Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This commentary provides a technical exegesis of Luipāda’s "Clear Realization" within the Cakrasaṃvara tantric system. The text functions as a manual for the practitioner, translating symbolic imagery and ritual instructions into specific meditative applications. It moves from the preliminary stages of protection and merit accumulation to the complex visualization of the deity and the internal physiological mapping of the subtle body. The author argues that the external attributes of the deity—such as the skull-garland and ritual implements—are not mere ornaments but representations of the five wisdoms, the winds, and the union of śamatha and vipaśyanā. By bridging the gap between the signifier (ritual form) and the signified (resultant wisdom), the text commits the reader to a rigorous synthesis of mental emanation, mantra recitation, and the manipulation of internal energies (winds and drops) to achieve the union of form and emptiness.
Provenance
About this text
A commentary on the difficult points of the clear realization of the Glorious Cakrasaṃvara, this work belongs to the tradition of the Śaṃvara and Related Tantras. It is attributed to the Indian author Vīravajra. The work is preserved in the classical Tibetan period within the Tengyur, specifically volume ཞ, where it extends over fifteen pages. The text enacts a series of ritual and meditative instructions designed to abandon the ordinary aggregates and elements. It guides the practitioner through five stages of abiding, including the yoga of the immeasurables, blessing, and protection. The work details specific visualizations, such as the emergence of a sun disk and a vajra from syllables at the heart, the transformation of the practitioner into Vajra-Hūṃkāra, and the emanation of thirty kīla to be used with specific mantras. A scholar or serious reader consults this text today to examine the technical requirements of merit accumulation and the precise application of mantra and visualization within this tantric system.
Cite thisAnuvāda, “A Commentary on the Difficult Points of [Lūipāda’s] “Clear Realization” of the Glorious Saṃvara” (Toh 1512), machine draft, 2026.https://naxiai.com/tibetan/works/toh1512
Summary & commentary
Significance
The work is significant for its detailed mapping of the subtle body and its interpretation of tantric iconography as psychological and physiological markers. For the modern reader, it illustrates the transition from generation stage visualization to completion stage yoga in the Indo-Tibetan tradition.
Structure
Passages
Section
Description
1-4
Preliminary Rituals and Emptiness
Instructions on protection, merit accumulation, and the dissolution of the self into syllables to contemplate emptiness.
5-8
Deity Visualization and Iconography
Analysis of the different types of Cakrasaṃvara and the symbolic meaning of the deity's ornaments and implements.
9-10
Symbolic Correspondences and Language
Interpretations of the garland of wheels and the languages of non-human beings, linking them to the relationship between signifier and signified.
11-17
Empowerment and Mantra Yoga
Detailed procedures for inviting deities via light rays, the use of mudrās, and the generation of wrathful deities for protection.
18-19
Completion Stage and Subtle Body
Instructions on the filling of cakras with bodhicitta and the mental emanation of heroes through the limbs.
The Commentary on the Difficult Points of the Clear Realization of the Glorious Cakrasaṃvara
Homage to the Blessed One, the Glorious Vajraḍākinī!
Oṃ. Abiding, arising, entering, and complete perfection; blessing, empowerment, meditative absorption, offering, and withdrawal. Regarding that, there are five stages of abiding: the yoga of the immeasurables, the yoga of blessing, the yoga of protection, the yoga of gathering the accumulations, and the yoga of emptiness.
Regarding the yoga of the immeasurables, it is said that one should first meditate on the four brahmā abodes. At the heart, from the syllable Hrīḥ, arises an eight-petaled lotus. At its center, from the syllable A, arises a moon disc. Upon that, one visualizes a blue Hūṃ. From that, white, yellow, red, and green light rays radiate out to sentient beings. Through this, those possessed of suffering are freed from suffering; those without happiness attain happiness; those fearing the loss of happiness are made stable; and that happiness is made equal for all.
Suchness consists of the four wisdoms. The purpose is to subdue the fierce and terrifying. Regarding the yoga of blessing, it is said that one should then generate the divine pride of the five aggregates. By withdrawing the light rays, the five aggregates, the six sense faculties, and the five elements are suddenly and vividly clarified like the moon in water, whereby the ordinary is purified. Suchness consists of the five wisdoms, the nature of which is emptiness.
The purpose is to abandon the ordinary aggregates and elements. As for the yoga of protection, it is as stated in the passage beginning, "Then one should visualize a vajra net," and so forth. From the syllable raṃ at one's heart, a sun disk arises; upon that, from the syllable hūṃ, a vajra arises. Through the complete transformation of that, one visualizes oneself as Vajra-Hūṃkāra, with three faces and six arms, blue in color, with the right face white and the left red. The first two hands hold a vajra and bell in the mudrā of Vajra-Hūṃkāra; the middle two hold a bow and arrow; and the last two hold a sword and a noose. Reciting oṃ vajrapañjara hūṃ, one generates the vajra net. Then, by reciting hūṃ, the ten wrathful deities are emanated: white in the east, yellow in the south, red in the west, green in the north, white above, black below, and the four semi-formed goddesses in the intermediate directions. All of them hold hand implements consistent with the principal deity.
Then, by reciting the mantra oṃ sumbhani sumbha, the light rays of those deities summon the guardians of the directions, who are to be spread out as seats. With oṃ śarajvala traṃ saṃ traṃ, one visualizes a net of arrows above, and below, from the syllable hūṃ, the nature of a crossed vajra. With oṃ medinī vajrī bandha hūṃ, one makes it firm. With oṃ vajraprākāra hūṃ vaṃ hūṃ, one creates the vajra fence. With oṃ vidāna hūṃ khaṃ hūṃ, one creates the vajra canopy above. With oṃ vajrajvālānalārka hūṃ, one should visualize a garland of fire-light on the outside.
Then, from the syllable dhīḥ and the syllable hūṃ, emanate thirty kīla (ritual daggers). Issue the command with the mantra oṃ gha gha ghātaya, and strike the forehead, the throat, and the heart with the mantra oṃ vajramudgara ākoṭaya vajrakīlaya hūṃ phaṭ.
Regarding the yoga of accumulating merit: then, in the passage beginning with "at one's own heart," one should visualize oneself instantaneously in the form of the deity. At one's heart, from the syllable hrīḥ, arises an eight-petaled lotus; from a, a moon maṇḍala; and upon that, visualize a blue syllable hūṃ radiating five-colored light rays. With vajra light rays, visualize the five wheels of Cakrasaṃvara—white, yellow, blue, red, and green—representing the wheels of body, qualities, mind, speech, and activity. Perform prostrations and offer worship: from the eight tips of the eight rays of light emanated, the five nectars (amṛta), the sound of the ḍamaru, the offering of a corpse, and the goddesses in embrace should make offerings. Then, imagine that the five-colored light rays of the Tathāgatas strike one's own body, purifying all misdeeds. Through the arising of joy in that, one rejoices. By the reabsorption of the light rays, they dissolve into the heart; this is the offering of the body and the taking of refuge. Then, one should mentally request the deities to depart.
Regarding the yoga of emptiness: visualize a white oṃ at the forehead, a red āḥ at the throat, and a blue hūṃ at the heart. The bodies and environments of the six classes of beings dissolve into the oṃ; their speech dissolves into the āḥ; and their minds dissolve into the hūṃ.
Visualize that you yourself also dissolve into the three syllables, and recite the mantra: oṃ svabhāvaśuddhāḥ. To contemplate emptiness by way of recollecting its meaning is as follows: oṃ dissolves into āḥ; āḥ into hūṃ; the vowel-sign u of hūṃ into the ha; the ha into the crescent moon; the crescent moon into the drop (bindu); the drop into the nāda; and the nāda dissolves into the empty space. Then recite the mantra: oṃ śūnyatā.
Next, regarding the yoga of arising: "Abiding in the manner of the support and the supported, such as bhairaṃ and so forth" refers to the generation of the four elements together with Mount Meru. The syllables of the four elements are the first letters of their respective names. Their shapes are the signs of the four activities. The four colors are the four wisdoms. The symbols are the signs of the four goddesses of the elements. The four colors of Mount Meru are the signs of the four wisdoms. The eight peaks are the eight liberations. The crossed vajra (viśvavajra) is established through various activities. The variegated lotus is the sign of being free from the desire of the three realms.
Then, regarding the yoga of entering: "The union of āli and kāli" means that from the sixteen āli letters, the moon arises; from the thirty-four kāli letters, the sun arises. In the center of these, one should cause one's own mind to enter the blue syllable hūṃ, which possesses five-colored light rays. Visualize oṃ below the sun, āḥ in the middle, and hūṃ above. Then, one should perform the consecration with the mantra: oṃ āḥ hūṃ sarvavīrayoginī and so forth.
Next, regarding the yoga of complete perfection:
Regarding the passage beginning with "The glorious Vajra Heruka sits upon the sun," and so forth: there are the Cakrasaṃvara of meditation, the Cakrasaṃvara of emanation, the Cakrasaṃvara of mind, and the Cakrasaṃvara of body.
Among these, the Cakrasaṃvara of meditation is the meditation on reality itself. The Cakrasaṃvara of emanation is the consecrated, miraculously born form endowed with color and hand-symbols. As for the four faces: in the ultimate Dharma, they are the four wisdoms; in the Secret Mantra, they are the four winds; and in the inferior form, they are the four channels.
The three eyes: in the Dharma, they are the three bodies; in the Mantra, they are the three winds; and in the form, they are the three channels.
The twelve arms: in the Dharma, they are the twelve perfections; in the Mantra, they are the twelve winds of the throat; and in the form, they are the twelve channels. Furthermore, the vajra and bell are insight. The elephant hide is patience. The ḍamaru is aspiration. The battle-axe is discipline. The curved knife is wisdom. The trident is generosity. The khaṭvāṅga is concentration. The skull cup filled with blood is method. The noose is diligence. The head of Brahmā is power. The two feet are method and insight.
Bhairava and Kālarātri: in the Dharma, they are becoming and peace; in the Mantra, they are the two downward-clearing winds; and in the form, they are the channels of feces and urine. The playful topknot: in the Dharma, it is the differentiation of emanations; in the Mantra, it is the thirty-two winds of the crown of the head.
In terms of shape, there are thirty-two channels. Regarding the skull in the skull-garland: in terms of dharma, it is the five wisdoms; in terms of mantra, it is the five winds of the crown of the head; and in terms of shape, it is the five channels of the elements.
As for the phrase "endowed with the moods of the graceful and so forth," this refers to the signs of the three feelings having subsided within the body: "the graceful, the heroic, and the terrifying." The "graceful" means that having overcome the pride of Maheśvara, he embraces Vajravārāhī. The "heroic" means that having overcome the pride of the youthful Ṣaṇmukha who, after killing the asura Vasutakara, danced upon the corpse, he tramples Bhairava and Kālarātri underfoot. The "terrifying" means that having overcome the pride of Viṣṇu, who has the faces of a boar and a lion, he possesses four faces and twelve arms.
The signs of the three feelings having subsided within the speech are: "laughter, reviling, and wrath." "Laughter" means that having overcome the pride of the god Brahmā regarding his melodic voice, the right face smiles. "Reviling" means that having overcome the pride of Gaṇeśa, the elephant-nosed one, regarding his reviling, the rear face bares its fangs and holds an elephant hide. "Wrath" means that having overcome the pride of Rāhu, the king of the asuras, who seizes the moon and sun in his mouth, he offers the head of Brahmā into his mouth.
The signs of the three feelings having subsided within the mind are: "compassion, peace, and great wonder." "Compassion" means that having overcome the pride of Śakra, who holds a vajra and regards the gods of the Heaven of the Thirty-Three as his only son, [he acts as follows].
Holding a vajra and a bell, he regards the three realms as if they were an only child. Regarding "peaceful": when the trichiliocosm is destroyed by the fire at the end of an eon, he remains in the center unburnt, having conquered the pride [of the fire]; thus his body is smeared with the dust of ashes. Regarding "wondrous": having conquered the pride of the se-sha nāga that shakes the trichiliocosm, he wears that se-sha around his neck or a garland of fifty human heads. The tiger-skin lower garment signifies that, in terms of the Dharma, the afflictive and cognitive obscurations have been abandoned. In terms of mantra, it is the wheel of the winds; in terms of form, it is the channels of the sun and moon below, which are churned. The garland of fresh human heads signifies, in terms of the Dharma, the fifty-one formations. In terms of mantra, it is the cycling of the winds of the right and left [channels] as they enter and exit; in terms of form, it is the sna-nā and la-nā channels. The six mudrās signify, in terms of the Dharma, the six perfections; in terms of mantra, the winds of the six sense faculties; and in terms of form, the channels of the six sense faculties.
In his presence is the Blessed Lady, the Mother, whose body is red in color. Her redness is the sign of her great compassion, which is attached to the welfare of sentient beings. The skull-cup in her left hand signifies the conquest of the Māra of the Lord of Death. The curved knife is primordial wisdom, signifying the conquest of the Māra of the Afflictions. The bone ornaments signify the conquest of the Māra of the Aggregates. Treading upon Bhairava and Kālarātri signifies the conquest of the Māra of the Son of the Gods. Possessing the five mudrās signifies the attainment of the eleventh bhūmi through the perfection of wisdom. The stream of blood flowing from her mouth signifies the teaching of the twelve branches of the excellent speech.
Regarding the passage beginning with "The ḍākinīs, likewise the beautiful ones," and so forth: the four mudrās of the consorts, such as the ḍākinīs, are the immeasurables. The khaṭvāṅga and ḍamaru are śamatha and vipaśyanā. The curved knife and skull cup are compassion and insight. The mantra and the form are as before. Regarding the placement of the four vessels of bodhicitta and so forth in the intermediate directions: the four vases are the nature of the four families. The four skull cups are the vessels of nectar, signifying the conquest of the four Māras.
First, the mind wheel has eight spokes and is dark blue in color. "Adorned with a vajra garland" means that dark blue is the family of Akṣobhya. The eight spokes are the eight liberations. The vajra garland is the sign of the mind. The names of the spokes of the wheels, such as Pullīramalaya and so forth, are the sites of the previously established Jambudvīpa. Furthermore, the four sites are the gods; the near-sites are the gandharvas. The names of the heroes and heroines, such as Khaṇḍakapālin and Caṇḍākṣī, are designated with the names of fierce and terrifying deities.
Second, regarding the speech wheel: "Red" is the family of Padma. The eight spokes are as before. The lotus garland is the sign of the speech. "Fields and near-fields" are in the language of the yakṣas. "Chandohas and near-chandohas" are in the language of the rākṣasas.
Third, regarding the body wheel: "White" is the family of the Tathāgatas. The eight spokes are as before.
The garland of wheels is the sign of the body. The melāpaka and upamelāpaka are the language of the nāgas. The śmaśāna and upaśmaśāna are the language of the asuras. Regarding the two families of yakṣas and rākṣasas, as well as asuras and nāgas, the eight gatekeepers and intermediate goddesses are for the sake of subduing the kinnaras in the kṣetra and upakṣetra and so forth. Their hand implements are like those of the ḍākinīs and others. The gatekeepers have the colors of their respective families. The half-formed goddesses are captivating. The vajra garland on the forehead is the sign of empowerment. The celestial mansion is the five wisdoms. The four corners are the four equalities. The four gates are the four liberations. The four archways are the four meditative concentrations. The eight charnel grounds are the eight abodes of the Sugatas. The eight trees are the eight trees of awakening. The eight field protectors are the Tathāgatas such as Vipaśyin. The eight nāgas are the eight patrons of the universal monarchs. The eight clouds are the eight Pratyekabuddhas. The eight messengers are the eight great Śrāvakas. The eight directions of Jambudvīpa are the nature of the Dvāpara age. The vajra fence is the wheel of Dharma of the Mahāyāna. The firelight is the fire of wisdom, the antidote to the three realms. In order to teach the Cakrasaṃvara of the mind, it is said: "Furthermore, the thirty-seven factors of awakening should be applied through the yoga of the deities," and so forth.
The connection of the formless with form, and the connection of the causal form with the resultant wisdom, constitutes the relationship between the signified and the signifier. The four applications of mindfulness are the causes; the four correct abandonments are the conditions; and the others are the results. The Mother Vajravārāhī is the nature of the dharmadhātu, and the glorious Heruka is the aspect of the method, the authentic absorption. The twenty-four heroes are like an illusion; the thirty-six heroines are the nature of phenomena, which are the twenty-four elements of the body through their blessing. One should meditate on the twenty-four channels as the heroines. With the exception of the secret place, one meditates on the eight [goddesses] such as Kākāsyā in the eight orifices. At the heart, the dharma-cakra, one meditates on the four [goddesses] such as Ḍākinī and the four vases. Regarding the application of the meditative maṇḍala of Cakrasaṃvara to the body: "By the divisions of body, speech, and mind, they are the essence of the three syllables." This refers to the syllables arranged above and below the union of the sun and moon at the time of generation. "In the higher realms, the human world, and the subterranean" refers to the divisions of the three cakras in their respective order. "In a single instant, one becomes a single body" refers to miraculous birth. "In a mere instant, the yogi [becomes] the self" refers to the embrace of method and wisdom. "In an instant, the body arises" refers to the heroes and heroines together with their hand-symbols. "In every way, in every instant" refers to the simultaneous generation of the maṇḍala of the support and the supported. "In a single instant, one recites the secret mantra."
This means that all [the deities] recite the syllable HŪṂ. OṂ ĀḤ HŪṂ and so forth are the mantras for blessing the union of the sun and moon. Regarding the yoga of blessing, it is said: "Having understood the two armors." From this: from OṂ HA, at the heart, is white Vajrasattva, holding a vajra and bell. From NAMAḤ HI, at the head, is yellow Vairocana, holding a wheel and bell. From SVĀHĀ HU, at the crown of the head, is red Padmanarteśvara, holding a lotus and bell. From VAUṢAṬ HE, at the two shoulders, is black Śrī Heruka, holding a khaṭvāṅga and bell. From HŪṂ HŪṂ HO, at the two eyes, is yellow Vajrasūrya, holding a jewel and bell. From PHAṬ HAṂ, at the six joints, is green Hayagrīva, holding a crossed vajra and bell. At the navel of the consort, from OṂ PAṂ, is red Vārāhī, holding a curved knife and a kapāla. At the heart, from HAṂ YOṂ, is black Yamī. At the mouth, from HIṂ MOṂ, is red Mohanī. At the head, from HREṂ HRIṂ, is black Cundī. At the crown of the head, from HŪṂ HŪṂ, is blue Trāsanī. At all the limbs, from PHAṬ HAṂ, is red Caṇḍikā. All of them have one face and two arms. One should arrange the deities on the right and left hands and, by touching the respective locations, understand them to be like a seal and its impression. Then, the invitation of the wisdom beings is as follows:
With the light rays of the syllable HŪṂ at the heart and the mudrā called "the knotted index fingers," one should invite [the deities] and make offerings. Then, with the essence mudrā, one should cause them to enter through the crown of one's head. Regarding these vajra words, there are three explanations: the path of passion, the path of liberation, and the path of one's own abiding.
In that regard, with respect to the path of passion: "the knotted index fingers" refers to the embracing of a man and a woman. "The middle fingers are firmly joined" refers to the joining of the two central channels. "The thumbs are firmly joined as a vajra" refers to the secret vajra. "Having placed it in the center of the forehead" refers to the center of the lotus. "By circling and circling, one should cause total movement" refers to the application of HŪṂ and PHAṬ. "Pressing the feet" refers to blocking the channels of the sun and moon. "Looking upward" refers to focusing on the four cakras. "Proclaiming the sound PHAṂ upward" refers to igniting the heat of the caṇḍālī. "Dwelling in the world-realms of the ten directions" refers to the thirty-two channels of the wheel of great bliss. "Summoning the heroes and yoginīs" refers to the bodhicitta.
With respect to the path of liberation: "the knotted index fingers" refers to blocking the winds of the right and left [channels]. "The middle fingers are firmly joined" refers to drawing the winds into the central channel. "The thumbs are firmly joined as a stable vajra" refers to the first of the four wheels, the nirmāṇa-cakra.
"Placing that in the center of the forehead" refers to the central channel among the three channels. "Whirling and whirling, one should cause it to move everywhere" refers to churning the winds of the right and left [channels]. The remainder is as before. With respect to the path of one's own abiding deity, "forming a knot with the index fingers" means blocking the extremes of permanence and nihilism. "Firmly joining the middle fingers" refers to the middle way. "Firmly joining the thumbs as a stable vajra" refers to the wisdom of individual discernment. "Placing that in the center of the forehead" refers to focusing on the dharmadhātu. "Whirling and whirling, one should cause it to move everywhere" refers to training in the three types of wisdom. "Pressing the feet" means abandoning saṃsāra. "Looking upward" refers to focusing on the twelve branches of the excellent speech or the five paths. "Uttering the sound pheṃ upward" means meditating repeatedly with the wisdom of individual discernment. "Residing in the world systems of the ten directions" refers to the Tathāgatas of the eleventh ground. "Summoning the heroes and yoginīs" means that the nature of primordial wisdom (jñāna) has arisen in the continuum. The mantra oṃ yogaśuddhaḥ is for causing the wisdom-being (jñānasattva) to enter the body. Rotating the right and left hands means blocking the right and left channels so that the winds enter the central channel. The supreme bliss of the ḍākinī is the bodhicitta.
From the syllable HŪṂ at the heart of the empowerment yoga, light rays are emanated, inviting the five maṇḍalas of empowerment. These are then arranged with the mantras of the heroes and heroines, and offerings should be made with the eight-line verse. In this context, the heart and near-heart mantras of the father and mother arise incidentally. OṂ ŚRĪ VAJRA is the body’s body, speech, and mind. HE HE RU RU KAṂ is the speech’s body, speech, and mind. HŪṂ HŪṂ PHAṬ is the mind’s body, speech, and mind. ḌĀKINI JĀLASAMBHARA refers to the ḍākinī endowed with the cause of qualities. The near-heart mantra consists of the seven branches of awakening. The heart mantra of the Mother is the radiance of the goddess Pāṇḍaravāsinī. The near-heart mantra is: "The ḍākinī of all Buddhas," as taught in the Uttaratantra. The heart mantra of the heroes is the mantra of the Bhagavān. The twenty-four parts are the distribution of the life-heart mantra. For the heroines, it is their own names. Furthermore, the initial name is the body; the two middle HŪṂs are method and insight, which is the mind; and PHAṬ is the subduing of the malevolent, which is the speech. Following the praise, the empowerment involves placing the seed syllables of the six classes of beings upon one's own body: the seed syllable of the gods, SUṂ, on the head; the seed syllable of the asuras, Ā, on the forehead; the seed syllable of humans, ṆI, on the throat; the seed syllable of hungry ghosts, PRE, at the heart; the seed syllable of animals, TRI, at the navel; and the seed syllable of hell-beings, DUḤ, on the soles of the feet. Thus they are arranged.
From the hearts of the five consorts, five goddesses emerge holding vases of amṛta, raining down saffron and flowers. Reciting the verse beginning with, "Just as [the Buddha] was born," and the mantra oṃ sarvatathāgata, they confer the empowerment. Visualizing a five-pronged vajra upon the crown of each [deity] is the sign of the empowerment. From the space of the father and mother, white and red bodhicitta flows down and strikes the tongue, whereby bliss arises in the vajra; this is the secret empowerment. The blazing of the ūrṇā-kośa between the eyebrows is the sign of the empowerment. The consort who conferred the empowerment dissolves into one’s own consort, and their entering into union is the wisdom-gnosis empowerment. The private parts being withdrawn into a sheath and the uṣṇīṣa protruding upward at the crown of the head are the signs of the empowerment. Then, request the deities who conferred the empowerment to depart.
As for the maṇḍala of meditative absorption: one should meditate on it clearly again and again as much as possible, or meditate on the complete body or its individual parts until weariness arises. This is the yoga of meditation. When weary of meditation, one should perform recitation for as long as desired; this is the yoga of meditation and recitation. Then, making outer and inner offerings, offering praise, tasting the amṛta, and presenting the torma and so forth is the yoga of offering. As for the yoga of dissolution: the emanation cakra is dissolved into the body, as it is said, "The fingernails and teeth are the fragments of the skull," and so on.
One should cause the heart mudrās and mantras to enter one’s own body. Furthermore, the heroes are in the elements, and the heroines are in the channels. The eight gate-guardians and intermediate goddesses are in the eight orifices; the wisdom wheel is in the eight channels of the heart; the celestial mansion is in the body; the vajra fence is in the skin; and the garland of fire-light is gathered in the pores.
Then, having placed the syllable HŪṂ in the center of a moon maṇḍala at one’s own heart, one should rotate the various mantras in succession like a whirling firebrand: the father’s heart mantra, the near-heart mantra, the mother’s heart mantra, the near-heart mantra, the mantras of the heroes and heroines, the two armor mantras, and the eight-line mantras of the father and mother.
Within the heart mantra of the hero, one should insert the yajñopavīta (sacrificial thread). In the armor mantras, one should insert the six armors. In the mother’s eight-line mantra, one should insert the necklace. In the father’s heart mantra, one should insert the necklace of fifty human heads. In the near-heart mantra, one should insert the ornaments. In the mother’s heart mantra, one should insert the elephant hide. In the hero’s armor mantra, one should insert the belt. In the heroines’ mantras, one should insert the hand implements, excluding the vajra and bell. In the mother’s near-heart mantra, one should insert the three remaining faces and the crown.
Then, having made offerings with the eight-line mantra, one should arise. Regarding the phrase, “Protect thoroughly with the caṇḍa mantra,” when arising, one should generate armor from the syllable KHAṂ at the crown of the head, and generate a stream from the syllable HAṂ at the feet; the armor is then strung together by the stream.
With the mantra oṃ sumbhani, a white wrathful deity is generated in front; with oṃ gṛhṇa, a yellow wrathful deity to the right; with oṃ gṛhṇāpaya, a red wrathful deity behind; and with oṃ ānaya hoḥ, a green wrathful deity to the left. All of them are generated in their entirety, holding a vajra in their right hands and making the threatening gesture (tarjanī) with their lefts. One should then arise.
Having thus protected oneself with the caṇḍālī mantra, knowing how to radiate [the deities] outward and withdraw them inward constitutes the eight signs of pure conduct (brahmacarya). Next, the conduct is taught: "Having completely abandoned all fears, the yogin should contemplate himself in that way." This is the first, the conduct of fearlessness.
From "Cakrasaṃvara, the supreme bliss" up to "one should conceptualize them as a single family," the second is taught: the conduct of the equality of the families.
From "The non-conceptual nature of the mind" up to "the hero conducts himself like a lion," the third is taught: the conduct of non-conceptuality.
Then, in order to teach the completion stage (niṣpannakrama), it is said: "The āli and kāli," and so forth. This has four parts: the actual meditation, the conduct, the benefit for others, and the result or benefit.
Regarding "Having visualized the āli and kāli in front": on the path of passion, this refers to the male and female; on the path of liberation, it refers to the drops (bindu) at the heart and navel. "The great yogin rests" means: on the path of passion, it is the bodhicitta; on the path of liberation, it is the meditation on the drops.
"The complete maṇḍala of the moon" means that, in the path of passion, the four cakras are filled with bodhicitta. In the path of liberation, it means meditating on the union of the drops of bodhicitta at the location of the nirmāṇacakra. "Meditate on it as abiding at the base of the navel" means that, in the path of passion, it is held in the jewel of the secret vajra; in the path of liberation, it is at the location of caṇḍālī. "The supreme abode of syllables" means that, in the path of passion, it is the unchanging bodhicitta called akṣara; in the path of liberation, it is the swirling HŪṂ at the navel. "Visualize it in the center" means that, in the path of passion, it is in the center of the secret vajra; in the path of liberation, it is in the center of the navel. "One possessing the vajras of body, speech, and mind should meditate on the deity’s body" means that, in the path of passion, it refers to the three joys excluding the joy of separation; in the path of liberation, it is the bodhicitta as the single taste of blood and wind. The deity’s body is said to be the wind and the drops themselves at the navel. Regarding the path of abiding in one’s own [nature]: "Although it has transcended form" means that, having ceased grasping at the perceived, it is sealed by Vairocana. "The nature of mind is not an arising; that too should be contemplated as inconceivable" means that, having ceased grasping at the grasper, it is sealed by Akṣobhya. "The nature of mind should not be analyzed; if one contemplates that inconceivable [state]" means it is sealed by Vajrasattva. "Then one will attain the grasper" means one attains the nature of body, speech, and mind.
From the words, "The khaṭvāṅga is the body of the deity," up to "The yoginī is explained as the night," the conduct of the completion stage is taught. Regarding the statement, "The heroes born of emanation are emanated by the mind through the sixty limbs," this refers to the mental emanation of the maṇḍala during the four sessions. Furthermore, when the maṇḍala is merely emanated during the final session, by meditating on the entire maṇḍala of the support and the supported as being complete in an instant through the sound of "HŪṂ," it is said: "Those who emerge through the manner of sound / Are the mode of conduct for practicing the samaya." From the words, "Śrī is non-dual wisdom," up to "Does not demonstrate nirvāṇa," the result of realizing Heruka is taught. Regarding the words, "At the time of transference, the yogin," this means that at the time of death, the yogin should invite the wisdom-being (jñānasattva) with the mantra and mudrā of "PHAṬ PHEṂ." Then, having entered its heart through the essence mudrā, although the body remains here, the mind is led to the celestial realm (khecara). This concludes the Glorious Blessed One’s Commentary on the Difficult Points of the Clear Realization, composed by the master Viravajra.