Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This technical instruction outlines the precise visualization process required for the performance of a torma offering. The text functions as a ritual manual, directing the practitioner to construct a vertical stack of symbolic elements based on specific seed syllables. The sequence begins with a wind maṇḍala arising from yaṃ, followed by a fire maṇḍala from raṃ, and three human heads from kaṃ. The structure is capped by a skull cup arising from a, above which a series of complex seed syllables and mantras are visualized. By following these instructions, the reader commits to a rigorous mental architecture where phonetic markers act as the catalysts for the manifestation of ritual objects. The text prioritizes the exact spatial and symbolic arrangement of these elements over theological explanation, treating the visualization as a prerequisite for the offering's efficacy.
Provenance
About this text
A ritual manual detailing the performance of the torma offering, the gtor ma bya ba belongs to the collection of the Śaṃvara and Related Tantras. The work is attributed to the Indian author Abhiyukta. Preserved within the classical Tibetan tradition, the text is found in volume འ of the Tengyur. The work enacts a precise visualization process, directing the practitioner to construct a vertical stack of symbolic elements based on specific seed syllables. This sequence begins with a wind maṇḍala arising from yaṃ, followed by a fire maṇḍala from raṃ, and three human heads from kaṃ, topped by a skull cup and a series of complex mantras and syllables. A scholar or serious reader consults this two-page instruction today to understand the rigorous mental architecture required for the offering's efficacy, where phonetic markers serve as the catalysts for the manifestation of ritual objects. The text prioritizes the exact spatial and symbolic arrangement of these elements over theological explanation.
This text is significant as it demonstrates the intersection of linguistics and ritual art in Indo-Tibetan Buddhism, where seed syllables serve as blueprints for material and mental offerings. For the modern reader, it illustrates the highly formalized nature of Vajrayana visualization practices.
Structure
Passages
Section
Description
1
Visualization of the Torma Offering
Instructions for the sequential visualization of elemental maṇḍalas, human heads, a skull cup, and seed syllables.
Themes
Ritual Visualization (1)
Seed Syllables (1)
Torma Offerings (1)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
Regarding the performance of the torma offering: In front, from yaṃ arises a wind maṇḍala; above that, from raṃ, a fire maṇḍala; and above that, from kaṃ, three human heads. Upon these, from a, a skull cup. Above that, one should visualize śu bi mu ma ra, na go ku da ha, and oṃ traṃ aṃ khaṃ hūṃ, laṃ maṃ paṃ taṃ baṃ. Above those, visualize a white oṃ, a red āḥ, and a black hūṃ, stacked one above the other. By reciting oṃ, they dissolve into those [syllables], and one should imagine them becoming a single white mass. By reciting āḥ, they dissolve into those, and one should imagine them becoming a shimmering red mass. By reciting hūṃ, through the power of their dissolution, one should imagine them taking on the color of mercury.
Then, in front, visualize an eight-petaled lotus within a triangular source of phenomena (dharmodaya). In the center of the eight petals, visualize a six-spoked wheel. By reciting the three purities, visualize the six goddesses on the six spokes and Vajrayoginī in the hub. On the eight outer petals, visualize the eight field-protectors. The mantra for offering the torma is: oṃ śrī vajrayoginī karmarūpiṇī jvalamukhinī oṃ hrīḥ kha kha khāhi khāhi hūṃ hūṃ hūṃ phaṭ phaṭ phaṭ. [Name] svasti kṣama aroga dehi dantaya. oṃ dhaya śāntiṃ kuru svāhā. With this mantra, offer to both the mundane and supramundane [deities]. Then, recite the hundred-syllable mantra and request them to depart. This concludes the torma ritual composed by Abhiyukta.