Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a comprehensive ritual manual for the accomplishment of the deity Vajravārāhī, integrating complex visualization, mantra recitation, and philosophical reflection. The text guides the practitioner through the construction of a protective wheel of wrathful deities, including Vajra-Hūṃkāra and Yamāntaka, and the establishment of a multi-layered maṇḍala consisting of elemental fire, water, and earth. It details the precise placement of deities within the practitioner's own body and the environment, utilizing specific mudrās and mantras to invoke and dismiss divine entities. Beyond the ritual mechanics, the work commits the reader to a transition from formal visualization to a non-dual realization. It argues that the ultimate goal is the recognition of one's own fivefold wisdom as the actual reality, asserting that true meditation occurs when the distinction between the subject and the object of meditation is dissolved through the understanding of the non-existence of entities.
Provenance
About this text
A ritual manual for the accomplishment of the deity Vajravārāhī, the Śrīvajravārāhīsādhana belongs to the genre of sādhanā and is situated within the tradition of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Viṣṇugupta. It was translated into the Tibetan language by Abhayadeva and dge slong rje btsun pra dz+nya ki rti, and is preserved in the Tengyur, volume ཟ, where it extends over thirteen pages. The text enacts a complex ritual process, beginning with homage to the glorious Cakrasaṃvara and drawing upon the Abhidhānottara to provide a meditation ritual for the benefit of sentient beings. It guides the practitioner through the visualization of the purity of the aggregates, elements, and sense bases, and the construction of a protective wheel of wrathful kings such as Yamāntaka. Central to this practice is the meditation on the six-armed, blue Vajra-Hūṃkāra arising from a sun maṇḍala. A scholar or serious reader consults this classical Tibetan work to examine the precise mechanics of Yoga Tantra, specifically the integration of multi-layered visualizations, the placement of deities within the environment, and the transition from formal ritual to the non-dual realization of the fivefold wisdom.
Cite thisAnuvāda, “A Sādhana of the Glorious Vajravārāhī” (Toh 1544), machine draft, 2026.https://naxiai.com/tibetan/works/toh1544
Summary & commentary
Significance
The work is significant for its synthesis of Yoga Tantra ritualism with a definitive philosophical view on emptiness and the nature of consciousness. It demonstrates the transition from the 'method' of deity yoga to the 'wisdom' of non-dual awareness, providing a technical blueprint for the transformation of the practitioner's somatic and mental experience.
Structure
Passages
Section
Description
1-7
Protective Rituals and Deities
Establishment of the protective wheel, visualization of central and cardinal deities, and the absorption of these deities into the practitioner's body.
8-12
Maṇḍala Construction and Divine Assemblies
Visualization of elemental maṇḍalas and the identification of various yoginīs and deities within the sacred geography.
13-16
Ritual Application and Offerings
Instructions on specific mantras, mudrās for summoning and dismissing deities, and the offering of ritual substances.
17-19
Philosophical Integration and Definitive Meaning
Analysis of the six sense faculties as aggregates of consciousness and the transition to the non-dual meditation on the fivefold wisdom.
Themes
Somatic Visualization (3-6)
Mantra and Mudrā (7, 13-15)
Elemental Maṇḍalas (8, 10)
Non-duality and Emptiness (17-19)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
In the language of India: Śrīvajravārāhīsādhana-nāma. In the language of Tibet: dPal rDo rje phag mo sgrub pa’i thabs (The Method for Accomplishing the Glorious Vajravārāhī). Homage to the glorious Cakrasaṃvara.
The wheel of goddesses extracted from the glorious Abhidhānottara in one hundred thousand [stanzas] is the ritual for meditation, the cause for the benefit of sentient beings. This consists of the provisional meaning and the definitive meaning. By the provisional meaning, the abode of Akaniṣṭha is accomplished; by the definitive meaning, the characteristics of Mahāmudrā are attained.
The provisional meaning shall be explained. First, the lord of yogins, for the sake of self-protection, should place the samaya pill in his mouth and then meditate on the four brahmā abodes. Thereafter, he should generate the divine pride of the five aggregates: Vairocana is the aggregate of form; Ratnasambhava is the aggregate of feeling; Padmanarteśvara is the aggregate of perception; Vajrarāja is the aggregate of formations; and Vajrasattva is the aggregate of consciousness. Vajravārāhī is the self-nature of all the Tathāgatas. Mohavajrā is in the eyes; Dveṣavajrā is in the ears; Īrṣyāvajrā is in the nose; Rāgavajrā is in the mouth; Mātsaryavajrā is in the sense of touch; and Īśvaravajrā is in all the sense bases. Pātanī is the earth element; Māraṇī is the water element; Ākarṣaṇī is the fire element; Narteśvarī is the wind element; and Padmajvālā is the space element.
Thus, the aggregates, elements, and sense bases are the purity of the deities. Then, according to the ritual of the Yoga Tantra, one should meditate on the protective wheel of the wrathful kings, such as Yamāntaka and the other lords. The central figure of the wheel is Vajra-Hūṃkāra, who is also a six-armed Heruka. The mantrin should first meditate on a sun maṇḍala arising from the syllable RAṂ in front of him. In its center, from the complete transformation of the syllable HŪṂ, there is a crossed vajra with four faces. From the merging of that crossed vajra and the sun into a single flavor, there arises a vajra fence in all directions and a vajra canopy above. Below is a vajra ground that cannot be pierced by any Māras. One should meditate on various weapons suitable for the exterior of the fence and for the upper and lower regions. Having offered seats to the wrathful kings in their proper order, one should place them upon an eight-spoked wheel in the center of the vajra fence, according to their respective facial colors, hands, weapons, and with their legs in the posture of the left extended. Having meditated on that which arises from the seed-syllable A, then, above and below the canopy, two additional spokes should be made. With eleven RAṂ syllables, there are sun maṇḍalas in sequence. Upon those eleven solar feet, one should place the syllable HŪṂ within each respective sun maṇḍala. One should meditate on the wrathful kings residing upon the suns arising from the syllable HŪṂ.
Meditate upon the central sun seat: the Guide Vajra Hūṃkāra, blue in color, with three faces and six arms. He tramples with his legs in the posture of right-leg extended. His central face is blue, with terrifying, bared fangs; the left and right faces are white and red, abiding in the manner of the three channels. In his right hands, in successive order, are a vajra, a curved knife, and a trident; in the left hands are a vajra bell, a skull-cup, and a khaṭvāṅga. He has a crown of matted hair adorned with a crossed vajra and the half-moon of Akṣobhya. A garland of heads rests upon his shoulders, and a skull itself is upon his crown. The five mudrās are made of bone, and his waist is wrapped in a tiger skin. He has nine eyes and a flickering tongue, draped in ornaments of snakes. One should meditate on the Guide, Vajra Hūṃkāra, in this manner. Then, arising from a black syllable HŪṂ, one should place [the deity] upon the eastern sun.
The fierce black Yamāntaka tramples with his legs in the posture of right-leg extended. His faces are black, white, and red; he has a large belly and three eyes. He possesses the five mudrās and a garland of skulls, with a tiger skin around his waist. Each has a distinct crown, and their body colors and weapons are likewise [varied], as are their four legs. In his right hands, I, the Vajra Lord, hold a staff, a wheel, and a vajra; at his heart is the threatening gesture and a noose. In his left hands, he holds a bell and a battle-axe. On his crown is the Buddha Vairocana; there is no other vajra crown. Arising from a white syllable HŪṂ, his faces are white, blue, and red.
Place Prajñāntakṛt upon the sun in the east. In the south is Ratnasaṃbhava, wearing a jeweled crown. In his right hands, he holds a sword, a vajra, and a staff in succession. At his heart, he makes the threatening gesture and holds a noose; in his left hands, he holds a bell and a battle-axe. He is formed from a red syllable HŪṂ and has red, blue, and white faces. Place Padmāntakṛt upon the sun in the west. In the west is Amitābha, wearing a crown. He holds a pestle, a vajra, and a sword in his right hands. At his heart, he makes the threatening gesture and holds a noose; in his left hands, he holds a bell and a battle-axe. He arises from a blue syllable HŪṂ and wears a crown of Amoghasiddhi. He has blue, red, and white faces, with fangs bared and a wrathful expression. Likewise, he holds a crossed vajra, a wheel, and a pestle in his right hands, and a bell, the threatening gesture, a noose, and a battle-axe in his left hands. Place Vighnāntakṛt upon the sun in the north. In the north is Amṛtakuṇḍalī, also arising from a blue syllable HŪṂ. In the southeast, place Acala upon the sun. He has blue, red, and white faces and is adorned with the glory of Vairocana. He holds a sword, a vajra, and a wheel in his right hands. At his heart, he makes the threatening gesture and holds a noose; in his left hands, he holds a bell and a battle-axe. He arises from a blue syllable HŪṂ and has blue, red, and white faces. In the southwest is Takkirāja, wearing a crown of Ratnasaṃbhava. With his two hands, he binds the mudrā of Trailokyavijaya. In his right hands, he holds a vajra and a sword; in his left, a noose and a hook.
Arising from a blue syllable HŪṂ, crowned with Amitābha, the practitioner should place Nīladaṇḍa in the northwest upon a sun maṇḍala. His faces are blue, red, and white; his right hands hold a staff, a sword, and a vajra in succession, while his left hands hold a threatening gesture, a noose, and a lotus upon a sun.
Arising from a blue syllable HŪṂ, crowned with Amoghasiddhi, Mahābala is blue in color. The practitioner should place him in the northeast upon a sun. His faces are black, red, and white; he is terrifying with a protruding belly. His right hands hold a staff, a sword, and a wheel in succession; at his heart is a threatening gesture, a noose, a trident, and an axe in order.
Arising from a green syllable HŪṂ, crowned with Akṣobhya, he is green with red and white faces. The three-eyed Lord has a protruding belly; with his two left and right hands, he holds an uṣṇīṣa upon his crown. In his right hands are a vajra and a lotus; in the others are a threatening gesture and a sword.
One should visualize the sun in the sky, the Harmful One (Sumbharāja), in the abode of Brahmā. Arising from a blue syllable HŪṂ, crowned with Akṣobhya, the King Sumbharāja is below upon a sun. His faces are black, white, and red. In his right hands are a vajra, a wheel, and a jewel in succession; at his heart is a threatening gesture and a noose; and in his left hands are a sword and a lotus. Having meditated on these, one should place the terrifying wrathful deities.
The yogi should withdraw [the deities] and cause them to enter his own body. On the left upper arm, place Yamāntaka; on the right, Prajñāntaka. On the left hand, Padmāntaka; on the right, Vighnāntaka. On the left thigh, Acalā; on the right, Takkirāja. On the left foot, Nīladaṇḍa; on the right foot, Mahābala. In the place of the crown of the head, Mahoṣṇīṣa; and on the anus, Sumbharāja. At the heart, place Vajra-Hūṃkāra. Place the first letter of each deity’s name: Yaṃ, Praṃ, Baṃ, Baṃ, Aṃ, Taṃ, Naṃ, Maṃ, Uṃ, Suṃ, Baṃ. Having performed the ritual of accomplishment in this way, the mantrin should meditate on himself as the wrathful Vajra-Hūṃkāra. All sinful habitual tendencies should be struck with the kīla of Sumbharāja’s command: Oṃ gha gha ghātaya ghātaya sarvadustān phaṭ | kīlaya kīlaya | Oṃ sumbha ni sumbha hūṃ | Oṃ gṛhṇa gṛhṇa hūṃ | Oṃ gṛhṇāpaya gṛhṇāpaya hūṃ phaṭ | Oṃ ānaya hoḥ bhagavān viryārāja hūṃ phaṭ. With this form of the wrathful one, all the misleading vināyakas and vighnas should be struck with the kīla according to the ritual. By means of this yoga, the wise one should visualize [the deity] from the navel downward like a spear. The great wrathful Vighnāntaka has three faces and six arms in the upper body, and looks down upon the hosts of vighnas below. Then, reciting the mantra and holding the vajra-kīla, the body of the vighna becomes immovable.
OṂ GHA GHA GHĀTAYA GHĀTAYA SARVA DUṢṬĀṂ HŪṂ PHAṬ | KĪLA KĪLAYA SARVA PĀPAṂ PHAṬ | HŪṂ HŪṂ HŪṂ VAJRA KĪLA VAJRA DHARA ĀJÑĀPAYATI | SARVA VIGHNĀṂ KĀYA VĀK CITTAṂ KĪLAYA KĪLAYA HŪṂ PHAṬ |
One should meditate on the King Sumbharāja, who holds a vajra hammer in his hand. By this ritual of the knowledge of mantras, one should strike with the vajra-kila. OṂ VAJRA MUṄGARA ĀKOṬAYA KOṬAYA TIṢṬHA TIṢṬHA DAŚADIK KĪLAYA DUṢṬAṂ CHEDAYA. Then, one should clearly visualize vajra-mothers radiating forth in all directions. Just as they are consumed by that [flame], the malevolent ones will flee.
Then, from the syllable A at one's own heart, one should visualize a moon maṇḍala. Upon that, one should visualize the syllable BAṂ radiating various rays of light. By its radiance, one should look upon the Guru, the Buddhas, and so forth in front, make perfect offerings, prostrate, and ask for forgiveness. Then, one should take refuge in the Three Jewels. OṂ SVABHĀVA ŚUDDHAḤ SARVA DHARMĀḤ SVABHĀVA ŚUDDHO ’HAṂ. Furthermore, one should contemplate emptiness. Abiding firmly in mind-only, by meditating on the accumulation of awakening, within the cognition of mere appearance: OṂ ŚŪNYATĀ JÑĀNA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. Then, having awakened, one should clearly visualize Bhairava and the others abiding in the manner of the support and the supported. From the complete transformation of the syllable YAṂ, the wind maṇḍala, marked by a royal banner, blue in color and shaped like a bow, [appears].
Above that, from the syllable RAṂ, arises a triangular fire maṇḍala, red in color. Above that, from the complete transformation of the syllable BAṂ, arises a circular water maṇḍala, white in color. Above that, from the complete transformation of the syllable LAṂ, arises a square earth maṇḍala, yellow in color. Above that, from the movement of the syllable SUṂ, arises Mount Meru, the king of mountains, square in shape, composed of the four kinds of precious gems, and beautifully adorned with eight peaks. Above that, from HŪṂ, arises a crossed vajra. Above that, from the complete transformation of BAṂ, arises a multicolored eight-petaled lotus, complete with a center and filaments. Above that is the union of the vowels and consonants: the moon of mirror-like wisdom and the sun of the wisdom of equality. The life-force entering into them is expressed as the syllable BAṂ, which is the wisdom of individual discernment. Their becoming one is the wisdom of all-accomplishing action. The complete perfection of the form is the wisdom of the pure nature of phenomena. The body, the essence of the five wisdoms, is renowned as Vajrayoginī. From her complete transformation, Vajravārāhī appears, seated upon a sun maṇḍala, treading upon Bhairava and Kālarātri, together with her wheel, surrounded by the eight charnel grounds of the practice. Therein, the Blessed Lady is red in color, with one face, two arms, and three eyes; her hair is loose, she is naked, and she wears a belt adorned with bone fragments. She stands with her left leg extended, possessing the appearance of the great Bhairava.
In his left hand, Vajrapāṇi holds a khaṭvāṅga and a skull-cup containing the blood of the wicked Māras. With his right hand, he makes the threatening gesture toward the malevolent beings in all directions. He possesses the vajra and a brilliance like the fire at the end of an aeon. He delights in blood and drips with blood; he is the embodiment of great bliss and compassion, adorned with the five mudrās.
The great Buddha Vairocana, the Great Sage endowed with great sagehood, arises from the great system of secret mantra and is the very essence of the great system of secret mantra. By this vidyā, the crown is sealed by Vairocana. At the center of a variegated lotus, upon the primary seat, is the noble Vajravārāhī. On the eastern petal of the lotus, upon the seat of the eastern continent of Pūrvavideha, is Vajraḍākinī. On the southern petal, upon the seat of the other continent of Jambudvīpa, is Lāmā. On the western petal, upon the seat of the western continent of Aparagoyānī, is Khaṇḍarohā. On the northern petal, upon the seat of the northern continent of Uttarakuru, is Rūpiṇī.
Through the division of the four cakras of mind, speech, wisdom, and body, the four yoginīs—Ḍākinī and the others—are black, red, yellow, and green, bestowing accomplishments. They have one face and four arms; with their left hands they hold a khaṭvāṅga and a skull-cup, and with their right hands they hold a hand-drum and a curved knife. They have three eyes, loose hair, and are naked, seated upon their seats with the right leg extended. They are adorned with the five mudrās, their faces baring fangs. [They are sealed by] Akṣobhya, Amitābha, Ratnasambhava, and...
Amoghasiddhi seals these yoginīs. In the intermediate directions, at the secondary islands and the upapīṭhas, are the four vessels of bodhicitta, which constitute the maṇḍala of the wisdom wheel. Then, in the subterranean realm, at the junction of the fire and wind maṇḍalas, and in the cardinal and intermediate directions of Mount Meru, are the eight great hells.
In the eastern charnel ground, at the eastern gate of the maṇḍala, is Kākāsyā, who pierces with a spear. In the southern charnel ground, at the southern gate, is Ulūkāsyā, amidst the corpses of the burned. In the western charnel ground, at the western gate, is Śvānāsyā, amidst the stench of the putrid. In the northern charnel ground, at the northern gate, is Śūkarāsyā, amidst the rotten.
Then, in the northeast, in the charnel ground of the dead child, is Yamadāḍhī. In the northwest, in the charnel ground of the snake-bitten, is Yamadūtī. In the southwest, in the center of the terrifying charnel ground, is Yamadaṃṣṭriṇī. In the southeast, in the charnel ground of the remnants, is Yamamathani. Thus, by circling clockwise and counter-clockwise, in forward and reverse order, are the eight charnel grounds where the Bhoginīs reside. Just as with the ḍākinīs such as Kāyadhātvīśvarī and so forth, so too are the body colors, hand implements, and seals of Kākāsyā and the others.
In the intermediate directions, the Vāsinyas have two forms, are captivating, and are diligent in acting for the benefit of sentient beings. All these yoginīs sit upon seats of pretas, wear garlands of heads, and have vajra garlands upon their foreheads. Furthermore, one should then apply the yoga of the twelve deities.
What are these? The Joyous is Ḍākinī. The Stainless is Lāmā. The Luminous is Khaṇḍarohī. The Radiant is Rūpiṇī. The Difficult to Conquer is Kākāsyā. The Manifest is Ulūkāsyā. The Far-Reaching is Śvānāsyā. The Immovable is Sūkarāsyā. The Excellent Intelligence is Yamadāḍhī. The Cloud of Dharma is Yamadūtī. The Tathāgata-like is Yamadaṃṣṭriṇī. The Vajra-Practice-like is Yamamathinī. The central Vajravārāhī is the purity of the ten grounds of unsurpassed, perfectly complete awakening.
Next, the explanation of the names of the locations and so forth, beginning with their initial letters, should be applied to one’s own body: MUṂ, AṂ, PAṂ, MAṂ, TAṂ, ṢUṂ, ŚAṂ, PHUṂ, GLAṂ, BLAṂ, SLAṂ, GHAṂ, UṂ. The primary seat, the secret cakra, is Vajravārāhī, the Lady of the Family. The seat of the self, the lotus of the heart, is Vajraḍākinī. The seat of the other, the lotus of the throat, is Lāmā. The seat of mantra, the lotus of the navel, is Khaṇḍarohā. The seat of suchness, the forehead, is Rūpiṇī. The seat of all, the lotus of the uṣṇīṣa, is Śrī Heruka. These constitute the wisdom wheel, arranged in a clockwise direction.
The placement of Kākāsyā and the others in the eight gates shall now be described: Kākāsyā is at the mouth, the gate of piercing with a spear. Ulūkāsyā is at the right nostril, the gate of the burnt corpse. Śvānāsyā is at the anus, the gate of the fetid odor.
The one with a putrid odor is Varāhāsyā at the opening of the left nostril. Moving clockwise: the one bitten by a child is Yamadāḍhī at the opening of the left ear; the one devoured by a snake is Yamadūtī at the opening of the right ear; in the center of the terrifying charnel ground is Yamadaṃṣṭriṇī at the opening of the right eye; and the remainder is Yamamathani at the opening of the left eye. This is the clockwise sequence.
"I, the yogin of the instantaneous form, become a single body in an instant." One should perform the blessing with the three realities: OṂ ĀḤ HŪṂ SARVA VĪRAYOGINĪ KĀYA VĀK CITTA VAJRA SVABHĀVA ĀTMAKO ’HAṂ. OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ. Then:
"Having understood the two armors, one should meditate on the wisdom wheel. Through the application of mantra and mudrā, one should swiftly enter the samaya wheel."
Next, the two armors are explained: OṂ HA at the heart; NAMO HI at the crown; SVĀHĀ HŪ at the uṣṇīṣa; VAUṢAṬ HE on the two shoulders; HŪṂ HŪṂ HO on the two eyes; and PHAṬ HAṂ on all the limbs, which is the weapon armor.
"First is Vajrasattva, second is Vairocana abiding, third is Padmanarteśvara, and fourth is the glorious Heruka. Vajrasūrya and Hayagrīva—by these six armors, one is protected here."
OṂ BAṂ is Vajravārāhī; HAṂ YOṂ is Yamī; HRĪṂ MOṂ is Mohanī; HREṂ HRIṂ is Cālanī; HŪṂ HŪṂ is Bhīṣaṇī.
Phaṭ phaṭ Caṇḍikā; this is the weapon for all the limbs. At the navel, the heart, and likewise the mouth, the head, and the crown of the head, there is the weapon itself. Having bound the index fingers and joined the middle fingers, firmly join the thumbs as a vajra. Then, placing it in the center of the forehead, by circling and revolving it, one performs the universal transformation. Treading upon the feet and looking upward, proclaiming the sound of "pheṃ" upward, summon the heroes and yoginīs residing in the world systems of the ten directions. Oṃ yogaśuddhaḥ sarvadharmā yogaśuddho ’haṃ. Just as [the Buddha] was bathed immediately upon birth, likewise I shall perform the bath with the pure water of the gods. Oṃ sarvatathāgatābhiṣekasamayaśriye hūṃ. This is the mantra for the empowerment. Recite the essence mantra of Vajravārāhī and perform the homa: Oṃ vajravairocanīye svāhā. This is the ten-syllable essence mantra, the purity of the ten perfections. Oṃ sarvabuddhaḍākinīye vajravarṇanīye hūṃ hūṃ phaṭ svāhā. This is the nineteen-syllable near-essence mantra. Oṃ vaṃ yoṃ moṃ hrīṃ hrīṃ hūṃ phaṭ. This is the eight-syllable armor mantra. Oṃ sumbhani sumbha vajraḍākinī hūṃ hūṃ phaṭ. This is the fourteen-syllable mantra of Vajraḍākinī, the eastern face. Oṃ gṛhṇa gṛhṇa vajralāme hūṃ hūṃ phaṭ. This is the twelve-syllable mantra of Lāmā, the southern face.
OṂ GṚHṆĀPAYA GṚHṆĀPAYA VAJRA KHAṆḌAROHE HŪṂ HŪṂ PHAṬ. This eighteen-syllable mantra is that of Khaṇḍarohī, the western face. OṂ ĀNAYA HO BHAGAVĀN VAJRA RĀJA VAJRA RŪPIṆI HŪṂ HŪṂ PHAṬ. This eighteen-syllable mantra is that of Rūpiṇī, the northern face. These are the four goddesses, the mantras of the four continents.
OṂ NAMO BHAGAVATE VĪREŚĀYA VAJRA KĀKĀSYE HŪṂ HŪṂ PHAṬ. OṂ MAHĀKALPĀGNISANNIBHĀYA VAJRA ULŪKĀSYE HŪṂ HŪṂ PHAṬ. OṂ JAṬĀMAKUṬOTKAṬĀYA VAJRA ŚVĀNĀSYE HŪṂ HŪṂ PHAṬ. OṂ DAṂṢṬRĀKARĀLAVIŚAṆAMUKHĀYA VAJRA SŪKARĀSYE HŪṂ HŪṂ PHAṬ. OṂ SAHASRABHUJABHĀSURĀYA YAMADAṂṢṬRIṆE HŪṂ HŪṂ PHAṬ. OṂ PARAŚUPĀŚODYATAŚŪLAKHAṬVĀṄGADHĀRIṆE VAJRA YAMADŪTĪ HŪṂ HŪṂ PHAṬ. OṂ VYĀGHRAJINĀMBARADHĀRĀYA VAJRA YAMADAṂṢṬRIṆE HŪṂ HŪṂ PHAṬ. OṂ MAHĀDHŪMRĀNDAKĀRAVAPUṢĀYA VAJRA YAMAMATHANĪYE HŪṂ HŪṂ PHAṬ. These are the eight-line mantras of the eight goddesses.
The mantra for purifying the torma is: OṂ VAJRA KRODEŚVARĪ SARVADRAVYAṆI VIŚODHANI HŪṂ PHAṬ. With OṂ, it is purified. With ĀḤ, it is realized. With HŪṂ, majesty is generated. With HO, it is transformed into nectar. With the syllable HAṂ, it is summoned. With the syllable KṢA, it is requested to depart. With the left hand, it is purified. With the right, it is realized. By joining the palms and extending them, the meaning is that majesty is generated. With the garuḍa mudrā, it is transformed into nectar.
One should summon [the deities] with the mudrā of Trailokyavijaya. One should offer [the food] with the vajra mudrā and request them to depart with three snaps of the fingers behind the back of the hands. Oṃ vajra aralli hoḥ jaḥ hūṃ baṃ hoḥ vajra ḍākinī samaya stvaṃ dṛśya hoḥ. At midnight, one should offer the torma with the vajra palms opened upward. Oṃ kha kha khāhi khāhi sarva yakṣa rākṣasa bhūta preta piśāca ummada apasmāra ḍākinī-janā imaṃ baliṃ gṛhṇantu samaya rakṣantu mama sarva siddhiṃ prayacchantu yathevaṃ yatheṣṭaṃ bhūñjatha pibatha mātikramatha mama sarva kāraya satsukhaṃ vivṛddhaye sāhāyika bhavantu hūṃ hūṃ phaṭ phaṭ svāhā. This is the mantra for offering the torma. One should give the torma to the lords of the locality and the village. Regarding the uneven syllables, they are the first, middle, or final syllables. Regarding the even syllables, they are the first or final syllables. Having blessed it with the three essences, [recite]: Oṃ āḥ hūṃ kṣetrapāla baliṃ gṛhṇa gṛhṇa saparivārebhyaḥ sarvasattvānāṃ śānti-cittaṃ kuru svāhā. Oṃ hariti piṇḍakye pratīccha svāhā. Having given two morsels to Hārītī: Oṃ duti kye agra-grasaṃ pratīccha svāhā. Kha kha khāhi khāhi ucchiṣṭa baliṃ ucchiṣṭa bhakṣa bhakṣa svāhā. The ritual for the offering should be explained: Oṃ aho, those who abide in the sequence should perform the purification and so forth. One should meditate on [the torma] as being like the melting of the moon.
Gradually, from that vessel, the drops, like the rays of the moon, are certainly [offered]. Having formed a triangle on the ground outside the lotus of the hand, one should visualize within it a circular maṇḍala like the orb of the sun, in the center of which is the maṇḍala of the wisdom-cakra that encompasses the three realms of becoming. To that luminous field, one should make offerings with these mantra words: OṂ ĀḤ HŪṂ HOḤ, to the one possessing the vajra body, speech, and mind. Then: A Ā I Ī Ṛ Ṝ U Ū Ḷ Ḹ AṂ ĀḤ; these are the aggregates of consciousness and so forth, and the elements of space and so forth. A Ā E AI AR ĀR O AU AL ĀL AṂ AḤ; these are the six faculties and the six objects. HA HĀ YA YĀ RA RĀ VA VĀ LA LĀ HAṂ HAḤ; these are the embodiments of method and insight, the nature of the action faculties such as Dveṣavajra and the rest. KA KĀ KHA KHĀ GA GĀ GHA GHĀ ṄA ṄĀ; CA CĀ CHA CHĀ JA JĀ JHA JHĀ ÑA ÑĀ; ṬA ṬĀ ṬHA ṬHĀ ḌA ḌĀ ḌHA ḌHĀ ṆA ṆĀ; PA PĀ PHA PHĀ BA BĀ BHA BHĀ MA MĀ; TA TĀ THA THĀ DA DĀ DHA DHĀ NA NĀ; SA SĀ DA DĀ; ŚA ŚĀ ṢA ṢĀ; KṢA KṢĀ; HA HĀ YA YĀ RA RĀ LA LĀ VA VĀ. The yogi should correctly perform these offering rituals for the thirty-six families of method and insight.
The six aggregates, form and so forth, are always worshipped as thirty-six. Earth, water, fire, and wind, as well as semen and blood—these are explained here as the six elements of embodied beings. The palate, the crown of the head, the lips, the teeth, the following [nasals], and the nasalized sounds; these are the places of articulation.
Perception is also explained as sixfold,
Teaching both the existent and the non-existent.
Through the faculties of seeing, hearing, smelling,
Tasting, touching, and the mind—
The six types, such as the eye and so forth,
Are explained as the aggregate of consciousness.
Likewise, form, sound, smell,
And also taste,
Tangible objects, and the element of phenomena—
From the experience of these, they are called feeling.
Likewise, the thorough engagement of consciousnesses
Through the doors of the six faculties
Is expressed as the six types of formations.
The life-force and effort that engage
With objects day and night,
Flowing through the six channels
In the three upper and lower paths,
Wisdom is also sixfold.
The thirty-seventh is the Great Mind;
The thirty-six Yoginīs,
The yogi surrounded by the elements,
Practices the yoga in the form of a deity.
Whatever is the mantra of Vajravārāhī,
It adorns the actual neck of the throat.
By the mantra of the deity’s heart,
It is adorned with a rosary of fifty beads.
By the seven-syllable mantra,
The earrings adorn the ears.
By the Ḍākinīs of all the Buddhas,
The bracelets are on the two hands.
By the mantras of the six Yoginīs,
The belt adorns the waist.
By the mantras of the Yoginīs of all the cakras,
The skull-cup is for drinking.
Whatever is the mantra of Vairocana,
The skull adorns the head.
Having thus visualized oneself,
One is thoroughly protected by the fierce mantra.
By remaining constantly in the holy life,
One should meditate on the unchanging yoga; having thus reflected well, the yogi, having completely abandoned all fears, is truly endowed with that very yoga. The wise yogi proceeds with a mind of certainty.
Now, the meditation on the goddess according to the definitive meaning shall be explained: "Its non-existence does not become non-existent, because the meaning of being empty of entities is seen. Like an illusion, a dream, or a magical display, wisdom is mere appearance. The three worlds are of an unborn nature; within the great wisdom abiding in the body, all conceptualization is abandoned. It pervades all entities; though it abides in the body, it is not born of the body. The vow of all Buddhas is perfectly established in the syllables E-Vaṃ. In the three channels of body, speech, and mind, the entities of body, speech, and mind are the three vajras, which are perfectly practiced. In the Śaṅkhinī is the actual wisdom; likewise, the goddess Khaṇḍarohā is perfectly established in the syllables E-Vaṃ. The syllable E is the cause of emptiness; the syllable Vaṃ is the blazing of compassion. The indivisibility of emptiness and compassion is what is called bodhicitta."
By fixing the mind in space and lowering the eyes, one enters the path of the vajra. In emptiness, smoke, a mirage, a clear stainless glow of fireflies, a lamp, a blazing light, the moon, the sun, and the vajra—the supreme part—are seen, along with the bindu. In its center is the form of the Buddha, liberated from objects, the manifold saṃbhogakāya. Just as water mixes with water, and—
Just as butter is [recognized] in butter,
One’s own fivefold wisdom, as the actual reality,
Will be seen by oneself right here.
In the absence of entities, the reality of meditation
Is not a meditation upon an object to be meditated upon.
Therefore, because entities are non-entities,
Meditation is without any focal point.
By the power of whomever,
Wherever they truly abide,
Having completely abandoned the certainty of time,
The supreme state will be attained.
That is the mantra recitation, the austerity, and the hoḥ;
It is the maṇḍala and the maṇḍala deities as well.
Having meditated on the meaning of the Great Seal (mahāmudrā),
It is described as the vajra of emptiness,
The foundation of all qualities.
Vārāhī is renowned as compassion;
The unity of emptiness and compassion
Is called Vajravārāhī.
This is the explanation of the meditation on the definitive meaning by me.
The Glorious Northern Chinese Stages of the Path: The Sādhana of the Venerable Vajravārāhī, composed by the Bodhisattva King Siṃhamukha Viṣṇuprahīṇa, is hereby complete.
Translated into Tibetan in the presence of the Indian abbot, the great glorious Avadhūtipa, and the prince Abhayadeva, by the Śākya monk, the venerable Prajñākīrti.