Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This ritual text provides a technical guide for the creation and offering of torma cakes within the Cakrasaṃvara tantric tradition. The work functions as a liturgical manual, directing the practitioner through a sequence of visualization and physical action. It commits the reader to a precise meditative process: first, the conceptualization of seed syllables (Oṃ, Āḥ, Hūṃ) and the emanation of the three wheels of deities; second, the ritualized movement of nectar offerings across cardinal and intermediate directions; and third, the cultivation of a non-conceptual state of suchness combined with compassion. The process culminates in the recitation of specific Sanskrit mantras and the ringing of a bell to seal the offering. By integrating physical offerings with complex internal visualizations of deity assemblies and the nature of reality, the text aims to transform the material torma into a spiritual vehicle for the benefit of beings and the realization of the Vow.
Provenance
About this text
A ritual guide for the torma offering of Glorious Cakrasaṃvara, the Śrīcakrasaṃvarabalividhi belongs to the tradition of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Prajñārakṣita. It was translated into the classical Tibetan language by Sumatikīrti and the lo tsa ba dge slong blo ldan shes rab. This translation is preserved in the Tengyur, volume ཞ, where it extends over four pages. The work enacts a precise liturgical sequence based on oral instructions, directing the practitioner to visualize the seed syllables Oṃ, Āḥ, and Hūṃ and the emanation of the deities of the three wheels. It further prescribes the ritual movement of nectar offerings across cardinal and intermediate directions, accompanied by the recitation of Sanskrit mantras and the visualization of white vajra tongues. A scholar or serious reader consults this text today to examine the technical integration of physical offerings with complex internal visualizations, specifically how the practitioner transforms material torma through a meditative process involving the assembly of deities and the nature of reality.
Sanskrit title
Śrīcakrasaṃvarabalividhi
Indian author
Prajñārakṣita
Tibetan translators
Sumatikīrti, lo tsa ba dge slong blo ldan shes rab
Cite thisAnuvāda, “A Ritual for Making Torma Cakes for the Glorious Cakrasaṃvara” (Toh 1467), machine draft, 2026.https://naxiai.com/tibetan/works/toh1467
Summary & commentary
Significance
The text is significant as it illustrates the intersection of material art (torma making) and high-level tantric visualization in the Cakrasaṃvara system. For the modern reader, it demonstrates how ritual precision and mantra recitation are used to bridge the gap between conceptual thought and the experience of emptiness.
Structure
Passages
Section
Description
1
Introduction and Invocation
Provides the Sanskrit and Tibetan titles and an initial bow to the deity.
2
Visualization of Deities
Describes the emergence of seed syllables and the emanation of the three wheels of deities.
3
Offering Procedure
Details the counter-clockwise and clockwise movement of nectar offerings across the directions.
4
Meditative State and Prayer
Instructs the practitioner to perceive all things as space and appeal to the goddesses with compassion.
5
Mantra Recitation
Lists the specific Sanskrit mantras and the use of the bell to conclude the ritual.
Themes
Ritual Visualization (2-3)
Non-conceptual Awareness (4)
Mantric Invocation (5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Ritual for Making Torma Cakes for the Glorious Cakrasaṃvara·
In the language of India: Śrīcakrasaṃvarabalividhiḥ. In the language of Tibet: dPal ’khor lo sdom pa’i gtor ma’i cho ga (The Ritual of the Torma Offering of Glorious Cakrasaṃvara).
I bow to the Hero of the Vow, who binds all things into one. I shall write here a concise summary of the reality of the torma, according to the oral instructions.
First, the master, having arisen from the state of great yoga, the mantra practitioner endowed with the yoga of Glorious Cakrasaṃvara should place the food and other offerings before him and perform the purification. In that regard, from the syllable YAṂ in front, a wind maṇḍala arises; above that, from the syllable RAṂ, a fire maṇḍala; and above that, upon a tripod made of three heads born from three syllables, is a white syllable A. From this, a lotus is generated, red on the inside and white on the outside.
Inside that, from the syllables OṂ TRĀṂ ĀṂ KHAṂ HŪṂ, LĀṂ MĀṂ PĀṂ TĀṂ VAṂ, the five nectars and five lamps are generated in their essential nature and blessed. When the seed syllables and so forth are heated by the fire stirred by the wind and melt, one should visualize them as having the color of the rising sun. Then, from the syllable HŪṂ, which is the color of mercury, a white khaṭvāṅga of the nature of nectar emerges, standing upright. As it melts, one should visualize that the liquid substance becomes cool and the color of mercury.
Then, upon that, the syllables Oṃ, Āḥ, and Hūṃ, which have arisen from the complete transformation of the vowels and consonants, abide one above the other. From them, the assemblies of deities of the three wheels are emanated; having performed the benefit of beings, they melt through the preliminary of meditative union and are absorbed back into the three syllables exactly as they were. Furthermore, one should visualize the syllables Oṃ and the others also melting sequentially, and bless them with the three syllables for as long as desired.
Then, having summoned [the deities] with the blazing mudrā and the mantra Pheṃ, place the maṇḍala, complete in all its aspects, in front. Having made the proper offerings, preceded by the water for the feet and the water for the face, visualize the syllable Hūṃ contained within the two hands, which are of the nature of the moon and sun, arisen from the complete transformation of the vowels and consonants. Preceded by the recitation of: Oṃ anyonyānugataḥ sarvadharmāḥ, sphara sphara anugataḥ sarvadharmāḥ, atyanta-anupraviṣṭaḥ sarvadharmāḥ hūṃ, the syllable Hūṃ abiding on the moon and sun completely transforms. Within the palms of the hands joined in the vajra-palms, place or visualize a vessel of nectar. Following that, recite this for the purpose of taking [the nectar] as one's own:
"The goddess is valid, the samaya is valid,
And the words she spoke are the supreme validity.
By this truth, may these goddesses
Become the cause for taking me under their care."
Then, [visualize] the object of offering, the offerer, and...
By viewing the offerings as inseparable, one should offer the vessel of nectar by circling it counter-clockwise starting from the east toward the cardinal directions, and clockwise starting from the southeast toward the intermediate directions. Visualizing the deities of the three wheels as having tongues of white vajras arising from the syllable hūṃ, one should offer by reciting once: oṃ kara kara, kuru kuru, bandha bandha, trāsaya trāsaya, kṣobhaya kṣobhaya, hrūṃ hrūṃ, hraḥ hraḥ, pheṃ pheṃ, phaṭ phaṭ, daha daha, paca paca, bhakṣa bhakṣa, vasarudhirāntamālāvalambine, gṛhṇa gṛhṇa saptapātālagatabhujagaṃ sarpaṃ vātarañjaya tarañjaya, 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 phaṭ svāhā.
One should also offer to the Blessed One together with Prajñā, and to the ḍākinīs and the Kākāsyā and others, circling them as appropriate, by reciting once, twice, three, four, or five times: oṃ vajrārali hoḥ jaḥ hūṃ vaṃ hoḥ vajraḍākinī samayas tvaṃ dṛśya hoḥ. Then, having offered the foot-bath, the hand-cloth, and the tambola and so forth, one should offer with the lute-player and others: bhavaśamasamasaṃga bhagnasaṃkalpa bhagāḥ khambhasakalabhavaṃ bhāvato vikṣamāṇā gurutarakurunambhaḥ sphidacatthimbunāthāḥ kuru kuru taddevyomayyati vānukaṃpā. Having made the offerings, one should perform the praise and receive the desired accomplishments.
Knowing the equality of existence and peace, and having conquered the waves of conceptual thought, you perceive all things in their suchness as being like space. With your lotus-like heart fully blossomed by the water of compassion, O goddesses, please look upon me with great affection.
Then, circumambulate the directional protectors residing in the eight charnel grounds as before, and recite twice:
OṂ KHA KHA KHĀHI KHĀHI | SARVA YAKṢA RĀKṢASA BHŪTA | PRETA PIŚĀCA UNMĀDA | APASMĀRA | VAJRA ḌĀKA ḌĀKINYĀDYĀYA | IMAṂ BALIṂ GṚHṆANTU | SAMAYA RAKṢANTU | MAMA SARVA SIDDHIṂ ME PRAYACCHANTU | YATHĀIVAṂ YATHAIṢṬAṂ BHUÑJATHA | PIVATHA JIGHRATHA MĀTIKRAMATHA | MAMA SARVA KĀRTAYA | SAT SUKHAṂ VIVIDHYAYE SAHĀYIKĀ BHAVANTU HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ.
By reciting this twice, one should offer the food. By consuming that nectar, one should meditate that the directional protectors and others are nourished with great bliss, preceded by the dharmadhātu. Then, having generally offered tāmbūla and so forth, and having perfectly worshipped with the lute goddesses and others arising from the seed syllable at the heart, one should praise with the eight-line mantra and receive the desired accomplishments. Then, making the symbolic hand gestures, in order to compensate for any omissions or excesses, recite:
OṂ VAJRA HERUKA SAMAYA MANUPĀLAYA | HERUKA TVENOPATIṢṬHA | DṚḌHO ME BHAVA | SUTOṢYO ME BHAVA | SUPOṢYO ME BHAVA | ANURAKTO ME BHAVA | SARVA SIDDHIṂ ME PRAYACCHA | ... (and so on).
Sarvakarmasu ca me cittam śreyaḥ kuru hūṃ | ha ha ha ha hoḥ bhagavān | vajraheruka mā me muñca | vajraheruko bhava | mahāsamayasattva āḥ hūṃ phaṭ. Recite this hundred-syllable mantra while preceded by the ringing of the bell. Then, recite oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ and please [the deities] with the lotus-circling mudrā (padakora). Releasing the mudrā, preceded by the gesture of embracing, snap the ring finger and thumb together while reciting oṃ vajra muḥ to request their departure, and then dissolve the maṇḍala into yourself.
Through whatever merit has arisen from writing this torma ritual, may the three realms of beings swiftly clear away the web of conceptualization and become the essence of the three maṇḍalas.
This concludes the Glorious Cakrasaṃvara Torma Ritual composed by the great master Prajñārakṣita. It was translated by the Indian abbot Śrī Sumatikīrti and the translator-monk Loden Sherab.