Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Clear Realization of the Glorious Bhagavan is a ritual manual detailing a complex tantric visualization and empowerment process. The text instructs the practitioner to establish a sacred space through the deployment of directional mantras and the visualization of a vajra canopy. Central to the practice is the construction of a deity mandala involving the transformation of seed syllables into elemental mandalas of wind, fire, and water. The text describes a wrathful deity characterized by terrifying attributes, including the holding of Brahma's head and the wearing of skull ornaments. The practitioner is committed to a rigorous sequence of internalizations, including the placement of seed syllables in the body for purification and the cultivation of divine pride. The process culminates in the invitation of wisdom beings and the recitation of specific mantras associated with the Mother and directional goddesses to facilitate the transmission of empowerment.
Provenance
About this text
A ritual guide focused on the manifest realization of the Glorious Blessed One, the Śrībhagavadabhisamaya belongs to the tradition of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Atīśa Dīpaṃkaraśrījñāna. Its transmission into the classical Tibetan language was carried out by Atīśa Dīpaṃkaraśrījñāna and the translator Rin chen bzang po. The Tibetan version, titled dpal bcom ldan 'das kyi mngon par rtogs pa, is preserved in volume ཞ of the Tengyur, where it extends over six pages. The work enacts a complex process of visualization and meditation, beginning with the cultivation of the four brahmā abodes and the generation of divine pride regarding the five aggregates. It directs the practitioner to establish a sacred environment through the arrangement of mantras in the cardinal directions and the visualization of a vajra canopy, fire walls, and a vajra ground. Furthermore, it details the transformation of seed syllables into elemental mandalas of wind, fire, water, and earth. Scholars and serious readers consult this text today to examine the specific technical requirements of these tantric visualizations and the precise deployment of seed syllables and mantras used to construct the meditative space.
Sanskrit title
Śrībhagavadabhisamaya
Indian author
Atīśa Dīpaṃkaraśrījñāna
Tibetan translators
Atīśa Dīpaṃkaraśrījñāna, bod kyi lo tsa ba rin chen bzang po
Cite thisAnuvāda, “The Clear Realization of the Glorious Bhagavan” (Toh 1492), machine draft, 2026.https://naxiai.com/tibetan/works/toh1492
Summary & commentary
Significance
This work is significant as a representative example of the aniconic and iconographic precision required in Vajrayana ritual technology. It illustrates the synthesis of elemental symbolism, seed-syllable transformation, and the use of wrathful imagery to achieve spiritual realization.
Structure
Passages
Section
Description
1-2
Preliminary Rituals and Space Preparation
Instructions on meditating on the four brahmas and the arrangement of directional mantras to create a vajra canopy.
3
Elemental Visualization
The transformation of seed syllables (yam, ram, vam) into wind, fire, and water mandalas.
4-5
Deity Iconography
Detailed description of the wrathful deity's appearance, ornaments, and the visualization of bodhicitta and seed syllables within the body.
6-7
Empowerment and Mantra Recitation
The process of stabilizing divine pride, inviting wisdom beings, and the recitation of mantras for the Mother and directional goddesses.
Themes
Syllabic Transformation (2-3, 5)
Wrathful Iconography (4-5)
Ritual Empowerment (6-7)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaThe Clear Realization of the Glorious Bhagavan·
In the language of India: Śrī-bhagavaty-abhisamaya-nāma. In the language of Tibet: Dpal bcom ldan ’das kyi mngon par rtogs pa zhes bya ba (The Manifest Realization of the Glorious Blessed One). Homage to the glorious Vajrasattva!
First of all, the lord of yogins should meditate upon the four brahmā abodes. Then, one should 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. In the two eyes is Kṣitigarbha; in the two ears is Vajrapāṇi; in the nose is Ākāśagarbha; in the mouth is Avalokiteśvara; in the body is Sarvanīvaraṇaviṣkambhin; and in all the sense bases is Īśvaravajra. The earth element is Buddhalocanā; the water element is Māmakī; the fire element is Pāṇḍaravāsinī; the wind element is Samayatārā; and the space element is Padmajālinī. These are the purities of the aggregates, elements, and sense bases as deities.
Then, from the hūṃ at the heart of oneself generated as Heruka, light rays radiate forth, expelling the obstructors of the three realms. Then, as that light gathers back, one generates oneself as Trailokyavijaya, with three faces and six arms. From the mouth of Trailokyavijaya:
OṂ SUMBHANI SUMBHA HŪṂ HŪṂ PHAṬ | OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ | OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ | OṂ ĀNAYA HOḤ BHAGAVĀN VIDYĀRĀJA HŪṂ HŪṂ PHAṬ. One should arrange this mantra in the eastern direction and so forth. From the transformation of these syllables, one should visualize a vajra canopy, a lattice, a canopy, a lattice of arrows, a wall of fire, and a vajra ground. In this way, one should perform the boundary-binding with the wrathful Vijaya. One should summon [the obstructors] with the mudrā of Ucchuṣma and strike them with the mudrā of Amṛtakuṇḍalin.
OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀN HŪṂ PHAṬ | KĪLAYA KĪLAYA SARVA PĀPAṂ HŪṂ HŪṂ PHAṬ | HŪṂ HŪṂ HŪṂ VAJRAKĪLA VAJRADHARA ĀJÑĀPAYATI | SARVA VIGHNĀṂ KĀYA VĀK CITTA VAJRAKĪLAYA HŪṂ HŪṂ PHAṬ. This is the mantra for driving in the ritual stakes. OṂ VAJRAMUṄGARA VAJRAKĪLAYA AKOṬAYA HŪṂ PHAṬ. This is the mantra for striking the stakes.
Then, with light rays from the HŪṂ upon a moon disc at one's own heart, one should invite the Guru and the others. Visualizing them melting into light, one should contemplate oneself as the deity of Cakrasaṃvara. Having performed the offerings and praises, one should take refuge and generate the bodhicitta. Then, by reciting OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ, one should rest in the state where all phenomena, comprised of the outer and inner, are without appearance—appearance purified like the purity of space.
From within the state of that clear light, the syllable yaṃ completely transforms into a blue wind maṇḍala in the shape of a bow. Above that, the syllable raṃ completely transforms into a red triangular fire maṇḍala. Above that, the syllable vaṃ completely transforms into a white circular water maṇḍala. Above that, the syllable laṃ completely transforms into a yellow square earth maṇḍala. Above that, the syllable suṃ completely transforms into Mount Meru, four-sided, composed of the four kinds of precious gems, square in nature, and beautifully adorned with eight peaks. Above that, the syllable paṃ completely transforms into a multicolored eight-petaled lotus, complete with a central hub and filaments. Above that, from the āli vowels, which are the nature of method, comes a moon; from the kāli consonants, which are the nature of insight, comes a sun. Above that is a dark blue hūṃ, the nature of Vajrasattva, emitting and absorbing five-colored rays of light. From the complete transformation of all these, there arises the glorious Heruka, four-faced and three-eyed, with twelve arms, dark blue in color, wearing a vajra garland on his forehead, and standing with his right leg extended. He tramples Bhairava and Kālarātri under his feet. With two arms he embraces Vajravārāhī, holding a vajra and a bell. His next two hands stretch out an elephant hide. In his third right hand is a ḍamaru; in the fourth, a battle-axe; in the fifth, a curved knife; and in the sixth, a trident. In his third left hand is a khaṭvāṅga; in the fourth, a skull-cup; and in the fifth, a vajra noose.
In the sixth [hand], he holds the head of Brahmā. He is adorned with matted locks and a crown, wearing a garland of skulls and a skull-ornament. A crescent moon rests upon his head, and he wears a diadem marked with a crossed vajra. His faces are contorted, with bared fangs and a terrifying expression. He possesses the nine dramatic sentiments, such as the erotic and so forth. His left face is like emerald, his right face is yellow, and his back face is the color of a ruby. He wears a lower garment of tiger skin and a hanging garland of fresh human heads. He is adorned with earrings, bracelets, necklaces, armlets, and a precious jewel at the crown of his head. He wears a sacred thread and the six mudrās; these six mudrās are the seals that mark the purity of the six perfections.
In front of him is the Consort, red in color, with one face and three eyes, and two arms. Her hair is loose, and she is naked, wearing a girdle of bone fragments. With her left hand she holds a skull-cup while embracing the Father; with her right, she makes the vajra-fear-not gesture. She possesses a brilliance like the fire at the end of an eon, delights in blood, and blood drips from her mouth. She embraces [the Father] firmly with her two calves, and her nature is that of great bliss.
On the four petals of the directions are the ḍākinīs: Ḍākinī, Lāmā, Khaṇḍarohā, and Rūpiṇī, who bestow accomplishments. They are black, green, red, and yellow respectively, each with one face and four arms. In their right hands they hold a ḍamaru and a curved knife; in their left hands they hold a skull-cup and a khaṭvāṅga. They have three eyes, loose hair, and are naked, standing with their right legs extended.
One should meditate on [the deity] with bared fangs, adorned with the five mudrās. In the intermediate petals are four vessels filled with bodhicitta. Then, for the blessing of the body, speech, and mind: at the head, throat, between the breasts, and the heart, one should visualize a white OṂ, a red ĀḤ, a black HŪṂ, and a blue HŪṂ. Then, light rays radiate from the syllables, invoking the wisdom of all the Tathāgatas of the ten directions; one should imagine them dissolving into each of the four syllables. Reciting: OṂ ĀḤ HŪṂ SARVA VĪRAYOGINĪ KĀYA VĀKA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ YOGA ŚUDDHAḤ SARVA DHARMĀ YOGA ŚUDDHO ’HAṂ. By saying this, one should stabilize the divine pride.
Then, one should visualize the armor: at the heart of Heruka is a white OṂ HA; at the head, a yellow NAMO HI; at the crown, a red SVĀHĀ HU; at the two shoulders, a black VAUṢAṬ HE; at the two eyes, a red HŪṂ HŪṂ HO; and on all limbs, a green PHAṬ HAṂ. On the navel of the Consort is a red OṂ BAṂ; at the heart, a blue HAṂ YOṂ YAMINI; at the mouth, a white HRĪṂ MOṂ Mohanī; at the head, a yellow HREṂ HREṂ Kṣobhaṇī; at the crown, a green HŪṂ HŪṂ Trāsani; and on all limbs, a smoke-colored PHAṬ PHAṬ Caṇḍikā.
Having thus donned the armor, one invites the wisdom beings: imagine them arriving in the space before you through mantra and mudrā. Then, making the samaya and wisdom beings non-dual, recite: OṂ YOGA ŚUDDHAḤ SARVA DHARMĀ YOGA ŚUDDHO ’HAṂ.
By reciting this, one should stabilize the divine pride. Then, in order to confer the empowerment, one should invite the wisdom beings with light rays from the hūṃ at the heart and visualize them arriving in the sky. Then, having made offerings of the outer, inner, and secret types, one should make this supplication:
"Just as Vajrabodhi bestowed the two supreme [empowerments] upon the Buddhas, so too, for the sake of my protection, O Vajra of Space, please bestow [the empowerment] upon me."
Thus one should supplicate. Then, from the hearts of the four ḍākinīs, with Akṣobhya as the principal, holding wisdom vases, they recite:
"Just as all the Tathāgatas were bathed as soon as they were born, so too shall I be bathed with the pure water of the gods."
Having spoken thus, they confer the empowerment. The principal deity also says:
"I shall bestow the great vajra empowerment, which is venerated by the three realms and arises from the source of the three secrets of all the Buddhas."
By reciting this and conferring the empowerment, one should visualize that all outer and inner stains of the body are purified. Once the empowerment is complete, as a sign of the inner empowerment, the head is adorned by Akṣobhya, blue in color, with the earth-touching mudrā and holding a vajra and bell.
Then, to remove faults from the generation stage, one should perform the recitation. The essence mantra is: oṃ śrī vajra he he ru ru kaṃ hūṃ hūṃ phaṭ ḍākinī jvalasambhara svāhā. The near-essence mantra is: oṃ hrīḥ ha ha hūṃ hūṃ phaṭ. The essence mantra of the Consort is: oṃ sarvabuddhaḍākinīye hūṃ hūṃ phaṭ vajravarṇanīye hūṃ hūṃ phaṭ.
VAJRAVAIROCANĪYE HŪṂ HŪṂ PHAṬ. This is the near-essence mantra of the Mother. OṂ ḌĀKINĪYE HŪṂ HŪṂ PHAṬ. OṂ LĀMĀYE HŪṂ HŪṂ PHAṬ. OṂ KHAṆḌAROHE HŪṂ HŪṂ PHAṬ. OṂ RŪPIṆĪYE HŪṂ HŪṂ PHAṬ. These are the four goddesses of the directions. Thus, having understood both the faults and virtues of the mantra, one should recite it according to the guru’s oral instructions for as long as possible.
Then, having arisen from meditative equipoise, one should gradually dissolve the deities and perform the yoga of the subsequent conduct and daily activities with the pride of the solitary hero. Then, for those who wish to enter the completion stage:
The moon is the path of the messenger,
The sun is the maṇḍala of the body;
The four drops are primordial wisdom,
The utterly pure is the clear light.
It is, for example, the nature of space.
Lacking inherent existence, it is the union,
Taught through the three aspects of great bliss.
The stages of generation and completion
Are the yogi’s way of taking [the path].
The Sādhana of the Five-Deity Śrī Cakrasaṃvara is complete. Composed by the Indian abbot, the glorious Dīpaṃkaraśrījñāna, and translated, edited, and finalized by the Tibetan translator Rinchen Zangpo.