Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhana provides a technical manual for performing offerings to the deity Vajrayoginī, framed as a transcription of the author's guru's instructions. The text outlines a ritual process centered on the manipulation of seed-syllables and the creation of sacred geometry. It directs the practitioner to transform the syllable HŪṂ into nectar via the syllable HOḤ, utilizing specific hand mudrās and the visualization of the samaya-cakra and jñāna-cakra emanating from the heart. The ritual requires the precise arrangement of offerings within a maṇḍala, including the drawing of spirals and the use of strained substances to ensure purity. By committing to these extensive practices and the path of the Great Mudrā, the practitioner is promised liberation from the lower realms of existence. The work functions as a prescriptive guide that bridges internal visualization with external ritual action to achieve a specific soteriological result.
Provenance
About this text
A ritual manual for the practice of the venerable Vajrayoginī, the rje btsun rdo rje rnal 'byor ma'i sgrub thabs is a work of classical Tibetan Buddhism. The colophon attributes the original to the Indian scholar Vajrapāṇi. It was translated into Tibetan by Vajrapāṇi and lo tsA ba mtshur, and is preserved in the Tengyur, volume ཟ, where it is situated within the collection of the Śaṃvara and Related Tantras across four pages. The work enacts a technical process for performing offerings to the deity, framed as a transcription of instructions received from a guru. It directs the practitioner in the preparation of a maṇḍala and the arrangement of flowers, emphasizing the transformation of the syllable HŪṂ into nectar through the syllable HOḤ and the use of specific mudrās. The ritual further involves the emanation of the samaya-cakra and jñāna-cakra from the heart to facilitate offerings to Vajravārāhī and other goddesses. A scholar or serious reader consults this text today to examine the precise intersection of internal visualization and external ritual action, specifically regarding the manipulation of seed-syllables and sacred geometry to achieve liberation from the lower realms.
Cite thisAnuvāda, “A Sādhana of the Venerable Vajrayoginī” (Toh 1558), machine draft, 2026.https://naxiai.com/tibetan/works/toh1558
Summary & commentary
Significance
The text is significant as it illustrates the intersection of deity yoga, mantra practice, and the Great Mudrā tradition. It demonstrates the reliance on the guru-disciple lineage for the transmission of precise ritual technology. For the modern reader, it provides a primary example of how Tibetan Buddhist ritualism employs symbolic transformation to alter the practitioner's state of being.
Structure
Passages
Section
Description
1-2
Introduction and Preparation
Homage to the guru and instructions on the initial preparation of the maṇḍala and the transformation of seed-syllables into nectar.
3
Visualization and Invitation
Instructions on emanating the samaya-cakra from the heart and inviting the jñāna-cakra to enter for offerings to Vajravārāhī.
4-5
Ritual Arrangement and Offerings
Technical details on drawing the maṇḍala, placing offerings, and the final promise of avoiding lower paths through the Great Mudrā.
Themes
Syllabic Transformation (2)
Maṇḍala Construction (1, 4)
Guru Lineage (1, 5)
Soteriological Outcome (5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
The Sādhana of the Venerable Vajrayoginī
Homage to Vajrayoginī!
I prostrate at the dust of the feet of the venerable Guru, the Sovereign Hermit.
Recalling the method of the offering to Vajrayoginī according to the Guru’s speech, I shall write it down.
First, the yogi should prepare a maṇḍala, such as a square one, and arrange flowers according to the number of deities. Having prepared the offerings and the torma as prescribed, one should abide in the divine pride of one’s chosen deity for a moment. Then, by touching with the left hand, one should perform the armor of the six heroes and likewise the ritual of the heroines.
OṂ HA at the heart.
NAMA HI at the head.
SVĀHĀ HU at the crown.
VAUṢAṬ HE at the two shoulders.
HŪṂ HŪṂ HO at the two eyes.
PHAṬ PHAṬ HAṂ as the weapon at all the limbs.
OṂ BAṂ at the navel.
HAṂ YOṂ at the heart.
HRĪṂ MOṂ at the mouth.
HREṂ HREṂ at the head.
HŪṂ HŪṂ at the crown.
PHAṬ PHAṬ as the weapon at all the limbs.
Having thus donned the two armors, the first application is as follows: from YAṂ comes wind, and from RAṂ comes fire. Above that, from A comes a three-headed [skull], and upon that, a kapāla. From BHRŪṂ ĀṂ JRĪṂ KHAṂ HŪṂ, these completely transform into the five nectars, such as excrement and so forth. Above those, from the five syllables themselves, the five meats, such as cow and so forth, arise. One should purify with the syllable OṂ and realize with the syllable ĀḤ.
Blazing intensely with the syllable HŪṂ, it is transformed into nectar by the syllable HOḤ. One should purify it with the left hand and realize it with the right. By covering it with the palms, it is made to blaze; by the garuḍa mudrā, it is transformed into nectar. It is of the nature of the melted moon. Then, taking a drop of liquor with the ring finger of the left hand, one should draw a triangular source of phenomena (dharmodaya) on the ground. In its center, one should draw a circle in the form of a drop (bindu). One should visualize the maṇḍala-cakra and then make offerings to the drop. One should taste it at one's own throat. OṂ ĀḤ HŪṂ. This is the common ritual for satisfying method and insight.
On the palm of the left hand, one should meditate on a red five-petalled lotus. In the center is OṂ VAṂ, Vajravārāhī. On the petals of the intermediate directions are the consorts of Yama: HAṂ YOṂ is Yamī; HRĪṂ MOṂ is Mohanī; HREṂ HRIṂ is Saṃjananī; and PHAṬ PHAṬ is Caṇḍikā. On the thumb is Vajrasattva; on the index finger is Vairocana; on the middle finger is Padmanarteśvara; on the ring finger is the glorious Heruka; and on the little finger is Vajrasūrya. On the row of fingernails is Hayagrīva. Thus, one should visualize them in the mind, either in the form of the letters of the mantra or in the form of colors and shapes. Reciting their respective names, one should arrange them along with flowers. There, one should worship with flowers and incense, and satisfy them with liquor. Then, pour it onto the maṇḍala and once again place it on one's own head. Afterwards, worship Cakrasaṃvara.
Whether it be the complete maṇḍala-cakra or the thirteen-fold self and so forth, one should emanate the samaya-cakra from the seed-syllable at one’s own heart. Then, the jñāna-cakra should be invited to enter. With the heart mantra or the near-heart mantra, one should make offerings to Vajravārāhī, offering each item such as flowers and so on. To the ḍākinīs and other goddesses, one should make offerings by reciting their respective names preceded by OṂ and followed by HŪṂ HŪṂ. One should offer to the directions in a counter-clockwise direction and to the intermediate points in a clockwise direction. One should offer praise with the eight-line hymn. When the offerings are thus complete, one should consecrate other vessels and merge the two vessels into one; this is explained as the consumption of the caru. Then, having consecrated the torma, one should first summon their attention with the mantra. The torma should then be presented with the mantra beginning with KHA KHA and so forth. Thereafter, according to the yogic method, one should abide in the enjoyments of desire and perform all songs, dances, and so on. At the end of the mantra VAJRA MAṆḌALA MUḤ, one should request them to depart. The remaining portions should be consecrated as before. Visualizing a stream of nectar falling from the five fingers of the leftovers of what has been eaten and drunk, one should give them to the hosts of pretas. These are the common rituals for the gaṇacakra. On the tenth day and other such times, or at other times according to the guru’s instructions, having prepared the maṇḍala as above, the signs of the yoginī are—
One should draw a swastika in spirals. In the intermediate directions, one should place drops. In the center of that, one should make offerings. Furthermore, for the sake of being stainless, one should carefully strain beautiful substances into a vessel. In the center of a maṇḍala of intersecting dharmodayas, one should write this irreproachable secret mantra according to the ritual in a secluded place. At the boundaries of the maṇḍala, one should draw the symbols of the six armor goddesses, such as Vārāhī, and the symbols of the swastika spirals. One should surround it with garlands of fragrant flowers. With the four fruits and the four types of sweets, and especially with fragrant flowers and various kinds of offerings, one should properly worship the maṇḍala. This is the supreme method for destroying the city. Here, if one perseveres in the continuous recitation of the heart mantra and the near-heart mantra of the goddess, there will be no difficulty in accomplishing the welfare of beings; all the goals of the dharma will be achieved. These are the uncommon rituals. If a yogi always takes this as his yidam, then in the morning, he should construct the maṇḍala according to the ritual. He should scatter flowers according to the number of his desired deities. From the seed syllable at his own heart, he should place the samayasattva that has been emanated. He should then cause the jñānasattva to enter that. Then, with the heart mantra, the near-heart mantra, and the eight-line mantra, he should offer flowers and so forth. For all the ḍākinīs and others, he should use their own names in the mantra, preceded by Oṃ and Hūṃ Hūṃ Phaṭ.
Offer with the mantras appended at the end. In such a manner, perform the extensive practice. Those who are supremely devoted to the Great Mudrā and have entered such a path will not proceed to the lower paths; thus my guru has spoken. This concludes the brief [text] on the offering to Vajrayoginī and so forth. Translated from the presence of the Indian abbot Vajrapāṇi by the translator Tshur.