Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text serves as a detailed technical commentary on a running commentary of Lūyipāda’s Clear Realization, focusing on the ritual and meditative praxis of the Cakrasaṃvara tradition. The work functions as a manual for the practitioner, integrating complex visualizations of deities, mandalas, and the subtle body with the recitation of specific mantras and mudrās. It argues for a precise correspondence between external ritual forms—such as the construction of vajra walls and the offering of tormas—and internal yogic processes, including the movement of the fire of wisdom (Caṇḍālī) through the channels. By synthesizing the aggregates and sense bases with the nature of the deities, the text commits the reader to a path of non-contrived realization where the practitioner dissolves the ordinary self into the clear light and arises as the deity. The work concludes by framing these instructions within a lineage of transmission, emphasizing the necessity of specific instructions to unlock the potential of the subtle body's anatomy.
Provenance
About this text
A detailed commentary entitled Lūyipādābhisamayavṛttiṭīkāviśeṣadyotanāma, this work belongs to the tradition of the Śaṃvara and Related Tantras. It is attributed to the Indian author Tathāgatavajra. The text was translated into classical Tibetan by Vibhūticandra and is preserved in the Tengyur, volume ཞ, where it extends over 48 pages. In the Tibetan tradition, it is known as the lU yi pa'i mngon par rtogs pa'i 'grel pa'i TI kA khyad par gsal byed ces bya ba. The work enacts a complex system of meditative visualization and ritual practice, beginning with an invocation to Vajrayoginī. It provides technical instructions on visualizing oneself as the Innate Vow embracing the Wisdom Consort and details the radiation of five-colored light rays from a garland of syllables. Furthermore, it analyzes the aggregate of form, identifying eleven types of form and situating the primary location of form at the center of the head. A scholar or serious reader consults this text today to understand the precise correspondences between the aggregates, the faculties, and the deity-mandala, as well as the specific ritual requirements for visualizing the subtle body and the movement of light within the practitioner's internal geometry.
Cite thisAnuvāda, “A Commentary on the “Running Commentary on Lūipāda’s Clear Realization” called “Particularly Clear”” (Toh 1510), machine draft, 2026.https://naxiai.com/tibetan/works/toh1510
Summary & commentary
Significance
The work is significant for its integration of the 'completion stage' of tantra, specifically the mapping of the subtle body onto the mandala. It provides a rare glimpse into the precise technical requirements of the Cakrasaṃvara ritual cycle, illustrating how Indo-Tibetan Buddhism conceptualized the transformation of the physical and mental aggregates into divine wisdom.
Structure
Passages
Section
Description
1-11
Ritual Visualization and Mandala Construction
Instructions on visualizing the Innate Vow, the arrangement of syllables, the identification of aggregates with deities, and the construction of the vajra canopy and walls.
12-23
Refuge, Ethics, and Subtle Body Physiology
Discussion on taking refuge and the identification of the eight charnel grounds with the internal cakras and the movement of Caṇḍālī.
28-44
Praxis of Mantra and Meditation
Guidelines on the use of the rosary, the visualization of syllables, the dissolution of deities into the navel, and arising from sleep as Cakrasaṃvara.
50-65
Advanced Yogic Theory and Ritual Conclusion
Explanations of the union of insight and method, the nature of the mirror-like state, the dissolution of the mandala, and the historical context of the text's composition.
In the language of India: Lūyipābhisamayavṛttiṭīkāviśeṣadyotanāma. In the language of Tibet: Lūyipā'i mngon par rtogs pa'i 'grel pa'i ṭīkā khyad par gsal byed ces bya ba (The Commentary on the Abhisamaya of Lūyipā, Entitled: The Illumination of the Distinctive Features). Homage to the glorious Vajrayoginī!
Through the purity of the four joys,
Whose four faces are clearly manifest;
Through the purity of the sun, moon, and fire,
He who possesses three eyes;
Through the purity of the twelve stages,
The garland of his hands is numbered accordingly;
His body is like the sky and smoke,
Made manifest by the purity of loving-kindness.
Through the purity of the two truths,
The Blessed One stands in the posture of extended and bent legs.
To that very Śrī Heruka,
Having bowed with the utmost devotion,
I shall explain the commentary entitled
"The Illumination of the Distinctive Features"
Of the abhisamaya composed in verse
From the Cakrasaṃvarodaya.
In that regard, first, for one who is intent upon Mahāmudrā, what should be done after performing the rite of the torma? One should recite "First, in a mountain hut and so forth," and by the word "and so forth," one includes a solitary place, a charnel ground, an empty house, and the like. Regarding "Śrī" and so forth: "Śrī" is non-dual wisdom; "He" is emptiness of causes and so forth; "Ru" is freedom from the collection of conceptual thoughts; "Ka" is not abiding anywhere. Thus, facing the meaning of these four syllables, with a mind wishing for the benefit and happiness of all sentient beings, one should recite "Śrī Heruko 'haṃ" three times.
Regarding the term "vow" (saṃvara): one should visualize oneself as the Innate Vow (sahaja-saṃvara), embracing the Wisdom Consort and possessing two arms. As for the āli-kāli and so forth: first, from the garland of āli-kāli syllables—beginning with the syllable Oṃ and ending with the syllables Hūṃ Hūṃ Phaṭ—five-colored light rays radiate. These revolve three times counter-clockwise around the navel region. From this, one should imagine that the hosts of deities of the three wheels are emanated, thereby destroying the multitudes of obstructing spirits (vighna).
Then, regarding the "four Brahmā abodes" (brahmavihāra): these are love, compassion, joy, and equanimity. Among these, love is said to be the very affection for all sentient beings as if they were one's only child. Compassion is the desire to liberate the world, which is possessed of the three types of suffering, from cyclic existence (saṃsāra). Joy is the state of mind that rejoices in one's own merit and in the benefit of others. Equanimity is the performance of the welfare of all by being free from attachment and aversion.
The purpose of this is explained as follows: in order to eliminate the stains of all conceptual thoughts (kalpa), one should resolve upon emptiness through the equality of the meaning of Heruka. The resolve upon the vow implicitly teaches the purity of all bodily activities and the very nature of Heruka, which is completely pure as established from beginningless cyclic existence. The meditation on the āli-kāli is the purity of speech. The generation of the mind of awakening (bodhicitta) is the increase of all roots of virtue (kuśalamūla). Now, the offerings and so forth, which are motivated by the completely pure aggregates and so forth, are taught because they become the causes for swiftly attaining awakening.
Regarding the statement, "Form is Vairocana," and so forth: therein, the aggregate of form consists of the five faculties, the five objects, and non-informative form; because these are suitable to be form, there are eleven types of form. Since this is the support for the seeds of the arising of the aggregate of form, the primary location of form is the center of the head, where there is a white Bhrūṃ.
The aggregate of feeling consists of the three feelings—pleasure, suffering, and that which is neither pleasure nor suffering—which are mental factors. Because these depend upon the six faculties, they become eighteen. Since this depends upon heat, its primary location is the navel, where there is a yellow Aṃ.
The aggregate of perception is whatever mental factors arise through the application of names by way of apprehending the distinctions of the eighteen elements, such as the eye-consciousness and so forth. These are infinite because their objects are infinite. Since the throat is generally the root of the faculties such as the eyes, there is a red Hrīḥ there.
As for the aggregate of consciousness, it consists of the eight consciousnesses: the five such as the eye-consciousness, the ālaya-vijñāna (all-basis consciousness), the manas (mental consciousness), and the afflicted manas. Since the ālaya-vijñāna is the root of all consciousnesses and the life-wind is the support for the mental faculty, its location is the heart, where there is a white Hūṃ.
Other than those four, the aggregate of formations (saṃskāra-skandha) consists of the mental factors (caitta). These include ignorance, doubt, wrong view, the view of a transitory collection, the view of grasping at extremes, the view of grasping at views as supreme, and the view of grasping at discipline and ascetic observances as supreme; as well as desire, pride, jealousy, avarice, anger, and so forth, which are numerous. The wind is the support for the mental factors included therein; its location is beneath the balls of the two feet. Within these, there is a green hoḥ that has become dual, like a reflection. The suchness (tathatā) of the five aggregates is a blue hrīḥ at the crown of the head. Likewise, in the eyes and so forth, one should meditate on the white oṃ, blue hūṃ, yellow traṃ, red a, and green haṃ, which are the seed syllables of all the bodhisattvas. At the navel and so forth, one should meditate on the yellow laṃ, blue maṃ, red paṃ, green taṃ, and conch-colored baṃ, which are the seeds of Pāṇḍaravāsinī and the others.
The names and so forth, as cited from other tantras, are described in verse:
Vairocana and Ratnasambhava,
Amitābha and Amoghasiddhi,
Vajrasattva and Akṣobhya—
these six are the preeminent among the Victors.
With legs extended and tucked, possessing three eyes,
white, yellow, red, green,
and blue-white are these Tathāgatas.
The first [Vairocana] brandishes a wheel in his right hand,
and holds a bell at his hip with the left.
The [next] three [Ratnasambhava, Amitābha, and Amoghasiddhi]
sport brandishing a jewel, a red lotus,
and a crossed vajra [respectively].
The left hands all hold bells at the heart.
The fourth aggregate, the aggregate of formations, consists of the mental factors. These include ignorance, doubt, wrong view, the view of a transitory collection, the view of grasping at extremes, the view of grasping at views as supreme, and the view of grasping at discipline and ascetic observances as supreme; as well as desire, pride, jealousy, avarice, anger, and so forth, which are numerous. The wind is the support for the mental factors included therein; its location is beneath the balls of the two feet. Within these, there is a green hoḥ that has become dual, like a reflection. The suchness of the five aggregates is a blue hrīḥ at the crown of the head. Likewise, in the eyes and so forth, one should meditate on the white oṃ, blue hūṃ, yellow traṃ, red a, and green haṃ, which are the seed syllables of all the bodhisattvas. At the navel and so forth, one should meditate on the yellow laṃ, blue maṃ, red paṃ, green taṃ, and conch-colored baṃ, which are the seeds of Pāṇḍaravāsinī and the others.
The names and so forth, as cited from other tantras, are described in verse:
Vairocana and Ratnasambhava,
Amitābha and Amoghasiddhi,
Vajrasattva and Akṣobhya—
these six are the preeminent among the Victors.
With legs extended and tucked, possessing three eyes,
white, yellow, red, green,
and blue-white are these Tath
Fifth, at the heart, the right hand holds a vajra and the left holds a bell at the hip. Likewise, for the others, Akṣobhya holds a vajra with his right hand in the earth-touching mudrā. Kṣitigarbha, Vajrapāṇi, Ākāśagarbha, Lokeśvara, Sarvanīvaraṇaviṣkambhin, and Samantabhadra—these sons of the Conquerors—are white, blue, yellow, red, and blue-white, respectively. The first holds a wheel aloft with the right hand and carries a bell at the heart with the left. Vajrapāṇi holds a vajra at the heart with the right and a bell at the hip with the left. The other three hold a jewel, a red lotus, and a vajra aloft with the right, and carry a bell at the heart with the left. [The fourth] holds a red lotus and a crossed vajra aloft. Sixth, [the sixth] holds a vajra at the heart with the right and a bell at the hip with the left. All arise from their respective seed syllables and have one face and two arms.
Pāṇḍarā and the others are yellow, dark blue, red, and green; they have one face and four arms. With their [right hands], they hold a wheel, a vajra, a lotus, and a sword, and in the other right hand, a curved knife. The left hands hold a skull-cup and a khaṭvāṅga. The fifth is smoke-colored, with three faces—white, blue, and red—and six arms. In her left hands, she holds a skull-cup, a khaṭvāṅga, and a noose; in her right hands, she holds a hook, the head of Brahmā, and a curved knife, in sequence. The goddesses are naked with loose hair, all three-eyed, standing with two legs in the posture of one extended and one tucked, and adorned with the five mudrās.
Pāpī (the Causer of Downfall) and the others possess names that correspond to their respective functions. They are the nature of Buddhalocanā, Māmakī, Pāṇḍaravāsinī, Tārā, and Dharmadhātuvajrā. Because Pāpī causes all Māras to fall, she performs pacification. Padmanarteśvarī accomplishes all miscellaneous activities; "dance" refers to mastery over miscellaneous activities, as she is the nature of Amoghasiddhi. The nature of mirror-like wisdom is Vairocana. Likewise, the other four Tathāgatas should be understood in sequence as the nature of the expanse of reality (dharmadhātu), which is the utterly pure wisdom of equality, discernment, and all-accomplishing activity. Delusion is destroyed, thus she is Mohavajrā; the others are to be understood similarly. The remainder is easy to understand. Furthermore, the "reflections" and so forth should be understood as the five aggregates in sequence, being like a reflection, a bubble, a mirage, a plantain tree, and an illusion.
The word "then" indicates that immediately following the purification of the aggregates and so forth, one should meditate on the vajra canopy without interruption. "Likewise" refers to the colors: black, green, red, and yellow. "Simultaneously" means at the very same time as that. "Arising from HŪṂ" refers to the vajra that arises from the syllable HŪṂ and is marked by the syllable HŪṂ. This is after reciting the mantra: OṂ MEḌINĪ VAJRĪBHAVA VAJRA BANDHA HŪṂ. "Pervading below" means down to the limits of the subterranean realm.
With the mantra oṃ vajraprākāra hūṃ vaṃ hūṃ, one should visualize the walls as being of the nature of five-pronged vajras. With oṃ vajraśarajāla trāṃ śaṃ trāṃ, the net of arrows is likewise formed. With the mantra oṃ vajrapañjara hūṃ vaṃ hūṃ, one should meditate on the vajra canopy. "Below" means that beneath the vajra canopy, with the mantra oṃ vajravidāraṇa hūṃ khaṃ hūṃ, one should meditate on the vajra awning. With oṃ vajrajvālānalarka hūṃ hūṃ hūṃ, the blazing vajra net is also formed. Regarding the phrase "Kākāsyā and so forth," the word "and so forth" includes Ulūkāsyā, Śvānāsyā, and Śūkarāsyā. The "four secret mantras" refers to the four-faced mantras beginning with sumbha. "Arising from the light of each respective pair" means those born from the light rays of each pair of secret mantras. Regarding the phrase "Yamadhāṭī and so forth," the word "and so forth" includes Yamadūtī, Yamadaṃṣṭriṇī, and Yamamathani. If one considers that the eight, beginning with Kākāsyā, only guard the cardinal and intermediate directions, one might ask: what guards the zenith and nadir? It is stated that the protection of the zenith and nadir is also performed by those very same ones in this tantra, because it is said, "In the subterranean abode of Brahmā." "In the well" refers to the area adjacent to the walls. "Abiding in suchness as a single taste" means that the obstructors should be visualized. "Dissolved" refers to Kākāsyā and the others.
Regarding the phrase "water into water" and so forth: at the very moment Kākāsyā and the others enter, it occurs just as water dissolves when water is struck. At that time, the vajra walls and so forth also become a single, poreless whole, and one should cultivate the conviction that all beings in every respect are free from obstacles. There is no objection to the question of why one meditates on emptiness immediately after the protective tent and so forth; it is because this tantra possesses great insight, and for those with great insight, emptiness alone is the supreme protection. Furthermore, do not ask why there is a vajra garland outside the drawn maṇḍala; it is because at the very time the maṇḍala of the Blessed One is generated, the garland of crossed vajras is generated, completely enclosed by the wheel of samaya.
Regarding the ritual for extracting the mantra of the Four-Faced One: in a grid of forty-nine squares formed by eight lines each, one should write the forty-nine letters, with the letter A at the beginning and the letter Ha at the end. In that regard: "The thirteenth, with the crescent moon and drop; the forty-eighth, with the base of the fifth; the forty-first, with the seat of the fortieth; the thirty-sixth, with the third; the forty-eighth, with the base of the fifth; the forty-first, with the seat of the fortieth; the forty-ninth, with the fifth; together with the crescent moon and drop—likewise the other letters." The thirty-eighth and twenty-seventh are the initial mantra.
The thirteenth, with the crescent moon and drop; the nineteenth, the seat of the forty-third, endowed with the third vowel; the forty-ninth, the seat of the thirty-sixth; and the nineteenth and so forth are likewise. The forty-ninth, together with the fifth vowel, is endowed with the crescent moon and drop; the forty-ninth and so forth are likewise. The thirty-eighth and the twenty-seventh—by taking these, they are the second mantra. The thirteenth, with the crescent moon and drop; the nineteenth, the seat of the forty-third; endowed with the third vowel; the forty-ninth, endowed with the thirty-sixth; endowed with the second vowel; the thirty-seventh and the forty-second; the nineteenth and so forth are likewise. The forty-ninth, with the fifth vowel, together with the crescent moon and drop; the forty-ninth and so forth are likewise. The thirty-eighth and the twenty-seventh—these are called the third mantra. The thirteenth, with the crescent moon and drop; take the second vowel; the thirty-sixth, the forty-second, and the forty-ninth, adorned with the thirteenth vowel; the fortieth, the nineteenth, and the thirty-ninth, endowed with the second, the crescent moon, and the drop. The thirty-ninth, the twenty-fourth, and the seat of the forty-third; the forty-ninth, with the fifth vowel, endowed with the crescent moon and drop; the forty-ninth and so forth are likewise. The thirty-eighth and the twenty-seventh—these are called the fourth mantra. Regarding "those," it refers to immediately following the meditation on the protective tent. Regarding "at the heart," it refers to the heart situated in the center of the protective tent.
Regarding the phrase "upon that": in the center of the moon maṇḍala is the syllable HŪṂ, the nature of the Vajra-holder, radiating five-colored light rays. Its essential color is like liquid mercury, being blue in the center and white on the outside.
Drawn in by its light rays, one should perform the unsurpassed seven-limbed offering—beginning with homage—to Cakrasaṃvara abiding in the space in front, and offer oneself. In this regard:
"Homage to you, Vajraḍākinī,
Sovereign of the ḍākinī maṇḍala,
Endowed with the five wisdoms and three kāyas,
I prostrate to the protector of beings."
This is the homage.
"Light emanating from the seed-syllable in the heart,
With the beautiful goddesses holding lutes and so forth,
Through outer, inner, suchness, and secret offerings,
It is described as the act of offering."
Regarding that: the goddesses of the lute, flute, drum, and clay drum are blue, yellow, red, and green respectively. Each has two principal hands playing their respective musical instruments, and two other hands holding a vajra and bell.
The goddesses of laughter, charm, song, and dance are red, yellow, blue, and green respectively. The principal hands of the goddess of laughter are in the gesture of laughing. The principal hands of the goddess of charm hold a vajra and bell, while her other two hands are in the gesture of charm. The principal hands of the goddess of song hold cymbals. The principal hands of the goddess of dance are in the lotus-circling gesture.
These [deities] hold skull-cups and khaṭvāṅgas in their right and left hands. The goddesses of Flower, Incense, Lamp, and Perfume are white, smoke-colored, and red, like the tips of a lamp’s flame. Of these, in the right hands of the principal [deities] are flowers, incense burners, lamp stands, and perfume conch-vases. In their other three hands are hand-drums (ḍamaru), skull-cups, and khaṭvāṅgas. The goddesses of Form, Taste, Touch, and Dharma are white, red, green, and white; in the right hands of the principal [deities] they hold a mirror, a vessel of honey-wine, various garments, and a source of phenomena (dharmodaya). In their other hands are hand-drums, skull-cups, and khaṭvāṅgas. All have one face and four hands, and so forth, having arisen from the seed-syllables of the sixteen vowels. Following that, one should offer praise with the eight-line mantra; this is the offering.
Whatever sins I have committed, am committing, or have rejoiced in, through the doors of my body, speech, and mind, driven by desire, hatred, and delusion—I confess them all before the Victors. This is the confession of sins. Whatever merit belongs to all the Tathāgatas, and furthermore to those who perfectly rely upon complete awakening, and to the Pratyekabuddhas and sublime Gurus—I rejoice in all that merit. This is the rejoicing in merit. All the Buddhas without exception who dwell in the three times, possessing the vast collection of qualities of compassion that pervades the infinite directions—
"To all the noble assemblies, free from faults and endowed with the Dharma, having understood this, I go for refuge with profound devotion"—this is the taking of refuge. "Relying upon the perfectly pure, authentic path of the Victors, a price such as that of Brahmā, Indra, or Rudra cannot be found. Thus, from the mass of merit I have closely accumulated, I shall thoroughly generate that supreme mind of awakening"—this is relying upon the path of the Victors and generating the supreme mind of awakening. "In order to liberate all beings, I offer my own self, moment by moment, to the Buddhas from this ocean of existence so difficult to traverse"—this is the offering of oneself. Having thus expressed the accumulation of merit, Heruka and the others express the accumulation of wisdom. One should cultivate the conviction that the offerings and so forth are merely mind, through dependent origination and the like. Having meditated on the three syllables of Heruka at one's own head, throat, and heart, and having applied the certainty that phenomena are devoid of causes, free from conceptualization, and do not abide anywhere, one should generate compassion directed toward phenomena, thinking: "Because sentient beings do not understand the nature of phenomena in this way, they wander in saṃsāra, grasping at 'I' and 'mine' and so forth; therefore, having transformed myself into Heruka, I shall cause all sentient beings to understand the nature of phenomena in this way." Then, reciting the mantra oṃ svabhāva and so forth, one should contemplate the three realms as empty.
In that regard, the syllable OṂ is for the clear meditation on the objects of offering, the offerer, and the offering itself as being mind-only. "Svabhāvaśuddhāḥ sarvadharmāḥ" means the purity of the apprehended. "Svabhāvaśuddho ’haṃ" means the purity of the apprehender. Furthermore, by the power of aspiration, that mind should be made to abide in the form of the syllables OṂ, ĀḤ, and HŪṂ, white, red, and blue, respectively, in an ever-increasing state. Then, from the syllable OṂ, the deities of the body-cakra are emanated; having performed the benefit of beings and preceded by the attainment of union, they are melted and reabsorbed into that very [syllable]. Likewise, from the syllable ĀḤ, the deities of the speech-cakra, and from the syllable HŪṂ, the deities of the mind-cakra. Then, the syllable OṂ dissolves into the syllable ĀḤ, the syllable ĀḤ into the syllable HŪṂ, the vowel-sign (u) into the letter HA, the letter HA into the head-vowel (m), the head-vowel into the crescent moon, the crescent moon into the drop (bindu), and the drop dissolves into the nāda. Having placed it at a hundred-thousandth part of the tip of a hair, if the nature of phenomena (dharmatā) is not realized, one should meditate on great compassion—as previously described—as the seed of non-referential compassion for those called "sentient beings." Then, reciting the mantra "Oṃ śūnyatājñānavajra..." and so forth, one should abandon even the conceptualization of the mere nāda. Even in the small stage, without the meditation on emptiness, one should meditate in the very center of the vajra pavilion on the source of phenomena (dharmadhātu), the nature of which is the syllable E in the form of a dharmodaya, wide at the top and narrow at the bottom.
In the center, one should meditate on the celestial palace; this is the view of some. Following that, through the yoga of arising from emptiness, one should manifest a crossed vajra (viśvavajra) through the sequence of the wind maṇḍala and so forth. Upon that, one meditates on a multicolored lotus (viśvapadma), the characteristics of which are described as follows: the petals situated in the directions of the east and so forth are the color of dawn; the petals in the directions of wind and fire are yellow; and in the direction of the lord of hungry ghosts, the northeast, the petals are the color of a blue cloud. The meaning of this is as follows: those situated in the directions of the east and so forth are red; those in the wind and fire intermediate directions are yellow; those in the southwest intermediate direction are blue; and those in the northeast intermediate direction are dark blue.
In its center, regarding the phrase "arisen from the āli and kāli," this refers to the yoga of visualizing the moon and sun as reflections in the form of the āli and kāli garlands arranged in counter-clockwise and clockwise order, which have completely transformed. In that context, the moon is the nature of the mirror-like wisdom (ādarśajñāna), and the sun is the nature of the wisdom of equality (samatājñāna). In the center of the union of these two, from the hūṃ syllable, one should first place the seed syllable hūṃ—the nature of the wisdom of individual discernment (pratyavekṣaṇājñāna)—resting upon a sun disk within the hub of a vajra arisen from hūṃ. This arises sequentially from the nāda, and because it is the cause of the nature of the Vajra-holder (Vajradhara), it is so described.
From the five-colored light rays arising from that, the deities of the five cakras emanate and transform that being into their own nature, then withdraw [the light]. Furthermore, all the accomplished ones, heroes, yoginīs, and so forth, residing in the ten directions, through the equal union of insight and method, are melted by the nature of the all-accomplishing wisdom and should be fully absorbed. Then, at that time, one should meditate on the seed syllable, which is the nature of supreme joy, as being present before one. For that very reason, this Blessed One is the nature of the causal Vajradhara; this is the "subsequent yoga." Regarding the phrase "generated from HŪṂ and so forth": through the complete transformation of the moon, sun, hand-symbol, and seed syllable, the coemergent joy is perfected as the glorious Heruka. One should recite these three mantras: OṂ ĀḤ HŪṂ SARVA VĪRAYOGINĪ KĀYA VĀK CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ; OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ; and so forth, and meditate on the Blessed One as the nature of the utterly pure wisdom of the dharmadhātu. Regarding the phrase "abiding on a sun disc": it is because of the purity that dispels the darkness of ignorance, because of the wrathful aspect itself, and because wrathful deities also abide on sun discs and possess radiance. Regarding "the eternal" and so forth: because of the state of non-abiding nirvāṇa itself, the nature of the conceptualization of permanence is the treading upon Īśvara.
The nature of the conceptualization of nihilism is the suppression of Umādevī. In that regard, Īśvara is Bhairava, who arises from the complete transformation of the seed syllable OṂ. He is dark blue, with three eyes, endowed with the five mudrās, leaning to the left, with one face and four arms; his first two hands are joined in prayer, while the other two hold a ḍamaru and a sword. Umādevī is Kālarātri, who arises from the complete transformation of the seed syllable HRĪḤ. She is red, with one face and four arms; her first two hands are joined in prayer, while the others hold a skull-cup and a khaṭvāṅga. She has three eyes and is endowed with the five mudrās, leaning to the right. This follows the explanation of the three eyes.
Regarding the wheel and so forth: therein, the wheel is the wheel of the maṇḍala of Brahmā, which encompasses all the dharmas of the Buddha. The charnel grounds are the ten [objects of] clinging: clinging to pleasure in the face of suffering, impermanence, and so forth; clinging to permanence, causelessness, and discordant causes; clinging to saṃsāra or clinging to what is not [the truth]; inexhaustible clinging; clinging to birth; clinging to a self; clinging to that which follows [the self]; clinging to suchness; and lack of cultivation. Through the purification of these ten, the ten directional guardians, such as Indra and the others, are to be understood.
According to the definitive meaning, the eight charnel grounds are the very [cakras] where the fire of the wisdom of Caṇḍālī, which moves upward through the apertures of the channels, causes the Tathāgatas in the dharma-cakra to become invisible. Therefore, what is elsewhere called "charnel ground" refers to the eightfold nature of selflessness of the eight consciousnesses that comprise all world-systems. "Within the celestial mansion" means abiding in the center of the celestial mansion. That celestial mansion arises from the syllable BHRŪṂ and is the nature of Vairocana together with the consort. Because the suchness of the Tathāgatas and that of ordinary beings is of a single mode and thus lacks any unequal entity, it is square. It has four gates through the purification of the applications of mindfulness, the correct abandonments, the bases of miraculous power, and the faculties. It is beautified by eight pillars through the purification of the eight branches of the path. It is completely surrounded by four divine cornices and a veranda through the purification of the four samādhis: Śūraṅgama, Gaganagañja, Vimalamudrā, and Siṃhavikrīḍita. It is adorned with four archways through the purification of the four concentrations. It has lattices, half-lattices, moons, suns, banners, mirrors, and fly-whisks through the purification of the seven branches of awakening. In short, it is endowed with the marks through the purification of each of those various qualities of a Buddha.
Regarding the "Vajra Garland": because it is the very nature of the five wisdoms, he holds a garland made of five vajras at his forehead. His colors in the east, north, and so forth, are in sequence dark blue, green, red, and yellow. "Four faces" refers to the purity of the four doors of liberation, characterized by emptiness, the absence of marks, the absence of wishes, and the unconditioned. "Twelve" refers to the cessation of the twelve links of dependent origination. "Each with three eyes" refers to seeing through the gateway of all aspects of the three times. "Legs extended and tucked" refers to the fact that all beings are subsumed within emptiness. Furthermore, the statement that the right leg is extended five spans while the left leg is tucked refers to the two hands in reality. Because emptiness and compassion are of one taste, the vajra in the right hand is the nature of the equal taste of wisdom. The bell in the left hand is the nature of the perfection of insight. Because he has caused the delusion of beings, such as ignorance, to be destroyed, he holds behind his back a white corpse of the nature of delusion, together with blood. Regarding the damaru and so forth, starting first with the upper right and likewise starting with the upper left, he holds the khaṭvāṅga and so forth in sequence. Among those, the damaru is that which invokes all the buddhas with the sound of supreme joy. The battle-axe is that which cuts through the defects of body, speech, and mind.
The insight that severs the conceptualizations of existence and non-existence is the curved knife. Because it tears asunder the afflictions of the three realms of existence, the trident is raised; it is white, the nature of bodhicitta. Because of the complete purity of body, speech, and mind, the khaṭvāṅga possesses three heads—white, red, and black. The skull cup is the nature of great bliss and great compassion. Because it is bound by the form of authentic jñāna, the protection is the vajra lasso. The severed head of Brahmā is the nature of liberation, through which the conceptualizations of existence and non-existence are destroyed. Because the stream of bodhicitta blazes to the left of the Blessed One, the crescent moon on his head is slightly tilted to the left. Because he is motivated by the dharmadhātu, he has a garland of five skulls upon his head. Because he acts for the benefit of all wandering beings, he possesses a crossed vajra. Because the four Māras have been utterly destroyed, he has a topknot of matted hair. Because he joins the joy of meditating on calm abiding and special insight, which are the nature of the five Tathāgatas and the four goddesses, such as the intelligent ones, he possesses the nine dramatic sentiments: the graceful, the heroic, the hideous, the haughty, the laughing, the terrifying, the compassionate, the fierce, and the peaceful. Because he is free from the stains of desire, hatred, and delusion, he wears a lower garment of tiger skin. Because of the complete purity of the fifty vowels and consonants, he wears a necklace of blood-dripping human heads; such is he.
She is adorned with a necklace, bracelets, earrings, a crest-jewel, and a brahmin’s thread made of human sinew. Because her entire body is pervaded by bodhicitta, her whole body is smeared with ash. "In front" means she remains in an embrace. Because she possesses the menses, she dwells upon the sun and possesses the radiance of the sun. Because she is free from [ordinary] desire, she holds a garland of dry skulls. The stream of blood dripping from the skull-cup held in her left embracing hand is offered to the Venerable One. "Terrifying" means that with the vajra and the threatening gesture of her right hand raised upward, she truly terrifies the malevolent beings dwelling in the ten directions. "Like the fire at the end of an eon" is because, through emptiness, she is the equality that does not perceive beings. She is also of great majesty because she is clearly joined with pure primordial wisdom (jñāna). "Blood" is because she possesses the menses. "On the two thighs" refers to those of the Blessed One. "Great Bliss" means that although she is saturated in great bliss by way of special insight (vipaśyanā), she acts for the benefit of beings.
"Slightly smiling and fully embracing,
Naked and with hair loosened,
With hair standing on end and great bliss—
These are the five external signs.
Since three signs are explicitly mentioned,
The other two signs should be understood therein.
The goddesses dwelling in the five cakras
Perfectly abide in those five signs." Thus it is said.
Regarding "bodhicitta and so forth," the word "and so forth" includes the five nectars and the five lamps, which arise as the accomplishment of the flavors. Thus, one should meditate on the nature of the three sattvas: the samayasattva, with a blue syllable HŪṂ as the samādhisattva at the heart of the sun in the center of the solar disc; and at the navel, the jñānasattva, consisting of the vowels and consonants and so forth, as will be explained. Alternatively, one should visualize the jñānasattva at the heart, with the samādhisattva at its heart, and that as the nature of the nāda, the drop, and the nectar of great bliss.
OṂ SARVA VĪRAYOGINĪ KĀYA VĀKA CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ.
As for those who move through the sky, what is their abode? Here it is said that the eight heroines, such as Caṇḍākṣī and the rest, are those who move through the sky. Their abode is such that they travel through the sky without being obstructed by walls and so forth, just as they desire; they also obtain their desired aims merely by thinking of them in the mind. Furthermore, they do not experience the sufferings of existence—this is the abode of those who move through the sky. The abodes of those who move on the earth and those who dwell beneath the earth are also attained by those who move through the sky.
With respect to the mastery of perfected meditation, the specific distinctions are stated: in the eyes, upon a lotus and moon, one should meditate on Mohavajrā, arisen from the syllable KRAṂ. She is white and embraces Rūpavajrā.
In the ears, upon a lotus and sun disk, from a vajra and the syllable HŪṂ arises black Dveṣavajra, embraced by Śabdavajrā. In the nostrils, upon a lotus and sun disk, from a jewel and the transformation of the syllable TRĀṂ arises Īrṣyāvajra. Some call this Mātsaryavajra. He is yellow and embraced by Gandhavajrā. At the root of the tongue, upon a lotus and sun disk, from a red lotus and the transformation of the syllable AḤ arises red Rāgavajra, embraced by Rasavajrā. At the forehead, from a sun disk and the transformation of the syllable HŪṂ arises green Mātsaryavajra, in union with Sparśavajrā. At the heart, upon a lotus and moon disk, from a vajra and the syllable HŪṂ arises white Īśvaravajra, in union with Dharmadhātuvajrā. These, beginning with Mohavajra, are the nature of the purity of the internal sense bases. The divine eye and so forth are also known by the names of the givers of generosity, such as Kṣitigarbha and the rest. They are sealed by Vairocana, Akṣobhya, Ratnasambhava, Amitābha, Amoghasiddhi, and Vajrasattva. Wearing a crown of matted hair, with three eyes and five mudrās, they each have one face and two arms. In their right hands, they hold a wheel, a vajra, a jewel, a red lotus, a crossed vajra, and a white vajra; in their left hands, they hold vajra-bells. Their legs are in the posture of one extended and one tucked. Their consorts also arise from the seed syllables JAḤ, HŪṂ, VAṂ, HOḤ, KHAṂ, and RAṂ.
The nature of the purity of the external sense bases is as follows: the specific distinction is the reversed posture of extension and contraction, corresponding to their respective body colors. They hold in their right hands a mirror, a lute, a perfume conch, a vessel of taste, various garments, and a source of phenomena (dharmodaya); in their left hands, they hold a vajra and a bell. Śabdavajrā also holds a lute in her left hand and is sealed by Ratnasambhava.
At the navel, heart, throat, and forehead, upon lotuses and moons, from the syllables laṃ, maṃ, paṃ, and taṃ, arise the natures of Buddhalocanā, Māmakī, Pāṇḍaravāsinī, and Tārā. Then there are Pātanī, Māraṇī, Ākarṣaṇī, and Nṛtyeśvarī, each with one face and four arms. Their two right hands hold a wheel and a curved knife, a vajra and a curved knife, a lotus and a curved knife, and a sword and a curved knife. Their two left hands hold a skull-cup and a khaṭvāṅga.
At the secret place, upon a lotus and moon, from the syllable khaṃ, arises Padmajvālā, smoke-colored, with three faces: white, red, and the right face black. Her three right hands hold a hook, the head of Brahmā, and a curved knife. Her three left hands hold a skull-cup, a khaṭvāṅga, and a noose. She has three eyes and is endowed with the five mudrās. With loose hair and naked, her legs are in the extended and contracted posture. These five goddesses are, in order, the nature of the purity of the elements of earth, water, fire, wind, and space. From bhrūṃ, hūṃ, hrīḥ, hoḥ, and oṃ, arise the white, dark blue, red, green, and yellow Vairocana, Akṣobhya, Amitābha, [Amoghasiddhi, and Ratnasambhava].
Amoghasiddhi and Ratnasambhava are embraced and sealed by the natures of the purified aggregates of form, consciousness, formations, and feeling. Regarding the suchness of form and the other aggregates, white Vajrasattva arises from the complete transformation of the syllable Hoḥ upon a lotus and moon at the crown of the head; he is embraced on all sides by a blazing vajra of his own color arising from Hūṃ, and he is of the nature of the purified element of wisdom. In this context, Vairocana raises his right hand, which holds a wheel. Heruka Vajra possesses the earth-touching mudrā in his right hand; both of these should be visualized holding a bell, with their left hands resting on their hips in a majestic posture. Amitābha, Amoghasiddhi, and Ratnasambhava raise a red lotus, a crossed vajra, and a jewel respectively in their right hands, while their left hands hold bells at the heart in a playful manner. Vajrasattva should be visualized holding a vajra and bell at the heart in his right hand in a playful manner, with his left hand resting on his hip in a majestic posture. In this regard, one should understand that Vajrasattva is the suchness of the aggregate of consciousness, and Akṣobhya is the suchness of the five aggregates; for these are realized to be of a single essence. For that very reason, the mutual sealing of the families of Vairocana is Akṣobhya.
At the head, throat, and heart are the deities Śaśvata, Amitābha, and Akṣobhya, who are the essence of the purity of body, speech, and mind, together with their consorts. These, such as Mohavajrā and the others, also melt into the great bliss of perfect union and dissolve into the sense bases, elements, aggregates, and the body.
Now, the purity of the vajra and so forth shall be explained. From the syllable ĀḤ of the goddess arises a red lotus; from the syllable DhyāḤ arises a third lotus with a white center, its tip blessed by the yellow syllable DhyāḤ. Then, with the heart and near-heart mantras of the goddess, she kisses the navel and heart; with her own heart mantras, she kisses the throat and forehead of the Blessed Lady. The Blessed One also kisses the throat and forehead of the Blessed Lady with his heart and near-heart mantras. Then, with the three syllables, joy should be initiated. This very ritual is also for the excellent joy externally. For this very reason, the mutual sealing is performed by Akṣobhya and the others, such as Vairocana.
At the forehead, throat, and heart are Śaśvata, Amitābha, and Akṣobhya, together with their consorts, who are the naturally pure nature of body, speech, and mind. These also, having melted through the bliss of union with the deities such as Mohavajrā, are absorbed into the sense bases, elements, aggregates, and the body. Now, the purity of the vajra and so forth shall be explained.
From a white HŪṂ arises a black vajra, and from a red VYA arises its red jewel; its tip is blessed by a yellow syllable VYA. At the tip of the vajra’s nose, one should visualize a drop the size of a mustard seed. While abiding in that state, one should behold the maṇḍala of the vessel and its contents. It abides as the drop of the samādhi-being. Likewise, one may visualize the maṇḍala, or else the seed-syllable of its hand-symbol; that is the maṇḍala abiding there. Alternatively, at the subtle point between the eyebrows, the syllable HAṂ abides within the drop; one should behold it like a reflected image. This is the maṇḍala that accomplishes awakening.
Alternatively, having joined the vowels and consonants, one should definitely apply the lines to that. For the purpose of churning and rubbing at the navel, the blazing [fire] also moves upward. Having burned the five [objects] such as form and so forth, together with the four elements, at the heart, it circles three times to the right. At the method [wheel], it is at the throat cakra. At the crown cakra, pointing downward, the syllable HA is then burned. It departs from the location of the ūrṇā-kośa pore. For the sake of the amṛta, it also goes to the ten directions. Through the pore located in the center of the crown, it enters into the Buddhas. Having taken the wisdom-amṛta abiding in the hearts of the Buddhas, it emerges from their ūrṇā-kośa pores, equal to flashes of lightning. The extremely subtle Mahāmudrā, with great joy and great enthusiasm, enters the practitioner through the door located in the center of the crown.
From the apertures of the teeth and the crown of the head, resting in the throat cakra, it burns the aggregates and elements, generating joy in the heart. Then, it abides in the navel lotus; likewise, it moves back and forth again. One should contemplate each of the yogas: withdrawal, meditative concentration, breath control, retention, recollection, and absorption. Having seen the signs arising from the teachings, such as trembling and leaping, one should emanate the deity’s wheel for the benefit of all sentient beings. By meditating in this way, one will swiftly attain the results of the stages, such as "heat" and the others, as well as the grounds of "Supreme Joy" and so forth, in this very life. Following that, through the yoga of the Buddhas, Bodhisattvas, and ḍākinīs, they will consider how to invite those secret mantras and cause them to appear before one. Just as when someone cries out a great cry to a Great Being, they will arrive upon merely hearing it, so too do the Buddhas arrive in succession. Then, by the King of Secret Mantras, the vajra of the mind is exhorted, bestowing the accomplishment that is difficult to separate. Having understood the Sage’s speech in this way—profound and seeing the expanse of space—one should recite the secret mantra while in meditative equipoise. The syllable HŪṂ is the emergence of the self; the nature of OṂ is the entry; the syllable ĀḤ is the nature of abiding. One should contemplate the sequence of the vital winds: in a single day and night, there are twenty-one thousand six hundred movements of the winds.
From among the root mantras and so forth, the practitioner should recite the mantras as desired. The rosary should be made of a great conch shell strung on a thread, and it should be held by joining the ring finger and the thumb. Following that, in order to cultivate the firm conviction in the form of the deity such as Vārāhī and to demonstrate the attainment of omniscience, one should correlate [the practice] with the factors conducive to awakening, the ten grounds, the stations, and so forth.
In that regard, the four applications of mindfulness are the antidotes to the four misconceptions of purity, bliss, permanence, and self. Among them, the application of mindfulness of the body is the thorough engagement in the full knowledge of the aggregate of form. The application of mindfulness of feeling is the engagement in the full knowledge of the aggregate of feeling. The application of mindfulness of phenomena is the certain apprehension of perception and formations as being like an illusion. The application of mindfulness of the mind is the discernment of the nature of the aggregate of consciousness.
In this context, mindfulness is the non-obscuration of the mind regarding an experienced object. The specific type of insight that causes that [mindfulness] to remain present is the application of mindfulness. The collection of the elements is the body. The experience of pleasure and so forth is feeling. The limit of reality is phenomena. The mere appearance of each is the mind. The very act of recollecting these as being like an illusion is the application of mindfulness. Miraculous power is the perfection of meditative absorption. Its branches are the four bases of miraculous power.
In that regard, the extremely clear conviction resulting from hearing the sublime Dharma and so forth is the basis of miraculous power of aspiration. The continuous cultivation of diligence is the basis of miraculous power of diligence. Thorough investigation is the basis of miraculous power of investigation. That which is particularly exalted in the direct realization of awakening itself is the basis of miraculous power of the mind.
Alternatively, aspiration is the mental state of superior resolve that relies upon the formations of abandonment, solitude, detachment, and cessation, and is characterized by complete transformation and separation. In this context, "truth" refers to the path. "Detachment" is the freedom from the defilements of the afflictions, which is nirvana. "Cessation" is the freedom from engagement with contaminated entities. "Relying upon these" means relying upon solitude, detachment, and cessation. "Complete separation" is the freedom from engagement with all conditioned entities. "Complete transformation" is the concordant result of that. Likewise, there are diligence, the mind, and investigation.
In this context, because they exercise mastery through knowledge, faith and the others are also "faculties," just like the eye and so forth. Among them, faith is the faculty of conviction regarding the truths, the Three Jewels, and the results of actions. The faculty of diligence is the firm grasping through the very act of determination. The faculty of mindfulness is the state in which ignorance finds no opportunity due to mindfulness that is free from dullness.
The faculty of absorption is the mastery of one-pointedness of mind. The faculty of insight is the definitive apprehension of what is to be abandoned and what is to be adopted as they truly are. Alternatively, faith is the mind’s intense clarity regarding mundane and supramundane right view. Diligence is the mind’s enthusiastic application. The faculty of diligence is that which accumulates the qualities based upon the faculty of faith. The faculty of mindfulness is the non-obscuration regarding the objects generated by the faculty of diligence. The faculty of absorption is that which brings to manifestation the objects that have not been lost from the faculty of mindfulness. The faculty of insight is the discernment of the objects that have been made one-pointed by the faculty of absorption. The antidotes to lack of faith, laziness, mental dullness, heedlessness, distraction, and so forth, are the ultimate faculties themselves, which are called the powers: the power of faith, the power of diligence, the power of mindfulness, the power of absorption, and the power of insight.
Perfect awakening is the mind free from doubt, for the sake of realizing [reality] correctly by oneself. Its causes are the seven branches of perfect awakening. Among them, the branch of perfect awakening of mindfulness is the non-obscuration regarding the aspiration for perfect awakening for the sake of all sentient beings, as well as regarding learning and the realization of conceptualization. [It is the non-existence of] subjects such as a self and so forth.
The thorough discernment of phenomena, which perceives that only the five aggregates of phenomena and so forth exist, is the factor of awakening of the thorough discernment of phenomena. The mind being of one taste with the nature of phenomena is the factor of awakening of joy. In order to sever the habitual tendencies of the discordant factors of "I" and "mine," the serviceability of the three—body, speech, and mind—is the factor of awakening of pliancy. One-pointedness upon the four immeasurables, suchness, the limit of reality, emptiness, and the dharmadhātu, is the factor of awakening of absorption. The definitive emergence from the level of ordinary beings is the factor of awakening of diligence. The effortless continuum of the formations of body, speech, and mind, which serves as the antidote to the afflictions and is not characterized by indifference, is the factor of awakening of equanimity. Because it is both noble and an eightfold limb, and because it serves as the antidote to the obscurations of the afflictions that are conducive only to negativity, it is the noble eightfold limb. Furthermore, because it is sought for the purpose of meditating to abandon the obscurations to the knowable, it is both the noble path and an eightfold limb, and is thus the noble eightfold path. Its limbs are the eight beginning with right view. Among them, right view is the view of all phenomena as having the characteristic of selflessness and as being beyond the world. Right thought is that which [concerns] the things to be abandoned...
One should mentally engage in the abandonment of what is to be taken up through grasping, and in the actualization [of what is to be realized]. That which purifies by means of a purely virtuous mind so as not to deceive sentient beings is right purification. Not transgressing the ten virtues is right action. Sustaining oneself through a livelihood that is not hypocritical toward sentient beings and so forth is right livelihood. The activities of body, speech, and mind that follow after the perfection of the welfare of oneself and others is right effort. The non-obscuration of the nature of phenomena (dharmatā) as it is realized is right mindfulness. Focusing on the manner of the glorious Heruka is right absorption. Because these abandon the obscurations, they are the right abandonments. In that regard, the obscurations are the afflictions (kleśa) such as desire and the secondary afflictions (upakleśa) such as indolence. Because these are abandoned through the right abandonments, they are explained in detail at the end. Alternatively, because these are applied in all [stages], they are explained at the end as being inconsistent with the perfection of wisdom (prajñāpāramitā). This is for the purpose of knowing that as long as the yogi has not become Heruka, one should always practice by means of these alone. The nature of the right abandonments is also clear in the commentary. Through the purification of the ten stages (bhūmi), the ten locations and so forth should be described. In that regard, the locations, near-locations, and so forth are, in sequence: the Joyous, the Stainless, the Luminous, the Radiant, the Difficult to Conquer, and the Manifest.
The Far-Gone, the Immovable, the Excellent Intelligence, and the Cloud of Dharma. Regarding the instruction for the sequence beginning with pūjā and so forth: one should visualize all the syllables beginning with pūṃ and jāṃ together with their drops. These syllables, such as pūṃ, completely transform into the form of a hubless wheel and should be visualized instantaneously in the locations and so forth, starting from the head. In those locations and so forth, the channels of each respective place completely transform into the nature of the respective deity, and one should meditate on them abiding as deities. "In the ears" means inside the ear canals. Likewise, one should understand this for the navel, the genitals, the anus, the center of the eyebrows, the eyes, and the nose. Just as in the external world the waters of the rivers situated in the vicinity nourish the locations and so forth, so too in the body, the channels are equal to the external world in that they produce the nails and so forth. Externally, the Vajra Place is the location named Great Awakening and the Nairañjanā River. Within the body, the Vajra Place is the wheel of great bliss, and the central channel is the Nairañjanā. In this way, one should cultivate the conviction that the maṇḍala wheel of the body of Brahmā is stable. The passage beginning with "Body" and so forth is a conclusion to what was previously stated; it means that the body becomes inseparable from the higher realms and so forth, such that body, speech, and mind, along with the higher realms, the human world, and the subterranean realms, become of one nature in terms of the internal, the external, and the fundamental nature.
Regarding the phrase "by reciting the seed syllable, from the nature of the three syllables," this means that from the three syllables, the nāda is completely transformed, and in that manner, the essence of the syllable HŪṂ is generated. It is just so. The meaning of "by way of the manner of coemergent joy" is that it arises from that cause. "In an instant" and so forth means that it is coemergent with the goddess without depending on hand symbols and the like. "Instant mudrā" means being joined with insight at the very same time as oneself. "Instant maṇḍala" means being perfected in a single instant together with the celestial mansion and the lords of the heroes and heroines. "In an instant, the secret mantra" means that at the same time as the generation, one recites the mantra beginning with OṂ ĀḤ and so forth.
The phrase "Then" and so forth is a verse of summary. "Then" means immediately thereafter, having visualized the wisdom wheel according to the ritual that will be explained. If one asks, "Having done what?" it is said: "Having known the two rituals." There is no difference between the two armors, the hand offerings, and the [other] distinctions. One should view the subtle particles residing within the skin as being of the nature of mantra or the nature of the deity. "Swift entry" means without depending on the argha offering and so forth. "The two armors" and so forth is the detailed explanation.
Regarding the phrase "at the heart, on a sun": one meditates on the syllable HŪṂ, the nature of the absorption being (samādhisattva), upon the sun maṇḍala of the enlightened mind (citta). Then, having made offerings with the sixteen goddesses previously described—such as the one holding a lute—the wisdom being (jñānasattva) is summoned by its light rays. That yogin of Cakrasaṃvara should then cause the samaya maṇḍala to enter [the wisdom being].
Following that, the sixteen goddesses, such as the lute-player (vīṇā) and others, who have emerged from the seed-syllable at the heart and hold skull-cups and hand-drums (ḍamaru) filled with the nectar of wisdom, make offerings. Having slightly inclined [the skull-cups], one should confer empowerment upon oneself with the nectar from those skull-cups. At that time, one should also contemplate oneself as being of the nature of great bliss; the remainder is easy to understand.
Subsequently, one should view [oneself] as the nature of the three bodies (kāya), which are the nature of the five wisdoms. In that regard, through the selflessness of persons and phenomena, the afflictive and cognitive obscurations are completely abandoned. By abandoning the winds of all conceptual elaborations (prapañca), the lamp of wisdom—extremely luminous like a stainless, clear light that is a continuous flow unmoved by wind—is named the mirror-like wisdom (ādarśa-jñāna). It is the wisdom that is intensely clear, focused upon the ultimate truth (paramārthasatya), and which abides in the manner of non-abiding nirvāṇa for as long as saṃsāra exists. Like a pure wish-fulfilling jewel, it brings all purposes to perfection.
Through that blessing, the three [wisdoms] beginning with the wisdom of equality focus upon the conventional truth and are definitively applied to the welfare of others. Having individually examined [beings] through both common and extraordinary empowerments, the wisdom of all-accomplishing action acts in accordance with each individual's perspective. It establishes all sentient beings as suitable vessels for training. The wisdom of equality engages with all phenomena through common aspects such as impermanence. Furthermore, it considers the purposeful activity through the common certainty of place, time, and circumstance. Having thus engaged with certainty, it discerns through specific methods: at the very moment when the roots of virtue have fully ripened or the accumulations of faith and so forth are manifest, it accomplishes the welfare of all by means of attaining liberation. These are the three wisdoms.
When the all-ground consciousness (ālayavijñāna) is thoroughly purified through transformation, it is called the mirror-like wisdom (ādarśajñāna). When the afflicted mind (kliṣṭamanas) is thoroughly purified through transformation, being free from the view of a self and so forth, it becomes the wisdom of equality (samatājñāna). When the mental consciousness (manovijñāna) is thoroughly purified through transformation, it is called the wisdom of discernment (pratyavekṣaṇājñāna). When the functioning consciousnesses (pravṛttivijñāna) arising from the sense faculties are thoroughly purified through transformation, it is called the wisdom of all-accomplishing action (kṛtyānuṣṭhānajñāna). Through the thorough transformation of all bases, the state of the Sage’s pervasiveness is attained.
In this regard, because it is free from all superimpositions, the mirror-like wisdom (ādarśa-jñāna) that focuses on the utterly pure dharmadhātu is the dharmakāya. The wisdoms of equality (samatā-jñāna) and discernment (pratyavekṣaṇā-jñāna) are the saṃbhogakāya. The all-accomplishing wisdom (kṛtyānuṣṭhāna-jñāna) is the nirmāṇakāya, because it proceeds to the activities of sentient beings after having previously performed individual analysis. By its power, the enlightened activities of the Buddha appear to others. Even the display of birth and so forth is for the sake of bringing sentient beings to full maturity, in order to generate the certainty that even a human being can attain such excellence. Through that, one meditates on the path thus indicated through the stages of intention and so forth, and attains liberation. Others also enter that path. One should also understand the phrase "the wisdom of the utterly pure dharmadhātu." Regarding the name Khaṇḍakapāla, one should understand that the nails, teeth, and so forth are of the nature of Khaṇḍakapāla and the others. When seeing the guru, the Buddha, and so forth, one should perform prostrations and so forth with the conviction that they are the vows themselves; this is the "extreme yoga" (atyantayoga). Now, the "great yoga" (mahāyoga) will be explained, beginning with the words "the āli and kāli," and so forth.
From the āli and kāli [vowels and consonants], which possess five-colored light rays, the assembly of deities of the three wheels is emanated. Describing this, they emerge together with the wind of the right nostril and transform migratory beings into the nature of the three wheels. Having become of one taste with the heroes and yoginīs established from beginningless time, they enter through the left nostril. One should visualize them becoming a moon maṇḍala in the form of one's own reflection within the navel maṇḍala. Instantly, one should visualize the syllable hūṃ upon the moon maṇḍala.
Then, through the complete transformation of the moon and the seed-syllable, one should view the Blessed One, white in color, holding a vajra and bell, embracing with his two arms the red, single-faced Vārāhī who holds a vajra and skull-cup in her two hands. Like a drawing in the sky, one should gradually dissolve the three realms and the maṇḍala into oneself, drawn in by the sound of intense joy that is like an illusion.
As for the sequence: "existence" refers to the entire environment and its inhabitants, which dissolve into the charnel grounds. The charnel grounds dissolve into the outer protection wheel. The protection wheel dissolves into the body wheel. The body wheel dissolves into the speech wheel. The speech wheel dissolves into the mind wheel. The mind wheel dissolves into the wheel of great bliss. Within that, those situated in the directions of the mind wheel dissolve into the ḍākinīs and so forth. Those situated in the intermediate directions, such as the northeast, dissolve into Rūpī and the others. The ḍākinīs and so forth dissolve into the faces of the Blessed One.
One should visualize Vajravārāhī and Saṃvara dissolving into the Vajravārāhī and Saṃvara residing at the navel. These Vajravārāhī and Saṃvara, through the great joy of equal bliss and great passion, melt. One should visualize that melted state, which has completely transformed, as a syllable HŪṂ—the nature of great bliss—like a pearl anointed with sindūra. Then, one should visualize the syllable Ū dissolving into the syllable HA, the syllable HA into the head, the head into the crescent moon, the crescent moon into the drop (bindu), and the drop into the nāda, dissolving them in successive order. One should view only the nāda as remaining in the manner of a hundred-thousandth part of the tip of a hair. At the highest level, even that is not perceived.
Alternatively, by means of relying the mind upon the lines of light rays arising from the seed-syllable HŪṂ—which is within the union of the sun and moon residing in the navel lotus—like the fibers of a lotus stalk, one abandons the flow of the vital wind (prāṇa) in the two channels and enters the central channel. Through the blazing of the inner heat (caṇḍālī), the moon at the crown melts, and through the sequence of pervading the cakras, the innate joy (sahajānanda) arises through the distinctions of the stages of joy and so forth. By abandoning all conceptual thoughts, one should either make the maṇḍala non-referential all at once, or gradually dissolve it into emptiness. The sequence is exactly as before. In this way, one should practice the successive entry at every moment. As it is said:
"Just as the breath and wind
Completely dissolve into a mirror,
So too the yogi, at the limit of reality,
Enters at every single moment."
Through repeated entering and arising, one directly realizes the yoga of the absorption of union, in which the two truths are indivisible and perfected. Thus, the Great Yoga is complete.
Having explained the sādhana according to the oral instructions (upadeśa), this very sādhana is analyzed according to the oral instructions through the stages of generation and completion. In that regard, everything up to the end of the "Extremely Great Yoga" (atiyoga) is the stage of generation. The Great Yoga is the stage of completion. These two, the generation and completion stages, should be meditated upon solely according to the sequence of the six branches established by reasoning. Otherwise, the authentic accomplishment will not be attained.
As it is said in the Glorious Guhyasamāja Explanatory Tantra:
"Having performed the supreme accomplishment through the application of the six branches of approach, one should then practice; otherwise, the supreme accomplishment will not be attained."
"Individual withdrawal, concentration, breath control, likewise retention, recollection, and absorption—these are asserted as the six branches of application."
Regarding that, the withdrawal of the five consciousnesses, such as the eye-consciousness and so forth, from their objects, such as forms and so forth—drawing them back and making them perfectly disciplined—is "individual withdrawal" (pratyāhāra). Alternatively, perceiving the objects in the manner of the deity itself is individual withdrawal. Concentration (dhyāna) is the meditation on the mental consciousness as the deity itself, following the sequence of individual withdrawal.
Furthermore, that [meditative concentration] is fivefold, distinguished by [the factors of] conceptualization, discernment, joy, bliss, and one-pointedness of mind. Among these, the conceptualization is the thorough examination of the Blessed One, the glorious Saṃvara, together with the maṇḍala of the environment and its inhabitants. The discernment is the ascertainment through the very teaching of that [reality]. The joy is the mental happiness that arises from perceiving [the deity] as the respective deity through discernment. The bliss is the mind that possesses a sense of satisfaction toward the deity cultivated through joy. Because the mind endowed with bliss becomes an absorption, the birth of ignorance—which is the subject of various conventionalities—is exhausted; thus, the mind that focuses solely on the desired deity is one-pointedness of mind. This is the five-limbed concentration.
In that way, having meditated on the maṇḍala-cakra during the morning session according to the sequence as it was taught, during the midday session as well, one should focus on the maṇḍala-cakra in that very same manner in an instant. One should then perform the withdrawal and concentration, facing [the deity] for as long as desired, and practice concentration. Following that, during the interval between sessions, the practitioner of the Buddha Skull (Buddhakapāla) vow—either in actuality or through visualization—adorned with the five mudrās and so forth, holding a skull-cup, khaṭvāṅga, and ḍamaru, should meditate on the maṇḍala alone and perform actions such as circumambulation and eating.
Furthermore, it is said: "Having arisen from the meditation that has been blessed in three sessions, one should remain in the form of the deity." Regarding this very point, the thirty-ninth chapter of the Śrī Vajraḍāka Tantra states: "In the manner of glorious Heruka, with the meditation on the khaṭvāṅga and so forth, holding a skull-cup in the left hand, one endowed with the ascetic observances should engage in the conduct."
Specifically, regarding the purpose of the auxiliary rites, such as planting trees and so forth, the Ṭīkā titled Sādhana-kośa states: "The offering of the torma and the protection should be performed every day in that very manner." It also says: "'With the meditation on the khaṭvāṅga and so forth'—the word 'and so forth' includes the ḍamaru. Sprinkling with water and so forth are merely illustrative; this same manner should be applied to all activities such as circumambulation and eating. In particular, among the three hand symbols, whichever is applied according to the samaya should be held as desired. In some cases, the vajra and bell are also held, but there is no fixed rule that these must always be held."
Thus, maintaining the ascetic observances of the Buddhakapāla, through the sequence of actually performing the absorptions of the Śrī Saṃvara and so forth, such as the twelve-armed form, one should accomplish the practice that encompasses the three worlds and, in its ultimate consummation, the practice of Mahāmudrā. Furthermore, this ascetic observance of carrying the skull-cup should be bestowed only at the time of empowerment in the Yoginī Tantras.
The practitioner should have no doubt regarding this statement: "One arises from emptiness in the manner of the thirty-two major marks and so forth." Furthermore, from the morning session until the midnight session, one should remain meditating on the deity alone. Then, one should meditate on emptiness. Regarding that, the pith instruction established in the scriptures is as follows: having momentarily visualized the syllable HŪṂ situated in the center of the lunar maṇḍala at the navel cakra, together with the arrangement of the āli and kāli vowels and consonants as they have been taught, one should radiate light rays along with those respective syllables. By the certain discernment of those light rays, one should transform the entire maṇḍala of the environment and its inhabitants, such as Bhairava and the rest, into the nature of light, and then cause them to be thoroughly absorbed back into that very arrangement of āli and kāli.
Likewise, by radiating light rays again, and through the certain discernment of those light rays, one should transform the Blessed One together with the Blessed Lady into the nature of light, and cause them to be absorbed back in that same manner. Similarly, having again radiated light rays, and through the certain discernment of those light rays, one should transform the lunar maṇḍala, the syllable HŪṂ, and the arrangement of āli and kāli into the nature of light. As it is said: "Just as breath dissolves entirely into a mirror, so too does the yogi enter the ultimate reality in each and every instant." Having thus oriented oneself toward the clear light (ābhāsvara), if one wishes to sleep with the intention of resting, one should sleep while maintaining that very visualization.
Then, by the very nature of not being contrived, the practitioner, from the purity of the clear light, should arise from sleep with the conviction of being the glorious Cakrasaṃvara—one face and two arms, adorned with the thirty-two major marks, the eighty minor marks, the five mudrās, and so forth, and holding a skull-cup, a khaṭvāṅga, and a ḍamaru, maintaining the ascetic discipline of the Vajra-Skull-Bearer. During the morning session, one should meditate on the sādhana together with its branches according to the stage of withdrawal (pratyāhāra) as before.
In this way, for a practitioner who meditates continuously for a long time with faith and without interruption, the ḍākas and ḍākinīs, such as the glorious Cakrasaṃvara and others, will manifest themselves with great effort. Those who see this directly will also take him under their care; this is the stage of generation (utpattikrama).
One should then meditate on the stage of completion (niṣpannakrama) through the stages of breath control (prāṇāyāma) and so forth. In that regard, the sequence is as follows: because it is the very cause of the five wisdoms—namely, the mirror-like, the equality, the discerning, the all-accomplishing, and the utterly pure dharmadhātu—it is the nature of the five wisdoms. Since it is the nature of fire, wind, earth, water, and space, it possesses the essence of the five elements. Having caused the life-sustaining wind to flow downward, one should bring the bodhicitta drop, the size of a mustard seed, down to the tip of the vajra nose in the manner of a coiled sphere, and then contemplate it sequentially through the withdrawal and the five-branch meditative concentrations (dhyāna) as previously explained.
This is also the application of the drops (bindu), for the purpose of reversing the outward movement of the vital winds (prāṇa). Therefore, by that very cause, the Guhyasamāja Root Tantra describes it as "vital effort" (prāṇāyāma). This is merely an illustration; any meditative concentration (dhyāna) involving the application of the subtle āli and kāli at the navel, or the application of the drops and so forth at the heart and other locations, is also called "vital effort" because it serves to reverse the departure of the vital wind.
Specifically, by the power of such meditative concentration, one reverses the flow through the rasanā and lalanā channels, and the exertion of the vital wind flows intensely into the central channel (avadhūtī). In this way, it is also called "vital effort." Then, having meditated on a solitary hūṃ syllable without a sun or maṇḍala at the heart, by means of the vital wind entering its drop, if the subject and object along with the vital effort are dissolved, one abides in emptiness alone. From the transformation into the luminosity (ābhāsvara) of the precious mind—equal to space and the peaceful nature of all Buddhas, which is a mere appearance of objective perception—the stabilization of the vital wind is "retention" (dhāraṇā).
This is also merely an illustration; whether it be the application of the subtle āli and kāli residing at the root of the navel, the application of the drop meditated at the tip of the vajra-nose, any application such as inner heat (caṇḍālī), or the stabilization of the vital wind through the sequence just described, that too is "retention."
Immediately following this stage of retention, one will continuously perceive the five signs: a mirage, smoke, fireflies, a lamp, and a cloudless sky. Then, when the mind becomes stable through the nature of luminosity (ābhāsvara) together with the vital-wind control (prāṇāyāma), the power of the force of aspiration causes the recollection of the deity first meditated upon to arise. Furthermore, from the subtle application of the vowels (āli) and consonants (kāli) and so forth that were meditated upon, the practitioner emits rays of light; this is "recollection" (anusmṛti). The intentional meaning is that the emission of the aggregates, elements, and sense bases (āyatana) and so forth as the nature of the deity, together with that light from each and every pore, is called "recollection."
Likewise, from the Glorious Guhyasamāja:
"One should emit the stable jewels;
One should not emit with the unstable.
One should emit with the supreme clouds,
With the light equal to the wisdom of the Buddhas."
Then, having made the nature of all things—the aggregates, elements, sense bases, and so forth—which are naturally emitted, into the nature of light, and having gathered the rays of light into the manner of the indivisibility of emptiness and compassion within the nature of whatever subtle application was meditated upon, the instantaneous arising of the wisdom of self-awareness (svasaṃvedana-jñāna) is "absorption" (samādhi). This alone is what appears in other tantras.
This is the explanation arising from the stages of the lineage. Regarding the phrase "by the body whose nature is wisdom from the clear light," some also explain this as "absorption" (samādhi). It is also stated in the Glorious Guhyasamāja Explanatory Tantra:
"The engagement and abiding of the ten faculties in all [states] is called 'withdrawal' (pratyāhāra), the individual gathering of the desired [objects]."
"By gathering the five objects of desire through the application of the five Buddhas, it is called 'meditative concentration' (dhyāna'). Meditative concentration becomes fivefold: discernment (vitarka), analysis (vicāra), joy (prīti), bliss (sukha), and one-pointedness of mind (cittaikāgratā). These five are the summary of meditative concentration. In all the bodies of the secret tantras, these are renowned in various forms. Discernment is the arising of the three secrets; analysis is the full enjoyment of them. The third is the joy of mental bliss; the fourth is comprised of bliss. The fifth of the mind should be understood as the cessation of the arising of the knower and the known. The nature of all Buddhas is peace; all desires abide individually. The breath is the nature of the five wisdoms and the essence of the five elements. Having brought [the breath] down in the manner of a coil, one should focus intensely on the tip of the nose. The great jewel possessing five colors is mindfulness, called 'vital effort' (prāṇāyāma'). Having visualized one's own mantra at the heart, one should place the vital breath as a drop (bindu). The blocking of the sovereign jewel is explained as the apprehension of the grasper. When the mind abides in the vajra of cessation, the arising of the signs becomes manifest."
Its signs are also fivefold, arising from the vajra of awakening: the first has the appearance of a mirage; the second is the appearance of smoke; the third is like fireflies; the fourth is that which illuminates like a lamp; and the fifth is the constant illumination, like a cloudless sky. Through the stable vajra path, one should spread [the mind] throughout the element of space. Having meditated, whatever is the subsequent recollection, one should also spread it in that very form. This should be understood as "subsequent recollection," and from that, a vivid clarity arises. Through the union of insight and method, having gathered all things into the manner of a single integration, one should meditate upon them within the center of the bindu. The instantaneous perfection of wisdom is what is named "absorption."
Regarding these verses, the difficult terms are explained: "the ten" refers to the five faculties, such as the eye, and the objects, such as form. Therefore, this was said: "The abiding of the faculties' own engagement." The "faculties" are the eye and so forth. Furthermore, "abiding in their own engagement" means engaging in their respective objects; because they abide in their own engagement, "abiding in their own engagement" means the five consciousnesses of the eye and so forth. This "individual gathering" also refers to the five objects, such as forms and sounds, which are "desired" because they cause one to become attached.
Among those, the withdrawal of the five consciousnesses of form and so forth in their respective order is "withdrawal" because it draws them in; the mind separated from objects is the withdrawal of the five desires. In that context, "individually" means having attained the withdrawal of the five desires. The five consciousnesses, which are the bases of their own engagement, are described as being individually withdrawn and separated from their own engagement in sequence. The five desires are the five objects; the "thorough conceptualization" of them in the manner of deities is merely an illustration, for the thorough realization of all internal aggregates, elements, and sense bases through their application as the deities of Śrī Cakrasaṃvara and so forth is also meditative concentration. The mental faculty and its consciousness arise in the manner of the deities who are the nature of the secrets of body, speech, and mind; this is the emergence of the three secrets, which is the conceptualization of reality. "The birth of the knower and the known is destroyed" means that the birth of the conceptualization of the knower and the known, which is of the nature of false conventionality, does not exist. "The great jewel" is so called because it bestows the supreme fruit. "The vajra of cessation" is the clear light; the mind abiding in that has become its very nature. "By the stable vajra path, one should spread throughout the expanse of space" means that by means of the stable vajra path of recollection, one should spread throughout the expanse of space the hosts of deities who possess light rays and are the nature of the aggregates, elements, and sense bases.
"Through the union of insight and method, all things in all their aspects" means that the union of insight and method is by way of the inseparability of emptiness and compassion. "All things" refers to the assemblies of deities, which are the nature of the aggregates, elements, and sense bases, together with their radiance. "In the manner of integration" means that by way of the inseparability of emptiness and compassion, one meditates on those [deities] within one's own body, having gathered them into the center of any suitable drop (bindu), and then meditates on that very drop as suchness. The term "drop" is used as an illustration; in this same sequence, the application of the āli and kāli [vowels and consonants] and so forth is also included. "The instantaneous perfection of wisdom" means that by the arising of self-awareness in an instant, one also perceives suchness. Specifically, whenever one meditates on the drop in the center of the eyebrows through the sequence of withdrawal (pratyāhāra), at that time the perfections of breath control (prāṇāyāma), retention (dhāraṇā), recollection (anusmṛti), and absorption (samādhi) will occur. Furthermore, it is stated in the Root Tantra: "One should place the location of the avadhūtī in the center of the eyebrows." This very point is also stated in the Rigī Aralli Tantra:
"O Goddess, what is the supreme wisdom?
By the mere cognition of which
The practitioner attains accomplishment?
O Goddess, the family [of the Buddha] has truly spoken:
Great wisdom, the supreme bliss,
Arisen from omniscient wisdom,
Arisen from the rubbing of the rubbed and the rubber."
Having completely abandoned all conceptual thoughts and restrained all the sense faculties, in a secluded place where no beings dwell, one should focus the mind between the eyebrows without opening or closing the two eyes. In the manner of an unbearable darkness, the practitioner first perceives it. Then, the left ear is moved very slowly and gently. Whatever bliss belongs to the consort, such is the bliss of Mahāmudrā. The mudrā of the nature of faults causes even that cognition to degenerate. Therefore, one should meditate on the wisdom-mudrā (jñānamudrā) in order to accomplish great bliss. This very great wisdom is the nature of one's own self-cognition; it cannot be shown to others, just as a young maiden experiences her own bliss. With this application and a mind that delights sentient beings, through compassion for all beings, this application brings them happiness. Through the application of familiarization with this, with a mind equal to space and possessing the miraculous power of great compassion, the yogi will undoubtedly attain accomplishment. First, darkness is seen; second, white like smoke; third, similar to fireflies; fourth, like the javā flower; fifth, the cloudless sky, free from the feelings of self and other. That cause of omniscience is also endowed with the example of the cloudless sky. Through the application of constant familiarization, the one-pointed mind should act in this way. Always, by means of the nectar of wisdom—
"By drinking, there is no obstruction of hunger; there is no torment of old age or disease. Through this application of skillful means, one will gradually become omniscient." Thus it is said.
In that way, at the heart of the samayasattva, upon a lotus and moon maṇḍala, is the samayasattva as before, together with the prajñā. At the heart of the jñānasattva, upon a lotus and moon, is the syllable HŪṂ, the samādhisattva, or a bindu. From this, which possesses the nature of the vessel and its contents, millions of light rays of the assembly of Buddhas radiate and abide in a manner suited to the location. One should meditate on the extremely subtle cakras of the Cakrasaṃvara maṇḍala.
Then, having emanated light rays and thoroughly absorbed them into that very [bindu], the seed-syllable of the same family completely transforms into a subtle hand-symbol of the same family, which becomes the HŪṂ together with the maṇḍala. One should meditate on this as a single vajra. In that same way, together with the light rays, the extremely subtle cakras of the glorious Saṃvara maṇḍala should be visualized without interruption for seven days through the stages of pratyāhāra and so forth.
Thereafter, prāṇāyāma, dhāraṇā, anusmṛti, and samādhi will arise. The signs of samādhi—trembling, moving, subtlety, and the manner of the descent of the offering—will also truly arise. Furthermore, from the Abhidhānottara-tantra:
"The single bindu without syllables, which always abides at the heart—wisdom will certainly arise in the person who meditates upon it." Thus it is said.
In particular, as it is written in the treasury of sādhanas, having extracted the clear instructions from the Vidyājālasamudra Tantra along with its summary of the practice:
"The mind, which is the nature of the three realms,
Having visualized the support of the celestial mansion,
Pervaded by light of the sāya [measure],
One emanates clouds of Buddhas.
Having gathered them through the yoga of the bindu,
One meditates on the subtle yoga.
Arising from a hūṃ concordant with the family,
The maṇḍala is within the hand-symbol;
Expanding light equal to space,
The great support of the Victorious Jewels.
Even the subtle [aspect] of great bliss,
Gathered in the manner of subtle particles,
The samaya of all sentient beings without exception,
The ḍākinīs themselves also abide.
Emanating a garland of wisdom accumulations,
The body of manifold and various forms,
By suppressing with the vital winds (prāṇāyāma),
The nature of the stable mind enters.
Trembling, shaking,
Offering, descending, and likewise leaping—
The signs will become manifest.
Certainly within seven nights,
I shall show you this wheel in detail.
The great of the great, Vajragarbha."
Thus it is said. The results of the individual withdrawals (pratyāhāra) and so forth are also taught in the Guhya-samāja-uttara-tantra:
"Having fully attained individual withdrawal,
All Buddhas grant their blessings.
Having attained the wisdom of meditative concentration,
The five superknowledges (pañcābhijñā) will be obtained.
Through the vital winds and exertion,
The Bodhisattvas behold [the truth]."
"By the power of the object of grasping, Vajrasattva enters from all sides. From the application of recollection, a maṇḍala of light rays arises. Merely through the power of absorption, one becomes free from obscurations." Thus it is said.
If one asks what is to be done as a fault in the Great Yoga, it is stated as "in an instant" and so forth. Having visualized the maṇḍala wheel in a mere moment, one looks at the syllable HŪṂ or the nāda at the navel wheel. Reciting the three syllables, one emanates the five wheels of wind that emerge from that nāda according to the oral instructions, performs the benefit of beings, and then, together with the recited mantra, causes that very nāda to enter back in by means of the wind that enters the thread of the rosary. To do this again and again is the vajra recitation.
In that same way, reciting the heart and near-heart mantras from that very nāda, one emanates and reabsorbs the assembly of deities of Cakrasaṃvara as before, and recites the heart and near-heart mantras. Reciting the mantras of the individual deities and emanating and reabsorbing them in their entirety is the samaya recitation.
Through the pride of the equality of all phenomena, the rosary enters one's own mouth, passes through the vajra path into the lotus, and then ascends through the path of the avadhūtī, emerging from the mouth of the Blessed Lady.
One should meditate on the mantra revolving exactly as it is from the opening of one’s own mouth while reciting the garland mantra; this is the dolī recitation. The recitation of the two seed syllables, the letter A and the letter Haṃ, which abide in the wheels (cakra) of the naturally arisen emanation and great bliss, is the natural recitation. From the drop of the absorption being (samādhisattva), the mantra garland, possessing the aspect of blazing light, emerges from the mouths of the two beings and enters the mouths of the two goddesses. It is then to be meditated upon as revolving like a string of pearls around oneself and the mudrā in a downward sequence by means of the downward-clearing wind; this is the wisdom recitation.
Regarding this body, which is the nature of the five aggregates, one should meditate on the four wheels (cakra) possessing sixty-four, eighty-six, and thirty-two channel-petals, which are the nature of the elements of earth, water, fire, and wind. These are naturally established and, in their respective order, are completely encircled by the first vowels and consonants (āli-kāli), as well as the syllable Hūṃ. They are encircled by the seed syllables Bhrūṃ, Āṃ, Jrīṃ, Khaṃ, Lāṃ, Māṃ, Pāṃ, and Tāṃ. The three-part Oṃ is encircled by the seed syllables Ā, Ī, U, and E, and the syllable Haṃ is completely encircled by a garland of doubled vowels. Having visualized these wheels, one should view the mantra letters as being like the clear tip of a lamp flame. The light rays arising from them illuminate the entire body; this is the āli of the mantra.
Regarding this, the explanation known as "completely encircled by the vowels and consonants" is as follows: it perfectly completes the thirty-two marks of a great being and pacifies the torment of the afflictions of all sentient beings while causing virtue to increase. It is the nature of the mirror-like [wisdom] doubled with the sixteen vowels. Likewise, it destroys the darkness of ignorance residing in the continuums of all sentient beings without exception, dries up the mire of non-virtue, and brings the sprouts of bodhicitta to full maturity, thereby perfecting the eighty minor marks. By adding the six letters da, dha, ya, la, va, and ra, it is completely encircled by forty letters doubled.
In order to abandon the conceptualization of attachment to mantras, through the application of churning and being churned, the fire of wisdom is stirred by the wind of action. As smoke billows and blazes within the navel maṇḍala, its own light rays cause the letter A to open. Through the union of fire and wind, the emanation wheel is incinerated, and [the fire] ascends through the central channel. It gradually causes the dharma, enjoyment, and great bliss wheels to become invisible. Emerging from the path of Oḍḍiyāna in the right ear, it enters the crown aperture—the golden gate of all the Tathāgatas who comprise the sentient beings of the ten directions, known as Jālandhara. From the great bliss wheel, it then descends in reverse order, becoming invisible as it reaches the emanation wheel.
It dissolves into the space of one’s own navel, and what is seen at the size of a hundred-thousandth of a hair-tip is the āli of the tantra. If one asks, "Does meditating on the natural mind as emptiness in this way become a form of nihilism?" in order to clear away that fault: from the space of the navels of all the tathāgatas, the fire of jñāna itself ascends through the path of the vital wind (prāṇa). Having reached the cakras of great bliss (mahāsukha) of those [deities], the amṛta of the jñāna of the syllable Haṃ residing therein is melted. Emerging from their own path of Oḍḍiyāna, it enters the path of one’s own Jālandhara. Because it is said that even those tathāgatas who have been incinerated are thereby gladdened, starting from the cakras of great bliss and continuing up to the nirmāṇa-cakra, the four cakras together with their mantras are nourished. Then, as before, emerging from that very path in an upward sequence, it enters the very path of the tathāgatas and nourishes the four cakras; this is the āli of jñāna.
If one asks, "By meditating on the jñāna-kāya in this way, does it not become eternal?" in order to completely clear away that fault: the yogi should meditate on the secret āli, the essence of the union (yuganaddha) in which the conventional and the ultimate are inseparable. By this sequence, through the union of the vajra and padma, the bodhicitta that has melted in the cakras of great bliss brings the pūṣṭi of Pullīramalaya under control.
Regarding the sequence beginning with "the enjoyment at Jālandhara dissolves into Oḍḍiyāna," one performs three withdrawals for each of the twenty-four sites. Because it is taught that "dissolving into all the limbs" is the primary [stage], one meditates on the mode of the drop at the tip of the vajra-jewel—the site where all limbs are gathered. Having experienced the aspect of the innate joy of the nature of phenomena (dharmatā) in a non-conceptual manner, one should remain free from coming and going, closing the doors of the senses, and free from subject and object; this is the secret āli.
At the time of bathing, one should perform the empowerment ritual. Regarding the explanation of the reality of the torma, which says "arising from yaṃ and raṃ": a mantrin endowed with the yoga of glorious Cakrasaṃvara places the food and so forth in front and purifies it. In front of that, from the syllable yaṃ arises a wind maṇḍala, and upon that, from the syllable raṃ arises a fire maṇḍala. Upon that, from oṃ āḥ hūṃ arise three human heads forming a tripod. Upon that, from a white syllable a arises a white lotus vessel. Within that vessel, the food and so forth, along with the syllables oṃ trāṃ aṃ khaṃ hūṃ laṃ māṃ pāṃ tāṃ vaṃ, arise. Through their blessing, the five nectars (amṛta) and five lamps are perfected. Stirred by the wind and melted by the heat of the fire, the seed syllables and so forth melt, and one should meditate on them as having the color of the sun. Then, from hūṃ, [the nectar] arises with the color of mercury.
Visualize the white khaṭvāṅga, which is the nature of nectar, melting with its opening facing downward. That melted substance is also to be viewed as having the color of mercury and being cool. Upon that, the vowels and consonants completely transform into the three syllables OṂ ĀḤ HŪṂ, which abide one above the other in sequence. From these, the deities of the three cakras and rays of light are emanated, performing the benefit of beings. Having gathered the wisdom nectar from the heroes and heroines (vīravīreśvarīs) residing in the ten directions, as well as from the oceans and so forth, they enter into union. Preceded by this, they melt and dissolve into their respective seed syllables. Then, visualize that the syllables OṂ and the others also gradually dissolve. Having blessed it as desired with the three syllables, summon the complete maṇḍala circle with the blazing mudrā and its mantra, and cause it to abide in front. Preceded by the argha and other offerings, make offerings. Visualize the moon, which is the complete transformation of the vowels and consonants, and the sun-nature HŪṂ syllable abiding within the two hands. Preceded by the recitation of the mantra anyonya and so forth, the moon, sun, and HŪṂ syllable completely transform. Place the nectar vessel upon the two hands joined in the vajra-palms, or visualize it there. In order to take possession of that torma, recite the pramāṇadevī and other verses. Then, viewing the object of offering, the offerer, and the offering substances as indivisible, [circumambulate] the nectar vessel starting from the eastern direction and moving counter-clockwise.
Beginning from the southeast of the intermediate directions and circling clockwise, one should offer the torma to the deities of the three wheels by reciting the mantra oṃ kara and so forth once, while visualizing a white tongue arising from the syllable hūṃ. One should then circle as appropriate for the Blessed One together with the Wisdom Consort, the ḍākinīs and so forth, and the Crow-Faced Goddess and so forth. Having summoned them by reciting the mantra vajrārali and so forth once, twice, three, four, or five times, one offers water for rinsing the mouth, a face-cloth, betel, and so forth. After making offerings with the lute goddesses and so forth, one praises them with the srid zhi and other hymns and makes a request for the accomplishment of one’s desired aims. Then, to the directional protectors residing in the eight charnel grounds, one should give the torma in the cardinal and intermediate directions with the mantra oṃ kha and so forth, as before. The remainder is easy to understand.
One should then recite the hundred-syllable mantra: oṃ vajraheruka samaya manupālaya herukatvenopatiṣṭha dṛḍho me bhava sutoṣyo me bhava supoṣyo me bhava anurakto me bhava sarvasiddhim me prayaccha sarvakarmasu ca me cittaṃ śreyaḥ kuru hūṃ ha ha ha ha hoḥ bhagavān vajraheruka mā me muñca heruko bhava mahāsamayasattva āḥ hūṃ phaṭ. Then, reciting oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ, one should please them with the lotus-circling mudrā (padakora).
Having performed the mudrā and preceded it with the gesture of embracing, snap the ring finger and thumb together while reciting oṃ vajra muḥ and request the deities to depart. Then, the maṇḍala should be dissolved into oneself. The ritual for the hand offering should also be understood from the Caryātantra.
According to the prescribed ritual, one should purify the left ring finger and recite the names of the pīṭha, upapīṭha, and so forth. Having smeared two triangular maṇḍalas with intoxicants purified according to the ritual, one should visualize the Blessed One in the center of the circle, arising from the seed syllable at the heart or summoned by its light rays, together with the maṇḍala of the vessel and its contents.
Having offered food, drink, and so forth—which have been perfected as the nature of the five nectars and the like—using either the three syllables or the eight-line mantra, one should take the intoxicant transformed into nectar in a lotus vessel with the thumb and ring finger and offer it to the Blessed One and the Blessed Lady with their respective heart and near-heart mantras. First, one should satisfy the deities from the ḍākinīs up to Yamāntakī by offering them with their individual mantras.
Then, having performed the perfect offerings, one should recite the hundred-syllable mantra to remedy any omissions or excesses in the ritual. Having requested the blessing of the gaṇacakra, one should recite: oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ.
Having spoken thus and gladdened [the deity] with the lotus-circling mudrā (padmakoṛa-mudrā), one should release that mudrā and, preceded by the gesture of embracing, request the assembly of vajras to depart with "Oṃ vajra muḥ" just as before. Then, the wheel should be dissolved into oneself. Furthermore, taking the intoxicant (madya) situated on each of those [deities] with the ring finger, one should anoint the heart, the tongue, and the crown of the head, preceded by the recitation of the syllables Hūṃ Āḥ Oṃ. One should then visualize that the wheel of deities residing in those hands has also dissolved into oneself.
Oṃ namo bhagavatyai vajravārāhyai vaṃ | āryāparājitā trailokyamātā mahāvidyeśvarī sarvabhūtabhayāpahā mahāvajre | vajrasane ajite aparājite vaśyaṃkari nīlotpalabhramani | śoṣaṇi roṣaṇi krodhakāriṇi trāsani māraṇi prabhedani aparājaye vijaye jambhani stambhani mohani vajravārāhī mahāyoginī kāmeśvarī khage | tadyathā | protaṅge protaṅge hana hana prāṇān kiṃkini khinkhini dhuna dhuna vajrahaste śoṣaya śoṣaya vajrakhaṭvāṅga kapālamālādhāriṇi mahāpiśitamāṃsaśiro-manuṣyāntaḥpravṛtta-saṃnidhyamāna-śiro-mālāgrathitadhāriṇi | subhāni subha hana hana prāṇān sarvapāpaṃ sattvānāṃ sarvapaśūnāṃ mahāmāṃsacchedani krodhamūrti daṃṣṭrākāriṇi mahāmudre śrīheruka |
devasyāgramahiṣi sahasraśire sahasrabāhave śatasahasrānane jvalitatejase jvālamukhi piṅgalalocane vajraśarīre vajrāsane mili mili timili timili cilita he he ha ha hūṃ hūṃ kha kha dhu dhu ru ru dhuru dhuru muru muru muñca muñca advaitamahāmogini paṭhitasiddhe dreṃ dreṃ graṃ graṃ he he ha ha bhīme hasa hasa vīre hā hā hoḥ hoḥ hūṃ hūṃ trailokyavināśani śatasahasrakoṭitathāgataparivāre te hūṃ hūṃ phaṭ siṃharūpe khagajarūpe gaḥ trailokyodari samudramekhale grasa grasa hūṃ hūṃ phaṭ vīradvete hūṃ hūṃ ha ha mahāpaśumohani mahāyogīśvarī tvaṃ ḍākinī bandhani sarvalokāni sadhyapratyayakāriṇi hūṃ hūṃ phaṭ bhūtatrāsani mahāvīre paramasiddhe yogīśvari phaṭ hūṃ hūṃ phaṭ hūṃ hūṃ phaṭ svāhā.
This is the garland mantra of the Blessed Lady Vajravārāhī. As for the history of the lineage of the gurus:
The one named Śrī Anupamarakṣita, whose mental continuum was trained in all the outer and inner sciences, meditated on the instructions of suchness beyond apprehension. For twelve years he remained there, knowing the arrangement of the channels, petals, and so forth of Khasarpaṇi, yet because no special realization arose from that, he became deeply despondent. As he fell asleep, Vajrayoginī commanded him, "Son, go to Vikramapura! There you will attain special realization." Having received this prophecy, he accepted her command upon the crown of his head. At that time, he and a disciple following him, the great paṇḍita Śrīdhara, the son of a merchant, departed for Vikramapura.
There, during a great festival at midnight, the Blessed One assumed the guise of an Āvadhūti and gave him direct instruction, saying, "Son, suchness is this!" Upon receiving that instruction, he entered into meditative equipoise. At that very moment, the Blessed One vanished. When the night had passed and he arose from that absorption, the glorious guru—the great being of supreme compassion—considered him a worthy vessel and granted him his own realization to the great paṇḍita Śrīprabhadeva. From that glorious guru, a flawless source of inexpressible and precious qualities, the great paṇḍita Dharmākaraśānti requested it. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Śrīdhara. From him, it was requested by Śrī Anupamarakṣita. From him, it was requested by the great paṇḍita Śrīdhara. From him, it was requested by the great paṇḍita Dharmākaraśānti. From him, it was requested by Yaśodeva. From him, it was requested by Ś
Regarding this, the great paṇḍita Dharmākara requested [it]. From him, I, the Tathāgata-vajra, having requested it, have written a little for the sake of refreshing my own memory.
The Hearers assert that external objects exist; the Yogācāras [assert] the nature of mind; the Madhyamikas [assert] that beings are empty; and the Secret Mantrins also assert the Clear Light.
Some, having abandoned objects; some, having negated objects; and some, by means of objects themselves—these leaders of men achieve awakening. Through the decline of conceptualization, the intellect becomes impaired; those of poor intellect conceptualize in this way. But for the wise, by this very [means], anything more than space arises. Thus spoke the glorious Saraha.
Just as a housewife, having become attached to a paramour, acts as if she were also attached to her own husband; likewise, through attachment to the objects of yogic realization, one again enjoys sense objects.
Among bad companions, whichever yogi, out of fear for the sake of protecting the Teaching and in order to undertake noble conduct, undertakes the yoga of the mind. Having thoroughly abandoned the action mudrā of the turbid mind, the wisdom mudrā arising from conceptualization is the supreme expansion for the sake of perfect, complete awakening. Because it generates that, one should meditate on that supreme mudrā.
From the tantras, sādhanas, and commentaries, whatever individual lines were found, I have collected them and composed this collection of writings for my own benefit. Because I am an ordinary being and lack continuous meditative absorption...
If there is anything unclear or incorrect herein, may the learned be patient with it. Whatever virtue has been gained by this manuscript of the Saṃvarodaya, through the work of the Tathāgata-vajra, may all beings be victorious.
This concludes the Ṭīkā titled Viśeṣadyotani, a commentary on the Abhisamaya of the glorious Cakrasaṃvara, composed by the great paṇḍita Tathāgata-vajra, which originated from the great sacred site of glorious Oḍḍiyāna. It was translated into Tibetan by the great paṇḍita of Eastern India, Vibhūticandra, as a self-translation at the Ṛṣirākṣasa Hill in Central Tibet.