Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a ritualized system for the practitioner to achieve union with the deity Mañjuvajra. The text guides the practitioner through a sequence of preparatory and advanced meditative stages, beginning with the cultivation of the four immeasurables to neutralize desire and the visualization of a complex seed-syllable mandala at the heart. The ritual progresses into a detailed somatic mapping, where specific deities, faculties of mindfulness, and geographical locations are projected onto the practitioner's own body and the surrounding space. By visualizing the deity's form, attributes, and consort, and by invoking a mandala of heroes and yoginīs, the practitioner is committed to a process of identity transformation. The ritual culminates in the reception of empowerment and the consumption of a symbolic lunar beverage, aiming to realize the equality of all phenomena and attain the realm of Khecarī. The text attributes the composition to Vajrācārya Śrī Divākara and the translation to Śrī Subhūtiśānti and Kalyāṇamati.
Provenance
About this text
A sādhanā for the Blessed One Mañjuvajra, this work belongs to the classical Tibetan tradition. It is attributed to the Indian author Divākara. The text was translated into Tibetan by Subhūtiśrīśānti and the translator zhu chen gyi lo tsa ba dge slong dge ba’i blo gros. It is preserved in volume ཞ of the Tengyur, where it is situated within the collection of the Śaṃvara and Related Tantras, spanning eleven pages. The work enacts a ritualized system for the practitioner to achieve union with the deity Mañjuvajra through a sequence of preparatory and advanced meditative stages. This process begins with the cultivation of the four immeasurables to neutralize desire and the visualization of a complex seed-syllable mandala at the heart. The ritual further involves a detailed somatic mapping, projecting deities, faculties of mindfulness, and geographical locations onto the practitioner's body and surrounding space. By visualizing the deity's form, attributes, and consort, and invoking a mandala of heroes and yoginīs, the practitioner undergoes a process of identity transformation. A scholar or serious reader consults this text to examine the reception of empowerment and the consumption of a symbolic lunar beverage aimed at realizing the equality of all phenomena.
Sanskrit title
not recorded
Indian author
Divākara
Tibetan translators
Subhūtiśrīśānti, zhu chen gyi lo tsa ba dge slong dge ba’i blo gros
Cite thisAnuvāda, “A Sādhana of the Bhagavan Mañjuvajra” (Toh 1501), machine draft, 2026.https://naxiai.com/tibetan/works/toh1501
Summary & commentary
Significance
The work is significant as a representative example of Vajrayāna deity yoga, demonstrating the integration of internal anatomy with external cosmology. For the modern reader, it illustrates the technical precision of Tibetan Buddhist ritual manuals in mapping the human body as a sacred landscape.
Structure
Passages
Section
Description
1-3
Preparatory Practices
Initial prostrations, cultivation of the four immeasurables, and visualization of the seed-syllable mandala.
4-5
Deity Visualization
Detailed description of Mañjuvajra's physical form, attributes, and union with his consort.
6-11
Somatic and Spatial Mapping
Assignment of specific deities, mental faculties, and geographical sites to body parts and cardinal directions.
12-15
Ritual Invocation and Empowerment
Invocation of the wisdom mandala, reception of empowerment, ritual offerings, and final attainment.
Themes
Somatic Mandala (6-11)
Deity Yoga and Transformation (4-5, 12-13)
Non-duality and Equality of Phenomena (14)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
The Sādhana of the Blessed One Mañjuvajra
Homage to the Blessed One, glorious Mañjuvajra!
First, having visualized being exhorted by the sound of the hand-drum (ḍamaru) played by the goddesses, one should rise and prostrate, saying: "With body, speech, and mind, I prostrate with devotion at the feet of all the heroes and yoginīs." Then, having washed the face and so forth, one should enter a meditation cell free from noise and the like, sit upon a comfortable seat, and diligently perform the protection of the place, the self, and the yoga.
Raising the left hand in the threatening gesture (tarjanī) at the heart, one should recite the mantra of Sumbharāja: Oṃ sumbhani sumbha hūṃ hūṃ phaṭ | oṃ gṛhṇa gṛhṇa hūṃ hūṃ phaṭ | oṃ gṛhṇāpaya gṛhṇāpaya hūṃ hūṃ phaṭ | oṃ ānaya hoḥ bhagavān vajrarāja hūṃ jaḥ hūṃ phaṭ, and thus station [the guardians] in the directions of the east and so forth.
Then, within a single-petaled lotus situated upon a maṇḍala of wind and fire, one should visualize the nectar (amṛta) together with its powers, [represented by] vi mu śu ma ra and go ku da ha na. This should be purified by a white vajra arising from the syllable hūṃ. It should be awakened by the syllable a and made to blaze and shine by the syllable oṃ. Having meditated on a white vajra arising from hūṃ upon one's own tongue, one should drink [the nectar] while reciting sarva tathāgata vighnān viṣaya hūṃ svāhā, and likewise smear it upon the body. This [removes] malice, harmfulness, and displeasure.
As an antidote to desire for sense objects, one should meditate on love, compassion, joy, and equanimity. Having thus protected the place, oneself, and the yoga, one should visualize at one's heart a blue syllable HŪṂ, like the hue of a bamboo shoot, upon a moon maṇḍala arising from the syllable A. With the mass of its light rays, one should contemplate the body, feelings, mind, and phenomena as emptiness. Then, one should visualize in front the Blessed One, the glorious Heruka, together with his retinue, and all the Buddhas and the Guru. Then, having mentally performed the outer, inner, and secret offerings, one should recite the refuge formula and so forth. Following that, one should meditate on the moving and non-moving world as empty, together with one's own body.
OṂ ŚŪNYATĀ-JÑĀNA-VAJRA-SVABHĀVA-ĀTMAKO ’HAṂ. Then, by means of that very nature which appears in various ways as the accumulation of merit, consisting of the single mind of aspiration and engagement: if there is apprehension that obstructors will arise, one should visualize a sun maṇḍala arising from the syllable OṂ, and upon it, a crossed vajra arising from HŪṂ. With the mass of its light rays, one should contemplate the obstructors being reduced to ashes, and thus consecrate the vajra fence, the vajra canopy, and the ground of vajra nature. Within that vajra fence, one should meditate on the great mudrā of the source of phenomena (dharmodaya), and look upon the mind that enters it as a mere nāda.
Below, one should visualize a blue wind maṇḍala arising from the syllable yaṃ, shaped like a bow and marked by two vajras. Above that, from the complete transformation of the syllable raṃ, a triangular fire maṇḍala marked by a vajra. Above that, from the syllable paṃ, a white, circular water maṇḍala marked by a vajra. Above that, from the syllable laṃ, a yellow, square maṇḍala of the great powerful earth marked by a vajra.
Above that, from the complete transformation of the syllable suṃ, Mount Meru, square in shape and composed of the four kinds of precious jewels, beautifully adorned with eight peaks. Above that, from the syllable hūṃ, a crossed vajra. From the complete transformation of Mount Meru and the four elements into a vajra ground, one should visualize in the center of the eight charnel grounds a celestial palace made of all kinds of jewels, with four doors and so forth.
Inside that, one should visualize three wheels and in the center an eight-petaled lotus of various colors. Upon the hub, one should visualize Kālarātri and Mahābhairava. Above them, from the āli and kāli, a moon and a sun. Above those, from the syllable hūṃ, a red vajra marked with the syllable hūṃ at its head, having the nature of radiating light. From the complete transformation of that, the Blessed One Vajrasattva appears, like an autumn moon amidst the clouds, with six arms, three faces, and three eyes, adorned with a crown of matted locks and beautified by a crescent moon, and decorated with garlands of skulls.
With faces white, blue, and red,
His faces slightly smiling,
He enters into union with the vajra and bell,
Surging with the flavor of passion,
Seated in the graceful posture.
Delighting in the pride of drinking with his lips,
He holds the mudrā, the offering, the khaṭvāṅga,
The human head, and the trident.
The goddess, of that same color and with two arms,
Holds a curved knife and an alms bowl,
Perfectly embracing Vajrasattva,
Abiding in the state of great bliss.
Then, one should visualize the aspirational bodhicitta entering the mouth of Vajrasattva, and view the bodhicitta as having melted into the form of the fire of passion. Then, being exhorted by the emanated goddesses of the Buddhas residing in the ten directions, from the syllable HŪṂ arises a vajra together with the lord of the syllable HŪṂ, emitting a mass of light rays. Having become the nature of the assembly of Buddhas, one visualizes oneself in the form of Vajraḍāka, embraced by Vajravārāhī, possessing the retinue of the maṇḍala. He is a wrathful deity, sky-blue in color, with four faces and twelve arms, standing with his right leg extended, treading upon Kālarātri. His primary face is sky-blue, the left is yellow, the back is red like a ruby, and the right is green. He is terrifying with fangs, his eyebrows are yellow, and his hair is bristling upward and blazing. He wears a crown of a garland of skulls, a crescent moon, and is adorned with a crossed vajra. He has twelve eyes, and is adorned with a wheel and earrings.
Adorned with necklaces, bracelets, a belt, a sacred thread, and smeared with ashes, he wears a tiger-skin loincloth and a hanging garland of fresh human heads. With his two [principal] hands he embraces [the consort], while his other two hands hold an elephant hide. In his right hands he holds a ḍamaru, a battle-axe, a curved knife, and a trident; in his left hands he holds the head of Brahmā, a noose, a khaṭvāṅga, and a kapāla. One should visualize him thus.
Vārāhī has one face and two hands, three eyes, and a peaceful expression. She is red in color, wears a belt adorned with bone fragments, and perfectly embraces [the deity] with her two legs. Residing in the state of great bliss, she embraces [him] with her two hands. She holds a kapāla filled with the blood of Māra the Evil One and the like, and in one hand she holds a curved knife. One should meditate on her as adorned with the six mudrās on her limbs. In this way, the Blessed One is the absorption of perfect reality.
On the petals of the lotus in the cardinal directions are Ḍākinī, Cāruṇī, Khaṇḍarohā, and Rūpiṇī, who are respectively blue, yellow, red, and green. Each has one face and two hands, and they stand with the left leg extended upon a corpse seat. They hold a skull-cup, a khaṭvāṅga, and a curved knife. They are adorned with garlands of skulls, wear crowns of skull-garlands, and have three eyes with loose hair. They are naked and wear belts adorned with bone fragments, and they bear the five mudrās. Among these, the application of mindfulness of the body is Ḍākinī.
The application of mindfulness to feeling is Lāsyā. The application of mindfulness to mind is Khaṇḍarohā. The application of mindfulness to phenomena is Rūpiṇī. At the intermediate points are the four vessels of bodhicitta and so forth. The purities are the four liberations, namely: emptiness, the absence of marks, the absence of wishes, and the characteristic of the unconditioned.
First is the eight-spoked wheel of the mind, blue in color and adorned with a vajra lattice. In the east, at the head of the body maṇḍala in Pullīramalaya, are Khaṇḍakapālin and Pracaṇḍā; these are the basis of miraculous power of aspiration. The nails and teeth are Khaṇḍakapālin. In the north, at the crown of the head in Jālandhara, are Mahākaṅkāla and Caṇḍākṣī; these are the basis of miraculous power of diligence. The hair and body hair are Mahākaṅkāla. In the west, at the right ear in Oḍḍiyāna, are Kaṅkāla and Prabhāvatī; these are the basis of miraculous power of investigation. The skin and impurities are Kaṅkāla. In the south, at the back of the head in Arbuda, are Vikaṭadaṃṣṭrin and Mahānāsā; these are the basis of miraculous power of the mind. The flesh is Vikaṭadaṃṣṭrin. These four locations are the ground of Perfect Joy. In the southeast, at the left ear in Godāvarī, are Surāvairin and Sthirabuddhi; these are the faculty of faith. The sinews are Surāvairinī.
In the southwest direction and the center of the eyebrows is Rāmeśvara, who is Amitābha and Khañjarīṭī, the faculty of diligence. In the bones is Amitābha. In the northwest direction and the eyes, Devīkoṭī, is Vajraprabha and Laṅkeśvarī, the faculty of mindfulness. In the kidneys is Vajraprabha. In the northeast direction and the two shoulders, Mālava, is Vajradeha and Drumacchāyā, the faculty of absorption. Compassion is Vajradeha. This is the secondary site, the Stainless Bhūmi. The Mind Cakra moves through the sky. The red Speech Cakra, adorned with a garland of lotuses, is at the eastern spoke and the armpit, Kāmarūpa, where Aṅkurika and Kālarātri reside, the faculty of insight. The eyes are Aṅkurika. In the north and the breasts, Oḍra, is Vajrajaṭila and Mahābhairavā, the power of faith. In the bile is Vajrajaṭila. This is the field, the Luminous Bhūmi. In the west and the navel, Triśakuni, is Mahāvīra and Vāyuvegā, the power of diligence. In the lungs is Mahāvīra. In the south and the nose, Kośala, is Vajrahuṃkāra and Madirā, the power of mindfulness. The intestines are Vajrahuṃkāra. This is the secondary field, the Radiant Bhūmi. In the southeast direction and the mouth, Kaliṅga, is Subhadra and Śyāmādevī, the power of absorption. The small intestines are Subhadra.
In the southwest direction and at the throat, in Lampaṅka, are Vajrabhadra and Subhadrā, which are the power of insight. The abdomen is Vajrabhadra. This is Caṇḍoha, the stage "Difficult to Overcome." In the northwest direction and at the heart, in Kāñcī, are Mahābhairava and Hayakarṇī; this is the branch of awakening of correct absorption. The bladder is Mahābhairavī. In the northeast direction and at the groin, in Himālaya, are Virūpākṣa and Kākāsyā; this is the branch of awakening of correct diligence. The space between the thighs is Virūpākṣa. This is Upacaṇḍoha, the stage "Manifest." It is the stage of moving upon the earth.
On the eastern spoke of the white body-cakra, adorned with a garland of wheels, at the sign Pretapuri, are Mahābala and Cakravegā; this is the branch of awakening of joy. Phlegm is Mahābala. In the north and at the anus, in Gṛhadevatā, are Ratnavajra and Khaṇḍarohā; this is the branch of awakening of pliancy. Pus is Ratnavajra. This is the "Conjunction" stage, the stage "Gone Afar." In the west and at the two thighs, in Saurāṣṭra, are Hayagrīva and Śauṇḍinī; this is the branch of awakening of the discrimination of phenomena. Blood is Hayagrīva. In the south and at the two calves, in Varuṇadvīpa, are Ākāśagarbha and Cakravarmiṇī; this is the branch of awakening of mindfulness. Semen is Ākāśagarbha. This is the "Near Conjunction" stage, the stage "Immovable."
In the fire direction and on the toes of the feet is Naga-ra, where Śrī Heruka and Atiśūramati reside; these are the branch of awakening of equanimity. Fat is Śrī Heruka. In the nairṛti direction and on the insteps is Sindhu, where Padmanarteśvara and Mahābalā reside; these are right view. Tears are Padmanarteśvara. That charnel ground is Sādhumatī. In the wind direction and on the big toes is Maru, where Vairocana and Cakravartinī reside; these are right thought. Saliva is Vairocana. In the īśāna direction and on the two knees is Kulutā, where Vajrasattva and Mahāvīryā reside; these are right speech. Mucus is Vajrasattva. That near-charnel ground is Dharmameghā. It is situated beneath the earth.
The wheel of mind is black in color; the wheel of speech is red in color; the wheel of body is white in color. The heroes, such as Khaṇḍakapālin and the rest, have one face and two arms, are in union with vajra and bell, and stand in the posture with the right leg extended. They wear a crown of matted hair and silk pendants, and hold the five mudrās. The goddesses, such as Pracaṇḍā and the rest, have two arms and one face; they hold a kapāla and a threatening gesture, and embrace [the heroes] with a curved knife. They have three eyes and fierce forms, their hair is loose and flowing, and they are in union through non-dual application. They are intent on wearing the garment of space, and the goddesses hold the five mudrās and are adorned with all the ornaments.
At the eastern, northern, western, and southern gates are Kākāsyā (Crow-Faced), Ulūkāsyā (Owl-Faced), Śvānāsyā (Dog-Faced), and Sūkarāsyā (Pig-Faced). In the southeast, southwest, northwest, and northeast are Yamadāḍhī (Firm Yamī), Yamadūtī (Messenger Yamī), Yamadaṃṣṭriṇī (Fang Yamī), and Yamamathani (Subduer Yamī). Just as the ḍākinīs and others move, so are the divisions of Kākāsyā and the rest; likewise, the goddesses residing in the intermediate directions captivate the mind with their dual forms. Seated upon the terrifying seats of hungry ghosts, they are diligent in acting for the benefit of sentient beings. Upon the foreheads of all the heroes and yoginīs is a vajra garland. In the body maṇḍala, at the tip of the left hand is Kākāsyā, which is right action. At the wrist is Ulūkāsyā, which is right livelihood. At the tip of the right hand is Śvānāsyā, which is right effort. At the wrist is Sūkarāsyā, which is right mindfulness. At the tip of the right foot is Yamadāḍhī, whose nature is to give rise to virtuous dharmas not yet arisen. At the tip of the left foot is Yamadūtī, which is the perfect protection of virtuous dharmas already arisen. At the ankle of the right foot is Yamadaṃṣṭriṇī, which perfectly accomplishes the abandonment of non-virtuous dharmas already arisen. At the ankle of the left foot is Yamamathani, which ensures that non-virtuous dharmas not yet arisen do not arise at all.
In the center of the lotus at the heart is the Blessed One in the form of a drop (bindu). On the petals of the lotus in the cardinal directions are the four, such as Ḍākinī and the others. On the lotus at the navel is Vajravārāhī, the nature of the Great Seal (mahāmudrā). Thus is the outer and secret maṇḍala. Now, for the purification of the aggregates and so forth: the aggregate of form is Vairocana; the aggregate of feeling is Vajrasūrya; the aggregate of perception is Padmanarteśvara; the aggregate of formations is Vajrarāja; the aggregate of consciousness is Vajrasattva; and the suchness (tathatā) of all the Tathāgatas is Śrī Heruka. In the eyes is Mohavajrā; in the ears is Dveṣavajrā; in the nose is Īrṣyāvajrā; in the mouth is Rāgavajrā; in the body is Mātsaryavajrā; and in all the sense bases (āyatana) is the lord Śrī Heruka. The earth element is Pātanī; the water element is Māraṇī; the fire element is Ākarṣaṇī; the wind element is Narteśvarī; and in the space element is Yoginī-jālinī. In this way, one should generate the divine pride of the deities of the aggregates, elements, and sense bases. Then, one should bless the body at the head with the syllable OṂ; bless the speech at the throat with the syllable ĀḤ; and bless the mind at the heart with the syllable HŪṂ. In the center of the heart, one should bless the wisdom being (jñānasattva) with the syllable HŪṂ.
Visualize these in the center of a moon maṇḍala. OṂ SARVA VĪRAYOGINĪ KĀYA VĀKA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. JAḤ HŪṂ BAṂ HOḤ. Then, with the iron hooks of light rays emanating from the wisdom-being (jñānasattva), invite the wisdom maṇḍala, place it in front, and make perfect offerings. Having done so, cause it to enter the samaya maṇḍala and quickly become of one taste. OṂ YOGA ŚUDDHAḤ SARVA DHARMĀ YOGA ŚUDDHO ’HAṂ. OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ. At the heart is OṂ HA, Vajrasattva. At the head is NAMO HI, Vairocana. At the crown of the head is SVĀHĀ HU, Padmanarteśvara. At the two shoulders is VAUṢAṬ HE, Heruka. At the eyes is HŪṂ HŪṂ HO, Vajrasūrya. At all the limbs is PHAṬ HAṂ, Hayagrīva; this is the armor. This is the armor of the Blessed One together with the assembly of heroes. At the navel is OṂ BAṂ, Vajravārāhī. At the heart is HAṂ YOṂ, Sandhyā. At the mouth is HRĪṂ MOṂ, Mohanī. At the head is HREṂ HRIṂ, Saṃtrāsanī. At the crown of the head is HŪṂ HŪṂ, Saṃtrāsanī. At all the limbs is PHAṬ PHAṬ, Caṇḍālī; this is the armor. One should arrange all the yoginīs in this manner.
Interlock the two index fingers, join the middle fingers, and firmly join the thumbs in the form of a vajra. Placing this in the center of the forehead, twist and rotate it to move. Pressing the feet down and looking upward, utter the syllable PHEṂ from the mouth, and summon the heroes and yoginīs residing in the ten directions and the elements.
Then, one should visualize that the heroes and yoginīs, invited by the light rays from the heart and filling the expanse of space, hold wisdom vases in their hands and confer empowerment upon oneself with offerings of song and dance. OṂ SARVA-TATHĀGATA-ABHIṢEKASAMAYA-ŚRIYE HŪṂ. Then, one’s own family becomes the crown ornament.
Then, those heroes and yoginīs enter through the mouth by the hook of light from the seed syllable in the heart, and are emanated in the form of bodhicitta into the center of the goddess’s lotus. The goddesses arising from that make offerings to the samaya maṇḍala and praise it with the offering of praise. One should then taste the nectar according to the sequence explained above.
"Through the samaya of body, speech, and mind,
The mind is well-represented by the mind itself.
Having abandoned all conceptual constructions,
One should perform the recitation endowed with meditation.
Through the recitation of the supreme samaya,
Then the secret mantra should be uttered:
HĀ SVĀRA VAŚAṂ LA JVĀNĪ KIḌĀṬA PHA HŪṂ HŪṂ KAṂ RURU HE HE JRAVA ŚRĪ OṂ. ṬA PHA HŪṂ HŪṂ HA HAḤ HRĪḤ OṂ. This is the heart mantra and near-heart mantra, reversed from the order of the head. ṬA PHA HŪṂ HŪṂ YE NĪ CA RO VAI JRAVA OṂ. HĀ SVĀ ṬA PHA HŪṂ HŪṂ YE NĪ RṆṆA VA JRAVA YE NĪ KIḌĀ DDHA BU RBA SA OṂ. These are the heart mantra and near-heart mantra of the goddess. For all the heroes and yoginīs, the syllables of their respective names are placed between OṂ and HŪṂ, ending with HŪṂ and PHAṬ."
The heroes should recite kara kara and so forth exactly as it is. Once the recitation is complete, one should drink the supreme lunar beverage. Because all phenomena are equal in essence, they are equal for the sake of the supreme samaya. One should enter the supreme maṇḍala upon the path of the selflessness of phenomena. The yoga of the perfection of insight should rest the weary yogi. Having equalized the āli and kāli, one should definitely apply the lines there. By the manner of igniting upward, because it is the cause for flowing downward, the nectar in the form of fluid will drip in the form of a drop. Abiding in the state of non-appearance, one relies on the equality of non-appearance. In the non-practice of phenomena, there is also no nature of phenomena. Dependent origination and phenomena are like space; they are without essence and without characteristics. When one abides in suchness in that way, the eye of wisdom will be attained. At the time of rising, one should offer the torma according to the ritual. Śrī is non-dual wisdom; he is emptiness of causes and so forth; ru is free from arrangement; ka is not abiding anywhere. The yogi should rest the mind, but does not rely on a mere nirvāṇa. At the time of transference, the yogi [is greeted] by the glorious Heruka and so forth, and by the goddesses of yoga who hold various flowers in their hands, various victory banners and streamers, various sounds of music, and various offerings of song. This conceptualization called "death"—
It leads one to the realm of Khecarī.
The Sādhana of the Blessed One, composed by the great Vajrācārya Śrī Divākara, is hereby complete. It was translated, edited, and finalized by the Indian abbot Śrī Subhūtiśānti and the chief editor and translator, the monk Kalyāṇamati.