Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a comprehensive ritual manual for the practice of the Glorious Heruka, designed to transform the practitioner's perception and physical existence into a divine state. The text begins with a philosophical grounding in the illusory nature of mind and external manifestations, establishing a basis of equanimity. It then guides the practitioner through a detailed visualization process, constructing a celestial palace and mandala populated by specific deities, trees, and animals. The ritual progresses to a somatic mapping where sensory organs and elements are identified with specific vajra deities, effectively dissolving the ordinary self. The practitioner is committed to a rigorous regime of visualization, the use of seed syllables, and the offering of bodily fluids. The process culminates in the recitation of specific mantras and the adoption of a disciplined lifestyle, including celibacy, to achieve the state of a second Heruka, thereby bridging the gap between the human practitioner and the enlightened deity.
Provenance
About this text
A ritual manual for the practice of the Glorious Heruka, the Śrīherukasādhana (Tibetan: dpal he ru ka'i sgrub thabs) originates from the Indian tradition and is attributed to the author Kaśmīri Ratnavajra. The work entered the Tibetan language through the efforts of the translators Dharmaśrībhadra and lo tsa ba dge slong rin chen bzang po. It is preserved in the Tengyur, volume ཞ, where it spans twelve pages and is situated within the canonical collection of the Śaṃvara and Related Tantras. The work enacts a process of spiritual transformation, beginning with a philosophical grounding in the illusory nature of the mind and the emptiness of animate and inanimate existence. It guides the practitioner through the cultivation of joy and equanimity, followed by a detailed visualization of a celestial palace and mandala arising from the elements of wind, fire, water, and earth. A scholar or serious reader consults this classical Tibetan text to examine the specific ritual instructions for constructing the divine mandala and the somatic mapping required to dissolve the ordinary self into a divine state.
Sanskrit title
Śrīherukasādhana
Indian author
Kaśmīri Ratnavajra
Tibetan translators
Dharmaśrībhadra, lo tsa ba dge slong rin chen bzang po
Cite thisAnuvāda, “A Sādhana of the Glorious Heruka” (Toh 1478), machine draft, 2026.https://naxiai.com/tibetan/works/toh1478
Summary & commentary
Significance
The text is significant as a representative example of Vajrayana deity yoga, illustrating the method of transforming the mundane body and environment into a sacred mandala. For the modern reader, it demonstrates the complex intersection of somatic practice, mantra, and visualization used to achieve rapid spiritual realization.
Structure
Passages
Section
Description
1-2
Philosophical Grounding
Homage to Vajrasattva and an analysis of the illusory nature of mind and external entities.
3-9
Mandala Visualization
Construction of the celestial palace, the elemental maṇḍalas, the eight trees, and the assembly of deities and yoginīs.
10-13
Somatic Transformation
Mapping the senses and elements to vajra deities and the visualization of seed syllables on the body.
14-16
Ritual Offerings and Mantras
Instructions on offerings of bodily fluids, the recitation of specific mantras, and the ethical commitments required for accomplishment.
Themes
Deity Yoga and Visualization (3-11)
Non-duality and Illusion (2)
Somatic Alchemy (10, 14)
Mantra and Sound (11, 15-16)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Śrīherukasādhana-nāma. In the language of Tibet: dPal he ru ka’i sgrub thabs zhes bya ba (The Sādhana of the Glorious Heruka). Homage to the Blessed One, the Glorious Vajrasattva.
I bow to the Great Hero, the wondrous one, the sovereign of the wheel of ḍākinīs, who gathers both cyclic existence and nirvāṇa, and who abides in both cyclic existence and nirvāṇa.
I prostrate to that Caṇḍālī who arises from the center of the navel, who is subtle, who dwells in the dharmakāya and saṃbhogakāya, and who gathers all the ḍākinīs.
The state of perfect realization is not a place for the unrefined, and it is difficult even for the wise to find. May the presence of the Guru, by whose kindness it becomes easy to find, be victorious!
In order to accomplish the welfare of fortunate sentient beings, relying slightly upon the pith instructions, I shall compose this sādhana of the glorious Heruka.
In a charnel ground, on a riverbank, or in a great hermitage, the practitioner of the Heruka, the one renowned for great compassion, should please the Lord of Accomplishment.
Having arisen, first one should visualize a lotus and moon maṇḍala at the heart. In its center, one should meditate on the syllable born from the Mind. With body, speech, and mind, one should meditate on all phenomena as emptiness.
Through light, one should cause the Guru, one’s own deity, and the Buddhas to appear as one’s own manifestation. Having visualized them pervading space, one should perfectly emanate offering goddesses.
Having pleased them well, and having knelt with devotion, one should recite the three verses beginning with the Three Jewels three times. Following that, one should cultivate love and compassion.
One should cultivate joy and equanimity. Because the distinction between sleeping and waking is not clearly perceived, all these manifestations of the mind are therefore false. When analyzed in terms of being one or many, external entities are not found. These are not even the forms of the mind; therefore, this world is empty. One should contemplate all that is animate and inanimate as being devoid of the nature of arising, like a cloudless sky at midday in the summer. To stabilize this mind, one should recite this secret mantra: Oṃ svabhāva-śuddhāḥ sarva-dharmāḥ svabhāva-śuddho ’haṃ. Oṃ śūnyatā sarva-dharmāḥ svabhāva-śuddho ’haṃ. Then, from PAṂ arises a lotus, and from RAṂ a sun disk; upon it, from HŪṂ, one should visualize a wrathful vajra of an emanating nature. Oṃ sumbhani sumbha hūṃ hūṃ phaṭ. Oṃ gṛhṇa gṛhṇa hūṃ hūṃ phaṭ. Oṃ gṛhṇāpaya gṛhṇāpaya hūṃ hūṃ phaṭ. Oṃ ānaya hoḥ bhagavān vajra-vidyā-rājāya hūṃ phaṭ. By this, having summoned the malevolent ones, one should strike them with the ritual dagger as explained below: Oṃ gha gha ghātaya ghātaya sarva-duṣṭān phaṭ kīlaya kīlaya sarva-pāpān phaṭ hūṃ hūṃ hūṃ vajra-kīla vajra-dhara ājñāpayati kāya-vāk-citta-vajra-kīlaya hūṃ phaṭ. Oṃ vajra-mudgara vajra-kīla ākoṭaya hūṃ phaṭ. By striking and hammering with the ritual dagger, they find no opportunity; therefore, one should visualize a vajra net. Within that is the expanse of reality (dharmadhātu).
Visualize [it] within the expanse of the bhaga. One should visualize here the maṇḍalas of wind, fire, water, and earth. Above those is Mount Meru; above that, visualize the syllable HŪṂ arising. From the complete transformation of the wind and the other elements, the celestial palace itself is formed. It has four corners and four doors, and is beautifully adorned with four archways. It is decorated with lattices, half-lattices, hanging tassels, mirrors, and so forth. In the center, beautified by a variegated lotus, is an eight-petaled lotus. At the hub, one should clearly meditate upon Bhairava and Kālarātri. On the four petals of the cardinal directions, there are corpses in the form of seats. On the other petals, visualize vessels filled with nectar, resting upon vases. Following that, according to the ritual, one should visualize the three wheels—of Mind, Speech, and Body—surrounded by vajras, lotuses, and wheels. Outside the celestial palace, it is adorned with the eight types of charnel grounds. Their names, characteristics, and so forth shall be explained according to the scriptures. The first is the expanse of the Fierce and Wrathful; the second is the Thicket; the third is the third; the fourth is called the Blazing; the fifth is called the Hellish and so forth; the sixth is the Terrible; the seventh is the Ha-ha Laughter; and the eighth is held to be the Jangling. The first is explained as being burnt; the second is unburnt; the third is in pieces; the fourth is not in pieces; the fifth is explained as Terrifying; the sixth is the Terrifier; the seventh is impaled on a spear-tip; and the eighth is called the Obstructing.
Pātālī and Puṇḍarī,
Sāla trees, Śiṃśapā,
Udumbara, Nyagrodha,
Aśvattha, and Nāgakesara trees.
Hawks, cats, and owls,
Tigers, dogs, vultures, and pigs—
These eight, together with the flesh-eating faces,
Dwell perfectly upon the eight trees.
Hawks, jackals, and owls,
Steadfast dogs, and
Falling rākṣasas,
Eight vetālas, fierce and arrogant,
Perfectly surround the Lord.
Upon the sun and moon maṇḍalas,
Above craving and aversion,
Arisen from the two, Āli and Kāli,
Having contemplated the nature of sentient beings as melted,
By the mere pride [of that],
The yogi should become the nature of bliss.
Then, one should also strive for the benefit of others.
This is not to be dwelt upon;
Thus, from the goddess’s praise,
It arose perfectly:
HŪṂ! Heroine, enjoy, enjoy, HOḤ!
You are the Vajra of Great Bliss;
From the very taste arisen from Great Bliss,
Please arise right here!
You are the supreme Great Bliss;
Likewise, through the bliss of delight,
Please grant that to me as well!
Bhagavān, Delight of Great Bliss, HOḤ!
OṂ! You are the well-delighted Vajrasattva;
With all tastes and supreme tastes,
In the blisses of great delight,
For all that is to be accomplished, always
Enjoy, enjoy all delights!
You delight all the yoginīs!
Bhagavān, Vajra Lotus, HŪṂ!
A LA LA HOḤ!
Bhagavān, you are well-delighted by desire;
Within passion, you are like space;
The lotus petals, A LA LA HOḤ!
By holding the supreme vajra, even the eternal net of the Source of Bliss opens the supreme lotus, and thereafter sports with the joy of the lotus. Even now, the Holder of the Supreme Vajra beholds this very wondrous bliss. How is it that the accomplishment of supreme bliss is now gathered? Having attained the accumulations of awakening, Alala Ho! Having accomplished the sublime play of great bliss, by the power of this song, he is impelled to act for the benefit of sentient beings. From the two syllables BAṂ and HŪṂ, one meditates on the nature of a curved knife and a vajra, which are emanated; from the total transformation of all these, one becomes the glorious Heruka. His body is black and he possesses four faces. His hair is blazing and swept upward. He has three eyes and yellow eyebrows. His head is adorned with a skull and a moon. He wears a garland of fifty skulls. His body is smeared with the dust of ashes. His body is adorned with the six mudrās, and he stands with his right leg extended. With his fangs slightly bared, he possesses the nine dramatic moods. Because he is skilled in subduing those difficult to tame, he stands upon the great god Mahādeva. His four faces—black, yellow, red, and green—are arranged clockwise from the left. He possesses twelve arms and is embraced around the neck by Vārāhī. With his right hand he holds a vajra and with his left a bell, embracing her completely. With two extended hands he holds an elephant hide; he brandishes a ḍamaru, a battle-axe, a curved knife, and likewise a trident with his right hands.
Holding a khaṭvāṅga, a lotus vessel, a noose, and likewise the head of Brahmā in his left hands, the Protector dwells assuming the manner of supreme joy. Vajravārāhī, with one face and three eyes, embraces him from all sides. Her limbs are adorned with the six mudrās, and she dwells with a garland of skulls and a lower garment. Embracing him well with her two calves, she dwells in the state of great bliss. Within the red light of great passion, her own manifestation arises perfectly. With full breasts and a slender waist, the lower part of her body is very broad. Her hair is black and her eyes are beautiful; she is endowed with the ornaments of grace. With her right hand, she makes the threatening gesture toward the wicked, holding a curved knife marked with a vajra. With her left hand, she holds a skull-cup filled with the blood of Māra and other wicked beings. Terrifying like the fire at the end of an eon, she delights in the dripping blood. One should visualize the ḍākinīs, Lāmā, Khaṇḍarohā, and Rūpiṇī in the lotuses of the cardinal directions, in accordance with the faces of the principal deity. On the other petals, according to the ritual, are the four vessels previously described. These hold curved knives in their right hands, and in their left hands, skull-cups filled with the five nectars and khaṭvāṅgas. These are the efforts to purify body, speech, and mind. Outside of that is the mind wheel, surrounded by a black vajra garland. In the eight directions and intermediate points, the fierce goddesses and others grant the accomplishment of the sky. Behind that is the speech wheel, adorned with red lotuses and so forth, where the eight goddesses such as Airāvatī dwell.
Behind that, the wheel of the body is adorned with a white wheel and so forth, where the eight [deities] such as Cakravega reside. The yoginīs belonging to the three wheels take on colors similar to those of the body, speech, and mind. They have one face and three eyes, and are beautifully adorned with vajra garlands. The goddesses hold curved knives and skull cups; the yoginīs are like Vārāhī. The heroic consorts who serve as their methods are twenty-four in number, all holding vajras and bells, adorned with the five mudrās, wearing necklaces of human heads, possessing fierce bodies and beautiful hair, with fangs slightly bared, and endowed with the moods of the erotic and so forth. Adorned with fragments of skulls and draped in silks and garlands, they abide in the posture of the glorious Heruka, with the right leg extended. The body colors of the heroes are the same as their respective seats. The crow, the owl, the dog, and the sow-faced one are as their names suggest. The faces, colors, and so forth of the goddesses of the gates are consistent with the ḍākinīs and others. Yamadāḍhī is black and green; Yamadūtī is green and white; likewise, Yamadaṃṣṭriṇī should be known as red and yellow. Furthermore, Yamamathani is explained as yellow and black. First, the goddesses are arranged counter-clockwise, while the others are clockwise. One should meditate on such a great wheel together with oneself. Pracaṇḍā, Caṇḍākṣī, Prabhāvatī, and Mahānāsā.
Vīramatī, Kharvarī, Laṅkeśvarī, and Drumacchāyā; Dharitrī, Mahābhairavā, Vāyuvegā, and Madavī; Śyāmādevī and Subhadrā; Hayakarṇā and Kākāsyā; Cakravegā and Khaṇḍarohā; Mahānāsā and Cakravarmiṇī; Mahāvīrā and Mahābalā; Cakravartinī and Mahābalā; Khaṇḍakapālin and Kankāla; Mahākankāla and Vikaṭadaṃṣṭrin; Surāvairī and Amitābha; Vajraprabha and Vajradeha; Aṅkurika and Vajrajaṭin; Mahāśrī and Vajrahuṃkāra; Subhadra and Vajrabhadra; Mahābhairava and Virūpākṣa; Mahābala and Vajraratna; Hayagrīva and Ākāśagarbha; Śrīheruka, the self-sovereign, Vairocana, and Vajrasattva.
These are established in sequence upon the head, the crown, the right ear, the back, the left ear, the eyebrows, the breath, the eyes, and likewise the two shoulders; the two armpits, the two breasts, the navel, the two tips of the nose, the mouth, and the throat; the heart, the characteristic [navel], the secret place, the anus, and likewise the thighs, the calves, the toes, the soles of the feet, the big toes, and the knees.
Pullīramalaya, Jālandhara, Oḍḍiyāna, and Arbuda are the primary locations. The other four I have previously mentioned are situated in the intermediate directions, residing above the secondary locations. One is located in Godāvarī.
Rāmeśvarī is the second site; Devīkoṭa and Mālava are where the other two goddesses reside. Kāmarūpa and Oḍḍiyāna are where the two principal fields reside. Kosala and Triśakuni, along with others, reside in the secondary fields. Kaliṅga and Lampāka are explained as the candohas; Kāñcī and the Land of Snows also belong to the secondary candohas. Gṛhadevatā and Pretapurī likewise reside in the melāpakas. Suvarṇadvīpa and Saurāṣṭra are explained as the secondary melāpakas where others reside. The regions of Nāgapura and Sindhu are the charnel grounds where two goddesses always reside. Maru and Kulutā, where other goddesses reside, are called the secondary charnel grounds. Thus, this is the Sovereign of the Earth. The Protector, the Sovereign of the Ten Bhūmis, always dwells in the form of the wheel. Through the divisions of Mind, Speech, and Body, he is liberated throughout the three worlds. In the higher realms, on the earth, and below the earth, he becomes a single body in an instant. Pūjā, Au, A, Gorā, De, Ma, Kā, O, Tri, Ko, Ka, La, Kā, Hi, Pre, Gra, Sau, Su, Naṃ, Si, Ma, Ku. Form is said to be Vairocana; feeling is Vajrasūrya; perception is Padmanarteśvara; formations are Vajrarāja; and within the aggregate of consciousness, Vajrasattva always dwells. The glorious protector Heruka himself, delighting in the supreme secret, always dwells as the identity of all. This is explained as the purity.
The two eyes become Mohavajra; the ears are Dveṣavajradhara; the nose is Īrṣyāvajra; the mouth is Rāgavajradhara; the sense of touch is Mātsaryavajra; and the mind is the lord Vajradhara. The glorious Heruka, the Blessed One, abides as the Tathāgata himself. Earth is called Pātālanī; the water element is Māraṇī; fire is explained as Ākarṣaṇī; wind is explained as Lāsyā; and the space element is the Yoginī Padmajāla. This is explained as the purity of the aggregates, elements, and sense bases. One should place the three syllables upon the three vajras; the wisdom syllable is Hevajra. Having knotted the index fingers and joined the middle fingers, one should firmly join the thumbs as a vajra. Placing that in the center of the forehead, one should twist and rotate it. Pressing the feet and looking upward, one should utter the sound PHAṬ upward, summoning the heroes and yoginīs who dwell in the world systems of the ten directions. This mudrā is the Great Mudrā, as explained in the Caryākalpa. By means of this mudrā, the yogin shall accomplish even the three worlds. OṂ SARVA VĪRAYOGINĪ KĀYAVĀKCITTAVAJRASVABHĀVĀTMAKO ’HAṂ. OṂ VAJRAŚUDDHAḤ SARVADHARMĀ VAJRAŚUDDHO ’HAṂ. OṂ YOGAŚUDDHAḤ SARVADHARMĀ YOGAŚUDDHO ’HAṂ. OṂ HA: the glorious Vajrasattva should be placed at the heart. NA MA HI: Vairocana should be visualized abiding at the head. SVĀ HĀ HU: Padmanarteśvara.
One should meditate completely upon the crown of the head. At the shoulders, one should visualize the glorious Heruka with the syllables boṣaṭ and he. The vajra-sun syllables hūṃ hūṃ ho should be placed in the eyes. Phaṭ haṃ should be visualized as weapons upon all the limbs; this is the supreme placement of the six limbs of all the heroes.
Oṃ baṃ is Vajravārāhī, who should be visualized in the region of the navel. Haṃ yoṃ is Yamī in the heart. Hrīṃ moṃ is Mohanī at the mouth. Hreṃ hriṃ is Saṃcālinī at the crown. Hūṃ hūṃ is Trāsī at the crown of the head. Phaṭ phaṭ are the weapons upon all the limbs; one should meditate completely upon Caṇḍālī. This is explained as the ritual for all the yoginīs.
Then, grant the empowerment to the Sugatas who bestow all accomplishments. Just as, at the very moment of birth, all the Tathāgatas were bathed, so too shall I perform the bath with the pure water of the deity. Oṃ sarva-tathāgata-abhiṣeka-samaya-śriye hūṃ. Thus the yogi becomes empowered.
The glorious Akṣobhya, wearing a crown, [is visualized] at the heart. By the light-rays of the seed-syllable, the Buddhas are summoned and melt. From the pores of the lotus-dwelling [deity], we emanate offering goddesses. Then, with the eight-line mantra, one should offer praise, free from all conceptual distinctions.
One's own self is the form of the deity, and all phenomena have that as their nature. Then, in the lotus of wind and fire, one should perfectly adorn [the offering] with self-arisen substances, equal-base [fragrance], musk, camphor, and the supreme horse.
With Hūṃ, examine the white vajra; with A, it is thoroughly realized; and with the light of Oṃ, it becomes ablaze. Having thus blessed it, one should partake. Upon the lotus petal of one’s own tongue, place a white vajra arisen from Hūṃ. With that, one should thoroughly satisfy the forms of the outer and inner self, the cakras. One should examine all the cakras without exception, as they are thoroughly visualized in the four cakras. One should imagine the seed-syllable of the hero upon the tongue. In that location of the avadhūtī, the yogi should apply the tongue toward the palate and meditate. The goddess who resides at the palate is the third of the fourth [vowels] and the first of the eighth [consonants], the sixteenth [vowel], the lower of the first [consonants]; this is the seed-syllable. By means of this very pith instruction, the state free from conceptual elaboration will be realized. One should recite the secret mantra of the Universal Monarch according to the ritual. One should recite the heart mantra of the Protector, or his near-heart mantra, or both the heart mantras of the goddesses, until one is weary. Then, the yoginī should meditate on the goddesses in the form of the factors of awakening. From the actual applications of mindfulness of body, feeling, phenomena, and mind, there arise Ḍākinī, Lāmā, Khaṇḍarohā, and Rūpiṇī. Aspiration, diligence, discernment, and the mind itself are the four; these become the four bases of miraculous power, such as Pracaṇḍā and the others. Faith, diligence, mindfulness, and concentration are the other four. Here, from the five faculties—
One also becomes Airāvatī. Faith, diligence, likewise
Mindfulness, absorption, and insight—
Through these five powers, the practitioner
Becomes the five goddesses.
Absorption, diligence, correct joy,
Pliability, and the discernment of phenomena,
Mindfulness, and equanimity—from these
Arise the other seven goddesses.
Right view is Mahābalā;
Right intention is Cakravartinī;
Right speech is Mahāvīryā;
Right action is Kākāsyā;
Right livelihood becomes Ulūkāsyā;
Right effort is Śvānāsyā;
Right mindfulness is Śūkarāsyā.
The Blessed One abides in absorption.
To generate virtuous phenomena,
Yamadāḍhī is perfectly present.
To protect the virtuous phenomena already arisen,
Yamadarī acts as the messenger.
To abandon the generation of non-virtuous actions,
Yamamathani is present so that
Non-virtues do not arise.
Having meditated in this way,
One should recite while in meditative equipoise.
Having recited as much as possible,
One should thereafter offer the torma.
Following the previously explained ritual,
With the preliminary arrangement of the deities,
The hero, having purified the elements,
Should bind them with the previously explained mudrās.
Nails, teeth, hair of the head and body,
Skin, filth, and flesh itself,
Channels, sinews, and kidneys,
Heart, and likewise the eyes,
Bile, lungs, and intestines,
Small intestines, and likewise the stomach,
Excrement, genitals, and phlegm—
Pus and likewise blood, sweat and likewise tears, saliva and nasal mucus—these elements are correctly assigned by the heroes in their proper order. They should not be arranged otherwise than the sequence previously explained. One should worship the Protector with the eight lines, using the ḍākinīs and others with their own names. One should interpose the two syllables OṂ and HŪṂ with the names and append HŪṂ PHAṬ at the end. The yoginīs residing in the three cakras are worshipped with "KARA KARA" and so forth. Here, all the words should be interposed according to the previous method.
First, write: OṂ NAMO BHAGAVATE VĪREŚĀYA. Then write: MAHĀKĀLĀGNI-SANNIBHĀYA. Then write: JAṬĀMUKUṬOTKAṬĀYA. Then write: DAṂṢṬRĀKARĀLŌGRA-BHĪṢAṆAMUKHĀYA. After the word SAHASRABHŪJA, write: BHĀSURĀYA. Then write: PARAŚUPĀŚŌDYATA-ŚŪLAKHAṬVĀṄGADHĀRIṆE. Then write: VYĀGHRACARMĀMBARADHĀRĀYA. Then write: MAHĀDHŪMRANDHAKĀRA-PAVŪṢĀYA. At the beginning is OṂ and at the end is PHAṬ; in the middle, HŪṂ HŪṂ must certainly be applied. This mantra is called the "eight lines." Some apply [the seed syllables] at the end of each phrase. The word KARA and likewise the word KURU should be doubled. There are two BANDHA TRĀSA and likewise two KṢOBHAYA. There are HRAUṂ HRAUṂ, HRAḤ HRAḤ, PHEṂ PHEṂ, and two words PHAṬ and DAHA. There are two pairs of the words PACA and BHAKṢA, and the short VA-SA must certainly be applied.
The two lines of Rudhirānta, and:
Mālāvalampiṇe, and likewise gṛhṇa gṛhṇa,
Saptapātālagata, and bhujaga sarvaṃ vā should be recited.
Tarjaya should also be recited twice.
Ākaḍḍhya ākaḍḍhya, and hrīṃ hrīṃ jñauṃ jñauṃ should be definitely joined.
Kṣmāṃ kṣmāṃ haṃ haṃ, and hūṃ hūṃ kilikili,
Sili sili twice, and hilihili twice,
Dhili dhili and two hūṃs, together with phaṭ—
these are explained as the root mantra.
Oṃ śrī vajra he he, and then ruru kaṃ should be recited.
Hūṃ ḍākinī jvala saṃ and vara should also be written.
Ending with svāhā, these are the twenty-two syllables of the Protector’s essence.
The seven syllables near that should be grasped in reverse order:
phaṭ hūṃ hūṃ ha ha hrīḥ oṃ.
Both of Vārāhī’s secret mantras should also be known to be in reverse order:
hā svā phaṭ hūṃ hūṃ ye nīrṇa va jra ba ye nī ki ḍā ddha bu rba sa oṃ.
By reciting [the mantra] one hundred thousand times, accomplishment will be attained;
it produces immediate conviction.
At all intervals, the torma offerings should be performed
as explained in the Caryātantra.
Oṃ aralli ho jaḥ hūṃ baṃ hoḥ vajra ḍākinī samaya stvaṃ dṛśya ho.
Oṃ kha kha khāhi khāhi sarva yakṣa rākṣasa bhūta preta piśāca unmāda apasmāra vajra ḍākinī jaya.
Imaṃ baliṃ gṛhṇantu.
Samayaṃ rakṣantu.
Sarva siddhiṃ me prayacchantu.
Yathaiṃ yatheṣṭaṃ bhuñjantu.
Jighantu pivantu mātikramantu.
Ma ma sarva kāraya.
Satsu khavivṛddhaye sahāyikā bhavantu hūṃ hūṃ phaṭ phaṭ svāhā.
Those who abide well in the mantra, whose nature is the Dharma, and who have completely abandoned all fears, will always practice celibacy and be like a second glorious Heruka. By practicing all of these, one will undoubtedly achieve accomplishment. I have not composed even a slight portion of this yoga through my own invention or without restraint; rather, it is established as a means of accomplishment based on the explanations of former masters. Nevertheless, by whatever stainless merit I have gained from this, may all wandering beings always attain the very wisdom of a Buddha.
Homage and praise to the Blessed One who possesses the form of the Great Fierce One, whose wondrous sphere of activity is such: he holds a body like pitch darkness that utterly destroys the darkness of all beings; he assumes a terrifying form that swiftly dispels every fear without exception; he wanders through saṃsāra yet cannot bear to remain within it.
The Sādhana of Glorious Heruka, composed by the master Ratnavajra, is hereby complete. It was translated, edited, and finalized by the Indian abbot Ācārya Dharmashrībhadra and the translator-monk Rinchen Zangpo.