Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This sādhanā provides a detailed ritual manual for the practice of the Yoga Tantra of the Four Seats, focusing on the visualization and invocation of a complex mandala of deities. The text guides the practitioner through a sequence of meditative absorptions, beginning with the purification of the body and the visualization of a sun maṇḍala and seed syllables. It commits the reader to a rigorous system of deity yoga, requiring the precise construction of a multi-storied palace, the placement of specific goddesses and gatekeepers in cardinal directions, and the execution of corresponding mudrās and mantras. The ritual culminates in the practitioner visualizing themselves as the Wisdom Ḍākinī, receiving offerings and praise from a host of yoginīs. By integrating somatic gestures, phonetic formulas, and architectural visualization, the text aims to transform the practitioner's consciousness and stabilize the meditative state through the use of a hundred-syllable mantra.
Provenance
About this text
A sādhanā for the accomplishment of yoga, the Śrīcatuḥpīṭhayogatantrasādhanopāyikā belongs to the tradition of the Yoga Tantra of the Four Seats. The work is attributed to the Indian author Āryadeva. It was translated into the Tibetan language by Kamalagupta and the monk translator Rin chen bzang po, as preserved in the Tengyur, volume ཡ, where it comprises eighteen pages and is situated within the collection of Other Wisdom Tantras. The text enacts a rigorous system of deity yoga, guiding the practitioner through a sequence of meditative absorptions and somatic gestures. It begins with the purification of the throat and the visualization of a sun maṇḍala in the right hand, upon which a five-pronged vajra arises from the syllable HŪṂ. The practitioner is instructed to meditate on goddesses arising from specific seed syllables and to visualize the incineration of the seven subterranean levels and obstructing spirits through the radiation of five-colored light rays. A scholar or serious reader consults this classical Tibetan work today to examine the precise integration of phonetic formulas, mudrās, and architectural visualization used to transform the practitioner's consciousness through the invocation of a complex mandala of deities.
Sanskrit title
Śrīcatuḥpīṭhayogatantrasādhanopāyikā
Indian author
Āryadeva
Tibetan translators
Kamalagupta, zhu chen gyi lo tsa ba dge slong rin chen bzang po
Cite thisAnuvāda, “A Sādhana for the Yoga Tantra of “Four Parts”” (Toh 1610), machine draft, 2026.https://naxiai.com/tibetan/works/toh1610
Summary & commentary
Significance
The work is significant as a representative example of the Yoga Tantra class, illustrating the intricate intersection of visualization and physical mudrā. Its attribution to the translator Rinchen Zangpo suggests it belongs to the early period of Tibetan translation, providing insight into the transmission of Indian tantric systems to Tibet.
Structure
Passages
Section
Description
1-6
Preliminary Rituals and Visualization
Homages, purification of the throat, and the visualization of the sun maṇḍala and the multi-storied palace on Mount Meru.
7-13
Deity Invocation and Mandala Placement
Descriptions of the wrathful central deity and the specific goddesses and gatekeepers stationed at the cardinal directions.
14-18
Mantras and Mudrās
Technical instructions for summoning worldly beings and the specific hand gestures associated with various goddesses and deities.
19-23
Self-Identification and Offerings
The practitioner's visualization as the Wisdom Ḍākinī, the performance of ritual offerings, and the recitation of praise.
24-25
Stabilization and Colophon
The use of the hundred-syllable mantra for stabilization and the translator's colophon.
Themes
Deity Yoga and Visualization (2-13, 19)
Ritual Somatics (Mudrās and Mantras) (14-18, 24)
Mandala Architecture (5-6, 10-13)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaA Sādhana for the Yoga Tantra of “Four Parts”·
In the language of India: Śrī-caturpīṭha-yogatantra-sādhanopika. In the language of Tibet: The Sādhana of the Yoga Tantra, the Glorious Four Seats. Homage to the glorious Vajrasattva!
I prostrate to the four syllables and the mudrās, adorned with the four and so forth, and to the Guru Nāgārjuna, who bestows the pith instructions upon disciples. I shall explain the accomplishment of yoga, which is complete in its ritual, perfectly clear, adorned with mantras, mudrās, and the like, and which generates benefit for all sentient beings.
Free from complex poetic meters and grammatical particles, and having abandoned the technical definitions of grammar, this is explained as a yoga treatise through the language of yoga.
In this regard, first, one who wishes to please the deities of the great Yoginī Tantra known as the Glorious Four Seats, a yogi endowed with qualities such as pacification and so forth, should, for the sake of bringing benefit and happiness to all sentient beings, sit upon a soft cushion or similar seat in the sattvaparyaṅka posture in any location that is agreeable to the mind. With the thought, "May I become the glorious Yoga Space," one should prepare a square maṇḍala of fragrant substances one cubit in size, making it level and pure, and scatter it with pleasing loose flowers.
As it is said:
"Place the perfumes and so forth on the right,
And place the cleansing water on the left.
In front, place the arghya and so forth,
Along with white mustard, flowers, and sandalwood."
Then, focusing on the first absorption, one should perform the purification of the throat and so forth. Visualize a sun maṇḍala in the right hand, and upon a five-pronged vajra arising from the syllable HŪṂ, meditate on the goddesses arising from the complete transformation of OṂ, HŪṂ, SUṂ, KṢUṂ, and YUṂ at the tips of the prongs. Arrange a moon in the left hand, and upon an eight-petalled lotus arising from HRĪḤ, contemplate the goddesses arising from the complete transformation of OṂ, HMṚṂ, HMṚṂ, KṢMṚṂ, and YMṚṂ.
Place the white, smoke-colored, conch, lotus, and so forth upon the fingers of the right hand. Place the bezoar, the three fragrances, the terrifying, and the earth-parasol upon the left hand. Wisdom and consciousness are placed upon the two thumbs; these are the goddesses who possess the actions of the hands and so forth.
At the throat, visualize a moon well-established, and upon a single lotus petal, visualize the syllable OṂ at the center of a vajra the size of a grain of rice upon the tongue, and thus perform the purification. From the mass of clouds of light rays from the syllable HŪṂ residing in the hub of the vajra upon the sun maṇḍala at the heart, sentient beings are thoroughly purified with effort. From the complete transformation of the garlands of light rays in a mere instant, [one arises] seated upon a lotus and moon seat in a place adorned with jewels, white like a conch or kunda flower, with excellent radiance, two-armed, seated in the bodhisattva posture, wearing a crown empowered by the five buddhas, and holding a vajra at the heart with the right hand.
With the left hand resting on the hip, holding a bell, the body is adorned with all ornaments and beautifully arrayed in exquisite garments. Visualize that immeasurable garlands of light rays radiate forth, and recite vajrasattva ahaṃ. With the right hand, brandish the vajra and visualize that the masses of five-colored light rays incinerate the seven subterranean levels and the obstructing spirits (vighna). As it is said:
"The four and the fourfold,
The ground itself and the four without ground,
The four of the excellent ground and the four of certainty—
These are proclaimed as the seven subterranean levels."
Having thus completely purified, one should construct the three tiers of the vajra fence, which is the purity of generosity, liberated from subject and object. Above, one should construct the three types of vajra lattice, which is the purity of discipline. Below, for the sake of obstructing and destroying those who cause harm, one should strike with the ritual daggers (kīla) of the purity of acceptance.
Having thus visualized the protection wheel, summon the wisdom ḍākinīs through union with the hook. Then, display the samaya mudrā: bind the two vajra fists, place the left at the heart, and extend the right to the hip; this is the display of the samaya mudrā of resting. Then, offer the seat: seated upon a precious lion throne, a lotus, and a moon, adorned with a white parasol, offer the water for the mouth, the water for rinsing, and the five types of offerings. Taking the vajra and bell, recite: oṃ kāyatuṣya hoḥ.
vāka tuṣṭye hoḥ | citta tuṣṭye hoḥ | Thus, ringing the bell, one should offer praise with the offering of eulogy. Then, visualizing through the ordinary application, one should offer oneself before that very deity. oṃ pañca ḍākinī pūjopasthānāya ātmānaṃ niryātayāmi | oṃ ācārya pūjopasthānāya ātmānaṃ niryātayāmi | oṃ sattvārthottarāya ātmānaṃ niryātayāmi |
I shall turn away from anger and pride,
From lies and words that wound,
From sinful friends and the basis of harm,
And from taking what is not given.
In the Buddha, the Dharma, and the Saṅgha,
I always take refuge.
In all three vehicles,
In the yoginīs of the secret yoga and so forth,
In the heroes, heroines, and powerful lords,
In the bodhisattvas, the great beings,
And especially in the master,
I always take refuge.
One should also recite the verses on one's own bodhicitta:
"Killing one's father and mother,
And the two kings who practice purity,
And destroying the palace and its retinue—
This is explained as the 'pure body'."
Then, visualizing the syllable kṣūṃ upon a white lotus in the heart, one should cause all sentient beings and oneself to become invisible through the mass of light rays arising from it. Thinking that sounds have ceased, one recites: oṃ svabhāvaśuddhāḥ sarvadharmāḥ svabhāvaśuddho 'haṃ.
From yūṃ, kṣūṃ, sūṃ, and hūṃ, one visualizes the maṇḍalas of wind, fire, water, and earth. From kṣūṃ, the ocean of milk [appears].
From the syllable Sūṃ, one should visualize Mount Meru. Upon it, the mass of light rays from the Bhrūṃ of the vajra incinerates all obstructing spirits (vighna). From the total transformation of those light rays, one should visualize a multi-storied palace arrayed with various jewels. It has four corners and four doors, and is beautifully adorned with four archways (toraṇa). It is also adorned with vajra pillars, and various symbols are to be arranged. It is encircled by garlands of bells and nets, as well as nets and half-nets. At the four corners, it is adorned with vajras, jewels, and half-moons. At the doors, victory banners (dhvaja) resting upon vases should be raised. At the eastern door, upon a lotus, a lion emblem should be raised. At the northern door, upon a lotus, a peacock emblem should be raised. A victory banner marked with a lotus and a swan should be placed in the west. Likewise, a lotus marked with a makara should be placed in the southern direction. The colors of the directions of the first maṇḍala are as follows: the second is red like blood; the third is dark blue like the sky; and the frieze is the color of gold. The great lords of yoga should always examine the manner in this way. In the center is a lion throne; in the east, an elephant throne; in the northern direction, a peacock throne; in the west, a garuḍa throne; in the south, a "What shall I do?" throne; in the northeast direction, a lion throne; in the southeast, a vajra-faced throne; in the southwest direction, a buffalo throne; in the northwest direction, a jackal throne; and at the four doors, corpse thrones.
On the second circular wheel, there are lotus and moon seats. On the third level itself, there are those renowned in the world. Having thus fully visualized the seats, in order to protect them, one should construct the vajra fence and so forth, as well as the lattice and the ritual stakes. Upon the white lotus seat of the principal deity, from the complete transformation of the āli vowels, there is a moon maṇḍala. Above that, from the complete transformation of the kāli consonants, there is a sun maṇḍala. Upon those two, one should visualize the syllable HŪṂ, which is exhorted by the four goddesses residing on the petals of the directions: JA JA JA JA VAJRA SATVA APATRAṆA SIDDHI MAHĀ MAHĀ HA HA HA HA HŪṂKARA NĀTHA SAMAYO HAṂ NAMATA MITE BABA BABA VAJRA SPHOṬA GUHYODGATE DEHA DHARMĀ Ā Ā Ā Ā ĀHO TOṢAṬ VAJRA ALIMEKA ŚULOYANA HŪṂ. Having been exhorted in that way by those four, one should visualize the syllable HŪṂ dissolving into it. From the complete transformation of its light rays, one should visualize a five-pronged vajra; this is the wisdom of equality. Reciting OṂ VAJRA ŚUDDHAḤ SARVA DHARMĀ VAJRA ŚUDDHO ’HAṂ, the mass of light rays from the syllable HŪṂ at the hub completely purifies all sentient beings, and they become of one taste in the accomplishment of activities. Having purified one’s own place upon the lion throne and visualized a sun maṇḍala adorned with a white parasol, then: "Three-faced and six-armed, seated in the bodhisattva posture, with hair loose and streaming."
Bound by a garland of skulls, with a crest ornament adorned with a vajra, he is further adorned by the five buddhas. His body is renowned for being predominantly blue in color. He is adorned with ornaments of snakes. He is explained as being wrathful and charming. He has three faces and three eyes. His mouths are wide open with the laughter of "ha ha." He is beautifully adorned with red garments. He holds a khaṭvāṅga raised upward. The second [hand] holds a battle-axe, and the third always holds a vajra. The left [hands] ring a bell, the second holds the vessel of the yogin, and likewise the third holds swords. The wise should meditate on him in the center, endowed with immeasurable rays of light.
With a body color that is white and extremely beautiful, his two hands embrace the neck, and he bites the lower lip with his teeth. Having pressed with the joints of his feet, he causes the vajra to dissolve into the lotus. Adorned with all the ornaments of the limbs and wearing most beautiful garments, he remains in union with insight (prajñā).
Then, one should arrange the eight syllables with the three-bannered mudrā: one should visualize the syllable KṢŪṂ at the crown of the head. The syllable HŪṂ is at the two eyes. YŪṂ is at the two ears and the two nostrils. SUṂ blazes perfectly upon the tongue. One should visualize ṢṬRŪṂ at the throat. Likewise, one should visualize HṢṬRŪṂ at the navel. At the heart region is YṢṬRŪṂ. At the navel, one should arrange KṢṬRŪṂ. Having visualized in that way, one should summon the wisdom ḍākinī with a white hook, display the samaya mudrā, and perfectly make offerings of the drinking water, the rinsing water, and the seat.
OṂ VAJRA AṄKUŚA JAḤ JAḤ HŪṂ VAṂ HOḤ. With this, the yogi should cause [the deities] to enter the sun maṇḍala in the heart of space, bind them, bring them under control, and please them. With the mantra OṂ HŪṂ ĀḤ SVĀHĀ, one should examine the empowerment of the five Buddhas by means of the sun-hand. With this mantra, the mudrā of ornaments should be offered. In order to clarify the attachment to the deity’s body generated by the secret mantra according to the sequence just explained, one should recite this mantra: OṂ YOGA ŚUDDHAḤ SARVA DHARMĀ YOGA ŚUDDHO ’HAṂ. Then, through the complete dissolution of method and insight, and by means of the superior conviction that [all is] like an illusion, the maṇḍala that fulfills the welfare of self and others should be emanated:
Arisen perfectly from the recitation of SUṂ,
White as a conch, a kunda flower, or moonlight,
With two hands and hair completely loose,
Adorned with a garland of Buddhas,
And with ornaments adorning the limbs,
The wrathful Hūṃkāra of the three families,
Holding a khaṭvāṅga and a yogic vessel,
Blazing with immeasurable rays of light,
Wearing an elephant hide as a lower garment,
And a human skin as a cloak—
His maṇḍala is a circle of light,
Seated in the posture of a sporting elephant.
Having summoned [the deities] with the vajra hook,
Vajraḍākinī is in the east.
OṂ ĀḤ SVĀHĀ. Arisen from the breath of the earth,
The fierce Ḍākinī born from Ā,
Yellow in color and exceedingly beautiful,
With bared fangs and a "ha ha" laugh,
Her hair blazing upward,
Adorned with the five Buddhas as a crown.
Pressing down upon a peacock seat, she sits in the half-lotus posture. Her body is adorned with all the ornaments, and her two hands are exquisitely beautiful, holding a khaṭvāṅga and the yogic vessel. Seated within a maṇḍala of fire, her lower garment is an elephant hide, and she wears a human skin as her robe. Thus should the goddess be meditated upon, always residing in the northern direction. OṂ ĀḤ SVĀHĀ. Born from the syllable ĀḤ, she arises from the breath of fire. Vetālī is to be placed in the west. Seated upon a garuḍa throne, she dwells in the squatting posture. Red in color and exceedingly beautiful, her two hands perform the terrifying hūṃ-mudrā. Her hair is blazing and disheveled, and she is adorned with the five buddhas. Holding a khaṭvāṅga and the yogic vessel, she is adorned with all the ornaments. Her lower garment is an elephant hide, and she wears a human skin as her robe. With a mind that is unwavering and free from harm, one should meditate upon her completely. OṂ ĀḤ SVĀHĀ. Born from the syllable ĀḤ, she is the life-force of the wind. Caṇḍālī, the sovereign goddess, is blue in color and most formidable, proclaiming the terrifying laughter of ha ha. Residing upon a servant’s seat, she sits with her knees in the lotus posture. Her red hair is scattered about, and she is adorned with the five buddhas. Her two hands hold the yogic vessel and a khaṭvāṅga. Her body is adorned with all the ornaments, her lower garment is an elephant hide, and she wears a human skin as her robe.
One should always meditate in the south. OṂ ĀḤ AṂ SVĀHĀ. Arising from the seed-syllable Ṛ, the goddess named Siṃhavatī (Lioness) sits upon a lion throne. She possesses a playful gait and is colored white, yellow, and so forth. Her radiance is like a blazing light. In her two hands she holds a red garment, and she is fully adorned with all ornaments. With her right hand raised, she holds a sword, and her left hand holds a lasso with the threatening gesture. She terrifies all the Māras and is to be placed in the northeast. OṂ Ṛ SVĀHĀ. Arising from the seed-syllable Ṝ, Vajrāmbuvati (Vajra-Water) is adorned with a moon. She possesses colors such as white and black and dwells in a wrathful maṇḍala. Her two hands are in the wrathful explanation mudrā, and she is adorned with a red garment. She holds a hook, a lasso, and the threatening gesture. The tiger-faced goddess is placed in the southeast. OṂ Ṝ SVĀHĀ. Arising from the seed-syllable Ḷ, the beautiful black female fox dwells upon a buffalo throne. She is perfectly seated in the half-lotus posture. Her two hands hold a battle-axe and a lasso, and she is adorned with a maṇḍala of fire. Baring her fangs, she laughs "Ha Ha" and is extremely terrifying. She wears a red garment and is the goddess of the southwest. OṂ Ḷ SVĀHĀ. Arising from the seed-syllable Ḹ, the goddess Ulūkā (Owl) is produced. Her body appears red and yellow, and she sits upon a jackal throne. She is perfectly seated in a squatting posture. Her two hands hold a staff and a vessel.
Adorned with every ornament,
Clad in garments of red,
With a radiance equal to blazing fire—
Thus should that goddess be meditated upon.
The butcher resides in the direction of the wind.
OṂ LṚ SVĀHĀ.
At the gates of the inner maṇḍala,
The four types of gatekeepers
Are explained as the summoning of the deities and so forth.
I myself shall meditate upon that very meditation.
The ḍākinī arising from her own mantra,
Known as the Sovereign of the Victors,
Is white in color and possesses two hands.
Her body is adorned with all ornaments.
She scatters the sounds of the fierce goddess.
Placing her hand in her mouth,
She laughs with a terrifying "HA HA."
She sits upon a seat of a hungry ghost (preta).
The goddess who is intensely diligent in summoning
Is placed at the eastern gate.
OṂ IṂ SVĀHĀ.
The goddess arising from her own mantra,
Known as the Sovereign of the Elephants,
Is a great wrathful one, yellow in color.
She sits upon a seat of a hungry ghost.
Her two hands are joined in prayer,
And her hair blazes upward like fire.
Laughing with a formidable form,
She is adorned with most beautiful light.
Turbulent and radiant with blazing rays,
She is placed in the northern direction.
OṂ ĀṂ SVĀHĀ.
The goddess arising from her own mantra,
Known as the Sovereign of the Victors,
Is red in color and proclaims terrifying sounds.
She sits upon a seat of a hungry ghost.
She wears most beautiful garments.
In the palms of her two hands are red threads.
With hands joined, she partakes of blood.
Possessing the light of blazing fire,
She is the fierce one who performs binding.
One should meditate on Jibma in the west: OṂ HRĪṂ HAṂ SVĀHĀ. From her own mantra arises the goddess known as Kaṃbujiṇī. She is black in color and sits upon a corpse seat. Her two hands have disheveled hair, and she wears a most beautiful red garment. Adorned by all the Buddhas, her hand holds a hammer and a threatening gesture, which bewilders the minds of wandering beings. With a fierce light like a blazing fire, she should be meditated upon in the south.
On the second level, the wise should arrange the yoginīs. Gandhāri, Saṃskāra, and Caṇḍālī are the goddesses of the eastern direction. Holding a skull-cup filled with nectar, her graceful hand is exquisitely beautiful. The fierce blood-drinking Piśācī is the goddess of the northern direction. Holding skull-cups filled with the five [substances] such as the hook, she is the fierce, blazing, and terrifying goddess of the western direction. Holding a lotus vessel with both hands, she should be arranged [there]. All those with skull-cups and vajras are the goddesses of the southern direction. Holding skull-cups filled with food and drink and vajras in their hands, the graceful Lāsyā is in the northeast; Gandhā is in the southeast; Gītā and Dhūpā are in the southwest; and Nṛtyā and Dīpā are in the northwest. These twenty seated goddesses are also adorned with all the ornaments. Their ornaments and so forth correspond to their directions, and they abide upon lotus and moon seats. On the third level, on the other seats, at the eastern gate is Viṣṇu in the manner of a petitioner.
Brahmā, holding a fly-whisk, should be stationed at the northern gate. Accompanied by the sounds of praise from Rudra and the others, he should be placed at the western gate. Śakra, holding a precious parasol, should be placed in the southern direction. Beating drums and holding fly-whisks, adorned with dance and song, together with his retinue and wife, Śakra should be placed in the northeast corner. Holding a precious sprout in his hand and adorned with pearl necklaces, together with his retinue and wife, Kubera should be placed in the southeast. Together with victory banners, parasols, and canopies, together with his retinue and wife, the sovereign lord of the host of spirits should be placed in the southwest direction. Skilled in song, dance, and the like with lutes and flutes, the lord of nāgas, together with his wife, should be placed in the northwest corner.
In that way, having placed the deities of the maṇḍala circle in their respective positions, one should then invite the wisdom maṇḍala with a white hook and place it upon the samaya maṇḍala. By means of the previously explained mantras and mudrās, one should display the samaya mudrā and cause the wisdom beings to enter one's own forms. The blazing mantra garland at their hearts is the dharma mudrā. The emanation and reabsorption is the karma mudrā. Having thus applied the four mudrās, one should visualize the empowerment of the Yoga of Space upon the crown of each. Then, in order to demonstrate the mudrās, it is said:
The secret mantras for those names are: Oṃ and the end of the burning. For the three joints of the three stains, apply Rocana as the hook: Oṃ akārṣāṇi hūṃ phaṭ svāhā. This is the mantra and mudrā for summoning worldly beings and so forth. Having firmly bound the two fists together, offer the incense of the three stains. By the application of the two touching, the vajra short spear should be displayed: Oṃ tiṣṭha āsana svāhā. This is the mantra and mudrā for the seat. By encircling the lotus wisdom, the earth parasol and consciousness are suppressed. Having encircled the two with iron chains, the remaining three banners are raised. The three stains are touched by the incense; it is the five-pointed vajra: Oṃ hūṃ ha svāhā. This is the mantra and mudrā for the Yoginī of Space. Having firmly bound the two fists, the two middle fingers should be extended. The index fingers are joined in front and displayed to the wisdom goddesses: Oṃ oṃ a svāhā. This is the mantra and mudrā for the Wisdom Ḍākinī. The hands are joined together; the thumbs should be inserted into the center. Moving them again and again, it is displayed to the Vajra-holder of the East: Oṃ suṃ sa svāhā. This is the mantra and mudrā for the Vajra-holder. Having firmly bound the fists equally, the two thumbs are fully extended. This mudrā is displayed to the Fierce One; it should be commenced in the northern direction: Oṃ kṣuṃ kṣa svāhā. This is the mantra and mudrā for the Fierce One. Having firmly bound this mudrā, the two middle fingers are fully extended.
In the western direction is Vetālī; one should apply that mudrā. OṂ YŪṂ YA SVĀHĀ. This is the mantra and mudrā of Vetālī. Firmly binding that same mudrā, extend the two little fingers. In the southern direction is Caṇḍālī; extend that mudrā. OṂ HŪṂ SVĀHĀ. This is the mantra and mudrā of Caṇḍālī. At the beginning of all mudrās, the lotus-circling gesture should be performed first. Forming two vajra-clasps, this is the white rocanā iron chain. OṂ ŚRŪṂ SVĀHĀ. This is the mantra and mudrā of Siṃhī. Firmly binding that mudrā, offer the three scents and incense. OṂ HRŪṂ SVĀHĀ. This is the mantra and mudrā of Vyāghrī. Firmly binding that mudrā, this is the earth parasol and lotus iron chain. OṂ YRŪṂ SVĀHĀ. This is the mantra and mudrā of Śrgālī. From the two vajra-bindings, move them toward one another. OṂ KṢRŪṂ SVĀHĀ. This is the mantra and mudrā of Ulūkī. Placing both hands in the mouth, perform the unsurpassed laughter. OṂ HŪṂ HU SVĀHĀ. This is the mantra and mudrā of Ḍākinīrājeśvarī. Placing the palms joined at the crown of the head: OṂ PHAṬ HŪṂ SVĀHĀ. This is the mantra and mudrā of Tārā. Placing the preta-palms in the mouth, loudly proclaim "HŪṂ." OṂ PHEṂ HŪṂ SVĀHĀ. This is the mantra and mudrā of Cumbikā. Firmly binding the moon-fist, apply it to the base of the ear. OṂ HRĪḤ HŪṂ SVĀHĀ.
The mantra and mudrā of Kaṃpoji. The mantras and mudrās of the thirteen goddesses within the maṇḍala. Extending the hands of the moon, one should summon the pure consciousnesses. The two in front should be joined. This is the mantra and mudrā of the three yoginīs of the eastern direction, preceded by the water of nectar: OṂ HA HO HRIḤ SVĀHĀ. Joining the sun and moon, they should be joined upon the sun. OṂ GHRĪṂ GHRA SVĀHĀ. This is the mantra and mudrā of the three yoginīs of the northern direction. Firmly binding the vajra-palms, the sun and moon are emanated. OṂ KURU KURU SVĀHĀ. This is the mantra and mudrā of the three yoginīs of the western direction. Extending the moon and sun, they should be joined behind the back. Joining the tips of the fingers is the mudrā of the three yoginīs of the south. OṂ VETĀLĪ HŪṂ SVĀHĀ. Binding the two vajra-fists, they are placed at the junction of the two hips. OṂ HŪṂ HO SVĀHĀ. This is the mantra and mudrā of Lāsyā. Extending the moon-fist, one should know the thumb to be raised. Holding it, the sun-hand is joined like a conch. This is the mudrā of Gandhā. OṂ SUPRIYA GANDHE HŪṂ SVĀHĀ. This is the mantra and mudrā of Gandhā. With a lute-like lute: OṂ HŪṂ SVĀHĀ. This is the mantra and mudrā of Vīṇā. Joining both palms, they are rotated at the crown and then opened. OṂ ŚRĪṂ SVĀHĀ. This is the mantra and mudrā of Puṣpā.
Binding the two vajra fists, lift the white [substance] and join them in front; performing this like singing is explained as the mudrā of song. OṂ HŪṂ AṂ SVĀHĀ. This is the mantra and mudrā of song.
Firmly binding the vajra fists, one should hold the mark of the moon. OṂ I SVĀHĀ. This is the mantra and mudrā of incense.
Place the right hand of the moon upon the shoulders. OṂ SUNṚTYE SVĀHĀ. This is the mantra and mudrā of dance.
Binding the palms, place them at the crown of the head. OṂ KṢŪṂ SVĀHĀ. This is the mantra and mudrā of the lamp.
The mantras and mudrās of the twenty goddesses of the second stage have been explained.
Binding the fists of the sun, release them upward. OṂ KṢŪṂ SVĀHĀ. This is the mantra and mudrā of Viṣṇu.
Binding the vajra fists, move them at the heart. OṂ SA SVĀHĀ. This is the mantra and mudrā of Brahmā.
Raising a three-pronged banner upward. OṂ HŪṂ HŪṂ SVĀHĀ. This is the mantra and mudrā of Rudra.
Firmly binding the fists of the moon, then extend the hands of the sun and apply the rocanā. OṂ MAṂ MU HŪṂ SVĀHĀ. This is the mantra and mudrā of Śakra.
Firmly binding the fists of the sun, raise the white conch and apply it level with the forehead. This is the samaya of Indra. OṂ MU MU SVĀHĀ. This is the mantra and mudrā of Indra.
Firmly binding the vajra fists, extend the white rocanā; join the two previous [fists] together.
One should apply [the mudrā] like a jewel. OṂ DHANĀGRE HŪṂ SVĀHĀ. This is the mantra and mudrā of Kuvera. Extending both hands: OṂ GHĀ DHANI HŪṂ PHAṬ SVĀHĀ. This is the mantra and mudrā of the Bhūtas. Forming a fist and raising the index finger: OṂ BHURBHUVAḤ SVĀHĀ. This is the mantra and mudrā of the Lord of Nāgas. With the back of the left hand facing outward and the right hand facing forward, one should move [the hands] three times toward the direction of Īśāna. OṂ VAJRAPRĀKĀRA HŪṂ PHAṬ. This is the mantra and mudrā of the Vajra Fence. Extending both hands, one should touch the tips together. OṂ JŪṂ SVĀHĀ. This is the mantra and mudrā of the Vajra Fence. Forming a fist with the left hand, one should extend the thumb and point it downward. OṂ BRŪṂ SVĀHĀ. This is the mantra and mudrā of the Kīla. Extending the "sun" hand (right hand), one should show it to all the Yoginīs. OṂ PRATĪCCHA SUGANDHE HŪṂ SVĀHĀ. This is the mantra and mudrā of the Incense. Binding that very [mudrā] well, one should apply it below the waist. OṂ PUṢPE SVĀHĀ. This is for the Flower. Binding that very [mudrā], one should offer the incense. OṂ DHŪPE MĀLINI HŪṂ SVĀHĀ. This is for the Incense. Forming a "sun" fist and extending the thumb: OṂ NADĪTĪKṢṆA DĪPE HŪṂ SVĀHĀ. This is for the Lamp. Extending both hands, one should move the thumbs in the center. OṂ KURU KURU MAHĀBHAKṢA ŚRĪ ŚRĪ HŪṂ SVĀHĀ. This is for the Food Offering.
In that way, one should visualize oneself in the form of the Wisdom Ḍākinī, while the goddesses offer and praise with the twenty types of offerings accompanied by mantras and mudrās, joined with the syllable HŪṂ. Then, in order to make offerings to oneself and others, one should take a conch vessel filled with amṛta and, in front of all the Yoginīs, snap the fingers three times while reciting this mantra: OṂ HA HO HRĪḤ SVĀHĀ. This is the mantra and mudrā for bestowing the five amṛtas. Taking the previously explained pure vajra and bell, one should recite this mantra together with the melody of the syllable HŪṂ: OṂ HŪṂ HŪṂ; OṂ PRAJÑĀ HŪṂ HŪṂ HŪṂ; OṂ PHEṂ GHE; OṂ PHEṂ GHE; OṂ PHEṂ GHE; OṂ GHRĀṂ GHRĀṂ GHRĀṂ HŪṂ SVĀHĀ. This is the mantra for causing great delight. Then, ring the vajra and bell, and recite the secret mantra with diligence. Binding the two vajra fists, join them back-to-back. Forming the earth-parasol and lotus mudrās, move them with the syllable HŪṂ and so forth: OṂ VAJRA GHAṆṬA HO; OṂ VAJRA GHAṆṬĀ RAṆITA PRARAṆITA SARVA BUDDHA KṢETRA PRACALITE PRAJÑĀPĀRAMITĀ NĀDA SVABHĀVE VAJRA DHARMĀ HṚDAYA SAṂTOṢAṆI HŪṂ HŪṂ HŪṂ SVĀHĀ. This is the mantra of the vajra and bell. Binding the two vajra fists, place them at the waist. Adopting the wrathful posture for subduing vighnas and laughing, and positioning the body in the three-fold contraction, one should act with the graceful manner of a dancer and the manner of a lute-player.
Blowing in the manner of a flute, playing in the manner of cymbals, striking in the manner of percussion, and moving the limbs in the manner of dance; fanning in the manner of a fan, raising in the manner of a victory banner, spreading in the manner of a canopy, hoisting in the manner of a pennant, covering in the manner of an umbrella, and beating in the manner of a hand-drum; striking in the manner of a drum, smiling in the manner of laughter, and performing dance in the manner of dance; showing wrath in the manner of a wrathful deity, displaying charm in the manner of a charming deity, and strutting in the manner of a strutting deity; drawing the bow, embracing the breasts, brandishing the vajra, and bowing in the manner of prostration—by means of these twenty offerings, one should join them with the song of Hūṃ.
Then, one should offer praise:
"O Great Being, the supreme primordial one, the great joy of those with great delight, Samantabhadra who perceives all, the master of the Lord Vajragarva, the supreme meditative absorption of the Mind Hero, the Great Vajra of great power, the supreme conduct of Samantabhadra, the essence that subdues the Māras, the great awakening of all Buddhas, the supreme perfection of the Buddhas' awakening, the Hūṃ-maker, the Hūṃ, the Lord of the world, the very chief of the Mind, the great passion of great bliss, the great wealth of desire and liberation, the three times, the three realms, and the three jewels."
Supreme among the three worlds, the one who dwells in the three realms, most luminous in the unmoving, the most excellent of all that moves, among the hosts of the extremely subtle and the gross. You who purify the wheel of existence, without beginning or end, and not merely luminous, you who abide as the primordial beauty, the great union of the mudrā of the heart, the great intelligence of the reality of the samaya, the Vajra Wrathful One, the Great Wrathful One, the blazing subduer of the terrifying, the supreme among the wicked, the Great Wicked One, the fierce one who strikes fear into the wrathful. The great accomplishment of the Tathāgatas, the great action of the supreme agent, the excellent path of the samaya action, the one who realizes the bodhicitta, the great lotus that purifies all, the great wealth of wisdom and method, the supreme samādhi of pure desire, the great lord of manifold variety, the eternal treasure of infinite space, the great abode of all sentient beings, the glory of the wealth of glorious riches, the one who fulfills all intentions. Homage to the nectar, homage and prostration to the nectar. Through entering you with faith, may I today achieve the state of Vajrasattva. With the sound of the vajra and bell, one should offer praise with this hymn. Then, the vajra song and so forth should be sung: HŪṂ HŪṂ HŪṂ. DE PŪ PŪ NA RA SA. BA RU DO NĀ DA LIṄ GA NA JO YA BA YU. HA BA DA JAU STE NA NA HŪṂ. TE TE HŪṂ. BHA VĀ BHA VĀ. VI MU DTI DE SE SU BHU JA NA. KU TI MA RA RA HO. BU JA NI BO TI KA DJA TI HI. DE NA NA HŪṂ HŪṂ.
Tena na te te hūṃ | Amati | Anagagha | Asati | Vimuti | Sunna visunna | Naṃsana sara | Vīdanī vī | Tena na hūṃ hūṃ tena na hūṃ | Tete hūṃ mara pappana ce va hūṃ vahade hūṃ | Suna san sare kañju tu hūṃ hūṃ jana pate tena na hūṃ | Then, immeasurable outer yoginīs also [sang]: Vūnagone dama hūṃ lini śannama | Dhavalasanga | Kamanītinama | Amita vivishuddha sihi dhanu kancha kancha | Navarata dhaṇuṃ kaṇati mahā hūṃ | Atibasa ghorimaṇḍinayi | Sajjaka vale soni bakṣakhe | Jāya jāya | Uddharite bhava hūṃ | Maragayara ya | Soruhi hūṃ | Kintu barabhisana ghorudanda | Sajavakalama | Vasayamite vaṇamipa hūṃ | Sohililuṇi tsavijjala | Mutra tripa | Dapa hūṃ | Māra vidhararunakotayaṃ namahā mahā hūṃ | Ḍayani paha hūṃ |
The vajra song is that very [one], and with the supreme offering of the vajra and bell, one should sing with the excellent characteristics of the mixture of pañcama and kośika. Then, the third stage is the praise of the worldly deities and so forth:
"O glorious King of Reality, supreme lord, beautiful with a crown; possessing a supreme body blazing with light upon the secret seat; shaking the glorious vajra and bell, you delight the yoginīs with sound. You enjoy the supreme lordship of glorious wisdom and all enjoyments." With various praises such as these, one should offer praise. Joining the vajra palms:
One should place [the mantra] in the region of the heart: OṂ ŚUDDHA DHARMĀ HŪṂ. OṂ A OṂ A SVĀHĀ. Having thus pleased [the deities], one should meditate upon the wheel of goddesses as previously explained, according to the sequence of the four sessions. When weary from meditation, one should recite the secret mantra: "Neither too fast nor too slow, neither unclear nor incomplete, one should recite the mantra having abandoned all conceptual thoughts." Then, if one becomes weary, one should offer praise, hold the vajra, and, having thoroughly invoked with the vajra and bell, praise the wheel-bearers with song. Having made excellent offerings with devotion, one should fully dedicate the virtues. Having pleased [them], one should request them to depart: "Please depart once again; I pray that you return." For the application of the request to depart, one should clasp the vajra palms at the heart: OṂ NAMASTE HŪṂ. NAMAMI HŪṂ. NAMO NAMO HŪṂ SVĀHĀ. Having bound the two vajra fists, one should clasp the moon at the heart. Having placed the sun upon the ground, one should diligently recite the secret mantra: OṂ GACCHA GACCHA SVABHĀVAṂ HŪṂ SVĀHĀ. This is the mantra for requesting the supramundane wisdom deities to depart. OṂ GACCHA GACCHA PUNARĀGAMANĀYA HŪṂ PHAṬ SVĀHĀ. Together with snapping the fingers three times, this is the mantra for dismissing the mundane deities. Thus, having requested the deities of the wisdom maṇḍala of the maṇḍala to depart, one should imagine that the samaya deities dissolve into the white lotus at the heart. [Then one should perform] the great armor and—
Having fashioned [the hand gestures] such as the swan’s wing and so forth, one should stabilize them with the hundred-syllable mantra. In that regard, the hundred-syllable mantra is as follows: Oṃ jñāna ḍākinī samaya manupālaya | jñāna ḍākinī tvenopatiṣṭha | dṛḍho me bhava | sutoṣyo me bhava | anurakto me bhava | supoṣyo me bhava | sarvasiddhiṃ me prayaccha | sarvakarma sucame | cittaṃ śreyaḥ kuru hūṃ | ha ha ha ha hoḥ bhagavatī jñāna ḍākinī | mā me muñca vajrī bhava mahāsamayasattva āḥ. With this, one should confer the empowerment of Mahāmudrā. Then, with the syllables "vara kavace oṃ ṭu" and having bound the armor of the very mudrā previously explained, one should pray to all the Tathāgatas residing in the ten directions, "Blessed One, please remain in bliss," and then arise. By means of this sequence, through the mental engagement with the deity, one should remain constantly until the supreme siddhi is attained.
Then, according to the pith instructions on the ritual of emanation taught in the Tantra: "I shall certainly accomplish it through the ritual of emanation taught in the Tantra. Oṃ hūṃ hūṃ ghṛ | jrīṃ miṃ pīṃ hūṃ | khrūṃ hoṃ ho. These are the seed syllables of the ten samayas. Purify, conceptualize, and likewise apply them. With a non-conceptual mind, one should eat with a joyful heart and satisfy all the Tathāgatas."
The Sādhana of the Great Yoga Tantra called the Śrī-Catuḥpīṭha, composed by the venerable master Āryadeva, is complete. [Translated by] the Indian abbot Kamalagupta and...