Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text is a ritual manual, or sādhana, designed to guide the practitioner through the visualization and meditative realization of the deity Cakrasamvara. The work functions as a prescriptive liturgical guide, beginning with preparatory rites including the use of mantras to remove spiritual obstructions. It then directs the practitioner to construct a complex mental image of the deity's iconography, detailing specific implements such as the vajra, bell, and curved knife, as well as the precise placement of seed syllables on the bodies of the deity and his consort, Vajravārāhī. The ritual process culminates in the conferral of empowerment through a symbolic ritual bath and the visualization of Akṣobhya. By committing to a structured cycle of four meditation sessions and the subsequent dissolution of the maṇḍala into the heart, the practitioner seeks to align their consciousness with the wisdom beings. The text concludes by identifying itself as part of a thirteen-deity system associated with Vajrayoginī.
Provenance
About this text
A ritual guide for the practice of the deity Cakrasamvara, the Śrīcakrasaṃvarasādhana belongs to the tradition of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Atīśa Dīpaṃkaraśrījñāna. Its transmission into the Tibetan language was carried out by Atīśa Dīpaṃkaraśrījñāna and the translator lo tsa ba dge slong rin chen bzang po. This classical Tibetan translation is preserved in the Tengyur, volume ཞ, where it extends over five pages. The work enacts a meditative process beginning at dawn, directing the practitioner to sit upon a comfortable seat and cultivate divine pride as Heruka. It prescribes the use of specific mantras to expel obstructing spirits and the visualization of a vajra fence. Central to the practice is the detailed mental construction of the deity's iconography, depicting him embracing Vajravārāhī while wielding a variety of implements, including a vajra, bell, elephant hide, hand-drum, curved knife, battle-axe, trident, khaṭvāṅga, and a skull-cup filled with blood. A scholar or serious reader consults this text today to examine the precise liturgical instructions and iconographic requirements necessary for the visualization and meditative realization of the deity.
Sanskrit title
Śrīcakrasaṃvarasādhana
Indian author
Atīśa Dīpaṃkaraśrījñāna
Tibetan translators
Atīśa Dīpaṃkaraśrījñāna, lo tsa ba dge slong rin chen bzang po
Cite thisAnuvāda, “A Sādhana of the Glorious Cakrasamvara” (Toh 1491), machine draft, 2026.https://naxiai.com/tibetan/works/toh1491
Summary & commentary
Significance
The work is significant as a representative example of the Anuttarayoga Tantra tradition, specifically the Cakrasamvara cycle, which emphasizes the union of bliss and emptiness. For the modern reader, it illustrates the technical precision of Tibetan Buddhist deity yoga and the integration of mantra, visualization, and somatic markers.
Structure
Passages
Section
Description
1-2
Preparatory Rites
Initial instructions on posture, timing, and the recitation of mantras to expel obstructing spirits.
3-5
Deity Visualization
Detailed descriptions of the physical attributes, implements, and seed syllables of Cakrasamvara and Vajravārāhī.
6-7
Empowerment and Meditation
Instructions for the ritual bath, the visualization of Akṣobhya, the timing of meditation sessions, and the final dissolution of the maṇḍala.
Themes
Iconographic Precision (3-5)
Ritual Purification (2, 6)
Meditative Cycle (7)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Śrīcakrasaṃvara-sādhana. In the language of Tibet: dPal ’khor lo sdom pa’i sgrub thabs (The Sādhana of the Glorious Cakrasaṃvara). Homage to the Blessed One Mañjuvajra.
At the time of dawn in the morning, one should sit on a comfortable seat and meditate on one’s own yidam deity. Possessing the divine pride of oneself as Heruka, one should sequentially meditate on the four immeasurables and then generate the divine pride of the five aggregates: the aggregate of form is Vairocana, the aggregate of feeling is Ratnasambhava, the aggregate of perception is Amitābha, the aggregate of formations is Amoghasiddhi, and the aggregate of consciousness is Vajrasattva. That which is the identity of all these is the glorious Heruka.
Then, one should visualize a black syllable HŪṂ upon a sun maṇḍala at one’s own heart. From that, light rays radiate and then reabsorb, whereby one transforms into the wrathful deity Trailokyavijaya, blue in color, with three faces and six arms. The right face is green and the left is yellow. With the first two hands, he holds a vajra and bell in the Hūṃ-kāra mudrā, embracing the consort who is his own appearance. The left hands hold a khaṭvāṅga and a skull cup, and the right hands hold a hook and a noose. One should meditate on him as being endowed with the five mudrās.
Then, one should recite the Sumbha mantra: OṂ SUMBHANI SUMBHA HŪṂ HŪṂ PHAṬ. OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ. OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ. OṂ ĀNAYA HO BHAGAVĀN VIDYĀRĀJA HŪṂ HŪṂ PHAṬ.
OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀN PHAṬ | KĪLAYA KĪLAYA SARVA PĀPAṂ PHAṬ | HŪṂ HŪṂ HŪṂ VAJRA KĪLAYA VAJRA DHARA ĀJÑĀPAYATI | SARVA VIGHNĀṂ KĀYA VĀKA CITTA VAJRA KĪLAYA HŪṂ PHAṬ | OṂ VAJRA MUṄGARA VAJRA KĪLAYA AKOṬAYA AKOṬAYA HŪṂ PHAṬ | With this mantra, one should expel the obstructing spirits (vighna) and visualize the vajra fence and so forth. Then, preceded by the accumulation of the equipment of merit (puṇyasaṃbhāra), one should meditate on emptiness (śūnyatā). Then, from the state of emptiness, one should visualize a white drop (bindu) the size of a mustard seed. Then, from YAṂ, a wind maṇḍala marked with YAṂ; above that, from RAṂ, a fire maṇḍala marked with RAṂ; above that, from VAṂ, a water maṇḍala marked with VAṂ; above that, from LAṂ, a powerful earth maṇḍala marked with LAṂ; and above that, from SUṂ, the king of mountains, Mount Meru, four-sided and composed of the five kinds of precious gems, beautified by eight great peaks. Above that is a multicolored eight-petaled lotus; above that, from HŪṂ, a crossed vajra (viśvavajra); above that, a sun maṇḍala; and above that, the celestial palace of manifest awakening and the supported maṇḍala of thirteen deities, all visualized instantaneously. In the center is the Blessed One (Bhagavān), four-faced, dark blue in color, with three eyes and twelve arms, dwelling in a posture with the right leg extended, treading upon Mahābhairava and Kālarātri.
He embraces Vajravārāhī with his two [lower] hands, holding a vajra and a bell. His two upper hands hold an elephant hide. In his third right hand is a hand-drum (ḍamaru); in the fourth, a curved knife (kartṛkā); and in the fifth, a battle-axe (paraśu). In the sixth, he brandishes a trident. In his third left hand is a khaṭvāṅga marked with a vajra; in the fourth, a skull-cup filled with blood; in the fifth, a vajra-noose; and in the sixth, he holds the head of Brahmā. He is adorned with a topknot of matted hair, and his head is marked with a garland of skulls and a crescent moon. He wears a crown marked with a crossed vajra (viśvavajra), his faces are distorted, and he bares his fangs in a terrifying manner. He possesses the expressions of the [nine] dramatic sentiments, such as the erotic. The central face is blue, the right face is yellow, the western face is like the color of a ruby, and the left face is similar in color to emerald. He wears a lower garment of tiger skin and holds a garland of human heads. He is adorned with necklaces, armlets, earrings, and a crest-jewel, and he wears a sacred thread. He is sealed with the six mudrās, which are the purification of the six perfections (pāramitā).
In front of him is the Blessed Lady Vajravārāhī, red in color, with one face and two hands. She has three eyes, her hair is loose, and she is naked, wearing a girdle adorned with bone fragments. With her left hand, which embraces [the deity], she holds a skull-cup filled with the blood of the wicked and so forth.
Visualize the one whose nature is to terrify all directions with a curved knife marked by a vajra in the right hand and a threatening gesture, as fearsome as the fire at the end of an eon. Delighting in blood, with blood dripping from his mouth, he embraces [the consort] equally with his two calves. Meditate on the essence of great bliss and compassion. On the four petals of the directions are the four, such as Ḍākinī; at the four gates are the four, such as Kākāsyā; and at the four intermediate points are the four, such as Yamadāḍhī. All of them have one face and four arms, holding a khaṭvāṅga and a skull-cup in the left hands, and a ḍamaru and a curved knife in the right hands. These yoginīs also sit upon seats of hungry ghosts. Visualize their foreheads adorned with vajra garlands and the five mudrās. Then, perform the blessing of the body, speech, and mind. Visualize a white OṂ at the head, a red ĀḤ at the throat, a black HŪṂ between the two breasts, and a blue HŪṂ at the heart. Then, light rays radiate from the four syllables, invoking the body, speech, mind, wisdom-sattva, and mind-vajra of all the Tathāgatas of the ten directions, and visualize them dissolving into the four syllables respectively. OṂ ĀḤ HŪṂ. OṂ SARVA VĪRAYOGINĪ KĀYA VĀKA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀḤ SVABHĀVA ŚUDDHO ’HAṂ. By reciting these, stabilize the divine pride. Then, stabilize the two armors: at the heart of Heruka is a white OṂ HA; at the head, a yellow NAMO HI; at the crown, a red SVĀHĀ HŪ; and on the two shoulders, a black VAUṢAṬ HE.
In the two eyes are red hūṃ hūṃ ho; on all the limbs are the weapons, green phaṭ haṃ. At the navel of the consort is red oṃ vaṃ; at the heart is black haṃ yoṃ; at the mouth is white hrīṃ moṃ; on the head is yellow hreṃ hreṃ; and at the crown of the head is green hūṃ hūṃ. One should visualize phaṭ phaṭ of the color of smoke on all the limbs.
Having thus generated the samayasattva, the invitation of the jñānasattva is performed by means of mantra and mudrā. One should visualize them arriving in the space in front by means of the mantra. Displaying the essence mudrā, one circles the right and left hands and recites jaḥ hūṃ vaṃ hoḥ, thereby making them non-dual with the deities of the maṇḍala. By reciting oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ, one should stabilize the divine pride.
Then, in order to confer the empowerment, light rays radiate from the syllable hūṃ at the heart, and one should visualize the sugatas of the five families arriving in the sky. Then, the offering goddesses make offerings, and one should make this supplication:
"Just as Vajrabodhi bestowed the two supreme [empowerments] upon the Buddha, so for the sake of protecting me, O Vajra of Space, please bestow [the empowerment] upon me."
Then, from the hearts of Akṣobhyavajra and the others, ḍākinīs and so forth emerge holding vases. [One recites:]
"The great vajra empowerment,
Worshipped by those of the three realms,
Arising from the source of the three secrets of all Buddhas,
I shall bestow it.
Just as at the very moment of birth,
All the Tathāgatas were bathed," and so forth.
With the words, "By the pure water of the gods, I likewise perform the ritual bath," one should confer the empowerment. One should visualize Akṣobhya at the crown of each of them, blue in color, in the earth-touching mudrā, seated in the vajra posture. Then, one should meditate as much as possible. When weary of that, one should perform the recitation:
OṂ ŚRĪ VAJRA HE HE RU RU KAṂ HŪṂ HŪṂ PHAṬ | ḌĀKINĪ JĀLASAṂVARAM SVĀHĀ |
OṂ HRĪḤ HA HA HŪṂ HŪṂ PHAṬ |
OṂ SARVA BUDDHA ḌĀKINĪYE VAJRA VARṆANĪYE HŪṂ HŪṂ PHAṬ |
OṂ VAJRA VAIROCANĪYE HŪṂ HŪṂ PHAṬ |
OṂ ḌĀKINĪYE HŪṂ HŪṂ PHAṬ |
OṂ LĀMĀYE HŪṂ HŪṂ PHAṬ |
OṂ KHAṆḌAROHE HŪṂ HŪṂ PHAṬ |
OṂ RŪPIṆĪYE HŪṂ HŪṂ PHAṬ |
OṂ KĀKĀSYE HŪṂ HŪṂ PHAṬ |
OṂ ULŪKĀSYE HŪṂ HŪṂ PHAṬ |
OṂ ŚVĀNĀSYE HŪṂ HŪṂ PHAṬ |
OṂ SŪKARĀSYE HŪṂ HŪṂ PHAṬ |
OṂ YAMADAṂṢṬRĪYE HŪṂ HŪṂ PHAṬ |
OṂ YAMADAṂṢṬRĪṆĪYE HŪṂ HŪṂ PHAṬ |
OṂ YAMADŪTĪYE HŪṂ HŪṂ PHAṬ |
OṂ YAMAMATHANĪYE HŪṂ HŪṂ PHAṬ |
Then, if one wishes to arise, the maṇḍala should be dissolved into one's own heart. All the hands and faces are dissolved into the root face. One should meditate on the form with one face and two hands, holding a vajra in the right and a bell in the left. One should contemplate in this way during four sessions. In the final session, in an instant, one should confer the empowerment upon the deities of the maṇḍala, partake of the nectar, and perform the offerings and praises, followed by meditation and recitation.
Thus, having meditated in four sessions, during the final session, dissolve the maṇḍalas of the wisdom beings into your own heart and go to sleep. In the morning, perform everything as previously explained. This concludes the sādhana of the thirteen-deity [Vajrayoginī] composed by the great Indian abbot Dīpaṃkaraśrījñāna. It was translated by that same Indian abbot and the translator, the monk Rinchen Zangpo.