Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a ritual manual for the practice of the Solitary Hero form of Cakrasaṃvara. The text guides the practitioner through a sequence of preparatory and advanced tantric stages, beginning with the physical and mental preparation of the yogi in a charnel ground. It commits the reader to a rigorous process of visualization and mantra recitation, starting with the establishment of a protective circle and the conceptualization of the deity's consort. The ritual progresses into complex internal visualizations, including the mapping of specific deities and syllables to the practitioner's body and the manipulation of subtle energy channels. The text culminates in the integration of the completion stage, where the practitioner seeks to stabilize the mind within the dharmadhātu through the union of subtle vision and the heart lotus. By synthesizing external ritual environment, internal somatic mapping, and meditative absorption, the work aims to transform the practitioner's ordinary perception into the divine identity of the deity.
Provenance
About this text
A ritual manual for the practice of the Solitary Hero form of Cakrasaṃvara, the Śrīcakrasaṃvaraikavīrasādhana belongs to the genre of sādhana. The work is attributed to the Indian author Maṇikaśrī. It was translated into the Tibetan language by Sumatikīrti and the monk Prajñākīrti, and is preserved in the Tengyur, volume ཟ, where it comprises eight pages. Within the Tibetan canon, it is situated in the collection of Śaṃvara and Related Tantras. The work enacts a rigorous tantric process, beginning with the physical and mental preparation of the yogi in a charnel ground and proceeding through the establishment of a protective circle and the recitation of mantras. It guides the practitioner through complex visualizations, including the conceptualization of the deity's consort and the mapping of deities and syllables to the body, ultimately seeking to stabilize the mind within the dharmadhātu through the union of subtle vision and the heart lotus. A scholar or serious reader consults this classical Tibetan text today to examine the synthesis of external ritual environment, internal energy manipulation, and the integration of the completion stage in the Cakrasaṃvara tradition.
Cite thisAnuvāda, “A Sādhana of the Solitary Hero Form of the Glorious Cakrasaṃvara” (Toh 1536), machine draft, 2026.https://naxiai.com/tibetan/works/toh1536
Summary & commentary
Significance
The work is significant as a representative example of the Anuttarayoga Tantra tradition, specifically the Cakrasaṃvara cycle, illustrating the transition from generation stage visualization to completion stage absorption. For the modern reader, it provides primary evidence of the specific somatic and spatial requirements of medieval Indo-Tibetan ritual practice.
Structure
Passages
Section
Description
1-3
Preparatory Rites
Instructions on the physical setting, mental disposition, and the establishment of the protective circle through mantras.
4
Deity Visualization
Detailed description of the consort's physical form, attributes, and gestures.
5-6
Somatic Mapping
Assignment of specific deities and seed syllables to various parts of the practitioner's body to create spiritual armor.
7
Subtle Energy Visualization
Visualization of colored syllables and the emergence of vajras and lotuses within the body.
8-9
Ritual Mantras and Offerings
Recitation of wrathful mantras and the ritual consumption of the consort's essence.
10
Completion Stage
Instructions for stabilizing the mind through the absorption of the dharmadhātu.
11
Colophon
Attribution of the translation to the monk Prajñākīrti.
Themes
Somatic Transformation (5-7)
Protective Rituals (3, 6)
Completion Stage Absorption (10)
Charnel Ground Aesthetics (1, 4, 9)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana of the Solitary Hero Form of the Glorious Cakrasaṃvara·
In the language of India: Śrīcakrasaṃvaraikavīrasādhana. In the language of Tibet: dPal ’khor lo sdom pa dpa’ bo gcig pa’i sgrub thabs. Homage to the glorious Mañjuvajra!
First, in a place conducive to the mind, such as a charnel ground, the yogi should sit naked with hair loose upon a corpse-seat. Visualizing oneself as the Heruka with one face and two arms, situated upon a sun disk at one’s heart, one should emanate light rays from the syllable HŪṂ. These rays enter back into oneself, and one should realize the meaning of the four syllables:
“ŚRĪ is non-dual wisdom;
HE is the emptiness of causes and so forth;
RU is free from all mental constructs;
KA is that which abides nowhere at all.”
Then, with the light rays of the syllable HŪṂ, one should visualize the Guru, the perfect Buddhas, and the rest in front. Having made perfect offerings and prostrations, one should request forbearance:
“I take refuge in the Three Jewels.
I confess each and every misdeed.
I rejoice in the merit of all beings.
I hold the awakening of the Buddhas in my mind.
I generate the supreme mind of awakening.
I invite all sentient beings as my guests.
By practicing the delightful, supreme conduct of awakening,
may I achieve Buddhahood for the benefit of all beings.”
Following that, one should cultivate love, which has the aspect of gathering happiness for all sentient beings, and compassion, which has the aspect of extracting them from the causes of suffering.
Meditate on joy characterized by the aspiration for uninterrupted happiness for all, and equanimity characterized by being free from the eight worldly concerns. Then, recite: oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho ’haṃ. Visualize all phenomena as being false and deceptive in nature, and cause the three realms of existence and yourself to be absorbed into the bindu of the syllable hūṃ. Recite: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. By reciting the meaning of this mantra, one should bring [all things] to the state of non-apprehension.
Then, in the space before you, visualize a sun disk upon which is a crossed vajra (viśvavajra) arising from hūṃ, marked by that very seed-syllable. By reciting oṃ sumbha and so forth, the eight goddesses such as Kākāsyā and the rest, who emerge from that, summon the hosts of obstructing spirits (vighna) with their respective lights and cause them to enter the pit. One should then strike them with the ritual stake (kīla).
Recite: oṃ gha gha ghātaya ghātaya sarvaduṣṭān hūṃ hūṃ phaṭ | kīli kīlaya sarvapāpaṃ hūṃ hūṃ phaṭ | hūṃ hūṃ hūṃ phaṭ vajrakīlaya vajradhara ājñāpayati sarvaduṣṭān vighnān kāyavākcittavajrakīlaya hūṃ phaṭ | oṃ vajramudgara vajrakīlayākoṭaya hūṃ hūṃ phaṭ.
Then, the eight goddesses are once again absorbed into the hūṃ in the center of the crossed vajra. From their total transformation, visualize the successive formation of the vajra ground, the fence, the canopy, the awning, the lattice of arrows, and the mountain of fire in the form of a blazing mass of fire like the conflagration at the end of an eon (kalpa).
OṂ ME DINĪ VAJRĪ BHAVA VAJRA BANDHA HŪṂ. OṂ VAJRA PRĀKĀRA HŪṂ BAṂ HŪṂ. OṂ VAJRA PAÑJARA HŪṂ BAṂ HŪṂ. OṂ VAJRA VITĀNA HŪṂ KHA HŪṂ. OṂ VAJRA VAJRA SARA JVALA TRAṂ SAṂ TRAṂ. OṂ VAJRA JVALĀNALARKA HŪṂ HŪṂ HŪṂ.
In the center of the protection thus established, from the complete transformation of the vowels and consonants upon a variegated lotus, there arises a sun and moon in union. In their center, from the syllable HŪṂ, there appears a five-pronged black vajra marked by that very syllable, dense with garlands of light rays. One should visualize that light rays emanating from the HŪṂ at the hub summon the lords of heroes and heroines, who enter into that very place. From their complete transformation, there arises the glorious Heruka, standing with his right leg extended upon a corpse seat, completely surrounded by a perfected charnel ground.
He is black in color and has two arms; holding a vajra and bell, he embraces his own consort, Prajñā. He has one face and three eyes, marked by a topknot of matted hair. His head is adorned with a garland of skulls, and a crescent moon rests upon his head. He wears a crown ornament marked with a crossed vajra. His face is contorted, with bared fangs that inspire terror. He possesses the nine dramatic moods and wears a lower garment of tiger skin. He has a necklace made of a garland of fifty skulls.
He is fully adorned with the six mudrās: the necklace, bracelets, earrings, the jewel on the head, the sacred thread, and the ash. In front of him is the Blessed Lady Vajravārāhī, red in color.
She has one face and two arms, three eyes, is naked, adorned with a girdle of severed limbs, and possesses the five mudrās. In her left hand, she holds a skull-cup embracing [him], containing the blood of the malevolent Māras. With her right hand, she points the threatening gesture toward all those who are hostile. She possesses a brilliance like the fire at the end of an aeon and delights in the flowing blood. With her two calves, she is perfectly entwined; she is the embodiment of great bliss and compassion.
PU JA O A GO RA DE MA | KA O TRI KO KA LA KA HI | PRE GRI SAU SU NA SI MA KU | PULLI RA MA LA YA | At the head is Khaṇḍakapāla and Pracaṇḍā. JĀLANDHARA | At the crown of the head is Mahākaṅkāla and Caṇḍākṣī. OḌIYĀNA | At the right ear is Kaṅkāla and Prabhāvatī. ARBUDA | At the back of the head is Vikaṭadaṃṣṭrin and Mahānāsā; these are the sthānas. GODĀVARĪ | At the left ear is Surāvairin and Vīramatī. RĀMEŚVARĪ | In the middle of the eyebrows is Amitābha and Kharvarī. DEVĪKOṬA | At the eyes is Vajraprabha and Laṅkeśvarī. MĀLAVA | At the base of the shoulders is Vajradeha and Drumacchāyā; these are the upasthānas. KĀMARŪPA | At the armpits is Śrīheruka and Kāminī. OḌRA | At the pair of breasts is Vajrajaṭila and Mahābhairavā; these are the kṣetras. TRIŚAKUNI | At the navel is Mahāvīra and Vāyuvegā. KOŚALA | At the tip of the nose is Vajrahuṃkāra and Śauṇḍinī; these are the upakṣetras. KALIṄGA | At the throat is Subhadra and Śyāmādevī.
Lambaka is at the throat, the field of Vajrabhadra and Subhadrā. Kāñcī is at the heart, the great Bhairava and Hayakarṇī. Himālaya is at the genitals, the near-candoha of Virūpākṣa and Kākāsyā. Pretapuri is at the male organ, the gathering of Mahābala and Cakravegā. Grhadeva is at the anus, the gathering of Ratnavajra and Khaṇḍarohā. Saurāṣṭra is at the two thighs, Hayagrīva and Śauṇḍinī. Suvarṇadvīpa is at the two calves, the near-gathering of Ākāśagarbha and Cakravarmiṇī. Nagara is at the toes, Śrī Heruka and Mahāvīrā. Sindhu is at the tops of the feet, the charnel ground of Padmanarteśvara and Mahābalā. Maru is at the big toes, Vairocana and Cakravartinī. Kulutā is at the two knees, the near-charnel ground of Vajrasattva and Mahāvīryā.
Then, upon an eight-petaled lotus at the heart is the wisdom wheel. Pulliramalaya and the other [sites] are the wheel of body, speech, and mind. The eight gates, such as the mouth and so forth, are the samaya wheel. Having meditated in that way, one should perform the consecration with: OṂ ĀḤ HŪṂ OṂ SARVA VĪRAYOGINĪ KĀYA VĀK CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA ŚUDDHE SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ.
At the heart is OṂ HA, Vajrasattva. At the crown is NAMA HI, Vairocana. At the top of the head is SVĀHĀ HU, Padmanarteśvarī.
On the two shoulders is vauṣaṭ He, the Vajra Śrī Heruka. On the two eyes is hūṃ hūṃ, Vajrasūrya. Phaṭ haṃ on all the limbs is the weapon, Vajrarāja. This is the armor of the heroes. Oṃ vaṃ at the navel is Vajravārāhī. Haṃ yoṃ at the heart is Yamī. Hrīṃ moṃ at the throat is Mohanī. Hreṃ hriḥ at the crown of the head is Cālanī. Hūṃ hūṃ at the top of the head is Trāsī. Phaṭ phaṭ is Caṇḍikā; these are the weapons on all the limbs.
Having knotted the index fingers and joined the tips of the middle fingers, firmly place the thumbs in the form of a vajra. Having placed this in the center of the forehead, rotate it and circle it all around. Treading upon the feet and looking upward, utter the sound pheṃ upward; this summons the heroes and yoginīs residing in the world systems of the ten directions.
Oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ. Then, rotating the right and left hands, one rests in the bliss of the Ḍākinījālasaṃvara. Then, reciting the verse and mantra:
"Just as the gods offered a bath
As soon as he was born,
So too, with pure divine water,
Shall I offer this bath."
Oṃ sarvatathāgatābhiṣekasamayaśriye hūṃ. By reciting these verses and mantras, the Blessed One is consecrated with Akṣobhya upon his head, and one should meditate on Vairocana upon the head of the Blessed Lady. Then, one should worship with the various outer and secret offerings.
From a white hūṃ arises a white single-pointed vajra with a jewel produced from a red vyāṃ, the opening of the hollow [of the penis] being blocked by a yellow vyāṃ. Likewise, from a red a arises a red three-petaled lotus with a filaments produced from a white dyāṃ, the opening of the hollow [of the vagina] being blocked by a yellow dyāṃ. At one’s own navel and heart, upon a moon, are the essence and near-essence mantras of the Consort. At the throat and crown, abiding upon a sun, are the essence and near-essence mantras of the Hero. At the Consort’s navel and heart, abiding upon a sun, are the essence and near-essence mantras of the Blessed One. At the throat and crown, the essence and near-essence mantras of the Consort are upon a moon. All those mantra garlands are red in color, arranged counter-clockwise, with their heads facing upward; one should visualize them as a dense mass of light rays between the five places, having the very nature of great bliss, and then manifest the offering of suchness according to the oral instructions.
Then, the mantras should be recited: oṃ śrī vajra he heruka hūṃ hūṃ phaṭ ḍākinījālasaṃvara svāhā. oṃ hrīḥ ha ha hūṃ hūṃ phaṭ. These are the essence and near-essence mantras of the Blessed One. oṃ vajravairocanīye hūṃ hūṃ phaṭ svāhā. oṃ sarvabuddhaḍākinīye vajravarṇanīye hūṃ hūṃ phaṭ svāhā. Alternatively, the root secret mantra should be recited: namo bhagavate vīreśāya mahākalpāgnisaṃnibhāya jaṭāmakuṭotkaṭāya daṃṣṭrākarālograbhīṣaṇamukhāya.
SAHASRABHUJABHĀSURĀYA | PARAŚUPĀŚODYATAŚŪLAKHAṬVĀṄGADHĀRIṆE | VYĀGHRAJINĀMBARADHĀRĀYA | MAHĀDHŪMRANDHAKARAVAPUṢĀYA | KARA KARA | KURU KURU | BANDHA BANDHA | TRĀSAYA TRĀSAYA | KṢOBHAYA KṢOBHAYA | HRAUṂ HRAUṂ | HRAḤ HRAḤ | PHEṂ PHEṂ | PHAṬ PHAṬ | DAHA DAHA | PACA PACA | BHAKṢA BHAKṢA | VASARUDHIRĀNTRAMĀLĀVALAMBINI | GṚHṆA GṚHṆA | SAPTAPĀTĀLAGATA BHUJAṂGASARVAṂ VĀTARJAYA TARJAYA | ĀKARṢAYA ĀKARṢAYA | HRIṂ HRIṂ | JHRAUṂ JHRAUṂ | KṢMĀṂ KṢMĀṂ | HAṂ HAṂ HŪṂ HŪṂ | KILI KILI | HILI HILI | SILI SILI | DHILI DHILI HŪṂ HŪṂ PHAṬ.
Then, the torma offering should be presented. In front, from YAṂ and RAṂ, the maṇḍalas of wind and fire arise. Upon these, from the complete transformation of the syllable A, there is a lotus vessel. Inside it, the five nectars and five lamps are generated from the syllables OṂ TRĀṂ JRĪṂ KHAṂ HŪṂ, LAṂ MĀṂ PĀṂ TĀṂ, and are visualized as being marked by those very syllables. Through their complete gathering, they melt. Above the melted substances, from a white HŪṂ, a white khaṭvāṅga arises; its melting causes them to become of one taste. From the complete transformation of the vowels and consonants, the wisdom nectar of all the Tathāgatas is summoned by the three syllables and enters into those three syllables. Visualizing these also as gradually merging from below with the samaya nectar into a single nectar, one should consecrate it with the three syllables for as long as desired.
Then, having looked at the Blessed Lady with the mantra: Oṃ aralli ho jaḥ hūṃ vaṃ hoḥ vajraḍākinī samayas tvaṃ dṛśya ho, one should visualize that she is satisfied by being drawn in and consumed by a white tongue arising from the syllable Hūṃ. Then, to those dwelling in the charnel grounds, one should offer in the directions starting with the east in a counter-clockwise direction, and in the intermediate directions starting with the southeast in a clockwise direction, by reciting the mantra twice: Oṃ kha kha khāhi khāhi sarva yakṣa rākṣasa bhūta preta piśāca unmāda apasmāra ḍāka ḍākinīyāya | imaṃ baliṃ gṛhṇantu samaya rakṣantu mama sarva siddhiṃ me prayacchantu | yathevaṃ yatheṣṭaṃ bhuñjatha pivatha mātikramatha | mama sarva kārya satsukha viśuddhaye svāhāyikā bhavantu hūṃ hūṃ phaṭ phaṭ svāhā. One should then think that they too are satisfied. Then, having made the perfect offerings and recited the hundred-syllable mantra, one should cause them all to dissolve into the syllable Hūṃ at one's own heart. Once again, by its light, one emanates oneself as Heruka and should remain in whatever way is comfortable. In the subsequent session as well, having gathered [the deities] into one's own body by the light of the Hūṃ at the heart, and preceded by the recitation of the three mantras beginning with Oṃ āḥ hūṃ, one should once again generate everything as before by the light rays of that very Hūṃ. At the end of the fourth session, one should request the wisdom beings to depart with Oṃ vajra muḥ, and as before, enter the absorption of emptiness and go to sleep.
If one wishes to stabilize the mind through the absorption of the completion stage, then:
I prostrate to that supreme dharmadhātu, which is clearly manifest,
Where the lotus of the heart is joined in union,
Where the mind enters into the experience of self-arisen subtle vision,
And where the three realms without exception approach non-duality.
The horses of the wandering senses are firmly bound within;
May it become the vessel for all the Victorious Ones of primordial wisdom.
Approaching as the very cause that generates the three realms without exception,
The vision becomes stainless glory, like the sky.
Through the application of the recollection of the Buddha,
One should meditate on the recollection of the Dharma.
Through the application of the recollection of the Dharma,
One becomes the Dharmakāya itself.
The consciousness that illuminates in the center,
Through the supreme primordial wisdom of the knowers,
From the habituation of intense meditation,
This clarity will arise without a doubt.
The single, unchanging drop that always dwells in the heart—
For the person who meditates upon it,
Primordial wisdom will certainly arise.
One should meditate on the meaning of these words according to the oral instructions. Regarding the benefits, it is said:
"The compassionate Vajraḍākinī
Dwells right here;
The bodhicitta of all the perfect Buddhas
Abides in these three realms."
Thus, the benefits such as these will arise.
This concludes the Sādhana of the Glorious Cakrasaṃvara as a Solitary Hero, composed by the Paṇḍita Śrī Mañjuśrī.