Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
Personal Instructions on the Arising of Gnosis is a technical manual focused on the subtle physiology of the body and the manipulation of internal energies to achieve enlightenment. The text functions as a detailed commentary on a series of mantras and seed-syllables, decoding their symbolic meanings in terms of channels (nāḍī), drops (bindu), and the movement of winds. By mapping specific syllables to anatomical locations—such as the navel, the crown, and the various cakras—the work provides a precise blueprint for the movement of bodhicitta and the attainment of supreme bliss. It commits the reader to a rigorous practice of visualization and meditative concentration, where the practitioner must synchronize physical postures, lunar cycles, and the internal flow of seminal essence to dissolve afflictions and realize the coemergent state. The text transitions from linguistic decoding to a comprehensive cataloging of the subtle body's components and the corresponding spiritual levels (bhūmis) attained through these processes.
Provenance
About this text
An instruction on the arising of wisdom, the Jñānodayopadeśa belongs to the collection of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Gayādhara. It entered the Tibetan tradition through the efforts of the translators Gayādhara and the monk Śākya Ye shes, and is preserved in the Tengyur (vol. ཞ) as the ye shes 'byung ba'i man ngag, spanning twenty-three pages. The work enacts a technical mapping of subtle physiology, beginning with an homage to the Vajraḍākinī and proceeding to a detailed analysis of the sixty-two channels arising from the center of the four cakras. It functions as a manual for decoding the symbolic meanings of seed-syllables and mantras, correlating linguistic elements with anatomical locations such as the crown and the movement of seminal essence (bindu). A scholar or serious reader consults this classical Tibetan text today to understand the precise blueprints for the movement of bodhicitta and the synchronization of internal energies. By detailing the relationship between the five senses, the lunar nature of the bindu, and the flow of winds, the text provides a rigorous framework for the visualization and meditative concentration required to realize the coemergent state.
Sanskrit title
Jñānodayopadeśa
Indian author
Gayādhara
Tibetan translators
Gayādhara, bod kyi lo tsa ba dge slong shakya ye shes
Cite thisAnuvāda, “Personal Instructions on the Arising of Gnosis” (Toh 1514), machine draft, 2026.https://naxiai.com/tibetan/works/toh1514
Summary & commentary
Significance
This work is significant as a representative of the highly specialized 'pith instruction' tradition in Indo-Tibetan Vajrayāna, where esoteric codes are unlocked for the practitioner. It illustrates the intersection of tantric physiology, astrology, and mantra science, providing insight into how the tradition conceptualizes the physical body as a vehicle for gnosis.
Structure
Passages
Section
Description
1-21
Mantra and Syllable Decoding
An analytical breakdown of specific seed-syllables and phrases, linking them to subtle body elements like the nine channels, the nature of bodhicitta, and the movement of winds.
22-25
Subtle Body Numerology and Chronology
A discussion on the vast number of channels and the correlation between internal energy movements and solar/lunar time cycles.
26-28
Behavioral and Postural Instructions
Descriptions of specific gaits and physical postures used to retain bodhicitta and induce supreme bliss.
29-32
Catalog of Channels and Drops
A systematic listing of the names and locations of the channels and drops within the wheel of great bliss and the emanation wheel.
33-34
Attainment of Bhūmis
The correlation between internal wind movement and the attainment of specific spiritual levels (bhūmis), concluding with translator credits.
Themes
Subtle Physiology (Nāḍī and Bindu) (1-15, 22, 29-32)
Mantra and Seed-Syllable Symbolism (1-13, 17-21)
Cosmological and Temporal Synchronization (23-25)
The Coemergent State and Bliss (6-9, 18, 27-28)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaPersonal Instructions on the Arising of Gnosis·
In the language of India: Jñānodayopadeśanāma. In the language of Tibet: Ye shes 'byung ba'i man ngag ces bya ba (The Pith Instructions on the Arising of Wisdom). Homage to the Vajraḍākinī.
All the sixty-two channels that arise from the body within the center of the four cakras possess various forms, are born of the mind, and are endowed with manifold qualities; they grant accomplishments to the practitioner. Among these, the principal one is like an ocean, through which the bodhicitta flows. Homage to that Vajravārāhī, the goddess whose nature is bliss and who has reached the state of joy.
Ā ī ṭṭhi a vai ro a ṇa: this is the first, the initial seed-syllable Oṃ of Vairocana. Ā ī ṭṭhi a: this is the mind abiding in A. Vai ro a ṇa: this means that they are made to appear and be clarified in various ways. Ta su bakkā ne tā i: here, the end of the class is Ha; at the end of the navel, Ha is great bliss. Ta ha pa hante: at the end of Ta and Pa is Na. Ta means to open or expand. Pa means lotus; at its end, Ha should be understood as bliss. Sa ba rā diṭṭha ma i: beyond Sa is Ha, which I have seen. Sa means semen. Bha means at the navel. Rā means that the mind is seen in its own essence through the nature of great desire. Ti a sa ra si ra si bhu ṣi so: this is the third vowel, I, which adorns the crown.
Tia is the third, namely body, speech, and mind. Sara means "to flow"; that which adorns the crown is the essence of great bliss, Ha. Sāramante means the end of the form of Sa. Sa refers to the seminal fluid. A refers to the anthers of the lotus of insight. Ra should be understood as the nature of desire at the end of the two. Laśamajjhāsaṇo means that between La and Sha is Va, which serves as the seat. Sa means that the navel is made into a seat by the seminal fluid, through which habitual tendencies and the like are extinguished. Veṇṇivāṇapari o i o refers to the Svā of the two completely pure arrows. Veṇṇi means by means of method and insight. Vāṇa means an arrow. Aṇḍa refers to the bodhicitta arising from the treasury of the egg. Ka means bliss, by which the mind is completely purified. Savaro refers to Ha, which is beyond Sa. Ā ārasaravariṣṭhi oṃ means it is completely situated upon the arrow of Ā. Sa refers to all the sense faculties and so forth. Va refers to the navel. Ra refers to abiding in the nature of desire. A refers to the anthers of the goddess. Ra refers to the nature of desire. Sara refers to abiding in the state where blood and seminal fluid have become mixed. Puṇovisavaro again refers to Ha, which is beyond Sa.
"Son" (putra) refers to the abiding of the supreme, sacred seminal essence (bindu) in the location of Pullīra. "Pañcavāṇasaṇo" means the five arrows, with u serving as the seat. It is the seat formed by the seminal essence whose nature is the arrows of the five senses. "Khaṇḍendu-bindu-sohi-o" means adorned with the drop (bindu) of the half-moon. The essential nature of the moon (indu) is the moon itself; by its nature as a drop, it cuts through and destroys habitual tendencies (vāsanā) and so forth. By this, the bodhicitta is adorned. "Lasamajhaṭṭhi-o" means that between la and śa is va. "Sa" refers to the Hero (sattva). "La" refers to the setting of habitual tendencies and so forth. "Dahavāṇapari-o-si-o" means the ten arrows, purified by au. "Daha" refers to the ten gates. "Vāṇā" means arrows, which are the outflowing. The mind that is completely purified by that is the [subject]. "Sasamajhaṭṭhi" means that between śa and sa is ṣa. "Sasa" means the center where the two seminal essences are joined. "Ti-ava-aṇa" means the three-faced one is the face, which is ṭa. Within the three joys, the face is the principal, which is the coemergent (sahaja). "Pavanavi-aruṅda-aṃ" means that the wind is reversed by ha. Through the union of ha and e, the wind (pavana) is reversed. "ṅaḍi-hāsa-i" means that is the longing and the desire. "Hūṃ-hūṃ-hallai-i" means that after giving hūṃ-hūṃ, one should subsequently take ha; by the sound of hūṃ-hūṃ-phaṭ, the ha of great bliss (mahāsukha) should be grasped.
The phrase na va sa ra pa ri pu ri a aṃ refers to the nine arrows, which are completely purified by o. The arrows in the nine gates are the [semen] that flows, and the bodhicitta is completely filled by that. The phrase pha la a la e vīṇṇā se means that phaṭ should be arranged; whatever has dissolved into a, its fruit should be arranged in meditative concentration (dhyāna). The phrase sahṇa a means that ha is perfectly endowed with phaṭ. The term sa refers to the semen, and its seed-syllable is ha. The phrase a pa ri pū ri ā means completely filled with the drop (bindu) whose nature is aṃ. The term aṃ means that everything is completely filled with the drop. This is the extraction of the Hero’s mantra. The phrase pañca mañju ṭṭhi o means that the letter ba resides in the middle of the fifth; the five aggregates and so forth reside within the bodhicitta. The phrase tan to hā yo e i means that it is endowed with hā and yo at its end; at the end of the Lord of the Family (kuleśa), ha is endowed with the wind of great bliss (mahāsukha). The phrase sa ba ro ra varṇṭṭha du ḍho means that beyond sa is ha, and the letter ra is attached to it. The phrase i a ra sa ra ra saṃ ṭṭhi o means that the vowel i is perfectly situated. The term sa refers to the supreme, sublime semen, which is mounted upon desire. The great bliss resides in the place of these [drops] that flow from the Indra of the vowel i and so forth. The term ba hanto does not mean the end. The term pa means that at the end of the lotus, one should meditate on the mind as bodhicitta. The phrase na va sa ra pa ni o i o refers to the nine arrows.
It is not purified by the syllable O; rather, that which is purified by the dripping of the nine channels is the maṇḍala. Regarding the phrase sava ro ra varṇā ruṭho: the "other side of sa" is ha, which is mounted upon ra. Sa refers to sentient beings. Para means supreme; that which places the vajra into the lotus is mounted upon desire. Regarding e ā ra kaṇṇā bha ra ṇo: the ear is adorned with the shape of e, and the a is the filaments of the lotus in the shape of e. Regarding sava ro ra varṇā ruṭho: the "other side of sa" is ha, which is mounted upon the syllable ra. Mounted upon desire near the navel is the great mind. Regarding i sa ra khaṇṇā indu bindu bhusi o o ha i: the ha adorned with the arrow of i, the half-moon, and the bindu is beautiful. When the tendencies and so forth are severed by the bindu of the nature of the moon, which is the dripping of the arrows of Indra and the others, then the great maṇḍala is beautiful. Regarding sava ro: the "other side of sa" is ha, the great bodhicitta placed in the beautiful space of the crown of the narrow channel. Regarding pañca sa ra jo e i: it possesses the u of the five arrows; that bodhicitta is endowed with the five glorious faculties. Regarding khaṇḍe na ma uḍa maṇḍi o: it is adorned with the half-moon and bindu as a crown.
At the tip of the vajra crown, the bodhicitta in the form of a lunar drop cuts through and destroys all afflictions and the like. Regarding the phrase puṇo vi a la ta nu ba ra ṇa ho: one should bestow the hūṃ upon the supreme protector of the entire body. Having symbolized the union of the vajra and lotus, one should subsequently meditate on the supreme protector of the entire body, great bliss. Regarding the phrase pha ṇa ra a ṇa bi hūṃ sa ṇo śe so: the phaṭ is adorned at the end of the mantra by two jewels; one should place the phaṭ in the jewel-aperture of the Lord of the Family. By doing this, the bodhicitta will dissolve without exception. Regarding vi hi ṇā: this refers to that which is devoid of and abandoned by the oṃ at the beginning of the mantra. Regarding vai ro a ṇa pi pi ha pa ri aṃ: the seed-syllable oṃ of Vairocana should fill the various lines of that mantra; "various" refers to this lotus of various forms. The "lines" are the locations, which should be filled with awakening. Regarding a pa ra ma śe ṣa: one should meditate on the oṃ in the mouth of the Lord of the Family. This is the extraction of the mantras of the six yoginīs. Regarding puvba ci a kammānta: the letter ka should be given at the beginning. "Beginning" is joy. "Mind" refers to the bodhicitta, and kaṃ is bliss. Regarding ba hī sa ma beṇṇi bha ṇi a: the seed-syllable of fire, ra, is doubled and made equal and similar.
Through desire, the equal bodhicitta, which is the nature of method and insight, is doubled. Regarding the phrase kuru kuru sattva o a: kuru kuru is the seed of the sublime [state] to be bestowed; through desire, the ka that arises is the seed of sublime bliss. Regarding dhehi jaṭākuṭilā u svāhā: upon the ḍha is the beautiful na with its locks of hair. Regarding va: this drop at the head of all syllables in the wheel of phenomena (dharmacakra) is like va, and through it the bodhicitta flows. Regarding e a puṇo vibhaṇi a: this too should be explained; the wheel like va is doubled. Regarding ali atāsi alo e: the worldly fear of falsehood is trāsaya; when its fluid pervades the four wheels, at that time it destroys the habitual tendencies (vāsanā) and so forth without exception. Regarding ru avi ga e: having destroyed the habitual tendencies, the world is devoid of form. Regarding e a svabhāva bhaṇi a: the nature of these syllables should also be explained; the fluid of these two, desire and the absence of desire, having become blended, comes to the place of the sublime, beautiful reality. If one asks what happens when it has come: the body of a perfect Buddha (sambuddha) is attained. Regarding ka ṣakka o ā ra sa ra sa yuta: that which is the blending of the syllables ka and ṣa should be joined with the o arrow.
Oṃ. It possesses the nine channels, the nine gates, and the entities of seminal essence and supreme bliss. Regarding bhayāyāsaṭṭhi-a: by the sound bhayā, one should cause [the mind] to abide perfectly. Bha refers to the bhaga, the space of the channels. Ya is the wind abiding perfectly. Aṣabha is also expressed as abbaṃ; having gone to the wheel of great bliss (mahāsukha-cakra) in such a manner, one will return. Regarding ravi-asanaṭṭhi-o-savaro: the ra of the ha beyond the earth is the seat; abiding on the seat of ra, one should meditate on ha, the great bliss. Regarding dahavāna-khaṇḍendu-bindu-paripūri-aṃ: the ten arrows, the o, the half-moon, and the drop (bindu) completely filling it is hra. When the channels abiding in the ten gates are filled by the bodhicitta drop, which is the nature of the moon, at that time, by destroying the habitual tendencies and so forth, the ten grounds (daśabhūmi) are attained. Regarding e-aṃ-puṇo-vikahi-a: this should also be expressed; furthermore, there are also the eleven grounds. Regarding savaro-vasigga-ṭṭhi-o: the ha beyond the earth is together with two drops. Sa refers to the seminal essence. Varo refers to the ha, the nature of great bliss, where the drops of method and insight are gathered in the center of the navel of the emanation wheel (nirmāṇa-cakra). Regarding dīrṇa-arasa-hā-a-pari-o-si-o: that very [seed] should be completely purified together with the seed of the sun, ra.
Its great bliss is manifested together with the nature of great passion; by this, it is completely purified. Regarding the term veṇiguṇi abbā, it should be counted as two syllables; one should understand them as the four drops (bindu) whose nature is method and insight. Regarding phekārodhātāvalenduvindu jo i aṃ, the letter phe should be provided with the "child-moon" (bālacandra) and the drop. The nature of the child is insight; from the letter phe, one should provide the perfected anthers with the drop of bodhicitta. Regarding puṇo vibhaṇi a, this letter should also be recited; this letter should also be meditated upon as the center of the vajra. Regarding phaṭ phaṭ ṭopaṭaṃkāra sohi aṃ, phaṭ phaṭ is the pride that is beautiful through arrogance. Through the phaṭ of the sounds of the vajra and lotus, great passion is made beautiful. Regarding sa ala vipa pataru dahadaha ḍa i ṇi saṃbaru, it is said that all the wood of conceptualization is burned by the binding of the ḍākinīs' enclosure; therefore, the sound dahadaha is fully conceptualized. It is not that which abides at the end of the source of phenomena (dharmodaya) of the ḍākinī binding, nor is it that which arises; it is the burning of all conceptualizations and so forth of the bodhicitta. Regarding pañcavarga, it is the pa of the fifth class. Regarding pa, one should meditate on the eight classes in the emanation lotus.
Regarding the term paṇṇīsa utto: it is endowed with the first letter of the second class, ca. Within the eight classes, through the meditation on the movement and return of the winds, one is endowed with bodhicitta. Regarding the mantra bhakṣa bhakṣa vasarudhirāntamālāvalambine gṛhṇa gṛhṇa saptavātālagatabhujaga sarvam vātārjaya viguṇi a: the word vātārjaya should be doubled. First, from the letter bha to the letter ra, the nine drops are correctly explained from the root of the vajra to the end of the navel. First, from the letter tta to the letter haṇa, they are correctly explained from the navel to the end of the heart. First, from the letter gṛ to the final letter ta, one should look from the heart to the end of the throat. First, from the letter bhu to the first of the final letters, they are correctly explained from the throat to the end of great bliss (mahāsukha). If these are doubled by way of the nature of method and insight, there are seventy-two drops. When these are in union through the vajra and padma, at the time of movement, great bliss arises at the end of the vajra. Regarding the term a: it is a. Regarding the term "the letter ka": ka should be applied; a is the seed of caṇḍālī, and ka is great bliss. Regarding tri ac uṭṭha: it is the fourth of the third class, ḍha. Regarding ba ba saṃṭṭhi a: the seed of wind, ya, is situated with ḍha. Regarding ca uṭṭha: it is the fourth; in the coemergent (sahaja), ba is the wind, which is correctly situated. Regarding e aṇḍhe saṃjo abhini avba: this union should also be explained.
The application of this should also be meditated upon after understanding the guru’s pith instructions. Regarding the phrase so ha i ra bi a sa ṇa saṭṭhi o sa ba ro: the ha beyond the sa is the seed-syllable of the sun, which, when used as a seat by means of the ra, is beautiful. It is beautified by the lotus-seat of great desire, which is the supreme excellence of all the sense faculties. Regarding the phrase co u bā ṇa pa ri pū ri a: it is completely filled by the i of the four arrows; because the fourth, the coemergent, completely fills and satisfies all the sense faculties, one will not go anywhere else. Regarding the phrase pu ṇo ba bha ṇi a: this syllable should also be recited; it is the filling of the sense faculties and so forth. Regarding ka sā kṣa: kṣa is formed by the equal union of ka and ṣa. Ka-ṣa is the bodhicitta, the nature of which is method and insight. Regarding pañca bha gān dha a sa ṇaṭṭha a: it is the seat formed by the final letter of the five classes; because the five aggregates and so forth have reached the end of the navel, the seat here is the nature of the mind, from which the bodhicitta that drips from great bliss flows, serving as a seat through the nature of great bliss. Regarding a ā ra biṃdu sa yutto: it is perfectly endowed with the ā and the drop (bindu); there, in an instant, a is the form, and it is perfectly endowed with the drop of the maṇḍala wheel and so forth. Regarding e aṃ ci a bha ṇi abvā: this syllable should also be recited; this mind is also to be understood.
Savare vaṇṇi vasagga hi o means that the ha following the sa takes the a of the second arrow; a hunter, having taken two arrows, strikes the deer such as Indra and the rest. Savaro means the vajra. Vaṇṇi vaṇa means the lotus; by these, the deer of habitual tendencies and so forth are slain. Puṇo biti avāna parī o si a savaro means that the ha following the sa is completely purified by the short i of the third arrow; it is the supremely distinguished and completely pure wheel of all the maṇḍalas of body, speech, and mind. Puṇo vi savaro pañca vāṇā saṇoki o means the ha following the ya and sa; by this, the short u of the fifth arrow is established. By the aspect of the u endowed with the excellence of all aspects, the five faculties are established as the nature of great bliss. E hya savvā khaṇḍendu bindu ma uḍa bhūṣi a means that the crowns of all these three syllables are adorned with the half-moon and the bindu. Whatever adorns the crown of the syllable-vajras of body, speech, and mind is the bindu of bodhicitta, the nature of the moon, which cuts through habitual tendencies and so forth. Eṣa puṇa puṇa guṇi a means that all these syllables are doubled again and again; if these body, speech, and mind are doubled, they are the six faculties.
Kasacadhisaravardhara means "holding the supreme arrow of kasacadhi." Dhi is insight (prajñā); sa is method (upāya); ca is the bodhicitta; ka is bliss; and sara means that by flowing, one holds the nature of the four joys at the navel. Ekkakallinte means that the letter li should be added to the end of each syllable; through the unification of the four joys, habitual tendencies and so forth are extinguished. Easaru apuṇapuṇabhaṇia means that the essence of these syllables should be recited again and again; one should meditate repeatedly on this unchanging essence. Savaro ūvārasararudho means that the ha beyond the sa is mounted upon the ū; when the bodhicitta arises and is mounted upon desire, it then moves to the junctions of all the limbs. Khaṇḍendu bindupari osi o refers to the hūṃ completely purified by the half-moon and the drop (bindu). Kha is the lotus; ṇḍe is the vajra. Through the union of these, the drop of the nature of the moon flows, and this is the completely pure maṇḍala. Puṇo vi means that these syllables also cause the drop of the nature of the moon to flow again and again. Paṇara aṇaṇdha pasāhi o means that the mantra is perfected at the end with the precious phaṭ; one should meditate on the yellow precious phaṭ at the end of the lord of the family.
Bahu-vividha means "very many and of various kinds." Kālākālā refers to the vowels (āli) and consonants (kāli). Kusuma-sagasihi-o means taking the "flower-essence" of these vowels and consonants. Bahu means one hundred and twenty channels. Within these, vividha refers to the various drops (bindu) of the nature of the vowels and consonants, which are taken from the union with insight (prajñā) that possesses the flowers. This concludes the extraction of the root mantra.
Kap-pa-ri means the kha following the ka, which is the nature of the source of phenomena (dharmodaya). Daṭṭhi-kummā-saṇa-saṭṭhi-a means the seed-syllable of the fanged goddess (daṃṣṭrī) is sa, upon which the tortoise (kūrma) is placed as the vowel u. With the fluid, the source of phenomena in the shape of a tortoise is made into a seat. Majjhanta means the ma at the end of the middle class of consonants. Sa-majjhi-a means "possessing the middle," which should be joined with bha. The "middle" is the joy beyond joy (viramānanda); its end is the coemergent (sahaja), and here all the faculties are in the middle. Puṇo-vica-uṭṭhi-a means the na residing in the fourth [joy] again; having stabilized the mind in the fourth, the coemergent, one should meditate. Jamadi-aṇḍho means the seed-syllable of the messenger of Yama (yamadūtī) is to be placed at the end of ṣa; the sound ya is great bliss (mahāsukha). Bhadha-umari-pari-o-si-o means the seed-syllable of the auspicious one (bhadra) is i, which is completely pure above it.
The concentration of the excellent bodhicitta abiding upon the vajra is as follows: puṇo vikumma jamadana savahi o. This is further adorned by the sa seed-syllable of the fanged Yama, which is of the nature of a tortoise. Furthermore, within the source of phenomena (dharmodaya) in the shape of a tortoise, the nature of wind is consumed and destroyed, thereby perfectly adorning the mind. āmtetsi animbhauva aṇasajuta means it should be perfectly endowed with my face; it is the mind perfectly endowed with those four joys of my face. aggrikummasa ṇoṇāho refers to the seed-syllable of fire, ha-ra. That too is the tortoise; it is the Protector (nātha) who has made u his seat. That which arises as bodhicitta through desire is the Protector. beṇṇireho jalosi means it is intensely blazing and clearly manifest through the two hu-ras. Through the blending of desire and the absence of desire, it is intensely blazing, clearly manifest, and great bliss. phaṇi phaṇava ano jvaloṇāho refers to the phaṭ of the mouth of the face endowed with a head. By that, the Protector is intensely blazing and clearly manifest; it is the great desire blazing and clearly manifest through the sounds of the vajra and the lotus. kākimukhi refers to the Crow-Faced One (Kākāsyā). mukakeśi refers to the One with Loose Hair (Muktakeśī). vāggi means endowed with speech. indubhāgi means the Mother of the Moon (Indubhāgī). keṭīsā refers to the Sand-Woman (Keṭīsā).
Jjavoti vaṭijja means "the life-sustainer." Pario i o means the complete purification of the six yoginīs. Kaha kahi jja i means "wherein their power is to be described." Kassaccha aja i means "wherein the power of these vidyās resides." Indra brahma viṣṇu maheśvaro means Indra, Brahmā, Viṣṇu, and Maheśvara, who are the nature of joy. Pace khe vi means "manifest." Savalaha ṇo vi means "together with the army and the vehicle"; these are the sixteen joys, which are the army and vehicle through the manifestation of the four joys. Ṇṇā sa ta hana se means "if one wishes to destroy, one destroys"; if one wishes to destroy these joys, such as the habitual tendencies, they are destroyed by mere meditation. Kā ki hi a ā saṇṭhi a means "wherein such a state is to be proclaimed to abide?" The meaning is that it should be proclaimed to a disciple who possesses the samaya and is devoted to the guru. Bhidhi abhu aṇe sarakhaṇḍendu so hi ā means "the divider," which is o. The lord of the earth is a; when these are adorned with the half-moon and the drop (bindu), it is oṃ. Sa is the vajra. The divider is the lotus. Through the union of these, the habitual tendencies and so forth are severed by the drop of bodhicitta, which is the nature of the moon; this is the first drop.
PUṆA
Regarding the phrase majjasagahi a: this refers to taking the "ma" of the middle class; furthermore, whatever is within the lotus, this vajra is held in the center of the navel, which is the second drop (bindu). Regarding uttaramajja: this is the "ja" of the northern middle. When "ya," which is wind, is in the center of the channels, then the "north" is supreme bliss. Regarding ravikiraṇakamalasajutta: this is the lotus of the sun's rays, which should be perfectly joined with "ra." The lotus (kamala) that is perfectly joined with the sun's light should be joined in union with the vajra; this is the third drop. Regarding niririti amikiri akaso hi a: this is the "va" situated in the direction of the rākṣasas, which is the fourth drop. This is the sign of amikira adorned with "ai," which is the fifth drop. Regarding amikira: this is the channel of the nature of sound situated above, within the source of phenomena (dharmodaya) in the shape of "e." Regarding niritta: this is of the nature of a river, which is the descent of the bodhicitta through the union of the vajra and lotus. Regarding jalanahabhidhi apariso so so: here, "flaming" is "ra," which is the sixth drop. "Dividing" is completely purified by "o," which is the seventh drop. The nine gates of the nature of "o" are opened by desire. Regarding uttarassapahi a: this is the first of the north, which is "ca," the eighth drop. At the time of union with insight (prajñā), the bodhicitta is first generated; thus, the "north" is supreme.
Jamasānta is the end of the churning of Yama, the ninth drop. Furthermore, at the end of the nature of wind is the coemergent (sahaja). Vasahau-aritṣi-a is the ox; the long ī situated above na is the tenth drop. The supreme coemergent abides above all things. By pavaṇoraṇḍaṇi napasāhi-o, the seed-syllable of wind is ya, the eleventh drop. Raṇḍa is beautifully adorned by e, the twelfth drop. In the source of phenomena (dharmodaya) in the shape of ya-e, which is the nature of wind, the supreme joy is the beautiful adornment of desire arising from the treasury of the egg. Jama-daṭṭhiṇi-iriva-iṭṣi is the seed-syllable of Yamadaṃṣṭriṇī, situated above va in the southwest, the thirteenth drop. The semen of the nature of earth abides at the navel. Mohābhari-a is the seed-syllable of delusion (moha) filled with a, the fourteenth drop. It causes all habitual tendencies and so forth to be deluded. Jama-mahanimohapari-osia is the seed-syllable of Yamamathani, the fifteenth drop. The complete purification of the nature of delusion, a, is the sixteenth drop; it is the churning of the wind of the nature of ya, which destroys destruction, habitual tendencies, and so forth. The sixteen Great Illusions were explained by Vajraḍāka. Pahi-aṃkumma is the primordial tortoise, endowed with u.
First, one touches the source of phenomena (dharmodaya) in the shape of a tortoise, and so forth. Uttaraspadhuma refers to the first of the north, which is the channel. First, the supreme bodhicitta is emitted, and subsequently, they are to be joined in equipoise. Haranni sajjutta means the joining of ha and ra; ha is great bliss, endowed with desire. Bhadha a u a ri saṃṭṭhi a means the short i, the nature of which is excellent, abiding above; it is the excellent coemergent abiding above. Jamadu avaruṇāsaṇa refers to the nature of Yamadūti, which is the syllable ṣa, and that also abides in the water-lord (va); thus, the messenger of Yama, the bodhicitta, abides at the navel. Ra i moha bhavi a means meditating on the seed-syllable a which causes delusion; through the blazing of desire in the seed-syllable a of Caṇḍālī, Indra and the others are deluded. Buṇu kasakṣa ka hi a means that kṣa is the union of ka and ṣa; through the semen and bliss, this is to be realized as non-dual. Jamadaṭṭhiṇi bhadhasira sohi aṃ means the seed-syllable of Yamadaṃṣṭriṇī, which is sa, adorned at the crown with the short i, the seed-syllable of the Excellent One; sa is the bodhicitta, adorned with great bliss. Buṇo vijamadaṭṭhiṇi ṇa i ri ti a sana means again the seed-syllable of Yamadaṃṣṭriṇī, which is sa, abiding in the va of the Nairṛta direction; furthermore, sa is the bodhicitta to be meditated upon at the navel.
Regarding the term mohasayutta, it is endowed with the seed-syllable a of delusion (moha), and delusion refers to the eyes and so forth; it is endowed with those. Regarding tahasabaro hasaha pariosios, it means that the ha beyond the sa is together with the aspect of delusion, and is completely pure, endowed with the supreme of all aspects, and the supreme for summoning a maiden through the aspect of divine yoga together with the sense-faculties whose nature is to cause bewilderment. Regarding pubbasatthagati a, one should take the eighth of the east, ba, and take the first of the eight empowerments. Regarding majjaca uttanta ajjutta, it should be endowed with the dha of the middle and the na at the end of the fourth; one should understand the fourth at the end of the joy-free joy (viramānanda) of the middle. Regarding taha raṇḍa śiṣulagga, the nature of raṇḍa there is e placed at the crown; one should meditate on that which comes from the treasury of the egg up to the crown by means of great desire (mahārāga). Regarding puṇivimajjaṇḍagihiaṃ, this is taking the ma at the end of the middle; if, through having performed the meditation, it is not accomplished, then at that time, if one again takes the innate (sahaja) at the end of the middle and meditates, it will be accomplished. Regarding bhidhimamaṇḍo, the nature of bhidhima is o to be placed at the end; by performing the meditation at the end, the seat of bodhicitta is opened, and subsequently, accomplishments (siddhi) and miraculous displays are emanated. Regarding jamamahāṇisagahiaṃ, one should take the seed-syllable ha of Yama’s churning stick (mathanī).
That which destroys and churns the winds should be adopted. Regarding the phrase raṇḍa kaṇṇa bha-raṇo: ra is the seed-syllable of rabha; e is the ornament of the ear, meaning it is fashioned as an earring. Raṇḍa refers to the time when the bodhicitta, from the wheel of great bliss in the shape of e, arrives at the ear; at that time, it is the ornament. Anta saha o means that at the end is svāhā; it is bliss and the seminal fluid at the end of the vajra. Vihi pari o means that if one meditates by means of this path, it is the concentration of the completely pure ritual. Kala mañja ṭṭhe a ja a u means that because the water of bodhicitta abides in the center of the vajra, one will be victorious over habitual tendencies and the like. The extraction of the mantra in the dialect of broken corners is complete.
The classification of the drops (bindu) shall now be proclaimed:
At the soles of the feet and the feet,
At the thighs and the secret lotus-base,
In the center of the navel and the navel,
In the heart, the throat, and the palate,
In the mouth, the tip of the nose, and the ears,
At the forehead, the crown, and also the back—
In these sixteen locations,
The drops certainly abide.
The oral instructions for these shall be explained:
From the soles of the feet to the secret place,
The drops are of the nature of joy (ānanda).
From the lotus-base to the heart,
They are of the nature of supreme joy (paramānanda).
From the throat to the nose,
They are of the nature of joy beyond joy (viramānanda).
From the ears to the back,
They are of the nature of the coemergent (sahajānanda).
The emanations of each of these
Shall also be described.
Twenty-one hundred thousand,
And eighty-seven thousand,
Along with five hundred,
These are the emanations of each [channel].
By these, the body is pervaded;
With thirty-five million [channels],
The drops pervade the body.
When, through meditation, a slight warmth is attained,
From the pores of the skin,
Rays of light emerge in delight.
Now I shall explain the measure of day and night:
Thirty-two ghaṭikās are renowned
As the duration of day and night.
There are sixteen shifts of the winds,
Two ghaṭikās for each [shift].
For each of these, the drop
Begins, is enjoyed, and sets.
In the Heruka-utpattikrama-tantra,
The Blessed One perfectly explained:
"At the time of supreme meditation,
It arises moment by moment.
How is it to be understood
At the time of ordinary [activity]?"
It should be known by the divisions of the winds.
If one asks what the divisions of the winds are, it is said:
By the inhalation and exhalation through the nostrils,
One hundred and fourteen, plus twelve and a half,
The beginning, enjoyment, and setting of one drop are to be understood.
The measure of the drops shall be proclaimed:
"From the five" refers to the Blessed One, the nature of the five sense faculties, who dwells in the heart; he is the channel of all sentient beings.
"Twenty-five" refers to the Blessed One dwelling in the midst of the twenty-four heroes and heroines, the lords and ladies.
By these, the movement of thirty suns is explained externally. Therefore, regarding the phrase "having tripled one hundred and one," for that reason, by calculating one hundred and one and adding thirty as the base, there are three hundred and sixty. By counting with this, the year is also explained externally; internally, by the measure of these winds, it is the lowest innate joy. With thirty winds moving in and out for each joy, four hundred and eighty [breaths] constitute the middling innate joy. If one asks how the supreme is, it is said: "one hundred and thirty times" means that if one hundred and thirty are tripled, there are one thousand and thirty; if the nature of the six faculties is excluded, there are sixty-four for each joy. By this, it becomes the supreme innate joy. Some masters say that thirty winds moving in and out is the lowest innate joy; three hundred and sixty is the middling innate joy; and one thousand and thirty is the supreme innate joy. Regarding "three eyes, the moon, sixteen pairs": "three eyes" refers to the lowest; "the moon" refers to the middling; and "sixteen pairs" refers to the supreme. That which is called "the god moon" is the god moon by the nature of the two channels. "Those" refers to the twelve months.
"Sun" refers to the twelve days. "Dates" refers to the twelve lunar dates. Regarding the phrase "ten and five are the remainder": ten and the remainder five make fifteen. By counting half of those fifteen, one hundred and twenty remain. "Half of ten" refers to five. "Purified by half of twenty" means that by calculating with ten, it becomes fifty; thus, within the one hundred and twenty channels of the four cakras, one should meditate on the fifty syllables in the form of drops (bindu). "Of life" refers to the drops that sustain a person's life. If one asks how many there are: it is said that by calculating three hundred and sixty, and then thirty, they become three hundred and seventy-eight thousand drops. These are exhausted and become invisible through improper diet, mental unhappiness, and contact with women. By meditating on the fifty syllables in the center of the cakras, the drops will increase; through this increase, the life of men will not be exhausted, and they will attain longevity. Next, the stages of the bodhicitta will be explained. "First, the constellations should be counted" means that first one should count the twenty-seven lunar mansions. In the twenty-seven pure channels corresponding to the twenty-seven lunar mansions associated with the lalanā, rasanā, and avadhūtī, the twenty-four suns are to be distinguished as symbols of the bodhicitta. "In which the moons reside..." [is the next line].
Regarding the phrase "where the moon of bodhicitta abides in the channels," these should be understood through the divisions of the lunar days. When the bodhicitta is in the channel purified by the eleventh lunar day, it is said, "it should be counted as six," meaning that by multiplying by six, it becomes sixty-six. "Having discarded the hours of the sun" means that because the thirty-two parts are clarified, thirty-four remain. "The moon should be inserted therein" means that by inserting sixteen moons, it becomes fifty. "Furthermore, it should be struck by sixty" means that by calculating those as sixty-fold, it becomes three thousand. "Arrow" means five. "Fire" means three. "Lord of the essence" means eight; these sixteen parts should be discarded. Subsequently, the remaining eight parts will remain, and through the state of those eight, one should understand it as bodhicitta. Regarding the phrase "within the twelve themselves," this should be understood through the divisions of the twelve suns of method and insight. Through this division, one should understand that at the time of meeting with insight, the drop falls into the source of phenomena (dharmodaya). If, once it has fallen, the bodhicitta is not consumed, then at that time it will become a great fault for accomplishing perfect awakening. The movement of the bodhicitta at the time of the meeting of method and insight shall be explained: "Summoning from the hair" refers to the movement of the goat, because the bodhicitta spills and moves; thus it is ccha-ga.
When the garment is removed, it is the gait of a nāga (serpent), because it moves and is terrifying; thus it is nāga. When the bhaga is seen, it is the gait of a dog, because it summons one’s own purpose; thus it is śvāna. When hand meets hand, it is the gait of a mouse, because it causes the latent tendencies and so forth to be deluded; thus it is mūṣika. When kissing occurs, it is the gait of a cat, because the mind’s bodhicitta drips; thus it is mārjāra. When embracing occurs, it is the gait of a tiger, because at this time conceptual thoughts are devoured; thus it is vyāghra. When the breasts are pressed, it is the gait of a bull, because the amṛta flows into the bhaga; thus it is vṛṣabha. When the lower lip is sucked, it is the gait of a donkey, because passion arises; thus it is khara. The portion of joy is the gait of a buffalo, because it slays the mind’s latent tendencies and so forth; thus it is mahiṣa. When drinking honey, it is the gait of a thoroughbred horse, because the senses and so forth are subdued; thus it is haya. Striking is the gait of a monkey, because the amṛta of the mind arises from desire; thus it is markaṭa. Making it understood is the gait of an elephant, because when the bodhicitta moves, strength is generated; thus it is gaja. Inserting the vajra is the gait of a human, because the mind becomes possessed of desire; thus it is manuṣya. Moving is the gait of a mongoose, because it carries the nature of the five families; thus it is nakula. Moving in various ways is the gait of a horse, because it bestows the relief of great bliss; thus it is aśva.
When all the faculties are ceased, it is the vajra-gone; because it is indivisible in the coemergent state, it is the vajra. The nature of these realms of Yama, bhūtas, pretas, and rākṣasas exists within all joys. "Yama" refers to the churning of the wind of the nature of ya. Because it bestows the ultimate meaning, it is "bhūta." Because it moves intensely, it is "preta." Because it exhausts desire, it is "rākṣasa." Thus, the realms of the sixteen joys should be understood; the other realms are to be realized from the oral instructions of the guru through the twenty-four squares.
The divisions of the locations of bodhicitta shall be explained:
At the back is the arising; the explanation is given.
On the sides is the "Great Joy" (pramuditā).
In the heart, it is certain as the "Subsequent Arising."
In the belly is the "Nature" itself.
In the knees, it is likewise known.
In the forehead is "Light."
In the right hand is "Very Light."
In the left hand is "Diversity" itself.
In the right ear is "Son" itself.
In the left ear is the "Ūrṇā-hair."
In the lotus-stalk at the crown is the "Great King."
By merely touching these places,
Joy will constantly arise.
In each location, one enjoys the ten channels purified as the ten gates.
Likewise, it is said in the Herukābhyudaya Tantra: "At the time of union, the bodhicitta should be made rigid by the hands and feet." "Hands" refers to pressing with the fingers at the base of the navel and the secret lotus, whereby the bodhicitta becomes firm.
Regarding the term "feet": by pressing the left foot upon the right knee and the right foot upon the left knee, the bodhicitta will be retained. If this is performed during the time of empowerment and meditation, it will become supreme bliss.
I shall now state the names of the channels (nāḍī) as taught in the Saṃvarodaya: Carrying, Deluded, Enjoying, Moving, and Mistress of Water; Splendorous, Heroic Intelligence, and Rēvatī. These channels are situated in the dharmacakra; here, four channels are those through which bodhicitta flows.
Essential, Renowned, Illusory, Laughing, Desirous, Short-Limbed, Fire, All-Giving, Dwelling at Night, Illuminator, Sacrificer, Locking, Settling, Mind-Giver, Kumudī, Sound of Pride, and these channels are situated in the saṃbhogacakra; here, five channels are those through which bodhicitta flows.
Discriminating, Firm, Mute, Melting, Firm-Limbed, Golden-Faced, Beautiful-Eyed, Seized, Terrifying-Faced, Rabbit-Line, Destroyer, Banner-Liberated, Gathering, Moving, Meeting, Hayagrīvā, Dripping, Serpent, Victorious, Tasting Wine, and Passionate. And...
The Generatrix, the Lotus-Bearer, the Beautiful One, the Protector, Sarasvatī, the Dhāraṇī, the Paralyzer, the One Born from the Peak, the Solitary One, the Rough-Limbed One, and the One Moving from the Abode. These channels are situated in the wheel of great bliss; here, eleven are those through which the bodhicitta flows.
[The others are:] the One Eager to Go, the Cause-Holder, the Rasanā, the Melting One of Destruction, the Nose-Expander, the Conqueror of Enemies, the Sound-Possessor, the Supreme Sound, the Blood-Bearer, the Wealth-Giver, the Limb of Desire, the Water-Giver, the Destroyer of Stains, the Laughter-Maker, the Trembling Body, the One Endowed with Stain, the Expanded Intellect, the Light, the Ornamented, the Woman, the Bestower of Growth, the Sārikā, the Sustainer of Beings, the Laughter, the Niradā, the Garland-Bearer, the Deficient Limb, the Taster, the Seizer, the Fire-Eater, the Forceful One, the One with Fruit, the Firm Body, the Playful Form, the One Going to the Homa, the Tiryak-Limb, the Goddess of Day and Night, the Fruitful One, the Inner Abode, the Destroyer of Sin, the Sow, the Hāriṇī, the Mover, the Modest Mover, the Diadem, the Pale One, the Seizer, the Mind-Born, the Cave, the Stainless One, the Excellent Radiance, the Fierce One, the Agitator, the Miraculous Birth, the Lovely One, and the Benefactor of Beings.
Balavatī, Āyā, Kṣobhaṇī, Nīlakāyā, Yamabhīṣaṇī, Svayambhū, and Halāhala—these channels are in the emanation wheel (nirmāṇacakra), and here twelve flow with bodhicitta. The names of the drops (bindu) shall now be stated: Kamala, Kāmarūpā, Kumbhākārā, Ānandaguṇā, Kulavatī, Dhāriṇī, Kuṇḍākārā, and Dhūminī—these drops reside in the dharma wheel (dharmacakra).
Bandhanī, Dhanurākārā, Sthitā, Śuklāṅgadā, Varāṅgī, Sarāgā, Jagadamṛtā, Trātrī, Lāsyā, Jitavṛddhā, Mahīmaṇi, Bhakṣiṇī, Jinajā, Khādanī, Māyāvināśinī, and Janmaprasarā—these drops are in the enjoyment wheel (saṃbhogacakra).
Haraṇeśvarī, Haraṇagatā, Haraṇakarī, Hrīcalā, Madhyamaskandhā, Prapañcā, Phalavatī, Balavatsthā, Phutśabdā, Pīnāṅgī, Karuṇāvatī, Kṣiptakleśā, Viyojanī, Kapālākārā, Nirvātā, Dīnacittā, Padmaskandhā, Dīrghadhyānā, Vastuvṛddhā, Hiṃsā, Ābhāsinī, Kṣaṇakṣiptā, and Bhīṣaṇamaṇi.
The Pursuer, the Smoker, the Blazing Intellect, the Terrifying Strength, the Minor Wind, the Beautiful Strength, the Abode of Heroes, the Blazing Characteristics, and the Increasing Assembly—these drops are in the wheel of great bliss.
The Blue Body, the Vulture-Face, the Hūlu-Face, the Throat-Eye, the Ink of the Burning Breath, the Body of All, the Root of the Feet, the Jewel Aggregate, the Maṇḍala of the Palate, the Playful Eye, the Treasury of Space, the Jewel of the Cheeks, the Earth-Mover, the Treasury of Water, the Abode of the Assembly, the One with Cessation, the Complete, the Sound of Wind, Takṣaka, the Destroyer of Beings, the Destroyer of Fame, the Destroyer of Austerities, the Producer, the Abider in Birth, the Infinite Qualities, the Unopened, the Subduer, the Infinite Renown, the Body-Holder, the Hot Body, the Seizer, the Seizer-possessor, the Element of Ornaments, the Quality of Earth, the Hāriṇa, the Laughter-Maker, the Body of Desire, the Beneficial Lord, the Essence of the Oblation, the Lotus of the Oblation, the Worm-possessor, the Saliva-possessor, the One Called "What is it?", the Abode of Play, the Digging of Qualities, the Splendor of Sport, the Crown-Maker, the Hope, the Accomplished Body, the One Born from Signs, the Quality of the Crown, the Playful Food, and the Limb of Leisure.
Those born of miraculous power, the power of leisure, the gift of miraculous power, the stained mind, constant giving, the distant place, the inquiry into the limbs, the gift of enjoyments, the one with saṃsāra, the holder of qualities, and the superior concentration—these drops abide within the emanation wheel. Within the four wheels, the Blessed One, the bodhicitta whose nature is method and wisdom, resides. Joy is in the emanation wheel, and its wisdom is primordial wisdom (jñāna). Supreme joy is in the enjoyment wheel, and its wisdom is of the nature of primordial wisdom. The joy beyond joy is in the dharma wheel, and its wisdom is that which accomplishes primordial wisdom. In the wheel of great bliss is the coemergent joy, and its wisdom is the cessation of primordial wisdom.
In the places and near-places, through the sequence of the movement of the channels, when the bodhicitta goes and returns, all the limbs attain joy. When the wind is severed by two finger-widths, two stages will be attained, and one will come to know the minds of all sentient beings, which are otherwise difficult to find. In the fields and near-fields, through the sequence of the movement of the channels, when the bodhicitta goes and returns, then tears fall and arise. The wind will travel eight finger-widths. When these characteristics are attained, whatever forms exist within the three realms, all of them will be seen in an instant.
The fourth bhūmi will be attained. When the mind moves through the candoha and upacandoha, and having seen various forms, one distinguishes them and laughs, and the wind flows for thirty-six finger-widths, the sixth bhūmi is attained. Whatever sounds exist within the three realms, all of them will be heard. In the melāpaka and upamelāpaka, through the sequence of the movement of the channels, the bodhicitta will constantly go and come. When the wind is cut off for two finger-widths and, through intoxication, one does not perceive self or other, the eighth bhūmi will be attained and the liṅga will be constantly firm. At that time, the recollection of former abodes occurs. In the śmaśāna and upaśmaśāna, when the movement of the mind is certain and the wind flows for two finger-widths, the tenth bhūmi will be attained. The body will be completely pervaded and scattered by great passion, and at that time, many nets of miraculous powers will be displayed. Thus, through the sequence of movement, the goddesses Caṇḍākṣī and the others will constantly move throughout the cakras. By the merit arising from this sādhana of the Source of Wisdom composed by Gayadhara, may the world also go to the level of Heruka. The Upadeśa of the Source of Wisdom composed by the Kāyastha Gayadhara is complete.