Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text provides a detailed technical manual for the meditative realization of the Cakrasamvara deity system. It guides the practitioner through a complex sequence of visualizations designed to transform ordinary perception into a divine mandala. The process begins with the establishment of a protective vajra fence and the removal of obstructions, followed by the precise construction of the central deity, Vajreśvara, and his consort, Vajravārāhī, along with their attendant deities and the surrounding cakras. The text commits the reader to a rigorous discipline of seed-syllable visualization, the recitation of specific mantras for various deities and functions, and the internal mapping of deities onto the subtle body's channels. The practice culminates in a process of dissolution where the visualized forms are absorbed back into the clear light of non-duality, blending compassion and emptiness. The work functions as a liturgical guide for achieving a state of divine identity and spiritual purity through the synthesis of mantra, visualization, and subtle body yoga.
Provenance
About this text
A guide to the clear realization of the glorious Cakrasaṃvara, the Śrīsamvarābhisamayopāyikā originates from the Indian tradition and is attributed to the author Abhayākaraguptapāda. The work entered the Tibetan corpus through the efforts of the translators Ratnarakṣitapāda and lo tsa ba shakya’i dge slong rdo rje ’dzin pa zhang grub pa dpal bzang po. It is preserved in the Tengyur, volume ཞ, where it comprises sixteen pages and is situated within the collection of the Śaṃvara and Related Tantras. In the classical Tibetan translation, titled dpal bde mchog gi mngon par rtogs pa, the work enacts a meditative process centered on the deity Vajrasattva. It directs the practitioner to visualize radiating lights of black, green, white, and yellow to establish a square vajra fence and a crossed vajra arising from the syllable HŪṂ. Through these visualizations and the recitation of four mantras, the practitioner seeks to destroy the darkness in the hearts of the world, expel obstructing spirits, and establish the vajra, lotus, and wheel enclosures. A scholar or serious reader consults this text today to examine the technical specifics of these visualizations and the ritual methods used to ensure that all wandering beings are entirely free.
Sanskrit title
Śrīsamvarābhisamayopāyikā
Indian author
Abhayākaraguptapāda
Tibetan translators
Ratnarakṣitapāda, lo tsa ba shakya’i dge slong rdo rje ’dzin pa zhang grub pa dpal bzang po
Cite thisAnuvāda, “A Method for the Clear Realization of the Glorious Cakrasamvara” (Toh 1498), machine draft, 2026.https://naxiai.com/tibetan/works/toh1498
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 sophisticated intersection of somatic mapping and deity yoga in Indo-Tibetan Buddhist praxis.
Structure
Passages
Section
Description
2-3
Preliminary Protections and Purifications
Instructions for creating a colored vajra fence and neutralizing obstructing spirits.
4-14
Deity Visualization and Mandala Construction
Detailed descriptions of the physical attributes, colors, implements, and seed-syllable origins of the central deities and the surrounding wheel of deities.
15-21
Ritual Offerings and Mantra Recitation
Procedures for offering nectar to yoginis and the listing of specific mantras for the Blessed One, the Mother, and various female deities.
17, 22
Subtle Body Integration and Dissolution
Instructions for dissolving the mandala into clear light and mapping deities onto the twenty-four channels of the body.
23
Colophon
The author's statement of intent and aspiration for future births.
Themes
Deity Yoga and Visualization (4-14)
Mantra and Sound (16-21)
Subtle Body and Energetic Channels (9, 22)
Non-duality and Clear Light (17)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Method for the Clear Realization of the Glorious Cakrasamvara·
In the language of India: Śrīcakrasaṃvarābhisamaya. In the language of Tibet: dPal ’khor lo sdom pa’i mngon par rtogs pa (The Clear Realization of the Glorious Cakrasaṃvara). Homage to the glorious Vajrasattva!
May the body of Vajrasattva—the glorious protector whose joy is fully expanded, like a crystal of diverse colors—swiftly destroy the darkness in the hearts of the world through supramundane application. Just as a polished gem yields its desired needs, for the sake of the two accumulations, the wise should explain this method of practice, which abandons error, as a sequence of service and honor.
First, at the peak of a mountain, facing south, having offered a torma, one should sit upon a corpse with hair loose, maintaining the samaya. Desiring that all sentient beings attain the state of Saṃvara, one should manifest the meaning of the four syllables. Simultaneously, from the state of emptiness, one should abandon ordinary pride and, with the pride of the two-armed Saṃvara together with the Wisdom Consort, first with Oṃ and finally with Hūṃ Phaṭ, wrap the Ali-Kali mantra together with light rays in a counter-clockwise direction. Visualizing the emanation of the assembly of deities of the three wheels who destroy the hosts of vighnas, one should cultivate the superior resolve that the aggregate of form and so forth are Vairocana and the other [buddhas]. Then: 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.
By reciting these four mantras, forms of black, green, white, and yellow [light] radiate forth, extending from the Brahmā abodes down to the subterranean realms. As they are arranged sequentially in the east, north, west, and south, their light rays form a square vajra fence of corresponding colors. Simultaneously, from the syllable HŪṂ, a crossed vajra (viśvavajra) arises, marked by a HŪṂ at its center, extending down to the subterranean realm. One should visualize a fence of five-pronged vajras produced from its light rays, a lattice of arrows outside of that, and a canopy adorned with vajras below.
Then, from the four mantras beginning with Sumbha, the four goddesses such as Kākāsyā are produced. From the light of these two pairs, the eight goddesses such as Yamadāḍhī are produced. They have one face and two arms; their right hands hold vajra hammers and their left hands hold ritual daggers (kīla). From the navel upward, they are identical to oneself. Having emanated many such forms, they summon the hosts of obstructing spirits (vighna) dwelling in the ten directions. By reciting a long HŪṂ, they are cast into the eight wells near the fence produced from that [light]. With this mantra, one should drive the daggers into their heads:
OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀN PRADUṢṬĀN HŪṂ HŪṂ PHAṬ | OṂ KĪLAYA KĪLAYA SARVA PĀPAṂ HŪṂ HŪṂ PHAṬ | HŪṂ HŪṂ HŪṂ VAJRA KĪLAYA VAJRA DHARA ĀJÑĀPAYATI SARVA VIGHNĀṂ KĀYA VĀK CITTA VAJRA KĪLAYA HŪṂ PHAṬ
Then, one should strike them with the mantra of striking:
OṂ VAJRA MUDGARA VAJRA KĪLA ĀKOṬAYA HŪṂ HŪṂ PHAṬ
Thus, by means of striking and beating, one should visualize that the hosts of obstructing spirits (vighna) become of one taste with great bliss. The remaining obstructors are expelled. As their light dissolves into the perimeter fence, one should meditate on the vajra, lotus, and wheel enclosures (cakravāḍa) arising from that. One should also contemplate that all wandering beings are entirely free from obstacles.
In that way, from the syllable Aṃ at the heart, a blue Hūṃ rests upon a moon maṇḍala. Its light rays invite the maṇḍala wheel to be described below into the space in front. One should offer the argha and other substances with the mudrās and perform the worship with the sixteen goddesses arising from the Hūṃ.
Among them, the goddesses of Flower, Incense, Lamp, and Perfume are white, smoke-colored, like the tip of a lamp flame, and red, respectively. In their first right hands, they hold a flower basket, an incense burner, a lamp, and a perfume conch. In their other three hands, they hold a ḍamaru, a skull-cup, and a khaṭvāṅga.
The goddesses of Lute, Flute, Drum, and Clay Drum are blue, yellow, red, and green, respectively. With their first two hands, they play their respective musical instruments; with the other two, they hold a vajra and a bell.
The goddess of Laughter is red, her first two hands performing the gesture of laughing. The goddess of Grace is blue, her two hands holding a vajra and bell at her hips. The goddess of Song is yellow, clashing cymbals. The goddess of Dance is green, her two hands performing the padakora gesture; the other hands of these hold a skull-cup and a khaṭvāṅga.
The goddess of Form is white, the goddess of Taste is red, the goddess of Touch is green, and the goddess of Phenomena (dharma) is white. In their first right hands, they hold a mirror and a vessel of nectar, respectively.
Various garments. This is the source of phenomena (dharmodaya). The other three hold a damaru, a skull-cup, and a khaṭvāṅga. The sixteen [deities] have one face and four arms. Following that, one should offer praise with the eight-line verse and perform the confession of misdeeds and so forth.
Oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’ham. Having realized the meaning of this, one should view the three realms as being of the nature of emptiness (śūnyatā). One’s own mind-essence is the nature of the three syllables: Oṃ Āḥ Hūṃ. Within these, the u, the ha, the crescent moon, the drop (bindu), and the nāda dissolve into one another in succession. Then, recite and contemplate the meaning of: Oṃ śūnyatājñānavajrasvabhāvātmako ’ham. One should abandon even the conceptualization of the mere nāda.
Then, by the power of previous aspirations, one’s own mind-essence is placed in the sky in the form of a nāda. From that, from Yaṃ, arises a blue wind maṇḍala in the shape of a bow, adorned with two banners. From Raṃ, a red triangular fire maṇḍala blazing with seven flames. From Vaṃ, a white circular water maṇḍala like a vase, marked with a vase. From Laṃ, a yellow square earth maṇḍala marked with a half-vajra. These are also blessed by their respective seed-syllables.
Above that, from Suṃ, is Mount Meru composed of various jewels. Upon it, from Paṃ, is a multicolored lotus; on its anthers, from Hūṃ, is a multicolored vajra. In its hub, from the vowels and consonants revolving twice as fast to the left and right, a moon [arises].
From that, in the center of the syllables which are like reflections, from the nāda previously established, through the sequential radiation and reabsorption, the seed syllables of the five cakras—hūṃ—appear, white on the outside and blue on the inside. From the complete transformation of the moon and the seed syllables, there arises the celestial mansion of the five cakras and their deities, surrounded by the eight charnel grounds.
In that [mansion], the Blessed One stands upon a variegated lotus and a sun disk, with his right leg extended and his left drawn in, treading upon Bhairava and Kālarātri. His body is black in color. His faces in the east, north, and so forth are black, green, red, and yellow. Each face has three round, red eyes. He wears a lower garment of tiger skin and has twelve arms. With the two hands holding a vajra and a bell, he embraces Vajravārāhī. The two below those hold a white elephant hide, dripping with blood, behind his back. The remaining right hands hold a ḍamaru, a battle-axe, a curved knife, and a trident. The remaining left hands hold a khaṭvāṅga marked with a vajra, a skull-cup filled with blood, a vajra-noose, and the head of Brahmā. He wears a necklace of fifty human heads and is endowed with the six mudrās: the wheel, earrings, necklace, bracelets, and waist-belt, which are of the nature of ash. He has a sacred thread of human sinew. Upon his forehead are five skulls, a jewel, and a crescent moon slightly tilted to the left. His hair is tied in a topknot adorned with a crossed vajra. His faces are distorted and his fangs are bared. He is charming, heroic, repulsive, fierce, laughing, terrifying, and possesses great compassion.
He is marvelous and peaceful, endowed with the nine dramatic sentiments. In front of him is Vajravārāhī, red in color, with one face and three eyes. Her hair is loose and flowing, and she is clothed in space. She wears a girdle of skull fragments. With her left hand she embraces the Father and offers a stream of blood from a kapāla to him. With her right hand, she raises a threatening gesture (tarjanī) together with a vajra. Because she is free from attachment, she wears a garland of dry human heads. She is surrounded by a halo of sunlight and is adorned with the five mudrās. Blood drips from her, and she is slightly smiling with her body hairs standing on end.
The retinue is arranged in the cardinal directions, circling counter-clockwise, and in the intermediate directions, circling clockwise starting from the southeast. On the petals of the cardinal directions are the ḍākinīs Lāmā, Khaṇḍarohā, and Rūpiṇī. They are black, green, red, and yellow respectively, each with one face and three eyes, and loose hair. With their four hands, they hold a kapāla and a khaṭvāṅga in the left, and a ḍamaru and a curved knife (kartṛ) in the right. They are naked and stand in the posture with the right leg extended.
On the petals of the intermediate directions are four lotus vessels filled with bodhicitta, the five nectars (amṛta), the five lamps, and the accomplished quicksilver. Alternatively, all four are filled with the five nectars. Then, there is the blue eight-spoked wheel of the mind (citta-cakra), surrounded by a blue vajra garland. On its eastern spoke are the hero Khaṇḍakapālin and the heroine Pracaṇḍā. In the north are Mahākaṅkāla and Caṇḍākṣī. In the west are Kaṅkāla and Prabhāvatī. In the south are Vikaṭadaṃṣṭrin and Mahānāsā. In the southeast are Madavairī and Śauṇḍinī.
In the southwest are Amitābha and Laghimā. In the northwest are Vajraprabha and Laṅkeśvarī. In the northeast are Vajrakāya and Drumacchāyā. Therefore, the wheel of speech is red, encircled by a garland of red lotuses. On its eastern spoke are Aṅkurika and Dharitrī. In the north are Vajrajaṭī and Mahābhairavī. In the west are Mahāvīra and Vāyuvegā. In the south are Vajra-hūṃkāra and Madirā. In the southeast are Subhadra and Śyāmādevī. In the southwest are Vajrabhadra and Subhadrā. In the northwest are Mahābhairava and Hayakarṇī. In the northeast are Virūpākṣa and Kākāsyā.
Then, the wheel of body is white, encircled by a garland of white wheels. On its eastern spoke are Mahābala and Cakravegā. In the north are Ratnavajra and Khaṇḍarohā. In the west are Hayagrīva and Śauṇḍinī. In the south are Ākāśagarbha and Cakravarmiṇī. In the southeast are Heruka and Mahāvīryā. In the southwest are Padmanarteśvara and Mahābalā. In the northwest are Vairocana and Cakravartinī. In the northeast are Vajrasattva and Mahāvīryā.
The heroes, such as Khaṇḍakapālin and the others, have one face, four arms, and three eyes. Their faces have bared fangs, and they possess topknots of matted hair. Their foreheads are bound with the cloth of a hero, marked by a garland of vajras.
The first two hands, holding a vajra and bell, embrace the consort. The lower two hands hold a ḍamaru and a khaṭvāṅga. He wears a brahmin’s thread and is adorned with the five mudrās, and stands with his right leg extended. The heroines, such as Pracaṇḍā and the others, have one face and three eyes; they have fierce forms with loose hair and are naked. With their two hands, they embrace [the central deity] with the left and hold skull-cups, while the right hands, with the threatening gesture and curved knives, strike [in a threatening manner]. Then, at the gates, are the owl-faced, the owl-faced, the dog-faced, and the pig-faced goddesses, whose faces correspond to their names. Their other specific features are like those of the ḍākinīs and the others. At the intermediate points are Yamadāḍhī, Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani, who have human faces and are captivating. They have two colors, right and left. These eight also have corpses as their seats. All the deities, such as the ḍākinīs and the others, wear necklaces of human heads and are marked on their foreheads with vajra garlands. Their girdles, adorned with bone fragments, resound with the tinkling of small bells. In the heart of the Blessed One, who is born together with such a retinue, is a blue HŪṂ on a sun disk, the absorption being (samādhisattva). At the navel is a garland of vowels and consonants endowed with five-colored light rays. By emanating the nature of the deities of the maṇḍala, they go out together with the right breath, and having made all wandering beings the nature of the wheel, they become of one taste with the fully accomplished heroes and heroines.
As the left wind enters together with it, one should visualize a moon maṇḍala, like a reflection, in its own place. Upon that, marked with the syllable HŪṂ, which completely transforms, is the Blessed One, white, with one face and two hands, holding a vajra and bell, in union with Vajravārāhī. He stands with legs in the posture of one extended and one tucked, the nature of the wisdom being (jñānasattva). In this way, one should visualize oneself as possessing the three beings. Alternatively, at the heart is the wisdom being, at whose heart is the absorption being (samādhisattva), and together with its nāda, one should contemplate it as the nature of the nectar of great bliss. Recite: OṂ ĀḤ HŪṂ. OṂ SARVA VĪRAYOGINĪ KĀYA VĀK CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. Following that, upon lotuses and moons at the two eyes, from a wheel and the syllable OṂ, there is white Mohavajra embraced by Rūpavajrā. At the two ears, upon lotuses and suns, from a vajra and the syllable HŪṂ, there is black Dveṣavajra embraced by Śabdavajrā. At the nose, upon a lotus and sun, from a jewel and the syllable TRĀṂ, there is yellow Mātsaryavajra embraced by Gandhavajrā. At the tip of the tongue, upon a water-born lotus and sun, from a red lotus and the syllable AṂ, there is red Rāgavajra embraced by Rasavajrā. At the forehead, upon a water-born lotus and sun, from a sword and the syllable HAṂ, there is green Īrṣyāvajra embraced by Sparśavajrā.
At the heart, upon a lotus and sun disk, from a vajra and the syllable HŪṂ, there is white Vajreśvara embraced by Dharmadhātuvajrī. In that regard, Mohavajrā and the others are the nature of the purity of the internal sense bases, bestowing the divine eye and so forth. These are, in order, Kṣitigarbha, Vajrapāṇi, Ākāśagarbha, Lokeśvara, Sarvanīvaraṇaviṣkambhin, and Samantabhadra—these are the alternative names. On the topknot of matted hair, they are sealed by Vairocana, Akṣobhya, Ratnasambhava, Amitābha, Amoghasiddhi, and Vajrasattva. They have one face, three eyes, and are endowed with the five mudrās. Their two right hands hold, in order: a wheel, a vajra, a jewel, a red lotus, a sword, and a white vajra. All the left hands hold bells. They stand with the right leg extended. Their consorts arise from JAḤ HŪṂ BAṂ HOḤ KHAṂ RAṂ; they are the nature of the purity of the external sense bases, abiding with the left leg extended. They have two hands; in all their right hands, in order, are a mirror, a lute, a perfume conch, a vessel of flavors, various garments, and a source of phenomena (dharmodaya). All the left hands hold bells, and Śabdavajrā also holds a lute upright in her left hand and is sealed by Ratnasambhava. From that, at the navel, heart, throat, and crown, upon lotuses and moon disks, from LĀṂ MĀṂ PĀṂ TĀṂ arise Pātanī, Māraṇī, Ākarṣaṇī, and Nṛtyeśvarī; these are the nature of Locanā, Māmakī, Pāṇḍaravāsinī, and Tārā.
These also have one face and four arms. The right hands hold a wheel, a vajra, a lotus, and a sword; the left hands hold a skull-cup and a khaṭvāṅga. At the secret place, upon a lotus and moon, from the syllable Khaṃ arises a lotus lattice like smoke. She has three faces and six arms; the right face is white and the other is red. The right hands hold a hook, a Brahma-head, and a curved knife; the left hands hold a skull-cup, a khaṭvāṅga, and a noose. She has three eyes, is adorned with the five mudrās, has loose hair, is clothed in space, and stands with her right leg extended. These five are, in order, the nature of the purified earth, water, fire, wind, and space. They are respectively white, black, red, green, and yellow, arising from Bhrūṃ, Hūṃ, Hrīḥ, Hoḥ, and Aṃ. They are embraced and sealed by the nature of the purified aggregates of form, consciousness, perception, formations, and feeling—namely Vairocana, Akṣobhya, Amitābha, Amoghasiddhi, and Ratnasambhava. Regarding the suchness of the aggregates of form and so forth, upon the uṣṇīṣa lotus and moon, from the transformation of the syllable Hi, there is white Vajrasattva, embraced by a vajra arising from Hūṃ that is his own radiance; he is purified by the nature of wisdom and the expanse. Among them, Vairocana holds a wheel in his right hand raised upward; Akṣobhya, together with his vajra, performs the earth-touching gesture. Both of these hold a bell in the left hand, resting it against the goddess's hip. Amitābha, Amoghasiddhi, and Ratnasambhava hold a red lotus and a crossed vajra.
Holding a raised jewel in the right hand, the left hand holds a bell at the level of the heart, embracing the consort from behind. Vajrasattva holds a vajra in his right hand with a playful gesture, embracing the consort from behind at the level of the heart, while the left hand holds a bell resting against the consort’s hip. Alternatively, Vajrasattva is the aggregate of consciousness, and Akṣobhya is the nature of the five aggregates; this should be understood in this way. This is for the sake of realizing their mutual identity. In that manner, Vairocana and the others are to be sealed by Akṣobhya. Then, at the crown, throat, and heart, the three—Ratnasambhava, Amitābha, and Akṣobhya—together with their consorts, are the nature of the complete purity of body, speech, and mind. The deities such as Mohavajrī and the rest, having melted into the nature of great bliss through meditative union, dissolve into the sense bases, elements, aggregates, and so forth. Following that, at the heart, from OṂ HA comes white Vajrasattva; at the crown, from NAMA HĪ comes yellow Vairocana; at the uṣṇīṣa, from SVĀHĀ HŪ comes red Padmanarteśvara; at the two shoulders, from VAUṢAṬ HE comes black Akṣobhya; at the two eyes, from HŪṂ HŪṂ HO comes red Vajrasūrya; and at all the limbs, from PHAṬ HAṂ comes green Hayagrīva. Among them, the Vajra-holder has three faces and six arms, while the others have one face and four arms. In the first right hands are a vajra, a ḍamaru, and a brahma-head; in the left hands are a bell, a khaṭvāṅga, and a skull-cup. The right and left root faces are white and red.
[The central deity is] blue. The others hold a wheel, a lotus, a vajra, a jewel, and a sword, and a hand-drum (ḍamaru) in their right hands. In their left hands, they hold a bell and a khaṭvāṅga together with a skull-cup. They are embraced, respectively, by Vārāhī, Yamī, Mohanī, Kṣobhaṇī, Trāsanī, and Caṇḍālī.
Among them, Vārāhī is red, with three faces and six arms. Her central, right, and left faces are red, blue, and green. Her three left hands hold a skull-cup, a khaṭvāṅga, and a noose. Her three right hands hold a hook, a brahmin’s head, and a curved knife (kartṛkā). Yamī and the others are blue, white, yellow, green, and smoke-colored; they are naked, with loose hair, one face, three eyes, and four arms. In their left hands, they hold a khaṭvāṅga together with a skull-cup and a bell; in their right hands, they hold a hand-drum and a curved knife. Adorned with the five mudrās, they stand with the right leg extended.
Regarding that, the white deities have moon seats and halos, while the others have sun seats and their respective halos. Having visualized oneself in this way, one should also meditate on the Mother through the instantaneous purification of the eyes and so forth.
As for the armor: at the navel of the goddess is Vārāhī, from Oṃ Vaṃ; at the heart is Yamī, from Haṃ Yoṃ; at the throat is Mohanī, from Hrīṃ Moṃ; at the forehead is Kṣobhaṇī, from Hreṃ Hriṃ; at the crown is Trāsanī, from Hūṃ Hūṃ; and on all the limbs is Caṇḍālī, from Phaṭ Phaṭ. These six are without male consorts. Following that, from a white Hūṃ arises a black vajra.
From a red vyaṃ, there is a red jewel, its tip blessed by a yellow vyaṃ. For the goddess, from a comes a three-petaled lotus, and from dyāṃ comes a white pistil, its tip blessed by a yellow dyāṃ. Furthermore, the heart and near-heart mantras of the goddess are at the navel and heart, while her own heart and near-heart mantras are at the throat and forehead. The Blessed One kisses the Blessed Lady; the heart and near-heart mantras of the Father are at the navel and heart of the Mother, and the heart and near-heart mantras of the Mother are at her own throat and forehead. Then the Mother kisses the Father. Then, the joy of the three syllables should also be commenced.
Then, pressing the right foot with the left, looking upward to the left, and joining the tips of the two thumbs, pointing them downward, and hooking the index fingers together, the middle fingers are joined at the tips. Extending the ring and little fingers, one circles them to the left above the forehead; this is the Blazing Mudrā. Reciting pheṃ, the wisdom wheel—consisting of the sixteen goddesses and so forth—is invited by the absorption arising from the light of the heart, and after making offerings, they should be absorbed into oneself and the deities. Reciting oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ, one performs the lotus-turning gesture in the manner of an embrace and consecrates with this mantra: oṃ āḥ hūṃ.
Following that, the yoginīs and others who were invited simultaneously with the cakra, holding skull-cups and ḍamarus filled with the nectar of wisdom, are offered to by the sixteen goddesses emanated from the heart. Reciting: "Just as all the Tathāgatas were bathed as soon as they were born, so too shall I bathe [the deities] with pure divine water," one confers empowerment as the nectar of wisdom flows from the skull-cup in the moving left hand. Contemplating oneself as the nature of great bliss, the remaining nectar is used to seal the deities with the Tathāgatas. Reciting: oṃ sarvatathāgatābhiṣekasamayaśriye hūṃ hūṃ phaṭ, Akṣobhya is placed upon the crossed-vajra of the Blessed One, Vairocana upon the consort, Ratnasambhava upon the ḍākinīs and so forth, and Akṣobhya, Amitābha, and Amoghasiddhi upon the deities residing in the mind, speech, and body. Amoghasiddhi is placed upon the samaya deities. Then, preceded by offerings, one tastes the nectar offered by the goddess called Rasā and performs the eight-line praise: oṃ namo bhagavate vīreśāya hūṃ hūṃ phaṭ | oṃ mahākāpāgnisannibhāya hūṃ hūṃ phaṭ | oṃ jaṭāmukuṭotkaṭāya hūṃ hūṃ phaṭ | oṃ daṃṣṭrākarālograbhīṣaṇamukhāya hūṃ hūṃ phaṭ | oṃ sahasrabhujabhāsurāya hūṃ hūṃ phaṭ | oṃ paraśupāśodyataśūlakhaṭvāṅgadhāriṇe hūṃ hūṃ phaṭ | oṃ vyāghrajināmbaradhārāya hūṃ hūṃ phaṭ.
OṂ MAHĀDHŪMĀNDHAKĀRAVAPUṢĀYA HŪṂ HŪṂ PHAṬ SVĀHĀ. This is the eight-line mantra of the Blessed One. OṂ NAMO BHAGAVATI VAJRAVĀRĀHĪ VAṂ HŪṂ HŪṂ PHAṬ. OṂ NAMO ĀRYĀPARĀJITE TRAILOKYAMĀTE MAHĀVIDYEŚVARĪ HŪṂ HŪṂ PHAṬ. OṂ NAMO SARVABHŪTABHAYAVĀHANE MAHĀVAJRA HŪṂ HŪṂ PHAṬ. OṂ NAMO VAJRĀSANE AJITE APARĀJITE VAŚYAṂKARI NETRABHRAMAṆI HŪṂ HŪṂ PHAṬ. OṂ NAMO ŚOṢAṆI ROṢAṆI KRODHANI KARĀLINI HŪṂ HŪṂ PHAṬ. OṂ NAMAS TRĀSANI MĀRAṆI SUPRABHEDANI APARĀJAYE HŪṂ HŪṂ PHAṬ. OṂ NAMO JAYE VIJAYE JAMBHANI STAMBHANI MOHANI HŪṂ HŪṂ PHAṬ. OṂ NAMO VAJRAVĀRĀHĪ MAHĀYOGINĪ KĀMEŚVARĪ KHAGE HŪṂ HŪṂ PHAṬ. With these, one should praise with the eight lines of the Mother; this is the praise by the emanated goddesses. In order to realize the emptiness of all the previously explained deities without exception, the Father and Mother, who are the nature of the wisdom-being, attract all wandering beings with the sound of illusory passion. Then, into the charnel grounds, into the samaya, and into the Blessed Father and Mother—the ḍākinīs of the great bliss of body, speech, and mind—and specifically into the two-armed form, one should dissolve [the beings]. Furthermore, the insight of that [form] is the red HŪṂ of great passion, the nature of the seminal fluid at the heart; that [HŪṂ] dissolves into the vowel Ū, and that into the crescent moon.
The nāda and the drop also vanish like breath on a mirror; through the stage of subsequent dissolution, one should view even the various maṇḍalas of deities, whose nature is the non-duality of compassion and emptiness, as the ultimate and enter into the clear light. Then, from within that state, because of the non-dual suchness that arises instantaneously, the individual natures of the deities of the maṇḍala circle are correlated with the thirty-seven factors of awakening. This is not done for the sake of those with inferior faculties, but is applied instantaneously. If weariness arises from that, one should perform mantra recitation. At the navel lotus, upon a moon, the white and red nāda, together with the winds of entering, abiding, and exiting, is mentally recited as "Oṃ Āḥ Hūṃ"; this is the vajra recitation. Likewise, with the emanation and reabsorption of the host of deities from the nāda itself as a preliminary, one recites the heart and near-heart mantras and also utters the mantras of the individual deities while performing emanation and reabsorption; this is training in the samaya recitation. From the state of the equality of all phenomena, one should imagine the substance of the mantra garland emerging from one's own mouth, through the vajra path, into the lotus; then, entering through the dhūtī, it passes from the consort's mouth into one's own mouth, circling "ko-ro-ro." Training in the dolī recitation is the recitation of the mantra garland. Oṃ śrī vajra he he ru ru kaṃ hūṃ hūṃ phaṭ ḍākinī jvalasambaram svāhā. This is the heart mantra of the Bhagavān. Oṃ hrīḥ ha ha hūṃ hūṃ phaṭ. This is the near-heart mantra. Oṃ vajra vairocanīyai hūṃ hūṃ phaṭ svāhā. This is the heart mantra of the Bhagavatī. Oṃ vajra vārāhīyai hūṃ hūṃ phaṭ svāhā. This is the near-heart mantra of the Bhagavatī. Oṃ vajra padmāntakṛt hūṃ phaṭ. Oṃ vajra yamāntakṛt hūṃ phaṭ. Oṃ vajra prajñāntakṛt hūṃ phaṭ. Oṃ vajra padmāntakṛt hūṃ phaṭ. Oṃ vajra vighnāntakṛt hūṃ phaṭ. Oṃ vajra ṣaṇmukha hūṃ phaṭ. Oṃ vajra sumbha hūṃ phaṭ. Oṃ vajra nīladaṇḍa hūṃ phaṭ. Oṃ vajra mahābala hūṃ phaṭ. Oṃ vajra acala hūṃ phaṭ. Oṃ vajra aṭṭahāsa hūṃ phaṭ. Oṃ vajra jambhala hūṃ phaṭ. Oṃ vajra stambhaka hūṃ phaṭ. Oṃ vajra mārīcī hūṃ phaṭ. Oṃ vajra cundā hūṃ phaṭ. Oṃ vajra bhṛkuṭī hūṃ pha�
This is the essence mantra of the Mother: OṂ SARVA-BUDDHA-ḌĀKINĪYAI VAJRA-VARṆAṆĪYAI HŪṂ HŪṂ PHAṬ SVĀHĀ. This is the near-essence mantra. The garland mantra of the Blessed One is: OṂ NAMO BHAGAVATE VĪREŚĀYA MAHĀ-KALPĀGNI-SANNIBHĀYA JAṬĀ-MUKUṬA-KOṬĀYA DAṂṢṬRĀ-KARĀLO-GRABHĪṢAṆA-MUKHĀYA SAHASRA-BHUJA-BHĀSURĀYA PARAŚU-PĀŚO-DYATA-ŚŪLA-KHAṬVĀṄGA-DHĀRIṆE VYĀGHRĀ-JINA-AMBARA-DHĀRĀYA MAHĀ-DHŪMRANDHAKĀRA-VAPOṢĀYA KARA KARA KURU KURU BANDHA BANDHA TRĀSAYA TRĀSAYA KṢOBHAYA KṢOBHAYA HRĪṂ HRĪṂ HRAḤ HRAḤ PHEṂ PHEṂ PHAṬ PHAṬ DAHA DAHA PACA PACA BHAKṢA BHAKṢA VASA RUDHIRĀNTA-MĀLĀVALAMBIṆE GṚHṆA GṚHṆA SAPTA-PĀTĀLAGATA-BHUJAṄGA-ŚARĪRAṂ TARKṢAYA TARKṢAYA ĀKARṢAYA ĀKARṢAYA HRĪṂ HRĪṂ JÑAUṂ JÑAUṂ KṢMĀṂ KṢMĀṂ HĀṂ HĀṂ HĪ HĪ HŪṂ HŪṂ KILI KILI SILI SILI HILI HILI DHILI DHILI HŪṂ HŪṂ PHAṬ SVĀHĀ. The garland mantra of the Blessed Lady is: OṂ NAMO BHAGAVATI VAJRA-VĀRĀHĪ ĀRYA-APARĀJITĀ TRAILOKYA-MĀTE MAHĀ-VIDYEŚVARĪ SARVA-BHŪTA-BHAYA-HARE MAHĀ-VAJRE VAJRĀSANE AJITE APARĀJITE VAŚYAṂKARIṆE TRĀBHRA-MAṆI ŚOṢAṆI ROṢAṆI KRODHAKARĀLIṆI TRĀSANI MĀRAṆI PRABHEDANI APARĀJAYE VIJAYE JAMBHANI STAMBHANI MOHANI VAJRA-VĀRĀHĪ MAHĀ-YOGINĪ KĀMEŚVARĪ KHAGE TADYATHĀ: PROTAṄGE PROTAṄGE HANA HANA PRĀṆĀN...
OṂ DHILI DHILI HŪṂ HŪṂ PHAṬ. OṂ MAHĀVĪRYE HŪṂ HŪṂ PHAṬ. OṂ KĀKĀSYE HŪṂ HŪṂ PHAṬ. OṂ ULŪKĀSYE HŪṂ HŪṂ PHAṬ. OṂ ŚVĀNĀSYE HŪṂ HŪṂ PHAṬ. OṂ SŪKARĀSYE HŪṂ HŪṂ PHAṬ. OṂ YAMADĀHĪYE HŪṂ HŪṂ PHAṬ. OṂ YAMADŪTĪYE HŪṂ HŪṂ PHAṬ. OṂ YAMADAṂṢṬRIṆĪYE HŪṂ HŪṂ PHAṬ. OṂ YAMAMATHANĪYE HŪṂ HŪṂ PHAṬ. OṂ ḌĀKINĪYE HŪṂ HŪṂ PHAṬ. OṂ LĀMĀYE HŪṂ HŪṂ PHAṬ. OṂ KHAṆḌAROHAṆĪYE HŪṂ HŪṂ PHAṬ. OṂ RŪPIṆĪYE HŪṂ HŪṂ PHAṬ.
Thus it is said. Then, if one wishes to arise, one should visualize one's own forehead, crown, right ear, nape of the neck, left ear, brow, both eyes, both shoulders, both armpits, both breasts, navel, tip of the nose, mouth, throat, heart, both hips, genitals, anus, both thighs, both calves, toes, tops of the feet, knees, and big toes as being the nature of the twenty-four sacred sites: Pullīramalaya, Jālandhara, Oḍḍiyāna, Arbuda, Godāvarī, Rāmeśvarī, Devīkoṭī, Mālava, Kāmarūpa, Āṭṭahāsa, Triśakuni, Kośala, Kaliṅga, Lampāka, Kāñcī, Himālaya, Pretapurī, Gṛhadevatā, Saurāṣṭra, Suvarṇadvīpa, Nagara, Sindhu, Maru, and Kulutā. Upon these, in their respective order, one should visualize the goddesses Pracaṇḍā, Caṇḍākṣī, Prabhāvatī, Mahānāsā, Vīramatī, Kharvarī, Laṅkeśvarī, Drumacchāyā, Mahābhairavā, Vāyuvegā, Surābhakṣī, Śyāmādevī, Subhadrā, and so forth.
One should meditate on Aśvakarṇī, Kākāsyā, Cakravegā, Khaṇḍarohā, Śauṇḍinī, Cakravarmiṇī, Suvīrā, Mahābalā, Cakravartinī, and Mahāvīryā as abiding in the nature of the syllables of the twenty-four channels. At the mouth, the right nostril, the left nostril, and the anus are the four beginning with Kākāsyā. At the right and left ears and the two eyes are the four beginning with Yamadāḍhī. At the heart, throat, navel, and forehead are the four beginning with Ḍākinī.
One should contemplate that the natures of the teeth, nails, hair, body hair, skin, filth, flesh, sinews, bones, liver, heart, eyes, bile, lungs, small intestine, large intestine, stomach, feces, hairline, phlegm, pus, blood, sweat, fat, tears, saliva, and mucus are the natures of the twenty-four heroes, such as Khaṇḍakapālin and the rest. Then, having understood the oral instructions—that the Father, whose nature is bodhicitta, abides in the lotus of the crown, while Vārāhī, whose nature is the aśad, abides in the secret lotus and they embrace, whereby the nature of great bliss arises—one should repeatedly stabilize the conviction in the maṇḍala of the completely pure body.
With the conviction that all diverse beings are also like oneself, one should abide in ease as the very body of great bliss, the single taste of emptiness and compassion, the essence of method and insight. Having correctly seen the meaning of the Saṃvarodaya as it was transmitted through the lineage of the venerable Lūyipa, together with the methods, this oral instruction of the Guru [is concluded].
Endowed with insight and compassion, I, the fearless one, have composed this elegant explanation. By this merit, throughout the successive stages of my births, may I attain the state of that Lord Īśvara, whose bodily radiance is renowned to pervade the sky, together with Vajralāsa in the three realms.
The Abhisamaya of Śrī Cakrasaṃvara, composed by the Mahāpaṇḍita Abhayākaraguptapāda, is hereby complete. It was translated by the Mahāpaṇḍita Ratnarakṣitapāda and the translator, the Śākya monk and Vajradhara, Zhang Drubpa Palzangpo.