra. At the two calves is Ākāśagarbha and Cakravarmiṇī in Suvarṇadvīpa; these are the upamelāpaka. At the fingers is Śrī Heruka and Suvīrā in Nagara. At the tops of the feet is Padmanarteśvara and Mahābalā in the land of Sindhu; these are the śmaśāna. At the two big toes is Vairocana and Cakravartinī in the land of Maru. At the two knees is Vajrasattva and Mahāvīryā in Kulutā; these are the upaśmaśāna. These are the deities residing beneath the earth.
The ḍākinī is on the vajra. The lāmā is on the bell. Khaṇḍarohā and Rūpiṇī are on the fist that holds the elephant hide. Kākāsyā is on the vajra spear. Ulūkāsyā is on the vajra hook. Śvānāsyā is on the vajra curved knife. Śūkarāsyā is on the hand-drum. Yamadāḍhī is on the skull-marked khaṭvāṅga. Yamadūtī is on the noose.
Yamadamṣṭriṇī is upon the head of Brahmā; Yamamathani is upon the axe. The vessels of bodhicitta are upon the four faces. Pūjā-o-a; gorā-de-ma; kā-o-tri-ko; ka-la-kā-hi; pre-grī-sau-su-na-si-ma-ku. For the sake of the complete purity of the three wheels, the twenty-four syllables are to be used to consecrate the aggregates, elements, and sense bases. The aggregate of form is Vairocana, white in color, arising from Oṃ. Feeling is Ratnarāja, like the color of refined gold, arising from Oṃ. Perception is Padmanarteśvara, red in color, arising from Hrīḥ. Formations are Vajrarāja, green in color, arising from Hoḥ. Consciousness itself is Vajrasattva, white in color, arising from Hūṃ. All the Tathāgatas are Śrī Heruka, black in color, arising from Hiḥ. Seated upon a variegated lotus throne, they abide in the center of the reflections of the sun and moon. An elephant, a swift-moving peacock, a horse, a lion, and a garuḍa—these are the lords of the six families to be visualized, seated respectively upon the hungry ghosts. At the heart is Vajrabhūmi, and for the others, in order, the wheel, jewel, lotus, and crossed vajra are in the right hands. In the left hands, they hold bells with pride. All of them have three eyes. In the eyes is Brūṃ, white Mohavajra; in the ears is Hūṃ, black Dveṣavajra; in the nose is Khaṃ, yellow Rāgavajra.
At the mouth is AṂ, the red Desire Vajra. On the body is HO, the green Envy Vajra. In all the sense bases is HAṂ, the white Sovereign Vajra. In the earth element is LĀṂ, the yellow Causing to Fall. In the water element is MĀṂ, the black Binding. In the fire element is TĀṂ, the golden-colored Attracting. In the wind element is PĀṂ, the red Lotus Dance Sovereigness. In the space element is KHAṂ, the dark blue Blazing Lotus.
Causing to Fall, Binding, Attracting, and likewise the Dance—these reside in their respective maṇḍalas. They have one face and four arms, holding a wheel, a vajra, a lotus, and a sword in their right hands, and a skull-cup and a khaṭvāṅga in their left hands.
As for the goddess Padmajvālā, she has three faces and six arms. One should visualize her hands holding a skull-cup, a khaṭvāṅga, a noose, a hook, the head of Brahmā, and a curved knife.
OṂ HA: at the heart is white Vajrasattva. NAMA HI: at the crown is yellow Vairocana. SVĀHĀ HU: at the top of the head is red Padmanarteśvara. VAUṢAṬ HE: on the two shoulders is black Śrī Heruka. HŪṂ HŪṂ HO: in the two eyes is red Vajrasūrya. PHAṬ PHAṬ HAṂ: throughout the entire body is green Hayagrīva.
OṂ BAṂ: at the navel is red Vajravārāhī. HAṂ YOṂ: at the heart is blue Yamī. HRĪṂ MOṂ: at the mouth is white Mohanī. HREṂ HREṂ: at the crown is yellow Kṣobhaṇī.
HŪṂ HŪṂ: at the crown of the head is the green Trāsanī. PHAṬ PHAṬ: throughout the entire body is the Caṇḍākṣī, whose color is like various weapons. She has three faces and six arms, and is vajra-bearing; otherwise, she has four arms. [She holds] a vajra, a bell, and a skull-cup; a khaṭvāṅga, a hand-drum, and a head; and the symbols such as a wheel. [Others hold] a bell and a skull-cup, a khaṭvāṅga and a hand-drum; these are the weapons in the hands of the others. Vārāhī has three faces and six arms; her faces are red, blue, and green. In her hands, one should visualize a curved knife, a skull-cup, a noose, a khaṭvāṅga, a hook, and likewise the head of Brahmā. Alternatively, she should be meditated upon as having four arms. With one face and three arms, she holds a curved knife, a skull-cup, a khaṭvāṅga, a hand-drum, and likewise a bell. Vārāhī is Vajrasattva; one should remember Vairocana as Yamīnī. Padmanarteśvara is Mohanī; Rakṣaṇī is Heruka. Vajrasūrya is Trāsanī; Paramāśva is Caṇḍākṣī. In the heart, the syllable HŪṂ is the vajra; the syllable A resides in the path of speech; the syllable OṂ is the vajra of the body. Black, red, and white in sequence, the heroes and yoginīs are seen to pervade the entire sky. With a skull-cup completely filled with the five nectars, the empowerment should be bestowed with these words: "Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods." Thus, the empowerment is to be granted. Just as [the Buddha] was bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted. Just as all the Tathāgatas were bathed immediately upon birth, so too do I bathe you with the pure water of the gods. Thus, the empowerment is to be granted.
OṂ SARVA-TATHĀGATA-ABHIṢEKASAMAYAŚRIYE HŪṂ. The mudrā becomes Vajrasattva. One should make offerings with unsurpassed offerings. The field-born and the co-emergent goddesses, the ḍākinīs and yoginīs likewise, the family-born and the mātṛ-born likewise, the invisible and the sky-farers likewise, those born in the lower and the supreme likewise, the various intermediate ones, those who dwell on the earth and those who dwell in the sky, those who dwell beneath the earth, the yakṣiṇīs and the nāginīs, the gandharvīs and the kinnarīs, the vidyādharas who have previously attained accomplishment, and whoever relies upon the Sugatas and has devotion to the Three Jewels—all of them, in the maṇḍala, perform offerings of various kinds, with songs and dances, and with whatever various supreme desires, making offerings to Heruka. Upon the center of the wind and fire maṇḍalas, in a skull cup formed from the syllable A, filled with the nectar of the five wisdoms, one should perform the blessing with the sixteen syllables, the syllable VAṂ, and the three syllables such as OṂ. One should meditate on the three spheres as being perfectly free from conceptual elaboration. The ḍākinī, Lāmā, Khaṇḍarohā, and Rūpiṇī, circling and revolving to the left, bring about the complete accomplishment of all siddhis. On the eastern petal is Ḍākinī, and likewise Lāmā is in the north. In the west is Khaṇḍarohā herself, and in the south is Rūpiṇī herself. Ḍākinī is black in color; Lāmā is explained as yellow in color; Khaṇḍarohā is red; and Rūpiṇī is green. They each have one face and are adorned with the five mudrās.
All four have four arms, three eyes, and loose hair. They hold a curved knife, a skull-cup, a khaṭvāṅga, a hand-drum, and the head of Brahmā. They trample the four Māras under their feet. In the intermediate directions, upon vases made of gold, silver, and so forth, are placed the four amṛtas, white as kunda flowers, within skull-cups of bodhicitta.
In the eastern direction of the heart wheel, at Pullīramalaya, are Khaṇḍakapālin and Caṇḍākṣī, who are white. In the north, at Jālandhara, are Mahākaṅkāla and Caṇḍanayanā, who are yellow. In the west, at Oḍḍiyāna, are Kaṅkāla and Prabhāvatī, who are red. In the south, at Arbuda, are Vikaṭadaṃṣṭrin and Mahānāsā, who are green. In the southeast, at Godāvarī, are Surāvairin and Sthiramatī, who are pale blue. In the southwest, at Rāmeśvarī, are Amitābha and Kharvarī, who are yellowish-white. In the northwest, at Devīkoṭṭa, are Vajraprabha and Laṅkeśvarī, who are green. In the northeast, at Mālava, are Vajradeha and Drumacchāyā, who are the color of a lotus. All have one face and two arms, loose hair, and three eyes.
They hold skull-cups in their embracing arms and hold vajras with their threatening gestures. They are adorned with crowns, earrings, necklaces, anklets, and the Brahma-thread. Their necks are adorned with garlands of heads, and their girdles make a tinkling sound. Khaṇḍakapālin and the other heroes have one face and four arms, wear their own characteristic locks of hair as crowns, and are renowned for their compassion yet cause terror. With their two embracing arms, they hold—
Holding a vajra and bell, with a hand-drum and khaṭvāṅga in the other hands, adorned with the five mudrās, he stands in the posture with the right leg extended. The Mind Wheel is the Sky-Farers (Khecarī). In the eastern part of the Speech Wheel, at Kāmarūpa, are Aṅkurika and the white Pṛthivīdharā. In the north, at Oḍḍiyāna, are Vajrajāṭila and the red Mahābhairavī. In the west, at Triśakuni, are Mahāvīra and the black Vāyuvegā. In the south, at Kośala, are Vajrahūṃkāra and the green Madyapāyinī. In the southeast, at Kaliṅga, are Subhadra and the yellow Śyāmādevī. In the southwest, at Lampāka, are Vajrabhadra and the white Subhadrā. In the northwest, at Kāñcī, are Mahābhairava and the green Hayakarṇī. In the northeast, at Himālaya, are Virūpākṣa and the sky-blue Khaṇḍarohā. For these heroes and heroines, the vajra in the hand is the lotus itself. The Speech Wheel is the Earth-Farers (Bhūcarī). In the eastern part of the Body Wheel, at Pretapuri, are Mahābala and the black Cakravegā. In the north, at Gṛhadevatā, are Ratnavajra and the yellow Khaṇḍarohā. In the west, at Saurāṣṭra, are Hayagrīva and the red Śauṇḍinī. In the south, at Suvarṇadvīpa, are Ākāśagarbha and the red Cakravarmiṇī. In the southeast, at Nagara, are Śrīheruka and the red Mahāvīrā. In the southwest, at Sindhu, are Padmanarteśvara and the moon-colored Mahābalā.
In the northwest, at Maro, is Vairocana and Cakravartinī, who is smoke-colored. In the northeast, at Kulutā, is Vajrasattva and Mahāvīryā, who is white. Regarding the heroes and heroines, they hold a wheel in their first hands. The body wheel resides beneath the earth; the heroes and heroines of all the wheels are arranged in their proper order. On the forehead is a vajra garland, and the lotus wheel is marked by a garland. Alternatively, the colors of the deities should be determined according to the colors of their respective wheels. At the eastern and northern gates, the four gatekeepers reside: Kākāsyā, Ulūkāsyā, Śvānāsyā, and Sūkarāsyā. In the intermediate directions, such as fire and the southwest, are Yamadāḍhī, Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani. The ḍākinīs, mātṛs, and the heroes themselves also have four arms. The goddesses residing at the cardinal and intermediate gates stand upon seats of hungry ghosts. By means of the posture with the right leg extended, the gatekeepers are upon lotuses. All the goddesses of the intermediate directions likewise abide in the dancing posture of half-lotus. Similarly, the goddesses residing in the intermediate directions captivate the mind with two forms. In the right hands, they hold a curved knife, a hook, a noose, a chain, and a bell. In the left hands, they hold a mirror, a lute, fragrance, taste, a skull-cup, and a khaṭvāṅga. The ḍākinīs, such as Kākāsyā and the others, should be visualized with faces corresponding to their names. The buffalo, donkey, camel, and horse are the faces of the queens of the intermediate directions.
The faces of the lion, tiger, elephant, and horse, as well as the ḍākinīs and so forth, are situated at the corners of the door bases upon the offering ledge. These are: the lute player, the flute player, the drum player, the conch player, the clay drum player, the laughing goddess, the graceful goddess, the singing goddess, the dancing goddess, the flower goddess, the incense goddess, the lamp goddess, the perfume goddess, the mirror goddess, the taste goddess, the touch goddess, and the dharma goddess. The lute player and the graceful goddess are blue; the flute player and the singing goddess are yellow; the dancer and the drum-conch player are green; and the clay drum and laughing goddess are white and red. Regarding the goddesses of the lute, flute, and so on, those who have set aside the lute and other instruments hold a vajra and bell; the others hold a khaṭvāṅga and a skull cup. The graceful goddess holds a vajra and bell with pride; the singing goddess is accompanied by music; and the dancing goddess performs with a lotus-turning gesture. Thus, all of them have four arms. The flower goddess is white, and the incense goddess is smoke-colored. The lamp goddess is like a lamp; the perfume goddess is red and white; the taste goddess is red; the touch goddess is green; and the dharma goddess should be known as white. They are endowed with the application of their respective mudrās. In the hands marked with the mirror and so forth, and in the other hands, they hold a skull cup and a khaṭvāṅga. At the gates are the four, such as the Crow-faced goddess; their first hands likewise hold a curved knife. With various gazes, the heroes and heroines of the maṇḍala praise the Blessed One, dispelling all distractions. Thus, the path of the Tathāgatas attains the entirety of the Great Bliss, the joy of great bliss. A la la ho! Completely liberated from cyclic existence—
By singing this song of the supreme Tathāgata’s joy, I have visualized this maṇḍala. The body cakra is born from the womb; the speech is born from the egg; the mind arises through miraculous birth. The samaya syllable at the heart is to be thoroughly visualized as the application of approach. The application of the near-approach is the assembly of the supreme ḍākinīs. The application of arranging the heroes upon the body is explained as the authentic accomplishment. From the authentic application of the empowerment, the great accomplishment is taught. Oṃ samaya śuddhaḥ sarvadharmāḥ samaya śuddho ’ham. From the equality of the single taste of all phenomena, one should abide with the mind. Through the application of the amṛta of wisdom, one should drink the vajra-amṛta water. Oṃ vajrāmṛtodaka hūṃ ṭha ṭha traṃ āḥ hūṃ phaṭ phaṭ svāhā. One should meditate on the body cakra abiding upon the wind maṇḍala. The wise should meditate on the speech cakra abiding in the water. The great bliss mind cakra abiding upon the fire maṇḍala, and the supreme samaya maṇḍala abiding upon the earth maṇḍala, should be meditated upon. There, the wisdom maṇḍala should likewise be meditated upon and visualized. Having perfectly pleased [the deities] with offerings and praises, one should meditate on the maṇḍala. As long as weariness does not arise, the yogin should meditate. When weariness arises, one should recollect the purity. These pure phenomena are the maṇḍala of the circle of deities.
These thirty-seven factors of awakening shall now be explained. Among them, the four applications of mindfulness, which serve as the antidotes to the four errors of purity, pleasure, permanence, and self, are as follows: the application of mindfulness to the body, the application of mindfulness to feeling, the application of mindfulness to phenomena, and the application of mindfulness to the mind.
Mindfulness is the mind’s non-forgetfulness of an experienced object. Its "application" is the act of applying that mindfulness. Furthermore, it serves as the antidote to forgetfulness; applying oneself to an object previously experienced is the quality of familiarity.
The collection of the primary elements and their derivatives is the body. The experience of pleasure and so forth is feeling. The limit of reality is phenomena. Consciousness is the mere appearance of each [object] individually. To maintain mindfulness of these is the application, namely, the applications of mindfulness to the body and so forth.
The unwholesome factors that arise in accordance with [the afflictions] such as desire and hatred, and the obstacles to virtue such as laziness and lack of faith, are to be abandoned by focusing upon them. These are the four correct abandonments, as follows: the abandoning of unwholesome phenomena that have already arisen, the non-arising of unwholesome phenomena that have not yet arisen, the thorough preservation of wholesome phenomena that have already arisen, and the production of wholesome phenomena that have not yet arisen.
Miraculous power is the increase of the strength of absorption. Its branches are the basis of miraculous power of aspiration, the basis of miraculous power of diligence, the basis of miraculous power of mind, and the basis of miraculous power of investigation. In that regard, aspiration is the knowledge of the formations of practice, of discernment, of detachment, of cessation, of non-reliance, of fetters, and of transformation. Among these, discernment is the path. The abandonment of the obscurations of the afflictions is detachment, which is nirvana. Cessation is the non-fettering of all contaminated things. Not relying on those [fetters] is the non-reliance on discernment, detachment, and cessation. Fetters are the thorough binding to the entities of all conditioned things. Their transformation is to abide in their very nature. These knowledges that perceive are to be shown as the faculties of faith and so forth, which are similar to the eyes and other [senses]. Furthermore, there are five types, namely: the faculty of faith, the faculty of diligence, the faculty of mindfulness, the faculty of absorption, and the faculty of wisdom. Among these, faith is the mental conviction in the correct view regarding the mundane and supramundane, and in the experience of the results of actions. The thorough binding of the mind is diligence.
Based on the faculty of faith, not forgetting any phenomenon is the faculty of diligence. Not forgetting the meaning while the faculty of diligence does not forget is the faculty of mindfulness, which actualizes the non-forgetting of phenomena; this is taught as the faculty of absorption. The phenomena that have become distinguished through one-pointedness by means of absorption are the faculty of insight. The faculties themselves are taught as powers when the discordant factors—lack of faith, laziness, forgetfulness, heedlessness, distraction, and so forth—are exhausted. These are: the power of faith, the power of diligence, the power of absorption, and the power of insight.
This perfect realization by oneself is awakening, which is free from the two [extreme] minds. Its causes are the branches of awakening. There are seven of these: the branch of awakening of correct mindfulness, the branch of awakening of correct discrimination of phenomena, the branch of awakening of correct joy, the branch of awakening of correct pliancy, the branch of awakening of correct absorption, the branch of awakening of correct diligence, and the branch of awakening of correct equanimity.
In that regard, the branch of awakening of correct mindfulness is that which benefits all sentient beings, aspires for awakening, and does not forget what has been heard and realized. Because phenomena such as the self and so forth are discordant, [the branch of awakening of correct discrimination of phenomena is established].
The discernment of the aggregates and so forth is the branch of awakening of the correct discernment of phenomena. The mind that is of a single taste regarding all phenomena is the branch of awakening of joy. The serviceability of body, speech, and mind resulting from the destruction of the habitual tendencies of "I" and "mine"—the discordant factors of joy—is the branch of awakening of pliancy. One-pointedness of mind upon the four authorities—suchness, the limit of reality, emptiness, and the dharmadhātu—is the branch of awakening of absorption. The emergence from the level of ordinary beings is the branch of awakening of diligence. The lack of dependence on the formations of body, speech, and mind, which is not a remedy for the obscurations of the afflictions, is the branch of awakening of equanimity. Because they serve as remedies for the obscurations of the afflictions that are conducive solely to evil, the eightfold noble path is the eightfold noble path. The path is the seeking through meditation that abandons the obscurations to the knowable. Therefore, this is taught as the eightfold noble path: right view, right thought, right speech, right action, right livelihood, right effort, right mindfulness, and right absorption. Among these, right view is the characteristic of the selflessness of all phenomena and the vision of the next world. Right thought is the abandoning of what is to be adopted and what is to be discarded.
Actualization is performed by the mind and consists of intending only what is virtuous. Right speech reveals the meaning of seeing the truths. Right action is the unsurpassed activity of body, speech, and mind. Right livelihood is the meaning of being born into a noble family. Right effort is the application of body, speech, and mind to the perfect welfare of oneself and others. Right mindfulness is not forgetting the dharmas as they have been realized. Right absorption is the mind that brings the aspects of the object of observation into manifestation.
The crown of Vajrasattva is the fivefold pure wisdom itself. The root mantra of the heroes is visualized as the Brahma-thread. By the mantra of Vajravārāhī, the necklace adorns the neck. The secret mantra of the deities' heart is adorned by a garland of fifty beads. The secret mantra of the seven syllables is the beautiful earring of the ear. The mantra of the Buddha-ḍākinī is the skin garment she wears. The mantra of the six yoginīs is the belt that adorns the waist. The six armor-mantras of the heroes are the mudrās that adorn the body. The mantra of the yoginīs of all the cakras is the drink in the skull-cup. The mantra of Vairocanī is the skull that adorns the head. The twenty-four heroes are visualized as the elements of the body. The application of mindfulness of the body is the ḍākinī.
The application of mindfulness to feeling is Lāmā. The application of mindfulness to phenomena is Khaṇḍarohā. The application of mindfulness to mind is Rūpiṇī. This is the purity of the wisdom lotus. The base of miraculous power of aspiration is Caṇḍākṣī. The base of miraculous power of diligence is Caṇḍamālinī. The base of miraculous power of investigation is Prabhāvatī. The base of miraculous power of mind is Mahānāsā. The faculty of faith is Dṛḍhamati. The faculty of diligence is Kharvarī. The faculty of mindfulness is Laṅkeśvarī. The faculty of absorption is Drumacchāyā. This is the purity of the mind wheel. The faculty of insight is Bhūmipā. The power of faith is Mahābhairavā. 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 Khaṇḍarohā. This is the purity of the speech wheel. The branch of awakening of correct joy is Cakravegā. The branch of awakening of correct pliancy is Khaṇḍarohā. The branch of awakening of correct discrimination of phenomena is Śauṇḍinī. The branch of awakening of correct mindfulness is Cakravarmiṇī.
The branch of awakening of equanimity is Atiśūramatī. Right view is Mahābalā. Right thought is Cakravartī. Right speech is Mahāvīryā; these are the purities of the body wheel. Right action is Kākāsyā. Right livelihood is Ulūkāsyā. Right effort is Śvānāsyā. Right mindfulness is Śūkarāsyā. Right absorption is Śrī Heruka. Oṃ svabhāvaśuddhā dharmadhātu svabhāvātmako ’haṃ. The arising of virtuous dharmas not previously arisen is Yamadāḍhī. The perfect protection of virtuous dharmas already arisen is Yamadūtī. The perfect abandonment of non-virtuous dharmas already arisen is Yamadaṃṣṭriṇī. The non-arising of non-virtuous dharmas not previously arisen is Yamamathinī; these are the purities of the commitment wheel. In the nails and teeth is Khaṇḍakapālin. In the hair and body hair is Mahākaṅkāla. In the skin and filth is Kaṅkāla. In the flesh is Vikaṭadaṃṣṭra. In the sinews is Surāvairī. In the bones is Amitābha. In the mouth is Vajraprabha. In the heart is Vajradeha. In the eyes is Aṅkurika. In the bile is Vajrajaṭila. In the lungs is Mahāvīra. In the intestines is Vajrabhairava. In the small intestines is Subhadra. In the navel is Vajrabhadra. In the anus is Bhīma.
In the corners are Virūpākṣa. In phlegm is Mahābala. In pus is Ratnavajra. In blood is Hayagrīva. In sweat is Ākāśagarbha. In fat is Heruka. In tears is Padmanarteśvara. In saliva is Vairocana. In mucus is Vajrasattva. Regarding the recitation of the supreme samaya: one should perform the recitation with the supreme great conch. Through the sequence of rituals for the retinue and so forth, the yogi should recite the supreme mantra:
Oṃ namo bhagavate vīreśāya hūṃ hūṃ phaṭ |
Oṃ mahākāla-agni-saṃnibhāya hūṃ hūṃ phaṭ |
Oṃ jaṭāmakuṭotkaṭāya hūṃ hūṃ phaṭ |
Oṃ daṃṣṭrākarālograbhīṣaṇamukhāya hūṃ hūṃ phaṭ |
Oṃ sahasrabhujabhāsurāya hūṃ hūṃ phaṭ |
Oṃ paraśupāśodyataśūlakhaṭvāṅgadhāriṇi hūṃ hūṃ phaṭ |
Oṃ vyāghrajīnāṃbaradhārāya hūṃ hūṃ phaṭ |
Oṃ mahādhumrāndhakārāpūṣāya hūṃ hūṃ phaṭ |
Oṃ kara kara khaṇḍakapālini hūṃ hūṃ phaṭ |
Oṃ pracaṇḍe hūṃ hūṃ phaṭ |
Oṃ kuru kuru mahākaṅkāla hūṃ hūṃ phaṭ |
Oṃ caṇḍākṣīye hūṃ hūṃ phaṭ |
Oṃ bandha bandha kaṅkāla hūṃ hūṃ phaṭ |
Oṃ prabhavati hūṃ hūṃ phaṭ |
Oṃ trāsaya trāsaya vikadaṃṣṭriṇi hūṃ hūṃ phaṭ |
Oṃ mahānāse hūṃ hūṃ phaṭ |
Oṃ kṣobhaya kṣobhaya suravairiṇi hūṃ hūṃ phaṭ |
Oṃ vīramati hūṃ hūṃ phaṭ |
Oṃ hrūṃ hrūṃ amitābha hūṃ hūṃ phaṭ |
Oṃ kharvariye hūṃ hūṃ phaṭ |
Oṃ hraḥ hraḥ vajraprabha hūṃ hūṃ phaṭ |
This is the armor mantra of the gods and goddesses. It is the foundation of the secret mantra yoga, the abode of all the Tathāgatas. It is the omniscient one, the creator of all, the great bliss that pervades everything. It is the nature of all the Buddhas, the Protectors, and dwells in the hearts of all sentient beings. Aṃ Āṃ Iṃ Īṃ Uṃ Ūṃ Eṃ Aiṃ Oṃ Auṃ Aṃ Āṃ. This is the Blessed One himself, the Īśvarī and Heruka. One should meditate on the supreme egg-born [deities] in sequence in the center of the navel. Ṛṃ Ṝṃ Ḷṃ Ḹṃ. The Ḍākinīs residing on the lotus petals: Kaṃ Khaṃ Gaṃ Ghaṃ Ṅaṃ, Caṃ Chaṃ Jaṃ Jhaṃ Ñaṃ, Ṭaṃ Ṭhaṃ Ḍaṃ Ḍhaṃ Ṇaṃ, Taṃ Thaṃ Daṃ Dhaṃ Naṃ, Paṃ Phaṃ Baṃ Bhaṃ Maṃ. In the wheels of body, speech, and mind, they bestow all accomplishments. [They are] the heroes such as Khaṇḍakapālin and all the [heroines] such as Pracaṇḍā. Yaṃ Raṃ Laṃ Vaṃ, Śaṃ Ṣaṃ Saṃ Haṃ. The Mātṛs such as Kākāsyā and the others. The letter Kṣa is the very act of dripping; it is the great form of the seminal fluid. On the tenth day of the waxing and waning [moons], the yogi should make offerings. One should also constantly give the torma offering. Abiding in the samaya, one should employ the signs. By means of the protection of the mantra application, such as the previously mentioned mudrās and so forth, one should protect everything according to the ritual. With meat, alcohol, and so forth, one should quickly and diligently make offerings to the Vajrayoginīs. Facing south, the yogi should make offerings in a high place. At night, the practitioner of the vow, with hair loose and naked, should give the torma offering while looking upward with the feet treading [on the ground].
Uttering the sound pheṃ upward, summon the heroes and yoginīs who dwell in the world systems of the ten directions. Opening the vajra palms upward, [recite] the mantras of the heroes and yoginīs; having invoked them perfectly with the mantra, at that time, perform the invitation.
Binding the index fingers and joining the middle fingers, firmly establishing the thumbs as a vajra, place this in the center of the forehead and, by circling and circling, perform the circumambulation in all directions. With the posture of the right leg extended, display the lattice mudrā. Fill the samaya [vessel] completely and recollect the secret mantra itself:
Oṃ āḥ aralli hoḥ jaḥ hūṃ vaṃ hoḥ vajraḍākinī samayas tvaṃ dṛśya hoḥ.
In that manner, recite three, four, or up to five times, while placing the samaya substances and so forth.
Kha kha khāhi khāhi sarva yakṣa rākṣasa bhūta preta piśāca umanda pasmara vajraḍāka ḍākinī jaya imaṃ baliṃ gṛhṇantu samaya rakṣantu sarva siddhiṃ me prayacchantu yatheṣṭaṃ | yatheṣṭaṃ bhuñjatha pivatha mātikramatha mama sarvakāryaṃ sata sukhaṃ vivṛddhaye sahāyikā bhavantu hūṃ hūṃ phaṭ phaṭ svāhā.
With the application of the left hand, the hero should display the signs. The hero is the basis of the signs; he enters into the signs. The three worlds, both moving and non-moving, and all beings arise from the left. He performs the conduct together with the three worlds. In the two thumbs is Vajrasattva; in the index fingers resides Vairocana.
Padmanarteśvara is on the middle finger; the Hero who grants accomplishment is on the ring finger; the inexhaustible space-body is on the little finger; and Hayagrīva himself is on the nails. These are the abodes of all the heroes, arising from the left hand. The messengers are on the palms; for those who desire to proceed correctly, the Hero has fully shown the five signs. Earth is explained as Locanā; the water element is remembered as Māmakī; Pāṇḍaravāsinī and Tārā are renowned as fire and wind. The kumbhaka is emptiness, and the same applies to the perfections. The center is the abode of all heroes; the wise should request them to depart behind. Having thus shown the signs, the Hero should eat from a single vessel. Having first contemplated the vowels and consonants, the great yogi should rest. One should meditate on the supreme moon maṇḍala abiding in the center of the navel. One should imagine it abiding in the center of the supreme place of the syllables. One should meditate on the deity’s body, the possessor of the vajra of body, speech, and mind. His body becomes the abode; one should not meditate on the nature of mind as an object. That which is inconceivable is the very act of thinking; that thinking is also signless. One should also contemplate that which is inconceivable. Thereafter, one attains the state of a Vidyādhara. One truly attains Pukkasī, and furthermore, is characterized by a youthful form. One practices exclusively in yoga. Possessing the samaya and possessing the ascetic conduct, free from desire and having little shame, stable and without stinginess, and free from the grasping at a self—the consort and the ascetic should be together.
The master of mantra should practice this. The syllable A is correctly applied to the tip of the nose. One should place the syllable BAṂ with the jewel of the signs. At the locations of the navel, heart, throat, and forehead, one should consecrate them with the collection of mantras. First, with joy, the first joy is wisdom. Supreme joy is the supreme accomplishment; the coemergent is the unsurpassed. Yoga and great yoga, according to the sequence of the yoga ritual, rely perfectly upon the four cakras, the four truths, and the four moments. Joy is said to be the hero; supreme joy is the yoginī. Supreme joy is the omniscient one; through the bliss of that method, all is indeed [attained]. The emanation of the sixth, the mind, is manifested as the glorious Heruka. The emanation of the pure Dharma is shown in the form of Vārāhī. Because all beings are liberated from suffering through constant and intense torment, at this time, the nectar-dripping sādhana of Saṃvara by Durjayacandra is written. In the city of the single cakra, the merchant’s daughter, the yoginī, who dwells there as an emanation of Vajravārāhī, commanded me to write this sādhana of Saṃvara. This concludes the Sādhana of the Glorious Cakrasaṃvara titled The Dripping Nectar, composed by the master Durjayacandra.